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Post by Entendance on Apr 23, 2022 10:44:15 GMT -5
Coro de cor Sombra de som de cor De mal-me-quer De mal-me-quer de bem De bem me diz De me dizendo assim, serei feliz Serei feliz de flor De flor em flor De samba em samba em som de vai e vem De verde, verde ver pé de capim Bico de pena, pio de bem-te-vi Amanhecendo sim perto de mim Perto da claridade da manhã A grama, a lama, tudo é minha irmã A rama, o sapo, o salto de uma rã Perto de mim Perto da claridade da manhã A grama, a lama, tudo é minha irmã A rama, o sapo, o salto de uma rã
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Post by Entendance on Apr 24, 2022 9:08:38 GMT -5
Lagoa e Ipanema em 1904. Eduardo Camoes
Olha que coisa mais linda, Mais cheia de graça É ela menina Que vem que passa Num doce balanço Caminho do mar Moça do corpo dourado Do sol de Ipanema O seu balançado É mais que um poema É a coisa mais linda Que eu já vi passar
Ah, porque estou tão sozinho Ah, porque tudo e tão triste Ah, a beleza que existe A beleza que não é só minha Que também passa sozinha Ah, se ela soubesse Que quando ela passa O mundo sorrindo Se enche de graça E fica mais lindo Por causa do amor
Rio que mora no mar Sorrio pro meu Rio que tem no seu mar Lindas flores que nascem morenas Em jardins de Sol Rio serras de veludo Sorrio pro meu Rio que sorri de tudo Que é dourado quase todo o dia E alegre como a luz
Rio é mar, é terno se fazer amar O meu Rio é a Lua, amiga branca e nua É Sol é sal, é sul São mãos se descobrindo em tanto azul Por isso é que meu Rio da mulher beleza Acaba num instante com qualquer tristeza Meu Rio que não dorme porque não se cansa Meu Rio que balança sorrio, sorrio Sorrio, sorrio
Ela é carioca, ela é carioca Basta o jeitinho dela andar Nem ninguém tem carinho assim para dar Eu vejo na cor dos seus olhos As noites do Rio ao luar Vejo a mesma luz, vejo o mesmo céu Vejo o mesmo mar
Ela é meu amor, só me vê a mim A mim que vivi para encontrar Na luz do seu olhar A paz que sonhei Só sei que sou louco por ela E pra mim ela é linda demais E além do mais Ela é carioca, ela é carioca
Só sei que sou louco por ela E pra mim ela é linda demais E além do mais Ela é carioca, ela é carioca
Veja como bate engraçado o meu coração assim Tum tum tum tum tum tum tum Tum tum tum tum tum tum tum tum Tum tum tum Bate realmente sincopado Vem ouvir aqui Mas bem pertinho de mim Tum tum tum tum tum tum tum tum Tum tum tum Se do coração batida diferente faz você vibrar Eu vou lhe mostrar que o meu coração Tum tum tum tum tum pode variar E juntos nós iremos tentar mudar e improvisar O que vem do coração Tum tum tum tum tum tum tum tum Tum tum tum
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Post by Entendance on Apr 28, 2022 16:41:12 GMT -5
Jenny said, when she was just five years old You know there's nothin' happening at all Every time she put on the radio There was nothin' goin' down at all Not at all One fine mornin', she puts on a New York station And she couldn't believe what she heard at all She started dancin' to that fine-fine-fine-fine music Ooohhh, her life was saved by rock 'n' roll Hey baby, rock 'n' roll Despite all the amputations You could dance to a rock 'n' roll station And it was all right It was all right Hey babe
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Post by Entendance on May 7, 2022 7:13:52 GMT -5
Peter Palus “Pete” Cosey was born on October 9th 1943 in Chicago. He was the only child of a musical family. His father and mother wrote for Louis Jordan and Eddie “Cleanhead” Vinson and his father played for Sidney Bechet and Josephine Baker. In the early years of the 1960s Pete became a key session musician at Chess Records, appearing on recordings by Howlin’ Wolf, Muddy Waters, the Rotary Connection, and Etta James, and he worked with the great Phil Cohran in the Artistic Heritage Ensemble. Pete was also an early member of The Pharaohs and a group with drummer Maurice White and bassist Louis Satterfield that eventually evolved into Earth, Wind & Fire. Yet he is probably most remembered for his genius work with Miles Davis in the early to mid 70s when Davis broke up the band in 1975.
Pete played on the famous bandleader/trumpeter’s heaviest, most electric avantgarde albums, including Agharta, Pangaea, and Get Up With It.
His fiercely flanged and distorted guitar work bore more than a few comparisons to Jimi Hendrix. Afterwards Pete continued to appear on records, including Herbie Hancock’s Future Shock and an album with Japanese saxophonist Akira Sakata. In 2003, he scored a short film, directed by Eli Mavros, Alone Together and in 2004, he appeared in the Godfathers and Sons episode of Martin Scorsese’s documentary series The Blues. In 2007-08, Pete contributed to 5 tracks on the CD Miles from India, which celebrates the music of Miles Davis: “Ife (Fast)”, “It’s About That Time”, “Miles Runs the Voodoo Down”, “Great Expectations”, and “Ife (Slow)”. On May 30, 2012, Pete Cosey died at age 68 from complications following surgery.
Born: May 26, 1926 Died: September 28, 1991
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Post by Entendance on May 28, 2022 11:54:41 GMT -5
Ivanir Mandrake Do Nascimento Ivanir Do Nascimento (Guaratinguetá, Brasil, May 21, 1934 -Roma, September 1988) was an Brazilian singer and percussionist naturalized Italian, active in Italy since the end of the fifties and known by the name of Mandrake or MandrakeSom.
Innumerevoli le volte che ho assistito ai concerti di Mandrake negli anni '70 a Roma, al Folkstudio e al Music Inn; ricordo molto bene l'atmosfera di quelle notti e il sano piacere di ascoltare dei veri professionisti dal vivo.
Di Irio De Paula ho già scritto, ma è qui importante ricordare l'affetto che Pepito e Picchi nutrivano per lui, dandogli la possibilità di suonare quasi ogni settimana a Largo dei Fiorentini; io non mancavo mai. Che notti!
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Post by Entendance on Jun 2, 2022 2:41:30 GMT -5
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Post by Entendance on Jul 10, 2022 11:01:53 GMT -5
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Post by Entendance on Jul 14, 2022 10:17:34 GMT -5
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Post by Entendance on Jul 15, 2022 12:51:47 GMT -5
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Post by Entendance on Jul 17, 2022 6:25:00 GMT -5
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Post by Entendance on Jul 31, 2022 5:19:36 GMT -5
James, 77 anni, sempre in anticipo e tuttora rivoluzionario.
James continua ad avere sensibilità più di chiunque altro, nel mondo musicale italiano.
Onore a James.
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Post by Entendance on Aug 12, 2022 4:08:53 GMT -5
Uma luz azul me guia Com a firmeza e os lampejos do farol E os recifes lá de cima Me avisam dos perigos de chegar Angra dos Reis e Ipanema Iracema, Itamaracá Porto Seguro, São Vicente Braços abertos sempre a esperar Pois bem, cheguei Quero ficar bem à vontade Na verdade eu sou assim Descobridor dos sete mares Navegar eu quero
Uma luz azul me guia Com a firmeza e os lampejos do farol E os recifes lá de cima Me avisam dos perigos de chegar Angra dos Reis e Ipanema Iracema, Itamaracá Porto Seguro, São Vicente Braços abertos sempre a esperar Pois bem, cheguei Quero ficar bem à vontade Na verdade eu sou assim Descobridor dos sete mares Navegar eu quero
Uma lua me ilumina Com a clareza e o brilho do cristal Transando as cores dessa vida Vou colorindo a alegria de chegar Boa Viagem, Ubatuba Grumari, Leme e Guarujá Praia Vermelha, Ilhabela Braços abertos sempre a esperar Pois bem, cheguei Quero ficar bem à vontade Na verdade eu sou assim Descobridor dos sete mares Navegar eu quero sim
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Post by Entendance on Aug 16, 2022 10:06:28 GMT -5
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Post by Entendance on Sept 2, 2022 12:14:06 GMT -5
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Post by Entendance on Sept 3, 2022 10:26:12 GMT -5
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Post by Entendance on Sept 10, 2022 11:16:20 GMT -5
“Did you exchange a walk on part in the war for a lead role in a cage?” An Open letter to Mrs. Olena Zelenska from Roger Waters Sunday 4th September 2022Dear Mrs. Zelenska, My heart bleeds for you and all the Ukrainian and Russian families, devastated by the terrible war in Ukraine. I’m in Kansas City, USA. I have just read a piece on BBC.com apparently taken from an interview you have already recorded for a program called ‘Sunday with Laura Kuenssberg’ which is to be broadcast on the BBC today, September 4th. BBC.com quotes you as saying that “If support for Ukraine is strong, the crisis will be shorter.” Hmmm? I guess that might depend on what you mean by “support for Ukraine”? If by “support for Ukraine” you mean the West continuing to supply arms to the Kiev government’s armies, I fear you may be tragically mistaken. Throwing fuel, in the form of armaments, into a fire fight, has never worked to shorten a war in the past, and it won’t work now, particularly because, in this case, most of the fuel is (a) being thrown into the fire from Washington DC, which is at a relatively safe distance from the conflagration, and (b) because the ‘fuel throwers’ have already declared an interest in the war going on for as long as possible. I fear that we, and by we I mean people like you and me who actually want peace in Ukraine, who don’t want the outcome to be that you have to fight to the last Ukrainian life, and possibly even, if the worst comes to the worst, to the last human life. If we, instead, wish to achieve a different outcome we may have to seek a different route and that route may lie in your husband’s previously stated good intentions.
Yes, I mean the platform upon which he so laudably ran for the office of President of Ukraine, the platform upon which he won his historic landslide victory in the democratic election in 2019. He stood on the election platform of the following promises.
1. To end the civil war in the East and bring peace to the Donbas and partial autonomy to Donetsk and Luhansk. 2. And to ratify and implement the rest of the body of the Minsk 2 agreements.
One can only assume that your husband’s electoral policies didn’t sit well with certain political factions in Kiev and that those factions persuaded your husband to diametrically change course ignoring the peoples mandate. Sadly, your old man agreed to those totalitarian, anti-democratic dismissals of the will of the Ukrainian people, and the forces of extreme nationalism that had lurked, malevolent, in the shadows, have, since then, ruled the Ukraine. They have, also since then, crossed any number of red lines that had been set out quite clearly over a number of years by your neighbors the Russian Federation and in consequence they, the extreme nationalists, have set your country on the path to this disastrous war.
I won’t go on.
If I’m wrong, please help me to understand how?
If I’m not wrong, please help me in my honest endeavors to persuade our leaders to stop the slaughter, the slaughter which serves only the interests of the ruling classes and extreme nationalists both here in the West, and in your beautiful country, at the expense of the rest of us ordinary people both here in the West, and in the Ukraine, and in fact ordinary people everywhere all over the world.
Might it not be better to demand the implementation of your husband’s election promises and put an end to this deadly war?
Love Roger Waters
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Post by Entendance on Sept 14, 2022 4:55:55 GMT -5
Jazz pianist, three-time Grammy winner, and NEA Jazz Master Ramsey Lewis, who successfully crossed over from the Jazz charts to the Pop charts, most notably with his smash hit “The In Crowd,” died peacefully at his home in Chicago on the morning of September 12. He was 87.
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Post by Entendance on Sept 24, 2022 11:58:53 GMT -5
'Questo libro racconta l'incredibile e affascinante storia del principe Pepito Pignatelli, batterista e appassionato di jazz, del mondo che gli ruotava attorno e che in larga parte è coinciso con la Roma della Dolce vita, e delle sue mille, folli imprese per portare nella capitale la musica che considerava la più bella del mondo. Il suo cahier nobiliare lo teneva quasi nascosto, scritto su una mattonella di ceramica appesa nella piccola cucina dell'attico di via della Lungaretta 97 in cui ha vissuto per vent'anni. Nato in Messico da un padre donnaiolo e dissipatore, cresciuto nella Roma del fascismo, innamoratosi del jazz in giovanissima età, al punto da assordare con i suoi assoli di batteria i padri gesuiti del prestigioso collegio dove era stato spedito a studiare, Pepito Pignatelli è un personaggio leggendario: a vent'anni ha fondato il Mario's Bar, primo jazz club italiano; ancora giovanissimo ha conosciuto il carcere per una scapestrata vicenda di droga; dagli anni Cinquanta ha animato le notti dei locali più celebri, tra via Veneto e Trastevere; si è coperto di debiti pur di tenere in vita il Blue Note e il Music Inn, due locali che hanno fatto la storia; ha conosciuto, ospitato, accompagnato nei loro giorni romani maestri come Chet Baker, Gato Barbieri, Dexter Gordon. Un affresco della Roma degli anni Sessanta e Settanta condotto attraverso la biografia in note di un suo grandissimo protagonista.'
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Post by Entendance on Oct 8, 2022 8:22:22 GMT -5
Un documentario ricostruisce la storia del Music Inn, storico club in cui si esibirono i più grandi jazzisti americani, luogo di formazione umana ed artistica per schiere di giovani artisti italiani
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Post by Entendance on Oct 12, 2022 4:45:56 GMT -5
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Post by Entendance on Oct 16, 2022 3:34:41 GMT -5
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Post by Entendance on Nov 4, 2022 14:06:37 GMT -5
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Post by Entendance on Nov 6, 2022 14:06:59 GMT -5
Do nothin' till you hear from me Pay no attention to what's said Why people tear the seam of anyone's dream Is over my head
Do nothin' till you hear from me At least consider our romance If you should take the word of others you've heard I haven't a chance
True, I've been seen with someone new But does that mean that I'm untrue? When we're apart, the words in my heart Reveal how I feel about you
Some kiss may cloud my memory And other arms may hold a thrill But please do nothin' till you hear it from me And you never will
Do nothin' till you hear from me Pay no attention to what's said Why people tear the seam of anyone's dream Is over my head
Do nothin' till you hear from me At least consider our romance If you should take the word of others you've heard I haven't a chance
True, I've been seen with someone new But does that mean that I'm untrue? When we're apart, the words in my heart Reveal how I feel about you
Some kiss may cloud my memory And other arms may hold a thrill But don't do nothin' till you hear it from me And you never will
"Do Nothing till You Hear from Me" (also written as "Do Nothin' Til You Hear from Me") is a song with music by Duke Ellington and lyrics by Bob Russell. It originated as a 1940 instrumental that was designed to highlight the playing of Ellington's lead trumpeter, Cootie Williams. Russell's words were added later. In 1944, Ellington's own recording of the song was a number one hit R&B chart for eight non-consecutive weeks and number six on the pop chart.
This title was originally published under the title "Concerto for Cootie". Later a text was fit to the composition and it changed the name to "Do nothing till you hear it from me".
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Post by Entendance on Nov 17, 2022 12:52:27 GMT -5
Keith Jarrett, così eclettico, ma così inavvicinabile e urticante...quasi impossibile comunicare con lui. Un incubo per chiunque lo abbia avuto in concerto, a dispetto dei sorrisi che concede quando si mette in posa per essere fotografato.
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Post by Entendance on Nov 19, 2022 17:27:46 GMT -5
What Kaiser and Smith have demonstrated with the Yo Miles! project, above all, is that the jazz fusion idiom essentially created by Davis (with a little help from his early collaborators and some inspiration from rock and funk influences such as Jimi Hendrix and James Brown) was a great vehicle for creative playing, providing possibilities both for tight, funky ensemble work à la Brown and extended collaborative improvisations. Of course, musical second-raters subsequently rode jazz fusion into the ground, but the Yo Miles! cast demonstrates that the form itself is still vital when it's in the right hands. Kaiser and Smith shine, as usual. Smith, who was once dismissed as a cerebral jazz intellectual, is ebullient and expansive throughout.
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Post by Entendance on Nov 26, 2022 8:30:26 GMT -5
The Complete Blue Note Recordings of Albert Ammons and Meade "Lux" Lewis
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Post by Entendance on Dec 16, 2022 13:39:19 GMT -5
Esther Phillips (born Esther Mae Jones; December 23, 1935 – August 7, 1984)
One of the premiere r&b vocalists of the 1950s through the 1980s, 'Little Esther' Phillips possessed both great talent and even greater demons. When she was an adolescent, her parents divorced, and she was forced to divide her time between her father in Houston and her mother in the Watts area of Los Angeles. Although she was brought up singing in church, she was hesitant to enter a talent contest at a local blues club, but her sister insisted and Esther complied. The young dynamo wowed the club owner, bluesman Johnny Otis, and he immediately signed her to his roster of performers. Esther would record on Otis's record label, and perform in his revue. Otis gave her the moniker 'Little Esther' that would follow her throughout her career.
Esther Phillips' voice had a unique nasal sound that delighted audiences with its distinct phrasing and exacting diction. She scored many r&b hits in the early 1950s, but soon became disillusioned with Johnny Otis, finally walking out when her refused her request for a salary increase. Through the remainder of the decade, Esther recorded for various record companies without success. She returned to Houston to live with her father at this time, and to deal with the greatest challenge in her young life -- her drug dependency. Apparently, the stress of life on the road with hardened blues performers, and her insecurities had led her to indulge in heroin as an escape. After rebounding from her dark days, Esther worked small nightclubs in the southwest, and was spotted by rising star Kenny Rogers, who loved her sound. He arranged a recording contract for her, and she released a hit country and western album. She dropped the adjective 'Little' from her name then. Soon after she signed with Atlantic records and released a series of records with only modest success. They dropped her in 1967, and her drug dependency deepened. After a stint in a rehab hospital, Atlantic re-signed Esther, and soon released a live album consider to be among her best. The label attempted to squeeze Esther into a pop singer mold, but she wasn't comfortable in the role, so again they cut her free from her contract. In 1971 jazz maestro Creed Taylor signed her to his Kudu label, and this is where Esther's best work can be found. Soon she was singing in high-profile venues along with big-name talent, and international jazz festivals. In 1975, she scored her biggest hit single since her early days with Johnny Otis with the early disco track 'What A Diff'rence A Day Makes,' a remake of a Dinah Washington standard. Soon restless, Esther left Kudu records for another label in 1977, but was never able to duplicate her success. Depression and insecurity again hounded her and she again turned to heroin, and this time alcohol. She released a few records on small independent labels with little success or notice. The years of addiction had taken a huge toll on 'Little Esther' Phillips and she succumbed to liver and kidney failure in Los Angeles.
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Post by Entendance on Dec 28, 2022 13:29:47 GMT -5
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Post by Entendance on Dec 30, 2022 12:48:15 GMT -5
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Post by Entendance on Dec 31, 2022 9:48:48 GMT -5
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