| | Jazzinvaders Blow CD - Import Jazzinvaders Discography of CDs
Dance friendly jazz combo featuring EDDIE ROBERTS, STEFANIA DIPIERRO, and PHIL MARTIN. Blow Music | List Price | $34.99 (You save $2.14) | | Category | Jazz Albums, Electronica CDs | | Label | Phantom | | CD Universe Part number | 7660188 | | Discs | 1 | | Release Date | Apr 15, 2008 | | Additional Info | Import |
Jazzinvaders Blow Songs | 1. | Sun in Motion |
| 2. | Day by Day |
| 3. | Perugia |
| 4. | Max Roach |
| 5. | Art Mbekie |
| 6. | Broad Minds |
| 7. | Blow! |
| 8. | CanĂ§Ă£o Pequena |
| 9. | Waltz of Glory |
| 10. | Back to the Edirne |
| 11. | What the Bleep |
| Blow Review
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Purchase Blow CD To buy, Click on price to add to cart | Ella Fitzgerald Ella In Hollywood CDs (1961) Remastered; Box Set
Blow album
$55.98 Originally released on Verve Records in 1961, ELLA IN HOLLYWOOD is a straightforward collection of 12 familiar standards mostly given very simple, pop-oriented arrangements. Songs tend to run well ...
| | Bebel Gilberto All In One CD (2009)
Blow CD music
$12.05 With ALL IN ONE, Bebel Gilberto made her home at Verve, which is not just an auspicious label for music but also the home of some of the best Brazilian records of all time--by Antonio Carlos Jobim, Astrud Gilberto (who is no relation, although she was married to Bebel's father before Bebel's birth), Stan Getz, and, of course, her father, Joao Gilberto. It's obvious Gilberto is well aware of this: the cover is reminiscent of an Astrud Gilberto album and she sings a version of "Bim Bom," which was written by her father and is known popularly for Astrud's version (what's more, it features the piano work of Brazilian royalty Dan Jobim). Still, it's clear Bebel Gilberto knows where to draw the line, and ALL IN ONE is defined more by her songs and her collaborators than the weight of Brazilian musical history that she must carry. Multi-percussionist Carlinhos Brown gets the most instrument credits (his kit bag must weigh a ton), and his string of percussion instruments brings a rich texture to every song he graces. (He also co-wrote ...
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| | Dino: The Essential Dean Martin CD (2004)
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$10.59 Nearly a decade after Dean Martin's death, the crooner's fans were finally given the definitive Dino collection. While there was already a two-disc summation of Martin's Capitol recordings, as well as several compilations of his Reprise material, the single-disc, 30-track DINO: THE ESSENTIAL DEAN MARTIN contains a generous selection of the best of his work, culling from both labels' vaults. Steubenville, Ohio's favorite son became a singing star in the 1950s, mostly by virtue of his smooth, easy charm, apparent both in his vocal style and his public image. That charm is crystallized here--the South American lilt of "Sway;" the spare, countryish ...
| | George Benson Greatest Hits Of All CD (2003) Remastered
Blow CD music
$10.19 Recorded between 1976 & 1998. Includes liner notes by Don Heckman.
Basically, this "greatest hits of all" is simply that: the highest-charting tracks in George Benson's long career -- highest-charting pop and adult contemporary tracks, that is. Benson had been on the scene over a decade before signing with Warner Bros., and many of his jukebox and R&B hits were recorded for Creed Taylor's CTI label. Some of Benson's recorded work that held those hits has been reissued in the past two years. Of the Warner material, they have gauged success by chart placement -- not sales, not radio play, not artist choice. Therefore, while the stellar tracks from Breezin', namely "This Masquerade," which charted at number one on pop and R&B in Billboard, and its follow-up, the album's title track, kick the album off along with "On Broadway" and "The Greatest Love of All." But there are many stops along the way to the present from that 1976 issue, such as Benson's singularly beautiful read of "Unchained Melody,"
The vocal superstar & jazz guitar legend's most popular hits showcased on a TV marketed single-disc compilation of timeless music! ...
| | Dan Rose Water's Rising CDs (1999)
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$12.05 Veteran electric guitarist Rose, from N.Y.C., played in a progressive jazz combo with Paul Bley in the early '70s. He has a steely, sustained, rock-like tone, much harsher that contemporaries who treat their sound with gimmicks. But he's a flat out improviser, snake quick and skilled. To inspire him further, Rose has assembled an unstoppable backing trio of pianist Peter Madsen, bassist Peter Warren, and drummer Victor Lewis, truly the cream of the crop. They ensure the music is happening no matter what the tempo, mood, or complex head, on these original compositions by Rose. There are a few easily discernible paraphrases, for instance the stark theme, with rumbling mallets on drums during a no-time oriented "Teal Blue," borrows melody from Ornette Coleman's "Lonely Woman," "Vestiges" with Warren's haunting bowed bass solo intro, is quite reminiscent of "Born to Be Blue," and the 4/4 hard bop, off-kilter melodies of "When Your Door Is Ajar" and "What Happens Is Next" spot shadow angles of Coleman or Thelonious Monk. Madsen is particularly original, with free-flowing melodicism on the tick-tock two-beat beaut "Fountains," the ultra-quick samba with guitar-piano unison on the title track, and the hip boppin' ...
| | Erin McDougald Auburn Collection CD (2004)
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$18.39 | | Alva Noto Transform CD (2001) Remastered
Blow CD music
$15.39 Many forward-looking electronica producers adopted the glitch sound in the early 2000s, incorporating the aesthetic subtly into traditional forms of techno and house. Few, however, devoted themselves to the style as wholeheartedly as Carsten Nicolai, whose second LP as Alva.Noto, Transform, came as somewhat of a realization of the style's ambient side in late 2001. It's noteworthy to view Transform as a realization, because Nicolai had toyed with various approaches to glitch long before this album hit the streets. None of the sounds and methods one hears on Transform are new, yet rarely before -- arguably never before -- have they been compiled and synthesized in such a seamless manner. Nicolai takes every sound conceivable within the realm of ambient glitch's expansive palette and arranges these sounds in different manners throughout Transform. The tracks have no names and few distinctive qualities; in fact, rarely can one even notice when one track succeeds another. There are moments when the listener hears nothing but lingering buzzing tones; there are other moments when barely audible clicks form Morse code-like rhythms; there are also moments when these almost undetectable sounds form a hypnotic chorus of audible silence. Granted, this all sounds admittedly enigmatic -- lingering buzzing, barely audible rhythms, undetectable sounds, audible silence -- yet this is precisely what's most exciting about this album. No, it can't be danced to. In fact, listeners really can't even tap their feet to it since there are no, by definition, beats. But there are rhythms here, even if they don't draw attention to themselves, and the sound is dense, even if one can barely hear it. And even if the volume is turned up to normally obscene levels, listeners still can't grasp this music. It's so transparent and so quiet that they can only sit back and surrender to its subtle effect. They may struggle to hear it, but they know it's there and can feel its inhuman aura -- that's about the best they can do, and quite frankly, that's what they're suppose to do. Whether listeners find such an aura appealing is another question. What's certain, though, is that here ...
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