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Found 34 results

  1. Hello from the Kid in Chucks

    Hello everyone! My name is Joey and I am new to this platform. I'm excited to share music with all of you back-and-forth. I'm from Cleveland, Ohio and am an acoustic singer-songwriter highly influenced by Jazz and Soul. Currently in school right now but am managing to do music on the side. If there are any groups that you may know of that I might fit well in with the genres that I like, I'd appreciate a recommendation! Thanks! Joey
  2. Hello!

    Hello everyone! My name is Joey and I am new to this platform. I'm excited to share music with all of you back-and-forth. I'm from Cleveland, Ohio and am an acoustic singer-songwriter highly influenced by Jazz and Soul. Currently in school right now but am managing to do music on the side. If there are any groups that you may know of that I might fit well in with the genres that I like, I'd appreciate a recommendation! Thanks! Joey
  3. I made music using the crying laughing emoji! 😂 This is my first attempt at creating a MIDI drawing that actually sounds good. It ended up being an epic orchestral piece with jazzy chords! What do you think? 👌🏼💯🔥
  4. New song ft. chloe Opondo.. Written, performed, recorded and produced by me. Thanks!
  5. Rat Jazz

    Here’s a little weird something for you. Please let me know what you think of it! Cheers, Geir Rat Jazz GER©2017 Blue is the night, she staggers through her crooked town Street lights and laughing heads, they've seen it all, and been there too Hot jazz, from underground, the kind that sticks and burns your skin Hot rats, a million freaks, up from the dead, all hungry as Hell And she knows, it's in the air, the stench of blood from gnashing teeth The first attack, she kicks free, but then some more, and the game is lost Rat jazz, from all around, the kind that sticks and burns like acid And the moon and the stars above, have nothing to add but dead silence
  6. Feedback on singing voice and technique

    Hi people, So I am a huge music lover myself and harbour hopes for singing. The only thing... I need honest feedback from you guys. I feel that my voice is more suited to slow/mid-tempo songs, so I tend to focus on them more. Here's a raw, home-recorded sample of the song "At Last"... please do let me know honestly what you think. Would really appreciate it Thanks, Sreyashi
  7. Kyle Peks - Narcissus

    Hey guys! I recently put out an album about two months ago, and I figured I would post this one in the instrumentals section. This is one of two instrumental tracks on the album. The name of the song stems from "Echo and Narcissus," a chapter of Ovid's "Metamorphoses" that details several stories of Roman Mythology. The idea of this instrumental was to create the image of Narcissus falling deeply in love with the reflection of himself in the water and gazing at it until his death, fading into nothing as a single flower grows in place of where he last laid. I had a friend that played open mics with an old band of mine provide the saxophone on the recording. I would love to hear what you think, and if you dig this track, there's several others on my YouTube channel that are available for you to listen to if you're interested!
  8. Did you know?

    Hey everyone, "Did you know that you have more bacteria than you have human cells?" - from "K.N.G.R" I'm Aria from the band "The Strawberry Republic". We have just released our debut album "Perfekt Information" (which I will share links to in Showcase threads), and I hope that I can learn a lot from you and pick your minds about the different aspects of our music making process. Thanks.
  9. Since there has been some jazz talk on this forum lately, I thought I would post a new thread. When playing jazz, one of the more challenging aspect is playing over the dominant chords which are altered in most circumstances. What tricks do you guys use? I thought I would post a couple to get the thread started. For those not familiar with this subject, a brief explanation. In order to get the 'color' of jazz you need to know the 'hip' notes to play over a dominant chord. For instance, in the key of C the dominant would be G7. The obvious notes in the chord are G B D F which you will want to utilize, particularly the 3rd and 7th which are B and F. The chord extensions are where the action is, such as the 9th (A)/11th (C)/13th (E). In general, sliding these extensions up/down a half step gives you the nice altered tones. The cool notes are the Ab (flat ninth or b9), Bb (sharp ninth or #9 which is also the minor third), the Db (b5 / #11), and the Eb (#5 or b13). Of course, seeing/hearing these notes in real time and playing them presents a problem for most guitarists. So, there are, quite naturally, some tricks. TRICK #1: When you see a dominant chord, play the melodic or harmonic MINOR scale ONE HALF STEP UP from the chord root. For instance, on our G7 example, you would play Ab (G#) minor with a major 7th. The melodic minor scale gives these notes Ab Bb Cb Db Eb F G Ab which contain the 3rd (B or Cb in our example) and the 7th (F) of our G7 along with some tasty colored tones: Ab (b9), Bb (#9), Db (b5/#11), and Eb (b13). It's as easy as this! Arpeggiate a simple minor triad one half step up from the dominant to get started, and expand on it. TRICK #2: Play around on the dom 7th chord a TRITONE UP from the dominant chord. This is know as tritone substitution and it is not that complicated - it was actually a trick that some early players used that became part of the language of jazz. So, for our example, you would play a Db7 arpeggio over the G7 chord. The notes are Db F Ab Cb(B). Again, you see the 3rd (B) and the 7th (F) along with 2 other notes Db, which is the b5 or #11, and Ab which is the b9 for some very nice color. Toss in the 6th of this chord (Bb) for one of my favorites, the #9. A nice easy trick that will get you sounding 'hip' very quickly. There are some other cool tricks, so share them if you guys use 'em! Peace, TC
  10. Forward: Eddie Durham is a lesser known jazz guitarist from the swing era. Not only was he the first guitarist to be recorded playing an electric guitar. He also played trombone, as well as composed and arranged tunes from the era. Guitar Research is a house brand for Sam Ash. Which is why as a brand name it may not be recognizable or confused with Schecter another manufacturer of guitars. The Eddie Durham models have little in common with the Gibson ES 150 which Durham played through out his career. Although the JX17 comes closer to the mark Neither the JX17 nor the JX16(which is modeled after a gibson es-175) can be considered replica's of ED's es 150 (though the JX17 comes closer to the mark. Both have a "D'angelico inspired" headstock. Sam Ash had these guitars manufactured at Peerless in South Korea and released them for only one year 2006. Since then Peerless has gone on to make their own models fashioned much like the JX17 and D'angelico has been reborn as a guitar maker. Oddly while taking hints from their past incarnation and some from well...the JX17 which only resembles early D'angelico somewhat. The Eddie Durham models did not sell well for Sam Ash. Most likely as it was only available at Sam Ash and the Guitar Research brand name was not well established. Construction and Materials The headstock has that large art deco outline of which D'angelico was famous for with pearl inlays and heavy bindings The tuners are gold Grover Imperials which adds a touch of elegance. Large headstocks on jazz guitars also serve a utilitarian value. They increase the sustain of hollow bodies while reducing the feedback. (strange but true) The maple neck is a "thinner" D shape. that has a width of 1.75 and the action is roughly 4/64's of an inch. Comparable to a Les Paul Standard (more on this later) The frets (my one caveat see below) are medium width, uniform and slightly lower then a standard jazz box or most Les Paul's. With a scale length of 24.75 inches. The 20 fret fretboard is bound brazilian rosewood with mother of pear block inlays and a Eddie Durham signature on the 12th fret. The body is all maple. with a tea-burst finish. It is stunning to look at.Heavy binding The back is a single carved piece of AAA grade Maple Beautiful lines run from neck to bridge. The grain is highly visible along the sides as well. The top is carved (not laminate) two piece flamed maple with oversized F-holes.. It sports a rosewood compensated floating bridge and gold trapezoid tailpiece. Tone and Volume controls are mounted to the 100th Anniversary Engraved Tortoiseshell Pickguard, A floating mini-humbucker is mounted to the neck. Pretty This is no ordinary jazz box. In many ways I've been waiting for this all of my life I just didn't believe it existed. Response and Playability A cautionary note. Floating bridges are not fixed to the soundboard/top. They are held in place only by the string tension. As a result hard strumming anywhere along the strings can result in a shift of the bridge. Throwing the intonation off. Even aggressive flat picking near the bridge can do this. When changing the strings do so one at a time so as not to allow the floating bridge treat your jazz box with patience (in cleaning and changing the strings) Care (in handling and storage) and respect (in playing) In short treat her like a lady and she'll be very good to you for a very long time. Acoustically Speaking Jazz guitars were originally designed for one thing. Loudness. They didn't have pickups or other amplification techniques at the time. The arched to back and larger bodies and f=holes were significantly louder then their flat top brethren. I cringe when I hear early jazz boxes (1920's.and 30's) played acoustically. I also cringe when I hear many expensive name brand jazz boxes played acoustically. The JX17 has a slightly more narrow width which means it still projects to moderate acoustic levels. But how does the JX17 it sound acoustically? Quite favorably far better then most jazz boxes even those in the 10k range. Snappy but not rattly with just the right amount of brightness and a little bit of lower/mid lifts. (warm and round) I was just as pleased playing Bob Seger and The Beatles acoustically as I was Barney Kessel and Kenny Burrell. That Magical Floating Mini-humbucker For a quick review of the differences in floating vs fixed pickup follow an aspect quickly passed over that is covered concerns the responsiveness of the floating pickup. Floating pickups pick up more of the character of acoustic playing. Subtitles of playing an acoustic guitar when applied to a fixed pickup or even piezos and acoustic electric guitars are often lost. Not so with the floating pickup system The floating mini-humbucker is mounted directly to the neck. Adding to the character of the floating pickup is ....it's design. mini pickups have smaller magnets and less windings Low output pickups capture more nuance whether they are fixed or floating by virtue of their low output. The lighter magnets have less bass response and the less windings produce a brighter tone then conventional pickups. While tone can be compensated on amps with minimal adjustment to eq. I've found zero need to move my eq from a flat response. With the tone on the guitar all the way up it is sufficiently bright and warm to easily replace an acoustic guitar during live sets. Pulling back the tone from 7~3 is all that's needed to coax those luscious warm jazz tones. While other jazz boxes can sound "woofy" "tubby" or "dull" the jx17 from Guitar Research is plagued with none of that. It's just a luscious warm responsive tone. It's not just the pickup. The construction compliments the sound. Laminated guitars like the original Gibson ES-175 were primarily designed to be cheap. The feedback rejection they offered made the guitars a success. However laminated jazz boxes still have a dullish quality about them. Spruce tops, while all the rage on acoustic guitars can sound brittle on a jazz box. It's funny I love Kenny Burrell's playing. I like his original tone in the old days. I don't like his Heritage Signature Guitar tone. The reason why I don't is that you have to take the treble all the way down before you get usable tones. But look where the amp tone settings are. The treble is at 0 the mid and bass are at 4. Mahogany tops while offering great warmth to electric solid bodies often turn too dark on jazz boxes. The result is mud or boominess. In short the body and pickup on the JX17 are designed to compliment each other rather then fight each other. When you can leave the amp tone controls flat and still have a great tone you're onto something. All Fingers on Deck If any of you follow my postings here in the forums, You'll know I've been on the quest for a playable jazz box for a long long time. I do not play well with big fat wide necks and high action. Time after time I've been in music stores with jazz boxes priced between $1,000 to 10,000 and when the moment of truth struck.. I was unable to play the instrument due to the high action, fat wide necks and thick strings. I can play jazz and I can play it well however these guitars would cut me to my core. It was embarrassing. The neck on Guitar Research's JX17 was a godsend. The depth I'm not sure about but it feels amazingly close to a les paul standard. The 1.75 inch width at the nut allows my fingers plenty of room between the strings while also allowing me to play thumb over. Something that I haven't even attempted to do on guitars for years. These combined with the 24/75 scale length have made playing "Stretchy" big jazz chords that can span five frets a breeze. With Jazz boxes you want a little more action then one would typically find on an electric guitar but you also want a little more fret height as well. String Height is the measurement of the string to the fretboard and is generally how we judge "action". Fret height on the other hand affects the tonal character, the way the guitar handles pull off's and hammer ons. And...And... how clearly the chord rings out. Grabbing a big jazz chord shouldn't require forcing the strings all the way down to the fretboard. Rather simply touching the string behind the fret just enough to allow the string to ring clear should be sufficient. What to do. The neck already has perfect relief. Attempting to straighten it more would simply result in fret buzz. Lowering the action would make notes above the 12th fret either buzz or go flat. And then there is that pesky business about intonation. Both adjusting the height of the strings or the relief of the neck via the truss rod makes the intonation go out. Remember we are talking about a compensated floating rosewood bridge not an adjustable one. When the intonation is dead on you don't want to mess with it. I give the Guitar Research Eddie Durham 17 a 4.90 out of 5. Conclusion She is drop dead gorgeous to look upon. Her three inch depth gives a richness in tone and comfortability to hold that few full archtops offer. The tone is silky and warm. The playability is one I've dreamed for jazz guitar of all of my guitar playing years that until now had gone unrealized. I'm going to treat her like a lady all of my days. She's worth it.
  11. Jazzy Improv...critique Wanted!

    Trying to learn to improvise...comments welcome https://soundcloud.com/bluesguy1963/jazzy-improv
  12. A while (a year) ago I wrote a song called Dust. I offered it out as a collab and was joined by many folks on here to produce an epic multi composers piece. Achazia's contribution was to sing some of my words and write some of her own, with her own melody. Fast forward nearly a year and I started mucking about with loops and beats. For the vocal I used Achazia's Dust contribution and the music is mainly cubase loops and samples. My 'composer' contribution was the chords behind the singing and a loop constructed of a cubase audio file loop and Achazia singing 'if' This was an experiment to see what I could do with cubase. Luckily Gry is not suing (not yet anyway) The full Dust mix is coming soon - ish
  13. Fuzzy Logic Jazz Theorems

    Jazz can be a nightmare for those with a rudimentary knowledge of classical music theory. Somethings just won't make sense. Don't worry.. Many classical standards from Bizet's Carmen to Rimsky-Korsakov's Flight of the Bumblebee resplendent with chromaticism also fly in the face of Diatonic structures used to teach the principles Some theorems apply in some circumstances while fail in other. As a classic example. In the earliest era of jazz "swing" was accomplished via poly rhythms not the triplets / shuffle pattern we used today. It was a two over three beat. A march (2/4) and a Waltz (3/4) both played at the same time.. There are two approaches to jazz performance. One where everything is exactly notated and arranged for performance and generally intended for Big Band settings and the other where by choices are made by the player using both conventional and non conventional choices for interpretation. Without further adieu things to consider about jazz as you study it, perform it, and generally get the hang of it. In Jazz - The Dominant 7th chord refers not to it's function as the 5th (V) chord but to the spelling of the Chord. That being a Major Chord with a flattened 7th degree. Dominant 7th chords are implicit while Major Seventh Chords are Explicit. As an example If a song is in the Key of C and you see a C7 it means the chord has a flattened 7th degree (C-E-G-Bb) However if the chord is Expressly written as a Maj7 it means it explicitly utilizes the major 7th degree (C-E-G-B ) A common substitutions where by a minor chord is converted to a dominant 7th. In popular form I-VI7-ii7-V7 progressions and turnarounds. When expressing Jazz theory of chord movement is expressed in Roman Numeral based on scale degrees. Uppercase denotes Major while lower case denotes minor. I,ii,iii,IV,V,vi, Chords that are not derived from the major scale degrees are expressed as flats bII, bIII, bV bVII, bVII In usage flat chords can be functional passing or neighboring chords to a target chord, or substitutions (tritone and more) or representations of chords based on minor keys degrees or operate as nonfunctional harmony or harmonic justification (block chords) or when the key is specifically a minor key. Common relative major for minor or minor for major is not considered a valid substitution. One cannot simply supplant a IV chord for a ii chord or vice versa. Extended chord names are derived from chord scale values Extending the scale unless explicitly expressed as a major 7th degree it is assumed to be dominant and assumed that the 7th value is present. For example D(7)9 D-F#-A-C-E C11 C-E-G-Bb-F G13 G-B-D-F-E In practice the 5th is often omitted from chord voicings. and with jazz guitar where a 13th chord appears the third appears as the 10th. EG a G13 would be commonly voiced G-F-B-E or in the form of an inversion a G13 may be expressed as F-B-E-G. As the bass player is expected to hold down the root of the chord Guitarists and Keyboard players may opt for "rootless chords" Tritone Substitution http://en.wikipedia.org/wiki/Tritone_substitution Can be used on any chord (not just the functioning V) Where a major chord is expressed as a dominant (1-3-5-b7) Although it is most commonly used as a subitution for the functioning V or I chord. In expanded tritone substitution any chord that contains the original tritone (major 3rd,b7th) can be substituted with any chord that also contains those same intervals. EG C7 (C-E-G-Bb) Em7b5 (E-G-Bb-D) In Jazz the full diminished chord is built of equal minor thirds values creating a diminished 6th (B-D-F-Ab) they are less common. More common is the Half Diminished. Because this chord rarely functions as the vii chord in a progression it is generally expressed as m7b5 Get used to that m7b5 chord you'll see it alot. It's commonly used as a substitute for Dominant 9 chords built on the 3rd interval. Example G-B-F-A becomes B-F-A-D. It's often used as substitution chord built on the 6th degree of a minor chord. Example Cm (C-Eb-G) becomes Amb7 (A-G-C-Eb) . The m7b5 is used as a bii substitution for the major7 chord. GM7 (G-B-D-F#) becomes Abm7b5 (Ab-B-D-Gb). Occasionally it is used as a "pivot" chord after a series of whole step modulations to return to the root (Bluesette) or simply as the diminished chord ala "Autumn Leaves" If none of the above makes any sense from what you believe to be true...Well welcome to the world of Jazz, the art of the inexact. It's not intended as science and this barely covers the basics. Don't worry you are not expected to learn all this in a day or a week. Simply take note of it as you read it and then refer back to it as you develop. Not all these concepts are used all the time in jazz simply because something "Can" be done doesn't mean it by default "should" or "has to" be done And yet none of them can be fully comprehended until you've experienced them time and time again. Experience that comes from playing the principles, Not reading them, not listening to them in reflection but experiencing them in the moment. Still want to play Jazz?
  14. Mrs Boulet - Avithammer Ft S.el

    Mrs Boulet The seduction Don’t burn your wings don’t lose your mind Just take it real slow, don’t leave us behind I’m a new girl in town, not part of your scene Why don’t you slow down, if you know what I mean Yeah you know what I mean The rejection Everything that I say is taken in vain Don’t know where I am, first there’s sunshine then rain I’ve fallen for you, I’ve fallen for you ..it’s simple can be And Mrs Boulet is smiling at me You can love your mother Your sister too You can love your job All the things that you do Another girl’s man is a possibility But Mrs Boulet is smiling at me Ir’s hard to explain the things that you’ve done Face to face with his girl One to one You know you deserve everything that you get Some people get hurt having fun Oh having fun The consequences It’s been two years now and I’m out on my own No-one to call love, no place to call home It just wouldn’t work It just wouldn’t work Everybody could see And Mrs Boulet is smiling at me You can love your mother Your sister too You can love your job All the things that you do Another girl’s man is a possibility But Mrs Boulet is smiling at me
  15. Tall Tales Of Corporal Smith - Concept Work

    Hey guys its been a while since i posted here and got great feedback. Its been about a year when i asked you all to check out my first serious song. Years before that i had dabbled in various music genres created in FL Studio and Reason but last year is when i started taking musical creation and production seriously. It is my goal in life to carv out my own musical piece of the pie by either my musical creations, performance, production, collaboration, live sound, cinematic music etc. I am determined to find a place in the musical world for myself as a career. I had read a post on here about how in order to move foward as a musician, you must be torn down first and realize you are not great. This has happened to me on several occasions. So much so that last year, i stopped releasing every track i made until eventually, i wouldnt release any track at all for fear that it had nothing musical to offer. I fear i have lost perspective, as we all do, when it comes to my music. It is a passion and fun for me but i long for my music to have meaning to other people as well. So with all that said i would like to present the culmination of 5 years of bedroom production has taught me. It is called Tall Tales of Corporal Smith. It was created at OO Studios (my bedroom). I have invested quite a bit of time and money into my music and my studio, so with that i ask and expect everyone harshest criticism of this project. I would like it reviewed as if you had bought from ITunes. CONCEPT ALBUM play from beginning to end without stopping https://soundcloud.com/oo-records/sets/tall-tales-of-corporal-smith/s-j5HZa I specifically am interested in how the mix sounds and thoughts on the overall theme and production quality. Any and all comments are welcome. We can talk more about the subject material when you have a listen but it is meant to be played from beginning to end. Thanks for any and all comments as this is an amazing community and am grateful to have the opportunity to talk to real musicians instead of cheap listens.
  16. This is my cover of, originally, Van Morrison's "Moondance." Technically, this is a cover of Michael Bublé's (imho better executed) cover. [note, this is a vocal cover. The instrumental was put together elsewhere and bought from iTunes. I just fiddled with reverb and EQ on that track]. http://brian-webb.bandcamp.com/track/moondance
  17. Hey guys, I don't post often here. In fact the last song I posted was probably over a year ago! I thought I'd drop in though and post this new song I wrote that will be recorded professionally in a recording studio for my EP. https://soundcloud.com/trevordeverteuil/ocean-blue-original-song I sort of imagine this as a bit of jazz/pop infused with gospel for the actual track but I can't really get there because I don't have a choir at my disposal haha. I thought some harmonized "mmms" would be really nice for the music until after the first chorus then the piano would come in. But too difficult for me so I'll probably just do piano and violin (or cello) instrument wise. Let me know if you have any arrangement ideas of your own! Here are the lyrics: (Verse 1) Like a tidal wave Rushing right through my veins When I saw you out there in the dark I had to see what you were Now it’s all just blur All I can see is where you left your mark They said get out of the water But I didn’t listen They said get out of the water But I didn’t listen (Chorus) Ocean Blue Oh the things that you do You’ve got my head in a noose I’m falling for you Oh and you can tell By how much my heart swells My love for you just propels me As I’m sinking in your ocean blue (Verse 2) Like the perfect storm Some super cell form You lifted me right off my heavy feet I tried to go with the breeze You wrapped around my body And then you casted me out into the sea Within your renegade eyes I lost the sense of the meaning (Bridge) They said get out of the water But I didn’t listen Thanks for listening
  18. Winter Warmer

    This started out as a kind of retro-hipster, mock jazz song of mine with a pseudo hiphop beat, on the subject of addiction, an allegory of a favourite enemy handed down into the depths of winter with summer warmth only a distant memory... It was then improved immensely by the addition of synths by maestro MonoStone (Dek Ham)
  19. Frivolous (Jazz/lounge)

    This was the latest musician version given to me on my lyrics. I'm somewhat surprised, but in a good way, these lyrics would be used for Jazz. Frivolous (Vs) You're worth every diamond I buy for you the vintage wine that I pour in your glass; the exotic vacations I take you on; Yea, every check I've signed and passed (Pre Ch) You're worth the money You're worth the time I'll spend it all on you Every minute and dime (Ch) I'm frivolous When it comes to you Wanna give you the world the cosmos too I'm frivolous, except with love (Vs) I know that I can't buy you happiness a worry free life, where nothin goes wrong; no tearless eyes with nothin but smiles; a perfect life to always count on (Pre Ch) But, I'll spend every minute I'll spend every dime Give you all my love make it worth your time (Ch) I'm frivolous When it comes to you Wanna give you the world the cosmos too I'm frivolous, except with love I'm frivolous as a man can get I'll give you everything and still more yet I'm frivolous; can't give you enough When it comes to you, I can't resist I'm frivolous © L. James Tanner
  20. Hi. Male lyricist here from the US (Oregon). I enjoy writing, been doing it for years. Prefer to collaborate with existing backing track, but can supply lyrics and let you craft your melody to fit. I like country, older style rock, jazz.. many styles of music. Hoping to find many successful, mutually profitable collaboration opportunities here! Great to meet you all.
  21. Black Painted Heart

    Right........ this video is actually filmed and funded by me. In all (without music recording) it cost £400. A mate in Australia edited as a favour and Students from Essex University filmed it at a Railway museum.S.E.L was kind enough to put up with freezing conditions to make this happen. I shot the guitar sequence in the studio. I did it in monochrome as well
  22. Who Were You With?

    Here's a slow love song with a sexy French speaking part in it (she was from Belgium actually but that isn't as sexy) Who were you with.... a love song with a twist...or maybe not ....
  23. Tomorrow Starts Tonight

    This is my first collaboration in here, and hopefully I'll make more collaborations with Mr Lance Toohey and other lyricists here! The music, arrangements, vocals and guitars are by myself. Here it is: I hope you enjoy it! TOMORROW STARTS TONIGHT I can hear it in the way you talk things that you don't say You're just going through the motions livin' day to day I can feel it in the way we share our lives are not the same We rarely give we rarely care yeah we are both to blame. I can't go on livin' this life where no one cares Babe we gotta get back to that time when love was there Let's talk about tomorrow let's try and make it right Let's start right here let's start right now tomorrow starts tonight. Tomorrow starts tonight babe yeah tomorrow starts anew But tonight we gotta see if we can find a new way through Tomorrow's not a promise babe but tonight's the place to start Let's try to find if we still live in each other's heart. Tomorrow starts tonight... Spoken words: Don't hide behind that wall of doubt don't hide there anymore Grab your coat and car keys let's head on out that door Let's pretend that we've just met pretend its our first date Let's start again start tonight and pray it's not too late Yeah, grab your coat and car keys let's head on out that door You mean too much to me to let you doubt me anymore You mean too much to me... Jazz Dialogue © Lance W Toohey Lyrics
  24. Hey, Mirrage

    My band mate wrote this killer chord progression and I wrote these words to it. Only way I can describe the sound is desert skeleton blues. As inspiration for the lyrics, the story in the bible about jesus in the desert came to mind. Hope you enjoy the words and can give some feedback!! Hey, Mirage I've been stomping my boots in a foreign land Trudging through the blood, tears and sand I'm looking for a sphinx, and it's hard to find As I ignore the vessel of the eye that binds My words blow straight into the wind Is the Devil in the dirt my only friend? He says “hold out your soul like it's a cup to fill If you reach the oasis on top of the hill†What is it, what is it, that's there for me? A glimpse of something to believe in? The beating, crying, laughing heart The elliptical phantom of impenetrable art? Chorus: Hey Mirage, is that you I see Hey mirage, I know you're fooling me “Take me awayâ€, my thoughts scream The whisper in my heart says it's a dream The suns bearing down, and I can't stand I'm thirsting for salvation in a deserted land The ground crackles softly like burnt bread As I ignore the demon in my head “Cry, oh cry!â€, he begins to say The rhythm of the land pulses in my veins The consumption of the graveyard land I left Is slowly seeping out of this earthly flesh The will to live scratches on my bones Will I capture the mosaic before it erodes Chorus: Bridge: I'm struggling towards this fantasy Searching for inner amnesty Illusions hide as I ride through separate wings upon the mind But there is something I must find Chorus: By Scott Lee
  25. Derangements - Solo Jazz Album

    Hello there, guys and girls! I just wanted to present my new solo album called Derangements to you fine folks Derangements is a completely instrumental Jazz album I worked on for about the last half year - it also has influences from some other genres, mainly Rock and Video Game Soundtracks (ala Nobuo Uematsu). It was an experiment for me to see if I could manage to actually write something jazzy, after feeling that it's just a style of music I'd never get into for quite a while. Now, after it's all done, I'm really happy with the results and hope you'll find some enjoyment in listening to it too Here you'll find more infos about the album, including a 4+ minute trailer! Derangements The album was mostly recorded via virtual instruments (apart from the guitar) which I played on my keyboard and put some slight edits on later, to correct small timing mistakes etc. For those interested, here a list of the instruments used on the album: - Superior Drummer 2.3 (+ both "Roots" Expansions) - VSL Special Edition/PLUS (Sax, Trumpet, Vibaphone, Clarinet) - VSL Vienna Imperial - Broomstick Bass The guitar I played is an old Jackson - I recorded it directly into a mix board and then sent the signal through the EZ Mix plugin for the sound. I recorded and produced everything in Cubase, with a few plugins from VSL (EQ's, Compressors). The mixing and mastering for the album was quite simple and fast, apart from one or two parts, which was a very welcome change for me - I tend to have lots of instruments and effects in my music, which often takes quite a long time to mix, so this album was pretty relaxing in that regard I had a lot of fun making this album, and I sure hope you'll enjoy it as well -P Follow me for more original music! My Website Facebook Twitter Soundcloud Youtube