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In this unique rhythm section workbook, 23 James Brown classics have been transcribed, broken down into individual lessons, and meticulously recreated on two one-hour CDs. Featuring legendary grooves from the guitarists, bassists, and drummers who ignited the Godfather of Soul for over three decades (including Jabo Starks, Bernard Odum, Clyde Stubblefield, Bootsy Collins, Jimmy Nolen, Country Kellum, and more), this book will enlighten and challenge your soul.

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For all instrumentalists and vocalists. CDs contain 30 extended tracks of recorded background. Great primer for learning basic skills in major and minor keys. Advanced players will want to work on 'double-timing', playing 'outside' and 'side-slipping' in all keys at comfortable tempos. Special tracks have Jamey Aebersold playing various exercises and soloing on his saxophone with actual cuts from Volume 24 so you can hear and see how to use this set. All exercises and sax solos on the demo tracks are transcribed and written out in the book! Pick a different key each day/week/practice.

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The Lydian Chromatic Concept is one of the two most splendid books about music; the other is My Musical Language by Messiaen. Though I’m considered a contemporary music composer, if I dare categorize myself as an artist, I've been strongly influenced by the Lydian Concept, which is not simply a musical method – we might call it a philosophy of music, or we might call it poetry. – Toru Takemitsu, Swing Journal interview, Tokyo The simple melody was an experiment inspired by an evening Miles had spent with George Russell who at the time was working on his Lydian Chromatic Concept, Miles was fascinated by Russell’s approach. Here was a means for breaking free from tonal clichés while maintaining some amount of restraint. Shortly after his evening with Russell, Miles recorded his new composition demonstrating Russell’s basic principles. – Round About Midnight: A Portrait of Miles Davis by Eric Nisenson, Dial Press, New York

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Alai Oli - group of Ekaterinburg. For 4 years of existence they had time to win love of listeners not only in all corners of Russia, but also in other countries. Warm, light reggae with a female vocal and gentle lyrics - cheerful, and at times sad, but nevertheless encouraging, expels melancholy from heart, even when a rain not behind a window, and inside.

Completed in 1911, Petrouchka was the second of Stravinsky's great ballets and is one of the most famous ballet scores of the twentieth century, equally at home in the concert hall as in the theatre. Now published in The Masterworks Library: Landmark 20th century works from the Boosey & Hawkes catalogue available for the first time in full score format at pocket score prices with introductory notes, illustrations and photographs. Ideal for students, conductors, performers, libraries, CD collectors and general music enthusiasts.

Stravinsky's longest serial score, Threni sets passages from the Lamentations of Jeremiah. An unusual feature is the musical treatment of the Hebrew letters offsetting the different verses. "The effect," writes Eric Walter White, "is like that of a series of illuminated initials embellishing a manuscript; and the special cadential qualities of these brief harmonic glosses give them a curious kind of nimbus."

The translucent scoring and evanescent lyricism of this ballet – a cousin to Apollo (who appears at the close to "raise heavenward Orpheus' song") – confer a distinctive beauty. Even the Furies are spectral and restrained. Orpheus's pleading lyre is memorably translated as a solo harp. Stravinsky's retelling of the famous myth connects to a rarefied lineage of musical incarnations also including the Orpheus operas of Monteverdi and Gluck – and (a possible companion piece) Beethoven's Fourth Piano Concerto, in which the solo piano, pleading for Eurydice, pacifies the angry string choir of the second movement.

Pulcinella is a ballet by Igor Stravinsky based on an 18th-century play — Pulcinella is a character originating from Commedia dell'arte. The ballet premiered in Paris on 15 May 1920 under the baton of Ernest Ansermet. The dancer Léonide Massine created both the libretto and choreography, and Pablo Picasso designed the original costumes and sets. It was commissioned by Sergei Diaghilev.

This intimate opera buffa for Diaghilev takes place in a middle class home situated in a small Russian town, ca. 1840. Parasha, in love with Basil, contrives to have Basil engaged as the family cook. He flees through a window when discovered shaving his beard. Stravinsky conceived Mavra as an homage to Pushkin, Glinka, and Tchaikovsky, all of whom elegantly "united the most characteristically Russian elements with the spiritual riches of the West." Including two arias, a duet, and a quartet, the score invokes Russo-Italian operatic conventions. This affectionate impulse does not, however, preclude a mordant satire on bourgeois manners. The love duet, with its fervent endearments and symphonic ejaculations, is a hilarious parody of the Romeo-and-Juliet genre.

One of the seminal works of the 20th century and a milestone in the history of music, The Rite of Spring famously caused a riot at its first performance in Paris in 1913. Since then, this revolutionary masterpiece has found its place as one of the most performed and admired scores of the twentieth century.
Now published in The Masterworks Library: Landmark 20th century works from the Boosey & Hawkes catalogue available for the first time in full score format at pocket score prices with introductory notes, illustrations and photographs. Ideal for students, conductors, performers, libraries, CD collectors and general music enthusiasts.

In his Poetics of Music (1942) Stravinsky says: "Summing up: What is important for the lucid ordering of the work – for its crystallization – is that all the Dionysian elements which set the imagination of the artist in motion and make the life-sap rise must be properly subjugated before they intoxicate us, and must finally be made to submit to the law: Apollo demands it." Stravinsky conceived Apollo as a ballet blanc – a "white ballet" with classical choreography and monochromatic attire. Envisioning the work in his mind's eye, he found that "the absence of many-colored hues and of all superfluities produced a wonderful freshness." Upon first hearing Apollo, Diaghilev found it "music somehow not of this world, but from somewhere else above." The ballet closes with an Apotheosis in which Apollo leads the Muses towards Parnassus. Here, the gravely beautiful music with which the work began is truly recapitulated "on high" – ceaselessly recycled, frozen in time.