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thedeadthree · 2 years

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back in your inbox again sorry lovely but 🖊🖊🖊 + illyria PEAS i rlly love her name 👁

HII AJ DEAR you are always more than welcome to pop into my inbox <3 WAHH ty ty her story, name and concept and design and everything of her means the world to mee!!!! ty ty for the ask!

SEND ME A 🖊 + I'LL GUSH ABOUT MY OCS

🖊 - oh the daughter of destiny my dear girl. her blood can be traced back to the time of the great empire of the dawn, as she is the descendant of the bloodstone emperor. the one who in belief was the bringer of the long night. so not absolutely not unas mother (and iovannas mother had foretold of her as well hehe <3) had seen of the birth of the child of prophecy, the eye of blood and the dragon of death, alluding to of course her heterochromia with one eye being a scarlet red matching her dragon ahzidal’s. And ahzidal having a dragons breath that was not of fire.... but a death miasma hence one of his names being the soulsiphon? her birth marked the summoning of the long winter, the death of the dragons.. and her and her descendants bearing the eye of blood will bring either salvation or ruin when the long night arrives.

🖊 - her mother iseul was the descendant of a scarlet emperor of the golden empire, who in the time of the valyrian freehold married a woman of an unknown house (that gives me IDEAS hehe <3 more ocs <3) and this is likely where illy had the natural inclination to be a dragonrider. her mom thwarted court life as long as possible taking to the seas under an assumed identity, which is where she would meet valarr. in seeing a prophecy, the same una and iovannas mothers foresaw, but with a sense it would be him to be the harbringer the father of this daughter of destiny. he uh..... annulled his marriage and left his wife and three children with a fourth on the way to fulfill the prophetic vision. for power or for reverence of prophecy or both who can say. after illy was born on lys, iseul sailed on her ship to vilemyr to the tower of myrwatch. the isle and seat of house ilmestys to hold a wedding for them (they had a wedding in lys but wished for one in westeros as well). UNFOORTUNATELY and much so, assassins attack the ship and she is fatally wounded. the ship is stranded outside of asshai by the shadow, and with her last breath she leaves the girl by the shore. illyria is found by nurellia and keeps a watchful eye on the girl until her mothers sworn protector, irus of norvos, finds the girl as this was her mothers dying wish. illy from there to age four would reside by the shadow. and strangely enough, not a soul bothered the girl! she would be found by irus at the side of her dragon ahzidal who would keep a watchful eye when the girl ventured into the corpse city. and that is how illy's origins began!

🖊 - following her harrowing-ish childhood, she was brought to vilemyr where she would be raised by irus and his wife (and valarr's older sister) vergelle. valarr was not to be revealed as the illy's dad for reasons reserved to be known by valarr alone ig nsakjns. and she was also brought to kings landing when vergelle was requested to teach the princess helaena how to understand dragon dreams (as she and her niece urgelle are both dragon dreamers!). she was childhood friends with aemond! illyria would leave westeros again at age six on the back of ahzidal. it is presumed that she sought out the three eyed raven if there was a three eyed raven that did exist in this time. when she returned to westeros in 129 ac she expected aemond to not remember her at all, and was surprised to learn he never did and in fact asked irus of her all the time when he and vergelle visited. they have been inseparable since. blah blah red string of fate blah blah twin flames and setting the world on fire for each other etc etc <3

#i could talk yalls ear off (as seen here WHEEEZE) about my baby girl and her history jhsn ajhsjk I ADOREE HER SO MUCH <3 #oc: illyria ilmestys #🌸: aj #jendoe #leg.asks #leg.ocs #leg.txt #THANK YOUUU DEARIE YOU <3 wahhhh this was the cutest to do! im for sure addicted to answering these its the funnest jksanaks #the ilmestys are known for not only being of high nobility in valyria and being dragon dreamers and sorcerers (namely shadowbinders hehe)#so the queen requested the lady vergelle (as urgie was like...... 3 askjnxjkasnk) to help her daughter understand dragon dreams #valarr's babies before illyria are as follows <3 : caerys / caesonia / urlyx (they/them) / and urgelle #those are her half siblings <3 thought she doesn't find that out until late sajnjnsj THANKS VALARR #urlyx is also the archon of whispers in the court of maekar hehe <3 they're the best and i love them <3 #the white streak in her hair is likely bc of her dad and one of her ancestors having valyrian ancestry and is merely a coincidence ->#and has little to do with her magic eye sjansj BUUUT it is a very inch resting coincidence that the strand is on the magic eye side <3 #ahzidal the archon my beloved askjynknak she was raised by nurellia for a bit and babysat by a dragon jahsnjs #shes so c*iri coded im yelling! i didn't realize that until i was writing the ilmestys timeline and then it HIT me sjnajnjs #though nurellia who is una's mother had raised her for a time (ish it was more like watching for her making sure she had a place to rest)#una and illy dont meet one another until the trial in the great hall at kings landing <3 and weren't much close following i think?#she was VEERY protective of the h*ightower babies and knew una wasn't just there to be a spymaster (her connection to iovanna double agent)#(though una goes ghost from the blacks after aeggy is hurt at the battle of rooks rest <3)#the grammar here is YIKES but aozjjzjx <3 baby girl !#parent death tw #just in case <3

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sheetmusiclibrarypdf · 26 days

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Charlie Parker: the 100 most inspiring musicians of all time

American alto saxophonist, composer, and bandleader, Charlie Parker (b. Aug. 29, 1920, Kansas City, Kan., U.S.—d. March 12, 1955, New York, N.Y.) was the principal stimulus of the modern jazz idiom known as bebop, and—together with Louis Armstrong and Ornette Coleman—was one of the great revolutionary geniuses in jazz.

Charlie Parker grew up in Kansas City, Missouri, during the great years of Kansas City jazz, and began playing alto saxophone when he was 13. At 14, he quit school and began performing with youth bands, and at 16 he was married— the first of his four marriages. The most significant of his early stylistic influences were tenor saxophone innovator Lester Young and the advanced swing-era alto saxophonist Buster Smith, in whose band Parker played in 1937. Parker recorded his first solos as a member of Jay McShann’s band, with whom he toured the eastern United States in 1940–42. It was at this time that his childhood nickname “Yardbird” was shortened to “Bird.” His growing friendship with trumpeter Dizzy Gillespie led Parker to develop his new music in avant-garde jam sessions in New York’s Harlem. Bebop grew out of these experiments by Parker, Gillespie, and their adventurous colleagues; the music featured chromatic harmonies and, influenced especially by Parker, small note values and seemingly impulsive rhythms. Parker and Gillespie played in Earl Hines’s swing oriented band and Billy Eckstine’s more modern band. In 1944, they formed their own small ensemble, the first working bebop group. The next year Parker made a series of classic recordings with Red Norvo, with Gillespie’s quintet (“Salt Peanuts” and “Shaw Nuff ”), and for his own first solo recording session (“Billie’s Bounce,” “Now’s the Time,” and “Koko”). The new music he was espousing aroused controversy, but also attracted a devoted audience. By this time Parker had been addicted to drugs for several years. While working in Los Angeles with Gillespie’s group and others, Parker collapsed in the summer of 1946, suffering from heroin and alcohol addiction, and was confined to a state mental hospital. Following his release after six months, Parker formed his own quintet, which included trumpeter Miles Davis and drummer Max Roach. He performed regularly in New York City and on tours to major U.S. cities and abroad, played in a Gillespie concert at Carnegie Hall (1947), recorded with Machito’s Afro-Cuban band (1949–50), and toured with the popular Jazz at the Philharmonic troupe (1949). A Broadway nightclub, Birdland, was named after him, and he performed there on opening night in late 1949; Birdland became the most famous of 1950s jazz clubs.

The recordings Parker made for the Savoy and Dial labels in 1945–48 (including the “Koko” session, “Relaxin’ at Camarillo,” “Night in Tunisia,” “Embraceable You,” “Donna Lee,” “Ornithology,” and “Parker’s Mood”) document his greatest period. He had become the model for a generation of young saxophonists. His alto tone was hard and ideally expressive, with a crying edge to his highest tones and little vibrato. One of his most influential innovations was the establishment of eighth notes as the basic units of his phrases. The phrases themselves he broke into irregular lengths and shapes and applied asymmetrical accenting. Parker’s most popular records, recorded in 1949–50, featured popular song themes and brief improvisations accompanied by a string orchestra. These recordings came at the end of a period of years when his narcotics and alcohol addictions had a less disruptive effect on his creative life. By the early 1950s, however, he had again begun to suffer from the cumulative effects of his excesses; while hospitalized for treatment of an ulcer, he was informed that he would die if he resumed drinking. He was banned from playing in New York City nightclubs for 15 months. He missed engagements and failed to pay his accompanying musicians, and his unreliability led his booking agency to stop scheduling performances for him. Even Birdland, where he had played regularly, eventually fired him. His two year-old daughter died of pneumonia; his fourth marriage fell apart. He twice attempted suicide and again spent time in a mental hospital. If Parker’s life was chaotic in the 1950s, he nonetheless retained his creative edge. From roughly 1950 he abandoned his quintet to perform with a succession of usually small, ad hoc jazz groups; on occasion he performed with Latin American bands, big jazz bands (including Stan Kenton’s and Woody Herman’s), or string ensembles. Recording sessions with several quartets and quintets produced such pieces as “Confirmation,” “Chi-Chi,” and “Bloomdido,” easily the equals of his best 1940s sessions. Outstanding performances that were recorded at concerts and in nightclubs also attest to his vigorous creativity during this difficult period. He wanted to study with classical composer Edgard Varèse, but, before the two could collaborate, Parker’s battle with ulcers and cirrhosis of the liver got the better of him. While visiting his friend Baroness Nica de Koenigswarter, he was persuaded to remain at her home because of his illness; there, a week after his last engagement, he died of a heart attack. The impact of Parker’s tone and technique has already been discussed; his concepts of harmony and melody were equally influential. Rejecting the diatonic scales common to earlier jazz, Parker improvised melodies and composed themes using chromatic scales. Often he played phrases that implied added harmonies or created passages that were only distantly related to his songs’ harmonic foundations (chord changes). Yet for all the tumultuous feelings in his solos, he created flowing melodic lines. At slow tempos as well as fast, his were intense improvisations that communicated complex, often subtle emotions. The harmonies and inflections of the blues, which he played with passion and imagination, reverberated throughout his improvisations. Altogether, Parker’s lyric art was a virtuoso music resulting from a coordination of nerve, muscle, and intellect that pressed human agility and creativity to their limits.

Jazz sheet music and transcriptions download.

Charlie Parker - The Best of Charlie Parker volume 1

https://www.youtube.com/watch?v=eeM0JMgj358

Track List:

1. Cool Blues 00:00 2. No problem 3:34 3. Satan in Hight Heels 12:26 4. What’s Right for you 15:52 5. Montage 19:03 6. Shawnuff 21:15 7. You and The Night and The Music 25:42 8. Cheryl 29:02 9. Lost and Lonely 35:14 10. Sidewinder 38:51 11. Abstract Art 41:12 12. Bongo Bop 44:05 13. Easy Side Drive 48:56 14. Jazz Vendor 51:46 15. Coffee Coffee 56:37 16. Over the rainbow 1:00:06 17. Subway Inn 1:02:25 18. The Hymn 1:06:27 19. All the things you are 1:12:04 20. Communion 1:15:25 21. Lake in the woods 1:21:31 22. The Feeling of Love 1:25:01 23. Bongo Beep 1:32:14 24. From Mundy On 1:36:55 25. Pittfall 1:40:15 26. Impulse 1:43:50 27. Long Knife 1:49:16 28. Melancholy Madeline 1:51:35 29. Stop and Listen 1:54:18 30. Blues For A Stripper 1:59:05 31. Born Again 2:02:30 32. Gabriel 2:08:14 Read the full article

#sheetmusicdownload #sheetmusicscoredownloadpartiturapartitionspartitinoten楽譜망할음악ноты

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bamboomusiclist · 1 year

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4/7 おはようございます。Gilberto Gil / Gilberto Gil PAS 6014 等更新しました。

Red Norvo / Move mg12088 Tina Brooks / Back to the Tracks bst84052 George Shearing / Latin Lace t1082 George Shearing / Night Mist t943 Miles Davis / My Funny Valentine sbpg62510 Milt Jackson & John Coltrane / Bags & Trane 1368 Gerry Mulligan / Jeru cl1932 Lu Watters / The San Francisco Style L-12001 Sarah Vaughan / With Clifford Brown Mg36004 Julie London / Sophisticated Lady Lrp3203 Red Norvo / with Strings 3-218 Art Pepper / Thursday Night At The Village Vanguard Sonny Rollins / Falling In Love With Jazz m-9179 Sonny Rollins / Sonny Rollins BN-LA401-H2 Dave Mackay / & Vicky Hamilton As-9184 Norman Connors / You are My Starship Bds5655 Joey D Vieira / DrumDrops Volume Two DD-7778 Walter Carlos / Switched on Bach s63501 Gilberto Gil / Gilberto Gil PAS 6014 Premiata Forneria Marconi / Photos Of Ghosts k43502

~bamboo music~ https://bamboo-music.net [email protected] 530-0028 大阪市北区万歳町3-41 シロノビル104号 06-6363-2700

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bigboxochristmas · 2 years

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Yuletidings 2000: Swing Ye Noel!

1. Jingle Bells - Glenn Miller 2. Parade of the Wooden Soldiers - Les Brown and His Band of Renown 3. The Little Drummer Boy - The Ritz-Carlton Orchestra 4. That's What I Want for Christmas - Nancy Wilson 5. Frosty the Snowman - The Dukes of Dixieland 6. Yo, Hark! Those Angels Swing - The Ritz-Carlton Orchestra 7. He'll Be Comin' Down the Chimney - Guy Lombardo and His Royal Canadians 8. Winter Weather - Benny Goodman with Peggy Lee 9. Sleigh Ride - Tex Beneke and His Orchestra 10. The Nutcracker Suite - Les Brown and His Band of Renown 11. We Wish You a Cookin' Christmas - The Ritz-Carlton Orchestra 12. I've Got My Love to Keep Me Warm - Red Norvo with Mildred Bailey 13. Santa Claus is Comin' to Town - Johnny Mercer with the Pied Pipers, Paul Weston and His Orchestra 14. God Rest Ye Merry Gentlemen - The Ritz-Carlton Orchestra 15. Have Yourself a Merry Little Christmas - Margaret Whiting with Frank Devol and The Rainbow Strings 16. The Skaters Waltz (in Swingtime) - Bob Crosby and His Orchestra 17. Jingle Bells - Duke Ellington and His Orchestra 18. Christmas in New Orleans - Louis Armstrong and the All-Stars 19. White Christmas - The Ritz-Carlton Orchestra 20. Yah, Das Ist Ein Christmas Tree - Mel Blanc

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As I mentioned in one of the earlier posts, I’ve long since lost track of which year a lot of these early collections were made. Judging by the hand-drawn cover art, this one might well be from a previous year, but I figured that it’s a good idea to spread out these holiday-jazz compilations. The main source for this collection, and the album for which it is named, is 1993’s Swing Ye Noel by the Ritz-Carlton Orchestra, a contemporary big band. Very creative and occasionally even funky arrangements of several Christmas classics.

Other highlights, in a generally swing-ish way, include: the very ambitious arrangement of ‘The Nutcracker Suite’ by Les Brown and His Band of Renown, along with their much-earlier take on “Parade of the Wooden Soldiers”; the driving “Sleigh Ride” by Glenn Miller alumnus Tex Beneke and the lyrically playful (Apparently, if you’re good, Santa will bring you Hedy Lamarr) version of “Santa Claus is Comin’ to Town” by the great Johnny Mercer with help from the Pied Pipers. Several of the other tracks have appeared on my earlier collections, so I guess I was running short of new material at the time. Man-of-a-thousand-voices Mel Blanc closes out the set with an appropriately cartoony “Yah, Das Ist Ein Christmas Tree”.

The cover art, as mentioned, was hand-drawn, with the lettering copied from a book of classic calligraphy. I do kind of like the way the instruments are used as letters.

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ao3feed-tywin · 4 years

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Lex Talionis

read it on the AO3 at https://ift.tt/3kD9obn

by lostchildofthenewworld

Two women died, one on a cold marble floor and another strewn across a bed with her son's blood covering her. Lady Fortuna has sown those two souls together with a red string, from two separate entities they became one.

On one side of the string is Ryan Johnson, a young Black woman who died before she really got the hang of life; on the other end of the string is Elia Nymeros Martell who died unjustly and cruelly, her children never growing up. As Fate intervenes, two souls become one, and a new entity is born.

A tale as old as time, a princess and a white knight.

A Black SIOC who inhabits Elia's body (and also happened to have been a fan of ASIOAF & GoT) and decides that she'll be taking a page out of Margaret Beaufort's book and goes for the throne. Jaime is along for the ride because he's tired of mad kings and idiotic princes.

Words: 12355, Chapters: 1/8, Language: English

Fandoms: A Song of Ice and Fire - George R. R. Martin, A Song of Ice and Fire & Related Fandoms, Game of Thrones (TV)

Rating: Mature

Warnings: Graphic Depictions Of Violence

Categories: F/M

Characters: Elia Martell, Jaime Lannister, Doran Martell, Oberyn Martell, Sand Snakes, Cersei Lannister, Tywin Lannister, Rhaella Targaryen, Rhaegar Targaryen, Viserys Targaryen, Ned Stark, Robert Baratheon, Ashara Dayne, Arthur Dayne, Lyanna Stark

Relationships: elia martell/jaime lannister, Elia Martell & Jaime Lannister, Doran Martell/Mellario of Norvos, Doran Martell & Elia Martell & Oberyn Martell, Elia Martell & Tywin Lannister, Oberyn Martell/Cersei Lannister, Rhaegar Targaryen/Lyanna Stark (minor-past), Rhaegar Targaryen/Elia Martell (past), Elia Martell & Rhaella Targaryen & Viserys Targaryen

Additional Tags: Queen Elia Martell, Elia Martell Lives, Elia Martell Deserves Better, Elia Martell-centric, BAMF Elia Martell, Jaime Lannister Redemption, BAMF Jaime Lannister, Jaime Lannister Needs a Hug, Elia Martell Needs a Hug, Isekai, Not a long fic chapter wise but it is juicy, Rhaegar Targaryen Lives, Lyanna Stark Lives, Rhaegar Targaryen Bashing, Lyanna Stark Bashing, Canon Divergence - Robert's Rebellion, No Twincest, Alternate Universe - Crack, Crack Treated Seriously, Morally Grey Elia Martell, BAMF Oberyn Martell, Elia is getting shit done- PERIOD, Aerys Is His Own Warning, Aegon and Rhaenys Targaryen Live, Rhoynar Water Magic, Waterbending, Bloodbending

read it on the AO3 at https://ift.tt/3kD9obn

#ao3feed #fanfic #ao3feed tywin #ao3feed tywin lannister

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jazzworldquest-blog · 6 years

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USA: The Glenn Crytzer Orchestra CD Release Party Wed., May 9th 7:30pm @ the Montauk Club

The Glenn Crytzer Orchestra "Ain't It Grand?" CD Release Party Wednesday, May 9th 7:30pm @ the Montauk Club 25 8th Ave. Brooklyn, NY 11217 Tickets & Info New Double CD Set

Artist: THE GLENN CRYTZER ORCHESTRATitle: AIN’T IT GRAND? Label: BLUE RHYTHM RECORDS (self produced) Artist Website: glenncrytzer.com Release Date: MAY 9, 2018 UPC Code: 088907213631 Glenn Crytzer (g, bj, v, dir, a) Sam Hoyt, Mike Davis, Jason Prover (t) Rob Edwards, Joe McDonough, Jim Fryer (tb) Jay Rattman (as, ss, cl) Mark Lopeman, Marc Schwartz (as,ts,cl) Matt Koza (ts,cl) Henry “Ricky” Alexander (as,bar,cl) Rob Reich (p) Ian Hutchison (sb) Andrew Millar (d) Hannah Gill, Dandy Wellington (v) TRACK LISTING DISC ONE 1. The 408 Special 2. Black Beauty 3. Just Like A Broken Record 4. Up and at ‘Em 5. Ain’t It Grand? 6. When I Get Low I Get High 7. A String of Pearls 8. Blue Jay 9. Steppin’ In Rhythm 10. Who’s Yehoodi? 11. A Woman Needs A Man 12. Jive at Five 13. I’m Nuts About Screwy Music 14. Thank You for the Moments 15. Well, Git it! TRACK LISTING DISC TWO 1. Rhythm is our Business 2. The Glory of Love 3. Jubilee Stomp 4. Who Needs Spring? 5. Shorty’s Got to Go 6. Solo Flight 7. Marche Slav 8. I Get Ideas 9. The Ugly Duckling 10. The Little Orange Man 11. The Mooche 12. Massachusetts 13. Swing My Soul 14. Bear Foot Blues 15. Traffic Jam

Available From: Amazon•CDBaby•iTunes• Bandcamp

This may sound like a left-field introduction to this exceptional album by Glenn Crytzer, but bear with me: have you ever heard any of the classic big bands of the 1930s as recorded by the Associated transcription service? (Technically, the company was known as “Associated Music Publishers” and in 1936, their office was located at 25 West 46th St, Manhattan.) The recordings made by Associated sound very different from the standard 78 RPM singles that were commercially released by the various labels, major and minor, and they also sound very different from the other transcription services at the time, like Thesaurus, Standard, or MacGregor. The Associated recordings all sound like they were made in a huge studio space, with lots of reverb, and plenty of sonic space around the instruments; they’re incredibly “live,” as an engineer might say. When you listen to the Associated recordings of, say, the John Kirby Sextet, Teddy Wilson, the Ray Noble Orchestra, or that rather amazing 1934 Joe Venuti big band date (with Louis Prima and Red Norvo), just to name a couple, there’s a very specific kind of a disconnect happening. You don’t quite feel like you’re listening to historical recordings from 80 years ago, but you know they’re not newly-recorded either. They seem to exist in a unique space all their own, one that’s completely timeless.

That’s the same way that this album landed upon my ears: it doesn’t quite feel like any kind of a recreation, rather it seems like some contemporary scientist who specializes in both sound recording and astrophysics found a way to send a microphone drone into the past and make new recordings of historical big bands. I had a similar sensation when I watched the 2013 re-release of The Wizard of Oz, in which the classic 1939 film was re-jigged somehow for two 21st century movie technologies, digital 3D and IMAX. (I’ve also heard the original soundtrack adapted for 5.1 surround sound on DVD.) The 3D IMAX Oz was fascinating and highly illuminating. Naturally, going forward, I would still want to re-watch The Wizard of Oz in the original 1939 format again - this might have been just a one-off experience - but that it gave me a whole new way to look at a classic. And that’s what this album does, it allows us hear vintage big band swing in a whole other way, auditorily speaking, and takes classic music and makes us hear it in the audio equivalent of 3D IMAX - it’s a quite a wonderful, unique sensation.

The combination of the familiar and the unfamiliar is consistently startling, to the point where we can say that the music is being re-imagined rather than re-created. I keep feeling like some collector friend of mine stumbled across a set of previously undocumented Associated transcriptions recorded in the immediate pre-war period. In some cases, where the tune is very familiar, I feel like these are newly-discovered versions by alternate bands, like “Jive at Five” being played by Charlie Barnet rather than Count Basie, say, or Alvino Rey playing the central guitar part on “Solo Flight” with own his orchestra back around the same time that Charlie Christian and Benny Goodman introduced it. And this “Well Git It” makes me wonder what that classic flag waver might have sounded like if it came from the band book of Jimmy Dorsey rather than Tommy. Other tracks make me feel like I’m discovering some previously unknown local local or territory band that never made it into the history books or the discographies.

Some of Glenn’s arrangements truly sound like a wrinkle in time: the North American popular song “I Get Ideas” originated in 1927 as an authentic and famous Argentine tango titled “Adios Muchachos.” In 1951, it was adapted into “I Get Ideas” (with most of the tango rhythm extracted), wherein it became a hit for both Tony Martin and Louis Armstrong. Glenn’s treatment sounds like if some early swing bandleader - say, Alex Hill, or maybe the Mills Blue Rhythm Band - somehow got a hold of the 1951 lyrics (by Dorcas Cochrane of “Again” fame), even though they weren’t written for many years. There’s more than a hint of Louis Armstrong in Jason Prover’s trumpet solo at the heart of it, but more like Armstrong’s 1930s big band, the one led for him by Luis Russell, rather than the groups he recorded with in the 1950s, and Crytzer’s vocal here is clearly part and parcel of the 1930s idiom.

And I find myself surprisingly impressed by Glenn’s originals; normally I try to encourage contemporary musicians and singers to avoid the temptation of writing their own original songs if only because the overwhelming majority of them are lousy at it. (Make that extremely lousy at it!) But Glenn has succeeded in his highly commendable goal of creating new songs that sound like they were written in the late 1930s and recorded by bands of the period (if only on Associated Transcriptions). “Just Like a Broken Record,” for instance, really sounds like something that Larry Clinton would have played in a 1938 Vitaphone short - or on a 1938 buff Bluebird. (So does “Marche Slav”; I had a hard time believing that was a new arrangement of the iconic 1876 Tchaikovsky piece, not a transcription of Clinton or Les Brown’s Blue Devils or some other historic band that specialized in “swinging the classics.”)

There are also plenty of surprises in the vocal department: Hannah Gill is a name new me, but a formidable singer who sounds so authentic to the period that I don’t think she would even mind if I referred to her as a “band canary.” (That term has somehow become un-PC in the millennial era, go figure.) I know Dandy Wellington, as does anyone who has attended any kind of swing-centric event in New York, but mainly as a dancer and an emcee for contemporary retro-burlesque events - in fact, so much so whenever I hear his name and his voice, I expect to see a woman start taking off her clothes. Clearly he’s developed into the most perfectly appropriate male singer for this band on both ballads and novelties (especially “Swing My Soul”). And Glenn also captures the idiom very well, adding vocalist to the list of many hats (and caps) that he wears, along with bandleader, arranger, conductor, composer, lyricist, and guitarist.

I’ve possibly made too much of a fuss over the way this music plays with notions of chronological time and not enough about how the music is about time in the sense that it really swings - that Glenn and his bandsmen play with a lift, a drive and a danceable imperative that’s all too rare in the 21st century. Glenn Crytzer has, in fact, achieved something of a temporal miracle, in assembling 17 musicians and singers who have so perfectly absorbed the classic swing idiom that it’s like a language they can speak without any trace of a foreign accent. Astrophysicists may insist that time travel is impossible, but now I have cause to wonder.

-Will Friedwald

NATIONAL PRESS CAMPAIGN: JIM EIGO, JAZZ PROMO SERVICES, 272 State Route 94 South #1, Warwick, NY 10990-3363 Ph: 845-986-1677 [email protected] • www.jazzpromoservices.com “Specializing in Media Campaigns for the music community, artists, labels, venues and events.” NATIONAL RADIO PROMOTION: LISA REEDY PROMOTIONS www.jazzpromotion.com 775-826-0755 [email protected]

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