| | Till Bronner Oceana CD - Import Till Bronner Discography of CDs
Japanese pressing adds the bonus track 'You Won't Forget Me'. Verve. 2006. Oceana Music | List Price | $38.99 (You save $2.20) | | Category | Jazz Albums | | Label | Phantom | | CD Universe Part number | 7053153 | | Catalog number | 620629 | | Discs | 1 | | Release Date | Apr 25, 2006 |
Till Bronner Oceana Songs | 1. | Bumpin' | $0.99 | |
| 2. | Love theme from chinatown | $0.99 | |
| 3. | In my secret life | |
| 4. | peacocks, The | |
| 5. | I'm so lonesome I could cry | |
| 6. | Subrosa | $0.99 | |
| 7. | Pra Dizer Adeus | |
| 8. | It never entered my mind | $0.99 | |
| 9. | River man | $0.99 | |
| 10. | Danny boy | |
| 11. | A distant episode | |
| 12. | Tarde | $0.99 | |
| 13. | You won't forget me | |
| Oceana Review
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Purchase Oceana CD To buy, Click on price to add to cart | Brian Culbertson Live From The Inside CDs (2009) With DVD
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$14.95 Many people think of smooth jazz as something that didn't start until the 1980s, but arguably, smooth jazz started around 1966-1968 with the overtly commercial, pop-drenched albums that guitarist Wes Montgomery recorded during the last few years of his life. Love it or hate it, Montgomery's more commercial output had a major impact on Peter White and many other guitarists who have contributed to smooth jazz (including George Benson, Lee Ritenour, Earl Klugh, Chuck Loeb, and Henry Johnson). Musically, a lot has changed since the '60s, but the more things change in music, the more they inevitably stay the same -- and 2009 found White (like Montgomery 41, 42, and 43 years earlier) still struggling with a desire to improvise and a desire for mass acceptance (the thing that jazz, for the most part, lost after World War II). Of course, one doesn't necessarily rule out the another; the late saxophonist Grover Washington, Jr. knew how to be commercial and adventurous at the same time, but most smooth jazz artists play it way too safe -- which is what White usually does on Good Day. This 2009 release is, on the whole, an album of pleasant but not ...
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| | Jamie Cullum Twentysomething CD (2004) DualDisc
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Young pianist/vocalist Jamie Cullum, made a sizeable splash in a post-Norah Jones world of jazz-influenced, acoustic-leaning singer/songwriters. Whether he's performing "Singin' in the Rain" in a Stevie Wonder style or channeling Jimi Hendrix through Stax via Van Morrison on "Wind Cries Mary," Cullum helps to redefine interpretive singing in the early 21st century on TWENTYSOMETHING. (Who says you can't play a convincing cover of Radiohead's "High and Dry" based on an Ahmad Jamal line?) There is nothing slavish about Cullum's approach, as his soulful swinging and slightly ragged-edged crooning reveal ...
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| | Stan Getz & Bill Evans CD (1964) (Import) Import; Japan
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$14.71  The only studio meeting between Stan Getz and Bill Evans took place over two days in 1964, with the aggressive drummer Elvin Jones and either Richard Davis or Ron Carter on bass. It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz and Evans hadn't had enough time to achieve the desired chemistry, though there are memorable moments. The punchy take of "My Heart Stood Still," the elegant interpretation of "Grandfather's Waltz," and the lush setting of the show tune "Melinda" all came from the first day's session, with Davis on bass. Evidently he was unavailable the following day, so Carter replaced him. Evans' driving, challenging "Funkallero" is the obvious highlight from day two, though the gorgeous "But Beautiful" and the breezy setting of "Night and Day" are also enjoyable. Only the brief version of "Carpetbagger's Theme," which seems badly out of place and suggestive of the label's interference with the session, is a bit of a disappointment. Obviously neither Getz nor Evans liked the tune, as they go through the motions in a very brief performance. This reissue, which came out in the late '80s, adds three unissued alternate takes, though additional material from the sessions was included in the box set The Complete Bill Evans on Verve. ~ Ken Dryden
The only studio meeting between Stan Getz and Bill Evans took place over two days in 1964, with the aggressive drummer Elvin Jones and either Richard Davis or Ron Carter on bass. It is peculiar that Verve shelved the results for over a decade before issuing any of the music, though it may have been felt that Getz and Evans hadn't had enough time to achieve the desired chemistry, though there are memorable moments. The punchy take of "My Heart Stood Still," the elegant interpretation of "Grandfather's Waltz," and the lush setting of the show tune "Melinda" all came from the first day's session, with Davis on bass. Evidently he was unavailable the following day, so Carter replaced him. Evans' driving, challenging "Funkallero" is the obvious highlight from day two, though the gorgeous "But Beautiful" and the breezy setting of "Night and Day" are also enjoyable. Only the brief version of "Carpetbagger's Theme," which seems badly out of place and suggestive of the label's interference with the session, is a bit of a disappointment. Obviously neither Getz nor Evans liked the tune, as they go through the motions in a very brief performance. This reissue, which came out in the ...
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