Mp3 music: Swamp Terrorists

Artist: Swamp Terrorists: mp3 download    Genre(s):  Industrial     Swamp Terrorists's discography:      Wreck    Year: 1996    Tracks: 14      Killer    Year: 1996    Tracks: 12      The Get O. CD2    Year: 1994    Tracks: 16      The Get O. CD1    Year: 1994    Tracks: 10      Combat Shock    Year: 1993    Tracks: 14 Swamp Terrorists are a Swiss industrial group formed in the late '80s by panorama veterans STR (programmer) and Ane H (vocals). The band's roots go back as far as 1980, when STR began operative as Band Berne Crematoire. He formed a synth-pop group named Nacht-Raum in 1983, simply was victimization industrial guitars by the 1986 formation of Strangler of the Swamp. While acting a show up with the local band Tierstein, he met isaac M. Singer Ane H., and the deuce promptly gelled. The original lineup of Swamp Terrorists included the two addition guitar player Francis H. After the passing of unrivaled EP (He Is Guilty), Francis left, leaving Ane H. and STR to record their debut record album, Grim-Stroke-Disease, for Machinery/Noise in 1990; Grow-Speed Injection followed one year later. By the fourth dimension third album Scrap Shock was released in 1994 (on Re-Constriction), Swamp Terrorists had gained trine new members for alive shows: guitar player Spring, bassist Anrej A. and drummer Piet Hertig. The newfound stability proved illusory; STR by chance left hand the group simply later on the release of 1995's Grampus, and began working with a new band named Hellsau. The other four members of Swamp Terrorists remained, cathartic the makeshift alive Quintuplet in Japan and an album of remixes named Wreck.

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Dizzy Gillespie

   
Artist: Dizzy Gillespie

   Genre(s): 
Jazz
   Other
   

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Discography:


   
 Portrait of Duke Ellington

   Year: 2005   
Tracks: 13


   
 The Champ

   Year: 2000   
Tracks: 11


   
 The Final Recordings

   Year: 1997   
Tracks: 6


   
 Live at Carnegie Hall

   Year: 1997   
Tracks: 15


   
 Jazz Maturity....Where It's Coming Fro

   Year: 1994   
Tracks: 6


   
 Jazz Masters 10

   Year: 1993   
Tracks: 12


   
 To Bird With Love: Live at the Blue Note (Live)

   Year: 1992   
Tracks: 7


   
 Quintet - Jazz at Massey Hall: Toronto May 1953

   Year: 1992   
Tracks: 12


   
 Live at the Village Vanguard

   Year: 1992   
Tracks: 3


   
 At Newport

   Year: 1992   
Tracks: 9


   
 Live at the Royal Festival Hall

   Year: 1987   
Tracks: 1


   
 Live Umbria

   Year: 1976   
Tracks: 2


   
 Reunion Big Band

   Year: 1968   
Tracks: 6


   
 Live at the Village Vanguard Disc 1

   Year: 1967   
Tracks: 4


   
 Sextet

   Year: 1953   
Tracks: 15


   
 Summertime With Johnny Griffin

   Year:    
Tracks: 6


   
 Ken Burns Jazz Series: Dizzy Gillespie

   Year:    
Tracks: 16


   
 Impromptu

   Year:    
Tracks: 12


   
 Dizzy Atmosphere

   Year:    
Tracks: 21


   
 Cool Breeze

   Year:    
Tracks: 19


   
 Birk's Works

   Year:    
Tracks: 21


   
 A Night in Tunisia

   Year:    
Tracks: 13

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Dizzy Gillespie's contributions to jazz were vast. One of the superlative jazz trumpeters of all time (some would say the topper), Gillespie was such a coordination compound actor that his contemporaries over up copying Miles Davis and Fats Navarro rather, and it was not until Jon Faddis' issue in the seventies that Dizzy's style was successfully recreated. Somehow, Gillespie could make whatever "imperfectly" note accommodate, and harmonically he was ahead of everyone in the forties, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic instructor world Health Organization wrote down his musical innovations and was eager to explicate them to the next generation, thereby insuring that bop would finally get the substructure of jazz.


Giddy Gillespie was too 1 of the winder founders of Afro-Cuban (or Latin) jazz, adding Chano Pozo's conga to his orchestra in 1947, and utilizing complex poly-rhythms early on. The leader of 2 of the finest large bands in nothingness history, Gillespie differed from many in the boP contemporaries by existence a masterful showman wHO could get his music seem both accessible and playfulness to the audience. With his puffed-out cheeks, bent trumpet (which occurred by accident in the early '50s when a dancer tripped over his horn), and immediate wit, Dizzy was a colourful fig to watch. A natural comedian, Gillespie was likewise a superb scat vocaliser and once in a while played Latin pleximetry for the fun of it, but it was his trumpet playing and leadership abilities that made him into a jazz giant.


The youngest of ball club children, John Birks Gillespie taught himself trombone and then switched to trumpet when he was 12. He grew up in poverty, won a scholarship to an agricultural school (Laurinburg Institute in North Carolina), and and then in 1935 dropped out of school to look for cultivate as a musician. Inspired and ab initio greatly influenced by Roy Eldridge, Gillespie (wHO before long gained the nickname of "Vertiginous") united Frankie Fairfax's dance band in Philadelphia. In 1937, he became a penis of Teddy Hill's orchestra in a bit erst filled by Eldridge. Dizzy made his recording debut on Hill's rendition of "King Porter Stomp" and during his inadequate period with the band toured Europe. After freelancing for a year, Gillespie coupled Cab Calloway's orchestra (1939-1941), recording ofttimes with the popular bandleader and taking many short solos that delineate his developing; "Pickin' the Cabbage" finds Dizzy starting to come forth from Eldridge's shadow. However, Calloway did non care for Gillespie's unvarying chance-taking, career his solos "Chinese music." After an incident in 1941 when a spitter was badly thrown at Calloway (he accused Gillespie only the culprit was actually Jonah Jones), Dizzy was laid-off.


By then, Gillespie had already met Charlie Parker, wHO confirmed the cogency of his musical search. During 1941-1943, Dizzy passed through and through many bands including those light-emitting diode by Ella Fitzgerald, Coleman Hawkins, Benny Carter, Charlie Barnet, Fess Williams, Les Hite, Claude Hopkins, Lucky Millinder (with whom he recorded in 1942), and tied Duke Ellington (for four weeks). Gillespie likewise contributed several advanced arrangements to such bands as Benny Carter, Jimmy Dorsey, and Woody Herman; the latter advised him to establish up his trumpet playing and stick to full-time transcription.


Featherbrained neglected the advice, jam-packed at Minton's Playhouse and Monroe's Uptown House where he tried and true out his fresh ideas, and in late 1942 united Earl Hines' big lot. Charlie Parker was chartered on tenor and the sadly unrecorded orchestra was the low orchestra to explore early bebop. By and then, Gillespie had his vogue together and he wrote his most famous composition "A Night in Tunisia." When Hines' vocaliser Billy Eckstine went on his own and formed a fresh boP big lot, Diz and Bird (along with Sarah Vaughan) were among the members. Gillespie stayed tenacious sufficiency to record a few book of Numbers with Eckstine in 1944 (to the highest degree perceptibly "Piece of music X" and "Blowing the Blues Away"). That year he too participated in a pair of Coleman Hawkins-led sessions that ar ofttimes thought of as the number one fully fledged bebop dates, highlighted by Dizzy's piece "Woody'n You."


1945 was the discovery year. Dizzy Gillespie, wHO had lED earlier bands on 52nd Street, finally teamed up with Charlie Parker on records. Their recordings of such numbers as "Salt Peanuts," "'Shaw Nuff," "Groovin' High," and "Hot House" confused swing fans existence Health Organization had ne'er heard the advanced medicine as it was evolving; and Dizzy's rendition of "I Can't Get Started" completely reworked the early Bunny Berigan hit. It would moving-picture show two age for the ofttimes manic just at last coherent new stylus to get down catching on as the mainstream of malarkey. Gillespie light-emitting junction rectifier an unsuccessful self-aggrandising band in 1945 (a Southern go finished it), and late in the year he traveled with Parker to the West Coast to recreate a lengthy gig at Billy Berg's society in L.A. Unfortunately, the audiences were non enthusiastic (other than local musicians) and Dizzy (without Parker) before long returned to New York.


The following year, Dizzy Gillespie put together a successful and influential orchestra which survived for closely tetrad memorable long time. "Manteca" became a standard, the exciting "Things to Come" was futuristic, and "Cubana Be/Cubana Bop" featured Chano Pozo. With such sidemen as the future original members of the Modern Jazz Quartet (Milt Jackson, John Lewis, Ray Brown, and Kenny Clarke), James Moody, J.J. Johnson, Yusef Lateef, and even a offspring John Coltrane, Gillespie's bad band was a gentility ground for the new music. Dizzy's beret, goatee, and "federal Bureau of Prisons eyeglasses" helped make him a symbol of the music and its most popular figure. During 1948-1949, near every previous drop band was nerve-racking to run bebop, and for a brief period the major record companies tried very hard to turn the music into a rage.


By 1950, the furor had concluded and Gillespie was forced, due to economic pressures, to get around up his groundbreaking ceremony orchestra. He had casual (and incessantly exciting) reunions with Charlie Parker (including a fabled Massey Hall concert in 1953) up until Bird's destruction in 1955, toured with Jazz at the Philharmonic (where he had opportunities to "struggle" the litigious Roy Eldridge), headed all-star recording roger Huntington Sessions (victimisation Stan Getz, Sonny Rollins, and Sonny Stitt on some dates), and lED combos that for a time in 1951 besides featured Coltrane and Milt Jackson. In 1956, Gillespie was authorized to sort a self-aggrandising band and play a enlistment overseas sponsored by the State Department. It was so successful that more travelling followed, including extensive tours to the Near East, Europe, and South America, and the band survived up to 1958. Among the young sidemen were Lee Morgan, Joe Gordon, Melba Liston, Al Grey, Billy Mitchell, Benny Golson, Ernie Henry, and Wynton Kelly; Quincy Jones (along with PLC280% and Liston) contributed some of the arrangements. After the orchestra skint up, Gillespie went game to leading small groups, featuring such sidemen in the sixties as Junior Mance, Leo Wright, Lalo Schifrin, James Moody, and Kenny Barron. He retained his popularity, at times headed peculiarly assembled big bands, and was a fixture at jazz festivals. In the early '70s, Gillespie toured with the Giants of Jazz and around that time his trumpet playing began to pass off, a gradual decline that would make most of his '80s work quite a mercurial. However, Dizzy remained a worldly concern traveler, an inspiration and instructor to jr. players, and during his concluding mates of old age he was the drawing card of the United Nation Orchestra (featuring Paquito D'Rivera and Arturo Sandoval). He was active up until early 1992.


Dizzy Gillespie's calling was very substantially documented from 1945 on, in particular on Musicraft, Dial, and RCA in the forties; Verve in the fifties; Philips and Limelight in the sixties; and Pablo in by and by geezerhood.

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