Jul 26
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The Johns Connections. With references to Ayer, Benjamin, Browder, Cadwalader, Calhoun, Davis, Edwards, Emanuel, Evans, Griffith, Harry, Hughes, … Miles, Moore, Morgan, Nunn, Olivier, $29.88 This book is an endeavor to pull together all of the existing historical and genealogical information on the Johns families, originating in Wales and settled primarily in Delaware, Pennsylvania and the Carolinas. The Welsh practice of using patronymic sur… |
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Macy Friends Volume I: Descendants of Thomas Macy 1583- $30.05 This is a book about the descendants of Thomas Macy in the United States of America, extending from 1583 to date. One will find in this book the lineage of such individuals as R. H. Macy, the founder of Macy”s Department Stores; General George Nelson Macy. Provost Marshall of the Army of the Potomac; Ezra Cornell, the founder of Cornell University; Elizabeth Powell, the first Dean of Women of Swa… |
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Ebenezer cemetery: Township 15 North, Range 10 West, Morgan County, Jacksonville, Illinois … |
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Spirit of John Morgan $21.3 Although released in 1971, the debut self-titled album by Spirit of John Morgan was actually recorded two years earlier, before the spirit of the ’60s dissipated into the excesses of the ’70s. But even back in 1969, the British quartet were already fish out of water, gasping for R&B in a Technicolor age of psychedelia. So they created their own, an entire album’s worth of strong, shadowed, R&B numbers underlit by magnificent musicianship and powerful rhythms. The set opener, a menacing cover of Graham Bond’s “I Want You,” is a case in point, stalker-like in its intensity, with John Morgan’s organ conjuring up a phantom of the opera from which there is no escape. However, Morgan’s phenomenal finger skills are best showcased on a cover of Meade “Lux” Lewis’ “Honky Tonk Train Blues,” a fabulously masterful piano boogie woogie, as is his equally extraordinary adaptation of Albert Ammons’ “Shout for Joy.” And Morgan is just as skilled on the organ, as is evidenced on the band’s take on Big John Patton’s “The Yodel.” As astounding as the covers are, the quartet offered up their own numbers that are of equal quality. “Orpheus and None for Ye,” is a particular standout, a dark, driving number that initially calls to mind the Spencer Davis Group before diving into the heart of the jungle, while Don Whitaker’s guitar licks like flames around the piece. It is the set’s final number, however, the ten-minute epic “Yorkshire Blues” that is the heart of the album. Delta blues brought to the English north, where the band convincingly make the case that life is just as tough up mill as it is down in the fields of the Deep South. In 43 minutes and with a mere eight songs, Spirit of John Morgan created an astonishing set, and this reissue appends it with the band’s romp across “The Floating Opera Show,” the A-side of their now impossible to find 1971 single. As if you needed another reason to own this set. ~ Jo-Ann Greene, Rovi Performers: Don Whitaker – Vocals, Guitar; John Russell Morgan – Harpsichord, Organ (Hammond), Vocals, Piano; Mick Walker – Vocals, Percussion; Phil Shutt – Guitar (Bass) |
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MORGAN,JOHN: CAPTURE THE NIGHT $15.98 Description not provided. |
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MORGAN,JOHN: MOTIONOGRAPHY $15.98 Description not provided. |
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Morgan Shopper Tote Bag $9.99 Morgan. |
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NEWBERN,JOHN MORGAN: PRAYER FOR THE DYIN $13.58 Description not provided. |
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Whitey Morgan & The 78s $11.02 Who says outlaw country is dead? Whitey Morgan and the 78′s are a rough-hewn, edgy, honky tonk band from Flint, MI, and they embody the spirit of Waylon, David Allan Coe, Hank Jr., and Johnny Paycheck from the ’70s. That said, this is no mere tribute band; they also have an unsentimental, rock & roll attitude from the rust belt’s DNA. This isn’t “alt-country” or Americana. The 78′s –Morgan (Eric David Allen) on guitar and vocals, Jeremy Mackinder on bass, Travis Harrett on drums, fiddle player Tamineh Gueramy, and pedal steel player Brett Robinson — offer hard-edged, 2-stepping, beer-soaked barroom music. Their unsubtle brand of outlaw country is likely going to appeal more to factory workers and bikers than it will to the pressed-shirt-and-jeans-cowboy-hat-wearing young fans of contemporary country. Their self-titled sophomore effort — and debut album for Chicago’s Bloodshot imprint — contains seven originals and four well-chosen covers recorded at Levon Helm’s Woodstock studio. The set opens with a slow-burn reading of J.D. Loudermilk’s “Bad News,” and the night ride is on. Former Dylan sideman Larry Campbell handles the pedal steel chores on this one, and Morgan’s rich baritone delivers the authority of one who knows what he is. The band plays a solid 4/4 stride with accents on the two and four; they weave nasty Telecasters, unadorned fiddles, and up-top basslines with the snare/hi-hat combos underneath. “Turn Up the Bottle” is an homage to the music of Merle Haggard and George Jones (the latter is name-checked). The layered fiddles, whining pedal steel, and 2-step beat create a perfect atmosphere for drinking. “Buick City” is a rambling, restless, open-road-rolling,12-bar Jennings-esque blues about the 235-acre manufacturing complex in Flint that was torn down in 2002. The message is clear: I gotta get going, gotta get out. “Cheaters Always Lose” is a gorgeous lounge weeper with accordion by Mike Lynch. Paycheck’s “Meanest Jukebox in Town” and Hank Cochran’s “Memories Cost a Lot” are executed with a looser, rawer feel, but add levels of meaning to the originals with their under-the-radar rock swagger. The highest points here are Morgan’s own songs: they are disciplined, often clever, and always written to be played by this particular band live and without compromise. The 78′s are the real deal: working class outlaws who love country to the core. Highly recommended. ~ Thom Jurek, Rovi Performers: John Holk – Vocal Harmony; Drew Howard – Pedal Steel; Jeremy Biltz – Slide Guitar; Larry Campbell – Pedal Steel; Moses Martinez – Harmonica; |
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Morgan $33 Morgan artist’s name: ron burns image size: 16″ high x 24″ wide. Paper size: 18″ high x 24″ wide. Unframed poster print…. |
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Geffery Morgan $6.49 Geffery Morgan |
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Lee Morgan, Vol. 3 [Japan] $23.99 Vol. 3 is Lee Morgan’s final recording from a series done in the spring of 1957, an important year not only for the teenage trumpeter, but for the dominant hard bop sound that swept the landscape of modern jazz. Morgan preferred the sextet format at this time, recruiting alto saxophonist Gigi Gryce and retaining tenor player Benny Golson, while grabbing bassist Paul Chambers and pianist Wynton Kelly from the Miles Davis/John Coltrane combo. The selection of lesser-known but very talented drummer Charlie Persip for this date is a wise choice, as he is more homogeneous to the composed jazz of Golson, which comprises this entire set. Because of the Golson factor, the music is consistent, but not the hard bop blowing session some may have expected. There are two takes of “Tip-Toeing,” inspired by Persip’s fanciful, cat-and-mouse-type drumming in a delicate strut drenched in blues, with wonderful solos from Chambers and the author/saxophonist. On other side of the coin, “Domingo” is not Latin-flavored, but instead a straight hard bop line, as the three horns are locked in with great invention and energy. The barren Minnesota flatlands that inspired “Mesabi Chant” are hardly represented by an arid feeling, but instead are enabled by the desolation to create a complicated construct via a 34-bar (not 32-bar) chorus, an aspect that identifies Golson’s emerging ideas as a unique jazz composer. The best and most unusual track of the bunch is “Hasaan’s Dream,” where the expressive flute playing of Gryce and tacit piano give an open-ended Arabic or Asiatic feel to the piece, as underscored trumpet and tenor preclude the held tension of Chambers, leading to a most lovely, easily rendered bop. There’s an immortal version of “I Remember Clifford” as well, with Morgan pouring his heart out, while the horns act as musical pallbearers for the late Clifford Brown, who died less than a year prior. This is one of the earliest, and best, recorded versions of this Golson-penned tribute to Brownie. A composed (in more than one way) and relaxed session for this stellar small ensemble, it also brings forth the intelligence and street smarts of all the players, one of the best recordings in Lee Morgan’s early career and well worth a hearty recommendation to all. ~ Michael G. Nastos, Rovi |
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Film Music of William Stromberg & John Morgan $12.78 Description not provided. |
