The Complete Motown Singles has been a dream project of Motown and soul fanatics for many years, ever since the first decade of Stax/Volt singles was compiled in an impressive nine-disc box set in 1991. The Complete Motown Singles might have seemed like a logical move to soul collectors and fanatics, but it remained in the realm of fantasy for many years because, as enticing as that set was, it was difficult to create.
With the arrival of Delta Lady: The Rita Coolidge Anthology, one can only remark: what took so long? No other singer – not Maria Muldaur, Bette Midler, Bonnie Bramlett, Carly Simon, or Linda Ronstadt – more perfectly embodied the wide range of changes that popular music underwent from the late '60s through the mid-'80s, and continues to seek new means of expression today. This two-disc anthology on Hip-O offers the first complete portrait of this complex and multivalent talent on CD (though a box set would have been nice). Rita Coolidge scored her first chart hit with friend Donna Weiss' "Turn Around and Love You" in 1969. That song earned her a studio spot where she fell in with Delaney & Bonnie, Leon Russell, and a huge cast of musicians. Being a background vocalist on Delaney & Bonnie's classic Accept No Substitute earned her a place on Russell and Joe Cocker's Mad Dogs & Englishmen revue and the rest is history, including a handful of chart hits and guest appearances that stagger the mind.
This is former Os Mutantes member Rita Lee's second solo album, recorded in 1972, the same year as Mutantes recorded their E Seus Cometas No País Dos Baurets album (the group's last album with the original bandmembers). To an even higher extent than on Lee's first solo effort, Build Up, fellow Mutantes front figures Arnaldo Baptista and Sergio Dias have made significant contributions to this album, performing on the tracks and writing much of the material.
Si tratta di una collezione di record in cui le grandi canzoni e grandi cantanti che andavano di moda 1960-1969 in Italia e poi invaso il spettro musicale internazionale, che sarebbe stato sviluppato e l'accettazione del pubblico sono raccolti.
From the very first cut here, "The Lover of Beirut", Brahem's fascinating blend of traditional Eastern-flavored tonalities and his very jazz-like sense of free rhythms mix, in an astonishingly instinctual and intimate way, with Gesing's moody clarinet, their melodic lines at times doubling before breaking free to bend and swerve off into a melodic maze before slowly returning to their intricate Byzantine dance.
Novelas is a compilation of Rita Lee songs that have appeared on Brazilian TV soap operas (telenovelas) through the years. The album features a few of Lee's best and most famous songs, such as the 1975 rock classic "Esse Tal de Roque Enrow," the sarcastic funk of "Agora é Moda," and the enchanting "Eu e Meu Gato" from her great 1978 album, Babilonia. The version of the Beatles cover "Minha Vida" (In My Life) on this compilation isn't the same (or as good) as the version found on her successful 2001 album, Aqui, Ali, Em Qualquer Lugar. The compilation also includes a couple of more or less uninspired songs released by Lee during the '80s, the least artistically impressive period of her career.
Casa del Jazz - a place that has become a mecca of jazz in Italii.Eto - a complex of buildings located in Rome (Villa Osio) .Concerts in the Casa del Jazz extend continuously, and acts as a lot of young performers from different European countries. Performers are also the best Italian jazz concerts which are published every year under the auspices of RadioCapital and newspaper La Repubblica.
Rita Marcotulli is a hidden gem of european piano playing. Here she explores the timbres of the piano [some thumping & various metal bits placed on the strings - often used as repeat patterns to play over] but mostly plays beautiful melodic pieces. The last track has a quirky bit of singing through a megaphone - gorgeous ! She keeps well within herself, choosing to explore sonorities and harmonies rather than speedy runs. Could be listened to at a dinner party without shocking a non-jazz audience.