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180gm vinyl LP pressing. After hitting the top 10 twice with "You're Only Lonely" and his duet with James Taylor, "Her Town Too," JD Southerreleased his only album of the '80's and his last solo effort for two decades 1984's Home By Dawn, produced by David Malloy (Eddie Rabbit, Kenny Rogers, Reba McEntire). As Souther took distinctive creative turns with each release, Home By Dawn emerged at the beginning of the new wave of country music. In fact, legendary producer/engineer, and David's fat

In 1941 Thelonious Monk and Kenny Clarke copyrighted “Epistrophy,” one of the best-known compositions of the bebop era. The song’s title refers to a literary device―the repetition of a word or phrase at the end of successive clauses―that is echoed in the construction of the melody. Written two decades later, Amiri Baraka’s poem “Epistrophe” alludes slyly to Monk’s tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black art.Epistrophies explores this fertile interface through case studies in jazz literature―both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. From James Weldon Johnson’s vernacular transcriptions to Sun Ra’s liner note poems, from Henry Threadgill’s arresting song titles to Nathaniel Mackey’s “Song of the Andoumboulou,” there is an unending back-and-forth between music that hovers at the edge of language and writing that strives for the propulsive energy and melodic contours of music.At times this results in art that gravitates into multiple media. In Duke Ellington’s “social significance” suites, or in the striking parallels between Louis Armstrong’s inventiveness as a singer and trumpeter on the one hand and his idiosyncratic creativity as a letter writer and collagist on the other, one encounters an aesthetic that takes up both literature and music as components of a unique―and uniquely African American―sphere of art-making and performance.

In 1941 Thelonious Monk and Kenny Clarke copyrighted “Epistrophy,” one of the best-known compositions of the bebop era. The song’s title refers to a literary device―the repetition of a word or phrase at the end of successive clauses―that is echoed in the construction of the melody. Written two decades later, Amiri Baraka’s poem “Epistrophe” alludes slyly to Monk’s tune. Whether it is composers finding formal inspiration in verse or a poet invoking the sound of music, hearing across media is the source of innovation in black art.Epistrophies explores this fertile interface through case studies in jazz literature―both writings informed by music and the surprisingly large body of writing by jazz musicians themselves. From James Weldon Johnson’s vernacular transcriptions to Sun Ra’s liner note poems, from Henry Threadgill’s arresting song titles to Nathaniel Mackey’s “Song of the Andoumboulou,” there is an unending back-and-forth between music that hovers at the edge of language and writing that strives for the propulsive energy and melodic contours of music.At times this results in art that gravitates into multiple media. In Duke Ellington’s “social significance” suites, or in the striking parallels between Louis Armstrong’s inventiveness as a singer and trumpeter on the one hand and his idiosyncratic creativity as a letter writer and collagist on the other, one encounters an aesthetic that takes up both literature and music as components of a unique―and uniquely African American―sphere of art-making and performance.

A living legend of Country Music and a worldwide music icon, superstar Kenny Rogers has enjoyed a fascinating five decades in show business, and he tells the full story of his remarkable life and career in Luck or Something Like It. From his days with hit group The First Edition to his sterling solo work, the artist who "knows when to hold 'em and knows when to fold 'em" knows how to tell a captivating life story as well–bringing a golden era of Country Music to life as he recounts his remarkable rise to the top of the charts. An honest, moving, eye-opening view of a musician's life on the road, Luck or Something Like It is the definitive music memoir–a backstage pass to fifty years of performing and recording presented by the one and only Kenny Rogers, one of the bestselling artists ever.

Reveals the development of Maurice Kenny’s growing artistic consciousness, while attesting to both the beauty and brutality of the world in which he lived.Maurice Kenny’s career as a writer, teacher, publisher, and storyteller spanned more than six decades, during which he published over thirty books and became one of the most prominent voices in American poetry. From the early 1970s onward, he was instrumental in the resurgence of Native American literature through both his celebrated volumes of poetry, such as I Am the Sun and the award-winning The Mama Poems, and his work as an editor and publisher.Angry Rain, his bittersweet memoir, reveals this rich literary life by recounting its tumultuous “first half...plus a bit,” a time during which he moved through a series of worlds that all left their marks on him. Kenny begins with his early years spent among his family in the small northern New York city of Watertown and continues through an adolescence marked by both significant awakenings and grievous traumas. Determined, Kenny sets out to seek his fortunes and find his poetic voice, landing in the Jim Crow-era South, in St. Louis, in Indiana, and finally in New York City, where he becomes part of a motley creative group of performers and poets that offers both fascinating inspiration and disheartening rejection. These recollections end with Kenny’s maturation into a poet whose reaffirmed indigenous heritage unified an artistic vision that remained in conversation with a wide range of other themes and traditions until his death in 2016.

Here is the concluding volume of Sir Anthony Kenny's monumental four-volume history of philosophy, the first major single-author narrative history to appear for several decades. Here Kenny tells the fascinating story of the development of philosophy in the modern world, from the early nineteenth century to the end of the millennium. Alongside (and intertwined with) extraordinary scientific advances, cultural changes, and political upheavals, the last two centuries have seen some of the most intriguing and original developments in philosophical thinking, which have transformed our understanding of ourselves and our world. In the first part of the book, Kenny offers a lively narrative introducing the major thinkers in their historical context. Among those we meet are the great figures of continental European philosophy, from Schopenhauer, Kierkegaard, and Nietzsche to Heidegger, Sartre, and Derrida; the Pragmatists such as C.S. Pierce and William James, who first developed a distinctively American philosophical tradition; Marx, Darwin, and Freud, the non-philosophers whose influence on philosophy was immense; and Wittgenstein and Russell, friends and colleagues who set the agenda for analytic philosophy in the twentieth century. Kenny then proceeds to guide the reader lucidly through the nine main areas of philosophical work in the period, offering a serious engagement with ideas and arguments about logic, language, epistemology, metaphysics, ethics, aesthetics, politics, and the existence of God. Graced with many beautiful illustrations, Philosophy in the Modern World concludes Kenny's stimulating history of the intellectual development of Western civilization, allowing readers to trace the birth and growth of philosophy from antiquity to the present day.

Here is the concluding volume of Sir Anthony Kenny's monumental four-volume history of philosophy, the first major single-author narrative history to appear for several decades. In this volume, Kenny tells the fascinating story of the development of philosophy in the modern world, from the early nineteenth century to the end of the millennium. Alongside (and intertwined with) extraordinary scientific advances, cultural changes, and political upheavals, the last two centuries have seen some of the most intriguing and original developments in philosophical thinking, which have transformed our understanding of ourselves and our world. In the first part of the book, Kenny offers a lively narrative introducing the major thinkers in their historical context. Among those we meet are the great figures of continental European philosophy, from Schopenhauer, Kierkegaard, and Nietzsche to Heidegger, Sartre, and Derrida; the Pragmatists such as C.S. Pierce and William James, who first developed a distinctively American philosophical tradition; Marx, Darwin, and Freud, the non-philosophers whose influence on philosophy was immense; and Wittgenstein and Russell, friends and colleagues who set the agenda for analytic philosophy in the twentieth century. Kenny then proceeds to guide the reader lucidly through the nine main areas of philosophical work in the period, offering a serious engagement with ideas and arguments about logic, language, epistemology, metaphysics, ethics, aesthetics, politics, and the existence of God. Graced with many beautiful illustrations, Philosophy in the Modern World concludes Kenny's stimulating history of the intellectual development of Western civilization, allowing readers to trace the birth and growth of philosophy from antiquity to the present day.

Backed by the rhythm section of the Kenny Clarke-Francy Boland Big Band the two tenor masters reunite a decade after their Prestige recordings for a highly-spirited, tremendously swinging session, graced by some balladic excursions.

Decades before Kenny G there was only one undisputed king of the soprano sax, and it was Sidney Bechet! He is one of the first soloists in jazz music, and the first true sax legend. Some of his best studio recordings ever are presented on this beautifully packaged 3 CD set. Six complete albums with amazing sound quality and legendary playing. Includes a comprehensive 20-page booklet.