Podcasts about aacm

Burnt Sugar The Arkestra Chamber is renowned for "never playing anything the same way once." Drawing inspiration from Duke Ellington, Sun Ra, Parliament Funkadelic, and The Art Ensemble of Chicago, in the words of founder Greg Tate, "Our player-ranks  include known Irish fiddlers, AACM refugees, Afro-punk rejects, unrepentant beboppers, feminist rappers, jitterbugging doowoppers, frankly loud funk-a-teers and rodeo stars of the digital divide.” Under the baton of Butch Morris's conduction concept, this polyglot throng becomes the universal translation device of AI's disembodied dreams.   We hear what you're thinking: "The concept is great but what happens when the rubber hits the road?  Can they really do it on stage?"  Let's answer that question on Mitch Goldman's Deep Focus.  And who better to listen to the music with than BSAC's own samchillianist Leon Gruenbaum?      It's all happening this Monday (11/25) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.  Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: Ginny Suss   #WKCR #DeepFocus #LeonGruenbaum #BurntSugar #BurntSugarTheArketraChamber #BSAC #JazzRadio #JazzPodcast #JazzInterview

Burnt Sugar The Arkestra Chamber is renowned for "never playing anything the same way once." Drawing inspiration from Duke Ellington, Sun Ra, Parliament Funkadelic, and The Art Ensemble of Chicago, in the words of founder Greg Tate, "Our player-ranks  include known Irish fiddlers, AACM refugees, Afro-punk rejects, unrepentant beboppers, feminist rappers, jitterbugging doowoppers, frankly loud funk-a-teers and rodeo stars of the digital divide.” Under the baton of Butch Morris's conduction concept, this polyglot throng becomes the universal translation device of AI's disembodied dreams.   We hear what you're thinking: "The concept is great but what happens when the rubber hits the road?  Can they really do it on stage?"  Let's answer that question on Mitch Goldman's Deep Focus.  And who better to listen to the music with than BSAC's own samchillianist Leon Gruenbaum?      It's all happening this Monday (11/25) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.  Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: Ginny Suss   #WKCR #DeepFocus #LeonGruenbaum #BurntSugar #BurntSugarTheArketraChamber #BSAC #JazzRadio #JazzPodcast #JazzInterview

Burnt Sugar The Arkestra Chamber is renowned for "never playing anything the same way once." Drawing inspiration from Duke Ellington, Sun Ra, Parliament Funkadelic, and The Art Ensemble of Chicago, in the words of founder Greg Tate, "Our player-ranks  include known Irish fiddlers, AACM refugees, Afro-punk rejects, unrepentant beboppers, feminist rappers, jitterbugging doowoppers, frankly loud funk-a-teers and rodeo stars of the digital divide.” Under the baton of Butch Morris's conduction concept, this polyglot throng becomes the universal translation device of AI's disembodied dreams.   We hear what you're thinking: "The concept is great but what happens when the rubber hits the road?  Can they really do it on stage?"  Let's answer that question on Mitch Goldman's Deep Focus.  And who better to listen to the music with than BSAC's own samchillianist Leon Gruenbaum?      It's all happening this Monday (11/25) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.  Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: Ginny Suss   #WKCR #DeepFocus #LeonGruenbaum #BurntSugar #BurntSugarTheArketraChamber #BSAC #JazzRadio #JazzPodcast #JazzInterview

Amina Claudine Myers was one of the earliest members of the AACM, and if you're listening to this podcast, I'm pretty sure you know what the AACM is, but just in case you don't, the Association for the Advancement of Creative Musicians is an organization formed by Muhal Richard Abrams, Roscoe Mitchell and a few other musicians in Chicago in the mid-1960s. A tremendous number of the most important avant-garde jazz musicians of the mid to late 20th century and the 21st century have come out of the AACM, including Anthony Braxton, Henry Threadgill, Fred Anderson, the Art Ensemble of Chicago, Wadada Leo Smith, Matana Roberts, Nicole Mitchell, Tomeka Reid, and Amina Claudine Myers. There's a tremendous book by trombonist and composer George Lewis, called A Power Stronger Than Itself, that's the best possible introduction to the group. You should absolutely read that if you're a fan of any of the musicians I just named.Now, all the founders and early members of the AACM worked together, supporting each other, and moving the music forward in large part by composing and performing original work. What's interesting — and this is something we talk about in this conversation — is that Amina Claudine Myers' early albums included some original music, but they also included interpretations of other people's compositions, specifically Marion Brown and Bessie Smith. But she always paired that music up with pieces of her own that demonstrated a really fascinating compositional voice that was a combination of jazz, gospel, blues, and classical music. She took all her influences and early training and combined them into something that sounded like nobody else out there, and was incredibly powerful.In addition to making her own records, she's been a part of albums by Lester Bowie, Henry Threadgill, Muhal Richard Abrams, Anthony Braxton, Kalaparusha Maurice McIntyre, Bill Laswell, and many other people. Her latest release is a collection of duos with Wadada Leo Smith, the first time they've recorded together since 1969, and their first collaboration as leaders.I'm really glad I had the chance to interview her. We talked about a lot of things — the AACM, the role of spirituality in music and the way the term spiritual jazz is used to gatekeep certain things, her work with all the artists I just mentioned, her upbringing in Arkansas and Texas and how it influenced her writing... this is a really wide-ranging conversation that I think will be really interesting for you to hear. I thank you as always for listening.

On this edition of The Arts Section, host Gary Zidek sits down with Classic Cinemas CEO Chris Johnson to talk about the current state of the cinema business and preview the upcoming summer movie season. Theater critic Jonathan Abarbanel joins Gary to review Steppenwolf Theatre's THE THANKSGIVING PLAY. Later in the show, Gary takes a look at this year's Chicago Cabaret Week. And we'll hear about a book that looks at the history of the AACM.

On this episode, Marc talks with Paul Steinbeck, the author of “Sound Experiments: The Music of the AACM,” published in paperback in December of 2023. It's a look at the longtime Chicago-based musical organization the AACM, or Association for the Advancement of Creative Musicians, and began in 1965 and is still going strong today. Paul chose to approach the history of the AACM through individual recordings, focusing each of his chapters on a single album, and providing both a background of the artist and the recording, and a detailed, step by step description and analysis of the music on that record.As he writes in his introduction, “Close analyses of these pieces illustrate how AACM composers and performers advanced the Association's signature musical practices, from extended forms and multi-instrumentalism to experimental approaches to notation and conducting.”We hope you enjoy Marc's talk with Paul Steinbeck!

Making a return for his second appearance on StoryBeat is the great jazz and world flutist, Michael Mason. Michael's been playing professionally for more than 40 years.  He's led off for Trumpeter Arturo Sandoval, had master classes with James Newton, been influenced by Jethro Tull's Ian Anderson, performed with New Orleans Saxophonist Edward “Kidd” Jordan and Chicago's legendary Fred Anderson. He's also collaborated with James Galway and many artists from the legendary AACM organization.Michael's musical influences include Miles Davis, John Coltrane, Eric Dolphy, Sun Ra, and Yusef Lateef.More than a composer and musician, Michael was also a working firefighter for 38 years and is now Retired Lieutenant Michael Mason of the Downers Grove, Illinois Fire Department. He was one of the first responders from the Chicago area to fly to New York City after the World Trade Center Towers were attacked. There he worked with the New York City Fire Department and Port Authority for many weeks. You can read more about his firefighting efforts at ricofirerescue.com.   Over the past 10-plus years Michael's taught thousands of recruits at the Fire Academy to become first responders and has taught veterans how to save each other at the scene of any type of tragic incident. Please be sure to stick around at the end of this episode for a special treat. Michael has lent us his beautiful song, Freedom, from his new album, Impermanence. Freedom has also been turned into a music video as a tribute to the people of Ukraine.  The video, which can be seen on fireflute.com, has been approved by the National Academy of Recording Arts and Sciences for Grammy voting in the Best Music Video category, and Impermanence is up for voting in the "Best Contemporary Jazz Album" category.

In this bonus episode Greg pays tribute to the saxophonist Mars Williams, who played with everyone from The Waitresses to Psychedelic Furs to Billy Idol to jazz greats in the AACM. Williams died November 20 at age 68.Become a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundopsJoin our Facebook Group: https://bit.ly/3sivr9TSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Episode 11- Jon Irabagon: Always Moving Forward Jon Irabagon is always driving ahead whenever he wants to make a statement with a new recording. With his saxophones facing forward, Jon's bold and articulate improvisations draw on his singular drive to create a pathway for the future of jazz. He draws on the forces of the hand-chosen musicians, each becoming a lifelong ally in the music business. Jon is first-generation Filipino American, and the father of two girls. Jon is influenced more by the individualistic philosophies and accomplishments of the Chicago-based organization, the Association for the Advancement of Creative Musicians, or AACM. These mixed complex-compositional ensembles, highly influenced by the works of John Coltrane, Ornette Coleman, and Albert Ayler, are the basis for Jon's work but it's the future of this music that he seeks to play, not the rehashing of the music of the past.  Jon Irabagon 's life story begins in Chicago, the town of the tenor sound. It was in high school in the Chicago north suburbs when he was driven to seek out the music of the tenor titans: John Coltrane and Sonny Rollins and an alto titan, Sonny Stitt. After earning a Bachelor of Music from DePaul University, Jon went on to earn a Master of Arts from the Manhattan School of Music and then post-graduate studies at Julliard. In 2008 Jon went on to win the Thelonious Monk Saxophone Competition and years later the Philippine Presidential Award. Jon prefers to look ahead, seeking the future of the music, of the sound of jazz. For him, it's all about what's next. This is the main driving force for him. He's fortunate to have a gaggle of musicians with whom he can play the music. Furthermore, Jon has his own label, Irabbagast Records which gives him a label to publish music that may be considered more challenging to other commercial labels. Jon also accommodates his friends who are true to the music and the sound they prefer to play. In this episode we hear story after story about Jon and his music, his family, the creation of a record label so he can have a place to record his music, spreading the music as an instructor, and when Jon went to stay with his in-laws in South Dakota at the beginning of the pandemic lockdown intending an eight-week stay and winding up living with them for eight months, spending countless hours playing to the canyons, and so much more. The stories insistently pique your interest. So, strap yourself in for this ride.  This will be the opening episode, complete with two tracks of music. There is a bonus episode that completes the full episode. The interview weaves great tales and the music wraps it all up tightly. In the opening episode you will find this music. Thanks to Jon Irabagon for all the music. Please remember to subscribe if you haven't already.  The music tracks in Episode 11 include the following and with the noted personnel: Anchors (Outright! Innova Recordings, 2008) 8:27 Jon Irabagon-alto saxophone, Russ Johnson-trumpet, Kris Davis-piano, Eivind Opsvik-bass, Jeff Davis-drums  Mammoth (Rising Sun, Irabbagast Records, 2022) 11:59 Jon Irabagon-tenor saxophone, Adam O'Farrill-trumpet, Matt Mitchell-piano, Chris Lightcap-electric bass, Dan Weiss-drums When you're done with this episode, listen to the bonus episode complete with more music. Enjoy the conversation with Jon Irabagon, the sax player who's always looking forward. Here on Strictly Jazz Sounds. Thanks for listening. Steve Braunginn  

Author, historian, and bassist Paul Steinbeck joins hosts/bassists David C. Gross and Tom Semioli to discuss the book Sound Experiments: The Music of the AACM. Founded on Chicago's South Side in 1965 and still thriving today, the Association for the Advancement of Creative Musicians (AACM) is the most influential collective organization in jazz and experimental music.  A Conversation with Paul Steinbeck Playlist Pt 2

Author, historian, and bassist Paul Steinbeck joins hosts / bassists David C. Gross and Tom Semioli to discuss the book Sound Experiments: The Music of the AACM. Founded on Chicago's South Side in 1965 and still thriving today, the Association for the Advancement of Creative Musicians (AACM) is the most influential collective organization in jazz and experimental music.  The Paul Steinbeck Playlist Pt 1

Beneath Detroit showcases previously unheard music from live concert recordings that took place between 1979 and 1992 at the Detroit Institutute of Arts (DIA) as part of the Creative Music at the DIA program. The Creative Music at the DIA concerts highlight an important avant-garde community jazz movement that prominently featured Detroit-based musicians, of which many players are still active today. Both onstage and in continuing musical collaborations, these concerts triangulated and expanded musical connections with the older avant-minded collectives that had been its models, The AACM in Chicago and BAG in St. Louis. This episode features a concert by the New Chamber Jazz Quintet from Nov. 27th 1982, featuring Spencer Barefield, Anthony Holland, Faruq Z Bey, Jaribu Shahid, and Tani Tabbal. https://beneathdetroit.com/ dublab is a listener supporter radio station, become a Sustaining Member today https://www.dublab.com/support/memberships

On this edition of The Arts Section, host Gary Zidek checks in with local filmmaker Jack C. Newell, who spent a decade making a documentary about an effort to build a school in Haiti. The Dueling Critics, Kerry Reid and Jonathan Abarbanel, will join me to review Steppenwolf Theatre's latest. Later in the show, Gary talks to the author of a new book that dives into the music of the Association for the Advancement of Creative Musicians (AACM). And Gary looks back at the life and career of celebrated pianist Ramsey Lewis.

Selam, Caz Müziğin Serüveninin Anarşileşip Çerçeveleri Kırma Hikayesi Caz ve Birtakım Aykırı Şeyler Serisinin 2. Bölümü Alanlarda! İkinci Bölümde Özgür Müzik Kavramından Alıp Free Jazz'a Gidiyor, Sonra Contemporary Music İle Görüntüyü Bulanıklaştırıp İkinci Chicago Okulu ve AACM'e Varıyoruz. İlk Bölüme Göre Ses Kalitemiz Daha İyi, Yani Sanırsam. Biraz Daha Akıcıyız, ama 1 Saat 20 Dakika. "Dinlene Dinlene Dinlersiniz" Dememe Artık Gerek Yok Sanırım. Sonraki Bölümlerde Görüşürüz, Penguenle. Jack Joyce. Bu Seriyi Takiben Örneklerin Bulunduğu Playlist İçin; Buyrun

Wadada Leo Smith, trumpeter, multi-instrumentalist, composer, and improviser is one of the most acclaimed creative artists of his times, both for his music and his writings. For the last five decades, Mr. Smith has been a member of the historical and legendary AACM collective. He distinctly defines his music as “Creative Music.” Mr. Smith's diverse discography reveals a recorded history centered around important issues that have impacted his world.For over two decades, Mr. Smith has been creating music for multiple ensembles. Some of these works take several days to perform: Ten Freedom Summers (2011, RedCat, Los Angeles); “Tabligh” for double-ensemble was performed by Golden Quartet and Classical Persian ensemble at Merkin Concert Hall (2006); Golden Quartet and Suleyman Erguner's Classical Turkish ensemble at Akbank Music Festival in Istanbul (2007). His largest work “Odwira” for 12 multi-ensembles (52 instrumentalists) was performed at California Institute of the Arts (March 1995).Today he joins The Jazz Podcast to discuss his two new albums, released on the TUM label. HorseFrog ProductionsA podcast where two friends explore their favorite books, shows, and movies.Listen on: Apple Podcasts Spotify I Read Comic BooksA podcast for comic book fans. New episodes on Wednesdays. Comics are good, and so are youListen on: Apple Podcasts SpotifySupport the show

Fra i nuovi rapporti che Leo Smith allaccia col suo trasferimento in Connecticut, c'è anche il musicista bianco Bobby Naughton, pianista e organista che negli anni sessanta era rimasto folgorato dal free jazz ed era passato al vibrafono, e nei primi anni settanta si era fatto vivo con Leo Smith. Nel '76 Smith, Naughton e altri musicisti danno vita al Creative Music Improviser's Forum, che riprende il modello della AACM di Chicago e che fino all'84 organizza concerti di musica creativa in Connecticut. Alla metà dei settanta Naughton concepisce un album in trio, senza batteria, con l'obiettivo di suonare musica che non fosse basata su un ritmo stabile ed esplicito. Naughton compone la musica al pianoforte, la prova separatamente con Smith e col clarinettista Perry Robinson e il trio si riunisce però per la prima volta solo in studio al momento della registrazione, nell'aprile del '76. L'album, intitolato The Haunt, e cointestato ai tre musicisti, è un significativo esempio di combinazione di composizione e improvvisazione, ed è tra le incisioni più originali realizzate nel jazz d'avanguardia nella seconda metà dei settanta. Nell'agosto del '76 Leo Smith torna ad incidere un album personale - il suo terzo - con un organico più ampio di New Dalta Akhri, comprendente, oltre ad Anthony Davis al piano e a Wes Brown al contrabbasso, anche il sassofonista Oliver Lake e il ventunenne betterista Pheeroan Ak Laaf: l'album esce per l'etichetta di Smith, la Kabell, col titolo Song of Humanity.

Fra i nuovi rapporti che Leo Smith allaccia col suo trasferimento in Connecticut, c'è anche il musicista bianco Bobby Naughton, pianista e organista che negli anni sessanta era rimasto folgorato dal free jazz ed era passato al vibrafono, e nei primi anni settanta si era fatto vivo con Leo Smith. Nel '76 Smith, Naughton e altri musicisti danno vita al Creative Music Improviser's Forum, che riprende il modello della AACM di Chicago e che fino all'84 organizza concerti di musica creativa in Connecticut. Alla metà dei settanta Naughton concepisce un album in trio, senza batteria, con l'obiettivo di suonare musica che non fosse basata su un ritmo stabile ed esplicito. Naughton compone la musica al pianoforte, la prova separatamente con Smith e col clarinettista Perry Robinson e il trio si riunisce però per la prima volta solo in studio al momento della registrazione, nell'aprile del '76. L'album, intitolato The Haunt, e cointestato ai tre musicisti, è un significativo esempio di combinazione di composizione e improvvisazione, ed è tra le incisioni più originali realizzate nel jazz d'avanguardia nella seconda metà dei settanta. Nell'agosto del '76 Leo Smith torna ad incidere un album personale - il suo terzo - con un organico più ampio di New Dalta Akhri, comprendente, oltre ad Anthony Davis al piano e a Wes Brown al contrabbasso, anche il sassofonista Oliver Lake e il ventunenne betterista Pheeroan Ak Laaf: l'album esce per l'etichetta di Smith, la Kabell, col titolo Song of Humanity.

Tornato nei primi mesi del '70 dal suo lungo soggiorno parigino, Leo Smith non vede a Chicago molte prospettive, e in settembre decide di trasferirsi in Connecticut, per raggiungere il sassofonista Marion Brown che ha incontrato per la prima volta nel corso dell'estate. Nel dicembre del '71 Leo Smith incide il primo album a suo nome, interamente in solo, in cui si alterna a tromba, flicorno, percussioni e altri strumenti: intitolato Creative Music - 1, viene pubblicato dalla Kabell, etichetta dello stesso Smith. Nell'album non mancano fra l'altro segnali dell'interesse di Smith per culture di altre parti del mondo (Africa, GIappone, Indonesia...), interesse che il soggiorno parigino ha stimolato. Il trasferimento nel '70 in Connecticut rappresenta per Smith l'inizio di un nuovo periodo, perché se il suo primo album personale lavora su alcune direttrici che sono tipiche della AACM - solo, polistrumentismo, senso dello spazio... - allo stesso tempo il fatto di essere lontano da Chicago, ma anche da New York, dove nel frattempo Braxton e Leroy Jenkins si sono trasferiti, apre per lui una fase di riflessione individuale e anche di emancipazione dalla AACM.

Tornato nei primi mesi del '70 dal suo lungo soggiorno parigino, Leo Smith non vede a Chicago molte prospettive, e in settembre decide di trasferirsi in Connecticut, per raggiungere il sassofonista Marion Brown che ha incontrato per la prima volta nel corso dell'estate. Nel dicembre del '71 Leo Smith incide il primo album a suo nome, interamente in solo, in cui si alterna a tromba, flicorno, percussioni e altri strumenti: intitolato Creative Music - 1, viene pubblicato dalla Kabell, etichetta dello stesso Smith. Nell'album non mancano fra l'altro segnali dell'interesse di Smith per culture di altre parti del mondo (Africa, GIappone, Indonesia...), interesse che il soggiorno parigino ha stimolato. Il trasferimento nel '70 in Connecticut rappresenta per Smith l'inizio di un nuovo periodo, perché se il suo primo album personale lavora su alcune direttrici che sono tipiche della AACM - solo, polistrumentismo, senso dello spazio... - allo stesso tempo il fatto di essere lontano da Chicago, ma anche da New York, dove nel frattempo Braxton e Leroy Jenkins si sono trasferiti, apre per lui una fase di riflessione individuale e anche di emancipazione dalla AACM.

Drummer Jack DeJohnette returns to the Jazz Room to talk about his project.” Made in Chicago” He and his band have created their own musical sound and language to communicate with each other to make something fascinating. In Part 1 of our interview he talks about the development of this project and the AACM the Association for Creative Musicians based in Chicago.

1941 metų gruodžio 18 dieną gimė trimitininkas, kompozitorius ir vienas laisvosios muzikos ideologų Wadada Leo Smithas. Pasaulio kultūrų žinovas, daugybės universitetų lektorius, vienas legendinio AACM judėjimo narių, muzikos edukatorius, filosofas, teoretikas, sukūręs savitą muzikos notaciją, įrašęs šimtus albumų, sukūręs muziką orkestrams, ansambliams, kvartetams, solistams, padaręs įtaką visam pasauliniam laisvosios muzikos judėjimui. Muzikinių naujienų apžvalgoje – Lietuvos muzikos informacijos centro pristatomas naujas hipnotizuojantis „Twenty Fingers Duo“ leidinys ir vieno pianisto duoklė Johnui Coltrane'ui.Ved. Domantas Razauskas

Spending an hour chatting with Renée Baker about her more than two thousand musical compositions and perhaps almost as many paintings was inspirational as well as motivational. Especially during this time when the ability for anything we do to have a certain future seems somewhat precarious at best. But Renée does not let anything deter her and while her music is extremely wide ranging and gleefully embraces freedom of expression, her daily schedule is precise and meticulous.

For the last 20 years, Pi Recordings has been a home and haven to the avant-garde, including first-wave members of the AACM. The Checkout catches up with label co-founders Seth Rosner and Yulun Wang, who say the mission is ongoing.

For the last 20 years, Pi Recordings has been a home and haven to the avant-garde, including first-wave members of the AACM. The Checkout catches up with label co-founders Seth Rosner and Yulun Wang, who say the mission is ongoing.

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterI’ve been listening to Wadada Leo Smith for a long time; I own a lot of his albums, but his catalog is really large. I interviewed him for a cover story in The Wire in 2009, which he actually remembered — that surprised me a little. He was an early member of the AACM, collaborated extensively with Anthony Braxton in 1969 and 1970, made some beautiful records for ECM and Nessa in the 1970s (you should check out Divine Love and Spirit Catcher in particular), and has really never stopped putting out music. Earlier this year, I wrote about Matthew Shipp‘s New Orbit, a beautiful album that Wadada appeared on in 2001.This year he’s turning 80, and he’s celebrating that with an absolute flood of new work — 20 CDs’ worth, spread across six or seven releases, all on TUM. One of those is a seven-CD box of just his string quartet recordings. That’s one of the fascinating things about Wadada, is that not only is he a brilliant trumpet player with a sound like no one else, but he’s also an extraordinary composer who developed his own musical language, Ankhrasmation. We talk about that in this interview, along with his approach to the horn, his approach to rhythm, which is very much his own, and a lot of other things.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:Wadada Leo Smith/Douglas R. Ewart/Mike Reed, “Super Moon Rising” (Sun Beans of Shimmering Light)Wadada Leo Smith, “Albert Ayler” (Trumpet)  

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterI’ve been listening to Wadada Leo Smith for a long time; I own a lot of his albums, but his catalog is really large. I interviewed him for a cover story in The Wire in 2009, which he actually remembered — that surprised me a little. He was an early member of the AACM, collaborated extensively with Anthony Braxton in 1969 and 1970, made some beautiful records for ECM and Nessa in the 1970s (you should check out Divine Love and Spirit Catcher in particular), and has really never stopped putting out music. Earlier this year, I wrote about Matthew Shipp‘s New Orbit, a beautiful album that Wadada appeared on in 2001.This year he’s turning 80, and he’s celebrating that with an absolute flood of new work — 20 CDs’ worth, spread across six or seven releases, all on TUM. One of those is a seven-CD box of just his string quartet recordings. That’s one of the fascinating things about Wadada, is that not only is he a brilliant trumpet player with a sound like no one else, but he’s also an extraordinary composer who developed his own musical language, Ankhrasmation. We talk about that in this interview, along with his approach to the horn, his approach to rhythm, which is very much his own, and a lot of other things.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:Wadada Leo Smith/Douglas R. Ewart/Mike Reed, “Super Moon Rising” (Sun Beans of Shimmering Light)Wadada Leo Smith, “Albert Ayler” (Trumpet)  

This week we're pod-swapping with our friends over at The Cannabis Enigma podcast by Cannigma.This episode features Dr. Joseph Morgan, Professor of Cannabis Education at University of The Sciences, Pennsylvania, USA. We explore the role of cannabis in addiction treatment, the problems that federal law poses to medical cannabis research, and cannabis treatment protocol for addiction.Check out The Cannabis Enigma Podcast by Cannigma now: https://cannigma.com/podcast/→ View full show notes, summary, and access resources from this episodehere: https://www.canverse.global/shownotes/e111About Dr. MorganJoseph J. Morgan, MD, AACM is a Professor of Cannabis Education at the oldest pharmacy school in the U.S.A., founded as Philadelphia College of Pharmacy in 1822 and now known as University of the Sciences. He is the author of the chapter on addiction in the reference book "Cannabis As Medicine” (CRC Press, Taylor and Francis). He's also an advisor to Parea Bio Sciences, a grower processor in Pennsylvania, and to Undoo.com, marketer of an antidote for cannabis intoxication. A longtime cannabis industry consultant, he has a patent pending in cannabinoid drug development licensed to Nexien Bio Pharma.QuotablesCBD will reduce cravings, whether it's for cigarettes, whether it's for heroin or cocaine. THC has impacts on the endogenous opioid system to get the body to release its own opioids like endorphins and enkephalins, which will help with withdrawal. 16:20modern FDA approved medicines have moved to single APIs. Herbal medicine, including cannabis, has hundreds of APIs, active pharmaceutical ingredients, so to get it FDA-approved, you have to do some level of toxicology and safety studies on each of the chemical constituents.33:00ResourcesJoin The Cannigma on LinkedIn: https://www.linkedin.com/company/thecannigma/Join The Cannigma on Twitter: https://twitter.com/thecannigmaFollow The Cannigma on Instagram: https://www.instagram.com/thecannigma/Subscribe to The Cannabis Enigma Podcast: https://podcasts.apple.com/il/podcast/the-cannabis-enigma/id1481452395

Suraj speaks with Amirtha Kidambi about her work as a singer, musician, bandleader, and composer in the creative music/avant-garde scene in NYC. Amirtha talks about how her upbringing as a first-generation Indian-American affects her artistic process, how she (and other musicians) arrived at the term “creative music” to describe the music she sings/plays, and how colonization has had an adverse impact on fully experiencing music. Also, FYI, Amirtha is Suraj’s second cousin! For subscribers on podcast apps, see additional show notes and links on the AIAIF website! Link below.Because this week’s episode is a little more “in the weeds” on topics like modern jazz and experimental film, I’ve made a more extensive list of show notes. Amirtha was talking about so much great artistic material — a lot of artists and works that I didn’t know — and I just HAD to include it all in the episode! Show Notes and Links: Amirtha Kidambi’s website — Lots of great videos and links to her work here, HIGHLY RECOMMENDAmirtha’s albums with her band, Elder Ones — “Holy Science” (2019) and “From Untruth” (2018)Amirtha Kidambi & Lea Bertucci’s “End of Softness” (2020)Mary Halverson’s “Code Girl” (2018) — Amirtha is a member of this band!Understanding the concept of Indian “Raag”NY Times obituary of Kadri Gopalnath, Indian alto-saxophonist — There’s a wonderful video of Mr. Gopalnath’s music that is a great introduction to the music Amirtha discusses in the episodeOrnette Coleman’s “Free Jazz” (1961)John Coltrane’s “Impulse! Records” Discography — Every one of the albums is worth listening to, with “A Love Supreme” (1964) and “Duke Ellington and John Coltrane” (1962) being two great starting points, in my opinion. Pitchfork review of Albert Ayler’s “Spiritual Unity” (1964)Lydia Goehr’s “The Imaginary Museum of Musical Works” (1992)NY Times obituary of Fred Ho, Asian-American composer and musician — Another obit that I think is a good jumping-off point for discovering of Mr. Ho’s music.George E. Lewis's book “The AACM and American Experimental Music” (2008) A NY Times article on the AACM at its 50-year anniversary in 2015A guide to the discography of Anthony Braxton, alto-saxophonist and composerA NY Times article on Vijay Iyer and a link to his NEW album “Uneasy” (2021) — Few jazz musicians today excite me as much as Vijay Iyer. Amirtha and I discuss the paradoxes of the word “accessible” when referring to music in the episode, but if you want to hear Iyer sticking to a more recognizable harmonic palate, check out his album “Accelerando” (2012). He does a version of Michael Jackson’s “Human Nature” that is groovy beyond belief.Alice Coltrane’s recording of the “Sai Bhajan,” “Prema Mudhita” and her albums “A Monastic Trio” (1968) and “Journey in Satchidananda” (1971)Website of Ravi Coltrane, Alice and John’s son, a current jazz saxophonistSuneil Sanzgiri’s website — filmmaker that Amirtha collaborated with on two film scoresIndian film director Satyajit Ray’s “Apu Trilogy” in the Criterion Collection, Roger Ebert’s review of the trilogy, and an interview with RayAn article from Vox on Iranian film director Abbas Kiarostami and a link to “Taste of Cherry” (1997) in the Criterion CollectionAn article on Charlie Chaplin filming “Modern Times” (1936)Robert Bresson’s “Pickpocket” (1959) Get on the email list at artinallitsforms.substack.com

Free-Jazz newbie Roger travels down to London from Sheffield with three serious Jazz buffs. Their destination, the Lyric Theatre in West London to witness a rare UK gig by Chicago improvised-music titans Air. Lots of stuff about being under the enthusiastic tutelage of one of my key musical mentors Charlie Collins.The trip also takes in a studio visit to hang out with US new-wave sprites The Bongos.Intro and outro music: Simon Elliott-Kemp.Artwork: Rionagh.Sound FX courtesy of Freesound.orgWith particular thanks to:Allh - train interior.Kerri - flute.Stomachache - double bass.Ben Davis Drums - bowed cymbals.Jim RS Bjorklund - jazz drums.Colton T Brown - mystery sax.Primesteka - theatre lobby ambience.Lchapman1980 - theatre applause.Esares - drum loop.Annerie - background TV.Yap Audio Production - pub ambience.

Its official name is the Antique Automobile Club of America Museum, but it's almost always called the AACA Museum or the Hershey Auto Museum. By any name, the museum in Pennsylvania is among the country's most active facilities honoring the history of automobiles — and it's reopened. Jeffrey Bliemeister, the museum's Executive Director, is our guest on this week's episode of The Weekly Driver Podcast. The AACA Museum, among the country's most prominent auto museums, has reopened. Co-hosts Bruce Aldrich and James Raia discuss with Bliemeister the status of auto museums around the country during the coronavirus pandemic. Specifically, we talk about the AACA Museum and its approach to presenting the ever-fascinating world of vintage vehicles. The museum's vast digital experiences — tours,  ride-alongs and collection chronicles — are all highlighted on the AACM website and YouTube channel. In-person visits began again on January 4. (A storm in the area temporarily stopped in-person visits again, but the museum has re-opened.) One compelling vehicle on display is a 1933 LaSalle. The artwork on wheels, sometimes known as the Cadillac Companion, was manufactured from 1927-1940. It was slotted between the Buick and Cadillac lineups, and like Cadillac, was named the Frenchmen who explored America in the 17th and 18th centuries. The museum's LaSalle is a two-door convertible coupe with a rumble seat. It has most of the features of the Cadillac line, including the 115 horsepower V8 engine. The trim and detail distinctions and an approximate $500 price difference set the two lines apart. Restored in the late 1970s, the car was shown then placed in long-term storage. It was donated to the Museum in 2017 by Walter Van Nuys of Selinsgrove, Pennsylvania. A new exhibit showcases the world of "Hemis." As the website explains: "Most people associate the word “Hemi” with Mopar/Chrysler vehicles; however, there are many more vehicles that have a “Hemi” engine that might surprise you! "The term “Hemi” refers to hemispherical combustion chambers – learn more about these robust engines and the vehicles they power." The auto museum in Hershey, Pennsylvania, is often referred to as the AACA Museum or the Hershey Auto Museum. One of its current exhibits showcases "Hemis." Please join us for a lively discussion about all things auto museums. The AACA Museum, Inc., is located at 161 Museum Drive, Hershey, Pa. Tel. (717) 566-7100. Visit its website: AACA Museum. The Weekly Driver Podcast encourages and appreciates feedback from our listeners. Please forward episode links to family, friends and colleagues. And you are welcome to repost links from the podcast to your social media accounts. The idea of more eyeballs on more content works for us. Support our podcast by shopping on Amazon.com. A graphic display at the bottom of the post links to automotive selections of the online retailer. But there's also a search function for anything available directly from the site. If you shop via this site, we receive a small commission. It helps us continue to produce independent content. The site began in 2004 and includes more than 700 reviews. The podcast is in its third year, and we've had a diverse collection of guests — famous athletes, vintage car collectors, manufacturer CEOs, automotive book authors, industry analysts, a movie stuntman and episodes from auto shows and car auctions. Please send comments and suggestions for new episodes to James Raia via email: james@jamesraia.com. All podcast episodes are archived on theweeklydriver.com/podcast Every episode is also available on your preferred podcast platform. Several of the more prominent platforms are listed below. Amazon.com Google Play iheartradio iTunes Spotify Stitcher

 Multi-instrumentalist, producer, and composer, Doug Stuart, grew up outside of Chicago. His early education began in jazz clubs and festivals as a teenager- frequenting sessions with Jeff Parker, Fred Anderson, Nicole Mitchell, and other members of the AACM. Left exceedingly inspired, he continued on to the University of Michigan, studying bass under Detroit jazz royalty, Robert Hurst and Geri Allen, where he deepened his practice in Jazz and Contemplative Studies. Now, based out of Oakland and Los Angeles, Doug collaborates within many Jazz, Hip-Hop, and Experimental music scenes. His works include compositions for the NPR podcast Snap Judgement, along with co-writes and production with various groups including: Brijean, Bells Atlas, Meernaa, Luke Temple, and Jay Stone.

One of the soul cats! AACM, Roscoe Mitchell, Bird, NEA, Muhal Richard Abrams, Sun Ra, Absence of the Black Media, Jackson, MI, --- Support this podcast: https://anchor.fm/jake-feinberg/support

AACM, Roscoe Mitchell, Bird, NEA, Muhal Richard Abrams, Sun Ra, Absence of the Black Media, Jackson, MI, --- Support this podcast: https://anchor.fm/jake-feinberg/support

For the AACM 20th anniversary celebration, Cecil Taylor performed at Mandel Hall with Roscoe Mitchell, Douglas Ewart, Malachi Favors and Steve McCall. After the concert he recorded a station ID for WHPK.

Jason Stein is among the mere handful of improvisers who play the bass clarinet exclusively. Stein leads the acclaimed trio Locksmith Isidore as well as his quartet. He contributes to several of the leading bands on Chicago’s new-music scene and has brought a vital voice to the freest of free-jazz shows. Stein’s playing showcases an extraordinary expertise on the bass clarinet, which ranges from powerful post-bop lines to ear-grabbing wails in the altissimo range. Chicago writer Neil Tesser notes that “Stein’s playing has a rawboned swagger particular to Chicago jazz in all its manifestations – from the trad playing of Bud Freeman and Jimmy McPartland in the 20s, through the tenor titans of the 50s, through the adventurers who formed the AACM in the 60s, and right up to the city’s renowned modern cadre of new-music improvisers.” Stein moved to Chicago in 2005 and has since recorded for such labels as Leo, Delmark, Not Two, Atavistic, 482 Music, Clean Feed, Astral Spirits, Sunnyside, Ears, and Eyes, and Northern Spy. Stein has performed throughout the US and Europe as both a bandleader and sideman and has amassed a discography of over 40 albums.You can also find more Richard Listens content on Instagram (@RichardListens), Facebook (@Richard Listens), and RichardListens.com. Support the show (http://patreon.com/Richardlistens)Support the show (http://patreon.com/Richardlistens)

Welcome to Episode 22, The South Side Shaman, featuring trumpeter, harpist, composer, teacher, community activist, and astronomer Kelan Philip Cohran (1927-2017). Early on, Cohran joined the cosmic discipline of Sun Ra’s Arkestra for two years. Next he worked with Malcolm X and the nation of Islam for a year, before forging his own path. He next co-founded the radical music collective, AACM. And as a major figure in the Chicago Black Arts Movement, Cohran empowered black liberation through his Artistic Heritage Ensemble, beach-side concerts, the founding of the Affro-Arts Theatre, and the traveling Black Music Workshop. Through all of this, Cohran was driven by his own unique spiritual philosophy, rooted in ancient African traditions and astronomy, as well as the cosmic and terrestrial powers of music. Welcome to the African Skies…

Ep. 99: Wadada Leo Smith. Let's Talk Off The Podium with Tigran Arakelyan. Wadada Leo Smith, trumpeter, multi-instrumentalist, composer, and improviser is one of the most acclaimed creative artists of his times, both for his music and his writings. For the last five decades, Mr. Smith has been a member of the historical and legendary AACM collective. He distinctly defines his music as “Creative Music.” Mr. Smith’s diverse discography reveals a recorded history centered around important issues that have impacted his world. In this podcast we talk about improvisation, creative music, and the African-American Improvisation program at Cal Arts. Mr. Smith talks about his collaborations with Vijay Iyer and Anthony Braxton, his Ankhrasmation language scores, and much more. For more information about Wadada Leo Smith please visit: https://wadadaleosmith.com/  © Let's Talk Off The Podium, 2020

Nació en Washington, creció musicalmente en Chicago y ahora reside en Nueva York. Además, aprecia que su instrumento no tenga el peso de la historia de la trompeta, el saxo o el piano en el jazz y la improvisación. La chelista Tomeka Reid presenta "Old New", trabajo en cuarteto con Mary Halvorson (guitarra), Jason Roebke (contrabajo) y Tomas Fujiwara (batería). A excepción del contrabajista, los miembros del cuarteto de Tomeka Reid participan en el 9-tette del cornetista Taylor Ho Bynum, que cierra su "trilogía accidental" con "The Ambiguity Manifesto". Reid participa también en la celebración de los 50 años del Art Ensemble of Chicago, formación señera surgida de la AACM. "We are on the edge" es un doble disco para celebrar el aniversario de una banda de la que siguen en activo Roscoe Mitchell y Fammoudou Don Moye. Toda la información y derechos: http://www.elclubdejazz.com

Nació en Washington, creció musicalmente en Chicago y ahora reside en Nueva York. Además, aprecia que su instrumento no tenga el peso de la historia de la trompeta, el saxo o el piano en el jazz y la improvisación. La chelista Tomeka Reid presenta "Old New", trabajo en cuarteto con Mary Halvorson (guitarra), Jason Roebke (contrabajo) y Tomas Fujiwara (batería). A excepción del contrabajista, los miembros del cuarteto de Tomeka Reid participan en el 9-tette del cornetista Taylor Ho Bynum, que cierra su "trilogía accidental" con "The Ambiguity Manifesto". Reid participa también en la celebración de los 50 años del Art Ensemble of Chicago, formación señera surgida de la AACM. "We are on the edge" es un doble disco para celebrar el aniversario de una banda de la que siguen en activo Roscoe Mitchell y Fammoudou Don Moye. Toda la información y derechos: http://www.elclubdejazz.com

Chicago, Illinois, città ventosa e vibrante di musica, da sempre. Tra le altre cose ha dato i natali al blues elettrico, alla Aacm e alla house music

8e émission de la 42e session... Cette semaine, soul jazz, protest jazz et avant-jazz! En musique: Ryan Porter sur l'album Force For Good  (World Galaxy / Alpha Pup, 2019); Damon Locks Black Monument Ensemble sur l'album Where Future Unfolds  (International Anthem, 2019); AACM Great Black Ensemble sur l'album Live at the Currency Exchange, Volume 1  (AACM, 2019); Aki Takase Japanic sur l'album Thema Prima  (BMC, 2019); Oli Steidle & The Killing Popes sur l'album Ego Pills  (Clean Feed, 2019)... En compte-rendu: Quatre pour E + Gilad Hekselman Trio, 20 juin 2019 @ Le D'Auteil dans le cadre du Festival Québec Jazz en Juin...

8e émission de la 42e session... Cette semaine, soul jazz, protest jazz et avant-jazz! En musique: Ryan Porter sur l'album Force For Good  (World Galaxy / Alpha Pup, 2019); Damon Locks Black Monument Ensemble sur l'album Where Future Unfolds  (International Anthem, 2019); AACM Great Black Ensemble sur l'album Live at the Currency Exchange, Volume 1  (AACM, 2019); Aki Takase Japanic sur l'album Thema Prima  (BMC, 2019); Oli Steidle & The Killing Popes sur l'album Ego Pills  (Clean Feed, 2019)... En compte-rendu: Quatre pour E + Gilad Hekselman Trio, 20 juin 2019 @ Le D'Auteil dans le cadre du Festival Québec Jazz en Juin...

Jeff Parker—one of his generation’s preeminent guitarists—talks with Joe about: his aversion to formal education, despite having teachers as parents; attending Berklee; living in Chicago, “the creative music capital of the world”; Band Leader Syndrome; how environment affects art; and completing artistic works in the face of self-doubt.

Chicago, Illinois, città ventosa e vibrante di musica, da sempre. Tra le altre cose ha dato i natali al blues elettrico, alla Aacm e alla house music.

Trumpeter, multi-instrumentalist, composer, and improviser Wadada Leo Smith has been a member of Chicago's legendary AACM collective for the past five decades. A finalist for the 2013 Pulitzer Prize in Music, he received the 2016 Doris Duke Artist Award and earned an honorary doctorate from CalArts, where he was also celebrated as Faculty Emeritus. A regular selection of the DownBeat International Critics Poll, In 2017 he topped three categories: Best Jazz Artist, Trumpeter of the Year and Jazz Album of the Year. Smith has released more than 50 albums as a leader on labels including ECM, Moers, Black Saint, Tzadik, Pi Recordings, TUM, Leo and Cuneiform. His diverse discography reveals a recorded history exploring the social, natural and political environment of his times with passion and fierce intelligence. His 2016 recording “America’s National Parks” earned the trumpeter-composer rave reviews and a place on numerous best-of-the-year lists including the New York Times and NPR Music. Join us for a special in-studio performance from Wadada Leo Smith in this installment of “Leonard Lopate at Large” on WBAI and a conversation about his storied career.

Phil Freeman talks to flutist and composer Nicole Mitchell.

Support the Burning Ambulance podcast on Patreon: http://patreon.com/burningambulance Episode 23 of the Burning Ambulance podcast features an interview with flutist and composer Nicole Mitchell. Mitchell is originally from Syracuse, New York, but she grew up in California and eventually went to college in the Midwest, where she became an important figure on the Chicago jazz scene. In fact, she eventually became the first female president of the AACM there. Her primary group is called the Black Earth Ensemble, which has a fluctuating membership but Tomeka Reid is one of the core members – Tomeka was featured on episode 7 of this podcast, back in January, and spoke about working with Nicole and how important it was to her development as an artist, so we’re getting the other side of the story in this episode. In addition to the Black Earth Ensemble, Mitchell has led a lot of one-off groups, and been a part of other people’s projects – she’s in some of Anthony Braxton’s large ensembles, she’s been part of several of Rob Mazurek’s groups including the Exploding Star Orchestra and its offshoot projects, she’s in the Indigo Trio with Harrison Bankhead and Hamid Drake. But she’s really made a tremendous impact as a leader, creating music that covers a broad spectrum from jazz to modern composition to theatrical pieces and multimedia presentations, collaborating with and paying tribute to writers – as you’ll hear in this conversation, texts are hugely important to her, even when the music itself is instrumental. Last year, her album Mandorla Awakening II: Emerging Worlds got a tremendous amount of critical acclaim – it combines violin, cello, guitar and percussion with traditional Japanese instruments to create a sound that’s both ancient and modern at once, and really is unlike anything else I’ve ever heard. We don't agree about everything, and you'll hear some interesting back-and-forth in this conversation about a variety of issues, from the audience for hardcore improvised music to how young artists should navigate the industry. I really enjoyed speaking with her, and I hope you'll enjoy this episode.

Sign up for weekly reminders about upcoming guest interviews, here: InformationManagers.ca/pmn-podcasts For full show notes, along with webinar slides and resources register here: https://Information-Managers.ca/AACM Are you wondering if there is a better way to hire staff for your healthcare practice? Are you looking for new ways to create revenue for your practice or manage expenses differently? Do you want to keep up to date on clinic management best practices? Many clinic managers find that they need help from time to time from other clinic managers who understand their problems. In this Practice Management Nugget Webinar for Your Healthcare Practice, Susan Le Doux and Katherine La Porte of the Alberta Association of Clinic Managers (AACM) will discuss the 3 common problems AACM can help clinic managers solve. Susan and Katherine will also reveal the benefits of being an AACM including: access to on-line forum of clinic managers across Canada networking and education events in-person and on-line on-line resources mentoring with a seasoned clinic manager Susan Le Doux is the current President of AACM and Katherine La Porte is the Secretary of AACM. They are my guest experts on Practice Management Nuggets Webinars for Your Healthcare Practice. Susan and Katherine will discuss how their membership with AACM has helped them and can help you, too! Sign up for weekly reminders about upcoming guest interviews, here: InformationManagers.ca/pmn-podcasts Clinic managers don't have to work alone - Join AACM and benefit from networking and support of your peers with @AACMgroup

The seventh episode of the Burning Ambulance podcast features an interview with cellist Tomeka Reid. She’s been on the avant-garde/free jazz scene since 2002, but has really begun to make her mark in the last few years. She’s got long-standing artistic relationships with flautist Nicole Mitchell, drummer Mike Reed, saxophonists Roscoe Mitchell and Anthony Braxton, and the AACM. She leads her own quartet with guitarist Mary Halvorson, bassist Jason Roebke and drummer Tomas Fujiwara; is a member of the string trio Hear In Now with violinist Mazz Swift and bassist Silvia Bolognesi; and recorded a duo album, Signaling, with saxophonist Nick Mazzarella in 2017. She also performed on trumpeter Jaimie Branch's Fly Or Die, two Nicole Mitchell albums, and Hear In Now's Not Living In Fear, and became a member of the Art Ensemble of Chicago. In our interview, Reid discusses her creative relationships, her recent recordings, and much more. It’s a really interesting conversation I’ve been wanting to have for quite a while—she was one of the first artists I approached about appearing on the podcast—and I hope you’ll enjoy it.

Phil Freeman talks to cellist Tomeka Reid.

The third episode of the Burning Ambulance podcast features an interview with pianist Myra Melford. Melford has been a prominent figure on the jazz avant-garde since the late 1980s, having worked with numerous figures affiliated with the AACM, including Henry Threadgill, Roscoe Mitchell, Joseph Jarman, Nicole Mitchell, and Leroy Jenkins. She’s also led several of her own groups, including Trio M with bassist Mark Dresser and drummer Matt Wilson; the Myra Melford Trio with bassist Lindsey Horner and drummer Reggie Nicholson, which later became the Myra Melford Expanded Ensemble with the addition of trumpeter Dave Douglas and saxophonist Marty Ehrlich; Be Bread, which explored a blend of jazz and traditional Indian music, which Melford has studied extensively; and Snowy Egret, which includes guitarist Liberty Ellman, cornet player Ron Miles, bassist Stomu Takeishi, and drummer Tyshawn Sorey, and with whom she just recorded a new album, due out in 2018. She’s got many other projects going as well, many of which are explored in this interview. Melford also discusses her early studies and her path to becoming a professional musician; her exploration of Indian music; her role as a professor at UC Berkeley; her participation in the Lincoln Center Jazz Orchestra's “Handful of Keys” salute to jazz piano history; and much more. It’s a fascinating, nearly hour-long conversation I hope you’ll enjoy.

Phil Freeman talks to pianist Myra Melford.

The first episode of the Burning Ambulance podcast features an interview with legendary saxophonist and composer Roscoe Mitchell. Mitchell co-founded both the AACM and the Art Ensemble of Chicago, and has been one of jazz’s most forward-looking and inspiring figures since the 1960s. His latest album, Discussions (get it from Amazon), features large-ensemble interpretations of music originally improvised by a trio featuring Mitchell himself, Craig Taborn on keyboards, and Kikanju Baku on percussion. About a week after this interview was recorded, Mitchell led a new incarnation of the Art Ensemble of Chicago in their first New York performance since 2004. The group featured Hugh Ragin on trumpet, Tomeka Reid on cello, Jaribu Shahid and Junius Paul on basses, and Famoudou Don Moye on drums, and former AEOC member Joseph Jarman made a special appearance, reading his poetry accompanied by the others. The interview runs about 45 minutes; Mitchell talks about the Art Ensemble, his composition “Nonaah,” his other solo works, and much more. Stream it or download it below.

Chicago's storied Association for the Advancement of Creative Musicians has provided a unique place for musicians of all kinds to create unique and stunning new creations. AACM turned 50 in 2015 and we'll celebrate with performances of Afterword, an opera about the AACM by longtime member and celebrated composer George Lewis. We'll chat with Lewis about the piece, the AACM, and play music by other AACM composers. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Muhal Richard Abrams Blues Forever [EXCERPT] George Lewis Afterword, an Opera; Act I [EXCERPT] Henry Threadgill Ceroepic (For Drums And Percussion) [EXCERPT] In For A Penny, In For A Pound George Lewis Afterword, an Opera; Act I [EXCERPT] Nicole Mitchell Afrika Rising Mvmt III: Intergalactic Healing Afrika Rising George Lewis Afterword, an Opera; Act II [EXCERPT] Tomeka Reid Super Nova [EXCERPT]

Can you make a libretto out of an academic book? This is the question George E. Lewis asked and answered during his visit to the University of Guelph on March 4th, 2016. Drawing from the audio recordings of early AACM organizational meetings where members discussed their motivations for forming the Association, Lewis responds in the affirmative, transforming a chapter of his 2009 book A Power Stronger than Itself: The AACM and American Experimental Music into the Opera Afterword. Hear Herald Kisiedu in conversation with Lewis on this episode! Originally aired on CFRU 93.3FM on March 15, 2016. Sound It Out airs biweekly on Tuesdays at 5pm on CFRU 93.3FM.

Can you make a libretto out of an academic book? This is the question George E. Lewis asked and answered during his visit to the University of Guelph on March 4th, 2016. Drawing from the audio recordings of early AACM organizational meetings where members discussed their motivations for forming the Association, Lewis responds in the affirmative, transforming a … Continue reading Episode #36: AACM Origins and Apocrypha – George E. Lewis’s Opera ‘Afterword’ →

This year, Guelph’s Improviser-in-Residence is Douglas R. Ewart of the Art Institute of Chicago, AACM, and Aarawak Records. In this episode of Sound It Out you will hear Ewart discuss his project Crepuscule in an interview with Dr. Ajay Heble that took place the morning of September 17, 2015 as part of the yearly Jazz Festival Colloquium. Ewart talks about the powerful maternal figures in his early life in Jamaica and being inspired by the strength and understanding demonstrated by Thelonious Monk’s wife Nellie, for whom Monk wrote Crepuscule with Nellie. He reflects on the relationship between individual self-respect and group solidarity, and the value of improvising together with a positive valence on diversity. This episode originally aired on CFRU on September 24th, 2015. Sound It Out is hosted by Rachel Elliott who is a PhD candidate in Philosophy at the University of Guelph in Ontario, Canada. Sound It Out is produced in conjunction with the International Institute for Critical Studies in Improvisation. The show explores whether and how improvised music can serve as a basis for discursive inclusivity, the creation of new forms of shared meaning, and more democratic means of connecting with each other. Sound It Out airs on Guelph’s campus and community radio station, CFRU 93.3FM, on alternating Tuesdays at 5pm.

Episode 23: Cellist Tomeka Reid We caught our guest today composer and cellist Tomeka Reid in the midst of a career moment. She arrived in New York City from Chicago on January 1st 2016 to join her quartet for their NYC debut, just two days after Ben Ratliff described Reid in the NYTimes as “A new jazz power source.” Over the next two weeks she played with a dizzying number of the East Coast's established and up-and-coming talent in gigs and jam sessions in DC, Philadelphia and Connecticut. In the midst of all this activity we convinced Ms. Reid take the train down from New York to join us in the studios at WPRB, where I host a weekly jazz show. Ms. Reid moved from the D.C. area to Chicago in 2000 as has recorded with flutist (and former F2K guest) Nicole Mitchell, drummer Mike Reid, vocalist Dee Alexander and the elder statesmen Anthony Braxton and Roscoe Mitchell among others. Ms. Reid also co-leads the internationally recognized string trio, Hear in Now who have performed in Poland, Paris, Rome, Venice, Milan, Italy and Switzerland. Over the course of the conversation we talk about the three albums she had released in 2016, Her love of Chicago, her experiences at part of the legendary AACM collective of musical improvisers, teaching and touring, the importance of women mentors, the differences between the classical and jazz worlds and more. You'll also hear me at peak enthusiasm for the chance to speak with a musician whose work I was right in the midst of a music lover's habit of compulsive playing and replaying, they're such fresh and engaging releases that reward one's savoring.

A half-century of musical innovation and self-determination, told by AACM co-founder (currently AACM-New York president) and 2010 NEA Jazz Master Muhal Richard Abrams, current AACM-Chicago chairman Ernest Dawkins, and AACM member and 2014 NEA Jazz Master Anthony Braxton.

A half-century of musical innovation and self-determination, told by AACM co-founder (currently AACM-New York president) and 2010 NEA Jazz Master Muhal Richard Abrams, current AACM-Chicago chairman Ernest Dawkins, and AACM member and 2014 NEA Jazz Master Anthony Braxton.

A half-century of musical innovation and self-determination, told by AACM co-founder (currently AACM-New York president) and 2010 NEA Jazz Master Muhal Richard Abrams, current AACM-Chicago chairman Ernest Dawkins, and AACM member and 2014 NEA Jazz Master Anthony Braxton.

A half-century of musical innovation and self-determination, told by AACM co-founder (currently AACM-New York president) and 2010 NEA Jazz Master Muhal Richard Abrams, current AACM-Chicago chairman Ernest Dawkins, and AACM member and 2014 NEA Jazz Master Anthony Braxton.

En España, tanto en verano como en otoño, hay muchos festivales de jazz. Pero tan cierto como es esto, no es menos cierto que aunque uno grabe en uno de los sellos más reputados de jazz y sea un músico de estudio muy reclamado (David Torn), o que tenga un grupo de músicos jóvenes con una enorme proyección (The Convergence Quartet con Taylor Ho Bynum, Harris Eisenstadt, Dominic Lash y Alexander Hawkins), o que sea uno de los fundadores de la AACM de Chicago y una leyenda viva (Roscoe Mitchell), es difícil tocar en alguno de esos festivales de nuestro país. En la entrega 14 de HDO Pachi Tapiz repasa tres nuevas grabaciones de estos grupos: "Only Sky" (ECM), "Owl Jacket" (NoBusiness Records), y "Celebrating Fred Anderson" (Nessa Records). HDO (Hablando de oídas) es un audioblog presentado, editado y producido por Pachi Tapiz. Toda la información disponible en http://www.tomajazz.com/web/

Nicole Mitchell, flutist, composer and bandleader is our guest on today's show. . Around 2001, Ms. Mitchell began to receive notice for her work around Chicago, quickly releasing a flurry of releases on the Delmark, RougeArt nad Firehouse 12 labels, all capturing her spirited flute and her deep well of memorable compositions. Her reputation began to stretch out to Europe and worldwide collecting accolades and commissions and fronting groups like The Black Earth Ensemble, The Black Earth Strings, Ice Crystal and Sonic Projections. In 2009, she became the first female President of the AACM, the legendary Chicago-born collective whose initials stand for The Association for the Advancement of Creative Musicians and has been home to many of the greatest jazz musicians of the last fifty years. Ms Mitchell has been a Downbeat poll winner, was the Chicago Tribune's 2006 "Person of the Year," and in recent years has left her home in Chicago to live and teach in California at UC Irvine. If musically Mitchell wears her passions on her sleeve, she did in conversation too, easily discussing family dearths, the racism and other obstacles she has faced as well as her worries and fears. But she also laughs easily and often. We talked about musicians Ornette Coleman, Eric Dolphy and her teacher Jimmie Cheatem as well as The Hunger Games, the travails of being an adjunct professor, jazz in Chicago, dwindling student diversity, the writings of sci-fi author Octavia Butler and more.

A special edition of the Spanish Jazz radio show Club de Jazz featuring a lengthy interview with Wadada Leo Smith. Wadada (Leland, Mississippi, 1941) was finalist for the Pulitzer Prize in 2013 for his extraordinary Ten freedom summers, a collection of pieces he started writing 34 years ago in order to reflect the situation of the human rights in America. Leo Smith is member of the AACM since 1967 and has created his own music language,Ankhrasmation. Hear the interview originally broadcasted on June, 26th 2013. All rights reserved: http://www.elclubdejazz.com

A special edition of the Spanish Jazz radio show Club de Jazz featuring a lengthy interview with Wadada Leo Smith. Wadada (Leland, Mississippi, 1941) was finalist for the Pulitzer Prize in 2013 for his extraordinary Ten freedom summers, a collection of pieces he started writing 34 years ago in order to reflect the situation of the human rights in America. Leo Smith is member of the AACM since 1967 and has created his own music language,Ankhrasmation. Hear the interview originally broadcasted on June, 26th 2013. All rights reserved: http://www.elclubdejazz.com

I’m really happy that Barbara Golden and I could collaborate on this show, and re-publish her fascinating interview with Roscoe Mitchell, the saxophonist, composer, and leading light of the legendary Art Ensemble of Chicago.

The Chicago based Association for the Advancement of Creative Musicians is celebrating its 50th anniversary this week. This episode features an archival conversation conducted by Lincon T. Beauchamp with AACM members Muhal Richard Abrams, George Lewis, and Roscoe Mitchell at the ICASP Colloquium in Guelph Ontario in 2010. It originally aired on CFRU 93.3Fm on April 23, … Continue reading Episode #17: The AACM at 50: Muhal Richard Abrams, George Lewis, and Roscoe Mitchell →

Fred Anderson, who died in June, was a founder member of the AACM in Chicago and ran the city's famous club, the Velvet Lounge. Alyn Shipton visited him at the site of his historic club before it was demolished in 2006, and talked to Anderson about his best recordings. The music features Joe Jarman, Muhal Richard Abrams and Anderson's long-term collaborator, the drummer Hamid Drake.

Artist Album/Date Track Fred Anderson Quartet Dark Day-Live in Verona/1979 The Bull Fred Anderson Quartet Dark Day-Live in Verona/1979 Saxoon Fred Anderson Quartet The Milwaukee Tapes Vol 1/1980 A Ballad for Rita Fred Anderson Quartet The Milwaukee Tapes Vol 1/1980 Planet E Fred Anderson Trio On the Run at the Velvet Lounge/2001 Tatsu's Groove Fred Anderson & Hamid Drake Back Together Again/2004 Black Women Fred Anderson Trio Timeless/2006 Flashback Fred Anderson & Hamid Drake From the River to the Ocean/2007 From the River to the Ocean

Kahil El'Zabar est un de ces musiciens touche a tout qui vous envoute dès qu'il se met à jouer, chanter, ou meme danser, tellement il vit la musique qui est en lui. Kahil El'Zabar est à la fois batteur, percussioniste, chanteur, compositeur, arrangeur, chef d'orchestre... Il a joué avec, entre autres, Dizzy Gillespie, Nina Simone, Stevie Wonder, Cannonball Adderley, Paul Simon, Elton John... et fondé le Ethnic Heritage Ensemble.

Jason Crane interviews pianist Myra Melford. Melford is active with many groups and on many recordings, including this year's Under The Water (Libra, 2009) with pianist Satoko Fujii. In this interview, Melford talks about her early contact with Leroy Jenkins, Henry Threadgill and other AACM musicians; her pursuit of an individual voice; and the role that her meditation and martial arts practices have played in her music. Find out more at MyraMelford.com.