The A-11 Offense : Two frustrated coaches at Piedmont High School in Northern California were brainstorming ideas to keep their small team competitive. What they devised was a crazy new offensive strategy called the A-11 that took advantage of the "scrimmage kick" formation. If you have no idea what that is, you’re not alone, but the A-11 strategy worked and the Piedmont Highlanders began winning. Is it the future of football?
Tagged with “jazz” (57)
http://syntheway.net - Eruption (Demo) using Virtual Instruments (Windows PC, Mac OS X see Requirements below)
1) Master Hammond B3 VSTi (Blues#4) http://masterhammond.syntheway.net
2) ElectriKeys Electric Piano VSTi (Yamaha CP-70 Normal) http://electrikeys.syntheway.net
3) Aeternus Brass VSTi (Brass Section 2 and Trumpet) http://aeternusbrass.syntheway.net
Software Descriptions: ……………………………………………………………………..
Master Hammond B3 VSTi
Master Hammond B3 is a Virtual Hammond VST plug-in with a rich and authentic sound based on the legendary B3. The MHB3 is capable of all the variations one expects from this type of organ, and is suitable for any flavor of music, be it Rock, Jazz, Blues, Gospel, etc. B3 Mode Selector includes: - B3 Standard - Fast Bright - Slow Bright - Fast Dark - Slow Dark - Full Bright - 4 B3 Blues types - Jazz B3 (Slow) - B3 High Slow/Fast - B3 Low Slow - Slow Overdrive (Distortion)
ElectriKeys Electric Piano VSTi
ElectriKeys is an Electric Piano emulation (sample-based synthesizer) of vintage Fender Rhodes MK1™, Hohner Clavinet D6™, Wurlitzer™ and Yamaha™ CP-70 e-pianos.
Aeternus Brass VSTi
Aeternus is a Virtual Brass instrument, featuring solo Trumpet, Cornet, Trombone, Tuba, French Horn, Flugelhorn as well as Brass Sections and Orchestral Ensemble.
Windows Requirements: - Use these Syntheway VST plugins in your favourite DAW MIDI Sequencer host like: FL Studio, Ableton Live, Cakewalk SONAR X1, Steinberg Cubase, Nuendo, PreSounus Studio One, Cockos REAPER, Mixcraft, MAGIX Samplitude, Sequoia, Energy XT, ACID Pro, Orion, VSTHost, SAVIHost, n-Track Studio, Cantabile, Adobe Audition and many others ( Check out complete list of VST compatible hosts here: http://syntheway.com/vstcompatiblehost.htm ) - Place the dll file / files into VST Plugins Folder. - 500 MHz Processor (Pentium, Celeron AMD or equivalent) minimum. - RAM: 128 MB or higher recommended. - Windows Operating System : Windows XP, Windows Vista, Windows 7, Windows 8 / x86 (32 bit). - For Windows x64 (64 bit) test it first with VST Bridge, jBridge or BitBridge. ……………………………………………………………………….
Mac OS X Requirements:
Aeternus Brass (Trumpet, Cornet, Trombone, Tuba, French Horn, Flugelhorn, Brass Sections and Orchestral Ensemble) is also available for Apple Mac OS X (Audio Unit .component, VST for Mac, Native Instruments Kontakt NKI Files, Apple Logic EXS24 MkII Sample Library) http://syntheway.com/Syntheway_Aeternus_Brass_for_Mac_OS_X.htm
Master Hammond B3 Organ is also available for Apple Mac OS X (Audio Unit, VST for Mac, NI Kontakt NKI Files, Apple Logic EXS24 MkII Sample Library) http://syntheway.com/Master_Hammond_B3_for_Mac_OS_X.htm
ElectriKeys Electric Piano is also available for Apple Mac OS X (Audio Unit, VST for Mac, NI Kontakt NKI Files, Apple Logic EXS24 MkII Sample Library) http://syntheway.com/Syntheway_ElectriKeys_Electric_Piano_for_Mac_OS_X.htm
Via Apple’s Boot Camp software, included with Mac OS X v10.5 Leopard, v10.6 Snow Leopard and Mac OS X v10.7 Lion. ……………………………………………………………………….
Linux Operating System Requirements: Please see instructions at: http://linux.syntheway.net ……………………………………………………………………….
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Twitter: http://twitter.com/syntheway …………………………………………………..
In the 1930s and ’40s, the sophisticates of Bombay danced in art deco ballrooms to ‘hot jazz’, often performed by African American musicians. A new book traces the players and the music, from all over the world, to bring this part of Bombay’s history back to life.
Inspired by international acts like Miles Davis, John McLaughlin, Si Zetner and Herbie Hancock a number of Australian musicians began experimenting with jazz-rock and fusion in the late 60’s and early 70’s. David and Jordie Kilby take a look at some of the classic recordings and speak with Col Loughnan (Ayers Rock), Warren Daly (Daly-Wilson Big Band) and Jim Kelly (Crossfire & SCRA).
Sven Libaek, John Sangster, Peter Martin and Col Nolan are just a few of the musicians who began experimenting with blending jazz, pop and rock in the late 1960’s. They weren’t the only ones though……
Daly-Wilson Big Band - Ode To Billie Joe - Reprise - 1973.
Warren Daly and Ed Wilson got this group together in 1968 and were blowing audiences away from the get-go. With band members numbering more than twenty on occasions they criss-crossed the country bringing their jazz-rock arrangements to the masses. After a break during ‘72 they returned bigger and better than ever in 1973 with the "On Tour" album. Ode To Billie Joe is a shining example of what the outfit were all about.
Ayers Rock - Angel In Disguise - Mushroom - 1976.
In the mid 70’s Ayers Rock were writing and recording material unlike any of their contemporaries. Their first album Big Red Rock featured classic tracks like Crazy Boys (The Hamburger Song), Lady Montego and Nostalgic Blues. When Michael Gudinski took it to the U.S in an attempt to find international markets for his newly established stable of Mushroom acts he found interest straight away. A&M Records instantly put up a considerable advance to get the group over to record a follow up. In Hollywood, with Steve Wonder in the booth next door, they recorded the "Beyond" LP which featured this track written by Col Loughnan.
Sun - Vendetta - RCA - 1972.
Notable for being fronted for a while by the teenage Renee Geyer, who would go on to great fame in the following years performing her own brand of jazz, funk and rock. The band formed around jazz aficionado Keith Shadwick and they were a popular live act in Sydney during 1971 and into 1972. Their only recording was the "Sun ‘72" album which was recorded and mixed in just 25 hours at Copperfield Studios. The album features a distinctive cover painted by artist Peter Upward.
Crossfire - Remember The Trees - Harvest - 1975.
Jim Kelly, Mick Kenny and Ian Bloxsom formed the core of Crossfire who set the pace for jazz fusion in Australian in the late 70’s. Before putting the band together Jim Kelly had also been a part of the Southern Contemporary Rock Assemble (SCRA) who are another notable jazz rock group of the time. With a regular gig at French’s Tavern in Sydney they built a very strong live following before unleashing a string of classic albums beginning with their self titled 1975 album that featured this track - the first song Jim Kelly had ever written.
RareCollections: Australian Funk, Jazz and Disco - ABC Canberra - Australian Broadcasting Corporation
Ausrtralia has a history of quality funk, jazz and disco records and in this episode Jordie Kilby teams up with collector, DJ and record shop owner Chris Gill to spin a few of their favourites.
Hiroshi and Claudia - Beats In The Depth - 1979 - Atom Records.
Hiroshi Yasukawa was a top session musician in Japan during the 70’s and 80’s. He appeared on jazz/groove albums alongside Hiroshi Kubota, Toots Thielmans and Naoya Matsuoka. In 1979 he teamed up with the mysterious Claudia for this exploration of a day in the life of a hip young musician. The production on the album was split between Sydney and Tokyo and it was only ever released in Australia. Hiroshi’s 1984 album "Fission" was a similarly styled international production that was released in both Australia and Japan and produced by ex Roxy Music keyboard player David Skinner.
Donovan’s Druids - Love Potion No. 9 - 1971 - Earth Records.
Dave Donovan began his career in NZ playing alongside Mike Perjanik in several popular local acts before moving to Sydney in the late 60’s. As an in demand session guitarist during the 70’s he played with the cream of Australia’s entertainment world including John Farnham, Don Lane and Marty Rhone. He appeared on more than 200 albums and played on over 8000 commercial jingles. In 1971 he stepped out on his own cutting the album On The Country Line as Swamp Salad and this obscure cover of the well known Lieber and Stoller song originally made famous by the Clovers. The highly regarded drum break at the beginning of this record is played by George Adamson.
Alan Lee Jazz Quintet - Flying Saucer - 1974 - Jazznote Records.
Melbourne vibes player Alan Lee started playing jazz in the mid 50’s after hearing Lionel Hampton play with Benny Goodman. His influences range from trad jazz to be bop and he played with many of the great players kicking around Melbourne at the time including Bob Barnard, Ted Vining, Peter Martin and John Sangster. He recorded for a range of lables including Crest, Swaggie, Cumquat and Jazznote. His album "Smilor" saw his band take on a range of interesting material including the jazzy "Flying Saucer" and a cover of the War funk nugget "The World Is A Ghetto".
Chris Williams - Born To Get down - 1975 - Hammard Records.
Chris Williams was an American living in Sydney in the mid 1970’s. He was a DJ in Kings Cross spinning the latest dance records to revellers each weekend. In 1975 he decided to step out from behind the DJ booth and have a go at cutting his own disco material. He contacted Sydney party outfit the Hotrox Band who included Brooke Tabberer on vocals and Graeme Skelly on guitar. In one evening they put down an albums worth of memorable funk and disco material that was released as "Keep On Dancing". Williams also recorded a single the same year with another band known as the Austral Funk Machine for Wizard Records. It claims to be Australia’s first disco hit and while it was never a hit it is probably the first Aussie disco release.
For more info on great Australian funk, soul and jazz records including an interview with Alan Lee check out the Aussie Funk Blog; http://www.aussiefunk.blogspot.com/
RareCollections: Pioneering Indigenous Australian Vocalists - ABC Canberra - Australian Broadcasting Corporation
Jordie Kilby and David Kilby feature some pioneering Aboriginal and Torres Strait Island singers.
In the 90’s Yothu Yindi’s hit albums and singles greatly assisted in attracting national and international interest in Indigenous Australian music and performers. Yet, in some ways, the path that the group trod had been walked before. But by whom? Here are a few of the pioneers.
Harold Blair - Jabbin Jabbin - Score Records 1956.
Harold Blair was blessed with a beautiful tenor voice and it took him from Murgon mission in Queensland to the concert halls of New York. His first release appeared in 1956 on Melbourne’s Score record label and was the first commercial recording by an aboriginal Australian singer. What makes the record really interesting is that even though Blair made his name performing in productions like The Messiah, his first official recordings were of songs that the discs’ liner notes call traditional aboriginal Australian songs.
Georgia Lee - Downunder Blues - Crest Records - 1962.
When her album "Sings The Blues Downunder" was released it created a place for Georgia Lee in the history books. It was the first blues album ever recorded in Australia and only the second album, of any kind, recorded by an Australian female artist. Alongside covers of blues standards sit two original compositions, Yarra River Blues and Downunder Blues, both penned by Crest producer King Crawford and very early examples of what you might call Australian blues.
Vicki Simms - Yo Yo Heart - Festival Records - 1961 & Stanger in My Country - RCA Records - 1973.
Vicki Simms career began before he was a teenager singing Little Richard covers at Sydney dances in the late 1950’s. His first single Yo Yo Heart was released in 1961 when he was thirteen. Even though his records and TV appearances were geared toward the pop market he was a rock and roller at heart and one of the first aboriginal singers to make his name in that field. After struggling with alcohol he was sent to gaol where he began writing verse and learning guitar. "Stranger in My Country" comes from his 1973 landmark album The Loner which documented the feelings of many indigenous Australians at that time.
George Bracken - Turn Me Loose - W&G Records - 1959.
Before Cassius Clay or Lionel Rose combined boxing with a pop recording career there was George Bracken. George got his start with Jimmy Sharman’s boxing troupe in Queensland and soon moved to Victoria to begin training. He’d always been a social singer and was approached by W&G records to cut a couple of singles in the early 60’s. In the end George had more hits in the ring that on the charts but he was there before anyone else. He later went back to school and dedicated his life to liaising between police and the indigenous community in Redfern, Sydney.
Warumpi Band - Jalanguru Pakarnu - 1983.
Probably most famous these days for songs like My Island Home and Blackfella/Whitefella the Warumpi band hold the distinction of being the first band to record a rock song in an indigenous Australian language (Luritja) . Neil Murray was working as a teacher in Papunya in the central desert region of the Northern Territory when he formed the band with brothers Sammy and Gordon Butcher and George Burarrwanga. Initially covering the likes of Chuck Berry they soon began developing their own unique style of outback rock. The song was named after a phrase common with locals on the street and means "out from jail".
Little Davey Page - Happy Birthday Sweet Sixteen - Atlantic Records - 1975.
The Page brothers Stephen and David are best known for their groundbreaking stage and theatre work over the last 20 years. However long before finding lasting national fame David was spotted performing in a talent quest and signed with the iconic American label Atlantic Records - the first Australian to do so. He was groomed as Australia’s answer to the young Michael Jackson and released a couple of singles under the name Little Davey Page. Happy Birthday Sweet Sixteen made the top 10 on the Brisbane charts in July 1975 and the follow up We Like Music Together went top 15 early the following year. There were no more after that and Australia had to wait a little before being exposed to David’s talent once again.
In Adelaide over 3 days in 1976 Sue Barker and The Onions recorded a classic album that contains some of the most soulful grooves ever put down in an Australian studio.
Sadly a combination of poor promotion, lack of finance and personal priorities meant that the record never truly got the attention it deserves.
This episode seeks to play some part in rectifying that situation and features samples from the album and interviews with Sue Barker and Onions bass player Geoff Kluke.
Sue Barker spent her teenage years moving between Sydney and Adelaide and singing with many different outfits along the way including the Cumberlands.
In the early 70’s she began working with a group of musicians known as The Onions who were a collective of jazz and soul inspired players who performed regularly around Adelaide in clubs and also on local TV. They encouraged Sue to take her singing seriously and before too long Crest Records approached her to see if they could cut an album.
The LP was self titled and featured a mix of jazz, blues and soul cover versions.
Love To The People - Crest - 1976
A soulful rendering of the Curtis Mayfield song that originally appeared on his 1975 album "There’s No Place Like America Today". The Hilltop Hoods sampled the song on their second album Left Foot Right Foot in 2001.
I Heard It Through The Grapevine - Crest - 1976
Another soul number that features some great bass playing from Geoff Kluke who was channelling legendary Motown session player James Jamerson.
Lover Man - Crest - 1976
One of the quieter moments provides a great opportunity to take in the beauty of Sue’s rich and haunting voice.
Do Nothing Till You Hear From Me - Crest - 1976
Some of the album’s songs have had more attention than others over the years. This tune is one that Sue nominates as one of her favourites.
Before Fred and Ginger, there was Fred and Adele, two siblings from Omaha who shared a 27 year theatrical career, and revolutionised the dance and song world of the 1920s. The Astaires were adored by audiences, feted by royalty, and courted by social elites everywhere they went. From the start Adele was the more natural performer, while Fred had to practise hard to hone his trademark timing, but ultimately his skills surpassed those of his sister. Originally broadcast on 27/6/12.
Kathleen Riley, Classical scholar, modern theatre historian, and the author of The Astaires: Fred and Adele
Track: Sweet Music
Artist: Adele and Fred Astaire
Album: Night and Day: Fred Astaire, Complete Recordings Vol 2 1931-1933 Naxos 2001 Nostalgia Naxos 8.120519
Composer: Dietz & Schwartz
Description: Song from ‘The Band Wagon’ by Dietz & Schwartz
Track: The Bobbitt and the Bromide
Artist: Adele and Fred Astaire
Album: A Portrait of Fred Astaire, 1997 Music Collection International. Gale 414
Composer: George & Ira Gershwin
Description: Song from ‘Funny Face’ by George and Ira Gershwin
Track: Fascinating Rhythm
Artist: Adele and Fred Astaire
Album: A Portrait of Fred Astaire, 1997 Music Collection International
Description: Song from ‘Lady, Be Good!’ by George and Ira Gershwin
My first encounter with the name James P. Johnson was a fleeting reference to the composer in a liner note for a Gershwin recording, but it was enough to pique my curiosity. I contacted Robert Kimball, the author of the notes, and he gave me some intriguing background on Johnson.
In addition to composing the singular piece of music that came to symbolize the 1920s in America, "The Charleston," Johnson aspired to compose music for symphony orchestra and had actually written several orchestral pieces that were premiered at Carnegie Hall in the early 1940s. I was beyond eager to get my hands on that music, but Kimball was quite discouraging. He told me that all of the parts and scores were long gone; there was no existing recording of the Carnegie Hall event, and there was no chance that I could find that music. He said many people had tried unsuccessfully over the years.
Little did he know that "can’t" is my four-letter motivator!
I became obsessed with James P. Johnson, and my quest to find, restore and revive his orchestral music led me — along with my dear friend and willing collaborator Leslie Stifelman (currently music director of Chicago on Broadway) — on a six-year odyssey in search of Johnsons’ long-lost orchestral music.
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