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John McLaughlin plays Bill Evans – TIME REMEMBERED (Full Album)

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    John McLaughlin plays Bill Evans – TIME REMEMBERED (Full Album)

    John McLaughlin

    • Composer
    • Guitarist
    • Jazz

    John McLaughlin: A household name since the early ’70s, John McLaughlin was an innovative fusion guitarist when he led the Mahavishnu Orchestra and has continued living up to his reputation as a phenomenal and consistently inquisitive player through the years. A household name since the early ’70s, John McLaughlin was an innovative fusion guitarist when he led the Mahavishnu Orchestra and has continued living up to his reputation as a phenomenal and consistently inquisitive player through the years.

    mclaughlin free sheet music & scores pdf download


    John McLaughlin started on guitar when he was 11 and was initially inspired by blues and swing players. McLaughlin worked with Alexis Korner, Graham Bond, Ginger Baker and others in the 1960s and played free jazz with Gunter Hampel for six months. His first album was a classic (1969’s Extrapolation) and was followed by an obscurity for the Dawns label with John Surman, a quintet set with Larry Young (Devotion) and My Goals Beyond in 1970 which was half acoustic solos and half jams involving Indian musicians.

    In 1969 McLaughlin moved to New York to play with Tony Williams’s Lifetime, and he appeared on two classic Miles Davis records: In a Silent Way and Bitches Brew.

    In 1971 McLaughlin formed the Mahavishnu Orchestra, a very powerful group often thought of as rock but having the sophisticated improvisations of jazz. After three influential albums (The Inner Mounting Flame, Birds of Fire and Between Nothingness and Eternity), the group disbanded in 1973.

    McLaughlin, who recorded a powerful spiritual album with Carlos Santana that was influenced by John Coltrane, put together a new Mahavishnu Orchestra in 1974 that, despite the inclusion of Jean-Luc Ponty, failed to catch on and broke up by 1975. McLaughlin then surprised the music world by radicalliy shifting directions, switching to acoustic guitar and playing Indian music with his group Shakti.

    They made a strong impact on the world music scene (which was in its infancy) during their three years. Since then McLaughlin has gone back and forth between electric and acoustic guitars, leading the One Truth Band, playing in trios with Al DiMeola and Paco De Lucia, popping up on some mid-’80s Miles Davis records, forming a short-lived third version of the Mahavishnu Orchestra (with saxophonist Bill Evans), recording an introspective tribute to pianist Bill Evans and in 1993 touring with a rollicking jazz trio featuring Joey DeFrancesco and drummer Dennis Chambers.

    Throughout his productive career John McLaughlin has recorded as a leader for Marmalade, Dawns, Douglas International, Columbia, Warner Bros. and Verve.

    Download McLaughlin ‘s sheet music from our Library.

    John McLaughlin recordings / discography

    Solo albums

    Extrapolation, 1969, Polydor
    Where Fortune Smiles, 1970, One Way
    My Goal’s Beyond, 1970, Rykodisc
    Devotion, 1970, Douglas
    Electric Guitarist, 1978, Columbia
    Electric Dreams, 1979, Columbia With One Truth Band
    Friday Night in San Francisco, 1981, Philips
    Belo Horizonte, 1981, Warner Bros. (reissued by Wounded Bird Records)
    Passion, Grace and Fire, 1982, Columbia
    Music Spoken Here, 1982, Warner Bros. (reissued by Wounded Bird Records)

    Mediterranean Concerto (For Guitar and Orchestra) (Live), 1988, Columbia
    Live At The Royal Festival Hall, 1989, JMT
    Que Alegria, 1992, Verve
    Jazz, Vol. 2, 1991, Rhino
    Time Remembered: John McLaughlin Plays Bill Evans, 1993, Verve
    Tokyo Live, 1993, Polygram

    After The Rain, 1994, Verve
    Guitar Concerto, 1995, Sony Classical
    The Promise, 1995, Verve
    The Guitar Trio, 1996, Verve
    The Heart of Things, 1997, Verve

    Remember Shakti: The Believer [Live], 2000, Verve
    The Heart of Things: Live In Paris, 2000, Polygram
    Saturday Night in Bombay: Remember Shakti, 2001, Verve
    Thieves And Poets, 2003, Verve
    Industrial Zen, 2006, Verve
    Floating Point, 2008, Mediastarz/Abstract Logix
    To The One, 2010, Mediastarz/Abstract Logix

    Miles Davis albums

    In a Silent Way, Miles Davis, 1969, Columbia
    Bitches Brew, Miles Davis, 1970, Columbia
    A Tribute to Jack Johnson, Miles Davis, 1971, Columbia
    Live-Evil, Miles Davis, 1971, Columbia
    On the Corner, Miles Davis, 1972, Columbia
    Big Fun, Miles Davis, 1974, Columbia
    Get Up with It, Miles Davis, 1974, Columbia
    The Cellar Door Sessions, Miles Davis, recorded 1970, released 2005, Columbia

    Circle in the Round, 1979, Columbia (outtakes recorded 1955-1970)
    Directions, Miles Davis, 1980, Columbia (unreleased material recorded 1960-1970)
    You’re Under Arrest, Miles Davis, 1985, Columbia
    Aura, Miles Davis, 1989, Columbia

    Mahavishnu Orchestra albums

    1971 The Inner Mounting Flame Full-Length
    1973 Birds of Fire Full-Length
    1973 The Lost Trident Sessions Released in
    1973 Between Nothingness and Eternity Live Album
    1974 Apocalypse Full-Length
    1975 Visions of the Emerald Beyond Full-Length
    1976 Inner Worlds Full-Length
    1980 The Best of Mahavishnu Orchestra Full-Length (compilation)
    1984 Mahavishnu Full-Length
    1986 Adventures in Radioland Full-Length
    1994 The Collection Full-Length (compilation)

    Shakti albums

    Shakti With John McLaughlin, 1975, Columbia
    Natural Elements, 1977, CBS
    A Handful Of Beauty, 1976, Columbia
    Remember Shakti, 1999, Universal Distribution
    Collection, 2000, Import

    Collaborative albums

    Own Up, Twice as Much, 1966, Immediate
    Experiments With Pops, Gordon Beck, 1968
    Sandy Brown And His Gentleman Friends: Hair At Its Hairiest, 1969
    Infinite Search, Miroslav Vitous, 1969, Embryo
    Super Nova, Wayne Shorter, 1969, Blue Note
    Emergency!, Tony Williams Lifetime, 1969, Polydor
    Turn It Over, Tony Williams Lifetime, 1970, Polydor
    Things We Like, Jack Bruce, 1970 (recorded 1968)

    Purple, Miroslav Vitous, 1970, Columbia
    Follow Your Heart, Joe Farrell, 1970, CTI
    Innovations, Duffy Power, 1970, Transatlantic
    Solid Bond, The Graham Bond Organisation, 1970, Warner Bros.
    Spaces, Larry Coryell, 1970, Vanguard
    Escalator over the hill, Carla Bley and Paul Haines, 1971, Watt/ECM
    One Man Dog, James Taylor, 1972, Warner Bros.
    Love Devotion Surrender, 1973, Columbia (with Carlos Santana)
    Welcome, Santana, 1973

    Moto Grosso Feio, Wayne Shorter, 1974, Blue Note (recorded 1970)
    Journey To Love, Stanley Clarke, 1975, Epic
    Planet End, Larry Coryell, 1975, Vanguard
    Live (1976-1977), Stanley Clarke, Epic (released 1991)
    School Days, Stanley Clarke, 1976, Epic
    The Alternative Man, Bill Evans, 1985, Blue Note
    Round Midnight (Soundtrack),1986, Columbia
    Other Side Of Round Midnight, Dexter Gordon, 1986, Blue Note
    Gladrags, Katia And Marielle Labeque, 1986, Angel

    Making Music, Zakir Hussain, 1986, ECM
    Love Of Colours, Katia and Marielle Labeque, 1990, Columbia
    Divine Light: Reconstructions & Mix Translation, Carlos Santana and Bill Laswell, 2001, Sony
    Finally The Rain Has Come, Leni Stern, 2002, Leni Stern
    Someday, Ithamara Koorax, 2002, Huks
    Universal Syncopations, Miroslav Vitous, 2003, ECM
    Power Of Soul (Jimi Hendrix tribute album), 2004 (McLaughlin plays on ‘The Wind Cries Mary’)

    Hymns For Peace: Live At Montreux 2004, Santana, 2007, Eagle Eye
    Hadrian Feraud, Hadrien Feraud, 2007, Dreyfus
    Five Peace Band, Chick Corea etc, 2009, Concord

    Artist’s website


    Time Remembered

    Waltz for Debby

    Very Early

    Only Child

    We Will Meet Again

    Turn Out The Stars

    My Bells

    Song for Helen



    Did you know?

    Alabama 1963: John Coltrane and Martin Luther King

    Alabama: John Coltrane and Martin Luther King (1963)

    On Sunday, September 15, 1963, twelve sticks of dynamite were placed in the 16th Street Baptist Church in Birmingham, Alabama. The bomb had been planted by the white supremacy group, the KKK, and killed four young black girls between the ages of 11-14.

    John Coltrane wrote the song ‘Alabama’ in response to this event and patterned his playing in the song after Martin Luther King’s speech at the funeral for the four girls.

    coltrane sheet music score download partitura partition spartiti noten 楽譜 망할 음악 ноты

    Coltrane also performed in eight benefit concerts for King in 1964 and recorded several other songs inspired by the civil rights movement called, ‘Reverend King’, ‘Backs Against the Wall’ and his album Cosmic Music dedicated to Martin Luther King.

    John Coltrane wrote the song ‘Alabama’ in response to this event and patterned his playing in the song after Martin Luther King’s speech at the funeral for the four girls.

    Coltrane also performed in eight benefit concerts for King in 1964 and recorded several other songs inspired by the civil rights movement called, ‘Reverend King’, ‘Backs Against the Wall’ and his album Cosmic Music dedicated to Martin Luther King.

    Most people are aware of the church bombing in Birmingham that killed four children in 1963.

    Missing from the story is why THIS particular church was targeted.

    alabama sheet music

    It’s a triumphant story, but also sheds a light on the diabolical hatred that infected (and still infects) many Americans.

    Alabama, by John Coltrane

    The Children’s March | 1963

    American short documentary film about the Birmingham, Alabama civil rights marches in the 1960’s, highlighting the bravery of young activists involved in Children’s Crusade (1963). In 2005, this film won an Oscar at the 77th Academy Awards for Documentary Short Subject and was made by the Southern Poverty Law Center (

    Brought to you by the Sheet Music Library (PDF).

    Find images about Birmingham, Alabama 1963:

    A little history of the facts

    In April 1963 King and the Southern Christian Leadership Conference (SCLC) joined with Birmingham, Alabama’s existing local movement, the Alabama Christian Movement for Human Rights (ACMHR), in a massive direct action campaign to attack the city’s segregation system by putting pressure on Birmingham’s merchants during the Easter season, the second biggest shopping season of the year. As ACMHR founder Fred Shuttlesworth stated in the group’s “Birmingham Manifesto,” the campaign was “a moral witness to give our community a chance to survive” (ACMHR, 3 April 1963). 

    The campaign was originally scheduled to begin in early March 1963, but was postponed until 2 April when the relatively moderate Albert Boutwell defeated Birmingham’s segregationist commissioner of public safety, Eugene “Bull” Connor, in a run-off mayoral election. On 3 April the desegregation campaign was launched with a series of mass meetings, direct actions, lunch counter sit-ins, marches on City Hall, and a boycott of downtown merchants. King spoke to black citizens about the philosophy of nonviolence and its methods, and extended appeals for volunteers at the end of the mass meetings. With the number of volunteers increasing daily, actions soon expanded to kneel-ins at churches, sit-ins at the library, and a march on the county building to register voters. Hundreds were arrested. 

    On 10 April the city government obtained a state circuit court injunction against the protests. After heavy debate, campaign leaders decided to disobey the court order. King declared: “We cannot in all good conscience obey such an injunction which is an unjust, undemocratic and unconstitutional misuse of the legal process” (ACMHR, 11 April 1963). Plans to continue to submit to arrest were threatened, however, because the money available for cash bonds was depleted, so leaders could no longer guarantee that arrested protesters would be released. King contemplated whether he and Ralph Abernathy should be arrested. Given the lack of bail funds, King’s services as a fundraiser were desperately needed, but King also worried that his failure to submit to arrests might undermine his credibility. King concluded that he must risk going to jail in Birmingham. He told his colleagues: “I don’t know what will happen; I don’t know where the money will come from. But I have to make a faith act” (King, 73). 

    On Good Friday, 12 April, King was arrested in Birmingham after violating the anti-protest injunction and was kept in solitary confinement. During this time King penned the“Letter from Birmingham Jail” on the margins of the Birmingham News, in reaction to a statement published in that newspaper by eight Birmingham clergymen condemning the protests. King’s request to call his wife, Coretta Scott King, who was at home in Atlanta recovering from the birth of their fourth child, was denied. After she communicated her concern to the Kennedy administration, Birmingham officials permitted King to call home. Bail money was made available, and he was released on 20 April 1963. 

    In order to sustain the campaign, SCLC organizer James Bevel proposed using young children in demonstrations. Bevel’s rationale for the Children’s Crusade was that young people represented an untapped source of freedom fighters without the prohibitive responsibilities of older activists. On 2 May more than 1,000 African American students attempted to march into downtown Birmingham, and hundreds were arrested. When hundreds more gathered the following day, Commissioner Connor directed local police and fire departments to use force to halt the demonstrations. During the next few days images of children being blasted by high-pressure fire hoses, clubbed by police officers, and attacked by police dogs appeared on television and in newspapers, triggering international outrage. While leading a group of child marchers, Shuttlesworth himself was hit with the full force of a fire hose and had to be hospitalized. King offered encouragement to parents of the young protesters: “Don’t worry about your children, they’re going to be alright. Don’t hold them back if they want to go to jail. For they are doing a job for not only themselves, but for all of America and for all mankind” (King, 6 May 1963). 

    In the meantime, the white business structure was weakening under adverse publicity and the unexpected decline in business due to the boycott, but many business owners and city officials were reluctant to negotiate with the protesters. With national pressure on the White House also mounting, Attorney General Robert Kennedy sent Burke Marshall, his chief civil rights assistant, to facilitate negotiations between prominent black citizens and representatives of Birmingham’s Senior Citizen’s Council, the city’s business leadership. 

    The Senior Citizen’s Council sought a moratorium on street protests as an act of good faith before any final settlement was declared, and Marshall encouraged campaign leaders to halt demonstrations, accept an interim compromise that would provide partial success, and negotiate the rest of their demands afterward. Some black negotiators were open to the idea, and although the hospitalized Shuttlesworth was not present at the negotiations, on 8 May King told the negotiators he would accept the compromise and call the demonstrations to a halt. 

    When Shuttlesworth learned that King intended to announce a moratorium he was furious—about both the decision to ease pressure off white business owners and the fact that he, as the acknowledged leader of the local movement, had not been consulted. Feeling betrayed, Shuttlesworth reminded King that he could not legitimately speak for the black population of Birmingham on his own: “Go ahead and call it off … When I see it on TV, that you have called it off, I will get up out of this, my sickbed, with what little ounce of strength I have, and lead them back into the street. And your name’ll be Mud” (Hampton and Fayer, 136). King made the announcement anyway, but indicated that demonstrations might be resumed if negotiations did not resolve the situation shortly. 

    By 10 May negotiators had reached an agreement, and despite his falling out with King, Shuttlesworth joined him and Abernathy to read the prepared statement that detailed the compromise: the removal of “Whites Only” and “Blacks Only” signs in restrooms and on drinking fountains, a plan to desegregate lunch counters, an ongoing “program of upgrading Negro employment,” the formation of a biracial committee to monitor the progress of the agreement, and the release of jailed protesters on bond (“The Birmingham Truce Agreement,” 10 May 1963). 

    Birmingham segregationists responded to the agreement with a series of violent attacks. That night an explosive went off near the Gaston Motel room where King and SCLC leaders had previously stayed, and the next day the home of King’s brother Alfred Daniel King was bombed. President John F. Kennedy responded by ordering 3,000 federal troops into position near Birmingham and making preparations to federalize the Alabama National Guard. Four months later, on 15 September, Ku Klux Klan members bombed Birmingham’s Sixteenth Street Baptist Church, killing four young girls. King delivered the eulogy at the 18 September joint funeral of three of the victims, preaching that the girls were “the martyred heroines of a holy crusade for freedom and human dignity” (King, “Eulogy for the Martyred Children,” 18 September 1963). 

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    Jazz & Blues Music LIVE Music Concerts

    Watch the Dave Brubeck Quartet Live in Belgium, in 1964

    Table of Contents

      Dave Brubeck Quartet – Live in Belgium, in 1964

      Track List:

      00:00 St. Louis Blues
      08:20 Koto Song
      14:22 Three To Get Ready
      18:39 In Your Own Sweet Way
      24:47 Take Five

      Jazz Icons: Dave Brubeck boasts two beautifully filmed concerts from one of the most beloved quartets in jazz history.

      Captured at the pinnacle of their power and popularity, Paul Desmond (alto sax), Joe Morello (drums), Eugene Wright (bass) and Dave Brubeck (piano) explore the trails they blazed into the realm of odd time signatures and two versions of their groundbreaking hit Take Five, as well as forays into world music with two unique interpretations of Koto Song.

      Their intimate onstage chemistry and impeccable musicianship made the DBQ an award-winning jazz supergroup.


      Dave Brubeck – piano

      Paul Desmond – alto saxophone

      Eugene Wright – double bass

      Joe Morello – drums

      Dave Brubeck sheet music pdf

      Jazz Sheet Music Download.

      The Dave Brubeck Quartet est un quartet de jazz fondé en 1951 par Dave Brubeck, incluant Brubeck au piano et Paul Desmond au saxophone. Il est l’auteur des standards Take Five et Blue Rondo a la Turk.

      Tout au long de son existence, la formation connaîtra de nombreux changements de configuration ; parmi les musiciens ayant joué dans le groupe :

      Joe Morello et Alan Dawson (batterie),
      Eugene Wright (contrebasse),
      Gerry Mulligan (saxophone baryton),
      Bobby Militello (saxophones alto et ténor, flûte)
      Willie Smith (clarinette).

      Le quartet contribua à élargir le public du jazz et à lutter pour l’intégration raciale, grâce à la présence du contrebassiste noir Eugene Wright.

      Discographie partielle

      Jazz at the College of the Pacific (1953) Fantasy Records
      Jazz at Oberlin (1953) Fantasy Records
      Jazz Goes to College (en) (1954) Columbia Records
      Time Out (1959) Columbia Records/Legacy
      Time Further Out (1961) Columbia Records/Legacy
      Countdown Time in Outer Space (1962) Columbia Records
      "Brubeck in Amsterdam" (1962) Columbia Records
      Brandenburg Gate: Revisited (1963) Columbia Records
      Jazz Impressions of Japan (1964) Columbia Records/Legacy
      DBQ In Berlin (1964) Columbia Records
      Time changes (1964) Columbia Records
      Dave Brubeck's Greatest Hits (1966) Columbia Records/Legacy
      Time In (1966) Columbia Records
      Jackpot (1966, live in Las Vegas) Columbia Records
      Adventures in Time (1968) Columbia Records
      DBQ 25th Anniversary Reunion (1976) A&M Records
      The Dave Brubeck Quartet at Carnegie Hall (2001) Columbia Records
      The Absolutely Essential (2010) Big3 Records - Coffret 3 CD
      The Columbia Years (2014) Not Now Music
      Time OutTakes (2020) Brubeck Editions

      The Dave Brubeck Quartet war ein Jazz-Quartett, das 1951 von Dave Brubeck am Piano zusammen mit Paul Desmond am Saxophon gegründet wurde. Sie spielten lange Zeit im Blackhawk Club in San Francisco und erfuhren eine große Bekanntheit durch Alben wie Jazz at Oberlin, Jazz Goes to College, und Jazz Goes to Junior College.

      The Dave Brubeck Quartet fue un cuarteto de jazz, fundado en 1951 por Dave Brubeck e integrado originalmente por Paul Desmond con el saxo y Brubeck al piano.1​ Comenzaron con una larga serie de presentaciones en el pub Blackhawk, en San Francisco, y adquirieron notoriedad haciendo giras por campus universitarios y lanzando una serie de álbumes con títulos como Jazz at Oberlin, Jazz Goes to College y Jazz Goes to Junior College.

      En 1958, luego de probar algunos contrabajistas y algunos bateristas, quedaría finalmente formado el “Cuarteto Clásico” — llamado así porque mantuvo prácticamente la misma formación hasta su disolución. Sus integrantes eran Brubeck, Desmond, Joe Morello en la batería y Eugene Wright en el bajo.​

      En 1959, el Dave Brubeck Quartet lanzó Time Out, un álbum que generó entusiasmo en su productora, aunque esta mantuviese reservas respecto a su lanzamiento. El álbum comprendía composiciones originales y casi ninguno de los temas tenía una métrica simple. Con estos ritmos musicales irregulares e inusuales (el disco incluía “Take Five”, “Blue Rondo à la Turk” y “Pick Up Sticks”), alcanzó rápidamente un alto número ventas y la categoría de disco de platino en su país.

      El cuarteto dio continuidad a este éxito con un gran número de nuevos discos dentro de la misma línea musical, incluyendo Time Further Out (1961), Countdown: Time in Outer Space, Time Changes y Time In. Estos discos también obtuvieron reconocimimento por adoptar pinturas contemporáneas famosas para su presentación estética de tapa, incluyendo trabajos de Neil Fujita en Time Out, de Joan Miró en Time Further Out, de Franz Kline en Time in Outer Space y de Sam Francis en Time Changes.

      En la tapa de otros discos, como Time In, no se usó una obra de arte. Un momento importante en la exitosa carrera del cuarteto fue su disco en vivo de 1963, At Carnegie Hall, descrito por el crítico Richard Palmer como “posiblemente el mejor concierto de Dave Brubeck”.

      La formación “clásica” del Dave Brubeck Quartet se desmanteló en 1967, habiéndose reunido nuevamente tan solo para su 25º aniversario en 1976.​ Brubeck formó un nuevo cuarteto en 1968.

      En 2009, el Dave Brubeck Quartet continúa realizando giras internacionales e interpretando éxitos de la época del Cuarteto clásico, como también material nuevo.

      Il The Dave Brubeck Quartet è stato un gruppo musicale jazz, fondato dal pianista Dave Brubeck nel 1951.

      Ottenne un grosso successo di pubblico con l’album Time Out del 1959 trainato dal brano Take Five.

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      Beautiful Music

      Por una cabeza (Tango) de Carlos Gardel – Partitura

      Por una cabeza (Tango) de Carlos Gardel (piano solo con partitura sheet music)

      Carlos Gardel

      Carlos Gardel fue un cantante, compositor y actor de cine. Es el más conocido representante (del género) en la historia del tango. Iniciador y máximo exponente del tango canción,​ fue uno de los intérpretes más importantes de la música popular mundial en la primera mitad del siglo XX,​ por la calidad de su voz, por la cantidad de discos vendidos (como cantante y como compositor), por sus numerosas películas relacionadas con el tango y por su repercusión mundial.

      carlos gardel partitura de tango

      No hay unanimidad sobre el lugar y la fecha de su nacimiento. La hipótesis uruguayista sostiene que nació en Tacuarembó (Uruguay), un 11 de diciembre entre 1883 y 1887. La hipótesis francesista sostiene que nació en Toulouse (Francia) el 11 de diciembre de 1890. Hay unanimidad en el hecho de que vivió desde su infancia en Buenos Aires y se nacionalizó argentino en 1923. Falleció el 24 de junio de 1935 en Medellín, Colombia, en un accidente aéreo.

      La persona y la imagen de Gardel ha sido objeto de idolatría popular, especialmente en Argentina y Uruguay, colocándolo en un lugar de mito y símbolo cultural que aún mantiene su vigencia.

      gardel partitura

      En 2003 la voz de Gardel fue registrada por la Unesco en el programa Memoria del Mundo, dedicado a la preservación de documentos pertenecientes al patrimonio histórico de los pueblos del mundo. Al mismo tiempo, se hace alusión a su voz y su recuerdo con la frase “cada día, canta mejor”.

      Canto de Gardel

      En 1915, el tenor italiano Enrico Caruso vino a la Argentina a cantar al Teatro Colón y al volverse en barco al Brasil se dio la coincidencia de que en él se encontrase Carlos Gardel, que era amigo de muchos de los profesores de la Orquesta Estable. Algunos de ellos lo convencieron para que se encontrara con el famoso italiano. Así lo hizo y una vez que Caruso lo escuchó cantar un tango, una zamba y una cueca, el italiano, le comentó: “Si usted hubiera estudiado seriamente, sería el mejor barítono del mundo”. Con el tiempo, efectivamente, Carlos Gardel eligió como maestro al prestigioso profesor Alberto Castellanos, quien le cambió el registro de tenor a barítono. Por eso, en los primeros discos de Gardel, se percibe su canto en un tono más agudo; mientras que en los últimos se lo escucha más cómodo en el registro apropiado.

      Su voz fue evolucionando, ajustando su dicción a los cambios de los sistemas de grabaciones acústicas. El maestro Eduardo Bonessi, quien fue profesor de canto de Gardel dijo hacia 1963: Era de una calidad extraordinaria y de un timbre maravilloso para el tango. Tenía un registro de barítono brillante y jamás desafinaba. En cuanto a su tesitura, su extensión alcanzaba a «dos octavos», que manejaba a plena satisfacción. Es una buena extensión para un cantor popular. Gardel poseía un gran temperamento ―expresivo al máximo― y estaba dotado naturalmente de un instrumento en la garganta. Un instrumento que luego perfeccionó y supo conservar.

      Era un hombre conocedor de su valor, que no derrochaba su voz como muchos suponen. Tenía una laringe completamente sana y esa era una de las razones por las cuales le resultaba fácil pasar de los graves a los agudos y viceversa… Era estudioso y responsable. Sabíase único en el género y cuidaba su voz. Consciente de que la voz se cuida también mediante el cuidado físico, hacía gimnasia diariamente durante una hora o más… De acuerdo a la voz que tenía y al modo de emplearla, si Gardel hubiese llegado a vivir cien años, hubiera seguido cantando igual. Eduardo Bonessi.

      En su libro Carlos Gardel: a la luz de la Historia,​ de la Fundación BankBoston, Montevideo, 2000, el arquitecto Nelson Bayardo, que durante más de treinta años investigó la vida y los orígenes de Carlos Gardel, describe la voz de del cantante resaltando cinco aspectos:

      carlos gardel partitura

      «Carlos Gardel, el corazón del tango», por el fileteador Martiniano Arce (2006).

      • Un innato sentido musical que le permitió aventurarse sin esfuerzo en más de 30 géneros musicales diferentes.
      • Un excepcional timbre vocal, que ha cambiado de tenor, al principio, para acercarse al barítono al final de su vida, incluso cuando cantaba la segunda parte en dúo con Razzano, lo que le permitió, más tarde, grabar los inolvidables duetos con él mismo, en los que cantaba ambas partes.
      • Una versatilidad sin igual, gracias a la cual podía realizar una amplia gama de estilos, ya sea dramático o cómico, sentimental o irónico, evocador o grotescos. Cada vez, como solía decir Ayestarán (musicólogo uruguayo) parecido pero diferente al mismo tiempo. El vivaz Gardel en «Te fuiste, ¡jajá!» no se parece a la angustiada voz de «Mi noche triste», dos canciones con idéntico contenido, un hombre abandonado por su esposa, pero en el que el sonido de las dos primeras palabras (Te fuiste y Percanta) es suficiente para que el oyente adivine de inmediato el tono alegre o triste de cada canción.
      • Una creatividad sin límites, que fue capaz de utilizar sencillamente porque él fue quien había inventado el tango-canción, y por lo tanto fue la única persona que pudo determinar su estilo. Utilizó varios trucos, incluyendo pequeños discursos antes o durante sus canciones, risas, toses e interrupciones; el clásico «jmmm» que esparció a lo largo de sus canciones; silencios espontáneos que rozaban lo dramático, como en Anoche a las dos (una canción que, si no fuera Gardel quien la cantara, sería inmediatamente olvidable) en la que adapta su voz para cantar las líneas del marido traicionado, de un cliente atento en un café y un oficial de policía: algo que, sin su original manera de realizar un arte que le era tan propia, habría bordeado el ridículo, como otras piezas que a veces simplemente no eran suficientemente buenas para el cantante.
      • Por último, su expresividad, que, según el famoso Rubén Pesce, lo convirtió en un «actor tanguero». Casto Canel dijo al respecto que «él se escapa de las mecánicas reglas del metro, llegando más temprano, tarde o fuera de tiempo, acortando o alargando una frase, a veces puede ser oído un riguroso refinamiento, o un poderoso y sofocante silencio; con una palabra puede crear una experiencia musical más profunda que la alcanzable por puros patrones aritméticos».

      Con respecto a la «N» que Gardel pronunciaba como una «R», el cantante argentino Edmundo Rivero, en un libro dedicado exclusivamente al análisis técnico de su canto, dio la siguiente explicación: Se debe a que la «n» es consonante líquida y puede perder su sonoridad al encontrarse con una consonante sorda [una «t» o una «p»], de las que obstruyen el pasaje del aire (son oclusivas), y al pronunciar anterior a ellas la «n», esta se apoya en la nariz y ―sabiendo que en el canto elevado esto es antiestético y reprochado― Gardel enviaba el aire directamente hacia adelante (siempre apoyada).

      Día de Carlos Gardel

      gardel partitura

      Placa conmemorativa por el centenario de su nacimiento, en México, D. F, 1990 (A pesar de que nunca visitó México).

      El 24 de junio de 2005, por decisión conjunta de las autoridades municipales de las ciudades de Buenos Aires, Montevideo, Tacuarembó y Medellín (donde falleció), se recordaron los 70 años de la muerte de Carlos Gardel. Por primera vez, se obvió la conmemoración del llamado Día de Carlos Gardel en la ciudad francesa de Toulouse.

      Día del Tango

      En Argentina se celebra cada 11 de diciembre el Día del Tango, debido a que ese día nacieron Julio de Caro y Carlos Gardel.

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      Film & TV Music

      Le vent, le cri (guitar) Le Professionnel Ennio Morricone

      Le vent, le cri (guitar) Le Professionnel OST – Ennio Morricone (with sheet music)

      Ennio Morricone, film composer, 1928-2020 – Find his great sheet music in our Library

      Ennio Morricone, (10 November 1928 – 6 July 2020) was an Italian composer, orchestrator, conductor, and trumpet player who wrote music in a wide range of styles. Morricone composed over 400 scores for cinema and television, as well as over 100 classical works.

      ennio morricone sheet music pdf spartiti

      His score to The Good, the Bad and the Ugly (1966) is considered one of the most influential soundtracks in history and was inducted into the Grammy Hall of Fame.

      His filmography includes over 70 award-winning films, all Sergio Leone‘s films since A Fistful of Dollars, all Giuseppe Tornatore‘s films since Cinema Paradiso, The Battle of Algiers, Dario Argento‘s Animal Trilogy, 1900, Exorcist II, Days of Heaven, several major films in French cinema, in particular the comedy trilogy La Cage aux Folles I, II, III and Le Professionnel, as well as The Thing, Once Upon a Time in America, The Mission, The Untouchables, Mission to Mars, Bugsy, Disclosure, In the Line of Fire, Bulworth, Ripley’s Game and The Hateful Eight.

      Morricone is widely regarded as one of the greatest and most influential film composers of all time. Ennio Morricone had a proud sense of his status. “Maestro” was how the Italian composer, who has died aged 91, insisted on being addressed. “From my point of view, a question of this kind could be treated as an insult,” he told an interviewer who had the temerity to ask if he collaborated with musicians.

      “To my knowledge, neither Beethoven nor Bach nor Stravinsky would invite anybody to work on the arrangements of their pieces.” Hard-working and prolific, he wrote symphonies, concertos, an opera, pop songs, experimental music, and soundtracks for television and theatre. But he will be remembered for his more than 450 film scores, done in a huge range of styles and to the highest levels of musicianship.

      The maestro liked to conduct and orchestrate his own work. “The best film music is music that you can hear,” he said in 1995. “Music you can’t hear, no matter how good, is bad film music.” He found his ideal director in Sergio Leone, a former schoolmate in Rome in the 1930s.

      The succession of westerns that they made together began in 1964 with A Fistful of Dollars. Its hallucinatory rendering of the cowboy genre owed as much to the music as Leone’s potent visuals. Morricone’s eccentric, inventive scores were like an audio mirage amid the arid landscapes and silent men of the West.

      There were twangy electric guitars, clip-clopping rhythms, martial drumming, mariachi horns, whistling, hearty male chorals, ethereal female harmonising, soft-focus ballads and the sounds of whips cracking and pistols firing. Its tone was deadly serious, a virile matter of life and death, yet also laced with a playful, even kitsch, sense of levity.

      The result reached beyond genre towards “pure film”, a uniquely cinematic fusion of sound and image. A Fistful of Dollars was based on — or ripped off, as a subsequent lawsuit claimed — a Japanese film, Akira Kurosawa’s Yojimbo. But Morricone and Leone’s union of music and image had a distinctively Italian character.

      Their films were dubbed “spaghetti westerns”, a description Morricone detested (“Because it’s not a food!”). He preferred “Italian westerns”. Ennio Morricone influenced many artists from other styles and genres, including Danger Mouse, Dire Straits, Muse, Metallica, Radiohead and Hans Zimmer.

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      Download the best movie sheet music from our Sheet Music Library (PDF).


      Morricone sold well over 70 million records worldwide during his career that spanned over seven decades, including 6.5 million albums and singles in France, over three million in the United States and more than two million albums in South Korea.

      In 1971, the composer received his first golden record (disco d’oro) for the sale of 1,000,000 records in Italy and a “Targa d’Oro” for the worldwide sales of 22 million.

      Film & TV Music

      Disney – Baby Mine Jim Brickman, piano (sheet music)

      Table of Contents
      • Disney Baby Mine Jim Brickman, piano with sheet music
      • Lyrics:
      • Jim Brickman
      • Disney -Baby Mine

      Disney Baby Mine Jim Brickman, piano with sheet music available from our Library.

      Disney sheet music


      Baby mine, don’t you cry
      Baby mine, dry your eyes
      Rest your head close to my heart
      Never to part

      Baby of mine
      Little one, when you play
      Don’t you mind what they say
      Let those eyes sparkle and shine
      Never a tear

      Baby of mine
      From your head to your toes (Baby mine)
      You’re so sweet, goodness knows (Baby mine)
      You are so precious to me
      Cute as can be

      Baby of mine
      Baby mine
      Baby mine

      Jim Brickman

      James Merrill Brickman (born November 20, 1961) is an American pop songwriter, pianist and radio host. Brickman has earned two Grammy nominations for his albums Peace (2003) for Best Instrumental, and Faith (2009) for Best New Age Album. He won a Canadian Country Music Award, a Dove Award presented by the Gospel Music Association, and was twice named Songwriter of the Year by SESAC. Billboard lists 22 of his albums reaching No. 1 on the New Age chart, and 16 of his songs reaching Top 10 on the Adult Contemporary chart. Four of his albums were certified Gold by the Recording Industry Association of America (RIAA).

      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 collaborated with Lady A, Johnny Mathis, Kenny Rogers, Michael W. Smith, Leslie Odom Jr., Martina McBride, Megan Hilty, Donny Osmond, Delta Goodrem, Olivia Newton-John, Carly Simon, John Oates, Five for Fighting, Michael Bolton, Gerald Levert, Jane Krakowski, Richie McDonald and many others.

      Disney -Baby Mine

      “Baby Mine”
      Song by Betty Noyes
      GenreLullaby, ballad
      Composer(s)Frank Churchill
      Lyricist(s)Ned Washington

      Baby Mine” is a song from the 1941 Disney animated feature Dumbo. The music is by Frank Churchill, with lyrics by Ned Washington. Betty Noyes recorded the vocals for the original film version. In the film, Dumbo’s mother, Mrs. Jumbo, an elephant locked in a circus wagon, cradles her baby Dumbo with her trunk while this lullaby is sung. It is also the last appearance of the circus animals.

      The song was nominated for an Academy Award for Best Original Song at the 14th Academy Awards in 1942. It is also listed on AFI‘s “100 Years… 100 Songs” as one of America’s greatest film songs.

      Early popular recordings include those by Les Brown, Glenn Miller, and Jane Froman, followed by several others; and decades later, the song regained attention Bette Midler covered the song on the 1988 Beaches soundtrack. In the same year, Bonnie Raitt and Was (Not Was) recorded the song for the album, Stay Awake: Various Interpretations of Music from Vintage Disney Films.

      Alison Krauss recorded the song for the 1996 album The Best of Country Sing the Best of Disney. Her version peaked at number 82 on the RPM Country Tracks chart in Canada. Krauss’ cover earned her a Grammy nomination for Best Female Country Vocal Performance in 1997.

      Soap actress Kassie DePaiva recorded the song with Jim Brickman for The Disney Songbook.

      An instrumental version by violinist Jenny Oaks Baker was included in the Grammy-nominated album Wish Upon a Star, released in 2011.

      There have been numerous Disney compilation releases of the original, as well as an Original Cast recording from the musical, Disney’s On the Record: A New Musical Review

      The song is used recurrently in the AMC television drama Halt and Catch Fire as a lullaby that Donna Clark (Kerry Bishé) sings to her daughters.

      Sharon Rooney and Arcade Fire covered the song for the 2019 live-action remake of Dumbo, while Norwegian singer Aurora performed the song for the trailer.

      The song also features in the 2019 Netflix sci-fi drama I Am Mother, sung by Clara Rugaard and later by Nina Ferro.

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      The 100 most inspiring musicians of all Time

      Michael Jackson: the 100 most inspiring musicians of all time

      Table of Contents

        Michael Jackson: the 100 most inspiring musicians of all time

        American singer, songwriter, and dancer Michael Joseph Jackson (b. Aug. 29, 1958, Gary, Ind., U.S.—d. June 25, 2009, Los Angeles, Calif., U.S.) was the most popular entertainer in the world in the early and mid-1980s. Reared in Gary, Ind., in one of the most acclaimed musical families of the rock era, Michael Jackson was the youngest and most talented of five brothers whom his father, Joseph, shaped into a dazzling group of child stars known as the Jackson 5.

        In addition to Michael, the members of the Jackson 5 (all also born in Gary) were Jackie Jackson (b. May 4, 1951), Tito Jackson (b. Oct. 15, 1953), Jermaine Jackson (b. Dec. 11, 1954), and Marlon Jackson (b. March 12, 1957).

        michael jackson free sheet music & scores pdf

        Motown Records president Berry Gordy, Jr., was impressed with the group and signed them in 1969. Sporting the loudest fashions, the largest Afros, the snappiest choreography, and a youthful, soulful exuberance, the Jackson 5 became an immediate success. They scored four consecutive
        number one pop hits with “I Want You Back,” “ABC,” “The Love You Save,” and “I’ll Be There” in 1970.

        With Michael Jackson topping the pop charts as a solo performer with “Ben” and reaching number two with “Rockin’ Robin,” and with the Jackson 5 producing trendsetting dance tracks such as Dancing Machine, the family’s string of hits for Motown lasted through 1975. As Michael matured, his voice changed, family tensions arose, and a contract standoff ensued.

        The group finally broke with Motown, moving to Epic Records as the Jacksons. Jermaine remained at Motown as a solo performer and was replaced by his youngest brother, Randy Jackson (b. Oct. 29, 1961). As a recording act, the Jacksons enjoyed consistent success through 1984, and their sister Janet Jackson embarked on her own singing career in the early 1980s; however, Michael’s solo albums took on an entirely different status.

        Michael Jackson’s first solo effort for Epic, Off the Wall (1979), exceeded all expectations and was the best-selling album of the year. Produced by industry veteran Quincy Jones, Off the Wall yielded the massive international hit singles “Don’t Stop ’til You Get Enough” and“ Rock with You,” both of which showcased Michael’s energetic style and capitalized on the contemporary disco dance fad.

        Three years later he returned with another collaboration with Jones, Thriller, a tour de force that featured an array of guest stars and elevated him to a worldwide superstar.

        Thriller sold more than 40 million copies, captured a slew of awards, including a record-setting eight Grammys, and became the best-selling album in history. The first single on the album, “The Girl Is Mine,” an easygoing duet with Paul McCartney, went to number one on the rhythm and blues charts and number two on the pop charts in the fall of 1982. The follow-up single, “Billie Jean,” an electrifying dance track and the vehicle for Jackson’s trademark “moonwalk” dance, topped the pop charts, as did “Beat It,” which featured a raucous solo from famed guitarist Eddie Van Halen.

        Michael Jackson: the 100 most inspiring musicians of all time sheet music

        Moreover, “Beat It” helped break down the artificial barriers between black and white artists on the radio and in the emerging format of music videos on television. By 1984 Jackson was renowned worldwide as the “King of Pop.” His much anticipated Victory reunion tour with his brothers was one of the most popular concert events of 1984.

        Further, solo albums—Bad (1987) and Dangerous (1991)—solidified Jackson’s dominance of pop music, and in 2001 he was inducted into the Rock and Roll Hall of Fame; the Jackson 5 were inducted in 1997.

        Michael Jackson’s eccentric, secluded lifestyle grew increasingly controversial in the early 1990s. His reputation was seriously damaged in 1993 when he was accused of child molestation by a 13-year-old boy he had befriended; a civil suit was settled out of court. In 1994 Jackson secretly married Lisa Marie Presley, daughter of Elvis Presley, but their marriage lasted less than two years. Shortly thereafter Jackson married again, this marriage producing children, though it, too, ended in divorce. While he remained an international celebrity, his image in the United States was slow to recover, and it suffered even more in November 2003 when he was arrested and charged with child molestation.

        After a 14-week trial that became something of a media circus, Jackson was acquitted in 2005.

        The singer was preparing a comeback tour in 2009 when he died suddenly of cardiac arrest. A widespread outpouring of grief culminated in a memorial celebration of his life on July 7, 2009 at the Staples Center in Los Angeles.

        Michael Jackson’s sheet music download.

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        The Best Of Michael Jackson – Michael Jackson Greatest Hits

        Michael Jackson – Thriller (Official Video)

        Michael Jackson – Remember The Time (Official Video)

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        The 100 most inspiring musicians of all Time

        Nusrat Fateh Ali Khan: the 100 most inspiring musicians of all time

        Table of Contents

          Nusrat Fateh Ali Khan: the 100 most inspiring musicians of all time

          Pakistani singer Nusrat Fateh Ali Khan (b. Oct. 13, 1948, Lyallpur [now Faisalabad] Pak.—d. Aug. 16, 1997, London, Eng.) is considered one of the greatest performers of qawwali, a Sufi Muslim devotional music characterized by simple melodies, forceful rhythms, and energetic improvisations that encourage a state of euphoria in the listener.

          Nusrat’s father, Ustad Fateh Ali Khan, and two of his uncles, Ustad Mubarik Ali Khan and Ustad Salamat Ali Khan, were famous qawwals (practitioners of qawwali) who sang in the classical form.

          Although Nusrat began to display a penchant for music and a particular aptitude for singing before he had reached age 10, he did not begin to devote himself to the qawwali tradition until he sang at his father’s funeral in 1964. Two years later he gave his first public performance as a qawwal, singing with his uncles, with whom he continued to perform until 1971, when Ustad Mubarik died.

          Nusrat Fateh Ali Khan free sheet music & scores pdf

          Qawwali originated in 12th-century Persia. The lyrics are based on medieval Sufi poems that often use images of romantic love to express deep religious faith. The traditionally male qawwal, who knows these poems by heart, unites phrases and passages from different poems to create a new expression.

          Qawwali performances are typically held in shrines and are marked by passionate shouting and dancing. Qawwali is similar in spirit to
          American gospel music.

          Following his father’s death, Nusrat continued to study the recordings of his father and uncles, using them as a springboard from which to develop his own style. Within just a few years he had established himself throughout Pakistan as the outstanding qawwal of his generation, singing powerfully and expressively in a very high register (a family trademark), with remarkable stamina and melodic creativity.

          In concert, he was usually accompanied by tabla (a pair of single-headed drums played with the hands), harmoniums (or reed organs; small keyboard instruments with a foot-operated bellows), and backing vocals.
          As he matured as a performer, Nusrat made various adjustments to his style, such as increasing the tempo, as a means to elevate qawwali to a new level of aesthetic and spiritual resonance with contemporary—and international— audiences.

          In 1985, he gave a concert in the United Kingdom, and word of his talent began to spread. He was soon performing regularly throughout Europe. He first toured the United States in 1989, and in the 1990s he contributed to the sound tracks of several popular films. Nusrat also worked with a number of internationally recognized figures in popular and art music.

          Popular musician Peter Gabriel promoted Nusrat on the world music circuit through his WOMAD (World of Music, Arts and Dance) festivals and through recordings on his Real World Records label.

          Meanwhile, composer Michael Brook helped increase the accessibility of Nusrat’s vocalizations by recasting them within Western rhythmic frameworks. Nusrat believed in the universality of the musical message and
          strove throughout his career to make his music transcend religious and cultural boundaries. When he died suddenly in 1997, Nusrat was mourned by fans across the globe.

          Hits Of “Nusrat Fateh Ali Khan Songs” Golden Collection


          1. Afreen Afreen
          2. Piya Re Piya Re
          3. Koi Jane Koi Na Jane
          4. Main Aur Meri Awargi
          5. Ishq Da Rutba
          6. Wada Karke Sajjan Naheen Aaya
          7. Teri Yaad
          8. Mera Gham Aur Mera Khushi
          9. Ab Kya Soche
          10. Tenu Takda
          11. Aap Se Milke
          12. Yeh Sham Phir Nahin Aayegi
          13. Mera Haath Mein Tera Haath Hai
          14. Sanu Bhul
          15. Jis Dil Wich Sajnan Was

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          Film & TV Music

          EBB TIDE (with sheet music download)

          “Ebb Tide” is a popular song, written in 1953 by the lyricist Carl Sigman and composer Robert Maxwell. The song’s build up is to illustrate the ocean waves coming in and out to and from the shores, due to the ebb tides. The first three notes are identical to the first three notes of the Erroll Garner song “Misty” (1954). This song is a key part of the original soundtrack of the film Sweet Bird of Youth

          EBB TIDE (with sheet music download)

          Download this sheet music at the Sheet Music Library (pdf)

          sheet music

          (From Wikipedia, the free encyclopedia. Read the full article here)


          First the tide rushes in
          Plants a kiss on the shore
          Then rolls out to sea
          And the sea is very still once more
          So I rush to your side
          Like the oncoming tide
          With one burning thought
          Will your arms open wide
          At last we’re face to face
          And as we kiss through an embrace
          I can tell, I, I can feel
          You are love, you are real
          Really mine in the rain
          In the dark, in the sun
          Like the tide at its ebb
          I’m at peace in the web of your arms
          Ebb tide

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          Top 25 icons in Jazz history

          Louis Armstrong “Hotter Than That” – The Top 25 icons in Jazz history

          Table of Contents
          • Louis Armstrong “Hotter Than That” – The Top 25 pearls in Jazz history
            • To understand jazz, everything starts with Louis Armstrong.
            • Download Louis Armstrong sheet music transcription from our Library.

          Louis Armstrong “Hotter Than That” – The Top 25 pearls in Jazz history

          To understand jazz, everything starts with Louis Armstrong.

          The first great soloist in jazz, born in New Orleans, he brought wonderful rhythmic freedom and melodic invention to what had been a rather stilted ragtimey style of music. His great recordings with his Hot Five and Hot Seven from 1920s Chicago form a magnificent body of work and this track has everything – Louis’ virtuoso cornet, his wordless “Scat” singing and a fabulous improvised duet with guitarist Lonnie Johnson.

          Louis Armstrong sheet music pdf

          Born in abject poverty in New Orleans, Armstrong became the first great soloist in jazz, and the musician who was the single most powerful influence on the music during its first half century. Abandoned by his father, he was brought up by his mother and grandmother in some of the poorest areas of his home town, and he apparently never know his real birth date, preferring to adopt Independence Day 1900 as his birthday. As a boy, he worked on a coal cart for the Jewish Karnofsky family, working in the Red Light District of New Orleans and developing a musical talent that grew further during his time in the Colored Waifs home, where he spent some of his teenage years. he played cornet in the Waifs’ band, and by his late teens had acquired a reputation as a fine brass player with plenty of ideas and natural stamina.

          His big break came when he was summoned to Chicago in 1922 to join King Oliver’s band, with whom he made his first records. His reputation grew when he travelled to New York in 1924 to become a star soloist with Fletcher Henderson.

          Back in Chicago, he made a remarkable series of discs with a studio band known as his Hot Five and Hot Seven, in which he developed his bravura solo style, and launched the concept of the improvising jazz soloist. His brilliant, inventive playing became a symbol of the energy and freedom of the ‘jazz age’ – the riotous pre-Depression America of the Roaring Twenties. By the end of the 1920s, having moved to New York in 1929 to perform in the revue Hot Chocolates, Armstrong became a major star. As a singer, trumpeter and entertainer, he fronted his own big band throughout the 1930s and well into the 1940s, making a string of influential discs that featured his high, powerful trumpeting and his gravelly singing.

          He toured to Europe in 1933-4 , leading a big band of local musicians. In 1947 he scaled down to a small group – the All Stars – which he led for the rest of his life, playing an up-to-date brand of the Dixieland jazz of his home town. He also appeared in numerous films, and made several popular vocal records, including Hello Dolly and What a Wonderful World, which introduced him to a vast audience unaware of his musical innovations in the 1920s. When he died he was universally regarded as the father figure of jazz, and loved by the people he had met and encouraged all over the world as ‘Ambassador Satch’, playing a relentless series of tours and concerts well into his old age.

          Download Louis Armstrong sheet music transcription from our Library.

          The influence of Armstrong on the development of jazz is virtually immeasurable. His irrepressible personality both as a performer and as a public figure was so strong that to some it sometimes overshadowed his contributions as a musician and singer.

          As a virtuoso trumpet player, Armstrong had a unique tone and an extraordinary talent for melodic improvisation. Through his playing, the trumpet emerged as a solo instrument in jazz and is used widely today. Additionally, jazz itself was transformed from a collectively improvised folk music to a soloist’s serious art form largely through his influence. He was a masterful accompanist and ensemble player in addition to his extraordinary skills as a soloist. With his innovations, he raised the bar musically for all who came after him.

          Though Armstrong is widely recognized as a pioneer of scat singing, Ethel Waters precedes his scatting on record in the 1930s according to Gary Giddins and others. Billie Holiday and Frank Sinatra are just two singers who were greatly indebted to him. Holiday said that she always wanted Bessie Smith’s ‘big’ sound and Armstrong’s feeling in her singing. Even special musicians like Duke Ellington have praised Armstrong through strong testimonials. Duke Ellington, DownBeat magazine in 1971, said, “If anybody was a master, it was Louis Armstrong. He was and will continue to be the embodiment of jazz.” In 1950, Bing Crosby, the most successful vocalist of the first half of the 20th century, said, “He is the beginning and the end of music in America.”

          louis armstrong sheet music pdf

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