I go to a dance workshop tomorrow and I cannot decide what I want to attract. There are all these different types of Dance, such as contemporary, jazz and ballroom. I thought booty shorts and a kind of top, but there are also Hip Hop and I need loose clothing. should I bring all the different Clothes in my bag? Tabitha and Napoleon will be there teaching and i dont want to look like an idiot. help and advice would be. Thank you!
Layers of clothing! Booty shorts and a tank top cute would work for most classes if theres wouldnt hurt ballet with a shirt under the tank top. Hip-Hop for only a couple of welding and tennis shoes with you. thats sweet that you learn from Tabitha and Napoleon! my dance studio almost went to a workshop with them, but we had to get a cheaper one: (Just try your best to eat and drink a lot and right, so you dont get tired!
This educational music program explains the specific roles of each member of a jazz band`s rhythm section with the help of seven instrumental tracks played in various styles, including shuffle and bossa nova.
Noted drummer and educator John Riley has created an in-depth work for serious students of the instrument. Conceptual topics (time playing, comping, soloing), artist style and analysis (Elvin Jones, Tony Williams and others) and technique (warm-ups, Mo…
A great supplement to Second Floor Music`s Sing Jazz! book (00740213/$14.95), Jazz Phrasing is a perfect workbook for all jazz vocalists. It covers: Specific Rhythm Phrasing – interpreting 8th notes, specific rhythm figures; Open Phrasing – exploring t…
Filmed at Berklee College of Music in Boston as part of the Berklee Workshop series, JAZZ EXPRESSION functions as an instructional guide in the form of a master class. Berklee Professor Larry Monroe encourages aspiring jazz musicians to develop a sense…
This Berklee Workshop is a comprehensive collection of exercises and performance studies designed to expand your bass playing in a wide range of musical styles. The rhythms and bass lines presented are excellent for developing sight-reading skills and …
Based on the author`s experience in teaching in jazz workshops, this text explains the principles of the jazz art form. Useful for teachers wishing to include jazz in the music curriculum.
Learn the art of creating a solid slap bass groove. Whether you`re an aspiring or seasoned bassist, this workshop will teach you many of the slap bass lines and styles found in your favorite rock, funk and jazz tunes, and inspire you to experiment with…
The cool-toned altoist Hal McKusick was a flexible, if not all that distinctive soloist. He is heard in four settings on this British LP, ranging from a pianoless quartet to a quintet and an octet. Among the supporting cast are trumpeter Art Farmer, guita
Berlin’s 1965 Jazz Piano Workshop reunited some of the instrument’s finest exponents from the full stylistic spectrum of jazz piano. The great Teddy Wilson was on hand to represent the swing piano style; the father of jazz piano improvisation Earl Hines w
Record labels reissuing titles that have previously existed on other mediums — vinyl for instance — are afforded the ability to monopolize on the extended capacity of the CD format. This allows the simulation of vintage performances in real-time with exceeding accuracy. Live at the Jazz Workshop is a prime example of the splendor of art meeting technology. The title now includes all known useable material from the first two evenings of the Thelonious Monk quartet’s brief residency at San Francisco’s renowned Jazz Workshop in November 1964. Not only is this set sporting a baker’s dozen of previously unissued titles, it also includes a trio of tunes in their original and otherwise unedited form. The quartet shines, exuding wave upon wave of brilliant individual and group improvisation within the familiar confines of some of Monk’s most memorable titles. “Straight, No Chaser,” “‘Round Midnight,” and “Well You Needn’t” may be familiar, but the resurrected performances on Live at the Jazz Workshop are anything but standard. When not establishing a melodic pattern, Monk’s percussive outbursts contain urgency and danger just below the surface. The intensity conjured on “Well You Needn’t” from disc two is nothing short of a four-way tug of war. Monk musically challenges with intensity and his uncanny ability to know when to play and when to lay out, thus allowing the trio — led by longtime Monk sidekick Charlie Rouse — to propel him back into the groove. Keen observers might notice the dates of the performances on Live at the Jazz Workshop directly precede those of another essential Monk release. Live at the It Club — Complete was recorded on October 31 and November 1, 1964, at the It Club in Los Angeles. Both releases are quintessential in the appreciation of Monk during his rightful ascension into jazz immortality. ~ Lindsay Planer, Rovi Performers: Ben Riley – Drums; Charlie Rouse – Sax (Tenor); Larry Gales – Bass; Thelonious Monk – Piano
As an arranger and bandleader, the works of Manny Albam seem better appreciated by jazz musicians than by record labels and the jazz-buying public. This RCA Victor LP collects three separate octets recorded over the span of a few days in December 1955, di
Soon after Charles Mingus finished touring Europe with his band (the unit that featured Eric Dolphy), he recorded this CD, performed live at The Jazz Workshop in San Francisco. With tenor-saxophonist Clifford Jordan and drummer Dannie Richmond still in th
Pianist Barry Harris’ second recording as a leader (he led a set for Argo in 1958) finds him at the age of 30 playing in the same boppish style he would have throughout his career. Teamed up with bassist Sam Jones and drummer Louis Hayes, this live CD reissue (which adds three alternate takes to the original LP program) is an excellent example of Harris’ playing. Highlights of the enthusiastic straight-ahead set (which includes three obscure but worthy originals by the pianist) include “Is You Is or Is You Ain’t My Baby,” “Moose the Mooche” and “Woody’N You.” ~ [Barry Harris at the Jazz Workshop was reissued on CD in 2006 and includes bonus tracks.] Scott Yanow, Rovi Performers: Barry Harris – Piano; Louis Hayes – Drums; Sam Jones – Bass
Fix any rhythm section for less than $80! Perfect for instrumental jazz ensembles, small group combos, vocal jazz ensembles, and praise and worship bands!
Track Listing:Is You Is Or Is You Ain't My Baby? – (take 2)Is You Is Or Is You Ain't My Baby – (previously unreleased, take 1, bonus track)Curtain CallStar EyesMoose The MoocheLolitaMorning CoffeeDon't Blame Me – (take 2)Don't Blame Me – (previously unreleased, take 1, bonus track)Woody'n You – (take 2)Woody'n You – (previously unreleased, take 1, bonus track)
Cuneiform tends to prefer Soft Machine’s earliest and “classic” lineups, so the label’s release of NDR Jazz Workshop: Hamburg, Germany 1973 might seem mysterious. The core group on this two-disc live CD/DVD package — Mike Ratledge (keyboards), Karl Jenki
The complex music on this LP finds bassist Charles Mingus looking toward contemporary classical music in some of the rather cool-toned arrangements. It was not until later in 1955 that he found the right combination of influences in which to express himself, best but these slightly earlier performances have their moments. Four of the selections feature tenor-saxophonist Teo Macero, pianist Wally Cirillo, drummer Kenny Clarke and Mingus in a quartet while the other five tracks showcase a sextet with Macero, George Barrow on tenor and baritone and clarinetist-altoist John LaPorta. [The 2003 reissue boasts improved sound and a bonus track: an alternate take of "Body and Soul."] ~ Scott Yanow, Rovi Performers: Charles Mingus – Bass; George Barrow – Sax (Tenor), Sax (Baritone); John LaPorta – Sax (Alto), Clarinet; Kenny Clarke – Drums; Rudy Nichols – Drums; Teo Macero – Sax (Tenor), Sax (Baritone); Wally Cirillo – Piano
The complex music on this LP finds bassist Charles Mingus looking toward contemporary classical music in some of the rather cool-toned arrangements. It was not until later in 1955 that he found the right combination of influences in which to express himself best but these slightly earlier performances have their moments. Four of the selections feature tenor-saxophonist Teo Macero, pianist Wally Cirillo, drummer Kenny Clarke and Mingus in a quartet while the other five tracks showcase a sextet with Macero, George Barrow on tenor and baritone and clarinetistaltoist John La Porta. ~ Scott Yanow, Rovi Performers: Charles Mingus – Bass; George Barrow – Sax (Tenor), Sax (Baritone); John LaPorta – Sax (Alto), Clarinet; Kenny Clarke – Drums; Mal Waldron – Piano; Rudy Nichols – Drums; Teo Macero – Sax (Tenor), Sax (Baritone); Wally Cirillo – Piano
Noted drummer and educator John Riley has created an in-depth work for serious students of the instrument. Conceptual topics (time playing, comping, soloing), artist style and analysis (Elvin Jones, Tony Williams and others) and technique (warm-ups, Moell
Cuneiform tends to prefer Soft Machine’s earliest and “classic” lineups, so the label’s release of NDR Jazz Workshop: Hamburg, Germany 1973 might seem mysterious. The core group on this two-disc live CD/DVD package — Mike Ratledge (keyboards), Karl Jenkins (reeds/keyboards), Roy Babbington (bass), John Marshall (drums) — is often considered an also-ran in Softs history, appearing on the final CBS/Columbia outing Seven. Here, the band mainly plays music from the half-live/half-studio double-LP set Six. Bassist Hugh Hopper had just departed, replaced by Babbington, and sole original member Ratledge was beginning to split the writing duties roughly 50/50 with Jenkins. To some listeners, the idiosyncratic pleasures of early Soft Machine were fading away, replaced by a riff-based jazz-rock executed professionally but a bit too cleanly, lacking fire and sometimes just a tad too repetitive. Well, let’s not be too harsh — the emerging Jenkins could be a canny composer/arranger, with time signature quirks, a nice sense of melody and space, and instrumental voicings that made the Softs’ transition into their latter-day jazz-rock era appear nearly seamless. And if you need evidence that Soft Machine circa 1973 could indeed be a hot property, here it is. Yes, Cuneiform had strong reasons for releasing this. As noted in Aymeric Leroy’s liners, the German public broadcasting program’s audio and video quality is “superb,” and that’s not an overstatement (kudos to Udi Koomran for audio restoration and mastering). One might quibble about moments when a soprano sax is too low in the mix, but for the most part NDR Jazz Workshop is well balanced and crystal clear in both vision and sound. The cameras glide in smooth tracking shots around the band, and also linger where they should when each musician is in the spotlight, although sometimes (characteristic of the era) pulling in tight on a face and sticking around too long there (hello, razor stubble). The CD and DVD, which generally replicate one another, are both divided into two parts, the second portion truly coming alive with the arrivals of guests Gary Boyle on guitar and Art Themen on tenor and soprano saxophones — Boyle’s fleet-fingered, jagged runs and Themen’s robust playing seem to fire up the others on jazz-rockers like the odd-metered “Stanley Stamp’s Gibbon Album” and groove-based “Gesolreut.” The latter is probably as funked up as the often cerebral Softs ever got, its central jam bracketed by a sax/keyboard riff that ends with an emphatic unison punch. Here played by the sextet, it’s stretched to nearly 12 minutes, almost double the length of the quartet version on Six, with a sound that’s more expansive, the band faster and more fluid beneath Boyle’s animated bursts and Themen’s buildup from clipped notes into extended phraseology and finally overblown upper-register squeals. Also nearly double the length of its studio incarnation (on the as-yet-unreleased Seven), “Down the Road” grooves more lang
Music is passion
Music is energy
Music is joy
Music is creativity
Music is eternal
Music is love
Music is soul
Music is life
Music is one of the greatest creations of human kind in the course of history. It is creativity in a pure and undiluted form and format. Music plays a vital role in our daily life. It is a way of expressing our feelings and emotions. Music is a way to escape life, which gives us relief in pain and helps us to reduce the stress of the daily routine. It helps us to calm down, an even excites us in the moment of joy. Moreover, it enriches the mind and gives us self confidence.
Music surrounds our lives at different moments of lives, whether we hear it on the radio, on television, from our car and home stereos. Different kinds of music are appropriate for different occasions. We come across it in the mellifluous tunes of a classical concert or in the devotional strains of a bhajan, the wedding band, or the reaper in the fields breaking into song to express the joys of life. Even warbling in the bathroom gives us a happy start to the day. Music has a very powerful therapeutic effect on the human psyche. It has always been part of our association with specific emotions, and those emotions themselves have given rise to great music.
The origins of Indian music can be traced back to the chanting of the Sama Veda nearly 4,000 years ago. The primacy of the voice, and the association of musical sound with prayer, were thus established early in the history of Indian music. Today, music is available for us in different forms and the choice for music varies from person to person just as the reading choices vary from one another. There is folk music, classical music, devotional music, instrumental, jazz, rock music, pop music, hindi movie songs and many more.
In the modern world, Music has gained an honourable designation of ‘HEALING WITHOUT MEDICINE’. Doctors feel that music therapy has been helping them in treating many people with problems like dementia, dyslexia depression and trauma.” Many children with learning disability and poor co-ordination have been able to learn, and respond to set pieces of music. Many people with genetic disability have found a new light in the form of music.
Dance critic Ashish Khokar cites an experiment as proof: “Music is produced from sound, and sound affects our sense perception in many ways. Even fish in an aquarium were once made to listen to different kinds of music and it was found that their movements corresponded with the beat of the music. Mind you, fish do not hear, they only felt the vibrations of the sound through water. So you can imagine what a profound effect sound and music might have on the human mind.”
Anand Avinash, founder of the Neuro Linguistic Consciousness workshop who has researched music therapy says,”the mystics and saints from ancient to modern times have shown how music can kindle the higher centers of the mind and enhance quality of life.” Mantras, or chants used in the West, repeated monotonously, help the mind to achieve a sense of balance. A combination of the sounds in Sanskrit mantras produce certain positive vibrations and elevate the mind to a higher lever of consciousness.
We all know that meditation cleanses the system of its negative energies and vibrations. And music is a powerful aid to meditation. In many meditation workshops, music is used to make people more aware of their moods and feelings. People are made to lie down and empty their minds and then listen to the music which is systematically changed so that they can fit through different emotions and state of consciousness.
Many people also believe that any Music You respond to positively will work for you, regardless of its content. Thus, even pop music might work wonders for you.
Music affects all of us in some way or the other. It also is the most common interest of many people. People Who love music, listen to it while traveling, reading, meditation, walking, some even have soft music while working in their busy routine. It helps them to relax and escape from the stress of our day-to-day lives. It can transport us to another time or place and it is a great feeling of seeing or doing or experiencing something different. People have special music corner for themselves and some people give importance to listening in silence and some people love to read with light music and even some people love listening to music before sleeping. Many people love listening to music in bathroom because they feel it is one of the few rooms in the home where privacy is routinely respected. Some people also love to sing in the bathroom and are called ‘bathroom singers’. Music has now become a part of our life as it serves different purposes for each one of us.
It serves as an entertainment tool. For instance, in an occasion or event, music plays a vital role that makes the event to be lively for the people. Similarly, it creates cordial relationship among the people.
Moreover, it serves as a tool for corrective measure. Music tell the people on the habit that is uncultured so that such behavior can be for better. Furthermore, it is an agent that is used to educate people. Music can easily convey message to the friends and enemies.
It serves as tool for settling dispute between two or more people. It often helps to put an end to disagreements after listening to related meaningful songs. Music is played for the group to show harmony among them.
Music also serves as a source of income to human life. It is a profession of particular classes of people like lyricist, playback singers, music directors, musicians, musical instrument players, djs etc.
Lastly, music serves as a message or symbol that indicates the occurrence that is going on in a particular place or event. For instance, If bad occurrence happen in a particular place the type of music played their will show the audience or listens what happened in that event. The type of music played will justify to the listeners what actually going on there.
