"The Manhattan Transfer Calls It a Night With a Final Show at Disney Hall: There's ‘Grieving,' but ‘We Think We're Going Out on Top'"
https://variety.com/2023/music/news/m...
The group's apparent swan song in downtown Los Angeles' toniest venue was a happy-sad-ebullient-misty-eyed affair. Two things were left definitively established as part of the essence of swing: clock pendulums, and the Manhattan Transfer.
No revolving doors here. Two members of the quartet have been with the group since its early ‘70s origins, Alan Paul and Janis Siegel; Cheryl Bentyne, for her part, has been in the ensemble nearly as long as those two, having joined up before the ‘70s came to a close; even new guy Trist Curless has a decade's worth of tenure.
Prior to and following the show, the four members talked with Variety about winding things up with a final tour - and final show - that they decided should coincide with a planned 50th anniversary outing. If the goal was to convince everyone attending that this is a group that should not be quitting, mission accomplished.
"I think we're going out on top. And that's the way I always wanted it. I think we all felt that way," says Paul. "We didn't want to have it deteriorate. We want to be remembered for our greatness, and we certainly have a wonderful legacy."
Popular Posts
-
Performed by Alinta Chidzey (in the role of Velma Kelly) and the Chicago the Musical ensemble cast. Recorded at the show's Brisbane Medi...
-
(FILES) French singer Francoise Hardy poses at her home in Calvi on August 12, 1977. French singer Francoise Hardy, has died at the age of ... -
Bach influences EVERYTHING! In this video, I find the five most influential Bach tracks on Pop & Rock, and ask WHY Bach has such a per...
-
by Georg Predota , Interlude “I may not be a first-rate composer, but I AM a first-class second-rate composer!” Richard Strauss conducting B...
-
By Emily E. Hogstad t, Interlude Johann Sebastian Bach is, of course, one of the most beloved composers of all time. He’s also famous for...
Tuesday, May 7, 2024
Monday, May 6, 2024
Michael Bublé - You're the First, the Last, My Everything (Official Audio)
Haley Reinhart - Off The Ground (Official Music Video & Short Film)
Haley Reinhart - Off The Ground 🦋
(Official music video & short film)
Directed by Robert Rodriguez & Haley Reinhart
Producer Joshua Shultz
DP Tristan Tate-Savage
Color Ryan McNeal
Producer Christopher Cope & AJ Wedding
Filmed at Orbital Virtual Studios
Virtual Production DP Leonidas Jaramillo
VP Supervisor Don Bitters
Lead Designers Rotu Entertainment
Virtual Producer Leah Christine Robson
VP Gaffer Hunter Laizure
Key Grip CJ Colace
AD Mark Poletti
Sunday, May 5, 2024
Haley Reinhart - Can’t Help Falling In Love ft. Casey Abrams
Haley Reinhart - Can’t Help Falling In Love ft. Casey Abrams
Directed by Joshua Shultz
Recorded by Mitchell Haeuszer
Written by Luigi Creatore, Hugo Peretti, & George David Weiss
Originally recorded by Elvis Presley
The response to my cover of this classic Elvis Presley song has been overwhelming and filled with so much love. I want to continue to show my gratitude to those who are listening, so here is this live recording... Love to you all around the world.
GG Vibes | I Will Survive • Gloria Gaynor | Gigi De Lana
Welcome to GG Vibes at YouTube! Kami po ang Gigi De Lana and The Gigi Vibes Band from Manila, Philippines!
Haydn: Piano Concerto in D No. 11 | Adam Balogh
GG Vibes | Hopelessly Devoted To You | Gigi De Lana
14,664,206 views • Premiered Jul 22, 2021 • TRITONE STUDIOS BY ERWIN LACSA
PI Jazz Fest returns with Singapore-Philippine collaboration
BY MANILA BULLETIN ENTERTAINMENT
May 6, 2024 10:31 AM
AT A GLANCE
The festival’s revival was headlined by Singaporean jazz vocalist Michelle SgP, who performed alongside the Manila Philharmonic Orchestra, conducted by Maestro Rodel Colmenar.
After a hiatus since 2019, the Philippine International Jazz Festival (PI Jazz Fest ) made a vibrant comeback this year, symbolizing the resilient spirit of jazz and the enduring friendship between Singapore and the Philippines. The festival’s revival was headlined by Singaporean jazz vocalist Michelle SgP, who performed alongside the Manila Philharmonic Orchestra, conducted by Maestro Rodel Colmenar.
Sandra Lim-Viray, founder of the Philippine International Jazz Festival, sought to resurrect the event after its last show in 2019, and the disruption of the COVID-19 pandemic. The festival’s return was fueled by the passion and support of Singapore’s Ambassador to the Philippines Constance See, who proposed a special concert to commemorate 55 years of diplomatic ties between Singapore and the Philippines. “Music transcends borders, and it’s the perfect way to mark this milestone in our bilateral relations,” she said.
Held on May 3, 2024, at Sofitel Manila Garden, the headline event of PI Jazz Fest 2024 ‘Colors of Jazz’ captivated a packed crowd. The event attracted nearly 400 attendees, including former President Gloria Macapagal Arroyo, government officials, diplomats, and business leaders.
Michelle SgP enchanted the audience with her original compositions, such as “Shark Filled Oasis,” “I Just Want to Be Me,” and “Serenity,” along with a dynamic cover of “Route 66.” Her soulful and versatile performance was complemented by the exquisite sounds of the Manila Philharmonic Orchestra. Her narrative interludes, where she shared the inspirations behind her songs, made the evening all the more special.
The festival also featured performances by notable Filipino jazz musicians, including the P.I Jazz All Stars (Richard Merk, Pat Castillo, Sandra Lim-Viray, Jeannie Tiongko, Emcy Corteza, Megan Herrera, Henry Katindig, Dix Lucero, Colby Dela Calzada, Mar Dizon, Ramon Guevara, Alvin Cornista and Johnny Alegre) and The Brass Munkeys. They highlighted the diverse and rich musical landscape of the Philippines.
In her address to the audience, Sandra Lim-Viray emphasized the instrumental role the Singapore Embassy played in reviving the PI Jazz Fest, acknowledging their support in making this year’s event possible. he PI Jazz Fest 2024 exemplified the power of music to bridge cultures and celebrate the enduring bond between two nations. This year’s collaboration was a reminder of jazz’s universal language and its ability to foster friendships across borders.
Saturday, May 4, 2024
FIy Me To The Moon • Frank Sinatra (Squid Game OST)
3,517,214 views • Premiered Nov 5, 2021 • #TeamGigi #GigiVibesBand #GigiDeLana
Best of Monteverdi (90+ Minutes of Music)
Claudio Giovanni Antonio Monteverdi (1567–1643) was an Italian composer, string player and choirmaster. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and the Baroque periods of music history.
Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua (c. 1590–1613) and then until his death in the Republic of Venice where he was maestro di capella at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics.
Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale sacred works such as his Vespro della Beata Vergine (Vespers) of 1610, and three complete operas. His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for the commercial theatre in Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea.
While he worked extensively in the tradition of earlier Renaissance polyphony, such as in his madrigals, he undertook great developments in form and melody, and began to employ the basso continuo technique, distinctive of the Baroque. No stranger to controversy, he defended his sometimes novel techniques as elements of a seconda pratica, contrasting with the more orthodox earlier style which he termed the prima pratica. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. He is now established both as a significant influence in European musical history and as a composer whose works are regularly performed and recorded.
1. L'Orfeo - Toccata (0:00)
2. Il combattimento di Tancredi e Clorinda - Battle Music (1:29)
3. Lamento della Ninfa (3:52)
4. Cruda amarilli (9:50)
5. Cor mio mentre vi miro (12:21)
6. Non si levav'ancor (14:18)
7. Quel augelin che canta (18:28)
8. O primavera, gioventu dell anno (20:26)
9. Il ritorno d'Ulisse in patria - "Di misera regina" (23:28)
10. L'Orfeo - 'Signor, quel'infelice' (33:25)
11. Lamento d'Arianna (41:14)
12. L'Incoronazione di Poppea - "Pur ti miro" (55:44)
13. Tirsi E Clori
I. Allegro [tutti] (1:00:15)
II. Allegretto (1:07:01)
III. Allegro gaio (1:13:31)
14. Vespro della Beata Vergine (1610) *excerpts
1. Deus in adiutorium (1:20:35)
2. Laudate pueri (1:22:52)
INCREDIBLE VOICE FILIPINO SINGS ONE MOMENT IN TIME]
24,118 views • May 4, 2024 • #viral #trending #parody
Mambo Italiano - RedSwing (1930' s Jazz Cover)
Friday, May 3, 2024
Rhythm Of The Rain - THE CASCADES - With lyrics
Rhythm Of The Rain - THE CASCADES - With lyrics
Oldies but goodies
On My Music Desk…… Claude Debussy – La cathédrale engloutie (The Sunken Cathedral)
by Frances Wilson, Interlude
La Cathedrale engloutie – Escher
(Brigham Young University Museum of Art)
In this piece, composed in 1910 and included in Book 1 of the Preludes for piano, Debussy demonstrates his mastery of not only the piano miniature form in creating such a potent narrative in just a few pages of music, but also his deep appreciation of the instrument’s sonic palette. His music is often compared to the paintings of Claude Monet, in which ‘impressions’ of a scene or landscape are rendered through a limited palette and short brush strokes applied over a pale-coloured ground or ‘base’, which create remarkable luminosity, texture and colour blends. This has led to a misconception in the interpretation and performance of Debussy’s music in which some performers “blur” the sounds, often with over-use of the sustaining pedal.
In fact, Debussy disliked the term “impressionist”, and any temptation to employ “impressionistic” pedalling is misguided. Monet and other Impressionist painters did not blend their colours but in fact separated them – it is this separation which creates the remarkable effects of light, when viewing their paintings at a distance. Similarly, when playing and, more specifically, pedalling Debussy’s piano music, “separation” or definition of individual timbres is required; if anything, his music demands an almost Mozartian clarity.
Le Mont-Saint-Michel
Debussy did not give this prelude, nor the others in the two books, a title on the opening page. Instead each one was assigned a number, with the title placed at the end of the piece, allowing pianists to form their own individual, intuitive impressions of the music before the composer reveals his intent.
Like Monet’s pale ground on which he built his paintings, Debussy’s employs a “ground” in the opening section of the music in the form of whole-bar chords in open fifths. Over this, another chordal figure, also in open fourths and fifths, which recalls the harmonies and timbres of gamelan music, which Debussy encountered at the Universal Exhibition in Paris in 1889, and also the simple harmonies of early Medieval liturgical music. The opening direction Profondément calme sets the scene, while the secondary direction Dans une brume doucement sonore (“in a soft mist of sound”) should not be taken as an excuse to depress the pedal fully. The arc of the phrases is perhaps suggestive of the cathedral’s gradual emergence from the sea, and indeed the overall structure of the entire piece suggests an arch form.
A key change into B Major signals a shift in the narrative. Here the cathedral begins to emerge more distinctly from the mists and waves: this is portrayed through an arpeggiated figure in the bass which evokes the rolling movement of the sea. Chords continue in the right hand: this is the sound of the organ growing louder as the cathedral emerges. By bar 28, the organ is heard in all its grandeur, with dense fortissimo chords in treble and bass. This is the climax of the music and here we can imagine the cathedral fully visible, its organ playing in glorious full volume. The weight and power of the organ is further emphasised by the tolling of a single bell, deep in the bass. At bar 41 the cathedral begins to retreat and by bar 47, the organ is heard distantly as the water subsumes the building, but bursting forth again, momentarily, at bars 59-62.
In the closing section of the piece another rolling figure in the low bass represents the sea while the organ is heard faintly, also in a lower register. One senses its magnificence, even if obscured by the water. Finally, in the final measures, the cathedral’s bells are heard distantly in haunting pianissimo.
In the video below, created by the piano department of the London College of Music, a process known as “hyper production” was used to create a “layered” performance of the piece. The score was divided into separate elements, such as “bells” or “monks’, which then informed the treatment of each element in the recording process to create a more intense and colourful sound when played back through a 3D Audio speaker array (like surround sound). It’s certainly an interesting approach – though the result may not to be everyone’s taste – and I think it is instructive as it clearly highlights and differentiates the individual motifs of the music.
The entire piece is remarkably graphic, with a clarity and layering of contrasting voices and timbres which calls for extremely precise yet highly expressive playing. Managing the climactic episode is an exercise in control to portray the full grandeur of the organ, and the monumentalism of the cathedral itself as it rises from the waves and swell of the ocean.
Subscribe to:
Posts (Atom)