 Artist: Artie Shaw: mp3 download Genre(s): Jazz Discography:  Non Stop Fligh Year: 1996 Tracks: 18  The Essence of Artie Shaw Year: Tracks: 12  Chant Year: Tracks: 23  14 Songs Year: Tracks: 19 One of jazz's finest clarinetists, Artie Shaw ne'er seemed in full satisfied with his musical life-time, always break up successful bands and running away from success. While Count Basie and Duke Ellington were satisfied to lead exactly one orchestra during the swing eRA, and Benny Goodman (due to illness) had two, Shaw lED five, all of them distinctive and memorable. Later growing up in New Haven, CT, and playing clarinet and alto topically, Shaw spent portion of 1925 with Johnny Cavallaro's dance band and then played off and on with Austin Wylie's band in Cleveland from 1927-1929 before joining Irving Aaronson's Commanders. After moving to New York, Shaw became a shut associate of Willie "The Lion" Smith at block sessions, and by 1931 was a busy studio musician. He retired from music for the first time in 1934 in hopes of composition a book, only when his money started running taboo, Shaw returned to New York. A major turning point occurred when he performed at an all-star big ring concert at the Imperial Theatre in May 1936, surprising the audience by playing with a train quaternary and a speech rhythm section. He used a similar conception in putting together his first-class honours degree orchestra, adding a Dixieland-type front assembly line and a vocalist patch retaining the string section. Despite some fine recordings, that special lot disbanded in early 1937 and so Shaw put in concert a more conventional big band. The surprisal achiever of his 1938 recording of "Begin the Beguine" made the clarinetist into a sensation and his orchestra (world Health Organization featured the strain of Georgie Auld, vocals by Helen Forrest and Tony Pastor, and, by 1939, Buddy Rich's drumming) into one of the to the highest degree popular in the universe. Billie Holiday was with the band for a few months, although only ane recording ("Whatsoever Old Time") resulted. Shaw establish the pressure of the band business difficult to deal with and in November 1939 suddenly left the bandstand and touched to Mexico for two months. When Shaw returned, his number 1 sitting, utilizing a big cosmic string section, resulted in some other major hit, "Frenesi"; it seemed that he could non outflow succeeder. Shaw's third regular orchestra, wHO had a string segment and such lead soloists as trumpeter Billy Butterfield and piano player Johnny Guarnieri, was one of his finest, waxing maybe the greatest interpretation of "Stardust" along with the memorable "Concerto for Clarinet." The Gramercy Five, a small group formed out of the band (victimization Guarnieri on cembalo), also scored with the million-selling "Peak Ridge Drive." Despite all this, Shaw broke up the orchestra in 1941, only to reform an even larger one afterwards in the year. The latter group featured Hot Lips Page along with Auld and Guarnieri. After Pearl Harbor, Shaw enlisted and lED a Navy band (unfortunately unrecorded) ahead acquiring a medical put down in February 1944. Later in the year, his new orchestra featured Roy Eldridge, Dodo Marmarosa, and Barney Kessel, and establish Shaw's possess style becoming quite mod, almost boppish. But, with the end of the sweep epoch, Shaw once again skint up his band in early 1946 and was semi-retired for respective eld, performing classical euphony as much as jazz. His last attempt at a big banding was a short-lived 1, a boppish social unit world Health Organization lasted for a few months in 1949 and included Zoot Sims, Al Cohn, and Don Fagerquist; their modern music was a commercial flop. After a few days of modified musical natural process, Shaw returned one concluding time, recording extensively with a interlingual rendition of the Gramercy Five that featured Tal Farlow or Joe Puma on guitar along with Hank Jones. Then, in 1955, Artie Shaw for good gave up the clarinet to follow his dreams of being a writer. Although he served as the frontman (with Dick Johnson playing the clarinet solos) for a reorganised Artie Shaw Orchestra in 1983, Shaw never played once again. He received mickle of publicity for his eighter marriages (including to actresses Lana Turner, Ava Gardner, and Evelyn Keyes) and for his odd autobiography, The Trouble With Cinderella (which barely touches on the music business organization or his wives), but the outspoken Artie Shaw deserves to be topper remembered as one of the truly nifty clarinetists. His RCA recordings, which were reissued in complete fashion in a perfectly done Bluebird LP series, bear only been made available in step-by-step fashion on CD. |
Thursday, 28 August 2008
Download Artie Shaw mp3
Monday, 18 August 2008
Ellen DeGeneres marries girlfriend at home in L.A.: report
LOS ANGELES () - Comedian and talk show host Ellen DeGeneres marital her age partner, actress Portia de Rossi, at their home in Los Angeles on Saturday, according to People magazine.
DeGeneres, 50, and de Rossi, 35, exchanged handwritten vows in an intimate ceremony tended to by 19 guests, a representative for the duo told the magazine.
The couplet have been dating for about quaternary years and have been open about their family relationship, appearing at red carpet events in Hollywood together.
DeGeneres announced her plans to wed de Rossi, the former "Ally McBeal" actress, on her talk show up, "The Ellen DeGeneres Show," in May after California's Supreme Court overturned a state bachelor of Arts in Nursing on same-sex marriage.
DeGeneres made broadcast history in 1997 when her TV change ego came out of the w.C. on her ABC sitcom "Ellen," comme il faut the number one openly merry lead theatrical role on U.S. prime-time net television.
DeGeneres and actress Anne Heche then went public with their real-life love affair. They broke up three geezerhood later.
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Friday, 8 August 2008
Tuesday, 1 July 2008
The Strokes And Santogold Release 'Super-Collaboration' Tomorrow
The Strokes Julian Casablancas, Santogold and Pharrell Williams will release their collaboration 'My Drive Thru', tomorrow (June 10th).
As Gigwise reported exclusively last month, the three artists entered the studio earlier this year to record the song, which has been made in association with the shoe manufacturer Converse.
Speaking to Gigwise, Santogold described the song as “such a Pharrell track”.
Williams, who produced the song alongside N.E.R.D, said he was a “big fan” of The Strokes had “always wanted to work with Julian”.
“Santogold is super-talented and she cares about music so much that it’s not just about sound, it’s a visual aesthetic,” he added.
A music video to accompany the song, which can be downloaded for free, is due to be released later in the summer.
What do you think of the song? Let us know by posting a comment below. Sign up to have your messages automatically approved.
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Sunday, 22 June 2008
Dreamworks' Deal -- A Geffen Ploy?
The report that DreamWorks was close to a deal with Mumbai-based Reliance in which the Indian company would provide $500-600 million in equity financing to reestablish the film company as an independent studio may have been planted by DreamWorks principal David Geffen, according to a report in TheDeal.com. The report, which was given additional currency when it was picked up by the New York Times, quoted an unnamed studio veteran as saying, "This is what [Geffen] does really well" and said that any deal is at least eight weeks away from being finalized and the talks were made public in order to stir up interest from interlopers. Even the fact that it appeared first in the Wall Street Journal may have been orchestrated to catch the eye of the newspaper's owner, Rupert Murdoch. TheDeal.com's source observed that such a tactic would be "classic Geffen," and similar to one he pulled off in 2005 after it was reported that Universal had offered $1.5 billion for DreamWorks. (Paramount then bid $1.6 billion and got it.)
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Saturday, 14 June 2008
Winehouse quizzed by police over drug claim
Singer Amy Winehouse has been questioned in connection with a video which allegedly showed her smoking crack cocaine, a police source said on Wednesday.
A Scotland Yard spokesman said officers interviewed the 24-year-old in connection with an allegation of unlawful possession of a controlled drug.
He said she was not arrested, but was interviewed under caution and inquiries were continuing.
Last month footage obtained by the Sun newspaper appeared to show Winehouse inhaling fumes from a crack pipe.
The disturbing images were said to have been filmed during a party at Winehouse's London home.
The singer is now in rehab, admitting herself to the clinic in north London on 24 January days after the video appeared.
On 4 February the singer took a break from her treatment to apply for a US visa so she could attend the Grammys in Los Angeles on 10 February, where she is nominated for six awards.
The application process will not be simple due to her drugs record. Last October she was arrested and fined in Norway for possession of cannabis.
A Scotland Yard spokesman said officers interviewed the 24-year-old in connection with an allegation of unlawful possession of a controlled drug.
He said she was not arrested, but was interviewed under caution and inquiries were continuing.
Last month footage obtained by the Sun newspaper appeared to show Winehouse inhaling fumes from a crack pipe.
The disturbing images were said to have been filmed during a party at Winehouse's London home.
The singer is now in rehab, admitting herself to the clinic in north London on 24 January days after the video appeared.
On 4 February the singer took a break from her treatment to apply for a US visa so she could attend the Grammys in Los Angeles on 10 February, where she is nominated for six awards.
The application process will not be simple due to her drugs record. Last October she was arrested and fined in Norway for possession of cannabis.
Monday, 9 June 2008
Hank Mobley
Artist: Hank Mobley
Genre(s):
Jazz
Discography:
Dippin'
Year: 2006
Tracks: 1
Reach Out
Year: 2005
Tracks: 6
Soul Station
Year: 1999
Tracks: 6
Vol 20 - Jimmy Raney
Year: 1979
Tracks: 21
Poppin
Year:
Tracks: 5
One of the Blue Note label's authoritative difficult bop artists, tenor saxophonist Hank Mobley remains somewhat underappreciated for his square, swinging dash. Any characterization of Mobley always begins with critic Leonard Feather's asseveration that he was the "middleweight champion of the tenor sax," meaning that his tonus wasn't as strong-growing and thick as John Coltrane or Sonny Rollins, merely neither was it as soft and cool as Stan Getz or Lester Young. Instead, Mobley's middle, "round" (as he described it) sound was controlled and even, apt over to subtlety kind of than intense displays of emotion. Even if he lacked the electric, mercurial qualities of the era's cracking tenor innovators, Mobley remained systematically strong passim virtually of his recording career. His solo lines were full of intricate rhythmical patterns that were delivered with spot-on preciseness, and he was no slouch harmonically either. As a charter member of Horace Silver's Jazz Messengers, Mobley helped inaugurate the difficult bop social movement: malarky that balanced sophistication and soul, complexness and earthy dangle, and whose loose anatomical structure allowed for extended improvisations. As a solo artist, he began recording for Blue Note in the latter half of the '50s, and hit his efflorescence in the first base half of the '60s with hard federal Bureau of Prisons cornerstones like Individual Station, No Room for Squares, and A Caddy for Daddy.
Henry "Hank" Mobley was born on July 7, 1930, in Eastman, GA, and grew up generally in Elizabeth, NJ. Several kinsfolk members played forte-piano and/or church building organ, and Mobley himself learned piano as a tike. He switched to the saxophone at age 16, initially modeling his style on players like Lester Young, Charlie Parker, Dexter Gordon, Don Byas, and Sonny Stitt. He shortly started playing professionally in the surface area, and built enough of a repute that trumpeter Clifford Brown recommended him for a job without having heard him play. That job was with Paul Gayten's Newark-based R&B band, which he joined in 1949, doubling as a composer. He deceased in 1951 and joined the house banding at a Newark nightspot, where he played with pianist Walter Davis, Jr. and backed some of the era's top jazz stars. That lED to a job with Max Roach, wHO hired both Mobley and Davis after acting with them; they all recorded together in early 1953, at one and only of the earlier roger Sessions to feature article Roach as a drawing card. Meanwhile, Mobley continued to gig around his home area, playing with the likes of Milt Jackson, Tadd Dameron, and J.J. Johnson, among others; he as well served two weeks in Duke Ellington's orchestra in 1953.
Mobley exhausted much of 1954 playing and recording with Dizzy Gillespie. He left hand in September to join pianist Horace Silver's mathematical group, which evolved into a quintet co-led by Art Blakey and dubbed the Jazz Messengers. Their groundbreaking ceremony first album for Blue Note, 1955's Horace Silver and the Jazz Messengers, was a landmark in the genesis of difficult bebop, with its advanced solos and bright, most funky rhythms. Mobley lED his first session for Blue Note, The Hank Mobley Quartet, in 1955, and recorded for Savoy and Prestige during 1956. In the middle of that year, the original lineup of the Jazz Messengers split, with Blakey retention the list and Silver forming a new group. Mobley stayed with Silver until 1957, by which time he had begun to record prolifically as a leader for Blue Note, complemental ashcan School albums' worth of material all over the adjacent 16 months. Some of his best sour, such as Hank Mobley and His All Stars and The Hank Mobley Quintet, was cut with a choice of one-time Messengers couple. Not all of his sessions were released at the clock time, only some began to appear as signification reissues in the '80s. Often composition his own material, Mobley was beginning to sincerely hit his stride with 1958's Peckin' Time, when a worsening drug problem resulted in an hold back that took him off the scene for a year.
Upon returning to music in 1959, Mobley orientated himself by rejoining Art Blakey in the Jazz Messengers for a little period. His comeback session as a leader was 1960's graeco-Roman Soul Station, near-universally acknowledged as his greatest recorded moment. Mobley cut two more high quality hard bop albums, Roll Call and Workout, over 1960-1961, as well as some other sessions that went unreleased at the time. In 1961, Mobley caught what looked to be a major interrupt when he was hired to supervene upon John Coltrane in Miles Davis' quintette. Unfortunately, the association was a stormy one; Mobley came under heavy criticism from the bandleader, and wound up departure in 1962. He returned to solo recording with 1963's No Room for Squares, often tabbed as one of his best efforts, before drug and legal problems once more put him forbidden of military commission during 1964. Energized and focused upon his render, Mobley recorded extensively during 1965, showcasing a more or less harder-edged tone and an insightfulness for catchy, modal-flavored originals that challenged his sidemen. At the same time, Dippin' establish a funkier soul-jazz sound starting to creep into his work, an approach that reached its peak on the infectious A Caddy for Daddy afterward that yr.
Mobley recorded steady for Blue Note through and through the '60s, offer flimsy variations on his approach, and continued to seem as a sideman on a generous number of the label's other releases (especially haunt cooperator Lee Morgan). 1966's A Slice of the Top launch Mobley fronting a slightly bigger band staged by Duke Pearson, though it went unissued until 1979. After newspaper clipping the straightforward Third Season in 1967, Mobley embarked on a brief term of enlistment of Europe, where he performed with Slide Hampton. He returned to the U.S. to record the straight-ahead Far Away Lands and Hi Voltage that year, and well-tried his hand at commercially oriented jazz-funk on 1968's Get through Out. Afterward, he took Hampton's advice and returned to Europe, where he would remain for the succeeding 2 years. 1969's The Flip was recorded in Paris, and Mobley returned to the States to star his final session for Blue Note, Cerebration of Home, in 1970 (it wasn't released until 10 days later). He afterward co-led a group with piano player Cedar Walton, which recorded the fantabulous Breakthrough in 1972.
Woefully, that would show to be Mobley's last major feat. Health problems forced him to retire in 1975, when he colonized in Philadelphia. He was hardly able to regular spiel his horn for dread of rupturing a lung; by the morning of the '80s, he was essentially an invalid. In 1986, he mustered up the energy to work on a modified base with Duke Jordan; however, he died of pneumonia non long after, on May 30, 1986. During Mobley's heyday, virtually critics tended to compare him unfavourably to Sonny Rollins, or brush off him for not being the groundbreaker that Coltrane was. However, in the years that followed Mobley's death, Blue Note concentrated federal Bureau of Prisons enjoyed a positivist reassessment; with it came a new appreciation for Mobley's extremely developed talents as a composer and soloist, rather of a centering on his shortcomings.
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