A Berger joint to sing about
The News Review:
- A Berger joint to sing about
- Music Review | Eddie Palmieri and Brian Lynch
- The House That George Built – Wilfrid Sheed – Books – Review – New…
A Berger joint to sing about
Toronto Star – Jul 28, 2007
In the kitchen you’ll find a traditional 1950s diner-style chrome table with a black-and-white tabletop and zebra print chairs. Sitting on the table there is a chrome jukebox. Berger is partial to ’50s and jazz music which is reflected in the kitchen decor pieces. He feels in many ways he was born in the wrong era because he is so at home surrounded by that "old stuff. " ther period pieces can be found in their newly renovated basement rec room. They include two ’60s-style pink green and orange flower pattern club chairs that Berger calls his Austin Powers chairs a dark brown cottage relic couch from Heidi’s parents ? the only piece of furniture that would fit in the basement ? and a pair of ’50s retro-style ebony wood lamps. They have off-white shades featuring gold accents and sit on square dark brown end tables.
Music Review | Eddie Palmieri and Brian Lynch
New York Times – Jul 28, 2007
” When he announced “Palmas” there were hoots and raucous cheers. The beauty of the evening was that each response made sense neither to the exclusion of the other. bviously there’s a place for serious Latin music on the Jazz in July calendar especially when it comes in this accomplished a form. Perhaps there will be future demand for it among the supporters of the series. Charlap seems to think so and at least where his programming is concerned he has a way of being right.
The House That George Built – Wilfrid Sheed – Books – Review – New…
New York Times – Jul 28, 2007
The chemistry of Astaire singing Berlin he writes “added up to a third personality a city boy harnessed to a country boy in the cause of that magnificent anomaly American sophistication. ” More clearly than most music historians he recognizes the extent to which changing technology has shaped it all and the degree to which popular music is an immediate reflection of the time and place in which it is created. With the coming of the microphone in the 1920s he muses Caruso “the world’s biggest voice” was supplanted by Crosby “the world’s friendliest voice. ” Most of these new songs accommodated this microphone-ready conversational voice. Diving into his subject Mr. Sheed repeatedly comes up with pearls like his take on the blues which informed so many of these songs and which he calls “spirituals with a hangover.