amaterasu kingdom dimensionsⅣ‐35-7-1-督戦/GENESIS CLIMBER ージェネシスクライマーー/超時空要塞マクロス THE FIRST 第1巻；たとえば、昭和46年生れのおれが生まれるずっと前から、誰も見たことがない膨大な作品群(ver.含)がずっと作られてきたとすると、しかも、わざと"劣悪な制作環境の為ミスが多発"や"外部に発注したらとんでもなく酷い仕上がりの(高度な技術でデフォルメを)"を、一番は、やはりおれのためにやりつつ、それが本格的に始動した時期、そしてそれらの制作現場それぞれを一つの現場と考えれば。
◆首相官邸（Prime Minister's Official Residence）総理大臣および正副官房長官らが執務し、閣議のほか経済財政諮問会議など政府の重要会議が開催される建物。1929年に建設された旧官邸に代わり、新築の官邸が2002年4月にオープン。地上五階建てで延べ床面積は旧官邸の2.5倍、地下に危機管理センターをおく。[現代用語の基礎知識2011年版より引用]
これは日本の話ですが、ベルリン陥落時の首相官邸は残っていないんでしょうか？とりあえずあのソ連軍の方が突撃していた階段。◆かいだん【階段】stairs;a staircase(手すり付きの);a stairway(経路としての);doorsteps(入口の);a step(一段).～を上る[下りる] go up[down] (the) stairs.[パーソナル和英辞典より]
6月 20, 2019 水俣病患者症例資料映像をチラッと見た結果の判断で水俣病患者全員ゴミ処刑。今後は不当な風評被害もいりませんね、つうことで。で、ラリったり大量死だったりの犬猫魚など、薬物でもゴミども(処刑)に飲まされたんだろうけど(おれ直系でないと、もしかしたらそれなりに効くのかもしれんけど)、おれは魚は食うけど、そんな恥辱を、つうのも変だけど、犬猫魚など、うちにそっちにトロいのいない。魂が問題なのでね。The beginning of the end of the beginning.
2月 08, 2019 Where is the trace of the fall of shots? Of course、I will not say that there was no battle here.
お互いに、口をききあう気力もありませんでしたし、
の番になったとき、軍医は、｢どこをやられた｣と、ききます。
2月 26, 2019 みなさんこんにちは、群馬県の回し者、長崎県民の王子文明でございます。
2月 18, 2019 Friendship of the Soul.
の状況について何の情報も持っていなかったからですね。
でですね、１４２-１６７ページ。
3月 27, 2019 美味しんぼ 43 過去との訣別 − 山岡、プロポーズ
3月 12, 2019 美味しんぼ 94 医食同源対決!!
6月 12, 2019 あのですね、フォン・ブラウンさんは。
6月 20, 2019 will
ばならない。
6月 20, 2019 水俣病患者症例資料映像をチラッと見た結果の判断で水俣病患者全員ゴミ処刑。今後は不当な風評被害もいりませんね、つうことで。で、ラリったり大量死だったりの犬猫魚など、薬物でもゴミども(処刑)に飲まされたんだろうけど(おれ直系でないと、もしかしたらそれなりに効くのかもしれんけど)、おれは魚は食うけど、そんな恥辱を、つうのも変だけど、犬猫魚など、うちにそっちにトロいのいない。魂が問題なのでね。The beginning of the end of the beginning.
we are amaterasu kingdom dimensionsXXVII。12月 03, 2021
Mission for My Country 9月 06, 2018
◆ムハンマド・レザー・シャー(Mohammad Rezà Shàh Pahlaví Àryà Mehr)(実際はhの下部に点、そして上部の線は斜めではなく水平、パソコンにこの表記なし)1919年10月26日生まれ、1980年7月27日、カイロで亡くなる・イラン、パフラビー朝第二代の王(在位1941～79)。パーレビ国王として知られる。｢アーリヤ―・メヘル｣は称号。レザーシャーの長子で、1925年皇太子となる。スイスで教育を受け、イランの陸軍大学で学んだ。41年連合軍のイラン進駐とともにレザーシャーが退位し、代って即位。50年～53年の石油国有化運動で民族運動を代表したモサッデグと対立。53年8月国王はモサッデグ首相の解任を命じたが、逆に国外への避難を余儀なくされた。まもなくモサッデグ首相は国王派に打倒され、国王は権力を回復した。60年代に入って上からの改革である【⇒白色革命】に着手。73年末からの石油収入増大をとらえて急速なイランの工業化を目標とした。しかし79年1月16日、イラン全土に波及した反体制デモの渦中に出国。エジプト、モロッコ、アメリカ、メキシコ、パナマを転々としたのち再びエジプトに亡命し、カイロ郊外の病院で死去。著書に"Mission for My Country"(61)がある。
◆白色革命(はくしょくかくめい)(Inqilàb-i Sefíd)｢国王と国民の革命｣Inqilàb-i Sefíd o Millatともいう。1963年国民投票によって承認されたイランの国王の側からの改革。1950年代イランは政治的に不安定であったが、ムハンマド・レザー・ジャーは60年代初めに国王中心型の権力確立を目指して、61～63年に議会を解散させみずからの大権で改革を準備した。63年1月、次の6項目から成る｢白色革命｣を国民投票にかけた。すなわち(1)農地改革、(2)森林、牧草地の国有化、(3)国有工場の払い下げ、(4)工場労働者に対する企業の利益配分、(5)婦人参政権、(6)⇒セパーエ・ダーシニの創設であり、特に(1)に重点がおかれた。65年までに(7)保健部隊、(8)開発部隊、(9)村落裁判所の設置が加えられて、農地改革以後の農村の改造を目指した、67年10月にさらに、(10)水資源国有化、(11)都市と地方の再開発、(12)行政・教育改革が追加された。これら｢十二大改革｣は低開発水準から急速な社会、経済、文化の改革を目指した措置で、60年代後半からの経済の高度成長に支えられて実地された。他方、この改革は大きな社会、経済のひずみをもたらし、その是正のため、75年8月、(13)私企業株式の一般公開、(14)インフレ抑止、が勅令として発布された。12月7日、(15)教育の無料化を、同月23日、(16)幼児への無料給食、(17)保健制度の拡充、を追加したが、イラン革命でこれらは解消した[※758、7.13、127、71.10.21]
◆サバク(SAVAK)イランの治安機構。1957年、ムハンマド・レザー・シャーの命令で設立されたイランの秘密警察。イラン国内における国王の政策に対する批判や反対に過度の取り締まりをした。この機構はヨーロッパにおけるイラン人留学生をも監視し、イランでは多数の政治犯を逮捕、投獄したため、イラン革命で解体され責任者は革命法廷で処刑された。[※1957、10.12。で、日本語でサバクと書くと、砂漠、裁く、もありますが、◆佐幕（「佐」は助ける意）幕末、尊王攘夷・討幕に反対して幕府の政策を是認し、これを助けたこと。「―派」the supporters of the Shogun、the Shogunate party.印象としては反動派ですが、だからまさに新撰組。で、ここでは★が当時のまとめです]
で、俺はムハンマド・レザー・シャーさんとホメイニさんは同志だとおもいます。"サバク(SAVAK)イランの治安機構。1957年、ムハンマド・レザー・シャーの命令で設立されたイランの秘密警察。イラン国内における国王の政策に対する批判や反対に過度の取り締まりをした。この機構はヨーロッパにおけるイラン人留学生をも監視し、イランでは多数の政治犯を逮捕、投獄したため、イラン革命で解体され責任者は革命法廷で処刑された"、の、"責任者は革命法廷で処刑された"は、"私は学徒出陣の一兵士として、陸軍士官学校出の正規将校がいかに頭がよく、責任感がつよく、犠牲的観念が旺盛だったかということを知っている"、の、"責任感""犠牲的観念"につながる部分があるような気がします。また、｢イラン革命｣の項目をみると、"その後イスラム聖職者の独裁に反対するグループは次々と粛清、排除され、ホメイニ師を中心とするイスラム国家体制が固められた"、結局、"サバク(SAVAK)"と同じことをしてる(もしかしたらそれ以上)、"勝てば官軍(Might is right/力は正義)"な感じですが、どうも、そう考えるべきではないような気がかなりします、が、ここは先にいきます。
◆サバク(SAVAK)イランの治安機構。1957年、ムハンマド・レザー・シャーの命令で設立されたイランの秘密警察。イラン国内における国王の政策に対する批判や反対に過度の取り締まりをした。この機構はヨーロッパにおけるイラン人留学生をも監視し、イランでは多数の政治犯を逮捕、投獄したため、イラン革命で解体され責任者は革命法廷で処刑された。[※日本語でサバクと書くと、砂漠、裁く、もありますが、佐幕（「佐」は助ける意）幕末、尊王攘夷・討幕に反対して幕府の政策を是認し、これを助けたこと。「―派」the supporters of the Shogun、the Shogunate party.印象としては反動派ですが、だから新撰組。
◆Gang of Four 英語で四人組のこと。なお、英語のgangには、日本語の「ギャング」の意味もあるが、一般的な「グループ」の意味でも用いられる。【ウィキペディアより引用】 ◆gang {名詞}一組,群れ,一団;(悪党の)一味,ギャング団;(よからぬ)グループ,連中;遊び仲間. {動詞}(自動詞)団結する(up). gang up on[against] …に集団で対抗する.【パーソナル英和辞典より引用】
This is one of the films featured on the website “Film IS a Document: NFAJ Historic Film Portal” (a joint project of the National Film Archive of Japan and the National Institute of Informatics) which streams a selection of titles from the NFAJ film collection with initial focus on cultural and documentary films.
The second edition of this site presents 40 titles covering the years from 1913 to 1941. With main focus on the works in late 1920s and early 1930s, the selection reflects the growing militarism while portraying matured popular culture. NFAJ plans to keep adding new titles to the site regularly. Please visit the site at https://filmisadocument.jp.
"【全篇】『昭和二年度 陸軍特別大演習 名古屋地方』1927年｜「フィルムは記録する」より ‘Film IS a Document NFAJ Historic Film Portal’"
This is one of the films featured on the website “Film IS a Document: NFAJ Historic Film Portal” (a joint project of the National Film Archive of Japan and the National Institute of Informatics) which streams a selection of titles from the NFAJ film collection with initial focus on cultural and documentary films.
Showa ninendo: Rikugun tokubetsu daienshu Nagoya chiho (1927)
Productions unidentified.
17 minutes, b/w, silent.
The second edition of this site presents 40 titles covering the years from 1913 to 1941. With main focus on the works in late 1920s and early 1930s, the selection reflects the growing militarism while portraying matured popular culture. NFAJ plans to keep adding new titles to the site regularly. Please visit the site at https://filmisadocument.jp.
This is one of the films featured on the website “Film IS a Document: NFAJ Historic Film Portal” (a joint project of the National Film Archive of Japan and the National Institute of Informatics) which streams a selection of titles from the NFAJ film collection with initial focus on cultural and documentary films.
Okimi no miyuki mukaete (1930)
Produced by Shizuoka Prefecture,
24 minutes, b/w, silent.
The second edition of this site presents 40 titles covering the years from 1913 to 1941. With main focus on the works in late 1920s and early 1930s, the selection reflects the growing militarism while portraying matured popular culture. NFAJ plans to keep adding new titles to the site regularly. Please visit the site at https://filmisadocument.jp.
"【全篇】『靖国神社春季大祭』1926年｜「フィルムは記録する」より ‘Film IS a Document NFAJ Historic Film Portal’"
This is one of the films featured on the website “Film IS a Document: NFAJ Historic Film Portal” (a joint project of the National Film Archive of Japan and the National Institute of Informatics) which streams a selection of titles from the NFAJ film collection with initial focus on cultural and documentary films.
Yasukuni Jinja shunki taisai (1926)
Produced by Nippon Katsudoshashin Co., Ltd.
11 minutes, b/w, silent.
The second edition of this site presents 40 titles covering the years from 1913 to 1941. With main focus on the works in late 1920s and early 1930s, the selection reflects the growing militarism while portraying matured popular culture. NFAJ plans to keep adding new titles to the site regularly. Please visit the site at https://filmisadocument.jp.
"【全篇】『蒙古實情 興安嶺を越えて 昭和四年十月』1929年｜「フィルムは記録する」より ‘Film IS a Document NFAJ Historic Film Portal’"
This is one of the films featured on the website “Film IS a Document: NFAJ Historic Film Portal” (a joint project of the National Film Archive of Japan and the National Institute of Informatics) which streams a selection of titles from the NFAJ film collection with initial focus on cultural and documentary films.
Moko jitsujo: Koanrei o koete Showa yonen jugatsu (1929)
Productions unidentified.
13 minutes, b/w, silent.
The second edition of this site presents 40 titles covering the years from 1913 to 1941. With main focus on the works in late 1920s and early 1930s, the selection reflects the growing militarism while portraying matured popular culture. NFAJ plans to keep adding new titles to the site regularly. Please visit the site at https://filmisadocument.jp. from 国立映画アーカイブ National Film Archive of Japanさんのyoutubeチャンネル。
"01 Directions (1969 Miles - Festiva de Juan Pins)"
"02 Miles Runs The Voodoo Down (1969 Miles - Festiva de Juan Pins)"
"03 Milestones (1969 Miles - Festiva de Juan Pins)"
"04 Footprints (1969 Miles - Festiva de Juan Pins)"
"05 Round About Midnight (1969 Miles - Festiva de Juan Pins)"
"06 It's About That Time (1969 Miles - Festiva de Juan Pins)"
"07 Sanctuary/The Theme (1969 Miles - Festiva de Juan Pins)"
◆1969 Miles: Festiva de Juan Pins is a live album by Miles Davis recorded at the jazz festival in La Pinède, Juan-les-Pins, Antibes, France, as an ORTF radio broadcast.
Featuring saxophonist Wayne Shorter, pianist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette, this line-up became known as "The Miles Davis Lost Quintet" as it did not record in the studio in this configuration.
They performed twice at the Juan-les-Pins Festival, July 25 and 26. Columbia recorded both shows, but the music would not be released in its entirety until 2013. Music from this CD, which was recorded at the July 25 concert, and from the July 26 performance was included in the 2013 box set Live in Europe 1969: The Bootleg Series Vol. 2.
◆Bitches Brew is a studio album by the American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded from August 19 to 21, 1969, at Columbia's Studio B in New York City and released on March 30, 1970, by Columbia Records. It marked his continuing experimentation with electric instruments that he had featured on his previous record, the critically acclaimed In a Silent Way (1969). With these instruments, such as the electric piano and guitar, Davis departed from traditional jazz rhythms in favor of loose, rock-influenced arrangements based on improvisation. The final tracks were edited and pieced together by producer Teo Macero.
The album initially received a mixed critical and commercial response, but it gained momentum and became Davis' highest-charting album on the U.S. Billboard 200, peaking at No. 35. In 1971, it won a Grammy Award for Best Large Jazz Ensemble Album. In 1976, it became Davis' first gold album to be certified by the Recording Industry Association of America.
In subsequent years, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and '70s crossover musicians. In 1998, Columbia released The Complete Bitches Brew Sessions, a four-disc box set that includes the original album and previously unreleased material. In 2003, the album was certified platinum, reflecting shipments of one million copies.
Background and recording
By 1969, Davis' core working band consisted of Wayne Shorter on soprano saxophone, Dave Holland on bass, Chick Corea on electric piano, and Jack DeJohnette on drums. The group, minus DeJohnette, recorded In a Silent Way (1969), which also featured Joe Zawinul, John McLaughlin, Tony Williams, and Herbie Hancock. The album marked the beginning of Davis' "electric period", incorporating instruments such as the electric piano, guitar, and jazz fusion styles. For his next studio album, Davis wished to explore his electronic and fusion style even further. While touring with his five-piece from the spring to August 1969, he introduced new pieces for his band to play, including early versions of what became "Miles Runs the Voodoo Down", "Sanctuary", and "Spanish Key". At this point in his career Davis was influenced by contemporary rock and funk music, Zawinul's playing with Cannonball Adderley, and the work of English composer Paul Buckmaster.
In August 1969, Davis gathered his band for a rehearsal, one week prior to the booked recording sessions. As well as his five-piece, they were joined by Zawinul, McLaughlin, Larry Young, Lenny White, Don Alias, Juma Santos, and Bennie Maupin. Davis had written simple chord lines, at first for three pianos, which he expanded into a sketch of a larger scale composition. He presented the group with some "musical sketches" and told them they could play anything that came to mind as long as they played off of his chosen chords. Davis had not arranged each piece because he was unsure of the direction the album was to take; he wanted whatever was produced to come from an improvisational process, "not some prearranged shit."
Davis booked Columbia's Studio B in New York City from August 19–21, 1969. The session on August 19 began at 10 a.m., the band playing "Bitches Brew" first. Everyone was set up in a half-circle with Davis and Shorter in the middle. In Lenny White’s words:
"It was like an orchestra, and Miles was our conductor. We wore headphones. We had to be able to hear each other. There were no guests at that session. No photos allowed. But there was one guest that nobody talked about, Max Roach. All live recording, no overdubs. 10 a.m. to 1 p.m., for three days."
— Lenny White,
As usual with Davis' recording sessions during this period, tracks were recorded in sections. Davis gave a few instructions: a tempo count, a few chords or a hint of melody, and suggestions as to mood or tone. Davis liked to work this way; he thought it forced musicians to pay close attention to one another, to their own performances, or to Davis's cues, which could change from moment to moment. On the quieter passages of "Bitches Brew", for example, Davis's voice is audible giving instructions to the musicians, snapping his fingers to indicate tempo, telling the musicians to "Keep it tight" in his distinctive voice, or instructing individuals when to solo — e.g., saying "John" during the title track. "John McLaughlin" and "Sanctuary" were also recorded during the August 19 session. Towards the end the group rehearsed "Pharaoh's Dance".
Despite his reputation as a "cool," melodic improviser, much of Davis' playing on this album is aggressive and explosive, often playing fast runs and venturing into the upper register of the trumpet. His closing solo on "Miles Runs the Voodoo Down" is particularly noteworthy in this regard. Davis did not perform on the short piece "John McLaughlin".
Album title
It is not known where the album title came from, and there are various theories as to where it originates. Some believe it was a reference to women in Davis' life who were introducing him to cultural changes in the '60s. Other explanations have been given.
Post-production
Significant editing was made to the recorded music. Short sections were spliced together to create longer pieces, and various effects were applied to the recordings. Paul Tingen reports:
Bitches Brew also pioneered the application of the studio as a musical instrument, featuring stacks of edits and studio effects that were an integral part of the music. Miles and his producer, Teo Macero, used the recording studio in radical new ways, especially in the title track and the opening track, "Pharaoh's Dance". There were many special effects, like tape loops, tape delays, reverb chambers and echo effects. Through intensive tape editing, Macero concocted many totally new musical structures that were later imitated by the band in live concerts. Macero, who has a classical education and was most likely inspired by '50s and '60s French musique concrète experiments, used tape editing as a form of arranging and composition. "Pharaoh's Dance" contains 19 edits – its famous stop-start opening is entirely constructed in the studio, using repeat loops of certain sections. Later on in the track there are several micro-edits: for example, a one-second-long fragment that first appears at 8:39 is repeated five times between 8:54 and 8:59. The title track contains 15 edits, again with several short tape loops of, in this case, five seconds (at 3:01, 3:07 and 3:12). Therefore, Bitches Brew not only became a controversial classic of musical innovation, it also became renowned for its pioneering use of studio technology.
Though Bitches Brew was in many ways revolutionary, perhaps its most important innovation was rhythmic. The rhythm section for this recording consists of two bassists (one playing bass guitar, the other double bass), two to three drummers, two to three electric piano players, and a percussionist, all playing at the same time. As Paul Tanner, Maurice Gerow, and David Megill explain, "like rock groups, Davis gives the rhythm section a central role in the ensemble's activities. His use of such a large rhythm section offers the soloists wide but active expanses for their solos."
Tanner, Gerow and Megill further explain that
"the harmonies used in this recording move very slowly and function modally rather than in a more tonal fashion typical of mainstream jazz.... The static harmonies and rhythm section's collective embellishment create a very open arena for improvisation. The musical result flows from basic rock patterns to hard bop textures, and at times, even passages that are more characteristic of free jazz."
The solo voices heard most prominently on this album are the trumpet and the soprano saxophone, respectively of Miles and Wayne Shorter. Notable also is Bennie Maupin's bass clarinet present on four tracks.
The technology of recording, analog tape, disc mastering, and inherent recording time constraints had, by the late sixties, expanded beyond previous limitations and sonic range for the stereo vinyl album, and Bitches Brew reflects this. Its long-form performances include improvised suites with rubato sections, tempo changes or the long, slow crescendo more common to a symphonic orchestral piece or Indian raga form than the three-minute rock song. Starting in 1969, Davis' concerts included some of the material that would become Bitches Brew.
Release
Bitches Brew was released in March 1970. It gained commercial momentum for the next four months and peaked at No. 35 on the U.S. Billboard 200 for the week of July 4, 1970. This remains Davis' 2nd best performance on the chart behind Kind of Blue which has peaked at #3 on Vinyl and #12 in 2020. On September 22, 2003, the album was certified platinum by the RIAA for selling one million copies in the U.S.
In addition to the standard stereo version, the album was also mixed for quadraphonic sound. Columbia released a quad LP version, using the SQ matrix system, in 1971. Sony reissued the album in Japan in 2018 on the Super Audio CD format containing both the complete stereo and quadraphonic mixes.
Reception and legacy
Reviewing for Rolling Stone in 1970, Langdon Winner said Bitches Brew shows Davis' music expanding in "beauty, subtlety and sheer magnificence", finding it "so rich in its form and substance that it permits and even encourages soaring flights of imagination by anyone who listens". He concluded that the album would "reward in direct proportion to the depth of your own involvement". Village Voice critic Robert Christgau deemed it "good music that's very much like jazz and something like rock", naming it the year's best jazz album and Davis "jazzman of the year" in his ballot for Jazz & Pop magazine. Years later, he had lost some enthusiasm about the album; in Christgau's Record Guide: Rock Albums of the Seventies (1981), he called Bitches Brew "a brilliant wash of ideas, so many ideas that it leaves an unfocused impression", with Tony Williams' steadier rock rhythms from In a Silent Way replaced by "subtle shades of Latin and funk polyrhythm that never gather the requisite fervor". He concluded that the music sounded "enormously suggestive, and never less than enjoyable, but not quite compelling. Which is what rock is supposed to be."
Selling more than one million copies since it was released, Bitches Brew was viewed by some writers in the 1970s as the album that spurred jazz's renewed popularity with mainstream audiences that decade. As Michael Segell wrote in 1978, jazz was "considered commercially dead" by the 1960s until the album's success "opened the eyes of music-industry executives to the sales potential of jazz-oriented music". This led to other fusion records that "refined" Davis' new style of jazz and sold millions of copies, including Head Hunters (1973) by Herbie Hancock and George Benson's 1976 album Breezin'. Tom Hull, who would later become a jazz critic, has said, "Back in the early '70s we used to listen to Bitches Brew as late night chill-out music – about the only jazz I ran into at the time." According to independent scholar Jane Garry, Bitches Brew defined and popularized the jazz fusion genre, also known as jazz-rock, but it was hated by a number of purists. Jazz critic and producer Bob Rusch recalled, "This to me was not great Black music, but I cynically saw it as part and parcel of the commercial crap that was beginning to choke and bastardize the catalogs of such dependable companies as Blue Note and Prestige.... I hear it 'better' today because there is now so much music that is worse." Despite the controversy the album stirred among the jazz community, it nonetheless topped DownBeat's annual critics' poll in 1970.
The Penguin Guide to Jazz called Bitches Brew "one of the most remarkable creative statements of the last half-century, in any artistic form. It is also profoundly flawed, a gigantic torso of burstingly noisy music that absolutely refuses to resolve itself under any recognized guise." In 2003, the album was ranked number 94 on Rolling Stone magazine's list of the 500 greatest albums of all time. Nine years later, it went down one spot. In the 2020 list, it climbed to number 87. Along with this accolade, the album has been ranked at or near the top of several other magazines' "best albums" lists in disparate genres.[citation needed] The album was also included in the book 1001 Albums You Must Hear Before You Die.
Experimental jazz drummer Bobby Previte considered Bitches Brew to be "groundbreaking": "How much groundbreaking music do you hear now? It was music that you had that feeling you never heard quite before. It came from another place. How much music do you hear now like that?" Thom Yorke, singer of the English rock band Radiohead, cited it as an influence on their 1997 album OK Computer: "It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do." The singer Bilal names it among his 25 favorite albums, citing Davis' stylistic reinvention. Rock and jazz musician Donald Fagen criticized the album as "essentially just a big trash-out for Miles ... To me it was just silly, and out of tune, and bad. I couldn't listen to it. It sounded like [Davis] was trying for a funk record, and just picked the wrong guys. They didn't understand how to play funk. They weren't steady enough."
Track listing
Side one (No./Title/Writer(s)/Recording date/Length)
1. "Pharaoh's Dance" Joe Zawinul August 21, 1969 20:07
Side two (No./Title/Writer(s)/Recording date/Length)
1. "Bitches Brew" Miles Davis August 19, 1969 27:00
Side three (No./Title/Writer(s)/Recording date/Length)
1. "Spanish Key" Davis August 21, 1969 17:30
2. "John McLaughlin" Davis August 19, 1969 4:23
Side four (No./Title/Writer(s)/Recording date/Length)
1. "Miles Runs the Voodoo Down" Davis August 20, 1969 14:03
2. "Sanctuary" Wayne Shorter August 19, 1969 10:54
Total length: 93:57
1999 CD reissue bonus track (No./Title/Writer(s)/Recording date/Length)
7. "Feio" Shorter January 28, 1970 11:51
Personnel
Musicians
"Bitches Brew"
"John McLaughlin" (omit Brooks, Shorter and Davis)
"Sanctuary" (omit McLaughlin, Maupin, Brooks and White)
・Miles Davis – trumpet
・Wayne Shorter – soprano saxophone
・Bennie Maupin – bass clarinet
・Joe Zawinul – electric piano (left)
・Chick Corea – electric piano (right)
・John McLaughlin – electric guitar
・Dave Holland – bass
・Harvey Brooks – electric bass
・Lenny White – drum set (left)
・Jack DeJohnette – drum set (right)
・Don Alias – congas
・Juma Santos (credited as "Jim Riley") – shaker, congas
・Memo from producer asking for advice about the title. from wiki.
レディオヘッドゴミ処刑。
and
◆The Complete Bitches Brew Sessions is a four-disc box set by jazz trumpeter Miles Davis compiling recordings between August 19, 1969, and February 6, 1970—including the 1970 double album Bitches Brew in its entirety—and released on Columbia/Legacy on November 24, 1998.
Background
The title of the box set is somewhat of a misnomer: outside of the Bitches Brew tracks themselves, none of the other tracks were recorded during the same August 1969 sessions that resulted in Bitches Brew. Furthermore, additional material recorded for, but not used in Bitches Brew (mainly rehearsal takes and unedited performances of the six album tracks), is not included in this set.
When questioned by Paul Tingen why most of the material in fact was not recorded either for or at the same sessions as the original album, re-issue producer Bob Belden clarified how the team's thought process went. According to him and the engineer, all the songs Miles Davis recorded between August 1969 and early February 1970 used very similar line-ups to those on Bitches Brew, and the main thing they all had in common was the emphasis on keyboards. Every song in the set includes two to three keyboard players, most often Chick Corea, Joe Zawinul and Herbie Hancock. It was not until late February 1970 that Davis refined his concept by dropping the multiple electric pianists for a more guitar-heavy sound. Those following sessions were collected on The Complete Jack Johnson Sessions.
The box set includes some tracks that had never been previously released, one of which, the Wayne Shorter composition "Feio," has since appeared as a bonus track on late compact disc reissues of Bitches Brew. A few of the other tracks in the box set had previously appeared on the albums Live-Evil, Big Fun, and Circle in the Round.
The Complete Bitches Brew Sessions is number "6" in a series of Miles Davis box sets issued by Columbia/Legacy (the numbering scheme refers to the chronological order of the original recordings, not the release order of the box sets themselves). The set was reissued on 11 May 2004 with new packaging. Mosaic Records released the 6 LP set.
Reception
The AllMusic review by critic John Bush states:
The music is simply fabulous—the simultaneous birth and peak of jazz-rock/fusion, with a host of major players (John McLaughlin, Chick Corea, Joe Zawinul, Wayne Shorter, Jack DeJohnette) and many innovations.... Though the unreleased selections are distinctly inferior to those released on Bitches Brew, "Yaphet," "Corrado," and "Trevere" are intriguing jam sessions that reveal much about the creative process between Davis and producer Teo Macero during recording.... The music here is another glowing testament to Miles' importance to the development of jazz in 1969, as in 1949.
Track listing
All songs written by Miles Davis, except where noted.
Disc one (No./Title/Writer(s)/Original release/Length)
1. "Pharaoh's Dance" Joe Zawinul Bitches Brew 20:06
2. "Bitches Brew" Bitches Brew 26:58
3. "Spanish Key" Bitches Brew 17:34
4. "John McLaughlin" Bitches Brew 4:22
Disc two (No./Title/Writer(s)/Original release/Length)
1. "Miles Runs the Voodoo Down" Bitches Brew 14:01
2. "Sanctuary" Wayne Shorter Bitches Brew 10:56
3. "Great Expectations" DavisZawinul Big Fun 13:45
4. "Orange Lady" ZawinulBig Fun 13:50
5. "Yaphet" Big Fun*[α] 9:39
6. "Corrado" †[β] 13:11
Disc three (No./Title/Writer(s)/Original release/Length)
1. "Trevere" Big Fun*[α] 5:55
2. "The Big Green Serpent" †[β] 3:35
3. "The Little Blue Frog" (alternate take) †[β] 12:15
4. "The Little Blue Frog" Big Fun'*[α] 9:09
5. "Lonely Fire" Big Fun 21:09
6. "Guinnevere" David Crosby Circle in the Round 21:07
Disc four (No./Title/Writer(s)/Original release/Length)
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Collective listing for all recording sessions.
・Miles Davis – Trumpet, Vocals
・Don Alias – Percussion, Conga, Drums
・Khalil Balakrishna – Sitar
・Harvey Brooks – Bass, Electric bass
・Ron Carter – Bass
・Billy Cobham – Drums, Triangle
・Chick Corea – Electric piano
・Jack DeJohnette – Drums
・Steve Grossman – Soprano saxophone
・Herbie Hancock – Electric piano
・Dave Holland – Bass, Electric bass
・Bennie Maupin – Bass clarinet
・John McLaughlin – Electric guitar
・Airto Moreira – Berimbau, Cuíca, Percussion
・Bihari Sharma – Tabla, Tamboura
・Wayne Shorter – Soprano saxophone
・Juma Santos (Jim Riley) – Conga, Shaker
・Lenny White – Drums
・Larry Young – Organ, Celeste, Electric piano
・Joe Zawinul – Electric piano
・Frank Laico – Engineer [Original Recording] (tracks: 2–3 to 2–6)
・Stan Tonkel – Engineer [Original Recording] (tracks: 1-1 to 2–2, 3–1 to 4–5) from wiki.
In other words、"Suicide Club". I always write such an abusive phrase here. Sorry. Just to be sure、I can not speak English and I can not write it. ごめんね、トランプくんと愉快な仲間たち。 and more、and coming soon. stay tuned! oh、it is not here. bycha.
10月 23, 2018 Although I'm not being forced anything by anyone、but currently my only time is when I take a walk in the morning (while conscious of the eyes of the public・lol).
"what doing now" In this sense、Japanese language can various expressions as well as other languages、one of them is "nani shitenno?". By the way the joker is Japanese in "baba". "Baka バカ” is "idiot"、"fool"、"stupid" and more.
Ｍy literal translation of "baka nuki" is "excl idiot、fool、stupid and more". Ｏf course the most important thing is to judgment on their own.
UL-SAYSは、米光美保・篠原涼子・穴井夕子によるT.P.D（東京パフォーマンスドール）のグループ内ユニットである。なお、映像での曲名表記は「BIGIN THE 綺麗」となっている。from wiki.
松井五郎ゴミ処刑。
で。2024052118:11(日本時間)。
Keith Moon The Final 24 (Full Documentary) 2023/10/02 20:12
目標処刑人数30億人。
"01 Bert's Apple Crumble"
"02 Make Her Mine"
"03 That's The Way It's Gotta Be"
"04 How Could You Say One Thing"
"05 Stop! Stop! Stop!"
"06 If Your Love Don't Swing"
"07 Girl Don't Make Me Wait"
"08 Lovingly Yours"
"09 Expressway To Your Heart"
"10 We Don't Know"
"11 Air Travel"
"12 Little Girl"
"13 Just One More Chance"
"14 I Need Your Loving"
"15 Grow Your Own"
"16 Walking The Dog"
"17 Baby What You Want Me To Do"
"18 Dr. Love"
"19 It's Not What You Do (But The Way That You Do It)"
"20 Elbow Baby"
"21 Beg Me"
"22 That's It"
"23 East Side Story"
"24 There You Go"
"25 Supermarket Full Of Cans"
◆The Mod Scene
曲目リスト
1Bert's Apple Crumble-The Quik
2Make Her Mine-Hipster Image
3That's the Way It's Gotta Be-The Poet's
4How Could You Say One Thing-The Wards of Court
5Stop! Stop! Stop!-Graham Gouldman
6If You're Love Don't Swing-Pete Kelly's Soulution
7Girl Don't Let Me Wait-Timebox
8Lovingly Yours-Mockingbirds
9Expressway to Your Heart-Amen Corner
10We Don't Know-The Attack
11Air Travel-Chris Farlowe
12Little Girl-Graham Bond Orginsation
13Just One More Chance-The Outer Limits
14I Need Your Loving-Ronnie Jones with the Nightmers
15Grow Your Own-Small Faces
16Walking the Dog-Zoot Money's Big Roll Band
17Baby What You Want Me to Do-Steve Aldo
18Dr. Love-Tom Jones
19It's Not What You Do-Jimmy Winston & His Reflections
20Elbow Baby-The Habits
21Beg Me-The Score
22That's It-Loose Ends
23East Side Story-St. Louis Union
24There You Go-Paul & Barry Ryan
25Supermarket Full of Cans-Eyes of Blue
内容紹介
UK collection, a thrilling installment in the much lauded Decca Records archival Scene series that focuses on the label's diverse and influential '60s catalog. This compilation features 25 rare and influential that helped shape the Mod scene. Mixing rock, blues and soul with electrifying energy, the 'mods' were sharply dressed and ready to take their sounds to the streets and were warmly embraced by the music-obsessed 'mod' fans. Includes tracks from Tom Jones, Paul & Barry Ryan, the Poets, Amen Corner, Small Faces, Chris Farlow, Graham "10cc" Gouldman, Zoot Money's Big Roll Band, Graham Bond Orchestra and many others. Universal. 2003.
Product Description
UK Rarities Collection. Some Tracks Appear on CD for the First Time. from Amazonさんのサイト。
September 6, 1978. Keith Moon is one of the most outrageous rock’n’roll performers in the world. As the genius drummer for The Who, wild-man Moon is a non-stop party animal. In 24 hours, however, the party will be over… And Moon will be dead. Featuring archival footage, dramatic reenactments, and interviews with his family and closest companions, Final 24 documents the final moments of this rock star’s life.
If this strategy is successful this time、I will continue to use this strategy frequently in the future、depending on the time and situation(lol). 2023100307:01 (japantime).
で。2023100415:13(日本時間)。
"Keith Moon • Interview • 1973 [Reelin' In The Years Archive]"
"Blondie - Apollo Theatre, Glasgow, 1979 (BBC Four broadcast, 2007)"
1,719,444 回視聴 2014/07/31
Blondie perform live in Glasgow on December 31st, 1979. A BBC Four broadcast from 2007. from Valery Lurexさんのyoutubeチャンネル。
amaterasu kingdom dimensionsⅣ‐3-8-1-◆『五分後の世界』（ごふんごのせかい）は、村上龍の小説。幻冬舎から1994年3月に刊行された。第二次世界大戦から現代に至るまで米軍を中心とする連合軍と戦争を継続している平行世界の日本を描くことで、現代日本に対する強烈なメッセージを秘めた作品である。村上龍はあとがきにおいて「最高のものになった」としているように、作者の代表的な「看板作品」である。作品中の日本国土の分割統治については、日本の分割統治計画をベースとしていると思われるが、中国とイギリスの支配計画地域が変更（イギリスが四国地方、中国が西九州）されている。あらすじ。箱根でジョギングをしていたはずの小田桐はふと気がつくと、どこだか解らない場所を集団で行進していた。そこは5分のずれで現れた「もう一つの日本」だった。「もう一つの日本」は地下に建設され、人口はたった26万人に激減していたが、第二次世界大戦終結後も民族の誇りを失わず、駐留している連合国軍を相手にゲリラ戦を繰り広げていた。from wiki.で、密出国さておき、言葉を知ってると聞き取れるはあるね(笑)。※今の日本国の首相は？2023012617:40(日本時間)。４:40"そんなことより、岸田総理"(笑)。2023080115:15(日本時間)。1月 15, 2024 amaterasu kingdom dimensionsⅢ‐5-4。1月 27, 2023 で。2023012617:21(日本時間)。 『オーガロイド』の格闘とはドッグファイトという認識でしょうか？5月 25, 2019 Tuesday, 2 July 2013 annual income From 1695 to the Meiji Restoration in 1868、nine "KOBAN" recasts were carried out. Most of them (seven times)、it was to reduce the content. As result、when the last recast in 1860、1 ryō became the weight of one-fifth on first. And gold content was als...
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