Louis Bellson Swings Jule Styne
Louis Bellson Swings Jule Styne is an album by American jazz drummer Louis Bellson featuring performances of tunes written by Jule Styne recorded in 1960 for the Verve label. AllMusic awarded the album 3 stars. "My Little Yellow Dress" "Time After Time" "Sunday" "I'll Walk Alone" "Just In Time" "Bye Bye Baby" "Everything's Coming up Roses" "I've Heard That Song Before" "As Long As There's Music" "Three Coins in the Fountain" "The Things We Did Last Summer" "Let It Snow! Let It Snow! Let It Snow!" Recorded in Los Angeles, CA on February 1, February 2 and February 3, 1960 Louis Bellson – drums Frank Beach, Don Fagerquist, Bob Fowler, Melvin Moore - trumpet Nick DiMaio, Dick Noel - trombone George Roberts - bass trombone Juan Tizol - valve trombone Mahlon Clark, Bill Green - alto saxophone Buddy Collette - tenor saxophone, flute Chuck Gentry - baritone saxophone Jeff Clarkson - piano Tony Rizzi - guitar Joe Mondragon - bass Milt Holland - percussion
The Brilliant Bellson Sound
The Brilliant Bellson Sound is an album by American jazz drummer Louis Bellson featuring performances recorded in 1959 for the Verve label. AllMusic awarded the album 3 stars. All compositions by Louis Bellson except as indicated "Drum Foolery" - 5:28 "It's Music Time" - 2:14 "Blast Off" - 2:17 "Don't Be That Way" - 2:31 "The Hawk Talks" - 2:33 "Summer Night" - 2:09 "Satin Doll" - 2:53 "It Don't Mean a Thing" - 2:30 "Speak Low" - 3:03 "You Are My Lucky Star" - 2:32 "So Long Blues" - 5:19 Louis Bellson – drums John Audino, Guido Basso, Ralph Clark, Fred Thompson - trumpet Nick Di Maio, Earl Swope - trombone Juan Tizol - valve trombone Joseph De Angelis - French horn Herb Geller, Oliver Nelson - alto saxophone George Nicholas - tenor saxophone Aaron Sachs - tenor saxophone, clarinet George Perry - baritone saxophone Lawrence Lucie, Tony Rizzi - guitar Ed Diamond - piano Truck Parham - bass Jack Arnold - boobam Jack Arnold, Louis Bellson, Ed Diamond, Bob Florence, Marty Paich, Aaron Sachs, Ernie Wilkins - arranger
Vega Baja, Puerto Rico
Vega Baja is a municipality located on the coast of north central Puerto Rico. It is north of Morovis, east of Manatí, west of Vega Alta. Vega Baja is spread over Vega Baja Pueblo, it is part of the San Juan–Caguas–Guaynabo metropolitan statistical area. The name Vega Baja in Spanish means lower side of the riverplain. Geographically, the North of Puerto Rico goes down and is higher than the level of the Atlantic Ocean and Vega Baja is a coastal town. Other historians believed. Vega is a surname of one of the families involved in the foundation of Vega Baja, it is believed that the name comes from the region of Spain La Vega Baja del Segura. Although is believed that Vega Baja was founded in 1776, after the division of Vega Alta from La Vega, historians have verified that it was many years when it was recognized by the Spanish government; the foundation day is October 7 and it is the day of commemorating the "Virgin of the Rosary". Vega Baja was known as Vega-baxa del Naranjal de Nuestra Señora del Rosario.
Orange comes from its previous name based on the fruit, cultivated in the place. Cibuco is one of the rivers that goes through Vega Baja, is a variation of the name "Sebuco", a chief or Cacique Taíno Indian of the region; these "cells" of Taíno Indians were known to settle in the vicinity of the rivers. Although the Cibuco River is prone to floods due to heavy seasonal rains, the benefits provided to the land by the river are numerous. Taino carvings have been found on some of the exposed reefs in the vicinity of the Cibuco river. Among these carvings is one depicting a face and others shaped as fish, they are an indication that these reefs were frequented for spear fishing and other day-to-day activities. Other places like Carmelita, Cueva Maldita and Paso del Indio are known as archaeological sites where the aborigines established their communities. In 1990, over a million dollars in cash was found buried in plastic barrels, thought to have been deposited by drug smugglers for retrieval; the sudden wealth of a few residents attracted attention and prompted an investigation by FBI and local police.
Vega Baja is on the northern coast. Hurricane Maria on September 20, 2017 triggered numerous landslides in Vega Baja with the significant amount of rain that fell. Like all municipalities of Puerto Rico, Vega Baja is subdivided into barrios. Casa Alcaldía Casa Alonso Museum Casa Portela Museum El Trece Recreational Area House of Culture and Tourism Man of the Sugar Cane Monument Melao Melao Artisan Center Migrante Square Museo del Salon de la Fama del Deporte Vega Baja Melao Melao Playa Puerto Nuevo and Recreational Area Plaza José Francisco Náter Teatro América Teatro Fénix Tortuguero Lagoon Tortuguero Recreational Area Trinitarias Park The abundant fertility of its soil, has meant Vega Baja has much agricultural and farming land. In addition, Vega Baja has one of the most visited beaches of the northern coastline, Playa Puerto Nuevo; this beach attracts thousands of beachgoers annually, making it a center for local tourism during the hot summer months. It boasts a natural rock formation of enormous proportions both in height and length colloquially named La Peña.
This rock feature shelters the beach portion from the open seas just behind it. During rough marine conditions, the rock feature protects beachgoers, while the spectacle of waves crashing from behind and cascading down its face can be appreciated in the relative safety of the beach. Pineapple, cattle feed. In decades past, the land portion situated between the neighborhood of Monte Carlo and the neighborhood of Los Naranjos, was the site for the cultivation of sugar cane. Clothing, leather articles. Melao Melao Marathon - October Matron Celebrations - October Christmas Festival - December "Blue Marlin" Fishing Tournament Vega Baja, like all municipalities of Puerto Rico, elect a mayor every four years to administer the city; the educator Marcos Cruz Molina is the mayor since 2013 and Ebrahim Narváez is the President of the Municipal Legislature. The city belongs to the Puerto Rico Senatorial district III, represented by two senators. In 2012, José "Joito" Pérez and Ángel "Chayanne" Martínez were elected as District Senators.
Rafael Hernández is the Eleventh District Representative and Hector Torres the Twelve District Representative at the House of Representatives of Puerto Rico. There are 23 bridges in Vega Baja. Vega Baja's flag consists of a yellow cloth crossed by a green band; the band relates to the river. The Vega Baja coat of arms has a v-shaped green band with overlapping roses in silver and three oranges trees, with gold fruit. At the top part is a five-tower crown, silver and green; the main colors of the shield. The crown five tower indicates; the anthem of Vega Baja is "Melado Melado" with lyrics as written in 1974 by Adrián Santos Tirado and music by Roberto Sierra. Agapito Rosario Rosario Almirante Sur II Almirantito Cabo Caribe Centro Comunal Dr. Jesús M. Armaiz Federico Degetau Fernando Rosario Vázquez José de Diego José Gualberto Padilla Manuel Negrón Collazo I Manuel Padilla Dávila Ofelia Díaz Rafael Hernández Rosa M. Rodríguez San Vicente Ángel Sandín Martínez Brígida Álvarez Rodríguez Centro De Adiestramiento Segunda Unidad Pugnado Afuera o Segunda Unidad Manuel A. Martínez Dávila Segunda Unidad Almirante Norte (S.
The Duke Plays Ellington
The Duke Plays Ellington is an album by American pianist and bandleader Duke Ellington featuring trio sessions recorded for the Capitol label in 1953. The album was rereleased with additional tracks on CD as Piano Reflections in 1989 The Allmusic review by Scott Yanow awarded the album 4½ stars and stated "Ellington sounds modern and shows that he could have made a viable career out of just being a pianist".:All compositions by Duke Ellington except as indicated "Who Knows?" - 2:37 "Retrospection" - 3:58 "B Sharp Blues" - 2:47 "Passion Flower" - 3:05 "Dancers in Love" - 1:56 "Reflections in D" - 3:35 "Melancholia" - 3:20 "Prelude to a Kiss" - 3:04 "In a Sentimental Mood" - 2:30 "Things Ain't What They Used to Be" - 2:56 "All Too Soon" - 3:08 "Janet" - 2:15 "Kinda Dukish" - 2:32 Bonus track on CD reissue "Montevideo" - 2:33 Bonus track on CD reissue "December Blue" - 2:40 Bonus track on CD reissueRecorded at Capitol Studios, Los Angeles on April 13, April 14, December 3, 1953. Duke Ellington – piano Wendell Marshall - bass Butch Ballard - drums Dave Black - drums Ralph Collier - congas
Dance to the Duke!
Dance to the Duke! is an album by American pianist and bandleader Duke Ellington recorded for the Capitol label in 1953. The album has not been released on CD but the tracks have appeared on The Complete Capitol Recordings of Duke Ellington released by Mosaic Records in 1995; the Allmusic review awarded the album 3 stars.:All compositions by Duke Ellington except as indicated "C Jam Blues" - 4:52 "Orson" - 2:37 "Caravan" - 4:32 "Kinda Dukish" - 2:32 "Bakiff" - 5:48 "Frivolous Banta" - 2:39 "Things Ain't What They Used To Be" - 6:22 "Night Time" - 2:53Recorded at Capitol Studios, Los Angeles on April 7, 1953, December 28, 1953, September 1, 1954, in San Francisco on April 26, 1954 and in Chicago on January 1, 1954, January 2, 1954 and October 8, 1954. Duke Ellington – piano Cat Anderson, Willie Cook, Ray Nance, Clark Terry, Gerald Wilson - trumpet Quentin Jackson, George Jean, Juan Tizol, Britt Woodman - trombone John Sanders - valve trombone Russell Procope - alto saxophone, clarinet Rick Henderson - alto saxophone Paul Gonsalves - tenor saxophone Jimmy Hamilton - clarinet, tenor saxophone Harry Carney - baritone saxophone, bass clarinet Wendell Marshall, Oscar Pettiford - bass Butch Ballard, Dave Black - drums Ralph Collier - congas Frank Rollo - bongos
Music of Puerto Rico
The music of Puerto Rico has evolved as a heterogeneous and dynamic product of diverse cultural resources. The most conspicuous musical sources have been Spain and West Africa, although many aspects of Puerto Rican music reflect origins elsewhere in Europe and the Caribbean and, in the last century, the USA. Puerto Rican music culture today comprises a wide and rich variety of genres, ranging from indigenous genres like bomba to recent hybrids like reggaeton. Broadly conceived, the realm of "Puerto Rican music" should comprise the music culture of the millions of people of Puerto Rican descent who have lived in the USA, in New York City, their music, from salsa to the boleros of Rafael Hernández, cannot be separated from the music culture of Puerto Rico itself. Music culture in Puerto Rico during the 16th, 17th, 18th centuries is poorly documented, it included Spanish church music, military band music, diverse genres of dance music cultivated by the jíbaros and enslaved Africans and their descendants.
While these never constituted more than 11% of the island's population, they contributed some of the island's most dynamic musical features becoming distinct indeed. In the 19th century Puerto Rican music begins to emerge into historical daylight, with notated genres like danza being better documented than folk genres like jíbaro music and bomba y plena; the African people of the island used drums made of carved hardwood covered with untreated rawhide on one side made from goatskin. A popular word derived from creole to describe this drum was shukbwa, that means'trunk of tree' If the term "folk music" is taken to mean music genres that have flourished without elite support, have evolved independently of the commercial mass media, the realm of Puerto Rican folk music would comprise the Hispanic-derived jíbaro music, the Afro-Puerto Rican bomba, the "creole" plena; as these three genres evolved in Puerto Rico and are unique to that island, they occupy a respected place in island culture if they are not as popular as contemporary musics like salsa or reggaeton.
Jíbaros are small farmers of Hispanic descent who constituted the overwhelming majority of the Puerto Rican population until the mid-twentieth century. They are traditionally recognized as romantic icons of land cultivation, hard working, self-sufficient and with an innate love of song and dance, their instruments were relatives of the Spanish vihuela the cuatro—which evolved from four single strings to five pairs of double strings — and the lesser known tiple. A typical jíbaro group nowadays might feature a cuatro and percussion instrument such as the güiro scraper and/or bongo. Lyrics to jíbaro music are in the décima form, consisting of ten octosyllabic lines in the rhyme scheme abba, accddc. Décima form derives from 16th century Spain. Although it has died out in that country, it took root in various places in Latin America—especially Cuba and Puerto Rico—where it is sung in diverse styles. A sung décima might be pre-composed, derived from a publication by some literati, or ideally, improvised on the spot in the form of a “controversia” in which two singer-poets trade witty insults or argue on some topic.
In between the décimas, lively improvisations can be played on the cuatro. This music form is known as "típica" as well as "trópica"; the décimas are sung with standardized cuatro accompaniment patterns. About twenty such song-types are in common use; these are grouped into viz. seis and aguinaldo. Traditionally, the seis could accompany dancing, but this tradition has died out except in tourist shows and festivals; the aguinaldo is most characteristically sung during the Christmas season, when groups of revelers go from house to house, singing jíbaro songs and partying. The aguinaldo texts are not about Christmas, unlike Anglo-American Christmas carols, they are sung by a solo with the other revelers singing chorus. In general, Christmas season is a time when traditional music—both seis and aguinaldo—is most to be heard. Many groups of Puerto Ricans are dedicated to preserving traditional music by continued practice. Jíbaro music came to be marketed on commercial recordings in the twentieth century, singer-poets like Ramito are well documented.
However, jíbaros themselves were becoming an endangered species, as agribusiness and urbanization have drastically reduced the numbers of small farmers on the island. Many jíbaro songs dealt accordingly with the vicissitudes of migration to New York. Jíbaro music has in general declined accordingly, although it retains its place in local culture around Christmas time and special social gatherings, there are many cuatro players, some of whom have cultivated prodigious virtuosity. Historical references indicate that by the decades around 1800 plantation slaves were cultivating a music and dance genre called bomba. By the mid-twentieth century, when it started to be recorded and filmed, bomba was performed in regional variants in various parts of the island Loíza, San Juan, Mayagüez, it is not possible to reconstruct the history of bomba. French Caribbean elements are evident in the bomba style of Mayagüez, striking choreographic parallels can be seen with the bélé of Martinique. All of
Great Times! is an album by American pianist and bandleader Duke Ellington's featuring duet performances with his arranger and musical partner Billy Strayhorn recorded for the Mercer Records label in 1950 and released on a 10" LP called Piano Duets. The sessions were re-released on Riverside as Great Times! in 1984 with tracks from an additional session with Oscar Pettiford. The Allmusic review by Scott Yanow awarded the album 4 stars calling it "quite fascinating... most memorable. Intriguing music".:All compositions by Duke Ellington except as indicated "Cotton Tail" - 2:55 "C Jam Blues" - 2:58 "Flamingo" - 3:00 "Bang-Up Blues" - 3:08 "Tonk" - 2:59 "Johnny Come Lately" - 3:01 "In a Blue Summer Garden" - 4:06 "Great Times" - 2:56 "Perdido" -2:57 "Take the "A" Train" - 2:20 "Oscalypso" - 2:44 "Blues for Blanton" - 2:36Recorded in New York on September 13, October 3 & November, 1950 Duke Ellington – piano Billy Strayhorn - piano, celeste Oscar Pettiford - cello Wendell Marshall, Joe Schulman, Lloyd Trotman - bass Jo Jones, Unknown - drums