#eugene mcdaniels

[plus-low-overthrow]

Richard Roundtree - Gets Hard Sometimes (MGM)

wrt. & prod. Eugene McDaniels, bass. Richard Davis, flute.Hubert Laws, 1972.

Stellar Line-up on this LP! There's a Female version of this song by Merry Clayton 3 or 4 years later.

[radiophd]

eugene mcdaniels -- headless heroes

[jt1674]

[protoslacker]

Ron Carter - Emmett's Ghost - from Dear America by Eric Bibb - #roncarterbassist

Ron Carter Bassist

There are genuine connections and there's apophenia. A random connection is that I was born in the same year that Emmett Till was brutally murdered, It's the same year that the Reverend George W. Lee was murdered. Emmett Till's mother was influenced to have an open casket by Rev. Lee's wife decision to have an open casket. Those are genuine connections.

Hearing this song my random connection to Emmett Till makes the imagery in the song of his ghost still wandering vivid to me.

I saw the collaboration of Ron Carter with Eugene McDaniels, and the song Reverend Lee, which Roberta Flack performs on her second album. I confused Eugene McDaniels with William S. Fischer, someone who Ron Carter also collaborated with on the album Circles. Fischer was born in Mississippi and almost certainly knew about the Reverend George W. Lee's murder. I do not think there is a connection between Rev. George Lee and the Reverend Lee in McDaniels' song. However there's a vividness in the imagery in the song as a dream in the way that dreams are especially vivid.

I still posted the Zinn Education article on The Reverned George W. Lee's murder, because I was so moved by Diane McWorter's recent essay in The Guardian. The spector of white terror is haunting. We live with ghosts.

[miraclerizuin]

music fight

[omegaplus]

# 4,322

Eugene McDaniels: “Jagger The Dagger” from Headless Heroes Of The Apocalypse (1971)

The constant for Gravediggaz’ “Nowhere To Run, Nowhere To Hide”. It’s the second cut featured from Headless Heroes..., a somewhat chilled-out cut from Eugene McDaniels and back-up vocalist Carla Cargill with trickling strings from Miroslav Vitous, Gary King, Alphonse Mouzon on drums, and Harry Whitaker on keys. Meanwhile, RZA and Prince Paul took much of the intro- and ran with it for a good three-and-a-half minutes, turning what was once relaxed into something that’s up to no good.

[burlveneer-music]

A new album from Kahil El’Zabar’s Ethnic Heritage Ensemble today as well - "Open Me, A Higher Consciousness of Sound and Spirit"

This is the new offering from Kahil El’Zabar and his Ethnic Heritage Ensemble, in conjunction with the legendary group’s 50th anniversary, Open Me, A Higher Consciousness of Sound and Spirit. Open Me is a joyous honoring of portent new directions of the Ethnic Heritage Ensemble; it’s a visionary journey into deep roots and future routes, channeling traditions old and new. It mixes El’Zabar’s original compositions with timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. Thus, the Ethnic Heritage Ensemble continues affirming their indelible, half-century presence within the continuum of Great Black Music.  Open Me, El’Zabar’s sixth collaboration with Spiritmuse in five years, marks another entry in a run of critically acclaimed recordings that stretch back to the first EHE recording in 1981. The storied multi-percussionist, composer, fashion designer, and former Chair of the Association of Creative Musicians (AACM) is in what might be the most productive form of his career, and now in his seventies, shows no signs of slowing down. Few creative music units can boast such longevity, and fewer still are touring as energetically and recording with the verve of the Ethnic Heritage Ensemble.  The EHE was founded by El’Zabar in 1974 originally as a quintet, but was soon paired down to its classic form — a trio, featuring El’Zabar on multi-percussion and voice, plus two horns. It was an unusual format, even by the standards of the outward-bound musicians of the AACM: “Some people literally laughed at our unorthodox instrumentation and approach. We were considered even stranger than most AACM bands at the time. I knew in my heart though that that this band had legs, and that my concept was based on logic as it pertains to the history of Great Black Music, i.e. a strong rhythmic foundation, innovative harmonics and counterpoint, well-balanced interplay and cacophony amongst the players, strong individual soloist, highly developed and studied ensemble dynamics, an in-depth grasp of music history, originality, fearlessness, and deep spirituality.” With El’Zabar at the helm, the band’s line-up has always been open to changes, and over the years the EHE has welcomed dozens of revered musicians including Light Henry Huff, Kalaparusha Maurice Macintyre, Joseph Bowie, Hamiett Bluiett, and Craig Harris. The current line-up has been consolidated over two decades — trumpeter Corey Wilkes entered the circle twenty years ago, while baritone sax player Alex Harding joined seven years ago, after having played with El’Zabar since the early 2000s in groups such as Joseph Bowie’s Defunkt.  For Open Me, El’Zabar has chosen to push the sound of the EHE in a new direction by adding string instruments — cello, played by Ishmael Ali, and violin/viola played by James Sanders. The addition of strings opens new textural resonances and timbral dimensions in the Ensemble’s sound, linking the work to the tradition of improvising violin and cello from Ray Nance to Billy Bang, Leroy Jenkins, and Abdul Wadud.  Open Me contains a mixture of originals, including some El’Zabar evergreens such as “Barundi,” “Hang Tuff,” “Ornette,” and “Great Black Music” (often attributed to the Art Ensemble of Chicago but is, in fact,  an El’Zabar composition). There are also numbers drawn from the modern tradition, which El’Zabar uniquely arranges, including a contemplative interpretation of Miles Davis’ “All Blues.” As a milestone anniversary celebration and a statement of future intent, Open Me effortlessly carries El’Zabar’s healing vision of Higher Consciousness of Sound and Spirit.   All compositions by Kahil El’Zabar except tracks ‘All Blues’ by Miles Davis, ‘He’s Got the Whole World in His Hands’ spiritual folk by Unknown, ‘Passion Dance’ by McCoy Tyner and ‘Compared to What’ by Gene McDaniels All arrangements by Kahil El’Zabar Tapestry and Art Direction by Nep Sidhu

[louxosenjoyables]

Jagger the dagger

Eugene mcdaniels

[plus-low-overthrow]

Gladys Knight & The Pips - Summer Sun (Buddah)

wrt. & prod. Eugene McDaniels, 1975.

Sweet one this!

[radiophd]

eugene mcdaniels -- susan jane

[wokeuplaughing]

tagged by the illustrious @garak I love a good tag game I miss en

last played song: according to spotify it is Lunar Rhapsody

favorite song: Cherrystones by Eugene McDaniels this whole album is killer

song of choice: Gettin' By, High and Strange by Kris Kristofferson

five songs on repeat: Everybody's Talkin' by Harry Nilsson, Soul Shadows by the Crusaders and Bill Withers, I Wear Your Ring by Cocteau Twins, and finally Blood Makes Noise by Suzanne Vega

tagging: whoever is reading this. now.

[dustedmagazine]

Kahil El’Zabar’s Ethnic Heritage Ensemble — Open Me, A Higher Consciousness of Sound and Spirit (Spiritmuse)

Photo by Christopher Andrew

Celebrating 50 years of his Ethnic Heritage Ensemble bandleader, activist, educator and percussionist Kahil El’Zabar delves deeply into the music he has helped shape over his long career. Open Me is neither a valedictory nostalgia trip nor a lap of honor. Spanning spiritual and avant-garde jazz, African rhythms, soul blues and protest music, El’Zabar and his cohorts, trumpeter Corey Wilkes and baritone saxophonist Alex Harding, are joined by guests Ishmael Ali on cello and violinist James Sanders in collection of original tunes and finely wrought covers that look forward while linking the threads of El’Zabar’s musical legacy.

The quintet finds a devotional center to Miles Davis’ “All Blues”. El’Zabar plays on kalimba and bells, his hums and ululations a prayerful focus. The band play at a meditative pace with Wilkes pushing his tone through Davis’ modal calm into higher registers that evoke Don Cherry whilst Harding provides soulful counterpoint and a solo that carries the barest trace of Coltrane. Sanders’ short solo scratches then soars as if freeing itself from earthly concerns. “The Whole World in His Hands” feels reclaimed as El’Zabar lays down a rolling African beat and his vocal emphasizes the gospel blues root of the song. Behind, the horns and strings provide an intense group sound, with a call and response of short solos that mirror both church service and jam session. Their version of Eugene McDaniel’s “Compared To What” finds El’Zabar’s graveled vocal backed by Harding’s nimble baritone riff, a glorious clarion call from Wilkes and atmospheric flourishes from the strings. The spirit is to the fore, but this band also swings hard. “Hang Tuff” and McCoy Tyner’s “Passion Dance” are exuberant celebrations. The former graced by a dervish of a solo from Sanders and the latter played with all the power of a big band, the horns blasting the theme, El’Zabar all over his kit, the solos uniformly fiery.  

From Lester Bowie, Anthony Braxton and Pharoah Sanders to David Murray to Tomeka Reid and Isaiah Collier, El’Zabar’s career spans generations of forward-thinking musicians. The Ethnic Heritage Ensemble is the longest running of his many musical projects and on Open Me, they produce a stirring mix of spirituality, groove and fire music. This is history very much alive and kicking.

Andrew Forell

[songsofprotestpeacerevolution]

Freedom Death Dance · Eugene McDaniels

[shy-girl04]

Feel Like Makin' Love

When you talk to me, when you're moanin' sweet and low

When you're touchin' me and my feelings start to show, ooh

That's the time I feel like making love to you

That's the time I feel like making dreams come true, oh baby

Roberta Flack, Lyrics by Eugene B. McDaniels

Roberta Flack by Anthony Barboza

[lboogie1906]

Ellas McDaniel (Ellas Otha Bates, December 30, 1928 – June 2, 2008) known as Bo Diddley, was a singer, guitarist, songwriter, and music producer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly, Elvis Presley, the Beatles, the Rolling Stones, the Animals, and The Clash.

His use of African rhythms and a signature beat, a simple five-accenthambone rhythm, is a cornerstone of hip-hop, rock, and pop music. He was inducted into the Rock and Roll Hall of Fame, the Blues Hall of Fame, and the Rhythm and Blues Music Hall of Fame. He has received a Lifetime Achievement Award from the Rhythm and Blues Foundation and the Grammy Lifetime Achievement Award. He is recognized for his technical innovations, including his distinctive rectangular guitar, with its unique booming, resonant, shimmering tones.

He was born in McComb, Mississippi. He was the only child of Ethel Wilson, a sharecropper’s teenage daughter, and Eugene Bates, whom he never knew. Wilson was only sixteen and being unable to support a family, she gave her cousin, Gussie McDaniel, permission to raise her son. McDaniel adopted him, and he assumed her surname.

The origin of the stage name Bo Diddley is unclear. He claimed that his peers gave him the name, which he suspected was an insult. He said that the name first belonged to a singer his adoptive mother knew. Harmonicist Billy Boy Arnold said that it was a local comedian’s name, which Leonard Chess adopted as his stage name and the title of his first single. He stated that his school classmates in Chicago gave him the nickname, which he started using when sparring and boxing in the neighborhood with The Little Neighborhood Golden Gloves Bunch.

A diddley bow is a homemade single-string instrument played mainly by farm workers in the South. It has influences from the West African coast.

He married Louise Willingham (1946-47), and married Ethel Mae Smith (1949); they had two children. He married Kay Reynolds (1960-80) they had two daughters, He married Sylvia Paiz (1992); they were divorced at the time of his death. #africanhistory365 #africanexcellence