| | Dirk K When Sunny Gets Blue New Edition CD Dirk K Discography of CDs
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The New Editon has been remixed and re mastered and features all instrumental tracks.Description: I am Playing my Flamenco Guitar over Smooth Jazz and Latin Grooves. The CD is featuring the finest musicians, and a great repertoire of Jazz Standards and Originals. The character is truly acoustic, based on real drums, upright bass, acoustic guitars, Fender Rhodes, and brazilian percussion. Great grooves while keeping an overall acoustic feel. The recording is done at 192 kHz/ 24 bit to ensure the best sound quality.Enjoy!Yours truly. DIRK K When Sunny Gets Blue New Edition Music | Category | Jazz Albums | | Label | CD Baby | | CD Universe Part number | 7372494 | | Catalog number | 117086 | | Discs | 1 | | Release Date | Dec 26, 2006 |
Dirk K When Sunny Gets Blue New Edition Songs | 1. | When Sunny Gets Blue |
| 2. | For All We Know |
| 3. | The Way You Look Tonight |
| 4. | Une Maison A Limbourg |
| 5. | Skylark |
| 6. | Autumn Leaves |
| 7. | Here's That Rainy Day |
| 8. | Soul Eyes |
| 9. | A Night In Brasil |
| 10. | Toscanini |
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When Sunny Gets Blue New Edition Review
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Charles Lester Music announces the release of Live at The Blue, featuring the Joel Futterman, Alvin Fielder/, Ike Levin Trio. This recording documents a rare club date by this Trio of veteran musical innovators. This CD features two hard driving, emotionally expressive sets performed in the intimate setting of Portland, Oregon’s premier jazz club the Blue Monk. Once again this Trio demonstrates their skill in creating tight music spontaneously with compositions unfolding into unanticipated terrains. No matter how incendiary, explosive, and abstract the music, it always swings. "Their inventions stretch the boundaries...another document in the extended discourse between three familiar souls" All About Jazz "These three work marvelously in the moment each meeting has been profound and worthwhile." Signal To Noise"This is one of those dates that makes me believe in the concert experience all over again. Even in the heat of battle there is quiet authority at work here, as if the history of this music was being reiterated in every gesture." Cadence MagazineThree veteran musical innovators at work in an electrifying setting." Village VoiceAbout the Musicisians:Joel Futterman, Piano, Soprono Saxophone, FlutePianist Joel Futterman known for his spirited, ...
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I believe that an artist must allow himself to be influenced by everything around him. This doesn’t mean that everything the artist has experienced becomes a part of who he is. It means that every experience has an equal effect on what the artist becomes. I stand in child-like amazement of the songs that I write because there are so many different sounds that come from within me and through me. I credit not myself, but my creator and all that surrounds me and all I’ve experienced in this wonderful world we live in! American music, for instance, follows a long lineage from blues to gospel, Dixieland to jazz, rhythm and blues to rock and roll. Along the way it has blended with a multitude of Latin styles, classical sounds, African and South American rhythms, reggae and other Caribbean music and a multitude of modern variations from electronic sounds to spoken word. Modern music is a blend of styles, the best of which is a marriage of cultures. Or as the Italians say, “La musica moderna e’ il miscuglio di stili, il migliore dei quali e’ matrimonio tra culture. I just love the sound of that!In the preface of The Picture of Dorian Gray, Oscar Wilde said many things about the artist and his relationship with the world. Some of his statements I find relative to my own efforts as a composer. Mr. Wilde begins with “The artist is the creator of beautiful things”. As I said, I allow everything to influence my art, and yet most of the music I write sounds beautiful, as opposed to the sound of traffic and war, poverty and anguish. This confounds and confuses me, but I have accepted it. As a result of accepting whatever I write for what it is and not always what I imagined it would be, I am much more productive a composer. Mr. Wilde writes, “The nineteenth century dislike of Realism is the rage of Caliban seeing his own face in the mirror. The nineteenth century dislike of Romanticism is the rage of Caliban not seeing his own face in the mirror.” Shakespeare’s character from The Tempest was misshapen and slovenly, but through the education of the witch Sycorax, he developed a sense of worth and an appreciation of things beautiful and good. His ego flourished because of the value of answering to authority. She raised him as a slave because of her corrupt nature. He eventually rebelled against her and turned to serve a ship-wrecked drunkard named Stephano. His self-worth was regained because of all that he could teach Stephano about life on “his island”. When faced with the reality of his visage in a mirror for the first time ever, Caliban was disgusted and angered. He saw the reality of his existence. All that he had romanced about his life and self-worth came crashing down around him. Now, in the 20th century, we are drawn to that which ...
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