Another band that gives justice to songs composed by other artist without being a copycat and putting on their signature on it.
Monday, November 16, 2009
Monday, November 9, 2009
Different Version - Blackbird (Kenny Rankin)
Each time Kenny Rankin perform a cover song, he really does it well and with that distinctive touch and arrangement only you hear from the Man.
Monday, November 2, 2009
Different Versions - Blackbird
"Blackbird" is a Beatles song from the double-disc album The Beatles (also known as The White Album). Blackbird was written by Paul McCartney, but credited as usual to Lennon/McCartney.
McCartney explained on PBS's Great Performances (Paul McCartney: Chaos and Creation at Abbey Road), aired in 2006, that the guitar accompaniment for "Blackbird" was inspired by J.S. Bach's Bourrée in E minor, a well known lute piece, often played on the classical guitar. As children, he and George Harrison tried to learn Bourrée as a "show off" piece. Bourrée is distinguished by melody and bass notes played simultaneously on the upper and lower strings. McCartney adapted a segment of Bourrée as the opening of "Blackbird," and carried the musical idea throughout the song.
The first night his future wife Linda Eastman stayed at his home, McCartney played "Blackbird" for the fans camped outside his house
McCartney explained on PBS's Great Performances (Paul McCartney: Chaos and Creation at Abbey Road), aired in 2006, that the guitar accompaniment for "Blackbird" was inspired by J.S. Bach's Bourrée in E minor, a well known lute piece, often played on the classical guitar. As children, he and George Harrison tried to learn Bourrée as a "show off" piece. Bourrée is distinguished by melody and bass notes played simultaneously on the upper and lower strings. McCartney adapted a segment of Bourrée as the opening of "Blackbird," and carried the musical idea throughout the song.
The first night his future wife Linda Eastman stayed at his home, McCartney played "Blackbird" for the fans camped outside his house
Thursday, October 8, 2009
Tuesday, October 6, 2009
Different Version - My Favorite Things (John Coltrane)
WIKIPEDIA
My Favorite Things is a 1961 jazz album by John Coltrane. It was the first session recorded by Coltrane on the Atlantic Records label (as SD-1361), and the first to introduce his new quartet featuring McCoy Tyner (piano), Elvin Jones (drums) and Steve Davis (bass) -- neither Jimmy Garrison nor Reggie Workman featured as yet.
The album was also the first to quite clearly mark Coltrane's change from bebop to free- and modal jazz, which was slowly becoming apparent in some of his previous releases. It introduces complex harmonic reworkings of such jazz standards as "My Favorite Things" and "But Not for Me". Additionally, at a time when the soprano saxophone was little used in jazz, it demonstrated Coltrane's further investigation of the instrument's capabilities.
The standard "Summertime" is notable for its upbeat, searching feel, a demonstration of Coltrane's 'sheets of sound', a stark antithesis to Miles Davis's melancholy, lyrical version on Porgy and Bess, and makes use of offbeat pedal points and augmented chords. "But Not For Me" is reharmonised using the famous Coltrane changes, and features an extended coda over a repeated ii-V-I-vi progression.
The title track is a modal rendition of the Rodgers and Hammerstein song "My Favorite Things" from The Sound of Music. The melody is heard numerous times throughout the almost 14-minute version, and instead of having a solo over the written chord changes, both Tyner and Coltrane taking extended solos over vamps of the two tonic chords, E minor and E major. Tyner's solo is famous for being extremely chordal and rhythmic, as opposed to developing melodies. In the documentary The World According to John Coltrane, narrator Ed Wheeler remarks:
"In 1960, Coltrane left Miles [Davis] and formed his own quartet to further explore modal playing, freer directions, and a growing Indian influence. They transformed "My Favorite Things", the cheerful populist song from 'The Sound of Music,' into a hypnotic eastern dervish dance. The recording was a hit and became Coltrane's most requested tune—and a bridge to broad public acceptance."
My Favorite Things is a 1961 jazz album by John Coltrane. It was the first session recorded by Coltrane on the Atlantic Records label (as SD-1361), and the first to introduce his new quartet featuring McCoy Tyner (piano), Elvin Jones (drums) and Steve Davis (bass) -- neither Jimmy Garrison nor Reggie Workman featured as yet.
The album was also the first to quite clearly mark Coltrane's change from bebop to free- and modal jazz, which was slowly becoming apparent in some of his previous releases. It introduces complex harmonic reworkings of such jazz standards as "My Favorite Things" and "But Not for Me". Additionally, at a time when the soprano saxophone was little used in jazz, it demonstrated Coltrane's further investigation of the instrument's capabilities.
The standard "Summertime" is notable for its upbeat, searching feel, a demonstration of Coltrane's 'sheets of sound', a stark antithesis to Miles Davis's melancholy, lyrical version on Porgy and Bess, and makes use of offbeat pedal points and augmented chords. "But Not For Me" is reharmonised using the famous Coltrane changes, and features an extended coda over a repeated ii-V-I-vi progression.
The title track is a modal rendition of the Rodgers and Hammerstein song "My Favorite Things" from The Sound of Music. The melody is heard numerous times throughout the almost 14-minute version, and instead of having a solo over the written chord changes, both Tyner and Coltrane taking extended solos over vamps of the two tonic chords, E minor and E major. Tyner's solo is famous for being extremely chordal and rhythmic, as opposed to developing melodies. In the documentary The World According to John Coltrane, narrator Ed Wheeler remarks:
"In 1960, Coltrane left Miles [Davis] and formed his own quartet to further explore modal playing, freer directions, and a growing Indian influence. They transformed "My Favorite Things", the cheerful populist song from 'The Sound of Music,' into a hypnotic eastern dervish dance. The recording was a hit and became Coltrane's most requested tune—and a bridge to broad public acceptance."
Monday, October 5, 2009
Different Version - My Favorite Things (Julie Andrews - Sound of Music)
As everyone knows, the Original "My Favorite Things" was sang by Julie Andrews in the Movie, Sound of Music.
Different Versions - My Favorite Things
WIKIPEDIA
"My Favorite Things" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music.
The song was first introduced by Mary Martin in the original Broadway production, and sung by Julie Andrews in the 1965 film.
In the musical, the lyrics to the song are a reference to things Maria loves, such as 'raindrops on roses and whiskers on kittens, bright copper kettles and warm woolen mittens'. These are the things she selects to fill her mind with when times are bad.
The original Broadway musical places this song in the Mother Abbess's office, just before she sends Maria to serve Captain von Trapp's family as governess to his seven children. However, Ernest Lehman, the screenwriter for the film adaptation, repositioned this song so that Maria would sing it with the children during the thunderstorm scene in her bedroom, replacing "The Lonely Goatherd", which had originally been sung at this point. Many stage productions also make this change, shifting "The Lonely Goatherd" to another scene.
The first section of the melody has the distinctive property of using only the notes 1, 2, and 5 (Do, Re, and Sol) of the scale. Rodgers then harmonized this same section of the melody differently in different stanzas, using a series of minor triads one time and major triads the next.
The song ends with a borrowed line of lyric and notes from Rodgers' earlier composition with Lorenz Hart, "Glad to Be Unhappy," a standard about finding peace in the midst of unrequited love. Using the same two notes for the phrasing of "so sad" in the original song, Rodgers brings the gloom of my "Favorite Things" to a similar upbeat ending – "and then I don't feel so bad."
"My Favorite Things" is a show tune from the 1959 Rodgers and Hammerstein musical The Sound of Music.
The song was first introduced by Mary Martin in the original Broadway production, and sung by Julie Andrews in the 1965 film.
In the musical, the lyrics to the song are a reference to things Maria loves, such as 'raindrops on roses and whiskers on kittens, bright copper kettles and warm woolen mittens'. These are the things she selects to fill her mind with when times are bad.
The original Broadway musical places this song in the Mother Abbess's office, just before she sends Maria to serve Captain von Trapp's family as governess to his seven children. However, Ernest Lehman, the screenwriter for the film adaptation, repositioned this song so that Maria would sing it with the children during the thunderstorm scene in her bedroom, replacing "The Lonely Goatherd", which had originally been sung at this point. Many stage productions also make this change, shifting "The Lonely Goatherd" to another scene.
The first section of the melody has the distinctive property of using only the notes 1, 2, and 5 (Do, Re, and Sol) of the scale. Rodgers then harmonized this same section of the melody differently in different stanzas, using a series of minor triads one time and major triads the next.
The song ends with a borrowed line of lyric and notes from Rodgers' earlier composition with Lorenz Hart, "Glad to Be Unhappy," a standard about finding peace in the midst of unrequited love. Using the same two notes for the phrasing of "so sad" in the original song, Rodgers brings the gloom of my "Favorite Things" to a similar upbeat ending – "and then I don't feel so bad."
Sunday, July 12, 2009
Thursday, July 9, 2009
Wednesday, July 8, 2009
Different Version - One Note Samba (Antonio Carlos Jobim)
From the maestro Bossa Nova, Antonio Carlos Jobim . . . the original One Note Samba
Different Version - One Note Samba
"Samba de Uma Nota Só" ("One Note Samba") is a song composed by Antonio Carlos Jobim with Portuguese lyrics by Newton Mendonça. The English lyrics were written by Jobim.
The song title refers to the main melody line, which at first consists of a long series of notes of a single tone played in a bossa nova rhythm (typically D, as played in the key of G). The first eight measures consist of D, followed by four measures of G, and then four measures of D. This is followed by eight measures of a more varied melody line.
This well-known song first reached a wide audience on the Grammy-winning bossa nova LP Jazz Samba (Getz/Byrd/Jobim)[1], which reached the number one spot on the Billboard 200 in 1963[2]. Another well-known release is the Sergio Mendes-Brasil '66 version, in medley with "Spanish Flea."
The song title refers to the main melody line, which at first consists of a long series of notes of a single tone played in a bossa nova rhythm (typically D, as played in the key of G). The first eight measures consist of D, followed by four measures of G, and then four measures of D. This is followed by eight measures of a more varied melody line.
This well-known song first reached a wide audience on the Grammy-winning bossa nova LP Jazz Samba (Getz/Byrd/Jobim)[1], which reached the number one spot on the Billboard 200 in 1963[2]. Another well-known release is the Sergio Mendes-Brasil '66 version, in medley with "Spanish Flea."
Tuesday, June 16, 2009
Different Version - Spain ( Paco de Lucia Al di Meola and John McLaughlin)
All I can say is . . . WOW!!!
Saturday, June 13, 2009
Wednesday, June 10, 2009
Different Version - Spain (Stevie Wonder)
Whoa! I was pleasantly surprised when I discovered this video of Stevie Wonder (on harmonica and of course, keyboard) doing Corea's Spain... Beautiful!!!
Friday, June 5, 2009
Tuesday, June 2, 2009
Different Version - Spain (Chick Corea)
This is the original version of Spain. Chick Corea recorded other version of Spain in his succeeding albums, notably the one with his akoustic band.
Tuesday, May 12, 2009
Monday, May 11, 2009
Sunday, May 10, 2009
Different Version - Sweet Home Chicago (All Star Cast)
This time with Eric Clapton, Buddy Guy, Robert Cray and Steve Ray Vaughn live in concert
Saturday, May 9, 2009
Friday, May 8, 2009
Thursday, May 7, 2009
Different Version - Sweet Home Chicago (Robert Johnson)
Supposedly the original version of Sweet Home Chicago from Robert Johnson. Very raw, very blues and very good!!!
Different Version - Sweet Home Chicago
WIKIPEDIA
"Sweet Home Chicago" is a popular blues standard in the twelve bar form. It was first recorded and is credited to have been written by Robert Johnson.[1] Over the years the song has become one of the most popular anthems for the city of Chicago despite ambiguity in Johnson's original lyrics.. . .
. . . Johnson did not live to enjoy national popularity. If he had become a star with a following in Chicago, he might have altered the chorus with its confusing geographical coupling. As it is, he succeeded in evoking an exotic modern place, far from the South, which is an amalgam of famous migration goals for African Americans leaving the South. To later singers this contradictory location held more appeal than obscure Kokomo . Tommy McClennan's "Baby Don't You Want To Go" (1939) and Walter Davis's "Don't You Want To Go" (1941) were both based on Johnson's chorus. Later singers used Johnson's chorus and dropped the mathematical verses.
Johnson recorded the song during his first recording session in November 1936, and it was released on Vocalion Records (Recording Number 03601).[16] He gives a stirring performance, with a driving guitar rhythm and a high, near-falsetto vocal. It was a limited release race record, and was not a big-seller. The song's popularity grew only after Johnson's death in 1938.
Interestingly, the lyrics only obliquely refer to Chicago itself, in the song's refrain, where the song narrator pleads for a woman to go with him back to "that land of California/ my sweet home Chicago". Indeed, California is mentioned in the song more than Chicago, both during this refrain and in one of the stanzas ("I'm goin' to California/ from there to Des Moines, Iowa"). These perplexing lyrics have been a source of controversy for many years. In the 1960s and 1970s, some commentators speculated this was a geographical mistake on Johnson's part. This is clearly untrue, as Johnson was a highly sophisticated songwriter and used geographical references in a number of his songs. One interpretation is that Johnson intended the song to be a metaphorical description of an imagined paradise combining elements of the American north and west, far from the racism and poverty inherent to the Mississippi Delta of 1936.[1]. Like Chicago, California was a common such destination in many Great Depression Era songs, books, and movies. A more sophisticated and humorous interpretation (and one more consistent with all of the lyrics) has the narrator pressuring a woman to leave town with him for Chicago, but his blatant geographic ignorance reveals his attempt at deceit. Another explanation suggests that Johnson was conveying a trip across the country, as mentioned in the line, "I'm going to California/from there to Des Moines, Iowa", and that the end destination was Chicago, Illinois, a state sharing borders with Iowa. There is yet another unverified suggestion in Alan Greenberg's Love In Vain: A Vision of Robert Johnson, that Johnson had a remote relative who lived in Port Chicago, California, which if true would add ambiguity as to which Chicago the lyrics are referring.
As the song grew to be a homage to Chicago, the original lyrics that refer to California were altered in most cover versions. The line "Back to the land of California" is changed to "Back to the same old place", and the line "I'm going to California" becomes "I'm going back to Chicago". This altered version dates back to pianist Roosevelt Sykes.[1]
California Avenue is a thoroughfare which runs from the far south to the far north side of Chicago. The original road predates Johnson's recording and may have been the subject of the "land of California" references.
The authorship of the song is a matter of some dispute. The musical atmosphere of the 1930s blues and folk community lent itself to borrowing of music. Reportedly, songs recorded by bluesmen Scrapper Blackwell and Kokomo Arnold bear striking similarity to "Sweet Home Chicago", having been recorded years before.[1] Leroy Carr's "Baby Don't You Love Me No More" (Scrapper Blackwell played guitar and accompanied Leroy Carr who played the piano) shares the rhythmic approach and the feel of the initial two verses.
As of 2002, the copyright to the song was owned by businessman Stephen LaVere, who in 1973 convinced Johnson's half-sister Carrie Thompson to sign a contract splitting the royalties with LaVere.[1]
The list of artists who have covered the song is immense, including Magic Sam, Buddy Guy, Earl Hooker, Honeyboy Edwards, Freddie King, Foghat, Status Quo, Johnny Otis, Fleetwood Mac, Eric Clapton, Stevie Ray Vaughan, The Blues Band, and The Blues Brothers. LaVere once remarked "It's like 'When the Saints Go Marching In' to the blues crowd.
"Sweet Home Chicago" is a popular blues standard in the twelve bar form. It was first recorded and is credited to have been written by Robert Johnson.[1] Over the years the song has become one of the most popular anthems for the city of Chicago despite ambiguity in Johnson's original lyrics.. . .
. . . Johnson did not live to enjoy national popularity. If he had become a star with a following in Chicago, he might have altered the chorus with its confusing geographical coupling. As it is, he succeeded in evoking an exotic modern place, far from the South, which is an amalgam of famous migration goals for African Americans leaving the South. To later singers this contradictory location held more appeal than obscure Kokomo . Tommy McClennan's "Baby Don't You Want To Go" (1939) and Walter Davis's "Don't You Want To Go" (1941) were both based on Johnson's chorus. Later singers used Johnson's chorus and dropped the mathematical verses.
Johnson recorded the song during his first recording session in November 1936, and it was released on Vocalion Records (Recording Number 03601).[16] He gives a stirring performance, with a driving guitar rhythm and a high, near-falsetto vocal. It was a limited release race record, and was not a big-seller. The song's popularity grew only after Johnson's death in 1938.
Interestingly, the lyrics only obliquely refer to Chicago itself, in the song's refrain, where the song narrator pleads for a woman to go with him back to "that land of California/ my sweet home Chicago". Indeed, California is mentioned in the song more than Chicago, both during this refrain and in one of the stanzas ("I'm goin' to California/ from there to Des Moines, Iowa"). These perplexing lyrics have been a source of controversy for many years. In the 1960s and 1970s, some commentators speculated this was a geographical mistake on Johnson's part. This is clearly untrue, as Johnson was a highly sophisticated songwriter and used geographical references in a number of his songs. One interpretation is that Johnson intended the song to be a metaphorical description of an imagined paradise combining elements of the American north and west, far from the racism and poverty inherent to the Mississippi Delta of 1936.[1]. Like Chicago, California was a common such destination in many Great Depression Era songs, books, and movies. A more sophisticated and humorous interpretation (and one more consistent with all of the lyrics) has the narrator pressuring a woman to leave town with him for Chicago, but his blatant geographic ignorance reveals his attempt at deceit. Another explanation suggests that Johnson was conveying a trip across the country, as mentioned in the line, "I'm going to California/from there to Des Moines, Iowa", and that the end destination was Chicago, Illinois, a state sharing borders with Iowa. There is yet another unverified suggestion in Alan Greenberg's Love In Vain: A Vision of Robert Johnson, that Johnson had a remote relative who lived in Port Chicago, California, which if true would add ambiguity as to which Chicago the lyrics are referring.
As the song grew to be a homage to Chicago, the original lyrics that refer to California were altered in most cover versions. The line "Back to the land of California" is changed to "Back to the same old place", and the line "I'm going to California" becomes "I'm going back to Chicago". This altered version dates back to pianist Roosevelt Sykes.[1]
California Avenue is a thoroughfare which runs from the far south to the far north side of Chicago. The original road predates Johnson's recording and may have been the subject of the "land of California" references.
The authorship of the song is a matter of some dispute. The musical atmosphere of the 1930s blues and folk community lent itself to borrowing of music. Reportedly, songs recorded by bluesmen Scrapper Blackwell and Kokomo Arnold bear striking similarity to "Sweet Home Chicago", having been recorded years before.[1] Leroy Carr's "Baby Don't You Love Me No More" (Scrapper Blackwell played guitar and accompanied Leroy Carr who played the piano) shares the rhythmic approach and the feel of the initial two verses.
As of 2002, the copyright to the song was owned by businessman Stephen LaVere, who in 1973 convinced Johnson's half-sister Carrie Thompson to sign a contract splitting the royalties with LaVere.[1]
The list of artists who have covered the song is immense, including Magic Sam, Buddy Guy, Earl Hooker, Honeyboy Edwards, Freddie King, Foghat, Status Quo, Johnny Otis, Fleetwood Mac, Eric Clapton, Stevie Ray Vaughan, The Blues Band, and The Blues Brothers. LaVere once remarked "It's like 'When the Saints Go Marching In' to the blues crowd.
Saturday, May 2, 2009
Different Version - Spain
WIKIPEDIA
Spain is an instrumental jazz fusion composition by jazz pianist and composer Chick Corea. It is probably Corea's most prominent piece, and some would consider it a modern jazz standard.
Spain was composed in 1971 and appeared in its original (and most well-known) rendition on the album Light as a Feather, with performances by Corea (Rhodes electric piano), Airto Moreira (drums), Flora Purim (vocals and percussion), Stanley Clarke (bass), and Joe Farrell (flute and saxophone). It has been recorded in several versions, by Corea himself as well as by other artists, including a flamenco version by Paco de Lucia and John McLaughlin in the 1980s.
The Light as a Feather version of Spain received two Grammy nominations, for Best Instrumental Arrangement and for Best Instrumental Jazz Performance by a Group. In 2001, Corea was awarded the Best Instrumental Arrangement Grammy for "Spain for Sextet and Orchestra".
Spain is an instrumental jazz fusion composition by jazz pianist and composer Chick Corea. It is probably Corea's most prominent piece, and some would consider it a modern jazz standard.
Spain was composed in 1971 and appeared in its original (and most well-known) rendition on the album Light as a Feather, with performances by Corea (Rhodes electric piano), Airto Moreira (drums), Flora Purim (vocals and percussion), Stanley Clarke (bass), and Joe Farrell (flute and saxophone). It has been recorded in several versions, by Corea himself as well as by other artists, including a flamenco version by Paco de Lucia and John McLaughlin in the 1980s.
The Light as a Feather version of Spain received two Grammy nominations, for Best Instrumental Arrangement and for Best Instrumental Jazz Performance by a Group. In 2001, Corea was awarded the Best Instrumental Arrangement Grammy for "Spain for Sextet and Orchestra".
Monday, April 13, 2009
Dave Grusin-Friends And Strangers(1980)
I was looking for a video of Friends and Strangers with Sadao Watanabe, it's a concert of Dave Gruisin in Japan. Well, this is the closest I can get...
Tuesday, March 10, 2009
Monday, March 9, 2009
Different Version - Summertime (Keith Jarret)
And this also from Keith Jarrett, you can even hear him moan while playing the piano.
Saturday, March 7, 2009
Friday, March 6, 2009
Thursday, March 5, 2009
Different Version - Summertime (Ella Fitzgerald and Louis Armstrong
Many claimed that this is the best summertime version. Well, just listen to it and be the judge.
Different Version - Summertime
WIKIPEDIA
"Summertime" is an aria composed by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, although the song is also co-credited to Ira Gershwin by ASCAP.[1]
The song soon became a popular and much recorded jazz standard, described as "without doubt... one of the finest songs the composer ever wrote....Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of African-Americans in the southeast United States from the early twentieth century."[2] Heyward's lyrics for "Summertime" and "My Man's Gone Now" have been called "the best lyrics in the musical theater" by composer and lyricist Stephen Sondheim
"Summertime" is an aria composed by George Gershwin for the 1935 opera Porgy and Bess. The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based, although the song is also co-credited to Ira Gershwin by ASCAP.[1]
The song soon became a popular and much recorded jazz standard, described as "without doubt... one of the finest songs the composer ever wrote....Gershwin's highly evocative writing brilliantly mixes elements of jazz and the song styles of African-Americans in the southeast United States from the early twentieth century."[2] Heyward's lyrics for "Summertime" and "My Man's Gone Now" have been called "the best lyrics in the musical theater" by composer and lyricist Stephen Sondheim
Sunday, February 8, 2009
Different Version - Take Five
There are several other versions of Take Five, but I can't find a video uploaded on YouTube. Some of which is Freeflight version, done on flute (Jim Walker) and from Acoustic Alchemy.
Thursday, February 5, 2009
Wednesday, February 4, 2009
Different Version - Take Five (Al Jarreau)
"Take Five" was re-recorded and performed live multiple times by The Dave Brubeck Quartet throughout the group's career. In addition, there have been many covers of the piece. Some versions also feature lyrics, including a 1961 recording with lyrics written by Dave Brubeck and his wife Iola, sung by Carmen McRae. Al Jarreau performed an unusual scat version of the song in Germany in 1976.
Tuesday, February 3, 2009
Monday, February 2, 2009
Different Versions - Take Five (The Original from Dave Brubeck and Paul Desmond)
Let's Start with Take Five.
WIKIPEDIA
"Take Five" is a jazz piece written by Paul Desmond and performed by The Dave Brubeck Quartet on their 1959 album Time Out. Recorded at Columbia's 30th Street Studios in New York City on June 25, July 1, and August 18, 1959,[1] this piece became one of the group's best-known records, famous for its distinctive, catchy saxophone melody and use of the unusual quintuple (5/4) time, from which its name is derived.[2] While "Take Five" was not the first jazz composition to use this meter, it was one of the first in the United States to achieve mainstream significance, reaching #25 on the Billboard Hot 100 and #5 on Billboard's Easy Listening survey, the precursor to today's Adult Contemporary charts, in 1961, two years after its initial release.
"Take Five" was re-recorded and performed live multiple times by The Dave Brubeck Quartet throughout the group's career. In addition, there have been many covers of the piece. Some versions also feature lyrics, including a 1961 recording with lyrics written by Dave Brubeck and his wife Iola, sung by Carmen McRae. Al Jarreau performed an unusual scat version of the song in Germany in 1976.
"Take Five" has been included in countless movies and television soundtracks, and still receives significant radio play.
Upon his death in 1977, Desmond left the rights to royalties for performances and compositions, including "Take Five", to the American Red Cross, which has since received combined royalties of approximately $100,000 per year - Wikipedia
WIKIPEDIA
"Take Five" is a jazz piece written by Paul Desmond and performed by The Dave Brubeck Quartet on their 1959 album Time Out. Recorded at Columbia's 30th Street Studios in New York City on June 25, July 1, and August 18, 1959,[1] this piece became one of the group's best-known records, famous for its distinctive, catchy saxophone melody and use of the unusual quintuple (5/4) time, from which its name is derived.[2] While "Take Five" was not the first jazz composition to use this meter, it was one of the first in the United States to achieve mainstream significance, reaching #25 on the Billboard Hot 100 and #5 on Billboard's Easy Listening survey, the precursor to today's Adult Contemporary charts, in 1961, two years after its initial release.
"Take Five" was re-recorded and performed live multiple times by The Dave Brubeck Quartet throughout the group's career. In addition, there have been many covers of the piece. Some versions also feature lyrics, including a 1961 recording with lyrics written by Dave Brubeck and his wife Iola, sung by Carmen McRae. Al Jarreau performed an unusual scat version of the song in Germany in 1976.
"Take Five" has been included in countless movies and television soundtracks, and still receives significant radio play.
Upon his death in 1977, Desmond left the rights to royalties for performances and compositions, including "Take Five", to the American Red Cross, which has since received combined royalties of approximately $100,000 per year - Wikipedia
Sunday, February 1, 2009
Different Versions
I'm going to start posting music played and covered by several artists. Some are plain cover while others make a new arrangement giving it a new flavor. It's interesting and wonderful to listen how they interpret one song in so many ways and in different emotions.
Saturday, January 24, 2009
Firefall - Just Remember I Love You (live)
WIKIPEDIA
"Just Remember I Love You" is a song by Firefall, released as a single in 1977. It was written by Rick Roberts and included in the group's 1977 album, Luna Sea. "Just Remember I Love You", with backing vocals by Timothy B. Schmit, peaked at number eleven on the Billboard Hot 100 and spent two weeks at number one on the Easy Listening chart.
"Just Remember I Love You" is a song by Firefall, released as a single in 1977. It was written by Rick Roberts and included in the group's 1977 album, Luna Sea. "Just Remember I Love You", with backing vocals by Timothy B. Schmit, peaked at number eleven on the Billboard Hot 100 and spent two weeks at number one on the Easy Listening chart.
Monday, January 19, 2009
Crosby Stills and Nash - Just a Song Before I Go
WIKIPEDIA
"Just a Song Before I Go" is a song from Crosby, Stills and Nash that appeared on the 1977 album CSN. It was also released as a single and made it to number seven on the Billboard singles charts and ended up being the band's highest climbing hit.
The song was written by Graham Nash about leaving loved ones behind before going on a concert tour. It was written in Hawaii in about 20 minutes at the piano while Nash and Leslie Morris were staying with a friend, waiting for the rain to stop before leaving the house. The opening line came from the question: "You've got half an hour, why don't you just write a song before you go?" [1]
"Just a Song Before I Go" is lyrically straightforward about the situation Nash was in at the moment he wrote it, and there is also an undercurrent of regret towards rootlessness, a feeling that Nash — born and raised in England, a resident of the United States who had lived in California and was now living in Hawaii — might very well have had at the time.
Crosby, Stills and Nash arranged "Just a Song Before I Go" as a straight ballad, with mostly acoustic textures anchored by two tasteful, understated electric guitar solos from Stephen Stills.
I think this video clip was taken from the CSN Acoustic Concert.
"Just a Song Before I Go" is a song from Crosby, Stills and Nash that appeared on the 1977 album CSN. It was also released as a single and made it to number seven on the Billboard singles charts and ended up being the band's highest climbing hit.
The song was written by Graham Nash about leaving loved ones behind before going on a concert tour. It was written in Hawaii in about 20 minutes at the piano while Nash and Leslie Morris were staying with a friend, waiting for the rain to stop before leaving the house. The opening line came from the question: "You've got half an hour, why don't you just write a song before you go?" [1]
"Just a Song Before I Go" is lyrically straightforward about the situation Nash was in at the moment he wrote it, and there is also an undercurrent of regret towards rootlessness, a feeling that Nash — born and raised in England, a resident of the United States who had lived in California and was now living in Hawaii — might very well have had at the time.
Crosby, Stills and Nash arranged "Just a Song Before I Go" as a straight ballad, with mostly acoustic textures anchored by two tasteful, understated electric guitar solos from Stephen Stills.
I think this video clip was taken from the CSN Acoustic Concert.
Monday, January 12, 2009
Pat Metheny - Jaco (Live in Berlin 1978)
I like both Jaco Pastorius and Pat Metheny... this is a great live version of Jaco as performed by Pat Metheny. No, Jaco is not on bass, but Mark Egan.
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