Query: french and spanish folk music

title: The Other Side of the Mirror - Bob Dylan Live at The Newport Folk Festival 1963-1965 [Blu-ray]
text: Product Description Few performances in history are as legendary or as controversial as Bob Dylans 1965 appearance at the Newport Folk Festival. In a single, galvanizing instant, Dylan plugged an entire generation in, forever changing not only the way the music was made, but the way it was heard. By putting you in the audience for Dylans Newport performances from 1963 through that pivotal set in 1965, Academy Award-winning director Murray Lerners THE OTHER SIDE OF THE MIRROR captures Dylans metamorphosis from folk prodigy to rocks fiercely confrontational poet who would electrify and inspire an entire nation and become the voice of his generation. This incredible film is now available for the first time on Blu-ray. The film features over 80 minutes of performances. This is the piece of music history that every Dylan fan and every music aficionado has been waiting for. Product Description Few performances in history are as legendary or as controversial as Bob Dylans 1965 appearance at the Newport Folk Festival. In a single, galvanizing instant, Dylan plugged an entire generation in, forever changing not only the way the music was made, but the way it was heard. By putting you in the audience for Dylans Newport performances from 1963 through that pivotal set in 1965, Academy Award-winning director Murray Lerners THE OTHER SIDE OF THE MIRROR captures Dylans metamorphosis from folk prodigy to rocks fiercely confrontational poet who would electrify and inspire an entire nation and become the voice of his generation. This incredible film is now available for the first time on Blu-ray. The film features over 80 minutes of performances. This is the piece of music history that every Dylan fan and every music aficionado has been waiting for.

title: Rimsky-Korsakov: The Golden Cockerel
text: Product Description Following celebrated productions of Prokofiev Semyon Kotko and Shchedrin The Left-Hander, Valery Gergiev continues his survey of uniquely Russian works with The Golden Cockerel, Rimsky-Korsakov's final and, arguably, most mysterious opera. This vibrant new production mixes live action with CGI, and is the vision of Anna Matison, an acclaimed playwright, script-writer, film director and producer. The Golden Cockerel was Matison's directorial debut with the Mariinsky, and saw her also take on the roles of production and costume designer. ''In selecting the genre of the fairy-tale,'' the stage director says, ''I do not intend to experiment with it as a genre. It is a family story: for children it is a merry and vivid tale; for parents it is a wise parable.'' The melodious nature, beauty and leitmotifs of teh plot are underscored by the production designs; the opera uses pantomime and masquerades, while the set utilized 3D video projections. For much of the twentieth century, Rimsky-Korsakov's operatic works was largely ignored in the west, and he was better-known for his editing of major works by Mussorgsky. A thoroughly Russian composer, his music derived much from his country's rich legacy of folk tales, and hi slush, exotic orchestration was a strong influence on his student Stravinsky. Completed in 1907, just after the Russo-Japanese war, the opera's depiction of a witless Tsar meant it was initially banned and Rimsky-Korsakov never saw it performed. Finally staged in 1909, it received its first performance at the Mariinsky in 1919. Based on text by Alexander Pushkin, with libretto by Vladimir Belsky, the opera begins with The Astrologer, who itnroduces himself as the director of teh story, a moral tale, througha fantastical kingdom. King Dodon, once a great warrior, is now old and tired. However, his sons have not inherited his talent for warfare and his kingdom is now under threat. To aid the King, the Astrologer brings a cockerel, whose cries, he says, will warn of any attack. In gratitude, Dodon offers him one wish, which he decides to hold on to until later. soon after the cockerel crows, and Dodon sends his sons to battle. Following on behind them, he finds them slain and his army defeated. Dawn breaks and a despairing Dodon is greeted by a mysterious figure, the beautiful Queen of Shemakha. She seduces Dodon and they return to his kingdom, with her as his consort. Seizing this moment, the Astrologer decides that now is the time to use his wish, demanding Dodon hand over the Queen for himself. Furious, the King slays the Astrologer, but is then pecked to death by the Cockerel. Finally, the Queen and Cockerel both disappear, leaving behind chaos. Returning in an epilogue, the Astrologer finally explains that all the characters were imaginary, save for himself and the Queen. Product Description Following celebrated productions of Prokofiev Semyon Kotko and Shchedrin The Left-Hander, Valery Gergiev continues his survey of uniquely Russian works with The Golden Cockerel, Rimsky-Korsakov's final and, arguably, most mysterious opera. This vibrant new production mixes live action with CGI, and is the vision of Anna Matison, an acclaimed playwright, script-writer, film director and producer. The Golden Cockerel was Matison's directorial debut with the Mariinsky, and saw her also take on the roles of production and costume designer. ''In selecting the genre of the fairy-tale,'' the stage director says, ''I do not intend to experiment with it as a genre. It is a family story: for children it is a merry and vivid tale; for parents it is a wise parable.'' The melodious nature, beauty and leitmotifs of teh plot are underscored by the production designs; the opera uses pantomime and masquerades, while the set utilized 3D video projections. For much of the twentieth century, Rimsky-Korsakov's operatic works was largely ignored in the west, and he was better-known for his editing of major works by Mussorgsky. A thoroughly Russian composer, his music derived much from his country's rich legacy of folk tales, and hi slush, exotic orchestration was a strong influence on his student Stravinsky. Completed in 1907, just after the Russo-Japanese war, the opera's depiction of a witless Tsar meant it was initially banned and Rimsky-Korsakov never saw it performed. Finally staged in 1909, it received its first performance at the Mariinsky in 1919. Based on text by Alexander Pushkin, with libretto by Vladimir Belsky, the opera begins with The Astrologer, who itnroduces himself as the director of teh story, a moral tale, througha fantastical kingdom. King Dodon, once a great warrior, is now old and tired. However, his sons have not inherited his talent for warfare and his kingdom is now under threat. To aid the King, the Astrologer brings a cockerel, whose cries, he says, will warn of any attack. In gratitude, Dodon offers him one wish, which he decides to hold on to until later. soon after the cockerel crows, and Dodon sends his sons to battle. Following on behind them, he finds them slain and his army defeated. Dawn breaks and a despairing Dodon is greeted by a mysterious figure, the beautiful Queen of Shemakha. She seduces Dodon and they return to his kingdom, with her as his consort. Seizing this moment, the Astrologer decides that now is the time to use his wish, demanding Dodon hand over the Queen for himself. Furious, the King slays the Astrologer, but is then pecked to death by the Cockerel. Finally, the Queen and Cockerel both disappear, leaving behind chaos. Returning in an epilogue, the Astrologer finally explains that all the characters were imaginary, save for himself and the Queen.

title: The Royal Ballet · Gala Performances Edition
text: Editorial Reviews The recording of these ballet excerpts recalled to me with pleasure the many years I worked together with the Ballets Russes of Diaghileff in Paris, the United States and numerous European and South American countries, as well as my association with the Royal Ballet of London on the occasion of the twenty-fifth anniversary of the death of Diaghileff in 1954. To direct a ballet is for a conductor a great and gratifying experience for it demands a completely special rhythmic sense, feeling for tempo and technical precision. Ballet today rarely has a large orchestra at its disposal and this is highly regrettable since ballet conductors need it if the musical effect is to be what it should. In general, ballet music, except for its rhythmically accentuated character, presents no special conducting problem, but the ballets of Stravinsky brought into symphonic literature changes of rhythm which completely revised the technique of conducting. In these two records it was not possible to include examples from Stravinsky since it is difficult to extract from them short excerpts. Besides, the aim of the album is to recall works on which the glory of the ballet was founded. In my opinion, Coppélia, masterpiece of Delibes, is a model ballet and I believe this score was not without its influence on the last ballets of Tchaikovsky. These are however, in their turn, masterpieces truly worthy of the great musician which Tchaikovsky was. A progress in the quality of the music is apparent from Swan Lake to Sleeping Beauty to The Nutcracker. The rebirth of the ballet under the influence of Diaghileff was responsible for extremely interesting works. I fear though that the masterpieces of this periodthe ballets of Stravinsky, of Ravel, of Manuel de Fallamarked for the time being a high point in the creation of ballet music which has never since been reached. One is not sufficiently aware that an art form does not develop unless it finds a social base and ballet at this moment, although it has found passionate supporters in Anglo-Saxon countries, depends on a cosmopolite and changing public which does not dictate clear directives to the authors. In these circumstances it is the more pleasant to rediscover the works which have been the touchstones of the musical genre. Editorial Reviews The recording of these ballet excerpts recalled to me with pleasure the many years I worked together with the Ballets Russes of Diaghileff in Paris, the United States and numerous European and South American countries, as well as my association with the Royal Ballet of London on the occasion of the twenty-fifth anniversary of the death of Diaghileff in 1954. To direct a ballet is for a conductor a great and gratifying experience for it demands a completely special rhythmic sense, feeling for tempo and technical precision. Ballet today rarely has a large orchestra at its disposal and this is highly regrettable since ballet conductors need it if the musical effect is to be what it should. In general, ballet music, except for its rhythmically accentuated character, presents no special conducting problem, but the ballets of Stravinsky brought into symphonic literature changes of rhythm which completely revised the technique of conducting. In these two records it was not possible to include examples from Stravinsky since it is difficult to extract from them short excerpts. Besides, the aim of the album is to recall works on which the glory of the ballet was founded. In my opinion, Coppélia, masterpiece of Delibes, is a model ballet and I believe this score was not without its influence on the last ballets of Tchaikovsky. These are however, in their turn, masterpieces truly worthy of the great musician which Tchaikovsky was. A progress in the quality of the music is apparent from Swan Lake to Sleeping Beauty to The Nutcracker. The rebirth of the ballet under the influence of Diaghileff was responsible for extremely interesting works. I fear though that the masterpieces of this periodthe ballets of Stravinsky, of Ravel, of Manuel de Fallamarked for the time being a high point in the creation of ballet music which has never since been reached. One is not sufficiently aware that an art form does not develop unless it finds a social base and ballet at this moment, although it has found passionate supporters in Anglo-Saxon countries, depends on a cosmopolite and changing public which does not dictate clear directives to the authors. In these circumstances it is the more pleasant to rediscover the works which have been the touchstones of the musical genre.

title: H-Moll-Messe Bwv 232

title: The Real Sound Of Folk Music
text: Editorial Reviews Packaged in its unique archive inspired gatefold sleeve and pressed on two 180g discs. This double vinyl package contains 20 tracks drawn from the catalogue of Britain's premier folk record label and features a series of outstanding performances by outstanding performers. The story of Topic is synonymous with the growth of folk as a musical and social movement in Britain over the last three quarter century and these recordings demonstrate the bridge between modern music and a traditional art form. Before the advent of radio and long-playing records, let alone downloads and streaming, the not-so-ordinary working man or woman relied upon the oral tradition for his or her home entertainment. Songs and tunes were passed down over generations and honed by function and social interaction to produce a body of work of exceptional strength and beauty. From the 1940s onwards, and with increasing pace, young and not-so-young people in the British Isles turned to this material as a means of musical expression and connection with their roots, as well as for the pleasure of crafting an art form that made direct contact with the listener - without manipulation by commercial pressures and obeisance to respectable society's view of what should be seen as "good music". On these vinyl records you will find some of the most remarkable singers, songs and tunes  either drawn directly from the tradition or inspired by it. The music is totally contemporary yet with its feet firmly rooted in Britain's own unique culture. Not all the music is strictly British, as the Folk Revival embraced other folk cultures, so Ramblin' Jack Elliott's version of Woody Guthrie's Talking Dustbowl Blues is here  demonstrating how folk music can deal with social issues of the day as well as harking back to earlier times. This attitude is also reflected in John Tams' Unity, Steve Ashley's Ships of Shame, Dick Gaughan's Both Sides the Tweed and even Ewan MacColl's Dirty Old Town. There are reworkings of great traditional story songs - Anne Briggs' Blackwater Side, Nic Jones' Canadee-i-o and majestic performances by Martin Simpson  Never Any Good, Shirley Collins, Davy Graham, Martin Carthy, Eliza Carthy and The Watersons and The Full English's Man In The Moon. June Tabor and Oysterband take a quite different approach and make the Joy Division song Love Will Tear Us Apart something completely their own. Andrew Cronshaw, The Cheviot Ranters, Cilla Fisher ,Silly Sisters and Oak  the list goes on  a fulfilling and haunting introduction to the great legacy of the folk tradition and Topic Records Editorial Reviews Packaged in its unique archive inspired gatefold sleeve and pressed on two 180g discs. This double vinyl package contains 20 tracks drawn from the catalogue of Britain's premier folk record label and features a series of outstanding performances by outstanding performers. The story of Topic is synonymous with the growth of folk as a musical and social movement in Britain over the last three quarter century and these recordings demonstrate the bridge between modern music and a traditional art form. Before the advent of radio and long-playing records, let alone downloads and streaming, the not-so-ordinary working man or woman relied upon the oral tradition for his or her home entertainment. Songs and tunes were passed down over generations and honed by function and social interaction to produce a body of work of exceptional strength and beauty. From the 1940s onwards, and with increasing pace, young and not-so-young people in the British Isles turned to this material as a means of musical expression and connection with their roots, as well as for the pleasure of crafting an art form that made direct contact with the listener - without manipulation by commercial pressures and obeisance to respectable society's view of what should be seen as "good music". On these vinyl records you will find some of the most remarkable singers, songs and tunes  either drawn directly from the tradition or inspired by it. The music is totally contemporary yet with its feet firmly rooted in Britain's own unique culture. Not all the music is strictly British, as the Folk Revival embraced other folk cultures, so Ramblin' Jack Elliott's version of Woody Guthrie's Talking Dustbowl Blues is here  demonstrating how folk music can deal with social issues of the day as well as harking back to earlier times. This attitude is also reflected in John Tams' Unity, Steve Ashley's Ships of Shame, Dick Gaughan's Both Sides the Tweed and even Ewan MacColl's Dirty Old Town. There are reworkings of great traditional story songs - Anne Briggs' Blackwater Side, Nic Jones' Canadee-i-o and majestic performances by Martin Simpson  Never Any Good, Shirley Collins, Davy Graham, Martin Carthy, Eliza Carthy and The Watersons and The Full English's Man In The Moon. June Tabor and Oysterband take a quite different approach and make the Joy Division song Love Will Tear Us Apart something completely their own. Andrew Cronshaw, The Cheviot Ranters, Cilla Fisher ,Silly Sisters and Oak  the list goes on  a fulfilling and haunting introduction to the great legacy of the folk tradition and Topic Records

title: Chez nous... en casa: French & Spanish folksongs from schoool repertoire
text: Editorial Reviews Favorite songs from school assembly programs, learned from her French-Canadian family, and from her husband's Spanish and Latin-American side. Guitar and foot percussion accompaniment, as performed in schools. 9 French and 9 Spanish. Editorial Reviews Favorite songs from school assembly programs, learned from her French-Canadian family, and from her husband's Spanish and Latin-American side. Guitar and foot percussion accompaniment, as performed in schools. 9 French and 9 Spanish.

title: Wild Smile... An Anthology
text: Editorial Reviews The first album of multi instrumentalist Epic Soundtrack's fabulous music to be issued in over a decade. Disc One rounding up some of the best work contained within the four released albums all sadly now out of print. Here, all completely re-mastered to high quality sound Epic's work with J.Mascis (Dinosaur Jr.), Kim Gordon and Lee Renaldo (Sonic Youth) Henry Olsen (Primal Scream) Will Pepper, Anthony Thistlewaite (Waterboys), Roland S Howard and Evan Dando all appear throughout these tracks. Disc Two contains previously unreleased material from Epic's own tape archive compiled by Chris Coleman of the ''What a Way to Turn Seventeen'' fanzine. Editorial Reviews The first album of multi instrumentalist Epic Soundtrack's fabulous music to be issued in over a decade. Disc One rounding up some of the best work contained within the four released albums all sadly now out of print. Here, all completely re-mastered to high quality sound Epic's work with J.Mascis (Dinosaur Jr.), Kim Gordon and Lee Renaldo (Sonic Youth) Henry Olsen (Primal Scream) Will Pepper, Anthony Thistlewaite (Waterboys), Roland S Howard and Evan Dando all appear throughout these tracks. Disc Two contains previously unreleased material from Epic's own tape archive compiled by Chris Coleman of the ''What a Way to Turn Seventeen'' fanzine.

title: Down the Tracks: The Music That Influenced Bob Dylan
text: Product Description This fascinating program tells the story of the music and artists that have influenced Bob Dylan throughout his career. Although his reputation as a songwriter stands supreme, Dylan has often covered tracks from vintage blues, folk and country performers or incorporated elements from them into his own material. "Down The Tracks" explores the lives and work of many of these artists and how Dylan interacted with them through archive performance and interview footage alongside new interviews and documentary material. FEATURES CLIPS FROM SONGS PERFORMED BY: Woody Guthrie Pete Seeger Blind Willie McTell Leadbelly Mississippi John Hurt Reverend Gary Davies Blind Lemon Jefferson Martin Carthy Jimmie Rodgers Hank Williams And many more... Product Description This fascinating program tells the story of the music and artists that have influenced Bob Dylan throughout his career. Although his reputation as a songwriter stands supreme, Dylan has often covered tracks from vintage blues, folk and country performers or incorporated elements from them into his own material. "Down The Tracks" explores the lives and work of many of these artists and how Dylan interacted with them through archive performance and interview footage alongside new interviews and documentary material. FEATURES CLIPS FROM SONGS PERFORMED BY: Woody Guthrie Pete Seeger Blind Willie McTell Leadbelly Mississippi John Hurt Reverend Gary Davies Blind Lemon Jefferson Martin Carthy Jimmie Rodgers Hank Williams And many more...

title: Atlantic Records: The House That Ahmet Built
text: Product Description Atlantic Records: The House that Ahmet Built follows Ertegun's remarkable career and its impact on the evolution of the world's most popular musical genre while offering an insider's look at the recording industry. Featuring rare and private clips, performances, and studio sessions from Atlantic recording artists, this DVD is a music fan's paradise. Product Description Atlantic Records: The House that Ahmet Built follows Ertegun's remarkable career and its impact on the evolution of the world's most popular musical genre while offering an insider's look at the recording industry. Featuring rare and private clips, performances, and studio sessions from Atlantic recording artists, this DVD is a music fan's paradise.

title: Festival! - The Newport Folk Festival
text: Product Description Product Description Murray Lerners film "Festival" is a cinematic synthesis of four Newport Folk Festivals in which the art of folk music is pictured in transition during its most crucial years. The range is from Bob Dylan performing "Tambourine Man" and Joan Baez doing "Farewell Angelina," to country artists like Johnny Cash playing "I Walk the Line" to the Georgia Sea Island Singers. The range is also from the high-priced professionals like Peter, Paul, and Mary to the authentic folk dignity of living legends such as Son House and Mississippi John Hurt. Joan Baez, Donovan and Judy Collins are all on view, as are Pete Seeger, the Ed Young Fife and Drum Corps and numerous others that give a feeling of community with the whole American present, and continuity with the American past. Indeed, the long-haired Newport audiences pictured sleeping on beaches and on the grounds, in sports cars and battered station wagons, plunking banjoes and guitars, swapping tunes between formal concerts, and talking about folk music, seem not a rupture with the American past, but an expression of carrying forward an American idealism and social concern. Amazon.com It's the big names--like Bob Dylan, Joan Baez, Pete Seeger, Johnny Cash, and Peter, Paul & Mary--who command most of the attention, but they aren't what director-producer Murray Lerner's Festival! , a 97-minute, black & white chronicle of the Newport (Rhode Island) Folk Festival in 1963, '64, and '65, is really all about. In fact, while those artists were the face of that era's folk boom, their music hasn't aged especially well; with the exception of Dylan (who appears both solo and with the Paul Butterfield Blues Band, who helped him break the sound barrier in '65) and Cash, their songs were so earnest, their delivery so pristine and humorless, that these days they evoke squirm-inducing parallels to Christopher Guest's folk satire A Mighty Wind . It's the clips of, say, the Blue Ridge Mountain Dancers, with their virtuoso square dance moves; the high, lonesome bluegrass of the Osborne Brothers; the deep gospel of the Georgia Sea Island Singers and the Staple Singers; the down home Delta blues (or, as he spells it, "b-l-u-s-e") of Son House, or even the astonishing Cousin Emmy, who plays "Turkey in the Straw" on her cheeks, that remind us that "folk" encompasses a great deal more than protest singers strumming acoustic guitars. As for Lerner's stated intention to "make a film about something bigger than music a film that was an expression of this new culture," sure, whatever; there are plenty of interviews with artists and concert-goers alike to back that up. But Festival! revolves around the music, and therein lies its major flaw: namely, the lack of complete performances of any songs, which reduces the film's status from essential to merely interesting. --Sam Graham Product Description Product Description Murray Lerners film "Festival" is a cinematic synthesis of four Newport Folk Festivals in which the art of folk music is pictured in transition during its most crucial years. The range is from Bob Dylan performing "Tambourine Man" and Joan Baez doing "Farewell Angelina," to country artists like Johnny Cash playing "I Walk the Line" to the Georgia Sea Island Singers. The range is also from the high-priced professionals like Peter, Paul, and Mary to the authentic folk dignity of living legends such as Son House and Mississippi John Hurt. Joan Baez, Donovan and Judy Collins are all on view, as are Pete Seeger, the Ed Young Fife and Drum Corps and numerous others that give a feeling of community with the whole American present, and continuity with the American past. Indeed, the long-haired Newport audiences pictured sleeping on beaches and on the grounds, in sports cars and battered station wagons, plunking banjoes and guitars, swapping tunes between formal concerts, and talking about folk music, seem not a rupture with the American past, but an expression of carrying forward an American idealism and social concern. Amazon.com It's the big names--like Bob Dylan, Joan Baez, Pete Seeger, Johnny Cash, and Peter, Paul & Mary--who command most of the attention, but they aren't what director-producer Murray Lerner's Festival! , a 97-minute, black & white chronicle of the Newport (Rhode Island) Folk Festival in 1963, '64, and '65, is really all about. In fact, while those artists were the face of that era's folk boom, their music hasn't aged especially well; with the exception of Dylan (who appears both solo and with the Paul Butterfield Blues Band, who helped him break the sound barrier in '65) and Cash, their songs were so earnest, their delivery so pristine and humorless, that these days they evoke squirm-inducing parallels to Christopher Guest's folk satire A Mighty Wind . It's the clips of, say, the Blue Ridge Mountain Dancers, with their virtuoso square dance moves; the high, lonesome bluegrass of the Osborne Brothers; the deep gospel of the Georgia Sea Island Singers and the Staple Singers; the down home Delta blues (or, as he spells it, "b-l-u-s-e") of Son House, or even the astonishing Cousin Emmy, who plays "Turkey in the Straw" on her cheeks, that remind us that "folk" encompasses a great deal more than protest singers strumming acoustic guitars. As for Lerner's stated intention to "make a film about something bigger than music a film that was an expression of this new culture," sure, whatever; there are plenty of interviews with artists and concert-goers alike to back that up. But Festival! revolves around the music, and therein lies its major flaw: namely, the lack of complete performances of any songs, which reduces the film's status from essential to merely interesting. --Sam Graham

title: Andres Segovia: In Portrait [DVD]

title: A Toi - Les Plus Belles Chansons D'A Mour De Joe Dassin

title: Maid In Manhattan - Music from the Motion Picture
text: Editorial Reviews Movie Soundtrack Editorial Reviews Movie Soundtrack

title: America - In Concert
text: Product Description This 60 minute DVD features the talents of three musicians. In 1972 "A Horse With No Name" was the single that galloped up the charts in countries throughout the world. After that the band released a string of hit singles, many of which are in this program recorded live in 1999! Includes 15 of their greatest songs including "Riverside," "You Can Do Magic," "Ventura Highway" and many more! Product Description This 60 minute DVD features the talents of three musicians. In 1972 "A Horse With No Name" was the single that galloped up the charts in countries throughout the world. After that the band released a string of hit singles, many of which are in this program recorded live in 1999! Includes 15 of their greatest songs including "Riverside," "You Can Do Magic," "Ventura Highway" and many more!

title: Cold Fire! & Folk Songs
text: Editorial Reviews Pianist and singer Kitty White was born in California in 1924 and worked in the clubs of Los Angeles, where she built up a following among the Hollywood set and other local celebrities. Heard (and occasionally seen) in movies, she emerged as a notably sophisticated talent of great depth, with exceptional control of breath, pitch, vibrato and dynamics, and a penchant for unusual, sometimes esoteric, but often well-chosen and rewarding material. Few, if any, of the songs in this collection are well known, but they are substantial enough to justify the attention of a singer as good as this. The recording sessions were all held in New York and Hollywood, and the orchestral scorings are by two of the most accomplished arrangers of their time, Hal Mooney and Pete Rugolo. Editorial Reviews Pianist and singer Kitty White was born in California in 1924 and worked in the clubs of Los Angeles, where she built up a following among the Hollywood set and other local celebrities. Heard (and occasionally seen) in movies, she emerged as a notably sophisticated talent of great depth, with exceptional control of breath, pitch, vibrato and dynamics, and a penchant for unusual, sometimes esoteric, but often well-chosen and rewarding material. Few, if any, of the songs in this collection are well known, but they are substantial enough to justify the attention of a singer as good as this. The recording sessions were all held in New York and Hollywood, and the orchestral scorings are by two of the most accomplished arrangers of their time, Hal Mooney and Pete Rugolo.