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Jazz 2 Rock
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 Into the Rhythm
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1992: Philip Glass & Foday Musa Suso - Music from The Screens |
Country & Folk, Classical music |
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 Artists: Philip Glass & Foday Musa Suso Album: Music from 'The Screens' Format: FLAC (cue, scans): 317 MB Year: 1992 Label: Point Music Total time: 49:25 AMG rating  This collaboration between world composers Philip Glass and Foday Musa Suso presents a unique body of work grounded in musical virtuosity in both Western and North African musical cultures. The opening strains of "The Mad Cadi's Court" burst with an aggressive violin double-stop punctuated by an Algerian lute playing North African rhythms and tonalities. Strikingly different from what listeners have heard from Philip Glass from this era. These Algerian folk traditions permeate the entire disc, with many pieces energetic and others more esoteric and soundtracky. Composed as music for a production of Jean Genet's play The Screens, set in Algeria, the music both highlights and compliments the play's drama with sounds native to the setting of the play. Very welcome and refreshing. ~ Mark W. B. Allender, All Music Guide |
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1955-1957: Lenya Sings Weill - The American Theatre |
Music » Classical music » Pop classics |
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 Artist: Lotte Lenya & Guests Album: Lenya Sings Weill - The American Theatre Label:Sony Classical #60647 Years: 1955-1957; release:1999 Genre: Easy Listening-Jazz Format, bitrate: MP3 320 Time: 79 Min Size: 176 KB Employing the same Richard Avedon portrait that graced the cover of the 1970 double-LP The Lotte Lenya Album, this collection is an abbreviated version of that compilation, cut down to fit the length limit of a single CD. The Lotte Lenya Album was nothing more or less than a two-fer repackaging of the single LPs Lotte Lenya Sings Berlin Theatre Songs by Kurt Weill and September Song and Other American Theatre Songs by Kurt Weill. For this version, the last four songs from the former ("Was Die Herren Matrosen Sagen," "Ballade vom Ertrunkenen Mädchen," "Lied der Fennimore," and "Cäsars Todd") have been deleted to bring the total running time down to 70 minutes. Thus, the first eight tracks find Lenya in Germany in 1955, singing mostly in German songs composed by Weill with lyrics by Bertolt Brecht from their stage works Die Dreigroschenoper ("The Threepenny Opera"), Aufstieg und Fall der Stadt Mahagonny ("Rise and Fall of the City of Mahagonny"), and Happy End, while the last 12 tracks find her in the U.S. in 1957, singing in English songs from Weill's Broadway musicals Knickerbocker Holiday, Lady in the Dark, One Touch of Venus, The Firebrand of Florence, Street Scene, Love Life, and Lost in the Stars. Lenya always disputed the notion that there were two Weills, the Berlin Weill and the Broadway Weill, but she ended up reinforcing that argument with these two LPs, and juxtaposing two-thirds of one with all of the other on this disc does not disprove it. Lenya was the definitive interpreter of the Brecht/Weill catalog, of course, and when she came to make the recordings here she had been singing (and recording) songs like "Seeräuberjenny" ("Pirate Jenny") and "Surabaya-Johnny" for more than a quarter-century. It's no surprise that she sounds assured on the first eight tracks, which use the original orchestrations for small jazz band conducted by Roger Bean. It's a different story with the Broadway tunes that make up tracks 9-20, however, as Maurice Levine conducts a string orchestra on songs for which other singers have done memorable treatments, including "September Song," "Saga of Jenny," "Speak Low," and "Lost in the Stars." With her limited range and German-accented English, Lenya is not the best interpreter of this material, and she does better with the less familiar songs, such as "Sing Me Not a Ballad," which actually was written for her to sing in the unsuccessful operetta The Firebrand of Florence. As such, the decision to excise a third of the Berlin album is all the more questionable. ~ William Ruhlmann, All Music Guide |
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2005: Gabriela Montero - Plays Chopin, Falla, Ginestera, etc. (Includes Bonus CD) |
Music » Classical music |
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 Artist: Gabriela Montero Album: Plays Chopin, Falla, Ginestera, etc. (Includes Bonus CD) Label: EMI Classics Release: September 13, 2005 Format, bitrate: m4a Time: 104:11 Size: 370 mb AMG Rating:  Improvisation at the piano in the classical music medium is as old as the piano itself, although one wouldn't know it to the extent that it has found representation on recordings. The improvising of Spanish composer Isaac Albйniz was captured on wax cylinders in 1910, and Sergey Rachmaninov's intense improvisation on Liszt's Hungarian Rhapsody No. 2 recorded for Edison in 1919 was willful enough to move the Wizard of Menlo himself to describe Rachmaninov as "a banger." Improvisations once were an integral part of the reproducing roll trade, as well. More recently jazz pianist Marcus Roberts recorded a partly improvised performance of Gershwin's Rhapsody in Blue that, while interesting, was distractingly eclectic. Therefore, it can be a mixed blessing, and classical record companies seldom pursue this course.
EMI Classics has decided to make an exception in the case of intriguing Venezuelan pianist Gabriela Montero, and have developed an interesting platform from which to spring this risky prospect. Gabriela Montero: Piano Recital is a two-disc set priced as one, with a conventional selection of core classical piano works on the first disc and 12 improvisations on the second. In some cases, the improvisations follow the works represented on the first disc, but not all, and a few of the pieces are original. Montero is an extraordinary talent -- her Rachmaninov is stern, yet flexible, her Scriabin is fluid and sensuous, her Ginastera fiery and percussive. The recital disc is sufficient to soften the toughest pianophile. However, the improvised portion of the program proves most exciting. Montero's jazzy approach to glossing the classics is not unlike that of Bill Evans, and it shows great sensitivity and respect for the models to the extent that one does not worry about what happened to the originals -- if such is a concern, revisit the first disc. Montero's originals are meltingly beautiful, in particular the Spanish-themed pieces and the memorable, touching Song for Natalia and Isabella.
EMI Classics is to be congratulated for showing restraint in that it did not succumb to the temptation of packaging Gabriela Montero: Piano Recital as a typical crossover item. As outstanding as the conventional recital may be, the listener might find one's self returning with more frequency to the second. ~ Uncle Dave Lewis, AMG REPOST with new links from papaleco! |
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1995-1996: King Crimson - Deja Vrooom |
Pop classics, Music video |
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 Artist: King Crimson Album: Deja Vrooom Label: Discipline Global Mobile Year: 1995 - 1996 Release: 1999 Format: 2 x DVD 5 Size: 7866 MB Audio: Dolby 5.1, DTS Multiple Angle (Some tracks) REPOST with a new link ...The concert is from a performance in Japan during the 'Thrak' tour of 1995-1996, and is one of their best live performances that have been commercially released. The concert previously appeared on video as "King Crimson: Live in Japan", but trust me, even if you do have that video, or if you don't even have a DVD player....get a DVD player for crying out loud! It's 2003....get with the times!(..)
The band members performances are really the key ingredient here. The ability to change angles and put the individual instruments prevalent in the mix during 3 of the songs is great, and well worth it for those interested in how the group achieves its sound. Trey Gunn, who plays a two-handed 'Warr' guitar, is a treat to watch perform, as he approaches the tunes in such a practical and inventive fashion. He was primarily covering the bass parts at the time, but I just really enjoy watching the two handed approach. The band altogether is not really very showy, and focuses mostly on playing the music, although Tony Levin does have commanding stage presence at times!
I've only mentioned the bass players....Adrian Belew, the lead singer/guitarist is on key the entire show, and watching him during his wilder guitar solos is something that shouldn't be missed. Robert Fripp, the groups leader and self-proclaimed 'Venal Leader', sits in the shadows most of the show, barely flinching or moving a muscle, with the exception of his fingers, which move rather fast and furiously at some points. He is an incredibly disciplined performer (heck, he even named his own record label and an album of 1981 'discipline), and is wonderful as a leader/guiding force in the group. . . . |
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2008: Claire Chevallier - Eric Satie (Piano Erard 1905) |
Music » Classical music |
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 Artist: Claire Chevallier Composer: Erik Satie Album: Eric Satie (Piano Erard 1905) Label: Zig Zag Territoires Year: 2008 Format, bitrate: mp3, 320kb/s Time: 67:29 Size: 141MB AMG Rating:  Мои соболезнования польскому народу и семьям погибших
My condolences to the Polish people and the bereaved families |
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2007: Kelly Sweet - We Are One |
Vocal Jazz, Pop classics |
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 Artist: Kelly Sweet Album: We Are One Label: Razor & Tie Genre: Pop/Jazz/Vocal/Chillout Year: 2007 Format, bitrate: VBR 192 kbps Time: 42:47 min Size: 51 MB Not your typical pop record in any way, shape or form, WE ARE ONE has a much more ambitious sensibility than those being heard on Top 40 radio today. With songs sung in English, Italian, French, and Sanskrit, and melodies that partake of both jazz and classical influences, WE ARE ONE conveys a sense of depth, intimacy and sophistication not often heard in today's pop landscape. The magnificent "Giorno Dopo Giorno" couples Sweet's soaring vocals with a thrilling string arrangement, bringing listeners the kind of intense joy that can usually only be experienced in the world's finest opera houses. "The song originally had English lyrics," says Sweet, "and it was called `Who Can I Believe In?' We felt that the melody was too European and didn't work with the lyrics, so we asked Marco Marinangelli, who writes Italian lyrics for Josh Groban, to translate the words into Italian. It came out beautifully." Sweet says she has always gravitated to the beautiful sounds of languages other than English. "I was classically trained beginning at the age of 11," she says, "and that's when I began to sing in other languages. It always came very easily to me."WE ARE ONE, then, is that rarest of musical experiences--a seamless emotional journey that deeply touches listeners of all ages with its beauty, grace, individuality, and courage. But perhaps to call Sweet courageous is overstating something that is really much simpler. "This music is not about me," she says. "It's about the soul in all of us. I am just happy to have a voice to convey these things to the world." And the world is certainly a better place because of it. |
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1959: Millicent Martin - Millicent |
Music » Classical music » Pop classics |
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 Artist: Millicent Martin Album: Millicent Label: Columbia 33SX 1145 (UK) (1959) Quality: FLAC (LP rip) Size: 141MB Time: 36:34
During the early 1960s, Martin became known to television audiences as the resident singer of topical songs on the weekly satire show That Was The Week That Was. One of the songs she sang on the show, the John F. Kennedy tribute "In the Summer of His Years," was released as a single and "bubbled under" the Billboard Hot 100 chart at #104 in 1963 (but was outcharted by a cover version by Connie Francis, which reached #46). She also appeared in the 1966 film Alfie.
Martin had her own BBC television series between 1964 and 1966, titled Mainly Millicent for the first two series, and shortened to Millicent for the third and final series. In one episode, Martin and guest-star Roger Moore performed a comedy skit in which Moore played secret agent James Bond prior to his casting in that role.
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1942 - 1949: Johnny Mercer: Capitol Collectors Series |
Jazz Classics, Pop classics |
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 Artists: VA Album: Johnny Mercer : Capitol Collectors Series Label: Capitol/EMI Records Years: 1942 - 1949, release: 1989 Quality: MP3@320 kbps Size: 120 mb (sharebee) Total time: 59:36 AMG Rating  Для наших прекрасных дам! Today we know Johnny Mercer mainly as the genius songwriter from Savannah, GA, and perhaps tend to forget that he was also one of the most prolific hitmaking singers of the 1940s. This excellent compendium of his hit singles, plus a pair of his most famous songs ("Blues in the Night" and "One for My Baby") from 78 rpm albums, will definitely give you the idea. Though not the owner of an overpowering, world-beating voice -- to his everlasting and needless regret -- Mercer had his own Southern hipster charm, with slippery grace-notes and swinging turns of phrase that any jazzer would envy. An irony for today's audience is that many of Mercer's biggest hits here -- "Candy," "Personality," "Baby, It's Cold Outside" -- were not written by him, for he truly was a recording star in his own right and not merely a songwriter out to plug his own material. Paul Weston dresses up most of the charts in period big-band garb, decorated with tasty streaks of strings; the Pied Pipers chirp away most of the time, and Benny Goodman's Orchestra and the King Cole Trio chip in on a track apiece. These records are completely saturated in World War II, GI jivey, moon-June, sentimental atmosphere that place them precisely in their time -- and as such, they generate gobs of nostalgia. Informative liner notes, a thorough discography of these 20 sides, and reproductions of some of the original 78s and sheet music round out this appealing package. ~ Richard S. Ginell, All Music Guide |
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1995: Ron Carter - Brandenburg Concerto |
Music » Classical music |
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 Artist: Ron Carter Album: Brandenburg Concerto Label: Blue Note Year: 1995 Format, bitrate: mp3, 320 kbps Time: 42:35 Size: 100 mb (megaupload)  EVERY DAY IS A RON CARTER DAY ! Итак, дорогие друзья, хочу представить вашему вниманию, на мой взгляд, более удачный (в отличие от " Ron Carter Meets Bach") "классический" альбом Рона Картера в сопровождении оркестра. The distinguished jazz bassist's third "classical" album on jazz's Blue Note label is one of those exercises best heard as a one-off bit of live fun in the artist's living room. The title track finds a string orchestra led by Kermit Moore performing a perfectly straight, if not terribly neat, run-through of J.S. Bach's Brandenburg Concerto No. 3, with Carter playing a bass continuo above (rather than below) the group, as well as soloing in spotlit passages. The jazz solos grate uncomfortably against the metrical classical strings; it sounds superimposed, forced, and ultimately pointless. The "Aria" from Grieg's Holberg Suite and Handel's "Largo" from Xerxes are also fairly straightforward from a classical point of view -- and not well played at that. However, the straight portions of Ravel's "Pavanne pour une Infante Defunt" and Bartók's "Joc cu Bata" are interspersed with more comfortable, swinging passages for jazz trio. Carter's own "Desert Winds" for himself and cello quartet is actually the most successful work on the program; the Bartók-influenced classical and jazz elements are better integrated, and one doesn't have any classical originals buzzing around in one's head as a reference point. |
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1995: Joe Zawinul - Stories of the Danube |
Music » Classical music |
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 Artist: Joe Zawinul Album: Stories of the Danube Label: Phillips Year: 1996 Total time: 63:23 Billed as Joe Zawinul's First Symphony, this large-scale classical work may seem like a radical departure to the composer/keyboardist's jazz and pop fans, but it is really a logical expression of Zawinul's indestructible European roots. Moreover, it is not as alien to his jazz work as one might suppose; at times, one can hear trademark Zawinul ostinato lines in fleshed-out, orchestrated form, and rhythms and tunes of his jazz-rock days ("Doctor Honoris Causa," "Pharoah's Dance" "Unknown Soldier") turn up like old friends crashing a black-tie ceremony. The storyline of the work is a spinoff of Smetana's "The Moldau," tracing the path of a river from its springhead through Central Europe and the deep historical currents (the Ottoman Empire, Vienna's Golden Age, World War II, etc.) that its journey suggests. Zawinul's own keyboards appear most noticeably in the brooding Third Worldish introductions to the fourth and seventh movements, and the Czech State Philharmonic Orchestra, Brno under Caspar Richter handles the long symphonic writing smoothly. At 63 minutes, this piece is a real stretch -- Zawinul is dealing with a Brucknerian timespan -- and skillful orchestrator, composer and boundless eclectic that he is, he can't quite fill the huge tapestry consistently. Yet repeated listening reveals a coherent if loose overall structure and some emotional depth; if you work at it, the rewards will come. ~Richard S. Ginell, All Music Guide |
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2007: Michael Wollny - Hexentanz (ACT Piano Works VII) |
Jazz, Modern Jazz, Classical music |
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 Artist: Michael Wollny Album: Hexentanz (ACT Piano Works VII) Label: ACT (ACT 9756-2) Year: 2006; release: 2007 Genre: Modern jazz, Classical (solo piano) Format, bitrate: FLAC Time: 51:17 Size: 178 MB (2 files) It isn’t often that one finds Schubert and Björk on the same album, but Michael Wollny is nothing if not eclectic and omnivorous in his music. Still under 30, Wollney is a gifted pianist who has worked with many of the leading German jazz musicians, including both Emil and Albert Mangelsdorff and has made two outstanding duo records with the veteran tenor player Heinz Sauer – Certain Beauty (ACT 9444-2) and Melancholia (ACT 9433-2). He is also a member of the much-praised trio [em] along with Eva Kruse (bass) and Eric Schaefer (drums).
On this album – his first solo CD, I think – he has chosen to devise a themed collection, almost a huge suite.
All the pieces here are linked by the theme of the Gothic. Planning for the project, Roland Spiegel’s booklet notes tell us that "Wollney retreated for a month to the island of Gotland. He listened to Schubert, Steve Reich, Björk and music by Joachim Kuhn (much revered by Wollny), read Edgar Allan Poe and studied films by Werner Herzog, David Lynch and not least Ken Russell’s 1986 work ‘Gothic’: a film that fascinated Wollny as a ‘grotesque brainstorm on the subject’"... |
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1982: Emily Remler Quartet - Take Two |
Jazz, Contemporary Jazz, Jazz Classics |
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 Artist: Emily Remler Quartet Album: Take Two Label: Concord Jazz (CCD 4195) Year: 1982 Format, bitrate: FLAC Time: 43:28 Size: 275 MB (2 files) Emily Remler's second recording as a leader finds the 24-year-old guitarist still very much playing in the Wes Montgomery vein, although showing her own musical personality here and there. She is joined by pianist James Williams, bassist Don Thompson, and drummer Terry Clarke on a challenging set of material filled with obscurities. Certainly such numbers as Cannonball Adderley's "Cannonball," Dexter Gordon's "For Regulars Only," McCoy Tyner's "Search for Peace," and Monty Alexander's "Eleuthra" are rarely performed. Better known are "In Your Own Sweet Way" and "Afro Blue"; Remler also contributes two originals. Throughout the date the guitarist displays a great deal of potential, much of which would sadly go unrealized due to her early death. ~ Scott Yanow, All Music Guide |
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2003: Joachim Kuhn - Allegro vivace (ACT Piano Works I) |
Jazz, Modern Jazz, Classical music |
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 Artist: Joachim Kuhn Album: Allegro vivace (ACT Piano Works I) Label: ACT (ACT9759-2) Year: 2003; release: 2005 Format, bitrate: mp3, 256 kbps CBR Time: 54:08 Size: ~122 MB Just judged by its repertoire, this is certainly an impressive solo piano date. Joachim Kьhn performs works by Franзois Couperin (a mass from 1690), Bach, Mozart, John Coltrane, and Ornette Coleman in addition to three of his own originals. Although the mixture of classical and jazz pieces might seem illogical, Kьhn's subtle improvising on the classical compositions and his ability to create melodies in his improvising on the jazz tunes give this date an evolution that somehow works. Kьhn has always had impressive technique and a healthy musical curiosity. Both serve him well, along with his imagination, on this intriguing and successful outing. ~ Scott Yanow, All Music Guide |
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2002: Lakatos - As Time goes By |
Music » Classical music |
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 Artist: Roby Lakatos & His Ensemble Album: As Time goes By Label: Deutsche Grammophon / Universal Music Year: 2002 Format, bitrate: mp3, 320 kb/s Time: 1:07:56 Size: 142 MB Repost with a new link Музыка из фильмов!!!!!!!!!!!!!!!!
"Мадам Бовари", "Крестный Отец", "Скрипач на крыше", "Кубанские казаки" (!!!), "Однажды в Америке" и другие... Film Music from :
Le Grand Blonde avec une chaussure noire · Casablanca · Two Soldiers
Time of the Gypsies · The Godfather · Once upon a time in America ·
Fiddler on the Roof · Cossacks of the Kuban · Chocolat Intermezzo ·
The Third Man · Two for the Road · Madame Bovary · Queen of the Gypsies
It is the gypsy musical tradition that Lakatos can lay full claim to through descent from the famed violinist Jбnos Bihari, whose name is associated with the patriotic Hungarian Rбkoczy March. Not only in central Europe, but from Spain to Russia as well, gypsies and their music have long been the stuff of legend. |
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2007: The Best Of Andrea Bocelli - Vivere |
Music » Classical music |
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 Artist: Andrea Bocelli Album: The Best Of Andrea Bocelli - Vivere Label: Sugar music/Universal Year: rel. Oct 30, 2007 Format: MP3 @ 320 Kb/s Time:68:45 Size: 148.9 Mb AMG rating:  To my friends in JBC and personality to Mr.malieff!
Happy Birthday and with coming New Year!
С Днем рождения уважаемый malieff и всех "С Новым Годом! "
Classical crossover mainstay Andrea Bocelli's first greatest-hits collection to date, released nearly a decade-and-a-half after he made his album debut in 1994, The Best of Andrea Bocelli: Vivere includes many of his best-known songs plus five new recordings exclusive to this compilation. His international breakthrough album, Romanza (1997), is well represented with a few inclusions, including his English-language duet with Sarah Brightman on "Time to Say Goodbye." His most successful album, the classical crossover follow-up effort Sogno (1999), is likewise well represented with a few inclusions, including his English-language duet with Cйline Dion on "The Prayer." Later albums Cieli di Toscana (2001) and Amore (2006) are also represented with a couple inclusions on The Best of Andrea Bocelli: Vivere. The five new recordings exclusive to Vivere include "La Voce del Silenzio"; "Dare to Live (Vivere)," a duet with Italian pop star Laura Pausini; "A Te," which features Kenny G on saxophone; "Io Ci Sarт," a David Foster co-write that features Lang Lang on piano; and "Bellissime Stelle." While many of songs compiled on Vivere are no doubt already familiar (if not overly familiar) to Bocelli fans, especially those from Romanza and Sogno, the new recordings are substantial enough to make this compilation a rewarding listening experience for fans regardless of its redundancies. As for neophytes, Vivere is an ideal introduction to Bocelli's classical crossover work. While Romanza and Sogno are still great entry points and are perhaps the better albums from the standpoint of stylistic consistency, the wide range of musical styles showcased on Vivere makes it a great summary of Bocelli's album output to date. ~ by Jason Birchmeier, AMG.
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The Classical Jazz Quartet - Tchaikovsky's The Nutcracker (2001) |
Music » Classical music » Jazz Classics |
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 Artist: The Classical Jazz Quartet Album: Tchaikovsky's The Nutcracker Label: Vertical Jazz Records Year: 2001 Format: MP3 320 kbps Time: 51:57 Size: 85:88 MB Repost with a new link from mr. crazy captain Среди произведений позднего периода, творческого пути Чайковского, "Щелкунчик" занимает особое место: он не вписывается в сложившуюся в тот период традицию балетного жанра. Для Чайковского, этот балет также является новаторским сочинением, ключевым для понимания позднего стиля композитора, его идейных устремлений, поисков смысла жизни, нравственных оценок. Темы детства и смерти, красоты нравственного подвига и предательства - вот основные образные сферы музыки Чайковского. Традиционно в русском балетном театре "Щелкунчик" воспринимался как оптимистическая детская сказка, а философский подтекст был скрыт под пышностью и красотой сценического оформления, волшебств в сюжете. Именно поэтому балетмейстеры всего мира постоянно обращаются к этому балету Чайковского, находя в нем все новые и новые аспекты и в сюжете, и в музыкальной драматургии. Вот и наши Афроамериканские друзья, во главе с великим Роном Картером, решили изобразить своё восприятие, нашей любимой музыки! Интересно узнать Ваше мнение, по поводу подобного "оджазирования" классики! A jazz quartet plays eight selections from Tchaikovsky's The Nutcracker on this CD. Some of the melodies are familiar but usually reinvented in the arrangements of Bob Belden. Vibraphonist Stefon Harris (who doubles on marimba) is joined by pianist Kenny Barron, bassist Ron Carter, and drummer Lewis Nash for this enjoyable outing. Harris and Barron make for a particularly stimulating team as they perform such numbers as "The Swingin' Nut," "Groove of the Sugar Plum Fairy," and "Vaunce of the Flowers." ~ Scott Yanow, All Music Guide |
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Pyotr Ilyich Tchaikovsky - The Nutcracker |
Music, Classical music |
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 ФИАЛКИ по СРЕДАМ (выпуск четырнадцатый)  Composer: П.И.Чайковский/Pyotr Ilyich Tchaikovsky Artist: Советский Государственный симфонический оркестр (дир. Евгений Светланов)/The USSR State Symphony Orchestra (Cond. Evgeny Svetlanov) Album: Щелкунчик/The Nutcracker Label: Мелодия/Melodiya Release 1988 Format, bitrate: mp3, 320 kbps Time: 1h, 31 min, 18 sec. Size: 220 mb. Свой сегодняшний выпуск "Фиалок" посвящаю нашей вчерашней имениннице - ZUZIKI! И пускай эта милая, романтическая сказка займёт достойное место в её коллекции. REPOST |
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1959: Pat Boone - White Christmas |
Music » Classical music » Pop classics |
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 Artist: Pat Boon Album: White Christmas Label: Dot Year: 1959 Quality: MP3@320 kbps Size: 73,7 mb Total time: 34:31 AMG Rating : By request! The spirit of the holiday season is expressed with respectful good taste on this collection which blends the traditional and contemporary. Pat Boone applies his mellifluous straightforward style to good advantage without resorting to hoopla, gimmickry or superfluities of any kind. The result is an album which is distinctly uplifting and 180 degrees from bland. These qualities are especially impressive on the traditional carols which Boone delivers with power, potency and conviction free of stridency and vanity. There is as well a quiet confidence and optimism which is noticeable even on the lighter numbers. Pat Boone's fine handling of both types of songs seems to spring from a sense of inner peace and goodwill. This feeling is conveyed, in turn, to the listener and received almost unawares. "Jingle Bells," "I'll Be Home for Christmas," "Silver Bells" and the other lighter fare are a delight to the senses as they spontaneously conjure up images of Christmases past. The traditional carols, timeless in their grace and purity, are tendered with reverence. ~ Arthur Rowe, All Music Guide |
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1957: Pat Boone Sings Irving Berlin |
Music » Classical music » Pop classics |
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 Artist: Pat Boone Album: Pat Boone Sings Irving Berlin Label: Dot Year: 1957 Quality: MP3@320 kbps Size: 70,4 mb Total time: 32:52 AMG Rating: Сладкий голос знаменитого вокалиста, исполняющего превосходные песни Irving Berlin очень приятно послушать в романтический вечер! Sweet voice of the famous singer, performing excellent songs of Irving Berlin is very pleased to listen to a romantic evening! Американский певец, актер и писатель Пэт Бун известен, прежде всего, потому, что он единственный из поп-исполнителей 50-ых, который смог на равных бороться за популярность публики с королем Элвисом Пресли. Он продал за карьеру более 45 миллионов альбомов, а также снялся в 12 голливудских фильмах. This album requires patience and attentiveness. At first exposure, it seems smooth and melodic, though somewhat staid. Since the album is at least pleasant and non-offensive -- but not too much more -- it should get a rating somewhere in the range of "OK," right? Wrong! Pat Boone Sings Irving Berlin is unquestionably one of Boone's two top albums in terms of durability. However, you have to stay with it a while before its special qualities begin to reveal themselves; once this process is underway, it continues on and on and the album does not diminish in quality or become stale, no matter how much exposure it receives. The sweet musical and lyrical simplicity of these Irving Berlin compositions and the dignified but entirely unpretentious arrangements are two indispensable ingredients here -- but most important are the voice and masterful interpretation of these beautiful songs by Pat Boone. "Interpretation," perhaps, is not quite the right word. Intuiting the intent of the great composer evidently came quite naturally to Boone, or the album never would have earned the high praise of Berlin himself, who is quoted as saying, "Pat Boone sings these ballads the way I like to hear them sung." Enough said? ~ Arthur Rowe, All Music Guide |
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1959: The Ray Conniff Singers - Christmas with Conniff |
Music » Classical music » Pop classics |
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 Artist: The Ray Conniff Singers Album: Christmas With Conniff Label: Sony/Columbia Year: 1959, release: 1992 Quality: MP3@320 kbps Size: 64,7 mb Total time: 31:06 AMG Rating: Merry Christmas! Christmas with Conniff is Ray Conniff's first holiday record, and it remains one of his very best efforts in that genre. His light, pretty, signature touch is perfectly suited to Christmas music, and he and his singers make such carols and holiday songs as "Frosty the Snowman," "Here Comes Santa Claus," "Jingle Bells," "Rudolph, the Red-Nosed Reindeer," "Santa Claus Is Coming to Town," and "Silver Bells" irresistible easy listening. Perfect background music for any holiday event. ~ Rodney Batdorf, All Music Guide |
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