Recent Event Highlights: Lover Man (Live 1954) by Billie Holiday, Television movies for the week of May 30 - Pittsburgh Post Gazette - MSMDC ... - MSMDC News (blog), Wynton Marsalis, Doris Day, Reverse Racism – and All That Jazz - Big Hollywood (blog), Geri Allen & Timeline Live - All About Jazz, Lover Man W/ Kohlert 55 Alto Saxophone, Rolled Tone Holes, Great Shape $295, Charlie Parker Lover Man (Oh, Where Can You Be), and 62 more...
Created by dipity on May 21, 2009
Last updated: 10/21/10 at 07:14 PM
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Billie Holiday accompanied by Count Basie sings "Lover Man" in 1954 at Carnegie Hall as part of the new Jazz at the Philharmonic troupe, including Charlie Parker and Tony Scott.
GLT" 'Oklahoma!' is doing fineGreenville NewsOn the other hand, Reed Halvorson as Will Parker the underdog lover of Ado Annie, hits all the right moves and is a pleasure to watch . ...
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Television movies for the week of May 30 - Pittsburgh Post Gazette - MSMDC ...MSMDC News (blog)A young man becomes increasingly suspicious that his mother's new lover is concealing an evil side. (PG-13) (1:45) STZ: Sun. 11:40 AM, 7:15 PM, Mon. ...Television movies for the week of June 6Pittsburgh Post Gazetteall 4 news articles »
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Wynton Marsalis, Doris Day, Reverse Racism – and All That JazzBig Hollywood (blog)Charlie Parker and Thelonious Monk both spoke openly of their admiration for Bach, Bartok, Debussy, Ravel, Schoenberg, and others - and proudly admitted ...
http://news.google.com/news/url?fd=R&sa=T&url=http%3A%2F%2Fbighollywood.breitbart.com%2Fcwinecoff%2F2010%2F06%2F03%2Fwynton-marsalis-doris-day-reverse-racism-and-all-that-jazz%2F&usg=AFQjCNHZzFvc-xAYs71EfnpDtheNYb27Ag
All About JazzGeri Allen & Timeline LiveAll About JazzThe set's timeline references the continuum of African-American music and culture in Charlie Parker's "Ah Leu Cha" and the tributary "In Appreciation," ...
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This is a cover of Parker's Lover Man with a Kohlert 55 Alto Saxophone. This Alto is in great shape no dings/dents with perfect Intonation. $295 MATERIAL IS USED UNDER THE GUIDELINES OF "FAIR USE" IN TITLE 17 § 107 OF THE UNITED STATES CODE. SUCH MATERIAL REMAINS THE COPYRIGHT OF THE ORIGINAL HOLDER AND IS USED HERE FOR THE PURPOSES OF EDUCATION, COMPARISON, AND CRITICISM ONLY.
Telegraph.co.ukClint Eastwood: immortality in his sights.Telegraph.co.ukPlay Misty for Me ends with Eastwood's character, Dave Garver, knocking his lover through a window and down Big Sur's rocky cliffs. ...and more »
http://news.google.com/news/url?fd=R&sa=T&url=http%3A%2F%2Fwww.telegraph.co.uk%2Fculture%2Ffilm%2Fstarsandstories%2F7778211%2FClint-Eastwood-immortality-in-his-sights..html&usg=AFQjCNHClhRAAa2We-8T6kAC-ebgm8dWVw
1990 album Gitanes Jazz: 'Round Midnight
Television movies for the week of May 23Pittsburgh Post GazetteA young man becomes increasingly suspicious that his mother's new lover is concealing an evil side. (PG-13) (1:45) STZ: Sat. 9 PM (CC) • Steppin: The Movie ...
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A beat i made in FL8 (4april2009) I sampled Lover Man by Charlie Parker for the piano and If by Nelly for the drums www.youtube.com
Robert Anchipolovsky alto saxophone Gregory Rivkin trumpet Alec Katz piano Dima Grodsky bass Gasper Bertoncelj drums Recorded Live At The Shablul Jazz Club May 17/2010
ForbesBig Apple Spotlight: Downtown DrinksForbesThe neighborhood has long been famous as a home for artists and writers, both real (Dylan Thomas, Charlie Parker) and fictional. After a day of shopping and ...
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Quote Of The Day (Cynthia Nixon)Gaea Times (blog)By WENN “His teachers were just so great about it, because they were the first people that started referring to 'Charlie's moms,' which is so lovely, ...and more »
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Me on the alto playing lover man, maybe not the best, I know, but oh well.
This recording is well known in all the jazz fans. Parker was heavy drunked condition and over doze of heroin. But I feel his soul from professional alto player. Charlie Parker(as) Howard McGhee(tp) Jimmy Bunn(p) Bob Kesterson(b) Roy Porter(ds) Great^^! Recorded ,29th July, 1946. ジャズ・ファンã®é–“ã§ã¯çŸ¥ã‚‰ãªã„æ–¹ã¯ã¾ãšã„ãªã„ã¨æ€ã‚ã‚Œã‚‹æ˜ ç”»Birdã§ã‚‚撮影ã•れãŸ,ãƒãƒ£ãƒ¼ãƒªãƒ¼ãƒ»ãƒ‘ーカーã®ãƒ©ãƒãƒ¼ãƒ»ãƒžãƒ³ã§ã™ã€‚アルコールã®å¤§é‡æ‘‚å–ã¨ãƒ˜ãƒã‚¤ãƒ³ã‚’æ‘‚å–ã—ãŸä¸ã§è¡Œã‚れãŸ,ã„ã¾ã‚ã—ã„セッションã§ã™ãŒ,æ„è˜ãŒæœ¦æœ§ã¨ã™ã‚‹ä¸ã§ã‚‚パーカーã®ãƒ—ãƒã¨ã—ã¦ã®,æ„è˜ã‚’感ã˜ã¾ã™ã—,何ã¨ã‹æœ€å¾Œã¾ã§å¹ãã¨ãŠã—ã¦ã„る所ã«å½¼ã®ãƒ—ãƒã¨ã—ã¦ã®é‚を感ã˜ã¾ã™ã€‚ã“ã®éŒ²éŸ³ã®ç›´å¾Œã‚«ãƒžãƒªãƒå·žç«‹ç—…院ã«å¼·åˆ¶å…¥é™¢ã¨ãªã‚Šã¾ã™ã€‚個人的ã«ã¯ãƒ‘ーカーã®ã‚³ãƒ¬ã‚¯ã‚·ãƒ§ãƒ³ã‹ã‚‰ã¯çµ¶å¯¾ã«å¤–ã›ãªã„一枚,1曲ã§ã™ã€‚。 Charlie Parker(as) Howard McGhee(tp) Jimmy Bunn(p) Bob Kesterton(b) Roy Porter(ds) 1946å¹´7月29æ—¥ ãƒã‚¹ã‚¢ãƒ³ã‚¸ã‚§ãƒ«ã‚¹ã«ã¦ã®éŒ²éŸ³ã§ã™ã€‚。ã™ã‚“ã°ã‚‰ã—ã„♪♪。。
George Benson live at The Jazz Underground in NY 1974......
Recorded: Compilation of interviews / Air check Bebop City w/ Michael Anderson, WBGO-FM Newark, New Jersey, possibly around 1995. Lover Man Session Recorded: CP MacGregor Studios, Hollywood, CA, July 29, 1946 Personnel: Charlie Parker Quintet Charlie Parker - Alto Sax Howard McGhee - Trumpet Jimmy Bunn - Piano Bob "Dingbod" Kesterson - Bass Roy Porter - Drums ** Note: Colorful Language
1946å¹´ã®ãƒ€ã‚¤ã‚¢ãƒ«ãƒ»ã‚»ãƒƒã‚·ãƒ§ãƒ³ã‹ã‚‰5年後ã€LOVER MANã®éŒ²ã‚Šç›´ã—ã¨è¨€ã‚ã‚“ã°ã‹ã‚Šã®ãƒ¬ã‚³ãƒ¼ãƒ‡ã‚£ãƒ³ã‚°ã€‚ã•ã¦ã€è©•è«–å®¶ã®é–“ã§ã¯ã€ãªã‹ãªã‹è¾›å£ã®è©•価ã¨ãªã‚Šã¾ã—ãŸã€‚ã‚€ã—ã‚ã€46å¹´ç›¤ã®æ¼”å¥ã®æ–¹ã‚’「良ã—ã€ã¨ã—ã€æŒã¡ä¸Šã’ã¦ã„る人もã„ã¾ã™ã€‚ã¾ãã€æ¯”較ã—ã¦è«–ã˜ã‚‹ã¹ãã‚‚ã®ã§ã‚‚ãªã„よã†ãªæ°—ã‚‚ã—ã¾ã™ãŒãƒ»ãƒ»ãƒ»ã€‚
å··é–“ä¼ãˆã‚‰ã‚Œã¦ã„る話ã§ã¯ã€ã“ã®éŒ²éŸ³å½“日パーカーã¯ç›¸å½“ä½“èª¿ãŒæ‚ªãç«‹ã£ã¦ã„ã‚‹ã®ã‚‚ã‚„ã£ã¨ã®ã“ã¨ã§ã‚ã£ãŸã€ã‚‰ã—ã„。麻薬常習ã®ãƒ„ケãŒå›žã£ã¦ã®ã“ã¨ã§ã™ã€‚ã“ã®å¾Œã€ç—…院é€ã‚Šã¨ãªã£ãŸã®ã‚‚事実ã§ã‚りã€ãã‚“ãªçŠ¶æ…‹ã®ä¸ã§è¡Œã‚れãŸãƒ¬ã‚³ãƒ¼ãƒ‡ã‚£ãƒ³ã‚°ã®çµæžœãŒã“ã®æ¼”å¥ã§ã‚りã¾ã™ã€‚パーカーã¯å¾Œæ—¥ã“ã®éŒ²éŸ³ã ã‘ã¯ç™ºå£²ã—ãªã„よã†ã«é ¼ã‚“ã よã†ã§ã™ãŒã€çµå±€ã¯æ„ã«åã—ã¦ã“ã®ã‚ˆã†ã«ä¸–ã«å‡ºå›žã£ã¦ã—ã¾ã„ã¾ã—ãŸã€‚
Bird is a 1988 American biographical film, produced and directed by Clint Eastwood with the screenplay written by Joel Oliansky. The film is a tribute to the life and music of jazz saxophonist Charlie "Bird" Parker. It is constructed as a collage of scenes from Parker's life, from his childhood in Kansas City, through his marriage to Chan Richardson, to his early death at the age of thirty-four. Forest Whitaker's performance as Parker earned him the Best Actor award at the 1988 Cannes Film Festival and a Golden Globe nomination. In addition, the film also won an Academy Award for Best Sound. Bird and Lover Man "A recording for the Dial label from July 29, 1946, provides evidence of his condition. Prior to this session, Parker drank about a quart of whiskey. According to the liner notes of Charlie Parker on Dial Volume 1, Parker missed most of the first two bars of his first chorus on the track, "Max Making Wax." When he finally did come in, he swayed wildly and once spun all the way around, going badly off mic. On the next tune, "Lover Man", producer Ross Russell physically supported Parker in front of the microphone. On "Bebop" (the final track Parker recorded that evening) he begins a solo with a solid first eight bars. On his second eight bars, however, Parker begins to struggle, and a desperate Howard McGhee, the trumpeter on this session, shouts, "Blow!" at Parker. McGhee's bellow is audible on the recording. Charles Mingus considered this version of "Lover Man" to ...
Ernesto Aurignac: saxo alto Perico Sambeat: saxo alto Deejay Foster: contrabajo André Sumelius: baterÃa www.myspace.com/ernestoaurignac
ensamble de saxofones de Sami Marey. Una versión tranqui de un clásico
The Pursuer (El perseguidor) is one of Julio Cortázars greatest literary achievements and a classic of 20th century literature. With a magisterially-handled existential background, the story describes the final days of Johnny Carter, a virtuoso saxophonist whose life takes place on the knife-edge between lucidity and self-destruction. Since its publication in 1959, this tribute by Cortázar to the genius Charlie Parker has aroused the passion of innumerable readers, who have considered it, like Rayuela, a formative experience. The great illustrator José Muñoz has been able to interpret with extraordinary talent the depth of this fiction in which jazz, nights of insomnia and Paris in the Fifties are the framework for a story beyond compare.
Sonny Meets Hawk! is a 1963 album by jazz saxophonist Sonny Rollins, with Coleman Hawkins appearing as guest artist. It was recorded at RCA Victor Studio "B" in New York City on July 15 and 18, 1963. The album marks the first time the two saxophonists had entered a recording studio together, although they had appeared on stage together briefly that same year at the Newport Jazz Festival. Personnel Sonny Rollins - Tenor Sax Coleman Hawkins - Tenor Sax Paul Bley - Piano Roy McCurdy - Drums Henry Grimes - Bass Bob Cranshaw - Bass Theodore Walter "Sonny" Rollins (born September 7, 1930 in New York City) is a Grammy-winning American jazz tenor saxophonist. Widely recognized as one of the most important and influential jazz musicians of the post-bebop era, Rollins' long, prolific career began at the age of 11, and he was playing with piano legend Thelonious Monk before reaching the age of 20. A number of his compositions, including "St. Thomas", "Oleo", "Doxy", and "Airegin", have become jazz standards. As of 2009, Rollins is still touring and recording, having outlived most of his contemporaries such as John Coltrane, Miles Davis, Max Roach, and Art Blakey, all performers with whom he recorded. Rollins was elected to the Down Beat Jazz Hall of Fame in 1973. Coleman Randolph Hawkins (November 21, 1904 May 19, 1969) was an American jazz tenor saxophonist. Hawkins was the first important jazz musician to use the instrument. As Joachim E. Berendt explained, "there were some tenor ...
(original issue on Guild 1002) From the session that brought the famed version of "Salt Peanuts" comes one of the most sultry small group sides I've ever heard. Sarah's really in top form here. :) The personnel for this May 11, 1945 session are: Sarah Vaughan - vocal Dizzy Gillespie - trumpet Charlie Parker - alto sax Al Haig - piano Curley Russel - bass Sydney "Big Sid" Catlett - drums Dig.....
Shot on November 22, 2009 at Boutique De Son in Montreal, "On Coltrane & Roots" is the fourth in a suite of short films about jazz. Featuring Al McLean on saxophone, Kevin Dean on trumpet, Morgan Moore on bass and Hans Verhoeven on drums. In this sequence, McLean and Dean reflect on the roots of their respective styles. McLean illuminating his unique approach to the oft-tread paths blazed by John Coltrane, and Dean discussing the contemporary nature of traditional jazz. Both musicians are playing vintage instruments that are not their usual horns; Dean a 1937 Art Deco HN White King trumpet, and McLean the intriguing 1917 Conn tenor sax portrayed in the short film, "The Man in the Photo". The film's director Randy Cole asked Dean and McLean to play a variety of vintage horns during this session, which took the musicians slightly out of their comfort zone, resulting in an unpredictable and fresh performance. Cole has a longstanding fascination with Jazz, both as a language, and as a living contemporary art form, albeit changed from the heady days of its inception. "Jazz musicians are storytellers principally," Cole says, "the richness of communication between themselves, and with an astute audience is remarkable. A true unspoken language." Musicians were recorded by prolific Montreal recording engineer and impresario George Doxas, horn mics used were an RCA 77D ribbon, and Neumann U67 tube microphone.
"The Parker's Mood 4tet" Francesco di Gilio piano Roberto Rega a/sax Giuseppe Civiletti d/bass Nicola Jocola drums To 28DiVino jazz club in Rome 10/01/10
Recorded on December 23, 2009 by Bobby Sexton
Omaggio a due Alieni.
John Phillip plays alto saxophone and piano in a "post modern" music video of "Lover Man (Oh Where Can You Be?)" (often called simply "Lover Man"). A 1941 popular song written by Jimmy Davis, Roger ("Ram") Ramirez, and James Sherman. It is particularly associated with Billie Holiday, for whom it was written, and Charlie Parker. (source: wikipedia) MORE AT MYSPACE.COM/JPMCITYANDWOODSMUSIC
We continue our venture into the very first album set that Dial Records issued, entitled "Be-Bop Jazz (With All The Stars Of The New Movement)" from 1947 with side 4 - a Charlie Parker solo just 2 cuts earlier than "Be-Bop" was recorded. Wherever it was, you can just feel that Bird's mind is somewhere else here. ------------------------------------------------------------------------------ From en.wikipedia.org : "A recording for the Dial label from July 29, 1946 provides evidence of his condition. Prior to this session, Parker drank about a quart of whiskey.....On the next tune, "Lover Man", producer Ross Russell physically supported Parker in front of the microphone.....Charles Mingus considered this version of "Lover Man" to be among Parker's greatest recordings despite its flaws. Nevertheless, Parker hated the recording and never forgave Ross Russell for releasing the sub-par performance....." ------------------------------------------------------------------------- Again, the personell for this July 29, 1946 session are: Charlie Parker - alto sax Howard McGhee - trumpet Jimmy Bunn - piano Dingbod (? - can anyone out there identify this musician?) - bass Roy Porter - drums Dig.....
Here's a rare 78 rpm record label, a red GUILD label. On it is a great blues song, Lover Man, recorded in 1945. Providing the music is Dizzy Gillespie and Charlie Parker. Vocals by Sarah Vaughn. WOW!! Enjoy!
The Jonathan Parker Quartet is featured on the Shanghai television show "More Than Jazz." This episode discusses the life and music of Charlie "Bird" Parker and the quartet was invited to perform several of his songs at the JZ Club
10月5æ—¥ã€æ¨ªæµœYACTã‹ã‚‰ç¾½ç”°ç©ºæ¸¯ã¾ã§ãƒã‚¹ã§ç§»å‹•。 日帰り出張ã¯ã—ã‚“ã©ã„ã§ã™ã€‚ Charlie Parker : Lover Man
Personnel: Howard Roberts (guitar); Bill Holman (tenor saxophone); Pete Jolly (piano); Red Mitchell (bass guitar); Stan Levy (drums); Marty Paich. West Coast guitarist Howard Roberts was something of an unsung hero of that area's jazz scene. Though his bop-influenced style of cool jazz was tremendously influential, Roberts himself was content to spend the bulk of his career working mainly on the Los Angeles session circuit, where one of his numerous recordings was the eerie theme to THE TWILIGHT ZONE. 1959's GOOD PICKIN'S is an early Roberts effort that finds him performing both original "head" arrangements and bop and pop standards like "Relaxin' At Camarillo" and "All the Things You Are." Demonstrating a fluid, creative style, as well as an obvious affinity for Charlie Parker, Roberts moves easily from the bebop stylings of "Will You Still Be Mine" to the bluesy "Lover Man," aided by the sympathetic accompaniment of his band, which includes his longtime colleague, pianist Pete Jolly, and legendary bop drummer Stan Levey.
Personnel: Howard Roberts (guitar); Bill Holman (tenor saxophone); Pete Jolly (piano); Red Mitchell (bass guitar); Stan Levy (drums); Marty Paich. West Coast guitarist Howard Roberts was something of an unsung hero of that area's jazz scene. Though his bop-influenced style of cool jazz was tremendously influential, Roberts himself was content to spend the bulk of his career working mainly on the Los Angeles session circuit, where one of his numerous recordings was the eerie theme to THE TWILIGHT ZONE. 1959's GOOD PICKIN'S is an early Roberts effort that finds him performing both original "head" arrangements and bop and pop standards like "Relaxin' At Camarillo" and "All the Things You Are." Demonstrating a fluid, creative style, as well as an obvious affinity for Charlie Parker, Roberts moves easily from the bebop stylings of "Will You Still Be Mine" to the bluesy "Lover Man," aided by the sympathetic accompaniment of his band, which includes his longtime colleague, pianist Pete Jolly, and legendary bop drummer Stan Levey.
Personnel: Howard Roberts (guitar); Bill Holman (tenor saxophone); Pete Jolly (piano); Red Mitchell (bass guitar); Stan Levy (drums); Marty Paich. West Coast guitarist Howard Roberts was something of an unsung hero of that area's jazz scene. Though his bop-influenced style of cool jazz was tremendously influential, Roberts himself was content to spend the bulk of his career working mainly on the Los Angeles session circuit, where one of his numerous recordings was the eerie theme to THE TWILIGHT ZONE. 1959's GOOD PICKIN'S is an early Roberts effort that finds him performing both original "head" arrangements and bop and pop standards like "Relaxin' At Camarillo" and "All the Things You Are." Demonstrating a fluid, creative style, as well as an obvious affinity for Charlie Parker, Roberts moves easily from the bebop stylings of "Will You Still Be Mine" to the bluesy "Lover Man," aided by the sympathetic accompaniment of his band, which includes his longtime colleague, pianist Pete Jolly, and legendary bop drummer Stan Levey.
Personnel: Howard Roberts (guitar); Bill Holman (tenor saxophone); Pete Jolly (piano); Red Mitchell (bass guitar); Stan Levy (drums); Marty Paich. West Coast guitarist Howard Roberts was something of an unsung hero of that area's jazz scene. Though his bop-influenced style of cool jazz was tremendously influential, Roberts himself was content to spend the bulk of his career working mainly on the Los Angeles session circuit, where one of his numerous recordings was the eerie theme to THE TWILIGHT ZONE. 1959's GOOD PICKIN'S is an early Roberts effort that finds him performing both original "head" arrangements and bop and pop standards like "Relaxin' At Camarillo" and "All the Things You Are." Demonstrating a fluid, creative style, as well as an obvious affinity for Charlie Parker, Roberts moves easily from the bebop stylings of "Will You Still Be Mine" to the bluesy "Lover Man," aided by the sympathetic accompaniment of his band, which includes his longtime colleague, pianist Pete Jolly, and legendary bop drummer Stan Levey.
Personnel: Howard Roberts (guitar); Bill Holman (tenor saxophone); Pete Jolly (piano); Red Mitchell (bass guitar); Stan Levy (drums); Marty Paich. West Coast guitarist Howard Roberts was something of an unsung hero of that area's jazz scene. Though his bop-influenced style of cool jazz was tremendously influential, Roberts himself was content to spend the bulk of his career working mainly on the Los Angeles session circuit, where one of his numerous recordings was the eerie theme to THE TWILIGHT ZONE. 1959's GOOD PICKIN'S is an early Roberts effort that finds him performing both original "head" arrangements and bop and pop standards like "Relaxin' At Camarillo" and "All the Things You Are." Demonstrating a fluid, creative style, as well as an obvious affinity for Charlie Parker, Roberts moves easily from the bebop stylings of "Will You Still Be Mine" to the bluesy "Lover Man," aided by the sympathetic accompaniment of his band, which includes his longtime colleague, pianist Pete Jolly, and legendary bop drummer Stan Levey.
Personnel: Howard Roberts (guitar); Bill Holman (tenor saxophone); Pete Jolly (piano); Red Mitchell (bass guitar); Stan Levy (drums); Marty Paich. West Coast guitarist Howard Roberts was something of an unsung hero of that area's jazz scene. Though his bop-influenced style of cool jazz was tremendously influential, Roberts himself was content to spend the bulk of his career working mainly on the Los Angeles session circuit, where one of his numerous recordings was the eerie theme to THE TWILIGHT ZONE. 1959's GOOD PICKIN'S is an early Roberts effort that finds him performing both original "head" arrangements and bop and pop standards like "Relaxin' At Camarillo" and "All the Things You Are." Demonstrating a fluid, creative style, as well as an obvious affinity for Charlie Parker, Roberts moves easily from the bebop stylings of "Will You Still Be Mine" to the bluesy "Lover Man," aided by the sympathetic accompaniment of his band, which includes his longtime colleague, pianist Pete Jolly, and legendary bop drummer Stan Levey.
En el auditorio del Jardin Botanico de Valencia JL Granell saxo alto Tino Gil piano electrico JL Porras contrabajo Narso Domingo bateria
Nothing Is Private "Towelhead", "Deception", Ein Mann für alle Unfälle "Drillbit Taylor", "Forgetting Sarah Marshall", "Baby Mama", "Cassandras Traum", Das Waisenhaus "The Orphanage", "Young People Fucking", "Awake", "Sweeney Todd", "The Bank Job", Eine neue Chance "Things We Lost in the Fire", "Life Before Her Eyes", "Closing the Ring", "Cloverfield", "Michael Clayton", Ein einziger Augenblick "Reservation Road", "Married Life", "Eagle Eye" - Ausser Kontrolle, "Julia", "You kill me", "The ...
from 'Bird lives',trombone:Jay Jay Johnson, sax:Sonny Stitt, piano:Walter Bishop, trumpet:Howard McGhee, bass:Tommy Potter, drums:Kenny Clarke
charlie parker,
made famous by Charlie Parker. Performed Live by Vittorio Cazzadore.
part, Cozy Cole took himself to the Juilliard School of Music and perfected his already seasoned approach to the drum kit. In 1946 and 1947 Cole recorded with Benny Goodman, Ella Fitzgerald, and Louis Armstrong, finally settling in with Armstrong's All-Stars from 1949 to 1953 and opening a school for drummers with Gene Krupa in March 1954 that would continue to educate aspiring percussionists until Krupa's death in 1973. After touring Europe with Jack Teagarden and Earl Hines in 1957, Cozy ...
from 'Bird lives',trombone:Jay Jay Johnson, sax:Sonny Stitt, piano:Walter Bishop, trumpet:Howard McGhee, bass:Tommy Potter, drums:Kenny Clarke
Roy Coloma, Piano Victor Young (1900-1955) was a classically trained musician, a concert violinist, one of the first great original film composers, arranger, a conductor and an Oscar-winning songwriter. Other of his hit songs include When I Fall In Love and Around the World. Jack Fina (1913-1970), who arranged this song for the piano was a bandleader, songwriter, and pianist, and performed in films and top venues in the United states. Harry Warren (1893-1981) is one of the most prolific ...
The first recording of the infamous Loverman session on Dial. The confusion can be heard during his improvisations but oddly doesn't fall of beat. Proof Charlie Parker Is god More Info: www.jazz.com
From the same session as Loverman on Dial. Basically the same song to me just in a different key, basically even more raw emotion than Loverman More Info: www.jazz.com

