Podcasts about Bass clarinet

Tasha Warren  is an acclaimed clarinetist who has premiered over one hundred solo clarinet and chamber works. In this podcast you'll hear excerpts from her album “Ourself Behind Ourself, Concealed” a fantastic collaboration with cellist Dave Eggar of newly commissioned and premiered Bass Clarinet and Cello works, which earned two Grammy nominations. If you listened to my episode with Meg Okura last year, you heard a bit about this project, and Meg's episode is linked in the show notes if you missed it. Dr. Warren is Assistant Professor of Chamber Music at Michigan State University and the principal clarinet faculty of Mostly Modern Festival and you'll hear her valuable and candid perspectives on a life as an educator, concert presenter and also the challenges of balancing such a full professional life with that of being a mom. You'll also hear about her unique musical trip to India sponsored by Pitch Pipe organized by Jennifer Heemstra, among several inspiring projects in this wide-ranging episode. In this episode you'll be hearing music by Nathalie Joachim, Paquito D'rivera, Martha Redbone Pascal Le Boeuf and Cornelius Boots.  One of the wonderful surprises for me as a podcaster has been getting to know composers new to me and I encourage you to listen to Tasha and Dave's recording which is linked for you below. Like all my episodes, you can also watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website Tasha Warren WebsiteOurself Behind Ourself Concealed albumIt's a joy to be able to bring these meaningful conversations to you, but this project costs me quite a bit of money and lots of time; please support this series through either my merchandise store or buy me a coffee on my Ko-fi page Newsletter sign-upSome other  episodes I've linked directly to this one, which I think may interest you, with: Meg Okura Katherine Needleman    Anthony Brandt   Naomi Moon Siegel     Sarah Jeffery of Team Recorder  Timestamps: (00:00) Intro(02:14) champion of new music, “Ourself Behind Ourself, Concealed” album with Dave Eggar(09:05) Pascal Le Boeuf(13:19) clip from Snapshots by Pascal Le Boeuf(15:00) process of choosing composers for this project, expanding styles(17:37) trip to India, Jennifer Heemstra(25:07) experiences presenting concerts in different contexts and communities(30:53) value of journaling, importance of self-awareness and practicing efficiently(36:25) Martha Redbone, about Black Mountain Calling Cherokee stomp dance(40:07) clip from Martha Redbone's Black Mountain Calling(41:19) Paquito D'Rivera, about African Tales(43:26) clip of African Tales by Paquito D'Rivera(44:37) embracing the risk of improv(46:06) other episodes you'll like and different ways to support this series(46:55)study abroad program in Israel, Klezmer improv (49:29) husband clarinetist Guy Yehuda, balancing family life with careers(52:08) dealing with gender bias as a mom and musician(58:34) Cornelius Boots(1:0:33) clip from Crow Cavern by Cornelius Boots(1:01:55) Cornelius Boots(1:02:35) Nathalie Joachim(1:05:03) clip of Lalin by Nathalie Joachim(1:06:25) the benefits of music competitions(1:09:54) solo album the Naked Clarinet, about Wings by Joan Tower, music as creativity prompt(1:13:55) engaging with different audiences

Prelude: Mrs. Joan Wittmeier and Mrs. Denae Matherly Choir Anthem: “He Is Born” Alto Saxophone, Gracie Eberhart; Bass Clarinet, Harmony Eberhart Duet: “O Holy Night” Mrs. Abigail Hoon and Max Matherly

All music used with permission by Todd Marcus Quintet. Privacy - Marcus Soltice - Marcus Last Call at Dimitris - MacDonald Glisten - Marcus Everyone comes to jazz in their own way and growing up for me, that pathway to jazz came via the clarinet, bass clarinet and alto clarinet which I will not be playing for you on today's show. So when Todd Marcus and Virginia MacDonald made an appearance on our stage, it was a must attend for me. And they didn't disappoint.   Todd Marcus' straight-ahead bass clarinet playing has carved out a unique voice for the instrument in modern jazz. His music swings hard with both a fiery and introspective intensity but also maintains a strong lyrical sensibility. Marcus' compositions draw largely on straight-ahead jazz and classical influences but over recent years have also increasingly explored the Middle-Eastern sounds from his Egyptian-American heritage.    But wait, there's more! Todd is joined by Toronto based clarinetist Virginia MacDonald. A lauded clarinetist in her own right, Virginia has performed and composed on over a dozen Juno Award winning albums and helps lead the Canadian Jazz Collective.   Featuring Eric Kennedy on Drums, Steven Arnold on Bass, Hannah Mayer on Piano, Virginia MacDonald on Clarinet and Todd Marcus on Bass Clarinet, from July 12th, 2023, it's the Todd Marcus Quintet featuring Virginia MacDonald – Live at the Bop Stop. Live at the Bop Stop is made possible by The Music Settlement – serving Northeast Ohio by offering music instruction, music therapy, and early childhood education since 1912. The Music Settlement's mission is to welcome all to our music and arts community to learn, create, inspire, and heal.   This program is recorded at the Robert Conrad Studios at the Bop Stop in Cleveland, Ohio, and the studios of WBWC FM on the campus of Baldwin-Wallace University in Berea, Ohio. Additional production at the Bop Stop is provided by Graham Rosen. Technical editing for the program is provided by Dr. Pete Naegele, Shawn Gilbert, and Darren Thompson through Gilazar Media.   The executive producer and writer is Daniel Peck, with additional consulting production on behalf of The Music Settlement by Bryan Kennard.   For extended versions of all of our shows, our Live at the Bop Stop podcast can be found on your favorite podcast app or visit our website at www.themusicsettlement.org and click the Bop Stop link.   To reach out directly, email liveatthebopstop@gmail.com. I'm Daniel Peck. Join me again next time... Live at the Bop Stop. Want to Support The Bop Stop?  Donate here!   Contact us here

In the special "The Truth In This Art" series at Artscape 40, I catch up with Todd Marcus moments after his performance with the Todd Marcus Quintet on Day 3 of the festival. Todd is a bass clarinetist, bandleader, and a multi-time guest on "The Truth In This Art."Todd Marcus is renowned for his innovative work as a bass clarinetist, blending jazz and classical influences to create a unique sound. As a bandleader, he has been instrumental in bringing new perspectives to jazz, earning recognition for his dynamic performances and compositions. His dedication to both music and community engagement has made him a pivotal figure in Baltimore's arts scene.Relive Artscape 40, one of America's largest free outdoor arts festivals, showcasing Baltimore's vibrant cultural flair with artists, performances, and activities for all.Thank you to BOPA and our guest, Todd Marcus, for supporting these interviews, proudly presented by Verizon and Crust By Mack. This program is supported in part by a grant from the Robert W. Deutsch Foundation.If you have a story about art, culture, or community in Baltimore, share it with us at rob@thetruthinthisart.com for a chance to be featured on "The Truth In This Art" podcast. This is a unique opportunity to contribute to the arts and culture podcast scene and showcase your insights on "The Truth In This Art" with Rob Lee.Follow The Truth In This Art on Twitter, Threads, IG, and Facebook @truthinthisart Original music by Daniel Alexis Music with additional music from Chipzard.Episode illustration by Alley Kid Art.About "The Truth In This Art"Hosted by Rob Lee, "The Truth In This Art" podcast dives into the heart of creativity and its influence on the community. This arts and culture podcast from Baltimore highlights artists discussing their ideas, sharing insights, and telling impactful stories. Through these artist interviews, listeners gain a deeper understanding of the creative economy and artistic life in Baltimore. Support the show:Merch from Redbubble | Make a Donation  ★ Support this podcast ★

Shellac - "I Don't Fear Hell" - To All trains Azalia Snail - "Take Away His Power" - Power Lover Jacques LeJeune - "Déploration De La Mère De Blanche Neige" - Blanche Neige: Suite Musicale En 14 Tableaux De Jacques Lejeune Pour Dire Le Conte Et Danser Avec Les Enfants Le Syndicat Electronique - "Close To You" - Retrospect(r)ive 1998-2005 Canadian Electronic Ensemble - "Arnold (excerpt)" - Canadian Electronic Ensemble Lamartine - "Discoccupzione" - Reportage (Musica elettronica da LAMARTINE) Michael Prime - "Nepenthes (excerpt)" - Borneo Cort Lippe - "Music for Bass Clarinet and Tape (excerpt)" - Computer Music Journal Sound Anthology 26 Ensemble Laborintus - "For Harp and Percussion" - et Paris Daphne Oram - "Bird of Paralax (excerpt)" - Oramics Milton Delugg - "Mummy" - Music For Monsters, Munsters, Mummies and other TV Fiends Meatball Fulton - "Four Tentacles and a Red Fez" - RUBY: The Adventures of a Galactic Gumshoe Andy T. - "Jazz on a Summer's Day" - Bullshit Detector Wolf Eyes - "Unsplattered Time (excerpt)" - Unsplattered Time Aphex Twin - "Minipops 67 (slo field mix)" - Syro https://www.wfmu.org/playlists/shows/140054

Episode 121 Crosscurrents in Early Electronic Music of Canada, Part 2   Playlist   Track Time Start Time Introduction –Thom Holmes 04:32 00:00 1.             John Mills-Cockell, “On The Heath” from A Third Testament (1974 True North). John Mills-Cockell is a Canadian composer from Toronto who was a very early adopter of the original Moog Synthesizer. He was part of the multi-faceted and ground-breaking work with the avant garde/poetry group Intersystems in the late 1960s and then the group Syrinx. I became acquainted with John more recently and he told me that his original Moog modules, used for Intersystems, burned up in a fire and so he turned to the use of ARP instruments around 1971. I am featuring his synthesizer work from a couple of solo albums as a representative of the independent stream of electronic music artists from Canada. John has continued to produce works for and for his numerous works for radio, television, film, ballet, and stage, and he is still active. 02:30 04:32 2.             John Mills-Cockell, “North African Gladiator” from A Third Testament (1974 True North). Produced, played, engineered, organ and synthesizer, John Mills Cockell. 04:08 07:00 3.             John Mills-Cockell, “Collision” from Gateway (1977 Anubis Records ). Produced, played, engineered, organ and synthesizer, John Mills Cockell. 03:32 11:03 4.             Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977) from McGill Wind Ensemble (1980 McGill University Records). This collection of contemporary Canadian works was released by McGill University's own label. This track is the only work with electronic sounds on the album, by Argentinean-born composer Lanza. Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976. 11:20 14:34 5.             Dennis Patrick, “Phantasy III (Excerpt)” (1977-78) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 04:53 25:48 6.             Barry Truax, “Arras” (1980) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Truax represented the left coast of Canada, and worked with R. Murray Schafer beginning in 1973 on the World Soundscape Project. Several of the composers in this episode came from that same environment, mixing natural acoustic sounds with electroacoustic treatments. This work was made using four computer synthesized tracks. Truax became known for his computer compositions as well as soundscapes. 10:08 30:38 7.             Canadian Electronic Ensemble, “Chaconne À Son Goût” from Canadian Electronic Ensemble (1981 Centrediscs). Performers, David Grimes, David Jaeger, James Montgomery, Larry Lake. Composed by David Grimes. The ensemble was founded in Toronto in 1971 by David Grimes, David Jaeger, Jim Montgomery and Larry Lake, "to promote the live performance of electronic music and thereby the composition of new repertoire for this medium." This is another nice example of music by independent artists working in Canada. 17:21 40:34 8.             Dennis Patrick, “Metasuite” (1982) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 07:55 57:54 9.             David Keane, “Aurora” (1985) from Aurora (1985 Cambridge Street Records). A work from a fellow author, David Keane who wrote a book called Tape Music Composition in 1981 (Oxford University Press). He was born in America but became a Canadian citizen in 1974. At the time of “Aurora” Keane was a professor of music theory and director of the electronic music studio at Queen's University in Kingston, Ontario, which I think he founded in 1970. The music was created to be played during a dance performance in which movement was seen through colored images projected on the dancers. The work was realized in the Queen's University Electroacoustic Music Facility. 10:17 1:05:48 10.         Claude Schryer, “A Kindred Spirit” (1985) from Group Of The Electronic Music Studio - McGill University (1986 McGill University Records). Bass Clarinet, Yves Adam; Cello, Andras Weber; Composed and conducted by, Claude Schryer; Flute, Jill Rothberg; Guitar Daniel Desjardins; Percussion, Helen Barclay; Piano, Laurie Radford. Recorded at McGill University Recording Studios. This work is notable for its use of the Synclavier, a high-end digital synthesizer/sampler/workstation from the mid-1980s. 16:02 1:16:04 11.         Bruno Degazio, “Heatnoise” (1987) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Degazio is a composer, researcher and film sound designer based in Ontario, Canada. “Heatnoise is one of a series of algorithmic compositions applying principles of fractal geometry to music.” It uses digital synthesis. 11:24 1:32:04 12.         Hildegard Westerkamp, “Cricket Voice” (1987) from from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). A super accomplished sound ecologist, Westerhamp is best known today as the creator of many works of sound art that use natural acoustic environments. She also composed many tape works. This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time. 11:09 1:43:18 13.         Ann Southam, “Fluke Sound” (1989) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Southam is another female Canadian composer of note. Much of her career has been spent composing works for dance. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music. 10:22 1:54:13 14.         Norma Beecroft, “Evocations: Images Of Canada (1992) (2003 Ovation Volume 3). In contrast to the earlier tape works of Beecroft featured in part 1 of this series, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer. Commissioned by the Music Department in Toronto of the Canadian Broadcasting Corp. with the purpose of utilizing their then new digital mixing facilities. The materials for this composition represent the many aspects of Canadian culture and was a statement around her concern for the “future of Canada as a unfied country.” 16:01 2:04:22 Opening background music: David Keane, “Lumina” (1988) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). For tenor voice and “digital tape recorder” to sample and manipulate the sound. Created in Keane's studio in Scarborough, Ontario. Voice, Richard Margison. 11:46 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.  

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

Sie war die erste Moderatorin von «Musik für einen Gast» - in diesem Jahr wäre sie 100 Jahre alt geworden: Die Schauspielerin Roswitha Schmalenbach gehörte zu den bekannten Radiostimmen der Schweiz. Am liebsten wäre sie Sängerin geworden, doch dafür habe ihre Stimme nicht gereicht, erzählt Roswitha Schmalenbach (1923-2002) im Gespräch mit ihrem Kollegen. Sie wurde Schauspielerin und Kabarettistin, später arbeitete sie bei Radio DRS als Redaktorin und Moderatorin. Zuerst hatte sie keine Lust, Prominente zu ihrer Lieblingsmusik zu befragen – ein Vorschlag des damaligen Radiodirektors, dem sie eine Absage erteilte. Doch dann fing sie Feuer für die Idee, die Sendung «Musik für einen Gast» als Porträt entlang von Musikwünschen zu gestalten. Ihre Sendung am Sonntagnachmittag wurde so beliebt, dass Roswitha Schmalenbach am Postschalter an der Stimme erkannt wurde. Für die 300. Ausgabe wechselte sie auf die andere Seite des Mikrofons und liess sich von Heiner Gautschy befragen. In der historischen Reprise vom 28.6.1970 spricht sie über den Stellenwert der Musik in ihrem Elternhaus in Riehen bei Basel, über böse Hörerpost und ihre Liebe zum Theater und zur zeitgenössischen Musik, die sie dank ihrem Mann, dem Komponisten Philipp Eichenwald, kennenlernte. Die gespielten Titel: W.A. Mozart: Krönungsmesse KV 317: «Agnus Dei» Maria Stader / Oralia Dominquez / Ernst Haefliger / Michel Roux / Chor Elisabeth Brasseur / Maurice Allard / Orchester Lamoureux / Igor Markevitsch Richard Strauss – Ariadne auf Naxos: An Ihre Plätze, Meine Damen Und Herrn! Gundula Janowitz / Teresa Zylis-Cara / Theo Adam / Rudolf Kempe / Staatskapelle Dresden Mary Hopkin – Those Were The Days Anton Webern - «Dormi Jesu» aus Five Canons on Latin Texts for Soprano, Clarinet, and Bass Clarinet, Op. 16 Grace-Lynn Martin / Mitchell Lurie / William Ulyate / Robert Craft J.S. Bach - «Polonaise» aus der Suite Nr.2 H-Moll, BWV 1067 Severino Gazzelloni / I Musici / Berliner Philharmoniker / Wilhelm Schüchter Franz Schuberts Trio No. 2 In E Flat Major, Op. 100 - Third Movement: Scherzo (Allegro Moderato) The Immaculate Heart Trio

Understanding the differences in every instrument in your band can be challenging. We are so grateful that Christina is joining us today to share some insight and tips to help us better understand the bass clarinet and how we can help our students with this instrument.Christina has an extensive background in bass clarinet and teaching. She is sharing the differences between bass clarinet and B-flat clarinet, tips for starting students on bass clarinet, when to switch students to bass clarinet and what to look for in terms of readiness, her suggestions for reeds, and what her favorite pieces are that have prominent bass clarinet parts. Show notes: https://classroomcomposers.com/episode-13-bass-clarinet Website: www.classroomcomposers.comTpT Store: www.teacherspayteachers.com/Store/Classroom-Composers

01 – Kurt Schwitters - Variations of Ursonate com Tomomi Adachi – 2001 – 02 - Tomomi Adachi - Anata 5 04 - Julien Blaine - Quelques poèmes mètaphysiques - com Bass Clarinet de Étienne Brunet05 – Décio Pignatari - noosfera/terra - livio tragtenberg06 – Décio Pignatari – Drácula – Tiago AraripeProdução, gravação, edição e locução: Marcelo BrissacMúsica Drácula usada no prefixo e sufixo, autoria de Marcelo Brissac e Livio Tragtenberg

Episode 78 Strange Synths Little Heard Sounds from Unique Synthesizers Playlist David Behrman, “Pools Of Phase Locked Loops,” from My Dear Siegfried (2005 XI Records). Synthesizers (homemade), David Behrman, Katharine Morton Austin. Recorded live at Radio Bremen in May 1972 and commissioned by Hans Otte. At a time when commercial models of analog synths were widely available, Behrman and other musicians such as Gordon Mumma and David Tudor insisted on creating purpose-built instruments using the same principles. Behrman explains, “The homemade synthesizers had 32 voltage-controlled triangle-wave generators built around a chip utilizing a circuit design called the Phase Locked Loop. The chip made smooth glides possible from one pitch to another. The homemade synthesizers also had voltage-controlled amplifiers, rows of small knobs and frequency counters with the aid of which the performers could retune individual oscillators during a performance.” 14:00 John Ridges, “Fugue In G” (Bach) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). This work was made using a computer-controlled music synthesizer which its makers dubbed Mesmerelda. It was comprised on 200 integrated circuits that could create 96 different pitches assigned to six separate channels. Only one waveform was used, a square wave, and there was no envelope control. Hence, the simple organ-like tone of the piece. 4:49 John Ridges, “Ruffles” (Ridges) from Computer Controlled Synthesizer Performances (1977 Tesseract Records). From the same album comes “Ruffles” performed by composer John Ridges. This track featured a slightly more advanced computer music synthesizer they called the AD8. It featured up to eight synthesis boards each one relating to a single channel. So, eight pitches could be played at a time and there was filtering, waveform generation other than square waves, and simple envelope generation to provide a slightly more advanced sound. As Ridges wrote in the liner notes, with pride, “these pieces are generally free of the bizarre noises usually found on electronic synthesizer albums.” The pieces were recorded in real time without overdubs. 2:36 Patrick Gleeson, “Star Wars Theme (Luke's Theme)” (Williams). (1977 Mercury). Recorded and mixed at Different Fur, San Francisco, July 1977. The piece showcases various beds, rhythms, and sounds made using the E-mu modular synthesizer, also known as an Eµ synthesizer (it's original name). "Selections from the film performed on the world's most advanced synthesizer." Drums, Billy Cobham, Harvey Mason, James Levi, Ronnie Beck; Lyricon, Lenny Picket; Vocals, Sarah Baker; keyboards, performer (Breath Controller), engineered, produced, arranged, and conducted by Patrick Gleeson. 5:36 Bennie Maupin, “Crystals” from Moonscapes (1978 Mercury). Eµ synthesizer (E-mu Modular Synthesizer) programmed by Patrick Gleeson, who owned Different Fur Studios in the San Francisco area and owned an Eµ modular synthesizer (see the earlier Star Wars album which also featured this same synth.) Here, we have a different treatment of the same instrument by jazz woodwind player Maupin, who played Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Flute, Marimba, Glockenspiel, Eµ Synthesizer, and Computone Synthesizer Winddriver on this album. I picked this track because this is most stripped-down arrangement featuring only Maupin playing the Eµ synthesizer and other instruments. 1:19 Sylvester, “You Make Me Feel (Mighty Real)” from Step II (1978 Fantasy). One of the few albums to feature EML (Electronic Music Laboratories) Modular Synthesizers. String synthesizer, Electro-comp 101 synthesizer and 200 expander unit, Oberheim DS-2 Sequencer, Effects , Pat Cowley; organ, Electric piano, Clavinet, Michael C. Finden; Percussion, David Frazier; Producer, Lead Vocals, Piano, Sylvester. EML was a Connecticut-based synth maker that was around from about 1970 to 1984. They were best-known for their Electro-comp modular synths. The 101 was a duophonic semi-modular 44-note synth and the model 200 was an expander unit that added ring modulation, spring reverb, and high and low filters to the setup. It was interesting to hear this Moroder-like pulsating synth sound coming from something other than a Moog. 6:34 Pere Ubu, “I Will Wait” from Dub Housing (1978 Chrysalis). This second album from this Ohio group always figured high on my playlist of favorites. I was mostly fascinated by the synthesizer fills and hijinks by Allen Ravenstine that punctuated much of the group's music with the quirkiest of sounds, all blended and mixed to provide many weird hooks and twists. This is another example of the EML, Electro-comp duphonic modular synthesizer although almost used in a polar opposite way than Sylvester. This is a unique sound from the time. Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Ravenstine is still active and an electronic musician although he has left the EML for other synthesizer frontiers. He remains very much the experimental improviser. 1:45 Pere Ubu, “Navvy” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:40 Pere Ubu, “On the Surface” from Dub Housing (1978 Chrysalis). Performers, Allen Ravenstine, David Thomas, Scott Krauss, Tom Herman, Tony Maimone. Engineered by Ken Hamann at SUMA Studios, Painesville, Ohio, 8-9/78. Features sounds of the EML Electro-comp modular synthesizer by Allen Ravenstine. 2:37 Pascal Languirand, “O Nos Omnes” from De Harmonia Universalia (1980 Polydor). I am featuring a track that uses, among other instruments, the Farfisa Synthorchestra, the famous Italian's company entry into the string synthesizer fray. The Syntorchestra was split into two keyboard sections, strings (polyphonic), and mono synth voices. It was a hybrid organ and synthesizer and used much by Klaus Schulze and other German electronic musicians for the short time that it was available from 1975 to 1978. Nine slider controls were positioned next to a 3-octave keyboard and provided some “chaotic” control episodes for this much beloved and rare keyboard. 7:16 Moebius, “Clone Zone” from Moebius (1979 Plastic Poison). Yes, a progressive rock group that utilized the modular synthesizers developed by Serge Tcherepnin, Rich Gold, and Randy Cohen at CalArts in late 1972. By the mid-1970a, Tcherepnin left CalArts and began to manufacture his instruments in Hollywood. Serge modules were designed to bring many elements of the circuits controllable by the performer, patching them in unusual ways beyond what was considered normal for a given module. The model used on this album probably had a 16-stage sequencer introduced by the company, and I think you can hear such patterns in this song. Listen for the bubbling, sequenced sounds that are contrasted to the monophonic solos of the Minimoog and patch sounds of the ARP Odyssey. I think the track opens with the Serge pattern. Drums, Evan Kaplan; Minimoog synthesizer, Bruce Courtois; Roland Sh3a, AP 2600 synthesizers, Steve Roach; Serge modular, Minimoog synthesizer, vocals, written by, Bryce Robbley; Serge modular synthesizer, Doug Lynner. 4:55 Moebius, “Song For Lya,” from Moebius (1979 Plastic Poison). Serge, Oberheim, and Minimoog synthesizers, vocals, written by, Bryce Robbley; Serge, Oberheim synthesizers, written by, Doug Lynner; Violin, John Stubbs. Listen closely to tune-out the parts by the Odyssey and Minimoog and you will experience a lovely bed laid down by the Serge. Moebius had three members, one a violinist, heard in this tune blending with the Serge. Although the group used a Sennheiser vocoder on another track, the vocal distortion on this track may have actually been the voice processed with the Serge. 3:15 Henry Kucharzyk, “Play Dot Sam” from Walk The Line - Three New Works By Henry Kucharzyk (1985 Artifact Music). This work is performed at the Samson Box at the Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, Palo Alto, California. This track is an escapee from the 1970s but nonetheless fills a void in that period when commercial synthesizers were moving to digital technology and were quite expensive. The Samson Box was a computer-based digital synthesizer created in 1977 by Peter Samson, who worked at the university. Samson stands for the “Systems Concepts Digital Synthesizer. It was a one-off special-purpose dedicated audio computer designed for use by student composers at Center for Computer Research in Musical and Acoustics (CCRMA) at Stanford University. 3:06 Salvatore Martirano, “The SalMar: Part One” from The SalMar Construction (2014 Sub Rosa). Another escapee from the 1970s was this performance at IRCAM in Paris in 1983. Salvatore Martirano, an American composer, invented the one-of-a-kind Sal-Mar Construction designed for real-time performance of electronic music. It was created from 1969 to 1972 at the University of Illinois. The analog synthesizer looked like a large drawing table with an array of 291 touch-sensitive connections to enable the sound generating circuits. Behind it all were some computer circuits salvaged from the Illiac II computer music system and they generated random sequences with which the performer could interact while managing four parallel processes governing the 16 oscillators, applying pitch, timbre, amplitude and envelope parameters to the sound. Martirano toured the world with the performing/composing music machine and described his live performances in the following manner: “The composer, in performance, interacts with the machine as it composes, creating spontaneously four melodic lines which move throughout the concert space via a network of 24 overhead speakers.” This performance was by Martirano while in Paris at IRCAM. 18:59 Herbie Hancock, “Rough” from Future Shock (1983 Columbia). Hancock was well known as an experimenter of new synthesizer technology. During the early stages of the home computer revolution, Hancock used an AlphaSyntauri synthesizer as part of his ensemble of instruments. The AlphaSyntauri was an add-in synth for the Apple II computer, with its own sound-generating circuit board. The company was around from about 1980 to 1985. Its claim to fame what that it was much more affordable than the digital synthesizers made by New England Digital and Fairlight, each of which cost in the $30,000 to $50,000 range. The AlphaSyntauri was $1500. At this price you got 16-voice polyphony, 16 digital oscillators, and envelope generator, keyboard, and a sequencer capable of storing up to 7000 notes. It's affordable sequencing was a major attraction. This was before the Apple Macintosh was introduced, and with that the AlphaSyntauri was made immediately obsolete. But not before Hancock was able to work it into some of his electronic jazz tracks. If you listen carefully you can pick-out the sounds of the AlphaSyntauri because of all of the other synths and instruments on this track. Backing Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Fairlight CMI Synthesizer, AlphaSyntauri Synthesizer, Emulator Synthesizer, Herbie Hancock; Prophet-5 Synthesizer, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 6:55 Opening background music: P.F.M. (Premiata Forneria Marconi), “Storia In "LA"” from Jet Lag (1977 Asylum Records). Italian progressive rock band founded in 1970. Album recorded at Kendun Recorders, Burbank, California, January, 1977 and Scorpio Sound Studio, London, February, 1977. Mixed at Scorpio Sound Studio, February 1977. Mastered at RCA Studio, London. Bass, Moog B12 Synthesizer, Patrick Djivas; Drums, Percussion, Franz Di Cioccio; Electric Piano, Organ, Moog Synthesizer, Flavio Premoli. 6:28 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

The guys chat with Bass Clarinetist Shannon Orme about cycling through some of America's most scenic landscapes. Originally aired January 2021.

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Cassandra Wilson – Coming Forth By Day Ojah Media Group | Marzo 16, 2015 1 Don't Explain 4:34 2 Billie's Blues 5:08 3 Crazy He Calls Me 6:20 4 You Go To My Head 4:09 5 All Of Me 4:07 6 The Way You Look Tonight 3:51 7 Good Morning Heartache 4:57 8 What A Little Moonlight Can Do 4:09 9 These Foolish Things 4:14 10 Strange Fruit 4:55 11 I'll Be Seeing You 6:09 12 Last Song (For Lester) 5:54 Masterizado en – Bernie Grundman Mastering Grabado en – Seedy Underbelly Mezclado en – Seedy Underbelly Arranged By [Strings] – Eric Gorfain (pistas: 3, 5, 8, 10), Van Dyke Parks (pistas: 4, 6) Baritone Guitar – T Bone Burnett (pistas: 2, 4, 7) Bass – Martyn Casey Composed By [Notes Extended] – Eric Gorfain (pistas: 4) Drums, Percussion – Thomas Wydler Effects [Guitar String], Loops – Ming Vauze (pistas: 1, 10, 12)Guitar [Additional], Loops – Nick Zinner (pistas: 4, 8 to 10, 12) Guitar, Acoustic Guitar, Banjo, Loops, Chimes [Guitar], Loops – Kevin Breit Piano, Organ – Jon Cowherd Saxophone, Clarinet, Bass Clarinet, Melodica, Baritone Saxophone, Tenor Saxophone – Robby Marshall Strings – Daphne Chen (pistas: 3, 5, 8, 10), Lauren Chipman (pistas: 3, 5, 8, 10), Richard Dodd (2) (pistas: 3, 5, 8, 10), The Section Quartet (pistas: 3 to 5, 8, 10), VDP Orchestra* (pistas: 4, 6) Strings, Violin [With Echos] – Eric Gorfain (pistas: 3, 5, 8, 10, 11) Un homenaje a la legendaria vocalista de jazz Billie Holiday (nacida Eleanora Fagan el 7 de abril de 1915) en el centenario del nacimiento de la cantante. El álbum incluye 11 reinterpretaciones de estándares asociados a Lady Day, además de una original escrita por Cassandra Wilson, la nueva y onírica "Last Song (For Lester)", imaginada como un desgarrador mensaje final de Billie a su amor musical, Lester Young. Recorded and mixed at Seedy Underbelly Studios, Valley Vaillage, CA in summer of 2014 ℗&© 2015 Ojah Media Group, LLC /////////////////////////////////////////////////////// CORTINA FINAL Closer To You Thunderbird Cassandra Wilson Blue Note | Abril 4, 2006 //////////////////////////////////////////

Eight students auditioned for Regional Band at IUP on January 28th. The following qualified for Regional Band was held at Brookville High School on March 11. Their names, instrument and placements are as follows: Michael Angelo, Trombone, 2nd chair Makayla Draisma, Bass Clarinet, 4th chair Andrew Hewitt, Alto Saxophone, 2nd chair Reagan Hollenbaugh, Flute, 1st chair and soloist Tyler Stevens, Trumpet, 7th chair

Deep River is a traditional old spiritual arranged in 1917 by Harry Burleigh. Today we are looking at the history of this song and it's connection with our black brothers and sisters at the time of slavery. This song is played today on the Bass Clarinet in memory of that haunting time.

In this episode, Victor provides a commentary on Morton Feldman's "Bass Clarinet and Percussion". He contextualizes the composer and the piece and analyzes unique facets of the piece such as its innovative use of notation. He additionally talks about the implications of the composer and the piece upon his own musical development and on contemporary society.

Robert Simpson - once described as "Britain's most important composer since Vaughan Williams", and "one of the century's most powerful and original symphonists" - was a man of integrity, a champion of lesser-known composers, and a man who lived his own life by strict principles: pacifism, socialism and what he called "anti-pessimism". This week, in Simpson's centenary year, Donald Macleod looks back at the life and work of Robert Simpson - from his childhood in the Salvation Army, to his experiences as a conscientious objector during the Second World War. He explores Simpson's writings on music and on life, and his time working at the BBC, before his break from the Corporation and from this country. Along the way we'll hear from Simpson's considerable body of work, which included no fewer than 11 Symphonies and 15 String Quartets. Music Featured: Symphony No 4 (II. Presto) In Media Morte in Vita Sumus Energy (IV. Allegro molto; V. Presto vivo) Symphony No 6 (excerpt) Canzona for Brass Symphony No 1 (excerpt) String Quartet No 10 “for peace” (III. Molto Adagio) Symphony No 5 (Canone II – Adagio) Piano Sonata (III. Allegro Vivace) Allegro Deciso for String Orchestra The Four Temperaments (I. Scherzo (Sanguine); II. Intermezzo Allegro (Phlegmatic)) Symphony No 3 (II. Adagio – Andante – Allegretto) String Quartet No 6 (I. Adagio) Symphony No 8 (II. Scherzo) Michael Tippett, His Mystery Variations on a theme by Carl Nielsen Eppur si muove for organ (Ricercar) String Quartet No 13 (IV. Andante) Symphony No 9 (excerpt) Quintet for Clarinet, Bass Clarinet and String Trio (I. Adagio tranquillo) Symphony 7 (excerpt) Vortex Presented by Donald Macleod Produced by Sam Phillips For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Robert Simpson (1921-97) https://www.bbc.co.uk/programmes/m000wkyc And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

We continue season 4 with a hugely enjoyable chat in conversation with saxophonist Denys Baptiste.A giant of the London jazz scene, Denys's sound is instantly recognised, along with his fantastic back catalogue of stellar albums.We chat about musical progress and coming out of lockdown, saxes and bass clarinets, and his many junctions and influences. Plus(!), Denys boldly takes on our brand new St Lucia quiz mega challenge! If you don't know the delights of green figs and salt fish listen on...Denys's album recommendations include:Way out West by Sonny Rollins (1957) on ContemporaryA Love Supreme by John Coltrane (1965) on ImpulseMaiden Voyage by Herbie Hancock (1965) on Blue NoteSupportYou can help support the podcast and keep us ad free. Especially useful if you'd like to support the podcast and want to keep it ad free. Plus it makes Chris feel very happy indeed! https://www.buymeacoffee.com/ChrisNewsteadShow infoPresenter: Chris NewsteadTheme: by SoundWorkLab, licensed through AudioJungle.Recorded April 2021

Today, I speak with a wonderful storyteller of sound, Assistant Principal Clarinetist of the Chicago Symphony John Bruce Yeh. In our conversation, John shares how his artistic journey unfolded.  He takes us on an amazing trip, featuring great musical figures, which shows the various elements that go into the making of a world-class musician. He also talks about how to prepare fully for an audition (it involves “raiding” the stage... in a way!), how to enter the professional life, and he gives us amazing insight on music-making in general. This was a great conversation and I know you'll walk away inspired and motivated!   Frustrated with your playing?  Unsatisfied with you career?  Ready for a change? Whatever your challenge, you don't have to go at it alone, and I can help.    THE MUSIC MASTERY EXPERIENCE is back in June 2021 This is a LIFE CHANGING, highly personalized group coaching program where I show you how to implement mindful & effective practice techniques, how to make them habits, and get RESULTS! The Music Mastery Experience gives you all the tools you need to start performing at your best! Save your spot now here and get access to all the early bird bonuses   MORE ABOUT JOHN BRUCE YEH:   Website: https://cso.org/about/performers/chicago-symphony-orchestra/clarinet1/john-bruce-yeh/ YouTube channel: https://www.youtube.com/channel/UCXbWXWXVo6xV7jn4GE5oyig Facebook: https://www.facebook.com/chicagopromusica Instagram: https://www.instagram.com/jyehcondor/ Twitter: https://twitter.com/jyehcondor   The first Asian musician ever appointed to the Chicago Symphony Orchestra, as well as the longest-serving clarinetist in CSO history, John Bruce Yeh joined the CSO in June of 1977, having been appointed solo Bass Clarinet of the Orchestra at the age of nineteen by Sir Georg Solti. Two years later, he was named Assistant Principal and solo E-flat Clarinet. He served as Acting Principal Clarinet of the CSO from 2008-2011. Recently he has also performed as Guest Principal Clarinet of The Philadelphia Orchestra as well as of the Seoul Philharmonic in Korea and the Guangzhou Symphony Orchestra in China. Yeh has performed concertos with the CSO on several occasions, including the 1998 American premiere of Elliott Carter's Clarinet Concerto with Pierre Boulez conducting, and the 1993 performance of Carl Nielsen's Clarinet Concertowith Neeme Järvi. A concert recording of the Nielsen was released on the CSO CD set Soloists of the Orchestra II: From the Archives, vol. 15. In 2004, Yeh was featured in Leonard Bernstein's Prelude, Fugue and Riffs in collaboration with the Hubbard Street Dance Company and the CSO conducted by David Robertson. An enthusiastic champion of new music, John Bruce Yeh is the dedicatee of new works for clarinet by numerous composers, ranging from Ralph Shapey to John Williams. A prizewinner at both the 1982 Munich International Music Competition and the 1985 Naumburg Clarinet Competition in New York, Yeh continues to solo with orchestras around the globe. His more than a dozen solo and chamber music recordings have earned worldwide critical acclaim. In 2007, Naxos International released a disc titled “Synergy,” of single and double concertos with clarinet and symphonic wind ensemble featuring John, his wife Teresa, his daughter Molly, and the Columbus State University Wind Ensemble conducted by Robert Rumbelow. Yeh is director of Chicago Pro Musica, which received the Grammy Award in 1986 for Best New Classical Artist. He frequently appears at festivals and on chamber music series worldwide, and he has performed several times with Music from Marlboro; the Guarneri, Ying, Colorado, Pacifica, Calder, and Avalon string quartets; as well as the Chamber Music Society of Lincoln Center. With his wife, clarinetist Teresa Reilly, erhu virtuoso Wang Guowei, and pipa virtuoso Yang Wei, Yeh formed Birds and Phoenix an innovative quartet dedicated to musical exploration by bridging Eastern and Western musical cultures. In their debut performance in September 2006, the group performed works by Victoria Bond, Pamela Chen, Lu Pei, and Bright Sheng, all commissioned for them by Fontana Chamber Arts in Kalamazoo, Michigan. Passionately committed to music education, Yeh served for twenty-six years on the faculty of DePaul University's School of Music, and he joined the faculty at Roosevelt University's Chicago College for the Performing Arts in 2004. He has taught master classes at many universities and conservatories including the Juilliard, Eastman and Manhattan Schools of Music, The Cleveland Institute of Music, Northwestern University, and the University of Michigan. In addition, he is on the faculty of Midwest Young Artists in Fort Sheridan, Illinois. Born in Washington, D.C., and raised in Los Angeles, John Bruce Yeh pursued premedical studies at UCLA, where he also won the Frank Sinatra Musical Performance Award. He entered the Juilliard School in 1975 and attended music schools in Aspen, Marlboro, and Tanglewood. He cites Gordon Herritt, Gary Gray, Michele Zukovsky, Harold Wright, Ray Still, Marcel Moyse, Allan Dennis, and Mehli Mehta as influential mentors.         Join the Mind Over Finger Tribe for access to my weekly live videos and to exchange with a community of like-minded musicians!   Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to an exceptionally productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights!   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works so hard to make the podcast sound as good as possible for you. Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Thank you to Susan Blackwell for the introduction!  You can find out more about Susan, her fantastic podcast The Spark File, and her work helping creatives of all backgrounds expand their impact by visiting https://www.susanblackwell.com/home. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Episode 15 Electronic Jazz, Part 3: Early Synthesizer Jazz Adding a new expressive instrument to jazz. Playlist: Don Sebeskey, “Water Brother” from The Distant Galaxy, 1968. Arranged By, Conductor, Moog Synthesizer – Don Sebesky Clavinet – Warren Bernhardt Bass – Chuck Rainey Drums – Donald McDonald Electronic Effects– Rick Horton Burton Greene, “Slurp!” from Presenting Burton Greene, 1968. Piano, Harp [Piano Harp], Harpsichord [Electric], Voice [Chants], Moog Synthesizer, Written-By, Arranged By, Conductor– Burton Greene Alto Saxophone, Trumpet – Byard Lancaster Bass – Steve Tintweiss Percussion – Shelly Rusten Ornette Coleman, “Man on the Moon,” a single released in 1969. Alto Saxophone, Producer, Arranged By – Ornette Coleman Bass – Charlie Haden Drums – Ed Blackwell Electronics [Bell Telephone synthesizer] – Emmanuel Ghent Tenor Saxophone – Dewey Redman Trumpet – Don Cherry Jon Appleton & Don Cherry, “OBA” from ‎Human Music, 1970 Flute [Wood, Bamboo, Metal], Kalimba, Drums [Earthquake], Cornet [Traditional Mouthpiece and Bassoon Reed], Producer, Composed By – Don Cherry Synthesizer, Electronics, Producer, Composed By – Jon Appleton Realized at the Bregman Electronic Music Studio, Dartmouth College, Hanover (New Hampshire, USA). Paul Bley, “Mr. Joy” from The Paul Bley Synthesizer Show, 1971 ARP 2500 Synthesizer, RMI Electric Piano – Paul Bley Bass –Glenn Moore Drums –Steve Hass Composed By – Annette Peacock Herbie Hancock, “Quasar” from Crossings, 1972 Electric Piano, Piano, Mellotron, Percussion – Herbie Hancock Moog Synthesizer – Patrick Gleason Bass Trombone, Tenor Trombone, Trombone [Alto Trombone], Percussion – Julian Priester Congas – Victor Pontoja Drums, Percussion – Billy Hart Electric Bass, Bass, Percussion – Buster Williams Soprano Saxophone, Bass Clarinet, Piccolo Flute, Percussion, Alto Flute – Bennie Maupin Trumpet, Flugelhorn, Percussion – Eddie Henderson Voice – Candy Love, Della Horne, Sandra Stevens, Scott Beach, Victoria Domagalski Moog and mellotron recorded at Different Fur Trading Company, San Francisco. Herbie Hancock, “Spank-A-Lee” from Thrust, 1974. Fender Rhodes electric piano, Clavinet [Hohner D-6], ARP Odyssey Synthesizer, ARP Soloist, ARP 2600, ARP String] – Herbie Hancock Drums – Mike Clark Electric Bass – Paul Jackson Percussion – Bill Summers Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute – Bennie Maupin Synthesizers recorded at Different Fur Trading Company, San Francisco. Mahavishnu Orchestra, “Celestial Terrestrial Commuters” from Birds of Fire, 1973 Guitar – John McLaughlin Keyboards, Minimoog Synthesizer – Jan Hammer Violin – Jerry Goodman Bass – Rick Laird Drums – Billy Cobham Mahavishnu Orchestra / John McLaughlin, “Inner Worlds Part 1 and 2” from Inner Worlds, 1976 Guitar, Effects [Frequency Shifter], Guitar Synthesizer, E-mu Synthesizer/Sequencer] – John McLaughlin Bass Guitar [Brassmaster Bass] – Ralphe Armstrong Drums, Gong, Timpani [Tympani] – Narada Michael Walden Synthesizer [String], Synthesizer, Customized Polyphonic Mini-Moog, Steiner-Parker Synth – Stu Goldberg Thanks for Bob Moog for his help. Chris Swansen, “Moondog, Can You Hear Me?” from Album II, 1975 Synthesizers [Moog ICA Performance, Moog Mark III, Badger Polyphonic], Effects [Bode Ring Modulator and Frequency Shifter], Electronics [Badger Frequency Spectrum Generator], Tape [Scully Tape Recorders, Dolby A Noise Reduction System], Producer – Chris Swansen Effects [Modulation] – Jon Weiss Engineer [Technical Assistance] – Bill Hemsath Synthesizer [Moog Polyphonic] – Don Croker Miroslav Vitous, “Synthesizers Dance” from ‎Magical Shepherd, 1976 Bass, Guitar, Minimoog Synthesizer – Miroslav Vitous Drums – Jack DeJohnette Fender Rhodes electric piano, ARP Odyssey Synthesizer – Herbie Hancock Percussion – Airto Moreira Sun Ra and his Intergalactic Research Arkestra, “Space Probe” from private recording, November 1969. Moog Modular Synthesizer - Sun Ra Later officially released in 1974 on an album Recorded at Gershon Kingsley studio in New York.   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two additional tracks of electronic jazz and synthesizers:   Paul Bley, “Improvisie” from Improvisie, 1971. ARP 2500 synthesizer and RMI electric piano. Herbie Hancock, “Sleeping Giant” from Crossings, 1972. Moog Modular synthesizer by Patrick Gleeson.   For more information, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).   Also see my paper, Thom Holmes (2018): The Roots of Electronic Jazz, 1950–1970, in Jazz Perspectives

Breaking The Third Wall Through Music's Mission statement: The mission of Breaking The Third Wall Through Music is to break the barriers between ableism and music, by bringing a wide range of musicians, regardless of disability, instrument, background, and field of interested across all genres to chat. A little bit about Christina: "Christina Rawady is from Alfred, NY where she graduated from Alfred-Almond Central School in 2005. She then completed a Bachelor's Degree in Music Education with a Bass Clarinet concentration at the Crane School of Music at SUNY Potsdam. After her graduation in 2009, she stayed at Crane to complete her first Master's Degree in Bass Clarinet/Clarinet Performance which she graduated from in 2010. She then went on to teach Middle School band in Hornell, NY for 3 years. In 2014, Miss Rawady moved to Europe to complete a 2 year Master's Degree in Bass Clarinet Performance at the Rotterdam Conservatory in the Netherlands. Upon graduation and her return to the U.S. she began her position at Potsdam Central School in the fall of 2016. While in Potsdam, Ms. Rawady was an active member of the Northern Symphonic Winds and the Orchestra of Northern New York. In 2019 Christina returned to her hometown and accepted the position of Instrumental Music Director grades 4-12 at Alfred Almond Central School. She lives happily in Hornell, NY with her boyfriend Mike, her dog Smudge, and her cats, Janis and Bobby. " You can find out handles on fb and instagram: @BreakingTheThirdWallInMusic

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

Episode 1: Join host Sam Rothstein in a conversation with his teaching mentor and distinguished Chicago Symphony Orchestra Solo Bass Clarinetist, J. Lawrie Bloom. Learn about some of Lawrie's most memorable performances during his CSO tenure, his amazing opportunity to have a concerto written for him in his final CSO season, and what he has planned for retirement!

Episode 18 features conversations with composer and guitarist Benjamin Dwyer on composing, free improvisation and his Beckett-inspired album, ‘What is the Word’; and composer, saxophonist and Diatribe Records co-director Nick Roth on the label. Presented by Jonathan Grimes and Evonne Ferguson. Show Notes Benjamin Dwyer Nick Roth Diatribe Records New Music Dublin Diatribe Stage Blue Shroud Band Barry Guy Maya Homburger What is the Word album Patrick Pye Music Please consider supporting these and other Irish composers and musicians by purchasing their music Nick Roth - Clarinet Quintet for Klezmer Clarinet, Bass Clarinet and String Quartet Benjamin Dwyer - six residua (after Beckett) i Barry Guy and the Blue Shroud Band , 8:12, 10:24, 12:54, 15:36, 18:53 Barry Guy - Five Fizzles, 13:56 Benjamin Dwyer - six residua (after Beckett) iv Benjamin Dwyer - what is the word - i. neither, 24:50, 27:03 -Benjamin Dwyer - what is the word - interlude i Benjamin Dwyer - what is the word - interlude ii Benjamin Dwyer - five disjecta (after Beckett) iii Nick Roth - Bátá (live recording from New Music Dublin 2020, 35:23, 47:06 Nick Roth - A Loved A Long

By popular demand, we present a full-length guide to the bass clarinet, presented by Philharmonia Orchestra Principal Bass Clarinet, Laurent Ben Slimane. CHAPTERS: 00:00 Intro 00:48 – What is a bass clarinet? 01:13 – How do you put it together? 02:33 – How does the sound get created? 03:55 – How does the pitch get changed? 04:43 – What is a transposing instrument? 05:08 – How did you get started on the bass clarinet? 05:50 – What are the keys like? 06:36 – How do you hold your instrument? 08:35 – Playing other woodwind instruments 08:57 – Doubling on other clarinets 09:49 – Articulations 10:34 – Embouchure & Puffing Cheeks 12:39 – Special techniques 14:04 – Tchaikovsky, Manfred Symphony 14:46 – Shostakovich, Violin Concerto No. 1, Scherzo 15:31 – Shostakovich, 7th Symphony 17:35 – Stravinsky, The Rite of Spring 19:17 – Richard Strauss, Don Quixote 21:08 – Learning the bass clarinet 21:40 – Different models Watch the full instrument playlist here: https://www.youtube.com/playlist?list=PLqR22EoucCyccs5J639SCefaM7mD9dMSz Subscribe: www.youtube.com/philharmonialondon  

In this episode I have a conversation with Calvin Falwell, 3rd/Bass Clarinet with the Sarasota Orchestra. We talk about how Calvin has used his desire to make things happen into multiple opportunities for his career and for his life.Master Engineer - Brandon JochumSupport the show (https://thatsnotspit.com/support/)

As part of the Digital Graveyards Project, this episode focuses on a research trip attended by Dr. Yasmin Jiwani and her research assistant to the 4th Symposium of the International Death Online Research Network that was held at the University of Hull in England. This conversation features Dr. Jo Bell, a senior lecturer at University of Hull. Her focus is on suicide and online communities. She speaks to us on how suicide is often memorialized online and through social medias. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Audio Edit by Shanice Bernicky & Émilie Trudeau

As part of the Digital Graveyards Project, this episode focuses on a research trip attended by Dr. Yasmin Jiwani and her research assistant to the 4th Symposium of the International Death Online Research Network that was held at the University of Hull in England. This conversation features Professor Tal Morse from Hadassah Academic College in Israel. In this interview, he explains how the media shapes our understanding of death, focusing on a case study comparing the 2008 Gaza war, the 2011 terrorist attack in Oslo and the Haitian earthquake of 2010. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Audio Edit by Shanice Bernicky & Émilie Trudeau

As part of the Digital Graveyards Project, this episode focuses on a research trip attended by Dr. Yasmin Jiwani and her research assistant to the 4th Symposium of the International Death Online Research Network that was held at the University of Hull in England. This conversation features Dr. Ylva Hård Af Segerstad from the university of Gothenburg in Sweden. In this interview, she explains how bereaved parents use social media to cope with their children's suicide. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Audio Edit by Shanice Bernicky & Émilie Trudeau

As part of the Digital Graveyards Project, this episode focuses on a research trip attended by Dr. Yasmin Jiwani and her research assistant to the 4th Symposium of the International Death Online Research Network that was held at the University of Hull in England. This conversation features Dr. Anu A. Harju, from the University of Helsinki. This interview treats of the patriotism that can stem from spectacular forms of violence. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Music by Blue Dot Session under Creative Commons Audio Edit by Shanice Bernicky & Émilie Trudeau

As part of the Digital Graveyards Project, this episode focuses on a research trip attended by Dr. Yasmin Jiwani and her research assistant to the 4th Symposium of the International Death Online Research Network that was held at the University of Hull in England. This conversation features an interview with Dr. Elaine Kasket and Luke Van Ryn. Elaine Kasket is a psychologist, visiting lecturer at Regents's University (London) and author of All the Ghosts in the Machine: Illusions of Immortality in the Digital Age. She speaks to us about the digital footprint we leave after our death, and the online rights of those who have passed. Luke Van Ryn is a Media Studies researcher at the University of Melbourne. In this episode, he explains how the funeral industry is adapting to the digital era. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Music by Blue Dot Session under Creative Commons Audio Edit by Shanice Bernicky & Émilie Trudeau

As part of the Digital Graveyards Project, this episode focuses on a research trip attended by Dr. Yasmin Jiwani and her research assistant to the 4th Symposium of the International Death Online Research Network that was held at the University of Hull in England. This conversation features Dr. Charles Ess, professor in the Department of Media and Communication at the University of Oslo, whose interests lie in the distinction between the capacities of AI and human beings. In this interview, he speaks on the ethics of death within new technologies. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Audio Edit by Shanice Bernicky & Émilie Trudeau

We travel to the Arctic Hideaway, or Fordypningsrommet, on the Arctic archipelago of Fleinvær, invited by Nordic Music Days 2019. With Tine Surel Lange, Bjarne Kvinnsland, Håvard Lund, Gyrid Nordal Kaldestad, Leif Haglund and Espen Tversland, with everyone introducing some of their favorite sounds. The snipe hunt is real...

Part one of our exclusive interview with Bass Clarinet and Marimba duo Transient Canvas. It's a real hootenanny. http://www.transientcanvas.com/ http://www.newfocusrecordings.com/catalogue/transient-canvas-wired/

As part of the Digital Graveyards Project, this episode focuses on a research trip attended by Dr. Yasmin Jiwani and her research assistant to the 4th Symposium of the International Death Online Research Network that was held at the University of Hull in England. This conversation features Dr. Stine Gotved, the co-founder of the Death Online Research Network, and a professor at the IT-University of Copenhagen with an interest in Internet Research specifically around death online and digital culture. In this episode, Stine explains how technology is used to speak about death and the value of openly talking about it. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (https://soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Music by Blue Dot Session under Creative Commons Audio Edit by Shanice Bernicky & Émilie Trudeau

As part of the Digital Graveyards Project, this episode focuses on a research trip attended by Dr. Yasmin Jiwani and her research assistant to the 4th Symposium of the International Death Online Research Network that was held at the University of Hull in England. This conversation features Tina FiveAsh, an Australian photo-artist and founder of The Death Letter Project (deathletterprojects.com). The Death Letter Project is an initiative that reached out to 50 Australians and asked them to write a letter responding to what they believe death is and what happens when we die. In this episode, Tina explains what motivated her to start The Death Letter Project, how her project was received by the public and what the responses have led her to discover about our relationship to death. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (https://soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Music by Blue Dot Session under Creative Commons Audio Edit by Shanice Bernicky & Émilie Trudeau

Coined by Kimberlé Crenshaw, intersectionality is a concept examining how the different facets of our identity interlock and interact in the face of power. Helmed by Professor Yasmin Jiwani, the Intersectionality Research Hub podcast features interviews, conversations and presentations exploring the different articulations of intersectionality in our day to day lives. Credits: Sponsored by Concordia University Opening Music "Music for Bass Clarinet and Two Vibraphones" by Maxime Fillion (https://soundcloud.com/maxime_fillion_composer/) Opening sound effect by Trip Sound Music by Blue Dot Session under Creative Commons Audio Edit by Shanice Bernicky & Émilie Trudeau

Tre musikdamer: Extremviolinisten Mia Zabelka, Wien. Saxofonisten, komponisten & bandledaren Pernille Bévort, Köpenhamn. Artisten Susanne Fellbrink som startade nätverket Female Singer-Songwriters. Vi möter Mia Zabelka i Wien, staden som är den klassiska musikens patriarkala högborg. Mia är konservatorieutbildad kompositör, mediaartist, performer och extremviolinist. Hon vill skapa en kontrapunktik till den rådande repertoaren. Mia Zabelka är pionjär på elektronmusikscenen och har hela västvärlden som sin spelplats.- Min uppgift är att vara en gränsgångare, en estetisk motvikt till det musikaliska etablissemanget. Jag använder violinen på andra sätt än de vedertagna för att få fram andra klanger, bl a med hjälp av elektronik.Hon har komponerat radiohörspelet Dora, en kvinna i ruinerna. Det handlar om Mia Zabelkas moster som var en av de s k Trümmerfrauen, d v s alla de kvinnor som städade upp efter bombanfall under andra världskriget. Kvinnorna i ruinerna gick bokstavligen omkring just där och rensade upp på gator och torg. När Österrike firade 50-årsjubileum av den nya författningen hyllade man männen som hade befriat landet från tyskarna, men man ignorerade helt dessa kvinnor.Mia Zabelka komponerar ett klanglandskap och ofta tar hon hjälp av andra artister som blir medskapare. Ovanför detta soundscape lägger Mia Zabelka sina violintoner likt en konstnär som målar över ett fotografi. Hon har ingen beröringsångest vad gäller icke-musik eller techno grooves men hennes hjärta finns i den nutida, komplexa och flerskitiga elektroakustiska musiken och hon ser sig som konstnär.- Jag befinner sig i själva snittet, som hon säger. Jag är en synestetisk människa. När jag hör eller skapar musik framträder bilder. När jag ser bilder hör jag toner och klanger.Mia Zabelka turnerar bl a med den amerikanska sångerskan, poeten, författaren och skådespelerska Lydia Lunch som bröt ny mark under det sena 70-talets New Wave-scen. Tillsammans med just Lydia Lunch och Zahra Mani spelade Mia Zabelka 2014 in plattan Medusas Bed. Lydia Lunch använder spoken words och kallar själv sina ord för virus, som infekterar.- För att vara en bra improvisatör är det nödvändigt att vara hysterisk och att ha en flerdimensionell uppfattningsförmåga. Därför är kvinnor bättre improvisatörer än män, säger Mia Zabelka.- Lydia Lunch är en mycket hysterisk och musikalisk artist, skrattar Mia Zabelka. Musik är ett språk. Likt litteratur. Improvisation är en form av automatisk skrift. Jag reagerar på Lydias spoken words i realtid med min musik och det blir ett fantastisk utbyte oss emellan!   Mia Zabelka lyssnar inte så mycket till Lydias ord som till hennes röst, som är mycket musikalisk. Den blir som en melodi, som en Schubertlied.- Nej, det är inte nödvändigt att ha en fast musikalisk grund i form av en gedigen musikutbildning för att göra det jag gör, säger Mia Zabelka. Instrumentarsenalen idag är mycket annorlunda. Å andra sidan om du har djup kunskap och erfarenhet av t ex ett instrument eller att komponera så kan du föra ett mer komplext musikaliskt tänkande. Du kan arbeta friare än om du startar från scratch. Saxofonisten, komponisten och bandledaren Pernille Bévort lever i Köpenhamn. Hon leder även en duo, en trio, en kvartett, en kvintett och en sextett. Dessutom spelar hon regelbundet med andra grupper, bl a Danmarks Radios BigBand.- Vi är några inom jazzmiljön som är oroade över det nya avtal som Copenhagen Jazzhouse skrivit med kommunen. Ordet jazz finns inte längre med i kontraktet! Det bekymrar oss!- Lönen har stått stilla i 13 år för musikerna i de större orkestrar jag leder och spelar med. Den sittande danska regeringen ger färre och färre pengar till musiken. Då försvinner mångfalden och man satsar på männen, förklarar Pernille Bévort.- Hela musikbranschen är pressad. Min musik har jag använt lång tid på att skapa och spela in med musiker som jag avlönar. Studiotiden och allt annat kostar pengar. Men jag får ofta höra att numera, med streaming och Spotify, så måste jag uppfatta t ex ett gig i TV eller radio som ett PR-jippo för mig själv och min "produkt"! Alltså föreslår nu till och med public service-bolagen DR Radio och TV att musikerna inte skall få betalt när de framträder i dessa medier. Musicerandet där anses vara PR och skall inte längre avlönas. Då blir det tungt! Vad skall jag leva av?  Artisten Susanne Fellbrink i Sundsvall har gett ut tre CD-skivor med egen musik och dessutom två plattor med egen barnmusik med tillhörande barnbok. Hon har egen konsertlokal, eget förlag och eget skivbolag.2014 startade Susanne Fellbrink nätverket Female Singer-Songwriters för att ge kvinnliga musiker en plattform. Hon skapade en hemsida där arrangörer kan botanisera bland artisterna och musikerna kan finna varandra för eventuella samarbeten.Konserterna som Susanne Fellbrink har arrangerat har samlat ihop många tusen kronor till insamlingsstiftelsen Kvinna till Kvinna, som 1995 bildades av IKFF, Internationella Kvinnoförbundet för Fred och Frihet och Svenska Freds- och Skiljedomsföreningen. Kvinna till Kvinna är religiöst, etniskt och politiskt obundna, och har som uppdrag att stödja kvinnor i krig och konflikter. 2002 fick Kvinna till Kvinna, som första och hittills enda svenska organisation, ta emot det så kallade alternativa Nobelpriset, The Right Livelihood Award.I nätverket Female Singer-Songwriters finns bl a en av världens få kvinnliga koraspelare, nämligen världsmusikartisten Sousou Cissoko. Även tonsättaren och sångerskan Maria Lithell Flyg ingår i nätverket. Hennes orkesterstycke In and Out gick till final i en tävling för ny orkestermusik som Detroits Symfoniorkester anordnade. I nätverket finns även bluesartisten Sue Sergel som framför Blues för Fadime. Det här är sista delen i serien Kvinnors musik på väg! Ja, en hel del har hänt sedan programserien Konsten att Humla sändes 2006. Föreningen Kvast - Kvinnlig anhopning av svenska tonsättare, har bildats. Sveriges första kvinnliga professor i musikalisk komposition har utsetts, tonsättaren Karin Rehnqvist.Och människor i allmänhet har blivit mer medvetna om den snedfördelning som funnits och delvis fortfarande finns vad gäller villkoren för kvinnliga och manliga musiker, tonsättare och dirigenterHär är exempel på det positiva som sker i dagsläget:Sverige:Kulturrådet och Musikverket fick tidigare i år i uppdrag av regeringen att arbeta för att repertoaren bland svenska orkestrar ska bli mer jämställd. Arbetet skall ske i dialog med berörda aktörer på lokal, regional och nationell nivå. Uppdraget tar sikte på orkestrar i Sverige som får statliga bidrag. Både Musikverket och Kulturrådet välkomnar uppdraget och betonar kraften i att många aktörer samlas för att diskutera frågan om jämställd repertoar, och konstaterar att mycket har hänt, att utvecklingen är positiv, men att det är viktigt att gå framåt starkare i frågan.England:BBC Radio 3 har dragit igång en kampanj där de hyllar och lyfter fram kvinnliga tonsättare, Celebrating Female Composers, både historiska och nutida. Det finns en lista med musikstycken av kvinnor i Spotity.USA:Tonsättaren Andrew Norman från USA vann för sitt orkesterstycke Play 2017 års Grawemeyer Award for Music Composition - ett av de största konstmusikpriserna i världen. I en intervju påpekar han flera problem i konstmusikvärlden. T ex så har detta pris endast delats ut till tre kvinnor under de 30 år som det funnits. Andrew Norman säger:- Kanon är överväldigande vit och manlig. Det finns så många röster som skulle kunna höras i konsertsalarna idag. Av människor vars musik uttrycker ett brett spektrum av upplevelser. Att få utbudet i konsertsalarna att återspegla det mångfaldiga samhälle vi lever i anser jag vara den viktigaste frågan just nu, för nutida musik och för klassisk musik i allmänhet.Danmark:HUN SOLO presenterer kvällar med fem kvinnliga soloartister. En efter en går de ensamma upp på scenen och ger en konsert på ca 25 minuter vardera. Manus, regi och produktion: Birgitta Tollan. Musiklista:Forest foodCorinne Von Dardel,Stensöta Karin Wiberg Vridna VågsångLo Kristenson,Tove Bagge, Viola Hanna Cronhjort, Kontrabas Julija Morgan, Violin Opus MMia Zabelka,Mia Zabelka My shopPernille Bevort,Pernille Bevort - Tenor And Soprano Saxophone. Qarin Persson - Vocal. Mariane Bitran - Flutes. Haukur Grøndal - Clarinet, Alto Saxophone. Jesper Løvdal - Bass Clarinet, Tenor Saxophone. Krister Palmquist - Guitar. Göran Schelin - Bass. Karsten Bagge - DrumsCope Records, COPECD 088 BevarroPernille Bevort,Radio Bevort, Pernille Bevort m flGATEWAY MUSIC, BEVORTCD04 BevarroPernille Bevort,Radio Bevort, Pernille Bevort m flGATEWAY MUSIC, BEVORTCD04 WitchCraftPernille Bevort,Pernille Bevort,m fl Radio BevortGATEWAY MUSIC, BEVORTCD04 Epilogue - Celebration SkeletonPernille Bevort,Pernille Bevort, m fl RadioBevortGATEWAY MUSIC, BEVORTCD04 Tiny HesitationPernille Bevort,Pernille Bevort, m fl RadioBevortGATEWAY MUSIC, BEVORTCD04 I natt jag drömdeEd Mccurdy,Cornelis VreeswijkSusanne Fellbrink EnsamSusanne Fellbrink,Susanne FellbrinkBLUEBRINK PRODUCTION BLUES FOR FADIMEJohan (0) Johansson/Sue Sergel,Sue SergelSue SergelLAST BUZZ 08505, BUZZ-8049 TERANGAMaher Cissoko/ Sousou Cissoko,Maher Cissoko/Sousou CissokoMaher Cissoko/ Sousou CissokoAJABU 028454, AJABUCD 013 In and OutMaria Lithell Flyg,Norrköpings Symfoniorkester Dora Woman of the RuinsMia Zabelka,Mia Zabelka, Violin Bloodlust & OblivionMia Zabelka Lydia Lunch,Mia Zabelka Lydia LunchMonotyperec, MONO067 Opus MMia Zabelka,Mia Zabelka Opus MMia Zabelka,Mia Zabelka CrystallitesAndrea Tarrodi,Peter Friis Johansson,PianoSVTON

This episode covers the following aspects of teaching clarinet: 2 requirements for a switch 2 preferred features for a switch Other considerations when choosing recruiting the right kids Show notes can be found at CrossingTheBreak.com Keywords: Music education, band director, teaching clarinet, teaching music, music ed

In this episode of the Clarineat Podcast I speak with Matthias Mueller of the Zurich University of the Arts about his team's amazing bass clarinet called the "SABRe." We discuss some of the amazing things this technology can do, what it means for music and musicians in the future, how it's different from other MIDI controllers and synthesizers, and how Matthias and his team are bringing a commercial version of the product to market. We'll be sure to check back with Matthias in a few months' time to get more details about this amazing product idea as it develops.

In this episode of the Clarineat Podcast host Sean Perrin speaks with the legendary Harry Sparnaay, who has had an incredible career pioneering the bass clarinet as a recognized solo instrument. Harry has performed all around the world, has recorded will over 60 CDs, and has had over 650 works composed for him by composers including Isang Yung, Mortan Feldman, Iannis Xenakis, Brian Furneyhough and many others. Harry is also an incredible passionate educator, and many of the world's greatest bass clarinetists, including the wonderful Lori Freedman who was featured in Episode 5 of the podcast, studied with him. Harry talks about his life and career, working with composers, following your dreams and much more. He is also reaching out to the Clarineat community to please provide him with recordings they may have of his live performances over the years. After retiring at 70 from playing, he would love to reflect on his career and listen to as many pieces as possible. If you have or know of a place where these recordings may be, please email him directly at harry.bcl@periferiamusic.com. He sends his thanks in advance and looks forward very much to hearing from you! Links: Website: HarrySparnaay.info Email address: harry.bcl@periferiamusic.com Discussion Topics: New Harry Sparnaay Documentary A love of public speaking Accomplishing new pieces and challenges Sharing music with others The Bass clarinet as a solo instrument Why you should play contemporary music on bass clarinet Loving resistance instead of fighting it Following your true passion The versatility of the bass clarinet Harry's first taste of music The importance of loving music Working with composers What makes a masterpiece? Collecting Harry's Past recordings Morton Feldman - For Bass Clarinet and Percussion Trying to collect Harry's past live recordings Extended techniques Playing a garden hose (seriously!) Sound comes from the player, not the gear. Lightning round questions Mentioned: Brian Furneyhough Iannis Xenakis Isang Yung Morton Feldman Iannis Xenakis Le Corbusier

Host Sean Perrin talks with special guest Lori Freedman. They discuss her upcoming Virtuosity of Excess tour (which heads to Toronto, Brooklyn, Calgary, Los Angeles, San Francisco, Seattle, Vancouver, Edmonton, Montreal and Brandon), the aesthetics of music, improvisation, composing, performing, music teaching and education, and more. Subscribe: http:// clarineat.com/subscribe  

In this week's episode of Music For Life, Music From DePauw...Orlando Cela, '97Choir director Kristina Boerger comes in to tell us about a divine choir concert...with the string chamber music class about to give its semester-end performance, Anna talks to a piano trio that's getting ready to knock our socks off...picking up from last week, we present the conclusion of my conversation with Green Guest Artist Maya Beiser...and we have a special visit with 1997 DePauw graduate, flutist and conductor Orlando Cela, back on campus with a pair of performances and some stellar advice for our 21st Century Musicians! SOURCES From a concert of March 15, 2015, Kristina Boerger leads first the DePauw University Chorus in a performance of Cesar Alejandro Carrillo's "Ave Maria," and then the DePauw Chamber Singers, with soloist Sara Blanton, in a performance of Stephen Chatman's "Prairie Lullaby" and "Chickadee." From the Faculty Select Series concert of April 8, 2015, School of Music Alumnus flutist Orlando Cela performs Eric Chasalow's "Over the Edge." From their concert of March 16, 2015, the DePauw Faculty Woodwind Ensemble (Anne Reynolds, Flute; Leonid Sirotkin, Oboe; Randy Salman, Clarinet; Kara Stolle, Bassoon; Robert Danforth, Horn; and student Daniel Hickey, Bass Clarinet) perform the third and fourth movements from Leos Janacek's "Mladi." From their concert of March 8, 2015, the DePauw University Band, under the direction of Craig Paré, perform Ralph Vaughan-Williams' "Toccata Marziale."

Chelsea Summer's entertainment passion began when she first entered the theatrical world of stage musicals. Beginning with a small role as a “Newsie” in a local community show "Disney Musical Spectacular”, Chelsea began the exciting journey into her entertainment career. With roles in such productions as: “Hairspray”, “Tom Sawyer”, “Alice In Wonderland”, “Les Miserables”, “Annie”, and “The King & I”, one role led to the next, from ensemble to supporting lead, to lead roles. Soon after, her progress moved to commercials, television and film. Brooke Star loves a good challenge! She is dedicated to her training in whatever skill she is trying to achieve. Her passion is music and dance, both of which she does very well! Starting with piano lessons and moving on to school band, Brooke is learning to play fourteen different wind, string and percussion instruments ranging from Piano, Keyboards, Bass Clarinet, Clarinet, Flute, Alto Saxophone, Soprano Saxophone, Guitar, Drums, Ukulele, Chimes, Tambourine, Shakers, Recorder fueled by her desire to receive a law and/or entertainment scholarship to Harvard!  For more about these 2 Magnificent Twins, check out our Blog post at http://www.TheSashaMarinaShow.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/sashamarinamedia/message

Chelsea Summer's entertainment passion began when she first entered the theatrical world of stage musicals. Beginning with a small role as a “Newsie” in a local community show "Disney Musical Spectacular”, Chelsea began the exciting journey into her entertainment career. With roles in such productions as: “Hairspray”, “Tom Sawyer”, “Alice In Wonderland”, “Les Miserables”, “Annie”, and “The King & I”, one role led to the next, from ensemble to supporting lead, to lead roles. Soon after, her progress moved to commercials, television and film. Brooke Star loves a good challenge! She is dedicated to her training in whatever skill she is trying to achieve. Her passion is music and dance, both of which she does very well! Starting with piano lessons and moving on to school band, Brooke is learning to play fourteen different wind, string and percussion instruments ranging from Piano, Keyboards, Bass Clarinet, Clarinet, Flute, Alto Saxophone, Soprano Saxophone, Guitar, Drums, Ukulele, Chimes, Tambourine, Shakers, Recorder fueled by her desire to receive a law and/or entertainment scholarship to Harvard!  For more about these 2 Magnificent Twins, check out our Blog post at http://www.TheSashaMarinaShow.com  

I came up with my melody by playing notes together and hearing how they sound together and I heard notes that sounded good together and I picked those notes. The cello,violin and the flute play my main melody. The Bass Clarinet plays my melody once in the beginning. I picked the name because my song sounds bumpy because the note go high and low. I think the story is one main melody that goes and meets others. One challenge I had was to put articulations in because at first it was hard to learn how to put them on your piece and what they mean. I think that music was challenging but fun because I learned a lot and I now know new stuff like what dynamics and articulations are.

Mahler's legacy, vision and philosophy, and his influence on subsequent composers.Concert: Mahler arr. Klaus Simon, Symphony No.4 - Bedächtig, nicht eilen and Ruhevoll; Mark Anthony Turnage, Grazioso! for Piccolo, Bass Clarinet, Piano, Viola and Cello; Henryk Górecki, Valentines Piece for Solo Flute and Bell; Dai Fujikura, Eternal Escape for Solo Cello.

This week, we look back at some of the juiciest bits of Naked Science from the last series. We find out how an iPod became an iRod to conduct lightning, discover an electrifying bikini and find out why teenagers feel so misunderstood, not that they're 'bovvered' about the answer. We discuss wine as an essential part of an healthy diet, find out about the people who feel no pain and explore why you can immediately tell an Aussie from an American or a Londoner from a Liverpudlian, just by learning about the way accents are formed. Plus, in Kitchen Science we find out how to turn an oven shelf... Like this podcast? Please help us by supporting the Naked Scientists

This week, we look back at some of the juiciest bits of Naked Science from the last series. We find out how an iPod became an iRod to conduct lightning, discover an electrifying bikini and find out why teenagers feel so misunderstood, not that they're 'bovvered' about the answer. We discuss wine as an essential part of an healthy diet, find out about the people who feel no pain and explore why you can immediately tell an Aussie from an American or a Londoner from a Liverpudlian, just by learning about the way accents are formed. Plus, in Kitchen Science we find out how to turn an oven shelf... Like this podcast? Please help us by supporting the Naked Scientists

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">

Croncast - 2005-01-04.mp3 Show: #45 Length: 26:31 Format: mp3 Bit rate: 64k Size: 12.1 mb Croncast - Kris goes solo Ep. 2 I'm solo today and my focus, in the most abstract context of focus, is conversations. Today's Show Intro Today's topic - "Conversations" Paying dues Thanks Nicole for letting me know! Thanks Chris "Monkey" Crewdson for the "planchette" email Naming the baby Proper names Thanks Anti- Records for linking to Jolie Holland interview!!!! Amy Gahran's first show - she'll be on the show Thursday Podcast Yahoo Group Making money podcasting Let the conversation begin The percussion discussion Emusic.com Conversation- from Art Blakey, Max Roach, Elvin Jones, Philly Joe Jones Jazz-Poetry Conversation from Innova Recordings Elvin's Blues - Paul Austerlitz, Bass Clarinet and Michael S. Harper, Vocal Listenership and the intangible Faking it or forcing the intangible Podcaster's advice Got some things in the works Giving back to the community My little secret The wrap up ">