46 Results for : warnock
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Mary Warnock
Mary Warnock - Ethics Education and Public Policy in Post-War Britain: ab 7.49 €- Shop: ebook.de
- Price: 7.49 EUR excl. shipping
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Special Educational Needs Policy in the 1990s
Special Educational Needs Policy in the 1990s - Warnock in the Market Place: ab 34.99 €- Shop: ebook.de
- Price: 34.99 EUR excl. shipping
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Special Education in Britain after Warnock
Special Education in Britain after Warnock: ab 34.99 €- Shop: ebook.de
- Price: 34.99 EUR excl. shipping
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Special Education in Britain after Warnock
Special Education in Britain after Warnock: ab 34.99 €- Shop: ebook.de
- Price: 34.99 EUR excl. shipping
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Natural Selection
Joannamelas.com Infusing smooth jazz with latin, pop, funk and soul and influenced by her gospel music background, talented singer-songwriter-entertainer, Joanna Melas, has now released her debut album 'A Natural Selection' featuring her three new originals, 'Danca Da Chuva', 'We Had No Cares' and 'Such As These' plus seven cleverly arranged covers. The variety of tunes alone on this album will convince anyone of her ability to adapt. From the dance floor of 'Danca Da Chuva' and 'We Had No Cares' (originals by Joanna) to the smoky jazz club in 'The Look of Love', to the hauntingly beautiful spiritual folk tune 'Such as These' (another original by Joanna), the heart stopping brassy shuffle of 'Fly Too High' and the straight blues/rock of 'First We Take Manhattan' - Joanna eases through this 'A Natural Selection' with poise and flair. With a beautiful blend of passion, excitement and technical brilliance her rich soulful voice soars effortlessly over complex and mature arrangements transporting you from one song to the next on a journey of musical landscapes. If this first offering is anything to go by, buyers will be eagerly awaiting any future recording by Joanna Melas. Having cultivated a successful career as an accomplished singer and entertainer, one of the busiest on the Sydney circuit, Joanna arrived at the recording studio with plans to release an album of the covers most requested at her gigs. However working on the album unleashed the songwriter within and Joanna revisited some of her earlier compositions, including Such As These. Creative energies taking over, she was inspired to write again and Joanna wrote Danca da Chuva and We Had No Cares. Recording took place over three months, with around 113 hours spent at Style Music Studios in The Hunter Valley. Programming and mixing by the very gifted Phil Tweed. Guitars were played by Phil Tweed, Dieter Kleemann and Joanna Melas. Phil also played piano, keys, bass, drums and percussion. Craig Walters was on tenor saxaphone, Stewart Kirwan on muted trumpet and flugelhorn, Leigh Sherringham on trombone. Each track was co-produced and co-arranged by Joanna and Phil and then mastered by Oscar Gaona at Studios 301 in Sydney. Zack Daggy (Music Journalist) writes: "Joanna Melas is a singer with a voice that is made for the stage. Her album A Natural Selection features an eclectic collection of stage favorites and originals. The sounds range from Latin beats to a sweet serenades, from reggae rhythms to sultry blues. There is something for everyone on this album. It is a vacation for the ears. First and foremost, Melas's voice is utterly amazing. With her cover of the song "Love Letters," her vocals are as smooth as velvet. It's sexy, it's sultry and most of all it's captivating. Melas radiates with charisma. To be a great singer on stage, it takes more than just hitting all the right notes. To use a cliché, you have to have "it," and Melas definitely has it! Just give one listening to her original song "We Had No Cares" and you will see. It's Latin flair and Melas's rich vocals complement each other beautifully. It has the perfect blend of relaxing melodies and energizing rhythms. Her song "Danca Da Chuva" could very well be described the same. Melas seems the most in her element when singing songs that are rich with a Latin influence. In fact, Melas at times sounds quite a bit like Gloria Estefan. She has the same instant likability. She is a star in the making. Since the majority of this album is cover songs, arrangement is everything. While most of the songs remain relatively close to their classic arrangements, it is the bold compositions that truly stand out. In particular, Melas's reggae version of the Frankie Valli classic "Can't Take My Eyes Off You," comes off as sublime. The reggae influence adds an interesting island vibe to the song. This in turn establishes an immensely romantic and intimate connection with the listener. Indeed, if there is one emotion that A Natural Selection exudes, it is romance. Tracks like "The Look Of Love" and "Love Letters" are perfect for sitting in front of a fireplace and sipping wine with that special someone. Joanna Melas is the sound of love. Perhaps the only disappointment with A Natural Selection is that there is far too many cover songs on this album. Melas does an excellent job with performing every one of these covers, but it feels like she has so much more to offer. Her original tracks "Danca Da Chuva" and "We Had No Cares" are by far the best tracks on this album... Tracks like "Break In The Weather" feature a soulful and thoroughly enjoyable saxophone solo. Others like "First We Take Manhattan" showcase some extraordinary blues guitar riffs. There is no denying that this album features some stunning instrumentation... A Natural Selection is a solid album with songs of romance and pure emotion. Joanna Melas has a smooth yet powerful voice that demands attention... this is an album worth checking out." Matthew Warnock (Music Journalist) writes: Artists such as Sade, Sting and Michael Bolton are great examples of musicians who choose to bring multiple musical styles and backgrounds together, producing a sound that was unique and that had a broader appeal than some of their more specifically focused contemporaries. Australian vocalist and songwriter-arranger Joanna Melas is an artist that firmly fits into this second category of performer, and her album A Natural Selection, is a collection of pop, jazz, Latin and R&B influenced songs that blur the lines of musical genre, while at the same time maintaining a strong sense of musicality and high level of performance that connects each distinctive musical output. The album contains three original compositions and seven covers of well-known pop and jazz songs arranged by Melas and her musical partner Phil Tweed. The originals are well-written, and each contains a distinctive sound that brings to light different aspects of Melas' musical tastes. "Danca Da Chuva," which means "Rain Dance" in Portuguese, contains Latin inspired beats and a soft, joyful melody line that outlines the song's lyrics in a way that is both engaging and enjoyable at the same time. The verse sections will remind listeners of the Columbian songstress Shakira, though when the chorus breaks in, the smoothness of the vocal line is purely Melas. This is the reason the song is successful, and the album as a whole, that Melas is able to bring an element of the familiar to her music, while injecting enough personality to make the album stand out among the crowded musical marketplace. The next original composition is "We Had No Cares," which is also Latin influenced, but this time with a quasi-Montuno beat that reminds one of a Cuban beach on a hot summer's day. The hand percussion also adds an extra level of musical interest that raises the song from a typical Latin work to a song that stands on it's own two feet. As well, "Such as These," contains more of a pop vibe, with some enchanting vocal harmonies that really enhance the listener's experience of this piece. The song could have easily been solid without the added voices, but by added the extra thickness to the ends of certain phrases, the melody and lyrics really spring to life, something that one will appreciate, that extra musical mile that makes all the difference with a song such as this. Besides the original compositions, the album contains creative and enjoyable versions of pop and jazz standards such as "First We Take Manhattan," "The Look of Love" and "For All We know." As with the originals, Melas and Tweed inject their musical personalities into each arrangement, justifying their song choices and providing a new listening experience for people who are familiar with this 20th century classics. Overall, A Natural Selection is a strong effort from Melas, one that blends tradition with her own personality in an enjoyable mixture of new and old that can appeal to a broad range of musi- Shop: odax
- Price: 30.60 EUR excl. shipping
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Legend of the Free
Artist: Carrie Armitage Album: The Legend of the Free Review by Matt Warnock Rating: 4 Stars (out of 5) The term singer-songwriter often brings to mind a lone artist, sitting in the corner of a pub or café strumming open chords on their guitar as they sing laid-back songs to crowds of loyal listeners. Artists such as Joni Mitchell and Neil Young have come to define the genre with their copious releases over the years, but it's artists such as Carrie Armitage that are working overtime to redefine the genre and propel it into the 21st century. Armitage's 2010 release The Legend of the Free is an intelligently written and creatively arranged collection of tunes in the singer songwriter genre while destroying any preconceived notions of what a singer songwriter should be. Her use of ambient beats, a la This Mortal Coil but not as depressing, combined with extended vocal techniques and spoken word help lift this album above the fold and place it into a category all it's own. Songs such as "Beautiful Blue" showcase Armitage's wide vocal range as she uses her upper register to build climax after climax during the song's chorus and verse section, though using section labels such as chorus, verse and bridge might not be appropriate for this record. Armitage's music seemingly floats in the realm between formal song writing and the through composed. Her songs don't fit into the typical cookie cutter formulas of today's radio friendly pop tracks, but they aren't completely through composed either. Each tune features enough repetition for listeners to grab onto, while at the same time constantly introducing new sections and material throughout, a difficult task for any songwriter to accomplish. Besides possessing an incredible vocal range and tone, Armitage uses an interesting collection of syllables on songs such as "An Eye to the Sky" to gain the maximum emotional effect out of her performances. Mixing hard syllables, with her favorites beginning with the letter D, and open vocal sounds helps Armitage broaden her vocal effects beyond traditional words and phrases. Though her music shouldn't draw a direct comparison to a singer like Bjork, it is moments like this that at least raise a temporary connection between the Canadian songstress and the Icelandic composer. Each song on the album is carefully written and arranged in a manner that reflects Armitage's identity as an artist, without allowing songs to become strenuous on the listener's attention span. Moving between keyboards, acoustic piano, guitar, electronic drums and multiple layers of vocals, she is able to make each new track musically and lyrically distinct without losing the personal touch that enables each track to be identified as part of a larger whole. With all of the layering, electronic work and vocal dynamics soaking the album's twelve tracks, one of the most surprising and captivating songs is the acoustic piano-vocal duo "Looking Out on the World." Featuring a harmonic dynamic that weaves between major and minor, with Armitage's vocal line following as she sings over the major section and speaks over the minor, middle section, the song is a nice sidestep from the more heavily arranged songs on the album. There are even moments on the album, "Peace, Hope, Trust, Love" for example, where she reaches back and draws out a keyboard sound that conjures up memories of Pink Floyd's 1977 album Animals, showcasing the singers' wide range of influences. This lack of discrimination in it's use of form, influences or musical textures is one of the reasons why the album is so successful. Too often ambient records become monotonous after a few minutes, but this is not the case with The Legend of the Free. It weaves in and out of many different genres, styles and tonal characters while at the same time staying true to the composer's musical voice and intent. Review by Matt Warnock '...a stylistically consistent vision, a pop grandeur that veers into theatrical territory...' '....her message: to enlighten and enlist her listeners to promote love, compassion and eco/peace activism. She delivers her worthy message....' 'Armitage smoothly transverses musical genres. Her work combines elements of Ambient, Progressive Rock, Jazz, Classical and Pop.' Music Connection Magazine Los Angeles Artist: Carrie Armitage Album: The Legend of the Free Review by Alex Henderson Rating: 3 Stars (out of 5) Carrie Armitage is not a newcomer to the music world. Her first album, In Search of Simplicity, came out in 1996, and this Canadian singer/songwriter's 14 years of recording have demonstrated that she is hard to pigeonhole. Stylistically, Armitage's vocal-oriented recordings are comparable to Enya, Tori Amos, Lisa Gerrard (of Dead Can Dance fame), Beth Orton and Kate Bush. But Armitage, who plays piano and keyboards in addition to singing, producing and composing, has also recorded as an instrumentalist, offering ambient electronica exclusively on some of her previous albums. So where does Armitage's 2010 release, The Legend of the Free, fit in? This vocal-oriented outing is probably best described as adult alternative pop-rock with elements of ambient, new age, world music, classical, jazz and even R&B. Although The Legend of the Free is by no means an R&B or straight-ahead jazz album in the strict sense, some of Armitage's vocal phrasing does show some R&B and jazz influence, especially when she gets into wordless performances and hits the higher notes. Armitage has obviously absorbed some R&B and jazz along the way. In fact, her father was a jazz pianist/big band leader, and her mother was a jazz vocalist who sang in her father's band. So even though Armitage is stylistically closer to Enya, Bush, and Amos than Erykah Badu or Jill Scott, that exposure to jazz and R&B has added a touch of funkiness to her work. Being exposed to a wide variety of music along the way has clearly worked to Armitage's creative advantage, and one of the impressive things about The Legend of the Free is her ability to incorporate all of those different influences without ever sounding unfocused or confused. The Legend of the Free never fails in focus, and shows how much Armitage has grown and developed as an artist since In Search of Simplicity. Although In Search of Simplicity was generally likable and had it's moments, it was uneven. The Legend of the Free, in contrast, is a more consistent and confident-sounding album. Armitage has long favored an ethereal approach, and her knack for ethereal melodies and harmonies is quite appropriate given the new age imagery that is plentiful on lush offerings such as "Peace Hope Trust Love," "Looking Out on the World," "This Special Place" and "An Eye to the Sky." Most singer/songwriter albums stick to romantic themes, but on The Legend of the Free Armitage opts to sing about nature, ecology and the environment. Her environmental concerns make their presence felt on "A Warning Heeded: Lights in the Water," "Commonality" and "Progress." which asserts that technological or industrial "advancement" isn't really a step forward when it is harmful to the planet. One non-female artist who has been cited as an influence on Armitage is Peter Gabriel. He isn't as obvious or as prominent an influence as the previously mentioned ladies, but Gabriel's touch is present nonetheless, especially in the way Armitage incorporates elements of world music. Gabriel, too, like Armitage, has addressed environmental subjects, although Armitage's lyrics are much more overtly new age-minded. Looking at The Legend of the Free from strictly a commercial standpoint, as opposed to an artistic/creative standpoint, the album probably would have had more mainstream appeal if Armitage had included some romantic lyrics along with all the new age subject matter. But even if one isn't heavily into the new age ideology, The Legend of the Free is still enjoyable on a melodic level, a harmonic level and a rhythmic level. This solid effort demonst- Shop: odax
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