Herbie Hancock the Prisoner Mp3, Flac, Wma

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Herbie Hancock The Prisoner mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: The Prisoner Country: Europe Released: 1987 Style: Post Bop MP3 version RAR size: 1738 mb FLAC version RAR size: 1161 mb WMA version RAR size: 1825 mb Rating: 4.6 Votes: 663 Other Formats: WMA MIDI WAV VOX FLAC APE DXD Tracklist Hide Credits I Have A Dream A1 10:55 Written-By – Herbie Hancock The Prisoner A2 7:55 Written-By – Herbie Hancock Firewater B1 7:30 Written-By – Charles Williams* He Who Lives In Fear B2 6:50 Written-By – Herbie Hancock Promise Of The Sun B3 7:50 Written-By – Herbie Hancock Credits Art Direction – Frank Guana* Bass – Buster Williams Bass Clarinet – Jerome Richardson, Romeo Penque (tracks: B1, B3) Bass Trombone – Jack Jeffers (tracks: B1, B3), Tony Studd Drums – Albert "Tootie" Heath* Flugelhorn – Johnny Coles Flute – Hubert Laws, Jerome Richardson (tracks: B1,B3) Liner Notes – Herb Wong Piano, Electric Piano – Herbie Hancock Producer – Duke Pearson Recorded By – Rudy Van Gelder Tenor Saxophone, Flute [Alto] – Joe Henderson Trombone – Garnett Brown Notes Recorded April 18, 21 & 23, 1969. Réédition 1987 EMI Pathé Marconi S.A. Barcode and Other Identifiers Rights Society: SACEM Other versions Category Artist Title (Format) Label Category Country Year Herbie The Prisoner (LP, BST 84321 Blue Note BST 84321 US 1969 Hancock Album) Herbie The Prisoner (CD, CDP 7 46845 2 Blue Note CDP 7 46845 2 US 1987 Hancock Album, RE) BST 84321, Blue BST 84321, Herbie The Prisoner (LP, (BNST 84321- Note, (BNST 84321- US Unknown Hancock Album, RE, RM) A/B) Blue Note A/B) Blue BNLP 12163, Herbie The Prisoner (LP, BNLP 12163, Note, Brazil 1976 BNLP12163 Hancock Album) BNLP12163 Blue Note Herbie The Prisoner (CD, TOCJ-7080 Blue Note TOCJ-7080 Japan 2008 Hancock Album, RM) Related Music albums to The Prisoner by Herbie Hancock Herbie Hancock - Jammin' With Herbie Hancock Herbie Hancock - The Fun Tracks Herbie Hancock - Fat Albert Rotunda Herbie Hancock - Metal Beat Corea / Hancock - An Evening With Chick Corea And Herbie Hancock Herbie Hancock - Secrets Herbie Hancock - The Best Of Herbie Hancock In The 60's (Record One Of Two-Record Set) Herbie Hancock - The Essence.

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Herbie Hancock
HERBIE HANCOCK The Warner Bros.-Years 1969-1972 3-CD-Set mit Bonustracks VÖ: 18. Juli 2014 „Herbie war die nächste Stufe nach Bud Powell und Thelonius Monk, und ich habe noch niemanden gehört, der sein Nachfolger sein könnte.“ Mit diesem großen, aber zweifellos gerechtfertigten Lob charakterisierte Miles Davis, der Gigant des Jazz, seinen Musikerkollegen HERBIE HANCOCK in seiner Autobiografie „Miles“. Und tatsächlich gehört HERBIE HANCOCK, dessen Debüt-Album Takin‘ Off im Jahre 1962 erschien, zu den großen Ikonen des Jazz. Wie kaum ein Zweiter eröffnete er dem Jazz die Türen in völlig neue Bereiche, während er einen charakteristischen, unverwechselbaren eigenen Klang entwickelte. Doch auch nach einer fünf Dekaden währenden Karriere, in denen HANCOCK 14(!) Grammys gewann, überrascht er sein Publikum auch heute noch. Es gibt nur sehr wenige Musiker, die einen so starken Einfluss auf akustischen oder elektrischen Jazz und sogar den R&B ausübten wie HERBIE HANCOCK. The Warner Bros.-Years 1969-1972 besteht aus drei legendären Alben die sich allesamt um die Entstehung seiner Mwandishi Band gruppieren, mit der HERBIE HANCOCK völlig neue Wege beschritt. Auf dem Mwandishi-Album von 1971 trennte sich HANCOCK von den üblichen Jazz-Idiomen und entwickelte einen vollkommen neuen Sound, der mit neuer Technologie und neuem Ansatz entstand, indem es Beat, Abstraktion und Afrikanische Einflüsse miteinander verband, Überdies zeichnet sich das Album durch eine kollektivistische Herangehensweise unter einem stabilen Band-Leader aus. Genau genommen führte HANCOCK auf dem Album seine Experimente weiter, die er auf Miles Davis‘ Album A Silent Way (1969) begonnen hatte. Diese vertiefte er zunächst auf seinem frühen Fusion- Album Fat Albert Rotunda (1969), das einen radikalen Schnitt setzte und als erstes Album eines Jazz-Musikers Jazz mit Soul verknüpfte.
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Acoustic Sounds Catalog Update
WINTER 2013 You spoke … We listened For the last year, many of you have asked us numerous times for high-resolution audio downloads using Direct Stream Digital (DSD). Well, after countless hours of research and development, we’re thrilled to announce our new high-resolution service www.superhirez.com. Acoustic Sounds’ new music download service debuts with a selection of mainstream audiophile music using the most advanced audio technology available…DSD. It’s the same digital technology used to produce SACDs and to our ears, it most closely replicates the analog experience. They’re audio files for audiophiles. Of course, we’ll also offer audio downloads in other high-resolution PCM formats. We all like to listen to music. But when Acoustic Sounds’ customers speak, we really listen. Call The Professionals contact our experts for equipment and software guidance RECOMMENDED EQUIPMENT RECOMMENDED SOFTWARE Windows & Mac Mac Only Chord Electronics Limited Mytek Chordette QuteHD Stereo 192-DSD-DAC Preamp Version Ultra-High Res DAC Mac Only Windows Only Teac Playback Designs UD-501 PCM & DSD USB DAC Music Playback System MPS-5 superhirez.com | acousticsounds.com | 800.716.3553 ACOUSTIC SOUNDS FEATURED STORIES 02 Super HiRez: The Story More big news! 04 Supre HiRez: Featured Digital Audio Thanks to such support from so many great customers, we’ve been able to use this space in our cata- 08 RCA Living Stereo from logs to regularly announce exciting developments. We’re growing – in size and scope – all possible Analogue Productions because of your business. I told you not too long ago about our move from 6,000 square feet to 18,000 10 A Tribute To Clark Williams square feet.
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Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures.
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Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
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Jazz Arranging I
Syllabus: Jazz Arranging I Overview • 10 weeks • 2 reading sessions: weeks 5 and 10 • online lessons, assignment down & upload, evaluation • focus on 3-horn writing • elements of arranging: composition + orchestration Objectives • to Be aBle to conceive & develop original/personal arrangement for rhythm section and 3 horns • to understand basic principles of orchestration and their effects: range, texture, color • to understand Basic principles of composition and their effects: melody, harmony, rhythm, form, meter; tension and release as it relates to each of these Note regarding pacing and workflow For those who cannot attend regularly, an online class is an ideal learning solution. All material for all weeks will be available at the beginning of the class cycle. Assignments can be completed and submitted at any time, although ensemble reading sessions will remain fixed for the mid- term and final. Choose your own study hours and work at your own pace, if you desire. Week 1) Reading – Intro: Arranging as Composition + Orchestration i. Overview of Compositional elements of music (melody, harmony, rhythm, meter, form; tension and release; counterpoint) ii. Overview of Orchestrational elements of music (instrumentation, range, color/timbre, texture, weight) Listening/Analysis – All the Things You Are: Analyze the provided scores. In several paragraphs, compare & contrast the following arrangements: Charlie Parker, Oscar Peterson, Brad Mehldau Writing – My Shining Hour: Considering the compositional elements aBove, write a simple, lead-sheet arrangement (head only) for piano, Bass, & drums [*Note: this assignment’s primary oBjective is to assess levels in the class and start from a creative place with few limitations.] ! page 1 of 3 - http://nyjazzacademy.com/online.php New York Jazz Academy Syllabus: Jazz Arranging I, page 2 of 3 2) Listening/Analysis – FeedBack on My Shining Hour arrangements Writing – My Shining Hour: Focusing on orchestrational elements, rearrange your existing lead-sheet arrangement.
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Funky Turns 40 Black Character Revolution Text Panel 2
BLACK CHARACTER REVOLUTION IN THE BEGINNING... Fat Albert and his friends, recognized as the ﬁrst positive Black cast animated cartoon characters, originated from a stand-up routine by famed comedian Bill Cosby. Fat Albert was a part of Cosby’s “Buck Buck” routine about a neighborhood game from his childhood, as recorded on his 1967 album Revenge. Cosby described Fat Albert “as the baddest Buck Buck breaker in the world.” Cosby - along with veteran animator Ken Mundie and Disney alum Amby Paliwoda - turned Fat Albert stories about growing up in North Philadelphia into a stand-alone Primetime special for NBC entitled Hey, Hey, Hey, It’s Fat Albert, a mixture of live-action and animation which aired on November 12, 1969. The music for this special was written and performed by jazz keyboardist Herbie Hancock and later released on the album Fat Albert Rotunda. Ken Mundie directed the special. Leo Sullivan, a Black animator who would later work at Filmation, Hanna Barbera and Warner Brothers Animation, was one of seven animators who created the characters for the special. Despite the success of the special, NBC declined to produce Fat Albert as a Saturday morning series because of it’s strong educational tone. Cosby - now aligned with Lou Scheimer and Filmation Associates - took the property to CBS, where the characters received a dramatic stylistic overhaul. Fat Albert and the Cosby Kids premiered on September 9, 1972 and continued at CBS over a period of 12 years with only small gaps in production. In 1979, the series was re-titled The New Fat Albert Show and The Brown Hornet superhero segment was introduced.
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AUSTRALIAN RECORD LABELS WARNER BROS. / WEA RECORDS 1970 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 WARNER BROS. / WEA RECORDS, 1970–1982 A BRIEF WARNER BROS. / WEA HISTORY WIKIPEDIA TELLS US THAT... WEA’S ROOTS DATE BACK TO THE FOUNDING OF WARNER BROS. RECORDS IN 1958 AS A DIVISION OF WARNER BROS. PICTURES. IN 1963, WARNER BROS. RECORDS PURCHASED FRANK SINATRA’S REPRISE RECORDS. AFTER WARNER BROS. WAS SOLD TO SEVEN ARTS PRODUCTIONS IN 1967 (FORMING WARNER BROS.-SEVEN ARTS), IT PURCHASED ATLANTIC RECORDS AS WELL AS ITS SUBSIDIARY ATCO RECORDS. IN 1969, THE WARNER BROS.-SEVEN ARTS COMPANY WAS SOLD TO THE KINNEY NATIONAL COMPANY. KINNEY MUSIC INTERNATIONAL (LATER CHANGING ITS NAME TO WARNER COMMUNICATIONS) COMBINED THE OPERATIONS OF ALL OF ITS RECORD LABELS, AND KINNEY CEO STEVE ROSS LED THE GROUP THROUGH ITS MOST SUCCESSFUL PERIOD, UNTIL HIS DEATH IN 1994. IN 1969, ELEKTRA RECORDS BOSS JAC HOLZMAN APPROACHED ATLANTIC'S JERRY WEXLER TO SET UP A JOINT DISTRIBUTION NETWORK FOR WARNER, ELEKTRA, AND ATLANTIC. ATLANTIC RECORDS ALSO AGREED TO ASSIST WARNER BROS. IN ESTABLISHING OVERSEAS DIVISIONS, BUT RIVALRY WAS STILL A FACTOR —WHEN WARNER EXECUTIVE PHIL ROSE ARRIVED IN AUSTRALIA TO BEGIN SETTING UP AN AUSTRALIAN SUBSIDIARY, HE DISCOVERED THAT ONLY ONE WEEK EARLIER ATLANTIC HAD SIGNED A NEW FOUR-YEAR DISTRIBUTION DEAL WITH FESTIVAL RECORDS. IN MARCH 1972, KINNEY MUSIC INTERNATIONAL WAS RENAMED WEA MUSIC INTERNATIONAL. DURING THE 1970S, THE WARNER GROUP BUILT UP A COMMANDING POSITION IN THE MUSIC INDUSTRY. IN 1970, IT BOUGHT ELEKTRA (FOUNDED BY HOLZMAN IN 1950) FOR $10 MILLION, ALONG WITH THE BUDGET CLASSICAL MUSIC LABEL NONESUCH RECORDS.
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Lucas Stephen M 2014 Masters
TRIPLE SYNTHESIS by Stephen Lucas A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL 2014 © STEPHEN LUCAS 2014 ii Acknowledgements I would like to thank my thesis supervisors and committee members Professor Michael Coghlan and Professor Alan Henderson, for their guidance and support in the development of this thesis. I must also thank committee member Professor Holly Small for her generous input and support. In addition, I wish to thank my graduate studies Professors Dorothy de Val, Pat Bradley and David Mott for their advice and expert instruction in my coursework at York University. iii Abstract This thesis investigates the result of merging three musical approaches (jazz fusion, breakbeat/IDM and Electronic Dance Music) and their respective methodologies as applied to music composition. It is presented in a progressive manner. Chapters two to four identify and discuss each of the three styles separately in terms of the research undertaken in the preparation of this thesis. Chapter 2 discusses, through a close examination of selected compositions and recordings, both Weather Report and Herbie Hancock as representing source material for research and compositional study in terms of melody, harmony and orchestration from the 1970s jazz-fusion genre. Chapter 3 examines breakbeat and Intelligent Dance Music (IDM) drum rhythm programming through both technique and musical application. Chapter 4 presents an examination of selected contemporary Electronic Dance Music (EDM) techniques and discusses their importance in current electronic music styles. Chapters 5, 6 and 7 each present an original composition based on the application and synthesis of the styles and techniques explored in the previous three chapters, with each composition defined by proportions of influence from each of the three styles as in the Venn diagram shown in the introduction.
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The Snow Miser Song 6Ix Toys - Tomorrow's Children (Feat
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Herbie Hancock Mwandishi Mp3, Flac, Wma
Herbie Hancock Mwandishi mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Mwandishi Country: Europe Released: 2001 Style: Fusion, Jazz-Funk, Modal MP3 version RAR size: 1992 mb FLAC version RAR size: 1165 mb WMA version RAR size: 1327 mb Rating: 4.5 Votes: 965 Other Formats: WAV MIDI APE AU VQF ADX DTS Tracklist 1 Ostinato (Suite For Angela) 13:05 2 You'll Know When You Get There 10:15 3 Wandering Spirit Song 21:30 Companies, etc. Phonographic Copyright (p) – Warner Bros. Records Copyright (c) – Warner Bros. Records Manufactured By – Warner Music Manufacturing Europe Recorded At – Wally Heider Studios Phonographic Copyright (p) – WEA International Inc. Copyright (c) – WEA International Inc. Produced For – Fillmore Corporation Credits Arranged By – Herbie Hancock Bass – Mchezaji Bass Clarinet, Flute [Alto] – Mwile Congas, Timbales – Jose "Chepito" Areas* Design – Mental Block Design [Front Cover Design] – Bonnie Schiffman, Robin Mitchell Drums – Jabali Drums, Percussion – Ndugu* Electric Piano [Fender Rhodes] – Mwandishi Engineer [Assistant Recording Engineer] – Aulikki Niitynen Engineer [Recording Engineer] – Fred Catero Executive-Producer – Lee Weisel* Guitar – Ron Montrose* Producer – David Rubinson Trombone [Trombones] – Pepo Mtoto* Trumpet, Flugelhorn – Mganga Written-By – Herbie Hancock (tracks: 1, 2), Julian Priester (tracks: 3) Notes ℗&©1971 Warner Bros. Records Inc. for the U.S. and WEA International for the world outside the U.S. The copyright in the sound recording and artwork is owned by Warner Music UK Ltd. Made in Germany by Warner Music Manufacturing Europe. Originally released on WB1898 in 1971 A Hancock Records Inc. Production Recording Engineer: Fred Catero, Catero Sound Company Recorded at Wally Heider Recording Studios, San Francisco, Calif.
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Rock Album Discography Last Up-Date: September 27Th, 2021
Rock Album Discography Last up-date: September 27th, 2021 Rock Album Discography “Music was my first love, and it will be my last” was the first line of the virteous song “Music” on the album “Rebel”, which was produced by Alan Parson, sung by John Miles, and released I n 1976. From my point of view, there is no other citation, which more properly expresses the emotional impact of music to human beings. People come and go, but music remains forever, since acoustic waves are not bound to matter like monuments, paintings, or sculptures. In contrast, music as sound in general is transmitted by matter vibrations and can be reproduced independent of space and time. In this way, music is able to connect humans from the earliest high cultures to people of our present societies all over the world. Music is indeed a universal language and likely not restricted to our planetary society. The importance of music to the human society is also underlined by the Voyager mission: Both Voyager spacecrafts, which were launched at August 20th and September 05th, 1977, are bound for the stars, now, after their visits to the outer planets of our solar system (mission status: https://voyager.jpl.nasa.gov/mission/status/). They carry a gold- plated copper phonograph record, which comprises 90 minutes of music selected from all cultures next to sounds, spoken messages, and images from our planet Earth. There is rather little hope that any extraterrestrial form of life will ever come along the Voyager spacecrafts. But if this is yet going to happen they are likely able to understand the sound of music from these records at least.
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