And sometimes it can seem like approaching a woman you find attractive is like the opening scene in Raider's of the Lost Ark. Every step of the way you feel like the wrong move will set off some booby trap. You won't physically get damaged, but . . .Now we both know that a woman won't kill you, but for some guys getting rejected feels almost as bad. Why is that? What is it about a woman that a simple answer like "I'm not interested" can be such an ego stomping experience? Keep reading, and I'll tell you. It's no news that men find women confusing. But what if I told you not only are women SIMPLE to understand, it's actually easy to get them attracted to you when you know their hard wired 'attraction triggers', and how to fire them off. The problem is up until now…
Willie Nelson has been a prolific singer and recording artist since the 1970s, but the songwriter who penned hits for Ray Price, Patsy Cline, Billy Walker, and Johnny Cash, among others, hasn't issued an album of predominantly original material since 1996. Band of Brothers ends the drought. Its 14 selections include nine new songs by Nelson (with producer Buddy Cannon) and a handful of fine covers. Opener "Bring It On" is a honky tonk waltz that offers wisdom by someone who has lived through plenty as he looks eternity squarely in the eye. He is in excellent voice as Mickey Raphael's harmonica moans to underscore his lyric. Nelson delivers his first guitar solo on Trigger (his nylon-stringed instrument). His playing, with its unique phrasing, has always been underrated and here it evokes the blues. His love songs have always been highlights in his catalog. "I Thought I Left You" is in 4/4, with a slow processional pace adorned with slippery steel and piano. The lost romance portrayed in the waltz "Send Me a Picture" is another clear standout; a sighing pedal steel and Raphael's mid-register wail echo every sung line.
C’est à une véritable leçon de jazz que nus convie Antoine Hervé. Mais c’est bien plus que cela. Une sorte de déclaration d’amour à tous ses maîtres en piano jazz, au centre desquels il place Monk. Certes en s’attaquant en solo à l’œuvre de Monk (à l’exception d’un thème signé Irving Berlin et d’un thème de lui-même - Camara), Antoine Hervé prenait lors de ce concert donné en public en 1997 à la Cité de la Musique le risque de se voir comparer aux grands solos du Maître.
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