Importance du cycle pilaire en épilation laser - Délai entre les séances. Les gestes de bonnes pratique sont appliqués systématiquement et évalués régulièrement. Médecine esthétique & lasers à Paris. Le savoir faire développé par le Centre Marceau se décline dans tous le processus du traitement.
Concert for Tuba – Kollektief 1995 At some time in the eighties I visited a Dutch Show that came to Toronto at the Harbourfront and was called “Boulevard of Broken Dreams”. In a music tent we all sat on wooden benches and witnessed a concert by a band from the Netherlands called “Het Kollektief”. Leader was jazz composer and reedplayer Willem Breuker. It was a combination of emotion, humor, incredible ensemble playing by ultimately skilled players, not really my style of jazz music, but the concert made a deep impression. Just to give you an idea you can view and listen to a tuba feature. All the charts are composed by Willem Breuker who is one of the leading progressive jazz performers in Europe. His biography: http://www.xs4all.nl/~wbk/BioBreuker.html I dedicate this clip to my friend and tubaist by excellence Eli Newburger.
Loose Walk – Dexter Gordon 1964 This was recorded in a small Cafe in Amersfoort in the Netherlands. He was backed up by a Swiss trio with George Gruntz piano, Guy Pederson bass and drummer Daniel Humair. Gordon (1923-1990) was born and grew up in Los Angeles, where his father was a doctor who counted Duke Ellington and Lionel Hampton among his patients. He played clarinet from the age of 13, before switching to saxophone (initially alto, then tenor) at 15. While still at school, he was playing in bands with such contemporaries as Chico Hamilton and Buddy Collette. During 1943-44 he featured in the Louis Armstrong and Fletcher Henderson bands, before joining Billy Eckstine. By 1945, Gordon had left the Eckstine band and was resident in New York, where he was performing and recording with Charlie Parker, as well as recording under his own name. Many would characterise Gordon's sound as being 'large' and spacious (a feature partially owed to his big'n'tall physical stature, 6 feet 5 inches), and his tendency to play behind the beat is discernible. One of his major influences was Lester Young. Gordon, in turn, was an early influence on John Coltrane during the 1940s and 1950s. Coltrane's playing, however, during his early period from the mid to late '50s or early '60s influenced Gordon's playing from then onward. Similarities in their styles include their clear, strong, metallic tones, their tendencies to bend up to high notes, and their abilities to single-tongue and still swing. One of Gordon's idiosyncrasies was to recite the lyrics of each ballad before playing it.
Just Friends - Johnny Griffin Chicago Bop tenor saxophonist Johnny Griffin started his career with the Lionel Hampton Orchestra in 1945, then became a member of Art Blakey’s Jazz Messengers and in the fifties joined Thelonius Monk in diiferent settings. He had his own Quartet with Max Roach which brought him critical acclaim. In the sixties he worked with Dizzy Gillespie and also recorded several albums with guitarist Wes Montgomery. He lived in France from 1963 and then settled in the Netherlands in the seventies. In this clip he plays at a jazz festival in Germany with an all Dutch trio. These very capable musicans are Hein de Graaff piano, Koos Serierse bass and Erik Ineka on drums.
Thank You - Dave Brubeck Dave Brubeck already recorded this tune in 1958, but here we have a performance from the late nineties by his new wonderful quartet. After Brubeck’s introduction alto sax player Bobby Militello plays a solo that gets hotter by the minute. From Brubeck’s grin of surprise and satisfaction one notices that something special is happening. Then the mood changes completely and in the piano part there is this lovely Chopin like music coming through. A great composition played in utter extremes, totally magic! From a Jazz Festival in Europa Park in Germany. Dave Brubeck piano, Bobby Militello alto sax, Jack Six bass and Randy Jones drums
Nica’s dream - Wes Montgomery 1965 A nice jazz standerd where the 4/4 jazz is exchanged with latin rhythms was written by master jazz pianist Horace Silver. Wes Montgomery is accompanied by a group of young Dutch musicians, probably all still in their early twenties. Although unknown in the larger part of the world these are Pim Jacobs piano, his younger brother Ruud on bass and drummer Han Bennink who can compete with the best in the larger part of that world. "Wes" Montgomery1923 - 1968) Montgomery is often considered the greatest of modern Jazz guitarists.Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianaopolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Instead of using a guitar pick, Montgomery plucked the strings with the fleshy part of his thumb, using downstrokes for single notes and a combination of upstrokes and downstrokes for chords and octaves. This technique enabled him to get a mellow, expressive tone from his guitar. Wes had a corn on his thumb, which gave his sound that point. He would get one sound for the soft parts, and then that point by using the corn. That's why no one will ever match Wes. And his thumb was double-jointed. He could bend it all the way back to touch his wrist, which he would do just to shock people." He didn't have a very long to live to enjoy his commercial success, he died of a heart attack at age 45 in 1968
Blues in F - Wes Montgomery 1965 A friend of mine send me this from Holland a year or so ago. It was probably re-broadcasted shortly before. This is just a free swinging blues with famous guitarist Wes Montgomery. He is accompanied by a group of young Dutch musicians, probably all still in their early twenties. Although unknown in the larger part of the world these are Pim Jacobs piano, his younger brother Ruud on bass and drummer Han Bennink. They can compete with the best in the larger part of that world. "Wes" Montgomery1923 - 1968) Montgomery is often considered the greatest of modern Jazz guitarists.Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianaopolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Instead of using a guitar pick, Montgomery plucked the strings with the fleshy part of his thumb, using downstrokes for single notes and a combination of upstrokes and downstrokes for chords and octaves. This technique enabled him to get a mellow, expressive tone from his guitar. Wes had a corn on his thumb, which gave his sound that point. He would get one sound for the soft parts, and then that point by using the corn. That's why no one will ever match Wes. And his thumb was double-jointed. He could bend it all the way back to touch his wrist, which he would do just to shock people." He didn't have a very long to live to enjoy his commercial success, he died of a heart attack at age 45 in 1968
Blues with the Saw - Charles Mingus 1971 Bassist Chales Mingus (1922-1979) is highly ranked among the composers and performers of jazz, and he recorded many highly regarded albums. Dozens of musicians passed through his bands and later went on to impressive careers. His tunes—though melodic and distinctive—are not often recorded by later musicians, in part because of their unconventional nature. Mingus was also influential and creative as a bandleader, recruiting talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations.Most of Mingus's music retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream Jazz and free jazz. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. Mingus focused on collective improvisation, similar to the old New Orleans Jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. He strove to create unique music to be played by unique musicians.
Jam session Young Lester 1944 Complete cast on Jammin' the Blues Lester Young - on tenor sax George 'Red' Callender- on bass (as Red Callender) Harry Edison on trumpet Marlowe Morris - on piano Sidney Catlett - on drums Barney Kessel - on guitar Jo Jones - on drums (as Joe Jones) John Simmons - on bass Illinois Jacquet on tenor sax
Blues for Greasy Young 1944 Gjon Mili was a film producer who created the movie Jammin' the blues in 1944 with Lester Young, Harry Edison, Jo Jones and several others. The 10 minute film won an Academie Award for a short movie. A few years later, in 1950 he assembled another group of great musicians together to film another few clips. These were all musicians who performed worldwide in Norman Granz' Jazz at the Philharmonic.Harry Sweets Edison on trumpet, Lester Young and Flip Phillips on tenors, Bill Harris on trombone with Hank Jones piano, Ray Brown bass and Buddy Rich on drums. Ella Fitzgerald comes in on a scat vocal as well
Hot House Parker & Dizzy Gillespie 1951 Both Charlie Parker and Dizzy Gillespie won the 1951 Down Beat Jazz Awards At this occassion they were featured at a TV show and played a short version of Hot House. With them is a young Dick Hyman on piano, Sandy Block on bass and Charlie Smith on drums. This is one of the very few recordings of Parker on film.
Ad Lib & Pennies from Heaven Jones Hank 1950 In this 1950 recording Hank Jones starts the blues and in the second chorus Ray Brown plays the solo. In the meantime Lester Young and Bill Harris come in. Straight from there the producer clicks in the next tune which is an completely improvised Pennies from Heaven. A short solo from drummer Buddy Rich and a closer of another improvised 16 bars. Ad lib for certain.
Ballade Hawkins - Parker 1950 Coleman Hawkins on tenor and Charlie Parker on alto. The greatest swing saxophonist meets the new wunderkind and his Bebop. There is a feeling of great respect in the facial expression of Parker when he listens to the master. However as soon as Charlie starts playing it's another world. Is it? Recorded in 1950 with Hank Jones on piano, Ray Brown on bass and Buddy Rich on drums.
Celebrity Parker 1950 Charlie Parker was one of the most influential improvising soloists in jazz, and a central figure in the development of bop in the 1940s. A legendary figure in his own lifetime, he was idolized by those who worked with him, and he inspired a generation of jazz performers and composers. I believe this is one of a few tunes ever recorded of Parker. In this short clip is an amzing little solo from Buddy Rich on drums ( watch the the very small set Rich used here) On piano Hank Jones and Ray Brown on bass.