Azeri Bass Music Titte Remix [PORTABLE]
Clapton recorded the acoustic version of "Layla" on a C.F. Martin & Co. steel-string acoustic guitar in OOO-42 style from 1939 which was hand built in Nazareth, Pennsylvania (No. OOO-42/73234). Clapton called this guitar one of the finest instruments he has ever used and called its sound "incredible". The auction house Christie's noted, "the guitar became one of the most enduring images of recent music history" being a part of the Unplugged album cover.[60] Christie's expert for the musical department Kerry Keane called the instrument "in the hands of Eric Clapton singly responsible for the repolarization of playing acoustic guitar today". When Keane played the guitar, he also remarked an "amazing" sound as the acoustic guitar seems to have a "wonderfully balanced tone [which is] loud and sweet at the same time with an incredible bass note."[61] The vintage instrument was estimated to sell for between $60,000 and $80,000 but was in the end sold for $791,500.[62]
Azeri Bass Music Titte Remix
On the advice of music publisher Steve Brown, John and Taupin began writing more complex songs for John to record for DJM. The first was the single "I've Been Loving You" (1968), produced by Caleb Quaye, Bluesology's former guitarist. In 1969, with Quaye, drummer Roger Pope, and bassist Tony Murray, John recorded another single, "Lady Samantha", and an album, Empty Sky. For their follow-up album, Elton John, John and Taupin enlisted Gus Dudgeon as producer and Paul Buckmaster as musical arranger. Elton John was released in April 1970 on DJM Records/Pye Records in the UK and Uni Records in the US, and established the formula for subsequent albums: gospel-chorded rockers and poignant ballads. The album's first single, "Border Song", peaked at 92 on the Billboard Hot 100. The second, "Your Song", reached number seven in the UK Singles Chart and number eight in the US, becoming John's first hit single as a singer.[56] The album soon became his first hit album, reaching number four on the US Billboard 200 and number five on the UK Albums Chart.[56][57]
The 1975 autobiographical album Captain Fantastic and the Brown Dirt Cowboy debuted at number one in the US, the first album to do so, and stayed there for seven weeks.[74] John revealed his previously ambiguous personality on the album, with Taupin's lyrics describing their early days as struggling songwriters and musicians in London. The lyrics and accompanying photo booklet are infused with a specific sense of place and time that is otherwise rare in his music. The hit single from this album, "Someone Saved My Life Tonight", captured an early turning point in John's life. The album's release signalled the end of the Elton John Band, as an unhappy and overworked John dismissed Olsson and Murray.[75] According to Circus, a spokesman for John's manager John Reid said the decision was reached mutually via phone while John was in Australia promoting Tommy.[76] Davey Johnstone and Ray Cooper were retained, Quaye and Roger Pope returned, and the new bassist was Kenny Passarelli; this rhythm section provided a heavier backbeat. James Newton Howard joined to arrange in the studio and to play keyboards.[77] In June 1975 John introduced the line-up at London's Wembley Stadium.[77]
On 1 September 2021, John announced his new collaboration album The Lockdown Sessions which he made during the first COVID-19 lockdown, which was released on 22 October 2021. Artists he collaborated with on the album include Eddie Vedder, Miley Cyrus, Dua Lipa, Lil Nas X, Nicki Minaj, Young Thug, Stevie Wonder, Rina Sawayama and Stevie Nicks.[207] In a statement on the project, John explained that working with different during lockdown reminded him of his roots as a session musician in the 1960s, stating: 'I realised there was something weirdly familiar about working like this. At the start of my career, in the late 60s, I worked as a session musician. Working with different artists during lockdown reminded me of that. I'd come full circle: I was a session musician again. And it was still a blast."[208] "Cold Heart (Pnau remix)", a collaboration with Dua Lipa, was released on 13 August 2021 as the album's first single. It peaked at number one in the UK in October 2021, becoming John's first UK number one in 16 years since 2005's "Ghetto Gospel".[209][210] With this hit, he became the first solo artist to have top 10 singles in the UK in 6 different decades.[211] "Cold Heart" also peaked at number 1 in Australia in November 2021. At 74 years, 7 months and 14 days, John became the oldest artist to hit the top of the ARIA Singles Chart.[212] John contributed to the charity tribute album The Metallica Blacklist, released in September 2021, by backing Miley Cyrus on a cover of the Metallica song "Nothing Else Matters".[213]
In the post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures.[58] This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms," observed the writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured."[52]
African-based rhythmic patterns such as tresillo and its variants, the habanera rhythm and cinquillo, are heard in the ragtime compositions of Joplin and Turpin. Joplin's "Solace" (1909) is generally considered to be in the habanera genre:[73][74] both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk,"[75] whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass".[76]
This style entered full swing in France with the Quintette du Hot Club de France, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two.[128] Belgian guitarist Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall "musette", and Eastern European folk with a languid, seductive feel; the main instruments were steel stringed guitar, violin, and double bass. Solos pass from one player to another as guitar and bass form the rhythm section. Some researchers believe Eddie Lang and Joe Venuti pioneered the guitar-violin partnership characteristic of the genre,[129] which was brought to France after they had been heard live or on Okeh Records in the late 1920s.[130]
Since bebop was meant to be listened to, not danced to, it could use faster tempos. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. This led to a highly syncopated music with a linear rhythmic complexity.[137]
Free jazz, and the related form of avant-garde jazz, broke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range of world music from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing.[161] While loosely inspired by bebop, free jazz tunes gave players much more latitude; the loose harmony and tempo was deemed controversial when this approach was first developed. The bassist Charles Mingus is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres.
The first major stirrings came in the 1950s with the early work of Ornette Coleman (whose 1960 album Free Jazz: A Collective Improvisation coined the term) and Cecil Taylor. In the 1960s, exponents included Albert Ayler, Gato Barbieri, Carla Bley, Don Cherry, Larry Coryell, John Coltrane, Bill Dixon, Jimmy Giuffre, Steve Lacy, Michael Mantler, Sun Ra, Roswell Rudd, Pharoah Sanders, and John Tchicai. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. In November 1961, Coltrane played a gig at the Village Vanguard, which resulted in the classic Chasin' the 'Trane, which DownBeat magazine panned as "anti-jazz". On his 1961 tour of France, he was booed, but persevered, signing with the new Impulse! Records in 1960 and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably Archie Shepp, who often played with trumpeter Bill Dixon, who organized the 4-day "October Revolution in Jazz" in Manhattan in 1964, the first free jazz festival.
In the 1960s and 1970s, many jazz musicians had only a basic understanding of Cuban and Brazilian music, and jazz compositions which used Cuban or Brazilian elements were often referred to as "Latin tunes", with no distinction between a Cuban son montuno and a Brazilian bossa nova. Even as late as 2000, in Mark Gridley's Jazz Styles: History and Analysis, a bossa nova bass line is referred to as a "Latin bass figure".[163] It was not uncommon during the 1960s and 1970s to hear a conga playing a Cuban tumbao while the drumset and bass played a Brazilian bossa nova pattern. Many jazz standards such as "Manteca", "On Green Dolphin Street" and "Song for My Father" have a "Latin" A section and a swung B section. Typically, the band would only play an even-eighth "Latin" feel in the A section of the head and swing throughout all of the solos. Latin jazz specialists like Cal Tjader tended to be the exception. For example, on a 1959 live Tjader recording of "A Night in Tunisia", pianist Vince Guaraldi soloed through the entire form over an authentic mambo.[164] 041b061a72