Herbert Jeffrey Hancock is an American pianist, bandleader and actor. Hancock started his career with Donald Byrd, he shortly thereafter joined the Miles Davis Quintet where he helped to redefine the role of a jazz rhythm section and was one of the primary architects of the post-bop sound. In the 1970s, Hancock experimented with jazz fusion and electro styles. Hancock's best-known compositions include "Cantaloupe Island", "Watermelon Man", "Maiden Voyage", "Chameleon", the singles "I Thought It Was You" and "Rockit", his 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album to win the award, after Getz/Gilberto in 1965. Hancock was born in Chicago, the son of Winnie Belle, a secretary, Wayman Edward Hancock, a government meat inspector, his parents named him after actor Herb Jeffries. He attended the Hyde Park Academy. Like many jazz pianists, Hancock started with a classical music education, he studied from age seven, his talent was recognized early.
Considered a child prodigy, he played the first movement of Mozart's Piano Concerto No. 26 in D Major, K. 537 at a young people's concert on February 5, 1952, with the Chicago Symphony Orchestra at the age of 11. Through his teens, Hancock never developed his ear and sense of harmony, he was influenced by records of the vocal group the Hi-Lo's. He reported that:"...by the time I heard the Hi-Lo's, I started picking that stuff out. I could hear stuff and that's when I learned some much farther-out voicings – like the harmonies I used on Speak Like a Child – just being able to do that. I got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept...he and Bill Evans, Ravel and Gil Evans, finally. You know, that's where it came from." In 1960, he heard Chris Anderson play just once, begged him to accept him as a student. Hancock mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he took courses at Roosevelt University.
Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist earned a reputation, played subsequent sessions with Oliver Nelson and Phil Woods, he recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" was to provide Mongo Santamaría with a hit single, but more for Hancock, Takin' Off caught the attention of Miles Davis, at that time assembling a new band. Hancock was introduced to Davis by a member of the new band. Hancock received considerable attention. Davis sought out Hancock, whom he saw as one of the most promising talents in jazz; the rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Williams, Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet gelled with Wayne Shorter on tenor saxophone; this quintet is regarded as one of the finest jazz ensembles yet.
While in Davis's band, Hancock found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Shorter, Grant Green, Bobby Hutcherson, Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard. Hancock recorded several less-well-known but still critically acclaimed albums with larger ensembles – My Point of View, Speak Like a Child and The Prisoner featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo "Chihuahua" Martinez. During this period, Hancock composed the score to Michelangelo Antonioni's film Blowup, the first of many film soundtracks he recorded in his career; as well as feature film soundtracks, Hancock recorded a number of musical themes used on American television commercials for such well known products as Pillsbury's Space Food Sticks, Standard Oil, Tab diet cola and Virginia Slims cigarettes.
Hancock wrote and conducted a spy type theme for a series of F. William Free commercials for Silva Thins cigarettes. Hancock liked it so much he wished to record it as a song but the ad agency would not let him, he rewrote the harmony and tone and recorded the piece as the track "He Who Lives in Fear" from his The Prisoner album of 1969. Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted to the new instruments, which proved to be important in his future artistic endeavors. Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, despite his departur
Go Down Moses
"Go Down Moses" is an spiritual. It describes events in the Old Testament of the Bible Exodus 8:1: "And the LORD spake unto Moses, Go unto Pharaoh, say unto him, Thus saith the LORD, Let my people go, that they may serve me", in which God commands Moses to demand the release of the Israelites from bondage in Egypt; the opening verse as published by the Jubilee Singers in 1872: In the song, "Israel" represents enslaved African Americans, while "Egypt" and "Pharaoh" represent the slavemaster. Going "down" to Egypt is derived from the Bible. In the context of American slavery, this ancient sense of "down" converged with the concept of "down the river", where slaves' conditions were notoriously worse, a situation which left the idiom "sell down the river" in present-day English. Although thought of as a spiritual, the earliest recorded use of the song was as a rallying anthem for the Contrabands at Fort Monroe sometime before July 1862. Early authorities presumed it was composed by them. Sheet music was soon after published, titled "Oh!
Let My People Go: The Song of the Contrabands", arranged by Horace Waters. L. C. Lockwood, chaplain of the Contrabands, stated in the sheet music the song was from Virginia, dating from about 1853; the opening verse, as recorded by Lockwood, is: Sarah Bradford's authorized biography of Harriet Tubman, Scenes in the Life of Harriet Tubman, quotes Tubman as saying she used "Go Down Moses" as one of two code songs fugitive slaves used to communicate when fleeing Maryland. Tubman began her underground railroad work in 1850 and continued until the beginning of the Civil War, so it's possible Tubman's use of the song predates the origin claimed by Lockwood. Jess Lee Brooks sings it in Preston Sturges' film Sullivan's Travels. Gregory Miller sang the song in the film Blackboard Jungle. A reference is made to the song in the film Ferris Bueller's Day Off, when a bedridden Cameron Frye sings, "When Cameron was in Egypt's land, let my Cameron go". Sergei Bodrov Jr. and Oleg Menshikov, who play the two main characters in Sergei Bodrov's film Кавказский пленник dance to the Louis Armstrong version.
The teen comedy film Easy A beats. The song was published as Original Soundtrack and is listed in IMDb. William Faulkner titled his novel Go Down, Moses after the song. Djuna Barnes, in her field-changing novel Nightwood, titled a chapter "Go Down, Matthew" as an allusion to the song's title. In Margaret Mitchell's novel Gone with the Wind, slaves from the Georgia plantation Tara are in Atlanta, to dig breastworks for the soldiers, they sing "Go Down, Moses" as they march down a street; the song was made famous by Paul Robeson whose voice and resonant as it was, was said by Robert O'Meally to have assumed "the might and authority of God." On February 7, 1958, the song was recorded in New York City and sung by Louis Armstrong with Sy Oliver's Orchestra. It was recorded by the Sky Pilot Choir; the song has since become a jazz standard, having been recorded by Grant Green, Fats Waller, Archie Shepp, Hampton Hawes and many others. It is one of the five spirituals included in the oratorio A Child of Our Time, first performed in 1944, by the English classical composer Michael Tippett.
It is included in some in the United States, is printed in Meyers' An Israel Haggadah for Passover. The song was recorded by Deep River Boys in Oslo on September 26, 1960, it was released on the extended play Negro Spirituals No. 3. The song, or a modified version of it, has been used in the Roger Jones musical From Pharaoh to Freedom The French singer Claude Nougaro used its melody for his tribute to Louis Armstrong in French, under the name Armstrong; the song influences "Get Down Moses", by Joe Strummer & the Mescaleros on their album Streetcore. The song has been performed by the Russian Interior Ministry Choir. Jazz singer Tony Vittia released a swing version under the name "Own The Night"; the phrase "Go Down Moses" is featured in the chorus of the John Craigie song, "Will Not Fight". The phrase "Go Down Moses" is sung by Pops Staples in the song The Weight in The Last Waltz film by The Band; the usual lyric is "Go down Miss Moses". Avant-garde singer-songwriter and composer Diamanda Galás recorded a version for her fifth album, You Must Be Certain of the Devil, the final part of a trilogy about the AIDS epidemic that features songs influenced by american gospel music and biblical themes.
The NBC television comedy The Fresh Prince of Bel-Air twice used the song for comedic effect. In the first instance, Will Smith's character sings the song after he and his cousin Carlton Banks are thrown into prison In the second instance, Banks is preparing for an Easter service and attempts to show off his prowess by singing the last two lines of the chorus; the song is sung in the miniseries The Spies of Warsaw. Della Reese sings it in Episode 424, "Elijah", of Touched by an Angel, which Bruce Davison sings "Eliyahu"; the Tuskegee Institute Singers recorded the song for Victor in 1914. The Kelly Family recorded the song twice: live version is included on their album Live and a studio version on New World; the latter feat
Deep River (song)
"Deep River" is an anonymous spiritual of African-American origin. The song was first mentioned in print in 1876, when it was published in the first edition of The Story of the Jubilee Singers: With Their Songs, by J. B. T. Marsh. By 1917, when completed the last of his several influential arrangements, the song had become popular in recitals, it has been called "perhaps the best known and best-loved spiritual". It has been sung in several films, including the 1929 film version of Show Boat, Paul Robeson performed it accompanied by a large male chorus in the 1940 movie The Proud Valley, it was sung by Chevy Chase in the 1983 blockbuster hit National Lampoon's Vacation; the melody was adapted into the song "Dear Old Southland", by Henry Creamer and Turner Layton in 1921 and it enjoyed popular success in 1922 with versions by Paul Whiteman and by Vernon Dalhart."Deep River" is one of the five spirituals included in the oratorio A Child of Our Time, first performed in 1944, by the classical composer Michael Tippett.
Marian Anderson recorded a version in November 1923 for the Victor label. Paul Robeson recorded the song on May 1927 for the Montgomery Ward label. Tommy Dorsey recorded a version on February 1941 for the Victor label. Adelaide Hall and Kenneth Cantril recorded a version of "Deep River" for their boxed set of Spirituals released in 1949 on London Records. Deep River Boys Featuring Harry Douglas with Pete Brown's Orchestra, released on the 78 rpm record HMV AL 6039). Odetta recorded a version for her 1957 album At the Gate of Horn. Johnny Mathis's third album, Good Night, Dear Lord, released 1958, USA; the Roger Wagner Chorale recorded Roger Wagner's arrangement, first released on the album The Negro Spiritual for Capitol Records in 1964. Mahalia Jackson recorded a version for her 1964 album, Let's Pray Together on the Columbia Records label. Barbra Streisand 27th studio album, Higher Ground, recorded November 11, 1997, on the Columbia Records label. Sacred Music Services recorded a version for their album Get On Board in 2000.
The Mormon Tabernacle Choir recorded a version for the album Come, Thou Fount of Every Blessing in 2009. Bobby Womack recorded a version for his 2012 album The Bravest Man in the Universe; the Wings Over Jordan Choir - recorded in June 1946 for Queen Records. Lorraine Hunt Lieberson's rendition was captured on the album Lorraine Hunt Lieberson at Ravinia; the song was a frequent encore in recital concerts by the operatic mezzo-soprano. The band of the British South Africa Police recorded a version for the album Kum A Kye, released in Rhodesia; the Saint Thomas Choir of Men and Boys, Fifth Avenue, New York City recorded a version composed by Gerre Hancock for its album "American Voices." Deep river, My home is over Jordan. Deep river, Lord. I want to cross over into campground. Deep River, My home is over Jordan. Deep river, Lord, I want to cross over into campground. Oh, don't you want to go, To the Gospel feast. Oh, deep river, Lord, I want to cross over into campground. Marian Anderson singing "Deep River", YouTube video.
The Wings Over Jordan Choir Singing "Deep River" – YouTube Video The Wings Over Jordan Choir Singing "Deep River" – The Wings Over Jordan Fanpage video
Am I Blue (album)
Am I Blue is an album by American jazz guitarist Grant Green featuring performances recorded in 1963 and released on the Blue Note label. The title track had been recorded by Ray Charles four years prior to Green's recording, the second track, "Take These Chains from My Heart", had been recorded the previous year by Charles for his Modern Sounds in Country and Western Music Volume Two LP; the remaining portion of the album featured a pair of mid-1930s pop standards and a 1940s hit for swing band leader Lucky Millinder. The Allmusic review by Scott Yanow awarded the album 3½ stars and stated "Although listenable enough, this is one of Grant Green's lesser efforts from the 1960s". "Am I Blue" - 6:56 "Take These Chains from My Heart" - 6:12 "I Wanna Be Loved" - 7:39 "Sweet Slumber" - 7:17 "For All We Know" - 13:59 Grant Green - guitar Johnny Coles - trumpet Joe Henderson - tenor saxophone "Big" John Patton - organ Ben Dixon - drums
Henry Thacker "Harry" Burleigh, was an African-American classical composer and professional singer known for his baritone voice. The first black composer instrumental in developing characteristically American music, Burleigh made black music available to classically trained artists both by introducing them to spirituals and by arranging them in a more classical form. Henry Thacker Burleigh was born in Erie, Pennsylvania, in 1866 to Henry Thacker and Elizabeth Burleigh, his grandfather, Hamilton Waters, was granted manumission from slavery in Somerset County, after paying $55 in 1832 and receiving a certificate of freedom in 1835. They traveled to New York, where two of Waters' half-brothers lived. After his mother died, Water's married Lucinda Duncanson, their first child, Elizabeth Lovey Waters was born in Lansing, New York, in 1838. That year the family moved to Erie, where they lived until the 1920s. Elizabeth, who graduated from Avery College in Pittsburgh in 1855, was denied a teaching position in the Erie Public Schools, but taught at the Colored School for many years.
Burleigh's father, Henry Thacker Burleigh, Sr. a naval veteran in the Civil War, was the first black juror in Erie County in 1871. After his father's death in 1873, his mother remarried in 1875, her second husband, John Elmendorf, was a veteran of the Union Navy. Burleigh's grandfather, known for his "exceptionally melodious voice," taught young Burleigh and his brother Reginald traditional spirituals and slave songs. Burleigh helped support his family by various odd jobs: lighting gas streetlamps, selling newspapers and working as a printer's devil, working as a coachman, as a steward on Lake Erie steamboats, he studied to be an accountant at the Clark's Business College while he was in high school. His mother worked as a maid for the daughter of Burleigh Sr.'s employer when she held musicales in her home. Burleigh served as a doorman when various famous musicians performed at those musicales, including Venezuelan pianist Teresa Carreño and Italian tenor Italo Campanini. Burleigh studied voice with George F. Brierly, during and after his high school years became known as one of Erie's most accomplished classical singers.
Several Erie churches and the Jewish synagogue hired him as a soloist, he sang as soloist at many community and civic events. Burleigh was accepted, with a scholarship, to the prestigious National Conservatory of Music in New York at the age of 26, he obtained the scholarship with the help of Frances MacDowell, the mother of composer Edward MacDowell, would play double bass in the Conservatory's orchestra. Though at first the Conservatory denied Burleigh entrance, citing low grades, Mrs. MacDowell insisted that he try his entrance exam again. Days he received a scholarship. To help support himself during his studies, Burleigh worked for Mrs. MacDowell as a handyman and working on anything she needed. Reputedly, who became known worldwide for his excellent baritone voice, sang spirituals while cleaning the Conservatory's halls, which drew the attention of the conservatory's director, Czech composer Antonín Dvořák, who asked Burleigh to sing for him. Burleigh said: "I sang our Negro songs for him often, before he wrote his own themes, he filled himself with the spirit of the old Spirituals."
Dvořák said: "In the negro melodies of America I discover all, needed for a great and noble school of music." From what he called "Negro melodies" and Native American music, Dvořák took up the Pentatonic scale, which appears in some places in his Symphony "From the New World" and at the beginning of each movement of the "American" String Quartet. In the Symphony, a flute theme resembles the spiritual Swing Low, Sweet Chariot, which may well be among those Burleigh sang to Dvořák, which may have been written by a Black Native American Choctaw freedman, Wallis Willis. In 1922, another student of Dvořák, William Arms Fisher, wrote the spiritual-like song "Goin' Home" based on an English horn melody from the second movement of the Symphony. No evidence seems to exist that the song existed before 1922, or the melody before the Symphony, although both are disputed. In 1893 Burleigh assisted Dvořák in copying out instrumental parts for the symphony; the following year, Burleigh sang in Dvořák's arrangement of Pennsylvania native Stephen C. Foster's classic Old Folks at Home.
He graduated in 1896, served on the conservatory's faculty. Burleigh began his singing career as the baritone in his family's quartet. By the time Burleigh left Erie in January 1892, he was singing with the city's best vocalists at civic events and church gatherings. At the end of the summer of 1892, Burleigh gave a performance in the Adirondacks, at North Hudson, New York, as the featured soloist in "the summer school for Christian workers." Nine months after arriving in New York City, Burleigh appeared in two Grand Encampment Concerts at the Metropolitan Church in Washington, D. C. as "the celebrated Western baritone."In 1894, he became a soloist for St. George's Episcopal church in New York City; some parishioners opposed hiring Burleigh at the all-white church, because of his race, at a time when other white New York Episcopal churches were forbidding black people to worship. J. P. Morgan, a member of St. George's at that time, cast the deciding vote to hire Burleigh. In spite of the initial problems obtaining the appointment, Burleigh became close to many members during his long tenure as a soloist at the church.
Solid (Grant Green album)
Solid is an album by American jazz guitarist Grant Green featuring performances recorded in 1964 but not released on the Blue Note label until 1979. The Allmusic review by Steve Huey awarded the album 4½ stars and stated "Solid is a bright, hard-charging affair. There's a little modal jazz, but Solid's repertoire is chiefly complex hard bop, full of challenging twists and turns that the players burn through with enthusiasm. Green didn't tackle this kind of material — or play with this kind of group — often, it's a treat to hear him do so on both counts... one of Green's strongest jazz outings and a unique standout in his catalog". "Minor League" – 7:05 "Ezz-Thetic" – 10:41 "Grant's Tune" – 7:01 "Solid" – 7:23 "The Kicker" – 6:23 "Wives and Lovers" – 9:00 Bonus track on CD reissue, from Matador Grant Green - guitar James Spaulding - alto saxophone Joe Henderson - tenor saxophone McCoy Tyner - piano Bob Cranshaw - bass Elvin Jones - drums
Nobody Knows the Trouble I've Seen
"Nobody Knows the Trouble I've Seen" is an African-American spiritual song that originated during the period of slavery but was not published until 1867. The song is well known and many cover versions of it have been done by artists such as Marian Anderson, Lena Horne, Louis Armstrong, Harry James, Paul Robeson, Sam Cooke among others. Anderson had her first successful recording with a version of this song on the Victor label in 1925. Horne recorded a version of the song in 1946. Deep River Boys recorded their version in Oslo on August 29, 1958, it was released on the extended play Negro Spirituals Vol. 1. The song was arranged by Harry Douglas, it is one of the five spirituals included in the oratorio A Child of Our Time, first performed in 1944, by the classical composer Michael Tippett. Nobody knows the trouble I've been through Nobody knows my sorrow Nobody knows the trouble I've seen Glory hallelujah! Sometimes I'm up, sometimes I'm down Oh, Lord Sometimes I'm to the ground Oh, LordAlthough you see me going'long so Oh, Lord I have my trials here below Oh, LordIf you get there before I do Oh, Lord Tell all-a my friends I'm coming to Heaven!
Oh, Lord The song appeared as "Nobody Knows The Trouble I've Had" in 1867 in Slave Songs of the United States with additional verses. The Jubilee Singers sang a song with a similar chorus and with different tune and lyrics, entitled "Nobody Knows the Trouble I See," first published in 1872; the second line or fourth line is changed in some renditions to be "Nobody knows but Jesus". The song appears in the disc of the year 1973 "Mocedades 5" of the Spanish group Mocedades. On the late 19th century African-American music began to appear in classical music art forms, in arrangements made by black composers such as Samuel Coleridge-Taylor, Henry Thacker Burleigh and J. Rosamond Johnson. Johnson made an arrangement of "Nobody Knows the Trouble I See" for voice and piano in 1917, when he was directing the New York Music School Settlement for Colored People. American violinist Maud Powell was the first European-American solo concert artist to perform classical arrangements of spirituals in concerts, and, where she interpreted classical and contemporary pieces by composers like Dvorak and Sibelius.
After Powell's suggestion, J. R. Johnson made an arrangement of "Nobody Knows the Trouble I See" for piano and violin in 1919. Powell got to play this in a fall program she organized, she died that November. Recent interpretations of the classical version of this spiritual have been made by a Chicago violinist, Rachel Barton Pine, working along the lines of Powell's legacy. A black American soldier during the second episode of Roberto Rossellini's Paisan sings this song to a little Italian boy. Bing Crosby included the song in a medley on his album 101 Gang Songs. In the Bonanza episode "The Smiler", a portion is sung by Herschel Bernardi, Hy Terman; the song is sung in episode 1 of the Doctor Who serial The Evil of the Daleks when the Second Doctor and Jamie McCrimmon are in a coffee bar. In his Jazz album of 1978, Ry Cooder added the couplet "Nobody knows the trouble I see, Nobody knows but me" based on the song, as an opening to his version of Nobody composed and sung by Bert Williams. Balki Bartokomous sings a line from the song in Season 2 Episode 5 of Perfect Strangers.
Part of the song was sung by Princess Vespa in the cult movie Spaceballs. In this version, the lyric is changed to "Nobody know the trouble I've seen / Nobody knows but Jesus". In the film Police Academy 4: Citizens on Patrol, Lt. Proctor sings this song in prison while running a metal cup along the bars. In The Fresh Prince of Bel-Air season 1, the main character Will Smith plays it on the piano. In the Wee Sing video "Wee Sing in the Big Rock Candy Mountains", the song is sung by Little Bunny Foo Foo to express his sorrow after he is turned into a goon by the Good Fairy for bopping the Meecy Mice. In The Lion King, Zazu sings the song to Scar while under captivity. A line of the song is used in the Dexter's Laboratory episode "Dee Dee Be Deep" The song was sung in the Recess episode "The Voice". Actor and singer Robert Goulet sang it as Mikey. In children's adventure game Freddi Fish 3: The Case of the Stolen Conch Shell, Luther's Uncle Blemmy sings two bars of the song woefully while unlawfully imprisoned.
In Freddi Fish 4: The Case of the Hogfish Rustlers of Briny Gulch, Luther sings one bar of the song when Freddi and Luther are locked up in a jail. The line "Nobody Knows the Trouble I've Seen" is used to end the second verse of "You Know What They Do to Guys Like Us in Prison" by My Chemical Romance. Part of the song was sung in the first verse of "Monument" by A Day To Remember. In Season 5 Episode 16 "Subway, Somehow" of the sitcom "The New Adventures Of Old Christine", it is sung by Christine Campbell while she is stuck in a subway station; the song can be heard on a radio in Silent Hill: Downpour. In Episode 10 "Shopping" of season 1 of The Goldbergs, it is sung by Bevery Goldberg locked up in a mall jail. Dr. John covered the song on his album Ske-Dat-De-Dat: The Spirit of Satch. A quote from the song is used as the opening quote of "Nobody Knows the Trubel I've Seen" of the TV show Grimm. Line 1 & 2 was sung in the show Tyler Perry's House of Payne in Volume 9. In the episode of The Muppet Show featuring John Denver, Denver responds to some mushroom shaped Muppets by singing "Nobody knows the truffles I've seen!"
Rich Hall's BBC Four documentary "Rich Hall's the Dirty South " features the song sung by The Dixie Humming