Name: Errance by Kevin Chaulier
Duration: 2 min 48 s
Description: Video : https://www.instagram.com/reel/DQeUkfHDE_v/?igsh=MXJvOG55enl4aWRtaA==

Une très belle composition, bravo Kevin !

Wow, one of the best intros Ive ever heard!! 🏆

“All or Nothing at All,” with music by Arthur Altman and lyrics by Jack Lawrence from around 1940, is a classic standard built on a single, uncompromising idea: love must be total, or it is not worth having. There is no middle ground in this song’s emotional world; its very title states the ultimatum, and every musical and lyrical detail reinforces that stance. It is a song about risk, about staking everything on a single relationship, with the awareness that such a bet can hurt as much as it can fulfill.

The melody is one of the most striking features. It opens with a bold, upward leap, immediately conveying determination and intensity. This is not a tentative tune; it does not creep in by small steps. Instead, it stretches out in long, sweeping phrases that demand breath and commitment from the singer. These lines often climb toward a high point on key words—“all,” “nothing,” “fall”—so that the very shape of the melody dramatizes the lyric’s extremes. Between these peaks, the melody relaxes into more stepwise motion, giving the impression of someone thinking aloud between declarations.

Harmonically, “All or Nothing at All” is rich, dark, and distinctly jazz‑oriented for its time. It leans heavily on minor tonalities and chromatic movement, which add a sense of tension and sophistication. The chord changes feature classic jazz progressions—ii–V motions, altered dominants, and brief tonicizations—that invite improvisation while maintaining a strong emotional arc. The harmony often seems to circle around the tonic rather than settling comfortably, mirroring the unsettled, all‑or‑nothing emotional state described in the text.

Lawrence’s lyric is direct but not blunt. It uses simple language to express a complex emotional posture: “There ain’t no in‑between” is almost colloquial, while lines like “Please don’t bring your lips so close to my cheek” reveal the vulnerability underneath the tough surface. The singer appears to be setting rules for self‑protection—demanding total devotion to avoid the pain of half‑measures—but the very need to say this suggests a history of disappointment. The lyric walks a fine line between resolve and pleading, making the song feel both strong and slightly fragile.

Culturally, the song is inseparable from its early association with Frank Sinatra, whose 1939 recording with Harry James became a major hit when reissued in 1943. That version helped define the piece as a vehicle for expressive, elastic phrasing and subtle rhythmic play. Since then, “All or Nothing at All” has become a staple of the Great American Songbook and a favorite among jazz musicians, precisely because its structure supports both emotional storytelling and harmonic exploration.

On solo or felt piano, an especially intimate and reflective side of the song can emerge. Stripped of big‑band accompaniment, the tune turns into a kind of interior monologue: a late‑night confession rather than a nightclub performance. The pianist can emphasize the tension in the harmony with close‑voiced chords and gentle dissonances, letting the minor colors linger before resolving. Slight rubato—pulling back on the phrases that contain the ultimatum, then flowing forward on the more vulnerable lines—can mirror the push and pull between firmness and fear. In the softened, muted timbre of felt piano, “All or Nothing at All” feels less like a threat and more like a plea for honesty: if love is to be given, let it be given fully, because anything less will not survive.

All or nothing at all  1940

I had these two little blues pieces – in E and C – and an arrangement for When I’m 64, and they seemed to fit, and voila! The whole piece runs for 100 bars, but subtracting the repeated two blues sections the piece adds up to 64 bars. I swear this was an accident!

Credits: When I’m Sixty Four by John Lennon & Paul McCartney, 1967. (McCartney wrote the song.)


Sixty-four Bar Blues

CANDLE IN THE DARK (Timeless floating in Space - Paploviante)
Backing Track Paploviante:
https://soundcloud.com/paploviante-and-friends/timeless-floating-in-space-open-collab-offer
Vocals Alley ( Gosthack)
https://www.ghosthack.de
Lillithe: Mix, Arrangement and Production
Lyric:
A candle in the dark
And in your own fashion
You burned it to the ground
Its sad but it's true
I can't get over you
I'm trying to breath 
But I'm choked by the fumes
Set me free
I'm just trying to breath
Let it go
Cus I can't keep hold
If I told you that I love you
Would you let everything slide
If I told you that I want you
Would I run and hide?


CANDLE IN THE DARK (Timeless floating in Space - Paploviante)

Azul:  Synths
Ben Juul:  Drums, Mix & Master
Michael Kober:  Bass
Dirk Taubenheim:  Guitars, Vocals

Original version by Nick Kamen (1962 - 2021). Thanks for your attention!

I promised myself  ft. AZUL

Another Brand new collaboration with my pal https://soundcloud.com/billy-korg
Lyrics:-
Could I walk down the street
With my head high
If I didn't question 
All the reasons why...
That our "leaders"
Pretend to care 'bout us
But do the opposite 
That's treasonous

So sick of this veil of deception
Whether right or wrong at inception
The only way has 
Dignity and truth
Open up the windows for us
Let the light shine in dark corners
The only way has
Dinity and truth

We should peacefuly stand
And not comply
Every woman every man
Should now ask why...
Do we pay to a system
That don't work
Before it gets better
It's gonna hurt

Billy Kork/ winkandwoo 2025

Dignity and Truth

I decided to take another stab at this song for Halloween.
New instruments and added a strumming guitar track.    Completely new vocals and updated chorus.
***
In the dark of night, there's things that don't feel right.
Like a creature of the night with a healthy appetite
I saw a beautiful woman standing by the dance floor
I met her gaze she smiled at me
I knew the rest was history as my heart beat quickly in my chest.

The night past by in one big blur and in the morning there was no sign of her
I tried so hard to convince myself that it was only just a dream

Baby I want to see the sun shine on your face
Cause maybe you’re a vampire dressed in lace

As the day began to wane and darkness fell like bloody rain
I could feel a sense of foreboding in the air
I turned around and she was there
Next to me with long dark hair
Staring at me with a hungry pointy grin (hungry pointy grin)

Baby I want to see the sun shine on your face
Cause maybe you’re a vampire dressed in lace
Now she stops by every night and something tells me things aren’t right
Cause it’s been more than a week since I’ve seen the light of day

Now that you’ve heard my story, I hope you believe it’s true
My memory’s kind of foggy. There’s not much I can do
I’m sick of being stuck in this cold dark place
I want to feel the sun shine on my face
And I’m searching for a cure to what’s ailing me (what’s ailing me)

Baby, baby, baby, baby, baby I want to see the sun shine on your face
Cause maybe, maybe, maybe, maybe, maybe you’re a vampire dressed in lace

Baby I want to see the sun shine on your face
Cause maybe you’re a vampire dressed in lace

Vampire Dressed In Lace (2025)

Music by Ambient Annie. Production & Mastering by BotNikStudio2, Bottna, Sweden.

MYSTÈRE IN F

Video : https://www.instagram.com/reel/DQeUkfHDE_v/?igsh=MXJvOG55enl4aWRtaA==

Errance

Recorded in Modest, Ca   Featuring Hammond Electric Organ solo. Gibson 335 Electric Guitar solo. Soprano Saxophone solo. Vibraphone solo.  Stand up acoustic Bass. Fender Rhodes Electric Piano Rhythm. Hammond Electric Organ with Bass Peddles Rhythm. Acoustic Full Drum set kit. Percussion Chimes tree, 22" Zildjian Ride & Crash Cymbals, Tambourine.

Carmel

Coffee Break

histle

idk who made ethe instrumental so lmk if you do brah
also why is my no1 track lmao 

Errance

Kevin Chaulier

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