Back in 2006 on a stormy December night, Amy Winehouse flew to the remote, south western corner of Ireland to perform for Other Voices, an acclaimed Irish TV music series filmed in Dingle every winter. Amy took to the stage of Saint James's church, capacity 85, and wowed the small, packed crowd with a searing, acoustic set of songs from Back to Black. After leaving the stage, a relaxed and happy Amy spoke about her music and influences - Mahalia Jackson, Sarah Vaughan, Ray Charles and the Shangri-Las to name a few. Arena joined forces with Other Voices and went to Dingle to catch up with some of the people that Amy met on that day, including taxi driver Paddy Kennedy, her bass player Dale Davis and Rev Mairt Hanley of the Other Voices church. This film showcases not only Amy herself, but the musical geniuses that inspired her to forge her own jazz pop style.
Back in 2006 on a stormy December night, Amy Winehouse flew to the remote, south-western corner of Ireland to perform for Other Voices, an Irish TV music series filmed in Dingle every winter. Amy took to the stage of Saint James's church, capacity 85, and wowed the small, packed crowd with an acoustic set of songs from Back to Black.
For his third Criss Cross release, guitarist Peter Bernstein leads an all-star organ combo that also includes tenor saxophonist Eric Alexander, trombonist Steve Davis, organist Larry Goldings, and drummer Billy Drummond. Some of the music that the quintet performs is typical for this type of hard bop/soul-jazz group, including a hot minor-toned blues, "Means and Ends," and Percy Mayfield's blues ballad "Danger Zone." However, a few of the other selections (particularly Bernstein's four originals) are more complex and serve as evidence that the music was being performed in 1996, not 1966. The musicians all play up to their capabilities and Goldings shows that he was one of the most inventive organists of the decade.
An excellent idea (if, perhaps, a somewhat self-indulgent one): 12 of Peter Hammill's (Van Der Graaf Generator) finest recent songs, rendered into the German language that his more stentorian vocals seemed to be striving for, even in English. Titled for Out of Water's "Evidently Goldfish," the album is dominated by material from the early '90s: cuts from Fireships and The Noise account for more than half the album, while the remainder is culled from 1988's In a Foreign Town and 1986's And Close As This. But Offensichtlich Goldfisch is no simple retread of already familiar material…