![Sentimental [Import]](http://images.amazon.com/images/P/B0007TX8VW.01.TZZZZZZZ.jpg)
| 1. Something New |
| 2. Play Me Again |
| 3. My Love |
| 4. Don't Shake Me Up |
| 5. Everyday Is New |
| 6. Love Is Just a Word |
| 7. Don't Let the Cold |
| 8. Forever |
| 9. Got to Give You Up |
| 10. Heart in Winter |
Editorial Reviews
Product Description
2005 Album from the Singer/Songwriter who Rose to Fame with Hits Like "Twist in My Sobriety". It is her Sixth Studio Album and her First Record Since 1998’s "Cappuccino Songs". The Album features 10 Songs and Unique Vocal Collaborations with Nick Lowe (Who Sings on Two of the Tracks). Articulate and Engagingly Self Deprecating, Tanita’s Aims for this Album were Very Simple: "i Wanted to Get Back to Things I Had Forgotten, Fundamental Ideas About Keeping Things Simple and Interesting and Looking at How the Voice Sits with Other Instruments", Says Tanita, "ideas I Felt I Lost but which Maybe I Just Knew Naturally When I was Seventeen."
Having caught five sets of Bobby's band over the last year from locales as distant as Vancouver to New York I was fortunate to have gained an appreciation for what was to become the CD, For Sentimental Reasons. Little did I know when I caught Bobby at Dizzy's Club Coca Cola last November that he and the band were recording the new CD. I think one of the sets that stands out the most for me was a Saturday night at the Blue Note during his CD release party this past June. What a treat.
The song, For Sentimental Reasons, is just that....sentimental. Ode to Angela is a breezy workout by the band, a great driving song. Listen to how Renee fills in the spaces around Bobby's playing on Embraceable You, Dwayne and Al provide a tasty backdrop. Along Came Betty steps out from the ballads, it is a pleasant groove that builds on the solos of Bobby and Renee. Somewhere is reminiscent of Manhattan Moods, that great duo record with McCoy Tyner. Who can help but hum the tune to Jitter Bug Waltz, it is contageous. Renee's solo builds and builds until she becomes the perfect foil for Bobby's solo and the two climb to soaring heights together, ultimately to leave us with that melody. I have always liked Al Foster's playing, especially on Skyline, Bobby's last solo effort, but his cymbal work live on Jitterbug Waltz is outstanding. What Are You Doing The Rest of Your Life - the notes land like dew drops - it's as if the song were written for Bobby. Don't Blame Me, like track four, steps away from the ballads and has a great walking bass line. Spring is Here, beautiful. I Wish I Knew makes me wish Bobby would do a samba/bossa type CD, great tempo and cymbal embellishments from Al. Finally, I'll Be Seeing You....Bobby playing with four malletts....exquisite.
Yes I am a fan of Bobby's, his music, his band and particularily, For Sentimental Reasons. His solo releases are like fine wine...better with age and to be savoured.
Thus vibes maestro Bobby Hutcherson, perfectly summing up the considerable appeal of his latest album, on which he's joined by a subtly responsive rhythm section pianist Renee Rosnes, bassist Dwayne Burno and drummer Al Foster on what the vibesman himself describes as 'a whole album of ballads and love songs'.
Ever since he appeared on the scene in the 1960s, the music of Bobby Hutcherson - "master vibes player" - has come in two parts. One is tough and abstract, the other, well, softer. It's still like that, and this record certainly catches Hutcherson No 2, the "romantic".
Essentially, it's a ballad session, though occasionally jogging into medium tempo for a piece such as Fats Waller's Jitterbug Waltz.
The mood is helped considerably by the rhapsodic piano of Renee Rosnes.
Even in this melting mood, Hutcherson's sound still has his trademark, slightly extra-terrestrial, feel, with a note sometimes left to hang in the air like a hovering UFO.
But he has seldom seemed closer to his predecessor among great vibes virtuosi, the elegant Milt Jackson of the MJQ.
Culminating in a gorgeous, softly glowing solo rendition of "I'll Be Seeing You", the album showcases the limpid elegance and delicately burnished power of Hutcherson on achingly tender material such as "Embraceable You" and "(I Love You) For Sentimental Reasons", but also includes spritelier fare such as a sparkling mid-tempo visit to Harold Land's "Ode to Angela" and an arresting version of Fats Waller's "Jitterbug Waltz".
The focus throughout is mainly on Hutcherson's understated power and apparently effortless grace, but Rosnes also shines; as the great man says: "Renee knows so well how to keep things open and flowing just by all the varied harmonic suggestions and implications of what she plays"...
Another classy, intensely musicianly album from Kind of Blue.
(Note: Elektra hasn't put the 'trilogy' together in one package yet, but I'm reviewing as if they have.)
Poor Nelson Riddle - had to DIE to finally get his picture on the album art!
He's the main artist working the magic here, and he does a lovely job updating his sound for the seductive 80's - especially that glistening electric guitar!
Ronstadt was SUCH a major radio menace with all her soulless pop hits, it's a shocker she got the courage to take on the Sinatra songbook - and miracle she does as well as she does.
No, she doesn't have Sinatra's vulnerability, dignity or pathos (who does?), she's got her technical precision, though - and that's a fine enough basis for the endeavor.
Ronstadt is weakest on the big, bad suicide songs ("Goodbye," "'Round Midnight," etc.) but comes off charming as all get-out on the fluffier ditties ("Falling In Love Again," "For Sentimental Reasons," etc.). Swoon.
Consider this cordial music, dreamy music, lingerie music. It's credible, even delicious at times.
Great rocking record. Enjoy.
On vacation this past July, I heard SENTIMENTAL HYGIENE in a store and bought a copy; it having reminded me of my youth and those daze of "Liquid Sedation."
I've never listend to ZEVON for the music. He's not terrifically "musical" and his sandpaper-edged vocals lack range. It's Zevon for the lyrics; for his wry take on life. He was Rock's Grim Reaper on Laughing Gas! Zevon's writing didn't just put angst on the table, it presented it as the entree, but usually with rich jocularity sauce ladled over the top for seasoning. A 12 ounce glass of arsenic. . . .with a "twist" of humor (or perhaps that ought to be, "with a twisted humor.") He always gave us the WAR-IN-ZEVON : that interior knockdown, drag-out struggle of a slightly warped man in a totally insane world.
Overall, this is the warped boy's hardest rocking disc. After a much publicized stint in rehab for drug and alcohol abuse, this was a "comeback" album designed to show that he had indeed gotten up off the canvas swinging! For me, the standout tracks are :
BOOM BOOM MANCINI -- A thunderous anthem to the lion-hearted, Youngstown, Ohio pugilist. It is driven by an appropriately over-amped, bruising guitar hook and uppercut! I can still remember the car radio announcement that informed me of Mancini's 14 round loss to Alexis Arguello in 1981. I bawled for the brawler. But then I was "LIQUIDATED" at the time - some evil man at Dodger Stadium having sold me 2 beers an inning for 9 innings. (Don't hate me; I wasn't driving!)
THE WAR-IN-ZEVON : "Some have the speed and the right combinations; if you can't take the punches, it don't mean a thing."
RECONSIDER ME -- A plaintive and moving ballad sung straight on the rocks....no "twist."
THE WAR-IN-ZEVON : "If it's still the past that makes you doubt, darlin' that was then and this is now. Reconsider me."
BAD KARMA -- A very funny song about picking up the gauntlet thrown down by life and coming to grips with disillusionment.
THE WAR-IN-ZEVON : "Was it something I did in another life? I try and try but nothing comes out right for me. Bad karma, killing me by degrees."
EVEN A DOG CAN SHAKE HANDS -- Ya gotta love the enthusiastic energy of this one. It starts out with "YEAH!! WOO-OOO!! HEEEEEY!!" Good stuffs about the tie-wearing parasites in the music biz. Now, if you've lived in L.A., you know that the San Fernando Valley is where you take up residence just prior to limping out of town with yer head down and yer tail tucked between yer legs. So it's pretty funny when our singer is warned to play the game properly or he'll "end up dead, living in The Valley someday." As though the two are synonymous.
THE WAR-IN-ZEVON : Abandon all hope and don't rock the boat, and we'll all make a few hundred grand. Everybody's trying to be a friend of mine. Even a dog can shake hands."
THE HEARTACHE -- Another ballad on the rocks, no "twist." The subject is unrequited love, which in common parlance means, "unsuccessful open-heart surgery." The Heartache contains one of the greatest lines in song : "THERE'S A SADNESS IN THE HEART OF THINGS." This one line has haunted me ever since I first heard it in 1987. In all these years, not a month has passed that I didn't find myself silently reciting it in response to some unfortunate situation, or while merely contemplating the setting of the sun. If you don't get it, then consider yourself lucky and rejoice in your insensitivity.
THE WAR-IN-ZEVON : "There's a sadness in the heart of things," of course! Why, it's only the most poignant moment on the entire album!
I rarely award 5-Stars, but I could have given SENTIMENTAL HYGIENE 4-Stars if the songs that I don't care for, I felt merely neutral about. But I actively dislike DETOX MANSION, Zevon's noisy, irreverent attempt to make light of his drug and alcohol rehab. To plagiarize one of his earlier songs : "It ain't that funny at all." The attempt at humor sounds forced. I once wrote a poem called, 'The League Of Soul Crusaders' which included the lines, "THESE BOYS DON'T CRY WHEN THEY SHOULD / AND LAUGH / WHEN THEY SHOULDN'T." Detox Mansion is a prime example.
One of my pet peeves in music is when lifelong Rock Stars with Champagne and Brie on their breath sing about the tough life of 'the working man.' Boys, give it a rest! Don't let your conscience convince you that we need to hear your understanding. If you want to sing to us about how difficult it is to have 13 groupies a night, but only 2 hotel suites, or how the bad roadie forgot to remove the brown M&Ms from the backstage candy bowl, or how room service is too slow at the Hilton, fine. But don't be telling us about punching a time clock with the bossman looking over your shoulder! Don't gripe about the 8 to 5 'blue collar' life because you don't know it like we do! (Are you listening Paul Simon, Jackson Browne & Bruce Springsteen?) Zevon commits this cardinal Rock Music sin in the unconvincing and unmusical THE FACTORY. Aside from all that, the first four lines are poorly conceived : "I was born in '63 / Got a little job in the factory / I don't know much about Kennedy / I was too busy working in the factory." (Give that some real thought.)
Overall, SENTIMENTAL HYGIENE is a very solid effort. His self-titled, WARREN ZEVON, however, remains his essential release, which includes his real masterpiece, DESPERADOS UNDER THE EAVES, and CARMELITA with its reference to the infamous "Pioneer Chicken Stand." Which, incidentally, once stood on the Southeast corner at Alvarado and Montana Streets in L.A., a few blocks north of Echo Park. The spot is now just the upper corner of the Vons Supermarket parking lot. But if any of you Zevon diehards ever make the pilgrimage to this 'legendary' location, don't tell anyone that you heard from Stephen T.; I hear they're still hunting me.
He starts out with the strong steady kick of the title track, proclaiming that he 'needs some Sentimental Hygiene' and musing that 'everybody's at war these days'. A strong tune (Neil Young plays lead guitar) but nothing amazing for Zevon. 7/10 stars.
'Boom-Boom Mancini', the second song, is possibly the heaviest rock song he ever wrote and paints a dark (and true) storyscape of the famous boxer (who apparently, after hearing this song, became good friends with Zevon). One of his best, darkest songs ever. 10/10.
'The Factory', a Springsteen-ish number with BobDylan on harmonica, is catchy (try to not like him shout 'yes, sir, no, sir' as loud as he can during the chorus). 7/10.
'Trouble Waiting To Happen', written with J.D Souther, is plainly about his addiction. 'The mailman brought me the Rolling Stone. It said I was living at home alone. I read things I didn't know I'd done. It sounded like a lot of fun.' Depressed but witty. 9/10.
'Reconsider Me' is one of the few ballads on the albums and also one of the best he'd ever written. Reportedly, when asked if he had ever written songs personal enough for him to consider not using them, he pointed at once to this song. It's easy to see why, as he begs someone, perhaps everyone, to reconsider him and promises that he'll 'never make them sad again'. He seems to be speaking of his addiction again, especially when he says 'if it's the past that make you doubt, darling, that was then and this is now'. Excellent. One of his best. 10/10.
'Detox Mansion', written with long-time callaborater Jorge Calderon, is a joky look at how his alchohal detox. Funny, with a bitter side hiding under the numorous jokes and puns. 10/10.
'Bad Karma' finds him blaming the fates for his mifortune. Michael Stipe, the lead singer of R.E.M., joins his bandmates to sing the harmony on this and the music includes a sitar. Zevon wails that he can't get away from his fate and wonders what he did to deserve it. Dark. 8/10.
'Even A Dog Can Shake Hands' is the only song on the album that Warren Zevon actually wrote with R.E.M. It's one of his quirkiest rockers, filled with witty indictments of the way Hollywood and the music business work. Funny. 9/10.
'The Heartache' finds Warren Zevon joined by Jennifer Warnes to sing a sad tale of loving someone who does not share your affection. 9/10.
'Leave My Monkey Alone' is a dark, funky tale about Kenya and the Mau Mau inscurrectionists. It features Flea (of the Red Hot Chili Peppers) on bass and was produces and arranged by George Clinton. 10/10.
The bonus tracks are hardly essential or great new additions. 'Nocturne' is awful, a mess of random synthasizer sounds that sounds as thought he was fooling randomly around on his keyboard. The Spanish version of 'Leave My Monkey Alone' is interesting and features some slightly different music and more jungle noises.
All in all, the best from a man who seemed unable to produce anything truly bad. It should be the first in your Warren Zevon collection, along with 'Excitable Boy'.
Song Titles:
1. Getting Sentimental Over You (Bassman/Washington)
2. Begin The Beguine (Cole Porter)
3. Moonlight Serenade (Miller/Parish)
4. Chattanooga Choo Choo (Gordon/Warren)
5. Sentimental Journey (Brown/Green/Homer)
6. I'll Never Smile Again (Lowe)
7. A String Of Pearls (Gray)
8. It's Been A Long, Long Time (Cahn/Styne)
9. At Last (Gordon/Warren)
10. In The Mood (Garland)
11. You'll Never Know (Gordon/Warren)
12. I'll Be Seeing You (Fain/Kahal)
Don Wolff of KMOX Radio ("The Voice of St. Louis") is considered one of the foremost Jazz aficionados in the St. Louis area, plays a mixture of fast and mellow tempo Jazz that keeps his listeners tuned in for hours ... Known as "Mr. I Love Jazz" after his theme song, "I Love Jazz" by Louie Armstrong, Don Wolff explores the origins of Traditional Jazz, Swing and Ballads, Dixieland, and the Big Bands during his show from 9:00 pm to 1:00 am ... Don's show includes interviews with national and local musicians, features on Jazz events in and around St. Louis and listener requests ... many interviews with Beegie Adair over the years, they can be heard in 40 states plus, as they all feel the same way we do about her music --- we love you Beegie!
This album plays like fine wine and flows very easily on the ears ... once again Jack Jezzro (producer) and Greg Howard (execuive producer) comes through with a must have for all music lovers and fans of Beegie --- Arrangements take on many moods with the same sensitivity and tender loving care as her previous albums --- This is why I'm once again giving Beegie Adair another five [5] star review --- she's a precious commodity that gives many collectors joy in the world of music --- Classic Standards, keeps you coming back for more in the style of Beegie Adair.
Total Time: 44 mins on 12 Tracks ~ Village Square 3055 ~ (1/10/2006)
Regina Carter has a beautiful tone, but I feel she is not really a swinger (I guess more modern forms of jazz are more her domain). The accordeonist Goldstein also weighs things down a bit, but this still doesn't mean you shouldn't buy this CD, particularly if you're not a die-hard fan of really swinging violinists (ellegant Stephane Grappelli, rugged Ray Nance, joyous Svend Assmusen and others).
And, to ensure at least 4 stars for this album, there is the versatile Cuban Paquito D'Rivera, who at times really shows adequate swinging passion on his clarinet and finally, but by no means unsignificantly, there are two tracks with Dee Dee Bridgewater who can really cook a swinging storm with her voice and push the other musicians to their limits and beyond ...
All in all, not a bad CD, falling somewhere between nostalgia and swing.
This recording rates right up there with Rhythms of the Heart and Paganini: After a Dream.
Recommended.
The album begins with The more I see you. Originally an American hit for Dick Haymes, Chris Montez had an international hit with his cover in the sixties. I remember you was originally a top ten hit for Jimmy Dorsey but Frank Ifield had a huge sixties hit with it around the world, going to the very top of the UK charts. At last and Serenade in blue were popularised by Glenn Miller. Among the other songs here, you can listen to covers of Come to baby do (another song Doris originally recorded with Les Brown), I'll never smile again (Tommy Dorsey), I'm beginning to see the light (Harry James), It could happen to you (Jo Stafford) and It's been a long long time, which topped the 1945 charts in America via two different versions (Bing Crosby, Harry James).
The second album on this twofer, Latin for lovers, recorded in 1963, features a mix of standards and songs of Latin origin, all given a gentle bossa nova rhythm. On Be mine tonight, Doris actually sings a verse in Spanish - the only time she ever did that. Of the standards, Fly me to the moon and Our day will come are the best known. One of the Latin songs, Perhaps perhaps perhaps (a translation of Quizas quizas quizas) became popular in the UK as a consequence of its use in a TV commercial. This is an excellent album that sets its own mood.
Doris could not compete with the Beatles for sales, although she continued to record albums of the highest quality - and they have stood the test of time.
In the UK, these two albums were issued on separate twofers - Sentimental journey was coupled with What every girl should know, while Latin for lovers was coupled with Love him.
Personally I find this music a masterpiece. Not because of all the obvious skill displayed from composer and performers alike. Nor because (as most agree) the orchestration is perfect.
What I think the core of this artistic achievement is John Adams ability capture the Zeitgeist of 1999. It is as if the optimism, all the hype and drive of the 1990s found its way into his score. This is very much music for a certain place at a certain point in history.
Adams also turns this upside down when melancholy and irony takes over in the last movement. There is a ambivalence at play not heard in many film scores (nor in most music at all).
The analogy with Mahler is obvious - a classical composers takes the simple and perhaps sentimental pop idiom then turns it into monument of his time.
John Adams is - I think - the better composer, but the fate of his music (and its critics) will be very similar indeed.
Unfortunately a lot of his music-and this cd is included-is to me just flash technique.Flash,showy and yes-impressive orchestral writing.BUT there seems to be no real substance here.The first and third movement start very nicely indeed.But as other reviewers have said the music quickly loses direction and descends into more complex showy(percussion driven) music as if he is trying to show off his technique.It lacks any real depth.It reminds me of much current film music that is very brilliant highly skilled complex orchestral writing but with not much real musical worth.That is forgiveable because it is written to enhance action on screen.But this ain't no great symphony.His Chamber Symphony is also highly praised but again it's all flash technique to me and not much else.Fast Ride,Loopalooza,Grand Pianola,Century Rolls all to me are brilliant technically flash pieces BUT with no real musical core.
Danielpour suffers from this shallowness too-he is again a brilliantly skilled guy.
There is a relentless tediousness to these movements-almost as if he is scared of rests!
*********
Los Angeles Philharmonic Music Director Esa-Pekka Salonen is conducting tonight, and he trots onstage displaying the "boyish good looks" and "hip wardrobe" that are inevitably mentioned whenever you read about him. The first half of the program is Naive and Sentimental Music by John Adams, which I am particularly looking forward to. I was obsessed with musical Minimalism during my formative geeky teenage years, especially the Holy Trinity of composers Philip Glass, Steve Reich, and John Adams. I wore out my LPs of "needle stuck in the groove" Minimalist classics such as Glass' Einstein on the Beach and The Photographer, Reich's Music for 18 Musicians and Octet, and Adams' Harmonium and Shaker Loops. I've also continued to listen to the newer music by all of these composers (with varying degrees of disappointment) here in the "laser beam stuck in the aluminum" CD era. John Adams has certainly made out well for himself in the "establishment" orchestra and opera world over the years, becoming perhaps the most performed and applauded contemporary composer out there right now. (Interestingly, though, his "official" website is awful compared to Phil's and Steve's...)
A massive orchestra is assembled on the stage for the nearly hour-long Naive and Sentimental Music, including a rogue's gallery of percussionists playing such exotic instruments as almglocken, high anvil, Chinese gongs, "ranch" triangles, and sleigh bells. The usual full complement of brass, strings, and winds are also joined by two harps, piano, celeste, guitar, and -- as if Adams couldn't get all the sounds he wanted from the 100+ other instruments on stage -- a Kurzweil synthesizer.
There's something I've noticed listening to quite a few newly composed orchestra works over the years: beware of huge percussion sections -- more often than not, it turns out the composer is trying to compensate for a lack of melodic and harmonic interest by throwing in as many gadgets, toys, and strange sounds as possible to keep things "interesting." Unfortunately, Naive and Sentimental Music confirms this observation.
The first movement begins with the awkwardly amplified guitarist (who is actually one of the CSO's string bass players) strumming chords rhythmically and accompanied by flutes and strings attempting to establish a very unmemorable melodic line. More and more instruments join the mix playing what are probably various permutations of that feeble melody, those percussionists keep busy back there running back and forth between different instruments, and Esa-Pekka tries to hold it all together with curious but entertaining arm gestures. You get the idea that this all sounded cool when Mr. Adams pressed play on his expensive MIDI music software set-up, but that real human beings are being asked to do some pretty strange inhuman things and that there are probably more time signatures and polyrhythms going on here than anybody should ever have to keep track of. It keeps building and building, yet just sitting there making lots of noise and not really going anywhere... and then it's over.
Actually we've only just begun... now it's time for the second movement, "Mother of the Man," which we learn from Mr. Adams' (really really long) program notes is a "gloss on Busoni's Berceuse elegiaque." That poor bassist-turned-guitarist is front and center again here, strangling all of his notes. Bowed vibraphone is featured prominently, setting an ethereal mood and promting everyone to nudge their companion and point at the stage -- "Look at that... they're playing the vibes with violin bows... isn't that cool?" Things meander along pleasantly here, occasionally becoming dissonant but mostly floating in an almost New Age-y bliss. Fellow audience members are nodding off in droves, and frankly I consider joining them a few times... The low brass chords concluding this movement are particularly lovely, but frankly you can enjoy this same kind of mood in about half the time by simply listening to Busoni's Berceuse elegiaque instead.
As is customary at the end of every slow, quiet movement performed at Orchestra Hall, the audience coughs, hacks, shuffles, and converse amongst themselves in the most obvious way possible. It would almost be funny if it weren't so embarrasing... do the audiences do this in L.A. too, I wonder? And what about Finland? Esa-Pekka offered no clues...
At last we arrive at the final movement, "Chain to the Rhythm" which lives up to the probably unintended masochistic implications of its name. This is a real "garbage pizza" of a loud and clattery mess where Adams empties out everything in his bag of tricks including repeated clarinet eighth-notes fading in and out ripped right from the pages of Reich's Music for 18 Musicians. The percussionists are running around beating the sh*t out of everything in sight, brass players and blatting out chords all over the place, the poor string players are fiddling around with endless ostinatos, and Mr. Salonen is doing a modern dance worthy of Martha Graham. For the first time that I could see, the Kurzweil synthesizer lady finally does something for a couple minutes, but even her amplified instrument can't be heard above all the clutter. The guitarist looks happy to be sitting this one out, and after thousands of notes have been hurled at us for no apparent reason, the whole thing suddenly stops. Several people leap to their feet shouting "Bravos" and whistling so loud you'd think the Bears had just made it to the next round of the NFL playoffs, while the rest of us clap politely and can hardly wait to get a cocktail during intermission to soothe our frayed nerves and throbbing eardrums.
His recent "Naive and Sentimental Music" is, unfortunately, no exception to this trend. While everyone else raves about this new work, this piece feels overblown and meandering. Being one for really giving it all I can, it seems that this piece will not do it for me, and this is after hearing it performed live and having listened to the CD at least 15 times.
Somehow, it seems I am one of an extremely small number of listeners (perhaps the only one) who does not enjoy this work, unike the rest of the current concert audience. I have had a similar experience with "On The Transmigration of Souls".
Nonetheless, Adams still has an exquisite command of the orchestral palette, and his music exudes the energy and atmosphere of a true master able to unfold a musical intention with conviction. Where his intention takes this listener is not anywhere very intriguing or moving.
I am still searching in his new work for the journey his earlier work is still able to take me on.
2005 Album from the Singer/Songwriter who Rose to Fame with Hits Like "Twist in My Sobriety". It is her Sixth Studio Album and her First Record Since 1998’s "Cappuccino Songs". The Album features 10 Songs and Unique Vocal Collaborations with Nick Lowe (Who Sings on Two of the Tracks). Articulate and Engagingly Self Deprecating, Tanita’s Aims for this Album were Very Simple: "i Wanted to Get Back to Things I Had Forgotten, Fundamental Ideas About Keeping Things Simple and Interesting and Looking at How the Voice Sits with Other Instruments", Says Tanita, "ideas I Felt I Lost but which Maybe I Just Knew Naturally When I was Seventeen."
Sentimental,Tanita Tikaram,Naive China,England,Germany,Pop,Rock,Rock/Pop,Singer/Songwriter
Sentimental [Import]
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For Sentimental Reasons
Bobby Hutcherson Manufacturer: Kind of Blue ProductGroup: Music Binding: Audio CD  Bebop General
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ASIN: B000P7V4CG Release Date: 2007-06-19 |
Tracks:
- (I Love You) For Sentimental Reasons
- Ode To Angela
- Embraceable You
- Along Came Betty
- Somewhere
- Jitterbug Waltz
- What Are You Doing the Rest Of Your Life
- Don't Blame Me
- Spring Is Here
- I Wish I Knew
- I'll Be Seeing You
Amazon.com
Vibraphonist Bobby Hutcherson, who successfully translated John Coltrane's "sheets of sound" approach to the vibes, became the acknowledged master of that instrument when Milt Jackson died in 1999. A veteran of many historic Blue Note dates, a bit player in the movie Round Midnight, and founding member of the SF Jazz Collective, Hutcherson calls this mostly ballads CD, with pianist Renee Rosnes, bassist Dwayne Burno, and drummer Al Foster, his "love record." All of his powers are evident here: his melodic fluency, vast harmonic imagination, and his incredible ability to make the vibes sing. Like Lester Young, Hutcherson knows how to melodically tell a story, as evidenced by his shimmering takes on the Latin-tinged "Ode to Angela," and "I Wish I Knew," his sumptuous piano duet on the Bernstein/Sondheim classic "Somewhere," and his heartbreaking, solo number "I'll Be Seeing You," Hopefully we'll be seeing and hearing from this genius more often. --Eugene Holley, Jr.Customer Reviews:
Like Fine Wine.............2007-07-19
Having caught five sets of Bobby's band over the last year from locales as distant as Vancouver to New York I was fortunate to have gained an appreciation for what was to become the CD, For Sentimental Reasons. Little did I know when I caught Bobby at Dizzy's Club Coca Cola last November that he and the band were recording the new CD. I think one of the sets that stands out the most for me was a Saturday night at the Blue Note during his CD release party this past June. What a treat.
The song, For Sentimental Reasons, is just that....sentimental. Ode to Angela is a breezy workout by the band, a great driving song. Listen to how Renee fills in the spaces around Bobby's playing on Embraceable You, Dwayne and Al provide a tasty backdrop. Along Came Betty steps out from the ballads, it is a pleasant groove that builds on the solos of Bobby and Renee. Somewhere is reminiscent of Manhattan Moods, that great duo record with McCoy Tyner. Who can help but hum the tune to Jitter Bug Waltz, it is contageous. Renee's solo builds and builds until she becomes the perfect foil for Bobby's solo and the two climb to soaring heights together, ultimately to leave us with that melody. I have always liked Al Foster's playing, especially on Skyline, Bobby's last solo effort, but his cymbal work live on Jitterbug Waltz is outstanding. What Are You Doing The Rest of Your Life - the notes land like dew drops - it's as if the song were written for Bobby. Don't Blame Me, like track four, steps away from the ballads and has a great walking bass line. Spring is Here, beautiful. I Wish I Knew makes me wish Bobby would do a samba/bossa type CD, great tempo and cymbal embellishments from Al. Finally, I'll Be Seeing You....Bobby playing with four malletts....exquisite.
Yes I am a fan of Bobby's, his music, his band and particularily, For Sentimental Reasons. His solo releases are like fine wine...better with age and to be savoured.
Plenty of beautiful love ballads !! .......2007-06-29
Thus vibes maestro Bobby Hutcherson, perfectly summing up the considerable appeal of his latest album, on which he's joined by a subtly responsive rhythm section pianist Renee Rosnes, bassist Dwayne Burno and drummer Al Foster on what the vibesman himself describes as 'a whole album of ballads and love songs'.
Ever since he appeared on the scene in the 1960s, the music of Bobby Hutcherson - "master vibes player" - has come in two parts. One is tough and abstract, the other, well, softer. It's still like that, and this record certainly catches Hutcherson No 2, the "romantic".
Essentially, it's a ballad session, though occasionally jogging into medium tempo for a piece such as Fats Waller's Jitterbug Waltz.
The mood is helped considerably by the rhapsodic piano of Renee Rosnes.
Even in this melting mood, Hutcherson's sound still has his trademark, slightly extra-terrestrial, feel, with a note sometimes left to hang in the air like a hovering UFO.
But he has seldom seemed closer to his predecessor among great vibes virtuosi, the elegant Milt Jackson of the MJQ.
Culminating in a gorgeous, softly glowing solo rendition of "I'll Be Seeing You", the album showcases the limpid elegance and delicately burnished power of Hutcherson on achingly tender material such as "Embraceable You" and "(I Love You) For Sentimental Reasons", but also includes spritelier fare such as a sparkling mid-tempo visit to Harold Land's "Ode to Angela" and an arresting version of Fats Waller's "Jitterbug Waltz".
The focus throughout is mainly on Hutcherson's understated power and apparently effortless grace, but Rosnes also shines; as the great man says: "Renee knows so well how to keep things open and flowing just by all the varied harmonic suggestions and implications of what she plays"...
Another classy, intensely musicianly album from Kind of Blue.
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For Sentimental Reasons
Linda Ronstadt Manufacturer: Elektra / Wea ProductGroup: Music Binding: Audio CD General
| Pop
| Styles
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ASIN: B000002H3L Release Date: 1990-10-25 |
Tracks:
- When You Wish Upon A Star
- Bewitched, Bothered & Bewildered
- You Go To My Head
- But Not For Me
- My Funny Valentine
- I Get Along Without You Very Well
- Am I Blue
- I Love You For Sentimental Reasons
- Straighten Up And Fly Right
- Little Girl Blue
- 'Round Midnight
Customer Reviews:
Ronstadt's credibility grab.......2007-03-22
(Note: Elektra hasn't put the 'trilogy' together in one package yet, but I'm reviewing as if they have.)
Poor Nelson Riddle - had to DIE to finally get his picture on the album art!
He's the main artist working the magic here, and he does a lovely job updating his sound for the seductive 80's - especially that glistening electric guitar!
Ronstadt was SUCH a major radio menace with all her soulless pop hits, it's a shocker she got the courage to take on the Sinatra songbook - and miracle she does as well as she does.
No, she doesn't have Sinatra's vulnerability, dignity or pathos (who does?), she's got her technical precision, though - and that's a fine enough basis for the endeavor.
Ronstadt is weakest on the big, bad suicide songs ("Goodbye," "'Round Midnight," etc.) but comes off charming as all get-out on the fluffier ditties ("Falling In Love Again," "For Sentimental Reasons," etc.). Swoon.
Consider this cordial music, dreamy music, lingerie music. It's credible, even delicious at times.
Romantic music.......2007-01-10
Great Sound.......2006-08-24
Great Music, Great Vocalist.......2006-07-27
This is a Ten-Star Album.......2006-06-30
Average customer rating:
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Sentimental Hygiene
Warren Zevon Manufacturer: Virgin Records Us ProductGroup: Music Binding: Audio CD General
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ASIN: B00008NGC7 Release Date: 2003-05-06 |
Tracks:
- Sentimental Hygiene
- Boom Boom Mancini
- The Factory
- Trouble Waiting To Happen
- Reconsider Me
- Detox Mansion
- Bad Karma
- Even A Dog Can Shake Hands
- The Heartache
- Leave My Monkey Alone
- Nocturne (Instrumental)
- Leave My Monkey Alone (Spanish)
Album Description
24-bit digitally remastered reissue of 1987 album with 2 bonus tracks 'Leave My Monkey Alone' (Spanish version), 'Nocturne' (instrumental). Virgin. 2003.Customer Reviews:
Sentimental for Zevon.......2007-04-29
My Favorite WZ Studio Album.......2006-11-11
Great rocking record. Enjoy.
"THERE'S A SADNESS IN THE HEART OF THINGS".......2005-02-18
On vacation this past July, I heard SENTIMENTAL HYGIENE in a store and bought a copy; it having reminded me of my youth and those daze of "Liquid Sedation."
I've never listend to ZEVON for the music. He's not terrifically "musical" and his sandpaper-edged vocals lack range. It's Zevon for the lyrics; for his wry take on life. He was Rock's Grim Reaper on Laughing Gas! Zevon's writing didn't just put angst on the table, it presented it as the entree, but usually with rich jocularity sauce ladled over the top for seasoning. A 12 ounce glass of arsenic. . . .with a "twist" of humor (or perhaps that ought to be, "with a twisted humor.") He always gave us the WAR-IN-ZEVON : that interior knockdown, drag-out struggle of a slightly warped man in a totally insane world.
Overall, this is the warped boy's hardest rocking disc. After a much publicized stint in rehab for drug and alcohol abuse, this was a "comeback" album designed to show that he had indeed gotten up off the canvas swinging! For me, the standout tracks are :
BOOM BOOM MANCINI -- A thunderous anthem to the lion-hearted, Youngstown, Ohio pugilist. It is driven by an appropriately over-amped, bruising guitar hook and uppercut! I can still remember the car radio announcement that informed me of Mancini's 14 round loss to Alexis Arguello in 1981. I bawled for the brawler. But then I was "LIQUIDATED" at the time - some evil man at Dodger Stadium having sold me 2 beers an inning for 9 innings. (Don't hate me; I wasn't driving!)
THE WAR-IN-ZEVON : "Some have the speed and the right combinations; if you can't take the punches, it don't mean a thing."
RECONSIDER ME -- A plaintive and moving ballad sung straight on the rocks....no "twist."
THE WAR-IN-ZEVON : "If it's still the past that makes you doubt, darlin' that was then and this is now. Reconsider me."
BAD KARMA -- A very funny song about picking up the gauntlet thrown down by life and coming to grips with disillusionment.
THE WAR-IN-ZEVON : "Was it something I did in another life? I try and try but nothing comes out right for me. Bad karma, killing me by degrees."
EVEN A DOG CAN SHAKE HANDS -- Ya gotta love the enthusiastic energy of this one. It starts out with "YEAH!! WOO-OOO!! HEEEEEY!!" Good stuffs about the tie-wearing parasites in the music biz. Now, if you've lived in L.A., you know that the San Fernando Valley is where you take up residence just prior to limping out of town with yer head down and yer tail tucked between yer legs. So it's pretty funny when our singer is warned to play the game properly or he'll "end up dead, living in The Valley someday." As though the two are synonymous.
THE WAR-IN-ZEVON : Abandon all hope and don't rock the boat, and we'll all make a few hundred grand. Everybody's trying to be a friend of mine. Even a dog can shake hands."
THE HEARTACHE -- Another ballad on the rocks, no "twist." The subject is unrequited love, which in common parlance means, "unsuccessful open-heart surgery." The Heartache contains one of the greatest lines in song : "THERE'S A SADNESS IN THE HEART OF THINGS." This one line has haunted me ever since I first heard it in 1987. In all these years, not a month has passed that I didn't find myself silently reciting it in response to some unfortunate situation, or while merely contemplating the setting of the sun. If you don't get it, then consider yourself lucky and rejoice in your insensitivity.
THE WAR-IN-ZEVON : "There's a sadness in the heart of things," of course! Why, it's only the most poignant moment on the entire album!
I rarely award 5-Stars, but I could have given SENTIMENTAL HYGIENE 4-Stars if the songs that I don't care for, I felt merely neutral about. But I actively dislike DETOX MANSION, Zevon's noisy, irreverent attempt to make light of his drug and alcohol rehab. To plagiarize one of his earlier songs : "It ain't that funny at all." The attempt at humor sounds forced. I once wrote a poem called, 'The League Of Soul Crusaders' which included the lines, "THESE BOYS DON'T CRY WHEN THEY SHOULD / AND LAUGH / WHEN THEY SHOULDN'T." Detox Mansion is a prime example.
One of my pet peeves in music is when lifelong Rock Stars with Champagne and Brie on their breath sing about the tough life of 'the working man.' Boys, give it a rest! Don't let your conscience convince you that we need to hear your understanding. If you want to sing to us about how difficult it is to have 13 groupies a night, but only 2 hotel suites, or how the bad roadie forgot to remove the brown M&Ms from the backstage candy bowl, or how room service is too slow at the Hilton, fine. But don't be telling us about punching a time clock with the bossman looking over your shoulder! Don't gripe about the 8 to 5 'blue collar' life because you don't know it like we do! (Are you listening Paul Simon, Jackson Browne & Bruce Springsteen?) Zevon commits this cardinal Rock Music sin in the unconvincing and unmusical THE FACTORY. Aside from all that, the first four lines are poorly conceived : "I was born in '63 / Got a little job in the factory / I don't know much about Kennedy / I was too busy working in the factory." (Give that some real thought.)
Overall, SENTIMENTAL HYGIENE is a very solid effort. His self-titled, WARREN ZEVON, however, remains his essential release, which includes his real masterpiece, DESPERADOS UNDER THE EAVES, and CARMELITA with its reference to the infamous "Pioneer Chicken Stand." Which, incidentally, once stood on the Southeast corner at Alvarado and Montana Streets in L.A., a few blocks north of Echo Park. The spot is now just the upper corner of the Vons Supermarket parking lot. But if any of you Zevon diehards ever make the pilgrimage to this 'legendary' location, don't tell anyone that you heard from Stephen T.; I hear they're still hunting me.
Warren Zevon is a Hindu Love God.......2004-05-03
The name of the game is be hit and hit back.......2004-03-15
He starts out with the strong steady kick of the title track, proclaiming that he 'needs some Sentimental Hygiene' and musing that 'everybody's at war these days'. A strong tune (Neil Young plays lead guitar) but nothing amazing for Zevon. 7/10 stars.
'Boom-Boom Mancini', the second song, is possibly the heaviest rock song he ever wrote and paints a dark (and true) storyscape of the famous boxer (who apparently, after hearing this song, became good friends with Zevon). One of his best, darkest songs ever. 10/10.
'The Factory', a Springsteen-ish number with BobDylan on harmonica, is catchy (try to not like him shout 'yes, sir, no, sir' as loud as he can during the chorus). 7/10.
'Trouble Waiting To Happen', written with J.D Souther, is plainly about his addiction. 'The mailman brought me the Rolling Stone. It said I was living at home alone. I read things I didn't know I'd done. It sounded like a lot of fun.' Depressed but witty. 9/10.
'Reconsider Me' is one of the few ballads on the albums and also one of the best he'd ever written. Reportedly, when asked if he had ever written songs personal enough for him to consider not using them, he pointed at once to this song. It's easy to see why, as he begs someone, perhaps everyone, to reconsider him and promises that he'll 'never make them sad again'. He seems to be speaking of his addiction again, especially when he says 'if it's the past that make you doubt, darling, that was then and this is now'. Excellent. One of his best. 10/10.
'Detox Mansion', written with long-time callaborater Jorge Calderon, is a joky look at how his alchohal detox. Funny, with a bitter side hiding under the numorous jokes and puns. 10/10.
'Bad Karma' finds him blaming the fates for his mifortune. Michael Stipe, the lead singer of R.E.M., joins his bandmates to sing the harmony on this and the music includes a sitar. Zevon wails that he can't get away from his fate and wonders what he did to deserve it. Dark. 8/10.
'Even A Dog Can Shake Hands' is the only song on the album that Warren Zevon actually wrote with R.E.M. It's one of his quirkiest rockers, filled with witty indictments of the way Hollywood and the music business work. Funny. 9/10.
'The Heartache' finds Warren Zevon joined by Jennifer Warnes to sing a sad tale of loving someone who does not share your affection. 9/10.
'Leave My Monkey Alone' is a dark, funky tale about Kenya and the Mau Mau inscurrectionists. It features Flea (of the Red Hot Chili Peppers) on bass and was produces and arranged by George Clinton. 10/10.
The bonus tracks are hardly essential or great new additions. 'Nocturne' is awful, a mess of random synthasizer sounds that sounds as thought he was fooling randomly around on his keyboard. The Spanish version of 'Leave My Monkey Alone' is interesting and features some slightly different music and more jungle noises.
All in all, the best from a man who seemed unable to produce anything truly bad. It should be the first in your Warren Zevon collection, along with 'Excitable Boy'.
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Sentimental Journey
Beegie Adair Manufacturer: Village Square ProductGroup: Music Binding: Audio CD Bebop General
| Bebop
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ASIN: B000E117JS Release Date: 2006-01-10 |
Tracks:
- GETTING SENTIMENTAL OVER YOU
- BEGIN THE BEGUINE
- MOONLIGHT SERENADE
- CHATTANOOGA CHOO CHOO
- SENTIMENTAL JOURNEY
- I'LL NEVER SMILE AGAIN
- A STRING OF PEALS
- IT'S BEEN A LONG, LONG TIME
- AT LAST
- IN THE MOOD
- YOU'LL NEVER KNOW
- I'LL BE SEEING YOU
Product Description
Best selling jazz pianist, Beegie Adair, salutes the Greatest Generation with jazz trio renditions of World War II classics.Customer Reviews:
Nostalgia.......2007-05-31
Beegie is Great.......2007-04-11
Wonderful!.......2006-10-16
"Beegie Adair Salutes World War II Classics (2006) ... Village Square Music".......2006-09-24
Song Titles:
1. Getting Sentimental Over You (Bassman/Washington)
2. Begin The Beguine (Cole Porter)
3. Moonlight Serenade (Miller/Parish)
4. Chattanooga Choo Choo (Gordon/Warren)
5. Sentimental Journey (Brown/Green/Homer)
6. I'll Never Smile Again (Lowe)
7. A String Of Pearls (Gray)
8. It's Been A Long, Long Time (Cahn/Styne)
9. At Last (Gordon/Warren)
10. In The Mood (Garland)
11. You'll Never Know (Gordon/Warren)
12. I'll Be Seeing You (Fain/Kahal)
Don Wolff of KMOX Radio ("The Voice of St. Louis") is considered one of the foremost Jazz aficionados in the St. Louis area, plays a mixture of fast and mellow tempo Jazz that keeps his listeners tuned in for hours ... Known as "Mr. I Love Jazz" after his theme song, "I Love Jazz" by Louie Armstrong, Don Wolff explores the origins of Traditional Jazz, Swing and Ballads, Dixieland, and the Big Bands during his show from 9:00 pm to 1:00 am ... Don's show includes interviews with national and local musicians, features on Jazz events in and around St. Louis and listener requests ... many interviews with Beegie Adair over the years, they can be heard in 40 states plus, as they all feel the same way we do about her music --- we love you Beegie!
This album plays like fine wine and flows very easily on the ears ... once again Jack Jezzro (producer) and Greg Howard (execuive producer) comes through with a must have for all music lovers and fans of Beegie --- Arrangements take on many moods with the same sensitivity and tender loving care as her previous albums --- This is why I'm once again giving Beegie Adair another five [5] star review --- she's a precious commodity that gives many collectors joy in the world of music --- Classic Standards, keeps you coming back for more in the style of Beegie Adair.
Total Time: 44 mins on 12 Tracks ~ Village Square 3055 ~ (1/10/2006)
Best-ever "cocktail piano".......2006-07-09
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I'll Be Seeing You: A Sentimental Journey
Regina Carter Manufacturer: Verve ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B000F5Z6UE Release Date: 2006-06-13 |
Tracks:
- Anitra's Dance
- Little Brown Jug
- Bei Mir Bist Du Schon
- Sentimental Journey
- You Took Advantage Of Me
- St. Louis Blues
- A-Tisket, A-Tasket
- Blue Rose
- This Can't Be Love
- How Ruth Felt
- There's A Small Hotel
- I'll Be Seeing You
Amazon.com
Violinist Regina Carter recorded I'll Be Seeing You: A Sentimental Journey following her mother's death. A tribute to her mom, it features period songs she was fond of. But far from wallowing in sentimentality, it's a spirited work of reflection featuring vocals by the irrepressible Dee Dee Bridgwater on two songs, including a freewheeling "Bei Mir Bist Du Schoen," and the charismatic Carla Cook on three tunes, including a darkly glowing "St. Louis Blues." Teaming to warmly atmospheric effect part of the time with clarinetist Paquito D'Rivera and accordionist Gil Goldstein, Carter readily avoids easy nostalgia, whether basking in the childlike delights of "A-Tisket, A-Tasket," "Little Brown Jug" and "Anitra's Dance" (the Peer Gynt classic, taken from the great '30s bandleader John Kirby's arrangement), or the more sophisticated of emotion of Duke Ellington's "Blue Rose" and "I'll Be Seeing You." Produced by John Clayton, the album doesn't rise to the heights of Freefall, Carter's 2001 duo recording with pianist Kenny Barron, but its easygoing qualities win out over the slick high conceptualism of some of her other efforts. --Lloyd SachsCustomer Reviews:
What you get is what you see.......2007-06-13
Regina Carter has a beautiful tone, but I feel she is not really a swinger (I guess more modern forms of jazz are more her domain). The accordeonist Goldstein also weighs things down a bit, but this still doesn't mean you shouldn't buy this CD, particularly if you're not a die-hard fan of really swinging violinists (ellegant Stephane Grappelli, rugged Ray Nance, joyous Svend Assmusen and others).
And, to ensure at least 4 stars for this album, there is the versatile Cuban Paquito D'Rivera, who at times really shows adequate swinging passion on his clarinet and finally, but by no means unsignificantly, there are two tracks with Dee Dee Bridgewater who can really cook a swinging storm with her voice and push the other musicians to their limits and beyond ...
All in all, not a bad CD, falling somewhere between nostalgia and swing.
Incredible! Incredible! Incredible!.......2007-03-09
An Awesome Journey.......2006-08-19
This recording rates right up there with Rhythms of the Heart and Paganini: After a Dream.
Stellar.......2006-07-25
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In a Sentimental Mood
Dr. John Manufacturer: Warner Bros / Wea ProductGroup: Music Binding: Audio CD General
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ASIN: B000002LHG Release Date: 1990-10-25 |
Tracks:
- Makin' Whoopee!
- Candy
- Accentuate The Positive
- My Buddy
- In A Sentimental Mood
- Black Night
- Don't Let The Sun Catch You Cryin'
- Love For Sale
- More Than You Know
Amazon.com
Mac Rebennack's long commercial drought finally ended in the late '80s with In a Sentimental Mood, an album of pop standards bearing almost no connection to New Orleans R&B roots. His album-opening duet with Rickie Lee Jones, "Making' Whoopee," was a big hit after it was included on the Sleepless in Seattle soundtrack, and it's easy to understand why Harry Connick Jr. fans who'd bought When Harry Met Sally were seduced by this coy come-on. Still, it's odd to hear Rebennack's scruffy baritone in service to such lush, sweeping orchestration (and to hear him sing a line like "I've got a sweet tooth for your sweet heart"). The Doctor does lend a nice bluesy feel to a Satchmo favorite, "My Buddy," and to Charles Brown's classic, "Black Night," and his version of "More Than You Know" is a small miracle of understatement. --Keith MoererCustomer Reviews:
Oh so cool.......2007-03-09
Don't mess with Mister In Between........2005-11-21
JUST WHAT THE DOCTOR ORDERED.......2005-10-27
Cool tunes.......2002-09-15
Recommended.
Great mood music.......2002-05-10
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Blue and Sentimental
Ike Quebec Manufacturer: Blue Note Records ProductGroup: Music Binding: Audio CD Bebop General
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ASIN: B000005HCB Release Date: 1990-10-25 |
Tracks:
- Blues And Sentimental
- Minor Impulse
- Don't Take Your Love From Me
- Blues For Charlie
- Like
- That Old Black Magic
- It's All Right With Me
- County Every Star
Album Description
Ike Quebec's 1961-1962 comeback albums for Blue Note were all pretty rewarding, but Blue and Sentimental is his signature statement of the bunch, a superbly sensuous blend of lusty blues swagger and achingly romantic ballads. True, there's no shortage of that on Quebec's other Blue Note albums, but Blue and Sentimental is the best one by far. Quebec was a master of mood and atmosphere, and the well-paced program here sustains his smoky, late-night magic with the greatest consistency of tone. Part of the reason is that Quebec's caressing tenor sound is given a sparer backing than usual, with no pianist among the quartet of guitarist Grant Green, bassist Paul Chambers, and drummer Philly Joe Jones. It's no surprise that Green solos with tremendous taste and elegance (the two also teamed up on Green's similarly excellent Born to Be Blue), and there are plenty of open spaces in the ensemble for Quebec to shine through. His rendition of the Count Basie-associated title cut is a classic, and the other standard on the original LP, "Don't Take Your Love From Me," is in a similarly melancholy vein. Through it all, Quebec remains the quintessential seducer, striking just the right balance between sophistication and earthiness, confidence and vulnerability, joy and longing. It's enough to make Blue and Sentimental a quiet, sorely underrated masterpiece. Personnel includes:
Ike Quebec - Piano, Sax (Tenor)
Grant Green - Guitar
Paul Chambers - Bass
"Philly" Joe Jones - Drums
Customer Reviews:
Breathtaking album.......2006-05-11
Great Rainy Day Music.......2006-03-17
blue and sentimental.......2004-10-09
Tremendous music, but..........2001-04-22
A Handfull of Heartbreak.......2001-01-27
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Manhã de Carnaval
Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Villa-Lobos, Heitor
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ASIN: B0001N9ZE8 Release Date: 2004-06-15 |
Tracks:
- Pixaim
- Sounds Of Bells
- Blackbird
- Lament
- Gathering In Planaltina
- Luiza
- Girl From Ipanema
- Morning Of The Carnival
- I. Divertimiento
- II. Valseana
- III. Preludio E Toccatina
- Seven Strings
- Juliana's Choro
- Water And Wine
- Itching Powder
- Sentimental Melody
- Appassionata
Album Description
The guitar has played a major part in the evolution of Brazilian music, especially during the twentieth century. On this recording the charm, beauty and sensuality of Brazilian guitar music can be heard in pieces as diverse as Marco Pereira's Pixaim, a fast rhythmic dance originating from North-East Brazil, João Pernambuco's cheeky Blackbird, the classic song Girl from Ipanema by Antonio Carlos Jobim, a founder of the Bossa Nova movement and, from Brazil's most famous composer, Heitor Villa-Lobos, the hauntingly lyrical Sentimental Melody, written for the film Green Mansions in 1957. Award winning guitarist, Graham Anthony Devine was born in England and, in his teens, moved to Brazil where he has become an established performer and teacher, giving many recitals and masterclasses throughout South America. He is a laureate of many international guitar competitions in Europe and the United States.Customer Reviews:
Lesser known guitarist wins me over.......2005-04-07
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Doris Day's Sentimental Journey/Latin for Lovers
Doris Day Manufacturer: Collectables ProductGroup: Music Binding: Audio CD Traditional Vocal Pop
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ASIN: B00005R1PB Release Date: 2001-11-27 |
Tracks:
- The More I See You
- At Last
- Come To Baby, Do!
- I Had The Craziest Dream/I Don't Want To Walk Without You
- I'll Never Smile Again
- I Remember You
- Serenade In Blue
- I'm Beginning To See The Light
- It Could Happen To You
- It's Been A Long, Long Time
- Sentimental Journey
- Quiet Nights Of Quiet Stars (Corcovado)
- Fly Me To The Moon (In Other Words)
- Meditation
- Dansero
- Summer Has Gone
- How Insensitive (Insensataez)
- Slightly Out Of Tune (Desafinado)
- Our Day Will Come
- Be True To Me (Sabor A Mi)
- Perhaps, Perhaps, Perhaps (Quizas, Quizas, Quizas)
- Be Mine Tonight (Noche De Ronda)
- Por Favor
Album Description
Doris Day's biggest hit, 'Sentimental Journey' was recorded while she was a vocalist in Les Brown's band in the mid-1940s. Highlights from these two original albums on one compact disc include 'Fly Me To The Moon' and 'The More I See You.' (Collectables)Customer Reviews:
Classic 1965 recordings.......2007-01-13
Simply Timeless.......2005-03-09
One word is all I need: Beautiful!.......2004-06-25
Most of Doris Day's big hits were in the 1950s; this CD represents a Doris Day of about 10 years later. It is a combination of two LPs which she recorded two months apart in 1964 and Columbia released (the second-recorded one first!) in 1965. So it's a slightly more mature Doris Day, but just as nice to listen to as the Doris of the 1950s.
The two LPs combined in this CD are actually two quite different sets of tunes. "Doris Day's Sentimental Journey" consists of a collection of songs that were old standards even in 1964, plus a remake of her very first hit, the title tune of the album, done in a rather different style from the 1940s version. "Latin for Lovers" contains a number of songs that were mostly fairly new in 1964 (some of which might be called standards now!) with Latin origins. (Some were composed by the man who introduced the bossa nova to the USA, Antonio Carlos Jobim.) Only one of the songs on "Latin for Lovers" was one I'd heard Doris do: "Perhaps, Perhaps, Perhaps" ("Quizas, Quizas, Quizas" in the original Spanish). All the songs on both LPs, now on one CD, reminded me of why I've always considered Doris my favorite singer; every single one is done beautifully.
What more can I say? Of course it gets 5 stars! I wish I could give it six!
Voice without peers.......2003-06-25
Then in Amsterdam I found some great soundtracks with old works from Henry Mancini.Next to his works was some this rather shy album of Doris Day.
When I heard her interpretation of * Three coins in the fountain & Quiet nights of quiet stars *,I couldn't believe my ears. Her voice has such profound timbre with such grade delicacy of
the acoustic instrument, one just brought to life by finest artisan alive. Her voice is so vibrant and resonant like any voice I have heard before.
I asked my friends at my home to listen some music on my system and I asked them who is finest female voice on the planet? Some said Billie Holiday , Ella Fitzgerald....list goes on.
With some reservation I said for me it is from now on Doris Day.
Needles to say that made them laugh until they have heard sheer delicacy of her voice.
Without any reservation,with experience in classical music and Jazz, her voice is among finest voices, period. It is a great pity that she didn't extend range of her materials more into demanding materials of Jazz standards. I'm scare to think what kind of the treat that would be.
Her voice is like a finest High-End audio instrument, depending only on quality of material. If you treat the same with care it will reward you with delight. Ribbon speaker owners and those with generally fine systems, listen for these two songs on
this album. It will define you standards, what can you expect in human voice. In this case. exquisite,profound and unique voice of Doris Day.
In today mediocrity of quality in almost every sphere of human awareness,let her voice remind you that some things posses a true substance.
Doris recorded great albums while the Beatles took over USA.......2003-06-01
The album begins with The more I see you. Originally an American hit for Dick Haymes, Chris Montez had an international hit with his cover in the sixties. I remember you was originally a top ten hit for Jimmy Dorsey but Frank Ifield had a huge sixties hit with it around the world, going to the very top of the UK charts. At last and Serenade in blue were popularised by Glenn Miller. Among the other songs here, you can listen to covers of Come to baby do (another song Doris originally recorded with Les Brown), I'll never smile again (Tommy Dorsey), I'm beginning to see the light (Harry James), It could happen to you (Jo Stafford) and It's been a long long time, which topped the 1945 charts in America via two different versions (Bing Crosby, Harry James).
The second album on this twofer, Latin for lovers, recorded in 1963, features a mix of standards and songs of Latin origin, all given a gentle bossa nova rhythm. On Be mine tonight, Doris actually sings a verse in Spanish - the only time she ever did that. Of the standards, Fly me to the moon and Our day will come are the best known. One of the Latin songs, Perhaps perhaps perhaps (a translation of Quizas quizas quizas) became popular in the UK as a consequence of its use in a TV commercial. This is an excellent album that sets its own mood.
Doris could not compete with the Beatles for sales, although she continued to record albums of the highest quality - and they have stood the test of time.
In the UK, these two albums were issued on separate twofers - Sentimental journey was coupled with What every girl should know, while Latin for lovers was coupled with Love him.
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Naive & Sentimental Music
John Adams , David Tanenbaum , Esa-Pekka Salonen , and Los Angeles Philharmonic Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD All Works by Adams
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ASIN: B00005UW1A Release Date: 2002-07-30 |
Tracks:
- Naive and Sentimental Music
- Mother of the Man
- Chain to the Rhythm
Amazon.com
Dedicated to conductor (and fellow composer) Esa-Pekka Salonen, John Adams's Naïve and Sentimental Music is an awe-inspiring work of ambitious scope. It seeks to tackle the polarity between the naïve and the sentimental artist (the former oblivious to her place in nature, the latter preoccupied with location in the order of things) and uses wild juxtapositions to advance Adams's investigation. A wafting flute and harp open the three-part, 44-minute piece, but they are overcome by lurching brass, rumbling percussion, reedy woodwinds, and a palpable urgency. The second movement, "Mother of the Man," is, by vivid contrast, an almost ambient piece, floating on broad-stroked violins, bowed vibraphone, bell-struck percussion, and David Tannenbaum's textured guitar work. And then comes the final movement, "Chain to the Rhythm," the most recognizably minimalist excursion in what amounts to a symphony--in every way but its name. Cells of sound, oboes, cellos, vibraphones jut out as clarinets oscillate and twitter. There's a shimmer, a stammering vibrational effect, and a return to the first movement's growing urgency. Has the naïve artist discovered, anxiety-ridden, the insurmountable pressure of the sentimental artist? It's for the composer to know and the listener to find out. In any event, Naïve and Sentimental Music stands out singularly as Adams's most astonishing large-scale instrumental work, a piece that demands repeated listens and never disappoints. --Andrew BartlettAlbum Description
The album is 48-minutes of Adams most ambitious symphonic work to date performed by the Los Angeles Philharmonic Orchestra. Nonesuch Records. Slipcase. 2002.Customer Reviews:
No Masterpiece, But Good Stuff.......2007-04-10
Postmodern Polyphony.......2006-06-12
Personally I find this music a masterpiece. Not because of all the obvious skill displayed from composer and performers alike. Nor because (as most agree) the orchestration is perfect.
What I think the core of this artistic achievement is John Adams ability capture the Zeitgeist of 1999. It is as if the optimism, all the hype and drive of the 1990s found its way into his score. This is very much music for a certain place at a certain point in history.
Adams also turns this upside down when melancholy and irony takes over in the last movement. There is a ambivalence at play not heard in many film scores (nor in most music at all).
The analogy with Mahler is obvious - a classical composers takes the simple and perhaps sentimental pop idiom then turns it into monument of his time.
John Adams is - I think - the better composer, but the fate of his music (and its critics) will be very similar indeed.
Flash and No Substance.......2006-05-28
Unfortunately a lot of his music-and this cd is included-is to me just flash technique.Flash,showy and yes-impressive orchestral writing.BUT there seems to be no real substance here.The first and third movement start very nicely indeed.But as other reviewers have said the music quickly loses direction and descends into more complex showy(percussion driven) music as if he is trying to show off his technique.It lacks any real depth.It reminds me of much current film music that is very brilliant highly skilled complex orchestral writing but with not much real musical worth.That is forgiveable because it is written to enhance action on screen.But this ain't no great symphony.His Chamber Symphony is also highly praised but again it's all flash technique to me and not much else.Fast Ride,Loopalooza,Grand Pianola,Century Rolls all to me are brilliant technically flash pieces BUT with no real musical core.
Danielpour suffers from this shallowness too-he is again a brilliantly skilled guy.
There is a relentless tediousness to these movements-almost as if he is scared of rests!
thousands of notes for no apparent reason..........2006-01-23
*********
Los Angeles Philharmonic Music Director Esa-Pekka Salonen is conducting tonight, and he trots onstage displaying the "boyish good looks" and "hip wardrobe" that are inevitably mentioned whenever you read about him. The first half of the program is Naive and Sentimental Music by John Adams, which I am particularly looking forward to. I was obsessed with musical Minimalism during my formative geeky teenage years, especially the Holy Trinity of composers Philip Glass, Steve Reich, and John Adams. I wore out my LPs of "needle stuck in the groove" Minimalist classics such as Glass' Einstein on the Beach and The Photographer, Reich's Music for 18 Musicians and Octet, and Adams' Harmonium and Shaker Loops. I've also continued to listen to the newer music by all of these composers (with varying degrees of disappointment) here in the "laser beam stuck in the aluminum" CD era. John Adams has certainly made out well for himself in the "establishment" orchestra and opera world over the years, becoming perhaps the most performed and applauded contemporary composer out there right now. (Interestingly, though, his "official" website is awful compared to Phil's and Steve's...)
A massive orchestra is assembled on the stage for the nearly hour-long Naive and Sentimental Music, including a rogue's gallery of percussionists playing such exotic instruments as almglocken, high anvil, Chinese gongs, "ranch" triangles, and sleigh bells. The usual full complement of brass, strings, and winds are also joined by two harps, piano, celeste, guitar, and -- as if Adams couldn't get all the sounds he wanted from the 100+ other instruments on stage -- a Kurzweil synthesizer.
There's something I've noticed listening to quite a few newly composed orchestra works over the years: beware of huge percussion sections -- more often than not, it turns out the composer is trying to compensate for a lack of melodic and harmonic interest by throwing in as many gadgets, toys, and strange sounds as possible to keep things "interesting." Unfortunately, Naive and Sentimental Music confirms this observation.
The first movement begins with the awkwardly amplified guitarist (who is actually one of the CSO's string bass players) strumming chords rhythmically and accompanied by flutes and strings attempting to establish a very unmemorable melodic line. More and more instruments join the mix playing what are probably various permutations of that feeble melody, those percussionists keep busy back there running back and forth between different instruments, and Esa-Pekka tries to hold it all together with curious but entertaining arm gestures. You get the idea that this all sounded cool when Mr. Adams pressed play on his expensive MIDI music software set-up, but that real human beings are being asked to do some pretty strange inhuman things and that there are probably more time signatures and polyrhythms going on here than anybody should ever have to keep track of. It keeps building and building, yet just sitting there making lots of noise and not really going anywhere... and then it's over.
Actually we've only just begun... now it's time for the second movement, "Mother of the Man," which we learn from Mr. Adams' (really really long) program notes is a "gloss on Busoni's Berceuse elegiaque." That poor bassist-turned-guitarist is front and center again here, strangling all of his notes. Bowed vibraphone is featured prominently, setting an ethereal mood and promting everyone to nudge their companion and point at the stage -- "Look at that... they're playing the vibes with violin bows... isn't that cool?" Things meander along pleasantly here, occasionally becoming dissonant but mostly floating in an almost New Age-y bliss. Fellow audience members are nodding off in droves, and frankly I consider joining them a few times... The low brass chords concluding this movement are particularly lovely, but frankly you can enjoy this same kind of mood in about half the time by simply listening to Busoni's Berceuse elegiaque instead.
As is customary at the end of every slow, quiet movement performed at Orchestra Hall, the audience coughs, hacks, shuffles, and converse amongst themselves in the most obvious way possible. It would almost be funny if it weren't so embarrasing... do the audiences do this in L.A. too, I wonder? And what about Finland? Esa-Pekka offered no clues...
At last we arrive at the final movement, "Chain to the Rhythm" which lives up to the probably unintended masochistic implications of its name. This is a real "garbage pizza" of a loud and clattery mess where Adams empties out everything in his bag of tricks including repeated clarinet eighth-notes fading in and out ripped right from the pages of Reich's Music for 18 Musicians. The percussionists are running around beating the sh*t out of everything in sight, brass players and blatting out chords all over the place, the poor string players are fiddling around with endless ostinatos, and Mr. Salonen is doing a modern dance worthy of Martha Graham. For the first time that I could see, the Kurzweil synthesizer lady finally does something for a couple minutes, but even her amplified instrument can't be heard above all the clutter. The guitarist looks happy to be sitting this one out, and after thousands of notes have been hurled at us for no apparent reason, the whole thing suddenly stops. Several people leap to their feet shouting "Bravos" and whistling so loud you'd think the Bears had just made it to the next round of the NFL playoffs, while the rest of us clap politely and can hardly wait to get a cocktail during intermission to soothe our frayed nerves and throbbing eardrums.
Still Searching.......2004-12-19
His recent "Naive and Sentimental Music" is, unfortunately, no exception to this trend. While everyone else raves about this new work, this piece feels overblown and meandering. Being one for really giving it all I can, it seems that this piece will not do it for me, and this is after hearing it performed live and having listened to the CD at least 15 times.
Somehow, it seems I am one of an extremely small number of listeners (perhaps the only one) who does not enjoy this work, unike the rest of the current concert audience. I have had a similar experience with "On The Transmigration of Souls".
Nonetheless, Adams still has an exquisite command of the orchestral palette, and his music exudes the energy and atmosphere of a true master able to unfold a musical intention with conviction. Where his intention takes this listener is not anywhere very intriguing or moving.
I am still searching in his new work for the journey his earlier work is still able to take me on.
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