| | Count Basie And Friends: Special Evening Of Jazz DVD Basie, Count & Friends CDS
NTSC/Region Code 0.A star-studded evening of swing, featuring legendary Count Basie, his hard driving orchestra, and an amazing series of vocalists: Sarah Vaughan, Tony Bennett, George Benson, and Joe Williams. Deftly shot at a crowded Carnegie Hall in 1981, the program is packed with music 21 numbers range from Basie classics of the swing era to gutbucket blues to sophisticated pop. Each star vocalist brings unique style and spontaneity to a musical collaboration with Basie and the band. Standout moments include Joe William's reprise of 'Every Day I Have The Blues', his big hit of the 1950's; George Benson singing and playing electric guitar on the Basie classic 'One O'Clock Jump'; Tony Bennett and Basie collaborating on a Duke Ellington set; and Sarah Vaughan, adding her own trio to the mix and tearing down the house on 'Just Friends'. Intense soloing from the Basie instrumentalists, Basie's own distinctive piano playing, a duet between Vaughan and Benson, and a climactic finale involving all four singers - these and many other elements make this concert one to remember. Immortal. 2005. Count Basie And Friends: Special Evening Of Jazz | List Price | $22.98 (You save $5.89) | | Studio | Immortal | | Orig Year | 2005 | | DVD Encoding | All Regions | | All Time Sales Rank |  105764  | | CD Universe Part number | 6937551 | | Catalog number | 940077 | | Discs | 1 | | Release Date | Mar 07, 2006 | | Movie Details | Color |
Count Basie And Friends: Special Evening Of Jazz Review
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Count Basie And Friends: Special Evening Of Jazz DVD Region 0
Audio:
Dolby Digital 2.0 Stereo - English
Dolby Digital 5.1 - English
Purchase Count Basie And Friends: Special Evening Of Jazz Movie To buy, Click on price to add to cart | Mike Bloomfield Super Session CD (1968) Bonus Tracks; Remastered
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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").
All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, ...
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COME AWAY WITH ME won the 2003 Grammy Awards for Album Of The Year, Best Pop Vocal Album and Best Engineered Album (Non-Classical).
"Don't Know Why" won the 2003 Grammy Awards for Record Of The Year, Song Of The Year and Best Female Pop Vocal Performance.
Arif Mardin won the 2003 Grammy Award for Producer Of The Year (Non-Classical).
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
A direct descendant from the pedigree of one of the 20th century's virtuosos, Norah Jones might not be on such a lofty artistic level as her dad Ravi Shankar, but certainly inherited some musical intuition from him. With nary a sitar nor raga within earshot, the young newcomer sounds very much an assimilated, western, 21st century pop-jazz singer. One thing that separates her from the pack is Ms. Jones' own piano stylings--not flashy, but deftly doubling or echoing her voice--that discreetly act as the glue holding together these airy, delicate, and beautiful arrangements.
But the centerpiece is certainly the 22-year-old's confident-beyond-her-years vocal delivery in addition to a precise diction and velvety tone. Shades of Nina Simone, vintage Phoebe Snow, and a less beatnik Rickie Lee Jones are evident throughout as the young siren coolly sashays through mostly new material by guitarist-songwriter Jesse Harris (formerly of Once ...
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Recorded on December 8, 1960 and April 27, 1961. Originally released on RCA (2362).
By 1961, film composer Henry Mancini was already well known in Hollywood for his jazzy, brassy scores to Touch of Evil and Peter Gunn. But it was this effervescent soundtrack for Blake Edwards' adaption of Truman Capote's wistful novella that propelled Mancini into the major league of Hollywood composers. Though there were other jazz-oriented arrangers working in Hollywood at the time, none possessed Mancini's imagination and skill in orchestration. (He was a veritable Berlioz in the way he cast instruments as characters in the story.) Only John Barry could ever match his gift for melody.
The Oscar-winning "Moon River" is a case in point. Toots Thielemans' tremulous, lonely harmonica introduces the simple, near-folk tune, neatly evoking protagonist Holly Golighty's "secret" country roots. Later on, Mancini vividly illustrates urban living itself with the lively mambo "Something For Cat" and a big-band ...
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