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Eli Cook Miss Blues' Child

Eli Cook Miss Blues' Child

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Release Date: 2007-06-05, Audio CD, MP Media
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Pris 199.03,-

Eli Cook Miss Blues' Child
Heiko Voss Two Sides

Heiko Voss Two Sides

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Audio CD, Firm Music
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Pris 181.33,-

Heiko Voss Two Sides
Eli Degibri Emotionally Available

Eli Degibri Emotionally Available

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Release Date: 2006-07-24, Audio CD, Fresh Sound
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Pris 128.23,-

Eli Degibri Emotionally Available
Laura Nyro Eli and the Thirteenth Confession

Laura Nyro Eli and the Thirteenth Confession

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Consider the curious fate of singer-songwriter Laura Nyro's 1968 big-label bow: though it contained no less than three songs ("Stoned Soul Picnic," "Sweet Blindness," and "Eli's Coming") that became hits (the first two for Fifth Dimension, the last for Three Dog Night), Nyro's own endlessly influential collection barely dented the Top 200. And in an era of supposed pop emancipation and enlightenment, Nyro was booed off the stage at the vaunted Monterey Pop Festival a year earlier. Those facts merely hint at the true gifts and stubborn instincts of an artist who took her cue for hook writing from the Brill Building's prime, then seamlessly fused it to her far-ranging passions for soul, jazz, gospel, and no small amount of personal drama. Carole King was seldom this exotic and compelling, nor Joni Mitchell so pop perfect. "Once It Was Alright Now (Farmer Joe)" even recalls Brian Wilson's most ambitious musical gambits, its suite format playfully interspersing three different tunes and styles, standing the standard verse-chorus-verse form on its head in the bargain. Long a treasured musical touchstone for other artists (Nyro influenced everyone from Phoebe Snow to Tori Amos), this reissued edition now contains beautiful, spare solo demos for "Lu," "Stoned Soul Picnic," and "Emmie" as bonus tacks, along with newly penned liner notes. --Jerry McCulley
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Laura Nyro Eli and the Thirteenth Confession
Laura Nyro Eli and the Thirteenth Confession

Laura Nyro Eli and the Thirteenth Confession

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Consider the curious fate of singer-songwriter Laura Nyro's 1968 big-label bow: though it contained no less than three songs ("Stoned Soul Picnic," "Sweet Blindness," and "Eli's Coming") that became hits (the first two for Fifth Dimension, the last for Three Dog Night), Nyro's own endlessly influential collection barely dented the Top 200. And in an era of supposed pop emancipation and enlightenment, Nyro was booed off the stage at the vaunted Monterey Pop Festival a year earlier. Those facts merely hint at the true gifts and stubborn instincts of an artist who took her cue for hook writing from the Brill Building's prime, then seamlessly fused it to her far-ranging passions for soul, jazz, gospel, and no small amount of personal drama. Carole King was seldom this exotic and compelling, nor Joni Mitchell so pop perfect. "Once It Was Alright Now (Farmer Joe)" even recalls Brian Wilson's most ambitious musical gambits, its suite format playfully interspersing three different tunes and styles, standing the standard verse-chorus-verse form on its head in the bargain. Long a treasured musical touchstone for other artists (Nyro influenced everyone from Phoebe Snow to Tori Amos), this reissued edition now contains beautiful, spare solo demos for "Lu," "Stoned Soul Picnic," and "Emmie" as bonus tacks, along with newly penned liner notes. --Jerry McCulley
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Pris 181.33,-

Laura Nyro Eli and the Thirteenth Confession
Why Almost Live from Eli's Live Room

Why Almost Live from Eli's Live Room

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Release Date: 2008-11-10, Audio CD, Why
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Pris 79.56,-

Why Almost Live from Eli's Live Room
Martin Haselböck Fux: Il Fonte della Salute /Koike · Perillo · Monoyios · Voss · Chum · Bankl · Wiener Akademie · Haselböck

Martin Haselböck Fux: Il Fonte della Salute /Koike · Perillo · Monoyios · Voss · Chum · Bankl · Wiener Akademie · Haselböck

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Release Date: 2004-06-27, Audio CD, CPO
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Pris 176.91,-

Martin Haselböck Fux: Il Fonte della Salute /Koike · Perillo · Monoyios · Voss · Chum · Bankl · Wiener Akademie · Haselböck
Sophie Milman Make Someone Happy

Sophie Milman Make Someone Happy

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Toronto's Sophie Milman has that rare ability to appeal to two often deeply separated worlds: those who like their jazz light and those purists who want their jazz heavy and nothing short of it. By having a more-than-capable traditional jazz band and challenging herself vocally to bring the swing, she has commanded respect from both camps. Milman's delivery is silky smooth, a gorgeous voice with a low register reminiscent of Fiona Apple and an upper register that brings Ella Fitzgerald's bounce and playfulness to mind. Like many jazz vocal discs, her second album Make Someone Happy contains an abundance of covers, but some rather surprising in style. The often-done "Fever"'s arrangement is nothing like the original, containing more of an unnerving musical undercurrent than the traditional sultry one. Milman--who recorded this disc in her early 20s--covers a number of underdone melodies, from Stevie Wonder's "Rocket Love" to the Guess Who's "Undun" with composer/original band guitarist Randy Bachman offering his sonic inflections to the song. Other high points include the smokin' jam "It Might As Well Be Spring," the sexy bossa nova of original track "Something in the Air Between Us" and the beautiful cover of "Eli, Eli" by Second World War Holocaust hero and poet Hannah Senesh. It is a brave and haunting number that Milman does great justice to. -- Denise Sheppard
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Sophie Milman Make Someone Happy
Laura Nyro Gonna Take a Miracle

Laura Nyro Gonna Take a Miracle

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Eli and the Thirteenth Confession, and New York Tendaberry established Laura Nyro as one of the early 1970s' brightest and most uncompromising singer-songwriters. But just as the budding success of 1969's Tendaberry seemed to establish her persona in the public's mind, Nyro reached back to the beloved Brill Building pop, doo-wop, and '50s R&B for inspiration, extended a hand in partnership to then-down-on-their-luck soul vets LaBelle, and tossed off this loving blast from the past. Producers Kenny Gamble and Leon Huff (who would later formulate the vaunted Philly soul sound) were ostensibly in charge, though the voices of Nyro and LaBelle carry the day. Whether the bare-bones production harked back to the mindset of Nyro's moody Tendaberry or they simply ran out of time and had to finish the project, there's a sense of immediacy to the recordings that outstrips even some of the originals. Tracks like "Jimmy Mack" and "I Met Him on a Sunday" feel like they spontaneously came together around an upright piano, their rhythm section a chorus of joyous hand claps. Others, like "Desiree" and "The Wind," have a haunting, ethereal sense that's pure Nyro. This is one of the oddest collections of Nyro's career, but also one of the most joyously heartfelt. --Jerry McCulley
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Laura Nyro Gonna Take a Miracle
Laura Nyro New York Tendaberry

Laura Nyro New York Tendaberry

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Consider the curious fate of singer-songwriter Though Laura Nyro was one of the most successful American songwriters of the late '60s, penning hits like Streisand's "Stoney End," Blood, Sweat & Tears' "And When I Die," Three Dog Night's "Eli's Coming," and the Fifth Dimension's "Wedding Bell Blues," her buoyant, genre-blending major-label debut clicked with only a small, if influential, cult audience. But even Nyro's faithful must have been taken by surprise by its 1969 follow-up. A mature, deeply impressionistic ode to her hometown, New York City, Nyro's creation captures the city's multicultural soul and emotionally jagged edges so well it's hard to believe this 22-year-old daughter of a jazz musician who couldn't read a note of music concocted it. Stripping her music down to the bare essentials of her expressive, occasionally explosive soprano and fervent piano work somehow expanded its dramatic potential exponentially. Indeed, there are few pop albums whose protominimalist use of studio flourishes and production sheen have been as brief or effective; Nyro called them "colors," and that's exactly the function they serve here, adding crucial glimmer to the stark, jazzy drama of the singer's evocative songs. The bonus, "Save the Country," cut as a full studio production prior to Nyro rethinking the approach, fairly blares by comparison. Rooted in the singer's beloved '50s R&B and pop, yet infused with her brave, singular vision and the chutzpah to stick to it, this album remains Nyro's masterpiece. --Jerry McCulley
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Laura Nyro New York Tendaberry
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