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Piano Gospel Cd
Locating The Optimal Piano Lessons By Ear On DVDs
For many people, thinking about piano lessons conjures up childhood memories of going to weekly lessons and long hours of boredom practicing the basic principles. For some who will be considering enrolling their unique children in piano lessons, the logistics of taking kids to lessons and the expense involved may seem overwhelming. Adults who’ve always wished they might have fun playing the piano might feel silly signing up with an instructor who mainly teaches children.
Thankfully, as times have changed, so have the ways through which piano lessons are taught. Together with traditional piano lessons, you’ll find online piano lessons and even piano lessons by ear on DVDs. For many individuals, understanding how to learn piano by ear is an incredibly enriching and rewarding experience. Will play piano because of their own enjoyment, however they can also learn the chord progressions necessary to tackle jazz piano, gospel piano, and also contemporary music.
There are numerous benefits of purchasing a piano course on DVDs, the obvious that is that you could literally save thousands on piano lessons. Moreover, it’s not necessary to make time to attend a coach every week, or handle the logistical hassles of taking kids too and from piano lessons. With DVDs, you can consider the lessons at the own pace at whatever time is most commodious for you.
In case you are thinking of buying a piano course on DVD, it is critical to select the best one. You should, as an example, choose a course that will offer you a year’s valuation on piano lessons. Similarly, one of many factors you should think of is the place where accessible the teachings are to the newbie. Music theory, as an illustration, should be explained in terms which might be feasible for people of all ages to understand. Terms that you should covered are the circle of 5ths, scale degrees, chord construction, chord families, chord inversions, chord alteration, harmonic direction, and ear-theory principles.
Naturally, playing the piano is a bit more than music theory. The DVD set you ultimately choose should feature an instructor who may have years of experience both teaching and playing the piano. Because the process of learning how to read music is usually an obstacle to prospects who otherwise enjoy understanding how to learn the piano, the lessons you choose should educate you on the way to adhere to ear by using hundreds of chording techniques.
If you choose the right DVD set, and employ for the 30 minute every day, by the end of ninety days you have to be able to play chord progressions, master the most important scales, and know the way most songs are arranged. It’s also wise to be able to play in several musical styles, such as contemporary gospel, jazz, blues, country, pop, and ballads.
Learning how to play the piano doesn’t have to be an arduous process; indeed, it could be filled with enthusiasm and excitement. You need to simply find the appropriate piano lessons by ear on DVDs and allow music flow!
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Piano Gospel Cd
Beginner Piano Lessons
Beginner piano lessons should start at a very early age, ranging from 1 to 11 years old. These age bracket is suitable for taking up beginner piano lessons. When the child shows interest in taking up these lessons, there is a lot of chance producing a good pianist in the future.
In taking these types of lessons you will learn how to use the piano. How to make the music come out with each and every movement of your finger. You should learn the proper posture as to avoid straining your back again and injure your backbone in the process. Learning the correct hands posture is vital that you should learn, you should learn hoe to use all your fingers in playing the piano. You have to use all 10 of your fingers not just a number of them.
Learn how to read notes. Wither it’s F minor or Y major. It is fun reading through piano notes. You will also learn how to count the notes. If you learn how to do these, it will tell you just how long you have lean your fingers in the piano pieces for the half note and entire note. or even a quarter be aware. You cannot play the piano if you don’t know how to read the notes on the piece of the song you need to play.
You should be able to use or even play the cord progression; it’s a patterned series of chords. You’ll be taught how to exercise your fingers, this activity may teach you how to use them with pace and accuracy. And you should learn how to appreciate good music on hearing it. A good hearing for good and bad songs is necessary, this will help you determine negative and positive performances.
Having learned many of these, you will be asked to play a few simple piece of song to rehearse playing. You will be taught how you can read a music linen. Maybe a children rhyme, for starters. This particular activity will show if you understand to use the piano intervals. Piano interval is the space between the information. Learning this will provide spaces to each note and this procedure will prevent the notes and also the sound in colliding with each other. The end result sound will be harmonious.
And after these you will be given complex and more difficult song pieces that you can play on your piano. And if you been successful in doing all the tasks your instructors asks you to do, hen it is time for you to ask your parents to buy you, your very own piano if you can afford it. Click this site http://www.BeginnerPianoLessons.org for more information.
piano gospel cd
how to take lyrics out of cd and just have the music?
I attend a very small church. We don’t have a piano player and I would like to take some of the gospel Cd’s I have a make soundtracks for the choir and for those that want to sing solo.
The type of songs you are looking for are actually called “instrumentals”. You can look online and on iTunes for the instrumental of whichever song you are looking for
Bishop CD Miller~Chris, Play That Gospel Music “White Boy!”
Below are some cheap but quality products related to piano gospel cd. We are pretty sure you will find good deals with the products below relating to piano gospel cd. Enjoy!
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Hal Leonard Gospel Piano Book/CD $16.16 Hal Leonard Gospel Piano Book/CD |
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Hal Leonard Gospel Piano Book/Cd $16.16 This comprehensive book/CD pack provides you with the tools you need to play in a variety of authentic gospel styles, through a study of rhythmic devices, grooves, melodic and harmonic techniques, and formal design. The accompanying CD features over 90 tracks, including piano examples as well as the full gospel band to help capture the true flavor of the style.Softcover with CD80 pagesSize: 12″ x 9″Author: Kurt CowlingISBN: 1423412494 |
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Gospel Piano $17.95 (Hal Leonard Keyboard Style Series). Keyboard Instruction. Softcover with CD. 80 pages. Published by Hal Leonard |
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121 Fills for Gospel & Country Piano Book/CD Set $19.95 By Danny Crawford. For Piano. Improvisation. Music Maker Books. Gospel-Old Time. Intermediate. Book/CD Set. 38 pages. Published by Music Maker Books |
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Gospel Classics $9.95 “(12 Artistic Arrangements for Worship Services, Concerts and Recitals). By Mark Hayes. Arranged by Mark Hayes. For Piano. Piano Collection; Piano Supplemental. Sacred Performer Collections. Gospel; Sacred. Advanced. CD. Published by Alfred Music Publishing” |
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You Can Teach Yourself Gospel Piano Book/CD Set $19.95 “By Gail Smith. For Piano. Methods. You Can Teach Yourself. Gospel-Old Time. Intermediate. Book/CD Set. 126 pages. Published by Mel Bay Publications, Inc” |
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Gospel Piano Keyboard Style Songbook $17.95 “This comprehensive book/CD pack provides you with the tools you need to play in a variety of authentic gospel styles, through a study of rhythmic devices, grooves, melodic and harmonic techniques, and formal design. The accompanying CD features over 90 tracks, including piano examples as well as the full gospel band to help capture the true flavor of the style.” |
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Gospel Favorites $11.99 (Piano Play-Along Volume 103). By Various. Piano Play-Along. Softcover with CD. 32 pages. Published by Hal Leonard |
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Alfred Gospel Classics Advanced Piano $12.56 Alfred Gospel Classics Advanced Piano |
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The World’s Greatest Gospel Songs $34.95 “(Powerful Songs of Worship). By Various. For piano, voice, and guitar (chords only). Shawnee Press. Sacred, Gospel, Worship. Book with CD. 98 pages. Shawnee Press #SB1038. Published by Shawnee Press” |
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Hal Leonard Contemporary Gospel Favorites For Piano And Guitar $8.96 Hal Leonard Contemporary Gospel Favorites For Piano And Guitar |
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Hal Leonard Ragtime Gospel Hymns – Piano Solo $8.06 Hal Leonard Ragtime Gospel Hymns – Piano Solo |
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Gospel $12.95 “Gospel music has a rich history and delights listeners with a prominent use of colorful harmony and spirit-lifting rhythms. These solo piano arrangements of favorite gospel songs feature lyrics, suggested fingerings, phrasing, pedal markings, and easy-to-read notation. Titles: Amazing Grace * At Calvary * Do Lord * Give Me That Old-Time Religion * God Is So Good * He Hideth My Soul * Heas Got the Whole World in His Hands * Higher Ground * His Eye Is on the Sparrow * In the Garden * Iave Got Peace Like a River * Jesus Loves the Little Children * Joshua Fit the Battle of Jericho * Just a Closer Walk with Thee * Kum Ba Yah * Leaning on the Everlasting Arms * Let Us Break Bread Together * My Jesus, I Love Thee * The Old Rugged Cross * Rock of Ages * Swing Low, Sweet Chariot * This Little Light of Mine * When the Saints Go Marching In.” |
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Hymns & Gospel Tunes for Cello & Piano Book/CD Set $22.99 “By Renata Bratt and Bert Ligon. For Cello. Solos. Sacred. Beginning-Intermediate. Book/CD Set. 56 pages. Published by Mel Bay Publications, Inc” |
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10 Hymns and Gospel Songs for Solo Voice – Medium High (Book/CD) $20.76 “(For Concerts, Contests, Recitals and Worship). Arranged by Mark Hayes. For medium high voice solo and piano accompaniment (High voice (Medium-High)). This edition: Book & Accompaniment CD. Vocal; Vocal Collection; Worship Resources. Mark Hayes Vocal Solo Collection. Hymns, Gospel and Play Along. Difficulty: medium. Songbook and accompaniment CD. Vocal melody, lyrics, piano accompaniment and introductory text. 72 pages. Published by Alfred Music Publishing” |
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Gospel Riffs God Would Love to Hear $22.95 By Andrew D. Gordon. For Piano. Spiral bound. Gospel/Piano Instruction. Intermediate/Advanced. Book & CD. 64 pages. Duration 70 minutes. Published by ADG Productions |
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Country Gospel Piano Solos $8.95 “By Gail Smith. For Piano. Solos. Gospel-Old Time. SMP Level 5 (Intermediate). Book. 40 pages. Published by Mel Bay Publications, Inc” |
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Gospel Piano Made Easy $7.95 “By Gail Smith. For Keyboard (Piano). Solos. Made Easy. Gospel-Old Time. Beginning. Book. 32 pages. Published by Mel Bay Publications, Inc” |
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The Gospel $16.95 (Music from the Motion Picture Soundtrack). By Various. Piano/Vocal/Guitar Songbook. 88 pages. Published by Hal Leonard |
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Gospel Songs Of Devotion – Easy Piano $14.95 “(Easy Piano). By Various. For voice and easy piano. Easy Piano Songbook. Gospel. Difficulty: easy-medium. Songbook. Vocal melody, piano accompaniment, lyrics and chord names. 160 pages. Published by Hal Leonard” |
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Old Time Gospel Piano $12.95 “Edited by Linda M. Cummings. Arranged by Stan Whitmire. For Piano. Transcribed Solos. Green Hill Records. Gospel-Old Time. Intermediate-Advanced. Book. 64 pages. Published by Mel Bay Publications, Inc” |
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Good Ol’ Southern Gospel – Easy Piano $9.95 “(Easy Piano). By Various. For voice and easy piano. Easy Piano Songbook. Gospel and Southern Gospel. Difficulty: easy-medium. Songbook. Vocal melody, piano accompaniment, lyrics and chord names. 64 pages. Published by Hal Leonard” |
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Gospel Treats for Jazz Piano $14 By John Carter. For piano solo. General. Piano Music. Published by Augsburg Fortress |
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Easy Gospel Piano $12.95 “By Jack Schrader. For Piano Solo. This edition: Complete. Piano Collection. General, Sacred. Moderate. Collection. Published by Hope Publishing Company” |
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Gospel Greats $16.95 “Arranged by Joel Raney. For Piano Solo. This edition: Complete. Piano Collection. General, Gospel, Blues-Gospel-Spirituals, Hymntune, Sacred. Collection. 86 pages. Published by Hope Publishing Company” |
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Hal Leonard The Best Gospel Songs Ever For Easy Piano $17.96 Hal Leonard The Best Gospel Songs Ever For Easy Piano |
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Hal Leonard Gospel Treasures – Phillip Keveren Series For Easy Piano $10.76 Hal Leonard Gospel Treasures – Phillip Keveren Series For Easy Piano |
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Hal Leonard Beloved Gospel Songs For Big Note Piano $8.99 Hal Leonard Beloved Gospel Songs For Big Note Piano |
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Hal Leonard Smoky Mountain Gospel Favorites Piano, Vocal, Guitar Songbook $8.95 Hal Leonard Smoky Mountain Gospel Favorites Piano, Vocal, Guitar Songbook |
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Hal Leonard Gospel Songs Piano, Vocal, Guitar Songbook $8.95 Hal Leonard Gospel Songs Piano, Vocal, Guitar Songbook |
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Hal Leonard Gospel Hymn Favorites – Beginning Piano Solos $7.16 Hal Leonard Gospel Hymn Favorites – Beginning Piano Solos |
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Hal Leonard WOW Gospel 2005 Piano, Vocal, Guitar Songbook $26.99 Hal Leonard WOW Gospel 2005 Piano, Vocal, Guitar Songbook |
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Hal Leonard The Big Book of Gospel Songs Piano, Vocal, Guitar Songbook $19.95 Hal Leonard The Big Book of Gospel Songs Piano, Vocal, Guitar Songbook |
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Hal Leonard The Best Gospel Songs Ever Piano, Vocal, Guitar Songbook $19.95 Hal Leonard The Best Gospel Songs Ever Piano, Vocal, Guitar Songbook |
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Country Gospel Piano $16.99 (Timeless Favorites Arranged for Solo Piano). Arranged by Barny Robertson. Piano. Lillenas Publications. Sacred. Moderately Advanced. Keyboard Book. 64 pages. Lillenas Publishing Company #MB887. Published by Lillenas Publishing Company |
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Gospel Violin Book/CD Set $19.95 “By Bill Guest. For Violin. Solos. Gospel-Old Time. Beginning-Intermediate. Book/CD Set. 20 pages. Published by Mel Bay Publications, Inc” |
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GRACE BY SOWETO GOSPEL CHOIR (CD) $28.63 Artist: SOWETO GOSPEL CHOIR Genre: World Music Release Date: 26JAN2010 |
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Christmas Carols for Gospel Piano $9.99 By Various. Piano Solo Songbook. Softcover. 52 pages. Published by Cherry Lane Music |
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Gospel Greats For Organ And Piano $12.5 By Harold Decou. For organ and piano. Sacred. 3-staff. Book. Published by Lorenz Publishing Company |
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Gospel Greats For Organ and Piano $16.95 “Arranged by John Wilson. For Organ & Piano Duet. This edition: Complete. Instrumental Collection. General, Sacred. Moderate. Instrumental Book. Published by Hope Publishing Company” |
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A Gift of Gospel $15 “(Contemporary piano stylings of favorite American hymns and gospel songs). By John Turner. For piano. Sacred: General, Spiritual. Level 2+. Book. Published by Lorenz Publishing Company” |
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You Can Teach Yourself Gospel Piano $10.95 “By Gail Smith. For Piano. Methods. You Can Teach Yourself. Gospel-Old Time. Intermediate. Book. 126 pages. Published by Mel Bay Publications, Inc” |
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Gospel Dobro Book/CD Set $22.95 “By Ken Eidson and Tom Swatzell. For Guitar (Resonator). Solos. Gospel-Old Time. Beginning-Intermediate. Book/CD Set. 88 pages. Published by Mel Bay Publications, Inc” |
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The Gospel of John [CD and Study Guide] $76.95 The Fourth Gospel is called the “Catholic Gospel” because in its pages you’ll find the undeniable truth of the central doctrines of the Church-but only if you know how to look. That’s just one of the many reasons you need a systematic program for investigating this sacred book. In fact, according to Scott Hahn, “A student who can truly understand the Gospel of John will have a firmer grasp of the Christian message than many contemporary theologians!” Gospel of John Audio Bible Study Dr. Scott Hahn’s audio Scripture study course on the Gospel of John has just been digitally re-mastered and is now available on CD for the first time. In one of his most comprehensive and popular presentations ever, Dr. Hahn combines classic Catholic interpretation with contemporary biblical scholarship, recent discoveries in the original Greek text and a stunning analysis of ancient Jewish sources. Gospel of John Study Guide Specially designed in a user-friendly workbook format, the Gospel of John Study Guide will enable you to master Dr. Hahn’s material more effectively than ever before. By answering “fill-in-the-blank” and multiple-choice? questions as you go, you’ll be able to fully capture key points and get the “facts” down for future reference. This essential handbook also includes relevant quotes from the Catechism and other authoritative teaching, plus important Scripture verses so you won’t have to juggle the workbook and your Bible. Finally, discussion questions facilitate group study and help you to deepen your personal knowledge of John’s Gospel. You Will Learn: What are the important concepts addressed in John’s Gospel The true meaning of the cleansing of the Temple Why the early Church Fathers believed the wedding feast at Cana was so significant The crucial role of St. John the Baptist in the Fourth Gospel How Christ is the Light of the World The underlying meaning of signs in the Gospel Why Christ answered Nicodemus in the way He did The implications of Jesus curing on the Sabbath The meaning of the multiplication of the loaves. Available as: 15 CDs and Study Guide (Item #8001292) or Study Guide alone (Item #1001632). See also: The Gospel of Matthew The Gospel of Mark The Gospel of Luke |
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Blessings $6.99 … |
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Glory $9.99 … |
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Precious Memories $5.89 A few decades ago nearly every country singer had at least one–often more–gospel albums in their catalog. Today, aside from gospel veteran Amy Grant, who balances the sacred and secular, and Randy Travis, that concept has long faded. For Alan Jackson, however, treating the musical past as present has been a way of life, as it is with these 15 timeless hymns from his youth. Recorded with just two… |
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Michael W. Smith – Live in Concert: A 20 Year Celebration $7.97 LIVE IN CONCERT: A 20 YEAR CELEBRATIO – DVD Movie… |
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VH1 Divas Live $6.92 Once an appellation reserved for high-flying operatic stars, the diva has gone mainstream in recent decades, mirroring pop music’s post-rock recovery of glitz, glamour, and theatrical hyperbole. Where once there was but a handful of pop divas, fans can now find a growing legion of contenders, a trend underscored by this 1998 cable special originally produced for VH1. The show’s producers start w… |
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Jimmy Swaggart and His Golden Gospel Piano – a Jim Video Album (DVD – 73 Minutes) $21.95 … |
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Wee Sing Bible Songs (Wee Sing) CD and Book Edition $5.11 Songs of praise, prayer, Scripture, Bible stories and Bible heroes are shared by a charming children’s choir. Hear marches, clap alongs, action songs, call and response, and quiet, prayerful songs. This is a wonderful collection of traditional Sunday school songs that have been sung for decades…. |
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The Praise & Worship Fake Book: An Essential Tool for Worship Leaders, Praise Bands and Singers! $21.75 We proudly present this collection of more than 400 praise & worship songs, from classic ?standards? to the best current titles by top worship leaders such as Paul Baloche, Brenton Brown, Don Moen, Matt Redman, Michael W. Smith, Chris Tomlin and Darlene Zschech. With great arrangements for all ?C? instruments, this fake book is an invaluable resource for musicians from hobbyists to pros. It featur… |
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Blues Piano: Hal Leonard Keyboard Style Series (Keyboard Instruction) $10.71 Ever wanted to play the blues, but weren’t sure where to start? Blues Piano will teach you the basic skills you need. From comping to soloing, you’ll learn the theory, the tools, and even the tricks that the pros use. And, you get seven complete tunes to jam on. Listen to the CD, then start playing along! Covers scales and chords, left-hand patterns, walking bass, endings and turnarounds, right-ha… |
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‘Round Midnight $11.99 Criminally unsung pianist and singer Andy Bey had the most visible career after he and his sisters Salome and Geraldine Bey broke up their performing trio after an 11-year run in 1967, but this family singing ensemble was far more than just the act that launched Andy, and he wasn’t really the focus of the group. All three siblings were highlighted equally in the trio, and their harmonies together were the ethereal kind that can only happen in a family where all involved have grown up hearing each other’s voices and phrasing every single day. The Bey trio recorded very little together, unfortunately, just a single album for RCA in 1961 and two albums for Prestige, Now! Hear!, released in 1964, and this one, ‘Round Midnight, from 1965. Part gospel, part muted R&B, part stylized blues, the Bey trio was also very much a jazz outfit, due in no small part to Andy’s underappreciated piano playing and the presence of bop veterans like Milt Hinton on bass, Osie Johnson on drums, and Kenny Burrell (who appears on about half of the tracks here) on guitar. In essence, the Bey trio sounded like a thinned-out and more jazzy, gauzy version of the Staple Singers. Highlights from this reissue, which is quite short (only around 33 minutes) by modern CD standards, are a wonderfully balanced version of Ray Charles’ “Hallelujah, I Love Her So,” a stirring take on Billie Holiday’s “God Bless the Child,” the ever expanding and ascending “Feeling Good,” and a fine rendition of the title track, Thelonious Monk’s “‘Round Midnight,” which has never been the easiest song in the world to sing effectively, but the trio nails it here in what might have been deemed a definitive version if it had actually been heard by more than a handful of people. Prestige released Andy Bey & the Bey Sisters in 2000, which includes both the trio’s albums for the label on one disc, and that is definitely the way to go, although this short set does do a decent job showing off the range and talents of thi… |
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121 Fills for Gospel & Country Piano $15.95 New – How do I learn new licks? How does the number system work? How can I memorize the scales? These are some of the questions asked by many country and gospel pianists, yet unanswered by traditional music lessons. These topics and more are covered in the straight forward, easy to understand book. Authored by one of gospel music’s most recorded pianists, this book and CD is designed for easy use by both music readers and by those who solely play by ear. Here in one collection are 121 different |
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30 $11.99 Harry Connick, Jr.’s 30 was recorded during 1997 around the time of his 30th birthday, though it wasn’t released until shortly after his 34th birthday in 2001. Primarily a solo release featuring his piano and vocals, Connick returns to his jazz roots with a vengeance, though he doesn’t stick exclusively to jazz repertoire; examples include his down-home vocals accompanying a strutting take of Fats Domino’s “I’m Walkin’,” a campy, Monk-like waltz treatment of “Somewhere My Love (Lara’s Theme)” (from the film Dr. Zhivago), and an imaginative reworking of the usually nauseating pop hit “Tie a Yellow Ribbon.” Connick salutes Louis Armstrong by singing and playing “The Gypsy” and a romping “Way Down Yonder in New Orleans.” He revives two songs that have fallen from favor: a rollicking take of Cole Porter’s “Don’t Fence Me In” and the moody ballad “Don’t Like Goodbyes,” a collaboration between Harold Arlen and Truman Capote. The guest spots are a special treat. Connick’s former bassist, Ben Wolfe, joins him for a stripped-down, slower-than-usual take of “If I Were a Bell” and Reverend James Moore (in one of his last recordings prior to his death) adds his organ and vocal on Doc Pomus’ gospel-flavored “There Is Always One More Time.” The big surprise is that Wynton Marsalis is featured on piano, initially accompanying Connick’s vocal on “I Only Miss Her When I Think of Her” before giving up the bench to the singer and finishing this lovely ballad on trumpet. Jazz fans attracted to Connick in his early days will greatly appreciate this very fine effort, but will wonder why it took so long for it to be released. ~ Ken Dryden, Rovi |
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61 and 49 $16.98 The sophomore release from guitarist Eldred along with Blasters members John Bazz on bass and drummer Jerry Angel is a rock ? em, sock ? em mix of high-octane rockabilly and rollicking blues drenched in Memphis soul. High-profile guests range from the late Ike Turner (on piano!) in one of his last recorded performances (Turner’s final album was also on the Zoho Roots label), Elvis guitarist Scotty Moore, Los Lobos co-founder Cesar Rosas, and ex-Fabulous Thunderbirds guitar wildman Kid Ramos. They make impressive contributions but this is Eldred’s show as he shifts from the sweet, Hendrix-inspired tone of the instrumental ballad “Ruby’s Blues” to the Chuck Berry/Stones rave-up of “Jimmy, Jimmy,” with Turner’s piano pounding like Jerry Lee Lewis in his prime. Rosas adds Latin flavor to the gospel strains of “This Old Train,” but “I Ain’t Comin’ Back” channels Stevie Ray Vaughan’s “Cold Shot” a little too closely for comfort. The recording is crisp, live sounding, and generally filled with sharp, original songwriting that takes some edgy, even extreme chances, such as on “Mr. Newman,” a song about a pedophile from his victim’s point of view. Not exactly the kind of subject matter you’d expect from a roots-rocking guitarist. That lyrical intensity is tempered by some straight-ahead Texas shuffling in the comparatively simplistic “Lookie Here” and the Ramos-enhanced “Louise.” Eldred unplugs and goes solo country-Delta for the Robert Johnson-styled title track, another change of pace in an eclectic album filled with them. The guitarist is a more than adequate singer too, and the fact that he penned all of these tunes, even as derivative as many of them are, shows he’s a triple talent as a player, vocalist, and songwriter. The two backing members create a palpable groove throughout, especially on the Booker T.-influenced instrumental “Ms. Gayle’s Chicken House,” making it obvious why they are given somewhat equal billing as a trio. Eldred’s articulat… |
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Affirmation $16.98 Hoping to build on the momentum gained by her Mercury Music Prize-nominated breakthrough album, Who I Am, Beverley Knight’s fourth effort abandons her soul credentials and goes straight for the commercial pop jugular. Working with an array of collaborators including Coldplay’s Chris Martin and Robbie Williams’ ex-songwriting partner Guy Chambers, Affirmation clearly has one eye on dominating the airwaves as much as her biggest hit, “Shoulda Woulda Coulda,” did two years previously. Indeed, lead single “Come as You Are” should have no problems finding its way onto radio playlists, its swirling keyboards, psychedelic guitars, and almighty chorus creating a Lenny Kravitz-meets-Pink pop/rock stomper. The inclusion of a cover, “Keep This Fire Burning,” originally a hit for Robyn in her native Sweden, also signifies Knight’s intentions — its exuberant catchy pop is a million miles away from her urban roots but much more likely to score her a number one hit. Best of all is the Chris Martin-penned “The First Time,” which shows that his dalliance with R&B on Jamelia’s “See It in a Boy’s Eyes” was no fluke. A gorgeous, gospel-inspired ballad, it’s far removed from the epic stadium rock his day job is usually associated with. Lyrically, Knight is as daring as ever. “No One Ever Loves in Vain” is a subtle piano-driven confessional about the loss of a friend, while the melancholic “Salvador” addresses AIDS, showing that Knight’s commercial sensibilities haven’t hampered her ability to tackle big issues. Inevitably, with the attempt to cover several bases, Affirmation may alienate fans of her more soulful first two records. The over-produced likes of “Tea and Sympathy” and “Till I See Ya” dilute Knight’s impassioned vocals, while “Supasonic” is perhaps one Prince homage too far. But overall, there are enough gems on here to suggest that Affirmation may achieve the commercial success it so obviously craves. ~ Jon O’Brien, Rovi |
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Aim and Ignite $9.99 Even in the early part of the 21st century when everything from heavy metal dub to unlistenable lo-fi shoegazer mumblings gets rave reviews in the online press, progressive rock still has a bad name. So when a band comes along claiming both ELO and Sly & the Family Stone as influences, you can’t help but cringe. Thankfully, the oddly punctuated band known as Fun. doesn’t take itself too seriously. It’s progressive, but in the best possible way. Full string sections provide Beatlesque swells of sound, churchy harmonies hint at African American Gospel music and the swooning vocals of Queen, and, yes, the rhythm section does have some of the pop bombast of ELO, but the diverse elements all come together neatly in service of the song. The arrangements break down rigid song structures with an open-ended and open-minded creativity that ranges far and wide over the musical spectrum. This music needs to be listened to as an album, in one sitting, so you can appreciate the way the musical and lyrical ideas flow together and play off of each other. That said, there are moments of genius that grab you even on your first casual listen. “At Least I’m Not as Sad (As I Used to Be)” sounds like a long-winded country song title, but it’s a cabaret-flavored rock song with a vaguely Latin instrumental break, big grand piano flourishes, a nursery rhyme chorus, and a big finish. The ambiguous lyric deals with the loss of friends, or maybe the loss of one’s soul, and could be a parable about the music business, or just growing up, as Nate Ruess sings it in a tenor voice full of an adolescent yearning. Life-long love is not often addressed in rock music, but that’s the subject of “The Gambler.” You could call it the grown-up cousin of “When I’m 64,” a long, beautiful, linear narrative that takes love from 18 to old age, making the journey sound lovely and worthwhile. “Be Calm” is based in part on the melody from Beethoven’s “Ode to Joy,” an old prog rock trick, but Fun. keeps… |
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Anthology of American Folk Music, Vol. 4 $31.98 The Harry Smith-compiled three-volume Anthology of American Folk Music set, originally released in the 1950s and reissued to much brouhaha in 1997, was one of the most important records in launching the folk revival. It was not well known, though, that Smith compiled a fourth volume that was unissued. Revenant finally put it out in 2000, and like its three predecessors, it contains classic pre-World War II American country, blues, and folk music, with some gospel and Cajun too. It does differ from the first three volumes in its focus on a slightly later period, with all the tracks culled from the years 1928-1940. Leadbelly, Robert Johnson, Joe Williams, Bukka White, Memphis Minnie, and John Estes are all major blues artists; the Monroe Brothers, the Carter Family, Uncle Dave Macon, and the Blue Sky Boys all giant country/bluegrass pioneers; and the Hackberry Ramblers are one of the pre-eminent Cajun groups. A few of these songs are archetypes that have burned their way into the American collective musical consciousness: John Estes’ “Milk Cow Blues,” the Carter Family’s “No Depression in Heaven,” Joe Williams’ “Baby Please Don’t Go,” and the Monroe Brothers’ “Nine Pound Hammer Is Too Heavy.” Other less famous performances are quite intriguing, like Sister Clara Hudmon’s “Stand By Me” (believed by some to be Bessie Smith recording under a pseudonym) and Jesse James’ raw and rollicking piano blues “Southern Casey Jones.” At 28 songs spread over two CDs, it’s a little shorter than might be expected for a box set, though as compensation, it’s enclosed in a pretty incredible 96-page liner-note-sized hardcover book with writing by Dick Spottswood and John Fahey. ~ Richie Unterberger, Rovi |
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Arizona Motel $17.98 Frontman and co-founder Chris Gaffney’s untimely death in April 2008 ensures that Arizona Motel is the final release from this rootsy country-soul quintet. Unfortunately, the band was just starting to receive national recognition due to constant touring when Gaffney was diagnosed with liver cancer. At least they had time to record a final set and leave on a high note, as this album is a logical continuation of the two previous studio projects and one live disc. Gaffney is in fine form, singing the majority of the songs and infusing them with his heartfelt honesty. Opener “A Lot of Days Are Gone” is particularly affecting, especially in retrospect. On it, guitar-slinging shotgun rider Dave Gonzalez trades lead vocals as Gaff sings “There was always time, but now it’s slipped away” for a honky tonk ballad that can also be seen as a moving summary of Gaffney’s life. The legendary Dan Penn, who produced both previous studio sets, returns for five (of the 14) tracks, and he wrote two of those, including the closing “Break Free,” which features one of Gaffney’s most emotional vocals. The rest are credited to the band, which keeps the sound appropriately stripped down yet not raw. The twangy R&B approach is best captured on the ballad “Ordinary Soul,” a weeper that hits the sweet spot between genres as effectively as any in the group’s catalog. It’s highlighted by guest Joe Terry’s (Dave Alvin, the Skeletons) piano, a subtle yet essential addition to the majority of these songs. The members get a rare chance to solo on “Light It Again Charlie,” the only instrumental and one of the few instances where Gonzalez opens up on guitar. “Soul Mountain” balances between country, blues, and gospel on an upbeat shuffle offset by the rest of the typically slower tunes. A few covers highlighted by Connie Smith’s “I’ll Come Running” and Hank Williams’ “When You’re Tired of Breaking Other Hearts” pepper the disc, and Gaffney dips into George Jones’ expressive territory… |
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Baltimore $11.99 After an uncharacteristic (for her) four-year hiatus from recording, Nina Simone returned to the fringes of the pop world with Baltimore, the only album she recorded for the CTI label. While it bears some of the musical stylings of the period — light reggae inflections that hint of Steely Dan’s “Haitian Divorce” — the vocals are unmistakably Simone’s. Like many of her albums, the content is wildly uneven; Simone simply covers too much ground and there’s too little attention paid to how songs flow together. As a result, a robust torch piano ballad like “Music for Lovers” is followed immediately by one of Simone’s more awkward moments, an attempt to keep up with a jaunty rhythm track on a cover of Hall & Oates’ “Rich Girl.” Still, one must give her credit for always being provocative in her cover song choices, as she clearly scores on the Randy Newman-penned title track and a dramatic reading of Judy Collins’ “My Father.” Her voice throughout is in fine form, even when she phones it in on the album-closing traditional gospel tunes, but arranger David Matthews is a mismatch for her: He blows the arrangements with excessive string overlays and needlessly blaring background vocals. Simone herself all but disavowed the album shortly after its release, testament to her eternally contrarian, iconic nature. Despite her misgivings, though, Baltimore is an occasionally spellbinding if erratic album, a challenging and worthwhile listen for people ready to dip into the lesser-known entries in Nina Simone’s vast catalog. ~ Joseph McCombs, Rovi |
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Blues, Blues Christmas: 1925-1955 $22.98 Christmas and the blues might seem at first like a strange combination, given that the music of the holiday season is usually joyful, hopeful, and bright, but no other time of the year is so good at showing you what you don’t have, and what you can’t get, and if you have the blues at Christmas, well, it’s going to be a pretty heavy dose. This generous two-disc set from Document Records features 52 tracks of vintage African-American Christmas-themed blues and gospel pieces (with a couple of street sermons thrown in) recorded between 1925 and 1955, ranging from down-and-out laments and jailhouse moans to surprising (and occasionally risqu? ) requests for what Santa can bring down the chimney. Highlights on the first disc include the opening track, the joyous “Christ Was Born on Christmas Morn,” recorded in 1925 by comedian and female impersonator Frankie “Half Pint” Jaxon; Harry Crafton’s “Bring That Cadillac Back” (a Cadillac might not be the best gift if your girlfriend likes to ramble) from 1947; Tampa Red’s amazing, ringing slide guitar tone on “Christmas and New Year’s Blues” from 1936; and the bizarre, disturbing field recording of “Junior’s a Jap Girl’s Christmas for His Santa Claus,” sung by Willie Blackwell for Alan Lomax in Arkansas in 1942. Other high points include the charming “Christmas Boogie,” recorded in 1950 by piano prodigy (he was only ten years old when this recording was made) Frankie “Sugar Chile” Robinson and the intense, bottled-up street-corner sermon “The Wrong Way to Celebrate Xmas,” recorded by Rev. Edward Clayborn in 1928. The second disc yields even more holiday gems, including the bottleneck guitar attack of Black Ace (Babe Karo Lemon Turner) on 1937′s “Christmas Time Blues (Beggin’ Santa Claus)”; Leroy Carr’s stark and brilliant “Christmas in Jail” from 1929; a breezy, bouncing “When Jesus Was Born” by gospel harmony quartet the Sons of Heaven (who were really the Selah Jubilee Singers doing a little moonlighti… |
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Children’s Sacred Solos $11.54 Used – 15 fun songs of faith for church in kid-friendly keys with a companion CD of full performances by children soloists with piano accompaniments. Songs include: Alive, Alive * All Night, All Day * Dare to Be a Daniel * Give Me Oil in My Lamp * The Gospel Train * He’s Got the Whole World in His Hands * I Will Sing of the Mercies * I’m Gonna Sing, Sing, Sing * Jesus Bids Us Shine * Jesus in the Morning * Little David, Play on Your Harp * My God Is So Great, So Strong and So Mighty * Praise Him |
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Children’s Sacred Solos $11 Used – 15 fun songs of faith for church in kid-friendly keys with a companion CD of full performances by children soloists with piano accompaniments. Songs include: Alive, Alive * All Night, All Day * Dare to Be a Daniel * Give Me Oil in My Lamp * The Gospel Train * He’s Got the Whole World in His Hands * I Will Sing of the Mercies * I’m Gonna Sing, Sing, Sing * Jesus Bids Us Shine * Jesus in the Morning * Little David, Play on Your Harp * My God Is So Great, So Strong and So Mighty * Praise Him |
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Don Shirley – Water Boy/The Gospel According to Shirley $14.49 2 LPs on 1 CD: WATER BOY (1965)/THE GOSPEL ACCORDING TO DON SHIRLEY (1969). Personnel: Don Shirley (piano); Archie Bleyer (arranger,… |
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Evolved… From Boys To Men $14.99 In case the intentions of the PAJAM writing and production team (Paul “pda” Allen, Walter Kearney, and J. Moss) in auditioning hundreds of Detroit teens to assemble the urban gospel trio 21:03 were not clear already, the title of the group’s third album, Evolved…from Boys to Men, should spell things out explicitly. Of course, the 1990s R&B vocal quartet subtly referenced spelled their name Boyz II Men, but the point is the same. Simultaneously, the album title also suggests the emerging maturity of the singers, Evin Martin, Torrence Greene, and Jor’el Quinn, now having attained their majority by reaching their early twenties. Yet PAJAM clearly is still in charge of the act, even if Martin and Quinn are getting some co-writing credits. There is a contemporary feel to tracks like “Hear Your Voice” (with its trendy references to Facebook and Twitter) and “Already Done,” which boast Auto-Tune processing on the vocals and punchy electronic beats. And the “bangers” “Winner” and “Favor” are poised to get audiences on their feet and raving. But the album also makes room for some slow, more traditional ballads, notably “Still Here” and the testimony-filled “In Your Presence.” “All You Need” is backed largely by a piano, and the closer, “Loving You (The Wedding Song),” is set to an acoustic guitar with finger snaps for percussion. Such songs should satisfy the desires (spiritual and otherwise) of fervent young female fans and expand 21:03′s audience while also furthering their ministry. ~ William Ruhlmann, Rovi |
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From the Bottom Up $9.99 The Los Angeles-based R&B vocal trio Brownstone released its first album From the Bottom Up (on Michael Jackson’s label) in 1995. A solid debut, From the Bottom Up showcases the group’s considerable vocal talents, but Brownstone is somewhat distinctive in that the group’s members also had a hand in writing their own material. Predictably, the album’s songs alternate between R&B funk workouts and slinky slow jams, but the vocals rise above the material, making the album a delightful listen. The opener, “Party Wit’ Me,” gets things off to a funky start, and the hip-shakers “Pass the Lovin’” and “True to Me” prove Brownstone, unlike many R&B vocal groups, doesn’t rely too heavily on ballads. Fortunately, the album’s slow numbers are just as strong as the more up-tempo material; the group’s Gospel influences are evident in the album’s hit single, “If You Love Me” (a slow-burning slice of R&B vocal heaven) and especially in the slow, sad “Don’t Cry for Me.” Brownstone’s unlikely cover of the Eagles’ hit ballad “I Can’t Tell You Why” is one of the album’s most successful tracks, as is the beautiful, piano-led “Half of You.” From the Bottom Up is somewhat undermined by an overabundance of producers (of the album’s 12 tunes, the group uses no less than ten producers/production teams). But this doesn’t take away from the quality of the songs and the solid vocal performances. ~ William Cooper, Rovi |
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Fulfillingness’ First Finale $9.99 After the righteous anger and occasional despair of the socially motivated Innervisions, Stevie Wonder returned with a relationship record: Fulfillingness’ First Finale. The cover pictures his life as an enormous wheel, part of which he’s looking ahead to and part of which he’s already completed (the latter with accompanying images of Little Stevie, JFK and MLK, the Motor Town Revue bus, a child with balloons, his familiar Taurus logo, and multiple Grammy awards). The songs and arrangements are the warmest since Talking Book, and Stevie positively caresses his vocals on this set, encompassing the vagaries of love, from dreaming of it (“Creepin’”) to being bashful of it (“Too Shy to Say”) to knowing when it’s over (“It Ain’t No Use”). The two big singles are “Boogie on Reggae Woman,” with a deep electronic groove balancing organic congas and gospel piano, and “You Haven’t Done Nothin’,” an acidic dismissal of President Nixon and the Watergate controversy (he’d already written “He’s Misstra Know-It-All” on the same topic). As before, Fulfillingness’ First Finale is mostly the work of a single man; Stevie invited over just a bare few musicians, and most of those were background vocalists (though of the finest caliber: Minnie Riperton, Paul Anka, Deniece Williams, and the Jackson 5). Also as before, the appearances are perfectly chosen; “Too Shy to Say” can only benefit from the acoustic bass of Motown institution James Jamerson and the heavenly steel guitar of Sneaky Pete Kleinow, while the Jackson 5 provide some righteous amens to Stevie’s preaching on “You Haven’t Done Nothin’.” It’s also very refreshing to hear more songs devoted to the many and varied stages of romance, among them “It Ain’t No Use,” “Too Shy to Say,” “Please Don’t Go.” The only element lacking here, in comparison to the rest of his string of brilliant early-’70s records, is a clear focus; Fulfillingness’ First Finale is more a collection of excellent songs than an excellent… |
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Gospel Favorites $9.23 New – Your favorite sheet music will come to life with the innovative Piano Play-Along series! With these book/CD collections, piano and keyboard players will be able to practice and perform with professional-sounding accompaniments. Containing eight cream-of-the-crop songs each, the books feature new engravings, with a separate vocal staff, plus guitar frames, so players and their friends can sing or strum along. The CDs feature two tracks for each tune: a full performance for listening, and a |
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Gospel Favorites $7.82 New – Your favorite sheet music will come to life with the innovative Piano Play-Along series! With these book/CD collections, piano and keyboard players will be able to practice and perform with professional-sounding accompaniments. Containing eight cream-of-the-crop songs each, the books feature new engravings, with a separate vocal staff, plus guitar frames, so players and their friends can sing or strum along. The CDs feature two tracks for each tune: a full performance for listening, and a |
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Gospel Piano $10.24 Used – This comprehensive book/CD pack provides you with the tools you need to play in a variety of authentic gospel styles, through a study of rhythmic devices, grooves, melodic and harmonic techniques, and formal design. The accompanying CD features over 90 tracks, including piano examples as well as the full gospel band to help capture the true flavor of the style. |
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Gospel Piano $12.34 Used – This comprehensive book/CD pack provides you with the tools you need to play in a variety of authentic gospel styles, through a study of rhythmic devices, grooves, melodic and harmonic techniques, and formal design. The accompanying CD features over 90 tracks, including piano examples as well as the full gospel band to help capture the true flavor of the style. |
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Jazz Sessions: (Piano) $6.37 New – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help create |
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Jazz Sessions: (Piano) $26.18 New – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help create |
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Jazz Sessions: (Piano) $21.15 Used – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help creat |
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Jazz Sessions: (Piano) $12.52 New – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help create |
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Jazz Sessions: (Piano) $6.37 Used – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help creat |
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Jazz Sessions: (Piano) $4.52 Used – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help creat |
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Jazz Sessions: (Piano) $13.6 New – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help create |
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Jazz Sessions: (Piano) $12.77 New – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help create |
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Jazz Sessions: (Piano) $26.18 Used – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help creat |
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Jazz Sessions: (Piano) $21.15 New – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help create |
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Jazz Sessions: (Piano) $8.98 Used – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help creat |
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Jazz Sessions: (Piano) $12.3 Used – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help creat |
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Jazz Sessions: (Piano) $9.31 New – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help create |
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Jazz Sessions: (Piano) $12.3 New – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help create |
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Jazz Sessions: (Piano) $20.66 Used – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help creat |
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Jazz Sessions: (Piano) $24.77 Used – “Jazz Sessions” is an exciting new collaboration between Alexander L’Estrange, composer, arranger, jazz double bass player, jazz examiner for the ABRSM and Tom Pilling, composer, jazz pianist and teacher. This book/CD spans a host of jazz idioms including blues, swing, Latin and gospel with 10 carefully composed or arranged jazz standards. This contemporary mix includes “Fly me to the moon”, “Stompin’ at the Savoy” and “C Jam Blues” and the professional, acoustic backing tracks help creat |
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Little Voices Gospel $4.65 New – This title features five fun gospel songs specially selected and arranged for young groups and choirs. The included CD contains complete vocal and piano versions plus piano – only accompaniments to each song. Each themed book in the “Little Voices” series contains five songs that make a perfect introduction to part-singing for young singing groups. |
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Little Voices Gospel $12.05 New – This title features five fun gospel songs specially selected and arranged for young groups and choirs. The included CD contains complete vocal and piano versions plus piano – only accompaniments to each song. Each themed book in the “Little Voices” series contains five songs that make a perfect introduction to part-singing for young singing groups. |
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Marc Cohn $13.96 Marc Cohn is one of the finest debut albums of the 1990s, and it brought adult piano pop back to the radio. Every song is well-crafted, and Cohn’s singalong choruses, introspective lyrics, and vocal stylings reveal his ’60s soul and ’70s singer/songwriter influences. His voice is rich, but has a roughness that adds emotion when stretching to the upper end of his range while remaining subtle at the lower end. Marc Cohn shows himself to be an accomplished and versatile songwriter, from the uplifting gospel opener “Walking in Memphis,” the hit for which he is widely known, to the concluding love letter “True Companion.” Cohn has a great ear for melody and a keen eye for detail that immediately grab your attention and reward the listener with repeated plays. The album’s highlight, “Silver Thunderbird,” is a prime example of Cohn’s ability to combine storytelling with an unbelievably catchy chorus. It is not surprising that the songs played on piano work better than those written for guitar; however, the album is surprisingly consistent, even for a debut. This album is worth checking out for any listener who wonders where the tuneful pop and soul of the Big Chill era went. ~ Vik Iyengar, Rovi |
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Million Dollar Quartet [Original Broadway Cast Recording] $12.99 On December 4, 1956, Carl Perkins held a recording session at the Sun Records studio in Memphis, Tennessee, and producer and label head Sam Phillips brought in a new, unknown signee to Sun, Jerry Lee Lewis, to play piano. During the session, Johnny Cash, then also a Sun artist and a country star, dropped by, as did Elvis Presley, whose Sun contract Phillips had sold to RCA Victor, which had made Presley a major pop star. The four artists posed for a photograph, and three of them (Cash went home early) played as Phillips let the tapes roll. A bootleg of the session was dubbed The Million Dollar Quartet; eventually the album was given a legitimate release. Colin Escott and Floyd Mutrux, in their book for the 2010 Broadway musical Million Dollar Quartet, use the recording session to encapsulate various events in the lives of those present. In their telling, Perkins seethes with anger at having missed his shot at stardom when a car crash prevented him from singing his song “Blue Suede Shoes” on national television and Presley scored a hit with it instead. Lewis is cocky and egotistical, bursting with the arrogance that will make him a star within a year. Cash is looking for a way to tell Phillips that he’s leaving Sun for a major label. Phillips is hoping to re-sign Cash, while also pondering an offer to join RCA. Presley is hoping to help persuade Phillips to take that offer. Along the way, the four musicians sing and play nearly two dozen songs, including their own hits and other then-contemporary material. (Escott and Mutrux have not felt restricted to the songs — mostly gospel numbers — that Perkins, Lewis, and Presley actually performed.) On this cast album, there are snippets of dialogue, but for the most part it’s the songs that dominate, as Eddie Clendening impersonates Presley; Lance Guest is Cash; Levi Kreis plays Lewis; and Rob Lyons inhabits Perkins. (Elizabeth Stanley plays a fictional Presley girlfriend and gets to do a couple of numbers, too.) Of t… |
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New Beginnings $11.99 Make no mistake: Gerald Albright has chops — serious chops — not to mention strong improvisational skills (on both tenor and alto sax) and a healthy amount of gritty, down-home soulfulness. But having a lot of positive attributes and actually making the most of them are two different things — and while the saxman has excelled at times (1991′s Live at Birdland West remains his most essential disc), he has also delivered his share of forgettable, knee-jerk fluff (1989′s Bermuda Nights and 1990′s Dream Come True were among the worst offenders). Drawing on both soul-jazz and smooth jazz, New Beginnings is a mixed bag that isn’t in a class with Live at Birdland West but is still one of his more worthwhile commercial outings. There are some weak tracks, to be sure; Albright’s note-for-note cover of the Whispers’ 1979 hit “And the Beat Goes On” pales in comparison to the original version — and a few other automatic-pilot tracks are equally boring. But when Albright lets loose, New Beginnings becomes a treat that brings to mind Grover Washington, Jr. and early Ronnie Laws rather than Najee, Kenny G., or George Howard. Albright really soars on a gospel-drenched performance of Hoagy Carmichael’s “Georgia on My Mind,” and he has some enjoyably funky moments on “Big Shoes” and “We Got the Groove” (both of which keyboardist Jeff Lorber co-wrote with the saxman) as well as the title track (which features Patrice Rushen on acoustic piano). Is Albright capable of much more than what he does on New Beginnings? No question. Albright is quite capable of providing a five-star masterpiece, which New Beginnings is not. Nonetheless, this 2006 release has more pluses than minuses — and it is certainly superior to Dream Come True, Bermuda Nights, and some of the other duds he recorded for Atlantic in the ’80s and ’90s. ~ Alex Henderson, Rovi |
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New York Tendaberry [Expanded] $7.99 Although New York Tendaberry was nearly as strong a record as its predecessor, Eli and the Thirteenth Confession, it wasn’t as accessible. In large part that’s because, unlike her first two albums, it didn’t have three or four songs that would become instantly recognizable hits in the hands of other artists. But it was also because the mood of the record was considerably darker and the production quite a bit starker. It was hardly a gloomy affair, but the emphasis was on soulful laments and arrangements that often featured, in part or whole, nothing but her voice and piano. Without at all sounding blatantly derived from gospel, it often sounded very much in the spirit of gospel in its fervid passion, though using melodies from a wide pop/blues-soul canvas and addressing concerns far more secular and personal. There were crafty, dramatic punctuations of orchestration, yet these were far more subdued than they had been on the more jubilant Eli and the Thirteenth Confession. “Save the Country” (along with the upbeat section of “Time and Love”) is really the only song here that has the immediate uplifting impact of her most famous early tunes, and even that track could have benefited from a less-bare setting. It’s a rewarding album, but one that takes some effort to fully appreciate. The 2002 CD reissue adds two bonus tracks: the mono single version of “Save the Country,” which has a far fuller arrangement than the album take, and the jaunty, previously unreleased “In the Country Way.” ~ Richie Unterberger, Rovi |
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Nichole Nordeman – Woven and Spun $11.11 Used – Matching folio to the 2002 Dove Pop/Contemporary Album of the Year from this former waitress whose break came when her song “Why” won a contest sponsored by the Gospel Music Association. Nichole also took Doves home for Song of the Year for “Holy,” Songwriter of the Year, Female Vocalist of the Year, and others! This book features piano/vocal/guitar arrangements for all 11 songs from the CD: Doxology * Even Then * Gratitude * Healed * Holy * I Am * Legacy * Mercies New * My Offering * Nev |
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Nichole Nordeman – Woven and Spun $106.32 New – Matching folio to the 2002 Dove Pop/Contemporary Album of the Year from this former waitress whose break came when her song “Why” won a contest sponsored by the Gospel Music Association. Nichole also took Doves home for Song of the Year for “Holy,” Songwriter of the Year, Female Vocalist of the Year, and others! This book features piano/vocal/guitar arrangements for all 11 songs from the CD: Doxology * Even Then * Gratitude * Healed * Holy * I Am * Legacy * Mercies New * My Offering * Neve |
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Nichole Nordeman – Woven and Spun $73.12 New – Matching folio to the 2002 Dove Pop/Contemporary Album of the Year from this former waitress whose break came when her song “Why” won a contest sponsored by the Gospel Music Association. Nichole also took Doves home for Song of the Year for “Holy,” Songwriter of the Year, Female Vocalist of the Year, and others! This book features piano/vocal/guitar arrangements for all 11 songs from the CD: Doxology * Even Then * Gratitude * Healed * Holy * I Am * Legacy * Mercies New * My Offering * Neve |
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Nichole Nordeman – Woven and Spun $11.11 Used – Matching folio to the 2002 Dove Pop/Contemporary Album of the Year from this former waitress whose break came when her song “Why” won a contest sponsored by the Gospel Music Association. Nichole also took Doves home for Song of the Year for “Holy,” Songwriter of the Year, Female Vocalist of the Year, and others! This book features piano/vocal/guitar arrangements for all 11 songs from the CD: Doxology * Even Then * Gratitude * Healed * Holy * I Am * Legacy * Mercies New * My Offering * Nev |
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Original Sin $11.99 This gothic rock epic was the brainchild of Jim Steinman, the writer/producer behind Meat Loaf and the 1980s resurgence of Bonnie Tyler. This time, Steinman ups the musical ante by utilizing a quartet of powerful female vocalists (including former Meat Loaf backup singer Ellen Foley). Fittingly, Original Sin bears all the hallmarks of the Jim Steinman style: epic-length songs, over-the-top and romance-obsessed lyrics, and plenty of rock & roll bombast. A great example of this approach is the opening track, “Original Sin”; this moody rumination on romantic obsession starts as a piano ballad but soon transforms into a rock song and continues to build until it becomes a rock-operatic aria. Another highlight in the same vein is “It’s All Coming Back to Me Now,” a tormented ballad about romantic loss and regret built on a spooky yet heart-wrenching piano melody. The latter song is also notable because it would later become a massive hit when covered by Celine Dion. Other songs explore a danceable style enhanced by electronic touches: the most notable example is a cover of the Doors’ “Twentieth Century Fox,” which tarts up this classic with several layers of synthesizer effects, a Jimi Hendrix sample, and musical quotes from “In the Midnight Hour” and “Light My Fire.” These songs are vividly brought to life by the album’s four vocalists, who lend gospel-fueled firepower to the uptempo songs and a surprising emotional vulnerability to the quieter ballads. The resulting album is an odd but fascinating combination of dark humor, heartfelt emotion, and ornate instrumentation. It is not for all tastes, but is well-crafted throughout and will appeal to anyone who enjoyed Jim Steinman’s hits with Meat Loaf and Bonnie Tyler. ~ Donald A. Guarisco, Rovi |
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Piano Man [Legacy Edition] $15.99 Embittered by legal disputes with Family Productions and an endless tour to support a debut that was lying dead in the water, Billy Joel hunkered down in his adopted hometown of Los Angeles, spending six months as a lounge singer at a club. He didn’t abandon his dreams of being a full-fledged recording star — he continued to write songs, including “Piano Man,” a fictionalized account of his weeks as a lounge singer. Through a combination of touring and constant hustling, he landed a contract with Columbia (Family still claimed a portion of the royalties), and set out to record his second record in 1973. Since his debut was botched, Joel was determined not to make a mistake the second time around, if the ambition of Piano Man is any gauge of his intentions. Clearly inspired by Elton John’s Tumbleweed Connection, not only musically but lyrically, as well as James Taylor, Joel expands the vision and sound of Cold Spring Harbor, abandoning introspective numbers (apart from “You’re My Home,” a love letter to his wife) for character sketches and epics. Even the title track, a breakthrough hit based on his weeks as a saloon singer, focuses on the colorful patrons, not the singer. If his narratives are occasionally awkward or incomplete, he compensates with music that gives the songs a sweeping sense of purpose — they feel complete, thanks to his indelible melodies and savvy stylistic re-purposing. He may have borrowed his basic blueprint from Tumbleweed Connection, particularly with its Western imagery and bluesy gospel flourishes, but he makes it his own, largely due to his melodic flair, which is in greater evidence than on Cold Spring Harbor. Piano Man is where he suggests his potential as a musical craftsman. He may have weaknesses as a lyricist — such mishaps as the “instant pleasuredome” line in “You’re My Home” illustrate that he doesn’t have an ear for words — but Piano Man makes it clear that his skills as a melodicist can dazzle. The Legacy Edition… |
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R&B Soul Keyboards: The Complete Guide $9.92 New – A hands-on guide to the essential R&B soul grooves, chords and techniques, taught by Musicians Institute instructor Henry Brewer. Covers: gospel and soul keyboard voicings; technique, independence and the left hand; rhythm, feel and groove; the piano, organ, strings, and horns; and more. The CD includes 99 full-band tracks. |
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Ruta and Daitya $14.99 Splitting his time between the electric and acoustic pianos and a bit of organ, Jarrett teams up with drummer/percussionist Jack DeJohnette in a series of experimental duets, his only electric session for ECM. The all-acoustic title number ranges all over the lot, from tootling on a bamboo (?) flute to the energizing barrelhouse gospel riffs that would bloom in the solo concerts. Tellingly, there is little in this collaboration that predicts what Jarrett and DeJohnette would do in their Standards Trio of the ’80s; rather, it anticipates the exotic Third World side of Jarrett’s American quartet immediately in the future and adds a finishing flourish to his jazz-rock period. Indeed, the most memorably percolating playing by both musicians turns up in the electric numbers, where Jarrett utilizes the distinctively funky, wah-wah, fuzz-tone approach on electric piano that he developed with Miles Davis. As such, this is a valuable, underrated transition album that provides perhaps the last glimpse of the electric Keith Jarrett as he embarked on his notorious (and ultimately triumphant) anti-electric crusade. ~ Richard S. Ginell, Rovi |
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Smoky Mountain Sunday: 40 Favorite Hymns and Gospel Songs $11.54 Used – Come back to a simpler time and place: a small church in the wildwood nestled in the hills of the Smoky Mountains. Enjoy the homespun sounds of fiddle, guitar, piano, auto harp, dulcimer, banjo and more with Smoky Mountain Sunday. This delightful collection of all-time favorite foot-stomping and heartfelt gospel favorites will transport you to a place of quiet rest and simple faith. The music is easy to play and the enclosed listening CD will enrich your experience of these timeless class |
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Smoky Mountain Sunday: 40 Favorite Hymns and Gospel Songs $37.95 New – Come back to a simpler time and place: a small church in the wildwood nestled in the hills of the Smoky Mountains. Enjoy the homespun sounds of fiddle, guitar, piano, auto harp, dulcimer, banjo and more with Smoky Mountain Sunday. This delightful collection of all-time favorite foot-stomping and heartfelt gospel favorites will transport you to a place of quiet rest and simple faith. The music is easy to play and the enclosed listening CD will enrich your experience of these timeless classi |
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Smoky Mountain Sunday: 40 Favorite Hymns and Gospel Songs $28.82 New – Come back to a simpler time and place: a small church in the wildwood nestled in the hills of the Smoky Mountains. Enjoy the homespun sounds of fiddle, guitar, piano, auto harp, dulcimer, banjo and more with Smoky Mountain Sunday. This delightful collection of all-time favorite foot-stomping and heartfelt gospel favorites will transport you to a place of quiet rest and simple faith. The music is easy to play and the enclosed listening CD will enrich your experience of these timeless classi |
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Smoky Mountain Sunday: 40 Favorite Hymns and Gospel Songs $11 Used – Come back to a simpler time and place: a small church in the wildwood nestled in the hills of the Smoky Mountains. Enjoy the homespun sounds of fiddle, guitar, piano, auto harp, dulcimer, banjo and more with Smoky Mountain Sunday. This delightful collection of all-time favorite foot-stomping and heartfelt gospel favorites will transport you to a place of quiet rest and simple faith. The music is easy to play and the enclosed listening CD will enrich your experience of these timeless class |
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Songs of David Lewis $19.98 David Lewis is more known to collectors of late-’60s and early-’70s rock as the leader of the Northern Irish band Andwella’s Dream (later shortened to Andwella) than as a solo artist. However, while that group was still going — some sources give the year 1969, others 1970 — solo Lewis performances came out on a publisher’s demo, issued more than 30 years later on a Japanese release. It’s a mixed lot that gives the impression the tracks might have been recorded at separate times and/or separate sessions spaced at least a few months apart. Many of the cuts are solo piano performances that show some similarities to the work of early singer/songwriters like Carole King, Randy Newman, Elton John, and perhaps even a bit of David Gates. (Some of the melody of “You Don’t Know” certainly recalls Bread’s “Make It with You.”) “On a Day Like Today,” on the other hand, might bring to mind Jesse Colin Young’s mellower compositions for the Youngbloods. There’s a soul-gospel flavor to some of these that makes him sound a little like a singer/songwriter Ray Charles, though you shouldn’t get too excited by that comparison; the songs and vocals aren’t on the level of Charles or the other aforementioned artists. Yet there are also a couple tracks with full-band arrangements and orchestration that sound like they could have been placed on official late-’60s pop/rock releases. Whatever the case, they’re only passable songs, though Lewis is a decently soulful vocalist. ~ Richie Unterberger, Rovi |
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Sweet Harmony: The Very Best of the Beloved $16.98 Controversial dance outfit the Beloved became the chilled-out advocators of the early-’90s rave scene with their blissful brand of dreamy synth pop, which provided the perfect comedown soundtrack for many a hardcore clubber, but they actually started out half-a-decade earlier as a new wave rock band influenced by the less-likely dancefloor favorites Nick Cave and Joy Division. Not that you’d know it from Sweet Harmony: The Very Best of the Beloved — their third compilation after 1997′s Single File and 2005′s The Sun Rising — which, like its predecessors, ignores their guitar-heavy 1989 debut Where It Is, and instead focuses on their three more successful, electronica-based albums. All but one of Happiness’ ten songs are included (only closing track “Found” is omitted) with the most recognizable being the gorgeous “The Sun Rising,” based on a sample of the haunting choral piece “O Euchari,” which first introduced us to the seductive whispering tones of frontman Jon Marsh and their unique fusion of Balearic beats and ethereal acid-house synths. Elsewhere, the gothic undertones of the Depeche Mode-influenced opener “Hello” perfectly bridged the gap between their indie beginnings and their new-found loved-up sound; the skeletal guitars and languid piano chords of “Don’t You Worry” echoed the Hacienda house of New Order; while more poppier, Erasure-ish influences crept in on the hi-NRG electro of “Scarlet Beautiful” and “Up, Up and Away.” Only two tracks fail to make the cut from 1993′s number two commercial breakthrough Conscience (“Lose Yourself in Me” and “1000 Years from Today”), their first release since Marsh’s wife Helena replaced founding member Steve Waddington. Famed for its risque naked video, signature tune “Sweet Harmony,” a glorious slice of ice-cool synth pop which manages to be both brooding and euphoric at the same time, is unsurprisingly the album’s highlight. But the gospel-fused trip-hoppy “Spirit,” the new age trance leanin… |
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The Complete Remastered Recordings on Black Saint & Soul Note $34.98 As Black Saint and Soul Note continue their boxed set “Complete Recordings Of” series in 2011, this volume by Lester Bowie is one of the most diverse. Containing three discs cut over a decade, it reflects the numerous dimensions in Bowie’s musical persona, from fiery improviser to post-modern formalist and engaged ensemble member, and above all, his love for the entire jazz, blues, and gospel music traditions. The first disc in the collection is 1978′s 5th Power. It’s the only title here that showcases Bowie actually leading an ensemble under his own name. His session personnel for the date were saxophonist Arthur Blythe, pianist Amina Claudine Myers (who also sings on the rousing gospel-jazz of “God Has Smiled on Me”), bassist Malachi Favors, and drummer Philip Wilson. Other than the abstract, fragmented bop-meets-free jazz in the title track that closes the album, this is among Bowie’s most accessible and exploratory small group recording. The other two sessions here date from the ’80s, and feature Bowie in the sextet called the Leaders, in the company of Blythe on alto, Chico Freeman on tenor and soprano sax, Kirk Lightsey on piano, Cecil McBee on bass, and Don Moye on drums. The first of these, Out Here Like This, is comprised of seven middle-length pieces ranging from five to nearly eight minutes each. They move from the seamless, post-modal, vanguard jazz of “Zero” and the funky avant of “Luna” to the swinging blues of “Cool T.” Unforseen Blessings, the second Leaders date, is made up of 13 tunes of widely varying lengths. Musically, it included the fingerpopping bop of “Hip Dripper,” the Latin-tinged “Heaven Dance,” and the lush balladry of “Lucia,” with many stops along the way. Taken as a whole, these discs reflect Bowie as a musical shapeshifter in his compositions, arrangements, and his improvising; they reflect not only his deep knowledge of jazz history, but his unique and influential way of combining various elements of it to move th… |
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The Essential Cyril Neville 1994-2007 $12.99 Being the youngest of the Neville Brothers would never prevent Cyril Neville from being the person he is, carrying on in the tradition of his more famous siblings. In fact, he not only embellishes on the historic New Orleans sound, he adds a little spice, psychedelic rock & roll, and deep blues. Cyril Neville may be a less rough-edged singer than his elders, not to the extent of senior Aaron Neville, but he is more instrumentally inclined as he dishes out roots/party-style piano on this feel-good compilation from his small discography for the M.C. label. Of course there are many gems, like the finger-poppin’ bass-driven tribute to Professor Longhair, “Tipitina”; the pure pop “New Orleans Cookin’”; and the famous “Fortune Teller,” a live ballad talking about “heroes and sheroes,” penned by Naomi Neville, the alias of Allen Toussaint. A hard funk version of “Foxy Lady” scorches the earth instrumentally, but Neville takes it much slower vocally, while Bob Dylan’s “The Times They Are A-Changin’” is done as a gospel soul tune. The remainder of the material is typical Neville, ranging from Latin plus funk to shuffle, a Native American Indian tribute, choral, commercial dance music ? la disco, and even multi-layered rap (“Projects”) and smooth jazz before the disc ends. The first number, “The Blues Is Here to Stay,” might throw you off in its individual get-down blues, a lyric reference to Elmore James, and Taj Mahal’s cameo appearance on harmonica. Certainly Cyril Neville has his pick of the litter as sidemen, including Toussaint, the Soul Rebels Brass Band, Marva Wright, Big Chief Iron Horse, saxophonist Tim Green, and no less than six fellow Nevilles. You’d be hard-pressed to find a better short stack of recognizable numbers or surprises from this first family of Crescent City icons, led by the least-known but well-reared one of the bunch. ~ Michael G. Nastos, Rovi |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Vo: Medium Low Voice $32.95 New – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Vo: Medium Low Voice $25.62 New – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Medium Low Voice $8.75 Used – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Medium Low Voice $10.15 Used – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Medium Low Voice $110.31 New – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Medium Low Voice $164.19 New – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Medium Low Voice $27.95 Used – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Medium Low Voice $27.54 New – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Medium Low Voice $22.41 Used – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Medium Low Voice $35.95 New – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Mixed Voicings $32.95 Used – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Mark Hayes Vocal Solo Collection — 10 Hymns & Gospel Songs for Solo Voice: Mixed Voicings $25.62 Used – This stunning new addition to the Mark Hayes Vocal Solo Series features traditional favorites such as Come, Thou Fount of Every Blessing, popular contemporary songs such as On Eagle’s Wings, and an inspired new song of faith by award-winning composer and arranger Mark Hayes. Available in both Medium High and Medium Low voicings, it includes Accompaniment recordings with Mark Hayes at the piano. A Listening (Full Performance) CD is available separately. Wonderful for concerts, contests and |
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The Pecan Tree $16.98 The Pecan Tree is a collection of 11 compositions from master pianist/composer Joe Sample that were inspired by his Southeast Texas roots and influences. As a founding member of the pioneering quartet the Jazz Crusaders and as a solo artist, the pianist has created an impressive musical style based upon his early appreciation for jazz, gospel, soul, bebop, blues, Latin, and classical music. The Pecan Tree features many of those musical genres performed with such special guests as Lenny Castro and Paulinho da Costa on percussion, renowned R&B vocalist Howard Hewett, and newcomer Lizz Wright. Sample’s Quintet kicks off the set with the title track, a Latin-tinged mid-tempo instrumental that features Sample’s beautiful melodicism in harmony with the percussive mastery of Lenny Castro. The ensemble brings their creativity ingenuity to “Hot and Humid,” a sweltering musical story of the region’s weather condition. You can literally feel the heat from Sample’s fiery piano chops. The soulful voice of Howard Hewett on “With These Hands” also makes this CD entertaining. He envelopes the listener with his gospel-tinged R&B tenor and holds you spellbound throughout this lovely ballad with his powerful range and heartfelt lyricism. The Pecan Tree is an apt tribute in the form of choice songs that describe Sample’s true essence as a great musical storyteller and ranks alongside his smash hit Carmel with respect to his ability to deliver musical metaphors through smart phrasing and compelling melodies that reflect local settings. ~ Paula Edelstein, Rovi |
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The Sound of Gospel: BB Soprano or BB Tenor Saxophone $21.27 New – Get acquainted with The Sound of Gospel! This collection contains 10 well-known spirituals arranged by Stephen Bulla, one of the foremost arrangers of instrumental music. The solo parts always include a complete melody line and some variant of an obbligato as well. The piano accompaniments (available separately) are uncomplicated, yet fully portray the style grooves often performed by well-known Gospel choirs and recording artists. A performance/accompaniment CD is included with the solo b |
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The Sound of Gospel: BB Soprano or BB Tenor Saxophone $25.95 New – Get acquainted with The Sound of Gospel! This collection contains 10 well-known spirituals arranged by Stephen Bulla, one of the foremost arrangers of instrumental music. The solo parts always include a complete melody line and some variant of an obbligato as well. The piano accompaniments (available separately) are uncomplicated, yet fully portray the style grooves often performed by well-known Gospel choirs and recording artists. A performance/accompaniment CD is included with the solo b |
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The Sound of Gospel: BC Instruments (Bassoon, Euphonium, Tromone and Others) $25.95 New – Get acquainted with The Sound of Gospel! This collection contains 10 well-known spirituals arranged by Stephen Bulla, one of the foremost arrangers of instrumental music. The solo parts always include a complete melody line and some variant of an obbligato as well. The piano accompaniments (available separately) are uncomplicated, yet fully portray the style grooves often performed by well-known Gospel choirs and recording artists. A performance/accompaniment CD is included with the solo b |
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The Sound of Gospel: BC Instruments (Bassoon, Euphonium, Tromone and Others) $21.27 New – Get acquainted with The Sound of Gospel! This collection contains 10 well-known spirituals arranged by Stephen Bulla, one of the foremost arrangers of instrumental music. The solo parts always include a complete melody line and some variant of an obbligato as well. The piano accompaniments (available separately) are uncomplicated, yet fully portray the style grooves often performed by well-known Gospel choirs and recording artists. A performance/accompaniment CD is included with the solo b |
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The Sound of Gospel: Piano Accompaniment $32.95 New – Get acquainted with The Sound of Gospel! This collection contains 10 well-known spirituals arranged by Stephen Bulla, one of the foremost arrangers of instrumental music. The solo parts always include a complete melody line and some variant of an obbligato as well. The piano accompaniments (available separately) are uncomplicated, yet fully portray the style grooves often performed by well-known Gospel choirs and recording artists. A performance/accompaniment CD is included with the solo b |
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The Sound of Gospel: Piano Accompaniment $25.79 New – Get acquainted with The Sound of Gospel! This collection contains 10 well-known spirituals arranged by Stephen Bulla, one of the foremost arrangers of instrumental music. The solo parts always include a complete melody line and some variant of an obbligato as well. The piano accompaniments (available separately) are uncomplicated, yet fully portray the style grooves often performed by well-known Gospel choirs and recording artists. A performance/accompaniment CD is included with the solo b |
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Three Feet Off the Ground $18.98 It has been said that instrumentalist Bruce Katz has one foot in jazz and the other foot in the blues, but those aren’t the only styles that interest the organist/pianist; rock, soul, and gospel are also part of what he does. All of those influences assert themselves on Three Feet Off the Ground, which tends to be more aggressive and rockin’ than the album that preceded it, 1997′s Mississippi Moan. “Wrecking Ball” and “Beef Jerky” (which brings to mind Lee Morgan’s “The Sidewinder”) are definitely among the more forceful things Katz has recorded, and his guitarist Julien Kasper sounds equally uninhibited. Although Katz is a talented acoustic pianist with a healthy appreciation of Albert Ammons, his piano playing takes a back seat to the organ this time. Katz’s Hammond B-3 dominates the CD, and one is reminded how appealing he is on the instrument. As an organist, Katz has a gritty, earthy sound that is somewhere between Jimmy Smith and Stax hero Booker T. Jones (of Booker T. & the MG’s fame). Three Feet Off the Ground is a release that blues, jazz, and rock fans alike will want to hear. ~ Alex Henderson, Rovi |
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USED: 30 $3.99 Harry Connick, Jr.’s 30 was recorded during 1997 around the time of his 30th birthday, though it wasn’t released until shortly after his 34th birthday in 2001. Primarily a solo release featuring his piano and vocals, Connick returns to his jazz roots with a vengeance, though he doesn’t stick exclusively to jazz repertoire; examples include his down-home vocals accompanying a strutting take of Fats Domino’s “I’m Walkin’,” a campy, Monk-like waltz treatment of “Somewhere My Love (Lara’s Theme)” (from the film Dr. Zhivago), and an imaginative reworking of the usually nauseating pop hit “Tie a Yellow Ribbon.” Connick salutes Louis Armstrong by singing and playing “The Gypsy” and a romping “Way Down Yonder in New Orleans.” He revives two songs that have fallen from favor: a rollicking take of Cole Porter’s “Don’t Fence Me In” and the moody ballad “Don’t Like Goodbyes,” a collaboration between Harold Arlen and Truman Capote. The guest spots are a special treat. Connick’s former bassist, Ben Wolfe, joins him for a stripped-down, slower-than-usual take of “If I Were a Bell” and Reverend James Moore (in one of his last recordings prior to his death) adds his organ and vocal on Doc Pomus’ gospel-flavored “There Is Always One More Time.” The big surprise is that Wynton Marsalis is featured on piano, initially accompanying Connick’s vocal on “I Only Miss Her When I Think of Her” before giving up the bench to the singer and finishing this lovely ballad on trumpet. Jazz fans attracted to Connick in his early days will greatly appreciate this very fine effort, but will wonder why it took so long for it to be released. ~ Ken Dryden, Rovi |
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USED: 30 $2.99 Harry Connick, Jr.’s 30 was recorded during 1997 around the time of his 30th birthday, though it wasn’t released until shortly after his 34th birthday in 2001. Primarily a solo release featuring his piano and vocals, Connick returns to his jazz roots with a vengeance, though he doesn’t stick exclusively to jazz repertoire; examples include his down-home vocals accompanying a strutting take of Fats Domino’s “I’m Walkin’,” a campy, Monk-like waltz treatment of “Somewhere My Love (Lara’s Theme)” (from the film Dr. Zhivago), and an imaginative reworking of the usually nauseating pop hit “Tie a Yellow Ribbon.” Connick salutes Louis Armstrong by singing and playing “The Gypsy” and a romping “Way Down Yonder in New Orleans.” He revives two songs that have fallen from favor: a rollicking take of Cole Porter’s “Don’t Fence Me In” and the moody ballad “Don’t Like Goodbyes,” a collaboration between Harold Arlen and Truman Capote. The guest spots are a special treat. Connick’s former bassist, Ben Wolfe, joins him for a stripped-down, slower-than-usual take of “If I Were a Bell” and Reverend James Moore (in one of his last recordings prior to his death) adds his organ and vocal on Doc Pomus’ gospel-flavored “There Is Always One More Time.” The big surprise is that Wynton Marsalis is featured on piano, initially accompanying Connick’s vocal on “I Only Miss Her When I Think of Her” before giving up the bench to the singer and finishing this lovely ballad on trumpet. Jazz fans attracted to Connick in his early days will greatly appreciate this very fine effort, but will wonder why it took so long for it to be released. ~ Ken Dryden, Rovi |
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USED: ARETHA GOSPEL 0991 $4.99 Aretha sings solo and plays piano on these spectacular recordings made at father C.L. Franklin’s church in 1956. ~ Kip Lornell, All Music Guide |
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USED: Abattoir Blues/The Lyre of Orpheus $10.99 When Blixa Bargeld left Nick Cave’s Bad Seeds, who would have predicted his departure would result in one of the finest offerings in the band’s catalog? Abbatoir Blues/The Lyre of Orpheus is a double CD or, rather, two completely different albums packaged in one very handsome box with a stylish lyric booklet and subtly colored pastel sleeves. They were recorded in a total of 16 days by producer Nick Launay (Kate Bush, Midnight Oil, Girls Against Boys, Silverchair, INXS, Virgin Prunes, et al.). Abbatoir Blues, the first disc in the set (packaged in pink, of course), is a rock & roll record. Yeah, the same guy who released the Boatman’s Call, No More Shall We Part, and Nocturama albums has turned in a pathos-drenched, volume-cranked rocker, full of crunch, punishment — and taste. Drummer Jim Sclavunos’ aggressive, propulsive kit work is the bedrock of this set. It and Mick Harvey’s storm-squall guitar playing shake things loose on “Get Ready for Love,” which opens the album. As Cave goes right for God in the refrain — “get ready for love” — in the maelstrom, a gospel choir roaring “praise Him” responds. His tense, ambivalent obsession with theology is pervasive; he mocks the Western perception of God in the heavens yet seeks the mystery of His nature. That he does so while careening through a wall of noisy rock damage is simply stunning. It leaves the listener revved up and off-center for what comes next. The chorus — members of the London Community Gospel Choir — is prevalent on both records; the Bad Seeds’ arrangement utilizes them wisely as counterpoint and mirror for Cave’s own baritone. “Cannibal’s Hymn” begins as a love song musically; it’s chocked with Cave’s dark wit and irony and ends far more aggressively while retaining its melody. The single, “Nature Boy,” finds itself on Scalvunos’ big beat. Cave and his piano use love’s irony in contrast with cheap innuendo as underlined by the choir in their best soul croon. “Let Them Bells Ring” is … |
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USED: Aim and Ignite $5.99 Even in the early part of the 21st century when everything from heavy metal dub to unlistenable lo-fi shoegazer mumblings gets rave reviews in the online press, progressive rock still has a bad name. So when a band comes along claiming both ELO and Sly & the Family Stone as influences, you can’t help but cringe. Thankfully, the oddly punctuated band known as Fun. doesn’t take itself too seriously. It’s progressive, but in the best possible way. Full string sections provide Beatlesque swells of sound, churchy harmonies hint at African American Gospel music and the swooning vocals of Queen, and, yes, the rhythm section does have some of the pop bombast of ELO, but the diverse elements all come together neatly in service of the song. The arrangements break down rigid song structures with an open-ended and open-minded creativity that ranges far and wide over the musical spectrum. This music needs to be listened to as an album, in one sitting, so you can appreciate the way the musical and lyrical ideas flow together and play off of each other. That said, there are moments of genius that grab you even on your first casual listen. “At Least I’m Not as Sad (As I Used to Be)” sounds like a long-winded country song title, but it’s a cabaret-flavored rock song with a vaguely Latin instrumental break, big grand piano flourishes, a nursery rhyme chorus, and a big finish. The ambiguous lyric deals with the loss of friends, or maybe the loss of one’s soul, and could be a parable about the music business, or just growing up, as Nate Ruess sings it in a tenor voice full of an adolescent yearning. Life-long love is not often addressed in rock music, but that’s the subject of “The Gambler.” You could call it the grown-up cousin of “When I’m 64,” a long, beautiful, linear narrative that takes love from 18 to old age, making the journey sound lovely and worthwhile. “Be Calm” is based in part on the melody from Beethoven’s “Ode to Joy,” an old prog rock trick, but Fun. keeps… |
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USED: Beautiful Beyond: Christian Songs in Native Languages $5.99 Released to roughly coincide with the 2004 opening of the Smithsonian’s National Museum of the American Indian, this assembles performances of 33 Christian hymns and songs by tribes of various regions, from Native Hawaiian and Hopi to Mohawk, Cherokee, Comanche, Navajo, Sioux, and others. These selections include both translations of traditional Christian songs into Native American languages and original compositions of Christian songs, also in Native American languages. As a social document, this is extremely important, helping to preserve and promote adaptations of religious music for indigenous cultures. Musically it’s very diverse, the styles including a cappella solo singing, unison vocalizing, and harmonizing, sometimes unaccompanied, sometimes backed by basic instrumentation (most often guitar and keyboard), sung by men, women, choirs, and children (sometimes together). While the performances are almost always passionate and sometimes stirring, the breadth of approaches covered guarantees that it will be an uneven listening experience, with few listeners possessing a broad enough taste to enjoy everything. At times its primary value is folkloric rather than purely musical, as with the Kykotsmovi Mennonite Church Choir’s rendition of “Silent Night” and some of the starker a cappella items. Others, though, project an undeniable beauty and committed spiritualism, whether it’s the ghostly Tewa Women’s Choir’s “Lord Have Mercy” (backed by nothing but far-off piano and percussive rattle), the vibrato of Nalani Olds and Mauliola Aspelund, the rustic Walker Calhoun (backed by banjo), or the Kingfisher Trio’s “That Heavenly Home,” which might remind some listeners of the casual gospel-folk of artists like Joseph Spence. All of the tracks are quite short, none lasting for more than three and a half minutes and some for less than a minute, ensuring constant stylistic shifts that keep restlessness at bay. ~ Richie Unterberger, Rovi |
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USED: Bette Midler $5.98 An earthy mix of blues, R&B, and ’40s boogie-woogie” is how Bill Carpenter describes Bette Midler’s second album, a strangely elaborate transition containing some of the elements which made The Divine Miss M so divine. The album features superb production from her former piano player, Barry Manilow, and the man who would help craft 1979′s disco effort, Thighs and Whispers, Arif Mardin. The result is a solid album without the Top 40 fascinations of “Do You Wanna Dance?,” Buzzy Linhart /Mark “Moogy” Klingman’s “Friends,” or “Boogie Woogie Bugle Boy.” Rather than focus on a hit the way Clive Davis helped Manilow go to number one with “Mandy” in 1974, this big cast concentrates on being artistic, and on that level, Bette Midler works. No, she isn’t Shirley Bassey or Eartha Kitt, but material from Hoagy Carmichael and Johnny Mercer, Kurt Weill, and Bertolt Brecht, along with a dash of Bob Dylan, really covers the gamut. Where Midler could excel is with the girl group stuff, touched upon on The Divine Miss M. The medley of “Uptown” and “Da Doo Run Run” is fun, but lacking the satisfying elements Phil Spector jammed into his 45s. Midler really needed to go for it here, an explosive remake of “He’s a Rebel” or “Da Doo Run Run” would have been appropriate for 1973, not something that sounds like it was recorded during a live performance at the Continental Baths. It’s literally a cast of thousands; Bernard “Pretty” Purdie, Steve Gadd, and Luther Rix are just some of the drummers and guitarists Cornell Dupree and Hugh McCracken are onboard, as are Kenny Ascher, Don Grolnick, and Barry Manilow on keys, just to name a few. The talent was all lined up, and the music is immaculate, but there is no concentration on returning to the singles charts. “I Shall Be Released” as recorded here is just perfect for an album with a whisper of gospel, but still holds something back. A choir of voices and a production like Melanie Safka’s “Lay Down” would have brok… |
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USED: CHIMES 0490 $2.99 The Chimes’ sole album is proof that commercial dance pop can have artistic viability as well as chart potential. A mixture of hip influences (Soul II Soul’s Jazzie B and Nellee Hooper produced two tracks, including the meaty acid house single “1-2-3″) and the polish of soul and pop veterans (Pete Wingfield plays piano on most of the album, and other guests range from the Hooters’ Eric Bazilian to ’70s studio pro Ralph Schuckett), The Chimes is a completely solid and credible album with thankfully little of the overdone slickness and shrieking pseudo-soul of pretenders like Mariah Carey or Whitney Houston. (In fact, it’s possible that the low-key dignity of this album is why it wasn’t a bigger chart hit, though it received rave reviews both in the US and the trio’s native Great Britain.) Pauline Henry’s expressive but controlled voice is powerful without resorting to the tiresome trills and oversinging of so many of her R&B contemporaries, and multi-instrumentalist producers James Locke and Michael Peden combine pop, dance and soul influences into a seamless, sleekly danceable blend. The album’s biggest hit, a gospel-tinged remake of U2′s “I Still Haven’t Found What I’m Looking For,” finds new levels of power in that over-played song, and its inclusion make perfect thematic and musical sense instead of being the desperate plea for chart attention it might have been in less capable hands. ~ Stewart Mason, All Music Guide |
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USED: Christmas Songs With Ray Brown $4.99 Ray Brown finally got around to producing a Christmas CD and it was worth the wait. The great bassist has seven guest vocalists plus features for tenor saxophonist Ralph Moore and guitarist Russell Malone; his gifted trio includes pianist Geoff Keezer and drummer Gregory Hutchinson. Dee Dee Bridgewater at first sings “Away in a Manger” in a traditional vein with only Keezer’s fluid piano accompanying her, but Brown’s arrangement evolves into a swinging gospel setting. “Santa Claus Is Coming to Town” showcases Diana Krall in a saucy, recurring call and response with Brown in a bluesy take. Kevin Mahogany is the vocal equivalent of an open fire on a cold night during “Christmas Song,” which also has a nice solo by Russell Malone. Hutchinson does a humorous vocal rap on “The Christmas Rap,” a funky original by Brown. Vanessa Rubin, Etta Jones, Marlena Shaw, and Nancy King also each add a distinct individual touch to a holiday favorite. The highlights among the instrumentals begin with a rather unique marchlike cadence that evolves into a Baroque fugue to introduce the centuries-old “God Rest Ye, Merry Gentlemen,” featuring Keezer’s tremendous chops. Ralph Moore’s hard-blowing tenor sax is the centerpiece of “Rudolph the Red-Nosed Reindeer.” Liner note writer Jon W. Poses’ assertion that “We Wish You a Merry Christmas” is “the trio’s best improvisational vehicle” is difficult to debate. Even though the songs have been recorded countless times over the decades, Ray Brown’s crisp and innovative arrangements and his brilliant choice of supporting musicians and singers make this Christmas CD one for the ages. ~ Ken Dryden, Rovi |
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USED: Cyrus Chestnut $5.99 Joined by several important guests, Cyrus Chestnut proves once again that he is among the brightest, post-bop players of his generation. For this effort, his trio includes legends Ron Carter on bass and Billy Higgins on drums. Joining them are all-stars Lewis Nash (drums on two tracks), James Carter (alto on three tracks), Joe Lovano (tenor sax on two tracks), and two significant appearances by vocalist Anita Baker. This album is very good as well as very solid, with no tracks that clearly stand above the rest. Nash and Baker appear together on the album’s only two standards: the slow, sexy “Summertime” and the bright, scat-filled “My Favorite Things.” Carter’s virtuoso brilliance dominates “Miss Thing” and “The Journey.” Lovano contributes his unique intensity to “Any Way You Can” and joins Carter for the impressive two-horned workout “Sharp.” As for the leader, he continues to demonstrate the rare ability to generate soul from the percussive piano. Though his versatility and technical facility is plainly evident, it is this emotional gift which sets him apart. He can play loud and fast; he has developed a lighter, more delicate touch on the ballads; he imparts elements of both blues and gospel in his sound; and he writes his own music. Cyrus Chestnut is recommended — the album and the musician. ~ Brian Bartolini, Rovi |
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USED: For the Living of These Days $9.98 Although country and Anglo-American folk have a lot of common heritage (both are descendants of Celtic, Welsh, and British folk), the two have often parted company in a big way when it comes to political and social attitudes. Folk has long been a bastion of liberal activism, whereas country is one area of the music world in which neocons are not hard to find — which is why the Dixie Chicks caught so much flack for criticizing the George W. Bush Administration in 2003 (no one on the folk circuit is going to boycott Ani DiFranco or Phranc for opposing the neocon agenda). Folk audiences, on the whole, are disdainful of the modern country/pop/gospel artists who openly support far-right organizations like the Christian Coalition, but that doesn’t mean that folk has to be secular or that the folk scene is anti-religion — and For the Living of These Days is a perfect example of a Christian-themed folk album. With this 2006 recording (which boasts Spooner Oldham on piano and organ), Southern singer/songwriter Kate Campbell maintains both a Christian focus and a folk orientation. This 45-minute CD is definitely country-influenced, but the performances are more folk than country; that is true on Campbell’s own songs as well as inspired performances of Woody Guthrie’s “Jesus Christ,” Bobby Braddock’s “Would They Love Him Down in Shreveport,” and Kris Kristofferson’s “They Killed Him.” For the Living of These Days is not a heavily political release, and yet, some of the material does acknowledge the more liberal/progressive strains of Christianity. “They Killed Him,” with Kristofferson’s favorable reference to Hindu activist Mahatma Gandhi, is not exactly typical of the sentiments one associates with a Jerry Falwell sermon. Bottom line: For the Living of These Days is excellent as both a Christian album and a folk album. ~ Alex Henderson, Rovi |
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USED: Homage $9.98 Here’s one modern tribute disc that’s worth celebrating — a Greg Piccolo showcase where he covers tunes once done to a turn by husky-toned tenor sax growlers in the jazz and R&B arenas. Illinois Jacquet, Red Prysock, Gene Ammons, Eddie “Lockjaw” Davis, Ben Webster, Clifford Scott, and Joe Houston are the objects of Piccolo’s veneration, and he can make you do a double-take at the accuracy and grit of his impressions. Lester Young is the ringer on the tribute list, in a category separate from the heavier-toned players listed above, yet Piccolo appropriately lightens his tone a bit while retaining the slurred majesty of the other tracks on “Lester Smooths It Out.” This recording contains none of the usual genuflecting reverence that grips most tribute albums, for it has plenty of fire, spirit, and a sense of fun; dig, for example, Piccolo’s R&B honking and ultrasonic squealing on Houston’s “Blow Joe Blow” and the gospel-driven fervor on Prysock’s “Handclappin.’” The band (Reese Wynans on organ and piano, Marty Ballou on basses, Jeffrey Cashien on acoustic guitar, and Bobby Ruggiero on drums) easily swerves back and forth between jazz and R&B, generating some pretty tough swing along the way, and Piccolo gets in a few lead guitar licks. What’s also unusual about this CD is that Piccolo tries to stay mostly within the time limits of 78 RPM discs and early LPs; no track runs over 4:57, and most are considerably shorter. There’s something to be said for that practice; it enforces conciseness and reduces listener fatigue. ~ Richard Ginell, All Music Guide |
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USED: Home $2.99 Hothouse Flowers continued their exploration of Irish folk and gospel on their second album, Home. Their debut album, People, had introduced Hothouse Flowers to the world, largely through the strength of the single “Don’t Go.” While Home is every bit as good as People, it lacks an obvious standout track. Nonetheless, several singles were released from this disc, namely “I Can See Clearly Now,” “Give It Up,” and “Movies.” The shadow of Van Morrison looms large over Home, from the slow, piano-driven ballads “Sweet Marie” and “Shut Up and Listen” to gospel choir-backed rockers like “Giving It All Away” and their cover of “I Can See Clearly Now.” Hothouse Flowers aren’t simply a pale imitation of their influences, though, and their songwriting and musicianship are excellent throughout. From the clever anthem “Movies” to the Eastern-tinged “Water,” Hothouse Flowers have created a masterful collection of pop songs. Home is an underrated gem. ~ Jonathan Lewis, Rovi |
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USED: John Simon’s Album $4.99 Producer John Simon did a pair of albums of his own during the 1970s, starting with John Simon’s Album (1970), which was two years in the making and featuring many of the musicians with whom he’d been working over that period, including Cyrus Faryar, Garth Hudson, Richard Manuel, Rick Danko, Delaney Bramlett, Leon Russell, Jim Gordon, Carl Radle, Jim Price, and Rita Coolidge, Bobby Whitlock, and Jean Millington. Perhaps not surprisingly, John Simon’s Album mostly resembles the first two Band albums, with a clear, sharp, brittle sound rooted in a multitude of popular music strains. The strangest song here is the first, “Song of the Elves,” a surreal, psychedelic song derived from an R&B source and beat (with a strong ’50s New Orleans feel) that calls to mind both Randy Newman and Brian Wilson — the strange chorus with its deliberate distortion evokes the late ’60s and the peculiar brand of psychedelia generated by the Beach Boys. And speaking of the latter, the bluesy “Did You See” sounds like some magnificent lost piece of the Wild Honey sessions, Wilson suddenly trying his hand at piano-and-guitar blues. The album also encompasses stripped-down gospel in “Nobody Knows,” but the real jumping off point comes early, in the horn-driven “Tannenbaum,” which sounds for a moment like the original Blood, Sweat & Tears jamming with the Band, and “Davey’s on the Road Again” (co-authored with Robbie Robertson) could be a lost Band track in its playing and texture, though Merry Clayton’s soaring backing vocal adds a special wrinkle (and recalls Simon’s arrangements on Leonard Cohen’s first album). Much of the rest, regardless of who’s playing, moves between intimate Newman-like (or even Wilson-like) quirkiness and the lean, rocking sound of the Band — though the piano tends to be the lead instrument, somewhere in there (most notably on “Don’t Forget What I Told You”) the guitar (mostly played by John Hall) comes in along with the bass and drums, all sounding li… |
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USED: Let It Come Down [Limited Edition] $7.98 Jason Pierce has never shied away from changes in pursuit of his artistic goals. He traded Spacemen 3′s white-hot intensity for the gentler ebb and flow of Spiritualized, and took things a step further by firing the rest of the band after their greatest success, Ladies & Gentlemen We Are Floating in Space. Let It Come Down is another step in Pierce’s difficult, single-minded creative path. To craft the album’s epic sound, Pierce sang the melodies into a Dictaphone, translated them to piano, and then transposed them into orchestral arrangements. This painstaking process results in an album that is equal parts intimate confessions and ambitious soundscapes, yet, despite the lineup changes and its lengthy inception, Let It Come Down doesn’t sound radically different from Spiritualized’s previous albums, proving for once and all that Pierce is Spiritualized and Spiritualized is Pierce. Instead, it feels like a natural progression from the densely orchestrated space rock of the first three Spiritualized albums, especially on the bleak, bluesy “Out of Sight” and the plaintive “Don’t Just Do Something.” Sweeping, stratospheric string and brass sections dominate the album, with over 100 musicians surrounding Pierce’s frail, desolate vocals on some songs. Indeed, the lushness of the arrangements sometimes overpowers the album’s relatively straightforward songwriting, particularly on tracks like “Anything More.” While country and gospel influences bring the beautiful “Do It All Over Again” and “Won’t Get to Heaven (The State I’m In)” back down to earth, Let It Come Down’s elaborate sound doesn’t always make its songs particularly accessible. When Pierce dares to keep things relatively simple, as on the insistent, yearning “I Didn’t Mean to Hurt You” and the finale, “Lord Can You Hear Me,” the emotional impact is stunning; the rockers “On Fire” and “The Twelve Steps” also cut the album’s scope down to size in a direct, gripping way. Let It Come Down is ano… |
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USED: Marc Cohn $2.99 Marc Cohn is one of the finest debut albums of the 1990s, and it brought adult piano pop back to the radio. Every song is well-crafted, and Cohn’s singalong choruses, introspective lyrics, and vocal stylings reveal his ’60s soul and ’70s singer/songwriter influences. His voice is rich, but has a roughness that adds emotion when stretching to the upper end of his range while remaining subtle at the lower end. Marc Cohn shows himself to be an accomplished and versatile songwriter, from the uplifting gospel opener “Walking in Memphis,” the hit for which he is widely known, to the concluding love letter “True Companion.” Cohn has a great ear for melody and a keen eye for detail that immediately grab your attention and reward the listener with repeated plays. The album’s highlight, “Silver Thunderbird,” is a prime example of Cohn’s ability to combine storytelling with an unbelievably catchy chorus. It is not surprising that the songs played on piano work better than those written for guitar; however, the album is surprisingly consistent, even for a debut. This album is worth checking out for any listener who wonders where the tuneful pop and soul of the Big Chill era went. ~ Vik Iyengar, Rovi |
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USED: Mark Schultz $3.99 This newcomer to CCM offers an exciting dual proposition–power rockers that border on anthemic (the orchestrally enhanced “I Am the Way,” “When You Give”) balanced by heartwrenching ballads like “He’s My Son.” In a way, this is the contrast Michael W. Smith has built his career upon, but Schultz has a little more of a rock piano and gospel influence, and actually a more appealing voice. The most interesting production is “When You Give,” which finds Schultz (who also plays keyboards) backed by a gospel choir that breaks into the R&B chestnut “Take Me To the River” and gives those lyrics a spiritual meaning. After this, more pedestrian tunes like “Fall in Love Again” are a bit of a letdown, but on their own, each of the songs here holds up and works on both personal and more universal levels. Schultz’s songs cover a wide range of topics, from learning to see God from a blind man’s perspective to the pain of letting go when a child finally grows up. Schultz delivers all these messages with power and grace and Monroe Jones’ production is marvelous. Look for Schultz to become one of the genre’s biggest voices in the coming years. ~ Jonathan Widran, Rovi |
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USED: NEXT NOEL 0990 $7.99 As the subtly surreal cover and the ambiguous title imply, this is not an album for purists. Ekimi (named after a Congolese word meaning “calm peaceful feeling”) is a group based around the talents of pianist Billy Larkin and bass player Chris Dahlgren, both classically trained musicians currently involved in the Cincinnati jazz scene. Following their desire to create “a new context” for Christmas music, they offer very liberal interpretations of carols like “We Three Kings” and “Silent Night” with Dahlgren’s fluid electric and acoustic bass and Larkin’s jazzy piano freely improvising around the unique melodies. Singer Kathy Wade adds smokey vocals to the original ballad “Snow” as well as to the gospel chestnut “Go Tell It on the Mountain,” while on four tracks Chris Philpotts provides tonal coloring with oboe, recorders, and English horn. “Good King Wenceslas” features a dramatized reading by Gary Barton of the inspirational story told in the song over piano and bouncy string bass, while the 11-minute version of “The Little Drummer Boy” effectively marches along to a percussive bass beat, with background synthesizer chords creating space for the sensitive piano themes that dance around the melody. The strangest piece is a downright bizarre rendition of “God Rest Ye Merry Gentlemen” featuring electronically processed basses, with the lead line sounding oddly like a distorted electric guitar, to a rhythmic accompaniment provided by percussive piano in combination with what sounds like a muted dulcimer. If you are looking for something wilder and more daring than the normal Christmas fare, look no further. ~ Backroads Music/Heartbeats, All Music Guide |
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USED: New York Tendaberry [Expanded] $6.99 Although New York Tendaberry was nearly as strong a record as its predecessor, Eli and the Thirteenth Confession, it wasn’t as accessible. In large part that’s because, unlike her first two albums, it didn’t have three or four songs that would become instantly recognizable hits in the hands of other artists. But it was also because the mood of the record was considerably darker and the production quite a bit starker. It was hardly a gloomy affair, but the emphasis was on soulful laments and arrangements that often featured, in part or whole, nothing but her voice and piano. Without at all sounding blatantly derived from gospel, it often sounded very much in the spirit of gospel in its fervid passion, though using melodies from a wide pop/blues-soul canvas and addressing concerns far more secular and personal. There were crafty, dramatic punctuations of orchestration, yet these were far more subdued than they had been on the more jubilant Eli and the Thirteenth Confession. “Save the Country” (along with the upbeat section of “Time and Love”) is really the only song here that has the immediate uplifting impact of her most famous early tunes, and even that track could have benefited from a less-bare setting. It’s a rewarding album, but one that takes some effort to fully appreciate. The 2002 CD reissue adds two bonus tracks: the mono single version of “Save the Country,” which has a far fuller arrangement than the album take, and the jaunty, previously unreleased “In the Country Way.” ~ Richie Unterberger, Rovi |
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USED: Studio Sessions: Rare and Unreleased $7.98 All of these 19 songs, not released until 2003, come from a 1967 recording session. That might make it the last studio work Skip James did before his death in 1969, although the liner notes, frustratingly, offer virtually no specific details about the session and why it wasn’t released for 35 years. This wouldn’t rate among James’ better recordings, as his voice, material, and instrumental skills weren’t as sharp here as they were on some of his other releases (from both the 1930s and 1960s). It’s OK, however, if not that exciting. James stuck to traditional songs for this set, and some listeners might be surprised or disappointed to find that much of the material is spiritual/gospel in nature. Too, he played guitar only about half the time, moving to piano for the remainder of the tracks. His trademark high, haunting voice was still intact; in fact, on songs like “Oh, Mary Don’t You Weep” and “One Dime Was All I Had” it’s so high as to almost sound like it’s a cloud of smoke dissipating into space. That high voice is the factor that elevates this above routine traditional blues, since the songs aren’t James’ best and aren’t all that diverse. An unidentified woman sings faint duet vocals with James on “Walking the Sea,” her name being another detail that escapes the annotation on this disc. ~ Richie Unterberger, Rovi |
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USED: The Gift $7.99 Uilleann pipe master Jerry O’Sullivan’s album The Gift is an impressive trip through a variety of genres. Playing the war-pipes, low whistle, tin whistle, smallpipes and his trademark uilleann pipes, O’Sullivan demonstrates with ease that the pipes are a versatile instrument which can adapt to many different types of music. From gospel (“Wayfaring Stranger”) to baroque (a three-part selection from a Bach orchestral suite) to jazz (the piece “Clear Blue Sky” features O’Sullivan’s merging of pipes with smoky jazz club piano), O’Sullivan expertly weaves a thread of intriguing musical versatility and pipe mastery throughout. ~ Lisa Schwartzman, All Music Guide |
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USED: The People Who Grinned Themselves to Death $3.99 Comparisons to the Smiths are essentially irrelevant by the point of the Housemartins’ underrated sophomore effort — the melodies and arrangements move away from the upbeat guitar pop shimmer of London 0, Hull 4 to further explore the group’s fascination with Motown and gospel, while P.D. Heaton’s lyrics articulate a leftist anger and scathing social commentary the likes of which Morrissey’s insularly personal lyrics only hint at. (Equally noteworthy is the defiantly British outlook of Heaton’s songs — it’s virtually impossible from an American standpoint to fully comprehend the sheer vitriol against the Queen espoused on the title cut, and lyrical snippets like “How come you wear Rupert Check when you think you’re so hard?” and “Welcome to the new Scalextric’s breed” are likely impenetrable to all but the hardiest Anglophiles.) There’s some filler here — “We’re Not Going Back” and “You Better Be Doubtful” simply go through the motions, and the instrumental “Pirate Aggro” seems at best an afterthought — but the peaks of The People Who Grinned Themselves to Death are glorious. In hindsight, however, it’s obvious that the Housemartins had already run their course — with its alternating lead vocals from Heaton and drummer Dave Hemingway, the achingly lovely piano ballad closer “Build” forecasts the twosome’s continued collaboration in the Beautiful South, while the subtle yet soulful bass work of Norman Cook throughout the record anticipates the funk direction of his subsequent Beats International project. ~ Jason Ankeny, All Music Guide |
| Filed Under: Piano Tagged with audio, cd, Music, radio, streaming |
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