Showing posts with label vocals. Show all posts
Showing posts with label vocals. Show all posts

Thursday, October 8, 2009

Betty Carter - At The Village Vanguard, 1970


1. By the Bend of the River 1:52
2. Ego 3:04
3. Body and Soul 5:21
4. Heart and Soul 3:30
5. The Surrey With the Fringe on Top 7:38
6. Girl Talk 4:20
7. I Didn't Know What Time It Was 2:08
8. All the Things You Are :59
9. I Could Write a Book 2:18
10. The Sun Died 5:31
11. Please Do Something 3:03

Betty Carter - Vocals
Norman Simmons - Piano
Lyle Atkinson - Bass
Al Harewood - Drums

AMG:
"Betty Carter's remarkable early-'70s LPs were initially available only on her own poorly distributed label. This live date captured Carter when her voice was its most pliable, her delivery in full bloom and her range and power at their peak. She could scat with a fury and rhythmic intensity that were almost magical, then turn a slow tune like "The Sun Died" or "Body and Soul" into a showcase by emphasizing key lyrics, subtly changing each stanza, or increasing the pace at an unexpected moment. This deserves full attention, as it represents Betty Carter still evolving and perfecting her matchless technique."


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Monday, October 5, 2009

Serge Gainsbourg (France) - Du jazz dans le ravin, 1958-1964


1. Angoisse
2. Du Jazz Dans le Ravin
3. Requim pour un Twister
4. Chez les Yé-Yé
5. Black March
6. Black Trombone
7. Ce Mortel Ennui
8. Générique
9. Coco and Co.
10. Intoxicated Man
11. Elaeudanla Téïtéïa
12. Le Talkie-Walkie
13. Some Small Chance
14. Quand Tu T'Y Mets (When You Go for It)
15. La Fille au Rasoir
16. Quand Mon 6'35 Me Fait les Yeux Doux
17. Fugue
18. Machins Choses (What's His Name)
19. Negative Blues
20. Wake Me at Five

Serge Gainsbourg - piano, voix
Elek Bacsik - guitare electrique
Michel Gaudry - contrebasse
Alain Goraguer - arrangements et direction d'orchestre


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Ella Fitzgerald - Like Someone In Love, 1957


1 There's a Lull in My Life 3:23
2 More Than You Know 3:14
3 What Will I Tell My Heart? 3:27
4 I Never Had a Chance 2:44
5 Close Your Eyes 2:54
6 We'll Be Together Again 3:18
7 Then I'll Be Tired of You 3:10
8 Like Someone in Love 3:07
9 Midnight Sun 3:54
10 I Thought About You 2:51
11 You're Blasé 3:55
12 Night Wind 3:16
13 What's New? 3:04
14 Hurry Home 4:37
15 How Long Has This Been Going On? 5:48

Ella Fitzgerald - Vocals
Stan Getz - Sax (Tenor)
Ted Nash - Sax (Alto)
Frank DeVol - Conductor
Norman Granz - Producer

AMG:

"Ella Fitzgerald was accompanied by an orchestra arranged by Frank DeVol for this fine studio session; the CD reissue has been augmented by four selections recorded a month later. Most of the songs are veteran standards, Stan Getz's warm tenor helps out on four tunes, and — although this is not an essential release — her voice was so strong and appealing during this era that all of her recordings from the mid- to late '50s are enjoyable and easily recommended."

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Annette Funicello (USA) - The Best Of Annette, 1958-1964


1 Tall Paul 1:35
2 Tell Me, Who's the Girl? 2:13
3 Train of Love 2:42
4 Let's Get Together 2:12
5 Pineapple Princess 2:26
6 The Monkey's Uncle 2:32
7 Merlin Jone 2:17
8 Beach Party Tonight 2:02
9 Jamaica Ska 2:32
10 Bikini Beach Party 1:57
11 Let's Twist Again 2:06
12 Surfer's Holiday 1:58
13 Stuffed Animal 2:20
14 Blame It on the Bossa Nova 2:54

AMG:

"Annette Funicello was 13 years old when she was discovered by studio head Walt Disney dancing in an amateur production of Swan Lake in Fullerton, CA. Much to the enmity of her Mickey Mouse Club co-stars, Funicello joined the cast late in the show's first season and was not required to audition. However, Disney's impulses proved correct, as she swiftly became the most popular performer on The Mickey Mouse Club and featured in her own storyline, Adventures in Dairyland. Soon it was obvious that Funicello needed to make records in order to exploit her potential as a teen star, and while Annette wasn't very enthusiastic about her ability to sing, Disney engaged established arranger Tutti Camerata to pilot her career as a recording artist. Funicello's first record, "Tall Paul," peaked at number seven on the Billboard pop charts and spent nine weeks there; it would prove the highest chart position she would enjoy. Nevertheless, Funicello's enormous audience base — mostly teen girls — was enough to support her through 12 albums released through 1965, all but the first appearing on the Buena Vista label, a record company begun by Walt Disney so that Funicello's records need not appear on the Disneyland imprint.

Funicello ultimately got accustomed to making records, and genuinely enjoyed working with Camerata, one of the few forty-something arrangers of the time who "got" the basic building blocks of early rock music. Her albums gradually improved starting with the third one, Annette Sings Anka, probably the first LP to treat the work of a rock songwriter as repertoire. In 1963, Funicello starred in Beach Party, the first of five immensely popular "beach party" films, usually co-starring Frankie Avalon; although produced by AIP, the scripts of every one of these films was personally read and approved by Walt Disney in order to protect Annette's squeaky-clean image. Funicello's film vehicles proved important grounds for breaking other artists; Stevie Wonder appeared in Muscle Beach Party (1964), James Brown in Ski Party (1965), and the Beach Boys backed her up in her final film for Disney, The Monkey's Uncle (1965). Funicello's own personal best in terms of LPs came with the soundtrack album to Muscle Beach Party.

In 1965, Funicello informed Disney about her intention to marry, and to retire from acting, and Disney gave his blessing. Although she did appear afterward in a few films, including the Monkees' Head (1968), made TV commercials, and appeared in Dick Clark specials in the 1970s, Funicello essentially remained a retired, full-time mom from 1965 forward. She made one more album in the 1970s, The Annette Funicello Country Album, and it proved the only record she made that reflects her personal interests in music. In 1993, Annette Funicello disclosed that she was suffering from multiple sclerosis, and has not appeared in public since then. Her work for Buena Vista remains an acquired taste, a little too saccharine for some listeners. However, some of Camerata's arrangements really do "rock" and Funicello's bright, straightforward, and always enthusiastic singing looks forward to female pop singers of a much later era, the new wave vocalists of the 1980s."

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