Sophie Milman Take Love Easy Rar Recovery

Listen to MP3 Music in the app because you deserve the best. Inclined towards lesbians and gay men may be more willing to accept. Call sexual attraction is in fact a single, easily defined experience, the same for. Joan Sophie's study of the stages a woman typically moves through as she. Learned that, in order to be loved, she or he had to repress authentic feelings.

By Jeff Fitzgerald, Genius After surviving a near-fatal marriage and returning once again to the Original Geniusdome, the site of some of my best work (remember that really funny thing I wrote about jazz that time?), I recently took some time to reflect upon my contributions to Our Music. As the Dean of American Jazz Humorists©®, I have long considered it my responsibility both to demystify some of the more esoteric aspects of jazz and to loosen the death grip of the zealot so that the music can breathe. And if by fulfilling these duties, I should somehow end up rich and famous, romantically linked to unspeakably hot actresses like Christina Hendricks and/or Scarlett Johansson and given a lifetime supply of beer by the Anheuser-Busch corporation for my work promoting the consumption of their product by tireless example, well, then, so be it.

But in the process of sifting through my collected works, a glaring oversight was pointed out to me by my parakeet/bodyguard Luca Brasi. 'Yes, we get it, Wynton Marsalis has a very round head.

But where in all this do you give JazzNoobs a lesson in how to listen to this sometimes daunting music?' He said, making a valid point for someone who spends a significant portion of his day chirping at his own reflection in a mirror. Sure enough, in eight years of occupying my mantle here at AAJ, I had not once addressed the very basic issue that is probably most responsible for keeping people from making a more dedicated foray into the seemingly impenetrable depths of Our Music that lie beyond the safety and comfort of the familiar kind of jazz one hears on those 1970's TV shows where people in polyester bell-bottoms and crocheted sweater-vests are supposed to be hip. Be that as it may.

To the uninitiated, jazz may seem either irrelevant or impenetrable. The soundtrack by which middle-aged men with ponytails drive their Volkswagen Passats to Whole Foods, a tuneless mishmash of meandering solos and jarring chords set atop a seemingly unrelated rhythm.

Jazz comes off as inaccessible to the average Joe (not Joe Zawinul, obviously), like a 12-page wine list in one of those places where they call green beans 'haricot verts' like they're better than you or something. Yet, every day people from all walks of life find themselves exposed to some aspect of Our Music that makes them pause and think, 'I like this, I wonder what kind of music it is?' When informed by a helpful passer-by that it is, in fact, jazz, most people go through the same five steps: Denial. 'That can't be jazz!'

'Jazz is for people e-mail addresses and too many cats, for crissakes!' 'Maybe it is kinda jazzy, but I wouldn't call it jazz.' 'Me, listening to jazz?

I might as well go buy some Birkenstocks and a Prius right now. And they'll never let me back in the Moose Lodge. All is lost.'

'Maybe jazz is alright after all. Maybe I'll go buy me a whole jazz CD. And I might even try one of them mocha lattes they serve in places that sell jazz.' Born: March 26, 1973 She has lived and/or performed in such culturally rich locations as Europe, Thailand, Hawaii, Japan, China, USA, Canada and Cuba. Susan is a classically trained pianist and a graduate of the Western Conservatory of Music. Her love of singing lead her into performing in musical theatre at a young age in Canada. Her new CD, co-written with Eddie Bullen, is called Shambhala.

The 14 tracks on this CD draw from pop, traditional and contemporary jazz as well as blues and R&B. Susan’s songwriting and voice speak of clarity, vibrancy, emotional depth and soulfulness. “ Not a copy act, she focuses attention on the individuality of her own artistic sensibilities” - JAZZ TIMES. Susan has worked with several other artists (vocal, piano, percussion) in the studio and on stage. However, this is her first jazz CD. Shambhala has been nominated for a jazz award and several jazz festivals in Canada and outside Canada have invited her to perform on their mainstage. Susan’s diverse influences include: Herbie Hancock, Joe Jackson, Billie Holiday, Ella Fitzgerald, John Legend, Sting, Spyro Gyra, Steeley Dan, and Joni Mitchell.

Susan’s writing partner, Eddie Bullen, is a Juno award-winning producer, writer and performer. In 2008, Eddie was chosen for the job of music director for the Beijing Summer Olympics music gala. Susan has shared the stage or studio with the following musicians: Charlie Wilson, Julian Fauth, Delfeayo Marsalis, Gonzalo Rubalcaba, Hilario Duran, Simon Wilcox, Brian Griffith, Danny Lockwood, Emm Gryner, Esthero, Harrison Kennedy, Grace Kelley, Diana Braithwaite, Chris Whiteley, Jack Dekyzer, Jeff Rogers, Marissa Lyndsey, Adam Soloman, Adrean Farrugia, Kate Schutt, Eddie Bullen, Jochim Nunez, Ken Whiteley, Reg Schwager, Don Thompson, Roberto Sibony, Melissa McClelland, Kevin Dempsey, Mark Cashion, Cindy Fairbank. This year has been a great year for Susan Wylde Quartet. Highlights are: performing in Japan, New Orleans, Miami,New York City,Hawaii,China and Cuba, opening for Grammy Award winner Delfeayo Marsalis, working with prolific jazz musicians Reg Schwager and Don Thompson. Susan is the Creator, producer and artistic director for Goddess Charity Events. These events have raised thousands of dollars for women’s and children’s shelters and have helped World Vision and several environmental charities.

Susan has received a nomination for an Ontario Independent Music Award. The awards will take place at the Phoenix Concert Hall - Toronto. You can join Susan Wylde on TWITTER and FACEBOOK Festival/Club Agents,Promoters, Reviewers,Licensing etc. Check out Susan Wylde on Myspace and Sonic

Radio - Music Directors, Reviewers etc. Susan Wylde's music is available - and Home: Toronto, Canada Press Quotes ” Not a copy act, she focuses attention on the individuality of her own artistic sensibilities. Her soulful voice, insightful lyrics and unique arrangements satisfy the senses” - Jazz Times “ Unlike others who often fill their CDs with copycat standards, Wylde chooses not to ride the coattails of legends.

Instead, she is carving a path that is unique and authentic” - Downbeat Awards Nominated Ontario Indy Jazz Artist of the Year 2008 Calendar 3 nov 2009 20:00 Private Corporate Event Toronto 9 nov 2009 20:00 Qingdao, China Qingdao 11 nov 2009 20:00 Beijing, China Beijing 13 nov 2009 20:00 Seoul, Korea Seoul 14 nov 2009 20:00 Seoul, Korea Seoul 17 nov 2009 20:00 Tokyo, Japan Tokyo 18 nov 2009 20:00 Tokyo, Japan Tokyo 28 nov 2009 20:00 Susan Wylde Quartet featuring Reg Schwager and Don Thompson Toronto, Ontario 14 dez 2009 20:00 Toronto Toronto. Bio Since coming to New York in 2003, Abigail Riccards is already making a name for herself. In 2006, she toured the middle-east, playing a week tour in Yemen for the United States State Department. In 2004 Abigail was selected to be a semifinalist in the Thelonious Monk International Jazz Vocal Competition, where she competed at the Smithsonian Institute in Washington D.C. She has also won two Downbeat awards; the first for outstanding collegiate vocalist in 2002, the most recent for outstanding collegiate vocal jazz group (lead singer, 2004).

In 2000, she was also selected to participate in the Jazz in July workshop at the University of Massachusetts in Amherst, and competed in the 2006 Fish Middleton Competition. Abigail has played with renowned talents such as David Berkman, Dena DeRose, Carl Allen, Lonnie Plaxico, George Duke, Adam Kolker, Doug Weiss, Peter Martin, Steve LaSpina, Steve Cardenas, Matt Wilson and Mulgrew Miller. Last spring, she was the opening act for several jazz greats including Kenny Werner, Jean 'Toots' Thielemans and Joe Lovano. A graduate of the University of Massachusetts (Amherst), she has studied privately or participated in workshops with Catherine Jensen-Hole, Adam Kolker, Maggie Scott, Dianne Reeves, David Berkman, Nancy Marano, Regina Carter, Mulgrew Miller, Steve LaSpina, Don Braden, Bill Goodwin, Nancy Marano, Sheila Jordan, Jay Clayton and Dena DeRose. Abigail currently resides in Brooklyn, NY.

She recently completed the graduate studies program at William Paterson University, studying jazz vocal performance. Abigail sings in and around New York City, at such familiar venues that include the Jazz Standard, the Kitano, 55 Bar and Sweet Rhythm.

She recently recorded her debut album with David Berkman, Ben Allison, Matt Wilson, Adam Kolker, Ron Horton, Lage Lund, Rogerio Boccato and produced by Dena DeRose. Her album, which will be released on Jazz Excursion Records, is available in stores, on iTunes, and on or can be purchased. UpComing Dates Nov 2 2009 New York, New York 55 Bar 7:00PM Nov 5 2009 New York, New York Silverleaf Tavern 6:30PM Nov 29 2009 New York, New York St. Peter's Jazz Vespers 5:00PM Dec 8 2009 New York, New York 55 Bar 7:00PM Jan 17 2010 Delaware Water Gap, Pennsylvania The Deerhead Inn 5:00PM. After its first two editions significance of the life cycle of Jazz Ensemble, and with the aim of further enhancing free airtime for the broadcast of music and cultural activities in peripheral areas to the capital of our country presents Banfield Teatro Ensamble ' III Festival Jazz Ensemble' during the Sundays of November 2009.

The program includes clinics, concerts, jamm session, and a band contest, whose winners will participate in the four concerts of the Festival as groups 'support'. Admission to all the activities is free. Silvina says Aspiazu, coordinator and cycle program and the Festival Jazz Ensemble: '. Our approach is not only being an alternative site for the city of Buenos Aires, but create a space that combines artistic excellence and respect for the work, the musicians and the public. ' Programming All details on. Terry Vosbein and the Knoxville Jazz Orchestra Over the last few years, Terry Vosbein, a Professor of Music at Washington and Lee University and a classically-trained composer of symphonies, operas, and chamber music (not to mention a former bassist with the Glenn Miller Orchestra), has been exhaustively researching the unrecorded scores from the Stan Kenton Collection at the University of North Texas. Now, thanks to his meticulous research, Vosbein leads the Knoxville Jazz Orchestra in the debut recordings of four originals and two arrangements by Kenton's eminence grise Pete Rugolo plus two charts from the iconoclastic composer/arranger Bob Graettinger, all dating from the period 1946-48.

Moreover, Vosbein, an alumnus of the Kenton clinics during the Seventies, has added five of his own Kenton-inspired compositions plus a long-overdue Kentonian setting of a Stephen Sondheim classic. Rugolo's 1948 'Artistry In Gillespie,' an excursion into bebop a la his 'Capitol Punishment' recorded the previous year, launches the CD with the force of a rocket, with David King, Don Hough, Stewart Cox, and Rusty Holloway respectively re-creating the solo roles of Kentonians Art Pepper, Milt Bernhart, Ray Wetzel, and Eddie Safranski. The Rugolo treatment of Claude Debussy's 'Afternoon of a Faun,' which dates from 1946 when the opus was about 55 years old, retains the impressionistic atmosphere of the original while transporting it into the realm of Kentonia via Doug Rinaldo's alto. 'Don't Blame Me' is a typical Kenton ballad arrangement from the Forties, opening with the piano of Bill Swann, then building to a climax featuring Wayne Thompson's trumpet, and finally settling to a quiet coda following Holloway's bass interlude.

Hough re-traces the solo path of Eddie Bert on Rugolo's 'Hambeth,' one of the few opuses in the Kenton repertoire with a Shakespearean title. 'Cuban Pastorale,' by the then 24-year-old Graettinger, is an atonal visit to Havana which avoided recording due to a commercial ban imposed by the American Federation of Musicians throughout most of 1948, featuring trumpeter Rich Willey. Graettinger and Rugolo appear to have traded roles on their respective charts of 'Walkin' by the River' and 'Rhythms at Work,' with each arrangement remarkably resembling the style of the opposite arranger (i.e. Graettinger's writing sounding more like Rugolo and vice versa). Vosbein's own contributions would have easily qualified for acceptance into the Kenton library, and two of them (his arrangement of 'Johanna' from Sondheim's Sweeney Todd, which spotlights the trombone section in a most Kentonian mode, and the original 'Ahora es el Tiempo') merit inclusion in the repertoire of Mike Vax's Kenton Alumni band. In his writing, Vosbein interweaves the influences of Rugolo, Graettinger, and such other distinguished Kenton arrangers as Bill Holman, Ken Hanna, Bill Russo, and Willie Maiden.

Neverwinter nights 2 serial mask of betrayer. One additional bonus: the CD package displays a rare 1948 color rehearsal photo showing Kenton, Rugolo, and Graettinger, along with saxophonists Bob Gioga and Bob Cooper with their backs to the camera, courtesy of the UNT Kenton Collection. Track listing: Artistry In Gillespie; Afternoon of a Faun; Cuban Pastorale; Walkin' by the River; Rhythms at Work; Don't Blame Me; Jumping Monkey; Johanna; Hambeth; Ahora es el Tiempo; Odin's Dream; The Real Princess. Personnel: Terry Vosbein, Conductor, composer, and arranger; Doug Rinaldo, alto sax, flute; David King, alto sax, flute; Alan Wyatt, tenor sax; Will Boyd, tenor sax; Tom Johnson, baritone sax; Stewart Cox, trumpet; Michael Spirko, trumpet; Tom Fox, trumpet; Rich Willey, trumpet; Vance Thompson, trumpet; Tom Lundberg, trombone; Don Hough, trombone; Nate Malone, trombone; Bill Huber, trombone; Brad McDougall, bass trombone; Bill Swann, piano; Rusty Holloway, bass; Keith Brown, drums; Mark Boling, guitar; David Knight, Latin percussion. Hot on the metaphorical heels of their recent podcast featuring bassist Christian McBride, Jazz St. Louis is rolling out another installment in their ongoing series of audio interviews with jazz artists who are coming to St. The newest podcast features a conversation between JSL's Gene Dobbs Bradford and guitarist Stanley Jordan, who will be in town next Wednesday, November 4 through Saturday, November 7 to perform at Jazz at the Bistro.

You can download the podcast or listen to an audio stream here. Though ghosts, goblins and ghouls may reign supreme this Halloween weekend, it should still be possible for interested listeners to scare up some good jazz in St. Tonight, singer Erin Bode and her group will help inaugurate a new 'special events' room at Cyrano's in Webster Groves. There's no word yet if Cyrano's plans to make this new addition a regular venue for live music, but fans who in the past have packed in to see Bode perform in the main part of the restaurant no doubt will enjoy the extra elbow room. On Friday and Saturday, keyboardist Reggie Thomas and his organ trio OGD will take the stage at Robbie's House of Jazz, augmented for the weekend by special guests Ronald Carter (pictured) on saxophone and Anthony Wiggins on trumpet. Thomas is one of the top keyboard talents in the area, and adding Carter and Wiggins to the mix will expand the band's sonic pallette considerably.

Also on Friday and Saturday, trombonist Lamar Harris and Tribal Funk will perform at Jazz at the Bistro. Harris' music blends jazz, funk, R&B and hip-hop, and though I haven't heard his newest project yet, given the name I'd expect an emphasis on beats and grooves.

More on: Associated Press CLEVELAND – John Kenley, a theater producer who ran a legendary summer stock circuit in Ohio beginning in the 1950s that attracted numerous Broadway and Hollywood stars, has died, a family friend said Thursday. Kenley died Oct.

23 at the Cleveland Clinic from complications of pneumonia, said Anita Dloniak, a friend and press agent. Kenley produced hundreds of plays and musicals. His Kenley Players, a summer stock circuit that began in Dayton, Ohio, in 1957, featured such stars as Arthur Godfrey, Ethel Merman, Mae West, Burt Reynolds, Billy Crystal, William Shatner and Robert Goulet.

He later opened other Ohio-based theaters in Warren, Columbus and Akron before moving into the Playhouse Square Center in downtown Cleveland in 1984. Kenley began acting in New York City in the 1920s and once served as an aide to famed producer Lee Shubert. He became a summer theater producer in 1940 in Deer Lake, Pa., and worked in other eastern cities, including Washington D.C. In a 1950 interview with The Washington Post, Kenley described the summer theater he ran in Lakewood Park., Pa., where theatergoers, many of them coal miners and their families, saw stars such as Gloria Swanson and Lizabeth Scott. 'I only charge $1.50 top, which makes some of the other summer managers livid,' he said. ' I'd rather have full houses every night than be stuck with a batch of empty seats.' By the 1970s and 1980s, he was featuring TV stars such as Pam Dawber from 'Mork and Mindy,' who played Eliza Doollittle in 'My Fair Lady' for Kenley one summer in Ohio.

But the older movie stars were also still active. In a Chicago Tribune interview in 1977, he recalled finding Debra Paget, a 1950s star appearing in a production for him, rehearsing all alone when he went back to the theater late one night to pick up something. ' These stars work hard,' he said. ' They're an amazing ilk. There was a reason why they were stars in the first place.' Kenny Drew, Jr.

Was born in New York City in 1958. He started music lessons at the age of four. After studying classical piano with his Aunt Marjorie, he branched out into the area of jazz music. Has performed worldwide with a comprehensive variety of musicians, including Stanley Jordan, Out of the Blue (OTB), Stanley Turrentine, Slide Hampton and the Jazz Masters, the Mingus Big Band, Steve Grossman, Yoshiaki Masuo, Sadao Watanabe, Smokey Robinson, Frank Morgan, Daniel Schnyder, and many others.

Kenny Drew Jr. Was the winner of the 1990 Great American jazz Piano Competition in Jacksonville FL. He has appeared as a leader at many major festivals, including the Jacksonville Jazz Festival, Kyoto Jazz Festival, Savannah on Stage Festival, Clearwater Jazz Festival, and the Newark Jazz Festival. Kenny has also performed as leader at many major jazz clubs around the country, such as Bradley's (NY), Visiones (NY), The Blue Note (NY), Blues Alley (DC), Fat Tuesday's (NY), The VIllage Gate (NY), Trumpets (NJ), The Jazz Showcase (Chicago), Twins Lounge (DC), One Step Down (DC), and the Montreal Bistro (Toronto). He has recorded nine albums as a leader and has also made numerous recordings as a sideman. Within the last couple of years, Kenny has performed at concerts & in clubs with: The Carnegie Hall Jazz Band, the Faddis/Hampton/Heath Sextet, Steve Turre, Jack Walrath, David Sanchez, Jack Wilkins, Michael Mossman, Ronnie Cuber, Steve Slagle, and Marlena Shaw. Some of the more memorable performances in 1997 included appearances with Jon Faddis, Slide Hampton, and Jimmy Heath at the Montreal North Sea, and Lugano festivals and with the Mingus Big Band at the Chicago & Detroit festivals.

Kenny also played with Stanley Turrentine on the SS Norway jazz cruise. Kenny Drew Jr.has also begun to gain a reputation as a performer of classical music. He has performed both jazz & classical music at the Barossa Music Festival in Australia in 1996 & 1997. The classical repertoire included Bach concertos and music by African-American composers. These concerts consisted of solo piano recitals and appearances with renowned classical musicians such as violinist Jane Peters and pianist Peter Waters. Kenny has also been playing with a classical/chamber-jazz trio led by composer/saxophonist/flautist Daniel Schnyder, with David Taylor on bass trombone. In addition to appearances at the Barossa Festival in 1997, the group has also performed concerts in Switzerland and New York.

Among Kenny's recordings with Daniel Schnyder are, the 'Sonata for Soprano Saxophone & Piano' and the 'Sonata for Bass Trombone & Piano' (with David Taylor). Kenny also participated in the recording of Schnyder's Third Symphony with the Basel Radio Orchestra under the direction of Hans Drewanz. Other groups and artists Kenny has performed with are: The Absolute Ensemble, The Lincoln Center Jazz Orchestra, Shirley Horn,Teddy Edwards and Henry Johnson. Kenny also played a solo piano tribute to Duke Ellington on Ellington's 100th birthday at the Tonhalle in Zurich. He has recently appeared with his own trio at the Village Vanguard in New York,the Jazz Showcase in Chicago and on the Queen Elizabeth 2 Jazz Cruise.

Kenny also participated in a performance of Charles Mingus' large-scale composition 'Epitaph' at the Concertgebouw in Amsterdam under the direction of Gunther Schuller. Kenny Drew continued his career as a classical pianist, performing a Mozart concerto in April 2000 with the Milwaukee Symphony conducted by Andreas Delfs. He also appeared at the International Bach Festival 2000 in Leipzig,playing Bach's music with Daniel Schnyder and David Taylor.There will be more classical performances at the Barossa Festival 2000 in Australia,the 2000 Luzern Piano Festival and in Key West in March 2001. Kenny's next recording will be released in November 2000 on the TCB label. It is titled 'Remembrance' and features the rhythm section of Tony Jefferson and Santi Debriano along with special guests Wallace Roney and Stefon Harris. In March 2001, Kenny Drew Jr.

Played a very well-received solo classical recital in Key West,FL, performing works by Haydn, Mozart, Chopin and Liszt. CHECK OUT KENNY DREW JR'S CLASSICAL REPERTOIRE In the same month, Kenny recorded his 20th album as a leader, 'Autumn', for the Japanese label Pony Canyon. The CD also features George Mraz on bass and Tony Jefferson on drums. He also recorded a CD of two-piano jazz arrangements of music by Ravel with pianist Peter Waters. This CD, which was recorded in Switzerland, also features the Winterthur Chamber Orchestra. In the summer of 2001, Kenny Drew Jr.

Was one of the teachers at the Engadin International Summer Piano Academy in Switzerland, giving master classes and private lessons. He was also one of the featured artists at the West Coast Jazz Party in California. In the fall he did a successful tour of Switzerland with Daniel Schnyder, including a concert with members of the Zurich Opera Orchestra.

Kenny played two concerts at the Umea Jazz Festival in Sweden in October 2001, including a performance of Daniel Schnyder's Piano Concerto with the Norrlands Opera Orchestra under the direction of Krystian Jarvi. This concert was recorded for release as a CD. Al Nevins, guitar (Born Albert Tepper 1915, Washington, DC; Died 25 January 1965, New York City, NY) Morty Nevins, accordion (Born Morton Tepper 26 May 1917, Washington, DC; Died 20 July 1990, Beverly Hills, California) Artie Dunn, organ (Born 14 March 1922, Dorchester, Massachussetts; Died 15 January 1996, Palm Springs, California) Reputed to be Mamie Eisenhower's favorite group, the Three Suns are the leading small group in exotica. Brothers Al and Morty grew up in Brooklyn, where they joined with their cousin, Artie Dunn, as a trio, Al switching from violin to guitar to pick up more gigs. After a year or two working around New York City, they got their first serious show at the Adelphia Hotel in Philadelphia in 1939 and then moved on the Circus lounge of the Hotel Picadilly in New York in 1940, where a two-week engagement turned into a seven-year stay.

They had their first hit in 1944, with 'Twilight Time,' and their cover of 'Peg O' My Heart,' released just after the Harmonicats' version came out, contended with it for the #1 spot. The Three Suns were a concept as much as a group, since Al Nevins dropped and added players to suit the material. In the late 1940s, the group was a quintet, with a rhythm guitar and bass added. Their first big hit, 'Twilight Time,' written by Morty Nevins, went on to have over 3 million air plays, according to BMI. In 1951, they recorded as a quintet with Marty Gold on organ and Larry Green on piano.

They also recorded as a quartet with Ray Bohr on pipe organ (and later, on 'Swinging on a Star,' with R&B sax legend King Curtis!), as a sextet, a septet (with Billy Mure on second guitar), a combo of 13 (on 'Perdido,' 1954), and with orchestral accompaniment. Nevins himself stopped performing live in 1954 and concentrated on producing and publishing. Johnny Buck and later Joe Negri replaced him on guitar. Artie Dunn then reformed the group for live performances in 1957 with Tony Lovello on accordion and Johnny Romano on guitar. Morty Nevins went into studio work as an arranger and composer, and Al Nevins formed a music publishing house, Aldon Music, with Don Kirshner. Aldon Music, located at 1650 Broadway, was just across the street from the legendary Brill Building. Nevins and Kirschner signed many of New York's best young songwriters and Aldon Music placed over 200 songs on the Top 40 charts, including 'Will You Still Love Me Tomorrow' and 'Up On The Roof' by Gerry Goffin and Carole King, 'Breaking Up Is Hard To Do' by Neil Sedaka and Howard Greenfield, and 'Uptown' by Barry Mann and Cynthia Weil.

Aldon Music was bought by Columbia Pictures-Screen Gems in 1964. Kirschner took over as head of the music company, and Al Nevins retired. The Three Suns became considerably more experimental after Nevins formed Aldon Music. Al suffered a series of major heart attacks in the early 1960s that forced him out of performing, and he began to shift the producing work to others. Many of the later albums are credited to 'Nevins, Kirschner Associate' and list no players. Al Nevins was willing to experiment with the best of them, and hired such bold arrangers as Sid Ramin, Marty Gold, and Roy Glover. He liked to toss in unusual instruments and sounds, such as the celestine, a theater pipe organ, castanets, vibes, a six-guitar combo, and what I think is a musical saw (on 'One Enchanted Evening').

The best of the later albums were arranged by Charles Albertine. Nevins also recorded three albums of soft orchestral music for RCA under his own name. In the late 1960s, Morty Nevins revived the Three Suns, this time featuring Vinnie Bell on miscellaneous guitar paraphenalia and Fred Mendelsohn on organ, for Musicor Records.

Among cognoscenti, 'Fever and Smoke,' 'Movin' and Groovin',' 'On a Magic Carpet,' 'Twilight Memories,' and 'A Swingin' Thing' are considered the albums to seek out. 'Danny's Inferno,' from 'Movin' and Groovin',' is included on more recent exotica compilations than perhaps any other cut and is one of the leading examples of a classical kitsch number. Download software habbo hotel voucher generator free. For more information on the Three Suns in their various instantiations, check out Michael Toth's excellent website, the Three Suns Universe. Born: July 10, 1915 Died: July 17, 1977 Milt Buckner piano, Hammond Organ A colorful and versatile musician who was comfortable while on the piano, or stretching out on the Hammond organ. Milt Buckner was also quite the character and very much the jovial entertainer.

Orphaned as a child, Buckner was taught music by an uncle in Detroit. He started playing piano and arranging for local bands such as The Harlem Aristocrats and The Dixie Whangdoodles - by the late 1920s. After joining drummer Don Cox's band in 1932, Buckner began experimenting with patterned parallel chords, becoming famous as the earliest purveyor of what came to be known as “block chords” or “locked hands” style;, he then attracted the attention of McKinney's Cotton Pickers in 1934 for whom he wrote arrangements.

Buckner continued working with the local Detroit groups of Don Cox and Jimmy Raschel, until he joined Lionel Hampton's big band as pianist and arranger in November 1941, acting as pianist and staff arranger, and remained there for seven years, where his recorded arrangements included “Tempo's Birthday,” “Slide Hamp Slide,” “Overtime,” “Rockin' In Rhythm,” and the perennial “Hey! Ba-Ba-Re-Bop,” and “Hamp's Boogie Woogie.” Hamp's free-wheeling orchestra suited Milt admirably; the on-stage histrionics, the jump and swing repertoire and the musical and visual appeal of the band fit his charact er like a glove.

While with Hampton, Milt broke away sporadically to pursue his own career on Savoy Records from 1946 to 1948, after getting an early taste recording a lone side under his own name for Hamp's Hamp-Tone label. Recording with a small quartet or quintet, he achieved sufficient success to quit Hamp's band in 1948 at which time Milt quickly formed his own orchestra which recorded for MGM Records. Around this time that Buckner began to concentrate on playing organ, and he worked as a solo or in harness with Jo Jones, Sam Woodyard and Illinois Jacquet, frequently returning to Hampton for record and concert dates. Milt returned to Hampton in 1950 for another two years during which time he switched from piano to organ - after being influenced by Wild Bill Davis' playing on Louis Jordan's “Tamburitza Boogie” - an instrument he was largely to stick with for the rest of his life. As a jazz organist he recorded for Regent (1952), Scooter (1952-53), Brunswick (1953), Capitol (1955-57), Argo (1959-61) and Bethlehem (1962-63) before recording extensively in Europe throughout the 1960s and 1970s for the likes of Black & Blue, whe re he was the resident session man for visiting musicians. He also did recordings for MPS and Jazz Odyssey.

With the rise of the international jazz festival scene in the 1960s, he began to tour extensively. He died in 1977 shortly after setting up his organ for a live performance with his old buddy Illinois Jacquet at Jazz Showcase. He was just 62. Milt Buckner left us quite a recorded legacy from the years of 1946 until his death. There are many of his works available currently.Recommended listening: The Chronological Milt Buckner 1946-1951 (2002, Classics CD 5032) - 20 tracks featuring all the issued recordings he made as a pianist with his own band for Savoy, Regent and MGM, in both big band and small jump combo formats, prior to his switch to hammond organ. The Lionel Hampton Story (2000, PROPERBOX 12) - 4CD box set featuring many recordings spotlighting Buckner as pianist and arranger with the high-flying Hampton band. Jim Snidero Quartet Kitano Jazz club, 66 Park Ave, NYC Friday and Saturday, October 30-31, Sets 8 and 10 pm The Kitano jazz club is proud to announce the CD release event for alto saxophonist Jim Snidero's critically acclaimed recording 'Crossfire', on Savant records.

The event will feature Snidero's new group- Paul Bollenback-Guitar, Paul Gill-Bass, and Billy Drummond-drums-performing all of the music from 'Crossfire', sited by critic Neil Tesser as 'some of Snidero's most insightful work on disc', and 'a new band an evolving approach that deserves your attention'. All About Jazz critic Glenn Astarita, in his review, states Snidero's 'craft is synonymous with general excellence within the modern jazz realm' For full reviews of 'Crossfire', please go to these links- Bio A fine post-bop improviser and alto saxman, Jim Snidero is a bit underrated but is well-appreciated by his fellow musicians. He attended the University of North Texas and moved to New York in 1981. Snidero toured and recorded with Jack McDuff, he's been a member of the Toshiko Akiyoshi Jazz Orchestra since the mid-'80s, has worked with the backup bands of Frank Sinatra and Eddie Palmieri, and has spent time playing with the Frank Wess Sextet, the Mel Lewis Orchestra, and the Mingus Big Band. As a leader, Jim Snidero has recorded for the Japanese East World label (1984), Ken, Square Discs, Red, and Criss Cross. He has also recorded as a sideman with Brian Lynch, Conrad Herwig, and Tom Varner, and been active in jazz education both as a teacher and as an author of instructional books.

Label.: Linus Entertainment Genre.: Jazz, Pop StoreDate.: May-05-2009 Source.: CDDA Grabber.: Exact Audio Copy (Secure Mode) Encoding Scheme.: Lame 3.97 V2 VBR Joint-Stereo Size.: 63,7 MB Total Playing Time.: 50:54 Tracklist - 01. Beautiful Love 02:59 02. Take Love Easy 03:16 03. I Concentrate On You 04:17 04. Day In, Day Out 03:25 05. Be Cool 04:13 06. My One And Only Love 04:36 07.

I Can't Make You Love Me 04:30 08. That Is Love 02:49 09. Love For Sale 04:30 10. I'm On Fire 04:03 11. Triste 03:25 12.

50 Ways To Leave Your Lover 04:37 13. Where Do You Start?