BE MY Valentine Music For 2

One would think that, with the current feelings about the US presence in Iraq and Afghanistan, there would be frequent stagings throughout the country of Kurt Weill's JOHNNY JOHNSON, his awe-inspiring anti-war "play with songs" and his first work for the American theater. (Not coincidentally, where are all productions of Joan Littlewoood's OH, WHAT A LOVELY WAR and the Gershwin/Kaufman STRIKE UP THE BAND?)

One would think that, with the current feelings about the US presence in Iraq and Afghanistan, there would be frequent stagings throughout the country of Kurt Weill's JOHNNY JOHNSON, his awe-inspiring anti-war "play with songs" and his first work for the American theater. (Not coincidentally, where are all productions of Joan Littlewoood's OH, WHAT A LOVELY WAR and the Gershwin/Kaufman STRIKE UP THE BAND?)

my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields, Deb Googe and Colm Ó Cíosóig, are widely revered as one of the most ground-breaking and influential groups of the past forty years. During an era in which guitar bands denoted, at best, a retro-classicism, not only did my bloody valentine sound unlike any of their contemporaries, the band achieved the rare feat of sounding like the future.

my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields, Deb Googe and Colm Ó Cíosóig, are widely revered as one of the most ground-breaking and influential groups of the past forty years. During an era in which guitar bands denoted, at best, a retro-classicism, not only did my bloody valentine sound unlike any of their contemporaries, the band achieved the rare feat of sounding like the future.

my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields, Deb Googe and Colm Ó Cíosóig, are widely revered as one of the most ground-breaking and influential groups of the past forty years. During an era in which guitar bands denoted, at best, a retro-classicism, not only did my bloody valentine sound unlike any of their contemporaries, the band achieved the rare feat of sounding like the future.

The Music for Lovers series from EMI and Blue Note spotlights the balladic nature and romantic side of the artists who have recorded for its associated labels. Dianne Reeves performs in a variety of settings here, singing standards from the vocal jazz world as well as R&B and art rock. Beginning with an excellent 1982 reading of "My Funny Valentine" with Billy Childs, the volume picks up two Reeves performances from the late '80s.

my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields, Deb Googe and Colm Ó Cíosóig, are widely revered as one of the most ground-breaking and influential groups of the past forty years. During an era in which guitar bands denoted, at best, a retro-classicism, not only did my bloody valentine sound unlike any of their contemporaries, the band achieved the rare feat of sounding like the future.

In his dual role as trumpeter and singer, the perennial Chet Baker was one of the undisputed masters of the jazz ballad, able to reach climaxes of intense feeling and intimacy. This CD compiles Chet Baker’s original versions of many of the songs heard in the recent biopic film based on his life, and reminds us of his superb talents. The unforgettable performances by Odetta and Charles Mingus used on the soundtrack, as well as two amazing versions of the title song, “Born to Be Blue”, sung by Nancy Wilson and Helen Merrill (the latter is baked by another brilliant trumpet, Clifford Brown, on the recording) have also been included.

South Florida guitarist Randy Bernsen started his recording career in an unorthodox way, calling a collection of jazz/fusion luminaries who, even to his surprise, agreed to be a part of his 1986 debut album Music for People, Planets & Washing Machines. After recruiting fretless bass giant and fellow South Florida resident Jaco Pastorius and getting a return call of interest from keyboard virtuoso Herbie Hancock, it was easier to interest keyboardist Bob James and drummer Peter Erskine. Released on MCA's Zebra label, the album earned Bernsen write-ups in Down Beat and Guitar Player magazines and appeared to start a flourishing career.