After a number of years paying her dues as a backup singer and recording for a number of indie labels with mixed success, Marilyn Scott finally brings her crisp, romantic vocal stylings to Warner Bros. on Take Me With You, a stylish potpourri of pop, soul, jazz and Brazilian influences tailor made to fit the definition of the finest in Adult Contemporary music. While Scott's powerful yet subtle and smoky voice ties all the loose threads together, the collection's strengths lie in its frolicsome diversity. Scott changes moods depending on the producer du jour. George Duke elicits cool, straightforward pop, while longtime cohorts Russell Ferrante and Jimmy Haslip forge her range from standard to hip-hop influenced jazz. Ironically, the most exciting track, a percolating Brazilian treatment of Stevie Wonder's "Bird of Beauty," is also the least commercial from a corporate marketing standpoint. Without the radio typical sheen, producer Dori Caymmi allows Scott to romp through a loping playground where even elegant Kevyn Lettau-like Portuguese is within the realm. Perhaps the reason it's taken Scott so long to break through on a higher level is the type of stunning diversity typified here. It's been worth the wait.
A top-notch adult contemporary vocalist still awaiting a well-deserved crossover commercial breakthrough, Marilyn Scott adds powerful fuel to her cause on Avenues of Love by helping herself with a well-balanced array of production and songwriting talent. George Duke surrounds her with party voices and a kneejerking Latin groove on a playful list of dance steps on "I Like to Dance," then surrounds her clear, sensuous voice with airy, billowing synth cushioning on the Bacharach-David classic "The Look of Love." Scott and bassist Jimmy Haslip reroute to Memphis on Michael Ruff's Wilson Pickett-like pick me up, "Love Is a Powerful Thing," engaging a two-piece horn section that sounds even larger. The Yellowjacket touch is in full effect on the picturesque "Avenida del Sol," which approximates an update of the gentle Astrud Gilberto sound; the tune was written by Scott and Bob Mintzer, and produced by Scott, Haslip, and Russell Ferrante. Scott's greatest gift here is her sense of modulation; she belts like crazy on the funk pieces, but recognizes the emotional power of restraint on the ballads.
This CD contains the best recordings from the early years of the fiery trumpeter Roy Eldridge. Eldridge, one of the great swing trumpeters and a powerful player into the 1970s, is heard with Teddy Hill's orchestra, backing singer Putney Dandridge, on four titles with Fletcher Henderson (including the hit "Christopher Columbus"), starring on a four-song session with Teddy Wilson, joining Billie Holiday on "Falling in Love Again," soloing on two numbers with Mildred Bailey (his "I'm Nobody's Baby" solo is years ahead of its time), and, best of all, leading a small group through six songs (plus an alternate) from his own explosive sessions of January 1937. This brilliant music is essential for all serious jazz collections.
All-Time Greatest Hits is a 2-LP compilation album by Roy Orbison released in 1972, featuring the original Monument Records recordings. The album was re-released on compact disc by CBS Records in 1989. The album was given a high-quality digital remastering from the original analog master tapes by Steve Hoffman for DCC Compact Classics, Inc. in 1997, catalog number GZS-1118.
Roy Orbison's 1961 and 1962 Monument albums, Sings Lonely and Blue and Crying, are drawn together on one CD. All of the original faults are still present, including the relatively lightweight content, but the familiar singles plus the Orbison covers of pieces such as "Love Hurts," coupled with the excellent sound, make this a good investment. And the annotation isn't bad, either.
Qui n'a jamais rougi ? C'est une réaction banale et a priori bénigne. Mais certaines personnes en souffrent énormément. Un regard, un geste, un simple mot peuvent suffire à déclencher le malaise. Peu à peu, les situations sociales deviennent sources de peur et de honte. On finit par les fuir et se couper du monde. Longtemps négligée par les soignants, l'éreutophobie, c'est-à-dire la peur de rougir, est aujourd'hui l'objet d'études scientifiques qui ont permis de mettre au point des méthodes de traitement efficaces. …
Although we know little about Robert de Visee (c.1655-1733), he was an important figure in French Baroque music, both as chamber musician to Louis XIV and later as the guitar tutor of Louis XV. He published works, mostly in the form of suites of dances, for guitar, and for the lute and theorbo (a type of bass lute popular in the 17th century).
Artaxerxes, premiered in London in 1762, was the first full-length opera seria sung in English. It proved a great success and helped to revive the fortunes of Thomas Arne, whose career had been in the doldrums. The opera featured his new protégée and mistress Charlotte Brent in the role of Mandane and Arne lavished attention on her music. Mandane’s arias and those of the hero Arbaces provide many of the opera’s high points, with their rich orchestrations, virtuoso vocal parts and captivating tunes. Though based on the Handelian model, Artaxerxes shows both Arne’s talent at the later galant style and his penchant for folk-like, pastoral airs. The results are mostly a delight (if a tad lightweight for the libretto’s blood ’n’ thunder deeds), with a variety of attractive arias further enhanced by Arne’s deft use of woodwind. Christopher Robson in the title role and Catherine Bott, thrilling as Mandane, head a fine team of singers: my only complaint is that Patricia Spence’s forceful Arbaces too often slips into shrill and strident mode.