Ada Moore

CAT MEETS CHICK–A STORY IN JAZZ–VG+/G+ 1956 Album by singers Jimmy Rushing and Ada Moore, with (trumpet player) Buck Clayton and his Orchestra–on Columbia (6-eye logo label)This is the LP, CAT MEETS CHICK–A STORY IN JAZZ, by Jimmy Rushing, Ada Moore, and Buck Clayton(Columbia CL-778–mono–1956).

Ada Moore enjoyed a long and varied career as a writer, painter, and stage performer as well as a singer. The present album is her most distinctive effort, thanks to the presence of definitive instrumental stylists Tal Farlow on guitar and Oscar Pettiford on bass, the unjustly neglected alto sax of John LaPorta, and the unique arrangements of Alonzo Levister and Charles Mingus.

There are no less than 20 CD compilations on the market with the words "Jazz Divas" in the title, and another eight that use the phrase "Divas of Jazz." Those two nouns, so carelessly bandied about, describe improvising female vocalists whose works are an extension of a tradition established by Bessie Smith, Adelaide Hall, Ethel Waters, Mildred Bailey, Ivie Anderson, Valaida Snow, Una Mae Carlisle, and Lee Wiley, none of whom appear on Verve's 2007 double-disc anthology titled Jazz Divas: Gold. Although a collection this diverse is vulnerable to criticism, particularly in regards to the song choices that were made, the temporal range – May 1938 through June 1997 – allows for a healthy overview of stylistic evolution. Thirty singers are represented here, with Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Dinah Washington, and Nina Simone checking in twice (each of the five has her own volume in Verve's Gold series). This is a mainstream selection; while the omission of Ada Moore, Jeanne Lee, and June Tyson is therefore not surprising, the absence of Pearl Bailey, Betty Roché, and Etta Jones is most unfortunate. On the positive side, it's an entertaining survey of mostly great recordings made over a span of six decades by a variegated assortment of female jazz vocalists.

There are no less than 20 CD compilations on the market with the words "Jazz Divas" in the title, and another eight that use the phrase "Divas of Jazz." Those two nouns, so carelessly bandied about, describe improvising female vocalists whose works are an extension of a tradition established by Bessie Smith, Adelaide Hall, Ethel Waters, Mildred Bailey, Ivie Anderson, Valaida Snow, Una Mae Carlisle, and Lee Wiley, none of whom appear on Verve's 2007 double-disc anthology titled Jazz Divas: Gold. Although a collection this diverse is vulnerable to criticism, particularly in regards to the song choices that were made, the temporal range – May 1938 through June 1997 – allows for a healthy overview of stylistic evolution. Thirty singers are represented here, with Ella Fitzgerald, Billie Holiday, Sarah Vaughan, Dinah Washington, and Nina Simone checking in twice (each of the five has her own volume in Verve's Gold series). This is a mainstream selection; while the omission of Ada Moore, Jeanne Lee, and June Tyson is therefore not surprising, the absence of Pearl Bailey, Betty Roché, and Etta Jones is most unfortunate. On the positive side, it's an entertaining survey of mostly great recordings made over a span of six decades by a variegated assortment of female jazz vocalists.

Durante más de 25 años, héroes como Zarpa de Acero, The Spider o el robot Archie han desaparecido del mapa. Pero la Edad de Oro de los cómics británicos está a punto de regresar. Alan Moore (V de Vendetta) recupera el cómic popular inglés con la ayuda de Leah Moore, John Reppion y Shane Oakley. Porque las grandes historias no pueden morir.

He graduated with honors from the Karol Szymanowski Academy of music in Katowice at the vocal and acting faculty, in the class of prof. Felix Widera. In 1996, he received a scholarship from the Minister of Culture and Arts, and in 1997-a competitive DAAD scholarship allowing him to continue his postgraduate studies at the Higher School of music in Karlsruhe (diploma with distinction).

The forgotten superheroes of 20th-century black music, the leather-lunged blues shouters, dominated the US nightclub stages and R&B charts for half-a-dozen years or so following World War II, before being side-lined by the bourgeoning rock n roll storm in the early 1950s. Still considered a force with which to be reckoned in the US music industry of the mid-fifties, and still at the height of their vocal prowess, many of the biggest stars were granted one or two final shots to save their flagging recording careers during rock n roll s heyday - their Last Shout.

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