Sep 03
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Powers-Banks Ancestry $36.96 This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts – the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bri… |
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The Ancestry and Life of Godfrey of Bouillon (Indiana University Publications, Social Science Series No. 5) The Ancestry and Liffe of Godfrey of Bouillon, by John C. Anderssohn, Associate Professor of History, Indiana University. Fortune smiled upon Godfrey of Bouillon: a second son, he inherited, by a chance that is rare in history…..Unfortunately, the critical tendency of Sybel and his school often assumed an iconoclastic attitufe and battered down much of the good with the bad. Especially was this … |
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Ancestry In Progress $8.49 Ancestry In Progress |
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Ancestry $13.58 Saxophonist Trevor Watts has made no bones about his love for the South African expatriate musicians, especially Dudu Pukwana, who came to London during apartheid. In recent years, Watts has been playing the kwelas, high life and ritual dance music so much a part of the jazz styles of those players, especially the members of the Brotherhood of Breath, who mingled with many British improvisers. Hand percussionist Jamie Harris joins Watts for this recording of original jam tunes that reflects the traditional African and modern English way for making new music. While their range in timbre, pacing, and interplay is limited, the expression of joy they exude is rarely trivial. The difference is mainly measured in degrees of pace and energy as a slightly overblown soprano saxophone in the 6/8 ritualistic dance of “Alpino” and 4/4 of “Sarawak” with Watts on alto sets the tone. At their most creative, a stretched 10/8 time signature in extreme upper octave levels on “Three & More” and the circular sped up line of “Kerrytown” shows these two undoubtedly belong to the modern musicians sect. Vocals add to a swirling, frantic effect during “Tandem Voices,” while a more whirling dervish, Turkish or Arabian flavor has the woodwinds sounding overdubbed, but it’s actually a vocal accent on “Balintan.” Often you feel Harris is an accessory, or a second brought simply for support, as there is not much interplay or counterpoint involved. Then again, one might contend it’s all call and response as in most African music. Watts so thoroughly dominates this project, and though there’s a certain joy, exuberance, or in the case of “Anna B,” romanticism, he’s expressing his inner calling, with Harris along for the safari. While not a definitive recording, and assuredly for specialized tastes, what Watts and Harris have achieved is undeniably unique unto itself. ~ Michael G. Nastos, Rovi |
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FINANCE BUNDLE $545.99 FINANCE BUNDLE |
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Across The Divide (A Tale Of Rhythm & Ancestry) $9.99 Across The Divide (A Tale Of Rhythm & Ancestry) |
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FINANCE $66.2 Brand New |
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HEALTHCARE/FINANCE BUNDLE $498.99 HEALTHCARE/FINANCE BUNDLE |
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Ancestry in Progress $11.98 On its first full-length in four years, Marie Daulne’s Zap Mama project returns to Luaka Bop from a brief encounter with Narada and resumes its quest to wind African melody and vocal harmony around hip- hop, jazzy breaks, soul and Afro Cuban rhythms first explored on 7 and continued with mixed success on A Ma Zone. Produced by Daulne and Anthony Tidd, the music production was supervised by the Roots’ Richard Nichols. As such, this exotic blend is earthy, steamy, full of souled-out slips and shimmers in “Bandy Bandy” with special guest Erykah Baud, and the laid-back funk of “Show Me the Way,” with guests Air Thompson Bahamadia and Lady Alma. This is far more an urban recording, where urban pop and nu-soul are informed by worldbeat esthetics rather than the other way around. Take “Miss Q’N” with its late-night groove and stacked harmonies (all performed by Daulne) coming from out of the ether and weaving a tapestry of soft seductive lullaby around the lyric. “Yak,” with its male chorus intoning the pronunciation (“Yah Yoa”) is an intro against the whispering hi hat loop, before a huge chorus of alto and contralto voices re-frame it and Daulne’s solo voice. As the hypnotic effect becomes the M.O., M.C. Intense begins rapping from his urban reality perch and throws the whole thing into overdrive. And so it goes, drifting, cutting, edging, and willowing toward some otherworldly collage that is all held together in the sheer vocal magic of Daulne’s vision. ~ Thom Jurek, Rovi Performers: Marie Daulne – Bottle, Clapping, Sound Effects, Vocals (Background), Percussion, Keyboards, Vocals; Mfali Kouyate – Cora; Scratch – Beat Box; Lene Nørgaard Christensen – Clapping, Vocals (Background), Vocals; Common – Rap; Dana Leong – Horn; Jonathan Finlayson – Horn; Lady Alma – Vocals (Background); Larry Gold – S |
