Download Sarah Vaughan Swingin Easy Rar
Bebop Spoken Here -- Here, being the north-east of England -- centred in the blues heartland of Newcastle and reaching down to the Tees Delta and looking upwards to the Land of the Kilt. Not a very original title, I know; not even an accurate one as my taste, whilst centred around the music of Bird and Diz, extends in many directions and I listen to everything from King Oliver to Chick Corea and beyond. Not forgetting the Great American Songbook the contents of which has provided the inspiration for much great jazz and quality popular singing for round about a century.
Download Sarah Vaughan Swingin Easy Rarebit Download Sarah Vaughan Swingin Easy Rar Password. Listen and download tracks and albums. Find a Sarah Vaughan And Her Trio - Swingin' Easy first pressing or reissue. Complete your Sarah Vaughan And Her Trio collection. Shop Vinyl and CDs.
The idea of this blog is for you to share your thoughts and pass on your comments on discs, gigs, jazz - music in general. If you've been to a gig/concert or heard a CD that knocked you sideways please share your views with us.
Tell us about your favourites, your memories, your dislikes. Lance (Who wishes it to be known that he is not responsible for postings other than his own and that he's not always responsible for them.). Afternoon Musicians Unlimited - Park Inn, Park Road, Hartlepool TS26 9HU. Jazz de Luxe - Lit & Phil, Westgate Road, Newcastle NE1 1SE. Archie Brown & The Young Bucks - Tyne Bar, Maling Street, Newcastle NE6 1LP. Tel: 0191 265 2550. Somethin’ Blue - Vesuvio, 3a Houndgate, Darlington DL1 5RL.
Matt Case (saxophone) & Mike Hepple (guitar). Evening Brenda Sokool Band - The Globe, 11 Railway St., Newcastle NE4 7AD. Jazz de Luxe - Lit & Phil, Westgate Road, Newcastle NE1 1SE. Bradley Johnston - The Fire Station, High Street West, Sunderland SR1 3DT.
Tel: 0191 594 7241. New weekly residency. Lee Bates - Billy Bootleggers, Nelson St, Newcastle NE1 5AN. Jazz Jam - Empty Shop, 35c Framwellgate Bridge, Durham DH1 4SJ. To the best of our knowledge, details of the above events are correct but may be subject to alteration.
By It’s the first and only record I ever heard of that all the squares dig as well as the jazz people, and I don’t understand how and why, because I was making notes all the way. I wasn’t making a melody for the squares. -Coleman Hawkins “Body and Soul,” jazz standard of standards, turns eighty years old in 2010. It is jazz’s benchmark, warhorse, rite of passage, litmus test: I can’t think of a single major jazz musician, post-1930, who hasn’t taken it on, from Roy Eldridge to John Coltrane to Anthony Braxton, from Billie Holiday to Sarah Vaughan to Betty Carter, from Art Tatum to Thelonious Monk to Sun Ra. The fecundity, the sheer number, of its interpretations is staggering--in 1980 Gary Giddins estimated that some 3,000 versions of “Body and Soul” had been recorded, and likely at least a thousand more have come in the decades since. Still, “Body and Soul” is a strange breed of eternal.
It’s an odd song, with a melodramatic, sometimes clunky lyric (“my life a wreck you’re making”), a steeplechase harmonic structure with a wide range and a knotted string of key changes (the bridge alone is dizzying, starting a half-step above the home key of D-flat major, then dropping to a half-step below before it wends its way back to the chorus), and a ghost of a melody which sounds upon hearing it that you’ve dreamt it somewhere first. The 22-year-old composer Johnny Green debuted the song in a 1930 Broadway show called “Three’s a Crowd”.
The producers at first considered “Body and Soul” a dud, cutting it from a few tryout performances, while Robert Sour and Edward Heyman dashed out a series of lyrics in a bid to resuscitate it. (Frank Eyton, an arranger at the song publisher Chappell & Co., is also credited as a songwriter, though he’s there mainly for business reasons.) The final lyric, including the soon-to-be-altered line “my life a hell you’re making,” even got the song banned from a few radio stations in the early ‘30s. Libby Holman made “Body and Soul” famous in “Three’s a Crowd” and the song’s dark, obsessive sentiments seem keyed to Holman’s brutal pageant of a life. A stage singer with a taste for younger women and men (including Montgomery Clift), Holman may have killed her husband, an heir to the Reynolds tobacco fortune. She first claimed he shot himself, and later that she had been so drunk she didn’t remember anything; she was indicted for murder but skipped sentencing because she was pregnant. After another of her husbands killed himself with barbiturates, she toured the world, sponsored Martin Luther King’s trip to India and befriended and bedded, respectively, Paul and Jane Bowles. One day in June 1971 her servants found her slumped in the front seat of her Rolls Royce, dead of carbon monoxide poisoning.
Holman’s recording of was one of many first-wave versions rushed out during the last months of 1930, along with those from flapper singer Annette Hanshaw and Paul Whiteman’s and Ozzie Nelson (Ricky’s father)’s big bands. Louis Armstrong’s take, cut at the same time, was released two years later, where it served as the first of many revivals of the song. The Benny Goodman Trio’s elegant version from 1935 did the same. Making Notes All the Way It’s possible that “Body and Soul” would have faded over time, in the way Johnny Green’s other standards like “Out of Nowhere” did, into a cult song occasionally dusted off by an enterprising jazzman. And then on 11 October 1939 Coleman Hawkins reincarnated “Body and Soul” as a masterpiece of pure improvisation. Mp3 by Coleman Hawkins, 1939.
Available on Hawkins’ version is a two-chorus tenor saxophone improvisation that discards the original melody after the first few bars, and some 100,000 copies of it sold in the first six months of its release. Hawkins recorded it in one take, having come into the studio after playing all night at the NYC club Kelly’s Stable. He later said doing ‘Body and Soul’ hadn’t even crossed his mind: “That tune was the least of my ideas. There were other tunes I preferredwhen I got back to America, maybe once in a while in the middle of the night I would play ‘Body and Soul.’ Every time I played it different and people seemed to like it enough.” Told that one of the label execs had heard him do “Body and Soul” live and wanted Hawkins to record it, Hawkins agreed to do one take. He took a swig of Cognac and told the pianist Gene Rogers to play an introduction. No rehearsal, no charts. “I didn’t even have an arrangement on it,” Hawkins said.
“ I didn’t want to play it at all, so I just played it through once and made up the ending when I got to it. The ending, as it turned out, was one of the funniest things I ever played in my life.
Like the way the horns came in on the last chord.” (From John Chilton’s The Song of the Hawk.) The first time Hawkins heard his “Body and Soul,” on a jukebox in Harlem’s Fat Man Charlie Turner’s Rib Place, he was surprised at how good it sounded. His contemporaries were stunned. Chu Berry told Hawkins he was playing “the wrong notes” on the record, while Thelonious Monk couldn’t grasp its appeal to squares and “old folks” (“I could understand if you played melody, because that’s what they like. [But] there’s no melody in there, what are they listening to?” he later told Hawkins). Nat King Cole dragged people into a dive bar on Central Avenue in Los Angeles to hear it on the jukebox. The young John Coltrane played the disc over and over, trying to figure out Hawkins’ arpeggios.
Randy Weston tried to work it out on his piano, breaking the solo down note by note. After Hawkins, “Body and Soul” had two lives. Subsequent generations of jazz players took Hawkins’ cue and used the genetic material of “Body and Soul” for their own ends, as the basis for a series of extravagant self portraits. I saw Esperanza Spalding sing and play it last week on TV. Winuae Kick Rom 1.3 Download.
It was a recording of her set at Coutances a year or two ago. She did 'Body and Soul' as an encore and it was both the highlight of the show and quite different from what had preceded it.
She sang 'my life 's a hell you're making', which I knew was wrong, but which makes a kind of sense and may actually be an improvement of the line. I have two piano trio performances of the song on my Walkman -- by Martial Solal and Enrico Pieranunzi respectively. I keep meaning to play them one after the other but I haven't got around to it yet.