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Robert Fripp(1946 – ) an English musician, songwriter, and record producer, best known as the guitarist, founder and longest-lasting member of the progressive rock band King Crimson.
Fripp has worked extensively as a session musician and collaborator, notably with David Bowie, Blondie, Brian Eno, Peter Gabriel, Daryl Hall, Midge Ure, Talking Heads, and David Sylvian.
Fripp has also contributed sounds to the Windows Vista operating system.] His discography includes contributions to over 700 official releases.
Fripp is ranked 62nd on Rolling Stone magazine’s 2011 list of the 100 Greatest Guitarists of All Time. Tied with Andrés Segovia, he also is ranked 47th on Gibson’s Top 50 guitarists of all time.
Fripp’s compositions often feature unusual time signatures, which have been influenced by classical and folk traditions. His innovations include a tape delay system known as “Frippertronics” and new standard tuning.
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Coleman Hawkins(Coleman Randolph Hawkins 1904 -1969) American jazz musician whose improvisational mastery of the tenor saxophone helped establish it as one of the most popular instruments in jazz. Hawkins was the first major saxophonist in the history of jazz.
At age four Hawkins began to study the piano, at seven the cello, and at nine the saxophone.
Hawkins became a professional musician in his teens, and, while playing with Fletcher Henderson’s big band between 1923 and 1934, he reached his artistic maturity and became acknowledged as one of the great jazz artists.
Hawkins left the band to tour Europe for five years and then crowned his return to the United States in 1939 by recording the hit “Body and Soul,” an outpouring of irregular, double-timed melodies that became one of the most imitated of all jazz solos.
Hawkins was one of the first jazz horn players with a full understanding of intricate chord progressions, and he influenced many of the great saxophonists of the swing era (notably Ben Webster and Chu Berry) as well as such leading figures of modern jazz as Sonny Rollins and John Coltrane.
Hawkins’ deep, full-bodied tone and quick vibrato were the expected style on jazz tenor until the advent of Lester Young, and even after Young’s appearance many players continued to absorb Hawkins’s approach.
One of the strongest improvisers in jazz history, Hawkins delivered harmonically complex lines with an urgency and authority that demanded the listener’s attention. He was also a noted ballad player who could create arpeggiated, rhapsodic lines with an intimate tenderness that contrasted with his gruff attack and aggressive energy at faster tempos.
Hawkins gave inspired performances for decades, managing to convey fire in his work long after his youth.
From the 1940s on he led small groups, recording frequently and playing widely in the United States and Europe with Jazz at the Philharmonic and other tours.
Hawkins willingly embraced the changes that occurred in jazz over the years, playing with Dizzy Gillespie and Max Roach in what were apparently the earliest bebop recordings (1944).
In time Hawkins also became an outstanding blues improviser, with harsh low notes that revealed a new ferocity in his art.
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“Ahhhh…. Stand by Me… Ben E. King…. Years ago, when I worked at an adult homeless shelter, I started an art program called, The POssibibilities Project — it included music.
One of the most amazing things we did was create a recording of Stand by Me — with musicans who were clients of the shelter as well as musicians from the community at large — and then, we held a concert and… Ben E King happened to be in town recording at a studio — he agreed to come and sing with those who were in the recording!
It was amazing — Only myself and a couple of people knew he was coming – at the end of the evening, Ben E King walked onto the stage as the performers prepared to sing Stand by Me — it was a moment I shall never forget! Thank you for reminding me this morning of that project.”
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Benjamin Earl King(1938 -2015) was an American soul and R&B singer and record producer.
King is best known as the singer and co-composer of “Stand by Me”—a U.S. Top 10 hit, both in 1961 and later in 1986 (when it was used as the theme to the film of the same name), a number one hit in the United Kingdom in 1987.
King was one of the principal lead singers of the R&B vocal group The Drifters, notably singing the lead vocals of one of their biggest global hit singles (and only U.S. #1 hit) “Save the Last Dance for Me”.
In 1958, King joined a doo-wop group called the Five Crowns.Later that year, the Drifters’ manager George Treadwell fired the members of the original Drifters, and replaced them with the members of the Five Crowns.
King had a string of R&B hits with the group on Atlantic Records. He co-wrote and sang lead on the first Atlantic hit by the new version of the Drifters, “There Goes My Baby” (1959).
He sang lead on a succession of hits by the team of Doc Pomus and Mort Shuman, including “Save the Last Dance for Me”, “This Magic Moment”, and “I Count the Tears”.
King recorded only thirteen songs with the Drifters—two backing other lead singers and eleven lead vocal performances—including a non-single called “Temptation” (later redone by Drifters vocalist Johnny Moore).
The last of the King-led Drifters singles to be released was “Sometimes I Wonder”, which was recorded May 19, 1960, but not issued until June 1962.
“Stand by Me”, written with Jerry Leiber and Mike Stoller, ultimately would be voted as one of the Songs of the Century by the Recording Industry Association of America.
When the night has come And the land is dark And the moon is the only light we’ll see No I won’t be afraid, no I won’t be afraid Just as long as you stand, stand by me
And darlin’, darlin’, stand by me, oh now now stand by me Stand by me, stand by me
If the sky that we look upon Should tumble and fall And the mountains should crumble to the sea I won’t cry, I won’t cry, no I won’t shed a tear Just as long as you stand, stand by me
And darlin’, darlin’, stand by me, oh stand by me Stand by me, stand by me, stand by me-e, yeah
Whenever you’re in trouble won’t you stand by me, oh now now stand by me Oh stand by me, stand by me, stand by me
Darlin’, darlin’, stand by me-e, stand by me Oh stand by me, stand by me, stand by me
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Sunshine and darkness The painting of emotions Music’s legacy
Arthur Seymour John Tessimond(1902 -1962) was an English poet.
After graduating he tried his hand at teaching but only lasted two terms, whereupon he broke off his engagement and moved to London, working there in bookshops for two years before becoming an advertising copywriter.
At the beginning of the Second World War, he gave up his job and flat and went on the run to avoid conscription, having decided he would be ‘intensively miserable’ as a soldier as well as ‘useless and dangerous to others’. When he finally submitted himself to an army medical, he was declared unfit for service.
Tessimond has been described as an eccentric, a night-lifer, loner and flâneur. He loved women, was always falling in love, but never married.
He published three collections during his lifetime with nearly ten years between each one.
In 1934 he wrote Walls of Glass, ten years later came Voices in a Giant City and in 1958 his final published work Selection was released.
Whilst he was a regular contributor to many poetry magazines through the 30s and 40s with verses such as The Lonely Women in Hotel Lounges.
Tessimond’s poems often contain a touch of satire and humour, though they are all the more human for the tenderness with which he treats his subjects.
Perhaps one of his more poignant short poems On The Death of a Great Man reflects his view of the world, a melancholy tribute to life’s uncaring nature.
His mental health often led him to be hospitalized and he was given electroshock therapy which may well have contributed to his eventual death.
The poet spent most of his life in obscurity and it was only after his death that he began to become more widely recognized.
This shape without space, This pattern without stuff, This stream without dimension Surrounds us, flows through us, But leaves no mark.
This message without meaning, These tears without eyes This laughter without lips Speaks to us but does not Disclose its clue.
These waves without sea Surge over us, smooth us. These hands without fingers Close-hold us, caress us. These wings without birds Strong-lift us, would carry us If only the one thread broke.
Thank you for your visit.
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Artie Shaw(1910 – 2004) was an American clarinetist, composer, bandleader, actor and author of both fiction and non-fiction.
Widely regarded as “one of jazz’s finest clarinetists”, Shaw led one of the United States’ most popular big bands in the late 1930s through the early 1940s.
Though he had numerous hit records, he was perhaps best known for his 1938 recording of Cole Porter’s “Begin the Beguine.”
Before the release of “Beguine,” Shaw and his fledgling band had languished in relative obscurity for over two years and, after its release, he became a major pop artist within short order.
The record eventually became one of the era’s defining recordings.
Musically restless, Shaw was also an early proponent of what became known much later as Third Stream music, which blended elements of classical and jazz forms and traditions.
His music influenced other musicians, such as Monty Norman in England, with the vamp of the James Bond Theme, possibly influenced by 1938’s “Nightmare”.
Shaw also recorded with small jazz groups drawn from within the ranks of the various big bands he led.
He served in the US Navy from 1942 to 1944, (during which time he led a morale-building band that toured the South Pacific amidst the chaos of World War II) and, following his discharge in 1944, he returned to lead a band through 1945.
Following the breakup of that band, he began to focus on other interests and gradually withdrew from the world of being a professional musician and major celebrity, although he remained a force in popular music and jazz before retiring from music completely in 1954.
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With Haydn and Beethoven he brought to its height the achievement of the Viennese Classical school.
Unlike any other composer in musical history, he wrote in all the musical genres of his day and excelled in every one.
His taste, his command of form, and his range of expression have made him seem the most universal of all composers writing operas, symphonies, piano works, chamber pieces and concertos; it may also be said that his music was written to accommodate the specific tastes of particular audiences.
