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!
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.
Stanley Clarke stretches his muscles and comes up with a mostly impressive, polystylistic, star-studded double album (now on one CD) that gravitates ever closer to the R&B mainstream. Clarke's writing remains strong and his tastes remain unpredictable, veering into rock, electronic music, acoustic jazz, even reggae in tandem with British rocker Jeff Beck. Clarke's excursion into disco, "Just a Feeling," is surprisingly and infectiously successful, thanks to a good bridge and George Duke's galvanizingly funky work on the Yamaha electric grand piano (his finest moment with Clarke by far). The brief "Blues for Mingus," a wry salute from one master bassist to another (Mingus died about six months before this album's release), is a cool acoustic breather for piano trio, and the eloquent Stan Getz can be detected, though nearly buried under the garish vocals and rock-style mix, on "The Streets of Philadelphia."
Café del Mar XIX features 26 new tracks of which 22 are exclusive for the compilation. Including some of the biggest names in electronic music, such as Moby & Mark Lanegan, Bonobo, The xx, Kate Bush… Great combination of cool lounge music guaranteed to put your mind to rest and chill your self to complete rest.