100 Results for : scat
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Body And Soul
Andre Heller, gebürtiger Wiener, verzaubert seit über 20 Jahren ein begeistertes Publikum mit seinen Shows. Zur Zeit permanent ausverkauft ist die Show"Afrika!Afrika!", mit der er ein kulturelles Licht auf den schwarzen Kontinent wirft. Bereits 1988 hat Heller eine durchaus ähnliche Show auf die Bühnen gebracht:"Body & Soul". Hier wurde das gesamte Spektrum des schwarzen amerikanischen Kulturguts präsentiert: Spirituals, New Orleans Jazz, Ragtime, Bebop, Blues, Soul, Scat, Steptanz. Die Musik zu- Shop: odax
- Price: 10.89 EUR excl. shipping
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Love And Liberation
Love and Liberation lädt die Zuhörer ein, Leidenschaft und Freiheit durch ihr starkes Gesangstalent, ihre Fähigkeiten als Scat-Sängerin und acht Original-Songs zu vereinen.- Shop: odax
- Price: 14.65 EUR excl. shipping
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Rhythm Is What Makes Jazz Jazz
Tief verwurzelt im Soul, Jazz und Bossa der 60er und 70er Jahre präsentiert sich der unbedingt tanzbare, clubbige Bahama-Sound.New York, London, Mailand, Tokyo Top Dj s internationaler Metropolen haben eine gemeinsame Konstante in ihren innovativen Sets: The Bahama Soul Club . Nach dem beeindruckenden Erfolg von The JuJu Orchestra hat der Braunschweiger Produzenten Oliver Belz einen neues multinationales Club-Jazz Projekt gestartet und sich auf Anhieb in den Playlisten der tastemakers worldwide eingegroovt. Mit viel Liebe zum Detail und tief verwurzelt im Soul, Jazz und Bossa der 60er und 70er Jahre ist der unbedingt tanzbare, clubbige Bahama-Sound entstanden, der bereits seit mehreren Monaten als der Sound of Summer 2008 gefeiert wird. Die Sängerin Pat Appleton (DePhazz) hat 2 Songs eingesungen und beeindruckt sowohl mit Powersoul ( Sugar Cane ) à la Aretha Franklin, als auch mit der schwebenden Ballade ( Late Night Bossa ) à la Billie Holiday. Stilistisch im Gegensatz dazu entführt die bezaubernde Französin Isabelle Antena (Nouvelle Vague) mit ihrer fränzösischen Version von Atemlos- A Bout De Souffle , in Godarts Film Noir mit jazzigem Scat in einen hippen 60s Bossa. Dazu die rauchige Gänsehautstimme von der Entdeckung Bella Wagner aus Wien auf Kind Of Cool und Muchacho , sowie die vom englischen Kultlabel Freestyle gesignte Spanierin Malena auf Dejame Marchar . Entstanden ist ein unvorhersehbares, spannendes Debut-Album mit faszinierenden Gesangs-Features: A new defining of superb dancefloor-jazz feierten die Top-Dj s von Turntables On The Hudson aus New York dieses gelungene Album. TRACKS: 1. But Rich Rhythms 2. Kind Of Cool (feat. Bella Wagner) 3. Sugar Cane (feat. Pat Appleton) 4. Nassau Jam 5. Dejame Marchar (feat. Malena) 6. A Bout De Souffle (feat. Isabelle Antena) 7. Boca Chica 8. Muchacho (feat. Bella Wagner) 9. Late Night Bossa (feat. Pat Appleton)- Shop: odax
- Price: 17.45 EUR excl. shipping
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Wiggles: Halloween Party
The Wiggles are having a Halloween Party and you are all invited! Get ready for a "spooktacular" celebration. There's dress-ups aplenty, a Halloween feast, thirsty little vampires wanting cranberry juice and, of course, lots of dancing including colourful skeletons doing the skeleton scat! Wiggle Town is decorated like you have never seen before with cobwebs, pumpkins, bats and spiders. All your wiggly friends are there to join the party and sing and dance along to brand new songs, such as 'Toilet Paper Mummy' and 'Halloween Waltz'. So, join Emma, Lachy, Simon and Anthony, and a very cute baby vampire, for a not so scary Halloween Party!- Shop: odax
- Price: 13.73 EUR excl. shipping
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The Student Prince
Busby Berkeley, the musical staging genius behind 42nd Street and the Gold Diggers series, bid farewell to his original Warner Bros. Contract in swingin' style with tunes by Harry Warren, Al Dubin and Johnny Mercer. Now that's Golden Age name-dropping. The story is a breezy bit of show-biz romance set at the title nightclub, a chi-chi spot where the owner (Pat O'Brien) and the bandleader (screen-debuting John Payne) spar over everything from chewing gum to the club's pretty flack (Margaret Lindsay). Of course, the real story is the music and Garden of the Moon barely catches it's breath between songs, including the cheery Love Is Where You Find It and the playful, scat-singin' wit of The Girlfriend of the Whirling Dervish.- Shop: odax
- Price: 29.73 EUR excl. shipping
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Reflective Trombone
DEDICATION I lovingly dedicate this CD to the memory of my teacher, colleague, and good friend, Rex Peer (1928-2008), for the immeasurable value of his guidance, camaraderie, and friendship, and for the wonderful gift of his composition, "Blue Trombone." Two years after I started playing trombone as an 8-year-old third grader in the "senior band" in Cumberland, Iowa, I began my studies with Rex. He was a skillful, soulful trombonist and (if possible) an even more incredible teacher. He taught me basics, jazz, ballad playing, and music theory. As a result, I was not only well prepared for a career as a performer, but also got the bug for song-writing, arranging, and composing, which have been a cherished part of my adult music career. Needless to say, if it weren't for the many ways in which he helped me get my start as a player and writer, this CD would never have happened. LINER NOTES Theme of the CD: Reflective Trombone--First and foremost, this CD is about my trombone playing, which extends back more than 50 years, to when I started out as an 8-year-old third-grader, playing in the "senior" band in Cumberland, Iowa. In 5th grade, I began studying with a master trombonist, Rex Peer (1928-2008), who taught me basics, jazz and ballad playing, and music theory. As a result, I got the bug for song-writing and arranging and composing, which have been a cherished part of my adult music career. So, this CD also provides a chance to hear some of what I like to create, other than on the spur of the moment (as in jazz solos)-as well as some of what I think is truly beautiful, as a setting for those creations. I have also, since early childhood, been an irrepressible singer and whistler, probably inheriting that from my dad, Eldon Bissell (1925-1984) who, along with my mom Deloris, was one of my biggest fans. I wish he could hear this CD, for it carries on that Bissell "tradition," including also a couple of songs that provide a vocal showcase for his grandchildren and my children, Charles, Rebecca, Andrew, and Daniel, all of whom are fine, active singers in the Nashville TN and Lexington KY areas. Finally, it allows me to feature one of my very best friends and fellow Disneyland band members, Brian Atkinson, who is a fantastic jazz trumpeter and vibes player. I think you will agree that his solo on "Once in a Dream" is just lovely. On a deeper level, however, what I am trying to do in this CD is to "reflect" on things I have played or written in the past, in a way that goes beyond their original embodiments. Here are some informative and (I hope) interesting details about each of the pieces... Track 1--"Reflective Mood," by the great Sammy Nestico, has been played with piano or concert band accompaniment by countless trombonists (some of whom have had their performances posted on uTube), and I was honored to play it with the Iowa State University concert band on the Fall 1966 concert and the Spring 1976 tour, and again with the Cedar Rapids Community Band in the summer of 1970. I am aware of only one person who has performed it with an orchestra: the excellent Swedish flutist Goran Marcusson on his CD "Reflective Flute," and I have attempted to "up the ante" a bit by adding a choir singing "ah's" here and there. If only the 18-year-old from Cumberland, Iowa had had this kind of backup when he played it in college! Tracks 2 & 7--"A Little Less Wonderful" is a fun song that I composed in 1982, and it is intended to be a sort of hip "flirtation" song, as can be gathered from the lyrics. (Would this be a fun piece for the cast of Fox's hit show 'Glee' to perform, or what!) I always wished it could have been recorded by the likes of James Taylor or Barry Manilow, but that was then-and now it is presented through the talents of my children singing with me a la Manhattan Transfer. My son Daniel and I handled the scat-singing duties, and I threw in a little whistling for fun. (Take that, Toots Thieleman!) We recorded the vocal tracks in Nashville at my son Andrew's studio in November of 2009, and my son Charlie, who has a glorious bass voice, was on his way down from Lexington when his car broke down, so he had to "mail his part in." (He recorded it at home and sent it to us over the Internet.) But by hook or by crook, we did it! (Note to CD purchasers: the a capella version is actually track 7, not track 2, as listed on the back of the CD.) Track 3--"Where Are All the Happy Days?" is a song I wrote about 1978, and it had a set of rather gut-wrenching lyrics, which are (happily) lost to history. (I loaned my only copy of the vocal lead sheet to a guitar player, who could not find it when I later asked him to return it.) My teacher/colleague/friend, Rex Peer, and I played this as a bossa nova in our quintet, Hip Bones, in performances in Nashville in 1978 and 1979, but I always thought it needed a grander setting. Sadly, he's no longer around to hear it done up in the symphonic manner I devised for this CD. The bridge made a good enough introduction in the old days, but I have written a good amount of additional material around it, allowing the strings and woodwinds to weave a "reflective" mood that I hope makes the piece something more than just another "sad" bossa nova in minor. (Yes, it's somewhat autobiographical. No, please don't ask me for details.) I also opened it up in the middle to allow for a jazz solo in samba rhythm, then reversed direction, going back to bossa nova, and finally ending with a reprise of the intro material, capped with a salute to one of my favorite composers, J. S. Bach. (The 4-2-3 suspension in the last chord basically says, "...and I mean it!") Track 4--The next track, "When I Fall in Love," is not quite a medley, more of a blending, of Vincent Young's well-loved ballad standard and Stevie Wonder's more dynamic pop song, "I Believe When I Fall in Love with You It Will Be Forever." I first heard the Stevie Wonder song on a Sergio Mendez album in the 1970s and always wanted to record it someday, because of it's poignant harmony in the verse and it's three-part structure, which gave it a more dramatic feel than most songs. As for the Vincent Young song, it was always just another pretty song to me, until the fall of 1985, when I was hired to write it up as a female vocal. I came up with such pretty and satisfying harmonies, that I decided someday I just had to record it that way as a trombone feature. But I didn't think of combining it with the Stevie Wonder song until I was well into the arrangement for this CD. I realized at some point that, not only were the titles very suggestive of a possible marriage of the two songs, there were also overlaps in their harmonies, as well as related meanings in some of the lyrics, so I decided to exploit them for this recording. I also used a motif from the chorus of Stevie Wonder's song for the intro of the arrangement, and it really seems to set up nicely the first entrance of the trombone solo. Track 5--"Friends and Lovers" is the "happy" bossa nova I wrote about 1977, and which Rex and I played two-trombone style in Hip Bones in 1978 and 1979, as a sort of book-end to "Where Are All the Happy Days?" It was inspired by Antonio Carlos Jobim and by Sergio Mendez's Brazil 66, who respectively wrote and recorded so many of my favorite bossa novas during the 1960s and 1970s. More than one person has pointed out the strong mis-match between the upbeat melody and harmony and the unhappily protesting lyrics. I can't disagree, but I also have always thought that they were great fun together, despite the emotional disconnect between them. In addition to saluting Brazil 66 (with a unison male vocal in place of Mendez's chick singers), I also give a tip of the hat to Andy Williams and the Williams Brothers with some four-part vocal harmony, along with a little Urbie Green high-note trill on the ending. Track 6--"Once in a Dream" is what I call my "movie theme" tune, partly because I think it really would mak- Shop: odax
- Price: 24.46 EUR excl. shipping
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Millions
The Weapons Factory stems from the brainchild of Nick Welch, and the result of a year of intense work creating a solid bed of Electro Ambient D+B mixes as a 15 year old Computer Game and DJ mix fanatic. The mixes were created as one of Nick's bedroom studio hobbies, with the intent to produce just a limited edition for friends and to sell to a few local boutiques and specialised gift stores to cover costs. An opportunity to move to California near silicon valley and the world of computer game development put a hold on any further energies being directed to the music projects., so the CD's and mixes ended up among his Dad's CD archives. Some years later, his father, a musician and producer, revisited the old mixes, and enthused by the sounds and possibilities, brought them to IMMG's studio to explore development and re-mastering. Experimental melodic layers were added, and so began a years work of additional vocals and instrumentation. As the layers and contributing artists grew, so did the excitement around the results. By the time the fourth track was finished, it was obvious that something exciting and releasable was in creation. By the end of the year, the debut 'Weapons Factory' album 'Millions' was complete, and a further selection of tracks laid down for the follow up of WF2. REVIEW: Artist: The Weapons Factory Album: Millions Review by Matthew Forss The electronic wizardry of ambient drum 'n' bass composer and DJ fanatic, Nick Welch, is refreshingly hip and cool with all the fixings for a delicious dance session. The music is largely composed of jazzy, ambient-centered tracks with some dub, trance, and new age elements, too. Nick is joined by sax player, arranger, and vocalist Robin Welch, along with producer, guitarist, and songwriter John Perkins. The performance repertoire is diverse with many musical layers of sound that reach far into the outer reaches of space and time. "Love Don't Live Here" begins with a light percussive sound of drum set swooshes, synth washes, and a single exhaling human voice before the music moves into a scattered break-beat pattern with the addition of a few sax notes. The beat speeds up as a female voice sings a few melismatic vocals, as another voice provides spoken word accompaniment. The break-beat, drum 'n' bass sound is definitely indicative of the music from other groups, including Lamb, Maxinquaye, or Massive Attack. The fast beat sound cuts in and out with room for the spoken word accompaniment, intermittent sax, and vocal melisma. The cascading sounds of the bass-like melody, dub sounds, synth washes, and selected vocals provide a good listening experience with room to dance, daydream, or drift away to a far-off land. "Forsaken" is a song with a gritty opening of equally-measured sounds that slowly speed up into a dance-laden concoction of mixed, male scat vocals. The song takes on an Eastern flair with a bit of bluesy/Western guitar work that would be a perfect addition to HBO's True Blood soundtrack. The haunting vocals are reminiscent of a monastic choir at times, with the guitar work bordering on anything by Chris Isaak, and the dance beats of any trance group. Despite the multi-faceted depiction, the music seems to work together without reverting to anything melancholic. "Desert Dolphins" opens with a few electronic sounds, light percussive swooshes, and a sax intro before the dub 'n' bass leads the song into various directions of electronic blurbs, watery gurgles, and ambient soundscapes. The melodies merge into a heavy, dance track with electronic blurbs, sax accompaniment, and ambient washes. Though, the sax seems to be a pervasive theme throughout the song, and album, it may not be particularly necessary for a majority of the songs. This is mostly due to the electronic, ambient, dance track structure that does not necessarily need sax accompaniment. However, the sax does provide a dub 'n' bass, drum 'n' bass, and jazzy-trance ambiance that smoothes or cools the fiery dance tracks. "New Age Suite" opens with singing birds, water sounds, and synth washes, before a break-beat rhythm dives right into a heavy, dance medley with occasional ambient washes. The sax appears throughout, as muffled and staticky voices break-up the instrumental continuity. Different and clearer scat vocals are repeated a bit near the middle of the song. The electronic blurbs, ambient washes, dance beat, haunting, but indeterminate voices, and the jazzy elements seems to be something that would emanate from a 'New Age' suite. "Millions" begins with an earthy, ambient intro, light sax solo, and a frenzied break-beat rhythm. The slower, jazz elements and fast break-beat rhythm are complete opposites, but work well due to their instrumental polarization. The sax and ambient washes break-up the fast pace, though the rhythm slows half-way through the song, as a mix of radio or television interference and electronic voices take over. Nick Welch is a talented and diverse musician with a clear vision for his music. The incorporation of jazzy elements and electronic music seemed to be divergent, though the musical relationships to jazz and dance music are closer than other forms of music. Millions is an album with danceable tracks and some of the lighter, ambient fare. The scat vocals and mostly unintelligible vocals added a level of mystery to the music. At times, the sax did not seem to be a necessary addition to the songs, but it was not used too pervasively to warrant any major qualms. All in all, the album featured seven songs running around forty-five minutes. The musical arsenal of The Weapons Factory is an exciting contribution to the world of break-beat, trance, dub 'n' bass, and drum 'n' bass. Review by Matthew Forss Rating: 4 stars (out of 5)- Shop: odax
- Price: 17.79 EUR excl. shipping
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Klezmer At The Cotton Club
Willkommen im Club: Klezmer trifft auf Blues und Hot Jazz. Wie hätte es wohl geklungen, wenn die Klezmer-Stars wie Naftule Brandwein und Dave Tarras im Cotton Club gespielt hätten? Das Quintett von Helmut Eisel, dem Mann mit der sprechenden Klarinette, beantwortet die Frage auf seine Weise. Die fünf sind inspiriert vom Jazz und der Klezmermusik der frühen 30er-Jahre. Auf "Klezmer in the Cotton Club" trifft Hot Jazz auf Freilach, Blues auf orientalische Klänge und butterweich gehauchte Balladen. Magische Momente entstehen, wenn sich die Klarinette in wilden Kapriolen mit den Scat-Vocals von Gitarrist Michael Marx duelliert, unterstützt von den kochenden Grooves des Schlagzeugers Jochen Krämer und des Bassisten Stefan Engelmann. Eine ganz neue Art von Cotton Club!- Shop: odax
- Price: 14.40 EUR excl. shipping
