Jazz & Pop-Soul Fly Me to the Moon Stand by Me What a Wonderful

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Jazz & Pop-Soul Fly me to the moon Stand by me What a wonderful world Sunny I wanna be loved by you Sixties I got a woman Jailhouse rock – Elvis Autumn leaves Twist and shout – Beatles Summertime Johnny be good – Chuck Berry Don’t wait too long Never can tell – Chuck Berry Hit the road Jack Stand by me – Ben E king Rehab Hit the road jack – Ray Charles The way you look tonight Isn’t she lovely Pop Rock The firm fram sauce Message in the bottle – Police J’ai deux amours I love rock n roll – Joan jet Road 66 Proud Mary – Tina Turner C’est si bon Seven nation army – The Whites Stripes Syracuse California Gurls – Katy Perry La vie en rose What’s up – Four non blonds Oh when the Saint Mercy – Duffy At Last Rolling in the deep – Adele Smile Ca c’est vraiment toi – Téléphone This can’t be love Call Me Maybe – Carly Rae Jepsen You never can Tell Mercy Mercy Mercy Bossa-Nova Get Lucky – Daft Punk (version jazz) The girl from Ipanema Desafinado Jazz New-Orléans Chega de Saudade Avalon So danço samba Bernies Tune Dindi Body and soul Agua de beber Bye bye blackbird So nice = Summer samba Cottontail Wave Don’t get around much anymore Mas que nada Honeysuckle rose One note samba In a mellow tone Casa forte In a sentimental mood Corcovado Jive at five Sorri (= Smile en portugais) Oh, lady be good Autumn leave (version bossa) Perdido Happy (version bossa) Satin doll Slow boat to china Soft winds Just squeeze me Summertime On the sunny side of the street There will never be another you Petite fleur Oh when the saint Take the a train .

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HIT the ROAD JACK Lyrics by Ray Charles
HIT THE ROAD JACK Lyrics by Ray Charles (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) What you say? (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) Woah Woman, oh woman, don't treat me so mean, You're the meanest old woman that I've ever seen. I guess if you said so I'd have to pack my things and go. (That's right) (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) What you say? (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) Now baby, listen baby, don't ya treat me this-a way Cause I'll be back on my feet some day. (Don't care if you do 'cause it's understood) (you ain't got no money you just ain't no good.) Well, I guess if you say so I'd have to pack my things and go. (That's right) (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) What you say? (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) Well (don't you come back no more.) Uh, what you say? (don't you come back no more.) I didn't understand you (don't you come back no more.) You can't mean that (don't you come back no more.) Oh, now baby, please (don't you come back no more.) What you tryin' to do to me? (don't you come back no more.) Oh, don't treat me like that (don't you come back no more.) .
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The Connection Song List
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Rodney-Crowell-No35.Pdf
ISSUE #35 MMUSICMAG.COM ISSUE #35 MMUSICMAG.COM Q&A D avid McClister RODNEY CROWELL For the veteran songwriter, patience is the key to creative success IN 2010, RODNEY CROWELL BEGAN for this album. I don’t write that way—I just the music that I love, that stands the test the album that would become Tarpaper make up songs for the sake of making up of time—Taj Mahal’s “Statesboro Blues” or Sky, recording half a dozen songs before songs. My mantra for songwriting is, “Be Howlin’ Wolf’s “How Many More Years” or getting sidetracked with other projects: Kin, still, be quiet, be patient—and the song Ray Charles’ “Hit the Road, Jack”—they’re a collection of songs he wrote with memoirist will tell you what it wants to be.” I just coax all performance. Those are not produced Mary Karr, and last year’s Grammy-winning those songs out of hiding. “Fever on the records, those are performed records. Old Yellow Moon, a collaboration with Bayou” lay dormant for 20 years, because Hank Williams’ records were not produced, longtime friend Emmylou Harris. “Those I didn’t have the last verse until I got into a they were performed. Tarpaper Sky is an beautiful women got my mind off my work,” conversation with somebody in the airport entirely performed record and I’m proud of laughs Crowell. The time away gave the who said “Franglais.” That Cajun French just that. It’ll be a long time before I reach the singer-songwriter a fresh perspective—and stomps on both English and French, and I level of Ray Charles, but I’m shooting for it 36 years after his first release, he’s optimistic thought that was what the last verse needed.
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JAZZ+GENIUS+SOUL= the MUSIC of RAY CHARLES Special Guest
CCM Jazz Ensemble Dr. Scott Belck, director Saxophone Guitar Andrew Mohler, lead alto Brad Myers Emily Jordan, alto Josh Kline, tenor Organ Curtis Holtgrefe, tenor Max Greenberg JAZZ SERIES Nathan Hatton, baritone Bass PRESENTS Trumpet Noah Simonides Michael Dudley, lead Matt Harttmann Drums Eric Lechliter David Albanese Mauki McGruder Aaron Todahl Trombone JAZZ+GENIUS+SOUL= Andrew Nelson, lead Zack Granger Daniel Blevins THE MUSIC OF RAY CHARLES Josh Omaits, bass trombone CCM Jazz Lab Band Special Guest: Craig Bailey, director Billy Osborne, vocals Saxophone Guitar Ander Peterson, lead alto Nick Pierok Melisa Bonetti Austin Atkinson, alto Andrew Lin, tenor Organ Jasmine Habersham Kyle Kidwell, tenor Jackson Steiger Sam Beiting, baritone LaTanya M Foster, CCM Raylettes Bass Trumpet Kevin McClellan Mike Wertz JAZZ ENSEMBLE George Carpten IV Drums Mike Cruse Darren Benton Dr. Scott Belck, director James Tillman Trombone JAZZ LAB BAND Matthew Durr, lead Christian Dawson Craig Bailey, director Richard Mitchell Kyle Malesevich, bass trombone Sunday, February 15, 2015 Corbett Auditorium CCM has become an All-Steinway School through the kindness of its donors. 7:00 p.m. A generous gift by Patricia A. Corbett in her estate plan has played a key role in making this a reality. University of Cincinnati is an accredited institution of the National Association of Schools of Music, the National Association of Schools of Theatre, and the National Association of Schools of Dance, and is a member of the University/Resident Theatre Association. Night Time
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Hit the Road Jack Written By: Percy Mayfield - 1960 Recorded By: Ray Charles and the Raelettes - 1961
KUBAS (Kent Ukulele & Banjulele Appreciation Society) Hit The Road Jack Written by: Percy Mayfield - 1960 Recorded by: Ray Charles and the Raelettes - 1961 Am G F E7 Intro: (Am) (G) (F) (E7) : (Am) (G) (F) (E7) : (Am) (G) (F) (E7) : (Am) (G) (F) (E7) Hit the (Am) road (G) Jack and (F) don't you come (E7) back, No (Am) more, no (G) more, no (F) more, no (E7) more, Hit the (Am) road (G) Jack and (F) don't you come (E7) back no (Am) more, (G) (F) What you (E7) say? Hit the (Am) road (G) Jack and (F) don't you come (E7) back, No (Am) more, no (G) more, no (F) more, no (E7) more, Hit (Am) the road (G) Jack and (F) don't you come (E7) back no (Am) more. (G) (F) (E7) Oh (Am) woman oh (G) woman don't (F) treat me so (E7) mean, You're the (Am) meanest old (G) woman that (F) I've ever (E7) seen, I (Am) guess if you say (G) so, I'll (F) have to pack my (E7) things and (Am) go (G) (F) (E7) -- that's right! Hit the (Am) road (G) Jack and (F) don't you come (E7) back, No (Am) more, no (G) more, no (F) more, no (E7) more, Hit the (Am) road (G) Jack and (F) don't you come (E7) back no (Am) more, (G) (F) What you (E7) say? Hit the (Am) road (G) Jack and (F) don't you come (E7) back, No (Am) more, no (G) more, no (F) more, no (E7) more, Hit (Am) the road (G) Jack and (F) don't you come (E7) back no (Am) more.
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Founder of ICAP and President of Soka Gakkai International
Artists as Mentors A mentor is a trusted friend, a teacher, an experienced “I’ve learned that person who encourages us to do people will forget what our best, to achieve more than you said, people will forget what you did, we may believe we can. Many but people will never successful people give credit forget how you made them feel.” to key people who have helped —Maya Angelou “As one chosen by destiny and richly endowed by nature, the artist must have a sense of obligation them on their way. toward those who are denied these riches. It is for him to repay nature and to offer his gifts to humanity, in The mentor-protégé relationship all humility of heart, as an act of gratitude for the grace bestowed upon him.” can be one of the most important —Serge Koussevitzky in our lives. In this exhibit are a few examples of people who have led and continue to lead the way for others. There are thousands more. Are there people who have helped you whom you want to thank? Are there people to whom you need to reach out a hand? “The life and essence of art – whether it is a painting, music or dance – lies in expressing a wellspring of emotion, the universal realm of the human spirit. It is a melding of the individual and the universal. That is why great art reaches out beyond ethnic and national barriers to move people the world over.” — Daisaku Ikeda, Founder of ICAP and President of Soka Gakkai International This exhibit is sponsored by the International Committee of Artists for Peace (ICAP), a coalition of artists and organizations dedicated to promoting global peace and individual happiness through concerts, exhibitions, educational activities and programs for young people.
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I Got a Woman Ray Charles
I got a woman ray charles Continue Born in Albany, Georgia, during the Depression, and blind at the age of seven, Ray Charles Robinson certainly had the deck stacked against him from the start. But, as he himself said, he was not good because he was blind; he was good because he was good at what he did. Influenced by both pop vocal styles crooners like Nat King Cole and the smooth West Coast Blues by Charles Brown, Charles began cutting a rather unsightly (yet interesting) leap of blues and rhythm and blues in New Orleans. But it is the musical passion for travel that will lead to two great highs in his career. In 1959, the singer cemented his gospel and blues influence (which he had already marshaled on cuts like I Got a Woman) for a rave-up called What I Said. The song is widely regarded now as the first soul hit record, challenging yet sensual, relentlessly secular yet burning with religious fervor. In 1962, he cemented his legacy by releasing the album Modern Sounds in the Country and Western Music, which somehow poured soul into the country's Western standards, such as Born To Lose and I Can't Stop Loving You. Perhaps one of the most brilliant interpretive albums ever released, it has done more to integrate contemporary American music than almost any other LP in history. And while he more or less settled into an old chain of level fame after that, he remains an institution for his insistence on holding various forms of music in places that shouldn't have logically worked, but with it, he did.
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Lilyannamcgarrahan.Pdf
Ray Charles Early Life Ray Charles Robinson was born on September 23, 1930 in Albany, Georgia. His parents were Aretha and Bailey Robinson. Ray was a very smart boy. Before the age of five he knew how to play the piano. Around then came something the Robinson family thought would never happen. His younger brother, at the age of four, drowned in his mother’s washtub. Ray tried to save him, but already going blind and only five, he couldn’t. After this happened, and after ray went blind because of glaucoma , his mother and father decided it was best for him to go to a school for the blind. While attending Florida school for the deaf and blind his mother and father died. This left him a poor blind orphan, though he used what he learned at school to earn money. Soon later, Ray began to sign contracts, and his career began. Music Time! In 1949 Ray Charles released his first song with the name Confession Blues. Around a year later, he moved to Los Angles and spent the next few years with the blues musician Lowell Fulson, working as his director. He sung with Swing Time Records, and soon after Ray recorded Two more R&B hits. The names of the songs were Baby, Let Me Hold Your Hand (1951), and Kissa Me Baby (1952). These two songs reached No. 8 and 5. The following year Ahmet Ertegun signed him to Atlantic. Career Ray Charles’ most famous song was Hit The Road Jack, and his first song was confession blues.
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Boston Symphony Orchestra Concert Programs, Summer, 1989
' I **- TanglewQDd 1989 E9¥»Km South Pond Farm. The standard of quality in the Berkshires. The lakefront location is perfect. The architecture elegant. The quality and craftsmanship superb. For information on our selection of condominium homes, call 413-443-3330. 1136 Barker Road (on the Pittsfield-Richmond line) Jazz At Tanglewood Friday and Saturday, September 1 and 2, at 7:00 p.m. Koussevitzky Music Shed, Tanglewood Friday, September 1 , at 7:00 p.m. RAY CHARLES with special guests BETTY CARTER and THE DIZZY GILLESPIE QUINTET Saturday, September 2, at 7:00 p.m. ELLA FITZGERALD with special guests THE MODERN JAZZ QUARTET ARTISTS Ray Charles Born in Albany, tion. At fifteen, when his mother passed Georgia, Ray away, he left school and took a job playing Charles is consid- piano at a radio station. By the time he was ered the virtual seventeen Mr. Charles had saved enough inventor of soul money to move to Seattle, where he per- music, having formed at the Rockin' Chair and gained a brought together substantial following. Soon after, he made elements of his first recording, "( lonlession Blues," 'm gospel, blues, followed a year later by "Baby Lei Me Hold country, and jazz Your Hand." It wasn't until 1954, however, to create his own with the recorditig "I Got a Woman," thai distinctive style. Even as a very young child Ray Charles had fully developed his own in a poor family, he was always interested in musical style. His most su< ( essf ul songs of music. As a result of glaucoma, Mr.
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Middle School Arts Night
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Extensions of Remarks E1107 HON. DANNY K. DAVIS HON. JIM KOLBE
June 14, 2004 CONGRESSIONAL RECORD — Extensions of Remarks E1107 for the eradication of curable diseases among ber, music has always been something ex- standing firm against it hastened the end of African children. This work was continued in a traordinary in my life. It’s always been some- the Cold War and the return of Russia to the convention called ‘‘Children of the Front Line’’ thing that completely captured my attention— family of nations. in Harare, Zimbabwe. As part of this effort, from the time I was three, when Mr. Pitman Influenced by his humble beginnings, Rea- with the largest concentration of African artists was showing me these little melodies. My first gan’s patriotism and optimistic spirit exempli- ever assembled, Mr. Belafonte performed a love was the music I heard in the community: fied the American dream. He restored Amer- concert benefiting UNICEF. blues, church gospel music, and country and ica’s ‘‘can do’’ creed. We will always remem- Mr. Speaker, there is much more that I western. My mom would let me stay up to lis- ber the words of his farewell address, when would like to share about this living legend ten to the Grand Old Opry on Saturday night. he said those of his generation ‘‘were taught, who has left a mark on our world. Clearly, Mr. That’s the only time I got to stay up late. I very directly, what it means to be an Amer- Belafonte is laudable recipient of this award, heard the blues played by Muddy Waters and ican. And we absorbed, almost in air, a love which highlights his contributions toward se- Blind Boy Philips and Tampa Red and Big Boy of country and an appreciation of its institu- curing human rights and freedoms locally and Crudup.
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