AT THE CARNIVAL|BIG CHIEF YELLOW HAND|CALYPSO RHUMBA|CAROUSEL WALTZ|Chromatic Rag|CONCERT PIECE|FESTIVE DANCE|JAZZ SEQUENCES|MODERN SOUNDS|OH WHERE|POP GOES THE WEASEL|SONG FOR A RAINY DAY|SPOOKY STORY|Turkey in the straw|WALZER A-MOLL|WESTERN SKIES|WHITE CORAL BELLS
MICROJAZZ LEVEL 4|REGGAE|DISCO DRIVE|BLUES 1|COCNUT RAG|A SPIRITUAL|TWO HANDED BLUES|INTER CITY STOMP / Norton Christopher|OPEN SPACE|CLOUDY DAY|CHANT|PICNIC PIECE|GET IN STEP|WASHING BLUES|JAZZ WALTZ|AN ADVENTURE|BLUES LULLABY|THREE PLUS TWO BLUES|FIFTH DIMENSION|REFLECTIONS|JUST AN ASIDE|DUET|MIXED UP|CONVERSATION PIECE|CRUISING|FACE IN THE CROWD|PLAY IT AGAIN|NEW DAY|JUST A SAMPLE|SAMBA|MINIATURE BLUES|IN THE PARK|Sunset|TOUCH SENSITIVE|TIGER BLUES|Alone|READY OR NOT
Adagio esotico|Arabesque sentimentale|Barcarole|Bill Bailey|BLUE MOOD|Blues motif|Blues prelude|Boogie prelude|BOURBON STREET SATURDAY NIGHT|CAPRICCIETTO|Carnival in Rio|CASTANETS|Dancing in a dream|Deserted plantation|Downtown Beat|Etüde A-Dur|Festive piece|FLAMENCO|Fountain in the rain|GOLDFISH|Happy birthday to you|Homage to Chopin|In Old Vienna|JAZZ PRELUDE|Journey in the night|Lazy bayou|Little suite in baroque style|Mardi Gras|A Memory of vienna|New Orleans Nightfall|Night serenade|NOCTURNE|On a Paris Boulevard|On the Champs Elysees|Petite etude|Polynesian nocturne|Portrait of Paris|POSTLUDE|Sarabande|Sleigh ride|Sleighbells in the snow|SLUMBER SONG|Sonatina G-Dur|SONATINE|Spanish Gypsies|Star dancers|Sunset|TARANTELLA|Third Sonatina|Uptown Blues|Valse Etude|VALSE TRISTE|Viennese Rondo
Petite fantaisie / Bach Carl Philipp Emanuel|Adagio / Bach Carl Philipp Emanuel|Scherzando / Beethoven Ludwig van|WALTZ / Bridge Frank|Valse / Chopin Frederic|CANTABILE / Chopin Frederic|Valse plaisanterie / Schostakowitsch Dmitri|Sonate G-MOLL / CIMAROSA DOMENICO|SONATINE / CLEMENTI MUZIO|Fruehling und Jugend / FIBICH ZDENEK|ARIETTA / GLIERE REINHOLD|MINIATURE|DEDICATORIA / Granados Enrique|Prelude / Gretchaninoff Alexander|Valse|Menuett / Grieg Edvard|Menuett / Haydn Joseph|BABY BOOGIE / HENRY CHARLES|Chant d'un orphelin / KAPRAL VACLAV|Petite Valse / KARDOS DEZIDER|LA PLUIE / KOSSENKO Viktor|6 petites variations / KUHLAU FRIEDRICH|CHANSONNETTE / LACHNER FRANZ|ELEGIE / Miaskovsky Nikolai|ALLEGRO G-DUR / MOZART WOLFGANG AMADEUS|Jazz piece 5 / PETERSON OSCAR|Menuett / Rameau Jean Philippe|SONATE / REINECKE CARL|Le scalette / ROTA NINO|GYMNOPEDIE 1 / Satie Erik|Deutscher Tanz D 783 / Schubert Franz|Deutscher Tanz D 972/3 / Schubert Franz|RONDOLETTO / SCHUMANN ROBERT|TOCCATA / SEIXAS JOSE ANTONIO CARLOS DE|MAZURKA / SLONOV|TANGO / STAUB VICTOR|Valse / Weber Carl Maria von|Verso 4 / ZIPOLI DOMENICO
Bernard Herrmann - Psycho (The Original Film Score) Hitchcock insisted that Bernard Herrmann write the score for Psycho despite the composer's refusal to accept a reduced fee for the film's lower budget. The resulting score, according to Christopher Palmer in The Composer in Hollywood (1990) is perhaps Herrmann's most spectacular Hitchcock achievement. Hitchcock was pleased with the tension and drama the score added to the film, later remarking 33% of the effect of Psycho was due to the music. The singular contribution of Herrmann's score may be inferred from the unusual penultimate placement of the composer's name in the film's opening credit sequence, as it is followed only by Hitchcock's directing credit. Herrmann used the lowered music budget to his advantage by writing for a string orchestra rather than a full symphonic ensemble, contrary to Hitchcock's request for a jazz score. He thought of the single tone color of the all-string soundtrack as a way of reflecting the black-and-white cinematography of the film. The strings play con sordini (with a muting device placed across the bridge) for all the music other than the shower scene, creating a darker and more intense effect. Hollywood composer Fred Steiner, in an analysis of the score to Psycho, points out that string instruments gave Herrmann access to a wider range in tone, dynamics, and instrumental special effects than any other single instrumental group would have. The main title music, a tense, hurtling piece, sets the tone of impending violence, and returns three times on the soundtrack. Though nothing shocking occurs during the first 15-20 minutes of the film, the title music remains in the audience's mind, lending tension to these early scenes. Herrmann also maintains tension through the slower moments in the film through the use of ostinato. Tracklist 1. Prelude/The City/Marion and Sam/Temptation 2. Flight/The Patrol Car/The Car Lot/The Package/The Rainstorm 3. Hotel Room/The Window/The Parlour/The Madhouse/The Peephole 4. The Bathroom/The Murder/The Body/The Office/The Curtain/The Water/The Car/The Swamp 5. The Search/The Shadow/Phone Booth/The Porch/The Stairs/The Knife 6. The Search/The First Floor/Cabin 10/Cabin 1 7. The Hill/The Bedroom/The Toys/The Cellar/Discovery/Finale
Sometimes, it doesn’t take very long to create something brilliant. When producer Robert Evans rejected Phillip Lambro’s original score for Chinatown, Jerry Goldsmith was hired to create another, from scratch, in just 10 days. To say he rose to the challenge is an understatement. Goldsmith, a 20 year veteran of the TV and movie industry with credits including Dr Kildare, Planet Of The Apes and even The Waltons theme, turned in a work that was both a career peak for him and the saviour of Roman Polanski’s masterpiece of neo-noir. What was clever about it? It wasn’t quite straight jazz, it wasn’t quite classical. It was identifiably a movie soundtrack, but an unusual one at that, leaning heavily on Uan Rasey’s mournful trumpet solos, sparingly using pianos, harps, strings and percussion, and employing sounds and crashes as overtures. It doesn’t try to speak to the film’s 1930s setting so much as to the mood and feel of the movie, a piece about political and moral corruption in a water-starved LA featuring Jack Nicholson at the absolute top of his game. “I remember [Evans] speaking about the music having a contemporary feel, contemporary meaning the ‘30s,” Goldsmith said in an interview before his 2004 death. “I said, ‘Bob, I don’t think so – you see that on the screen, why should I do that in the underscore? … Emotions are timeless.’” Originally released as a soundtrack in 1974, and long out of print, Cinewax’s reissue is remastered from the original tapes and is presented with brand new artwork by acclaimed illustrator and painter Sterling Hundley, with layout by Jay Shaw. Drop the needle and hear why Chinatown is, reportedly, David Lynch’s favorite soundtrack. Goldsmith was right about emotions… Official Black Friday Record Store Day Release Limited to 2,500 copies worldwide Newly remastered audio, pressed on Gold wax Features new artwork by renowned painter and illustrator Sterling Hundley with layout by Jay Shaw (Mondo/Death Waltz) Housed in a deluxe Stoughton tip-on jacket with folded 18”x24” poster of cover art Track Listing – Love Theme From Chinatown (Main Title) Noah Cross Easy Living Jake And Evelyn I Can't Get Started The Last Of Ida The Captive The Boy On A Horse The Way You Look Tonight The Wrong Clue J. J. Gittis Love Theme From Chinatown (End Title)
Over 600 people celebrated the publication of Mark 'Snowboy' Cotgrove's seminal 'From Jazz Funk to Fusion; Acid Jazz: The History Of The UK Jazz Dance Scene' at Cargo in Shoreditch on Sunday July 19th. The event was co-sponsored by The Barbican and was part of the Blaze Festival. Snowboy joined BBC Radio 1 DJ Gilles Peterson on the turntables and the book signing attracted serious jazz dance afficionados from all over the UK.'Couldn't put this book down - there's a lot of history here! A fine piece of work - respect to Snowboy for reminding me of a large chunk of my dj life'Gilles Peterson Tune in to Gilles' podcast with Snowboy : http://www.gillespeterson From the Seventies to the Nineties, Mark 'Snowboy' Cotgrove illuminates the evolution of the Black music and clubbing in he meticulously traces the evolution of UK Jazz Dance; touching down at all-dayers, weekenders and dozens of clubs. He interviews over 200 DJs and dancers.