#Saxophone Concerto

[lesser-known-composers]

Erland von Koch (1910-2009) - Saxophone Concerto: I. Allegro moderato ·

Sigurd Rascher, alto sax

Orchestra: Münchner Philharmoniker

Conductor: Stig Westerberg

[xumat-pluto]

The story of my ep OneUnoIchi is that of the life of a dragonfly. Unlike butterfly’s who live their whole lives above ground, Dragonflies start their lives under water. Once they leave the water they called home, they crack their shell and reveal the wings and fresh skin of an adult dragonfly. This song is meant to symbolize the dragonfly’s first flight. Their first view from the air after struggling to swim to the surface and leaving the world they knew behind. Their first look into the beauty of the world they knew they were meant to see, but hesitated through out the ep being prepared for. This is a song of victory after leaving a past that no longer served you, and stepping into a new space with your head held high, taking in the beauty that surrounds you and wrapping in it like a warm winter blanket.

[daily-classical]

Mvt I

Mvt II

Mvt III

[cristinaitaliani]

[soulmusicsongs]

Big Band Funk, part 2

Big Band Funk in 14 tracks.

Ambros High Life - The Ambros Seelos Showband Featuring Joe Curtis (Live At The Hyatt Hotel, 1974)

Bej Ge Le - Polish Radio Orchestra, Peter Sander And His Players – Melody And Rhythm Volume 10, 1976)

City Sounds - Daly-Wilson Big Band Featuring Kerrie Biddell (The Exciting Daly-Wilson Big Band, 1972)

Dumpy - Ray Ellis And His Orchestra ‎(The Sheik / Dumpy, 1962)

Five Pop Four Pudding - Giovanni Tommaso With The Healthy Food Band (La Banda Del Cibo Salutare, 1970)

Fusion - Klaus Lenz Modern Soul Big Band (Klaus Lenz Modern Soul Big Band, 1974)

Never Will I Marry - The Airmen Of Note (Two Sides Of The Airmen Of Note, 1973)

Shady Blues - Lee Mason And His Orchestra (Music By Lee Mason, 1971)

Slums on Wheels - Volker Kriegel & Mild Maniac Orchestra (Volker Kriegel & Mild Maniac Orchestra, 1978)

Steeple Chase - Georges Hayes And Philarpopic Orchestra (Steeple Chase / Concerto For Right Foot And Orchestra, 1971)

Street Preacher - The Mike Hankinson Big Band (South African Safari, 1975)

An Ugly Person - Orchestra Diretta Da Puccio Roelens (Quelli Belli Come Noi / An Ugly Person, 1969)

Viva Tirado - Gerald Wilson Big Band (Moment Of Truth, 1962) 

Walkin' In Space - Champaign Central High School Jazz Band (Jazz '71, 1971)

More Soul Songs

Big Band Funk

Trumpet Soul Music

Saxophone Soul

[justforbooks]

The distinctive sound of Pharoah Sanders’ tenor saxophone, which could veer from a hoarse croon to harsh multi phonic screams, startled audiences in the 1960s before acting in recent years as a kind of call to prayer for young jazz musicians seeking to steer their music in a direction defined by a search for ecstasy and transcendence.

Sanders, who has died age 81, made an impact at both ends of a long career. In 1965 he was recruited by John Coltrane, an established star of the jazz world, to help push the music forward into uncharted areas of sonic and spiritual exploration.

He had just turned 80 when he reached a new audience after being invited by Sam Shepherd, the British musician and producer working under the name Floating Points, to take the solo part on the widely praised recording of an extended composition titled Promises, a concerto in which he responded with a haunting restraint to the minimalist motifs and backgrounds devised by Shepherd for keyboards and the strings of the London Symphony Orchestra.

By then he had become a vital figure in the recent revival of “spiritual jazz”, whose young exponents took his albums as inspirational texts. When he was named a Jazz Master by the US National Endowment for the Arts in 2016, musicians of all generations, from the veteran pianist Randy Weston to the young saxophonist Kamasi Washington, queued up to pay tribute.

Farrell Sanders was born in Little Rock, Arkansas, a segregated world where his mother was a school cook, his father was a council worker and he grew up steeped in the music of the church. He studied the clarinet in school before moving on to the saxophone, playing jazz and rhythm and blues in the clubs on Little Rock’s West Ninth Street, backing such visiting stars as Bobby Bland and Junior Parker. After graduating from Scipio A Jones high school, he moved to northern California, studying art and music at Oakland Junior College. Soon he was immersing himself in the local jazz scene, where he was known as “Little Rock”.

In 1961 he arrived in New York, a more high-powered and competitive but still economically straitened environment. While undergoing the young unknown’s traditional period of scuffling for gigs, he played with the Arkestra of Sun Ra, a devoted Egyptologist. Sanders soon changed his name from Farrell to Pharoah, giving himself the sort of brand recognition enjoyed by all the self-styled Kings, Dukes, Counts and Earls of earlier jazz generations.

Amid a ferment of innovation in the new jazz avant garde, Sanders formed his own quartet. The poet LeRoi Jones (later known as Amiri Baraka) was the first to take notice, writing in his column in DownBeat magazine in 1964 that Sanders was “putting it together very quickly; when he does, somebody will tell you about it”.

That somebody turned out to be Coltrane, who invited him to take part in the recording of Ascension, an unbroken 40-minute piece in which 11 musicians improvised collectively between ensemble figures handed to them at the start of the session. When it was released on the Impulse! label in 1966, critics noted that the leader, one of jazz’s biggest stars, had given himself no more solo space than any of the other, younger horn players, implicitly awarding their creative input as much value as his own.

Coltrane also invited Sanders to join his regular group, then expanding from the classic quartet format heard at its peak on the album A Love Supreme, recorded in 1964. With Alice Coltrane and Rashied Ali replacing McCoy Tyner and Elvin Jones at the piano and the drums respectively, and other young musicians coming in and out as the band toured the US, the music became less of a vehicle for solo improvisation and more of a communal rite, sometimes involving the chanting of mantras and extended percussion interludes.

While some listeners were dismayed, accusing Coltrane of overdoing his generosity to young acolytes, others were exhilarated. For both camps, Sanders became a symbol of the shift. “Pharoah Sanders stole the entire performance,” the critic Ron Welburn wrote after witnessing Coltrane’s group in Philadelphia in 1966. The poet Jerry Figi reviewed a performance in Chicago and described Sanders as “the most urgent voice of the night”, his sound “a mad wind screeching through the root-cellars of Hell”. Sceptics believed Sanders was leading Coltrane down the path to perdition.

When Coltrane died of liver cancer in 1967, aged 40, Sanders began his own series of albums for Impulse!, starting with Tauhid (1967) and Karma (1969), which included an influential extended modal chant called The Creator Has a Master Plan. He continued to work with Alice Coltrane, appearing on several of her albums as well as those of Weston, Tyner, Don Cherry, Ornette Coleman, Sonny Sharrock, the Jazz Composer’s Orchestra, Norman Connors and others.

In 2004 he was inducted into the Arkansas Black Hall of Fame. Ten years later, he travelled from his home in Los Angeles to Little Rock, the city where his classmates had tried, in 1957, to desegregate the local whites-only high school, for an official Pharoah Sanders Day.

When asked to explain the philosophy behind the music that Baraka described as “long tissues of sounded emotion”, he replied: “I was just trying to see if I could play a pretty note, a pretty sound.” In later years, those who arrived at his concerts expecting the white-bearded figure to produce the squalls of sound that characterised Coltrane’s late period were often surprised by the gentleness with which he could enunciate a ballad. “When I’m trying to play music,” he said, “I’m telling the truth about myself.”

🔔 Pharoah (Farrell) Sanders, saxophonist and composer, born 13 October 1940; died 24 September 2022

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[teamyellboss]

Music & Draining Kiss Cadenza

So Piers is a very popular musician in Galar, yeah? And he’s typically seen doing it all SOLO.

He’s known better for his singing as that’s what he publishes in his actual name. He has a stage name out there somewhere too. Quite a few of them actually. He uses them to publish test songs and the like just to see what the public will actually like and enjoy. He’s done many recording sessions alone, mixed sounds together on his own, etc. etc. He’s REALLY FUCKING TALENTED, but always sells himself short.

Though what ARE his other talents, you might ask? Well other than singing/screamo, he can play a multitude of different instruments;

Guitar; acoustic, electric, u name it he can play it

Drums

Electric keyboard & Piano

Flute

Saxophone

Xylophone

Violin & Viola ; Electrical, classical

Cello

Harp

And he’s learning many many more in his free time

He’s well known for his rock/metal/heavy metal, yeah. That’s what his fans seem to enjoy most from him so that’s what he releases under HIS name. But his secondary favorite genre is CLASSICAL. He has at least 4 classical albums out there that got popular, but they’re under a code-name and no one has ever found out it’s HIM under that name. Will the world ever know? Who knows! Fans are sad that they never get to see this artist in concert, though.

He’s responded to the classical fans online and on Social Media, but that’s it, sadly. Maybe someday he’ll step out and show the public who is behind it!

The code name? Draining Kiss Cadenza. Cadenza for short Draining Kiss; Fairy Type move (Fairy types super effective against dark types) Cadenza;  An extended solo (played alone) for the soloist in a concerto. A cadenza can also be a solo in an orchestral work for one or a group of instruments.

[statesofexception]

Michael Wolters — 'There are more of them than us: A Queer Concerto for 9 Saxophones and Orchestra' (2018)

Performed by Barry Wordsworth and the Royal Birmingham Conservatoire Saxophone Department and Symphony Orchestra

[jtristan]

background jazz N°21 'Jazz Harmony'

Welcome to our latest jazz compilation, "Jazz Harmony." This captivating track starts with an upbeat jazz piano, flowing into a lively jazz guitar solo. The music then transitions to the rich, mellow tones of the saxophone, and concludes with a calming piano finish. Each piece is a concerto, blending seamlessly to create an enchanting and cohesive musical journey.

[lesser-known-composers]

Kenneth Fuchs - RUSH: Concerto for Alto Saxophone

Hunter Hellard

This performance is from the winners concert of the 2023 Ithaca College Concerto Competition with the IC Wind Symphony. Conductor: Benjamin Rochford

[streetqueenofmars]

So, Tumblr informed me that my account turned 4 years old 14 days ago.

To celebrate, here is a list of random shit that I can't stop thinking about:

How big a lot of classical art actually is.

Five in every six planets in the known universe are believed to be rogue planets.

The Toyota War.

Salva Kiir's (The president of South Sudan) hat.

Glazunov's saxophone concerto.

The connections between 'A Tale of Two Cities' by Charles Dickens and 'Les Miserables' by Victor Hugo.

The Final Fantasy franchise is made up of individual stand-alone games instead of an on-going series.

The Iran-Contra Affair.

The Hungarian animated film 'The Tragedy of Man'.

Super Smash Bros. Ultimate.

The Spanish Civil War.

'The Threepenny Opera' is a reimagining of 'The Beggar's Opera'.

THAT LETTER Tito wrote to Stalin.

Victoria Woodhull.

The Aral Sea and the Soviet cotton scandal.

The song 'Mutima' by Tio Nasan.

[ozkar-krapo]

Myriam MARBÉ [feat. Daniel KIENTZY]

"Concerto pour Daniel Kientzy et Saxophone(s) / Trommelbass"

(LP. Electrecord. 1987) [RO]

[onenakedfarmer]

Currently Playing

Anton Webern BOULEZ CONDUCTS WEBERN - VOL. I

Piano Quintet (1907)

Entflieht auf leichten Kähnen for Mixed Choir, Op. 2

Lieder for Voice and Eight Instruments, Op. 8

Pieces For Orchestra Op. 10

Lieder for Voice and Orchestra, Op. 13

Lieder for Voice, Clarinet, Bass Clarinet, Violin, and Cello, Op. 14

Sacred Songs for Voice, Flute, Clarinet, Bass Clarinet, Trumpet, Harp, Violin, and Viola, Op. 15

Canons for High Soprano, Clarinet, and Bass Clarinet Op. 16

Traditional Rhymes for Voice, Violin, Viola, Clarinet, and Bass Clarinet Op. 17

Lieder for Voice, E-flat Clarinet, and Guitar, Op. 18

Lieder for Mixed Choir accompanied by Celesta, Guitar, Violin, Clarinet, and Bass Clarinet, Op. 19

Quartet for Violin, Clarinet, Tenor Saxophone, and Piano, Op. 22

Concerto for Flute, Oboe, Clarinet, Horn, Trumpet, Trombone, Violin, Viola, and Piano, Op. 24

[soulmusicsongs]

Big Band Funk

Big Band Funk in 13 tracks: Funky music performed by azz orchestras.

Are You Ready For This - Kashmere Stage Band ‎(Bumper To Bumper Soul, 1970)

Breakaway - Part One - The Steve Karmen Big Band Featuring Jimmy Radcliffe (Breakaway - Part One / Breakaway - Part Two, 1968)

Concerto For Right Foot And Orchestra - Georges Hayes And Philarpopic Orchestra (Steeple Chase / Concerto For Right Foot And Orchestra, 1971)

Dirty Feet - Daly-Wilson Big Band Featuring Kerrie Biddell (The Exciting Daly-Wilson Big Band, 1972)

Italian Pears II - Giovanni Tommaso With The Healthy Food Band (La Banda Del Cibo Salutare, 1970)

Kahn El-Khaleely - Cairo Jazz Band (Egypt Strut / Kahn El-Khaleely, 197?)

Oh Saviour - Solid Rock Big Band (Born Again, 1979)

Sham Time - T. Honda and His Orchestra ‎(What’s Going On, 1971)

Soul Five - Klaus Lenz Modern Soul Big Band (Klaus Lenz Modern Soul Big Band, 1974)

Soul Mate - Soul Extravaganza ‎(Soul Extravaganza (The Big Band Soul), 1969)

Street Preacher - The Mike Hankinson Big Band (South African Safari, 1975)

Superstition - The Airmen Of Note (Brothers In Blue, 1974)

There’s A Promise For The Future - Helmut Pistor’s Big Rock Jazz Band (There’s A Promise For The Future / Into My Life, 196?)

More Soul Music

Saxophone Soul

Soul Jazz: 20 tracks

Funky Harp: 10 soulful harp tracks

[orpheuschains]

You like music? The people brought here like me are musicians, too. I can play, but I’d hardly call it music. When we meet, I shall play something for you! Let’s all perform together,

I hope I don’t let you down.

Music is what I came here for. It thunders in my veins and I am so very hungry for it. I was made hungry for it, designed for it, though I understand that I doubtless sound hyperbolic.

Though, sometimes it isn't about the music I give, not in that strict of a sense, it's the performance. The show of it all. An average audience hardly could tell the technical skill of a piece apart, but if you act to be enough of an entertainer they applaude regardless.

Perhaps one day we could play, though I have been known to drown others out with my instrument of choice, a saxophone is never quiet. Rarely the support in a piece. I daresay it would be better a duet than a concerto, if you understand.