Terje Rypdal

   
Artist: Terje Rypdal

   Genre(s): 
Jazz
   New Age
   Other
   

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Discography:


   
 Double Concerto CD1

   Year: 2000   
Tracks: 4


   
 Double Concerto - 5th Symphony

   Year: 2000   
Tracks: 8


   
 5th Symphony CD2

   Year: 2000   
Tracks: 4


   
 Skywards

   Year: 1997   
Tracks: 7


   
 If Mountains Could Sing

   Year: 1995   
Tracks: 11


   
 Q.E.D. Largo

   Year: 1993   
Tracks: 6


   
 Undisonus - Ineo

   Year: 1990   
Tracks: 2


   
 Singles Collection

   Year: 1989   
Tracks: 10


   
 Blue

   Year: 1987   
Tracks: 8


   
 Chaser

   Year: 1985   
Tracks: 8


   
 To Be Continued

   Year: 1981   
Tracks: 7


   
 Descendre

   Year: 1980   
Tracks: 6


   
 Waves

   Year: 1978   
Tracks: 6


   
 After The Rain

   Year: 1976   
Tracks: 10


   
 Odyssey

   Year: 1975   
Tracks: 7


   
 Whenever I Seem To Be

   Year: 1974   
Tracks: 3


   
 What Comes After

   Year: 1974   
Tracks: 6


   
 Terje Rypdal

   Year: 1971   
Tracks: 5


   
 Bleak House

   Year: 1968   
Tracks: 6

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Terje Rypdal has long had an unusual style, mixture unitedly elements more than unremarkably launch in new age and sway than in jazz; yet he is besides an adventuresome improviser. Associated with the ECM label since the other '70s, Rypdal's performing is emphatically an acquired appreciation, victimization place and dense sounds in an unusual mode. Classically trained as a pianist, Rypdal was largely self-taught on guitar and in the beginning to the highest degree influenced by Jimi Hendrix. He tended to Oslo University, where he was taught the Lydian chromatic construct of tonal organization by its author, George Russell. Rypdal played with Russell for a time and started an association with Jan Garbarek in the late '60s. He formed the group Odyssey in 1972, and has light-emitting diode diverse small groups since the mid-'70s. An important guitarist and composer in Norway, Terje Rypdal gained a religious cult following in the United States. He recorded steadily for ECM since 1972 (exploitation such sidemen at times as Garbarek, pianist Bobo Stenson, trumpeter Palle Mikkelborg, bassist Miroslav Vitous, drummer Jack DeJohnette, and cellist David Darling). His iI before roger Sessions (for the Karusell label in 1968, and a famous 1969 Baden-Baden, Germany, concert assign out by MPS) are more difficult to find.

Miley Cyrus dates older man - report

Teen queen Miley Cyrus is courting more controversy following claims she is dating a 22-year-old back-up dancer.

Gossip blogger Perez Hilton reported Cyrus, 15, was dating a dancer called Marshall and the pair had been caught on camera flirting and kissing on the cheek.

At 22, Marshall is seven years older than the Hannah Montana star.

Further reports said paparazzi in America had posted a $150,000 bounty for the first photographs of Cyrus kissing.

"She's started to sell more," a photographer said.

"Now the pictures are going for a higher price. It used to be $300 for a shot, and now it's $2000 for a picture."

Cyrus has been caught up in several scandals recently after raunchy photos were posted online.

Controversy grew following a "topless" photo that appeared in Vanity Fair magazine.

Cyrus apologised for the photos and said she regretted having posed for them.





See Also

• Beth Hart
• Acrimony
• Guests for Sunday TV news shows feature McClellan
• DJ Rap

James Bernard

   
Artist: James Bernard

   Genre(s): 
Electronic
   

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Discography:


   
 Atmospherics

   Year: 1994   
Tracks: 9

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Working with The Hammer Film Company's low-budget, gothic vampire, and monster movies during the 1950s to the 1970s, James Bernard's music set up the modality for many horrid moments in photographic film.


Bernard was innate in India and brought up in England. His enthrallment for the forte-piano and opera started at an other age. He was educated in Britain at Wellington College where he met his idol, composer Benjamin Brittan, whom was impressed with the 17-year-old's compositions. The iI unbroken in bear upon during Bernard's long time at the Royal Air Force, with Brittan encouraging Bernard to report at the Royal College of Music.


Bernard assisted Brittan on the opera Billy Bud and then wrote music for a serial publication of plays, which light-emitting diode him to meet conductor John Hollingsworth. At the time, Hollingsworth was musical managing director for Hammer Films and brought Bernard into the horror picture business. During his career Bernard composed the heaps for greco-Roman revulsion films like The Curse of Frankenstein (1975), Horror of Dracula, (1958) and The Devil Rides Out (1968). Ironically, the one Academy Award he did get was for best motion picture narration, which he shared with Paul Dehn for Septenary Days to Noon.


During Bernhard's most half-century long vocation he scored more than than 20 films for Hammer Films. In 1994 he participated in a documentary on the picture house, Pulp and Blood: The Hammer Heritage of Horror. Three long time afterwards, in his other seventies, he was asked to compose music for the restored version of Nosferatu, presented at the London Film Festival. In 1998 Bernhard composed his last score, for a film documental on Universal Studios horror films of the '30s and '40s. Leaving behind a permanent imprint in film scotch, Bernhard passed aside at a hospital in London on July 12, 2001.