風街ろまん Happy End

Dee Dee Sharp (born Dione LaRue, September 9, 1945, Philadelphia, Pennsylvania, United States) is an American R&B singer, who began her career recording as a backing vocalist in 1961.

This is another great album from Jazztone Society Records, featuring Tony Parenti's All-Stars… and what a line-up! Tony, of course, hailing from out of the New Orleans jazz scene, sparkles on clarinet; Henry "Red" Allen, another prominent New Orleans jazz musician, shows why he was considered one of the best on Trumpet; Tyree Glenn, a Texan, worked wih some of the greatest bands, including Cab Calloway, Ellington, and Benny Carter - he growls a fine, mean trombone.
Two members of our rhythm section are familiar to all: Milt Hinton, the busiest, the happiest and the most bass player in the business, and drummer George Wettling, who not only was in on the beginnings of Chicago style jazz, but was also a vital part of the great swing surge as a member of the Tommy Dorsey…

Junior Mance - Happy Time (1962) {Jazzland OJCCD-1029-2 rel 1999}
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© 1962, 1999 Jazzland Records / Fantasy | OJCCD-1029-2
Jazz / Bop / Mainstream Jazz / Piano

Pianist Junior Mance was in excellent company on this inspired 1962 session with bassist Ron Carter and drummer Mickey Roker. Its unfortunate this trio only recorded together on this one date as their unity propels the blues, gospel, and bebop ideas Mance consistently feeds them. The program is highlighted by three Mance originals "Out South," "Taggie's Tune," and the torrid joy of the opening theme "Happy Time," along with versions of "Jitterbug Waltz," "Tin Tin Deo," and Mance at his soulful bluesy best on Clark Terry's "The Simple Waltz."

Blancmange's first album, 1982's Happy Families, yielded the minor radio hit "Living on the Ceiling," which also received a good deal of attention from early MTV. Though Happy Families can accurately be described as techno-pop, it's techno-pop with a modicum of taste and sophistication, putting it more in the ballpark of genre pioneers like OMD and Yazoo than of annoying '80s anachronisms like Kajagoogoo or EBN-OZN. Neil Arthur's lyrics are interesting enough to reward close listening, and his Bowie-esque voice, while somewhat limited, serves the material well. The sound of Happy Families is built largely around synthesizers, played by Arthur and partner Stephen Luscombe. The duo have a knack for catchy basslines and drum programming, on top of which they strategically deploy guitars, Eastern instrumentation, and female backing vocals…

Nina Hagen - Bee Happy (1996) {RCA-Ariola}
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© 1996 RCA / BMG Ariola | 74321 36936 2
Rock / Post Punk / Alternative / Indie

Nina is VERY eclectic. At all of the concerts that I have attended, she has sung punk, opera, rock 'n' roll, blues, krishna chants, big band, and other styles. If you enjoy music as music, no matter what the style, then this CD captures that character of Nina– minus the opera. The first version of this CD, the German, Freud Euch, has two opera-style songs on it that aren't on this CD. There are a couple of other songs on this CD and not on Freud Euch: "Born To Die In Berlin" and "Shiva." This CD also sounds more like how the music sounds in concert, having less overdubs and production tweaks than Freud Euch. It sounds like it was produced for the American audience to give them an idea of what to expect from a live performance by her.

Nuria Rials Aufnahmen für dhm werden in aller Welt hochgelobt. Ihr Album »Muera Cupido« mit dem Ensemble Accademia del Piacere wurde gerade für den Opus Klassik nominiert. Für ihr neues Album hat die Sopranistin zusammen mit dem spanischen Tenor Juan Sancho Arien und Duetten aus G. F. Händels Opern, Oratorien und Kantaten ausgewählt, die die menschliche und göttliche Liebe besingen. Die begleitende Capella Cracoviensis rundet unter der Leitung von Jan Tomasz Adamus das Album mit Tanzsätzen und Ouvertüren ab. In der Barockoper war es üblich, dass die Duette von Sopranistinnen und Kastraten gesungen wurden.

Happy Frame of Mind finds Horace Parlan breaking away from the soul-inflected hard bop that had become his trademark, moving his music into more adventurous, post-bop territory. Aided by a first-rate quintet - trumpeter Johnny Coles, tenor saxophonist Booker Ervin, guitarist Grant Green, bassist Butch Warren, drummer Billy Higgins - Parlan produces a provocative set that is grounded in soul and blues but stretches out into challenging improvisations. None of the musicians completely embrace the avant-garde, but there are shifting tonal textures and unpredictable turns in the solos which have been previously unheard in Parlan's music. Perhaps that's the reason why Happy Frame of Mind sat unissued in Blue Note's vaults until 1976, when it was released as part of a double-record Booker Ervin set, but the fact of the matter is, it's one of Parlan's most successful efforts, finding the perfect middle ground between accessible, entertaining jazz and more adventurous music.

Given all the live documents Gov't Mule issued since the premature death of bassist Allen Woody, The Deepest End is easily the most satisfying. Recorded and filmed during the 2003 Jazz and Heritage Festival in New Orleans, the show features the most astonishing array of guest bassists yet, and so many other guests the date was like a festival unto itself…