#relaxin' with lee

[ask-the-badman]

“A hear ya~” Lee focused his hands on the others right shoulder, kneading his palms into the tender flesh. He’d never expected to find such soft skin, despite the scars, or the bumps his back was filled with.

He sighs through his nose, black curls falling over his pale face. He could get used to this, to the calm. It was just as relaxin for him as it probably was for Johnny, even if he wasn’t the one receiving the massage. “So..” He paused to clear his throat, “tell me ‘bout yeself..”

A low groan of pain left Johnny's throat, feeling the tight knot of muscles in his shoulder and down along the blade being worked out. Years of built up tension from hard labor, and other strenuous activities of the Family Business sort slowly being soothed away by skilled hands.

Though marginally distracted by their hands, he did chuckle faintly to their question. "What's ta tell? I like killin' people, bringin' their bodies back ta feed or aid the Family in some way or keep 'em fer myself. Outside'a that... I don' do much else, it's only ever been about Family this or Family that. Mostly jus' the huntin' hound when victims escape, least what it feels like..." He sighed while letting his eyes close fully. Black out one sense so he can feel those hands working on him more.

[sheetmusiclibrarypdf]

Charlie Parker: the 100 most inspiring musicians of all time

Charlie Parker: the 100 most inspiring musicians of all time

American alto saxophonist, composer, and bandleader, Charlie Parker (b. Aug. 29, 1920, Kansas City, Kan., U.S.—d. March 12, 1955, New York, N.Y.) was the principal stimulus of the modern jazz idiom known as bebop, and—together with Louis Armstrong and Ornette Coleman—was one of the great revolutionary geniuses in jazz.

Charlie Parker grew up in Kansas City, Missouri, during the great years of Kansas City jazz, and began playing alto saxophone when he was 13. At 14, he quit school and began performing with youth bands, and at 16 he was married— the first of his four marriages. The most significant of his early stylistic influences were tenor saxophone innovator Lester Young and the advanced swing-era alto saxophonist Buster Smith, in whose band Parker played in 1937. Parker recorded his first solos as a member of Jay McShann’s band, with whom he toured the eastern United States in 1940–42. It was at this time that his childhood nickname “Yardbird” was shortened to “Bird.” His growing friendship with trumpeter Dizzy Gillespie led Parker to develop his new music in avant-garde jam sessions in New York’s Harlem. Bebop grew out of these experiments by Parker, Gillespie, and their adventurous colleagues; the music featured chromatic harmonies and, influenced especially by Parker, small note values and seemingly impulsive rhythms. Parker and Gillespie played in Earl Hines’s swing oriented band and Billy Eckstine’s more modern band. In 1944, they formed their own small ensemble, the first working bebop group. The next year Parker made a series of classic recordings with Red Norvo, with Gillespie’s quintet (“Salt Peanuts” and “Shaw Nuff ”), and for his own first solo recording session (“Billie’s Bounce,” “Now’s the Time,” and “Koko”). The new music he was espousing aroused controversy, but also attracted a devoted audience. By this time Parker had been addicted to drugs for several years. While working in Los Angeles with Gillespie’s group and others, Parker collapsed in the summer of 1946, suffering from heroin and alcohol addiction, and was confined to a state mental hospital. Following his release after six months, Parker formed his own quintet, which included trumpeter Miles Davis and drummer Max Roach. He performed regularly in New York City and on tours to major U.S. cities and abroad, played in a Gillespie concert at Carnegie Hall (1947), recorded with Machito’s Afro-Cuban band (1949–50), and toured with the popular Jazz at the Philharmonic troupe (1949). A Broadway nightclub, Birdland, was named after him, and he performed there on opening night in late 1949; Birdland became the most famous of 1950s jazz clubs.

The recordings Parker made for the Savoy and Dial labels in 1945–48 (including the “Koko” session, “Relaxin’ at Camarillo,” “Night in Tunisia,” “Embraceable You,” “Donna Lee,” “Ornithology,” and “Parker’s Mood”) document his greatest period. He had become the model for a generation of young saxophonists. His alto tone was hard and ideally expressive, with a crying edge to his highest tones and little vibrato. One of his most influential innovations was the establishment of eighth notes as the basic units of his phrases. The phrases themselves he broke into irregular lengths and shapes and applied asymmetrical accenting. Parker’s most popular records, recorded in 1949–50, featured popular song themes and brief improvisations accompanied by a string orchestra. These recordings came at the end of a period of years when his narcotics and alcohol addictions had a less disruptive effect on his creative life. By the early 1950s, however, he had again begun to suffer from the cumulative effects of his excesses; while hospitalized for treatment of an ulcer, he was informed that he would die if he resumed drinking. He was banned from playing in New York City nightclubs for 15 months. He missed engagements and failed to pay his accompanying musicians, and his unreliability led his booking agency to stop scheduling performances for him. Even Birdland, where he had played regularly, eventually fired him. His two year-old daughter died of pneumonia; his fourth marriage fell apart. He twice attempted suicide and again spent time in a mental hospital. If Parker’s life was chaotic in the 1950s, he nonetheless retained his creative edge. From roughly 1950 he abandoned his quintet to perform with a succession of usually small, ad hoc jazz groups; on occasion he performed with Latin American bands, big jazz bands (including Stan Kenton’s and Woody Herman’s), or string ensembles. Recording sessions with several quartets and quintets produced such pieces as “Confirmation,” “Chi-Chi,” and “Bloomdido,” easily the equals of his best 1940s sessions. Outstanding performances that were recorded at concerts and in nightclubs also attest to his vigorous creativity during this difficult period. He wanted to study with classical composer Edgard Varèse, but, before the two could collaborate, Parker’s battle with ulcers and cirrhosis of the liver got the better of him. While visiting his friend Baroness Nica de Koenigswarter, he was persuaded to remain at her home because of his illness; there, a week after his last engagement, he died of a heart attack. The impact of Parker’s tone and technique has already been discussed; his concepts of harmony and melody were equally influential. Rejecting the diatonic scales common to earlier jazz, Parker improvised melodies and composed themes using chromatic scales. Often he played phrases that implied added harmonies or created passages that were only distantly related to his songs’ harmonic foundations (chord changes). Yet for all the tumultuous feelings in his solos, he created flowing melodic lines. At slow tempos as well as fast, his were intense improvisations that communicated complex, often subtle emotions. The harmonies and inflections of the blues, which he played with passion and imagination, reverberated throughout his improvisations. Altogether, Parker’s lyric art was a virtuoso music resulting from a coordination of nerve, muscle, and intellect that pressed human agility and creativity to their limits.

Jazz sheet music and transcriptions download.

Charlie Parker - The Best of Charlie Parker volume 1

https://www.youtube.com/watch?v=eeM0JMgj358

Track List:

1. Cool Blues 00:00 2. No problem 3:34 3. Satan in Hight Heels 12:26 4. What’s Right for you 15:52 5. Montage 19:03 6. Shawnuff 21:15 7. You and The Night and The Music 25:42 8. Cheryl 29:02 9. Lost and Lonely 35:14 10. Sidewinder 38:51 11. Abstract Art 41:12 12. Bongo Bop 44:05 13. Easy Side Drive 48:56 14. Jazz Vendor 51:46 15. Coffee Coffee 56:37 16. Over the rainbow 1:00:06 17. Subway Inn 1:02:25 18. The Hymn 1:06:27 19. All the things you are 1:12:04 20. Communion 1:15:25 21. Lake in the woods 1:21:31 22. The Feeling of Love 1:25:01 23. Bongo Beep 1:32:14 24. From Mundy On 1:36:55 25. Pittfall 1:40:15 26. Impulse 1:43:50 27. Long Knife 1:49:16 28. Melancholy Madeline 1:51:35 29. Stop and Listen 1:54:18 30. Blues For A Stripper 1:59:05 31. Born Again 2:02:30 32. Gabriel 2:08:14 Read the full article

[theuncommoncorner]

ASK: Prom and after prom headcanons for Neji, Itachi, and Sasuke and their s/o?? Who would make an effort to dance? What would they do when prom is over? So many questions!😁

NEJI

During prom, Neji is an absolute gem! His chivalrous upbringing knows no bounds. He can still be a killjoy of course but you can’t always have the best of both worlds. He’s very attentive to his date and always making sure they are taking care of.

He will dance twice. The first time is because his partner dragged him on to the dance floor with TenTen and Lee’s help. The second time is when the slow music starts and Neji feels obligated to dance with them. If Neji and his s/o have been together throughout high school then they are dancing more. It’s no longer him feeling obligated but him wanting to spend time with his partner.

EVERYONE is FREAKING OUT. They look sharp! They are probably the best dressed there. They receive compliments the entire night. No one bothers them, why would they? Neji would give them that glare and shut them down so fast. Everyone else would most likely yell at them.

He’s taking his date home after prom then he’s going home and sleeping. He might take them out for some tea or somewhere quiet to eat. He will talk to them the next day to about their night and anything they want to do that day. He’s a sweetheart that always checks up on his s/o.

ITACHI

During prom, Itachi is just relaxin’ the whole time. He will make sure his date is taken care of and will dance to a few songs. The night is mostly spent with the two of them talking the whole time. They enjoy seeing everyone having fun but like to keep to themselves. (He is going to test the drinks provided for them first just in case)

Like I said before he’ll dance to a few songs but the majority of the night is spent with him chatting with his date. Itachi is not a flashy dancer that knows some secret moves. He’s just an average dancer that likes to spend time with his s/o on the peaceful side of the room.  

Everyone else will give them some compliments if they decide to dress really nice. They will still receive compliments if they don’t just not as many. They might encounter some sticklers that won’t leave them alone because they might not realize they should be minding their own business but it happens  ¯\_(ツ)_/¯

After prom, Itachi and his s/o are going to the Waffle House or something like that. There will be a decent amount of people there that are not as loud as those in the venue where prom took place.  

SASUKE

During prom, Sasuke will be a gentleman and look after his date. They spend the night chatting and sitting more towards the middle of the room. Sasuke is okay with being around everyone. As long as not too many people bother him throughout the night he’ll be fine. If Sasuke and his s/o are voted as prom king and queen/prom king and king he won’t be surprised. He’ll feel annoyed because he’s tired of always being the center of attention.

He dances once. They dance to the slow song he requested at the beginning of prom. If his s/o wants to dance then they should not let him stop them. Sasuke has rhythm but that it. He’s not that big of a dancer so his moves are equivalent to a 6-year-old that decided to try and dance to the Dougie at a family get together. (The Dougie is an American dance move that was released in 2011 and is a part of the go-to songs at parties, clubs, family reunions/get-togethers, and middle school mixers.)

If these people don’t leave Sasuke and his date alone he just might leave and the chaperones cannot stop him. “Thanks for the compliment, now leave us be. You’re the 30th person that’s approached us, we get it.” (The only reason I headcanon Sasuke like this is because he’s always in the limelight. Being the center of attention for so long really takes a toll on him and I’m sure his s/o would get annoyed after a while.)

After prom, they would go out somewhere quiet. A walk through a garden would not surprise me or a quick trip to the local ramen & sushi shop if it’s not too crowded.

[moonttaeil]

you are so cool ngl, i thought you were intimidating after reading a few of your works but noo you're chill and i love it. also, your url is just plain taeil like you're vibing with it ajhshshw mark lee now why does he have such a thicc booty? we will never know

I'm the least intimidating person on this site like all my followers clown me lmaooo but anyways yeah I vibe with my short king taeil so much like he out of drama he just chillin and relaxin yeah I love that mood tbh

[blackkudos]

John Coltrane

John William Coltrane, also known as Trane (September 23, 1926 – July 17, 1967), was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and was later at the forefront of free jazz. He led at least fifty recording sessions during his career, and appeared as a sideman on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk.

As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in music history. He received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane and a special Pulitzer Prize in 2007. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist.

Biography

Early life and career (1926–1954)

Coltrane was born in his parents' apartment at 200 Hamlet Avenue, Hamlet, North Carolina on September 23, 1926. His father was John R. Coltrane and his mother was Alice Blair. He grew up in High Point, North Carolina, attending William Penn High School (now Penn-Griffin School for the Arts). Beginning in December 1938 Coltrane's aunt, grandparents, and father all died within a few months of one another, leaving John to be raised by his mother and a close cousin. In June 1943 he moved to Philadelphia. In September of that year his mother bought him his first saxophone, an alto. Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. He had his first professional gigs in early to mid-1945 – a "cocktail lounge trio", with piano and guitar.

To avoid being drafted by the Army, Coltrane enlisted in the Navy on August 6, 1945, the day the first U.S. atomic bomb was dropped on Japan. He was trained as an apprentice seaman at Sampson Naval Training Station in upstate New York before he was shipped to Pearl Harbor, where he was stationed at Manana Barracks, the largest posting of African-American servicemen in the world. By the time he got to Hawaii, in late 1945, the Navy was already rapidly downsizing. Coltrane's musical talent was quickly recognized, though, and he became one of the few Navy men to serve as a musician without having been granted musicians rating when he joined the Melody Masters, the base swing band. As the Melody Masters was an all-white band, however, Coltrane was treated merely as a guest performer to avoid alerting superior officers of his participation in the band. He continued to perform other duties when not playing with the band, including kitchen and security details. By the end of his service, he had assumed a leadership role in the band. His first recordings, an informal session in Hawaii with Navy musicians, occurred on July 13, 1946. Coltrane played alto saxophone on a selection of jazz standards and bebop tunes.

After being discharged from his duties in the Navy, as a seaman first class in August 1946, Coltrane returned to Philadelphia, where he "plunged into the heady excitement of the new music and the blossoming bebop scene." After touring with King Kolax, he joined a Philly-based band led by Jimmy Heath, who was introduced to Coltrane's playing by his former Navy buddy, the trumpeter William Massey, who had played with Coltrane in the Melody Masters. In Philadelphia after the war, he studied jazz theory with guitarist and composer Dennis Sandole and continued under Sandole's tutelage through the early 1950s. Originally an altoist, in 1947 Coltrane also began playing tenor saxophone with the Eddie Vinson Band. Coltrane later referred to this point in his life as a time when "a wider area of listening opened up for me. There were many things that people like Hawk [Coleman Hawkins], and Ben [Webster] and Tab Smith were doing in the '40s that I didn't understand, but that I felt emotionally." A significant influence, according to tenor saxophonist Odean Pope, was the Philadelphia pianist, composer, and theorist Hasaan Ibn Ali. "Hasaan was the clue to ... the system that Trane uses. Hasaan was the great influence on Trane’s melodic concept."

An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a DownBeat article in 1960 he recalled: "the first time I heard Bird play, it hit me right between the eyes." Parker became an early idol, and they played together on occasion in the late 1940s.

Contemporary correspondence shows that Coltrane was already known as "Trane" by this point, and that the music from some 1946 recording sessions had been played for trumpeter Miles Davis—possibly impressing him.

Coltrane was a member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early to mid-1950s.

Miles and Monk period (1955–1957)

In the summer of 1955, Coltrane was freelancing in Philadelphia while studying with guitarist Dennis Sandole when he received a call from Davis. The trumpeter, whose success during the late forties had been followed by several years of decline in activity and reputation, due in part to his struggles with heroin, was again active and about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet"—along with Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums) from October 1955 to April 1957 (with a few absences). During this period Davis released several influential recordings that revealed the first signs of Coltrane's growing ability. This quintet, represented by two marathon recording sessions for Prestige in 1956, resulted in the albums Cookin', Relaxin', Workin', and Steamin'. The "First Great Quintet" disbanded due in part to Coltrane's heroin addiction.

During the later part of 1957 Coltrane worked with Thelonious Monk at New York’s Five Spot Café, and played in Monk's quartet (July–December 1957), but, owing to contractual conflicts, took part in only one official studio recording session with this group. Coltrane recorded many albums for Prestige under his own name at this time, but Monk refused to record for his old label. A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records as Live at the Five Spot—Discovery!in 1993. A high quality tape of a concert given by this quartet in November 1957 was also found later, and was released by Blue Note in 2005. Recorded by Voice of America, the performances confirm the group's reputation, and the resulting album, Thelonious Monk Quartet with John Coltrane at Carnegie Hall, is widely acclaimed.

Blue Train, Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original Coltrane compositions, and the title track, "Moment's Notice", and "Lazy Bird", have become standards. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes.

Davis and Coltrane

Coltrane rejoined Davis in January 1958. In October of that year, jazz critic Ira Gitler coined the term "sheets of sound" to describe the style Coltrane developed during his stint with Monk and was perfecting in Davis' group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. He stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in the Davis sessions Milestones and Kind of Blue, and the concert recordings Miles & Monk at Newport(1963) and Jazz at the Plaza (1958).

Period with Atlantic Records (1959-1961)

At the end of this period Coltrane recorded his first album as leader for Atlantic Records, Giant Steps (1959), which contained only his compositions. The album's title track is generally considered to have one of the most difficult chord progressions of any widely played jazz composition. Giant Steps utilizes Coltrane changes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he continued throughout his career.

Coltrane formed his first quartet for live performances in 1960 for an appearance at the Jazz Gallery in New York City. After moving through different personnel including Steve Kuhn, Pete La Roca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions were the later released albums Coltrane's Sound (1964) and Coltrane Plays the Blues (1962).

Coltrane's first record with his new group was also his debut playing the soprano saxophone, the hugely successful My Favorite Things(1960). Around the end of his tenure with Davis, Coltrane had begun playing soprano, an unconventional move considering the instrument's neglect in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for Sidney Bechet and the work of his contemporary, Steve Lacy, even though Davis claimed to have given Coltrane his first soprano saxophone. The new soprano sound was coupled with further exploration. For example, on the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement used on Giant Steps (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26–2", "Satellite", "Body and Soul", and "The Night Has a Thousand Eyes".

First years with Impulse Records (1959–1961)

In May 1961, Coltrane's contract with Atlantic was bought out by the newly formed Impulse! Records label. An advantage to Coltrane recording with Impulse! was that it would enable him to work again with engineer Rudy Van Gelder, who had taped both his and Davis' Prestige sessions, as well as Blue Train. It was at Van Gelder's new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label.

By early 1961, bassist Davis had been replaced by Reggie Workman, while Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he had played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. John Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!" The most celebrated of the Vanguard tunes, the 15-minute blues, "Chasin' the 'Trane", was strongly inspired by Gilmore's music.

During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was booed during his final tour with Davis. In 1961, Down Beat magazine indicted Coltrane and Dolphy as players of "Anti-Jazz", in an article that bewildered and upset the musicians. Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also known as "Free Jazz" and "Avant-Garde") movement led by Ornette Coleman, which was also denigrated by some jazz musicians (including Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being".

Classic Quartet period (1962–1965)

In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk About You".

The criticism of the quintet with Dolphy may have affected Coltrane. In contrast to the radicalism of his 1961 recordings at the Village Vanguard, his studio albums in the following two years (with the exception of Coltrane, 1962, which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album Duke Ellington and John Coltrane and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The album Ballads (recorded 1961–62) is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember". Despite a more polished approach in the studio, in concert the quartet continued to balance "standards" and its own more exploratory and challenging music, as can be heard on the Impressions (recorded 1961–63), Live at Birdland and Newport '63 (both recorded 1963). Impressions consists of two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues. Coltrane later said he enjoyed having a "balanced catalogue."

The Classic Quartet produced their best-selling album, A Love Supreme, in December 1964. A culmination of much of Coltrane's work up to this point, this four-part suite is an ode to his faith in and love for God. These spiritual concerns characterized much of Coltrane's composing and playing from this point onwards—as can be seen from album titles such as Ascension, Om and Meditations. The fourth movement of A Love Supreme, "Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. The album was composed at Coltrane's home in Dix Hills on Long Island.

The quartet played A Love Supreme live only once—in July 1965 at a concert in Antibes, France.

Avant-garde jazz and the second quartet (1965–1967)

In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock, who had also worked with Paul Bley, and drummer Sunny Murray, whose playing was honed with Cecil Taylor as leader. Coltrane championed many younger free jazz musicians such as Archie Shepp, and under his influence Impulse! became a leading free jazz record label.

After A Love Supreme was recorded, Ayler's style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return of Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings The John Coltrane Quartet Plays, Living Space, Transition (both June 1965), New Thing at Newport (July 1965), Sun Ship (August 1965), and First Meditations (September 1965).

In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record Ascension, a 40-minute piece that included solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Sanders to join the band in September 1965. While Coltrane frequently used over-blowing as an emotional exclamation-point, Sanders would overblow entire solos, resulting in a constant screaming and screeching in the altissimo range of the instrument.

Adding to the quartet

By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of Meditations. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free-jazz form's intensity into their own solo projects.

There is speculation that in 1965 Coltrane began using LSD, informing the "cosmic" transcendence of his late period. After the departure of Jones and Tyner, Coltrane led a quintet with Sanders on tenor saxophone, his second wife Alice Coltrane on piano, Garrison on bass, and Ali on drums. Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". When touring, the group was known for playing very lengthy versions of their repertoire, many stretching beyond 30 minutes and sometimes being an hour long. Concert solos for band members often extended beyond fifteen minutes.

The group can be heard on several concert recordings from 1966, including Live at the Village Vanguard Again! and Live in Japan. In 1967, Coltrane entered the studio several times; though pieces with Sanders have surfaced (the unusual "To Be", which features both men on flutes), most of the recordings were either with the quartet minus Sanders (Expression and Stellar Regions) or as a duo with Ali. The latter duo produced six performances that appear on the album Interstellar Space.

Death and funeral

Coltrane died of liver cancer at Huntington Hospital on Long Island on July 17, 1967, at the age of 40. His funeral was held four days later at St. Peter's Lutheran Church in New York City. The service was opened by the Albert Ayler Quartet and closed by the Ornette Coleman Quartet. Coltrane is buried at Pinelawn Cemetery in Farmingdale, New York.

One of his biographers, Lewis Porter, has suggested that the cause of Coltrane's illness was hepatitis, although he also attributed the disease to Coltrane's heroin use. In a 1968 interview Ayler claimed that Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, although Alice Coltrane later denied this.

Coltrane's death surprised many in the musical community who were not aware of his condition. Davis said that "Coltrane's death shocked everyone, took everyone by surprise. I knew he hadn't looked too good... But I didn't know he was that sick—or even sick at all."

Personal life and religious beliefs

In 1955, Coltrane married Naima (born Juanita Grubbs). Naima Coltrane, who was already a Muslim convert, heavily influenced his spirituality. When they married, Naima had a five-year-old daughter named Antonia, later named Saeeda. Coltrane adopted Saeeda. Coltrane met Naima at the home of bassist Steve Davis in Philadelphia. The love ballad he wrote to honor his wife, "Naima" was Coltrane's favorite composition. In 1956 the couple left Philadelphia with their six-year-old daughter in tow and moved to New York City. In August 1957, Coltrane, Naima and Saeeda moved into an apartment on 103d St. and Amsterdam Ave. in New York, near Central Park West. A few years later, John and Naima Coltrane purchased a home on Long Island on Mexico Street. This is the house where they would eventually break up in 1963. Said Naima about the break in J.C. Thomas's Chasin' the Trane: "I could feel it was going to happen sooner or later, so I wasn't really surprised when John moved out of the house in the summer of 1963. He didn't offer any explanation. He just told me there were things he had to do, and he left only with his clothes and his horns. He stayed in a hotel sometimes, other times with his mother in Philadelphia. All he said was, 'Naima, I'm going to make a change.' Even though I could feel it coming, it hurt, and I didn't get over it for at least another year." But Coltrane kept a close relationship with Naima, even calling her in 1964 to tell her that 90% of his playing would be prayer. Coltrane would be dead in four years, but he always kept in touch with her. Naima brought serenity and a calmness into his life. All who knew Naima described her gentle spirit and serenity. They remained in touch until his death in 1967. Naima Coltrane died of a heart attack in October 1996.

Coltrane and Naima were officially divorced in 1966. In 1963, Coltrane met pianist Alice McLeod. He and Alice moved in together and had two sons before he was "officially divorced from Naima in 1966, at which time John and Alice were immediately married." John Jr. was born in 1964, Ravi in 1965, and Oranyan ("Oran") in 1967. According to the musician and author Peter Lavezzoli, "Alice brought happiness and stability to John's life, not only because they had children, but also because they shared many of the same spiritual beliefs, particularly a mutual interest in Indian philosophy. Alice also understood what it was like to be a professional musician."

Coltrane was born and raised in a Christian home, and was influenced by religion and spirituality from childhood. His maternal grandfather, the Reverend William Blair, was a minister at an African Methodist Episcopal Zion Church in High Point, North Carolina, and his paternal grandfather, the Reverend William H. Coltrane, was an A.M.E. Zion minister in Hamlet, North Carolina. Critic Norman Weinstein noted the parallel between Coltrane's music and his experience in the southern church, which included practicing music there as a youth.

In 1957, Coltrane had a religious experience that may have helped him overcome the heroin addiction and alcoholism he had struggled with since 1948. In the liner notes of A Love Supreme, Coltrane states that, in 1957, "I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music." The liner notes appear to mention God in a Universalist sense, and do not advocate one religion over another. Further evidence of this universal view regarding spirituality can be found in the liner notes of Meditations(1965), in which Coltrane declares, "I believe in all religions."

After A Love Supreme, many of the titles of Coltrane's songs and albums were linked to spiritual matters: Ascension, Meditations, Om, Selflessness, "Amen", "Ascent", "Attaining", "Dear Lord", "Prayer and Meditation Suite", and "The Father and the Son and the Holy Ghost". Coltrane's collection of books included The Gospel of Sri Ramakrishna, the Bhagavad Gita, and Paramahansa Yogananda's Autobiography of a Yogi. The last of these describes, in Lavezzoli's words, a "search for universal truth, a journey that Coltrane had also undertaken. Yogananda believed that both Eastern and Western spiritual paths were efficacious, and wrote of the similarities between Krishna and Christ. This openness to different traditions resonated with Coltrane, who studied the Qur'an, the Bible, Kabbalah, and astrology with equal sincerity." He also explored Hinduism, Jiddu Krishnamurti, African history, the philosophical teachings of Plato and Aristotle, and Zen Buddhism.

In October 1965, Coltrane recorded Om, referring to the sacred syllable in Hinduism, which symbolizes the infinite or the entire Universe. Coltrane described Om as the "first syllable, the primal word, the word of power". The 29-minute recording contains chants from the Hindu Bhagavad Gita and the Buddhist Tibetan Book of the Dead, and a recitation of a passage describing the primal verbalization "om" as a cosmic/spiritual common denominator in all things.

Coltrane's spiritual journey was interwoven with his investigation of world music. He believed not only in a universal musical structure that transcended ethnic distinctions, but in being able to harness the mystical language of music itself. Coltrane's study of Indian music led him to believe that certain sounds and scales could "produce specific emotional meanings." According to Coltrane, the goal of a musician was to understand these forces, control them, and elicit a response from the audience. Coltrane said: "I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured; when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed."

Religious figure

After Coltrane's death, a congregation called the Yardbird Temple in San Francisco began worshiping him as God incarnate. The group was named after Charlie Parker, whom they equated to John the Baptist. The congregation later became affiliated with the African Orthodox Church; this involved changing Coltrane's status from a god to a saint. The resultant St. John Coltrane African Orthodox Church, San Francisco is the only African Orthodox church that incorporates Coltrane's music and his lyrics as prayers in its liturgy.

Samuel G. Freedman wrote in a New York Times article that "the Coltrane church is not a gimmick or a forced alloy of nightclub music and ethereal faith. Its message of deliverance through divine sound is actually quite consistent with Coltrane's own experience and message." Freedman also commented on Coltrane's place in the canon of American music:

In both implicit and explicit ways, Coltrane also functioned as a religious figure. Addicted to heroin in the 1950s, he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. [...] In 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, "A saint."

Coltrane is depicted as one of the 90 saints in the Dancing Saints icon of St. Gregory of Nyssa Episcopal Church in San Francisco. The icon is a 3,000-square-foot (280 m2) painting in the Byzantine iconographic style that wraps around the entire church rotunda. It was executed by Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church, who painted other icons of Coltrane for the Coltrane Church. Saint Barnabas Episcopal Church in Newark, New Jersey, included Coltrane on their list of historical black saints and made a "case for sainthood" for him in an article on their former website.

Documentaries on Coltrane and the church include Alan Klingenstein's The Church of Saint Coltrane (1996), and a 2004 program presented by Alan Yentob for the BBC.

Instruments

In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the instrument he became known for playing primarily. Coltrane's preference for playing melody higher on the range of the tenor saxophone (as compared to, for example, Coleman Hawkins or Lester Young) is attributed to his start and training on the alto horn and clarinet; his "sound concept" (manipulated in one's vocal tract—tongue, throat) of the tenor was set higher than the normal range of the instrument.

In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well. Toward the end of his career, he experimented with flute in his live performances and studio recordings (Live at the Village Vanguard Again!, Expression). After Dolphy died in June 1964, his mother is reported to have given Coltrane his flute and bass clarinet.

Coltrane's tenor (Selmer Mark VI, serial number 125571, dated 1965) and soprano (Selmer Mark VI, serial number 99626, dated 1962) saxophones were auctioned on February 20, 2005 to raise money for the John Coltrane Foundation. The soprano raised $70,800 but the tenor remained unsold.

Legacy

The influence Coltrane has had on music spans many genres and musicians. Coltrane's massive influence on jazz, both mainstream and avant-garde, began during his lifetime and continued to grow after his death. He is one of the most dominant influences on post-1960 jazz saxophonists and has inspired an entire generation of jazz musicians.

In 1965, Coltrane was inducted into the Down Beat Jazz Hall of Fame. In 1972, A Love Supreme was certified gold by the RIAA for selling over half a million copies in Japan. This album, as well as My Favorite Things, was certified gold in the United States in 2001. In 1982 he was awarded a posthumous Grammy for "Best Jazz Solo Performance" on the album Bye Bye Blackbird, and in 1997 he was awarded the Grammy Lifetime Achievement Award. In 2002, scholar Molefi Kete Asante named Coltrane one of his 100 Greatest African Americans. Coltrane was awarded a special Pulitzer Prize in 2007 citing his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz." He was inducted into the North Carolina Music Hall of Fame in 2009.

His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in 2007. A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999. His last home, the John Coltrane Home in the Dix Hills district of Huntington, New York, where he resided from 1964 until his death, was added to the National Register of Historic Places on June 29, 2007. One of their sons, Ravi Coltrane, named after the sitarist Ravi Shankar, is also a saxophonist.

The Coltrane family reportedly possesses much more unreleased music, mostly mono reference tapes made for the saxophonist, and, as with the 1995 release Stellar Regions, master tapes that were checked out of the studio and never returned. The parent company of Impulse!, from 1965 to 1979 known as ABC Records, purged much of its unreleased material in the 1970s. Lewis Porter has stated that Alice Coltrane intended to release this music, but over a long period of time; Ravi Coltrane is responsible for reviewing the material.

Chasing Trane: The John Coltrane Documentary, is a 2016 American film directed by John Scheinfeld. Narrated by Denzel Washington, the film chronicles the life of Coltrane in his own words, and includes interviews with such admirers as Wynton Marsalis, Sonny Rollins, and Cornel West.

Discography

The discography below lists albums conceived and approved by Coltrane as a leader during his lifetime. It does not include his many releases as a sideman, sessions assembled into albums by various record labels after Coltrane's contract expired, sessions with Coltrane as a sideman later reissued with his name featured more prominently, or posthumous compilations, except for the one he approved before his death. See main discography link above for full list.

Prestige and Blue Note Records

Coltrane (debut solo LP) (1957)

Blue Train (1957)

John Coltrane with the Red Garland Trio (1958)

Soultrane (1958)

Atlantic Records

Giant Steps (first album entirely of Coltrane compositions) (1960)

Coltrane Jazz (first appearance by McCoy Tyner and Elvin Jones) (1961)

My Favorite Things (1961)

Olé Coltrane (features Eric Dolphy, compositions by Coltrane and Tyner) (1961)

Impulse! Records

Africa/Brass (brass arranged by Tyner and Dolphy) (1961)

Live! at the Village Vanguard (features Dolphy, first appearance by Jimmy Garrison) (1962)

Coltrane (first album to solely feature the "classic quartet") (1962)

Duke Ellington & John Coltrane (1963)

Ballads (1963)

John Coltrane and Johnny Hartman (1963)

Impressions (1963)

Live at Birdland (1964)

Crescent (1964)

A Love Supreme (1965)

The John Coltrane Quartet Plays (1965)

Ascension (quartet plus six horns and bass, one 40' track collective improvisation) (1966)

New Thing at Newport (live album split with Archie Shepp) (1966)

Kulu Sé Mama (1966)

Meditations (quartet plus Pharoah Sanders and Rashied Ali) (1966)

Live at the Village Vanguard Again! (1966)

Expression (posthumous and final Coltrane-approved release; one track features Coltrane on flute) (1967)

Wikipedia

[theloniousbach]

PROGRAMMER’S NOTES: JAZZ SPECTRUM, WGTE/TOLEDO PUBLIC RADIO, 2 APRIL 2022

Though my old friend asked me to do a show, I instead gave him about half again as much including two Songs of the Week, a regular feature, and let him choose.

I am trying just to play tunes and drew from a list of recent favorites and discoveries, like set 1 with Jackie McLean’s tune written by the trumpeter, yes, trumpeter, Ornette Coleman and a Miles Davis tune deconstructed with Jena-Michel Pilc/Francois Moutin/Ari Hoenig (new trio favorites for sheer non stop invention), and Connie Han reining things in on a Sondheim tune which was a highlight of the show I saw her do at Jazz St Louis a few weeks ago. I had Darryl Sherman instead of Andy Bey because I had liked her and particularly liked Houston Person at Mezzrow’s and because I felt like I should include singers. The regular host found her tune not up to the show’s standards and certainly it didn’t have Person. Fine, but I have no ear for singers and really little interest in developing one.

But themes snuck in until set 7 which features a Basie tune I saw Benny Green, Christian McBride, and Gregory Hutchinson do as part of a Ray Brown tribute along with a favorite from Orrin Evans’s most recent release.

Set 9, way past my bed time, is full of favorites.

My friend usually buries an inside joke or two that I get slightly more often than not. From the KDHX shows I have filled in for and my own tendency towards ped-antry/agogy, I tend to the thematic.

Still, the very first release under Miles Davis’s own name has him with Lee Konitz and Stan Getz so I picked some favorites including “My Old Flame” and rounded out set 2 with a spontaneous improvisation from a Lennie Tristano set which is arguably the first example of free jazz. I called that set the Birth of the Birth of the Cool as a reminder that Miles tended way more that direction than Walkin’ and On the Corner and Agartha.

It is not much of a puzzle to put a bunch of Rhythm Changes tunes together and I give it away with Ella singing the actual Gershwin. But to hear such compositions by Lester Young, Duke Ellington, Sonny Rollins, and Thelonious Monk is not simply pedantic. Then set 4 is about duos and the Mulgrew Miller/Roy Hargrove release has caught my ear as Stan Getz and Kenny Barron have before.

I heard a Mezzrow’s pianist—maybe Alan Broadbent, given his sensibilities and taste—do My Ideal, so that’s the Song of the Week and there are some really strong players in there.

Set 8 puts the Pantheon of composers’—Billy Strayhorn representing THE partnership, Monk, Wayne Shorter, and Charles Mingus—tunes in the hands of top notch interpreters, including Mingus the pianist playing his own tune.

There’s another Song of the Week (Detour Ahead) and another hour (Nicole Glover Melissa Aldana, Hank Mobley, Houston Person, Isiah Collier—lots of tenors) in the can.

I can and should give my Toledo friend more help from time to time.

Here’s the playlist:

Set 1

Jackie McLean, New and Old Gospel, “Old Gospel”

Jean-Michel Pilc/Francois Moutin/Ari Hoenig, Threedom, “Nardis”

Andy Bey, Last Night When We Were Young, “Nobody Else But Me”

Connie Han, Crime Zone, “Pretty Women”

Set 2

Miles Davis,, Lee Konitz, & Stan Getz,  Conception, “I May Be Wrong But I Think You’re Wonderful”

Same, “Conception”

Same, “Prezervation”

Same, “My Old Flame”

Same, “Ezz-Thetic”

Lennie Tristano, Intuition, “Digression”

Lee Konitz, Motion, “I Remember You”

Set 3

Lester Young with Count Basie, Classic Columbia, Okeh & Vocalion Recordings, “Lester Leaps In” 3

Louis Armstrong and Duke Ellington, The Great Summit, “Cotton Tail”

Miles Davis Quintet, Relaxin’, “Oleo”

Ella Fitzgerald, Sings the George and Ira Gershwin Songbook, “I Got Rhythm”

Dexter Gordon, Swiss Nights Vol. 2, “Rhythm-n-ing/The Theme”

Set 4

Mulgrew Miller/Roy Hargrove, In Harmony, “Invitation”

Stan Getz/Kenny Barron, The Complete People Time, “Stablemates”

Art Pepper, Complete Village Vanguard Sessions, “My Friend John”

Set 5

Maurice Chevalier, Yesterdays, “My Ideal”

Kenny Barron Trio, Minor Blues, “My Ideal”

Sonny Rollins, Tour de Force, “My Ideal”

Dinah Washington, In the Land of Hi-Fi , “My Ideal”

Set 6

Chet Baker, Chet Bakers Sings, “My Ideal”

John Coltrane, Bahia, “My Ideal”

Kenny Dorham, Quiet Kenny, “My Ideal”

Sarah Vaughn, My Heart Sings, “My Ideal”

Set 7

Red Garland, Lil Darlin’, “Lil Darlin’”

Orrin Evans, The Magic of Now, “Libra”

Eric Revis, Sing Me Some Cry, “Glyph”

Set 8

Mark Turner/Tad Shull, Two Tenor Ballads, “A Flower Is a Lovesome Thing”

Joe Henderson, State of the Tenor, “Ask Me Now”

George Cables, I’m All Smiles, “Speak No Evil”

Charles Mingus, Plays Piano, “Orange Was the Color of Her Dress, Then Silk Blues”

Set 9

Gary Peacock Trio, Now This, “Christa”

Paul Desmond, Take Ten, “Take Ten”

Ingrid Jensen & Steve Treseler, Invisible Sounds for Kenny Wheeler, “Kind Folk”

Annie Ross & Gerry Mulligan, Annie Ross Sings a Song with Mulligan, “This is Always”

John Coltrane, Soul Trane, “Theme for Ernie”

Marc Johnson/Eliane Elias, “B is for Butterfly”

[ask-the-badman]

he nodded at a slow pace, eyes trailing the other once more before he climbed on top of him. With a leg at either side of Johnny’s thick body, he sat himself down; just above the beauty of his ass.

Hands roamed the man’s upper back, tracing over each scar- big and small. “Ya want me quiet or can I talk? Don’t wanna disrup’ ya relaxin’” Lee spoke, hushed as his hands moulded into the others shoulder blades.

"We kin chat, I don' mind one bit while ya work on me." Johnny mumbled, exhaling a soft sigh to their exploratory touches soon turning firm. "Right shoulder gets a lil tight now an' then. Swingin' arm, if ya know what I mean."

[sheetmusiclibrarypdf]

100 SOLOS…Qui ont fait avancer le Jazz! 1900-1999

100 SOLOS… Qui ont fait avancer le Jazz ! 1900-1999Please, subscribe to our Library. Thank you!Best Sheet Music download from our Library.Téléchargement des meilleures partitions dans notre bibliothèque.

100 SOLOS… Qui ont fait avancer le Jazz ! 1900-1999

Louis Armstrong & His Hot Five - Hotter Than That https://www.youtube.com/watch?v=UofL8pD69co Lester Young - Lester Leaps in https://www.youtube.com/watch?v=Ja1kIyW0mOE 1927 : Louis Armstrong- Hotter Than That(Louis Armstrong, Hot Fives and Hot Sevens, Columbia (CD), 1927.)1939 : Lester Young- Lester Leaps In(Count Basie and his Orchestra, featuring Lester Young, Lester Leaps In, Epic(CD), 1939.)1940 : Charlie Christian- I Found A New Baby(Charlie Christian, Solo Flight, Topaz (CD), 1939.)1945 : Charlie Parker- Now’s The Time;- Billie’s Bounce(Charlie Parker, The Charlie Parker Story, Savoy (CD), 1945.)1945 : Miles Davis- Now’s The Time;- Billie’s Bounce(Charlie Parker, The Charlie Parker Story, Savoy (CD), 1945.)1949 : Fats Navarro- Bouncin’ With Bud(Fats Navarro, The Fabulous Fats Navarro, Blue Note (CD), 1949.)1949 : Bud Powell- Celia(Bud Powell, Jazz Giant, Verve (CD), 1949.)1949 : Bud Powell- Ornithology(Bud Powell, The Amazing Bud Powell, Volume 1, Blue Note (CD), 1949.)1954 : Thelonious Monk- Blue Monk(Thelonious Monk, Thelonious Monk Trio, Prestige (CD), 1954.)1955 : Clifford Brown3www.jazzmusiclab.org- Joy Spring(Clifford Brown and Max Roach, Clifford Brown and Max Roach, Emarzy(CD), 1954.)1955 : Erroll Garner- How Could You Do A Thing Like That To Me(Erroll Garner, Concert by the Sea, Columbia (CD), 1955.)1955 : Hank Mobley- Soft Winds(Art Blakey and the Jazz Messengers, At the Cafe Bohemia, Vol. 1, Blue Note(CD), 1955.)1956 : Clifford Brown- Donna Lee(Clifford Brown, Clifford Brown, Columbia (CD), 1956.)1956 : Red Garland- Oleo;- I Could Write A Book(Miles Davis, Relaxin’, Prestige (CD), 1956.)1956 : Sonny Rollins- Tenor Madness(Sonny Rollins, Tenor Madness, Blue Note (CD), 1956.)1956 : John Coltrane- Tenor Madness(Sonny Rollins, Tenor Madness, Blue Note (CD), 1956.)1956 : Sonny Rollins- St. Thomas(Sonny Rollins, Saxophone Colossus, Blue Note (CD), 1956.)1956 : Red Garland- Tenor Madness(Sonny Rollins, Tenor Madness, Blue Note (CD), 1956.)1957 : Miles Davis- All Of You4www.jazzmusiclab.org(Miles Davis, ‘Round About Midnight, Columbia (CD), 1957.)1957 : Red Garland- Bye, Bye, Blackbird(Miles Davis, ‘Round About Midnight, Columbia (CD), 1957.)1957 : Sonny Clark- Softly, As In A Morning Sunrise(Sonny Clark, Sonny Clark Trio, Blue Note (CD), 1957.)1957 : Kenny Drew- Moment’s Notice(John Coltrane, Blue Train, Blue Note (CD), 1957.)1957 : Ella Fitzgerald- Take The “A” Train(Ella Fitzgerald, Ella Fitzgerald Sings the Duke Ellington Songbook, Verve(CD), 1957.)1957 : Stan Getz- Three Little Words(Stan Getz, Stan Getz and The Oscar Peterson Trio, Verve (CD), 1957.)1957 : Thelonious Monk- Bemsha Swing(Thelonious Monk, Brilliant Corners, Riverside (CD), 1957.)1957 : Sonny Rollins- Eternal Triangle(Sonny Stitt, Dizzy Gillespie and Sonny Rollins, Sonny Side Up, Verve (CD),1957.)1957 : Sonny Stitt- Eternal Triangle(Sonny Stitt, Dizzy Gillespie and Sonny Rollins, Sonny Side Up, Verve (CD),1957.)1958 : Chet Baker- Do It The Hard Way;- It Could Happen To You(Chet Baker, It Could Happen To You, Riverside (CD), 1958.)5www.jazzmusiclab.org1958 : Miles Davis- Autumn Leaves(Cannonball Adderley, Somethin’ Else, Blue Note (CD), 1958.)1958 : Paul Desmond- Like Someone In Love(Dave Brubeck, Dave Brubeck Quartet in Europe, Columbia (CD), 1958.)1958 : Red Garland- Straight, No Chaser(Miles Davis, Milestones, Columbia (CD), 1958.)1959 : Miles Davis- So What;- Freddie Freeloader(Miles Davis, Kind of Blue, Columbia (CD), 1959.)1959 : Wynton Kelly- Freddie Freeloader(Miles Davis, Kind of Blue, Columbia (CD), 1959.)1959 : John Coltrane- So What(Miles Davis, Kind of Blue, Columbia (CD), 1959.)1959 : John Coltrane- Giant Steps;- Cousin Mary(John Coltrane, Giant Steps, Atlantic (CD), 1959.)1960 : Barry Harris- Moose The Mooche(Barry Harris, At The Jazz Workshop, Riverside (CD), 1960.)1960 : Wynton Kelly- Remember(Hank Mobley, Soul Station, Blue Note (CD), 1960.)1960 : Hank Mobley6www.jazzmusiclab.org- If I Should Loose You(Hank Mobley, Soul Station, Blue Note (CD), 1960.)1960 : Wes Montgomery- Four On Six(Wes Montgomery, The Incredible Guitar of Wes Montgomery, Riverside (CD),1960.)1960 : Bud Powell- All The Things You Are(Bud Powell, The Essen Jazz Festival Concert, Black Lion (CD), 1960.)1961 : Bill Evans- Alice In Wonderland(Bill Evans, Sunday At The Village Vanguard, Original Jazz Classics (CD),1961.)1961 : Bill Evans- Beautiful Love(Bill Evans, Explorations, Original Jazz Classics (CD), 1961.)1961 : Bill Evans- My Romance(Bill Evans, Waltz for Debbie, Original Jazz Classics (CD), 1961.)1961 : Phineas Newborn, Jr.- Oleo(Phineas Newborn, Jr., A World of Piano, Original Jazz Classics (CD), 1961.)1961 : Oscar Peterson- Tricotismà(Oscar Peterson, The Sound of the Trio, Verve (CD), 1961.)1962 : Freddie Hubbard- Bird Like(Freddie Hubbard, Ready for Freddie, Blue Note (CD), 1961.)1962 : Oscar Peterson- Night Train;- C Jam Blues;Moten Swing (Oscar Peterson, Night Train, Verve (CD), 1962.)7www.jazzmusiclab.org1962 : McCoy Tyner- Blues For Gwen(McCoy Tyner, Inception, Impulse (CD), 1962.)1964 : Miles Davis- There Is No Greater Love(Miles Davis, The Complete Concert: 1964 - My Funny Valentine and Four &More, Columbia (CD), 1964.)1964 : Herbie Hancock- All Blues(Miles Davis, The Complete Concert: 1964 - My Funny Valentine and Four &More”, Columbia (CD), 1964.)1964 : Thelonious Monk- Memories Of You(Thelonious Monk, It’s Monk Time, Columbia (CD), 1964.)1964 : Lee Morgan- The Sidewinder(Lee Morgan, Sidewinder, Blue Note (CD), 1964.)1964 : Oscar Peterson- Mack The Knife(Oscar Peterson, Oscar Peterson Trio + One (Featuring Clark Terry), Verve(CD), 1964.)1965 : Herbie Hancock- Dolphin Dance(Herbie Hancock, Maiden Voyage, Blue Note (CD), 1965.)1967 : Pat Martino- Just Friends(Pat Martino, El Hombre, Prestige (CD), 1967.)1967 : Thelonious Monk- Straight, No Chaser(Thelonious Monk, Straight, No Chaser, Columbia (CD), 1967.)8www.jazzmusiclab.org1967 : McCoy Tyner- Passion Dance(McCoy Tyner, The Real McCoy, Blue Note (CD), 1967.)1968 : Chick Corea- Matrix(Chick Corea, Now He Sings, Now He Sobs, Blue Note (CD), 1968.)1968 : Bill Evans- A Time For Love(Bill Evans, Alone, Verve (CD), 1968.)1973 : Herbie Hancock- Chamaleon(Herbie Hancock, Head Hunters, Columbia (CD), 1973.)1974 : Bill Evans- Turn Out The Stars(Bill Evans, Since We Met, Original Jazz Classics (CD), 1974.)1977 : Chet Baker- The Best Thing For You(Chet Baker, The Best Thing For You, A&M (CD), 1977.)1977 : Kenny Barron- The Best Thing For You(Chet Baker, The Best Thing For You, A&M (CD), 1977.)1977 : Tete Montoliu- It Could Happen To You(Tete Montoliu, Blues for Myself, Ensayo (CD), 1977.)1977 : Bill Evans- You Must Believe In Spring(Bill Evans, You Must Believe in Spring, Original Jazz Classics (CD), 1977.)1978 : Tommy Flanagan- Good Bait;- Bird Song9www.jazzmusiclab.org(Tommy Flanagan, Something Borrow, Something Blue, Original Jazz Classics(CD), 1978.)1979 : Tom Harrell- Comrade Conrad(Bill Evans, We Will Meet Again, Warner Bros. (CD), 1979.)1981 : Kenny Barron- Rhythm-A-Ning(Kenny Barron. At The Piano, Xanadu (CD), 1981.)1983 : Keith Jarrett- All The Things You Are;- In Love In Vain(Keith Jarrett, Standards, Vol. 1, ECM (CD), 1983.)1984 : Chick Corea- I Hear A Rhapsody;- The Loop(Chick Corea, Trio Music Live in Europe, ECM (CD), 1984.)1986 : Kenny Barron- Voyage(Kenny Barron, What If, Enja (CD), 1986.)1986 : Tete Montoliu- Alone Together;- Oleo;- All Of You(Tete Montoliu, The Music I Like to Play, Vol. 1, Soul Note (CD), 1986.)1987 : Michael Brecker- Nothing Personal(Michael Brecker, Michael Brecker, Impulse (CD), 1987.)1987 : Keith Jarrett- Stella By Starlight(Keith Jarrett, Standards Live, ECM (CD), 1987.)1987 : Pat Metheny- Last Train Home;10www.jazzmusiclab.org- Third Wind;- Minuano(Pat Metheny Group, Still Life (Talking), Geffen (CD), 1987.)1989 : JoAnne Brackeen- It Could Happen To You(JoAnne Brackeen, Live at Maybeck Ricital Hall, Concord (CD), 1989.)1989 : Chick Corea- Bessie’s Blues;- Someday My Prince Will Come(Chick Corea, Akoustic Band, GRP (CD), 1989.)1990 : Stanley Cowell- Softly, As In A Morning Sunrise;- Stompin’ At The Savoy(Stanley Cowell, Live at Maybeck Recital Hall, Vol. 5, Concord (CD), 1990.)1990 : Keith Jarrett- Bemsha Swing;- Golden Earrings;- Woody’n You(Keith Jarrett, The Cure, ECM (CD), 1990.)1991 : Kenny Barron- Minority(Kenny Barron. The Moment, Reservoir (CD), 1991.)1992 : Kenny Barron- Like Someone In Love;- Gone With The Wind(Stan Getz & Kenny Barron, People Time, Gitanes Jazz (CD), 1992.)1993 : Chick Corea- Blues For Art(Chick Corea, Expressions, GRP (CD), 1993.)1994 : Kenny Werner- Someday My Prince Will Come(Kenny Werner, Live at Maybeck Recital Hall, Vol. 34, Concord (CD), 1994.)11www.jazzmusiclab.org1994 : Brad Mehldau- Anthropology(Mehldau & Rossy Trio, When I Fall In Love, Fresh Sound New Talent (CD),1994.)1995 : Mulgrew Miller- If I Should Loose You(Mulgrew Miller, Getting to Know You, Novus (CD), 1995.)1996 : Billy Childs- Aaron’s Song(Billy Childs, The Child Within, Shanachie Entertainment (CD), 1996.)1997 : Kenny Kirkland- November 15th(Kenny Garrett, Song Book, Warner (CD), 1997.)1998 : Mulgrew MillerPromethean; On Green Dolphin Street(Tony Williams Trio, Young at Heart, Columbia (CD), 1998.)1998 : Kenny Barron- You’d Be So Nice To Come Home To;- So What(Ron Carter Trio, So What, Blue Note (CD), 1998.)1999 : Kenny Kirkland- Doctone(Brandord Marsalis, Requiem, Sony (CD), 1999.)1999 : Keith Jarrett- By My Love(Keith Jarrett, The Melody at Night with You, ECM (CD), 1999.) Read the full article

[backatthechickenshack]

Back at the Chicken Shack 9/19/18 playlist

WFDU.fm HD2

9/19/18

playlist

Charlie parker - Relaxin' at Camarillo

Butterbean & Susie - I need a Hot Dog for My Roll

Hop Wilson - Chicken Stuff

Sugar Pie DiSanto - Go Go Power

Davis Jones & the Fenders - Boss with the Hot Sauce

Wild Jimmy Spruill - the Rooster

Lonnie Youngblood - Go Go Place

Willie Parker - You got your Finger in my Eye

Booker T & the MGs - Jelly Bread

macy Skipper - Goofin' off

Roy Head - Treat  her Right

Buddy Guy - Keep it to Myself

Lewis Clark - Dog (aint a Man's Best Friend)

Wes Dakus - Dog Food

Jesse gee - Don't Mess with My Money

Wild Jimmy Spruill - Party Hardy

Merle haggard - White Line fever

George Jones - Relief is Just a swallow Away

Jerry Lee Lewis - She even woke me to say Goodbye

Ray Price - Invitation to the Blues

Merle Haggard - Huntsville

AC Reed - I'm in the Wrong Business

Lil' Ed & the Blues Imperials- Kick me to the Curb

Sam Myers & Anson Funderburgh - I Dont Play

Harmonica Shah - Working Life blues

Eric Clapton - Motherless children

John Mayall - Blues City Breakdown

Jimi Hendrix - Bleeding Heart

Al Kooper / Shuggie Otis - One Room Country Shack

Ten Years After - good Morning little schoolgirl

Its a Beautiful day - White Bird

Beau Brummels - Two days from Tomorrow

Mothers of Invention - Trouble every day

http://wfdu2.streamrewind.com/bookmarks/schedule/09-19-2018

[bamboomusiclist]

12/18 Crusaders / Street Life 0900.175 等更新しました。

おはようございます、更新完了しました。https://bamboo-music.net

Red Garland / Red in Bluesville prst7157

Hank Mobley / Thinking of Home Lt1045

Frank Rosolino / Jazz A Confronto Hll101-4

Peggy Lee / Mink Jazz st1850

Joe Pass JJ Johnson / We'll Be Together 2310-911

Bunny Berigan / Take It Bunny ln3109

Ake Johansson Trio / Live drlp42

Miles Davis / Relaxin pr7129

John Coltrane / Live at the Village Vanguard as10

Henry Red Allen / Feeling Good cs9247

Crusaders / Street Life 0900.175

Richard Groove Holmes / Misty pr7485

Charles Earland / Charles III prt10061

George Benson / Erotic Moods lp131

Marvin Gaye / Let's Get It On t329v1

BAMBOO MUSIC(バンブーミュージック)

大阪市北区万歳町3番41号シロノビル104号室

06-6363-2700   http://bamboo-music.net

[liliesofpur-i-ty]

9/1 - 9/30

Organ Tapes, Words Fall to Ground; Gultskra Artikler, Kasha iz topora; TALsounds, Love Sick; Dean Blunt & Inga Copeland, Black is Beautiful; Ot to Not to, Goshen; Loveliescrushing, Xuvetyn; Ben Frost, The Centre Cannot Hold; Klein, Tommy; Valium Aggelein, Hier Kommt der Schwartze Mond; Oh, Yoko, I Love You...; Harold Budd / Brian Eno with Daniel Lanois, The Pearl; Arve Henriksen, Towards Language; Mhysa, fantasii; Mark Templeton, Scotch Heart; Scneider Kacirek, Shadows Documents, Radius Walk; Yves Tumor, When Man Fails You; Mark Templeton, Gentle Heart; Dean Blunt, Stone Island; Lolina, RELAXIN’ With Lolina; Infinite Bisous, w/ love; Lee Noble, Ruiner; Yves Tumor, Experiencing the Deposit of Faith; Alva Noto, Xerrox Vol. 3; Ben Frost, Threshold of Faith; Lee Noble, Horrorism; Hiroshi Yoshimura, Wave Notation 1: Music for Nine Post Cards; Lee Noble, No Becoming; Tropic of Cancer, Stop Suffering; Blue Iverson, Hotep; Frankie Reyes, Boleros Valses y Mas; Biosphere, Substrata; Susanne Sundfør, Music for People in Trouble; Tom Armstrong, The Sky Is an Empty Eye; Kedr Livanskiy, Ariadna; Mulatu Astatke & The Heliocentrics, Inspiration Information; Hype Williams, Rainbow Edition; Shirley Collins, False True Lovers; Beverly Glenn-Copeland, ...Keyboard Fantasies...; Dean Blunt, The Redeemer

[down-down-days]

"Ay my 🅱️oi Greggory Lee! What up!?"

“Oh hey, nothin much dude. Just relaxin’ with the bearf!~ S’up with you?”

[thewiselybrothers]

JAM

こんばんは！The Wisely Brothersです！ もう、夏ですね！ もう、夏ですよね？ 夏と言えば怪談！ 怪談と言えば、 今週土曜日は「セブンス怪談」

7/22(土)＠渋谷7thfloor OPEN/START　17:30/18:30 前売 2500円 / 当日 2800円（共に＋1drink500円） 出演　Lee&Small Mountains／ランタンパレード  珈琲 カフェチーコ ７月はこちらでライブ収めです！ 気持ちを作るために、エクソシスト見たのですが、 上手くつかめませんでした。 あと、23歳になって初めてのライブでもあるので キメキメで頑張ります！

ご予約受け付けております。 ⚫︎公演日●名前 ●枚数 を書いてこちらまで！ ✉︎wisely.yoyak@gmail.com ｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰ

さて、怒涛の８月が間もなくやってきます ８月が終わる頃、私は何色になっているのか こげ茶色になって、 白目と歯しか見えなくなってたらどうしよ。 まあ、そんな夏もいいか！ そんな夏のラインナップがこちら！ 8月2日（水）＠代官山SPACE ODD OPEN/START　18:00/18:30出演 ADV￥2500 / DOOR￥3000 (+１D) 出演：あっこゴリラ / 仮谷せいら / JABBA DA HUTT FOOTBALL CLUB / キイチビール＆ザ・ホーリーティッツ 一般発売7月15日※チケットぴあ e+会場メール予約：spaceodd-info@spaceodd.jp 8月4日（金）都会の空と音楽と～空音 SORAOTO～ supported by Spotifyルミネ新宿 ルミネ1屋上「Roof Top Beer Garden 東京小空」特設会場 OPEN/START　18:00〜22:30 ADV￥1000(ドリンク / １フード) 出演：ナツ・サマー / Michael Kaneko DJ 永井博 入場方法：どなたでも入場いただけます。 ※ ドリンク / フードチケットの購入が必要です。 ※ 状況に応じて入場制限させていただく場合がございます。 8月5日（土）＠Cinema Amigo   Half Mile Beach Club #11　http://cinema-amigo.com/  (神奈川県逗子市新宿1-5-14 ※会場最寄り駅は逗子駅) OPEN/START　17:30/18:30 前売 2000円 / 当日 2500円（＋1drink） 出演　kotoko/すばらしか  DJ:  Half Mile Beach Club　https://half-mile-beach.com/ FILM:(Cinema Amigo庭※雨天時屋内上映)  『Oasis: Supersonic』 オアシスドキュメンタリー(2016年公開) 

8月10日（木）＠京都・磔磔 LIVE！SECOND ROYAL OPEN/START　18:00/18:30 ADV￥3000 / DOOR￥3500 (+１D) 出演　Predawn / she said ※チケットぴあ、e+※店頭：磔磔 / SECOND ROYAL SHOP / JETSET KYOTO / FLAKE RECORDS

8月14日（月）＠岡崎市図書館交流プラザ リゾームライブラリーⅥ　Librahttp://www.city.okazaki.aichi.jp/libra)OPEN/START　13:00/14:00出演　 ADV￥4000 出演：YOUR SONG IS GOOD / トリプルファイヤー / コトリンゴ 片想い / THE ACT WE ACT / Polaris / 柴田聡子 / 集団行動 チケットぴあ(0570-02-9999) Pコード(333-941)ローソン(0570-084-004)Lコード(45101)  more info → http://www.jelly-fish.org/rhizome-library  8月26日（土）＠兵庫県三田アスレチック野外ステージ ONE Music Camp 2017 OPEN/START　10:00/11:30 ADV：【入場券】5500円 【入場券+駐車券】8000円 ※キャンプサイトの利用無料 【relaxin'キャンプ券】 4名用10000円 8名用15000円 出演：U-zhaan×鎮座DOPENESS×環ROY / toconoma / ANYO / 台風クラブ and more OFFICIAL HPhttp://onemusiccamp.com/ 8月27日（日） 「Mixtape」HOLIDAY!RECORDS meets DUM-DUM LLP  Higashi Kouenj Live Circuit OPEN/START　12:00/12:30 ADV：通し券  2,900円 東高円寺UFO CLUB / 東高円寺二万電圧 / 東高円寺 中華・満州王東高円寺 LosAngelesClub a.k.a HOLIDAY! RECORDS 東高円寺

※ 最初から最後まで楽しんでくれたオーディエンスには素敵な特典アリ!  【 公式サイト 】DUM-DUM LLP http://www.dum-dum.tv/ どのLIVEもすっごく面白そう！ 私たちも今からとっても楽しみです♪

沢山ライブがあるので、 夏の思い出作りにぜひ遊びに来てください‼ ーーｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰｰ 毎日楽しいけど、悲しいニュースもあった、 私たちが高校からお世話になってた、新宿JAMというライブハウスが今年いっぱいで閉店してしまう話。 自分が今でも、バンドを続けているきっかけを沢山くれたライブハウス もう、数えきれないくらいハプニングがあって、ライブする度に反省してた。 それでも、自分たちの音楽で何かしてみたくて 初めて音源を作ってレコ発をしたのも新宿JAM 大好きなバンドに出演してもらえて 沢山の人が見に来てくれて 本当に本当に嬉しかったな

本当に、思い出をあげたらきりがないけど、一つ一つがすごく鮮明に思い出されて、忘れることはないし、忘れられないものなんだと思います。 こうやってブログを書きながらでも あの地下室に閉じ込められたタバコのにおいがしてくる気がするよ 生きていく中で物事が変わっていく事はしょうがない事だけど、良いものはなるべく残して欲しい。そう思います。 でも、お別れはまだ早い、2017年ロックに駆け抜けて！ See You!!

[jaimedelcastillojaramillo]

🎷🐦📸🎼🎶🎵 Un día como hoy, en 1947, el legendario Bird 🐦 o Charlie Parker, grabó el tema “Relaxin’ at Camarillo” para el sello Dial Records 🔴🐦 Ese tema, canta su vergonzoso internamiento de seis meses en Camarillo State Hospital, de California, Los Ángeles 🇺🇸 después del escandaloso incidente, cuando quemó las sábanas de su hotel 🏩 y desnudo, se paseaba por los pasillos, hasta que vino la policía 🚨 y se llevó a pesar de su tenaz resistencia; 🐦 Bird tuvo que ser internado por su fuerte adicción a las drogas y mientras se recuperaba tocaba en la orquesta de Jazz 🎺 del Hospital 🎷 Lee mis artículos sobre La Historia del Jazz 🎺 #arturodelcastilloyap #jaimedelcastillojaramillo #salsaconcausajaimedelcastillojaramillo #salsaconcausalimaperu #abogadounmsmjaimedelcastillojaramillo #abogadojaimedelcastillojaramillo #salsaperújaimedelcastillojaramillo #salsadurajaimedelcastillojaramillo #musicajaimedelcastillojaramillo #hollywoodjaimedelcastillojaramillo #jazzjaimedelcastillojaramillo #guaguancojaimedelcastillojaramillo #musicacubanajaimedelcastillojaramillo #salsalimajaimedelcastillojaramillo https://www.instagram.com/p/BuWoK8NALJP/?utm_source=ig_tumblr_share&igshid=1pjnc1xe6e5gt

[dustedmagazine]

Ted Brown Quartet - Live at Trumpets (Cadence Jazz Records)

Tenorist Ted Brown enters the rarefied nonagenarian realm this December, just two months after his old colleague Lee Konitz will do the same. Both were contemporaneous pupils of pianist Lennie Tristano back in the late-1940s, but while Konitz soon broke away in an arc that would establish him as one of the most inventive melodic improvisers of his generation Brown’s fealty proved uncommonly persistent. By 1958 music pursuits became secondary to supporting his family through a career in computer science and Brown’s discography spigot narrowed to a trickle. Even with divided attentions, Brown’s approach on his horn has remained remarkably consistent over the years, favoring a lithe and airy Lester Young-derived tonality and melodically adroit phrasing.

Live at Trumpets collects music from two casual gigs at the eponymous New Jersey club recorded roughly four years apart that were reportedly annual outings for the saxophonist. A mix of Charlie Parker-associative bebop tunes and well-wrought standards, the set lists don’t offer much in the way of surprises on paper. Instead Brown and his compatriots bring the sparks and low flame heat through their improvisations. Pianist Jon Easton and drummer Bill Chattin, each also Tristano alums, evince the influence of their erstwhile teacher as well with the former setting up canny contrapuntal patterns for Brown riff against and the latter settling easily into a conciliatory rhythmic role. Bassist Don Messina completes the ensemble with supple and responsive support.

George Gershwin’s “Somebody to Love Me” opens the first set with Brown spinning off rounded variations atop a gently bustling beat. Easton fills in the comping cracks, but it’s Messina who really drives the rhythm with a broad-toned, briskly walking line. Chattin sticks mainly to cymbal accents before switching to more forceful presence on a brief drum break. “Relaxin’ at Camarillo”, the first of the Bird tunes, echoes the gerund in its title with a laidback sortie through the theme by Brown once again buttressed by plump Messina accompaniment and a clean cymbal swish from Chattin. The pianist’s weights his solo with pedal accents and block chords that contrast with the leader’s ensuing airborne coda. “Anthropology” as disc closer also does the indelible memory of Parker proud.

Brown and Chattin take the preface to “Love Me or Leave Me” sans bass and drums and it’s an all too brief opportunity to hear the pair in close tandem. Chattin’s turn brushes proves an inspired touch in placing Messina’s strings in a position of even greater prominence. The tangy snap of his stops is all the more audible and an artful, extended solo statement accented by Easton almost steals the performance. In fact the fidelity in general feels a shade cleaner than on the initial tracks. Subsequent tunes strike an elegant balance between Brown-led extemporizations and clean allegiance to song structures. The saxophonist hasn’t gigged with any regularity the past few years, but this set is a timely reminder that he’s satisfyingly still with us.

Derek Taylor

[cento40battute]

Capelli indomabili? Pelle impura e spenta? Ecco le novità autunnali di Sephora

Coco Loco – Lee Stafford

Le rivoluzioni di Sephora per una pelle perfetta

Sephora, il nostro angolo di paradiso del make-up e dello skincare, ha numerose sorprese riguardo alla cura del viso, il nostro passepartout per risplendere e lasciare un segno positivo alle persone che incrociamo nella nostra vita

Ecco una per una le novità di Sephora per l’autunno 2017

Haircare Sephora

Bumble and bumble

La linea Bumble and bumble Hairsdresser’s Invisible Oil si riempie di novità, prima tra tutte con un trattamento ideale per capelli secchi, Cleasing Oil-Creme Duo. Il contenuto è racchiuso in un’innovativa confezione, un tubo suddiviso in due sezioni: uno contenete un clenaser delicato e privo di solfati, il secondo con una formula idratante, in crema, arricchita da una miscela di 6 olii, Argan, Noce di Cocco, Noce di Macadamia, Mandorle Dolci, Semi di Cartamo e Semi di Uva, formula caratteristica di Hairdresser’s Invisible. Un prodotto esclusivo che avrà maggiori effetti se alternato con Hairdresser’s Invisible Oil Shampoo assieme ad Hairdresser’s Invisible Oil Conditioner.

Della stessa linea, nei negozi Sephora, è possibile anche trovare una maschera Pre- Shampoo per capelli secchi; adatto per i capelli fragili e secchi invece è consigliato Heat/UV Protective Primer che idrata e rinforza i capelli, proteggendoli dalle aggressioni ambientali e infine uno spray per combattere l’effetto crespo.

La grande novità di Bumble and bumble è Don’t Blow It, una crema styling adatta per asciugare i capelli al naturale, perfetto per capelli spessi poichè riesce a definire il naturale movimento della chioma.

Dafni

Da questo ottobre finalmente sarà disponibile l’innovativa spazzola Dafni black dell’azienda israeliana Dafni Hair, con una forma ergonomica e concava, sarà l’arma segreta per ogni donna alle prese con capelli spessi ricci o indisciplinati. In 5 minuti risolve ogni problema per una messa in piega perfetta.

Coco Loco di Lee Stafford

In esclusiva negli store Sephora è possibile trovare la nuova linea, Coco Loco di Lee Stafford. Le novità sono Chopstick Styler, un arricciacapelli ultra fine per creare i boccoli; Blow & Go Nuts Dryer, l’asciugacapelli con un motore da 2400W per accorciare i tempi di asciugatura; tra le piastre anche Irons, per lisciare e Wonderball Wand per creare boccoli “selvaggi”.

Tony&Guy

L’avanguardia dell’hairstyling porta da Sephora la linea di accessori dedicata alla creazione di acconciature da passerella: la piastra lisciante, l’arricciacapelli da 25 mm di diametro e la piastra per ondulare, perfetta per un effetto beach waves.

Skincare Sephora

Caolion

Caolion ha dichiarato guerra ai pori creando un apposito kit, Pore Glowing Day & Night Duo, suddiviso in due fasi: una idratante e una assorbente degli eccessi di sebo. Di giorno la crema stringe i pori e idrata a fondo, mentre durante la notte la pelle sarà più idratata grazie al suo effetto rinfrescante. La seconda novità di Caolion è Pore Purifyng steaming pack, una maschera riscaldante e purificante che esfolia, idrata, deterge e libera la pelle da impurità.

Clarisonic

Per migliorare i segni dell’invecchiamento su viso, collo e décolleté è sceso in campo Clarisonic che ha creato Smart Profile Uplift, un dispositivo 2 in 1 che offre una pulizia 6 volte più efficace di quella manuale. Utilizzando una testina in silicone viene prodotta una particolare frequenza sonica che producendo 27.000 micromassaggi tonificanti in soli 3 minuti dona benefici rassodanti alla pelle. Un test clinico ha dimostrato che Smart Profile Uplift dopo il suo utilizzo di 12 settimane rende visibili i miglioramenti su 15 segni dell’invecchiamento, con un’attenzione particolare per borse e rughe.

All’interno del kit, che è possibile acquistare da Sephora a € 349, si trovano le tre differenti testine: Revitalizing Cleanse creata per pulire a fondo la pelle, Firming Massage adatto per assottigliare le linee e le rughe e il Turbo Massage ideale per pulire, massaggiare ed esfoliare.

Dr. Brandt

Grazie a Dr. Brandt nasce un siero che si ispira ai filler dermatologici per le labbra, Needles no more 3-d Lip PlumpFix. Con una tecnologia avanzata il siero svolge due diverse funzioni: di giorno, da applicare prima del rossetto, volumizza le labbra, creando una bocca più piena e tonica, di notte le rivitalizza e riempie i segni di disidratazione.

Dr. Jart

Da Sephora potete inoltre trovare le tre novità di Dr. Jart in edizione limitata: Dermask Ultra Jet Porecting Solution, una maschera che risolve il problema dei pori, Dermaclear Micro Milk Peel, un microgommage al latte, uno scrub che si ispira alle tecniche dermatologiche di esfoliazione al latte, e infine Ceramidin Tial Kit, in cui sono racchiusi il siero idratante, la crema nutriente e la crema gel della gamma Ceramidin.

Erborian

Il brand franco-coreano, nato nel 2009, presenta tre novità che donano un effetto “pelle perfetta” creando un meraviglioso aspetto dell’incarnato. Con ispirazione alla tradizione coreana, Erborian ha lanciato BB Crème au Ginseng Caramel, un trattamento arricchito dal ginseng che contribuisce a uniformare l’incarnato, attenuare le imperfezioni, idratare il viso e rimuovere gli eccessi di sebo. La pelle risulta liscia ed è perfetto per un utilizzo come base per il make-up. Erborian ha inoltre creato una lozione opacizzante con estratti di Bambù, Bamboo Matte Lotion. Una polvere adatta a pelli normali e grasse che restringe i pori. Infine tra le novità di Erborian troviamo Spray-to-mask, disponibile da Sephora da questo mese. Ispirato alle maschere idrogel lo spray-to-mask è formato da Ginseng, Liquirizia e Equiseto che donano tonicità alla pelle, rendendola più luminosa.

FaceD

Se FaceD ci aveva stupite durante i mesi estivi con la maschera dopo sole, non può davvero abbandonarci per l’autunno. Ha infatti creato una maschera che copre sia il viso che collo così da poter minimizzare tutti i segni di stress e di età. Con Now, realizzata in tessuto e con la tecnologia 3-Luronics, avremo in soli 20 minuti di posa un rinnovamento cutaneo. Forever di FaceD, invece, è un trattamento viso e collo anti-rughe che, secondo soggetti testati, mostra rughe più distese in meno di un mese.

Glamglow

Il brand presenta un’edizione limitata, disponibile solo nell’e-store di Sephora, della sua maschera levigante e tonificante, Gravitymud By Sonic Blue. Attraverso un trattamento rivoluzionario la maschera tonifica, leviga e rassoda la pelle e asciugandosi passa al color argento, mentre il colore della nuova edizione limitata si ispira a quello blu di Sonic, personaggio del cartone animato omonimo.

Origins

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Una delle numerose novità di Sephora è Origins, della compagnia Estéè Lauder, che si occupa dal 1990 di creare prodotti per la cura della pelle formati con piante, ingredienti biologici e olii naturali al 100%. Tra i numerosi trattamenti che potrete trovare in esclusiva nei beauty store Sephora, Ginzing che ripristina radiosità della pelle con chicchi di caffè e ginseng; Plantscription, la linea che combatte i segni dell’invecchiamento; High-Potency Night-a-Mins è un trattamento che combatte la pelle opaca e spenta con vitamina A, C ed E; Make a Difference ripara e ringiovanisce la pelle con Rosa di Jericho; Modern Friction attraverso il riso uniforma l’incarnato.

Rexaline Derma

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Per le pelli più sensibili è scesa in campo Rexaline che basandosi su recenti scoperte in campo bio-vettorializzazione dei principi attivi ha trovato la soluzione perfetta per dare sollievo alle pelli sensibili, proteggendole dall’invecchiamento. Di questa linea Rexaline Derma ha creato un contorno occhi che riduce sensibilmente le borse e le occhiaie, un siero correttore con il principio di ridurre arrossamenti dovuti alle irritazioni e, infine, il Comfort Cream, una crema viso adatta per chi ha problemi di iper reattività cutanea

Rituals Cosmetics

The Ritual of Ayurveda

Stiamo parlando di un’altra esclusiva e novità di Sephora, Rituals, che si dedica al piacere delle piccole cose, primo brand al mondo che unisce i prodotti per il corpo a quelli per la casa: skincare, candele, fragranze e prodotti sensoriali. Oggi vi presentiamo i quattro rituali ispirati alle tradizioni orientali: Sakura ispirata alla fioritura dei fiori di ciliegio, Ayurveda che aiuta a ritrovare l’armonia interiore, Dao basato sull’antica filosofia tra Yin e Yang alla ricerca del perfetto equilibrio e Hammam che prende spunto dalle più antiche modalità di detergenza.

Skinfood

Skinfood ha presentato la sua esclusiva linea alla pappa reale, Royal Honey Toner e Cream. Questa nuova linea di Skinfood è formulata con proteine di pappa reale, propoli e miele invecchiato, quest’ultimo conservato per oltre 60 giorni all’interno degli alveari è ideale per creare una barriera protettiva per le cellule epidermiche.

StriVectin

Due nuove mousse per il viso nascono da StriVectin, Wash + Glow Mousse Nettoyante Hydratante e Sunday Detox Masque Mousse Peel-Off à l’Argile. La prima, lenitiva, elimina il make-up e le impurità con estratto di burro, d’olive, di bacche di goji e camomilla; la seconda purificante, grazie all’argilla elimina le impurità che ostruiscono i pori.

Too Cool For School

Autunno è sinonimo di zucca così Too Cool For School ha creato Pumpkin 24k Gold Mask, una maschera in cui la zucca e l’oro puro si incontrano, una potente formula che elimina le cellule morte, assorbe il sebo in eccesso e garantisce una pelle elastica e morbida.

Camilla Catalano

Sephora http://www.sephora.it

Da Sephora per una pelle perfetta Capelli indomabili? Pelle impura e spenta? Ecco le novità autunnali di Sephora Le rivoluzioni di Sephora per una pelle perfetta…