To hear a truly beautiful vocal version, check out Joao Gilberto

Smooth@JazZ

Reposting my groove to Miles Davis 'Blue In Green' I did last year, if you've heard before apologies :) If not hope you like :)

A Late Night Groove to 'Blue In Green' - Miles Davis

Official Website: http://bethlehemrecords.com/
Hailing from the Detroit Jazz scene, trumpeter Donald Byrd &  baritonist Pepper Adams join forces with guitarist Kenny Burrell, pianist Tommy Flanagan, bassist Paul Chambers and drummer Louis Hayes (aka “Hey” Lewis) to form the all-star sextet heard on Motor City Scene (also released as Stardust). The album opens with Stardust, or “music to get lost in” as described by All About Jazz. Adams takes the lead on Philson followed by Chambers and Hayes up-tempo version of Trio. Libeccio reflects a contrast of talent from the entire sextet, ending on a high note with their hard- swinging rendition of Bitty Ditty. 

Stardust - Donald Byrd & Pepper Adams (Bethlehem Records Remastered)

Oscar Peterson Alone Together

(FYI: This song is available on my website at: https://ahmedsirour.com/track/2996468/midnight-melanin-manhattan-a-score-for-ivy as well as Bandcamp at: https://ahmedsirour.bandcamp.com/track/midnight-melanin-manhattan-a-score-for-ivy)

I created this based on a scene from the 1968 film, #ForLoveofIvy, which was a story written by the recently departed, late/great #SidneyPoitier and featuring the also late/great #AbbeyLincoln. The music you hear is an original score I created, inspired by this scene (not one of Quincy Jones', who beautifully scored the rest of this movie, although his style was an influence I wanted to partially emulate). I was actually surprised he left so much room open in this bedroom scene you're watching now, because the original scene had no music at all until after Ivy (Abbey) joins Jack (Sidney) in bed for Round 2 of their lovemaking. 

Inspired by the great cinematography and sexiness of this moment, this is an all original arrangement of my own, and even chopping up and editing the royalty-free horns that I used for the trumpet and saxophone solos (which was very difficult to do because it's a combination of many different real horn player samples that I had to edit/pitch/re-arrange/EQ just for it to sound like two players to add to the grand piano, upright/double bass, and horn parts in the hook/chorus that I manually played and myself on keyboard (via Logic Pro instruments) to make it into a Jazz "quartet", then finally mixing and mastering the whole thing for it to come out finally as it did, which you can hear in full from the link at the top of this description.

Like many, I took a trip down memory lane, watching #SidneyPoitier films, since his recent passing at age 94. However, not many people know of/have seen this particular film called  "For Love of Ivy", which is kinda surprising since Sidney was THE biggest movie star in Hollywood at the time this film came out in 1968.

To put it in perspective, he started filming this movie (an original story he wrote, himself) in the Autumn of '67, but just a few months earlier that year, #ToSirWithLove dropped in the Spring, followed by #InTheHeatoftheNight that Summer, and #GuessWhosComingToDinner was up next in December to close out his undefeated year as the King of the Silver Screen. While each film in '67 was a blockbuster hit (and all dealt with #racism in some form), "Ivy" was very different as it was a rare mainstream film showcasing two Black romantic leads–Sidney, and the magnificent Jazz singer/activist Abbey Lincoln (who had a dope afro but they gave her a wig, instead 🙄 )–and it even featured the very first (though not explicit) Black lovemaking scene in a Hollywood movie. Perhaps that's why it didn't get much publicity over time as those others did, because more radical than a 1967 film with an interracial couple is a 1968 one with a Black couple being intimate on the big screen.

Ivy's character looked so serene, looking through the window, out over Manhattan late at night, in the afterglow of their tryst, before taking the throne and looking over her sleeping "conquest" 😉 It's a sexy scene without music, but I wanted to hear what it would sound like with some, and so I take this moment to celebrate the memory and legacy of Sidney Poitier, of Abbey, and this wonderful moment of #BlackLove on film with it!

This song will be included in my upcoming project I'm releasing on my bday, Tuesday, the 22nd of February, 2022 (or 22/02/2022). That's also the title of the project: 22022022 (the only palindrome b'earthday I'll have in my lifetime). I hope you enjoy and Happy #BlackHistoryMonth.

#AhmedSirour

Midnight, Melanin, & Manhattan (a score for Ivy)

"Midnight, Melanin, & Manhattan (a score for Ivy)"

Autumn Leaves - Dizzy Gillespie - Giants (Live 1971)

Website: https://www.arthursatyan.com
Insta: https://www.instagram/arthursatyan
Facebook Page: https://www.facebook.com/arthursatyan
Linktree: https://linktr.ee/arthursatyan

Barbados (Charlie Parker) - Arthur Satyan Acoustic Ensemble

From the album 'Umakhulu' (AFS052)

Ayanda Sikade on Drums
Nduduzo Makhathini on Piano
Simon Manana on Alto Sax
Nhlanhla Radebe on Bass

Produced by Ayanda Sikade
Recorded by Peter Auret at Sumo Sound
Mixed and Mastered by Gavan Eckhart at Soul Fire Studios
Artwork: Michael MacGarry
Cover photo: Vuyo Giba

© Ayanda Sikade 2021/22
℗ Afrosynth Records 2021/22 - www.afrosynth.com

Distributed by Rush Hour, Amsterdam - www.rushhour.nl https://www.rushhour.nl/record/vinyl/umakhulu

Umakhulu

'Imithandazo Yeengelosi' (prayer of angels) - Ayanda Sikade

Let It Ride

Let It Ride (From "Norah Jones is Playing Along" Podcast)

13 Speak Low

"Estate"_Chet Baker at Capolinea

I wrote this tune on the piano immediately after a Gospel choir rehearsal in June, 2014.  It flew out of nowhere & I knew I only had minutes to capture it...  I soon ran home excited & spent the evening piecing my words together.  

MUSIC VIDEO:   https://youtu.be/B0_lEGRXJks

Stories & Rhymes

01 Waof

This album explores the beautiful complexity that emerges when geometric precision meets emotional warmth. It's a collection that represents the evolution of lo-fi jazz, where mathematical patterns interweave with human expression to create something greater than the sum of its parts. Each piece has been selected for its ability to build upon the previous, creating an interlocking sonic tapestry that rewards both casual listening and deep attention. It is an architectural jazz that is structured yet fluid, precise yet passionate.

Modal Landscapes

Solitude ( Duke Ellington)

Take Five (Paul Desmond)

Featuring Aaron Diehl (piano), David Wong (bass) and Quincy Davis (drums).

New York jazz piano sensation Aaron Diehl will perform alongside Cecile McLorin Salvant as part of her fantastic Quartet at this year's Edinburgh Jazz & Blues Festival:
http://www.edinburghjazzfestival.com/2012-programme/artists/cecile-mclorin-salvant-quartet.html

"Estate"_Chet Baker at Capolinea

oSvi

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