Creating an Environment with Your Digital Photo Frame by U4D
Digital photo frames can help set the mood for nearly any location in your home. The right images and the right music can go a long way toward making you feel more relaxed, more energized, more productive or anything else you want. With a little time, you can set up one of these frames and use it to make your space your own. The best part about these frames is that they are inexpensive, and you can find a nice one for around $50. They are also easy to use, and it only takes a few minutes to set one up.
The Spa
The spa, also known as the bathroom, is where we retreat to relax and take a long hot shower or bath after a stressful day. It’s also the place where women retreat to pamper themselves a little. To use a frame in your spa, you should try loading some peaceful images, such as images of lakes or streams. Perhaps you like images of the forest or the beach. Whatever makes you feel relaxed should go on this frame. If your frame also plays music, you should try loading some soothing music or sounds onto the digital photo frame as well. For example, you can try some jazz music by a favorite artist, or you can load audio tracks that feature the sounds of rain or the ocean. Music that is listed as “yoga music” is often good for relaxing. If you do set up one of these frames in your spa, you should be sure to protect it from steam and water and set it as far away from the shower and sink as possible.
The Exercise Room
If you have an exercise room or if you simply have a treadmill set up in your spare bedroom, you should consider setting up a digital photo frame. With this frame, you can motivate yourself. Most frames will display images that you create on your computer, just so long as they are formatted correctly. You can create or download images that motivate you to keep going and to finish your workout. For example, you can load images onto your frame of other people working out or of motivational exercise related quotes.
The Home Office
The home office is another great place for motivational messages and calming images. For this frame, you should load it with images of things that relax you, such as peaceful images, as well as images that motivate you, like famous quotes. The home office is also a great place to display photos of your family. You can also add some low key music. This will help keep your office from getting too quiet, but it will not distract you.
Because of its versatility, it also makes a great and fairly inexpensive gift. You can even personalize the frame by loading it with photos before you give it to the recipient. Your digital photo frame is a great accessory and decoration no matter where you decide to display it.
About the Author
This article is about “Creating an Environment with Your Digital Photo Frame” and was written by Mark Anthony on behalf of Nix Digital Picture Frames & Digital Photo Frames.
David Benoit Beat Street WNAMM 2008 @ Roland
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Pepsi-Cola Digital Kitchen Timer $8.50 Pepsi Classic Kitchen Timer. A digital timer within a replica of a classic Pepsi bottle. Features LED readout and 3-programming buttons. Timer can be mounted on most surfaces or stand on its own. Fun to use, enhances any decor. 7 1/8″ tall… |
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Sousa to Satchmo: Wynton on the Jazz Band [VHS] $9.98 … |
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Swing, Swing, Swing! (Volume 2) [VHS] $14.95 … |
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The 7 Secrets Jazz Organ Workshop : Gospel and Bluesy Chord Construction and Performance for Hammond Organ and Digital Clones [VHS] $34.95 … |
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Zeus 003613 Digital Photo Frame Lamp (Silver) $28.99 This long lasting, super bright LED lamp has an adjustable neck and an LCD screen at base for viewing images. The 3.5-Inch hi-resolution digital photo screen has 320 x 240 resolution with slide show and step show views and holds over 1000 images. It can also be used with the digital clock and calendar feature as well. Compatible with: SD/MMC/MS. * 320×240 Resolution * Holds Over 1000 Images * Slid… |
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10.0 Megapixel 3-IN-1 Multi-functional Camera with 2.4 Tft LCD and MPEG4 Technology $144.99 10.0MP 3-in-1 Multi-Functional Camera with 2.4″ TFT LCD and MPEG4 Technology… |
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Resident Evil: Apocalypse $9.99 … |
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Victor/Victoria $19.98 A woman singer masquerades as a man impersonating a woman in Paris, circa 1934. This brings her success in her professional life but complicates her personal life.Genre: MusicalsRating: PGRelease Date: 4-JUN-2002Media Type: DVD… |
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The Threepenny Opera (The Criterion Collection) $23.09 The stage version of The Threepenny Opera caused a sensation in Berlin when it opened in 1928, and a movie version was quickly sold and shot. This 1931 film actually differs greatly from the stage production, yet it deserves its status as a classic of Weimar-era Germany (it was banned after the Nazis consolidated their power). Both were based on John Gay’s famous The Beggar’s Opera, but writer Ber… |
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Jazz Photo Jazz 3.2Mp Digital Camera Video Camera/still Camera … |
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$24.58 shipped–Aneca C-35 2GB Digital MP3 Player (White) $24.58 Music player supports normal. rock. pop. classical. jazz. heavy bass sound variety. Electronic documents. long text recording function. can not read the article copied to the mobile plate. the time to read. |
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”I wanna take you higher”: The stylistic development and cultural dissemination of post-psychedelic funk music. $49.99 A traditional history of rock music divides up the genre into chronologically discrete eras, the fifties, the sixties and the seventies. Due to its convoluted influence streams, black popular music, especially funk must be looked at differently. Following on from the narrowly defined funk of James Brown, the second-wave of funk groups such as Sly and the Family Stone and Funkadelic allied themselves to the late-sixties psychedelic rock movement. Essentially funk was black music and rock was white, and the pivotal figure that connected these two movements was Jimi Hendrix.;Contemporaneous soul albums were referencing jazz, which had by the early seventies, become wholly appropriated by white musicians. Funk became a tool for the re-appropriation of African and African American musical idioms. In doing so it set itself up as a parallel and an alternative to mainstream rock, a sort of black rock analogous to punk rock music’s relationship to mainstream rock a generation later. Indeed the parallels between funk and punk run deep. Funkadelic, during their brief spell in Detroit were part of the same underground scene as some of the founding figures of punk namely, Iggy Pop and the MC5. Funk gave voice to the expression of urban alienation felt by many African-Americans in the seventies, but it also, at first through the use of funk in blaxploitation films, became a symbol of vice, funk being the soundtrack to both seventies cop-dramas and seventies pornography.;Ultimately, funk was subsumed by the disco movement, a genre that it had helped create. Yet funk was to reappear again in the eighties as the instrumental basis for hip-hop. The cross-section of this time period most closely addressed in this dissertation is the early seventies, and in particular 1971, looking at two seminal funk albums from this year, There’s a Riot Goin’ On by Sly and the Family Stone and Maggot Brain by Funkadelic. Both these albums demonstrate how the influence of the white musical |
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”Just another one of God’s gifts”: Prince, African-American masculinity, and the sonic legacy of the eighties. $49.99 The popular recording artist Prince is known for his ability to fuse musical styles considered mutually exclusive on the basis of race—funk and new-wave, R&B and hard rock. Prince has also made a name for himself by moving between different identities—sexual savant, devout man of god, androgynous sprite—a strategy that fit the 1980s, an era of shifting identity politics. This dissertation expands on previous scholarly work, which has claimed Prince as a quintessentially “post-modern” figure, by showing how his music manifests a history of the struggle for African-American self-representation. As an artist well versed in American pop history and deeply engaged with the black church, Prince was bringing the liberatory strategies of African-American culture to bear even as he de-constructed gender and sexuality. This dissertation takes a fresh approach to the question of music and identity: by analyzing Prince’s music with an ear for particular genre references, I present a snapshot of racial politics, music, and American society during a time period that few scholars have yet addressed. Musical genre is the discursive arena in which popular musicians navigate identity and history, and in each of my chapters I have focused on how Prince manipulates genre references, taking instrumental idioms as the signifiers of genre and identity. My introduction considers Prince’s use of the guitar, a “white” rock instrument; chapter one deals with keyboard synthesizers, and how Prince blended R&B horn idioms with new-wave music; chapter two discusses the relationship between funk drumming and black identity, exploring Prince’s symphonic transformations of the funk and his ambivalence to hip-hop. Chapter three connects Prince’s vocal styles to gospel music and the cosmology of the black church; and chapter four details how Prince re-integrated horns into his music, engaging with jazz and R&B as a way to reclaim black musical history. In its blend of musicology, |
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”Just another one of God’s gifts”: Prince, African-American masculinity, and the sonic legacy of the eighties. $49.99 The popular recording artist Prince is known for his ability to fuse musical styles considered mutually exclusive on the basis of race—funk and new-wave, R&B and hard rock. Prince has also made a name for himself by moving between different identities—sexual savant, devout man of god, androgynous sprite—a strategy that fit the 1980s, an era of shifting identity politics. This dissertation expands on previous scholarly work, which has claimed Prince as a quintessentially “post-modern” figure, by showing how his music manifests a history of the struggle for African-American self-representation. As an artist well versed in American pop history and deeply engaged with the black church, Prince was bringing the liberatory strategies of African-American culture to bear even as he de-constructed gender and sexuality. This dissertation takes a fresh approach to the question of music and identity: by analyzing Prince’s music with an ear for particular genre references, I present a snapshot of racial politics, music, and American society during a time period that few scholars have yet addressed. Musical genre is the discursive arena in which popular musicians navigate identity and history, and in each of my chapters I have focused on how Prince manipulates genre references, taking instrumental idioms as the signifiers of genre and identity. My introduction considers Prince’s use of the guitar, a “white” rock instrument; chapter one deals with keyboard synthesizers, and how Prince blended R&B horn idioms with new-wave music; chapter two discusses the relationship between funk drumming and black identity, exploring Prince’s symphonic transformations of the funk and his ambivalence to hip-hop. Chapter three connects Prince’s vocal styles to gospel music and the cosmology of the black church; and chapter four details how Prince re-integrated horns into his music, engaging with jazz and R&B as a way to reclaim black musical history. In its blend of musicology, |
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”Lily Park” for symphony orchestra. $49.99 Composers have long been interested in authentic materials from their own national heritage. Many composers favored folk-based melodies and rhythms. Bela Bartok, for example, collected volumes of Hungarian folk and gypsy melodies throughout his life. Igor Stravinsky’s three ballets (Firebird, Petrushka, and The Rite of Spring) are also famous for their employment of folk melodies and primitive rhythms. American composers such as Charles Ives and Aaron Copland represented ‘Americana’ through the use of American pop music, jazz, and folk songs in their compositions. Much of the music of composers who emigrated to foreign countries represents strong implications of nationalism. These composers’ efforts to remember their origins, as well as nostalgia for their native culture, were expressed in their music. These qualities appear most interestingly in Asian composers such as Toru Takemitsu and Isang Yun. Despite the drastic difference between Asian and Western music, the two contrasting idioms are handled similarly by these two composers. They not only use non-Western musical materials such as folk melodies and rhythms, but also employ Asian titles, concepts, and traditional instruments to represent Asian inspiration in their music.;The composition Lily Park consists of three movements, entitled Wind Bell, Goblin Lights, and Rock of Ages . The three movements are based on my personal impressions of the cemetery Lily Park, located near Deagu, Korea, where all my grandparents are buried. In this composition, Western musical idioms are integrated with the composer’s Asian musical heritage. The concept of Lily Park , which is purely non-Western in origination, is realized by utilizing compositional techniques and concepts that have been developed by Western composers, such as tone color, tonality, pitch-class set theory, and serialism, with an ensemble that consists of Western instruments. These ideas are combined with Asian materials such as exotic scales, extended |
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”Soundtrack for the imagination”: The career and compositions of Wayne Shorter. $49.99 Wayne Shorter’s compositional style has helped to define many of the techniques in jazz writing since his career began in the late 1950s. In this thesis, I will explore a number of Shorter’s most innovative and historically important compositions and arrangements over the course of his career spanning from his time with Art Blakey’s Jazz Messengers, Miles Davis, Weather Report, and his own groups. These pieces will be analyzed melodically and harmonically as well as their structurally and texturally. Throughout each musical era of jazz over which Shorter’s career extended, each piece will illustrate several significant qualities in his writing including unorthodox harmonic changes, melodies that incorporate scales more common in improvisation, and structural variation. The later pieces discuss the aural effects of his critically panned music as the introduction of electronic instruments into jazz music and its subsequent blending of elements from popular styles greatly impact the sound and form, but not necessarily the complexity of the music. Most importantly, by including discussions of Shorter’s life, philosophy of music, and his inspirations for a number of the works presented, we can begin to understand the compositional process of a musician who even in his own circles exudes an air of an eccentric genius. While the music studied presents only a microcosm of his total output, the analysis of the selected pieces combined with the musical interpretation of the composer will establish Shorter’s place in the pantheon of jazz composers. |
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”Soundtrack for the imagination”: The career and compositions of Wayne Shorter. $49.99 Wayne Shorter’s compositional style has helped to define many of the techniques in jazz writing since his career began in the late 1950s. In this thesis, I will explore a number of Shorter’s most innovative and historically important compositions and arrangements over the course of his career spanning from his time with Art Blakey’s Jazz Messengers, Miles Davis, Weather Report, and his own groups. These pieces will be analyzed melodically and harmonically as well as their structurally and texturally. Throughout each musical era of jazz over which Shorter’s career extended, each piece will illustrate several significant qualities in his writing including unorthodox harmonic changes, melodies that incorporate scales more common in improvisation, and structural variation. The later pieces discuss the aural effects of his critically panned music as the introduction of electronic instruments into jazz music and its subsequent blending of elements from popular styles greatly impact the sound and form, but not necessarily the complexity of the music. Most importantly, by including discussions of Shorter’s life, philosophy of music, and his inspirations for a number of the works presented, we can begin to understand the compositional process of a musician who even in his own circles exudes an air of an eccentric genius. While the music studied presents only a microcosm of his total output, the analysis of the selected pieces combined with the musical interpretation of the composer will establish Shorter’s place in the pantheon of jazz composers. |
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1 Inch: ? Mile $15.98 The days when you could count on Ninja Tune to consistently deliver dark electronica, nu jazz, and weirded-out hip-hop seem to have come to an end, and good for them. Musical curve balls are always healthy, and the debut from this British duo curves all over the place. Andrew Phillips and Marcus O’Dair have been making off-kilter electro-pop together since 2008, and their sound is a wild and often claustrophobic mishmash of digital and analog sources: cheap-sounding keyboards, broken drum machines, samples taken from ancient shellac records, their own vocals, and other frankly unidentifiable sound sources all jostle each other for a place on the duo’s cramped soundstage. The results are frequently impressive and tend to grow on you with repeated listens, gradually giving up their multi-layered secrets. The aptly titled “Old Machines,” for example, puts piles of odd and creepy mechanical sounds at the top of the mix, nearly hiding its blissfully jaunty groove and straight-faced, laid-back vocals; “Meltwater,” for all its own sonic weirdness, turns out to be deeply hooky. “The Tin Man,” on the other hand, is operatically weird (are those Beijing opera samples?), while “Muppet” passes gradually from straight-up bouncy synth pop fun into frightening aural chaos. That kind of juxtaposition comes up over and over again on this complex and ultimately entrancing album. ~ Rick Anderson, Rovi |
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1958 Miles $51.99 1958 Miles is an album by American jazz musician Miles Davis, released in 1958 on Columbia Records. Recording sessions for the album took place on May 26, 1958 at Columbia’s 30th Street Studio and September 9, 1958 at the Plaza Hotel in New York City. 1958 Miles consists of three songs featured on the A-side of the LP album Jazz Track, which was released earlier in 1958, and three recordings from Davis’ live performance at the Plaza Hotel with his ensemble sextet. The recording date at 30th Street Studio served as the first documented session to feature pianist Bill Evans performing in Davis’ group. The sessions for the album in mid-1958, along with the Milestones sessions from earlier that year, were seen by many music writers as elemental in Miles Davis’ transition from bebop to the modal style of jazz and were viewed as precursors to his most well-known work, Kind of Blue. Following audio engineering and digital restoration by engineer Larry Keyes at Sony Music New York Studio, the album was reissued on compact disc in 1991 as part of Columbia’s Jazz Masterpieces Series. |
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20th Century Jazz Masters $14.98 Woody Herman & His Swingin Herd / Digital Video Disc (DVD) / 2003 |
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20th Century Jazz Masters $14.98 John Coltrane/Sonny Rollins/B.B. King / Digital Video Disc (DVD) / 2003 |
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50 Years in Music: Live at Montreux 1996 $14.98 The thing about Quincy Jones’ masterful approach to any musical genre he decides to dip into is that it is so professionally executed one can sit back in awe as well as be totally entertained and enthralled with the product. 50 Years in Music: Live at Montreux 1996 features a powerful orchestra that knows its place and allows guests like David Sanborn and Chaka Khan to be seen and heard in a new light. Sanborn is slow and steamy on “The Midnight Sun Will Never Set,” while Khan gets to convincingly sing “Miss Celie’s Blues” with a young Brody Buster on harmonica. “Q” conducts the Northern Illinois University Jazz Band under the direction of Ron Modell, and the slick 24-page booklet is essential reading to go along with this sublime listening and viewing experience. Dedicating a wonderful “Shiny Stockings” to Ella Fitzgerald, Patti Austin comes out with a silky-smooth voice, and the gigantic band suddenly draws back and sounds like it’s performing at an intimate little nightclub at 3 a.m. With prominent drums, light guitar and bass, and Jones bringing in other elements such as horns and piano, the ensemble is as perfect as can be imagined. Phil Collins is able to shed his superstardom and show what a really great voice he has, with an appealing low-key personality so different from how he is presented in the world of mainstream progressive rock. Austin and Khan duet on “Dirty Dozens” and their pairing is a total delight, as one would expect. This project is Grade A all the way around from performance to packaging, with a bonus track of a 12-minute “workshop” at Montreux, a classroom setting where Jones gives an intimate talk that holds up over repeated viewings, as does the majestic two-plus-hour concert, making this DVD package a real keeper. ~ Joe Viglione, Rovi |
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7 Inch Special Car DVD Player for Camry with GPS TV $337.8 For Toyota Camry OnlySpecifications:1.Optional Boot logo2.HD Digital LCD Screen(Pixel:800*480)3.Built-in independent image processing module,supports4.Unique 3D Flash Revolving interface5.Capture Video/Picture as DVD Background picture freely6.Picture-in-Picture function7.Motorized Slide-down panel8.Surpot:DVD/VCD/CD/MP3/MP4/DIVX/DVD-R/CD-R/CD-RW/CD-ROW/JPEG9.Digital radio tuner,FM/AM,With R.D.S.function10.Bhuilt-in analog TV tuner,support:PAL/NTSC/SECAM11.Built-in Bluetooth,hands-free call and A2DP12.USB Port and SD card Slot.13.Digital radio system(RDS)14.Video input/output/Camera input/Audio R/L AUX input15.Subwoofer output:FR/FL/RR/RL 4-channel RCA output(2V Preou)16.50W*4 High power output17.Presel EQ(Standard/Rock/Popular/Jazz/Classical)18.Picture control:Customize/Standard/Bright/Soft19.Setting Safe line ON/OFF Freely20.Support Original Car Steering Wheel Control21.Support IPOD Control22.Super ESP Electronic Shock Absorber System23.Built-in Digital-TV(DVB-T/ISDB/ATSC/MH/CMMB)(Optional)24.Built-in GPS Navigation with Dual-zone(Front and rear)Play(Optional) |
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7 Inch Special Car DVD Player with GPS for PRADO $337.8 For Toyota Prado Only.Specifications 1.GPS Operating system: Windows CE 5.0 GPS processor:Samsung s3c2450xH-40 Main Frequency:400MHZ Store Space:64MB Support Map:Finean,IGO,Route66,TOMTOM Voice Guidance Cruise:Yes Voice Guidance Language:Japanese,Korean,Russian,German,French,Spanish,Polish GPS Antenna:1 GPS antenna interface on the back GPS Dual Zone:Yes,You can enjoy music and radio while navigation 2.System Form Factor:In-Dash Enclosure Type:2 Din Security Features:Detachable Faceplate Features:GPS,Radio,Disc,SD,USB,Ipod,DVD,NAVI,TV,Bluetooth,Camera,AUX IN 3.Display Display Mode:16:9 Screen Size:7 inch Touch Screen:Yes Screen Resolution:800*480 Display Type:LCD-TFT Brightness Control:Yes OSD Language:English,Chinese 4.Radio Radio tuner:AM,FM Station preset qty:30 Support RDS:Yes Radio response bandwidth:AM:520-1700 Hz;FM: 87-110 Hz 5.DVD Video Output System:NTSC/PAL/SCAN Media type:DVD,VCD,CD,WMA,MP3,MP4(AVI),CD-R,CD-RW,DVD-R,DVD-RW Signal-To-Noise Ratio:60 dB 6.TV tuner Digital TV or Analog TV:Analog TV tuner TV antenna:NO 7.Amplifier Form Factor:In-dash unit integrated Amplifier max output power / channel qty:52W*4 EQ mode:Classic/Rock/Pop/Jazz 8.Bluetooth Version:V2.0,support AD2P(Bluetooth Stereo Music),can play stereo music through Bluetooth Built-in microphone:Yes Received Call:Yes Dialled Call:Yes 9.Remote Control Remote Control:Infrared 10.Interface A/V Input:2 Channel A/V Output:2 Channel Connector Type:1 x TV ANTENNA,1 x SUBWOOFER,CAM IN,VIDIO IN, VIDIO OUT USB/SD Card Port:USB Port/SD Port Ipod Control:yes(optional) Direct Connection Cable for Ipod Included:NO 11.Additional Features Portable HDD Compatible:Yes Built-in Speaker:Yes & |
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A Look at Popular Sports Teams with Bear Mascots Including the Chicago Bears, Utah Jazz, and Baylor University $21.75 Lyle Simon,Paperback, English-language edition,Pub by Webster’s Digital Services |
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A Love Supreme: The Legacy Of John Coltrane $17.98 The Turtle Island String Quartet has the chops, the guts, the soul, the spirit, and the taste to take on the musical legacy of John Coltrane — what more could anyone want? One of the great soloists, composers, and bandleaders in jazz history, Coltrane transformed the music of his time through the strength of his personality and his recordings continue to transform the music of all following times. This disc carries on that series of transformation by setting his music in the context of a traditional classical string quartet. While the players and arrangers do a more than creditable piece of work in taking on his music — the unisons of the violins, the bow slaps of the viola, and the walking bass in the cello do a fair job of approximating a jazz quartet — it is Coltrane’s music that ultimately transforms them. When the musicians tear through the opening of Countdown, when they soar through the solo of “My Favorite Things,” when they rip into the climax of A Love Supreme, it sounds like neither classical musicians playing jazz nor string musicians playing band music: it sounds like great musicians transformed by great music. Telarc’s digital sound is clear and cool, but immediate. ~ James Leonard, Rovi |
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A new voice for the bass trombone: A study and representative recording of the music of Daniel Schnyder. $49.99 Daniel Schnyder’s music has been a welcome addition to the bass trombone repertoire. It is unique in that it combines contemporary serial techniques with jazz, Latin, Middle-Eastern, and other music from around the world. Schnyder has accumulated a variety of musical training and performance experiences that has enabled him to write in these styles. Prominent New York bass trombonist David Taylor and several other bass trombonists have commissioned several substantial works from Schnyder. As a result, Schnyder has provided a new voice for the bass trombone. Schnyder’s music contains several features that are not often found in bass trombone literature: harmonic and melodic use of the blues, exciting rhythmic effects that effect the development and release of tension, and combinations of different ethnic music styles from around the globe. His music allows bass trombonists to be involved in the music of different cultures, and, as soloists, to be more relevant and influential to the music of our day. This project has culminated with a recording of Daniel Schnyder’s Sonata for Bass Trombone and Piano, one of the most difficult works in the bass trombone repertoire. The recording is included to provide an audio example of the principles discussed in the text. |
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A performer’s guide to the American musical theater songs of Kurt Weill, (1900–1950). $49.99 With the broadening interest and popularity of musical theater studies in academic degree programs, more teachers of classical singing and students are meeting at the crossroads of conventional vocal study to broaden their skills in non-classical and musical theater techniques. Tracing back through the lineage of American musical theater, a fascinating example of vocal style emerges from the musical theater works of Kurt Weill. Weill’s music exhibits operatic lyricism, jazz rhythms, and popular idioms but does not conform strictly to light opera, jazz, or popular music.;In America, Kurt Weill was a successful musical theater composer by 1941 and was highly respected on Broadway. Simplicity and comprehensibility were his stylistic objectives in transforming operatic forms into a viable musical theater that would appeal to the greater public. His work in musical theater resulted in an extensive repertory of songs suitable for all voice types, one that was of considerable significance in the evolution of American theater and singing styles.;Weill’s American musical theater songs convey a communicative style that requires a technique grounded in the speech-based lyricism of celebrated jazz singers and singing-actors from musical theater’s golden era (roughly 1927 to 1960). A deeper understanding of Kurt Weill’s American theater songs will clarify the defining qualities of his musical style and suggest a more informed artistic approach for singers, teachers, coaches, and accompanists of musical theater repertoire. |
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AKG Acoustics K-311 Ear Headphones – Arctic Blue $19.95 Realistic Music reproduction demands clean, undistorted Bass response. The AKG K-311 Headphones perform brilliantly, at any listening level. With a virtually weightless, semi-open design in two new colors, K-311 continue the AKG Professional tradition with ear buds you can take with you anywhere.-Though this AKG K-311 earphone may seem to be inexpensive, it carries the AKG longstanding tradition of quality. For more than 60 years, AKG microphones and headsets have been synonymous with professional Audio excellence. Since it was founded in 1947, AKG has been passionately delivering superior-sounding, cutting-edge products. Within months of the company?s founding, its microphones were being used by radio stations, theaters and Jazz clubs. A mere two years later, AKG headphones were introduced to the marketplace. World-renowned artists used AKG products back in the 50s, while many of today?s most recognized artists swear by AKG products for live concerts and studio recording. The K-311 earphone is outstanding for Mobile use with phones and Digital players.-The K311 is designed to deliver a superior Personal listening experience with high-output sound, excellent Frequency response and improved bass response that delivers bass down to 18 Hz and high frequencies out past 20,000Hz. The AKG K311 are an ideal Upgrade for nearly any of today?s portable audio devices. You can use the K311 with your home stereo, portable DVD, CD and MP3 players and many other audio/video players. With their slim, tapered connector, the K311 is compatible with all versions of the iPhone including first generation models. -A key point of the K-311 is that it delivers an incredibly high 125dB sound pressure level (SPL). This high rating makes it one of the most efficient earphones bringing more music to your ears. Translation is less volume is required from your portable device and that saves precious Battery power.-It has a 1-meter long cable that is perfect for active users and weighs only 5 gra |
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Acoustic Alchemy Albums $10.28 Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Excerpt: Sounds of St. Lucia: Live is a live album released by Image Entertainment, on both CD and DVD, of a performance by Acoustic Alchemy at the 10 St. Lucia Jazz Festival in 2000. The band lineup on this album consists of Greg Carmichael (nylon guitar), Miles Gilderdale (steel guitar), Frank Felix (bass), Tony White (keyboards) and Richard Brook (drums). The DVD version is released in Dolby Digital 5.1 Surround Sound and contains two additional tracks not on the CD: “Catalina Kiss” and “Casino”. “Catalina Kiss” is the lead in and “Casino” is the lead out song of the DVD. Both show scenic views of St. Lucia. Excluding these two extra tracks, the song order is identical with the exception of “Trail Blazer” and “Red Dust |
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Ahmad Jamal – Digital Works [CD] – Used $5.99 Digital Works |
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Air Frame Lite – The free online digital photo album for Flickr and Facebook $0 4+~~iPhonso GmbH~~iPhonso GmbH~~http://itunes.apple.com/app/air-frame-lite-the-free-online/id382628022?uo=5~~iPhonso.com~~2.4~~2867849~~5523690~~http://iphonso.com~~http://iphonso.com |
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Alfred’s Teach Yourself to Play Guitar: CD-ROM $29.95 Everything you need to start playing now! Alfred’s easy-to-use software program is the winner of the 2008 iParenting Media Awards! This step-by-step approach to learning guitar is perfect for beginners of all ages for use with acoustic or electric guitar. The set includes over 60 popular songs covering rock, heavy metal, blues, country, jazz, and folk songs. The interactive GuitarView song player lets you see exactly how each song should be played, including note names, finger numbers, scale degrees, and advanced techniques such as slides, bends, hammer-ons, pull-offs, and vibrato. The interactive guitar tuner also makes guitar tuning incredibly easy. All lessons are in full-motion video with high quality digital audio sound, not unrealistic MIDI sounds. Get your copy today and teach yourself to play guitar! |
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All That Jazz: The Most Influential Female Voices in Twentieth Century Jazz Music $21.75 Marilyn Kelly,Paperback, English-language edition,Pub by Webster’s Digital Services |
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Altair & Vega $17.98 Bob James and Keiko Matsui’s Altair & Vega is a solo piano album performed by a duo, and for the most part, that means what it sounds like, two jazz pianists seated together at one keyboard playing four-handed parts. On the James-composed title track (which refers to two stars that pass each other only once a year), previously recorded and released on the 2001 James album Dancing on the Water, Matsui takes the upper part of the piano and James the lower part in a piece that sounds more new age than jazz. Matsui’s “Frozen Lake” (which finds them separating to their own keyboards, James’ is a digital one) leans even more in that direction, suggesting the sound of David Lanz or George Winston (or the two together). James’ “Divertimento,” for which they are back on the same piano bench, is a lively piece based on Haydn, while Matsui’s “Midnight Stone” and “Invisible Wing” again bring in new age elements, the latter also showing a classical influence. The album’s real tour de force is the 13-minute, jointly written “Forever Variations” (a take-off from Matsui’s “Forever Forever”), which is full of fast, dense passages that take four hands to play. At the end, Bach’s familiar “Chorale from Cantata BWV 147″ is given an unusually melancholic treatment in James’ arrangement, serving as a coda. The wonder is that the two busy pianists don’t get in each other’s way in this music, but the album is the culmination of years of playing together, in the studio and on concert tours, so a lot of preparation went into these performances, resulting in an accomplished recording of some intricate keyboard playing. ~ William Ruhlmann, Rovi |
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Alternate takes: Billie Holiday at the intersection of black cultural studies and historical musicology. $49.99 This dissertation examines the historical contexts of Billie Holiday's image and artistry, exploring her legendary self-invention in addition to configurations of her by jazz critics and biographers—both her contemporaries and recent scholars. It finds that shifts in Holiday's image—from tragic victim to triumphant heroine—parallel the growing legitimacy of jazz as a musical art form. The dissertation simultaneously extends and critiques the new jazz studies and Holiday scholarship written since 1990 by pursuing previously unexplored interdisciplinary frameworks. Employing the tools of literary criticism, specifically autobiography theory, it analyzes Holiday and William Dufty's Lady Sings the Blues (1956); considers the role of sound technology in the development of Holiday's singing style; and examines particular socio-cultural conceptions of womanhood that seem to have influenced Holiday's preference for torch songs, specifically the controversial song "My Man." In reviewing the landscape of Holiday criticism, the dissertation challenges the field to become more self-reflective of the racial and institutional dynamics that are part of its history. It also examines some of the pros and cons of myth-making that are an inherent part of jazz's narrative history. These angles combine to encompass various "alternate takes" whereby Billie Holiday intersects with black cultural studies and musicology. Ultimately, the dissertation emphasizes the need for new renderings and alternative readings of Holiday in response to a changing jazz narrative; situates the necessity of musicology as a discipline that enables us to reference and flesh out jazz figures; demonstrates a fundamental need for interdisciplinary rigor in the study of music-historical subjects; and finally, highlights the power of jazz to signify across broader themes in American culture. |
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American Folk Blues Festivals 1963-1966: The British Tours [DVD] $15.99 Like the previous three volumes of this superb series, American Folk Blues Festivals 1963-1966: The British Tours presents about 75 minutes of mid-’60s European television performances by blues legends. The only real difference is that all of these were filmed in England (hence the subtitle “The British Tours 1963-1966″), where appreciation of the blues was really taking off and, of course, making a big impression on the U.K. pop scene via artists like the Rolling Stones and Eric Clapton. While the word “legends” is thrown around a lot in reviewing vintage blues compilations, this is one instance where it’s not overhyping the case. Every single performer here is legendary. Muddy Waters, Howlin’ Wolf, and Sonny Boy Williamson were Chicago blues giants,; the more rural and rawer side of the form is caught by Lightnin’ Hopkins and Big Joe Williams; R&B is represented by Big Joe Turner, and soul by Sugar Pie DeSanto; and the blues’ roots in jazz and gospel are captured by Lonnie Johnson and Sister Rosetta Tharpe respectively. Every single performer here is caught, in well-preserved black-and-white footage, at or near the peak of his or her form, sometimes with some of their very most famous songs, whether it’s Waters doing “Got My Mojo Working,” Williams playing “Baby Please Don’t Go,” or Williamson singing “Bye Bye Bird.” That’s not even mentioning the top talents that can be seen as accompanists at various points, including bassist Willie Dixon, guitarists Hubert Sumlin and Otis Rush, and pianists Sunnyland Slim and Otis Spann. As for the most unusual and colorful performances, perhaps Williamson wins on that account — though not by much — by playing one end of a harmonica without holding it, as if he’s chewing a cigar. Also novel is Junior Wells’ 1966 performance of Ray Charles’ “What’d I Say,” delivered (and danced through) in modified James Brown fashion; it might not be the song you most associate with classic blues (or even Wells’ blues), but it’… |
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American Music And The History Of Jazz $22.75 Sb Jeffrey,Paperback, English-language edition,Pub by Webster’s Digital Services |
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An examination of vocal music by John Musto. $49.99 John Musto, a contemporary composer based in New York, is known for his vocal, piano, and orchestral compositions. Musto is an active performer, who accompanies his own compositions in performance and on recordings. Several festivals and foundations have commissioned his compositions, many of them vocal works. This document will examine a song set, a solo song and two song cycles by John Musto, which represent the composer’s developing vocal compositional style from beginning to present. Equally informed by classical and jazz techniques, his style is comprised of popular idioms, ambiguous key structures, irregular rhythms and meters, unpredictable intervallic movements, and large vocal ranges. Two by Frost, "Triolet," Quiet Songs, and Dove Sta Amore…, provide the material for my study of John Musto’s compositional style. Musto’s first set of songs, Two by Frost, was composed in 1982 and published in 1987; and "Triolet," a solo song with poetry by Eugene O’Neill, was published in 1987. The cycle, Quiet Songs, published in 1991, was commissioned by the New York Festival of Song and premiered in 1990 by soprano Amy Burton and pianist Steven Blier. As a result of winning the Concert Artists Guild International Competition in 1991, soprano Lauren Wagner commissioned John Musto to compose Dove Sta Amore… for soprano and piano. The song cycle was first composed for voice and piano, rescored for voice and orchestra and premiered by the Jacksonville Symphony Orchestra in Jacksonville, Florida on March 2, 1996. The orchestral version was a finalist for the Pulitzer Prize in Music in 1997. Dove Sta Amore… was published in 1998 in a piano/vocal format. John Musto, Amy Burton, Steven Blier and members of the New York Festival of Song gave extensive interviews throughout the course of my research and continue to be accommodating and encouraging. Musto’s vocal compositions were recently published in one volume with slight revisions to some songs and |
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Analog In, Digital Out: Brendan Dawes on Interaction Design $31.99 Creativity is an innate human impulse, many people believe, something we’re born with but too often “grow out of” as adult lives make more and more demands. Fortunately for us, the creative drive continues to run strong in legendary designer Brendan Dawes. Habitually alert to the happy accident, and possessed of highly eclectic interests and a quirky wit, he has happened into his perfect career. Around this habit–call it a philosophy–of asking, “Why does this have to be this way? What if . . .,” Dawes has built magneticNorth, an acclaimed Web and interaction design practice, based in Manchester, U.K. In this unique book, Dawes invites readers inside a series of his personal projects to get a view of his process—his creative seeing, making, and playing. He encourages designers to look beyond the normal tools of their trade to find inspiration in the most unlikely of places: tubs of children’s clay, anonymous notes, household plumbing fixtures, jazz music, snow globes, fast-food take-out bags, airport departure gates, and more. Brilliant, original, and always grounded in the needs of users, Dawes shares both the techniques he has created and the key lessons he has learned in design: why comfort is the enemy of creativity; how mistakes can be celebrated instead of feared, and how to strip design to its purest and most powerful forms. Known worldwide for his entertaining and inspirational presentations, Dawes now brings profound insights to a book that is certain to become a classic inspiration for designers of every type. Brendan Dawes is Creative Director of the interactive design group magneticNorth, based in Manchester,UK. His clients include the Walt Disney Co., the BBC, Kellogg’s, and Coca-Cola. Dawes’ work has been featured in numerous journals, including idN, Creative Review, MacUser, Computer Arts, Create, The Guardian, and Communications Arts. He was also featured in New Masters of |
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Analog In, Digital Out: Brendan Dawes on Interaction Design $4.38 Creativity is an innate human impulse, many people believe, something we’re born with but too often “grow out of” as adult lives make more and more demands. Fortunately for us, the creative drive continues to run strong in legendary designer Brendan Dawes. Habitually alert to the happy accident, and possessed of highly eclectic interests and a quirky wit, he has happened into his perfect career. Around this habit–call it a philosophy–of asking, “Why does this have to be this way? What if . . .,” Dawes has built magneticNorth, an acclaimed Web and interaction design practice, based in Manchester, U.K. In this unique book, Dawes invites readers inside a series of his personal projects to get a view of his process—his creative seeing, making, and playing. He encourages designers to look beyond the normal tools of their trade to find inspiration in the most unlikely of places: tubs of children’s clay, anonymous notes, household plumbing fixtures, jazz music, snow globes, fast-food take-out bags, airport departure gates, and more. Brilliant, original, and always grounded in the needs of users, Dawes shares both the techniques he has created and the key lessons he has learned in design: why comfort is the enemy of creativity; how mistakes can be celebrated instead of feared, and how to strip design to its purest and most powerful forms. Known worldwide for his entertaining and inspirational presentations, Dawes now brings profound insights to a book that is certain to become a classic inspiration for designers of every type. Brendan Dawes is Creative Director of the interactive design group magneticNorth, based in Manchester,UK. His clients include the Walt Disney Co., the BBC, Kellogg’s, and Coca-Cola. Dawes’ work has been featured in numerous journals, including idN, Creative Review, MacUser, Computer Arts, Create, The Guardian, and Communications Arts. He was also featured in New Masters of |
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Anita O’Day: The Life of a Jazz Singer $69.98 Anita O’Day / Digital Video Disc (DVD) / 2009 |
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Anita O’Day: The Life of a Jazz Singer $49.99 Anita O’Day / Digital Video Disc (DVD) / 2009 |
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Arranging in the Digital World: Techniques for Arranging Popular Music Using Today’s Electronic and Digital Instruments $7.38 Used – This is the resource for creating truly inspired arrangements! Full of tips and tricks covering techniques for building digital arrangements in a variety of styles, including country, gospel, pop, jazz, rock, Latin and more. Teaches basic MIDI, sequencing, production concepts, and arranging techniques for a variety of digital instrument sounds. Make your MIDI sequences and grooves come alive! Also includes a General MIDI disk with more than 50 sequenced samples, helpful definitions, and m |
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Arranging in the Digital World: Techniques for Arranging Popular Music Using Today’s Electronic and Digital Instruments $66.86 New – This is the resource for creating truly inspired arrangements! Full of tips and tricks covering techniques for building digital arrangements in a variety of styles, including country, gospel, pop, jazz, rock, Latin and more. Teaches basic MIDI, sequencing, production concepts, and arranging techniques for a variety of digital instrument sounds. Make your MIDI sequences and grooves come alive! Also includes a General MIDI disk with more than 50 sequenced samples, helpful definitions, and mo |
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Arranging in the Digital World: Techniques for Arranging Popular Music Using Today’s Electronic and Digital Instruments $46.97 New – This is the resource for creating truly inspired arrangements! Full of tips and tricks covering techniques for building digital arrangements in a variety of styles, including country, gospel, pop, jazz, rock, Latin and more. Teaches basic MIDI, sequencing, production concepts, and arranging techniques for a variety of digital instrument sounds. Make your MIDI sequences and grooves come alive! Also includes a General MIDI disk with more than 50 sequenced samples, helpful definitions, and mo |
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Arranging in the Digital World: Techniques for Arranging Popular Music Using Today’s Electronic and Digital Instruments $9.15 Used – This is the resource for creating truly inspired arrangements! Full of tips and tricks covering techniques for building digital arrangements in a variety of styles, including country, gospel, pop, jazz, rock, Latin and more. Teaches basic MIDI, sequencing, production concepts, and arranging techniques for a variety of digital instrument sounds. Make your MIDI sequences and grooves come alive! Also includes a General MIDI disk with more than 50 sequenced samples, helpful definitions, and m |
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Arranging in the Digital World: Techniques for Arranging Popular Music Using Today’s Electronic and Digital Instruments with Disk $19.95 This is the resource for creating truly inspired arrangements! Full of tips and tricks covering techniques for building digital arrangements in a variety of styles, including country, gospel, pop, jazz, rock, Latin and more. Teaches basic MIDI, sequencing, production concepts, and arranging techniques for a variety of digital instrument sounds. Make your MIDI sequences and grooves come alive! Also includes a General MIDI disk with more than 50 sequenced samples, helpful definitions, and more. |
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Artwork Clock for iTunes $0 4+~~tekunodo.~~tekunodo.~~http://itunes.apple.com/app/artwork-clock-for-itunes/id343544690?uo=5~~tekunodo.~~2.04~~2714367~~354202~~http://tekunodo.jp/~~http://tekunodo.jp/ |
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At The Montreux Jazz Festival $14.98 Ray Charles / Digital Video Disc (DVD) / 2002 |
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Atlantic Records: The House That Ahmet Built $17.99 Ahmet Ertegun was a true visionary in the music business — largely by being a fan of music. Although he was technically a “suit,” he was a fan first and foremost. This fact defined his business instinct. Atlantic Records became one of the most important and successful record companies in history. From the beginning, if a record was graced by the famous Atlantic label and logo, the music within its grooves was bound to be magical. The Atlantic label remains a stamp of virtually guaranteed musical quality to this day. Atlantic’s roster is truly mind-blowing, and it’s impossible to list all of the artists here. Ahmet Ertegun’s extraordinary career and the 60th anniversary of Atlantic is covered in 2007’s fascinating two-hour, warts-and-all documentary DVD Atlantic Records: The House That Ahmet Built. The documentary — written, directed, and co-produced by Susan Steinberg and narrated by Bette Midler — was first broadcast on PBS as part of its American Masters series, which is produced by Thirteen/WNET New York. The non-stop parade of rare and classic clips, live performances, and studio sessions from Atlantic’s legendary artists will make even casual music fans’ jaws drop. Featured interview subjects, many of whom reminisce with Ahmet Ertegun himself, include Chris Blackwell, Solomon Burke, Ray Charles, Eric Clapton, Phil Collins, Aretha Franklin, David Geffen, the Rolling Stones’ Mick Jagger, Foreigner’s Mick Jones, Kid Rock, Ben E. King, Jerry Leiber, Mike Stoller, Wynton Marsalis, Paolo Nutini, Led Zeppelin’s Jimmy Page and Robert Plant, Jann Wenner, and Ahmet Ertegun’s wife, Mica Ertegun.It all started because Ahmet Ertegun and his older brother Nesuhi Ertegun, the privileged sons of Turkey’s ambassador to the United States, were obsessive fans of black American music — jazz and blues — from the time they were children. Ertegun and partner Herb Abramson co-founded Atlantic Records in 1947 after securing a $10,000 loan from Ahmet’s dentist. (Nesuhi eventua… |
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Atomic Roooster [Expanded Deluxe Edition] $18.99 This 2004 reissue of the first Atomic Roooster LP bests all prior pressings — domestic and import alike — with flawless digital remastering, the resurrection of the original running order, as well as five significant bonus sides. The trio of Vince Crane (organ/vocals), Carl Palmer (drums), and eventually Nick Graham (vocals/bass) had formed out of the Crazy World of Arthur Brown, where both Crane and Palmer had played key roles on the chart-topping single “Fire.” As the former had been Arthur Brown’s musical director, it is fitting that he penned the vast majority of the Rooster’s initial outing. The songs reflect the author’s darker and at times fatalistic demeanor, most directly in the repetitive “What is the point of going on?” chorus that distinguishes the incongruously delicate folkie and pastoral “Winter,” or the sardonic sexual superiority of “And So to Bed.” These stylistically contrast the forceful “Friday 13th,” “S.L.Y.,” and “Before Tomorrow.” Equally divergent are the horn-driven “Broken Wings” and incendiary jazz fusion workout “Decline and Fall.” The latter is an interesting departure as it provides each musician an opportunity to interact with substantive fluidity. When Elektra Records added Atomic Rooster to its roster, Palmer had already flown the proverbial coop, replaced by Paul Hammond (drums), while John Cann (guitar/vocals) had taken Graham’s place. Such a considerable shift in personnel convinced the band to have Cann record guitar parts overtop of “S.L.Y.” and “Before Tomorrow,” as well as redo the lead vocal for “Friday 13th.” In North America the album was released with a completely different feel, which was undoubtedly as much a result of the reconfigured tune stack as it was the additions and/or subtractions. The 2004 edition of Atomic Roooster includes the U.S. version(s) of all three and two tunes from a rare BBC Radio appearance by the incipient incarnation performing “Friday 13th” and the not-yet-release… |
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Attending and Enjoying Concerts: A Student Guide $13.23 For many people, the concert going experience is entirely new; they are not sure what to wear, how to plan for the event, when to applaud, how to use the program, and how to evaluate what they have heard. There are many different types of concert going opportunities: from traditional classical recitals to church choir performances to jazz and rock clubs, each having its own special etiquette and rules for behavior. This book will offer a concise, friendly guide for the student to how to attend and enjoy concerts as a lifelong activity. |
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Avermedia AVerTV HD DVR PCI Express Video Capture Card $109.99 The AVerTV HD DVR – is a High Definition / Analog Video capture card. It’s equipped with HDMI Input and through the included Dongle Cable, users will have Component, S-Video and Composite Video input interfaces as well. This Allows users to connect to their Cable / Satellite Set-Top-Box, Gaming Console and HD Video recorders to capture High Definition and Analog video content on their PC.–The package includes our AVer MediaCenter Software Application with advanced software encoding Algorithm engine and built-in schedule Recording features. Users can capture HD video up to 1080i, and save it in MPEG-2 or H.264 File Format (which can be used to playback on your iPod or PSP gaming device) as well as Program start and end times of TV shows from your HD Cable / Satellite Set-Top-Box. -Package Contents: AVerTV HD DVR, 10-in-1 Dongle Cable, Low Profile Bracket, Installations CD, Quick Guide -Turn analog video tapes into DVD or VCD formats-Equipped with HDMI input-Directly transfer to DVD/VCD Burner from video recording-Capture HD video up to 1080i-Edit, organize and highlight video clips on storyboard-Compatible with Windows 7 -Digital recording in MPEG 2, H.264 and iPod format -Specifications-Interface: PCI Express x1 -Input Signal (HD): HDMI, Component (YPbPr), Stereo L/R Audio-Input Signal (Standard): S-Video, Composite, Stereo L/R Audio-Digital Recording: MPEG-2 / H.264 / iPod -Analog Recording: MPEG-2 / H.264 / AVI / iPod -Supporting OS (32 and 64 Bit): Windows 7/ Vista / XP -System Requirements: HD Input (HDMI / YPbPr); Intel Core 2 Duo E6600 2.4GHz or Equivalent AMD CPU, Windows XP or above, 1GB RAM or above, Bass Guitar has a beautifully finished alder body and a hard rock maple neck wood that will give you a Sound that deftly rides the fine line between warm and mellow and bright and snappy. Picking up your latest grooves are a pair of G&L vintage alnico jazz-type pickups, and you can adjust your sound with 2 volume and one tone controls. |
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Bach: Magnificat $22.99 Philippe Pierlot and the Ricercar Consort’s 2006 recording of Bach’s Magnificat brings back the glory days of historically informed performances, those halcyon days in the 1980s when musicians, empowered by scholarship and energized by virtuosity, were recording the Baroque repertoire with the zeal of the newly converted. Though Pierlot and his musicians are of a younger generation, they bring a missionary fervor to the music, a program of Bach’s Magnificat, BWV 243, and Missa Brevis, BWV 235, interspersed with two well-chosen organ works, the Fuga sopra il Magnificat, BWV 733, and the Pr? ludium und Fuga, BWV 541. Pierlot’s textures are clean, his rhythms buoyant, his colors bright, and tempos brisk, but not rushed in the fast movements, and contemplative but not moribund in the slow movements. The Ricercar Consort plays with technical brilliance and manifest enthusiasm as an ensemble, and the violin and flute soloists deliver sparkling performances. But perhaps the best thing is the five vocal soloists and given that they also serve as the choir, their performances are even more remarkable. With clarion tones, gracious technique, and an effortless blend, they comport themselves with the ease and luster of the best jazz vocal groups, and the spirit they bring to their parts is infectious. Francis Jacob delivers forceful yet effervescent readings of the two organ works. Mirare’s digital sound is as clear and as real as a blue sky. ~ James Leonard, Rovi |
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Beautiful Noise $16.95 Jeff Healey & the Jazz Wizards / Digital Video Disc (DVD) |
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Bet on Jazz [Video/DVD] $9.99 Freddie Jackson / Digital Video Disc (DVD) / 2001 |
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Between two worlds: The musical style in Mark-Anthony Turnage’s ”Blood on the Floor”. $49.99 Modern symphonic composers and popular songwriters of the mid-20 th century reacted to increasing urbanism, but in aesthetically opposed ways, thus creating a musical divide between them. Modern symphonic composers reacted to an increasingly industrialized culture by questioning previously established structures of music, particularly harmony and rhythm. These composers created more thought-provoking (rhythmically driving, highly dissonant, non-developmental) works and depended on audiences who were educated and interested enough to follow their ideas. Popular composers of the post-World War II period created diffuse musical styles that “adopt[ed] to the 20th century urban existence.” Most popular music genres are “up-tempo, dance-oriented, [and] novelty focus[ed]…”1;Certain composers that originated from one side of the divide or the other composed with both symphonic and popular elements. In these cases, however, their musical attitude is often one of seasoning or “dressing up” instead of true integration. Mark-Anthony Turnage absorbed discoveries of the first half of the twentieth century and used the compositional techniques that were highly developed in the contemporary style, aspects that were particular to the classic modernist composers. His composition Blood on the Floor , is characterized by non-functional tonality (centricity) with a high degree of dissonance is present; form based on repetition; juxtaposition; and rhythmic drive.;In Blood on the Floor, however, Turnage did not focus on the differences between classical modernism and popular music genres, such as jazz-fusion, but instead on their similarities. In this work, Turnage did not simply combine jazz elements into a preexisting modern symphonic language implied by Gunther Schuller’s definition of “Third Stream,” which is a compositional style that is “halfway between jazz and classical music.”2 Rather, his treatment of rhythmic drive in jazz-fusion and funk is, as Brian Hunt points out in the |
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Between two worlds: The musical style in Mark-Anthony Turnage’s ”Blood on the Floor”. $49.99 Modern symphonic composers and popular songwriters of the mid-20 th century reacted to increasing urbanism, but in aesthetically opposed ways, thus creating a musical divide between them. Modern symphonic composers reacted to an increasingly industrialized culture by questioning previously established structures of music, particularly harmony and rhythm. These composers created more thought-provoking (rhythmically driving, highly dissonant, non-developmental) works and depended on audiences who were educated and interested enough to follow their ideas. Popular composers of the post-World War II period created diffuse musical styles that “adopt[ed] to the 20th century urban existence.” Most popular music genres are “up-tempo, dance-oriented, [and] novelty focus[ed]…”1;Certain composers that originated from one side of the divide or the other composed with both symphonic and popular elements. In these cases, however, their musical attitude is often one of seasoning or “dressing up” instead of true integration. Mark-Anthony Turnage absorbed discoveries of the first half of the twentieth century and used the compositional techniques that were highly developed in the contemporary style, aspects that were particular to the classic modernist composers. His composition Blood on the Floor , is characterized by non-functional tonality (centricity) with a high degree of dissonance is present; form based on repetition; juxtaposition; and rhythmic drive.;In Blood on the Floor, however, Turnage did not focus on the differences between classical modernism and popular music genres, such as jazz-fusion, but instead on their similarities. In this work, Turnage did not simply combine jazz elements into a preexisting modern symphonic language implied by Gunther Schuller’s definition of “Third Stream,” which is a compositional style that is “halfway between jazz and classical music.”2 Rather, his treatment of rhythmic drive in jazz-fusion and funk is, as Brian Hunt points out in the |
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Big Band Christmas, Vol. 2 $6.76 The Nashville Big Band Jazz Ensemble, DVD Audio,DIGITAL SOUND, ***Special Order: Ships 3-5 weeks*** 20111219094816447 |
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Bill Atkinson PhotoCard Lite $0 4+~~Bill Atkinson Photography~~Bill Atkinson Photography~~http://itunes.apple.com/app/bill-atkinson-photocard-lite/id356124208?uo=5~~2010 Bill Atkinson Photography~~4.1~~3130005~~15936323~~http://www.billatkinson.com/aboutPhotoCard.html~~http://www.billatkinson.com/photoCardFAQ.html |
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Bop Till You Drop $13.96 Following his conceptual 1978 release, Jazz, Ry Cooder returned the next year with the R&B/soul-based Bop Till You Drop. The first major-label, digitally recorded album, Bop is a nice set of moderately known to obscure tunes from the ’50s and ’60s (along with a Cooder/Tim Drummond original) that doesn’t always live up to its promise. Cooder and his excellent band, which includes the rhythm section of Tim Drummond and Jim Keltner along with guitarist David Lindley, understand the material and are more than capable of laying down a decent groove, but something must have gotten lost in translation from what was played to what came across on the recording. There’s a thinness to the tracks that undermines the performances, which according to Cooder is due to the digital recording. If you check out the live version of Bop Till You Drop’s opener, “Little Sister,” from the No Nukes record (using the same band), you can see what surely could have been. Still, Bop is worthwhile given Cooder’s penchant for choosing great tunes, as well as the tight performances, brilliant guitar work, and a handful of great guest vocalists (including Chaka Khan). A few of the highlights include his arrangement of the early-’60s Elvis hit “Little Sister,” the soulful “The Very Thing That Makes You Rich (Makes Me Poor),” an instrumental take on Ike & Tina Turner’s “I Think It’s Gonna Work Out Fine,” and “I Can’t Win,” featuring Cooder’s longtime cohort Bobby King on lead vocal. ~ Brett Hartenbach, Rovi |
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Casino Lights ‘99 [DVD] $24.98 This DVD records 14 performances from the 1999 Montreux Jazz Festival. The disc offers a standard full-frame transfer. English soundtracks are rendered in both Dolby Digital Surround and PCM Stereo. There are no subtitles, but both soundtracks are closed-captioned. There are no supplemental materials of any consequence, but jazz enthusiasts should enjoy the performances by Fourplay, the Bob James Trio, Larry Carlton, and a half-dozen other performers. There is little on this disc to interest the average DVD consumer. ~ Perry Seibert, Rovi |
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Casio 61-Key Piano Keyboard CTK-6000 $199 Casio CTK-6000 is a portable piano Keyboard that offers many Professional features that tempt beginners and advanced players. As a portable, it uses 6 D batteries. at home, use an Optional AC adapter. Prepare to be blown away by the advanced technologies and features!-The keyboard is designed and engineered to provide a realistic piano experience. Just like a grand piano keyboard, Touch Response causes Sound that is Output to change in accordance with the amount of pressure applied to the keys.-The sound source is pre-programmed with Digital samples of acoustic musical instruments recorded using the most advanced digital technology. Thanks to CASIO original sound technology, the AHL sound source is capable of reproducing all of the natural smoothness of the original waveform. -The AHL sound source delivers a lineup of 670 different built-in tones. You also can store up to 10 of your own original tones for instant recall whenever you need them.-A total of 200 preset rhythms cover a wide range of musical genres, from rock and pops, to jazz, Latin, piano pieces, and more. Simply select the built-in rhythm you want and Auto Accompaniment provides you with backup that is the next best thing to having a professional band at your disposal.-The Song Sequencer provides 16 tracks plus one system track that supports Recording of up to five songs and a total of approximately 12,000 notes. Each individual musical instrument part can be recorded to a different track for real multi-track recording capabilities. A full selection of Editing tools include event insert, event delete, event copy, quantize, a locator feature for selecting the range of notes to be edited, and more. A step recording function also lets you Input notes by specifying the length and pitch. Completed recordings can be converted to SMF (Standard MIDI File) Format and stored to an SD Memory card.-The USB port provides easy Computer and MIDI send/receive connection. It also enables quick and simple transfer of s |
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Casio 61-Key Piano Keyboard CTK-7000 $399 Prepare for the Casio CTK-7000, a premier portable Music Keyboard that encompasses a wider range of musicians from beginners to pro performers.-The Sound source is pre-programmed with Digital samples of acoustic musical instruments recorded using the most advanced digital technology. Thanks to CASIO original sound technology, the AHL sound source is capable of reproducing all of the natural smoothness of the original waveform.- – - -800 Built-in Tones and 100 User Tones-The AHL sound source delivers a lineup of 800 different built-in tones. You also can store up to 100 of your own original tones for instant recall whenever you need them. A total of 250 preset rhythms cover a wide range of musical genres, from rock and pops, to jazz, Latin, piano pieces, and more. Simply select the built-in rhythm you want and Auto Accompaniment provides you with backup that is the next best thing to having a Professional band at your disposal. Nine sliders are provided for drawbar organ settings and mixer operations. A large operation dial really comes in handy during music creation using sequencer functions and mixer functions.-The Song Sequencer provides 16 tracks plus one system track that supports Recording of up to five songs and a total of approximately 30,000 notes. Each individual musical instrument part can be recorded to a different track for real multi-track recording capabilities. In addition to Real-time recording of keyboard and Auto Accompaniment play, the Song Sequencer also supports punch-in and punch-out spot recording of specific parts of a song, and event-editing lets you edit recorded Data note-by-note. A full selection of editing tools include event insert, event delete, event copy, quantize, a locator feature for selecting the range of notes to be edited, and more. A step recording function also lets you Input notes by specifying the length and pitch. Completed recordings can be converted to SMF (Standard MIDI File) Format and stored to an SD Memory card.-Patt |
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China Connections- A Personal Journey $4.24 Used – Not just for idiots! The Complete Idiot’s Guide to Learning Guitar is perfect for beginners of all ages. Featuring lessons on how to read standard music notation and TAB, ideal for use with acoustic and electric guitars, and including over 60 popular songs covering rock, heavy metal, blues, country, jazz, and folk styles, the guide teaches how to play chords, scales, and cool licks with lessons in full-motion video with high quality digital audio sound. The Interactive GuitarView song pl |
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China Connections- A Personal Journey $13.41 Used – Not just for idiots! The Complete Idiot’s Guide to Learning Guitar is perfect for beginners of all ages. Featuring lessons on how to read standard music notation and TAB, ideal for use with acoustic and electric guitars, and including over 60 popular songs covering rock, heavy metal, blues, country, jazz, and folk styles, the guide teaches how to play chords, scales, and cool licks with lessons in full-motion video with high quality digital audio sound. The Interactive GuitarView song pl |
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Cobham: Crosswinds [DVD] $15.98 Billy Cobham’s second date as a leader was one of his better sessions. Four songs (all originals by the leader/drummer) comprise “Spanish Moss — A Sound Portrait,” and, in addition, Cobham contributed three other pieces. The selections team him with guitarist John Abercrombie, both of the Brecker Brothers, trombonist Garnett Brown, keyboardist George Duke, bassist John Williams, and Latin percussionist Lee Pastora. In general, the melodies and the vamps are reasonably memorable. Cobham also takes an unaccompanied drum solo on “Storm.” Worth searching for by fusion collectors. [FS World Jazz issued a DVD edition in 2007.] ~ Scott Yanow, Rovi |
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Companies Based In London By Classification $29.41 Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: Construction Companies Based in London, Financial Services Companies Based in London, Food Manufacturers Based in London, Manufacturing Companies Based in London, Media Companies Based in London, Mining Companies Based in London, Restaurants in London, Retail Companies Based in London, Technology Companies Based in London, Prospect of Whitby, Anglo American Plc, Simpson’s-In-The-Strand, Abbey, Brick Lane, L’entrecôte, Kindle Entertainment, Wong Kei, 7digital, Cipriani S.a., 4 Digital Group, Alfred Mcalpine, Square Pie, Agency Republic, the French House, Soho, 3i, Allied Carpets, the River Café, Grodzinski Bakery, Aberdeen Angus Steak Houses, Accurist, Sketch, Dub Vendor, Kai Mayfair, the Gay Hussar, Ace Cafe London, le Gavroche, Café Royal, St John, Itsu, Tokyo Diner, Juno Records, Pharmacy, the Wolseley, La Noisette, Yauatcha, Anglo Swiss Capital, Granita, Belgo, the Ledbury, the Ivy, Wagamama, Bloom’s Restaurant, Yo! Sushi, Nosh Bar, Wapping Hydraulic Power Station, Grecian Coffee House, Veeraswamy, Gourmet Burger Kitchen, Jazz Café, Hakkasan, Kuo Yuan, Fuzzy’s Grub, Almathera Systems, Chez Bruce, Leon, the Nosh Bar, Rhodes Twenty Four, Passione, Zafferano, L’escargot, Club Gascon, Rhodes W1, the Capital Restaurant, La Trompette, Tom’s Kitchen, Tom Aikens, Pall Mall Restaurant, Locanda Locatelli, Tilda, S |
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Cosmic Priestess $15.98 Tia Carrera — the band, not the former Wayne’s World actress — have built an entire career out of thumbing their noses at the digital music revolution. While compact discs were giving way to MP3s, then ringtones, then cloud storage, the only “cloud” that probably crossed their sightlines emanated directly from a bong. Heck, the members of Tia Carrera probably didn’t even realize that vinyl died a death before making its recent, modest comeback; they must think it never went away. And Pro-Tools. What the hell is Pro-Tools? OK, you probably get the picture. So with that background properly established, it’s probably no surprise that Tia Carrera once again recorded their latest album, 2011’s Cosmic Priestess, entirely live at their own studio in Austin, Texas, using an analog tape machine, and largely improvising these four, ruminating stoner rock jams as they went along. But, truth be told, if the proper chemical stimulation is withdrawn, there’s nothing at all spectacular about songs that hardly deviate from well-worn stoner rock molds (“Slave Cylinder”) or bring the funk with well-intended but aimless results (“A Wolf in Wolf’s Clothing”). And when it comes to the zombie-making, 33-minute marathon of “Saturn Missile Battery” (surely inspired in part by Spinal Tap’s “Jazz Odyssey”), fans may just need an I.V. to deliver the high dosage necessary to get them in the mood. This leaves only one absolutely must-hear tune: the alternately soothing and thundering “Sand, Stone and Pearl,” which will doubtless turn a few heads with its kaleidoscopic gravitational pull, fueled largely by the Fender Rhodes played by one Ezra Reynolds. But the fact that a guest was needed to really spice things up in the Tia Carrera camp this time around sort of suggests that the band is, if not exactly in a rut, definitely wearing down a deep groove of their own making. It still beats Pro-Tools, though, whatever that is. Long live analog! ~ Eduardo Rivadavia, Rovi |
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Count Basie Orchestra Albums, Including: Digital III at Montreux, a Perfect Match (Ella Fitzgerald Album), Sinatra at the Sands, Jazz at Santa Monica Civic ‘72, Count Basie at Newport, Count Basie Live in Japan ‘78, Ray Sings, Basie Swings, in Person! $14.5 New – Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. T |
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Count Basie Orchestra Albums, Including: Digital III at Montreux, a Perfect Match (Ella Fitzgerald Album), Sinatra at the Sands, Jazz at Santa Monica Civic ‘72, Count Basie at Newport, Count Basie Live in Japan ‘78, Ray Sings, Basie Swings, in Person! $17.14 New – Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. T |
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Count Basie Orchestra Albums, Including: Digital III at Montreux, a Perfect Match (Ella Fitzgerald Album), Sinatra at the Sands, Jazz at Santa Monica Civic ‘72, Count Basie at Newport, Count Basie Live in Japan ‘78, Ray Sings, Basie Swings, in Person! $17.14 Used – Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. |
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Count Basie Orchestra Albums, Including: Digital III at Montreux, a Perfect Match (Ella Fitzgerald Album), Sinatra at the Sands, Jazz at Santa Monica Civic ‘72, Count Basie at Newport, Count Basie Live in Japan ‘78, Ray Sings, Basie Swings, in Person! $14.34 Used – Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. |
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Cover Story: Album Cover Art $24.95 “Reading Wax Poetics, Brooklyn’s glossy, reverent, visually immaculate zine dedicated to funk, soul, hip hop, and the other obsessions of crate-diggers worldwide, is enough to make you wish neither compact discs nor the Internet had ever been invented.” —The Village Voice Cover Story: Album Cover Art, the second book from celebrated music mag Wax Poetics, vividly explores an element of music culture that has withered with the advent of MP3s and digital downloading. Vinyl records tell their stories visually as much as they do aurally, and the record cover—eye candy for the music lover—speaks a language rooted in the environment and era of the music itself. Cover Story is a coffee-table ready collection of rare, unique, and inspired album covers, selected by a team of world-renowned DJs, writers, and collectors.First published in December 2001, Brooklyn-born Wax Poetics hit newsstands with a new vision for music journalism, creating a bridge between the past and present of Hip Hop, jazz, funk, soul, reggae, disco, and Latin music. Although originally created for a concentrated market of music aficionados, the magazine’s audience has grown exponentially, making musical anthropologists out of average music listeners and spawning a soul renaissance, complete with comeback tours and sophomore effor ts. Wax Poetics illuminates the dark corners of our sonic past, while also striving to give new and innovative artists the credit they truly deserve. |
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Cultivating the imaginative ear for jazz improvisation: A study in three settings. $49.99 Anthony Maceli,NOOK Study eTextbook, English-language edition,Pub by ProQuest LLC |
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Cultural memory and the black radical tradition: Distraction in the Monin. $49.99 In his essay You Touch my Black Aesthetic and I’ll Touch Yours, Julian Mayfield offers that the Black aesthetic "is our racial memory, and the unshakable knowledge of who we are, where we have been, and springing from this, where we are going" (26). This dissertation examines cultural memory and trauma as grounding stations when examining a poetics that operates from a position of blackness or the black radical tradition, which is merely the resistance of a language that consistently borders and creates boundaries via Nietzsche’s moral driven society. Through Jacques Derrida’s critique of differance and difference this dissertation will demonstrate how language comes to resist the dominant narrative of life and literature through the play of language instigated through Derrida’s concept of the trace. Trace and the black radical tradition share similarities in that both should not exist, but they do through social constructions. Erica Hunt terms this existence as an oppositional poetics. By explicating the performance of Bobby Timmons and Lee Morgan of Art Blakey and the Jazz Messengers in the song Monin, a correlation will be made through their solo improvisations which mirror the distractions language must create in order to remain free of constraints exhibited through empirical discourse in the search of aesthetic ideas. |
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Dance Music by Sub-Genre: Acid Jazz, Dance-Pop, Dansband Music, Disco, Electronic Dance Music, Funk, Disc Jockey, Beatmatching $50.49 Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: Acid Jazz, Dance-Pop, Dansband Music, Disco, Electronic Dance Music, Funk, Disc Jockey, Beatmatching, List of Disco Artists, Chris Brown, Musicians’ Village, Studio 54, Y.m.c.a., Disco Orchestration, Swing Out Sister, Almighty Records, Euro Disco, Hot Dance Club Songs, Brand New Heavies, Disco Demolition Night, Manila Sound, Glowsticking, Disco Lento, Never Trust a Pretty Face, Dance Radio, Balearic Beat, Jim Burgess, Hot Dance Airplay, Diamonds for Breakfast, Space Disco, Carleen Anderson, Indie Dance, Cosmic Disco, Dance-Punk, Marc Mysterio, Hustle, Thank God It’s Friday, Forever Glam!, Acid Blues, Repetitive Music, Plato’s Retreat, D*note, Disco Ball, Nu-Disco, Schooldisco, Disco: a Decade of Saturday Nights, Tendance, Free Tekno, Baby Loves Disco, Deep Funk, Young Disciples, Ganymed, Poet Amanda Lear, Nicola Conte, Dance Valley, Galliano, Italo House, Roy G and the Biv, Disco Mix, Four-On-The-Floor, World’s Largest Disco, Memory Records, Disco Fever, Richie Rome, Illuminated Dance Floor, Schaffel, Dansbandskampen, Orlando Riva Sound, Disco Step-By-Step, Blazzaj, Wallis Buchanan, Phials of Acid Jazz, Orchestral Build, Jackie 60, Tee Scott, Mim, Love Songs in the Digital Age, Nexus, Pete Carney, Cory Wade, Amour Tojours, Amour Toujours, My Baby Just Cares for Me. Excerpt: The following lists groups or individuals primarily associated with the disco era of the 1970s and early 1980s and some of their most noteworthy disco hits. Numerous artists, not usually considered disco artists, implemented some of the styles and sounds of disco music, and are also included. “Hot Leather” (1978) … More: http://booksllc.net/?id=415276 |
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Dancing Horses $19.95 Unlike most modern reunions of halcyon legends, Liverpool’s Bunnymen have regrettably not been the astonishing greats they were on stage from 1980-1988. One badly misses the sadly deceased Pete De Freitas’s neck-snapping drum destruction and the staccato, hefty basslines of the sadly fallen-out Les Pattinson. Still present is singer Ian McCulloch, who should never have given up playing rhythm guitar; statuesque and hiding behind shades and overcoat, big Mac appears sedate, lazy, and bored, whereas he once radiated mystery and sexuality. He’s gone from the star who might steal your girlfriend to the guy who can’t be bothered. Nevertheless, Dancing reminds they are still well worth seeing. Filmed in London, November 1, 2005, 14 of these 19 songs are oldies — which is crucial (and four of the five others are from their only good comeback LP, 2005’s Siberia). And though they avoid their three ’80s live zenith epics, the once-frightening “Over the Wall” and the twin ten-minute extended punishments of “Crocodiles” and “Do It Clean” (all require De Freitas!), this vintage material is immediately reanimated by Will Sergeant’s still-dazzling array of lead guitar sounds. Meanwhile, McCulloch’s distinctive pipes (albeit with a slight rasp these days) sound great on 1980 Crocodiles’ classics “Going Up,” “All That Jazz,” “Rescue,” and “Villiers Terrace,” or more complicated stompers like “Show of Strength” and “The Cutter.” Like 2002’s Live in Liverpool DVD, their four contemporary bandmates can’t collectively match the old rhythm section’s dynamism, but all acquit themselves forcibly, nonetheless. So if we’d trade Dancing for more vintage ’80s footage a la Shine So Hard, the retrofitted dog still barks. ~ Jack Rabid, Rovi |
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David Benoit – Gothic Jazz Dance – Sheet Music (Digital Download) $5.25 Performed by: David Benoit: Gothic Jazz Dance Digital Sheetmusic – instantly downloadable sheet music plus an interactive, downloadable digital sheet music file, scoring: Piano/Chords;Instrumental Solo, instruments: Piano; 4 pages |
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Defunct Radio Stations In The United Kingdom $31.4 Purchase includes free access to book updates online and a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Chapters: 102.2 Jazz Fm, Radio 270, Atlantic 252, Radio Atlantis, Pennine Radio, Radio 4 News Fm, Thejazz, Capital Disney, 102.2 Smooth Fm, South London Radio, Teamtalk 252, Talk 107, Mojo, Radio Londres, Yorkshire Radio Network, Radio City, Classic Gold, Ukc Radio, Faze Fm, Q96, Original 106, Oak 107 Fm, Core, Capital Life, Devonair, Swindon Fm, the Superstation, 100.4 Jazz Fm, Classic Gold Digital Network, Radio Tees, Time 106.8, Student Broadcast Network, Bbc Radio 5, Amber Radio, Saga 106.6 Fm, Country 1035, Pure Dance, Oneword, Supergold, Melody 105.4 Fm, Hot Fm Network, Saga 105.7 Fm, Kfm Radio, Centre Fm, Star 107.9, Virgin Radio Groove, Digital News Network, Original 106.5, Primetime Radio, Chiltern Radio Network, Dream 107.2, Scot Fm, 107.3 Abbey Fm, 102.6 |
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Desperate Man Blues: Discovering the Roots of American Music $27.99 Joe Bussard is one of the most renowned collectors of records (principally 78 rpms, and principally from before the ’50s) of American country, old-timey folk, blues, jazz, and Cajun music. The 50-minute documentary Desperate Man Blues: Discovering the Roots of American Music is a portrait of Bussard that still finds him almost maniacally enthusiastic about collecting (and the music he collects) more than 50 years after he first started to get involved with the pastime. For serious American popular music lovers, his story is fascinating because, though you can read about the history of the musicians in his record collection in many sources, there hasn’t been much in-depth documentation about the collectors responsible for finding their rare recordings and keeping their music alive. Bussard certainly makes for a colorful figure, holding court in his large basement record library-cum-radio-studio, wagging a cigar and talking up a blue storm about his musical heroes and collecting exploits. There are plenty of interesting stories about the almost absurd lengths Bussard went to for tracking down his rarities in private homes, to the point of wading across a creek to get to one rural house that was otherwise inaccessible. He does come across as something of a stuck-in-the-past curmudgeon, particularly when he dismisses virtually all music of the past half-century (at several points) as utterly devoid of merit. At the same time, the way he physically reacts to the records as he plays them — smiling, dancing, and almost swooning with joy — makes his genuine love for the music itself evident. Along the way, he also tells a lot of anecdotes about the labels and musicians themselves, the filmmakers also capturing something of his mildly eccentric milieu in his Maryland base, where his life almost exclusively revolves around his records, collecting, and radio show. Bussard’s daughter, and several fellow music enthusiast friends, are also interviewed to testify as to the de… |
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Dial & Oatts – Brassworks [CD] – Used $5.67 Brassworks |
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Dial & Oatts – Dial & Oatts Play Cole Porter [CD] – Used $12.99 Dial & Oatts Play Cole Porter |
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Digitopia Blues: Race, Technology, and the American Voice $15.16 New – “Digitopia Blues is a sawy analysis of music, poetry, and the digital scene that may frame the future of cultural politics in America. It is a story of orality and literacy–their individual histories and their individual histories and their individual histories and their blended futures. Musician and poet John Sobol tells this tale interwined with stories about the blues, jazz, rock ‘n’ roll, the African-American struggle to find a language of revolutionary power, and the oral poet’s impu |
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Digitopia Blues: Race, Technology, and the American Voice $16.95 New – “Digitopia Blues is a sawy analysis of music, poetry, and the digital scene that may frame the future of cultural politics in America. It is a story of orality and literacy–their individual histories and their individual histories and their individual histories and their blended futures. Musician and poet John Sobol tells this tale interwined with stories about the blues, jazz, rock ‘n’ roll, the African-American struggle to find a language of revolutionary power, and the oral poet’s impu |
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Discover Jazz $37.53 John Edward Hasse,NOOK Study eTextbook, English-language edition,Pub by Pearson |
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Divine heresy: Women’s revisions of sacred texts. $49.99 This dissertation argues that American women writers have revised sacred texts to challenge patriarchy, racism, and colonialism and rewritten American history to reveal how biblical scripture has been implicated in these processes. I focus on the literary strategies of Toni Morrison, Leslie Marmon Silko, and Lucille Clifton to rewrite sacred texts and create myths for a new society. In different ways, these writers redefine Christianity, often by countering the erasures of women in biblical scripture, recovering suppressed texts such as those from the gnostic tradition, and creating new sacred texts. Chapter I traces the history of feminist scriptural revision from the early feminist movement to its resurgence in the late-twentieth century. In this period, a number of authors rewrote religious scripture from a pre-Christian tradition; Elaine Pagels' The Gnostic Gospels played a critical role in the attention given to scripture suppressed by Christianity and the potential it holds for writers interested in recovering alternative epistemologies. Chapter II focuses on Morrison's Beloved and Jazz , which are concerned with the way biblical theology is proliferated through apocalyptic narrative strategies and omniscient narration. This chapter investigates the shift Morrison makes between biblical and gnostic concerns in the first two books of her trilogy. Chapter III analyzes the final book in Morrison's trilogy, Paradise, and compares it to Silko's Gardens in the Dunes. Here, Morrison relies on gnostic sources to scrutinize the effects of biblical notions of utopia on literature and its implications for social relations. Gardens uses the same sources but puts them to different uses, subverting their authority in a rewriting that supports Native survival through a program of cultural syncretism. Chapter IV examines the poetry of Lucille Clifton, who, although initially revising Christianity through her refiguring of the Lucifer character, rejects |
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Dixieland Jazz $20.75 Kaelyn Smith,Paperback, English-language edition,Pub by Webster’s Digital Services |
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Double Time Jazz Collection – Volume 5 $13.99 This fifth volume of the DOUBLE TIME JAZZ COLLECTION presents a pair of concerts from two of the biggest names in jazz music. DIGITAL… |
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Double Time Jazz Collection, Vol. 1 $14.98 Carmen McRae/The Manhattan Transfer / Digital Video Disc (DVD) / 2004 |
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Double Time Jazz Collection, Vol. 4 $14.98 Lee Ritenour/Dave Grusin/GRP All-Stars / Digital Video Disc (DVD) / 2004 |
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Double Time Jazz Collection, Vol. 5: Roots – Salute to the Saxophone/The Gadd Gang: Digital Live, V – [DVD] – Used $5.57 Double Time Jazz Collection, Vol. 5: Roots – Salute to the Saxophone/The Gadd Gang: Digital Live, V |
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Double Time Jazz Collection, Vol. 6 $14.98 Lee Ritenour/Steps Ahead / Digital Video Disc (DVD) / 2004 |
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Dunedin Soundings: Place and Performance $37.39 New – The ‘Dunedin Sound’ of the 1980s is a phenomenon known throughout the world. But what does Dunedin music-making sound like in the 21st century? “Dunedin Soundings” features writing from musicians, composers and scholar/practitioners. They discuss genres as diverse as brass band, opera, classical, Indonesian gamelan, jazz, rock and more, the intricacies of the composition and lyric writing processes, digital remixing, and scoring for film and TV. Together, they reveal the ways in which thes |
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Dunedin Soundings: Place and Performance $51.75 New – The ‘Dunedin Sound’ of the 1980s is a phenomenon known throughout the world. But what does Dunedin music-making sound like in the 21st century? “Dunedin Soundings” features writing from musicians, composers and scholar/practitioners. They discuss genres as diverse as brass band, opera, classical, Indonesian gamelan, jazz, rock and more, the intricacies of the composition and lyric writing processes, digital remixing, and scoring for film and TV. Together, they reveal the ways in which thes |
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Dunedin Soundings: Place and Performance $26.56 New – The ‘Dunedin Sound’ of the 1980s is a phenomenon known throughout the world. But what does Dunedin music-making sound like in the 21st century? “Dunedin Soundings” features writing from musicians, composers and scholar/practitioners. They discuss genres as diverse as brass band, opera, classical, Indonesian gamelan, jazz, rock and more, the intricacies of the composition and lyric writing processes, digital remixing, and scoring for film and TV. Together, they reveal the ways in which thes |
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Dunedin Soundings: Place and Performance $50.76 New – The ‘Dunedin Sound’ of the 1980s is a phenomenon known throughout the world. But what does Dunedin music-making sound like in the 21st century? “Dunedin Soundings” features writing from musicians, composers and scholar/practitioners. They discuss genres as diverse as brass band, opera, classical, Indonesian gamelan, jazz, rock and more, the intricacies of the composition and lyric writing processes, digital remixing, and scoring for film and TV. Together, they reveal the ways in which thes |
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ELECTROVOICE UHF Diversity Handheld Wireless Microphone System w/Meters & w/Hard $499 With the N/D767a which is a dynamic supercardioid lead microphone l First choice among singers and engineers l Features VOB technology for reduced boominess and P-popping l Extremely low handling noise.–RE-2 Professional Receiver -The RE-2 Series Wireless Microphone System brings sophisticated, professional features for an affordable price. The RE-2 is a completely programmable, frequency-agile system with one-touch Auto-ClearScan. It operates over 28MHz (six TV channels), XLR mic, line level output, and many other features. –* Element Dynamic -* Polar Pattern Supercardioid -* Impedance, Low-Z balanced 300 Ohms -* Connector Type 3-pin XLR -* Open Circuit Voltage 3.1 mV/Pascal -* Audio Frequency Response 35 – 22,000 Hz Near Field 70 – 22,000 Hz Far Field -* Mic Type Handheld Wireless -* Finish Non-reflecting Black -* Case Material Metal -* Displays Group/Channel, Frequency, or Battery Level -* Antennas Internal 1/2 wave -* Battery Life 8 hours with Alkaline typical -* Mic Type Handheld -* Power Requirement 9V Battery -* RF Output 5mW or 50mW selectable -* Case Material Overmolded High-Impact ABS -* Microphone Applications: Female Vocal, Jazz, Male Vocal, Rock –RE-2 Professional Receiver-* Controls On/Off, Set, Up, Down, Audio Line Level Output -* Displays Group/Channel, Frequency, Diversity, AF meter, RF meter -* Connector Type 1/4″ unbalanced -* Connector Type 3-pin XLR -* Antennas External 1/4 wave detachable -* Audio Frequency Response 50Hz – 15kHz +/- 2dB -* Distortion (@ 1kHz, 40 kHz deviation) < 1 % -* Diversity Digital Posi-Phase True Diversity -* Dynamic Range > 100 dB -* FCC Type Acceptance Approved under Part 15 -* Number of channels 1112 possible (programmable in 25kHz steps) per band -* Squelch Tone Code plus Amplitude -* Case Material Steel -* Dimensions (HxWxD) 43.7 x 190.5 x 150 mm (1.72″ x 7.5″ x 5.91″) |
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Electronic Dance Music: Euro Disco, Acid Jazz, Glowsticking, Dance Radio, Balearic Beat, Hot Dance Airplay, Indie Dance, Repetitive Music $54.2 New – Chapters: Euro Disco, Acid Jazz, Glowsticking, Dance Radio, Balearic Beat, Hot Dance Airplay, Indie Dance, Repetitive Music, Free Tekno, Dance Valley, Four-On-The-Floor, Schaffel, Mim, Love Songs in the Digital Age. Source: Wikipedia. Pages: 70. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Excerpt: Euro disco or eurodisco is a large colloquial term used to des |
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Electronic Dance Music: Euro Disco, Acid Jazz, Glowsticking, Dance Radio, Balearic Beat, Hot Dance Airplay, Indie Dance, Repetitive Music $35.39 New – Chapters: Euro Disco, Acid Jazz, Glowsticking, Dance Radio, Balearic Beat, Hot Dance Airplay, Indie Dance, Repetitive Music, Free Tekno, Dance Valley, Four-On-The-Floor, Schaffel, Mim, Love Songs in the Digital Age. Source: Wikipedia. Pages: 70. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher’s book club where you can select from more than a million books without charge. Excerpt: Euro disco or eurodisco is a large colloquial term used to des |
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Ella & Basie The Perfect Match ‘79 $11.98 Ella Fitzgerald was just a tad past her prime during this 1979 concert at the Montreux Jazz Festival with the Count Basie Orchestra, though she still is very much a swinging vocalist who can keep an audience in the palm of her hand. With her regular trio, including pianist Paul Smith, bassist Keter Betts, and drummer Mickey Roker accompanying her for most of the concert, plus the powerful Basie band pushing her, Ella gives her all on every number, interpolating quotes from a number of different songs, both familiar and obscure. She’s at her best in the up-tempo swingers that were part of her repertoire for ages, among them “Sweet Georgia Brown” and “After You’ve Gone.” Her vibrato is a bit more noticeable during “‘Round Midnight,” though it is still an effective interpretation. Ella’s highlight is easily her scat treatment of “Flying Home,” which mixes in so many song quotes that is difficult to track all of them (“Moose the Mooche,” “On the Trail,” and “I’se a Muggin’” are among them), while she also simulates a number of instruments, too. Basie finally takes over at the piano for the last two numbers, including an impromptu blues that gives way to “A-Tisket, A-Tasket,” followed by Ella’s touching interpretation of “I’ve Got a Crush on You,” with Smith back on piano. The audio and video have some imperfections, as it is unlikely that producer Norman Granz documented the concert with the intention of commercial issue, but any fan of Ella Fitzgerald will want this rewarding DVD in his or her collection. ~ Ken Dryden, Rovi |
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Ella & Louis Again $19.98 Over the years, there have been different incarnations of Ella and Louis Again, which has been a single LP, a two-LP set, a single CD, and a two-CD audiophile set from Mobile Fidelity Sound Lab. There are no compelling reasons why someone who already owns the audiophile version of Ella and Louis Again that Mobile Fidelity put out in 1995 would find this 2003 version to be an essential purchase — Verve hasn’t added any alternate takes or bonus tracks, and this double CD contains the very same selections in the very same order. Nonetheless, Verve’s 2003 version is a nicely assembled reissue — very nicely, in fact. From attractive packaging to excellent digital remastering, Verve treats Ella Fitzgerald and Louis Armstrong’s 1957 duets with the respect they deserve. Verve maintains Norman Granz’ original liner notes — a wise move — but they have also added insightful new liner notes by John Sinclair. And the performances, of course, are first-rate. Stylistically, singer Fitzgerald and trumpeter/singer Armstrong had very different histories; he started out in Dixieland before branching out into classic jazz and swing, whereas Fitzgerald started out as a swing-oriented big-band vocalist before becoming an expert bebopper. But the two of them have no problem finding common ground on Ella and Louis Again, which is primarily a collection of vocal duets (with the backing of a solid rhythm section led by pianist Oscar Peterson). One could nit-pick about the fact that Satchmo doesn’t take more trumpet solos, but the artists have such a strong rapport as vocalists that the trumpet shortage is only a minor point. Seven selections find either Fitzgerald or Armstrong singing without the other, although they’re together more often than not on this fine reissue. ~ Alex Henderson, Rovi |
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Ella & Louis Again $21.98 Over the years, there have been different incarnations of Ella and Louis Again, which has been a single LP, a two-LP set, a single CD, and a two-CD audiophile set from Mobile Fidelity Sound Lab. There are no compelling reasons why someone who already owns the audiophile version of Ella and Louis Again that Mobile Fidelity put out in 1995 would find this 2003 version to be an essential purchase — Verve hasn’t added any alternate takes or bonus tracks, and this double CD contains the very same selections in the very same order. Nonetheless, Verve’s 2003 version is a nicely assembled reissue — very nicely, in fact. From attractive packaging to excellent digital remastering, Verve treats Ella Fitzgerald and Louis Armstrong’s 1957 duets with the respect they deserve. Verve maintains Norman Granz’ original liner notes — a wise move — but they have also added insightful new liner notes by John Sinclair. And the performances, of course, are first-rate. Stylistically, singer Fitzgerald and trumpeter/singer Armstrong had very different histories; he started out in Dixieland before branching out into classic jazz and swing, whereas Fitzgerald started out as a swing-oriented big-band vocalist before becoming an expert bebopper. But the two of them have no problem finding common ground on Ella and Louis Again, which is primarily a collection of vocal duets (with the backing of a solid rhythm section led by pianist Oscar Peterson). One could nit-pick about the fact that Satchmo doesn’t take more trumpet solos, but the artists have such a strong rapport as vocalists that the trumpet shortage is only a minor point. Seven selections find either Fitzgerald or Armstrong singing without the other, although they’re together more often than not on this fine reissue. ~ Alex Henderson, Rovi |
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Epitaph [DVD] $14.98 Musicologist/conductor Gunther Schuller discovered and restored this massive, 130-minute work by the late bassist, then presented it in concert in New York in 1989. Scored for 30-piece jazz orchestra, Epitaph is thought by Schuller to have been worked on between 1940 and 1962. Amazingly enough, six of the players specified in the score appear on this recording. Some of the sections are familiar to Charles Mingus fans from small-band recordings, particularly “Better Get It in Your Soul,” “Monk, Bunk, & Vice Versa (Osmotin’),” and “Peggy’s Blue Skylight,” and there was an attempt to record this work for United Artists in 1962. Schuller makes a case for this work as a unified, 18-movement work in his extensive notes to this set. There is definite evidence that this is how Mingus himself thought of it as well. There is plenty of great big-band writing here, and some fine soloists, notably Bobby Watson, Randy Brecker, George Adams, and Wynton Marsalis. Schuller says it best in his notes: “This recording, while not the perfect realization of Epitaph — can that ever be achieved? — is an enthusiastic, dedicated, loving recreation, which now at last brings Mingus’ magnum opus to life.” With luck, this release will send people back to his many excellent recordings. [This live performance was also released on DVD.] ~ Stuart Kremsky, Rovi |
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Essential Jazz: The First 100 Years, 1st Edition $56.98 A complete jazz course at one unbeatable price, ESSENTIAL JAZZ, THE FIRST 100 YEARS and its complete listening package explores the development of jazz from its nineteenth-century roots in ragtime and blues, through swing and bebop, to fusion and contemporary jazz styles. Unique in its up-to-date coverage, ESSENTIAL JAZZ devotes a full third of its length to performers of the 1960s to the present day. Extensive, accessible Listening Guides tie the history of jazz music directly to the CD selections, giving newcomers and aficionados alike a true feel for the vibrant, ever-changing sound of jazz. Free with every book, two CDs include all the musical examples from the text, as well as an “Audio Jazz Primer” that allow you to hear the key terms, basic music concepts, and jazz instruments discussed in the book. |
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Essential Jazz: The First 100 Years, 2nd Edition $56.48 A complete jazz chronology, ESSENTIAL JAZZ: THE FIRST 100 YEARS, 2e, delivers a thorough and engaging introduction to jazz and American culture. Designed for nonmajors, this brief text explores the development of jazz from its nineteenth-century roots in ragtime and blues through swing and bebop to fusion and contemporary jazz styles. Unique in its up-to-date coverage, one-third of ESSENTIAL JAZZ is devoted to performers of the 1960s through present-day performers. The text’s flexible organization and clear, interesting presentation are designed to appeal to learners with little or no music background. Accessible, informative Listening Guides provide a rich sociocultural context for each selection, giving both newcomers and aficionados a true feel for the vibrant, ever-changing sound of jazz. |
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Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. $49.99 Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature.;Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument. Performance of Deane’s vibraphone works requires a performer to utilize grips and specific performance techniques that are departures from standard performance practices. Many of the performance techniques needed to successfully execute these pieces are not routinely found in either percussion pedagogy courses or performance ensemble situations. As a result, most percussionists are not familiar with these techniques and will require additional assistance, instruction, or demonstrations.;The impetus of this document is to present explanations and solutions for performance areas that require extended performance techniques, to offer recommendations on the creation, choosing, and manipulating of special implements, and to propose varied choices related to artistic interpretation of three of Deane’s vibraphone pieces: Mourning Dove Sonnet (1983), The Apocryphal Still Life (1996), and Dis Qui Etude (2004). |
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Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. $49.99 Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature.;Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument. Performance of Deane’s vibraphone works requires a performer to utilize grips and specific performance techniques that are departures from standard performance practices. Many of the performance techniques needed to successfully execute these pieces are not routinely found in either percussion pedagogy courses or performance ensemble situations. As a result, most percussionists are not familiar with these techniques and will require additional assistance, instruction, or demonstrations.;The impetus of this document is to present explanations and solutions for performance areas that require extended performance techniques, to offer recommendations on the creation, choosing, and manipulating of special implements, and to propose varied choices related to artistic interpretation of three of Deane’s vibraphone pieces: Mourning Dove Sonnet (1983), The Apocryphal Still Life (1996), and Dis Qui Etude (2004). |
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Fender® 235-0500-000 G-DEC® 30 Guitar Amp $399.99 Guitar practice is often a lonely affair. Fender’s G-DEC (Guitar Digital Entertainment System) is a combo amplifier that has a menu of special effects to help create a band that Surround and accompany you as you pick and strum away.-30 Watts into 8 Ohms to built-in 10″ speaker-Easy recall of guitar tones from Heavy Metal to Jazz to Punk to Country -Special effects like Reverb and Echo plus fun, creative Sound effects! -70 patterns including drum beats, Bass lines, and other instruments providing musical backing -Individual measures can be extracted from onboard patterns for use in Composition Mode -Internal synthesizer with MIDI Interface allows playing with MIDI song files via computer. -Every general MIDI instrument from Piano to Percussion is inside. -MIDI song files can be loaded from computer and stored onboard. -Easy-to-use automatic guitar Tuner -CD or MP3 devices can be hooked up with the G-DEC for “play along” capability -Internal 28 second Phrase Sampler can sample the incoming guitar signal to create loops, or song snippets from CD/MP3 may be captured for careful study -Phrase Sampler can do “sound on sound” overdubs -Future Software Upgrades can be loaded via MIDI -Optional footswitch allows start-stop of backing tracks and phrase samples, Program selection, or tuner select -Left and Right line outputs have speaker-emulated response for stage or Recording use |