活页乐谱 $29.98

原文

Traditional Jazz Series. Chicago-Style Jam Session. 2 CD set. Tenor Saxophone sheet music.

译文

传统爵士系列. 芝加哥风格的果酱会议. 2 CD集. 次中音萨克斯乐谱.

原文

Traditional Jazz Series. Chicago-Style Jam Session. 2 CD set. for tenor saxophone. Instrumental Solo Part and 2 CDs. Published by Music Minus One. MO.MMOCD4218. ISBN 159615621X. This exciting MMO volume emphasizes collectively improvised ensembles and the succession of individual solos in the freewheeling "Chicago-Style" offshoot of New Orleans Jazz. The rhythmic texture is rooted in the swing feel of the late 1930s, and the instrumentation is typical of the New York groups of this genre. The songs are popular melodies from the 1900s to 1930s as well as multithematic compositions and blues-on this album you'll find such classics as "'Deed I Do," "Sugar," "The Darktown Strutters' Ball," "That's a Plenty" and more. Sometimes this style is referred to as the New York-Chicago style, sometimes as post-Chicago style. It has also been called "Nicksieland," a play on "Dixieland" that recognizes a Greenwich Village nightclub called "Nick's," where this music was showcased in the 1950s. Chicago-style jazz is named for the city where it first developed. In the 1920s, many New Orleans musicians, including Joe "King" Oliver, Jimmy Noone, Johnny and "Baby" Dodds, Freddie Keppard, "Jelly Roll" Morton, Louis Armstrong, the Original Dixieland Jazz Band, and the New Orleans Rhythm Kings actively performed and recorded in Chicago. There are also many younger musicians around Chicago who were profoundly influenced by their music, including Eddie Condon, Benny Goodman, Gene Krupa, Muggsy Spanier, Bud Freeman and many others. By the 1930s many of these same musicians moved on to New York. Some continued to perform in the New Orleans tradition and others became significant figures of the Swing era. As the Big Band era closed, improvising soloists still found work in New York clubs such as Nick's, Eddie Condon's and the Metropole. The texture was distinctly in the New Orleans tradition but the language was Swing and directly reflected the synthesis that took place in Chicago. The musicians chosen for this session are, in a way, exponents of this tradition. Their personal styles are amalgamations of the greatest stylists who preceded them. You can hear in Hal Smith aural glimpses of Dave Tough and George Wettling. You can hear in Jon-Erik shades of Muggsy Spanier and Wild Bill Davison. Brian Ogilvie's voice of choice is flavored by the sonorities of Bud Freeman and Eddie Miller, and Evan Christopher owes more than a little bit to Edmond Hall's style. The other musicians were chosen for these qualities as well, and as a result, this stylistically accurate recording demonstrates the inner workings of collective improvisation in a traditional jazz context. You'll be blown away by the quality of these jazz combos-and this album includes both printed solo part and a concert lead sheet, to give you a rare glimpse into the workings of the great bands of the past-and present. Also includes a slow-tempo version of the accompaniments to help you get up to speed. Includes a 32-page music book containing a solo chart for each song containing the melody line and chord changes for proper improvisational playing of each song. plus a concert lead sheet giving the overall "roadmap" for each piece, printed on high-quality ivory paper. and two compact discs containing the complete performance of these jazz combos in digitally mastered stereo. a digital stereo version of each piece minus the soloist. and a special -20% slow-tempo version of each accompaniment for practice purposes. For related items see the following item numbers. MMOCD3239, MMOCD3844, MMOCD3921. Rosetta. 'Deed I Do. Blues. My Naughty Sweetie Gives to Me. Sugar. That Sugar Baby o'Mine. The Darktown Strutters' Ball. The Royal Garden Blues. Poor Butterfly. That's A Plenty.

译文

传统爵士系列. 芝加哥风格的果酱会议. 2 CD集. 对于中音萨克斯. 器乐独奏声部和2张CD。出版减号音乐一. MO.MMOCD4218. ISBN 159615621X. 这一令人兴奋的网络游戏音量强调集体即兴合奏和独奏个人在新奥尔良爵士乐随心所欲的“芝加哥式”分支继承. 有节奏的质地是植根于20世纪30年代后期的挥杆感觉，以及仪器仪表是典型的纽约群体这一流派的. 这些歌曲都是受欢迎的旋律从1900年到20世纪30年代以及multithematic成分和蓝调这张专辑，你会发现这样的经典之作“”契约我愿意“，”糖“，”该Darktown清一色“球”，“这是一个大量的“多. 有时，这种风格被称为纽约，芝加哥的风格，有时后芝加哥学派风格. 它也被称为“Nicksieland，”上“迪克西兰”，承认一个格林威治村夜总会叫“尼克”里这样的音乐展示了上世纪50年代一出戏. 芝加哥风格的爵士被命名为它首先开发的城市. 在20世纪20年代，许多新奥尔良音乐家，包括乔“王”奥利弗，吉米努尼，约翰尼和“宝贝”多兹，房地美Keppard，“果冻卷”莫顿，路易斯·阿姆斯特朗，原迪克西兰爵士乐队和新奥尔良节奏国王积极履行并记录在芝加哥. 还有芝加哥各地的许多年轻音乐家谁是深受他们的音乐影响，包括埃迪·康登，本尼·古德曼，基因克鲁帕，Muggsy斯巴涅尔，芽弗里曼和其他许多人. 到了20世纪30年代许多相同的音乐家转移到纽约. 有的继续在新奥尔良的传统执行和其他人成为了Swing时代的显著数字. 由于大乐队时代结束，即兴独奏还是找到了工作在纽约的俱乐部，如尼克，埃迪康登的和新都城. 质地是新奥尔良的传统截然不同，但语言是Swing和直接反映发生在芝加哥的合成. 选择了这个环节的音乐家，在某种程度上，这种传统的指数. 他们的个人风格是谁之前他们最大的造型师amalgamations. 您可以在戴夫艰难和乔治Wettling的哈尔·史密斯听觉听到一瞥. 您可以在乔恩 - 埃里克色调Muggsy尼尔和野生比尔戴维森的听. 选择的布赖恩·奥格尔维的声音是由芽弗里曼和埃迪·米勒的sonorities味，和Evan克里斯托弗欠了一点点万福堂的风格. 其他音乐家被选为这些特质，以及，作为一个结果，这曲风准确的记录证明了集体即兴创作的内部工作在传统的爵士乐背景. 你会通过的质量被吹走这些爵士乐组合，而这张专辑包括印刷独奏部分和音乐会铅片，给你一个难得一窥的过去和现在的大波段的运作. 还包括伴奏的慢节奏的版本，以帮助你加快速度. 包括一个32页的音乐书籍包含一个单独的图表，其中包含每首歌曲的正确即兴演奏的旋律线和和弦变化每首歌曲. 再加上演唱铅片给人的整体“路线图”，每件印上高品质的象牙纸. 以及含有这些爵士乐组合的完整性能的两个光盘掌握数字立体声. 每件作品的数字立体声版本减去独奏. 每个伴奏的特殊-20％，慢节奏的版本，实践的目的. 相关的项目请参见下面的项号. MMOCD3239，MMOCD3844，MMOCD3921. 罗塞塔. “契约怎么做. 蓝调. 我的淘气宝宝赐给我. 糖. 糖宝贝o'Mine. 该Darktown清一色'球. 皇家园林蓝调. 可怜的蝴蝶. 这是一个大量.