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Wouter Hamel Hamel CD - Import

 Wouter Hamel Discography of CDs

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 Our Price: $37.55  CD
For Sale Backordered since 12/4/2009

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Hamel Music


Detailed Hamel Music Information



List Price $43.98 (You save $6.43)
Category Rock/Pop Albums, Jazz CDs
CD Universe Part number 7511211
Catalog number 30105
Discs 1
Release Date Dec 15, 2007
Additional Info Bonus Track; Japan
Wouter Hamel Hamel Songs


Wouter Hamel Hamel Album Track Listing



1.Details
2.Cheap Chardonnay
3.Just What I Need
4.Fantastic
5.Breezy
6.Ride That Sunbeam
7.Distant Melody
8.Nothings Any Good
9.Interpretation of Love
10.Don't Ask
11.Would You
12.Useless Fraud
13.As Long as We're in Love [*]
14.While I'll Be Gone [*]
15.Maybe I'll Enjoy It Next Year [*]
Hamel Music


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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 ...
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On FIRST LOVE, contemporary jazz saxophonist and composer Everette Harp moves deeper into the space he addressed on 2007's excellent MY INSPIRATION. Produced by George Duke, the meld of acoustic and electric instruments here is perfectly balanced. Melodic and harmonic structures are much more complex and don't always fit the C-jazz cookie-cutter mold. Check his original "The Council of Nicea," one of the most satisfying things here. Harp's tenor is accompanied by James Genus' acoustic bass, and some spot-on breaks by Terri Lyne Carrington, a beautiful bluesy, hard bop trumpet solo by Michael "Patches" Stewart, and Lenny Castro's ...
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Arthur Shapiro (bass); Nat Polen, Noris Shawker, Johnny Blowers (drums). Master Sound releases are 24-karat gold CDs remastered from first-generation masters. This process utilizes 20-bit technology and Sony's "Super Bit Mapping" system. Most of the Sinatra recordings available during the 1950s consisted of his contemporary work for Capitol Records. But every so often his former label, Columbia Records, would get something together on LP from among his '40s and early-'50s sides. The Voice was one of a handful of '50s long-players showcasing the first phase of Sinatra's solo career, and at the time it wowed listeners -- the focus is on the ballads, and the dozen represented here constitute a bumper crop of classics, all resplendent in the singer's richest, most overpowering intonation and most delicately nuanced work. The sensibilities, from the lushly seductive "Laura" to the gently self-satisfied "(I Got a Woman Crazy for Me) She's Funny That Way," show off a huge emotional range, and the latter song may be the highlight of the album, displaying a soft yet smugly confident brand of machismo, all of it drenched in Axel Stordahl's overflowing string arrangements, yet quietly bold in its emotional content. It's that stretch of subtexts that, coupled with the beauty of Sinatra's instrument and Stordahl's arrangements, make the singer's Columbia material so striking to hear -- his subsequent work on Capitol and Reprise would ...
Ultimate Vision
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At an early age, music was in the family. My sisters played clarinet, flute and violin and dad played the woodwinds and instilled my inspiration to play the sax. In high school, I played in the stage band, studied saxophone with Al Galidoro and Frank Foster, played in local bands and had my heart set on going to the Berklee College of Music in Boston. In my senior year, I was the recipient of an International Art of Jazz Scholarship Award to Berklee. As a scholarship recipient, I had the opportunity to play with Jerome Richardson, Garnett Brown, Clark Terry, Steve Grossman, The Lew Tabakin Big Band, Bo Diddley and a variety of other great musicians.Berklee was an incredible experience. It was the first time living away from home and having the opportunity to meet and play with great musicians from around the world. It was interesting and fun to learn to say, “hello and good bye” in different languages, it was a real “ice breaker”. Berklee was loaded with talent, Paul Moen, Gary Mazzoroppi, John Robinson, Jamie Haddad, Neil Stuebenhaus, Mark Soskin, Gary Dial, Gerard D’Angelo, Chuck Loeb, Mac Gollahon, Tiger Okoasi and on and on and on. It was amazing. I even had the opportunity to become friends and play with one of my heroes, Sonny Stitt, and hang with Miles Davis at Paul’s Mall.After graduating from Berklee I went to St. Louis and played at Mr. Connors’s Jazz house on Natural Bridge and Fair and at the Fountain Blue in East St. Louis, Ill. I had the opportunity to play with Ray and Tommy Kennedy, Jimmy Smith, Groove Homes, Jimmy McGriff, John Mixon, Kenny Gooch, David Hines, Joe Charles, Moses, and Johnny O’Neil.I moved back to New York and started to pay my dues. I played at all the jam sessions. At the start of a tune, 10 saxophone players would be playing at the same time until you were the last one standing. It could take 5 choruses of blowing until you were “soloing”. The jams always had great rhythm sections. For example, the Tin Palace had Albert Daily, Clint Houston and Alvin Queen. Jo Jones Jr. at Barbara’s. Boomers had Billy Hart. I used to sit in with Valarie Parmavy at a club on 7th Aveune called the Angry Squire. The house trio was Cedar Walton, Sam Jones and Bill Higgins. What else can you say?I used to play and sit in at a club in Long Island called Sonny’s Place. There I met and played with Sal Nistico, Roy Haines, Turk Mauro, Ben Riley, Earl (drummer)?, George Granum, Arvell Shaw and the chef Miss B. My first official jazz gig a leader was subbing for Ernie Wilkins and Miss B cooked a big meal special for the occasion.I met Philly Joe Jones at Ali’s Alley in Soho and we became instant friends. I played with Philly for a few years. We would drive in the car together from gig to gig and he would talk about his experiences with Trane, Chet Baker and Miles just to name a few.My roommate from college (Larry Moses, Trp) got me the opportunity to play with the Thad Jones and Mel Lewis big band. Wow. Thad used to call me Con Ed after the New York power company. Great music, again what else can you say. I also played some shows and club dates and what ever it took to keep playing. One of the shows was Makin’ Whoopee with Imogene Coca, she was hilarious; I’ll ...
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'Road Songs' Ring True on "Days Out Here"Winnipeg's Jeff Peters already has plenty of fans.

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