Podcasts about african rhythms

African Rhythms FANTASTiC | 15 August 2022 | 243.76 MB “African Rhythms”, another Sample Pack from our World Series. Sample pack includes 79 African Rhythms Loops that you can use […]

We're taking a deep dive with Willard Jenkins into his life in jazz. Willard discusses his early exposure to jazz in Pittsburgh and Cleveland, crediting his parents' record collection for his initial fascination with the genre, and the profound impact local jazz scenes and radio had on his musical journey. Willard recounts his transformative college years at Kent State University, detailing how his love for jazz deepened, his early forays into jazz journalism, starting with writing for his college's Black student newspaper, and his progression from journalism including his time at the “Cleveland Plain Dealer. ” We talk about his extensive efforts in promoting jazz, from founding the Northeast Ohio Jazz Society to spearheading jazz programs at Arts Midwest and serving as the artistic director of major jazz festivals, including DC Jazz Fest which strikes a balance between local talent and international musicians while still maintaining a focus on emerging artists. Willard also reflects on his close collaboration with NEA Jazz Master  Randy Weston, including co-writing Weston's autobiography “African Rhythms.”  We dive into "Ain't But a Few of Us,"  Willard's book which is a compilation of interviews that share the experiences of the few African-American jazz journalists. We also hear Willard's reflection on his years of  radio broadcasting, and his contributions to oral history projects, stressing the value of capturing the stories of jazz greats. And finally, Willard reflects on his deep appreciation for receiving an award named for one his heroes: the  A.B. Spellman NEA Jazz Masters Award for Advocacy.

We're taking a deep dive with Willard Jenkins into his life in jazz. Willard discusses his early exposure to jazz in Pittsburgh and Cleveland, crediting his parents' record collection for his initial fascination with the genre, and the profound impact local jazz scenes and radio had on his musical journey. Willard recounts his transformative college years at Kent State University, detailing how his love for jazz deepened, his early forays into jazz journalism, starting with writing for his college's Black student newspaper, and his progression from journalism including his time at the “Cleveland Plain Dealer. ” We talk about his extensive efforts in promoting jazz, from founding the Northeast Ohio Jazz Society to spearheading jazz programs at Arts Midwest and serving as the artistic director of major jazz festivals, including DC Jazz Fest which strikes a balance between local talent and international musicians while still maintaining a focus on emerging artists. Willard also reflects on his close collaboration with NEA Jazz Master  Randy Weston, including co-writing Weston's autobiography “African Rhythms.”  We dive into "Ain't But a Few of Us,"  Willard's book which is a compilation of interviews that share the experiences of the few African-American jazz journalists. We also hear Willard's reflection on his years of  radio broadcasting, and his contributions to oral history projects, stressing the value of capturing the stories of jazz greats. And finally, Willard reflects on his deep appreciation for receiving an award named for one his heroes: the  A.B. Spellman NEA Jazz Masters Award for Advocacy.

Soul Of A Nation (Afro-Centric Visions In The Age of Black Power: Underground Jazz, Street Funk & The Roots Of Rap 1968-79): -Gil Scott-Heron “The Revolution Will Not Be Televised” -Mandingo Griot Society With Don Cherry “Sounds From The Bush” -Roy Ayers Ubiquity “Red, Black And Green” -Philip Cohran & The Artistic Heritage Ensemble “Malcolm X” -Sarah Webster Fabio “Sweet Songs” -Phil Ranelin “Vibes From The Tribe” -Horace Tapscott With The Pan Afrikan Peoples Arkestra “Desert Fairy Princess” -David McKnight “Strong Men” -Joe Henderson “Black Narcissus” -Oneness Of Juju “African Rhythms” -Doug Carn “Suratal Ihklas” Escuchar audio

#948 - Ralph MacDonald - Second Interview The second Ralph MacDonald Interview is featured on The Paul Leslie Hour. Are you here? We have nothing, but heartfelt admiration and respect for every listener to The Paul Leslie Hour. We're bringing to you an interview from our radio archives with the late, great Ralph MacDonald. This was recorded by phone in 2008. Ralph was born in Harlem, New York in 1944 and passed away in Stamford, Connecticut in 2011. In the interview, the Legendary Ralph MacDonald checked in from New Orleans Jazz Fest to discuss his album, "Mixty Motions.” That's m-i-x-t-y. A producer, songwriter, percussionist, performer and Grammy-award winner, Ralph MacDonald had roots in the Caribbean. With his songwriting team of William Salter and William Eaton, Ralph wrote “Where is the Love?,” “Just the Two of Us,” “Mister Magic” and more. His songs were covered by artists like Bill Withers, Grover Washington Jr, Roberta Flack, Harry Belafonte, Jimmy Buffett and others. The son of Calypsonian MacBeth the Great, Ralph MacDonald went onto be a member of Harry Belafonte's band when he was young. For over 20 years he was an important member of Jimmy Buffett's Coral Reefer Band, as the percussionist. His last album “Mixty Motions” is a fusion of the many styles of music Ralph embraced from Jazz, African Rhythms, Calypso, Samba and others. This was Paul's second time speaking with Ralph MacDonald, and this interview is fascinating. MacDonald shared opinions, history, and his philosophy on music. Before we get started, we ask that you please consider subscribing to Paul Leslie's YouTube channel. It would greatly help us in our mission and you'll get free access to all our upcoming content. Before we begin, we ask that you make the most of every day. Starting with this one. Let's listen. Together. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

In this week's episode we head around the globe—and beyond~ We update you with new information about an upcoming Afrobeat show we previously told you about, and learn about the connection of one of our listeners to famous Kenyan funk musicians. Friend of the show Resonant Dog—aka Bernardo de la Torre—surprises us with an exquisite organic house and downtempo set that taps into his growing appreciation for musical traditions from around the world. Hey, guess what? Ana's got a fantastic poem about the ocean for us (reach her at graziosi.ana@gmail.com for collaborations). And we'll even stop by a lighthouse dance party featuring DJ Little John during the blue moonrise, where we'll look up at the sky with Santa Cruz Astronomy Club member John Arkley. #dance #DJmix #electronicmusic Theme: Butterflywingtip "BBB" Shy FX x Kojey Radical x Nile Rodgers "Good Morning" S.P.Y. "With You" Paul Kalkbrenner "Schwer" 2Point1 "Stimela ft. Ntate Stunna & Nthabi Sings" *Interview with Terra & Self carbeau "Mare Nero" Ritviz "Thandi Hawa (Anish Sood remix)" Transit Kings "The Last Lighthouse Keeper (The Orb Mix)" *Ana Graziosi poem "Mitchell's Cove" Violeta Vicci "Long Farewell (The Orbs Laughing Chicks Mix)" Floating Points "Bias" *Biko Beauttah introduces Steele Beauttah "Africa" Friction "Feels Like Summer (w/ Dux n' Bass)" *Blue moon astronomy and lighthouse dance party featuring Dj Little John and the Santa Cruz Astronomy Club. Booka Shade "Blaze (J.O.P. remix)" *Resonant Dog mix

Achoo!! This episode is all about allergies, some simply annoying and others, deadly.Our story, "Alice and the Allergy," by Fritz Lieber, is a weird tale of a murderer reaching out from the grave to kill the one that got away. We'll also have a "dusting" of information about how dust is used in Hoodoo and magic.MusicFesliyan Studios: "Ghost Stories," "Scary Atmosphere"Audio Jungle: "Halloween Waltzes"Halloween Night: "Post Mortem"African Music: "African Rhythms"Narration: Robert BreaultPlease join us! Like and follow our Facebook page to become " patron of the Cemetery Hills Library, or (even better!)  jump on our Patreon page and become a VIP Patron.                         Mugs, tee-shirts and eternal thanks await you!                                                                                           Patreon Page: https://www.patreon.com/user?u=61177769&fan_landing=trueWebpage: http://www.afterwordsparanormal.comFacebook: After Words Paranormal PodcastEmail: afterwordsstories@gmail.com    

Achoo!! This episode is all about allergies, some simply annoying and others, deadly.Our story, "Alice and the Allergy," by Fritz Lieber, is a weird tale of a murderer reaching out from the grave to kill the one that got away. We'll also have a "dusting" of information about how dust is used in Hoodoo and magic.MusicFesliyan Studios: "Ghost Stories," "Scary Atmosphere"Audio Jungle: "Halloween Waltzes"Halloween Night: "Post Mortem"African Music: "African Rhythms"Narration: Robert BreaultPlease join us! Like and follow our Facebook page to become " patron of the Cemetery Hills Library, or (even better!)  jump on our Patreon page and become a VIP Patron.                         Mugs, tee-shirts and eternal thanks await you!                                                                                           Patreon Page: https://www.patreon.com/user?u=61177769&fan_landing=trueWebpage: http://www.afterwordsparanormal.comFacebook: After Words Paranormal PodcastEmail: afterwordsstories@gmail.com    

Sampa the Great, Thandiswa Mazwai, Emmanuel Jagari Chanda and Mag44 discuss music standing the test of time, African music, and the new generation of musicians. Sampa the Great was born in Ndola in Zambia and became interested in music from a young age, writing poems and singing from the age of 9, spending time in both Zambia and Botswana. She released her first mixtape in 2015 whilst at university in Australia, and created a sound influenced by everything from classic hip-hop to Zamrock. Her latest album, As Above So Below, was released last September and came about after returning home to Zambia during the early days of the pandemic. Thandiswa Mazwai is one of the most influential South African musicians around today. She has been at the forefront of change in South African music since the late 90s with her politically-conscious lyrics and stunning vocals, both as a solo artist and lead singer of ground-breaking trio Bongo Maffin. Emmanuel Jagari Chanda is a founding member of the Zambian rock genre known as Zamrock, which blends rock with funk and African rhythms. He was the leader of the band Witch (We Intend to Cause Havoc) who were the first band to record a commercial record in Zambia in the 1970s. Magnus Mando, AKA Mag44, is a rapper and music producer who has expanded Zambia's musical horizons. He started singing and rapping in church, before writing his own lyrics which gave birth to his career. He also co-produced Sampa the Great's latest LP.

"Electronic, African, Jazz. My real mission is to make an original mix of all these things." Jazz:Re:Found festival has been a wonderful wave of uplifting conversations, this time, I sat down with another great multi-talented and eclectic artist. Raffaele Costantino is a passionate researcher and lover of African American Music. Besides being the presenter of the Musical Box programme on Rai Radio 2 and a music producer (with the moniker Dj Khalab), his name stage tells a lot about him and shows his connection to African Rhythms. In today's interview, Raffaele talks about his route into African music, starting from his artistic career, the intersection between DJ Khalab's music and Jazz:Re:Found to M'Berra - a collaborative album with a collective of Malian musicians from the M'berra Refugee Camp in southeast Mauritania. Enjoy listening!

Deep soul Amapiano mix vol 4 - Talk about moving when the spirit of music hit you! I was running some errands yesterday and I had to rush home and jump on the Decks(LOL) This "Amapiano" Mix sticks to Soulful, Deep, African Rhythms and Jazzy vibes all in one. I hope I didn't get too Jazzy towards the end but I kind of felt like I was at an outdoor concert With Major League DJz ,Kabza De Small ,Dj Maphorisa, Mr JazziQ ,Sha Sha, DBN GOGO ,Soa Mattrix only name a few. So if you have some time today, plug in your headphones and lets get ready to Dance for a while... (Enjoy)

This week we devote the show to #Tribal Grooves #African Rhythms Undergrounded - AtJazz Dreamin Mali - Hamza (Original Mix) Antonello Ferrari, Aldo Bergamasco, Dana Brown - Good Love Hey Mama (Da Capo's Touch) Medusa - DJ Tears PLK That Viral Whistle Song - DJ Oji Aka Original Man Mitodzi (Jimpster Remix) - Funkky, Mavhungu, Jimpster I.C.U Thakzin, Sun-El Musician, Thandazo Hot Drum (Original Mix) - Masaki Morii Oulala (Doug Gomez Merecumbe Soul Remix) Ignace De Souza, Boddhi Satva, Doug Gomez Love Me Right (Yoruba Soul Mix) - J.A.E, Osunlade Start your morning workout with this continuous mix of #Tribal #Grooves #African Rhythms

Een nieuwe podcast van Phil waarin hij in de wereld van het Afrikaanse ritme duikt.

Aujourd'hui dans La Potion, James Plunky Branch, leader et saxophoniste du légendaire groupe afro-américain Oneness of Juju ! Depuis les années 70, Oneness of Juju cultive un son soul-funk militant, festif et souvent psychédélique, à l'avant-garde des expériences jazz afro-centrées et contestataires de l'époque. Sa connexion au continent africain, à la Terre-Mère, Oneness Of Juju la nourrit en jouant dans les grands rassemblements militants avec Pharoah Sanders ou Sun Ra, mais aussi de percussions et de rythmes qui explosent dans leur tout premier album, A Message From Mozambique en 1972 - en soutien à ce pays d'Afrique alors en pleine guerre de libération - puis dans African Rhythms trois ans plus tard, réédité au printemps 2020 par le label Strut Records. À sa sortie, le disque marque profondément les esprits, en particulier à Washington DC où le groupe partage à plusieurs reprises la scène avec Gil Scott-Heron, Hugh Masekela, mais aussi Funkadelic ou encore Kool and the Gang… Bref, que des stars ! Oneness of Juju ? Oneness pour unité, Juju pour les talismans, les grigris et globalement, toute la magie ouest-africaine. Donc très naturellement, voici James Plunky Branch, l'architecte de Oneness of Juju dans La Potion !Visuel © Pochette de l'album "African Rhytms" de Oneness of Juju See acast.com/privacy for privacy and opt-out information.

Sintonía: "African Battle" - Manu Dibango "Africa Funk: The Original Sound of 1970s Funky Africa", publicada por Harmless en 1998, es la última de las maravillas que te proponemos en esta semana de las sesiones; en este caso, Russ Dewbury es el genial Dj y compilador: "African Rhythms" - Oneness Of Juju; "Ajo" - Peter King; "Hail The King" - Wali & The Afro Caravan; "African Hustle" - Mombasa; "Talkin´ Talkin´" - Matata; "Megaton" - Vecchio; "Weya" - Manu Dibango; "Netsanet" - Mulatu Astatqe; "Racubah" - Ice; "Malik" - Lafayette Afro-Rock Band Escuchar audio

Electric Vocuhila combine the spirit of free-jazz legend Ornette Coleman with driving urban guitar rhythms like tsapiky from Madagascar or Congolese sebene. They masterfully sew them together on their pulse-raising third album, Palaces. "I had a long time love for African music and the repetitive motifs used in bebop and free jazz," the band's saxophonist and composer Maxime Bobo told RFI just ahead of the Palaces release party in Paris. The album is an electrifying patchwork of rhythms like tsapiky, sebene, sungura and benga. They got into tsapiky after meeting France-based Damily, the king of this fast, electric-guitar led genre which he developed in Tuléar in the 1970s. "We started to use its grooves and forms," Bobo said. "But doing it our own way, trying to get closer to this kind of 'dancey' feeling and fluidity, but using the saxophone and with the way we interact and compose together." The saxophonist as a voice The band went to Madagascar, saw how the professionals did it, and came back inspired. But their command of other rhythms like Congolese sebene or sungura from Zimbabwe has been garnered "mainly through the internet and YouTube," Bobo admitted.  Together with the other band members: Boris Rosenfeld (guitar), François Rosenfeld (bass and guitar) Etienne Ziemniak (drums), they weave these rhythms together rather seemlessly. They are all guitar-led, and yet Bobo plays saxophone. "I’m much more attracted to these kind of guitar players or singers, the voices in tsapiky, of African styles," he said. "I connect with this more than with contemporary saxophone players. I guess I’m trying to use the saxophone and to put somewhere between the voice, singing a song, and guitar riffs." Back to the roots of jazz Bobo has found inspiration in sax player Ornette Coleman, the father of free jazz. Not so much because of his renowned harmolodics, but his "voice" and the way he let his band members express themselves. "I loved his music when I heard it in my 20s. His playing is really open with very melodic lines, always rhythmic and warm. It has the feeling of a human voice." Like many members of the free jazz movement, Coleman looked to the African continents for the roots of jazz. "He played with the Masters of Joujouka from Morocco. There's one song on the Dancing On Your Head album," Bobo said. But it was Ed Blackwell, one of the first drummers in Coleman's quartet, who was more connected to Africa and spent more time there. As did Archie Shepp.  Electric Vocuhila make no claim to having their own connection with Africa. "We grew up in an arty context, we don't have the experience of what it means to play for traditional events, funerals and so on." Nonetheless they are keen to play with musicians from the African continent. "it's obvious we're directly inspired by Madagascar or Congolese music so I think we want to try and play with muscians," Bobo said. "It's really interesting for us to connect and see how it works, how we can adapt the way we play with their music and what can happen with the mix." The band was due to go to Madagascar this Autumn but the Covid-19 has pushed the trip back to next year. They hope to find a voice there, a human one. "I'm trying to get closer to the voice in the way I play the song parts, but it would be great to have a proper voice singing in Malagasy. That would be amazing." Palaces is out on Capsul Records: a Tours-based music collective which supports some 25 musicians. Electric Vocuhila official website here Follow the band on Facebook

Melodic invention- a word developed by another bass player named Putter Smith who defines this as European Swing coupled with African Rhythms. It doesn't really matter where it started because it was sprinkled with Dixieland in the south Harlem Soul in the north Blues in St Louis up the Mississippi Delta to Chicago. This fusing of music included a young farmer from the valleys of California who worked a farm by day and sock hops by night. He became a fixture of San Francisco melodic invention being partially responsible for desegregating the army with his mixed race bands like the guys he grew up with on the farm. His first group included my guest who like Al McKibbon and John Heard The Skipper Henry Franklin, and Scott Lafaro found his way through the European swing by using African Rhythms. His rhythm simpatico was Joe Morello who brought an additional element of 5/4 time and a Dixieland bouncy that further colored this mixed race band. He is the only living member of the classic quartet. After taking five my guest went on to collaborate with Billie Holiday, kenny Drew, Sonny Stitt, Cal Tjader and Monty Alexander. He has written books on bass and played the supper club circuit of upstate New York, he has toured the world bringing melodic invention to India and Japan and South America. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Electric Vocuhila combine the spirit of free-jazz legend Ornette Coleman with driving urban guitar rhythms like tsapiky from Madagascar or Congolese sebene. They masterfully sew them together on their pulse-raising third album, Palaces. "I had a long time love for African music and the repetitive motifs used in bebop and free jazz," the band's saxophonist and composer Maxime Bobo told RFI just ahead of the Palaces release party in Paris. The album is an electrifying patchwork of rhythms like tsapiky, sebene, sungura and benga. They got into tsapiky after meeting France-based Damily, the king of this fast, electric-guitar led genre which he developed in Tuléar in the 1970s. "We started to use its grooves and forms," Bobo said. "But doing it our own way, trying to get closer to this kind of 'dancey' feeling and fluidity, but using the saxophone and with the way we interact and compose together." The saxophonist as a voice The band went to Madagascar, saw how the professionals did it, and came back inspired. But their command of other rhythms like Congolese sebene or sungura from Zimbabwe has been garnered "mainly through the internet and YouTube," Bobo admitted.  Together with the other band members: Boris Rosenfeld (guitar), François Rosenfeld (bass and guitar) Etienne Ziemniak (drums), they weave these rhythms together rather seemlessly. They are all guitar-led, and yet Bobo plays saxophone. "I'm much more attracted to these kind of guitar players or singers, the voices in tsapiky, of African styles," he said. "I connect with this more than with contemporary saxophone players. I guess I'm trying to use the saxophone and to put somewhere between the voice, singing a song, and guitar riffs." Back to the roots of jazz Bobo has found inspiration in sax player Ornette Coleman, the father of free jazz. Not so much because of his renowned harmolodics, but his "voice" and the way he let his band members express themselves. "I loved his music when I heard it in my 20s. His playing is really open with very melodic lines, always rhythmic and warm. It has the feeling of a human voice." Like many members of the free jazz movement, Coleman looked to the African continents for the roots of jazz. "He played with the Masters of Joujouka from Morocco. There's one song on the Dancing On Your Head album," Bobo said. But it was Ed Blackwell, one of the first drummers in Coleman's quartet, who was more connected to Africa and spent more time there. As did Archie Shepp.  Electric Vocuhila make no claim to having their own connection with Africa. "We grew up in an arty context, we don't have the experience of what it means to play for traditional events, funerals and so on." Nonetheless they are keen to play with musicians from the African continent. "it's obvious we're directly inspired by Madagascar or Congolese music so I think we want to try and play with muscians," Bobo said. "It's really interesting for us to connect and see how it works, how we can adapt the way we play with their music and what can happen with the mix." The band was due to go to Madagascar this Autumn but the Covid-19 has pushed the trip back to next year. They hope to find a voice there, a human one. "I'm trying to get closer to the voice in the way I play the song parts, but it would be great to have a proper voice singing in Malagasy. That would be amazing." Palaces is out on Capsul Records: a Tours-based music collective which supports some 25 musicians. Electric Vocuhila official website here Follow the band on Facebook

Sintonía: "Swahili Suite" - Blue Mitchell "Africaine" - Art Blakey & The Jazz Messengers; "Man from Tanganyika" (2004 Remastered Version) - McCoy Tyner; "Afreaka" (2004 Remastered Version) - Lee Morgan; "Appointment in Ghana" (1999 Remastered Version) - Jackie McLean; "Yaba E" (2006 Remastered Version) - Solomon llori; "Kofi" - Donald Byrd; "Ghana Spice" (Part One) (1992 Remastered Version) - Candido Escuchar audio

Willard Jenkins is an independent arts consultant, artistic director/curator, producer, writer and editor, operating under his ‘Open Sky Jazz' banner. During his extremely productive career, Mr. Jenkins has served as artistic director for the Tri-C JazzFest, BeanTown Jazz Festival, Lost Jazz Shrines, and Jazz in Progress. He collaborated on ‘African Rhythms', Randy Weston's autobiography. He has taught Jazz history at Cleveland State University and the online course ‘Imagine Africa' at Kent State . He is currently the artistic director of the DC Jazz Festival, one of the premiere Jazz festivals in the world as well as the author of his blog ‘Independant Ear' (which is full of incredibly insightful content, I highly recommend). www.openskyjazz.com

With his September 1, 2018 passing the jazz world lost a truly singular pianist-composer-bandleader and endless seeker of the African essence of music and spirituality. This panel will discuss the unprecedented African Rhythms legacy of this NEA Jazz Master, who in his own words came to be a storyteller, a quest he achieved through a vast sphere of influences ranging from his Brooklyn homeboy Max Roach, to Duke Ellington and Thelonious Monk, to mystical Sufi masters and global scholars. Moderator: Willard Jenkins (DC Jazz Festival). Panelists: T.K. Blue, Gail Boyd (Gail Boyd Artist Management), Jacques Muyal, Min Xaio-Fen.

Descriptors such as jungle music, negro music, jazz...African American Classical Music. Black Classical Music. Spirit Music...and African Rhythms...have been attached to the vibrational human expressions, that once organized into various rhythms, notes, and harmonies become what we have come to call—music. The deep structures that organize these vibrations have purpose. They have origin. They have life. They represent life. They aide us through life. They are bridges between and expressions of worlds seen and worlds unseen. They are all around us. Exploring the form and functions of African rhythms and all that they contribute to our world are part and parcel of understanding the interconnections between the material and nonmaterial, and how they inform each other. This past April 2019, at the Association for the Study of Classical African Civilization's (ASCAC) meeting held at Medgar Evers College in New York, a discussion titled African Rhythms: A Workshop on Cultural Continuity and the Future of Jazz, was developed to explore what was laid out above. Who you will hear next in order of speaker, the wide-ranging discussion from this meeting: George Turner is a longtime activist from Brooklyn, NY and currently serves on the Board of ASCAC. Hank Williams is a jazz writer and radio host and professor at Lehman College. Dr. Anyabwile Love is an assistant professor of Black Studies at the Community College of Philadelphia and a scholar of John Coltrane. Dr. Josh Myers (AWNP Collective, is assistant professor of Africans Studies at Howard University. Our show was produced today in solidarity with the Native/Indigenous, African, and Afro Descendant communities at Standing Rock; Venezuela; Cooperation Jackson in Jackson, Mississippi; Brazil; the Avalon Village in Detroit; Colombia; Kenya; Palestine; South Africa; and Ghana and other places who are fighting for the protection of our land for the benefit of all peoples!

Plunky & Oneness is one of the most enduring and versatile funk, jazz, Afro-fusion groups of all time. In 1975, the group released its African Rhythms album, on the Black Fire Music label, marking the beginning of a long and fruitful relationship with producer and label president, Jimmy Gray (father of DC producer/curator and Full Service Radio host Jamal Gray). In this special interview we chat with James "Plunky" Branch, Saxophonist of Oneness of Juju, about his history and the impact of this seminal record - which would go on to influence many musical movements to follow, and be famously reinterpreted by J Dilla.

Efni Lestarinnar í dag: ,,Miklu valdi fylgir mikil ábyrgð,'' segir köngulóamaðurinn, en ofurhetjan er meðal fjölmargra hugarsmíða myndasöguhöfundarins Stans Lee. Lee lést í gær, 95 ára að aldri. Hans verður minnst í Lestinni í dag. Heimildarmaður er Hugleikur Dagsson, teiknimyndahöfundur með meiru. Einnig verður í Lestinni í dag rætt við kvikmyndaleikstjórann Grím Hákonarson um heimildamyndina Litlu Moskvu sem frumsýnd verður á morgun en hún fjallar um Neskaupstað og það hvernig bærinn hefur breyst í tímans rás, frá því að sósíalistar réðu ríkjum í bænum og til dagsins í dag. Sósíalistar komust til valda í bænum árið 1946 og stýrðu bænum í 52 ár, í myndinni er sú saga rakin og skoðuð frá ólíkum sjónarhornum. Í pistli sínum í dag skoðar Tómas Ævar Ólafsson plötuna African Rhythms frá 8. áratug síðustu aldar en á plötunni fléttast saman straumar úr mörgum áttum, allt frá sagnfræðilegri endurskoðun til skáldaðra handanheima í geimnum. Og Halldór Armand Ásgeirsson rithöfundur flytur pistil í Lestinni á þriðjudegi. Umsjón: Anna Gyða Sigurgísladóttir og Eiríkur Guðmundsson

Ralph MacDonald was a percussionist, producer, songwriter, performer and Grammy-award winner who lived from 1944-2011. He had roots in the Caribbean, but was born in New York. His songs were recorded by artists like Bill Withers, Grover Washington Jr, Roberta Flack, Harry Belafonte, Jimmy Buffett and others. The son of Calypsonian MacBeth the Great, Ralph MacDonald was a member of Harry Belafonte's band at the age of 17. For over 20 years he was the percussionist in Jimmy Buffett's Coral Reefer Band. His music included elements of many styles of music from Jazz, African Rhythms, Calypso, Samba and others. This interview with Ralph MacDonald was taped using a cassette recorder in 2006 at the Ritz-Carlton hotel in Atlanta, Georgia. It was broadcast on the radio, never to be heard again until now. Support The Paul Leslie Hour by donating to their Tip Jar: https://tips.pinecast.com/jar/the-paul-leslie-hour

HYC 060 welcomes a guest mix from Ben Jac who is the founder and label head of Manchester based hip hop / beats collective Flow Theory. - https://soundcloud.com/flow_theory His mix draws inspiration from his time spent in India as well as his research into African Rhythms, and journeys across the continent back to Manchester with a preview of a brand new remix by Glue 70 of Sonn featuring KSR. Flow Theory have a brand new release out from Glue 70 you can cehck here - https://www.youtube.com/watch?v=Yh8Sx29Na_U Starting the show is a mini mix featuring New Dabrye & Potatohead People and a few other bits Be sure to share the show if you feel the vibes Safe

Tim Barr speaks about earlier bands he was in such as Recluse, Father and Son, the Bar sinister Jazz Group, and Silverbird, He spoke of his connection to Kristopher Harris The producer of his band. We played the song Silverbird, (Originally called LA Nights) Speaking about exploring LA. Smile was performed (ACOUSTIC) Studying with Mike Lango about time, and African Rhythms, and polymetric timing Speaking against the evils of the metronome. Dizzy Gillespie With the Spirits, the inspiration is explained. The Silverbird group lineup. Tim played Lift Me Up (ACOUSTIC) With the Spirits is played. Tim also briefly mentioned about performing in 2008 at the Nokia Theatre onstage with Slash.

It's time for archive show #46, featuring the Feenjon Group, Sonny Lester, some authentic "Music of the Ghawazee," and Karizma putting us through our paces once again!  Enjoy!1.  NAIF AGBY & HIS ORCHESTRA    Saffi El-Nia (Fulfill Your Vow) - 3:31    from the album El Debke - Music of the Middle-East, 19622.  THE SULTAN'S CARAVAN (featuring Gus Vali)    Ouzo - 3:06    from the album Belly Dance to Great Navel Music, 19763.  THE FEENJON GROUP    Donna, Donna (Yiddish - sung in English) - 3:01    from the album Belly Dancing at the Cafe Feenjon, no date given    4.  AISHA ALI (ARCHIVIST)    Music for the Benat Maazin: Abu Kherage folk orchestra - 6:04    from the album Music of the Ghawazee, 1973    5.  ANESTOS ATHOUNASIOU & HIS ENSEMBLE    Asimenio Fengari (The Silver Moon) - 2:28    from the album Music For Belly Dancing - Instrumentals from the Near East, no date given    6.  KARIZMA    Exercise Seven: Prancing Steps - 1:32    from the album Karizma Teaches Belly Dancing, 1976    7.  JALALEDDIN TAKESH    Rama Gastorena - 3:40    from the album Jalaleddin Presents Vol. II - Kashmira's Fantasy, 1984    8.  UNCREDITED ARTISTS (possibly ABBU ABDEL AAL & HIS SILVER STRINGS?)    Zareefa - 3:48    from the album Sweet Nights, 1967    9.  UNCREDITED ARTISTS     Aman Katinaki mou - 2:48    from the album Karsilamades and Tsiftetelia Dances No. 6, 198110. TORAIA ORCHESTRA OF ALGIERS    Chataaraban - 6:45    from the album Belly Dance! The Wild Music & The How-To!, no date given11. KEMANI GARIB, ET. AL.    Show #1: Alamam Ben (2/4)/Kucuk Yasta Aldim Sazi Elime (4/4)/Durriyemin Gugumleri (9/8) - 9:30    from the album Special Music for Your Belly Dancing, 1974-75    12. SONNY LESTER & HIS ORCHESTRA    Belly Dancer's Haven - 2:15    from the album Little Egypt Presents: MORE How To Belly Dance For Your Husband, no date given13. MOHAMED ABDEL WAHAB    Aziza - 3:16    from the album Belly Dance Vol. 1, 197614. ARTIE BARSAMIAN & HIS ORCHESTRA    Oorakhootian Bar - 2:50    from the album More Belly Dance - Music of the Middle East, no date given15. DAHLENA & MUSICIANS    African Rhythms for Belly Dancing - 2:09    from the album Dahlena's Middle Eastern Music for Belly Dancing Vol. 2, 197816. EDDIE "THE SHEIK" KOCHAK & HAKKI OBADIA ORCHESTRA    Oglan Oglan - 4:19    from the album Arrac-Laham Mishwee & Thou - Festive Dance Music from the Middle East, 196517. UNCREDITED ARTISTS (possibly NICOLAS EL DIK ORCHESTRA?)    Bouyout El Farah - 6:26    from the album Belly Dance! Music For an Oriental Dance Vol. 2, 1973