Thanks Rob. Beautiful and keep playing. That's what's keeping me going.

Smooth jazz up to slow rock

Im stoked to share the next track off The Backlog, "Down The Hole ft. Kevin Donohue). This is a crazy rocky/bluesy track that I made last spring  featuring the homie Kevin Donohue from Sunsqaubi on guitar. Free download as always.

ps. check the download folder for a little bonus track from the SBR partner in crime Artifakts

Free Download 

Down The Hole (ft. Kevin Donohue)

Guitar melody

My sweet dream Pachelbel

Die Titelmelodie einer bekannten Sendereihe auf BR-alpha / ARD-alpha, "Interlude" von Jerry Owens, arrangiert für die HAMMOND Orgel XE-2. In der Melodie erklingt ein Sinus-Sound und eine Oktav-Jazzgitarre. Im Untermanual erklingt ein dezenter Sinus-Begleitsound und ein Streichersound sowie ein E-Piano, außerdem steuern die im Untermanual gegriffenen Liegeakkorde die dezente Begleitautomatik. Gegen Schluß gibt es auch noch ein kleines Percussion-Solo mit dem Tastenschlagzeug. Der Baß wurde live auf dem Baßpedal dazugespielt. Gespielt ohne Mehrspur-Verfahren.

The title melody of a well-known series on BR-alpha / ARD-alpha, "Interlude" by Jerry Owens, arranged for the HAMMOND organ XE-2. The melody features a sine sound and an octave jazz guitar. In the sub-manual, a subtle sine accompaniment sound and a string sound as well as an electric piano can be heard, and the lying chords used in the sub-manual control the subtle accompaniment. Towards the end there is also a small percussion solo. The bass was played live on the bass pedal. Played without multi-track method.

Interlude (Larry Owens)

Instrumental version on the alto saxophone of the song Cry me River

Cry me River (Verc. Sax)

Cry Me River (Verc. Sax)

My One And Only Love

#AkherZapheer #اخر_زفير

Facebook: https://web.facebook.com/akher.zapheer/
Instagram: https://www.instagram.com/akher.zapheer
Twitter: https://twitter.com/AkherZapheer
TikTok: @akher.zapheer

Music & Lyrics:
Basem Sayej

Recorded, Mixed & Produced by:
Sari Abul Adel at Impulse Sonic Arts 
https://www.instagram.com/impulsesonicarts

Merlin Dulcimer:
Sari Abul Adel
https://www.instagram.com/sari.abuladel/


Artwork:
Tiffany Moujaes
https://www.instagram.com/tiffanymoujaes/

Special Thanks:
Stuart J Spaans

Emm El Mousiqa

Ballet

Ballet باليه

chris brown- your love remix

TrAp

Travel late at night through empty streets of the cities we call home, lost to music as the urban landscape passes us by.

Night City

J.S. Bach’s French Suites (BWV 812-817) are a curious case. Their history, their compositional intent, even the specifics of their original musical content are surrounded by all kinds of uncertainty. We’re not even sure why or when they began to be referred to as “The French Suites”; there’s nothing particularly “French” about them. (Their constituent movements are pretty much all French dance forms, sure, but that’s also true of the earlier English Suites (BWV 806-811), which are frankly even less English than the French Suites are French.)

Anyway, I thought I knew the French Suites reasonably well until one morning a few months ago when I was walking with my dog along the river (whose resident blackbirds you’ll hear right off the top of this song), listening to Angela Hewitt’s beautiful recording. Her performance of Suite No. 4 in E-flat opens with a Prelude whose grandeur and drama had me feeling both elated and confused: “Aaagh this is the best! I can’t possibly have heard this before and just forgotten about it, right?? Why doesn’t everyone play this??”

Turns out Hewitt’s recording is of a rarely-performed “alternative” version of the suite (hence “BWV 815a”), which contains this prelude, along with an additional Gavotte and a Menuet. Some research revealed that these extra movements are very possibly not by Bach at all, which makes their inclusion in any performance kind of controversial in some circles. (Hewitt’s defense of the practice amounts to “I love them, so I play them”, which is good enough for me!)

Finally, another interesting thing about the Prelude is the notation of its first 18 bars, which are laid out as a series of “unmeasured” block chords, with no precise indication of melody or rhythm, giving it more in common with, say, a Jazz lead sheet (“Here are the chords, get through them however you want”) than with the rest of Bach’s surviving work (although there was plenty of improvisation in Baroque musical performance in general).

I must have been feeling… spicy… that day, because this felt like an invitation. Some piano, some Rhodes, some acoustic guitar, some electric guitar, lots of synthesizers and lots of bowed double bass later, I had this loose take on a loosely-expressed 18 bars of music from the early 18th century. I present it humbly, with endless love and reverence for Mr. Bach and/or whoever actually wrote it.

My One And Only Love

Rob Fontana

Recent comments

Alex

PapaP

Related tracks