Labels: dreams. Another take on art and life is that the artist puts his or her best self into the work of art. It is a process of purification. There could be all sorts of unpleasant aspects of the artist that don't get expressed in the art work, because the art work is not an x-ray of a personality.
Therefore, bringing up that unpleasantness in judging the art work is illogical: this is exactly what the artist was leaving behind. Transcendence and all that. Other views have it that the artist needs to be kind of unpleasant, that he or she cannot afford to be a good person. With that I disagree. Artists should be judged exactly like anyone else in their personal lives.
No excuses are allowed. So give Pound a prize for his poetry, then try him for treason. There is no contradiction here. Response to Clarrisa. I left this comment on Clarrisa's blog : A lot of people feel exactly the way you do. My approach is somewhat different: the art work is independent of its creator. The creator is just the medium through which the work came into being.
The composer Kyle Gann expressed this in the phrase: "I am not my music's fault. My position is exactly opposite from yours. Of course, your approach is not wrong for you. There is no reason to try to force yourself into liking something you associate with the repugnant behavior of its creator. I am not my music's fault. If quick decay short sustain.
And so to conclude vice-versa. To conclude no. Too early. Just about begun. Struck with authority with butt-end of stick near the bell it speaks out brightly. Then continues its dark rumbling.
A long while. Unless stilled by hand. Which cannot but feel the vibrations it stills. From a distance the rumbling inaudible. Visible perhaps to the naked eye the vibrating surface. Vice-versa again. Before little by little dying long sustain interrupted. Long interrupted. By glancing blows. When not the choking hand. Still or once again. We publish what they say here, so you can read genuine, unbiased feedback before booking.
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We received great feedback. Such lovely chaps, very friendly. Coleman Hawkins later claimed ownership of the tune and recorded it under the name "Rifftide" and recorded it February 23, The tune was only recorded only once, on October 15, , for the Genius of Modern Music sessions. Khan's lyrics first appears on the album Echoes of an Era. A bar tune in AABA-form It that was first recorded on October 24, , for the Genius of Modern Music sessions. The tune is notable for its radical chord progressions and form, as it is borderline atonal.
In most jazz standards, the A-section is used to establish the key, while the B-section has tonal excursions, but in "Introspection", the roles of the sections are reversed. It was first recorded on June 4, , for the album 5 by Monk by 5. The tune's march-like feeling made it the opening theme for many of Monk's concerts. It was first recorded on November 13, , and appears on the album Monk. An 8-bar tune that was composed in ,  and first appears on the live album Thelonious in Action.
A bar tune in ABA-form that was first recorded on May 11, , and appears on the album Monk. A Christmas tune that Monk composed in the holiday of with lyrics, that was never recorded. A bar tune in AABA-form, and was first recorded October 15, and written around the same time. It first appeared on the album Thelonious Monk Trio. It was only recorded once, in the afternoon session on October 31, , for the album Solo Monk. The recording session was in Los Angeles during a West Coast tour by the quartet,  suggesting that the title probably to Sunset Boulevard.
The tune is structured like "Bemsha Swing" and " Good Bait ", in that in their respective B-sections, that A-part is transposed to the subdominant to create B-section.
Margo Guryan also wrote lyrics for the tune. A bar tune in AABA-form that is notoriously difficult to play. Monk later recorded the tune the same year on October 24, for the Genius of Modern Music sessions. Two unrelated explanations have been reported regarding the origin of the title. The plausible explanation is that the title is a reference to the radio personality and jazz broadcaster Oscar Treadwell after whom Charlie Parker named a different jazz composition, "An Oscar for Treadwell".
The tune was written around the summer of , and was dedicated to Pannonica de Koenigswarter. The tune was first recorded on October 9, , for Brilliant Corners. It later appears on the album Big Band and Quartet in Concert. It was only recorded once, on February 14, , for the album Underground.
The tile was given by Ira Gitler , who was the producer for the session. According to Gary Giddins it is "classic, paradoxical Monk, beautiful and memorable yet a minefield of odd intervals, each essential to its bricks-and-mortar structure". Dianne Reeves sang the tune on her album A Little Moonlight. The A section is found in multiple recordings of Monk's friends on recordings from the s to s.
Christian", recorded at Minton's Playhouse. The piece has since appeared on dozens of Monk's releases, as well as being covered by musicians such as Dexter Gordon , Kenny Barron , and Chick Corea. The album's liner notes claim the title is "in honor of" the "ancient, ornate chandeliers" in Fugazi Hall , where the album was recorded.
It was however not for nostalgic reasons, but because the first phrase of the tune fit with the new title. For copyright reasons, the song was renamed "Dear Ruby". The tune was initially titled "Classified Information",  but he opted to retitle it as "Worry Later", when recording it for the first time on April 29, , for the album Thelonious Monk at the Blackhawk.
A bar tune in AABA-form, with an unusual bass ostinato. The title is a corruption of "shuffle ball", which is a move commonly used in tap dance. Chris Drumm.
Luis Barata da Rocha. Frank Spencer. Purchasable with gift card. Sold Out. Misterioso Reprise Evidence feat. Bemsha Swing Ask Me Now feat. Brian Marsella Chris Speed Epistrophy feat. Dan Rosenboom, Gavin Templeton Blue Monk feat. Jason Fraticelli Oska T Nutty feat. Straight No Chaser feat.Recorded by the Bill Holman Band on their album Briliant Corners, this is the great Thelonious Monk tune set in a straight-eighth Latin feel. Solos are in the alto saxophone, trumpet, piano, and drum parts. There is wonderful ensemble writing throughtout. This Bill Holman classic is a must-have for your band.