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Musicians: Charlie Haden (bass), Carla Bley (piano), Miguel Zenon (alto sax), Curtis Fowlkes (trombone), Chris Cheek (tenor sax), Tony Malaby (tenor sax), Steve Cardenas (guitar), Matt Wilson (drums), Michael Rodriguez (trumpet) Seneca Black (trumpet), Ahnee Sharon Freeman (French horn), Joe Daley (tuba). LMO has retained its staunch political stance even though the usual "free" blowing has become more mellow, and any "edge" now resides in the players' potent solos rather than within the, well, beautiful ensemble passages.
Musicians: Ornette Coleman (alto sax), London Symphony Orchestra (orchestra), David Measham (conductor). Ornette Coleman's approach to playing the "vierd" blues that resulted from "harmolodic movement of forms" was an amazing mix of folk tales and angel voices, ramblin' changes and tears inside. Musicians: Gene Harris (piano), Stanley Turrentine (tenor sax), Ray Brown (bass), Mickey Roker (drums). Positioned at the end of a soulful, happily up-tempo album (check Gene's smiling face in the cover photo), this 8-minute romp syncopates and revitalizes the abolitionist lady's song.
Maybe the best irony is that Howe's song is still often played at the close of Republican Party Conventions (which occasioned the Paul Desmond number called "Battle Hymn of the Republican"), and that Gene beats the naysayers simply by wielding his democratic piano.
Frank Sinatra, Volume 2 - "The House I Live In" - Early Encores: 1943-'46 (aka Unheard Frank Sinatra, Vol. Musicians: Frank Sinatra (vocals), unidentified studio orchestra conducted by Axel Stordahl.
Over the next year Frank got lots of favorable press and the film even won a couple of awards. Still, the song was taken up by Paul Robeson and Josh White, and even Sonny Rollins a decade later, and also kept alive by Sinatra, who revisited it several times over the years, eventually singing it at the White House for a President or two.
Looking back, we know that Sinatra, to be perfectly Frank, had to reinvent himself again and again?become a convincing actor, swing through hundreds of recording sessions, cavort with the Rat Pack, slip in and out of bedrooms and, politically, from Left to Right.
Musicians: Louis Armstrong (trumpet), Duke Ellington (piano), Trummy Young (trombone), Barney Bigard (clarinet), Mort Herbert (bass), Danny Barcelona (drums).
Two Black Americans better than most of their nation could have imagined, or likely wanted, back then. Musicians: Bill Frisell (guitar), Don Byron (clarinet), Guy Klucevsek (accordion), Kermit Driscoll (bass), Joey Baron (drums). William Bonney, known as "Billy the Kid," was a young punk who wreaked havoc in Lincoln County, NM.
Immigrants have been coming to America's shores for a millennium, and some witty reflections on that fact can be found in the Leonard Bernstein-Stephen Sondheim musical West Side Story. Today, proto-rapper Gil Scott-Heron is acknowledged as a major influence on several developments in Black Music and soul jazz, and it is easy to imagine that such artists as Cassandra Wilson considered the poet-vocalist's music before finding her own path.
When Jimi Hendrix took the stage on the final morning of Woodstock--"by the dawn's early light," as it were--the audience had dwindled from hundreds of thousands down to an exhausted, mud-covered remnant. After the sturm und drang of 80 chaotic years of Depressions, demonstrations, recessions, riots, wars, and more, it is of momentary grace to come upon Charlie Haden's "American Dreams."On the Liberation Music Orchestra albums, his political activism remains a resolute force.
Mumford & Sons strummed, stomped, and ho-heyed their way through Top 40, and helped draw attention to an Americana music community that is as healthy as ever. Tommy Malone"With a voice somewhat reminiscent of the late Stevie Ray Vaughn and a loose slide guitar style comparable to Bonnie Raitt, Malone brings his own unique New Orleans flavor to the blues. Shovels & Rope"It's easy to feel the romance in the musical relationship between Michael Trent and Cary Ann Hearst. Coyotes"Another band with a difficult-to-Google name, this three-piece nevertheless burns with confidence and swagger.
Creole String Beans"Complete crowd pleasers, the Beans party band excitement will get the audience up and dancing, guaroonnteeed!
Yvette Landry"Based on the start of her set on the Samsung Galaxy Stage Thursday, men need to watch out around Breaux Bridge honky-tonk singer Yvette Landry. Landry’s songs take place at night, where passionate people love, rage, and make self-destructive decisions, often fueled by alcohol. Sturgill Simpson"The truth is, Simpson, 35, isn't preaching anything — least of all the gospel of what does and doesn't qualify as country music.
There are so many people who play guitar like my dad, and so many people that imitate that sound, but nobody actually gets it,' Jennings says.
Amanda Shires"A multi-talented fiddler schooled in Western swing as a whippersnapper member of the Texas Playboys, Amanda Shires nowadays writes and sings dark, deceptively pretty songs as a solo act.
Maggie Koerner" While touring with Galactic last summer she brought her lyrics to a much deeper level. If not as resonant as the original Outlaw or as combustive as the man nicknamed “No Show Jones,” Jennings understands when to attenuate a vowel, how to slide to a note and the way hitting slightly behind the beat can add emotional punch.
Mississippi Rail Company"Mississippi Rail Company, the brainchild of both Tulane and Loyola University alumni, provides a fresh, modern take on New Orleans “roots” music, although Geoffray does not like to lock their sound into a specific genre. Feufollet"Some purists may wag their fingers, but Barry Ancelet, a professor of French and folklore at the University of Louisiana at Lafayette — and one of the deans of Cajun culture — says he isn't worried.
The Mulligan Brothers" Under any circumstances, fan can hear more of what made The Mulligan Brothers so appealing in the first place: The easy Americana flow of music that uses traditional textures without falling into a fake rootsiness, balanced against lyrics that are often sharply contemporary.
Kacey Musgraves"Same Trailer is full of songs delivered in her signature sing-talk tone, mixing driving wit (the doublewide ode 'My House') with kiss offs ('Step Off') and nods to casual, booze-induced sex ('It Is What It Is'). A questo duo si uniscono l’attento e puntuale contrabbasso di Alessandro Antonini e l’esperienza del batterista Alessandro Benedetti.

In questo ambito si comprende l’importante ruolo rivestito dalla sonorita, ricercata nella classicita degli strumenti stessi, mentre swing, ritmi latini, tempi composti e funk sono gli ingredienti ritmici sia dei brani inediti che delle rivisitazioni di alcuni classici attinti dal repertorio mainstream. Il Cave Jazz Project non sarebbe al completo se non vi fosse anche la presenza di una raffinata voce femminile. Assieme a lei vengono rivisitati e proposti brani di artisti internazionali come Esperanza Spalding, Gretchen Parlato e Nicola Conte, andando cosi ad integrare e completare un repertorio di rara ricercatezza e sicuramente intrigante nella stesura ampliata di sonorita articolate.
Associazione Culturidea e Fondazione Luigi Tronci per lo spettacolo di giovedi 28 gennaio puntano proprio sulla particolarita di queste sonorita epresse dal gruppo di Antonini, Belpassi, Benedetti e Kathrine. Attraverso la bella voce della cantante solista sara possibile anche esplorare il legame tra il blues e il jazz.
Cosi si vedranno musicisti bianchi che assumono pseudonimi neri per incidere il blues, mentre i jazzisti, che si rivolgevano al pubblico bianco dei locali notturni, per lungo tempo eviteranno di suonare il blues in pubblico. Questo sito utilizza cookie, anche di terze parti, per inviarti pubblicita e servizi in linea con le tue preferenze. Designer Headwear specializes in making chemo hats, turbans, scarves, headbands and creative head coverings to help those with hair loss discover that hair loss solutions don’t just have to be comfortable and functional – they should also be beautiful. Our knitted line features cotton, rayon, or poly with lycra or spandex, which combine a silky-smooth feel with elasticity and stretch allowing for warmth and comfort all day – and all night. That syncopated music, which had come from slavery’s descendents (as they adapted African song and rhythm to Western instruments), had grown so as to begin challenging Classical music for space in the concert halls. All is solidly evident in the 17-minute "America the Beautiful" that serves as the album's centerpiece.
Her Civil War foot-lifter, "The Battle Hymn of the Republic," quickly morphed from campfire song and derisive march (once "John Brown's Body") to warrior hymn, but the right hands or voice (Ray Charles or Aretha Franklin, for example) later could make it sound like a spiritual or gospel number ("Be swift my soul to answer him, be jubilant my feet"), most certainly when pummeled into believing submission, as in this live version. Harris starts the performance mysteriously, tune and direction hidden in a slow, bluesy feint, but then swiftly advances (willing volunteers Brown and Roker joining up) into a series of hard-charging, drive-the-keys choruses ? Battle Hymn swing and gospel shout ? that trample the grapes of wrath and set the stage for some tenor fire.
Neverthe- less, the political Right attacked Sinatra relentlessly, hating his liberal beliefs and his gangster pals, while the Left distrusted his pop-centrist success and libertine ways. This early version was recorded live about 1946 during an unidentified radio broadcast and then sent out on an Armed Forces Radio transcription disc.
When Louis Armstrong was coming up in New Orleans, it meant being an orphan and second- or third-class citizen, but with a first-class spirit and a talent for trumpet way beyond the barriers of race.
When the two nonpareil jazz titans finally met in a recording studio in 1961 (other encounters had been too fleeting or too controlled by circumstances) for the sessions of Ellington standards combined on one CD as The Great Summit, Duke also roughed out a new instrumental for the occasion. His bad reputation, though, was jarringly altered when quintessential Americana composer Aaron Copland wrote his high-stepping music for the ballet Billy the Kid. Here, though, the statement is simply peaceful, as the piano trio performance by Haden, Brad Mehldau, and Brian Blade is embraced by a 34-piece string orchestra.Low strings announce the heartbeat thuds of Haden's stately lift-and-settle-back melody.
A professional musician for over 40 years, Malone released his highly acclaimed debut album Soul Heavy in 2001, then took the next 12 years to carefully craft his follow-up album, Natural Born Days.
Duz Mancini’s twangy, whiskey-soaked vocals give credence to the band’s alt-country, Americana milieu. With their mix of swamp pop, creole-flavored faves and a pinch or two of obscure chestnuts, they cover all the bases when it comes to Southern Louisiana flavor. That may come as a letdown to those who have pegged him as a country music Jesus, the one who will vanquish 'bro country' artists to the dirt roads from whence they came.
Jennings, the son of Waylon Jennings, has been a fan of Simpson's work since his days in the group Sunday Valley and is wowed by the musical similarity to his legendary father — however unintentional it may be.
Here, she works with Jason Isbell, who she recently married (with songwriter Todd Snider presiding).
In her unabashed delivery, she's got the ambition and self-awareness of a New Yorker, testament to the years she spent there as a young adult making contacts and a name for herself in the music industry.
Though Shooter Jennings, son of the late Waylon Jennings, has spent the past several years mining a more rock attitude, his inflections, tone and ability to craft a country song are undeniable. Like 'Merry Go ‘Round' and the free-loving 'Follow Your Arrow,' many of the tracks hit topics that would otherwise be taboo in the current state of country music. Belpassi, con alle spalle anni di esperienze in piccoli e grandi ensemble, dal duo alla big band, riveste in questo caso anche l’inedita veste di autore del repertorio originale, ed e coadiuvato al piano dal sapiente tocco di David Perondi.
A questi ultimi e affidata la parte ritmica, che altro non e, se non  la solida base su cui sono costruiti gli arrangiamenti, sempre originali, ma con doverosi richiami alla tradizione da Duke Ellington a Fausto Cigliano.
I musici infatti sono affiancati dalla suadente vocalita di Kathrine V., cantante dai timbri pacati e di particolare espressivita.
Si deve notare come molti dei brani che in questo periodo contengono la parola blues nel titolo non siano affatto blues ed usino il termine solo per il suo effetto coloristico. We believe your most beautiful feature is you – your personality, your wit, your humor, and your strength.
Our woven fabrics made from cotton or rayon are ideal for those looking for head coverings with a natural feel and breathability. Carla Bley's piano plays the familiar melody straight, then moves into discordant Kurt Weill territory that the orchestra gleefully joins. And the spirit of jazz, if not the sound and rhythms, fills this all-American "House," which was in the mid-Forties and remains to this day the nation's metaphoric residence. Untitled at first, then called (courtesy of Stanley Dance) "The Unquiet American," the arrangement came together quickly ? Duke singing the tune, working out horn parts, finding a makeshift mute for Trummy Young's trombone, and then signaling the control booth to proceed.
Then another Billy wreaked his own happy havoc on Copland's multi-part composition--William Frisell, always cheerfully eager to string-shape or guitar-warp standards, folk songs, pop tunes, and originals alike.The work opens and closes peacefully, with guitar, clarinet, accordion, and rhythm all sticking close to the chart.
The latter simply flails steadily for three minutes, while Jimi unleashes his full arsenal: echo, reverb, string-pulling, fingerpicking, atonal shrieks, wailing sirens and fire alarms, martial music and incoming missiles, bombs bursting in air, white noise.

An accomplished guitarist, Malone’s music is full of rich textures, easy rhythms and soulful solos and slide work, all layers with deep, heartfelt lyrics, and a band that flawlessly supports it all with ease. But Trent and Hearst have also always been interested in the common and the problematic, telling stories not about bicycles built for two, but of old cars that carry lovers who sometimes court disaster, or lonely people whom life hasn't treated so well. Incidentally, the band began life as an Los Angeles-based outfit before settling home in the New Orleans indie rock scene. Sam Doores spent a restless childhood traveling with his family between San Francisco, Washington and Texas; his mother's copy of Woody Guthrie's book Bound For Glory convinced him to try the life of a modern-day hobo, eventually settling in New Orleans.
Her palette has broadened – check the warped Latin groove on "Bulletproof" and the perversely come-hither suicide reverie "Box Cutters." On "A Song For Leonard Cohen," she fantasizes a date with her artistic hero in which she gets him drunk and then sticks him with the bill. In the rhythm behind her and the twang of her long vowels, she's got the easy, yeah-you-right swagger of her Louisiana roots. Durante questi anni esso vive, tuttavia, in maniera sotterranea, a causa della connotazione fortemente razziale e la fama di scarsa raffinatezza del blues. Bound rosewood veneer fretboard with 20 original jumbo frets and inlaid pearl dot position markers. So we have made our fashion headwear in vibrant styles that showcase all of those attributes.
Every chic design combines style (with dozens of fabric and color choices) with ease of use, and most are wrinkly-resistant and easy to care for. Was patriotism, soon to be demanded of all citizens by HUAC and the Red Scare, “the last refuge of a scoundrel,” as Samuel Johnson had remarked? Altoist Miguel Zen?n and trumpeter Michael Rodriguez are two splendid voices subsequently raised in song, while tuba guy Joe Daley wheezes like a drunken trombone up in the stratosphere. Shards of the hallowed, hard-to-sing melody can be heard at the relatively calm launch, and here and there throughout the cataclysmic performance, but the rest is Hendrix shredding his guitar, the national anthem, and the history of music.Thanks to Coltrane and his acolytes, a New Thing was happening "o'er the Land of the Free," and ravenous Jimi tapped into that too--and in so doing he set the course, and the bar, for scores of jazz guitarists ever since, from John McLaughlin to Vernon Reid and Bill Frisell, from Sonny Sharrock to Blood Ulmer and John Zorn.
Everything in the universe is working for fuel or food, the entire cosmos is a struggle, even on a quantum level there’s constant movement and abrasion.
With a sound imbued with brassy flourishes and vampish barroom bluster, Winslow-King claims a classic pedigree honed from working on the road and lessons learned well. The sound he's cultivated with his bandmates in The Deslondes is streaked with history's dust. At the soundboard of producer Dave Cobb, her bluesy Southern rock, largely unadorned on prior releases with her band The City, gets the slick '70s-schooled Nashville sound for which it was meant. Matching Lake Placid Blue Blue headstock with transitional "Fender" in gold with black trim and five patent numbers in black below, "Jazz Bass," "Trade Mark," and "Electric Bass" in black on three lines beside, and "Offset Contour Body" at the ball end of the headstock. Women were working and Black men were pilots; Jewish survivors in Europe?and Japanese detainees in America?were freed from the camps, and immigrants made welcome once more. Some serious free noise fuses with Bley's pointilliste flickering and drummer Matt Wilson's shifting-but-steady accents as the band lurches and marches on. That mouth and set of chops and irrepressible joie de vivre soon produced an ambassador to the world.
These days, chord changes may still be observed, but otherwise anything goes, from the initial count-off till "the twilight's last gleaming" and final cymbal crash. I realized we need more songs like (singing) ‘Stop children what’s that sound’ ('For What It’s Worth' by Buffalo Springfield). Four-bolt neck plate with the Fender backward "F" logo and the serial number "151271" above it.
If they were to recut their duet today, they would likely find ways to sound more threatening, and their casual, final surprise ("I miss the one I care for more than I miss New Orleans") would then become a statement confirming the Bush administration's laissez-faire and, ultimately, racist political attitude. Three controls (two volume blend controls, one for each pickup, and one master tone control) and jack socket, all on metal plate adjoining pickguard. The neck is dated "7 JUL 66 A" and the potentiometers are stamped "304 6618"  (Stackpole, May 1966). Complete with both original bass pickup and bridge pickup covers, the bridge cover with the original (dried-out) mute. There is some minor finish checking and a few very small and insignificant indentations on the back and a small scratch (just through the finish) on the back of the bass horn. The Lake Placid Blue color is fresh and unfaded and there is virtually no wear to the frets.
This fine example has spent most of its life in its case and is in exceptionally fine (9.00+) condition.
Housed in the original Fender three-latch, rectangular black hardshell case with dark orange plush lining (9.00). Certainly the cleanest '66 LPB Jazz Bass that we have ever seen…"After the introduction of the Jazzmaster in 1958, Fender needed an upscale model to augment the bass line.
In 1960, Leo's new Jazz Bass borrowed the offset waist and part of the name from the Jazzmaster. It also featured a narrower neck width, which was faster playing than the Precision Bass" (J.W.

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