53,75 zł

GREATEST BOSSA NOVA SONGS FOREVER - Różni Wykonawcy (Płyta CD)

Książki & Multimedia > Muzyka

Opis - Warner Music Polska zaprasza w niezwykłą podróż.... do świata bossa novy. Bossa nova (port."nowa fala") to nieśpiesznie płynący czas, spokój, niekiedy zaduma, niekiedy radość, niekiedy smutek. Smak Brazylii, który pierwotnie zachwycił w latach 60-tych. Pierwszy album w stylu bossa nova ukazał się w 1958 roku, ale dla świata, bossa nova to klasyki z kolejnej dekady. Klasyki takie, jak "Corcovado", "Desafinado", "Waters Of March", czy oczywiście ponadczasowa "The Girl From Ipanema"... Żadnego z tych utworów nie zabraknie na naszym albumie. Obok bossy, gdzieniegdzie do tańca zaproszą Was - pokrewne bossie - begina czy samba. GREATEST BOSSA NOVA HITS FOREVER Ciepło płynące z muzyki i leniwie kołyszący się rytm sprawiają, że to propozycja idealna na jesienne i zimowe wieczorySpis utworów: CD 1 Strona 1 1. ASTRUD GILBERTO - THE GIRL FROM IPANEMA 2. MICHAEL FRANKS - ANTONIO'S SONG 3. SMOKE CITY - AGUAS DE MARCO - JOGA BOSSA 4. BEBO BEST & THE SUPER LOUNGE ORCHESTRA - CHILL RADIO BOSSA 5. ZUCO 103 - JUSSARA 6. CENTOVALLEY - LAZY TIME 7. JOJO EFFECT - BREAKOUT BOSSA 8. BEBEL GILBERTO - SO NICE (SUMMER SAMBA) 9. PAUL DESMOND - THEME FROM BLACK ORPHEUS 10. CELIA - ADEUS BATUCADA 11. JIM TOMLINSON FEAT. STACEY KENT - CORCOVADO 12. FINE YOUNG CANNIBALS - JOHNNY COME HOME 13. ALESSANDRO MAGNANINI- SO LONG, GOODBYE (FEAT. JENNY B) 14. LUIZ AMERICO -DESAFIO 15. BASIA - PROMISES 16. ANA CARAM - AQUA DE BEBER 17. BIRELLI LEGRENE - HOW INSENSITIVE CD 2 Strona 1 1. STAN GETZ, CHARLIE BYRD - SAMBA DI UMA NOTA SO 2. SUZANNE VEGA - CARAMEL 3. LES HOMMES - INTRASPETTRO 4. ELLA FITZGERALD - MAS QUE NADA 5. TOCO - ASSUNTOS BANAIS 6. BALANÇO - NESSUN DOLORE 7. 3-11 PORTER - I CAN'T FORGET THE GIRL I NEVER MET 8. IVE MENDES - A BEIRA MAR 9. CHRIS BOTTI - ALL WOULD ENVY 10. RITA LEE - SHE LOVES YOU 11. ASTRUD GILBERTO - BIM BOM 12. TAPE FIVE - BOSSA FOR A COUP 13. S-TONE INC. - STORMY (BOSSA MIX) 14. FAITH NO MORE - CARALHO VOADOR 15. DUSTY SPRINGFIELD - THE LOOK OF LOVE CD 3 Strona 1 1. STACEY KENT - THIS SUMMER WE CROSSED THE EUROPE IN THE RAIN 2. AL JARREAU & OLETA ADAMS - WATERS OF MARCH 3. RANDY CRAWFORD - RIO DE JANEIRO BLUES 4. TILL BRONNER - AND I LOVE HER 5. DORIS MONTEIRO - O PATO! 6. TOM & JOY - MEDITATION 7. Herbie Mann, Gilberto, Jobim - Desafinado 8. QUINCY JONES - SOUL BOSSA NOVA 9. MICHAEL FRANKS - DOWN IN BRASIL 10. CORALIE CLEMENT - SAMBA DI MON COEUR QUI BAT 11. MARC JORDAN & MOLLY JOHNSON - LET'S WASTE SOME TIME 12. BEBEL GILBERTO - TANTO TEMPO 13. VUCA -BOSSAFRICA 14. JAZZAMOR - SUMMERTIME 15. MARTINI LIZARDS - CAN'T GET YOU OUT OF MY HEAD 16. Matt Bianco - Half A Minute 17. SERGIO MENDES - SO DANCO SAMBA CD 4 Strona 1 1. BEMIBEK - POWROTNA BOSSA NOVA 2. MIKROMUSIC - BO MI 3. NASZA BASIA KOCHANA - SAMBA SIKORECZKA 4. MIETEK SZCZEŚNIAK - SPOZA NAS 5. GABA KULKA - BOSSA 6. WOJCIECH MŁYNARSKI - LUBIĘ WRONY 7. ROBERT AMIRIAN FEAT. ANNA MARIA JOPEK - TO WSZYSTKO BY 8. L.U.C. & KRZYSZTOF PEŁECH - O KARUZELI ŻYCIA 9. HANNA BANASZAK - SAMBA PRZED ROZSTANIEM 10. RAZ DWA TRZY - DALEJ NIŻ SIĘGA MYŚL 11. ANNA NOVA - BOSSA I NOVA 12. EWA BEM - DLA CIEBIE JESTEM SOBĄ 13. BISQUIT - IDEALNY 14. MAANAM - OPRÓCZ 15. THE CRACKERS - THANK GOD I'M WOMAN Nazwa - GREATEST BOSSA NOVA SONGS FOREVER Autor - Różni Wykonawcy Wydawca - Warner Music Kod EAN - 0825646191475 Rok wydania - 2014 Nośnik - Płyta CD Ilość elementów - 4 Podatek VAT - 23% Premiera - 2014-11-24

Sklep: InBook.pl

151,34 zł

The Great American Songbook: The Singers: Music and Lyrics for 100 Standards from the Golden Age of American Song Hal Leonard

Książki / Literatura obcojęzyczna

Crooners, wailers, shouters, balladeers - some of our greatest pop vocalists have poured their hearts and souls into the musical gems of the Great American Songbook. They sang in nightclubs and concert halls, on television and in films, and left us a legacy of recordings still in play today. Their interpretations entertained us, moved us to tears, and wove lyrics and music into the fabric of our lives, making us see ourselves in these quintessentially American songs. This folio features 100 of these classics by Louis Armstrong (Hello Dolly * What a Wonderful World), Tony Bennett (I Left My Heart in San Francisco), Rosemary Clooney (Count Your Blessings Instead of Sheep), Nat "King" Cole (Route 66), Bing Crosby (True Love), Doris Day (Bewitched), Ella Fitzgerald (How High the Moon), Judy Garland (Rock-a-Bye Your Baby with a Dixie Melody), Dean Martin (Everybody Loves Somebody), Frank Sinatra (Young at Heart), Barbra Streisand (People), Mel Torme (Heart and Soul), and many, many more.

Sklep: Libristo.pl

40,80 zł

Letter from America Penguin

Powieści i opowiadania

When Alistair Cooke retired in March 2004 and then died a few weeks later, he was acclaimed by many as one of the greatest broadcasters of all time. His Letters from America, which began in 1946 and continued uninterrupted every week until early 2004, kept the world in touch with what was happening in Cooke's wry, liberal and humane style. This selection, made largely by Cooke himself and supplemented by his literary executor, gives us the very best of these legendary broadcasts. Over half have never appeared in print before. It is a remarkable portrait of a continent - and a man. Fred Astaire 26 June 1987 Movie stars don't make it. Nor statesmen. Not Prime Ministers, or dictators unless they die in office. Not even a world-famous rock star, unless he's assassinated. But last Monday, none of the three national television networks hesitated about the story that would lead the evening news. On millions of little screens in this country and I don't doubt in many other countries around the world, the first shots were of an imp, a graceful wraith, a firefly in impeccable white tie and tails. And for much longer than the lead story usually runs, for a full five minutes on NBC, we were given a loving retrospective of the dead man, ending with the firm declaration by Nureyev that 'He was not just the best ballroom dancer, or tap dancer, he was simply the greatest, most imaginative, dancer of our time.' And the newsmen were right to remind us of the immortal comment of the Hollywood mogul, who, with the no-nonsense directness of an expert, reported on Fred Astaire's first film test: 'Has enormous ears, can't act, can't sing, dances a little.' That Hollywood mogul, long gone, spent his life ducking round corners, to avoid being identified as the oaf who looked in the sky and never saw the brightest star. However, that expert opinion was, as the lawyers say, controlling at the time and in Astaire's first movies, there was no thought of allowing him to act or sing. But not for long. And thanks to the invention of television, and the need to fill vast stretches of the afternoon and night with old movies, it has been possible for my daughter, for instance, to claim Fred Astaire as her favourite film star from the evidence of all the movies he made fifteen, ten, five, three years before she was born. When I got the news on Monday evening here, and realized with immediate professional satisfaction that the BBC had smartly on hand a musical obituary tribute to him I put together eight years ago, I couldn't help recalling the casual, comic way this and similar radio obituaries came about. I was in London at the end of 1979, and Richard Rodgers - one of the two or three greatest of American songwriters - had just died, I believe on New Year's Eve or the night before. Britons, by then, were getting accustomed, without pain, to making what used to be a two-day Christmas holiday into a ten-day much-needed rest. For all laborious research purposes, the BBC was shut up. And there was no retrospective programme on the life and music of Richard Rodgers in the BBC's archives. Of course, in a gramophone library that looks like an annex to the Pentagon, there were hundreds, perhaps thousands, of recordings of his songs. The SOS went out to a writer, a producer, and - I presume - a man who had the key to the gramophone library. The silent place was unlocked, and the three of them laboured through the day to put together an hour's tribute to Richard Rodgers. It was done. It was competent enough, but rushed to an impossible deadline. This hasty improvisation happened just when my own music producer and I, who had enjoyed working together for six years or so on American popular music, were wondering what we could offer next. We'd done a sketch history of jazz, through individuals. We'd gone through all the popular music of the 1920s, 1930s and 1940s, and were stumped for a new series, at which point I asked if we mightn't go and talk to the head of the channel, network or whatever. We went in, and the genial boss asked me what we had in mind. 'A morgue,' I said. A what? 'Where', I asked, 'is your morgue?' He was not familiar with the word, a newspaper term. 'Well,' I said, 'all newspapers have them.' 'How d'you mean?' 'If, I explained, 'Mrs Thatcher died tonight and you woke up and read a two-sentence obituary, you'd be rightly outraged. But if you saw a two-page obituary, you'd take it for granted. When d'you suppose it was written?' 'That's right,' he said thoughtfully. What I was proposing was a morgue of the Americans eminent in popular music and jazz, so they'd not get caught short again. A splendid idea, the man said; pick your stars. We made a list and were commissioned to return to America and finish all of them. Naturally, we looked at a calendar, and birthdates of Hoagy Carmichael, Earl Hines, Harold Arlen, Ethel Merman, Stephane Grappelli, Ella Fitzgerald. But then, in a spasm of panic, we thought of two giants - if the word can be used about two comparative midgets: Irving Berlin and Fred Astaire. Berlin was then 91. And Fred Astaire was just crowding 80. The boss man, to whom the idea of a morgue had been, only a few minutes before, quaint if not morbid, wondered what we were waiting for. Better get busy, at once, on Berlin and then on Astaire. I remember doing the Astaire obit, then and there, while I was still in London. Meanwhile, we'd simply pray every night that the Lord would keep Irving Berlin breathing till I could get home and get busy. I remember being picked up in a car by a charming young girl to get to the BBC and record my Astaire narration - there wasn't a moment to lose. She asked me, in the car, what the script was that I was clutching. 'It's an obituary', I said, 'of Fred Astaire.' 'Fred Astaire,' she shrieked, 'dead?' and almost swerved into a bus. 'Of course, he's not dead,' I said, 'but he's going to be one day.' She, too, was new to the institution of a morgue. I recalled that when I was a correspondent for a British paper in the United States, and when for example. Dean Acheson was appointed Secretary of State, the first cable I had from my editor said, 'Welcome Acheson obituary soonest.' How ghoulish, she said. I imagine that to two generations at least, it's assumed that Fred Astaire, this slim, pop-eyed newcomer to Hollywood who couldn't act, couldn't sing, danced a little, only made a fool of the mogul through the movies he made, with Ginger Rogers, in the mid- and late 1930s. But long before then, from the mid-1920s on, he was already an incomparable star - as a dancer - to theatre audiences both in New York and in London. Perhaps more in London than anywhere, certainly in the 1920s, with the early Gershwin hits, Funny Face and Lady Be Good, and lastly, in 1933, in Cole Porter's Gay Divorce (which was the title of the theatre show; Hollywood would not then allow so shocking a title and called the movie version, The Gay Divorcee). Of all the thousands of words that have been written this week, and will be written, there is a passage I went back to on Tuesday night which, I think, as well as anything I know, sums up Astaire's overall appeal - the appeal that takes in but transcends one's admiration for his dancing and for his inimitably intimate singing style. This was written in November 1933, by a theatre critic who had so little feel for dancing that he marvelled why London should go on about 'Mr Astaire's doing well enough what the Tiller Girls at Blackpool do superbly'. The critic, the writer, was James Agate, the irascible, dogmatic, opinionated but brilliant journalist, and I believe the best critic of acting we have had this century. He is writing his review of Gay Divorce, after declaring yet again his contempt for musical comedy as an entertainment for idiots, deploring the play's plot and the acting and hoping 'Micawberishly, for something to turn up'. 'Presently,' he wrote, 'Mr Fred Astaire obliged, and there is really no more to be said.' Except

Sklep: Albertus.pl

82,70 zł

Jazz Piano Songbook Faber Music Ltd

Książki / Literatura obcojęzyczna

Features 20 jazz classics that are transcribed from the original recordings for piano and voice with guitar chord boxes. This title includes jazz singers such as Nat King Cole, Ella Fitzgerald, Diana Krall and Jamie Cullum. It also includes songs like "Every time We Say Goodbye", "Fly Me To The Moon", and "I Get A Kick Out Of You".

Sklep: Libristo.pl

Sklepy zlokalizowane w miastach: Warszawa, Kraków, Łódź, Wrocław, Poznań, Gdańsk, Szczecin, Bydgoszcz, Lublin, Katowice

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