353:... suffers from terrible unintended audio problems. Without a great amount of amplification, you can't make music as violent, scraping, tinnily climactic as this recording suggests. It is quite possible that no worse-sounding musical document has ever been issued in full by a major record label... The acoustics in the room, a converted gym, were impossibly live, a giant echo chamber. This explains some of the extra boost in Coltrane's soprano saxophone solo in 'My Favorite Things,' and suggests how shattering Pharoah Sanders’s performance in the same song might have been, though the sound is too distorted for one to know. Twenty minutes in, the taped noise becomes unbearable, a cloud of cymbals and overdriven screams. The recording can't be taken seriously; it can't be counted. But because it will be, and must be, it puts a question mark on the end of the story. Forget music with a social power, with a community function—that's all fine. This is almost impenetrable."
310:, who recalled: " called me and asked me to do that. Olatunji was right around the corner from the radio station . I knew Olatunji's work and on the station we played him a lot. He was really trying to do something to awaken the community to his view of the African heritage." The performance space was "a 30x100 foot loftlike room on the second floor, backdropped by colorful wall posters depicting an African village scene." The day of the concert, the crowd "spilled out into the hallway and down the stairs, onto the sidewalk and around the block." After the concert, "Coltrane asked for the receipts of all spent ($ 425) on the promotion and gave it back to the Center... He also divided the balance of what was left ($ 500) after paying each musician the union scale for each concert as was agreed upon with the Center."
299:, in his honor. In 1966, Olatunji and his wife established the Olatunji Center of African Culture at 43 East 125th Street in Harlem, New York City, dedicated to "providing low cost classes in a wide range of cultural subjects to adults and children." Coltrane had provided financial support for the center while it was being built, and would continue to write checks to help cover its operating expenses. In July 1966, Coltrane "asked if he, Yusef Lateef, and Olatunji could form an organization to put on concerts, both at the Olatunji Center and at bigger venues." Olatunji also recalled that he offered to take Coltrane to Nigeria: "He said, 'When?' and I suggested the following year. He said 'God willing, I will.'"
373:, Luke Buckman wrote: "For every intent and purpose, this is difficult music. It's the demanding sound of a man faced with impending death, yet unafraid to carry forward and remain steadfast to his intense, singular vision of music as a universal bridge. With every note, Coltrane chases a higher power in an attempt to transcend the corporeal. For the unprepared listener, it might all be too much-- not only because of the sheer intensity of noise levels or dissonance, but because this is the sound of a man who knows every breath he draws inches him one step closer to the grave. Yet, the sadness this evokes is overwhelmed by the pure beauty of a man being rebirthed, recreated, and reimagined.
396:"glows from within; it rotates furiously; it is a blur. Come close to it and it throws you off... an artist’s final work won't objectively sum up anything. It is, however, likely to be fuller of subjectivity than ever before. It's full of the life force: that's all, that's enough, that's what it needs to be. If it's truly good and powerful, it deserves to engender a thousand misunderstandings. The idea of a last work acting as a summary or a capstone is a sweet and hopeful construct. But life doesn’t add up for the living."
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334:... is incomplete and variable in sound quality. The sound of musicians playing live is interspersed with audience noise and sounds of traffic leaking in from outside the venue. Recording engineer Bernard Drayton discussed the way in which he had to switch off one of the stereo channels in order to limit the amount of external noise, and the result is one of continual change in recording conditions. In terms of musical sound,
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369:"a rich and telling recording", stating that it "demonstrates sonic blast free jazz direction that was becoming more aggressive and out of bounds; It portrays what could have been one of the most dynamically stellar groups of the mid-1960s avant jazz scene." He called the album "essential for seasoned Coltrane listeners." Writing for
338:
presents an imbalance of recording quality that results in the saxophones of
Coltrane and Sanders and percussion sounds of Ali and Dewitt overpowering the sounds of the piano. Garrison's bass sound is obscured through distortion, and at various stages it is difficult to distinguish between intended
387:
wrote: "It takes effort and some imagination to get past the poor recording to the music it so imperfectly relays, but such effort is well rewarded by the riches in the performance." In a BBC review, Peter Marsh wrote: "there's an intention to
Coltrane's playing here which transcends much of the
329:
suffers from poor recording quality. According to author Tony Whyton, "Coltrane had employed engineer
Bernard Drayton at short notice to record the concert outside of Coltrane's contractual obligations with Impulse records, so the question remains as to whether this recording was to be used for
317:
recalled: " all the energy of 125th Street going on right outside the window... with incense burning and the place packed, he did something I had never seen him do before — he sat down on the bandstand. I still didn’t think he was sick, because when he put his horn to his mouth, there was no
377:
is a deliriously scattered mess of joy and pain, intermingled and bound up within
Coltrane's unbridled and luminescent energy. And now it stands as his parting gesture: one last moment bursting out at the seams with elation and ferocity, an awe-inspiring testament to life."
306:: his first appearance of 1967 in New York," and listed two shows: "4 pm - 6 pm" and "6 pm - 8 pm", with the invitation "Come join your host Babatunde. Ask Mr. Coltrane questions about his music and sound." (Only the first set was recorded.) The concert was m.c.ed by
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macho free jazz posturing of lesser players who followed in his wake. It's full of sound and fury alright, but it's signifying something... ntil the invention of a time machine this is the closest we're going to get to being there. Essential."
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faltering; the fire was up full blast." About a month after the concert, Coltrane began to complain of intense abdominal pain; he died two months after that, in July.
302:
On April 23, 1967, Coltrane and his group appeared in a benefit concert at and for the
Olatunji Center. The concert poster advertised "John Coltrane & Quintet in
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recording these factors are foregrounded to the extent that inconsistencies and the incomplete nature of the recording process are on show for all to hear."
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sounds and unintentional noise. Although issues of balance, audience noise, and fidelity are all part of the experience of 'liveness' on a live album, with
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was not
Coltrane's last show, but rather, his penultimate—he would play once more on May 7, 1967, in Baltimore.
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261:", which Coltrane had performed live regularly since 1960. The recording was made for broadcast on
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general release or as a simple documentation of a live performance event." Whyton wrote: "
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Porter, Lewis; DeVito, Chris; Fujioka, Yasuhiro; Wild, David; Schmaler, Wolf (2008).
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Porter, Lewis; DeVito, Chris; Fujioka, Yasuhiro; Wild, David; Schmaler, Wolf (2008).
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in New York and released on
Compact Disc in 2001. The album consists of two songs—"
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580:"John Coltrane: The Olatunji Concert: The Last Live Recording | Album Reviews"
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896:"John Coltrane Quintet: The Olatunji Concert: The Last Live Recording"
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since 1961, during which his band played opposite
Olatunji's at the
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The
Complete Columbia Recordings of Miles Davis with John Coltrane
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1996:
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863:
Beyond A Love
Supreme: John Coltrane and the Legacy of an Album
848:
Beyond A Love Supreme: John Coltrane and the Legacy of an Album
782:
Beyond A Love Supreme: John Coltrane and the Legacy of an Album
922:"John Coltrane: The Olatunji Concert: The Last Live Recording"
247:", which Coltrane also recorded for his final approved album,
1821:
Evenings at the Village Gate: John Coltrane with Eric Dolphy
818:
A Love Supreme: The Story of John Coltrane's Signature Album
1677:
Thelonious Monk Quartet with John Coltrane at Carnegie Hall
1916:
The Heavyweight Champion: The Complete Atlantic Recordings
1853:
The Classic Quartet – Complete Impulse! Studio Recordings
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2183:
Before John Was a Jazz Giant: A Song of John Coltrane
60:
April 23, 1967, Olatunji Center of African Culture,
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688:. The University of Michigan Press. p. 212.
652:. The University of Michigan Press. p. 288.
883:. Farrar, Straus and Giroux. pp. 112–113.
235:-released final live recording of saxophonist
199:
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1793:The Olatunji Concert: The Last Live Recording
1786:The Complete 1961 Village Vanguard Recordings
1002:
948:"John Coltrane: The Olatunji Concert: Review"
559:The Olatunji Concert: The Last Live Recording
228:The Olatunji Concert: The Last Live Recording
22:The Olatunji Concert: The Last Live Recording
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2113:Chasing Trane: The John Coltrane Documentary
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979:. Farrar, Straus and Giroux. p. 174.
754:. Farrar, Straus and Giroux. p. 110.
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1800:Live at the Half Note: One Down, One Up
1493:Both Directions at Once: The Lost Album
1086:John Coltrane with the Red Garland Trio
920:Beaudreau, James (September 24, 2001).
784:. Oxford University Press. p. 120.
550:
1656:The Complete 1957 Riverside Recordings
1557:Miles Davis and the Modern Jazz Giants
865:. Oxford University Press. p. 93.
850:. Oxford University Press. p. 94.
2281:Deaf Dumb Blind (Summun Bukmun Umyun)
1100:Cattin' with Coltrane and Quinichette
132:
7:
2451:
2449:
2106:The World According to John Coltrane
1634:Miles Davis Quintet at Peacock Alley
614:The Penguin Guide to Jazz Recordings
281:Coltrane had known Nigerian drummer
194:The Penguin Guide to Jazz Recordings
16:2001 live album by John Coltrane
1807:Offering: Live at Temple University
1723:Live at the Village Vanguard Again!
1465:The Africa/Brass Sessions, Volume 2
201:
2516:Live albums published posthumously
2469:. You can help Knowledge (XXG) by
1684:Thelonious Monk with John Coltrane
1522:Miles: The New Miles Davis Quintet
1334:Duke Ellington & John Coltrane
578:Buckman, Luke (October 15, 2001).
381:In his review, James Beaudreau of
241:Olatunji Center of African Culture
239:, recorded April 23, 1967, at the
14:
2172:John W. Coltrane Cultural Society
1144:Kenny Burrell & John Coltrane
686:John Coltrane: His Life and Music
650:John Coltrane: His Life and Music
313:Years after the concert, drummer
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1930:The Major Works of John Coltrane
1355:John Coltrane and Johnny Hartman
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1965:To the Beat of a Different Drum
1895:Dial Africa: The Savoy Sessions
1814:A Love Supreme: Live in Seattle
1376:The John Coltrane Quartet Plays
1765:Live Trane: The European Tours
1702:"Live" at the Village Vanguard
977:Coltrane: The Story of a Sound
881:Coltrane: The Story of a Sound
752:Coltrane: The Story of a Sound
667:. Routledge. pp. 361–364.
408:
1:
1944:Ken Burns Jazz: John Coltrane
1888:Countdown: The Savoy Sessions
565:. Retrieved February 9, 2012.
365:review, Sam Samuelson called
2546:Impulse! Records live albums
2099:The Church of Saint Coltrane
769:. Da Capo. pp. 220–221.
2465:album-related article is a
2401:Oh Lord, Let Me Do No Wrong
1599:Miles & Monk at Newport
1592:Someday My Prince Will Come
731:The John Coltrane Reference
665:The John Coltrane Reference
458:" (Rodgers and Hammerstein)
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2521:John Coltrane live albums
1951:The Last Giant: Anthology
1846:The Best of John Coltrane
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733:. Routledge. p. 361.
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2541:Live instrumental albums
1620:Jazz at the Plaza Vol. I
1284:Coltrane Plays the Blues
265:'s local radio station,
2526:Avant-garde jazz albums
2361:Pharoah Sanders Live...
2313:Village of the Pharoahs
1881:The Prestige Recordings
835:. Da Capo. p. 222.
802:. Da Capo. p. 221.
493: – tenor saxophone
375:The Last Live Recording
2551:2000s jazz album stubs
2167:5893 Coltrane asteroid
1079:Wheelin' & Dealin'
2531:Live free jazz albums
2257:Izipho Zam (My Gifts)
1744:Afro Blue Impressions
1529:'Round About Midnight
946:Marsh, Peter (2002).
861:Whyton, Tony (2013).
846:Whyton, Tony (2013).
831:Thomas, J.C. (1976).
798:Thomas, J.C. (1976).
780:Whyton, Tony (2013).
765:Thomas, J.C. (1976).
2409:A Prayer Before Dawn
2305:Wisdom Through Music
1716:New Thing at Newport
1647:Thelonious Monk
557:Samuelson, Sam.
523:Algie DeWitt –
394:The Olatunji Concert
367:The Olatunji Concert
351:The Olatunji Concert
341:The Olatunji Concert
336:The Olatunji Concert
332:The Olatunji Concert
327:The Olatunji Concert
271:The Olatunji Concert
253:, and an especially
128:Professional ratings
1867:The Coltrane Legacy
1860:Coltrane for Lovers
700:"Baba Olatunji Bio"
289:, alternating with
129:
2353:Journey to the One
2157:Philadelphia house
1663:Thelonious Himself
1479:Dear Old Stockholm
1458:Interstellar Space
1270:My Favorite Things
456:My Favorite Things
283:Babatunde Olatunji
259:My Favorite Things
127:
52:September 25, 2001
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2385:Heart Is a Melody
2273:Jewels of Thought
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2018:Central Park West
1937:Jupiter Variation
1772:Bye Bye Blackbird
1758:The European Tour
1751:The Paris Concert
1472:First Meditations
1137:Standard Coltrane
833:Chasin' the Trane
800:Chasin' the Trane
767:Chasin' the Trane
628:978-0-141-03401-0
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443:" (John Coltrane)
424:"Introduction by
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2135:Coltrane changes
2130:List of sessions
1709:Live at Birdland
1513:Miles Davis
1291:Coltrane's Sound
1251:Bags & Trane
1130:Settin' the Pace
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1369:A Love Supreme
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1186:The Last Trane
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1112:Tommy Flanagan
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1058:Tenor Conclave
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704:Olatunji Music
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2151:Ravi Coltrane
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2091:Documentaries
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1979:Trane's Modes
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1972:Trane's Blues
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1737:Live in Japan
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1263:Coltrane Jazz
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1222:Coltrane Time
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1116:Kenny Burrell
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1019:
1018:John Coltrane
1012:
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682:Porter, Lewis
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656:
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647:
646:Porter, Lewis
641:
639:
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630:
624:
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610:
609:Morton, Brian
606:
605:Cook, Richard
600:
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527:and possibly
526:
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489:
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484:
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475:John Coltrane
473:
472:
468:
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419:
406:
400:Track listing
399:
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288:
284:
276:
274:
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264:
260:
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252:
251:
246:
242:
238:
237:John Coltrane
234:
230:
229:
198:
196:
195:
191:
190:
186:
184:
181:
180:
150:
148:
145:
144:
136:
133:Review scores
131:
121:Bryan Koniarz
120:
118:
114:
111:
108:
106:
102:
90:
86:
83:
80:
78:
74:
71:
70:United States
67:
63:
62:New York City
59:
55:
51:
47:
43:
42:John Coltrane
38:
34:
30:
25:
20:
2471:expanding it
2460:
2445:
2431:
2423:
2415:
2407:
2399:
2391:
2383:
2375:
2367:
2359:
2351:
2343:
2335:
2327:
2319:
2311:
2303:
2295:
2287:
2279:
2271:
2263:
2255:
2247:
2239:
2181:
2111:
2104:
2097:
1989:Compositions
1977:
1970:
1963:
1958:Living Space
1956:
1949:
1942:
1935:
1928:
1921:
1914:
1907:
1902:Feelin' Good
1900:
1893:
1886:
1879:
1872:
1865:
1858:
1851:
1844:
1837:
1831:Compilations
1819:
1812:
1805:
1798:
1792:
1791:
1784:
1777:
1770:
1763:
1756:
1749:
1742:
1735:
1728:
1721:
1714:
1707:
1700:
1682:
1675:
1670:Monk's Music
1668:
1661:
1654:
1632:
1625:
1618:
1611:
1604:
1597:
1590:
1583:
1576:
1569:
1564:Kind of Blue
1562:
1555:
1548:
1541:
1534:
1527:
1520:
1498:
1491:
1484:
1477:
1470:
1463:
1456:
1449:
1442:
1435:
1428:
1418:Cosmic Music
1416:
1409:
1402:
1397:Kulu SĂ© Mama
1395:
1388:
1381:
1374:
1367:
1360:
1353:
1346:
1339:
1332:
1325:
1320:Africa/Brass
1318:
1296:
1289:
1282:
1277:Olé Coltrane
1275:
1268:
1261:
1256:Milt Jackson
1249:
1242:
1220:
1213:
1191:
1184:
1177:
1172:Black Pearls
1170:
1165:The Believer
1163:
1156:
1149:
1142:
1135:
1128:
1121:
1105:
1098:
1091:
1084:
1077:
1070:
1063:
1056:
1051:Tadd Dameron
1044:
976:
973:Ratliff, Ben
967:
955:. Retrieved
951:
941:
929:. Retrieved
925:
915:
903:. Retrieved
899:
889:
880:
877:Ratliff, Ben
871:
862:
856:
847:
841:
832:
826:
817:
814:Kahn, Ashley
808:
799:
781:
775:
766:
760:
751:
748:Ratliff, Ben
730:
707:. Retrieved
703:
694:
685:
664:
658:
649:
612:
599:
587:. Retrieved
553:
535:Jumma Santos
426:Billy Taylor
393:
382:
380:
374:
366:
360:
350:
345:
340:
335:
331:
326:
325:
312:
308:Billy Taylor
303:
301:
294:
287:Village Gate
280:
270:
263:Billy Taylor
248:
227:
226:
225:
192:
2461:This 2000s
2297:Black Unity
2046:Impressions
2039:Giant Steps
1779:Newport '63
1694:Live albums
1606:Basic Miles
1390:Meditations
1348:Impressions
1244:Giant Steps
1046:Mating Call
1027:Discography
926:Pop Matters
589:February 9,
529:double bass
515:Rashied Ali
510:double bass
392:wrote that
390:Ben Ratliff
347:Ben Ratliff
315:Rashied Ali
2510:Categories
2417:Moon Child
2011:Blue Train
1909:Gold Coast
1627:1958 Miles
1571:Jazz Track
1550:Milestones
1500:Blue World
1437:Transition
1404:Expression
1215:Blue Train
1193:Two Tenors
957:October 2,
931:October 2,
905:October 2,
709:October 2,
545:References
539:percussion
384:PopMatters
291:Art Blakey
277:Background
250:Expression
37:Live album
2337:Elevation
2332:(1972–73)
2316:(1971–73)
2292:(1970–71)
2053:Lazy Bird
2025:Countdown
1923:High Step
1383:Ascension
1204:Blue Note
1123:Lush Life
1093:Soultrane
1072:Interplay
533:possibly
525:Batá drum
486:saxophone
469:Personnel
371:Pitchfork
357:Reception
255:free-form
82:Free jazz
2433:Promises
2067:Mr. P.C.
1585:Steamin'
1543:Relaxin'
1451:Infinity
1444:Sun Ship
1362:Crescent
1327:Coltrane
1309:Impulse!
1233:Atlantic
1151:Stardust
1107:The Cats
1065:Coltrane
1035:Prestige
975:(2007).
900:AllMusic
879:(2007).
816:(2002).
750:(2007).
684:(1999).
648:(1999).
611:(2008).
563:AllMusic
537: –
517: –
508: –
499: –
477: –
363:AllMusic
349:wrote: "
296:Coltrane
147:Allmusic
117:Producer
110:Impulse!
66:New York
57:Recorded
49:Released
39: by
2377:Shukuru
2369:Rejoice
2345:Pharoah
2123:Related
2032:Equinox
2004:Alabama
1578:Workin'
1536:Cookin'
1341:Ballads
619:Penguin
479:soprano
361:In his
231:is the
2436:(2021)
2428:(1990)
2420:(1989)
2412:(1987)
2404:(1987)
2396:(1987)
2393:Africa
2388:(1982)
2380:(1981)
2372:(1981)
2364:(1981)
2356:(1979)
2348:(1976)
2340:(1973)
2324:(1972)
2308:(1972)
2300:(1971)
2289:Thembi
2284:(1970)
2276:(1969)
2268:(1969)
2260:(1969)
2252:(1967)
2249:Tauhid
2244:(1964)
2233:Albums
2147:(wife)
2081:Ogunde
1421:(with
1312:albums
1254:(with
1236:albums
1207:albums
1110:(with
1049:(with
1038:albums
625:
441:Ogunde
416:Length
245:Ogunde
141:Rating
138:Source
88:Length
2265:Karma
2153:(son)
2074:Naima
1179:Bahia
1158:Dakar
519:drums
501:piano
483:tenor
461:34:38
446:28:25
413:Title
187:10/10
105:Label
77:Genre
2467:stub
2463:jazz
1997:26-2
1644:With
1510:With
1114:and
959:2020
933:2020
907:2020
711:2020
623:ISBN
591:2012
481:and
431:0:35
267:WLIB
952:BBC
561:at
409:No.
2512::
1411:Om
950:.
924:.
898:.
790:^
739:^
719:^
702:.
673:^
637:^
607:;
582:.
570:^
451:3.
436:2.
421:1.
269:.
97:38
93:63
68:,
64:,
2498:e
2491:t
2484:v
2473:.
2218:e
2211:t
2204:v
2083:"
2079:"
2076:"
2072:"
2069:"
2065:"
2062:"
2058:"
2055:"
2051:"
2048:"
2044:"
2041:"
2037:"
2034:"
2030:"
2027:"
2023:"
2020:"
2016:"
2013:"
2009:"
2006:"
2002:"
1999:"
1995:"
1425:)
1258:)
1118:)
1053:)
1010:e
1003:t
996:v
961:.
935:.
909:.
713:.
631:.
593:.
454:"
439:"
428:"
257:"
95::
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
