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#jazz standards
didierleclair · 10 months
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Eartha, the great!
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th3-0bjectivist · 1 year
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The Salvation Day Interviews (1 of 2) with musician Anthony Tadlock
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     Dear listener, as a special treat and for the edification of music lovers all over Tumblr this is part 1 of 2 of my Salvation Day Interviews with Anthony Tadlock, A.K.A. t-underneaththeradardancing on Tumblr. Mr Tadlock, I recently spent several hours listening to Salvation Day. Thanks for agreeing to answer some questions about your band’s music. 
    When I dive headlong into music that I’m not too familiar with there’s always this sense of discomfort, but when I started with Mercy from your EP, The Backdoor Sessions, I felt distinctly like I was sitting in a new bar and listening to an exceedingly talented local band perform live. I know we’ve discussed this one-on-one before, but for the peeps on Tumblr, what was the actual genesis of SD, and how did you and Ms Vita Rhie Quintanilla meet? What was the spark that brought you two together to record in the first place?
     to set the stage - so to speak - i had been performing with and jamming and hanging with a young musician - very loose no muss fuss - 3 weeks before meeting vita i had a mild heart attack - mild but the hospital experience was literally a nightmare and nearly killed me - a couple weeks after getting out i was invited over to play/ jam/hang out - wuz expecting at most a couple other ppl to b there - btw to digress - t is very much an introvert - to digress further - t is a stage name but the only name ppl in the music aspect of my life know me by or call me - anywaves - i had just set up my guitar and amp when i could feel a presence coming down the stairs - a young woman - at 1st i guessed 25- ish which would make her the 2nd oldest in the room - she looked at a painting of crows and i said something to her about my love of corvids - i was improvising on guitar - some blues - i think a bass player was playing along and maybe another guitar - she started singing improvising lyrics and we started riffing off each other - her voice blew me away - then she started playing her original songs - omfg ! - anyway - i hoped that we would play together again
     a couple weeks later she walked into Madrone Art Bar where i frequently played open mics -she was with my friend - both joined me on stage and we did what i call "deep space nine " which is what i called any unplanned unrehearsed collaboration onstage - i of course could not remember her name - she handed me a business card lol - she told me she had a weekly gig at a cafe i had performed at and would i like to join her - by this time i knew she was diagnosed w schizoaffective disorder - that she was 17 still in high school and a witch - we started performing together playing her gigs - open mics - on the street ...there is of course more to the story which may be covered as we go on
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    I went through every song on Salvation Day’s YouTube page, the instrumentals and the voice go very well together, and I must admit, there is great synergy on display. You two had me mesmerized a few times, particularly with tunes like Para Ti and Reincarnation. Tell me, do the instrumentals come first, or do the lyrics/vocals come first, or somehow both at the same time? What goes into the process before you record?
     virtually all of salvation day songs are mostly vita - the lyrics in particular - some have come out of improvising at gigs - or as vita would say - we are just gonna pull something out of our ass now - some she has already "arranged " before i hear them others she asks me to figure out some chords and key - it should be noted that after graduating high school she moved to davis ca about 100 long miles away with no good way of getting there and back on public transit - required bus ride - a subway ride and finally a train and took 3 hours - neither of us drive though she recently learned - t cant see for shit so - and there was lots of drama in the summer preceding - however we rarely felt the need to rehearse - at early gigs i would ask whats the 1st chord and what key - sometimes the answer was - idk - jimi hendrix chords lol - sometimes they were jazz chords i didnt know - i still play a lot of chords im not quite sure the name of and double stops that suggest a chord - on a good night i play by ear and improvise mostly - when we decided we were gonna make an album - we formalized the arrangements and figured out keys etc ...
     sometimes - like last week when we got together after not playing together in a couple months - tho exchanging some snippets thru email text etc - vita thought of some lyrics on the spot - i started playing some chords - we fucked around w it a bit - made a rough recording on fones and will see if something comes of it - Reincarnation was written just before we met - vita says the songs morphed and become different thru my influence - Para Ti she had come up with a couple months after we started playing together - we were at the friends house - and he had become totally indisposed - we were supposed to start the recording process that day - we waited around to see if he would improve and she started playing it - i came up w the lead guitar lines - btw to digress to q 1 - vita was often in and out of hallucinations and delusions at the time - she has no memory of the 1st time we met and hazy about the beginning period - one last example Mercy - written entirely by vita - tho my guitar was central - she sent me an audio file - it has chords i dont know - i just followed her voice and elaborated - tbh i still dont know what key it is in lol - like jack sparrow eluding capture we just make it up as we go
    Do you have any advice for aspiring musicians out there based on your experiences with SD so far? Have you had any creative blocks or serious problems when generating new music? If so, how do you get through them, and what do you think the most important thing is for a musician to do when they feel discouraged or dejected by their own bad experiences with music making?
     whew - thats a tough one - i have been playing guitar for almost 60 years - been in a number of bands and playing situations - have been discouraged countless times - most recent was the whole experience of recording a studio album with a producer - it was hugely stressful for myriad reasons and ego deflating and not in a good way - we coped w that by recording the Backdoor Sessions ep - the bulk of was recorded in a couple hours in vita's tiny dorm room using garageband - it was done without rehearsal - and we played 2 gigs in january that we were happy with also w no rehearsal - we also released vita's book The Schizophrenic Dialogues - all while covid was rearing its ugly head - no gigs to promote anything - no spoken word opportunities - vita was in terror of infecting me - between age COPD and heart i was a likely candidate to die - so we saw each other rarely
     i had invested a huge amount of $ in the studio album - to cope vita started a collective based on Sacred Arts Productions - a jewelry biz and an art biz - i worked w our web designer / friend / collaborator maggie umber to get our web site up - and started recording daily snippets for instagram and spammed the fuck out of tumblr - vita and i met mostly outdoors - playing mostly acoustic where the chances of infecting me were minimized (she got covid twice during this period ) so i guess my advice is 1) forget the ego and bullshit that goes w doing - anything - but particularly the creative 2) forget about "success" and numbers - sales/listens/hearts...3) just keep on keepin on - that said it aint easy sometimes - i been playing as i said almost 60 years - theres still so much i dont know - i try to learn new things and ways almost daily - just showing up is sometimes a victory
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     Listen to Salvation Day on Youtube. Back at the end of the next week with part 2 of my Q&A with Mr Tadlock. If you liked this post, please spread the word about SD and consider reblogging this set of interviews. And if you haven’t done it yet, scroll to the top of this post and smash play!
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oh-great-authoress · 7 months
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Hello, people who follow me.
After being here on this hellsite for almost four years (darn, I’m getting old), I wanted to share with all of you one of the other things that I am crazy about—so crazy about it, that I went to SCHOOL for it—music.
I’ve mentioned it before, but just in case you didn’t see my posts talking about this, I am a classically trained singer; a light lyric coloratura soprano, to be precise.
That’s a really fancy way to say I have a “voice that has a warm quality with a bright, full timbre that can be heard over an orchestra.”
And the coloratura means that I have an even higher “extension” to my voice—that I can sing even higher than a plain light lyric soprano can, that my voice is agile, and can handle runs.
However, this song here is not an aria or any sort of classical repertoire, but it is a song from one of the many genres that I also trained for—jazz standards.
In fact, my senior recital was half classical, half jazz, my collaborative musicians some of the best in my area.
(My jazz pianist was my music theory and composition mentor—[thanks Mr. B!]—yes, I also compose; I have a really nice piano piece and Catholic Mass Setting under my belt if I do say so myself)
I recorded this in my church, after the Mass I regularly sing at, and the echo in the church, along with the microphone reverb kind of lends itself to a certain ambiance.
I hope you enjoy!!
On an aside, I also am posting this as a teaser for the next story that I hope to post soon on my fanfiction sideblog, @the-authoress-writes.
No spoilers, but this probably likely is a gigantic clue, I’ll be honest, 🤣!
Tagging some people whom I really want to see this:
@welsharcher
@valmare
@batmantaking-hobbits2gallifrey
@justhereforfandomandfriends
@musewrangler
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protoslacker · 11 months
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I hope people understand that I’m trying to help develop new repertoire for the new frontier for jazz singers,” James says. “To call something as standard is a decision of what we deem important in society, whose voice should be heard in perpetuity.
José James in an interview by John Murph in Downbeat. José James Finds His Baduizm
On & On is a wonderful album. 
I had just heard some musicians complaining about "young people today" or some such thing. I am old and out of touch but that diss had me wondering about young singers and how I might find out about them.  José James is not really young, but he's a generation removed from me. And I like his music a lot. So I went to  YouTube and watched a set on the Millennium Stage at The Kennedy Center.
The line up: Drums - Jharis Yokley, Pianist- Julius Rodriguez, Saxophonist - Ebban Dorsey, and Bassist - Ben Williams. It is a fantastic band and crossing generations in so many interesting ways.
When I opened up The Healer from Eryikah Badu's 2008 album, New Amerykah Part One (4th World War), I noticed comments about what a big impression the album had made when they were very young. 
James remarks about the album: “Jazz singing has always been about interpreting the highest level of standards of your time. And for my generation Erykah Badu has been one of the most innovative and incisive songwriters. Her work has proven to be groundbreaking in a social, musical and artistic sense.”  It’s great to hear young people engage with this music.
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lizajudyfan · 4 days
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Liza Minnelli sings “Just You, Just Me” in New York, New York (1977), opposite Robert de Niro
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paulgadzikowski · 9 months
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About twenty years ago I got really into the music channels on the cable tv. I’ve always liked jazz. My absolute favorite genre of music is jazz covers of non-jazz melodies from sources I know, like Deodato’s Also Sprach Zarathustra and Jamal’s Suicide is Painless. I blame A Charlie Brown Christmas. Nowadays I get my fix at jazzradio.com
I particularly go for “jazz standards”, the ballads from when my parents were in their teens, twenties, and thirties in recordings by the artists I used to see singing them on tv variety shows when I was a teenager, of whom only Tony Bennett is left I think (though the likes of Pat Benatar are stepping up). The sort of thing James Darren sang on DS9.
One thing particularly endearing to me about the genre is the way many tracks open with two or a dozen bars of introduction unique to the artist of the moment. Then they get to the opening lyrics and familiar tune, and the delicious chills run up and down your spine shouting "Sucker!" like Mel Blanc.
Do you know that thrill? Do you wanna know what I just learned is even better?
When it hits you what the song's going to be two measures before the familiar lyrics start.
(Video under a readmore so, if you want to, you can try to avoid seeing the song title before you click to listen)
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tomwoolf · 3 months
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uparupas-cafe · 3 months
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Though it is a somewhat obscure recording, Dave Brubeck's starkly-alluring arrangement of Hoagy Carmichael's "Stardust" is a piece I feel everyone should feast their ears to at least once in their lives.
The introductory passage is particularly-reminiscent of Bill Evan's classic, "Peace Piece", in that it initially bases itself around a simple vamp between Dbmaj9 and Absus13 (implied by Gbmaj7). I find the melody to be particularly touching, especially when the C plays against the Gbmaj7 in the left hand, which could be interpreted as implying a Gbmaj7#11 (or perhaps simply heightening that Absus13 sound, if you considered the C to be the third of Absus13 instead).
Dave Brubeck's arrangement, though delving into passages of greater complexity (which are delivered with appropriate musicality, maturity, and finesse, as one would expect), really reinforces the key notion that, in music (although I feel this idea is ubiquitous amongst all fields), simplicity is, more often than not, the better option.
This focus upon simplicity is a philosophy that has altered (that is to say, positively-impacted) the course of my own personal ventures, whether that be my ventures in musical improvisation or my ventures in completely-unrelated fields (namely, my ventures in the field of computer science and machine learning).
Anyway, there's little use in me blabbering on about the philosophy of simplicity or the arrangement I have linked here. I would greatly appreciate if more people were to listen to Dave Brubeck's arrangement. For those who have better ear training than I do, it would be a great help if you could please transcribe this piece and share it so that Dave Brubeck's arrangement can be played for many more years to come.
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ochipi · 1 year
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Every Sunday evening starting some time before 6pm, one of the major pop music radiostations in my area plays big band music and jazz (standards).
I just hope that there’s somewhere in Flanders now an elderly couple dining at home with a red rose in a tall, narrow vase and a candle stick on the table, dancing a slow waiting for the Boeuf Bourgignon to be ready.
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currymanganese · 11 months
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Watch "Sakamichi no Apollon - Medley" on YouTube
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Don't mind me, just making up with my bro, my not love interest my beloved bestie after a fierce argument, by performing a sexy jazz duet in front of our awed classmates before running away together hand in hand 💕
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ottocuba · 5 months
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Swinging
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didierleclair · 1 year
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The woman can sing!
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th3-0bjectivist · 11 months
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The Salvation Day Interviews (2 of 2) with musician Anthony Tadlock
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     Dear listener, this is part 2 of 2 of my Salvation Day Interviews with Anthony Tadlock, A.K.A. t-underneaththeradardancing on Tumblr. For reference, Part 1 is here. Without further ado let’s start picking T’s oddly poetic and musical brain once again...
    Mr Tadlock, SD’s style of music seems quite distinct and doesn’t sound exactly like any other band I’ve heard of. When you two record music, what is the specific style you’re aiming for? Do you and Ms Vita Rhie Quintanilla align on any favorite influences that heavily sway your sound? Do you two enjoy the same type of music outside of SD? How much does classical or modern music affect your own expression as musicians?
     whether we are recording - playing live - just fucking around (what passes for "practice/rehearsal ") we dont actually aim for a style - early on we talked in general about "goals" we agreed that what we aim for is transcendent magic healing - and we will settle for being in tune and not sucking - influences many and varied but both agree if on a desert island - and could only have one album it would b miles davis "kind of blue" - we both enjoy a wide range of music...
     everything we hear - have heard - from classical to punk rock influences us - we also play a fair amount of "covers" live - a typical example would be "i know places" which is a kind of dirge by lykke li - vita had never heard it before - it was a staple in my live performances at the time - vita listened to what i had done w it and it became a staple of early performances having morphed into almost a stax type r&b - like many songs we play - we worked out the arrangement during performances with little or no discussion about arrangement
     I find that some of the most effective musical groups out there are duos. There’s just something that seems more concentrated and concise about a duo’s ability to wrap an album in a tight bow. Compared to other musical projects you’ve worked on in the past, do you prefer dealing with one single other creative mind… or many others… and what are the disadvantages of both from your point of view? When you’re playing guitar and she’s singing, for example, how do you deal with the inevitable issue of adding percussion to ‘enhance’ a track or live performance?
    at this time there are actually 3 members of SD - the 3rd is london - he plays guitar and bass - is engineering / producing our next project - at various times we have had a 3rd musician join us for a song or 2 - and there is maggie umber the artist, who created our web site - a video and some behind the scenes stuff - which is not precisely answering the question - i understand about duos though - with 2 minds/ souls it is easier to keep the connection - the unspoken - and be as 1 - with the whole being more than the sum of - it was only in making the album and making hard choices / dealing with forced choices and realities that i realized my true role / gift as a guitarist/musician is being a catalyst for magic to happen - to digress - often at open mics - peeps play along from their seats - impromptu collabs occur - sometimes the whole place becomes the stage - today im gonna prob play 1 song w the host/emcee - we have played 2x together - 1st time was cuz someone who had someone die that they were close to requested she play hendrix purple haze and she asked me if i could - tho i have heard the song countless times - the last time i played parts of it - i was maybe 15 - but it’s a simple structure - i said give me a minnit - went outside tried out chords as i remembered and something resembling the guitar parts - spent maybe 5 minutes total - came back in and said yah sure but u have to sing - no rehearsal - loose and nothing like note for note - ffs i dont play anything note for note or exactly the same way twice –
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    anyway - it’s like that w vita - she often asks - can we play xxx - i say sure - look up chords if i dont know and ...w vita it has been consistent magic from the start and while not effortless by any stretch - we both put everything we have into the music as we play - whether we are loosely playing in my dining room / her living room - out in the street - onstage - sometimes we think there is no audience and a neighbor will later say they liked it - or look up on the street and realize we have attracted a small audience - in terms of the limitations - especially when vita isnt playing guitar - partially i am accustomed to playing solo just me and guitar - have developed different strategies for compensating / filling holes in the sound - that said we have wanted a percussionist from day 1 - on the album and ep we used synthesized drums / percussion which can be hard cuz we are a bit quirky - so in some ways salvation day will always be vita and t at the core - tho our 1 performance w london was ez and in some ways our best - and playing w him is ez and natural - unfortunately no recording
    I have but one final query and it’s a general one, so buckle your fuckles. I’m curious Mr Tadlock, what do you think of the state of modern music? When I listen to Salvation Day, I hear a group that is 100% genuine. You’ve got an interesting story and your entire act and delivery is sincere… when I turn on modern radio I just hear utter nonsense. Nonsense that is often dumbed down by multimillion dollar corporations that are trying to turn the talents of others into a saleable product. Do you think the vast majority of modern music is even healthy for people, and is there a conscientious effort on your behalf to keep the presentation pure with Salvation Day?
     the state of modern music ? idk tbh - it’s a scattered and confusing landscape - like always - much of wat is out there is crap - but then again - i lissen to 60s station on sirius when on road trips w the unpoet and much of what i hear is pretty crappy and i love the 60s lol - same same modern music which i get sporadic exposure to via tumblr instagram and youtube - hearing while in cafes or in ride shares - SNL ... and every once in a while an absolute gem is heard so is "mainstream " pop /commercial music "healthy" - fuck if i know - i remember 1st listening to top 40 am radio in 1st grade - loved the chipmonks (Alviiiiiiin!) singing witch doctor - a one off "flying purple people eater " lots of "novelty records " when previously listened to moms opera and frank sinatra - beatles werent on the radar yet but beach boys - mostly vacuous but fun - have gone thru phases - only listened to jazz and opera for almost a decade - have compulsively listened to 1 album or artist for periods - was any of it "healthy" maybe - it fomented trance and being outside myself - sometimes music is entertainment - sometimes just background for a lot of people - but also a way of coming together - a way to express confusing/conflicting emotions - i could critique modern music as being cookie cutter and meaningless - but no more than say doo wop dang a langa ding dong indeed or has there ever been anyone more transgressive than little richard then again chuck berry stooping to my dingaling ffs
     so did we do we trynna keep it "pure" w salvation day - fuck yah - i mean how fucking audacious (pretentious) to call it Path of Sacred Art - i thot our producer understood and they did sorta but - and i love our album but at one point i almost walked away from it - the process slowly grinds - yah rough edges r smoothed but - a case in point - the epitome of early salvation day - the sacred art side was/is "reincarnation" something went terribly wrong in the studio - after spending waaaay too much time recording vita's guitar - and too much autotune on her vocal - her guitar track had a "glitch" making it unusable - by the time that was discovered vita was in davis again - covid was just about to go into the lock down phase ...it was expedient to hire a classic trained studio musician that the producer knew and could record studio quality on his laptop
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     and tbh i still am not sure how much of the electric on it is actually me or if some was replaced w same studio guitarist - little dramas like this went on for months during the mixing process and much of the email text exchanges w producer were late night sleep ruining drama - in the interest of ever getting the album finished - vita - whom i gave ultimate decision making since they are her songs - deeply personal - she has literally shed blood (read her book) during the writing of performing recording , allowed almost all of her guitar to b scrapped - replaced by same studio musician - tho to said musicians credit - she did a good job of re creating vita - and if some of my guitar - we only talking about a few notes - was also replaced - she faithfully re created - tho i did go in studio one day a couple weeks after recording was "finished" and laid down a lot of riffs / repeating lines / solos and i was sooooo stoned i truthfully dont remember - in those daze because of intense constant pain - i used what in retrospect were enormous amounts of thc and cbd - no other drugs or alcohol but i was high 24-7 and rarely got as much as 3 hours sleep a night - anyway - so yah we did our best to keep it pure - and there is nothing cookie cutter about the album
     T !!! JFC !!! Thanks so much for your time and your FANTASTIC riffing here on Tumblr. Listen to Salvation Day here on YouTube or here on Spotify. Their website is here. If you liked this post, please spread the word about SD and consider reblogging this set of interviews. And if you haven’t done it yet, scroll to the top and middle-bottom of this post and smash play!
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oh-great-authoress · 7 months
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Nadia Sings no. 2
Link to last week’s song
Today we have a piece that is very special to me: “Dream a Little Dream of Me” (Music by Fabian Andre and Wilbur Schwandt, lyrics by Gus Kahn)
While the version of The Mamas and the Papas popularized this song in the late 60s, this was actually first recorded over thirty years before, in 1931, as a jazz standard, which is the style I have always sung this song in.
This was one of the first songs I ever sang with a jazz ensemble—the jazz ensemble of my music theory and composition mentor, Mr. B, in fact, and it was truly an unforgettable experience.
I love this song so much, that I included it as part of the jazz half of my senior recital, where I was again accompanied by Mr. B.
I recorded this in my dining room, using the app Bandlab (no, this is not an advertisement), as a little project to keep me distracted while my dad is in the hospital.
While I put a little reverb effect on the piano track I used, as well as on my vocal track, this is otherwise as unadulterated a track as the one I posted last week; just my voice, with no pitch correction, recorded into my iPhone.
I hope you enjoy!!
(Headphones recommended to hear the reverb)
Tagging the same people I tagged last week, as well as those who enjoyed last week’s offering:
@welsharcher
@valmare
@batmantaking-hobbits2gallifrey
@justhereforfandomandfriends
@musewrangler
@randomfoggytiger
@two-microscopes
@sakar-rad
If you would like to be taken off the taglist, just send me a message, no hard feelings, and if you’d like to be added to the taglist, just interact with/reblog this post or send me an ask!
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oopsl · 1 year
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The Blues and the Abstract Truth, Oliver Nelson, 1961
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