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Libertango (Piano Solo) – Astor Piazzola

Libertango (Piano Solo) – Astor Piazzola with sheet music (partitura)

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Libertango is a composition by tango composer Astor Piazzolla, recorded and published in 1974 in Milan. The title is a portmanteau merging “Libertad” (Spanish for “liberty”) and “tango”, symbolizing Piazzolla’s break from classical tango to tango nuevo.
Astor Piazzolla recorded and published Libertango in 1974 in Milan, symbolizing his break from classical tango to tango nuevo (see below for recording details).

Cellist YoYo Ma played Libertango on his 1997 album Soul of the Tango: The Music of Astor Piazzolla.

It was featured by guitarist Al Di Meola in his 2000 album The Grande Passion.

In 2002 Libertango appeared on Australian/British classical crossover string quartet Bond second album “Shine”.

In 2017, it appeared on the collaborative live album by the Japanese jazz pianist Hiromi and the Colombian harpist Edmar Castaneda, recorded in Montreal.
Although Libertango was born as an instrumental piece, in 1990 Uruguayan poet Horacio Ferrer added lyrics in Spanish language based on the theme of freedom.

According to the performance database at All Music Guide, the composition has appeared on over 500 separate releases. Grace Jones’s song I’ve Seen That Face Before (Libertango) uses the same music, as does Jazz Mandolin Project’s song “Jungle Tango”, Guy Marchand’s song “Moi je suis tango” and Kati Kovács’s song Hívlak.

In 1997 Irish folk musician Sharon Shannon recorded a cover of Grace Jones’ I’ve Seen That Face Before (Libertango) for her third album, Each Little Thing. Featuring session vocals by Kirsty MacColl it also appeared in 2001 on The One and Only, a compilation album released after her death. Shannon re-released the recording as the title track of her 2005 compilation.

Cuban-American singer/composer Luisa Maria Güell added lyrics in the theme of the “Libertango” title and recorded it for her 2007 album Una. A more recent version in Spanish of Libertango lyrics belongs to the Argentinian singer, lyricist and composer Lilí Gardés, who describes the loneliness of city life. This version was approved by Edizione Cursi/Pagani SRL, and it was part of the show Zombitango.
In the Prince of Tennis anime series, Atobe Keigo and Sanada Genichirou attended a performance of this song. They used it later to set the beat for their Doubles match. In the fandom these characters are known as the “Tango Pair”.

Libertango was the backing music in the Tarot advert for Volvo’s S60 compact executive saloon.

The music was used in the Roman Polanski movie Frantic (1988), as well as in Jacques Rivette’s film Le Pont du Nord (1981).

Astor Piazzolla

Astor Pantaleón Piazzolla (March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed Nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles.

In 1992, American music critic Stephen Holden described Piazzolla as “the world’s foremost composer of Tango music”.

After leaving Troilo’s orchestra in the 1940s, Piazzolla led numerous ensembles beginning with the 1946 Orchestra, the 1955 Octeto Buenos Aires, the 1960 “First Quintet”, the 1971 Conjunto 9 (“Noneto”), the 1978 “Second Quintet” and the 1989 New Tango Sextet. As well as providing original compositions and arrangements, he was the director and bandoneon player in all of them. He also recorded the album Summit (Reunión Cumbre) with jazz baritone saxophonist Gerry Mulligan. His numerous compositions include orchestral work such as the Concierto para bandoneón, orquesta, cuerdas y percusión, Doble concierto para bandoneón y guitarra, Tres tangos sinfónicos and Concierto de Nácar para 9 tanguistas y orquesta, pieces for the solo classical guitar – the Cinco Piezas (1980), as well as song-form compositions that still today are well known by the general public in his country, including “Balada para un loco” (Ballad for a madman) and Adiós Nonino (dedicated to his father), which he recorded many times with different musicians and ensembles. Biographers estimate that Piazzolla wrote around 3,000 pieces and recorded around 500.

In 1984 he appeared with his Quinteto Tango Nuevo in West-Berlin, Germany and for television in Utrecht, Netherlands. In the summer of 1985 he performed at the Almeida Theatre in London for a week-long engagement. On September 6, 1987, his quintet gave a concert in New York’s Central Park, which was recorded and, in 1994, released in compact disc format as The Central Park Concert.

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John Lennon dies (8 December 1980)

John Lennon was shot and killed on this day at the entrance of the Dakota building, New York City, where he lived with his wife Yoko Ono. He was 40 years old.

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Lennon began 8 December 1980 with breakfast at 7.30am at La Fortuna’s, New York City. At 9am he visited a local barber shop where he had his hair cut into a 1950s-style quiff. At around 9.45am he returned to his home at the Dakota to give an interview to Dave Sholin, Laurie Kaye, Ron Hummel and Bert Keane for an RKO Radio Network show.

The interview lasted 90 minutes. In the early afternoon Rolling Stone photographer Annie Leibovitz arrived at the Lennons’ apartment for a photo session, which lasted from 2-3.30pm. One of the images, of a naked Lennon lying on a clothed Yoko Ono, was the last ever taken of the couple together.

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Lennon and Ono left the Dakota at 5pm with the RKO team. Before they entered their car, Lennon was stopped for several people seeking autographs, among them 25-year-old hospital worker Mark David Chapman. Lennon signed Chapman’s copy of Double Fantasy, after which he asked, “Is this all you want?” Chapman nodded in agreement. The encounter was photographed by Lennon fan Paul Goresh.

At the Record Plant Studio at 321 West 44th Street they mixed Ono’s song Walking On Thin Ice, which featured Lennon on lead guitar. During the evening session Lennon also telephoned his aunt Mimi in England, and record label owner David Geffen called by with the news that Double Fantasy had been certified gold in its first two weeks on release.

The recording session came to a close at 10.30pm. Lennon and Ono discussed going for a meal at Stage Deli, but decided to first return to the Dakota to say goodnight to five-year-old Sean Lennon. Their son was being minded by Helen Seaman, the aunt of their assistant Fred.

Although it was late on a December night, the outside temperature was unseasonably warm. Lennon and Ono decided to stop their limousine at 72nd Street and walk the remaining short distance, despite a secure courtyard being available to park in at the Dakota.

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Lennon walked a couple of paces behind Ono. As he approached the archway leading to the Dakota’s courtyard, Mark Chapman emerged from the shadows. The time was 10.52pm.

Chapman is said to have adopted a combat stance and fired five hollow-point rounds at Lennon from a Charter Arms .38 Special revolver. One bullet missed, passing over Lennon’s head and through a window of the Dakota building. Two struck Lennon in the left side of his back, and two others penetrated his left shoulder. At least one of these pierced his aorta.

Lennon staggered up six steps to the Dakota’s reception area and said “I’m shot,” before collapsing. The tapes from the earlier recording session, which Lennon had been holding, were scattered across the floor. The other witnesses to the shooting were an elevator operator, a New York taxi driver, and the passenger he had just dropped off.

Duty concierge Jay Hastings immediately triggered a police alarm before covering Lennon with his blue Dakota uniform and removing his glasses. Yoko Ono cradled Lennon’s head as he whispered “Help me”, with blood pouring from his mouth. Hastings attempted to reassure him, whispering, “It’s okay John, you’ll be all right.”

Outside the Dakota, doorman Jose Perdomo shook the gun from Chapman’s hand and kicked it out of reach. “Do you know what you’ve done?” he shouted, to which Chapman calmly replied, ‘Yes, I just shot John Lennon.” The gun came to rest in nearby bushes, close to Chapman’s autographed copy of Double Fantasy.

Chapman removed his coat and hat in preparation of the police arriving, and stood to the left of the Dakota archway on West 72nd Street. He began reading a copy of JD Salinger’s 1951 novel The Catcher In The Rye, inside which he had written: “To Holden Caulfield. From Holden Caulfield. This is my statement.”

John Lennon dies

Monday 8 December 1980

The first NYPD officers to arrive on the scene were Steve Spiro and Peter Cullen, who had been on patrol at Broadway and 72nd Street when the first calls about the shooting came through. Upon their arrival they drew their guns and shouted “Put your hands up” at the Dakota’s duty concierge Jay Hastings, who was kneeling by John Lennon and was covered in blood. “Not him,” Perdomo told them. “He works here. He’s the one,” he said, pointing to Mark Chapman.

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Spiro and Cullen forced Chapman against a wall of the Dakota building, searching him for concealed weapons. “Don’t hurt me, stay with me,” he asked the officers. The search revealed keys, the copy of The Catcher In The Rye, and a wallet containing $2,000 in cash. Spiro handcuffed Chapman, and Perdomo recovered the gun and handed it to his co-worker.

Fellow officers Bill Gamble and James Moran arrived and, seeing that the suspect was under control, rushed inside the Dakota. Against Yoko Ono’s wishes, Gamble turned over Lennon’s body to determine the extent of his injuries. “What is your name?” he asked. Although he struggled to reply, John eventually managed to say: “Lennon”.

Realising that his injuries were too severe to wait for an ambulance, Gamble and Moran carried Lennon to their car. Moran took Lennon legs and Gamble carried him by his underarms, and they placed him on the back seat. Gamble kneeled by his side as Moran drove at 50mph speeds to the nearest emergency hospital, St Luke’s Roosevelt on West 59th Street.

Gamble attempted to keep Lennon conscious by talking to him. “Are you sure you’re John Lennon?” he asked. “I am,” came the reply. “How do you feel?” “I’m in pain,” he is reported to have said.

Moran had contacted the hospital as he drove. Behind them was another police car, driven by Officer Anthony Palmer and containing an increasingly hysterical Ono.

Upon their arrival at the hospital a rolling stretcher was waiting. Medical director Dr Stephan Lynn took Lennon into the emergency room, while Ono called the Dakota to check on their son Sean’s safety. Lennon had no pulse and wasn’t breathing, but for 20 minutes Lynn and two other doctors opened his chest and attempted manual heart massage to try and restore circulation.

Despite the hospital’s attempts, including blood transfusions and surgery by highly-trained staff, they were unable to save him. Dr Lynn pronounced John Lennon dead on arrival in the emergency room at the Roosevelt Hospital at 11.07pm on 8 December 1980.

Lynn informed Ono at 11.15pm. “He never stood a chance,” he said. “Nothing we were able to do could revive your husband. We believe the first bullet killed him. It ripped through John’s chest causing irreparable damage to a major artery.” In a state of shock, Ono asked him: “Do you mean that he is sleeping?”

The cause of death was reported as hypovolemic shock, caused by the loss of more than 80% of blood volume. The hollow-point bullets used by Chapman expanded upon entering the body, causing irreparable damage to Lennon’s organs.

The news of Lennon’s death broke on WABC TV’s Monday Night Football. The producer, Bob Goodrich, told host Howard Cosell, who announced it on-air during a televised match between the New England Patriots and Miami Dolphins.

NBC announced the news during The Tonight Show Starring Johnny Carson; the show was interrupted by a news bulletin. On CBS Lennon’s death was reported by Walter Cronkite and reporters.

At the Record Plant Studio, producer Jack Douglas had continued work on Walking On Thin Ice. His wife informed him of Lennon’s death at 11.35pm. The news sent him into a state of shock, and he decided to wipe the tapes of studio banter between him and Lennon recorded that day. He has never revealed the precise nature of their conversations.

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John Lennon’s sheet music is availablie in our online Library.

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Jazz Music

McCoy Tyner – “Wave”

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Great Jazz pianist McCoy Tyner was born December 11, 1938, in Philadelphia, Pennsylvania, of parents with roots in North Carolina. Tyner attended Martha Washington Grade School and Sulzberger Jr. High School. Tyner, with the encouragement of his teacher Ms. Addison and his mother, Beatrice Stephenson Tyner, began taking beginning piano lessons from a neighbor, Mr. Habershaw. Later, a Mr. Beroni taught Tyner classical piano. Although inspired by the music of Art Tatum and Thelonius Monk, it was his neighborhood Philadelphia musicians that pushed Tyner’s musical development. He engaged in neighborhood jam sessions with Lee Morgan, Bobby Timmons and Reggie Workman. Tyner was hand picked by John Coltrane in 1956, while still a student at West Philadelphia High School. Around this same time, Tyner converted to Islam.

After high school, Tyner toured with Bennie Golson and Art Farmer, and can be heard on their hit record, Killer Joe and the album Meet The Jazztet. In 1960, he became a part of John Coltrane’s legendary quartet that included Elvin Jones and Jimmy Garrison. Later, the group included Eric Dolphy, Pharoah Sanders and others exploring themes of spirituality and African identity. Tyner can be heard on Africa Brass, A Love Supreme, My Favorite Things and Kulu Se’ Mama. He also recorded as a leader on Impulse! Records’ Inception, Night of Ballads, Blues, Live at Newport and several others.

McCoy Tyner -  "Wave" free sheet music & scores pdf

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Leaving Coltrane in 1965, Tyner played with a who’s who of jazz greats including: Joe Henderson, Freddie Hubbard, Gary Bartz, Ron Carter, Billy Cobham, Roy Haynes, Stanley Clarke, Sonny Rollins, and many others. He can be heard on a number of albums, including: The Real McCoy, 1967, Asante, 1970, Sahara, 1972, Trident, 1975, The Greeting, 1978, Inner Voices, 1990, and Infinity, 1995, displaying his variety and flexibility as a jazz musician. An innovator, Tyner performed with strings on 1976’s Fly With The Wind and with a big band on The Turning Point , 1991. With over eighty albums to his credit and five Grammy Awards, Tyner was nominated at the 45th Grammy Awards for Best Instrumental Jazz Recording for McCoy Tyner Plays John Coltrane: Live at the Village Vanguard, and in 2004, Tyner’s Illuminations won a Grammy for Best Jazz Album, Individual or Group. Like John Coltrane, Tyner strives to elevate his listeners’ consciousness.

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Tyner’s energetic style embraces African, Latin, Eastern and bebop rhythms, which he plays in bright clusters. His block chords, pentatonic scales and modal structures have earned him international recognition among the top jazz pianists of all time. Tyner is the recipient of numerous honors including the National Endowment of the Arts’ Jazz Master Award in 2002 and the 2003 Heroes Award from the Philadelphia Chapter of the Recording Academy. In 2005, Tyner received an honorary doctorate of music from Berklee College in Boston, Massachusetts.

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Tyner passed away on March 6, 2020.

“Wave,” by composer Antonio Carlos Jobim, is one of the all-time great tunes in the Bossa Nova style. Jobim and his musical peers created the Bossa Nova sound in Brazil during the late 1950s-early 1960s, and their influence can still be felt in pop music and jazz today.

The English lyrics were used on the February 11, 1969 recording by Frank Sinatra, on his 1970 album Sinatra & Company.[1] The English lyrics were also used by Johnny Mathis in his 1970 Close to You album. The English lyrics were also used by Sergio Mendes & Brasil ’66 (sung by Lani Hall with Mendes) on their second album, Equinox, in 1967.

The song was voted by the Brazilian edition of Rolling Stone to be the 73rd greatest Brazilian song.

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According to The Jazz Discography by Tom Lord, the song has been recorded nearly 500 times by jazz artists.

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Jazz Music

John Coltrane Quartet – “Lonnie’s Lament”

John Coltrane – sax McCoy Tyner – piano Elvin Jones – drums Jimmy Garrison – bass

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John Coltrane was born in a small North Carolina town on Sept. 23, 1926. His childhood was marked by tragedy: At age twelve, Coltrane’s father, grandparents, and aunt all died within a few months’ time, leaving his mother and cousin to raise him. John’s childhood also gave him his first musical experiences: In school, he took up the clarinet and alto horn, later switching to the saxophone. John moved to Philadelphia at the age of 17, playing his first professional gigs a few years later.

The specter of World War II loomed large in the mid-1940s, and in 1945 John enlisted in the Navy to avoid the draft he knew was coming. During his service, his musical talent secured him a place in a Navy base swing band, and it was during this service that he would record his first tracks.

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After his discharge, Coltrane moved back to Philadelphia and began playing in a band led by saxophonist Jimmy Heath, while studying jazz and music theory with guitarist Dennis Sandole. He remained in Philadelphia for about ten years, performing and studying. During this period, he would also transition to playing tenor saxophone full-time.

In the summer of 1955, Coltrane joined a brand-new quintet founded by trumpeter Miles Davis, who was already a jazz celebrity at the time. This quintet would record a famous set of four jazz albums in the space of one year, all under the name the ‘Miles Davis Quintet.’ The quartet of albums–titled Cookin‘, Steamin‘, Workin‘, and Relaxin‘–features some of Coltrane’s most famous early playing. His solo on ‘If I Were A Bell’ from Relaxin‘, recorded when Coltrane was just 30 years old, showcases his tremendous gift for melodic playing and his distinctive tenor sax sound.

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Shortly after recording with Miles, Coltrane released his debut as a bandleader: Blue Train, released in 1957 and featuring almost entirely original compositions. Some of Coltrane’s tunes from this album, including ‘Moment’s Notice‘ and ‘Lazy Bird,’ have entered the jazz repertoire and are often covered by jazz musicians today.

Blue Train demonstrated to the world Coltrane’s talent for composition, and he would go on to develop that talent in later projects. His most famous innovation is a strategy for harmonizing melodies that has come to be called the Coltrane matrix or Coltrane changes. The Coltrane matrix involves changing the harmonies underneath a melody by thirds, an unconventional motion that wasn’t commonly found in jazz or other Western music. Doing so gives the music an unstable, shifting key center and a distinctive sound.

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Find his sheet music transcriptions in our Library.

After a brief return to Miles Davis’ band for Birth of the Cool and Milestones, Coltrane moved back to his own projects in the late 1950s. 1960 saw the release of his monumental album Giant Steps, once again featuring original compositions. Many of the album’s tracks, including the title track, feature heavy use of the Coltrane matrix. One tune, ‘Countdown,’ is notable as a contrafact, a tune whose form and harmonic structure are borrowed from another song but with a new melody. Countdown is a contrafact of Miles Davis’s ‘Tune Up,’ replacing key moments in the harmony with Coltrane changes.

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Coltrane tried and failed to kick heroin in the summer of 1956, and in October, Davis fired him, though the trumpeter had relented and taken him back by the end of November. Early in 1957, Coltrane formally signed with Prestige as a solo artist, though he remained in the Davis band and also continued to record as a sideman for other labels. In April, Davis fired him again. This may have given him the impetus to finally kick his drug habit, and freed of the necessity of playing gigs with Davis, he began to record even more frequently. On May 31, 1957, he finally made his recording debut as a leader, putting together a pickup band consisting of trumpeter Johnny Splawn, baritone saxophonist Sahib Shihab, pianists Mal Waldron and Red Garland (on different tracks), bassist Paul Chambers, and drummer Al “Tootie” Heath. They cut an album Prestige simply titled Coltrane upon release in September 1957. (It has since been reissued under the title First Trane.)

John Coltrane is sometimes described as one of jazz’s most influential musicians, and certainly there are other artists whose playing is heavily indebted to him. Perhaps more to the point, Coltrane is influential by example, inspiring musicians to experiment, take chances, and devote themselves to their craft. The controversy about his work has never died down, but partially as a result, his name lives on and his recordings continue to remain available and to be reissued frequently.

John Coltrane wrote and recorded a considerable amount of material over the final two years of his life in which his work was described as avant-garde, steeped in poignant spirituality for some while spurned by others. In 1966 he recorded the last two albums to be released while he was alive — Kulu Se Mama and Meditations. The album Expression was finalized just days before his death. He died at only 40 years old from liver cancer on July 17, 1967, in Huntington, Long Island, New York, survived by his second wife and four children.

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A voracious reader noted for his gentleness, Coltrane had an immense impact on the music world. He revolutionized jazz with his innovative, demanding techniques while showing a deep reverence for sounds from other locales that included Africa, Latin America, the Far East and South Asia. Having received a 1981 Grammy posthumously for the live recording Bye Bye Blackbird, in 1992 Coltrane was given the Grammy Lifetime Achievement Award as well, with an array of unearthed recordings and reissues released in the years since his death. In 2007, the Pulitzer Prize Board also awarded the musician a special posthumous citation. Coltrane’s work continues to be an integral part of the sonic landscape and a major inspiration for newer generations of artists.

John Coltrane Quartet - "Lonnie's Lament" sheet music

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