MrDjango1953
Lady Be Good Practice Session 20th January Django Reinhardt Style Beuscher 1950s Busato
updated 9 months ago
Guitar – Jimmy Wyble
Vibraphone – Bob Harrington
Acoustic Bass – Bob Carter
Drum – Lloyd Morales
Los Angeles, 1958.
From the album ''Websters Unabridged''
From the album ''Websters Unabridged''
From the album ''Websters Unabridged''.
From the album ''Websters Unabridged''.
From the album ''Websters Unabridged'' (1959) Produced by Chet Atkins
From the album ''Websters Unabridged''.
From the album ''Websters Unabridged''.
From the album ''Websters Unabridged''.
From the album ''Websters Unabridged''.
From the album ''Websters Unabridged''.
From the album ''Websters Unabridged'' (1959) Produced by Chet Atkins
Hampton Hawes - piano
Denny Dias - guitar
Carol Kaye - electric bass
Al Williams - drums
Denny's solo is 7:00 in
Recorded: August 28, 1976 at the Great American Music Hall in San Francisco.
Guitar – Chuck Wayne
Piano – Dick Katz
Bass – Joe Benjamin
Drums – Connie Kay
Playing Debussy's prelude ''Danseuses de Delphes'' in 1965.
(JS Discos – CS/109) (1970)
Here is ''Canto Sentido'', a very beautiful and haunting song written by Alcyvando Luz e Julio Barata marvellously sung by Alcyvando Luz.Released on the small label JS Discos in 1970.
I'VE NEVER HEARD SATIE PLAYED BETTER THAN THIS.
A fantastic bossa jazz version of the beautiful samba of Zé Keti ''Diz Que Fui Por Ai'' by obscure Brazilian singer Gigi.
ITS AMAZING TO THINK SHE WAS GOOD FRIENDS WITH SATIE WHO CALLED HER HIS ''MUSICAL DAUGHTER'' ,SO WE CAN BE FAIRLY SURE THIS IS WHAT SATIE WANTED HIS MUSIC TO SOUND LIKE.
MORE INFO:
Marcelle Germaine Taillefesse was born at Saint-Maur-des-Fossés, Val-de-Marne, France, but as a young woman she changed her last name from "Taillefesse" to "Tailleferre" to spite her father, who had refused to support her musical studies. She studied piano with her mother at home, composing short works of her own, after which she began studying at the Paris Conservatory where she met Louis Durey, Francis Poulenc, Darius Milhaud, Georges Auric, and Arthur Honegger. At the Paris Conservatory her skills were rewarded with prizes in several categories. Most notably, Tailleferre wrote 18 short works in the Petit livre de harpe de Madame Tardieu for Caroline Luigini, the Conservatory's Assistant Professor of harp.
With her new friends, she soon was associating with the artistic crowd in the Paris districts of Montmartre and Montparnasse, including the sculptor Emmanuel Centore who later married her sister Jeanne. It was in the Montparnasse atelier of one of her painter friends where the initial idea for Les Six began. The publication of Jean Cocteau's manifesto Le coq et l'Arlequin resulted in Henri Collet's media articles that led to instant fame for the group, of which Tailleferre was the only female member.
In 1923, Tailleferre began to spend a great deal of time with Maurice Ravel at his home in Montfort-l'Amaury. Ravel encouraged her to enter the Prix de Rome Competition. In 1926, she married Ralph Barton, an American caricaturist, and moved to Manhattan, New York. She remained in the United States until 1927, when she and her husband returned to France. They divorced shortly thereafter.
Tailleferre wrote many of her most important works during the 1920s, including her First Piano Concerto, the Harp Concertino, the ballets Le marchand d'oiseaux (the most frequently performed ballet in the repertoire of the Ballets suédois during the 1920s), La nouvelle Cythère, which was commissioned by Sergei Diaghilev for the ill-fated 1929 season of the famous Ballets Russes, and Sous les ramparts d'Athènes in collaboration with Paul Claudel, as well as several pioneering film scores, including B'anda, in which she used African themes.
In 1931 she gave birth to her only child, daughter Françoise Lageat, with lawyer Jean Lageat. The couple married one year later and would later divorce in 1955 after years of separation.[2][3]
The 1930s were even more fruitful, with the Concerto for Two Pianos, Chorus, Saxophones, and Orchestra, the Violin Concerto, the opera cycle Du style galant au style méchant, the operas Zoulaïna and Le marin de Bolivar, and her masterwork, La cantate de Narcisse, in collaboration with Paul Valéry. Her work in film music included Le petit chose by Maurice Cloche and a series of documentaries.
At the outbreak of World War II, she was forced to leave the majority of her scores at her home in Grasse, with the exception of her recently completed Three Études for Piano and Orchestra. Escaping across Spain to Portugal, she found passage on a boat that took her to the United States, where she lived the war years in Philadelphia, Pennsylvania.
After the war, in 1946, she returned to her home in France, where she composed orchestral and chamber music, plus numerous other works including the ballets Paris-Magie (with Lise Delarme) and Parisiana (for the Royal Ballet of Copenhagen), the operas Il était un petit navire (with Henri Jeanson), Dolores, La petite sirène (with Philippe Soupault, based on Hans Christian Andersen's story "The Little Mermaid"), and Le maître (to a libretto by Ionesco), the musical comedy Parfums, the Concerto des vaines paroles for baritone voice, piano, and orchestra, the Concerto for Soprano and Orchestra, the Concertino for Flute, Piano, and Orchestra, the Second Piano Concerto, the Concerto for Two Guitars and Orchestra, her Second Sonata for Violin and Piano, and the Sonata for Harp, as well as an impressive number of film and television scores. The majority of this music was not published until after her death.
Germaine Tailleferre continued to compose right up until a few weeks before her death, on 7 November 1983 in Paris. She is buried in Quincy-Voisins, Seine-et-Marne, France.[4]
In Britain, BBC Radio 3 broadcast five hours of biography and critique of Tailleferre's works, in one of its series Composer of the Week, including recordings of her works (available as podcasts), in the final week of July 2023.[5
Very nice playing and a great tone from Dick Garcia particularly his great rhythm guitar playing.His brief but excellent solo begins at 2:08
I've tried to reproduce as much as possible what Astor actually composed originally for a full orchestra.
One or two minor sound issues in the middle section i'm afraid but despite that this performance was the best i filmed.
Hope you enjoy it and ''préparez vos mouchoirs''! :-)
Stu
This arrangement © copyright EMI Publishing 2022.
The biggest influence in this particular arrangement is 20th century French classical music by Ravel,Debussy and Satie.... and of course jazz pianist Bill Evans too.
Hope you enjoy it.Stu Blagden.
YOU MUST BELIEVE IN SPRING (MICHEL LEGRAND) SOLO JAZZ GUITAR
My version is based on the original recording of the song sung unforgettably by Milton Nascimento.
this arrangement copyright Stu Blagden © 2021
Stu Blagden - cavaquinho
Jonathan Preiss - violao sete cordas
The first section here is a bit 'film noir-ish' in atmosphere.The second section is sunnier in feel.
I'm using an amazing turbo pick made by luthier Killy Nonis and a 1950s Paul Beuscher Selmer Style Guitar.
Hope you enjoy it.Stu Blagden London UK
A very nice version of Django's signature tune by the Oscar Peterson Trio featuring Herb Ellis. The impeccable Ray Brown on string bass.
Ellis shows he is very familiar with Django's last recording of Nuages recorded in 1953, only 3 years before this performance quoting some passages note for note.
Oscars interplay with Herb Ellis is a delight throughout.
Photo from left to right Django,Eddie Barclay and Oscar Peterson.
Recorded at the Shakespeare festival in Stratford upon Avon UK in 1956.
Recorded at the University Club, Pasadena, California November 1, 1969.
Recorded at the University Club, Pasadena, California November 1, 1969.
Here's recent solo guitar arrangement i did of Burt Bacharach and Hal David's beautiful song ''The Look Of Love'' .
My favourite vocal version is (of course) by Dusty Springfield.
I tried to do something new with the song,emphasizing the modal and (maybe surprisingly) the folk elements of the melody.The implied rhythm is more or less Argentinian 'milonga'.
Hope you enjoy it.Stu Blagden.
From the rare Eckstine 1958 album ''Mr B in Paris''.
The orchestra was recorded in Paris in 1957 while Eckstine's vocal was overdubbed in London in 1958.
Musicians include Don Byas tenor sax, Bobby Tucker piano, Pierre Michelot bass and Kenny Clarke drums.