The Hubpage Explores the Norman Granz All Star Series "Jazz at the Philharmonic" Where Granz Would Match Up the Top Swing and Bop Musicians to Play Jazz Standards and Ballads.
About The Artwork White dress singer and her orchestra, play jazz in San Francisco cabaret. Oil on canvas Original Created:2017 Subjects:Music Materials:Canvas Styles:Expressionism Mediums:Oil Details & Dimensions Painting:Oil on Canvas Original:One-of-a-kind Artwork Size:21.3 W x 25.6 H x 1.2 D in Frame:Not Framed Ready to Hang:Not applicable Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:France. Have additional questions? Please visit our help section or contact us.
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Was born on July 20, 1973. From São Paulo and currently living and working in Rio de Janeiro – Brazil, he began with oil painting technique at the age 18. Nowadays, his visual arts production covers painting, drawing, illustration, video and urban intervention. In 2008 he founded the art collective Fuso Coletivo (Cian + Kjá), […]
This sax could be the voice you have been searching for. Here is a Martin Tenor Saxophone, seductive, vintage (build in the range1920-1940), beautifully worn, and yet no dent, sweet sound, lush lower end, old-school, ready to use. For sale - all photos and more info here: reflect.typepad.com/sax/
Male Jazz Artist with Bass Size: 179mm x 291mm on Hahnemühle Torchon 285gsm paper. Torchon paper is bright white with 100% α-cellulose, features a distinct textured surface and guarantees archival standards. The paper meets the highest industry standards regarding density, colour gamut, colour graduation and image sharpness while preserving the special touch and feel of genuine art paper. It is especially suitable for reproduction of oil, watercolour and pastel paintings. Giclee print from my ink and pastel painting inspired by my love of the jazz greats including; Davies, Coltrane, Gillespie, Mingus, Armstrong and Bird. This print will be signed by me both front and back (Sold unframed) All prints are (in the UK) shipped by 2nd Class Recorded Delivery and despatched within 1-2 days of receipt of payment, using large artwork carton envelopes and bubble wrap for added protection.
lee morgan
Jazz pianist Bill Evans performs on stage at the Newport Jazz Festival on July 2, 1967 in Newport, Rhode Island.
John Coltrane
5 al 8 de enero en la finca El Sosiego, en Punta Ballena, Punta del Este, Uruguay. Domingo 8 de enero, 20hs. Richie Goods quartet Helen Sung, piano Mike Clark, drums Seamus Blake, tenor sax Richie Goods, bass Grant Stewart - Eric Alexander Philip Stewart, drums David Wong, bass Grant Stewart, tenor sax Eric Alexander, tenor sax Special guest Harold Mabern, piano Paquito D'Rivera | “Tributo a James Moody” René Rosnes, piano Adam Nussbaum, drums Todd Coolman, bass Diego Urcola, trumpet Valery Ronomarev, trumpet Paquito D Rivera, alto sax & clarinet. . Camera: Canon EOS 5D Mark II Lens: EF135mm f/2L USM Focal Length: 135 mm Exposure: ¹⁄₂₅₀ sec at f/2.0 ISO: 200
Charlie Parker, 1951 by William Claxton
Quiet Kenny is an album by the American jazz trumpeter Kenny Dorham of performances recorded in 1959 and released on the New Jazz label. "In the liner notes
This is an original New York City NYC cityscape oil painting by fine artist Christopher Clark. Oil paint on wood panel. I am available for custom commission paintings of all kinds. #christopherclarkart #christopherclark To purchase a print or the original, email [email protected]
Have you ever wondered how the best players get their skills? In this lesson we'll show you 3 useful tactics for stealing the jazz improvisation skills you need.
Sorry for the long gap between installments. Busy at work and in life. This time, there’s a simple, big point: Prodigious talents that never entered the public’s consciousness bec…
Every now then, as you stumble through design history, you trip over and fall on your ass. When you look closer at what caused you to stumble, you realise it's a rather a big rock, one that you should have seen coming. Perhaps it was a big moment when things changed in our industry, in society, in theory and you'd simply been ignorant to it until that moment that it got caught under your foot. More often than not it's a person. When we first start studying we hear the names Josef Muller-Brockmann or Paul Rand and when we see more of their work, or read some of their words, we wonder how we didn't know of them sooner. We could learn of them on our third day of study and argue that we should have heard of them on our first. For me, the latest person whose name caused me to happily hit the dirt is Reid Miles, an amazing modernist designer who designed over 500 LP covers for Blue Note Records through the 1950's and 60's. Blue Note Records Blue Note Records was known for their selection of artists, whom they treated with a surprising amount of respect, rather than imposing upon them their own ideals about how their work should sound. They would go as far as to pay the artists for their rehearsal time, as well as their recording time, something which other independent music labels wouldn't do. The benefits of this was improved sounds, relaxed artists and a comfort from all those involved that translated well onto vinyl. And while the majority of the music they released was aimed at a wide audience, they would also work with lesser known and slightly eccentric jazz musicians. It's almost an abstract thought, but the company wasn't overly concerned with making money with these records as they want to simply write about new developments into the history pages of jazz. This creative freedom is one worth noting, as it is perhaps this experimental, let the artist be an artist, kind of mentality that extended to their covers and to the ideas Miles had for them. The Personification Printification of Jazz When you look at the work of Miles, you can't help but feel as if you're looking at Jazz realised. When he first joined Blue Note, he worked as an assistant to John Hermansader, the then creative director of the company. John's work was quite lovely in its own right, but lacked a certain punch that Miles would go on to deliver. Initially Miles just wanted to keep up and continue the stylistic tradition that Hermansader had started, but in the end he elevated it to staggering heights. His covers "sound like [they know] what lay in store for the listener", Felix Cromey, Blue Note: The Album Cover Art which cannot be argued. Even to those who have no idea about---or hardly heard---jazz, the covers just look the way jazz covers should. Perhaps its the typography? Or the photography? Or maybe it's the colour? I think of jazz as an explosion of soulful sounds, which are peppered with extreme emotion. The covers that Miles designed have much in common with this idea.
