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Play Guitar with….ERIC CLAPTON “Tears in Heaven”

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Play Guitar with….ERIC CLAPTON “Tears in Heaven” (unplugged) with sheet music & audio track

Guitar Play Along series will assist players in learning to play their favorite songs quickly and easily. Just follow the tab, listen to the audio to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along.

Play Guitar with....ERIC CLAPTON "Tears in Heaven" (unplugged) with sheet music & audio track

Acclaimed guitarist and singer-songwriter Eric Clapton is known for his contributions to The Yardbirds and Cream, as well as such singles as “Tears in Heaven” as a solo artist.

Who Is Eric Clapton?

Eric Clapton was a prominent member of The Yardbirds and Cream before achieving success as a solo artist. Considered one of the greatest rock ‘n’ roll guitarists of all time, he is known for such classic songs as “Layla,” “Crossroads” and “Wonderful Tonight.”

Early Life

Eric Patrick Clapton was born March 30, 1945, in Ripley, Surrey, England. Clapton’s mother, Patricia Molly Clapton, was only 16 years old at the time of his birth; his father, Edward Walter Fryer, was a 24-year-old Canadian soldier stationed in the United Kingdom during World War II. Fryer returned to Canada, where he was already married to another woman, before Clapton’s birth.

As a single teenage mother, Patricia Clapton was unprepared to raise a child on her own, so her mother and stepfather, Rose and Jack Clapp, raised Clapton as their own. Although they never legally adopted him, Clapton grew up under the impression that his grandparents were his parents and that his mother was his older sister. Clapton’s last name comes from his grandfather, Patricia’s father, Reginald Cecil Clapton.

Clapton grew up in a very musical household. His grandmother was a skilled pianist, and his mother and uncle both enjoyed listening to big-band music. As it turns out, Clapton’s absent father was also a talented pianist who had played in several dance bands while stationed in Surrey. Around the age of eight, Clapton discovered the earth-shattering truth that the people he believed were his parents were actually his grandparents and that the woman he considered his older sister was in fact his mother. Clapton later recalled, “The truth dawned on me, that when Uncle Adrian jokingly called me a little bastard, he was telling the truth.”

The young Clapton, until then a good student and well-liked boy, grew sullen and reserved and lost all motivation to do his schoolwork. He describes a moment shortly after learning the news of his parentage: “I was playing around with my grandma’s compact, with a little mirror you know, and I saw myself in two mirrors for the first time and I don’t know about you but it was like hearing your voice on a tape machine for the first… and I didn’t, I, I was so upset.

I saw a receding chin and a broken nose and I thought my life is over.” Clapton failed the important 11-plus exams that determine admission to secondary school. However, he showed a high aptitude for art, so at the age of 13 he enrolled in the art branch of the Holyfield Road School.

Musical Start

By that time, 1958, rock ‘n’ roll had exploded onto the British music scene; for his 13th birthday, Clapton asked for a guitar. He received a cheap German-made Hoyer, and finding the steel-stringed guitar difficult and painful to play, he soon set it aside. At the age of 16, he gained acceptance into the Kingston College of Art on a one-year probation; it was there, surrounded by teenagers with musical tastes similar to his own, that Clapton really took to the instrument.

Clapton was especially taken with the blues guitar played by musicians such as Robert Johnson, Muddy Waters and Alexis Korner, the last of whom inspired Clapton to buy his first electric guitar — a relative rarity in England.

It was also at Kingston that Clapton discovered something that would have nearly as great an impact on his life as the guitar: booze. He recalls that the first time he got drunk, at the age of 16, he woke up alone in the woods, covered in vomit and without any money. “I couldn’t wait to do it all again,” Clapton remembers. Clapton was expelled from school after his first year.

He later explained, “Even when you got to art school, it wasn’t just a rock ‘n’ roll holiday camp. I got thrown out after a year for not doing any work. That was a real shock. I was always in the pub or playing the guitar.” Finished with school, in 1963 Clapton started hanging around the West End of London and trying to break into the music industry as a guitarist. That year, he joined his first band, The Roosters, but they broke up after only a few months.

Next he joined the pop-oriented Casey Jones and The Engineers but left the band after just a few weeks. At this point, not yet making a living off his music, Clapton worked as a laborer at construction sites to make ends meet.

Already one of the most respected guitarists on the West End pub circuit, in October 1963 Clapton received an invitation to join a band called The Yardbirds. With The Yardbirds, Clapton recorded his first commercial hits, “Good Morning Little Schoolgirl” and “For Your Love,” but he soon grew frustrated with the band’s commercial pop sound and left the group in 1965. The two young guitarists who replaced Clapton in The Yardbirds, Jimmy Page and Jeff Beck, would also go on to rank among the greatest rock guitarists in history.

Tears in Heaven

“Would you know my name, if I saw you in heaven? Would it be the same, if I saw you in heaven?” asks the lyrics to “Tears in Heaven,” the emotionally wrought hit song by guitar idol Eric Clapton. Released in 1991 it charted in the top 10 in more than 20 countries and won Grammys for Song of the Year, Album of the Year (Unplugged) and Best Male Pop Vocal Performance.

Though it achieved incredible international success, the creation of the song, like many adored ballads and laments, was heavily influenced by the emotional state of its creator. For Clapton, it arose out of the pain following the accidental death of his 4-year-old son Conor, and it is infused it with all the loss, heartache and longing of a grieving parent.

Making History

Later in 1965, Clapton joined the blues band John Mayall & the Bluesbreakers, the next year recording an album called The Bluesbreakers with Eric Clapton, which established his reputation as one of the great guitarists of the age. The album, which included songs such as “What’d I Say” and “Ramblin’ on My Mind,” is widely considered among the greatest blues albums of all time. Clapton’s miraculous guitar-playing on the album also inspired his most flattering nickname, “God,” popularized by a bit of graffiti on the wall of a London Tube station reading “Clapton is God.”

Despite the record’s success, Clapton soon left the Bluesbreakers as well; a few months later, he teamed up with bassist Jack Bruce and drummer Ginger Baker to form the rock trio Cream. Performing highly original takes on blues classics such as “Crossroads” and “Spoonful,” as well as modern blues tracks like “Sunshine of Your Love” and “White Room,” Clapton pushed the boundaries of blues guitar. On the strength of three well-received albums, Fresh Cream (1966), Disraeli Gears (1967) and Wheels of Fire (1968), as well as extensive touring in the United States, Cream achieved international superstar status. Yet they, too, broke up after two final concerts at London’s Royal Albert Hall, citing clashing egos as the cause.

Hard Times

After the breakup of Cream, Clapton formed yet another band, Blind Faith, but the group broke up after only one album and a disastrous American tour. Then, in 1970, he formed Derek and the Dominos, and went on to compose and record one of the seminal albums of rock history, Layla and Other Assorted Love Songs. A concept album about unrequited love, Clapton wrote Layla to express his desperate affection for Pattie Boyd, the wife of the Beatles’ George Harrison. The album was critically acclaimed but a commercial failure, and in its aftermath a depressed and lonely Clapton deteriorated into three years of heroin.

Clapton finally kicked his drug habit and reemerged onto the music scene in 1974 with two concerts at London’s Rainbow Theater organized by his friend Pete Townshend of The Who. Later that year he released 461 Ocean Boulevard, featuring one his most popular singles, a cover of Bob Marley’s “I Shot the Sheriff.” The album marked the beginning of a remarkably prolific solo career during which Clapton produced notable album after notable album. Highlights include No Reason to Cry (1976), featuring “Hello Old Friend”; Slowhand (1977), featuring “Cocaine” and “Wonderful Tonight”; and Behind the Sun (1985), featuring “She’s Waiting” and “Forever Man.”

Despite his great musical productivity during these years, Clapton’s personal life remained in woeful disarray. In 1979, five years after her divorce from George Harrison, Pattie Boyd finally did marry Eric Clapton. However, by this time Clapton had simply replaced his heroin addiction with alcoholism, and his drinking placed a constant strain on their relationship. He was an unfaithful husband and conceived two children with other women during their marriage.

A yearlong affair with Yvonne Kelly produced a daughter, Ruth, in 1985, and an affair with Italian model Lory Del Santo led to a son, Conor, in 1986. Clapton and Boyd divorced in 1989. In 1991, Clapton’s son Conor died when he fell out of the window of his mother’s apartment. The tragedy took a heavy toll on Clapton and also inspired one of his most beautiful and heartfelt songs, “Tears in Heaven.”

New Beginnings

In 1987, with the help of the 12 steps of Alcoholics Anonymous, Clapton finally quit drinking and has remained sober ever since. Being sober for the first time in his adult life allowed Clapton to achieve the kind of personal happiness he had never known before. In 1998, he founded the Crossroads Centre, a drug and alcohol rehabilitation facility, and in 2002, he married Melia McEnery. Together they have three daughters, Julie Rose, Ella Mae and Sophie.

Clapton, who published his autobiography in 2007, was ranked the second greatest guitarist of all time by Rolling Stone in 2015. An 18-time Grammy Award winner and the only triple inductee of the Rock and Roll of Fame (as a member of The Yardbirds, as a member of Cream and as a solo artist), he continued to record music and tour through his 60s, while also performing charity work.

In 2016, Clapton revealed that he had been diagnosed with peripheral neuropathy three years earlier, a condition that left him with back and leg pain. In early 2018, he admitted in an interview that he was also dealing with tinnitus, a ringing in the ears caused by noise-induced hearing loss. Despite the ailments, the guitar legend said he intended to continue performing that year.

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Jazz Music

Ella and Louis – Dream A Little Dream Of Me

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Ella and Louis – Dream A Little Dream Of Me (sheet music in our Library)

Ella and Louis is a studio album by Ella Fitzgerald and Louis Armstrong, accompanied by the Oscar Peterson Quartet, released in October 1956.

Having previously collaborated in the late 1940s for the Decca label, this was the first of three albums that Fitzgerald and Armstrong were to record together for Verve Records, later followed by 1957’s Ella and Louis Again and 1959’s Porgy and Bess.

Norman Granz, the founder of the Verve label, selected eleven ballads for Fitzgerald and Armstrong, mainly played in a slow or moderate tempo. Recording began August 16, 1956, at the new, and now iconic, Capitol Studios in Hollywood. Though Granz produced the album, Armstrong was given final say over songs and keys.[5]

The success of Ella and Louis was replicated by Ella and Louis Again and Porgy and Bess. All three were released as The Complete Ella Fitzgerald & Louis Armstrong on Verve. Verve also released the album as one of the first ones in SACD.

AllMusic‘s Scott Yanow wrote, “Ella Fitzgerald and Louis Armstrong make for a charming team on this CD… This is primarily a vocal set with the emphasis on tasteful renditions of ballads.” Jasen and Jones called the set a “pinnacle of popular singing”. The Penguin Guide to Jazz, compiled by Richard Cook and Brian Morton, says that while the approaches of Armstrong and Fitzgerald may not have been entirely compatible, the results are “hard to resist”, and awards the album three and a half stars.

In 2000 it was voted number 636 in Colin Larkin‘s All Time Top 1000 Albums.

Björk chose the album as one of her favourites in a 1993 Q feature. “I love the way Ella and Louis work together,” she remarked. “They were opposites in how they sung, but were still completely functional together, and respectful of each other.”

Lyrics:

Stars shining bright above you
Night breezes seem to whisper “I love you”
Birds singing in the sycamore tree
Dream a little dream of meSay “Night-ie night” and kiss me
Just hold me tight and tell me you’ll miss me
While I’m alone and blue as can be
Dream a little dream of meStars fading, but I linger on, dear
Still craving your kiss


I’m longing to linger till dawn, dear
Just saying thisSweet dreams till sunbeams find you
Sweet dreams that leave all worries behind you
But in your dreams whatever they be
Dream a little dream of meStars fading, but I linger on, dear
Still craving your kiss


I’m longing to linger till dawn, dear
Just saying thisSweet dreams till sunbeams find you
Sweet dreams that leave all worries far behind you
But in your dreams whatever they be
Dream a little dream of me

Compositors: Fabian Andre / Gus Kahn / Wilbur Schwandt

Louis & Ella free sheet music & scores pdf download
Louis & Ella free sheet music & scores pdf

Dream a Little Dream of Me” is a 1931 song with music by Fabian Andre and Wilbur Schwandt and lyrics by Gus Kahn. It was first recorded in February 1931 by Ozzie Nelson and also by Wayne King and His Orchestra, with vocals by Ernie Birchill. A popular standard, it has seen more than 60 other versions recorded, with one of the highest chart ratings by The Mamas & The Papas in 1968 with Cass Elliot on lead vocals.

“Dream a Little Dream of Me” was recorded by Ozzie Nelson and his Orchestra, with vocal by Nelson, on February 16, 1931, for Brunswick Records. Two days later, Wayne King and His Orchestra, with vocal by Ernie Birchill, recorded the song for Victor Records. “Dream a Little Dream of Me” was also an early signature tune of Kate Smith.

In summer 1950, seven recordings of “Dream a Little Dream of Me” were in release, with the versions by Frankie Laine and Jack Owens reaching the US top 20 at respectively numbers 18 and 14: the other versions were by Cathy Mastice, Ella Fitzgerald, Louis Jordan, Vaughn Monroe, Dinah Shore and a duet by Bob Crosby and Georgia Gibbs. Other traditional pop acts to record “Dream a Little Dream of Me” include Louis Armstrong, Barbara Carroll, Nat King Cole, Doris Day, Joni James, and Dean Martin.

The song was again recorded in 1968 by Mama Cass Elliot with The Mamas & the Papas, and then by Anita Harris. More than 40 other versions followed, including by the Mills Brothers, Sylvie Vartan, Henry Mancini, The Beautiful South, Anne Murray, Erasure, Michael Bublé, Tony DeSare, and Italian vocal group Blue Penguin (see below: List of recorded versions).

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Beautiful Music

Red River Valley (Country Music)

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    Red River Valley · Michael Martin Murphey

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    All the Country sheet music is in our Library!

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    Jazz Music

    That Old Feeling – Louis Armstrong & Oscar Peterson

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    That Old Feeling – Louis Armstrong & Oscar Peterson (with sheet music)

    That Old Feeling – Louis Armstrong & Oscar Peterson “That Old Feeling” is a popular song about nostalgia written by Sammy Fain, with lyrics by Lew Brown. It was published in 1937. The song first appeared in the movie Walter Wanger’s Vogues of 1938, actually released in 1937. Sung there by Virginia Verrill, it was nominated for the Academy Award for Best Original Song in 1937 but lost out to “Sweet Leilani”.

    The song was immediately a hit in a version recorded by Shep Fields and His Rippling Rhythm Orchestra, considered to have spent fourteen weeks on the charts in 1937, four at #1. (The charts did not actually exist in those days, but reconstructions of what they would have been give those statistics.[2]) A version was also recorded by Jan Garber, which charted at #10) In 1952, it was included in the Susan Hayward movie, With a Song in My Heart where Jane Froman sang it in a dubbing for Hayward. Patti Page, as well as Frankie Laine and Buck Clayton, had hit versions of the song in 1955.

    Frank Sinatra had a hit with the song in 1960 form the album Nice ‘n’ Easy.

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    Beautiful Music

    Oblivion (Astor Piazzolla) by Nadja Kossinskaja,guitar (with sheet music)

    Astor Piazzolla Oblivion (Astor Piazzolla) played by Nadja Kossinskaja, guitar (with sheet music)

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    Oblivion sheet music arrangement for guitar by Nadja Kossinskaja (and also for piano) is available in our Library

    Version for two pianos.

    Astor Piazzolla

    Astor Pantaleón Piazzolla (March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed Nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles.

    piazzolla oblivion guitar sheet music

    In 1992, American music critic Stephen Holden described Piazzolla as “the world’s foremost composer of Tango music”.

    After leaving Troilo’s orchestra in the 1940s, Piazzolla led numerous ensembles beginning with the 1946 Orchestra, the 1955 Octeto Buenos Aires, the 1960 “First Quintet”, the 1971 Conjunto 9 (“Noneto”), the 1978 “Second Quintet” and the 1989 New Tango Sextet. As well as providing original compositions and arrangements, he was the director and bandoneon player in all of them. He also recorded the album Summit (Reunión Cumbre) with jazz baritone saxophonist Gerry Mulligan.

    His numerous compositions include orchestral work such as the Concierto para bandoneón, orquesta, cuerdas y percusión, Doble concierto para bandoneón y guitarra, Tres tangos sinfónicos and Concierto de Nácar para 9 tanguistas y orquesta, pieces for the solo classical guitar – the Cinco Piezas (1980), as well as song-form compositions that still today are well known by the general public in his country, including “Balada para un loco” (Ballad for a madman) and Adiós Nonino (dedicated to his father), which he recorded many times with different musicians and ensembles. Biographers estimate that Piazzolla wrote around 3,000 pieces and recorded around 500.

    In 1984 he appeared with his Quinteto Tango Nuevo in West-Berlin, Germany and for television in Utrecht, Netherlands. In the summer of 1985 he performed at the Almeida Theatre in London for a week-long engagement. On September 6, 1987, his quintet gave a concert in New York’s Central Park, which was recorded and, in 1994, released in compact disc format as The Central Park Concert.

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    The Origin of the song ‘Oblivion’

    Argentine tango composer Astor Piazzolla created the piece ‘Oblivion’ in 1982. It was famously featured in the 1984 Italian film ‘Enrico IV’ (‘Henry IV’) directed by Marco Bellocchio. The song has been described as “haunting” and “atmospheric,” and is considered to be one of Piazzolla’s most popular tangos.

    The film ‘Enrico IV’ was adapted from the play by Luigi Piradello. The lead character is an actor-historian who suffers a fall during an historical pageant. Upon regaining consciousness, he assumes the identity of the character he was playing, the Holy Roman Emperor Henry IV. The nostalgic tune starts out as a slow milonga, a genre of Uruguay and Argentina music considered to be a forerunner of tango.

    Milonga dance allows for a great relaxation of the legs and body. Movement is faster with less pauses. The dance mimics a kind of rhythmic walking without complicated figures.

    ‘Oblivion’ has many recorded versions, including for klezmer clarinet, saxophone quartet, and oboe and orchestra. The featured instrument enters immediately over a subtle, arpeggiated accompaniment with a melody of extreme melancholy — long-held notes alternating with slowly falling and weaving figures. A middle section offers a minimally contrasting theme, lush but less intense.

    ‘Oblivion’ evokes sadness, despite its lyrics speaking of love. It also has a harmonic sophistication and whispered sadness.

    Heavy, suddenly they seem heavy the linen and velvets of your bed when our love passes to oblivion Heavy, suddenly they seem heavy your arms embracing me formerly in the night

    My boat parts, it’s going somewhere people get separated, I’m forgetting, I’m forgetting

    Later, at some other place in a mahogany bar the violins playing again for us our song, but I’m forgetting

    Later, it splits off to a cheek to cheek everything becomes blurred and I’m forgetting, I’m forgetting Brief, the times seem brief the countdown of a night when our love passes to oblivion

    Brief, the times seem brief your fingers running all over my lifeline.

    Without a glance people are straying off on a train platform, I’m forgetting, I’m forgetting.

    piazzolla tango oblivion

    Piazzolla revolutionized tango and created nuevo tango (new tango), which is a blend of tango, jazz and classical music. ‘Oblivion’ is considered to be more traditional and less ‘jazzy’. The song was composed during the peak of his career, just a year after he performed in New York’s Madison Square Garden. The 1980’s are considered his most popular years, having held concerts all over the world including Europe, South America, Japan, and the U.S.

    He composed music for other films as well and was awarded in 1986 the Cesar Prize for his score for ‘El Exilio de Gardel.’ He has over 90 credits as composer for film and television. As one of their leading tango composers, he was named an exceptional citizen of Buenos Aires in 1986. In 1990, Piazzolla suffered a massive stroke and two years later, the Tanguero died in Buenos Aires on July 4. He leaves behind more than 1,000 works and the legacy of having revolutionized tango forever.

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    Jazz Music

    Louis Armstrong and Oscar Peterson – You Go to My Head

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    Louis Armstrong and Oscar Peterson

    “You Go to My Head” is a 1938 popular song composed by J. Fred Coots with lyrics by Haven Gillespie.

    Numerous versions of the song have been recorded, and it has since become a pop and jazz standard.

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    A History of the Blues – Little Walter – My Babe

    A History of the Blues – Little Walter – My Babe

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    “My Babe” is a Chicago blues song and a blues standard written by Willie Dixon for Little Walter. Released in 1955 on Checker Records, a subsidiary of Chess Records, the song was the only Dixon composition ever to become a number one R&B single and it was one of the biggest hits of either of their careers.

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    Dixon based “My Babe” on the traditional gospel song “This Train (Is Bound For Glory)”, recorded by Sister Rosetta Tharpe as “This Train”. He reworked the arrangement and lyrics from the sacred (the procession of saints into Heaven) into the secular (a story about a woman that won’t stand for her man to cheat): “My baby, she don’t stand no cheating, my babe, she don’t stand none of that midnight creeping.”

    blues free sheet music pdf

    Lyrics

    My baby don’t stand no cheatin’, my babe
    Oh, yeah, she don’t stand no cheatin’, my babe
    Oh, yeah she don’t stand no cheatin’
    She don’t stand none of that midnight creepin’
    My babe, true little baby, my babe

    My babe, I know she love me, my babe
    Oh, yes, I know she love me, my babe
    Oh, yes, I know she love me
    She don’t do nothin’ but kiss and hug me
    My babe, true little baby, my babe

    My baby don’t stand no cheatin’, my babe
    Oh, no, she don’t stand no cheatin’, my babe
    Oh, no, she don’t stand no cheatin’
    Everything she do she do so pleasin’
    My babe, true little baby, my babe

    My baby don’t stand no foolin’, my babe
    Oh, yeah, she don’t stand no foolin’, my babe
    Oh, yeah, she don’t stand no foolin’
    When she’s hot there ain’t no coolin’
    My babe, true little baby, my babe (She’s my baby)

    She’s my baby (True little baby)
    She’s my baby (True little baby)
    She’s my baby (True little baby)
    She’s my baby (True little baby)
    She’s my baby

    Songwriters: Willie Dixon / H. Burrage

    Little Walter

    Marion Walter Jacobs (May 1, 1930 – February 15, 1968), known as Little Walter, was an American blues musician, singer, and songwriter, whose revolutionary approach to the harmonica had a strong impact on succeeding generations, earning him comparisons to such seminal artists as Django Reinhardt, Charlie Parker and Jimi Hendrix. His virtuosity and musical innovations fundamentally altered many listeners’ expectations of what was possible on blues harmonica. He was inducted into The Rock and Roll Hall of Fame in 2008, the first and, to date, only artist to be inducted specifically as a harmonica player.

    Jacobs made his first released recordings in 1947 for Bernard Abrams’s tiny Ora-Nelle label, which operated out of the back room of Abrams’s Maxwell Radio and Records store in the heart of the Maxwell Street district in Chicago. These and several other of his early recordings, like many blues harp recordings of the era, owed a strong stylistic debt to the pioneering blues harmonica player Sonny Boy Williamson I (John Lee Williamson).

    Little Walter joined Muddy Waters‘s band in 1948, and by 1950 he was playing acoustic (unamplified) harmonica on Waters’s recordings for Chess Records. The first appearance on record of Little Walter’s amplified harmonica was on Waters’s “Country Boy” (Chess 1952), recorded on July 11, 1951. For years after his departure from Waters’s band in 1952, Chess continued to hire him to play on Waters’s recording sessions, and as a result his harmonica is featured on most of Waters’s classic recordings from the 1950s.

    As a guitarist, Little Walter recorded three songs for the small Parkway label with Waters and Baby Face Leroy Foster (reissued on CD by Delmark Records as “The Blues World of Little Walter” in 1993) and on a session for Chess backing pianist Eddie Ware. His guitar playing was also featured occasionally on early Chess sessions with Waters and Jimmy Rogers.

    In January 1952, talent scout Ike Turner tried to get Jacobs to record for Modern Records while in Helena, but Jacobs was on his way to Mississippi. They played together in Clarksdale.

    Jacobs had put his career as a bandleader on hold when he joined Waters’s band, but he stepped out front again when he recorded as a bandleader for Chess’s subsidiary label Checker Records on May 12, 1952. The first completed take of the first song attempted at his debut session became his first number one hit, spending eight weeks at the top of the Billboard R&B chart.

    The song was “Juke“, and it is still the only harmonica instrumental ever to be a number-one hit on the Billboard R&B chart. The original title of the track file was “Your Cat Will Play”, but was renamed at Leonard Chess’s suggestion. (Three other harmonica instrumentals by Little Walter also reached the Billboard R&B top 10: “Off the Wall” reached number eight, “Roller Coaster” reached number six, and “Sad Hours” reached number two while “Juke” was still on the charts.) “Juke” was the biggest hit to date for any artist on Chess and its affiliated labels and one of the biggest national R&B hits of 1952, securing Walter’s position on the Chess artist roster for the next decade.

    Jacobs had fourteen top-ten hits on the Billboard R&B charts between 1952 and 1958, including two number-one hits (the second being “My Babe[11] in 1955), a level of commercial success never achieved by Waters or by his fellow Chess blues artists Howlin’ Wolf and Sonny Boy Williamson II.

    Following the pattern of “Juke”, most of Little Walter’s singles released in the 1950s featured a vocal performance on one side and a harmonica instrumental on the other. Many of Walter’s vocal numbers were written by him or Chess A&R man Willie Dixon or adapted from earlier blues themes. In general, his sound was more modern and up-tempo than the popular Chicago blues of the day, with a jazzier conception and rhythmically less rigid approach than that of other contemporary blues harmonica players.

    Jacobs left Waters’s band in 1952 and recruited his own backing band, the Aces, a group that was already working steadily in Chicago backing Junior Wells. The Aces—the brothers David and Louis Myers on guitars and Fred Below on drums—were credited as the Jukes on most of the Little Walter records on which they played.

    By 1955 the members of the Aces had each separately left Little Walter to pursue other opportunities and were initially replaced by the guitarists Robert “Junior” Lockwood and Luther Tucker and drummer Odie Payne. Among others who worked in Little Walter’s recording and touring bands in the 1950s were the guitarists Jimmie Lee Robinson and Freddie Robinson, and drummer George Hunter.

    Little Walter also occasionally included saxophone players in his touring bands during this period, among them the young Albert Ayler, and Ray Charles on one early tour. By the late 1950s, Little Walter no longer employed a regular full-time band, instead hiring various players as needed from the large pool of blues musicians in Chicago.

    Jacobs often played the harmonica on records by others in the Chess stable of artists, including Jimmy Rogers, John Brim, Rocky Fuller, Memphis Minnie, the Coronets, Johnny Shines, Floyd Jones, Bo Diddley, and Shel Silverstein. He also played on recordings for other labels, backing Otis Rush, Johnny “Man” Young, and Robert Nighthawk.

    Jacobs suffered from alcoholism and had a notoriously short temper, which in late 1950s led to violent altercations, minor scrapes with the law, and increasingly irresponsible behavior. This led to a decline in his fame and fortunes, beginning in the late 1950s. Nonetheless he toured Europe twice, in 1964 and 1967 (the long-circulated story that he toured the United Kingdom with the Rolling Stones in 1964 has been refuted by Keith Richards).

    The 1967 European tour, as part of the American Folk Blues Festival, resulted in the only known film footage of Little Walter performing. Footage of Little Walter backing Hound Dog Taylor and Koko Taylor was shown on a television program in Copenhagen, Denmark, on October 11, 1967 was released on DVD in 2004. Further video of another recently discovered TV appearance in Germany during this same tour, showing Jacobs performing his songs “My Babe”, “Mean Old World“, and others, was released on DVD in Europe in January 2009; it is the only known footage of him singing.

    Other TV appearances in the UK (in 1964) and the Netherlands (in 1967) have been documented, but no footage of these has yet been uncovered. Jacobs recorded and toured infrequently in the 1960s, playing mainly in and around Chicago.

    In 1967 Chess released a studio album, Super Blues, featuring Little Walter, Bo Diddley, and Muddy Waters.

    Legacy

    The music journalist Bill Dahl described Little Walter as “king of all post-war blues harpists”, who “took the humble mouth organ in dazzling amplified directions that were unimaginable prior to his ascendancy.” His legacy has been enormous: he is widely credited by blues historians as the artist primarily responsible for establishing the standard vocabulary for modern blues and blues rock harmonica players.

    Biographer Tony Glover notes Little Walter directly influenced Junior Wells, James Cotton, George “Harmonica” Smith, and Carey Bell. He includes Jerry Portnoy, Rick Estrin of Little Charlie & the Nightcats, Kim Wilson, Rod Piazza, and William Clarke among those who later studied his technique and helped popularize it with younger players.

    Little Walter’s daughter, Marion Diaz Reacco, has established the Little Walter Foundation in Chicago, to preserve the legacy and genius of Little Walter. The foundation aims to create programs for the creative arts, including music, animation and video.

    On June 25, 2019, The New York Times Magazine listed Little Walter among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

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    Bill Evans, “A Time For Love”, Jazz Piano Tutorial

    Bill Evans, “A Time For Love”, Jazz Piano Tutorial with sheet music to download from our Library

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    R.I.P. Kirk Douglas

    R.I.P. Kirk Douglas…he WAS Spartacus…

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    Composed by Alex North and re-recorded here by Erich Kunzel & Cincinnati Pops Orchestra

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    Spartacus sheet music available from our Library

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    Morricone: Once Upon a Time in America

    Morricone: Once Upon a Time in America Soundtrack Deborah’s Theme – Amapola (sheet music available in our Library)

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    Once Upon a Time in America (Italian: C’era una volta in America) is a 1984 epic crime drama film co-written and directed by Italian filmmaker Sergio Leone and starring Robert De Niro and James Woods. The film is an Italian–American venture produced by The Ladd Company, Embassy International Pictures, PSO Enterprises, and Rafran Cinematografica, and distributed by Warner Bros. Based on Harry Grey‘s novel The Hoods, it chronicles the lives of best friends David “Noodles” Aaronson and Maximilian “Max” Bercovicz as they lead a group of Jewish ghetto youths who rise to prominence as Jewish gangsters in New York City‘s world of organized crime.

    The film explores themes of childhood friendships, love, lust, greed, betrayal, loss, broken relationships, together with the rise of mobsters in American society.

    It was the final film directed by Leone before his death five years later, and the first feature film he had directed in 13 years. It is also the third film of Leone’s Once Upon a Time Trilogy, which includes Once Upon a Time in the West (1968) and Duck, You Sucker! (1971).The cinematography was by Tonino Delli Colli, and the film score by Ennio Morricone. Leone originally envisaged two three-hour films, then a single 269-minute (4 hours and 29 minutes) version, but was convinced by distributors to shorten it to 229 minutes (3 hours and 49 minutes).

    The American distributors, The Ladd Company, further shortened it to 139 minutes, and rearranged the scenes into chronological order, without Leone’s involvement. The shortened version was a critical and commercial flop in the United States, and critics who had seen both versions harshly condemned the changes that were made. The original “European cut” has remained a critical favorite and frequently appears in lists of the greatest gangster films of all time.

    Music

    The musical score was composed by Leone’s longtime collaborator Ennio Morricone. “Deborah’s Theme” was written for another film in the 1970s but was rejected. The score is also notable for Morricone’s incorporation of the music of Gheorghe Zamfir, who plays a ‘s pan flute. Zamfir’s flute music was used to similar effect in Peter Weir‘s Picnic at Hanging Rock (1975). Morricone also collaborated with vocalist Edda Dell’Orso on the score.

    Once Upon a Time in America
    Soundtrack album by Ennio Morricone
    Released1 June 1984
    17 October 1995 (Special Edition)
    RecordedDecember 1983
    StudioForum Studios, Rome
    GenreContemporary classical
    LabelMercury Records
    ProducerEnnio Morricone

    Besides the original music, the film used source music, including:

    • God Bless America” (written by Irving Berlin, performed by Kate Smith – 1943) – Plays over the opening credits from a radio in Eve’s bedroom and briefly at the film’s ending.
    • Yesterday” (written by Lennon–McCartney – 1965) – A Muzak version of this piece plays when Noodles first returns to New York in 1968, examining himself in a train station mirror. An instrumental version of the song also plays briefly during the dialogue scene between Noodles and “Bailey” towards the end of the film.
    • Summertime” (written by George Gershwin – 1935) An instrumental version of the aria from the opera Porgy and Bess is playing softly in the background as Noodles, just before leaving, explains to “Secretary Bailey” why he could never kill his friend.
    • Amapola” (written by Joseph Lacalle, American lyrics by Albert Gamse – 1923) – Originally an opera piece, several instrumental versions of this song were played during the film; a jazzy version, which was played on the gramophone danced to by young Deborah in 1918; a similar version played by Fat Moe’s jazz band in the speakeasy in 1930; and a string version, during Noodles’ date with Deborah. Both versions are available on the soundtrack.
    • La gazza ladra” overture (Gioachino Rossini – 1817) – Used during the baby-switching scene in the hospital.
    • Night and Day” (written and sung by Cole Porter – 1932) – Played by a jazz band during the beach scene before the beachgoers receive word of Prohibition’s repeal, and during the party at the house of “Secretary Bailey” in 1968.
    • St. James Infirmary Blues” is used during the Prohibition “funeral” at the gang’s speakeasy.

    A soundtrack album was released in 1984 by Mercury Records. This was followed by a special-edition release in 1995, featuring four additional tracks.

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