Tuesday, September 1, 2026

Key Depositfiles for 24hs

 

 


How to activate pass-Gold:
Once registered go to
https://depositfiles.org/gold/points.php
At the bottom of the web page it states:
“If you have (purchased) a Gold key and wish to activate it, enter it here and click Activate”.

Please, if you already have a DepositFiles pass, refrain from participating to give other blog visitors the opportunity to benefit. 

It is important, and I would appreciate it if whoever is fortunate enough to achieve this would comment that they have done so.

///////

Cómo activar pass-Gold:
Una vez registrado ira a
https://depositfiles.org/gold/points.php
Al pie de la página web se indica:
"Si usted tiene (ha comprado) una clave Gold y desea activarla, introdúzcala aquí y haga clic en Activar"

Por favor, si ya cuentas con un pase para DepositFiles, abstente de participar para dar oportunidad a otros visitantes del blog de beneficiarse. 

Es importante y agradecería que quien sea el afortunado, que comente que ya lo ha logrado.

 

Teddy Wilson • The Noble Art Of Teddy Wilson

 

 


The Words and Music of Paul Simon

 


Paul Simon is commonly acknowledged to be one of the most successful singer-songwriters of the pop-rock era. His work has flourished in the context of Simon and Garfunkel as well as in his own solo career. Starting with the folk-rock style that marked his earliest significant success, he has drawn on a wide variety of influences, including many American traditions and, later, many international ones as well. He has won multiple Grammy awards in both the duo and the solo phases of his career. His songwriting has also provided the impetus for brief forays into film and musical theatre. After providing a brief biographical overview, this work examines Simon's songwriting work in depth, providing a critical discussion of each song as a fusion of text and music so as to help the reader to identify elements that enhance appreciation.

A particularly valuable contribution in this context is the discussion of the wide variety of musical elements that contribute significantly to the value of Simon's work. These include such easily-understandable issues as verse-chorus structure, melodic variation, selection of particular instruments and even performers, variation of musical style within a song, general harmonic characteristics, relationships among keys, rhythm and pacing of text, etc. While the book proceeds chronologically through Simon's recorded output, specific threads are developed throughout, and the discussion of individual songs takes place in the context of these threads, both drawing on them and developing them further. The diversity of Paul Simon's work reflects his very American background, and no discussion of American music is complete without accounting for his influence.

 

Kenny Drew • Kenny Drew Trio




Gene Bianco and His Group • Harp, Skip and Jump

 

 



Born Eugene Capobianco 29 March 1927, Hartford, Connecticut, jazz enthusiast Gene Bianco started off his career as a classical virtuoso harpist, and toured with major orchestras to rave reviews. His love for jazz, however, prompted him to explore the concept of using harp as a jazz instrument, an idea that was hitherto unheard of. Having appeared as a solo act in a variety of New York nightclubs, he later teamed up with guitarist Mundell Lowe and percussionist Joe Venuto to form a jazz trio which released an album on the obscure Major Records label. Soon after, RCA signed the group to a three-album contract, under which the albums "Stringin' the Standards" and "Harp, Skip and Jump!" were released.

However, RCA had a different idea of where the harp belonged. For a new record club partnership with Readers Digest, RCA bought out the existing contract and entered into a new contract with Gene Bianco which obliged him to produce easy-listening albums catered to the "middle-class market" (as described by a certain author). The first album, Joy To The World, was a hit. By then, Gene Bianco had been recast as "The Rainbow Sounds of Bianco" with his own personal logo on the front of his albums, which enjoyed first-class productions, and a full orchestra.

Nonetheless, Bianco prefers and opted for the anonymity and independence of life as a freelance session jazz musician, and ended up playing on dozens of great jazz recordings, such as all three of Paul Desmond's string albums, on Gil Evans' "Blues in Orbit", on Herbie Mann's "Push, Push", Alan Lorber's "Lotus Palace", and others. He also recorded with some of the best jazz singers around, including Carmen McCrae and Marlena Shaw. Some of his best session work of the 1960s and 1970s now shows up on sampling favorites such as the Blue Break Beats.

After 30 years as a studio player, Bianco went into the recording booth as a musical coordinator and contractor, screening and hiring musicians for recording sessions. Respected throughout the business, he worked with acts as diverse as Mary J. Blige, D Train, Stevie Nicks, Natalie Cole, and even Ray Charles. Recently, he put together the orchestra that accompanied tenor saxman Joe Lovano on Viva Caruso. He and Mundell Lowe even pioneered an instrument combining the harp and electric guitar that is now a standard feature of many pop orchestrations.
Bianco's grandfather is Fillippo Capobianco, who was also a successful harpist in Italy.
https://www.discogs.com/artist/380673-Gene-Bianco

///////


Born Eugene Capobianco 29 March 1927, Hartford, Connecticut, jazz enthusiast Gene Bianco started off his career as a classical virtuoso harpist, and toured with major orchestras to rave reviews. His love for jazz, however, prompted him to explore the concept of using harp as a jazz instrument, an idea that was hitherto unheard of. Having appeared as a solo act in a variety of New York nightclubs, he later teamed up with guitarist Mundell Lowe and percussionist Joe Venuto to form a jazz trio which released an album on the obscure Major Records label. Soon after, RCA signed the group to a three-album contract, under which the albums "Stringin' the Standards" and "Harp, Skip and Jump!" were released.

However, RCA had a different idea of where the harp belonged. For a new record club partnership with Readers Digest, RCA bought out the existing contract and entered into a new contract with Gene Bianco which obliged him to produce easy-listening albums catered to the "middle-class market" (as described by a certain author). The first album, Joy To The World, was a hit. By then, Gene Bianco had been recast as "The Rainbow Sounds of Bianco" with his own personal logo on the front of his albums, which enjoyed first-class productions, and a full orchestra.

Nonetheless, Bianco prefers and opted for the anonymity and independence of life as a freelance session jazz musician, and ended up playing on dozens of great jazz recordings, such as all three of Paul Desmond's string albums, on Gil Evans' "Blues in Orbit", on Herbie Mann's "Push, Push", Alan Lorber's "Lotus Palace", and others. He also recorded with some of the best jazz singers around, including Carmen McCrae and Marlena Shaw. Some of his best session work of the 1960s and 1970s now shows up on sampling favorites such as the Blue Break Beats.

After 30 years as a studio player, Bianco went into the recording booth as a musical coordinator and contractor, screening and hiring musicians for recording sessions. Respected throughout the business, he worked with acts as diverse as Mary J. Blige, D Train, Stevie Nicks, Natalie Cole, and even Ray Charles. Recently, he put together the orchestra that accompanied tenor saxman Joe Lovano on Viva Caruso. He and Mundell Lowe even pioneered an instrument combining the harp and electric guitar that is now a standard feature of many pop orchestrations.
Bianco's grandfather is Fillippo Capobianco, who was also a successful harpist in Italy.
https://www.discogs.com/artist/380673-Gene-Bianco