The Complete Jack Johnson Sessions Miles Davis Was Asked to Write the Soundtrac

Total Page:16

File Type:pdf, Size:1020Kb

The Complete Jack Johnson Sessions Miles Davis Was Asked to Write the Soundtrac The Complete Jack Johnson Sessions Miles Davis was asked to write the soundtrack to a documentary film on the first African American heavyweight champion - the proud and flamboyant Jack Johnson--a figure who much like Miles, was outspoken, defiant, loved women and fast cars, and was simply the greatest. If Bitches Brew incorporated the rock and funk of the time, Jack Johnson put it front and center. Miles Davis, a boxer himself, created an album of ferocious, unrelenting power which perfectly captured the fighting style of the champion. This box set documents the creation of this masterpiece. • 120 page book • Grammy Winner Track D ALBUM Song Title Performer Media Updated Time Disc 1 1. Willie Nelson (take 2) Davis, Miles 6:41 07/16/10 audio preview 2. Willie Nelson (take 3) Davis, Miles 10:21 06/24/08 audio preview 3. Willie Nelson (insert 1) Davis, Miles 6:33 06/24/08 audio preview 4. Willie Nelson (insert 2) Davis, Miles 5:22 07/16/10 audio preview 5. Willie Nelson (remake take 1) Davis, Miles 10:45 06/24/08 audio preview 6. Willie Nelson (remake take 2) Davis, Miles 10:17 07/16/10 audio preview 7. Johnny Bratton (take 4) Davis, Miles 8:17 07/16/10 audio preview 8. Johnny Bratton (insert 1) Davis, Miles 6:38 07/16/10 audio preview 9. Johnny Bratton (insert 2) Davis, Miles 5:19 06/24/08 audio preview 10. Archie Moore Davis, Miles 4:45 07/16/10 audio preview Disc 2 1. Go Ahead John (part 1) Davis, Miles 13:07 07/16/10 audio preview 2. Go Ahead John (part two A) Davis, Miles 7:00 07/16/10 audio preview 3. Go Ahead John (part two B) Davis, Miles 10:06 06/24/08 audio preview 4. Go Ahead John (part two C) Davis, Miles 3:38 06/24/08 audio preview 5. Go Ahead John (part one remake) Davis, Miles 11:04 06/24/08 audio preview 6. Duran (take 4) Davis, Miles 5:37 07/16/10 audio preview 7. Duran (take 6) Davis, Miles 11:20 07/16/10 audio preview 8. Sugar Ray Davis, Miles 6:16 07/16/10 audio preview Disc 3 1. Right Off (take 10) Davis, Miles 11:09 07/16/10 audio preview 2. Right Off (take 10A) Davis, Miles 4:33 07/16/10 audio preview 3. Right Off (take 11) Davis, Miles 5:58 06/24/08 audio preview 4. Right Off (take 12) Davis, Miles 8:49 06/24/08 audio preview 5. Yesternow (take 16) Davis, Miles 9:49 07/16/10 audio preview 6. Yesternow (new take 4) Davis, Miles 15:47 06/24/08 audio preview 7. Honky Tonk (take 2) Davis, Miles 10:04 07/16/10 audio preview 8. Honky Tonk (take 5) Davis, Miles 11:29 07/16/10 audio preview Disc 4 1. Ali (take 3) Davis, Miles 6:50 07/16/10 audio preview 2. Ali (take 4) Davis, Miles 10:14 07/16/10 audio preview 3. Konda Davis, Miles 16:29 07/16/10 audio preview 4. Nem um Talvez (take 17) Davis, Miles 2:50 02/24/14 audio preview 5. Nem um Talvez (take 19) Davis, Miles 2:54 02/24/14 audio preview 6. Little High People (take 7) Davis, Miles 6:52 07/16/10 audio preview 7. Little High People (take 8) Davis, Miles 9:28 07/16/10 audio preview 8. Nem um Talvez (take 3) Davis, Miles 4:36 02/24/14 audio preview 9. Nem um Talvez (take 4A) Davis, Miles 2:04 02/24/14 audio preview 10. Selim (take 4B) Davis, Miles 2:15 07/16/10 audio preview 11. Little Church (take 7) Davis, Miles 3:16 07/16/10 audio preview 12. Little Church (take 10) Davis, Miles 3:15 06/24/08 audio preview Disc 5 1. The Mask (part one) Davis, Miles 7:47 07/16/10 audio preview 2. The Mask (part two) Davis, Miles 15:45 07/16/10 audio preview 3. Right Off Davis, Miles 26:54 02/24/14 audio preview 4. Yesternow (Album Version) Davis, Miles 25:36 12/17/13 audio preview .
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]
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014
    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
    [Show full text]
  • A Journal for Contemporary Music (1971-1988)
    Contact: A Journal for Contemporary Music (1971-1988) http://contactjournal.gold.ac.uk Citation Reynolds, Lyndon. 1975. ‘Miles et Alia’. Contact, 11. pp. 23-26. ISSN 0308-5066. ! [I] LYNDON REYNOLDS Ill Miles et Alia The list of musicians who have played with Miles Davis since 1966 contains a remarkable number of big names, including Wayne Shorter, Herbie Hancock, Tony Williams, Chick Corea, Joe Zawinul, Jack de Johnette, Dave Hol l and, John McLaughlin and Miroslav Vitous. All of these have worked success fully without Miles, and most have made a name for themselves whilst or since working with him. Who can say whether this is due to the limelight given them by playing alongside , Miles, the musical rewards of working with him, or Miles's talent-spotting abili- ties? Presumably the truth is a mixture of all these. What does Miles's music owe to the creative personalities of the musicians working with him? This question is unanswerable in practice, for one cannot quan- tify individual responsibility for a group product - assuming that is what Miles's music is. It is obvious that he has chosen very creative musicians with which to work, and yet there has often been an absence of conspicuous, individual, free solo playing in his music since about 1967. It would appear that Miles can absorb musical influences without losing his balance. What we find then, is a nexus of interacting musicians, centring on Miles; that is, musicians who not only play together in various other combinations, but influence each other as well. Even if the web could be disentangled (I know not how, save with a God's-eye-view), a systematic review of all the music that lies within it would be a task both vast and boring.
    [Show full text]
  • Stan Magazynu Caĺ†Oĺıäƒ Lp Cd Sacd Akcesoria.Xls
    CENA WYKONAWCA/TYTUŁ BRUTTO NOŚNIK DOSTAWCA ALLMAN BROTHERS BAND - AT FILLMORE EAST 159,99 SACD BERTUS ALLMAN BROTHERS BAND - AT FILLMORE EAST (NUMBERED 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - BROTHERS AND SISTERS (NUMBE 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - EAT A PEACH (NUMBERED LIMIT 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - IDLEWILD SOUTH (GOLD CD) 129,99 CD GOLD MOBILE FIDELITY ALLMAN BROTHERS BAND - THE ALLMAN BROTHERS BAND (N 149,99 SACD MOBILE FIDELITY ASIA - ASIA 179,99 SACD BERTUS BAND - STAGE FRIGHT (HYBRID SACD) 89,99 SACD MOBILE FIDELITY BAND, THE - MUSIC FROM BIG PINK (NUMBERED LIMITED 89,99 SACD MOBILE FIDELITY BAND, THE - THE LAST WALTZ (NUMBERED LIMITED EDITI 179,99 2 SACD MOBILE FIDELITY BASIE, COUNT - LIVE AT THE SANDS: BEFORE FRANK (N 149,99 SACD MOBILE FIDELITY BIBB, ERIC - BLUES, BALLADS & WORK SONGS 89,99 SACD OPUS 3 BIBB, ERIC - JUST LIKE LOVE 89,99 SACD OPUS 3 BIBB, ERIC - RAINBOW PEOPLE 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - GOOD STUFF 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - SPIRIT & THE BLUES 89,99 SACD OPUS 3 BLIND FAITH - BLIND FAITH 159,99 SACD BERTUS BOTTLENECK, JOHN - ALL AROUND MAN 89,99 SACD OPUS 3 CAMEL - RAIN DANCES 139,99 SHMCD BERTUS CAMEL - SNOW GOOSE 99,99 SHMCD BERTUS CARAVAN - IN THE LAND OF GREY AND PINK 159,99 SACD BERTUS CARS - HEARTBEAT CITY (NUMBERED LIMITED EDITION HY 149,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS AFTER HOURS (NUMBERED LI 99,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS OF RAY CHARLES (NUMBERED 129,99 SACD MOBILE FIDELITY
    [Show full text]
  • An Evening with Savion Glover & Jack Dejohnette
    Co-present AN EVENING WITH SAVION GLOVER & JACK DEJOHNETTE Savion Glover Tap Dancer Jack DeJohnette Drums Featuring George Colligan Piano Jerome Harris Bass Marshall Davis, Jr. Tap Dancer Monday, June 20 & Tuesday, June 21 at 8:00pm Page Auditorium Performance: 90 minutes, including intermission and pause Savion Glover with Marshall Davis, Jr. INTERMISSION Jack DeJohnette and his Trio PAUSE Savion Glover with Jack DeJohnette and full company SAVION GLOVER Savion Glover is a Tony Award-winning choreographer and legendary hoofer whose career has spanned four decades. He began his Broadway stage career as The Tap Dance Kid, and continued with Black and Blue, Jelly's Last Jam, and his unprecedented award-winning Bring in da Noise Bring in da Funk, which garnered him a Tony Award for Best Choreography. He choreographed the multiple Tony Award nominee and Broadway sensation Shuffle Along with his longtime collaborator George C. Wolfe. In addition to his extensive Broadway career as a performer and choreographer, Savion has created many tap shows that tour worldwide including Bare Soundz, Classical Savion, OM, StepZ, Solo in Time, Sole Sanctuary, Improvography, Footnotes, and Savion Glover's Holiday Spectacular. In addition to creating his ongoing body of work, Savion has enjoyed performing worldwide with jazz legends including McCoy Tyner, Roy Haynes, and Jack DeJohnette. Mr. Glover's film credits include Tap, starring Gregory Hines and Sammy Davis, Jr.; Spike Lee's Bamboozled, and George Miller's Happy Feet and Happy Feet Two. He has appeared on television in commercials for Nike and is a longstanding performer on Sesame Street. As a child, Glover was privileged to dance with and be guided by the great Bunny Briggs, Buster Brown, Lon Chaney, Gregory Hines, Sammy Davis, Jr., Jimmy Slyde and Diane Walker.
    [Show full text]
  • Miles Davis (1926-1991)
    Roots of American Music Biography: Miles Davis (1926-1991) Miles Davis is the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century. He was the first jazz musician of the post-hippie era to incorporate rock rhythms, and his immeasurable influence on others, in both jazz and rock, encouraged a wealth of subsequent experiments. From the bebop licks he initially played with saxophonist Charlie Parker to the wah-wah screeds he concocted to keep up with Jimi Hendrix, Davis was as restless as a performer could get. Davis was raised in an upper-middle-class home in an integrated East St. Louis neighborhood. His father was a dentist; his mother, a music teacher. In 1941 he began playing the trumpet semiprofessionally with St. Louis jazz bands. The skills were there. Four years later, his father sent him to study at New York's Juilliard School of Music. Immediately upon arriving in New York City, Davis sought out alto saxophonist Parker, whom he had met the year before in St. Louis. He became Parker's roommate and protégé, playing in his quintet on the 1945 Savoy sessions, the definitive recordings of the bebop movement. He dropped out of Juilliard and played with Benny Carter, Billy Eckstine, Charles Mingus, and Oscar Pettiford. As a trumpeter Davis was far from virtuosic, but he made up for his technical limitations by emphasizing his strengths: his ear for ensemble sound, unique phrasing, and a distinctively fragile tone. He started moving away from speedy bop and toward something more introspective.
    [Show full text]
  • The Best Albums of 1970 Jeffrey Lee Puckett Posted 8 Days Ago
    Quelle: discogs / 25.03.2020 The Best Albums Of 1970 Jeffrey Lee Puckett posted 8 days ago. 1970 was a tumultuous year in world history, with global politics dominated by the Vietnam War and the conflict between Israel and Palestine. Protests against the Vietnam War raged in major American cities and across college campuses, most notably leading to the deaths of four students at Kent State University when the Ohio National Guard opened fire. Palestinian terrorists committed a series of airline hijackings that commanded the world’s attention. Some of the turmoil surfaced in popular music. Crosby, Stills, Nash & Young released “Ohio,” a response to the Kent State shootings, within a week of the massacre. The music world suffered its own losses with the deaths of Jimi Hendrix and Janis Joplin, and the breakup of The Beatles. The albums released in 1970 represent a rich tapestry of rock, jazz, and soul, including some of history’s most important and game-changing records. Black Sabbath arrived, taking heavy metal to the (black) masses, the seeds of punk rock were planted by The Stooges, and Miles Davis was singlehandedly changing jazz. Discogs has mined the abundant data available from the collections and wantlists of its users to compile this list of the most wanted/most owned albums from 1970. Anyone just getting into the world of collecting music could simply buy everything on this list and be good to go. We’ll be doing this for the first year of every decade through 2020, and 1980 clearly has its work cut out for it.
    [Show full text]
  • Imaginary Miles: Modeling Musebots After Musicians
    Imaginary Miles: Modeling Musebots after Musicians Arne Eigenfeldt School for the Contemporary Arts Simon Fraser University, Vancouver, Canada [email protected] ABSTRACT ing and simulation [4]. One facet of computational musi- cology is to prove the validity of the derived model Musebots are autonomous musical agents that interact through generation [5]; however, it should be pointed out with other musebots to create music. Inaugurated in that its specific goals are different from those of the pro- 2015, musebots are now an established practice in the duction systems found within MuMe, in that the resulting field of musical metacreation, which aims to automate generation is not meant to have artistic validity. aspects of creative practice. Musebots have been present- The work described in this paper is firmly within the ed as continuously running installations, in which ensem- MuMe field: while using methods derived from machine- bles, curated from the pool of community-coded agents, learning to produce a loose model of a specific stylistic interact autonomously with one another for five to seven corpus, the goal is not to exactly reproduce the model; minutes, emphasising their (often) disparate styles. Imag- instead, the model is a starting point for more general inary Miles, while continuing the musebot tradition of compositional explorations of musical agent relation- open-source development, presents musebots coded only ships. by the author. Furthermore, the generated style is quite explicit – late 1960s jazz, specifically the Miles Davis 1.3 Musebots groups of that era. While individual musebots are mod- elled after specific musicians, Imaginary Miles is not an The open source musebot protocol1 was originally devel- effort at computational musicology that attempts to per- oped to coordinate generative music software ensembles fectly replicate its models; instead, the ensemble’s unique [6] and facilitate modularised prototyping of designs [7].
    [Show full text]
  • From Birth to Death of Cool
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-2009 From Birth to Death of Cool Brandon Theriault Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Music Commons Recommended Citation Theriault, Brandon, "From Birth to Death of Cool" (2009). Honors Theses. 1657. https://scholarworks.wmich.edu/honors_theses/1657 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. FROM BIRTH TO DEATH OF COOL by Brandon Theriault An Honors Thesis Submitted to the Lee Honors College of Western Michigan University April, 2009 INTRODUCTION "Miles Davis was a bad dude. He was one of the baddest men in jazz... baddest jazzman ever." -Alvin Jones. Who is Alvin Jones? Alvin Jones is the man I just met outside of the Bernhard Center on Western Michigan University's campus in Kalamzoo, MI. I have been laboring over my honors thesis for months now; I am approaching its completion and was at a loss for a way to start the piece. As Alvin Jones stumbled up to me panhandling for a cigarette I could not help but notice his physical similarity to Miles. He looked to be approaching 65, white whiskers sparsely covering his face and making appearances throughout his eyebrows. He was slender, taller than average, and had exaggerated facial features; large luminous eyes, long eyelashes and high cheekbones.
    [Show full text]
  • Imaginings of Africa in the Music of Miles Davis by Ryan
    IMAGININGS OF AFRICA IN THE MUSIC OF MILES DAVIS BY RYAN S MCNULTY THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Advisor: Associate Professor Gabriel Solis Abstract Throughout jazz’s history, many American jazz musicians have alluded to Africa using both musical and extramusical qualities. In musicological literature that has sought out ties between American jazz and Africa, such as Ingrid Monson’s Freedom Sounds (2007) and Robyn Kelly’s Africa Speaks, America Answers (2012), the primary interest has thus far been in such connections that occurred in the 1950s and early 1960s with the backdrop of the Civil Rights movement and the liberation of several African countries. Among the most frequently discussed musicians in this regard are Art Blakey, Max Roach, and Randy Weston. In this thesis, I investigate the African influence reflected in the music of Miles Davis, a musician scantly recognized in this area of jazz scholarship. Using Norman Weinstein’s concept of “imaginings,” I identify myriad ways in which Davis imagined Africa in terms of specific musical qualities as well as in his choice of musicians, instruments utilized, song and album titles, stage appearance, and album artwork. Additionally (and often alongside explicit references to Africa), Davis signified African-ness through musical qualities and instruments from throughout the African diaspora and Spain, a country whose historical ties to North Africa allowed Davis to imagine the European country as Africa.
    [Show full text]
  • Jazz Rock Fusion Surviving Four Decades and Counting…
    1 of 38 Jazz Rock Fusion Surviving Four Decades and Counting… By, Rick Calic www.jazzrockworld.com March 2006 Writing an article about Jazz Rock Fusion these days might seem as pointless as debating the benefits of Hi-Fi equipment with vacuum tubes vs. transistors to someone that uses an iPod. The only people that would care are older folks who even remember tubes and dedicated enthusiasts. On the other hand, while Jazz Rock Fusion might be older or seem equally pointless to many reading this article, there remains a large but scattered segment of the world’s population that sees the genre as a vibrant and legitimate art form. Sadly though, the musical perspective regarding Jazz Rock Fusion was narrow from the beginning and will probably always be that way. Jazz Rock Fusion, in terms of the entire world of music, constitutes just a tiny fraction of interest. Yet, if we accept this as fact, which most fans, musicians and certainly “big business” does, the generation of any interest at all is meritorious. In order to discuss the music with integrity, a ground rule needs to be established. This ground rule is required due to the unsolved, long lasting, and ongoing mysteries of the music and its unique identity. Mysteries such as: What is Jazz Rock Fusion? Who started Jazz Rock Fusion? What should it be called? And finally, with no major media support why is there still a market? So, what are the answers you ask? Quite simply these mysteries will remain mysteries. Answering the questions definitively will end up as trivial as the facts regarding the creation and development of the gut bucket.
    [Show full text]
  • Downbeat.Com June 2014 U.K. £3.50
    JUNE 2014 U.K. £3.50 DOWNBEAT.COM JUNE 2014 VOLUME 81 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom
    [Show full text]