Lester Young Quartet Afternoon of a Basie Ite / Sometimes I'm Happy Mp3, Flac, Wma

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Lester Young Quartet Afternoon Of A Basie Ite / Sometimes I'm Happy mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Afternoon Of A Basie Ite / Sometimes I'm Happy Country: France Style: Swing MP3 version RAR size: 1501 mb FLAC version RAR size: 1201 mb WMA version RAR size: 1319 mb Rating: 4.8 Votes: 530 Other Formats: MP3 VQF ASF MP4 FLAC VOX MP1 Tracklist A Afternoon Of A Basie Ite B Sometimes I'm Happy Credits Bass – "Slam" Stewart* Drums – Sidney Catlett Piano – John Guarnieri* Tenor Saxophone – Lester Young Barcode and Other Identifiers Matrix / Runout (Side A): P. 6861 Matrix / Runout (Side B): P. 6862 Other versions Category Artist Title (Format) Label Category Country Year Afternoon Of A Basie-ite / Lester Young Keynote 604 Sometimes I'm Happy 604 US 1944 Quartet Recordings (Shellac, 10") Afternoon Of A Basie-ite / Lester Young 1093 Sometimes I'm Happy Mercury 1093 US Unknown Quartet (Shellac, 10") Afternoon Of A Basie-ite / Lester Young ME 4001 Sometimes I'm Happy Mercury ME 4001 France Unknown Quartet (Shellac, 10") Related Music albums to Afternoon Of A Basie Ite / Sometimes I'm Happy by Lester Young Quartet Count Basie And His Kansas City Seven / Count Basie And His Kansas City Five - After Theatre Jump / Lester Leaps Again Lester Young And Charlie Christian - Lester Young And Charlie Christian 1939-1940 Lester Young Quartet - Blue Lester / Jump Lester Jump Lester Young-Teddy Wilson Quartet, The - Pres And Teddy Lester Young Mit Count Basie Und Seinem Orchester - Let's Go To Prez Lester Young Trio - Lester Young Trio Count Basie E Seu Conjunto Kansas City Seven / Lester Young E Seu Quarteto - Count Basie Count Basie, Lester Young - Live At Birdland December 1952 New-York City Lester Young Quartet - Lester Young Quartet (N° 2) Lester Young - A Lester Young Memorial Volume 1.

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Five Times Daily
Five Times Daily: The Dynamics of Prayer Worship Among Muslim Immigrants in St. John's, NL By Scott Royle A thesis submitted to the Department of Religious Studies at Memorial University of Newfoundland in partial fulfillment for the degree of Masters of Arts in Religious Studies March 2016 Abstract This thesis explores the ritual of prayer among Muslim immigrants in the city of St. John's, NL. Immigration across national, cultural, religious, and ethnic borders is a moment in an individual's life marked by significant change. My premise is that in such contexts the relatively conservative nature of religious ritual can supply much-needed continuity, comfort, and consolation for individuals living- through the immigrant experience. As well, ritual forms are often put under stress when transferred to a considerably different place and cultural context, where “facts on the ground” may be obstacles to traditional and familiar ritual forms. Changes to the understanding or practice of ritual are common in new cultural and geographic situations, and ritual itself often becomes not merely a means of social identification and cohesion, but a practical tool in processing change - in the context of immigration, in learning to live in a new community. St. John's is a lively and historic city and while Muslim immigrants may be a small group within it they nevertheless contribute to the city's energy and atmosphere. This thesis endeavours to better understand the life stories of ten of these newcomers to St. John's, focusing on their religious backgrounds and lives. In particular, this thesis seeks to better understand the place of prayer in the immigrant experience.
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F U S I O N As the jazz century turns, the huge achievements of masters like Teddy Wilson focus up ever more sharply. In Wilson’s case they encompass fifty years in the life of a pianist whose originality has surmounted every trend, both as soloist and as a catalyst for all the greatest musicians of this era. In professions other than music such undiminishing skill and flare would be rewarded with a rich pension, long-service medals, and probably a statue in the main street. But jazz – to its shame – has no mechanism for such honors. So Teddy Wilson continues unobtrusively to prove his royal place in the hierarchy of great jazz pianists by simply going on playing the piano in a way that can never be duplicated and by producing records like this one. Ever since – and perhaps before – Benny Goodman summarized Wilson’s art with the words ‘whatever elegance means, Teddy Wilson is it!’ Jazz text books have typecast his individuality with words like ‘urbane’ ‘polished’, ‘poised’ or ‘impeccable’. Such images though pertinent and well-meant threaten injustice. To begin with, they tell less than half the story, as the rollicking Fats Waller inspired stride piano that introduced ‘What s nigh, what a moon, what a girl’ (with Billie Holliday) told everyone begun to record when I came along’. All three influences forty three years ago. But the real danger is that words had molded into Teddy Wilson by the time he came to like ‘elegant’ are dangerously near the cocktail cabinet Mildred Bailey’s house to jam with Benny Goodman and for a jazz pianist and while Wilson is elegant, he is never Gene Krupa in 1935.
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Lester Young
THE TRAGEDY AND TRIUMPH OF LESTER YOUNG By RON TABOR still at (or close to) the height of his creative powers, and much like Billie Holiday, Young suffered an extended period “I STAY BY MYSELF. SO HOW DO YOU KNOW ANYTHING of physical, psychological, and most believe, artistic decline, ABOUT ME?”1 which was visible to all but the most obtuse observers. Young’s death, in other words, can almost be described as protracted and public. To anyone more than a little familiar with the life of Lester Young, the great African American jazz tenor saxophonist, the What is usually accounted for as the cause of Young’s deterio- title of my essay must seem ironic. For Young’s life is more ration and ultimate demise was the time he spent in the US often described, when it is described at all, as a triumph fol- Army during the last year of World War II, when he was lowed by tragedy. This reflects the arc of his artistic career. In arrested for possession of marijuana and barbiturates and the late 1930s, Young burst upon the national jazz scene as a spent a term in the detention barracks. Nobody knows exactly star, even the star, of the fabulous Count Basie band. His new what went on there, but whatever it was, it had a profound sound and radical approach to improvisation, in the context impact on the saxophonist. According to most observers, of the innovations of the band itself, set the jazz world afire, Young emerged from the experience a changed—some say, paved the way for modern jazz, and influenced hundreds if disturbed—man.
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