#Jazz Band Eclipse

[linuxealcipher]

Heheheheh it’s time

Meet, Jazz Band Eclipse

More information about them under the cut!

This au is my new obsession

Here Eclipse is a professional musician more towards the beginning of the jazz era. He use to professionally perform in traditional orchestra but found far more love in jazz. He ended up joining and getting a gig due to Sun and moon inviting them. Sun and Moon at this point are already well known and loved jazz musicians, sun usually on trumpet and Moon on piano (they have their own art coming soon).

During the gig Eclipse absolutely falls in love with the vibe and feel of the music and the room, deciding that they would stay as a jazz musician. Slowly they gain fame, getting invited more and more. And they start to notice they are getting fans, constantly following and asking them questions. They didn’t like the constant questions and eyes, deciding to take a break.

For years they stayed under the radar before sun and moon begged them to do another gig with them. They agree, going to the gig. I have more written but I’ll share more of it later!

Here’s an edit without all the lighting!

They He has a Opal gem on their bow tie that Sun and Moon got them

[rockwgooglyeyes]

waiter! more fun facts about your alnst ocs, please (if it's okay)! how do they fare with physical activities? what songs would they listen to in a modern au? and any other info that you'd like to throw in!

Yeah of course, Anon!! Thanks so much for asking, it's always a ball talking about my little creachers *shakes up the cardboard shoebox that I keep them in*

Dian & Nausikaa are both very good at physical activity in general (Dian is great at dancing as well as most sports if he puts effort in lmao. Nausikaa is very skilled at martial arts as well as swimming/climbing) whereas Nyx is really only good at endurance sports (he's a runner. he's decently fast but the biggest skill he has is running for a long time). Asuka is pretty athletic but he can't do certain sports because of his hypermobility (he will dislocate something, poor boy) and he can't do anything requiring good coordination (Kio @solei-eclipse is helping him with that though). Faisal is fit enough to not be out of breath after going up a few flights of stairs but he doesn't enjoy physical activity and avoids it when possible. He is a drummer so he has pretty good stamina but *shrugs* he does not like exercise. Yumi is not really allowed to exercise by Beau but she's pretty agile/flexible in situations where she's allowed to show that off (I mean, she has really good reaction time).

For the modern AU music taste:

Asuka listens to vocaloid/hyperpop/j-rock and j-pop, as well as jazz and big band music (billie holliday, nina simone, nat king cole) because he's a chaotic motherfucker.

Dian listens to soul/pop/r&b I think? He seems like the type who would pretty much listen to sad music and love songs exclusively. Maybe he even dabbles a little in folk but I dunno

Faisal listens to hip-hop mostly I think but he probably also listens to some rock and alternative stuff and metal? (i don't listen to much metal. like at all. it hurts my head) but like Linkin Park, Childish Gambino, De La Soul, A Tribe Called Quest, Queen Latifah, Hozier, to name a few.

Nausikaa listens to literally anything. She has no preferences. She mostly listens to Itsaso when it comes to music recommendations so she probably listens to classical/bedroom pop mostly? (sorry @lookatmysillies just making assumptions about your girl's music taste lmao)

Nyx is an eighties/nineties grunge/rock/alternative bitch lmao. Garbage, Smashing Pumpkins, the Cure, Elliott Smith, Weezer, the Breeders, the Pixies, that sort of stuff.

Yumi listens pretty much exclusively to classical music BUT that is not by choice. If she had her way, she would listen to late 20th century rock (blondie, the gogo's, syd barrett, the beatles, david bowie, queen, that sort of thing)

If anyone has questions about these, let me know, I'm happy to give context/expand on anything! :D

[theink-stainedfolk]

OC Music Taste Tag

Thank you for the tag @willtheweaver

I hope ya'll don't mind me using multiple ocs. And pardon me for going into too much depth. But i think music sometimes works as a medium to see through people too. So I'll also explain.

Fated to Defy

Han Joon-oh / Juno

Given Joon-oh’s struggles with self-worth and his emotional, almost melancholic nature, he’d probably gravitate towards a mix of emotional ballads and introspective indie tracks. Expect him to listen to:

Phoebe Bridgers for those reflective, self-examining lyrics that hit too close to home.

Troye Sivan because his open LGBTQ identity would resonate with Joon-oh, especially with tracks like “Bloom” or “My My My!”

The Weeknd because let's be real—Joon-oh’s seductive new appearance post-transmigration demands something with a sensual edge, so “Earned It” would be on repeat. Lol

He might even listen to Eyes Don't Lie by Isabel LaRosa, given that it's already stuck in your head and would perfectly fit his vibe.

Melian Draegonhart

Melian’s initially aloof but deeply emotional personality would lead him toward something more intense, dark, and dramatic:

Hozier would suit his dramatic flair, with tracks like “Take Me to Church” speaking to the deep longing and complex emotions beneath his villainous exterior.

Deftones for the brooding, sultry, and borderline obsessive side of his character. Think “Change (In the House of Flies)” with its moody undertones.

Classical music – I can also see Melian listening to something haunting and dark like Rachmaninoff or Beethoven when he's alone, reflecting on the burden of his existence and fate.

Surprisingly, Melian might have a soft spot for Lana Del Rey. Her hauntingly glamorous yet tragic aura would appeal to his yearning for something beautiful and unattainable.

Crimson Threads

Rosaire Fabyan

He’s charismatic, calculated, and loves controlling situations while maintaining a flawless image.

Pop Hits & Dance Tracks – Think Ariana Grande, Dua Lipa, or The Weeknd. Something upbeat that matches his effortless charm and can keep him energized.

Smooth Jazz & Lo-fi – Rosaire also enjoys music that he can relax to in the background while working. Artists like Tom Misch or lo-fi playlists would suit his cool, intellectual side.

Vintage Classics – Frank Sinatra, Dean Martin—music from the classic crooners that speak to his sophisticated side. Something timeless and effortlessly suave, much like Rosaire himself.

But for something surprising… he might secretly listen to 2000s emo bands (My Chemical Romance, Panic! At The Disco) for those rare moments when he’s not feeling as in control and needs a throwback to release tension.

Leisle Harpham

Leisle is emotionally raw, blunt, and overpowered.

Alt-Rock/Indie – Leisle might like bands like Arctic Monkeys, Tame Impala, or The Black Keys. Something with a rebellious, confident vibe that mirrors his own chaotic energy.

Rap/Hip-Hop – Artists like Kendrick Lamar or J. Cole. Leisle appreciates lyricism and emotional depth, and rap would let him vibe with songs that speak to real-world grit and power struggles.

Acoustic/Indie Folk – For those rare, quieter moments, Leisle might enjoy music like Bon Iver or The Lumineers. Something raw and reflective, matching his emotionally intelligent side.

The surprise? He might be the type to have hyperpop like Charli XCX or 100 gecs secretly tucked away in his playlist for those moments when he wants to let loose and shock Rosaire with something unpredictable.

Eclipsed Hearts

Shion Kisaragi

Shion probably has a soft spot for unexpected genres. Despite his cool, charismatic demeanor, I could see him secretly enjoying something soothing or laid-back, like indie pop or alternative R&B. He might surprise everyone by listening to artists like The Weeknd or Tame Impala. He'd also appreciate something with a bit of edge, like The Neighbourhood or even Deftones for those intense, introspective nights.

Raoul Kiràly

Raoul, being newer to the vampire world and still grappling with his humanity, would gravitate towards something soulful or reflective. He might listen to Sampha or James Blake, something that lets him sit with his thoughts. But when he's feeling energized, he could be into some retro-inspired pop, like Dua Lipa or even The 1975—songs that remind him of simpler times but with a modern twist.

Whispers of Shadow & Love

Vesperine Chevalier:

Given her adventurous spirit and how diving is part of her life, Vesperine might surprise people by being into high-energy pop hits and electronic dance music (EDM). Songs like “Blinding Lights” by The Weeknd or “Levitating” by Dua Lipa might make her feel energized and free when she’s in or near the water. However, she might have a guilty pleasure for mellow indie pop on calm days, like “Sea Girls” or “Florence and the Machine.” Arkyn Fontaine:

Arkyn, despite his intensity, probably listens to very chill, almost zen-like music when no one’s looking. He'd have something like lo-fi beats playing to help him stay calm and keep his mind sharp, especially while working or plotting. He might also surprise people with a love for classic rock or 90s alt-rock bands like Radiohead or Nirvana when he's feeling more introspective or needs to tune out the world. Cleo: Cleo would absolutely have the loudest, most energetic playlist. Think upbeat pop-punk or fast-tempo alternative rock. She’s all about girl power anthems, so she’d jam out to Paramore, Avril Lavigne, and Billie Eilish. Her Spotify is all about that “good vibes only” energy, with a hint of rebellion. When in a really good mood, though, she’s blasting feel-good bops from Lizzo or Doja Cat. Caden: Caden seems like the kind of person who’d have an eclectic taste, but he'd secretly be a sucker for 2000s R&B or acoustic singer-songwriters. Think John Mayer or Leon Bridges. He likes soulful tunes that make him reflect. But don't be shocked if he also listens to nostalgic 90s and early 2000s hits, or has a few guilty pleasure cheesy pop songs like Backstreet Boys or Bruno Mars thrown into the mix.

---

I'll tag @finickyfelix @leahnardo-da-veggie @illarian-rambling @winglesswriter @paeliae-occasionally

@the-golden-comet @thecomfywriter @roarintheheavens @drchenquill @wyked-ao3 @the-inkwell-variable

[lauvra]

When considering acceptance, embrace and will to change, it's tough to determine which behaviours are inherent attributes of my nature and which are bred from a learned encumberment I'd benefit from shedding. If entry was no object, I'd attend a live performance most days; opera, the symphony, grungy gigs in worn down buildings, open mic poetry, comedy, burlesque and cabaret, festivals, live jazz; anything, everything. That exchange of energy is important to me, I was lucky enough to grow up with a dad who played eclectic music and attended annual festivals, when I got older he brought me along. He'd also drive me into the city, wait for hours in the parking lot while I watched concerts then drive us home again. I'd often reward this generosity with a sullen teenage sadness, staring out the window with no words to offer for my experience. It hurt each time someone I loved performed, then left. Attending live performance is still deeply coded, but sometimes I'm ashamed of my rigid body. I'd often go to gigs alone and perch at the back hoping the performer wouldn't see someone they'd take for an unmovable object in their periphery. I was so worried I'd bring the vibe down that I'd drink depressants, hoping they'd turn the still tide in my gut. Two drinks have always sent me churning, that's for sure. As for rendering me less rigid? Rarely. If it weren't for the rod up my ass, or, being self-conscious, I'd engage a lot harder and have more fun but even writing this I realise there have been many times I've felt moved and consumed enough by a performance to shed my self-concern. Sometimes you are the impenetrable observer and nobody knows it's for some small feat of heroism that you left the house at all. I remember Listener toured a few years ago and I almost stayed home, then played the first song on Being Empty: Being Filled and my body lifted faster than my thoughts could wrangle me back to my chair. After the show, they stood by a merch bench and greeted people, I left right away -- maybe I shouldn't have, but I'd done all I could to show my appreciation; I did sing back, sway and lend two extra eyeballs for stage lights to glint off and reflect from and sometimes that latter element is all I can offer so maybe that's not something I should beat myself up over. I guess I've been thinking about The Weeknd's show again, how painfully clear it is to me that he seeks a bond with people that he has unfortunately eclipsed in some way. The barriers between people and performing artists can prevent them from feeling the fullness of love available there, but I realise I sound like every stalker in existence. At one of the last gigs I went to, the band said the crowd was very polite. I think it's a post-covid thing, we're still a bit weird, a bit standoffish and tough to rouse. When Abel played his last song, people started to file out and it was obvious due to lighting and a person on stage waving their hands to incite the crowd that we could encourage an encore. We didn't do it, I left legitimately worried he'd misunderstand. We're fractured, we're weird now. We've been distanced, we feel distanced. I've been weird but I hope the culture heals.

[angelloverde]

"Mo Soul" Player Playlist 6 October

Ibiza Deep House Lounge - Groove Soul

Chilled Ibiza - Happy Times

Lo Greco Bros - Cadenas

Kyoto Jazz Massive - Eclipse

A Forest Mighty Black - Rebirth

Beanfield - Believe It Or Not

Jupyter Feat. Chrxstal Sarah - Sunny Weather

Synthetic guru Feat. Chillmi - I'll Be Waiting

Oumy - Your Flow

D'Monae - Louder

Ivy Sole - Overgrown

Crazy P - Like A Fool

Eric Hilton Feat. Brian Jackson - Something For Byrd

Chateau Flight - Prism

Thievery Corporation - Take My Soul

If you really want to enjoy music and help musicians and bands, buy their lp’s or cd’s and don’t download mp3 formats. There is nothing like good quality sound!!!

(Angel Lo Verde / Mo Soul)

[mywifeleftme]

361: bill bissett & The Mandan Massacre // Awake in Th Red Desert

Awake in Th Red Desert bill bissett & Th Mandan Massacre 1968, See/Hear Productions (Bandcamp)

(From “mor memoreez uv marvara reel konversaysyun,” scars on the seehors, Talonbooks 1999)

That’s a sample of how poet bill bissett’s writing looks on the page, phonetic and arbitrary, intuitive and free, while also checking the reader from taking any word for granted. The poems are frequently conversational in tone, but the way you have to sound out his writing to understand it means the reader's cadence ends up replicating the idiosyncratic singsong way bissett speaks. The 84-year-old remains a one-of-a-kind live performer, doodling all over the line between spoken poetry and song. He croons nonsense lullabies and pastiche ragas, shakes a maraca, intones mantras until their familiar words lose all their sense, even dances a little. It’s funny—I wouldn’t recommend his writing to someone unfamiliar with the avant-garde, but I would confidently take just about any open-minded person to see one of his shows. He has the affect of a holy fool or a joyful monk, and basically anything he does makes more sense in the context of his corporeal presence.

Back in 1968 though, bill was a wild young man, and Awake In Th Red Desert, his LP with backing “band” Th Mandan Massacre, is full of noisy freakouts and some patience-testing explorations. The Massacre includes four percussionists, some trained (jazz drummer Gregg Simpson) and some not (poet Martina Clinton, bill’s then-partner); electric guitar; two flutes (one a toy); and cutting edge Buchla Box synthesizer by the otherwise unknown Wayne Carr. Response to Red Desert has been pretty mixed—one of its Bandcamp uploads even warns, “Please preview the tracks before downloading. There are no refunds.” I suspect many listeners don’t make it past the first side of the record, which often sounds like what it is: clattering free improvisations around bissett’s sung or shouted recitations. On the flip though, things mellow out for some fascinating minimal synth explorations, bissett doing his visionary thing on a haunting electronic field (see “fires in the tempul”). “she, still and curling” is particularly freaky, Carr making sinister cricket noises with his Buchla, tape of bissett’s voice chopped up into hypnotic loops, layered and manipulated till it sounds like a collage of short wave radio transmissions. The ramshackle noise of the early tracks eventually returns on the awesome “now according to paragraph ‘c’”: bissett reads what (initially) seems like a found text that gets weirder and bolder as the poet works himself into a lather, the Buchla’s bleak tones tattered by the percussion squad’s stiff beat.

I snagged this off Montrealer Alex Moskos, who oversaw the reissue for Massachusetts-based avant-garde label Feeding Tube, and getting this thing back out there has clearly been a labour of love for him (the production quality is impeccable; great explanatory liner notes too). Are there 500 people who want this record? I’m not sure. But for fans of bissett, sound poetry, freaky music, and early electronic, this’ll be of interest. One idea: tell people Awake was the work of a solar death cult leader from the Pacific Northwest who disappeared during an eclipse and they won’t be able to keep the damn thing in stock.

361/365

[ririnya7]

Making even more lists for myself cause I'm forgetful!

BLs I have watched in order over the years!

2016

It started with a bang

Addicted/Heroin

Sotus

Sotus S

2022

Diving back into it

Love In The Air

Between Us

Until We Meet Again

short break to cry over between us

2024

Manner Of Death (7/10)

Bed Friend (7/10)

I Feel You Linger In The Air (9/10)

The Sign (8/10)

Hidden Agenda (8/10)

A Tale Of A Thousand Stars (10/10)

Together With Me (2/10 marktuls)

Trapped (10/10 broken wrists)

Bad Buddy 10/10

Star In My Mind 5/10

I Cannot Reach You 6/10

Word Of Honour

Cupids Wish (8/10 peridz)

Cutie Pie (10/10 qilins)

Cutie Pie 2 (10/10 I'm waiting for ctp3 baby edition)

Unknown (1000/omg there cannot be a better bl out there wow)

Love for Love's Sake (6/10 🎮)

My Stand In (7,5/10)

The eighth sense (10/10 senses)

The Eclipse (7/10 curses)

Our Dining Table (100/special meals)

Guardian

Not Me (8/10 freedom fighters)

Jazz For Two (10/10 jazz bands)

This Love Doesn't Have Long Beans (10/10 long beans)

Pit Babe (8/10 vroomvrooms)

Meet Me At The Blossom

Century Of Love (7/10 gay goddesses)

Kinnporsche (9/10 mafia daddies)

Love Sea (6,5/10 contracts)

4 minutes (10/10 great times)

Takara No Vidro (10/10 ramunes)

Wandee Goodday

Jack and Joker

Affair

Never Let Me Go (7/10)

[bigtimesinsmallspaces]

Post 9: Closing the Circle in Chicago

It actually was exciting getting back into Chicago. Somewhere in that morning, perhaps as we were waking up from not having slept (is that possible?) we discussed the option of staying overnight in Chicago. In truth this option had been discussed throughout the planning and for some reason I had persisted in being reluctant— I had in my mind walking around small bucolic towns and Chicago just did not quite fit. But PG seemed emphatic. And really, here we were! Why, just why, would two people coming off 48 hours in coach, choose to jump on another for 24 more? So we decided the wise move would be to spend the night in Chicago— a horizontal night— a night that included a bed. With one last goodbye to the Zephyr, we began our 1.3 mile walk to the hotel. We were happy to walk, it had been a long sit. And Chicago was bright, sunny, and beautiful. WOW! It had not been so long ago that we were here looking through those eclipse glasses and since then a whole world, or at least 6,800 miles of it, had flashed by our eyes.

It’s a special life blessing when we can rely on old friends to steer us in the right direction when arriving in a big city. In the early 80’s, back when I had really little kids and really big hair, I use to travel to Chicago quite a bit for work. Fortunately I was still in touch with my old child welfare friend Joan Langen who told us the jazz club we needed to go to and the city tour that shouldn’t be missed. So we were well prepared for our 24 hours in Chicago, (before boarding the next overnight train— back to DC)!

I loved sending my many postcards through the mail shute at the hotel— a fitting farewell for such old school greetings— as we raced off for the early seating at Andy’s Jazz Club , apparently a staple on the Chicago scene since before my birth!! It was Big Band night and I was not disappointed. The night walk was warm and gorgeous.

The next morning we headed off for the Chicago Architectural Center River Tour. It was right on Wacker Drive (best name ever for a street) and we were treated to a beautiful river cruise (the same river that is dyed green on St. Patrick’s Day) with stories of the Sears Tower, the Montgomery Ward buildings, the new riverwalk, and a range of stunning skyscrapers that are modern, old modern, post modern, new modern, and modern modern— I obviously did not properly take it all in. Suffice it to say I saw a lot of pretty buildings. I took pictures of about 657 of them.

Before we headed back to the station we hit another dive bar near the train station— appropriately named Dylan’s in honor of PG’s brother (who could not be on this journey because the 7th graders of Massachusetts must learn about equations, rational numbers, proportions, and ratios). We treated ourselves to a fine Mediterranean dinner and once again boarded a train. What a novel idea!! This was the Capital Limited, bound for Washington, DC. Another episode or two of Northern Exposure. Another overnight on the train! And another beautiful sunrise with Amtrak coffee.

Well, we’re almost there. This blog is nearing its end. But don’t despair. Earlier I mentioned there would be some more in depth description of the train experience itself. We have received a lot of questions (from our thousands of fans) that we will try to answer— you know, like—how were the bathrooms, what did you eat, where did you change clothes? If anyone has questions, please message or text us.

[theloniousbach]

A DAY IN THE LIFE OF A BASSIST: YAKASUSHI NAKAMURA AT SMALL’S JAZZ CLUB, 22 APRIL 2024

With JOE FARNSWORTH and Sarah Hanahan and Micah Thomas, 9 pm set

With MIKI YAMANAKA and Joechen Rueckert, 10:30 pm set

There are other ways to organize this essay as JOE FARNSWORTH and MIKI YAMANAKA are reliable regulars whom I like to see. But they are known quantities and why was this night different than all other nights (besides being the first night of Passover)? Well it wasn’t fundamentally. So, having watched that wonderful Renee Rosnes organized tribute to Joe Henderson a second time, I enjoyed just watching knowing the essay had already been written. My notes are like a scorecard for a baseball game, but I don’t actually use them that closely when I write. Rather I jot down impressions in a perhaps writerly way to test out formulations. But I am watching myself watching the music. It was fun to see that show the second time and just watch it.

These two shows were an opportunity to try to just watch. I certainly do not plan to capture an overall impression.

But it was fun to see YAKASUSHI NAKAMURA in two bands, bringing his power and taste to the service of other powerful players. Yamanaka played an early simple, gentle tune and he fit in there but he also held his own as Sarah Hanahan stood toe to toe with her leader. Yamanaka can roar and swing an intricate line hard like Jaki Byard’s Mrs Parker of Kansas City and Mingus’ Reincarnation of a Lovebird. It was his birthday so they also did his Eclipse. I don’t know that one, but they didn’t lean into Lovebird’s song.

This is the second time, at least, I’ve seen Farnsworth with this band—and he certainly has brought Hanahan along before that. They are cohering and Micah Thomas, whom I’ve found spiky and cerebral in trio gigs and with Immanuel Wilkins, has found that, under Uncle Joe’s tutelage, that it’s time to swing. That is an intriguing development. Rueben Fox was unobtrusive but he played some tenor. To be fair, Hanahan fills the room with energy. But, like Thomas, she is pulled in Farnsworth’s maybe more mainstream direction. But he is choosing to play with these fresh, powerful young musicians—and with Yakashushi Nakamura who contributes to the energy, the power, and the swing.

[mercaritee]

Wisteria Lane The Eras Tour photos t-shirt

Wisteria Lane The Eras Tour photos t-shirt, hoodie, tank top, longsleeve

Another special point when watching Babymonster’s MV “Sheesh” is the Wisteria Lane The Eras Tour photos t-shirt it is in the first place but appearance of a Vietnamese domestic fashion brand. In the MV, Pharita wears a Lunar Eclipse dress and Pandora Corset shirt from La Lune fashion house. It is known that La Lune’s designs are all made from limited fabric sources, which results in each product being a “limited edition” version. Last year, actor Cillian Murphy shook the world cinema industry. The Irish actor first won an Oscar for his role as Oppenheimer in the film of the same name directed by Christopher Nolan. Cillian Murphy’s path to conquering artistic heights has left many inspirations for fans around the world.

During his youth, the Wisteria Lane The Eras Tour photos t-shirt it is in the first place but Irish actor had a great love for music. He once founded a Jazz band, named Sons of Mr.Green Genes. However, after a period of working, he chose to retire from his music career. Cillian Murphy’s life only truly entered a new chapter when he decided to put aside his studies at Law University to pursue an acting career. The fall of 1996 marked the first special milestone in the career of 20-year-old Cillian Murphy when the play “Disco Pigs” he starred in achieved resounding success, opening up opportunities for a tour. The show lasted for 18 months on many continents.

Buy this shirt:  Wisteria Lane The Eras Tour photos t-shirt

Home:  Mercaritee

[jpbjazz]

LÉGENDES DU JAZZ

BILLY TAYLOR, PIANISTE, ANIMATEUR ET PÉDAGOGUE

‘’There's no question that being an advocate eclipsed my reputation as a musician. It was my doing. I wanted to prove to people that jazz has an audience. I had to do that for me."

- Billy Taylor

Né le 24 juillet 1921, à Greenville, en Caroline du Nord, Billy Taylor était un des deux enfants du dentiste William Taylor et de l’institutrice Antoinette Taylor. Taylor était issu d’une famille de musiciens où à peu près tout le monde jouait du piano et chantait.

Taylor était âgé de cinq ans lorsqu’il s’était installé avec sa famille à Washington, D.C., où son grand-père avait co-fondé la Florida Avenue Baptist Church située près du Howard Theatre, une salle de concert où se produisaient plusieurs artistes de couleur. C’est d’ailleurs durant son séjour à Washington que Taylor avait suivi ses premiers cours de piano avec Henry Grant (un ancien professeur de Duke Ellington) à l’âge de sept ans. Taylor s’était tourné vers le jazz sous l’influence de son oncle qui lui avait fait connaître la musique de Fats Waller et Teddy Wilson.

Peu impressionné par sa propre voix, Taylor avait décidé très jeune de combiner le piano et le chant. Après avoir suivi des cours de piano classique avec Henry Grant, Taylor avait fait ses débuts en se produisant sur scène à l’âge de seulement treize ans, dans le cadre d’une prestation qui lui avait mérité la somme mirobolante d’un dollar.

À l’adolescence, Taylor avait été particulièrement influencé par la musique des big bands. Durant sa jeunesse, Taylor avait expérimenté plusieurs instruments, dont la batterie, la guitare et le saxophone avant de fixer son choix sur le piano classique. Taylor avait fait ses études secondaires au Dunbar High School, la première école secondaire destinée aux étudiants de couleur.

Taylor étudiait en sociologie au Virginia State College (aujourd’hui la Virginia State University) lorsque la compositrice et pianiste Undine Smith Moore lui avait conseillé d’étudier plutôt en musique et en piano. Taylor avait finalement décroché un baccalauréat en musique en 1942. C’est au cours de ses études à Virginia State que Taylor était devenu membre de la Sigma Pi Phi Fraternity, une organisation humanitaire qui était impliquée dans plusieurs causes sociales à travers le monde.

Après avoir obtenu son diplôme, Taylor était retourné à Washington où il avait poursuivi sa carrière.

Par la suite, Taylor avait poursuivi des études de maîtrise et de doctorat en éducation musicale à l’Université du Massachusetts à Amherst. Taylor, qui avait étudié sous la direction de Roland Wiggins, avait obtenu un doctorat en musique en 1975 avec une thèse intitulée The History and Development of Jazz Piano: A New Perspective for Educators.

DÉBUTS DE CARRIÈRE

Initialement reconnu comme pianiste de swing un peu dans le style de Teddy Wilson, Taylor s’était progressivement tourné vers le bebop après avoir été mis en contact avec les clubs de la 52e rue de New York.

Le lendemain de son arrivée à New York en 1944, Taylor avait assisté à une jam session du saxophoniste Ben Webster au célèbre Minton’s Playhouse. Deux jours plus tard, Taylor était invité à se joindre au groupe de Webster. Le lendemain, Taylor avait rencontré le pianiste Art Tatum qui était bientôt devenu son mentor. Taylor s’était ensuite joint au quintet de Cozy Cole avec qui il avait collaboré dans le cadre de la revue de Billy Rose “Les sept arts vivants », avant d’accompagner Kevin Spencer au Cafe Society Uptown et de devenir membre du trio du contrebassiste Slam Stewart. Dans les années 1940, Taylor s’était produit avec des sommités du jazz comme Charlie Parker, Dizzy Gillespie, Miles Davis, John Coltrane, Billie Holiday, Ella Fitzgerald, Machito, Coleman Hawkins, Eddie South, Don Redman, Stuff Smith et Slam Stewart.

En 1946, Taylor avait participé à une tournée de huit mois en Europe avec le saxophoniste et arrangeur Don Redman, dont le groupe était devenu la première formation de jazz des États-Unis à se rendre sur le continent après la Seconde Guerre mondiale. Rentré à New York en 1948 après avoir séjourné à Paris et aux Pays-Bas, Taylor avait joué avec l'organiste Bob Wyatt et la chanteuse Sylvia Syms et avait accompagné la chanteuse Billie Holiday à Broadway.

En 1949, Taylor avait entrepris un contrat de deux ans comme pianiste-maison du légendaire club Birdland, où il avait partagé la scène avec des sommités du jazz comme Charlie Parker, Dizzy Gillespie, le  percussionniste cubain Machito, Max Roach, Roy Eldridge, Oscar Pettiford, Lee Konitz, Don Byas, Charles Mingus, Artie Shaw, Gerry Mulligan, Miles Davis,  Ed Thigpen, Earl May, Art Blakey, Jo Jones, Victor Gaskin, Freddie Waits, Stan Getz, Chip Jackson et Winard Harper. Taylor était d’ailleurs devenu le pianiste qui s’était produit le plus longtemps au club Birdland au cours de son histoire.

En 1952, Taylor avait formé son propre trio basse-batterie avec qui il avait enregistré des albums comme ‘’Billy Taylor Trio’’ (1953), ‘’Billy Taylor Trio at Town Hall’’ (1954) et ‘’The New Billy Taylor Trio’’ (1957).

Taylor avait enregistré un premier album solo en 1945 intitulé ‘’Billy Taylor Piano’’ sur étiquette Savoy. Parmi les autres albums enregistrés par Taylor dans les années 1950, on remarquait un enregistrement avec le légendaire percussionniste cubain Candido intitulé ‘’The Billy Taylor Trio with Candido’’ (1954), une collaboration avec le multi-instrumentiste Ira Sullivan (1957) ainsi que ‘’My Fair Lady Love Jazz’’ (1957). Toujours en 1957, Taylor avait enregistré un album avec les membres de l’orchestre de Duke Ellington intitulé ‘’The Billy Taylor Touch.’’

Dans les années 1950, Taylor avait enregistré des albums comme ‘’Uptown’’ et ‘’Warming Up’’ (tous deux publiés en 1960), ‘’Interlude’’ et ‘’Kwamina’’ (tous deux publiés en 1961), ‘’Impromptu’’ (1962), ‘’Right Here, Right Now !’’ (1963), ‘’Midnight Piano’’ (1965), ‘’I Wish I Knew How It Would Feel to Be Free’’ (1968), dont la chanson-titre avait été son plus grand succès en arrière, et ‘’Sleeping Bee’’ (1969).

Dans les années 1960, le trio de Taylor était d’ailleurs devenu un incontournable du club Hickory House situé sur la 55e rue ouest à Manhattan.

En 1958, Taylor avait entrepris une longue carrière à la télévision comme directeur musical de la première émission jamais consacrée à l’histoire du jazz, The Subject Is Jazz, diffusée sur le réseau NBC. Produite par la nouvelle National Educational Television Network, la série en treize parties comprenait des interventions de grands noms du jazz comme Duke Ellington, Aaron Copland, Doc Severinson, Tony Scott, Jimmy Cleveland, Mundell Lowe, Earl May, Eddie Safranski, Ed Thigpen, Ossie Johnson, Bill Evans, Cannonball Adderley, Lee Konitz, Jimmy Rushing et Langston Hughes

Dans les années 1960, Taylor avait également animé d’autres émissions de radio sur des stations comme WLIB et WNEW à New York.

En 1964, Taylor avait co-fondé avec Daphne Arnstein l’entreprise Jazzmobile, une scène extérieure montée sur un char allégorique qui présentait des concerts en plein air mettant en vedette les plus grandes vedettes du jazz à l’intention de la clientèle des écoles pauvres de New York. En plus de présenter des concerts, l’organisme animait également des ateliers et des cliniques, tenait des périodes de résidence dans les écoles publiques et développait des programmes spéciaux destinés aux jeunes défavorisés. En 1981, Jazzmobile avait produit un spécial de jazz pour la National Public Radio qui avait mérité à l’organisme un Peabody Award pour l’excellence de sa programmation.

En 1966, Taylor avait également animé sa propre émission de télévision à New York. Véritable touche-à-tout, Taylor avait aussi été disc-jockey à New York de 1959 à 1969.

Taylor avait continué de faire des apparitions à la télévision au début des années 1970, lorsqu’il était devenu directeur musical du David Frost Show, qui était diffusé sur le réseau de la Westinghouse Corporation, devenant ainsi le premier Afro-américain à diriger le groupe d’un talk show aux États-Unis. Parmi les musiciens de jazz qui s’étaient produits sur l’émission, on remarquait notamment Louis Armstrong, Count Basie, Benny Goodman et Buddy Rich.

Parallèlement à sa participation à l’émission de Frost, Taylor avait également été directeur musical du Black Journal Tonight de Tony Brown, une émission hebdomadaire diffusée sur le réseau PBS. De 1977 à 1983, Taylor avait aussi animé l’émission Jazz Alive diffusée sur le réseau de radio NPR. L’émission avait éventuellement remporté un Peabody Award.

Plus tard, Taylor avait animé sa propre émission de piano sur le réseau Bravo intitulée ‘’Jazz Counterpoint.’’ Taylor avait également animé plusieurs émissions de radio à New York qui avaient été retransmises au niveau national. Taylor était devenu particulièrement populaire comme correspondant artistique de l’émission CBS Sunday Morning au début des années 1980. Durant deux décennies à partir de 1981, Taylor avait interviewé  plus de 250 musiciens dans le cadre de l’émission. Taylor avait d’ailleurs reçu un prix Emmy pour son reportage sur Quincy Jones présenté en 1983. En 1987-88, Taylor avait également agi comme ambassadeur de bonne volonté du Département d’État dans le cadre d’une tournée en URSS, en Hongrie, au Moyen-Orient et en Amérique latine.

DERNIÈRES ANNÉES

En 1989, Taylor avait fondé sa propre maison de disques, Taylor Made.

De 1994 jusqu’à sa mort, Taylor avait occupé le poste de directeur artistique de la section jazz du Kennedy Center de New York. En 1994, la carrière de Taylor avait été commémorée dans le cadre d’un concert à Carnegie Hall intitulé ‘’Carnegie Hall, New York, in Billy Taylor: My First 50 Years in Jazz.’’ Dans le cadre de la célébration de son 75e anniversaire de naissance en 1996, Taylor s’était produit en solo dans le cadre du concert ‘’Ten Fingers – One Voice.’’

Dans le cadre de ses fonctions de conseiller artistique du Kennedy Center for the Performing Arts, Taylor avait développé plusieurs séries acclamées, dont la Louis Armstrong Legacy Vocalist, l’Art Tatum Piano Panorama et le Mary Lou Williams Women in Jazz Festival. Devenu un événement annuel, le festival a célébré son 15e anniversaire de fondation en 2010.

En 2002, Taylor avait créé le KC Jazz Club qui permettait aux artistes de se produire dans l’atmosphère intime d’un club de jazz. Des projets plein la tête, Taylor avait aussi développé la série Discovery Artists afin d’encourager le développement de la relève dans le domaine du jazz. De 1995 à 2001, Taylor avait également animé sa propre série intitulée "Billy Taylor's Jazz at the Kennedy Center", qui permettait à des vétérans du jazz et à des artistes émergents de se produire sur scène avec son trio et de discuter avec l’assistance. Produites et enregistrées par le Kennedy Center et la National Public Radio, les émissions avaient diffusées pendant huit ans à l’antenne des stations du réseau NPR.  La série était d’ailleurs inspirée d’une autre série créée par Taylor au Metropolitan Museum of Art de New York plus de vingt-cinq ans auparavant. Intitulée "Jazz Models and Mentors’’, la série permettait à Taylor de se produire brièvement sur scène et de discuter avec différents musiciens de jazz. Le 1er mars 1997, Taylor avait également inauguré le Kennedy Center's Millennium Stage, une série de six émissions destinées aux touristes et aux résidents de la région de Washington, D.C. En 2007, le Kennedy Center a également décerné à Taylor un Living Jazz Legend Award.

Observateur éclairé du milieu du jazz, Taylor avait publié plusieurs livres, manuels d’instruction et articles sur des sujets connexes au jazz. En 1949, Taylor avait d’ailleurs publié le premier livre jamais écrit sur l’histoire du piano bop. Par la suite, Taylor avait publié une douzaine d’autres livres, dont Jazz Piano: A Jazz History (1982).

En plus d’avoir remporté de nombreux prix, Taylor était devenu un des quatre musiciens de jazz à avoir été nommé au National Council of the Arts après Duke Ellington, Ella Fitzgerald et Dizzy Gillespie.

Parallèlement à son travail à la télévision, Taylor avait recommencé à enregistrer dans les années 1980, notamment dans le cadre des albums ‘’Where’ve You Been’’ (avec Joe Kennedy en 1981), ‘’White Nights and Jazz in Leningrad’’ (1988), ‘’Solo’’ (1988) et ‘’Billy Taylor and the Jazzmobile All Stars’’ (1989). Poursuivant ses enregistrements dans les années 1990, Taylor avait publié des albums comme ‘’White Nights and Jazz in Leningrad’’ (1991), ‘’Dr. T.’’ (avec Gerry Mulligan, 1992), ‘’Live at MCG with Gerry Mulligan’’ et ‘’It’s a Matter of Pride’’ (tous deux publiés en 1993), ‘’Homage’’ (1995), ‘’You Tempted Me’’ (1996), qui comprenait une version de ‘’Take the ‘A’’ Train’’ de Duke Ellington et Billy Strayhorn, ‘’The Music Keeps Us Young’’ (enregistré avec son trio en 1997), l’album solo ‘’Ten Fingers - One Voice’’ et ‘’Taylor Made at the Kennedy Center’’ (avec Dee Dee Bridgewater en 1999). En 1992, Taylor avait également enregistré un album avec les Jazzmobile Allstars.

Très respecté sur la scène internationale, Taylor avait poursuivi une fructueuse carrière d’enseignant à l'Université de Long Island, à l’Université Yale, à l’Université Howard, à l’Université de Californie, à la Fredonia State University au C.W. Post College, au North Carolina Central College, à l’Université Shaw et à la Manhattan School of Music. Détenteur d’un doctorat en éducation musicale de l’Université du Massachusetts à Amherst, Taylor avait dirigé plus tard la Wilber D. Barrett Chair of Music de la même université. Taylor avait aussi enseigné dans le cadre du programme intensif de jazz de la même institution,  Jazz in July. Élu compagnon de Duke Ellington à l’Université Yale, Taylor s’est également mérité vingt-trois doctorats honorifiques au cours de sa carrière, dont un du Berklee College of Music en 1981. Comme professeur, Taylor avait également été intronisé au sein de International Association of Jazz Educators. Quand même pas mal pour un pianiste qui avait amorcé sa carrière d’enseignant dans le cadre d’une conférence à l’Université Yale à la fin des années 1950 !

Particulièrement prolifique, Taylor avait plus de 300 compositions à son actif et avait enregistré une cinquantaine d’albums comme leader. Comme accompagnateur, Taylor avait également fait des apparitions sur des centaines d’albums en compagnie d’autres musiciens.

En plus d’avoir été utilisée dans le générique du film ‘’Ghosts of Mississippi’’ (1996) portant sur l’assassinat du leader des droits civiques Medgar Evers, la chanson de Taylor "I Wish I Knew How It Would Feel to Be Free", qui était devenue l’hymne non officiel du mouvement des droits civiques, avait été sélectionnée parmi les meilleures chansons des années 1960 par le New York Times. La chanson avait également été reprise par plusieurs artistes, dont la chanteuse Nina Simone, qui l’avait enregistrée sur son album ‘’Silk & Soul’’ en 1967. C’est le parolier Dick Dallas qui avait écrit les paroles de la chanson qui était également connue en Grande-Bretagne en version instrumentale, le réseau de la BBC l’ayant utilisée comme thème de son cinéma de fin de soirée.

En plus de ses compositions typiquement ‘’jazz’’, Taylor avait également écrit des compositions plus élaborées comme sa ‘’Suite for Jazz Piano and Orchestra’’ (1973).

Dans le cadre de ses compositions, Taylor avait souvent combiné le jazz et la musique classique, notamment dans le cadre d’oeuvres commanditées par de grandes institutions comme le Kennedy Center, le Krannert Center for Performing Arts de l’University of Illinois et par Robert Shaw (pour l’Atlanta Symphony). Taylor a également écrit de la musique pour la danse, notamment pour la chorégraphe Trisha Brown en 2000.

Taylor, qui avait travaillé toute sa vie pour faire du jazz un genre musical aussi reconnu que la musique classique, était cependant beaucoup plus connu comme vedette de la télévision que comme pianiste de jazz. Comme Taylor l’avait déclaré en 2007 au cours d’une entrevue qu’il avait accordée au Post Magazine: "there's no question that being an advocate eclipsed my reputation as a musician. It was my doing. I wanted to prove to people that jazz has an audience. I had to do that for me."

Taylor a remporté de nombreux prix au cours de sa longue carrière, dont deux Peabody Awards pour ses émissions de télévision, un prix Emmy (1983), un Tiffany Award (1991) et un prix Grammy (en 2004, pour sa composition ‘’Homage’’ écrite pour le Julliard String Quartet ). Le magazine Down Beat a aussi décerné à Taylor un Down Beat Lifetime Achievement Award pour couronner l’ensemble de sa carrière en 1984.

En 1988, Taylor a été nommé ‘’Jazz Master’’ par la National Endowment for the Arts. En 1992, le président George H.W. Bush avait remis à Taylor la médaille nationale des Arts, la plus importante décoration décernée par le gouvernement américain. Taylor était également un des six lauréats du Doris Duke Millennium Award for Modern Dance and Jazz Music. La composition de Taylor "Homage", écrite pour le 100e anniversaire de fondation de la ville de Madison, au Wisconsin, avait été mise en nomination pour un prix Grammy. Le Center for Research in Black Culture avait également inclus Taylor sur sa liste des 100 plus grands New-yorkais de couleur du 20e siècle. Les autres lauréats comprenaient des célébrités comme Colin Powell, James Baldwin, Langston Hughes, Louis Armstrong, Quincy Jones, Maya Angelou et Duke Ellington. En 1997, Taylor avait également remporté le New York State Governor's Art Award. En 2001, l’American Society of Composers, Authors and Publishers (ASCAP) avait aussi décerné à Taylor un Jazz Living Legend Award. Taylor a été intronisé au sein du North Carolina Music Hall of Fame en 2010.

En février 2005, le gala des prix Grammy avait décerné à Taylor un Grammy Trustees Award afin de reconnaître ses réalisations en dehors des arts de la scène. En janvier 2006, Taylor était également devenu le premier musicien de jazz à recevoir le Richard J. Bogomolny National Service Award décerné par la Chamber Music America. Le 3 mars 2007, dans le cadre du gala d’ouverture de l’événement ‘’Jazz in Our Time’’ parrainé par le Kennedy Center, Taylor avait été un des nombreux récipiendaires du "Living Jazz Legend" Award.

En 1990, l’organisme Jazzmobile avait rendu hommage à Taylor dans le cadre d’un concert présenté au Avery Fisher Hall dans le cadre du JVC Jazz Festival. Le concert mettait en vedette des artistes comme Nancy Wilson, le Ahmad Jamal Trio et le Terence Blanchard Quintet.

En octobre 2001, la Bibliothèque nationale du Congrès avait également honoré Taylor dans le cadre d’un concert spécial de son trio avec le Juilliard String Quartet. L’événement visait à commémorer le don par Taylor de ses archives de jazz à la Bibliothèque nationale. La collection, qui avait été amassée sur une période de plus de soixante-cinq ans, constitue la collection d’archives de jazz la plus importante jamais acquise par la Bibliothèque nationale du Congrès. Le 20 janvier 2002, le Kennedy Center avait célébré le 80e anniversaire de naissance de Taylor dans le cadre d’un concert tout-étoile présenté au Eisenhower Theater.

Victime d’une première attaque en 2002, qui l’avait privé en partie de sa main droite, Billy Taylor est mort d’une crise cardiaque à Manhattan le 28 décembre 2010. Il était âgé de quatre-vingt-neuf ans. Ont survécu à Taylor son épouse de soixante-cinq ans Theodora (Teddy), sa fille Kim Taylor-Thompson, une professeure de droit à l’Université de New York, son gendre Anthony Thompson et son frère Rudy. Taylor avait également eu un fils, Duane, mais ce dernier l’avait précédé dans la mort en 1988.

On avait rendu hommage à Taylor dans le cadre d’un service mémorial tenu à la Riverside Church de Harlem le 11 janvier 2011. La cérémonie comprenait des performances des membres du dernier trio de Taylor, le contrebassiste Chip Taylor et le batteur Winard Harper. Le duo était accompagné de collaborateurs de longue date de Taylor comme le trompettiste Jimmy Owens, le saxophoniste Frank Wess, les pianiste  et Christian Sands et la chanteuse Cassandra Wilson.

Taylor avait publié deux derniers albums avant de mourir: ‘’Urbam Griot’’ en 2001 et ‘’Live at AJE New York’’ en 2002. Le 31 mars 2005, le Kennedy Center a publié une compilation sur CD intitulée ‘’Taylor Made at the Kennedy Center’’. Se concentrant plus particulièrement sur les compositions de Taylor, le CD mettait en vedette le trio de Taylor ainsi que d’autres artistes du Kennedy Center dont Dee Dee Bridgewater, Arturo Sandoval, Stefon Harris et plusieurs autres.

©-2024, tous droits réservés, les Productions de l’Imaginaire histor

[linuxealcipher]

Magma doodlessss

Including @certified-handler’s dealers choice Eclipse because the new chapter gave me brain rot. We also have my Jazz band au Eclipse next to my sea monster eclipse.

And the dragon Sun and Moon are from my scales on skulls au.

[bamboomusiclist]

12/29 おはようございます。Nina Simone / To Love Somebody rd801 等更新しました。

Nina Simone / To Love Somebody rd801 Bess Bonnier / Theme for the Tall One lp632 Joe Harnell / Fly Me To the Moon ks-3318 Charles Mingus / Jazz Composers Workshop BYG529105/MG1205 Ben Webster / Last Concert 5c178.24.964/5 Aladar Pege / Blues Fuge 6622698 Hank Mobley / No Room for Squares bst84149 Walt Dickerson / Lawrence of Arabia ds6313 Dusko Goykovich / After Hours enja2020st Elmo Hope / with Jimmy Bond & Frank Butler s7620 八木正生 / Plays Thelonious Monk jaz-3021 Gary Burton Paul Bley / Right Time Right Place Sntf1038 Donald Byrd / Thank You For FUML 6e144 Billy Cobham / Total Eclipse SD18121 John & Yoko Plastic Ono Band / Some Time In New York City PCSP716 Van Morrison / Enlightenment 847100-1 Mendoza / Mendoza S64874 James Brown / Everybody's Doin' The Hustle & Dead On The Double Bump PD6054 Donald Fagen / The Nightfly 92.3696-1 Chocolate Milk / Chocolate Milk APL1-1399

~bamboo music~

info@bamboo-music.net  

530-0028 大阪市北区万歳町3-41 シロノビル104号

06-6363-2700

[sheetmusiclibrarypdf]

Tom Jobim (1927-1994) Bossa Nova and Jazz together

Tom Jobim (1927-1994) Bossa Nova and Jazz together Best Sheet Music download from our Library. Please, subscribe to our Library. Thank you! Tom Jobim Live Concert 1986, Festival International de Jazz de Montréal, Canada (Ao vivo em Montreal) Download Jobim's complete sheet music from our Library. Track List:

Tom Jobim (1927-1994) Bossa Nova and Jazz together

It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil—and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source. Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning.

As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner. Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the time he turned 20, the lure of music was too powerful, and so he started playing piano in nightclubs and working in recording studios. He made his first record in 1954 backing singer Bill Farr as the leader of “Tom and His Band” (Tom was Jobim's lifelong nickname), and he first found fame in 1956 when he teamed up with poet Vinicius de Morales to provide part of the score for a play called Orfeo do Carnaval (later made into the famous film Black Orpheus). In 1958, the then-unknown Brazilian singer Joao Gilberto recorded some of Jobim's songs, which had the effect of launching the phenomenon known as bossa nova. Jobim's breakthrough outside Brazil occurred in 1962 when Stan Getz and Charlie Byrd scored a surprise hit with his tune “Desafinado”—and later that year, he and several other Brazilian musicians were invited to participate in a Carnegie Hall showcase. Fueled by Jobim's songs, the bossa nova became an international fad, and jazz musicians jumped on the bandwagon, recording album after album of bossa novas until the trend ran out of commercial steam in the late '60s. Jobim himself preferred the recording studios to touring, making several lovely albums of his music as a pianist, guitarist and singer for Verve, Warner Bros., Discovery, A&M, CTI and MCA in the '60s and '70s, and Verve again in the last decade of his life. Early on, he started collaborating with arranger/conductor Claus Ogerman, whose subtle, caressing, occasionally moody charts gave his records a haunting ambiance. When Brazilian music was in its American eclipse after the '60s, a victim of overexposure and the burgeoning rock revolution, Jobim retreated more into the background, concentrating much energy upon film and TV scores in Brazil. But by 1985, as the idea of world music and a second Brazilian wave gathered steam, Jobim started touring again with a group containing his second wife Ana Lontra, his son Paulo, daughter Elizabeth and various musician friends. At the time of his final concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at last was receiving the universal recognition he deserved, and a plethora of tribute albums and concerts followed in the wake of his sudden death in New York City of heart failure. Jobim's reputation as one of the great songwriters of the century is now secure, nowhere more so than on the jazz scene where every other set seems to contain at least one bossa nova. Composer Antonio Carlos Jobim AKA Tom Jobim was born on January 25, 1927 in Tijuca, Rio de Janeiro, Brazil. He showed a natural curiosity towards music early on and at age 13 discovered an old piano in his parents’ school and started experimenting with sounds and notes. Although he took some private piano lessons he was for the most part self-taught. At age 20 he gave up on his original plans to become an architect and devoted himself completely to music. He started his career in 1952 playing piano in small cafes around the city. His early musical influences included the legendary composer Pixinguinha, Claude Debussy and jazz. In 1954 he cut his first record with his band called “Tom and His Band” backing the singer Bill Farr. The same year he apprenticed to arranger Radames Gnatali from whom he learned the rudiments of arranging and shifted careers and for a while and became an arranger for local singers. In 1956 he collaborated with poet and diplomat Vinicius de Moraes on an operetta entitled Orfeo do Carnaval that opened to great acclaim at the Metropolitan Opera House in Rio. The French director Marcel Camus transferred it to the big screen under the title Black Orpheus. The film was honored by the Cannes Film Festival with a Palme D’Or in 1959. His first hit was Felicidade from this operetta. The song gained immense popularity when Billy Eckstine added English lyrics to it in the late 1950s. Moraes and Jobim also teamed up on other hits including Girl from Ipanema and Agua de Beber among others. In 1958 Brazilian guitarist and vocalist Joao Gilberto released a record of Jobim songs that marked the beginning of the bossa nova phenomenon. 1962 marked an important change in Jobim’s career when he broke out into the world scene after Stan Getz popularized his tune “Desafinado”. He and his colleagues were invited to perform at Carnegie Hall and the popularity of the bossa nova took off. From 1962 till the end of the 60s, some jazz musicians recorded multitude of bossa nova albums. Jobim himself, in addition to becoming one of the most recorded composers, cut several albums for a variety of labels, often in collaboration with Claus Ogerman. The 1970s and 80s marked a time of low popularity for jazz and for Brazilian music due to the rock explosion. Jobim returned to Brazil and worked on TV and film scores. By 1985 though bossa nova and Brazilian music experienced a renaissance and Jobim started touring again performing up to few months before his death in New York City of heart failure on December 8, 1994.

Tom Jobim Live Concert 1986, Festival International de Jazz de Montréal, Canada (Ao vivo em Montreal)

Download Jobim's complete sheet music from our Library.

https://www.youtube.com/watch?v=uadORQdlb9k

Track List:

4:06 Água de Beber 7:34 Chega de Saudade 11:40 Two Kites 16:27 Wave (Instrumental) 19:26 Borzeguim 24:04 Falando de amor 27:22 Gabriela 36:27 A Felicidade 40:59 Read the full article

[angelloverde]

"Mo Soul" Player Playlist 23 January

1. Ibiza Deep House Lounge - Groove Soul 2. Chilled Ibiza - Happy Times 3. Lo Greco Bros - Cadenas 4. Kyoto Jazz Massive - Eclipse 5. A Forest Mighty Black - Rebirth 6. Beanfield - Believe It Or Not 7. Jupyter Feat. Chrxstal Sarah - Sunny Weather 8. Synthetic guru Feat. Chillmi - I'll Be Waiting 9. Oumy - Your Flow 10. D'Monae - Louder 11. Ivy Sole - Overgrown 12. Crazy P - Like A Fool 13. Eric Hilton Feat. Brian Jackson - Something For Byrd 14. Chateau Flight - Prism 15. Thievery Corporation - Take My Soul

If you really want to enjoy music and help musicians and bands, buy their lp’s or cd’s and don’t download mp3 formats. There is nothing like good quality sound!!!

(Angel Lo Verde / Mo Soul)

[asmallexperiment]

TT 240: Ahmad Jamal. "At the Pershing: But Not for Me." Argo LP-628

Going back to Ahmad Jamal, Ethan Iverson does a great runthrough of "At the Pershing: But Not for Me". He says a number of things I didn't get around to. The whole thing is worth reading, not too long, but a few highlights, starting right off the top:

Gershwin’s lyric starts:

They're writing songs of love, but not for me

In the first seconds at the Pershing, Ahmad Jamal plays:

They're writing songs of love, but not for [blank]

In that [blank], Israel Crosby jumps in with an esoteric bass line that is notably high in register. The history of the piano trio is rewritten at that moment.

About "No Greater Love":

The opening rhythm on the vamp is familiar, a clave-derived syncopation that must go all the way back to Mother Africa. However, this kind of opening move was not yet a standard gambit for a piano trio.

It was Ahmad Jamal who made it a standard gambit.

He starts the discussion of "Poinciana" thusly:

By 1958, many jazz artists were taking advantage of the long play LP by releasing longer tracks. However, on side A, all the tracks are short and could have fit on a 78 from a decade earlier.

Side B opens with one of biggest hits in instrumental music — and at seven and a half minutes, one of the longest hits in instrumental music.

Much of American music is the mash-up of African and European cultures. African means drums. In the case at hand that means Vernel Fournier.

The “Poinciana beat” has gone into the annals of drum literature, but Fournier always was quick to point out he basically condensed a New Orleans brass band beat into a drum set. The cymbal off-beat is played by the left hand, the low tom by the right, an orientation that might seem “wrong” at first, but this sticking simply emulates hands of a marching drummer with a bass drum strapped to their chest; in some formations a tiny cymbal is also mounted on top of the bass drum. The player beats the drum with the right and chimes the cymbal with the left.

and wraps that discussion with a part of the history of jazz after the record:

Ellington was already well along on his project of groovy diaspora mash-ups, but it is easy to keep drawing the thread from Jamal’s “Poinciana” to Ellington’s Far East Suite, Latin American Suite, and Afro-Eurasian Eclipse.

The jazz cats took everything on this LP, soup to nuts. But “Poinciana” was vastly influential on so much music just a step outside of serious improvised jazz. A whole world wouldn’t exist without “Poinciana”: Vince Guaraldi’s “Linus and Lucy.” Ramsey Lewis’s “Hang on Sloopy” or “The In Crowd,” Bob James, Joe Sample, Dave Grusin…

Keith Jarrett’s famous trio with Gary Peacock and Jack Dejohnette mostly played rough and tumble standards. But early on, they broke up the set list with a long gospel stroll through Billie Holiday’s “God Bless the Child,” and for many fans that gospel Holiday moment was a career highlight. “God Bless the Child” was the Standards Trio’s “Poinciana.”

It's a short piece, but you will almost certainly learn something.