Reissue with the latest remastering. Features original cover artwork. A great take on the classic European mode of presenting an American tenorist with local trio backing – a date that has pianist Rein De Graaff providing rhythm for the duo of David Newman and Marchel Ivery! Newman's tenor opens up with a freer, more spontaneous vibe than on some of his more composed albums of a few years before – and he plays some especially nice flute at points, with this biting tone that reminds us just how great he can be on the instrument. Ivery's nice too – really getting the right sort of swing from De Graaff on piano, Koos Serierse on bass, and Erik Ineke on drums – and the players each take solos on most numbers, one track features only Newman, and another only Ivery.
Features 24 bit remastering and comes with a mini-description. David Newman's first album as a leader – recorded under the Ray Charles banner, and featuring Ray himself on piano! The set's a really surprising one – as it's much more jazz-based than we'd expect, given the Charles connection – and really steps out with some lively solo work that goes way past the usual Ray Charles groove. The group's a small one – with Newman on alto and tenor, Ray on piano, Bennie Crawford on baritone, and a young Marcus Belgrave on trumpet – and the tunes have a really solid soul jazz approach, one that sounds a heck of a lot more like a late 50s session for Prestige Records than it does for Atlantic!
One of the sweetest, funkiest 70s sets from reedman David Fathead Newman – an album that has the saxophonist blowing over some great arrangements from William Eaton – who brings in a full sound that almost gives the album a soundtrack sort of vibe! Newman's tenor, alto, and flute get plenty of solo space throughout – and the richer arrangements by Eaton really bring in a strong set of feeling to the record – a depth that David wouldn't have been able to achieve on his own, and which really seems to influence the level of his solos. Other players are great too – and include Richard Tee on organ, Cornell Dupree on guitar, and Bernard Purdie on drums – and the set includes a number of tracks by Allen Toussaint, including "Yes We Can Can", "Happy Times", and "Freedom For The Stallion". Other titles include "Missy", "You Can't Always Get What You Want", and "Seems Like I Gotta Do Wrong".
As a teenager, David Newman played professionally around Dallas and Fort Worth with Charlie Parker's mentor, Buster Smith, and also with Ornette Coleman in a band led by tenor saxophonist Red Connors. In the early '50s, Newman worked locally with such R&B musicians as Lowell Fulson and T-Bone Walker. In 1952, Newman formed his longest-lasting and most important musical association with Ray Charles, who had played piano in Fulson's group. Newman stayed with Charles' band from 1954-1964, while concurrently recording as a leader and a sideman with, among others, his hometown associate, tenor saxophonist James Clay.
What an apt name The Blessing is for David Newman's final recording before his death ended a long career last January (2009). He played for more than a decade with Ray Charles and alongside Herbie Mann, Aretha Franklin and Roy Ayers, among many others. For this last studio session he was in fine form. A Milt Jackson gem, "SKJ," is the set's opener, Steve Nelson's vibes providing glowing cascades before Newman swings in with a solo as brief in its measured warmth as it is satisfying. Here too and throughout the set Peter Bernstein's guitar is vigorous in a style that is direct as it mixes blues and bebop.
Hag 'Amin al-Husayni fu l'assoluto protagonista della nascita del moderno fondamentalismo islamico e della lotta armata ('intifadah) contro gli ebrei condotta oggi da numerose organizzazioni terroristiche islamiche.Personalità insieme affascinante e spaventosa, oratore incendiario, rampollo di una delle più notabili famiglie arabe della Palestina (ma dal curioso aspetto «occidentale»: …