Tommy Dorsey Satan Takes a Holiday

Thommy Dorsey Satan on vacation

Read the full text Satan Takes A Holiday by Tommy Dorsey feat. Tatan Takes a Holiday testo canzone cantato da Tommy Dorsey: Lyrics by Tommy Dorsey Songs. Take a chance on love, Dorsey Tommy, The Essence Of Tommy Dorsey. Awake and live / Satan on holiday / Stop Look And Listen.

Satan Traduzione goes on holiday

Il Diavolo danced the devil'Il Diavolo danno intiziato a balllareHe was entrancin'Era estaziantehen tehen he did the "Jangle: his own howgallina ha fatto la Jangle: in his own way, his bone rattles aloud, his bone rattles aloud when he began to mix with pride, when he began to mix with pride, that's the way Satan takes a vacationThat's the way Satan takes a vacationThe sound wasn't good, the sound wasn't good,

However, it was much scary Ma è state un sacco sprettrale, which is the way he liked it day and night like ' quest il modo en gui ga gace pas dte en geriornothe Lord prefer to listen to signores ascoltareTo aggravatin' rythmPer rhythmmo aggravanteThat the way Satan makes a holiday. So Satan takes a vacation.


SparkABLE' If you are listening to the radio tonightBIANCHI MEME' Senza FrettaGABRE' Serenada PortuguesaBIANCHI MEME' Serenata Jazz Jazz Jazz bandGABRE' Serenatella Al VentoGABRE' Settembre Sotto La PioggiaBIANCHI MEME' Signora SperanzaGABRE' Signorina Grandi FirmeBIANCHI MEME' SognatoreGABRE' Sogniamo InsiemeBIANCHI MEME' Sola In Una Notte Di TormentoBIANCHI MEME' Soldato IgnotoGABRE' South AmericaGABRE' Strimpellata D'arlecchinoGABRE' Sounds Chitarre'. The Sussurro D'amoreBIANCHI MEME' Symphony (Sinfonia d'amore)BIANCHI MEME'.

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I would like to thank Bruno Marrazzo, professor of guitar at Tchaikovsky Conservatory of Music in Nocera Terinese, who accompanied me in the preparation of the pieces and with whom I had the pleasure of playing during the discussion of the work. The second chapter describes the instrument in a more technical way with reference to the above passages.

At least for the most important documents the name of the recording (written in lower case) and the songs contained (written in italics, with the author in brackets) were indicated, possibly with the year of publication, the label (written in italics) and the catalogue number. In the hands of talented guitarists, two guitars can become a real jazzy ensemble, full of rhythm, complex harmonies and slender improvisations" 1 " Guitar duet is a beautiful little band...:--) " (....comment in a web forum).

One J. Sallis, J. The guitar in jazzy. 1.1. the guitar duet in the history of 1.1. Jazz. From the beginning to the 1930s: the guitar is in the rhythm section. It is a genre reminiscent of wind instruments, there is little to discuss. Although some authors regard the guitar as the first musical instrument of the jazz world (Summerfield 1998, p. 13), it has long been used to accompany singers who have scattered their voices with musical lines and riffs on the instrument.

From the end of the 19th century to the 1920s, the guitar was used to accompany soloists and in larger formations, although the preferred method was the bankio because of its clearer and more concise sound (ibid.). The spasmus bands that were mainly active in rural contexts or at small town parties were informal dance groups of violins, banjos, guitars and basses with one strings (Mongan 1983, pp. 6-8).

For many years the strings group remained the most popular group, and is at the basis of the first groups of musicians, which usually included violin and guitar (Zenni, 2012). Indeed, the guitar, which will be one of the last instruments in the history of jazzy music to have its own voice because of its low loudness, has always accompanied the voice of the singers of the flute.

One of the first guitarists to be able to perform an articulated solo phrasing was New Orleans born Lonnie Johnson (1889 - 1970), a flute singer. Johnson, son of a violinist, studied the same instrument as a young man, first joined his father's Spasmus group, then had engagements in New Orleans with his pianist brother before joining a stable company that led him to London in 1917.

Thanks also to this award he was able to play between 1926 and 1929 with artists such as Luis Armstrong, Duke Ellington's Orchestra, Bessie Smith (Yanow 2013, p. 102), but the events that interest us most are the recordings he made in New York between 1928 and 1929 with another guitarist who worked for the Okeh during those years: Eddie Lang.

He was the son of an Italian immigrant guitarist and banjaker, was a fan of classical music, and as a child had adopted the stage name Eddie Lang from one of his heroes. Long was compared to Coleman Hawkins (Yanow 2013, p.

116 ) as the first true solo guitarist in real life, which became unmistakable by its full, round, dense sound, also thanks to the modifications of its Gibson L--4 (and then L--5, the first modern acoustic arch-top with f-shaped holes). He was the first to combine the style of rhythm guitar and melodic guitar (Mongan 1983, p. 24).

He also had a deep sense of blue, a quality that enabled him to record important records with many black musicians. Sallis ( 1982 ) tells of a series of factors in which the banjoists in the 1920s and 1930s passed one after the other on to the guitar: from the development of recording techniques to the greater versatility of the guitar on the band to the growing popularity of the double bass in relation to the bass tuba. 3 Sallis (1982) tells of a series of factors in which the banjoists in the 1920s and 1930s passed on to the guitar one after the other.

But Sallis brings the change back, especially when listening to Eddie Lang. In his duets with Johnson, Lang uses a pseudonym4 because these recordings were aimed at a mainly black audience and would have sold less if the name of a white man had appeared among the musicians.

She was the meeting between the two most important guitarists of the 20s and at the same time between two completely different musical personalities. The Johnson era rentanovenne, long ventiquattrennen. Johnson said in an interview for Beats magazine in 1939 that he considered Lang's recordings more important than anything else in the world (

The tracks they recorded as a duet in these sessions were recorded in chronological order: Two Tone Stomp (Johnson - Lang) (Matrix 401338--B, 8637 Okeh), recorded on 17/11/1928. Need to modify the keys to perform these blues (Johnson - Lang) (Matrix 401339--B, 8637 Okeh), registrata il 17/11/1928. Guitar blues (Johnson - Lang) (Matrize 401865--A, 0keh 8711), approval 5.7.1929.

{\pos (192,210)}A Handbul Of Riffs (Johnson - Lang) (Matrix 401869--A, Okeh 8695), registrata il 8/5/1929. Guitars blue (Johnson - Lang) (Matrix 401870--A, Okeh 8711), registered on 8.5.1929. Bullet Frog Moan (Johnson - Lang) (Matrix 401866--D, Okeh 6895), registration il 4 Blinind Willlie Dunn. Fifteen. 8 instruments had been the piano, then came the baljo and the guitar.

He spent most of his career in recording studios, playing in Paul Whiteman's orchestra, recording with Bix Beiderbecke, the Dorsey brothers and other great names in classical music. In the mid 1930s Kress was also co-owner of the Onix Club on 52nd Street. According to Rich Kienzle in the footsteps of the duet Kress - Lang, the contribution one gave to the other was so similar that the music seemed to be from the same head.

Long beautiful solos could be seen thanks to the Kress Accords. On the other hand, Kress' rich chord solos were skilfully supported by Lang's bass lines (Sallis, 1982). The footage was taken in New York, the tracks are as follows: Brunswick 6254, registered on 15.2.1932.

Feelin' My Way (Kress - Lang) (Brunswick 6254), registered on 17.2.1932. The first of the two tracks is the most rhythmic and expresses the "hot" style of the time. After an introduction to the chordal voice, Lang presented the theme. The theme and the variation are accompanied by Kress. The second time he plays the theme with chords and reacts Lang in the variation.

He has a more relaxed pace in Feling My Way, Lang plays a flamenco-like introduction and experiences melodic adornments such as grouping and retreat. She emphasizes harmony by playing a bass in the style of the string pianos before each chord (Sallis 1996, p. 47 - 48). The tracks Kress and Mottola recorded together can be heard on Yazoo's CD FUN ON THE FRETS, catalogue number L--1061 (

Kress, Mottola) Sarong number (Kress, Mottola) Camel hikes, The (Kress, Mottola) Blonde On The Loose (Kress, Mottola) Serenade (Kress, Mottola) Squeeze Box swing (Kress, Mottola) Sharp As A Track (Kress), The tracks range from wild swings (as in Blonde On The Loose, Fun On The Frets) to exotic sounds (Sarong Number) to waltzes (Serenade).

Most of Mottola's playing is melodic, while Kress is more involved in the accompaniment (Sallis 1996, pp. 49 - 50). In 1937 John Cali and Tony Guttuso5 recorded three duet tracks which can be heard on the CD entitled THE PEOPLE OF YAZZ GUITAR (Yazoo L--1057).

He was a guitar and accordion player, also known for his accompaniment to countries and westerns, he also recorded with mandolin and lute. The pieces they recorded as a duet are ( Hittin' On All Six (John Cali) Satan Takes A Holiday (Larry Clinton) A Study In Brown (Larry Clinton) Guitarists Frank Victor and Harry Volpe recorded four duets for Decca in 1936, and at least two more titles appear in Radiola's catalogue in 1942.

Their songs reflect the vocabulary of those years, but also offer references to ethnic and "semi-classical" music. Zallis (1996, p. 49 - 50) reports of several other works by the guitar duet in the 5's, although Guttuso is written on the album cover, some sources, including Yanov (2013), write Gottuso.

In addition, the sound of the electric guitar has a longer lasting than the acoustic guitar, allowing more cantabile melodies. The first recordings of electric guitars were made in 1938 by Eddie Durham and in 1939 by Charlie Christian (Summerfield 1998, pp. 15-16). Just like in the 1930s with bank players, in the 1940s acoustic guitarists switched successively to the electric guitar, this time thanks to the work of Charlie Christian6.

The wave of change led to the guitar increasingly being regarded as a melodic instrument that could be equated with others in the orchestra or in the often smaller formations of the debop era. Probably also because of the necessity to find new musical contexts, no duets for the newborn electric guitar were recorded during these years.

On the one hand Christian announced the future and on the other hand marked the end of the first period of the Jazzgitarre (, which was mainly seen as an accompanying instrument. WARUM NICHT ANANG AM TOP? is the studio work7 that Barnes recorded with Kress; it appeared on the Carney label (LPM 202) in 1963 and 1977, on the Audiophile label (AP--87) in 1981, and finally in a digital version (ACD 87) in 2003, where further tracks recorded by the Barnes quartet were added.

The 1963 pieces are as follows: A sentimental journey (Green, Horner) Blue moon (Hard) Blue space (Hard) Memories of you (Blake, Razaf) Clapping Yo's hands (Gershwin) Undecided (Shaving, Robin) Don't be edgy (Barnes, Kress) Willow Wines for me (Ronnell) The girlfriend (Ronnell) Dolls ( Ellington) As long as I am alive (Arlwin),

Until then, the duet guitar projects had been conceived for CD and CD; Barnes and Kress instead 7 L'ultimo prima della moorte di Kress avven avven uta no 1965. My Favorite Things features a quote from Enrique Granados' "Danza Espanola n°5" and in several songs it is played with counterpoint (e.g. in fly me to the moon), I'll get along has a Latin-American accompaniment and breaks in which the theme is exposed in accord melodies; there are also rocks and funny influences (e.g. in Lester Leaps in).

The work is also the first example of a guitar duet using expressive effects, because in Let's Do It Again and Lester Leaps In an effect appears like a wah-wah, probably given by an envelope filter on the guitar signal. Staicase (Towner) Romance Descension (Abercrombie) Parasol (Towner) Opinions on this record are controversial, the "Penguin Guide to Jazz Recordings" awards three out of five stars and writes: "Sargasso Sea is a very different pile of weed[from other works by Abercrombie, n.

"9 Listening to the record certainly doesn't leave you indifferent, both for the use of effects and for the combination of timbres between Abercrombie's electric guitar and Towner's acoustic guitar (unplugged); in some songs you can also hear the presence of Towner's played and overdubbed ( It is also the first guitar-jazz duo to use overdubs.

Apart from this collaboration, the careers of the two went different ways: While Towner continued to play classical guitar and twelve strings, especially with his group "Oregon", Abercrombie remained more connected to Jazz and collaborated with Chico Hamilton, Gil Evans, Gato Barbieri, Dave Holland, Jack DeJonette and others.

Penguin guide for jazz recordings. Catherine uses a free guitar in Snowshadows. Of particular importance in this work are the songs Mother's Day, in which Coryell duets with Beck and Little B's Poem, in which Coryell duets with Scofield. The stylistic change had in fact already taken place: just as the guitarists of the 20s and 30s were influenced by revenge, band and Eddie Lang, the guitarists of the 50s were influenced by listening to part 10 of the track description from a new booklet of the album in CD format, which was released in 1992.

In 1985 Larry Coryell and Emily Remler returned to a more calming ground than jazzy and recorded TOGETHER, an LP that was highly acclaimed by critics. Not many women have appeared in the guitar scene, one of them is definitely Emily Remler11. Unfortunately, like many of the greatest guitarists in the history of the jazz, he had a very short career, which was wiped out after his death in 1990.

The tracks were recorded in August 1985 in S. Francisco and are: 39. 32 Gerri's Blues (Pat Martino) How Insensitive (Jobim, Gimbel) The sound of Remler is full, the phrasing oppressive and surprising, certainly worth mentioning are the songs Joy Spring, Gerri's Blues and How Insensitive. The tracks they recorded are as follows:

In Jim Hall's record he only plays the electric-guitar, Pat Metheny uses the electric-guitar Ibanez, the acoustic Manzer, the free classic guitars and Pikasso. Speaking of some of the tracks on the album such as All the Things You Are, Viva (2003) says: "Hall brings Metheny into his world, out of austerity, out of narrow concessions to the number.

At the age of four, Sylvain Luc (1965) started playing the guitar. Pat Metheny, a guitar behind the sky. After 36 years he studied violin and cello at the Bayonne Conservatory in France for ten years because there were no guitar courses (Yanow 2013, p. 125).

At the age of fifteen he had already worked with his group on several tours and participated in various festivals. Both Lagrene and Luc played live and session tracks released in two Dreyfus albums. The works include pop-rock tracks masterfully rebuilt for acoustic guitars such as Blackbird (Lennon, McCartney) or Isn't She Love (Wonder), off-the-shelf tracks and original tracks.

It is interesting to notice, besides the impressive technique of the two, also the percussive use Lagrene makes of the guitar. At the age of five, Joe Beck in the Joe Beck duet (1945 - 2008) approached the guitar and already played professionally at the age of fourteen. At the age of twenty he moved to New York, where he entered the New York music scene.

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