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The Classic Trumpet Concerti Of Haydn And Hummel

The Classic Trumpet Concerti Of Haydn And Hummel

»rank: 164677

by: Franz Joseph Haydn, Johann Nepomuk Hummel, Syoko Aki, Earl Chapin, Richard Fredrickson, Loren Glickman, Gordon Gottlieb, Thomas Nyfenger, Gerard Schwarz (trumpet), Y Chamber Symphony of New York





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New Fantasy

New Fantasy

»rank: 500229

by: Lalo Schifrin


0ur opinion: :Worldwide CD debut/ Japanese-only reissue of the Latin jazz great's 1964 LP for the prestigious Verve label. Features the original cover art and all eight of the album's original tracks. 1999 release.



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$1NR New SEVENTIES MUSIC 3 CD ORIGINAL ARTIST CD NRonly $ 0.99Bid Now!5d 21h 56m left!

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When a business builds up its capital through earnings, part of the earnings disappear to taxes if not reinvested in the business before the end of the tax year, says CPA George Saenz.






by S. P. Fjestad, Steven P. Fjestad
$26.37

Average customer rating: 4.5 ISBN: 1886768676

by Peter Braun
$23.10

Average customer rating: 5.0 ISBN: 0789209047

by R. S. Yeoman, Kenneth Bressett

Average customer rating: 5.0 ISBN: 0794820379
$28.00



$13.99



Tab Benoit's album titles leave little doubt as to where he's from or the music he plays. Brother to the Blues, Fever for the Bayou, Wetlands, and now Power of the Pontchartrain exude the sweaty Louisiana swamp, blues, and R&B inherent in their names. But that only tells part of the story--the rest is in the grooves where Benoit's distinctive, grainy voice and tough Telecaster leads bring soul, grit, and intensity to a sound already infused with an earthy sensibility. There's more of the same on this disc, but that's no criticism. Benoit generally sticks with others' songs here, yet he unearths hidden gems. Julie Miller's "Midnight and Lonesome" is dragged into the murky swamps as a driving ballad with eerie qualities that live up to its name. Miller and husband Buddy are also credited with the righteous-yet-rugged gospel of "Shelter Me." "Somebody's Got to Go," originally by Lonnie Johnson, gets a crisp, frisky makeover, and even Buffalo Springfield's crusty "For What It's Worth" takes a swim in the muddy waters of Benoit's home state, with a little help of some altered, post-Katrina lyrics. The guitarist lets his Cajun influences fly on the bouncy rhythms of "Sac-Au-Lait Fishing," the album's only original, and shifts into pleading Otis Redding mode for the aching blues ballad "I'm Guilty of Lovin' You." The Chicago-by-way-of-the-Delta shuffle of "One Foot in the Bayou" is also an apt description of Benoit's approach. He touches on a variety of Americana styles, yet always keeps part of himself planted firmly in the wetlands of his roots. --Hal Horowitz


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