#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

[onetwofeb]

Jagger The Dagger by Eugene McDaniels from Headless Heroes of the Apocalypse

[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

[songsofprotestpeacerevolution]

Tell Me Mr. President · 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

[louxosenjoyables]

Jagger the dagger

Eugene mcdaniels

[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.

[lboogie1906]

The Tuskegee Airmen were a group of African-American and Caribbean-born military pilots who fought in WWII. They formed the 332nd Fighter Group and the 477th Bombardment Group of the Army Air Forces. The name applies to the navigators, bombardiers, mechanics, instructors, crew chiefs, nurses, cooks, and other support personnel.

All African American military pilots who trained in the US trained at Moton Field, the Tuskegee Army Air Field, and were educated at Tuskegee University. The group included five Haitians from the Haitian Air Force and one pilot from Trinidad. It included a Hispanic or Latino airman born in the Dominican Republic.

March 22, 1942 - The first five cadets graduate from the Tuskegee Flying School: Captain Benjamin O. Davis, Jr. and Second Lieutenants Mac Ross,

Charles DeBow, L.R. Curtis, and George S. Roberts. They will become part of my the famous 99th Pursuit Squadron. List of Tuskegge Airmen.

Paul Adams (pilot)

Rutherford H. Adkins

Halbert Alexander

William Armstrong

Lee Archer

Robert Ashby

William Bartley

Howard Baugh

Henry Cabot Lodge Bohler

George L. Brown

Harold Brown

Roscoe Brown

Victor W. Butler

William Burden

William A. Campbell

Herbert Carter

Raymond Cassagnol

Eugene Calvin Cheatham Jr.

Herbert V. Clark

Granville C. Coggs

Thomas T.J. Collins

Milton Crenchaw

Woodrow Crockett

Lemuel R. Custis

Floyd J. Crawthon Jr

Doodie Head

Clarence Dart

Alfonza W. Davis

Benjamin O. Davis Jr. (C/O)

Charles DeBow

Wilfred DeFour

Gene Derricotte

Lawrence Dickson

Charles W. Dryden

John Ellis Edwards

Leslie Edwards Jr.

Thomas Ellis

Joseph Elsberry

Leavie Farro Jr

James Clayton Flowers

Julius Freeman

Robert Friend (pilot)

William J. Faulkner Jr.

Joseph Gomer

Alfred Gorham

Oliver Goodall

Garry Fuller

James H. Harvey

Donald A. Hawkins

Kenneth R. Hawkins

Raymond V. Haysbert

Percy Heath

Maycie Herrington

Mitchell Higginbotham

William Lee Hill

Esteban Hotesse

George Hudson Jr.

Lincoln Hudson

George J. Iles

Eugene B. Jackson

Daniel "Chappie" James Jr.

Alexander Jefferson

Buford A. Johnson

Herman A. Johnson

Theodore Johnson

Celestus King III

James Johnson Kelly

James B. Knighten

Erwin B. Lawrence Jr.

Clarence D. Lester

Theodore Lumpkin Jr

John Lyle

Hiram Mann

Walter Manning

Robert L. Martin

Armour G. McDaniel

Charles McGee

Faythe A. McGinnis

John "Mule" Miles

John Mosley

Fitzroy Newsum

Norman L Northcross

Noel F. Parrish

Alix Pasquet

Wendell O. Pruitt

Louis R. Purnell Sr.

Wallace P. Reed

William E. Rice

Eugene J. Richardson, Jr.

George S. Roberts

Lawrence E. Roberts

Isaiah Edward Robinson Jr.

Willie Rogers

Mac Ross

Robert Searcy

David Showell

Wilmeth Sidat-Singh

Eugene Smith

Calvin J. Spann

Vernon Sport

Lowell Steward

Harry Stewart, Jr.

Charles "Chuck" Stone Jr.

Percy Sutton

Alva Temple

Roger Terry

Lucius Theus

Edward L. Toppins

Robert B. Tresville

Andrew D. Turner

Herbert Thorpe

Richard Thorpe

Thomas Franklin Vaughns

Virgil Richardson

William Harold Walker

Spann Watson

Luke J. Weathers, Jr.

Sherman W. White

Malvin "Mal" Whitfield

James T. Wiley

Oscar Lawton Wilkerson

Henry Wise Jr.

Kenneth Wofford

Coleman Young

Perry H. Young Jr.

#africanhistory365 #africanexcellence

[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

[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