Cornfield Gringo

Familiar Stranger

(Lyrics Below) Hello Family!!! I don't know if I've ever written this many songs in a year, it's been just a bit overwhelming. I just wanted to thank everyone who has taken a few minutes out of their day to listen to any of my work. It means the world to me that anyone has listened to any of the songs I've written. I am truly grateful, please enjoy this special little version of "Trust Yourself", that perhaps we should have spent just a little more time on. I hope this finds you all well. Never give up hope, never give up love and never give up.

With every ounce of my heart, thank you so very very much!
-L
(Trust Yourself Lyrics)
(Copyright GHOSTeatENbyTHEMACHINE -L -Vesper)

nothing good comes easy
not for me
and certainly not for you
you can think you have something figured out
just to find out that you do not at all
but you will soon
just trust yourself
and trust the process
you know yourself better than anyone else

so just trust yourself
and trust the process
you know yourself better than anyone else
the path that you walk on is your own
and you were chosen for a reason
the path that you walk on is your own
and you were chosen


you have to do what's best for you
and not for the greed of someone else
nothing good comes easy
not for me and certainly not for you
there are no failures just detours
a lesson everyone must learn
so what have you learned

Just trust yourself and trust the process
you know yourself better than anyone else
the path that you walk on is your own
and you were chosen for a reason
the path that you walk on is your own
and you were chosen

you
are never lost
you're just discovering
who you are

Trust Yourself ( Special "Thank You!" Alternate )

Between the Lines

hey omg i'm alive.

enjoy my silly little cover by solitude by billie holiday! i plan on doing more jazzy covers trust :)

backing track info - https://www.youtube.com/watch?v=4eHqslo0L5k

lyrics:
In my solitude you haunt me
With reveries of days gone by
In my solitude you taunt me
With memories that never die

I sit in my chair
Filled with despair
There's no one could be so sad
With gloom everywhere
I sit and I stare
I know that I'll soon go mad

In my solitude
I'm praying
Dear Lord above
Send back my love

I sit in my chair
Filled with despair
There's no one could be so sad
With gloom everywhere
I sit and I stare
I know that I'll soon go mad

In my solitude
I'm praying
Dear Lord above
Send me back my love

in my solitude... (lofi cover)

Blue Alert was a song originally written by Leonard Cohen and Anjani Thomas and covered by Madeleine Peyroux in 2006.   This cover version was recorded with The Sauce in Cardiff in 2011 at The Atrium, University of Creative Industries and includes the Welsh musician, Dale Reynold's (aka Jali Parker) playing minimal yet distinctive instrumental solo guitar, Steve Roberts playing easy brushes and Jason Crews playing Upright Stick Bass.   

Blue Alert

"Białe Róże" in a new jazz interpretation—delicate, deeply emotional, and full of atmosphere. This slow, acoustic arrangement for piano, double bass, and brushwork drums brings out the depth and melancholy of the piece while giving it a modern jazz character.

In my version, I focused on space and subtlety—the warm sound of the piano leads the melody, the double bass provides expressive foundation, and the drums add a gentle rhythmic breath. It’s a musical story about nostalgia, and emotions hidden in harmony.

Immerse yourself in this unique atmosphere and let the music guide you through the story of "Białe Róże" in a jazz interpretation. If you enjoy this arrangement, leave a comment, like, and share—thank you for your support!

Białe Róże

Chet Baker Re:Imagined, a collection of songs recorded by a varied selection of international talent to celebrate the legacy of one of the most unique, charismatic and influential figures in the history of jazz. Released to mark the 70th anniversary of seminal album Chet Baker Sings, the 15-track compilation presents modern reworkings of the trumpeter and singer’s repertoire and underscores the enduring influence of one of 20th century music’s most creative artists.
Featuring an array of international artists spanning R&B, pop, soul and jazz. British artists dodie, Matt Maltese, Matilda Mann, Joel Culpepper, Ife Ogunjobi, Hohnen Ford, Eloise and Puma Blue line up alongside Benny Sings from the Netherlands, Canada’s Stacey Ryan, American artists Delaney Bailey and Mxmtoon, South Korean Sara Kang and Australian-Filipino grentperez. These musicians, singers, songwriters and beat-makers all sit within a fast-emerging scene and together they cast Baker’s sublime melodies against a contemporary sound canvas marked by a spectrum of acoustic and electronic colours, artful, impassioned improvisation and richly layered production.
Tracklist:
1. Silver Lining – Joel Culpepper
2. That Old Feeling - Eloise
3. I’m Old Fashioned - Sarah Kang
4. I Get Along Without You - Hohnen Ford
5. There Will Never Be Another You - Matilda Mann
6. Old Devil Moon - Dodie
7. It’s Always You - Puma Blue
8. Speak Low - Ife Ogunjobi
9. I’ve Never Been In Love – Poppy Daniels
10. Time After Time - Benny Sings
11. Like Someone In Love - Stacy Ryan
12. My Funny Valentine - Matt Maltese
13. I Fall In Love Too Easily - mxmtoon
14. But Not For Me - grentperez
15. While My Lady Sleeps - Delaney Bailey

Chet Baker Re:Imagined

More Than This - Norah Jones & Charlie Hunter (speed up + reverb)

Composed in 1946 by pianist Matt Dennis with lyricist Earl Brent, “Angel Eyes” quickly became the quintessential late‑night torch song—first introduced by Dennis himself at Hollywood’s Spotlite Club and later immortalized on recordings by Frank Sinatra, Ella Fitzgerald, and the Bill Evans Trio. Written in the wake of post‑war West Coast jazz, its sultry minor key and brooding lyric captured the noir mood of smoky lounges and film‑soundtrack ballads of the era.

My version keeps the classic 4/4 ballad feel but sets the pulse at a simmering ≈ 111 BPM . The harmony opens in D m9 → A m7 and cycles through lush progressions like F maj / C bass → B♭ maj7, peppered with dim‑7 passes and suspended dominants to heighten the noir tension 
. A single nylon‑string guitar handles chord‑melody rubato intros and later comps with velvet extensions, while the upright bass outlines every ii–V cadence in deep, rounded half‑notes before breaking into walking figures for the solo chorus. Brushes on ride and snare supply hushed shadows rather than overt back‑beats, letting every altered ninth and flattened fifth linger in the air. Only guitar, bass, and drums were recorded to keep the texture intimate 

If you’ve ever wanted to hear “Angel Eyes” whispered rather than shouted, this take is for you. Close your eyes and you’ll feel the hush of a near‑empty bar at closing time—the guitarist tracing the melody like dim light across a tabletop, the bass sighing beneath, the drummer sketching silhouettes of rhythm. Each chorus invites you a little farther into the story, letting the song’s famous melancholy bloom without rushing the night away.

Enjoy the journey? Explore more arrangements on my YouTube channel (https://www.youtube.com/@rfviolao) and dive deeper into scores, lessons, and jazz musings at https://ricardofarao.com/. Hit follow, leave a comment, and let’s keep sharing late‑night standards together.

Angel Eyes - M. Dennis

Written in 1945 for Marcel Carné’s film Les Portes de la Nuit, “Autumn Leaves” (“Les Feuilles Mortes”) pairs Franco‑Hungarian composer Joseph Kosma with poet Jacques Prévert (French lyrics) and, later, Johnny Mercer (English lyrics). Its haunting descending line quickly leapt from the French screen to the American bandstand; by the mid‑1950s it was a must‑play tune, with landmark versions by Cannonball Adderley & Miles Davis, Bill Evans, and Duke Ellington. Part of its magic is the constant pull between minor and relative major, mirroring the bittersweet drift from summer into winter.

About this trio arrangement
Instrumentation – nylon‑string guitar (lead & comping), upright bass, brush‑kit drums, and a warm Nord synth‑string pad that swells beneath long tones for a cinematic glow.

Key & harmony – we begin in A minor, letting the classic descending ii–V chain fall through Dm7 → G7 → Cmaj7 → Fmaj7 → Bm7♭5 → E7 → Am. Mid‑tune, the pad pulls us briefly into C major before the autumnal minor returns, giving the arrangement the same soft‑focus modulation the leaves themselves seem to trace in the wind.

Tempo & feel – a relaxed 126 BPM straight‑ahead swing keeps the tune airy rather than wistful; brushes whisper on the snare while the bass walks in quarter‑notes, occasionally hinting at double‑time to lift the solo chorus.

Texture – after a rubato guitar intro over subtle string swells, the pad thins to a halo so the guitar can explore upper‑structure extensions (♯11, 13) during the solo. Four bars of traded fours with brushes imitate leaves swirling on a gust, and the out‑head lands on a luminous A‑major‑7 “Picardy” tag that lingers like the last ember of autumn light.

Why listen
Put on headphones and you’ll hear afternoon sun falling through golden leaves: the synth strings breathe, the guitar sings, the bass murmurs, and the drums sketch silhouettes rather than beats. It’s a familiar standard viewed through a new, golden‑hour lens—nostalgic yet fresh.

Stay connected
If this journey moves you, explore more arrangements on my YouTube channel (https://www.youtube.com/@rfviolao) and dive into scores, lessons, and articles at https://ricardofarao.com/. Hit Follow, drop a comment, and let’s keep turning pages of the jazz songbook together.

Autumn Leaves - J. Kosma

Written by Cole Porter in 1954 for the Broadway musical Silk Stockings, “All of You” wrapped Porter’s trademark wit in a luxuriously chromatic melody. The show‑tune soon stepped off the stage and into the jazz canon: Miles Davis cut a landmark version at the ’Round About Midnight sessions, Bill Evans turned it inward on Portrait in Jazz, and Ella Fitzgerald pared it to pure swing on her Verve Songbook. The tune’s elegant shifts between major tonic and minor subdominant make it a playground for harmonic storytelling.

Instrumentation – nylon‑string guitar (lead & chord‑melody), upright bass, brush‑kit drums, and a warm Nord synth‑string pad that swells beneath long tones to give a cinematic sheen. Only these four voices were tracked, even though the score lists multiple drum kit articulations.

Key & harmony – the chart opens on E♭ maj7 (three flats) and moves through classic Porter turnarounds such as G♭ dim7 → B maj7, G m7 → C 7sus, and a series of secondary dominants that resolve back to E♭. 

Tempo & feel – a bright ≈ 120 BPM straight‑ahead swing keeps things buoyant while leaving room for lush reharmonizations. 

Texture – the Nord pad opens with a soft string halo; guitar states the head in chord‑melody voicings, the bass walks quarter‑notes, and brushes paint light ride‑cymbal shimmer. During the solo chorus the pad thins so guitar can sketch upper‑structure extensions (♯11, 13) before returning for a broadened tag voiced in rich E♭maj9.

Imagine a late‑night rooftop club: city lights shimmer, synth strings drift like evening breeze, and guitar lines glide over crisp swing. This take keeps Porter’s sophisticated charm while wrapping it in modern warmth—perfect for winding down or sipping something smooth.

If the journey speaks to you, explore more arrangements on my YouTube channel (https://www.youtube.com/@rfviolao) and dive into scores, lessons, and musings at https://ricardofarao.com/. Hit Subscribe, leave a comment, and join me for the next chapter in guitar‑led jazz

All of you - Cole Porter

Historical background
Written by composer Sammy Fain with lyricist Bob Hilliard for Walt Disney’s 1951 film Alice in Wonderland, this lilting waltz first accompanies Alice as she wanders through the flower garden. Its dream‑like melody and rising third quickly drew jazz musicians—Bill Evans transformed it into a trio staple, and Oscar Peterson’s elegant take sealed its place in the modern repertoire.

About this trio arrangement

Instrumentation – nylon‑string guitar (lead & chord‑melody), upright bass, and brush‑kit drums—just three voices for an intimate story.

Time & tempo – kept in the tune’s traditional 3/4 waltz, but at a brisk ≈ 170 BPM for a playful, almost carousel spin.

Key & harmony – arranged in D major (two sharps), opening on F♯ m7 → G Maj7 and cycling through bright II–V turns (E m7 → A 7 ♭9 → D Maj7) that mirror Alice’s curious detours. 


Texture – the head is stated in shimmering chord‑melody; the bass outlines each waltz pulse with deep, resonant quarters, while brushes sketch gentle cross‑accents. Mid‑tune, guitar slips into double‑time eighths for a brief “chase the White Rabbit” solo before everyone settles back into the airy waltz for the out‑head, ending on a crystalline D maj9 that hangs like a question mark over Wonderland.

Why listen
Close your eyes and you’ll feel a sunlit garden spinning around you: guitar lines twinkle like curious blossoms, bass moves with story‑book grandeur, and brushes whisper as if distant leaves are applauding. It’s nostalgia and wonder wrapped in six strings and three hearts.

Stay connected
If this journey down the rabbit hole moves you, explore more arrangements on my YouTube channel (https://www.youtube.com/@rfviolao) and find scores, lessons, and musings at https://ricardofarao.com/. Hit Subscribe, leave a comment, and join me for more guitar‑led jazz stories.

Alice in Wonderland - S. Fain

Historical background
Composed in 1931 by Herman Hupfeld for the Broadway revue Everybody’s Welcome, “As Time Goes By” might have remained a pleasant theatre ballad had it not been woven into the 1942 film Casablanca. Dooley Wilson’s piano‑bar rendition under Rick’s Moroccan ceiling turned the song into an emblem of wartime longing, and its opening line—“You must remember this”—is now shorthand for nostalgia itself. Over the decades, jazz singers and instrumentalists from Sarah Vaughan to Oscar Peterson have revisited its elegant 32‑bar form, letting the timeless melody drift across swing, bossa, and torch‑ballad treatments.

About this trio arrangement

Instrumentation – nylon‑string guitar (melody & chord­­‑melody), upright bass, and brush‑kit drums. No strings or pads this time—just a warm, intimate trio captured in one take.

Tempo & feel – a relaxed ≈ 122 BPM 4/4 swing, slow enough to let every lyric breathe yet lively enough for gentle walking bass.

Key & harmony – we open in D major, gliding through Hupfeld’s classic cycle (Dmaj7 → A7 → Bm7 → E7) before teasing darker colors with half‑diminished and tritone‑sub dominants in the bridge. 

Texture – the guitar states the head in soft chord‑melody, adding upper‑structure tensions (♯11, 13) on the A7s. Brushes stay mostly on snare rim and ride edge, while the bass walks in round half‑steps, occasionally dropping to two‑feel for cinematic space. A single‑chorus solo lets guitar slip into double‑time eighths—just enough sparkle—before returning to a whispered out‑head that lands on a luminous D maj9 fading like the last note on Rick’s piano.

Why listen
Close your eyes and you’re in a late‑night lounge: clinking glasses, quiet footsteps, and a song that feels like it’s always been there. The trio keeps the romance intact while adding fresh harmonic shimmer—proof that, as time goes by, good melodies only deepen.

Stay connected
If this take resonates, explore more arrangements on my YouTube channel (https://www.youtube.com/@rfviolao) and find scores, lessons, and musings at https://ricardofarao.com/. Hit Subscribe, leave a comment, and join me for the next chapter in guitar‑led jazz storytelling.

As Time Goes By - H. HupFeld

“Spanish Balcony” is a Latin instrumental meditation by M.A. Vallone — a soft dance between classical guitar and space to breathe. Inspired by mornings on a quiet balcony with warm coffee, distant birds, and time moving slowly.

🎸 Nylon-string guitar, ambient harmonics, and Latin rhythm.
🎧 Best with headphones and no rush.

--

Written & Performed by: M.A. Vallone
Produced by: M.A. Vallone

Follow:
📷 Instagram: @mikevanthony
🎥 YouTube Visual: https://youtu.be/M11pLQiSX7w?si=de_jOoZpfzpsl3B5

#SpanishBalcony #LatinInstrumental #ClassicalGuitar #MAVallone #CostaRicaGuitar #SpaceJazz #RelaxingInstrumental #AmbientLatin #BalconyVibes #AcousticJourney

Spanish Balcony

“Opulent Walk” is a layered jazz piece performed entirely by M.A. Vallone — a rich, instrumental stroll through improvisation and harmony

Every guitar part was played live and arranged with intent: one leading, one dancing, one whispering in rhythm. Inspired by dusk walks through gilded city streets that may or may not exist.

🎸 Nylon Guitar
🌀 Jazz, but dreamier
🎧 Best enjoyed with good speakers and a glass of something old

--

Written & Performed by: M.A. Vallone
Produced by: M.A. Vallone

Follow:
📷 Instagram: @mikevanthony
🎥 YouTube Visual: https://youtu.be/F6hKrbsYldU?si=MUHdpjgvRFyRxPma

#OpulentWalk #JazzGuitar #WhimsicalJazz #MAVallone #InstrumentalJazz #VelvetVibes #AcousticFusion #DreamyJazz #GuitarTrio #EveningWalkSoundtrack

Opulent Walk

Just a couple Winter Garden Florida buddies sharing our music

M.A. Vallone is a composer and classical guitarist blending surreal visuals, lo-fi jazz, and celestial harmonics. His work drifts through genre — rooted in classical form, guided by jazz intuition, and pulled gently toward space.

Each piece is a meditation on time, movement, and the absurd beauty of persistence.

🎧 New visual journeys on YouTube
📍 Crafted between Costa Rica & Texas
🎥 IG: @mikevanthony

Ex- Radio producer,Music Journalist,Employee On International Record Industry Companies At A& R,Marketing and P.R. Departments

i make some music sometimes

for business inquiries and beats:
schwarzieee@gmail.com

discord!
@missaestiva

Transdimensional Art and Architecture
Music Therapy & Meditations
Distinct Musical Geometry

From the school of Björk
Eyes Closed Mind Open
All is full of love

Arcane Magic
Ambient Experimental
Emotional Landscapes

Sonic Landscapes
Energy Weaver
Synth Maker

Music has been a part of my life since childhood - learning, experimenting, and playing various instruments along the way. I graduated from music school, and my experience in choral singing, playing in bands, and taking part in various music projects has shaped my style and creative approach. This website serves as my musical portfolio, showcasing my work and artistic vision. Every track here is fully arranged, recorded, and performed exclusively by me, born out of a deep need for self-expression and the pursuit of unique sounds. I continuously refine my craft by broadening my musical perspectives and drawing inspiration from a variety of genres and cultures. A multi-instrumentalist at heart, I am always exploring new tones, inspirations, and ways to tell stories through music.

In addition to composing and producing music, I am also passionate about photography. On my SoundCloud, each track is accompanied by a photograph that I have taken and prepared myself—carefully chosen to reflect the mood and atmosphere of the piece.

If you enjoy my work, you can buy me a coffee.
Thanks for your support! 🎶☕
https://buymeacoffee.com/matekrypinski

If you are interested in cooperation, please write me an email.
mateuszrypinski@gmail.com

Blues/rocker and fingerstyle acoustic player from Indiana, transplanted to Montréal

New tracks tagged #acoustic jazz