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International Jazz Day 2013 Special Message
30 APRIL: INTERNATIONAL JAZZ DAY 2013 SPECIAL MESSAGE FROM MR AHMET DAVUTOGLU, MINISTER OF FOREIGN AFFAIRS AND MR OMER CELIK, MINISTER OF CULTURE AND TOURISM Turkey welcomes the opportunity to host UNESCO’s International Jazz Day on 29‐30 April, 2013, in Istanbul. This will be the first celebration to be held outside of the United Nations Headquarters. On this occasion, we shall celebrate jazz music not only as a global language of human soul, but also that of more inclusive societies, mutually enhancing civilisations, and UNESCO ideals. Jazz music fascinated the two sons of Mehmet Münir Ertegün, the second Turkish Ambassador of the Republican era to the United States of America. Ahmet and Nesuhi Ertegün brothers co‐founded the legendary Atlantic Records together with Herb Abramson in 1947. Arif Mardin, another legendary music producer from Turkey, served along with them in the company. These three Turkish‐American jazz connoisseurs and pioneers, all born and bred in Istanbul, left an outstanding musical legacy of true global reach, spanning from the United States to Egypt and the rest of Africa via Turkey. Inspired by the lives and achievements of the Ertegün brothers and Arif Mardin, jazz music has flourished in Istanbul. This has paved the way for the Istanbul Jazz Festival, organized every year since 1994 by the Istanbul Foundation for Culture and Arts. Hence the special place of Istanbul on the global jazz map for the last twenty years. It is our pleasure to host the "International Jazz Day" which will raise awareness in the international community of the virtues of jazz as an educational tool, and a force for peace, unity, dialogue and enhanced cooperation among people. -
Melissa Errico
Melissa Errico is one of Broadway's most cherished leading ladies, as well as a blossoming recording artist who has been called "the voice of enchantment" by the NY TIMES. She released her second studio CD Lullabies and Wildflowers on Mothers Day 2008. This follows her debut CD Blue Like That (Capitol Records, EMI) produced by Arif Mardin, praised as "gorgeous" (NY TIMES), and "earthy and soulful" (USA TODAY). Melissa was nominated for the Best Leading Actress Tony Award for her work in Michel Legrand's Amour, and has been recognized with the Lucille Lortel Award, six Drama Desk nominations, two Helen Hayes Awards, four Outer Critics Award nominations and three Drama League Honors. In December of 2010, she received the "Artist of Distinction" Award from the Great Neck Arts Center, recognizing her as a Long Island native who has made her home town proud. Melissa starred on Broadway as Betty Haynes (the Rosemary Clooney role) in Irving Berlin's White Christmas, and then starred off-Broadway in the Shaw play CANDIDA, for which she was nominated for a Best Actress 2010 Drama Desk Award. When only a teenager, Melissa burst upon the Broadway scene as Cosette in Les Miserables, quickly followed by a star-turn as Kitty in Anna Karenina, and then, at age 22, to raves as Eliza Doolittle in the Broadway revival of My Fair Lady. Since then, she has starred in High Society, Amour and Dracula on Broadway, and acclaimed off-Broadway plays like Major Barbara and The Importance of Being Earnest, as well as in television and film, including CBS's Central Park West and the movies Frequency and Life Or Something Like It, opposite Angelina Jolie. -
RSL+Piano+Sample+Pack.Pdf
Piano Sample Pack piano SAMPLE PACK Welcome to the Rockschool Repertoire Sample Booklet for piano Contents 3 the rockschool books This interactive booklet is designed to give a flavour of the pieces of music 4 Repertoire and audio contained within the graded music exam syllabus and information on the musical skills and understanding that have been benchmarked at each grade. 5 EXAMS AND Assessment Criteria This sits alongside the Syllabus Guide which provides full details of the graded 7 Debut Musical Skills and Features examinations run by Rockschool for Piano. 8 Debut Repertoire Sample 11 Grade 1 Musical Skills and Features 12 Grade 1 Repertoire Sample 15 Grade 2 Musical Skills and Features Purchase your digital copies of the full Rockschool syllabus books including access 16 Grade 2 Repertoire Sample to Replay, the interactive sheet music tool, on the RSL Awards shop here… 19 Grade 3 Musical Skills and Features 20 Grade 3 Repertoire Sample * 23 Grade 4 Musical Skills and Features save 10% 24 Grade 4 Repertoire Sample 27 Grade 5 Musical Skills and Features You can buy the whole range of hard copy Rockschool syllabus books on: 28 Grade 5 Repertoire Sample Musicroom.com 31 Grade 6 Musical Skills and Features Use the code RSLSAMPLE to save 10%* on all Rockschool products. 32 Grade 6 Repertoire Sample 35 Grade 7 Musical Skills and Features *Available while stocks last on Rockschool syllabus books and methods only. This offer may be withdrawn at any time. 36 Grade 7 Repertoire Sample If you are using Adobe Acrobat to view this document, you will be able to hear the 39 Grade 8 Musical Skills and Features sample audio alongside the sample repertoire pages. -
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD. -
High Quality Audio Specifications and Capabilities
INTRODUCTION & GENERAL INFORMATION CHAIRMAN’S he AES returns to New York! The 115th AES locations available, see the separate form and WELCOME Convention, the premier audio event of the enclosed map. Please use this housing form to T year, will explore the latest technological book your hotel. It is highly recommended that this be done as early as possible. he AES 115th Convention is a collection advances in the audio world. A comprehensive showcase of audio technology combined with Reservations may also be secured online by of extraordinary events, drawing upon a stellar line up of papers sessions, tutorials, visiting www.aes.org/events/115 and clicking on the latest developments in audio T workshops, technical tours and special events the Hotel Information link. technology. This year’s technical program make the AES an invaluable resource for will offer more selections than ever before, today’s audio professional. and illustrates how far reaching the While addressing the issues our industry is faced “Power of Sound” can be. with today, the AES also looks ahead to the future MEETINGS HELD IN Especially exciting are the new additions to of audio. From breakthroughs in coding CONJUNCTION WITH technology to the impact surround sound the AES Convention program. For the first time THE 115TH CONVENTION production has on today’s mastering engineer, at a US show, Exhibitor and Tutorial Seminars the AES has it covered. will be presented, offering convention visitors Annual AES Business Meeting: a chance to see detailed showcases of ADVANCE REGISTRATION FRIDAY, OCTOBER 10, 8:30 AM - 9:00 AM— open to all AES members in good standing. -
Some Back Ground Info
Some back ground info (source: The internet). Dennis Bryon and Blue Weaver first met in the mid sixties in a group called Brother John & The Witnesses. In 1966 Blue Weaver and Dennis Bryon joined a group from Cardif called Amen Corner. This septet, complete with saxes, was led by Andy Fairweather-Low, who at that time was only 16 years old. The group got a recording contract with Deram Records in 1966 and had many big hits during the next four years. These included "Gin House Blues," "Bend Me, Shape Me," and "High In The Sky" for Deram, after signing with Immediate Records they had further hits such as "(If Paradise Is) Half As Nice". During the four years of their existance they recorded three albums. After the end of Amen Corner, Andy Fairweather-Low founded a new, more progressive group, which he simply called Fairweather. The musicians of the new group were the same musicians that made up Amen Corner except for the horn section, which was missing. The first single release "Natural Sinner" was a big hit. After only one year the group broke up in 1971. After the failure of "Life In A Tin Can" the Bee Gees started to restructure the group and their sound. At first they found a new drummer. Dennis Bryon had previously played with Amen Corner and now joined the group. The next step for the Bee Gees was to find a new sound. Together with Atlantic producer Arif Mardin they worked on a modern form of rhythm'n'blues music. At first they added more rock'n'roll to their music. -
I Love Your New Work. It's a Great Place Apart, a Dream Escape from What's Just Ordinary
I love your new work. It's a great place apart, a dream escape from what's just ordinary. You are everything but ho-hum. - Van Dyke Parks She is a visionary artist - All About Jazz Italia Amy Kohn is applauded by some of the top composer/producers in modern song: Van Dyke Parks says she’s “Brimming with such talent!” and the late, legendary Producer Arif Mardin dubbed Amy a “Musical Devil in a Red Dress” and featured her on his final record- ing, All My Friends Are Here, along with performers such as Norah Jones, Chaka Khan, and Carly Simon. Amy always seeks sounds she’s never heard, and it comes through in the “oddly structured beauty” (Scottish Herald) of her highly arranged, cinematic music. PlexiLusso, Amy’s new album of orchestral pop, has made best-of lists from Italy’s Rai Radio 3 program “Battiti” to An international touring artist, Amy has performed her Avant Music News to Pitchfork’s Best Album Covers of songs at festivals and venues such as Italy’s UBI Jazz, 2014 and has been championed by BBC Radio 6's Stuart Woma Jazz, Senigallia’s Notte Bianca, Geni Musicali, Maconie ("I'm a big fan!"). From the bombastic "Lingua- Croatia’s FoPa Festival of Performing Arts, Berlin’s glossa" about aeroacrophobia on Sicily's Mt. Etna, to a Clavier-Cabinett, and London’s famed 12 Bar, Ray’s Jazz Brooklyn bus ride in the delicate "Chris," to neon at the Shop and The Vortex. Glowing Italian audiences recently Venice Biennale in the sparkly single "Everyone's in Love" returned Amy’s songs with a "tris" and her music was and lizard-embossed tile floors in the textured "Lucer- described in the press as "appassionata, introspettiva, tole,” PlexiLusso's "marvelous musical bijoux" (Van Dyke dissonante e armonica" (Il Mattino di Padova). -
Who's Who in Pop Record Production
WHO'S WHO IN POP RECORD PRODUCTION The following is a list of producers who had at least one single and/or album in the Top Pop 100 charts last year (1986). The producer's name is followed by the (S) song title(s) and/or (LP) album title(s) in quotes, with the artist's name in all capitol letters, followed by a slash and the name(s) of any co- producer(s). Colonel Abrams (S)-(LP)-"Colonel Abrams"-COLONEL ABRAMS-/ /Richard The Bunnymen (S)-(LP)-"Songs To Learn And Sing"-ECHO & THE James Burgess/Rick Dees BUNNYMEN-/Ian Broudie/Bill Drummond/Hugh Jones William Ackerman (S)-(LP)-"Winter's Solstice"-VARIOUS-/Dawn Atkinson Richard James (S)-"Can't Wait Another Minute"-FIVE Alabama (S)-(LP)-"Christmas"-ALABAMA-/Harold Shedd Burgess STAR-/(LP)-"Colonel Abrams"-COLONEL ABRAMS-/Colonel "Alabama Greatest Hits"-ALABAMA-/Harold Shedd Abrams/ /Rick Dees "The Touch"-ALABAMA-/Harold Shedd T-Bone Burnett (S)-(LP)-"King Of America"-ELVIS COSTELLO & THE Teneen Ali (S)-"For Tonight"-NANCY MARTINEZ-/Sergio Munzibal(LP)- ATTRACTIONS-/Declan Patrick A. MacManus Dave Allen (S)-"In Between Days"-THE CURE-/Robert Smith(LP)- Joe Busby (S)-(LP)-"Al I In Love"-NEW EDITION-/Bill Dern Tom Allom (S)-"This Could Be The Night"-LOVERBOY-/Paul Dean Jonathan Cain (S)-"Working Class Man"-JIMMY BARNES-/UP)- "Lead A Double Life"-LOVERBOY-/Paul Richard Calandra (S)-(LP)-"Breakout"-SPYRO GYRA-/Jay Becknestein Dean(LP)-"Turbo"-JUDAS PRIEST-/ The Call (S)-(LP)-"Reconciled"-THE CALL-/Michael Been Pete Anderson (S)-(LP)-"Guitars, Cadillacs, Etc., Etc."-DWIGHT Reggie Calloway (S)-"Headlines"-MIDNIGHT -
Jack Joseph Puig Girls Don’T Cry by Fergie
craft My Wings by Bette Midler plus Iris from the Goo Goo Dolls. Heavier Things by John Mayer, Big Jack Joseph Puig Girls Don’t Cry by Fergie. All of those are great, successful records. All were Grammy records — He’s one of the very few producer/engineers who also holds a job in A&R. JJP talks those records were what basically created the sound to NIGEL JOPSON about the fi rst draft, compressors, Waves plug-ins and doing of those acts — and that’s the notch on the belt: not how great the bass drum sounds, not how good something right. the cymbals sound or the cool thing on the electric guitar, none of that shit matters. When you have ack Joseph Puig is a Grammy Award-winning over a decade, arranging his huge collection of vintage that kind of success over a period of time, it gives engineer and producer with a long track record outboard equipment and music memorabilia into a you a level of confi dence — ‘You know what, I can of successful productions and chart-friendly creative cave resembling a million-dollar version of actually do it!’ Anyone can do it once, but when it’s mixes. He began his career engineering at a funky art-deco rehearsal hall. Recently, Waves that many times and that signifi cant, then you’re JMCA Whitney studios, later becoming the legendary launched the JJP plug-in collection (reviewed in doing something right. Bill Schnee’s protégé. Along with Schnee, he lists Resolution V7.6), emulations of Jack Joseph’s vintage Arif Mardin and Glyn Johns — Puig engineered 8 or Fairchild compressors and Pultec EQs. -
Jazz Times “She Has That Special Gift You Cannot Buy in a Music Store.” Les Paul “
nickiparrott “ Nicki Parrott could make anyone love jazz!” Cabaret Scene “Nicki brings clear articula- tion, beautiful tone, a sense of rhythmic assuredness and a touch of allure to inven- tive arrangements.” Jazz Times “She has that special gift you cannot buy in a music store.” Les Paul “... at the risk of betraying a certain male penchant I can’t help noting that Parrott is the other lady bassist singer around these days whose beauty matches her musicianship.” Downbeat “There are some performers who have what I would call star quality. It is a combination of talent and charisma that enables them to stand out from the pack, and simply wow an audi- ence.” Joe Lang “...must see... show stop- ping....” Jon Weber, NPR Piano Jazz “...a rarity, a first-class bassist whose playing is as sublime as her vocals.” Limelight A R C D O 5:56 1 Strictly Confidential 1 9 L A R B 4 O R S L (Bud Powell) R E 4 C O R D E S 9 P R I E S E 5:27 RO N T 2 SS S T ockingbird A Sunset and the M NO R SPOR R T (Duke Ellington, Billy Strayhorn) o IELLO s NIC O KI s P ARR a O P T 3 4:25 n T E n D y’s Wife m D John Hard o I S E i ME o T t Z on) o (Duke Ellingt a O c S c . i p l N s o 4 t a Difference a Day Made 4:14 p Wha r d u A t r d i S ever, English lyrics by Stanley Adams) O (Maria Gr e o d S l N l c e o z O A 4:14 i 5 e I ujah, I Love Him So Hallel r r N R P o s (Ray Charles) i h r c t k u o i NICKI PARROTT a 6 5:31 P Misty b n r a U (Erroll Garner) r a . -
Astrid Hepner and Said, “In the Club, the First Bruce Lundvall
12 MARCH, 2016 NEWS NEWS MARCH, 2016 13 Janfelix Vista photography Janfelix Vista photography a career spanning half a refused to put out because as she recalled the parking century, Bruce Lundvall it was ‘crap’. It was a bold nightmares in Brooklyn. had signed artists, includ- move to take with a new After a couple of years ing Willie Nelson, Herbie artist but producer Mar- at home it was time to get Hancock, Dexter Gordon, din took a much simpler, back into music again. Woody Shaw, James Taylor, sophisticated approach Astrid formed the Hamilton Stan Getz, Wynton Marsa- in working with Jones and Music Collective—a not- lis, Dianne Reeves, Natalie the subsequent success of for-profit that produced Cole, Cassandra Wilson, the album bolstered EMI’s concert series like Jazz at Anita Baker, and Norah fortunes. the Corktown and since Jones. “Bruce was a won- Things were going swim- 2014 Jazz at the Gasworks. derful man,” recalls Astrid, mingly in New York for Later the Collective staged “he was very well respected Astrid and Darcy, a couple Jazz in the Hubs which in the industry, and one of hot young musicians became the launching pad of the few who came out living the dream; but then for Astrid’s current pas- of the payola scandals came September 11, 2001. sion—An Instrument For untouched. He was a true By then the couple had Every Child. The unique mentor to me.” The job had moved to the gentrify- program is aimed at inner some exciting moments, ing Park Slope district of city public school stu- like telling husband Darcy Brooklyn. -
Download Press
A FOUR-PART DOCUSERIES DIRECTED BY Keith McQuirter SERIES PRODUCER: Cyndee Readdean SENIOR PRODUCER: Asako Gladsjo EXECUTIVE PRODUCERS: Forest Whitaker, Nina Yang Bongiovi, Keith McQuirter, Swizz Beatz, Michael Wright and Jill Burkhart Episode 1: 47:59mins | Episode 2: 50:47mins | Episode 3: 48:27mins | Episode 4: 48:40 mins USA | 2020 MAIN CONTACTS: DIRECTOR: Keith McQuirter, Decoder Media [email protected] MEDIA: Marlea Willis, [email protected] | 646.535.9056 decodermedia.com @DecoderMedia LOGLINE By Whatever Means Necessary: The Times of Godfather of Harlem, directed by Keith McQuirter, is inspired by the music and subjects featured in the EPIX original series “Godfather of Harlem”. The four-part docuseries brings alive the dramatic true story of Harlem and its music during the 1960s and connects that history to our present moment. SYNOPSIS Inspired by the music and subjects featured in the Emmy®-winning EPIX original series “Godfather of Harlem,” the four-part docuseries By Whatever Means Necessary: The Times of Godfather of Harlem, directed by Keith McQuirter (“The Innocence Files,” MILWAUKEE 53206), tells the dramatic true story of Harlem and its revolutionary music during the 1960s and connects that history to our present moment. Featuring interviews with the stars of “Godfather of Harlem,” including Academy Award®-winner Forest Whitaker, Giancarlo Esposito, Ilfenesh Hadera and Markuann Smith and musicians Gladys Knight, Martha Reeves, Herbie Hancock, Nile Rodgers, A$AP Ferg, CHIKA, Carlos Alomar, Robin Clark and Joe Bataan, the series spotlights artists and activists who dared to use their voices, instruments, and lyrics to take a stand against oppression. Other notables in the series include activists Reverend Al Sharpton, Felipe Luciano, Denise Oliver-Velez and Miguel “Mickey” Melendez; former U.S.