Most Relaxing Jazz Songs Ever đ Best Jazz Covers Of Popular Songs – Jazz Music Best Songs ,
Most Relaxing Jazz Songs Ever đ Best Jazz Covers Of Popular Songs – Jazz Music Best Songs
Most Relaxing Jazz Songs Ever đ Best Jazz Covers Of Popular Songs – Jazz Music Best Songs
Most Relaxing Jazz Songs Ever đ Best Jazz Covers Of Popular Songs – Jazz Music Best Songs
#jazzmusicbestsongs #jazz #jazzsongs
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jazz songs
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relaxing jazz
01 What A Wonderful World
02 Can’t Help Falling In Love
03 The Look Of Love
04 At Last
05 I’ve Been Waiting All My Life
06 Unforgettable
07 Summertime
08 When I Fall in Love
09 Smile
10 You Go To My Head
11 The Nearness Of You
12 A Kiss to Build a Dream On
13 Fly Me to the Moon
14 Cheek to Cheek
15 QUANDO- QUANDO
16 Can’t Take My Eyes Off You
16 New York, New York
17 You Make Me Feel So Young
18 The Way You Look Tonight
19 Let’s fall in love
20 You Know I’m No Good
Vinny & Ray Afro Cuban Jazz “Manteca” recorded live at the Bijou Theater in Bridgeport, CT. October 5th, 2024. Special thanks to Michael Galgano – Front Of House and Recording Engineer. Feel free to share and subscribe.
Plankton: The Movie stars Mr. Lawrence and Jill Talley spoke to ComingSoon about the new SpongeBob musical. Mr. Lawrence, who voices Plankton, also co-wrote the film, while Talley voices Planktonâs wife, Karen. The duo discussed working with Flight of the Concordsâ Bret McKenzie and Linda Perry, while also talking about the Netflix movieâs themes. It begins streaming on March 7.
âPlanktonâs world is flipped upside down when his plan for world domination is thwarted,â says the filmâs logline.
Tyler Treese: Mr. Lawrence, you have a story credit here, and you co-wrote the film. Youâre a writer on the show, so thatâs a very natural fit. But what were the biggest challenges of doing a full feature film versus a short episode? Thereâs a lot of meat to this.
Mr. Lawrence: Yeah. Thereâs a lot more to consider when youâre doing a movie, of course. [âŠ] The idea came from a special that I wanted to do. But then thatâs where you realize what, when they came up with, âHey, weâd like to try to do some movie with Sandy and with Plankton,â and clicking that into it, I said, âOh, wow.â A special wouldâve been great with this idea, but I think it was sort of made for a movie, and it wouldâve been something that normally we wouldâve been racking our brains for a year trying to figure out. âWhat is the Plankton movie gonna be?â And instead it was kind of sitting there [laughs] when I was already working on it.
So just luck, you know. Some kind of zeitgeist thing happening at the same time for us. So it worked out. But to me, thatâs what made it, that we could really go epic with the story and really have Karen dominate and do her thing. And that in a special, I think it wouldâve been lost a little. I think it wouldâve it wouldnât have been enough time to feel that this is serious.
You know what I mean? Itâs kind of like that feeling of, âThis isnât epic.â This is a big deal happening here. Itâs not just a short or a shorter version, which I think wouldâve kind of clipped its wings. I think we got to spread out a lot with these characters in this movie.
Jill, I wanted to ask you, because as Mr. Lawrence was saying this might be called Plankton: The Movie, but itâs kind of like Karen The Movie.
Jill Talley: Thank you, Tyler, for correcting the name [laughs].
We see her break out on her own. She has her own plan of world domination. Thereâs a sense of empowerment there. What did you like most about that aspect of the plot?
Talley: Well, I mean, who doesnât wanna be a villain? Who doesnât wanna play a villain? When youâre like a kid and youâre playing games with your siblings, everyone wants to be the bad guy. Itâs the meatiest thing, you know, you can have more fun with it.
So I loved that. I loved getting to stretch, âcause Karen gets mad at Plankton, but to really be, to turn evil is just like a whole new level of⊠trying to think of the right word⊠Hamming it up for me [laughs].
It was fun! I loved it. I loved taking this character that weâve been doing for so long and finding a new place for them. You know?
Mr. Lawrence, the musical numbers in this film are great. I saw Brett McKenzie worked on some of the songs along with Linda Perry. I love Flight of the Concords and 4 Non Blondes, so that was a real trip when I saw the credits. How was it getting to perform their songs and knowing they were coming from such great artists?
Mr. Lawrence: It was super awesome. Like, that was like one of the coolest things. âcause they were asking who would we wanna work with? And Brett McKenzie was one of the things in my head right away. âcause I know he writes songs in a freelance way, and Flight of the Concords is one of my favorite things. That show, their albums, the whole thing. So I was really happy about that.
Linda Perry, I didnât even think about. I didnât come up with that one, and I couldnât believe it. I was like, going, âSheâs gonna work with us?â [laughs]. Like thatâs⊠oh my. You know? So I got to go to her studio and work out the songs with her, the two songs that she worked on. And that was just⊠just that alone. Just to kind of touch on the actual music business, like a real song. A real song.
[Perry is] a genius, you know, somebody who aside from 4 Non Blondes has written so many songs for so many people that are amazing. Iâve known about her for years, and all of a sudden there, Iâm standing in front of her. Iâm like, âoh my God.â This isâŠ.
Talley: Yeah. This is crazy. Itâs intimidating.
Mr. Lawrence: It is. Yeah. I really wanted her to like what we were doing. I didnât want her to go out. She had told me some horror stories about some of the pros, I wonât tell you what they were, but she said some of the crazy things she was dealing with, with people in projects she was working on at the time. And she said that we were really great to work with, so I was so happy about that.
Talley: She was so patient. You work with someone that thatâs what they do for a living, and thatâs not what you do for a living. I mean, we do voice stuff, but like singing, you know? And then you come up against someone like that and you donât wanna disappoint them, you know? It puts a whole extra level of stress, you know? And she was so comforting. She was so patient and nice. That really helped a lot.
In the film, as Jill mentioned, we see some character development for Karen. She goes to the next level. She gets quite the upgrade â three heads! How is it kinda finding your voices for the different Karens?
Talley: My first thought, and I guess this speaks to like my own personal insecurities or whatever as an actor, but my first thought was, âI canât do that.â âIâm not gonna be able to do that.â âIâm not gonna be able to sing, not gonna beâŠâ You know.
And then you have your initial panic attack of, âI donât know how to do this.â And then you start playing and start trying and start thinking of the voices. And then you find it, and then [âŠ] itâs fun. Then you start playing, and then you lock in. And thatâs kind of how the process was. It was sort of like, âJill has a panic attack. Find the voice, do the voice. Hey, this is fun.â
Mr. Lawrence: Same with the singing. We do that too at the sessions too. Thereâs like that sort of initial, we get in and weâre talking and weâre doing our voices and clearing our throats, and then⊠Yeah. Yeah.
There comes that moment â you could feel it in the recordings â where we all get loose. Where all of a sudden thereâs no more pretension, thereâs no more worry. Weâre just enjoying being there and going back and forth. Not just on this movie, the whole everything weâve done together. I love that.
Mr. Lawrence, this showâs been on for so long that obviously kids are gonna watch this, but also adults. Thereâs a lot of nostalgia for SpongeBob. This film has this wonderful theme of kind of not taking your partner for granted and being appreciative. How was it kind of layering that? This is a really fun watch for kids, but even the adults that check in on this are gonna leave with something to think about.
Mr. Lawrence: Yeah, we had to steer it certainly because weâd go too far into⊠You could take that way too far. And then, and then itâs not fun anymore.
Talley: Itâs just sort of real life and a couple arguing.
Mr. Lawrence: Yeah, yeah. But because Jillâs married and Iâm married, we know what that is. We understand married life. So you wanna bring something to it that feels authentic with the characters, which I think we did initially when the show started. But I feel like the show is always about being fun. Even if we do something sad, even if we do something angry, we sort of undercut it with humor, which is the style of our show. And it has been the style of all the movies, just the characters in general. Spongebob has always been trying to stay funny. We just want to be funny all the time.
So even though we touch on these things that are adult, I think itâs kid friendly. Itâs family friendly. Everybodyâs will get it. âcause You know, I mean, kids are kids, but they know their parents are married, you know? Yeah. They know who their parents are, you know, and they know theyâre together or whatever the situation is.
Talley: Theyâre smart. They see that theyâre smart. Like you can have disagreements and stuff and still love each other. Karen and Plankton are the perfect example of that. They truly love each other.
Mr. Lawrence: They stay together.
Thanks to Mr. Lawrence and Jill Talley for taking the time to talk about Netflixâs Plankton: The Movie.
Back when my homies used to fry me for listening to LUCKI, he was already a veteran of sorts. It was 2019, and I was 17 and gangly, constantly binging Freewave 3 between classes. At the time, most people saw LUCKI fans like the guy who takes too much acid and keeps asking you to trip with him; nobody was going for it. Try pitching âPoker Faceâ to some dudes whoâd rather fight over Baby and Gunna, and theyâd look at you like you body-swapped with Rick Rubin. Maybe Iâm a veteran too. Freewave 3, the Chicago rapperâs eighth full-length since debuting in 2013, marked a shift. His music had always been brooding and oneiric, lovesick and drug-tinged, but listening to FW3 also felt like watching a NASCAR driver cut up on the highway. I get why LUCKI had always felt inaccessible: He slurred through bleak allegories about Percocet and rapped over foggy, sullen beats. But the hypnotic cachet of this record shifted the narrative around him from âperceived outcastâ to the undergroundâs diamond in the rough.
Six years down the line, LUCKI is far more ubiquitous than any fan from the Dark Ages couldâve predicted: millions of online followers, a few RIAA plaques and Billboard 200 albums, et cetera. Today his beats lean more towards industry-grade street shit, but his lyrics are still unflinchingly honest. Being famous means he raps more about wealth and Bentley trucks than getting stomachaches from withdrawal, yet the writing still feels personal. After last yearâs GEMINI!, the most star-studded release of his career, LUCKI has resurfaced with âBad InFluence Freestyle,â a six-minute round robin of luxury raps with mafioso finesse. Across three distinct instrumentals, he compresses memoirs into one-liners and acknowledges his growth with a smirk.
Heâs no longer making melancholy, post-Doris hip-hop, but when it comes to shrewd, concise lyricism, LUCKI remains in the same class as Earl and MIKE. âPray to God while you high, but donât forget to give thanks,â he imparts over piano pindrops and breezy percussion that sounds like NBA Street Homecourt. The images he conjures feel exclusive to him: He cops a Rolex for his mom knowing he canât buy her happiness; he loves his lil homies but knows better than to give out his phone number. âI gave enough to them,â he shrugs. Over a menacing Michigan type beat, he kicks a flow that stretches past measures like a game of Snake, his stature growing with each breath. Heâs not too big to beg for his girl back, though. âBae, I cannot lose you,â LUCKI pleads in a fast car, âPower to the head with love/No one to give it to.â The more things change, the more they stay the same, I guess.
Vol. 2 Out Now:
Download now on Apple Music: http://smarturl.it/iHERVol2
Stream on Spotify: http://smarturl.it/spHERVol2
Amazon Music: http://smarturl.it/azHERVol2
Google Play: http://smarturl.it/gpHERVol2
Download Vol. 1 on Apple Music: http://smarturl.it/iHERv1
Stream Vol. 1 on Spotify: http://smarturl.it/sHERvol1
Amazon Music: http://smarturl.it/aHERvol1
Google Play: http://smarturl.it/gpHERv1
Netflix has officially released two new Fear Street: Prom Queen posters, previewing the upcoming entry in the ongoing Fear Street film series of horror movies.
The two new posters evoke the filmâs 1980s vibes, and show two girls dressed for prom staring in different mirrors. In their reflections are bloodied versions of themselves.
Fear Street: Prom Queen will officially be available for streaming starting on May 23, exclusively on Netflix.
Check out the two Fear Street: Prom Queen posters below:
What do we know about Fear Street: Prom Queen?
The ensemble cast will be led by Fina Strazza (Paper Girls) as Tiffany Falconer, India Fowler (The Agency) as Lori Granger, Arianna Greenblatt (Barbie) as Christy Renault, Ella Rubin (The Idea of You) as Melissa Mckendrick, and Rebecca Ablack (Let It Snow) as Debbie.
âIn this next installment of the blood-soaked Fear Street franchise, prom season at Shadyside High is underway and the schoolâs wolfpack of It Girls is busy with its usual sweet and vicious campaigns for the crown,â reads the official synopsis. âBut when a gutsy outsider is unexpectedly nominated to the court, and the other girls start mysteriously disappearing, the class of â88 is suddenly in for one hell of a prom night.â
Fear Street: Prom Queen is directed by Matt Palmer, who co-wrote the screenplay with Donald McLeary. Additional cast members include Suzanna Son (Red Rocket), David Iacono (The Summer I Turned Pretty), Chris Klein (Sweet Magnolias), Lili Taylor (Outer Range), and Katherine Waterston (The End We Start From). The film is produced by Kori Adelson, Dan Bernard, Peter Chernin, August Linn, and Jenno Topping, with Yvonne M. Bernard, Jane Stine, and Joan Waricha serving as executive producers.
Nathan Fielderâs atypical TV show The Rehearsalâin which the comedian, a construction crew, and actors help people ârehearseâ future moments in their livesâhas a Season 2 release date locked in. The series returns on April 20 on HBO. To mark the occasion, the network has shared a teaser trailer of panning footage from what appears to be a behind-the-scenes moment. You can watch the clip below.
The Rehearsalâs new season focuses on how âthe urgency of Fielderâs project grows as he decides to put his resources toward an issue that affects us all,â according to HBO. Fielder is once again billed as the star, writer, director, and executive producer.
âNathan has sparked such a lively conversation with The Rehearsal,â Amy Gravitt, the executive vice president of HBO programming, said back in 2022 when announcing the TV showâs renewal. âWe have no idea where Season 2 will take us, and that is the delight of this boundary pushing show from a truly singular talent.â
The Rehearsal became a viral sensation with its episodic rollout in 2022, namely thanks to its unconventional methods and ability to blur the line between reality and fiction. Itâs one part of Fielderâs overall deal with HBO, which also included the beloved docuseries How To With John Wilson, which he executive-produced.
Who would have known one of the greatest directors to ever own the silver screen and create his own genre of cinema would be from Missoula, Montana? I thought maybe someone of his creative prowess would be from the bowels of Hollywood or the gritty avenues of NYC. But if you watch the classic Blue Velvet of Fire Walk with Me or indulge in binge-watching Twin Peaks, it all makes sense. An artistic beam of light through the commercial corridors of Hollywood, David Lynch has established himself as one of the greatest filmmakers of all time. Hands down, end of discussion. To argue that fact on any level is like trying to prove water is not wet. Which is just an argument within an argument.
Davidâs films push the very boundaries between the real and the surreal. In my opinion, he is the master of the surreal filmmaking category, but wait! Hold up. Letâs not put the horse before the carriage or the Elephant before the man. Elephant Man was the film that actually got him into the limelight. A biopic championed by who else but Mel Brooks? Letâs go to the beginning. This article is already warping the typical timeline much like our dear director, but I think thatâs what dear David would have wanted.
I Googled Missoula and came up with this: A: Missoula Montana is famous for its outdoor recreational activities including hiking, fishing, skiing, and rafting. It’s also home to the University of Montana, which is known for its exceptional academic programs and sports teams.
The clip states nothing about film or the movies, so it is probably as far from the tentacles of Hollywood as one could be. But it did say it was the birthplace of David Lynch, a personal hero to myself and others when it comes to the art of Filmmaking, keeping one’s imagination in a cerebral chokehold.
David Lynch was born on January 20, 1940. He died five days before his seventy-ninth birthday, diagnosed with emphysema due to being a lifelong smoker. I often wondered why a genius like himself was not in the lab creating a masterpiece to save us from the Marvel Superhero era. It turns out he could not leave his home to direct any longer.
The last attempt was a reboot of the Twin Peaks series. That was a creative kick to the gut for all his avid Lynchians, which I proudly claim myself to be. Heâs more of a mentor, allowing one the creative freedom to think outside the traditional filmmaker’s box, even though he had masted that as well, being nominated for Oscars three times.
The painter-turned-director had crafted his creative skills at the Philadelphia Academy of Fine Art. My father, also an artist, had attended the same school. Maybe at the same time. My dear pops never really went long into his journey with paint and paper. It was a lost dream that left him bitter. Sacrificed for the woman he loved, my mother.
Lynch left paint for the film. I read his autobiography a few years ago, which explained his transition. He shot a short called The Alphabet, which started the deep dive into his unique storytelling style loved by the masses, thirsting for someone other than Spielberg or Lucas. At the time, most moviegoers loved the blockbuster, but there was a whole segment of popcorn-eating people who craved something else. That very moment came for me during Christmas break from college in the 90âs.
I witnessed the movie Lost Highway, captivated from the beginning until the end. It was a visual drug with inseminated my twenty-something mind, breaking all the rules when it came to moviemaking but creating new neuropathways at the very same time. From that moment in time, I wanted to be a filmmaker to create magic, spectating like a UFO landing in a cornfield in well, Missoula, Montana.
The visions of that movie I watched in my parents’ den on a large-screen TV and stayed tattooed on my brain forever. I would also go on to watch the movie several times, caught in its hypnotic spells. I later found out that; it was actually inspired by the OJ Simpson debacle, taking place during the nineties. I guess itâs fair to say that David Lynch owned a piece of the 90s and ushered in the independent movie class of directors, who unanimously referenced David Lynch as an inspiration.
Lost Highway was the rabbit hole into his film universe. I had slept on one of the greatest men to ever step behind a camera. He worked with some of the greatest actors who embodied the characters created in his magnificent mind.
From the defunct TV show Mulholland Drive, which turned out to be his best and most talked about movies ever, to Blue Velvet, a disturbing romp into the backwoods of North Carolina, to Fire Walk with Me, the prequel (before prequels), to Twin Peaks, which I believe brought his vision to the modern audience.
His last movie was Inland Empire, which was not well received at the box office but made digital filmmaking cool, whereas before Kodak films ruled. Yet technology was ahead of the curve, and Lynch embraced it like a true master of story mediums.
He once said in an interview he would never use film again and had fallen in love with digital. That was the head nod modern filmmakers needed. Before that, it was a film-driven art form painted on 35 mm. If great David could shoot video, we all had hope, and hope is something his films always brought to me. Hope for something new. Hope for something different. He challenged all of us to open up our minds and not be trapped in what Hollywood thinks is cool. Hollywood cool just means youâre making Hollywood producers rich. There is nothing wrong with that, but it just means the audience is shortchanged.
One regret is I never met him, but I feel like I have while watching a movie, a short film, or cracking open a book he had written. Mr. David Lynch is from Missoula, Montana. You will be missed. I hope God lets you bring your cameraâa digital one.