Elated

Mastering Mari: Hot Texas Bosses, Book 3 (BDSM Erotica) , Hörbuch, Digital, ungekürzt, 241min, (USK 18)

Mastering Mari is the sequel to Training Tessa and Controlling Krysta. Watch out. Chase Maddox is back in town. Dr. Chase Maddox never felt a connection like the one he felt with Mari - a girl he met at summer camp as a teenager. The innocent afternoon they spent alone together confirmed to him they were soul mates. She left the next day with his number, promising to call soon and meet him at camp the next year. But he never heard from her. For 15 years, he's been unable to learn her full name, unable to contact her...unable to forget. When she walks into his office one day as his new medical supply rep, he's elated, sure she'll remember him, even though he's changed drastically since his days as a small, scrawny teenager. She'll have an explanation for why she never called. When she doesn't know him at all, his mind reverts to dark fantasies in which he controls her, making her bend to his will, teasing and tormenting her body until she realizes no one can bring her pleasure like he can. Then, he'll send her away as revenge for the pain she caused him. Marissa, who's new to the job, thinks colleague Debra is ridiculous when she says the doctor-clients are her real bosses and will expect her to comply with any request. Until she encounters movie-star handsome Chase Maddox who requires that she come in after hours and "demonstrate" her products. Although Marissa feels an instant connection and is incredibly aroused by his demands, they are stepping way beyond the bounds of professional behavior. And she's sure he's enjoying flaunting his dominance over the new sales rep. She has to stop it before it goes farther, and gives up the account. When he suddenly has another new sales rep, Chase is livid at being rejected by Mari again. Until he attends his cousin Mason's party, and Krysta "introduces" him to her friend Marissa. Now, all Chase has to do to make his darkest fantasies come true is entice Mari ungekürzt. Language: English. Narrator: Stella Bloom. Audio sample: https://samples.audible.de/bk/acx0/064593/bk_acx0_064593_sample.mp3. Digital audiobook in aax.

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Lost Son & Other Stories

Nathan Long is a songwriter who is determined to make intelligent, lyrical music. Prone to taking side trips with his wacky sense of humor, Nathan always brings the listener back to themes of human longing, joy, and redemption. The first eleven tracks of this album, 'The Lost Son and Other Stories,' work together to tell the story of the prodigal son, adapted from a parable of Jesus. In it, a son rejects his father, leaves home to squander his inheritance, and after some soul-searching, returns home to ask for forgiveness. The story line has been changed in some respects, but the message of grace is the same. Most of the story is told from the perspective of the runaway son himself, from his rationalization of his behavior, his selfishness and anger, and ultimately, his joy in finding love that overcomes his faults. The musical styles of the songs are as varied as the emotions they express: slow and mournful, upbeat, angry, and elated. Through it all, Nathan's music, delivered mostly with just a guitar and a voice, drives it's message home with rhythmic, poignant lyrics. When he finds himself broke and alone in the big city, the prodigal son tries in vain to deny his feelings of despair: 'When I get home, I turn the TV on/I'm not alone, they keep me company/So many lives come through this room/They're all a blur, now mine is, too/Cause when you live in the big town you never see the stars/It's take and give in the big town, that's just the way things are.' The last few tracks of the album stand alone, and range from 'Perseverance,' a song about depression, joy, and the struggle between faith and reason, to 'Trees,' a bizarre song that claims trees are dangerous: 'They move slowly to belie the threat/politely stand by our houses and give shade to our pets/But the truth of the matter is not what it seems/and we gotta stop these trees!' Listeners will have no trouble discerning that Nathan is a Christian, and the convictions of his faith color any serious thought expressed in his songs. But anyone who has been put off by the mindless repetitions and easy cliches of pop Christian radio will find in this music a faithful companion: honest and complex, never offering easy answers, but always striving on with hope. Non-Christian listeners will see more of themselves in this music than they expect, and may be encouraged by the hope it offers. If music means more to you than a background to your other activities, if you have songs you go back to again and again like old friends, this CD will find a permanent home in your playlist and in your mind.

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All That I Can Bring

Announcing Gina Stockton's solo debut, 'All That I Can Bring'... 'Much of my time this past fall was spent co-writing, recording and producing this project...and I'm elated with the results! May it, in some small way, draw you closer to the One who inspired it.' Norm Stockton This collection of 12 vocal tunes (11 original compositions plus 1 cover from the band Delirious) is a different kind of worship project. Fans of organic and vibey music along the lines of Sarah McLachlan should find much to their liking, with lots of captivating melodies and lyrics. Instrumentally, the project features interesting arrangements, grooves and (in addition to Norm) some truly sublime playing by a number of world-class musicians*. * - Including: Keys: Rob Rinderer (Billy Preston, Michelle Shocked) Drums: David Owens (Thomas Dolby, Peter White) Guitars: Kevin Rogers (session player, incl. Jimmy Jam & Terry Lewis) Guitars: Goffrey Moore (Jonatha Brooke) Woodwinds: Keith Felch (jazz educator)

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Treasure Of The Ninja & Films Of William Lee

Meet your new favorite action hero. Throughout the 1980s, Black filmmaker and martial artist William Lee wrote, produced, directed, and starred in dozens of D.I.Y. action epics - all shot on Super 8 in Ohio and New York City. From TREASURE OF THE NINJA (1987, Lee's most ambitious and beloved movie) to THE NEW CHINESE CONNECTION (1980, an homage to Bruce Lee - William Lee's idol), these inclusive and explosive works serve as an inspiration to anyone with a dream, pulse, or appreciation for spinning kicks. AGFA + Bleeding Skull! Are elated to bring the best-of-the-best in William Lee's early filmography to a wider audience for the first time ever, complete with brand new transfers and a revelatory stack of previously unreleased films.

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Tell Me This Day Won't End

"Fabulous CD....as if the selection of these classics isn't enough, you will be seduced by the styling these two talented women give to each. What one does with her voice the other does with the piano. You'll be forced to choose a new favorite each time you listen. All I can say is 'How can they really top this?' We're already looking forward to their next collaboration." Jim Perry Carroll and Matthews started working together a little more than a year ago, combined their varied backgrounds and compiled a jazz album with a fresh take on several standards and brought back some rarely-recorded extraordinary tunes. They were elated when renowned bassist Steve Gilmore, who learned his trade from the likes of Ray Brown agreed to play on the album along with a stellar group of musicians including Steve Ferry on drums, Victor Payano on saxophone and Don Johnson on trumpet. Sharon Carroll is a classically trained vocalist and theatre actress who started dabbling in jazz in her college days with gifted pianist Jeremy Beck from New York City's Rural Free Delivery Band (also available on CDBaby). She spent a number of years doing professional theatre, on-camera work, directing and teaching. Sharon is a graduate of Troy University, was a finalist in the Savannah Onstage vocal competition and she is a member of Actor's Equity Association. Using her three octave range she has performed roles such as Maria in The Sound of Music at the Springer Opera House, the State Theatre of Georgia, Kathie in the operetta, The Student Prince in South Florida's Golden Apple, and Luisa in The Fantasticks at Seaside Repertory Theatre under the direction of Kim Moore from the Sullivan Street cast. Other favorite roles are Catherine in Proof, Olivia in Twelfth Night and Babe in Crimes of the Heart. She now performs in the Florida Panhandle with Ms. Matthews and a host of talented regional musicians. She also sings with the Swing Set Big Band and the Swing Shift Jazz Band. Amanda Matthews is from Atlanta, Georgia where she was a frequent guest with the Jerry Lambert Trio at the Ritz Carlton, she performed at Callenwolde, Atlanta Symphony Showhouse, Fox Theater, and was the keyboardist for the Atlanta Braves Band. In 2001, she made her European debut, performing both classical and jazz concerts in Bad Aussee, Austria. She has a degree in piano performance from Georgia State University. She moved to Panama City, Florida in 2005 and is the music teacher at Northside Elementary School. She is active in the Gulf Jazz Society, performs at local venues, and teaches jazz improvisation at the summer piano camp at Gulf Coast Community College. She has two solo piano CD's, 'Classical Piano' and 'Illumination.' Sharon and Amanda recently appeared at the annual Jazz By The Bay Festival and were honored when asked to perform with acclaimed Atlanta trumpeter and vocalist, Joe Gransden.

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From Pandemonium to a View of Eidolons

This recording was made a few days before Hurricane Katrina devastated New Orleans. Any perspectives that I may have had about this recording prior to that event have changed deeply. For a long time we didn't even know whether the tracks from the session had even survived. Many of the musicians had left town. The whole town had had to leave town! We are now a few years past the August 2005 date of the recording. This is the second studio recording of the Naked Orchestra and five years after the first. There have been many personnel changes since that first recording though many of those first members are still with the band. The players and the ideas have changed over time, as have our cultural environment, music scene and music industry. There are many new economic and artistic pressures around us. A group of this size is certainly very vulnerable to all of these forces and yet what seems the factor that kept the Naked Orchestra together is the remarkable generosity of everyone involved.&nbsp,That is to say that from their belief in the art form of music, the musicians and the studio personnel gave freely of time and resources to make this happen. So we seem to be surviving on the fumes and fragrances of luck, love, and belief in the art form. Some of us are not surviving.&nbsp,Over the years we have lost a few members but most recently was our flautist and friend, Hart McNee (earlier on Frederick Sheppard, and Richard Theodore).&nbsp,In a lot of ways this record is a simple dedication to Hart. He wanted to see this out before he died and because of various financial difficulties it wasn't possible.&nbsp,However,&nbsp,Hart's strength, support and spirit buoyed us all through times that might have smashed this Ark-estra against the rocks.&nbsp,He was also one of the greatest flute players I heard because the marks of great originality and freedom were always evident in his playing and those personality and musical trademarks well reflected the striving nature of the group. Music and musical gesture are symbolic of ideas. Like all art from as far back as Paleolithic times music is a way that those with advanced vision can show the society what is possible to see while also refining the auditory sense.&nbsp,If we are lucky we have 5 sense portals into the universe that we inhabit. The greatness of music is that it hones one of these and gives us greater sensitivity to what might be the only life we have.&nbsp, Therefore music is good--and important.&nbsp,The record you are holding has the ideas of over 20 players who care on this level.&nbsp,There is an elated light and heightened sensitivity that comes from attention to music. We can share the dreams, visions, and energy of our fellow humans by listening.&nbsp, These players gave their best under the circumstances to communicate with you. We hope you enjoy it.

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L.A. Trumpet Works

Lauridsen: Sonata for Trumpet and Piano (published 1973) As a performer on both trumpet and piano it was a natural undertaking for me to compose a Sonata for this combination of instruments. I consider the Sonata my Opus 1, composed while an undergraduate at the University of Southern California School of Music. Also studying at USC at the time as Ronald Romm, who premiered the Sonata in 1965 and later went on to fame as a founding member of the Canadian Brass. Calling for virtuoso playing (especially in the third movement), the Sonata has become a staple in the Twentieth-Century trumpet literature. (Morten Lauridsen) Newman: Kestrel and Leonardo for Trumpet and Viola (1996) 'Kestrel and Leonardo' is based on poems of Canadian poet, Susan Musgrave, and compositionally paints the vivid texts quite literally. The poems speak of two magical children that travel odd and delightful dimensions of the universe, leaving a unique mark wherever they go. Musically speaking, the sonorities point to the fantasy-like nature of the poetry, and though tonal, challenge with form and rhythmic drive. This programmatic set of wordless songs emerges in three contrasting movements, illustrating the utterly diverse natures of the bird-like Kestrel and her strong-willed and sometimes ferocious compatriot, Leonardo. This work was commissioned by and dedicated to Roy Poper and Laura Kuennen-Poper, who gave the first performances in Los Angeles and Germany in 1996. (Maria Newman) Stone: Pastorale (1989) The 'Pastorale' is a simple, lyrical, and beautiful one-movement work based on the hymn tune 'All Creatures of Our God and King.' Consisting of three parts (A-B-A), it is more musically than technically challenging, and very well complements any program by providing contrast to the more athletic trumpet literature. 'Pastorale' was written for my good friend Bill Bing, who in turn introduced me to Dwight. (Roy Poper) Halligan: Meditation (1999) I commissioned this work almost by accident. While working on Halligan's 'Dialogues' I realized that I had room on the CD for an other short work. In discussing my progress on the 'Dialogues' with Dick I mentioned this, and asked if he might be able to write a meditative piece for Bb trumpet. He responded that he'd think about it. This work arrived in the mail one week later, and I found it to be delightful and exactly what I was looking for. The 'Meditation' is beautifully melodic and almost operatic in nature. (Roy Poper) Halligan: Dialogues for Trumpet, Piano and Percussion (1996) I was pleasantly surprised to answer the phone one day and hear Dick Halligan at the other end of the line. We had worked together for over 20 years on many of his projects but had been out of touch for several years. Dick, composer for the band 'Blood, Sweat, and Tears' and many commercial recording projects, told me that he had again returned to writing 'art' music (frankly, I think everything he ever wrote was 'art') and he asked me if I'd like a piece. I was elated at the prospect, and suggested that a valuable addition to the repertoire might be a work for trumpet, piano, and one other instrument. I was also looking for a piece that could 'bridge' the classical and jazz-rock fusion styles. We discussed the work several times, and the result is 'Dialogues.' (Roy Poper) Stevens: Sonata for Trumpet and Piano (1959) The Sonata for Trumpet and Piano is an enduring contribution to the trumpet literature, having become a standard in most serious performers' repertoire. The work is comprised of two lively and technically challenging outer movements and a sparsely lyrical, almost eerie second movement, the work is a true sonata, in that the musical lines are interwoven between the instruments to create a seamless whole. Composed during his tenure as Professor of Composition at the University of California School of Music, the f1rst performance was actually accomplished on clarinet, when the trumpet student who had taken it on realized that it was, at least temporarily, beyond his reach. That trumpet student was Thomas Stevens (no relation), the now-retired Principal Trumpet of the Los Angeles Philharmonic! The Halsey Stevens Sonata remains a difficult, if rewarding, challenge for the best of players. (Roy Poper)

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Faith Walk Again

Pretend you are a pastor of a thriving modern church and you have an encounter with an angry street preacher who forces a look at your ministry from a non country club perspective. You realize that your entire career has been used for building campaigns and separate living from the very people starving for real ministry. After the encounter on the street you go back inside the church and see that your congregation has many wounds hidden behind their prosperity. Some are struggling with doubts of God's existence and his love while some are in a competition to win God's favor. Like turning on a light in a darkened room you cannot ignore what you are now witnessing. Then you find a person singing a song of praise to the creator ..."Early in the morning do not hide yourself from me, Your presence is the most rewarding thing that I can feel. I will wait here in the quiet until I hear You speak and I will answer back the song that You gave me to sing".... and you remember your calling... "Get up and walk in faith" - experience the gratefulness that comes from true worship and ministry. Faith Walk Again is a story, it is an experience and I pray it will be used as a wake -up call like the Jesus Music of the 1970's was for me. I am elated to get to work on this project with my musical hero Randy Stonehill and grateful for Richard Cummins signing on and taking me beyond what I could have imagined my songs to sound like.

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Dancing Suite to Suite

Dancing Suite to Suite Dancing Suite to Suite is the fruition of the search for roots musical and genealogical. I first set foot on my ancestral land of Norway in July 1998. Landing in Oslo, I was greeted by my cousin Jens Moe who whisked me straight away to Telemark to meet the hardangerfele player Tarjei Romtveit at his bucolic home in Vijne where we fiddled for most of the afternoon. Lodgings were in a hytte with a sod roof by a rolling stream in Mjonoy where we resumed the fiddlefest the following day. I had been yearning for a hardangerfele lesson since my childhood, intrigued by the intricately inlaid Norwegian violin with five sympathetically vibrating strings underneath the bridge. Tarjei taught me his favorite tunes, which I preserved on DAT tape for future practice sessions. Jens and I searched for Noekken and other trolls during our midnight hikes in the rustic forest. After several days in Oslo, I made the pilgrimage to the family island near Kragero where I met more cousins, and slept in the same bed as my great uncle Tillman Breiseth had years ago while on vacation from teaching Ibsen at the University of Oslo. I gathered enough Nordic inspiration for the trek to Denmark where I was engaged to play several solo violin recitals at Klint, a community which gathers each summer to study the writings of the Danish cosmologist Martinus. I played the concerts at Klint for an enthusiastic audience. After the second concert, Ole Saxe invited me to jam with him on drums and piano on any evening after dinner, but I was far too interested in hiking along the coast of Nykoebing Sjaelland at midnight. So our musicmaking did not begin until I received the gift of the score Salsa for Karen in September 1998. The notes leapt off the page, demanding idiomatic interpretation. I learned the gem in a week and it quickly became a staple of my repertoire as an encore, or by adding Nigerian clay pot (udu) played by Ian Dogole during our duo recitals. I was elated to have such a dynamic piece in my arsenal. Following the suggestions of a friend, I requested an entire suite from Ole Saxe based on the model established by Johann Sebastian Bach: multinational dances related by key comprising an organic whole. Within several weeks Jig for Alan appeared as a gif file on my computer. Then followed the Ziga Dance, Rhumba de la Luna, Redhaired Tango, and finally the Flamenco Alojera, all composed by the end of March 2000. These dances reflect Ole's background in folk themes and rhythms and are vivacious and intoxicating to practice and perform. We finally premiered the Dance Suite in it's entirety in Palo Alto, California on December 8, 2000 at 8:45 pm, following a performance of Bach's D minor Partita. Ole was present for the premiere and the subsequent performance at Anna and Frank Pope's ballroom in San Francisco. We were further encouraged by a grant from the Community Foundation of Silicon Valley as well as Maestro Eric Kujawsky requesting Ole to orchestrate the Dance Suite for a performance with the Redwood Symphony in April 2002. On October 23 and 24, 2001 we recorded Dancing Suite to Suite at Skywalker Ranch. We added Odd Bakkerud's epic hardangerfele tune Fanitullen as a spice to this recording which celebrates the joy released by the chance encounters that led to this Swedish American collaboration. It is purported in Scandinavian mythology that a fiddler must spend time in the water to achieve excellence and inspiration. The cover photo represents a fiddler seated on a rock in a stream at the base of Mount Shasta, absorbing fluidity and virtuosity from Noekken the water spirit. Karen Bentley Dance Suite for Solo Violin, by Ole Pullar Saxe Salsa for Karen, dedicated to my special violin muse, is the origin of the whole suite. From a concert in Klint in Denmark, where Karen played part of the Sibelius Violin Concerto, as well as the Flight of the Bumblebee by Rimsky-Korsakov, came the idea to write a salsa, especially for Karen. I understood that it would be possible to catch both rhythm and spirit in the salsa music through her capacity, and felt a certain excitement building up inside. We never talked about this at the time, but later I suggested the idea by email, and received the reply 'Go for it!' From this point musical scores went to and fro between Sweden and San Francisco, and the suite came to life. The Afro-Cuban music is very much my musical identity. In our world music band Mondo Muziko we often play both salsa and Afro music for multicultural dancing. This is music for joy and togetherness that crosses borders and limitations, and offers a generous and warm experience of love. Salsa music moves your feet and hips and it was not until my 40-year crisis made me buy a drum set that I fully found this joy as a musician. Flamenco Alojera emanates from a strange recognition of the Spanish temperament and culture within me. Maybe the contrasts in the dramatic mountain view over the little village Alojera, on the Canarian island Gomera, is similar to the ups and downs of this music. So the music was formed after a holiday in the Gomeran mountains. Another association is from a period of my life where I lived in a flat in Stockholm, with an American blues singer Eric Bibb and his Spanish wife Magalida in the flat below, and a Spanish flamenco singer Rogelio in the flat above. So the music was all around, and the rhythm of the flamenco clapped and tapped through the floor with the heartbreaking improvisations of Rogelio's voice on top and Eric's below, shaping my dreams at night and growing seeds of hot passion and mellow blues into my cool Scandinavian blood. Often when I play some lyric Scandinavian folk music, I suddenly find the music changing into burning Spanish rhythms and scales. Where did this Spanish blood come from? Ziga dance is dedicated to my Bosnian friends Enes Ziga (folk musician) and his wife, Elsa Ziga (folk dancer). Enes has a beautiful voice and can sing mellow ballads from the Balkans all night. These folk songs are influenced by Arabic scales, and the 7-beat rhythm is common in this music. We have made several concerts together (one at the Siljan festival) where the audience would dance in a circle, the Swedes trying to get their hambo, and polska feet to catch up with the elegant Bosnian dancers. Sometimes beautiful belly dancers from Iraq would join the musicians on stage (very difficult for musicians to concentrate on playing though). The light theme is inspired by a Macedonian folksong. This fusion of international music and dance in the Leksand community has meant a lot for the integration of 150 Bosnian refugees in our little Swedish society during the period of war in Yugoslavia. Jig for Alan is dedicated to my father in law, half British, quarter Scottish and quarter Irish, with a deep interest in music. The Jig is inspired by a magical evening in Danish Skagen. Landing with our little sailing boat on a nice summer evening after sailing all day from Gothenborg, Sweden, we went to a music bar, Visekrogen, to see if some Danish folksingers were on stage. To our surprise it was an Irish evening, with an Irish singer and his band of banjo, violin and pennywhistles. Being the first long trip for Alan in a time of deep personal crisis due to serious illness in near family, this was like paradise. The jigs and reels moved faster and higher and the Danish beer moved down in the warm, family-like atmosphere. This was the climax of a wonderful sailing holiday between Sweden and Denmark that even musically took us way out west to the greens of Ireland. Redhaired Tango emanates from a childhood memory of a school dance in the huge school auditorium. I was eight years old, deeply in love with the redhaired girl in the class. Gathering courage, it took several hours before I dared go across the endless floor to ask her for a dance. She said 'Yes'. And guess what the band played? TANGO! My dance lessons had not reached beyond valse and ji

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