Podcasts about barcelona jazz festival

I speak with award-winning music photographer Michael Weintrob about his unusual path through the visual side of music, and how keeping his head down and his heart open has resulted in one of the most exciting careers in the business.Michael and I met around 2013. I was instantly struck by his combustible hustle, a kind of leaning forward in life. I was rocking bowties back then (call it my Willie Wonka phase) and… he grabbed me in my native habitat.I've been following him ever since — through his launch of the Instrumenthead series, his installations at Jazzfest in New Orleans, the two exquisitely crafted Instrumenthead coffee table books, and the Instrumenthead Live concert series he produced during the pandemic, which featured more than 70 concerts filmed and broadcast out of the Weintrob studio. Pivot, move forward, pivot, move forward. Along the way Michael has cemented his reputation as a go-to live concert photographer for some of the coolest venues in the world: Red Rocks Amphitheatre, Ascend Amphitheater, the Newport Jazz Festival, the Newport Folk Festival, the Barcelona Jazz Festival and Bluegrass Underground. In this wide-ranging conversation, we talked about the evolution of Instrumenthead, from its genesis as a spontaneous idea backstage, to a slowly accruing catalogue of artists and opportunities. How it was anything but an overnight success.We also share stories of loss and tragedy — Michael going through a cousin's suicide and the death of my little sister — and how those life experiences changed our perspective and priorities. I also share a story I've never told before about a fated trip to see the Grateful Dead my senior year of high year, and the tragedy that happened along the way.Throughout, we take a look at some of the artists captured in Weintrob's camera, and learn why he chose the poses he did. Artists like Derek Trucks, Rhiannon Giddens, Bootsy Collins, Mickey Hart, and… me.I have a ton of respect and admiration for Michael Weintrob. A guy who not only blazed an original path through a fraught industry of intense competition and constant uncertainty, but who came out of it creating somethingculturally important, historical even.Website https://michaelweintrob.com/Instagram https://www.instagram.com/michaelweintrob/The Morse Code is a reader-supported publication. To receive new posts and support my weekly podcasts and short stories, consider becoming a free or paid subscriber. Get full access to The Morse Code at korby.substack.com/subscribe

Joshua Redman, Brad Mehldau, Toquinho i Chucho Vald

Our latest guest on Jrodconcerts: The Podcast is something of an institution when it comes to the realms of music. Michael Weintrob is an American photographer, philanthropist and creative who has snapped anyone who's anyone in the music industry. He's also served as house photographer for the Newport Jazz Festival, the Newport Folk Festival, the Barcelona Jazz Festival and the Bluegrass Underground. Michael has also had a long-standing relationship with the Nashville music scene, and is currently launching INSTRUMENTHEAD REVEALED, the sequel to the critically acclaimed INSTRUMENT collection. The INSTRUMENTHEAD collection is a surrealist look into the soul of a musician, not through their eyes as with traditional portraiture, but through his/her instrument. It began in April 2000, through a candid moment in a photoshoot with the Derek Trucks Band, which sparked an unprecedented art project, bringing together more than 500 musicians from across the globe over the course of nearly two decades. Instrumenthead revealed is the sequel, where Michael unmasks these musicians in a way you've never seen before. You can find more about the project and pre-order your book at www.michaelweintrob.com

Maggie speaks with Grammy-winning author Ashley Kahn about his latest book, "George Harrison on George Harrison"  a collection of interviews and TV appearances Harrison gave during his too-short life. Kahn's collection “covers [Harrison's] biographical sweep as fully as an autobiography would,” the preface asserts, and though one might argue with that, by book's end, we believe Kahn's exhortation: “Read his words, and know the man.”Ashley has received widespread critical acclaim for A Love Supreme: The Making of John Coltrane's Signature Album and Kind of Blue: The Making of the Miles Davis Masterpiece. His other books include The House That Trane Built and, as cowriter, The Universal Tone, Carlos Santana's autobiography. He teaches at New York University, and his articles have appeared in the New York Times, Rolling Stone, and other publications.Ashley Kahn is an author, educator, music journalist, and concert producer. A professor of music history and criticism at NYU who lectures at other institutions as well, his books include the A Love Supreme: The Story of John Coltrane's Signature Album, Kind of Blue: The Making of the Miles Davis Masterpiece. Kahn's writing has generated two Grammy nominations, three ASCAP/Deems Taylor Awards, and two Book of the Year distinctions from the Jazz Journalists Association.Most recently, he has spoken, presented, and conducted interviews at a variety of festivals and conferences including: SXSW, CMJ, New Orleans Jazz & Heritage Festival, Umbria Jazz Festival (Perugia and Orvieto), North Sea Jazz Festival (Rotterdam), the Detroit Jazz Festival, Monterey Jazz Festival, Barcelona Jazz Festival, Berklee School of Music, and other universities, music conferences and festivals.Kahn's byline appears in such publications as Rolling Stone, Mojo and The Wall Street Journal and his voice is often heard on National Public Radio's “Morning Edition”. During a thirty-year career in the music business, Kahn has helped produce countless concerts, tours and festivals including a ten-year stint as tour manager for a multitude of music groups, including: Paul Simon, Peter Gabriel, Ladysmith Black Mambazo, Debbie Harry & the Jazz Passengers and Britney Spears. He continues to work very closely with the Miles Davis family on a variety of projects, including a Miles Davis museum exhibition, tribute concerts and various panels and speaking engagements.“Despite all the pressures of fame, George Harrison managed to stay grounded, and real, and to live a life in full. In George Harrison on George Harrison, Ashley Kahn has summoned up a portrait of the artist as public figure, as friend, as husband, as spiritual devotee, through a kaleidoscopic assemblage of letters, interviews, broadcast transcripts, and more. Harri-son was thoughtful, sensitive, honest, warmly funny, kind, and very, very smart. It all shines through in this beautiful collection.”  —Tom Piazza, Author of Why New Orleans MattersSource: https://www.amazon.com/George-Harrison-Interviews-Encounters-Musicians/dp/1641600519Source: https://tisch.nyu.edu/about/directory/clive-davis-institute/1417614318This episode is from an archive from the KPFK program Profiles adapted for podcast. Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994. Support the show

El pianista, improvisador i compositor menorqu

Follow @MonsieurSegga for Tracklist, Chillsets, News, Releases, Interviews, Links ... All about the World Chillout. Psychedelic, down-tempo, lounge, electro-jazz... The radio show of Monsieur Segga. The chill-out time weekly to the hands of Dj & Producer based in the catalan Costa Brava. In this podcast you will find sounds of him and other artists. 2X13 Monsieur Segga Podcast - Right click and save as 

Follow @MonsieurSegga for Tracklist, Chillsets, News, Releases, Interviews, Links ... All about the World Chillout. Psychedelic, down-tempo, lounge, electro-jazz... The radio show of Monsieur Segga. The chill-out time weekly to the hands of Dj & Producer based in the catalan Costa Brava. In this podcast you will find sounds of him and other artists. 2X12 Monsieur Segga Podcast - Right click and save as 

Follow @MonsieurSegga for Tracklist, Chillsets, News, Releases, Interviews, Links ... All about the World Chillout. Psychedelic, down-tempo, lounge, electro-jazz... The radio show of Monsieur Segga. The chill-out time weekly to the hands of Dj & Producer based in the catalan Costa Brava. In this podcast you will find sounds of him and other artists. 2X11 Monsieur Segga Podcast - Right click and save as 

OMAR SOSAOmar Sosa (born April 10, 1965, in Camagüey, Cuba) is a composer, bandleader, and jazz pianist. Sosa began studying marimba at age eight, then switched to piano at the Escuela Nacional de Musica in Havana, where he studied jazz. Sosa moved to Quito, Ecuador, in 1993, then San Francisco, California, in 1995. In San Francisco he became deeply involved in the local Latin jazz scene and began a long collaboration with percussionist John Santos. He also made a series of recordings with producer Greg Landau, including the ground-breaking Oaktown Irawo, featuring Tower of Power drummer Dave Garibaldi, Cuban saxophonist Yosvany Terry and Cuban percussionist Jesus Diaz. Sosa and Landau recorded with Carlos “Patato” Valdes and Pancho Quinto and worked on several film scores. Around 1999 Sosa moved to Barcelona, Spain.Omar Sosa is one of the most versatile jazz artists on the scene today: composer, arranger, producer, pianist, percussionist, and bandleader. He fuses a wide range of world music and electronic elements with his native Afro-Cuban roots to create a fresh and original urban sound – all with a Latin jazz heart. On stage, Mr. Sosa is a charismatic figure, inspiring his fellow musicians with his dynamic playing and improvisational approach to the music – an approach full of raw emotional power and humor. Mr. Sosa invariably inspires audiences to their feet and to join him in chorus vocals, heightening the sense of spontaneity and connection.Mr. Sosa’s latest CD on Otá Records, Mulatos , features Latin jazz master Paquito D’Rivera on clarinet. The recording is an adventurous, finely wrought, and wholly delightful mélange of Cuban jazz, Latin dance grooves, French chanson, North African trance music, and European folk. It dances with rhythmic inspirations of Indian tabla, jazz drums, and studio mixing. Also featured is the delicate voice of the Arabic lute, the oud, and the composer himself on marimba. “Mulatos” was recently nominated for Latin Jazz Album of the Year by the NYC-based Jazz Journalists Association.Mr. Sosa’s music is a unique style of Afro-Cuban jazz, and while it is rooted in the folkloric traditions of the African Diaspora, he always takes an exploratory approach – never one to let orthodoxy stand in the way of his pursuit of freedom. Sosa offers a joyful mix of jazz and Afro-Caribbean rhythms, combining percussive forays inside the piano and a series of electronic effects with his inspired, passionate playing at the keyboard. His tempos are fluid, and his moods change freely. Sosa revels in the irresistible clave grooves of Latin jazz, while adding experimental touches to keep his listeners on their toes.Omar Sosa has released 15 recordings on the Oakland-based Otá Records label since 1997, including 2002’s GRAMMY-nominated Sentir . He performed recently with his Octet at the opening of Carnegie Hall’s new Zankel Hall, about which Alex Ross of The New Yorker remarked that Sosa has “a ferocious flair for rhythm and a keen musical wit”. Composer John Adams, who curated the opening of Carnegie Hall’s new venue, commented that “Sosa is a deeply creative musician with an extraordinary harmonic sense. His piano playing is sui generis : It has obvious roots in Cuban music, but he’s taken his approach to the keyboard into completely new regions”. And Don Heckman of The Los Angeles Times recently wrote “Sosa’s vision of contemporary jazz reaches across every imaginable boundary”. For more information, please visit www.melodia.com.Omar Sosa was nominated in 2003 for a BBC Radio 3 Award for World Music in the ‘Americas’ category, along with Ibrahim Ferrer, Caetano Veloso, and Os Tribalistas. He began 2004 with the debut of his first work for symphony orchestra, entitled From Our Mother , performed at the Paramount Theatre in Oakland by the Oakland East Bay Symphony under the direction of Michael Morgan. The 45-minute work in three movements, which combines folkloric elements from Cuba, Venezuela, and Ecuador with modern jazz harmonies, was co-commissioned by Yerba Buena Center for the Arts in San Francisco and the Oakland East Bay Symphony, with partial funding from the Rockefeller FoundationEGGUN released 2013 (OTA1024)EGGUN: The Afri-Lectric Experience began as an Omar Sosa commission from the Barcelona Jazz Festival in 2009. The assignment: to compose and produce a tribute performance to Miles Davis’ classic recording, Kind Of Blue, on the occasion of its 50th anniversary. Inspired by various musical elements and motifs from Kind Of Blue, Omar wrote a suite of music honoring the spirit of freedom in Davis’ seminal work.Featuring trumpet and two saxophones, Eggun provides a medium for musical elements from Africa to shape and develop the music. The resulting jazz textures are further enhanced by the subtle and expressive use of electronic elements. At the heart of the recording is the spirit of Mother Africa.The featured horn players are Joo Kraus on trumpet (Germany),Leandro Saint-Hill on alto saxophone and flute (Cuba), and Peter Apfelbaum on tenor saxophone (U.S.A.). Omar’s longtime rhythm section of Marque Gilmore on drums (U.S.A.) and Childo Tomas on electric bass (Mozambique) create the foundation.Special guests on the project include Lionel Loueke on guitars (Benin),Marvin Sewell on guitars (U.S.A.), Pedro Martinez on Afro-Cuban percussion (Cuba), John Santos on percussion (U.S.A.), and Gustavo Ovalles on Afro-Venezuelan percussion (Venezuela). The CD was recorded primarily in Brooklyn, NY. Of particular interest is a set of sixInterludios interspersed among the primary tracks of the recording, inspired by melodic elements from the solos of Bill Evans.Eggun, in the West African spiritual practice of Ifá and its variousexpressions throughout the African Diaspora, are the spirits of those whohave gone before us, both in our immediate families and those who serve as our Spirit guides.From the liner notes, by Joan Cararach, artistic director of theBarcelona Jazz Festival:Harmony, peace, respect, freedom. That has been Omar Sosa’sresponse to our proposal: to revisit Kind of Blue, by Miles Davis, from his own (quite exceptional) aesthetic assumptions. The year was 2009. The 41st Voll-Damm Barcelona International Jazz Festival had hired drummer Jimmy Cobb – the only surviving member of the group’s original line-up who created that record – and a tribute band committed to revive, in concert, the memory of that iconic jazz piece. But Kind of Blue, rather than a museum piece, is a mysterious record with an intimacy to be disclosed very slowly, generation after generation, beyond the commonplaces of history books.That’s why we asked two artists who are familiar with our festival to revisit Kind of Blue from another perspective, following the artistic principles evoked by Bill Evans in his notes to the record signed by Davis: be yourself, be spontaneous, give all you have to give, everything you learned from those who came before and those you are sharing the road with. We selected Chano Domínguez, from Andalucía, who contributed Flamenco Sketches (Blue Note, 2012), and Cuban Omar Sosa, who did a powerful research of Miles Davis’ record.Eggun (ancestors) is not a typical record, just as Sosa is not a typical pianist. The artist, at first reluctant, became obsessed probing into Kind of Blue to find nothing else but the paradoxes of a never-ending search: love and indifference; exile and emigration; being here and now with the lessons of those who illuminated us; restless energy and deliberate contemplation; the uncanny twists and turns of our souls and the shades of our lives; the constant strain between grief and joy, contradictory and supplementary at the same time.Eggun essentially derives from the melodic cells of Kind of Blue’s solos and has the aim of honoring that record, which, let’s say it once more, is hardly known in spite of having been used and abused. Eggun is like all of Sosa’s works, an invitation to a journey plentiful with luxury, peace and sensuality (thanks, Baudelaire!). We have a welcome withAlejet – whitein Arabic – and El Alba. All the sounds of the African diaspora – where Moroccan bendir meets Dominican merengue and Puerto Rican plena: So All Freddie. The interludes, almost sacred invocations to the genius of Bill Evans. And a passionate desperation in the finale, as in records conceived the old way, like a narrative, followed by the final rest, grace in a religious sense, like an overflowing energy which at the end of the journey becomes pure togetherness. Kindness, in short.To visit Omar Sosa's website CLICK HERE

Cuban pianist Chucho Valdes performs before huge audiences around the world, playing his unique style of Latin jazz. But the Bush administration had banned Valdes and virtually all other Cuban musicians from performing in the US. Jazzcorner.com's producer Reese Erlich caught up with Chucho at the Barcelona Jazz Festival to talk about his music and the prospects for performing in the US again.

Cuban born pianist Omar Sosa can play a hot son montuno or a meditative tune accompanied by traditional African instruments. Throughout his career he has explored the African and Latin roots of popular music. Reese Erlich visited Sosa at home in Spain, while he was preparing for a performance at the Barcelona Jazz Festival.

Pianist Chick Corea has put together a new band with John McLaughlin and Kenny Garrett, that hasn't performed widely in the US. Jazzcorner.com's Jazz Perspectives host Reese Erlich talked with Corea at the Barcelona Jazz Festival about the festival and his collaboration with banjo player Bela Fleck.