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Fox, Becky - Music For A While CD Cover Art
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Becky Fox Music For A While CD - Import

 Becky Fox Discography of CDs

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In her debut CD, 19-year-old vocal sensation Becky Fox joins forces with 17-year-old guitarist Leonard Grigoryan to produce an album filled with emotion and a depth of maturity that well surpasses her years. She transcends musical genres drawing upon jazz, folk-based pop and Latin American influences whilst still maintaining her own musical identity derived from her classical background. ABC Music. 2005.
Music For A While Music


Detailed Music For A While Music Information



List Price $29.99 (You save $2.40)
Category Rock/Pop Albums, Jazz CDs, Jazz Instrument
Label Abc Studios
CD Universe Part number 6820892
Catalog number 9821348
Discs 1
Release Date Jan 17, 2005
Studio/Live Studio
Mono/Stereo Stereo
Additional Info Australia
Becky Fox Music For A While Songs


Becky Fox Music For A While Album Track Listing



1.Music For A While
2.Fragile
3.Les Feuilles Mortes
4.Veinte Anos
5.Bright Blue Rose
6.Padam Padam
7.Black Is The Colour
8.Dos Gardenias
9.Ne Me Quitte Pas
10.A Time For Love
11.Come Back To Sorrento
12.Time Away
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Following up their breakthrough 1999 release Blue Skies, Broken Hearts...Next 12 Exits, Kris Roe and his band, the Ataris, offered up the dynamic, dangerously non-punk End Is Forever in early 2001. Along with singer/guitarist Roe, Chris Knapp (drums), Marco Pena (guitars), and bassist Mike Davenport wind their way through an expanse of post-grunge alternative and emocore more musical than anything the Ataris had previously released. Listeners familiar with the group's earlier recordings probably won't be too surprised by End Is Forever as Roe's quickly developing, gifted writing had always been the outfit's defining factor, making the transition away from punk's noisier elements predestined. Purists already dismissive of the entire emo genre will be mortified by Roe's polished heart-tugging trilogy "Giving Up on Love," "Summer Wind Was Always Our Song," and "I.O.U. One Galaxy" that opens the disc. Things degenerate further for credibility-obsessed punk fans when Roe and Co. kick out some old-fashioned big rock on tracks like "Road Signs and Rock Songs." Listeners anxious about the Ataris unavoidable flight to the punk genre suburbs won't have to read between any lines to figure where the band was heading when they produced this 2001 release. After End Is Forever, all that remained to be seen is just how far the quartet's undeniable mainstream appeal would take them. ~ Vincent Jeffries You have in your hands the crown jewel of the Kung Fu Records organization. The 14 songs on End Is Forever (The Ataris 3rd LP for Kung Fu) accurately reflect the dedication to the craft of songwriting that has skyrocketed this Santa Barbara, California quartet into becoming the fastest growing punk band in recent memory. Punk, pop-punk, ...
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Recorded live at Birdland, New York, New York on November 29 & December 2, 2000. Includes liner notes by Pat Phillips and Mike Peters. Whether or not many jazz guitarists have any gypsy blood, the influence of Django Reinhardt is often readily apparent in their playing. The Django Reinhardt NY Festival saluted the late master with several critically acclaimed concerts at Birdland in the fall of 2000, featuring no fewer than five Django-influenced guitarists, including his son, Babik Reinhardt (heard in one of his last recordings prior to his death a year later), as well as veteran Bucky Pizzarelli, two rising stars in their thirties, Frank Vignola and Birelli Lagrene, and finally the young sensation Jimmy Rosenberg. Most of the pieces, which include both timeless standards and originals by Reinhardt, date from his heyday in the 1930s and 1940s, with the exception of originals by Rosenberg and Babik Reinhardt. The guitarists are mixed or matched in pairs or a trio, joined by bassist Jon Burr (who was Stephane Grappelli's bassist for the last decade of his life) and on occasion, violinists Regina Carter or Florin Niculescu, the brushes of Joe Ascione, and pianist Pete Malinverni. It is tough to pick a favorite between Rosenberg, Vignola, and Lagrene (the spotlighted players, though Pizzarelli is no slouch), as ...
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Benny Carter went to London, then to Holland. Everywhere he visited, musicians gathered round and helped him to make jazz records, first for English Vocalion and then for Dutch Decca. Although both takes of "Swingin' at Maida Vale" are bracing examples of precise, hot, mid- '30s British big band swing, with the exception of this title and "Gin and Jive," much of the material on the first half of this disc is slow and ruminative. The real treat is "Nightfall," a gentle study featuring Benny Carter on tenor saxophone. Already notable as a multi-instrumentalist who juggled trumpet, alto sax, clarinet, and piano, Carter rarely recorded with the tenor sax during this part of his career. The smaller ensembles are even tastier; guitarist Bernard Addison is heard in a quartet backing Carter on "Waltzing the Blues." Two sides are more or less saddled with vocals by the tremulous Elisabeth Welch. Carter made three more hot sides with an English big band before venturing into deepest darkest Holland for a "Ramblers" session analogous to what Coleman Hawkins had accomplished there in 1935, and was to achieve again about a month later, with an almost identical band. Indeed, Hawkins shows up in Carter's orchestra on the very last track, recorded in the Hague in August of 1937. By this time, American jazz musicians ...
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