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Higgins, Eddie - Amor CD Cover Art
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Eddie Higgins Amor CD - Import

 Eddie Higgins Discography of CDs

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 Our Price: $34.15  CD
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Amor Music


Detailed Amor Music Information



List Price $36.99 (You save $2.84)
Category Rock/Pop Albums, Jazz CDs
All Time Sales Rank   492257  
CD Universe Part number 7032869
Catalog number 35369
Discs 1
Release Date Dec 15, 2007
Additional Info Japan
Eddie Higgins Amor Songs


Eddie Higgins Amor Album Track Listing



1.Begin The Beguine
2.Moon Was Yellow
3.Tristeza De Amor
4.Pensativa
5.Histria De Un Amor
6.Jalousie
7.Carinhoso
8.Amor
9.Perfidia
10.Morning
11.Copacabana Night
Amor Music


Amor Other Versions



Eddie Higgins
Amor  Japan; 24 Bit Remastered
CD$34.15
Eddie Higgins
Amor  Import
CD$27.09
Amor Review


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My One And Only Thrill
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Although the plaudits for Melody Gardot's debut album, WORRISOME HEART, were entirely justified, it sometimes seemed as if the young singer-songwriter's compelling personal story--hit by a car and severely injured at the age of 19, the aspiring fashion designer began playing piano and writing songs as part of her physical therapy--overshadowed her music. Gardot's second album, MY ONE AND ONLY THRILL, dispells that sense entirely: this gorgeous collection of lavishly orchestrated jazz-pop ballads is the work of a genuinely talented singer-songwriter. Gardot's melodic sense is greatly ...
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Detroit comprises a six-composition suite commissioned for the 2009 thirtieth anniversary Detroit International Jazz Festival, played in the studio with musicians from composer/arranger Gerald Wilson's Los Angeles home or New York City area. Curiously, there are no Motor City-based players on the disc, but the themes are based in certain locales from the industrial Midwestern City that has fallen on hard economic times but played a pivotal role in the development of Wilson's highly developed skills as a composer, arranger, and bandleader. A quite spirited and energetic music is heard here from the 90-year-old Wilson, whose charm and wit would rival anyone many decades his junior. It's a swinging affair molded in the traditional big-band visage of Count Basie, Ernie Wilkins, or early Quincy Jones, with Wilson's deft touch for embellishing the blues. Players like trumpeter Sean Jones, son/guitarist Anthony Wilson, violinist Yvette Devereaux, the fine pianist Brian O'Rourke, and particularly L.A. alto saxophonist and flutist Randall Willis or Kamasi Washington on tenor sax, spice up the band's ensemble and solo contributions. The suite begins with "Blues on Belle Isle," a bopping tribute to the riverside playground and picnic area Detroiter's depend on ...
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Michael Buble's third major US release (including the mostly live COME FLY WITH ME) stays on message--this young Canadian loves the lush, swaying music of his parents' and grandparents' generations. Buble's albums, however, are much more than mere back-in-the-day exercises. The production and arranging of David Foster (Celine Dion, Josh Groban) is eclectic in a way that firmly places the tunes at the dawn of the 21st century, and, more importantly, Buble possesses the chops and sense of style to re-imagine the adult-contemporary vocal genre in a distinctive manner. In addition to standards by Gershwin and Porter, Buble embraces a variety of sounds, from Motown ("How Sweet It Is") to bossa nova ("Quando, Quando, Quando" with Nelly Furtado) to the Beatles ("Can't Buy Me Love" with a "She Loves You" tag). With his smooth croon and charming persona, Buble is a natural performer, and, for fans of fearlessly romantic and infectiously swinging music, IT'S TIME is a sure bet. Recording information: Capitol Studios, Hollywood, CA; Chartmaker Studios; Henson Recording; Paramount Studios, Hollywood, ...
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I'm In The Mood For Love: The Most Romantic Melodies Of All Time
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Hoja En Blanco
Monchy & Alexandra Hoja En Blanco CD  (2001)

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Street Cries
Ashley Hutchings Street Cries CD  (2002) (Import) United Kingdom

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STREET CRIES is a collection of traditional folk songs with new lyrics and arrangements by Ashley Hutchings. Ashley Hutchings had an intriguing idea: Why not take traditional folk songs and write new, updated lyrics to them? Even better, why not invite a bunch of great artists like Dick Gaughan and Helen Watson to record the pieces? And this is exactly what Street Cries does. Interestingly, when Hutchings transforms "The Blacksmith" into "A Drummer Won My Love," he doesn't change the subject matter, but modernizes the words. Beautifully sung by Kathryn Roberts, the piano and clarinet add other contemporary touches. Two high school girls helped Hutchings convert the press gang of "All Things Are Quite Silent" to the drunken gang, fresh from the pub, of "These Cold Lips." Accompanied by a piano, June Tabor provides an austere reading of this dark tune. Pete Morton's rousing take on "Damn the Day" (originally "Adieu, Adieu") confirms that a fresh version has the power to revive and make relevant a tired, old folk song. It should also be noted that Hutchings, whether he intended to or not, does a good job of balancing male and female vocalists. Of course traditionalists will cry foul, as they always have when revivals and revivalists decide to put a new spin on a worn-out classic. Hutchings convincingly suggests, however, that singers have always updated folk songs to fit their time and circumstance. Street Cries is a lovingly made, vibrant album that will give a number of folk songs a new life. ~ Ronnie D. Lankford, Jr. This collection of dark traditional songs reset in the present day features Ashely Hutchings joined by singers Barry Coope, Jim Boyes & Lester Simpson, Steve Knightley, Cara Dillon, Dick Gaughan, Helen Watson, Vin Garbutt, Judy Dunlop, Dave Burland, Kath Personnel: Ashley Hutchings (bass); Pete Morton, Dick Gaughan (vocals, guitar); Steve ...
Reflections
Don Sickler Reflections CD  (2002)

Amor album
CD $13.89  4 stars Audio Samples
Don Sickler has made numerous contributions as an arranger throughout his long career (though they aren't always properly credited), though this is only his sixth release as a leader. He concentrates exclusively on infrequently recorded compositions by a sextet of post-bop trumpeters, accompanied by a solid supporting cast: alto saxophonist/flutist Bobby Porcelli and pianist Ronnie Mathews (who both previously worked along with Sickler in T.S. Monk's band), bassist Peter Washington, and drummer Ben Riley. Booker Little, whose career was cut short at the age of just 23, is represented by "Bee Tee's Minor Plea" and "The Grand Valse." Sickler's approach to the first tune is more tightly woven than Little's 1960 recording, while the latter piece (a waltz) flows a bit smoother than the original; both arrangements utilize a second overdubbed trumpet for harmony in places. Miles Davis is represented by "I Didn't" (a barely disguised reworking of Thelonious Monk's "Well You Needn't"), "Swing Spring," "Miles Ahead," and "Denial," none of which have been recorded very often. Tommy Turrentine's career was overshadowed by his better-known brother, but Sickler clearly savors his warm ballad "Gone but Not Forgotten" with a masterful solo. Works by ...
Monika Sings & Satoshi Plays
Monika Sings & Satoshi Plays CD  (2002) (Import) Japan

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All The Way
Ken Navarro All The Way CD  (2003)

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When the infinitely melodic acoustic and electric guitarist Ken Navarro closed shop on his own label, Positive Music, after over a decade of solid self-releases (and many underrated projects by top artists), he made the perfect move in signing with Shanachie. Few popular indie labels capture the middle-of-the-road, easy-grooving, simply soulful lyrical charms better than this label, whose roster includes Pamela Williams, Special EFX, and Kim Waters. All the Way is in some ways perfectly interchangeable with much of his best material over the years, full of lighthearted, catchy gems that bear repeated humming upon a single listen. Best among these are the first single, "Bringing Down the House," which takes a few creative chances in its swirl of easy-thumping synth horns and plucky acoustic guitar improv, and "It's Up to You," an acoustic-electric blend whose hook bears more than a passing resemblance to the classic "Breezin'." Elsewhere, Navarro plays it fairly close to the vest, but in an imminently likeable way, from his cool snapping electric on "Hey Cool Breeze" to the graceful acoustic ballad "Learning to Dance." "All the Way" is an explosive oasis in the midst of the cool, exploring Navarro's electric artistry deeper and rolling well over seven minutes; keyboardist Jay Rowe checks in with one of his trademark killer solos. In the smooth jazz world, Navarro didn't receive the accolades of Peter White or Jeff Golub, but no artist had been more consistently enjoyable and satisfying since the genre began 15 years ago. ~ Jonathan Widran Recorded at Positive Music, Ellicott City, Maryland and Studio 107, New York, New York between January & April 2003. Personnel: Ken Navarro (acoustic guitar, electric guitar, keyboards, drum ...
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