FReeper Canteen - Tunes For Our Troops - 23 June 2012

Our Troops Rock!!!! | The Canteen DJ's

[AZamericonnie]

 

 

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~ Tunes For Our Troops ~

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Warning: Not all the music you hear below will be appropriate for children! Please click with caution! Thank you!

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Tunes For The Troops     **Artist Showcase** Nyro was born Laura Nigro in the Bronx, New York, the daughter of Gilda Mirsky Nigro, a bookkeeper, and Louis Nigro, a piano tuner and jazz trumpeter. Laura had a younger brother, Jan Nigro. Laura was of Russian Jewish and Italian ancestry. As a child, she taught herself piano, read poetry, and listened to her mother's records by Leontyne Price, Billie Holiday and classical composers such as Ravel and Debussy. She composed her first songs at age eight. With her family, she spent summers in the Catskill Mountains, where her father played the trumpet at resorts. While in high school, she sang with a group of friends in subway stations and on street corners. She said, "I would go out singing, as a teenager, to a party or out on the street, because there were harmony groups there, and that was one of the joys of my youth." Among her favorite musicians were John Coltrane, Nina Simone, Pete Seeger, Curtis Mayfield, Van Morrison, and girl groups such as The Supremes, Martha and the Vandellas and the Shirelles. Nyro's own renditions of her songs never attained hit status, but between 1968 and 1970 a number of other singers had achieved significant successes on the charts with her works. Other artists scored hit after hit with her songs, led by the 5th Dimension’s “Stoned Soul Picnic” and “Sweet Blindness” in 1968 (then “Wedding Bell Blues” in ’69 and “Blowin' Away” in ’70). Over two consecutive weeks in October 1969, Blood, Sweat & Tears entered the Hot 100 with “And When I Die,” and Three Dog Night followed with “Eli's Coming.” In 1970-71, Barbra Streisand charted three consecutive times with Laura Nyro songs, “Stoney End,” “Time And Love” and “Flim Flam Man.” Nyro's evocative vocal style mixed jazz and rhythm-and-blues with street pop, gospel, and Broadway, and her three-octave range has led her voice to be characterized as both "a blues soprano" and "a rich, charcoal-smudged alto." In 1996, she was diagnosed with ovarian cancer. After the diagnosis, Columbia Records prepared a double-disc CD retrospective of material from her years at the label. The company involved Nyro herself, who selected the tracks and approved the final project. She lived to see the release of Stoned Soul Picnic: The Best of Laura Nyro (1997), and was reportedly pleased with the outcome. Nyro died of ovarian cancer in Danbury, Connecticut, on April 8, 1997, at 49, the age at which the same disease had claimed the life of her mother. Nyro's influence on popular musicians has also been acknowledged by such artists as Joni Mitchell, Rickie Lee Jones, Elton John, Cyndi Lauper, Todd Rundgren, Steely Dan, and Melissa Manchester. Todd Rundgren stated that, once he heard her, he "stopped writing songs like The Who and started writing songs like Laura". On April 14th, 2012, Laura Nyro was inducted into the Rock and Roll Hall of Fame Enjoy the variety of musical selections that the Canteen Deejays provide throughout the thread. Please ping any DJ with your requests for the Troops! All music is removed on Monday. Thanks to all the DeeJay's for their time & effort providing entertainment for the Troops! *Canteen Mission Statement* Showing support and boosting the morale of our military and our allies military and the family members of the above. Honoring those who have served before.

 

More Than a New Discovery	Eli Thirteenth Confession
Stoned Soul Picnic-The Best of Laura Nyro - Cd 1	Stoned Soul Picnic-The Best of Laura Nyro - Cd 2
New York Tendaberry	Christmas And The Beads Of Sweat-(Remastered)
Gonna Take A Miracle Ft. Patti LaBelle	Smile-(Remastered)
Season Of Light	Mothers Spiritual
Live at The Bottom Line	Walk The Dog & Light The Light
Angel in the Dark	The Loom's Desire-Live - Cd 1
> The Loom's Desire-Live - Cd 2
*Website*

[SkyDancer]

Oh, yeah. On the way to Brisbane again. Looking out for a certain guy I hope will be there. :) There’s a group of night clubs where you get a stamp for one and then can get into the rest of them. Some have great bands some not so much but fun anyway! (((hugs))) Janey

[luvie]

IN THE GOOD OLE SUMMER TIME!

Bebel Gilberto~August Day Song

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the tunes at the top
of the thread.

Ping or FReepmail any DJ
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Thank you for listening!

[Kathy in Alaska]

Thanks, AZ, for today's Tunes For Our Troops!

[Publius]

Johannes Brahms had consigned twenty string quartets to the fireplace before publishing two of them as his Opus 51. They are severe, introspective – and not very popular.

Meanwhile, the great economic bubble in Austria had burst with a crash in 1873, and the Jews were immediately blamed for it. Brahms did not understand the connection, and he managed to avoid the endemic antisemitism of the era.

What Brahms turned to next was something he had been keeping on the back burner since his teens. It was a quartet for piano and strings originally cast in C# minor. Now Brahms transposed it to C minor and got it ready. It was the first piece of chamber music he had written in eight years.

It begins with a long, slow introduction. At 1:12 the first subject begins in a declamatory manner. At 2:25, after a transitional passage, there is a glorious second subject in E-flat. A long development begins at 4:02. Having used the first subject exclusively for his development, Brahms recapitulates with the second subject at 7:25. At 8:50 he resolves it with a long coda.

Brahms: Quartet for Piano and Strings in C minor, Op. 60, first movement

After such a heavy opening, Brahms puts his scherzo in second place. It’s in C minor and is brief, ending triumphantly in C Major..

second movement

The slow movement is in the remote key of E Major and was written for Clara Schumann when Brahms was in his teens. There is the air of purity and Madonna Complex about it. When my late mother first heard this movement, she said with uncharacteristic frankness, “So that’s why Brahms and Clara never did it.” When I sat down with the musicians at the Seattle Chamber Music Festival and evaluated the slow movements of Brahms, this came up as one of the very greatest. That cello solo at the beginning just breaks your heart.

third movement

Brahms had struggled over the finale for a very long time, but he eventually came up with a solution. Just relax and let Brahms take you for a ride. This video is quite imaginative.

fourth movement

[luvie]

IN THE GOOD OLE SUMMER TIME!

Craig Chaquico~Arizona Daybreak

You can find links for purchasing
the tunes at the top
of the thread.

Ping or FReepmail any DJ
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Thank you for listening!

[Kathy in Alaska]

Hello Veterans, wherever you are!!

It's Tunes For Our Troops!

[Drumbo]

Hi AZ,
It dawned on me that while I’ve done all kinds of British blues at the Canteen over the years and played more than a few Cream songs, I’ve never actually featured the band exclusively. I recently traded some rare stuff and scored Cream’s BBC archives, so figured I’d get with Mr. Peobody and fire up the Wayback Machine by featuring the biggest, little supergroup of the 60s as well as some of thier precursers (Bluesbreakers) and a few bands that covered the trio over the years.

It’s all sort’a seat of the pants (as usual), but a venue that defines my roots and remains close to my heart these 46 years later. Second only to The Beatles, I cut my musical teeth on British Blues and Cream defined the genre and introduced the power-trio. I’d best save the rest of my rant for actual posting eh?

[Kathy in Alaska]

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[luvie]

IN THE GOOD OLE SUMMER TIME!

Mungo Jerry~In The Summertime

Thanks for the "help" Sarge! :D

You can find links for purchasing
the tunes at the top
of the thread.

Ping or FReepmail any DJ
with your requests
Thank you for listening!

[Kathy in Alaska]

Publius!!

[luvie]

Egad! I hope she’s ok, too! It is unheard of her not being here! :\

[Publius]

In 1875, Johannes Brahms quit his conducting job at the Music Guild. He also stopped playing piano publicly because his technique had deteriorated. In the summer, at age 42, he tackled another string quartet, and this time he hit gold. It’s full of fun and high spirits.

Brahms: Quartet in B-flat Major, Op. 67, first movement

[luvie]

IN THE GOOD OLE SUMMER TIME!

David Benoit~Searching For June

I think June found US! :)

You can find links for purchasing
the tunes at the top
of the thread.

Ping or FReepmail any DJ
with your requests
Thank you for listening!

[Kathy in Alaska]

TMS!!

[luvie]

IN THE GOOD OLE SUMMER TIME!

Eric Marienthal~Last Day Of Summer

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the tunes at the top
of the thread.

Ping or FReepmail any DJ
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Thank you for listening!

[Kathy in Alaska]

Hawaii!!

[luvie]

IN THE GOOD OLE SUMMER TIME!

Eddie Cochran~Summertime Blues

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the tunes at the top
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Ping or FReepmail any DJ
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Thank you for listening!

[Publius]

What had bothered Johannes Brahms for all the years that his symphony had been gestating was the problem of a finale. He now had the answer, and he worked quickly to get the work prepared for its premiere. It was August 1876, and Jo was 43 years old. He had waited a long time for this.

They liked the symphony in Karlsruhe. Mannheim was polite. Munich didn’t go for it, but Wagner owned that city so the reception was understandable. Now it was time to play the palace. It was time for Vienna.

Brahms was a nervous wreck at the rehearsals. At the concert a week before Christmas, the Viennese were polite, but not enthusiastic about the symphony. It would take a while before they understood what he had accomplished. Leipzig showed it respect, much to Brahms’ surprise, and Clara, who was hearing it for the first time, loved it.

After Beethoven, Wagner had declared the symphony to be dead. Brahms singlehandedly resurrected it, and he surpassed himself in doing so. In the long run of Brahm’s career, this was the peak, and he was never to surpass himself again.

A witness to a performance of this symphony under Brahms’ baton clocked it at 41 minutes without the repeat of the first movement exposition. Modern performances run 50 to 55 minutes which means that something has been lost since 1876. Roger Norrington’s up-tempo interpretation is not available on Youtube, but I found a vinyl recording from the Fifties that comes in at 46 minutes with repeat, and the tempi feel right. This is a complete recording of all four movements.

The beginning is marked “Poco sostenuto”, which is not the dirge performed by so many today. The opening is spine tingling, with the tympani hammering out a “fate” motif under a string line that plunges the listener into a dark and unstable world. At 2:30 the first subject begins in 6/8, and it is formed from two themes of the introduction joined in counterpoint. At 4:12 the second subject appears in E-flat. At 5:37 Brahms uses no first ending, but goes right back to the exposition where you don’t expect it, and it’s a shock! At 8:45 he starts his development section. His recapitulation begins in the wrong key at 11:39, but he modulates into C minor so smoothly you barely notice it. At 14:37 he begins a coda that brings the movement to a pensive close with the drumbeats of the introduction leaving the question open.

At 15:55 the slow movement in E Major is in ternary (A-B-A) format. He ends it with a heartfelt violin solo that sings in the stratosphere.

At 25:00 the third movement in A-flat is not a scherzo but a short intermezzo with the first part in duple time. The clarinet theme is exquisite. At 26:38 the middle section is in triple time and builds to a climax. What dissonance in the winds! At 28:18 the opening returns but with bits of the middle section under it, ending in triple time.

At 29:42 the finale starts in C minor, bringing back the darkness of the first movement with a very long introduction. At 32:21 the horn shines through in C Major with a theme Jo had sketched on the back of a postcard he had sent to Clara eight years earlier. The horn is echoed by the flute and then joined by the trombones in a wind choir. At 34:30 the first subject of the sonata-rondo movement comes in on the cellos in C Major, and it’s Brahms’ answer to Beethoven’s “Ode to Joy”. The second subject comes in at 36:17. At 38:14 development begins with the first subject veering off from C into E-flat. At 41:32 the horn theme begins the recapitulation, skipping the first subject and going straight into the second. At 44:10 the coda begins as the sky goes dark, the clouds roll in, and the rains fall. Brahms works his way to a triumphal conclusion in C Major.

Brahms: Symphony #1 in C minor, Op. 68

[Kathy in Alaska]

Farmer D!!

[luvie]

IN THE GOOD OLE SUMMER TIME!

Exodus Quartet~Summer Soulstice

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the tunes at the top
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Ping or FReepmail any DJ
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Thank you for listening!