70 results for your search
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Mister Rogers Swings
performed by Holly Yarbrough, 1969-, The Lori Mechem Trio (Vintage Discs, 2008), 54 mins, 16 page(s)
The late Fred Rogers produced, wrote, and hosted the public television series {#Mister Rogers' Neighborhood} from 1968 to 2001 and a key ingredient in targeting young children with his upbeat educational message was music (usually jazz), singing his own words and music with the assistance of veteran pianist and mu...
Sample
performed by Holly Yarbrough, 1969-, The Lori Mechem Trio (Vintage Discs, 2008), 54 mins, 16 page(s)
Description
The late Fred Rogers produced, wrote, and hosted the public television series {#Mister Rogers' Neighborhood} from 1968 to 2001 and a key ingredient in targeting young children with his upbeat educational message was music (usually jazz), singing his own words and music with the assistance of veteran pianist and music director Johnny Costa and a number of other musicians. Vocalist Holly Yarbrough, together with the help of a number of Tennessee-ba...
The late Fred Rogers produced, wrote, and hosted the public television series {#Mister Rogers' Neighborhood} from 1968 to 2001 and a key ingredient in targeting young children with his upbeat educational message was music (usually jazz), singing his own words and music with the assistance of veteran pianist and music director Johnny Costa and a number of other musicians. Vocalist Holly Yarbrough, together with the help of a number of Tennessee-based jazz musicians, explores 16 of Rogers' many compositions, and includes special guest saxophonist Boots Randolph (on one of his final recordings). The atmosphere is friendly and swinging with a good number of instrumental breaks, with Yarbrough's appealing vocals, a fine rhythm section (including pianist Lori Mechem, guitarist Richard Smith, bassist Roger Spencer, and drummer Chris Brown), and potent, brief solos by Randolph, trombonist Roy Agee, and trumpeter George Tidwell. Anyone who wants to expose their children, grandchildren, or students to very accessible (without being bland) swinging jazz with lyrics that have a message instead of empty banalities ought to investigate Mister Rogers Swings. ~ Ken Dryden, All Music Guide
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Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
The Lori Mechem Trio, Holly Yarbrough, 1969-
Author / Creator
The Lori Mechem Trio, Holly Yarbrough, 1969-
Date Published / Released
2008
Publisher
Vintage Discs
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Ain't Gonna Settle Down: The Pioneering Blues of Mary Stafford & Edith Wilson
produced by Richard Martin and Meagan Hennessey; performed by Edith Wilson, 1896-1981 and Mary Stafford, 1895-1938, Mary Stafford & Her Jazz Band (Archeophone Records, 2008), 2 hours 24 mins, 46 page(s)
Sample
produced by Richard Martin and Meagan Hennessey; performed by Edith Wilson, 1896-1981 and Mary Stafford, 1895-1938, Mary Stafford & Her Jazz Band (Archeophone Records, 2008), 2 hours 24 mins, 46 page(s)
Date Written / Recorded
1930-10-06
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Mary Stafford & Her Jazz Band, Edith Wilson, 1896-1981, Mary Stafford, 1895-1938
Contributor
Richard Martin, Meagan Hennessey
Author / Creator
Mary Stafford & Her Jazz Band, Edith Wilson, 1896-1981, Mary Stafford, 1895-1938
Date Published / Released
2008
Publisher
Archeophone Records
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Mister Rogers Swings
performed by The Lori Mechem Trio, Mister Rogers Swings (Vintage Discs, 2008)
Sample
performed by The Lori Mechem Trio, Mister Rogers Swings (Vintage Discs, 2008)
Field of Study
American Music
Performer / Ensemble
The Lori Mechem Trio
Author / Creator
The Lori Mechem Trio
Date Published / Released
2008
Publisher
Vintage Discs
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performed by Ray Campi, 1934- (Rounder Records, 2008), 27 mins
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Ray Campi, 1934-
Author / Creator
Ray Campi, 1934-
Date Published / Released
2008
Publisher
Rounder Records
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I'm A Mountain
performed by Sarah Harmer, 1970- (Rounder Records, 2006), 41 mins
Canadian singer/songwriter Sarah Harmer approaches the music on her third solo release, I'm a Mountain, from a more traditional standpoint, bringing in elements of bluegrass, country, and boogie-woogie to her already-established modern folk sound. The album was recorded in July 2005 in Toronto after a hiking trip...
Sample
performed by Sarah Harmer, 1970- (Rounder Records, 2006), 41 mins
Description
Canadian singer/songwriter Sarah Harmer approaches the music on her third solo release, I'm a Mountain, from a more traditional standpoint, bringing in elements of bluegrass, country, and boogie-woogie to her already-established modern folk sound. The album was recorded in July 2005 in Toronto after a hiking trip on the Niagara Escarpment in southern Ontario. Harmer grew up near the Escarpment, and when she heard about the threat of development t...
Canadian singer/songwriter Sarah Harmer approaches the music on her third solo release, I'm a Mountain, from a more traditional standpoint, bringing in elements of bluegrass, country, and boogie-woogie to her already-established modern folk sound. The album was recorded in July 2005 in Toronto after a hiking trip on the Niagara Escarpment in southern Ontario. Harmer grew up near the Escarpment, and when she heard about the threat of development there, she and her band decided to hike it to raise awareness over its plight. The song "Escarpment Blues" details this problem effectively, presenting the obvious attachment and love Harmer has for this region and her concern over its future (and using great internal rhymes like "we might get a load of stone for the road"), while staying away from eco-friendly clichés. The musicianship on the entire album is fantastic, especially the guitar, which ranges in style from Lynyrd Skynyrd-type riffs to bluegrass fingerpicking with a classical bent. Harmer's lyrics also show this versatility. Topically they deal with many of the same issues folksingers have always sung about, although of course Harmer adds a modern twist, wondering why the woman advertising for Wal-Mart is "laughing so unnaturally," in the title track, and addressing a victim of AIDS in the lovely "Goin' Out," on which her father adds backing vocals. Harmer occasionally falls victim to the folksinger's greatest vice, the overextended metaphor, but for the most part her lyrics are direct and personal without being too sentimental, and her melodies are tuneful and catchy but not too predictable. Her cover of Dolly Parton's "Will He Be Waiting for Me" retains the hopeful regret that the original has, and the children's "Salamandre," written by her friends Kate Fenner and Chris Brown, is stunning, highlighting Harmer's clear alto in a way not heard in her folkier songs. Because it is Harmer's voice that her fans want to listen to, and I'm a Mountain delivers that perfectly. ~ Marisa Brown, All Music Guide
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Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Sarah Harmer, 1970-
Author / Creator
Sarah Harmer, 1970-
Date Published / Released
2006
Publisher
Rounder Records
Tracks
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performed by Lula Reed (King Records, 2005), 31 mins
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Lula Reed
Author / Creator
Lula Reed
Date Published / Released
2005
Publisher
King Records
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Lula Reed: Blue and Moody (King Records, 2005)
Field of Study
American Music
Date Published / Released
2005
Publisher
King Records
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(Rounder Records, 2003), 55 mins
Field of Study
American Music
Content Type
Music recording
Date Published / Released
2003
Publisher
Rounder Records
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The Best Of Tish Hinojosa Live
performed by Tish Hinojosa, 1955- (Rounder Records, 2003), 1 hour 16 mins
Sample
performed by Tish Hinojosa, 1955- (Rounder Records, 2003), 1 hour 16 mins
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Tish Hinojosa, 1955-
Author / Creator
Tish Hinojosa, 1955-
Date Published / Released
2003
Publisher
Rounder Records
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I'm Every Woman
performed by Rory Block, 1949- (Rounder Records, 2002), 50 mins
After listening to the opening track of I'm Every Woman, one might be inclined to expect 45 minutes of acoustic blues to follow. "Guitar Ditty" features no more than a girl and her guitar with a great big sound. It's quite surprising, then, when Rory Block cuts loose on the title cut, a pastiche of slide guitar, d...
Sample
performed by Rory Block, 1949- (Rounder Records, 2002), 50 mins
Description
After listening to the opening track of I'm Every Woman, one might be inclined to expect 45 minutes of acoustic blues to follow. "Guitar Ditty" features no more than a girl and her guitar with a great big sound. It's quite surprising, then, when Rory Block cuts loose on the title cut, a pastiche of slide guitar, disco beat, and funky '70s orchestra. Clearly, the listener isn't in the Delta anymore. Indeed, Block pretty much keeps her guitar in th...
After listening to the opening track of I'm Every Woman, one might be inclined to expect 45 minutes of acoustic blues to follow. "Guitar Ditty" features no more than a girl and her guitar with a great big sound. It's quite surprising, then, when Rory Block cuts loose on the title cut, a pastiche of slide guitar, disco beat, and funky '70s orchestra. Clearly, the listener isn't in the Delta anymore. Indeed, Block pretty much keeps her guitar in the corner of the studio for most of the album, trading her deep blues for a healthy dose of soul, a bit of gospel, and few other odds and ends. It's probably impossible to compare I'm Every Woman to Confessions of a Blues Singer, Block's 1998 recording. One features songs by Robert Johnson, Charlie Patton, and Blind Willie McTell; the other, by Al Green and Ashford-Simpson. One maintains a fairly straightforward production, centering on acoustic guitar and vocals; the other jumps from guitar ditties to a cappella gospel to full-tilt boogie. Kelly Joe Phelps lends his vocals and a nice bit of guitar to "Pretty Polly," while Annie Raines and Paul Rishell help out on a stirring vocal version of "Rock Island Line." Block also successfully tackles Bonnie Raitt/Toni Price territory with the vibrant "I Feel Like Breaking Up Somebody's Home." While there are several memorable moments on I'm Every Woman, the overall approach seems more scattershot than eclectic, and will confuse and perhaps anger Block's fans. ~ Ronnie D. Lankford, Jr., All Music Guide
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Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
Rory Block, 1949-
Author / Creator
Rory Block, 1949-
Date Published / Released
2002
Publisher
Rounder Records
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