Gary Troxel, American vocalist with The Fleetwoods

Artist: Angela Hagenbach
Title Of Album: Poetry Of Love
Year Of Release: 2004
Label: Amazon Records
Genre: Vocal Jazz
Bitrate: 192kbps / 44.1 kHz / Joint Stereo
Total Time: 57:54 min
Total Size: 78.7 MB

Tracklist
———-
01. Tell Me All About It Angela Hagenbach
02. I Can’t Believe That You’re In Love With Me feat. Russell Malone
03. Bittersweet Angela Hagenbach
04. Never Let Me Go feat. James Williams & Jimmy Heath
05. Dark Dreams Angela Hagenbach
06. Blues Are Brewin feat. Clark Terry
07. I’ve Got You Under My Skin Angela Hagenbach
08. You Keep Calling Me Angela Hagenbach
09. Watch What Happens feat. Jimmy Heath
10. It Might As Well Be Spring

Download Angela Hagenbach – Poetry Of Love 2004:

Artist: Angela Hagenbach
Title Of Album: Poetry Of Love
Year Of Release: 2004
Label: Amazon Records
Genre: Vocal Jazz
Bitrate: 192kbps / 44.1 kHz / Joint Stereo
Total Time: 57:54 min
Total Size: 78.7 MB

Tracklist
———-
01. Tell Me All About It Angela Hagenbach
02. I Can’t Believe That You’re In Love With Me feat. Russell Malone
03. Bittersweet Angela Hagenbach
04. Never Let Me Go feat. James Williams & Jimmy Heath
05. Dark Dreams Angela Hagenbach
06. Blues Are Brewin feat. Clark Terry
07. I’ve Got You Under My Skin Angela Hagenbach
08. You Keep Calling Me Angela Hagenbach
09. Watch What Happens feat. Jimmy Heath
10. It Might As Well Be Spring

Download Angela Hagenbach – Poetry Of Love 2004:

Mix To Go Magazine Presents

DANCE AFTER DARK | The Mix Show

The theme: “At A Classic Pitch”

Dance After Dark

Mix by DJ FREEDOM

Live at 632 Studios in Brooklyn, New York City

Monday, November 23, 2009

(DOWNLOAD LINK AT BOTTOM OF SONG LIST)

SONG LIST:

(1) Razamatazz (Free*Mix) – Quincy Jones

(2) Portuguese Love (Free*Mix) – Phil Asher’s Miami Samba Vs DJ Freedom’s Tribal

(3) You’re My Latest, My Greatest Inspiration (Quentin Harris Remix) – Teddy Pendergrass

(4) Make Sure Your Sure (Quentin Harris & Timmy Regisford Remix) – Stevie Wonder

(5) Baby I’m Scared of You (Free*Mix) – Womack & Womack

(6) Still In Love With You (Masters At Work Dub) – Melisa Morgan

(7) Forget Me Nots (DJ Freedom’s Back To Basics Mix) – Patrice Rushen

(8) Club Lonely (Original Vocal Mix) – Lil Louis

(9) Everybody Dance – Chic

(10) Encore (Freedom’s Classic Club Vocal Remix) – Cheryl Lynn

(11) In The AM (Quentin’s Remix Vs DJ Freedom’s Remix) – Mary J Blige…dedicated to cousin Ann Douglas!

(12) Horizons (Freedom’s Classic House Remix) – The Sylvers

(13) Nights Over Egypt (Freedom’s Nights Over Ibiza Remix) – The Jones Girls

(14) Super Constellation 2009 (Freedom’s Disco Pitch Remix) – Sousa & Mad

(15) Ecstasy (Freedom’s Classic Pitch Remix) – Barry White

(16) Ready 4 More – International Featuring Miss Lynsey

(17) The Night The Lights Went Out (The Black Science Orchestra Remix) – The Trammps

(18) Don’t Talk Just Dance _Free*Mix Project Featuring Jon B

(19) No One – Maxwell

(20) Bad Times (I Can’t Stand It) -Captain Rapp

http://www.megaupload.com/?d=FIWPVCN4

Come and join me live at Ashbury Music Hall!

http://www.ashburymusichall.com/offerings/vocal-lessons-introduction

http://www.ashburymusichall.com/offerings/true-voice-course-audio

Perhaps the most stunning song ever. And that’s saying something. Beautiful, emotional, catchy, drama-filled… has it all. Especially love her vocals at the end when she does that lovely scream type thing.

Björk - Jóga (Strings & Vocals)

Junto com sons bastante altos, agudos e graves, metálicos, com trens passando, pessoas correndo, atrasadas, e mil caminhos a seguir; há músicos surpreendentemente bons tocando no metrô de NY.

Pra quem mora aqui faz tempo, não parece ser algo que surpreenda, nem que valha à pena a atenção; mas pra pessoas como eu, novas na cidade, e turistas, é algo muito legal de se ver.

Pelas minhas manhãs (indo pra minha faculdade) e cair das tardes (voltando dela), já encontrei alguns músicos que valeram a pena perder o trem pra ver.

Um deles, um japonês com uma barbicha à lá Sr. Miagui, parecendo um hippie, toca um violão bem surrado, com um captador de contato bem meia boca e um ampli que não tem marca. Mesmo assim, ele consegue tirar um som lindíssimo de slide guitar, tocando sempre blues improvisado. Vou dizer que há muito tempo não via alguém improvisar blues tão bem…

Outro que me surpreendeu foi um senhor, cego de um olho, que toca um bluesy jazz (também na base do improviso) que é de dar inveja à muito músico famoso que acha que toca guitarra… aliás, esse senhor dá um banho em alguns que vejo toando em bares de jazz de Sampa. O jeito dele tocar é completamente displicente e faz parecer que fazer aquilo é fácil como passar manteiga no pão, sendo que na verdade é mais difícil que projetar uma ponte suspensa.

Isso sem contar os inúmeros grupos de três, quatro, cinco vocais à capella, que cantam inúmeras músicas (em geral dos Beatles), e que faz você ficar meio bobo com o controle vocal dos caras: não desafinam, conseguem soar mais alto que um trem em movimento (normalmente eles se apresentam dento do vagão mesmo), tudo bastante sincronizado, e ainda se equilibram pra não cair…

O problema é que isso tudo está ameaçado. Segundo ando ouvindo por aqui, a prefeitura e a MTA pretendem dar um jeito de tornar isso ilegal, e fazer a polícia fiscalizar a coisa toda.

Espero que não dê certo…

Abraços!

Why is it at times difficult to find secularism in some of the most expressive components and aspects of society?  Last night I found myself searching the internet for information regarding secular choral groups or choirs in my area.  It has come to my attention that, in the area of youth and childrens’ choirs, typically one may only seem to be able to locate choral groups with repertoires and song lists comprised mainly or predominantly of sacred, religious-based choral music.  On one level, music is music, regardless of the intent of the composer, or the political and cultural modalities of those who may commission such material.  In fact, in my past experience as a vocalist in youth choirs as a teenager, as well as being part of various musical ensembles, I found that at times music composed by some of the classic and traditional masters of the past (who composed for spiritual environments) were extremely complex and beautifully composed and conceptualized musically.  Yet, does this mean that religious music must be the place from where musical education, vocal practice, voice development, and artistic expression for the everyday singer must start from?  In other words, are the youth choirs of small-towns (though not necessarily just in small towns, as I did do a search online for youth choirs in Toronto and found not one secular group listed, but only faith-based existent) the only ways for kids to start getting into choral music?  I will argue, no they are not.  There can and should be secular choral groups for children.  But where are they?

I suppose I am using this blog entry as a space from where the question can be asked:  where are the secular youth choirs and choral groups?  From what I have been able to deduce in observation and in discourse with others in my social spheres, there is an interest in seeing this type of musical organization.  I want to be clear on a particular point.  My interest in the development of secular youth choral groups is not strictly based in a personal need to oppose faith-based musical organizational practices.  Though I am an out atheist, I do not wish at this point to posit any such thoughts on this topic as a way to show resistance towards religiosity or cultural sacred practices.  I don’t see religious opposition to be the main reason for this discursive endeavour.  Even if it were I am not entirely sure how I would be able to at this point in time within the discourse of community choirs and secular musical performativity.  Perhaps I should consult someone like Richard Dawkins on the matter to discover a strategy for secularizing music in this way.  But at this point, I do not think that secularization of music is really what I am interested in.  But the production of secular youth choral spaces is very much of interest for me.  I just feel it would be important to have secular musical spaces as alternatives to religious ones in which families, children, teenagers, and other young people who may wish to gain experience performing in choral showcases but do not have to risk feeling uncomfortable while signing gospel and sacred textualities if they do not personally connect with the ideologies attached to the material.

To what level should people have to compromise their own values and personal ideals in order to be part of a socially collective and produced artistic expressive activity?  Why should children find themselves involved and lodged into the doctrine of a particular faith, when they really only want to have fun and sing songs?  Why should atheist and non believer parents have to place their children into faith-based community choral groups even if there seemingly are no other musical options?  They shouldn’t.  We shouldn’t. 

So back to my question.  Where are community secular youth choirs?  If they exist, if anyone knows, please enlighten.

Olá galera hoje o assunto é polêmico …. infelizmente aconteceu alguns incidentes alguns dias atrás com o cantor Dinho Ouro Preto, vocalista do grupo Capital Inicial que caiu de uma passarela do palco montado na Festa do Pijama, segundo informações do Corpo de Bombeiros de Belo Horizonte, onde eles estavam fazendo o show , o músico foi socorrido por uma ambulância contratada pela organização do evento e levado até o Hospital Regional da cidade, pelo aglomeração quase que não dá tempo deles socorrerem uns gargalhavam , outros tiravam fotos outros e outro atrapalhavam e organizador do evento só berrava no microfone para a galera dar espaço. O médico Thales Henrique Caixeta apresentou o laudo de traumatismo craniano a imprensa, porém, o estado de saúde dele é estável.
Acredito que foi um pouco de distração do músico, mais graças a Deus não aconteceu o pior e você o que acha ?
Dinho Ouro preto se distraiu escorregou ou o palco da organização do evento não oferecia segurança e iluminação suficiente para os músicos ?
Bom galera não deixem de comentar assiste o video , eu sou o Eber Amaral todas as quartas, estou aqui com vcs e todos os dias tem uma matéria diferente, mande sugestão ebermenac@gmail.com
Abraço

Assista agora pelo You tube

Artikel berikut di copy dari salah satu thread di www.solfegio.com

Pada dasarnya teknik bernyanyi baik bagi penyanyi solo maupun penyanyi paduan suara adalah sama. Perbedaannya justru terletak pada ekspresivitas, tugas dan tanggungjawab yang dipikulnya.

Keberhasilan seorang solois ditentukan oleh dirinya sendiri, sementara keberhasilan paduan suara ditentukan oleh penguasaan teknis, kekompakan dan kerjasama yang dibangun dalam paduan suara itu sendiri. Seorang solois melatih kualitas vokalnya sedemikian rupa untuk mampu menghasilkan suatu ekspresi vokal tunggal yang optimal tanpa direpotkan dengan kehadiran suara-suara lainnya.

Sebaliknya penyanyi paduan suara melatih kualitas vokalnya sedemikian rupa untuk mampu menghasilkan suatu perpaduan warna vokal yang menarik dengan para penyanyi lainnya dalam paduan suara tersebut.

Karena itu bukan menjadi sesuatu yang aneh apabila para penyanyi solo sulit untuk memadukan suaranya dalam sebuah paduan suara, Sebab kerja keras dan kedisiplinan yang diterapkan oleh para penyanyi solo telah menempa mereka menjadi figur yang memiliki karakteristik vokal dan sikap (attitude) yang berbeda dari kebanyakan penyanyi paduan suara.

Ellert Ruland Ngutra ( Moderator Vocal www.solfegio.com )

Untuk memberikan komentar/pertanyaan, silahkan bergabung di www.solfegio.com

The following song is in Disc 7 of DG’s The Art of Fritz Wunderlich in my recent purchase. I immediately remember the tune, because it’s after Dvořák’s Humoresques Op. 101 No. 7.

Eine kleine Frühlingsweise; Lyrics by Hans Lengsfelder.

It’s very beautiful, isn’t it?

You can listen to this arrangement for viola (Elias Goldstein) and piano (Monica Pavel). (Ogg file, which can be played in Firefox, Media Player Classic or VLC. In Firefox you need to allow the javascript).

I first heard of Wunderlich’s singing in these two CDs: one is included in The Art of Fritz Wunderlich (Schuman’s Dichterliebe and Lieder from Beethoven & Schubert) as Disc 5, and the other is Schuber’s Die schone Mullerin. At that time, I was still a college student and spent most of my food money on buysing classical-music CDs. I had quite a big collection but I wasn’t really into songs or opera. These two CDs were the ones of few I had and enjoyed a lot.

Disc 6 of this Wunderlich collection includes some popular songs from various areas. “Be My Love” is the only one in English. Compare Wunderlich with Mario Lanza.

Toscanini called Mario Lanza “the greatest voice of the twentieth century”. To me, it’s Wunderlich. Too bad that he died so young.

As for The Art of Fritz Wunderlich, unless you already have many of his DG recordings, you shouldn’t miss it. Highly recommended.

Two hugely contrasting gigs in as many days – contrasting in so many ways but both with a great deal to recommend them.

On Tuesday, 24 November, a singer who has shifted an exceptional number of CDs and can fill a large auditorium but still continues to, in her own inimitable way, confound showbiz expectations.

The jazz fraternity can be sniffy about singers, especially ones who are on the margins of jazz and, to use the jargon, “shift units”. They should make an exception for Madeleine Peyroux; she is the real thing. She has paid her dues on the streets of Paris, has the uncanny knack of sounding about 70 years old and as if she has stepped out of a past jazz/blues era, and maintains very high standards, both for herself and her musicians.

And on her latest album, Bare Bones on the Universal label, she has moved in a subtly new direction and devoted the whole album to original songs.

She is a quietly compelling live performer and rarely have I heard anyone lay back so far behind the beat without getting lost. Not sure who is in her touring band but last time out Jon Herrington, who also tours with Steely Dan, was on guitar.

She is in the newly refurbished Butterworth Hall at the Warwick Arts Centre from 8pm. Tickets are £25 and £22.50 from www.warwickartscentre.co.uk

On Wednesday, 25 November, a young band that has probably shifted an unexceptional number of its first CD, but which deserves to sell vast quantities because it really is that good. Zed-U is bassist Neil Charles, clarinettist Shabaka Hutchings and drummer Tom Skinner.

The band’s album, Night Time On The Middle Passage, on the Babel label, reveals a most original sounding trio, combining some boisterous, freeish jazz with electronics and North African-influenced trance-blues.

It’s very impressive stuff, combining power with great subtlety, and Hutchings, especially, is electrifying live. Oh, and for this date Seb Rochford replaces Tome Skinner on drums.

No large and newly refurbished concert hall for Zed-U; they are at the Rainbow pub in Digbeth from 9pm. This is a Jazz Club session, from Birmingham Jazz, and entrance is just £4 on the door.

And maybe one day Zed-U will be filling the Butterworth – we can dream! More at www.birminghamjazz.co.uk

Before both of those is a not-really-jazz gig that should be an absolute joy. The Japanese pianist and composer Ryuichi Sakamoto is at Symphony Hall on Sunday,  22 November, with just a piano and his gorgeous tunes.

If he plays Amore, the opening track from his new Decca disc, Playing The Piano, that will be enough. You might remember the song from his best-selling album Beauty (and including the Arto Lindsay lyrics: “Good morning, good evening where are you?”). The solo piano version is heaven distilled into a few minutes.

There aren’t many tickets left, but just being in the same hall as the man should be enough. Go to www.thsh.co.uk

Drömhus – Du Och Jag

En av de bästa svenska houseproduktionerna någonsin vågar jag nästan säga att det här är. Låter väldigt mycket Stonebridge om det och jag vet inte om han var inblandad i den här men känt är i alla fall att Therese Grankvist har jobbat med honom senare på några av hans produktioner.

Brukar annars vara skeptiskt till svenska som sångspråk, det har sällan det flyt som man förknippar med modern dansmusik. Men här har man verkligen lyckats få till en text som följer låten och funkar hela vägen. Det finns faktiskt en till låt med Drömhus som är i samma klass.

Drömhus – I Mina Drömmar

Underbar pianohouse och så gillar jag Thereses trallande mellan refrängen och verserna, det ger lixom en extra dimension åt låten, annars hade det kunnat kännas som vilken anonym houseproduktion som helst på något vis.

Det fanns ju en annan svensk tjej som var aktuellt ungefär samtidigt som Drömhus och det var Tess Mattisson som var förgrundsfigur för eurodancegruppen La Cream. Blandade i början ihop Therese och Tess, dels för att de har vissa utseendemässiga likheter men även på grund av namnen. Men om Therese tar hem guldmedaljen för bästa sång så tar Tess hem guldmedaljen för snyggast framtoning. Jag gör nog inte några mer utläggningar i ämnet då det riskerar att bli alltför stor utrymme för feltolkningar då.

Tjillevippen

notbugs

Here I am Singing I can’t make you love me By George Michael, it’s a great song. When I auditioned for American Idol I use this song, because the lyrics in the song speaks for it’s self. (I can’t make you love me if you don’t, you can’t make your heart feel something that it won’t) I never thought in my life time that I would get the chance to stand in front of Paula Simon and Randy it’s an experience that I will never forget, hope you like it.

Paris Lo

Producers at Scottish based independent Billi Productions Ltd have officially announced this week that British singing legend Dame Shirley Bassey has joined the project to perform the title track ‘Guardian of the Highlands’ in the forthcoming animated feature film ‘Sir Billi’, starring the voice of Sir Sean Connery. It is indeed the first time Sir Sean and Dame Shirley have worked together since Goldfinger!

After 5 years in production, the original feature created by husband and wife team Sascha and Tessa Hartmann is currently in post production, due for completion and release in 2010.

Scotland’s first full length animated feature also stars a host of A list talent including Alan Cumming, Miriam Margolyes, Ruby Wax, Alex Norton, Ford Kiernan, Greg Hempill, Barbara Rafferty, John Amabile, Larry Sullivan and US based newcomer Chris Jai Alex and NYC night queen Amy Sacco, with her first foray as a voice artist.

When asked how the collaboration with Dame Shirley came about Director Sascha Hartmann, who also composed the original song said: ‘My wife Tessa and I agreed that Dame Shirley was the ultimate artist to perform the title track for this film, especially given the ‘Bond’ connection of Sir Sean and Dame Shirley. So I sat down and wrote a song for her! Tessa approached her management and thankfully she fell in love with the song. It really was a dream come true for us as she is an absolute icon, consummate professional and a pleasure to work with’.

The song has already been recorded and Dame Shirley is thrilled with the outcome. When asked how the producers persuaded her to join the project, Dame Shirley said:

‘There was no persuading needed here, I liked the song from the moment I heard it. Sascha and Tessa made the process incredibly fun and easy for me and we got a great result’.

Bom dia galera! Mudei o assunto, porém acho importante para quem curte por se tratar de um pedal assinado e, não apenas por um músico, mas sim por Zakk Wylde, dono de uma pegada inconfundível, furiosa e precisa, que entre outros feitos. A marca que o produz dispensa comentários, pois além de hoje pertecer a Dunlop, sinônimo de wha-wha, a MXR sempre foi vista como uma fábrica de música, pois já espalhou pelo mundo inteiro, e isso vem de muito tempo atrás, efeitos como Dyna Comp, Uni Vibe, Phase 90 e muitos outros. A junção entre marca não poderia ser mais perfeito, pois conseguiu-se juntar dois pesos em uma única caixa.
A caixa branca quase que docil tem visual vintage e cara de que não é tudo isso que aparenta. Burro engano, pois o pedal ZW-44 assinado por Zakk Wylde, assim como ele, é uma porrada certeira nos ouvidos Seu design é o já bem típico desta marca, que esta acustumada a fabricar caixinhas sonoras hermosas, sendo que o único detalhe as ser comentado são os circulos que se tornaram marca registrada de Zakk Wylde, devido a sua tão top Les Paul.
É uma deliciaaa mais seu que vocês vai comprar um certo?
Fique ligado, eu sou o Eber Amaral estou todas as quartas escrevendo e buscando coisas interessantes relacionado ao mundo da música. Fique ligado!
Contato: ebermenac@gmail.com

Bobby McFerrin, 30 ianuarie 2010, la Sala Palatului. Biletele, 80-250 lei.