High Quality Content by WIKIPEDIA articles! The Samples were a band formed in Boulder, Colorado in early 1987. The band's name came from the members' early sustenance of food samples from the local King Soopers grocery store. The music has been described as "reggae influenced rock/pop" and a cross between The Police and the Grateful Dead. The founding members were Sean Kelly (Guitar/Vocals), Andy Sheldon (Bass/Vocals), Charles Hambleton (guitar), Jeep MacNichol (Drums/Vocals), and Al Laughlin (Keyboards, Vocals).
High Quality Content by WIKIPEDIA articles! High Quality Content by WIKIPEDIA articles! The Sun City Girls were an American experimental rock band, formed in 1979 in Phoenix, Arizona. From 1981 the group consisted of Alan Bishop (bass guitar, vocals), his brother Richard Bishop (guitar, piano, vocals), and the late Charles Gocher (drums, vocals). Their name was inspired by Sun City, Arizona, an Arizona retirement community. Charles Gocher died after a long battle with cancer on February 19, 2007, bringing an end to the group. They found little mainstream success, but they continue to inspire a devoted following and have recorded numerous critically acclaimed albums, released in small editions by labels like Placebo, Majora, Eclipse Records, Amarillo Records, and their own Abduction Records. Their music was hugely varied, spreading across genres such as spoken word, free improvisation, jazz and rock.
Giuseppe Pino - Love My JazzStarphotograph Giuseppe Pino präsentiert in Love My Jazz Porträts aller großen Namen, die die internationale Jazzszene seit den 60er Jahren hervorgebracht hat. Faszinierende Aufnahme von Louis Armstrong, Chet Baker, Count Basie, Dee Dee Bridgewater, Dave Brubeck, Chick Corea, Miles Davis, Duke Ellington, Bill Evans, Ella Fitzgerald, Stan Getz, Dizzy Gillespie, Lionel Hampton, Keith Jarrett, Oscar Peterson, Nina Simone, Joe Zawinul umfassen drei Generationen von Jazzmusikern begleitet von der Musik vieler abgebildeter Jazzgrößen.MUSIK-INHALT:CD 1 – Swing & Joy Sonny Rollins: St. Thomas 6:47(Rollins) Prestige Music Freddy Hubbard: Joy Spring 6:47(Brown) copyright controlFreddie Hubbard(tp)Harold Land: tenor saxBilly Childs: keyboardsLarry Klein: bassSteve Houghton: drumsBuck Clark: Percussion Stan Getz & His Four Brothers: Five Brothers 3:12(Mulligan) Beechwood Music-BMIStan Getz, Zoot Sims, Al Cohn, Allan Eager, Brew Moore: tenor saxophonesWalter Bishop: pianoGene Ramey: bass · Charlie Perry: drums Zoot Sims Four: I Hear a Rhapsody 5:33(Fragos, Baker, Gasparre) Thorn Creatives Int.-BMIZoot Sims: tenor saxRichards Wyands: pianoFrank Tate: bass · Akira Tana: drums Dexter Gordon: Fried Bananas 6:09(Gordon) Dex Music-BMIDexter Gordon: tenor sax · Barry Harris: pianoBuster Williams: bass · Allbert “Tootie” Heath: drums  Milt Jackson & Wes Montgomery: Stablemates 5:45(Golson) copyright controlMilt Jackson: vibesWes Montgomery: guitar · Wynton Kelly: pianoSam Jones: bass · Philly Joe Jones: drums Dave Brubeck: The Way You Look Tonight 7:45(Kern, Fields) Warner Bros. MusicDave Brubeck: piano · Paul Desmond: alto saxCD 2 – Cool & Soft Miles Davis Quintet: My Funny Valentine 6:01(Rodgers, Hart) ChappellMiles Davis: trumpet · Red Garland: pianoPaul Chambers: bass · Philly Joe Jones: drums Chet Baker: How High The Moon 3:39(Hamilton, Lewis) Chappell MusicChet Baker: trumpet · Herbie Mann: flutePepper Adams: baritone sax · Bill Evans: pianoPaul Chambers: bass · Connie Kay: drums Ron Carter: All Blues 8:43(Davis) Musical Frontiers-BMIRon Carter: piccolo bass · Kenny Barron: pianoBuster Williams: bass · Ben Riley: drums Herbie Mann & Bobby Jaspar: Tel Aviv 14:42(Mann) Prestige Music-BMIHerbie Mann, Bobby Jaspar: flutes, tenor saxTommy Flanagan: pianoJoe Puma: guitarWendell Marshall: bassBobby Donaldson: drums Paul Bley: Like Someone in Love 4:07(Burke, van Heusen) Bourne/Music Sales Corp.Paul Bley: pianoCharles Mingus, bassArk Blakey: drums Bill Evans Trio: Spring is Here 5:06(Rodgers, Hart) Robbins Music-ASCAPBill Evans: pianoScott Lafaro: bass · Paul Motian: drumsCD 3 – Blues & Classics Duke Ellington: C-Jam Blues 5:14(Ellington) EMI RobbinsDuke Ellington: pianoRoy Burrowes, Cat Anderson,Bill Berry, Ray Nance: trumpetsLawrence Brown, Leon Cox,Chuck Connors: trombonesRussell Procope, Johnny Hodges: alto saxJimmy Hamilton: clarinet, tenor saxPaul Gonsalves: tenor sax · Harry Carney: baritone saxAaron Bell: bass · Sam Woodyard: drums Big Joe Turner: Stormy Monday 4:37(Walker) Gregmark Music-BMIJoe Turner: vocalsPee Wee Crayton: guitarJ. D. Nicholson: pianoCharles Norris: bassWashington Rucker: drums Count Basie Jam: Jumpin’ at the Woodside 4:32(Basie) Warner Bros. MusicCount Basie: pianoVic Dickenson, Al Grey: trombones · Roy Eldridge: trumpetBenny Carter: alto saxophone · Zoot Sims: tenor saxophoneRay Brown: bass · Jimmie Smith: drums Louis Armstrong: Mack the Knife 3:28(Brecht/Weill) Weill-Brecht-Harms-ASCAPLouis Armstrong: trumpet, vocalsTrummy Young: trombone · Edmund Hall: clarinetBilly Kyle: piano · Squire Gersh: bass · Barrett Deems: drumsRecorded: July 4, 1957, Newport Oliver Nelson, King Curtis & Jimmy Forest: Blues at the Five Spot 5:43(Nelson) Noslen Music-BMIOliver Nelson, King Curtis, Jimmy Forest: tenor saxGene Casey: piano · George Dvivier: bass · Roy Haynes: drums Ella Fitzgerald: Night and Day 6:59(Porter) Harms Inc.-ASCAPElla Fitzgerald: vocals · Tommy Flanagan: pianoEd Thipgen: drums · Frank de la Rosa: bass Ray Bryant: Take the “A” Train 4:06(Ellington, Strayhorn) Tempo Music-ASCAPRay Bryant: pianoRecorded: July 13, 1977, Montreux(P) 1977 Pablo Records Tenth & Parker Berkeley, CA 94710ISCR US-FI8-77-00001OJCCD-371 Oscar Peterson & The Bassists: Sweet Georgia Brown 5:09(Bernie, Pinkard, Casey) Warner Bros.-ASCAPOscar Peterson, pianoRay Brown: bass · Niels Pedersen: bassCD 4 – Bop & More Woody Herman: La Fiesta 5:00(Corea) Litha Music-ASCAPWoody Herman: clarinet,sax · Greg Herbert: sax,fluteFrank Tiberi, Steve Lederer, Harry Kleintank:saxLarry Pyatt, Gil Rathel, Walt Blanton, Bill Byrne: trumpetBill Stapelton: trumpet, flugelhornJim Pugh, Geoff Sharp, Harold Garrett: tromboneAndy Laverne: piano · Joe Beck: guitarWayne Darling: bass · Ed Soph: drums · Ray Barretto: conga Art Blakey & Jazz Messengers: Caravan 9:45(Ellington, Mills, Tizol) American Academy of MusicArt Blakey: drums · Freddie Hubbard: trumpetCurtis Fuller: trombone · Wayne Shorter: tenor saxCedar Walton: piano · Reggie Workman: bass Charles Mingus: Jump Monk 6:53(Mingus) Jazz Workshop-BMICharles Mingus: bassEddie Bert: trombone · George Barrow: tenor saxMal Waldron: piano · Willie Jones: drums Dizzy Gillespie: Manteca 9:26(Gillespie, Fuller) Music Sales Corp.-ASCAPDizzy Gillespie, trumpet · Toots Thielemans, guitarBernard “Pretty” Purdie, drums McCoy Tyner: Afro Blue 9:58 Flöten, Percussion, Es-Dur(Santamaria) Mongo Music–BMIMcCoy Tyner: pianoSonny Fortune: soprano & alto sax, fluteVirgil Jones, Cecil Bridgewater, Jon Faddis: trumpetDick Griffin: trombone, bass tromboneGarnett Brown: trombone · Kiani Zawadi: euphoniumJulius Watkins, Willie Ruff, William Warnick III: French hornBob Stewart: tubaHubert Laws: piccolo, flute · Harry Smyles: oboeSelwart Clarke, John Blair, Sanford Allen, Winston CollymoreNoel DaCosta, Marie Hence: violinJulien Barber, Alfred Brown: violaRonald Lipscomb, Kermit Moore: celloJooney Booth: bassAlphonse Mouzon: drums · Sonny Morgan: congas
Die Drum Along-Serie von Bosworth erfreut sich aufgrund der einfachen, schnell erfassbaren Notation und der hohen Qualität der Play Along-Tracks grosser Beliebtheit. Die Songs sind jeweils notiert als Leadsheet mit den verschiedenen Songteilen und den entsprechenden Drumbeats. Dadurch lässt sich der Ablauf des jeweiligen Songs wesentlich schneller lernen und man kann sich ganz auf die Drumparts und aufs Schlagzeugspielen konzentrieren &#8211; darum geht es ja schliesslich. Die Backing Tracks sind von hoher Soundqualität mit einem - für Drummer essentiell &#8211; ausgeprägtem Bass. Auf der CD ist jeder Song als Vollversion mit Gesang und als Play Along-Version ohne Schlagzeug (und mit Clicktrack) enthalten. Der Text ist zweisprachig Deutsch und Englisch. Dieser Band kommt mit 10 Songs aus Black Music & Soul zum mitgrooven. Inhalt: Get down on it - Kool and the Gang; We don't need another hero - Tina Turner; Unchain my heart - Ray Charles; Yeah right - Dionne Bromfield; Ain't no sunshine - Bill Withers; Son of a preacher man - Dusty Springfield; I say a little prayer - Aretha Franklin; Lovely Day - Bill Withers; Doo Wop (that thing) - Lauryn Hill; Give it up or turn it a loose - James Brown.
'From Mozart to Villa-Lobos and South African pop, Dodd brings out Walker's gift for illumination; best of all, these conversations have you searching out new-found fare as well as hearing familiar and forgotten music anew'. -- William Dart 'A wide-ranging and catholic view of the music-listening experience for our time - Walker is an ideally active listener, with Dodd an equally ideal interlocutor'. -- Martin Lodge Born and educated in Scotland, Marshall Walker lectured in English and American literature at Glasgow University from 1965 to 1980 after a spell at Rhodes University in South Africa. From 1981 until 2006 he was Professor of English at the University of Waikato in New Zealand. As Dean of Humanities he initiated and oversaw the establishment of Music at the University. An occasional broadcaster on music and literature, he introduced, for Radio New Zealand and the Australian Broadcasting Corporation, concerts of the 2005 Sydney Sibelius Festival in which Sibelius's symphonies were performed by the Sydney Symphony Orchestra conducted by Vladimir Ashkenazy. He lives in Hamilton, New Zealand, with his wife, the Brazilian writer, Cláudia Pacce. Senior Music Producer for Radio New Zealand Concert, Tim Dodd was born and raised in Dunedin, New Zealand. His degree is in Physics but his primary passion was always for music. He landed his dream job at Radio New Zealand in 1990 and he's been there ever since, overseeing the broadcast and recording of live concerts and producing countless spoken features about music. Included among these are many interviews he has conducted with New Zealand and international musicians such as the pianist and writer Charles Rosen, violinists Shlomo Mintz and James Ehnes, American composer Ellen Taaffe Zwilich, cellist Raphael Wallfisch, jazz bass player Dave Holland and Brazilian guitarist and composer Egberto Gismonti. He lives in Auckland, New Zealand, with his wife and children. For over twenty years the two friends have been talking to each other about music. Tim Dodd produced Walker's award-winning Letters to Sibelius for Radio New Zealand Concert, the programmes reaching listeners in Australia and Scotland as well as New Zealand and forming the basis of Walker's book, Dear Sibelius: Letter from a Junky published by Kennedy and Boyd in 2008. The Music for Life conversations that followed were broadcast by Radio New Zealand in December 2009, but the talk went on. This book presents the ongoing conversations in the hope that readers will like to join in.
Karl Lawrence King (1891-1971) was born in Paintersville, Ohio, and ranks only behind Fillmore and Sousa as the foremost American march composer. King was a largely self-taught musician who learned the cornet early and soon was proficient enough to join the Thayer Military Band. In 1910 he moved to Columbus, Ohio and played baritone horn with the Neddermeyer Band, a professional band led by Fred Neddermeyer. He went on to play tuba in the Soldiers Home Band in Danville, Illinois, as well as in several circus bands, including Barnum and Bailey's, serving as leader of their band from 1917 to 1918. He learned to compose by studying scores, publishing his first composition at age 17 through Charles Barnhouse. Relations became somewhat strained with this publisher, which may have led to his use of the pseudonym Carl Lawrence and his decision to establish his own publishing company, the K.L. King Music House of Canton, Ohio, in 1919. In 1920 he moved to Fort Dodge, Iowa, as Director of the Fort Dodge Municipal Band, and continued his publishing from there. King was a prolific composer, writing over 300 works for band, including 188 marches. He composed mainly for larger bands up to 1940, then after that time primarily for school bands. The Neddermeyer Triumphal March was composed in 1911 as a tribute to his mentor, Fred Neddermeyer, and was published by Barnhouse. This new edition from Richard W. Sargeant Jr. retains King's original orchestration from the first edition (woodwinds, including E-flat and B-flat bass clarinet, SATB saxophones, brass, snare drum, cymbals, bass drum) in an easy-to-read format which is conveniently sized as either a study or performance score.
Giulio Cesare Brancaccio was a Neapolitan nobleman with long practical experience of military life, first in the service of Charles V and later as both soldier and courtier in France and then at the court of Alfonso II d'Este at Ferrara. He was also a virtuoso bass singer whose performances were praised by both Tasso and Guarini - he was even for a while the only male member of the famous Ferrarese court Concerto delle dame, who established a legendary reputation during the 1580s. Richard Wistreich examines Brancaccio's life in detail and from this it becomes possible to consider the mental and social world of a warrior and courtier with musical skills in a broader context. A wide-ranging study of bass singing in sixteenth- and early seventeenth-century Italy provides a contextual basis from which to consider Brancaccio's reputation as a performer. Wistreich illustrates the use of music in the process of 'self-fashioning' and the role of performance of all kinds in the construction of male noble identity within court culture, including the nature and currency of honour, chivalric virtÃ¹ and sixteenth-century notions of gender and virility in relation to musical performance. This fascinating examination of Brancaccio's social world significantly expands our understanding of noble culture in both France and Italy during the sixteenth century, and the place of music-making within it.
By Bach/Gounod this is one of the most lyrical piece in classical music. The melody by Charles Gounod is superimposed over the Prelude No. 1 in C major, BWV 846 by J.S. Bach. Composed in 1853 it is often performed at weddings, Christmas time and funerals and famously recorded by Luciano Pavarotti and Mario Lanza. In popular culture it has been featured in many films and on TV among other places The Simpsons, Departures, Diva, The Proposition, Parenthood, Chronicle, Psych, 28 Days Later, A Bronx Tale, The American and American Mary Lead Sheet notated in bass clef with melody and chords for Cello including a non-transposed version in treble clef for easy accompaniment, arranged by Lars Christian Lundholm. Ave Maria By Bach-Gounod is also known by alternative title: Meditation sur le Premier Prelude de Piano de S. Bach, Ave Maria, BWV 846. - Instrumentation: Cello - Level: Easy - Score Type: Solo Score - Tempo: Slow - Genre: Romantic - Composer: Charles Francois Goun....
By Bach/Gounod this is one of the most lyrical piece in classical music. The melody by Charles Gounod is superimposed over the Prelude No. 1 in C major, BWV 846 by J.S. Bach. Composed in 1853 it is often performed at weddings, Christmas time and funerals and famously recorded by Luciano Pavarotti and Mario Lanza. In popular culture it has been featured in many films and on TV among other places The Simpsons, Departures, Diva, The Proposition, Parenthood, Chronicle, Psych, 28 Days Later, A Bronx Tale, The American and American Mary Lead Sheet notated in bass clef with melody and chords for Tuba including a non-transposed version in treble clef for easy accompaniment, arranged by Lars Christian Lundholm. Ave Maria By Bach-Gounod is also known by alternative title: Meditation sur le Premier Prelude de Piano de S. Bach, Ave Maria, BWV 846. - Instrumentation: Tuba - Level: Easy - Score Type: Solo Score - Tempo: Slow - Genre: Romantic - Composer: Charles Francois Gounod....