Podcasts about 4cd

Mastering engineer and film music restoration expert Chris Malone joins Xanthe for the season finale to talk about all things Empire Strikes Back soundtrack. We cover a ton of ground, from analog recording technology and methodology to the unique issues affecting The Empire Strikes Back releases. This episode contains many visuals, including spectogram displays that allow us to see tangible differences between various mixes. This episode is also on YouTube: https://youtu.be/DVwqsZ9Wv60  Timestamps: 0:00 - Hello there! 5:08 - Do you have one of these Empire Strikes Back soundtrack albums? 12:25 - Film music is recorded to part of the film. There wasn't always an expectation to produce a separate soundtrack album. 18:04 - When, where, and how the Star Wars and Empire Strikes Back scores were recorded. Terminology: 35mm magnetic film, magnetic tape, sprockets, tape machine, magnetic oxide particles, 50Hz tone, reproducer. 24:09 - Using magnetic film for synchronization. Limitations of the tape technology. 33:51 - John Williams editing together multiple takes with Ken Wannberg. 46:05 - What is a 24-track tape? Why does the width of tape matter? 49:58 - What is a live mix, and why is it an important reference for the ESB soundtrack albums? 1:02:53 - Listening to minutes 126-128 (end of the End Title music) while looking at the spectral frequency display. 1:10:27 - Diagonal splices. 1:23:07 - Different version of the Imperial March in the End Credits. 1:37:39 - Differences between the original ESB soundtrack and the Special Edition release. 1:57:37 - Comparison example: "Hyperspace" track on the 4CD and Special Edition releases. Listening for the violin presence and spatial movement of the horns and trombones. 2:09:17 - More spectogram comparisons: "City in the Clouds" and last note of the "Main Title." 2:21:21 - Applying the Hippocratic Oath to score restoration. 2:30:00 - If something was recorded in mono, should it stay mono? 2:40:31 - When it comes to restoring a film score, which sorts of recording artifacts is the engineer trying to correct? 2:42:21 - Example of "wow." 2:48:02 - Flutter. 2:53:13 - Why Chris champions the CD as an audio format. 3:01:21 - What type of gear does Chris use when listening to/analyzing music? (Question from Alex Cunningham) 3:12:06 - Was the ARP 2600 synthesizer overdubbed or recorded with the orchestra for the Empire Strikes Back soundtrack? (Question from Ender Smith) 3:13:58 - What has the transition to digital production done for Star Wars? (Question from Fr. David Mowry) 3:18:14 - Differences between the original 1954 20th Century Fox Fanfare and the one John Williams re-recorded for ESB. 3:20:28 - Eric Tomlinson's technique for recording punchy-sounding brass. 3:25:02 - The original trilogy scores (especially The Empire Strikes Back) could sound 1000x better than they sound on any of the current releases. What might prevent it from happening? 3:28:49 - The 2018 Disney releases of the Original Trilogy (the albums that are on Spotify). 3:39:03 - SWMM Questionnaire Things to Check Out: Cinematic Sound Radio's 2-part interview with Chris Malone: http://www.cinematicsound.net/interview-with-chris-malone/ The Goldsmith Odyssey's interview with Chris Malone: https://goldsmithodyssey.buzzsprout.com/159614/4802774-odyssey-interviews-chris-malone Complete Catalogue of the Musical Themes of Star Wars (by Frank Lehman): https://franklehman.com/starwars/. Cues: 12M3 "Finale" Musical Themes: Imperial March (Theme) Imperial March (Vamp) Han & Leia (A) Han & Leia (B) - Theme Form 1 (1980) Where are we in the soundtrack?: "The Rebel Fleet/End Title" --------------- Star Wars Music Minute Questionnaire: 1. In exactly 3 words, what does Star Wars sound like? Simply the best. Thematic orchestral richness. Well of richness. 2. What's something related to Star Wars music or sound that you want to learn more about? Everything there is to learn about the first three scores (1977, 1980, 1983). How did they get to where they got? What were the spotting sessions like? What were the internal memos like? 3. What's a score or soundtrack you're fond of besides anything Star Wars? Goldfinger (John Barry). The Lion in Winter (John Barry). Out of Africa (John Barry). Early James Bond scores by John Barry. Raiders of the Lost Ark by John Williams. ---------------------- Chris Malone: Website: https://malonedigital.com Articles, Analyses, Commentary: https://malonedigital.com/articles.html Project List: https://malonedigital.com/projectlist.html Twitter: https://twitter.com/Malone_Digital ------------------ Join the Discord server by becoming a patron at any level! (This is the best way to support the show): https://patreon.com/chrysanthetan Leave a voice message, and I might play it on the show...   https://starwarsmusicminute.com/comlink Where else to find SWMM: Twitter: https://twitter.com/StarWarsMusMin Spotify: https://open.spotify.com/show/652WVfMTLwJpVZ82i8uhFA Apple Podcasts: https://podcasts.apple.com/us/podcast/star-wars-music-minute/id1552988763 YouTube: https://youtube.com/starwarsmusicminute TikTok: https://www.tiktok.com/@starwarsmusicminute? Instagram: https://instagram.com/starwarsmusicminute Email: podcast@starwarsmusicminute.com Buy Me A Coffee: https://buymeacoffee.com/starwarsmusmin

1. Joe Strummer & The Mescaleros : Bhindi Bhagee from the 4CD set Joe Strummer 002: The Mescaleros Years (Dark Horse)2. Sears Orchestra : Bela Aurora from the 4CD box Excavated Shellac: An Alternate History Of The World's Music (Dust To Digital)3. Angeline Morrison : Black John from the CD The Sorrow Songs (Folk Songs Of Black British Experience) (Topic)4. Nick Hart : Lemany from the CD Nick Hart Sings Ten English Folk Songs (Roebuck)5. Oumou Sangaré : Kélé Magni from the CD Timbuktu (World Circuit)6. Joan Shelley : Home from the CD The Spur (No Quarter)7. Lady Maisery : Tender from the CD Tender (Lady Maisery)8. Hazel Dickens & Alice Gerrard : Who's That Knocking? from the CD Pioneering Women Of Bluegrass: The Definitive Edition (Smithsonian Folkways)9. Son House : Forever On My Mind from the CD Forever On My Mind (Easy Eye Sound)10. Eliza Carthy & The Restitution : Two Tears from the CD Queen Of The Whirl (HemHem)11. Leyla McCalla : Vini Wé from the CD Breaking The Thermometer (Anti)12. Meïkhâneh : Chaque Jour Nouveau from the CD Chants Du Dedans, Chants Du Dehors (Buda)13. Glenn Jones : Kathy Maltese from the CD Vade Mecum (Thrill Jockey)14. Folkatomik : Lu Trainu from the CD Polaris (ItalySona) You can find more details including past playlists and links to labels at www.podwireless.comPodwireless can also be heard streamed live on Mixcloud.Follow the links for previous podcasts.

A lo largo del año 2021 el trompetista Wadada Leo Smith ha publicado en el sello finlandés TUM Records cuatro grabaciones que se expanden hasta once CD. En HDO 541 escuchamos estas grabaciones: Trumpet (Wadada Leo Smith; 3CD); Sacred Ceremonies (Wadada Leo Smith, Milford Graves, Bill Laswell; 3CD); The Chicago Symphonies (Wadada Leo Smith, Henry Threadgill, Jonathon Haffner, John Lindberg, Jack DeJohnette; 4CD); A Love Sonnet For Billie Holiday (Wadada Leo Smith, Jack DeJohnette, Vijay Iyer; 1CD). Tomajazz:  © Pachi Tapiz, 2022 HDO 541 te gustará… si te gusta el jazz... si te gustan Wadada Leo Smith o sus acompañantes (Milford Graves, Jack DeJohnette, Vijay Iyer, Bill Laswell, Henry Threadgill...) En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos… https://www.tomajazz.com/web/?p=58924 https://www.tomajazz.com/web/?p=58954 Más información sobre Wadada Leo Smith Página oficial de Wadada Leo Smith: https://wadadaleosmith.com/ Wadada Leo Smith en Tomajazz: https://www.tomajazz.com/web/?s=wadada+leo+smith&submit=Search https://www.tomajazz.com/web/?p=60639 Más sobre HDO HDO es un podcast de jazz e improvisación (libre en mayor o menor grado) que está editado, presentado y producido por Pachi Tapiz. Para quejas, sugerencias, protestas, peticiones, presentaciones y/u opiniones envíanos un correo a hdo@tomajazz.com Todas las entregas de HDO. Hablando de oídas están disponibles en https://www.tomajazz.com/web/?cat=13298 HDO y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf Berry, Chuck. “You Never Can Tell.” Chess Records, 1964. Vinyl. 7” Record. Rancid. “New Orleans.” Let the Dominoes Fall. Hellcat Records, 2009. Vinyl. LP. Tragically Hip. “New Orleans Is Sinking.” Up To Here. MCA Records, 1989. CD. LP. Doucet, Luke. “New Orleans.” Aloha, Manitoba. Six Shooter Records, 2000. CD. LP. Armstrong, Louis. “Where the Blues Was Born Down in New Orleans.” Complete Hot 5 and Hot 7 Recordings. Definitive Records, 2001. 4CD. LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf Armstrong, Louis. “New Orleans Stomp.” Complete Hot 5 and Hot 7 Recordings. Definitive Records, 2001. 4CD. LP. Bridges, Leon. “Lisa Sawyer.” Coming Home. Columbia Records, 2015. Vinyl. LP. Connick, Jr. Harry. “Do You Know What It Means To Miss New Orleans?” 20. RCA Records, 1988. CD. LP. Small, Millie. “Walking to New Orleans.” My Boy Lollipop and 31 Other Songs. Combo Records, 1994. CD. LP. Alice In Chains. “Hate To Feel.” Dirt. Columbia Records, 1991. CD. LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

Dans cet épisode Signa 010, on évoque les dernières news Battlestar Galactica de la fin de l'année 2020, et on en profite pour vous signaler que tous nos épisodes sont désormais disponibles sur YouTube. Quelques liens en rapport avec l'épisode : Battlestar Galactica est à nouveau rediffusé à la télévision française, sur AB1 tous les lundis à partir de 22h20. La vidéo de type "Que sont-ils devenus" consacrée au casting de la série originale. La vidéo de type "Que sont-ils devenus" consacrée au casting de la série ré-imaginée. La vidéo de Yvan West Laurence qui passe en revue le livre Battlestar Galactica Shipyards. La plaque du sceau colonial de Battlestar Galactica qui est en vente depuis décembre 2020 sur la boutique Eaglemoss. La statuette de centurion Cylon de la série originale qui est en précommande sur la boutique Eaglemoss. Les nouvelles interviews de Jim Conlan sur YouTube :Edward James Olmos (alias William Adama)Michael Trucco (alias Samuel Anders)Rekha Sharma (alias Tory Foster)Ed Begley Jr (alias le sergent Greenbean de la série originale) Le coffret 4CD de Saga Of A Fugitive Fleet qui comprend des membres du casting de la série originale. Une vidéo des coulisses de l'enregistrement de Saga Of A Fugitive Fleet. Une seconde vidéo des coulisses qui montre l'enregistrement d'une longue prise. Un article annonçant le divorce des actrices Nicky Clyne et Allison Mack. La fiche Wikipedia française de la secte NXIVM. Retrouvez tous les épisodes du Battlestar Galacticast sur cette page. La page officielle du récent podcast Set Condition One. La page officielle du récent podcast Babes, Beers, Battlestar Galactica. L'article du site Transitions Et Énergies consacré à l'énergie dans la science-fiction. Des nouvelles de Michael Hogan sur la page de sa collecte de fonds. La boutique Fleet Is Family dont les bénéfices sont reversés à Michael Hogan. Le communiqué d'Ares Games annonçant la fin de la licence du jeu de plateau Battlestar Galactica Starship Battles au 31 décembre 2020. GalactiFrak est désormais disponible sur Deezer. GalactiFrak est désormais sur YouTube. Abonnez-vous à notre chaîne. GalactiFrak fait partie du label PodShows et est disponible sur podCloud, ainsi que sur Apple Podcasts, Spotify ou Deezer, ainsi que YouTube. Retrouvez les notes de l'émission sur galactifrak.lepodcast.frRetrouvez GalactiFrak sur Facebook, Twitter et Instagram. Suivez Draven et Karine sur Twitter

Rep. Ben McAdams has conceded the race to Burgess Owens in the 4CD race. Lee will review the representative's comments. Former 4CD Rep. Mia Love joins Lee to discuss the history of the district, and newly elected Congressman Owens joins to explain his win.   See omnystudio.com/listener for privacy information.

Welcome to the tenth episode of monthly Cherry Red Records Radio show in association with Boogaloo Radio, Almost Blue Radio, Totally Radio, Bay FM, Kalypso Gold, Ship Full Of Bombs, WRFN1025, WRFNGOLD, Mad Wasp Radio and Target Radio. Hosted by Iain McNay, listen in as he delves into the independent label’s sizeable vaults to bring you two hours of music inspired by one of the most eclectic and prolific labels in the world.This month is Iain is joined by John Reed, our Director of Catalogue to discuss and play a few tunes from catalogue the label has recently acquired. He is also joined by Head of Comms Matt Ingham for a press roundup, looking at what releases have been doing well in the media this month. Finally we have an exclusive audio excerpt from a recent roundtable interview we did around our Make More Noise – Women In Independent Music UK 1977-1987 4CD boxset. The chat features journalist Lucy O’Brien chatting to Cosey Fanni Tutti, Tracy Tracy from The Primitives and Gina Birch of The Raincoats.Alongside that you’ll hear a mixture of Cherry Red and non-Cherry Red acts, both old and new, including songs from compilation box sets and every genre under the sun. Iain and Cherry Red are staunch supporters of buying music in physical form and only plays music that can be bought on CD or vinyl. Tracklist: 1. Yes - Give Love Each Day2. Yobrepus - Mycelium Days3. Hawkwind Light Orchestra - Dyna-Mite4. Hawkwind Light Orchestra - Repel Attract5. Sigue Sigue Sputnik - Rockit Miss USA6. Trapeze - Medusa7. Big Country - Chester's Farm8. Scars - All About You9. The Drones - Can't See10. The Outsiders - Calling On Youth11. The Waterboys - My Wanderings In The Weary Land12. Procol Harum - Skating On Thin Ice13. Autumn - My Little Girl14. Clifford T. Ward - Circus Girl15. Medicine Head - His Guiding Hand16. The Hi-Fi's - Tread Softly For The Sleepers17. The Carpettes - How About You And Me18. Spencer Davis - Time Seller19. Cosey Fanni Tutti- Such Is Life20. The Raincoats - No One's Little Girl21. The Primitives - Crash (Demo)22. Ane Brun - How To Disappear Completely23. The Minor Birds - The Parting Glass

Tío Gregorio el Borrico y John Coltrane me parecen que, en esencia, están contando la misma historia.Repasamos algunos conciertos históricos. Por un lado la célebre última gira de Miles Davis con John Coltrane en la que se hizo patente que ambos músicos iban en diferentes direcciones. Coltrane montaría su célebre cuarteto en busca de su A Love Supreme (1964) y Miles renovó su quinteto con Wayne Shorter camino de su siguiente aventura: el jazz rock.En este momento 1960 Miles Davis le reprocha a Coltrane que hace solos muy largos. - Tío me meto y no sé cómo parar, responde Coltrane. La respuesta de Miles Davis es cortante: - Prueba a quitarte el saxo de la boca.Miles había firmado Kind of Blue en 1959 y todo el mundo era consciente de que ahí estaba de nuevo el presente y el futuro del jazz y una de la mayores contribuciones a la música del siglo XX. En 1960 se editan Sketches of Spain de Miles Davis, ¡Olé! De John Coltrane pero es Coltrane el que resulta más “flamenco” porque su estilo y su sonido se acercan al alma de la seguiriya. Por otro lado, Coltrane está en plena vorágine creativa. Baste mencionar los discos grabados como líder entre 1959 y 1962. Eso nos da una idea de cómo funciona la industria del jazz alimentada por una buena cantidad de aficionados, más o menos insaciables.1959: Giant Steps - Atlantic 1959: Coltrane Jazz - Atlantic 1960: The Avant Garde - Atlantic 1960: My Favorite Things - Atlantic 1960: Coltrane`s Sound - Atlantic 1960: Coltrane Plays The blues - Atlantic 1961: Olé - Atlantic 1961: The Best Of John Coltrane - Atlantic 1961: The Heavyweight Champion - Rhino Records 1961: Africa/Brass - Impulse! 1961: The Complete Africa/Brass - Impulse! 1961: Live At The Village Vanguard - Impulse! 1961: Impressions - Impulse! 1961: The Complete Paris Concerts - Magnetic 1961: The Complete Copenhagen Concert - Magnetic 1961: European Impressions - Bandstand 1961: Live In Stockholm - Charly 1961: Coltranology, vols.I & II - Affinity 1961: John Coltrane Quartet With Eric Dolphy - Black Label 1961: John Coltrane Meets Eric Dolphy - Moon 1962: Coltrane - Impulse IMPD 1962: Coltrane - Impulse MCAD 1962: From The Original Master Tapes - Impulse! 1962: Live At Birdland - Charly 1962: The European Tour - Pablo 1962: The Complete Graz Concert vol 1 - Magnetic 1962: The Complete Graz Concert vol 2 - Magnetic 1962: The 1962 Graz Concert. Complete Edition - Jazz Lips 1962: The Complete Stockholm Concert vol 1 - Magnetic 1962: The Complete Stockholm Concert vol 2 - Magnetic 1962: Stockholm` 62 The Complete Second Concert vol 1 - Magnetic 1962: Stockholm` 62 The Complete Second Concert vol 2 - Magnetic 1962: Visit To Scandinavia - Jazz Door 1962: On Stage 1962 - Accord 1962: Promise - Moon 1962: Bye Bye Blackbird - Original Jazz Classics 1962: Ballads - Impulse! 1962: Every Time We Say Goodbye - Natasha 1962: Live At Birdland and The Half Note - Cool & BlueEscuchamos tres de las cuatro versiones de So What que se ha editado en 4CD. Miles Davis & John Coltrane The Bootelg Series Vol 6 (Columbia/Sony). No disparen al pianista es Wynton Kelly, que toca maravillosamente en medio de esa tormenta de ideas. Miles Davis en la trompeta, John Coltrane en el saxo tenor, Wynton Kelly en el piano, Paul Chambers en el contrabajo y Jimmy Cobb en la batería.Paris (Olympia) 21 de marzo de 1960. Estocolmo 22 de marzo de 1960. Existe otra versión en Copenhage del 24 de marzo que no escuchamos por falta de espacio.LOS DIRECTOS DEL FLAMENCO La grabación de Tío Gregorio el Borrico procede del libro/CD Cien años de Tío Gregorio el Borrico 1910/2010 de José María Castaño ED Los caminos del Cante. Grabación realizada por Ricardo Pachón mediados los años setenta. La guitarra es de Pedro Bacán (aunque se pone en duda por parte de alguno de los contribuyentes al libro).En 1971 se celebró el VI concurso nacional de arte flamenco, siendo el Beni de Cádiz el que se alzó con los principales galardones en liza.El 15 de noviembre de 1965, los organizadores del American Folk Blues Festival organizaron el festival Flamenco Gitano rebautizado como The Original, Juan Maya Marote, Antonio Arenas, Varga Aracelli guitarras Diego Vargas, José Salazar, Ramón Moreno de Cádiz, Orillo de Siglana La Singla, Dolores Maya baile.El 10 de mayo 1967 Da capo Faico cante y baile Juan Maya Marote, Pepín Salazar, Ramón de Algeciras Ramón Moreno de Cádiz, Orillo de Siglana, Diego Vargas cante Paquita, Dolores Maya, Manolete baile y compás.

News Doug Jones - Lt Saru, an alien science officer on Discovery, Michelle Yeoh - Captain Georgiou, of the Shenzhou, Anthony Lt. Stamets, an astromycologist, fungus expert and science officer http://www.startrek.com/article/star-trek-discovery-beams-up-three-cast-members#sthash.6BEbiX1k.dpuf Star Trek 50th anniversary 4CD set coming. Includes 40+ tracks from TAS as well as music from rides, and better-sourced TOS tracks. TNG 7 seasons blu-ray $80 Donations Ten Forward: Chris on Twitter: If u were offered to watch an unknown season 4 of TOS but had to agree to never watch any more new Trek, would u? Star Trek in pop culture: The Weakest Link (2001) 01:58 Episode insight: TNG: S1 Skin of Evil Character insight - What we are thankful for

HDO (Hablando de oídas) es un producto de la factoría Tomajazz. Toda la información en http://www.tomajazz.com/web/?cat=13298. Free Radicals (es decir Agustí Fernández -piano-, Barry Guy -contrabajo-, y Peter Evans -trompeta) actuarán entre el 27 y el 30 de enero de 2016 en Barcelona (miércoles 27, CCCB), Huesca (viernes 29, Centro Cultural El Matadero), y Madrid (sábado 30, Auditorio Nacional). En HDO escuchamos música de las tres últimas grabaciones de estos artistas: Time Passing... (Barry Guy; Maya Recordings); River Tiger Fire. Agustí Fernández @ 60. Ad Libitum Festival Residency (diversas formaciones con Agustí Fernández; 4CD; FSR); Secret Meeting (Peter Evans & Travis Laplante; NNA Tapes; a publicar el 5 de febrero de 2016). © Pachi Tapiz, 2016. HDO (Hablando de oídas) es un audioblog presentado, editado y producido por Pachi Tapiz.

Podcast mensuel programmé et présenté par DJérôme Bosch. Durée: 60 Minutes. OK/KO (d'après l'expression de Franco Luambo : "On entre OK, on sort KO"). DJérome Bosch, grand collectionneur de rumba (la pop congolaise), a réussi à rassembler +/- 1.500 morceaux des fourties jusqu'aux nineties (mort de Franco), certains très difficiles à dénicher... Et beaucoup de chefs-d'oeuvre irrésistibles qu'il vous fera découvrir depuis Bruxelles. JONATHAN WARD est collectionneur de 78 TOURS et vit à Los Angeles. Spécialisé dans les musiques du monde il commente ses découvertes sur son indispensable blog Excavated Shellac. En 2011 il a publié le fabuleux coffret OPIKA PENDE qui compile sur 4CD une centaine de morceaux produits sur le continent africain et jamais réédité auparavent, le tout accompagné d'un livre réalisé avec un soin et une attention exceptionnelle qui remet en contexte un éblouissant patrimoine qui ressurgit du passé. Cet splendide objet est toujours disponible sur le label Dust to Digital.

Podcast mensuel programmé et présenté par DJérôme Bosch.Durée: 60 Minutes.OK/KO (d'après l'expression de Franco Luambo : "On entre OK, on sort KO"). DJérome Bosch, grand collectionneur de rumba (la pop congolaise), a réussi à rassembler +/- 1.500 morceaux des fourties jusqu'aux nineties (mort de Franco), certains très difficiles à dénicher... Et beaucoup de chefs-d'oeuvre irrésistibles qu'il vous fera découvrir depuis Bruxelles.JONATHAN WARD est collectionneur de 78 TOURS et vit à Los Angeles. Spécialisé dans les musiques du monde il commente ses découvertes sur son indispensable blog Excavated Shellac. En 2011 il a publié le fabuleux coffret OPIKA PENDE qui compile sur 4CD une centaine de morceaux produits sur le continent africain et jamais réédité auparavent, le tout accompagné d'un livre réalisé avec un soin et une attention exceptionnelle qui remet en contexte un éblouissant patrimoine qui ressurgit du passé. Cet splendide objet est toujours disponible sur le label Dust to Digital.

  Rare Frequency Podcast 30: Hot Stuff Note: Yes, I play the same Philip Jeck piece in consecutive podcasts. What excuse can I possibly offer? Well, uh, it really is hot. (opening music: Warner Jepson, “Skate Date,” Totentanz And Other Electronic Work 1958-1973 (Disc Two) (Expanding Melon) 2CD) 1 Alva Noto, "u_07" Unitxt (Raster-Noton) CD 2008 2 Frank Bretschneider, "Rand" Rand (Mille Plateaux) CD 2000 3 Philip Jeck, "Shining" Sand (Touch) CD 2008 4 DJ /Rupture vs. Badawi Quintet, "Ipanema Under Fire" Unit of Resistence (Roar) CD 2008 5 Asmus Tietchens, "Rosenkranz" Mysteries of the Organ (Die Stadt) CD 2008 6 Burning Star Core, "Challenger" Challenger (Hospital Productions) CD 2008 7 Kevin Drumm, "Snow" Imperial Distortion (Hospital Productions) CD 2008 8 Byetone, "Heart" Death of a Typographer (Raster-Noton) CD 2008 9 Gas, "Zauberberg 6" Nah und Fern (Kompakt) 4CD 2008

  Rare Frequency Podcast 29: Toned Down (opening music: Brian Hodgson, “Chumbley at Rest [Galaxy Four],” Doctor Who at the BBC Radiophonic Workshop- Volume 1: the Early Years 1963-1969 (BBC Worldwide) CD) 1 Kode9 & Space Ape, "Konfusion (vocal)" Konfusion EP (Hyperdub) 12” 2008 2 Skream, "Blue Eyez" Skream! (Tempa) CD 2007 3 Byetone, "Plastic Star (Dr. Walker remix)" Plastic Star EP (Raster-Noton) 12” 2008 4 Frank Bretschneider, "Expecting Someone Taller" Party of Two Parts EP. (Underscan) EP 2003 5 Abdel Hadi Halo & The El Gusto Orchestra Of Algiers, "Fatouma" Abdel Hadi Halo & The El Gusto Orchestra Of Algiers (Honest Jon’s) CD 2008 6 Jozef van Wissem, "The Soul Leaves the Body in Eternal Glory" A Priori (Incunabulum) CD 2008 7 Svyatoslav Lunyov, "Urbi et Orbi" Para Pacem Para Bellum (Quasi Pop) CD 2007 8 Tom Dissevelt, "Fantasy in Orbit" Popular Electronics (Basta) 4CD 2004 9 Joji Yuasa, "Projection Esemplastic For White Noise, 1964" OHM: The Early Gurus Of Electronic Music (Ellipsis Arts) CD 2005 10 Pita, "CE3Get Out (Editions Mego) CD 2008 11 People Like Us, "Who CaresAbridged Too Far (Ubu) mp3 2004