Agosto 29, 2008
Tracks:
1 Breezin’
2 This Masquerade
3 Six to Four
4 Affirmation
5 So This Is Love?
6 Lady
Descargalo aqui:
Guardado en: Discografía, George Benson | Comments Off
Agosto 27, 2008
En septiembre comienzan nuevamente las clases en Escuela de Jazz:
Jazz, Bossa nova, blues, Swing, funky
Clases individuales y prácticas en grupo
Métodos, ejemplos y ejercicios propios
Armonía moderna y técnicas de improvisación
Inicio y perfeccionamiento
Plazas limitadas
630 73 91 95
www.escueladejazz .com
Guardado en: escuela de jazz | Comments Off
Julio 30, 2008
Quarteto Jobim-Morelenbaum
Paula Morelenbaum - voz
Jaques Morelenbaum - cello
Daniel Jobim - piano y voz
Paulo Jobim - violão e voz
Gravado no Estudio Mega, Rio de Janeiro, de abril a junho de 1999
Participação especial:
Marcelo Costa - bateria e percussão
Marcos Suzano - percussão
Zeca Assumpção - baixo
This quartet consists of cellist-arranger Jacques Morelenbaum, who played with Antonio Carlos Jobim on one of his last recordings, Passarim, before Jobim’s death in 1994; his wife, vocalist Paula; Jobim’s son, pianist Daniel; and his grandson Paulo on guitar. On this CD not only do they extend Jobim’s legacy into the 21st century, but in this chamber format they highlight the softer side of Jobim’s bossa nova blend of the Afro-Brazilian samba, jazz, and the French impressionist harmonies of Ravel and Debussy. Augmented by bass, drums, and percussion, the quartet delivers engaging and ethereal renditions of classic Jobim mid-’60s bossa nova standards including “Agua de Beber,” “Ela e’ Carioca,” “Meditacão,” and “Desafinado,” sung by Paulo. The haunting “A Felicidade” and “Lamento no Morro” from Jobim’s Academy Award-winning soundtrack to Black Orpheus are updated with taste and verve, especially in the balance between voice and instrumentation. Paulo Jobim’s “Mantiqueira Range” is a direct descendant of his grandfather’s harmonic genius, and it may prove to be an example of pleasant things to come from this stunning group.
From Rhythm Magazine
The music of Antonio Carlos Jobim has been inherited by his family, and it is in very good hands. On this beautiful recording, Jobim’s guitarist son Paulo and his pianist grandson Daniel-both singers as well-are joined by the husband and wife team of Jacques and Paula Morelenbaum, on cello and vocals, respectively. The Morelenbaums, like the Jobims, were members of the legendary composer’s later groups, and it shows. This CD recalls the glory days of bossa nova with its sensitive, gently compelling renditions of Jobim classics and lesser-known gems, in performances that are both faithful to the spirit of the original versions and distinctive in their own right.
1. Agua de Beber
2. Meditation (Meditação)
3. Ela é Carioca - Antonio Carlos Jobim
4. Só Tinha de Ser Com Você
5. Felicidade
6. Eu E O Meu Amor/Lamento No Morro
7. Falando de Amor
8. Correnteza
9. O Boto
10. Mantiqueira Range
11. Corcovado
12. Desafinado
13. Águas de Março (Waters of March)
Descargalo aqui.
Guardado en: Discografía, Bossa nova, Brazil | Comentarios (0)
Julio 15, 2008
ENTREVISTA A BIELLA DA COSTA
Elenco:
Biella da Costa: Voz
Álvaro Falcón: Guitarra
Francisco Moralez: Piano
Carlos Sanoja: Bajo
Miguel A. de Vicenzo: Bateria
Biella Da Costa :
Cantante Venezolana. Ha sido galardonada dos veces con el “Premio Nacional del Artista”. En 1994 como “Revelación Musical del Año” y en 1996 como “Cantante Femenina del Año”. Estudió en el conservatorio José Ángel Lamas y en la escuela de Opera de Caracas. También estudió canto con los maestros Francisco Kraus, Yoshiko Miki, Hilda Breer y con Irene Ebersteins.
Su excelente condición vocal le ha permitido entrar con éxito en el jazz, rock, blues y música latina, géneros de los que ha hecho síntesis para producir un sonido cálido, acogedor, potente e impecable a la vez.
A título personal ha grabado dos discos centrados en el jazz y en el blues tradicional. Ellos son “Solo Jazz” Fundación Polar (1992) y “Jazz & Blues” Petróleos de Venezuela(1995).
Comentario:
Emotivo concierto ofreció esta noche el quinteto de Biella da Costa, en su regreso a Madrid para tocar en el Café Central. La cantante venenzolana demotró saber cantar jazz y blues, además de deleitarnos con repertorio propio, siempre arropada por una magnifica banda que arrastra el saber de la experiencia.
Tuvimos la oportunidad de entrevistarla, junto a su guitarrista Álvaro Falcón.
PREGUNTA: ¿Podeis contarme como fue vuestro camino musical hasta encontaros con el Jazz y el Blues?
RESPUESTA: (A.Falcón) Comencé a tocar la guitarra muy joven con 14 años, influenciado por los Beatles y Jimmy Henrix, entre otros. Pronto estaría tocando en bolos y grabando en estudio con 17 años.
P.¿Cuando comienzas a interesarte por el jazz?
Siendo aún muy joven, comienzo a escuchar los discos de jazz de la biblioteca de mi hermano, en especial los discos de Oscar Peterson, los cuales utilizo para comenzar a transcribir solos e ideas musicales, y asi introducirme en el jazz.
P.Hemos escuchado una versión muy interesante de “Four on Six” de Wes Montgomery, quien imagino es una gran referencia para ti a la hora de tocar.
R.Si Wes es uno de mis guitarristas favoritos, y su influencia se nota en mi manera de orientar los solos, incorporando entre otras cosas su técnica de ocatavas.
P. ¿Podrías citar alguno de los discos que más te gusten o que consideres interesante para estudiar dentro del ámbito de la guitarra de Jazz?
R. Hay un disco en concreto que considero indispensable, es de Wes, de los pocos grabados para la Blue note que se llama “beginning“.
P. ¿Cómo fué tu formación como guitarrista?
R. Tuve la inmensa fortuna de poder estudiar jazz en Berkley (Boston) mientras trabajé dando clases de guitarra de rock. Al regresar a Venenzuela comence mi trabajo como productor.
P.¿Cómo enfocas el estudio del instrumento?
R.Considero que es importante conocer la teoría musical, aunque opino que es absolutamente crucial el trabajo de transcripción de solos asi como escuchar muchisimos discos y conocer lo que se ha hecho en el pasado.
P. Por último, ¿podrías contarnos que equipo utilizas y cuál es tu recomendación?
Esta noche toque con una guitarra Gibson 335 y un ampli Fender Prince Tone Reverb de los años sesenta, aunque habitualmente toco con un Vibrolux Reverb de Fender. Mi recomendación para quien busca el sonido genuino de la guitarra de jazz es un amplificador Super Reverb “Black face” de Fender.
Gibson 335
Fender Super Reverb “Black Face”
BIELLA DA COSTA actuará en el Café Central, todas las noches de 22.00 a 24.00 desde el 14 hasta el dia 20 de Julio.
Más información en www.bielladacosta.com
Guardado en: Entrevistas | Comments Off
Julio 8, 2008
Track list
01 Good Friday Blues
02 Willow Weep for Me
03 I Remember You
04 Bill Not Phil
05 When I Have You
06 I Was Doin’ Alright
Descargalo aqui.
Guardado en: Blues, Discografía, bebop, Jazz Standards, jim hall, trio | Comentarios (0)
Julio 6, 2008
1. Jive At Five
2. One O’Clock Jump
3. (We Ain’t Got) No Special Thing
4. Memories Of You
5. Frog’s Blues
6. Rabbit
7. Perdido
8. Timekeeper
9. Mean To Me
10. Blues For Joe Turner
Personal:
Count Basie (piano);
Milt Jackson (vibraphone);
Joe Pass (guitar);
John Heard (bass);
Louis Bellson (drums)
Descargalo aqui.
pass: bez
Guardado en: Swing, Rhythm Changes, Discografía, IIm7-V7-Imaj7, Jazz Standards, Joe Pass | Comentarios (0)
Julio 4, 2008
1.Just Friends
2.Bewitched
3.Going Thru Some Changes
4.Old Devil Moon
5.Days Of Wine & Roses
6.”Samba” From Black Orpheus
7.True Blues
Descargalo aqui.
Guardado en: Blues, Discografía, bebop, Jazz Standards, Barney Kessel | Comentarios (0)
Junio 30, 2008
1. Straight, No Chaser
2. Darn That Dream
3. Summertime
4. Sometime Ago
5. I’ll Remember April
6. My Romance
7. Crazy, She Calls Me
Tal Farlow: Guitar
John Scully: Piano
Jack Six: Bass
Alan Dawson: Drums
Descargalo aqui.
Guardado en: Discografía, Video, bebop, Jazz Standards, Tal Farlow | Comentarios (0)
Junio 19, 2008
Descargalo aqui.
pass: warezhr 
Guardado en: Material de estudio, Partituras, IIm7-V7-Imaj7, lenguaje musical, Jazz Standards | Comentarios (0)
Junio 17, 2008
Joe Pass - For Django
01 - Django
02 - Rosetta
03 - Nuages
04 - For Django
05 - Night and Day
06 - Fleur d’Ennui
07 - Insensiblement
08 - Cavalerie
09 - Django’s Castle
10 - Limehouse Blues
Descargalo aqui.
El Libro Joe Pass on guitar descargalo aqui.
Guardado en: Swing, Material de estudio, Partituras, bebop, IIm7-V7-Imaj7, Jazz Standards, Joe Pass | Comentarios (0)
Junio 16, 2008
INCLUDES:
Scales/Chords
Developing Creativity
Improv Fundamentals
12 Blues Scales
Bebop Scales
Pentatonic Scales
Time and Feel
Melodic Development
II/V7s
Related Scales and Modes
Practical Exercises
Patterns and Licks
Dominant 7th Tree of Scale Choices
Nomenclature
Chromaticism
Scale Syllabus
and more!
Descargalo aqui.
Guardado en: Material de estudio, Partituras, bebop, Aebersold | Comentarios (0)
Junio 14, 2008
Descarga aqui la parte 1, parte 2 y parte 3.
Guardado en: Blues, Material de estudio, Partituras, bebop, IIm7-V7-Imaj7, George Benson, Jazz Standards | Comentarios (0)
Junio 14, 2008
Includes
How to play chords the modern way,
Vamps and fill-ins,
Bop-blues,
Bounce blues,
Runs,
Introductions,
Technique,
Theory, and much more.
Descargalo aqui.
Guardado en: Blues, Material de estudio, Partituras, IIm7-V7-Imaj7, Jazz Standards | Comentarios (0)
Junio 10, 2008
Sweet and Lowdown
Contents:
E is for Emmett - Dick Hyman
12th Street Rag - Euday Bowman, Arranged by Howard Alden
3:00 AM Blues - Dick Hyman
I’ll See You in My Dreams
I’m Forever Blowing Bubbles
It Don’t Mean a Thing (If it Ain’t Got That Swing)
Just a Gigolo
Limehouse Blues - Arranged by Dick Hyman
Old Fashioned Love
Shine
Sweet Georgia Brown
Unfaithful Woman - Dick Hyman
Wrap Your Troubles in Dreams
Desacraglo aqui.
Guardado en: Swing, Material de estudio, Video, Partituras, Jazz Standards | Comentarios (0)
Junio 9, 2008
Songlist:
Can’t Buy Me Love
Do You Want To Know A Secret
Here There And Everywhere
Hey Jude
I Wanna Be Your Man
Lucy In The Sky With Diamonds
Michelle
Norwegian Wood
Nowhere Man
Strawberry Fields Forever
Things We Said Today
Ticket To Ride
With A Little Help From My Friends
World Without Love
Yesterday
Descargalo aqui.
Guardado en: Material de estudio, Partituras | Comentarios (0)
Junio 7, 2008
Hoy os dejamos unas fotos de nuestro último concierto. Gracias a todos los participantes por dejar su huella en ESCUELA DE JAZZ.
Guardado en: Clases especiales | Comentarios (0)
Junio 2, 2008
1 Jordu
2 Satin Doll
3 It Could Happen to You
4 Mean to Me
5 Don’t Worry ‘Bout Me
6 On Green Dolphin Street
7 You Go to My Head
8 Minor Mood
9 Nagasaki
Barney Kessel - Guitar
Ray Brown - Bass
Shelly Manne - Drums
Descaraglo aqui.
Guardado en: Discografía, bebop, Jazz Standards, Barney Kessel | Comentarios (0)
Junio 2, 2008
Best of Jazz Guitar
Contents:
All Blues
All The Things You Are
So What
Honeysuckle Rose
How Insensitive (Insensatez)
I’ll Remember April
Misty
Satin Doll
St. Thomas
Yesterdays
Descargalo aqui.
Guardado en: Blues, Material de estudio, Partituras, bebop, IIm7-V7-Imaj7, Jazz Standards | Comentarios (0)
Mayo 30, 2008
Studying chord melody and reharmonizing tunes is an excellent way to learn jazz. This step-by-step method teaches a variety of chord melody techniques including:
Chord Melody Concepts:
• Diatonic substitution
• Contrary motion
• Back cycling
• The “V” chord
• Chord scales with tension
• Modal chord scales (lydian, dorian, mixolydian)
• Ascending & descending bass harmony
• Contrary motion
• Walking bass lines
• Line in the spaces
Chord Melody Songs include:
• 500 Miles High
• All The Things You Are
• Blue In Green
• Bluesette
• Cherokee (Indian Love Song)
• Giant Steps
• Here’s That Rainy Day
• How Insensitive (Insensatez)
• I Could Write A Book
• In A Sentimental Mood
• Like Someone In Love
• My Favorite Things
• My Funny Valentine
• My One And Only Love
• My Romance
• Stella By Starlight
• There Is No Greater Love
• There Will Never Be Another You
• Windows
• Yesterdays
(Level=higher-intermediate to advanced) 62-pages transcribed in tablature & standard notation. Transcribed by Bill Hart.
Descargalo aqui.
Guardado en: Material de estudio, Partituras, bebop, IIm7-V7-Imaj7, lenguaje musical, Jazz Standards | Comentarios (0)
Mayo 29, 2008
Contents:
West Coast Blues
Cariba
Fried Pies
Mi Cosa
Missile Blues
O.G.D.
Sundown
Besame Mucho (Kiss Me Much)
Four On Six
I’ve Grown Accustomed To Her Face
Misty
Yesterdays
Para decargarlo picha aqui.
Guardado en: Swing, Material de estudio, Partituras, bebop, Jazz Standards, Wes Montgomery | Comentarios (0)
Mayo 29, 2008
1. Undecided
2. O Barquinho
3. Slow Burn
4. Charlie’s Blues
5. Topsy
6. Latin Groove
7. Down Home Blues
8. H and B Guitar Boogie
9. Benny’s Bugle
Charlie Byrd, Barney Kessel, Herb Ellis: Guitar
Joe Byrd: Bass
John Rae: Drums
Para descargarlo pincha aqui.
Guardado en: Blues, Video, Biografias, Bossa nova, Herb Ellis | Comentarios (0)
Mayo 26, 2008
1. It Had to Be You
2. Rhythm Willie
3. Gee Baby Ain’t I Good to You
4. A Smooth One
5. When My Dreamboat Comes Home
6. Conversations
7. I Want a Little Girl
8. Orange Brown and Green
Descargalo aqui.
Guardado en: Swing, Discografía, Video, Herb Ellis, Freedy Green | Comentarios (0)
Mayo 26, 2008
Samba, Bossanova, Partido Alto, Choro, Baiao, Frevo, Marcha Rancho, Afoxé
Ejemplos con play along para bajo bateria piano y guitarra.
Para descargar pincha aqui primero y luego aqui.
Guardado en: Material de estudio, Partituras, IIm7-V7-Imaj7, Jazz Standards, Brazil | Comentarios (0)
Mayo 24, 2008
1. Dearly Beloved
2. Monsieur Armand
3. Poor Butterfly
4. Make Someone Happy
5. Early Autumn
6. Hello
7. Blueberry Hill
8. I’m a Lover
9. Brigitte
Descargalo aqui
Guardado en: Discografía, bebop, Wes Montgomery | Comentarios (0)
Mayo 23, 2008
1. Straight, No Chaser
2. Just Friends
3. In A Mellow Tone
4. Wes Got Rhythm
5. The Theme
Para descargarlo pincha primero aqui y luego aqui.
pass: koshkas
Guardado en: Discografía, Wes Montgomery | Comentarios (0)
Mayo 22, 2008
1. Bock to Bock (Back to Back)
2. Groove Yard
3. If I Should Lose You
4. Delirium
5. Just For Now
6. Doujie
7. Heart Strings
8. Remember
Para descargarlo pincha primero aqui y despues aqui
pass : blacky
Guardado en: Discografía, bebop, Wes Montgomery | Comentarios (0)
Mayo 21, 2008
El concierto tendrá cita el próximo 05 de Junio a las 17.00hs en el Conservatorio de Amaniel (C/: Amaniel nº2.) Metro Noviciado.
Repertorio:
Blue Bossa, Secret Love, The Theme, Billie´s Bounce
Participantes:
Álvaro Reyero, Bertrand Sabat, Mario Minguez, Catherine Petigrew y James Petigrew.
Os Esperamos!
Guardado en: Clases especiales | Comentarios (0)
Mayo 20, 2008
1. Freddie Freeloader
2. Lolita
3. Blues Riff
4. Blues Riff - (take 8, bonus track)
5. Dangerous
6. Yesterday’s Child
7. Moanin’
8. Moanin’ - (take 7, bonus track)
Descarga aqui la primera parte y aqui la segunda.
pass: Montgomery
Guardado en: Blues, Material de estudio, Discografía, bebop, Jazz Standards, Wes Montgomery | Comentarios (0)
Mayo 19, 2008
Bienvenidos a www.escueladejazz.com
Ya se acabo el puente de Mayo, pero aqui os dejo material para pasar mejor el sindrome post vacacional. Que lo disfrutes.
1. All of You
2. Heartstrings
3. Summertime
4. Back to Bach to Bock
5. There Will Never Be Another You
6. Let’s Make the Most of a Beautiful Thing
7. The More I See You
8. More Than Likely
9. Starlight
10. Round Midnight
Tracks 1-4, 9-10:
Wes Montgomery (g), Buddy Montgomery (p, vib), Monk Montgomery (b), Billy Hart (d), Elvin Bunn (cga on #4, 9 & 19)
Tracks 5-8:
Wes Montgomery (g), Billy Taylor (p), Ben Tucker (b), Grady Tate (dr), Joe Williams (voc on #6 & 8 )
Descarga aqui la primera parte y aqui la segunda.
pass: blacky
Guardado en: Discografía, bebop, Wes Montgomery | Comentarios (1)
Mayo 14, 2008
Track list
1. Introduction (Spoken By George Benson) (Live)
2. Take Five (Live)
3. Summertime (Live)
4. Gone (Live)
5. Sky Dive (Live)
6. Octane (Live)
Descargalo aqui.
Guardado en: Discografía, bebop, George Benson, Jazz Standards | Comentarios (0)
Mayo 13, 2008
Track list
1. There Will Never Be Another You
2. Love for Sale
3. Lil’ Darlin’
4. All Blues
5. Witchcraft
6. Oleo
Descargalo aqui.
Guardado en: Blues, Material de estudio, Rhythm Changes, Discografía, bebop, George Benson, Jazz Standards | Comentarios (0)
Mayo 12, 2008
Track list
1. Body Talk
2. Top Of The World
3. Dance
4. When Love Has Grown
5. Plum
6. Body Talk (Alternative Take)
Descargarlo aqui.
Guardado en: Discografía, bebop, George Benson | Comentarios (0)
Mayo 11, 2008
Track list
1. White Rabbit
2. Theme From Summer Of ‘42
3. Little Train
4. California Dreamin’
5. El Mar
Descargarlo aqui.
Woodwinds:
Brass:
Guardado en: Blues, Discografía, bebop, George Benson | Comentarios (0)
Mayo 10, 2008
Track list
1. So What
2. The Gentle Rain
3. All Clear
4. Ode To A Kudu
5. Somewhere In The East
6. All Clear (alt. take)
7. Ode To A Kudu (alt. take)
8. Somewhere In The East (alt. take)
Descargalo aqui.
Back in the late 60s, George Benson was considered the natural successor to Wes Montgomery. Bensons mastery of funk, his smooth tone and fluent harmonic conception marked him out as the next big thing in jazz guitar. Except it didnt quite turn out that way of course; the mid 70s saw George recasting himself as a smooth jazz soul balladeer who happened to play a bit of guitar. Much like Nat King Cole a couple of decades earlier, Benson was able to make the transition from jazz to commercial success, and who can blame him (bet hes got a better pension plan than Jim Hall…).
Anyway, rewind to 1971 and here’s George in full flight with Miles Davis alumni Ron Carter and Jack DeJohnette, organist Clarence Palmer and the obligatory brace of latin percussionists. Unlike the occasional cocktail vibe of some of his other CTI releases, Benson is on fiery form throughout, adopting a trebly, occasionally biting tone, soaked with blues, juicy Wes like octave phrases and speedy bop runs. His solo on “The Gentle Rain” (written by Luis Bonfa, better known for “Black Orpheus”) is a peach; nibbling out bluesy chromatics and exaggerated vibrato, sometimes firing off rapid chordal volleys.
“Ode to a Kudu” is a restrained chordal outing, somewhere between Joe Pass, BB King and James Blood Ulmer. The latters skewed Delta Blues harmolodics are evoked in “Somewhere in the East”, where a spot of retuning gives the guitar a sour, oud like sound (even though the melody hints at “Strangers in the Night”). Bensons at his most exploratory here (especially on the bonus longer out take included here).
Palmers bass pedals take care of most of the bass parts, while Carter yends to stick to odd glissed phrases with the bow (which is sometimes not a great idea), or high pizzicato figures shadowing Bensons guitar. Hes at his best holding down the bottom end on the second take of the lovely “All Clear”, or the opening “So What”, where he gets a long duet in with the ever reliable DeJohnette, who seems happiest when Ron is in swinging mode. Palmer is restrained throughout, opting for a soft, warm tone, but theres no doubt whose show this is. A reminder that though Georges career switch may have made him considerably richer, it left the jazz world a bit poorer.
Guardado en: Discografía, bebop, George Benson | Comentarios (0)
Mayo 9, 2008
Track list
1. I Got A Woman
2. Out Of The Blue
3. Bluesadelic
4. Durham’s Turn
5. Good Morning, Blues
6. I Worry Bout You
7. Without Her
8. She Went A Little Bit Farther
9. Goodbye, Columbus
Para descargarlo pincha aqui.
Hoy os dejo también un libro de teoría para darle un poco al inetelecto.
Para descargar el Volumen 1 pincha aqui.
Para descargar el Volumen 2 pincha aqui.
Prefacio de Enric Herrera: Uno de los problemas con que nos hemos encontrado los músicos en España es la falta de bibliografía y la falta de información con respecto al aspecto teórico de la música actual. Así pues cuando en el año 1978 empecé a ejercer como profesor y director del “Aula de Música moderna y jazz”, una de las metas que creí necesario abarcar era, la de organizar metódicamente aquellos conceptos que, sobre armonía y arreglos, son básicos dentro de la música “no clásica”. El músico y estudiante de música de nuestro país ha tenido que formarse, en cuanto a la música moderna y el Jazz se refiere, a base de acumular experiencia tocando en grupos u orquestas, y sobre todo escuchando mucha música con el fin de aprender de una forma autodidacta, lo que los músicos de otro países han aprendido muchas veces al lado de grandes maestros o en Universidades o escuelas especializadas en esta enseñanza, como es en nuestro paìs el Aula. Este método pues, puede ayudar a que estas personas clarifiquen las lagunas que la misma enseñanza autodidacta no puede resolver. Creo que puede ser de ayuda para los principiantes desde un buen inicio, y también para aquellos que dada su experiencia musical, ya poseen un buen nivel, al contribuir a la homogeneización de sus conocimientos. |
| Contenido:I. Terminología
1.1 Vertical II. El compás 2.1 Líneas divisorias III. Ligaduras y puntillo 3.1 La ligadura IV. Alteraciones 4.1 Finalidad de los signos V. Tresillo VI. Símcopa y contratiempo 6.1 Síncopa VII. Signos de repetición 7.1 Dobles barras con dos puntos VIII Tonalidad 8.1 Clases de tonos IX Intervalos 9.1 Intervalo X. Signos de expresión 10.1 Dinámicos XI. El movimiento 11.1 Clasificación tradiconal XII. Los modos 12.1 Modos gregorianos XIII. El modo mayor 13.1 Notas diatónicas y cromáticas XIV. Progresión armónica 14.1 Progresión armónica XV. Enlaces de acordes 15.1 Sistema paralelo XVI. Armonización de una melodía, nota a nota 16.1 Melodía y armonía diatónicas XVII. Funciones tonales 17.1 Los acordes tríadas uno a uno XVIII. Armonización de una melodía 18.1 Notas principales XIX Los acordes cuatríadas 19.1 Formación de los acordes cuatríadas |
X. Funciones tonales20.1 Tendencias de los grados diatónicos 20.2 Acordes estables e inestables XI. Movimientos armónicos 21.1 Acordes de tónica XXII Modificación y creación de una progresión armónica 22.1 Procedimiento XXIII Análisis melódico 23.1 Clasificación melódica XXIV. Acordes no diatónicos 24.1 Cadencia XXV. Acordes no diatónicos 25.1 El bVII y el bVIIMaj7 XXVI. Patrones de acordes 26.1 Patrones de acordes XXVII. Tendencias melódicas 27.1 Clasificación de los intervalos armónicos XXVIII. La relación escala-acorde 28.1 Superestructuras XXIX. Modos y tonos relacionados 29.1 El modo menor XXX. Superestructuras en modo menor 30.1 Acorde I-7 XXXI. Intercambio modal 31.1 Acordes relacionados XXXII. Otros intercambios modales 32.1 El acorde I-7 |
Guardado en: Material de estudio, Discografía, bebop, lenguaje musical, George Benson | Comentarios (1)
Mayo 7, 2008
Track list
1. Golden Slumbers/You Never Give Me Your Money
2. Because/Come Together
3. Oh! Darling
4. Here Comes The Sun/I Want You (She’s So Heavy)
5. Something/Octopus’s Garden/The End
Para decargarlo picha aqui.
Guardado en: Discografía, George Benson | Comentarios (0)
Mayo 6, 2008
Track list
1. Soul Limbo
2. Are You Happy?
3. Tell It Like It Is
4. Land Of 1000 Dances
5. Jackie, All
6. Dontcha Hear Me Callin’ To Ya
7. Water Brother
8. My Woman’s Good To Me
9. Jama Joe
10. My Cherie Amour
11. Out In The Cold Again
Para descargar pincha aqui.
Guardado en: Discografía, bebop, George Benson | Comentarios (0)
Mayo 5, 2008
Track list
1. Along Comes Mary
2. Sunny
3. What’s New?
4. Giblet Gravy
5. Walk On By
6. Thunder Walk
7. Sack O’ Woe
8. Groovin’
9. Low Down And Dirty
10. Billie’s Bounce - (bonus track)
11. What’s New? - (previously unreleased, alternate take, bonus track)
12. What’s New? - (previously unreleased, alternate take, bonus track)
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Guardado en: Discografía, bebop, George Benson | Comentarios (0)
Abril 30, 2008
Guardado en: Discografía, bebop, George Benson | Comentarios (0)
Abril 29, 2008
Track list
1. Billie’s Bounce
2. Low Down and Dirty
3. That Lucky Old Sun (Just Rolls Around Heaven All Day)
4. Thunder Walk
5. Doobie Doobie Blues
6. What’s New?
7. I Remember Wes
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Guardado en: Discografía, bebop, George Benson | Comentarios (0)
Abril 28, 2008
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Guardado en: bebop, George Benson | Comentarios (0)
Abril 27, 2008
1. Shadow Dancers
2. The Sweet Alice Blues
3. I Don’t Know
4. Just Another Sunday
5. Will You Still Be Mine?
6. Easy Living
7. Rock-A-Bye
8. My Three Sons
Guardado en: Discografía, bebop, George Benson | Comentarios (0)
Abril 25, 2008
Grant Green - Guitar
Ike Quebec - Tenor Sax
Sonny Clark - Piano
Sam Jones - Bass
Louis Hayes - Drums
Guardado en: Discografía, Grant Green | Comentarios (0)
Abril 23, 2008
Cduniverse.com:
Next to the immensely popular IDLE MOMENTS, STREET OF DREAMS is quite possibly Grant Green’s most significant Blue Note album. Returning from the earlier IDLE MOMENTS session is the always-intriguing Bobby Hutcherson on vibraphone, an excellent match for Green’s melodic guitar. Also reappearing from a previous session, the lesser-known TALKIN’ ABOUT, are organ wonder Larry Young and the incomparable Elvin Jones on drums.
Although Green is the leader here, this is a quartet of masters, and the result is a magical session. Green’s clean tone defines the foreground of the four selections on this set with Hutcherson’s vibes providing a shimmering backdrop. Young and Jones, meanwhile, hold together a sonic tug-of-war that ebbs and flows like a rhythmic tide. Green is at his best on the opening “I Wish You Love” and the bouncing title track, with smartly conceived melodic statements and authoritative rhythmic precision. Hutcherson and Young also shine on concise solo spots of their own, following Green’s lead with their own highly individual styles. Ultimately, though this is a brief session, it contains a wealth of masterful performances that typify the golden age of hard bop.
Personnel:
Grant Green (guitar);
Bobby Hutcherson (vibraphone);
Larry Young (organ);
Elvin Jones (drums).
Tracks:
1. I Wish You Love
2. Lazy Afternoon
3. Street Of Dreams
4. Somewhere In The Night
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Guardado en: Discografía, bebop, Grant Green | Comentarios (0)
Abril 22, 2008
If you’re never heard Grant Green’s guitar work before, this is the place to start. Not only because Green is playing at his finest, but so his is his all-star supporting cast which includes Joe Henderson on tenor sax, Bobby Hutcherson on vibes, and Duke Pearson on piano. The Pearson penned title-cut may be my single favorite recorded cut in jazz history. Each of the aforementioned soloists does some incredible work. The piece is laid-back and languid, but with incredible soul. The rest of the tunes vary in tempo but most have the same lazy, smoky feel to them while sounding fiercely inspired.
Cduniverse.com:
It was always a part of Blue Note’s development and marketing to introduce new artists as sidemen on more well-known leaders’ projects before giving them dates of their own. The system worked pretty well, and the irony is that a release like 1963’s IDLE MOMENTS looks likes more of an all-star session in retrospect. Sure, we get to hear Grant Green stretching out. But we also get Bobby Hutcherson and Joe Henderson, who were just winning their first Downbeat polls at the time.
Green himself had come through this system, appearing with organ combos and on other hard bop sessions, before graduating to his own Blue Note dates. IDLE MOMENTS may be one of his finest dates in the studio, simply on the strength of the elegant melancholy of the title cut and the deep groove the band settles into on “Django.” Green’s playing has much in common with that of such labelmates as saxophonist Stanley Turrentine and pianist Gene Harris. He manages to bring solid bebop sensibilities to a spare, down-home approach and delivers it all with an oaken tone at once dry, dark, and full of character.
Amazon.com:
Time is suspended on these four haunting, extended tunes by this brilliant guitarist with the aid of an all-star cast. Unique in Green’s discography for its relaxed, lengthy performances and almost dream-like lyricism, this Blue Note classic could well be called “Ballads for the Ages.”
The alluring title track alone makes this CD a must-have. A 15-minute dreamscape laid down by pianist Duke Pearson, the song features enchanting solos by tenor saxophonist Joe Henderson and vibraphonist Bobby Hutcherson. Guitarist Grant Green’s single-note melody heightens the song’s suspense. Grant’s original “Jean de Fleur” finds the ensemble in brisker tempo, while their cover of John Lewis’s “Django” exudes the spine-tingling coolness of Lewis’s brand of bop. — John Murph
Personnel:
Grant Green (guitar);
Joe Henderson (tenor saxophone);
Bobby Hutcherson (vibraphone);
Duke Pearson (piano);
Bob Cranshaw (bass);
Al Harewood (drums)
Tracks:
1. Idle Moments
2. Jean De Fleur
3. Jean De Fleur - (alternate take, CD only)
4. Django
5. Django - (alternate take, CD only)
6. Nomad
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Guardado en: Discografía, bebop, Grant Green | Comentarios (0)
Abril 21, 2008
Grant Green - Solid (1964)
MP3 ~ 320kbps ~ RS.com ~ 97mb
Allmusic.com:
Solid is a companion piece to the Grant Green classic Matador, recorded about a month later with the same rhythm section, and also not issued until 1979. Green is once again accompanied by the Coltrane supporting team of pianist McCoy Tyner and drummer Elvin Jones, plus bassist Bob Cranshaw; this time, however, Green is also joined on the front line by James Spaulding on alto sax and Joe Henderson on tenor. Both saxophonists really seem to light a fire under the proceedings, for in comparison with the relatively subdued Matador, Solid is a bright, hard-charging affair. There’s a little modal jazz, but Solid’s repertoire is chiefly complex hard bop, full of challenging twists and turns that the players burn through with enthusiasm. Green didn’t tackle this kind of material — or play with this kind of group — very often, and it’s a treat to hear him do so on both counts. The compositions — highlighted by Duke Pearson’s “Minor League,” Henderson’s “The Kicker,” and a storming, ten-minute exploration of George Russell’s “Ezz-Thetic” — provoke some intricate improvisations from Green, and his perfectly controlled soloing is an interesting contrast with the passionate Spaulding and Henderson. Tyner and Jones are once again telepathic in their support, elevating the whole package to one of Green’s strongest jazz outings and a unique standout in his catalog. Oddity: the CD bonus track “Wives and Lovers” seems to be the same one included on Matador, where it was a better fit.
Cduniverse.com:
After his untimely death in 1979, Blue Note published a number of Grant Green’s previously unreleased ’60s recordings. One of these astounding sessions is SOLID, an energetic outing that finds Green leading a large ensemble, including Coltrane band members and Blue Note regulars. Green shows his mettle with fire and precision, his bright, clear tone cutting through the dense sonic backd
