Introducing Amazon Music
Amazon Music is a premium, subscription-based music streaming service from Amazon that offers access to over 100 million songs on-demand (https://www.pcmag.com/reviews/amazon-music-unlimited). It provides high quality audio with either lossless or standard quality streaming across multiple platforms and devices. Amazon offers both individual and family plans for Amazon Music, which allow unlimited skipping, downloaded playlists for offline listening, hands-free listening with Alexa, and personalized recommendations.
The service was originally launched in public beta in 2007 as Amazon MP3, which allowed users to purchase MP3 audio files individually or as part of an album. It was later rebranded as Amazon Music in 2016 with the introduction of Prime Music, which provides Prime members with limited streaming access bundled with their membership. In 2019, Amazon Music Unlimited was introduced as a premium, on-demand subscription tier.
Amazon Music aims to compete with other top music streaming services like Spotify, Apple Music, and YouTube Music by offering robust catalogs, high quality audio, competitive pricing, and deep integration with Alexa and Amazon’s ecosystem of products and services (https://www.digitaltrends.com/home-theater/what-is-amazon-music/). The service continues to expand with new features and functionality.
Amazon Music App Availability
The Amazon Music app is available on a wide range of platforms, allowing you to listen to music from Amazon Music on many different devices. According to Amazon’s website, the Amazon Music app can be downloaded on Android, iOS, Fire Tablet (with Fire OS 6 and above), Fire TV, select streaming devices, smart TVs, and smart speakers.
Some of the most popular platforms where you can find the Amazon Music app include:
- Android phones and tablets
- iOS devices including iPhone and iPad
- Fire tablets and Fire TV devices
- Echo smart speakers
- Smart TVs from Samsung, LG, Sony, Vizio, and others
- Gaming consoles like PlayStation and Xbox
- In-car entertainment systems
- PC and Mac computers
So whether you want to listen on your smartphone, tablet, computer, TV, smart speaker, or in the car, chances are you can download the Amazon Music app on your device of choice. This wide availability makes it easy and convenient for users to enjoy music from Amazon Music on all their devices.
Amazon Music on Android Devices
Amazon Music is available on Android devices. According to the Amazon Music app page, the app can be downloaded for free from the Google Play Store on Android phones and tablets.
The Amazon Music app allows you to stream tens of millions of songs without ads, listen to curated playlists and stations, and download songs for offline listening. It works with both Amazon Music Unlimited and Amazon Prime Music subscriptions.
So in summary, yes – the Amazon Music app can be installed on any Android device by downloading it from the Google Play store. This allows Android users full access to the Amazon Music catalog and features.
Downloading the Amazon Music App
The Amazon Music app is available for free download from the Google Play Store on all Android devices. Here are the steps to download the Amazon Music app on your Android phone or tablet:
- Open the Google Play Store app on your Android device.
- Search for “Amazon Music” or click on this link: https://play.google.com/store/apps/details?id=com.amazon.mp3
- Tap on the “Install” button.
- The app will begin downloading. The download time depends on your internet connection speed.
- Once downloaded, tap “Open” to launch the Amazon Music app.
- Sign into your Amazon account or create a new one if you don’t already have an account.
- After signing in, you can start using the Amazon Music app and access your music library.
The Amazon Music app is free to download and install on any Android device running Android 4.4 KitKat or higher. Downloading the app allows you to play your purchased and imported music from Amazon as well as stream Prime Music and Music Unlimited songs if you have an active subscription.
Amazon Music App Features
The Amazon Music app for Android has many useful features that allow you to easily discover, stream, download, and manage music on your Android device. Some of the key features include:
Access to over 90 million songs that you can stream or download for offline listening. You can browse curated playlists and stations based on your preferences and listening history (according to Amazon).
Ability to download songs, albums, playlists, and stations for offline listening when you don’t have an internet connection. Downloads are stored locally on your device.
Personalized recommendations based on your taste to discover new artists and songs you’ll love. The home page surfaces new releases, recommendations, and playlists for you.
Hands-free listening with Alexa voice commands so you can request songs, change playlists, control playback etc simply using your voice.
Syncing between devices so you can seamlessly switch between listening on your Android phone, tablet, computer etc while retaining your preferences, library etc.
Ability to manage your music library and playlists, add songs to favorites, delete downloads etc.
High quality audio streaming for Prime members at no extra cost. Option to upgrade to Amazon Music HD for lossless HD quality audio.
Integrations with smart home devices and car infotainment systems for music streaming throughout your home.
Amazon Music Subscription Options
Amazon Music offers a variety of subscription options to fit different needs and budgets:
Amazon Music Unlimited gives you access to over 75 million songs ad-free, including millions of songs in Ultra HD and spatial audio. Amazon Music FAQs Individual plan is $9.99/month for Prime members ($8.99/month for a single Echo device plan). The Family Plan allows up to 6 users for $15.99/month (or $149/year).
For Amazon Prime members, Amazon Music Prime offers 2 million hand-curated songs and thousands of playlists ad-free, at no additional cost to Prime membership. This includes both downloading for offline listening and unlimited streaming.
Those without a Prime membership can sign up for Amazon Music Free. This gives access to top playlists and stations, but with periodic ad interruptions. There is no option to download or unlimited streaming with the free tier.
Amazon also offers discounted student pricing for Music Unlimited at just $4.99/month. There are also plans bundled with a single Echo smart speaker starting at $3.99/month.
Overall, Amazon Music aims to provide options to suit every budget, whether you want a full unlimited catalog or just a sampling of playlists and stations. The subscription plans offer increasing benefits depending on your needs and willingness to pay. Check out Amazon Music Unlimited Family Plan details to compare all the possibilities.
Using Amazon Music Offline
One of the key features of Amazon Music is the ability to download music for offline listening when you don’t have an internet connection. This is available to Amazon Music Unlimited subscribers on Android devices. To enable offline listening:
- Open the Amazon Music app and tap on the “My Music” tab.
- Find the song, album, or playlist you want to download and tap the “Download” button next to it.
- The download will begin and you’ll see a download progress bar.
- Once the download is complete, you’ll see a checkmark indicating it’s now available for offline playback.
Downloaded content is stored locally on your device so you can listen anytime, anywhere without using mobile data or WiFi. Amazon Music Unlimited members can download up to 100,000 songs for offline use . Downloads are organized in the “Offline Music” section within the app.
One tip is to connect to WiFi when downloading songs to avoid using up mobile data. Offline downloads make Amazon Music an ideal solution for situations like flights or subway commutes where internet connectivity is limited.
Voice Commands with Alexa
One of the most convenient ways to control your music on Android devices is by using Alexa voice commands. The Amazon Music app is integrated with Alexa, Amazon’s voice-controlled intelligent personal assistant. This allows you to use spoken commands to play music hands-free without having to tap the screen or buttons on your device.
To use Alexa voice commands, you simply need to say “Alexa” followed by a request like “play music by Ed Sheeran” or “play my weekly discover playlist.” You can ask Alexa to play music by genre, mood, era, artist, album, playlist and more. Alexa can also shuffle songs or play music stations based on your preferences.
Some examples of music voice commands you can use with the Amazon Music app and Alexa on Android include:
- “Alexa, play pop music”
- “Alexa, play jazz from the 1960s”
- “Alexa, shuffle songs by The Beatles”
- “Alexa, play dinner party music”
- “Alexa, play my Recently Played playlist”
With Alexa integration, Amazon Music provides a hands-free, voice-controlled music experience on your Android device. Just speak naturally to play your favorite tunes, discover new music and control playback entirely with your voice.
FAQs About Amazon Music on Android
One frequently asked question is how to download the Amazon Music app on an Android device. The app can be downloaded from the Google Play store or Amazon Appstore by searching for “Amazon Music”. It’s compatible with most modern Android smartphones and tablets (source).
Another common question is whether Amazon Music downloads are compatible with all Android devices. Unfortunately, some older or lower-end devices may not be able to play downloaded songs due to DRM restrictions. Checking the system requirements before downloading is advised (source).
Users also often ask about playing Amazon Music offline. The Amazon Music app allows Prime members to download songs, playlists, and stations for offline listening. Downloads are accessible in the “My Music” section of the app even without an internet connection (source).
Other common questions include how to enable Alexa voice commands, use Amazon Music on multiple devices, upgrade to Amazon Music Unlimited, share playlists with friends, and troubleshoot issues with the app. The Amazon Music support site provides helpful instructions on all these topics.
Amazon Music is available for download on Android smartphones and tablets via the Google Play Store. The Android app lets you stream or download tens of millions of songs, playlists, and stations either through an Amazon Music Unlimited subscription or for free with an Amazon Prime membership.
Key features of the Amazon Music app on Android include:
- Ability to stream or download music for offline listening
- Personalized recommendations and curated playlists
- Hands-free listening with Alexa voice commands
- Lyrics view for songs
- Options for high quality audio
The Android version provides the full Amazon Music experience, matching the iOS app’s capabilities. So Android users can enjoy Amazon’s robust music catalog, personalized playlists, and Alexa integration on their mobile devices.


TITLE: Royal Liverpool Philharmonic Orchestra Classic FM Concert
VENUE: Huddersfield Town Hall
BY: William Marshall
HUDDERSFIELD Town Hall was packed for this Sunday afternoon concert which suggests that this time slot is one which ought to be exploited more often.
Also, the big audience testified to the success of the Classic FM formula.
The event was promoted by the radio station as part of the Kirklees Concert Season.
All of the works that were on the programme occupy prominent positions in a Hall of Fame compiled by Classic FM from the votes of listeners who duly flocked to hear their favourites played live by the excellent Royal Liverpool Philharmonic Orchestra.
It was a proper concert, not just a medley of famous movements.
Indeed, the second half was occupied entirely by Dvorak’s highly charged Symphony No 7, powerfully played throughout but concluding with an emotional surge which pinned the audience in their seats.
The conductor was Tomas Netopil, who is Czech.
Whether or not that gives him added insight into the music of his compatriots is a moot philosophical point, but he certainly presided over fine performances of the Dvorak symphony and of Smetana’s Vltava, played with a brio that made the river it describes seem especially turbulent.
For three years, Vaughan Williams’ The Lark Ascending for violin and orchestra has topped the Classic FM Hall of Fame.
As it is a sublimely beautiful composition, this is no surprise.
But has ‘The Lark’ become little more than a piece of musical escapism, enabling people to retreat into an imagined countryside that never was?
Well, like most of its composer’s works in pastoral vein, The Lark Ascending is drenched in melancholy and these elements came out very strongly in violinist James Clark’s performance which had just the right degree of emotional vulnerability.
It is this quality – a very English sense of loss – which makes The Lark so popular and there was a suitably contemplative silence in Huddersfield Town Hall after the last note had faded away.


April 19, 2012
Bad Liar was the solo project for the Bay Area’s Jack Brown, guitarist of Until Your Heart Stops. It has since evolved into a full band, who just put out an EP that I fell in love with. Bad Liar expands upon the emo/punk sound that we all love so much with some excellent chord progressions, varied instrumentation, and exceptional tunefulness. The vocals sound like a cross between O Pioneers!!! and Bear Vs. Shark (so you know, basically the whole melodic & gruff thing). This release is coming out eventually on Condition Records. For now, you can pay whatever you want for it on Bad Liar’s bandcamp page.


Attending Music Biz 2022 is your opportunity to make your mark on the music business and its key stakeholders. Join us May 9-12 in Nashville for global opportunities such as…
- A special in-person keynote interview with Sony Music Publishing Chairman & CEO Jon Platt;
- Tons of instances to interact with current and future business partners at major and independent labels, other publishing companies, all the digital streaming services, among others;
- Even more conversations with the digital services through workshops with Spotify, Apple Music, YouTube, Amazon, Twitch, and SoundCloud;
- Tech solutions for your company and its songwriters and artists in the royalty collection, metadata, licensing, and administration sectors of the business;
- Top tier publishing and copyright programs such as …
- Music Consumption Has Gone Global, Music Publishing Is Still Local – What Gives?
- Legislative Outlook: Is EU Copyright Law A Blueprint for the Future of the Music Industry & Growing Creator Economy?;
- The Nuts and Bolts of Valuing Catalog; Fair Pay for Every Play: Empowering Creator Rights in the Digital Age;
- They’re Coming For Us: Fraudsters & How We Stop Them;
- Hit Song Moneyball II: Harnessing the Next Generation of Compositional, Lyrical and Sonic Analytics to Bolster Creative Decision-Making;
- The Rights Behind Royalty Flows: Interdependent Roles in the Music Ecosystem;
- What’s Your Fight Song?: Alternative Dispute Resolution and the Copyright Claims Board in Music Cases;
- among many others: musicbiz2022.sched.com
- Networking events such as Warner Music Group & ADA’s Welcome Bash; Twitch’s Off-Site Party; the annual Women in Music mixer; Vevo’s cocktail event after Jon Platt’s keynote; among many others.
The who’s who of the music industry will be there. Will you?


Lunchtime Opera Gala with Mezzo-Soprano Olivia Hamblyn
Enjoy a wonderful 2 course meal including after dinner coffee in the perfect setting of the Lovell Suite at the Swettenham Arms, whilst listening to an Opera Gala performed by mezzo-Soprano Olivia Hamblyn. Indulge in classics from the operas, such as Carmen and Gianni Schicchi and sing along to your favourites from the musicals, including Cole Porter and Gilbert & Sullivan.
Olivia Hamblyn is currently completing her undergraduate studies at the Royal Northern College of Music under principal vocal tutor, Hilary Summers. Recent solo repertoire includes Vivaldi’s Gloria and Magnificat, Rutter’s Feel the Spirit, Beethoven’s Mass in C major, Haydn’s St Nicolaus Mass and Vaughan William’s Serenade of Music. In 2019, she also won the James Martin Onken Song Prize. Olivia frequently appears in the RNCM opera productions, performing recently in opera scenes as Fanny Price in Jonathon Doves’ Mansfield Park, and as Countess Emerance in Messager’s Veronique. She has also taken part in Puccini’s Fra Angelico and Vaughan Williams’ The Pilgrim’s Progress- where she played the cover of PickThank. Alongside her solo engagements Olivia frequently performs a diverse range of music with choirs and ensembles around the country including: the National Youth Choirs of Great Britain, the Hallé Choir, RNCM Chamber Choir and Kantos Chamber Choir. Recent performances with these ensembles include: a new composition by Anna Meredith performed at the opening night of this year’s BBC Proms; Elgar’s ‘Dream of Gerontius’ conducted by Sir Simon Rattle accompanied by the Vienna Philharmonic; the world premiere of Rebecca Dale’s ‘Requiem for My Mother’, later recorded alongside the Liverpool Philharmonic.
Olivia is also an up-and-coming choral conductor and a Sing For Pleasure Young Choral Scholar. She is the choral director of six choirs and the assistant director for Sale Youth Choirs. Olivia also works freelance as a guest conductor for larger choral organisations such as the Hallé and Huddersfield Choral Society. Outreach is a big part of Olivia’s aspirations in becoming a musician. She frequently works with children and vulnerable adults. She is the founder of Musicians’ Minds Together – a non- for-profit organisation for the support and awareness of mental health in the classical music industry. In 2021 Olivia, on behalf of the organisation received both the Yamaha Entrepreneurship award and the RNCM Creative Innovators award which has provided funding to launch the organisation.


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Funny, I was at a rehearsal working on fleshing out an arrangement on a new song with the band.........
I started playing a slow gallop like this, I don't know where I pulled it from, mostly out of boredom as the guitarist and pianist tried to figure out chord changes to go with the singers lyrics. Kinda like Geezer Butler's line on Heaven and Hell, only this song has a blusier/soul feel.
Everyone loved the bass line so much they insisted I use it in the tune!
Washington State Bassist Club #40, Wood Matters Club Member #18
"If ignorance is bliss, why aren't more people happy"


Meet our first student spotlight for 2023 – bass student Chloe Tan. Chloe is a student of Paul Tokarz, who nominated her “because of her willingness to practice and how quickly she has progressed.” Paul says even though Chloe has been taking lessons for about a year, her technique is that of someone playing for 5 years and she has a great desire to grown and learn! Read on to learn more about this overachieving bass player!
What do you study and why did you pick that instrument?
I play the cello and piano and I’m learning the bass. I chose the bass because I wanted to learn with my sister and I like how it sounds.
Who is your teacher and what do you love about them?
My teacher is Mr. Paul. I like how he’s fine with the music I listen to and that he really tries to figure out the notes to the songs I want to play. He’s really nice and a good teacher.
What kind of music do like to listen to or play? Recent favorite artist?
I like to listen to indie, pop, k-pop, j-pop, j-rock, jazz, and lofi. I mostly like to play Japanese music because it’s fast paced and I really like how it sounds. My recent favorite artists are TUYU, ZUTOMAYO, and After The Rain.
What’s your favorite thing about Stages or do you have a favorite Stages memory?
My favorite thing is to just learn music. I really enjoy learning different techniques, how to play songs, and make a bass line. Also, it’s not stressful. Stages is way more fun than actual school.
What are your musical goals? What is one of your non-music related goals?
My musical goals are to join a band and to do my best to make the experience the most fulfilling I can make it. My non-music related goal is to do well and pass all of my classes.
Tell us a favorite fun fact about yourself NOT related to music.
I really like drawing. I draw with a pen a lot, and sometimes I’ll draw tattoos on myself or other people.
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|6||x or Ab||4th fretfr.||optionalopt.|
Guitar chords in the key of C# or Db:
Chord Db13 (3rd fret) notes: (Ab), Db, F, Cb, Eb and Bb. (Cb=B).
The note Ab on the sixth string is not required, but can be played on the 4th fret if needed.
Db13 - Db(C#) dominant 13th guitar chord.
1(C#/Db), 3(F), 5(G#/Ab), b7(B/Cb), 9(D#/Eb), 13(A#/Bb).


Reincarnation Album - 12" Vinyl
The new album "Reincarnation" by BONZIE. All songs written by BONZIE, and co-produced by BONZIE and DJ Camper & Yeti Beats. 183 gram high quality 12" vinyl. Reflective iridescent sleeve with silver foil typography exclusive to vinyl. Includes sleeve lyrics. Featured in The New York Times at Rough Trade Records in NYC.


A little girl has won the hearts on the internet for her talent and creativity in playing piano. The 'exceptional talent' of the little girl named Shalmalee even caught the attention of Prime Minister Narendra Modi.
In a video that has gone viral now, the girl can be seen playing piano in sync with the song Pallavagala Pallaviyali along with a woman, who appears to be her mother.
At one point, she is also seen singing along with her mother.
The video was initially tweeted by Ananth Kumar with the caption, 'Listened to this so many times..What an inborn talent...'
PM Modi later retweeted the video and praised the girl for her talent. “This video can bring a smile on everyone’s face. Exceptional talent and creativity. Best wishes to Shalmalee!” the PM wrote.
This video can bring a smile on everyone’s face. Exceptional talent and creativity. Best wishes to Shalmalee! https://t.co/KvxJPJepQ4— Narendra Modi (@narendramodi) April 25, 2023
As per Ananth Kumar, Pallavagala Pallaviyali is a poem written by renowned Kannada poet KS Narasimha Swamy.
The internet users were stunned by the little girl’s talent who flooded the comments section with praise and heart emojis.
"Hayeee. She is soooooo adorable. 😍😍😍😍 Even my daughter is able to find the correct notes of any song, little trial and error and she comes up with the exact tune," wrote an user.
"She is so innocent as well, her mother's voice is also equally mesmerizing," remarked another user.


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Jennifer has contributed to Dance Magazine ever since graduating from New York University’s Tisch School of the Arts with a BFA in dance and journalism. She grew up in Belmont, CA, where she studied ballet, jazz and tap, danced as a corps member with Peninsula Ballet Theatre, and performed in community musical theater productions such as West Side Story and A Christmas Carol. She also trained at the Joffrey Ballet School and American Ballet Theatre in New York. A former senior editor of Pointe, she continues to take ballet, modern and hip hop classes around the city.
Hanna has written on dance for a variety of publications, including The New York Times, Time Out: New York, and The Village Voice. She is co-author of The Ballet Book (Rizzoli, 2003), and has worked as an editor at Travel Holiday, Boating, Adweek and other publications.
Raymond discovered his earliest dance inspiration in print in the photographs of Barbara Morgan, specifically her collaborations with Martha Graham. As an art and creative director he has been recognized with numerous awards. Raymond is an interdisciplinary artist, curator, and cofounder of the contemporary art gallery Curious Matter.
A native of Floyds Knobs, Indiana, Madeline studied ballet at Southern Indiana School for the Arts and was later introduced to modern dance by Bill Evans. While completing her BFA in Dance Performance and Choreography at Ohio University's Honors Tutorial College, she was cast in a historical reconstruction of Alwin Nikolais' Noumenon celebrating the 100th anniversary of his birth. As an avid dance videographer and editor, she has worked on video projects for Bates Dance Festival and the Regina Klenjoski Dance Company in Southern California. She later served as a marketing and education manager for Lar Lubovitch Dance Company and is a former assistant editor—research for DanceMedia's various publications. She is currently the managing editor of Dance Magazine and Pointe.
Growing up in the Philadelphia suburbs, Jenny’s love for dance was instilled by her first ballet teachers, Edmund Novak and Irina Kovalska. She continued her training at Boston Ballet's Summer DanceLab and the Pennsylvania Governor’s School for the Arts, and received a B.F.A. from the Boston Conservatory. A former assistant editor of Dance Teacher, she continues to teach children's dance classes in NYC.
Kristin Schwab grew up in the Twin Cities as a competition kid, turned bunhead, turned modern dancer. She graduated cum laude from New York University’s Tisch School of the Arts with a BFA in Dance and Journalism. Kristin has taught ballet at the Joffrey NY summer program, has danced with Minnesota Dance Theatre and currently dances with James Martin and Summation Dance Company. Kristin edits Technique, Face to Face, Recommended, Music, Theory and Practice and Higher Ed.
Meggie began studying ballet on the North Shore of Chicago at a young age, and later attended the Joffrey Ballet School in New York City on scholarship. She graduated from the University of Iowa with a degree in dance and English. A former intern for Pointe magazine, she worked in development at The Joffrey Ballet, first as executive assistant to the executive director, then as the Women's Board manager.
Wendy danced with the Trisha Brown Dance Company in the 1970s and has performed with many other NYC choreographers. Her own group, the Wendy Perron Dance Company, appeared at The Joyce, DTW, the Danspace Project, and the Lincoln Center Festival, as well as in cities throughout the U.S. She was one of eight choreographers profiled in the documentary film Retracing Steps: American Dance Since Postmodernism. She has taught dance at many colleges including Bennington and Princeton, and in contemporary dance centers in Europe and Russia. In addition to contributing articles to The New York Times, The Village Voice, Ballet Review, and of course, Dance Magazine, Wendy has written a brief memoir about her training and influences in Reinventing Dance in the 1960s: Everything Was Possible, edited by Sally Banes. She has served on the Bessies committee and has been an artistic advisor to Fall for Dance at NY City Center.


The B Sharp Big Band is Melbourne’s most exciting swingin’ Big Band – just ask their biggest fan, James Morrison! They’re bringing a fresh, invigorating sound to Melbourne and casting a spell on new audiences with every performance. The B#(sharp) sound has certainly got feet a-tappin’ and hearts a-poundin’ all over town!
The founder and manger, Henry K, was keen to pull together some of Australia’s best individual jazz performers to perform the classic arrangements of Basie, Ellington, Goodman, Miller and other Big Cats of the 30’s, 40’s & 50’s. Many of the arrangements B Sharp Big Band has acquired, or had carefully arranged, are well known classics! Some have for many years been ‘lost’ classics, not performed by other Big Bands around Melbourne, and rarely in Australia, if at all.
B# are determined to resuscitate these infectious tunes with a fresh twist, exposing new audiences to the lush, invigorating sound that made Big Band swing addictive to swing ears then, and now again.
B Sharp Big Band Jazz Sample
B Sharp Big Band Funk Sample
To effectively perform these exciting and complex tunes, B sharp has cajoled some of the most passionate musicians of international standing to lend their expertise and talent. The band understands the important nuances of Big Band swing and what sets it apart. The lion’s share of B sharp ‘s arrangements are for a 17 piece Big Band – and they take’ it to the stage that way, just as the original arrangers intended. That means a big, slick, energised sound, with more than a nod to the particular acoustic style of the era. In addition, a 10 piece version of the band, known as the ‘B# Big Combo’, delivers a punchy, swingin’ sound where smaller spaces or smaller occasions prevail.
From the moment the curtain draws back, the band’s striking presentation – consisting of full, new, 1940’s style outfits and their custom built, deco inspired music stands – gives the audience a taste of what’s to come. But it’s only after one considers the exceptional talent that dons each outfit and occupies each stand, that the full exciting potential of this band is realised.
The band has hosted the ‘cat’s pajamas’ of vocal talent, including Nina Ferro, Emma Franz, Julie O’Hara, Dave Williamson, Eugene Hamilton, Fiona Thorn, Frank Benedetto and David Dean (aka Dean’s Martini). David Campbell, Ross Wilson, Jane Clifton and Joe Camilleri have also featured as guest vocalists. And speaking of honoured guests, James Morrison has performed with the band on several occasions and has had this to say about them:
“When I’m in Melbourne, there’s only one Big Band I want on stage with me – B#!”
“Melbourne hasn’t known a swinging Big Band like this for a long time!”
Little wonder B Sharp Big Band has previously been invited to launch The Melbourne International Jazz Festival and perform for many significant corporate functions. (A list of these can be provided on request.) In addition, the band has performed live to air on ABC radio, and staged many public performances. Their sparkling presentation and performance standards have been right at home at prestigious venues such as The Forum, Ormond Hall, Crown Palladium, The Park Hyatt and The Grand Hyatt.
In addition to James Morrison’s endorsements, testimonials are available from clients and venue managers that the band has worked with. B# also has strong relationships with experienced and reliable suppliers of services that allow the band to shine, including a highly qualified sound engineer, stage management crew, dance performance troupes, graphic designer and photographer.


Rising musician duo AGENCY drop summer house anthem “Dreams,” fusing melodic piano with energetic basslines and floaty vocals that leaves us motivated to chase all our goals and ambitions.
Offering up a hook-laden glimpse of their upcoming album A HOUSE SUPREME, the exuberant production soars and gets us grooving along in a vibrant showcase of musicians Derran Day and Joseph Vitterito individual and combined musicality. Having met in 2016 and developing a collaborative relationship on “Red To The Moon,” the duo have carved a niche for themselves with a signature R&B-tinged electronic sound.
With Vitterito’s simple yet catchy lyricism carried by Day’s vocal range, the duo have grown leaps and bounds in six years producing 15 albums and multiple singles together. Now with their highly-anticipated album on the horizon, the pair are setting themselves up for bigger and better moves in music.


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The star of Aram Khachaturian, whose incorporation of ethnic music into a concert language was no less thorough than Bartók's, although more conservative, seems to be on the way up. The fact that he never actually set foot in Armenia is unfairly held against him; he was well acquainted with the music of that former Soviet republic, his father's homeland. Violinist Ara Malikian, likewise an Armenian born elsewhere (in Lebanon), makes a good partner for Khachaturian in this entertaining audiophile release from Spain's Non Profit Music label. The trick with the composer's Violin Concerto, premiered in 1940 by David Oistrakh, is to combine mastery of its serious technical difficulties (goosed by Oistrakh in cooperation with the composer) with rhythmic vitality and festive flair. This Malikian accomplishes very nicely, digging into rather than minimizing the concerto's moments of sentiment. He's aided by superior hybrid-SACD production, executed in a concert hall called El Palacio de Congresos de Badajoz Manuel Rojas in Spain's Extremadura region. The strings of the Extremadura Symphony Orchestra have a very attractive, slightly buzzy sheen, and you get to hear them up close. The orchestra and conductor Jesús Amigo can't claim any ethnic kinship with the composer but turn in a lively account of his Masquerade Suite, consisting of incidental music for a play by Lermontov. The opening Waltz offers one of Khachaturian's endlessly catchy tunes. The sumptuous hardbound booklet, with notes in Spanish and shaky English, may help the label live up to its name but does introduce the works and performers concisely. Recommended, especially for audiophile buyers.
AllMusic Review by James Manheim
|Concerto for violin and orchestra|


About Juan Alderete
Juan Alderete is an American bassist known for his work with the bands Racer X and The Mars Volta. He is famous for his copious use of effects, and his wide-ranging playing techniques. These skills have allowed him to play a variety of musical styles, from jazz, to heavy metal and progressive rock.
Juan Alderete, born John Peter Alderete, started to play music at an early age. Through his father and brother he was exposed to jazz music and bands like Yes, Rush and King Crimson including Jaco Pastorius and Stanley Clarke. Alderete while still being in his teens, quickly picked up the techniques of these influencers.
At Musicians Institute in L.A California, where Alderete enrolled after finishing high school, he hooked up with Paul Gilbert and Harry Gschoesser to form the speed metal band Racer X. The band split up after four years of playing, and for the next couple of years Alderete was involved in several different bands, including The Scream, DC-10, Big Sir, and Distortion Felix. In addition Alderete became an instructor at Musicians Institute where he started as a student.
In 1999, Alderete reunited with Racer X going on to record another album Technical Difficulties. It included new as well as older songs never released before.
A few years later, after receiving a phone call from The Mars Volta´s Omar Rodríguez-López, Alderete got invited for an audition for the band and eventually got the job.
Apart from being involved with The Mars Volta with whom he won a Grammy Award for their song Wax Simulacra, Alderete has been involved with his own musical projects, Vato Negro and Big Sir. Vato Negro is a group with a revolving door of musicians, including Deantoni Parks, Omar Rodriguez-Lopez, and Jon Theodore. Big Sir is a group composed of Juan and singer Lisa Papineau. The band has released two albums, and are currently recording a third. Alderete has performed with both groups in 2010 in California and Fuji Rock Festival in Japan.
Alderete usually plays Fender Precision basses and uses loads of different bass effects and gear. He collaborated with us to do a TonePrint for Shaker Vibrato called Vato Vibrato.
TonePrints by Juan Alderete
Videos with Juan Alderete
Juan Alderete makes his "Vato Vibrato" TonePrint for Shaker Vibrato
The Mars Volta - Dyslexicon @ Azkena Rock Festival 2012 [PROSHOT]


A big "thank you" to Ivan & Erin Ribic for inviting me to do this in Spokane. It was such a RUSH to squat under the lights in front of so many people in that packed Event Center of the Northern Quest Casino.
Our friend, Robbie Walden, performed last night at Druids Glen Taphouse.
Robbie has a new album out and he autographed a CD for us. Go check him out in iTunes or Spotify...the Robbie Walden Band sings Country music and has been getting play on XM-Sirius "The Highway". Its truly inspirational to hear how he wrote each song.


All music students must complete Theory of Music I, II, III and two history / literature courses. Students seeking a B.A. degree must also complete four terms of lessons and ensembles and one music elective.
Bachelor of Music degree candidates in Performance and Composition complete Theory of Music IV, and all Bachelor of Music degree candidates complete an additional history / literature course, and eight terms of lessons and ensembles, or seven with student teaching. The number of additional required courses for specializations within the Bachelor of Music program varies according to the area of specialization. All candidates for this degree must pass the Keyboard Fundamentals Examination, and Composition and Performance majors must present a satisfactory full-length recital.
Students who minor in music take six music courses. Up to two of those courses may be the Applied Music Course: a specific combination of lessons, concert attendance, and ensembles described in the music portion of the catalog and in the music department handbook.


One of Andreas Tilliander
’s many monikers, Mokira showcases the producer’s ambient work, which juxtaposes steady rhythms with turbid glitch and hazy static. Tilliander’s first album as Mokira, Cliphop (2000), won him much acclaim as well as a recording contract with Mille Plateaux, for whom he recorded his follow-up, Plee (2002). In addition, other labels such as Klanggalerie and Fat Cat have released one-off Mokira recordings.
Edited by [deleted user] on 19 Dec 2006, 00:08
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By: Mathew Schumer
On Friday, Oct. 11, Western Connecticut State University’s School of Visual and Performing Arts hosted an evening of music provided by three of their exceptional jazz combos. For their first show of the semester, WCSU’s jazz combos performed three sets of three tunes—a blend of jazz standards and originally composed and arranged material—in the Visual and Performing Arts Center’s Veronica Hagman Concert Hall.
First to perform was the five-piece Metcalf Combo, coached by WCSU Adjunct Instructor of Music Lee Metcalf. The Metcalf Combo played a three-part set, consisting primarily of standard compositions, two of which were lead by vocalist and alto saxophonist Madeline Williams. Williams was joined by Nick Kallajain on tenor sax, Jake Falce on guitar, Steven Mastrianna on bass, and Avery Gottshal on drums.
Following the Metcalf Combo was the first of two combos coached by Co-Coordinator of Jazz Studies Dr. Jimmy Greene. Among the three tunes performed by the Greene II Combo was a composition called “L.N.K Blues” by contemporary artist Robert Glasper, who made an appearance at last year’s WCSU Jazz Fest. Included in the Greene II Combo was Griffin D’Amato on trumpet, Ryan Papagelis on alto sax, Eric Simmons on tenor sax, Elise Ngbo on piano, Rachel Merriam on guitar, Miles Livolsi on bass, and Jesse Parker on drums.
Closing out the night with two more tunes accompanied by a medley of Duke Ellington & Billy Strayhorn standards was the second of Dr. Greene’s combos, the Greene I Combo. Their set began with a slight bout of tuning difficulties, but the combo eventually found their groove with a powerful tone-setting performance of “Paradisiaco”, which was written and arranged by the group’s bassist Victor Ramirez. Comprising the rest of the combo was Malin Carta on alto sax and vocals, Matt Schmidt on baritone sax, Bentley Lewis on guitar, and Ethan Benton on drums.
Alongside the combos, Dr. Greene took the stage as host for the evening to address the crowd and introduce the combos. Dr. Greene also used the platform as an opportunity to inform the audience of upcoming jazz-related events at WCSU. Included among those events were the following two combo performances of the season, the latter of which, Dr. Greene said, would feature the participation of the jazz program’s “guest artist” for the Fall semester.
Members of the WCSU and local communities are encouraged to attend the next jazz combo performance, which will take place on Sunday, Nov. 3 at 3 p.m. in the Visual and Performing Arts Center’s Veronica Hagman Concert Hall.


Double bassist David Ballam sent me this great photo of his extension (made by Chris Thelkreld-Wiegend) dominating the Chicago skyline. David is a Masters degree students studying with Peter Lloyd at Northwestern University in Evanston, Illinois. I really like this photo!
- Bass shot of the day – Tim Cobb
- Scott Rosenthal and Jason goof off before interview
- Koussevitzky’s giant bass case
- Four bass players playing one instrument
- Monolithic bass trunks
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Nazya’s work makes a compelling contact point for young Christians who find themselves hungry for something with spiritual depth but who are put off by showy religiosity.
The six-track EP is a hook-laden sonic adventure that augments some of the standard conventions of contemporary praise music with modern electronic dance music elements.
Max Aka reviews Adam Washington's album, Artifacts I.
Slated for release on November 11, the EP promises to showcase Odinma’s evolution as both a musician and, as the title suggests, a storyteller.
Subscribe to the Spectrum Magazine newsletter for email updates!


- Newcomer, Nara L. “Discovery Systems I: Challenges and Needs for Music Discovery.” International Association of Music Libraries, Archives, and Documentation Centres Conference. Vienna, Austria. July 30, 2013.
- Newcomer, Nara L. with Rebecca Belford, Deb Kulczak, Kimmy Szeto, Jennifer Matthews, and Misti Shaw. “Anforderungen an Musik-Discovery-Systeme.” [“Music Discovery Requirements.”] trans. Torsten Senkbeil and Cordula Werbelow. Forum Musikbibliothek 34, no. 2 (July 2013): 14–23. [condensed version of Notes article]
- Newcomer, Nara L., Rebecca Belford, Deb Kulczak, and Kimmy Szeto with Jennifer Matthews, Misti Shaw. “Music Discovery Requirements: A Guide to Optimizing Interfaces.” Notes 69, no. 3 (March 2013), 494–524.
- Belford, Rebecca, Steve Henry, Nara Newcomer, Steven Nordstrom, Sam Cook, and Winston Barham. “Discovery Interfaces and Music.” Music Library Association Annual Meeting, San Jose, California, March 2, 2013. (sponsored by the Emerging Technologies and Services Committee).
- Iseminger, Beth, Kathy Glennan, Stephanie Bonjack, Nara Newcomer, and Steve Henry. “RDA for All: RDA, Music Discovery, and Beyond.” Music Library Association Annual Meeting, San Jose, California, March 2, 2013. (co-sponsored by Bibliographic Control & Emerging Technologies & Services Committees). (download individual sections under the heading Plenary III.)
Business Office: 8551 Research Way, Suite 180, Middleton, WI 53562 | Phone: 608–836–5825 | FAX: 608–831–8200 | Email: email@example.com | © 2009 Music Library Association


SHANGHAI, 28 November (BelTA - China Daily). - Ballet premiered an original production Follow the Light at the Shanghai International Dance Center on Sunday.
The 45-minute production tells the story of a young man's pursuit of light — how he follows and spreads it and eventually becomes part of "the light".
Wu Husheng, the leading male dancer of Shanghai Ballet and its new deputy director, says the production is largely inspired by the music of Ludwig van Beethoven and Claude Debussy.
To create a dialogue between dance and music, Wu has rearranged the third movement of Beethoven's Moonlight Sonata and Debussy's Clair de lune (Moonlight), giving his choreography a smooth flow with enriched layers.
Wu says the creative integration of dance and music is key to the performance.
"As dancers we have to rely on our body language rather than any other tools to tell a good story and touch the audience," he says.
He also credits Xin Lili, the company's director, for keeping faith in him throughout the years. This is the fifth choreographed project by Wu, who received his first choreography assignment from Xin in 2017.
"At that time, she (Xin) seemed to be the only person in the world who believed that I had the potential to become a choreographer," Wu says.
On June 5, Shanghai Ballet's livestreaming of the rehearsal for Follow the Light was watched by what Xin describes as an unexpected crowd of 410,000 viewers.
"Audiences participated in the creative process of our new production in this new way, and we felt greatly encouraged," Xin says. "This is our production of the year, and we had to overcome many difficulties during the creative process."


Exposé print issues (1993-2011)
Patto — And That's Jazz
(Beyond Before, 1973/2021, CD+DVD)
by Henry Schneider, Published 2021-05-15
Patto was a British progressive band founded in 1970 by vocalist Mike Patto. Band members included Ollie Halsall (guitar and vibraphone), Clive Griffiths (bass), and John Halsey (drums). They released three albums in the early 70s. In 1973 they began recording their fourth album Monkey’s Bum, but it was not released and Patto disbanded. Monkey’s Bum eventually had an authorized release in 2017. And now in 2021 a live album recorded on January 21, 1973 in London was just released. However the sound quality is so poor that it makes listening to the music a challenge at the very least. The tinny sound detracts from anything the band is doing. There is a companion DVD that thankfully has much better sound quality, though still below par, containing a ten-minute Beat Club session from January 1971 with annoying psychedelic video effects and an eight-minute Pop Deux broadcast from March 6, 1971. Patto had gritty aggressive vocals and a spastic performance like Joe Cocker. But unfortunately I found the performances boring and uninspired. Their sound was pretty stripped down to individual instruments, not a unified band. Patto sounded basically like Ollie Halsall noodling on his guitar with Patto singing, plus some drums. Pretty sparse. This was partly the result of Bernie Holland of Jody Grind filling in for their bassist on the Pop Deux broadcast. If you’ve never encountered Patto before, And That’s Jazz is definitely NOT the place to start. I suppose this album will only be of interest to Patto completists. Definitely not a release you’d want to spend your hard-earned cash on.
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Dallas — Richard Strauss’s tragic opera Salome (1906) will be performed by the Dallas Symphony Orchestra at the Morton H Meyerson Symphony Center on Jan. 31 and Feb. 2, conducted by Fabio Luisi.
Based on the Oscar Wilde play, the opera is a strange and lurid piece of art best known for the lascivious tale of the title character, a princess who falls in fascinated love with the prophet John the Baptist only to have him killed by her obsession. Without question, the most iconic moment is the frenetic and erotic “Dance of the Seven Veils,” a paramount vocal and performance challenge for any soprano. The opera has shocked audiences with its brutality and eroticism since its earliest performances and has even been banned in major venues like Austria and London during its history.
Despite its sensational nature, at the heart of the play and the opera is a serious discussion of the nature of God and religion and the reception of the iconoclastic message of Christianity. Long before the bloodthirst and passion take over, the stage is set by a dense philosophical argument by a group of learned Jewish leaders which heralds the arrival of the Baptist. From there the headlong action of the drama commences. It is a moment often overlooked, but one that Wilde felt was of paramount importance to his poem and one which is exquisitely framed by Strauss. Without the discussion by the Jews, the opera is just a grotesque tabloid story.
One of the singers in this seminal scene, tenor Matthew Corcoran, discusses his part in the action. He also talks about the efforts of mounting a major production and about an opera’s ability to shock in the twenty-first century.
TheaterJones: Matt, this is your first performance with the Dallas Symphony Orchestra. Welcome. Can you tell us a bit about how you became involved in this project?
Matthew Corcoran: Thanks. To be honest, it’s still a mystery. I don’t know how they got my name or who recommended me, but I got a call to ask if I wanted to sing in the production. I play the part of the Third Jew, one of a quintet of tenors who have this animated discussion about the nature of religion and God. It’s an amazing piece of music, angry, yelling and bombastic. It starts up and then takes off like a rocket, building in intensity until suddenly the voice of John the Baptist cuts through. It’s a blast to sing.
Were you familiar with the opera coming in?
I had heard snippets of the opera before. And of course, I knew of the “Dance of the Seven Veils.” It’s one of the most famous scenes in all of opera. But I hadn’t heard the whole work until I got the part. It’s a stunning piece. It’s all done in one long act, but it is so active and engaging that it just seems to move forward.
Salome has a long and controversial history. What can you share about the current presentation? How will you perform the climactic scenes? Can an opera like this still shock people nowadays?
I think so. First of all, it involves the beheading of a prophet, so no matter what is going on in society, that’s still a shocking thing. The most important thing is to find a unique way to spin the story, so that it feels fresh and new, even though it’s a hundred years old.
The amazing thing about classical music is the way that weathers the test of time. I think about the recent production of Carmen [by the Dallas Opera in 2018]. It’s a classic and they made some important changes to the story, but it still felt like something that was relevant.
We haven’t started working on the staging yet. Rehearsals start this week. I know that the opera will be semi-staged, so I imagine for my part that will mean to be animated and to make sure that we are telling the story. I don’t know what the plans are for the “Dance of the Veils,” whether there will be a dance of not. I guess the audience will just have to come out and see. You don’t want to reveal everything before its time.
Sure. Keep the audience guessing. This is your first performance with a major music company like the Dallas Symphony. What has your journey been like to get to this point?
I have performed at the Meyerson before in a concert production of Candide with the Dallas Winds, but I agree this is the highest-level performance I have ever done.
I was raised in a small town in Massachusetts called Ipswich, which is not far from Salem where the witch trials were. My musical background was in a rock band, although I always liked art songs. I decided to study Music Education and went to one of the state schools that had a strong program in that. But I did some work in the opera workshop and kind of fell in love with the music and with singing theatrically. I was not in theater in high school, I was on the football team. I guess I did pretty well because I was encouraged by my instructors to go on in the field, and I got my master’s from Boston University. But at that point, I felt like I hit a wall. I didn’t feel like I was progressing as fast as I should have been and started to have some self-doubts. My teachers at BU suggested I look at other parts of the country and when I first sang for Clifton Forbis at SMU [Southern Methodist University, Meadows School of the Arts], I knew that this was where I wanted to be and who I wanted to be training with.
Dallas has been so exciting and welcoming. And it’s been a great place for my wife, who is an Audio Engineer.
You were accepted for a Vocal Fellowship at Tanglewood in Massachusetts for this Summer as well. What can you tell us about that opportunity?
I have always loved the idea and the intimacy of Art Song, and Tanglewood, which is where the Boston Symphony Orchestra has their Summer Festivals, is this symbol of art song and music performed in this beautiful setting up in the mountains. I heard about the Vocal Fellow program so sent in a couple of art song recordings and then flew to Chicago for the audition. It’s another great opportunity and I feel like things are really starting to move forward for me, not just here in Dallas but all over.
At the risk of asking a trite question, how important is this role in Salome to you?
I don’t want to come off as a typical blasé performer, like this is just another role. This opera is a huge thing for me. To get to perform with such a great conductor [Maestro Luisi] and to be sharing the stage with so many great singers. And to know that I belong here just shows how much hard work pays off.
I think this part is a measure of some of the success that I am having both here and beyond. This is my last semester at SMU and I definitely see myself staying in Dallas. But I am hoping that this will be the springboard to other opportunities.
It has been a blast to sing at the Meyerson. In Boston we have Symphony Hall, which is this amazing world-famous theater. The Meyerson has the same feeling. So much tradition and so many people.
Since we haven’t started rehearsals, I don’t know how different a production with the DSO will be from others I have done. But I know what the expectations are for me. I want to be completely prepared, have the music memorized (which I do), know the opera, and know what I’m supposed to be doing at all time. I want to show up and do my job and who knows, maybe they’ll call me back again.
I think people who come to Salome or to any performance show have to realize how much work goes into a production, from the singers and musicians to the production staff and backstage crew. We have worked our tails off and the reward is a final product that we can all be proud of and that we hope the audience will enjoy.


I am so grateful to be able to write, record and perform music for a living.
Music is such a gift to us all and I appreciate it more with each passing day.
I started playing drums when I was in 5th grade and picked up other instruments along the way. My mom and dad were both always so supportive. They allowed my brother and I to have our drum sets in the living room...thats right, 2 drum sets in the LIVING ROOM, and they never once asked us NOT to play. My mom was especially supportive since she was the one home all day and had to put up with all the noise. My mom passed in 2004 and my dad passed in 2014. May God rest their beautiful souls. I thank God every day for allowing me to have them as my parents.
It is October 2019 and I feel like I am just beginning. I've been writing songs for over 30 years but I’ve never really shared them. I never felt compelled to chase after some record deal to “make it” or to go out and be “Johnny Rock Star”. I have zero interest in that and I “made it” a long time ago. However, I have always been very passionate about music and as of 2019 I’ve decided to start sharing my music with anyone who is willing to listen. My plan is to release/post original music (at least 2-3 songs) quarterly beginning in September 2019. I have a very clear vision as to how I want to share my music and how you can come along for the ride. My goal is to be as close to 100% authentic as possible. I write everything. I play everything. I release everything on my own terms. 100% Independent. Good or bad, it is all my fault. I will have more details on how I plan to move forward upon release of my first song in September 2019. I hope you will stay tuned and follow me as things develop.
Currently, my live show consists of some of my original music as well as covers of songs I like. (I only cover songs that I like.) I usually play the first portion of my show with just acoustic guitar and vocals and then ramp up to include my backing tracks. Every note of my show, pre-recorded and otherwise, is 100% my doing. I don't sequence or download anything. You probably don’t care about this, but I do. The thought of downloading or sequencing backing tracks makes my skin crawl.
Things I Love: God, my family, America, my friends, our St. Louie Blues, polite and respectful people, seeing my wife and kids smile and laugh, real instruments played by real musicians, Adriana's on The Hill, chocolate covered almonds, ice cream, the truth, a good nap, iced tea, tator chips, Popeye’s Chicken, golf, tennis...
Things I Do Not Like: PC Culture, drunk idiots, rude and disrespectful people, when the Blues lose, when I am out of chocolate covered almonds, when Popeye’s Chicken is closed, taking breaks at my shows, writer's block, virtue signaling, faux outrage...
Why don’t I take breaks at my shows? - Breaks are for pansies. (Just kidding. Don’t be offended…) The truth is that I’d rather be playing than NOT playing. The only times I have taken a break since I started playing solo 10 years ago is due to illness or equipment malfunctions. Thankfully, neither of these things happen very often.
Where did I “get” my backing tracks? - I didn’t “get” them anywhere. I made them, one track at a time, myself. Every note of my live show is my doing. If I had five sets of hands I could do it all at once but since I don’t, I have to record the other parts and play over them.
Do I play private events? - Absolutely. I play everything from corporate events to private backyard parties.
That’s enough about me for now. Now read about my friend...
A lot of people have asked what the “282” on my guitar strap is all about, so here it is…
282 is the badge number for the late law enforcement officer Tom “Fritz” Ballman. Tom was killed in the line of duty on Feb. 7th, 2008 in the tragic and senseless Kirkwood City Hall shootings.
I am proud to say that Tom Ballman was my friend. We had gone to school together since 6th grade. The very first time I ever performed music in front of anyone was in Tom’s basement during a party he hosted in 8th grade. I remember Tom being so supportive and enthusiastic about us performing at his party despite the fact that we were just starting to learn our instruments and were not very proficient, to say the least. We were brutal, yet Tom was always complimenting us. I will never forget that. I wear my “282″ strap as a way of making sure that Tom is never forgotten. Folks always come up to me at shows and ask what the 282 means and I get the pleasure of telling them all about a guy who was worth talking about. Tom “Fritz” Ballman will never be forgotten.
Tom’s wife, Cindy, has established “The Fritz Foundation” as a way of keeping Tom’s memory alive and continuing his life’s work of helping others. Please visit www.thefritzfoundation.org for more information.
Growth, Peace & Gratitude,


The title 'Bach's Testament' well describes the music
gathered in this handsome boxed set, which features a new recording
of The Musical Offering and a reissue of a fifteen-year-old performance
of The Art of Fugue, both directed by Jordi Savall, one
of the world's most distinguished musicians in the field of 'early music'.
In the last years of his life - the 1740s - Bach gave his attention to the projects which most appealed to him. He composed the music he wanted to compose, and two works can justly be described as his 'opus summus': in vocal music, the Mass in B minor, and in instrumental music The Art of Fugue. And a third project, The Musical Offering, comes into a similar category.
The Musical Offering came into being as the direct result of Bach's appearance on 7th May 1747 at the Court of Frederick the Great at Potsdam. Frederick was himself a talented musician (a flautist) and during the course of the proceedings he gave Bach a theme on which to improvise a fugue. Bach duly did so, to the astonishment of the Emperor, but then he stated that he felt he could do better, to which end he intended 'to set Frederick's exceedingly beautiful theme to paper in a regular fugue and have it printed by means of copper engraving'.
Thus did The Musical Offering come into being, dedicated to Frederick the Great and printed at Bach's own expense. The sequence contains two ricercars, a trio sonata, and ten canons. If this plan seems unduly academic, the music proves otherwise, and offers further proof of Bach's genius in developing closely considered musical ideas with the utmost imagination.
The new recording by Le Concert des Nations directed by Jordi Savall is certainly compelling, not least because of the ambient and clear perspective of the recorded sound, which seems ideal for this repertoire. Tempi and phrasing are aptly chosen, and the individual players of the eight-strong ensemble bring a varied contribution to the committed teamwork which of necessity lies at the heart of any performance of this remarkable music. Bach intended the work as a tribute, and wrote the music with the utmost concern for detail and sincerity of expression. And these priorities are experienced in this excellent performance.
The Art of Fugue was recorded by Hespérion XX under Jordi Savall's direction as long ago as 1986. Again the recorded sound is remarkable and admirably clear, although the acoustic somehow gives the music a 'larger than life' quality. The score is by no means prescriptive as to the instrumentation, although the safest option remains keyboard: either harpsichord or organ. The ensemble Savall chooses is somewhat archaic, since it features four viols (treble, alto, tenor and bass), then occasionally cornett, trombone, oboe da caccia and bassoon.
The performances are sophisticated and skilful in the extreme, and there is no question that these are very talented players, very disciplined in their ensemble. The principal issue is one of style. Are viols to be preferred to violins in this music? The answer has to be 'probably not'. Of course Bach's music always defies easy analysis and proscriptive performance indicators, not least in this piece. And one thing that certainly supports Savall's approach is the extraordinarily appealing clarity of texture, which is lucid at every stage. However, the sound of the instruments too easily makes the music seem quaint rather than profound.
The booklet is beautifully organised and designed. But the lurking doubts about the instrumentation of The Art of Fugue make this an alternative performance rather than an essential one.


Inside Flow by Our Yoga Mind
Inside Flow is a modern technique combining yoga, dancing, music and emotions.
- 25 euros€25
- Finca Hotel Son Boronat
Inside Flow is a modern technique combining yoga, dancing, music and emotions: your body sings a song and embodies the energy of the music. You will consciously move through a vinyasa flow on beat by linking poses together and focusing on the transitions instead of the asanas itself. The flow class prepares you for a main song where movement, breath, heartbeat, music and emotions unites. There is always a story and a message connected to the song which we introduce before the final flows, therefore we will work with the related emotions too. On this way we create a safe space to simply be and feel, and to move through any stagnant energy. Inside Flow is a heart-opening practice, so you will feel liberated and light-hearted after the workshop. It also awakens the life force in the body. By flowing together as a group, we collectively raise our vibration therefore it’s an empowering experience indeed. In order to participate on an Inside Flow class we recommend to have min. 1-2 years of alignment based yoga asana practice.
Camí de Son Boronat, 33, Calvià, Spain


The Farmington High School Band Program is a comprehensive instrumental music education program serving over 300 students. Comprising five concert bands, four jazz ensembles, competitive marching band, pep band, solo/ensemble contest, winter percussion, and many other small ensembles, FHS band students collaborate with professional conductors, composers, and college ensembles on a regular basis.
The concert ensembles are the nucleus of Farmington High School's band program. Based on grade level and/or audition results, FHS students participate in Varsity Band, Concert Band, Symphonic Band, and Wind Ensemble. The FHS Concert Bands are top-tier ensembles that qualify several students each year for prestigious programs like the Minnesota All-State Band.
The jazz program is a hallmark of FHS and the greater Farmington community. FHS jazz ensembles have been selected for the most prestigious performances, including appearances at the Minnesota Music Educators Midwinter Clinic and Carnegie Hall. As a curricular class, all three Jazz Bands meet daily throughout the school year. The jazz ensembles perform three formal concerts annually, participate in several regional festivals, and perform often for community and social events.
The Farmington Tiger Marching Band has been a staple of football games and area parades for decades, but also began competing in field marching festivals in 2014. After only three years of competition, the Farmington Tiger Marching Band took 4th Place in the 2016 Minnesota Class A Marching Band Championships. In the winter season, the FHS Pep Band is one of the most exciting groups around, playing regularly for varsity hockey and basketball teams.
The FHS Bands are directed by Erin Holmes, who has been teaching music in the Farmington School District since 2000; Bradley Mariska, who joined the FHS team in 2016; and Matt Clark, who began his tenure in 2018.
Help us fund the wonderful music our students play each year in Marching, Concert, Jazz & Pep Band. Go to https://www.tigerfanclub.org/library to make a donation. And as always, THANK YOU!
We need your help. We also have multiple Coordinator Positions for next year available. If you are interested in any of the following please reach out to us now so that you can shadow the current coordinator:
Volunteer Director – Voting Position. Duties include attending all board meetings, creating & updating all Signup Genius events for volunteers, communicating with volunteers all pertinent information about events, working with event coordinators to understand the volunteer needs, creating sign in sheets for events, meeting & overseeing volunteers at events. This position is the busiest during the marching band season May-Oct.
Non-Voting Coordinator Positions: The positions oversee events and report to a board member. It is helpful to attend month board meetings but not necessary.
Band Brunch Asst. Coordinator – will work alongside the Band Brunch Coordinator and hopefully eventually move into the Brunch Coordinator position
Festivals & Indoor Show Coordinator – Oversee all festivals including a DCI event at FHS and the Marching Band Indoor Show. This includes concessions and working with Directors to plan and oversee the events.
Co-Uniform Coordinator – work with the other Uniform coordinator overseeing all uniform needs for marching band & wind ensemble. This position is required to be at all events when marching band uniforms are worn including parades, football games and festivals.
Asst. Uniform Coordinator – work with uniform coordinators to provide assistance with all uniform needs.
Asst. Fundraising Coordinator – work with the Fundraising Coordinator to learn the position and then move into that position eventually.
Tiger Scramble Asst. Coordinator – work with the Coordinator for the Tiger Scramble planning and executing the one day fundraising/community event in July.
Please contact us @ firstname.lastname@example.org and we will promptly get back to you.


Nashville Performing Arts Groups Partner with Pulitzer Prize Winning Composer Paul Moravec
ALIAS Chamber Ensemble, Nashville Ballet, Portara co-commission new work
Three prominent Nashville arts organizations—the GRAMMY-nominated ALIAS Chamber Ensemble, Nashville Ballet, and vocal group Portara Ensemble—have come together to commission a work by Pulitzer Prize-winning composer Paul Moravec called Amorisms.
The world-premiere will take place in May 2014 in two parts. ALIAS and Portara will give the musical premiere of Amorisms on May 7 as part of the ALIAS Spring concert at Vanderbilt University’s Blair School of Music. Also on the program will be Moravec’s Sacred Love Songs rewritten from a recorder quartet to a string quartet for ALIAS, with a revamped fourth movement.
The Nashville Ballet will premiere new choreographies to Amorisms and other works by Moravec as part of the Ballet’s Emergence series from May 29-31, 2014, at the Martin Center. ALIAS and the Portara Ensemble will perform all music.
“I am proud of this collaboration,” said ALIAS Artistic Director Zeneba Bowers. “Our three organizations understand the value of creating and performing new works for the Nashville community, and we pulled together to commission something from Paul Moravec, one of the most exciting composers of our time. It’s inspiring for arts groups across different mediums to come together in this way.”
Amorisms is a work for string quartet, clarinet and five voices (SSATB). According to Moravec, the piece came to him while visiting Shakespeare’s birthplace in Stratford-upon-Avon last May. The title comes from a musical setting of aphorisms on the subject of love from the works of Shakespeare.
“As this is a dance piece, I wanted to keep the texts short, simple and set repetitively so that once the audience gets the idea for each movement, it can focus more readily on the dancers themselves,” Moravec said. “I am excited and inspired by the unusual collaborative nature of this project, combining the special artistry of Alias, Portara, and Nashville Ballet.”
Paul Vasterling, Artistic Director of Nashville Ballet, has engaged choreographers Banning Bouldin, James Gregg and Gina Patterson to create new choreographies for Moravec works for the Ballet’s Emergence series. Patterson will develop choreography for Amorisms, Bouldin for Tempest Fantasy, and Gregg for Sacred Love Songs.
"I love this project, and Emergence in general, because each discipline stimulates the others. Not only is it an amazing way of building community, but this project is also a wonderful way to discover new inspiration,” explained Vasterling. “Mixing up all these artists brings out the best in all of us and creates something that would never have come into existence had it not been for our work together."
Following the premiere of Amorisms, ALIAS and the Portara Ensemble will record a CD of Moravec works on the Delos label. In addition to Amorisms, other works will include Sacred Love Songs, which the composer has arranged specifically for ALIAS and the Portara Ensemble, and Moravec’s Pulitzer Prize winning work Tempest Fantasy. The CD release date is set for early 2015.
ALIAS and Moravec have collaborated on previous projects. In 2004, ALIAS hosted the composer for its performance of Tempest Fantasy—a piece that won him the Pulitzer Prize later that year. Moravec also arranged one of his choral-orchestral works, "Always, Always," from Songs of Love and War as a chamber version for ALIAS to perform in 2009 for a Veteran’s Day program.
ALIAS Spring Concert
May 7, 2014 at 8 pm
Turner Hall, Vanderbilt University’s Blair School of Music (2400 Blakemore Ave., Nashville)
Moravec: Amorisms for clarinet, string quartet and SSATB voices (2014, World Premiere)
Moravec: Sacred Love Songs for string quartet (2012)
Ravel: Sonatine en Trio for flute, cello, and harp (1905)
Douglas Hill: A Set of Songs and Dances for clarinet, horn, vibraphone, and bass (2006)
Matt Walker: Grooves for string quartet (2013)
Tickets are $15 ($5 for students) and can be purchased on-line at: www.aliasmusic.org. All proceeds go to Students Taking a Right Stand (STARS).
Nashville Ballet Emergence Series
Thursday, May 29 at 7:30 p.m.
Friday, May 30 at 7:30 p.m.
Saturday, May 31 at 2 p.m. and 7:30 p.m.
Martin Center for the Nashville Ballet (3630 Redmon St., Nashville)
All music written by Paul Moravec, and choreography by Banning Bouldin (based on Tempest Fantasy), James Gregg (based on Sacred Love Songs), and Gina Patterson (based on Amorisms). Music performed by ALIAS and Portara.
Tickets start at $29 and can be purchased by calling (615) 782-4040 or by visiting nashvilleballet.com.###
About ALIAS Chamber Ensemble
Founded in 2002, ALIAS is a chamber ensemble dedicated to innovative repertoire, artistic excellence, and a desire to give back to the community. Comprised of 13 professional musicians in Nashville, its wide-ranging repertoire brings audiences a mix of chamber music that cannot be heard anywhere else in the region. To date, ALIAS has premiered 16 new works and recorded two CDs—one of which (Naxos: Gabriela Lena Frank, Hilos) was nominated for a GRAMMY in 2012 for Best Small Ensemble Performance. As part of its mission, ALIAS also adopts three nonprofit partners each season and gives 100 percent of its ticket proceeds to these partners. For more information about ALIAS, visit: www.aliasmusic.org
About Nashville Ballet
Nashville Ballet is the largest professional ballet company in Tennessee. Nashville Ballet presents a varied repertoire of classical ballet and contemporary works by noted choreographers, including original works by Artistic Director & CEO Paul Vasterling. Nashville Ballet and the second company NB2 (a pre-professional training company) serve nearly 60,000 adults and children annually through performances and our outreach and community engagement programming. Curriculum-based outreach programs bring dance education to community centers, colleges, public libraries and public elementary, middle and high schools across the state. The School of Nashville Ballet provides world-class instruction in ballet and other forms of dance for dancers of all ages.
Nashville Ballet is funded in part by Ingram Charitable Trust, Metropolitan Nashville Arts Commission, Tennessee Arts Commission, Bridgestone Americas Trust Fund, The Shubert Foundation, Caterpillar Financial, ELAN Hair and Skin, The Memorial Foundation, Publix Super Market Charities, The HCA Foundation, The Mall at Green Hills and thousands of individuals who contribute to our annual operating fund.
About Portara Ensemble
Portara Ensemble has quickly become a creative force in the music scene of Middle Tennessee. Their innovative programming and artist collaborations have crossed the boundaries of visual and performing arts, and brought exciting new music to their audiences. Led by founder/director Shreyas Patel, Portara Ensemble’s thought-provoking thematic choral programs explore a wide variety of music from around the globe sung by professional, semi-professional, and amateur volunteer singers. 2012 brought the release of Portara’s first CD Recording, Choral Hymns of the Christian Faith. This collection, which delves into the deep tradition of hymn singing in the Christian church, has been lauded “something to celebrate—and to keep close by.” (ClassicsToday.com).
About Paul Moravec:
Moravec has composed numerous chamber works in his career, and ballet adaptation is not a new idea for him either: The Carolina Ballet (Robert Weiss, director) has choreographed ballets to two major works of his in recent years: “Tempest Fantasy” and “The Time Gallery”.
Currently University Professor at Adelphi University (a position unique in the institution), Moravec also recently served as Artist-in-Residence at the Institute for Advanced Study in Princeton, NJ. He attended Harvard College and then Columbia University and has taught at Dartmouth, Columbia, Hunter College, and Mannes.
He has received numerous honors throughout his career, including the Pulitzer Prize in Music (2004) , the Rome Prize from the American Academy in Rome (1984), three awards from the American Academy of Arts and Letters (1986, 1991, 2011), as well as fellowships from the NEA (1989) and the Guggenheim Foundation (2013). In 2010, he was elected to membership in the American Philosophical Society. Moravec's discography includes four albums on Naxos American Classics and an orchestral album on BMOP Sound, and works on numerous other CDs.


“Strauss: Don Juan, Metamorphosen and Songs For Soprano and Piano”
Acht Gedichte aus 'Letzte Blätter', Op. 10,
Begegnung (Meeting), AV 72,
Die erwachte Rose, TrV 90, AV 66,
Don Juan, Op. 20,
Morgen, Op. 27 No. 4 (Morning),
Rote Rosen, AV76 (Red Roses).
Jan Latham-Koenig (Piano), Joan Rodgers (Soprano).
Strasbourg Philharmonic Orchestra – Jan Latham-Koenig.
Jan Latham-Koenig was one of Avie’s flagship artists. As Music Director of the Strasbourg Philharmonic Orchestra, he recorded the unique coupling of Franck’s Symphony in D with extracts from Psyché (AV 0003), and Ibert’s rare, early opera Persée et Andromède (AV 0008). These recordings of Strauss’ Don Juan and Metamorphosen were Latham-Koenig’s valedictory recordings in Strasbourg, and illuminate his brilliant ability to shape phrases and extract orchestral colour – ideal for Strauss’ vividly pictorial tone poems. An equally accomplished pianist, Latham-Koenig completes the album by accompanying one of England’s leading vocal lights, soprano Joan Rodgers, in a selection of Strauss’ early Lieder.


Ted Nugent Streams New Holiday-Appropriate Song, ‘I Love My BBQ’
Stream a holiday-appropriate new song, as Ted Nugent releases "I Love My BBQ" just in time for the Fourth of July weekend.
The track is part of Nugent's first new studio album in eight years. 'Shutup&Jam,' which features guest spots by Sammy Hagar and longtime Nugent collaborator Derek St. Holmes, is due on July 8 via Frontiers Records.
Nugent recently talked to Ultimate Classic Rock about the inspiration for songs like 'I Love My BBQ,' going in depth on his in-the-moment process: "I create every song I’ve ever written, screaming and jamming in my living room like an idiot. Or backstage or at a rehearsal with the band while the band’s tuning up and they’ll typically come up to me and go, 'What the f— is that? That’s awesome!' and I’ll go, 'I don’t know, I’ve never played it before, but it is awesome!'"
Nugent is also kicking off a national tour tonight (July 3) in Wichita Falls, Texas, with dates continuing through August.


Johann Sebastian Bach > Bach: Goldberg Variations Goldberg Variations, BWV 988: Variation 7 a 1 Ovvero 2 Clavier
Sorry, the lyric for this track not has been found!
Bach: Violin Concerto No. 2 in E Major, BWV 1042: I. AllegroGreat Moments of Anne-Sophie Mutter
Piano Concerto No.3 in D, Bwv 1054: 1. AllegroBach, J.S.: 5 Klavierkonzerte
Christmas Oratorio, BWV 248 - Part Five - For the 1st Sunday in the New Year: No.50 Evangelist: "Und ließ versammeln alle Hohepriester"J.S. Bach: The Great Choral Masterpieces
Bach, JS: Violin Concerto in E Major, BWV 1042: II. AdagioBach: Brandenburg Concertos - Violin Concertos
Keyboard Concerto No. 2 in E Major, BWV 1053: I. [Allegro] - RemasteredBach: Keyboard Concertos Nos. 2 & 4, BWV 1053 & 1055 - Gould Remastered


X8 Drums Kids Rock at Austin City Limits
The mega music festival Austin City Limits was another success this year in Austin, TX. The event wrapped up last weekend and thousands of music fans walked away with bellies full of musical memories.
X8 Drums was proud to be a part of the event this year as co-sponsor of the Austin Kiddie Limits DrumZone where Mike Marcionetti conducted drum workshops for kids at the event. The DrumZone featured all types of world percussion drums and percussion instruments and Mike facilitated group jams where the kids had an opportunity to be the star!
Punk drummer in training
Princess the X8 Urban Beat Djembe
Owen Towles in an X8 Tee
Austin Kiddie Limits will be back again in 2013 at the ACL festival in Austin, TX. Find out more here: http://www.aclfestival.com/experience/austin-kiddie-limits/
Djembe FangaLooking to learn a new rhythm for your Djembe? Have you tried the Fanga beat? Fanga is a Lib …8th Jun 2022
Become part of the MagicMany seeking their own hand drum or djembe have experienced the magic of drumming and drum circles. …5th Jun 2022
New Lava Lamp Djembes!Roll into a retro vibe with a groovy Lava Lamp Djembe from X8 Drums. It has a unique d …19th Mar 2022


Marin Theatre Company, Mill ValleyThe bigger the heart, the bigger the heartbreak. Weighing in at almost 600 pounds, Charlie is a gentle but grieving giant, beached on a couch in Northern Idaho...
San Anselmo theater bay area events
Thursday, Oct 2 8:00p
Thursday, Sep 25 6:30p
Shattuck, BerkeleyDoors Open At 6PM Landmark Shuttuck Theaters- 2230 Shattuck Avenue, Berkeley, California 94704 Brought to you by MMTB- Movie Making Throughout the Bay. More on MMTB- http://www.MovieMakingBay...
Saturday, Aug 23 2:00p
Old Mill Park, Mill ValleyThe Curtain Theatre, after 14 years of performances in Old Mill Park, this summer is returning to one of Shakespeare's best-loved plays, "The Tempest," directed by Michele Delattre and set in one o...
Thursday, Jan 15 6:00p
Shattuck, BerkeleyTicketing Starts at 6pm Theatre Doors Open At 6:15PM Films with Previews Start 6:30PM Landmark Shuttuck Theaters- 2230 Shattuck Avenue, Berkeley, California 94704 Line Up- Short and Mini-Short Docu...
Friday, Aug 22 8:00p
ODC Theater, San FranciscoConnect to the rhythm of globally-informed Bay Area dance with Namita Kapoor and Rueda con Ritmo in ODC Theater's presentation of Dance and Diaspora...
Thursday, Jul 24 7:00p
Prescott Hotel - a Kimpton Hotel, San FranciscoCONJURING WONDER Magic: Up Close & Personal! For the past 20 years, Dennis Kyriakos has performed at corporate functions and upscale private events, and has distinguished himself as one of New Yor...
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> Concert photography
, Music Festival
> Kamasi Washington at Pitchfork Music Festival
Kamasi Washington at Pitchfork Music Festival
One of my most anticipated sets of Pitchfork turned out to be one of the best. Kamasi Washington and his band played tracks from The Epic and turned the whole crowd into huge jazz fans; at least for the time they were on stage.
Categories: Concert photography, Music Festival
afrobeat, Chicago, Concert, concert photography, jazz, kamasi washington, Kendrick Lamar, live music photography, Music, photography, Pitchfork, saxophone, the epic


While this differs in some ways from the Queen of the Wave stuff, it still has a big Pepe-vibe to it. The organic/acoustic production, retro sounding, electronics, and catchy/poppy female-centered vocals.
Love the digitized almost 80's SPEAK AND SPELL sounding voiced lines at points.
There's more to come soon from following them on Facebook over the last few months. When? maybe 2017?
New Pepe Music! Again! :)
I was just informed by Higher Powers (TM) that "Go Girl Go", the new Pepe song we wrote for the Catskills 20 years comp, is finally ready to be inspected by your audio connoisseur ears!
Here's a nice introduction written by Monsieur Ranta:
And you can hear the song here:
In addition to Paul's modular synth madness and guitar riffs, this simple party tune features Finland's champion cheerleaders (recorded thru a Edison witches hat speaker), a modified Speak & Spell, some laid-back drumming by Teppo Mäkynen, (808 cow)bells&whistles and an ocarina (played by yours truly).
Available exclusively on “Catskills Records: 20 Years of Victory!”, out 25th November on 2 X CD / 3 x Alpine Green Vinyl / Download / Streaming. You can pre-order it here:http://www.catmerch.com/store/advanced_search_result.php…


New York, NY (PRWEB) June 17, 2015
Music Choice will feature Jussie Smollett and Yazz, from FOX’s Empire in its new artist initiative PRIMED starting Thursday, June 18th. The episode will appear across Music Choice’s entire national footprint including its digital properties with its recently launched streaming video channels on Musicchoice.com. The robust programming initiative gives artists unprecedented access on Music Choice including exposure on the #1 Free Video On Demand network, on TV with Mediabase reported Music Channels and interactively with Music Choice Play.
PRIMED: Jussie Smollett and Yazz will premiere Thursday, June 18th on Music Choice. It will be available on Music Choice On Demand (Directional: MC On Demand>Primed) and the MC App along with short vignettes appearing throughout the day on Music Choice Play. The duo will also be in heavy rotation on the Hip-Hop and R&B Music Channel. #MCPrimed
Primed was originally launched on Music Choice On Demand in 2013. Artists that have been featured include: Macklemore, Lorde, Imagine Dragons, A$AP Rocky and many more. For more information about Music Choice, log on to http://musicchoice.com/ or to become part of the Music Choice community join us on Twitter: @MusicChoice or Facebook.
About Music Choice:
Music Choice, the multi-platform video and music network, delivers its music programming to millions of consumers nationwide through their televisions, online and mobile devices. Music Choice programs dozens of uninterrupted music channels; produces originals that feature today’s hottest established and emerging artists; offers thousands of music videos; and launched Music Choice Play, the music video, lifestyle and entertainment network for Millennials. For additional information log on to http://www.MusicChoice.com | Twitter: @MusicChoice | Facebook: http://www.facebook.com/MusicChoice


Song: Forlorn Hope
Artist/group: After Forever
File Name: After Forever – Forlorn Hope.gp4
File size: 60 kb
File type: .gp4
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Guitar learning tips and advice:
- Have a look at our free guitar lessons teaching you how to play basic guitar techniques through high quality video.
- Has learning and refining your guitar techniques been difficult? Make your practice sessions fun and easy, by learning from video guitar lessons teaching popular guitar songs.


FunkDC is a collective of DJs, artists and friends that came together to celebrate good music and good vibes in Washington DC.
Philadelphia radio, listening to and singing music in church, and listening to the family’s collection of east and west african mix tapes all contributed to Moose’s early exposure to music. This resulted in Moose making mix tapes of his own off the radio in the early 80′s. In 1988 he got involved with live music, playing the guitar and starting a band, which led to playing various other instruments. In 1995 Moose was introduced to turntables and various forms of electronic music and has not looked back since. mixcloud.com/danielmoose
Neil bought turntables after hosting a college radio show. His first DJ partner, Leon (SR-70), organized a party of six DJs on two sound systems at the “House of Pain” in Mt. Pleasant, where he met KidGusto, Moose, Naka and Anton ~all friends he spun with for a few years. In addition to DJ-ing in DC, Payne was in Guatemala for a year, where he helped form the XelaGrooves DJ Collective. soundcloud.com/nbpayne | mixcloud.com/nbpayne
Since he first began laying down percussion and trap kit rhythms in 1989, KidGusto has worked to help pioneer the DC sound through downtempo, funk, jazz, rare groove breaks and world beats. His musical path has led him to work with various talented musicians, producers and DJ’s introducing him to an eclectic array of styles and influences. In turn this has brought kg the versatility to be innovative and yet consistent while DJ’ing in and out of Washington DC, Los Angeles and abroad. As a musician, DJ, and producer, KidGusto’s mission is to create organic music that combines dancefloor-heavy beats with pure instrumental emotion. soundcloud.com/kidgusto
There is nothing I hate more than a self indulgent DJ bio. We are, after all, playing other people’s music, so I don’t think we are that important in the grand scheme of things. My goal as a DJ is to share the music that I love in the hopes that the crowd (big or small) will appreciate it and respond. It’s as simple as that. soundcloud.com/shizon


ON SALE NOW
On Sale Sat. March 8 @ 10:00AM
with Kurt Vile & The Violators and Nicole Atkins
Many events are FREE and open to the public.
with special guests Man Man and Dinosaur Pile-Up
The Mann Center for the Performing Arts, located in Philadelphia's beautiful Fairmount Park, continues its rich tradition as the Greater Philadelphia Region's premiere outdoor cultural arts center.
FOR IMMEDIATE RELEASE
CONTACT: Christine Reimert...
Local media talks about the June 6th stop in Philadelphia.
From The Morning Call to Philadelphia Weekly to Examiner.com, numerous sources named Mann concerts in their 2013 year-end "Best of" live music lists. ...
On Thursday, December 19, 2013, our own Rhoda A. Blount, VP of Education & Community Engagement, was honored during the inaugural “It’s Your Time” Jazz & Art Benefit....
Philly.com, WXPN's The Key, and The Swollen Fox cover Nick Cave & The Bad Seeds' 2014 Summer Tour announcement including a July 25th stop at the Mann.
On behalf of the Board of Directors and administrative staff of the Mann Center for the Performing Arts, we extend our sincere condolences to the Lomax Family. Dr. Walter Lomax will be...
Philly.com chooses upcoming Mann concerts as choice events for the week!
CBS Philly's Melony Roy sits down with AEG Live's Jon Hampton to discuss the September 21st, Steely Dan show at the Mann Center. Check out the interview via podcast, and be sure not to...
Mann Center for the Performing Arts | 5201 Parkside Avenue | Fairmount Park | Philadelphia PA, 19131
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"Where words fail, music speaks."
- Hans Christian Andersen
Music Subject Leader - Mr Cooper
At Stamford Bridge Primary School, we aim to provide a broad, balanced and differentiated curriculum and to ensure the progressive development of musical concepts, knowledge and skills. We believe that music plays an integral role in helping children to feel part of a community; therefore, we provide opportunities for all children to create, play, perform and enjoy music both in class and to an audience.
We wish to develop pupils who:
- Enjoy and have an appreciation for music.
- Listen to, review and evaluate music across a range of historical periods, genres, cultures, styles and traditions.
- Can sing and use their voices to create different effects.
- Create and compose music, both on their own and with others.
- Have opportunities to learn a musical instrument.
- Use a range of musical language.
- Make judgements and express personal preferences about the quality and style of music.
- Take part in performances with an awareness of audience.


- Description: Jazz Music Library is a streaming audio database featuring a variety of jazz styles and artists. The collection is particularly strong in the music of the 1950s and 1960s, as well as in music of later periods that grew out of the bebop/hardbop tradition; other periods and more experimental styles are represented more schematically. Notable represented record labels include: Audiophile, Concord Jazz, Contemporary Records, Fantasy, Jazzology, Milestone, Nessa Records, Original Jazz Classics, Pablo, and Prestige. Content is updated monthly.
- Host URL: http://search.alexanderstreet.com/jazz
- Audio Resources/All
- Music/All databases
- Video Resources/All database
- Vendor: Alexander Street Press
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