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The Girl From Ipanema (Part 3)

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2008-08-22 08:19:20 by Marc Myers in JazzWax
...bands, karaoke efforts and cruise ship vocalists But we're getting ahead of ourselves. Let's start with my remaining five picks (the numbers pick up from yesterday's 12 13. James Galway Tango del Fuego (1999). One of my favorite instruments on any version of The Girl From Ipanema is the flute. Its soft timbre sounds like the breeze and...
 
 
 
 
 
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Guess That Jazz Tune (Part 1)

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2008-08-18 08:03:35 by Marc Myers in JazzWax
...band era, playing on this track were Red Nichols, Ruby Weinstein and Charlie Teagarden (trumpets), Jack Teagarden Glenn Miller and Georgie Stoll (trombone), Benny Goodman (clarinet), Sid Stoneburn (alto sax), Larry Binyon (tenor sax), Ed Bergman and Wladimir "Ed" Selinsky (violins), Teg Brown (banjo), Jack Russin (piano), Art Miller (bass),...
 
 
 
 
 
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Sunday Wax Bits

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2008-08-17 07:06:49 by Marc Myers in JazzWax
...musicians and a girl singer struggling to make it and the hard-won optimism needed to sustain their drive and harmony. The story is a little frayed, but the film's soul is grand, and you get to see a cameo by the Jimmie Lunceford band Nat Adderley. Bret Primack's latest video documentary for Concord Records supports the label's re-release of...
 
 
 
 
 
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Art Blakey: Africaine

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2008-08-14 07:53:15 by Marc Myers in JazzWax
One of my favorite Art Blakey albums is Africaine. Recorded in November 1959, the album marked the start of a new chapter in the evolution of the Jazz Messengers. All six tracks on the album are uptempo hard-bop swingers (there are no Tin Pan Alley ballads here), and the creative ideas throughout are superb. Interestingly, Africaine wasn't...
 
 
 
 
 
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Moonlight in Vermont

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2008-08-12 08:20:52 by Marc Myers in JazzWax
...music) and John Blackburn (lyrics), the tune was quickly brought to the attention of Johnny Mercer, who had just started Capitol Records two years earlier According to Sheila Davis' Craft of Lyric Writing, the duo chose the song's title for a reason: "Lyricist John Blackburn told me that he and his collaborator, Karl Suessdorf picked the...
 
 
 
 
 
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Cross Country Suite: Update

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2008-08-11 08:22:48 by Marc Myers in JazzWax
...music curator at the University of Arizona Marc You mentioned that Nelson Riddle wrote the arrangements for Cross Country Suite. Well, the answer to this is somewhat shaded. To say that he simply arranged the suite is misleading and inaccurate. So here's an explanation of what Nelson wrote given the process he went through on similar works...
 
 
 
 
 
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Hidden Jazz Downloads (Vol. 4)

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2008-08-07 08:04:30 by Marc Myers in JazzWax
...Music Group. Octet was recorded in Los Angeles with Conte Candoli (trumpet); Ferguson (trumpet, bass trumpet and valve trombone); Milt Bernhart (trombone); Herb Geller (alto sax); Georgie Auld (tenor sax); Bob Gordon (baritone sax); Ian Bernard (piano); Red Callender (bass) and Shelly Manne (drums). Sweet group, right? And dig My New Flame!...
 
 
 
 
 
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Open Letter to iTunes and Amazon

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2008-08-06 08:54:17 by Marc Myers in JazzWax
Why is shopping for jazz at iTunes and Amazon so difficult? If you browse by artist, you won't have a problem. But good luck browsing the latest re-issues from the 1940s and 1950sthe decades that count most to jazz fans. You simply can't locate these releases in one place at iTunes, and they're impossible to find at Amazon. By contrast, releases...
 
 
 
 
 
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Joe Valino: Learnin' the Blues (Part 2)

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2008-08-05 08:33:34 by Marc Myers in JazzWax
...musical triumphs and personal disappointments. And a great soundtrack. The story behind Learnin' the Blues is no exception, complete with highs and lows, fate and fortune, happenstance and heartbreak. Since my first post about the song's origins back on July 22, I did a bit more reporting. Here are a few more pieces of this fascinating...
 
 
 
 
 
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Interview: Bill Holman (Part 4)

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2008-08-01 08:13:59 by Marc Myers in JazzWax
...music, so we had fun recording it JW: You also likedand still likewriting for singers, dont you BH: Yeah. For one thing, I like doing arrangements of well-known tunes. As an arranger, you can practically annihilate them, and the melodies will always comes through, and people will recognize them. You have a lot more freedom without the danger...