Download Herbie Hancock Headhunters Zip
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Internet Recruiting Power: Opportunities and Effectiveness
IESE UNIVERSITY OF NAVARRA INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS José Ramón Pin* Miriam Laorden** Inés Sáenz-Diez*** RESEARCH PAPER No 439 July, 2001 Published by the International Research Centre on Organizations (IRCO) * Professor of Organizational Behaviour, IESE ** Manager at IRCO, IESE *** Research Associate at IRCO, IESE. Research Division IESE University of Navarra Av. Pearson, 21 08034 Barcelona - Spain Copyright © 2001, IESE Do not quote or reproduce without permission INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS Abstract Recruiting via the Internet, or e-Recruitment, is a phenomenon that has led to the appearance of a new market in which there is an unprecedented level of interaction between employers and potential employees. In this paper we describe the actual and emergent models in the e-Recruitment market, assess the changes this new recruitment tool is bringing about in companies’ practices and strategies, and analyse the risks and opportunities of e-Recruitment for companies and for job candidates. INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS I. Introduction 1. Research aims The main goal of this research project is to analyse the e-Recruitment tools that use new technologies, and more specifically everything that is done in this area over the Internet. The scope of the analysis is mainly Europe, although we could hardly have done it without comparing the European level with the market in the US, due to its broader experience in using these tools and the fact that it is a more mature market. The study focuses on three main objectives: Objective I. Describe current and emerging models in the European Internet recruitment market and define key actors. -
Herbie Hancock Mr. Hands Mp3, Flac, Wma
Herbie Hancock Mr. Hands mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Mr. Hands Country: Europe Released: 1992 Style: Fusion MP3 version RAR size: 1631 mb FLAC version RAR size: 1810 mb WMA version RAR size: 1691 mb Rating: 4.6 Votes: 840 Other Formats: MP3 VOX WMA AHX VQF DTS ASF Tracklist Hide Credits Spiraling Prism 1 6:22 Bass – Byron MillerDrums – Leon Ndugu Chancler 2 Calypso 6:42 Just Around The Corner 3 Bass – Freddie WashingtonDrums – Alphonse MouzonGuitar – Melvin "Wah Wah" 7:34 WatsonPercussion – Sheila Escovedo 4 AM 4 5:21 Bass – Jaco PastoriusDrums – Harvey MasonPercussion – Sheila Escovedo Shiftless Shuffle 5 7:08 Bass – Paul Jackson Drums – Harvey MasonTenor Saxophone – Bennie Maupin 6 Textures 6:38 Companies, etc. Made By – DADC Austria Phonographic Copyright (p) – Sony Music Entertainment Inc. Copyright (c) – Sony Music Entertainment Inc. Distributed By – Sony Music Credits Percussion – Bill Summers (tracks: 1, 4, 5) Producer – David Rubinson, Herbie Hancock Notes Jewel case 8-page booklet Originally released on LP in 1980 Barcode and Other Identifiers Barcode (Text): 5 099747 124020 Barcode (Scanned): 5099747124020 Label Code: LC 0162 Matrix / Runout: 01-471240-10 11 A1 DADC AUSTRIA Price Code: CB 741 Price Code: CDM Other (Sony Code): 01-471240-10 Rights Society: BIEM/STEMRA Other (Mould stamp): * Other versions Category Artist Title (Format) Label Category Country Year JC 36578 Herbie Hancock Mr. Hands (LP, Album) Columbia JC 36578 US 1980 PCT 36578 Herbie Hancock Mr. Hands (Cass, Album) Columbia PCT 36578 US 1980 PC 36578 Herbie Hancock Mr. Hands (LP, Album) Columbia PC 36578 US 1980 JCA 36578 Herbie Hancock Mr. -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
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. -
From Monk to Funk(Pdf)
Donald Byrd found a funky, commercial focus, a parallel to the jazz-rock fusion were grooving just as cool as the soul-jazz generation oJ the Sixties, when Verue and albumveteransJimmySmith,GrantGreen,LouDonaldsonandJohnPattondemonslrated could be danceable and fun again. Turns out these brothers were visionary. Acid jazz, anyone? A&&& &@4*g &:{irgtii!'::..i:r.:t:t:,,:rrll Roy Avers, perhaps more than any olher, is the godfather of acid iazz. His vibraphone sound, along with the Fender Rhodes electric piano, is the slgnifier of the jazz-funk movement, As a sideman to Herbie l\/lann, Ayers performed on the trailblazing Memphis lJndergraund LP, then broke away a year or two later to form ubiquily. A revolving-door ensemble whose impact has yet to be fully assessed, the band unleashed an astonishing 2O albums on Polydor during a twelve-year period' Ayers and Ubiquity had a big following in their day. but it seems that my hip-hop peers have developed an even stronger appreciation for them. No self-respecting DJ can be without virtually all oJ their records, and cuts like "Everybody Loves the Sunshine," "Running Away' and "We Live in Brooklyn, Baby" are trans-generational anthems. Especially inspiring to a new school of artists, though, is the breakbeat perennial "The Boogie Back." The blaing "Move to Groove," from the gulps: Japan-only Live At Montreux \1972\, shows Ayers' abiliiy to reshape a song in evoluiionary li was originally pedormed a year eadier by Edwin Birdsong as the more R&B-oriented "lt's Hard To Move," then was incorporated into "The Old One Two (l\,4ove To Groove)" on the Ayers LP A Tear To ASnile(1975)."PartySex,"anouttakefromthesessionslorFed, BlackandGreen, isalive-in-ihe- studio barnstormer. -
OSSTMM 3 – the Open Source Security Testing Methodology Manual
Designed for e-book readers or double-sided printing. OSSTMM 3 – The Open Source Security Testing Methodology Manual This manual provides test cases that result in verified facts. These facts provide actionable information that can measurably improve your operational security. By using the OSSTMM you no longer have to rely on general best practices, anecdotal evidence, or superstitions because you will have verified information specific to your needs on which to base your security decisions. Creative Commons 3.0 Attribution-Non-Commercial-NoDerivs 2010, ISECOM, www.isecom.org, www.osstmm.org Official OSSTMM Certifications: www.opsa.org, www.opst.org, www.opse.org, www.owse.org, www.trustanalyst.org 1 OSSTMM 3 – The Open Source Security Testing Methodology Manual Instructions This is a methodology to test the operational security of physical locations, human interactions, and all forms of communications such as wireless, wired, analog, and digital. Those who want to jump right into testing while using it may find the following quick-start information helpful. Quick Start To start making an OSSTMM test you will need to track what you test (the targets), how you test them (the parts of the targets tested and not the tools or techniques used), the types of controls discovered, and what you did not test (targets and parts of the targets). Then you may conduct the test as you are accustomed to with the objective of being able to answer the questions in the Security Test Audit Report (STAR) available at the end of this manual or as its own document. The STAR gives the specific test information on the state of the scope for the benefits of having a clear statement of the security metrics and details for comparisons with previous security tests or industry test averages. -
Head Hunters of the Amazon
Head Hunters of the Amazon F. W. Up de Graff Head Hunters of the Amazon Table of Contents Head Hunters of the Amazon...................................................................................................................................1 F. W. Up de Graff..........................................................................................................................................1 FOREWORD.................................................................................................................................................2 INTRODUCTION.........................................................................................................................................3 HEAD HUNTERS OF THE AMAZON........................................................................................................4 CHAPTER II..................................................................................................................................................6 CHAPTER III..............................................................................................................................................14 CHAPTER IV..............................................................................................................................................17 CHAPTER V................................................................................................................................................21 CHAPTER VI..............................................................................................................................................28 -
OBJ (Application/Pdf)
S.G.A. Election ...Vote Today Voi. 82 No. 6 Morehouse College Atlanta, Ga. •_________ April 1, 1981 entered Mr. Phillips’ room requesting that he be allowed to “Is Morehouse Security Adequate?” “roll his stash”. Before it was over, the man stole what By Wayne Cummings Special News Analysis amounted to approximately $350.00 worth ofmaterials from On Dec. 11, 1980 at ap Having received a second Mr. Phillips’ room. proximately 2:00 a.m. a man call, the Atl. Univ. Sec. officials Once the man left, Mr. was discovered sleeping in the on duty opted to respond to the Phillips placed a call to restroom on the second floor of situation out of a concern that Morehouse Security, which, he Hubert Hall. The man in the man in question might says, responded immediately. question was found by Eric prove dangerous. In conjunction Security was, however, unable Wagner, a second floor with the Atlanta Police Dept., to apprehend the criminal. resident. Feeling that this was a an arrest for trespassing was The following week, situation which warrented the later made and the man was another robbery took place on assistance of security, a call for escorted to jail. Morehouse the first floor of Mays Hall aid was placed. After an un Security arrived approximately According to Richard (Rick) successful attempt to make two hours and thirty minutes Foster, first floor R.A, the contact with someone from the after the initial call for aid had incident involved three Morehouse Security Force, a been made. The responding Morehouse students, one of call was then made to the officer informed those who were whom, Oniel Swanson, received Atlanta University Security involved that there was a a blow to the head during the Force. -
“Head Hunters”—Herbie Hancock (1973) Added to the National Registry: 2007 Essay by Bob Gluck (Guest Post) *
“Head Hunters”—Herbie Hancock (1973) Added to the National Registry: 2007 Essay by Bob Gluck (guest post) * Original album Original label Herbie Hancock Herbie Hancock’s “Head Hunters” charted a new course for a musician who had come to see the entire world as his potential audience. In crafting this recording, Hancock renewed an historic idea while furthering something novel: jazz that audiences could dance to. Not since the big band era had jazz quite so successfully reached out a broad net, merging music for attentive listening with an approach that gave everybody something to hold onto. This had been the goal of late 1950’s and early 60’s “hard bop.” That music, made famous by drummer Art Blakey and pianist Horace Silver, injected widely beloved African American musical styles— gospel and the Blues—into modern jazz. By softening bebop’s blazing fast angularity, hard boppers crafted a more accessible, finger snapping, more populist style. In fact, this was the music Herbie Hancock first played as he began his professional career at the beginning of the 1960s with Donald Byrd’s band and on his own early recordings. In the late 1960s and early 1970s, Hancock’s mentor, Miles Davis, began to update this concept of bridging popular Black music—R&B and funk--with jazz. Yet it was Hancock’s “Head Hunters” that most successfully reached the younger generation with this new synthesis. Hancock first gained the attention of a wider public when his 1962 hard bop tune “Watermelon Man” became, in the hands of Mongo Santamaria, a Latin dance craze. -
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. -
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 -
Cohens Avishai, Anat Anat Avishai, Il Fam
DOWNBEAT Best CDs of 2011 John Scofield Peter Brötzmann 3 COHENS // JOHN JOHN Sc OFIEL D // PETER BRÖTZMANN PETER // BEST CDS OF 2011 Eric Reed BLINDFOLDED // SPECIAL SECTION JAZZ JAZZ JAZZ SCHOOL Sc HOOL » Charles Mingus TRANSCRIBED » Dr. Lonnie Smith MASTER CLASS » Jazz Camp Italian Style » Jim Snidero COHENS3 Avishai, Anat & Yuval JANUARY 2012 U.K. £3.50 FamILY CONQUERS ALL J ANUARY 2012 ANUARY DOWNBEAT.COM JANUARY 2012 VOLUme 79 – NUMBER 1 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed News Editor Hilary Brown Reviews Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams 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 Assistant Theresa Hill 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, John McDonough Atlanta: Jon Ross; Austin: Michael Point, 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 Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.