Chico Hamilton Peregrinations Mp3, Flac, Wma

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Chico Hamilton Peregrinations mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Peregrinations Country: Germany Released: 1975 Style: Jazz-Funk MP3 version RAR size: 1195 mb FLAC version RAR size: 1404 mb WMA version RAR size: 1571 mb Rating: 4.6 Votes: 481 Other Formats: DMF MMF AC3 MOD MP2 AA AUD Tracklist Hide Credits V-O A1 3:58 Soloist – Arthur Blythe, Barry FinnertyWritten-By – Steve Turre The Morning Side Of Love A2 5:18 Soloist – Barry Finnerty, Joe BeckWritten-By – Chico Hamilton Abdullah And Abraham A3 4:16 Written-By, Soloist – Arnie Lawrence Andy's Walk A4 4:15 Written-By – Chico Hamilton Peregrinations A5 3:16 Written-By – Chico Hamilton Sweet Dreams B1 5:53 Soloist – Arthur Blythe, Barry FinnertyWritten-By – Chico Hamilton Little Lisa B2 2:49 Written-By – Steve Turre Space For Stacy B3 3:06 Written-By – Chico Hamilton On And Off B4 2:56 Written-By – Chico Hamilton It's About That Time B5 0:57 Written-By – Chico Hamilton Companies, etc. Recorded At – A&R Studios Recorded At – Sound Factory West Mixed At – Westlake Audio Mastered At – Kendun Recorders Credits Art Direction, Design – Bob Cato Bass – Steve Turre Congas, Bongos, Percussion – Abdullah Drums, Percussion – Chico Hamilton Effects [Other Special Effects By] – Jerrell Ballard Engineer – Don Hahn, Steve Maslow Executive-Producer – George Butler Guitar – Barry Finnerty, Joe Beck Horns – Arnie Lawrence, Arthur Blythe, Steve Turre Keyboards – Jerry Peters Liner Notes – Stanley Crouch Mixed By, Mastered By – Baker Bigsby Producer, Effects [Other Special Effects By] – Keg Johnson Synthesizer [Programming] – Charlotte Politte Vocals – Julia Tillman*, Luther Waters, Maxine Willard*, Oren Waters Notes Rhythm tracks recorded at A&R Recording Studios, New York, NY. Mixed at Westlake Audio, Los Angeles, CA. Mastered at Kendun Recorders, Burbank, CA. Other versions Category Artist Title (Format) Label Category Country Year Chico Peregrinations (LP, Blue BN-LA520-G BN-LA520-G US 1975 Hamilton Album) Note Chico Peregrinations (LP, Blue BNLP-12166 BNLP-12166 Brazil 1976 Hamilton Album) Note Blue TOCJ-50544, Chico Peregrinations (CD, Note, TOCJ-50544, Japan 2013 TOCJ 50544 Hamilton Album, RE, RM) Blue TOCJ 50544 Note Related Music albums to Peregrinations by Chico Hamilton 1. The Chico Hamilton Quintet - With Strings Attached 2. Chico Hamilton - El Exigente (The Demanding One) 3. The Chico Hamilton Quintet - Jazz Highlights Vol.11 4. Chico Hamilton Trio - Introducing The Piano Of Freddy Gambrell 5. The Chico Hamilton Sextet - Vol. 1 6. The New Amazing Chico Hamilton Quintet - Passin' Thru 7. Gerry Mulligan / Chet Baker / Chico Hamilton / Buddy Collette / Gerald Wiggins - West Coast Jazz 8. CHICO City Limits - Chico City Limits III 9. The Buddy Collette - Chico Hamilton Sextet - Tanganyika 10. The Chico Hamilton Quintet - Jazz On A Summer's Day.

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Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher 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, Howard Mandel, 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,
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The Modality of Miles Davis and John Coltrane14
CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least ﬁ ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance.
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13. Cleveland Jazz Guitarists
13. Cleveland Jazz Guitarists itariSts who grew up in still a teenager. He joined the leveland have been among musicians' union when he was 16. By Gthe most important and most 1940, when he was 17, he was playing acclaimed in jazz history. They all at parties and country clubs around drew their inspiration from the all Cleveland. "I played with band leaders time grand masters of jazz guitar, Clint Noble and Jack Horowitz," he Django Reinhardt and Charlie said, but he had bigger plans. Christian. "In 1941, I went to New York to become famous. My father borrowed Fred Sharp $50 on his life insurance policy and Anyone who was even a casual gave me the money to go. Joe Sharp listener ofjazz in Cleveland from the never had money at all. In New York, 1940s to the '80s probably heard I put in for my union card. You had to guitarist Fred Sharp. He played with stay six months to get your card and I some ofthe biggest names in jazz and went to the union floor every day and was the man Jim Hall credited as his started to get some club dates. The teacher. scale was $7 then for a club date, but In the mid-1930s, when Sharp was most everybody paid $4." growing up in the Glenville area of Courtesy of Fred Sharp When he was still in his teens, Fred Sharp and Babik Reinhardt, Cleveland and listening to music on Sharp remembered he almost starved the 23-year-old son of Sharp's the radio, the guitar, with a few guitar idol Ojango Reinhardt, in trying to become famous in New exceptions, was not a solo jazz voice, Paris in 1967 York.
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Deebee's Scrapbook # 1 Ict, Dentist Y Phoned INTERNATIONAL Me As Pro Anglo-American Herd Electioneer- What the Sound Would Be Like, Nobody Knew for Certain
Hamiltonians Reunite Jones, trumpet; Nat Adderley, cor cert, Reunald Jones, approaching It was like old on-the-road week net; Bill Harris, trombone; Charlie the microphone, stenped on Woody’s in the Hollywood recording studio. Byrd, guitar; Vince Guaraldi, piano; clarinet. Melody Maker said with Reunited for the occasion by Keeter Betts, bass; and Jimmy Camp British reserve that incident “upset World Pacific Records’ Dick Bock bell, drums. (Jones’) usual composure” during were the members of the original From among the British musicians, the solo. Chico Hamilton Quintet plus near Woody chose well: Bert Courtley, original Paul Horn. The musical Les Condon and Ken Wheeler, Jazz Junket proceedings: recording of bassist trumpets; Don Rendell and Art The standard dream for the Euro Carson Smith’s Ellington Suite. Ellefson, tenors; Eddie Harvev and pean jazz fan is a trip to America to Besides arranger Smith, who, in Ken Wray, trombones; Johnny Scott, hear all his favorites. This summer, addition to being one of the original tenor and flute; Ronnie Ross, bari fans in several countries will see the Hamiltonians, was also the first bass tone. Actually, two of the nine are dream come true in reverse: cornet- ist with the Gerry Mulligan Quartet, not English. Ellefson. whom the ist Rex Stewart is leading a group of the group assembled for this final Melody Maker called “one of U. S. tourists to Europe to hear jazz. World Pacific recording date (before Britain’s most promising jazzmen,” Arranged in conjunction with the Hamilton took up residence in the and Wheeler , whom the same American Tourist Bureau, Inc., of Warner Bros, stable) included cellist paper described as “among the two New York, Stewart’s International Freddv Katz, multi-reed man Buddy or three best lead trumpets in Eng Jazz Junket will arrive by air in mid Collette, guitarist Jim Hall and reed land,” are Canadians — two young July for the start of its 29-day Euro man Horn.
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Legends of West Brochure
JAZZ AID P U.S. POSTAGE presents WEST NONPROFIT ORG. PERMIT NO. 1260 LONG BEACH, CA. COAST 3 LEGENDS OF THE WEST 17 Concerts 8 Panel Discussions A Four Day 5 Film Showings Jazz Festival September 29 ~ October 2, 2005 8-0038 Four Points Sheraton-LAX NG BEACH, CA 9080 CA BEACH, NG .O. BOX 8038.O. BOX LO THE ANGELES LOS JAZZ INSTITUTE P WAY OUT WEST 1957 BY WILLIAM CLAXTON lajazzinstitute.org Bud Shank | Johnny Mandel | Chico Hamilton Quintet | Paul Horn BONUS EVENT Frank Morgan | Buddy Collette | Med Flory | Howard Rumsey In our continuing effort to pay tribute to the Lennie Niehaus | Jack Costanzo | Dave Pell Octet | Herb Geller brilliant artists who have Allyn Ferguson’s Chamber Jazz Sextet | Anthony Ortega | Bill Trujillo been significant figures of the Los Angeles Jazz Scene, FEATURING Claude Williamson | Chuck Flores | John Pisano | Fred Katz we are pleased to announce Jazz West Coast 3- ABOUT THE Legends of the West. Festival Los Angeles Legends of the West is a musical celebration of Facts Jazz Institute both the musicians and The Los Angeles Jazz Institute houses the behind the scenes people Dates and maintains one of the largest whose innovative explorations SEPTEMBER 29-OCTOBER 2, 2005 jazz archives in the world.All styles created a unique jazz scene and eras are represented with a here on the west coast. Place special emphasis on the preservation The Four Points Sheraton at LAX and documentation of jazz in southern In addition to 17 concerts, 9750 Airport Blvd., California. Many artists personal there will also be film showings, Los Angeles, CA 90045 collections are being preserved at panel discussions, photo exhibits The special convention rate is the Institute including the archives and special presentations where $82 and $92 per night.
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Chico Hamilton Quintet South Pacific in Hi-Fi Mp3, Flac, Wma
Chico Hamilton Quintet South Pacific In Hi-Fi mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: South Pacific In Hi-Fi Country: UK Style: Post Bop, Fusion MP3 version RAR size: 1380 mb FLAC version RAR size: 1290 mb WMA version RAR size: 1176 mb Rating: 4.1 Votes: 227 Other Formats: VOC MP3 MPC MMF DTS VOX MOD Tracklist Hide Credits A Wonderful Guy A1 3:12 Arranged By – Hal Gaylor* This Nearly Was Mine A2 3:45 Arranged By – Paul Horn Dites Moi A3 2:57 Arranged By – Calvin Jackson Some Enchanted Evening A4 3:13 Arranged By – John Pisano Bali Ha'i A5 4:42 Arranged By – John Pisano There Is Nothing Like A Dame B1 3:00 Arranged By – Carson Smith Younger Than Springtime B2 3:27 Arranged By – Carson Smith Happy Talk B3 2:55 Arranged By – Paul Horn A Cockeyed Optimist B4 1:50 Arranged By – Fred Katz Honey Bun B5 4:17 Arranged By – Hal Gaylor* I'm Gonna Wash That Man Right Out Of My Hair B6 2:35 Arranged By – Calvin Jackson Credits Alto Saxophone, Flute – Paul Horn Bass – Hal Gaylor* Cello – Fred Katz Drums – Chico Hamilton Guitar – John Pisano Liner Notes – Charles Edward Smith Producer – Richard Bock Written-By – Rodgers-Hammerstein* Notes All material by Rodgers and Hammerstein. This is a Strobophonic High Fidelity recording with a frequency response of 30 to 15,000 cycles per second. Users of wide range equioment should employ the RIAA or NARTB curve position. VOGUE RECORDS LIMITED . 113-115 FULHAM ROAD . LONDON SW3 .
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1959 Jazz: a Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959
GELB, GREGG, DMA. 1959 Jazz: A Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. (2008) Directed by Dr. John Salmon. 69 pp. Towards the end of the 1950s, about halfway through its nearly 100-year history, jazz evolution and innovation increased at a faster pace than ever before. By 1959, it was evident that two major innovative styles and many sub-styles of the major previous styles had recently emerged. Additionally, all earlier practices were in use, making a total of at least ten actively played styles in 1959. It would no longer be possible to denote a jazz era by saying one style dominated, such as it had during the 1930s’ Swing Era. This convergence of styles is fascinating, but, considering that many of the recordings of that year represent some of the best work of many of the most famous jazz artists of all time, it makes 1959 even more significant. There has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Many jazz listeners, including myself up until recently, have always thought the modal style, from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. However, a few of the other great and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz To Come, and Dave Brubeck’s Time Out, which included the very well- known jazz standard Take Five. My research has found many more 1959 recordings of equally unique artistic achievement.
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Introducing Man Or Billy May Trumpet Section, but 1G CHICO HAMILTON QUINTET This Simply Isn’T the Type of Recorded Surrounding for Him
Hodges-like alto. This and three others are quintet sides, four more are done by big band, four with strings. It almost got one more star because of the times 1 have been chilled by hearing Gozzo spur on a Woody Her Introducing man or Billy May trumpet section, but 1g CHICO HAMILTON QUINTET this simply isn’t the type of recorded surrounding for him. (J. T.) (RCA FZATURING BUDDY COLLETTE Victor 12" I P LPM-1124) PACIFIC JAZZ RECORDS ir p/ i.^ jt*» r fp, w i Pt s. r<j Chico Hamilton t Nice Dayj hinny Valentine; Blue Sanda; The Sage; The Morning After; I II ant to Be Happy; Spectacular; Free Form; Walking Faraón Bluet; Buddy Boo Rating: Chico Hamilton's new quintet is re sponsible for one of the most stimu lating, consistently inventive and unique jazz recordings of this or any recent year. There is, first of all, superb mu sicianship on the part of Buddy Col -Fl lette, flute, clarinet, tenor and alto; Jim Hall, guitar; Fred Katz, cello; n fa- Carson Smith, bass, and Hamilton, great drums. There is also the fresh writing .G.” by all five. As Katz points out in the :hest, notes, . each one writes with feel- >P by ing. Each original composition has :d in warmth, has meaning, has a reason for being; it’s not just u series of clever chords or clever ideas.” The third quality of excellence evi dent here is the collective emotional empathy of the quintet. This is really a unit, and while each of the men in it expresses his own individuality eloqueiftly, they reach their total ful fillment in the cohesive, partly impro visational interplay that is so vitally basic to the best jazz.
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Bibliography -.:: GEOCITIES.Ws
Dream Weaver: Charles Lloyd - His Life and Music 111 Bibliography KEY TO THE REFERENCES In the bibliography only publications are included for which sufficient data are available that the reader can easily find the literature. Criteria are: Magazines and papers: Name, date or issue number and year, or volume and issue number and year. If known the (first) page number is included. In most cases the publication can be found without knowing the exact page number using the index of the publication. Books: Author(s), title, publisher (if known) and year of publication. Name of the publication: The names are abbreviated using 2 to 4 capitals. Short names like Mojo and Vibe are not abbreviated. The language of the publication is indicated by 2 capitals, The key to abbreviations is given below. Examples: Daily or (bi)weekly publications: 1 or 2 digits for month / 1 or 2 digits for the day / last two digits of the year - first page number (if known): DB 6/27/68 EN = Down Beat, June 27, 1967, page number unknown, published in English. Monthly publications: 1 or 2 digits for month / last two digits of the year - first page number (if known): DB 10/00-62 EN = Down Beat October 2000, page 62, published in English. Less frequent publications like bimonthly or quarterly publications: 1 or 2 digits for the first month - 1 or 2 digits for the last month / last two digits of the year - first page number (if known). In some cases the seasons are used: WI - Winter, SP = Spring, SU = Summer and FA = Fall: JTK 7-8/94-70 GE = Jazzthetik, July-August 1994, page 70, published in German JRP SU/99-31 EN = Jazz Report, Summer 1999, page 31, published in English.
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The Avant-Garde 15
CURRENT A HEAD ■ 407 ORNETTE COLEMAN lonely woman CECIL TAYLOR bulbs CECIL TAYLOR willisau concert, part 3 ALBERT AYLER ghosts DAVID MURRAY el matador THE AVANT-GARDE 15 Forward March T e word “avant-garde” originated in the French military to denote the advanced guard: troops sent ahead of the regular army to scout unknown territory. In English, the word was adapted to describe innovative composers, writers, painters, and other artists whose work was so pioneering that it was believed to be in the vanguard of contemporary thinking. Avant-gardism represented a movement to liberate artists from the restraints of tradition, and it often went hand-in-hand with progressive social thinking. T ose who championed avant-garde art tended to applaud social change. T ose who criticized it for rejecting prevailing standards couched their dismay in warnings against moral laxity or political anarchy. In the end, however, all art, traditional or avant-garde, must stand on its merit, inde- pendent of historic inﬂ uences. T e art that outrages one generation often becomes the tradition and homework assignments of the next: the paintings of Paul Cézanne and Pablo Picasso, music of Gustav Mahler and Claude Debussy, and writings of Marcel Proust and James Joyce were all initially considered avant-garde. Two especially promi- nent twentieth-century avant-garde movements gathered steam in the decades follow- ing the world wars, and jazz was vital to both. Sonny Rollins combined the harmonic progressions of bop with the freedom of the avant-garde and sustained an international following. He appeared with percussionist Victor See Yuen and trombonist Clifton © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM Anderson at a stadium in Louisiana, 1995.
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CHARLES LLOYD Biography
CHARLES LLOYD Biography “Charles Lloyd is an international treasure.” Carlos Santana “Follow the career of Charles Lloyd, and you see a map of great jazz across half a century. His shows, full of momentum and intuition, perfectly represent the idea that the best jazz needs to be experienced live.” The New York Times “He's expansive in his musical discourse yet without a wasted note.” Wall Street Journal “Jazz improvisation as complex and far-reaching as the Lloyd quartet had to offer can be a daunting listening experience. … The listener is taken on a journey through gravity-less improvisational space. To the credit of Lloyd and his players, that journey was illuminated by one musical enlightenment after another.” Los Angeles Times "Lloyd is one of the greats, rather like Joan Miro in modern art, he has no peer save himself. Music of total transport and delight." Jazzwise Recent honors: 2012 Brass Note on Beale Street 2013 Montreal International Jazz Festival Miles Davis Award 2014 Laureate Alfa Jazz International Music Award 2014 Monterey Jazz Festival Jazz Legend Award 2015 NEA Jazz Master Fellow 2015 Honorary Doctorate Berklee School of Music 2016 Lobero Ghostlight Society Artist Luminary Award 2016 JJA Tenor Saxophonist of the year 2016 Bohemia Jazz Award (Czechoslovakia) 2016 Memphis Music Hall of Fame 2016 Downbeat Critics Poll Group of the Year “Charles Lloyd New Quartet” 2017 Lifetime Achievement Award, Jazz Gallery 2017 JJA Tenor Saxophonist of the year 2017 JJA Medium Group, Charles Lloyd & the Marvels 2017 San Sebastian Jazz Festival Lifetime Achievement Award The critical consensus is that Charles Lloyd has never sounded better.
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Jimmy and Jeannie Cheatham Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 2 Scope and Content …………………………………………………………………… 4 Series Notes …………………………………………………………………………… 5 Container List …………………………………………………………………………… 7 Series I: Biographical Information …………………………………………… 7 Series II: Correspondence …………………………………………………… 7 Series III: Professional Papers …………………………………………… 7 A. Contracts …………………………………………………………… 7 B. Other …………………………………………………………… 8 Series IV: Programs …………………………………………………………… 9 A. Basic Programs …………………………………………………… 9 B. Souvenir Programs …………………………………………… 9 Series V: Journals …………………………………………………………… 10 Series VI: Miscellaneous …………………………………………………… 10 Series VII: Meet Me With Your Black Drawers On: My Life in Music …… 11 Series VIII: Music Manuscripts …………………………………………… 12 A. Early Original Compositions …………………………………… 12 B: Recorded Compositions and Arrangements …………………… 13 C: Miscellaneous Album Sessions …………………………………… 25 D: Non-Studio Recorded Compositions and Arrangements …………… 26 E: Jingles and Commercials …………………………………………… 29 F: Miscellaneous Manuscripts …………………………………… 31 Series IX: Photographs …………………………………………………… 35 Addendum I …………………………………………………………………… 36 Addendum II …………………………………………………………………… 37 Addendum III …………………………………………………………………… 41 MS149-Jimmy and Jeannie Cheatham Collection 1 University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION BIOGRAPHICAL
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