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Syncopations73 Results for : syncopation
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Hit Mix '85
Hit Mix '85 - European Queen Syncopation Lucky Man Lover Boy Dancefloor Mystery Lady: ab 2.99 €- Shop: ebook.de
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Dyna-Mite
Der Blues-Pianist aus New Orleans könnte mit seinem zeitlos-klassischen Blues meets Soul-Sound glatt im Alleingang den Soundtrack für den nächsten Blues Brothers-Film einspielen! "Dyna-Mite" ist das neue Album von New Orleans bekanntem musikalischen Botschafter, Jon Cleary. Eingängige Hooks betonen die anspruchsvollen und emotionalen Arrangements. Die Aufnahmen fanden tief in der Bayou Country / Louisiana und in seinem Studio in der alten Bywater Nachbarschaft von New Orleans statt. So entstand diese Mischung aus Komplexität mit der Zugänglichkeit von Pop, die von der Tradition lebt und so die vielen Aspekte von Clearys musikalischer Persönlichkeit als Multiinstrumentalist, Sänger und Songschreiber repräsentiert. Er spielte schon mit Dr. John, B.B. King, John Scofield und Taj Mahal, in Bonnie Raitts Band und mit Norah Jones, Ben Harper, Alison Krauss. Der Rolling Stone: "Cleary's music is "full of hooks and syncopation descended from James Booker and Professor Longhair"- Shop: odax
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Piteous Gate
Experimentelle deepe Elektronik, Cut-Up Rhythmen, Industrial des Barock und kaputtes Geklöppel vom Janus Kollektiv - Mitglied M.E.S.H.Experimentelle deepe Elektronik, Cut-Up Rhythmen, Industrial des Barock und kaputtes Geklöppel vom Janus Kollektiv - Mitglied M.E.S.H. Alongside fellow members of Berlin's Janus collective, recently behind nights at Berghain and Corsica Studios, M.E.S.H. is known for his futurist approach to club dynamics and production. On Piteous Gate, tightly gridded and sculpted sound juts up against loose-wristed improvisation, automated processes, and collage. Standard club syncopation is twisted by sliding tempos, cut and paste time signatures, and indeterminate pacing. Its sound design and compositions are ornate, even courtly, with neo- feudal moods offset by the recurrence of hydraulic hiss and flanger. A synthetic fuel injector revs opener 'Piteous Gate' to life. Drawing from action- scifi film trailers and the sound design of festival trance, its hardcore synthlines shatter into 'Optimate'-stately, spatial, and whiplash - luxurious, with meandering cybernetic drumming. 'Thorium' sends a slow-motion camera through a melting test reactor: all burnt VSTs and synthetic theorbo and loose drums. The Black Pill' smears high-end renaissance sample libraries through arcs of static. In 'Epithet,' temple sewer atmospheres are ruptured by 'Scythians'-style cut-up drums. 'Jester's Visage' indulges a minute-long baroque guitar improv, and territorial youths air their beef in 'Kritikal & X.' Closing out the album, 'Methy Imbiß' is a machinic rhythm track, and 'Azov Seepage' mingles birdlike granular noises with rusted steel clanging. The LP was recorded in Berlin in winter 2015, mastered and cut by Rashad Becker at D&M, and pressed on 140g LP and CD. TRACKS: 1. Piteous Gate (02:25) 2. Optimate (04:46) 3. Thorium (05:35) 4. The Black Pill (02:43) 5. Kritikal & X (01:54) 6. Epithet (05:16) 7. Jester's Visage (00:56) 8. Methy Imbiß (03:08) 9. Azov Seepage (04:31)- Shop: odax
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Celebrating Our Time to Remember
...AS COMPOSER: 'I have known Thiago de Mello for a couple of years, and have just heard three entire sets of Thiago's music at the annual Brazilian Jazz Festival presented by the Jazzmania Society, June 14th, 1980. I was very impressed by his writing - a unique and genuine style which encompasses a variety of moods and rhythm patterns paralleled by rich melodic and harmonic phrases. This is Thiago's strength, and from it, he has created a style of his own. Thiago de Mello is a very talented and unique professional composer who definitely deserves to be heard.' Gil Evans Jazz pianist, arranger, composer and bandleader. ____________________ 'I have been a performing musician for a quarter of a century and have had the privilege to tour the world wearing different musical 'hats'. Hundreds of concerts and few that are spiritually memorable. I can count on one hand the musical collaborations that have the spiritual effect on me that Thiago's artistry has had. Thiago's art is sincere and pure, his gifts speak from the heart of goodness. The world would be a more peaceful place if the folks that live on it were exposed to what Thiago is trying to communicate. And, I have no plans to buy any armor in the near future! Thank you, Thiago and God Bless.' Bil Jackson Principal Clarinet, Colorado Symphony Artist-Faculty, Aspen Music Festival Artist-Faculty, University of Northern Colorado ___________________________ '...His compositions...are beautiful. But they are also gentle, hypnotic, bewitching and beguiling.' The Boston Globe ___________________________ 'The Music of Thiago'. A unique blend of simple melodic material combined with a richness of harmonic textures whose bass lines parallel the chromatic sophistication of the late romantic composers! All this, and the varied and subtle syncopation which commands it's structure, has it's roots in the simple chants of the Indians of his native Amazon, in the intricate percussive texture of the Afro-Brazilian songs of the Brazilian Northeast, and in the sophisticated rhythms of contemporary musical idioms'. Richard Kimball Pianist & Composer _______________________ ...AS PERFORMER: '[workinkg with Thiago] created new dimensions of rhythm, color and nuance. His wizardry at the helm of such exotic instruments as the rain stick, berimbau, jungle's mouth and tortoise shell evoked the spirit and image of the rain forest itself.' Sharon Isbin Classical Guitarist ________________________ 'Gaudencio é daqueles artistas nacionais considerados estrelas do primeiro time de instrumentistas internacionais mas que são praticamente desconhecidos em seu próprio país.... A música de Gaudencio não se resume... em esquisitices de percussão... é o que o aluno de bateria da escola de música, Nélson Júnior, 18 anos, gosta de chamar de fusion. 'Ele é moderno, mas ao mesmo tempo mistura elementos eruditos', descreveu ao final do show. Análises à parte, Júnior mandou seu recado: os brasileiros precisam conhecer Gaudencio'.' André Garcia Correio Braziliense Brasília, Brazil _______________________ '... Thiago de Mello is a genius of percussion.' Jay Hoffman, WCBS News Radio New York City, USA ______________________ 'When I heard Mr. Thiago de Mello play his works on the guitar, I was truly amazed! His perfect conception of harmony in coordination with the proper bass is simple remarkable! This precious gift, this rare ability to sense and to feel every minute harmonic changes in supporting the melody was so expertly executed, that I received the utmost pleasure when listening to Mr. Thiago de Mello's playing. A truly unique talent!!!' Jacques Press Conductor & composer ______________________ 'On a range of instruments, Thiago de Mello produced extraordinary sounds. He's one of those percussionists who constantly plays melody, he shapes rhythms with the sensibility of a poet, coloring like an instrumentalist, phrasing like a singer.' The Boston Globe Boston, USA.- Shop: odax
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Pebbles in the Pond
BIO Pat Waltman Feuchtenberger holds a Bachelor of Music from the St. Louis Institute of Music, a Master of Arts, from Radford University, and has pursued post graduate studies in various universities. Her teachers include Lois Baptiste Harsh, Evelyn Mitchell, Leo Sirota, Miklos Ivanich, and Lloyd Zurbrigg. She has performed as soloist, recitalist, and chamber musician in the Midwest and Southeast. She established Feuchtenberger Artists' Management Company in 1983. This company has become well-known internationally, representing pianists, Enrique Graf, Beatrice Long, and the Long Duo, with sisters, Beatrice and Christina Long. She has held faculty positions at Concord College at Athens, WV. and Bluefield College in Bluefield, Virginia, where she founded the Bluefield College Preparatory Department. She continues to teach privately. Besides serving as the Director of Feuchtenberger Management, she is an adjudicator for various festivals and competitions, and is a member of the International Society of Performing Arts, American Symphony Orchestra League, National Association of Performing Arts Managers and Presenters, National College of Musicians, Virginia Music Teachers Association, Virginia Federation of Music Clubs, and Phi Kappa Phi. In 2005 Pat formed the Black and White Classics Recording Company to provide an artist-friendly recording experience emphasizing integrity in music, artists, and engineering. She made the first compact disk, "Pebbles in the Pond," which includes music of Bach, Scarlatti, Debussy, Chopin, and Gershwin. She is a consultant for performing arts and arts management, and a speaker in colleges for career days, representing the performing arts. She is listed in Who's Who in the World, and Who's Who in Entertainment, has been the subject of several interviews as WGMS in D. C. and articles in magazines such as Radford Magazine, A Music Partnership, and newspapers. She was nominated in 2000 for The Governor's Award for the Arts in Virginia. She was born in Jacksonville, Illinois, and has three sons, and four granddaughters. She enjoys family, music, travel, gardening, reading, cooking, walking, especially in the mountains, people. NOTES Pebbles in the Pond Music can be but a small speck in the scheme of things, but still make a profound influence heard 'round the world. The exceptional characteristic about classical music is there is no right or wrong way to listen to it, and no one dictates what you should hear. It depends on what is in your life to relate to it. That is the correct interpretation for you. As Charlie Parker said: "Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn." Of course, it is a little like eating peanuts, the more you try it, the more you enjoy it. Reflections on the Water has been one of my favorite pieces to play for many years, and audiences have always loved it. It invites us to imagine all kinds of water-fountains, pools, great oceans, sprays with the sun glistening, and a trip back to childhood, throwing pebbles in the pond to watch the ripples grow in outward, in ever enlarging circles. Debussy's impressionistic sounds conjure images similar to the paintings of Renoir, Manet, and Monet. He was influenced by American jazz, and his music had a profound influence on all composers after him. The music of Scarlatti was such fun to work on after doing Chopin and Gerswhin, just like a refreshing dip in a pool, after the steamy summer day. Scarlatti's sound reflects the cool blue of the Mediterranean, and simple joys of life. Unique usage of dissonance, and remarkably original sonorities, deep expressive range, from humor and wit to passions and despair. The Sonata in F Minor represents one of Scarlatti's more thoughtful, quiet pieces which constantly seems to reach upward, striving for an unknown sublime entity only the listener can understand for himself. Chopin wrote music that changed the way the world wrote music, heard music, and performed music. Considering he found the piano complete for the expression of his creative spirit, pianists revel in his music, and audiences have responded to that love. It was not always so. His editors told him, his music was "too difficult," and people couldn't read it. Indeed, if one approaches Chopin's music with a mind set on a classical style, it is pretty dreadful! And so, we change gears, and enter into the Romantic mode, where we have lyrical phrases, influenced by Chopin's admiration of Bach's music, love of the opera, flowing accompaniments, full use of the piano including pedaling which becomes an art in itself, and importantly, we must enter into the heart and mind of the composer to communicate his feelings to the listeners. Many find Chopin at his best in his small pieces, and so I have chosen an unusual Nocturne-one which has a surprise ending, a Mazurka not too often heard, and the lovely Etude in E Major, which is said to be a melody Chopin claimed to be his best, along with the Waltz in G Flat. The Chromatic Fantasy and Fugue by Bach is a piece sometimes avoided by performers and teachers, because it takes a good deal of research to come up with what the performer believes is a credible version. I used three editions, listened to several recordings, and referred to some notes from Evelyn Mitchell, a fine teacher who had been a child prodigy and studied with Maurice Rosenthal. The Fantasy progresses through chromatic chords and cadenza-like runs which are a real trip! Going back to the Urtext edition, it is easier to understand the structure which Bach uses to create his improvisations. The Fugue begins with a soft, noble subject in the right hand and progresses relentlessly to a majestic finale with octaves using the whole keyboard. . George Gershwin, one of America's greatest composers, died at the age of 39. He was a talented pianist, who made his way on Tin Pan Alley at the age of 15. He could sight read anything put in front of him, and transpose it, and then improvise on it. He had large hands and much of his music contains intervals of 10ths and 12ths. These three Preludes were written to bring the syncopation and craggy rhythms and lyrical blues of jazz to the concert stage and reach "serious" audiences. "Music washes away from the soul the dust of everyday life." (Red Auerbach (1812 - 1882) and quoted again by Pat Conroy -and now, by me. It is my deepest wish that those who hear this music experience some of what I felt in making this CD -no worries, no fears-I was invincible. I felt connected -to the past and the present. Happy Listening! Pat.- Shop: odax
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Walking Stones
This recording has sold over 50,000 copies which for Celtic and traditional music is outstanding. Here are some comments about the CD and Ken's playing (bio below): Rated as the most influential and popular hammered dulcimer player in a survey of players for a master's thesis on the hammered dulcimer. Wesleyan University, CT, 2005. "...one of today's most accomplished, musical hammered dulcimer artists...A hammered dulcimer player of great taste and sophistication," Elderly '...nothing short of astonishing' The Connection "...without a doubt, Ken Kolodner is one of the hammered dulcimer's top exponents, playing with a dexterity which would stun many a would-be hammerer." Folk Tales Magazine "...virtuosic" Audio "...stunning musicality" Dulcimer Player News "...Outstanding...soulfully beautiful." NY Times "...a fiddle and hammered dulcimer virtuoso...just the right amount of fire...totally delightful..." Sing Out, March 2005 "...A marvelous collection...delightful..." The Washington Post "...joyous...reminiscent of Joe Venuti's work...." Celtic Beat "He's a master at finding what Alasdair Fraser appropriately calls the "rhythmic underbelly" of a tune." Potomac Valley Fiddle Club Newsletter "...stirring...evocative..." The Washington Post, April, 2005. "This is just about all anybody could ask for in an instrumental recording. The tunes are all great...Ken's playing positively sizzles ...delightful...wonderful...Typically, Ken makes great use of syncopation...The up-tempo rhythms are really infectious..." Dulcimer Player News, 2005 'Queen's Polka starts out with a very cool damped down dulcimer backing up Laura's exciting fiddle lead with Robin playing a terrific cittern back up. This leads up to a wonderful crescendo transition into the Bournish Polka where the dulcimer takes an unmistakable driving lead. It excites me every time I hear it...You have here, the first ever Dulcimer Times hammered dulcimer Five stars album!' Dulcimer Times 'Walking Stones is a very rewarding musical journey... delightful listening. The whole is greater than the sum of the parts. The instruments weave seamlessly in and around each other and deliver that 'Celtic pulse' that, done right, seems as effortless and natural as breathing.' Dulcimer Player News "...inspiring...the interplay between the hammered dulcimer's precise percussive qualities and the graceful fluidity of Risk's fiddling was a real treat." "Rambles: A Cultural Arts Magazine" As a major part of the rebirth of the hammered dulcimer in the US, Ken is recognized as one of "one of today's most accomplished, musical hammered dulcimer artists...A hammered dulcimer player of great taste and sophistication," (Elderly). Ken is widely viewed among players as one of the most influential in the United States. Ken is well known for his improvisational and expressive style that has been described as 'nothing short of astonishing' (The Connection), "outstanding" (The New York Times), "marvelous" (The Washington Post) and "virtuosic" (Audio) and "stunning in it's musicality" (Dulcimer Player News) and "not to be missed" (USA TODAY). And Folk Tales Magazine writes, "...without a doubt, Ken Kolodner is one of the hammered dulcimer's top exponents, playing with a dexterity which would stun many a would-be hammerer." In more recent years, Ken has received greater recognition as an old-time fiddler. As a member of the trio Helicon (with Chris Norman and Robin Bullock) and Greenfire (with fiddler Laura Risk) and in solo appearances, Ken has toured extensively throughout North America and Europe and has been featured in nationally broadcast concerts on NPR, German National Radio, The Thistle and the Shamrock, the CBC, Performance Today, All Things Considered, and on the Voice of America (with a listening audience of over 90 million), as well as countless television and radio broadcasts around the U.S. Ken has been featured at numerous major festivals and performing arts centers in the U.S., was the first American to be featured at the International Hackbrett Festival. Among his performances with many choral groups and major symphony orchestras, was an appearance in Emmy-nominated CBS-TV Christmas special as the featured soloist with a combined chorus (The Baltimore Choral Arts) and a chamber orchestra of members of the Baltimore Symphony Orchestra. In addition to his work as a performer, Ken is highly sought after as a teacher of the dulcimer and, more recently the fiddle, having taught at countless festivals and music camps (on both fiddle and dulcimer) throughout the U.S. including The Swannanoa Gathering (thirteen years), Common Ground (four years), the John Campbell Folk School (five years), the Augusta Heritage Festival (three years), the Summer Solstice Festival (three years), Meadowlark (ten years) and numerous others. Adding to Ken's previous recordings, Ken's first solo release of Celtic music in 1997, Walking Stones, was a huge critical success. With sales of 50,000+, the CD hit the top of the World Music charts and was a top seller for BMG in their Classical/World Music category. In addition to solo performance, Ken has maintained a busy recording schedule. With Helicon alum Robin Bullock and Cordelia's Dad fiddler Laura Risk, the trio recorded the CD Greenfire in 1998. Helicon's A Winter Solstice (1999) became the first release for Dorian Recordings to win a coveted "Indie" (akin to a Grammy for thousands of Independent labels) for Best Seasonal Recording. Ken's eighth CD, A Roof for the Rain with Laura Risk, cittern-wizard Joseph Sobol and Keith Murphy (of Nightingale) again on the Dorian label was widely praised. Ken contributed an original work which has now been widely recorded ("Caspian Lake") to Mel Bay's Anthology of Masters of the Hammered dulcimer and has written three other tune books. Ken's most recent release in 2005 was Journey to the Heartland, on Maggie's Music. Ken has guest recorded on CDs by Scottish National Fiddle champion, Elke Baker, as well as many hammered dulcimer players (whom he helped mentor as well): Anna Duff, Susan Sherlock, Samantha Oberkfell, Rick Thum, Rachel Sprinkle and Deb Justice. Most recently, Ken produced The Preacher's Daughters featuring Rachel Sprinkle and Deb Justice. Ken's playing is also featured on a the newly-released compilation of many of the worlds' best hammered dulcimer players collected from many years of performance at the International Hackbrett Festival in Munich, Germany. Without any formal music background, Ken began learning to play the fiddle at age 23 by listening to recordings of bluegrass and American Old-time or Appalachian music. A few years after picking up the fiddle, Ken discovered the hammered dulcimer while in graduate school. Ken's interest in the two instruments developed into an ever-expanding musical appetite beginning with Celtic music and eventually into music spanning many cultures ranging from South American music to Chinese music. While he has mastered the fiddle and hammered dulcimer without formal musical training, he has had plenty of schooling. Along with his hammers, Ken holds a PhD in public health from Johns Hopkins. While most of Ken's professional career is devoted to music, Ken still actively works as a part-time epidemiologist (with over 90 publications), while his family and an avid interest in soccer maintain center stage!- Shop: odax
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Around the World in 60 Minutes
Melissa Koprowski is Assistant Professor of Clarinet at the University of Wisconsin - Eau Claire. She graduated Summa Cum Laude from the University of Alabama, and completed her Master's and Doctorate degrees in clarinet performance from The University of Southern California, where she had the privilege to study with Yehuda Gilad. She has also studied with Danny Granados, Scott Bridges and Judy Donaldson. Dr. Koprowski is an active performer and soloist. She has won first place in numerous competitions, some of which include the International Clarinet Association Young Artist Competition, Pasadena Showcase, MTNA Young Artist, Grand prize from the Birmingham Music Club, and a three time first prize recipient of the Alabama Federation of Music Clubs Competition. At the age of 18, Dr. Koprowski was appointed as the 2nd/Eb clarinetist of the Tuscaloosa Symphony. She has also performed with many orchestras across America including the Alabama Symphony, Huntsville Symphony, Downey Symphony, Burbank Philharmonic, American Youth Symphony, and Debut Orchestra. Dr. Koprowski can be seen and heard as clarinetist on the Dreamworks film, The Soloist. Roberta Garten grew up in San Diego, CA and received her bachelor's and master's degrees from University of Southern California, where she studied with Johanna Graudan and Nancy Bricard. She has been on faculty of the Colburn School of Performing Arts as staff accompanist for over 30 years. Roberta has performed with principal players in many symphony orchestras, including the Los Angeles Philharmonic, Chicago Symphony, and New York Philharmonic and as has performed through the US, Spain, Japan, South Korea, and South America. She can be heard on Summit Label, and is very pleased to have performed and recorded with Melissa Koprowski. Russian-born Victor Babin (1908 - 1972) is best known in the United States as a duo-pianist with wife Vitya Vronsky, and as Director of the Cleveland Institute of Music from 1961 - 1972. His style is distinctly post-romantic - conservative but colorful. The Hillandale Waltzes for clarinet and piano (1947) was composed toward the end of World War II. The waltzes are based on a theme of the German composer Johann Nepomuk Hummel (1778-1837), which he used in his Introduction, Theme and Variations for oboe and piano. A series of eight waltz variations, some of which test the technical prowess of the clarinetist, follow the landler-like theme. The composition was dedicated to Anne Archbold, who kindly provided housing for the Babins in the Hillandale Mansion in Washington D.C., near Georgetown University, shortly after their immigration to the United States. Viennese-born composer Joseph Horovitz (1926 - ) emigrated to England in 1938 where he studied music at New College, Oxford. He was an official lecturer in music appreciation to the Forces and gave piano recitals in army camps. After completing his BMus and MA degrees, he studied composition with Gordon Jacob at the Royal College of Music and with Nadia Boulanger in Paris. He has won numerous prestigious composition awards throughout his long career. The Sonatina for clarinet and piano was composed in 1981 at the request of Gervase de Peyer and Gwenneth Pryor. It is light-hearted and utilizes the traditional three-movement division. The first movement concentrates on the middle register of the clarinet, mainly lyrical against a rippling piano background, and is in classical sonata form. The second movement is an A-B-A song structure employing some of the lowest notes of the wind instrument in a long cantilena over a slow chordal accompaniment. A loose rondo form is used for the finale. It alternates two themes in equal proportions, exploiting the upper register of the clarinet. The harmonic idiom of the whole work is tonal and is melodically and rhythmically influenced by jazz and other popular music. Arthur Benjamin (1893 - 1960) was Australian by birth before moving to London as a young man, where he studied composition and piano. He was active in the growing musical life of the time, giving many performances of new works, including his own. During the 1940's his music was inspired by the music of Caribbean natives. Le Tombeau de Ravel is a set of six contrasting Valse-Caprices framed by an introduction and a finale. This work is loosely modeled after Ravel's Valses nobles et sentimentales which, in urn, were inspired by two sets of waltzes by Schubert. The composition evokes the sound world of Ravel and the general atmosphere of French music of the time, including hints of the salons, echoes of the café-concert and images which seem to leap from Toulouse-Lautrec's illustrations. American composer, Sy Brandon (1945 - ), was recently commissioned by the Arizona Centennial Commission to compose a band composition to celebrate Arizona's 100th anniversary of statehood. Other first prize awards include WITF-FM's 25th Anniversary Composition Contest, and Franklin and Marshall College's Wind Ensemble Composition Contest. The Czech National Symphony Orchestra, the Philharmonia Bulgarica, and the Kiev Philharmonic have recorded his music. Two compositions of his are heard on this CD. Badinerie, composed in 2001, is a rhythmic exciting piece in a modal style. The piece is in a large ABA form. The A sections contain much syncopation and counterpoint. The B section has a more sustained clarinet part over an ostinato in the piano. Die Fledermaus Fantasy, which closes this CD, is modeled after Sarasate's 'Carmen Fantasy'. It uses themes from the opera and expands upon them in order to show off the solo instrument. The material used comes from the overture along with Rosalinde's Csardas inserted in the middle. Carlos Guastavino (1912 - 2000) was born in Santa Fe, Argentina. He was one of the foremost Argentine composers of the 20th century. His reputation was based almost entirely on his songs, and Guastavino has sometimes been called "the Schubert of the Pampas." His style, always tonal and lusciously romantic, is fully based on Argentine folk music. Tonada y Cueca (1965) is comprised of two contrasting pieces exploring rhythms from Northwestern Argentina. A Tonada is defined as a Latin American folk song of the sentimental type or as a work song that accompanies such diverse tasks as milking, farming, maize milling, and harvesting. The Cueca, derived from the Peruvian 'Zamacueca', is a lively couple's dance of courtship and is also the national dance of Chile.- Shop: odax
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Narushchen Sunrise: Best Original Music from His Morning Ballet Classes
Listed on CD Baby's "Top Albums" list in 2008 & 2009 and favorably reviewed in past Dance Magazine issues, San Francisco Ballet pianist Jamie Narushchen unveils his new, 51-track ballet class CD of original music that is a must-have this fall! About Narushchen Sunrise: Best Original Music From His Morning Ballet Classes: Before he starts his day at SF Ballet, Jamie Narushchen rises early to play and improvise music for a morning ballet class at a nearby dance studio. Known for his vast harmonic vocabulary and punchy rhythms, it's no surprise that Narushchen produced another 51 tracks in less than a year. Whether it's exercises that roll on ragtime syncopation or harmonies that echo Ravel and Bill Evans, Narushchen Sunrise offers some of Jamie's most spirited improvisations that were captured live during the recording. Notes: Exercises are printed on the back of the case and on it's one-page CD insert. A Hamburg Steinway concert grand piano was used during the recording. EXERCISES: 1 Warm Up 3/4 96m 2 Plie 3/4 128m (both sides + more) 3 Slow Tendu 4/4 32m 4 Tendu 2/4 64m 5 Tendu w/Temps lie 3/4 64m 6 Quick Tendu 2/4 64m 7 Degage 2/4 64m + 32m (w/balance or stretch) 8 Fast Degage 6/8 32m 9 Rond de jambe a terre 3/4 64m 10 Fondu 2/4 64m 11 Tango 2/4 80m 12 Frappe 2/4 64m 13 Rond de jambe en l'air 3/4 48m (flat, releve) 14 Petit battement 2/4 64 15 Serre 4/8 32m 16 Battement en cloche 3/4 32m 17 Developpe 4/4 64m (both sides) 18 Grand battement 4/4 32m (both sides) 19 Port de bras 3/4 64m 20 Releve 2/4 80m Center 21 Adagio I 6/8 32m 22 Adagio II 3/4 64m 23 Center Tendu 4/4 32m 24 Balance 3/4 160m 25 Hungarian Dance ¾ 80m 26 Pirouettes (waltz) 96m 27 Pirouettes (march) 96m 28 Grand battement 3/4 64m 29 Polka 80m 30 Slow Mazurka 48m 31 Quick Mazurka 64m 32 Polonaise 32m 33 Port de bras 36m 3/4 34 Italian Fouette turns 3/4 64m 35 Center Fondu 3/4 32m 36 First jump 2/4 64m 37 Second jump 2/4 116m 38 Third jump 2/4 128m 39 Sissonne Ouvert 2/4 32m 40 Sissonne Ferme 6/8 32m 41 Big Waltz 3/4 160m 42 Galop 96m 43 Coda I 2/4 64m 44 Coda II 2/4 64m 45 Grand Allegro I 3/4 80m 46 Grand allegro II 3/4 164m 47 Maneges 128m 48 Hops on pointe 2/4 48m 49 Prep for turns on pointe 2/4 48m 50 Chaines turns 2/4 40m 51 Reverence 3/4 48m About The Musician: Jamie Narushchen was born and raised in Minneapolis and began studying piano with his grandmother at age six. He studied piano performance at Johns Hopkins' Peabody Conservatory, and he joined The San Francisco Ballet as an accompanist shortly after moving out west. His strong interest in improvisation led him to take additional coursework in composition at The San Francisco Conservatory of Music. Throughout his twenty-four years at SF Ballet, he has regularly provided accompaniment for the West Coast auditions held by The American Ballet Theatre, The Julliard School, The Boston Ballet and others. He also enjoys the opportunity to play for Mark Morris's and Suzanne Farrell's classes when they visit the Bay Area. When he's not playing the piano, he's usually at home playing with his kids.- Shop: odax
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Anitya
Intro (Meg Anderson, Jeremy Cox) Meg Anderson - vocals, midi harp Phoebe Spier - vocals Jeremy Cox - percussion Matt Aurand - percussion Rhoda - (Meg Anderson. Words by Virginia Woolf) Meg Anderson - vocals, midi harp Phoebe Spier - vocals Jeremy Cox - percussion Matt Aurand - percussion Yet there are moments when the walls of the mind grow thin And nothing is unabsorbed And i could fancy that we might blow so vast , So vast a bubble that  , The sun might set , And rise in it And we might take , The blue of midday And the black of , Midnight and be cast off , And escape from here and now  , As if a miracle had happened And life were stayed here and now And said rhoda we had no more to live  , And you're all there , Caught in understanding I know you, loo loo loo loo And i could fancy that , We might go so vast , So vast and wild away Away Jinny - (Meg Anderson. Words by Virginia Woolf) Meg Anderson - vocals Carrie Owen - vocals Paul Owen - vocals Parrish Collier - vocals Jeremy Cox - percussion, fender rhodes, beatbox Jamsion Sevits - percussion, keyboards, beatbox, trumpet Annette Bjorling - harp , 'Jinny' began in 2006 when I was a student at the Bloom School of Jazz. The first riff of the song came on the buss ride home after working the Aeolian mode in class. I began building on and later arranged it for an adaptation of Virginia Wolfe's playpoem, 'The Waves' in November 2009. , After that show, Jeremy took the rehearsal-recording and secretly worked on it with Jamison, adding auxiliary percussion and other lilting and groovy moments. I was so surprised and delighted and we carried it around with us for a year until the tour when we finally overlaid the vocals. How proudly we sit here Dazzle of youth All's clear all's firm , Without shadow or illusion Our flesh is firm and cool Our differences are clear cut  , As the shadow of rocks in full sunlight Days and days are to come The fruit is swollen beneath the leaf Winter days summer days  , With infinite time before us What shall we do Watch the coals turn crimson Reach for books shout with laughter? All is to come  , For one moment only before the chain breaks Before disorder returns see us held in a vice But now the circle breaks the current flows the passions grow And pound us with their waves jealously envy desire And now something deeper than they stronger than love And more subterranean , Net of light loop of time ring of steal white words Islands of light swimming on the grass  , With infinite time before us What shall we do Watch the coals turn crimson Reach for books shout with laughter? All is to come  , I could make a dozen stories , Of what he said of what she said And i can see a dozen pictures But what are stories toys i twist bubbles i , Blow one ring passing through another And sometimes i doubt if there are stories What is my story what is rhoda's what is neville's There is truth there is fact , That it true, that is fact But beyond is all darkness and conje . . .  ,cture Felicity - (Jeremy Cox, Meg Anderson) Meg Anderson - vocals Jeremy Cox - piano Jamsion Sevits - trumpet Matt Aurand - bass guitar Annette Bjorling - harp Jeremy wrote this song for his new baby niece, Felicity, who we had the privilege of meeting when she first arrived this past October 2011.  , Lightseed - (Meg Anderson) Meg Anderson - vocals, keyboard Carrie Owen - vocals Jeremy Cox - percussion, vocoder, drum programming Matt Aurand - bass guitar , Anitya Movement 1 - (Meg Anderson) Meg Anderson - vocals, percussion Carrie Owen - vocals Jeremy Cox - percussion Matt Aurand - percussion Fred Poetzsch - drum programming , Mid-Tour on our drive from the midwest to the Portland, I played this ditty for Jeremy that I had sung in a cafe in the fall of 2005. The melodies and rhythms came in pieces, so it didn't occur to me to put them on the album -- It overwhelmed me to think of creating one song out of them. Then Jeremy suggested three different movements. Brilliant. , Carrie does an exquisite job on all three. I arrived at her house in Sacramento to rehearse and heard her crystal clear voice effortlessly ringing through the walls. A composer's dream. , The other aspect of Anitya Movement 1 that continues to delight me is the syncopation that Jeremy and Matt created with clapping! I like it so much it makes me laugh. I have never really known the meaning of the lyrics for Anitya Movements 1 and 2. Like most of the songs, the music came first on these too, but in this case I never bothered to apply words that made much sense, leaving it as a mixture of gibberish and nonsense phrases, until it was time to record. Then I shaped them a little further, but not much, into a meaning that I was beginning to glean from them. So they remain a bit cryptic with pieces of 'sense'. I'd be interested in your interpretation. Anitya Movement 1 a matter of course and tender as i , d d d dee ya... d d d dee i am as i, , dear at end of the day we hand it all away d d d d ... , ... The end of the end of the end of the end of doo doo doo doo dee ya i'm the leaf , and to the soil i spin and go dying , d d d d dee yea... doo doo doo doo dee ya i'm allegiance , lu lu lu lucky hold me in combat i commin ahind you and he and i , who are the babies, i could amaze these ba ba ba ... do doo doo doo doo i hum i high and die along the hundred flips from the ant hill so mind we have all behind i and an angel dim why and by the fire i saw higher a moment my head n i all came a sire and know i'm not any in a fog i offer that shower n n now you see the fire in my head and n now you see my gender call it a sea shell gone, covered up on the land gone to sand the end i fold into fool's illusion doo doo doo... hey doo doo doo... these and i , start with rock end in sand silly mind make sense of the eternal i was on the edge to fall a lonely demon count all the reminders long list you know boom whatever that you were, then such a ride now a lie when i am a tomb i am a diamond  ,  , , Anitya Movement 2 - (Meg Anderson) Meg Anderson - vocals Carrie Owen - vocals Jeremy Cox - piano, drum programming Anitya Movement 2 i am owning , up , in order to enter into see what , i brought to the surface when you were sleeping we opened up in a dream you were standing too close to the , edge and , the sun brightly sinking , we'll be faceless in the end of the end of the eternal star grows up and swallows these and i hand in light rehearsal hang night in front of the eternal Somebody brought the world to light and opened up a hole in the sky wide open are the fools wide open the wise come gently oh my heart the right path to find said i said it all in a light bright he is loving these and i hi we see the sky somebody brought the world to light and opened up a hole in the sky , wide open are the fools wide open the wise come quickly oh my heart the right path to fly Anitya Movement 3 - (Meg Anderson) Meg Anderson - vocals Carrie Owen - vocals , I've been carrying the first line of this song for years imagining Carrie's voice the whole time just to hold in my mind the proper vocal application -- I didn't know I would be recording the lady herself 5 years later. What a blessings. . . I think we got it right. , The rest of the lyrics and tune were inspired by a conversation Jeremy, Carrie and I had about reincarnation and samsara. Carrie, conveniently holding a Religious Studies Degree, filled in some gaps for us in these basic concepts and beliefs and the conversation was good and filling, The melody and lyrics effortlessly poured out of me the next day. , The song is both a realization - the freedom found in 'Anitya' being the only constant -- and it is also a lament for and a commiseration with each human being who struggles for relief from the great search no matter how mundanely it manifests. , Anitya Movement 3 oo oo oo oo I carry this to freedom oo oo oo oo and break my site in a thousand shards of light delude my heart up to an annihilated height , and cancel day with night and all my answer effortlessly come streami- Shop: odax
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Bridges of Blue (Just for You)
Kit Carballo is a Latin Jazz acoustical guitarist and composer. His complex rhythmic syncopation combined with provocative instrumental melodies have always been at the heart of his music. Kit was born in Washington, DC and has been playing guitar since the age of 8. He played in a variety of progressive rock, and rock and roll bands while in his teens. Kit developed a love of Latin Jazz and studied music with international champion guitarist and composer Larry Le Master and developed additional technique through Al Di Meola, world famous guitarist and composer. Kits explosive finger style techniques owes much to influences including Al Di Meola, John McLaughlin, Johann Sebastian Bach, and Kazuhito Yamashita. In his Latin Jazz compositions which incorporates American Jazz, Flamingo and Classical Tint, Kit has mastered the diatonic arrangements and has created an instrumental ballad of hauntingly beautiful musical pieces that delivers multiple climaxes. Kit Carballo currently resides in New Freedom, Pennsylvania with his wife Sarah. "Bridges of Blue (Just for You)" is his title debut album on Sound Works Audio Productions. This is Latin Jazz at it's best!- Shop: odax
- Price: 27.21 EUR excl. shipping
