May 12

產品名稱: 傳奇巨聲 Legendary Voices 劉家昌精選 (SACD)
歌手名稱: 劉 家昌 (歌手)
推出日期: 2015-02-26
語言: 國語
製作來源地: 中國香港
光碟格式: Super Audio CD

yesasia

內容簡介/曲目
傳奇巨聲
Legendary Voices
劉家昌精選

01. 在雨中 – 劉家昌/尤雅
02. 我找到自己
03. 我家在那裡
04. 海鷗
05. 一簾幽夢
06. 只要為你活一天
07. 梅花
08. 往事只能回味
09. 中華民族
10. 我是中國人
11. 秋詩篇篇
12. 月滿西樓
13. 煙雨斜陽
14. 我倆在一起
15. 梅蘭梅蘭我愛你
16. 珍重我的愛 – 劉家昌/劉艾靈

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May 12

71年9月「雨の御堂筋」でデビュー。オリコン?チャートで、アジア人初の9週連続1位を記録。72年には、外国人として初めて紅白歌合戦に出場するなど、絶大な人気を獲得しました。

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May 12

Gregory Porter – Liquid Spirit (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 1:00:57 minutes | 1,29 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Front cover | Label: Blue Note

Liquid Spirit marks Gregory Porter’s Blue Note Records debut, which arrives on the heels of two critically acclaimed indie label albums that quickly propelled Porter to the upper echelon of contemporary male jazz singers and earned him two GRAMMY nominations. Porter has an amazing gift for writing poignant songs based upon personal experiences with a relatable and emotional immediacy. Even more, his hooky melodies penetrate instantly. Recommencing with the water analogy that characterized his debut disc, Porter sees Liquid Spirit as a logical progression in his burgeoning discography as it touches on some of the same themes, particularly the highs and lows of romance, his childhood, and socio-political observations.

After two solid albums on Motema, both of which earned Grammy nominations, singer and songwriter Gregory Porter makes his Blue Note debut with Liquid Spirit. A singer whose quicksilver vocal style refuses to be caged by either jazz, gospel, or R&B, his warm, inviting baritone utilizes them all when he wishes to. Using the musicians who appeared with him on 2012’s Be Good — Yosuke Sato and Tivon Pennicott, saxophones; Chip Crawford, piano; Aaron James, bass, Emanuel Harrold, drums — Porter wrote or co-wrote 11 of these 14 songs. There is a dynamite reading of Billy Page’s hard-grooving “The In Crowd” that highlights Porter’s rhythmic phrasing. Though it’s a soul tune at heart, he swings hard. The cover of Max Roach’s and Abbey Lincoln’s “Lonesome Lover” evokes the soulful post-bop spirit of the original and offers a bracing portrait of the singer’s command of his own upper range. Covers aside, the real strength of Liquid Spirit lies in Porter’s songs: his lyrics and melodies are as rich as his voice. Opener “No Love Dying Here” walks a line between jazz and soul; its life-affirming words are underscored by the effortless conviction and authority in his vocal, while Sato’s alto saxophone solo affirms the lyric. The fingerpopping, handclapping gospel groove in the title track is punched up by saxophones and Curtis Taylor’s trumpet. The call-and-response between Porter and James’ bass is tasty, and one can hear a trace of Donny Hathaway in the singer’s commanding, heartfelt delivery. “Hey Laura” is characterized by Porter’s relaxed but utterly sincere delivery, and packs a knock-out emotional punch in his protagonist’s plea to the object of his affection. “Brown Grass” is a close second in the emotional punch department; it’s a love song to be sure, but a sadder one. Porter articulates his protagonist’s regrets simply and honestly, and therefore resonantly. For all of his innovative ability to effortlessly combine, shift, and shape various musical genres in his own image, Porter is militantly old school — check “Musical Genocide,” as he celebrates the music of the past with a popping piano, hard-grooving horns, funky Rhodes, and swelling B-3. On the tender ballad “Wolfcry,” he is accompanied only by Crawford; it’s so hip and melodically rich, it could easily have been sung by a young Nat Cole. The way he and his band move through blues, jazz, gospel, and R&B — simultaneously — on the declamatory testimonial “Free” is breathtaking. The intro to “Movin’,” near set’s end, suggests Bill Withers, but Porter quickly shifts it into higher gear with the horns punctuating the ends of his sung lines. While his first two recordings revealed a major new talent with their promise, Liquid Spirit is a giant step forward artistically, and for the listener, an exercise in musical inspiration.

Tracklist:
01 – No Love Dying
02 – Liquid Spirit
03 – Lonesome Lover
04 – Water Under Bridges
05 – Hey Laura
06 – Musical Genocide
07 – Wolfcry
08 – Free
09 – Brown Grass
10 – Wind Song
11 – The “In” Crowd
12 – Movin’
13 – When Love Was King
14 – I Fall In Love Too Easily

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May 12

Gordon Grdina, Paul Motian, Gary Peacock – Think Like The Waves (2006)
FLAC (tracks) 24 bit/88,2 kHz | Time – 58:29 minutes | 1,12 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital booklet

The young, Vancouver guitarist and oud player Gordon Grdina sought out Gary Peacock after a Keith Jarrett concert in San Francisco in 2000, and for the next five years Gary became his mentor and teacher. At their last meeting at Gary’s house in upstate New York there was virtually no discussion, they just sessioned together for an hour or so, and the next day Gordon asked Gary if he would do a trio record. Gary agreed, and helped bring Paul Motian (another of Gordon’s musical heroes) into the picture. Recorded in Brooklyn in January, Think Like the Waves is a remarkable international jazz debut, full of compelling original tunes by Grdina and deep interaction by the trio.

It’s not every jazz musician who doubles on guitar and oud (the centuries-old Middle Eastern forerunner of the mandolin), but Gordon Grdina makes the combination work. He brought 14 difficult originals to the studio for a recording session with veterans Gary Peacock and Paul Motian, drawing on his interest in blending elements of Arabic music and various jazz genres. When Grdina is playing oud, the songs often seem like they evolved spontaneously in the studio, especially the meandering “Platform” and the dark “Renunciation.” On guitar, Grdina’s gift for spaciousness and lyricism in the longing “Distant” sounds reminiscent of Jim Hall. The brooding “Cobble Hill” is another striking performance. While Peacock and Motian had their work cut out for them engaging this music, they provide terrific interaction with Gordon Grdina throughout the sessions.

Tracklist:
01 – Yellow Spot into the Sun
02 – Different Places
03 – Platform
04 – Renunciation
05 – Morning Moon
06 – Ginger Root
07 – 100 Years
08 – Distant
09 – Combustion
10 – Think Like the Waves
11 – Cobble Hill
12 – Albert the Monk
13 – String Quartet #6
14 – Strathcona

Produced by Gordon Grdina and Tony Reif.
Recorded by Aya Takemura on January 21-22, 2006 at Brooklyn Recording, New York.

Musicians:
Gordon Grdina – guitar, oud
Gary Peacock – bass
Paul Motian – drums

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May 12

Hugh Coltman – Shadows: Songs of Nat King Cole (2015)
FLAC (tracks) 24 bit/44.1kHz | Time – 47:00 minutes | 505 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | @ Okeh Records / Sony Music Entertainment
Recorded: November 2014 at MidiLive Studios, Villetaneuse France

„Shadows – Songs of Nat King Cole“, has been an idea brewing in Hugh’s mind for a few years. Cole was one of the Jazz artists that Hugh’s mother often played in the family home and his music became part of the soundtrack of Hugh’s formative years before his mother’s untimely death when he was 7 years old. After having released and toured two self penned albums distinctly pop on Universal records, Hugh was invited to tour and record with French/Italian Jazz pianist and producer Eric Legnini. This experience of a working Jazz musician gave him the confidence to finally approach Nat King Cole’s repertoire.

The idea behind the album was born of Hugh’s intention to shed light upon the darker part of Nat King Cole’s life. That of a black musician, active at a time when segregation was rife and most black artists entered music venues by the service entrance. Indeed Cole himself narrowly escaped a kidnapping in 1956 in Alabama and even though successful, he was clearly not welcome in Beverly Hills where he received threats from the Klu Klux Klan soon after the family’s arrival. Cole stated: ‘I can’t understand it … I have not taken part in any protests. Nor have I joined an organisation fighting segregation. Why should they attack me ?”. Hugh’s idea was to reveal these “Shadows”, rarely if ever evident in the choice of material or production of Cole’s work. The choice of songs, production and Hugh’s vocal performances on Shadows, often rooted in his passion for the Blues, give an undertone of tension, even unease.

Notwithstanding Hugh’s original idea, when he came to record the closing title for the album, Morning Star, an ode to a mother’s love, it became clear to him that this project was in fact, much closer to home. Shadows… is Hugh paying homage to his mother, through the work of Nat King Cole.

Tracklist:
1. Are You Disenchanted 04:24
2. What’ll I Do 04:03
3. Pretend 04:06
4. I Can’t Be Bothered 02:54
5. Annabelle 03:34
6. Nature Boy 04:01
7. Walkin’ 04:20
8. Mona Lisa 03:54
9. Meet Me At No Special Place (And I’ll Be There At No… 03:16
10. The Shadows 02:52
11. I Never Had A Chance 03:27
12. Smile 02:59
13. Morning Star 03:05

Personnel:
Hugh Coltman, vocals
Pierrick Pédron, alto sax
Eric Legnini, piano, arranger
Misja Fitzgerald Michel, guitar
Laurent Vernerey, bass
Franck Agulhon, Raphael Chassin, drums

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