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Learning To Love

Clare Foster

Jazz - Released November 1, 2009 | Clare Foster

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Dear Friends and Gentle Hearts: Songs of Stephen C. Foster

Jeffrey Dooley

Classical - Released April 13, 1999 | Lyrichord Early Music Series

As the liner notes point out, Stephen Foster's songs have been performed in numerous anachronistic styles, including bluegrass, opera, and jazz. So why not have them sung by a countertenor, accompanied in baroque style by a harpsichord? Well, there are a couple of good reasons. The first is that the harpsichord just sounds ridiculous playing the oompah rhythms of Foster' s "Soiree Polka" and the ponderous merry-go-round melody "Santa Anna's Retreat from Buena Vista." The second is that a countertenor sounds even more ridiculous delivering lines like "They hunt no more for the possum and the coon" and, heaven knows, "I dream of Jeanie with the light brown hair." Dooley's intonation problems don't help, either. This was an interesting idea, but at some point during the sessions someone should have realized what was happening and had the courage to call it off. © TiVo
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Relaxing Piano Covers: Relax and Unwind with Gentle Piano Covers

Harvey Foster

Pop - Released April 19, 2024 | Monocroma

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Chausehga

Cohen Foster

Classical - Released May 27, 2023 | Ocean distribution

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Playful Gentle Vibro

DubCHEQ

Dance - Released March 2, 2024 | Charlie Chimp Records

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Gentle Piano To Calm Your Spirit

Serena Smirnov

New Age - Released December 29, 2022 | Hotch-Potch Studios

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Sometimes fast, sometimes gentle

Clareee ASMR

Comedy/Other - Released May 10, 2023 | Clareee ASMR

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Gentle rain (revised)

Clarence Öfwerman

Classical - Released February 3, 2023 | Clarence Ofwerman

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Gentle

Claressa

Pop - Released October 3, 2023 | Claressa

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#01 Relaxing Music to Unwind, for Sleep, Yoga, Massage

Relaxing Music by Melina Reat

New Age - Released March 11, 2024 | Gentle Stretching in The Evening

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From Elvis in Memphis

Elvis Presley

Rock - Released June 17, 1969 | RCA - Legacy

Hi-Res Distinctions The Qobuz Ideal Discography
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The Women Who Raised Me

Kandace Springs

Jazz - Released March 27, 2020 | Blue Note Records

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Her mentor Prince said her voice could melt snow. A gift confirmed on The Women Who Raised Me, Kandace Springs' third album, which is quietly earning the artist a place at the heart of the vast family of contemporary jazz'n'soul singers. As the title of her 2020 release suggests, the Nashville native living in New York pays tribute to all those who influenced and inspired her, from Ella Fitzgerald to Roberta Flack, Astrud Gilberto, Lauryn Hill, Billie Holiday, Diana Krall, Carmen McRae, Bonnie Raitt, Sade, Nina Simone, Dusty Springfield and especially Norah Jones, one of her idols, who features on a track (Angel Eyes). Produced, like Soul Eyes, (her first album of 2016) by the expert in ultra-slick sound Larry Klein, The Women Who Raised Me also brings on board the saxophonists David Sanborn (I Put a Spell on You) and Chris Potter (Gentle Rain, Loneliness), trumpeter Avishai Cohen (I Can't Make You Love Me and Pearls), bassist Christian McBride (Devil May Care) and the flautist Elena Pinderhughes (Ex-Factor and Killing Me Softly With His Song). They bring virtuoso refinement to this album's collection of well-chosen covers. Special mention must go to Sade's Pearls, spurred on by a purring Avishai Cohen, and Lauryn Hill's Ex-Factor. This album also confirms the instrumental talents of Kandace Springs, who is just as comfortable at the piano as at the Fender Rhodes. A restrained virtuoso helped by the reserved trio of Steve Cardenas on guitar, Scott Colley on bass and Clarence Penn on drums. It is this ocean of subtlety and finely-measured power that makes these covers, sung with sensuality but above all conviction, very endearing. © Clotilde Maréchal / Qobuz
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Blues For K

Tsuyoshi Yamamoto

Jazz - Released January 25, 2023 | SOMETHIN'COOL

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Love Scenes

Diana Krall

Vocal Jazz - Released January 1, 1997 | Impulse!

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Vocalist/pianist Diana Krall was a very hot property by the time this Impulse CD was released. Teamed in a trio with her regular guitarist Russell Malone and bassist Christian McBride, Krall here mostly emphasizes ballads having something to do with love. She is at her best on "I Don't Know Enough About You," "I Don't Stand a Ghost of a Chance With You," and "How Deep Is the Ocean." However, Krall's earlier Nat King Cole tribute had more variety in tempos and moods and is recommended first. A decent but not essential release.© Scott Yanow /TiVo
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Watermark

Enya

Pop - Released September 5, 1988 | WM UK

Thanks to its distinct, downright catchy single "Orinoco Flow," which amusingly referenced both her record-company boss Rob Dickins and co-producer Ross Cullum in the lyrics, Enya's second album Watermark established her as the unexpected queen of gentle, Celtic-tinged new age music. To be sure, her success was as much due to marketing a niche audience in later years equally in love with Yanni and Michael Flatley's Irish dancing, but Enya's rarely given a sense of pandering in her work. She does what she does, just as she did before her fame. (Admittedly, avoiding overblown concerts run constantly on PBS hasn't hurt.) Indeed, the subtlety that characterizes her work at her best dominates Watermark, with the lovely title track, her multi-tracked voice gently swooping among the lead piano, and strings like a softly haunting ghost, as fine an example as any. "Orinoco Flow" itself, for all its implicit dramatics, gently charges instead of piling things on, while the organ-led "On Your Shore" feels like a hushed church piece. Elsewhere, meanwhile, Enya lets in a darkness not overly present on The Celts, resulting in work even more appropriate for a moody soundtrack than that album. "Cursum Perficio," with her steady chanting-via-overdub of the title phrase, gets more sweeping and passionate as the song progresses, matched in slightly calmer results with the equally compelling "The Longships." "Storms in Africa," meanwhile, uses drums from Chris Hughes to add to the understated, evocative fire of the song, which certainly lives up to its name. Watermark ends with a fascinating piece, "Na Laetha Geal M'Oige," where fellow Irish modern/traditional fusion artist Davy Spillane adds a gripping, heartbreaking uilleann pipe solo to the otherwise calm synth-based performance. It's a perfect combination of timelessness and technology, an appropriate end to this fine album.© Ned Raggett /TiVo
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Secrets

Herbie Hancock

Jazz Fusion & Jazz Rock - Released June 1, 1976 | Columbia - Legacy

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Having long since established his funk credentials, Herbie Hancock continues the direction of Head Hunters and its U.S. successors here, welding himself to the groove on electric keyboards while Bennie Maupin again shines sardonic beams of light on a variety of reeds. In "Doin' It," the most successful track, Hancock makes a more overt bid for the dancefloor, for the tune is basically one long irresistible groove with a very commercial-sounding bridge. Again Hancock chooses to recompose one of his standards; "Cantelope [sic] Island" is almost unrecognizable converted into a sauntering, swaggering thing. A streamlining process has set in -- the drumming has been simplified, some of the old high-voltage drive has been muted -- yet there are still enough enjoyable, intelligently musical things happening here to hold a Hancock admirer's attention.© Richard S. Ginell /TiVo
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Solo Piano

Chilly Gonzales

Pop - Released January 1, 2004 | Gentle Threat LTD

Near the end of the old millennium, someone once rapped, "Being futuristic these days means being futuristic on your own terms," which is entirely fitting when said rapper records an album of solo piano instrumentals. (Perhaps less instructive is what said rapper went on to say: "Being futuristic means loving worms, saving your sperm, wearing your pubes in a perm.") The former Chilly Gonzales has a hint of Gershwin in his playing, an urbane, contemplative take on the blues that sometime turns into a wry smile. He also has a hint of Satie, the spare and haunted sound of a music box turning slowly to a halt as it comes to the end of its wind. But what he also has is entirely his own, which not only makes this the best album of solo piano instrumentals by a rapper extant but also one of the finest solo piano albums not by a jazz or classical performer. Obviously, there's a duality to any man who lit up stages with Peaches but also played with and produced Jane Birkin and Charles Aznavour, but Solo Piano is a disarmingly wonderful record.© John Bush /TiVo