The 100 most inspiring musicians of all Time

Ray Charles: the 100 most inspiring musicians of all time

Ray Charles: the 100 most inspiring musicians of all time

Ray Charles Robinson (b. Sept. 23, 1930, Albany, Ga., U.S.—d. June 10, 2004, Beverly Hills, Calif.) was an American pianist, singer, composer, and bandleader.

Ray Charles was a leading entertainer, often billed as “the Genius.” Charles was credited with the early development of soul music, a style based on a melding of gospel, rhythm and blues, and jazz music.

When Ray Charles was an infant, his family moved to Greenville, Florida, and he began his musical career at age five on a piano in a neighbourhood café. He began to go blind at six, possibly from glaucoma, completely losing his sight by age seven. He attended the St. Augustine School for the Deaf and Blind, where he concentrated on musical studies, but left school at age 15 to play the piano professionally after his mother died from cancer (his father had died when the boy was 10).

Ray Charles built a remarkable career based on the immediacy of emotion in his performances. After emerging as a blues and jazz pianist indebted to Nat King Cole’s style in the late 1940s, Charles recorded the boogie-woogie classic “Mess Around” and the novelty song “It Should’ve Been Me” in 1952–53. His arrangement for Guitar Slim’s “The Things That I Used to Do” became a blues million-seller in 1953.

By 1954 Charles had created a successful combination of blues and gospel influences and signed on with Atlantic Records. Propelled by Charles’s distinctive raspy voice, “I’ve Got a Woman” and “Hallelujah I Love You So” became hit records. “What’d I Say” led the rhythm-and-blues sales
charts in 1959 and was Charles’s own first million-seller.

ray charles free sheet music & pdf scores download

Ray Charles’s rhythmic piano playing and band arranging revived the “funky” quality of jazz, but he also recorded in many other musical genres. He entered the pop market with the bestsellers “Georgia on My Mind” (1960) and “Hit the Road, Jack” (1961). His album Modern Sounds in
Country and Western Music (1962) sold more than one million copies, as did its single, “I Can’t Stop Loving You.” Thereafter, his music emphasized jazz standards and renditions of pop and show tunes.

Search Posts by Categories:

and subscribe to our social channels for news and music updates:

From 1955, Ray Charles toured extensively in the United States and elsewhere with his own big band and a gospelstyle female backup quartet called The Raeletts. He also appeared on television and worked in films such as Ballad in Blue (1964) and The Blues Brothers (1980) as a featured act and soundtrack composer. He formed his own custom recording labels, Tangerine in 1962 and Crossover Records n 1973.

The recipient of many national and international awards, he received 13 Grammy Awards, including a lifetime achievement award in 1987. In 1986 Charles was inducted into the Rock and Roll Hall of Fame and received a Kennedy Center Honor. He published an autobiography, Brother Ray, Ray Charles’ Own Story (1978), written with David Ritz.

Download Ray Charles’ sheet music from our Library.

Ray Charles in Copenhagen 1973

Track List:

0:00 Intro 5:29 Hallelujah I Love Her So (Ray Charles) 9:08 Georgia On My Mind (Hoagy Carmichael & Stuart Gorrell) 15:09 You Made Me Love You (James V. Monaco & Joseph McCarthy) 18:12 Yesterday (Paul McCartney) 23:43 Feel So Bad (J. Johnson) 30:05 Goin’ Down Slow (“St. Louis” Jimmy Oden) 37:27 Goin’ Down Slow (Bis) 39:45 Intro Raelettes 44:16 Rocksteady (Aretha Franklin)

48:55 I Can’t Stop Loving You (Don Gibson) 54:48 Look What They Have Done To My Song, Ma (The New Seekers) 59:58 Indian Love Call (Nelson Eddy & Jeanette MacDonald) 1:14:40 Eleanor Rigby (Paul McCartney & John Lennon) 1:18:47 Introduction John Henderson 1:23:10 Shake (Ray Charles) 1:27:35 Ray introducing Raelettes by name; in call and response improv) 1:39:20 Leave My Man Alone (Vernita Moss) 1:42:54 Introduction band 1:43:41 So Soon (John Henderson) 1:48:30 What’d I Say (Ray Charles)

The 100 most inspiring musicians of all Time

Antonio Carlos Jobim: the 100 most inspiring musicians of all time

Table of Contents

    Antonio Carlos Jobim: the 100 most inspiring musicians of all time

    Brazilian songwriter, composer, and arranger Antonio Carlos Jobim (b. Jan. 25, 1927, Rio de Janeiro, Braz.—d. Dec. 8, 1994, New York, N.Y., U.S.) transformed the extroverted rhythms of the Brazilian samba into an intimate music, the bossa nova (“new wrinkle” or “new wave”), which became internationally popular in the 1960s.

    “Tom” Jobim—as he was popularly known—first began playing piano when he was 14 years old, on an instrument given to his sister by their stepfather. He quickly showed an aptitude for music, and his stepfather sent him to a series of highly accomplished classically trained musicians
    for lessons. During the course of his studies, Jobim was particularly inspired by the music of Brazilian composer Heitor Villa-Lobos (1887–1959), whose Western classical works regularly employed Brazilian melodic and rhythmic materials.

    When it came time to choose a career, Jobim initially showed no interest in pursuing music professionally, opting instead to become an architect. He soon became disenchanted with the choice, however, and left the field to devote himself fully to music.

    Jobim subsequently performed in the clubs of Rio de Janeiro, transcribed songs for composers who could not write music, and arranged music for various recording artists before becoming music director of Odeon Records, one of the largest record companies in Brazil. In 1958, he began collaborating with singer-guitarist João Gilberto, whose recording of Jobim’s song “Chega de Saudade” (1958; “No More Blues”) is widely recognized as the first bossa nova single. Although the song itself met a cold reception, the bossa nova album that bears its name—Chega de
    Saudade (1959)—took Brazil by storm the following year.

    Also in 1959, Jobim and composer Luís Bonfá became noted for their collaboration with lyricist Vinícius de Moraes on the score for Orfeo negro ( Black Orpheus ), which won an Academy Award for best foreign film. By the early 1960s, Jobim’s music was being played around the world.

    antonio carlos jobim sheet music score download partitura partition spartiti 楽譜

    Antonio Carlos Jobim maintained a second home in the United States,
    where bossa nova’s fusion of understated samba pulse (quiet percussion and unamplifi ed guitars playing subtly complex rhythms) and gentle, breathy singing with the melodious and sophisticated harmonic progressions of cool jazz found a long-lasting niche in popular music.

    In 1962, he appeared at Carnegie Hall with his leading jazz interpreters,
    tenor saxophonist Stan Getz and guitarist Charlie Byrd. Jobim collaborated on many albums, such as Getz/Gilberto (1963) and Frank Sinatra & Antonio Carlos Jobim (1967). He also recorded solo albums, most notably Jobim (1972) and A Certain Mr. Jobim (1965), and composed classical works and film scores. Of the more than 400 songs Jobim produced in the course of his musical career, “Samba de uma nota só” (“One-Note Samba”), “Desafinado” (“Slightly Out of Tune”), “Meditação” (“Meditation”), “Corcovado” (“Quiet Nights of Quiet Stars”), “Garota de Ipanema” (“The Girl from Ipanema”), “Wave,” and “Dindi” have been particularly popular.

    Descargar partituras de Antonio Carlos Jobim y Bossa Nova.

    Antonio Carlos Jobim – Wonderful Bossa Nova (FULL ALBUM – BEST OF LATIN JAZZ)


    01- Samba do Avião 00:11 02-Dreamer 02:19 03- One Note Samba 04:53 04- She’s A Carioca 07:08 05- Agua De Beber 09:49 06- Desafinado 12:50 07- Favela 15:31 08- Jazz Samba 16:06 09- Meditation 18:21 10- O morro nao tem vez 21:39 11- Só Tinha De Ser Com Você 24:15 12- The Girl From Ipanema 26:44 13- Chega De Saudade 29:26 14- Dindi 33:46 15- Bonita 38:05 16- Surfboard 40:16 17- Useless Landscape 42:42 18- Valsa De Porto Das Caixas 45:02 19- Insensatez 48:25 20 – Corcovado 51:21

    Search Posts by Categories:

    and subscribe to our social channels for news and music updates:

    The 100 most inspiring musicians of all Time

    Chuck Berry: the 100 most inspirational musicians of all time

    Table of Contents

      Chuck Berry: the 100 most inspirational musicians of all time

      Singer, songwriter, and guitarist Chuck Berry (born Charles Edward Anderson Berry, b. Oct. 18, 1926, St. Louis, Mo., U.S.) was one of the most popular and influential performers in rhythm-and-blues and rock-and-roll music in the 1950s, ’60s, and ’70s.

      Raised in a working-class African American neighborhood on the north side of the highly segregated city of St. Louis, Berry grew up in a family proud of its African- American and Native American ancestry. He gained early exposure to music through his family’s participation in the choir of the Antioch Baptist Church, through the blues and country western music he heard on the radio, and through music classes, especially at Sumner High School. Berry was still attending high school when he was sent to serve three years for armed robbery at a Missouri prison for young offenders. After his release and return to St. Louis, he worked at an auto plant, studied hairdressing, and played music in small nightclubs.

      chuck berry sheet music download partitura partition

      Chuck Berry traveled to Chicago in search of a recording contract; he signed with the Chess label, and in 1955 his first recording session produced “Maybellene”, which stayed on the pop charts for 11 weeks, cresting at number five. Berry followed this success with extensive tours and hit after hit, including “Roll Over Beethoven” (1956), “Rock and Roll Music” (1957), and “Johnny B. Goode” (1958). His vivid descriptions of consumer culture and teenage life, the distinctive sounds he coaxed from his guitar, and the rhythmic and melodic virtuosity of his piano player (Johnny Johnson) made Berry’s songs staples in the repertoire of almost every rock-and-roll band.

      At the peak of his popularity, federal authorities prosecuted Berry for violating the Mann Act, alleging that he transported an underage female across state lines “for immoral purposes.” After two trials tainted by racist
      overtones, Berry was convicted and remanded to prison. Upon his release he placed new hits on the pop charts, including “No Particular Place to Go” in 1964, at the height of the British Invasion, whose prime movers,
      the Beatles and the Rolling Stones, were hugely influenced by Berry (as were the Beach Boys).

      In 1972 Berry achieved his first number one hit, “My Ding-A-Ling.” Although he recorded more sporadically in the 1970s and ’80s, he continued to appear in concert, most often performing with backing bands comprising local musicians. Berry’s public visibility increased in 1987 with the publication of his book Chuck Berry: The Autobiography and the release of the documentary film Hail! Hail! Rock ‘n’ Roll, featuring footage from his 60th birthday concert and guest appearances by Keith Richards and Bruce Springsteen.

      Search Posts by Categories:

      and subscribe to our social channels for news and music updates:

      Chuck Berry is undeniably one of the most influential figures in the history of rock music. In helping to create rock and roll from the crucible of rhythm and blues, he combined clever lyrics, distinctive guitar sounds, boogie-woogie rhythms, precise diction, an astounding stage show, and
      musical devices characteristic of country western music and the blues in his many best-selling single records and albums.

      A distinctive if not technically dazzling guitarist, Berry used electronic effects to replicate the ringing sounds of bottleneck blues guitarists in his recordings. He drew upon a broad range of musical genres in his compositions, displaying an especially strong interest in Caribbean music on “Havana Moon” (1957) and “Man and the Donkey” (1963), among others. Influenced by a wide variety of artists—including guitar players Carl Hogan, Charlie Christian, and T-Bone Walker and vocalists Nat King Cole, Louis Jordan, and Charles Brown—Berry played a major role in broadening the appeal of rhythm-and-blues music during the 1950s. He fashioned his lyrics to appeal to the growing teenage market by presenting vivid and humorous descriptions of high-school life, teen dances, and consumer culture. Many popular-music performers have recorded Berry’s songs.

      An appropriate tribute to Berry’s centrality to rock and roll came when his song “Johnny B. Goode” was among the pieces of music placed on a copper phonograph record attached to the side of the Voyager 1 satellite, hurtling through outer space, in order to give distant or future civilizations a chance to acquaint themselves with the culture of the planet Earth in the 20th century. In 1984, he was presented with a Grammy Award for lifetime
      achievement. He was inducted into the Rock and Roll Hall of Fame in 1986.

      Sheet Music Download.

      Chuck Berry Greatest Hits – Chuck Berry Best Blue Songs – Chuck Berry All Songs Full Album 2021

      The 100 most inspiring musicians of all Time

      Miles Davis: the 100 most inspiring musicians of all time

      Miles Davis: the 100 most inspiring musicians of all time

      Table of Contents

        Miles Davis (b. May 26, 1926, Alton, Ill., U.S.—d. Sept. 28, 1991, Santa Monica, Calif.), or Miles Dewey Davis III was an American jazz musician, a great trumpeter who as a bandleader and composer was one of the major influences on the art from the late 1940s.

        Davis grew up in East St. Louis, Ill., where his father was a prosperous dental surgeon. He began studying trumpet in his early teens; fortuitously, in light of his later stylistic development, his first teacher advised him to play without vibrato. Davis played with jazz bands in the St. Louis area before moving to New York City in 1944 to study at the Institute of Musical Art (now the Juilliard School)—although he skipped many classes
        and instead was schooled through jam sessions with masters such as Dizzy Gillespie and Charlie Parker.

        Miles Davis and Parker recorded together often during the years 1945–48.
        Davis’s early playing was sometimes tentative and not always fully in tune, but his unique, intimate tone and his fertile musical imagination outweighed his technical shortcomings. By the early 1950s, Davis had turned his limitations into considerable assets. Davis explored the trumpet’s middle register, experimenting with harmonies and rhythms and varying the phrasing of his improvisations. With the occasional exception of multinote flurries, his melodic style was direct and unornamented.

        miles davis sheet music pdf

        Cool Jazz and Modal Jazz

        In the summer of 1948, Davis formed a nonet that included the renowned jazz artists Gerry Mulligan, J.J. Johnson, Kenny Clarke, and Lee Konitz, as well as players on French horn and tuba, instruments rarely heard in a jazz context. Mulligan, Gil Evans, and pianist John Lewis did most of the band’s arrangements, which juxtaposed the flexible, improvisatory nature of bebop with a thickly textured orchestral sound. The group was tracks that were originally released as singles (1949–50).

        These recordings changed the course of modern jazz and paved the way for the West Coast styles of the 1950s. The tracks were later collected on the album Birth of the Cool (1957).

        During the early 1950s, Davis recorded albums that rank among his best. In 1954, having overcome drug addiction, Davis embarked on a two-decade period during which he was considered the most innovative musician in jazz. He formed classic small groups in the 1950s that
        featured saxophone legends John Coltrane and Cannonball Adderley, pianists Red Garland and Bill Evans, bassist Paul Chambers, and drummers “Philly” Joe Jones and Jimmy Cobb. Davis’s albums recorded during this era, including ’Round About Midnight (1956), Steamin’ (1956), and Milestones (1958), among others, affected the work of numerous other

        He capped this period of his career with Kind of Blue (1959), perhaps the most celebrated album in the history of jazz. A mellow, relaxed collection, the album includes the finest recorded examples of modal jazz, a style in which improvisations are based upon sparse chords and nonstandard scales rather than on complex, frequently changing chords.

        Released concurrently with the small-group recordings, Davis’s albums with pieces arranged and conducted by Gil Evans—Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain (1960)—were also monuments of the genre. The Davis-Evans collaborations were marked by
        complex arrangements, a near-equal emphasis on orchestra and soloist, and some of Davis’s most soulful and emotionally powerful playing. Davis and Evans occasionally collaborated in later years, but never again so memorably as on these three masterful albums.

        Free Jazz and Fusion

        The early 1960s were transitional, less-innovative years for Davis. He began forming another soon-to-be-classic small group in late 1962 with bassist Ron Carter, pianist Herbie Hancock, and teenage drummer Tony Williams; tenor saxophonist Wayne Shorter joined the lineup in 1964.

        Davis’s new quintet was characterized by a light, free sound and a repertoire that extended from the blues to avant-garde and free jazz. Compared with the innovations of other modern jazz groups of the 1960s, the Davis quintet’s experimentation in polyrhythm and poly tonality were more subtle but equally daring. Live at the Plugged Nickel (1965), E.S.P. (1965), Miles Smiles (1966), and Nefertiti (1967) were among the quintet’s timeless, influential recordings.

        About the time of Miles in the Sky and Filles de Kilimanjaro (both 1968), Davis began experimenting with electronic instruments. With other musicians, including keyboardists Chick Corea and Joe Zawinul and guitarist John McLaughlin, Davis cut In a Silent Way (1969), regarded as the seminal album of the jazz fusion movement. It was considered by purists to be Davis’s last true jazz album.

        Davis won new fans and alienated old ones with the release of Bitches Brew (1969), an album on which he fully embraced the rhythms, electronic instrumentation, and studio effects of rock music. A cacophonous
        kaleidoscope of layered sounds, rhythms, and textures, the album’s influence was heard in such 1970s fusion groups as Weather Report and Chick Corea’s Return to Forever. Davis continued in this style for a few years, with the album Live-Evil (1970) and the film soundtrack A Tribute to Jack Johnson (1970) being particular highlights.


        Davis was injured in an auto accident in 1972, curtailing his activities, then retired from 1975 through 1980. He returned to public notice with The Man with the Horn (1981) and subsequently dabbled in a variety of musical styles, concentrating mostly on jazz-rock dance music, but
        there were also notable experiments in other styles. Davis won several Grammy Awards during this period for such albums as We Want Miles (1982), Tutu (1986), and Aura (1989).

        One of the most-memorable events of Davis’s later years occurred at the Montreux Jazz Festival in 1991, when he joined with an orchestra conducted by Quincy Jones to perform some classic Gil Evans arrangements of the late 1950s. Davis died less than three months later. His final album, Doo-Bop (1992), was released posthumously.

        Jazz sheet music and transcriptions download here.

        Miles Davis Quintet, Teatro dell’Arte, Milan, Italy, October 11th, 1964 (Colorized)

        Search Posts by Categories:

        and subscribe to our social channels for news and music updates:


        Autumn Leaves 00:00 My Funny Valentine 15:07 All Blues 26:33 All of You 40:13 Joshua 50:47


        Miles Davis (trumpet), Wayne Shorter (sax), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums)

        The 100 most inspiring musicians of all Time

        B.B. King: the 100 most inspiring musicians of all time

        B.B. King: the 100 most inspiring musicians of all time

        B.B. King, American guitarist and singer, (born Riley B. King, (b. Sept. 16, 1925, Itta Bena, near Indianola, Miss., U.S.) was a principal figure in the development of blues and from whose style leading popular musicians
        drew inspiration.

        B.B. King was reared in the Mississippi Delta, and gospel music in church was the earliest influence on his singing. To his own impassioned vocal calls, King played lyrical single-string guitar responses with a distinctive vibrato;
        his guitar style was influenced by T-Bone Walker, by delta blues players (including his cousin Bukka White), and by such jazz guitarists as Django Reinhardt and Charlie Christian. He worked for a time as a disk jockey in
        Memphis, Tennessee (notably at station WDIA), where he acquired the name B.B. (for Blues Boy) King.

        b.b. king sheet music pdf

        In 1951, B.B. King made a hit record of “Three O’Clock Blues,” which led to virtually continuous tours of clubs and theaters throughout the country. He often played 300 or more one-night stands a year with his 13-piece band. A long succession of hits, including “Every Day I Have the Blues,” “Sweet Sixteen,” and “The Thrill Is Gone,” enhanced his popularity.
        By the late 1960s, rock guitarists acknowledged his influence and priority; they introduced King (and his guitar—which was named Lucille) to a broader white public, who until then had heard blues chiefly in derivative versions.

        Search Posts by Categories:

        and subscribe to our social channels for news and music updates:

        King’s relentless touring strengthened his claim to the title of undisputed king of the blues, and he was a regular fixture on the Billboard charts through the mid-1980s. His strongest studio albums of this era were those that most closely tried to emulate the live experience, and he found
        commercial success through a series of all-star collaborations.

        On Deuces Wild (1997), King enlisted such artists as Van Morrison, Bonnie Raitt, and Eric Clapton to create a fusion of blues, pop, and country that dominated the blues charts for almost two years. Clapton and King collaborated on the more straightforward blues album Riding with the King (2000), which featured a collection of standards from King’s catalog.

        He recaptured the pop magic of Deuces Wild with 80 (2005), a celebration of his 80th birthday that featured Sheryl Crow, John Mayer, and a standout
        performance by Elton John. King returned to his roots with One Kind Favor (2008), a collection of songs from the 1940s and ’50s, including blues classics by the likes of John Lee Hooker and Lonnie Johnson. Joining King in the simple four-part arrangements on the T-Bone Burnett–produced
        album were stalwart New Orleans pianist Dr. John, ace session drummer Jim Keltner, and stand-up bassist Nathan East. The album earned King his 15th Grammy Award.

        In 2008, the B.B. King Museum and Delta Interpretive Center opened in Indianola, with exhibits dedicated to King’s music, his influences, and the history of the delta region. King’s autobiography, Blues All Around Me, written with David Ritz, was published in 1996.

        Jazz transcriptions and sheet music download here.

        B.B. King Greatest Hits Full Album – B.B. King Blues Best Songs Full Album

        Track Listing:

        0:00 Blues Boys Tune 7:11 Three O’clock Blues 9:19 How Blue Can You Get 12:50 I Believe To My Soul 18:41 Why I Sing The Blues 24:59 I Like To Live The Love 29:08 Rock Me Baby 34:16 The Thrill Is Gone 38:23 Better Not Look Down 44:42 I Woke Up This Morning 50:09 Eyesight To The Blind 53:32 To Know You Is To Love You 57:18 Everyday I Have The Blues 1:03:39 Don’t Answer The Door

        “I struggle with words. Never could express myself the way I wanted. My mind fights my mouth, and thoughts get stuck in my throat. Sometimes they stay stuck for seconds or even minutes. Some thoughts stay for years; some have stayed hidden all my life. As a child, I stuttered. What was inside couldn’t get out. I’m still not real fluent. I don’t know a lot of good words. If I were wrongfully accused of a crime, I’d have a tough time explaining my innocence. I’d stammer and stumble and choke up until the judge would throw me in jail. Words aren’t my friends. Music is. Sounds, notes, rhythms. I talk through music. Maybe that’s why I became a loner, someone who loves privacy and doesn’t reveal himself too easily.

        My friendliness might fool you. Come into my dressing room and I’ll shake your hand, pose for a picture, make polite small talk. I’ll be as nice as I can, hoping you’ll be nice to me. I’m genuinely happy to meet you and exchange a little warmth. I have pleasant acquaintances with thousands of people the world over. But few, if any, really know me. And that includes my own family. It’s not that they don’t want to; it’s because I keep my feelings to myself. If you hurt me, chances are I won’t tell you. I’ll just move on. Moving on is my method of healing my hurt and, man, I’ve been moving on all my life.

        Now it’s time to stop. This book is a place for me to pause and look back at who I was and what I became. As I write, I’m seventy hears old, and all the joy and hurts, small and large, that I’ve stored up inside me…well, I want to pull ’em out and put ’em on the page. When I’ve been described on other people’s pages, I don’t recognize myself. In my mind, no one has painted the real me. Writers have done their best, but writers have missed the nitty-gritty. Maybe because I’ve hidden myself, maybe because I’m not an easy guy to understand. Either way, I want to open up and leave a true account of who I am.

        When it comes to my own life, others may know the cold facts better than me. Scholars have told me to my face that I’m mixed up. I smile but don’t argue. Truth is, cold facts don’t tell the whole story. Reading this, some may accuse me of remembering wrong. That’s okay, because I’m not writing a cold-blooded history. I’m writing a memory of my heart. That’s the truth I’m after – following my feelings, no matter where they lead. I want to try to understand myself, hoping that you – my family, my friends, my fans – will understand me as well.

        This is a blues story. The blues are a simple music, and I’m a simple man. But the blues aren’t a science; the blues can’t be broken down like mathematics. The blues are a mystery, and mysteries are never as simple as they look.”
        ― B.B. King, Blues All Around Me: The Autobiography of B.B. King

        The 100 most inspiring musicians of all Time

        Maria Callas: the 100 most inspiring musicians of all time

        Maria Callas: the 100 most inspiring musicians of all time

        American-born Greek operatic soprano Maria Callas,(b. Dec. 2, 1923, New York, N.Y., U.S.—d. Sept. 16, 1977, Paris, France)originally named Maria Cecilia Sophia Anna Kalogeropoulos, revived classical coloratura roles in the mid-20th century with her lyrical and dramatic versatility.

        Callas was the daughter of Greek immigrants and early developed an interest in singing. Accompanied by her mother, she left the United States in 1937 to study at the Athens Conservatory with soprano Elvira de Hidalgo; in 1966 she became a Greek citizen and relinquished her U.S.

        Search Posts by Categories:

        and subscribe to our social channels for news and music updates:

        She sang locally in Cavalleria rusticana and Boccaccio and returned to the United States in 1945. Her career began in earnest in August 1947, when she appeared in Verona in La gioconda. Soon, under the tutelage of conductor Tullio Serafin, she made debuts in Venice, Turin, and Florence. In 1949, she first appeared in Rome, Buenos Aires, and Naples, and in 1950 in Mexico City. Her powerful soprano voice, capable of sustaining both lyric and coloratura roles, was, although not perfect in control, intensely dramatic; combined with her strong sense of theater and her scrupulously high artistic standards, it took her quickly to the forefront of contemporary opera stars.

        maria callas sheet music score download partitura partition spartiti

        Her talents made possible the revival of 19th-century Bel Canto works, notably those of Bellini and Donizetti, that had long been dropped from standard repertoires. Callas made her debut at the prestigious La Scala in
        Milan in 1950, singing in I Vespri siciliani. In 1952, she appeared at Covent Garden, London. Her American debut took place in November 1954 at Chicago’s Lyric Opera in the title role of Norma, a performance she repeated before a record audience at the Metropolitan Opera in New York City. Callas’s recordings were enthusiastically received, and she was one of the most popular singers of the period.

        Her much-publicized volatile temperament resulted in several protracted feuds with rivals and managers. After a final operatic performance as Tosca at Covent Garden (July 1965), Callas made the film Medea (1971) and
        taught master classes in opera at Juilliard (1972) before a last U.S. and European concert tour (1973–74). By the time of her retirement, she had performed more than 40 different roles and had recorded more than 20 complete operas.

        Sheet Music Download here.

        Maria Callas – 50 Most Beautiful Opera Arias

        Track List:

        1 – 00:00 – Norma, Act I, Scene 4: “Casta diva… Fine al rito” (Norma, Coro) 2 – 10:50 – Carmen, Act I, Scene 5: “L’amour est un oiseau rebelle” (Carmen) 3 – 14:50 – La traviata, Act I, Scene 2: “Libiam ne’ lieti calici” (Alfredo, Violetta, Coro) 4 – 18:02 – La Wally, Act I: “Ebben? Ne andrò lontana” (Wally) 5 – 22:51 – Gianni Schicchi, Act I: “O mio babbino caro” (Lauretta) 6 – 25:23 – Madama Butterfly, Act II: “Un bel dì, vedremo” (Madama Butterfly) 7 – 30:04 – Andrea Chénier, Act III: “La mamma morta” (Maddalena) 8 – 34:54 – La forza del destino, Act IV: “Pace, pace, mio Dio” (Leonora) 9 – 41:17 – Orfeo ed Euridice, Act III, Scene 1: “J’ai perdu mon Eurydice” (Orfeo) 10 – 45:37 – Alceste, Act I, Scene 5: “Divinités du Styx” (Alceste)

        11 – 49:57 – Medea, Act I: “Taci, Giason” (Medea, Giasone) 12 – 52:24 – La vestale, Act II: “O nume tutelar” (Julia) 13 – 54:53 – The Barber of Seville, Act I, Scene 5: “Una voce poco fa” (Rosina) 14 – 01:01:12 – Anna Bolena, Act II, Scene 13: “Coppia iniqua” 15 – 01:04:14 – Lucia di Lammermoor, Act III, Scene 4: “Oh, giusto cielo!… Il dolce suono” (Coro, Lucia) 16 – 01:07:42 – Il pirata, Act II, Scene 12: “Qual suono ferale echeggia” & “Oh, sole! Ti vela di tenebre oscure” 17 – 01:11:57 – La sonnambula, Act I: “Care compagne” (Amina, Choeur) 18 – 01:14:08 – I puritani, Act II: “O rendetemi la speme… Qui la voce” (Elvira, Giorgio, Riccardo) 19 – 01:26:59 – Adriana Lecouvreur, Act I, Scene 2: “Ecco: respiro appena” (Adriana) 20 – 01:30:42 – Adriana Lecouvreur, Act IV, Scene 5: “Poveri fiori” (Adriana)

        21 – 01:33:53 – Nabucco, Act II, Scene 1: “Ben io t’invenni – Anch’io dischiuso un giorno” (Abigaille) 22 – 01:43:01 – Ernani, Act I, Scene 3: “Surta è la notte” & Cavatina. “Ernani! Ernani, involami” (Elvira) 23 – 01:49:17 – Macbeth, Act II, Scene 1: “La luce langue” (Lady Macbeth) 24 – 01:53:25 – Rigoletto, Act I: “Gualtier Maldé” (Gilda) 25 – 02:00:53 – La traviata, Act I, Scene 5: “Ah, fors’è lui” (Violetta) 26 – 02:03:54 – La traviata, Act I, Scene 5: “Sempre libera degg’io” (Violetta, Alfredo) 27 – 02:07:50 – I vespri siciliani, Act V, Scene 2: “Mercé, dilette amiche” (Elena) 28 – 02:11:48 – Un ballo in maschera, Act II: “Ecco l’orrido campo” (Amelia) 29 – 02:18:32 – La forza del destino, Act II, Scene 10: “La Vergine degli angeli” (Coro, Leonora) 30 – 02:22:07 – Don Carlo, Act IV, Scene 2: “Tu che le vanità” (Elisabeth)

        31 – 02:32:48 – Aida, Act I: “Ritorna vincitor” (Aida) 32 – 02:40:05 – Le pardon de Ploërmel, Act II, Scene 3: “Ombra leggera” (Dinorah) 33 – 02:45:44 – Mignon, Act II: “Ah, pour ce soir… Je suis Titania la blonde” (Philine) 34 – 02:50:51 – Hamlet, Act IV: “Et maintenant écoutez ma chanson” (Ophélie) 35 – 02:55:14 – Roméo et Juliette, Act I: “Ah! Je veux vivre dans ce rêve” (Juliette) 36 – 02:58:49 – Mefistofele, Act III: “L’altra notte in fondo al mare” (Margherita) 37 – 03:06:12 – Carmen, Act I, Scene 10: “Près des remparts de Séville” (Carmen) 38 – 03:08:12 – La Gioconda, Act I, Scene 3: “Madre adorata” (La Gioconda, Barnaba, La Cieca) 39 – 03:12:03 – Samson et Dalila, Op. 47, Act I, Scene 6: “Printemps qui commence” (Dalila) 40 – 03:17:15 – Lakmé, Act II: “Dov’è l’indiana bruna?” (Lakmé)

        41 – 03:25:17 – Le Cid, Act III: “De cet affreux combat… Pleurez mes yeux” (Chimène) 42 – 03:31:20 – Pagliacci, Act I, Scene 2: “Qual fiamma avea nel guardo!” – “Stridono lassù” (Nedda) 43 – 03:35:59 – Louise, Act III, Scene 1: “Depuis le jour” (Louise) 44 – 03:40:42 – Manon Lescaut, Act IV: “Sola, perduta, abbandonata” (Manon) 45 – 03:46:32 – La bohème, Act I: “Sì. Mi chiamano Mimì” & “Ehi! Rodolfo!” (Mimi, Rodolfo, Schaunard, Colline, Marcello) 46 – 03:52:08 – La bohème, Act III: “Donde lieta uscì” (Mimì) 47 – 03:55:25 – Tosca, Act II, Scene 5: “Vissi d’arte, vissi d’amore” (Tosca) 48 – 03:58:40 – Madama Butterfly, Act I: “Vogliatemi bene” (Madama Butterfly, Pinkerton) 49 – 04:05:56 – Suor Angelica, Act I: “Senza mamma” (Suor Angelica) 50 – 04:11:28 – Turandot, Act I: “Signore, ascolta!” (Liù)

        The 100 most inspiring musicians of all Time

        Hank Williams: the 100 most inspiring musicians of all time

        Search Posts by Categories:

        and subscribe to our social channels for news and music updates:

        Hank Williams: the 100 most inspiring musicians of all time

        (b. Sept. 17, 1923, Georgiana, Ala., U.S.—d. Jan. 1, 1953, Oak Hill, W.Va.)

        American singer, songwriter, and guitarist Hank Williams (born Hiram King Williams) in the 1950s arguably became country music’s first superstar. An immensely talented songwriter and an impassioned vocalist, the “Hillbilly Shakespeare,” as he was often called, also experienced great crossover success in the popular music market. His iconic status was amplified by his death at age 29 and by his reputation for hard living and heart on- the-sleeve vulnerability.

        Hank Williams sheet music score download partitura partition spartiti 楽譜 망할 음악 ноты

        As a boy, Williams was the musical protégé of Rufus Payne, an African American street performer who went by the name Tee-Tot and busked on the streets of Georgiana and Greenville, Ala. Probably taught his first chords by Payne, Williams began playing the guitar at age eight. He
        made his radio debut at age 13; formed his first band, Hank Williams and his Drifting Cowboys, at age 14; and early on began wearing the cowboy hats and western clothing that later were so associated with him.

        During World War II Williams commuted between Mobile, where he worked in
        a shipyard and Montgomery, where he pursued a musical career. At this stage Williams began abusing alcohol, a problem that haunted him the rest of his life, but that came about partly as a result of his attempts to self-medicate agonizing back pain caused by a congenital spinal disorder. Later he would dull his physical pain with morphine, but when he sought to relieve the heartache of his tumultuous relationship with Audrey Sheppard, whom he married in 1942 (they divorced in 1952), alcohol remained his painkiller of choice.

        In 1946 Williams landed a songwriting contract with Acuff-Rose Publications and began composing material for singer Molly O’Day. Later that year he received his first recording contract, with Sterling Records; however, it was on the start-up label MGM that he had his first hit, “Move
        It is on Over” in 1947. Shortly thereafter, he became a regular on the newly created Louisiana Hayride radio program based in Shreveport, La.

        His breakthrough moment came in 1949 with the release of “Lovesick Blues,” an old show tune that Williams parlayed into a chart-topping hit, an invitation to join the Grand Ole Opry in Nashville, and international fame. More than half of the 66 recordings he would make under his own name (he also released a string of religious-themed recordings under the name Luke the Drifter) were Top Ten country and western hits, many of
        them reaching number one, including “Cold, Cold Heart,” “Your Cheatin’ Heart,” “Hey, Good Lookin’,” “Jambalaya (On the Bayou),” and “I’ll Never Get Out of This World Alive.” His extraordinary “Lost Highway” peaked at number 12.

        Williams, who wrote most of his songs himself, crafted direct, emotionally honest lyrics with a poetic simplicity that spoke not only to fans of country and western music but to a much broader audience, as evidenced by the pop hit crooner Tony Bennett had with his cover of “Cold, Cold Heart” in 1951. Williams’s music itself was not especially groundbreaking, though he was a deft synthesizer of blues, honky-tonk country, western swing, and other genres.

        However, his plaintive, bluesy phrasing was unique and became a touchstone of country music. Country music historian Bill Malone wrote that Williams “sang with the quality that has characterized every great hillbilly singer: utter sincerity.” Despite Williams’s many well-known heartbreak songs, it should also be remembered that he was capable of writing and singing with great joy and humor, as on, for example, “Howlin’ at the Moon.” The last years of his life were suffused in increasing sadness and substance abuse.

        country guitar solos sheet music partitura

        He died of a heart attack in a drug- and alcohol-induced stupor in the backseat of a car, probably in West Virginia, while being driven from Knoxville, Tenn., to a concert in Canton, Ohio. Red Foley, Roy Acuff, and Ernest Tubb, among others, sang Williams’s gospel-influenced “I Saw the Light” at his funeral, which was attended by thousands. His son, Hank Williams, Jr., a successful country performer in his own right (like Williams’s grandson, Hank Williams III), sang Williams’s songs in the film biography Your Cheatin’ Heart (1964).

        Best site for all kind of sheet music download is just right here!

        Hank Williams Songs Collection 2021 – Hank Williams Greatest Hits Full Album

        The 100 most inspiring musicians of all Time

        Tito Puente: the 100 most inspiring musicians of all time

        Table of Contents

          Search Posts by Categories:

          and subscribe to our social channels for news and music updates:

          Tito Puente: the 100 most inspiring musicians of all time

          (b. April 20, 1923, New York, N.Y., U.S.—d. May 31, 2000,
          New York, N.Y.)

          American bandleader, composer, and musician Tito Puente (born Ernesto Antonio Puente, Jr.) was one of the leading figures in Latin jazz. His bravura showmanship and string of mambo dance hits in the 1950s earned him the nickname “King of Mambo.”

          The son of Puerto Rican immigrants, Puente grew up in New York City’s Spanish Harlem and became a professional musician at age 13. He later studied at the Juilliard School and eventually learned to play a number of instruments, including the piano, saxophone, vibraphone, and timbales (paired highpitched drums). After an apprenticeship in the historic
          Machito Orchestra (a New York-based Latin jazz group established in
          1939), he served in the navy during World War II.

          In 1947 Puente formed his own 10-piece band, which he expanded two years later to include four trumpets, three trombones, and four saxophones, as well as a number of percussionists and vocalists. With other
          Latin musicians such as Tito Rodríguez and Pérez Prado, he helped give rise in the 1950s to the golden age of mambo, a dance form of Cuban origin; his infectious energy and dynamic stage presence quickly made him a star.

          As his reputation grew, so too did his repertoire, through the addition of other Latin and Afro-Cuban dance rhythms such as Dominican merengue, Brazilian bossa nova, and Cuban cha-cha. The term salsa first appeared in the 1960s, when it was used to describe the music that had been the mainstay of Puente’s repertoire for decades.

          tito puente latin jazz sheet music

          Although salsa—as a specific genre—is rooted in the Cuban son music, the term has often been applied generically to a wide variety of popularized Latin dance forms, such as those performed by Puente. Aside from his activities as a bandleader and instrumentalist, Puente also wrote many
          songs, among which “Babarabatiri,” “Ran Kan Kan,” and “Oye Como Va” have been the most popular.

          In the course of his career, Puente recorded some 120 albums and maintained a busy performance schedule, appearing with leading jazz musicians such as George Shearing and Woody Herman, as well as with many stars of Latin music and, in later years, with symphony orchestras.
          He also performed in several films, including Radio Days (1987) and The Mambo Kings (1992), and was responsible for introducing American audiences to a number of Latin musicians, most notably Cuban singer Celia Cruz. Puente received five Grammy Awards as well as numerous other honors, and he played 200 to 300 engagements a year until shortly before his death in 2000.

          Best site for all kind of sheet music download is right here!

          The Best of Tito Puente

          Track list :

          00:00 – Pa los Rumberos 03:22 – Brazil 05:45 – Chattanooga Choo-Choo 07:45 – Acapulco 10:18 – Dancing Under Latin Skies 13:14 – Oye Mi Guaguanco 16:50 – Cuban Pete 19:22 – Adele 22:29 – Juanita 24:49 – Guaguanco Margarito 28:20 – Happy Cha Cha Cha 30:54 – Perfidia 33:00 – Oye Me Mama 35:23 – Rico Vacilon

          38:34 – Cha-Cha-Cha for Lovers 41:38 – Oigan Mi Cha-Cha-Cha 44:48 – Tampico 47:19 – Carolina 50:05 – Que Sera 53:31 – Too Marvelous for Words 56:00 – Hot Tomatoes 58:52 – Cuban Phantasy 1:00:48 – Nightingale 1:03:22 – Yambeque 1:07:08 – Pan Amore y Cha Cha Cha

          tito puente salsa free sheet music pdf

          Breve biografía de Tito Puente

          (Ernesto Antonio Puente; Nueva York, 1923 – 2000)

          Compositor y percusionista estadounidense de origen puertorriqueño. Tras recibir una excelente formación musical, inició su carrera con incursiones en el mambo que lo llevarían a convertirse en una de las grandes figuras del género, y desarrolló una espléndida fusión de jazz y ritmos antillanos que tendría gran influencia en la configuración y el posterior éxito de la salsa. A lo largo de más de cinco décadas de trayectoria, el Rey de los Timbales, así llamado por sus vigorosas interpretaciones con este instrumento, desplegó una incesante y prolífica actividad como compositor e intérprete (cerca de doscientos álbumes componen su discografía) y acabó mereciendo asimismo el título de Rey de la Música Latina por su ingente papel en la difusión de los géneros musicales latinoamericanos en Estados Unidos y por todo el mundo.

          Hasta los diez años de edad, el pequeño Tito sólo ambicionaba ser bailarín profesional, pero tras lesionarse un tobillo mientras montaba en bicicleta, su vocación dio un giro radical; se decidió a estudiar composición musical y empezó a tocar con bandas locales, y muy pronto su familia y amigos vieron en él un niño prodigio. Su primera actuación tuvo lugar a temprana edad con la banda de Los Happy Boys en el Hotel Park Place, y poco después, ya en la adolescencia, se unió a Noro Morales y la Orquesta Machito.

          Tras el paréntesis que supuso la Segunda Guerra Mundial, que pasó en la marina, retomó su carrera musical. Se matriculó en la Escuela Juilliard para estudiar dirección de orquesta, orquestación y teoría musical, materias éstas en las que se graduó con las mejores calificaciones en 1947, a la edad de veinticuatro años. Por aquel entonces conoció a Charlie Spivak, a través del cual Tito Puente comenzó a interesarse por la composición para big band.

          Durante su estancia en la Escuela Juilliard, Tito Puente tocó con José Curbelo, con Pupi Campo y con Fernando Álvarez y su Grupo Copacabana. En 1948 formó su propia banda, los Picadilly Boys, pronto conocida como la Orquesta de Tito Puente. Con esta formación grabó, para la firma Tico Records, el primer mambo que conocería el éxito más allá de los circuitos del público hispano: Abaniquito (1949). Ese mismo año firmó un contrato con la discográfica RCA Victor y editó el sencillo Ran Kan Kan.

          El rey del mambo

          Los éxitos de Tito Puente empezaron a llegar con la década de los cincuenta, momento en que el mambo gozaba de la máxima popularidad; grabó algunos grandes temas que se convirtieron en favoritos de la radio, como Barbarabatiri, El Rey del Timbal, Mambo la Roca y Mambo Gallego. Con la firma RCA editó Cuban Carnival, Puente Goes Jazz, Dance Mania y Top Percussion, cuatro de sus álbumes más populares.

          Tito Puente en los años 50

          Hacia 1960, Puente se encumbró como el principal músico de mambo de la década y, con su fama ya consolidada, a finales de la misma desarrolló una singular fusión de mambo, big band y jazz. El afable compositor e intérprete resumió así en su persona el movimiento de fusión de la música latina y el jazz de la época.

          Empezó también a colaborar de forma asidua con otros músicos, como el jazzman Woody Herman, el trombonista Buddy Morrow, el director y pianista de jazz Count Basie, el músico y compositor Israel López “Cachao”, las cantantes cubanas Celia Cruz y La Lupe y, posteriormente, con el venezolano Óscar D’León. En 1963 grabó para la Tico Records, arropado por Carlos Santana (con el que grabaría también Para los rumberos en 1974), el tema Oye cómo va, que introdujo las innovaciones musicales de Puente en una nueva generación. En 1967 dio a conocer sus composiciones en la Ópera Metropolitana del Lincoln Center.

          La música de Tito Puente no se puede catalogar como salsa hasta la década de los setenta, ya que también contenía elementos de big band y de jazz en su composición. Una de las giras más importantes fue la realizada en 1979 a Japón, por las posibilidades de abrirse a la audiencia oriental. Tras su regreso de Japón, el músico actuó para el presidente de los Estados Unidos, Jimmy Carter, en la celebración del Mes de la Herencia Hispana. Ese mismo año recibió el primero de los cuatro premios Grammy con que fue reconocido a lo largo de su trayectoria por A Tribute to Benny More. Los otros llegaron en 1983 por On Broadway, en 1985 por Mambo Diablo y en 1989 por Goza Mi Timbal. Contó, además, con otras ocho nominaciones al premio, más que ningún otro músico latino anterior a 1994.

          Últimos años

          Tito Puente interpreta Oye cómo va (Nueva York, 2000)

          En la televisión se había estrenado en 1968 como presentador del programa The World of Tito Puente, y desde mediados de los años ochenta hizo varias apariciones en programas de máxima audiencia televisiva, como The Bill Cosby Show o los conocidos dibujos animados The Simpsons. También participó en las películas Días de Radio (1987), de Woody Allen, Armadas y peligrosas (1986) y Los reyes del mambo (1991).

          En 1991, a la edad de 68 años, lanzó su centésimo álbum, titulado precisamente El Número 100 y distribuido por Sony para RMM Records. Tres años más tarde grabó con su grupo Golden Latin Jazz Allstars otros dos grandes álbumes: In Session y Master Timbalero, en el que se integraban grandes clásicos como The Peanut Vendor y Nostalgia in Times Square.

          Además de las distinciones ya mencionadas, a su muerte contaba en su haber con el más prestigioso de los premios de la música, el que concede la Sociedad Americana de Compositores, Autores y Editores (1994), y había sido nombrado doctor honoris causa por la Universidad de Old Westbury. Formaba parte del elenco del America Who’s Who y tenía su propia estrella en el paseo de la fama de Hollywood. En 1969 el alcalde de Nueva York, John Lindsay, le había hecho entrega de las llaves de la ciudad. No se olvidó tampoco de los desfavorecidos de la fortuna, para los que creó la Fundación de Becas Tito Puente con la finalidad de ayudar a los niños con talento musical y pocos medios.

          The 100 most inspiring musicians of all Time

          Charlie Parker: the 100 most inspiring musicians of all time

          Search Posts by Categories:

          and subscribe to our social channels for news and music updates:

          Charlie Parker: the 100 most inspiring musicians of all time

          American alto saxophonist, composer, and bandleader, Charlie Parker (b. Aug. 29, 1920, Kansas City, Kan., U.S.—d. March 12, 1955, New
          York, N.Y.) was the principal stimulus of the modern jazz idiom known as bebop, and—together with Louis Armstrong and Ornette Coleman—was one of the great revolutionary geniuses in jazz.

          charlie parker free sheet music & score pdf

          Charlie Parker grew up in Kansas City, Missouri, during the great years of Kansas City jazz, and began playing alto saxophone when he was 13. At 14 he quit school and began performing with youth bands, and at 16 he was married— the first of his four marriages. The most significant of his early stylistic influences were tenor saxophone innovator Lester Young and the advanced swing-era alto saxophonist Buster Smith, in whose band Parker played in 1937.

          Parker recorded his first solos as a member of Jay McShann’s band, with whom he toured the eastern United States in 1940–42. It was at this time that his childhood nickname “Yardbird” was shortened to “Bird.” His growing friendship with trumpeter Dizzy Gillespie led Parker to develop his new music in avant-garde jam sessions in New York’s Harlem. Bebop grew out of these experiments by Parker, Gillespie, and their adventurous colleagues; the music featured chromatic harmonies and, influenced especially by Parker, small note values and seemingly impulsive rhythms. Parker and Gillespie played in Earl Hines’s swingoriented band and Billy Eckstine’s more modern band.

          In 1944 they formed their own small ensemble, the first working bebop group. The next year Parker made a series of classic recordings with Red Norvo, with Gillespie’s quintet (“Salt Peanuts” and “Shaw Nuff ”), and for his own first solo recording session (“Billie’s Bounce,” “Now’s the
          Time,” and “Koko”). The new music he was espousing aroused controversy, but also attracted a devoted audience. By this time Parker had been addicted to drugs for several years. While working in Los Angeles with Gillespie’s group and others, Parker collapsed in the summer of 1946, suffering from heroin and alcohol addiction, and was confined to a state mental hospital.

          Following his release after six months, Parker formed his own quintet, which included trumpeter Miles Davis and drummer Max Roach. He performed regularly in New York City and on tours to major U.S. cities and abroad, played in a Gillespie concert at Carnegie Hall (1947), recorded with Machito’s Afro-Cuban band (1949–50), and toured with the popular Jazz at the Philharmonic troupe (1949). A Broadway nightclub, Birdland, was named after him, and he performed there on opening night in late 1949; Birdland became the most famous of 1950s jazz clubs.

          The recordings Parker made for the Savoy and Dial labels in 1945–48 (including the “Koko” session, “Relaxin’ at Camarillo,” “Night in Tunisia,” “Embraceable You,” “Donna Lee,” “Ornithology,” and “Parker’s Mood”) document his greatest period. He had become the model for a generation
          of young saxophonists. His alto tone was hard and ideally expressive, with a crying edge to his highest tones and little vibrato. One of his most influential innovations was the establishment of eighth notes as the basic units of his phrases. The phrases themselves he broke into irregular
          lengths and shapes and applied asymmetrical accenting.

          Parker’s most popular records, recorded in 1949–50, featured popular song themes and brief improvisations accompanied by a string orchestra. These recordings came at the end of a period of years when his narcotics and alcohol addictions had a less disruptive effect on his creative life. By the early 1950s, however, he had again begun to suffer from the cumulative effects of his excesses; while hospitalized for treatment of an ulcer, he was informed that he would die if he resumed drinking. He was banned from
          playing in New York City nightclubs for 15 months. He missed engagements and failed to pay his accompanying musicians, and his unreliability led his booking agency to stop scheduling performances for him. Even Birdland, where he had played regularly, eventually fired him. His twoyear- old daughter died of pneumonia; his fourth marriage fell apart. He twice attempted suicide and again spent time in a mental hospital.

          If Parker’s life was chaotic in the 1950s, he nonetheless retained his creative edge. From roughly 1950 he abandoned his quintet to perform with a succession of usually small, ad hoc jazz groups; on occasion he performed with Latin American bands, big jazz bands (including Stan Kenton’s and Woody Herman’s), or string ensembles. Recording sessions with several quartets and quintets produced such pieces as “Confirmation,” “Chi-Chi,” and “Bloomdido,” easily the equals of his best 1940s sessions. Outstanding
          performances that were recorded at concerts and in nightclubs also attest to his vigorous creativity during this difficult period. He wanted to study with classical composer Edgard Varèse, but, before the two could collaborate, Parker’s battle with ulcers and cirrhosis of the liver got the better of him.

          While visiting his friend Baroness Nica de Koenigswarter, he was persuaded to remain at her home because of his illness; there, a week
          after his last engagement, he died of a heart attack. The impact of Parker’s tone and technique has already been discussed; his concepts of harmony and melody were equally influential. Rejecting the diatonic scales common
          to earlier jazz, Parker improvised melodies and composed themes using chromatic scales. Often he played phrases that implied added harmonies or created passages that were only distantly related to his songs’ harmonic foundations (chord changes). Yet for all the tumultuous feelings in his solos, he created flowing melodic lines. At slow tempos as well as fast, his were intense improvisations that communicated complex, often subtle emotions.

          The harmonies and inflections of the blues, which he played with passion
          and imagination, reverberated throughout his improvisations. Altogether, Parker’s lyric art was a virtuoso music resulting from a coordination of nerve, muscle, and intellect that pressed human agility and creativity to
          their limits.

          Jazz sheet music and transcriptions download.

          Charlie Parker – The Best of Charlie Parker volume 1

          Track List:

          1. Cool Blues 00:00 2. No problem 3:34 3. Satan in Hight Heels 12:26 4. What’s Right for you 15:52 5. Montage 19:03 6. Shawnuff 21:15 7. You and The Night and The Music 25:42 8. Cheryl 29:02 9. Lost and Lonely 35:14 10. Sidewinder 38:51 11. Abstract Art 41:12 12. Bongo Bop 44:05 13. Easy Side Drive 48:56 14. Jazz Vendor 51:46

          15. Coffee Coffee 56:37 16. Over the rainbow 1:00:06 17. Subway Inn 1:02:25 18. The Hymn 1:06:27 19. All the things you are 1:12:04 20. Communion 1:15:25 21. Lake in the woods 1:21:31 22. The Feeling of Love 1:25:01 23. Bongo Beep 1:32:14 24. From Mundy On 1:36:55 25. Pittfall 1:40:15 26. Impulse 1:43:50 27. Long Knife 1:49:16 28. Melancholy Madeline 1:51:35 29. Stop and Listen 1:54:18 30. Blues For A Stripper 1:59:05 31. Born Again 2:02:30 32. Gabriel 2:08:14

          The 100 most inspiring musicians of all Time

          Ravi Shankar: the 100 most inspiring musicians of all time

          Table of Contents

            Search Posts by Categories:

            and subscribe to our social channels for news and music updates:

            Ravi Shankar: the 100 most inspiring musicians of all time

            Indian musician, player of the sitar, composer, and founder of the National Orchestra of India, Ravi Shankar (b. April 7, 1920, Benares [now Varanasi], India) was influential in stimulating Western appreciation of Indian music.

            Born into a Bengali Brahman (the highest caste in Hindu tradition) family, Shankar spent most of his youth studying music and dance and touring extensively in India and Europe with his brother Uday’s dance troupe. At age 18 Shankar gave up dancing, and for the next seven years he studied the sitar (a long-necked stringed instrument of the lute family) under the noted musician Ustad Allauddin Khan. After serving as music director of All-India Radio from 1948 until 1956, he began a series of European and
            American tours.

            Ravi Shankar free sheet music & scores pdf

            In the course of his long career, Shankar became the world’s best-known exponent of Hindustani (North Indian) classical music, performing with India’s most distinguished percussionists and making dozens of successful
            recordings. He composed the film scores for the Indian director Satyajit Ray’s famous Apu trilogy (1955–59). In 1962 Shankar founded the Kinnara School of Music in Bombay (now Mumbai) and then established a second Kinnara School in Los Angeles in 1967; he closed both schools some years later, however, having become disenchanted with institutional teaching.

            Beginning in the 1960s, his concert performances with the American violinist Yehudi Menuhin and his association with George Harrison, lead guitarist of the then wildly popular British musical group the Beatles, helped bring Indian music to the attention of the West. Shankar won Grammy Awards in 1967 for his album East Meets West, with Menuhin; in 1972 for The Concert for Bangladesh, with Harrison; and in 2002 for Full Circle, a live recording of a performance at Carnegie Hall with his daughter Anoushka Shankar (born 1981).

            Especially remarkable among Shankar’s accomplishments is his equally expert participation in traditional Indian music and in Indian-influenced Western music. Most characteristic of the latter activity are his concerti
            for sitar and orchestra, particularly Raga Mala (“Garland of Ragas”), first performed in 1981. In addition to his strictly musical undertakings, Shankar wrote two autobiographies, published 30 years apart: My Life, My Music (1969) and Raga Mala (1999). Shankar continued giving concerts into his 80s, frequently accompanied by Anoushka, who, like her father, specialized in blending Indian and Western traditions. Also, a daughter of Shankar is multiple-Grammy-winning singer-songwriter Norah Jones (born 1979), who found her niche in an eclectic blend of jazz, pop, and country music.

            Ravi Shankar – The Origins (FULL ALBUM – BEST OF CLASSICAL MUSIC)


            01- Raag Jog 00:11 02- Raga Hamsadhwani 28:21 03- Dhun In Mishra Mand 37:36 04- Fire Night 55:39 05- Improvisation on the Theme Music 01:00:11 06- Karnataki 01:07:04 07- Madhuvanti 01:13:38 08- Raga Ahir Bhairav 01:37:19 09- Raga Ramkal 01:52:49 10- Raga Simhendra Madhyamam 02:13:23

            Ravi Shankar – THE ORIGINS (FULL ALBUM)

            Best site for sheet music download.