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He also employed some of the best soloists in New York, Coleman Hawkins among them.
8 Duke Ellington: Masterpieces 1926-1949 (Proper Box 25) £16.62, RRP £16.99 It’s impossible to choose from the cornucopia of magnificent explorations of mood and tone-colour that Duke recorded between the late Twenties and the mid-Forties. 9 Spike Hughes & Benny Carter: 1933 (Retrieval) £10.76, RRP £10.99 The British arranger produced some of the most beguiling arrangements of the early swing era, performed in New York with magnificent solos from Carter, Coleman Hawkins, and the trombonist Dicky Wells.
The iconography for Maat in the hieroglyphs depict the single ostrich feather (Shu), worn atop Goddess Maat’s head. The Duat, the Hall of Two Truths, and the Weighing the Ka (Heart) The duat (underworld as the place for judgment) is where the popular Kemet funerary scene of the Hall of Two Truths is depicted in the various versions of the “Egyptian Book of the Dead: The Papyrus of Ani,” edited by E. In Chapter 30B of The Papyrus of Ani entitled “Chapter for Not Letting Ani’s Heart Create Opposition Against Him, in the Gods’ Domain,” we see the deceased scribe standing before his own heart/soul (ka) on the scale of Maat.
On the opposite scale is the Goddess Maat’s feather of truth (Shu).
Under Kemet cosmology, Maat is designed to avert chaos (Isfet) and maintain truth (Maat).
The symbol for truth, justice, balance, and order is the Goddess Maat. E., after the unification of upper and lower Kemet, archaeological finds evidence administration of the 42 Laws of Maat among the Kemet people as deduced from Kemet coffin texts or funerary papyri dating from this period. A closer interpretation of the title from the Kemet language is said to be “Book of Coming Forth by Day.” The Budge translation was a funerary text written for the "coming forth" of Kemet scribe Ani.
But before the whisky killed him, he introduced a new mood into jazz – romantic, wistful – on these performances with the saxophonist Frankie Trumbauer.
What follows is a strictly chronological roll-call of acknowledged jazz masterpieces, together with – it is hoped – some outstanding performances that will be less familiar even to a dedicated fan.
The surviving artifacts of the Kemet viziers and scribes evidence that Kemet rule of law was “Maat,” contained at least in part in observing the 42 Laws of Maat.
The Goddess Maat as the Cosmological Origin of Kemet Rule of Law Heliopolis-era creation stories from the Kemet people report that in the beginning Atum emerged from the Isfet (chaos) of Nu (primordial waters).
It also includes a spontaneous masterpiece in the piano improvisation by Jess Stacy on Sing, Sing, Sing.
14 Fats Waller: The Best of Fats Waller (RCA 1929-42) deleted Waller was a master pianist in the driving Harlem style known as 'stride’, but he was also a great spirit: carefree, insouciant and Falstaffian.
The ibis-headed Thoth is the patron saint of Maat scribes and priests.