Neil Young After The Goldrush sofullyours 2008-12-11 | Born To Rock 'n Roll (1986) Live from the rusted out garage tour
Secret Lake 2012 sofullyours 2012-07-31 | Dave, Arny, Lisa, Michael, Norman, Teresa, Dreamer, Tripper and Kenzie with guest appearance by Paul, Marion and Bear
wind on shore sofullyours 2011-06-12 | We were winded in during a recent canoe trip in Algonquin Park. A short clip to show what it was like.
Eating Soup on Crow Bay sofullyours 2011-06-12 | We were winded in during a recent canoe trip in Algonquin Park. A short clip to show what it was like.
Neil Young Like A Hurricane sofullyours 2008-12-10 | Rare: Born To Rock 'N Roll (1986) live from his Rusted Out Garage Tour
Loner Bruce Cockburn sofullyours 2008-11-03 | InnerCityFront(1981) Lyrics: Down at the bus station Shark grins and sandpaper conversation Men's faces women's bodies on the magazine stand And a headline about Sarajevo and Tehran They are radiant angels, they are earthly slaves They are predators moving in their endless days Days of striving, nights of novocaine Never going to bring them freedom from their pain I'm a loner With a loner's point of view I'm a loner And now I'm in love with you Wild shadows, acid verbs Eyelids opening dans mon coeur Tu me touche comme la pression Des etoiles sur les tenebres* In the elevator and the empty hall How am I ever going to hear you when you call I'm always living and I always die on the event horizon of your eyes I'm a loner With a loner's point of view I'm a loner And now I'm in love with you * TRANSLATION: Wild shadows acid verbs Eyelids opening in my heart You touch me like the pressure Of the stars on the darkness
A Love Supreme, Pt. 2- Resolution B. Marsalis, (J. Coltrane) sofullyours 2008-07-11 | Footsteps of our Fathers
Hypnotized, Ani DiFranco sofullyours 2008-07-08 | From her album: Canon Audio CD (September 11, 2007) Original Release Date: September 11, 2007 Number of Discs: 1 Label: Righteous Babe ASIN: B000TXZVH0
Keb Mo Lullaby Baby Blues sofullyours 2008-07-05 | Album: Just Like You Audio CD (June 18, 1996) Original Release Date: June 18, 1996 Number of Discs: 1 Label: Sony ASIN: B000002BAQ
Witches, Cowboy Junkies (audio) sofullyours 2008-06-23 | The Caution Horses Audio CD (February 22, 1990) Original Release Date: March 13, 1990 Number of Discs: 1 Label: RCA ASIN: B000002W2K Lyrics: There are witches in the hills calling my name saying come join us sister, come kiss the flame Come dance in the moonbeams, ride the night wind make love to the darkness and laugh at man's sins I shiver with delight, I shiver with fear my heart wants to go but my soul's filled with fear So I turn to my lover and ask what do I do do I answer their call or stay here with you But under spell of deep sleep he moans and turns away taking his protection and my desire to stay So I rise to the hill tops, I ride the night winds I make love to the darkness and laugh at man's sins
You Will Be Loved Again, Cowboy Junkies (Audio) sofullyours 2008-06-23 | From the Album: The Caution Horses Audio CD (February 22, 1990) Original Release Date: March 13, 1990 Number of Discs: 1 Label: RCA ASIN: B000002W2K Lyrics: How could he take you in his arms And help you to be free Then leave you forgotten And is it enough to cry? When you're so taken Her cold eyes tell you you're not welcome She tells lies but you'll take her back again And is it enough to die? When you're so broken... You will be loved again You will be loved again But will she sing and will she dance And will she forever But will he sing and will he dance And will he forever Someday you will feel a love so deep And you'll find someone not lost in sleep And you will be loved again You will be loved again You will be loved again
Deep Dead Blue, Molly Johnson (Audio) sofullyours 2008-05-31 | Album: Molly Johnson (2000) Molly Johnson has earned her reputation as one of Canada's greatest voices... She has rocked standing-room only audiences in nightclubs and bars from coast-to-coast as a pop artist, and seduced the patrons of salons and lounges with her luscious interpretations of jazz and blues standards. http://www.mollyjohnson.com
Concorde, Branford Marsalis Quartet sofullyours 2008-05-26 | Album: Footsteps of our Fathers "Concorde" John Lewis (BMI) Branford Marsalis - Saxophones Joey Calderazzo - Piano Eric Revis - Bass Jeff "Tain" Watts - Drums
Interlude & Movement 2 Freedom Suite, Branford Marsalis Quar sofullyours 2008-05-26 | Album: Footsteps of Our Fathers Freedom Suite Sonny Rollins (BMI) Branford Marsalis - Saxophones Joey Calderazzo - Piano Eric Revis - Bass Jeff "Tain" Watts - Drums
Constantinople, Patricia Barber sofullyours 2008-05-23 | Modern Cool Patricia Barber - piano, vocal, table knives on strings Michael Arnopol - bass John McLean - guitar Mark Walker - drums, percussion, prepared drum kit Dave Douglas - trumpet Jeff Stitely - udu Choral Thunder Vocal Choir Recorded and mixed at Chicago Recording Company Studio 5, Chicago, IL on January 6th-9th and February 26th, 1998 Produced By Patricia Barber Executive Producer: Michael Friedman Graphic: Eagle and Snake, 6th century mosaic flooring Constantinople, Grand Imperial Palace
Love, Put On Your Faces, Patricia Barber sofullyours 2008-05-23 | Graphic: Eagle and Snake, 6th century mosaic flooring Constantinople, Grand Imperial Palace Album: Modern Cool Patricia Barber - piano, vocal, table knives on strings Michael Arnopol - bass John McLean - guitar Mark Walker - drums, percussion, prepared drum kit Dave Douglas - trumpet Jeff Stitely - udu Choral Thunder Vocal Choir Recorded and mixed at Chicago Recording Company Studio 5, Chicago, IL on January 6th-9th and February 26th, 1998 Produced By Patricia Barber Executive Producer: Michael Friedman
Let It Rain, Patricia Barber (Audio Only) sofullyours 2008-05-23 | Modern Cool Patricia Barber - piano, vocal, table knives on strings Michael Arnopol - bass John McLean - guitar Mark Walker - drums, percussion, prepared drum kit Dave Douglas - trumpet Jeff Stitely - udu Choral Thunder Vocal Choir -Touch Of Trash [stream|download] -Winter -You & The Night & The Music -Constantinople -Light My Fire -Silent Partner -Company [stream|download] -Let It Rain -She's A Lady -Love, Put On Your Faces -Postmodern Blues -Let It Rain - Vamp Recorded and mixed at Chicago Recording Company Studio 5, Chicago, IL on January 6th-9th and February 26th, 1998 Produced By Patricia Barber Executive Producer: Michael Friedman
The Nearness of You, Branford Marsalis sofullyours 2008-05-20 | When words can't take us where we need to go... The Nearness of You (H. Carmichael, N. Washington) Album: "Trio Jeepy," Branford Marsalis Street Date May 26, 1989 Studio/Live Studio Mono/Stereo Stereo Producer Delfeayo Marsalis Engineer Ben Rizzi Personnel Branford Marsalis - soprano & tenor saxophones Milt Hinton Jeff "Tain" Watts - drums
Silent Partner, Patricia Barber (Audio Only) sofullyours 2008-05-19 | "Modern Cool." Patricia Barber - piano, vocal, table knives on strings Michael Arnopol - bass John McLean - guitar Mark Walker - drums, percussion, prepared drum kit Dave Douglas - trumpet Jeff Stitely - udu Choral Thunder Vocal Choir -Touch Of Trash -Winter -You & The Night & The Music -Constantinople -Light My Fire -Silent Partner -Company [stream|download] -Let It Rain -She's A Lady -Love, Put On Your Faces -Postmodern Blues -Let It Rain - Vamp Recorded and mixed at Chicago Recording Company Studio 5, Chicago, IL on January 6th-9th and February 26th, 1998 Produced By Patricia Barber Executive Producer: Michael Friedman
Duke Ellington, Lotus Blossom (solo) (Strayhorn) sofullyours 2008-05-18 | And His Mother Called Him Bill, 1967 Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums). I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses. Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody. Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album. Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift. (Ellington's spontaneous emotive piano; you can hear the chatter in the background as the band members packed up at the end of this recording session.)
Duke Ellington, Lotus Blossom (Trio) (Strayhorn) sofullyours 2008-05-17 | And His Mother Called Him Bill (1967) Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums). I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses. Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody. Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album. Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Duke Ellington, After All (Billy Strayhorn) sofullyours 2008-05-17 | And His Mother Called Him Bill (1967) Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums). I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses. Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody. Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album. Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Duke Ellington, The Intimacy of the Blues (Strayhorn) sofullyours 2008-05-17 | And His Mother Called Him Bill (1967) Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums). I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses. Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody. Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album. Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Duke Ellington, My Little Brown Book (Billy Strayhorn) sofullyours 2008-05-17 | And His Mother Called Him Bill (1967) Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums). I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses. Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody. Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album. Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Duke Ellington, Blood Count (Billy Strayhorn) sofullyours 2008-05-17 | And His Mother Called Him Bill (1967) Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums). I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD *And His Mother Called Him Bill.* Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the the love story it expresses. Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody. Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album. Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift. Blood Count is the last composition written by Billy Strayhorn in the months before he died
