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For the five years he held his Junior Cook-Blue Mitchell quintet together, Silver had the perfect combination of his high-quality tunes and a band that had a magic interpretative touch. They all played for each other to such an extent that the group became one of the true 1960s greats. Song For My Father features this group on two tracks, but not on the famous title tune, which instead ushers in the brilliant but short-lived quintet featuring Joe Henderson and Carmell Jones. No cause to fear: all remains in place for a classic that still casts its spell. (KS)

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Those who only know Gillespie from his 1950s efforts onwards can have no conception as to the veritable force of nature his trumpet playing was in the 1940s. This CD collation of the earliest sides under his leadership, made for tiny labels such as Guild and Musicraft, will have your jaw sagging in amazement as he consistently delivers ideas that top even those of Parker. Just to keep it interesting, Gillespie also wrote some of the most enduring bop anthems, and many of them get their first outings here. These sessions, like the Parker Savoys, are the holy tablets of bop. (KS)

There is a curious reluctance for some to acknowledge that Rollins came back from his 1959-61 voluntary exile a more complete and fascinatingly complex musician. The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although late-50s Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny. Unbeatable music. (KS)

Deism holds that God exists but does not intervene in the world beyond what was necessary to create it,[80] such as answering prayers or producing miracles. Deists sometimes attribute this to God having no interest in or not being aware of humanity. Pandeists would hold that God does not intervene because God is the Universe.[81]

Of those theists who hold that God has an interest in humanity, most hold that God is omnipotent, omniscient, and benevolent. This belief raises questions about God's responsibility for evil and suffering in the world. Dystheism, which is related to theodicy, is a form of theism which holds that God is either not wholly good or is fully malevolent as a consequence of the problem of evil.

In Zoroastrianism, during the early Parthian Empire, Ahura Mazda was visually represented for worship. This practice ended during the beginning of the Sasanian Empire. Zoroastrian iconoclasm, which can be traced to the end of the Parthian period and the beginning of the Sassanid, eventually put an end to the use of all images of Ahura Mazda in worship. However, Ahura Mazda continued to be symbolized by a dignified male figure, standing or on horseback, which is found in Sassanian investiture.[133]

Early Christians believed that the words of the Gospel of John 1:18: "No man has seen God at any time" and numerous other statements were meant to apply not only to God, but to all attempts at the depiction of God.[139] However, later depictions of God are found. Some, like the Hand of God, are depiction borrowed from Jewish art. Prior to the 10th century no attempt was made to use a human to symbolize God the Father in Western art.[139] Yet, Western art eventually required some way to illustrate the presence of the Father, so through successive representations a set of artistic styles for symbolizing the Father using a man gradually emerged around the 10th century AD. A rationale for the use of a human is the belief that God created the soul of man in the image of his own (thus allowing human to transcend the other animals). It appears that when early artists designed to represent God the Father, fear and awe restrained them from a usage of the whole human figure. Typically only a small part would be used as the image, usually the hand, or sometimes the face, but rarely a whole human. In many images, the figure of the Son supplants the Father, so a smaller portion of the person of the Father is depicted.[140] By the 12th century depictions of God the Father had started to appear in French illuminated manuscripts, which as a less public form could often be more adventurous in their iconography, and in stained glass church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the Baptism of Christ on the famous baptismal font in Liège of Rainer of Huy is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in Giotto's fresco of c. 1305 in Padua.[141] In the 14th century the Naples Bible carried a depiction of God the Father in the Burning bush. By the early 15th century, the Très Riches Heures du Duc de Berry has a considerable number of symbols, including an elderly but tall and elegant full-length figure walking in the Garden of Eden, which show a considerable diversity of apparent ages and dress. The "Gates of Paradise" of the Florence Baptistry by Lorenzo Ghiberti, begun in 1425 use a similar tall full-length symbol for the Father. The Rohan Book of Hours of about 1430 also included depictions of God the Father in half-length human form, which were now becoming standard, and the Hand of God becoming rarer. At the same period other works, like the large Genesis altarpiece by the Hamburg painter Meister Bertram, continued to use the old depiction of Christ as Logos in Genesis scenes. In the 15th century there was a brief fashion for depicting all three persons of the Trinity as similar or identical figures with the usual appearance of Christ. In a Trinitarian Pietà, God the Father is often symbolized using a man wearing a papal dress and a papal crown, supporting the dead Christ in his arms.[142] In 1667 the 43rd chapter of the Great Moscow Council specifically included a ban on a number of symbolic depictions of God the Father and the Holy Spirit, which then also resulted in a whole range of other icons being placed on the forbidden list,[143][144] mostly affecting Western-style depictions which had been gaining ground in Orthodox icons. The Council also declared that the person of the Trinity who was the "Ancient of Days" was Christ, as Logos, not God the Father. However some icons continued to be produced in Russia, as well as Greece, Romania, and other Orthodox countries.

Though Perronet was a minister of the established Church of England, his evangelical, or "dissenting" roots grew deep. His father had been associated with Whitefield and the Wesleys, and Perronet himself worked with the Wesleys until they split over the question of administering the Sacraments. Perronet then found work as a chaplain for the famous patroness of the evangelical movement, Countess of Huntingdon, but was soon removed from his post due to his violent attacks on the established church. (Acidic remarks like, "I was born and I am like to die in the tottering communion of the Church of England; but I despise her nonsense." are the kind that force even the hardiest dissenter to keep their distance!)

The use of this hymn in various forms and many languages is very extensive. In the number of hymnbooks in which it is found in one form or another, it ranks with the first ten in the English language. A rendering in Latin, "Salve, nomen potestatis," is given in Bingham's Hymnologia Christiana Latina, 1871.

• Choral anthems:Johnson, Dennis. All Hail the Power of Jesus' Name - for Choir, Congregation, with optional trumpet, to DIADEM

• Powell, Robert. Concerto on All Hail the Power of Jesus' Name - for Choir, Congregation, Organ, and Brass - to CORONATION

• Shackley, Larry. He Is Exalted - a pairing of "All Hail the Power" with Twila Paris's "He is Exalted"

• Hopson, Hal. All Hail the Power of Jesus' Name - uses the tunes AZMON and LYNGHAM

• Hayes, Mark. All Hail the Power - ncorporates all three traditional tunes.

Laura de Jong,Hymnary.org

I totally agree with the points discussed here. As a member of one of the Christian Churches in Houston, I really think that there is a need to inspire others during worship. Singing is an honest way of showing devotion and respect to God. Our efforts here is really important so we can pour our hears into prayer.

In response to Charles comment, coming from a worship leader perspective, all I can say is as leaders we try to make the music easy to remember in order to sing along and participate as a whole in the congregation. There are lyrical and musical master pieces that will move you to tear up or fall on your knees and praise God from the likes of Casting Crowns, Chris Tomlin and such. Although music, just like social economic status is all relative to the individuals own perception. Not everyone is musical, but they are capable of following hymns that repeat themselves. We are not on the stage to bring attention to ourselves but to help facilitate the congregation to sing and praise together as one from the heart. God bless, and may you find the beauty in music that shakes your soul, tears you up, and moves you to understand the power and glory that is Jesus Christ.

Exactly! An awful lot of what is released sounds to me as if the lyricist just dashed off a series of thoughts, usually stringing together some Christian catchphrases, and then the composer wrote something that sort of fit the rhythm of the words. Third rate poetry set to second rate music.

Acapella can be very nice, indeed, however, the problem is not with the use of instruments, as the voice itself is an instrument. The problem is principally one of the heart, as was mentioned initially. It is VERY possible for even acapella to go very wrong, because there are those who do try to upstage each other even as others around them are trying to praise the Lord from the heart. I have witnessed this on more than one occasion in different locations. The choice of music, the musical instruments, the voices, the congregation, the pastor, the music directors are all important with the parts that they play, and can greatly influence the results of the music. Their are many who tout acapella as the answer, when it is really a preference. Avoidance is NOT the answer; it neither solves nor even helps the problem, merely exacerbates the problem. God gave us voices that can be used to praise Him, but He also gave us talents to play instruments to His glory, as well. God never indicated anywhere in His Word that He was any more pleased by acapella singing than by singing with music, but, sadly, this fallacy is taught in many churches. ALL of our praise talents should be used to bring honor and glory to the Lord, and should be encouraged, not discouraged. 041b061a72