SANTANA ist zurück mit dem ersten Album in Orignalbesetzung seit 1973! Die Legende des Latin-Rock in Bestform. Als CD und 2xLP + DL.nnSANTANA ist zurück mit dem ersten Album in Orignalbesetzung seit 1973! Die Gruppe um den Gitarristen und Sänger Carlos Santana gilt seit dem Ende der 1960er Jahre als die wichtigste Band des Latin Rock. Die Band wurde 1966 in San Francisco gegründet, zur ersten Formation gehörten Tom Frazier (Gitarre), Mike Carabello (Percussion), Rod Harper (Schlagzeug), Gus Rodriguez (Bassgitarre) und Gregg Rolie (Orgel, Gesang). In den Folgejahren hat sich die Zusammensetzung der Gruppe sehr häufig und grundlegend verändert. Mit dem Song Soul Sacrifice traten sie 1969, kurz nach ihrem ersten Album, beim Woodstock-Festival auf und führten dieses zu einem der ersten musikalischen Höhepunkte. IV markiert nun das erste Album in Originalbesetzung seit 1973! Auch mit Keyboarder und Sänger Greg Rolie, der mit Black Magic Woman den größten Hit der Band sang. Ausstattung - 4-Panel Digipack, CD-Tasche links, 4-farbig, 8-Seiten Booklet - Santana-Sticker 1st Time Since 1973 mit den Namen der Band - LP-Version: 2 x 180 Gramm schwarzes Vinyl im Gatefolded-Cover in zwei Taschen, Gold-Folie Sticker 180g & Download, UV-Klarlack auf Zähne, Augen und Logo im Artwork April 15, 2016 marks the release date of Santana IV, the wildly anticipated studio album that reunites the revered early 70s lineup of guitar icon Carlos Santana (guitar, vocals), Gregg Rolie (keyboards, lead vocals), Neal Schon (guitar, vocals), Michael Carabello (percussion) and Michael Shrieve (drums). The album signifies the first time in 45 years since 1971 s multi-platinum classic Santana III that the quintet has recorded together. Santana IV features 16 all-new tracks written and produced by the band that burst with the same unparalleled energy and superlative musicianship that made Santana a pioneering force in world music and a household name across the globe. Joining the core Santana IV band in the studio are current Santana members Karl Perazzo (percussion) and Benny Rietveld (bass), with the legendary vocalist Ronald Isley guesting on two cuts. TRACKS: 1. Yambu 2. Shake It 3. Anywhere you Want To Go 4. Fillmore East 5. Love Makes The World Go Round (Feat: Ronald Isley) 6. Freedom In Your Mind (Feat: Ronald Isley) 7. Choo Choo 8. All Aboard 9. Suen_os 10. Caminando 11. Blues Magic 12. Echizo 13. Leave Me Alone 14. You And I 15. Come As You Are 16. Forgiveness
Der Chilene gehört zu den bekanntesten Bassisten Südamerikas. Sein Sololbum ist eine Fusion aus Elektronik, Pop, Jazz, Rock und Downbeat. Und Slap-Bass...nnDer Chilene Silvio Pareds gehört zu den bekanntesten Bassisten Südamerikas und er ist eine Virtuose am Chapman Stick, der korpuslosen Bassgitarre. Seine Band Los Mismos gehörte zu den ersten, die Elektronik mit echten Instrumenten vermischte. Sein Sololbum ist eine Fusion aus Elektronik, Pop, Jazz, Rock und Downbeat. Und Slap-Bass... Silvio Paredes is a reference point on electric bass and the Chapman Stick not only in his home country Chile, but in all of Latin America. In particular the Stick has been his main instrument since he started playing and he combines it with an array of electronic devices. Silvio has been a seminal part of several of the Chilean music scene's mainstays. His trio Los Mismos was the first electronic group that would mix electronics with electrical instruments in a playing style similar to that of a rock band, and Silvio is co-founder and core member of the still active cult band Electrodomesticos that blends industrial rock with electronica. His fusion of elements from jazz, rock and hip-hop with electronica has been released on four albums, featuring guest performances by outstanding musicians such as DJ Raff, Solo di Medina and DJ Bitman as well as the highly successful indie-pop artist Javiera Mena. Silvio Paredes is relocating to England in January 2016 for a three-year period and will be active regularly on the European scene. TRACKS: 1. Saber Andar 2. Copo de Nieve 3. El Pata 4. Paulista 5. Zapatos Azules 6. Soulwalk 7. Calfuco
Fire! Fever! Flame! Temperament! &#8211; these are the terms most often used to describe Latin American music. Each of us has at least once been electrified by these unmistakable rhythms, this joy of life and this &#8222;esprit&#8220;. The Latin Smile endeavours to capture the essence of this kind of music and to put its spirit down in notes. The piece consists of two themes &#8211; to be played now in unison, now in several voices &#8211; and of two interludes providing the musical setting for the themes. Rhythmical accuracy is a special qualification every musician has to fulfill to perform this composition. The complete piece is played fast and as hot as possible. Just imagine the following scenery : All the streets of the city are alive with people, everybody is singing and dancing, everywhere there is music; and never-ending is the night ... Instrumentation: 4 clarinets (3 clarinets in Bb and bass clarinet in Bb)
&#8220;Recuerdo de una Jornada&#8221; was composed for, and dedicated to, the Cuban saxophonist Jorge Luis Almeida and the Havana-based saxophone quartet &#8220;Habana Sax&#8221;. Jorge L. Almeida graduated from Cuba&#8217;s National School of Arts in 1975 and from the Instituto Superior de Arte in Havana in 1987; under the tutelage of professor Daniel Deffayet, he completed two courses of studies at the Conservatoire National Supérieur de Musique et de Danse de Paris in France &#8220;with distinction&#8221; in the years 1987 and 1990. In 1987, Almeida founded the saxophone quartet &#8220;Cuarteto de Saxofones de La Habana&#8221; and later on, in 1991, &#8220;Habana Sax&#8221;. The repertoire of the latter, which is one of the most important ensembles of its kind in Cuba, ranges from classical to contemporary music. Infl uences of Cuban popular music as well as jazz can be felt in many of the ensemble&#8217;s works, and often a percussionist is added to the group&#8217;s lineup. Throughout the years, the quartet has presented itself at festivals and in the most famous concert halls all over the world. Various technical particularities that represent quite a challenge in the execution of Cuban music manifest themselves in this composition, such as syncopations, off-beats, the &#8220;cinquillo cubano&#8221; and, as its most prominent aspect, the &#8220;clave&#8221;. It is the &#8220;son clave&#8221; (2-3) that marks the beginning of the piece and is, for instance, picked up by the four saxophones in measures 30 and 31. The part played by the baritone sax should especially be pointed out: One the one hand, it assumes the role of the bass building the rhythmic and harmonic basis; on the other hand, it provides further rhythmical support when executing the &#8220;tumbaos&#8221; in case an additional percussionist is added to the quartet (which, of course, is optional since the piece can be performed without any percussion instruments). In measure 32, the tempo changes and the piece switches over to a Latin jazz feel making use of a phrasing typical of this style. This feeling is maintained up to measure 54, where the tenor sax starts playing a &#8220;tumbao&#8221;, developing into a so-called &#8220;champola&#8221; (a term that refers to the layering of different &#8220;tumbaos&#8221; which, when played in conjunction, result in a &#8220;contagious&#8221; rhythmic pattern) in measure 58. Finally, in measure 72, the composition returns to tempo primo, being performed in the style of a &#8220;son&#8221;, and ends with the execution of the &#8220;son clave&#8221;. Instrumentation: 4 saxophones (SATBar) + Drum Set (opt.)
This contemporary Latin 6/4 is fun for the players as well as the audience - grooves hard! These arrangements for saxophones and rhythm section, written for the Eastman School of Music&#8217;s award winning jazz ensemble, Saxology, showcase the saxophone section in unique and interesting ways. Though originally written for saxophones most of the arrangements include optional horn parts (flügelhorn/trumpet and trombone) and work equally well with a mixed instrumentation. Instrumentation: 5 saxophones (SATTBar) with piano, guitar (ad lib), double bass, percussion
Carl Orff devoted much of his life to the development of a philosophy of 'Music for Children', based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Editions have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of involving their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Murray Edition English adaption, with additional material, by Margaret Murray. Besed on, and containing all the rhythmic and instrumental material from the main five volumes of the original German edition. Contents of this fourth volume: Songs and pieces using the full range of the aeolian, dorian and phrygian modes. Accompaniements are founded on drone bass with the later addition of simple chords. Instrumentation: voice, recorder and percussion
MODERN DRUMMING is a practical educational concept that has been proven through many years of teaching and is ideally suited for both drum lessons and self-study. Next to the motivational aspect and the fun of making music, the pedagogic and didactic aspect of truly meaningfully and effectively conveying the contents is the primary focus. Intended for drummers of all levels from beginners to advanced players, MODERN DRUMMING 1 consolidates the most important factors of modern drumming and provides an effective methodology for learning all relevant musical styles. Much value is placed on the advancement of your creativity and the development of your own style. MODERN DRUMMING 1 teaches all standard rhythms used in modern music, covering virtually all musical styles: rock, pop, hard rock, heavy metal, jazz, Latin, fusion, R&B, funk, hip-hop, jungle, house, drums 'n' bass etc. There is also a chapter on fills and licks, and double bass drum technique is covered extensively, as are the relevant rudiments. The book is conceived in such a way that you are not forced to struggle with monotonous exercises forever, but can quickly begin playing rhythms and fills on the drum set. Several drum solos, as well as play-along songs recorded by a live band, allow you to practically apply what you've learned: you begin making music right away, just like in a band. 'Of all the drums books I've seen today, this drum school with CD ist the absolute top' (musicmagazine Workshop)
Block Rockin Beats has tons of cool grooves and fills for the intermediate to advanced drummer. This book reflects recent musical trends by focusing on funky rock, hip hop, jungle and drum n bass influenced patterns for the drum kit. As time marches on, popular music continues to evolve and change. Block Rockin Beats is designed to give the drummer more ideas and tools to help function in a musical environment that was not only influenced by jazz, blues, gospel, country, soul, latin and funk styles but also shaped by D.J.s, samplers and electronic music. Drummers are often called upon now to replace or ad to programmed drums in the recording studio. For live shows, live drumming might be melded together with electronic elements or D.J.s, or both Rock and popular music are incorporating so many different elements and styles at this point, its hard to keep track! Update your rhythmic vocabulary with some Block Rockin Beats.
''One of the best, most useful and well-written drum instruction books I've seen in years...a worthy must'' - Rick Corwin (35 Year Teaching Veteran/Vic Firth Team Drum Educator) ''After years of teaching and finding it hard to locate one good beginner book, I recently decided to start using Dan's book'' - Jeff Fite (Music Workshop, Illinois). Dan Britt has been hailed one of the most forward-thinking drummers and educators. Britt dedicated the last year to creating the best possible drum book he can. Drumopedia is the result. Considered ''a must have for the forward-thinking drummer'' by drumming innovator/great, Mike Clark (Herbie Hancock), in the new 23 chapter study by DrumTVShow Publications, Britt takes you one step at a time through basic notation, common stickings and rudiments, popular rock/pop beats and fills, double bass, fun patterns, and some funk, latin, ambidextrous and linear drumming!