| | George Shearing Deep Velvet/Old Gold & Ivory CD George Shearing Discography of CDs
 (3 Customer Reviews)
2-on-1 release featuring albums originally released in 1964 & 1963, Capitol. 2005. Deep Velvet/Old Gold & Ivory Music George Shearing Deep Velvet/Old Gold & Ivory Songs | 1. | Here's That Rainy Day |
| 2. | I Used to Be Color Blind |
| 3. | Sentimental Journey |
| 4. | Passing By |
| 5. | Would You Like to Take a Walk |
| 6. | Signing Off |
| 7. | One Love |
| 8. | Nightfall |
| 9. | Willow Weep For Me |
| 10. | Slowly |
| 11. | Spring Is Here |
| 12. | My Heart Stood Still |
| 13. | Ritual Fire Dance |
| 14. | Chopin Prelude No.20 |
| 15. | Theme From Scheherazade |
| 16. | None But the Lonely Heart |
| 17. | Variations on a Theme of Paganini |
| 18. | Malaguena |
| 19. | Country Gardens |
| 20. | Lotus Land |
| 21. | Solveig's Song |
| 22. | Fantaisie Impromptu |
| 23. | Pavane |
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Deep Velvet/Old Gold & Ivory Music Review Average Rating: (3.7 out of 5 stars)   Music that's a diversion
Many years ago, I had a demo album with three songs from "Old Gold and Ivory" I enjoyed the jazzy interpretations of classical songs. I hadn't heard them in about forty years. When I listened recently, I noted to my brother, for whom I bought the CD, that even though jazz, and classical music are timeless, the arrangements can be dated. These arrangements are typical of the late nineteen fifties and sixties. They are light, upbeat lounge songs better to listen to as a diversion than for "serious" listening. George Shearing in the orchestral as well as the quintet arrangements (Deep Velvet) is always worth a listen.
Submitted by jfnaples (Western PA) 
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 One of Shearing's best
Great sound restored.
Submitted by mcternan7 (Kenosha, WI, USA)
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Definitely different
Good disc though different.
Additional instruments gives deep velvet portion more of a big band sound
Actually the classics in the old gold ivory section more of a jazz sound even with some orchestral background
Submitted by skihel (Thompsonville, Mi. USA)
Was This Review Helpful? Yes No | Have you heard this album? |  |
Purchase Deep Velvet/Old Gold & Ivory CD To buy, Click on price to add to cart | Houston Person Mellow CD (2009)
Deep Velvet/Old Gold & Ivory
 $13.59  
Personnel: Houston Person (tenor saxophone); James Chirillo (guitar); John Di Martino, John Di Martino Quartet (piano); Lewis Nash (drums).
Audio Mixer: Rudy Van Gelder.
Liner Note Author: Sid Gribetz.
Recording information: Van Gelder Studios, Englewood Cliffs, NJ (06/23/2009).
Photographer: John Abbott .
Not all mellow, Houston Person's tribute ...
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| | Jolie Holland Springtime Can Kill You CD (2006) Digipak
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SPRINGTIME CAN KILL YOU is the follow-up to ex-Be Good Tanya singer-songwriter Jolie Holland's critically acclaimed 2004 release ESCONDIDA. Haunting, gorgeous, and meticulously crafted, the album shows Holland maturing by leaps and bounds as a writer and performer.
Holland draws from the full spectrum of Americana, weaving threads of country, folk, blues, and gospel into a shimmering tapestry that is uniquely her own. The album is intimate and familiar, yet fresh and surprising; the credit for its impact goes almost entirely to Holland's compositions, which float like dreams dreamt in the depth of a summer night. Every aspect of SPRINGTIME--from the understated arrangements to Holland's charmingly idiosyncratic vocals--rings true.
Jolie Holland's sophomore studio outing for Anti is a leap from her landmark Escondida. While that album traveled seamlessly from genre to genre without trying, Springtime Can Kill You moves at a slower, more labyrinthine pace toward an end that only Holland could conjure. There are many artists these days stepping deep into the rich tradition of American roots music, whether it's country, blues, folk, or gospel. To her credit, Holland is looking for something even more mercurial in her songwriting and cover performances: the American parlor -- or living room in the era before television when the radio was its centerpiece: it was the terrain where many voices, experiences, and stories from near or ghostly far came to life. Here,she articulates them in the present, often in the first person, as musical languages and as well-worn fables from life's margins. Holland's voice, always so original, sounds like it comes from some other bygone era, yet utters itself in contemporary terms; it is the anchor on which all this beautiful eventide music turns. It can be weary, tired, shy, and sly; it can be deeply divided and ambivalent; it can be sexually charged with the notion of conquest and discovery, and in its sultry, suggestive drawl it reveals even as it conceals; it's ready for the next lover's embrace or the challenge of finding it. Still at other times, it's full of grief, or intimate regret, or wide-eyed wonder and innocence at what reveals itself in the moment. It's a voice where there is no grain, only a rounded disclosure that carries within it all the moments the words were born from.
Whether she's writing original material or covering traditional tunes -- on this set she does a gorgeous reading of "Adieu False Heart" -- the effect is the same. It's ...
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