104
   

WA2K Radio is now on the air

 
 
djjd62
 
  1  
Reply Sun 9 Oct, 2005 04:39 pm
yay, our letty has returned

There's a storm across the valley, clouds are rollin' in
He's an hour away from ridin' on your prayers up in the sky
the afternoon is heavy on your shoul-ders.
and ten days on the road are barely gone.

There's a truck out on the four lane, a mile or more away
There's a fire softly burning; supper's on the stove
the whinin' of his wheels just makes it colder.
but it's the light in your eyes that makes him warm.

Chorus:
Hey, it's good to be back home a-gain
Sometimes this old farm feels like a long lost friend
Yes, 'n, hey it's good to be back home again

After all the news to tell him: how's you spend your time?
And what's the latest thing the neighbors say
and your mother called last friday; "Sunshine" made her cry
and you felt the baby move just yesterday.

Bridge:

And oh, the time that I can lay this tired old body down
and feel your fingers feather soft up-on me
the kisses that I live for, the love that lights my way
the happiness that livin' with you brings me.

It's the sweetest thing I know of, just spending time with you
it's the little things that make a house a home.
Like a fire softly burning and supper on the stove.
And the light in your eyes that makes me warm.

Chorus
0 Replies
 
Letty
 
  1  
Reply Sun 9 Oct, 2005 05:54 pm
dj, it's nice to be missed, and Denver's song is one of my favorites.Thanks, Canada.

Thanks to you all for the welcome back. I am still having a bit of trouble learning how to restore everything, listeners, but I am intrigued by the fact that while I was away, I watched for the first time, The Thomas Crown Affair, and it was fantastic.

Don1 in our vast audience, had a question concerning the lyrics, so I thought I would play them here:


Artist: Sting & Police Lyrics
Song: The Windmills of Your Mind Lyrics




Round,
Like a circle in a spiral
Like a wheel within a wheel
Never ending or beginning
On an ever-spinning reel
Like a snowball down a mountain
Or a carnival balloon
Like a carousel that’s turning
Running rings around the moon
Like a clock whose hands are sweeping
Past the minutes on it’s face
And the world is like an apple
Whirling silently in space
Like the circles that you find
In the windmills of your mind

Like a tunnel that you follow
To a tunnel of it’s own
Down a hollow to a cavern
Where the sun has never shone
Like a door that keeps revolving
In a half-forgotten dream
Like the ripples from a pebble
Someone tosses in a stream
Like a clock whose hands are sweeping
Past the minutes on it’s face
And the world is like an apple
Whirling silently in space
Like the circles that you find
In the windmills of your mind

Keys that jingle in your pocket
Words that jangle in your head
Why did summer go so quickly?
Was it something that I said?
Lovers walk along a shore
And leave their footprints in the sand
Was the sound of distant drumming
Just the fingers of your hand?
Pictures hanging in a hallway
Or the fragment of a song
Half-remembered names and faces
But to whom do they belong?
When you knew that it was over
Were you suddenly aware
That the autumn leaves were turning
To the colour of her hair?

Like a circle in a spiral
Like a wheel within a wheel
Never ending or beginning
On an ever-spinning reel
As the images unwind
Like the circles that you find
In the windmills of your mind.

The melody to the song was haunting, almost entirely in a minor key.
0 Replies
 
Raggedyaggie
 
  1  
Reply Sun 9 Oct, 2005 07:21 pm
I'm assuming that it was the Steve McQueen, and not Pierce Brosnan,version of Thomas Crown Affair that you saw, Letty.

Did you know that Noel Harrison sang "Windmills of Your Mind" for the McQueen version and that he is Rex Harrison's son? Oh, and the music is by Michel Legrand.

And congrats on your new computer. Very Happy
0 Replies
 
Letty
 
  1  
Reply Sun 9 Oct, 2005 08:16 pm
Ah, Raggedy. Believe me that it was the Pierce Brosnan and Rene Russo version that I saw, honey. I never saw the Steve McQueen version.Didn't even know that he made that movie. Yes, I know the music is by Legrand.

Well, all. I must say goodnight. It's been the "best of time; and the worst of times" for Letty.

But still, listeners, it will always be;



From Letty with love
0 Replies
 
Reyn
 
  1  
Reply Sun 9 Oct, 2005 08:19 pm
Letty wrote:
As an early birthday present, I have a spanking brand new pc. Very Happy

Hey, Letty, nice to see you back.....and with a new, fancy, smancy computer! Way to go! :wink:
0 Replies
 
dyslexia
 
  1  
Reply Sun 9 Oct, 2005 08:49 pm
Hey reyn, nice to see you here, this is kinda like a family thread, all watched over by letty of cybernetic loving grace.
0 Replies
 
Reyn
 
  1  
Reply Sun 9 Oct, 2005 08:53 pm
dyslexia wrote:
Hey reyn, nice to see you here, this is kinda like a family thread, all watched over by letty of cybernetic loving grace.

Howdy! Yeah, I bounce in and out from time to time to surprise Letty.

Gotta a good tune to hum?
0 Replies
 
dyslexia
 
  1  
Reply Sun 9 Oct, 2005 08:54 pm
All the tired horses in the sun
How'm I supposed to get any ridin' done? Hmm.
0 Replies
 
edgarblythe
 
  1  
Reply Sun 9 Oct, 2005 08:56 pm
When I need to hum or whistle, I always opt for this


Mangwene Mpulele
Een ya mah tee poh lah,

Mangwene Mpulele
Een ya mah tee poh lah,

Lay hi lee moo lah
lay hi lee moo lay
Een ya mah tee poh lah
0 Replies
 
bobsmythhawk
 
  1  
Reply Mon 10 Oct, 2005 02:10 am
Letty is back! Now that's how to put a smile on my face. Welcome back Sweety. Delighted to hear about your new computer. Did it come with a little bullwhip to keep it in line? I can already hear a collective sigh of relief now that you're here again. Hugs and kisses.

Babbling Boston Bob
0 Replies
 
bobsmythhawk
 
  1  
Reply Mon 10 Oct, 2005 02:29 am
Giuseppe Verdi
From Wikipedia, the free encyclopedia.

Giuseppe Fortunino Francesco Verdi (October 10, 1813 - January 27, 1901) is to date the most influential composer of the Italian School of Opera. His greatest works (i.e. Rigoletto, La Traviata, Aida), known for their abundance of expressive melody, are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture (La donna è mobile, from Rigoletto). Oftentimes scoffed at by the critics, in his lifetime and today, as catering to the tastes of the common folk, overly simple in chromatic texture and shamelessly melodramatic, Verdi's masterpieces dominate the standard repertoire a century and a half after their composition.


Biography


Early life

Verdi was born in 1813 (the same year as Richard Wagner, his most important rival and the leading composer of the German School of Opera) in Le Roncole, near Busetto (the Duchy of Parma). His father was an innkeeper. When he was still a child, Verdi's parents moved to Busetto, where the future composer's education was greatly facilitated by his visits to the large library belonging to the local Jesuit school. Also in Busetto, Verdi received his first lessons in composition from Ferdinando Provesi, who was in charge of the local philharmonic society.

In Milan, where Verdi went to continue his studies when he was twenty, the Conservatory of Music did not accept him, citing the fact that he was two years over the age limit. Verdi took private lessons in counterpoint while attending operatic performances in Milan, as well as lesser concerts of, specifically, Viennese music. Association with Milan's beaumonde convinced him he should pursue a career as a theatre composer.

Returning to Busetto, he became town music master and, in 1836, married Margherita Barezzi. Their two children died in infancy.


Initial Recognition

The production of his first opera, Oberto, by Milan's La Scala, achieved a degree of success, after which Bartolomeo Merelli, an impresario with La Scala, offered Verdi a contract for two more works. This resulted in Un giorno di regno and Nabucco. His wife died while he was working on the former, which flopped at the premiere. However, Nabucco, produced in 1842, made Verdi famous. A number of operas followed shortly, I Lombardi and Ernani among them, premiering in various Italian cities.

In 1847, I Lombardi, revised and renamed (Jerusalem), was produced by the Paris Opera and, due to a number of Parisian conventions that had to be honored, became Verdi's first work in the grand-opera style.


Great Master

At the age of thirty-eight, Verdi began an affair with Giuseppina Strepponi, a soprano in the twilight of her career, whom he married eleven years later (their cohabitation before marriage was regarded as scandalous in some of the places they lived). She soon retired and Verdi, remembering Gioacchino Rossini's example, decided to retire as well. He was well-off, famous, and in love. It may have been Giuseppina herself who convinced him to continue his career. The result was the first of the truly great Verdi operas: Rigoletto. Based on a play by Victor Hugo, the libretto had to undergo substantive revisions in order to satisfy the epoch's censorship, and the composer was on the verge of giving it all up a number of times before finally everything fell into place. The opera was produced in Venice in 1851 and soon became a great success.


Rigoletto is, arguably, the greatest opera yet written. In it, Verdi's artistic generosity is at its highest. Unspeakably beautiful melodies are tossed right and left, passages of celestial beauty scattered like pearls and never repeated, numerous arias, duets, trios and a quartet follow one another in an unceasing celebration of musical genius; passions vibrate; comedy and tragedy merge seamlessly.

La Traviata, Verdi's next great opera, was composed and produced two years later. It is based on Alexandre Dumas, fils' play The Lady of the Camellias.

A number of operas followed, among them such repertoire staples as Les vêpres siciliennes (commissioned by the Paris Opera), Il Trovatore, Un ballo in maschera, La forza del destino (commissioned by the Imperial Theatre of St. Petersburg), and a second version of Macbeth.

In 1869, Verdi composed a Requiem Mass in memory of Gioacchino Rossini.

Verdi's final great opera, Aida, was commissioned from him for the celebration of the opening of the Suez Canal. According to some sources, when the organizers approached Verdi, he turned them down. They warned him they would ask Charles Gounod instead. Verdi agreed that they should. Only when they threatened to engage Richard Wagner's services did Verdi begin to show some considerable interest.

In fact, the two composers, who were the leaders of their respective schools of music, seemed to resent each other greatly. They never met. Verdi's comments on Wagner and his music are few and hardly benevolent ("He invariably chooses, unnecessarily, the untrodden path, attempting to fly where a rational person would walk with better results"), but at least one of them is kind: upon learning of Wagner's death, Verdi lamented: "Sad! Sad! Sad! ... a name that leaves a most powerful mark on the history of our art." Of Wagner's comments on Verdi, only one is well-known. After listening to Verdi's Requiem, the great German, prolific and eloquent in his comments on some other composers, said, "It would be best not to say anything."

Aida premiered in Cairo in 1871 and was an instant success.


Twilight

The next dozen years Verdi worked sparingly if at all, slowly revising some of his earlier scores.

Otello, based on William Shakespeare's play, premiered in Milan in 1887. Its music is "continuous" and cannot easily be divided into separate "numbers" to be performed in concert. Although masterfully orchestrated, it lacks the melodic lustre so characteristic of Verdi's earlier, great, operas.

Verdi's last opera, Falstaff, whose libretto, by Arrigo Boito, was based on Shakespeare's Merry Wives of Windsor and subsequent Victor Hugo's translation, was a moderate success: mainly, the audiences wished to express their gratitude to the old composer. The score is chiefly algebraic and contains none of Verdi's former melodic genius.

Verdi died in 1901. Thus, he may have heard, or perused the scores of, Giacomo Puccini's La bohème and Tosca, Ruggiero Leoncavallo's Pagliacci, Petr Tchaikovsky's The Queen of Spades, but, unfortunately, what he thought of these operas, penned by his immediate and fairly worthy successors, remains a mystery.

Verdi's operas are a staple of the standard repertoire.


Verdi's role in the Risorgimento

In the 1840s, the popularity of Verdi's music coincided with the Risorgimento, the campaign for a unified Italian nation. The wild success of Nabucco in particular put Verdi's name and music in the minds of many Italians at the time. They perceived in Verdi's works a sadness that reflected their own unhappiness with the status quo, and a vibrant strain conjuring romantic visions of Italian unification. Verdi's songs were especially resonant in Milan, then under Austrian occupation.

In particular, Nabucco's "Chorus of the Hebrew Slaves", the tender lament of captives in Babylonia, was an immense success, and reportedly could be heard sung in the streets of Milan in 1843. Also known as Va' Pensiero from its first line, the song has been proposed from time to time as the Italian national anthem. It begins:


Fly, thought, on wings of gold;
go settle upon the slopes and the hills
where the sweet airs of our
native soil smell soft and mild!
...Oh, my country, so lovely and lost!
Oh remembrance so dear yet unhappy!


Va, pensiero, sull'ali dorate;
va, ti posa sui clivi, sui colli
ove olezzano tepide e molli
l'aure dolci del suolo natal!
...Oh, mia patria sì bella e perduta!
Oh, membranza sì cara e fatal!

Full lyrics can be found here: [1] and a recording (MP3 format) here: [2].

Milan was still under Austrian occupation and was beginning to consider supporting Victor Emmanuel's effort in Italian reunification, as it afterwards did. Clandestine partisans started therefore plotting to have the then-King of Sardinia conquer Milan. Due to severe Austrian censorship, this campaign was given a codename: "Viva VERDI." Verdi was a secret acronym for Vittorio Emanuele Re D'Italia (Victor Emmanuel, King of Italy). This enabled nationalists to freely shout their support for Victor Emmanuel, while outsiders assumed they were fans of the composer. Giuseppe Verdi was aware of this use of his name and is supposed to have consented.

Other references to political events have been seen in Verdi's I Lombardi.

Style

Verdi's predecessors who influenced his music were Rossini, Bellini, Giacomo Meyerbeer and, most notably, Gaetano Donizetti. With the possible exception of Otello, he was free of Wagner's influence. Although respectful of Gounod, Verdi was careful not to learn anything from the Frenchman whom many of Verdi's contemporaries regarded as the greatest living composer. Some strains in Aida suggest at least a superficial familiarity with the works of the Russian composer Mikhail Glinka, whom Franz Liszt, after his tour of the Russian Empire as a pianist, popularized in Western Europe.

Throughout his career, Verdi refused to use the high C in his tenor arias, citing the fact that the opportunity to sing that particular note in front of an audience distracts the performer before and after the note comes on.

Although his orchestration is often masterful, Verdi relied heavily on his melodic gift as the ultimate instrument of musical expression. In fact, in many of his passages, and especially in his arias, the harmony is ascetic, with the entire orchestra occasionally sounding as if it were one large accompanying instrument - a giant-sized guitar playing chords. Some critics maintain he paid insufficient attention to the technical aspect of composition, lacking as he did schooling and refinement. Verdi himself once said, "Of all composers, past and present, I am the least learned." He hastened to add, however, "I mean that in all seriousness, and by learning I do not mean knowledge of music."

However, it would be incorrect to assume that Verdi underestimated the expressive power of the orchestra or failed to use it to its full capacity where necessary. Moreover, orchestral and contrapuntal innovation (for instance, the strings doing the rapid ascending scale in Monterone's scene in Rigoletto to accentuate the drama, or, also in Rigoletto, the choir humming six closely grouped notes backstage to portray, very effectively, the brief ominous wails of the approaching tempest) is characteristic of his style; so much so that other composers dare not make use of the numerous instantly recognizable devices he invented; they remain, to this day, Verdi's signature tricks.

Verdi was one of the first composers who insisted on patiently seeking out plots to suit their particular talents. Working closely with his librettists and well aware that dramatic expression was his forte, he made certain that the initial work upon which the libretto was based was stripped of all "unnecessary" detail and "superfluous" participants, and only characters brimming with passion and scenes rich in drama remained.


http://en.wikipedia.org/wiki/Giuseppe_Verdi
0 Replies
 
bobsmythhawk
 
  1  
Reply Mon 10 Oct, 2005 02:34 am
Helen Hayes
From Wikipedia, the free encyclopedia.


Helen Hayes (October 10, 1900 - March 17, 1993) was an American actress whose successful and award-winning career spanned almost 70 years. She was eventually to garner the nickname "First Lady of the American Theater", and was one of the few people who has won an Emmy, a Grammy, an Oscar and a Tony Award.

Born Helen Hayes Brown in Washington, DC, she began a stage career at an early age. By 10, she had made a short film called Jean and the Calico Doll, but she only moved to Hollywood when her husband, playwright Charles MacArthur, signed a Hollywood deal. Her sound film debut was The Sin of Madelon Claudet, for which she won the Academy Award for Best Actress. She followed that with starring roles in Arrowsmith (with Myrna Loy), A Farewell to Arms (with actor Gary Cooper whom Hayes admitted to finding extremely attractive), The White Sister, What Every Woman Knows (a reprise from her Broadway hit), and Vanessa: Her Love Story. However, she never became a fan favorite.

Hayes and MacArthur eventually returned to Broadway, and she starred for three years in Victoria Regina. Eventually, a theater was named in her honor. She returned to Hollywood in the 1950s, and her film star began to rise. She starred in My Son John and Anastasia, and won the Academy Award for Best Supporting Actress in 1970 for Airport. She followed that up with several roles in Disney films such as Herbie Rides Again, One of Our Dinosaurs is Missing and Candleshoe.

Hayes wrote three memoirs: A Gift of Joy, On Reflection and My Life in Three Acts. Some of the themes in these books include her return to Roman Catholicism after having been denied communion from the Church for the length of her marriage to MacArthur, who was a Protestant and a divorcé, and the death of her only daughter, Mary, who was an aspiring actress, from polio. Hayes's son, James MacArthur, went on to a career in acting also, starring in Hawaii Five-O on television.

Hayes was a pro-business Republican, who attended the last Republican National Convention before her death, which was held in Colorado, but she was not as far-right as certain others (e.g. Adolphe Menjou, Ginger Rogers, John Wayne, etc) in the Hollywood community of that time.

She has a star on the Hollywood Walk of Fame at 6220 Hollywood Blvd.

The Helen Hayes Award for theater in the Washington D.C. area is named in her honor.

Helen Hayes died on (St. Patrick's Day) March 17, 1993 of natural causes, not long after the death of her friend Lillian Gish, who had made Hayes the beneficiary of her estate. Hayes was interred in the Oak Hill Cemetery, Nyack, New York.

http://en.wikipedia.org/wiki/Helen_Hayes
0 Replies
 
bobsmythhawk
 
  1  
Reply Mon 10 Oct, 2005 02:45 am
Thelonious Monk
From Wikipedia, the free encyclopedia.


Thelonious Sphere Monk (October 10, 1917-February 17, 1982) was a jazz pianist and composer.

He was known for his unique improvisational style and many contributions to the standard jazz repertoire, including his classic work "Round Midnight". While Monk is often regarded as a founder of bebop, his playing style evolved away from the form.


Life and Career

Little is known about his early life. Born in Rocky Mount, North Carolina, his family moved to New York shortly thereafter. He began playing the piano at age 6, and while he had some formal training, Monk was essentially self-taught. He briefly toured with an evangelist in his teens, playing the church organ. He attended Stuyvesant High School, but did not graduate.

In his late teens he began to find work playing jazz; he is believed to be the pianist on some recordings Jerry Newman made around 1941 at Minton's Playhouse, the legendary Manhattan club where Monk had been hired as the house pianist. His style at the time is described as "hard-swinging", with the addition of runs in the style of Art Tatum. Monk's stated influences include Duke Ellington, James P. Johnson, and other early stride pianists.

Monk's unique piano style was largely perfected during his stint as the house pianist at Minton's in the early-to-mid 1940s, when he particpated in the famous after-hours "cutting competitions" that featured most of the leading jazz solists of the day. The Minton's scene was crucial in the formulation of the bebop genre and it brought Monk into close contact and collaboration with other leading exponents of bebop including Dizzy Gillespie, Charlie Parker, Miles Davis, Sonny Rollins, Milt Jackson and John Coltrane.

In 1944 Monk made his first studio recordings with the Coleman Hawkins Quartet. He made his first recordings as leader in 1947 and cut the debut LP, Genius of Modern Music, Vol. 1, which showcased his talents as a composer of original melodies for improvisation. Monk married Nellie Smith the same year, and in 1949 the couple had a son, T.S. Monk, who later became a jazz drummer. A daughter, Barbara, was born in 1953.

In August 1951, New York City police searched a parked car occupied by Monk and friend Bud Powell. The police found narcotics in the car, presumed to have belonged to Powell. Monk refused to testify against his friend, so the police confiscated his New York City Cabaret Card. Without the all-important cabaret card he was unable to play in any New York venue where liquor was served, and this severely restricted his ability to perform for several crucial years. Monk spent most of the early and mid-1950s composing, recording, and performing at theaters and out of town gigs.

Having recorded several times for Blue Note Records during 1947-52, he was under contract to Prestige Records between (1952-54), with whom he cut several under-recognised but highly significant recordings, including collaborations with saxophonist Sonny Rollins and drummer Art Blakey.

He signed to the Riverside Records label for the rest of the 1950s and his many Riverside recordings are now generally regarded as being among the most significant of his career, and which include his collaborations with rising tenor saxophone superstar John Coltrane.

When he signed with Riverside, Monk was highly rated by his peers and by some critics, but his records did not sell in significant numbers and his music was still regarded as being too "difficult" for mass market acceptance. Indeed, Riverside had managed to buy out his previous contract for a miserly $108.24. His breakthrough came thanks to a compromise between Monk and the label, who convinced him to record his interpretations of jazz standards.

His debut for Riverside was a 'themed' record featuring Monk's distinctive interpretations of the music of his great idol Duke Ellington. The resulting LP, Thelonious Monk Plays Duke Ellington helped to break Monk to a wider audience and paved the way for a broader acceptance of his unique style. The Ellington LP is now highly regarded both as one of the classic jazz piano trio records, and as one of the classic jazz "songbook" recordings.

Although encouraged by its success, Riverside still demanded another LP of cover versions before it was prepared to risk releasing an LP of all-original Monk music. This was finally featured on his groundbreaking 1956 LP Brilliant Corners.

In 1954, he paid his first visit to Europe, performing and recording in Paris. It was here that he first met Baroness Pannonica de Koenigswarter, "Nica", member of the English branch of the Rothschild family and patroness of several New York City jazz musicians. She would be a close friend for the rest of his life.

After having his cabaret card restored, Monk relaunched his New York career with a landmark six-month residency at the Five Spot Cafe in New York during 1957, leading a quintet that included John Coltrane on tenor soxophone; fortunately some of these now-legendary performances were captured on amateur recordings. On November 29 that year the quintet performed at Carnegie Hall and the concert was recorded in high fidelity by the Voice of America broadcasting service. The long-lost tape of that concert was rediscovered in the collection of the Library of Congress in January 2004.

In 1958, Monk and de Koenigswarter were detained by police in Wilmington, Delaware. When Monk refused to answer the policemen's questions or cooperate with them, they beat him with a blackjack. Though the police were authorized to search the vehicle and found narcotics in suitcases held in the trunk of the Baroness's car, Judge Christie of the Delaware Superior Court ruled that the unlawful detention of the pair, and the beating of Monk, rendered the consent to the search void as given under duress. State v. De Koenigswarter, 177 A.2d 344 (Del. Super. 1962).

In 1964, he appeared on the cover of Time magazine. By now he was signed to a major label, Columbia Records, and was promoted more widely than earlier in his career. Monk also had a regular working group, featuring the tenor saxophonist Charlie Rouse, but by now his work as a composer was quite limited.

He disappeared from the scene in the early 1970s and made only a small number of appearances during the final decade of his life. His last recording was completed in November 1971.

Monk's manner was idiosyncratic. It is said that he would rarely speak to anyone other than his beloved wife Nellie, and certainly in later years it was reported that he would go through an entire tour without speaking to the other members of his group. Visually, he was renowned for his distinctively "hip" sartorial style in suits, hats and sunglasses, and he developed an unusual, highly syncopated and percussive manner of playing piano. He was also noted for the fact that, at times, he would stop playing, stand up from the keyboard and dance while the other musicians in the combo played. There has been speculation that some of Monk's quirky behaviour was due to mental illness.

However, while these anecdotes may typify Monk's behaviour in hs later life, it is worth noting that in Lewis Porter's biography of John Coltrane, the saxophonist reveals a very different side of Monk. Coltrane is quoted as saying that Monk was, in his opinion:

"... exactly the opposite of Miles (Davis). He talks about music all the time. and wants so much for you to to understand that if, by chance, you ask him something, he'll spend hours if necessary to explain it to you."

In the documentary film Straight, No Chaser (produced in 1989 by Clint Eastwood on the subject of Monk's life and music), Monk's son, T.S. Monk, reported that Monk was on several occasions hospitalized due to an unspecified mental illness that worsened in the late 1960s. No diagnosis was ever made public, but some have noted that Monk's symptoms suggest bipolar disorder or schizophrenia. Whatever the precise diagnosis, anecdotal evidence strongly suggests that Monk was suffering from some form of pathological introversion (cf Syd Barrett) and that from the late Sixties he became increasingly uncommunicative and withdrawn. As his health declined, his last years were spent as a guest in the New Jersey home of his long-standing patron, Baroness Nica de Koenigswarter, who had also nursed Charlie Parker during his final illness.

He died in 1982 and was interred in Ferncliff Cemetery in Hartsdale, New York. Following his death, his music has been rediscovered by a wider audience and he is now counted alongside the likes of Miles Davis, John Coltrane, and others as a major figure in the history of jazz.

http://en.wikipedia.org/wiki/Thelonious_Monk
0 Replies
 
Letty
 
  1  
Reply Mon 10 Oct, 2005 06:36 am
Good morning, WA2K listeners and contributors. I did a quick read on the songs and information while I was away. Still a bit unfamiliar with the renovations in my personal studio, but I want to thank everyone for the music and information.

Bob, of course I zeroed in on the Monk Man. What a fabulour jazz musician. Thanks Boston.

For some reason, folks, in reading through the background, I see
Verdi. So for a bit of diversion, how about this aria:

HEAVENLY AIDA

Radames - a young soldier in love with Aida, an enslaved Ethiopian princess - hopes that he has been chosen to lead the Egyptian forces against the uprising Ethiopians.

Se quel guerriero io fossi!
Se il mio sogno si avverasse!...
Un esercito di prodi da me guidato...
e la vittoria
e il plauso di Menfi tutta!
E a te, mia dolce Aida,
tornar di lauri cinto...
Dirti, per te ho pugnato,
e per te ho vinto!

Celeste Aida, forma divina,
mistico serto di luce fior,
del mio pensiero tu sei regina,
tu di mia vita sei lo splendor.
Il tuo bel cielo vorrei ridarti,
le dolci brezze del patrio suol,
un regal serto sul crin posarti,
ergerti un trono vicino al sol.

Celeste Aida, forma divina,
mistico raggio di luce fior,
del mio pensiero tu sei regina,
tu di mia vita sei lo splendor.
Il tuo bel cielo vorrei ridarti,
le dolci brezze del patrio suol,
un regal serto sul crin posarti,
ergerti un trono vicino al sol.
0 Replies
 
Letty
 
  1  
Reply Mon 10 Oct, 2005 07:07 am
http://www.requiem-voices.com/beaurequiem/images/verdi.gif

and now for a brief experiment.
0 Replies
 
Letty
 
  1  
Reply Mon 10 Oct, 2005 08:35 am
Still testing, folks.

Having some difficulty.

Perhaps this morning song will turn the tide. <smile>


He arrived
A morning in may
And since the first day
I knew i was loving him
You will smile
I tought i had
Sunshine in my heart
Sunshine in my heart
It was him
Shinning in my life
Le temps a passé
Si bien que je ne sais
Si on s'est connus
Un jour ou une année
Mais je peux vous dire
Que j'ai encore aujourd'hui
Du soleil au coeur
Du soleil au coeur
Comme au jour
De notre premier jour

Celine Dion
0 Replies
 
Reyn
 
  1  
Reply Mon 10 Oct, 2005 09:06 am
Letty wrote:
http://www.requiem-voices.com/beaurequiem/images/verdi.gif

and now for a brief experiment.

Good morning, Letty. I see you still haven't forgotten how to post an image. Bravo! :wink: Laughing
0 Replies
 
Raggedyaggie
 
  1  
Reply Mon 10 Oct, 2005 09:06 am
Good day WA2K.

Great picture of Joe Green, Letty.

I've been having trouble getting into A2K. I hope this goes through.

Today's birthdays:

1678 - John Campbell, 2nd Duke of Argyll, Scottish soldier (d. 1743)
1684 - Antoine Watteau, French painter (d. 1721)
1700 - Lambert-Sigisbert Adam, French sculptor (d. 1759)
1731 - Henry Cavendish, British scientist (d. 1810)
1780 - John Abercrombie, Scottish physician and philosopher (b. 1844)
1813 - Giuseppe Verdi, Italian composer (d. 1901)
1825 - Paul Kruger, President of the Transvaal Republic (d. 1904)
1832 - Isabella II, Queen of Spain (d. 1904)
1834 - Aleksis Kivi, Finnish author (d. 1872)
1837 - Robert Gould Shaw, U.S. Army officer (d. 1863)
1861 - Fridtjof Nansen, Norwegian explorer, recipient of the Nobel Peace Prize (d. 1930)
1870 - Ivan Alekseyevich Bunin, Russian writer (d. 1953)
1885 - Walter Anderson, German folklorist (d. 1962)
1898 - Lilly Daché, French-born milliner (d. 1989)
1900 - Helen Hayes, American actress (d. 1993)
1901 - Alberto Giacometti, Swiss sculptor (d. 1966)
1906 - R.K. Narayan, Indian novelist (d. 2001)
1906 - Paul Creston, American composer (d. 1985)
1913 - Claude Simon, French writer, Nobel Prize laureate (d. 2005)
1914 - Tommy Fine, baseball player (d. 2005)
1917 - Thelonious Monk, American jazz pianist (d. 1982)
1924 - Ed Wood, American filmmaker (d. 1978)
1924 - James Clavell, Australian author (d. 1994)
1926 - Richard Jaeckel, American actor (d. 1997)
1930 - Harold Pinter, British playwright
1933 - Jay Sebring, American hair stylist
1938 - Moriyama Daido, Japanese photographer
1942 - Peter Coyote, American actor
1946 - Charles Dance, English actor
1946 - John Prine, American singer
1946 - Ben Vereen, American actor and dancer
1946 - Chris Tarrant, British television host
1946 - Naoto Kan, Japanese politician
1948 - Séverine, French singer
1951 - Ratu Epeli Ganilau, Fiji soldier and statesman
1953 - Midge Ure, Scottish musician
1954 - David Lee Roth, American singer
1957 - Rumiko Takahashi, Japanese artist
1958 - Tanya Tucker, American singer
1959 - Kirsty MacColl, British singer and songwriter
1960 - Eric Martin, American singer
1961 - Jodi Benson, American voice actress and singer
1963 - Daniel Pearl, American journalist (d. 2002)
1963 - Rebecca Pidgeon, American actress, singer, and songwriter
1963 - Jolanda de Rover, Dutch swimmer
1963 - Anita Mui, Hong Kong singer (d. 2003)
1966 - Tony Adams, English footballer
1968 - Bart Brentjens, Dutch mountainbiker
1969 - Brett Favre, American football player
1970 - Maja Tatic, Serbian singer
1970 - Corinna May, German singer
1970 - Sir Matthew Pinsent, English rower
1973 - Mario López, American actor
1974 - Dale Earnhardt Jr., American race car driver
1976 - Bob Burnquist, Brazilian-born skateboarder
1978 - Jodi Lyn O'Keefe, American actress
1978 - Lihi Moravia, European artist
1979 - Mya, American singer
1980 - Tim Maurer, American singer (Suburban Legends)
1984 - Chiaki Kuriyama, Japanese actress
1984 - Stephanie Cheng, Hong Kong Singer
I saw this great actress in the stage play "Mrs. McThing" . Love her. Love Mr. Verdi, too. Very Happy
http://www.stevemoore.addr.com/helen-collage.jpg
0 Replies
 
edgarblythe
 
  1  
Reply Mon 10 Oct, 2005 09:09 am
I ride an old Paint, I lead an old Dan,
I'm goin' to Montana, for to throw the Hoolian,
They feed in the coulees, they water in the draw,
Their tails are all matted, their backs are all raw,
Ride around, little doggies, ride around them slow,
For the fiery and snuffy are a rarin' to go.

Old Bill Jones had a daughter and a son,
Son went to college and the daughter went wrong,
His wife got killed in a pool-room fight,
Still he keeps singing from morning till night
Ride around, little doggies, ride around them slow,
For the fiery and snuffy are a rarin' to go.

My feet are in the stirrups, my hand is on the horn
I'm the best old cowboy that ever was born
But a cowboy rides single, like it or not
So I guess that old paint is the best friend I got
Ride around, little dogies, ride around them slow,
For the fiery and snuffy are a rarin' to go.

Oh, when I die, take my saddle from the wall,
Put it on my pony, lead him out of his stall,
Tie my bones to his back, turn our faces to the west
And we'll ride the prairie that we loved the best
Ride around, little dogies, ride around them slow,
For the fiery and snuffy are a rarin' to go.

I worked in the city, I worked on the farm,
All I got to show is the muscle on my arm,
Blisters on my feet and callous on my hands
And I'm going to Montana to throw the Houlihan
Ride around, little doggies, ride around them slow,
For the fiery and snuffy are a rarin' to go.
0 Replies
 
dyslexia
 
  1  
Reply Mon 10 Oct, 2005 09:11 am
Love Edgar, never heard it before.
0 Replies
 
 

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