DUSTY RACKS Developed by Sabino Cannone

Total Page:16

File Type:pdf, Size:1020Kb

DUSTY RACKS Developed by Sabino Cannone DUSTY RACKS Developed by Sabino Cannone IMPULSE RESPONSE LIST Impulse Response Nr: 334 - Preset Banks Nr: 2 - Preset Nr: 208 REF. MODELS [00] REV7 – [01] QUADRAVERB2 – [02] ALEX – [03] SRV2000 – [04] DEP3 – [05] DRP15 HALLS Big Stage [03] Entrace [03] Medium V1 [03] Small Bright [03] Bright [03] Eternity [03] Medium V2 [03] String #A [02] Bright Entry [04] Extensive [00] MediX [01] String #B [02] Bright Gallery [04] Fat Long [05] Mid Broad [02] String #C [02] Bright Long [05] Fat Short [05] Mini [04] String #D [02] Bright Pass [04] Foyer [03] Modern [03] Studio Classic [05] Bright Short [05] Gallery #A [04] Narrow [00] Super [02] Cathedral [05] Gallery #B [04] Passage [04] The Reference [05] Charming [05] Giant [00] Passage Down [04] Thik [01] Church Choir [05] Grand [01] Powerstation [01] Try it [05] Cloister [05] Guitar [01] Recital #A [02] Vast [00] Concert [01] Hall-Dly [01] Recital #B [02] Warm House [05] Country Voice [05] Hallway [04] Recital #C [02] Warm Med [01] Dark Gallery [04] Hilton Floor [05] Recital EX [05] Young [00] Dark Pass [04] Ice Castel [05] Red [03] DBL Lobby [01] Jazz Club [05] Shade [03] Delay Small [03] Large [03] Shatter [05] Diana Wave [05] Limited [03] Shine [01] Down [01] Massive [02] Slight [00] Drum [03] MaX [05] Small [01] ROOMS Adrenaline [05] Deep Ambience [05] Jazz Cellar [05] Reso-Bright [04] Amp [04] DeP-Bright [04] L&R [01] Reso-Dark [04] Area [00] DeP-Dark [04] Large [03] Session [05] Backwards [03] Digital Chamber [03] Latitude [03] SevenPlus [00] Big [03] Disco [05] Light [04] Shadeness [04] Big Gated [01] Echo [00] Live [03] Silvent Mood [05] Boomy [01] Echo Wide [00] Medium 1 [03] Slight [03] Bright [00] Empty Space [05] Medium 2 [03] Small [03] Chamber #A [02] Entertrainer [05] Medium Bright [03] Soft Reverb [05] Chamber #B [02] EPiano [01] MiniEKORoom [05] Stereo [01] Chamber #C [02] Foggy [00] MoNO Drum [05] SVRoom [03] Chance [03] Full [03] Narrow [03] The One [01] Chapel [03] Glass House [05] Neutral [00] Tight [01] Compass [03] Golden [04] Outdoor Theater [03] Tiled #A [02] Concrete [02] Groove Tube [05] Ovation [05] Tiled #B [02] Country [01] Guitar #A [02] Pepper [05] Tiled #C [02] Dark [04] Guitar #B [02] Place [03] Dark Entry [04] Guitar #C [02] Rap Room [05] Darkened [01] HardWood [01] Reflect Chamber [05] Dazzling [01] Indie [05] Reflecta [05] PLATES 12 Str Guitar [05] Drum EX [04] Short - Bright [04] Vocal MiD [04] 140 [01] Echoy [00] Short - Dark [04] Vocal Thin [03] Alpha [00] FatBot [02] Silo [01] Warm Synth [01] Aura [01] Gamma [00] Silver [05] Warm Vocal [01] Ballad Snare [01] Giuly Gold [05] Small [01] Brass #A [02] Gold #A [02] Soft [03] Brass #B [02] Gold #B [02] Stereo [01] Brass #C [02] Gold #C [02] Titan #A [03] Bright [04] Hybrid [00] Titan #B [03] CHR+PLT [01] Long [01] Titan #C [03] Classic [01] Lush [02] Tone [04] Clear [03] Magic Vocal [03] Vintage [03] Compact [05] Mid - Bright [04] Vocal Bright [00] Dark Long [04] Mid - Dark [04] Vocal Dark [02] Dark Perc [00] Midnight Sun [05] Vocal Dense [02] Dark Short [05] More Exciting [05] Vocal Fat [02] DigiVocal [03] Nice [05] Vocal Large [00] Double Tube [05] Omega [00] Vocal [01] Dreamy [01] Plate IT [05] Vocal Clear [04] Drum [04] Sea The Stars [05] Vocal Hybrid [03] EARLY Fat Synth [01] NonLin #05 [04] Roomy [04] Chamber [02] Basin [03] NonLin #06 [04] RV7 #A [00] Chorus Voice [05] Early Room [03] NonLin #07 [04] RV7 #B [00] Deep Phaser [05] Echo Room [00] NonLin #08 [04] RV7 #C [00] Digi Faser [05] Echocord [05] NonLin #09 [04] Seven-E [00] DirtyMono [05] Flangy [05] NonLin #10 [04] Short-Fat [04] Drum Gate [03] Gated [02] PercP [02] Slap Back [03] Dual Detune [01] Gated2 [05] Phatter [01] Slapping Hush [05] Early Gate [00] Gold [02] Pitch Chorus [05] Stereo Tremolo [01] Early Hall [00] GRoom [02] Plat [04] Stry [02] Early Reflect [01] H-ER [00] R-A-Bright [04] Super Snare [05] HallSound [02] R-A-Dark [04] Tiled [02] Inverse [02] R-A-Dark2 [04] Tiny [04] Jet Flanger [05] Rap it [05] Tremolo Phaser [05] NL [03] Recital [02] Vocal Doubler [01] NL+INV [03] Reflections [03] VPlate [02] NonLin #01 [04] ReMiX [01] Wet Drums [05] NonLin #02 [04] Revy [01] Amb Chorus [01] NonLin #03 [04] Roomanof [03] Blues Guitar [05] NonLin #04 [04] RoomTil [02] Brass [02] SPECIAL 3 Against 2 [01] Gate #E [00] SeventhWorldFX [01] 4 Guitars [05] Gate #F [00] Space Station [01] Austrian Joy [05] Gate Snare [01] Spring #A [00] Concrete Pipe [03] Guitar Ptch [05] Spring #B [00] Crazy Funk [05] HA-Dly [01] Spring #C [00] Crystall Delay [01] HipHop-R [05] Subdivisions [01] Digital Taj Mahal [03] Infinite [04] Super Phaser [05] Dotted 8 PingPong [01] Inverse #A [02] Swiss Alp Echo [05] Echos os os [05] Inverse #B [02] VerbJetFlange [01] EkoGate 1 [00] Inverse #C [02] Wild FaZ [05] EkoGate 2 [00] Lost in Space [05] EkoGate 3 [00] MONO Gate [05] EkoGate 4 [00] MonO-Fourth [01] Far Away [05] Octal Process [01] Fill Up [05] On Stage [05] Flanging Echoes [01] PanningDLYTaps [01] Gate #A [02] Percussion's Gate [01] Gate #B [02] Ping Pong [05] Gate #C [02] RetroQuadra [01] Gate #D [00] SabTouch [00] PRESETS LIST Single Layer RV7 Slight Hall QAAD Darkened ALX Inverse #C DP3 Passage RV7 Extensive QAAD CHR+PLT SVR2 Modern DP3 Dark Pass RV7 Giant QAAD Classic SVR2 Drum DP3 Bright Pass RV7 Young QAAD Aura SVR2 Limited DP3 Gallery #A RV7 Vast QAAD Vocal SVR2 Shade DP3 Gallery #B RV7 Neutral QAAD 140 SVR2 Bright DP3 Hallway RV7 SevenPlus QAAD Ballad Snare SVR2 Delay Small DP3 DeP-Dark RV7 Bright QAAD Dreamy SVR2 Medium DP3 DeP-Bright RV7 Area QAAD Mono-Fourth SVR2 Large DP3 Sadness RV7 Echo QAAD HA-Dly SVR2 Foyer DP3 Light RV7 Foggy QAAD RetroQuadra SVR2 Red DP3 Short - Bright RV7 Dark Perc QAAD SeventhWorld SVR2 Eternity DP3 Mid - Dark RV7 Alpha QAAD Sepacestation SVR2 Slight DP3 Mid - Bright RV7 Echoy ALX String #A SVR2 Compass DP3 Vocal Clear RV7 Vocal Bright ALX String #C SVR2 Digital Chamber DP3 Drum EX RV7 #B ALX Super SVR2 Live DP3 Vocal Mid RV7 Seven-E ALX Recital #B SVR2 Large DP3 Dark Long RV7 EkoGate 3 ALX Recital #C SVR2 SVRoom DP3 Bright RV7 Spring #B ALX Chamber #B SVR2 Latitude DP3 Infinite RV7 Spring #C ALX Chamber #C SVR2 Chapel DYNA Jazz Club QUAD Hall-Dly ALX Guitar #B SVR2 Narrow DYNA Bright Shot QAAD Small ALX Tiled #B SVR2 Place DYNA Fat Short QAAD Shine ALX Tiled #C SVR2 DigiVocal DYNA Hilton Floor QAAD Grand ALX Brass #B SVR2 Vocal Thin DYNA The Reference QAAD MediX ALX Brass #C SVR2 Vintage DYNA Fat Long QAAD Concert ALX FatBot SVR2 Titan #C DYNA Bright Long QAAD Warm Med ALX Gold #B SVR2 Reflection DYNA Studio Classic QAAD Country ALX Lush SVR2 Drum Gate DYNA Try it QAAD The One ALX Vocal Dense SVR2 Concrete Pipe DYNA Warm House QAAD Dazzling ALX Vocal Fat SVR2 Digital Taj Mahal DYNA Reflect Chamber QAAD Stereo ALX HallSound DP3 Mini DYNA Reflecta QAAD HardWood ALX Gate #C DP3 Passage Down DYNA Giuly Gold MultiLayer Magic Chain EKOFattness Nice Width #2 Room Session MidDeep Free Beat Nice Width #3 Room Deep Granular Light WIde Sfresh Spread Room Warm Compact Layer Kit Room Comet Room Focus FocusVerb Wood Percs Magic Rain Hall Cosy MicroDelayed NYC Studio Blue Motion Hall Live Boutique CompSide EchoFly Hall Drums Stereo Place LiveCenter Warm Pad Hall Jazz Aux Send GateLike Wide Dream Hall Bright Slow Motion DirtyDark Big HiT Plate Dark The Vocal Fat Pick Guitar Big Bright HiT Plate Fresh Galactic Lead Wide Rhytm FlangiVerb Plate Deep Echodrom Stream Silk Plate Impact Stereo Lead Guitar Studio Silk & Echo Plate Immersive Class Vocal Asymmetry Acoustic Hall Sparkling Vintage Ballad SuperDry Rounded Nightmare SVR Vocals Wide Pick Classic Stereo Etenity Light Wisper Big GT ReV Narrow Space Psychedelic Hybrid Plate Fat-Warm Full & Warm Phasing LoFi VX Nice Width #1 Room Storage OffSync .
Recommended publications
  • Gathering of the Vibes 2008 Chad Berndtson July 29, 2008 Having
    Preview: Gathering of the Vibes 2008 Chad Berndtson July 29, 2008 Having recently finished an enterprise feature for another publication on the glut of national music festivals and what role that glut creates for regional festivals with a lot more personality, I’m more excited this year for the Gathering of the Vibes than I have been in quite some time. As the man said, “He’d have to be one charming motherfuckin pig”…er, sorry, “Personality goes a long way.” Compared to the Roo- and Coachella-sized behemoths, and a lot of the sexy new kids with names both playful and official-sounding—Rothbury might be a bit of both, and allegedly, it was quite the time—the Vibes is a creakier, more elegant dinosaur. A glorious, humble triceratops of a festival, yes, secure in its size, pleasant in its modest ambition and its abilities, not ostentatious, and kindly manageable. And damn isn’t it great to have it back in New England proper (it returned in 2007 after several years of renovation to Bridgeport’s Seaside Park and a few years at various upstate New York locales)? For this born/bred New Englander, it’s not only in a New England/Tri-State area happy medium, but it fills a still-felt void left by the big Phish festivals of yore and especially the can’t-believe-it’s-been-five-years-now departed Berkshire Mountain Music Festival (1997-2003). (For Berkfest alums from those heady days, monsoon conditions and all, have a scoop of nostalgia on the house) The Vibes doesn’t have the gaudy cache of some festivals, or some of the nationally dazzling headliners.
    [Show full text]
  • Young Americans to Emotional Rescue: Selected Meetings
    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
    [Show full text]
  • 35 Music, Drama, Dance and Performing Arts Title of Case
    Impact case study (REF3b) Institution: SOAS Unit of Assessment: 35 Music, Drama, Dance and Performing Arts Title of case study: Bringing Malian Music to International Audiences (Lucy Duran) 1. Summary of the impact (indicative maximum 100 words) Dr Lucy Duran’s ethnomusicological research into the traditional musical forms, cultural practices and instruments of Mali has underpinned the studio production of two internationally acclaimed albums, Segu Blue, winner of two BBC Radio 3 Music Awards for Best World Music Album and Best African Artist in 2008, and I Speak Fula, a 2010 Grammy nominee for Best Traditional World Music Album. Both have raised awareness amongst musicians and global audiences of Bamana musical traditions, including the ngoni, the oldest of the West African lutes and, until Segu Blue, an instrument hardly known beyond West Africa. 2. Underpinning research (indicative maximum 500 words) Dr Lucy Duran has worked with musicians in Mali since the late 1980s, primarily as a researcher, but also as a music producer and broadcaster. Since 1992, Dr Duran has been Lecturer in African Music at SOAS, where she completed her PhD in 1999. Since 2000 she combined this role with presenting the World Routes programme on Radio 3 (1, below). Fundamentally, Duran’s research examines how music encapsulates the core values of southern Malian identities and explores how traditional music and song participate in communicating those values. Duran considers her work as a producer in Mali to fall within the rubric practice-based research as such participation in the mediation of the creative process can provide unique insights into the aesthetics and dynamics of a musical culture.
    [Show full text]
  • " African Blues": the Sound and History of a Transatlantic Discourse
    “African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music.
    [Show full text]
  • Title Format Released Abyssinians, the Satta Dub CD 1998 Acklin
    Title Format Released Abyssinians, The Satta Dub CD 1998 Acklin, Barbara The Brunswick Anthology (Disc 2) CD 2002 The Brunswick Anthology (Disc 1) CD 2002 Adams Johnny Johnny Adams Sings Doc Pomus: The Real Me CD 1991 Adams, Johnny I Won't Cry CD 1991 Walking On A Tightrope - The Songs Of Percy Mayfield CD 1989 Good Morning Heartache CD 1993 Ade & His African Beats, King Sunny Juju Music CD 1982 Ade, King Sunny Odu CD 1998 Alabama Feels So Right CD 1981 Alexander, Arthur Lonely Just Like Me CD 1993 Allison, DeAnn Tumbleweed CD 2000 Allman Brothers Band, The Beginnings CD 1971 American Song-poem Anthology, The Do You Know The Difference Between Big Wood And Brush CD 2003 Animals, The Animals - Greatest Hits CD 1983 The E.P. Collection CD 1964 Aorta Aorta CD 1968 Astronauts, The Down The Line/ Travelin' Man CD 1997 Competition Coupe/Astronauts Orbit Kampus CD 1997 Rarities CD 1991 Go Go Go /For You From Us CD 1997 Surfin' With The Astronauts/Everything Is A-OK! CD 1997 Austin Lounge Lizards Paint Me on Velvet CD 1993 Average White Band Face To Face - Live CD 1997 Page 1 of 45 Title Format Released Badalamenti, Angelo Blue Velvet CD 1986 Twin Peaks - Fire Walk With Me CD 1992 Badfinger Day After Day [Live] CD 1990 The Very Best Of Badfinger CD 2000 Baker, Lavern Sings Bessie Smith CD 1988 Ball, Angela Strehli & Lou Ann Barton, Marcia Dreams Come True CD 1990 Ballard, Hank Sexy Ways: The Best of Hank Ballard & The Midnighters CD 1993 Band, The The Night They Drove Old Dixie Down: The Best Of The Band [Live] CD 1992 Rock Of Ages [Disc 1] CD 1990 Music From Big Pink CD 1968 The Band CD 1969 The Last Waltz [Disc 2] CD 1978 The Last Waltz [Disc 1] CD 1978 Rock Of Ages [Disc 2] CD 1990 Barker, Danny Save The Bones CD 1988 Barton, Lou Ann Read My Lips CD 1989 Baugh, Phil 64/65 Live Wire! CD 1965 Beach Boys, The Today! / Summer Days (And Summer Nights!!) CD 1990 Concert/Live In London [Bonus Track] [Live] CD 1990 Pet Sounds [Bonus Tracks] CD 1990 Merry Christmas From The Beach Boys CD 2000 Beatles, The Past Masters, Vol.
    [Show full text]
  • Aesthetics of the Qur'anic Epigraphy on the Taj Mahal
    Aesthetics of the Qur’anic Epigraphy on the Taj Mahal by Rio Fischer B.A. Philosophy & Middle Eastern Studies Claremont McKenna College, 2012 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN ARCHITECTURE STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY June 2017 ©2017 Rio Fischer. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: __________________________________________________ Department of Architecture May 25, 2017 Certified by: __________________________________________________________ James Wescoat Aga Khan Professor Thesis Supervisor Accepted by:__________________________________________________________ Sheila Kennedy Professor of Architecture Chair, Department Committee on Graduate Students Committee: James Wescoat, PhD Aga Khan Professor Thesis Supervisor Nasser Rabbat, MArch, PhD Aga Khan Professor Thesis Reader 3 Aesthetics of the Qur’anic Epigraphy on the Taj Mahal by Rio Fischer Submitted to the Department of Architecture on May 25, 2017 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Architecture Studies ABSTRACT This thesis examines the Qur’anic epigraphic program of the Taj Mahal. Following the 1989 Begley & Desai book Taj Mahal: an Illustrated Tomb, the flourish of scholarship that would expectedly follow a complete epigraphical catalog never arrived. Despite being well-known and universally cherished as indicated by the Taj Mahal’s recognition as a UNESCO world heritage monument and as one of the New 7 Wonders of the World, there is insufficient research directed towards the inscription program specifically.
    [Show full text]
  • “Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader
    “Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album.
    [Show full text]
  • 1 a Conversation with Taj Mahal by Frank Goodman (6
    A Conversation with Taj Mahal by Frank Goodman (6/2003, Puremusic.com) With almost forty years in the music business and near that many records that bear his name, few American artists have contributed to the blues lexicon at the level of the man called Taj Mahal. He is both spelunker and astronaut in the musical world, and there is little he has not done or tried. Movies, children’s music, Grammy winning records, character voiceovers, and a legacy of recordings that encompass and combine a staggering variety of cultures in ingenious ways. His global vision and grasp of history have spawned projects that combine the blues with (or trace either its roots or influence in) Caribbean music, Indian music, African music, Hawaiian music, soul music, pop music, and more. (Can electronic music or conducting some intergalactic blues orchestra be far behind?) He has plenty of life and living left in him, and will no doubt continue to go places that defy the pigeonholing mentality of the music business and its highly trained consumers. He’s had more labels than most artists have made records, over a dozen. His relentless musical peregrinations have sometimes been a source of fluctuating popularity, but his artistic berth has steadily deepened and widened over the decades, and provide a fascinating foundation for the accolades that continue to pile up. Even now his star seems to be again on the rise. We’re looking forward to reading his autobiography (Taj Mahal: Autobiography of a Bluesman, with Stephen Foehr, Sanctuary 2002) because there is too little available about him on the Internet, and way too much to cover in a telephone conversation… But the conversation we were privileged to have indeed revealed a magnetic and magnanimous person with great vitality for his mission.
    [Show full text]
  • Club 47 ® Club 47 ®
    Club 47 ® Club 47 ® Honoring the past, Celebrating the future The Club 47 concert series, across the years and around the country, has been a club house for stars of the acoustic music world and a springboard for emerging talent. Most of all, it’s been an extraordinary musical experience for millions of fans of all ages, in concert halls and on radio and television. Here’s how it began. The Club 47 once was a coffee house in Cambridge, Massachusetts. Although it was only open ten years (January, 1958 to April, 1968) and seated only about 80 people, it became the flagship of the Boston area’s coffee house armada and one of the centers of the 1960s folk music revival. It hosted many of the heroes of traditional music: Appalachian dulcimer players, Cowboy singers and storytellers, Delta blues men and women, gospel groups, Celtic artists, jug bands, bluegrass bands... legendary artists from around the globe. You could also hear new voices at the Club 47 ... the young Joan Baez trying out a Child ballad for the first time, or that new kid, Bob Dylan, up from New York, testing the crowd’s reaction to some new lyrics set to an old melody. Judy Collins, Richie Havens, Van Morrison, Eric Anderson, Tom Paxton, John Hammond, Tom Rush and a host of others came to that tiny room, and learned. They learned how to listen, sitting at the feet of giants. They learned songs, and how to sing and play them. And when they took their turns on that stage, they learned how to make those songs their own, and how to build new ones on the firm foundation of tradition, and began..
    [Show full text]
  • Travel Commentary: City of Victory Robert A
    Bridgewater Review Volume 5 | Issue 1 Article 13 Jun-1987 Travel Commentary: City of Victory Robert A. Cole Recommended Citation Cole, Robert A. (1987). Travel Commentary: City of Victory. Bridgewater Review, 5(1), 27-28. Available at: http://vc.bridgew.edu/br_rev/vol5/iss1/13 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Travel Commentary City of Victory by Robert A. Cole hould good fortune ever find you A Muslim by birth and education, appears from the outside to have two in India, plan a stop at Agra ifat all Akbar seemed to growsomewhat disillu­ stories. Here in this "Hall of Public Spossible. This is where the Taj sioned with orthodoxIslam as heapproach­ Audience" the Emperor sat upon a Mahal is located, its fluid lines and ed middle age. On the other hand, he marble platform supported by a large gentle symmetry perpetuating the love displayed a remarkable tolerance for decorative central column. From each of Shah Jahan for his deceased wife, other faiths, therebyshowing his country­ of the upper corners of the structure Mumtaz Mahal. The pure white elegance men some ofthe.nobler possibilities of four passageways with intricately ofthe Taj proclaims it as, perhaps, the life in a pluralistic culture. He was carved rails reached inward to Akbar's most "famous" building in the world, troubled, however, over the thought of central position. A unique but es­ and I doubt that any feeling person not providing the Empire with a male sentially modest building, the Diwan-i­ could by unmoved by it.
    [Show full text]
  • Blues Notes October 2013
    VOLUME EIGHTEEN, NUMBER TEN • OCTOBER 2013 TAJ MAHAL TRIO, VUSI MAHLASELA PERFORM BLUES CONCERT ON OCTOBER 25 Global Influences On American Blues To Be Celebrated At Holland Center Omaha, Neb., (Sept. 20, 2013) – Omaha Per- Tickets start at $35 and are available at TicketOmaha.com, forming Arts presents “World Blues” featur- 402.345.0606 or at the Ticket Omaha Office inside the Hol- ing The Taj Mahal Trio, Vusi Mahlasela and land Center, 1200 Douglas St. Fredericks Brown at the Holland Performing “World Blues” features three diverse points of view in the Arts Center on Friday, Oct. 25, world of blues music. Anchored by The Taj Mahal 2013, at 8:00 p.m. The celebra- Trio, led by iconic folk-blues legend Taj Mahal with tion of the global influence on Omaha native Billy Rich on bass and Kester Smith American blues is part of Omaha on drums, the evening will highlight the South Performing Arts’ 13/14 Season. African blues of guitarist/vocalist Vusi Mahlasela and the more modern rock ‘n’ roll perspective of New Zea- land band Fredericks Brown, whose vocalist is Taj Mahal’s daughter, Deva Mahal. Though his career began more than four decades ago with American blues, Grammy Award®-winning Taj Mahal has broadened his artistic scope to include music from around the world – west Africa, the Caribbean, Latin America, Europe, the Hawaiian islands and so much more. Born Henry St. Claire Fredericks in Harlem in 1942, Taj Mahal grew up in Massachusetts where he learned to play the piano, clarinet, trombone and harmonica at a young age.
    [Show full text]
  • State of Oklahoma
    STATE OF OKLAHOMA 1st Session of the 49th Legislature (2003) SENATE RESOLUTION 25 By: Horner AS INTRODUCED A Resolution congratulating the Oklahoma Jazz Hall of Fame upon the occasion of its fifteenth anniversary; honoring the 2003 inductees into the Oklahoma Jazz Hall of Fame; and directing distribution. WHEREAS, the Oklahoma Jazz Hall of Fame in Tulsa, Oklahoma, is celebrating its fifteenth anniversary this year. The event will be highlighted at the Annual Induction Banquet Gala to be held Wednesday, June 18, 2003, at the Doubletree Downtown Hotel’s International Ballroom in Tulsa, Oklahoma. At that time the 2003 inductees into the Oklahoma Jazz Hall of Fame will be honored; and WHEREAS, the 2003 Jay McShann Lifetime Achievement Award winner Marilyn Maye was born in Wichita, Kansas, but moved to Des Moines, Iowa, while a preteen. At the age of 14 she began her musical career singing with local bands and soon had her own radio show on KRNT, singing requests for listeners. After graduating from high school, she went to Kansas City for a two-week engagement that lasted for years. Steve Allen heard her and invited her to sing on his late-night television program. Her performance led to an RCA recording contract producing many albums and 34 singles. Dubbed a “Super Singer” by Johnny Carson, she appeared on “The Tonight Show” a record-holding 75 times, more than any other performer. While residing in the Kansas City area, she still has close ties to Des Moines where in 1999 she performed with their symphony orchestra. As one critic said, “If you can name a song, Marilyn can sing it and sing it well”; and Req.
    [Show full text]