865 views Aug 25, 2024 WHITE RIVER AMPHITHEATRE Oneness Tour FULL SHOW w/ Counting Crows from Auburn Washington 8/24/24 Santana: Guitar Cindy Blackman Santana: Drums Andy Vargas: Vocals Benny Rietveld: Bass David Matthews: Keyboards Karl Perazzo: Percussion Paoli Mejias: Percussion Ray Greene: Vocals Tommy Anthony: Guitar/Vocals Timecodes 00:00:00 -Soul Sacrifice 00:05:46 -Jin-go-lo-ba (Babatunde Olatunji cover) 00:12:17 -Evil Ways (Wille Bobo cover) 00:16:12 -Black Magic Woman / Gypsy Queen 00:22:37 -Oye Como Va (Tito Puente cover) 00:26:52 -Everybody’s Everything 00:31:00 -Bass Solo (Benny Rietveld) 00:38:06 -Europa (Earth’s Cry, Heaven’s Smile) 00:43:38 – The Game of Love 00:47:36 -She’s Not There 00:56:00 -Sacalo / Con Santana 01:03:08 -Hope You’re Feeling Better 01:08:50 -Yaleo 01:11:50 -Put Your Lights On 01:17:15 -Corezon Espinado 01:22:30 -Maria Maria 01:27:42 -Foo Foo 01:39:52 -Smooth
3,385 views Jun 11, 2024 Audio: Schoeps MK4v Video: Sony FDR-AX700 First show of Little Feat’s “Can`t Be Satisfied Tour”. opened for Tedeschi Trucks Band. Setlist from www.Featbase.net: Fat Man In The Bathtub All That You Dream Oh Atlanta Spanish Moon – Skin It Back Why People Like That (from Sam’s Place, LF’s new album) Willin’ Dixie Chicken Recorded by chris cafiero, Little Feat Archivist, 23 East/Brownies/Ardmore Music Hall Archivist Subscribe to my channel for tons of live music in 4K. Support live music. Buy artist’s studio CD, DVD, downloads and swag. Disclaimer: All audio & visual parts in my videos are the sole property of their respective owners. These videos are purely for entertainment and recreational purposes. “Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.” * Presented under fair use for educational purposes, materials all rights reserved by the original owners.
3,764,337 views Nov 13, 2014 The Allman Brothers Band – Full Concert Recorded Live: 9/23/1970 – Fillmore East (New York, NY) More The Allman Brothers Band at Music Vault: http://www.musicvault.com Subscribe to Music Vault: http://goo.gl/DUzpUF Setlist: 0:00:00 – Don’t Keep Me Wonderin’ 0:04:06 – Dreams 0:13:55 – Whipping Post Personnel: Gregg Allman – organ, vocals Duane Allman – guitar, vocals Dickey Betts – guitar, vocals Berry Oakley – bass, vocals Butch Trucks – drums Jai Johanny Johanson – drums Tom Doucette – harp Summary: On this date, Bill Graham assembled a stellar roster of bands to participate in the filming of a television special called Welcome To The Fillmore East for broadcast on educational channels. Short sets were filmed by the Byrds, the Elvin Bishop Group, Sha-Na-Na, Van Morrison, and the Allman Brothers Band, as well as behind-the-scenes footage of Bill Graham and the Fillmore East staff at work. The Allman Brothers performance is nothing short of spectacular and features the original lineup that included Duane Allman and Berry Oakley. Recorded six months prior to the legendary Live At Fillmore East double album set, this performance captures the Allman Brothers when they were a relatively new band, full of youthful passion and performing what would become classic original material when it was fresh and new. Following Bill Graham’s introduction, they kick things off with a tight performance of “Don’t Keep Me Wonderin’,” which features the band’s friend, Tom Doucette, blowing harp over the group’s trademark sound. Gregg’s vocal is barely audible, but it’s obvious the group is full of fire. “Dreams,” which follows, slows things down a bit and the group establishes a relaxed groove that showcases their trademark sound, blending elements that would eventually come to define “Southern Rock.” They hit their stride on the next number, Dickey Betts’ “In Memory Of Elizabeth Reed.” Here, the dual guitar attack of Allman and Betts is astounding. The two guitarists intertwine and synchronize in a manner nothing short of telepathic, creating a melting pot seasoned with elements of jazz, rock, country, and blues into a style utterly their own. The set ends with a ferocious take of “Whipping Post” that features outstanding melodic bass playing from Berry Oakley, with both Duane Allman and Dickey Betts soaring over the propulsive rhythm section. Shorter than the expansive versions that would develop in coming months, this is all the more fascinating for it, as they compress an incredible amount of energy into the time allotted. Time constrictions and vocal microphone malfunctions aside, this is still a fascinating performance. This original lineup of the band was certainly one of the most innovative and captivating bands to ever play the Fillmore.
743 views Aug 16, 20211 Twelve Gates To The City 3:35 2 Woke Up This Mornin’ 3:05 3 Needed Time 3:55 4 Shingle By Shingle 3:37 5 Let Me Fly 2:32 6 Mornin’ Train 2:09 7 The Soul Of A Man 3:01 8 I Want Jesus To Walk With Me 3:53 9 In My Father’s House 3:13 10 Show Me The Way 3:11 11 Right On Time 2:56 12 I Heard The Angels Singing 3:11 13 All My Trials 4:06 14 I Want Jesus To Walk With Me (Instrumental) 1:48
Collection of gospel music from Eric Bibb, released by Luna Records of Canada in 2006.
The Tedeschi Trucks Band is an American blues and blues rock group based in Jacksonville, Florida. Formed in 2010, the band is led by married couple Susan Tedeschi and Derek Trucks. Their debut album, Revelator, won the 2012 Grammy Award for Best Blues Album. The band has released five studio and three live albums. Wikipedia
Ella Josephine Baker was an African-American civil rights and human rights activist. She was a largely behind-the-scenes organizer whose career spanned more than five decades. In New York City and the South, she worked alongside some of the most noted civil rights leaders of the 20th century, including W. E. B. Wikipedia
<__slot-el> 303,910 views May 13, 2020 Set list: SEEDS – 0:35 ADAM RAISED A CAIN – 04:12 THIS HARD LAND – 07:55 BETTER DAYS – 13:12 LUCKY TOWN – 18:53 ATLANTIC CITY – 24:51 57 CHANNELS (AND NOTHIN’ ON) – 30:56 * BADLANDS – 36:56 MANY RIVERS TO CROSS – 43:30 SATAN’S JEWELED CROWN – 46:50 * MY HOMETOWN – 50:44 LEAP OF FAITH – 55:50 MAN’S JOB – 1:00:53 ROLL OF THE DICE – 1:07:40 DOWNBOUND TRAIN – 1:19:28 * I’M ON FIRE – 1:23:56 BECAUSE THE NIGHT – 1:28:12 BRILLIANT DISGUISE – 1:34:24 * HUMAN TOUCH – 1:39:55 * * Recorded at Milton Keynes, May 22, 1993, all other tracks recorded at Stockholm, May 28, 1993
17,663 views Aug 14, 2024 JIMMY SMITH SEPTET – Live at the North Sea Jazz Festival 1995 – Congress Centre, The Hague, The Netherlands Line-up: Jimmy Smith (org), Mark Whitfield (g), Nicolas Payton (tp), Jimmy Jackson (dr), Ron Blake (s), Christian McBride (b) Possible setlist: 1 Organ Grinder Swing 2 Midnight Special 3 It’s Allright with Me 4 The One Before This 5 Water Melon Man 6 The Sermon James Oscar Smith (December 8, 1928 – February 8, 2005) was an American jazz musician who helped popularize the Hammond B-3 organ, creating a link between jazz and 1960s soul music. In 2005, Smith was awarded the NEA Jazz Masters Award from the National Endowment for the Arts, the highest honor that America bestows upon jazz musicians. Date & venue: SUNDAY 16 JULY 1995 • JAN STEEN ZAAL • Congress Centre, The Hague, The Netherlands Welcome to the official North Sea Jazz Archive! On our channel you will find live performances and interviews of Jazz Legends like Lionel Hampton, Ray Charles, Maceo Parker, Herbie Hancock and many more, who have performed at the legendary North Sea Jazz Festival in the Netherlands Watch more videos 👉 https://bit.ly/MoreNSJArchive Subscribe now 👉 https://bit.ly/SubscribeNSJArchive Website 👉 https://www.northseajazz.com Thanks for all your support. Rating the video and leaving a comment is always appreciated! Please: respect each other in the comments. This is the official YouTube channel of North Sea Jazz Archive
James Oscar Smith was born in Norristown, Pennsylvania northwest of Philadelphia.[4] He joined his father doing a song-and-dance routine in clubs at the age of six. He began teaching himself to play the piano. When he was nine, Smith won a Philadelphia radio talent contest as a boogie-woogie pianist.[5] After a period in the U.S. Navy, he began furthering his musical education in 1948, with a year at Royal Hamilton College of Music, then the Leo Ornstein School of Music in Philadelphia in 1949.
Streamed live on Mar 26, 2024 The Rise and Fall of the Second American Republic: Reconstruction, 1860-1920″ with Manisha Sinha Tuesday, March 26, 2024, at 7:00 pm ET Acclaimed historian Manisha Sinha launches her new book, The Rise and Fall of the Second American Republic: Reconstruction in this hybrid program. A groundbreaking, expansive new account of Reconstruction, Sinha’s research fundamentally alters our view of this formative period in American history. We are told that the present moment bears a strong resemblance to Reconstruction, the era after the Civil War when the victorious North attempted to create an interracial democracy in the unrepentant South. That effort failed—and that failure serves as a warning today about the violent backlash to the mere idea of black equality. Sinha will expand our view beyond the accepted notions of Reconstruction, which is customarily said to have begun in 1865 with the end of the war, and to have come to a close when the “corrupt bargain” of 1877 put Rutherford B. Hayes in the White House in exchange for the fall of the last southern Reconstruction state governments. Sinha’s startlingly original account opens in 1860 with the election of Abraham Lincoln that triggered the secession of the Deep South states and took us all the way to 1920 and the ratification of the Nineteenth Amendment, which granted women the right to vote—which Sinha calls the “last Reconstruction amendment.” A sweeping narrative that remakes our understanding of perhaps the most consequential period in American history, The Rise and Fall of the Second American Republic shows how the great contest of that age is also the great contest of our age—and serves as a necessary reminder of how young and fragile our democracy truly is.
