Descripción:Composing sound to picture, an interview with Mark Isham. www.m-audio.com

Descripción:Some of Mark Isham's best film music. Buy the CD's of Mark Isham!

Descripción:Frank Trumbauer got his start playing in several dance bands in the Midwest and eventually became musical director of Jean Goldkette's Orchestra. He led his own band at the Acadia Ballroom in St. Louis that featured Bix. They played together in Jean Goldkette's Orchestra and made many highly influential recordings together. They both joined Adrian Rollini's short lived band and then joined the Paul Whiteman Orchestra in 1927. Trumbauer stayed with Whiteman until 1932, when he left to form his own band. He then rejoined Whiteman in 1933. In the mid-30's he played with Charlie and Jack Teagarden and then led his own band in California. During World War II he left the music business, but after the war he played in the NBC Orchestra. As for Isham Jones, he grew up in Saginaw, Michigan, where he started his first band. In 1915 he moved to Chicago, which remained his base through 1924. He then toured England before reestablishing himself in New York City. The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 20's. Isham Jones led one of the most popular dance bands in the 20's and 30's. Noted musicians who played in Jones' band included Louis Panico, Benny Goodman (although he did not make any records during the short time he was with them), Woody Herman and Roy Bargy. From 1929 to 1932, his Brunswick recordings became even more sophisticated with often very interesting arrangements (probably by Gordon Jenkins; Jones was not known to have been an arranger, but he certainly had an ear for offbeat arrangements). During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. It seems that Jones was indifferent to vocalists until he started using Frank Sylvano and Eddie Stone starting in 1929 and in 1932, Joe Martin. About this time, a young Bing Crosby recorded "Sweet Georgia Brown" with Isham's group. In 1932, Jones signed with Victor and these records are generally considered among the very best arranged and performed commercial dance band records of the Depression era. Victor's recording technique was especially suited to Jones' band. His Victors had an almost symphonic sound. He stayed with Victor until July 1934, when he signed with Decca. Jones' recordings during this period rivaled Paul Whiteman and other dance orchestras as examples of the very best dance music of the era. Jones' many compositions (he wrote the music, Charles Newman and Gus Kahn were among his lyricists ) included: "I'll See You in My Dreams", "The One I Love (Belongs to Somebody Else)", "Swingin' Down The Lane", "On the Alamo", "It Had To Be You", "What's The Use?", "Not A Cloud In The Sky", "Spain", "You're Just A Dream Come True", "I Wouldn't Change You For The World", "Let That Be A Lesson To You", "I Can't Believe It's True", "One Little Word Led To Another", "The Wooden Soldier And The China Doll", "I'll Never Have To Dream Again", "Pretending You Care", "There's Nothing Left To Do But Say Goodbye"; "You've Got Me Crying Again" "Old Lace", "Something Seems To Tell Me", "All Mine, Almost", "You're Welcome", "Bubbles In The Wine" and "There Is No Greater Love". After he left Decca, he signed with ARC and recorded a handful of records under the Melotone, Perfect and Banner labels from 1937 to 1938, when he retired and his orchestra was taken over by band member Woody Herman. The superb record presented here was made for Columbia on April 5th, 1932. Vocals by Helen Roland and Johnny Blake. Further personnel included: Charles Margulis, trumpet; Bill Rank, trombone; Izzy Friedman, clarinet and alto saxophone; Charles Strickfaden, alto saxophone; Frankie Trumbauer, C-melody saxophone; Min Leibrook, bass saxophone; Lennie Hayton, piano; Matty Malneck, violin; Eddie Lang, guitar; Hal MacDonald, drums. For your information: complete title of this side states as follows: "Medley Of Isham Jones Dance Hits - On The Alamo - Swinging Down The Lane - I'll See You In My Dreams".

Descripción:The original music Clip/Track from the 1988 StudioAlbum "Castalia". Featuring: Mark Isham, David Torn, Terry Bozzio, Mick Karn (same team as on "Cloud About Mercury" on ECM) -- Wer sich über das "TELE5" Logo wundert: Früher, als die Verblödung noch nicht heutiges Level erreicht hatte, liefen Nachts auf Tele 5 wunderbare Musikvideos abseits des Mainstreams: Jazz, NewAge, Elektronik, Blues und sogar Klassik.

Descripción:Mark Isham My Wife With Champagne Shoulders

Descripción:Dirección: Scott Hicks. Interpretación: Catherine Zeta-Jones (Kate Armstrong), Aaron Eckhart (Nick Palmer), Abigail Breslin (Zoe), Patricia Clarkson (Paula), Jenny Wade (Leah), Bob Balaban (terapeuta), Brian F. O'Byrne (Sean), Lily Rabe (Bernadette), Eric Silver (John), Arija Bareikis (Christine), John McMartin (Sr. Peterson). Guión: Carol Fuchs; basado en el guión de la película "Deliciosa Martha" (2001) de Sandra Nettelbeck.

Descripción:Crash OST Listen in HQ: http://www.youtube.com/watch?v=DPRClsuoj-w&fmt=18

Descripción:A Twilight Princess Trailer, the song is Sense of Touch by Mark Isham from the movie Crash.

Descripción:Isham Jones led one of the finest dance bands of the 20's and wrote several standards, such as "It Had To Be You", "I'll See You In My Dreams", "Swingin' Down the Lane" and "The One I Love Belongs to Somebody Else". This excellent record was made for Brunswick on October 2nd, 1925.

Descripción:Isham Jones and His Orch. performing 3 tunes. The first is Why Can't This Night Go On Forever (written by Jones) with a vocal by Frank Sylvano, The 2nd I don't recognize and the 3rd, of course, is an arrangement of Rachmaninoff's Prelude in C# Minor.

Descripción:Isham Jones led one of the finest dance bands of the 20's and wrote several standards, such as "It Had To Be You", "I'll See You In My Dreams", the present "Swingin' Down the Lane" and "The One I Love Belongs to Somebody Else". This excellent record was made for Brunswick on December 15th, 1930. Thanks to the reproduction so kindly provided by LordWham, I'm able to present in this video a picture featuring the sheet music of this 1923 composition.

Descripción:Here is "Mama Loves Papa", recorded in New York, October 12, 1923 by the great Isham Jones Orchestra, issued on Brunswick 2506. Playback is on my ca. 1907 Victor VI with HMV No.4 soundbox.

Descripción:Extracto del concierto que el grupo liderado por Mark Isham y Dave Liebman dieron en el 35 festival de jazz de San Sebastián. En concreto el solo del guitarrista Nels Cline

Descripción:"Sweet Georgia Brown" was a brand-new tune when Isham Jones recorded it in 1925. The Isham Jones Orchestra was one of Brunswick's most popular recording artists, and he continued to be a successful bandleader and songwriter well into the 1930's. This recording was made with Brunswick's primitive "Light Ray" recording process, which used a horn to collect sound and channel its acoustic energy to a small mirror. A spot beam was reflected off the mirror and onto a photocell. As the sound vibrated the mirror, the intensity of the spot beam on the photo cell varied; this varying electrical signal was amplified and sent to the recording head, where it was cut onto the record. These recordings sound hollow and distorted when played back electrically, but they sound loud and clear when played back acoustically. The record player is an Orthophonic Victrola model VE4-4X, or "Granada". The "E" in the model number indicates that the Victrola is fitted with a synchronous A/C motor instead of a wind-up motor. The machine has a full "orthophonic" playback system (for electrically-recorded records) including the special orthophonic sound box with a duralumin diaphragm and a folded exponential horn inside of the cabinet. Although the gigantic Credenza Victrola produced deeper bass, the Granada had the most accurate overall frequency response of all the acoustic Orthophonic Victrolas. The serial number indicates that this machine was probably manufactured in 1926. I shoot my video with a Sony Digital 8 format camera. For audio, I use a Shure SM-57 microphone on a stand placed about 4 feet in front of the Victrola horn. I use "soft tone" needles to keep from overloading the microphone. The mic is plugged directly into the video camera. The videos are edited with Windows Movie Maker. I use Sound Forge 9 to clean up the audio, but don't worry -- you're hearing the record exactly as the Victrola plays it! For more great music, videos, and trivia from this era, please visit my website, http://www.virtualvictrola.com.

Descripción:Thai dancers at Wat Buddhapadipa พุทธปทีป temple, Wimbledon, London, 18/06/06. Traditional Thai dancing set to Mark Isham's dreamy theme 'Flames', from the 2004 film Crash. Video Copyright (c) Blutey.

Descripción:Brunswick (Violet) 5052—B, "All She'd Say Was Umh Hum"—Toddle (Zazy-Emery-Van-Schenck), Isham Jones Orchestra. For Dancing. ;-) First issued early 1921. Played on my 1921 VV-50 on the Boston Common.

Descripción:Cool, ethereal skydiving music by Mark Isham for the movie Point Break.

Descripción:A River Runs Through It OST Listen in HQ: http://www.youtube.com/watch?v=xbD6jkkWH7k&fmt=18

Descripción:Here is a great arrangement (probably by Gordon Jenkins) of the standard Rodgers-Hart tune "The Blue Room," recorded by the Isham Jones Orchestra in July 1934. The trumpet soloist is the prolific Chelsea Quealey, a veteran of the New York jazz scene during the 1920s and 1930s who sadly is relatively unknown today. The winds swing hard, but the rhythm section, accustomed mostly to nudging the band along for society crowds, just doesn't give the group enough lift. Still, it's a great record. The record is played on my Sparton radio-phono console unit, built around the 8-57 AM-FM radio chassis with phono preamp input. The unit includes a "slicer" record changer and the tonearm is equipped with an Astatic ceramic phono cartridge that uses a standard size sapphire-tip needle. For this video, I mic'd the speaker at close proximity, rather than gathering the sound from further back in the room.

Descripción:concert solidarité document alemsayah