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Round About Midnight

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  • Jul 07,  · The first session is "Compulsion", "The Serpent's Tooth" (two takes) and "'Round About Midnight". The second session is "In Your Own Sweet Way", "Vierd Blues" and "No Line".[5].
  • ラウンド・アバウト・ミッドナイト 'Round About Midnight (T.モンク、B. Hanighen、C. ウィリアムズ) アー・リュー・チャ Ah-Leu-Cha (C. パーカー) オール・オブ・ユー All Of You (C. ポーター) バイ・バイ・ブラックバード Bye Bye Blackbird (M. ディクソン、R.
  • With 'Round Midnight, Bye Bye Blackbird, All Of You and Two Bass Hit being the most well known pieces here, how can you go wrong? The muted horn. The cool rhythm section of Jones, Garland and Chambers. And Coltrane on slow sax. This is the Miles Davis quartet in a classic acoustic setting. Swing, soul, feeling, atmosphere abound.
  • 9 titres sont manquants: 1. 'round midnight 2. Introduction by gene norman 3. Chance it (aka max is making wax) 4. Walkin' 5. Gene norman & miles davis 6. It never entered my mind 7. Woody 'n you 8. Salt peanuts 9. The theme Je me retrouve donc avec un doublon inutile/5().
  • 'Round About Midnight Lyrics: I'll drive you home just tell me where to go / Don't worry, I don't care if it's far away / It's getting late, have a seat, just dream / Why don't you just close your.
  • While fulfilling his obligation to Prestige, Davis and company also waxed a pair of sessions for Columbia - one in October of , the other in June of '56 - the glorious results of which emerged in on Round About Midnight, his renowned label debut. It was Davis's smoky, muted take on Thelonious Monk's "'Round Midnight" that so delighted the Newport crowd in '55, and the stunning studio version found .
  • Besides the obvious lyrical and harmonic beauty of "Round About Midnight" that is arguably its definitive version even over Monk 's own, there are the edges of Charlie Parker 's "Au Leu-Cha" with its Bluesology leaping from every chord change in Red Garland 's left hand/
  • Oct 10,  · Besides the obvious lyrical and harmonic beauty of “Round About Midnight” that is arguably its definitive version even over Monk’s own, there are the edges of Charlie Parker’s “Au Leu-Cha” with its Bluesology leaping from every chord change in Red Garland’s left hand.

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