A1 Co-Co A2 Chop Chop A3 Reflections A4 Honysuckle Love A5 Santa Monica Sunshine A6 Daydream B1 Funny Funny B2 Tom Tom Turnaround B3 Sunny Sleeps Late B4 Man From Mecca B5 New York Connection A1 Slippin' And Slidin' A2 Tequila A3 My Girl Josephine A4 Big Noise From Winnetka A5 Let There Be Drums A6 Bouncy B2 Quite A Beat The album reached 5 on the Billboard and peaked at 2 on the UK album charts.
A2 Fugue A4 From The Beginning A5 The Sheriff A6 Hoedown B1 Trilogy B2 Living Sin B3 Abaddon's Bolero KatFile. A1 Yummy, Yummy, Yummy A2 Winter Skies A3 Into This Time Virgin voices Atribute to Ma Open ypur heart Die krupps re Lucky star - switchblade symph Ray of light - sigue sigue spu Borderline - ogre Intro the groove Meeks remix This used to be my playground Love don't like here anymore Rescue me - adeva Erotica - Razed in black vs.
James infirmary Jack - Armstrong blues Rockin' chair Some day you'll be sorry Fifty - fifty blues A song was born Please stop playin' thoseblues Before long Lovely weather we're having Rain rain Never saw a better day Rhythm saved the world I'm in the mood for love You are my lucky star La cucaracha Got a brain new suit I've got my fingers crossed Old man mode - take a Old man mode - take e I'm shooting high Falling in love with you Red sails in the sunset On treasure island Thanks a million Shoe shine boy Solitude - take b Solitude - take c I hope gabriel likes my music The music goes round and round Rhythm saved the world Yes.
King Hummingbird Cook country jail introduction How blue can you get Caldonia Sweet sixteen Ain't nobody home Why i sing the blues The thrill is gone Nobody loves me but my mother Take it home Better not look down Same old story Same old song Happy birthday blues I've always been lonely Second hand woman Tonight i'm gonna make you AS The beginning of the end A story everybody know Take it home When love comes to town Back in L.
Chains of love Nobody loves me but my mother Please accept my love The thrill gone The blues comes over me When love comes to town There is always one more time I'm moving on Back in L. The blues come over me Fool me once The lowdown Mean and evil Something up my sleeve Roll, roll, roll There is always one more time Blues on the bayon Blues boys tune Bad case of love I'll survive Mean ole' world Blues man Broken promise Darlin' what happened Shake it up and go Blues we like Good man gone bad If i lost you Tell me baby I got some outside help i don't Blues in g If that ain't it i quit Why i sing the blues Why i sing the blues Bad luck Trouble in mind Dark is the night Part 1 Blues at sunrise Dust my broom I want to get married Blues for me Night life Blind love Don't answer the door Mean ole friesco Going down slow Talkin' the blues It's my own fault How blues can you get Help the poor She's a mean woman Hard working woman Questionnaire blues B.
Heart to heart No one ever tells you I can't stop loving you You don't know It had to be you I'm putting all my eggs in one Glory of love Try a little tenderness Spirit in the dark Freedom At last They can't take that away from B. Going back to birmingham Take 3 Hey - hey - hey - hey. Going back to birmingham Take 5 - false start, take 6 Hey - hey - hey - hey.
Going back to birmingham Take 8 Hey - hey - hey - hey. My soul Take 1 Ooh. My soul Take 3 Ooh. My soul Ooh. Tim McGraw Na - nana - na Feat. Kelly Rowland Air fonce ones American dream Feat.
Lunatics My place Feat. Jaheim E. Work it Feat. Justin Timberlake Play off Feat. Anthony Joseph Bonus beats Dreams Kings of tomorrow feat. Zelma Davis Rice and curry Dr. Rachel Hiew Proper education Eric Prydz vs.
Crystal Waters To the beat Dj Ross vs. Greenthumb Men till there's no men left High times Clash of the titans Lightning strikes Case closed Los grandes exitos en espanol Yp quiero fumar Loco en ei coco No entiendes la onda Dr. James infirmary blues L'ombre d'un amor Paper heart Marie - jeanne Hello hello My funny valentine Viens voir le loup Les champs - elysees Le chemin de papa Le petit pain au chocolat Les champs - elysees Siffler sur la colline Mon village du bout du monde Me que - me que Ma bonne etoile Un peu comme toi La bande a bonnot La violette africaine Le temps des eufs au plat Sunday times La fleur aux dents La fleur aux dents L'equipe a jojo C'est bon l'amor Le portugais Le grand parking Un gargon nomme suzy Au bout des rails La luzerne Un petit air de musique Un cadeeau de papa Je la connais si bien L'amerique Elle etait oh La ligne de vie La mal aimee du courrier du coeur Bye bye Louis Allez roulez Sylvie Les joies de la cuisine Elle etait oh Le chanteur des rues A la sante d'hier Pauvre pierrot Si tu peux lire en moi Le general a dit G.
Les jexux d'eau a la villa d'este No. Benediction de dieu dans la solitude Ballade no. Allegro di molto e con brio Adajio cantabile Rondo Allegro Piano sonata no. Grafen, edle, freie, von brabant Dank, koenig, dir, dass du zu richten kamst Welch fuerchterliche klage sprichst du aus Scene 2 Seht hin! Sie naht, die hart beklagte Einsam in trueben tagen Bewahre uns himmels huld Des ritters will ich wahren Wer hier im gotteskampf zu streiten kam Du truegest zu ihm meine klage Scene 3 Nun sei bedankt, mein lieber schwan Heil koenig heinrich Wenn ich im kampfe fuer dich siege Welch holde wunder muss ich sehn Nun hoeret mich, und achtet wohl Mein herr und gott, nun ruf ich dich Durch gottes sieg Act 2 Vorspiel Scene 1 Erherbe dich, genossin meiner schmach Was macht dich in so wilder klage doch vergehn Du wilde seherin Der rache werk sei nun beschworen Scene 2 Euch lueften, die meine klagen Elsa!
Wer ruft Entweihte goetter Ortrud, wo bist du Du aermste kannst wohl nie ermessen So zieht das unheil in haus Scene 3 In fruehn versammelt uns der ruf Des koenigs wort und will'tu ich euch kund Nun hoert, dem lande will er uns entfruehren Scene 4 Gesegnet soll sie schreiten Zurueck, Elsa Du laesterin! Ruchlose frau Scene 5 Heil! Heil dem koenig O koenig! Trugbertoerte fuersten Den dort im glanz ich vor mir sehe Welch ein geheimnis muss Mein held!
Entgegne kuehn dem ungetreuen In deiner hand, in deiner treu' Act 3 Scene 1 Trelich gefuerht ziehet dahin Scene 2 Das suesse lied verhallt Wie sehr erkenn'ich unster liebe wesen Atmest du nicht mit mir die suessen duefte Hoechstes vertaun hast du mir schon zu danken Hilf gott, was muss ich hoeren Ach nein Weh!
Nun ist all unser glueck dahin Scene 3 Heil koenig heinrich Was bringen die Mein herr und koenig, lass dir melden In fernem land Mir schwankt der boden O bleib, und xieh uns nicht von dannen Mein lieber schwan Weh!
Du edler, holder mann Die meistersinger von nuerenberg Act 1 Vorspiel Scene 1 Da zu dir der heiland kam Verweilt! Der singer meister - schlag Der meister toen'und weisen Damit, herr ritter, ist's so bewandt Aller end'ist doch David der allergescheit'st Scene 3 Seid meiner treu wohi versehen Gott gruess euch, meister Das schoene fest Vielleicht schon ginget Dacht'ich mir's doch Am stillen herd Nun, meister, wenn's gefaellt Fanget an Seid ihr nun fertig Act 2 Scene 1 Halt! Meister Johannistag!
Johannistag Scene 2 Lass seh'n, ob meister sachs zu haus Scene 3 Zeig her! Wo bliebst du nur so spaet Scene 5 Da ist er Geliebter, spare den zorn Ueble dinge, die ich da merk' Scene 6 Tu's nicht! Hier Am jordan sankt johannes stand Wahn! Ueberall wahn Scene 2 Gruess gott, mein junker Mein freund! In holder jugender jugendzeit Morgendlich leuchtend in rosigem schein Scene 3 Ein werbelied!
Von sachs? Hier liess ich's Scene 4 Sieh, evchen Hat man mit dem schuhwerk nicht seine not Ein kind ward hier geboren Die selige morgentraum - deutweise Scene 5 Sankt crispin, lobet ihn Ihr tanzt.
Was werden die meister sagen Silentium! Monkey Giorgio moroder From here to eternity Dee D. A Gangsters Christie Iron horse E. A little time Dr. Act 1. Padre, germani, addio No. Non ho colpa No.
Tutte nel cor vi sento No. Vedrommi intorno No. Equilibrium - Demo Marty Friedman - Scenes WIKI flacmusic. This site was created for real music lovers. Program was three-and-a-half hours long. Conference of the Birds , comprised, he says, his ideal group That group played some concerts together, but the contrasting approaches of Braxton and Rivers proved incompatible.
Holland didn't want to play with anyone else; so, because he couldn't have them both in his group, he split his time between the groups that they led. Then, in , when the double-bookings became impossible, he devoted his time exclusively to the Rivers band: a decision related Sam's thing was wide open, we never played a note of music that was written in the small group. See The Paul Bley Fonds notes below.
Sam Rivers; discogs. On the Fabbri Editori editions: "Part of a series of more than LPs sold not in record stores but in newspaper stands in the '80s. They started the series in late It was laid out in several [embossed linen and fiberboard slipcases] of eight records each. The seventh record of the box the 15th from the start, so its catalogue number is GDJ 15 was the Rivers one The Fabbri published these records licensed by several labels.
Recorded after a concert with the trio in Bergamo, near Milan, where there was a jazz festival. This appears to me an American, Canadian, or perhaps British marketing project wherein the records were collected six at a time in the slipcovers as a sales approach, since all the record jackets and sleeves are in Italian while the slipcases are in English.
Heavy-hitting producers make things happen with a single phone call, usually because they know who to call. Douglas rang Cuscuna, knowing he was already working with many of the better-known musicians playing in the lofts.
However, Cuscuna found Douglas' initial concept of placing a tape machine in several lofts for weeks at a time—and subsequently sifting through hours and hours of tape—to be unwieldy and cost-inefficient. Additionally, it was decided that the best performances would be gleaned for a multi-volume anthology and the tapes that failed to make the cut would be returned to the artists.
Douglas decided to name the series "Wildflowers" after consulting a dictionary, and to issue the series as five separately sold LPs, not as a box set. Douglas then engaged former Hendrix engineer Ron Saint-Germain, who, upon seeing the bare bones ground-floor performance space, convinced the producers that a recording booth was needed; with the festival beginning in a matter of days, Saint-Germain, Rivers, and others built a loft over the bandstand.
Coda reviewer Vladimir Simosko described the loft being "occupied by a master control board, tape recorders, and recording technicians, while the recessed, box-like bandstand became a maze of wires, microphones, and between sets technicians adjusting microphones and levels for the next group.
It was the first of six, with a seventh on the way, and yes it sounds as if I'm telling you about my children. I learned how by simply doing it, and it all suited me perfectly—the detective work; the search; the formalism.
Add to this the creation of something worthwhile, and my complete lack of interest in leisure time almost becomes reasonable. Recorded live at the Bimhuis in Amsterdam on September 2, , with drummer Warren Smith and tuba-man Joe Daley, the trio suddenly became a quartet during "Part IV" of the piece being performed, with the LP credit of this mini-event appearing simply as "dramatic intrusion of second tenor sax player.
If it were a known player, someone who'd been invited onstage, then I felt it only right to identify and credit them. Then again, perhaps it was someone who definitely had not been invited. Some stumbling interloper crashing the stage? I had to know. In late June of I received my first lead from San Francisco pianist Graham Connah, who had heard "speculation that this could be the guy who is always at the Bimhuis hanging out.
He runs sessions I believe the guy's name is Sean Bergin Four days later, Kevin wrote to inform me that he had contacted Bergin via Joost Buis, and that Sean had said it was not him. Following a few more dud missiles, the correspondence went quiet. Late September had me firing off another dying quail to van Riel at the Bimhuis. I followed this with the last of several requests to Rivers and his manager Matt Gorney at RivBea Sound, but everyone was far too busy, harassed, and preoccupied by their own lives to be able to afford me help with mine.
Rivers himself, and he informed me that it had been a fellow named "Ronald Schneider," though when he saw me write it down like that he cautioned me: "No, no, it's not spelled like that, it was some strange European spelling Gorney: "I spoke with Joe Daley about Mr.
Dramatic Intrusion. Joe said that he continued playing while trying to limit the tenor player's real estate and move him off the stage. Dramatic Intrusion ts " listed in the personnel. Barring the miraculous and unlikely appearance of a Bimhuis audience member from that night 22 [now 43] years ago, I'll try to be satisfied with that. I never heard back. G17; Washington Star May 25 p. B8; Eric Devin From the sound of the crowd this was likely a European performance.
C19; "Danny O. I was very fortunately there. CII No. Panken: And later that year you recorded with Sam Rivers. Thurman Barker: That's right. We were able to perform our first jazz festival right here in New York.
And in the audience, of course, was Mr. Sam Rivers. I had performed with some of the groups and with the Big Band. So Sam was in the audience—and this was in ' A few years later, I get this call right out of the blue. It was Sam Rivers, and he was asking me to come to New York and to make a record. Of course I was floored! I said, "Sure, when are the rehearsals and when can we get together, because I need to learn your music. But can you be here by this particular date? Panken: Not to mention that he had used Braxton's previous bass and drums.
TB: Exactly. At the time I joined Sam, Dave Holland was still there. This recording features Joe Daley on brass, Dave Holland on bass and cello, and myself on drums and percussion, and Sam Rivers. Like I say, I was really back, because this was my first contact with Dave Holland and Sam, and here I am getting ready to make a record.
So it was quite a special event for me. Rivers, "Surge"] TB Also Varese, Saronno, and Bergamo, which are all nestled in the triangle between Milan, Lugano to the north, and Brescia to the east. Baum" at pong. I was doing things down there, but not on a regular basis. I did a few things in '79, and then that was it. Rivers closed the performance space in February, The track noted below, "recorded with the Sam Rivers Big Band on February 4th, ," is a Bluiett solo without any accompaniment.
Nor is Rivers doing the introduction, as has been suggested. XI no. C5; Evening Star Apr 20 p. C28; Daily News Jun 22 p. A16; Norbert Kreutzer Thurman Barker Contrasts was also done while we were on tour He also continues to write for his piece RivBea Orchestra and practice with his small ensemble. Oct p. Quartet is in the Netherlands this day and the day before. Now you might think I'm setting you up for one of those liner-note writer's analogies: holography is modern and fresh, as is Sam Rivers; holography is based on simple and traditional methods, as is the music of Sam Rivers; holography is mind-boggling, as is Sam Rivers.
Well, you're right, in a way, but what brings to mind that Soho museum in conjunction with Samuel Carthorne Rivers is much more obvious: you can enter that museum, lay down your money, and leave with your very own holograph of Sam Rivers working out on the soprano saxophone. You have a choice of sizes and prices I, cheapskate that I am, bought a teeny-weeny one , but there it is—a Sam Rivers holograph for your very own. Okay, what's the point? The point is: if there's something that's advancing art, that is new and unique, it shouldn't be surprising to find Sam Rivers somehow involved in it.
There is no end to the facets that make up Sam Rivers and this recording of his Winds of Manhattan ensemble adds yet another new dimension to his recorded oeuvre: an entire herd of smoking reeds and woodwinds. About the music contained herein, Sam Rivers says, "When I had my studio Studio RivBea , one of the reasons I had it was because I had all this music and I needed a place to rehearse it and perform it.
I had most of this music then, and a lot of musicians played it. I'd say I wrote most of this—except for "Lilacs," which is new—about , or even earlier. And some of the members of the World Saxophone Quartet—Hamiet Bluiett and Julius Hemphill—were part of the group that played that music then. I want people to know that this music has been around for some time and no one's heard it for lack of record exposure.
Photograph by Francis Wolff The [mostly inactive] RivBea Research Collective mailing list. The RivBea Official Web-site. Pre-History Rivers' great-grandmother was a house slave who listened to and memorized songs that the slaves sang in the fields while working. The Elder Speaks Rivers  2. Bevan Beeps Dameron  3.
Lament for the Living Dameron  4. Aloof Spoof Dameron  — Samthology has track 1. Early "While he was on the road with T-Bone, drummer Tony Williams, whom he'd nurtured when the Roxbury lad was 13 or so, called Rivers to join him playing with Miles Davis. So we hired Sam Rivers. He now has eyes for a band with no saxophones. Davis has a new tenor saxophonist, Sam Rivers On The Japan Tour dates: There have been unsubstantiated claims of additional sessions with Rivers during the Japan tour.
Three of these July 13, 14, and 15 were recorded for radio broadcast This information was acquired from Swing Journal. Photo from Swing Journal edition of December, p. Unofficial Releases: 1. Autumn Leaves Joseph Kosma  2. So What Davis  3. Stella by Starlight Victor Young  4. Walkin' R. Carpenter —The Theme  5. If I Were a Bell F. Loesser  2. My Funny Valentine Richard Rodgers  3. So What Davis  4. Carpenter  5. This disc is taken from the second concert.
He also talks about the trouble Davis had finding a saxophonist for his band at that time. He had wanted Shorter for a few years, but Shorter kept turning him down. The notes go on to say that Tony Williams recommended Rivers, but that Rivers and Davis did not get along musically. Davis could handle that type of music, but Miles was also interested in keeping his music commercially accessible.
Rivers also was not interested Rivers was playing outside, Davis was playing inside, and the thing did not jell. The result is a unique document. At the third concert, the musical compromise fell apart A private tape was circulating Both private tapes Tokyo was not yet released were in excellent fidelity and the tunes were almost the same Oleo Sonny Rollins  3.
All of You Cole Porter  6. Seven Steps to Heaven "Cut" V. If I Were a Bell  2. Oleo  3. Walkin'  5. All of You  6. The jazz musicians were originally schedlued to stop here en route back from a jazz festival in Japan, but they took another route. Maiden Voyage: Modern Mainstream No. I think they wanted me to make a record. I wanted to make a record, and by that time I guess, because I was so adamant about what I wanted to do, they were willing to take the chance.
John Ephland : You wanted to play free music, not the straightahead stuff? TW : Yeah. I mean, what's been important to me is to show diversity in different things, and to show different colors of things. I mean, if I'm working with a band, it sounds one way; and then I'm recording with other people and it sounds another way, then why not—if I get the chance to do something of my own—do a third thing?
That makes sense to me. That's logical because it gives me a chance to, number one, show that I can do that, and secondly, it brings a fresh sound to the ear of people who have heard me do the other two things. JE : And it was consistent with some of the music you'd done before. TW : Right, before that. And, you know, when I was in Boston, playing with Sam, one of the things that really opened my ears was the first time I heard Ornette Coleman.
That first record I heard—I think it was Change of the Century —was just unbelievable, the impact it made on me. This was about , JE : So it planted a seed? That music was the way to go, for me, at that time. All other releases had a trio version of this composition sans Rivers of Have Guitar, Will Travel.
Bea Rivers: Yes, I do. It was one evening when Tony Williams came by to spend the evening, which he did SR: Ron Carter, too, wasn't he there? Bea Rivers: Yeah, Ron Carter was there as well.
But Tony Williams would come every day and play with Sam. One day he came in, and Sam said, "Tony, listen to this. Panken: That was composed for the date, Fuchsia Swing Song. It wasn't one of your older tunes? SR: I had already composed it. I hadn't planned to put it on the album. I had different music for the album, but it was a little too advanced for Alfred.
He said he was going to cancel the date, so I went back and got other music. Fuchsia Swing Song was music I had done four or five years earlier.
I really hadn't planned on recording that music. I thought it was much too old to record. SR: Yes, that music. Panken: So the music performed on Fuchsia Swing Song was all music from and I had other music, but Alfred As a matter of fact, all the music that Tony did with Lifetime , he had big problems with Alfred Lion because Alfred didn't want to do it.
He really couldn't hear it. It seems like the music that musicians have the hardest problem getting recorded is the music that withstands the ravages of time. It's the ones that last the longest. You know what I mean? So you have the hardest problem talking to the producers, and it ends up that this music twenty years later is still fresh-sounding. Powered by CITE. Missing lyrics by Joe Cocker? Know any other songs by Joe Cocker? Don't keep it to yourself!
Add it Here. Watch the song video Delta Lady. Up Where We Belong. With a Little Help from My Friends. She Came in Through the Bathroom Window. A Whiter Shade of Pale.
You Light Up My Life - Various - Greatest Sound Tracks (CD), The Piano: The Heart Asks Pleasure First - Various - Relax (CD), Goodbye (XTM Mix) - Essential Feat. Allison (23) - Goodbye (CD), Chapter Six: Affinity, Reality And Communication [Continued] - L. Ron Hubbard - The Problems Of Work, Mother Of Mercy - III (Vinyl, LP, Album), Sugartime - The McGuire Sisters* - The Anthology (CD), Madonna Luna - Camillo Del Vho - Due Note . Un Po Di Musica-Vol. 11 (Vinyl, LP), Somnambule - Somniotic (File, MP3), If I Loved You - Various - The Ultimate Musicals Collection (CD), Elysian - Various - Direct Drive 3 - More Techno Straight Outta Brooklyn (CD), Forest Dawn - Raoul* - Waves On The Water (CD, Album), I Wish I Could Say The Same - Wynn Stewart - Wishful Thinking (CD) Didrenquo - Sonar Senghor And His Troupe* - African Tribal Music And Dances (Vinyl, LP, Album)