A Gershwin Jazz Trio

Wonderful tunes from Count Basie, Erroll Garner, George Gershwin, Neal Hefti, Cole Porter, Hoagy Carmichael, Kurt Weill and others. Can be played as solos, duets or trios. Includes: As Time Goes By * Jumpin' at the Woodside * Li'l Darlin' * Mack the Knife * Misty * 'Round Midnight * 'S Wonderful * Skylark * Sweet Georgia Brown.

Wonderful tunes from Count Basie, Erroll Garner, George Gershwin, Neal Hefti, Cole Porter, Hoagy Carmichael, Kurt Weill and others. Can be played as solos, duets or trios. Includes: As Time Goes By * Jumpin' at the Woodside * Li'l Darlin' * Mack the Knife * Misty * 'Round Midnight * 'S Wonderful * Skylark * Sweet Georgia Brown.

Includes: I Got Rhythm Variations (Jazz Variation) * An American in Paris (Blues Theme) * Prelude II * Concerto in F (Second Movement) * Rhapsody in Blue (Slow Theme) * Second Rhapsody (Slow Theme).

Taking its title from Herb Ellis’ most famous composition Detour Ahead chronicles the life and music of the famed jazz guitarist. From his birth in Farmersville Texas and his early days playing rhythm in the big bands of Jimmy Dorsey and Glen Gray to his innovative work with groups like the Soft Winds Detour Ahead covers every major step of the guitarist’s life. Much attention is given to his groundbreaking work with the Oscar Peterson Trio of the 1950s his days with Ella Fitzgerald his work with the Great Guitars and his many friends in jazz. On-camera interviews include Ray Brown Charlie Byrd Benny Golson Benny Green Al Grey Lionel Hampton Gene Harris Jon Hendricks and Hank Jones. Along with modern interviews Detour Ahead features never-before-seen home movies from jazz’s golden age of Herb on tour with Dizzy Gillespie Ella Fitzgerald and others. Complete musical tunes from various live and studio venues include The Days of Wine and Roses Sweet Georgia Brown Body and Soul Georgia On My Mind Danny Boy John Brown’s Body and Wave. Sidemen include guitarists Charlie Byrd Tal Farlow Terry Holmes; bassmen Norm Cochran and Jack Hannah drummers Tommy Perkins and Ernie Durawa and pianist Sonny Gray.

This DVD captures almost 30 years of rare performances from 1962 to 1991. Barney is seen playing in a trio setting solo and with his friends jazz guitarists Herb Ellis and Charlie Byrd. Andre Previn summed it up best:Barney has a staggering amount of technique a healthy respect for the traditional a ceaseless curiosity for the experimental and an admirable and lovely harmonic sense.

Santorella Publications est fier de présenter 101 Popular Songs for Clarinet. Après d'innombrables demandes que nous avons tout rassemblé sous un même toit. Il a été depuis des décennies en laiton ou joueur roseau pouvaient trouver tant de chansons reconnaissables de genres variés en une seule collection.Egalement disponible en touches accueillir pour Trompette, Flute, Alto Sax and Trombone à la fois en solo et en duo formes.101 Popular Songs comprend une variété de classiques bien connus originales, classiques de mariage, hymnes sacrés, chants patriotiques, des standards de jazz et chants de Noël. Chaque édition comprend trois (3) Accompagnement Piano CD - avec plus de 100 titres dont des duos classiques et jazz. Chaque joueur de cor aura une occasion unique de jouer avec les plus grands musiciens de studio à Los Angeles. Chaque édition est orientée vers un instrument particulier dans les sections Duets Classique and Jazz, qui est enregistré dans un mode de 'Music Minus One'. / Clarinette

10 Jazz Standards - Authentic Jazz Playalong-Part of the Authentic Jazz Playalong series This volume brings together Gershwin Porter Ellington and other legends of 20th Century Jazz. It Don't Mean a Thing features ten absolute classics of jazz repertoire idiomatically arranged for the intermediate (grades 4-6) Tenor Saxophone player. Melody lyrics and chord symbols are provided offering opportunity for improvisation with suggested solo phrases notated to aid the beginner. There is also a brief guide and biographical note to each song in the collection. In addition the playalong CD comprises a live trio of piano bass and drums for truly authentic performance.

10 Jazz Standards - Authentic Jazz Playalong-Part of the Authentic Jazz Playalong series This volume brings together Gershwin Porter Ellington and other legends of 20th Century Jazz. It Don't Mean a Thing features ten absolute classics of jazz repertoire idiomatically arranged for the intermediate (grades 4-6) Alto Saxophone player. Melody lyrics and chord symbols are provided offering opportunity for improvisation with suggested solo phrases notated to aid the beginner. There is also a brief guide and biographical note to each song in the collection. In addition the playalong CD comprises a live trio of piano bass and drums for truly authentic performance.

10 Jazz Standards - Authentic Jazz Playalong-Part of the Authentic Jazz Playalong series This volume brings together Gershwin Porter Ellington and other legends of 20th Century Jazz. It Don't Mean a Thing features ten absolute classics of jazz repertoire idiomatically arranged for the intermediate (grades 4-6) Flute player. Melody lyrics and chord symbols are provided offering opportunity for improvisation with suggested solo phrases notated to aid the beginner. There is also a brief guide and biographical note to each song in the collection. In addition the playalong CD comprises a live trio of piano bass and drums for truly authentic performance.

The composer says: For years, my fellow guitarists have been asking me to compose a solo classical guitar piece that reflects that most American of musical styles'the blues. Their prodding was the motivation for Periwinkle Memories; the inspiration for the piece, however, really came from a maestro of extraordinary skill, and a teacher of even more extraordinary patience, Elias Barreiro, my guitar teacher at the University of New Orleans. I have always tried to emulate in my performances the beauty of his interpretations, and to fuse in my compositions the power and emotion of the blues. The name, Periwinkle Memories was a serendipity. I was struck by the light purplish-blue hue of the periwinkle, and soon learned the history of the funnel-shaped flower (Vinca minor.) Though it now grows wild in parts of the United States it is native to Australia, some consider it an invasive weed, most admire its extraordinary beauty. Common herbicides won't kill it. The periwinkle is too vigorous and hardy for that. And now it is not merely a begrudged part of the American landscape, it is a vibrant part of the American landscape, elegant, stubborn, and nearly native. Like the blues. And like that young recalcitrant student Maestro Barreiro worked so hard to mold so many years ago. Ogden Nash said, 'One man's remorse is another man's reminiscence.' Periwinkle Memories is a celebration of Maestro Barreiro, and of both facets of that adage in me. Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bes

10 Jazz Standards - Authentic Jazz Playalong-Part of the new 'Authentic Jazz Playalong' series this volume brings together Gershwin Porter Ellington and other legends of 20th Century Jazz. 'I Got Rhythm' features ten absolute classics of jazz repertoire idiomatically arranged for the intermediate (grades 4-6) player. Melody lyrics and chord symbols are provided offering opportunity for improvisation with suggested solo phrases notated to aid the beginner. There is also a brief guide and biographical note for each song in the collection. In addition the playalong CD comprises a live trio of piano bass and drums for truly authentic performance.

The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

12 grands thèmes adaptés pour le piano par Elvire Aucher et Valérie Benzaquine/ Recueil / Piano