John Coltrane Black Pearls Mp3, Flac, Wma

John Coltrane Black Pearls mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Black Pearls Country: US Style: Hard Bop, Post Bop MP3 version RAR size: 1737 mb FLAC version RAR size: 1797 mb WMA version RAR size: 1227 mb Rating: 4.2 Votes: 154 Other Formats: APE VQF ADX AAC ASF MP1 MP3 Tracklist Hide Credits Black Pearls A1 13:05 Written-By – Billy Graham* Lover Come Back To Me A2 7:25 Written-By – Hammerstein*, Romberg* Sweet Sapphire Blues B 18:20 Written-By – R. Weinstock* Companies, etc. Recorded At – Van Gelder Studio, Hackensack, New Jersey Credits Bass – Paul Chambers Drums – Art Taylor Liner Notes [Apr. 1964] – Michael Gold Piano – Red Garland Recorded By – Rudy Van Gelder Supervised By [Supervision] – Bob Weinstock Tenor Saxophone – John Coltrane Trumpet – Donald Byrd Notes Blue center labels with trident on right. Jacket manufactured without "Stereo" printed on front cover; instead has a "Stereo" sticker. Recorded in Hackensack, NJ, May 23, 1958. Barcode and Other Identifiers Matrix / Runout (Side A runout): STEREO PRST·7316·A· VAN GELDER Matrix / Runout (Side B runout): STEREO PRST·7316·B· VAN GELDER Other versions Title Category Artist Label Category Country Year (Format) PR 7316, PRST John Black Pearls Prestige, PR 7316, PRST US 1964 7316 Coltrane (LP, Album) Prestige 7316 Black Pearls Prestige, PR 7316, P-7316, John PR 7316, P-7316, (LP, Album, Prestige, Germany Unknown OJC-352 Coltrane OJC-352 RE) Prestige Black Pearls John DOL729 (LP, Album, DOL DOL729 Europe 2013 Coltrane RE, 140) Prestige, Black Pearls Original Jazz (3xFile, P-7316, OJC-352, John Classics, P-7316, OJC-352, MP3, Europe 2015 00888072359741 Coltrane Universal 00888072359741 Album, RE, Music Group 320) International Black Pearls Original Jazz John 0025218635226 (CD, Album, Classics, 0025218635226 Europe 2006 Coltrane RE, RM) Prestige Related Music albums to Black Pearls by John Coltrane The Red Garland Quintet Featuring John Coltrane And Donald Byrd - Soul Junction John Coltrane With The Red Garland Trio - Traneing In John Coltrane Quintet With Red Garland & Donald Byrd - Complete Recordings John Coltrane Featuring Paul Quinichette And Mal Waldron - Wheelin' John Coltrane - Soultrane The John Coltrane Quartette - Coltrane John Coltrane - Traneing In John Coltrane - Trane's Comin'.

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Black Pearls
Number 22 The Journal of the AMERICAN BOTANI CAL COUNCU.. and the HERB RESEARCH FOUNDATION Hawthorn -A Literature Review Special Report: Black Pearls - Prescription Drugs Masquerade as Chinese Herbal Arthritis Formula FROM THE EDITOR In This Issue his issue of HerbalGram offers some good news and some herbal combination for use in rheumatoid arthritis and related bad news. First the good news. Our Legal and Regulatory inflammatory conditions, this product has been tested repeatedly Tsection is devoted to a recent clarification by the Canadian and shown positive for the presence of unlabeled prescription drugs. Health Protection Branch (Canada's counterpart to our FDA)of its Herb Research Foundation President Rob McCaleb and I have willingness to grant "Traditional Medicine" status to many medici spent several months researching the latest resurgence in sales of nal herb products sold in Canada under the already existing approval this and related products. We have made every attempt to follow up process for over-the-counter remedies. This announcement has on many avenues to determine whether these products contain un been hailed as a positive step by almost everyone with whom we labeled drugs, and whether or not they are being marketed fraudu have talked, both in academia and in the herb industry. lently. Herb marketers and consumers alike should be concerned More good news is found in the literature review on Hawthorn. whenever prescription drugs are presented for sale as "natural" and Steven Foster has joined Christopher Hobbs in preparing a compre "herbal." You will find our report on page 4. hensive view of a plant with a long history of use as both food and In addition, we present the usual array of interesting blurbs, medicine.
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Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 03/16/2011 03:30 Pm
Playlist - WNCU ( 90.7 FM ) North Carolina Central University Generated : 03/16/2011 03:30 pm WNCU 90.7 FM Format: Jazz North Carolina Central University (Raleigh - Durham, NC) This Period (TP) = 03/08/2011 to 03/15/2011 Last Period (TP) = 02/28/2011 to 03/07/2011 TP LP Artist Album Label Album TP LP +/- Rank Rank Year Plays Plays 1 3 Ernestine Anderson Nightlife: Live At Dizzy's HighNote 2011 16 16 0 Club Coca-Cola 2 1 Russell Malone Triple Play Max Jazz 2010 15 18 -3 2 2 Jeremy Pelt Talented Mr. Pelt HighNote 2011 15 17 -2 2 8 Luther Hughes & The Things Are Getting Better Primrose Lane 2011 15 11 4 Cannonball-Coltrane Project 5 6 Kurt Elling The Gate Concord Jazz 2011 12 13 -1 6 12 Tom Rizzo Imaginary Numbers Origin 2010 11 9 2 7 4 Tomas Janzon Experiences Changes 2010 10 15 -5 7 7 Matt Nelson Nostalgiamaniac Chicago Sessions 2010 10 12 -2 7 22 Jazzvox Jazzvox Presents: In Your OA2 2011 10 7 3 Own Backyard 10 12 Mark Weinstein Jazz & Brasil Jazzheads 2010 9 9 0 10 12 Bob Sheppard Close Your Eyes BFM Jazz 2010 9 9 0 10 22 Brian Lynch Unsung Heroes Hollistic 2010 9 7 2 13 8 Louis Hayes Lou's Idea American Showplace 2010 8 11 -3 13 22 Geoffrey Keezer & Peter Mill Creek Road SBE 2011 8 7 1 Sprague 13 25 Either Orchestra Mood Music For Time Accurate 2010 8 6 2 Travellers 16 12 Suzanne Pittson Out Of The Hub: The Vineland 2010 7 9 -2 Music Of Freddie Hubbard 16 19 Cassandra Wilson Silver Pony Blue Note 2010 7 8 -1 16 25 Gene Ludwig Love Notes Of Cole Porter Big O 2011 7 6 1 16 50 Fred Hersch Alone At The Vanguard Palmetto 2011 7 2 5 20 5
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Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
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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.
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Untitled Paint¬ Teaches Creative Writing in San Ing
FIELD FIELD CONTEMPORARY POETRY AND POETICS NUMBER 58 SPRING 1998 OBERLIN COLLEGE PRESS EDITORS Pamela Alexander Martha Collins Alberta Turner David Walker David Young BUSINESS Heather Smith MANAGER EDITORIAE Elizabeth Antalek ASSISTANT FIELD gratefully acknowledges support from the Ohio Arts Council. Published twice yearly by Oberlin College. Subscriptions and manuscripts should be sent to FIELD, Rice Hall, Oberlin College, Oberlin, Ohio 44074. Manuscripts will not be returned unless accompanied by a stamped self-addressed en¬ velope. Subscriptions $14.00 a year/$24.00 for two years/single issues $7.00 postpaid. Back issues 1, 4, 7, 16, 18-25, 27-33, 35-56: $12.00 each. Issues 2-3, 5-6, 8-15, 17, 26, 34 are out of print. Copyright © 1998 by Oberlin College. ISSN: 0015-0657 This issue of Field is dedicated to Stuart Friebert who served the magazine richly and faithfully in many capacities from its founding in 1969 until his retirement in 1997. CONTENTS Mary Baine Campbell 7 The Michael Jackson Interview Marcia Southwick 9 Black Pearls 10 The Tunnel of Love Margaret Shipley 11 Definition 12 Retired Thorpe Moeckel 13 Free Samples 14 Late Morning in the Under- Atmosphere Terese Svoboda 16 Shakes 17 The Rule of K Michele Glazer 19 Home is a Stone House Jane Cooper 20 Olympic Rain Forest 21 Mourning Picture 22 Nothing I Meant to Keep Donna Stonecipher 23 Album 24 All That Glitters Lee Upton 25 War Spouses 26 Soup at Dawn 28 The Ruin 29 Mossed Headland Elizabeth Trotter 31 Weather Changes Nancy Willard 33 The Boardwalk Mary Elizabeth Bailey
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The Sounds of Liberation: Resistance, Cultural Retention, and Progressive Traditions for Social Justice in African American Music
THE SOUNDS OF LIBERATION: RESISTANCE, CULTURAL RETENTION, AND PROGRESSIVE TRADITIONS FOR SOCIAL JUSTICE IN AFRICAN AMERICAN MUSIC A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Professional Studies by Luqman Muhammad Abdullah May 2009 © 2009 Luqman Muhammad Abdullah ABSTRACT The cultural production of music in the Black community has traditionally operated as much more than a source of entertainment. In fact, my thesis illustrates how progressive traditions for social justice in Black music have acted as a source of agency and a tool for resistance against oppression. This study also explains how the music of African Americans has served as a primary mechanism for disseminating their cultural legacy. I have selected four Black artists who exhibit the aforementioned principles in their musical production. Bernice Johnson Reagon, John Coltrane, Curtis Mayfield and Gil Scott-Heron comprise the talented cadre of musicians that exemplify the progressive Black musical tradition for social justice in their respective genres of gospel, jazz, soul and spoken word. The methods utilized for my study include a socio-historical account of the origins of Black music, an overview of the artists’ careers, and a lyrical analysis of selected songs created by each of the artists. This study will contribute to the body of literature surrounding the progressive roles, functions and utilities of African American music. BIOGRAPHICAL SKETCH My mother garners the nickname “gypsy” from her siblings due to the fact that she is always moving and relocating to new and different places.
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Red Garland All Mornin' Long Mp3, Flac, Wma
Red Garland All Mornin' Long mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: All Mornin' Long Country: US Released: 1958 Style: Hard Bop MP3 version RAR size: 1692 mb FLAC version RAR size: 1596 mb WMA version RAR size: 1397 mb Rating: 4.5 Votes: 617 Other Formats: DTS TTA MPC AC3 TTA APE WMA Tracklist Hide Credits All Mornin' Long A Written-By – Garland* They Can't Take That Away From Me B1 Written-By – Gershwin* Our Delight B2 Written-By – Dameron* Companies, etc. Recorded At – Van Gelder Studio, Hackensack, New Jersey Credits Bass – George Joyner Cover – Esmond Edwards Drums – Arthur Taylor* Liner Notes – Ira Gitler Piano – Red Garland Recorded By – Van Gelder* Supervised By – Bob Weinstock Tenor Saxophone – John Coltrane Trumpet – Donald Byrd Notes Recorded in Hackensack, NJ; November 15, 1957. Second pressing with different cover and yellow NJ labels. Other versions Category Artist Title (Format) Label Category Country Year The Red All Mornin' Long 7130, PRLP Prestige, 7130, PRLP Garland (LP, Album, US 1958 7130 Prestige 7130 Quintet Mono) The Red All Mornin' Long Top Rank Rank - 5023 Garland Rank - 5023 Japan Unknown (LP) International Quintet The Red All Mornin' Long SMJ-6551(M) Garland (LP, Album, Prestige SMJ-6551(M) Japan 1977 Quintet Mono, RE) Red Garland, Red Garland, John Coltrane, John Donald Byrd - All MJ-7120 Prestige MJ-7120 Japan Unknown Coltrane, Mornin' Long Donald Byrd (LP, Album, Mono, RE) Red Garland, Red Garland, John Coltrane, John ST 7130 Donald Byrd - All Status Records ST 7130 US Unknown Coltrane,
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Jeff Coffin Clinic Handout
"TAKE YOUR IMPROVISATION TO THE NEXT LEVEL" • 10 SIMPLE TIPS • www.jeffcoffin.com • [email protected] 1. Where am I right now? Be honest with yourself, covering the basics. strengths & weaknesses. 2. Where do I want to be in the future? Timetables/Goals... 3. How do I get there? Developing lifelong practice habits. 4. Tradition...imitation vs. individuality. (“Follow the line, not the style.”) 5. Transcriptions and how to approach them. 6. Actively listening to music. How to do it. (see listening sheet) 7. Having your instrument be the piano/bass/drums and more!!! 8. Don't limit yourself to one style of playing or listening. 9. Using unusual expressive devices: multi-phonics, growling, alt. articulations, slap tongue etc. 10. Limitless Wonder. ("Can I really do that?") …THE GREATEST GIFT ANY TEACHER CAN GIVE YOU IS THE GIFT OF HOW TO TEACH YOURSELF… REMEMBER... You will not improve overnight in the way you wish you could. You will however have sudden bursts of inspiration along the way which will change the way you play. It is my belief that you must experience life to be able to express it. Being a better person will help you become a better musician. By examining and working hard on these ideas and concepts, you will become a better improvising musician. Keep working and striving toward something and through repetition comes magic. “You are never given a wish without also being given the power to make it come true, you may have to work for it however.” – Richard Bach/Illusions a great resource: Jamey Aebersold • Play-a-Long CD’s www.jameyaebersold.com More jazz related books than you could ever use! A great resource! "LISTENING TIPS" www.jeffcoffin.com • [email protected] As with anything, you must practice the Art of Listening to get better at it..
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Uptown Conversation : the New Jazz Studies / Edited by Robert G
uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M.
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All Blues: a Study of African-American Resistance Poetry. Anthony Jerome Bolden Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 All Blues: A Study of African-American Resistance Poetry. Anthony Jerome Bolden Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bolden, Anthony Jerome, "All Blues: A Study of African-American Resistance Poetry." (1998). LSU Historical Dissertations and Theses. 6720. https://digitalcommons.lsu.edu/gradschool_disstheses/6720 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
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John Coltrane Black Pearls Mp3, Flac, Wma
John Coltrane Black Pearls mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Black Pearls Country: US Released: 1964 Style: Hard Bop, Post Bop MP3 version RAR size: 1323 mb FLAC version RAR size: 1397 mb WMA version RAR size: 1305 mb Rating: 4.7 Votes: 928 Other Formats: AU AIFF MIDI DMF VQF VOC ADX Tracklist Hide Credits Black Pearls A1 13:11 Composed By – Billy Graham* Lover Come Back To Me A2 7:25 Composed By – O. Hammerstein*, S. Romberg* Sweet Sapphire Blues B 18:14 Composed By – Robert Weinstock* The Believer C 13:45 Composed By – McCoy Tyner Nakatini Serenade D1 11:02 Composed By – Calvin Massey* Do I Love You Because You're Beautiful D2 5:10 Composed By – R. Rodgers-O. Hammerstein* Companies, etc. Distributed By – Fantasy Records Recorded At – Van Gelder Studio, Hackensack, New Jersey Remastered At – Fantasy Studios Phonographic Copyright (p) – Prestige Credits Art Direction – Tony Lane Bass – Paul Chambers Drums – Arthur Taylor* (tracks: A1 to B, D2), Louis Hayes (tracks: C, D1) Engineer [Original Recording] – Rudy Van Gelder Liner Notes – Al Young Piano – Red Garland Remastered By [1974] – Brian Gardner Supervised By [Original Recording] – Bob Weinstock Tenor Saxophone – John Coltrane Trumpet – Donald Byrd (tracks: A1 to D1), Freddie Hubbard (tracks: D2) Notes Recorded at Van Gelder Studios, Hackensack, N.J., May 23, 1958 (A1, A2, B) and January 10, 1958 (C, D1). D2 recorded December 26, 1958. Sides 1 and 2 originally issued as Black Pearls (Prestige 7316) Sides 3 and 4 as The Believer (P-7292) Promotional copy not for sale is printed on all 4 labels and engraved on back sleeve's upper left corner.
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Side-Steps-Digital-Booklet.Pdf
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