Manufacturer: Sony Legacy
Brand: Provident Distribution Group
On Songs From The Silver Screen, Jackie Evancho applies her brilliant voice and extraordinary artistry to an entirely new set of classics. On her first two full-length albums, Jackie explored musical classics from arias to holiday standards. For Silver Screen, she offers her interpretations of a whole new category of classic music the much-loved movie melodies that have become part of our cultural landscape. "When I saw the movie version of The Phantom of the Opera when I was 7 years old, it made me want to become a singer 'The Music of the Night' is one of the most beautiful songs ever written and I've always wanted to perform it"[in public] says Jackie. "My enjoyment of the Phantom score is one of the things that gave us the idea to focus an entire album on songs that stayed in our minds for a long time after the movies were over." For this album, Jackie collaborated with Grammy-winning producer/engineer Humberto Gatica, whose lengthy and impressive experience in the music industry has seen him work closely with Grammy award winning producer, David Foster, as well as with superstars like Michael Buble, Madonna, Michael Jackson, Mariah Carey and Barbra Streisand. Jackie has some impressive company on some of the tracks. Famed violinist Joshua Bell accompanies her on one track ("My Heart Will Go On"from Titanic) as does trumpet player Chris Botti ("The Summer Knows" from The Summer of 42) and 2Cellos ("Se" from Cinema Paradiso). There are also very special duets, one with The Canadian Tenors ("Come What May" from Moulin Rouge) and one with her older brother, Jacob Evancho ("I See the Light" from Tangled). No one can sing classical crossover music with the technical precision, emotion and intelligence that Jackie brings to it, says Gatica. With the songs we've selected for this album, we can show her fans how her talent has only deepened and matured since Dream With Me, which I think was one of the most outstanding albums of 2011.
Manufacturer: Sony Legacy
Brand: The One
17 enchanting duets from across her career plus two new ones (with Barry Manilow and Josh Groban)! Includes Cryin' Time with Ray Charles; I've Got a Crush on You with Frank Sinatra; Lost Inside of You with Kris Kristofferson; Guilty with Barry Gibb, Get Happy/Happy Days Are Here Again with Judy Garland, plus Neil Diamond, Bryan Adams, Celine Dion and more! Even in the face of epochal success, it's tempting to ponder what Barbra Streisand might have accomplished had she not spread herself across so many diverse entertainment media; so much ambition, so little time. This collection of 19 Streisand duets chronicles collaborations with Frank Sinatra and Judy Garland at one end of the scale and Don Johnson at the other. It finds the singer dabbling--if, as her bluesy miscue with Ray Charles on "Crying Time" argues, not necessarily triumphing--in styles she largely eschewed elsewhere in her career. Still, her unlikely collaborations with Barry Gibb ("Guilty," "What Kind of Fool") and Donna Summer ("No More Tears (Enough Is Enough") during the disco era scored her some of the biggest successes of her career, ample proof that with the right chemistry, Streisand could be as powerful a pop music chameleon as she was a diva. New recordings with veteran Barry Manilow (the warm, low-key "I Won't Be the One to Let You Go") and Josh Groban (David Foster's overwrought "All I Know of Love") supplement recordings that stretch from the '60s kitsch-a-go-go of Harold Arlen's "Ding-Dong! The Witch Is Dead" across five decades of Streisand's unparalleled career. --Jerry McCulley
To celebrate 10 years as the world's most popular musical, the cast of Les Misâ€šrables threw a phenomenal birthday party at London's Royal Albert Hall in 1995. A decade after Trevor Nunn directed its premiere at the Barbican Centre, and the subsequent move into what became a permanent home at the West End Palace Theatre, producer Cameron Macintosh felt the time had come for a little outing for "the miserables." Conductor David Charles Abell, having climbed out of the cluttered Palace pit, for one glorious night has the entire Royal Philharmonic Orchestra at his disposal and there are appearances from over 150 singers--birthday celebs from Les Mis stagings worldwide--who flocked to the grandiose venue. Hosts for the night are the 1995 London cast: Colm Wilkinson's Valjean has power and beauty in "Who Am I?" and "Bring Him Home," and Michael Ball is a charming Marius. Miss Saigon herself, Lea Salonga, gets the crowd-pleasing favorite "On My Own." The Albert Hall sounds filled to the brim with an appreciative audience that contributes to the festive atmosphere. The result is a real treat for fans and lovers of Boubil and Schâ€nberg's greatest musical--this double CD is an obligatory item in every collection of Les Mis memorabilia.
Barbra Streisand ~ A Love Like Ours Pauline Kael once took note of some romantic musical numbers in a Marx Brothers film that were intended, according to a movie executive, "for people to identify with." "What people?" she sensibly asked. One can only imagine what Kael might have to say about A Love Like Ours, a Barbra Streisand self-celebration disguised as a paean to her romance with hubby James Brolin (The Car). "When love like ours arrives, we guard it with our lives," Streisand emotes on the disc's near-title track, unavoidably bringing to mind an early South Park episode's battle against a monster-robot version of the superstar. Draped in gauzy arrangements and the occasional "soulful" (her word) Kenny G sax solo, Streisand even manages to make a few truly great songs ("The Music That Makes Me Dance," "Isn't It a Pity?") sound overbearing in this context. --Rickey Wright
40 hits and classics from across Barbra's decades of recording. People; My Man; Stoney End; Evergreen; Woman in Love; The Way We Were; You Don't Bring Me Flowers (with Neil Diamond); My Heart Belongs to Me; The Main Event/Fight; Guilty (with Barry Gibb); No More Tears (Enough Is Enough) (with Donna Summer); I Finally Found Someone (with Donna Summer), and more huge hits! Barbra Streisand's bravado made her one of the 1960s' overnight sensations. This 40-cut compendium traces her recording career from early tracks that frequently relay her subtlety to often impressive accommodations with soft rock and still later vibrato-fests that find her taxing the limits of performer's ego and listeners' ears. The narrative is one of direct, sometimes showy, emotion giving way to empty displays of technique. By 1983's icky anthem "A Piece of Sky," Streisand has plowed under the light touches of "Lover, Come Back to Me" and the triumphal Central Park version of "Happy Days Are Here Again." Where she produced schlock masterworks when teamed with Neil Diamond ("You Don't Bring Me Flowers") and Donna Summer ("Enough Is Enough") in the '70s, a diva summit with Celine Dion led to the car wreck of 1997's "Tell Him." Essential wraps up with previously unreleased takes of "Someday My Prince Will Come" and "You'll Never Walk Alone." --Rickey Wright
Barbra Streisand returns to the scene with her newest release, Guilty Pleasures, which marks the reuniting of the legendary singer with producer Barry Gibb, whom she originally collaborated with 25 years ago on the multi-platinum record Guilty. The new album features 11 new tracks including the singles 'Letting Go' and 'Stranger In A Strange Land' and rekindles the magic between Streisand and Gibb that captivated so many listeners 25 years ago. Columbia. 2005. A few tracks into this highly anticipated Barbra Streisand release and the title starts to make sense. Guilty Pleasures is a 'Streisandian' spin on a melange of popular styles, including '50s doo-wop ("Come Tomorrow"), Motown ("It's Up to You"), disco ("Night of My Life"), Broadway ("Without Your Love"), and something vaguely waltz-like ("Stranger in a Strange Land"). If that sounds gimmicky and contrived, it isn't. The musical influences are more under Streisand's spell rather than the other way around. Then there's that voice: fire-and-brimstone bold one minute, cashmere soft the next, and fully undiminished overall. Much has been made of the politics surrounding "All the Children," but the protest-song-for-Muzak reputation preceding it comes without justification. The song makes its point (for peace) mildly and without undue controversy. The voice of Barry Gibb crops up more than just on the two duets he is credited with ("Above the Law" and "Come Tomorrow"), and where it is not being showcased, on "(Our Love) Don't Throw it All Away" for example, it sounds best. Of course the other inspiration behind this album's title is a nod to Guilty, the multiplatinum album Streisand and Gibb recorded in 1980 that captured the hearts of millions and spawned decades of requests for further collaborations. With Guilty Pleasures, Streisand has managed to avoid charges that she's past her peak, as evidenced on the gorgeous love song "Letting Go." --Tammy La Gorce Recommended Barbra Streisand Discography Guilty (DualDisc) Duets The Essential Barbr...
For the die-hard Dean Martin fan, this Dino: The Essential Dean Martin CD is sure to please. Loaded with 30 of Martin's chart-topping hits from both his Capitol Records (1049-1951) and Reprise Records (1960-1969) repertoire, this CD will definitely be a favorite at your next party. Includes: 1. Ain't That a Kick in the Head 2. That's Amore 3. Memories Are Made of This 4. Just In Time 5. Sway 6. I'd Cry Like A Baby 7. Volare 8. Under The Bridges Of Paris 9. Love Me, Love Me 10. If 11. Mambo Italiano 12. Let Me Go Lover 13. Standing On The Corner 14. You Belong to Me 15. Powder Your Face With Sunshine 16. Innamorata (Sweetheart) 17. I'll Always Love You 18. Kiss 19. You're Nobody 'Til Somebody Loves You 20. Return to Me (Ritorna-Me) 21. The Door Is Still Open to My Heart 22. Houston 23. Send Me The Pillow You Dream On 24. Everybody Loves Somebody 25. In the Chapel in the Moonlight 26. I Will 27. Little Old Wine Drinker Me 28. Somewhere There's a Someone 29. In The Misty Moonlight 30. Gentle On My Mind The revisionist take on the Rat Pack's razor-witted King of Cool reveals a Dean Martin who was considerably more complex than the Titan of Tipplers legend; a man who would just as soon retire to his room with a tumbler of milk to watch a TV Western than prowl the Strip with his famous cohorts. That sublime, preternatural indifference is both underscored and belied with dizzying regularity on this good 30-track overview of Martin's singing career. The breezy hits "That's Amore" and "Volare" underscored his public staying power when many counted him out in the face of a surging 1950s youth market. He repeated the feat again with trademark effortlessness a decade later to knock no less than the Beatles off the top of the charts with the unlikely, if inviting schmaltz of "Everybody Loves Somebody." Ever informed by his warm, deceptive vocal ease, Martin's rich signature tunes are well-represented here. But the collection also spans enough lovable kitsch ("Mambo Italiano," "Little Old Wine Drinker Me") and unabashed roman...
It was a match made in heaven: Hartman's beautiful baritone voice and Coltrane's exploratory yet empathetic tenor sax. This 1963 Impulse LP is a career highlight for both these jazz giants! This is one of the three all-ballad albums that John Coltrane recorded in late 1962 and early 1963. Johnny Hartman was apparently Coltrane's suggestion, and his deep, dark voice meshes perfectly here with Coltrane's tenor. The material is well-chosen, including definitive readings of "My One and Only Love" and "Lush Life." McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner. This is beautiful jazz. --Michael Monhart