Wanda Jackson - Live In Sundsvall (Sweden) 1984
Rock | MP3 CBR 192 Kbps | 70 MB | Cover | RS.com
Rock | MP3 CBR 192 Kbps | 70 MB | Cover | RS.com
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Have you ever wondered what your name says about you? At KoalaNames.com, we’ve decoded over 17,000 names to uncover the cosmic and numerical energies woven into every letter.
Our unique blend of astrology and numerology delivers:
Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated. Somehow Gillespie could make any "wrong" note fit and harmonically he was ahead of everyone in the 1940s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz.
Dizzy Gillespie was also one of the key founders of Afro-Cuban (or Latin) jazz, adding Chano Pozo's conga to his orchestra in 1947 and utilizing complex polyrhythms early on. The leader of two of the finest big bands in jazz history, Gillespie differed from many in the bop generation by being a masterful showman who could make his music seem both accessible and fun to the audience. With his puffed-out cheeks, bent trumpet (which occurred by accident in the early '50s when a dancer tripped over his horn) and quick wit, Dizzy was a colorful figure to watch. A natural comedian, Gillespie was also a superb scat singer and occasionally played Latin percussion for the fun of it, but it was his trumpet playing and leadership abilities that made him into a jazz giant.
This 1991 release is a pinnacle of avant-fusion and most of the credit goes to Joachim Kühn's gloriously raw and distorted electronic keyboard sound. As a guitarist, it's hardly surprising that Miroslav Tadic would summon prototypes of ecstatic electric music like Jimi Hendrix and Allan Holdsworth, but for a musician best known as a pianist, and occasionally a rather bland one, it's a real shock to hear the same prototypes summoned by keyboards.
Two brothers in funk collided and decided it was time to bring funk classics to the Israeli stage. Elran Dekel and Guri Alfi got together a band of four and before the year was up Funk'n'Stein The Band was on stage playing the music of James Brown, George Clinton, Sly and The Family Stone and all of their favorite funk artists. They found that the people didn?t need to know the music in order to enjoy it. From the moment the show started it seemed everybody forgot the world outside and all that existed was that dancing, groovy vibe. They got the early Friday slot every two weeks in a Tel Aviv club and watched their crowd grow with every show.
Al compositions by Joachim Kühn, Recorded May 1986 at The Studio, Zerball, by Walter Quintus
Boundaries, whether geographical or musical - for piano player Joachim Kühn they only exist to be passed. Boundaries between East and West, Europe and America, modern concert music and jazz and, more specifically, between various styles of jazz - during his career he has passed them all and still keeps doing so. Leipzig, Hamburg, Paris, Los Angeles, New York, and again Hamburg and Paris have been the stopping places of his journey; classical music, dixie, hard bop, free jazz, free rock, fusion, and European improvised music the stages of his artistic career. To him, changing places means giving expression to new stylistic positions and, at the same time, finding fresh sources of inspiration. However, Kühn is not a musical chameleon perfectly adapting itself to any given context. A virtuoso of the black and white keys, he is internationally considered one of the outstanding and most unique voices of European jazz.