Grant Green Feelin' the Spirit Mp3, Flac, Wma

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Grant Green Feelin' The Spirit mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Feelin' The Spirit Country: US Released: 1963 Style: Hard Bop, Soul-Jazz MP3 version RAR size: 1914 mb FLAC version RAR size: 1550 mb WMA version RAR size: 1912 mb Rating: 4.3 Votes: 789 Other Formats: AU MP1 XM RA AAC VOC ASF Tracklist A1 Just A Closer Walk With Thee A2 Joshua Fit De Battle Ob Jericho A3 Nobody Knows The Trouble I've Seen B1 Go Down Moses B2 Sometimes I Feel Like A Motherless Child Companies, etc. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Bass – Butch Warren Design [Cover] – Reid Miles Drums – Billy Higgins Guitar – Grant Green Liner Notes – Joe Goldberg Photography By [Cover Photo] – Francis Wolff Piano – Herbie Hancock Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Tambourine – Garvin Masseaux Notes Recorded on December 21, 1962. 1st original Stereo issue has: - blue/white deep grooved Blue Note Records Inc - New York Usa labels, - Stereo and Van Gelder stamped separately in the dead wax, both sides, - "P" (otherwise wrongly called "ear") for Plastylite plant etched in the trail off, both sides, - laminated jacket, - 43 West 61st St., New York 23 address on back cover Barcode and Other Identifiers Matrix / Runout (SIde A runout, etched): BST 84132-A Matrix / Runout (Side B runout, etched): BST 84132-B Matrix / Runout (Both sides runout, etched): P [Plastylite 'ear'] Matrix / Runout (Both sides runout, stamped): VAN GELDER STEREO Other versions Category Artist Title (Format) Label Category Country Year Grant Feelin' The Spirit (LP, BLP 4132 Blue Note BLP 4132 US 1963 Green Album, Mono, DG,) BN 4132, BST Grant Feelin' The Spirit (LP, Blue Note, BN 4132, BST Japan 1993 84132 Green Album, Ltd, RE) Blue Note 84132 Grant Feelin' The Spirit (LP, BST 84132 Blue Note BST 84132 US 1968 Green Album, RE) Grant Feelin' The Spirit (LP, BST-84132 Blue Note BST-84132 US 1977 Green Album, RE) Grant Feelin' The Spirit (LP, LNJ-80147 Blue Note LNJ-80147 Japan 1977 Green Album, RE) Related Music albums to Feelin' The Spirit by Grant Green Grant Green - Nigeria Sonny Red - Out Of The Blue George Braith - Soul Stream 'Big' John Patton - Blue John Herbie Hancock - My Point Of View Joe Henderson - Page One Grant Green - Grant's First Stand Grant Green - Am I Blue Art Blakey & The Jazz Messengers - Mosaic Horace Parlan - Happy Frame Of Mind.

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Grant Green Grantstand Mp3, Flac, Wma
Grant Green Grantstand mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Grantstand Country: US Released: 1961 Style: Soul-Jazz, Hard Bop MP3 version RAR size: 1122 mb FLAC version RAR size: 1402 mb WMA version RAR size: 1247 mb Rating: 4.2 Votes: 707 Other Formats: WAV MP3 MP1 MIDI AIFF VQF DTS Tracklist Hide Credits Grantstand A1 Written-By – Green* My Funny Valentine A2 Written-By – Rodgers-Hart* Blues In Maude's Flat B1 Written-By – Green* Old Folks B2 Written-By – Hill*, Robison* Companies, etc. Published By – Groove Music Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Drums – Al Harewood Guitar – Grant Green Liner Notes – Nat Hentoff Organ – Jack McDuff* Photography By [Cover Photo] – Francis Wolff Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Tenor Saxophone, Flute – Yusef Lateef Notes Recorded on August 1, 1961, Van Gelder Studio, Englewood Cliffs, New Jersey Blue Note Records Inc., 43 W 61st St., New York 23 (Adress on Back Cover) Barcode and Other Identifiers Matrix / Runout (Side A Label): BN 4086-A Matrix / Runout (Side B Label): BN 4086-B Matrix / Runout (Side A Runout etched): BN-LP-4086-A Matrix / Runout (Side B Runout etched): BN-LP-4086-B Rights Society: BMI Other versions Category Artist Title (Format) Label Category Country Year Blue Grant Grantstand (LP, BN 84086, BN 4086 Note, BN 84086, BN 4086 Japan 1992 Green Album, Ltd, RE) Blue Note Grant Grantstand (CD, 7243 5 80913 2 8 Blue Note 7243 5 80913 2 8 US 2003 Green Album, RE, RM) Grantstand (CD, Blue TOCJ-9244,
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Saxophonist & Composer PHILLIP JOHNSTON NEW RELEASES
ever needing to hear another take on “I’m In The Mood a lute with a short fingerboard and 11-13 strings, For Love”? Yeah, probably, but this one is fine. “And traditionally used in Arabian, Egyptian, Jewish, Now The Queen” is much more interesting; Goldings Palestinian, Iraqi, Persian, Turkish and Armenian music. opens it with some deeply unsettling noises that could In the jazz world, the oud has been explored by Ahmed come off a Supersilent album, as Stewart bows his Abdul-Malik, Rabih Abou-Khalil and Anouar Brahem. cymbals and rattles his kit like he’s stress-testing the Canadian guitarist Gordon Grdina comes forth mounting hardware. Although the piece has a powerful with a strong, individual voice and the ensemble is melody, it appears as a series of unexpected surges, assimilated like it’s a new discovery of something punctuation at the end of long bursts of disjointed around for a long time. Percussionist Hamin Honari Toy Tunes weirdness. “Toy Tune” builds on a deceptively simple provides extraordinary accompaniment, especially for Larry Goldings/Peter Bernstein/Bill Stewart (Pirouet) head, allowing the trio to meander around for seven listeners used to the American drumset. As he is by Phil Freeman minutes, making it the longest track. “Maybe” is an credited on tombak and daf (traditional Iranian drums), ideal closer, a gentle tune delivered without disruption one wonders from where all of his nuanced sounds Organ player Larry Goldings, guitarist Peter Bernstein or undue exuberance, bringing the mood down to a emanate. The texture and timbre of Honari’s percussion and drummer Bill Stewart first convened as a trio for soothing simmer as the music fades away.
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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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Lee Morgan Chronology 1956–1972 by Jeffery S
Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).
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Computational Modelling of Expressive Music Performance in Jazz Guitar: a Machine Learning Approach
Computational Modelling of Expressive Music Performance in Jazz Guitar: A Machine Learning Approach Sergio IvánGiraldo TESI DOCTORAL UPF / 2016 Director de la tesi Dr. Rafael Ram´ırez Department of Information and Communication Technologies By Sergio Giraldo (2016) and licensed under Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported Please see licence conditions at http://creativecommons.org To Camilo... Acknowledgements Four years have passed since I joined the Music Technology Group to begin my PHD. During this period, many people have come across (inside and outside the MTG) giving important contributions to this work. For con- tributions I want to refer not only to the theoretical aspects of the investi- gation, but also to other types of helping support. Received contributions have taken several forms, from babysitting my kid for free in times of work overload, to informal discussions about the investigation, performing tests, doing recordings, or giving very specific theoretical advise. The list is large, and the contributors are many: Firstly i would like to express my gratitude to my advisor, Rafael Ram´ırez, who has been the main contributor to this work. Not only for his excellent advise and guidance, but also for his patience, support, and friendship. Also for considering me to actively participate in the research projects that have been and are being developed right now. I would like to thank to Xavier Serra, Perfecto Herrera, Emilia Gómezand Enric Guaus for their advise and help on several concrete topics needed for this dissertation. I would like also to acknowledge the blind reviewers of the different publications done during this research for their useful and constructive comments.
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Idle Moments Grant Green Pdf
Idle moments grant green pdf Continue MeLCat is back! Plus other new services. Details here. Ann Arbor District Library about us Collection Events Services Christopher Is no insult to say jazz guitarist Grant Green favored to feel over the technique. He didn't play double phrases or flames with extended chords, instead favoring a langulic, minimalist style that feels more like a blues singer's phrase conveyed by a fretboard. Green's one-line game has always been lyrical, melodic and funky, which is one of the reasons why he was one of the most recorded musicians in the history of Blue Note Records. Alex Arrest, leader of the guitar trio Ann Arbor, was so fascinated with Green's play that he decided to study the 1965 album Of The Idle Moments in full, which he will present on Friday, October 12, at the Kerrytown Concert House with Gayelin McKinney (drums), Eric Nachtrab (bass), Janelle Reichman (tenor) and Alexis Lomre (piano). The record is one of the most famous in Green's career, mainly because the title track is such a cold charmer. As the pianist Duke Pearson, who also wrote the song, told Idle Moments that the melody's nearly 15-minute work time was the result of a happy accident: Green mistakenly played a 16-bar melody twice, creating a longer solo structure for the rest of the musicians, all of whom followed suit. The rest of the album, which includes songs by Jean De Fleur (Green), Django (John Lewis), and Nomad (Pearson), is equally winsome and easy to digest why the record is so beloved.
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Grant Green Green Street Mp3, Flac, Wma
Grant Green Green Street mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Green Street Country: Japan Released: 1979 Style: Hard Bop MP3 version RAR size: 1660 mb FLAC version RAR size: 1467 mb WMA version RAR size: 1861 mb Rating: 4.1 Votes: 216 Other Formats: DXD FLAC MP3 XM MP1 ASF AC3 Tracklist A1 No. 1 Green Street 7:18 A2 'Round About Midnight 7:02 A3 Grant's Dimensions 7:54 B1 Green With Envy 9:44 B2 Alone Together 7:14 Companies, etc. Manufactured By – King Record Co. Ltd Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey Credits Bass – Ben Tucker Design [Cover] – Reid Miles Drums – Dave Bailey Guitar – Grant Green Liner Notes – Leonard Feather Photography By [Cover Photo] – Francis Wolff Producer – Alfred Lion Recorded By [Recording By] – Rudy Van Gelder Notes Recorded on April 1, 1961. Ⓟ 1979 Barcode and Other Identifiers Matrix / Runout (Runout Side A): 〄 SILBT 8868-1 Matrix / Runout (Runout Side B): 〄 SILBT 8869-4 Other (Price): ¥2,300 Other versions Category Artist Title (Format) Label Category Country Year Grant Green Street (LP, BLP 4071 Blue Note BLP 4071 US 1961 Green Album, Mono) Grant Green Street (LP, 771856 WaxTime 771856 Europe 2013 Green Album, Ltd, RE, RM) Grant Green Street (LP, BST 84071 Blue Note BST 84071 US 1970 Green Album, RE) Grant Green Street (CD, 7243 5 40032 2 6 Blue Note 7243 5 40032 2 6 Europe 2002 Green Album, RE, RM) Green Street (CD, TOCJ-9073, Grant Blue Note, TOCJ-9073, Album, Ltd, RE, RM, Japan 1999 BNST-84071 Green Blue Note BNST-84071 Pap) Related Music albums to Green Street by Grant Green Horace Parlan - Up & Down Grant Green / Donald Byrd - His Majesty King Funk / Up With Donald Byrd Grant Green - Ain't It Funky Now Grant Green - Born to be Blue Grant Green - Matador Grant Green - Visions Grant Green with Hubert Laws - The Main Attraction Grant Green - Talkin' About Grant Green - The Latin Bit Grant Green - Idle Moments.
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Readers Poll
84 READERS POLL DOWNBEAT HALL OF FAME One night in November 1955, a cooperative then known as The Jazz Messengers took the stage of New York’s Cafe Bohemia. Their performance would yield two albums (At The Cafe Bohemia, Volume 1 and Volume 2 on Blue Note) and help spark the rise of hard-bop. By Aaron Cohen t 25 years old, tenor saxophonist Hank Mobley should offer a crucial statement on how jazz was transformed during Aalready have been widely acclaimed for what he that decade. Dissonance, electronic experimentation and more brought to the ensemble: making tricky tempo chang- open-ended collective improvisation were not the only stylis- es sound easy, playing with a big, full sound on ballads and pen- tic advances that marked what became known as “The ’60s.” ning strong compositions. But when his name was introduced Mobley’s warm tone didn’t necessarily coincide with clichés on the first night at Cafe Bohemia, he received just a brief smat- of the tumultuous era, as the saxophonist purposefully placed tering of applause. That contrast between his incredible artistry himself beyond perceived trends. and an audience’s understated reaction encapsulates his career. That individualism came across in one of his rare inter- Critic Leonard Feather described Mobley as “the middle- views, which he gave to writer John Litweiler for “Hank Mobley: weight champion of the tenor saxophone.” Likely not intended The Integrity of the Artist–The Soul of the Man,” which ran in to be disrespectful, the phrase implied that his sound was some- the March 29, 1973, issue of DownBeat.
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Blue Note: Still the Finest in Jazz Since 1939 Published on December 30, 2018 by Richard Havers
Blue Note: Still The Finest In Jazz Since 1939 Published on December 30, 2018 By Richard Havers Founded in 1939 by Alfred Lion, Blue Note is loved, respected and revered as one of the most important record labels in the history of music. Blue Note is loved, revered, respected and recognized as one of the most important record labels in the history of popular music. Founded in 1939 by Alfred Lion, who had only arrived in America a few years earlier having fled the oppressive Nazi regime in his native Germany, Blue Note has continually blazed a trail of innovation in both music and design. Its catalogue of great albums, long-playing records and even 78rpm and 45rpm records is for many the holy grail of jazz. Blue Note is loved, revered, respected and recognized as one of the most important record labels in the history of popular music. Founded in 1939 by Alfred Lion, who had only arrived in America a few years earlier having fled the oppressive Nazi regime in his native Germany, Blue Note has continually blazed a trail of innovation in both music and design. Its catalogue of great albums, long-playing records and even 78rpm and 45rpm records is for many the holy grail of jazz. It all began when Alfred Lion went to the ‘Spirituals to Swing’ concert at New York’s Carnegie Hall a few days before Christmas 1938. A week or so later he went to Café Society, a newly opened club, to talk to Albert Ammons and Meade Lux Lewis, who had seen them play at Carnegie Hall.
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Grant Green: an Analysis of the Blue Note Guitaristâ•Žs Musical
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2018 Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary Teague Stefan Bechtel Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Bechtel, Teague Stefan, "Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary" (2018). Dissertations. 479. https://digscholarship.unco.edu/dissertations/479 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2018 TEAGUE STEFAN BECHTEL ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School GRANT GREEN: AN ANALYSIS OF THE BLUE NOTE GUITARIST’S MUSICAL VOCABULARY A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Teague Stefan Bechtel College of Performing and Visual Arts School of Music Jazz Studies May 2018 This Dissertation by: Teague Stefan Bechtel Entitled: Grant Green: An Analysis of the Blue Note Guitarist’s Musical Vocabulary has been approved as meeting the requirements 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 Steven G. Kovalcheck, M.M., Research Advisor H. David Caffey, M.M., Co-Research Advisor Socrates Garcia, D.A., Committee Member Mary Schuttler, Ph.D., Faculty Representative Date of Dissertation Defense________________________________________________ Accepted by the Graduate School _________________________________________________ Linda L.
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WILTON LEWIS FELDER Phillis Wheatley Graduating Class of 1957 Musician, Saxophonist, Bassist, Composer, and Recording Artist
WILTON LEWIS FELDER Phillis Wheatley Graduating Class of 1957 Musician, Saxophonist, Bassist, Composer, and Recording Artist Wilton Lewis Felder is a native Houstonian from a family of 17 children (15 girls and 2 boys) who grew up in the historic Fifth Ward of the city. He exhibited musical talent at an early age that was nurtured through both middle and high school where he and a group of childhood friends, also musically talented, graduated from Phillis Wheatley High School in the Classes of 1956 and 1957. The entire group had opportunities, particularly in relationship to band directors/music teachers, to develop and refine their playing and performance skills even before leaving high school. Early on, Wilton developed as a tenor saxophone player; but, subsequently, from the encouragement of fellow group member and friend, Joe Sample, mastered the bass guitar as well. After a couple of years in college, the group of friends (including Felder) relocated to the West Coast in the late 1950s where they formed a pioneering and highly successful jazz fusion group that came to be known as the Jazz Crusaders at first and simply as the Crusaders at a later time. Thus, Wilton Felder was one of the founding members of the Jazz Crusaders/Crusaders who spent over thirty years, more time than any other founding member, playing as part of the group. The other founding members were Wayne Henderson, Joe Sample, Nesbert "Stix" Hooper, Hubert Laws, and Henry "La La" Wilson. Most of the them opted for solo careers after the group achieved a high level of success and recognition; however, all are now a part of music history both as Crusaders and solo artists.
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Blue Note Reissues
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