Idris Muhammad Power of Soul Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Idris Muhammad Power Of Soul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Power Of Soul Country: Canada Released: 1974 Style: Soul-Jazz, Jazz-Funk MP3 version RAR size: 1918 mb FLAC version RAR size: 1656 mb WMA version RAR size: 1478 mb Rating: 4.7 Votes: 948 Other Formats: MP2 MPC MP4 ADX TTA WAV AC3 Tracklist A1 Power Of Soul 7:07 A2 Piece Of Mind 9:24 B1 The Saddest Thing 7:10 B2 Loran's Dance 10:39 Companies, etc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Artwork – Bob Ciano Bass – Gary King Drums – Idris Muhammad Engineer – Rudy Van Gelder Guitar – Joe Beck Keyboards, Arranged By, Conductor – Bob James Percussion – Ralph MacDonald Photography By – Duane Michals Producer – Creed Taylor Soprano Saxophone, Tenor Saxophone – Grover Washington, Jr. Trumpet, Flugelhorn – Randy Brecker Notes Alternate cover -- Coleccion Especial: Los Grandes Del Jazz Other versions Category Artist Title (Format) Label Category Country Year Power Of Soul (LP, KU 17 Idris Muhammad Kudu KU 17 US 1974 Album) Power Of Soul (CD, KICJ 2222 Idris Muhammad Kudu KICJ 2222 Japan 2007 RE, RM) Power Of Soul (CD, Legacy, Epic, EK 86149 Idris Muhammad EK 86149 US 2002 Album, RE, RM) CTI Records Parnaso Power Of Soul = El PNE. 10.033, Records, PNE. 10.033, Idris Muhammad Poder Del Soul (LP, Argentina 1975 PNE 10033 Parnaso PNE 10033 Album) Records Power Of Soul (LP, OW 601 Idris Muhammad Kudu OW 601 Brazil 1974 Album) Related Music albums to Power Of Soul by Idris Muhammad Lalo Schifrin, Idris Muhammad - Jaws / House Of The Rising Sun Eric Gale - Forecast Idris Muhammad - For Your Love Bob James - One Grover Washington, Jr. - Inner City Blues Grant Green - Ain't It Funky Now! (The Original Jam Master, Volume One) Freddie Hubbard Featuring The New Jazz Composers Octet - New Colors Joe Beck - Beck.

Copy Link

Recommended publications

Pharoah Sanders, Straight-Ahead and Avant-Garde
Jazz Perspectives ISSN: 1749-4060 (Print) 1749-4079 (Online) Journal homepage: http://www.tandfonline.com/loi/rjaz20 Pharoah Sanders, Straight-Ahead and Avant-Garde Benjamin Bierman To cite this article: Benjamin Bierman (2015) Pharoah Sanders, Straight-Ahead and Avant- Garde, Jazz Perspectives, 9:1, 65-93, DOI: 10.1080/17494060.2015.1132517 To link to this article: http://dx.doi.org/10.1080/17494060.2015.1132517 Published online: 28 Jan 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rjaz20 Download by: [Benjamin Bierman] Date: 29 January 2016, At: 09:13 Jazz Perspectives, 2015 Vol. 9, No. 1, 65–93, http://dx.doi.org/10.1080/17494060.2015.1132517 Pharoah Sanders, Straight-Ahead and Avant-Garde Benjamin Bierman Introduction Throughout the early 1980s, Sweet Basil, a popular jazz club in New York City, was regularly packed and infused with energy as the Pharoah Sanders Quartet was slam- ming it—Sanders on tenor, John Hicks on piano, Walter Booker on bass, and Idris Muhammad on drums.1 The music was up-tempo and unflagging in its intensity and drive. The rhythm section was playing with a straight-ahead yet contemporary feel, while Sanders was seamlessly blending the avant-garde or free aesthetic and main- stream straight-ahead jazz, as well as the blues and R&B influences from early in his career.2 This band—and this period of Sanders’s career—have been largely neglected and Sanders himself has generally been poorly represented in the media.3 Sanders, as is true for many, many musicians, suffers from the fact that in critical discourses jazz styles often remain conceptualized as fitting into pre-conceived cat- egories such as straight-ahead, mainstream, and avant-garde or free jazz.
[Show full text]
Bob James Three Mp3, Flac, Wma
Bob James Three mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Three Country: US Released: 1976 Style: Fusion MP3 version RAR size: 1301 mb FLAC version RAR size: 1416 mb WMA version RAR size: 1546 mb Rating: 4.5 Votes: 503 Other Formats: VQF MMF MP2 AA WAV AU ADX Tracklist Hide Credits One Mint Julep 1 9:09 Composed By – R. Toombs* Women Of Ireland 2 8:06 Composed By – S. Ó Riada* Westchester Lady 3 7:27 Composed By – B. James* Storm King 4 6:36 Composed By – B. James* Jamaica Farewell 5 5:26 Composed By – L. Burgess* Companies, etc. Phonographic Copyright (p) – Tappen Zee Records, Inc. Copyright (c) – Tappen Zee Records, Inc. Licensed From – Castle Communications PLC Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Remastered At – CBS Studios, New York Credits Bass – Gary King (tracks: 1, 2, 5), Will Lee (tracks: 3, 4) Bass Trombone – Dave Taylor* Bass Trombone, Tuba – Dave Bargeron Cello – Alan Shulman, Charles McCracken Drums – Andy Newmark (tracks: 1), Harvey Mason (tracks: 2 to 5) Engineer – Rudy Van Gelder Flute – Hubert Laws, Jerry Dodgion Flute, Tenor Saxophone – Eddie Daniels Guitar – Eric Gale (tracks: 2 to 4), Hugh McCracken (tracks: 2 to 4), Jeff Mironov (tracks: 1) Harp – Gloria Agostini Keyboards – Bob James Percussion – Ralph MacDonald Photography By [Cover] – Richard Alcorn Producer – Creed Taylor Remastered By – Stew Romain* Supervised By [Re-mastering] – Joe Jorgensen Tenor Saxophone, Soprano Saxophone, Tin Whistle – Grover Washington, Jr. Trombone – Wayne Andre Trumpet – John Frosk, Jon Faddis, Lew Soloff, Marvin Stamm Viola – Al Brown*, Manny Vardi* Violin – David Nadien, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Cykman, Lewis Eley, Matthew Raimondi, Max Ellen Notes Originally released in 1976.
[Show full text]
Little Rock, Arkansas
Society for American Music Thirty-Ninth Annual Conference Hosted by University of Arkansas at Little Rock Peabody Hotel 6–10 March 2013 Little Rock, Arkansas Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), the early Chief of the Library of Congress Music Division and the Fpioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. Each member lists current topics or projects that are then indexed, providing a useful means of contact for those with shared interests.
[Show full text]
ABQ Free Press, October 22, 2014
VOL I, Issue 14, October 22, 2014 Still FREE After All These Months DOJ Made Us Buy AR-15s, APD Says PAGE 5 Joe Monahan: Why Negative TV Ads Work Judge Candidate PAGE 6 Is Traffic Ticket Magnet PAGE 9 Will New Police Board Be Toothless? PAGE 10 VALERIE PLAME SPEAKS OUT ON SUSANA, GARY PAGE 7 PAGE 2 • October 22, 2014 • ABQ FREE PRESS NEWS www.freeabq.com www.abqarts.com ABQ Free Press Pulp News Editor: [email protected] COMPILED BY ABQ FREE PRESS STAFF VOL I, Issue 14, October 22, 2014 Still FREE After All These Months Associate Editor, News: Dennis Domrzalski Ebola’s threat psychotic killers. The latest example is (505) 306-3260 “Twisty the Clown,” a killer clown on Associate Editor, Arts: Outside of West Africa, the United the FX show “American Horror Story.” [email protected] States, France and the United Kingdom “We do not support in any way, shape Advertising: are most at risk for the spread of the or form any medium that sensational- [email protected] IN THIS ISSUE Ebola virus, but they also are best izes or adds to coulrophobia, or clown [email protected] equipped to contain it. China and India fear,” the group’s president, Glenn [email protected] are less likely to see infected persons Kohlberger, told the Hollywood On Twitter: @freeabq because of lack of travel connections Reporter. Kohlberger’s 2,500-member to West Africa, but if they do, their organization may be fighting a losing NEWS huge populations and poor health battle. In the 1970s, Chicago mass Editor systems could leave them open to ABQ Free Press Pulp News .............................................................................................................Page 2 murderer John Wayne Gacy, who Dan Vukelich mass infection.
[Show full text]
Publication, Publication
Publication, Publication Gary King, Harvard University Introduction The broader scientific community Some students ask: “Why begin an both collectively and in many other in- original research paper by replicating I show herein how to write a publish- dividual fields is also moving strongly some old work?” A paper that is publish- able paper by beginning with the replica- in the direction of participating in or able is one that by definition advances tion of a published article. This strategy requiring some form of data sharing. knowledge. If you start by replicating an seems to work well for class projects in Recipients of grants from the National existing work, then you are right at the producing papers that ultimately get pub- Science Foundation and the National cutting edge of the field. If you can then lished, helping to professionalize students Institutes of Health now are required to improve any one aspect of the research into the discipline, and teaching the sci- make data available to other scholars that makes a substantive difference and entific norms of the free exchange of upon publication or within a year of the is defensible, you have a publishable academic information. I begin by briefly termination of their grant. Replicating, paper. If instead you begin a project revisiting the prominent debate on repli- and thus collectively and publicly vali- from scratch without replication, you cation our discipline had a decade ago dating, the integrity of our published need to defend every coding decision, and some of the progress made in data work is often still more difficult than it every hypothesis, every data source, sharing since.
[Show full text]
Ordinary Economic Voting Behavior in the Extraordinary Election of Adolf Hitler
THE JOURNAL OF ECONOMIC HISTORY VOLUME 68 DECEMBER 2008 NUMBER 4 Ordinary Economic Voting Behavior in the Extraordinary Election of Adolf Hitler GARY KING, ORI ROSEN, MARTIN TANNER, AND ALEXANDER F. WAGNER The enormous Nazi voting literature rarely builds on modern statistical or economic research. By adding these approaches, we find that the most widely accepted existing theories of this era cannot distinguish the Weimar elections from almost any others in any country. Via a retrospective voting account, we show that voters most hurt by the depression, and most likely to oppose the government, fall into separate groups with divergent interests. This explains why some turned to the Nazis and others turned away. The consequences of Hitler’s election were extraordinary, but the voting behavior that led to it was not. ow did free and fair democratic elections lead to the extraordinary H antidemocratic Nazi Party winning control of the Weimar Republic? The profound implications of this question have led “Who voted for Hitler?” to be the most studied question in the history of voting behavior research. Indeed, understanding who voted for Hitler is The Journal of Economic History, Vol. 68, No. 4 (December 2008). © The Economic History Association. All rights reserved. ISSN 0022-0507. Gary King is David Florence Professor of Government, Department of Government, Harvard University, Institute for Quantitative Social Science, 1737 Cambridge Street, Cambridge, MA 02138. E-mail: [email protected]. Ori Rosen is Associate Professor, Department of Mathematical Sciences, University of Texas at El Paso, Bell Hall 221, El Paso, TX 79968. E-mail: [email protected].
[Show full text]
Downbeat.Com December 2020 U.K. £6.99
DECEMBER 2020 U.K. £6.99 DOWNBEAT.COM DECEMBER 2020 VOLUME 87 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
[Show full text]
Prestige Label Discography
Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
[Show full text]
Londonjazz: LP Review: George Benson – Body Talk 01.12.14 09:32
LondonJazz: LP Review: George Benson – Body Talk 01.12.14 09:32 Diese Website verwendet Cookies, um die Bereitstellung von Diensten zu verbessern. Durch die Nutzung dieser Website erklären Sie sich mit der Verwendung von Cookies einverstanden. Home Venues Can We Help? Team LondonJazz - Facebook THE WEEKLY NEWSLETTER LP Review: George Benson – To subscribe for our weekly newsletter, Just email the Editor (in 'Team' Body Talk above) Tweets Follow LondonJazz 1h News BIMHUIS 40! @LondonJazz NEWS: Three out-of- London gigs for NEON Quartet nblo.gs/11IW3m Expand Sinclair Jazz 15h Photos @SinclairJazz New Twitter for Dec 14 onwards for David Sinclair jazzphotographs.com 25 year archive of high quality jazz photos @ddbprods plz RT Retweeted by LondonJazz News Expand STONEY LANE RECORDS George Benson – Body Talk Mike Collins 15h @jazzyblogman (Speakers Corner/CTI 6033. LP review by Andrew Cartmel) My CD REVIEW for @LondonJazz : Euan Following on the furry heels of White Rabbit and recorded in 1973, Body Talk was Burton - Too Much Love George Benson’s sixth CTI album (counting the A&M issues), and by now the nblo.gs/11IwUP guitarist’s recordings for Creed Taylor had settled into a smooth and relatively Retweeted by lucrative groove — although nothing like the enormous commercial success that LondonJazz News was to come with Benson’s move to Warner Bros, his subsequent album Breezin’ Expand and his vocal rendition of This Masquerade (a top ten hit and a Grammy winner) — Breezin’ was the first jazz album to go platinum. Tweet to @LondonJazz But it’s Benson’s sequence of albums for Creed Taylor Incorporated which arguably (Birmingham) represent the cream of his work, and are indisputably the purest in terms of jazz.
[Show full text]
The Foreign Service Journal, May 1954
‘No, Giovanni. Io dico, ‘Make “ 1 he only whisky bottled under Mine 909"! Ca-na-da Schenley supervision of the Governo 909.'’ Canadese at exactly 90.9 *■ “Ah, si—whisky del Canada!” proof, the one proof of perfec¬ “No, not just any Canadian tion. Nove — zero — nove — whisky. Bring me the one with 909—eapisci?” the naturally fine taste . the Aove—zero—novel Natural one that fills your glass with the mente . il migliore*!” beauty and magic of Canada.” “Non capisco.” '(Translation: 909... naturally... the finest!) (Haichcnlej 7/7777777/777/7/ SCHEME* lTP ©1954 Canadian Schenley, Ltd. AGED AND BOTTLED DNDER SUPERVISION OF THE CANADIAN GOVERNMENT* CANADIAN SCHENLEY, LT SERVING YOUR BUSINESS AND PLEASURE IS OUR PLEASURE AND BUSINESS- AMERICAN EXPRESS WORLD SERVICE Here are the world-wide, world-wise services offered^ by American Express . 243 offices in 35 nations i always ready to serve you, completely, expertly, j whatever your needs for business or pleasure. .] MONEY ORDERS TRAVELERS CHEQUES Pay bills and transmit funds Smart travelers insist on with convenient, econom¬ American Express Travelers ical American Express Cheques. They’re 100% safe Money Orders... available ... the most widely accepted throughout the U. S. at Cheques in the world ... on neighborhood stores, Rail¬ sale at Banks, Railway Ex¬ way Express and Western press and Western Union Union offices. offices. OTHER FINANCIAL SERVICES TRAVEL SERVICES Swift . convenient and The trained and experi¬ dependable, other world¬ enced staff of American wide American Express Express will provide air or financial services include: steamship tickets . hotel foreign remittances, mail and reservations . uniformed cable transfer of funds, and interpreters .
[Show full text]
Melvin Sparks Spark Plug Mp3, Flac, Wma
Melvin Sparks Spark Plug mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Spark Plug Country: US Released: 1971 Style: Jazz-Funk MP3 version RAR size: 1451 mb FLAC version RAR size: 1556 mb WMA version RAR size: 1559 mb Rating: 4.5 Votes: 630 Other Formats: TTA MP1 AC3 AHX TTA MP3 ADX Tracklist A1 Who's Gonna Take The Weight? 9:05 A2 Spark Plug 8:50 B1 Conjunction Mars 8:05 B2 Alone Together 4:14 B3 Dig Dis 6:45 Companies, etc. Distributed By – Fantasy Credits Artwork [Cover] – Tony Lane Drums – Idris Muhammad Engineer – Rudy Van Gelder Guitar – Melvin Sparks Liner Notes – Tom Curry Organ – Leon Spencer Jr.* (tracks: A1), Reggie Roberts (tracks: A2 to B3) Producer – Bob Porter Tenor Saxophone – Grover Washington Jr.* Trumpet – Virgil Jones Notes Promotional issue with white labels and black text. Barcode and Other Identifiers Matrix / Runout (A Side - Stamped): PRST 10016 A H Matrix / Runout (B Side - Stamped): PRST 10016 B H Other versions Category Artist Title (Format) Label Category Country Year P 10016 Melvin Sparks Spark Plug (LP) Prestige P 10016 US 1971 PR-10016 Melvin Sparks Spark Plug (LP, Album, RE) Prestige PR-10016 Japan 1992 PRST-10016 Melvin Sparks Spark Plug (LP, Album) Prestige PRST-10016 US 1971 PRT-10016 Melvin Sparks Spark Plug (LP, Album) Prestige PRT-10016 US 1971 Related Music albums to Spark Plug by Melvin Sparks Sonny Phillips - Black On Black! Charles Earland - Living Black! Sonny Stitt - Black Vibrations Willis Jackson - Neapolitan Nights Spark Plug Smith - Mama's Doughnut / Make It Tight Idris Muhammad - Power Of Soul Various - Country Blues Collector Items Vol.
[Show full text]
Donaldson, Your Full Name and Your Parents’ Names, Your Mother and Father
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. LOU DONALDSON NEA Jazz Master (2012) Interviewee: Louis Andrew “Lou” Donaldson (November 1, 1926- ) Interviewer: Ted Panken with recording engineer Ken Kimery Dates: June 20 and 21, 2012 Depository: Archives Center, National Music of American History, Description: Transcript. 82 pp. [June 20th, PART 1, TRACK 1] Panken: I’m Ted Panken. It’s June 20, 2012, and it’s day one of an interview with Lou Donaldson for the Smithsonian Institution Oral History Jazz Project. I’d like to start by putting on the record, Mr. Donaldson, your full name and your parents’ names, your mother and father. Donaldson: Yeah. Louis Andrew Donaldson, Jr. My father, Louis Andrew Donaldson, Sr. My mother was Lucy Wallace Donaldson. Panken: You grew up in Badin, North Carolina? Donaldson: Badin. That’s right. Badin, North Carolina. Panken: What kind of town is it? Donaldson: It’s a town where they had nothing but the Alcoa Aluminum plant. Everybody in that town, unless they were doctors or lawyers or teachers or something, worked in the plant. Panken: So it was a company town. Donaldson: Company town. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Panken: Were you parents from there, or had they migrated there? Donaldson: No-no. They migrated. Panken: Where were they from? Donaldson: My mother was from Virginia. My father was from Tennessee. But he came to North Carolina to go to college.
[Show full text]