Late Night Jazz Reprise – Eine Liebesgeschichte in 30 Songs
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Jazz Lines Publications Fall Catalog 2009
Jazz lines PubLications faLL CataLog 2009 Vocal and Instrumental Big Band and Small Group Arrangements from Original Manuscripts & Accurate Transcriptions Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA www.ejazzlines.com [email protected] 518-587-1102 518-587-2325 (Fax) KEY: I=Instrumental; FV=Female Vocal; MV=Male Vocal; FVQ=Female Vocal Quartet; FVT= Femal Vocal Trio PERFORMER / TITLE CAT # DESCRIPTION STYLE PRICE FORMAT ARRANGER Here is the extended version of I've Got a Gal in Kalamazoo, made famous by the Glenn Miller Orchestra in the film Orchestra Wives. This chart differs significantly from the studio recorded version, and has a full chorus band intro, an interlude leading to the vocals, an extra band bridge into a vocal reprise, plus an added 24 bar band section to close. At five and a half minutes long, it's a (I'VE GOT A GAL IN) VOCAL / SWING - LL-2100 showstopper. The arrangement is scored for male vocalist plus a backing group of 5 - ideally girl, 3 tenors and baritone, and in the GLENN MILLER $ 65.00 MV/FVQ DIFF KALAMAZOO Saxes Alto 2 and Tenor 1 both double Clarinets. The Tenor solo is written on the 2nd Tenor part and also cross-cued on the male vocal part. The vocal whistling in the interlude is cued on the piano part, and we have written out the opening Trumpet solo in full. Trumpets 1-4: Eb6, Bb5, Bb5, Bb5; Trombones 1-4: Bb4, Ab4, Ab4, F4; Male Vocal: Db3 - Db4 (8 steps): Vocal key: Db to Gb. -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
Sinatra & Basie & Amos & Andy
e-misférica 5.2: Race and its Others (December 2008) www.hemisferica.org “You Make Me Feel So Young”: Sinatra & Basie & Amos & Andy by Eric Lott | University of Virginia In 1965, Frank Sinatra turned 50. In a Las Vegas engagement early the next year at the Sands Hotel, he made much of this fact, turning the entire performance—captured in the classic recording Sinatra at the Sands (1966)—into a meditation on aging, artistry, and maturity, punctuated by such key songs as “You Make Me Feel So Young,” “The September of My Years,” and “It Was a Very Good Year” (Sinatra 1966). Not only have few commentators noticed this, they also haven’t noticed that Sinatra’s way of negotiating the reality of age depended on a series of masks—blackface mostly, but also street Italianness and other guises. Though the Count Basie band backed him on these dates, Sinatra deployed Amos ‘n’ Andy shtick (lots of it) to vivify his persona; mocking Sammy Davis Jr. even as he adopted the speech patterns and vocal mannerisms of blacking up, he maneuvered around the threat of decrepitude and remasculinized himself in recognizably Rat-Pack ways. Sinatra’s Italian accents depended on an imagined blackness both mocked and ghosted in the exemplary performances of Sinatra at the Sands. Sinatra sings superbly all across the record, rooting his performance in an aura of affection and intimacy from his very first words (“How did all these people get in my room?”). “Good evening, ladies and gentlemen, welcome to Jilly’s West,” he says, playing with a persona (habitué of the famous 52nd Street New York bar Jilly’s Saloon) that by 1965 had nearly run its course. -
Ùرانك سùšù†Ø§Øªø±Ø§ ألبوù… قائم Ø
ÙØ ±Ø§Ù†Ùƒ سيناترا ألبوم قائم Ø© (الألبومات & الجدول الزم ني) Robin and the 7 Hoods – Original Score https://ar.listvote.com/lists/music/albums/robin-and-the-7-hoods-%E2%80%93- From The Motion Picture Musical Comedy original-score-from-the-motion-picture-musical-comedy-7352898/songs https://ar.listvote.com/lists/music/albums/songs-for-swingin%27-lovers%21- Songs for Swingin' Lovers! 1041548/songs 12 Songs of Christmas https://ar.listvote.com/lists/music/albums/12-songs-of-christmas-4548728/songs L.A. Is My Lady https://ar.listvote.com/lists/music/albums/l.a.-is-my-lady-2897354/songs I Remember Tommy https://ar.listvote.com/lists/music/albums/i-remember-tommy-2897925/songs Nice 'n' Easy https://ar.listvote.com/lists/music/albums/nice-%27n%27-easy-2897970/songs Sinatra & Company https://ar.listvote.com/lists/music/albums/sinatra-%26-company-1747713/songs https://ar.listvote.com/lists/music/albums/trilogy%3A-past-present-future- Trilogy: Past Present Future 614317/songs https://ar.listvote.com/lists/music/albums/ol%27-blue-eyes-is-back- Ol' Blue Eyes Is Back 3881424/songs https://ar.listvote.com/lists/music/albums/a-swingin%27-affair%21- A Swingin' Affair! 1419881/songs The Sinatra Family Wish You a Merry https://ar.listvote.com/lists/music/albums/the-sinatra-family-wish-you-a-merry- Christmas christmas-2898718/songs Young at Heart https://ar.listvote.com/lists/music/albums/young-at-heart-8058542/songs Sings Days of Wine and Roses, Moon River https://ar.listvote.com/lists/music/albums/sings-days-of-wine-and-roses%2C- -
Domingo 23 Junio, 2013 HORIZONTE
Page 1 ******************************************************************************** Domingo 23 Junio, 2013 HORIZONTE 1AM ******************************************************************************** TITULO: Be Bop INTER: ARTURO SANDOVAL ALBUM: DEAR DIZ (EVERY DAY I THINK NOTA: DUR:8:17 ******************************************************************************** LOCUTOR ******************************************************************************** TITULO: I've got my love to keep me warm INTER: BILLIE HOLIDAY ALBUM: CHEEK TO CHEEK NOTA:THE IRVING BERLIN SONGBOOK DUR:3:57 TITULO: Fable of faubus INTER: CHARLES MINGUS ALBUM: AH UM NOTA: DUR:8:14 ******************************************************************************** LOCUTOR ******************************************************************************** TITULO: Steppin' out with my baby INTER: TONY BENNETT ALBUM: VIVA DUETS NOTA:CON CHRISTINA AGUILERA DUR:2:01 TITULO: Undun INTER: KURT ELLING ALBUM: NIGHTMOVES NOTA: DUR:4:59 ******************************************************************************** CORTE ******************************************************************************** TITULO: Totem Pole INTER: LEE MORGAN ALBUM: THE SIDEWINDER NOTA: DUR:10:10 ******************************************************************************** LOCUTOR ******************************************************************************** TITULO: I got rhythm INTER: BOBBY DARIN ALBUM: THE ESSENTIAL NOTA: DUR:1:52 TITULO: Now hear my meaning INTER: RAY BROWN ALBUM: MUCH IN COMMON -
Schooltime 07/08 Study Guide
SchoolTime 07/08 Photo by Henry Roxas Study Guide JazzReach—Subway Sounds Tuesday, February 5, 2008 at 11:00 a.m. Zellerbach Hall About Cal Performances and SchoolTime The mission of Cal Performances is to inspire, nurture and sustain a lifelong appreciation for the performing arts. Cal Performances, the performing arts presenter of the University of California, Berkeley, fulfi lls this mission by presenting, producing and commissioning outstanding artists, both renowned and emerging, to serve the University and the broader public through performances and education and community programs. In 2005/06 Cal Performances celebrated 100 years on the UC Berkeley Campus. Our SchoolTime program cultivates an early appreciation for and understanding of the performing arts amongst our youngest audiences, with hour-long, daytime performances by the same world-class artists who perform as part of the main season. Teachers have come to rely on SchoolTime as an integral and important part of the academic year. Cal Performances Education and Community Programs Sponsors Cal Performances’ Education and Community Programs are supported by American Express Company Foundation, California Arts Council, California Mortage & Realty, Design Community & Environment, Evelyn & Walter Haas, Jr. Fund, Orton Development Inc., Sharon & Barclay Simpson, Pacifi c National Bank, The Wallace Foundation, Bernard E. & Alba Witkin Charitable Trust, and The Zellerbach Family Foundation. SchoolTime JazzReach— Subway Sounds | I Welcome January 10, 2008 Dear Educators and Students, Welcome to Cal Performance’s SchoolTime! On Tuesday, February 5, at 11:00 a.m. your class will attend the SchoolTime performance of JazzReach’s Subway Songs at Zellerbach Hall on the UC Berkeley campus. -
A Sinatra Sampler Rosemary Clooney; and Any Number Arranged by Nelson Riddle
largely impressive new albums, in-been embroiled in more controver-renewed ballads, that enable him to cluding the three -volume "Trilogy."sies than ever with the press and pol-lift a concert hall by its roots and Once again there was a new Sinatra,iticians (usually concerning his al-swing it as though all time but his had with a loamier voice, a hard-earnedleged Mafia connections). He hascome to a halt. and expressive tremor in the lowmore than his share of enemies; they Frank Sinatra remains unique, the notes, a stoic determination to useare apparently immune to the innatemaster explicator of the complexity aesthetically the trappings of age-decency and pride of craft that allowand power of American popular sibilance, wavering, harshness. him to bring the contradictory ele-songs, the entertainer as shaman. He Sinatra cannot be said to have mel-ments in his personality to bear onis both the founder of his tradition lowed much in recent years. He'sachingly personal and persistentlyand its principal heir. 0 FRANK SINA TRA: A SELECTED DISCOGRAPHY ALMOST all of the albums listed here them Young at Heart and The Lady is O I Remember Tommy(FS -1003), are still available, but a few are a Tramp) and otherwise interesting arranged by Sy Oliver. simply the most recent releases of performances (notably a version of OSinatra & Strings(FS -1004), significant Sinatra recordings. They Where or When that begins with pitch arranged by Don Costa. are grouped chronologically by label problems but achieves a stunning OAll Alone(FS -1007), arranged by affiliation. climax) are not included, this limited Gordon Jenkins. -
The Frank Sinatra Songbook
Late Night Jazz – The Frank Sinatra Songbook Samstag, 12. Mai 2018, 22.05 – 24.00 SRF 2 Kultur Dass Frank Sinatra (1915-1998) und sein Einfluss auf den Jazzgesang kaum überschätzt werden können, ist mittlerweile anerkannt. Seine Wirkung auf Komponisten und Texter ist allerdings kaum geringer. Viele Songschreiber hatten explizit seine Stimme im Kopf beim Komponieren und wenn Sinatra einen Song tatsächlich aufnahm, war das gleichsam der Ritterschlag für das Werk und seinen Meister. Gut zwei Dutzend Sinatra-geadelte Songs in Late Night Jazz! Redaktion: Beat Blaser Moderation: Annina Salis Sinatra at The Sands with Count Basie And The Orchestra (1966) Label: Reprise Track 01: Come Fly with Me John Pizzarelli - Dear Mr. Sinatra Label: Telarc Track 02: You Make Me Feel So Young Aldo Romano - Inner Smile (2011) Label: Dreyfus Track 06: Old Devil Moon Frances Faye Sings - Russell Garcia Conducts (1955) Label: Lone Hill Track 16: I've Got You Under My Skin Judy Niemack - In the Sundance Label: blujazz Track 01: How About You? Paolo Alderighi - A Touch Of Swing Label: Jazz Connaisseur Track 02: Too Marvellous For Words Modern Pop Quartet - Doin' Their Jazz Thing Label: Cristal Rec Track 11: I Thought About You Shirley Horn - You Won't Forget Me (1990) Label: Verve Track 02: Come Dance with Me Blue Note plays Sinatra (1956) Label: Blue Note Track 04: Dancing in The Dark - Cannonball Adderley Jo Lawry - I Want To Be Happy (2008) Label: Fleurieu Music Track 07: I Could Have Danced All Night Ben Sidran - Mr. P's Shuffle (1996) Label: Go Jazz Track -
![Listening Response Sheet Ed Littlefield Talks “Sinatra at the Sands” [LISTEN]](https://docslib.b-cdn.net/cover/9619/listening-response-sheet-ed-littlefield-talks-sinatra-at-the-sands-listen-2129619.webp)
Listening Response Sheet Ed Littlefield Talks “Sinatra at the Sands” [LISTEN]
Listening Response Sheet Ed Littlefield talks “Sinatra at the Sands” [LISTEN] 1. Why did Ed Littlefield choose this recording to discuss? Please list at least two reasons (start at 0:23). [NCAS MU: Re7.1.E.Ia] 2. When and where was this album recorded? (Start at 5:54) 3. What are some of the musical elements that Ed said he enjoyed about “Come Fly with Me?” Please list at least two. (Start at 5:54) [NCAS MU: Re7.2.E.Ia] 4. What are some of the musical elements that Ed said he enjoyed about “I’ve Got a Crush on You?” Please list at least two. (start at 10:36) [NCAS MU: Re7.2.E.Ia] 5. What did Ed describe as being important to building up the energy in “I’ve Got You Under My Skin?” List one other thing Ed enjoyed and why he liked it. (start at 15:55) [NCAS MU: Re7.2.E.Ia] 6. According to Ed, how did the musicians “fill up” the texture of the song “The Shadow of Your Smile?” (start at 21:11) [NCAS MU: Re8.1.E.Ia] 7. What musical technique did Ed say the saxophones used to fill out the texture of “Street of Dreams?” (start at 25:15) [NCAS MU: Re8.1.E.Ia] 8. Ed describes an interplay between different instruments in “Fly Me to the Moon.” What effect does he describe the flute having? (start at 29:33) [NCAS MU: Re8.1.E.Ia] 9. What is a “doit?” (start at 29:33) [NCAS MU: Re8.1.E.Ia] 10. -
Gaming Advertising and the Struggle for Its First Amendment Rights
UNLV Retrospective Theses & Dissertations 1-1-1995 Gaming advertising and the struggle for its First Amendment rights Cameron Lee Andrews University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Andrews, Cameron Lee, "Gaming advertising and the struggle for its First Amendment rights" (1995). UNLV Retrospective Theses & Dissertations. 569. http://dx.doi.org/10.25669/j6k2-tppk This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. -
UNIVERSAL MUSIC • Mark Knopfler – Altamira OST • Whitehorse
Mark Knopfler – Altamira OST Whitehorse – The Northern South Vol. 1 Disney – The Jungle Book Check out new releases in our Vinyl Section! New Releases From Classics And Jazz Inside!!! And more… UNI16-17 UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 *Artwork shown may not be final UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: MIKE POSNER/ At Night, Alone Cat. #: B002470402 Price Code: JSP Bar Code: Order Due: April 7, 2016 Release Date: May 6, 2016 File: Dance Genre Code: 17 Box Lot: 25 Key Tracks: I Took A Pill In Ibiza Be As You Are Key Points: Mike Posner leapt onto 2010's music scene with the catchy pop track “Cooler Than Me.” He's back on the charts with “I Took A Pill In Ibiza (SeeB Remix),” which was inspired by a drug‐fueled experience at an Avicii concert years ago. "Ibiza" began topping Scandinavian charts thanks to an EDM remix by Norwegian duo SeeB. The dance version recently took hold in the U.S., already peaking at No. 14 on the Hot 100. The track is the #1 Most Shazamed track in Canada, and is racing up the charts at Top 40 radio. ‘At Night, Alone’ has the acoustic vibe of the original version of "Ibiza," with a handful of "bonus remixes" for his dance fans. "The first 10 songs, they're meant to be listened to as they are written — at night and alone," he said. "And the remixes after are just fun." ‘At Night, Alone’ is full of monster hit singles and is expected to be one of the breakout hit albums of the Spring/ Summer. -
The Arrangements of Nelson Riddle for Frank Sinatra and Ella Fitzgerald
A MODEL OF COLLABORATIVE CREATIVITY: THE ARRANGEMENTS OF NELSON RIDDLE FOR FRANK SINATRA AND ELLA FITZGERALD Gabriel I. Evens Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Rich DeRosa, Major Professor Kris Chesky, Committee Member John Murphy, Committee Member Benjamin Brand, Director of Graduate Studies Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Evens, Gabriel I. A Model of Collaborative Creativity: The Arrangements of Nelson Riddle for Frank Sinatra and Ella Fitzgerald. Doctor of Musical Arts (Performance), May 2016, 55 pp., 19 examples, 4 lyrics, references, 31 titles. This dissertation explores the themes of collaboration and creativity in the relationship between arranger Nelson Riddle and vocalists Frank Sinatra and Ella Fitzgerald. It examines the balance between structure and freedom as well as the specific musical results that emerge from collaboration between an arranger and vocalists who are considered among the greatest in their fields. An examination of their interactions, musical scores, and performances, reveals that the constraints that are present in a collaborative effort can lead the artists to find a shared process to make a creative, unified product. Copyright 2016 by Gabriel I. Evens ii TABLE OF CONTENTS INTRODUCTION ............................................................................................................... 1 I’VE GOT YOU UNDER MY SKIN ...............................................................................