"Canada's Sweetheart of Swing" sings the traditional hot jazz of the 1920s, 30s and 40s making the music of the past captivatingly present, "possessed by the coltish spirit of a young Mildred Bailey or Ella Fitzgerald". Here's the DEBUT album from "Canada's Sweetheart of Swing", Alex Pangman, and her internationally assembled band of all stars. Recorded in 1999 and featuring guitar and production chops of the late Jeff Healey, this record has been brought back to print due to popular demand! Features the music of Annette Hanshaw, Ruth Etting, Maxine Sullivan, Bessie Smith and more!…
Straight ahead jazz mixed with heavy metal? Welcome to the world of the Alex Skolnick trio. Transformation, represents a turning point for the band. Original compositions fill just over half the album along with new arrangements of tunes by Judas Priest, Pink Floyd, Deep Purple, and more.
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Surprise is the tenth studio album by American musician Paul Simon, released in May 2006. With this album Paul Simon is back to the Top 20 of the American charts after ten years of absence and also receiving a Grammy nomination for Album of the Year. Most of the album was inspired by the September 11 terrorist attacks, the Iraq invasion and the war that followed.
While Mike Nichols' 1966 film of Edward Albee's Who's Afraid of Virginia Woolf? gets more frightening every time you watch it, Alexander North's score to the same film gets more consoling every time you hear it. Nichols' film, particularly the performances by Elizabeth Taylor and Richard Burton, has scenes of terrific intensity, but North's score, though faithful to what's on screen, has a tenderness, even a sweetness, that transforms the ultimate meaning of the film. Part of it is North's characteristically evocative orchestration with some cues delicately scored for guitar, celesta, bass clarinet, harpsichord, and a pair of harps, while others are scored for spare almost spooky winds arrayed against soothing strings. But most of it is North's soaring melodies and brooding harmonies – and especially his big-hearted main theme. By prefiguring the film's reconciliatory ending, the solace offered by North's score transfigures all the horrors enacted between Taylor and Burton.