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CD BT Kft. internet bolt - CD, zenei DVD, Blu-Ray lemezek: We Are in Love [Japan] *Super Audio CD*

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We Are in Love [Japan]
Harry Connick Jr.
japán
első megjelenés éve: 1990
53 perc
(2005)

*Super Audio CD*
12.873 Ft 

 

IMPORT!
Kosaramba teszem
1.  We Are in Love
2.  Only 'Cause I Don't Have You
3.  Recipe for Love
4.  Drifting
5.  Forever, For Now
6.  A Nightingale Sang in Berkeley Square
7.  Heavenly
8.  Just a Boy
9.  I've Got a Great Idea
10.  I'll Dream of You Again
11.  It's All Right With Me
12.  Buried in Blue
Jazz / Vocal; Swing; Traditional Pop

Recorded: April 4, 5, and 22, 1990, RCA Studio B, NYC

Harry Connick Jr. - Piano, Vocals
Branford Marsalis - Tenor Sax, Soprano Sax
Russell Malone - Guitar
Benjamin Jonah Wolfe - Bass
Shannon Powell - Drums

"I thought it would be a good idea to do two albums at the same time," Harry Connick, Jr. asserts of his simultaneously-released new recordings, the orchestral vocal album entitled WE ARE IN LOVE; and LOFTY'S ROACH SOUFFLE, recorded with his trio. "I'm a singer and I'm also a piano player, and the way I sing and play are two completely different styles. So, I wanted to go back and document both of those different styles."
These styles were featured prominently on Harry's previous Columbia release, songs form the motion picture WHEN HARRY MET SALLY. This astonishingly successful soundtrack went to #1 on the Billboard Traditional Jazz Chart. In the process, it also became that all-too-rare jazz record to pique interest in the mainstream, bulleting inside the top 50 on the Pop Album Chart. Harry's sterling performance won the Grammy Award for "Best Jazz Vocal Performance, Male" (with an additional nomination to Marc Shaiman for "Best Instrumental Arrangement Accompanying A Vocal)." The Rolling Stone critics went on to name Harry "Best Jazz Act" in the magazine's 1989 Music Awards. And the Boston Phoenix proclaimed Harry "Best National Jazz Artist" in its annual Readers Poll.
Not surprisingly, the album has garnered an RIAA Gold record for sales well in excess of 600,000. It's no understatement to say it's been a while since a male vocalist backed by a big band and strings has generated so much excitement.

"The trio album, which is instrumental, is all original music," Harry says. "The other album, which is orchestral, that's all singing. It's going to have twelve songs, with ten originals on it. So they are both pretty much all-original albums. I've always been a composer, I just didn't put the songs on my last two albums."

The orchestrations on WE ARE IN LOVE range from big band arrangements and numbers with strings, to one song with Harry singing, accompanied by bassist Ben Wolfe and saxophonist Branford Marsalis. On the other hand, LOFTY'S ROACH SOUFFLE, the trio album, finds Harry stretching his jazz chops with sidemen Shannon Powell on drums and Wolfe on bass.
Harry Connick, Jr. has jumped on the juggernaut of success. Thousands of words have appeared on him in periodicals ranging from Time, Newsweek, the Los Angeles Times, and New York Times, to Rolling Stone, People, Go, In Fashion and every local newspaper in any area where his big band landed on his last tour. Reaching out to a new audience, Harry took his warm personality and repertoire of standards, and played one of the most lauded month long sets in the history of New York's venerable Algonquin Oak Room. Reaching millions more on national TV, he has appeared as musical guest on NBC's "Saturday Night Live," performed on the Pre-Super Bowl Special, and was featured on "The Tonight Show," "Good Morning America," "Nightline," and VH-1.

Coinciding with the release of Harry's two new albums is his home video debut, entitled "Singin' & Swingin'" (on CMV). Compiled are Harry's very first video clip, "Do You Know What It Means To Miss New Orleans" (with Dr. John); the two videos from WHEN HARRY MET SALLY, "It Had To Be You" and "Don't Get Around Much Anymore"; three live concert numbers from London's Dominion Theatre, "Stompin' At the Savoy," "Where Or When," and "I Could Write a Book"; and clips for the two new albums - "One Last Pitch" from LOFTY'S ROACH SOUFFLE" and "Recipe For Love" from WE ARE IN LOVE. Also included is new exclusive interview footage with Harry.
And, always looking for new venues, Harry makes his film debut this fall in "Memphis Belle," portraying a tailgunner in the crew of a WWII bomber squadron based in England. The movie stars John Lithgow, D.B. Sweeney, Eric Stolz and Matthew Modine. It was produced by David Puttman and directed by Michael Caton-Jones ("Scandal").
As all this illustrates, Harry Connick, Jr.'s work as a singer, pianist and performer has been lavishly recognized recently. However, he is hardly an overnight success. He has been a performing professional for very nearly 14 years. Yet this veteran player and rising star is but 22 years old.

"There are a lot of great young musicians on record," Harry observes. "Charnett Moffett was 16 when he played on his first record. Branford was very young. Donald Harrison and Terence Blanchard. There are a lot of them. Louis Armstong was very young when he did his first recordings."

So was Harry. Born and raised in New Orleans, he grew up with that city's musical diversity. From funk to stride, free jazz to boogie, it was all there. His parents were both lawyers, but they also owned a record store and encouraged their son's musical interests. He says that he has been playing the piano since he was about three years old. At age six, he played The National Anthem for his father's swearing-in as District Attorney. Sometime during third or fourth grade, he made his recording debut, playing piano and singing in front of a dixieland group for a local New Orleans record company. He was soon sitting in at clubs on Bourbon Street.
Harry studied piano with both Ellis Marsalis (father of Branford, Wynton, et al) and New Orleans legend James Booker. As a student at NOCCA (the New Orleans Center for the Creative Arts) Harry won several classical piano competitions. At one time he even played in a funk band with Delfeayo Marsalis, who would go on to produce Harry's first Columbia recordings.
He moved to New York at 18, after a year at Loyola University. While studying first at Hunter College, then at Manhattan School of Music, Harry played clubs and restaurants in the city, and worked as the organist and choir director at a Bronx Church. Then, taking up a five year old offer from a friend to "look me up when he got to New York," he called Dr. George Bulter, who would record his eponymous debut album in one direct-to-digital afternoon session at Concordia College in Bronxville, New York. It was produced by Delfeayo Marsalis, and veteran bassist Ron Carter accompanied the ten instrumentals.

Like many debuts, the critical plaudits outshone the sales. The Washington Post praised Harry's "delightfully idiosyncratic piano style… at once charmingly old fashioned and totally unpredictable, thanks to its unexpected dissonances and rhythmic suspensions." People remarked that his "restraint, unusual in a young player, allows him to make every line sing as well as swing."
In addition to underscoring solo piano like his first album, and trios like on 20, When Harry Met Sally marked the first time that Harry had recorded with a big band and orchestra.
Harry went on a 15-city tour in the late-fall, 1989. In addition to playing solo and with his trio, he employed a full-scale orchestra in each city. Conducted by Shaiman, Harry performed music from the film as well as other standards.
Shaiman also went on to arrange many of the songs on WE ARE IN LOVE. Harry has nothing but praise for his work, frequently calling him a genius. With this album, Harry hopes to show that music for an orchestra can move beyond where it is, and become something fresh and new. Preceding the release of the two new LPs, he begins a 6-month U.S. tour with his own band (the Harry Connick, Jr. Orchestra) performing at every date.
While Harry Connick, Jr. is now intent on playing songs of Harry Connick, Jr., expect the same quality performance. In both the orchestral genre and with his piano trio, he serves up the same intensity and the same stylistic stroll through the history of jazz that his previous recordings have so excellently rendered.

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