Word: funke
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Dates: during 1990-1999
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...near mechanical process that allows each individual to look inside him- or herself for the divine fits in particularly well with the democratic tendency of the faith here: "Americans have always been a do-it-yourself culture, and this is a do-it-yourself philosophy." Benedictine Sister Mary Margaret Funk, executive director of the International Monastic Interreligious Dialogue, goes considerably further. "Christianity and Judaism don't go deep enough in helping people live [spiritually] every day," she says. "What [American Buddhists] are doing, and it's kind of amazing, is taking a path of enlightenment into a lay culture without...
...Well, not all of the '70s came back. Funk, polyester, and Pam Grier are back. Even the Village People are hip again. Ski sweaters ? and Denver's never-raucous blend of country, folk and white-bread pop ? simply have not received their...
...spring of 1970. They provide a bridge between Miles's earlier work and the rest of the series. With Chick Corea on a very plugged-in piano and Dave Holland on electric bass, the sound of the music is transformed and moves into a startling mixture of jazz and funk. The synergy between the musicians in this small ensemble format is remarkable, and the interplay is at times breathtaking. The sound is a mixture of classic jazz approaches and louder, contemporary rock music techniques. Taking the overall feel, as well as many of the tracks, from Bitches Brew, Fillmore East...
Live-Evil,also recorded in 1970, provides perhaps the best summing up of the albums in the series. The recording repeatedly switches from the polyrhythmic, intense jazz of the Fillmore albums to the stomping funk of the later releases. The sheer range of the album can be disconcerting, but the emotion put into the music by the musicians carries the album magnificently. Each of the many players emerges with a distinctive voice, and together they paint a fascinating aural canvas. The all-out wailing of Gary Bartz's sax provides a sharp counterpoint to John McLaughlin's oblique, introverted guitar...
...this time, the wall of sound Miles employs has grown to such an extent that it has become something new entirely. With three guitars, Miles playing organ and a relentless rhythm section, Dark Magus becomes a sea of sound--a dense, nearly opaque collage of crashing rhythms, slamming funk and inspired, wild soloing. Unlike Philharmonic Hall, where the soloists largely stayed in the vein of the steady funk of the band, the soloists in Dark Magus can barely be contained. As horn player Dave Liebman writes in the liner notes, "each man had his role...[drummer] Al Foster...