Labels: ben dixon , grant green , jazz , joe henderson , john patton , johnny coles. Tuesday, November 23, Bosambo Trio - Tongue-tied.
Labels: bosambo trio , jazz. Labels: erik truffaz , jazz , nu jazz. Labels: acid jazz , jazz , nicola conte. Labels: abdullah ibrahim , carlos ward , cecil mcbee , craig harris , dollar brand , ethno jazz , gary chandler , jazz. Labels: grant green , ike quebec , jazz , louis hayes , sam jones , sonny clark. The suite has four movements, the third of which, the famous Clair de lune Moonlight , was inspired by a poem of Verlaine.
One of the most frequently performed works in the repertoire, it was composed in , a year during which Schumann concentrated on writing chamber music, having previously written only one chamber work.
The main program will conclude on the last day with Festival coda, a new work by Carl Vine that will be performed by all of the musicians.
Despite this being the last Huntington Estate Music Festival, the Huntington Estate will continue an association with chamber music through its education and sponsorship programs and will retain its connection with the local community.
The Music Development Program has three strands that will incorporate the Large Ensemble continuing under tutor Mark Walton, a Small Ensemble of senior musicians, and the support and development of the new Mudgee Public Strings group. Huntington Estate will also continue as a sponsor of Fine Music In the film, Basil, an English writer on his way to inspect a disused mine in Crete owned by his father, meets Zorba, a larger-than-life local peasant.
When things inevitably go wrong, Zorba shows Basil how to enjoy life even under the most trying circumstances. The Turkish connection is a reminder of the chequered history of the region and the diverse nature of the various parts of present-day Greece.
The influence of the Byzantine Empire is most strongly felt in the Aegean islands, including Crete. Being relatively isolated, these islands developed. A major composer from this region is Dimitris Dragatakis. Considered to be one of the most important modern Greek composers, he was influenced both by the musical traditions of Greece and by ancient Greek drama. Scene from Zorbas suite-ballet. The Ionian Islands off the west coast owe their musical heritage more to Western traditions than to the East.
At one time under Venetian influence and control, it is not surprising that Italian-style operas became particularly popular. A third distinctive style of Greek music is from Epirus, in north-western Greece. Theodorakis was actively involved in Greek politics as well as being in the forefront of Greek music. When the Colonels took power in , he founded the Patriotic Front.
He was arrested, jailed, banished and finally interned in a concentration camp. After interventions by supporters such as Dmitri Shostakovich and Leonard Bernstein, he was released to go into exile in Paris. With a rich and varied heritage, the music and musicians of Greece deserve to be more widely known. Both men were exceptional actors, mainly in their own plays, although Novello had appeared in a variety of pieces before playing the lead in his first great musical success, Glamorous night , and going on to be the leading man of all his other shows.
Coward, 8. Neither were singers: certainly not Novello, although Coward used his voice with exceptional skill in his cabaret performances. As composers, both men did their own thing with consummate skill. Novello had a fine librettist in Christopher Hassall, and poured out lush, romantic numbers with great ease as though. Their time has passed as it has for their contemporaries Thomas Dunhill, Vivian Ellis and the later Julian Slade; their shows will never be revived.
Claude-Joseph Rouget de Lisle comes immediately to mind. He composed the stirring national anthem of France, La Marseillaise. And what of James Pierpont? His one hold on distinction, besides being the uncle of robberbaron James Pierpont Morgan, is that he wrote the Christmas tune, Jingle bells.
The son of Vincenzo Leoncavallo, a police magistrate and judge, Leoncavallo was born in Naples in Leoncavallo came of age just in time to embrace the new music of verismo, or realism. Premiering in , Pagliacci was greeted with great enthusiasm, and is still one of the most popular works in the opera repertoire.
Its most famous aria, Vesti la giubba, later recorded by Caruso, was the first music recording to sell over a million copies and remains popular today.
There are two great examples of this in Italian opera. His later operas formed a succession of spectacular failures and tepid successes and none remains in the standard repertoire. He died on 9 August and this month we commemorate. The main problem with this is one of dramatic perspective. There is so much subsidiary action and musical divertissement in the first two acts that the characters rarely have a chance to register as real personalities.
The initial production with the tenor Enrico Caruso in the cast was a success but the opera failed to achieve any lasting popularity. However, the opera is admired for its impressive orchestration and, while it has fewer impressive highlights than his previous operas, it is more melodically integrated. An odd but interesting remark was made by Toscanini who conducted the premiere.
Here the music appropriately suggests a French operetta Over the course of the next decade, a string of style, and much of it is charming. Later on, the musical disappointments followed for Puccini.
The completed by Franco Alfano two years later. Puccini continued to compose. Flute concerto no 1, op 45 Grand serenade no 1, op 63 c Introduction and polonaise, op Uwe Grodd, fl; Matteo Napoli, pf. Naxos 8. Bassoon concerto in G. Song Nicole Riner, fl.
Sonata in F Peter Musson, bn; Stephen Emerson, pf. Trio en miniatures Incidental music to Olympie Piano concerto in C, op 7 c Chandos CHAN Stanford, C. Villiers Symphony no 7 in D minor, op Carl Davis C 3 Brouwer, L. Decca 4 Lennon - McCartney. All together now. Eleanor Rigby Guitar Trek. ABC 2 Rutter, J. Beatles concerto Grand trio, op Koch H1 Hummel, J.
String quartet in C, op 31 no 1 Horn quintet, in E flat, K Piano trio in E flat, D Excercises Cyprien Katsaris, pf. LP Teldec 6. Psalm Clarinet sonata in F minor, op no 1 Donald Westlake, cl; Geoffrey Parsons, pf. Lied der Waldtaube, from Gurre-Lieder ; orch. Robert Aldwinckle, hpd. Waltzes, op nos 1, 2 and 3 Artur Rubinstein, pf. ABC 4 Rossini, G. Comic duet for two cats Fine Music concert recording 13 Debussy, C.
Jeux ; arr. Vladimir Ashkenazy, pf; Vovka Ashkenazy, pf. Decca 17 Bach, J. Chromatic fantasia and fugue in D minor, BWV c; arr. Fine Music concert recording 11 Marais, M. Fine Music concert recording 18 Haydn, J. Symphony in G, Hob.
I, Surprise ; arr. Ensemble of the Classic Era. Overture to The siege of Corinth Francesca da Rimini, symphonic fantasy after Dante, op 32 Cello concerto in G, Concerto militaire Symphony no 35 in D, K, Haffner Slava Grigoryan, gui; Michael Kieran Harvey, pf.
Boyd, A. Lamorna Nightingale, fl; Jocelyn Fazzone, pf. Westlake, N. Suite from Antarctica ABC Schultz, A. After Nina, op 73 Concerto grosso no 1 Two piano pieces, op Desmond Wright, pf. Musica Helvetica MH Motet: Coelestes angelici chori. Guy de Mey, ten; Ensemble Gypsy romance. Melanie Di Cristino, vn; Raluca Stirbat, pf. Gallo 5 Martin, F. Concerto for seven wind instruments, timpani, percussion and strings Music for a bird pub. Greg Dickmans, rec. Move MD 6 Radermacher, E. Dreams have open eyes SRI String quartet no 1 Quatuor Ludwig.
Double piano concerto no 1 in E Symphony no 1 in A flat, op 55 Exton EXCL Psalm Habe deine Lust an dem Herren. Miriam Feuersinger, sop; Les Escapades. Lieber Herre Hott, wecke uns auf. Canzon, from Musiche sacrae pub. Palladian Ensemble. Sinfonia prima in F pub. Concerto di Viole. Saturday 3 August Arnold, M. English dances set II, op 33 Allegro de concierto.
Alicia de Larrocha, pf. Decca 8 Beethoven, L. Piano sonata no 20 in A, D Alfred Brendel, pf. Four Cornish dances, op 91 First suite of English folk dances EMI 7 2 14 Arnold, M. Four Scottish dances, op 59 Choral dances, from Gloriana , arr. Fine Music concert recording 11 Arnold, M. Four Irish dances, op Ayres and dances, from Dido and Aeneas Berlioz, H. Excerpt from The Trojans. Easy winners rag. Canadian Brass.
Pendine march. May night in the Ukraine, from Two Russian tone poems Ashley Wass, pf. Symphonic poem: Tamara David Oistrakh, vn; Alexander Goldenweizer, pf.
Brilliant Classics 20 Skryabin, A. Poem in F sharp, op 32 no 1 Tamara Anna Cislowska, pf. ABC 4 Suk, J. Nnenna Freelon feat. Adam Clark-Is This Love?
Black -Mr. Beth Johnson-Green Dolphin St. Jazz Band feat. Caesar Rob-Rose Room. Robert Jr. Ted R. David Sloan, C. Jones — I Imagine So. In , the business changed hands, and under new ownership it was turned into a Polynesian-styled club named the Lighthouse, primarily serving merchant seamen. In the club was sold to John Levine. After convincing Levine to permit the playing of jazz in the club, Rumsey played his first show on Sunday 29 May , to immediate success.
This band lasted for a time before Rumsey changed personnel to feature a new wave of players. The success of this group soon landed them with a recording contract for Les Koenig's Contemporary Records. Not only were the Lighthouse All-Stars recording for Contemporary, but many of the members of the group were also leading sessions for this same label. This band took part in a historic recording on 13 September , Roach's first show with the group, which would feature both Chet Baker and Miles Davis, along with Russ Freeman and Lorraine Geller.
In his book West Coast Jazz, author Ted Gioia claims to have listed over seventy-five musicians who were once members of the group. By the early s interest in jazz in Los Angeles had greatly faded and the group came to its demise. From to Rumsey owned and operated Concerts By The Sea in Redondo Beach, California, a "distinctive club that provided an ideal tiered, concert-seating venue seating which offered the finest jazz in the Los Angeles area".
He then relocated to Amsterdam to work with Gustav Leonhardt, with whom he subsequently recorded a number of the Bach concerti for multiple harpsichords. In the s and s, he made a number of recordings of solo harpsichord music, including albums dedicated to the keyboard music of Rameau and the works of Johann Sebastian Bach, such as his recording of the Goldberg Variations made on a Christian Zell harpsichord.
As a student in the s, he was the first modern harpsichordist to examine problems surrounding Louis Couperin's unmeasured preludes for harpsichord, to commission the first modern copy of a chitarrone and the first chromatic split-key harpsichord constructed in the 20th century.
He also researched operas from the baroque and pre-baroque eras, using period instruments and authentic choreography. He was born in St. He died at age He was best described as one of the pioneers of Contemporary Gospel music in Ghana. Danny Nettey was known for writing songs for most gospel artistes in the country and songs which were being ministered in his local church. This group sought out to take gospel to the Secondary Schools and ministering in churches across West Africa through the word and song ministration.
Danny Nettey had three albums to his credit. This was confirmed to Joy News' Nhyira Addo by family members. According to family, he was bubbly all night and had prayed with his family shortly before retiring to bed. He was discovered to be unconscious around AM. He was rushed to the emergency centre by his mother and brother, where the doctor pronounced him dead on arrival.
Davis played alto, tenor and baritone saxophone, and performed extensively with Archie Shepp and Sun Ra. Davis also studied privately with John Hauser. Davis also performed and recorded with Kenny Dorham, with whom he associated musically for many years. He co-led, composed and arranged for the Baritone Saxophone Retinue, a six-baritone-saxophone group. Davis played tenor saxophonist and arranged for Larry Ridley's Jazz Legacy Ensemble, which appeared at the Senegal Jazz Festival, performed concerts and conducted clinics, seminars and master classes.
The ensemble also appeared in a concert series at the Schomburg Center for Research in Black Culture. Davis was also a featured artist in clubs and concerts in Paris, Toulouse and Hamburg. The saxophonist was a featured soloist at the Chicago Jazz Festival. With his quartet, he played on the M.
Dynasty, a Carnival Cruise Lines ship. Davis produced and performed in the Tribute to Stanley Turrentine concert in Philadelphia. For over 25 years, he was an instructor at the Jazzmobile Workshops. Davis recorded eight albums, and was featured on over recordings. On account of his tall stature 6 feet, 2 inches , he was seized on a journey and forced into the Prussian Guard when he was 16; he was stationed at Potsdam and served at the palace of Frederick the Great.
He was severely wounded at the battle of Collin during the Seven Years' War, but recovered. He then studied at the University of Jena , where he was made director of its Academy Concerts and principal of the Collegium Musicum ; subsequently studied philosophy, ethics, and poetry at the University of Leipzig , and also received instruction in music from J.
He served as music director of the Grosses Konzert there. He became Kapellmeister at Danzig's Marienkirche , but suffered from the rigors of the climate, and died a few months after his arrival. Lohlein wrote a Singspiel, Zemire und Azov Leipzig, , several instrumental concertos, chamber music, etc. He also published Anweisung zum Violinspielen Heinichen and his music has surely suffered the same fate as many of his contemporaries in being overshadowed by the 19th century preoccupation with Johann Sebastian Bach!
Evidence that Heinichen was regarded as a distinguished composer and theorist in his day is found in the quotations of the writers Charles Burney, Johann Scheibe and Johann Mattheson, "The Rameau of Germany," "Nature guides his every note" and "does not just compose, he contemplates and thinks…. Bach's only receives two-thirds of a column.
It was Mattheson in who coined the phrase "three important H's of German music" to describe Handel, Heinichen and Hasse. Their performances of his work are marked by an imagination and virtuosic gusto that belies the large amount of research and deep insight needed to bring these works to our attention.
With respect to modern printed editions of Heinichen's music Max Sobel of Concerto Editions and Michael Walter in particular are continuing this work. Michael Walter's prefaces to his forthcoming editions of La Gara degli Dei and Diana su l'Elba clearly demonstrate the immense research and time spent in their preparation. The Electors of Saxony, who were descended from the champions of the German Reformation resided in Dresden and it was here that Augustus the Strong was responsible for the creation of one of the most brilliant and extravagant periods in cultural history.
Bach the 'musicus practicus' combined both these functions as the ideal 'musicus doctus'. Heinichen's compositions for the Dresden court capture the spirit of their time and place, they mirror the legendary vitality, superabundance and self-confidence of his patron Augustus the Strong and never lose sight of their duty to represent the King-Elector to the world.
Additionally, Heinichen's second treatise on thorough-bass technique Der General-Bass in der Composition has only recently been appreciated as the key source for performance practise and the aesthetic principles applicable to the music of the first half of the 18th century. Ortrun Landmann in particular. They were middle class workers, tanners, needle-makers and soap makers except for Johann David's father Michael Heinichen who studied at the Thomasschule in Leipzig and was cantor at Pegau.
By the age of thirteen, Heinichen had in his own words "composed and personally conducted numerous church compositions in small villages. The Thomasschule connected with the Thomaskirche was already well known for its emphasis on musical training at this time. Schering said that "thought and action, one certainly can say, were arranged by the hour to music" The students were expected to perform choral music at weddings, burials and Sunday services.
The four upper classes received seven hours musical instruction each week from the cantor, who in addition to these duties was responsible for musical performance at St.
Thomas and St. Nicholas churches. After Schelle's death Kuhnau, the organist at the Thomaskirche, succeeded him as cantor. In addition to Heinichen, Christoph Graupner was also a pupil. Mattheson has said that Graupner additionally studied composition with Heinichen during this time.
He rewarded them by making them his assistants and as such they were responsible for the copying and correction of a considerable quantity of music, an educational technique then employed. In Heinichen's words "while I was a student of counterpoint… for at that time I was so enthusiastic about counterpoint that I hardly ate, drank, or slept …. At that time I still knew nothing of circular modulations in thirds, and neither could I learn more from my teacher….
While today this may seem a strange course for a musician to take in the early 18th century it was a favoured route. Kuhnau, Graupner and Telemann were also lawyers Music was not subject to a separate curriculum but part of the humanistic educational concept of the 'artes liberales'.
The two levels of university preparation were the trivium that included grammar, dialectics and rhetoric and the quadrivium that included arithmetic, music, geometry and astronomy.
Strungk, Kapellmeister to the Dresden court had been given permission by the Elector Johann Georg III for his Leipzig opera project in the hope that it would act as a musical training ground for the Dresden court requirements.
The success of the fledgling opera was due in no small part to the enthusiasm of the university students were involved in every performance and gave Heinichen his first taste of the 'stylo theatricalis' that he later described in Der General Bass in der Composition. Another important contributor to music making in Leipzig was the universities Collegium musicum that performed instrumental music as well as operatic arias and cantatas in the local coffee houses.
Georg Phillip Telemann, another law student, besides directing the opera after Strungk's death reorganised the Collegium in The court at Weissenfels was an active musical centre whose Kapellmeister Johann Phillip Kreiger had studied in Italy and was regarded as one of the great composers of the period, particularly of opera and cantatas.
Kreiger undoubtedly influenced the young Heinichen but also found his music interesting enough to direct a performance of a cantata by Heinichen in Weissenfels on St. Michael's day Another important composer whom Heinichen met at this time was Reinhard Keiser who was Hamburg's most brilliant musical director. Unfortunately very little music written for the Leipzig opera has survived and Heinichen's works are no exception in this respect. Among the operas that were performed were Der angenehme Betrug oder der Carneval von Venedig in , Olympia vendicata, Hercules in , Die Lybische Talestris and the only surviving work Der gluckliche Liebeswechsel oder Paris und Helena.
Leipzig opera was dominated by local composers, local performers and German texts. How a music lover may, in a very profitable manner, attain a complete understanding of the figured bass, either through his own industry or by being led to it quickly and successfully by others, so that he will certainly comprehend and be able skillfully to perform both sacred and secular music, in particular the accompaniment of recitatives. Further good and profitable instruction is provided, together with many illustrative examples and specially selected useful rules of composition.
This position didn't hold his attention for long as a letter dated 9th July from Heinichen to his patron requesting a recommendation as an opera composer to various German courts he planned to visit attests. Now he desires to visit some of the important German courts and their orchestras for the greater perfecting of himself in music. Since he hopes particularly to profit at your court and, better achieve this, has discreetly sought a petition of recommendation, we have not, therefore, refused him.
Rather we commend him to your favour with the assurance that he is prepared to carry out all the agreeable duties of my friend and cousin. Why Italy you might ask? I will give a single word defining the three basic Requisita musices, i. One could say that good taste was in itself the soul of music, which so to speak it doubly enlivens and brings pleasure to the senses.
The Proprium 4ti modi of a composer with good taste is contained solely in the skill with which he makes his music pleasing to and beloved by the general educated public…. The information concerning the seven years he spent in Italy are incomplete or confused however we do know that soon after his arrival in Venice he was commissioned to write two operas by the Sant' Angelo opera house.
Unfortunately upon their completion the director refused to stage the works and Heinichen was forced to sue for the money owed to him. Heinichen then travelled to Rome where he was sought out and discovered by Prince Leopold of Anhalt-Cothen.
The young prince studied with Heinichen who accompanied him on trips in Italy. Before the end of he returned to Venice with the good news that he had not only won his lawsuit but had been awarded 1, Venetian ducats in damages.
Finally during the carnival season of two of his operas Mario and Le passioni per troppo amore were staged at the Sant' Angelo opera house with enormous success! Gerber compared Heinichen's success with that of Handel in that the public demanded more repetitions of his operas than for almost any other composer.
The operatic success that Heinichen enjoyed was surely because of his assimilation of the Italian theatrical style into his own style and in this his contacts with the Italian composers Gasparini , Pollaroli , Antonio Lotti c. It was his frequent visits to the home of Angioletta Bianchi, the wife of a wealthy Venetian merchant, patroness of the arts, singer and harpsichordist that was to bring him to the attention of the young Crown Prince of Saxony who in came to Venice on the Grand Tour.
Angioletta arranged for Heinichen to compose a special birthday cantata to be performed in front of the Prince's apartment on 17th October This event is marked by a picturesque description by Hiller. Crowds of people gathered on the bridge and along the canal. As the first aria was sung, however, the clocks of the city began to strike, preventing the people from hearing. They commenced to indicate their vexation over this by stirring up such a loud noise that one no longer could hear the music.
Madame Angioletta immediately asked them politely to be quiet to permit the music to continue. All became quiet again, though a repetition of the first aria was asked for, after which a tremendous cry of approval arose from the crowd; and the remainder of the serenade was received with no less approval.
Heinichen remained in Venice with the Prince-Elector until end of that year and left for Dresden early in Heinichen's music The Crown Prince while in Venice also secured the services of Francesco Maria Veracini and an entire opera company under the direction of the Italian composer Antonio Lotti.
These appointments must be seen as not only strengthening the Italian musical influence that the Crown Prince favoured but more importantly as preparations for the extravagant celebrations that were to mark the wedding of the Crown Prince to Maria Josepha, daughter of Joseph I of Austria which was to take place in Yet, in my opinion the most important reasons are: firstly, those musical Mr. Antique Dealers have spent most of their early years or their complete lifetime, respectively, with such whims, and they want by no means that they have learned it in vain.
Yes, since too much time would be lost to think about the subject any longer, it seems agreeably to them to be like those pious mothers who are only loving the most difficult delivered children. Secondly, for those people sticking to these prejudices it seems all Greek to them if one says today that for a touching ear-music subtle and clever rules as well as a long practice are more necessary than for a heart-attacking eye-music which, on the innocent sheet of paper, is tortured according to the rules of the venerable counterpoints of the Mr.
Cantors of the smallest towns. From my early years, I myself was amongst the traders of counterpoint, and therefore I am speaking from manifold experience. Only we Germans alone are such fools to remain with the old jog-trot in many antiquated things and, ridiculously, to want to take rather the eyes looking at the sheet of paper as the aim of music than the ears. La Gara degli Dei served as an introduction to the festivities of the planets.
The participation of the planets, represented by their respective Roman gods in festivities held a long tradition in Europe stretching back to the sixteenth century. Augustus the Strong as an eight year old had participated in the most famous feast of the seventeenth century in Saxony, the 'Most Illustrious Gathering' of during which the runnings at the head and the ring were presented as allegorical combats between Nimrod and the seven planets.
During the 'Ballet of the Gathering and Effects of the Seven Planets', with music by Christoph Bernhard, each of the planets sitting in a festival 'coach' on a cloud had sung an aria about its specific character.
The short introductory text to La Gara degli Dei shows that Augustus the Strong deliberately intended to refer to a longstanding Saxon tradition. For this purpose an appropriate site was chosen in the Royal Garden of the palace which is known as the Chinese one where one sees descending in a magnificent machine: Mercury, The Sun, Diana, Mars, Venus, Jupiter, Saturn. The firework display which followed the performance was clearly conceived as part of Hapsburg tradition and the connection of the serenata and the firework display served to demonstrate the joining of the two houses.
When in the Prince-Elector was awarded the order of the Golden Fleece by Charles VI a Saxon poet wrote that now the meaning of the firework display in had come to light!
In Antonio Cesti's famous opera Il pomo d'oro — libretto by Francesco Sbarra — had been performed in Vienna as part of the celebrations on the occasion of the wedding of Emperor Leopold I and the Infanta Margarita Teresa. At the end of Il pomo d'oro the stage design represented the lineage of the house of Habsburg and the anticipated descendants of the actual couple.
In Venus' recitative In favor del gran nodo. But how more happy will it work when Cupid has drawn together the first knot" seems to allude that the royal couple were indeed in love with one another.
The wedding might be one of the rare cases of a princely love-match in the eigtheenth century! Diana, as in Diana su l'Elba, expresses her hope that Maria Josepha will give birth to new heros. Mars adds that he expects from those children to be as strong as their Habsburg and Saxon ancestors. In his second aria Mars more precisely referes to the German King Heinrich, considered to be the ancestor of the house of Saxony.
Presumably, it was this evocation of history that led to the decision to arrange a Ballyen-Rennen on the day of Mars which was a tournament form outmoded for hundred years and was considered as comedy by the participants which apparently in fact wore hundred year old armours from the Electoral stores : "The foot combat employs as weapons the lance and the sword, the mounted combat the lance alone.
This therefore is a revival of an ancient form of knightly exercise, taking place where it always has in the market place in the middle of the city.
The score sheets in the Dresden archive bear its archaic nature out. Of the combatants in the foot tournament 75 failed to hit anyone at all with their pikes and swords, and in the tilt 25 out of the 30 armoured participants made equal fools of themselves with the lance.
Michael Walter in the preface to his first modern edition forthcoming of this work gives several possible reasons for the lack of publications of Heinichen's music. Certainly no editions appeared in Heinichen's lifetime, due to their protected status, however, the fact that the manuscript had been subjected to water damage and is in consequence hard to read in combination with the mistakenly long held belief that ceremonial works of this kind lack musical value have conspired to keep this music from our ears!
Heinichen simply rose to the occasion of having at his disposal an orchestra and vocalists of the highest quality and amply demonstrates his compositional skills to their full extent in this work. In this aria Heinichen combines the theorbo with a solo horn and dispenses with the strings to achieve, in combination with the male voice of a tenor, a sonority presumably unheard before.
This aria was not the only piece to show the brillance of Dresden musicians. Blues In The Night. Phontastic Phont Los Angeles, Agosto Playing For Change. Stesso gruppo con Don Sickler flic. Along Came Betty. Uptown UPCD Hollywood Heroes. Sherman Oaks, California, settembre, On My Own. Jack Sheldon tp-vc Ross Tompkins p. Concord Jazz CCD Hollywood, e Jack Sheldon Sings. Jack Sheldon tp-vc.
Butterfly Jack Sheldon tp altri da identifica re. GNP Crescendo Club aperto ad Hollywood dal batterista Shelly Manne nel Tyler, Texas. In seguito ha fatto parte dei Singers Unlimited. Lynchburg, Tennessee. Cantante di soul-blues, molto vicino a Ted Taylor, alunno dei Fairfield Four, ha fatto parte anche del gruppo degli Skylark.
Voce di tenore, fremente, robusta molto simile a quelle di Ted Taylor e di Jimmy Hughes. Una delle grandi voci nere di Nashville, una delle poche voci nere interessanti. Appaloosa Nashville, Beaumont, Texas. Nel ha fatto parte del quintetto di Charlie Parker e Dizzy Gillespie.
Nel ha anche registrato con il cantante Lem Davis e dal al con Eddie Eywood. La sua musica era una miscela di blues, jump blues, jive e swing. Nel ha registrato anche per la Columbia, ha collaborato anche con Hot Lips Page. Chicago, Ollie Shepard vc His Kentucky Boys, altri non identificati. Menphis, Tennessee. Interprete soprattutto di standards, che presenta in un modo lirico. Predilige le musiche di Cole Porter.
Cybill Does It…to Cole Porter. Cybill Shepherd vc Artie Butler orchestra. MCA Mad About The Boy. Inner City IC Hollywood, Maggio Cybill Shepherd vc Phineas Newborn Jr.
Gold Castle Memphis, Tenneseee, Maggio At Home With Cybill. Cybill Shepherd vc Tom Adams p. Riversiren 3. Londra, Inghilterra. Ha preso lezioni di pianoforte ed ha imparato a suonare da solo il clarinetto a 16 anni. Salute To Benny Goodman. Benny Goodman Favorites. Fontana SFL Londra, Dulvich, Londra, Inghilterra. Ha registrato con Artie Shaw nel This record played a big part in Colin's life. In January of , he got a call from Victor Feldman who asked if he would be interested in going to Los Angeles to play a steady gig with his trio.
Victor had heard the record and wanted Colin to be a member of his group. He moved to L. The exposure of playing with Victor was tremendous. Local and visiting musicians would come into the club on Sunset Boulevard called The Scene to hear the trio play. Dick said the reason he hired Colin was because he heard Cast Your Fate. That session became a whole record because Dick liked the way the trio played together. It was titled Surging Ahead and got 5 stars in Down Beat.
That session led to another important connection in Colins career. Joe Pass had recently signed with World Pacific Jazz records.
Over the next 32 years they worked on many recordings, T. From , Colin Baileys jazz career in L. Miles group had been booked at another jazz club in L. Miles had spent several nights at The Scene the club that Colin was playing in with Victor Feldman because he wanted Victor to be the piano player in his new band.
Victor surprisingly declined, and Miles hired Herbie Hancock. When Miles and the Band got to the club for a sound check there were some people there from some kind of board that said Tony, who was only 16 at the time, was too young to play in such a place!
Miles needed a drummer, and having heard Colin with Victor, he called him to fill in for a couple of nights until they could sneak Tony in. That, says Colin, was one of the thrills of my life. It was a great show for jazz. In , Colin started a twelve year studio career in L. In Colin moved to Dallas to work in the jingle scene that was thriving there at that time. He became a drum teacher at North Texas State University from He played most week-ends with Red Garland at a club in Dallas.
It was tough because he was still doing the teaching job as well. In Colin moved back to California and presently lives in the San Francisco area where he plays with his good friend, Piano player Dick Hindman.
They did seven recordings, and played the Blue Note clubs in Japan as well as venues in the U. As Colin says It was a bonus in life to have had that time playing with Joe and the group again. Colin has toured extensively in the U. Bob Bain earned his place as the number one guitarist for many Hollywood studios in the s and 60s. He played on countless jingles, albums, and soundtracks for television and movies.
There were also many years of live radio. In the 70s, a young, talented crowd of guitarists raised their axes and slowly began to dominate. Bain continued to record, write, arrange, produce and for 22 years he held the guitar chair for one of the greatest television orchestras of all time The Tonight Show Band.
Through the years, Bains talent, respect, and generosity opened the doors for many other studio guitarists, arrangers, and musicians. Bain was playing with the Phil Moore band, when a record date for bebop. Frank Sinatra wanted to record a bop record, so they decided Phils group was the one.
Sinatra had a little trouble hitting the flatted fifth. When Phil worked there, Howard Hughes had the best table in the house, and it was reserved every night for him. Nobody ever sat at that table. No matter how crowded the place was, that table was empty. One memorable night, about midnight, Hughes, wearing a sports coat, tie, and tennis shoes, sat at the table. Hughes stayed about 30 minutes, then left.
The troupe toured England and North Africa, and spent time in Italy. George fell ill and returned home, but Bain and the ladies stayed. Bain eventually came home, and in late , he received a call from guitarist Dave Barbour. He also worked with xylophonist Red Norvo and his sextet. Barbour told Bain he was working with Tommy Dorsey at the Casino Gardens in Los Angeles, and that he was going to stay in town when the band went on the road.
Barbour arranged for Bain to sit in with the band one night and when Dorsey asked if he would like to play with the band, Bain responded with a resounding, Sure!
He finished the remaining eight weeks at the Casino Gardens and went out on the road. I sat next to Buddy Rich for almost two years, Bain explains. He was the highest-paid member of the band, by far, and he had a feature spot in every stage show. It would just break the place up. There was nobody like Buddy. But he and Tommy would get into personality clashes, especially if Tommy made a motion that the tempo was not right. Buddy would get really upset with him for that.
He had a newspaper and hed put it on the tom tom and while reading it, he would look at Tommy. That left guitar, bass, piano, and this big band.
Tommy would be looking at me, and so the rhythm guitar had to move the band. It really got to be not funny. It was a constant bickering. Tommys gag was to walk off the stage while Buddy was playing his drum solo and walk next door to have a drink. Hed come back and Buddy would still be playing his solo. Buddy would play until he dropped. Tommy had to bring the band back in to get Buddy to stop his solo.
It was that kind of a thing. When Bain joined Tommy Dorsey, a recording ban was in effect. On August 1, , James Caesar Petrillo, the elected national president of the American Foundation of Musicians, ordered his musicians to stop all recording. His argument was that if the record companies could not create some system whereby musicians were paid for the use of their recordings on radio programs and in juke boxes, he wouldnt let them record at all.
Practically all the big band leaders disagreed. Thus, there were recording marathons scheduled to beat the ban deadline, and many arrangements were done on-the- spot. For more than a year, no major company made any records with instrumentalists.
Singers, however, were allowed to record, usually with chordal backgrounds. Peggy Lee and Nat King Cole would use vocal ground in the background to substitute for the band. Bain recalls a lot of illegal after- midnight recording happening with Hollywood big bands in Finally, in November , when the recording companies agreed to pay a union royalty, the strike ended.
Unfortunately, the singers had taken over and the recording field would never be the same for the big bands. These and many other songs and new arrangements in the book that had not been recorded were part of a studio marathon that lasted two weeks, two sessions per day, at RCA.
This was a more relaxed band, in contrast to the tight ship run by Dorsey. Crosby had a good book, a good band, and good arrangers working for him.
And like his famous older brother, Bing, Bob sang ballads with the band. However, in these great bands, the guitar was restricted to rhythm parts. Bain has always believed Les Paul was responsible for bringing guitars to the forefront.
With two Ampex microphones in a room in Las Vegas, he and Mary Ford performed, and made records in their hotel room, going from one machine to the other.
He often drove by Pauls house on Sunset Boulevard. You could see Les garage from Sunset because it was right on the corner, he said. His light was always on and Id just pull into the driveway, go back, and thered be Les in his shirt sleeves, with two turntables, going back and forth, overdubbing.
He was always wearing a short-sleeved shirt, and he was covered with solder burns. He was always tinkering with something. He was one of those guys, when you were talking to him, hed pick the scab off.
Id say, Les, that thing! He just kept doing it. He later played local gigs and recorded with Harry James and his big band and then with Andre Previn and his trio. At that time, Previn was working at MGM Studios and was one of the first film composers to write parts for the electric guitar. Fortunately, Previn brought Bain in to play them.
In the early studio days, the orchestrators would have the violas pick afterbeats with the horns arranged symphonically. Then they began to use rhythm guitar, which sort of got popular. At MGM, they were still using only one microphone to get the whole orchestra and one microphone on the piano.
I had to sit on a riser. I needed a small ladder to get up on the riser, which gave me a shot at the microphone hanging from the ceiling. Bain played a blond Gibson L-5 with high action because its sound cut through the orchestra. The combination of his adept sightreading and studio finesse quickly put Bain in the first chair at several major Hollywood studios. Originally, in motion pictures, the only things you played were rhythm parts, which were chord symbols.
A banjo part might have the melody written out. You would rarely get a mandolin part because most of the time, a violin player would double on the mandolin. Most guitarists tuned their mandolins like the first four strings of the guitar. Later, Bain began to record more mandolin and banjo. As the guitar became even more popular, leaders often incorporated several guitars for the sessions.
He had five guitars as the main sound of the orchestra. In fact, during Bains nonstop work at Capitol, he had to turn down a personal request from Frank Sinatra. I did all the early stuff with Frank. When he wanted to do a concert tour of Europe I told him, You cant pay me enough to go, Frank. Im making too much money here. Frank understood, and Al Viola went on the tour.
Once Al did that, he continued working with Frank. Henry Mancini was another leader who preferred Bain. Hank would always ask for me. In the s, Bob Bains association with Mancini was extensive. The band had a vocal group called the Meltones, featuring Mel Torme. When Mancini left, he moved to L. When the Glenn Miller Story was being filmed, Mancini was hired as orchestrator. He knew the Glenn Miller sound because of this association with Beneke.
Hank became very popular and everything he did featured guitar, especially the Peter Gunn Theme, Bain said. I would get calls from New York. Somebody you never knew. The guy would say, Are you the guitar player that works with Mancini?
Well I got a leader coming out there and he wants Mancinis guitar player for this record date. Would you hold it for me? This sort of thing happened a lot. In , Mancini became friends with producer Blake Edwards, who had this idea for a television show that eventually became the Peter Gunn series.
Hank wrote all the music. The show sold and became an immediate bestseller. The same lineup was featured on the Mister Lucky series as well. Bain also performed on many radio shows over the years, usually with a small orchestra.
He played the Canova Show for 39 weeks every Saturday for three or four years. There would be a Saturday morning rehearsal, one show at 5 p. All were done live.
Bain continued his busy studio regimen, recording some of the most memorable television themes to date. The theme from M. These themes were more like anthems for a generation; who can forget the melodies? The guitars perfect voice calling out, pulling us away from whatever we were doing, sitting us down in front of the TV, and preparing us for the drama, suspense, or laughter to follow. Bains guitar did just that. Speaking of Bains guitars, compared to the arsenal of instruments and equipment brought to most of todays sessions, Bains covey of songbirds filled his needs quite nicely.
A Telecaster the Gunn guitar did the bulk of his film work. Its distinctive tone, combined with Bains touch, gave personality to the characters it supported. Bob continued working in the studios until Bain played with The Tonight Show band for 22 years.
Today, he continues to write, record, and produce. Recently, he has been performing with the legendary George Van Eps, and as always, thoroughly enjoys his family and remains a humble, gentle man. They perform on only acoustic instruments to retain the authentic sound of that period.
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