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Granada Smoothie

Originally written for the Stan Kenton Orchestra and featured on the new Mark Taylor/Steve Fidyk Big Band recording “A Perfect Match” (heard here), this is a challenging yet rewarding samba for mature bands. Primarilya feature for flugelhorn and trombone, the full ensemble answers with hot unison lines and screaming punches. This one demands attention!

Granada Smoothie - Jazz Ensemble

Grade 3. (Taylor)

Granada Smoothie - Jazz Ensemble

Hommage à Hieronymus Bosch : Symphonic Fantasy

Lexikon Orgelbau - Bosch, Michael / Döhring, Klaus / Kalipp, Wolf

encyclopedia, CD Hardback

Pro Vocal Women's Edition Volume 12: Ella Fitzgerald (Book/CD)

The Pro Vocal series has been designed to offer a unique sing-along experience that's even better than karaoke. Whether you're preparing for an audition or performing on stage without a backing band, this book and CD package is for you. This volume contains the lyrics, melody and chord symbols for eight classic Ella Fitzgerald songs. The CD contains demos for listening and separate backing tracks so you can sing along. The CD is also enhanced so PC and Mac users can adjust the recording to any pitch without changing the tempo. Pro Vocal Women's Edition Volume 12: Ella Fitzgerald includes the songs: Don't Be That Way, Don'cha Go 'Way Mad, It's Only a Paper Moon, Misty, 'Round Midnight, What Is There to Say, You're an Old Smoothie and A-Tisket, A-Tasket .

To a Friend

When you have been playing in a band for a long time, you will know that music belongs to the most beautiful moments in life, but also to the roughest times. Making music together can give you strength when things are difficult.To a Friend is a wonderfully comforting work for anyone going through a dark time. Jacob de Haan composed the work for his father in law, Gerard Bosch, a musician to the core. The piece received its first performance justweeks before his passing. On a sun-kissed evening, his friends, the musicians of his two music societies Oefening Baart Kunst (Practice Makes Perfect) Otterlo, and the Reünie Orkest Artillerie Trompetterkorps (Reunion BandArtillery Trumpet Corps) played the work for Gerard - an unknowing yet beautiful goodbye.

To a Friend

When you have been playing in a band for a long time, you will know that music belongs to the most beautiful moments in life, but also to the roughest times. Making music together can give you strength when things are difficult.To a Friend is a wonderfully comforting work for anyone going through a dark time. Jacob de Haan composed the work for his father in law, Gerard Bosch, a musician to the core. The piece received its first performance justweeks before his passing. On a sun-kissed evening, his friends, the musicians of his two music societies Oefening Baart Kunst (Practice Makes Perfect) Otterlo, and the Reünie Orkest Artillerie Trompetterkorps (Reunion BandArtillery Trumpet Corps) played the work for Gerard - an unknowing yet beautiful goodbye.

Martin Scheuregger: The Four Last Things

The Four Last Things for Clarinet, Percussion and Cello. Composed 2014, published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6), recorded by Dark Inventions. Duration: 8 minutes. The Four Last Things takes its title from Hieronymus Bosch’s painting ‘The Seven Deadly Sins and The Four Last Things’, a work of art that depicts its religious subject matter in the visceral style associated with its artist. Bosch’s work has always fascinated me: its detail, immediacy and sometimes grotesque subject matter keep me coming back to it. There is no direct parallel with the painting in this piece, but inspiration has been taken from the manner in which Bosch juxtaposes images whilst creating consistency and continuity between individual parts. The simultaneous discreteness and dependency of separate elements is mirrored in the treatment here of instruments as both soloists and part of the group. Each player has moments of overt dominance, but even whilst providing more of an accompanying role, they still present material that is striving to be heard above the rest. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House, Manchester.

Martin Scheuregger: The Four Last Things

The Four Last Things for Clarinet, Percussion and Cello. Composed 2014, published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6), recorded by Dark Inventions. Duration: 8 minutes. The Four Last Things takes its title from Hieronymus Bosch’s painting ‘The Seven Deadly Sins and The Four Last Things’, a work of art that depicts its religious subject matter in the visceral style associated with its artist. Bosch’s work has always fascinated me: its detail, immediacy and sometimes grotesque subject matter keep me coming back to it. There is no direct parallel with the painting in this piece, but inspiration has been taken from the manner in which Bosch juxtaposes images whilst creating consistency and continuity between individual parts. The simultaneous discreteness and dependency of separate elements is mirrored in the treatment here of instruments as both soloists and part of the group. Each player has moments of overt dominance, but even whilst providing more of an accompanying role, they still present material that is striving to be heard above the rest. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House, Manchester.

John Mccabe: Pueblo

John McCabe 's Pueblo for solo Double Bass. Duration: approx. 7 minutes. Pueblo is an off-shoot of a series of compositions inspired by desert country, and it was commissioned by Leon Bosch with the aid of funds provided by North West Arts. The piece is continous, falling into several sections, and is largeley based on the high circling motif heard at the start and referred to again in the harmonics at the close. It is prefaced by the following quotation from Scenes in American Deserta by Reyner Banham, published by Thames and Hudson: "Clouds, high and flat, were now building up in the sky, the wind was settling to silent calm, the weather was very cold, and the stream through the center of the pueblo was almost frozen across, the Indians chipping out ice to melt down for water." The aim in writing the piece was to express in musical terms a response to the vivid picture of a scene relating to life in the American desert conveyed by Reyner Banham's text. Although not numbered among other Desert works, this belongs to this family of compositions, along with another Banham setting, written for the King's Singers, Scenes In America Deserta. - John McCabe