Browse Titles - 1987 results
After Hours
conducted by Hal Mooney and Horace Ott; performed by Lisle Atkinson, 1940-, Bobby Hamilton, fl. 1960, Al Schackman, fl. 1958, Rudy Stevenson, 1929-2010 and Nina Simone, 1933-2003, Hal Mooney's Orchestra (Universal Classics & Jazz, 1995), 1 hour 1 mins
Sample
conducted by Hal Mooney and Horace Ott; performed by Lisle Atkinson, 1940-, Bobby Hamilton, fl. 1960, Al Schackman, fl. 1958, Rudy Stevenson, 1929-2010 and Nina Simone, 1933-2003, Hal Mooney's Orchestra (Universal Classics & Jazz, 1995), 1 hour 1 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Hal Mooney's Orchestra, Lisle Atkinson, 1940-, Bobby Hamilton, fl. 1960, Al Schackman, fl. 1958, Rudy Stevenson, 1929-2010, Nina Simone, 1933-2003
Contributor
Hal Mooney, Horace Ott
Author / Creator
Hal Mooney's Orchestra, Lisle Atkinson, 1940-, Bobby Hamilton, fl. 1960, Al Schackman, fl. 1958, Rudy Stevenson, 1929-2010, Nina Simone, 1933-2003
Date Published / Released
1995-04-13
Publisher
Universal Classics & Jazz
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After Hours At The London House
performed by Sarah Vaughan, 1924-1990, Frank Wess, 1922-, Thad Jones, 1923-1986, Wendell Culley, 1906-1983, Henry Coker, Ronnell Bright, 1930-, Richard Davis, 1930- and Roy Haynes, 1925- (Universal Classics & Jazz, 2005), 38 mins
Seven months after Mercury recorded Sarah Vaughan in a live setting for the surprisingly successful At Mr. Kelly's, the label planned another date with the microphones for the night of March 7, 1958. This time, however, instead of setting up at Mr. Kelly's (although she was booked for three shows that night), the...
Sample
performed by Sarah Vaughan, 1924-1990, Frank Wess, 1922-, Thad Jones, 1923-1986, Wendell Culley, 1906-1983, Henry Coker, Ronnell Bright, 1930-, Richard Davis, 1930- and Roy Haynes, 1925- (Universal Classics & Jazz, 2005), 38 mins
Description
Seven months after Mercury recorded Sarah Vaughan in a live setting for the surprisingly successful At Mr. Kelly's, the label planned another date with the microphones for the night of March 7, 1958. This time, however, instead of setting up at Mr. Kelly's (although she was booked for three shows that night), the producers invited a small group of friends and well-wishers to another Chicago club, London House, for an after-hours session. Vaughan...
Seven months after Mercury recorded Sarah Vaughan in a live setting for the surprisingly successful At Mr. Kelly's, the label planned another date with the microphones for the night of March 7, 1958. This time, however, instead of setting up at Mr. Kelly's (although she was booked for three shows that night), the producers invited a small group of friends and well-wishers to another Chicago club, London House, for an after-hours session. Vaughan expanded her trio with a quartet of Count Basie titans, including trumpeter Thad Jones and tenor Frank Wess, and as if the settings weren't challenging enough already, decided to record a set that, in true after-hours fashion, was completely improvised. (The cover photo even shows her studying a sheet as she sings.) Although the results are certainly far looser and more relaxed than a studio date, Vaughan and the instrumentalists don't shine as expected. Vaughan in particular plays it safe with this material, drawing out her cozy ballads with interpretive ease, but never taking them as far as she could in a more stable setting. The format breaks down completely on the final song, "Thanks for the Memory," when Vaughan misreads a lyric, puzzles over it for a few seconds, restarts the number, flubs it again, starts over one more time, and finally wraps up after seven minutes by declaring the session -- while still singing, of course -- "the most craziest, upsettin', down-sided recording date I ever had in my life." ~ John Bush, All Music Guide
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Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Sarah Vaughan, 1924-1990, Frank Wess, 1922-, Thad Jones, 1923-1986, Wendell Culley, 1906-1983, Henry Coker, Ronnell Bright, 1930-, Richard Davis, 1930-, Roy Haynes, 1925-
Author / Creator
Sarah Vaughan, 1924-1990, Frank Wess, 1922-, Thad Jones, 1923-1986, Wendell Culley, 1906-1983, Henry Coker, Ronnell Bright, 1930-, Richard Davis, 1930-, Roy Haynes, 1925-
Date Published / Released
2005-07-26
Publisher
Universal Classics & Jazz
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¡Ah de las esferas!
composed by Juan Antonio de Aragüés, 1710-1793; conducted by Bernardo García-Bernalt; produced by José Miguel Martinez; performed by Academia de Musica Antigua de la Universidad de Salamanca and Coro de Cámara (Verso, 2006), 1 hour 6 mins
Sample
composed by Juan Antonio de Aragüés, 1710-1793; conducted by Bernardo García-Bernalt; produced by José Miguel Martinez; performed by Academia de Musica Antigua de la Universidad de Salamanca and Coro de Cámara (Verso, 2006), 1 hour 6 mins
Date Written / Recorded
2002-08
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Academia de Musica Antigua de la Universidad de Salamanca, Coro de Cámara
Contributor
Bernardo García-Bernalt, Fernando Colás, José Miguel Martinez
Author / Creator
Juan Antonio de Aragüés, 1710-1793, Academia de Musica Antigua de la Universidad de Salamanca, Coro de Cámara
Date Published / Released
2006-08-22
Publisher
Verso
Copyright Message
2002 Universidad De Salamanca
Tracks
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Aka Jelena Ana Milcetic
conducted by Torrie Zito, 1933-2009 and Frank Zuback; performed by Helen Merrill, 1930- and Steve Lacy, 1934-2004 (Verve Records, 2000), 53 mins
Sample
conducted by Torrie Zito, 1933-2009 and Frank Zuback; performed by Helen Merrill, 1930- and Steve Lacy, 1934-2004 (Verve Records, 2000), 53 mins
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Helen Merrill, 1930-, Steve Lacy, 1934-2004
Contributor
Torrie Zito, 1933-2009, Frank Zuback
Author / Creator
Helen Merrill, 1930-, Steve Lacy, 1934-2004
Date Published / Released
2000-07-18
Publisher
Verve Records
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M.C.-Tedesco "「プラテロと私」より スズメ"
composed by Mario Castelnuovo-Tedesco, 1895-1968 (1960); performed by Akinobu Matsuda; in Akinobu Matsuda: Sound of the Guitar 4 (ARM RECORD SOCIETY, 2006), 4 mins
Sample
composed by Mario Castelnuovo-Tedesco, 1895-1968 (1960); performed by Akinobu Matsuda; in Akinobu Matsuda: Sound of the Guitar 4 (ARM RECORD SOCIETY, 2006), 4 mins
Date Written / Recorded
1960
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Akinobu Matsuda
Author / Creator
Mario Castelnuovo-Tedesco, 1895-1968, Akinobu Matsuda
Date Published / Released
2006
Publisher
ARM RECORD SOCIETY
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al Tango: Tango of the World/Tanga Świata/Tangos der Welt/Tango mundial
(Stowarzyszenie FoMA, 2006), 1 hour 3 mins
The first CD of al Tango orchestra, in sale starting from April 2006. The cd album “tango of the world” includes 19 original tango songs performed by al Tango vocalist Piotr Rafałko in twelve languages: Polish, Castellano (ríoplatense), Russian, German, Turkish, French, Finnish, Jewish, Slovakian, Romanian,...
Sample
(Stowarzyszenie FoMA, 2006), 1 hour 3 mins
Description
The first CD of al Tango orchestra, in sale starting from April 2006. The cd album “tango of the world” includes 19 original tango songs performed by al Tango vocalist Piotr Rafałko in twelve languages: Polish, Castellano (ríoplatense), Russian, German, Turkish, French, Finnish, Jewish, Slovakian, Romanian, Italian and Czech. „tango of the world” presents tango repertoire originating from many countries all over the world where tango en...
The first CD of al Tango orchestra, in sale starting from April 2006. The cd album “tango of the world” includes 19 original tango songs performed by al Tango vocalist Piotr Rafałko in twelve languages: Polish, Castellano (ríoplatense), Russian, German, Turkish, French, Finnish, Jewish, Slovakian, Romanian, Italian and Czech. „tango of the world” presents tango repertoire originating from many countries all over the world where tango enjoyed great popularity and is trying to prove the thesis that, tango... is not Argentinian! .TANGO IS NOT ARGENTINIAN !Everyone will tell you that tango is Argentinian. But tango dies of exhaustion once the distance among the buildings is bigger than 200 metres. I mean, tango is urban music, so it cannot be representative for the whole country, especially if this country is mostly a desert. (…) If we take into account the place of birth and life of most tango authors and composers, orchestra founders, singers, musicians and followers, we must admit that tango is not Argentinian but porteño. Fundamental musical tango traditions African and Spanish candombe and milongas, tragic tone and dramatic lyrics (Neapolitan folk songs), language (Spanish Ríoplatense), origin of the greatest artists of the genre (in many cases still not clear), instruments (the bandoneón was invented in Germany, the typical tango orchestra is a semi-folk imitation of the great symphonic orchestra, with Italian and other European instruments), even the African etymology of its name – all these elements contribute to the world origin of tango, once more, not international, but world, which wants to say “from the whole world”. (...) To prove this thesis, let me tell an anecdote. While staying in New York, a tango musician could not enter his flat because it was locked from the inside. He asked for help an Argentinian boy from Brooklyn, of Italian roots, who was just passing by. The boy gets into the flat through the back stairs, wakes the singer (Carlos Gardel, about whom we do not know until today if he was French or Uruguayan) and asks him to open the door. When both the singer and the musician thank him, the boy says that he can play bandoneón because he has classes with a Hungarian bandoneonist. The famous Gardel, curious about the boy (and who is this boy? Piazzolla himself), asks him to play a tango. And then, what this French or Uruguayan singer says in Spanish to the Argentian boy of Italian origin brought up in the US who learned to play German bandoneón from a Hungarian bandoneonist? “You play bandoneón like a genuine Spaniard!” (this anecdote is taken from the biography of Astor Piazzolla by Natalio Gorín). To conclude: although, following our mental habits, we try to categorise every single thing in order to define its origin, it is difficult to classify tango , as well as the Republic of Argentina, and put it within the limits of a strictly defined nation. It rather oscillates between locality and universality. Tango is an example of the phenomenon that an Anglo-Saxon writer Roland Robertson called “glocalization”, i.e. local globalization. I would also say in the very Papal style – which corresponds ideally with Roma, where these reflexions have been conceived – that tango is Urbi et Orbi. Or, to be more provocative: tango is not Argentinian, so it does not matter what numerous nationalists say about it without even knowing how to sing or dance it. The article was published in El Farolito (July 2003) Author: Fernando Iglesias Polish to English translation: Anna Wojtych
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Field of Study
Classical Music
Content Type
Music recording
Date Published / Released
2006
Publisher
Stowarzyszenie FoMA
Topic / Theme
20's, 30's, 40's
Copyright Message
2006 Stowarzyszenie FoMA
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(Deutsche Grammophon, 2010), 2 mins
Field of Study
Classical Music
Content Type
Music recording
Date Published / Released
2010-08-17
Publisher
Deutsche Grammophon
Copyright Message
(C) 2003 Deutsche Grammophon GmbH, Hamburg
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Alb-Postmortorium
composed by Aleksandër Peçi (1997); conducted by Zhani Ciko; performed by Bujar Lako, 1946-; in Albanian Lament (Labor Records, 2001), 10 mins
Sample
composed by Aleksandër Peçi (1997); conducted by Zhani Ciko; performed by Bujar Lako, 1946-; in Albanian Lament (Labor Records, 2001), 10 mins
Date Written / Recorded
1997
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Bujar Lako, 1946-
Contributor
Zhani Ciko, Malcolm Addey, fl. 1960
Author / Creator
Aleksandër Peçi, Bujar Lako, 1946-
Date Published / Released
2001
Publisher
Labor Records
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Albeniz Integral
composed by Isaac Albéniz, 1860-1909; performed by Antoni Comas and Mac McClure (Columna Música, 2006), 1 hour 12 mins
Sample
composed by Isaac Albéniz, 1860-1909; performed by Antoni Comas and Mac McClure (Columna Música, 2006), 1 hour 12 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Antoni Comas, Mac McClure
Contributor
Marc Urquizu
Author / Creator
Isaac Albéniz, 1860-1909, Antoni Comas, Mac McClure
Date Published / Released
2006-10-17
Publisher
Columna Música
Copyright Message
1997 columna musica
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Alessandro Scarlatti - Motets
performed by Gérard Lesne, 1956- and Véronique Gens, 1966-, Il Seminario Musicale (Warner Music, 2005), 1 hour 7 mins
Sample
performed by Gérard Lesne, 1956- and Véronique Gens, 1966-, Il Seminario Musicale (Warner Music, 2005), 1 hour 7 mins
Field of Study
Classical Music
Content Type
Music recording
Performer / Ensemble
Il Seminario Musicale, Gérard Lesne, 1956-, Véronique Gens, 1966-
Author / Creator
Il Seminario Musicale, Gérard Lesne, 1956-, Véronique Gens, 1966-
Date Published / Released
2005-11-28
Publisher
Warner Music
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