Can I Keep Him? by Steven Kellogg

BYU Singers - How Can I Keep from Singing A Selection of Arrangements by Dr. Ronald Staheli for BYU Singers, 1984-2015 (2022) Music

Posted by ciklon5 at June 6, 2022

BYU Singers - How Can I Keep from Singing A Selection of Arrangements by Dr. Ronald Staheli for BYU Singers, 1984-2015 (2022)
FLAC (tracks), Lossless | 5:37:40 | 1,51 Gb
Genre: Classical / Label: BYU Records

My overriding goal during my treasured 31 years as conductor of BYU Singers was to give both students and audiences experiences that would fulfill and stretch their musical sensibilities. It was not difficult finding concert literature to accomplish part of this goal, but it was in my desire to balance the program that I experienced frustration. I was fully aware that an element of “lighter,” more entertainment-oriented pieces was needed to balance our programs. But finding pieces and—even more— arrangements of those pieces worthy of the vocal and musical abilities of the extra- ordinary students in the choir was virtually impossible. So I decided to write my own arrangements for the choir.

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René Marie - How Can I Keep from Singing? (1999 Reissue) (2016) Music

Posted by tirexiss at Jan. 6, 2020

René Marie - How Can I Keep from Singing? (2016)
WEB | FLAC (tracks) - 386 MB | MP3 (CBR 320 kbps) - 160 MB | 01:02:38
Genre: Vocal Jazz | Label: MAXJAZZ

A forty-something singer who retired to raise a family in the Virginia-D.C. area, Marie is making a comeback, and it's a welcome egress. She has a strong individualistic, enjoyable voice which includes parts of Ella, Sarah, Dinah, Betty Carter, Nancy Wilson, and Teri Thornton – most closely Thornton. She's smooth but never slick, easy on the ears, with a good range and a deep, rich instrument that can easily belt when commanded. Pianist Mulgrew Miller, guitarist Marvin Sewell, and drummer Gerald Cleaver comprise the glue of these sessions, the ultimate musical accompanists and button pushers. Marie tackles some interesting re-arrangements, like the quick samba version of "What a Difference a Day Makes," atypical hard scattish bopping "God Bless the Child," and Sewell's Duane Allman-ish slide guitar during a bluesy swing take of "Tennessee Waltz" with Marie moaning, groaning, and yeah-ing on the bridge.

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