Bailable y Apiazzolado
Versión de la orquesta típica de Astor Piazzolla (1946-48)
NUESTRO TIEMPO
Romain Lecuyer, Contrabajo
Vera Pavlova, Piano
Marcelo González, Violín
Lucia Couto, Violín
Gabriel Bussi, Viola
Carolina Landriscini, Cello
Guillermo Bazzolla, Guitarra
Matías González, Bandoneón
Lieba: Leo y Carina
Cámara y edición: Miguel Castro González
Manager: Paco Galán
...
https://www.youtube.com/watch?v=MJOyJyO_r2w
Charlie Parker 100th Anniversary
Celebrating with:
Bill Evans, piano (from 'The
Solo Sessions, Vol.2'), recorded January 10, 1963.
Recording cited for educational purposes only.
https://www.youtube.com/watch?v=iF8-LrkLKjQ
Many thanks to Dr. William Hughes for his channel and all his accurate transcriptions:
http://drwilliamhughes.blogspot.com.au
(quote)
The Charlie Parker/Benny Harris tune 'Ornithology' is a slight oddity in the Bill Evans catalogue. As far as I'm aware, there was only one other instance of his involvement with this tune, as a sideman on the technologically 'experimental' Benny Golson album 'Pop + Jazz = Swing', where it plays simultaneously with a version of 'How High The Moon' by a completely different 'pop' ensemble, and where both songs are split between the right and left channels respectively. The results from this session were re-issued on CD a few years ago as 'The Complete Triple Play Stereo Sessions'. Needless to say, the rigid nature of the whole project makes the music swing as much as a high school trumpet student does playing along to a clicktracked backing CD, as I've experienced first-hand more than enough during my teaching tenure at these very schools...but perhaps I'm being a little harsh.
Evans' solo version is a little more successful and a little more interesting, but is still a product of its time from this transitional period in Evans' career. The opening texture, featuring an extended unison line at the octave, while naturally befitting its bop origins is also facturally uncommon in Evans, although this texture reappears on a much smaller scale at the end of 'April in Paris', recorded during the same session. At the very opening of 'Ornithology', Evans alters the five-note rising scale of the tune from diatonic to whole-tone, and it's almost as if the purpose of the introduction is then to explore the various ramifications resulting from this change. Although I described the line as a 'unison' , in reality it isn't - in both this and the 'April in Paris' sections, there are slight discrepancies between both hands, occasionally through sloppy playing, occasionally through mannerism, which either way make the line just that little bit more three-dimensional, and which I've tried to capture in my transcription as much as reasonably possible.
The square brackets again indicate straight playing in a swung context, although Evans oscillates between the two so often (and moves through all the shadings in between - a universal rhythmic mannerism of his style), that they can only function as a broad indication.
...
https://www.youtube.com/watch?v=BJsGPu6alRI
SOFIA PHILHARMONIC
QUARTO- SÁNCHEZ- GONZÁLEZ
танго и салса
23.02.2019
Leonardo Sánchez - Guitar / arrangement
Ivan Penchev - violin
Svetlana Stancheva - violin
Tatyana Todorova - viola
Dimitar Tenchev - cello
Kiril Ivanov - Doublebass
Matías González - Bandoneon
Lé nou fè konésans
Mwen pa té bien cintin
Si sa té ké-y diré
Mwen pa té sav ayen
A chak jou ki pasé
Mwen ka aprécié-w
é mwen ka senti
Ki pa ni pon moun ki pé remplacé-w
O swè la doudou
Non i fo pa ou pléré
Mwen pa oublié zafé-w
Jodi 10 an nou mayé
Si jenmè on jou
Mwen fè yon ti bétiz
Ou pa bizwen pè doudou
Non doudou pa pléré
Pou mwen trankilizé-w
Mwen pa bizwen menti
Cé pa la pènn' krié
Babyé ni repwoché
Pa ni bizwen bel fraz
Ni dé mo d'amour
Pou bien fè-w komprenn'
Lanmou ka bouyi adan tchè mwen
Yo ka di o péyi
Cé ti fanm lan genti
Yo jènn' yo frèch yo bel'
é plènn' de kalité
Yo chanté fanm ki dous
Fanm' ki agasan
é mwen bien cintin
Ki pa ni dé kon-w ki pli dous ki miel
Pou mwen trankilizé-w
Mwen pa bizwen menti
Cé pa la pènn' krié
Babyé ni repwoché
Pa ni bizwen bel fraz
Ni dé mo d'amour
Pou bien fè-w komprenn'
Lanmou ka bouyi adan tchè mwen
...
https://www.youtube.com/watch?v=_wf6sGRvSEc
Studio de L´Ermitage, Paris. -17 XII 2009-
Canaro en París (A. Scarpino - J. Caldarella) -Desarreglo: Matías González-
Corinne Basseux: Violín
Diego Aubía: Piano
Romain Lecuyer: Contrabajo
Leonardo Sánchez: Guitarra
Matías González: Bandoneón
BUENOS AIRES SUR SCENE 2009
...
https://www.youtube.com/watch?v=K9tfFbjco8U