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Vì sao ư ? quá quá nhiều lí do để nói ra, mà không nói ra thì các bạn cũng biết gần hết rồi hehe Vì album này đáng ra (và hoàn toàn xứng đáng) là album đầu tiên đc giới thiệu ở đây. Xin lỗi đến 2 cụ Ella và Louis, và xin lỗi đến mọi người. Ok ok buddies, lời đầu tiên tdev sẽ nói đó chính là lời xin lỗi. NOCTURNE combines the gentle, late-night moods of Haden's Quartet West with the Spanish derivations that have informed the bassist's vision over the course of his exhilarating career. Guest appearances by tenor saxophonists Joe Lovano and David Sanchez, guitarist Pat Metheny, and violinist Federico Britas Ruiz add additional shadings that underscore the strong melodic sensibilities of this music. The perfectly matched Haden and Rubalcaba are joined on NOCTURNE by drummer Ignacio Berroa. Half the set features Cuban ballads, the rest being a mix of originals (two by Haden, one by Rubalcaba) and four pieces of Mexican origin. A bracing and delicious sort of melancholy runs through these quiet pieces, calling the listener in ever closer. Here, in the company of Cuban pianist Gonzalo Rubalcaba, he explores the lush, romantic aspects of the Cuban sound. NOCTURNE won the 2002 Grammy Award for Best Latin Jazz Album.Ĭharlie Haden has a longstanding interest in Cuban and Central American music (most notably expressed on his LIBERATION MUSIC ORCHESTRA albums). Includes liner notes by Leonardo Acosta, Charlie Haden & Gonzalo Rubalcaba. Recorded at Criteria and The Hit Factory, Miami, Florida from August 27-31, 2000. Producers: Charlie Haden, Gonzalo Rubalcaba. Personnel: Charlie Haden (bass) Joe Lovano, David Sanchez (tenor saxophone) Federico Britos Ruiz (violin) Gonzalo Rubalcaba (piano) Pat Metheny (acoustic guitar) Ignacio Berroa (drums, percussion). Naturally, the new songs also bear the unmistakable stamp of Costello, but no matter how far afield her song sources (Joni Mitchell and Chris Smither's catalogs are drawn on as well), Krall maintains the trademark feel that made her famous. Ironically, the jazziest tune here is Costello's early-1980s ballad "Almost Blue," previously performed by Chet Baker. There's no attempt at pop-oriented production here, just the same piano-trio sound that's been Krall's stock in trade all along. It's also feasible that Costello, who has previously recorded Mose Allison material and palled around with Tom Waits, nudged Krall toward such choice selections as Allison's bluesy plaint "Stop This World" and Waits's cocktail rhumba "Temptation." Nevertheless, Krall delivers them-like the rest of the songs here-in a misty, laconic style very consistent with her earlier work. It's possible that new husband Elvis Costello, who co-wrote all six of those tunes with his wife, was the agent provocateur. In any case, it marks Krall's biggest departure to date THE GIRL IN THE OTHER ROOM is almost entirely devoid of the jazz standards that constituted her previous repertoire, and it contains her first recorded batch of original songs.
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It may or may not be significant that Diana Krall's first album of new material since the ascendance of Norah Jones is the former's least jazzy, most pop-savvy album of her career. version with exclusive bonus track "I'll Never Be the Same." Recorded at Capitol Studios, Hollywood, California and Avatar Studios, New York, New York. Personnel: Diana Krall (vocals, piano) Neil Larson (Hammond B-3 organ) Anthony Wilson (guitar) Christian McBride, John Clayton (bass) Peter Erskine, Jeff Hamilton, Terri Lynne Carrington (drums). This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
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