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Beatles – Eleanor Rigby Strawberry fields forever (Orchestral ver.)

The Beatles – Eleanor Rigby Strawberry fields forever – Orchestral version by Mitteleuropa Orchestra

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Diary of Love Michael Nyman

Diary of Love Michael Nyman (The end of the affair) sheet music just added to our Library.

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Disney sheet music: When I See An Elephant Fly – Piano arrangement by Jim Brickman

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    When I See An Elephant Fly (Disney sheet music) Piano arrangement by Jim Brickman

    When I See An Elephant Fly (Disney) Piano arrangement by Jim Brickman with sheet music TO DOWNLOAD from our Library.

    Jim Brickman (born November 20, 1961) is an American songwriter and pianist of pop music, as well as a radio show host. Brickman has earned six Gold and Platinum albums. He is known for his solo piano compositions, pop-style instrumentals, and vocal collaborations with artists such as Lady Antebellum, Johnny Mathis, Michael W. Smith, Martina McBride, Megan Hilty, Donny Osmond, Delta Goodrem, Olivia Newton-John, and many others.

    He has earned two Grammy nominations for his albums Peace (2003) for Best Instrumental, and Faith (2009) for Best New Age Album; an SESAC “Songwriter of the Year” award; a Canadian Country Music Award for Best Vocal/Instrumental Collaboration; and a Dove Award presented by the Gospel Music Association.

    Since 1997, he has hosted his own radio show, “The Jim Brickman Show”, which is carried on radio stations throughout the United States.Brickman has also released five PBS specials, and hosts an annual fan cruise or bash. He is founder of Brickhouse Direct, a company that provides strategic marketing and e-commerce solutions for clients in a variety of industries.

    Jim’s career has spanned over 25 years.

    He has transformed the popularity of solo piano playing his original, pop-style instrumentals and inviting star-studded vocal collaborators to join in. He has since become the most charted Adult Contemporary artist and best selling solo pianist to date.

    Instead of listing every album over Jim’s entire career we’ll just start here.

    Disney Music

    From the founding of The Walt Disney Company in 1923, music has been key to the success of the organization. Both public-domain and original music were used for the initial cartoons, but, since neither Walt Disney nor Roy O. Disney had any music industry experience, the studio had to rely on outside music publishers.In 1928, Walt Disney released the first Mickey Mouse motion picture, Steamboat Willie, which became the first animated short-subject film with sound.

    Two other unreleased Mickey Mouse shorts has been previously-produced and were subsequently given soundtracks prior to their eventual premieres. In 1929, Walt Disney and Carl Stalling wrote “Minnie’s Yoo-Hoo”, the first song from the Walt Disney Studios, for Mickey’s Follies. On December 16, 1929, the Disney Film Recording Company, Limited was incorporated as a subsidiary of Walt Disney Productions.

    Saul Bourne at Irving Berlin Music approached the studio after seeing Three Little Pigs with interest in the publishing rights for its theme song, “Who’s Afraid of the Big Bad Wolf?“. With Disney partnering with Bourne and Berlin, this partnership led to the song being recorded twice by the Don Bestor Orchestra (released by Victor Records) and Bill Scotti Orchestra (released by Bluebird Records). The song was a hit and a Depression era anthem.

    Walt Disney Productions then began licensing out its music with the record company either selecting its own or Disney’s talent to record the music. Until 1936, no one had issued an actual song track recording on disc. RCA‘s HMV label released a selection of Disney short film music in England with the US release a year later. The Snow White and the Seven Dwarfs soundtrack album released by Victor was the first feature film soundtrack. Disney had sold its rights to the Snow White music to Bourne Co. Music as they needed more funds to complete the film.

    In 1938, Fantasound—the first Surround sound system—was designed and tested by Walt Disney Productions for the release of Fantasia. In 1943, Academy of Motion Picture Arts and Sciences nominated Walt Disney Productions for two Academy Award categories in recognition of Bambi; Music, Scoring of a Dramatic or Comedy Picture and Music, Best Song for its song, “Love is a Song”.

    In addition to Snow White and the Seven Dwarfs, Disney also sold the music publishing rights to Pinocchio and Dumbo to Bourne. To date, all attempts to reacquire the music rights to the three films had failed. After Bambi, the effects of World War II reduced the production of new feature length animation, with Disney either making feature length live films with some animation or themed short film into anthology films like Make Mine Music. The latter films contain the bulk of the more commercial music which was done by recording stars thus released by their record company.

    In April 1947, the Walt Disney Music Company (WDMC) was incorporated, with Fred Raphael putting the company together in late 1949 to publish and license songs from Cinderella. Cinderella records appeared in stores along with other merchandise in 1949 before the 1950 release of the movie. The original RCA 78 RPM multi-disc-album release was number 1 on the Billboard magazine pop charts and as a result, Disney Music was moving rapidly into the Big Business category. While WDMC did not produce the records, Raphael did handle the selection, performance and recording.

    James Alexander “Jimmy” Johnson, Jr., a fired Disney publicity staff member who wanted to stay at Disney, moved through a series of jobs there in the traffic department, and then accounting. After a stint in the military, he became assistant to the corporate secretary, then handled merchandising issues among other additional duties. With Roy Disney’s split of the merchandising division from Walt Disney Productions, Johnson became head of the merchandising division’s publication department in 1950 and took on managing business affairs for the Walt Disney Music Company.

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    Raphael took the WDMC into creating original non-film music. WDMC had several successful songs outside of the films, including Mule Train by Frankie Laine, “Would I Love You (Love You, Love You)” by Patti Page and “Shrimp Boats” by Jo Stafford, however for every non-film hit there were a score more that flopped. While Alice in Wonderland was a first run failure, its songs became evergreen for the music company with multiple stars performing the music. Raphael moved his office off lot to Hollywood and opened a WDMC in New York.

    Walt Disney Productions formed the Wonderland Music Company in 1951.

    Disney’s next push into music came from The Mickey Mouse Club as eight 6-inch 78 RPM records for the show hit shelves the week it premiered on television. Normal 7-inch 45 RPM versions were cut and released later, both through manufacturing partners of the Walt Disney Music Company. After a year, Golden Records and Am-Par Records turned over production of the show’s music back to Disney, leading to the creation of the Disneyland Records label in 1956.

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    Jazz & Blues Music LIVE Music Concerts

    A HISTORY OF THE BLUES: Muddy Waters (LIVE 1960)

    A HISTORY OF THE BLUES – Muddy Waters – Rollin’ Stone

    “Rollin’ Stone” is a blues song recorded by Muddy Waters in 1950. It’s been recorded by many artists, and both Rolling Stone magazine and the rock group the Rolling Stones are named after the song.

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    Muddy Waters was the single most important artist to emerge in post-war American blues. A peerless singer, a gifted songwriter, an able guitarist, and leader of one of the strongest bands in the genre (which became a proving ground for a number of musicians who would become legends in their own right), Waters absorbed the influences of rural blues from the Deep South and moved them uptown, injecting his music with a fierce, electric energy and helping pioneer the Chicago Blues style that would come to dominate the music through the 1950s, ‘60s, and ’70s. The depth of Waters‘ influence on rock as well as blues is almost incalculable, and remarkably, he made some of his strongest and most vital recordings in the last five years of his life.

    Waters was born McKinley Morganfield, and historians argue about some details of his early life; while he often told reporters he was born in Rolling Fork, Mississippi on April 4, 1915, researchers have uncovered census records and personal documents that would pin the year of his birth at 1913 or 1914, and others have cited the place of his birth as Jug’s Corner, a town in Mississippi’s Issaquena County. What is certain is that Morganfield’s mother died when he just three years old, and from then on he was raised on the Stovall Plantation in Clarksdale, Mississippi by his grandmother, Della Grant. Grant is said to have given young Morganfield the nickname “Muddy” because he liked to play in the mud as a boy, and the name stuck, with “Water” and “Waters” being tacked on a few years later. The rural South was a hotbed for the blues in the ’20s and ‘30s, and young Muddy became entranced with the music when he discovered a neighbor had a phonograph and records by the likes of Blind Lemon Jefferson, Lonnie Johnson, and Tampa Red.

    As Muddy became more deeply immersed in the blues, he took up the harmonica; he was performing locally at parties and fish fries by the age of 13, sometimes with guitarist Scott Bohanner, who lived and worked in Stovall. In his early teens, Muddy was introduced to the sound of contemporary Delta blues artists, such as Son House, Robert Johnson, and Charley Patton; their music inspired Waters to switch instruments, and he bought a guitar when he was 17, learning to play in the bottleneck style. Within a few years, he was performing on his own and with a local string band, the Son Simms Four; he also opened a juke joint on the Stovall grounds, where fellow sharecroppers could listen to music, enjoy a drink or a snack, and gamble. Waters became a fixture in Mississippi, performing with the likes of Big Joe Williams and Robert Nighthawk, and in the late summer of 1941, musical archivists Alan Lomax and John Work III arrived in Mississippi with a portable recording rig, eager to document local blues talent for the Library of Congress (it’s said they were hoping to locate Robert Johnson, only to learn he had died three years earlier). Lomax and Work were strongly impressed with Waters, and recorded several sides of him performing in his juke joint; two of the songs were released as a 78, and when Waters received two copies of the single and $20 from Lomax, it encouraged him to seriously consider a professional career. In July 1943, Lomax returned to record more material with Waters; these early sessions with Lomax were collected on the album Down On Stovall’s Plantation in 1966, and a 1994 reissue of the material, The Complete Plantation Recordings, won a Grammy award.

    In 1943, Waters decided to pull up stakes and relocate to Chicago, Illinois in hopes of making a living off his music. (He moved to St. Louis for a spell in 1940, but didn’t care for it.) Waters drove a truck and worked at a paper plant by day, and at night struggled to make a name for himself, playing house parties and any bar that would have him. Big Bill Broonzy reached out to Waters and helped him land better gigs; Muddy had recently switched to electric guitar to be better heard in noisy clubs, which added a new power to his cutting slide work. By 1946, Waters had come to the attention of Okeh Records, who took him into the studio to record but chose not to release the results. A session that same year for 20th Century Records resulted in just one tune being issued as the B-side of a James “Sweet Lucy” Carter release, but Waters fared better with Aristocrat Records, a Chicago-based label founded by brothers Leonard and Phil Chess. The Chess Brothers began recording Waters in 1947, and while a few early sides with Sunnyland Slim failed to make an impression, his second single for Aristocrat as a headliner, “I Can’t Be Satisfied” b/w “(I Feel Like) Goin’ Home,” became a significant hit and launched Waters as a star on the Chicago blues scene.

    Initially, the Chess Brothers recorded Waters with trusted local musicians (including Earnest “Big” Crawford and Alex Atkins), but for his live work, Waters had recruited a band which included Little Walter on harmonica, Jimmy Rogers on guitar, and Baby Face Leroy Foster on drums (later replaced by Elgin Evans), and in person, Waters and his group earned their reputation as the most powerful blues band in town, with Waters‘ passionate vocals and guitar matched by the force of his combo. By the early ’50s, the Chess Brothers (who had changed the name of their label from Aristocrat to Chess Records in 1950) began using Waters‘ stage band in the studio, and Little Walter in particular became a favorite with blues fans and a superb foil for Waters. Otis Spann joined Waters‘ group on piano in 1953, and he would become the anchor for the band well into the ’60s, after Little Walter and Jimmy Rogers had left to pursue solo careers. In the ’50s, Waters released some of the most powerful and influential music in the history of electric blues, scoring hits with numbers like “Rollin’ and Tumblin,'” “I’m Ready,” “I’m Your Hoochie Coochie Man,” “Mannish Boy,” “Trouble No More,” “Got My Mojo Working,” and “I Just Want to Make Love to You” which made him a frequent presence on the R&B charts.

    By the end of the ’50s, while Waters was still making fine music, his career was going into a slump. The rise of rock & roll had taken the spotlight away from more traditional blues acts in favor of younger and rowdier acts (ironically, Waters had headlined some of Alan Freed‘s early “Moondog” package shows), and Waters‘ first tour of England in 1958 was poorly received by many U.K. blues fans, who were expecting an acoustic set and were startled by the ferocity of Waters‘ electric guitar. Waters began playing more acoustic music informed by his Mississippi Delta heritage in the years that followed, even issuing an album titled Muddy Waters: Folk Singer in 1964. However, the jolly irony was that British blues fans would soon rekindle interest in Waters and electric Chicago blues; as the rise of the British Invasion made the world aware of the U.K. rock scene, the nascent British blues scene soon followed, and a number of Waters‘ U.K. acolytes became international stars, such as Eric Clapton, John Mayall, Alexis Korner, and a modestly successful London act who named themselves after Muddy‘s 1950 hit “Rollin’ Stone.” While Waters was still leading a fine band that delivered live (and included the likes of Pinetop Perkins on piano and James Cotton on harmonica), Chess Records was moving more toward the rock, soul, and R&B marketplace, and seemed eager to market him to white rock fans, a notion that reached its nadir in 1968 with Electric Mud, in which Waters was paired up with a psychedelic rock band (featuring guitarists Pete Cosey and Phil Upchurch) for rambling and aimless jams on Waters‘ blues classics. 1969’s Fathers and Sons was a more inspired variation on this theme, with Waters playing alongside reverential white blues rockers such as Mike Bloomfield and Paul Butterfield; 1971’s The London Muddy Waters Sessions was less impressive, featuring fine guitar work from Rory Gallagher but uninspired contributions from Steve Winwood, Rick Grech, and Georgie Fame.

    Curiously, while Chess Records helped Waters make some of the finest blues records of the ’50s and ‘60s, it was the label’s demise that led to his creative rebirth. In 1969, the Chess Brothers sold the label to General Recorded Tape, and the label went through a long, slow commercial decline, finally folding in 1975. (Waters would become one of several Chess artists who sued the label for unpaid royalties in its later years.) Johnny Winter, a longtime Waters fan, heard the blues legend was without a record deal, and was instrumental in getting Waters signed to Blue Sky Records, a CBS-distributed label that had become his recording home. Winter produced the sessions for Waters‘ first Blue Sky release, and sat in with a band comprised of members of Waters‘ road band (including Bob Margolin and Willie “Big Eyes” Smith) along with James Cotton on harp and Pinetop Perkins on piano. 1977’s Hard Again was a triumph, sounding as raw and forceful as Waters‘ classic Chess sides, with a couple extra decades of experience informing his performances, and it was rightly hailed as one of the finest albums Waters ever made while sparking new interest in his music. (It also earned him a Grammy award for Best Traditional or Ethnic Folk Recording.) Waters also dazzled music fans when he appeared at the Band‘s celebrated farewell concert on Thanksgiving 1976 at the invitation of Levon Helm, who had helped produce one of his last Chess releases, The Muddy Waters Woodstock Album. Muddy delivered a stunning performance of “Mannish Boy” that became one of the highlights of Martin Scorsese‘s 1978 concert film The Last Waltz. Between Hard Again and The Last Waltz, Waters enjoyed a major career boost, and he found himself touring again for large and enthusiastic crowds, sharing stages with the likes of Eric Clapton and the Rolling Stones, and cutting two more well-received albums with Winter as producer, 1978’s I’m Ready and 1981’s King Bee, as well as a solid 1979 concert set, Muddy “Mississippi” Waters Live. Waters‘ health began to fail him in 1982, and his final live appearance came in the fall of that year, when he sang a few songs at an Eric Clapton show in Florida. Waters died quietly of heart failure at his home in Westmont, Illinois on April 30, 1983. Since then, both Chicago and Westmont have named streets in Muddy‘s honor, he’s appeared on a postage stamp, a marker commemorates the site of his childhood home in Clarksdale, and he appeared as a character in the 2008 film Cadillac Records, played by Jeffrey Wright.

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    Film & TV Music

    The Best of Hans Zimmer (sheet music available)

    Table of Contents

      The Best of Hans Zimmer (with sheet music DOWNLOAD HERE)

      Hans Florian Zimmer (born 12 September 1957) is a German film score composer and record producer. Zimmer’s works are notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980s, he has composed music for over 150 films. His works include The Lion King, for which he won the Academy Award for Best Original Score in 1995, the Pirates of the Caribbean series, Interstellar, Gladiator, Crimson Tide, Inception, Dunkirk, and The Dark Knight Trilogy. He has received four Grammy Awards, three Classical BRIT Awards, two Golden Globes, and an Academy Award. He was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph.

      Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios and works with other composers through the company that he founded, Remote Control Productions, formerly known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly.

      Zimmer has collaborated on multiple projects with directors including Ridley Scott, Ron Howard, Gore Verbinski, Michael Bay, and Christopher Nolan.

      Hans Zimmer | Soundtrack Compilation

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      Track list:

      Interstellar ——————————————————— 00:0001:05 – Organ Variation 00:0003:54 – Tick Tock 03:5405:10 – Cornfield Chase 05:1008:08 – Where We’re Going 07:5508:56 – No Time For Caution ——————————————————— Inception ——————————————————— 08:5713:17 – Time ——————————————————— Pirates of the Caribbean ——————————————————— 13:1514:18 – Davy Jones 14:1916:15 – The Kraken 16:1518:17 – At Wits End 18:1720:13 – What Shall We Die For 20:1324:02 – One Day 24:0326:37 – Up Is Down 26:3830:05 – Drink Up Me Hearties ——————————————————— Batman Trilogy ——————————————————— 30:0630:34 – Bank Robbery 30:3431:45 – Antrozous 31:4532:18 – Barbastella 32:1933:06 – Vespertilio 33:0536:07 – A Dark Knight 36:0736:33 – Aggressive Expansion 36:3336:41 – Im Not A Hero 36:4239:51 – Like A Dog Chasing Cars 39:5142:08 – Despair ——————————————————— Man of Steel, The Da Vinci Code, Gladiator, The Last Samurai, Blue Planet II, Planet Earth II ——————————————————— 42:0944:19 – Flight 44:1547:57 – Chevaliers de Sangreal 47:5750:34 – Now We Are Free 50:3551:42 – Spectres In The Fog 51:4254:25 – Safe Passage 54:2656:48 – The Blue Planet 56:4858:11 – Planet Earth II Suite

      German-born composer Hans Zimmer is recognized as one of Hollywood’s most innovative musical talents. He featured in the music video for The Buggles’ single “Video Killed the Radio Star”, which became a worldwide hit and helped usher in a new era of global entertainment as the first music video to be aired on MTV (August 1, 1981).

      Hans Florian Zimmer was born in Frankfurt am Main, then in West Germany, the son of Brigitte (Weil) and Hans Joachim Zimmer. He entered the world of film music in London during a long collaboration with famed composer and mentor Stanley Myers, which included the film Mi hermosa lavandería (1985). He soon began work on several successful solo projects, including the critically acclaimed A World Apart, and during these years Zimmer pioneered the use of combining old and new musical technologies. Today, this work has earned him the reputation of being the father of integrating the electronic musical world with traditional orchestral arrangements.

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      A turning point in Zimmer’s career came in 1988 when he was asked to score Rain Man for director Barry Levinson. The film went on to win the Oscar for Best Picture of the Year and earned Zimmer his first Academy Award Nomination for Best Original Score. The next year, Zimmer composed the score for another Best Picture Oscar recipient, Paseando a Miss Daisy (1989), starring Jessica Tandy, and Morgan Freeman.

      Having already scored two Best Picture winners, in the early 1990s, Zimmer cemented his position as a pre-eminent talent with the award-winning score for El rey león (1994). The soundtrack has sold over 15 million copies to date and earned him an Academy Award for Best Original Score, a Golden Globe, an American Music Award, a Tony, and two Grammy Awards. In total, Zimmer’s work has been nominated for 7 Golden Globes, 7 Grammys and seven Oscars for Rain Man (1988), Gladiator (El gladiador) (2000), El rey león (1994), Mejor… imposible (1997), The La mujer del predicador (1996), La delgada línea roja (1998), El príncipe de Egipto (1998), and El último samurái (2003).

      With his career in full swing, Zimmer was anxious to replicate the mentoring experience he had benefited from under Stanley Myers‘ guidance. With state-of-the-art technology and a supportive creative environment, Zimmer was able to offer film-scoring opportunities to young composers at his Santa Monica-based musical “think tank.” This approach helped launch the careers of such notable composers as Mark Mancina, John Powell, Harry Gregson-Williams, Nick Glennie-Smith, and Klaus Badelt.

      In 2000, Zimmer scored the music for Gladiator (El gladiador) (2000), for which he received an Oscar nomination, in addition to Golden Globe and Broadcast Film Critics Awards for his epic score. It sold more than three million copies worldwide and spawned a second album Gladiator: More Music From The Motion Picture, released on the Universal Classics/Decca label. Zimmer’s other scores that year included Misión: Imposible 2 (2000), La ruta hacia El Dorado (2000), and Agarrados por los pelos (2000), directed by Barry Levinson.

      Some of his other impressive scores include Pearl Harbor (2001), The Ring (La señal) (2002), four films directed by Ridley Scott; Los impostores (2003), Hannibal (2001), Black Hawk derribado (2001), and Thelma & Louise (1991), Penny Marshall‘s Los chicos de mi vida (2001), and Ellas dan el golpe (1992), Tony Scott‘s Amor a quemarropa (1993), Lágrimas del sol (2003), Ron Howard‘s Llamaradas (1991), Días de trueno (1990), Smila: Misterio en la nieve (1997), and the animated Spirit: El corcel indomable (2002) for which he also co-wrote four of the songs with Bryan Adams, including the Golden Globe nominated Here I Am.

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      At the 27th annual Flanders International Film Festival, Zimmer performed live for the first time in concert with a 100-piece orchestra and a 100-piece choir. Choosing selections from his impressive body of work, Zimmer performed newly orchestrated concert versions of Gladiator, Misión: Imposible 2 (2000), Rain Man (1988), El rey león (1994), and La delgada línea roja (1998). The concert was recorded by Decca and released as a concert album entitled “The Wings Of A Film: The Music Of Hans Zimmer.”

      Last year, Zimmer completed his 100th film score for the film The Last Samurai, starring Tom Cruise, for which he received both a Golden Globe and a Broadcast Film Critics nomination. Zimmer then scored Nancy Meyers‘ comedy Cuando menos te lo esperas (2003), the animated Dreamworks film, El espantatiburones (2004) (featuring voices of Will Smith, Renée Zellweger, Robert De Niro, Jack Black, and Martin Scorsese), and Jim Brooks’ Spanglish (2004) starring Adam Sandler and Téa Leoni (for which he also received a Golden Globe nomination). His 2005 projects include Paramount’s El hombre del tiempo (2005) starring Nicolas Cage, Dreamworks’ Madagascar (2005), and the Warner Bros. summer release, Batman Begins (2005).

      Zimmer’s additional honors and awards include the prestigious Lifetime Achievement Award in Film Composition from the National Board of Review, and the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival. He has also received ASCAP’s Henry Mancini Award for Lifetime Achievement. Hans and his wife live in Los Angeles and he is the father of four children.

      Jazz & Rock Play Along

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      Based on the Standard Fly me to the Monn lead sheet.

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      Jazz & Blues Music

      Enjoy! Autumn is here!

      Table of Contents

        Autumn is here! Eric ClaptonAutumn Leaves

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        In the fall of 1967, a London Underground station was spray-painted with the message “Clapton is God.” At the time, Eric Clapton (born 1945) was twenty-two years old. It’s an outlandish thing to say about anyone; how can they be expected to live up to it, or live it down for that matter?

        Eric Clapton is one of rock music’s quintessential guitarists. Years before he released an album under his own name he was already an iconic figure on the British music scene.

        His legendary status was gained through stints in bands such as The Yardbirds, Cream and Blind Faith. In fact, Clapton is the only artist to be inducted into the Rock and Roll Hall of Fame three times, for his time with The Yardbirds, Cream and also as a solo performer. His influence on rock music and guitar players is immense; yet most of the music he makes is very clearly paying tribute to the musicians that inspired him.

        Eric Clapton was born in Surrey, England and raised by his grandparents. Like many of his guitar peers, Clapton was self taught. For his thirteenth birthday, he got a cheap acoustic guitar, so cheap that its high action almost led him to quit in frustration.

        According to his autobiography, he spent countless hours listening to and copying American blues musicians like Freddie King, B.B. King and Buddy Guy and you can hear these blues legends’ influence in all of Clapton’s music.

        In 1961 Clapton left school and busked around London, Kingston and Richmond before joining his first band “The Roosters.” Two years later, he was lead guitarist for The Yardbirds, a group with a huge cult status as they were the Rolling Stones’ replacements at Richmond’s Crawdaddy Club. Clapton wore his musical influences on his sleeve during his two years with the band. When their songs steered too close to pop music for Clapton’s taste, he quit the band, just as they were racking up their first hit song “For Your Love” in 1965.

        Clapton promptly joined John Mayall & the Bluesbreakers for an album of mostly blues covers. By the time the album came out in 1966 Clapton had already left that band as well. He wouldn’t be on his own for long. That same year he joined bassist Jack Bruce and drummer Ginger Baker to form the power trio Cream. Remembered today for classic songs like “Sunshine of Your Love,” “White Room” and their cover of Robert Johnson’s “Crossroads,” at the time they were one of England’s bluesiest and most psychedelic bands.

        Their concerts featured extended jams where each musician showed off their talents by competing to be the loudest. Tensions quickly rose within the band and they soon put together a farewell album and tour. One of their last songs, “Badge,” was co-written by Clapton’s close friend George Harrison. Around the same time Clapton played lead guitar on the Beatles classic “While My Guitar Gently Weeps.”

        Following the disintegration of Cream, Clapton teamed up with Cream drummer Ginger Baker and Steve Winwood to form Blind Faith. Their first gig together was in London’s Hyde Park before a crowd of 100,000 fans. Less than seven months later, Blind Faith broke up and Clapton found himself weary of the attention and hype of being part of a “supergroup.”

        But stepping into the background, being more a sideman in a band, wasn’t going to be easy. He played guitar for Delaney Bramlett’s band (who had opened for Blind Faith) on a U.S. tour, making an appearance on the “Delaney and Bonnie and Friends” album as well. Bramlett encouraged Clapton to continue with his own singing and songwriting and in 1970, he borrowed Bramlett’s band with Leon Russell and Stephen Stills to record his first solo album. That album produced the hits “After Midnight” and “Let It Rain.”

        With the star culture still eating at him, Clapton once again tried to step into the background by putting together the band Derek & The Dominos. The group’s sole studio album produced “Layla,” a song of unrequited love written for George Harrison’s then wife Pattie Boyd, which became one of Clapton’s greatest hits. The Layla album itself is mostly blues-based rock, memorable for the heavy doses of slide guitar provided by Duane Allman. The Dominoes toured the U.S. without Duane Allman who returned to work with the Allman Brothers Band before dying in a motorcycle accident in 1971.

        When the Dominos expired Clapton finally began a full-fledged solo career. Throughout the seventies, when guitar rock was at its peak, Clapton recorded some of his most enduring songs, such as “Wonderful Tonight,” “Cocaine,” a cover of Bob Dylan’s “Knockin on Heaven’s Door” as well as Bob Marley’s “I Shot The Sheriff.” Despite his successes, the seventies also saw a series of declines caused by recurring problems with drugs and alcohol. Many of these problems would dog his career throughout the following decade as well. In 1988 his career received a suitable retrospective with the career spanning, multi-platinum box set Crossroads. Proving he wasn’t going to rest on his laurel’s he released the blues rock album Journeyman the following year.

        Musically and personally, much of Clapton’s life appeared to be back on track. Then tragedy struck in 1991 when his son Connor fell to his death from a New York City apartment window. Much of Clapton’s grief was captured in the song “Tears in Heaven,” which wound up becoming one of his signature songs. His performance of that song and the reworking of other blues songs in an MTV unplugged special resulted in the strongest album sales of his career. He followed the huge success of Unplugged with an album of blues covers called From The Cradle in 1994. In 2004 Clapton returned with another collection of blues covers, the tribute album Me and Mr. Johnson.

        Clapton continues to record and tour today, both with his own band and other collaborators such as Jeff Beck, Steve Winwood and B.B. King. Like many of his contemporaries, Clapton didn’t invent anything new. He was more perhaps more instrumental in popularizing blues music for a mainstream audience than anyone else at the time. He is a consummate rock performer, gifted with two voices. His singing is as recognizable as his guitar playing. Those interested in Eric Clapton’s life will enjoy his memoirs, which came out in 2007. Eric Clapton: The Autobiography looks back on his life in music and his struggles with overcoming drugs and alcohol, which at times were fused with the music he was making.

        In 2014, “Layla” was the 28th most popular name for girls, possibly owing to the fact that Clapton still plays the song live. His 2014 album The Breeze: An Appreciation of JJ Cale was a global hit and includes guest artists such as John Mayer, Tom Petty, Mark Knopfler and Willie Nelson.

        Celebrating his 70th birthday in 2015, Clapton performed two shows at Madison Square Gardens. The concerts also commemorated another anniversary: 46 years since Clapton first performed at the arena with Cream, opening the “new” MSG in 1968. Since then, Clapton has appeared at the venue at least 45 times — more than any other place in the U.S.

        Film & TV Music

        LES MOULINS DE MON COEUR Michel Legrand (The windmills of your mind) Guitar

        LES MOULINS DE MON COEUR Michel Legrand (The windmills of your mind) avec partition (sheet music) Guitar

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        Believing Beethoven

        Believing Beethoven

        A Note from the Conductor

        (As enclosed in the liner notes for the 1999 Philharmonia Orchestra recording of Beethoven’s Fifth & Seventh Symphonies)

        “I look upon the invention of the metronome as a welcome means of assuring the performance of my compositions everywhere in the tempi conceived by me, which to my regret have so often been misunderstood.” -Ludwig van Beethoven

        It will surely come as a surprise to most listeners that works as familiar as Beethoven’s Fifth and Seventh Symphonies have rarely received performances that realize Beethoven’s stated wishes as to how the music should be played, and that this tradition of ignoring the composer’s intentions began in Beethoven’s own time!

        beethoven free sheet music & scores pdf

        It seems that from the very beginning conductors chose to disregard or simply didn’t look at the metronome marks Beethoven left for his symphonies. In doing so they radically altered the “meaning” of the music and established a tradition of performance that is far removed from what Beethoven seems to have intended.

        Over the past few years a number of recordings have been released that claim to follow Beethoven’s indications, but which, to varying degrees, have made compromises in their realization and in some cases seem to have misled listeners as to the implications of these indications. This recording is the first in a series that sets out to present the symphonies according to Beethoven’s marked tempi.

        But how did this situation arise? Is there a right and a wrong way of pert this music? Or is its interpretation purely a subjective matter?

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        Let’s take the opening of the Fifth Symphony – certainly the most famous four notes of music ever penned. If we hear it performed as slowly as it was by such great conductors as Furtwängler, Stokowski, and Klemperer, the music speaks with majesty, force, power, “Fate knocking on the door.” If, on the other hand we hear it at the tempo indicated both by Beethoven’s Italian direction Allegro con brio and by his metronome marking 108, it seems driving, violent, impetuous, headlong, as though a gauntlet were being thrown down in defiance. But which is the “true” version?

        Clearly, when Beethoven was composing that opening he must have had some particular “meaning” or sound in mind. He cannot possibly have heard it both at the slower tempo and at the faster one, and it is unlikely that he was indifferent about the matter-just as unlikely as that he would have been indifferent as to which notes were played. For Beethoven cared so deeply about the tempi at which his works were performed that, according to his friend Anton Schindler whenever he heard about a performance of one of them, “his first question invariably was: ‘How were the tempi?’” Every other consideration seemed to be of secondary importance to him.

        In fact, Beethoven cared so much about such issues of tempo that he left more detailed instructions on the subject than did virtually any other composer. He headed each movement of his symphonies, and each section of each movement, with both an Italian descriptive phrase (such as Allegro molto vivace or Adagio) and a metronome marking. In taking such care in this matter (which was unprecedented) he assumed that he was leaving for future performers not only precise indications of the speeds (and hence the characters) of the various and sections, but also the key to the successful realization of the works’ wholes. In a letter to his publishers, Schott and Sons, Beethoven wrote: “I have received letters from Berlin informing me that the first performance of the Ninth Symphony was received with enthusiastic applause, which I attribute largely to the metronome markings.”

        So why should his tempo indications for the symphonies have been so rarely observed in performance? Most conductors have rejected the indicated tempi because they consider them too fast. Ironically, though, both the final movements of the Fifth and Seventh are traditionally played faster than Beethoven’s indicated tempo, demolishing the common argument that since all his tempi are too fast, it is reasonable to assume that his metronome was broken. Moreover Beethoven’s letters make it clear that he took great pains to have his metronome in good working order.

        Some have suggested that Beethoven’s deafness could have hearing it properly, though since the metronome had a visible pendulum, he did not need actually to hear it ticking to be able to use it. Yet another speculation has been that the ethereal instruments of the inner ear may move more fleetly than do those of the real acoustical world. And many musicians have continued to resist the notion that Beethoven’s supreme genius could (or should) be fettered by the ticking. This has not prevented him from qualms, however, as is clear from the comment quoted below, published in the Wiener Vaterländische Blätter of October 13, 1813: “I look upon the invention of the metronome as a welcome means of assuring the performance of my compositions everywhere in the tempi conceived by me, which to my regret have so often been misunderstood.”

        But to return to our question: Why should Beethoven’s tempo indications so rarely have been observed in performance?

        More than any other compositions, Beethoven’s symphonies-especially the uneven-numbered Third, Fifth, Seventh, and Ninth-fired the imaginations of the Romantic composers and interpreters who followed him. But when works of one age are interpreted according to and even play a significant role in defining the aesthetics of a later age, something of the works’ original spirit is lost. Romantic interpreters, influenced by Wagner and Liszt, favored extremes of tempo and frequent, even violent, fluctuations between those extremes. They tended to equate slow tempi with profundity and significance-thus the slowing up of “the hammer blows of Fate” at the beginning of Beethoven’s Fifth, while at the other extreme, Wilhelm Furtwängler, one of the most revered post-Romantic interpreters of Beethoven, propelled the conclusion of the Ninth Symphony into a frenzy of religious ecstasy by taking a tempo seventy points faster on the metronome than the one indicated by Beethoven!

        These interpretative decisions have come down to later generations, often in somewhat modified form, as powerful performance traditions that the present day performer defies at some risk. The danger is that adherence to the metronome indications will lead to performances that are mechanical and devoid of passion. But it is important to remember that tempo is not an end in itself but a medium that allows different expressive forms, just as water allows for coral reefs, fish, anemones and air makes possible pine forests, deer, and human beings. Those that inhabit these elements do not notice water or air: the tempo is never the subject of a successful performance. Perhaps, if we can hear this music free of the bar lines, fidelity to the metronome indications need not necessarily result in a sense of mechanical regularity or a lack of breathing space or passion. It all depends, after all, on what is done with and within the chosen tempo.

        In working with Beethoven’s tempi over the course of many years I have found that they have come to seem absolutely right, and in fact liberating rather than constricting, for they open up a wealth of interpretative possibilities that would not work at slower tempi and that seem true to the essence of Beethoven’s musical spirit. Now let the listener to these recordings judge for himself.

        – Benjamin Zander

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        Jazz & Blues Music

        Take Five – Paul Desmond and Dave Brubeck – piano solo (with sheet music)

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          Take Five – Paul Desmond and Dave Brubeck – piano solo (with sheet music)

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          Paul Desmond biography

          Born Paul Emil Breitenfeld; November 25, 1924, in San Francisco, CA; died May 30, 1977, New York City; father was an organist in movie theaters and an arranger and accompanist for vaudeville acts.

          In the minds and hearts of music listeners, Paul Desmond and the Dave Brubeck Quartet are virtually inseparable. These innovators experienced an almost immediate mutual attraction. The underlying concept that melded them into this smooth, sometimes surprising, swinging unit began when they played together casually after being discharged from World War II service. Through seventeen ground-breaking years Desmond and Brubeck were the driving force behind the most commercially successful jazz group of its day, perhaps of any era. The quartet’s bassists and drummers changed, but the vital, unique interplay between the altoist Desmond and the leader-pianist Brubeck were the constant key elements that drove the success of the group.

          Desmond always claimed that he changed his name from Breitenfeld “because it sounds too Irish,” and that he picked Desmond out of the phone book. His German father was an accomplished organist, playing in movie theaters and as a vaudeville accompanist. Into the 1960s, he was still doing arrangements for bands. When Paul’s Irish mother became ill in about 1929 he moved to New Rochelle, New York, to live with relatives. He liked to tell of his grammar school experience there in which he played his first improvised solo (on vibes or chimes): “I was supposed to play one of those grisly semiclassical things…. I figured if I just went out and made up something as I went along, it couldn’t be any worse. So that’s what I did and it was a gas. It was the first thing I’d enjoyed doing. I didn’t realize until about fifteen years later that you could make a living doing this.”

          After returning to San Francisco in 1936, Desmond later began playing the clarinet at Polytechnic High School, where he edited the school newspaper as well as playing in the band. After some casual gigging on clarinet, Desmond took up the alto in 1943, the same year he entered the Army and was assigned to the 253rd AGF band. As he told pianist/radio host/writer Marion McPartland, “It was a great way to spend the war. We expected to get shipped out every month, but it never happened. Somewhere in Washington our file must be on the floor under a desk somewhere.”

          Stationed in San Francisco, he met tenorman/arranger Dave Van Kreidt, who in turn introduced Desmond to Brubeck for just a short session in their band room. Desmond’s reaction to this first meeting has been reported using various “Desmondisms,” the altoist’s clever, off-beat observations. At the very least, Desmond was impressed by the pianist’s far-out approach. The two did not meet again until after they were discharge from service when Brubeck was playing in saxophonist Darryl Cutler’s trio at San Francisco’s Geary Cellar. As Desmond recalled: “I went down and sat in, and the musical rapport was very evident and kind of scary. A lot of the things we’ve done since, we did then immediately-a lot of the counterpoint things, and it really impressed me. If you think Dave plays far out now, you should have heard him then. He made Cecil Taylor sound like Lester Lanin.”

          Quartet is Launched

          Soon Desmond hired leader Cutler’s pianist and bassist Norman Bates away from him, becoming the leader of his own group, playing near Stanford. “A lot of the things we did later with the quartet began there…. I have a memory of several nights that seemed fantastic, and I don’t feel that way too often.” Nevertheless, Desmond became disabused of the idea of being the leader. He entered San Francisco State College, aspiring to be a writer. He also joined the experimental Dave Brubeck Octet, mostly a rehearsal group. By June, 1950, related Paul, he had decided that writing could be learned but not taught. “My only jobs had been two concerts with the octet and a Mexican wedding,” so he joined the band of Jack Fina, ending a tour in New York.

          At about this time Brubeck, with assistance from disc jockey/promoter Jimmy Lyons, started his trio and established his own record company. Desmond returned to San Francisco and, in 1951, the Dave Brubeck Quartet was born. The earlier-evidenced rapport between them blossomed and the group began to draw the interest of a cadre of fans and critics. First Dave’s trio recorded with Fantasy, followed by the full quartet, with Ron Crotty on bass and Cal Tjader on drums and vibraphone. In October of 1952 the quartet recorded a memorable set at George Wein’s Storyville club in Boston, with Lloyd Davis now on drums. The group was making inroads with college audiences and in 1953 they recorded two concerts, Jazz at Oberlin and the equally sensational Jazz at the College of the Pacific, with Joe Dodge now the drummer. This signaled the beginning of a series of college concerts that culminated in a contract with Columbia Records.

          Hail, Columbia!

          Not surprisingly, Columbia’s first Brubeck Quartet release was 1954’s Jazz Goes to College. This blockbuster LP combined offerings from concerts at the University of Cincinnati, the University of Michigan and a return visit to Oberlin. Of Desmond’s work on this album, George Avakian wrote: “… Desmond indulges in a favorite practice of his: to play what seem to be duets with himself. You will frequently hear Paul play passages in which he has two rapidly alternating melody lines in motion, which not only are independently valid, but which fit into one continuous line as well…. Desmond is nothing short of colossal in ‘The Song is You”… A breathtaking flow of ideas carries the listener along from peak to peak, with a couple of exceptional examples of Paul’s duet technique along the way.”

          In the early Columbia years Norman Bates and Bob Bates served as bassists; Joe Dodge continued on drums. The most memorable personnel lineup for the quartet began in 1956 when percussionist Joe Morello signed on for an eleven-year stint, with bassist Eugene Wright coming aboard in early 1958. Morello was an exceptionally gifted drummer, Wright a wonderful timekeeper and anchor for the rhythm section. Though Desmond and Morello initially clashed, in time they became close, and it was the drummer’s versatility that allowed the quartet to experiment so successfully with several unusual time signatures. Desmond’s 1960 composition, “Take Five,’ in 5/4 time, became the most popular of all the Brubeck Quartet recordings and the first jazz recording to “go gold” when it appeared on their 1960 Time Out album. This meter may be the most difficult of all in which to make music swing, but this group managed it and this song, with a lyric added by Iola Brubeck, crossed over to pop and other categories.

          Styled for Success

          In some ways Desmond and Brubeck were an odd match. Brubeck tended toward massive, heavy chords, whereas Desmond utilized a light, airy, “dry martini” sound. Both approached a melody obliquely, however, seeking to stake out new interpretations whenever possible. Perhaps the most important element of their playing together was their uncanny improvised fugues. Usually in the last chorus or more, one player would begin an invented phrase, only to have the other chime in with a perfectly matching counter phrase, in the manner of a perfectly conceived Bach fugue-swinging relentlessly. Desmond usually played in the upper range of his horn, beautiful of tone, always reaching. He was capable of playing extremely long phrases on one breath, allowing him to construct solos and fugues with majestic, flowing lines.

          Once established, the Quartet traveled the world many times over, often composing new songs based on their travels, as found in the album “Jazz Impressions of Eurasia.” Some of their concerts, such as those in Amsterdam and Copenhagen, were recorded. All the while they maintained a steady diet of performances in the United States-college concerts, concerts in halls such as Carnegie, club dates, studio recording, and jazz festivals such as Newport. Having established that he was no leader, Desmond was content to let Brubeck handle the business end. A financial agreement that they reached early in the partnership assured the altoist adequate compensation for his sizeable contributions to the group’s success.

          Brubeck and Desmond each credited the other with this success; they were both probably right. Jazz critics were not generally kindly disposed to Brubeck’s playing and, perhaps by default, they sometimes found reason to carp about Desmond’s. The New Yorker‘s Whitney Balliett points out that Desmond won the Down Beat Critics’ Poll only once, while winning the Readers’ Poll many times-“a rare instance of the public’s having better ears than the professionals.” Desmond had listened to three wonderful altoists when forming his taste, Pete Brown, Willie Smith and the incomparable Johnny Hodges, so long associated with Duke Ellington. Balliett wrote of Desmond’s 1969 appearance at the White House, honoring Duke’s seventieth birthday, in which Desmond “reproduced Johnny Hodges so perfectly during one of his solos that he startled the usually unflappable Ellington.”

          Stretched His Listeners

          In their solos Desmond and Brubeck each made generous use of “quotes”-phrases from other songs that fit into the chord pattern of the song being played. Often the borrowed phrase was the title line of the tune and Paul and Dave would often communicate with one another through these exchanges. It is said that Brubeck could discern Desmond’s mood or his immediate concerns by deciphering the altoists quotes. To amuse themselves, attuned to one another as they were, sometimes the musicians would engage in whole conversations in this esoteric manner.

          Balliett wrote of Desmond’s sound thus: “Desmond’s tone was off-white, gentle-almost transparent and almost weightless. It had a brand-new, untouched sound, he used very little vibrato…. Desmond’s solos thought; they had logic and clarity…. The quietness of Desmond’s attack was deceptive…. But he always moved along the outer edges of the chords he was improvising on, atonality in sight. His rhythmic attack was equally deceptive…. He played behind the beat, on the eat, and ahead of the beat…. Like his friend Jim Hall, Desmond was one of he handful of jazz improvisers who demand total concentration. If the listener falters, he is lost; if he remains rapt, he is blessed.”

          From Notes to Quotes

          After seventeen years of intensive travel the Dave Brubeck Quartet disbanded in 1967. Brubeck took some time to compose sacred words, but returned the following year with baritone saxist Gerry Mulligan as part of the Quartet. Desmond did some free-lancing and declared that he intended to return to his original goal by writing a book. This has been the subject of much mystery and speculation as, in his typical teasing mode, Desmond has variously declared this to be a serious project or a convenient excuse for not playing. The non-book bears the working title How Many of You Are There in the Quartet?, allegedly inspired by the frequent question asked of him in his travels. One hilarious chapter actually exists, having appeared in Punch. It was re- printed in the recent Reading Jazz, edited by Robert Gottlieb.

          Desmond’s friends were fond of collecting his often self-effacing witticisms. He called himself the world’s slowest saxophonist and declared that when he played with unsupportive players he would “shrivel up like a lemoned clam.” Of his own fame, Desmond claimed, “I was unfashionable before anyone knew who I was.” He explained his failure to become a writer by stating, “I could only write at the beach, and I kept getting sand in my typewriter.” He also purported to be discouraged by the fact that several of he fine writers whom he befriended and hung out with in the post-Brubeck days claimed that they were frustrated musicians.

          Phasing Out

          After 1967 Desmond concertized and recorded extensively with guitarists Jim Hall and Ed Bickert, both of whom were kindred musical souls. These pairings produced some notable recordings. He performed a Christmas Day concert with The Modern Jazz Quartet in 1971 at New York’s Town Hall which fortunately was recorded. He also took part in a few reunion concerts with Brubeck and in a silver anniversary tour of the Quartet, re-uniting with Morello and Wright and resulting in the final recording of the famous group in March 1976.

          Much of Desmond’s semi-retirement was centered around his New York penthouse apartment, surrounded by books, and in the good company of musicians, writers, stylish women and friends. He ate and drank in congenial restaurants, notably Elaine’s and Bradley’s, where the talk and the Scotch were good. He developed lung cancer and underwent extensive therapy, taking great pains to avoid being a burden to his friends. From the early agreement with Brubeck, and with his royalties, especially from “Take Five,’ Desmond was financially comfortable. He donated these royalties from his compositions and recordings to the American Red Cross. His attorney, Noel Silverman, estimated that this organization has received more than a million dollars from Desmond’s estate since 1977.

          Desmond’s last appearance was with Brubeck at New York’s Lincoln Center on February 4, 1977. In an interview on National Public Radio the day after Desmond’s death, the pianist told of his partner propped in his familiar place at the crook of the piano, crafting his last duets before a full house. The altoist’s beautiful playing brought great ovations. The audience begged for an encore. Too weak to continue, Desmond begged off and bowed out.

          Paul Desmond’s Career

          Began studying clarinet in high school; switched to alto saxophone, 1943; after service entered San Francisco State College, majoring in writing; free-lanced as a musician, landing with Jack Fina’s touring band, ending in New York; returned to San Francisco, played with Dave Brubeck’s Octet and other groups; played with Dave Brubeck Quartet, 1951-67; played and recorded occasionally with own groups, often featuring saxophonist Gerry Mulligan, guitarists Jim Hall and Ed Bickert, 1967-77; final public appearance in February, 1977.

          Paul Desmond’s Awards

          Winner of Down Beat Readers’ Poll, 1955-60 and 1962; Winner of Metronome poll, 1955-60; Winner of Playboy poll, 1957-60.

          Famous Works

          Further Reading


          • Carr, Ian, Fairweather, Digby and Priestley, Brian, Jazz: the Rough Guide , The Rough Guides, 1995.
          • Feather, Leonard, The New Edition of the Encyclopedia of Jazz , Bonanza Books, 1965.
          • Gottlieb, Robert, Reading Jazz , Pantheon Books, 1996.
          • Lyons, Len and Perlo, Don, Jazz Portraits , Quill/William Morrow, 1989.
          • McPartland, Marion, All in Good Time , Oxford University Press, 1987.


          • Down Beat , August, 1977; March, 1988.
          • Esquire , October, 1988.
          • The New Yorker , September 16, 1991.
          • The New York Times , June 1, 1977.


          • (Liner notes) Jazz at Oberlin , notes by James Newman.
          • (Liner notes) Jazz Goes to College , notes by George Avakian.