The composer says: Several musical threads led to my writing this piece of music to celebrate my friend Matanya Ophee's (AKA MO) 80th birthday - a life lived with the guitar. Jelly Roll Morton once asserted: 'In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning; I call it, for jazz.' Over the last couple of years I moved back to Jelly Roll Morton's city: New Orleans, home of my adolescence and reacquainted myself with the tinges of Spanish in its rich musical heritage. One of these pieces was the Mardi Gras Mambo, an iconic song frequently played during Mardi Gras and, in David Newman's reworking of the lyrics, at the New Orleans Saints football games as the Super Bowl Mambo. Uncited sources on both Wikipedia and Essortment say the word Mambo means 'conversation with the gods' in Kikongo, the language spoken by Central African slaves taken to Cuba where it became the name for a musical form and a dance style that developed originally in Cuba in the able hands of Cachao's (Bassist Orestes Lopez) tune: Danzon Mambo. This rhythmic style became famous in the 1950's following its use in dance bands in Mexico and through New Orleans to the United States. The infectiousness of the New Orleans re-interpretation of the Mambo's ostinato bass line and the reaction of people who are readily moved to dance when they hear it spoke to me of dance and celebration. This led me to choose some of this piece's characteristics and title for this piece: Mambo for MO. As we have progressed on the instrument, some of us may have encountered the four-chord descending minor chord progression known as the Andalusian cadence: i - VII - VI - V in many different genres and guises. After all, it appears in Ray Charles' Hit the Road, Jack, the verse on Good Vibrations by The Beach Boys, Walk, Don't Run by The Ventures, Runaway by Del Shannon and in that great work arranged and embraced by the Guitar: J.S. Bach's Chaconne from the Partita in D minor for solo violin, BWV 1004. This bass line derived from a Latin American musical style as reinterpreted in New Orleans, a chord progression that evokes the Flamenco Music of Spain, and my impressions of the sinuous lines of people dancing the Second Line in the streets of New Orleans at Mardi Gras led me to this synthesis as a tribute to a man who has contributed so much in his lifelong efforts for the guitar, its history and lore on the occasion of his birthday! Happy Birthday, Matanya! Carlos Barrientos was born on June 25, 1954 in Tela, Honduras. He began his formal music studies at the National Music Conservatory in Guatemala City, Guatemala C.A. His training with Maestro Elias Barreiro, Director of Guitar Studies at Tulane University, was supplemented with Master Classes with Manuel Barrueco, Leo Brouwer, Juan Mercadal, Michael Newman, Tommy Tedesco and Carlos Barbosa-Lima. He studied composition under the tutelage of Dr. Jerry Sieg, University of New Orleans, and Dr. Roy Johnson, Florida State University. He consulted with Michael D. Martin, Ph.D., Associate Professor of Music, Albany State University, Albany, GA in the creation of a recordings library that reflects Western Art Music and American Jazz for the students at Albany State University. The New York Premiere of the First Movement of his Second Guitar Sonata was dedicated to and performed by Classical Guitarist Maestro Carlos Barbosa-Lima in 2003 at Carnegie Hall. At the request of U.S. Senator Bob Graham one of his compositions, Si Tu Te Vas (If You Go Away), was included on a recording to promote The Everglades Trail. In 2004, at the American Church in Paris, France the World Premiere of his Romance for Flute and Guitar was performed by the award-winning Serenade Duo, flutist Michelle LaPorte and guitarist Gerry Saulter. He has performed with such legendary musicians as Herbie Mann, Donald Byrd and Debbie Reynolds, led an on stage Renaissance Trio in a University of New Orleans production of Shakespeare's Twelfth Night, and played incidental music for their production of Bertold Brecht's The Good Woman of Sichuan. He has performed Carulli's Guitar Concerto in A, Leonard Bernstein's West Side Story and Marvin Hamlish's A Chorus Line with the Northwest Florida Symphony Orchestra and Okaloosa-Walton Community College, Niceville, FL, and with the Southern Art Music Ensemble, a Jazz/Latin Fusion Sextet, including an Honors Convocation in Atlanta for Mr. Ted Turner. He has been a guest performer with the Albany State University Jazz Ensemble at The Fletcher Henderson Jr., Macon and Atlanta Jazz Festivals, and played the banjo in the Albany State University /Albany Symphony's co-production of George Gershwin's Opera Porgy and Bess.

The perfect companion repertoire book to Bert Weedon's best-selling guitar tutor Play In A Day. Packed with tunes from all styles of music for the beginner/intermediate player, and suitable for both electric and acousti c guitar players./ Recueil / Guitare

Par NORRIS JEREMY. After the Jazz Suite for Flute and Piano (ED 20922), this Jazz Suite ventures still further into the realms of jazz idiom and many passages – such as the Cadenza in Daydream and the final Allegretto section of the Variations – even resemble Bebop improvisations. The underlying formal structures, in particular ternary form and variations, are nevertheless firmly rooted in the classical tradition. An alternative clarinet part has been included as this instrument shares a similar range to the alto saxophone and is likewise equally at home in both concert halls and jazz clubs. Although the notes are fundamentally the same, the respective parts explore and exploit these instruments’ more effective and comfortable registers through octave transpositions, with the saxophone generally taking the middle range (roughly from a to f’’) whilst the clarinet rises without effort to the higher register an octave above. / Jazz / Date parution : 2014-11-20/ Répertoire / Saxophone Alto en Eb [Clarinette en Bb] et Piano

Par RAE JAMES. Pour début ventures dans les habitudes de sycopated de jazz. Idéal comme un titulaire pour la série Jazzy principale. / Niveau : Facile / Recueil / Flûte Traversière et Piano

Flexible Four-Part Concert Pieces. Par DIVERS AUTEURS / RAE JAMES (ARR.). All together easy Ensemble! is a series of flexible arrangements of well-known pieces for students venturing forth into ensemble playing for the first time. The parts are of equal importance and are written within a comfortable range for each instrument. An optional piano part is included, to enhance the ensemble if necessary and parts are included for a wide range of instrumentations. The 2nd movement of Haydn's 'Surprise' Symphony always raises a smile and of course 'The Blue Danube' is a firm favourite. These, together with the French song 'Sur le Pont D'Avignon' and James Rae's own 'Hot Rock', provide a varied choice of styles for school ensemble sessions and concerts. Very easy arrangements of well-known works for various instrumentations for the first experiences of ensemble playing Ideal for concerts and examinations All parts are of equal importance and any number of players can join each part Includes an optional piano part to support the ensemble For brass ensemble, further brass parts are available as free downloads / Niveau : Facile / Recueil / Ensemble Flexible 4 Parties

New Edition of the Complete Works V/5. Par SCHUBERT FRANZ. In addition to his symphonies, Franz Schubert also wrote and handed down to posterity a total of eight finished concert overtures (two of them in two versions) between ca. 1811 and 1819. With the exception of the “Overture in D” (D 4) to the comedy “Der Teufel als Hydraulicus” (“The Devil as Engineer”) and the “Overture in D” (D 26), whose original title was cut out of the manuscript, they are all compositions which are associated neither with a drama nor a programme. They thus embody the type of the pure concert overture at an astonishingly early point in the history of music and are also in keeping with this terminologically by virtue of explicitly not having any other appellations whatsoever in the title: the epithet common for two works “in the Italian style” was only added posthumously. Our volume sees publication for the first time of the “Italian Overture in C” (D 591) in its two authentic versions, this being in contrast to the performance tradition based on a potpourri of the sources. The widely handed-down but corrupted musical course of the “Overture in D” (D 590) has likewise been rectified for the first time. Overshadowed by his symphonies, Schubert’s overtures have hitherto been largely undervalued both in their reception and in musical practice – including the “Overture in E minor” (D 648), which sees Schubert venturing into radically new spheres of expression to a greater extent than in virtually any other of his works./ Recueil / Orchestre

nach Gedichten von Hermann Hesse. Par MAMLOK URSULA. After emigrating from Berlin at the age of 16, the Jewish composer Ursula Mamlok wrote Four German Songs in 1958 while studying at the Manhattan School of Music. Based on texts from Hermann Hesse's collection Vom Baum des Lebens, the songs reflect the uprooting from home. Mamlok juxtaposes Hesse's melancholy with an intensive tonal image which proceeds from expressionism with short motifs and tonal transgression, yet ventures into new spheres of expression./ Répertoire / Baryton et Piano

Arrangeur: Cho-Liang Lin. Over the wonderfully enjoyably years of conducting, there have been so many fine encounters with the Mozart Violin Concertos - mostly with very gifted players like Menuhin, Oistrakh, Stern and, more recently, Cho-Liang (Jimmy) Lin. There have, however, been instances (only a few, I'm pleased to say) when I've come, in the performances, to dread the onslaught of those cadenzas, which sound like a send up of Paganini, or belong to the wrong century with a plethora of double-stopping lasting too long, venturing into tonalities Mozart would not have recognized. After several performances with Jimmy came a request from him for suitable cadenzas that showed off the solo violin while commenting on Mozart's music he had just played. They worked, and Sony asked us to record them all and, with the welcome inclusion of Jaime Laredo, all the rest of Mozart's violin and orchestra repertoire. This led to in an invitation from Schott to have the cadenzas published, and this is the result. / Classique / Recueil / Violon

This composition for younger and developing musicians allows them to play a dramatic piece that sounds like the soundtrack of an epic motion picture. The main theme is bold and adventuresome while the secondary theme is more reserved and playful. The rhythms and pitches are playable by most first year musicians. Both accessible and bold, this is a terrific choice for festival or concert performance. (2:15) / Concert Band

Every song from the late, great David Bowie's number one album Blackstar (?), arranged for Piano, Voice and Guitar, with full lyrics, chord symbols and chord boxes. The album was released just two days before Bowie tragically passed away, and was hailed by critics and audiences as one of his greatest, taking his music in new directions as he had done for his entire life.The album was a surprise release to many fans, with the first single Blackstar hinting at a completely new direction, venturing towards jazz music. A music video for the second single, Lazarus, was released in January 2016, the day before the album. The video shows Bowie in a hospital bed, with a bandage covering his eyes before walking into a wardrobe at the end.Bowie passed away two days after Blackstar was released, to the sadness of the entire nation. Much of the album relates to life and death, and the lyrical themes have been interpreted as a 'parting gift' for fans before his death. The songs have been almost universally acclaimed for their music and lyrics, as well as the ultimate artistic swansong for a man whose life was exceptionally creative and boundary-pushing. With this Blackstar sheet music, you can learn to play David Bowie's last album in all its glory, for Piano, Vocal and Guitar. / Piano/Vocal/Guitare (PVG)