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Jorinte, the acrobat and the owl – Yorghos Mouloudakis, Nikos Kypourgos, Giorgos Koumendakis

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Joachim Kühn Piano Works I: Allegro Vivace (When classical music meets jazz, 2nd part )

 

1. Plein Chant Du Premier Kyrie, En Taille (Written-By – Francois Couperin) [1]

2. Chaconne (Written-By – Johann Sebastian Bach ) [2]

Konzert In A (Written-By – Wolfgang Amadeus Mozart) [3]  :

3. Allegro

4. Adagio

5. Rondo

6. Lonnie’s Lament (Written-By – John Coltrane) [4]

7. She And He Is Who Fenn Love (Written-By – Ornette Coleman)
8. Allotropes, Elements Different Forms Or Same (
Written-By – Ornette-Coleman)

9. The Night (Written-By – Joachim Kühn)

10. Invisible Portrait (Written-By – Joachim Kühn)

11. Mar Y Sal (Written-By – Joachim Kühn)

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Abdul Zahir Batin & The Notorious Ensemble : «Live at the Jazz Cultural Theatre» (A tribute to a poor artist)

Abdul Zahir-Batin is a jazz drummer who recorded this album with his Notorious Jazz Ensemble, and was never heard from again. Abdul used to hang out in front of various jazz clubs and other places in Greenwich Village in New York City selling his CD. There my friend Elias met him  and bought it. I was surprised when I first listened to it. There was a lot of good music in there. And amazing musicians. It is very sad for a so talented artist to survive this way.

  1. Libre Ahora (I) (Kiane Zawadi, BMI-Abdul Zahir ASCAP) 5:59
  2. Mind Wine (John Hicks, BMI) 5:38
  3. Grand Ummi (Abdul Zahir Batin, ASCAP) 7:48
  4. Classic Medley (AbdulZahirBatm,ASCAP) 4:13
  5. Libre Ahora (II) (Kiane Zawadi, BMI-Abdul Zahir Batin, ASCAP) 10:27
  6. 369 In The Dunya (Abdul Zahir Batin, ASCAP) 7:40

 

Abdul Zahir Batin -drums                           Robin Eubanks-trombone

Bobby Watson  – alto sax                             John Hicks – piano

Cecil Bridgewater– trumpet                          Curtis Lundy– bass

Recorded February 2,1986, NYC

Recorded by Kazamori Sugiyama

Executive Producer: Tom Lord

Produced for Cadence Jazz Records by Bob Rusch

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Richie Beirach : Round About Bartók (When classical and folk music meets jazz, 1st part )

1. Around  Scrijabin  prelude op. 16 [1]

2. Around  Bartok  bagatelle #4 [2]

3. Around  Stenkarasin [3]

4. Around Bartok’s world [2]

5.  Around Salcam de Vara

6. Around  Porumbescu balada [4]

7. Around Dubrawuschka

8. Zal [5]

9.  Around  Kodaly’s world [6]

10. Cossack’s farewell

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Manos Hadjidakis : Magnus Eroticus

 

MAGNUS ΕROTICUS

  1. WITH THE FIRST DROP OF RAIN – Dimitris Psarianos 3:32

Odysseas Elytis

  1. I LOVE YOU – Fleury Dandonaki 2:45

Myrtiotissa

In the memory of Yorghos Pappas

  1. DAYS of 1903 – Dimitris Psarianos 1:52

C.P. Cavafis

  1. WHO IS FRENZIED WITH LOVE? – Fleury Dandonaki 2:21

Giorghos Sarandaris

  1. TA LIANOTRAGHOUDA – Fleury Dandonaki – Dimitris Psarianos 1 :32

from the demotic tradition

  1. AWAY ON THE MISTY RIVER – Fleury Dandonaki 3:08

Nikos Gatsos

from F. Garcia Lorka’s play “Perlimplin and Belissa”

  1. THE DREAM – Dimitris Psarianos 5:05

Dionyssios Solomos

  1. KELOMAI SE GONGYLA – Fleury Dandonaki 2 :08

Sappho

  1. EROS, YOU GOD OF LOVE – Dimitris Psarianos 4:08

from Euripides’ “Medea” translated by P. Prevelakis

Dedicated to Katina Paxinou

  1. SUFFERINGS FROM LOVE – Fleury Dandonaki 3:35

from Hortadjis’ “Erofile”

  1. FOR LOVE IS STRONG AS DEATH – Fleury Dandonaki 4:40

from “The song of Solomon” , Excerpts from the 7th and 8th Sections

of Solomon’s Song, King James translation of the Bible.

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BALLERINA ON A BOAT (1969)

 

Republication from Dennis Grunes.

“Grace under pressure.” What about innate grace—grace without pressure?
The young ballerina who boards ship in Balerina na korable suggests somewhat Jacques Tati’s Monsieur Hulot: she is so focused on whatever she is doing—in her case, rehearsing dance and dancing—that she is oblivious to the rest of the world and to the impact that her activity has on others. She reminds me also, a little, of Wordsworth’s Solitary Reaper.
Practical, rough-hewn, the sailors (plus one officer, possibly the captain) manning the ship’s steering wheel are sequentially distracted by the ballerina and her exquisite grace at their own risk; but at the risk of the ship? At a critical moment, when a dark storm intercedes and plunges the fate of the ship into doubt, the ballerina’s mirror-imaging intercession saves the ship.
Beautifully written by Roza Khusnutdinova and directed by Lev Atamanov, and all set to Alfred Schnittke’s original music, this prize-winning Soviet short reminds us that different people exist in different worlds that are nonetheless also parts of the same world. The artist—this in some sense is the central point of Chaplin’s  The Circus (1928)—exists in her own head, her own world; while Chaplin aches to participate in the larger, commonly shared world, however, Atamanov’s ballerina, poised and self-possessed, commands her own world as a captain might hope to command his ship. Hers, of course, is a dreamed existence, one in which the animation itself abets her grace by releasing her from the confines of time and space. The role of the artist in society is to help liberate the rest of us, imaginatively, from these harsh and routine confines.
While The Circus tends toward tragedy (as Chaplin always does), Atamanov’s film tends toward misadventure’s redemption by impossible grace.

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When pop music met classical music…

Since the mid-1950’s pop music has usually been identified as the music and the musical styles that are accessible to the widest audience.This means the music that sells the most copies, draws the largest concert audiences, and is played most often on the radio. One of the most consistent elements of pop music since the 1950’s is the pop song. Pop music is not usually written, performed and recorded as a symphony, suite, or concerto. The basic form for pop music is the song and usually a song consisting of verse and repeated chorus. Many pop songs have been inspired by classical composers. It is said that most pop songs are based on a dozen or so of the most familiar chord sequences that were «discovered» in the late 18th century. These are some examples of pop songs that are arrangements of, or otherwise make use of, works of classical music.
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