Der coole Kinder-Drehstuhl High S`Cool 3 High School Musical Kinder sitzen niemals ruhig. Das ist das Konzept von S`Cool 3, dem ergonomischen Kinderschreibtischstuhl mit flexiblem Kunststoffrücken. Er unterstützt optimal die f&#
FÜR FANS VON: RENÉ BREITBARTH, M.A.N.D.Y, DERRICK MAY, LAURENT GARNIER, AMEnnFÜR FANS VON: RENÉ BREITBARTH, M.A.N.D.Y, DERRICK MAY, LAURENT GARNIER, AME This one's cool! Really nice melodies, really nicely held back. (James Holden) A new man has joined the Ware team, someone well-known in the world of the big bassdrum: Originally from Palermo LUCY aka Luca Mortellaro spent several years in Paris. While his real-life label is Meerestief in Stuttgart, his musical home of the heart was Border Community in London. Surprisingly, he now lives in Berlin working on his personal post minimal sound. Grainy Lines is a display of LUCY S craving for rave and rocking the floors, while Go And See My Love stands for his playfulness and disregard of strict dancefloor rules. Mr. RENÉ BREITBARTH has submerged deep into the deep house sea to deliver two mesmerizing remixes of Grainy Lines one jazzy and rolling, one cosmic and bewitching. Lucy, supported by giants of electronic music such as STEVE LAWLER, DERRICK MAY, LAURENT GARNIER, AGORIA, JAMES HOLDEN, JOHN DIGWEED and more, is confirmed as one of the most interesting newcomers in the underground scene. TRACKS: a1 Grainy Lines 6:23 a2 Grainy Lines (RENÉ BREITBARTH S deep mix) 7:29 b1 Go And See My Love 7:25 b2 Grainy Lines (RENÉ BREITBARTH S bonus mix) 5:41
Das Duo Cassels gibt mit Foreword eine Überblick über das bisherige Schaffen mit neuem und altem Material.nnDas Duo Cassels gibt mit Foreword eine Überblick über das bisherige Schaffen mit neuem und altem Material. Our boys in Cassels have come a long way in the past few years, so we're pleased to bring you Foreword - a compilation which gives you a glimpse of their musical journey to date. Featuring a collection of new and early material, it s all now packaged up on vinyl for the first time, so something for old and new fans alike! Cassels are a two piece comprised of two brothers - Jim (vox/guitar) and Loz (drums/vox) Beck. Originally from the self-described 'cul-de-sac' town of Chipping Norton, the brothers spent their youth turning their frustration and boredom into music. After years of making as much noise as they pleased in their remote countryside bedroom, Cassels emerged onto the scene with a sound which is both unique and hard-hitting, combining dense and poetic lyricism with pared-back, heavy and skilful instrumentation. Dealing in themes which range from the overtly sociopolitical to the deeply personal, the band are never afraid to express their opinions in their songs. This sincere, heart-on-the sleeve approach has picked them up praise and coverage from the likes of NME, BBC Radio 1, 6 Music and Channel 4, as well as Radiohead's Colin Greenwood. As Punktastic puts it, 'there s little emerging from the British underground that comes close to mirroring Cassels style.' TRACKS: 1. The Weight 2. Opia 3. The World Doesn't Need Another You or Me 4. Sights for Sore Eyes 5. 666 Feet 6. I Swipe Right 7. Hating is Easy 8. Flock Analogy 9. Beach Baby 10. Avarice 11. Ignoring All the Tunnels and Lights 12. Well Fed Worms in a Graveyard 13. You Us and They 14. Cool Box
For Ravel, the year 1917 was marked by his dearly beloved Basque mother&#8217;s death and the decease of many of his friends who had lost their lives on the battlegrounds of World War I. Hence, the suite he finished in that same year can altogether be considered as a work in reverence for the deceased: Each movement is dedicated to one of his friends killed in action. Its title Tombeau (tomb) had already been used by the Baroque composer F. Couperin for his funeral music. True to the spirit of that ancient music honoring the dead, the composer furthermore adheres consciously to the musical forms and practices of the clavecinist era. Due to its classical, rather sonatina-like character, the Tombeau does not radiate an atmosphere of mourning - despite it being committed to the memory of the deceased - but a light if cool serenity. In its order and choice of movements, this arrangement for saxophone quartet observes the orchestral version written by Ravel himself. The original version for piano includes two additional parts: Fugue and Toccata. Yet, they have been left out in this arrangement (as was also done in the orchestral version) since they do not really conform to the tonal quality of the saxophone quartet. Instrumentation: 4 saxophones (SATBar)
As an American jazz artist and educator based in South Africa since 1999, this is one in a set of pieces that reflect my musical and other experiences in this fascinating country. Kwazulu Zam was composed using a traditional South African song form called mbaquanga. Mbaquanga is a characteristic South African musical form that utilises a repeated (cyclical) 2 or 4-measure harmonic structure based on I - IV - V - I and I - IV - 1 6/4 - V - I. These progressions are the backbone of South African jazz much like the blues and its variants is to American jazz. The piece is performed in the kwela style which is based on a strong swing feel. The original meaning for kwela during less fortunate times was &#8220;kwela&#8211;kwela; hurry, hurry, the police are on the way.&#8221; Much like early jazz and throughout the swing period, the use of riff based playing and soloing was common. Bennie Moten&#8217;s and Count Basie&#8217;s early bands come to mind, and are just two examples of great riff based ensembles with exciting riff based soloing. Performance Tips The melodies or riffs in Kwazulu Zam must swing. Play them with a loose, relaxed feel. Really dip or slide into the notes that are marked. Intervals of a fifth or larger marked with slides should really be scooped and vocal in nature. Please note that African music and particularly South African jazz, is vocal and organic in nature. This tune is written in the Kwela/Swing style. It can also be played on a more traditional Mbaqango style. To get to know Kwela you can listen to recordings by Hugh Masekela, Darius Brubeck and Afro Cool Concept; also Paul Simon&#8217;s &#8220;Graceland,&#8221; for a better understanding of Mbaqango. Notes on Soloing Pay attention to the rhythm of the themes; play off rhythms found in the piece as well as playing rhythmically. The solo improvisation section at letter C should pay particular attention to the use of, and drawing from the three themes of the piece. Backgrounds and interludes can be very flexible. For example, B and C can be cued by signaling the number 1 for the background at letter B. Signal 2 for the background at C or 3 for both B and C. A closed fist indicates the last time when repeated more than once. Letters B & C can be played between solos or as a background building to the next soloist or just optionally letter C between solos. The solo background at letter C also has the option of being repeated more than once if your soloist is cooking and your rhythm section is grooving! Experiment too with dynamic shapes during repeated backgrounds that will add excitement to the background and influence the soloist. Even experiment with interchanging letters B & C as solo backgrounds. It is important to note that playing contemporary jazz phrases or licks really doesn&#8217;t work and is out of context or style of the piece. Play in the style, play rhythmically, use material from the three themes to develop and build your solo. Most importantly have fun!!! Mike Rossi Instrumentation: 3 melody instruments, piano, guitar, double bass, percussion
The entire story of jazz &#8211; from its earliest days in New Orleans to the 1970s and beyond &#8211; told through archival material from Verve, the genre&#8217;s most important label. Verve signed practically every major jazz artist of the 1950s and 1960s and is home to some of the greatest music ever recorded. Charlie Parker, Count Basie, Billie Holiday, Dizzy Gillespie, Oscar Peterson, and Ella Fitzgerald all released records through Verve. This superb new volume presents some of the rarest records and unseen ephemera from the label that helped define the world of jazz. Hundreds of the best examples of iconic seven-inch, ten-inch, and twelve-inch records appear, along with publicity reports, news clippings, posters, telegrams, and programmes. The ultimate music guide, the book includes features on key artists and key albums as well as insightful timelines that connect Verve with wider musical history. Looking beyond the music scene, the book discusses segregation in America, the missions to take jazz to Europe and the world, the clubs, the places, and the people who made Verve great and jazz cool. Commentary from the biggest names in jazz today, including some of Verve&#8217;s own artists, complements the text. 1,200 illustrations in color and black and white.
Description: 'If this book moves, I hope it moves in the way pop songs do. There will be a lot of talk about songs, but inasmuch as this is a book about listening to music, it's also about how listening to music makes us who we are, or at least about how it makes me who I am, and so it is an exploration, an idiosyncratic and opinionated and particular one, of a self shaped by the oddly intersecting forces of the American evangelical Protestant church and the American popular music scene. I don't mean for that to sound hoity-toity--if this were fifteen years ago, I would say that this book was about Christian music, and I would know exactly what I meant. My purpose now is not only to talk about 'Christian music.' I am not here to explicate Christian music, to explain why it exists and whether it is any good. Instead, think of what you're about to read as like an iPod playlist, a collection of essays and thoughts on listening to music and having faith and how they have made me, and a lot of people like me, and maybe you. Also, there will be some jokes about Stryper.' Endorsements: 'If you can name the exact musical connection between Michael W. Smith and Sufjan Stevens, then you don't need to read this book. But you can't do that, can you? None of us can. But Joel Hartse can, and he does that kind of s#*! on Every. Single. Page. I'm pretty sure he knows everything. Plus, he's witty and wise. I can't imagine a better book on the weird world of Christian rock.' --Patton Dodd author of My Faith So Far: A Story of Conversion and Confusion 'Part personal narrative and part cultural history, Joel Heng Hartse's musical memoir is a lovingly written ode to all that is weird and wonderful, disturbing and divine about the world of Christian rock. Conversant in everything from White Town to Rebecca St James, Radiohead to Michael W. Smith, Hartse provides a richly observant, nostalgic document of the shaping artifacts and sonic ephemera of his evangelical youth. His book paints a picture of the recent past that will be funny, poignant, and therapeutic for anyone who grew up in a similar milieu.' --Brett McCracken author of Hipster Christianity: When Church and Cool Collide 'Joel Heng Hartse grew up during an era when Christian rock was actually kind of decent, but he was never shy about exploring all music. He emerged equal parts Jesus freak and music geek. His memoir is utterly charming . . . but seriously, dude, Genesis? --Andrew Beaujon author of Body Piercing Saved My Life 'Joel Heng Hartse's travels--and travails--through the world of rock and roll (spiritual, secular, and all those artists who aim to land somewhere in between) add up to something like a lesson in music history. But mostly, it's a warm, witty, and downright entertaining trek down one man's memory lane, a lane lined with insight, humor, and, of course, just enough love and sects to keep the pages turning. Joel knows music, and after reading this book, you'll feel like you know Joel--and that's a good thing.' --Mark Moring Pop Culture Editor, Christianity Today 'There's so much to love here: nostalgia tempered by wry humor; a slice of rock and roll history rich in detail yet anchored in emotions we all share; a series of tart but ultimately generous insights into the foibles of a religious subculture. Joel Hartse's memoir is a postmodern 'pilgrim's progress,' the story of a young man in search of truth and beauty, rendered in a voice that is at once self-deprecating and heartfelt. --Gregory Wolfe Editor, IMAGE 'I basically stopped paying attention to Christian rock music right around the time Joel was getting into it. But even though I recognized
When the renowned trumpeter and bandleader Miles Davis chose the members of his quintet in 1955, he passed over well-known, respected saxophonists such as Sonny Rollins to pick out the young, still untested John Coltrane. What might have seemed like a minor decision at the time would instead set the course not just for each of their careers but for jazz itself. Clawing at the Limits of Cool is the first book to focus on Davis and Coltrane&#8217;s musical interaction and its historical context, on the ways they influenced each other and the tremendous impact they&#8217;ve had on culture since then. It chronicles the drama of their collaboration, from their initial historic partnership to the interlude of their breakup, during which each man made tremendous progress toward his personal artistic goals. And it continues with the last leg of their journey together, a time when the Miles Davis group, featuring John Coltrane, forever changed the landscape of jazz. Authors Farah Jasmine Griffin and Salim Washington examine the profound implications that the Davis/Coltrane collaboration would have for jazz and African American culture, drawing parallels to the changing standards of African American identity with their public personas and private difficulties. With vastly different personal and musical styles, the two men could not have been more different. One exemplified the tough, closemouthed cool of the fifties while the other made the transition during this time from unfocused junkie to a religious pilgrim who would inspire others to pursue spiritual enlightenment in the coming decade. Their years together mark a watershed moment, and Clawing at the Limits of Cool draws on both cultural history and precise musical detail to illuminate the importance that their collaboration would have for jazz and American history as a whole.
Meat Loaf, the larger-than-life rock icon, starred in the biggest cult film of all-time, The Rocky Horror Picture Show, before releasing one of the best-selling albums of all-time, Bat Out Of Hell, and some of the most celebrated and successful singles in music history, such as I'd Do Anything For Love (But I Won't Do That), Two Out Of Three Ain't Bad and Paradise By The Dashboard Light. The Grammy Award-winning singer has released an impressive eleven UK Top 10 studio albums, including the #1 releases Dead Ringer and Bat Out of Hell II: Back into Hell and his latest offering, 2016's Braver Than We Are. Meat Loaf's epic collaborations with songwriter Jim Steinman are legendary, as are his striking album covers, wide-ranging operatic voice, female duet partners, signature red handkerchief and theatrical live performances. In 2016, he was presented with the Q Hero Award; to many that have had a hand in helping him sell near 100-million records, he is exactly that - a musical hero. CONTENTS Introduction From Marvin To Eddie Making Bat Out Of Hell Unleashing Bat Out Of Hell Dead Ringer Midnight At the Lost And Found Bad Attitude Blind Before I Stop Bat Out Of Hell II: Back Into Hell Welcome To The Nightmare Couldn't Have Said It Better Bat Out of Hell III: The Monster Is Loose Hang Cool Teddy Bear Hell in a Handbasket Braver Than We Are Meat Loaf Albums I) Studio Albums II) Live Albums III) Compilation Albums Meat Loaf Singles Meat Loaf Tours Meat Loaf Music Videos Meat Loaf Films Meat Loaf Awards From The Author