Titel: Pure Affection - Uri & Tsilis,Gust Caine / Uri Caine / Gust Tsilis / Format: Audio CDTracks: -
Keith Jarrett - The Melody At Night, With YouTender is the night on what is, perhaps, Keith Jarretts most intimate album. It is comprised of solo piano renderings of jazz ballads and folk songs, recorded at home and played with unmistakable affection. Jar
In this remarkable memoir, Anna Goldsworthy recalls her first steps toward a life in music, from childhood piano lessons with a local jazz muso to international success as a concert pianist. As she discovers passion and ambition and confronts doubt and disappointment, she learns about much more than tone and technique. This is a story of the getting of wisdom, tender and bittersweet. With wit and affection, Goldsworthy captures the hopes and uncertainties of youth, the fear and exhilaration of performing, and the complex bonds between teacher and student. An unforgettable cast of characters joins her: her family; her friends and rivals; and her teacher, Mrs Sivan, who inspires and challenges her in equal measure, and who transforms what seems an impossible dream into something real and sustaining. 1. Language: English. Narrator: Anna Goldsworthy. Audio sample: http://samples.audible.de/bk/boli/002440/bk_boli_002440_sample.mp3. Digital audiobook in aax.
Rastro y BelascoaínThis quartet has been composed and, with great affection, been dedicated to the Havana Conservatory of Music in Cuba, where I myself work as a teacher. This composition aims at reflecting an ordinary day filled with everyday activities, revealing different states of mind - with high spirits prevailing -, dynamism as well as unusual noises such as car horns, which I have tried to reproduce, for instance, in the final notes in bars 40, 41, 43 and 45. What mainly manifests itself throughout this work is a spirit of jazz (a genre that is very popular among music students, especially here at our conservatory). A correct execution of the off-beats and syncopations is of great importance, particularly with regard to the baritone sax, which occasionally assumes the part of the bass as it does for example in part A and, above all, in part D, where it provides a jazzy accompaniment for the soloists, performing bebop style accents (see measures 31, 32, 131 and 132) and riff-like phrases (as is done as of measure 116). Please note that the saxophonists, according to preference, may take turns in performing the solos; they should, however, be careful not to exaggerate things in order to prevent the baritone from being overstrained.
The Beautiful and Damned, F. Scott Fitzgerald´s 1922 novel, introduced Fitzgerald fans to 22-year-old Gloria Gilbert, a drop-dead gorgeous, selfish, gumdrop-addicted beauty from Kansas City, and 25-year-old Anthony Patch, a handsome, heir-to-a-fortune, careless, spoiled Harvard graduate and New York bon vivant. The novel opens in 1913, a time of flappers, jazz clubs, silent movies, and, for those who could afford it, a 24/7 world of parties, booze, and social extravagances. Golden-haired Gloria, by her own admission known as ´´Coast-to-Coast Gloria´´, dabbles in men´s affections as other women might dabble in a kitchen - trying one recipe for love after another, never quite finding the perfect emotional meal until she meets Anthony Patch. She has broken many hearts, leaving in her wake a trail of love-besotted men from the small towns in the Midwest to the emerging studios of the motion picture industry. Only one man, the arrogant and ruthless Joseph Bloeckman of Films par Excellence, retains an emotional hold on Gloria, and that hold is tested often throughout the decade of the novel. Anthony, supported by his two best friends and Harvard classmates, the erudite Maury Noble and the rising novelist Dick Caramel, studiously avoids any mental preoccupation with the concept of actual employment. He is, after all, the presumptive heir to a $30 million estate, soon (he hopes) to be left to him by his tyrannical grandfather, Adam Patch. For Anthony, life in his second-floor apartment on 52nd Street between Fifth and Sixth Avenues is merely what he expects it should be: an entitlement due his station in life. His motto could easily be ´´what? Me work?´´ If Gloria had a motto in 1913, it would be ´´I must always be pretty and admired´´. Quite a pairing of two genuinely clueless young people who, as their story unfolds, will find a stark reality awaiting with a baseball bat down a very dark alley of disappointment. The Beautiful and Damned bri 1. Language: English. Narrator: C. James Moore. Audio sample: http://samples.audible.de/bk/mike/001545/bk_mike_001545_sample.mp3. Digital audiobook in aax.
El BororoMambo FunkThis mambo-inspired piece of music is dedicated with great affection to Juan Carlos Ledón aka El Bororo, an outstanding Cuban saxophonist, who presently works as a teacher at Belén Jesuit Preparatory School in Miami / USA. The genre and musical style known as mambo was created by the Cuban musician Dámaso Pérez Prado (1917 - 1989). However, it was in Mexico, the country this well-known composer emigrated to, where his interpretations first became famous. This novel style contributed a new form of expression to the already existing rhythmic concepts characterizing Cuban music. The accentuation of the strong beats by employing the cowbell, or cencerro, as the defining instrument, in combination with syncopated figures being executed by saxophones and brass instruments generated a rhythmic performance hitherto unknown in Cuban music. According to Pérez Prado himself, mambo is a syncopated combination of a rhythmic pattern being performed by the saxophones to which any melody can be added. This is exactly what happens in part A of this composition, where the first alto sax plays the melody while the others perform the off-beats. It is primarily the baritone that plays a syncopated rhythm in addition to the rhythmic-harmonic basis of the instrumentation. The correct execution of the notated accents on the strong beats played by the brass and saxophone sections reinforces the clear definition of this style, as is the case with such classic themes like Mambo No. 5 and Qué rico el mambo, which are both compositions by the originator of this genre. Non-musical tools that became integral parts of mambo, such as the characteristic scream let out to end an 8-bar melody, are also made use of in this composition (example: measures 44 through 51). The influence of jazz standards makes itself heavily felt in the piece. El Bororo. This does not only become obvious in the solo performed by the saxophones in part C but also in the riff-like effect, which is a common feature of jazz themes. In this piece, the just mentioned effect can be heard in measures 19 through 26, the only difference being that this riff is here being accompanied by the bass drum executing the first and third beats while the cowbell, or cencerro, is strictly keeping time. The influence of jazz also becomes evident during the improvised solos; they may be executed ad libitum and finally close with a piano solo, which is accompanied by a riff played by the saxophones, executing the second and fourth in order to resume the initial theme to finally conclude the piece. As is the case with any music based on a particular musical style, the actual interpretation of El Bororo should be preceded by the study of representative recordings. With regard to this composition, I recommend listening to the original music created by the King of Mambo.
(Empress) 25 tracks. original recordings Just picture the scene. The British people are celebrating VE day with a will. Throughout the country people are gathering together for street parties, pubs and bars are packed with revellers while the length and breadth of London´s Whitehall is thronged with an enormous crowd eager to slake its collective thirst, then to acclaim one of the great heroes of the hour - the Prime Minister, Winston Churchill... for he is due to speak to the mass of people who have joy in their hearts and a song in their throats. It makes for a most stirring occasion. The conflict in Europe is over, although everyone is aware that the years ahead will not be easy. Just for this one particular day they can forget their worries and enjoy one of the great days in their country´s history. Music is playing everywhere. Songs of hope, songs of sentiment; some with words looking forward to a bright future, others with a reflective backwards glance to the bitter-sweet emotions of the six long years of strife. It was a marvellous period for music. Great songs were still being written for vocalists fully capable of doing them complete justice. On both sides of the Atlantic the pre-war boom in swing and dance bands had evaporated to some extent; it was the singers who ruled in the brave new world. Vera Lynn had begun her professional career as a band vocalist, but by the early ´forties had established herself as one of the most popular solo artists in Britain. The deep sincerity of her finely tuned singing together with the memorable numbers she performed struck a chord at home and with the troops overseas. Her connection with the forces during the war has passed into the nation´s folklore. Of all the singers active between 1939 and 1945 it is Dame Vera who will forever be associated with those dark days; her records form a soundtrack to the war years. It is a tribute to Vera Lynn that her popularity has never waned, enduring to the present day more than fifty years after she recorded her big wartime hits. There´s A New World, It Could Happen To You and Jerome Kern´s beautiful Long Ago And Far Away will stir many memories. Her closest rival for the affections of the people was the much-missed Anne Shelton. When she started with Ambrose´s Orchestra as a gym-slipped schoolgirl it was hard to believe that a voice of such deep port wine resonance could come from one so young. Her sense of how to phrase and shape a song would have been considered extraordinary in an experienced artist, let alone someone only just into her teens. She was so highly regarded that, on trips to war-torn England, both Glenn Miller and Bing Crosby expressly asked her to work with them. A tremendous honour for a comparative newcomer. Just how well merited it was is demonstrated in Tonight I Kissed You and one of the only numbers to become popular in both Britain and Germany, Lili Marlene. There were other popular female vocalists besides the ´big two´. Adelaide Hall must have been one of America´s best-ever exports to the UK. Initially a wonderful jazz singer who made some classic recordings with Duke Ellington, she became an integral part of the British music scene when she moved to this country. Versatility and a fine voice coupled with a highly distinctive style were the keys to her success. Equally at home with the popular songs of the time as with mainstream jazz, her versions of the massive worldwide Julie Styne/Sammy Cahn hit It´s Been A Long Long Time and Harold Rome´s My Heart Sings are perfect vehicles for her exemplary singing. In both she is accompanied by the equally adept Norman Perry at the piano. Just like Anne Shelton the pint-sized Beryl Davis was a very young girl with a very big voice. Her teenaged assurance in I Got It Bad is a reminder of an all-round vocalist who recorded with jazz violin maestro Stephane Grappelli and with David Rose in America as well as a number of dance bands...
(Ace) 16 tracks - Original 1948 to 1952 ´King´ recordings Blues shouting is a dying art form in the field of rhythm & blues and is only a memory from its hey-day in the forties and early fifties. Most of its main practitioners. such as Jimmy Rushing, Joe Turner, Wynonie Harris, Walter Brown. Big Duke Henderson, are dead and gone. A few, such as Jimmy Nelson, have been rediscovered and are currently enjoying a successful comeback. One artist who has successfully straddled the last forty years in the music business is Jimmy Wither-spoon. in the forties a jukebox favourite of the rhythm & blues scene; in the late fifties and sixties a successful jazz and blues vocalist and maker of countless albums in the company of many big names in the jazz field. Spoon´s long and interesting career got off the ground in Los Angeles in the mid 40s when he made dozens of important recordings for companies such as Phillo/Aladdin, Mercury, Supreme, Swingtime and Modern. Belonging to the blues shouting tradition, which differs from its cousin country blues, Witherspoon performed in the company of jumpin´ big bands which evolved out of the territory bands of the mid and south west. This is ably described by John Tyman, in his notes on another Witherspoon album. ´For the most part these singers got their start in the Negro sections of cities such as Kansas City, Okla-homa City and other centres below or bordering the Smith and Wesson line.´ Born in Gurdon, Arkansas on 18 August 1923, Jimmy Witherspoon sang as a child in his local Baptist church choir, where his mother played piano. During his teens Witherspoon moved to California in search of work in L.A. He washed dishes until he was called up to the Merchant Marines in World War II. While serving in the Marines he travelled to the Far East. and was invited to sing with pianist and band-leader Teddy Weatherford, who had a residency at the Grand Hotel Winter Gardens in Calcutta, India. On his discharge at Vallejo California. the naval shipyard town south of San Francisco. he met up with Jay McShann whose band was on a tour of the west coast. McShann had just lost his vocalist Walter Brown. Witherspoon was auditioned and got the job. When the unit arrived in Los Angeles in 1945 they cut sides for the Mesner Brothers´ Phillo label (later known as Aladdin). Ironically they chose the old McShann and Bronco hit ´Confessin´ The Blues´. Witherspoon´s rich vocal style rapidly became a favourite with audiences of both radio and juke-boxes, his 78 rpm discs selling by the truckload. Witherspoon´s long association with the Biharis at Modern was a happy one, even in the early eighties. I met him while he was visiting Jules Bihari at his office on Normandie Ave. Jules was in no doubt about his affection for ´Spoon and said that he was his favourite blues singer. It was Jules Bihari who conducted Witherspoon´s first Modem recording sessions in L.A. in 1946. These were fronted by an all-star band led by drummer Al ´Cake´ Wichard including Jay McShann on piano. Most sessions were held at either Universal or Radio Recorders in Hollywood. Towards the end of 1947 Modern held a mass of recording sessions in an attempt to beat Petrillo´s recording ban of 1948. It was during this period that Witherspoon cut a fairly large amount of masters. Because most of Witherspoon´s Modern classics were cut direct to 16´ acetate lacquers. and later re-leased on 78 rpm discs, a wealth of good material remained on the shelf, with the exception of his big hits. Few of these lacquers were ever remastered or transcribed onto tape. The remainder of these masters were later reissued on budget-line Crown albums. The Witherspoon sessions were made with a variety of accompanists including Jay McShann. Al ´Cake´ VVichard, Maxwell Davis, Buddy Floyd and Gene Gilbeaux/Don Hill. In particular the fine guitar work of Mitchell Tiny Webb and Chuck Norris shine on various numbers on this set. The gem of a 1950 date features the beautiful tenor sax of Ben Webster on ´I´m Going Round In Circles´. I have included an alternative take to that issued on Modern 806. on which Webster´s horn is even more lyrical. Other fine recordings released for the first time in-clude ´T.B. Blues´ which dates from an early session with Al Wichard´s Sextet, which also includes Jay McShann on piano. Other lacquers revealed mag-nificent sides from a 1951 date: ´Blowing The Blues´ and ´It´s Raining Outside´. The band on these sides sounds suspiciously like Johnny
Instrument/Discipline : SaxophoneSupport : LivrePartitions pour Saxophone Alto d´une collection de plus de 100 solos classés par niveau de difficulté. Sélection de chansons populaires, de standards de Jazz, de thèmes de films et de comédies musicales.Contenu :(They Long To Be) Close To You [Carpenters, The]; A Case Of You [Mitchell, Joni]; A Fine Romance [Kern, Jerome]; A Moment Like This [Lewis, Leona]; A Night In Tunisia [Gillespie, Dizzy] [Paparelli, Frank]; A Time For Us (Romeo And Juliet) [Rota, Nino]; Against All Odds (Take A Look At Me Now) [Collins, Phil]; All These Things That I´ve Done [Killers, The]; America [Razorlight]; Angel [McLachlan, Sarah]; Any Dream Will Do (Joseph And The Amazing Technicolor Dreamcoat) [Lloyd Webber, Andrew]; As Time Goes By [Wilson, Dooley]; Blueberry Hill [Domino, Fats]; Cabaret [Minnelli, Liza]; Can´t Help Lovin´ Dat Man [Horne, Lena]; Can´t Take My Eyes Off You [Williams, Andy]; Coming Round Again [Simon, Carly]; Consider Yourself (Oliver!) [Bart, Lionel]; Constant Craving [Lang, K.D.]; Corcovado (Quiet Nights Of Quiet Stars) [Jobim, Antonio Carlos]; Cornflake Girl [Amos, Tori]; Creep [Radiohead]; Dancing Queen [Abba]; Delilah [Jones, Tom]; Do You Hear The People Sing? (Les Miserables) [Schonberg, Claude-Michel]; Dreams [Cranberries, The]; Every Breath You Take [Police, The]; Everybody´s Talkin´ [Nilsson]; Everytime [Spears, Britney]; Feel [Williams, Robbie]; Flying Without Wings [Westlife]; God Only Knows [Beach Boys, The]; Golden Brown [Stranglers, The]; Goodbye Yellow Brick Road [John, Elton]; Grace Kelly [Mika]; Have I Told You Lately [Morrison, Van]; Head Over Feet [Morissette, Alanis]; Here With Me [Dido]; Hopelessly Devoted To You (Grease) [Newton-john, Olivia]; How Deep Is Your Love [Bee Gees, The]; Hung Up [Madonna]; I Can´t Stand The Rain [Peebles, Ann]; I Don´t Want To Miss A Thing [Aerosmith]; I Dreamed A Dream [Schonberg, Claude-Michel]; If You´re Not The One [Bedingfield, Daniel]; In A Sentimental Mood [Ellington, Duke]; Jolene [Parton, Dolly]; Kiss From A Rose [Seal]; Lay Lady Lay [Dylan, Bob]; Life On Mars? [Bowie, David]; Little Bird [Lennox, Annie]; Live And Let Die [Wings]; Love And Affection [Armatrading, Joan]; Love Me Tender [Presley, Elvis]; Lovefool [Cardigans, The]; Magic Moments [Como, Perry]; Mother And Child Reunion [Simon, Paul]; My Favourite Things (The Sound Of Music) [Rodgers, Richard] [Hammerstein, Oscar]; My Heart Will Go On (Titanic) [Dion, Celine]; Naive [Kooks, The]; No Woman, No Cry [Bob Marley And The Wailers]; Nothing Else Matters [Metallica]; Patience [Take That]; Petite Fleur (Little Flower) [Bechet, Sidney]; Play Dead [Bjork]; Purple Rain [Prince]; Round Round [Sugababes]; Ruby [Kaiser Chiefs]; She Will Be Loved [Maroon 5]; Sing [Travis]; Smile [Allen, Lily]; Smoke Gets In Your Eyes [Platters, The]; Somethin´ Stupid [Sinatra, Nancy] [Sinatra, Frank]; Songbird [Fleetwood Mac]; Suddenly I See [Tunstall, KT]; Sunday Morning [Velvet Underground, The]; Take Five [Brubeck, Dave]; Take My Breath Away [Berlin]; Teardrop [Massive Attack]; The Air That I Breathe [Hollies, The]; The Closest Thing To Crazy [Melua, Katie]; The Girl From Ipanema [Gilberto, Joao And Astrud]; The Importance Of Being Idle [Oasis]; The Lady Sings The Blues [Holiday, Billie] [Nichols, Herbie]; The Long And Winding Road [McCartney, Paul]; The Music Of The Night (The Phantom Of The Opera) [Lloyd Webber, Andrew]; The Scientist [Coldplay]; The Simpsons [Elfman, Danny]; This Year´s Love [Gray, David]; Umbrella [Rihanna]; Where Do I Begin (Love Story) [Lai, Francis]; Wild World [Stevens, Cat]; Will You [O´Connor, Hazel]; Wires [Athlete]; Wisemen [Blunt, James]; With A Little Help From My Friends [Beatles, The]; With Or Without You [U2]; Wonderful Tonight [Clapton, Eric]; You Give Me Something [Morrison, James]; You´ve Got A Friend In Me (Toy Story) [Newman, Randy]