Roanoke Shops has been an indispensable part of the Roanoke Valley and the �Magic City� for more than 125 years. Founded in 1881 as an independent company; Roanoke Machine Works built new locomotives and cars for the Shenandoah Valley and Norfolk Western Railroads. Situated between the picturesque Allegheny and Blue Ridge Mountains; the facility caused an economic boom in the nearby village of Big Lick and the surrounding area. By 1891; Big Lick had become Roanoke and had emerged as one of the most important economic centers in the New South. Today; Roanoke Shops employs skilled craftsmen who provide the highest-quality overhauls and repairs to diesel locomotives. This book takes a look into its history; particularly at production during that exciting and enchanting era of the steam locomotive.
#1522063 in eBooks 2015-10-20 2015-10-20File Name: B00SRYUWCM
Review
1 of 1 people found the following review helpful. Finally.By Superintendent XFrom the moment I heard the Herbie Hancock Mwandishi Band albums Mwandishi and Crossings I was amazed with these recordings and equally amazed with the lack of information about them. This book is a great read that discusses the development of Herbie through this period; breaks down the music; the live touring of the sextet; and includes a detailed discography of about 100 recordings that are relevant to the music of the Mwandishi band.0 of 1 people found the following review helpful. I recommend it highlyBy Danny L. AndersonVery little has been written about one of the most creative phases of Herbie Hancocks career - the Mwandishi band. This book is very thorough and is a must read from start to finish. I recommend it highly!6 of 6 people found the following review helpful. jazzmanBy James K. StewartIf youre a fan of the great jazz pianist/composer Herbie Hancock and especially; the fabulous cosmic/jazz groupthe Mwandishi Band that he led back in the early 70s; then this marvelous book by jazz historian; pianist; andmusic professor Bob Gluck is for you. I have waited for years for an in-depth; comprehensive study of HerbiesMwandishi band (of which Im a rabid fan); and his book PERFECTLY does this. Gluck does a masterful job in co-vering the early roots of the band; how it evolved over time; the musicians involved; their philosophy and goals;the daring chances they took with the music; how they created it; and so much more. The Mwandishi band madethree studio albums; "Mwandishi" (1971); "Crossings" (1972); and their final swan song; "Sextant" (1973); all ofthem highly electronic; revolutionary; cosmic; improvisational excursions into uncharted territory. "Mwandishi" wasHerbies Swahili name for the "Composer". The other members of the band; which was a sextet; adapted Swahilinames; as well. This was done "for the unifying effect in that when everyone adopted those names it had the ef-fect on each individual joining. They became a unit. It was like we became a family; you know?" Trombonist JulianPriester became Pepo Mtoto which meant "Spirit Child"; bassist Buster Williams was "Mchezaji" meaning the "Playerof the Art". Drummer Billy Hart was "Jabali" which meant "Energy"; trumpeter Dr. Eddie Henderson became "Mgan-ga"; the "Doctor of Good Health"; and reedman Bennie Maupin was "Mwile At Akya"; the "Body of Good Health"; ashe was the vegetarian in the group. In mid 1972; synthesizer wizard Dr. Patrick Gleeson joined the sextet addingeven more sound and texture to the groups studio music and touring performances. Author Gluck goes into well-researched; great detail in his examination of how the band formed their identity and the personalities involvedfrom production to creation. Hancock described the inevitable end of such a revolutionary; progressive band saying;"At a certain point; my feeling was we had gone as far as we could. I just didnt feel there was any more develop-ment that I was capable of producing." He also wanted more smoothness and dependability than an experimentalband provided: "The problem with intuition is that as soon as the vibrations arent happening; nothing works any-more." $ was also a contributing factor: "The sextet disbanded because I ran out of money. I could get gigs; butthey wouldnt pay enough for the expenses. I always lost money." Producer David Rubinson related just before therecording of "Sextant"; "What paid their way was every dime Herbie Hancock had; every single sweat-dollar Pillsburycake mix commercials and European sales of Watermelon Man; and what happened was that Herbie; and thosefrom whom he borrowed; ran out of money." Even a business collective with the band was suggested; but it wasnta model upon which everyone could agree. Trumpeter Henderson stated; "As far as Im concerned; it was Herbiesband; even though we wanted to call it our band." As such; the inevitable happened. Hancock was also wanting totake the synthesizer and electronics in a new direction; the mega-selling 1973 album "Head Hunters" was the re-sult; with Herbie keeping reedman Bennie Maupin from the Mwandishi sextet. There was actually a FOURTH studiorecording released by the Mwandishi band which was a very limited distribution 1973 vinyl album on the UAR label(7370) scored for the soundtrack to a 1973 black militancy film; "The Spook Who Sat By The Door"; based on SamGreenlees 1969 novel; set in Chicago; and directed by Ivan Dixon. The film was pulled from theaters soon after itsrelease; as it was deemed too politically controversial; but the rare soundtrack can still be found with some looking.It contains thirteen tracks by the band and has a much more funky vibe to it than the other Mwandishi recordings.Gluck compared it to Herbies 1974 album "Thrust" by his Headhunters band. I have a mint condition copy I guardwith my life. If you love the brilliant; mind-bending Mwandishi records; then "Youll Know When You Get There" isrequired and rewarding reading. One of the best books on jazz Ive ever read. A triumph!
