Beautiful Amelia dream about a tender and sensual love with the engineer, Rolando. Because her husband Carlo, the owner of a small hotel, very rough with her. Besides, Carlo had his eye on the young Marilinda. Amelia cannot cope with the deepest feelings. Forgetting everything, she threw herself into the sea of love.
During the 1920's, Carlo runs a country inn with his grandson Gianni. Carlo is a violent and insensitive man, and his wife Amelia dreams of being loved by Rolando, one of the inn's quest. On the other hand, Gianni is still young and without experience, and secretly spies his grandfather's sexual advances. Everything changes with the arrival of the provoking and incredibly attractive Marilena, a distant cousin of Gianni…
Growing up as the child of one of the greatest icons in American music can't be easy, but Nancy Sinatra managed to create a sound and style for herself fully separate from that of her very famous father, and her sexy but strong-willed persona has endured with nearly the same strength as the image of the Chairman of the Board.
Barney Bigard is one of the great jazz clarinetists. Although most famous for playing in Duke Ellington's band, Bigard performed with a host of lesser bandleaders, giving a series of distinctive, lyrical performances with each. 1944 collects Bigard's performances with the Capitol International Jazzmen, Zutty Singleton's bands, and his time with Roger Kay. Although not as consistently revelatory as his playing with the Duke, these sessions show Bigard to be a master of his instrument, displaying fabulous technique and great lyricism throughout. The Classics label has done a fine job at remastering, and the excellent liner notes round off a nice package.
On the third album of his '90s comeback, Big John Patton chooses to create a relaxed vibe, smoothly grooving through a surprising choice of material. Most of the record consists of challenging songs like Coltrane's "Syeeda's Song Flute" and Grachan Moncur III's "Sonny's Back," which gives Patton – as well as his supporting band, featuring guitarist Ed Cherry and tenor saxophonist Dave Hubbard – the chance to create intricate yet accessible music. This is music that can be heard as simply a good groove yet it rewards careful listening. This One's for J.A. again confirms that Patton has made one of the rare comebacks in jazz, one that does justice to his earlier work.
Come a Little Closer is a surprisingly effective mating of a distinctive singer with seemingly incongruous material and production. Helmed by Gabriel Mekler, who'd produced Steppenwolf and Three Dog Night, the record features Etta James supported by a slew of hotshot L.A. session men (including Little Feat's Lowell George). The song selection ranges from "St. Louis Blues" to Randy Newman's perverse "Let's Burn Down the Cornfield" to the dramatic, melismatic "Feeling Uneasy," in which the junk-hungry James improvised wordlessly over an otherwise blues progression. Here's more evidence that Etta is one of the most versatile vocalists of her era.