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It’s this style of working that made her say yes immediately when he offered her the “Nymphomaniac” role. She also didn’t hesitate when he asked her if she wanted to record a version of “Hey Joe” for the closing credits of the film after being unable to secure the rights to Jimi Hendrix’s iconic version of the song. She enlisted the help of Beck (who produced and wrote most of her revelatory 2010 album, “IRM”), and they recorded two versions. The first was a breathy seduction that dances around the song’s malaise. “Listening to it, I thought I’m not exploring the song enough and taking responsibility. I should try a stronger version. I was always doing it on my own in Paris and then Beck would work on it. He liked the first version better and Lars did too, so I had to agree that’s the one that was meant to be.”.

As for the future, Gainsbourg is taking a break from films to work on a new album, this time with an emphasis on composing, “Beck always pushed me into writing as much as I could, but I always felt very uncomfortable, I would only come up with titles or subjects.” She also confesses ambitions to write a film or musical while admitting she not there yet creatively, “It’s this wonderful thing with music that I’m able to express myself, With (acting) I’m just a instant download machine embroidery design silhouette ballet dancer tool.”..

The baritone saxophonist and San Jose State associate professor of music and dance is having a banner year, reaping praise and well-deserved plaudits for playing an essential role in the very visible success of several bands. Most prominently, he composed or arranged half of the tracks on the Pacific Mambo Orchestra’s self-named debut release. The album earned the Bay Area salsa band the best Latin tropical album Grammy last month, an upset victory over well-heeled and genuinely famous artists like Marc Anthony and Carlos Vives that left the Latin music world in slack-jawed shock.

Lington, who performs Friday with the Bicoastal Collective at San Pedro Square Market as part of San Jose Jazz’s free Music at the Market series, joined the PMO as a founding member in 2010 and stayed with the group through several thin years, Looking back, he sees it as a case of “being in the right place at the right time, They were aware that I’m a writer, and trusted me to write a majority of the material.”, In a field where bandleaders aren’t always eager to share the spotlight with their employees, the PMO’s co-leaders — pianist instant download machine embroidery design silhouette ballet dancer Christian Tumalan and trumpeter Steffen Kuehn — have spoken widely about Lington’s contributions to the orchestra’s success, On the bandstand he anchors the saxophone section and solos with searing lyricism, Off the bandstand, he expanded the band’s book with his original charts while throwing himself into the PMO’s innovative social media campaign to raise awareness of the album among Grammy voters..

“Aaron came from a jazz background, as does Mike Rinta,” says Kuehn, referring to the PMO’s other primary arranger. “It translates really well into the Latin genre. We didn’t say ‘you have to do it this way or that way.’ We wanted them to have complete artistic freedom, and I think that’s why they could express themselves so effectively.”. The project that’s closest to Lington’s heart, the Bicoastal Collective, is the group he gets to play with least frequently. The moniker is essentially an umbrella covering his musical partnership with Canadian trumpeter Paul Tynan, Lington’s best friend since they met as grad students at the University of North Texas.

They’re set to release “Bicoastal Collective: Chapter Four” in May, a Hammond B3 session instant download machine embroidery design silhouette ballet dancer featuring noted Canadian pianist-composer Tony Genge (who’s on the music faculty with Tynan at St, Francis Xavier University in Nova Scotia), For Friday’s gig, the Collective’s first Bay Area show in two years, the horn players will be joined by pianist Dahveed Behroozi and the invaluable rhythm section tandem of bassist John Shifflett and drummer Jason Lewis, Lington and Tynan both proudly focus on original compositions, noting that over the course of four albums they’ve never recorded a standard, Rather than settling into the crackling hard bop sound so identified with bari-trumpet combos (particularly the late 1950s Pepper Adams Donald Byrd Quintet), they’ve honed a lithe, warm approach that employs subtle pastels rather than DayGlo hues..

“We’re playing in a post-bop style, but it’s heavily melody-driven,” Lington says. “A lot of younger players are doing groove-driven jazz, almost bass ‘n’ drum style. I’ve done some of that, and I like it, but Paul is an unabashedly melodic player, and his sound is very conducive to that melody- and harmony-driven approach.”. Lington performs most regularly with the Tommy Igoe Big Band, which has become something of a sensation through a weekly gig that started at the Rrazz Room in 2012 and moved over to Yoshi’s-San Francisco last year. A New York transplant who relocated to the Bay Area when his wife landed a job at Google, Igoe is a charismatic drummer who seeks to attract new audiences to jazz by transforming pop hits into recognizable but turbocharged improvisational vehicles.

After several weeks off, Igoe’s 15-piece band returns to its usual Tuesday night spot at Yoshi’s-San Francisco on April 15, and it’s a safe bet that he’ll be tapping Lington for some new material, Describing the saxophonist as “a very gifted arranger” and “a great guy with a great attitude,” Igoe has come to depend upon Lington’s brawny sound and fast writing skills, Last month New York vocalist Chrissi Poland appeared with the band at instant download machine embroidery design silhouette ballet dancer Yoshi’s-SF, and Igoe asked Lington to come in with an arrangement of Michael Jackson’s “Working Day and Night.”..

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