| | Siempre Asi Misa De La Alegria CD - Import Siempre Asi Discography of CDs
Siempre Asi Misa De La Alegria Songs | 1. | Alegría (Obertura) |
| 2. | Bienvenido A Tu Casa (Canto De Entrada) |
| 3. | Gloria Bendita (Gloria) |
| 4. | Sevillanas Del Apóstol San Pablo A Los Corintios |
| 5. | Yo Sí Creo En Ti (Credo) |
| 6. | Al Enemigo Agua (Ofertorio) |
| 7. | Santo |
| 8. | Padrenuestro'06 |
| 9. | Canto De Paz |
| 10. | Entra En Mi Cuerpo (Comunión) |
| 11. | Tu Fe (Acción De Gracias) |
| 12. | El Sentido De La Vida |
| 13. | Tu Fe (Reflexión) |
| 14. | Sembrao (Canto De Despedida) |
| 15. | Caridá |
| 16. | Oración De La Mesa |
| 17. | Salve Del Olé (Dios Te Salve, Señora) |
|
Misa De La Alegria Review
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Purchase Misa De La Alegria CD To buy, Click on price to add to cart | Rodrigo Y Gabriela 11:11 CDs (2009) Digipak
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The very first moments of Rodrigo y Gabriela's sophomore effort, 11:11, hit the listener cold in the face, and not just because of the amazing guitar playing. Sure, it's there, ...
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| | Robin Guthrie Carousel CD (2009)
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| | DB Pedersen Carrot Carrot! CD (2006)
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db is a folk artist who has rambled around the world getting loaded, making trouble, and breathing fire. At some point, he lands himself on a sheep farm in rural Wisconsin where he screamed towards the sun until his vocal chords broke. From then on, whenever he belted out his cries, his throat emitted a heavenly multi-tonal song. Some call this style of singing "throat singing", most often identified with the Tuvans such as Huun Huur Tu. However, ...
| | Wynton Marsalis CD (1981)
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Master Sound releases are 24-karat gold CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's revolutionary "Super Bit Mapping" system.
While Marsalis had been paying dues for some time in Art Blakey's Jazz Messengers and the Brooklyn Philharmonia, this was the release that put him on the map. It serves as the starting point from which he began his trek to jazz stardom and renown outside the world of jazz (Marsalis has also recorded several albums of classical music). Marsalis' virtuoso technical ability, and unwavering, passionate devotion to undiluted, non-commercialized jazz seemed to take its inspiration from every trumpet great from Louis Armstrong to Miles Davis to Don Cherry. Marsalis synthesized these influences and still managed to forge a sound of his own.
For his debut, Marsalis proceeded from a hard-bop base (a la the classic early '60s sessions on the Blue Note and Prestige labels) for a hard-swinging, inspired and volatile (especially brother Branford ...
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Target is one of those Tom Scott records that gets forgotten about a lot. Certainly it comes from the middle of the 1980s just before the GRP era, when Scott was still leading the Saturday Night Live Band on occasion and looking around for a new sound. It's the sound of a restless musician who gets the pop game, or at least has gotten it and is not sure of where to shift his focus next. The band is big and full of killer players: Harvey Mason, Ernie Watts, Ian Underwood, Victor Feldman, Paul Jackson, Neil Stubenhaus, Jim Horn, Trevor Feldman, Pete Christlieb, and Michael Boddicker, among others. The sound is a tad warmer than what Atlantic was releasing at the time, too. But the material, as good as some of it is -- like the funky title track -- also contains half-hearted pop ballads like "Come Back to Me" with Kenny James on vocals. "He's Too Young," with a fine vocal performance by Maria Muldaur, is marred by a terribly dated -- and it was for the time -- synth drum sound. There is also a truly bizarre moment when Lee Ving, former lead singer of Los Angeles hardcore band Fear raps and plays blues harmonica on "Gotta Get out of New York." Then there's "Lollipoppin'" which, while it contains the same dumb synth drum sound, also has some killer Rhodes by Feldman, synth work by Underwood, and a happening keyboard bassline. The grooving muted horn section on this reading of Dan Peck's "The Biggest Part of Me," has a wonderfully soulful feel with great kit work by Mason. The horn arrangements are in the pocket but restrained, allowing that lithe melody to shine through and, along with the title cut, it's a contender for best tune on the set. The set closes with the stone-gone funky groover "Burundi Bump" by Scott and Feldman with excellent basslines, pulsing Rhodes work, a boatload of percussion, and Mason running the ensemble ...
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