In the digital age, navigating the web safely has become paramount, and finding an 안전사이트, or safe site, is not just a necessity but an imperative for online users. The cyber-world is a double-edged sword; while it offers incredible resources and conveniences, it also harbors risks such as scams, fraud, and phishing attacks. Hence, understanding the features and characteristics that make for a secure online haven is crucial.

First and foremost, a safe website ensures the protection of users’ personal and financial information. Advanced security protocols such as SSL (Secure Socket Layer) certificates are a hallmark of a trustworthy platform. This encryption technology creates a secure channel between your browser and the website’s server, safeguarding data against unauthorized access. Look for the padlock icon next to the website’s URL; it’s a telltale sign that encryption is at work.

Another key aspect is the presence of reliable contact information. Genuine websites typically provide clear ways to contact the company or website operator, be it through a phone number, a physical address, or an email contact form. The availability of customer service showcases the operator’s commitment to user experience and indicates a level of accountability.

Content integrity plays a significant role in defining a website’s safety. An 안전사이트 will display accurate, clear, and updated content. Misinformation or outdated data can lead to confusion and potential harm. Additionally, a responsible website will not inundate its users with intrusive ads or pop-ups, which can often be carriers of malware.

User-centric features such as privacy policies and terms of service are important. These documents inform users how their data is collected, used, and protected. A transparent privacy policy signifies respect for user privacy and a pledge to data security.

Community feedback and reputation serve as an informal audit of a website’s trustworthiness. User reviews, community discussions, and ratings on third-party platforms can provide invaluable insights into the reliability of a website. A strong, positive online reputation built over time is a good indicator of an 안전사이트.

Now, let’s pivot to addressing your curiosities with some FAQs:

**1. How can I verify the SSL certificate of a website?**
To verify a website’s SSL certificate, click the padlock icon in the address bar. This will display the security details including the issuing Certificate Authority and the certificate’s validity.

**2. What should I do if a website doesn’t provide contact information?**
If a site lacks clear contact information, exercise caution. Consider researching further before sharing any personal information or making transactions.

**3. Where can I find user reviews about a website’s safety?**
User reviews can often be found on forums, social media platforms, and review-centric websites like Trustpilot or Sitejabber.

**4. Are websites with HTTPS always safe?**
While HTTPS indicates encrypted data transmission, it’s not a sole guarantee of a website’s overall safety. It’s important to look at other factors as well.

**5. What is a privacy policy and why is it important?**
A privacy policy is a statement that explains how a website collects, handles, and protects users’ data. It’s important because it informs users about their privacy rights and how their information is being used.

Navigating through the labyrinth of the internet in search of an 안전사이트 requires vigilance. By being mindful of these telltale signs and doing your due diligence, you can steer clear of the hazards and ensure a more secure online experience.…

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How to Respond to the “U Like Jazz?” Meme

Whether it’s used as a meme, a pick-up line, or a genuine question from a jazz aficionado, “Ya like jazz?” is a popular conversation starter. It’s important to know how to respond in order to maintain the correct tone and keep the conversation light.

This article will cover everything you need to know about the u like jazz meme. From its origins to how to properly respond to it, this article has you covered.

What is it?

Ya like jazz is a phrase from the movie Bee Movie that has become a popular meme. It can be used as a lighthearted way to start a conversation or even as a cheesy pickup line. Regardless of how you use it, it is important to remember that it is supposed to be funny.

Brayden Martino and Jonathan Haidl are college-age meme lovers and theatre makers with nothing better to do. Their passion project, Ya Like Jazz? A Bee Musical, premiered live in Anaheim, CA in 2018 to public acclaim and passionate audience interaction. Learn more about this hilarious take on a Jerry Seinfeld classic here.

How do I respond?

If you ever find yourself on the receiving end of a “Ya like jazz?” question, whether it’s a meme or a cheesy pickup line, knowing how to respond is important. After all, the right response can make or break the conversation. So, if you want to impress your friends with your pop culture knowledge and sense of humor, try using one of the many “u like jazz” memes available on the internet.

Alternatively, you can also use a more creative reply, such as “Do you mean the Bee Movie reference?” This will show that you’re equally familiar with the joke and establish a good foundation for a lighthearted conversation. Plus, it’ll be a great way to show off your musical taste! So, what are you waiting for? Start responding to “Ya like jazz?” today! Your friends will thank you. (And your crush might just ask you out, too).) Cheers! —Marissa Hill

What if I don’t like jazz?

It’s fine if you don’t like jazz. Just don’t be a jerk about it! It doesn’t make you dumb to not understand a genre of music that takes a lifetime to learn. And don’t be surprised if you don’t get it right away – jazz is a difficult form to master.

Besides, it’s not like jazz is the only genre that has a lopsided ratio of male to female fans. Rap is notoriously male-dominated, and with its macho posturing, misogynistic lyrics, condescending male trainspotter attitudes and territorial studio nerds, it’s really no surprise.

Also, the fact that jazz is a restless music may not be what you’re looking for in your musical experience. Maybe you’d prefer the resolution and repose of classical. Whatever you choose, just remember that it’s not about the music – it’s about the feeling you get from listening to it. And, if you’re lucky, that feeling will last for a lifetime.

Get back to the home screen…

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Basketball pulses with an energy unlike any other sport; it’s the rhythm of the dribble, the arc of the shot, the suspense hanging on every free throw. And nestled within this symphony of squeaking sneakers and swooshing nets is the NBA, home to some of the most elite athletes on the planet. As the game continues to captivate audiences worldwide, there’s an increasing need to stay connected to the live action, to get that courtside experience from anywhere, at any time. Enter the world of NBA live broadcasting, or as it’s known in Korea, NBA중계.

Imagine the thrill as you watch your favorite team strategizing their next play. The camera zooms in on the coach’s intense gaze, the players’ determined expressions; you’re right there with them, thanks to the wonders of live NBA streaming. You feel each pivot, each jump, each steal as if you were in the middle of the action. This isn’t just watching a game; it’s an immersive experience that brings the excitement straight to you, no matter where you are.

For the uninitiated, navigating the plethora of platforms for NBA중계 can be daunting. However, once you find your way, it’s as seamless as a well-executed fast break. Let’s break that down—what makes a great NBA live broadcast? First, it has to have minimal lag. Nothing kills the buzz like a buffering wheel in the middle of a nail-biting quarter. Next, the quality—high-definition, clear audio, because every nuance matters in the game of basketball. And let’s not forget accessibility; whether on your phone, your laptop, or your TV, the game should come to you.

Apart from the technical aspects, what stands out in an NBA중계 is the community. Fans from around the globe tuning in, sharing their passion, their predictions, cheers, and groans. Digital platforms now offer chat features, where the camaraderie rivals that of the stands. There’s something incredibly bonding about celebrating a slam dunk with someone thousands of miles away, connected by your love for the game.

As the final whistle blows and one team emerges victorious, the stream captures the raw emotions—the triumph, the despair. It’s a poetic end to the symphonic clash you’ve just been part of. And as you reflect, a sense of satisfaction settles in. This wasn’t just another game; it was an event, a memory crafted in real-time, made accessible through NBA중계.

After such a riveting encounter, you’re bound to have questions, queries that bubble up as you dissect each play, each strategy. Here are some FAQs to round off your experience:

**FAQs**

**Q1: How can I access NBA중계 if I’m not in the United States?**
A1: There are various international streaming services that offer NBA live broadcasts. Check for local sports networks or online platforms that hold broadcasting rights in your country.

**Q2: Can I watch NBA중계 for free?**
A2: Some streaming platforms may offer free trials, or specific games might be broadcasted without charge. However, most services require a subscription.

**Q3: Is there a way to watch past NBA games?**
A3: Yes, several streaming services provide on-demand access to previous games, so you can catch up on any action you’ve missed.

**Q4: Can I watch NBA중계 on my mobile device?**
A4: Absolutely, most streaming platforms have mobile apps or mobile-friendly websites that allow you to watch live NBA games on the go.

**Q5: Are there any restrictions on watching NBA중계 in certain countries?**
A5: Yes, due to broadcasting rights, some countries may have restrictions. Using a reliable VPN service may help you circumvent these restrictions, though it’s important to comply with the service’s terms and conditions.…

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Pjazza San Gorg – Malta’s Cultural Icon

A key cultural icon and gathering spot, pjazza san gorg (Maltese: Misrah San Gorg) lies along Republic Street in Malta’s capital city of Valletta. Also known as Palace Square, it is bordered by the Grandmaster’s Palace.

It is a truly stunning structure! The baroque church is commonly referred to as the Golden Church because of its splendid interior.

What to See

The culture, history, and identity of both Victoria and Gozo as a whole are encapsulated within the endearing and distinctive public area known as Pjazza San Gorg. Located in the center of the capital city of Valletta, the square is home to St. George’s Basilica as well as the Grand Master’s Palace, and is a must-see attraction for visitors to Malta.

In the past, the square was adorned by an elaborate flower display known as infioriata, which used thousands of flowers packed tightly together to create one massive presentation. This year, a green initiative called the largest ever Valletta Green Festival will use the space to inspire residents to create their own gardens and increase the number of green spaces in the capital city.

Getting There

Whether you’re traveling on business or vacation, getting around from Pjazza San Gorg is a breeze with Moovit. Get directions and live arrivals for your selected transportation mode from the app’s intuitive map and route planner. Choose from a variety of options that include Bus, Metro and Taxi.

Located at the heart of Valletta, Malta’s historical grand capital and UNESCO World Heritage Site, St. George Square, or Pjazza San Gorg (Misrah il-Palazz), is the island’s most beautiful cultural icon and gathering point. Bordered by the majestic Grandmaster’s Palace, the square has become a popular tourist attraction for visitors and locals alike. It also represents the city’s identity and character in many ways. It is a must-see place for anyone looking to unwind, socialize, and take in the unique culture of Victoria and Gozo.

Proceed to further reading…

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Jazz X Lied

Jazz x Lied is a BL manga about two boys who are sprayed with a potion that lets them see the feelings of others. It’s a story about family, romance and friendship! It has flufff, angst and some spoilers. Read more at pixiv! (potentially sensitive content)

Jazz – Instrumental and vocal.

What is Jazz?

Jazz is a music style that incorporates improvisation, distinctive tone colors and performance techniques, and dotted or syncopated rhythmic patterns. It evolved in New Orleans and came into its own as a distinct musical genre in the 1920s. Jazz has since influenced many other genres including rock, R&B and hip-hop music.

In essence, jazz embodies musical freedom. The musicians in a jazz band can play any note they wish and in any order they choose. They can also change the key of a song without changing the rhythm of the beat. This type of improvisation is like a musical dialogue between musicians, and each player’s sound is unique, much like the different sounds produced by human voices.

Pianist Jelly Roll Morton is often considered to be the first creator of jazz as a specific genre. He assimilated, like a master chef making a great New Orleans bouillabaisse, a complex matrix of diverse vernacular elements, such as field hollers, work songs, banjo music, church hymns, African-American spirituals, and ragtime, into one cohesive style.

What is Lied?

Lieder are art songs for voice and piano. Unlike other musical genres that tend to put the spotlight on the singer, a great lied requires equal responsibility from both musicians. A pianist must support and enhance the poet’s meaning, whilst a vocalist is required to bring a dramatic force, expressive range and emotional intensity to their performance.

Until the 17th century lied compositions followed the classical tradition of a cantus firmus, often with a single verse repeated many times. In the 18th century a new kind of lied emerged, the so-called strophic lied, in which different stanzas of the poem are set to different musical variations.

Schumann and Wolf synthesised the verbal and musical components of the lied into a powerful whole. Their essential apparatus was a mind infinitely receptive to poetry, which they must have read voraciously from boyhood. Their 610 settings range from the full works of acknowledged literary figures to the amateur verses of their friends.

What is Iruma?

Iruma is a human boy who was sold to Demon Lord Sullivan and adopted as his grandson. He was unable to attend school regularly in the human world due to his parents neglecting him and thus has developed excellent adaptability and survival skills.

Despite being a male Iruma enjoys some traditionally girly hobbies such as dressing up and playing games with Clara Valac and Crocell Kerori. He is also very fond of Ameri’s manga First Love Memories and will often read it with her.

Iruma has a strong desire to at least rise to Bet in rank and asks Kalego for training so that he can achieve this goal. However, he quickly discovers that he is being outclassed by his teammates and Alice.

What is the story?

The narrator of jazz x lied, which is also the name of this album, uses idiomatic expressions to stay within the lives of the characters she describes, and often seems to respond to questions posed by an invisible companion that may be a stand-in for the reader. This way she is able to describe sociological phenomena and historical truths while remaining fully immersed in the world of the characters.

All About Jazz is an independent media company that has been a pillar of jazz since 1995, championing the art form and the musicians who create it. Our enduring commitment has made us one of the most widely read jazz websites, reaching hundreds of thousands of fans, musicians and industry figures every month.

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Jazz Zero Rated Website

Jazz has made Wikipedia accessible to all prepaid clients free of charge through its Wikipedia Zero offer. Similarly, OLX is available for Jazz prepaid endorsers free of charge through versatile applications or underneath renditions of Opera Mini.

Despite this pessimism, many musicians commented that they were bringing forward their recording and release plans in order to fill the void left by the absence of gigging.

Free Music Downloads

Internet Archive offers millions of free downloads of music, audio, podcasts, radio programs, and more. It has a huge selection and many different ways to browse and filter the results. It also doesn’t have a minimum price for songs, which makes it easier to find free options than some other sites.

ReverbNation is another good option for finding up-and-coming artists. It has lots of ways to search and find music, including an “all downloads” option that shows only free songs. However, not all music on the site can be downloaded; some requires a user account.

Musopen is a great source of classical sheet music, recordings, and even orchestrations that are completely legal and copyright-free. All you need to do is provide attribution if you want to use the music for commercial purposes. It also allows you to listen online or download for streaming and offline listening. It’s the best choice if you want to download classical music.

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Jazz 6 – The Best Jazz Albums of All Time

Taking a more accessible approach to jazz than the bebop that dominated the genre for 15 years, Ella Fitzgerald and Louis Armstrong’s charming collaboration is a timeless classic. Their effortless interplay and sunny personalities make this the perfect gateway drug for newcomers to jazz.

Electric bassist Jaco Pastorius’ kaleidoscopic abilities are on full display on this modern jazz milestone.

John Coltrane’s Kind of Blue (1965)

Often regarded as one of the greatest jazz records of all time, Kind of Blue is a milestone in Coltrane’s stylistic development, and an important precursor to the avant garde work that would follow. Its success spawned a large number of imitations, including several other albums which attempted to emulate its mood and sound. The enduring popularity of the album also makes it a good source for studying the development of modern jazz and its influence on other genres, such as rock.

The original recording session took place on 2 March 1965, and resulted in the three compositions of side one – ‘So What,’ ‘Freddie Freeloader,’ and ‘Blue in Green.’ Both ‘Freddie Freeloader’ and ‘Blue in Green’ were composed by pianist Bill Evans, who was not present at the session, but who was given composer credit on the LP and CD releases.

Both ‘Freddie Freeloader’ and the A section of ‘Blue in Green’ are based on a preset chord progression which allows the musicians to freely improvise over the top. This approach would become the standard for later modern jazz recordings. The group rehearsed for about two hours before the session, and recorded a few takes on each piece. On ‘Blue in Green,’ the band recorded four takes before settling on a performance that would make the final cut.

The improvisations on ‘Blue in Green’ and ‘So What’ display the same melodic, moody atmosphere that was established on Kind of Blue. However, the most significant change on these tracks is in the content of the improvisations themselves rather than in radically changing harmony. While both Tyner and Coltrane still employ some of the tools they used on earlier recordings – such as chiming right hand melodies and block chords based in fourths – they are now less constrained by them. Coltrane has moved away from a reliance on Slonimsky scales, and instead plays with a greater degree of freedom, still mindful of the modal principles that he had developed in his earlier work.

Stan Getz & Joao Gilberto & Antonio Carlos Jobim & Sebastiao Neto & Astrud Gilberto & Charles Mingus & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & A

During a 1961 trip to Brazil, singer Tony Bennett and bassist Don Payne became familiar with modern Brazilian popular music, which helped revitalize jazz at a point in its history when it had fallen into the shadow of rock and roll. A year later, guitarist Stan Getz heard the recordings of Jobim and Joao Gilberto and was immediately smitten; he would record two albums of bossa nova with them, Jazz Samba and Garota de Ipanema.

Both albums were recorded at Phil Ramone’s A&R Studios in New York City, produced by Creed Taylor and released by Verve Records. Astrud Gilberto sang lead vocals on both, with Getz on tenor saxophone and Jobim on piano. Bassist Sebastiao Neto and drummer Milton Banana (credited as ‘Milton’) played on both, but they were only credited on the original release.

Aside from the obvious brilliance of the musicians, what distinguishes this recording is its sonic clarity. George Marino’s new stereo mix for this reissue was able to eliminate the muddiness and murk that plagued previous editions and bring the voices and instruments to a higher level of clarity without making them sound too bright or unnatural. This improved sonic clarity allows listeners to experience the musicians’ performances more closely and naturally.

Marino was also able to cut away a few of the problematic elements that were present in the original recording, such as Joao’s voice sounding like it came from a different location than his guitar or Astrud’s singing appearing further back on the sound stage. As is typical of Resonance’s historical releases, the album comes with a detailed book featuring newly commissioned essays, personal accounts from those who created and recorded the recordings, and rare archival photos. In this case, the 32-page book was written by producers Feldman and Barkan and includes interviews with Getz’s son Steve, author James Gavin and bossa nova legend Carlos Lyra.

Go Home…

Read More »

Jazz 6 – The Best Jazz Albums of All Time

Taking a more accessible approach to jazz than the bebop that dominated the genre for 15 years, Ella Fitzgerald and Louis Armstrong’s charming collaboration is a timeless classic. Their effortless interplay and sunny personalities make this the perfect gateway drug for newcomers to jazz.

Electric bassist Jaco Pastorius’ kaleidoscopic abilities are on full display on this modern jazz milestone.

John Coltrane’s Kind of Blue (1965)

Often regarded as one of the greatest jazz records of all time, Kind of Blue is a milestone in Coltrane’s stylistic development, and an important precursor to the avant garde work that would follow. Its success spawned a large number of imitations, including several other albums which attempted to emulate its mood and sound. The enduring popularity of the album also makes it a good source for studying the development of modern jazz and its influence on other genres, such as rock.

The original recording session took place on 2 March 1965, and resulted in the three compositions of side one – ‘So What,’ ‘Freddie Freeloader,’ and ‘Blue in Green.’ Both ‘Freddie Freeloader’ and ‘Blue in Green’ were composed by pianist Bill Evans, who was not present at the session, but who was given composer credit on the LP and CD releases.

Both ‘Freddie Freeloader’ and the A section of ‘Blue in Green’ are based on a preset chord progression which allows the musicians to freely improvise over the top. This approach would become the standard for later modern jazz recordings. The group rehearsed for about two hours before the session, and recorded a few takes on each piece. On ‘Blue in Green,’ the band recorded four takes before settling on a performance that would make the final cut.

The improvisations on ‘Blue in Green’ and ‘So What’ display the same melodic, moody atmosphere that was established on Kind of Blue. However, the most significant change on these tracks is in the content of the improvisations themselves rather than in radically changing harmony. While both Tyner and Coltrane still employ some of the tools they used on earlier recordings – such as chiming right hand melodies and block chords based in fourths – they are now less constrained by them. Coltrane has moved away from a reliance on Slonimsky scales, and instead plays with a greater degree of freedom, still mindful of the modal principles that he had developed in his earlier work.

Stan Getz & Joao Gilberto & Antonio Carlos Jobim & Sebastiao Neto & Astrud Gilberto & Charles Mingus & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & A

During a 1961 trip to Brazil, singer Tony Bennett and bassist Don Payne became familiar with modern Brazilian popular music, which helped revitalize jazz at a point in its history when it had fallen into the shadow of rock and roll. A year later, guitarist Stan Getz heard the recordings of Jobim and Joao Gilberto and was immediately smitten; he would record two albums of bossa nova with them, Jazz Samba and Garota de Ipanema.

Both albums were recorded at Phil Ramone’s A&R Studios in New York City, produced by Creed Taylor and released by Verve Records. Astrud Gilberto sang lead vocals on both, with Getz on tenor saxophone and Jobim on piano. Bassist Sebastiao Neto and drummer Milton Banana (credited as ‘Milton’) played on both, but they were only credited on the original release.

Aside from the obvious brilliance of the musicians, what distinguishes this recording is its sonic clarity. George Marino’s new stereo mix for this reissue was able to eliminate the muddiness and murk that plagued previous editions and bring the voices and instruments to a higher level of clarity without making them sound too bright or unnatural. This improved sonic clarity allows listeners to experience the musicians’ performances more closely and naturally.

Marino was also able to cut away a few of the problematic elements that were present in the original recording, such as Joao’s voice sounding like it came from a different location than his guitar or Astrud’s singing appearing further back on the sound stage. As is typical of Resonance’s historical releases, the album comes with a detailed book featuring newly commissioned essays, personal accounts from those who created and recorded the recordings, and rare archival photos. In this case, the 32-page book was written by producers Feldman and Barkan and includes interviews with Getz’s son Steve, author James Gavin and bossa nova legend Carlos Lyra.

Go Home…

Read More »

Jazz 6 – The Best Jazz Albums of All Time

Taking a more accessible approach to jazz than the bebop that dominated the genre for 15 years, Ella Fitzgerald and Louis Armstrong’s charming collaboration is a timeless classic. Their effortless interplay and sunny personalities make this the perfect gateway drug for newcomers to jazz.

Electric bassist Jaco Pastorius’ kaleidoscopic abilities are on full display on this modern jazz milestone.

John Coltrane’s Kind of Blue (1965)

Often regarded as one of the greatest jazz records of all time, Kind of Blue is a milestone in Coltrane’s stylistic development, and an important precursor to the avant garde work that would follow. Its success spawned a large number of imitations, including several other albums which attempted to emulate its mood and sound. The enduring popularity of the album also makes it a good source for studying the development of modern jazz and its influence on other genres, such as rock.

The original recording session took place on 2 March 1965, and resulted in the three compositions of side one – ‘So What,’ ‘Freddie Freeloader,’ and ‘Blue in Green.’ Both ‘Freddie Freeloader’ and ‘Blue in Green’ were composed by pianist Bill Evans, who was not present at the session, but who was given composer credit on the LP and CD releases.

Both ‘Freddie Freeloader’ and the A section of ‘Blue in Green’ are based on a preset chord progression which allows the musicians to freely improvise over the top. This approach would become the standard for later modern jazz recordings. The group rehearsed for about two hours before the session, and recorded a few takes on each piece. On ‘Blue in Green,’ the band recorded four takes before settling on a performance that would make the final cut.

The improvisations on ‘Blue in Green’ and ‘So What’ display the same melodic, moody atmosphere that was established on Kind of Blue. However, the most significant change on these tracks is in the content of the improvisations themselves rather than in radically changing harmony. While both Tyner and Coltrane still employ some of the tools they used on earlier recordings – such as chiming right hand melodies and block chords based in fourths – they are now less constrained by them. Coltrane has moved away from a reliance on Slonimsky scales, and instead plays with a greater degree of freedom, still mindful of the modal principles that he had developed in his earlier work.

Stan Getz & Joao Gilberto & Antonio Carlos Jobim & Sebastiao Neto & Astrud Gilberto & Charles Mingus & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & Astrud Gilberto & Joao Gilberto & Sebastiao Neto & A

During a 1961 trip to Brazil, singer Tony Bennett and bassist Don Payne became familiar with modern Brazilian popular music, which helped revitalize jazz at a point in its history when it had fallen into the shadow of rock and roll. A year later, guitarist Stan Getz heard the recordings of Jobim and Joao Gilberto and was immediately smitten; he would record two albums of bossa nova with them, Jazz Samba and Garota de Ipanema.

Both albums were recorded at Phil Ramone’s A&R Studios in New York City, produced by Creed Taylor and released by Verve Records. Astrud Gilberto sang lead vocals on both, with Getz on tenor saxophone and Jobim on piano. Bassist Sebastiao Neto and drummer Milton Banana (credited as ‘Milton’) played on both, but they were only credited on the original release.

Aside from the obvious brilliance of the musicians, what distinguishes this recording is its sonic clarity. George Marino’s new stereo mix for this reissue was able to eliminate the muddiness and murk that plagued previous editions and bring the voices and instruments to a higher level of clarity without making them sound too bright or unnatural. This improved sonic clarity allows listeners to experience the musicians’ performances more closely and naturally.

Marino was also able to cut away a few of the problematic elements that were present in the original recording, such as Joao’s voice sounding like it came from a different location than his guitar or Astrud’s singing appearing further back on the sound stage. As is typical of Resonance’s historical releases, the album comes with a detailed book featuring newly commissioned essays, personal accounts from those who created and recorded the recordings, and rare archival photos. In this case, the 32-page book was written by producers Feldman and Barkan and includes interviews with Getz’s son Steve, author James Gavin and bossa nova legend Carlos Lyra.

Go Home…

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Welcome to WordPress. This is your first post. Edit or delete it, then start writing!…

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