Blue Mitchell/Junior Cook Quintet (Chick Corea) Live at Minton's 1963. RARE!

 

Blue Mitchell - trumpet Junior Cook - tenor Chick Corea - piano Gene Taylor - bass Al Foster - drums Minton's Playhouse, NYC 1963 1. Chick's Tune (Chick Corea) 2. Top Shelf (Jimmy Heath) 3. Recorda-Me (Joe Henderson)

El maestro (1957,Aldo Fabrizi, Sergio Leone como ayudante de dirección, Luis María Delgado como director adjunto) obra maestra,a algunos les molestara la pequeña parte religiosa

 

https://www.filmaffinity.com/es/reviews/1/308766.html

avanti barcelona (España)

3.169 312

7

El pincel que trazó las emociones de un maestro

14 de agosto de 2018

10 de 10 usuarios han encontrado esta crítica útil

El neorrealismo italiano tuvo en el actor, guionista y director Aldo Fabrizi (1905-1990) un buen referente en sus contenidos: su cine, próximo a una sociedad que rechazaba la grandilocuencia cinematográfica en favor de mostrar las relaciones sencillas y humanas de la sociedad del momento, escribió junto a Luis Lucas, José Gallardo y la colaboración de Mario Amendola, el guión de "El maestro" (1957) basado en la novela corta "Dabar" de Luis Lucas Ojeda.

La larga y fructífera carrera de Aldo Fabrizi en el cine, iniciada en 1942,dio pronto buenos resultados con su interpretación como sacerdote en "Roma, ciudad abierta" (1945) de la mano de Rossellini. Seguiría un frondoso camino creativo demostrado en las singulares interpretaciones que le marcarían el camino: "Vida de perros" (1950) de Monicelli, "Una hora en su vida"(1950) de Blasetti, por la que recibió premios y reconocimiento internacional o "El ángel vestía de rojo" (1960) de Nunnally Johnson que junto al elenco internacional Ava Gardner, Dick Bogarde o Joseph Cotten entre un extenso reparto, marcaría definitivamente el buen hacer de Aldo.

"El maestro" (1957) narra los acontecimientos de un maestro de pueblo y de su hijo, destinado a la Escuela Santa María, en la capital, donde además espera noticias para hacer realidad la construcción de una escuela de pintura, lo que resume el contenido esencial de esta agridulce comedia. Alfredo Mayo, Julia Caba Alba, Mary Fernández, Julio Sanjuán, José Calvo, Mercedes Barranco, o el mismo Aldo Fabrizi, más el colorido y variopinto grupo de alumnos nos lleva a vivir desde la proximidad emocional las deficiencias y los anhelos propios de cada cual: bautizos, convivencias, relaciones, conocimientos, aprendizajes, superaciones..., todo mezclado nos da un resultado donde la fugacidad de los acontecimiento irrumpe sin piedad, así como el resultado a los conflictos personales del maestro acompañado por el toque surrealista de un niño, (protagonizado por Marco Paoletti) un pincel y un silbido que entrelaza la trama y que sorprendentemente nos lleva al desenlace de esta coproducción ítalo-española propia del neorrealismo italiano.

Sergio Leone como ayudante de dirección, Luis María Delgado como director adjunto y la música de Carlo Innocenzi y Isidro B. Maiztegui entre un voluminoso equipo técnico, dieron forma a "El maestro", película reconocida y valorada al ser nominada al León de Oro del Festival de Venecia de 1957.

Flight - Early Flight (FULL) [private press weird rock]

 

Floating World - Yedowitz (2011) CD Woodbury CT Psychedelic Funk Rock Jam Band Album Connecticut

Golden Banana Hoard:

Legendary band from Nonnewaug High School in Woodbury, CT during the 2007-2011 era. Was lucky enough to get to share the stage with these cats on many occasions - always a treat to hear what they had up their sleeves! The first time I met guitarist Chris Connelly I shook his hand and asked to see his finger callouses. I just couldn't believe someone my age was shredding that hard and playing so well! The perfect most representative band to come out of that town, in my opinion - rustic, hazy, and a little weird. Not sure why this album isn't available for streaming anywhere. If you have any memories about this CD/group, let us know in the comments below.

 

杉本喜代志 Group Session '80 Kiyoshi Sugimoto Group

 

Session '80

杉本喜代志Group

 

杉本喜代志 (Gt)

大徳俊幸 (Pf)

大井貴司 (Vib)

渡辺建 (Bs)

山木秀夫 (Dr)

Guest 

3.4.5

大野えり (Vo) 

2.6

岡野等 (Tp)

榎本秀一(T.Sax)

Session '80

Kiyoshi Sugimoto Group

 

Kiyoshi Sugimoto (Gt)

Toshiyuki Daitoku (Pf)

Takashi Ooi  (Vib)

Ken Watanabe (Bs)

Hideo Yamaki (Dr)

Guest 

3.4.5

Eri Ohno (Vo) 

2.6

Hitoshi Okano (Tp)

Shuichi Enomono(T.Sax)

1 New Forks

2 Ivory Flower

3 Autumn in New York

4 Waltz for Debby

5 Don't You Worry 'bout a Thing

6 So What

1980.01.06 NHK 505 Studio

CT_079_A

Elaine Thatcher Dee Mauerman Full Vinyl EP

 

向井滋春 Shigeharu Mukai & ORISSA - Session '84 - Live at NHK 505 Studio (1984/06/02)

Ikigai Archive :

Been on a bit of a Shigeharu Mukai kick lately so thought i'd put this one up. NHK Sessions are normally fairly well documented on YouTube past 1979, so I was surprised to find that this one had yet to be uploaded (as far as I'm aware). Must've slipped through the fingers of the undeniable GOAT of Japanese music live recording uploads Mr. Hibiki Izuno. This is the second appearance of Shigeharu Mukai's "ORISSA" ensemble on NHK's Session program, mainly performing songs from the freshly released 1984 album 'Japonesia'. The music is kind of a mix of Jazz Fusion, Reggae and Latin rhythm. It's a bit of a mixed bag, but hard to go wrong with Mukai. Definitely an enjoyable listen and a pristine sounding recording!

Setlist:

00:00 Orissa (Intro)

01:52 In The Mist

11:19 Neija

20:06 Japonesia

32:24 Eternal Boy

49:37 Calypsomba

55:24 Lonely Rider (Outro)

Members:

Shigeharu Mukai - Trombone

Hirogaki Tsumichi - Keyboards

Takayuki Kato - Guitar

Getao Takahashi - Bass

Kaoru Hida - Drums

Tomohiro Yahiro - Percussion

Kazuhiro Mishima - Percussion

Yoichi Hosohata - Percussion

Sunset Concerts 2026: Brandee Younger

 

Skirball Cultural Center:


Harpist, composer, and bandleader Brandee Younger’s music connects spiritual jazz and classical training to the rhythmic soulfulness of R&B and hip-hop. This program took place on Thursday, July 23, 2026. Among the most celebrated jazz artists to emerge in the twenty-first century, Brandee Younger is a harpist, composer, and bandleader whose music connects spiritual jazz and classical training to the rhythmic soulfulness of R&B and Hip-Hop. She grew up on Long Island, where she sang gospel, studied the harp classically and became enamored of both Hip-Hop and the vintage soul that rap producers sampled. When Younger was a teenager, her father introduced her to Alice Coltrane’s music—a transformative moment that all but defined her life’s journey. Her first LP for the storied Impulse! Records label—a.k.a. The House That Trane Built—was 2021’s Somewhere Different. A track from that album, “Beautiful Is Black,” earned Younger a GRAMMY nomination in the Best Instrumental Composition category, making her the first Black female solo artist to achieve this. Two years later, on Brand New Life, Younger revitalized newly discovered Ashby compositions, and that LP won the 2024 NAACP Image Award for Outstanding Jazz Album. Gadabout Season, released in 2025, is a more reflective and personal work focusing on Younger’s inimitable original music. In addition to her non-stop performance schedule, Younger is a dedicated educator, teaching on the faculties of New York University and the New School.

Must Musings - Must Musings (2004)

 

Tikondane Singers - Yangeni Muli Lesa - Zambian Gospel Album (1983)

 

Gospel Dynamics - Sweet Gospel Music FULL ALBUM

 

The Jacksons With Praise – Lord You've Been So Good / We've Got A Story

 

Krisendale - The Music In Us All/Collector's Item (Private Americana) (Psych Folk) (Folk Rock)

 

De Kannanites – Going Crazy 1984 (Rare Full Album)

 

Carol Townes & Fifth Avenue - Same.1976

 

The Premiers (5) – My Darling / Have A Heart

 

The Healing Force - The Rhythm Of The Drum (1996)

 

The Beams Of Faith Gospel Ensemble - The Choice Is Yours (Full Album)

 

The Gospel Truthettes - Don't Let The Devil Fool You (1980)

 

Les Hughey - Alive In The Sky (Full Album)

 

Folk 77 - Muzik (1978) (Rare Full Album) [Nigeria]

 

Pool Of Bethesda Choir - Where He Leads Me (1977)

 

Lou Rawls HOLYGRAILS

 IN THE GREAT SITE OF Christian Peintner:

https://www.youtube.com/@peinti

Jazz-Funk Demo HOLYGRAIL

 

MOSS LYNCH ( rare Private Press Folk/Psych 45, Miami, Florida ).The 3 wonderful megarare singles

  https://monocledalchemist.com/2026/01/04/moss-lynch-nine-to-five-disease/

Christian Peintner:

"Square Well" is one side of the earliest known single by Miami-area singer-songwriter Moss Lynch, released in 1970 on Twin Record Productions (TRP-18). Blending folk-rock, psychedelia, and subtle jazz influences, the song features a memorable bass line, sophisticated arrangement, and an atmospheric mood that foreshadows the style Moss Lynch would further develop on his later recordings. Like much of his work, it unfolds gradually, rewarding attentive listening with its rich textures and understated songwriting. For more than five decades, this debut single remained virtually undocumented. The record has now been identified and added to Discogs, helping establish the chronology of Moss Lynch's complete known 45 RPM discography. This debut single is arguably the rarest and least known of them all. This copy comes from the collection of recording engineer Erik Lindgren, who worked alongside Moss Lynch at Euphoria Sound Studio in Revere, Massachusetts, between 1979 and 1982. Euphoria Sound Studio was owned by Howie Cook. Prior to relocating to Massachusetts, Moss worked as a studio engineer at Criteria Sound Studios in Miami, Florida, during the late 1960s and early 1970s. During that period, he released three remarkably rare private-press singles on Criteria's in-house vanity labels, Trip Universal and Twin Record Productions, working with Bill Stith, Jack Nicoloro, and Dave Chiodo. Moss Lynch passed away in 1992.

"Then The Rain Came" is one side of the earliest known single by Miami-area singer-songwriter Moss Lynch, released in 1970 on Twin Record Productions (TRP-18). For more than five decades, this debut single remained virtually undocumented. The record has now been identified and added to Discogs, helping establish the chronology of Moss Lynch's complete known 45 RPM discography. This debut single is arguably the rarest and least known of them all. This copy comes from the collection of recording engineer Erik Lindgren, who worked alongside Moss Lynch at Euphoria Sound Studio in Revere, Massachusetts, between 1979 and 1982. Euphoria Sound Studio was owned by Howie Cook. Prior to relocating to Massachusetts, Moss worked as a studio engineer at Criteria Sound Studios in Miami, Florida, during the late 1960s and early 1970s. During that period, he released three remarkably rare private-press singles on Criteria's in-house vanity labels, Trip Universal and Twin Record Productions, working with Bill Stith, Jack Nicoloro, and Dave Chiodo. Moss Lynch passed away in 1992.


"Pay No Mind" is one of the finest private-press folk/psych recordings I've come across in years. Released in 1971 on Trip Universal Records (T-87) in North Miami, Florida, the song opens with an intimate folk atmosphere before gradually unfolding into a beautifully layered psychedelic arrangement. Built around a memorable melody, expressive vocals, and subtle dynamic development, it rewards careful listening from beginning to end. This copy comes from the collection of recording engineer Erik Lindgren, who worked alongside Moss Lynch at Euphoria Sound Studio in Revere, Massachusetts, between 1979 and 1982. Euphoria Sound Studio was owned by Howie Cook. Prior to relocating to Massachusetts, Moss worked as a studio engineer at Criteria Sound Studios in Miami, Florida, during the late 1960s and early 1970s. During that period he released three remarkably rare private-press singles on Criteria's in-house vanity labels, Trip Universal and Twin Record Productions, working with Bill Stith, Jack Nicoloro, and Dave Chiodo. Moss Lynch passed away in 1992.

"We Made Love In The Dark" is the B-side of Moss Lynch's exceptionally rare 1971 private-press single on Trip Universal Records (T-87), released in North Miami, Florida. "We Made Love In The Dark" is every bit as representative of Moss Lynch's distinctive songwriting style as "Pay No Mind". Built around flowing melodies, atmospheric arrangements, and understated psychedelic textures, the song unfolds gradually, creating an introspective mood that rewards repeated listening. Moss Lynch was a Miami-area singer-songwriter and recording engineer whose small body of work remained largely forgotten for decades. Today, only three 45 RPM singles are known, all of which are exceptionally scarce. This copy comes from the collection of recording engineer Erik Lindgren, who worked alongside Moss Lynch at Euphoria Sound Studio in Revere, Massachusetts, between 1979 and 1982. Prior to relocating to Massachusetts, Moss worked as a studio engineer at Criteria Sound Studios in Miami during the late 1960s and early 1970s. During that period, he released three remarkably rare private-press singles on Criteria's in-house vanity labels, Trip Universal and Twin Record Productions, working with Bill Stith, Jack Nicoloro, and Dave Chiodo. Moss Lynch passed away in 1992.

Moss Lynch – Then The Rain Came / Square Well


More images


Label: Twin Record Productions – TRP-18

Format: Vinyl, 7", 45 RPM

Country: US

Released: 1970

Genre: Rock

Style: Folk Rock, Psychedelic Rock


A The The Rain Came
B Square Well

Published By – Elkee Music
Published By – Twin Record Productions
Arranged By – Bill Stith



Moss Lynch – Pay No Mind / We Made Love In The Dark


More images


Label: Trip Universal – T-87

Format: Vinyl, 7", 45 RPM

Country: US

Released: 1971

Genre: Rock

Style: Folk Rock, Psychedelic Rock


A Pay No Mind
B We Made Love In The Dark

Pressed By – Southern Plastics – 8770
Pressed By – Southern Plastics – 8771
Published By – Elkee Music
Arranged By – Dave Chiodo
Producer – Bill Stith, Jack Nicoloro


Moss Lynch – Where's The Freedom / Nine To Five Disease


More images


Label: Trip Universal – T-80

Format: Vinyl, 7", 45 RPM

Country: US

Released: 1971

Genre: Rock

Style: Folk Rock, Psychedelic Rock


A Where's The Freedom
B Nine To Five Disease

Published By – Dade Co. Music
Arranged By – Dave Chiodo
Producer – Bill Stith, Jack Nicoloro

The Indiana Wonders I Love The Lord (1976 Lo-Fi Raw Black Gospel)

 

The March Hare by Eavesdropper, rare L.P of Celtic-Rock from 1983

 

Sons & Company - Disco Blowout Song/Instrumental [GP Records, 197?] FULL 7" SINGLE 45rpm Funk Disco

 

Westminster College Jazz Band – Southbound ( 1976 )

 

https://www.facebook.com/100057656791106/posts/ok-alums-circa-1976-great-jazz-ensemble-album/791896396075580/

Meltdown ( 1980 ) FULL ALBUM

 

Grupa ZIPP – Kad Vidim Plavu / Uvek Si Sa Nama (1979 YU Funk/Rock Single)

 

Tauras Adomavičius ‎– Prisiminimas (FULL EP, easy listening / jazz-funk, Lithuania, USSR, 1984)

 

Gordon Henderson - U Convention.1980 (Very Rare)

 

Hollygrove - New Orleans Best Kept Secret.1982

 

Sante Palumbo - Jazz Promotion (1978 · 🇮🇹) (Full Album)

 

Dick Schory's Percussion Pops Orchestra – "Supercussion" (Full album) (1963) With Gary Burton

 

https://vibesworkshop.com/forum-topic/gary-burton-and-dick-schory/pap4456/011222



pap4456 13 March 2009


I haven't said anything on here in awhile, but I would hate myself if I didn't take advantage of this opportunity, for me, of a lifetime. With having the legendary Gary Burton here, Tony, you must be beside yourself. All these great players in one cyberplace.

Anyway, I came to first know Mr. Burton's work as an eight year-old kid, when I was introduced the music of Dick Schory, of whom I've spoken about on this site in the past. Mr. Burton appears on several of Dick Schory's LPs, both studio and in live concerts. His solo work even then was a hint as to what was to come. He was one of the percussionists, working along side the legendary Bobby Christian and other great Chicago percussionists.

My brother got me an LP for my 8th birthday titled "Wild Percussion and Horns a-Plenty." Tony's familiar with the amazing blues ride on a set of orchestra chimes on a tune called "Chimed I'm Sure." I have since replaced my original LP, and several other LPs by Schory and his Percussion Pops Orchestra with pristine copies from memorylanerecords.com and when on my honeymoon in San Francisco, found more Schory LPs at a vintage LP store in the Haight-Ashbury district.

Mr. Burton doesn't play on the Wild Percussion and Horns A-Plenty, but he's on Politely Percussive, Dick Schory On Tour, Supercussion, and is a guest on Schory Live at Carnegie Hall, in which he played his original piece Sunset Bell with Steve Swallow on acoustic bass. I think it's on the album with Chega, Alone at Last. In college, I can't tell you how many hours I practiced that piece, along with Open Your Eyes You Can Fly and Coral, a Keith Jarrett tune, from one of the ECM albums featuring the Burton Quartet

I spent more time on that, sometimes more so than piano, even with being a classical piano major and percussion minor. I was interested mainly in orchestral percussion, including timpani, but loved the vibes and listened to Hamp, Bags, Gary Burton, Eddie Costa and any recording with Larry Bunker, Emil Richards, Tommy Vig and Victor Feldman on it.

I would humbly ask Mr. Burton if he would comment about his time working with Dick Schory and what is like working alongside guys like Bobby Christian. I would be eternally grateful. Also, could he comment on the influence of Bill Evans in his conception?

I also really dig the RCA live Carnegie Hall concert with Bob Moses, Steve Swallow and
Larry Coryell, which I have, along with the Reunion album, with Pat Metheny, Will Lee,
Mitch Forman and Peter Erskine.

Again, I've been a huge fan of Mr. Burton for many years and am grateful for his insight on this site.

Dick Schory, etc

Gary Burton Sat, 03/14/2009 - 08:07

That's two pretty diverse influences to comment on: Dick Schory and Bill Evans! I haven't thought much about my Dick Schory experiences in a long while, it was such a long time ago. I met Schory through his role at the Ludwig/Musser companies, since that was my brand of instrument. Dick organized these orchestra projects featuring a lot of percussion, usually three or four of us percussionists employing every known percussion instrument (specifically every instrument marketed by Ludwig/Musser, naturally). The writing was high quality, though certainly commercial in intent. I was in school at Berklee when this all was taking place, so it was a welcome gig for me, even if it wasn't a well-known jazz band, which would have been my first choice. Every few months, I would fly out to Chicago and record or play some concerts with Schory's musicians. I wasn't all that interested in being a generalist percussion player, but I did enjoy getting a close-up view of the excellent players, such as Bobby Christian, that were in the orchestra. In those days, if not currently, Chicago was the leading city in the USA for percussionists (I think LA probably holds that title now, just a guess.) All said, it was a nice opportunity for me, at age 18, to have some new musical experiences, meet some great players, and make some extra money while I was going to school. By the time I made my final recording with Schory (the Carnegie Hall date), I was probably 21 or 22, and touring with Stan Getz.

Bill Evans was my hero during my formative years as an improvisor. I still remember the first time I heard Portraits In Jazz, at the end of my first year at Berklee, 1961. Bill's playing seemed to represent the approach to soloing that I had been trying to imagine, but hadn't quite managed to crystallize. Bill broke several barriers: he escaped from the rigidity of playing in two and four bar melodic phrases to "play across the bar lines," as it was then described. He also used a classical touch on the piano, using more nuance and variety of dynamics than was typical of jazz pianists before his time. His ability to re-harmonize and re-conceive standard songs was also something to admire. Once Bill recorded a song, you felt like his version was the only way to play it. He became a major influence for me because I wanted to overcome the limitations of the vibraphone just as he had done with the piano. Both instruments are very much on the mechanical end of the scale, compared to horns and string instruments which are by nature, more naturally expressive. I saw how Bill could make the piano, with its limited variety of tone color, the dying out of sound as soon as you hit the note, etc., into a very expressive instrument. He used dynamic variety, interesting voicings, and the piano's extended range all to his advantage as a player. I figured if he could do it on piano, I could do it on vibes somehow. That led me to my use of pedaling techniques, dampening, greater use of dynamic variety, more use of four mallets for voicings, etc. Lucky for me, although I was at first imitating Bill's melodic style fairly closely, most people didn't notice it and criticize me for it because I was doing it on vibes instead of piano.

I got to know Bill during my 20's. We played together three times during the 80's, although none of those occasions went particularly well. It's funny to me that the two times I got to play with musicians I considered legendary, instead of being something really easy, it turned out to be awkward. That two occasions would be my attempts to jam a few tunes with the Bill Evans trio, and the time I subbbed for Milt Jackson with the Modern Jazz Quartet. I'll save those stories for another time.

Gary B.

Down From Nothing – "Down From Nothing" (Full album) (1971)

 

Malaila Singers

 

Nanni Loy-Rufufú Da El Golpe | Película Completa en Español | Cine Comedia

 

Wilson Williams - Up The Downstairs.1978

 

Artflix - Películas Clásicas ya disponible en la app LG Channels!

 

The Soulful Heavenly Stars - Say Amen (New Orleans Gospel)

 

Robbie Jansen - Praises (1990) (Cape Jazz) (Gospel)

 

Al Greenaway – Ready Or Not / I Don't Wanna Hurt Anymore ( 1972 ).Fantastic orchestral pop soul

 

Izio Gross Y Su Ritmo - Bossa Nova In Rhythm (1958) Brazil • Bossa Nova Samba • Kubaney Vinyl LP

 

East Coast Offering - Same.1984

 

JASIS (Jazz-Art Spontaneous Improvisational Synthesis) – SPONTANEOUS IMPROVISATION ( 1972 ) .Fabulous live jazz album with vibes

Jasis – Spontaneous Improvisation

Label: Topaz Records (2) – TLS 1207

Format: Vinyl, LP, Album

Country: US

Released: 1972

Genre: Jazz

Style:


A1 Bhimpalasi 13:25
A2 Spanish Mode 13:25
B1 Inner Space 26:42

Recorded At – Audio Recording, Seattle
Published By – Lamplighter Music
Bass – Milt Gerard
Composed By – Milton Simons
Percussion – Jimmie Williams (2)
Piano, Flute – Paul Dusenbury
Vibraphone – Milt Simons*

https://soundcloud.com/uwlibraries/uwethno2010012tape1106

Seattle's Milton Simons (1923-1973) was an acclaimed painter and talented vibraphonist. In March 1971 he formed the band Jasis with Paul Dusenbury (piano and flute), Milt Gerard (bass), and Jimmie Williams (percussion). They recorded later that year at Kearney Barton's 5th Avenue studio and released the album on Barton's Topaz label. Called Jasis: Spontaneous Improvisation, the music consists of three tracks, two on side one ("Bhimpalas” and "Spanish Mode"), and one on side two ("Inner Space"). The master tapes came to UW as part of Kearney Barton’s archive in 2010. We’ve digitized and posted these out of print recordings here.

barton_reel_11106: Reel 11106: JASIS
Topaz Records (cli)
Barton, Kearney W. (eng)
About Milt Simons: blackpast.org/aaw/simons-milt-1923-1973

Rights: This recording was digitized for preservation/access purposes by the University of Washington Libraries in Seattle. Its copyright status is unknown and may be protected by the U.S. Copyright Law (Title 17, U.S.C.). Its reproduction and use may also be restricted by terms of gift or purchase agreements, donor restrictions, ethical considerations, privacy and publicity rights, licensing and trademarks. This work is made accessible within the context of this website for purposes of education and research. Transmission or reproduction of works protected by copyright beyond that allowed by fair use requires the written permission of copyright owners. Works not in the public domain cannot be commercially exploited without permission of the copyright owner. Responsibility for any use rests exclusively with the user. The University of Washington Libraries attempted to find rights owners without success but is eager to hear from them so that we may obtain permission, if needed. Upon request to ethnoarc@uw.edu, digitized works can be removed from public view if there are rights issues that need to be resolved.

https://blackpast.org/african-american-history/simons-milt-1923-1973/

Milt Simons (1923-1973)

November 12, 2012
/ Contributed By: Marianne Hanson



Milt Simons

Courtesy Simons Family


Milton Simons was a major Seattle African American multi-faceted artist from the 1940s until his death in 1973. In addition to his skills as a painter, Simons was an educator, poet, dancer, and noted musician/composer.

Born and raised in Seattle, Washington, Simons’ work reflected his varied cultural backgrounds. His maternal preacher grandfather, Andrew Marshall, who was of Choctaw/African American ancestry, was born a slave in 1851 in Jackson, Tennessee and made his way to Seattle in 1909. His father’s family members were African American farm workers who lived for many years near Yakima, Washington.

Simons was raised with varied forms of music at home including gospel, jazz, Native-American, and classical. He became a well-known jazz musician in the Seattle area, developing multi-ethnic modes of music, playing vibes in the Jasis, the quartet he founded. Jasis was internationally recognized following its debut LP album in 1972. He also designed, built, and played a “Sito,” literally a cross between an Indian sitar and Japanese koto.

Simons also drew and painted as a child, encouraged by his family. As a young adult he won a national scholarship competition which was unfortunately withdrawn when it was learned he was black. After serving in the Army during World War II, he attended and later taught at the Burnley School of Art in Seattle. He studied under nationally known artists at the Art Students League and performed with the Katherine Dunham Dance Troupe in New York City. In Seattle he studied music at the Cornish School of Art.

His art has been exhibited regionally including the Seattle Art Museum, Frye Art Museum, Henry Art Gallery, and the Little Gallery (all in Seattle). His work has won the National Negro Women’s Association (Grand Prize), and Boeing Company Annual Art Show (Grand Prize). His work is currently represented by Martin Zambito Fine Arts, Seattle.

Along with his wife, painter Marianne Hanson, and son Serge, Simons developed studios and galleries in Seattle and San Francisco. In Seattle 1968, he pioneered CASPA (Central Area School of Performing Arts) with colleague Paul Dusenbury. They arranged numerous regional performances incorporating dance, poetry, music, theatrical pieces, and visual art.

Simons’ work is in the collection of the Henry Art Gallery, the Walter O. Evans Collection, the Hallie Ford Museum of Art at Willamette University, Salem, Oregon, and the San Francisco Public Library.

Christiaan – I Want You EP (1989) full 12" private press Detroit electro/funk/soul

 

Ultra rare, super fresh private press Detroit modern soul/new jack swing/electro. I'm omitting "I Want You" short version and instrumental in favor of presenting the EP as a whole, but the short version is a great one to DJ out. Track list: SIDE A 1) I Want You (long version) 0:00 SIDE B 1) Don't Make Me (Say Goodbye) 6:34 2) Nice Cream 11:56 3) Gotta Make You Mine 16:19

Bulgarian variety and jazz orchestra-Ropotamo - 1960, 7" Vinyl

 

Cherie Buckner With Randall Coryell, The Celebration Choir – By His Grace (2004)

 

FULL EP: The Traveling Kingsmen Quartet – Jesus Never Fail ( 1978 ) .One of the classics of the gospel soul .With one of my favorite tracks of all time:Lead Me With The Righteous

 

The tracks have some fried egg sounds (I think they're the first time they've appeared online): Jesus Never Fail & Thank You Lord

The Traveling Kingsmen Quartet* – Jesus Never Fail

Más imágenes

Sello:	Sojourner Records (3) – 8041-17
Formato:	Vinilo, 7", 33 ⅓ RPM
País:	US
Publicado:	1978
Género:	Funk / Soul
Estilo:	Gospel

A1		Jesus Never Fail Featuring – Nathaniel Tucker	3:00
A2		Thank You Lord Featuring – Daniel Tucker (2)	3:24
B1		Lead Me With The Righteous Featuring – Daniel Tucker (2)	3:20
B1		Stand By Me Featuring – Nathaniel Tucker	2:23

• Grabado en – Alpha Audio
• Prensado por – QCA Custom Pressing – 8041-17

The Traveling Kingsmen – Last Mile Of The Way / I Love My Jesus

Más imágenes

Sello:	Sojourner Records (3) – SC-50147
Formato:	Vinilo, 7", 45 RPM
País:	US
Publicado:	1974
Género:	Funk / Soul
Estilo:	Gospel

A		Last Mile Of The Way
B		I Love My Jesus

• Publicado por – Twenty Grand Music
• Masterizado en – Nashville Record Productions – NR5167

only 

only the track_ Last Mile Of The Way