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Back in 2021, John and Elizabeth sat down with Brandeis string theorist Albion Lawrence to discuss cooperation versus solitary study across disciplines. They sink their teeth into the question, “Why do scientists seem to do collaboration and teamwork better than other kinds of scholars and academics?” The conversation ranges from the merits of collective biography to the influence of place and geographic location in scientific collaboration to mountaineering traditions in the sciences. As a Recallable Book, Elizabeth champions The People of Puerto Rico, an experiment in ethnography of a nation (in this case under colonial rule) from 1956, including a chapter by Robert Manners, founding chair of the Brandeis Department of Anthropology. Albion sings the praises of a collective biography of the Art Ensemble of Chicago, A Message to Our Folks. But John stays true to his Victorianist roots by praising the contrasting images of the withered humanist Casaubon and the dashing young scientist Lydgate in George Eliot's own take on collective biography, Middlemarch. Discussed in this episode: Richard Rhodes Making of the Atomic Bomb Ann Finkbeiner, The Jasons: The Secret History of Science's Postwar Elite James Gleick, The Information Jon Gertner, The Idea Factory: Bell Labs and the Great Age of American Innovation Black Hole photographs win giant prize Adam Jaffe, “Geographic Localization of Knowledge Spillovers as Evidenced by Patent Citations“ Jamie Cohen-Cole, The Open Mind Julian Steward et al., The People of Puerto Rico Paul Steinbeck, Message to Our Folks Jenny Uglow, Lunar Men George Eliot, Middlemarch Listen to and Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Back in 2021, John and Elizabeth sat down with Brandeis string theorist Albion Lawrence to discuss cooperation versus solitary study across disciplines. They sink their teeth into the question, “Why do scientists seem to do collaboration and teamwork better than other kinds of scholars and academics?” The conversation ranges from the merits of collective biography to the influence of place and geographic location in scientific collaboration to mountaineering traditions in the sciences. As a Recallable Book, Elizabeth champions The People of Puerto Rico, an experiment in ethnography of a nation (in this case under colonial rule) from 1956, including a chapter by Robert Manners, founding chair of the Brandeis Department of Anthropology. Albion sings the praises of a collective biography of the Art Ensemble of Chicago, A Message to Our Folks. But John stays true to his Victorianist roots by praising the contrasting images of the withered humanist Casaubon and the dashing young scientist Lydgate in George Eliot's own take on collective biography, Middlemarch. Discussed in this episode: Richard Rhodes Making of the Atomic Bomb Ann Finkbeiner, The Jasons: The Secret History of Science's Postwar Elite James Gleick, The Information Jon Gertner, The Idea Factory: Bell Labs and the Great Age of American Innovation Black Hole photographs win giant prize Adam Jaffe, “Geographic Localization of Knowledge Spillovers as Evidenced by Patent Citations“ Jamie Cohen-Cole, The Open Mind Julian Steward et al., The People of Puerto Rico Paul Steinbeck, Message to Our Folks Jenny Uglow, Lunar Men George Eliot, Middlemarch Listen to and Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices
Back in 2021, John and Elizabeth sat down with Brandeis string theorist Albion Lawrence to discuss cooperation versus solitary study across disciplines. They sink their teeth into the question, “Why do scientists seem to do collaboration and teamwork better than other kinds of scholars and academics?” The conversation ranges from the merits of collective biography to the influence of place and geographic location in scientific collaboration to mountaineering traditions in the sciences. As a Recallable Book, Elizabeth champions The People of Puerto Rico, an experiment in ethnography of a nation (in this case under colonial rule) from 1956, including a chapter by Robert Manners, founding chair of the Brandeis Department of Anthropology. Albion sings the praises of a collective biography of the Art Ensemble of Chicago, A Message to Our Folks. But John stays true to his Victorianist roots by praising the contrasting images of the withered humanist Casaubon and the dashing young scientist Lydgate in George Eliot's own take on collective biography, Middlemarch. Discussed in this episode: Richard Rhodes Making of the Atomic Bomb Ann Finkbeiner, The Jasons: The Secret History of Science's Postwar Elite James Gleick, The Information Jon Gertner, The Idea Factory: Bell Labs and the Great Age of American Innovation Black Hole photographs win giant prize Adam Jaffe, “Geographic Localization of Knowledge Spillovers as Evidenced by Patent Citations“ Jamie Cohen-Cole, The Open Mind Julian Steward et al., The People of Puerto Rico Paul Steinbeck, Message to Our Folks Jenny Uglow, Lunar Men George Eliot, Middlemarch Listen to and Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science
Back in 2021, John and Elizabeth sat down with Brandeis string theorist Albion Lawrence to discuss cooperation versus solitary study across disciplines. They sink their teeth into the question, “Why do scientists seem to do collaboration and teamwork better than other kinds of scholars and academics?” The conversation ranges from the merits of collective biography to the influence of place and geographic location in scientific collaboration to mountaineering traditions in the sciences. As a Recallable Book, Elizabeth champions The People of Puerto Rico, an experiment in ethnography of a nation (in this case under colonial rule) from 1956, including a chapter by Robert Manners, founding chair of the Brandeis Department of Anthropology. Albion sings the praises of a collective biography of the Art Ensemble of Chicago, A Message to Our Folks. But John stays true to his Victorianist roots by praising the contrasting images of the withered humanist Casaubon and the dashing young scientist Lydgate in George Eliot's own take on collective biography, Middlemarch. Discussed in this episode: Richard Rhodes Making of the Atomic Bomb Ann Finkbeiner, The Jasons: The Secret History of Science's Postwar Elite James Gleick, The Information Jon Gertner, The Idea Factory: Bell Labs and the Great Age of American Innovation Black Hole photographs win giant prize Adam Jaffe, “Geographic Localization of Knowledge Spillovers as Evidenced by Patent Citations“ Jamie Cohen-Cole, The Open Mind Julian Steward et al., The People of Puerto Rico Paul Steinbeck, Message to Our Folks Jenny Uglow, Lunar Men George Eliot, Middlemarch Listen to and Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices
Back in 2021, John and Elizabeth sat down with Brandeis string theorist Albion Lawrence to discuss cooperation versus solitary study across disciplines. They sink their teeth into the question, “Why do scientists seem to do collaboration and teamwork better than other kinds of scholars and academics?” The conversation ranges from the merits of collective biography to the influence of place and geographic location in scientific collaboration to mountaineering traditions in the sciences. As a Recallable Book, Elizabeth champions The People of Puerto Rico, an experiment in ethnography of a nation (in this case under colonial rule) from 1956, including a chapter by Robert Manners, founding chair of the Brandeis Department of Anthropology. Albion sings the praises of a collective biography of the Art Ensemble of Chicago, A Message to Our Folks. But John stays true to his Victorianist roots by praising the contrasting images of the withered humanist Casaubon and the dashing young scientist Lydgate in George Eliot's own take on collective biography, Middlemarch. Discussed in this episode: Richard Rhodes Making of the Atomic Bomb Ann Finkbeiner, The Jasons: The Secret History of Science's Postwar Elite James Gleick, The Information Jon Gertner, The Idea Factory: Bell Labs and the Great Age of American Innovation Black Hole photographs win giant prize Adam Jaffe, “Geographic Localization of Knowledge Spillovers as Evidenced by Patent Citations“ Jamie Cohen-Cole, The Open Mind Julian Steward et al., The People of Puerto Rico Paul Steinbeck, Message to Our Folks Jenny Uglow, Lunar Men George Eliot, Middlemarch Listen to and Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices
Back in 2021, John and Elizabeth sat down with Brandeis string theorist Albion Lawrence to discuss cooperation versus solitary study across disciplines. They sink their teeth into the question, “Why do scientists seem to do collaboration and teamwork better than other kinds of scholars and academics?” The conversation ranges from the merits of collective biography to the influence of place and geographic location in scientific collaboration to mountaineering traditions in the sciences. As a Recallable Book, Elizabeth champions The People of Puerto Rico, an experiment in ethnography of a nation (in this case under colonial rule) from 1956, including a chapter by Robert Manners, founding chair of the Brandeis Department of Anthropology. Albion sings the praises of a collective biography of the Art Ensemble of Chicago, A Message to Our Folks. But John stays true to his Victorianist roots by praising the contrasting images of the withered humanist Casaubon and the dashing young scientist Lydgate in George Eliot's own take on collective biography, Middlemarch. Discussed in this episode: Richard Rhodes Making of the Atomic Bomb Ann Finkbeiner, The Jasons: The Secret History of Science's Postwar Elite James Gleick, The Information Jon Gertner, The Idea Factory: Bell Labs and the Great Age of American Innovation Black Hole photographs win giant prize Adam Jaffe, “Geographic Localization of Knowledge Spillovers as Evidenced by Patent Citations“ Jamie Cohen-Cole, The Open Mind Julian Steward et al., The People of Puerto Rico Paul Steinbeck, Message to Our Folks Jenny Uglow, Lunar Men George Eliot, Middlemarch Listen to and Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices
Back in 2021, John and Elizabeth sat down with Brandeis string theorist Albion Lawrence to discuss cooperation versus solitary study across disciplines. They sink their teeth into the question, “Why do scientists seem to do collaboration and teamwork better than other kinds of scholars and academics?” The conversation ranges from the merits of collective biography to the influence of place and geographic location in scientific collaboration to mountaineering traditions in the sciences. As a Recallable Book, Elizabeth champions The People of Puerto Rico, an experiment in ethnography of a nation (in this case under colonial rule) from 1956, including a chapter by Robert Manners, founding chair of the Brandeis Department of Anthropology. Albion sings the praises of a collective biography of the Art Ensemble of Chicago, A Message to Our Folks. But John stays true to his Victorianist roots by praising the contrasting images of the withered humanist Casaubon and the dashing young scientist Lydgate in George Eliot's own take on collective biography, Middlemarch. Discussed in this episode: Richard Rhodes Making of the Atomic Bomb Ann Finkbeiner, The Jasons: The Secret History of Science's Postwar Elite James Gleick, The Information Jon Gertner, The Idea Factory: Bell Labs and the Great Age of American Innovation Black Hole photographs win giant prize Adam Jaffe, “Geographic Localization of Knowledge Spillovers as Evidenced by Patent Citations“ Jamie Cohen-Cole, The Open Mind Julian Steward et al., The People of Puerto Rico Paul Steinbeck, Message to Our Folks Jenny Uglow, Lunar Men George Eliot, Middlemarch Listen to and Read the episode here. Learn more about your ad choices. Visit megaphone.fm/adchoices
Mais aussi François de Roubaix, Ennio Morricone, Jean-Claude Vannier, Françoise Hardy et encore plus ! Depeche Mode - Enjoy The Silence Blasé - Instant Magique Miki - HéroïneEdwin Star - War Jackson Five - ABCFive Stairsteps - O-o-h Child Diana Ross - Reach Out And Touch (Somebody's Hand)Joni Mitchell - Big Yellow Taxi David Bowie - The Man Who Sold The World The Velvet Underground - Who Loves The Sun The Beach Boys - Cool Cool Water Brigitte Fontaine et Areski avec The Art Ensemble of Chicago - Comme A La Radio Art Ensemble of Chicaho - Thème de Yoyo Spinners - It's a ShameBob Marley vs Lee Scratch Perry - Duppy Conqueror Bob Andy - You Don't Know Freedom Singers - Monkey Man Kris Kristofferson - Sunday Morning Comin' DownFrançoise Hardy - L'ombreEric Demarsan - Quand les hommes ont rendez-vous François de Roubaix - Dernier Domicile Connu Jean-Claude Vannier - La Horse (B.O.F La Horse)David Axelrod - The EdgeChico Buarque & Ennio Morricone - RotativaEnnio Morricone - Main Title Ennio Morricone - Indagine Su Un Cittadino Al Di Sopra Di Ogni SospettoThe Chi-Lites - Are you My Woman? (Tell Me So)Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
C'est un moment à part dans l'histoire de la musique, un moment de pure spontanéité qui serait, aujourd'hui, inenvisageable. En octobre 1969, Amougies, 957 habitants et une quinzaine de bars, petit village calme du pays des collines, voit débarquer en ses rues et ses prairies une horde de hippies. Ils sont des dizaines de milliers (jusqu'à 100.000 se murmure-t-il) à se rendre à cet incroyable festival qui va accueillir sur sa scène géante des artistes tels que Franck Zappa, Pink Floyd, Ten Years After, Captain Beefheart, Archie Shepp, the Art Ensemble of Chicago et bien d'autres. Comment ce festival a-t-il vu le jour dans cette petite commune ? Que reste-t-il de ce moment unique dans les souvenirs des habitant.e.s ? Comment la rencontre entre les hippies et les villageois.es s'est-elle déroulée ? Qu'est devenu Amougies aujourd'hui ? C'est la journaliste du magazine Médor Chloé Andries qui raconte au miro de Jonathan Remy cette histoire habitée de souvenirs échevelés et de musiques magiques. Sujets traités : Festival, Amougies, hippies, musique, village Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
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
Out on strike and newly single, Roger seeks comfort in sound in the shape of legendary avant-garde, free jazz giants The Art Ensemble of Chicago, on a rare visit to Sheffield in the spring of 1984. Intro and outro music: Simon Elliott-KempArtwork: RionaghEditor: Nigel FloydSound FX courtesy of Freesound.org, with particular thanks to:Concert applause: Recording Hopkins.Djembe: Rutger Muller.Drum loop: Esares.City street ambience: Sage Tyrtle.Jazz drums: Big Joe Drummer.Double bass: El Zozo.Trumpet: Soro Hanro.Saxophones: Uauaua.Church bell: Audeption.Wind chime: Inspector J.Gong: Boss Music.Ian Hall: Splash, Chinese cymbal.David J. Woll: cymbal rolls.Club ambience: Rikus 246.Send us a textNever miss an episode.Follow me at: https://twitter.com/rogerquailhttps://www.instagram.com/rogerquail/RSS feed - https://feeds.buzzsprout.com/289673.rss
Intro: One More Night – Can 1. Get Off My Cloud – The Rolling Stones (2:57) 2. Man in the Fog – Flying Burrito Brothers (2:31) 3. Misty Morning, Albert Bridge – The Pogues (3:02) 4. Mac's Fancy / The Mist Covered Mountain – De Danann (3:06) 5. Passing Clouds – Roger Limb / BBC Radiophonic Workshop (1:01) 6. Cloud 149 – Pere Ubu (2:37) 7. Ominous Cloud – Broadcast (3:46) 8. The Morning Fog – Kate Bush (2:39) 9. Little Fluffy Clouds – The Orb (4:27) 10. Little Cloud – Incredible String Band (4:01) 11. Misty Mountain Hop – Led Zeppelin (4:39) 12. Sodom and Gomorrah – Misty in Roots (6:37) 13. Le Brouillard – Brigitte Fontaine, Areski, avec Art Ensemble of Chicago (3:24) 14. Fog On the Hudson (425 W 57th Street) – Moondog (1:19) 15. The Cloud of Unknowing – James Blackshaw (10:50) 16. The Foggy Mountain Top – The Carter Family (2:58) 17. Both Sides Now – Judy Collins (3:15) 18. Lost in a Fog – Ella Fitzgerald (4:00) 19. Clouds O'ertake The Brightest Day (from ‘Susanna') – Handel, Cummings/Festspiel Orchester Göttingen/ Lowrey (1:54) 20. Foggy Mountain Breakdown – Lester Flatt, Earl Scruggs, & the Foggy Mountain Boys (2:39) 21. In A Mist – Bix Beiderbecke (2:48) 22. White Cloud – Jan Garbarek Group (9:01) 23. Clear or Cloudy – John Dowland, Rooley/Consort of Musicke/Kirkby (3:21) 24. A Foggy Day – Chris Connor (3:20) 25. Nuages – Quintette du Hot Club de France, avec Alix Combelle (3:15) 26. Cloudscape (from ‘Koyaanisqatsi') – Philip Glass (4:39) 27. Foggy Notion – Velvet Underground (6:50) 28. Clocks and Clouds (excerpt) – György Ligeti, De Leeuw/Asko-Schönberg Ensemble/Capella Amsterdam Choir Outro: Pogles Walk – Vernon Elliott Ensemble
English episode! Ausnahmsweise gibt es mal wieder eine Folge von kHz & Bitgeflüster auf Englisch.((This interview with Julia A. Miller, owner of legendary blues and jazz label Delmark Records, has been recorded in English and starts after a short German intro.))Die Gelegenheit, in Chicago mit der Besitzerin eines der ältesten Jazz- und Blues-Labels der USA zu sprechen, konnte Olaf sich nicht entgehen lassen.Seit 1953 gibt es Delmark Records schon, wenn auch ursprünglich als "Delmar Records". Gründer Bob Koester war ein glühender Musikfan und Plattensammler. Mit frühen Aufnahmen von James Crutchfield, Speckled Red oder Big Joe Williams gründete er das Label zunächst in St. Louis, Missouri, und zog 1958 nach Chicago um. Delmark (jetzt mit einem 'k' am Ende) wurde in den 1960ern und 1970ern zu einem wichtigen Bestandteil der Chicagoer Musikszene. Luther Allison, Buddy Guy, Junior Wells, Roscoe Mitchell oder Sun Ra veröffentlichten ihre ersten Alben auf dem Label. Parallel dazu betreibt Bob Koester einen weltweit bekannte Plattenladen namens Jazz Record Mart.Zeitsprung ins Jahr 2018: Bob Sr. ist bereits deutlich im Rentenalter, seine Frau Sue und sein Sohn Bob Jr. wird die Doppelbelastung mit Plattenladen und Label langsam zu viel. Sie verkaufen Label und das dazugehörige Studio an Julia A. Miller, eine in Chicago ansässige Gitarristin, Musik-Professorin und experimentelle Musikerin. Über ihren musikalischen Werdegang, und wie sie dazu kam, das traditionsreiche Label zu kaufen, erzählt Julia im Gespräch mit Podcast Host-Olaf.Delmark Records: Jazz and Blues since 1953Im Vorfeld der HiFi-Messe Axpona traf sich Olaf im legendären Delmark-Studio mit der Label-Chefin Julia. Das Studio ist zwar "erst" seit den 1990er Jahren an diesem Standort, doch das meiste Equipment vorher bereits in einem anderen Chicagoer Studio jahrzehntelang im Einsatz gewesen. Unter anderem werden bei Delmark heute noch Aufnahmen mit einem Steinway-Klavier von 1917 gemacht.Delmark Records fühlt sich ganz offensichtlich der amerikanischen Musiktradition verpflichtet, die das Label mit geprägt hat, und ganz besonders der Musikszene von Chicago. Junior Wells und Buddy Guy waren zu ihrer Zeit die jungen Wilden und fanden bei Delmark und in den Clubs der Metropole am Lake Michigan ihr Publikum. Mit Sun Ra, Roscoe Mitchell oder dem Art Ensemble of Chicago entstand hier später eine neue Jazz-Avantgarde.Dieses Erbe zu erhalten, zu pflegen und für Musikfans auf der ganzen Welt zugänglich zu machen, ist eine Motivation für Julia und das Delmark-Team. Doch auch neue Musiker:innen sollen nicht zu kurz kommen, denn davon hat Chicago nach wie vor reichlich zu bieten.Im Podcast unterhalten sich Julia und Olaf über die bewegte Geschichte von Delmark Records, über die Zukunft des Labels, aber auch über Julias spannenden Werdegang als Musikerin, Dozentin, Experimental-Künstlerin und Ton-Meisterin.Die vollständigen Shownotes zur Folge mit vielen Musiktipps von Julia findest du auf HIFI.DE. Hosted on Acast. See acast.com/privacy for more information.
“Sticks & stones” Jackie Shane “You don't know where your interests lie” Dana Valery “I got to find me somebody” Vet-Vets “Rain” Dorothy Morrison “I can't believe what you say” Tina Turner “Witch queen of New Orleans” Ervinna “If this ain't really love” Sophisticated Ladies “High-steppin hip-dressin fella” Love Unlimited “Phone's been jumping all day” Jeannette Reynolds “Good feeling” Margie Evans “Mojo Hannah” Betty Harris “You've just go to know my mind” Dana Gillespie “Be my baby” Ronettes “Why don't you go home” Diane Ward “Laisse tomber les filles” Fabienne Delsol “Rom Jongvak Twist” Pan Ron “Qays iyo Layla” Sharero Band feat. Faadumo Qaasim “Know what I mean” Nichelle Nichols “Spooky” Dusty Springfield “I must be doing something right” Irene Reid “Liberation conversation” Marlena Shaw “Theme de yoyo” Art Ensemble of Chicago feat. Fontella Bass “Funkier than a mosquito's tweeter” Nina Simone (Jazeem remix)
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.
Jazz in the Garden, Episode Two: “One Magic Summer” After a golden age of big names and big crowds throughout the 1960s, by the mid 1970s live jazz at MoMA had become something of an afterthought. But a magical summer of performances in 1985—including landmark concerts by the Art Ensemble of Chicago, “Butch” Morris, and the “saxophone colossus” himself, Sonny Rollins—put the music back at center stage. Join us for our second episode, and hear the story from Rollins and others who were there. Writer/producers: Naeem Douglas, Alex Halberstadt, Jason Persse Host: Naeem Douglas Additional readings: Karen Chilton Engineer, mixer, original music: Zubin Hensler Special thanks: Prudence Peiffer, Arlette Hernandez, Ellen Levitt, Kelsey Head, Dore Murphy, Allison Knoll, Tina James, Michelle Harvey, Marc-Auguste Desert II, Omer Leibovitz, Peter Oleksik Music: “Now's The Time.” Written by Charlie Parker. Performed by Clark Terry. Courtesy of The Orchard. By arrangement with Universal Music Publishing and Sony Music Publishing; “Uncle.” Written and performed by the Art Ensemble of Chicago. Used by permission; courtesy credits pending; “Soloscope, Part 1.” Written and performed by Sonny Rollins. Courtesy of Concord Records. By arrangement with Kobalt obo Son Rol Music Company; “Namesake.” Written and performed by Milt Jackson. Courtesy of Universal Music Group. By arrangement with Reecie Music; “On Green Dolphin Street.” Written by Kaper Bronislaw, Ned Washington. Performed by Sonny Rollins. Courtesy of Universal Music Group. By arrangement with Reservoir Media, BRTS, and BMG
Estas dos palabras dan título a un álbum grabado por Ornette Coleman en doble cuarteto a finales de 1960 para el sello Atlantic. La obra —cuyo título completo es Free Jazz: A Collective Improvisation— rompe las estructuras previas del jazzy apunta a un paroxismo nunca escuchado._____Has escuchadoAscension - Edition I (1965) / John Coltrane. John Coltrane, saxofón tenor; McCoy Tyner, piano; Jimmy Garrison, bajo; Elvin Jones, batería; Archie Schepp y Pharoah Sanders, saxofón tenor; John Tchicai y Marion Brown, saxofón alto; Art Davis, bajo. Impulse (1987)Hello Chi (1970) / Art Ensemble of Chicago. Fontella Bass, voz; Lester Bowie, trompeta; Roscoe Mitchell, flauta y saxofón alto; Joseph Jarman, flauta y saxofón alto; Malachi Favors, bajo. FreeFactory (2010)Simple Like (1969) / Anthony Braxton. Leo Smith, trompeta y mult. instrumentos; Anthony Braxton, saxofón alto y mult. instrumentos; Leroy Jenkins, violín y mult. instrumentos; Steve McCall, percusiones. BYG Records (1969)Sunday Morning Church (2003) / William Parker. Billy Bang, violín; Hamid Drake, batería; William Parker, contrabajo. Thirsty Ear (2003)Truth Is Marching in (1966) / Albert Ayler. Albert Ayler, saxofón tenor; Don Ayler, trompeta; Michel Sampson, violín; Bill Folwell y Henry Grimes, bajos; Beaver Harris, batería. Impulse (1998)_____Selección bibliográficaANDERSON, Iain, This Is Our Music: Free Jazz, the Sixties, and American Culture. University of Pennsylvania Press, 2007BRADLEY, Francis R., Universal Tonality: The Life and Music of William Parker. Duke University Press, 2021CARLES, Philippe y Jean-Louis Comolli, Free Jazz: Black Power. Traducido por Juan Giner. Anagrama, 1973JENKINS, Todd S., Free Jazz and Free Improvisation: An Encyclopedia. Greenwood Press, 2004JOST, Ekkehard, Free jazz: une étude critique et stylistique du jazz des années 1960. Outre Mesure, 2002KOLODA, Richard, Holy Ghost: The Life & Death of Free Jazz Pioneer Albert Ayler. Jawbone Press, 2022MAZZOLA, Guerino y Paul B. Cherlin, Flow, Gesture, and Spaces in Free Jazz Towards a Theory of Collaboration. Springer, 2009ONSMAN, Andrys y Robert Burke, Experimentation in Improvised Jazz: Chasing Ideas. Routledge, 2019PARKER, William et al., Conversations. Rogueart, 2011—, Conversations II: Dialogues and monologues. Rogueart, 2015—, Conversations III: Dialogues and monologues. Rogueart, 2019—, Conversations IV. Rogueart, 2023PEYROU, Mariano, Free jazz: la música más negra del mundo. Anagrama, 2024RUSH, Stephen, Free Jazz, Harmolodics, and Ornette Coleman. Routledge, 2017SCHWARTZ, Jeff, Free Jazz: A Research and Information Guide. Routledge Music Bibliographies, 2018*SKLOWER, Jedediah, Free jazz, la catastrophe féconde: une histoire du monde éclaté du jazz en France (1960-1982). L'Harmattan, 2006SPICER, Daniel, Peter Brötzmann: Free-Jazz, Revolution and the Politics of Improvisation. Repeater, 2024STEINBECK, Paul, Message to Our Folks: The Art Ensemble of Chicago. The University of Chicago Press, 2017SZWED, John F., Space Is the Place: The Lives and Times of Sun Ra. Duke University Press, 2020TONELLI, Chris (Chris J.), Voices Found: Free Jazz and Singing. Routledge, 2019TOOP, David, En el maelström: música, improvisación y el sueño de la libertad antes de 1970. Caja Negra, 2018*WILMER, Val, As Serious As Your Life: Black Music and the Free Jazz Revolution, 1957-1977. Serpent's Tail, 2018 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March
ElecSoul #189 JAZZ BLEEP, CHORD & GROOVE is a short trip through the soulful realms of jazz, curated to give you some insight to the ethos behind Elecsoul as a weekly online and live show concept. From the timeless elegance of organist / pianist, Amina Claudine Myers to the avant-garde brilliance of The Art Ensemble of Chicago. I hope you enjoy rich melodies, intricate rhythms, and soul-stirring vocals. Thank you for listening and please subscribe on Soundcloud & Apple iTunes to get my shows delivered to your device weekly. Tracks played: Amina Claudine Myers - Happiness Wadada Leo Smith, Amina Claudine Myers - Central Park at Sunset The Art Ensemble of Chicago - Dreaming of the Master Espen Horne - The Anatomy of Serene Eloquence FBI - Talking About Love Young Disciples - As We Come Espen Horne - Nada Pode Le Calar Nona Hendryx - Love Is A Flame Devoted - Dehavu ft. Cardell McClary Arnold Jarvis - The Joy You Bring
THIS WEEK's BIRDS: Roma song from Vera Bila & Kale and Ljiljana Buttler; Aurora Vargas and El Torta (cante jondo); new music from Tomasz Dabrowski & The Individual Beings; new music from James Brandon Lewis; new music from Mali Obomsawin; new music from Roman Norfleet; vintage Art Ensemble of Chicago; Jim Pepper; Charles Lloyd; rare Moroccan orchestral/vocal music feat. Mohammed Lahyani; Oranese song from Algeria w/ Ahmed Wahby; Oranese Raï w/ Khaled; the great Milton Nascimento; much, much more!!!! Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/18628754/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/ Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com
Dennis Taylor – The Journey Home Gallery – Icy Acres Angel Bat Dawid – The Oracle Tirzah – their love ? how can you say it Assiko Golden Band De Grand Yoff – Magg Tekki Long Orme – Long Orme Flaer – Hew RNA ORGANISM – Yes every Africa must be free Art Ensemble of Chicago – Thème Amour Universal Niagra – Siena The Soft Machine – a concise british alphabet pel mel – Shipwrecked Black is ---- - Themes & Variations Eduardo Mateo – Uh, Qué Macana Bruce Langhorne – Tagging Snakes Sylvester – God Bless the Child Artur Nunes – Kisua ki ngui fuá Girma Yifrashewa – Union Tirzah – Crepuscular Rays Klein – DJ drop Rainforest Spiritual Enslavement – Phosphorescence on rowing oars at night figure eight – altar Lucy Liyou – April in Paris ? – titelnumber 2
Greetings Friends,In the on-going exploration of the Ox-herding pictures, this podcast episode focuses on Kensho—the Japanese Zen Buddhist word for seeing into our true nature, which is the third of the ten ox-herding or bull-herding pictures. The image above is a bull painted in the Lascaux cave in France around 20k years ago. While maybe not as apparent to a modern person, the Ox and bull have a long relationship to human beings and in the history of religion and spirituality.When I first encountered the cave paintings of Lascaux, I was awe-struck. They touch my artistic sensibilities and convey, at least to me, a spiritual intimacy. Painted in the dark, fertile womb of the earth—a cave—the animals within the walls portray a liveliness of both painter and animal. It is as if they share the same spirit.In her article on Enlightenment and Awakening, Zen Buddhist Teacher Joan Sutherland tells a story of Chekhov and Tolstoy as a way of illuminating the insight of a kensho experience, she says:How large is the self softly illuminated by the moon of enlightenment? Tolstoy and Chekhov were on a walk in the spring woods when they encountered a horse. Tolstoy began to describe how the horse would experience the clouds, trees, smell of wet earth, flowers, sun. Chekhov exclaimed that Tolstoy must have been a horse in a previous life to know in such detail what the horse would feel. Tolstoy laughed and said, “No, but the day I came across my own inside, I came across everybody's inside.”She goes on to describe that awakening doesn't belong to buddhists or buddhas saying: Awakening is autonomous, existing before there were humans, or anything else, to experience it. This is personified in Prajnaparamita, mother of buddhas, who holds the universe's awakening, regardless of whether there are buddhas or Buddhist teachings in a particular era. Though I have never met these artists or animals, I feel something of them even 20k after they lived. Could it be that these artists too, knew the mind before thought—the great expanse of prajna paramita? Sitting in the womb of the earth, the radiant blackness of the wisdom mother—they lost themselves as individuals and became tiger, bull, horse—the goddess herself? Portraying their likeness on these cave walls as an act of devotion, a gesture of love?Once I came across my own inside, I came across everyone's inside.In her book on the Image of the Goddess Anne Baring connects these early cave painting cultures to the earliest depiction of a mother goddess that historians are aware of. Wisdom beyond wisdom, need not be gendered for it points to that which is prior to gender, body, form, all dualities—and yet, the metaphor of the great mother captures something essential. From the darkness of this cave-like womb—bull, hand, paint, tiger, woman, voice, body, me, you!We are currently in week one of a 14-week class series I am offering on the Sacred Feminine—as I post this recording on kensho— I am feeling how deeply the two intersect for me. As a Zen practitioner Prajna Paramita—wisdom beyond wisdom—wasn't something I immediately connected with as a feminine deity or mother goddess. Throughout the years of practice, my practice has taken on more of a devotional flavor. As I learned more about the image and history of the goddess, prajna paramita—mother of all buddhas, I feel how her depiction helps me open to the spaciousness, compassionate, freedom of Mind's nature.I have a practice now of embodying the goddess, allowing my body to take the form of prajna paramita, and everything that arises in the space of awareness—body sensations, sounds, thoughts, images, feelings, emotions—are all a manifestation of prajna paramita—wisdom beyond wisdom. Inseparable for the light of awareness.Where have you encountered the goddess?Can you see her—right now?When I look, she is everywhere:In the freedom and play of The Art Ensemble of Chicago and Moor Mother's spoken word poetry. In the oak tree still holding some of his leaves and the babbling creek running gently in spring sun, in the city lights twinkle, and the burgeoning trunk jade plant on my desk—she is everywhere, miss true nature—and gratitude, devotion, wonder and awe arise in this heart when I catch a glimpse of her various forms of compassionate expression.Can you really see her everywhere? In everyone and everything. When my heart trembles in fear, or I feel sadness over the suffering in the world—I invite this inquiry. This too, the wisdom and compassion of our awakened nature. This too, none other than the goddess's compassionate manifestation. This too, the spontaneous expression of the OX. For me, this is a koan worth pursuing.With just one glance of Miss Original FaceStanding there you will fall in love with her. —Zen Master IkkyuEach of the ox-herding pictures has a prose teaching and poem to accompany them. Below is the image, prose and poem for the third picture sometimes called Seeing the OX or The First Glimpse of Self.PROSEThrough sound you gain entry, by sight you face your source. The six senses are not different, in every activity it's plainly there.Like salt in water or glue in paint. Raise your eyebrows—it's just right here.POEMIn the trees nightingales sing and sing againSun warms the soft wind, green willows line the bankHere, there's nowhere left for it to hide,It's majestic head and horns no artist could drawThe recorded talk is commentary on this vital stage of the path, which includes commenting on these teaching points found in the prose and poem. Please enjoy and feel free to comment. I am curious to hear about your experience of Awakening, Prajna Paramita, devotion or anything else that touched you in either this written piece or the dharma talk.This Saturday I will be offering a daylong online meditation retreat exploring the Zen teachings of Shunyata, emptiness—an often misunderstood yet vital aspect of practice-awakening. We will be sharing teachings, guided practice sessions and recordings will be available for anyone who registers. You can learn more here.On Sunday evening 8P ET/5P PT, I will be hosting the monthly online dream drop-in group called DreamSky. Anyone is welcome to attend, click the link to learn more.I feel deep gratitude to be on this path of discovery with all of you!Love,Amy Kisei This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amykisei.substack.com/subscribe
In this episode of MFM Speaks Out, Dawoud Kringle comes out of retirement to present a 2023 retrospective. We will share some of the content we brought to you in 2023, and enjoy a few other surprises as well. Our guest for the January episode was Haana. Haana is a violinist, vocalist, electronic music artist, visual performer, and entirely self-contained as a one-woman orchestra. She played with Kanye West, and Alvin Ailey, as well as festivals such as Joshua Tree Festival and Coachella and others in the US, Canada, UAE, and Australia, Barack Obama's inaugural ball, and at Michael Jordan's wedding. Haana has endorsement deals with Ableton, Native Instruments, Even Headphones (manufactured by Blue Microphones), and Realist Violins. She appeared in ads for Intel, Harvey Nichols, Nike, Ferrari, and Apple Computers. In addition, she has experience as a film composer and does artist mentorship/marketing, branding, and production consultation. In February, MFM board member and co-producer of this very podcast Adam Reifsteck joined us for a very fascinating discussion. Adam is a New York-based composer, electronic music artist, producer, entrepreneur, and music activist. He writes for small ensembles, produces electronic music, and performs improvised group compositions on Wi-Fi-connected laptops. He has collaborated with string quartets, university choirs, and visual and electronic artists. His approach to composition includes elements of improvisation. He is a recipient of grants from the Lower Manhattan Cultural Council, the Irving S. Gilmore Foundation, and the Kalamazoo (MI) Community Foundation. His music has been performed by the Attacca Quartet, Amernet String Quartet, Cadillac Moon Ensemble, Duquesne University Chamber Singers, Flutronix, Gaudete Brass Quintet, Mana Saxophone Quartet, Western Michigan University Chorale, and many other ensembles. Adam is also an active recording engineer and producer whose studio alias SONIC FEAR has become synonymous with lush, genre-bending sounds—from dance floor-ready tracks to downtempo meditations. He is the founder and CEO of Teknofonic Recordings, an independent record label and artist development platform providing electronic musicians with learning resources, networking opportunities, and career support. Adam holds a master's of music degree in composition from Western Michigan University and a bachelor's of music in music technology from Duquesne University. He is a member of Broadcast Music Inc., the Society of Composers and Lyricists, the Recording Academy, the Audio Engineering Society, and Musicians for Musicians. Our March episode was a landmark. We interviewed Keyna Wilkins, the first MFM member from Australia. Wilkins holds a Master of Music Composition at Sydney Conservatorium, studied composition, classical and jazz piano, and classical flute with several prestigious instructors, and intuitive conceptual improvisation with Tibetan Buddhist musician Tenzin Cheogyal. holds an MA in Flute Performance at Bristol University (UK) in 2008. She is known as a soloist and leader of cutting-edge ensembles and has written over 60 compositions, including 4 major orchestral works. Her works have been commissioned and/or performed by ensembles such as The Metropolitan Orchestra, Syzygy Ensemble, Elysian Fields, The Sydney Bach Society, and many others. She has released 9 albums of original music on all streaming platforms including 4 solo albums. Wilkins is also an Associate Artist with the Australian Music Centre and has five tunes in the Australian Jazz Realbook. She also writes music for films and theatre including the short film "Remote Access" which won Best Short Film at the Imagine This International Film Festival in New York in 2019 and her works are featured on ABC, Triple J, Fine Music FM, Cambridge Radio, SOAS London and many more. Her music is published by Wirripeng and she is a member of Musicians for Musicians. MFM member Sylvian Leroux was our guest in April. Sylvian is a flutist, saxophonist, guitarist, composer, arranger, bandleader, educator, inventor, and prominent member of Musicians for Musicians. Sylvain Leroux grew up in Montreal where he studied classical flute at Vincent d'Indy; and improvisation and composition in New York at the Creative Music Studio where he attended classes by luminaries Don Cherry, the Art Ensemble of Chicago, Karl Berger, Cecil Taylor, and many others. A pioneer of African/Jazz collaborations, Sylvain is a foremost player of the Fula flute, the traditional flute from Guinea. He was selected as “Rising Flute Star” by the Downbeat Magazine Critics' Poll for many years, achieving the #2 spot in 2019. As a bandleader, he brought traditional West African music to Zankel Hall with his Fula Flute Ensemble and held the fort for more than a decade at New York City's Zinc Bar with his African Jazz group “Source”. His 2002 CD “Fula Flute" achieved cult status, and stimulated a worldwide interest in the instrument. His 2012 album “Quatuor Creole” was hailed as “a perfect contemporary music release.” He curated New York's “Griot Summits” which featured performances by 25 West African griots from five countries. He has performed and recorded with Emeline Michel, Adam Rudolph, Karl Berger, Hassan Hakmoun, Billy Martin, and many West African stars. As a maker and seller of Fula flutes around the world, he invented and patented the Qromatica, a Fula flute capable of chromatic functionality. This led him to initiate "L'ecole Fula Flute", a music literacy project that graduated many excellent young flutists who are now re-energizing an endangered flute tradition. Our May 2023 episode featured Mark Chimples, a.k.a. Mark C. Mark is the guitarist and synthesizer player with Live Skull. Formed in 1982, Live Skull is considered by many aficionados to be the quintessential New York City noise band. Rising concurrently with bands such as Sonic Youth and Swans, Live Skull helped define the post-No Wave underground "noise rock" in the 1980s music scene in New York City. Over the following decades, Live Skull released five albums and three EPs with a rotating cast of 11 members, all of whom added new ideas to the group's evolving sound. Themes of struggle and chaos permeated and inspired their music. Their constant progression inspired New York Times critic Robert Palmer to call them “as challenging, as spiritually corrosive, and ultimately as transcendent as Albert Ayler's mid-'60s free-jazz or the implacable drone-dance of the early Velvet Underground. It's one of the essential sounds of our time." Music on this episode:Haana - Bison RougeAdam Reifsteck / Sonic Fear - AuroraKeyna Wilkins - Floating in SpaceSylvain Leroux - In Walked BudLive Skull - Party ZeroSpaghetti Eastern - Jungle BlueArturo O'Farrill and the Afro Latin Jazz Orchestra - Amidst the Fire and WhirlwindDave Liebman - Journey Around Truth SoSaLa - Dadada Dadada DaaDawoud Kringle - Keep Trying CreditsProducer and host: Dawoud KringlePublisher: Musicians For Musicians (MFM), Inc. and Sohrab Saadat LadjvardiTechnical support: Adam ReifsteckLinksBe sure to follow and tag MFM on Facebook ([https://www.facebook.com/M4M.org/] and Instagram (https://www.instagram.com/mfm_association/).
The Maroon's Jake Zucker, William Kimani, and Gregory Caesar interview double bass player and composer Silvia Bolognesi. They are joined by trumpeter Emanuele Marsico and percussionist Sergio Bolognesi. The Silvia Bolognesi Italian Trio performed live at the 2023 Hyde Park Jazz Festival with special guest Nick Mazzarella. Silvia's bio: "Silvia Bolognesi is a double bass player, composer, and arranger. She leads several bands: Open Combo, Almond Tree, Xilo Ensemble, Ju-Ju Sounds, Fonterossa Open Orchestra, Beast Friends, and Young Shouts. She is also part of the international string trio Hear in Now, with Tomeka Reid on cello and Mazz Swift on violin and vocals; the Art Ensemble of Chicago's 50th Anniversary special project; and the Roscoe Mitchell Quintet. "In 2010, Bolognesi founded her own label, Fonterossa Records. She is now also artistic director of the Fonterossa Day minifestival, hosted by Pisa Jazz, and the curator and conductor of the Fonterossa Open Orchestra, a creative orchestra based in Pisa since 2017." (hydeparkjazzfestival.org) This interview was recorded at the Study at University of Chicago on Saturday, September 23, 2023. Photo courtesy of silviabolognesimusic.com/Rossetti Phocus
Who was Joseph Jarman? A shaman? A conjurer? A Buddhist priest? A poet? An Aikido sensei? In the words of his fellow member of the Art Ensemble of Chicago, Lester Bowie, "Well, I guess that all depends on, ah, what you know." We know that in the universe of this music, which thrives on original thinking, few ranged as far and as free as Jarman. He brought us songs and stories, large-scale compositions, movement, theatricality, costumes and confrontation, along with collaborations and improvisations on every member of the woodwind family (as well as those "little instruments"). With Jarman, walls turned into windows, windows into doors, and those doors flew off their hinges. So what's out there on the other side? Is it any surprise that William Hooker is summoning Jarman for this week's Deep Focus? An improvising drummer who puts all his food on the same plate, composing spontaneously for silent films, collaborating with DJs and rockers, exploring architecture and futurism and tribal traditions... hungry for the world. No, this one is gonna fly like hot lava from a volcano. This Monday (7/10) from 6p to 9p on WKCR 89.9FM and WKCR-HD in NYC, wkcr.org on the web. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #JazzAlternatives #DeepFocus #WilliamHooker #JosephJarman #AEC #AECo #ArtEnsembleofChicago #JazzRadio #JazzInterview #JazzPodcast Photo credit: fair use.
Who was Joseph Jarman? A shaman? A conjurer? A Buddhist priest? A poet? An Aikido sensei? In the words of his fellow member of the Art Ensemble of Chicago, Lester Bowie, "Well, I guess that all depends on, ah, what you know." We know that in the universe of this music, which thrives on original thinking, few ranged as far and as free as Jarman. He brought us songs and stories, large-scale compositions, movement, theatricality, costumes and confrontation, along with collaborations and improvisations on every member of the woodwind family (as well as those "little instruments"). With Jarman, walls turned into windows, windows into doors, and those doors flew off their hinges. So what's out there on the other side? Is it any surprise that William Hooker is summoning Jarman for this week's Deep Focus? An improvising drummer who puts all his food on the same plate, composing spontaneously for silent films, collaborating with DJs and rockers, exploring architecture and futurism and tribal traditions... hungry for the world. No, this one is gonna fly like hot lava from a volcano. This Monday (7/10) from 6p to 9p on WKCR 89.9FM and WKCR-HD in NYC, wkcr.org on the web. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #JazzAlternatives #DeepFocus #WilliamHooker #JosephJarman #AEC #AECo #ArtEnsembleofChicago #JazzRadio #JazzInterview #JazzPodcast Photo credit: fair use.
Who was Joseph Jarman? A shaman? A conjurer? A Buddhist priest? A poet? An Aikido sensei? In the words of his fellow member of the Art Ensemble of Chicago, Lester Bowie, "Well, I guess that all depends on, ah, what you know." We know that in the universe of this music, which thrives on original thinking, few ranged as far and as free as Jarman. He brought us songs and stories, large-scale compositions, movement, theatricality, costumes and confrontation, along with collaborations and improvisations on every member of the woodwind family (as well as those "little instruments"). With Jarman, walls turned into windows, windows into doors, and those doors flew off their hinges. So what's out there on the other side? Is it any surprise that William Hooker is summoning Jarman for this week's Deep Focus? An improvising drummer who puts all his food on the same plate, composing spontaneously for silent films, collaborating with DJs and rockers, exploring architecture and futurism and tribal traditions... hungry for the world. No, this one is gonna fly like hot lava from a volcano. This Monday (7/10) from 6p to 9p on WKCR 89.9FM and WKCR-HD in NYC, wkcr.org on the web. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #JazzAlternatives #DeepFocus #WilliamHooker #JosephJarman #AEC #AECo #ArtEnsembleofChicago #JazzRadio #JazzInterview #JazzPodcast Photo credit: fair use.
Abrimos episodio con nuestro más querido recuerdo al pianista Lucky Guri que tristemente nos dejó la semana pasada. Después escucharemos uno de los últimos álbumes de la vocalista portuguesa Sara Serpa, Intimate Strangers, publicado en 2011 por Biophilia Records. Nuestra sección, Clásico de la Semana se acercó a mitad de los 70, al Soul Jazz y Funk Jazz del sello Black Jazz Records, a través de este recopilatorio, Theo Parrish’s Black Jazz Signature. Seguir leyendo La Montaña Rusa 26.2023. Recuerdo a Lucky Guri. Sara Serpa. Theo Parrish’s Black Jazz Signature. Eubanks Evans Experience. Vallecas Art Ensemble. 58 Belvedere. en La Montaña Rusa Radio Jazz.
THIS WEEK's BIRDS: World's Experience Orchestra; Evan Parker; Dave Burrell; Roopa Mahadevan; Art Ensemble of Chicago; Myra Melford & Tanya Kalmanovitch; Growling Tiger; Les Aiglons; Sába Miniamba; Suoper Mama Djombo; Orquesta Innovación; Lebron Brothers; João Bosco; Peregoyo y Su Combo Vacana; Beatings Are in the Body;; Hagai BNilitzky; much, much more ...! LISTEN LIVE: Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG. via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/17450717/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/ Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com
"I Didn't Look For The Fula Flute; It Came And Got me!"Our guest for this episode of MFM Speaks Out is Sylvain Leroux. Sylvian is a flutist, saxophonist, guitarist, composer, arranger, bandleader, educator, inventor, and prominent member of Musicians for Musicians.Sylvain Leroux grew up in Montreal where he studied classical flute at Vincent d'Indy; and improvisation and composition in New York at the Creative Music Studio where he attended classes by luminaries Don Cherry, the Art Ensemble of Chicago, Karl Berger, Cecil Taylor and many others.A pioneer of African/Jazz collaborations, Sylvain is a foremost player of the Fula flute, the traditional flute from Guinea.He was selected as “Rising Flute Star” by the Downbeat Magazine Critics' Poll for many years, achieving the #2 spot in 2019.As a bandleader, he brought traditional West African music to Zankel Hall with his Fula Flute Ensemble and held the fort for more than a decade at New York City's Zinc Bar with his African Jazz group Source. His 2002 CD Fula Flute achieved cult status, and stimulated a worldwide interest in the instrument. His 2012 album Quatuor Creole was hailed as “a perfect contemporary music release.”He curated New York's “Griot Summits” that featured performances by 25 West African griots from five countries. He has performed and recorded with Emeline Michel, Adam Rudolph, Karl Berger, Hassan Hakmoun, Billy Martin, and many West African stars.As a maker and seller of Fula flutes around the world, he invented and patented the Qromatica, a Fula flute capable of chromatic functionality. This led him to initiate L'ecole Fula Flute, a music literacy project that graduated many excellent young flutists who are now re-energizing an endangered flute tradition.Topics discussed:Sylvain's studies of classical flute at Vincent d'Indy; and improvisation and composition in New York at the Creative Music Studio under Don Cherry, the Art Ensemble of Chicago, Karl Berger, and Cecil Taylor, his time with Adam Rudolph's Orchestra, the jazz and world music Canadian music scene at that time and now, how he became interested in the Fula flute, his band “Source” and their time at New York's Zinc Bar for over a decade. How the combination of Guinean music and jazz has been accepted among Jazz audiences, his 2002 release Fula Flute and how it was received, his new album Qromatica, why he chose Julia Haines on accordion and harp and Mamadou Ba on bass, his performances at Zankel Hall with the Fula Flute Ensemble and curated New York's “Griot Summits”, his performances and recordings with Emeline Michel, Adam Rudolph, Karl Berger, Hassan Hakmoun, and some of the West African musicians he played with, how and why he founded music literacy program L'ecole Fula Flute, how Covid affected the people's spirit and economy in Guinea, government support of the arts, his business of making and selling Fula flutes, how he invented and patented the Qromatica, his activities in MFM, the present African/world music scene in NY, the cultural separation between African-American musicians and African musicians, NY's GlobalFest for presenting African bands to the US audience, the Visa fee raise proposal to Congress, and his future plans in the areas of music activism.Music featured in this episode:1) Zoe2) Mane Gauche3) In Walked Bud"Zoe" and by Sylvain Leroux, used with permission. "In Walked Bud" composed by Thelonious Monk (EMBASSY MUSIC CORPORATION BMI), performed by Sylvain Leroux. https://www.fulaflute.net/
Space is the place_jazz e dintorni del 11 aprile 2023Puntata dedicata al jazz e alla musica creativa di Chicago, con l`Art Ensemble of Chicago, Nicole Mitchell, Hamid Drake, Rob Mazurek, Chad Taylor, Tomeka Reid, Irreversible Entanglements e Lester Bowie. Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-11-aprile-2023 Tutti i podcast di Space is the place: https://www.radiotandem.it/category/space-is-the-place
Puntata dedicata al jazz e alla musica creativa di Chicago, con l`Art Ensemble of Chicago, Nicole Mitchell, Hamid Drake, Rob Mazurek, Chad Taylor, Tomeka Reid, Irreversible Entanglements e Lester Bowie.
THIS WEEK's BIRDS: Virtuoses Diabaté; Dina el Wadidi; Nicole Mitchell; Fanta Disco; Magic Malik; Mamady Kamissoko; Alshabah Emar & Eslam Disco; Art Ensemble of Chicago (new!); Shanta Nurullah's Sitarsys; Ghulam Ali; La Calandria con Claudio Ferrer y Sus Jibaritos; David Murray/ James Newton; Ramito; Orquesta la Selecta (w/ Raphy Leavtt);Stéphane Galland, Magic Malik, Carles Benavent & Misirli Ahme; Hadi Ahmed; much more...!( We have returned to our Friday night slot, 9:00pm-MIDNIGHT (EST), on WRFI: 88.1FM Ithaca, 89.7fM Odessa, 91.9FM WINO Watkins Glen. and online at WRFI.ORG. via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. WRFI/WINO has improved and expanded its signal, and can now be heard on one of our frequencies from Northern Pennsylvania to Lake Ontario!!! Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/16935780/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/ Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com
There are different ways to unpack this playlist. One of them is looking at it as a travelogue that will take us to that music incubator that Chicago continues to be; to a scene deserving wider recognition like that of Washington D.C.; to Brazil, France and Italy. And it all starts from Free Form Funk Freqs' 3rd Galaxy. The playlist also features Greg Ward's Rogue Parade; Art Ensemble of Chicago; Alune Wade; Gaia Wilmer [pictured]; Janel Leppin; Cristiano Calcagnile; Emmanuel Borghi Trio. Detailed playlist available at (from "Outer Arm" onward). Happy listening!
Playlist: Nucleus - Torrid zoneCraig Pedersen Quartet - So far so closeSam Dillion Andrew Gould Quartet - DillQuintessence - PrismsGene Ess - WaltzRandy Roos, Mike Rossi & Tim Gilmore with Steve Hunt and John Carlson - EmergenceAlfred Panou, Art Ensemble of Chicago - Je suis une sauvageIconoclast - Strings galoreBill King - Paradise blue
"Lester Bowie": instead of thinking of that sound as a person's name, maybe we should start thinking of it as a verb. Here's one definition: to change the orientation of something familiar so that it becomes unimaginably magnificent. Example: "I'm going to Lester Bowie this pebble and make a beautiful jewel out of it" or "I'm going to Lester Bowie these old tires into a holiday feast." It helps if you apply a bit of magic as Lester always seemed to manage to do. This Monday night on Jazz Alternatives, Eric Person and host Mitch Goldman put Lester Bowie in Deep Focus. While Lester may be more familiar from his work with the Art Ensemble of Chicago and Brass Fantasy, Eric and Mitch are digging somewhat deeper. Once again, gems from the WKCR archives abound. Only on WKCR 89.9FM, WKCR HD1 and wkcr.org this Monday from 6pm to 9pm NYC time. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #DeepFocus #JazzAlternatives #EricPerson #LesterBowie #MitchGoldman #JazzInterview #JazzPodcast Photo credit: Robbie Drexhage, CC BY-SA 4.0 , attraverso Wikimedia Commons
"Lester Bowie": instead of thinking of that sound as a person's name, maybe we should start thinking of it as a verb. Here's one definition: to change the orientation of something familiar so that it becomes unimaginably magnificent. Example: "I'm going to Lester Bowie this pebble and make a beautiful jewel out of it" or "I'm going to Lester Bowie these old tires into a holiday feast." It helps if you apply a bit of magic as Lester always seemed to manage to do. This Monday night on Jazz Alternatives, Eric Person and host Mitch Goldman put Lester Bowie in Deep Focus. While Lester may be more familiar from his work with the Art Ensemble of Chicago and Brass Fantasy, Eric and Mitch are digging somewhat deeper. Once again, gems from the WKCR archives abound. Only on WKCR 89.9FM, WKCR HD1 and wkcr.org this Monday from 6pm to 9pm NYC time. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #DeepFocus #JazzAlternatives #EricPerson #LesterBowie #MitchGoldman #JazzInterview #JazzPodcast Photo credit: Lester Bowie, Sweet Basil, NYC by Anthony Barboza, Collection of the Smithsonian National Museum of African American History and Culture. Fair use.
"Lester Bowie": instead of thinking of that sound as a person's name, maybe we should start thinking of it as a verb. Here's one definition: to change the orientation of something familiar so that it becomes unimaginably magnificent. Example: "I'm going to Lester Bowie this pebble and make a beautiful jewel out of it" or "I'm going to Lester Bowie these old tires into a holiday feast." It helps if you apply a bit of magic as Lester always seemed to manage to do. This Monday night on Jazz Alternatives, Eric Person and host Mitch Goldman put Lester Bowie in Deep Focus. While Lester may be more familiar from his work with the Art Ensemble of Chicago and Brass Fantasy, Eric and Mitch are digging somewhat deeper. Once again, gems from the WKCR archives abound. Only on WKCR 89.9FM, WKCR HD1 and wkcr.org this Monday from 6pm to 9pm NYC time. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #DeepFocus #JazzAlternatives #EricPerson #LesterBowie #MitchGoldman #JazzInterview #JazzPodcast Photo credit: Robbie Drexhage, CC BY-SA 4.0 , attraverso Wikimedia Commons
This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Today we're going to look at a record which I actually originally intended to do a full episode on, but by an artist about whom there simply isn't enough information out there to pull together a full episode -- though some of this information will show up in other contexts in future episodes. So we're going to have a Patreon bonus episode on one of the great soul-pop records of the mid 1960s -- "Rescue Me" by Fontella Bass: [Excerpt: Fontella Bass, "Rescue Me"] Fontella Bass was actually a second-generation singer. Her mother, Martha Bass, was a great gospel singer, who had been trained by Willie Mae Ford Smith, who was often considered the greatest female gospel singer of the twentieth century but who chose only to perform live and on the radio rather than make records. Martha Bass had sung for a short time with the Clara Ward Singers, one of the most important and influential of gospel groups: [Excerpt: The Clara Ward Singers, "Wasn't It A Pity How They Punished My Lord?"] Fontella had been trained by her mother, but she got her start in secular music rather than the gospel music her mother stuck to. She spent much of the early sixties working as a piano player and singer in the band of Little Milton, the blues singer. I don't know exactly which records of his she's on, but she was likely on his top twenty R&B hit "So Mean to Me": [Excerpt: Little Milton, "So Mean to Me"] One night, Little Milton didn't turn up for a show, and so Bass was asked to take the lead vocals until he arrived. Milton's bandleader Oliver Sain was impressed with her voice, and when he quit working with Milton the next year, he took Bass with him, starting up a new act, "The Oliver Sain Soul Revue featuring Fontella and Bobby McClure". She signed to Bobbin Records, where she cut "I Don't Hurt Any More", a cover of an old Hank Snow country song, in 1962: [Excerpt: Fontella Bass, "I Don't Hurt Any More"] After a couple of records with Bobbin, she signed up with Ike Turner, who by this point was running a couple of record labels. She released a single backed by the Ikettes, "My Good Loving": [Excerpt: Fontella Bass, "My Good Loving"] And a duet with Tina Turner, "Poor Little Fool": [Excerpt: Fontella Bass and Tina Turner, "Poor Little Fool"] At the same time she was still working with Sain and McClure, and Sain's soul revue got signed to Checker records, the Chess subsidiary, which was now starting to make soul records, usually produced by Roquel Davis, Berry Gordy's former collaborator, and written or co-written by Carl Smith. These people were also working with Jackie Wilson at Brunswick, and were part of the same scene as Carl Davis, the producer who had worked with Curtis Mayfield, Major Lance, Gene Chandler and the rest. So this was a thriving scene -- not as big as the scenes in Memphis or Detroit, but definitely a group of people who were capable of making big soul hits. Bass and McClure recorded a couple of duo singles with Checker, starting with "Don't Mess Up a Good Thing": [Excerpt: Fontella Bass and Bobby McClure, "Don't Mess Up a Good Thing"] That made the top forty on the pop charts, and number five on the R&B charts. But the follow-up only made the R&B top forty and didn't make the pop charts at all. But Bass would soon release a solo recording, though one with prominent backing vocals by Minnie Ripperton, that would become one of the all-time soul classics -- a Motown soundalike that was very obviously patterned after the songs that Holland, Dozier, and Holland were writing, and which captured their style perfectly: [Excerpt: Fontella Bass, "Rescue Me"] There's some dispute as to who actually wrote "Rescue Me". The credited songwriters are Carl Smith and Raynard Miner, but Bass has repeatedly claimed that she wrote most of the song herself, and that Roquel Davis had assured her that she would be fairly compensated, but she never was. According to Bass, when she finally got her first royalty cheque from Chess, she was so disgusted at the pitiful amount of money she was getting that she tore the cheque up and threw it back across the desk. Her follow-up to "Rescue Me", "Recovery", didn't do so well, making the lower reaches of the pop top forty: [Excerpt: Fontella Bass, "Recovery"] Several more singles were released off Bass' only album on Chess, but she very quickly became disgusted with the whole mainstream music industry. By this point she'd married the avant-garde jazz trumpeter Lester Bowie, and she started performing with his group, the Art Ensemble of Chicago. The music she recorded with the group is excellent, but if anyone bought The Art Ensemble of Chicago With Fontella Bass, the first of the two albums she recorded with the group, expecting something like "Rescue Me", they were probably at the very least bemused by what they got -- two twenty-minute-long tracks that sound like this: [Excerpt: The Art Ensemble of Chicago with Fontella Bass: "How Strange/Ole Jed"] In between the two albums she recorded with the Art Ensemble of Chicago, Bass also recorded a second solo album, but after it had little success she largely retired from music to raise her four children, though she would make the odd guest appearance on her husband's records. In the 1990s she made a few gospel records with her mother and her younger brother, the R&B singer David Peaston, and toured a little both on the nostalgia circuit and performing gospel, but she never returned to being a full-time musician. Both she and her brother died in 2012, Peaston from complications of diabetes, Bass from a heart attack after a series of illnesses. "Rescue Me" was her only big hit, and she retired at a point when she was still capable of making plenty of interesting music, but Fontella Bass still had a far more interesting, and fulfilling, career than many other artists who continue trying to chase the ghost of their one hit. She made music on her own terms, and nobody else's, right up until the end.
Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.
Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.
Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.
Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.
Nel giugno del '69 Leo Smith partecipa, in trio con il violinista Leroy Jenkins, alla registrazione di un nuovo album di Anthony Braxton: proprio firmato da Smith è il brano che dà il titolo al disco. Un paio di mesi dopo Smith è a Parigi, dove nel frattempo sono già arrivati Roscoe Mitchell col suo gruppo (che proprio in questa occasione assume il nome di Art Ensemble of Chicago) e Anthony Braxton. I musicisti chicagoani si mescolano con Archie Shepp e altri reduci dal Festival Panafricano di Algeri e con altri esponenti dell'avanguardia afroamericana, in una estate parigina che sarà il canto del cigno del free jazz ma anche il trampolino di lancio del post-free di cui i chicagoani - in quel momento ancora sconosciuti a New York - sono gli alfieri. Nel settembre del '69 e nel gennaio del '70 Smith a Parigi partecipa all'incisione di altri due album di Anthony Braxton, destinati all'etichetta francese Byg; ma, non accreditato sull'album, è alla tromba anche in Comme à la radio, famoso Lp della cantante francese Brigitte Fontaine. Nel corso del suo soggiorno parigino, che si prolunga fino ai primi mesi del '70, Smith ha anche occasione di incontrare per la prima volta, e di frequentare regolarmente, in un rapporto molto formativo, Ornette Coleman.
Nel giugno del '69 Leo Smith partecipa, in trio con il violinista Leroy Jenkins, alla registrazione di un nuovo album di Anthony Braxton: proprio firmato da Smith è il brano che dà il titolo al disco. Un paio di mesi dopo Smith è a Parigi, dove nel frattempo sono già arrivati Roscoe Mitchell col suo gruppo (che proprio in questa occasione assume il nome di Art Ensemble of Chicago) e Anthony Braxton. I musicisti chicagoani si mescolano con Archie Shepp e altri reduci dal Festival Panafricano di Algeri e con altri esponenti dell'avanguardia afroamericana, in una estate parigina che sarà il canto del cigno del free jazz ma anche il trampolino di lancio del post-free di cui i chicagoani - in quel momento ancora sconosciuti a New York - sono gli alfieri. Nel settembre del '69 e nel gennaio del '70 Smith a Parigi partecipa all'incisione di altri due album di Anthony Braxton, destinati all'etichetta francese Byg; ma, non accreditato sull'album, è alla tromba anche in Comme à la radio, famoso Lp della cantante francese Brigitte Fontaine. Nel corso del suo soggiorno parigino, che si prolunga fino ai primi mesi del '70, Smith ha anche occasione di incontrare per la prima volta, e di frequentare regolarmente, in un rapporto molto formativo, Ornette Coleman.
All last week, Alden was browsing for a few new games to play after his Bloxburg experience from last week. He stumbled upon Doomspire Brickbattle and started playing it a LOT. I could hear him giggling and laughing from the upstairs media room when I was down in the kitchen taking care of after-dinner stuff. Needless to say, he likes it a lot.
Listen to the 38th edition of Free City Radio which features an interview with writer and researcher Sindi-Leigh McBride speaking on the Medu Art Ensemble and legacies of artistic resistance in southern Africa within the context of the anti apartheid struggle and beyond. Recently Sindi-Leigh wrote an article for The New Frame on Medu, this is an excerpt : https://www.newframe.com/long-read-the-anti-apartheid-posters-of-medu/ Poet laureate of South Africa and founding member of the Medu Art Ensemble, Mongane Wally Serote, situates the origins of the ensemble by describing the context that gave rise to it: “Like the European colonial rulers, the architects of apartheid held a gun in one hand and a Bible in the other as they targeted and attempted to destroy the culture of indigenous Africans and all freedom-loving people. In opposition to such divisive tactics, Medu Art Ensemble originated in forms of unity and solidarity.” In SeSotho, medu means roots. It's a fitting visual image for the collective that operated from Gaborone, Botswana, between 1979 and 1985 – and particularly for the underground dissemination of screen-printed and offset lithography posters for which Medu is best known. It is also a fitting description of Medu's organically evolved organisational structure. The collective was comprised of more than 60 visual artists, performers and writers, mainly South African exiles but with members from Botswana, Canada, Cuba, Sweden and North America. The revolutionary collective was divided into six units: Publications and Research, Film, Photography, Theatre, Music and Graphics. Each unit had a life of its own, meeting to work and deciding on its own leadership structures and pace. Members often belonged to more than one unit, which similarly worked together. Medu members adopted the appellation “cultural workers”, choosing not to identify as artists because of the shared belief that as culture was of the people, it could not and should not be confined to the exclusionary art world of the apartheid era. Music on this episode by Issac Hayes. Free City Radio is hosted by Stefan @spirodon Christoff and is also a weekly radio broadcast on @radiockut, broadcasting at 90.3fm in Tiohtià:ke / Montréal on Wednesdays at 11h.
En los años 50 del siglo XX surgió una serie de compositores de jazz en los EEUU que se inspiraron en la gran música europea para "dignificar" a la tradición musical jazzística americana. A partir de entonces no fue raro recurrir a piezas de música clásica para construir nuevos temas de jazz. En este programa vamos a escuchar todo tipo de reelaboraciones creadas en los últimos 60 años de historia del jazz en todo el mundo. Otro diálogo abierto entre Jose Funes y Francisco Macías. 1. Miles Davis & Gil Evans - Wil O' the Wisp (Sketches of Spain) 2. Hubert Laws - Rite of Spring (The Rite of Spring) 3. Oliver Nelson - Hoe Down (The Blues and the abstract truth) 4. Art Ensemble of Chicago - Variations Sur un Theme de Monteverdi (Les Stances a Sophie) 5. Pedro Iturralde - Homenaje a Granados (Jazz Flamenco) 6. Chano Domínguez - El Puerto (Piano Ibérico) 7. Mike Westbrook - The Barber of Seville Overture (Westbrook - Rossini) 8. Uri Caine Ensemble - Symphony Nº5, Funeral March (Gustav Mahler in Toblach) 9. Alfonso Santimone Laser Pigs - Sechs Kleine Klavierstucke, Op.19 (V) (Ecce Combo) 10. Aka Moon - Aka 213 (The Scarlatti Book)
Saxophonist, composer and 2020 NEA Jazz Master Roscoe Mitchell is a musical seeker. He's interested in sound and its colors. He is one of the most influential (and prolific) jazz musicians around who nonetheless says he has never been as excited or inspired as when I spoke with him in December 2019. And this from one of the original members of the Association for the Advancement of Creative Musicians and one of the founders of the Art Ensemble of Chicago! Our interview was on my birthday—and it was the best present I could have received. Roscoe Mitchell—aside from being a fabulous musician--is an eloquent philosopher about music. Speaking with him was a true pleasure and I hope you'll feel the same listening to this podcast.
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