#FM-TENOR

[k-wame]

🥺️😲😀😍💖 · mᥲᥣᥲkᥲі m. ᑲᥲᥡ᥆һ &  ᥲᥣᥱძ ȷ᥆ᥒᥱs '᥆ һ᥆ᥣᥡ ᥒіgһ𝗍' ძᥙᥱ𝗍 | s𝗍 ⍴ᥲᥙᥣ's ᥴһᥙrᥴһ, ᥴ᥆᥎ᥱᥒ𝗍 gᥲrძᥱᥒ

[hookitall]

Me, learning my new hobby: I keep gravitating towards specific tenor arias in Opera, I don't know if there's a word for this sound though

Meatloaf (from beyond the grave via #ClassicFM): it's me, because of course it is, aka heldentenor, now go discover Wagner and enjoy. You're welcome.

Me: Welp, yeah, that tracks!

[plaguery]

RANTS & RAVES uses grand piano 3, FM overdrive, steel pan, voice synth, distorted pulse vocal, gunshot, and standard drumset

TRANSMISSION 1 uses shamisen, goblins, drawbar organ 1, breathing

IN ECHOES / EURYDICE CALLS BACK uses solo soprano, pipe organ, viola, solo tenor, cello, metal pipe, and standard drumset

made with ultrabox... (o゜▽゜)o☆

[agendaculturaldelima]

#ElEscenarioDelMundo

🗣 The Metropolitan Opera, presenta:

🎼 Ópera: «Carmen» 🎭

✍️ Compositor: Georges Bizet (Francia)

💥 Argumento: En la ciudad de Sevilla, la atractiva gitana Carmen, una mujer segura de sí misma, tienen muchos admiradores, encuentra en el soldado don José a un hombre que se enamora de forma irremediable de ella, pero que también la limita con su amor. En conflicto entre su libertad y este amor, se decide por la libertad, con consecuencias mortales.

👥 Elenco: Aigul Akhmetshina (mezzosoprano), Piotr Beczała (tenor), Angel Blue (soprano) y Kyle Ketelsen (bajo barítono)

🎻 Orquesta: Coro y Orquesta MET (Estados Unidos)

📢 Dirección: Daniele Rustioni (Italia)

📅 Año: 2023

📽 Proyección:

📆 Sábado 27 de Enero

🕐 1:00pm.

⌛️ Duración: 180 minutos

🎦Cine Movie Time Premium (calle Las Palmeras 343, Urbanización Orrantia - San Isidro)

🎟️ Entrada: S/.100

🖱 Reservas: https://movietime.com.pe/peliculas/2490

📻 Auspicia: Radio Filarmonia 102.7 FM

[projazznet]

Herbie Hancock feat. Jaco Pastorius – Live In Chicago ’77

“Herbie Hancock featuring Jaco Pastorius, Live at Ivanhoe Theater, Chicago Ill. on February 16th 1977. By 1977 Herbie Hancock was firmly established as America’s leading purveyor of jazz-funk. This superb performance finds him playing with Weather Report’s legendary bassist Jaco Pastorius, as well as Bennie Maupin (tenor sax, bass clarinet) and James Levi (drums). Broadcast on the local WXRT-FM, it offers a setlist anchored in his Head Hunters era, but also offers a track from Maupin’s superb Slow Traffic To The Right album. With “Hang Up Your Hang-Ups” and band intro’s at the start.” – Rick Ransom/AllMusic.

[ttexed]

Tim Buckey - I Can't See You 

Happy Birthday to Timothy Charles Buckley III, born on February 14, 1947. "I Can't See You" is the first song off his first album from 1966. From this album sleeve, he may look like just some random folksinger. The latest in a never-ending line of folkies at the time. But from the first crashing notes it becomes evident that no, this isn't your average 1960s folkie. Yes, it's semi-electric folk, but there's also jazz, punk, & avant-garde  elements here, in a tenor singing (his high school friend) Larry Beckett's  beautiful poetic lyrics. And as he did for the rest of his life, Tim Buckley broke the rules. Leading off this, his very first Elektra Records release with not the most commercial radio-friendly tune of the collection, but the least. Here is a youtube of “I Can’t See You” here: https://youtu.be/xDeE7TtoF1Q

I first heard Buckley at 13 years old, early in 1968, when my local Dallas "underground rock" station KNUS, the first of it's kind in Big D on the FM side of the dial that played at least one album cut from almost every new LP release of the time, & practically none of the Top 40, that dominated AM radio back then. It was where I first heard The Velvet Underground, The Jeff Beck Group, The Red Crayola, Elmer Gantry's Velvet Opera, Condello, The Ill Wind, & on & on. I'd save up my lunch money allowance all week, & on the weekend head over to Preston Record Center & pick out an album by the coverart & what I'd heard on KNUS radio. One week they were playing Tim Buckley's long epic, "Goodbye & Hello", the title song from his more psychedelic second album. So that was what I picked out to purchase with my hard-hoarded cash & was introduced to the varied music of Tim. For some reason I never went back to this first album until much later in the 1970s. Maybe it was that folksinger cover. After the obviously drug-induced cover photos of "Happy Sad" & the likes, that first album coverart never struck my fancy until I later realized just how brilliant & different Tim Buckley was. But once I finally did investigate further, Wow!

But on to my own musical career. When I was finally putting together my last & possibly final musical project in 2017, my damaged hearing required a lower volume, different approach that started out as just a trio with my pals Eric Hisaw & Dan Hoekstra on guitars, & turned into a combo simply called The T. Tex Edwards Group, when we later added JJ Barrera on bass & Shawn Peters on drums. It had started out as a songwriting project with Hisaw. After years of mainly playing covers of semi-obscure 60s Brit & off-kilter C&W nuggets, I wanted to see if I could still write some meaningful songs like I had years ago with Mike Haskins in The Nervebreakers & Click Mort in The Loafin' Hyenas. I had started writing things down during a month-long rehab torture at Austin Recovery, & upon my release, contacted Eric about possibly getting together & putting some music to my scribblings. We cranked out a few songs & added a Tim Harden tune, a Bob Dylan song, along with some reworkings of some of my earlier Nervebreakers & Loafin' Hyenas originals. Plus this song from Tim Buckley, that I absolutely fell in love with upon my first listening all those years ago. When we later recorded our batch of originals, this song, (along with Gary Stewart's "Single Again"), were the only two cover songs that we recorded at those sessions. Hopefully sometime soon, those recordings will see the light of day...

[wxnderlvstblog]

A quickie DnB Setlist for you to use!

Creating a perfectly curated Drum and Bass setlist involves not just selecting tracks that you think will keep the crowd moving, but also paying attention to musical key and tempo (BPM) to ensure a harmonically pleasing progression. The set should ideally take the listener on a journey, moving through different moods and energy levels. Here's an example of what a well-curated Drum and Bass setlist might look like:

Warm-Up

Etherwood - "Begin By Letting Go" (Key: Cm, BPM: 174)

Calibre - "Even If" (Key: Bm, BPM: 175)

Building Up

SpectraSoul - "Say What" (Key: Gm, BPM: 174)

Icicle - "Dreadnaught" (Feat. SP:MC) (Key: Gm, BPM: 174)

Energy Surge

Noisia & Phace - "Program" (Key: Am, BPM: 172)

Mefjus & Emperor - "Disrupted" (Key: Am, BPM: 172)

Peak Time

Sub Focus - "Rock It" (Key: Gm, BPM: 174)

Wilkinson - "Afterglow" (Key: Em, BPM: 174)

Pendulum - "Tarantula" (Feat. Fresh, $pyda & Tenor Fly) (Key: Fm, BPM: 174)

Cool-Down

High Contrast - "Days Go By" (Key: Em, BPM: 173)

Netsky - "Memory Lane" (Key: Dm, BPM: 174)

Encore

Chase & Status - "Blind Faith" (Key: Gm, BPM: 175)

Remember that depending on the context and crowd, you might want to add or change tracks to better suit the vibe. Also, each DJ has a unique style, so what works for one might not work for another. This list aims to give a balanced experience with a focus on harmonic mixing and energy flow.

[lboogie1906]

Melvin Lindsey (July 8, 1955 – March 26, 1992) was a radio and television personality in the DC area. He is known for originating the “Quiet Storm” late-night music programming format.

He was a native of DC and attended Woodrow Wilson High School. He began his broadcast career as an intern at Howard University radio station WHUR-FM. In 1976, he brought the “Quiet Storm” to the station’s late-night lineup, titled after a romantic hit single by tenor crooner Smokey Robinson. The show’s soulfully melodic and moody musical fare made it a phenomenal success, and the ‘love song’-heavy format was quickly replicated at stations across the country that served an urban, African-American adult demographic. Lindsey’s show also gave rise to a category of music of the same name.

After a nine-year run on WHUR, he took his format to another local radio station, WKYS-FM, for five more years, and he hosted Screen Scene for BET. He worked for DC television stations WTTG-TV WFTY-TV and WJZ-TV in Baltimore.

He died from complications of AIDS, but the Quiet Storm format he originated gained widespread popularity. It remained popular over 4 decades after its inception across the nation, especially in evening and late-night radio programs. Artists continue to compose songs that target the audiences of Quiet Storm stations and shows. #africanhistory365 #africanexcellence

[tfblovesmusic]

How Ian Bostridge Unlocked my American Elementary School Memories

I have been swooning over Ian Bostridge's voice since middle school.

From watching the David Alden film of Franz Schubert's Winterreise on Ovation TV to borrowing a CD of Johann Sebastian Bach choral works with the Choir of King's College Cambridge and the Academy of Ancient Music under the late Sir Stephen Cleobury (His rendition of "Deposuit Potentes" in BWV 243 was FIRE!) a couple of times from the local library while I was living in the USA, the three-time GRAMMY winner's voice never has since failed to amaze me.

But it hasn't been his timbre that has made him my favorite classical music tenor of all time.

In April 2024, Ginong Bostridge stopped a performance of Benjamin Britten's Les Illuminations at the Brum Symphony Hall for a glaring reason - young people were taping or photographing him on their phones. He interceded out loud, "The lights are shining directly in my eyes – it’s very distracting. Would you please put your phones down?"

He wasn't aware of the City of Birmingham Symphony Orchestra's then-new policy that started enabling audiences to film in a maximum of a minute or photograph classical music concerts, in a vain bid to attract more young audiences.

But it came with reservations. The rules stated, "We ask that you are mindful of disturbing artists and other audience members and suggest that you take pictures and videos during applause breaks. Please dim the brightness on your phone, and do not use your flash."

Ginong Bostridge - oblivious of the new rules during his performance - wasn't having any of that.

This video STRAIGHT-UP metaphorizes Bostridge responding to an errant phone light or ringtone at a concert.

"You're looking at the audience and it's very interrupting and distracting to have phones being held up," he told BBC Radio 4, "It breaks the spell. I didn't know about this policy and I wasn't making a protest of any sort to begin with, I simply couldn't carry on because I couldn't concentrate."

"Performances are a dialogue with the audience," baritone Christopher Maltman (who collaborated with Bostridge several times) commented to a Classic FM post on IG, We as performers rely on the audience’s attention and concentration. We are flesh and blood artists who are not unaffected by how audience members behave."

"We can see and hear you as you can see and hear us, and are distracted by movements in the audience and the glint of light reflected off phones, faces and arms as they are held up, whether they are dimmed or not. Fundamentally, we spend thousands and thousands of hours during our professional lives to hone our skills to be able to accomplish feats of dexterity, memory, concentration and artistic expression which are at or near the limit of human ability."

"We need the audience to be with us on that musical journey and even if the physical act of filming or taking photographs isn’t distracting to the point that it is at the detriment of our own focus, it’s is at the bare minimum a moment of departure for those who film from the covenant of live performance which is the beating heart of what we do."

"No photo, no video, and no recording can ever even remotely reproduce the magic of live performance and any marginal fringe benefit in terms of social media likes is nothing compared with the damage that is done by saying that it is fine to switch your brain off and switch your phone on in the concert hall or opera house. I personally have had to stop in my recitals more than once to request people view me with their eyes and listen with their ears rather than watch me second hand on a screen."

Sir Simon Rattle would also be most disappointed with the phone policies. Back in BBC Prom 55 with the Berlin Philharmonic in 2003, he stopped a performance of Igor Stravinsky's The Rite of Spring because someone's Nokia blasted an abridged, chiptuned version of Francisco Tárrega's Gran Vals during the bassoon solo. The reviewer of MusicWeb Int'l heard a fellow audience member seated in front of him call the offending other the w-word.

Funnily enough, Ginong Bostridge unlocked many core memories of watching orchestras perform live - during the Garden State Ballet's productions of The Nutcracker and Cinderella and numerous field trips with my elementary and private schools.

The most memorable elementary school orchestra-centered field trip was in 2001. And it WASN'T ANY JUST ANY ORCHESTRA.

IT WAS THE FLORIDA ORCHESTRA.

I would be entranced by Lanky Kong's Trombone Tremor when I would play Donkey Kong 64. I would watch The Lawrence Welk Show on WEDU each Saturday night. Throw in mornings with Classic Arts Showcase on my public access TV channel; several documentaries (Howard Goodall's notwithstanding) and performances I would see on Ovation TV; and previous experiences seeing orchestras live, and I was WELL-PREPPED.

Our 5th grade teacher told us what to expect AND how to dress for the concert - no jeans, T-shirts, or shorts. I wore the closest thing to jeans but much dressier - a denim midi dress. And we were too young to have cell phones back then!

The finest moment of the FL Orchestra's performance I and my 5th grade class attended was their opening orchestral excerpt, the overture to Leonard Bernstein's Candide. As Asher pointed out, I wished I would've taped it. But with us too young to have phones, with phones then lacking video capabilities, AND with us knowing concert etiquette from the back of our hands, taping it would've been all but so inconsiderate.

I would've gotten into trouble at school if I had done that.

"(The CBSO's phone policy) ignores the fact that allowing the use of phones during musical or theatrical performances is bad for everyone," Alexandra WIlson griped in The Critic.

To Ginong Bostridge: here's our power anthem! LET'S DO A DUET ON THIS!

"It’s bad for the performer, who is distracted by a sea of bright lights, or by the blaring of ring tones, and struggles to get into the zone or into character. A live classical concert, what’s more, is not a recording session, and comes with an element of risk for the musician involved. The singer lays bare his or her soul, and in doing so relies upon a certain amount of implied contractual trust — the understanding that people aren’t going to stick that fluffed top note on YouTube."

"Phone use is also bad for other audience members, for whom this concert or play may be a long-saved-up-for treat, and who should have a reasonable expectation to be able to concentrate."

"You certainly don’t have to be a finishing-school graduate to be irked by a thoughtless neighbor who gives a damn about no-one but themselves."

"All live music is precious and fragile," Maltman summarized, "Switch your phones off and allow your mind to engage with the beauty of it. Please."

To conclude this post, lemme show y'all the March 1995 Beeb broadcast of various Henry Purcell choral works and songs! JUST scroll to 49:25 and press play - 30-year-old Ginong Bostridge in a FLUTIN' TRIO WITH DAME EMMA KIRKBY AND MICHAEL CHANCE is SO FIRE! Cell phones with touchscreens and built-in cameras had YET to stymie that magical moment back when it was broadcasted!

[brakingpoint]

this is so random but what are the chords you used for the movie demo? i've stumbled upon it and it's been stuck in my head for WEEKS and i need to know 🧎‍♂️🧎‍♂️(thankyousomuch)

YES ofc so in the key the demo is in it goes

verse: C / Am / F / Fm / C / Am / F / G

chorus: C / Am / F / G / Am / F / G

post chorus 1: C / Am / F / Fm

repeat verse & chorus

post chorus 2: C / Am / F / Fm / C / Am / F / G

bridge: Am / F / C / Am / G / Am / F / Fm

repeat chorus & post chorus 2

if you prefer a lower (tenor/low alto) key that's closer to what mr escalier des fleurs himself would probably sing it in, and what the song proper will be in if i ever get round to finishing the track, just knock the entire thing down a fourth (so for example the first verse would go G / Em / C / Cm etc etc)

[firstamafinance]

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[bobrosenbaum]

George Cables and John Heard, Los Angeles, 1981.

One of my all-time favorite pianists, George Cables, is a gorgeous traditionalist with outstanding accomplishments as both a sideman and a leader.

There's this tendency in jazz to call any artist older than 60 a 'legend', but even at age 40, George had rightfully earned that honor through his extensive work with some of the greatest players of the late 20th century – people like Woody Shaw, Billy Harper, Freddie Hubbard, Joe Henderson, Bobby Hutcherson, Dexter Gordon and Art Pepper.

No doubt George has always been in demand because of his highly sensitive, swinging, and sometimes downright funky accompaniment. He also brings the entire range of jazz piano history with him, and plenty of the inventiveness that front line players need to keep the fire in their music.

One result of his tenure with so many leaders is his distinguished lyrical style with its often mesmerizing sound and rhythm. Another result is a trunkful of beautiful, memorable compositions that have enjoyed treatments by the leaders above, and many others.

 Listen: “I’ve got the best seat in the house, because I can listen and I can play too!”

When George lived in Southern California, I was fortunate to see him regularly in various musical settings, record him at The Lighthouse, interview him for my jazz radio interview series at KCRW-FM, and also be blessed with his extraordinary personal warmth and friendship, which continues to this very day.

You can get an idea of George's eclectic range with just a few clicks. Hear how he lifts alto saxophonist Art Pepper in the high-speed bebop classic 'Cherokee' from 1977. Check George's gorgeous solo work with tenor saxophonist Dexter Gordon on 'Tanya' from 1979. You haven't really heard George at all until you hear him with his own ensemble, playing 'I Told You So' from his 1980 album Cables Vision.

Nowadays, George performs the world over with his own Trio, as well as together with a group of companion legends (Billy Harper, Eddie Henderson, David Weiss, Donald Harrison, Cecil McBee, Billy Hart, and others) who have named themselves 'The Cookers', in tribute to the classic live 1960s Blue Note album which inspired them. Check out 'Traveling Lady' from 2021. Thankfully, George's work is well recorded and readily available. Find a nice discography here.

Today is George's birthday. Here's wishing you a beautiful birthday George, and so many more to come – your music is really a gift that you give to all of us!

[maj7sharp11]

notes:

Wow my playing is actually fuller and cleaner than I thought; I kinda expected the raw audio to be thin and magnify any imprecision.

I was worried about the clarity of the triplet figures in the theme since they're fingered 543, but I don't notice it overall in the final sound.

Overall phrasing is pretty good - I'm more concerned about voicing. In particular the reprise is too harsh tenor heavy. There are accents yes, but with a melody with so many nonharmonic tones, you kinda are forced to always bring it out lest you lose the thread.

Similarly when the theme appears in the LH. m. 11 is pretty fine but at m. 33 I think all 3 voices need to be really worked out, and the RH definitely shouldn't accent that C to the same extent as the D.

One place where I'm not really satisfied with the phrasing is the cresc. in the Fm section. It happens too soon and it's also too harsh on the Db Eb F G. I kinda like pulling back the sound a little on the downbeat of the reprise but I'll have to firm up my conception of the cresc. before I decide it's convincing.

Minor issue m. 2 - the alto should state the A on beat 1, not beat 2. Perils of memorization.

Trio is pretty good. The first Db is certainly very sensitive since it's a delicate transition, but this is close, maybe just needs a bit more oomph.

If there's anything to fix in the trio it's to smooth out the color variations a bit - particularly with reference to the volume of the bass. At the C pedal the tenor is just a touch too loud.

I did NOT mean for that rall. to be so slow but once it came out like that I couldn't just run it back lmaoo

I meant for the second A section to be slightly more mellow and cloying, with more rubato and more bass - as if it had been affected by the character of the B section. However I don't think it's effective if I don't commit for the whole section, so I need to figure out a different way to voice the reprise.

[beforeitdoesyouin]

Hilariously contrasting reviews for P!ATD and MCR, both shows performed at the same venue, only days apart.

Source for both: Ross Raihala

Concert review: Panic! at the Disco take risk by playing new album in full at high-energy Xcel show

Las Vegas rock band Panic! at the Disco took a novel approach to promoting their new album “Viva Las Vengeance” on Wednesday night at St. Paul’s Xcel Energy Center.

The group — which has been vocalist Brendon Urie and touring musicians since 2015 — opened and closed the show with mini sets of a half-dozen hits. In the time between, they played the new record in its entirety.

It was a gutsy move for sure. The band emerged in 2005 after Fall Out Boy’s Pete Wentz signed them to his label and took them on the road. PATD scored big with the emo crowd, but the band slowly fractured as Urie took control. Over the past decade, he transformed the group’s sound, adding heavy doses of Queen-style pomp, Rat Pack-esque crooning and Broadway bombast.

That new direction worked and PATD sold out the X and Target Center on tours in 2017 and 2018. Urie’s huge voice — he’s a tenor with a four-octave range — and onstage swagger helped sell huge, theatrical anthems to a new generation of fans.

Perhaps those new fans have aged out of the group? Wednesday, a crowd of about 7,500 showed up. And following two consecutive albums that hit No. 1, “Viva” sputtered out at No. 13, while its seven singles failed to find an audience.

Listening to Urie and his band — which includes horn and string sections — plow through “Viva” on Wednesday, it was tough to understand the fans’ resistance. It’s very much an ode to ’70s FM radio, with nods not just to Queen, but also to Cheap Trick, the Raspberries, Thin Lizzy, T. Rex and any number of other acts from the era. But it’s not that far removed from what the band’s been doing as of late.

“Viva” is packed with towering arena rock epics that Urie absolutely nailed. The most compelling moments, though, were the quieter ones. A song about a relationship ending in death, “Don’t Let the Light Go Out,” is easily the strongest of the bunch with a real emotional resonance. And “All by Yourself” is such a savvy, cheeky rehash of Eric Carmen’s classic “All by Myself,” they gave him a writing credit.

The crowd perked up at times during the new material, but often sat in quiet reverence. But the older stuff — almost all from the past decade — got massive responses, from “Say Amen (Saturday Night)” to “High Hopes.” Many prompted audience sing-alongs as well, including the 2015 Sinatra tribute “Death of a Bachelor.”

It remains to be seen if Urie’s ploy of playing all of “Viva Las Vengeance” will spark renewed interest or if it will be the turning point where Panic! at the Disco slide into nostalgia act territory.

(Not mentioned by Ross: Brendon snorting a line of coke mid set and multiple stage amps catching fire )

The long-awaited My Chemical Romance reunion had fans screaming at Xcel Energy Center

Shortly after 9 p.m. Thursday, the sold-out My Chemical Romance crowd at St. Paul’s Xcel Energy Center began wildly cheering … for a roadie wielding a stick vacuum.

It’s not an understatement to say the band’s concert was highly anticipated. For some in the audience, they had been waiting half their life for the show.

Frontman Gerard Way formed MCR after watching the Sept. 11 terrorist attacks firsthand and used his music to speak frankly about pain, loss, violence and love. Over the course of four albums, the group built a faithful and ever-growing following attracted to Way’s emotional and theatrical songs.

Eleven years ago, MCR played their biggest Twin Cities show to date at the X on a bill with Blink-182. Soon after, the band began building a studio in Los Angeles to record their fifth album. But in 2013, seemingly out of nowhere, they announced they were splitting up. No farewell tour, no reasons given, nothing.

While the members worked on various solo projects, MCR’s legend grew. In late 2019, they announced what fans assumed would be a one-off reunion show. Instead, the band booked a worldwide reunion tour that, like everything else, was postponed due to the pandemic.

When Way and the band finally took the freshly vacuumed stage, the crowd of about 15,000 greeted them with a massive collective scream that seemed to say “Finally!” MCR responded with the caustic, 9/11-referencing “The Foundations of Decay,” a new song they dropped in May. And that feeling of sheer exhilaration continued through the show, both onstage and in the crowd.

Part emo, part metal and part goth, MCR is essentially the 21st-century model of the Smashing Pumpkins, a band never afraid to make outsize, grandiose gestures. Songs like “Summertime” — Way’s cheery ode to his wife — would sound right at home in a Pumpkins set.

Even though a sense of darkness seeps through most of MCR’s songs, they also offer a chance for relief. That was immediately evident on the second song of the night, “I’m Not Okay (I Promise),” as legions of fans shouted the chorus right back at Way and the band.

Really, though, the crowd sang along to pretty much every song of the night from the nihilistic “Na Na Na (Na Na Na Na Na Na Na Na Na)” to the goofy “You Know What They Do to Guys Like Us in Prison.” Ten songs in, MCR tore down the place with “Welcome to the Black Parade,” the lead single of the band’s 2006 album “The Black Parade,” an ambitious rock opera with nods to Pink Floyd, David Bowie and Queen. In the end, it was indeed worth the wait.