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Rosenthal, Ted - King & I CD Cover Art
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Ted Rosenthal King & I CD - Import

 Ted Rosenthal Discography of CDs

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 Our Price: $34.15  CD
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Japanese limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.
King & I Music


Detailed King & I Music Information



List Price $36.99 (You save $2.84)
Category Rock/Pop Albums, Jazz CDs, Japanese LP Sleeve
CD Universe Part number 7364978
Catalog number 35205
Discs 1
Release Date Jan 13, 2008
Additional Info Japan; 24 Bit Remastered; Mini LP Sleeve
Ted Rosenthal King & I Songs


Ted Rosenthal King & I Album Track Listing



1.My Lord And Master
2.Shall We Dance?
3.I Have Dreamed
4.I Whistle A Happy Tune
5.We Kiss In A Shadow
6.Getting To Know You
7.Something Wonderful
8.March Of The Siamese Children
9.Hello, Young Lovers
King & I Music


King & I Other Versions



King & I Review


King & I Music Reviews



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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, ...
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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 ...
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Madeleine Peyroux's unique blend of jazz and pop was first unveiled on 1996's DREAMLAND, where she sounded like a postmodern heir to the smoky-voiced tradition that ran down from Billie Holiday through the likes of Karen Dalton and Judy Roderick. Though Peyroux made a splash with her debut, she quickly dropped out of the music scene, not to appear again until eight years later with the long-overdue follow-up, CARELESS LOVE. Here, Peyroux tackles material from a variety of sources; some songs were written expressly for her by such contemporary songsmiths as Jesse Harris (who penned Norah Jones's breakthrough hit, "Don't Know Why"). Perhaps most striking, though, are her interpretations of older compositions. Peyroux redefines the darkly yearning Leonard Cohen tune "Dance Me to ...
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The crown jewel of the epic Evans/Davis triptych that began with MILES AHEAD and PORGY AND BESS, SKETCHES OF SPAIN is as emotionally compelling as any performance in the trumpeter's remarkable body of works. Combining as it does the emotional gravity of two cultures--the deep song of flamenco music and the rich lament of the blues--SKETCHES OF SPAIN is a musical hybrid of enormous power and beauty. Gil Evans' immense canvas of orchestral colors inspires some of Davis' most deeply felt solo flights. He paints vast vistas of velvety, shimmering night sounds, and through it all runs the mountainous backbone of Spain's native rhythms and chants. The centerpiece of SKETCHES OF SPAIN is the Evans/Davis treatment of the second movement of Rodrigo's "Concierto De Aranjuez." Evans' charts engage Davis in a shifting, insistent dialogue, italicizing the trumpeter's subtle variations and timbral ecstasies with magnificent orchestral flourishes. The surreal patina of three flutes and harp, high muted trumpets and woodwinds, and subterranean trombones, French horns and tuba ...
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With this album, Herb Alpert and the Tijuana Brass settle into their hitmaking groove, the once strikingly eclectic elements of Dixieland, pop, rock, and mariachi becoming more smoothly integrated within Alpert's infectious "Ameriachi" blend. They sound more like a band now; along with Alpert's now-indelibly stamped trumpet sound, we can recognize jazzman John Pisano's distinctive rhythm guitar, Lou Pagani's piano, the droll Bob Edmondson's dulcet trombone, etc. Pisano, who debuted as a composer on Going Places, comes up with a memorably whistleable song "So What's New," and the rest of Alpert's songwriting brigade (Ervan Coleman, Julius Wechter and Sol Lake) chime in with some lively, catchy tunes. There is also an assortment of pop, film, and Broadway standards of the day, all impeccably arranged by Alpert, whose production instincts grew sharper and surer with every release. Result: another ...
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Art Farmer Quintet
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Digitally remastered by Phil De Lancie (1992, Fantasy Studios, Berkeley, California). This title is one of two excellent recordings trumpeter Art Farmer made with Gigi Gryce in the mid-'50s. Gryce not only contributes some fine alto solos but also provides the majority of the material and arrangements. Standouts like his cool, mid-tempo swinger "Satellite" and the Latin-tinged "Sans Souci" provide excellent solo vehicles for both Farmer and pianist Duke Jordan. In fact, the predominantly cool material seems to fit everybody quite well, as evidenced by the stellar ensemble playing on all the tracks (special mention goes to drummer Philly Joe Jones and bassist Addison Farmer [Art's brother] for their particularly empathetic and consistent rhythmic support). Up-tempo cuts like Jordan's "Forecast" and Gryce's "Nica's Tempo" round out a set that qualifies as one of Farmer's best. A must for every jazz collection. ~ Stephen Cook During 1955, trumpeter Art Farmer had a short-lived quintet with altoist Gigi Gryce, but because neither of the co-leaders were big names at the time, the ...
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