1998 – McCoy Tyner and The Latin All-Stars 1999 – McCoy Tyner with Stanley Clarke and Al Foster 2000 – Jazz Roots: McCoy Tyner Honors Jazz Piano Legends of the 20th Century 2002 – Land of Giants 2003 – Illuminations 2006 – Guitars. Live Albums 1963 – Live at Newport 1973 – Enlightenment 1974 – Atlantis 1974 – Paris Bossa. The Blues is a form that every improviser must learn and master if they want to become a proficient player. You can approach it with blues language, bebop, or even modern and outside approaches – it all comes together in the blues. And today we’re going look at 3 creative ways McCoy Tyner uses the pentatonic scale on the blues. Salut LEAGUE CLUB OF CHICAGO. How to mark rate manual and son. Hangaroo free download full COLLEGE, SCHENECTADY. How to hangaroo pseud Service station. Hangaroo 1 free download full version. As the title implies, this release is a low-key, after-hours affair. Far removed from the intensity of work with then-boss, stretches out on a fine mix of standards and bebop classics. The pianist, of course, always had his own fleet and rich way with ballads, in spite of the galvanizing marathon solos he became known for on live dates and his later experimental recordings with. His ballad style is even touched with a bit of sentimentality, which thankfully is kept in check by a bevy of tasteful lines. Backed by the topnotch rhythm tandem of bassist and drummer, finds the room to develop classic statements on highlights like 's 'Round Midnight,' and 's 'Satin Doll,' and 's 'Star Eyes.' On more easeful tracks like 'For Heaven's Sake,' utilizes his block chord approach to meditative and romantic effect. Rounded out by solid blues sides like 'Blue Monk' and 's own 'Groove Waltz,' Nights of Ballads & Blues qualifies as one of the pianist's most enjoyable early discs. AMG: When Shelly Manne recorded Steps to the Desert in 1962, John Coltrane was among the most controversial musicians in jazz. Some people praised Coltrane's modal innovations; others detested his post-bop work and even went so far as to describe it as 'anti-jazz' (which is simply ridiculous). ![]() Arguably, Steps to the Desert is Manne's way of acknowledging the influential saxophonist; the CD has a modal orientation, and it indicates that the Los Angeles-based drummer was paying close attention to Coltrane in the early '60s. Not that Steps to the Desert is actually meant to be a tribute to the influential saxman -- if Coltrane (or for that matter, Miles Davis or Yusef Lateef) showed Manne the possibilities of modal jazz, he certainly embraces it on his own terms. Steps to the Desert finds Manne and five other West Coast jazzmen (including trumpeter/flugelhornist Shorty Rogers, tenor saxman Teddy Edwards, vibist/pianist Victor Feldman, guitarist Al Viola and bassist Monty Budwig) providing post-bop interpretations of songs that have some type of Jewish connection, and the material ranges from traditional favorites like 'Hava Nagila,' 'Yossel, Yossel' (also known as 'Joseph, Joseph') and 'Zamar Nodad' to Ernest Gold's 'Exodus' (which a hit for French vocalist Edith Piaf). Coltrane never recorded an album with a Jewish theme; he did, however, show a strong appreciation of modal music from India, the Middle East and North Africa, and Jewish music is certainly part of the modal family. If Coltrane had decided to record a bunch of Yiddish and Israeli songs, they probably would have worked as well for him as they work for Manne on Steps to the Desert -- which is among the most intriguing and memorable sessions that he recorded in the early '60s. Hava Nagila (Come Let's Be Happy) 02. Bei Mir Bist du Schoen 03.
![]() Orchah Bamidbar (Steps to the Desert) 11. Zamar Nodad - (single edit) 12. Exodus - (single edit) 13. Tzena - (single edit) 14. Hava Nagila - (single edit) Personnel: Shelly Manne (drums); Teddy Edwards (tenor saxophone); Shorty Rogers (trumpet, flugelhorn); Victor Feldman (piano, vibraphone); Al Viola (guitar); Monty Budwig (bass). AMG: Following a pair of albums that delved into cabaret and one which paired her with Angelo Badalamenti (an affair that yielded mixed results), the Grande dame of rock & roll returned with her most striking effort in a while. Faithfull, an amazing interpreter of others' material, co-wrote most of the songs here, including the haunting title track.
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