![Torrent extremoduro disco grafia completa de lani hallelujah Torrent extremoduro disco grafia completa de lani hallelujah](/uploads/1/2/5/5/125510116/557042112.png)
Playlist As Melhores Trilhas Sonoras de Filmes dos Anos 80! Sugerida por Alvaro~: Eye Of The Tiger (Survivor), Take My Breath Away (Berlin), (I've Had) The Time Of My Life (feat. Oates Videos e Clipes de Henry Mancini Videos e Clipes de Donna Summer Videos e Clipes de Donna Summer Videos e Clipes de Lani Hall Videos e Clipes de Paul. Herb Alpert and Lani Hall will perform in concert at the Cal Poly Performing Arts Center on Saturday, Jan. 26 - Santa Maria Times January 10, 2019 UCLA Ethnomusicology Archive re-opens following renovation - UCLA Herb Alpert School of Music January 9, 2019.
Descargar Discografia Completa De Los Visconti Descargar Discografia Completa De Los Visconti Descargar Discografia Completa De Los Visconti, logic studio 9 serial number generator mac cac357d8dd SESQ. Trovadores, Polydor, 1983 Ven vamos hermano, Polydor, 1984 Los reyes del valsecito, 1994 Mis Delirios, 1995 Los ejes de mi carreta, Fuerza Abelito, 2003 Creadores de un estilo, 2004. 8 FESTIVAL DE EXITOS 76 FESTIVAL DE EXITOS 77 FESTIVAL DE EXITOS 79 FESTIVAL DE EXITOS EN VOLTOPS FESTIVAL DE EXITOS-Vol.
Notes Tracks 1-01 to 1-04 rec. NYC; from Modern Jazz Quartet/Milt Jackson Quintet: MJQ (Prestige 7059/OJCCD-125-2) Tracks 1-05 to 1-08 rec. NYC 25/6/1953; from Djano (Prestige 7057/OJCCD-057-2) Tracks 1-09 to 1-12 rec.
NYC 7/10/1953; from Sonny Rollins with the Modern Jazz Quartet (Prestige 7029/OJCCD-011-2) Tracks 1-13 to 1-15 rec. Van Gelder Studio, Hackensack NJ; track 1-16 rec.
Ditto 9/1/1955; from Django (Prestige 7057/OJCCD-057-2) Tracks 1-17 to 2-04 rec. 2/7/1955 Van Gelder Studio, Hackensack NJ,; from Concorde (Prestige 7005/OJCCD 002-2) Tracks 2-05 to 2-12 rec.
19- live Budokan, Tokyo; from Reunion at Budokan 1981 (Pablo 2308-243) Treacks 2-13 to 3-08 rec. Live 25/7/1982 Montreux, Switzerland; from Together Again: Live at the Montreux Jazz Festival '82 (Pablo 2308-244) Tracks 3-09 to 4-02 rec. 5/3/1984 RCA Recording Studios NYC; from The Modern Jazz Quartet 1984 Together Again 'Echoes' (Pablo 2312-142 Tracks 4-03 to 4-11 rec. 4-5/6/1985 RCA Recording Studios NYC; from Topsy: This One's For You (Pablo 2310-917/OJCCD 1073-2) Ⓟ & © 2003, Fantasy Inc. The recording was made at the Fillmore West concert hall, the storied rock venue in San Francisco, over three nights, March 5, 6 and 7 in 1971. The album opens with Aretha's best-known song, her version of Otis Redding's 'Respect'.
The album features Aretha's take on many 'hippie' anthems as Aretha and Atlantic Records executive/album producer Jerry Wexler wanted to reach out to the expected hippie audience in San Francisco. Covers include the Bread song 'Make it With You', the Stephen Stills song, 'Love the One You're With', Diana Ross' 'Reach Out and Touch (Somebody's Hand)', the Beatles' 'Eleanor Rigby' and Simon and Garfunkel's 'Bridge over Troubled Water'. Digitally remastered by Willem Makkee. Recorded at Studio Masters, Los Angeles, California in January 1980. Includes liner notes by Karsten Mutzelfeldt. Reissue producers: Christian Kellersmann, Jorg Eipasch. Recording information: Studio-Masters, Los Angeles, CA (01/1980).
Editor: Jorg Eipasch. Photographer: Paul-Gerhard Deker. Unknown Contributor Role: Christian Kellersmann. Producer: Joe Henderson.
Listado de Temas 01 - Mirror, Mirror - 06:01 min. 02 - Candlelight - 06:19 min. 03 - Keystone - 09:45 min.
04 - Joe's Bolero - 09:46 min. 05 - What's New - 04:04 min. 06 - Blues For Liebestraum - 07:59 min. 6 Temas - Tiempo Total: 00:43:54. Written-By – D. Mattison 03.- Learn How To Love (October 25, 2011 at The Danforth Hall, Embrace Presents, Toronto, Ontario, Canada) Written-By – A. Tedeschi 04.- Bound For Glory (October 28, 2011 at Warner Theatre, Washington DC) Written-By – D.
Tedeschi 05.- Rollin' and Tumblin' (October 28, 2011 at Warner Theatre, Washington DC) Written-By – E. James 06.- Nobody's Free (October 25, 2011 at The Danforth Hall, Embrace Presents, Toronto, Ontario, Canada).
Things get rowdier on 'Learn How to Love,' with nasty guitar work by Tedeschi, and a burning tenor sax solo by Kebbi Williams. The horn section really pops in 'Bound for Glory'; the exchange between the Burbridge brothers on bass and keys, with drummers Tyler Greenwell and J.J. Johnson, adds a knotty improv bridge where deep funk and blues grind together. The disc closes with an astonishing reading of John Sebastian's 'Darlin' Be Home Soon.' With horns tastefully accenting and underscoring lead vocals, Trucks' slide solo stays melodically true, yet moves through the band's shimmering groove into the stratosphere (and he does this throughout this album, over and over again, helping to elevate not only the tune, but the sense of groove, space, and texture). Disc two contains only four cuts but they're all gems: Pearl Woods' 'That Did It' (a Bobby 'Blue' Bland vehicle) is a down and gritty strut, with excellent, in-the-grain guitar work by Tedeschi. Stevie Wonder's 'Uptight' is a 15-minute soul rave-up with a beautiful jazz interlude and scat singing from Oteil Burbridge in its middle, followed by a wonderfully imagined slide solo by Trucks.
It's followed by the deep, horn-driven, wah-wah funk of 'Love Has Something Else to Say' before closing with a stirring read of Sam Cooke's 'Wade in the Water.' It's a spooky gospel-blues with gorgeous alternate lead vocals by Mark Rivers and Tedeschi. Everybody's Talkin' is what every live album should be: an accurate, exciting reflection of a band at its peak, playing full-throttle and providing plenty of surprises. Reviews: Review by Michael G.
Nastos - AMG Dorothy Ashby - 1958 - In A Minor Groove While not the first male or female jazz harp player (Casper Reardon of Jack Teagarden's bands, Adele Girard performing with her husband Joe Marsala, or Corky Hale set precedents), Dorothy Ashby was the very best and most swinging performer on the multi-stringed instrument associated with the gates of heaven. Here on Earth, Ashby adeptly plucked and strummed the harp like nobody else, as evidenced on this single CD reissue containing her two best LPs for the Prestige and Prestige/New Jazz labels from 1958 - Hip Harp and In a Minor Groove. Alongside her prior efforts for the Savoy label, they collectively represent a small but substantive discography for the Detroit native in small group settings. With the exceptional flute sounds produced by Frank Wess, the combo plays music that is oriented via a unique sonic palate, further enhanced by the principals in the standards and originals they have chosen.
Fellow Detroiter Herman Wright is here on bass, with duties split between legendary drummers Art Taylor and Roy Haynes, who place particular emphasis on subtle brushwork. Of course, the watchword of Ashby's sound is elegance, as she and Wess weave magical threads of gold and silver through standards like the circular and pristine 'Moonlight in Vermont,' the dramatic, slow 'Yesterdays,' or the sad 'Alone Together.' In a more Baroque or chamber setting, 'Charmain' and 'It's a Minor Thing' have Wess and Ashby thinking on a regal or Grecian platform.
The variety on this collection is impressive, as you hear cinematic bluesy proclamations on 'Autumn in Rome,' striking mystery in 'Taboo,' mischievous and sly winks during 'Rascallity,' and a sexy calypso-to-swing beat as 'You'd Be So Nice to Come Home To' unfolds. Two originals of Ashby's stand out - the well swung, blues based yet exotic 'Pawky' with the singularly unique flute of Wess, and the delicate but decisive 'Jollity' that moves along nicely. Of course these are straight-ahead mainstream jazz musicians, and you also get a soaring, clean version of the tricky 'Bohemia After Dark' and 'Dancing in the Dark,' where Ashby's harp acts like a rhythm guitar. In fact, it is this aspect of Ashby's performing style that sets her apart from being a singular or simplistic crystalline melodic implement. Then add to this element that Wess is so acutely fine tuned to pure tonal discourse simply by the nature of his instrument, and can carry the load by himself. This is a delightful package that deserves further recognition as a project unique to jazz and modern music, perfectly showcasing Dorothy Ashby as an individualist for the ages.
Dorothy Ashby — Hip Harp. LP Prestige Great stuff by the grooviest artist ever to play a harp! Dorothy Ashby had a unique soul jazz harp sound, and although the instrument she used is probably more thought of in terms of bedtime lullabies, she actually makes it swing nicely, and with a soulful sound that draws back to traditions of African stringed instruments. Ashby was part of the same scene as Yusef Lateef, and like Lateef, she managed to use odd instrumentation in new contexts, to get a very unique jazz sound. This set's got harp and flute in the lead, and features the tracks 'Pawky', 'Charmaine', 'Jollity', and 'Back Talk'. Also reissued with the original cover art!.
Dorothy Ashby - 1968 - Afro-HarpingBy JOSHUA WEINER, Published: November 2, 2003 Cue up “Soul Vibrations,” the first track on Verve’s reissue of Dorothy Ashby’s Afro Harping, and revel: a one-note syncopated bass line over a slamming drumbeat that you’re sure you’ve heard sampled somewhere. Enter the double-tracked theremins, followed by swoopy strings. Next, over the relentless beat, an echo-plexed harp solo by Ashby, during which the strings return with 16-notes; then the theremins run the groove into a fade-out.
And there you have it: 3’15’’ of pure aural time capsule in all its mod glory. Afro Harping was arranged by producer Richard Evans (see also Groovin’ With The Soulful Strings ) and recorded by Ashby with unknown musicians for Cadet Records in 1968. As an example of Ashby’s talents as the undisputed master of the jazz harp (the stringed instrument, by the way, not the harmonica), it is not ideal; her earlier straight-jazz records make a better case for her instrument in improvised music. But as a groove-heavy slice of late-'60s lounge, it’s unbeatable. Actually, there are two styles on the album: a heavy funk, psychedelic groove showcased on the two side-openers, “Soul Vibrations” and “Afro-Harping”; and a genial, insinuating pop-jazz feel with more extensive displays of harp prowess. Both are lightweight and certain to garner the derision of jazz purists, but those with open ears will enjoy the record as a cheesy but delightfully fun artifact of a less self-conscious time.
Ashby contributes several beguiling themes, most of which (despite the title) are set to a lilting, bossa nova feel reminiscent of Burt Bacharach (whose “Look of Love” is featured), accompanied by strings, vibes, and flute. Ashby’s catchy lines on “Action Line” are reminiscent of a marimba, while at other times her harp plays a more guitar-like (“Afro-Harping”) or pianistic (Freddie Hubbard’s “Little Sunflower”) role.
It’s a fascinating glimpse into the use of this instrument in jazz that makes one curious to hear Ashby on her earlier, more bop-influenced dates, few of which are available on CD. Sometimes, as on “Lonely Girl” and “Theme From Valley of the Dolls,” the pop syrup is laid pretty thick. But in all, it’s good to have this album, which is apparently one of the most sought-after vinyl records among the beat-sampling crowd, available on CD. Those interested in 60s mod will enjoy it for its own sake, while others will be provided with an interest-piquing introduction to a largely forgotten instrument, and musician, in jazz. Dorothy Ashby - 1970 - The Rubaiyat of Dorothy AshbyReview by Thom Jurek - AllMusic Issued on Cadet in 1970, The Rubaiyat of Dorothy Ashby is really a left-field offering for the jazz harpist. But being a jazz harpist was - and remains - an outside thing in the tradition.
Her previous offerings on Prestige were pure, hard bop jazz with serious session players soloing all over them. She made recordings for Atlantic and Jazzland before landing at Chess in 1968 with Afro-Harping which began her partnership with arranger Richard Evans. Ashby became content as an iconoclast and was seemingly moving forward toward the deep well of spiritual jazz in the aftermath of John Coltrane's death and the recordings of Pharoah Sanders and Alice Coltrane.
On this set for Cadet, she again teams with Evans who wears the hats of producer, arranger, and conductor of a string section and the record goes in a somewhat different direction. Whereas Afro-Harping hit on a direction for Ashby and cemented her relationship with Evans, Rubaiyat realizes that partnership in total. With a band that included a host of percussion instruments - Stu Katz played vibes and kalimba, and Fred Katz played a second kalimba, Cash McCall was enlisted as guitarist, Cliff Davis played alto saxophone, and Lenny Druss played flute, oboe, bass flute, and piccolo. There is also a bass player and a drummer but they are not credited. For her part, Ashby played her harp, but she also brought the Japanese koto into the mix as well as her voice.
Rubaiyat is no ordinary jazz vocal album. It is exotic, mysterious, laid-back, and full of gentle grooves and soul. The opening cut, 'Myself When Young,' with its glissando harp and koto, is in an Eastern mode, and immediately lays out Ashby's vocal as this beautiful throaty, clear instrument hovering around the low end of the mix. Midway through it kicks into soul-jazz groove without losing the Eastern mode and goes, however gently, into an insistent funky soul-jazz groove. There is no kitsch value in this music, it's serious, poetic, and utterly ingenious musically. It sounds like nothing else out there.
And it only gets better from here. The poem that commences 'For Some We Loved' gives way to a percussion and koto workout that comes right from the modal blues. The oboe playing is reminiscent of Yusef's Eastern Sounds but with more driving, hypnotic rhythm. 'Wax and Wane' begins with kalimbas playing counterpoint rhythms and Ashby singing in Japanese scale signature, but soon hand percussion, strings, and a flute enter to make the thing groove and glide, ethereal, light, beautiful. 'Drink' is a pure soul-jazz ballad with harp fills, a funky bassline, and shimmering flutes above a trap kit. The piano solo - played by Evans, we can assume - on 'Wine,' is a killer move bringing back the hard bop and giving way to a smoking vibes solo by Katz.
It's as if each track, from 'Joyful Grass and Grape,' 'Shadow Shapes,' and 'Heaven and Hell,' enter from the world of exotica, from someplace so far outside jazz and western popular musics, and by virtue of Ashby's vocal and harp, are brought back inside, echoing the blues and jazz - check out the koto solo on this cut, by way of the symbiotic communication between Evans and the musicians. You can literally hear that Ashby trusts Evans to deliver. Ashby transforms 'Shadow Shapes' and 'Heaven and Hell' from near show tunes in her contralto into swinging, shuffling jazz numbers.
The lithe beauty on display in her voice and the in-the-pocket backup of the rhythm section is flawless and infectious. The set ends on its greatest cut, 'The Moving Finger.' Introduced by what seems like an Eastern Buddhist chant, it quickly slips into harp, koto, guitars, drums, and bass bump. Evans adds strings for drama playing repeating two-note vamps before Katz and his vibes take the thing into outer space. The slippery guitar groove and alto solo that cut right into the flesh of the blues turn it into a solid late-night groover with plenty, plenty soul. The fuzz guitar solo playing counterpoint with the kalimba rhythms is mindblowing, sending the record off to some different place in the listener's head.
And this is a head record. Time and space are suspended and new dimensions open up for anyone willing to take this killer little set on and let it spill its magic into the mind canal through the ears. Depending on how much of a jazz purist you are will give you a side to debate the place of this set in Ashby's catalogue.
For those who remain open, this may be her greatest moment on record. 01 - This Could Be The Start Of Something - 03:14 min. Autor: Steve Allen 02 - Georgia On My Mind - 03:52 min. Autor: Hoagy Carmichael 03 - Blue Monk - 04:32 min. Autor: Thelonious Monk 04 - Judy - 04:06 min. Autor: J.J.
Johnson 05 - Alone Together - 03:36 min. Autor: Arthur Schwartz 06 - Side By Side - 03:06 min. Autor: Harry Woods 07 - I Concentrate On You - 04:04 min. Autor: Cole Porter 08 - Moonglow/Theme From 'Picnic' - 04:05 min. Autor: Irving Mills 09 - Trixie - 05:10 min.
Autor: J.J. Johnson 10 - Going Going Gong - 03:11 min. Autor: Kai Winding 11 - Just For A Thrill - 03:20 min. Autor: Lilian Hardin Armstrong. Listado de Temas: 12 - Speak Low - 04:08 min. Autor: Ogden Nash 13 - Lil Darlin' - 04:07 min.
Autor: Neal Hefti 14 - Doodlin' - 03:37 min. Autor: Horace Silver 15 - Love Walked In - 02:56 min.
Autor: Ira Gershwin 16 - Mangos - 03:46 min. Autor: Sid Wayne 17 - Impulse - 03:15 min. Autor: Kai Winding 18 - Black Coffee - 04:10 min. Autor: Sonny Burke 19 - Bye, Bye, Blackbird - 04:02 min. Autor: Ray Henderson 20 - Michie (Slow) - 03:06 min. Autor: Kai Winding 21 - Michie (Fast) - 03:49 min. Autor: Kai Winding.