DOCSLIB.ORG

Fly Me to the Moon Recorded by Frank Sinatra with Count Basie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fly Me to the Moon Recorded by Frank Sinatra with Count Basie Jazz Lines Publications Presents fly me to the moon recorded by frank sinatra with count basie Arranged by quincy jones prepared by rob duboff and jeffrey sultanof full score jlp-9472 Words and Music by Bart Howard TRO - Copyright © 1954 (Renewed) Hampshire House Publishing Corp., New York All Rights Reserved Used by Permission Layout, Design, and Logos © 2014 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM All Rights Reserved Including Public Performance for Profit Frank Sinatra Is Under License from Frank Sinatra Enterprises, LLC. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA frank sinatra/count basie series fly me to the moon (1964) Background: Among the many arrangements that have been frequently requested by singers and enthusiasts, the music written for Frank Sinatra and the Count Basie Orchestra is high on the list. The arrangements were written during June and July of 1965 for a short tour that Sinatra and the Count (he was also called ‘Splank,’ [short for Splanky] and that is the name listed on these scores) were embarking on. Among the dates they played together were a Newport Jazz Festival appearance on July 4, 1965 and a fundraiser with Sammy Davis, Jr. and Dean Martin at the Kiel Opera House in St. Louis. It was during this tour that the band road-tested the many arrangements that were written. This collaboration culminated at a show in Las Vegas, at the Sands Hotel in January of 1966. This appearance resulted in a double album of Sinatra and Basie, and an album of the Basie band alone that was released many years later. There were many arrangements written for the 1965 summer tour that were not performed and recorded at the famous Sands show. Some of the titles include: It’s Easy to Remember; All the Way; Too Marvelous for Words; Call Me Irresponsible; A Foggy Day; Lover, Come Back to Me (previously published by Jazz Lines Publications); I’ll Never Smile Again; In the Wee Small Hours of the Morning; and others. The Music: This arrangement was written for the June 9, 1964 Los Angeles studio collaboration between Frank Sinatra and the Count Basie Orchestra released with the title ‘It Might As Well Be Swing.’ The arrangement was used several times the following year during the Sinatra/Basie summer tour and then most famously at the 1966 Sands concert. Sinatra kept this arrangement in his band book and used it numerous times over the years. Often Count Basie (or the piano player) would provide a 2-measure vamp intro to the arrangement that was simply Ami7 for one measure and Bmi7(b5) to E7 for the second measure. We have decided to use the tom-tom intro that Sonny Payne played for the studio recording. Harry ‘Sweets’ Edison provided harmon mute fills for so many of Frank Sinatra’s recordings, including this one. Generally, there was no part written for him. He would come to the session and and play fills in predetermined spots. Rather than provide a 5th trumpet part that is mostly tacet we decided to build these fill spots into the 4th trumpet part. As a result the 4th trumpet player will have to be holding the harmon mute so that it may be quickly put in and then taken out for the fills. While it is an honor and a pleasure to prepare and release classic big band music, we are particularly proud of this series, and gratified that the proper legal channels have been cleared so that it can be issued. Sinatra is one of the pinnacles of popular music, and the settings written for him are no less than the best by the best. By making it available we are perpetuating the legacy of Frank Sinatra and the many musicians who worked with him. Acknowledgements: Thanks to an agreement with Frank Sinatra Enterprises, LLC, The Jazz Lines Foundation Inc. is proud to present legal publications of many of the arrangements written for ‘The Chairman of the Board.’ Brand new, definitive editions from the original parts have already appeared for the Frank Sinatra and Duke Ellington album (arrangements by Billy May) as well as from the tour with Count Basie, and more will be released in the future. Rob DuBoff and Jeffrey Sultanof - October 2014 JlP-9472 jazz Lines pubLications fLy me to the moon Words and Music by Bart Howard Score recorded by Frank Sinatra with Count Basie Arranged by Quincy Jones Prepared for Publication by Rob DuBoff and Jeffrey Sultanof medium swing = 120 [5] Vocal Fly me to the moon, and let me play a- mong the stars; let me see what spring is like on Ju-- pi ter and Mars. In Reed 1: Alto Sax. {F`l`u`t`e```} Reed 2: Flute/Alto Sax. D>7 G7 C6 C7 Gb7 F6 {F`l`u`t`e```} Fill Fill Reed 3: Flute/Tenor Sax. ’’’ ’ ’’’ ’ Reed 4: Tenor Sax. Reed 5: Baritone Sax. {B`u`c`k`e`t` `M`u`t`e`} (or In Stand) Trumpet 1 {B`u`c`k`e`t` `M`u`t`e`} (or In Stand) Trumpet 2 {B`u`c`k`e`t` `M`u`t`e`} (or In Stand) Trumpet 3 {In` `S`t`a`n`d`} (Have Harmon Mute Ready) Trumpet 4 {B`u`c`k`e`t` `M`u`t`e`} (or In Stand) Trombone 1 {B`u`c`k`e`t` `M`u`t`e`} (or In Stand) Trombone 2 {B`u`c`k`e`t` `M`u`t`e`} (or In Stand) Trombone 3 {B`u`c`k`e`t` `M`u`t`e`} (or In Stand) Trombone 4 A>7 C#7 D>7 G7 F6 Bb7B>7(¨5) C6 C7 Gb7 F6 B>7(¨5) Bb>7(¨5) F6 F7 E7 F7 C6 G#7 A>7 C#7 Guitar p Solo ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ # b ¨ b ¨ b ¨ # # A>7 C 7 D>7 G7 F6 B 7B>7( 5) C6 C7 G 7 F6 B>7( 5) B >7( 5) F6 F7 E7 F7 C6 G 7 A>7 C 7 Piano mp p’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ A>7 C#7 D>7 G7 F6 Bb7B>7(¨5) C6 C7 Gb7 F6 B>7(¨5) Bb>7(¨5) F6 F7 E7 F7 C6 G#7 A>7 C#7 Bass {B`r`u`s`h`e`s``} p Floor Tom-Tom (tom-tom) (2) (3) (4) (8) sim. Drum Set œœœ œœœ œ œ œ œ œœœ œœœ œœœ mp ‘ ‘ p ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ ’’ ’ ’ ’’’’ 2 3 4 5 6 7 8 9 10 11 12 TRO - Copyright © 1954 (Renewed) Hampshire House Publishing Corp., New York Frank Sinatra Is Under License from Frank Sinatra Enterprises LLC Logos, Graphics, and Layout Copyright © 2014 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a Not-for-Profit Jazz Research Organization Dedicated to Preserving and Promoting America's Musical Heritage. jazz Lines pubLications fLy me to the moon JlP-9472 Score - Page 2 [13] Vox. oth- er words, hold my hand. In oth- er words, dar- ling kiss me. Rd. 1 (A. Sx.) 3 {T`o` ``A``l`t`o` `S`a`x.`} Rd. 2 (Fl.) 3 3 3 mf 3 {T`o` ``T``e`n`or` `S`a`x.`} Rd. 3 (Fl.) 3 3 3 mf 3 Rd. 4 (T. Sx.) 3 Rd. 5 (B. Sx.) p 3 Tpt. 1 mfp mf Tpt. 2 mfp mf 3 Tpt. 3 p mfp mf 3 Tpt. 4 mfp p mf Tbn. 1 p 3 mfp mf Tbn. 2 mfp mf Tbn. 3 mfp mf Tbn. 4 mfp mf ¨ D>7 G7 C6 F9 E>7 A>7 D>7 /G G7(#5) F>6/C C6 B>7( 5) G#7 Gtr. ’’ ’ ’ ’’’’ ’’ ’ ’ ’’ ’ ’ ’’’’ ’’’’ ’’ ’’ ’’¨ ’’ D>7 G7 C6 F9 E>7 A>7 D>7 /G G7(#5) F>6/C C6 B>7( 5) G#7 Pno. ’’ ’ ’ ’’’’ ’’ ’ ’ ’’ ’ ’ ’’’’ ’’’’ ’’ ’’ ’’¨ ’’ D>7 G7 C6 F9 E>7 A>7 D>7 /G G7(#5) F>6/C C6 B>7( 5) G#7 Bs. ’’ ’ ’ ’’ ’ ’ ’’’’ ’’’’ ’’ ’’ ’’ ’’ To Sticks sim. (4) (8) Dr. œœœ œœœ ’’’’ ’’ ’ ’ ’’ ’ ’ ’’’’ ’’’’ ’’ ’’ ’’ ’’ 13 14 15 16 17 18 19 20 JlP-9472 fLy me to the moon jazz Lines pubLications Score - Page 3 [21] Vox. Fill my heart with song, and let me sing for-- ev er -more; you are all I long for, all I wor-- ship and a dore. In Subtone Rd. 1 (A. Sx.) ~ ~ p ~~~~~~~ ~~ Subtone Rd. 2 (A. Sx.) ~ ~ p ~~~~~~~ ~~ Subtone Rd. 3 (T. Sx.) ~~~~~~~~ ~~~ p Subtone Rd. 4 (T. Sx.) ~~~~~~~~ ~~~ p Subtone Rd. 5 (B. Sx.) ~~~~~~~~ ~~~ p Tpt. 1 p Tpt. 2 p Tpt. 3 p Have Harmon Mute Ready Tpt. 4 p Tbn. 1 p Tbn. 2 p Tbn. 3 p Tbn. 4 p b ¨ b A>7 D>7 G7 G7(#5) C6/9 G 9(b5) F<7 B>7( 5) F9 E7(b9) B 9 A>7 A7(b9) Gtr. ’’’ ’ ’’ ’’ ’’ ’’ ’’b ’’ ’’’’ ’’’’¨ ’’’’b ’’ ’’ A>7 D>7 G7 G7(#5) C6/9 G 9(b5) F<7 B>7( 5) F9 E7(b9) B 9 A>7 A7(b9) Pno. ’’’ ’ ’’ ’’ ’’ ’’ ’’b ’’ ’’’’ ’’’’¨ ’’’’b ’’ ’’ A>7 D>7 G7 G7(#5) C6/9 G 9(b5) F<7 B>7( 5) F9 E7(b9) B 9 A>7 A7(b9) Bs. ’’’ ’ ’’ ’’ ’’ ’’ ’’ ’’ ’’’’ ’’’’ ’’’’ ’’ ’’ {S`t`i`c`k`s```} Cross-Stick sim. (4) (8) Dr. xxf x xxf x œ x œ x ’’ ’’ ’’ ’’ ’’ ’’ ’’’’ ’’’’ ’’’’ ’’ ’’ 21 22 23 24 25 26 27 28.
Load more

Recommended publications
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • The Most Admired* What Do Clint Eastwood, Jimmy
    The Most Admired* What do Clint Eastwood, Jimmy Carter, and Warren Buffett have in common? No, this isn’t a setup for a pop culture joke, but rather a partial list of the most admired Americans over age 75. Provided with the names of 23 major personalities in this age bracket and asked to select the two they most admire, Americans compile a list that is at once diverse and homogenous; topping the list are two actors, two former presidents, a man of the cloth, and a financial wizard turned philanthropist. All remarkably accomplished, but all male. Clint Eastwood ranks highest overall, with 23% rating him as their most admired public figure over age 75; among men that proportion rises to 30%, and he reaches 33% among Republicans despite his unusual 2012 GOP convention appearance, making him that group’s second highest choice. Morgan Freeman runs a close second with 21% overall, but he is the clear favorite among both African Americans (40%) and Millennials (33%). Jimmy Carter finishes third overall with 19%, but he tops Democrats’ list (33%). Similarly, George H.W. Bush is number one among Republicans (36%), and he finishes fourth overall with 17%. Rounding out the most admired list in double digits are Billy Graham (16%) and Warren Buffett (13%). Buffett’s popularity lands him in second place among college-educated adults and affluent Americans. Billy Graham is relatively well loved among those over age 50. The three most admired women cross the ideological spectrum—former First Lady Nancy Reagan (9%) on the right, Justice Ruth Bader Ginsburg (7%) on the left, and TV newswoman Barbara Walters (9%) in the middle.
    [Show full text]
  • Im Auftrag: Medienagentur Stefan Michel T 040-5149 1467 F 01805 - 060347 90476 [email protected]
    im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 01805 - 060347 90476 [email protected] FRANK SINATRAS ZEITLOSE MUSIK WIRD WELTWEIT MIT DER KOMPLETTEN KARRIERE UMFASSENDEN JAHRHUNDERTCOLLECTION ‘ULTIMATE SINATRA’ GEFEIERT ‘Ultimate Sinatra’ erscheint als CD, Download, 2LP & limited 4CD/Digital Deluxe Editions und vereint zum ersten Mal die wichtigsten Aufnahmen aus seiner Zeit bei Columbia, Capitol und Reprise! “Ich liebe es, Musik zu machen. Es gibt kaum etwas, womit ich meine Zeit lieber verbringen würde.” – Frank Sinatra Dieses Jahr, am 12. Dezember, wäre Frank Sinatra 100 Jahre alt geworden. Anlässlich dieses Jubiläums hat Capitol/Universal Music eine neue, die komplette Karriere des legendären Entertainers umspannende Collection seiner zeitlosen Musik zusammengestellt. Ultimate Sinatra ist als 25 Track- CD, 26 Track-Download, 24 Track-180g Vinyl Doppel-LP und als limitierte 101 Track Deluxe 4CD- und Download-Version erhältlich und vereint erstmals die wichtigsten Columbia-, Capitol- und Reprise- Aufnahmen in einem Paket. Alle Formate enthalten bisher unveröffentlichte Aufnahmen von Sinatra und die 4CD-Deluxe, bzw. 2LP-Vinyl Versionen enthalten zusätzlich Download-Codes für weitere Bonustracks. Frank Sinatra ist die Stimme des 20. Jahrhunderts und seine Studiokarriere dauerte unglaubliche sechs Jahrzehnte: 1939 sang er seinen ersten Song ein und seine letzten Aufnahmen machte er im Jahr 1993 für sein weltweit gefeiertes, mehrfach mit Platin ausgezeichnetes Album Duets and Duets II. Alle Versionen von Ultimate Sinatra beginnen mit “All Or Nothing At All”, aufgenommen mit Harry James and his Orchestra am 31. August 1939 bei Sinatras erster Studiosession. Es war die erste von fast 100 Bigband-Aufnahmen mit den Harry James und Tommy Dorsey Orchestern.
    [Show full text]
  • April 2021 Will Wells, Timber Creek High School C/O 2007
    Black Horse Pike Regional School District Spotlight on Alumni - April 2021 Will Wells, Timber Creek High School c/o 2007 “Will graduated in 2007. Since then he has worked as a professional musician, composer, film scoring composer, arranger, and music producer. Will was a guitarist, keyboardist, and backing vocalist for the group "Imagine Dragos" and went on their world tour with them in 2015-2016. Will also was the Electronic Music Producer for the Broadway smash hit, "Hamilton." Will has also worked with famous musicians Barbara Streisand, LMFAO, Anthony Ramos, Quincey Jones, Cynthia Erivo (Star of the movie "Harriet"), Pentatonix, and many, many more! For more information, check out his website at: willwellsmusic.com Each year Will returns to Timber Creek to speak with our musicians, has brought in guest performers and conducted a song writing workshop. ~John Perkis, TC Music Education teacher 1. AA: Upon graduation, what post-secondary path did you take and why? Will: Upon graduating from Timber Creek Regional High School in 2007, I decided to attend Berklee College of Music in Boston, Massachusetts. After completing their “5- Week Summer Program” in the Summer of 2005, I knew that there was something about this institution that uniquely suited my needs, my passion, and my dreams. I was always interested in traditional and contemporary music, as well as the ever-evolving technology that was used in its creation. Berklee truly felt like the only place where I could fully immerse myself in the study of music and music technology, while being surrounded by thousands of other scholars who were passionate about music or the music industry.
    [Show full text]
  • Creating a Roadmap for the Future of Music at the Smithsonian
    Creating a Roadmap for the Future of Music at the Smithsonian A summary of the main discussion points generated at a two-day conference organized by the Smithsonian Music group, a pan- Institutional committee, with the support of Grand Challenges Consortia Level One funding June 2012 Produced by the Office of Policy and Analysis (OP&A) Contents Acknowledgements .................................................................................................................................. 3 Introduction ................................................................................................................................................ 4 Background ............................................................................................................................................ 4 Conference Participants ..................................................................................................................... 5 Report Structure and Other Conference Records ............................................................................ 7 Key Takeaway ........................................................................................................................................... 8 Smithsonian Music: Locus of Leadership and an Integrated Approach .............................. 8 Conference Proceedings ...................................................................................................................... 10 Remarks from SI Leadership ........................................................................................................
    [Show full text]
  • An Exploration of the Relationship Between Mathematics and Music
    An Exploration of the Relationship between Mathematics and Music Shah, Saloni 2010 MIMS EPrint: 2010.103 Manchester Institute for Mathematical Sciences School of Mathematics The University of Manchester Reports available from: http://eprints.maths.manchester.ac.uk/ And by contacting: The MIMS Secretary School of Mathematics The University of Manchester Manchester, M13 9PL, UK ISSN 1749-9097 An Exploration of ! Relation"ip Between Ma#ematics and Music MATH30000, 3rd Year Project Saloni Shah, ID 7177223 University of Manchester May 2010 Project Supervisor: Professor Roger Plymen ! 1 TABLE OF CONTENTS Preface! 3 1.0 Music and Mathematics: An Introduction to their Relationship! 6 2.0 Historical Connections Between Mathematics and Music! 9 2.1 Music Theorists and Mathematicians: Are they one in the same?! 9 2.2 Why are mathematicians so fascinated by music theory?! 15 3.0 The Mathematics of Music! 19 3.1 Pythagoras and the Theory of Music Intervals! 19 3.2 The Move Away From Pythagorean Scales! 29 3.3 Rameau Adds to the Discovery of Pythagoras! 32 3.4 Music and Fibonacci! 36 3.5 Circle of Fifths! 42 4.0 Messiaen: The Mathematics of his Musical Language! 45 4.1 Modes of Limited Transposition! 51 4.2 Non-retrogradable Rhythms! 58 5.0 Religious Symbolism and Mathematics in Music! 64 5.1 Numbers are God"s Tools! 65 5.2 Religious Symbolism and Numbers in Bach"s Music! 67 5.3 Messiaen"s Use of Mathematical Ideas to Convey Religious Ones! 73 6.0 Musical Mathematics: The Artistic Aspect of Mathematics! 76 6.1 Mathematics as Art! 78 6.2 Mathematical Periods! 81 6.3 Mathematics Periods vs.
    [Show full text]
  • Trumpeter Scotty Barnhart Appointed New Director of the Count Basie Orchestra
    September 23, 2013 To: Listings/Critics/Features From: Jazz Promo Services Press Contact: Jim Eigo, [email protected] www.jazzpromoservices.com Trumpeter Scotty Barnhart Appointed New Director of The Count Basie Orchestra For Immediate Release The Count Basie Orchestra and All That Music Productions, LLC, is pleased to announce the appointment of Scotty Barnhart as the new Director of The Legendary Count Basie Orchestra. He follows Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and Dennis Mackrel in leading one of the greatest and most important jazz orchestras in history. Founded in 1935 by pianist William James Basie (1904-1984), the orchestra still tours the world today and is presently ending a two-week tour in Japan. The orchestra has released hundreds of recordings, won every respected jazz poll in the world at least once, has appeared in movies, television shows and commercials, Presidential Inaugurals, and has won 18 Grammy Awards, the most for any jazz orchestra. Many of its former members are some of the most important soloists, vocalists, composers, and arrangers in jazz history. That list includes Lester Young, Billie Holiday, Harry “Sweets” Edison, Jo Jones, Frank Foster, Frank Wess, Thad Jones, Joe Williams, Sonny Payne, Snooky Young, Al Grey, John Clayton, Dennis Mackrel and others. Mr. Barnhart, born in 1964, is a native of Atlanta, Georgia. He discovered his passion for music at an early age while being raised in Atlanta's historic Ebenezer Baptist Church where he was christened by Dr. Martin Luther King, Jr.He has been a featured trumpet soloist with the Count Basie Orchestra for the last 20 years, and has also performed and recorded with such artists as Wynton Marsalis, Marcus Roberts, Frank Sinatra, Diana Krall, Clark Terry, Freddie Hubbard, The Duke Ellington Orchestra, Nat Adderley, Quincy Jones, Barbara Streisand, Natalie Cole, Joe Williams, and many others.
    [Show full text]
  • Debut Album to Be Released on July 1St! New Single and Video “Hell of a Girl” Available Now! Click Here to Watch “Hell of a Girl”
    Debut Album to be Released on July 1st! New Single and Video “Hell of A Girl” Available Now! Click here to Watch “Hell of A Girl” Debut Single “You Don’t Own Me feat. G-Eazy” #1 at Shazam in 15 Markets and Top 10 in over 90 Markets, And Top 25 at Pop Radio On Over 120 Stations “Grace is 18 years old, but she's in possession of the voice and swagger of someone much older and more veteran than she” –THE FADER (New York -- May 13, 2016) Australian vocal powerhouse GRACE is set to release her debut album via Regime Music Societe/ RCA Records on July 1st. Grace released the video for her new single today “Hell Of A Girl ” available everywhere. Click here to watch it now. “Hell of A Girl” follows the release of her chart-topping debut hit single, “You Don’t Own Me” Ft. G- Eazy,” currently #1 at Shazam in 15 markets, Top 10 in over 90 markets and Top 25 at Pop radio on over 120 stations in the U.S. “You Don’t Own Me” is a throwback cover of Lesley Gore’s 1963 anthem. Produced by the godfather Quincy Jones, who also produced the original, and Parker (Nicki Minaj, Rihanna, Jessie J, Ariana Grande), the track has not only has become a hit in the US, but also reaching the #1 spot on the official UK Radio chart, as well as topping all major U.K sales charts across the board. The single also hit #1 and is certified double-platinum in Grace’s native country of Australia.
    [Show full text]
  • 88-Page Mega Version 2016 2015 2014 2013 2012 2011 2010
    The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! 88-PAGE MEGA VERSION 2017 2016 2015 2014 2013 2012 2011 2010 COMBINED jazz & blues report jazz-blues.com The Gift Guide YEAR-LONG, ALL OCCCASION GIFT IDEAS! INDEX 2017 Gift Guide •••••• 3 2016 Gift Guide •••••• 9 2015 Gift Guide •••••• 25 2014 Gift Guide •••••• 44 2013 Gift Guide •••••• 54 2012 Gift Guide •••••• 60 2011 Gift Guide •••••• 68 2010 Gift Guide •••••• 83 jazz &blues report jazz & blues report jazz-blues.com 2017 Gift Guide While our annual Gift Guide appears every year at this time, the gift ideas covered are in no way just to be thought of as holiday gifts only. Obviously, these items would be a good gift idea for any occasion year-round, as well as a gift for yourself! We do not include many, if any at all, single CDs in the guide. Most everything contained will be multiple CD sets, DVDs, CD/DVD sets, books and the like. Of course, you can always look though our back issues to see what came out in 2017 (and prior years), but none of us would want to attempt to decide which CDs would be a fitting ad- dition to this guide. As with 2016, the year 2017 was a bit on the lean side as far as reviews go of box sets, books and DVDs - it appears tht the days of mass quantities of boxed sets are over - but we do have some to check out. These are in no particular order in terms of importance or release dates.
    [Show full text]
  • The Leadership Skills of a Music Producer
    The Leadership Skills of a Music Producer OVERVIEW ESSENTIAL QUESTION How do successful music producers practice positive leadership skills? OVERVIEW Have you ever wondered what goes into creating a successful album? Or, how an artist writes a song on acoustic guitar that somehow becomes a fully orchestrated pop hit? Almost always, a successful recording is the result of a team Photo: Apple Music effort. There are dozens of ways a songwriter can funnel a song from her brain to the airwaves. She might work with other composers, lyricists, and arrangers to craft and finely tune the song. Then, when recording, she may employ any number of extra musicians to add instruments or vocals. Engineers are required to record all those instruments, and later to “mix” them into a final product. Artists, photographers and designers must create a “look” for the recording package that complements the artist and music. And, perhaps most importantly, someone will need to manage the entire process, guiding all team members toward a unified aesthetic and timely completion. That someone, most often, is the “producer.” A successful music producer will see the potential of the artists with whom they work, have a vision for how to best reach the public with the artists’ music, and, more importantly, a plan regarding the steps required to do it. The producer may take on many roles, such as choosing a recording studio, gathering ideas, helping to compose and arrange the music, selecting musicians to play on a track, coaching the artist, and leading the recording session. The producer can function as a boss, a coach, a teacher, a colleague, or any combination of the above.
    [Show full text]
  • Skyline Orchestras
    PRESENTS… SKYLINE Thank you for joining us at our showcase this evening. Tonight, you’ll be viewing the band Skyline, led by Ross Kash. Skyline has been performing successfully in the wedding industry for over 10 years. Their experience and professionalism will ensure a great party and a memorable occasion for you and your guests. In addition to the music you’ll be hearing tonight, we’ve supplied a song playlist for your convenience. The list is just a part of what the band has done at prior affairs. If you don’t see your favorite songs listed, please ask. Every concern and detail for your musical tastes will be held in the highest regard. Please inquire regarding the many options available. Skyline Members: • VOCALS AND MASTER OF CEREMONIES…………………………..…….…ROSS KASH • VOCALS……..……………………….……………………………….….BRIDGET SCHLEIER • VOCALS AND KEYBOARDS..………….…………………….……VINCENT FONTANETTA • GUITAR………………………………….………………………………..…….JOHN HERRITT • SAXOPHONE AND FLUTE……………………..…………..………………DAN GIACOMINI • DRUMS, PERCUSSION AND VOCALS……………………………….…JOEY ANDERSON • BASS GUITAR, VOCALS AND UKULELE………………….……….………TOM MCGUIRE • TRUMPET…….………………………………………………………LEE SCHAARSCHMIDT • TROMBONE……………………………………………………………………..TIM CASSERA • ALTO SAX AND CLARINET………………………………………..ANTHONY POMPPNION www.skylineorchestras.com (631) 277 – 7777 DANCE: 24K — BRUNO MARS A LITTLE PARTY NEVER KILLED NOBODY — FERGIE A SKY FULL OF STARS — COLD PLAY LONELY BOY — BLACK KEYS AIN’T IT FUN — PARAMORE LOVE AND MEMORIES — O.A.R. ALL ABOUT THAT BASS — MEGHAN TRAINOR LOVE ON TOP — BEYONCE BAD ROMANCE — LADY GAGA MANGO TREE — ZAC BROWN BAND BANG BANG — JESSIE J, ARIANA GRANDE & NIKKI MARRY YOU — BRUNO MARS MINAJ MOVES LIKE JAGGER — MAROON 5 BE MY FOREVER — CHRISTINA PERRI FT. ED SHEERAN MR. SAXOBEAT — ALEXANDRA STAN BEST DAY OF MY LIFE — AMERICAN AUTHORS NO EXCUSES — MEGHAN TRAINOR BETTER PLACE — RACHEL PLATTEN NOTHING HOLDING ME BACK — SHAWN MENDES BLOW — KE$HA ON THE FLOOR — J.
    [Show full text]
  • Frank's World
    Chris Rojek / Frank Sinatra Final Proof 9.7.2004 10:22pm page 7 one FRANK’S WORLD Frank Sinatra was a World War One baby, born in 1915.1 He became a popular music phenomenon during the Second World War. By his own account, audiences adopted and idol- ized him then not merely as an innovative and accomplished vocalist – his first popular sobriquet was ‘‘the Voice’’ – but also as an appealing symbolic surrogate for American troops fighting abroad. In the late 1940s his career suffered a precipitous de- cline. There were four reasons for this. First, the public perception of Sinatra as a family man devoted to his wife, Nancy, and their children, Nancy, Frank Jr and Tina, was tarnished by his high-octane affair with the film star Ava Gardner. The public face of callow charm and steadfast moral virtue that Sinatra and his publicist George Evans concocted during his elevation to celebrity was damaged by his admitted adultery. Sinatra’s reputation for possessing a violent temper – he punched the gossip columnist Lee Mortimer at Ciro’s night- club2 and took to throwing tantrums and hurling abuse at other reporters when the line of questioning took a turn he disap- proved of – became a public issue at this time. Second, servicemen were understandably resentful of Sina- tra’s celebrity status. They regarded it as having been easily achieved while they fought, and their comrades died, overseas. Some members of the media stirred the pot by insinuating that Sinatra pulled strings to avoid the draft. During the war, like most entertainers, Sinatra made a virtue of his patriotism in his stage act and music/film output.
    [Show full text]