Fred Astaire & Ginger Rogers - They Can't Take That Away From Me

Why another upload of this most beautiful of all Ginger and Fred Dances, from their only color movie? Because it sets the scene in the context of the overall movie plot. Playing cupid, Oscar Levant tries to patch up the failing marriage between Dinah and Josh Barkley.
Besides being an OMG BEAUTIFUL woman, Ginger Rogers shows off her acting skills in this number. Tricked into dancing at a benefit, the separated Barkleys are obviously still in love. I am very impressed that Ginger never stops acting when she starts dancing. Ginger is not a dancer who could act, she is an actor who could dance.
In the 1937 movie "Shall We Dance" Fred sang the same Gershwin song "They Can't Take That Away From Me," but not as part of a dance sequence. In Barkleys the dance number is used to show that the separated couple is still very much in love.
If you can't stand to see the OMG GLAMOROUS Ginger cry, don't watch the very end of the clip. But fear not, they get back together in the end!
When the pyramids turn to sand, people will still be enthralled by this most glamorous and talented of all dance teams!
http://www.youtube.com/watch?v=sZ0DWEbEAqA&feature=related

Dianne Reeves & Roy Hargrove - You go to my head

Dianne Reeves - vocals
Roy Hargrove - fluegelhorn
Peter Martin - piano
James Genus - bass
Greg Hutchinson - drums

Willy Ketzer Quartet feature Roberta Gambarini

Roberta Gambarini - voc
Willy Ketzer - dr
Paulo Morello - git
Martin Sasse - p
Jens Foltynowicz - b

“Gambarini is a true successor to Ella Fitzgerald, Sarah Vaughan, and Carmen McRae”. — Kevin Lowenthal, BOSTON GLOBE

Roberta Gambarini was born in Torino, Italy, into a family where jazz was much loved and appreciated. She began listening to this music as a child and started taking clarinet lessons when she was twelve years old. By the time she was 17, she began singing and performing in jazz clubs around Northern Italy and at the age of 18, she decided to move to Milan to pursue a career as a jazz singer.
Roberta Gambarini was born in Torino, Italy, into a family where jazz was much loved and appreciated. She began listening to this music as a child and started taking clarinet lessons when she was twelve years old. By the time she was 17, she began singing and performing in jazz clubs around Northern Italy and at the age of 18, she decided to move to Milan to pursue a career as a jazz singer.
http://www.groovinhighrecords.com/artists/roberta-gambarini

Front Cover Album Serie - 14

Songs
1. Seagulls of Kristiansund
2. Circumambulation
3. Komori Uta
4. White Road
5. Black Rain
6. Remember
7. At Kamenoi Besso
Documenting a tour of Japan memorializing the fiftieth anniversary of the bombings of Hiroshima and Nagasaki, this CD memorializes Mal Waldron's beautiful and poignant music, some of which was composed while on tour. Singer Jeanne Lee and flautist Toru Tenda join the pianist for a spacious, lovely set of moving music, supplemented by color pictures taken by Lee of the Tour. Few improvisers express the wonder of life that Waldron somehow evinces with each note, and Jeanne Lee's almost-whispered lullaby vocals are a splendid fit. Waldron seems to grow with age; his ability to evoke pastoral images with a minimalist approach plum the depths of emotion. The words chosen for the tunes, including a poem by a 14-year old survivor of Hiroshima - written in 1959 - help us to remember the horror that was. ~ Steve Loewy, All Music Guide
http://www.enumaelysh.blogspot.com/

Absolute Ear....

Listened to absolute capacity is a person who has to form an image of any internal auditory tone marked by an appropriate symbol (note, letter) such that the individual can identify any aural tone presented acoustically ( "heard absolute liability") and produce any tone which is indicated by its symbol with tinnitus (ear absolute active "). The distinction between passive and active ear does not seem to be very important. There is no evidence that a person can have a good ear all active crashing while the liabilities or vice versa. People who have a real ear absolute recognize tones easily and immediately, ie without any effort impressive and, in particular, without using any "tricks" such as hum or whistle.
Although the absolute ear in humans is usually dependent on the classification of tones in accordance with the conventions of musical notation, is not simply the name of the musical note that can be identified but the very qualities of the note. The characteristics of a tone is identified with better accuracy than plus or minus a tolerance of 3% frequency of default by-step interval that forms the smallest unit in Western musical notation. The holder of this ear can tell if a tone played acoustically is more acute or more low in relation to an intonation pattern internally available to such holder.It appears that the intonation patterns of different owners of absolute ear may be different, depending on the level of intonation that have been exposed as children. This becomes evident when in possession of absolute reported hearing find difficult and even confusing when you have to listen to or play music at a level of refinement that differs from the internal standard.
In English, this capacity translates into perfect pitch, which refers to the ability to listen and immediately, reproduce the sound heard. This term, however, suggests that owners of hearing all are blessed with ears better than others, in particular, are in a sense able to measure the frequency just by listening, with enough accuracy, the note. This is not quite true. While it may be true that such owners as well as most musicians are able to assess more accurately than other sounds, this is related to his devotion to the sound and especially the training. In experiments perception of acoustic noise, possessors of absolute ear does not normally produce results that are different from those of non-owners. In particular, in the ears of those owners are changing perceptions and diversions of the eighth as well as normal people. I heard of absolute tend to stretch the scale of tones.

Types of absolute ear

In his article on absolute heard in the New Grove Dictionary of Music and Musicians, the musician Richard Parncutt and cognitive psychologist Daniel Levitin, had some kind of absolute ear: Passive, active and very thin.

Listened to absolute liability

A person with absolute ear liabilities are able to identify the individual notes that listens, and can identify the key of a composition (assuming you have a certain level of musical knowledge), but are not able to sing the notes that they are needed.
Among the autistic savants and the incidence of absolute ear is the 1 / 20 or more. O ouvido absoluto também é comum entre aqueles que possuem a Síndrome de Williams. The full hearing is also common among those with the Williams syndrome.

Listened to absolute asset

People with active absolute ear can sing any note it is claimed, without taking other as reference. The number of holders of hearing all active in the United States is 1/10.000. Not all people with absolute ear are active musicians, but the musical preparation is necessary for the full development potential of the hearing of a person with absolute ear.

Absolute heard very thin

People with hearing absolute very thin are not only able to recognize a note on his behalf, but also know when a note is slightly more acute or lower with respect to the common standard tuning (440 Hertz). This ability is extremely rare.
Some ear musicians with absolute very thin are able to recognize whether a work is desafinada with respect to the pitch common to a distance of a few savarts. A Savart is the unit of tune, ie the amount of desafinação that may experience an ear. Equivale à 4 cents . Equivalent to 4 cents. Um cent é a centésima parte de um semitom. A cent is the hundredth part of a semitone.

Scientific studies

Physically and functionally, the auditory system of an absolute listener does not seem be measured differently than a non-absolute. Rather, "The perception of absolute ear is not dependent on a particular type of hearing; reflects a special ability to analyze information in frequency, presumably involving high-level cortical processing." Listened to it is an absolute act of cognition, memory requiring the frequency , A symbol for the frequency (as "B-flat"), and exposure to achieve the sound concerned by this token categorical.
Absolute can be heard directly analogous to recognize colors, phonemes (speech sounds) or other categorical perception of sensory stimuli. Even that most people have learned to recognize and name the color blue by its frequency, it is possible that those who had (around the ages of 3 and 6) a significant exposure to identify names of musical tones, for example, a C4 (central C).
However, it may be genetic, possibly an autosomal dominant genetic trait, that "could be nothing more than a general human capacity whose speech is heavily distorted by the level and type of exposure to music that people experience in a particular culture.

Influence of music experience

The absolute sense of hearing seems to be influenced by cultural exposure to music, particularly in familiarizing the equal-tempered scale of C major. The absolute majority of listeners who were tested in this regard, identified the main tone of the scale of C major and more reliably, except for the Si, faster than the five sharp tones, which is the most prevalent of these tones in simple experiments musical. A German study of non-musicians also showed a bias for using the tones of the scale of C major speech in a common, especially in connection with the emphasis syllables.

Perception

Although the absolute ear is predicated on the ability to perceive and identify "the color of tone" - where "color" is a psychological interpretation of a fundamental vibration frequency, is not absolute ear is not an increased ability to perceive and discriminate gradations of frequencies noise, but the ability to mentally categorize sounds in areas of preset time. The sense of hearing of an absolute listener is more prepared than a non-absolute ( "normal"), in addition to the tasks of identification (recognizing and naming a note) and discrimination (detecting changes or differences in rates of vibration ) Are made with different brain mechanisms.

Potential problems

People with hearing absolute feel irritated when a piece is transposed to another pitch or touched on another standard. Musicians with absolute ear may fail with respect to developing the skills of a hearing on when following the standard curriculum of persisting rather than a habit of music conceptualized as a result of absolute tones. So, find it hard to transpose or play a transposing instrument. I heard of absolute are also known to feel difficult playing with an orchestra that is tuned out of the original default (A4 = 400 hertz.)

http://360grauss.blogspot.com/search/label/Ouvido%20absoluto

Front Cover Serie - 11

Personnel:

John Coltrane (tenor saxophone)
Lee Morgan (trumpet)
Curtis Fuller (trombone)
Kenny Drew (piano)
Paul Chambers (bass)
Philly Joe Jones (drums)
Tracks:
Blue Train; Moment's Notice; Locomotion; I'm Old Fashioned; Lazy Bird; Blue Train (alternate take); Lazy Bird (alternate take)

Review:

It is easy to value John Coltrane's "Blue Train" while at the same time failing to do full justice to its importance.

It was John Coltrane's first and only recording for Blue Note. It was the first album in which he had a free choice of the musicians he wanted to record with. It is the album in which John Coltrane gets the closest to hard bop.

But then, the argument goes, "Blue Train" is ultimately uncharacteristic of the great tenor player's music. Somehow it makes too many concessions to the Blue Note 'sound'. If there had been more recordings for the label, his music may have gone further in this direction, but as it turned out, he joined Miles Davis in the modal revolution, then signed as leader with Atlantic and then Impulse! where his own music went off in further new directions with "Giant Steps" and "A Love Supreme". It is a widely accepted view. And the paradox is that "Blue Train" thus remains in many ways undervalued.

The first thing that you notice, especially in the title tack and on 'Moment's Notice', is the exceptional harmonization of the three horns. Like Dizzy Gillespie, Percy Heath and many jazz players before him, John Coltrane had been studying harmony at the Granoff School of Music in Philadelphia. You only have to hear the title track "Blue Train" once for the completely distinctive harmonization that John Coltrane developed to stay with you. Many would have built a whole style around it; Coltrane hardly returned to it again in his later recordings. In this sense "Blue Train" is a singularity in John Coltrane's music. None of his other albums sound quite like it; not because of any Blue Note formula but because the album captures his soaring innovation in jazz just at that moment in its development, and at a point where he was about to move on.

Connection should be made to John Coltrane's personal life at this time. He had beaten his addiction to heroin that had begun in Philadelphia in 1953 and which had been overlaid on an earlier acquired addiction to alcohol and cigarettes.

In autumn 1956 (and again in March 1957 after a brief return), Miles Davis had been forced to fire him from his band. As Miles recalled in his autobiography: "I told Trane that record producers had been coming around listening to him, thinking about giving him a contract, but when they saw him up there nodding and shit, they held off. He seemed to understand what I was talking about, but he kept right on shooting heroin and drinking like a fish." *

Coming home to his wife Naima one day in the spring of 1957 after Miles had laid him off, John Coltrane stated that he was going to quit drugs. He retired to his room, drinking only water and after four days had kicked his alcohol and heroin habits. Ironically, he still remained hooked on tobacco, a habit he could only periodically shake during the rest of his life.

He was finally free from drugs, able to fully concentrate on the development of his music for the first time. As he later wrote at the time of recording 'A Love Supreme': "During the year 1957, I experienced by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in my gratitude, I humbly asked to be given the means and privilege to make others happy through music."

Many people hear that in the music of "Blue Train"; the beauty that comes from an open hearted sharing of release; blues on the point of transcendence of the oppression of the world.

There was work with Thelionious Monk that exposed John Coltrane to the pianist's radical approach. Miles Davis was able to welcome him back into his quintet in December of that year; they were to go on to make the transition to modal music with "Milestones" and "Kind of Blue".

Experimenting with new harmonic ideas was exactly what was encouraged in the Miles Davis and Thelonious Monk environments, with Miles especially an encourager and mentor. It was Miles who bought John Coltrane a soprano saxophone as a gift and suggested he should work on playing it. It was visiting Blue Note to find recordings by the great clarinetist and soprano sax player of an earlier era, Sydney Bechet, that had brought John Coltrane into contact with Alfred Lion and the hatching of the idea of an album for Blue Note. And it was with Miles Davis that John Coltrane was encouraged to develop further musically. As he recalled, he found it "easy to apply the harmonic ideas I had... I started experimenting because I was striving for more individual development."

The title track, "Blue Train" is based around a short minor blues theme that shifts to major when John Coltrane opens up with his liberating eight chorus solo. It is not too simplistic to say that it captures that sense of the opening out to possibilities that his change in direction in life had brought. In an emblematic way it encapsulates everything that came to be felt about John Coltrane as a centre of black pride and optimism that oppression would be overcome; what led Miles Davis to say on John Coltrane's death in July 1967: "Trane's music…..represented, for many blacks, the fire and passion and rage and anger and rebellion and love that they felt, especially among the young black intellectuals and revolutionaries of that time…. It was that way for many intellectual and revolutionary whites and Asians as well… Trane' s death made me real sad because not only was he a great and beautiful musician, he was a kind and beautiful and spiritual person that I loved. I miss him, his spirit and his creative imagination……"*

Lee Morgan, just nineteen, plays an explosive trumpet solo, better than his somewhat disjointed efforts on the "Blue Train (additional take)" track. Curtis Fuller on trombone plays with bluesy intensity. Kenny Drew contributes a snakey, low down blues piano solo before the return to that unforgettable harmonized minor horn theme. It is a great start to a great album.

The next track, "Moment's Notice" is more uptempo yet continues the distinctive hamonization. And later, "Lazy Bird", said to be a variation on Tadd Dameron's "Lady Bird", is swinging and uptempo with space for fine solos by Lee Morgan, Curtis Fuller, John Coltrane and then Kenny Drew. These compositions are important since they are the first recorded example of one of John Coltrrane's greatest innovations, the experimental use of a cycle of thirds; the so called "Coltrane changes".

In the ii-V-I chord progression that is at the heart of jazz, the movement of the root notes is in minor or major seconds (a semitone or whole tone movement). John Coltrane discovered chord substitutions that gave root note movements of a major third (four semitones) or a minor third (three semitones), the so called "giant steps". There is speculation that he may have discovered this in the bridge to the Richard Rodgers and Lorentz Hart song "Have You Seen Miss Jones" where the sequence BbM7, GbM7, DM7, GbM7 occurs, the only known jazz standard to have this cycle of major thirds. John Coltrane would later expand on this idea in the compositions "Giant Steps" and "Countdown", a reworking of Miles Davis' "Tune Up". The long and short of this is that "Blue Train" is seminal in John Coltrane's development, the first time he had explored this most lasting of contributions to modern jazz.

"Locomotion" is high tempo upfront bop with charactersistic interspersed runs from John Coltrane.

The only ballad on the album, the Jerome Kern / Johnny Mercer standard "I'm Old Fashioned", is a place for John Coltrane's quieter, more conventional side to be showcased. What stands out is the complete control of his instrument and the wonderful timbre he had achieved by this time. None of this is accidental. He had worked long and hard to perfect this, working with the instrument makers Selmer to achieve exactly the sound he wanted. He was playing a Selmer Mark VI at this time, fitted with a 5-star medium metal Otto Link mouthpiece and a No. 4 Rico reed; a heavy combination that would have taken tremendous energy to blow successfully.

So, while there is little surprise in claiming "Blue Train" as a great jazz album, it is very clear that there is much more to its importance than its reputation as John Coltrane's 'only Blue Note'.
http://100greatestjazzalbums.blogspot.com/2008/11/blue-train-john-coltrane-blue-note.html

Putumayo World Music....

Video featuring performance of "I'll Be Satisfied" by Hope Waits from the Putumayo World Music Women of Jazz compilation.

Airto Moreira

Living in U.S.A. since 1967, Airto Moreira develops on works world music and is professor of Etnomusicologia in the UCLA. Educator in diverse countries also acts as producing and. Recognized for producers and teachers as the percussionist most popular of the world, he is undeniable its contribution for the development and maintenance of the high level of the call worldmusic. He enters the artists of world-wide reputation, with who it already presented itself and recorded, is Antonio Carlos Jobim, Miles Davis, Chick Corea, Wayne Shorter, Herbie Hancock, Stanley Clarke, Carlos Santana, Gil Evans, Barbieri Cat, Paul Simon, Quincy Jones, among others.

Airto Moreira was born, in 1941, in interior Itaiópolis – of Santa Catarina –, and lived its first years in Curitiba. Before exactly of literally walking with its proper legs already each time batucava in the soil that heard in the radio a ritmada music. If this worried its mother, the same it did not happen with its grandmother who recognized its potential she encouraged and it if to express it musically. To the six years of age, already it received compliments for its way to sing and to touch percussion. After that, the sender of local radio gave a program to it that went to air all the afternoons of Saturday. The thirteen years professional musician became touching percussion, battery and singing in ball bands. To the sixteen years he changed himself for São Paulo, starting to regularly present in nocturnal houses and programs of television as percussionista, baterista and singer.

In 1965, in Rio De Janeiro, the singer knew Purim Flora. Flora was for the United States, in 1967, and, then later, it followed it to Airto. A time in New Iorque, started to touch with important musicians as Reggie Workman, JJ Johnson, Cedar Walton and the stock exchange operator Walter Booker. It was through Booker that started to touch with Cannonball Adderley, Lee Morgan, Paul Desmond and Joe Zawignul. In 1970, Zawignul indicated Airto for a session of writing with Miles Davis, for the album “ Bitches Brew ”. After this, Davis it invited it, together with Hermeto Pascoal, to join it its group that, at the time was composed for some icons of the jazz as Wayne Shorter, Dave Holland, Jack De Johnette, Chick Corea and, later, John McLaughlin and Keith Jarrett. Airto integrated the group of Miles Davis per two years appearing in “ Live/Evil ”, “ Live at the Fillmore ”, “ On the Corner ”, “ The Isle of Wight ”, “ Bitches Brew ” e, later, in the presentations of Fillmore.

Airto was invited to integrate the original formation of the Weather Report with Wayne Shorter, Joe Zavignul, Miroslav Vitous and Alphonse Mouzon, having recorded with them the album “ The Weather Report ”. Immediately afterwards the original group Return was joined it you the Forever de Chick Corea with Flora Purim, Joe Farell and Stanley Clarke with which it recorded the albums: “ Return you the Forever ” and “ Light a Feather ”. In 1974 it formed, with Flora Purim, its first band in the United States: Fingers.

He was known in years 70 and 80, as one of the percussionistas most popular of the world. Its domain on the instruments, ally to its ability in taking off the certain sound at the accurate moment, made of it number one in the list of the producers and bandleaders. Its work with Quincy Jones, Herbie Hancock, George Duke and Paul Simon, Carlos Santana, Gil Evans, Barbieri Cat, Michael Brecker, The Crusaders, Chicago and many others, including the participation in sonorous tracks for the cinema, as in “ The Exorcist ”, “ Last Tango in Paris ”, “ King of the Gypsies ” and “ Apocalypse Now ”, only represents a small part of the contribution of Airto for music in last the three decades. The impact of its work took the Downbeat magazine to consider the category ‘ percussion ’ in the voting of its readers and critics, in which Airto was the absolute winner for more than twenty times, since 1973. In recent years, the percussionista number one for the Jazz was considered Teams, Modern Drummer, Drum Magazine, Jazzizz Magazine, Central Jazz Station Global ’ s Pool Jazz in the Internet, in a similar way that for some European, Latin American and Asian publications.

Airto comes promoting the cause of percussiva music in the whole world as member of “ Planet Drum Percussion Ensemble ”, together with Mickey Hart, baterista of “ The Grateful Dead ”, that it also includes the great specialist in conga Giovanni Hidalgo and the tablista virtuoso Zakir Hussein, in a similar way that Flora Purim, Babatunde Olatunji, Sikiru and Viku Vinakrian, with which they had received the Grammy in 1991, in the category ‘ World Music ’. The instrumentista still contributed for the Grammy received for the Dizzy Gillespie ’ s United Nations Orchestra in the category ‘ better album of jazz to the living creature ’. Also it composed and it touched its “ Brazilian Spiritual Mass ” in a special one of two hours for the German TV, with the WDR Philharmonic Orchestra in Colony. This rare performance was registered in vinyl for the Harmonia Mundi stamp and permitted in video distributed in the whole world. More recently, was invited musician of the Boston Pops Philharmonic special Orchestra in for PSB TV and also with the Smashing Pumpkins in “ Unplugged ” of MTV, with the Japanese group of Kodo percussion and in the last COMPACT DISC “ Exciter ” of the Depeche Mode group.

Its record “ Killer Bees ” for the Melt2000 stamp, that has as invited Herbie Hancock, Stanley Clarke, Chick Corea, Mark Egan and Hiram Bullock, was one of the albums more acclaimed by the critical one in the European market. Its alone record “ Homeless ”, launched in 2000, is considered an album of high energy with tribal rhythms and continues balancing the soil of the houses of dance in the whole world. Other launchings in this stamp include the group Fourth World with Jose Grandson and Purim Flora. Its song ‘ Celebration Suite ’ was reverse speed-mixada in the year passed for group DJ Bellini Brothers and received the heading ‘ Samba from January ’ This band remains in first place in the category “ dances music ” in 26 countries of the Europe, Asia and Latin America.

In 2000, one more time it was voted as percussionista number one by the readers of the Downbeat Magazine. Airto finishes to record an album with the Japanese group of Kodo percussion, in which two of its compositions had been enclosed: ‘ Maracatu ’ and ‘ Berimbau Jam ’. ‘ Maracatu ’ was chosen by being one of official musics of the pantry of the World of 2002 and served as subject of the ceremony of opening of the event in Japan. As professor in the Department of Etnomusicologia of the UCLA, it comes opening new horizontes in terms of musical concepts and creative energy. It divides its time enters the writings in studios, workshops and shows, creating new projects including DVD Surrond Sound, as well as searching new materials for future performances in the United States, Europe, Asia and Latin America.

Diana Krall & Natalie Cole - route 66