Tracy Chapman (born March 30, 1964) is an
American singer-songwriter, known for her hits "Fast Car"
and "Give
Me One Reason", along with other singles
"Talkin' 'bout a Revolution",
"Baby
Can I Hold You", "Crossroads", "New Beginning", and "Telling Stories".
She is a multi-platinum and four-time Grammy
Award–winning artist.
Chapman was signed to Elektra Recordsby Bob Krasnowin 1987. The following year she released her critically acclaimed
debut álbum Tracy
Chapman, which became a multi-platinum worldwide
hit. The album earned Chapman six Grammy
Awardnominations, including Album of the Year, three of which she won: Best New Artist, Best Female Pop Vocal Performancefor her single "Fast Car", and Best Contemporary Folk Albumfor her album Tracy
Chapman. Chapman released her second álbum Crossroadsthe following year, which
garnered her an additional Grammy nomination. Since then, Chapman has
experienced further success with six more studio albums, which include her
multi-platinum fourth álbum New Beginning, for which she won a fourth
Grammy Award, for Best Rock Song, for its lead single "Give
Me One Reason". Chapman's most recent album is Our Bright Future,
released in 2008.
Telling Stories is the fifth album by
American singer-songwriter Tracy
Chapman, released in 2000 (see 2000 in music).
It was her first album in over four years, and her first since Crossroadsto be produced or
co-produced by David Kershenbaum. A special 2 CD tour edition of this album was also
released in May 2000, supporting the tour going on at the time. The album is
composed of contemporary rock songs in the first half, and folk songs in the
second half. The song "Unsung Psalm" was originally
written for her previous album, New Beginning, but it didn't make it onto the
album.
The record marked a return to shorter songs
for Tracy; on New Beginning they had been somewhat longer.
There is fiction in
the space between
The lines on your page of memories
Write it down but it doesn't mean
You're not just telling stories
There is fiction in
the space between
You and reality
You will do and say anything
To make your everyday life seem less mundane
There is fiction in the space between
You and me
There's a science
fiction in the space between
You and me
A fabrication of a grand scheme
Where I am the scary monster
I eat the city and as I leave the scene
In my spaceship I am laughing
In your remembrance of your bad dream
There's no one but you standing
Leave the pity and
the blame
For the ones who do not speak
You write the words to get respect and compassion
And for posterity
You write the words and make believe
There is truth in the space between
There is fiction in
the space between
You and everybody
Give us all what we need
Give us one more sad sordid story
But in the fiction of the space between
Sometimes a lie is the best thing
Sometimes a lie is the best
thing.
PEQUEÑA
SERENATA DIURNA
SILVIO
RODRIGUEZ
COMPOSITOR:
SILVIO RODRIGUEZ
PAIS: CUBA
ALBUM: DÍAS Y FLORES
DISCOGRÁFICA: EGREM
GÉNERO: TROVA
AÑO: 1975
Silvio
Rodríguez Domínguez (nacido el 29 de noviembre de 1946) es un músico cubano y
líder del movimiento Nueva Trova.
Es ampliamente considerado el mejor cantante de
folk de Cuba y posiblemente uno de los más grandes cantautores de América
Latina. [1] Conocido
por sus letras intelectuales, altamente elocuentes y simbólicas, sus canciones
son elementos icónicos de la cultura intelectual de izquierda latinoamericana.
Muchas de sus canciones se han convertido en clásicos de la música
latinoamericana, como "Ojalá", "Playa Girón",
"Unicornio", "Sueño con Serpientes", "Vamos a andar"
y "La maza". Entre sus otras canciones conocidas se encuentran himnos
políticos como "Fusil contra fusil" y "Canción del
Elegido", y melodías poéticas como "A donde van" y "Noche
sin fin y mar". Ha lanzado más de 20 álbumes.
Rodríguez, musical y políticamente, es un
símbolo de la izquierda latinoamericana. Sus letras son notablemente introspectivas, mientras que
sus canciones combinan romanticismo, erotismo, existencialismo, política
revolucionaria e idealismo. Como humanista, sus canciones a menudo revelan una
cosmovisión secular, donde la humanidad debe sacar lo mejor de este mundo. Se
le ha referido como "el John Lennon de Cuba".
Días y Flores es el primer álbum de estudio del
cantautor cubano Silvio Rodríguez, lanzado en 1975.
El
disco fue censurado en la España franquista. Se modificó la lista de canciones
y se cambió el nombre del álbum a Te Doy una Canción. Se omitieron las
canciones Santiago de Chile y la canción principal Días y Flores y fueron
reemplazadas por Madre y Te Doy una Canción. Con el fin de la dictadura se
volvieron a sumar las dos canciones, las nuevas ediciones en España cuentan con
trece canciones.
Asimismo, el álbum también fue censurado en
Chile, debido al régimen de Augusto Pinochet. Circuló un casete titulado Te Doy una Canción,
que no contenía las canciones Santiago de Chile, Playa Girón, Como esperando
abril y Pequeña Serenata Diurna, sin embargo sí incluía Te Doy una Canción y
una versión en vivo de Mariposas. También hay un CD como la versión española,
que añade Madre después de Santiago de Chile, y cambia Días y flores por Te Doy
una Canción.
Vivo en un país libre
Cual solamente puede ser libre
En esta tierra, en este instante
Y soy feliz porque soy gigante.
Amo a una mujer clara
Que amo y me ama
Sin pedir nada
-o casi nada,
Que no es lo mismo
Pero es igual-.
Y si esto fuera poco,
Tengo mis cantos
Que poco a poco
Muelo y rehago
Habitando el tiempo,
Como le cuadra
A un hombre despierto.
Soy feliz,
Soy un hombre feliz,
Y quiero que me perdonen
Por este día
Los muertos de mi felicidad.
KORA CONCERTO
TUNDE JEGEDE
SONGWRITER: TUNDE JUGEDE
COUNTRY: NIGERIA
ALBUM: STILL MOMENT
LABEL: AFRICAN GUILD RECORDS (???)
GENRE: AFRICAN CLASSICAL MUSIC
YEAR: 2014(???)
The Kora Concerto was written during my time
living in Nigeria. It is in three movements and is influenced by various
musical traditions of West Africa as well as Rodrigo's celebrated guitar
concerto. It loosely follows the structure of that concerto with a medium-tempo
first movement, slow second movement and lively up-tempo finale. Somehow in
this kora concerto I wanted to capture the musical worlds of West Africa and
particularly the Kora whilst remaining true to the classical tradition in much
the same way as Rodrigo was able to do with the Spanish folk influences in his
concerto.
It is a fine balance to maintain integrity in
two traditions at once and I hope this piece has managed to do this
successfully. Creating a kora concerto that can also be played by a traditional
kora player is something that I have wanted to do for many years.
Tunde Jegede (born 28 January 1972) is a composer
and multi-instrumentalist in contemporary classical, African and pop music, who
is of Nigerian descent and born in England
and as a child travelled to Africa to learn the art of the kora. He is a
producer-songwriter and has worked across several genres both as a performer
(cello, kora, piano and percussion) and producer. He is a master kora
player, and specializes in the West African classical music tradition which
dates from the period of Sundiata.
His sister is Sona Jobarteh, who is
the first female kora virtuoso to come from a griot
family. His father is Nigerian artist Emmanuel Taiwo Jegede.
Tunde Jegede was born in London
in 1972 to a Nigerian father and English mother (of Irish descent - the
painter/filmmaker Galina Chester). His father Emmanuel Taiwo Jegede was
artist-in-residence at North London's Keskidee
Centre, Britain's first Black Arts Centre, where Tunde's
appreciation of African diasporic culture was initiated and nurtured. From an
early age he was exposed to resident and visiting artists who worked in a
multi-disciplinary mode, including Bob
Marley, Walter
Rodney, Edward
Brathwaite, Angela
Davis and Linton Kwesi Johnson.
It was here that his path as an artist began.
Jegede's apprenticeship in African music
began in 1978 and was further developed in 1982 when he first went to The
Gambia to study the ancient griot tradition of West Africa,
with Amadu Bansang Jobarteh, Master of the Kora (West African harp-lute). The
Jobarteh family are one of five principal musician families within this
hereditary oral tradition, which dates back to at least the 13th century. Jegede's
appreciation of Western Classical music began with his grandfather's love of Bach
and by observing his work as a church organist.
Tunde also studied cello from the age of
eight, and over the years was taught by people from the Classical world,
including Alfia Bekova, Elma de Bruyne, Joan
Dicksonand Raphael
Wallfischat the Purcell
Schooland later the Guildhall School of Music.
In 1988 Jegede became fascinated with jazz
and worked and toured with ex-members of the Jazz
Warriorsfounded by Courtney
Pineand Cleveland
Watkiss. Jegede formed his own jazz ensemble, The Jazz
Griots, with the purpose of exploring the connections between African and
African diasporic forms of music.
In 1995, a BBC TV documentary called Africa I
Remember was done on Tunde Jegede's music and focused on his orchestral work.
In this programme, he performed new compositions alongside the London Sinfonietta,
which was conducted by Markus
Stenz.
Over the years, Jegede has kept his creative
diversity intact by working closely with singers, vocalists, and spoken-word
artists from a wide range of traditions, including opera, pop, R'n'B, reggae,
hip hop, and jazz. In 2002, he started ACM Productions with the primary goal of
creating accessible quality productions across a small spectrum of genres,
namely: Urban, Pop, Classical and jazz.
The Kora Concerto was written during my time
living in Nigeria. It is in three movements and is influenced by various
musical traditions of West Africa as well as Rodrigo's celebrated guitar
concerto. It loosely follows the structure of that concerto with a medium-tempo
first movement, slow second movement and lively up-tempo finale.
Somehow in this kora concerto I wanted to
capture the musical worlds of West Africa and particularly the Kora whilst
remaining true to the classical tradition in much the same way as Rodrigo was
able to do with the Spanish folk influences in his concerto.
It is a fine balance to maintain integrity in
two traditions at once and I hope this piece has managed to do this
successfully. Creating a kora concerto that can also be played by a traditional
kora player is something that I have wanted to do for many years.
- Tunde Jegede - Kora soloist Renu - tabla
& congas PSAPPHA ENSEMBLE Conrad Marshall - flute Rachael Clegg - oboe Dov
Goldberg - clarinet Sarah Nixon - bassoon Andrew Budden - French horn Tracey
Redfern - trumpet Gemma Beeson - piano Tim Williams - percussion Benedict
Holland - violin Simon Gilks - violin Rose Redgrave - viola Jennifer Langridge
- cello James Manson - double bass Tunde Jegede - Profile Tunde Jegede is a
composer and musician who has been steeped in the traditions of European and
African classical music for the last 30 years. His music has been performed all
over the world in concert halls such as Carnegie Hall (New York), the Royal
Albert Hall (London) and the Basilique (Paris) by international orchestras and
artists including; the Royal Philharmonic Orchestra, the Philharmonia, the
London Sinfonietta, the Brodsky Quartet, the Smith Quartet and by the
percussion soloist, Evelyn Glennie. Tunde is also a pioneer of African
Classical Music and has a deep knowledge of traditional music and culture. As
the founder of the African Classical Music Ensemble, Tunde has performed and
recorded with some of Africa's finest artists including Toumani Diabaté, Oumou
Sangaré, Juldeh Camara, Bodé Lawal and the Pan African Orchestra . From an
early age, Tunde was uniquely schooled in both Western and African Classical
Music. He attended the Purcell School of Music, UK's first specialist music
school conservatoire and also studied the music of the Kora (African Harp-Lute)
and the Griot tradition under the Gambian Master of the Kora, Amadu Bansang
Jobarteh, in a hereditary tradition that dates back over 700 years. From this
unusual parallel education, Tunde gained a deep understanding and appreciation
of both forms of music and their distinct legacies, and all these strands and
influences have since informed his music and work as an instrumentalist,
teacher, and international classical composer. His music has since taken him
all over the world and he has written three full-scale operas, twenty symphonic
works and he has worked with over a hundred orchestras and chamber groups.
Tunde has recorded four solo albums including his seminal debut album,
'Lamentation' and 'Still Moment' a meditative album of solo Kora. His new solo
kora and solo cello albums, 'Heritage' and ‘Testimony’ were both released in
2014. In that same year he was appointed Artistic Director of the MUSON
(Musical Society of Nigeria) Centre and School of Music in Lagos, Nigeria where
he is now based and has since established his own concert series, New Horizons.
KISS ME
IN THE RAIN
BARBRA
STREISAND
SONGWRITERS: SANDY FARINA & LISA RATNER
COUNTRY: U. S. A.
ALBUM: WET
LABEL: COLUMBIA RECORDS
GENRE: POP
YEAR: 1979
Barbara Joan "Barbra" Streisand (/ˈstraɪsænd/;
born April 24, 1942) is an American singer, actress, and filmmaker. With a
career spanning seven decades, she has achieved success in multiple fields of
entertainment and is one of the few entertainers who have been awarded
an Emmy, Grammy, Oscar, and Tony Award(EGOT).
Streisand
began her career by performing in nightclubs and Broadway theaters in the early
1960s. Following her guest appearances on various television
shows, she signed to Columbia Recordsand released her debut album, The Barbra Streisand Album(1963). It won
two Grammy Awards,
including Album of the Year. Throughout her recording
career, Streisand has topped the US Billboard
200chart with 11 albums—a record for a
woman—including People(1964), The Way We Were(1974), Guilty(1980), and Higher Ground(1997). She has attained five number-one singles on the US Billboard Hot 100chart: "The
Way We Were", "Evergreen",
"You Don't Bring Me Flowers",
"No More Tears (Enough Is Enough)",
and "Woman in Love".
After becoming an established recording
artist in the 1960s, Streisand ventured into film by the end of that decade. She
starred in the critically acclaimed Funny
Girl(1968), for which she won the Academy Award for Best Actress. Her
other films include Hello,
Dolly!(1969), The Way We Were(1973), Nuts(1987), The
Prince of Tides(1991) and A Star Is Born(1976), for
which she won her second Academy Award, composing music for the love
theme "Evergreen",
the first woman to be honored as a composer. With the release of Yentl(1983), Streisand became the first woman to write, produce, direct,
and star in a major studio film. The film won an Oscar for Best Score and a
Golden Globe for Best Motion Picture Musical.
Streisand also received the Golden Globe Award for Best Director,
becoming the first and only woman to win that award.
With sales of over 150 million records
worldwide, Streisand is one of the best-selling recording artists of all time.
The Recording Industry Association of America(RIAA) lists her as the highest-certified female album
artistwith 68.5 million album units in the
United States. Billboardhonored Streisand as the greatest Billboard 200 female artist
of all time. Her accolades include two Academy Awards,
ten Grammy Awardsincluding the Grammy Lifetime Achievement Awardand the Grammy
Legend Award, five Emmy Awards,
four Peabody Awards,
the Presidential Medal of Freedom, and nine Golden
Globes.
Wet is the twenty-first studio albumreleased by Barbra
Streisandin 1979. The album is a concept albumof sorts with all the songs referring to, or expressing different
interpretations of, water. Wet is also the first and the last word sung on the
album.
The album was a major success for Streisand,
propelled by the album's US Nº. 1 hit single, "No More Tears (Enough Is Enough)", a
duet with American disco singer Donna
Summerwhich underwent a retitling and
change of emphasis in order to qualify under the water theme.
There are two covers on the album: the 1940s
standard "Come
Rain or Come Shine" and the Bobby Darinclassic "Splish
Splash", which features background vocals by Totolead singer Bobby
Kimball.
I remember sitting on
the front steps
Feeling the softness of a warm summer rain
I see the reflections of my mind
All the sadness all the pain
Visions of yesterday,
How fast they slip away
And though my dreams have come and gone
With one wish I can say:
Kiss me in the rain, and make me feel like a child again
Bring back all those memories
Kiss me in the rain, and make me feel like a child again
With the feeling that I get,
I don't even mind if we get wet
And if I drift outside myself
Please don't turn away
I'm searching for the innocence
I've lost along the way
Come join me in my fantasy
Step out of space and time
There's only one thing left to do
So if you wouldn't mind:
Kiss me in the rain, and make me feel like a child again
Bring back all those memories
Kiss me in the rain, and make me feel like a child again
With the feeling that I get,
I don't even mind if I get wet
Kiss me in the rain, and make me feel like a child again
Bring back all those memories
Kiss me in the rain, and make me feel like a child again
Postagens
