A superb vocalist even at the age of 13, Helen Humes rarely left that peak of performance, appearing in front of some of the most swinging jump tunes as well as the most affecting jazz ballads during her long career. Like Billie Holiday and Dinah Washington, Humes was an early resonator with the blues, which allowed her the intensity of feeling to carry across any type of material with conviction and passion. Jazz Factory, the superb Spanish reissue label, obliged fans of Humes and vocal music alike with a three-disc collection of recordings from the first quarter-century of her career. While still a teenager, she sounded very mature (artistically and otherwise) for a series of ten 1927 risque blues titles like "If Papa Has Outside Lovin'" and "Do What You Did Last Night." Off record for ten years but apparently still growing as a singer, Humes reappeared in 1937 on two Harry James sessions with a sublime gloss on up-tempo swinging blues reminiscent of Ella Fitzgerald. She recorded three dozen excellent sides during the mid-'40s in front of bands led by Bill Doggett and Buck Clayton, and recorded the hit "Be-Baba-Leba" (which came from her own pen) with Doggett in 1945. Another title from the same year, "Voo-It," illustrates that Humes was an excellent scatter and also one of those musician vocalists who loved nothing more than hearing a great solo from one of her sidemen -- in this case, it's the crying trumpet of Snooky Young. She revisited the double entendre several times during 1947, and foreshadowed the direction of her '50s recordings with solid torch songs like "Time Out for Tears" and "Sad Feeling." An authoritative collection of Humes' early recordings, Complete 1927-1950 Recordings includes a wealth of enjoyable sides, though less-invested listeners will find much of what they want courtesy of the Best of Jazz compilation Her Best Recordings: 1927-1947 or Classics volumes like 1927-1945 and 1945-1947.

A superb vocalist even at the age of 13, Helen Humes rarely left that peak of performance, appearing in front of some of the most swinging jump tunes as well as the most affecting jazz ballads during her long career. Like Billie Holiday and Dinah Washington, Humes was an early resonator with the blues, which allowed her the intensity of feeling to carry across any type of material with conviction and passion. Jazz Factory, the superb Spanish reissue label, obliged fans of Humes and vocal music alike with a three-disc collection of recordings from the first quarter-century of her career. While still a teenager, she sounded very mature (artistically and otherwise) for a series of ten 1927 risque blues titles like "If Papa Has Outside Lovin'" and "Do What You Did Last Night." Off record for ten years but apparently still growing as a singer, Humes reappeared in 1937 on two Harry James sessions with a sublime gloss on up-tempo swinging blues reminiscent of Ella Fitzgerald. She recorded three dozen excellent sides during the mid-'40s in front of bands led by Bill Doggett and Buck Clayton, and recorded the hit "Be-Baba-Leba" (which came from her own pen) with Doggett in 1945. Another title from the same year, "Voo-It," illustrates that Humes was an excellent scatter and also one of those musician vocalists who loved nothing more than hearing a great solo from one of her sidemen -- in this case, it's the crying trumpet of Snooky Young. She revisited the double entendre several times during 1947, and foreshadowed the direction of her '50s recordings with solid torch songs like "Time Out for Tears" and "Sad Feeling." An authoritative collection of Humes' early recordings, Complete 1927-1950 Recordings includes a wealth of enjoyable sides, though less-invested listeners will find much of what they want courtesy of the Best of Jazz compilation Her Best Recordings: 1927-1947 or Classics volumes like 1927-1945 and 1945-1947.

A superb vocalist even at the age of 13, Helen Humes rarely left that peak of performance, appearing in front of some of the most swinging jump tunes as well as the most affecting jazz ballads during her long career. Like Billie Holiday and Dinah Washington, Humes was an early resonator with the blues, which allowed her the intensity of feeling to carry across any type of material with conviction and passion. Jazz Factory, the superb Spanish reissue label, obliged fans of Humes and vocal music alike with a three-disc collection of recordings from the first quarter-century of her career. While still a teenager, she sounded very mature (artistically and otherwise) for a series of ten 1927 risque blues titles like "If Papa Has Outside Lovin'" and "Do What You Did Last Night." Off record for ten years but apparently still growing as a singer, Humes reappeared in 1937 on two Harry James sessions with a sublime gloss on up-tempo swinging blues reminiscent of Ella Fitzgerald. She recorded three dozen excellent sides during the mid-'40s in front of bands led by Bill Doggett and Buck Clayton, and recorded the hit "Be-Baba-Leba" (which came from her own pen) with Doggett in 1945. Another title from the same year, "Voo-It," illustrates that Humes was an excellent scatter and also one of those musician vocalists who loved nothing more than hearing a great solo from one of her sidemen -- in this case, it's the crying trumpet of Snooky Young. She revisited the double entendre several times during 1947, and foreshadowed the direction of her '50s recordings with solid torch songs like "Time Out for Tears" and "Sad Feeling." An authoritative collection of Humes' early recordings, Complete 1927-1950 Recordings includes a wealth of enjoyable sides, though less-invested listeners will find much of what they want courtesy of the Best of Jazz compilation Her Best Recordings: 1927-1947 or Classics volumes like 1927-1945 and 1945-1947.

The beautiful princess Giselle is banished by an evil queen from her magical, musical animated land and finds herself in the gritty reality of the streets of modern-day Manhattan. Shocked by this strange new environment that doesn't operate on a "happily ever after" basis, Giselle is now adrift in a chaotic world badly in need of enchantment. But when Giselle begins to fall in love with a charmingly flawed divorce lawyer who has come to her aid - even though she is already promised to a perfect fairy tale prince back home - she has to wonder: Can a storybook view of romance survive in the real world?

A Pulitzer Prize–winning journalist takes readers on a surprising tour of the world of garbage.

A classic Disney fairytale collides with modern-day New York City in a story about a fairytale princess who is sent to our world by an evil queen. Soon after her arrival, Princess Giselle begins to change her views on life and love after meeting a handsome lawyer. Can a storybook view of romance survive in the real world?

Beyonce Giselle Knowles (born September 4, 1981), often known simply as Beyonce, is an American R&B recording artist, actress and fashion designer. Born and raised in Houston, Texas, she enrolled in various performing arts schools and was first exposed to singing and dancing competitions as a child. Knowles rose to fame in the late 1990s as the lead singer of the R&B girl group Destiny's Child, one of the world's best-selling girl groups of all time.

After falling head over hooves in love with Giselle, Elliot's road to the altar takes a slight detour when Mr. Weenie is kidnapped by a group of pampered pets determined to return him to his owners.

A classic Disney fairytale collides with modern-day New York City in a story about a fairytale princess who is sent to our world by an evil queen. Soon after her arrival, Princess Giselle begins to change her views on life and love after meeting a handsome lawyer. Can a storybook view of romance survive in the real world?

From their home base in Miami Beach (and utilizing four performing venues in South Florida), Miami City Ballet ? under the leadership of Artistic Director Edward Villella, celebrated its 25th Anniversary Season in 2010-11. More than 88 ballets are featured in its repertory, works created by a roster of world-class choreographers including George Balanchine, Jerome Robbins, Paul Taylor, Twyla Tharp, Frederick Ashton, Anthony Tudor and John Cranko as well as such 19th century classics as ?Giselle,? ?Coppelia? and ?Don Quixote.?

From their home base in Miami Beach (and utilizing four performing venues in South Florida), Miami City Ballet – under the leadership of Artistic Director Edward Villella, celebrated its 25th Anniversary Season in 2010-11. More than 88 ballets are featured in its repertory, works created by a roster of world-class choreographers including George Balanchine, Jerome Robbins, Paul Taylor, Twyla Tharp, Frederick Ashton, Anthony Tudor and John Cranko as well as such 19th century classics as “Giselle,” “Coppelia” and “Don Quixote.”

From their home base in Miami Beach (and utilizing four performing venues in South Florida), Miami City Ballet ? under the leadership of Artistic Director Edward Villella, celebrated its 25th Anniversary Season in 2010-11. More than 88 ballets are featured in its repertory, works created by a roster of world-class choreographers including George Balanchine, Jerome Robbins, Paul Taylor, Twyla Tharp, Frederick Ashton, Anthony Tudor and John Cranko as well as such 19th century classics as ?Giselle,? ?Coppelia? and ?Don Quixote.?

From their home base in Miami Beach (and utilizing four performing venues in South Florida), Miami City Ballet – under the leadership of Artistic Director Edward Villella, celebrated its 25th Anniversary Season in 2010-11. More than 88 ballets are featured in its repertory, works created by a roster of world-class choreographers including George Balanchine, Jerome Robbins, Paul Taylor, Twyla Tharp, Frederick Ashton, Anthony Tudor and John Cranko as well as such 19th century classics as “Giselle,” “Coppelia” and “Don Quixote.”