LISTA DISCOS (Pdf)
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
ACTUALIZADA 140121) (Pdf
LISTA DISCOS 33’ORDEN ALFABETICO A ABBA – Super Truper (RCA/México/1980) - $40 ABBA – Voulez Vous (RCA/México/1979) - $30 ACDC – Back in black (Atlantic/México/1980) - $1000 (AGOTADO) ACDC – Highway to hell (Atlantic/México/1979) - $499 (AGOTADO) ACDC – Power rage (Gamma/México/1980) - $700 (AGOTADO) Agustín Lara – Álbum del recuerdo (Peerles/México)- $60 Agustín Lara – Música Española (Musart/México) - $70 Agustín Lara – Un poco de lo mío (RCA Víctor/México) - $70 Air Supply – Air Supply (Arista/México/1985) - $5550 Al Hudson – One way Featuring (MCA Records/México/1980) - $100 Alice Cooper – El show de Alice cooper (Warner Bros/México/1982) - $300 Alice Cooper – Va al infierno (Warner Bros/México/1976) - $400 Ana Gabriel – Hice Bien Quererte (Lambada) (CBS/México/1989) - $120 Ana Gabriel – Quien como tú (CBS/México/1989) - $380 Andy Williams – Maria (CBS/Mexico/1962) - $200 B Barry Manilow – Tryin´ To Get The Feeling (Arista/México/1975) - $110 Barry White – The man (20th century/México/1978) - $130 Banda Taurina – American Military Marches (AF/México/1957) - $135 Bee Gees – 16 Greatest Hits (Polydor/México/1986) - $100 Beethoven, Oleg Kagaan, Sviatoslav Richter – Violin Sonatas 'Spring' & No. 4 In A Minor (EMI/UK/1976) - $70 The Beatles - 1962 – 1966 (Apple Records/México/1979) - $200 (AGOTADO) The Beatles – Sgt. Pepper's Lonely Hearts Club Band (Country Flag Series) (Apple Records/Japan/1976) – $2000 The Beatles – White Album (Apple records/México/1968) - $399(AGOTADO) Beethoven – Concerto for Violin, Op. 61 (Vox/USA) - $30 Beethoven -
Consuls of the Dardanelles and Gallipoli
1 COLLABORATIVE ONLINE RESEARCH PROJECT Consuls of “THE DARDANELLES” and “GALLIPOLI” (Updated Version no: 4 – February 2013) Welcome to a resource being compiled about the consuls and consulates of “The Dardanelles” and “Gallipoli”. This is an ongoing project. In this fourth update, many new details have been added, especially from genealogical sources, and some questions clarified. The information shown here is not complete and may contain errors. For this reason, it may appear rather haphazard in some places. In time, a more coherent narrative will emerge. The project aims to take advantage of the Internet as a source of information and as a means of communication. There is now a vast and increasing amount of information online which allows us access to sources located in various countries. Many sources are quoted verbatim until the content can be confirmed in comparision with other sources. If you are a researcher, family member, or simply interested in some aspect of this topic, you may be able to help by providing additions, corrections, etc., however short. This will help to fill in gaps and present a fuller picture for the benefit of everybody researching these families or this locality. Comments and contributions should be sent to the following e-mail address: (contact[at]levantineheritagefoundation.org) The information here will be amended in the light of contributions. All contributions will be acknowledged unless you prefer your name not to be mentioned. Many different languages are involved but English is being used as the “lingua franca” in order to reach as many people as possible. Notes in other languages have been and will be included. -
Musica Jazz Autore Titolo Ubicazione
MUSICA JAZZ AUTORE TITOLO UBICAZIONE AA.VV. Blues for Dummies MSJ/CD BLU AA.VV. \The \\metronomes MSJ/CD MET AA.VV. Beat & Be Bop MSJ/CD BEA AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Casino lights '99 MSJ/CD CAS AA.VV. Victor Jazz History vol. 13 MSJ/CD VIC AA.VV. Blue'60s MSJ/CD BLU AA.VV. 8 Bold Souls MSJ/CD EIG AA.VV. Original Mambo Kings (The) MSJ/CD MAM AA.VV. Woodstock Jazz Festival 1 MSJ/CD WOO AA.VV. New Orleans MSJ/CD NEW AA.VV. Woodstock Jazz Festival 2 MSJ/CD WOO AA.VV. Real birth of Fusion (The) MSJ/CD REA AA.VV. \Le \\grandi trombe del Jazz MSJ/CD GRA AA.VV. Real birth of Fusion two (The) MSJ/CD REA AA.VV. Saint-Germain-des-Pres Cafe III: the finest electro-jazz compilationMSJ/CD SAI AA.VV. Celebrating the music of Weather Report MSJ/CD CEL AA.VV. Night and Day : The Cole Porter Songbook MSJ/CD NIG AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. \L'\\album jazz più bello del mondo MSJ/CD ALB AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Blues jam in Chicago MSJ/CD BLU AA.VV. Saint-Germain-des-Pres Cafe II: the finest electro-jazz compilationMSJ/CD SAI Adderley, Cannonball Cannonball Adderley MSJ/CD ADD Aires Tango Origenes [CD] MSJ/CD AIR Al Caiola Serenade In Blue MSJ/CD ALC Allison, Mose Jazz Profile MSJ/CD ALL Allison, Mose Greatest Hits MSJ/CD ALL Allyson, Karrin Footprints MSJ/CD ALL Anikulapo Kuti, Fela Teacher dont't teach me nonsense MSJ/CD ANI Armstrong, Louis Louis In New York MSJ/CD ARM Armstrong, Louis Louis Armstrong live in Europe MSJ/CD ARM Armstrong, Louis Satchmo MSJ/CD ARM Armstrong, Louis -
El Autor De La Semana Niebla
UNIVERSIDAD DE CHILE - FACULTAD DE CIENCIAS SOCIALES El Autor de la Semana Miguel de Unamuno Niebla El Autor de la Semana - © 1996-2002 Facultad de Ciencias Sociales – Universidad de Chile El Autor de la Semana - © 1996-2002 Facultad de Ciencias Sociales – Universidad de Chile Miguel de Unamuno: Niebla Edición: © 2002 Oscar E. Aguilera F. ([email protected]) . Se prohíbe la reproducción comercial de los textos presentados en la serie “El Autor de la Semana”. Se autoriza la difusión a través de Internet de estos documentos, en otros sitios aparte de la Universidad de Chile, sólo con fines educativos y de difusión de la literatura, siempre que se indique la fuente, los detentores de los derechos, traducciones y cualquier otra información indicada en estas páginaas. La indicación de la fuente debe realizarse además con un link al sitio original y debe comunicarse al responsable de este sitio, Prof. Oscar E. Aguilera F. [email protected] Miguel de Unamuno NIEBLA 2 Miguel de Unamuno NIEBLA Al aparecer Augusto a la puerta de su casa extendió el brazo derecho, con la mano palma abajo y abierta, y dirigiendo los ojos al cielo quedóse un momento parado en esta actitud estatuaria y augusta. No era que tomaba posesión del mundo exterior, sino era que observaba si llovía. Y al recibir en el dorso de la mano el frescor del lento orvallo frunció el sobrecejo. Y no era tampoco que le molestase la llovizna, sino el tener que abrir el paraguas. ¡Estaba tan elegante, tan esbelto, plegado y dentro de su funda! Un paraguas cerrado es tan elegante como es feo un paraguas abierto. -
Art Pepper a Taste of Pepper Mp3, Flac, Wma
Art Pepper A Taste Of Pepper mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: A Taste Of Pepper Country: Europe Released: 2010 Style: Bop MP3 version RAR size: 1175 mb FLAC version RAR size: 1614 mb WMA version RAR size: 1715 mb Rating: 4.8 Votes: 650 Other Formats: VOC WMA AC3 AAC MIDI AIFF MPC Tracklist Hide Credits Art Pepper Meets The Rhythm Section ( 1957 ) You'd Be So Nice To Come Home To 1-1 5:29 Composed By – C. Porter* Red Pepper Blues 1-2 3:41 Composed By – R. Garland* Imagination 1-3 5:55 Composed By – J. Van Heusen And J. Burke* Waltz Me Blues 1-4 3:00 Composed By – A. Pepper*, P. Chambers* Straight Life 1-5 4:02 Composed By – A. Pepper* Jazz Me Blues 1-6 4:50 Composed By – T. Delaney* Tin Tin Deo 1-7 7:45 Composed By – C. Pozo*, G. Fuller* Star Eyes 1-8 5:16 Composed By – D. Raye*, G. DePaul* Birks Works 1-9 4:20 Composed By – D. Gillespie* Mucho Calor ( 1958 ) Mucho Calor 2-1 6:55 Arranged By – Bill HolmanComposed By – B. Holman* Autumn Leaves 2-2 Arranged By – Benny CarterComposed By – G. Parsons*, J. Prévert*, J. 3:07 Mercer*, J. Kosma* Mambo De La Pinta 2-3 5:30 Arranged By – Art PepperComposed By – A. Pepper* I'll Remember April 2-4 2:22 Arranged By – Art PepperComposed By – D. Raye*, G. DePaul*, P. Johnston* Vaya Hombre Vaya 2-5 3:23 Arranged By – Bill HolmanComposed By – B. Holman* I Love You 2-6 5:49 Arranged By – Bill HolmanComposed By – C. -
Scholarships…A Mission, Not an Option! by Don Bestor, Jr
Winter, 2012 The Fort Pierce Jazz & Blues Society Newsletter Volume XVI MISSION: To promote the growth, appreciation and performance of Jazz & Blues – great American music art forms – through scholarships, workshops, clinics, weekly jazz jams and community outreach programs. Scholarships…a mission, not an option! By Don Bestor, Jr. prospective scholarship applicants to basis requires an extra effort to affect President get involved. Our very well put together positive results. This is just part of what A while ago, one scholarship program, I might add, is goes on “behind the scenes.” None of of our regular fans headed by one of our Board members, this deters our determination to get on approached me Mr. Al Hager, an award-winning educa- with what we’re here to accomplish. and asked if we were still sponsor- tor for more than 25 years! Please allow me to yell the answer ing students on their way to college in To manage an organization like the to the question of us being pro-active in the form of scholarships. That ques- Jazz and Blues Society of Fort Pierce the scholarship program: "YES!" We tion took me by surprise because that is an honor and it is something that remain committed to providing scholar- is why many of us dedicate our time I’m very respectful of. As you may or ships to those high school seniors who to this organization. The Society ac- may not know, many things happen, qualify for our program and we are so tively pursues student applicants with transpire, pop-up and sometimes it can very proud to be able to do that! We a monthly letter to every band director happen every day. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. BILL HOLMAN NEA Jazz Master (2010) Interviewee: Bill Holman (May 21, 1927 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: February 18-19, 2010 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 84 pp. Brown: Today is Thursday, February 18th, 2010, and this is the Smithsonian Institution National Endowment for the Arts Jazz Masters Oral History Program interview with Bill Holman in his house in Los Angeles, California. Good afternoon, Bill, accompanied by his wife, Nancy. This interview is conducted by Anthony Brown with Ken Kimery. Bill, if we could start with you stating your full name, your birth date, and where you were born. Holman: My full name is Willis Leonard Holman. I was born in Olive, California, May 21st, 1927. Brown: Where exactly is Olive, California? Holman: Strange you should ask [laughs]. Now it‟s a part of Orange, California. You may not know where Orange is either. Orange is near Santa Ana, which is the county seat of Orange County, California. I don‟t know if Olive was a part of Orange at the time, or whether Orange has just grown up around it, or what. But it‟s located in the city of Orange, although I think it‟s a separate municipality. Anyway, it was a really small town. I always say there was a couple of orange-packing houses and a railroad spur. Probably more than that, but not a whole lot. -
Emotion, Action and the Journey of Feelings in the Actor's Mournful
The Lamenting Brain: Emotion, Action and the Journey of Feelings in the Actor’s Mournful Art Panagiotis Papageorgopoulos Department of Drama and Theatre Royal Holloway College University of London Submission for the degree of Doctor of Philosophy 2009 Page | 1 I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the qualification of any other degree or diploma of a University or other institution of higher learning, except where due acknowledgment has been made in the text. 1/12/2009 Panagiotis Papageorgopoulos Page | 2 ABSTRACT This thesis is motivated by the question of how and why actors perform and experience emotion, especially in cases when the emotional demands are as extreme and urgent as in Greek tragedy. In order to answer this question the thesis embarks on two main tasks: (a) to reappraise the position, function and technique of emotion in the work of four key practitioners of twentieth century Western acting (Stanislavski, Meyerhold, Brecht and Grotowski) from the point of view of contemporary neuroscience, and (b) to trace their original paradigm in the professional mourners’ psychotechnique of emotion, as found in ancient and modern Greek ritual lamentation for the dead. The first part of the thesis attempts to reread and reframe twentieth century western acting’s technique of emotion by adopting the radically new neuroscientific paradigm of emotion, which reappraises emotion as a catalytic faculty in the formation of motivation, decision-making, reasoning, action and social interaction. -
Maravillas Del Zodiaco
Querido lector: Tienes en tus manos una sabia enseñanza deshilvanada en las 12 constelaciones del Zodiaco, las cuales han sido plasmadas desde el principio de los Universos, hasta nuestros días. Este conocimiento ha llegado en las diferentes eras, por intermedio de muchos enviados, los cuales han sabido dominar la mente material, para llegar a comprender a dios. Estos enviados lo han hecho en forma filosófica o en forma de pinturas, como el iniciado Johfra, el cual nos entrega en sus doce láminas la proyección de un trabajo psicológico de los mundos superiores, plasmando así la palabra griega “ CONÓCETE A TI HOMBRE, CONÓCETE A TI MISMO Y CONOCERAS EL UNIVERSO Y LOS DIOSES”. Por medio de estas disciplinas el hombre llega a comprender la necesidad de purificarse internamente y así conocer las Supra dimensiones cósmicas conocidas como Cielos, Nirvana, Paraíso, Olimpo, Bahalla, etc. y las infra dimensiones cósmicas conocidas como: infierno, averno, Tártaro Amenti, Avitchi, Jihema. Con la Psicología Esotérica, llega el hombre a comprender los misterios de la vida, de la muerte y el despertar de la conciencia. Es así como cada uno de nosotros tenemos muy adentro, diferentes vibraciones psicológicas negativas llamadas Egos o pecados, los cuales no permiten la comprensión de dichas constelaciones. Aquí en este libro el estudiante comprenderá la necesidad de triunfar sobre la materia, convirtiéndose en Rey de la naturaleza. Insinuamos al lector adquirir las doce láminas del Zodiaco, para que vaya comprendiendo los diferentes estados de conciencia, para llegar a ese algo que esta vibrando en cada uno de nosotros, que es el gran todo. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Legends of West Brochure
JAZZ AID P U.S. POSTAGE presents WEST NONPROFIT ORG. PERMIT NO. 1260 LONG BEACH, CA. COAST 3 LEGENDS OF THE WEST 17 Concerts 8 Panel Discussions A Four Day 5 Film Showings Jazz Festival September 29 ~ October 2, 2005 8-0038 Four Points Sheraton-LAX NG BEACH, CA 9080 CA BEACH, NG .O. BOX 8038.O. BOX LO THE ANGELES LOS JAZZ INSTITUTE P WAY OUT WEST 1957 BY WILLIAM CLAXTON lajazzinstitute.org Bud Shank | Johnny Mandel | Chico Hamilton Quintet | Paul Horn BONUS EVENT Frank Morgan | Buddy Collette | Med Flory | Howard Rumsey In our continuing effort to pay tribute to the Lennie Niehaus | Jack Costanzo | Dave Pell Octet | Herb Geller brilliant artists who have Allyn Ferguson’s Chamber Jazz Sextet | Anthony Ortega | Bill Trujillo been significant figures of the Los Angeles Jazz Scene, FEATURING Claude Williamson | Chuck Flores | John Pisano | Fred Katz we are pleased to announce Jazz West Coast 3- ABOUT THE Legends of the West. Festival Los Angeles Legends of the West is a musical celebration of Facts Jazz Institute both the musicians and The Los Angeles Jazz Institute houses the behind the scenes people Dates and maintains one of the largest whose innovative explorations SEPTEMBER 29-OCTOBER 2, 2005 jazz archives in the world.All styles created a unique jazz scene and eras are represented with a here on the west coast. Place special emphasis on the preservation The Four Points Sheraton at LAX and documentation of jazz in southern In addition to 17 concerts, 9750 Airport Blvd., California. Many artists personal there will also be film showings, Los Angeles, CA 90045 collections are being preserved at panel discussions, photo exhibits The special convention rate is the Institute including the archives and special presentations where $82 and $92 per night. -
Los Angeles: Recorded Magic (1945-1960)
Los Angeles: Recorded Magic (1945-1960) Essential Questions How did advances in technology impact jazz? How did Los Angeles (LA) become a segregated city? How did Los Angeles (LA) become a city of recorded jazz? What is West Coast bop? How does it reflect the black jazz scene in segregated LA? What is West Coast jazz? How is it a product of postwar Southern California? How does the music and literature of Los Angeles reflect its history and culture? How do you listen to jazz? The importance of listening Obtaining a jazz vocabulary Understanding and appreciating major movements in jazz Understanding and appreciating the life and sounds of jazz innovators Historical context of jazz Objectives: 1. Determine how advances in technology impacted jazz and the recording industry. 2. Rank the local, state and federal policies that contributed to the segregation of Los Angeles. 3. Explain how the music and of Los Angeles reflected its segregated population. 4. Analyze West Coast jazz and bop in historical context. Historical Context: Postwar Los Angeles (Marcie Hutchinson) Based on Why Jazz Happened by Marc Myers (social history of jazz) Introduction Profound impact of technology on the history of jazz Radio, records, the phonograph, the jukebox, film Music more accessible, more convenient, pleasing to the ear Postwar Period Jazz transformed from dance music to a sociopolitical movement Major jazz styles: bebop, jazz-classical, cool, West Coast jazz, hard bop, jazz-gospel, spiritual jazz, jazz- pop, avant-garde jazz and jazz-rock fusion Jazz reshaped from 1945-1972 Grip of 3 major record companies (Victor, Columbia, Decca) weakened by labor actions Increased competition from new labels Jazz musicians gain greater creative independence due to competition.