Astor Piazzolla y su Orquesta – Pulsación (1969) (Full Album)
2021 marks the centennial of Astor Piazzolla, the Argentine composer-bandoneón master and inventor of nuevo tango, which transformed traditional tangos for the dance floor into concert works with jazz and classical music elements.
Piazzolla was certainly internationally known when he died in 1992, but his fame and popularity have skyrocketed since. “If he were alive right now, he would be very, very happy for that,” said Argentine pianist and composer Pablo Ziegler, who played and recorded for more than a decade in Piazzolla’s second and last bandoneón quintet.
The latest sign of Piazzolla’s soaring stature will come Nov. 18-21 when guest conductor Giancarlo Guerrero and the Chicago Symphony Orchestra mark the 100th anniversary of the composer’s birth with concerts featuring his Aconcagua Concerto for Bandoneón and Orchestra.
In addition, the Quinteto Astor Piazzolla, a group founded by his widow, Laura Escalada Piazzolla, will perform a special Symphony Center Presents concert on Nov. 19 as part of a world tour. The group, which received a 2019 Latin Grammy Award for best tango album, carries on the traditions established by Piazzolla’s first and second quintets.
Piazzolla composed his Concerto for Bandoneón and Orchestra in 1979 on a commission from the Banco de la Provincia de Buenos Aires, and he served as the soloist for the premiere in December of that year. His publisher added the moniker Aconcagua, the name of a mountain on the Argentina-Chile border, saying, “This is the peak of Astor’s oeuvre, and the highest peak in South American is Aconcagua.”
Piazzolla was born in Argentina to Italian-immigrant parents. Four years later, he moved with his family to New York City — first to Greenwich Village and then to Little Italy. He discovered tango by listening to some of his father’s records, and a friend soon taught him the rudiments of playing the bandoneón, a kind of concertina popular in Argentina and Uruguay.
When he was 12, he began taking lessons with Hungarian classical pianist Bela Wilda, who taught him, among other things, how to play Bach on the bandoneón. A student of Rachmaninov, Wilda happened to live next door, and Piazzolla was entranced by the sounds that emanated from his home. “My father and I knocked at his door, and when he opened it, I was bewildered by his grand piano and the pack of Camel cigarettes he used to smoke,” Piazzolla said in an extended interview on the website Todo Tango.
In 1938, when he was still just 17, Piazzolla joined the tango orchestra of Aníbal Troilo and later became an arranger for the group as well. During this stage of his career, he led kind of two musical lives, one devoted to tango and the other to mastering classical music. On the advice of famed pianist Artur Rubenstein, he began studying with composer Alberto Ginastera in 1941, delving into the scores of Stravinsky, Bartók and Ravel, and later took piano lessons with Argentine keyboardist Raúl Spivak.
In 1953, he won a grant to study composition with the celebrated French pedagogue Nadia Boulanger, who also taught composers ranging from Aaron Copland to Philip Glass. At that time, Piazzolla had largely rejected the tango, and he presented Boulanger with a number of his classically inspired compositions.
She was impressed with his technique but felt that the works did not have a personal stamp. He finally admitted that he played bandoneón and wrote tangos. So he performed for her a tango piece he had written a bit earlier, Triunfal. “And then she told me, ‘There is Piazzolla, never leave it!” he recalled in the Todo Tango interview.
When he returned to Argentina, he formed his Octeto Buenos Aires, inspired by the octet of jazz saxophonist Gerry Mulligan, which he had heard in Paris. It was with this ensemble — a radical break from the larger bands common in tango — that he began to write his groundbreaking music that became known as nuevo tango.
“When he started with the first Buenos Aires Octet, that music was like Bartók and Stravinsky,” Ziegler said. “Because of the huge rejection by the media and tango audience, he started to change and do something more acceptable, but he was really a contemporary composer.”
Piazzolla’s nuevo tango, which fuses Baroque counterpoint, extended chords and jazz swing, is at once earthy and elegant, seductive and transporting. It is instantly identifiable and cannot be confused with the music of anyone else.
In 1961, the composer formed his first quintet, with bandoneón, piano, violin, electric guitar and double bass, a combination that many experts believe is the most authentic and expressive vehicle for his music. He organized a second quintet in 1978 and called Ziegler to recruit him for the group.
For Ziegler, who was well-established on his own at that point as a composer and arranger, hearing from Piazzolla was a “big surprise.” The pianist asked the composer why he wanted him in the quintet, and Piazzolla told him that he was looking for someone who would bring strong improvisatory skills as well as a complementary and distinctive playing style.
“For me and for each musician, it was a big challenge,” Ziegler said, “because his music was really incredible but difficult.” He remembered a new work that Piazzolla presented him that looked almost unplayable at first, but with the composer’s encouragement and considerable study, he was able to pull it off.
Ziegler praised Piazzolla’s abilities on the bandoneón, especially his ability to shape the sound and nudge his fellow players in the direction he wanted to go. “He was like the Oscar Peterson [referring to the great jazz pianist] of the bandoneón — tremendous, tremendous,” Ziegler said.
In addition to performing with Piazzolla in the quintet, Ziegler also joined the composer in some of his larger orchestral works, including the premiere of his bandoneón concerto, which has a significant part for the piano.
According to Ziegler, Piazzolla’s approach to these concerts was simple: “We play the music, and the orchestra has to follow us.” But in fact, it is a bit more complicated. The pianist must emphasize the importance of articulations in Piazzolla’s music, especially in the strings, and tries to illustrate how they should be done.
Astor Piazzolla’s OBLIVION
Esta es una de las más hermosas obras que compuso el maestro Astor Piazzolla, esta obra la incluyen en el repertorio orquestas sinfónicas y de cuerdas de mucho prestigio. La compuso en los años 80 durante su tiempo en los EEUU, cuando Piazzolla vendia música para vivir, esta obra fue comprada para la banda sonora de la pelicula “Enrique IV” del director Marco Bellocchino de nacionalidad italaiana.
Esta es una canción que trata sobre el olvido. En francés se escribe J’oublie y en la lengua inglesa, como fue concebido, dado que Oblivion es (Olvido).
Stan Getz – Stan Getz At Large ( Full Album ). Find many sheet music jazz transcriptions in our Library.
Tenor Saxophone – Stan Getz…. Bass – Dan Jordan….
Drums – William Schiøppfe…. Piano – Jan Johansson….
Recorded – Copenhagen, January 14th and 15th, 1960
0:00:00  Night And Day 0:10:32  Pammie’s Tune 0:17:42  Amour 0:23:32  I Like to Recognize the Tune 0:30:14  When the Sun Comes Out 0:36:04  Just a Child 0:40:03  Folks Who Live on the Hill 0:44:23  Café Montmartre Blues 0:52:28  He Was Too Good for Me 0:57:02  Younger Than Springtime 1:02:12  Goodbye 1:05:55  Land’s End 1:13:00  In Your Own Sweet Way 1:19:05  In the Night
Joe Hisaishi : Studio Ghibli Experience, Part 3 楽譜 (Hisaishi’s Sheet Music Library)
00:00– Symphonic Variation “Merry-go-round” 13:47 – The Wind Rises’- A Journey (Dream of Flight) – Nahoko (The Encounter) 17:27 – The Wind Rises’- Caproni (An Aeronautical Designers Dream) 21:50 – The Wind Rises’- A Journey (The Wedding) 25:39 – The Wind Rises’- Nahoko (I Miss You) – Castorp (The Magic Mountain)
29:31– The Wind Rises’- Nahoko (An Unexpected Meeting) 32:24 – The Wind Rises’- A Journey (A Kingdom Of Dreams) 36:23 – Kiki’s Delivery Service 41:10 – The Tale of the Princess Kaguya’ – Overture – Mystery of the Moon 42:51 – The Tale of the Princess Kaguya’ – The Joy of Living – The Coming of Spring 46:24 – The Tale of the Princess Kaguya’ – Despair 49:35 – The Tale of the Princess Kaguya’ – Flying 52:49 – The Tale of the Princess Kaguya’ – The Procession of Celestial Beings – The Parting – Moon
To make Jazz transcriptions can be a hard work and if you want to buy them, it may result quite a big amount of money. Find and download them from our Library! Quick and easy!
Bill Evans, Keith Jarret, Thelonious Monk, Herbie Hanckok, Pat Metheny, Miles Davis, John Coltrane, Chet Baker, Charles Mingus, Charlie Parker, Jacques Loussier, and many more sheet music transcriptions.
Autumn Leaves – as recorded by Bill Evans with sheet music transcription in our Library.
John Lennon was shot and killed on this day at the entrance of the Dakota building, New York City, where he lived with his wife Yoko Ono. He was 40 years old.
Lennon began 8 December 1980 with breakfast at 7.30am at La Fortuna’s, New York City. At 9am he visited a local barber shop where he had his hair cut into a 1950s-style quiff. At around 9.45am he returned to his home at the Dakota to give an interview to Dave Sholin, Laurie Kaye, Ron Hummel and Bert Keane for an RKO Radio Network show.
The interview lasted 90 minutes. In the early afternoon Rolling Stone photographer Annie Leibovitz arrived at the Lennons’ apartment for a photo session, which lasted from 2-3.30pm. One of the images, of a naked Lennon lying on a clothed Yoko Ono, was the last ever taken of the couple together.
Lennon and Ono left the Dakota at 5pm with the RKO team. Before they entered their car, Lennon was stopped for several people seeking autographs, among them 25-year-old hospital worker Mark David Chapman. Lennon signed Chapman’s copy of Double Fantasy, after which he asked, “Is this all you want?” Chapman nodded in agreement. The encounter was photographed by Lennon fan Paul Goresh.
At the Record Plant Studio at 321 West 44th Street they mixed Ono’s song Walking On Thin Ice, which featured Lennon on lead guitar. During the evening session Lennon also telephoned his aunt Mimi in England, and record label owner David Geffen called by with the news that Double Fantasy had been certified gold in its first two weeks on release.
The recording session came to a close at 10.30pm. Lennon and Ono discussed going for a meal at Stage Deli, but decided to first return to the Dakota to say goodnight to five-year-old Sean Lennon. Their son was being minded by Helen Seaman, the aunt of their assistant Fred.
Although it was late on a December night, the outside temperature was unseasonably warm. Lennon and Ono decided to stop their limousine at 72nd Street and walk the remaining short distance, despite a secure courtyard being available to park in at the Dakota.
Lennon walked a couple of paces behind Ono. As he approached the archway leading to the Dakota’s courtyard, Mark Chapman emerged from the shadows. The time was 10.52pm.
Chapman is said to have adopted a combat stance and fired five hollow-point rounds at Lennon from a Charter Arms .38 Special revolver. One bullet missed, passing over Lennon’s head and through a window of the Dakota building. Two struck Lennon in the left side of his back, and two others penetrated his left shoulder. At least one of these pierced his aorta.
Lennon staggered up six steps to the Dakota’s reception area and said “I’m shot,” before collapsing. The tapes from the earlier recording session, which Lennon had been holding, were scattered across the floor. The other witnesses to the shooting were an elevator operator, a New York taxi driver, and the passenger he had just dropped off.
Duty concierge Jay Hastings immediately triggered a police alarm before covering Lennon with his blue Dakota uniform and removing his glasses. Yoko Ono cradled Lennon’s head as he whispered “Help me”, with blood pouring from his mouth. Hastings attempted to reassure him, whispering, “It’s okay John, you’ll be all right.”
Outside the Dakota, doorman Jose Perdomo shook the gun from Chapman’s hand and kicked it out of reach. “Do you know what you’ve done?” he shouted, to which Chapman calmly replied, ‘Yes, I just shot John Lennon.” The gun came to rest in nearby bushes, close to Chapman’s autographed copy of Double Fantasy.
Chapman removed his coat and hat in preparation of the police arriving, and stood to the left of the Dakota archway on West 72nd Street. He began reading a copy of JD Salinger’s 1951 novel The Catcher In The Rye, inside which he had written: “To Holden Caulfield. From Holden Caulfield. This is my statement.”
John Lennon dies
Monday 8 December 1980
The first NYPD officers to arrive on the scene were Steve Spiro and Peter Cullen, who had been on patrol at Broadway and 72nd Street when the first calls about the shooting came through. Upon their arrival they drew their guns and shouted “Put your hands up” at the Dakota’s duty concierge Jay Hastings, who was kneeling by John Lennon and was covered in blood. “Not him,” Perdomo told them. “He works here. He’s the one,” he said, pointing to Mark Chapman.
Spiro and Cullen forced Chapman against a wall of the Dakota building, searching him for concealed weapons. “Don’t hurt me, stay with me,” he asked the officers. The search revealed keys, the copy of The Catcher In The Rye, and a wallet containing $2,000 in cash. Spiro handcuffed Chapman, and Perdomo recovered the gun and handed it to his co-worker.
Fellow officers Bill Gamble and James Moran arrived and, seeing that the suspect was under control, rushed inside the Dakota. Against Yoko Ono’s wishes, Gamble turned over Lennon’s body to determine the extent of his injuries. “What is your name?” he asked. Although he struggled to reply, John eventually managed to say: “Lennon”.
Realising that his injuries were too severe to wait for an ambulance, Gamble and Moran carried Lennon to their car. Moran took Lennon legs and Gamble carried him by his underarms, and they placed him on the back seat. Gamble kneeled by his side as Moran drove at 50mph speeds to the nearest emergency hospital, St Luke’s Roosevelt on West 59th Street.
Gamble attempted to keep Lennon conscious by talking to him. “Are you sure you’re John Lennon?” he asked. “I am,” came the reply. “How do you feel?” “I’m in pain,” he is reported to have said.
Moran had contacted the hospital as he drove. Behind them was another police car, driven by Officer Anthony Palmer and containing an increasingly hysterical Ono.
Upon their arrival at the hospital a rolling stretcher was waiting. Medical director Dr Stephan Lynn took Lennon into the emergency room, while Ono called the Dakota to check on their son Sean’s safety. Lennon had no pulse and wasn’t breathing, but for 20 minutes Lynn and two other doctors opened his chest and attempted manual heart massage to try and restore circulation.
Despite the hospital’s attempts, including blood transfusions and surgery by highly-trained staff, they were unable to save him. Dr Lynn pronounced John Lennon dead on arrival in the emergency room at the Roosevelt Hospital at 11.07pm on 8 December 1980.
Lynn informed Ono at 11.15pm. “He never stood a chance,” he said. “Nothing we were able to do could revive your husband. We believe the first bullet killed him. It ripped through John’s chest causing irreparable damage to a major artery.” In a state of shock, Ono asked him: “Do you mean that he is sleeping?”
The cause of death was reported as hypovolemic shock, caused by the loss of more than 80% of blood volume. The hollow-point bullets used by Chapman expanded upon entering the body, causing irreparable damage to Lennon’s organs.
The news of Lennon’s death broke on WABC TV’s Monday Night Football. The producer, Bob Goodrich, told host Howard Cosell, who announced it on-air during a televised match between the New England Patriots and Miami Dolphins.
NBC announced the news during The Tonight Show Starring Johnny Carson; the show was interrupted by a news bulletin. On CBS Lennon’s death was reported by Walter Cronkite and reporters.
At the Record Plant Studio, producer Jack Douglas had continued work on Walking On Thin Ice. His wife informed him of Lennon’s death at 11.35pm. The news sent him into a state of shock, and he decided to wipe the tapes of studio banter between him and Lennon recorded that day. He has never revealed the precise nature of their conversations.
John Lennon’s sheet music is availablie in our online Library.
Download Bill Evans’ sheet music and transcriptions from our Library.
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Moon Beams is a 1962 album by jazz musician Bill Evans, and the first trio album recorded by Evans after the death of Scott LaFaro. With Chuck Israels on bass taking the place of LaFaro, Evans recorded several songs during these May and June 1962 sessions. Moon Beams contains a collection of ballads recorded during this period. The more uptempo tunes were put on How My Heart Sings!. In 2012, it was released a new remastered edition which includes three previously unreleased alternate takes.
Personnel: Bill Evans (p) Chuck Israels (b) Paul Motian (dr)
Released: Mid December 1962
Recorded: May 17, 1962 (#5,9) May 29, 1962 (#1, 8) June 2, 1962 (#2-4, 6-7) June 5, 1962 (#10-11)
Label: Riverside RLP-428
Producer: Orrin Keepnews
“Re: Person I Knew” (Bill Evans)
“Polka Dots and Moonbeams” (Johnny Burke, Jimmy Van Heusen)
“I Fall in Love Too Easily” (Sammy Cahn, Jule Styne)
“Stairway to the Stars” (Matty Malneck, Mitchell Parish)
“If You Could See Me Now” (Tadd Dameron)
“It Might as Well Be Spring” (Richard Rodgers, Oscar Hammerstein II)
“In Love in Vain” (Leo Robin, Jerome Kern)
“Very Early” (Bill Evans)
Writing for Allmusic, music critic Thom Jurek wrote of the album “…selections are so well paced and sequenced the record feels like a dream… Moonbeams was a startling return to the recording sphere and a major advancement in his development as a leader.”
Bill Evans, William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who mostly played in trios. His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, block chords, and trademark rhythmically independent, “singing” melodic lines continue to influence jazz pianists today. Born in Plainfield, New Jersey, in 1929, he was classically trained at Southeastern Louisiana University and the Mannes School of Music, where he majored in composition and received the Artist Diploma. In 1955, he moved to New York City, where he worked with bandleader and theorist George Russell. In 1958, Evans joined Miles Davis’s sextet, which in 1959, then immersed in modal jazz, recorded Kind of Blue, the best-selling jazz album of all time.
During that time, Evans was also playing with Chet Baker for the album Chet. In late 1959, Evans left the Miles Davis band and began his career as a leader, with bassist Scott LaFaro and drummer Paul Motian, a group now regarded as a seminal modern jazz trio. In 1961, ten days after finishing an engagement at the New York Village Vanguard jazz club, LaFaro died in a car accident. After months of seclusion, Evans re-emerged with a new trio, featuring bassist Chuck Israels. In 1963, Evans recorded Conversations with Myself, a solo album using the unconventional technique of overdubbing over himself. In 1966, he met bassist Eddie Gómez, with whom he would work for eleven years. Many of Evans’s compositions, such as “Waltz for Debby”, have become standards, played and recorded by many artists. Evans was honored with 31 Grammy nominations and seven awards, and was inducted into the Down Beat Jazz Hall of Fame.
Trenet had composed “La Mer” (which means “the Sea”) with French lyrics. It had some differences to the English-language version that Lawrence later wrote. Trenet’s French version was a homage and ode to the changing moods of the sea, while Lawrence, by just adding one word “Beyond” to the title, gave him the start whereby he made the song into a love song.
“Beyond the Sea” has been recorded by many artists, but Bobby Darin‘s version released in late 1959 is the best known by many, reaching No. 6 on the Billboard Hot 100, No. 15 on the US R&B Chart, and No. 8 in the UK Singles Chart. in early 1960.
Before Bobby Darin’s, two recordings reached the Top 40 of the Billboard Hot 100. Benny Goodman‘s version charted in 1948, and was featured in the Cary Grant/Betsy Drake romantic comedy Every Girl Should Be Married. Roger Williams‘ recording reached No. 37 in 1955.
Deana Martin recorded Beyond the Sea in 2013. The song was released on her album, Destination Moon, in 2013 by Big Fish Records.
American R&B singer George Benson recorded an R&B version of the song under the title “Beyond The Sea (La Mer).” It was released on Warner Bros. This version entered the UK Singles Chart on 20 April 1985. It reached a peak position of no. 60 and remained on the chart for three weeks.
The first recording of Beyond the Sea was by Harry James and His Orchestra on December 22, 1947, and the first recording of La Mer was by French jazz musician Roland Gerbeau in December 1945.
Louis Charles Augustin Georges Trenet (18 May 1913 – 19 February 2001) was a French singer-songwriter, who composed both the music and the lyrics to nearly a thousand songs. These include “La Mer“, “Boum!” and “Y’a d’la joie”, and supported a career that lasted over sixty years.
Somewhere beyond the sea
Somewhere waitin’ for me
My lover stands on golden sands
And watches the ships that go sailin’
Somewhere beyond the sea
She’s there watchin’ for me
If I could fly like birds on high
Then straight to her arms, I’d go sailin’
It’s far beyond a star
It’s near beyond the moon
I know beyond a doubt
My heart will lead me there soon
We’ll meet beyond the shore
We’ll kiss just as before
Happy we’ll be beyond the sea
And never again I’ll go sailin’
I know beyond a doubt, ah!
My heart will lead me there soon
We’ll meet, I know we’ll meet beyond the shore
We’ll kiss just as before
Happy we’ll be beyond the sea
And never again I’ll go sailin’
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