Various the Sound of Jazz Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Various the Sound of Jazz Mp3, Flac, Wma Various The Sound Of Jazz mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Sound Of Jazz Country: Brazil Style: Big Band, Contemporary Jazz, Swing MP3 version RAR size: 1337 mb FLAC version RAR size: 1626 mb WMA version RAR size: 1379 mb Rating: 4.8 Votes: 376 Other Formats: AA FLAC AC3 AUD MP1 DMF VOC Tracklist Hide Credits Wild Man Blues A1 –Red Allen All-Stars* Written-By – F. Morton*, L. Armstrong* Rosetta A2 –Red Allen All-Stars* Written-By – E. Hines*, H. Woode* –Billie Holiday With Mal Fine And Mellow A3 Waldron And All-Stars* Written-By – B. Holiday* Blues –Pee Wee Russell, Jimmy Clarinet – Jimmy Giuffre, Pee Wee RussellDrums – Jo A4 Giuffre, Danny Barker, Jo Jones JonesGuitar – Danny Baker*Written-By – D. Barker*, J. Giuffre*, J. Jones*, P.W. Russell* I Left My Baby B1 –Count Basie With All-Stars* Vocals – Jimmy RushingWritten-By – A. Gibson*, C. Basie*, J. Rushing* The Train And The River B2 –The Jimmy Giuffre Trio Bass – Jim AtlasClarinet, Saxophone [Baritone, Tenor] – Jimmy GiuffreGuitar – Jim HallWritten-By – J. Giuffre* Nervous B3 –Mal Waldron Piano – Mal WaldronWritten-By – M. Waldron* Dickie's Dream B4 –Count Basie All-Stars* Written-By – C. Basie*, L. Young* Companies, etc. Manufactured By – Discos CBS Indústria e Comércio Ltda. Credits Liner Notes – Eric Larrabee Producer – Irving Townsend Notes "The Sound Of Jazz" was presented by "The Seven Lively Arts" over CBS Television Sunday, December 8, 1957. Other versions Category Artist Title (Format) Label Category Country Year The Sound Of Jazz (LP, Album, CL 1098 Various Columbia CL 1098 US 1958 Mono) 15AP 551 Various The Sound Of Jazz (LP, Album) CBS/Sony 15AP 551 Japan Unknown CS 8040 Various The Sound Of Jazz (LP, Album) Columbia CS 8040 US 1958 The Sound Of Jazz (LP, Album, CS 8040 Various Columbia CS 8040 US 2016 RP) The Sound Of Jazz (LP, Album, Analogue AAPJ 111 Various AAPJ 111 US 2017 RM, RP, 200) Productions Related Music albums to The Sound Of Jazz by Various Count Basie - Count Basie And His Orchestra, Featuring Jimmy Rushing - "The Classic Count" Count Basie, Jimmy Rushing, Helen Humes, Lester Young, Herschel Evans, Buck Clayton, Harry Edison ,Harry Sweets Edison Benny Morton, Dickie Wells, Freddie Green, Jo Jones, Walter Page - Good Morning Blues Count Basie And His Orchestra featuring Jimmy Rush The Jimmy Giuffre 3 - The Easy Way Howard Rumsey's Lighthouse All-Stars - Luau / The Duke You Say! The Jimmy Giuffre 4 - Dragonfly Jimmy Giuffre - Western Suite Count Basie, Count Basie Orchestra - Count Basie Greatest Hits Giuffre - Tangents In Jazz Count Basie - One O'Clock Jump Count Basie And His Orchestra - Count Basie Lighthouse All Stars - Big Boy Jimmy Giuffre Quartet - Live In 1960.
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]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • The Sound of Jazz“
    Bemerkungen zu „The Sound of Jazz“ Erscheinungsjahr: 1957 Produktion: Robert Herridge Mitwirkende: Henry „Red“ Allen, Roy Eldrige, Vic Dickenson, Benny Morton, Jimmy Giuffre, Coleman Hawkins, Ben Webster, Lester Young, Earle Warren, Gerry Mulligan, Pee Wee Russell, Billy Holiday, Jimmy Rushing, Count Basie, Mal Waldron, Nat Pierce, Thelonious Monk, Eddie Jones, Ahmed Abdul-Malik, Milt Hinton, Jo Jones, Osie Johnson, Danny Barker, Freddie Green, Jim Hall, Dicky Wells u.a. DVD-Cover Vorbemerkungen: Einer der bekanntesten Jazzfilme der fünfziger Jahre des vergangenen Jahrhunderts wurde 1959 mit „Jazz on a summers day“ von Bert Stern (vgl. auch diese Webseite) gedreht. Ein wesentliches Ereignis, das live im Fernsehen 1957 gezeigt wurde und auf unzähligen VHS-Kassetten und DVDs später erschien, war die Jazz-TV-Sendung „The Sound of Jazz“ von CBS am 8.12.1957, die live aus dem CBS Studio 58 in New York übertragen Wurde. Selten wurde bis zu diesem Zeitpunkt ein Jazz-Ereignis dokumentiert, das so viele Jazz-Heroen gemeinsam zeigte. Robert Herridge, ein TV-Produzent, der eine Sendereihe mit dem Titel „The Seven Lively Arts“ entwickelte und produzierte, hatte die Idee zu dieser Sendung. Unterstützt wurde er dabei von den Jazz-Kritikern und –Autoren Nat Hentoff und Whitney Balliet, die ihr umfangreiches Wissen zur Verfügung stellten. Inhalt: In lausiger Bildqualität eröffnet die Count Basie-Allstar-Band mit dem Titel von Nat Pierce „Open All Night“. Soli spielen der Drummer Jo Jones, Tenor- Saxophonist Ben Webster, Posaunist Dicky Wells, Bariton-Saxophonist Gerry Mulligan, Trompeter Joe Newman und Bandleader Count Basie. Die Band, die für die TV-Übertragung zusammengestellt wurde, klingt kraftvoll, spritzig und wunderbar swingend, außerdem sehr präzise.
    [Show full text]
  • Teacher Guide—Unit 10
    From Ragtime to Rock: An Introduction to 100 Years of American Popular Music Teacher Guide—Unit 10 The Swing Era The Swing Era straddles a turbulent era in America, highlighted by the Great Depression and World War II. In the midst of these worldwide calamities, jazz music (now completely mainstream and called “swing”) offered an escape with its high energy, sunny outlook, and danceable beat. Starting in 1935, “big bands” consisting of 18 or more musicians became the most popular vehicle for bringing swing to the masses. These bands and their leaders helped usher in a new era of respectability for jazz and broke down racial barriers that, in the past, had prevented black and white musicians from performing together on the same stage. Discussion Topics 1. The Popularity of Swing Question: Why did big band swing become so popular in troubled times like the Great Depression and World War II? Sample Answers: a) Swing music had a high-energy, danceable beat that provided fun in the face of tough times; b) The energy, passion, and romance of big band swing offered hope for a better future; c) Swing musicians played a big role in the war effort. 2. The War Effort—During World War II, the entire country participated in the “war effort,” part of which meant rationing everyday items like gasoline, metal, and rubber. Question: How did jazz and swing musicians play a part in the “war effort” that engulfed America during World War II? Sample Answers: a) Swing musicians produced special recordings, radio broadcasts, and concert tours for the troops; b) The happy feel of swing music helped lift the spirits of America’s allies in Europe and Asia; c) After the war, swing music was a very effective tool for winning over the hearts and minds of defeated enemies like Germany and Japan.
    [Show full text]
  • Holt Atherton Special Collections Ms4: Brubeck Collection
    HOLT ATHERTON SPECIAL COLLECTIONS MS4: BRUBECK COLLECTION SERIES 1: PAPERS SUBSERIES E: CLIPPINGS BOX 3a : REVIEWS, 1940s-1961 1.E.3.1: REVIEWS, 1940s a- “Jazz Does Campus Comeback but in new Guise it’s a ‘Combo,’” Oakland Tribune, 3-24-47 b- Jack Egan. “Egan finds jury…,” Down Beat, 9-10-47 c- “Local boys draw comment,” <n.s.> [Chicago], 12-1-48 d- Edward Arnow. “Brubeck recital is well-received,” Stockton Record, 1-18-49 e- Don Roessner. “Jazz meets J.S. Bach in the Bay Region,” SF Chronicle, 2- 13-49 f- Robert McCary. “Jazz ensemble in first SF appearance,” SF Chronicle, 3-6- 49 g- Clifford Gessler. “Snap, skill mark UC jazz concert,” <n.s.> [Berkeley CA], n.d. [4-49] h- “Record Reviews---DB Trio on Coronet,” Metronome, 9-49, pg. 31 i- Keith Jones. “Exciting and competent, says this critic,” Daily Californian, 12- 6-49 j- Kenneth Wastell. “Letters to the editor,” Daily Californian, 12-8-49 k- Dick Stewart. “Letters to the editor,” Daily Californian, 12-9-49 l- Ken Wales. “Letters to the editor,” Daily Californian, 12-14-49 m- “Record Reviews: The Month’s best [DB Trio on Coronet],” Metronome, Dec. 1949 n- “Brubeck Sounds Good” - 1949 o- Ralph J. Gleason, “Local Units Give Frisco Plenty to Shout About,” Down Beat, [1949?] 1.E.3.2: REVIEWS, 1950 a- “Record Reviews: Dave Brubeck Trio,” Down Beat, 1-27-50 b- Bill Greer, "A Farewell to Measure from Bach to Bop," The Crossroads, January 1950, Pg. 13 c- Keith Jones. “Dave Brubeck,” Bay Bop, [San Francisco] 2-15-50 d- “Poetic License in Jazz: Brubeck drops in on symphony forum, demonstrates style with Bach-flavored bop,” The Daily Californian, 2-27-50 e- Barry Ulanov.
    [Show full text]
  • Walt Disney Concert Hall Opening Season
    WALT DISNEY CONCERT HALL 2014/15 CHRONOLOGICAL LISTING OF EVENTS SEPTEMBER 2014 LOS ANGELES PHILHARMONIC Thursday, September 25, 2014, at 7 PM YOLA AT LACHSA CHOIR AND MUSICIANS Daniel Cohen, conductor Neighborhood Concert Martin Chalifour, violin Luckman Auditorium PUENTE Oye como va VIVALDI/PIAZZOLLA Selections from The Four Seasons MILHAUD Le boeuf sur le toit LOS ANGELES PHILHARMONIC Tuesday, September 30, 2014, at 7 PM -OPENING NIGHT GALA- Walt Disney Concert Hall Gustavo Dudamel (Non-subscription) Itzhak Perlman, violin Dan Higgins, alto saxophone Glenn Paulson, vibraphone Mike Valerio, string bass U.S. Army Herald Trumpets Los Angeles Children’s Chorus Anne Tomlinson, artistic director Netia Jones, projection design Robin Gray, lighting design A John Williams Celebration Olympic Fanfare and Theme Soundings Three Pieces from Schindler’s List Cadenza and Variations from Fiddler on the Roof* The Duel from The Adventures of Tintin Escapades from Catch Me if You Can Throne Room and Finale from Star Wars *Includes excerpts from the original Jerry Bock score from Fiddler on the Roof. OCTOBER 2014 LOS ANGELES PHILHARMONIC Thursday, October 2, 2014, at 8 PM Walt Disney Concert Hall Friday, October 3, 2014, at 11 AM Saturday, October 4, 2014, at 8 PM Sunday, October 5, 2014, at 2 PM Gustavo Dudamel, conductor Sō Percussion LANG Man Made (U.S. premiere, LA Phil co-commission) MAHLER Symphony No. 5 GREEN UMBRELLA Tuesday, October 7, 2014, at 8 PM Walt Disney Concert Hall Los Angeles Philharmonic New Music Group Sō Percussion Joseph Pereira,
    [Show full text]
  • Count Basie and His Bands
    NEW YORKJAZZ MUSEUM , . (:OU~T 13A,I~ and 171,13A~u, _.......-- · ' - . -~•,.,. - (:OU~T 13Ail~ and I-iii 13A~l)i Edited by Dan Morgenstern and Jack Bradley Biographies by Bill Esposito Dan Morgenstern Arnold J. Smith © Copyright 1975 by New York Jazz Museum Cover photo/Phil Stern Cover design/ Fran Greenberg WILLIAM "COUNT" BASIE A PROFILE OF HIS LI FE & MUSIC 1904 Born , August 21, at Red Bank, N.J. 1917 Starts as a drummer, switches to piano. 1919-20 Plays in local bands and stage shows in N. Y. and N.J. Takes lessons from Fats Waller. 1925-27 Tours theaters accompanying variety acts: Kate Crippen and Her Kids, Sonny Thompson Band, Gonzelle White. Vaudevillians ; first hears Kansas City style music in Tulsa, Walter Page Blue Devils; Gonzelle White Show folds in Kansas City; Accompanies Whitman Sisters in Kansas City . 1928 Join s Blue Devils in Dallas, Texas in July. 1929 Plays briefly with Elmer Payne and his Ten Royal Americans (summer). 1930 Basie and members of the Blue Devils join Benny Mote.n's band. 1934 Leaves Moten early in year to lead own band (under Mote.n's auspices) in Little Rock, Arkansas, then rejoins Moten. 1935 Death of Moten breaks up the famous Kansas City unit, after working a short time under Mote.n's brother Buster's leadership; returning to Kansas City, · works as a single, then with own trio before jointly leading "Barons of Rhythm" with altoist, Buster Smith. 1936 Broadcasts over Station WIXBY and is heard by John Hammond, famed jazz buff and sponsor, who initiates the band's first national tour; plays at Grand Terrace in Chicago - not a rousing success - then the Vendome Hotel in Buffalo, N.Y.
    [Show full text]
  • Dossier FLAMENCO HOY ENG.Word
    CREATIVE & CAST Produced by Julio Martí for Flamenco Futuro FLAMENCO HOY by Carlos Saura Directed by CARLOS SAUA Artistic Consultant JOSÉ LUIS ORTIZ NUEVO Direction Assistant SAURA MEDRANO Original Music CHANO DOMÍNGUEZ Musical Direction and Original Music ANTONIO REY Choreography DOSPORMEDIO Y COMPAÑÍA RAFAEL ESTÉVEZ, NANI PAÑOS Ballet Master ANTONIO RUZ Light Design PACO BELDA Costume Design ANTONIO ALVARADO Set Design LAURA MARTÍNEZ Producer JULIO MARTÍ Principal Dancers NANI PAÑOS . RAFAEL ESTÉVEZ Soloist Dancer PATRICIA GUERRERO Dance Cast ÁLVARO PAÑOS . ROSANA ROMERO . ANA AGRAZ . MÓNICA IGLESIAS . OSCAR MANHENZANE . DANIEL MORILLO . CARMEN MANZANERA . ANDOITZ RUIBAL Musicians CHANO DOMÍNGUEZ, PIANO . ANTONIO REY, GUITARRA . ERNESTO AURIGNAC, SAXOFÓN Y FLAUTA . MARTÍN MELÉNDEZ, BAJO Y CELLO . ISIDRO SUÁREZ, PERCUSIÓN Singers ALBA CARMONA . BLAS CÓRDOBA . ISRAEL . SANDRA CARRASCO THE SHOW Flamenco Hoy is the first live work directed by the great Spanish filmmaker Carlos Saura, awarded and nominated in all the relevant film festivals such as Cannes, Berlin, Montreal, or San Sebastian, and including several Oscar Award nominations. For this staging Saura has relayed in more than 20 artists of the new generation; all of them fully talented and very well known in their fields, displaying a live show, brilliant, full of strength and energy. The dancing, consisting of eleven excellent dancers whose spirited choreography is created by the geniuses Rafael Estevez and Nani Paños, appears with its many deep rooted traditions acquired over the centuries and its use of new genres like jazz and contemporary. The singing is represented by four outstanding cantaores who interpret the compositions and arrangements of Chano Dominguez, internationally renowned spanish pianist and several times nominated for a Grammy; as well as five great musicians that together with guitar virtuoso Antonio Rey, winner of the National Guitar Award in its three categories, complete the musical scenery.
    [Show full text]
  • Amplified Music and Multimodality
    Making Things Louder: Amplified Music and Multimodality PhD Thesis Johannes Mulder University of Technology Sydney Faculty of Arts and Social Sciences Supervisor: Professor Theo van Leeuwen Submitted April 2013 Certificate of Authorship/Originality I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Johannes Mulder ii Acknowledgments I am very grateful to Theo van Leeuwen who both inspired and supervised this thesis. In a relatively short time he has shared a vast amount of his own work and insights, forming the ‘roots’ of this work. Bert Bongers’ for his invaluable and continuing friendship, support and our never-ending critical dialogue. Tony Mitchell has kindly and patiently proofread this dissertation, which has been crucial in eliminating the inherent quirks of bilingualism (which in itself sounds like a Dutchism). Some of my best friends are live sound engineers: Paul, Joke, Bart, Jeroen, Carl, Marc, you are all part of this. Two people, Martje van Riel and Xander Lub were instrumental in making me go back to University. I particularly want to thank my friend Arnoud van Deelen (the self appointed chair of my fan club) for his long lasting support morally, and financially.
    [Show full text]
  • List of Transcribed Solos Xxiii Note on the Music Examples Xxv Chronology Xxvii
    JAZZ PERSPECTIVES Lewis Porter, Series General Editor Open the Door: The Life and Music of Betty Carter By William R. Bauer Jazz Journeys to Japan: The Heart Within By William Minor Four Jazz Lives By A. B. Spellman Head Hunters: The Making of Jazz’s First Platinum Album By Steven F. Pond Lester Young By Lewis Porter OTHER BOOKS OF INTEREST Before Motown: A History of Jazz in Detroit 1920–1960 By Lars Bjorn with Jim Gallert John Coltrane: His Life and Music By Lewis Porter Charlie Parker: His Music and Life By Carl Woideck The Song of the Hawk: The Life and Recordings of Coleman Hawkins By John Chilton Rhythm Man: Fifty Years in Jazz By Steve Jordan with Tom Scanlan Let the Good Times Roll: The Story of Louis Jordan and His Music By John Chilton Twenty Years on Wheels By Andy Kirk as Told to Amy Lee Copyright © 2005 by Lewis Porter Published by the University of Michigan Press 2005 First published by G. K. Hall & Co. 1985 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ∞ Printed on acid-free paper 2008 2007 2006 2005 4 3 2 1 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. Library of Congress Cataloging-in-Publication Data applied for. ISBN 0-472-08922-6 This revised edition is dedicated to my wonderful children, Matthew and Rachel, and to my devoted mother, Carol.
    [Show full text]