Su primer contacto con la música se debe a la gran afición de su padre al flamenco. Chano es actualmente el músico que tiene mayor fama por combinar esta música con el jazz. Ha grabado varios discos y colaborado con músicos y cantantes en España y otros países. Fue el único músico español en la película de Fernando Trueba Calle 54 dedicada al jazz latino.

Aqui os dejo el último disco de este gran músico: New Flamenco Sound

Descarga

This video has two tunes, so enjoy.

Till next time

Pascal Comelade + Bel Canto Orchestra, Live 1983
01 Bel Canto Orchestra (3:22)
02 Bel Canto Orchestra (2:29)
03 Bel Canto Orchestra (2:38)
04 Bel Canto Orchestra (3:02)
05 Bel Canto Orchestra (2:16)
06 Bel Canto Orchestra (3:12)
07 Bel Canto Orchestra (4:18)
08 Bel Canto Orchestra (2:28)
09 Bel Canto Orchestra (7:56)

Pascal Comelade solo, 1982-83
10 Pascal Comelade solo (9:46)
11 Pascal Comelade solo (4:24)
12 Pascal Comelade solo (1:51)
13 Pascal Comelade solo (3:31)
14 Pascal Comelade solo (2:26)
15 Pascal Comelade solo (3:10)
16 Pascal Comelade solo (1:59)
17 Pascal Comelade solo (0:56)
18 Pascal Comelade solo (1:03)
19 Pascal Comelade solo (0:54)

Total time: 61:35
Cassette ADN Tapes #05, 1984

Pascal Comelade: piano, toy piano, keyboards,
guitar and various instruments on side B
Pierre Bastien: cello, violin, trumpet
Cathy Claret: flutes, toy drums, marimba
Laurent Churet: guitars, drums
J.A. Achille: ???
Christophe Darmante: ???
Other instruments: melodica, organ, bass guitar, percussion, xylophone

As far as I can tell, this is the first official Bel Canto Orchestra recording. Prior to this, Pascal Comelade produced solo electronic music on AKS/EMS synth. 'Milano Enarmonisto' can thus be considered a transition release, with one side featuring the newly launched Orchestra, while side B collects tracks created on his own by Comelade, mixing electronic, real and toy instruments. Comelade first included toy instruments in his music on the 1983 'Logique Du Sens' Tago Mago cassette, where Cathy Claret is on flute and toy piano. The Bel Canto side has everything one could expect from such mavericks: minimalistic, awkward melodies on grand piano and assorted instruments. The solo side starts with a Suicide-like electronic loop, on which PC adds melodica notes. Other tracks feature more typical Comelade ingredients: guitar, piano and toy piano.

Download.

Phew. On to the Western Conference Finals. I'm lovin it.

- J Diaz

t sport

Billy Vaughn was quite a whirlwind for a while in the 1950's and 1960's. He not only led his own orchestra on many best-selling records, but was also backing up some of the era's biggest pop stars. Included among them were Pat Boone, Gale Storm, and the Fontane Sisters, who became stars when he provided help for them on their huge hit, "Hearts Of Stone."

Vaughn actually began as a singer and the founder of the Hilltoppers, a very successful vocal group, but within a few years moved on to become musical director for Dot Records. It was an association that would continue for many years and in the process lead to selling a lot of records.

At Dot Records Billy had a big impact on the careers of many stars, and Pat Boone was one of the biggest. He was probably the best example of one of Vaughn's special talents -- taking established R&B songs and reworking them for 'safer' performers. With hindsight we can debate the practice til the cows come home, but it did bring a wider audience to many tunes and eventually led to more recognition for some of the original performers.

But Billy Vaughn was also a big success with his own orchestra for many years, dominating the charts with dozens of hits, including "Melody Of Love," "Sail Along Silvery Moon," and "Swingin' Safari."  He also developed a style of music that he termed his 'twin-sax' sound, and it became his musical trademark.

His success continued through the 1960's, but eventually his style of music passed into the rear-view mirror for most listeners, and by the 1970's he was pretty much in retirement. He died in 1991, but his name is still a familiar one to those who often enjoyed his feel-good music.

Buy the album.

Basically, the essentials. The cherries on the jazz and blues cakes of the 20th century. La crème de la crème... et fouetté en plus...

Download Mixtape

• According to Hubie the Lakers' transition game has been brilliant so far. They've been attacking the basket. All five Lakers have scored.
• Lakers lead 12-8 with 7 minutes to play.
• Kobe drives into the paint, fouled by Kobe
• .......
• Lakers lead 18-10 with 5 minutes to go in the first
• Kirilenko stripped in the paint, fastbreak, Fisher pushes it, nobody stops the ball, layup, fouled and forced the miss. Hubie is having a go at Utah for not stopping the ball.
• Vujacic nails a three with a minute to go in the first quarter
• Lakers lead 33-18 with 30 seconds remaining and with Ronnie Price shooting two FTs, hits the first, hits the second. Lakers lead 33-20.
• Second quarter
• Takes a minute and a half but Utah opens the scoring. Korver hits a three from the right corner.
• Kobe hits two FTs. Lakers lead 42-29
• There's 8 minutes to go in the second. The lead is 13, largest lead has been 16.
• Defensive rebound Odom, Kobe puts on a dribbling show, then loses control, regains the dribble, blows past Harpring on the baseline, draws the foul. Great call Hubie, Kobe set Harpring up on that play, he called the pick and roll over, never had any intention of using it, blazed right and beat Harpring in two dribbles to the rim. He hits 1 of 2.
• Fisher gets the steal, fastbreak, fouled, Fisher gets the layup up and gets the cotinuation
• Kobe Bryant on the break, slam dunk. He's back.
• Deron drives inside, hand off to Booz for the open layup.
• Lakers lead 50-35 with 5 plus minutes to go
• Sasha has a three pointer rim in and out from the top of the key
• Deron gets Odom on the mismatch, he calls a clearout, threatens the drive and takes the pull up J, miss. Gasol snatches the rebound, that's 10 boards for Gasol.
• Screen and roll between Kobe and Gasol, threaded bounce pass in traffic, dunk
• Okur misses the turnaround out of the post, tip by Kirilenko, good
• Utah is shooting only 31% shooting and they have only 5 offensive rebounds. Great defense by LA tonight.
• Vujacic hits his fourth FG, that's 4-5 from the field and 2-3 from three.
• Lakers lead 55-37
• Deron Wiiliams catches the ball 28 feet and on the left wing, drives right towards the middle, spin move backwards, layup in the lane. Nice move.
• Deron swings it to the opposite wing to Okur, Okur spots Kirilenko cutting to the rim, passes, foul on AK
• Timeout
• Fisher picks Williams' pocket again
• Kirilenko with blocks forcing the turnover on back to back possessions
• Boozer picks up the offensive foul with the lead shoulder
• Deron Williams fouls after the non-call on his shot to beat the half
• Fisher takes two FTs, hits two
• Halftime
• Lakers lead 61-43

I'm tempted to call this right now. There's no way the Lakers lose this game. I'm going to stop this notes on the game for the time being .... I'll continue to watch the rest of the game and if Utah make this a game I'll click back into this post.

Boston at Cleveland, 8 p.m. ESPN: There are a couple of key things to watch for here, starting with the officiating. How much help are the refs going to give the LeBron? In the last two games they have let the Celtics play some pretty physical defense on TheBron. Yes, I know, hard to believe. I would seriously expect that to stop tonight. If the refs let them play, Boston could win tonight. Yes, the Cavs are missing Boobie — that would have been death last year — but now they have Wally. The Celtics’ inexperience playing together, and Cleveland’s sneaky goodness in the playoffs will mean a Game 7. Besides, LeBron is due to go off, no?

Los Angeles at Utah, 10:30 p.m. ESPN: The Lakers aren’t exactly easy to like, with Kobe Bryant’s arrogance and Pau Gasol’s propensity for demonstrative whining. But there are few more annoying and obnoxious fan-bases than the one in Salt Lake City. So it's a wash. The Jazz got lucky in their last home game, when Kobe forgot that he had teammates in overtime. That won’t happen again tonight. The Lakers are the better team, and they’ll break through on the road to earn a spot in the WCF.

Photo by NBAE via Getty Images

5 out of 5

(Photo by Francis Wolff, Blue Note Records)

My post of 8 January included a clip of 'A Night In Tunisia' by Art Blakey and the Jazz Messengers. It was filmed at the Theater des Champs Elysees on 15 November 1959. The lineup was one of Blakey's best: Wayne Shorter (ts), Lee Morgan (tpt), Walter Davis Jnr (p) and Jymie Merritt (b). Here is the whole 51 minute concert film, courtesy of Google video. Tunes: 'Blues March' / 'Are You Real?' / 'A Night In Tunisia' / 'Close Your Eyes' / 'Goldie'

[googlevideo=http://video.google.com/videoplay?docid=-5286038518308148821&q=&hl=en]

This incarnation of the Messengers made numerous recordings. My favourite is a raucous motherfucker recorded on 18 December 1959, again at the Theater des Champs Elysees. It is known as Paris Jam Session, and features Bud Powell on two of his own tunes.

Bobby Timmons replaced Walter Davis Jnr for a string of classic quintet LPs: The Big Beat (March '60), Like Someone in Love and A Night In Tunisia (August '60), Meet You At The Jazz Corner Of the World 1 & 2 (September 1960), Pisces (February '61), The Witch Doctor (March '61), The Freedom Rider (May '61), and Art Blakey & Jazz Messengers (June '61).

In late 1961 Blakey expanded the band to a sextet (Curtis Fuller on trombone) with Freddie Hubbard replacing Lee Morgan and Cedar Walton filling the piano chair. This version of the band recorded my favourite Blakey record, Free For All. But more on that at a later date.

Link: A comprehensive Messengers discography

Aunque pueda sonar nostálgico el título de este primer texto de mi sección "En el Jardín de la Noche", no es tal, es sólo un recuento de estos últimos años en que la música ha sido una constante. 

En el título hacía referencia a "Hojas Muertas", "Automn Leaves", originalmente "Les feuilles mortes" escrita por Jacques Prévert con música de Joseph Kosma, pero conocida con letra de Johnny Mercer como jazz standard y ejecutada por muchos jazzmaster hasta ser consagrada en 1956 por Nat King Cole en el film del mismo nombre... Igual, me podía haber referido a "Summer Times" de Gershwin, o cualquier otro tema del querido Louis "Satchmo" Armstrong... Da igual, sólo me refiero a esa hermosa época entre los 17 y 23 años en que algunos nos dedicamos a escuchar y conocer sobre Jazz y pensamos que el resto del mundo y de nuestra generación vale verga, nos la pasamos con amigos mayores tomando lo que cae en nuestras manos y con suerte acostándonos con una chica 5 años mayor... si, esa dulce época del alcohol y John Coltrane a las 4 de la mañana... Ya después tenemos que pagar las cuentas y drogas, y algunos con más suerte tenemos la oportunidad de ser brokers para otros perdedores que ganarán o perderán su dinero a nuestro antojo cualquier mañana en esta triste ciudad de New York...

Hace una semana me encontraba en la soleada y hermosa ciudad de Los Angeles, fue cuando conocí a Adelina Massoli, hermosa y viva a pesar de todos sus años, después de unos tragos en el Standard de Sunset Blvd. me contó toda la historia de este sitio alternativo y los grandes proyectos de los directores cubanos que trabajaban con ella... me contó de una película independiente hecha sin dinero y otras tantas cosas que después de tantas sustancias ingeridas no recuerdo, me dijo que esperaban la colaboración de todos... que siempre se podía colaborar como fuera, entonces decidí empezar esta sección que está dedicada a todos lo que como yo han dejado la vida pasar desde que pensamos que  Hojas Muertas era lo mejor y que el resto de las personas que no la conocían merecían la muerte... y disculpas por la cacofonía, pero después de 8 años de alcohol y drogas a diario es un gran esfuerzo conjugar dos palabras... ya para estas alturas debería estar muerto, es una proeza haber sobrevivido tantas sustancias y accionistas molestos por perder su dinero mientras yo me las agencio para tener una de las trompetas originales de Dizzy Gillespie en la sala de mi casa... aunque a decir verdad nuca se valoró del todo al cabrón... tanta orquesta de Naciones Unidas no sustituyeron al viejo Herbie o algo tan sencillo como los Depeche en un concierto con unas muchachas en el mismo palco... Si, lo viejos jazzistas no se las agenciaron para llevar muchas chicas a sus conciertos, y como los dinosaurios, ahí encontraron su muerte... me he encontrado noches newyorkinas con viejos jazzomanos que me dicen, hay un jam el viernes en el Birland con Rebecca Parris y realmente he preferido alcoholizarme con los Digitalism en una fiesta de jovenzuelos con mi sobrino Hans y sus amigas del colegio hasta amanecer sin coche, borracho y abochornado en una casa cualquiera de Brooklyn Highs... si, una verguenza es mejor a mis treintaiocho años que regresar a esos tiempos en que nos sentíamos más inteligentes que el resto porque sabíamos apreciar esa vieja tonada del "Hojas Muertas"...

專輯名稱：Blue Alert
演唱歌手：Anjani
發行日期：2006.05.19
發行公司：Sony
音樂風格：Jazz
專輯簡介：

這位來自夏威夷、有著深刻輪廓的靈性美女，自幼便展現對吉他、鋼琴與演唱的驚人天份，在柏克萊音樂學院畢業後便一人獨自前往紐約，在街角的爵士酒館中演唱。天生完美的歌喉加上獨特的氣質，馬上被音樂巨擘李歐納孔 Leonard Cohen看中，進而被邀請擔任他的專輯「Hallelujah」的幕後合音，奠下兩人日後合作的基礎。在幕後浸淫多年後，終於於今年和美國哥倫比亞Columbia唱片公司簽約，正式成為Leonard Cohen旗下第一位女藝人，同時發行她的專輯「藍色警戒」。這張由李歐納孔 Leonard Cohen跨刀製作的專輯，充分展現兩人多年的合作默契，除了展現Leonard Cohen一貫的靈魂深度，更加入了Anjani的超強音樂底子靈活呈現。由於Anjani對文學創作的濃烈興趣，讓她遊走在理性與感性之間，細膩的忠實呈現在所創作的作品中，無論是民謠、鄉村、搖滾樂風，都帶有獨特的自我風格之外，更讓作品深具客觀、多角度的欣賞價值。最特別的是DVD部分忠實紀錄Leonard Cohen和Anjani在錄音過程的點滴紀錄片，以及The Mist、Thanks for The Dance兩支音樂錄影帶，如此豐富而完整的女性音樂家音樂歷程，絕對是一張質感與流行感兼具的品味天碟。

曲目：

01. Blue Alert
02. Innermost Door
03. The Golden Gate
04. Half The Perfect World
05. Nightingale
06. No One After You
07. Never Got To Love You
08. The Mist
09. Crazy To Love You
10. Thanks For The Dance

http://www.badongo.com/file/9401431
http://www.badongo.com/file/9401611

專輯名稱：Rough Cuts
演唱歌手：Parov Stelar
發行日期：2004.10.14
發行公司：Dream Beat
音樂風格：Nu jazz, Acid Jazz, Future Jazz, Jazz-Groove
專輯簡介：

這位來自奧地利的Nu Jazz／Electro／Broken Beats電音創作鬼才，對他的認識免不了的是從Hotel Costes開始的（Hotel Costes第8、第九輯皆收錄了Parov Stelar的作品），本名Marcus Fureder的Parov Stelar，除了聽過他的音樂，對他的了解幾乎是等於零！這位行事作風低調神秘的怪ㄎㄚ做起音樂來可是會讓人馬上就對他產生深刻的印象哩！第一張專輯作品《Rough Cuts》所帶來的酒館小調／嘻哈節奏，折衷地將Nu Jazz／Electro／House／Vocal元素融混為一體，仍然顯得性感而神秘...

曲目：

01. Sometimes (feat. Anita Riegler)
02. Tell Me (feat. Anita Riegler & Peter Kreuzer)
03. For All We Know
04. Odessa
05. Psychadelic Jazz
06. Kisskiss
07. Red Haired Woman
08. Afternoon Breaks
09. I Hold You
10. The Fusion (feat. Peter Kreuzer)

http://www.badongo.com/file/9402675
http://www.badongo.com/file/9402848
http://www.badongo.com/file/9402360

P.S.將PStelar-RC-10.rar
改名為PStelar-RC-1.rar

Well I went 50% on my picks during both Game 5's. So I gotta step my game up this time around haha. The absence of Gibson is gonna hurt the Cavs. Bron is gonna have one less person to pass out to for a perimeter shot. And I'm still waiting for Jesus Shuttlesworth to step up. What the fuck happened with him? 34% is not gonna cut it. I still think the road drama is gonna continue and Clev. will come out with a W. Sorry Boston, you gotta win outside your homecourt be considered a contender. Speaking of winning on the road. Farmar and the supporting cast gotta step it up if they wanna take Utah out tonight. If they brush up on their mishaps from last game I think they can wrap it up. Gonna be tough regardless. What are your thoughts ya'll?

Santos se transformará em um grande palco para arte e cultura nos dias 17 e 18 de maio, quando será realizada na Cidade a Virada Cultural. O evento oferecerá 24 horas ininterruptas de atividades em vários pontos do Município. Feita há quatro edições na Capital, será promovida pelo segundo ano consecutivo em Santos. Além daqui, outras 19 cidades do interior paulista receberão o evento.

A abertura oficial será às 18 horas, do dia 17, no palco principal montado na Praça Mauá. Após a abertura, terá início a programação em vários pontos, se estendendo até às 18 horas do dia 18. O público poderá conferir mais de 40 atrações, nas áreas de música, teatro, artes circenses, literatura, cinema e manifestações folclóricas.

As apresentações ocorrerão na Praça Mauá, Teatro Coliseu, Casa da Frontaria Azulejada, Oficina Cultural Pagu. Este ano uma das novidades será a programação no Centro de Cultura Patrícia Galvão, local onde será realizada a 11ª Bienal Nacional de Santos – Artes Visuais, que no dia da Virada ficará aberta 24 horas. O Museu da Imagem e do Som de Santos (Miss), também instalado no Centro de Cultura, é outro equipamento que promoverá programação especial na data.

Além dos palcos e apresentações fixas, também já é tradição na Virada Cultural as aparições de artistas circenses, espetáculos de rua, instalações e experiências visuais que surgem no meio da multidão, em intervenções artísticas que aproximam o público da arte, criando um clima de integração e harmonia entre artistas e espectadores.

A realização do evento é do Governo do Estado de São Paulo e da Prefeitura de Santos. Todas as atividades são gratuitas. Informações e programação completa no site: www.santos.sp.gov.br

Music defined much of my early life. My parents quite accidentally provided me with an incredible musical foundation. Unlike my peers, I was never allowed to listen to Madonna. The rule was if you wanted to listen to anything, it had to play on a record (I didn't get my own tape player until I was 10). This meant listening to whatever we had in my house, what could be pilfered from my grandparent's Bronx apartment or what we could pick up at garage sales and second hand record stores. My mom's collection consisted of Cat Stevens, Janis Joplin, the Flashdance soundtrack, Star Wars (no one knows where this came from), Aretha Franklin, Carole King, Joni Mitchell, the Beatles and the Moody Blues. My grandparent's apartment held Frank Sinatra, Bing Crosby, Louis Prima, Dean Martin, Lou Monte, Ella Fitzgerald, the South Pacific soundtrack, Billie Holiday and the Three Tenors. My Dad's one album was the hit single, "American Pie." Being naive, I assumed everyone listened to this stuff, when they weren't listening to MC Hammer

When I was 12, we got our first CD player, with a six CD changer. It came with six free CDs: Bette Midler's "Experience the Divine," Highlights from Les Miserables, A Smokey Mountain Christmas (Christmas music as played by Earl Scruggs, on his banjo), Barry White's Greatest Hits, the Best of Andrew Lloyd Weber, and a mix CD that featured such early hits as, "In the Mood" and "Rhapsody In Blue." I fell in love with all of it. The call and response of blues, and the jazz of George Gershwin's "Rhapsody in Blue," which was only appropriate to listen to at full volume. I had a very definite visual to go along with RIB, as it was my idea of what the Harlem Renaissance must have felt like. I have no idea how or why I connected a white, Jewish composer to an African-American movement, but mentally, it worked for me. It was only later in college that I discovered this was in fact Gershwin's intention, as he said the piece was meant to be "heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness."

Beyond jazz, I was also in love with Broadway music. From the Les Miserables "highlight" soundtrack, to the Andrew Lloyd Weber CD, I had music from thirty years of Broadway right at my fingertips. I started singing them all, alone, in the living room. The songs always played at full volume, so I couldn't never quite hear my voice above the music. It was my grandmother who told my parents she thought I might be a good singer and perhaps they might want to get me lessons, if anything, to relieve them all from hearing the same song over and over again while I worked to "feel it" throughout my body in the right way.

It had never occurred to me that people could go for voice lessons, so when I went to my first lesson, I had no idea what I was supposed to do. We went through scales and then I was asked to sing something. I didn't own any sheet music, so I just went ahead and started, a cappella, not knowing how it was going to work. It turns out, I had perfect pitch, timing and belted so vivaciously that I felt a physical vibration in the room from it. That was all it took, I was hooked. Lessons began twice a week, then I found a mentor who worked with me an additional day a week in exchange for my babysitting services. I sang along to everything, including the violin parts of classical music. My voice was way more mature than my 13 year old body let on. I auditioned for local musicals, joined a jazz group where we performed at some really cool venues.

Eventually, I started going to Manhattan School of Music for further training. This was in addition to my lessons with a maestro and his accompanist on the Upper West Side, my ongoing jazz group and attending recordings, rehearsals and performances and even the Drama Desk Awards, for an off-Broadway musical my mentor was starring in. My idea of an education was to absorb as much as I could from as many angles as possible. For instance, if I was singing something from Evita, I'd research Eva Peron and the presidency of Juan Peron. That was my life, daily commutes into Manhattan from my private middle/high school in Westchester and endless hours of practice and homework from both schools.

Despite all of the work, passion and time I devoted to my love, I never quite felt my voice was good enough to perform solo. I knew in my heart of hearts, it was, but a crippling stage fright overtook me 70 percent of the time. And despite the mature voice, I was still an adolescent with zero confidence. I was starting to burn out from all of the pressure and fear I had put on myself.

One day, when I was 16, I simply had enough. I stopped, abruptly and permanently. My music books, scores and endless notes, CDs and programs began to sit in my bookshelves collecting dust. Today, my voice isn't anywhere near where it used to be (this is especially evident during Karaoke sing-offs), but music still runs through me like blood. I remember every lyric to every song I've ever had to sing, including ones from elementary school. I may have been able to turn off the voice then, but my musical memory and my love for the art, can never be extinguished.

-- Downtown

Os dois concertos do festival, promovido pelo município local, vão decorrer às 21:30, no Cine-Teatro Municipal, para "mostrar o jazz de qualidade que se faz em Portugal e no estrangeiro", disse Rui Santana, da organização.

O Maio Jazz pretende "diversificar os gostos musicais da população de Almodôvar e conquistar novos públicos para o jazz, oferecendo bons espectáculos", acrescentou o responsável, frisando que o festival, ao longo das últimas cinco edições, "conseguiu criar um público fiel".

A primeira noite do festival, sexta-feira, será animada pelo "etno-jazz" dos espanhóis Estambul, que misturam jazz, música progressiva e folk com ritmos étnicos de países como a Turquia, Grécia, Marrocos, Roménia e Bulgária.

A cantora de jazz Jacinta, acompanhada por Rui Caetano ao piano e Bruno Pedroso na bateria, sobe ao palco do Cine-Teatro Municipal sábado para apresentar Convexo (A música de Zeca Afonso), o seu mais recente álbum num tributo à obra do cantautor de música de intervenção.

A Formiga no Carreiro, Cantigas de Maio e A Morte Saiu à Rua são algumas das 11 músicas de Zeca Afonso que vão ser ouvidas na voz de Jacinta e com uma nova sonoridade jazz na última noite do MaioJazz.

Fonte: RTP Notícias