One Blue Moment - Spiritual Vibes - Spiritual Vibes (CD, Album)
Discover releases, reviews, credits, songs, and more about Spiritual Vibes - Alternative Tracks at Discogs. Complete your Spiritual Vibes collection/5(14). Aug 07, · Good Morning Music VR ° Positive Vibrations - Hz The Deepest Healing - Boost Your Vibration - Duration: Nature Healing Society Recommended for you. °. Apr 17, · Spiritual Vibes, an Album by Spiritual Vibes. Released 1 November on Bellissima (catalog no. TFCC; CD). Genres: Downtempo, Acid Jazz, Shibuya-kei. Featured peformers: Nobukazu Takemura (producer, flute, oboe, keyboards, arranger), 戸高一生 [Kazumi Totaka] (vibraphone, piano, arranger), Kikuko Nonaka (vocals), 久保田安紀 [Aki Kubota] (chorus), Yoshihiro /5(24).
Elvin Jones - Half And Half McCoy Tyner - Groove Waltz Michael White - The Blessing Song Alice Coltrane - Turiya And Ramakrishna Phil Woods - Taste Of Honey John Klemmer - Constant Throb Pt. Pharoah Sanders - Thembi Marion Brown - Maimoun Alice Coltrane - Journey In Satchidananda.
A two-disc set collecting highlights from the catalogue of Bobby Orlando's "O" Records. Included are a. Not in stock See details. By the s, the nation had achieved a postwar miracle, soaring to become the world's second largest economy.
Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping On neon green vinyl. As the hippie movement hurtled towards its imminent demise, bad vibes infiltrated the rock world. Tainted LSD, loud motorcycles, and a series of brutal deaths spawned inspiration for guitar-wielding teenagers across the globe. Implementing deafening In stock. On neon pink vinyl. Implementing deafening fuzz On neon purple vinyl. Overlooked by all but the tiniest of record labels, Weathers' released much of his material himself in the past.
A multi-instrumentalist, Weathers mainly led on the flute in his recorded tracks. People have reasons to be pessimistic, but this world is still of value. We laid the ground, our sacrifices were big. But prior to that it was even worse. And look at the people who laid a platform for us. Mayfield has eleven children. Six of them were living with him and his wife, Altheida, in the big house in the Atlanta suburbs that he bought in What did he think of the music that had soundtracked the growing years of his own kids — the brutal frankness of hip-hop and gangsta rap?
A lot of the stuff, as a grown adult and a father… well, you do have to lay down your own laws and not allow too much of it to infiltrate the home and family.
Children are very impressionable. You do have to set standards and lay a foundation of rights and wrongs, and then live a certain way so that they can see that what you say is also what you do. And if your children have any strength and an admiration for their parents, and if you teach them to be strong-willed, then maybe — just maybe — you have a chance. That is still not to say that as they leave this home and go out into the world they may not be smothered with all the negatives — knowing that black boys especially have less than a fighting chance to learn the things they need to make a livelihood.
He had surgery straight after the accident, and again once he was back home in Atlanta. But nothing had improved his condition, which appeared like to be unchanged for the rest of his life.
He relied on his wife and children to feed him, to fetch for him, and for every movement of his limbs. All he had left were his eyes, his speech, his brain, and his enormous spiritual and philosophical resources.
But I must deal with the realities of today, and let tomorrow take care of itself. Many things are possible. I even have a computer over there.
So there are those frustrations. Could he still sing? So when I sit up, I lose my voice. I have no strength, no volume, no falsetto voice, and I tire very fast. But did he still sing inside his own head? I still come up with ideas and melodies. His medical bills had been horrendous. King and the Isley Brothers. Surely, I suggested, they must have done pretty well out of him over the years? In my case lots of people have in their own ways been ready to come to my aid. I try not to ask.
A young man came into the room: Todd Mayfield, aged twenty seven, his second son, wanting to see if his father needed anything. Three years earlier, helped by various musicians and producers, he had made one last album, the superb New World Orderreleased by Warner Brothers, from which the portrait photograph by Dana Lixenburg is borrowed. My piece originally appeared in the Independent on Sunday and is slightly abridged from the version included in Long Distance Calla collection of my music pieces, published in by Aurum Press.
Where did they come from, those jazz bassists who appeared in the s, transforming not only the way the instrument was played but also its role in the music? During that time he became a student of Zen Buddhism and a sense of meditative calm began to suffuse Album) playing, even when it was at its most active. He made a few albums while he was in Japan, and one of them has long been my favourite of all his recordings.
Somehow a copy found its way to me soon after its release, and it was one of those recordings that made me aware how jazz could be open to collaborations with all kinds of music from all over the world. As far as I know, it has never been released outside Japan. But here it is. And for understanding the value of silence. Another of his Japanese albums, the almost equally wonderful Eastwardwith Kikuchi and Murakami, included a sleeve note in which he wrote:.
The increasing use of electronic devices, accentuation of loud raucous sounds, lyrics suggesting a spiritual Utopia in one case, or denouncing war, government, tradition, show this influence. It is at the same time a testimony of the inseparabilities of music and environment. They are dependent one upon the other.
They are expressing one another. They are one. It does however lack a certain degree of aggression, violence, or a special message. It was not conceived with the purpose of making a strong spiritual, social, scientific or musical statement.
It was, on the contrary, conceived with no specific purpose in mind. Not at all times and on all occasions, of course. A sense of purpose can be the driving force of the greatest art. But the Zen mind lets go and allows it to happen. And when the mind was that of Gary Peacock, what happened needed no other justification. Eastward was released on Japanese CBS in Let me tell you something: sometimes you get what you want, and you lose what you had.
Solomon Burke, of course, not on stage or in church but in a New York studio inurged on by the exhortations of his backing singers — probably including Dee Dee Warwick and Cissy Houston — as he recreated the vibe of a live performance, expertly mixing the sacred and the secular. I loved that record so much that when I was in a band, inI used to carry a copy of the 45 to gigs, persuading the DJ to play it immediately before we went on. Jazz musicians earning the rent, most of them, but contributing to something that today sounds like a wonderfully natural way to make music.
Approaching similar material, both groups found their own pocket. The New York players use their chops in a slightly more assertive way that gives the music an extra edge.
Those Burke sessions were something special at the time, and sound even better today. Solomon went on to make more great records before his death in Soul Alive! He stayed with what he did, and he did it perhaps better than anyone. The Soul of the Memphis Boys is on the Ace label. Charlie Parker was born on August 29, Five takes of one, two takes of the other. Something caused the three-hour session, which would normally have Album) five or six masters, to be truncated. Later the best takes of the two tunes formed part of an album called Charlie Parker Plays Cole Porterthe fifth volume of a posthumous series titled The Genius of Charlie Parker.
His solos were adequate, but the deployment of the quintet format — alto, piano, guitar, bass and drums — offered him nothing new, no fresh stimulus. And that, mostly, was the story of his last few years. The increasingly tragic chaos of his Album) life and the imperatives that came with it militated not just against artistic rigour and discipline but against any sustained attempt at further artistic development.
In musical terms, what had Bird needed for two or three years before his death was some kind of new challenge. Instead he was corralled by his own supreme mastery of the idiom he had helped invent. The rare attempts to venture beyond the head-solos-head format of small-group bebop, in the dates with strings or the sessions with Gil Evans and the Dave Lambert Singers, saw the compass set for the land of easy listening.
We know he was interested in what Lennie Tristano was up to. He had an omnivorous intellect and was not hidebound by his own genre. In February there was a hint, in a very unlikely setting, of how things might have been different. According to Ross Russell in Bird Lives! From the photograph of him in front of the band, he looks to be in good physical shape. His tone is firm but warm and pliable, his phrasing unquenchably inventive as he sails over the contours of the standards, lifted by the excellent rhythm section.
It seems to me that if Parker lacked anything in musical terms, it was someone to play Gil Evans to his Miles Davis: someone to envision the kind of setting that would have spurred him on towards new dimensions. Maybe that man could even have been Gil Evans himself, doing for Bird what he did for Miles with the arrangements for Birth of the Cool and Miles Ahead.
Imagine if a healthy Parker, in his mid-forties, had engaged with a coming generation. These are idle thoughts, obviously. He did more than enough. But still… Happy th birthday, anyway, Mr Parker. The photograph was taken by its present owner, William Dickson, and is used by his permission. I told the story of the sculpture here in the Guardian a few years ago. And she was about to face an ordeal that no one present would forget. Her next little speech expressed annoyance.
Just give me a little help, will you? She sat back down and started again. As she finished the song, a bearded man in a dark T-shirt who had been crouching behind the piano One Blue Moment - Spiritual Vibes - Spiritual Vibes (CD to his feet and asked if he could use her microphone. He wanted to make an announcement to the people in the encampment on the hill beyond the perimeter fence.
All the tensions of the weekend were coming to the surface. Were the anarchists and situationists and freaks right to try and tear down the fences? But how, inwere you supposed to deal with a moment like that? For a minute, even in that brilliant Saturday sunshine, the atmosphere was closer to Altamont than Woodstock. Shaken but determined to continue, Mitchell tried to resume her performance.
Give us some respect! It was brave, and it worked. Having been led away by Roberts at the end of the set, the sound of cheering brought her back for encores that washed away the memory of the earlier interruptions. And that was just the start of an extraordinary sequence. Now it was late afternoon, and into the last rays of the sun slid Miles Davis, a year-old jazz trumpeter who had served his apprenticeship almost a quarter of a century earlier with Charlie Parker and now faced Album) challenge of captivatinghippies.
He took the stage in a thin red leather jacket over an orange knitted top, with studded blue jeans and silver boots. But the ties to the earlier music were not yet cut. The rhythm section he brought to the Isle of Wight ensured that however groove-centred the music became, it retained its freedom and complexity, Album).
The opening salvo took no prisoners. Miles wanted the music to burn, and he was concentrating hard as he led the way with fierce stabs and insolent runs on his lacquered instrument. The stage was bracketed by Jarrett, on an RMI keyboard that gave him the sounds of an electric piano and an organ, and Corea, who had what looks like a ring modulator on the top of his Hohner instrument and used it to make bleeps and squiggles of sound.
Miles prowled the stage, never far from the action. As it seethed and roiled, Miles returned to centre-stage and played two short, quiet phrases that redirected everything. He let the band get on with it for five minutes before raising his horn and lowering it back to the microphone, the signal for the funk to back off and textures to be laid over the simmering pulse behind his exquisite open-horn phrases, some of the them hinting at old Moorish influence.
As he returned to the staccato jabs, the rhythm section, which had been simmering quietly, rose up again in response, coming back to the boil. And suddenly the time was up. The music shuddered towards a halt. I wrote about it here when he died seven years ago. It begins with both sides of a 78rpm single by the Emeralds, recorded in Los Angeles in and released on the Kicks label.
In hallowed doo-wop fashion, the A-side is an up-tempo dance tune with a Latin beat, written by the year-old Parker, while the flip is a wonderfully gloopy ballad.
Commercial (CD) published by Toy's Factory on Nov 01, containing original work with compositions by Nobukazu Takemura, Weldon Irvine, Kazumi Totaka performed by Spiritual Vibes (Nobukazu Takemura, Kikuko Nonaka, Kazumi Totaka, Kenji Kamon, Tomoo Kawagoe, Yoko Honzi, Hiroshi Funato, Gaku Nakamura, Kohei Osato, Takeshi Habu). Commercial (CD) published by bellissima! records on Oct 01, containing original work with compositions by Spiritual Vibes (Nobukazu Takemura, Kazumi Totaka) performed by Spiritual Vibes. Your One Stop Spiritual Shop! Our Mission is to Educate & Offer People Alternative Methods of Healing Through Spiritual and Metaphysical Products and Services. We are all about providing affordable, high quality, and high vibrational items.
Your subconscious mind has huge potential, unleash it using our Meditation, Binaural, Subliminal Music. We provide mp3 audios for the most common shackles that humanity faces.
Spiritually energised and politically conscious, the spiritual sound in jazz music is one of the most important currents in music. This series has charted the growth of the style from early experiments at Blue Note and Prestige to European excursions, exiled experimentalists, and sounds from across the globe. TRACKS: They are expressing one another. They are one. “The music on this album does not claim immunity to such environmental influences. It does however lack a certain degree of aggression, violence, or a special message. It was not conceived with the purpose of making a strong spiritual, social, scientific or musical statement.
The Spiritual Vibe. K likes. Helping to connect your spiritual body to your physical one!
Your subconscious mind has huge potential, unleash it using our Meditation, Binaural, Subliminal Music. We provide mp3 audios for the most common shackles that humanity faces. The Spiritual Vibe. K likes. Helping to connect your spiritual body to your physical one!
Mongo Santamaria and Oscar Brown Jr’s ‘Afro Blue’ is given a Spiritual Jazz rendition that is one of the greatest versions of this classic and the album is worth it for this track alone. ‘Love Vibrations’ is a lovely jazzy tune with superb piano from Hanna.
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