Horace Silver Horace Silver and the Jazz Messengers Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Horace Silver Horace Silver And The Jazz Messengers mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Horace Silver And The Jazz Messengers Country: Japan Released: 2016 Style: Hard Bop MP3 version RAR size: 1302 mb FLAC version RAR size: 1152 mb WMA version RAR size: 1453 mb Rating: 4.2 Votes: 369 Other Formats: MP2 WMA AUD AC3 VQF MOD AU Tracklist Hide Credits 1 Room 608 5:20 2 Creepin' In 7:24 3 Stop Time 4:04 4 To Whom It May Concern 5:08 5 Hippy 5:21 6 The Preacher 4:16 Hankerin' 7 5:15 Composed By – Hank Mobley 8 Doodlin' 6:45 Companies, etc. Copyright (c) – Blue Note Records Recorded At – Van Gelder Studio, Hackensack, New Jersey Credits Art Direction, Design – Michael Boland Bass – Doug Watkins Composed By – Horace Silver (tracks: 1 to 6, 8) Design [Cover] – Reid Miles Drums – Art Blakey Photography By [Cover & Liner Photos] – Francis Wolff Piano – Horace Silver Producer – Alfred Lion Recorded By, Remastered By [2004] – Rudy Van Gelder Reissue Producer – Michael Cuscuna Tenor Saxophone – Hank Mobley Trumpet – Kenny Dorham Notes Originally recorded on November 13, 1954 (#1, 2, 3, 8) & February 6, 1955 (#4-7) at the Van Gelder Studio, Hackensack, New Jersey. Originally Issued as BLP 1518 in 1956. Barcode and Other Identifiers Barcode: 724387533929 Other: UK: 875 3392 Other versions Category Artist Title (Format) Label Category Country Year Horace Silver And The Jazz Messengers* Horace Silver - Horace Silver And Blue BLP 1518 And The Jazz BLP 1518 US 1956 The Jazz Messengers Note Messengers* (LP, Comp, Mono, Lex) Horace Silver And The Jazz Blue BST-81518 The Jazz Messengers BST-81518 US 1972 Messengers* Note (LP, Comp) Horace Silver And The Jazz Messengers* Blue Horace Silver B0021116-01, - Horace Silver And Note, B0021116-01, And The Jazz US 2014 BLP 1518 The Jazz Messengers Blue BLP 1518 Messengers* (LP, Comp, Mono, Note RE) Horace Silver And Horace Silver The Jazz Messengers* Blue 5170256 And The Jazz - Horace Silver And 5170256 US Unknown Note Messengers* The Jazz Messengers (CD, Comp, Club, RE) Horace Silver And Blue Horace Silver The Jazz Messengers* BST 81518, Note, BST 81518, And The Jazz - Horace Silver And US 1973 BLP 1518 Blue BLP 1518 Messengers* The Jazz Messengers Note (LP, Comp, RE) Related Music albums to Horace Silver And The Jazz Messengers by Horace Silver 1. The Horace Silver Quintet - Finger Poppin' With The Horace Silver Quintet 2. Hank Mobley - Hank Mobley And His All Stars 3. Art Blakey And The Jazz Messengers - The History Of Art Blakey And The Jazz Messengers 4. Various - The Jazz Sound For Everyone 5. The Horace Silver Quintet - The Stylings Of Silver 6. Kenny Dorham - Afro-Cuban 7. Horace Silver And Jazz Messengers, The - Horace Silver And The Jazz Messengers 8. The Horace Silver Quintet - Horace-Scope 9. Hank Mobley - The Hank Mobley Quintet 10. Horace Silver - Horace Silver Trio.

Copy Link

Recommended publications

Seeing (For) Miles: Jazz, Race, and Objects of Performance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
[Show full text]
Newsletter-Fall 2019
ROCKPORT MUSIC NEWSLETTER :: FALL 2019 A Deeper Dive into Music Building long-term musical learning experiences Page 7 PALAVER STRINGS First Education Ensemble-In-Residence ROCKPORTMUSIC.ORG ARTIST SPOTLIGHT Soul of the Americas A Rich Tapestry of Music By KAREN HERLITZ THIS JANUARY, ROCKPORT MUSIC HEATS UP THE On how the definition of “classical music” WINTER WITH A LATIN-INSPIRED PROGRAM ENTITLED has changed over time THE SOUL OF THE AMERICAS! CELEBRATING THE RICH It does seem like musicians and audiences are less interested tapestry of musical influences across North and South America, in boundaries today, and more open to genres bleeding into the concert features works of seven iconic composers – Aaron each other. At the end of the day, as long as it’s done with Copland, George Gershwin, Leonard Bernstein, Samuel craft and sophistication, great music is great music. Barber, Heitor Villa-Lobos (Brazil), Alberto Ginastera (Argentina), and Osvaldo Golijov (Argentina). Curated by pianist Michael Brown and cellist Nicholas Canellakis, they On what to expect from the concert are joined by highly acclaimed pianist Orion Weiss and The concert takes the listener on a journey from Copland’s percussionist Ian David Rosenbaum to perform the program. El Salón México to Gershwin’s Cuban Overture, with many other works in between by Golijov, Barber, Bernstein, Michael Brown and Nicholas Canellakis shared their thoughts Villa-Lobos, and Ginastera. These North and South American with us on their exciting program and what to expect from composers responded their concert. to the rhythm of their surroundings, places they On their inspiration for Soul of the Americas encountered, and dance.
[Show full text]
Album Covers Through Jazz
SantiagoAlbum LaRochelle Covers Through Jazz Album covers are an essential part to music as nowadays almost any project or single alike will be accompanied by album artwork or some form of artistic direction. This is the reality we live with in today’s digital age but in the age of vinyl this artwork held even more power as the consumer would not only own a physical copy of the music but a 12’’ x 12’’ print of the artwork as well. In the 40’s vinyl was sold in brown paper sleeves with the artists’ name printed in black type. The implementation of artwork on these vinyl encasings coincided with years of progress to be made in the genre as a whole, creating a marriage between the two mediums that is visible in the fact that many of the most acclaimed jazz albums are considered to have the greatest album covers visually as well. One is not responsible for the other but rather, they each amplify and highlight each other, both aspects playing a role in the artistic, musical, and historical success of the album. From Capitol Records’ first artistic director, Alex Steinweiss, and his predecessor S. Neil Fujita, to all artists to be recruited by Blue Note Records’ founder, Alfred Lion, these artists laid the groundwork for the role art plays in music today. Time Out Sadamitsu "S. Neil" Fujita Recorded June 1959 Columbia Records Born in Hawaii to japanese immigrants, Fujita began studying art Dave Brubeck- piano Paul Desmond- alto sax at an early age through his boarding school.
[Show full text]
Polish Musicians Merge Art, Business the INAUGURAL EDITION of JAZZ FORUM SHOWCASE POWERED by Szczecin Jazz—Which Ran from Oct
DECEMBER 2019 VOLUME 86 / 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; South Africa: Don Albert.
[Show full text]
Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey.
[Show full text]
Legendary Sound Quality That Never Compromises on Style
ร า ย ล ะ เ อี ย ด ห น้ า 6 240 199 ก ร ก ฎ • สิ ง ห์ 2014 Test ฉ บั บ นี้ : NAD DAC 2 Wireless USB NAD VISO HP20 In-Ear Headphones Supra MP-2RCA MP Cable Velodyne vTrue Studio Headphones LEGENDARY SOUND QUALITY THAT NEVER COMPROMISES ON STYLE ห ม า ย เ ห ตุ จ า ก บ้ า น ท ว า ท ศิ น ■ ลานทิพย์ วสันต์สวัสดิ์ นมาแล้วค่ะ หมู่ต้นไม้ใบหญ้าก็เริงร่ายินดี ที่บ้านเต่าหลายๆตัวก็เดินเล่นกันมาลง ส า ร บั ญ สระน�้า มีความสุขกันถ้วนหน้าค่ะ ขณะเดียวกันคุณเงินคุณทองก็เริงรื่นออกมารับวสันต์ บ ท ค ว า ม กันมากมาย เฮ้อ! จะดีใจหรือเสียใจดีคะเนี่ย ถ้ามันเป็นเงินทองจริงๆไปบ้านไหนใครๆก็ 12 แผ่นเสียงเพลงไทยเจ้าขา... คงชอบนะคะ แต่แหมตัวเท่าๆจระเข้เดินกันยุ่มย่าม ไม่ไหวค่ะ ไม่น่ารัก แต่ฝนมาบ้าน จะแพงไปถึงไหน? ไหนบ้านนั้นก็ชุ่มฉ�่าชื่นใจนะคะ 14 75 ปี Blue Note Records ฝ ท ด ส อ บ เมื่อเดือนมิถุนายน งาน Conice Hi-Fi Festival ของเรา โอ้โฮ สนุกสนาน ลูกค้าเข้ามาไม่ 28 Equipment Review ขาดสาย ซื้อกันอย่างมีความสุข Conice ก็ช่วยคืนความสุขให้ลูกค้าโดยลดราคายกใหญ่ หวังว่าคุณ NAD VISO HP20 RoomFeelTM High Resolution ลูกค้าทุกท่านคงมีความสุขดีนะคะ พอมาถึงเดือนสิงหาคม มีเรื่องให้สนุกอีกแล้วค่ะ เราเรียกเดือน In-Ear Headphones สิงหาคมเดือนแห่งล�าโพง มีเรื่องให้สนุกอีกแล้วค่ะ Speakers Month นะคะ แน่นอนใครอยากได้ 31 In-House Tests NAD DAC 2 ล�าโพงต้องเดือนนี้เลยค่ะ รับรองราคาสุดพิเศษน่าจับต้องเป็นอย่างยิ่งเลยทีเดียวนะคะ มีล�าโพงทั้ง Wireless Digital to Analog PSB, NHT และ Velodyne ที่จัดให้พิเศษสุดนะคะ ดูในเล่มได้เลยค่ะ น่าซื้อมากเลยค่ะ Converter Supra MP Cable Mini-Plug to RCA Velodyne vTrue บรรยากาศประเทศไทยตอนนี้ก็ดูจะคึกคักขึ้นมาหน่อยนะคะ นี่ถ้าเมื่อไรมีการคืนความ Studio
[Show full text]
The Cooker (Blue Note)
Lee Morgan The Cooker (Blue Note) The Cooker Lee Morgan, trumpet; Pepper Adams, baritone sax; Bobby Timmons, piano; Paul Chambers, bass; Philly Joe Jones, drums. 1. A Night In Tunisia (Dizzy Gillespie) 9:22 Produced by ALFRED LION 2. Heavy Dipper (Lee Morgan) 7:05 Cover Photo by FRANCIS WOLFF 3. Just One Of Those Things (Cole Porter) 7:15 Cover Design by REID MILES 4. Lover Man (Ramirez-Davis-Sherman) 6:49 Recording by RUDY VAN GELDER 5. New-Ma (Lee Morgan) 8:13 Recorded on September 29, 1957 Lee Morgan, not yet twenty years old at this writing, is here represented for the fifth time as the leader of a Blue Note recording session. His fantastically rapid growth (technically and musically) as witness previous efforts, along with this one, places him beyond the "upcoming" or "potential" status into the ranks of those whose potential has been realized. Lee stands, right now, as one of the top trumpet players in modern jazz. As the title states, Lee is a "Cooker." He plays hot. His style, relating to the Gillespie- Navarro-Brown school, is strong and vital. There is enthusiasm in his music. A kind of "happy to be playing" feeling that is immediately communicated to the listener. Lee's later three Blue Note offerings have been set within the sparkling context of tunes written, mostly, by the provocative Benny Golson. Herein he reverts back to the format of his first recording, playing in a less "strict" atmosphere and just plain wailing throughout. "A Night In Tunisia" (Dizzy's tune which has been lee's showcase vehicle since he joined the Gillespie organization) leads off the set.
[Show full text]
1 WDR 3 Jazz&World 21.04.2017 No Place for Squares – Der
WDR 3 Jazz&World 21.04.2017 No Place For Squares – Der Tenorsaxofonist Hank Mobley 22.04-24.00 Stand: 26.04.2017 E-Mail: [email protected] | Online: jazz.wdr.de Moderation: Hans W. Ewert Redaktion: Dr. Bernd Hoffmann Laufplan 1. This I dig of you K: Hank Mobley 6:25 HANK MOBLEY Blue Note 2434953432; LC: 00133 CD: Soul Station 2. Hankerin’ K: Hank Mobley 5:15 HORACE SILVER’S JAZZ MESSENGERS Membran 232097/054; LC: 29384 CD: Modern Jazz – Hard Bop – Horace Silver, Vol.2 3. No Blues K: Miles Davis 10:40 MILES DAVIS QUINTET Columbia CL 1812; LC: 00162 LP: Miles Davis at Carnegie Hall 4. Soul Station K: Hank Mobley 9:05 HANK MOBLEY QUARTET Blue Note 2434953432; LC: 00133 CD: Soul Station 5. Remember K: Irving Berlin 5:40 HANK MOBLEY QUARTET Blue Note BST 84031; LC: 00133 LP: Soul Station 6. If I should lose you K: Leo Robin 5:10 HANK MOBLEY QUARTET Blue Note BST 84031; LC: 00133 LP: Soul Station 7. Au privave K: Charlie Parker 7:30 HANK MOBLEY SEXTET Prestige 7061; LC: 00313 LP: Mobley’s Message 8. Message from the border K: Hank Mobley 6:00 HANK MOBLEY QUINTET Prestige 7082; LC: 00313 LP: Mobley’s 2 nd Message 9. Smokin’ K: Hank Mobley 7:30 HANK MOBLEY Prestige 7082; LC: 00313 LP: Workout 10. No room for squares K: Hank Mobley 6:55 HANK MOBLEY Blue Note BST-84149; LC: 00133 LP: No room for Squares Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt.
[Show full text]
Hip to Be Square – Bauhaus Meets Bebop
Listaháskóli Íslands Grafísk hönnun Hönnunar- og arkitektúrdeild Hip to be Square – Bauhaus meets Bebop BA Essay Sönke Holz Leiðbeinandi: Stefán Pálsson Haustönn 2013 2 Abstract This paper explores the relationship between jazz record covers and European modernist graphic design in America in the 1950s and 60s. It focuses on releases by the jazz label Blue Note and analyses the influence of European immigrants and their culture on the struggle of black American jazz musicians for recognition and equality in a predominate white society. After examining the origin and history of jazz, the paper breaks down how the invention of the gramophone and the rise of the record industry paved the way for the success of early jazz music. It furthermore takes a look at the history of modernist graphic design and how World War II and the difficult conditions in Europe and especially Germany lead to a modernist revolution in America. The paper ends with a closer look at Blue Note record covers and the design development throughout the years, focusing on designer Reid Miles and his innovative use of typography. The paper concludes that jazz and especially Bebop and modernist graphic design makes for a fruitful couple. Both are striving forces for something new, breaking with old traditions on their search for new ways of expression. The European, modern look might also have had an impact on overcoming racial barriers, giving black musicians a better platform for their art and changing the perception of white America towards the black community. 3 Table of contents 1. Introduction...................................................................................................................................... 4 2. Jazz – history and meaning...............................................................................................................6 3.
[Show full text]
The Blue Note Story 1
THE 2018IT MUST BLUE NOTE STORY SCHWING WWW.ITMUSTSCHWING.COM 1. KURZINHALT 05 2. ALFRED LION UND FRANCIS WOLFF 06 3. PRODUCER’S NOTE WIM WENDERS 09 4. PROTAGONISTEN 10 5. INTERVIEW ERIC FRIEDLER 22 6. CREDITS 27 7. KONTAKT 28 „It Must Schwing“ – The Blue Note Story 1. KURZ INHALT 1939 gründeten Alfred Lion und Frank (auch “Francis”) Wolff, zwei junge Emigranten aus Berlin, in New York das legendäre Jazz-Label Blue Note Records. Das Label konzen- trierte sich ausschließlich auf amerikanische Jazzmusik und entwickelte einen unverwechselbaren Aufnahmestil und Sound. Blue Note Records entdeckte und produzierte eine beeindru- ckende Liga von Weltstars der Jazz-Musik. Darunter Künst- ler wie Miles Davis, Herbie Hancock, John Coltrane, Sonny Rollins, Wayne Shorter, Thelonious Monk und Quincy Jones. In einer Zeit, in der afro-amerikanische Musiker in den USA immer noch unter Diskriminierung und Ausgrenzung litten, wurden sie bei Blue Note Records als gleichberechtigte Künstler respektiert. Hier wertschätzte man nicht nur ihre Begabung, sondern gab ihnen eine dringend benötigte Platt- form. „It Must Schwing!“ erzählt die bewegende Geschichte von zwei Freunden, die verbunden waren durch ihre leiden- schaftliche Liebe zur Jazz-Musik und den tiefen Glauben an menschliche und künstlerische Freiheit. „It Must Schwing“ – The Blue Note Story 04 05 2.ALFRED LION UND FRANCIS WOLFF Alfred Lion (1908 – 1987) und Francis (auch “Frank”) Wolff (1908 – 1971) lernten einander schon als Teenager in ihrer gemeinsamen Heimatstadt Berlin kennen und teilten vor allem ihre Liebe für zeitgenössische amerikanische Musik. Ihr jüdischer Glaube machte es ihnen nach 1933 zunehmend schwer, im nationalsozialistischen Deutschland zu leben und Alfred entschied sich als erster, nach Amerika zu gehen.
[Show full text]
Lee Morgan Cornbread Mp3, Flac, Wma
Lee Morgan Cornbread mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Cornbread Country: Japan Released: 2014 Style: Hard Bop, Post Bop MP3 version RAR size: 1653 mb FLAC version RAR size: 1377 mb WMA version RAR size: 1399 mb Rating: 4.4 Votes: 761 Other Formats: DXD APE DMF AUD MIDI AA AHX Tracklist Hide Credits Cornbread 1 9:00 Written-By – Lee Morgan Our Man Higgins 2 8:50 Written-By – Lee Morgan Ceora 3 6:20 Written-By – Lee Morgan Ill Wind 4 7:55 Written-By – Arlen*, Koehler* Most Like Lee 5 6:45 Written-By – Lee Morgan Companies, etc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Record Company – Universal Classics & Jazz Marketed By – Universal Music LLC Distributed By – Universal Music LLC Credits Alto Saxophone – Jackie McLean Bass – Larry Ridley Design [Cover] – Reid Miles Drums – Billy Higgins Liner Notes – Ira Gitler Mastered By [Vinyl] – Van Gelder* Photography By [Cover Photo] – Francis Wolff Piano – Herbie Hancock Recorded By [Recording By] – Rudy Van Gelder Tenor Saxophone – Hank Mobley Trumpet – Lee Morgan Notes Recorded on September 18, 1965. SHM-CD (Super High Material CD) Made in Japan Barcode and Other Identifiers Barcode: 4988005851109 Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Cornbread (LP, Album, BLP 4222 Lee Morgan Blue Note BLP 4222 US 1967 Mono) Cornbread (CD, Album, TOCJ-6626 Lee Morgan Blue Note TOCJ-6626 Japan 2005 RE) Cornbread (LP, Album, B1-84222 Lee Morgan Blue Note B1-84222 US 1988 RE) BST 84222K Lee Morgan Cornbread (LP, Album) Blue Note BST 84222K Germany Unknown Cornbread (CD, Album, CDP 7 84222 2 Lee Morgan Blue Note CDP 7 84222 2 US 1988 RE) Related Music albums to Cornbread by Lee Morgan Hank Mobley - Hi Voltage Lee Morgan - The Sidewinder Hank Mobley - Dippin' Lee Morgan With Hank Mobley's Quintet - Introducing Lee Morgan Lee Morgan - Leeway Lee Morgan - Delightfulee Hank Mobley With Donald Byrd And Lee Morgan - Hank Mobley With Donald Byrd And Lee Morgan Lee Morgan - The Gigolo.
[Show full text]
Page | 1 Funding for the Smithsonian Jazz Oral History Program NEA
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JACKIE MCLEAN NEA Jazz Master (2001) Interviewee: Jackie McLean (May 17, 1931 – March 31, 2006) Interviewer: William Brower with recording engineer Sven Abow Date: July 20-21, 2001 Repository: Archives Center, National Museum of American History. Smithsonian Institution Description: Transcript, 131 pp. Brower: My name is William Brower. I’m sitting with Jackie McLean at the Artists Collective in Hartford, Connecticut, on Friday, July the 20th, 2001. We’re conducting an oral history interview for the Smithsonian Jazz Oral History Project. The first thing I’d like to do is thank Mr. McLean for agreeing to participate in this oral history. McLean: Oh, it’s my pleasure. It’s very important. Brower: I want to start with what we were talking about before we actually started the formal interview and ask you to tell us about your recent trip to Europe, where you played, with whom you were playing, and then talk about how you’re handling your performance – the performance dimension of your life – right now. McLean: This most recent trip that I made – I made two trips to play with Mal Waldron. The first one was in Verona, Italy, a couple of weeks ago. That was a duo where Mal and I played for about 70 minutes solo, between he and I, duo. Then I went just last week over to the North Sea Festival in the Hague to play with Mal again, this time with his trio, with Andrew Cyrille, Reggie Workman, Mal, and I was special guest.
[Show full text]