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Internet Recruiting Power: Opportunities and Effectiveness
IESE UNIVERSITY OF NAVARRA INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS José Ramón Pin* Miriam Laorden** Inés Sáenz-Diez*** RESEARCH PAPER No 439 July, 2001 Published by the International Research Centre on Organizations (IRCO) * Professor of Organizational Behaviour, IESE ** Manager at IRCO, IESE *** Research Associate at IRCO, IESE. Research Division IESE University of Navarra Av. Pearson, 21 08034 Barcelona - Spain Copyright © 2001, IESE Do not quote or reproduce without permission INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS Abstract Recruiting via the Internet, or e-Recruitment, is a phenomenon that has led to the appearance of a new market in which there is an unprecedented level of interaction between employers and potential employees. In this paper we describe the actual and emergent models in the e-Recruitment market, assess the changes this new recruitment tool is bringing about in companies’ practices and strategies, and analyse the risks and opportunities of e-Recruitment for companies and for job candidates. INTERNET RECRUITING POWER: OPPORTUNITIES AND EFFECTIVENESS I. Introduction 1. Research aims The main goal of this research project is to analyse the e-Recruitment tools that use new technologies, and more specifically everything that is done in this area over the Internet. The scope of the analysis is mainly Europe, although we could hardly have done it without comparing the European level with the market in the US, due to its broader experience in using these tools and the fact that it is a more mature market. The study focuses on three main objectives: Objective I. Describe current and emerging models in the European Internet recruitment market and define key actors. -
Herbie Hancock
HERBIE HANCOCK The Warner Bros.-Years 1969-1972 3-CD-Set mit Bonustracks VÖ: 18. Juli 2014 „Herbie war die nächste Stufe nach Bud Powell und Thelonius Monk, und ich habe noch niemanden gehört, der sein Nachfolger sein könnte.“ Mit diesem großen, aber zweifellos gerechtfertigten Lob charakterisierte Miles Davis, der Gigant des Jazz, seinen Musikerkollegen HERBIE HANCOCK in seiner Autobiografie „Miles“. Und tatsächlich gehört HERBIE HANCOCK, dessen Debüt-Album Takin‘ Off im Jahre 1962 erschien, zu den großen Ikonen des Jazz. Wie kaum ein Zweiter eröffnete er dem Jazz die Türen in völlig neue Bereiche, während er einen charakteristischen, unverwechselbaren eigenen Klang entwickelte. Doch auch nach einer fünf Dekaden währenden Karriere, in denen HANCOCK 14(!) Grammys gewann, überrascht er sein Publikum auch heute noch. Es gibt nur sehr wenige Musiker, die einen so starken Einfluss auf akustischen oder elektrischen Jazz und sogar den R&B ausübten wie HERBIE HANCOCK. The Warner Bros.-Years 1969-1972 besteht aus drei legendären Alben die sich allesamt um die Entstehung seiner Mwandishi Band gruppieren, mit der HERBIE HANCOCK völlig neue Wege beschritt. Auf dem Mwandishi-Album von 1971 trennte sich HANCOCK von den üblichen Jazz-Idiomen und entwickelte einen vollkommen neuen Sound, der mit neuer Technologie und neuem Ansatz entstand, indem es Beat, Abstraktion und Afrikanische Einflüsse miteinander verband, Überdies zeichnet sich das Album durch eine kollektivistische Herangehensweise unter einem stabilen Band-Leader aus. Genau genommen führte HANCOCK auf dem Album seine Experimente weiter, die er auf Miles Davis‘ Album A Silent Way (1969) begonnen hatte. Diese vertiefte er zunächst auf seinem frühen Fusion- Album Fat Albert Rotunda (1969), das einen radikalen Schnitt setzte und als erstes Album eines Jazz-Musikers Jazz mit Soul verknüpfte. -
Herbie Hancock Mr. Hands Mp3, Flac, Wma
Herbie Hancock Mr. Hands mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul Album: Mr. Hands Country: Europe Released: 1992 Style: Fusion MP3 version RAR size: 1631 mb FLAC version RAR size: 1810 mb WMA version RAR size: 1691 mb Rating: 4.6 Votes: 840 Other Formats: MP3 VOX WMA AHX VQF DTS ASF Tracklist Hide Credits Spiraling Prism 1 6:22 Bass – Byron MillerDrums – Leon Ndugu Chancler 2 Calypso 6:42 Just Around The Corner 3 Bass – Freddie WashingtonDrums – Alphonse MouzonGuitar – Melvin "Wah Wah" 7:34 WatsonPercussion – Sheila Escovedo 4 AM 4 5:21 Bass – Jaco PastoriusDrums – Harvey MasonPercussion – Sheila Escovedo Shiftless Shuffle 5 7:08 Bass – Paul Jackson Drums – Harvey MasonTenor Saxophone – Bennie Maupin 6 Textures 6:38 Companies, etc. Made By – DADC Austria Phonographic Copyright (p) – Sony Music Entertainment Inc. Copyright (c) – Sony Music Entertainment Inc. Distributed By – Sony Music Credits Percussion – Bill Summers (tracks: 1, 4, 5) Producer – David Rubinson, Herbie Hancock Notes Jewel case 8-page booklet Originally released on LP in 1980 Barcode and Other Identifiers Barcode (Text): 5 099747 124020 Barcode (Scanned): 5099747124020 Label Code: LC 0162 Matrix / Runout: 01-471240-10 11 A1 DADC AUSTRIA Price Code: CB 741 Price Code: CDM Other (Sony Code): 01-471240-10 Rights Society: BIEM/STEMRA Other (Mould stamp): * Other versions Category Artist Title (Format) Label Category Country Year JC 36578 Herbie Hancock Mr. Hands (LP, Album) Columbia JC 36578 US 1980 PCT 36578 Herbie Hancock Mr. Hands (Cass, Album) Columbia PCT 36578 US 1980 PC 36578 Herbie Hancock Mr. Hands (LP, Album) Columbia PC 36578 US 1980 JCA 36578 Herbie Hancock Mr. -
Herbie Hancock: Possibilities Free
FREE HERBIE HANCOCK: POSSIBILITIES PDF Herbie Hancock,Lisa Dickey | 346 pages | 27 Nov 2014 | Penguin Putnam Inc | 9780670014712 | English | New York, United States Possibilities by Herbie Hancock on Apple Music More Images. Please enable Javascript to take full advantage of our site features. Edit Master Release. Herbie Hancock Keyboards, Piano, Producer. Jack Rovner Executive-Producer, Management. Ken Levitan Executive-Producer, Management. Brian McCullough 2 Herbie Hancock: Possibilities. Melinda Murphy Coordinator. Steve Jordan Drums. Michael Bearden Keyboards. Ted Jensen Mastered By. Bassy Bob Brockmann Mixed By. Yaron Fuchs Mixed By. Cyro Baptista Percussion. Douglas Biro Photography By. Jon Fine Photography Herbie Hancock: Possibilities. Alan Mintz Producer. Jessica Hancock Producer. JoAnn Tominaga Producer. Add Review. Add all to Wantlist Remove all from Wantlist. Have: Want: Avg Rating: 4. Joutes by Titi-Panzer. DKG best 20 listened most by geogjazz. DKG s top 20 by geogjazz. Hear No Evil by Jealous. Best by Dubai-Bunnies. Gaucho by dindomartinez. Rolling Stone by indy WOM by indy Stitched Up. A Song For You. Hush, Hush, Hush. Sister Moon. When Love Comes To Town. Don't Explain. Gelo Na Montanha - 1st Movement. Sell This Version. Hear Music. Hancock Music. Verve Records Herbie Hancock: PossibilitiesSony Music 2. Warner Music Group. Not On Label. Herbie Hancock: Possibilities on Apple Books Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will allow you to experience all the features of our site. Learn how to enable JavaScript on your browser. -
Eddie Henderson Event Release 9-26-17
! HALEKULANI’S ‘LIVE AT LEWERS’ MASTERS OF JAZZ SERIES PRESENTS “EDDIE HENDERSON: A LEE MORGAN TRIBUTE” FOR IMMEDIATE RELEASE WAIKIKI, HAWAII – September 26, 2017 – Halekulani, Oahu’s most acclaimed luxury hotel located on Waikiki Beach, announces the return of renowned jazz trumpeter Eddie Henderson to its ‘Live at Lewers’ Masters of Jazz series this November. This speciaL event is in partnership with the Hawaii Interna^onaL FiLm Fes^vaL, which wiLL jointLy present the feature documentary, I CaLLed Him Morgan about briLLiant jazz musician Lee Morgan. Henderson’s extraordinary performances on November 3rd and 4th wiLL pay tribute to Morgan, his good friend and a forma^ve influence. “HalekuLani’s Live at Lewers series is a testament to our ongoing commitment to and apprecia^on of the musicaL and performing arts,” said ULrich Krauer, GeneraL Manager of HaLekuLani. “We are thriLLed to partner with Hawaii Interna^onaL FiLm Fes^vaL and its faLL fes^vaL this year as we weLcome back jazz superstar Eddie Henderson, whose connec^on to the Legendary Late Lee Morgan wiLL set a speciaL tone ahead of the Hawaii Premiere of this uniquely introspec^ve film.” Henderson will perform at 7:30 p.m. on both evenings of November 3rd and 4th. Tickets for this special Live at Lewers event are $100 for first-row VIP sea^ng and $75 for prime sea^ng and include compLimentary parking. Food and beverages are avaiLabLe to order in advance, a La carte, from the Lewers Lounge menu. Reserva^ons are required. To aiend or for more informa^on, call Dining Reserva^ons at (808) 923-2311 or visit hps://www.haLekuLani.com/Live-Lewers. -
Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date. -
Jazz in the Pacific Northwest Lynn Darroch
Advance Praise “Lynn Darroch has put together a great resource for musicians, listeners, and history buffs, compiling what seems to be the most comprehensive resource about the history of jazz in the Northwest. This book will do the important job of keeping the memories and stories alive of musicians and venues that, while they may be immortalized through recordings, have important history that may otherwise be lost to the murkiness of time. Darroch has done the community and the music a great service by dedicating himself to telling these stories.” —John Nastos “Lynn Darroch illuminates the rich history of jazz in the Pacific Northwest from the early twentieth century to the present. Interweaving factors of culture, economics, politics, landscape, and weather, he helps us to understand how the Northwest grew so many fine jazz artists and why the region continues to attract musicians from New Orleans, New York, California, Europe, and South America. He concentrates on the traditions of the big port cities, Seattle and Portland, and underlines the importance of musicians from places like Wenatchee, Spokane, Eugene, and Bend. Darroch has the curiosity of a journalist, the investigative skills of a historian and the language of a poet. His writing about music makes you want to hear it.” —Doug Ramsey “With the skills of a curator, Lynn Darroch brings us the inspiring history and personal stories of Northwest jazz musicians whose need for home, love of landscape, and desire to express, all culminate into the unique makeup of jazz in Portland and Seattle. Thank you Lynn for a great read and its contribution to jazz. -
Born in America, Jazz Can Be Seen As a Reflection of the Cultural Diversity and Individualism of This Country
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Styles in Jazz Music”. In Section 1 of this course you will cover these topics: Introduction What Is Jazz? Appreciating Jazz Improvisation The Origins Of Jazz Topic : Introduction Topic Objective: At the end of this topic student would be able to: Discuss the Birth of Jazz Discuss the concept of Louis Armstrong Discuss the Expansion of Jazz Understand the concepts of Bebop Discuss todays Jazz Definition/Overview: The topic discusses that the style of music known as jazz is largely based on improvisation. It has evolved while balancing traditional forces with the pursuit of new ideas and approaches. Today jazz continues to expand at an exciting rate while following a similar path. Here you will find resources that shed light on the basics of one of the greatest musical developments in modern history.WWW.BSSVE.IN Born in America, jazz can be seen as a reflection of the cultural diversity and individualism of this country. At its core are openness to all influences, and personal expression through improvisation. Throughout its history, jazz has straddled the worlds of popular music and art music, and it has expanded to a point where its styles are so varied that one may sound completely unrelated to another. First performed in bars, jazz can now be heard in clubs, concert halls, universities, and large festivals all over the world. www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in Key Points: 1. The Birth of Jazz New Orleans, Louisiana around the turn of the 20th century was a melting pot of cultures. -
OSSTMM 3 – the Open Source Security Testing Methodology Manual
Designed for e-book readers or double-sided printing. OSSTMM 3 – The Open Source Security Testing Methodology Manual This manual provides test cases that result in verified facts. These facts provide actionable information that can measurably improve your operational security. By using the OSSTMM you no longer have to rely on general best practices, anecdotal evidence, or superstitions because you will have verified information specific to your needs on which to base your security decisions. Creative Commons 3.0 Attribution-Non-Commercial-NoDerivs 2010, ISECOM, www.isecom.org, www.osstmm.org Official OSSTMM Certifications: www.opsa.org, www.opst.org, www.opse.org, www.owse.org, www.trustanalyst.org 1 OSSTMM 3 – The Open Source Security Testing Methodology Manual Instructions This is a methodology to test the operational security of physical locations, human interactions, and all forms of communications such as wireless, wired, analog, and digital. Those who want to jump right into testing while using it may find the following quick-start information helpful. Quick Start To start making an OSSTMM test you will need to track what you test (the targets), how you test them (the parts of the targets tested and not the tools or techniques used), the types of controls discovered, and what you did not test (targets and parts of the targets). Then you may conduct the test as you are accustomed to with the objective of being able to answer the questions in the Security Test Audit Report (STAR) available at the end of this manual or as its own document. The STAR gives the specific test information on the state of the scope for the benefits of having a clear statement of the security metrics and details for comparisons with previous security tests or industry test averages. -
Head Hunters of the Amazon
Head Hunters of the Amazon F. W. Up de Graff Head Hunters of the Amazon Table of Contents Head Hunters of the Amazon...................................................................................................................................1 F. W. Up de Graff..........................................................................................................................................1 FOREWORD.................................................................................................................................................2 INTRODUCTION.........................................................................................................................................3 HEAD HUNTERS OF THE AMAZON........................................................................................................4 CHAPTER II..................................................................................................................................................6 CHAPTER III..............................................................................................................................................14 CHAPTER IV..............................................................................................................................................17 CHAPTER V................................................................................................................................................21 CHAPTER VI..............................................................................................................................................28 -
BENNIE MAUPIN Page 10 News
JazzWeek with airplay data powered by jazzweek.com • May 8, 2006 Volume 2, Number 24 • $7.95 In This Issue: Jazzaldia and San Jose Fest Lineups Out. 4 Heads Up/ Telarc Head to Cape Town . 5 Sweetman Celebrates 30 on CKCU . 5 Juke Box Jury Submission Information . 6 Music and Industry News In Brief . 7 Reviews and Picks . 15 Jazz Radio . 18 Smooth Jazz Radio. 25 THE RETURN OF Radio Panels. 24, 29 BENNIE MAUPIN page 10 News. 4 Charts: #1 Jazz Album – Pat Martino #1 Smooth Album – Paul Brown #1 Smooth Single – Paul Brown JazzWeek This Week EDITOR/PUBLISHER Ed Trefzger t the risk of sounding like a broken record (if anyone remembers MUSIC EDITOR what those are), I’m inspired to get back on the new music soap- Tad Hendrickson Abox by this week’s interview with Bennie Maupin with Tad Hen- drickson. CONTRIBUTING EDITORS The conversation inevitably turned toward the Headhunters, Her- Keith Zimmerman Kent Zimmerman bie Hancock’s great fusion group of which Maupin was a part. Ben- CONTRIBUTING WRITER/ nie lamented the fact that if he gets together with some of those guys, PHOTOGRAPHER the conversation ends up in that direction. Instead of talking about the Tom Mallison past as the good old days, Bennie said, “I want to think about these PHOTOGRAPHY days as the good old days.” Barry Solof Too often I find jazz hosts and listeners who seem to be stuck in the past. I suppose nostalgia for days gone by is a natural thing – heck, I’ve Founding Publisher: Tony Gasparre been known to remark that I’m nostalgic for an era that I didn’t live in – but the survival of our artform as a viable one depends on supporting ADVERTISING: Devon Murphy Call (866) 453-6401 ext. -
“Head Hunters”—Herbie Hancock (1973) Added to the National Registry: 2007 Essay by Bob Gluck (Guest Post) *
“Head Hunters”—Herbie Hancock (1973) Added to the National Registry: 2007 Essay by Bob Gluck (guest post) * Original album Original label Herbie Hancock Herbie Hancock’s “Head Hunters” charted a new course for a musician who had come to see the entire world as his potential audience. In crafting this recording, Hancock renewed an historic idea while furthering something novel: jazz that audiences could dance to. Not since the big band era had jazz quite so successfully reached out a broad net, merging music for attentive listening with an approach that gave everybody something to hold onto. This had been the goal of late 1950’s and early 60’s “hard bop.” That music, made famous by drummer Art Blakey and pianist Horace Silver, injected widely beloved African American musical styles— gospel and the Blues—into modern jazz. By softening bebop’s blazing fast angularity, hard boppers crafted a more accessible, finger snapping, more populist style. In fact, this was the music Herbie Hancock first played as he began his professional career at the beginning of the 1960s with Donald Byrd’s band and on his own early recordings. In the late 1960s and early 1970s, Hancock’s mentor, Miles Davis, began to update this concept of bridging popular Black music—R&B and funk--with jazz. Yet it was Hancock’s “Head Hunters” that most successfully reached the younger generation with this new synthesis. Hancock first gained the attention of a wider public when his 1962 hard bop tune “Watermelon Man” became, in the hands of Mongo Santamaria, a Latin dance craze.