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Kenneth Earl Burrell (born July 31, 1931) is an American jazz guitarist known for his work on numerous top jazz labels: Prestige, Blue Note, Verve, CTI, Muse, and Concord. His collaborations with Jimmy Smith were notable, and produced the 1965 Billboard Top Twenty hit Verve album Organ Grinder Swing.[1] He has cited jazz guitarists Charlie Christian, Oscar Moore, and Django Reinhardt as influences, along with blues guitarists T-Bone Walker and Muddy Waters.[2][3][4]

Burrell was born in Detroit. Both his parents played instruments,[6] and he began playing guitar at the age of 12 after listening to Charlie Christian's recordings. During World War II, due to metal shortage, he abandoned the idea of becoming a saxophonist, and bought an acoustic guitar for $10. He was inspired to play jazz after listening to Oscar Moore, but it was Django Reinhardt who showed him "that you could get your own individuality on an instrument."[7] He went on to study composition and theory with Louis Cabara and classical guitar with Joe Fava. While a student at Wayne State University, he made his recording debut as a member of Dizzy Gillespie's sextet in 1951,[8] followed by the "Rose of Tangier"/"Ground Round" single recorded under his own name at Fortune Records in Detroit. While in college, Burrell founded the New World Music Society collective with fellow Detroit musicians Pepper Adams, Donald Byrd, Elvin Jones, and Yusef Lateef.[2][3][4][5]

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Burrell toured with Oscar Peterson after graduating in 1955[6] and then moved to New York City in 1956 with pianist Tommy Flanagan. Within months, Burrell had recorded his first album as leader for Blue Note and both he and Flanagan were sought-after as sidemen and studio musicians, performing with singers Tony Bennett and Lena Horne and recording with Billie Holiday, Jimmy Smith, Gene Ammons, and Kenny Dorham, among others. From 1957 to 1959, Burrell occupied the former chair of Charlie Christian in Benny Goodman's band. Since his New York debut Burrell has had a prolific recording career, and critics have cited The Cats with John Coltrane in 1957, Midnight Blue with Stanley Turrentine in 1963, and Guitar Forms with arranger Gil Evans in 1965 as particular highlights.[2][3][4]

In 1978, he began teaching a course at UCLA called "Ellingtonia," examining the life and accomplishments of Duke Ellington. Although the two never collaborated directly, Ellington called Burrell his "favorite guitar player,"[9] and Burrell has recorded a number of tributes to and interpretations of Ellington's works. Since 1996, Burrell has served as Director of Jazz Studies at UCLA, mentoring such notable alumni as Gretchen Parlato and Kamasi Washington.[4][5][10][9]

About a year later I woke up one morning shortly after dawn. I was living on the Upper West Side in a tiny studio apartment with a loft bed. I climbed down the ladder from the loft bed, picked up my guitar, played the familiar chords and wrote the lyric in a matter of minutes.

Cut your plastic into a flat sheet and trace over your guitar pick template. My kids were too impatient, but at this point you might want to lightly sand the side that you are going to draw on as it makes the marker adhere better (without sanding, the marker will likely start to scratch off after awhile unless you are also planning on using a sealer on it). Start coloring!

It is important to note here that the differences between these two cables were less apparent than the difference between each and the stock cable or my reference. Occasionally, the Silver Arrows could sound just a tad ragged in comparison to the smoothness of the PAD, as if the electric guitar was just distorting that little bit more or the transients were a tad harder but I can see that some folks would welcome these nuances as indicative of how instruments, particularly amplified guitars, can sound in real life. This is a very subtle cue though, not some obvious element that makes you question the set up. The music still sounded great but after long listening periods with other cables, the Silver Arrows just gave the impression that the musicians had dialed their amps up a notch on the gain stage.

Harry Potter- Okay, okay, yes I know, very typical answer, but HP is truly one of those series that you can always revisit. I reread the books in high school and college and it honestly resparked my love for this series.

In From The Skein, Jenny Strurgeon has clearly decided to challenge herself. That challenge has been well worthwhile and sees Jenny push her music far beyond the realms of singer/songwriter, to a wider sphere where words, music and creativity combine in an inspired and thoroughly engaging work.

When Octavia was eight years old Colonel R. sent her aneight-hundred-dollar piano. At ten years of age he sent the followingfine instruments: Organ, guitar, violin and harp, together with a goodsupply of art material. He was simply fulfilling his purpose to giveher a finished education, and no girl was considered "finished" who wasnot well grounded in music and art. Octavia thought her uncle wasgiving her all these musical instruments and art material. She neverknew until in after years who was the real donor. Simon was indeed afaithful agent and trustee.

She whiled away the hours of vacation at her piano or organ or with herguitar, violin or harp. Several attempts to gain admission to hersociety by some of the best white bloods of the city were made, but allin vain. She always refused, telling them that she was a school-girlstriving for an education, and she would admit nothing that woulddetract her from her studies.

Octavia soon came in, when he told her that he had come to have thepleasure of hearing her play and sing, and to inspect her artcollection. She gave him a cordial greeting, saying that he flatteredher, but, that if she had any talent for music and art, he was welcometo witness and hear the same. He expressed himself as delighted withher paintings; and then requested her to play and sing. She renderedher graduating recital in music, on the piano. He thought it grand andmagnificent, and requested her to sing, which she did, using the organfirst, and then, guitar, as an accompaniment. 2351a5e196