Phil Collins Live USA Mp3, Flac, Wma
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Eastern Progress 1980-1981 Eastern Progress
Eastern Kentucky University Encompass Eastern Progress 1980-1981 Eastern Progress 4-30-1981 Eastern Progress - 30 Apr 1981 Eastern Kentucky University Follow this and additional works at: http://encompass.eku.edu/progress_1980-81 Recommended Citation Eastern Kentucky University, "Eastern Progress - 30 Apr 1981" (1981). Eastern Progress 1980-1981. Paper 31. http://encompass.eku.edu/progress_1980-81/31 This News Article is brought to you for free and open access by the Eastern Progress at Encompass. It has been accepted for inclusion in Eastern Progress 1980-1981 by an authorized administrator of Encompass. For more information, please contact [email protected]. Survey determines Regent no personnel run-off today exposed to toxics By BETTY MAI.KIN By ROBIN PATEK irritation, burning of the nose and News Editor Mttr throat, chest pains, loss of coordination, Because none of the seven candidates A toxic gas survey conducted last a decreased ability to concentrate and received a majority of the total vote In semester from Nov. 21 through Dec 9 in drowsiness. Tuesday's Student Regent election, a the Hewlett Building concluded that Rex Baker, of the Division of In- special run-off election is being held "there are no personnel presently being structional Media, which handles the today between Tim C'rawley and exposed to toxic levels of nitrogen repair work for the projectors, Clayburn Trowel I, the two Regent dioxide, chlorine, ozone and carbon suggested that the nature of the candidates who received the most monoxide tested in the Row Id i problem with the malfunctioning pro- votes. Building." jectors in Hewlett could be one "in A Student Regent must receive 51 The survey, conducted Jointly by Dr. -
November 1983
VOL. 7, NO. 11 CONTENTS Cover Photo by Lewis Lee FEATURES PHIL COLLINS Don't let Phil Collins' recent success as a singer fool you—he wants everyone to know that he's still as interested as ever in being a drummer. Here, he discusses the percussive side of his life, including his involvement with Genesis, his work with Robert Plant, and his dual drumming with Chester Thompson. by Susan Alexander 8 NDUGU LEON CHANCLER As a drummer, Ndugu has worked with such artists and groups as Herbie Hancock, Michael Jackson, and Weather Report. As a producer, his credits include Santana, Flora Purim, and George Duke. As articulate as he is talented, Ndugu describes his life, his drumming, and his musical philosophies. 14 by Robin Tolleson INSIDE SABIAN by Chip Stern 18 JOE LABARBERA Joe LaBarbera is a versatile drummer whose career spans a broad spectrum of experience ranging from performing with pianist Bill Evans to most recently appearing with Tony Bennett. In this interview, LaBarbera discusses his early life as a member of a musical family and the influences that have made him a "lyrical" drummer. This accomplished musician also describes the personal standards that have allowed him to maintain a stable life-style while pursuing a career as a jazz musician. 24 by Katherine Alleyne & Judith Sullivan Mclntosh STRICTLY TECHNIQUE UP AND COMING COLUMNS Double Paradiddles Around the Def Leppard's Rick Allen Drumset 56 EDUCATION by Philip Bashe by Stanley Ellis 102 ON THE MOVE ROCK PERSPECTIVES LISTENER'S GUIDE Thunder Child 60 A Beat Study by Paul T. -
The Genesis Discography
TTHHEE GGEENNEESSIISS DDIISSCCOOGGRRAAPPHHYY “The scattered pages of a book by the sea…” 1967-1996 Page 2 The Genesis Discography The Genesis Discography January 1998 Edition Copyright © 1998 Scott McMahan, All Rights Reserved The Genesis Discography Page 3 THE EXODUS ENDS “And then there was the time she sang her song, and nobody cried for more…” “I think that in the end, if all else is conqured, Bombadil will fall, Last as he was First, and then Night will come.” … from the Council of Elrond, in Lord of the Rings Indeed, since its beginning in 1993, The Genesis Discography has been a fixture on the Internet much like Tom Bombadil was in Middle Earth. It has endured in the face of the changing times, without itself changing much, isolated off in its own world. Glorfindel had the opinion that Bombadil would be the last to fall, after all else was lost, last as he was first. In Tolkien’s story, that opinion was never tested. Good triumphed over evil, and everyone lived happily ever after. Not true on the Internet. Since 1993, the forces of evil have created a desolation and oppression that Sauron even with the help of his ruling ring could not imagine perpetrating. From the days of the Internet as an academic research network until today’s Internet I have witnessed ruination unbelieveable. The decay, corruption, and runiation of the Internet boggles my mind. Like Tom Bombadil in his carefully demarcated borders, The Genesis Discography has been an island in the storm, surrounded on all sides but never giving in. -
Howlin Wolf 1991.Pdf
FOREFATHERS Howlin’ W olf JUNE 10,1910 - JANUARY 10,1976 BY PETER GURALNICK OWLIN’ WOLF WAS LARGER than life in every respect. As an entertainer, as an individual, and as a bluesman, he was outsized, unpredictable, and always his own man. He was a great blues singer who pos sessed that quality of egocentric self-absorption that is the mark of the true showman. To many people this may seem contradictory, but Wolf proved that to its natural audience blues is not all pain and suffering, but is instead a kind of re his voice that was his crowning glory, a voice which could lease. When you listen to the blues, you should be moved; fairly be called inimitable, cutting with a sandpaper rasp and doubtless you should take the deep blues of a singer like overwhelming ferocity but retaining at the same time a curi Muddy Waters or Howlin’ Wolf with the sense of dignity that ous delicacy of shading, a sense of dynamics and subtlety of is intended. You should also come away with a smile on your approach that set it off from any other blues singer’s in that lips. rich tradition. It combined the rough phrasing of Patton with Howlin’ Wolf was a totally enigmatic personality. He was the vocal filigree of Tommy Johnson and its familial descen a man at once complex, driven, and dant: the blue yodel of Jimmie altogether impossible to read. I think WOLF’S RIGHT HAND: Rodgers, a white country singer he was as much a mystery to his HUBERT SUMLIN, LEAD GUITAR whom Wolf always admired. -
EARTH, WIND & FIRE -‐ Bio XRIJF JUNE 20-‐28, 2014 During the 1970S
EARTH, WIND & FIRE - Bio During the 1970s, a new brand of pop music was born - one that was steeped in African and African- American styles - particularly jazz and R&B but appealed to a broader cross-section of the listening public. As founder and leader of the band Earth, Wind & Fire, Maurice White not only embraced but also helped bring about this evolution of pop, which bridged the gap that has often separated the musical tastes of black and white America. It certainly was successful, as EWF combined high-caliber musicianship, wide-ranging musical genre eclecticism, and '70s multicultural spiritualism. "I wanted to do something that hadn't been done before," Maurice explains. "Although we were basically jazz musicians, we played soul, funk, gospel, blues, jazz, rock and dance music...which somehow ended up becoming pop. We were coming out of a decade of experimentation, mind expansion and cosmic awareness. I wanted our music to convey messages of universal love and harmony without force- feeding listeners' spiritual content." Maurice was born December 19, 1941, in Memphis, TN. He was immersed in a rich musical culture that spanned the boundaries between jazz, gospel, R&B, blues and early rock. All of these styles played a role in the development of Maurice's musical identity. At age six, he began singing in his church's gospel choir but soon his interest turned to percussion. He began working gigs as a drummer while still in high school. His first professional performance was with Booker T. Jones, who eventually achieved stardom as Booker T and the MGs. -
Click Here to Continue
Premieres Sunday September 28 at 9pm on This interactive document contains printable pages, downloadable photography, a video sample, music samples, and a link to The Blues Web site at www.pbs.org/theblues. Note that you can elcome navigate this document using the table of contents and the navigation buttons on each page. W Click here to continue. This document automatically adjusts to the size of your screen. The view may be adjusted under the View menu. Click below to navigate What is the Blues? Series Release Fact Sheet About the Films Director and Producer Biographies Performances in The Blues Quotes for The Blues Volkswagen “Celebrates the Arts” Release Contents Photography Index Video Sample Music Samples www.pbs.org/theblues Home pbs.org/theblues By Jason Emmons and edited by Robert Santelli, Blues Historian and Director & CEO of Experience Music Project In 1903 W. C. Handy, the African American leader of a dance orchestra, got stuck one night waiting for a train in the hamlet of Tutwiler, Mississippi. With hours to kill and nowhere else to go, Handy fell asleep at the empty depot on a hard wooden bench. When he woke, a ragged black man was sitting next to him, singing about “goin’ where the Southern cross the Dog” and sliding a knife against the strings of a guitar. The musician repeated the line three times and answered it with his guitar. Intrigued, Handy asked what the line meant. It turned out that the tracks of the Yazoo & Mississippi Valley Railroad, which locals called the Yellow Dog, crossed the tracks of the Southern Railroad in the town of Moorehead, where the musician was headed, and he’d put it into a song. -
Notre Dame Collegiate Jazz Festival Program, 1963
Archives of the University of Notre Dame I xnarch as&30 university of notre dame Archives of the University of Notre Dame 1963 i~ \\ fJ'he :dtt(od~'tn dound " a full hou't of iazz I!.fJl!.'ty d11onday, CO llfB IAIE Wedni!.1.d2'j, and 9tida'j night at ~efJl!.n on JAZZ ffSTlVAl LJ.J~NC:>~F="~ presents ~~THE NEW STREAM IN COLLEGE JAZZ" JUDGES ADVISORS I:hi~ 9'tom 7:00 until 8:00 'j0u. czan hea't the be~t in iazz on Manny Albam Steve Allen Lawrence Berk Leonard Feather Willis Conover \lIlIddV:b c40tt and 90tt dimuLcza~1: Terry Gibbs Don DeMicheal Robert Share Quincy Jones Herman Kenin Charles Suber Stan Kenton Henry Mancini Kenneth Morris Fred Williamson AM 640 PM 88.9 Archives of the University of Notre Dame S.\\II·: ~ R,o ~ Welcome to Notre Dime's 1963 ~~ The New Stream in Uollege Jazz" I Collegiate Jazz Festival! CJF is again presenting to you is flowing; it is streaking from the mainstream of jazz as the the twenty-two finest college jazz groups in the United "'63 splotch" signifies on the program cover. Ever since the S states. They have been auditioned and selected from the stream of college jazz began to trickle from the mainstream of largest number of applicants in our five year history. They jazz in 1948 when North Texas state University under Dr. Eugene are free to compete, to play their best, and to win! It is Hall's direction offered credit for Stage Band or Dance Band, S this competitive nature that distinguishes this festival jazz began to flow into the educational atmosphere of the col from any other that you have been to. -
KA HA NFIRE D UPF Oroißy Sellsvi Records! New Research Proves It!
ICD08120 01066048024BE MAR86 10 MONTY GREENLY 03 USA For Africa album 3740 ELM UCY LONG BEACH CA 90807 debuts at No. 9; single holds at No. i See pages 70, 74 Black up, metal down in RIAA certifications See page 4 "Gone With The Wind" tops Video Sales chart See page 32 APRIL 20, 1985/$3.50 (U.S.) VOLUME 97 NO. 16 THE INTERNATIONAL NEWSWEEKLY OF MUSIC AND HOME ENTERTAINMENT Despite Some Complaints About Fill Top RCA/Columbia Videos DEALERS CHEER `WORLD' ALBUM Return at $29.95 list This story prepared by Earl Paige even know the songs or the artists At CBS, sources verify the rush in Los Angeles and Kip Kirby in [on 'We Are The World']." for product, reporting that both the "Stripes" and "Kramer" for $89.95 Nashville. Sam Ginsburg, City One -Stop Carrollton, Ga. and Pitman, N.J. BY TONY SEIDEMAN each. LOS ANGELES USA For Africa's manager in Los Angeles, says inde- manufacturing plants are working NEW YORK RCA /Columbia Pic- The RCA /Columbia move comes "We Are The World" album has pendent stores of all types are sell- overtime to press and duplicate LPs tures Home Video is going to re -re- at a time when some studies con- generated dramatic consumer de- ing the album in Southern Califor- and cassettes. The company is said lease some of its top titles at $29.95, clude that sell- through efforts have mand since its release at the begin- nia: "They're r &b stores, heavy to have shipped approximately 2.7 in a promotion that will see list been less effective than had been ning of the month, report retailers metal, all kinds." As for supply, million units of the album on re- prices on some features drop by as believed in getting consumers into and wholesalers nationwide. -
A Study of Blues And
“YOUNG FASHIONED WAYS”: A STUDY OF BLUES AND AUTHENTICITY IN THREE TRANSATLANTIC STUDIO COLLABORATIONS _______________ A Thesis Presented to the Faculty of San Diego State University _______________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Music _______________ by Conor M. Jamison Fall 2013 iii Copyright © 2013 by Conor M. Jamison All Rights Reserved iv ABSTRACT OF THE THESIS “Young Fashioned Ways”: A Study of Blues and Authenticity in Three Transatlantic Studio Collaborations by Conor M. Jamison Master of Arts in Music San Diego State University, 2013 During the late 1960s and early 1970s, it was popular for blues artists—both British and American—to travel across the Atlantic to record with their fellow musicians. Three albums resulted from these collaborative exchanges which have been popular among fans, but also matters of controversy among blues purists: The London Muddy Waters Sessions, The London Howlin' Wolf Sessions, and Fleetwood Mac: Blues Jam in Chicago. Some feel that the American masters did not play to their own potential, and the white, British sidemen sound weak in comparison with their black, American counterparts. These reflections call into question the ability of the British musicians to achieve authentic blues, as well as the ability of the American players to remain authentic in a collaborative environment. In 2002, musicologist, Allan Moore published his article “Authenticity as Authentication,” wherein, he outlined a tripartite typology that can be uses as a basis for evaluating musical performances in terms of the perception of authenticity by those experiencing it. Moore's typology classifies the factors of authenticity into “first-, second-, and third-person.” Or “authenticity of: 'expression,' 'experience,' and 'execution'”. -
Earth, Wind & Fire Gratitude Mp3, Flac
Earth, Wind & Fire Gratitude mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Gratitude Country: Brazil Style: Soul, Funk, Disco MP3 version RAR size: 1596 mb FLAC version RAR size: 1718 mb WMA version RAR size: 1396 mb Rating: 4.3 Votes: 109 Other Formats: DMF AC3 MP4 WAV TTA ADX AIFF Tracklist Introduction (0:22) Medley (5:58) A1a Africano A1b Power A2 Yearnin' Learnin' 4:18 A3 Devotion 4:54 B1 Sun Goddess 7:57 B2 Reasons 8:27 B3 Sing A Message To You 1:21 C1 Shining Star 4:59 C2 New World Symphony 9:47 C3 Sunshine 4:18 D1 Singasong 3:25 D2 Gratitude 3:29 D3 Celebrate 3:09 D4 Can't Hide Love 4:12 Companies, etc. Copyright (c) – CBS Inc. Recorded At – Wally Heider Recording Studio, Los Angeles Recorded At – Hollywood Sound Recorders Recorded By – Haji Sound Recorded By – Wally Heider Recording Phonographic Copyright (p) – CBS Inc. Manufactured By – Columbia Records Mastered At – The Mastering Lab Pressed By – Columbia Records Pressing Plant, Terre Haute Mastered At – Customatrix Credits Arranged By [Live Show; Studio Tracks] – Earth, Wind & Fire Drums, Percussion – Fred White, Ralph Johnson Engineer – George Massenburg Guitar – Johnny Graham Guitar, Percussion – Al McKay Piano, Organ, Synthesizer [Moog] – Larry Dunn Producer [Live Show] – Joe Wissert Producer [Studio Tracks], Arranged By [Studio Tracks] – Charles Stepney Recorded By – Haji Sound, Wally Heider Recording Saxophone – Don Myrick Saxophone, Percussion – Andrew Woolfolk Trombone – Louis Satterfield Trumpet – Michael Harris Vocals, Bass, Percussion – Verdine -
From Suits to Robes: the Use of African Inspired Apparel As a Communication Tool in the Mid-Twentieth Century American Avant- Garde Jazz Community
C. Adam Cottle University of Tennessee Frederick S. Cottle Kansas State University Thomas W. Bell Kansas State University From suits to robes: The use of African inspired apparel as a communication tool in the mid-twentieth century American avant- garde jazz community. KEYWORDS African fashion Afrocentricity Afro-jazz avant-garde jazz communities of practice popular culture ABSTRACT Many musicians working in the avant-garde of American jazz in the post-Civil Rights era publicly aligned themselves with black power cultural ideologies. The Afrocentric fashions worn by some of these musicians were a visual representation of their cultural beliefs and endure as a major component of the musical form’s legacy. This article reevaluates these performers’ standing in popular culture, recognizing them as fashion innovators on top of being musical revolutionaries. These musicians’ adventurous style lives on in popular culture through fashion statements in hip hop, neo soul, and other musical genres. Expressions of Afrocentric fashion are relatively common in modern American culture, but this was not always the case. For most of the country’s history, mainstream fashion was dominated by European traditions. In the 1960’s and 1970’s, however, African American cultural nationalists and black power advocates began to utilize traditional African clothing and jewelry to show pride in their cultural heritage. Today, many of these African stylistic components have been assimilated into mainstream American fashion, particularly in the realm of urban fashion. In the Sixties and Seventies, it was not uncommon to see popular African American entertainers wearing African clothes. Nina Simone frequently exhibited an Afrocentric look, and even Sammy Davis Jr. -
Those Studio Musicians Were Moving Like Chess Mirrored the Changing Times Chess Sessions from 1955 to 1960
NON P E I F 0 R E N S Ralph B ass BY HARRY W E I N G E R /ALPH BASS WAS A CO-CREATOR of some of the indisputable landmarks of rock & roll: producer of and/or witness to “Call It Stormy Monday” (T-Bone Walker), “Sixty-Minute Man” (the Dominoes), “Sleep” (Earl Bostic), “Work With Me, Annie” (Hank Ballard & the Midnighters), “Please Please Please” (James Brown), and so many more. His life spans five decades of music and stints with such pioneering indie labels as Black & White, Savoy, King, and Chess. Yet for all of the artists he nurtured and the labels he Flushed with this sudden success, Bass launched his toiled for, a Ralph Bass production was almost invisible. He own Bop label. His most famous date was a two-part live sax inspired seemingly effortless performances from his vocalists battle between Dexter Gordon and Wardell Gray titled “The and musicians in which the overriding Chase” and “The Hunt.” Bass later concern was for pure feeling, “I didn’t RALPH BASS founded Portrait Records and captured give a shit about technique,” he says to PICKS SIX significant performances by Errol Gamer. day. “To hell with bad notes. They had to Bass found his first consistent suc T-Bone Walker, Call It Stormy Monday feel it. I had to feel it.” (1947, Black & White, #5 R&B) cess with Herman Lubinsky’s Savoy Part Italian, part Jew, all hipster-hus “A landmark, and I was no longer andvice. It gave me Records from 1948 to 1951.