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This movie won't leave me alone because I, too, fell in love with it. The first swoon was during the scene where King and Django have a teachable moment over beers in a saloon while waiting for a Sheriff to come arrest them. That sequence is the essence of what a lot of Tarantino detractors deny exists: his restraint. The hilarity of that series of negotiations and killings is all about rhythm, pace and QT's delight in his stylized characters. It's also the first scene to establish Schultz's M.O. of exploiting his own whiteness to the fullest. He uses his race and refinement like a CIA asset whose swarthy complexion and command of Arabic lets him move freely through the Muslim and Arab world. The fact that Schultz's ruse ultimately serves to turn a slave into an avenging outlaw is fucking thrilling to my black eyes.
Django S Waltz Pdf Free
real name: Leon Bix Beiderbecke Born Mar 10, 1903 in Davenport, IA Died Aug 6, 1931 in New York, NY Bix Beiderbecke was one of the greatest jazz musicians of the 1920s. His colorful life, quick rise and fall, and eventual status as a martyr made him a legend even before he died, and he has long stood as proof that not all the innovators in jazz history were black. Possessor of a beautiful, distinctive tone and a strikingly original improvising style, Beiderbecke's only competitor among cornetists in the '20s was Louis Armstrong but (due to their different sounds and styles) one really could not compare them. Beiderbecke was a bit of a child prodigy, picking out tunes on the piano when he was three. While he had conventional training on the piano, he taught himself the cornet. Influenced by the original Dixieland Jazz Band, Beiderbecke craved the freedom of jazz but his straight-laced parents felt he was being frivolous. He was sent to Lake Forest Military Academy in 1921 but, by coincidence, it was located fairly close to Chicago, the center of jazz at the time. Beiderbecke was eventually expelled he missed so many classes. After a brief period at home he became a full-time musician. In 1923, Beiderbecke became the star cornetist of the Wolverines and a year later this spirited group made some classic recordings. In late 1924, Beiderbecke left the Wolverines to join Jean Goldkette's orchestra but his inability to read music resulted in him losing the job. In 1925, he spent time in Chicago and worked on his reading abilities. The following year he spent time with Frankie Trumbauer's orchestra in St. Louis. Although already an alcoholic, 1927 would be Beiderbecke's greatest year. He worked with Jean Goldkette's orchestra (most of their records are unfortunately quite commercial), recorded his piano masterpiece "In a Mist" (one of his four Debussy-inspired originals), cut many classic sides with a small group headed by Trumbauer (including his greatest solos: "Singin' the Blues," "I'm Comin' Virginia," and "Way Down Yonder in New Orleans"), and then signed up with Paul Whiteman's huge and prosperous orchestra. Although revisionist historians would later claim that Whiteman's wide mixture of repertoire (much of it outside of jazz) drove Beiderbecke to drink, he actually enjoyed the prestige of being with the most popular band of the decade. Beiderbecke's favorite personal solo was his written-out part on George Gershwin's "Concerto in F." With Whiteman, Beiderbecke's solos tended to be short moments of magic, sometimes in odd settings; his brilliant chorus on "Sweet Sue" is a perfect example. He was productive throughout 1928, but by the following year his drinking really began to catch up with him. Beiderbecke had a breakdown, made a comeback, and then in September 1929 was reluctantly sent back to Davenport to recover. Unfortunately, Beiderbecke made a few sad records in 1930 before his death at age 28. The bad liquor of the Prohibition era did him in. For the full story, Bix: Man & Legend is a remarkably detailed book. Beiderbecke's recordings (even the obscure ones) are continually in print, for his followers believe that every note he played was special. — Scott Yanow All Music Guide
Portrait of Roy Eldridge, Spotlite (Club), New York, N.Y., ca. Nov. 1946. Gottlieb, William P. 1917- photographer. David Roy Eldridge. Born Jan 30, 1911 in Pittsburgh, PA. Died Feb 26, 1989 in Valley Stream, NY. Roy Eldridge, trumpet-vocal; b. 1/30/11 Pittsburgh, PA; d. 2/26/89. Also known as “Little Jazz” Roy Eldridge was a fiery, energetic trumpeter who although short in stature was a larger-than-life figure in the jazz trumpet lineage. Stylistically speaking he was the bridge between the towering trumpet stylists Louis Armstrong and Dizzy Gillespie. One of a significant number of jazz greats from the city of Pittsburgh, Roy’s first teacher was his alto saxophonist older brother Joe. Some of the great rhythmic drive of Eldridge’s later trumpet exploits could be traced to his beginnings on the drums, which he began playing at age six. His first professional work came at age 16 when he worked with a touring carnival, playing drums, trumpet, and tuba. As a trumpeter Roy had come under the spell of Louis Armstrong’s irrisistable style. Among his earliest band affiliations were Oliver Muldoon, Horace Henderson, Zack Whyte, Speed Webb, and his own band, under the banner of Roy Elliott and his Palais Royal Orchestra. In 1930 he made the move to New York and headed straight to Harlem, where he gained work with a number of dance bands, among which was the Teddy Hill band. He left New York in 1934 to join the Michigan-based McKinney’s Cotton Pickers alongside such significant players as tenor man Chu Berry. Roy returned to New York to rejoin Teddy Hill in 1935, with whom he made his first recordings as a soloist in 1935. Prior to recording with Hill he toured with the Connie’s Hot Chocolates revue. After he left Hill’s band he became the lead trumpeter in Fletcher Henderson’s orchestra where his upper register abilities were highlighted. It didn’t take long for Eldridge to exert himself as a bandleader, forming his own octet in 1936 in Chicago; a band which included his brother Joe. Eldridge recorded with the Three Deuces group, then left music for a short time to pursue radio engineering, an interesting twist considering his Chicago group’s nightly radio broadcasts. By the end of the 1930s after freelancing with such a wide array of bands Eldridge had gained notice as one of the swing bands’ most potent soloists. In 1941 he joined drummer Gene Krupa’s band. Not only did he provide trumpet fireworks for Krupa’s outfit he also sang, recording a memorable duet with the band’s female singer, Anita O’Day (NEA Jazz Master 1997) on the tune “Let Me Off Uptown” in 1941. Later, after Krupa’s band disbanded in 1943, and a period of freelancing, he toured with the Artie Shaw band in 1944. After Shaw it was time for Roy to lead his own big band, though economics forced him back to small swing groups.In 1948 Norman Granz recruited Eldridge for his Jazz at the Philharmonic, an ideal situation for Roy since he was one of the ultimate jam session trumpeters. He toured briefly with Benny Goodman and took up residence in Paris in 1950, where he made some of his most successful recordings. He returned to New York in 1951 and continued freelancing with small bands, including work with Coleman Hawkins, Benny Carter, Ella Fitzgerald, and Johnny Hodges. He made notable albums for Verve Records alongside Hawkins and continued freelancing and leading a house band at Jimmy Ryan’s club in New York. In 1980 he was felled by a stroke but that didn’t cut off his musicality. Disabled from the rigorous demands of playing the trumpet, Eldridge continued to make music as a singer and pianist until his 1989 passing. Back Home Again In Indiana midifile Embraceable You midifile I Can't Get Started With You I'll Always Be In Love With You midifile I Only Have Eyes For You Memories Of You midifile Missisipi Mud Rockin' Chair midifile Shine midifile Somebody Loves Me Stardust midifile Stardust 2 Sweet Sue Just You Talk Of The Town midifile Trumpet Blues midifile Wrap Your Troubles In Dreams midifile
Real name: McKinley Howard Dorham. Born: Aug 30, 1924 in Fairfield, TX. Died: Dec 5, 1972 in New York, NY Throughout his career, Kenny Dorham was almost famous for being underrated since he was consistently overshadowed by Dizzy Gillespie, Fats Navarro, Miles Davis, Clifford Brown, and Lee Morgan. Dorham was never an influential force himself but a talented bop-oriented trumpeter and an excellent composer who played in some very significant bands. In 1945, he was in the orchestras of Dizzy Gillespie and Billy Eckstine, he recorded with the Be Bop Boys in 1946, and spent short periods with Lionel Hampton and Mercer Ellington. During 1948-1949, Dorham was the trumpeter in the Charlie Parker Quintet. After some freelancing in New York in 1954, he became a member of the first version of Art Blakey's Jazz Messengers and for a short time led a group called the Jazz Prophets, which recorded on Blue Note. After Clifford Brown's death, Dorham became his replacement in the Max Roach Quintet (1956-1958) and then he led several groups of his own. He recorded several fine dates for Riverside (including a vocal album in 1958), New Jazz, and Time, but it is his Blue Note sessions of 1961-1964 that are among his finest. Dorham was an early booster of Joe Henderson (who played with his group in 1963-1964). After the mid-'60s, Kenny Dorham (who wrote some interesting reviews for Down Beat) began to fade and he died in 1972 of kidney disease. Among his many originals is one that became a standard, "Blue Bossa." — Scott Yanow, All Music Guide
Robert Elliott Jones. Born Dec 31, 1909 in Louisville, KY. Died Apr 30, 2000 in Manhattan, NY A talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 that made him a major attraction for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet. But although the non-jazz audience discovered Jones during the late '50s, he had already been a very vital trumpeter for two decades. Jones started out playing on a Mississippi riverboat in the 1920s. He freelanced in the Midwest (including with Horace Henderson), was briefly with Jimmie Lunceford (1931), had an early stint with Stuff Smith (1932-1934), and then spent time with Lil Armstrong's short-lived orchestra and the declining McKinney's Cotton Pickers. Jones became famous for his playing with Stuff Smith's Onyx club band (1936-1940), recording many exciting solos. He gigged with Benny Carter and Fletcher Henderson and became a star soloist with Cab Calloway (1941-1952), staying with the singer even after his big band became a combo. Jones played Dixieland with Earl Hines (1952-1953), toured Europe in 1954 (including a brilliant recording session with Sidney Bechet), and then led his quartet at the Embers (1955), hitting upon his very successful formula. His shuffle version of "On the Street Where You Live" was the first of many hits and he recorded a long series of popular albums for Capitol during 1957-1963, switching to Decca for a few more quartet albums in 1965-1967. Jonah Jones recorded a fine date with Earl Hines for Chiaroscuro (1972) and still played on an occasional basis in the 1980s and early '90s; he died April 30, 2000, at the age of 91. — Scott Yanow, All Music Guide