Catherine Anahid Berberian (July 4, 1925 – March 6, 1983) was an American soprano and composer. She interpreted contemporary avant-garde music composed, among others, by Luciano Berio, Bruno Maderna, John Cage, Henri Pousseur, Sylvano Bussotti, Darius Milhaud, Roman Haubenstock-Ramati, and Igor Stravinsky. She also interpreted works by Claudio Monteverdi, Heitor Villa-Lobos, Kurt Weill, Philipp Zu Eulenburg, arrangements of songs by The Beatles, and folk songs from several countries and cultures. As a composer, she wrote Stripsody (1966), in which she exploits her vocal technique using comic book sounds (onomatopoeia), and Morsicat(h)y (1969), a composition for the keyboard (with the right hand only) based on Morse code.
If the big heels and the high-production fashion values have you skeptical about this lady, keep reading. Purring and snarling through “Your One And Only”, crowing danger through the tasty acoustic gem “Behind My Back”, double-daring her way through the buoyant “Purple Tattoos”, Cathy Jean has a natural gift for pairing her formidable voice with some pretty mean presence and solid song-writing (not a single cover on the entire CD). Blues fans will want to skip string-coated pop fare like “You Don’t Know”, but most of the rest is great stuff– seductive, tough and convincing, backed by a terrific group. Excellent and recommended.
Despite the tragedy in her life this is a superb album. Derek Trucks said in an interview (this is a paraphrase) that not only is he interested in what someone is playing but what they are listening to. Clearly Cathy Jean and her band members are both very good listeners and very good players. They are very modern (notice the excellent use of strings) and one of the finest bands playing rock and roll and blues around today. This album and Sick Little Twist are both top notch!
Because the Jazz Crusaders in the early '70s dropped the "Jazz" from their name and later in the decade veered much closer to R&B and pop music than they had earlier, it is easy to forget just how strong a jazz group they were in the 1960s. This CD reissues one of their rarer sessions, augmenting the original seven-song LP program (highlighted by "Blues Up Tight," "Doin' That Thing," and "Milestones") with previously unissued versions of "'Round Midnight" and John Coltrane's "Some Other Blues." The Jazz Crusaders (comprised of tenor saxophonist Wilton Felder, trombonist Wayne Henderson, pianist Joe Sample, drummer Stix Hooper, and, during this period, bassist Leroy Vinnegar) are heard in prime form.
The seventh in a series of 8 simultaneously released sets celebrating the most iconic British pop show of all time takes a journey back in time to a time of the Britpoppers, boy bands, girl bands and the rise and rise of R&B. Marking the period 1995-2000 this 3-CD collection includes Oasis, Cher, Underworld, Craig David, Hanson, Paul Weller, Texas and many more.
The sixth in a series of 8 simultaneously released sets celebrating the most iconic British pop show of all time takes a journey back in time to a time house music heroes, hip-hop and smooth grooves, indie darlings and transatlantic megastars. Marking the period 1990-1994 this 3-CD collection includes Sheryl Crow, Beats International, Stone Roses, The B-52’s, Gabrielle, New Order, Crowded House and many more.
Beat music, British beat, or Merseybeat (after bands from Liverpool and nearby areas beside the River Mersey) is a pop and rock music genre that developed in the United Kingdom in the early 1960s. Beat music is a fusion of rock and roll (mainly Chuck Berry guitar style and the midtempo beat of artists like Buddy Holly), doo-wop, skiffle and R&B. The genre provided many of the bands responsible for the British Invasion of the American pop charts starting in 1964, and provided the model for many important developments in pop and rock music, including the format of the rock group around lead, rhythm and bass guitars with drums. The Beat Of The Pops - excellent selection of beat tracks.
Hearing old favourite songs redone in a totally different manner from the original can be a challenge. It’s especially true when vocal songs that are basically embedded in your DNA are turned into instrumentals. So fans of the Beatles should approach this new compilation of jazz treatments of the Fab Four’s tunes with an open mind and fresh ears, because there are some magnificent performances here. Starting right off with Chick Corea and Gary Burton’s take on Eleanor Rigby. The two master musicians are totally in sync as they turn the tune into a driving, meditative work.