A Tribute to Gershwin

Par VIGNOLA FRANK. On his 12th CD as a leader, guitarist and native New Yorker Frank Vignola demonstrates his remarkable versatility while paying affectionate tribute to the Great American Songbook. With Joe Ascione on drums, Tom Kennedy on bass, and Corey Christiansen on rhythm guitar, Vignola Plays Gershwin features fresh interpretations of 14 classic tunes. / Jazz - Concert/Documentary / Accessoire / Guitare

'The material is a mix of traditional and original the playing superb. Grossman and Renbourn combine their talents and mix of styles here to produce appealing instrumental music of rare beauty and taste.' AllMusic.comOn their duet records John Renbourn and Stefan Grossman meet on the common turf of American blues and Celtic fiddle tunes and airs. Under The Volcano is a collection of seven duets. Including an extended four-part work for which the album is named and one solo by each of the players the album has what has come to be the characteristic sound of the duo. Reflecting what Stefan quite accurately describes as 'aninterweaving of styles ' it is quite difficult and somewhat pointless to tell which of the two is playing the lead in most parts of the album. The original compositions are at once down-home and high-flown brimming with contrapuntal funkiness and the music manages to sound both loose and precise. Grossman and Renbourn contribute equally to the composition and arrangement of the traditional material. They aren't uptight about overdubbing or using the occasional electric guitar texture. But the lingering impression is one of crisp snapping strings and air being moved by wooden-boxed guitars.Track Listing:1. Idaho Potato2. Medley: Sheebeg An Sheemore & Drunken Wagoner3. Under The Volcanoa) Resurrection of Blind Joe Deathb) Four for the Rosesc) Montagu's Pactd) Rights of Man4. Medley: Bonaparte's Retreat & Billy In The Lowgrounds5. Swedish Jig6. Water Gypsy7. All Things Parallel Must Converge8. The Blarney Pilgrim9. Mississippi Blues No. 3(All tunes except for 'Bonaparte's Retreat' have been transcribed and included in a pdf tab/music booklet on the CD)

Tribute To Piano Solo (Coates). This book includes 31 songs from the famous 'Porgy and Bess' opera american composers, George and Ira Gershwin. Already songwriters in high school, it's in the 20s that Ira and George make a name for themselves on Broadway, but separatly. It's only few years later that the brothers decide to write together. They wrote several musical scores including Porgy and Bess, An American in Paris, The Country Girl and The North Star.

This album pays tribute to Gershwin's unique melodic genius which gave us such gems as Embraceable you Summertime I Got Rhythm 'S Wonderful and Lady Be Good. These and other favourites are arranged here for Violin and Piano accompaniment.

This album plays tribute to Gershwin's unique melodic genius which gave us such gems as Embracable You and Summertime. These and other favourites are arranged here for B Flat Clarinet with Piano Accompaniment.

George Gershwin (1898-1937) commença sa carrière de musicien dans les milieux du music-hall avant d?être admis dans la sphère ?classique? grâce au succès retentissant de Rhapsody in Blue (1924). Naohiro Iwai conjugue quatre chansons de cet éblouissant pianiste de jazz et mélodiste de génie dans un medley enchanteur et pétillant.

Arr. Elliot Del Borgo. Par M.COHAN G.. Un seul nom suffit pour évoquer la magie des plus célèbres comédies musicales : Broadway. Le long de cette avenue new-yorkaise, regroupés autour de Times Square, 38 théâtres produisent depuis près de 80 ans, des spectacles au succès planétaire, signés par des noms légendaires : Berlin, Porter, Gershwin, Bernstein, Sondheim, Hammerstein, Loewe, Cohan, Lloyd-Webber, Plamandon, Schönberg… Dans cette oeuvre en hommage à Broadway, Elliot del Borgo a rassemblé trois des plus célèbres mélodies du compositeur américain George Michael Cohan qui a marqué Broadway dans les années 20. / Niveau : 3 / Musique légère originale / Répertoire / Concert Band

Un seul nom suffit pour évoquer la magie des plus célèbres comédies musicales : Broadway. Le long de cette avenue new-yorkaise regroupés autour de Times Square 38 théâtres produisent depuis près de 80 ans des spectacles au succès planétaire signés par des noms légendaires : Berlin Porter Gershwin Bernstein Sondheim Hammerstein Loewe Cohan Lloyd-Webber Plamandon Schönberg? Dans cette œuvre en hommage à Broadway Elliot del Borgo a rassemblé trois des plus célèbres mélodies du compositeur américain George Michael Cohan qui a marqué Broadway dans les années 20.

Arranged For Fingerstyle Guitar-This collection pays tribute to Jelly Roll Morton the composer giving his melodies full respect rather than turning them into improvisational vehicles. The result is a fine exposition of the musical possibilities of solo fingerstyle guitar playing and a worthy tribute to Jelly Roll Morton one of the greatest musicians of the twentieth century.The thirteen solos presented in this collection cover a wide range of Mr. Jelly Lord's music chronologically and stylistically. They were arranged by the Swedish guitarist Lasse Johansson. Lasse displays ample proof of the viability of the transposing Morton's ideas to the guitar. Pieces like King Porter Stomp andGrandpa's Spells are good examples of Morton's expansion of the ragtime approach. Chicago Breakdown and especially Wild Man Blues were made famous by Louis Armstrong. And Dixie Knows has a folk quality the first section evoking Alabama Bound.This is an enhanced CD and ALL the tunes have been transcribed in tab/music in the 72 page PDF booklet that is on the CD

This collection is a tribute to the innovators and an analysis of the unique Guitar fingerstyles and techniques developed in Great Britain. British Fingerpicking Guitar presents Guitar instrumentals byDavey Graham Burt Jansch and John Renbourn - over 20 solos in notation and tablature. The stereo audio features each solo as performed by the respective British composer/guitarist and contains all but four of the songs in thebook. The included online audio does not contain the following songs: Carolan's Concerto Mrs. O'Rourke Lord Inchiquin (arr. by John Renbourn) and Lament for Charles MacCabe.

For a man who quit an established recording career in order to study the fine art of making violins David Bromberg sure knows how to work a room. A veteran sideman to Dylan Ringo Starr and Jerry Jeff Walker as well as a solo performer and bandleader of more than 40 years standing the bearded and bespectacled Bromberg may have kept a low profile through the so-called MTV era. But he didn't sleep through the more recent recording industry implosion and its attendant rise of the Pod People. Rather he took his boundary busting energy back to the live stage with the Count Basie Theatre in Red Bank New Jersey playing a big role in this master entertainer's gameplan.The multi-instrumentalist and musicologist has made the Count Basie Theatre a crucial pit stop in his annual tour schedule for each of the last four years ... While Bromberg may take the spotlight for an unaccompanied number or two it's his role as bandleader and raconteur that prompted the New York Times to brand him 'electrifying.' A performance by the 12-piece David Bromberg Big Band fireballs forward like a bull in a used record shop tracing its own musical logic - Bob Wills to Bob Dylan to Bo Diddley to Dave Dudley - with station stops anywhere from Sam Cooke to 'a bluegrass tribute to Ethel Merman.' Not to mention some fondly remembered originals from his vintage albums and a lot of things that you thought had been written by the Grateful Dead Patsy Cline Cab Calloway or even the Clash.Titles include: Sloppy Drunk I'll Take You Back Dark Hollow Make Me A Pallet On Your Floor Who's Lovin' You Tonight This Love Affair Tongue It Takes A Lot To Laugh It Takes A Train To Cry If You Don't Want Me Nobody's Sharon and Driving Wheel

Robert Wilkins (1896-1987) was born in Hernando a small town in northern Mississippi which nonetheless managed to contribute such musicians as Frank Stokes Jim Jackson Garfield Akers and Joe Callicott to the story of theBlues. Wilkins lived his adult life in Memphis and recorded 13 sides between 1928 and 1930 as well as an additional 4 sides in 1935.Wilkins had a real flair for composition and often invented new forms for his songs. Manyof his songs have become landmark performances in the story of the Country Blues. Wilkins' recordings show us a musician with a pronounced compositional talent and a gift for varying the blues structure in interesting ways. Hislyrics are equally original and profoundly poetic and his subtly powerful guitar-playing and soulful vocals combine for a sound that is unforgettable.Blues authority John Miller presents a detailed guide to the Wilkinsstyle with a host of songs in detailed transcription and a 48-page tablature booklet.

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.