Jazz Music

Red Garland Trio: A Garland of Red (1956)

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Red Garland Trio: A Garland of Red (1956)

Recorded: On 17 August 1956
The Personnel:

Red Garland – Piano Paul Chambers – Bass Art Taylor – Drums

Track List:

01 A Foggy Day 0:00 02 My Romance 4:51 03 What Is This Thing Called Love? 11:42 04 “Makin’ Whoopee 16:36 05 September in the Rain 20:51 06 Little Girl Blue 25:40 07 Constellation 30.47 08 Blue Red 34:19

Pianist Red Garland’s first leadership recording came during Miles Davis’s May 1956 session for an album that would be called Workin’. Under pressure to record enough material for two albums to meet half his remaining obligation to Prestige Records, Davis let Garland record one of the tracks in the trio format—Ahmad Jamal’s Ahmad’s Blues.

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The result was so spectacular that Prestige decided to record Garland on an entire album in August ’56. The album was A Garland of Red, with Paul Chambers on bass and Art Taylor on drums. Davis, of course, would record another two albums’ worth of material in October and then move on to Columbia Records, releasing ‘Round About Midnight in 1957. Garland remained at Prestige, backing John Coltrane and other musicians. He also began a trio career as the label’s answer to Jamal.

A Garland of Red, Garland’s debut album, was recorded on Aug. 17, 1956 and featured up-tempo standards, ballads and blues—exhibiting virtually all of Garland’s stylistic qualities. On the faster material, such as What Is This Thing Called Love, Garland’s right hand ran the keyboard conversation as his left hand punctuated with chords. This conversation would typically result in a dense flock of block chords, followed by a solo by Chambers with Taylor keeping time with an pronounced hi-hat beat. This was true on September in the Rain and A Foggy Day.

Garland was a gifted interpreter of his peers, and we hear shades of Count Basie’s blues and respect for space, Erroll Garner’s lushness and Nat King Cole’s centipede-like attack on the keyboard and stirred around in one stew.

Walking-tempo tunes such as Makin’ Whoopee gave Garland a chance to switch off between the chords leading and his right hand. There also is a humid ballad here—Little Girl Blue—which was taken extra slow, letting Garland ply his rich, wide chord voicings. Even Garland’s bop chops are evident on Constellation while Blue Red is a pure blues.

As Ira Gitler (above) wrote in the album’s liner notes: “Bud Powell it seems made the greatest impression on Red’s playing as you will hear, but even in that segment of his style it is far from a copy of Bud (and who could really copy the Powell of the Forties) but rather a personal expression of that idiom. Nat King Cole is there in the touch and is paralleled in the ability to choose phrases and not just notes. Red feels that instead of just running a lot of notes, choosing certain phrases is inherently tastier and leads to greater swing.”

Ira’s last sentence says it all. Red Garland died in 1984.

Red Garland

William McKinleyRedGarland, Jr. (May 13, 1923 – April 23, 1984) was an American modern jazz pianist. Known for his work as a bandleader and during the 1950s with Miles Davis, Garland helped popularize the block chord style of piano playing.

Garland’s trademark block chord technique, a commonly borrowed maneuver in jazz piano today, was unique and differed from the methods of earlier block chord pioneers such as George Shearing and Milt Buckner. Garland’s block chords were constructed of three notes in the right hand and four in the left hand, with the right hand one octave above the left.

Garland’s left hand played four-note chords that simultaneously beat out the same exact rhythm as the right-hand melody played. But unlike George Shearing’s block chord method, Garland’s left-hand chords did not change positions or inversions until the next chord change occurred. It is also worth noting that Garland’s four-note left-hand chord voicings frequently left out the roots of the chords, a chord style later associated with pianist Bill Evans.

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Jazz Music

Chet Baker & Paul Bley – Diane (1985)

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Chet Baker & Paul Bley – Diane (1985)

chet baker free sheet music & scores pdf


A1 If I Should Lose You 0:00​ A2 You Go to My Head 7:16​ A3 How Deep Is the Ocean? 14:18​ A4 Pent-Up House 19:37​ B1 Everytime We Say Goodbye 23:34​ B2 Diane 31:29​ B3 Skidadidlin’ 37:02​ B4 Little Girl Blue 41:16

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Diane (album)

Diane is an album by trumpeter Chet Baker and pianist Paul Bley recorded in Denmark in 1985 and released on the SteepleChase label.

Critical reception

The authors of The Penguin Guide to Jazz Recordings describe Bley as an ideal duo partner for Baker, and say that only a “murky sound” prevented the album receiving a four-star rating.


Chet Baker

From Wikipedia, the free encyclopedia Jump to navigationJump to search Not to be confused with Chet Faker.

Chesney HenryChetBaker Jr. (December 23, 1929 – May 13, 1988) was an American jazz trumpeter and vocalist. He is known for major innovations within the cool jazz subgenre, leading him to be nicknamed the “prince of cool”.

Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals (Chet Baker Sings, It Could Happen to You). Jazz historian Dave Gelly described the promise of Baker’s early career as “James Dean, Sinatra, and Bix, rolled into one.” His well-publicized drug habit also drove his notoriety and fame. Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and 1980s.

Paul Bley

Paul Bley, CM (November 10, 1932 – January 3, 2016) was a jazz pianist known for his contributions to the free jazz movement of the 1960s as well as his innovations and influence on trio playing and his early live performance on the Moog and Arp audio synthesizers. His music has been described by Ben Ratliff of the New York Times as “deeply original and aesthetically aggressive”. Bley’s prolific output includes influential recordings from the 1950s through to his solo piano recordings of the 2000s.

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Reviving old repertoire

Table of Contents
  • Reviving old repertoire
  • Most Famous Classical Piano Pieces
    • Track List
  • Download the best sheet music from our Library.

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Reviving old repertoire

Revisiting music one learnt last month, last year, or 20 years ago can be a wonderful experience, like reacquainting oneself with an old friend, while also making a new friendship. Picking up a piece again after a long absence can be extremely satisfying and often offers new insights into that work, revealing layers and subtleties one may not have spotted the first time round.

One also recalls all the reasons what one liked about the repertoire and why one selected it in the first place. It can be surprisingly easy to bring previously-learnt work back into one’s fingers, and this ease is a good sign – that one learnt the work carefully in the first place.

Concert pianists will have many pieces “in the fingers” which can be downloaded and made ready for performance in a matter of days. This may include 20 or more piano concertos (we recently interviewed a concert pianist who told me he had “around 50” piano concertos in the fingers), most of Beethoven’s 32 Sonatas, many of Bach’s 48 Preludes and Fugues, plus other pieces which are ‘standard’ repertoire: Mozart and Schubert sonatas, works by Chopin, Schumann, Brahms and Liszt, much of Debussy and Ravel etc., and popular ‘standards’ from the 20th-century repertoire.

Careful learning and preparation mean that repertoire can be learnt, revived and kept going simultaneously, and deep, thoughtful practise is essential for ensuring repertoire remains in the fingers (and brain) even if one is not practising it every day.

A work can never truly be considered “finished”. Often a satisfying performance of a work to which one has devoted many hours of study can be said to put the work ‘to bed’, but only for the time being. The same is true of a recording: rather than a be-all-and-end-all record, maybe a recording is better regarded as a snapshot of one’s musical and creative life at that moment.

This process of “continuing” means that one performance informs another, and all one’s practising and playing is connected in one continuous stream of music-making.

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Some thoughts on reviving repertoire:

• Recall what you liked about the pieces in the first place. Rekindle your affection for the pieces when you revisit them

• Don’t play through pieces at full tilt. Take time to play slowly and carefully, as if learning the piece for the first time.

• Trust your practise skills. Be alert to issues as they arise and don’t allow frustration to creep in.

• Look for new interpretative and expressive possibilities within the music. Try new interpretative angles and meaningful gestures.

• Don’t hurry to bring the piece up to full tempo too quickly. Take time to practise slowly and carefully.

• Schedule performance opportunities: there’s nothing better to motivate practise than a concert date or two in the diary.

Most Famous Classical Piano Pieces

Track List

01. Beethoven – Piano Sonata No. 14 “Moonlight Sonata”: I. Adagio sostenuto 00:00​ 02. Chopin – Nocturnes, Op. 9: No. 2 in E-flat major 04:53​ 03. Debussy – Suite Bergamasque, L. 75: III. Clair de Lune 09:11​ 04. Satie – Trois Gymnopédies: No. 1, Lent et doloreux 13:55​ 05. Grieg – Lyric Pieces, Book I, Op. 12: No. 1, Arietta 16:43​ 06. Chopin – Nocturne in C sharp minor, Op. Posth. 18:13​ 07. Schumann – Kinderszenen, Op. 15: No. 7, Träumerei (Live Recording) 22:01​ 08. Bach/Gonoud – Ave Maria 25:01​ 09. Beethoven – Bagatelle No. 25 in A Minor, WoO 59 “Für Elise” 26:44​ 10. Mozart – Piano Sonata No. 11 in A Major, K 331: III. Alla Turca 30:30

11. Chopin – Preludes, Op. 28: No. 15 “Raindrop” 34:11​ 12. Debussy – 2 Arabesques: No. 1, Andantino con moto 39:30​ 13. Liszt – Consolations, S. 172: No. 3, Lento placido 43:38​ 14. Liszt/Schumann – Liebeslied “Widmung”, S. 566 47:39​ 15. Mozart/Liszt – Ave Verum Corpus, S. 44 51:14​ 16. Debussy – Rêverie, L. 68 53:34​ 17. Rachmaninoff – Rhapsody on a Theme by Paganini: Var. XVIII 57:47​ 18. Tchaikovsky – The Seasons, Op. 37a: No. 6, June. Barcarolle (Live Recording) 01:00:45​ 19. Schubert – Four Impromptus, Op. 90, D. 899: No. 3 in G-Flat Major (Live Recording) 01:06:01

20. Mendelssohn – Songs Without Words, Book 1, Op. 19b: No. 1, Andante con moto 01:12:10​ 21. Schubert/Liszt – Ständchen (Serenade), S. 560, No. 7 01:16:01​ 22. Tchaikovsky – 18 Morceaux, Op. 72: No. 5 in D Major, Andante mosso (Méditation) 01:21:44​ 23. Scriabin – Étude in C-Sharp Minor, Op. 2 No. 1 (Live Recording) 01:27:24​ 24. Rachmaninoff – Six Moments Musicaux, Op. 16: No. 3 in B Minor, Andante cantabile 01:30:34​ 25. Chopin – Fantaisie-Impromptu in C-Sharp Minor, Op. 66 01:35:55​ 26. Beethoven – 2 Rondos, Op. 51: No. 1 in C Major, Moderato e grazioso 01:40:03​ 27. Liszt – Liebesträume, S. 541: No. 3 in A-Flat Major 01:46:28​ 28. Debussy – Préludes, Premier livre, L. 117: No. 8, La fille aux cheveux de lin 01:52:05​ 29. Ravel – Pavane pour une infante défunte in G Major, M. 19 01:54:58

30. Chopin – Piano Sonata No. 2 in B-Flat Minor, Op. 35: III. Marche funèbre. Lento 02:01:59​ Tracks: 1-3, 6, 11-14, 16, 17, performed by Luke Faulkner Tracks: 5, 7, 18-24, performed by Vadim Chaimovich Tracks: 4, 8, 15, 25, 26, performed by Carlo Balzaretti Tracks: 9, 10, 27-30, performed by Giovanni Umberto Battel

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LIVE Music Concerts

Return To Forever LIVE (2008) Chick Corea, Stanley Clarke, Al Di Meola, Lenny White

Return To Forever LIVE (2008) Chick Corea, Stanley Clarke, Al Di Meola, Lenny White
return to forever 
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● Tracklist: 00:00:00​​ – Intro 00:00:34​​ – Vulcan Worlds 00:13:40​​ – The Sorceress 00:24:45​​ – Space Circus Pt. 1 00:29:49​​ – Al’s solo 00:37:25​​ – Chick’s solo 00:46:10​​ – The Romantic Warrior / Stanley’s solo 01:05:13​​ – Duel Of The Jester And The Tyrant

● Personnel (Return To Forever): Chick Corea – keyboard Stanley Clarke – bass Al Di Meola – guitar Lenny White – drums

Film Music

Comptine D’Un Autre Été L’Aprés Midi – Yann Tiersen avec partition (sheet music)

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Comptine D’Un Autre Été L’Aprés Midi – Yann Tiersen avec partition (sheet music)

Comptine d’un autre été : L’Après-midi est une célèbre composition de musique classique–musique de film pour piano solo, de l’auteur-compositeur-interprète Yann Tiersen. Musique du film Le Fabuleux Destin d’Amélie Poulain, de Jean-Pierre Jeunet en 2001, elle fait partie de l’album Le Fabuleux Destin d’Amélie Poulain (bande originale), César de la meilleure musique originale 2002, vendu avec succès à plus d’un million d’exemplaires dans le monde.

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Jazz & Rock Play Along

Jazz Play Along: Laurie by Bill Evans (with sheet music)

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Jazz Play Along: Laurie by Bill Evans (with sheet music)

bill evans sheet music play along
J.S. Bach

Bach-Friedman “Wachet auf, ruft uns die Stimme” BWV 645

Bach-Friedman “Wachet auf, ruft uns die Stimme” BWV 645 with sheet music

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bach-friedman sheet music pdf
The 100 most inspiring musicians of all Time

Pyotr Ilyich Tchaikovsky: The 100 most inspiring musicians of all time

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Pyotr Ilyich Tchaikovsky: The 100 most inspiring musicians of all time

Pyotr Ilyich Tchaikovsky (b. April 25 [May 7, New Style], 1840, Votkinsk, Russia—d. Oct. 25 [Nov. 6], 1893, St. Petersburg) is largely regarded as the
most popular Russian composer of all time. His music has always had great appeal for the general public in virtue of its tuneful, open-hearted melodies, impressive harmonies, and colourful, picturesque orchestration, all of which evoke a profound emotional response.

His oeuvre includes 7 symphonies, 11 operas, 3 ballets, 5 suites, 3 piano concertos, a violin concerto, 11 overtures (strictly speaking, 3 overtures and 8 single movement programmatic orchestral works), 4 cantatas, 20 choral works, 3 string quartets, a string sextet, and more than 100 songs and piano pieces.

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Early Years

Tchaikovsky was the second of six surviving children of Ilya Tchaikovsky, a manager of the Kamsko-Votkinsk metal works, and Alexandra Assier, a descendant of French émigrés. He manifested a clear interest in music from childhood, and his earliest musical impressions came from an orchestrina in the family home. At age four he made his first recorded attempt at composition, a song written with his younger sister Alexandra.

In 1845, he began taking piano lessons with a local tutor, through which he
became familiar with Frédéric Chopin’s mazurkas and the piano pieces of Friedrich Kalkbrenner. In 1850 Tchaikovsky entered the prestigious Imperial School of Jurisprudence in St. Petersburg, a boarding institution for young boys, where he spent nine years. He proved a diligent and successful student who was popular among his peers. At the same time Tchaikovsky formed in this all-male environment intense emotional ties with several of his schoolmates.

In 1854 his mother fell victim to cholera and died. During the boy’s last years at the school, Tchaikovsky’s father invited the professional teacher Rudolph Kündinger to give him piano lessons. At age 17 Tchaikovsky came under the influence of the Italian singing instructor Luigi Piccioli, and thereafter Tchaikovsky developed a lifelong passion for Italian music. Wolfgang Amadeus Mozart’s Don Giovanni proved another revelation that deeply affected his musical taste. In the summer of 1861 he traveled outside Russia for the first time, visiting Germany, France, and England, and in October of that year he began attending music classes offered by the recently founded Russian Musical Society. When St. Petersburg Conservatory opened the following fall, Tchaikovsky was among its first students.

Tchaikovsky spent nearly three years at St. Petersburg Conservatory, studying harmony and counterpoint with Nikolay Zaremba and composition and instrumentation with Anton Rubinstein. Among his earliest orchestral works was an overture entitled The Storm (composed 1864), a mature attempt at dramatic program music. The first public performance of any of his works took place in August 1865, when Johann Strauss the Younger conducted Tchaikovsky’s Characteristic Dances at a concert in Pavlovsk, near St. Petersburg.

Middle Years

After graduating in December 1865, Tchaikovsky moved to Moscow to teach music theory at the Russian Musical Society, soon thereafter renamed the Moscow Conservatory. He found teaching difficult, but his friendship with the director, Nikolay Rubinstein, helped make it bearable. Within five years Tchaikovsky had produced his first symphony, Symphony No. 1 in G Minor (composed 1866; Winter Daydreams), and his first opera, The Voyevoda (1868).

In 1868 Tchaikovsky met a Belgian mezzo-soprano named Désirée Artôt, with whom he fleetingly contemplated a marriage, but their engagement ended in failure. he opera The Voyevoda was well received, even by the The Five, an influential group of nationalistic Russian composers who never appreciated the cosmopolitanism of Tchaikovsky’s music. In 1869 Tchaikovsky completed Romeo and Juliet, an overture in which he subtly adapted sonata form to mirror the dramatic structure of Shakespeare’s play. Nikolay Rubinstein conducted a successful performance of this work the following year, and it became the first of Tchaikovsky’s compositions eventually to enter the standard international classical repertoire.

In March 1871 the audience at Moscow’s Hall of Nobility witnessed the successful performance of Tchaikovsky’s String Quartet No. 1, and in April 1872 he finished another opera, The Oprichnik. While spending the summer at his sister’s estate in Ukraine, he began to work on his Symphony No. 2 in C Minor, later dubbed The Little Russian, which
he completed later that year. The Oprichnik was first performed at the Maryinsky Theatre in St. Petersburg in April 1874. His next opera, Vakula the Smith (1874), later revised as Cherevichki (1885; The Little Shoes), was similarly judged. In his early operas the young composer experienced
difficulty in striking a balance between creative fervour and his ability to assess critically the work in progress.

However, his instrumental works began to earn him his reputation,
and, at the end of 1874, Tchaikovsky wrote his Piano Concerto No. 1 in B-flat Minor, a work destined for fame despite its initial rejection by Rubinstein. The concerto premiered successfully in Boston in October 1875, with Hans von Bülow as the soloist. During the summer of 1875,
Tchaikovsky composed Symphony No. 3 in D Major, which gained almost immediate acclaim in Russia.

Years of Fame

At the very end of 1875, Tchaikovsky left Russia to travel in Europe. He was powerfully impressed by a performance of Georges Bizet’s Carmen at the Opéra-Comique in Paris; in contrast, the production of Richard Wagner’s Ring cycle, which he attended in Bayreuth, Germany, during
the summer of 1876, left him cold. In November 1876 he put the final touches on his symphonic fantasia Francesca da Rimini, a work with which he felt particularly pleased.

Earlier that year, Tchaikovsky had completed the composition of Swan ake, which was the first in his famed trilogy of ballets. The ballet’s premiere took place on Feb. 20, 1877, but it was not a success owing to poor staging and choreography.

The growing popularity of Tchaikovsky’s music both within and outside of Russia inevitably resulted in public interest in him and his personal life. Although homosexuality was officially illegal in Russia, the authorities tolerated it among the upper classes. But social and familial pressures,
as well as his discomfort with the fact that his younger brother Modest was exhibiting the same sexual tendencies, led to Tchaikovsky’s hasty decision in the summer of 1877 to marry Antonina Milyukova, a young and naive music student who had declared her love for him. Tchaikovsky’s
homosexuality, combined with an almost complete lack of compatibility between the couple, resulted in matrimonial disaster—within weeks he fled abroad, never again to live with his wife. This experience forced Tchaikovsky to recognize that he could not find respectability through
social conventions and that his sexual orientation could not be changed.

The year 1876 saw the beginning of the extraordinary relationship that developed between Tchaikovsky and Nadezhda von Meck, the widow of a wealthy railroad tycoon; it became an important component of their lives
for the next 14 years. A great admirer of his work, she chose to become his patroness and eventually arranged for him a regular monthly allowance; this enabled him in 1878 to resign from the conservatory and devote his efforts to writing music. Thereafter he could afford to spend the winters in Europe and return to Russia each summer.

The period after Tchaikovsky’s departure from Moscow proved creatively very productive. Early in 1878 he finished several of his most famous compositions—the opera Eugene Onegin, the Symphony No. 4 in F Minor, and the Violin Concerto in D Major. From December 1878 to August 1879 he worked on the opera The Maid of Orleans, which was not
particularly well received. Over the next 10 years Tchaikovsky produced his operas Mazepa (1883; based on Aleksandr Pushkin’s Poltava) and The Enchantress (1887), as well as the masterly symphonies Manfred (1885) and Symphony No. 5 in E Minor (1888). His other major achievements of this period include Serenade for Strings in C Major, Opus 48 (1880),
Capriccio italien (1880), and the 1812 Overture (1880).

Final Years

At the beginning of 1885, tired of his peregrinations, Tchaikovsky settled down in a rented country house near Klin, outside of Moscow. There he adopted a regular daily routine that included reading, walking in the forest,
composing in the mornings and the afternoons, and playing piano duets with friends in the evenings.

At the January 1887 premiere of his opera Cherevichki, he finally overcame his longstanding fear of conducting. Moreover, at the end of December he embarked upon his first European concert tour as a conductor, which included Leipzig, Berlin, Prague, Hamburg, Paris, and London. He met with great success and made a second tour in 1889. Between October 1888 and August 1889 he composed his second ballet, The Sleeping Beauty. During the winter of 1890, while staying in Florence, he concentrated on his third Pushkin opera, The Queen of Spades, which was written in just 44 days and is considered one of his finest.

Later that year Tchaikovsky was informed by Nadezhda von Meck that she was close to ruin and could not continue his allowance. This was followed by the cessation of their correspondence, a circumstance that caused Tchaikovsky considerable anguish.

In the spring of 1891 Tchaikovsky was invited to visitthe United States on the occasion of the inauguration of Carnegie Hall in New York City. He conducted before enthusiastic audiences in New York, Baltimore, and
Philadelphia. Upon his return to Russia, he completed his last two compositions for the stage—the one-act opera Iolanta (1891) and a two-act ballet Nutcracker (1892).

In February 1893 he began working on his Symphony No. 6 in B Minor (Pathétique), which was destined to become his most celebrated masterpiece. He dedicated it to his nephew Vladimir (Bob) Davydov, who in Tchaikovsky’s late years became increasingly an object of his passionate love. His world stature was confirmed by his triumphant European and American tours and his acceptance in June 1893 of an honorary doctorate from the University of Cambridge.

On October 16 Tchaikovsky conducted his new symphony’s premiere in St. Petersburg. The mixed reaction of the audience, however, did not affect the composer’s belief that the symphony belonged among his best work. On October 21 he suddenly became ill and was diagnosed with cholera, an epidemic that was sweeping through St. Petersburg. Despite all medical efforts to save him, he died four days later from complications arising from the disease.

Wild rumors circulated among his contemporaries concerning his possible suicide, which were revived in the late 20th century by some of his biographers, but these allegations cannot be supported by documentary evidence.

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The Best of Pyotr Ilyich Tchaikovsky

1. Piano Concerto No. 1, Op. 23 – Allegro non troppo 00:00​ 2. Eugene Onegin: Act III. Polonaise 08:56​ 3. Symphony No. 6 in B Minor “Pathetique”: Adagio – Allegro non troppo 14:00​ 4. Violin Concerto, Op. 35: II. Andante

33:15​ 5. Slavonic March (Marche Slave), Op. 31 40:06​ 6. 1812 Overture 50:50​ 7. The Nutcracker: Miniature Ouverture 1:06:46​ 8. The Nutcracker: Dance of the Sugar Plum Fairy 1:10:13​ 9. The Nutcracker: Valzer dei Fiori 1:12:04​ 10. The Sleeping Beauty Op. 66: Ouverture

1:18:43​ 11. Swan Lake: Dance of the Swans 1:21:31​ 12. Swan Lake: Waltz in A Major 1:30:17​ 13. Swan Lake: Scene from Act 2 1:37:51

Top 25 icons in Jazz history

Bill Evans: The Top 25 icons in Jazz history

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Bill Evans: The Top 25 icons in Jazz history

More than 25 years after his death, Bill Evans remains one of the most important pianists in modern jazz. His introspective lyricism and subtle Western classical flourishes have echoes in a legion of fellow keyboard players. As a leader and composer, he introduced an influential, highly interactive approach to trio and small-group performances.

Born William John Evans on Aug. 16, 1929, in Plainfield, N.J., Evans was fascinated by music from an early age — as a toddler, he would eavesdrop on his older brother’s piano lessons. By the time he was 6, he was taking lessons himself and displaying an uncanny ability to read and absorb music.

Evans followed his brother to Southeastern Louisiana University. He left college for a brief stint in the Army, and in 1955 enrolled at New York City’s Mannes College of Music. The New York jazz scene allowed him to hone his craft and mingle with pianists such as Bud Powell, Horace Silver, Lennie Tristano, and George Shearing. Evans soon landed a recording deal with Riverside Records, and his debut album (New Jazz Conceptions) came out in September 1956.

More than 25 years after his death, Bill Evans remains one of the most important pianists in modern jazz. His introspective lyricism and subtle Western classical flourishes have echoes in a legion of fellow keyboard players. As a leader and composer, he introduced an influential, highly interactive approach to trio and small-group performances.

Born William John Evans on Aug. 16, 1929, in Plainfield, N.J., Evans was fascinated by music from an early age — as a toddler, he would eavesdrop on his older brother’s piano lessons. By the time he was 6, he was taking lessons himself and displaying an uncanny ability to read and absorb music.

Evans followed his brother to Southeastern Louisiana University. He left college for a brief stint in the Army, and in 1955 enrolled at New York City’s Mannes College of Music. The New York jazz scene allowed him to hone his craft and mingle with pianists such as Bud Powell, Horace Silver, Lennie Tristano, and George Shearing. Evans soon landed a recording deal with Riverside Records, and his debut album (New Jazz Conceptions) came out in September 1956.

The Best of Bill Evans


00:00:00​ Minority 00:05:22​ Young and Foolish 00:11:12​ Lucky to Be Me 00:14:49​ Night and Day 00:22:02​ Epilogue, Pt. 1 00:22:41​ Tenderly 00:26:12​ Peace Piece 00:32:47​ What Is There to Stay?

00:37:37​ Oleo 00:41:43​ Epilogue, Pt. 2 00:42:19​ Come Rain, or Come Shine 00:45:40​ Autumn Leaves 00:51:05​ Witchcraft

00:55:39​ When I Fall in Love 01:00:35​ Peri’s Scope 01:03:49​ What Is This Thing Called Love? 01:08:25​ Spring Is Here

01:13:31​ Some Day My Prince Will Come 01:18:25​ Blue in Green

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Bill Evans Biography, Life, Interesting Facts

Bill Evans was born on August 16th, 1929. He earned his fame for being a brilliant jazz pianist. During his youth years, he got his first piano training from his mother. He later went on to school in Southeastern Louisiana University before joining Mannes School of Music. At the school of music, his area of focus was in composition.

He migrated to the New York City in 1955 and collaborated with George Russell, a bandleader. Three years later, he joined a group of six members headed by Miles Davis. The band group recorded Kind of Blue which was released in 1959. This album went on to become a commercial success while being given credits for leading best-selling jazz album ever. 

Early Life

Bill Evans was born on August 16th, 1929. His place of birth was in Plainfield, New Jersey. His parents were Mary and Harry Evans. Evans faced a difficult time when he was young as his father was an alcohol addict. Aside from this, he practiced gambling and frequently abused Evans’s mother. Evans had an elder brother named Harry. 

Evans began his piano lessons when he was only six years old. Together with his brother, Harry, they took piano lessons from Helen Leland. When he was aged 7, he took lessons for other musical instruments including violin, piccolo, and flute. These instruments would later have a profound impact on his expertise on the keyboard. With the experience that he had gained by the time he was 13 years old, Evans had the confidence to play in big events such as weddings. His pay rate was only $1 for an hour of play at this period. 


After completing his studies at Southeastern Louisiana University in 1950, Bill Evans continued with his performances in different concerts. Around this period, he also worked with one of the bands headed by Herbie Field. He went on a tour with them before later receiving a draft notice to join the army. He served in the army for three years. After this service, he was back to the city of New York where he could easily pursue his music career. He also joined Mannes College of Music where he studied musical composition for three semesters. At this time, he performed in small gigs including weddings and dances.

With time, he landed on better opportunities which gave him the advantage of showcasing his talent. 

During the 1950s, Evans partnered with a band headed by Miles Davis which consisted of six members. After playing for the band for some time, he joined the group in 1958. A year later, Kind Kind of Blue was recorded. This album recording was released in August the same year. It was a commercial success with the credits of being the best-selling album. 

Personal Life

Bill Evans tied the knot with Nenette Zazzara in 1973. Their marriage lasted for seven years and ended in 1980. The couple had a son named Evan. 


Bill Evans passed away on September 15th, 1980. He was aged 51 at the time of his death. 

Bach meets The Beatles

Bach meets the Beatles: “Nowhere Man”

Bach meets The Beatles: “Nowhere Man”. Variations in the style of J.S. Bach. John Bayless, piano.

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Bach meets the Beatles sheet music pdf


Throughout the history of music improvisation has played an important role as a tool for the per­former to exhibit not only virtuosic technique but also a wide range of personal emotions. Taking a basic melody and spontaneously reworking, embellishing and developing it into something new and excitingly different is a rare talent that is not often seen today apart from the contemporary and jazz fields. What was once a necessary skill for a young artist has faded from importance in today’s musical world.

However, on this new recording we find John Bayless -scholar, composer, virtuoso … improviser. His creations draw on elements from many different styles of music and fuse them into something uniquely his. Whether he is playing Bach. Lenon and McCartney or Bayless you will find an imagination at work that is fresh and singular. The Art of Improvisation is back, and it may never be the same again!


Imagine! What if these two revolutionary musical forces of all time were to meet face to face? What would happen? Would they talk about music? Play their latest compositions? Discuss philosophy? Since this association is impossible presented here are some of the most popular songs of The Beatles improvised as Johann Sebastian Bach might have.

The four pillars of Bach’s world were the Fugue. Canon, Chorale, and Chorale Prelude. All of these improvisations were built on these four forms. In most instances the lyrics helped define which of the four forms would b the most illuminating to the melody of each song. Then came the decision of which kind of mood should be portrayed. The use of counterpoint interacting between melody and harmony was essential in creating the ap­propriate mood to support each melody.

As the opening selection. “Imagine” is improvised in the style of a toccata, using melodic and rhythmic imitations to set the spirit of these inter­pretations.

The three-note melodic phrase in “All You Need ls Love” provides the chorale in this chorale prelude selection. The continuous sixteenth note accompaniment flows along while from time to time the Chorale melody appears. The strong melodic line in “Hey Jude” required an equally strong accompanying figure. The style and nobili­ty of the French Overtures helped inspire this im­provisation. The purity of the long, sorrowful line in “Because” reminded me of the slow movements of Bach’s concerti. The ensemble and voicing of this three-part counterpoint, plus the unexpected harmonic progressions, show the sophistication of The Beatles’ music.

The lyrics of “Let It Be” expressed a certain peace and tranquility. The beautiful, melodic line in “The Long And Winding Rod” reminded me of the strength and passion found in the chorales. The development of this improvisation uses the form of a Chorale Prelude, ending with another version of the previously improvised chorale.”Penny Lane” ends the first side in a lively, spirited “gigue.”

Side II opens with one of the most popular songs ever. ”Yesterday.” The opening phrases of the Brandenburg Concerto #J, seemed fitting and right for the introduction to this improvisation.

With Michelle l sought a dramatic contrast from the original smooth, romantic version of the song. The lyrics once again helped to set the mood and define the form of Nowhere Man. The undulating and brooding accompaniment gives support to this beautifully simple and pure melody. The drive and Hf e in the melodic line of And I Love Her gave me the essential idea for this improvisation.

An improvised canon, using a nine-note phrase from “Golden Slumbers” serves as the introduc­tion to this improvisation. In Bach’s music the repetition of a single note gives a certain kind of strength and direction to the phrase.

In the improvisation on Something the com bi na­tion of the harmonic strength, with the repeated notes in the melody, dictated a strict and grander interpreation.

The long lyrical and soaring melody in Here, There and Everywhere gave me a chance to set this improvisation in a simple and pastoral way. I find this one of the most complete and satisfying songs by The Beatles.

During the evolution and recording of this album, I felt a journey had been taken … through the music of the 60s and 70s, and through the life of one of the most thrilling and vibrant composers of all time. The finality and completeness of the Aria from the Goldberg Variations with the
humility of Imagine brought me a sense of fulfillment and Joy!

John Bayless

John Bayless was born and raised in Texas though his musical roots extend to New York, specifically Broadway, the home of the great theatrical composers George Gershwin. Cole Porter and Richard Rodgers, whom Bayless plays and loves. Bayless is also a trained classical pianist and composer, and a graduate of the Julliard School.

In 1980, he made his Carnegie Hall debut, performing his own piano concerto with the Or­chestra of New York. This led to future commis­sions from the Newport Music Festival and the University of Maryland Piano Competition.

In 1983, Bayless received his master’s degree from New York University’s prestigious program in musical theatre. Bayless’s first musical, Grand Duchy, was given a staged reading at New York’s Playwrights Horizon and will go into production in early 1985. Bayless has also recently been asked by London’s Royal Academy of Music to create a study program in improvisation.

Mr. Bayless has recently recorded two digital albums for Pro Arte, the other entitled Happy Birthday, Bach features improvisations on the
theme ‘Happy Birthday’ in the style of J.S. Bach, Mozart, Chopin, Beethoven and several other composers.

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