| | Evelyn Turrentine-Agee Call Jesus Soundtrack CD (1 Customer Review)
Live Recording
Photographer: Michael Gomez .
Personnel: Evelyn Turrentine-Agee (vocals); Bishop Neal Roberson (vocals); Chalmers "Spanky" Alford (guitar); Doug Moffet (alto saxophone, baritone saxophone); Vinnie Ciesielski (trumpet); Roy Agee (trombone); Volley Craig (bass instrument); LaTonya Smith, Errol Dixon, Miranda C. Ward, Harold Turrentine (background vocals); Agape Jerry (guitar); Eddie Brown (piano); Calvin Rodgers (drums).
Recording information: Miralex Joint, Kansas City, MO.
Call Jesus Soundtrack Music Evelyn Turrentine-Agee Call Jesus Soundtrack Songs Call Jesus Soundtrack Music Review Purchase Music From Call Jesus CD To buy, Click on price to add to cart | Gladiator (2000) CD (2000) Original Soundtrack
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GLADIATOR was nominated for the 2001 Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media.
The combination of the prolific Hans Zimmer and Lisa Gerrard is an ingenious one. He's set lush musical backgrounds to everything from comedies (I'LL DO ANYTHING), to period pieces (DRIVING ...
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This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
The definitive rock opera, TOMMY liberated the Who from a "singles band" stigma, marking them as a substantial artistic force. Composer Pete Townshend had flirted with the conceptual format on two previous releases, but here his vision is spread over two ambitious records that play to the Who's main strengths. Anthems such as the raucous "Pinball Wizard" and the surprisingly serene "I'm Free" ...
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RENT was nominated for a 1997 Grammy Award for Best Musical Show Album.
This 43-track set includes in its entirety the unlikely opera about AIDS, drugs, squatters, down-and-out artists and (of course) love that won the 1996 Pulitzer Prize for drama and went on to knock Broadway off its feet at a time when the Broadway musical was widely assumed to be dead. Like the climactic love song that seems to magically rescue one of the main characters from near-death, RENT itself may well be responsible for bringing Broadway back to life.
RENT was written and composed by Jonathan Larson, who died suddenly hours after the final dress rehearsal. Larson's music is almost seamless in the way it quilts together show-tune tradition with current pop styles, reflecting the story's blend of a classical plot (it's loosely based on Puccini's opera "La Boheme") with a thoroughly modern setting. A tango, in which a man and woman compare notes on a lover they have shared, fits comfortably between an electronic ...
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The 2003 remastered edition includes a previously unreleased score.
John Barry's best score for any James Bond movie -- including the best song ("We Have All the Time in the World") ever written for any movie in the series -- is reasonably well represented on this CD. Barry had already begun adding more diverse and complex orchestral pieces to his underscoring and greater lyricism to his songs with the preceding movie, You Only Live Twice, and he continued the process with On Her Majesty's Secret Service. The serious nature of its plot, however, and the unique mood of the movie, dictated that almost an entirely new score be devised: the brassy "007 Theme," which had appeared in three prior films, was absent, and the ...
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Lyricist/librettist Lynn Ahrens and composer Stephen Flaherty's musical Dessa Rose is in some ways reminiscent of their stage adaptation of Ragtime in that it tells interweaving stories of black and white Americans and their confrontation with racism. Nominally speaking, Ragtime was the larger scale work, encompassing a huge cast, playing in a Broadway theater, and also taking on the immigrant experience in America. But Dessa Rose, which opened at the off-Broadway Mitzi E. Newhouse Theater in New York's Lincoln Center on March 21, 2005, and ran through May 29, is described by annotator Ira Weitzman as a "folk opera," the term originally coined for Porgy and Bess, and this two-hour, full-length recording of the show, dialogue included, reveals that its artistic goals are at least as lofty as those of Ragtime. In her 1986 novel, Sherley Anne Williams ...
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