Yet with all the hesitations and lulls, the underlying flow is never interrupted. When Lerner and Loewe were constructing “My Fair Lady,” they decided at the very beginning of the creative process that the role of Professor Higgins simply demanded great acting and would have to be cast almost exclusively on the basis of acting chops, and they resigned themselves to having a male lead who probably wouldn’t be able to sing at a professional level. and, Polygram Records Private Limited Singapore. Joshua has 5 jobs listed on their profile. See the complete profile on LinkedIn and discover Joshua’s connections and jobs at similar companies. Joshua has 9 jobs listed on their profile. Joshua D. Wan North Las Vegas, NV Locations Include: North Las Vegas, NV; We could uncover more information on Joshua at any time - we update our databases every 24 hours! But in fact, the eighth notes are moving at exactly the same pace as they were before – only, since now there are only two eight notes per beat instead of three, in effect the tempo has jumped up to 100 or so. I very briefly reviewed Pages here, but included the Russian lyrics to “Oy, Moroz, Moroz” and my own translation. Noir uses it as the last number on their first CD, following a richly, dark-chocolate-silkily effective “Where or When” that is right in Ms. Tham’s romantic wheelhouse, and I was quite curious to hear Ms. Tham take a shot at bitter disillusion. and, Singapore Nights Edit Artist ; Share. But I suspect that the true foundation of the Noir albums is actually pianist and arranger Joshua Wan. So the tempo of the song as a whole has slowed back down from 100 to 66 – even though the bass and cymbal are still playing at the same speed.

Joshua Wan Elgin, TX. – I’ve grown accustomed to her face,” and managing to include, successfully, both the caressingly wistful “I’ve grown accustomed to the scent of something in the air” and the despairingly enraged “Let the hellcat freeze!” The two songs contrast as much as do the two characters (if Freddy can even be called a “character”), and deliberately so. I fell in love with love one night when the moon was full In live performances she loves to sing a first verse straight and then reprise the same verse in a sort of half-scat, though on the two Noir albums she only really gives that full treatment to “I’m Old-Fashioned.” And any doubts as to her level of technical musical sophistication (she originally trained as a classical pianist and fell into singing jazz almost by accident in college) are erased by the seeming effortlessness with which she performs “Close Your Eyes” (which for practical purposes is in a ten-beat metre) and “It Might As Well Be Spring,” which in the Noir take happily bounces back and forth (à laBrad Meldhau) between 7:8 and standard 4:4 time, and which Ms. Tham sings with about as much apparent grim concentration as a child playing hopscotch on a sunny spring Saturday. Ms. Tham was even assigned to sing an opening (and later closing) rapid-fire, way-harder-than-it-sounds instrumental line in perfect unison with the bass and guitar and piano. Trial and Global Disputes Unsurprisingly, they made major alterations to both pieces in order to bring them into the Noir style. The result of this combination of natural vocal character and diligent technical mastery is romantic love sungs sung about as effectively as they’ve ever been sung. Falling in love with love is playing the fool Open Report Verified Name Match. Not only that, when Ms. Tham rejoins the party to reprise the first verse, they stay in the 4:4, and she improvises freely with the vocal rhythm throughout the first half of the reprise – but then they do something very interesting. And I’ve mentioned in passing that they perform “Close Your Eyes” in what amounts to a 10:4 (though they probably score it 4:4, 4:4, 2:4); but Wan’s arrangement is heavy on syncopation and drag triplets to cloud the rhythm even further, with its feel veering at times almost into a momentary waltz. I’ll close with what may seem a totally unrelated anecdote; but bear with me as I do have a point.
I was an interested spectator in the debates between the people who loved the movie version of Les Misérables and those who complained that the singing wasn’t very good – a debate which (setting aside the unfortunate limitations of the sadly miscast Russell Crowe, who I think we can all agree was painfully out of place) was largely a disagreement between people who like acting and wanted the emotion to come through powerfully and realistically, and the people who like singing and found the acting histrionics destructive of perfect tone and pitch.

And however incongruous the tone might be to the words, by the end of the song you can’t help but feel they’ve made the right choice. When she sings “Do I Love You,” it’s impossible not to believe she is deeply and happily and permanently in love; when she sings, “I’m Old-Fashioned,” it almost seems as though she were taking the trouble to inform you that the sun usually rises in the east. He opens in a lilting little 6:8 at a pace of about 66 or so, with accordion and string base both playing on the dotted-quarter beats to make sure tempo and meter are unmistakable. Reviewed here: Noir: Volume 1 and Quietly, both by Singapore jazz combo Noir I have no idea what Melissa Tham’s personal opinion is of love, but her voice is a hopeless romantic. and, Beautiful Love From all of the above it’s obvious that Noir has my unqualified recommendation and that, unless you personally despise jazz (in which case, you are a strange, sad little man, and you have my pity), you should certainly acquire these two CD’s. Joshua Wan. I fell in love with love, with love everlasting Marketplace 36 For Sale. Having made the choice to turn “Falling in Love with Love” into a light-hearted feel-good number, however, Mr. Wan then proceeds to play some sophisticated games with the meter; and it’s worth looking in detail at the skill with which he goes about it. So Loewe deliberately wrote every one of the Higgins character’s songs so that the musical line would be as much like ordinary speech in cadence and pitch and rhythm as possible – everything about the Higgins songs was designed to allow them to be acted as much as sung, and to disguise vocal limitations. Composed by producer Joshua Wan and performed by singer Nathan Hartono, the song Everything I Am also encourages Singaporeans to express gratitude and appreciation for one another. But in its taking advantage of Ms. Tham’s naturally light-hearted voice and Mr. Wan’s metrical skill and musical taste to turn one of the century’s more anti-romantic songs into a thoroughly successful, and musically interesting, piece of bottled happiness, it is quintessentially Noir. This is Me - Control Profile. 0 Profile Searches Follow. That’s probably because that’s the last album I liked as much as I liked Noir Volume 1 and Quietly. Chalk one up to Noir; well played. Court Records found View. jwan@kslaw.com. But Ms. Tham switches back to the original 6:8 and stops improvising, and the accordion comes back in with steady dotted-quarters to reinforce her. Now, it feels like the song has suddenly speeded up. Ms. Tham (pronounced “Tam”) provides the vocals for Noir, a Singapore jazz combo that relies practically exclusively on the Great American Songbook. But I’d love to hear Ms. Tham sing “La Vie en Rose” – by the time she and pianist/arranger Joshua Wan were through with it, it would be a lilting, infectious song of pure joy. I’ve already mentioned the 7:8 / 8:8 version Noir does of “It Might As Well Be Spring,” and I will only add here that (a) it takes a confident man to say, “I think I’ll go improvise a while in 7:8,” and (b) his confidence is fully justified. Then the first verse comes to a close and they transition into an instrumental section – and suddenly the accordion is gone, the string base swings into a playing even eights in 4:4, and the cymbalist kicks in a eighth/swing-sixteenths, dum dum-de rythym that puts us firmly into 4:4 swing. I have no idea what Melissa Tham’s personal opinion is of love, but her voice is a hopeless romantic. And when the reprise ends, Ms. Tham and the accordion drop back out to allow the bass and cymbal and piano to reassert the 4:4 swing for the last few bars. The songs they perform, you’ve heard thousands of times in hundreds of versions. Otherwise she communicates emotion through controlling her vocal shading, varying her vibrato across sustained notes, bending the notes within phrases – it’s all jazz technique you’ve heard before, but always skillfully and tastefully executed. Mr. Wan particularly enjoys playing around with metre; if he has Dave Grusin’s Gershwin album (and I presume he does), I’m betting “Fascinating Rhythm” is his favorite cut. By contrast, the character Freddy is a deliberately cardboard character, made, on purpose, as two-dimensional as a sheet of paper. At the end of “I’ve Grown Accustomed to His Face,” I had a relatively clear idea of what they were going to do with “On the Street Where You Live” – something more or less similar to what I just heard, turning the two songs into a matched set. I was unwise with eyes unable to see As you might be reading this post because you’re specifically interested in Singapore, you might be interested in a redneck American’s takes on Singapore and Malaysia, in two travelogues from prior business trips, the first of which includes both Singapore and Malaysia and the second of which is almost all Malaysia, with a special focus on Frasers Hill.
Criminal or Civil Court records found on Joshua's Family, Friends, Neighbors, or Classmates View Details. He previously served as a law clerk to the Honorable William G. Young in the United States District Court for the District of Massachusetts. / International Arbitration and Litigation, New York: +1 212 556 2267 BAD 1 - 2 POOR 2 - 3 FAIR 3 - 4 GOOD 4 - 5. Photo: Dickson Lee Hong Kong opposition activist And the entire instrumental break is executed in this 4:4 swing. So I have used those two songs in the past to say that the people who loved Anne Hathaway’s “I Dreamed a Dream” probably like “I’ve Grown Accustomed to Her Face” while the people who complained that it was histrionic and musically impure probably prefer “On the Street Where You Live.” (Personally I like both, but then I liked both the stage and movie versions of Les Miz so I don’t suppose that proves anything.). I liked the Michael Buble / Ivan Lins reworking of “You Look Wonderful Tonight” enough to write about it at length here, then decided, “Well if they can rewrite those woeful original lyrics then so can I” and posted my own lyrics here. Mr. Wan never makes a misstep (and, having seen Mr. Wan and Ms. Tham perform live several times, that holds almost literally true even when doing madcap jazz improvisation). I’m not sure they could have come up with anything more unlike the original Broadway number without resorting to heavy metal. Unusually clear and pure and delicate in the upper half of her range, she develops sufficient timbre in the lower registers to remind the listener of Diana Krall, though no one will ever mistake Ms. Tham for Toni Braxton.