1. Ramses 2014 Two Jazz Koto - Jazz Guitar unit - Rachmaninov No.2~


    from nadjamusic_jazz Added 0 0 0

    A two jazz koto unit, "Ramses". http://ramses-world.com

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    • KORG SOUND on SOUND & YAMAHA SLG 110S-2 / Demo


      from nadjamusic_jazz Added 0 0 0

      composed by Masashi Miyamoto.He is a Jazz Guitarist. He has produced the music of jazz Japan Koto band to "Ramses". http://ramses-world.com

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      • CHEROKEE - Westfield Mike Mullan Solo


        from Michael Mullan Added 3 0 0

        Phil Rinaldi's WATSON in Westfield, NJ Ted Klum's Versitone Acoustimax .083

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        • Desire Is Gold - World Cafe Live


          from Saint Elouise Added

          St. Elouise plays her original tune "Desire is Gold" at World Cafe Live in Philadelphia, PA. Backup vox & synth: Mark Bilik Bass: Mike Bitts Violin: Caleb Brown Drums: Tony Kirchner || www.stelouise.com ||

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          • Freddies Funk - Rob Zinn Original Composition


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            RZQ recorded live at World Café Live in Wilmington, DE on August 14th, 2015

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            • Back Where We Started - Rob Zinn Original Composition


              from Rob Zinn Added 1 0 0

              RZQ recorded on Go Pro at Word Café Live, DE on August 14th, 2015.

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              • Time For Blues - Rob Zinn Original Composition


                from Rob Zinn Added 15 0 0

                RZQ at World Café Live on August 14th, 2015. Special musical guest Nick Bucci tearing it up.

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                • Noche Caliente - Rob Zinn Original Composition


                  from Rob Zinn Added 16 0 0

                  RZQ at World Café Live in Wilmington, DE. Recorded with a Go Pro on August 14th 2015 show.

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                  • Thel - Confirmation


                    from Tómas Halldórsson Added 1 0 0

                    A video that showcases my musical notation font, Þel (Thel). Þel (e. groove) is my exploration into the possibilities that designing musical no­tation offers. Musical notation has a long history and it has now, in the last few decades, moved from analog to digital. That process contributed to a standardi­sation of the forms which leaves little room for experiment. I, however, sought to explore possibilities outside those standards. When you use musical notation in the purpose of playing music after it, it’s vitally important that the forms and shapes are easy to read. I decided to focus less on that and more on the forms and shapes from an aesthetic perspective – my inspiration comes from hand­written notation, in particular the handwriting of the Icelandic composer Þorkell Sigurbjörnsson. His handwriting had the distinctive feature of not connecting the forms together, a feature that traditional music writing doesn’t have. Handwritten type design offers a different approach when shaping the forms, for example how fast the hand moves over the surface. I decided to utilize that in my design process because musical notation stands for units of sound in time. The shapes, that usually stay unchanged, change according to the time increment they represent, just like the person who is writing them writes faster or slower. The following video I use to demonstrate the typeface is a transcription of Michael Brecker’s Tenor Saxophone solo over the chord changes in Confirmation, Charlie Parker’s jazz standard. I chose jazz because when jazz musicians solo over a given song they bring their own voice and style to the song and in a way compose their own personal handwriting.

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