Podcasts about Bechet

durée : 00:59:21 - Le doux refuge - par : Nathalie Piolé -

Brace yourselves. We're raining down the HARSH NOISE on this episode!Playlist: The Nausea & Echthros - Dream WalkingThe Body - Less MeaningPharmakon - SPLENDID ISOLATIONThe Furnace - They're Coming To Get YouKlein - role of fearporch collapse - Zero State SolutionEstrogen Estrogen Estrogen - 1Met Glas - TERROR PUMPScott Walker - DimpleWretched Member - Burden HeldZenjungle & Valiska - Holding Onto the PastGryphon Rue - Blue EraserLaurie Anderson - India And On Down to AustraliaUboa - JawlineMartin Tétreault - Bechet in the FutureMoat Bells - DecloudMatt McBane - VCV Chaconne

3.29.25 - Ron Bechet by Crosstown Conversations

Podcast summary of articles from the February 2025 edition of the Journal of Emergency Medicine from the American Academy of Emergency Medicine.  Topics include ECPR, supraglottic airway devices, environmental factors in out of hospital cardiac arrest, pediatric admissions, Bechet's disease, and auricular hematomas.  Guest speaker is Dr. John Bennison.

Episode 151 Chapter 12, The History of Audio Recording Technology. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast.   Playlist: THE HISTORY OF AUDIO RECORDING TECHNOLOGY   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Leon Scott “Au Clair de la Lune” (1860). Phonautograph. One of about 50 recordings made around 1860 by Édouard-Léon Scott de Martinville's on his invention, the Phonautograph that were digitally restored in 2008 by the First Sounds collaborative. These were created using the Lawrence Berkeley National Laboratory's virtual stylus technology, which sought to track the wavy lines scratched on soot-covered paper as though they were standard record grooves. 00:20 01:38 2.     Alice J. Shaw, an improvised whistling performance (1888) from an Edison Records cylinder recording. 02:13 01:58 3.     George J. Gaskin, “Drill Ye Terriers Drill” (1896) from an E. Berliner's Gramophone shellac disc. 01:24 04:10 4.     Sousa's Band, “Happy Days In Dixie” (1897) from an E. Berliner's Gramophone shellac disc. 01:43 05:36 5.     Emperor Franz Joseph, short message recorded on Valdemar Poulsen's Telegraphone (1900). Early magnetic wire recording. Recording made without microphone. 00:09 07:18 6.     Sousa's Band, “The Mosquito Parade” (1904) from Columbia Records shellac disc. Note the higher fidelity of the instruments compared to earlier recordings on disc, recorded without electrical microphones but optimizing the use of acoustic horns for sound intake. 02:54 07:28 7.     Noble Sissle (vocals) and Eubie Blake (piano), medley of popular songs (1923). Recording using onto an early sound film using the Phonofilm process invented by Lee de Forest. 06:51 10:22 8.     Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1924) from an RCA Victor shellac disc. This is an acoustically recorded version of this piece, without the benefit of vacuum tube amplification or electrical microphones. Compare to the 1927 version (next), also by Whiteman, produced using electrical recording. 09:06 17:12 9.     Paul Whiteman And His Concert Orchestra, “Rhapsody In Blue” (1927) from RCA Victor, His Master's Voice shellac disc. An electrical recording using vacuum tube amplification and electrical microphones. 08:59 26:30 10.   Paul Hindemith, “Trickaufnahme” (excerpt) (1930), an experiment in turntablism using turntable discs to both record, mix, and playback the result. 00:58 35:28 11.   BBC, “Pieces of Tape” excerpt of a program (1933) produced by editing together segments recorded previously using the Blattnerphonesteel tape recorded that used a magnetic process. This was the first audio recording assembled using tape editing. A dozen years prior to the available of magnetic tape, edits made to steel tape had to be made by spot welding. 05:29 36:28 12.   Sidney Bechet, “Blues of Bechet” (1941) from an RCA Victor shellac disc. An early example of overdubbing/multitracking. Bechet played every instrument on this track, including the piano, clarinet and soprano saxophone. Each instrument was recorded onto a new master disc and mixed on another disc to create the final recording. 01:57 41:56   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. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Only five tracks! But five fine tracks, including one LONG one!Playlist: McCoy Tyner , Joe Henderson - Taking offMartin Tétreault - Bechet in the futureIrvin Mayfield - James BookerNicola Miller - Night crawlersThe Westerlies - 9/8

durée : 01:00:56 - Sidney Bechet, Thelonious Monk, Live in Paris - par : Nicolas Pommaret - Deux musiciens légendaires à Paris.

Découvrez l'histoire incroyable d'une salle emblématique. En octobre 1955, Sidney Bechet marque l'histoire de l'Olympia avec un concert gratuit célébrant son disque d'or, le premier pour un jazzman. Cet événement attire 5000 fans, provoquant des émeutes et causant des dégâts matériels importants. Sous la direction visionnaire de Bruno Coquatrix, l'Olympia devient un reflet des courants artistiques de l'époque, accueillant des figures comme Lionel Hampton et Joséphine Baker. Cette dernière laisse également sa trace avec des moments iconiques, comme son passage au bar Marilyn. Ce lieu mythique, espace privé pour artistes et producteurs, reste une institution légendaire de la salle. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

SIDNEY BECHET New York, June 8, 1939SummertimeSidney Bechet (sop) Meade Lux Lewis (p) Teddy Bunn (g) Johnny Williams (b) Sidney Catlett (d) SIDNEY BECHET New York, June 8, 1939Blues for Tommy Ladnier, Pounding heart bluesFrankie Newton (tp) J.C. Higginbotham (tb) Sidney Bechet (sop-1,cl-2) Meade Lux Lewis (p) Teddy Bunn (g) Johnny Williams (b) Sidney Catlett (d) SIDNEY BECHET New York, March 27, 1940Lonesome blues, Dear old southland, Bechet's steady rider, Saturday night blues Sidney Bechet (cl,sop) Teddy Bunn (g) Pops Foster (b) Sidney Catlett (d) SIDNEY BECHET New York, December 20, 1944St. Continue reading Puro Jazz 19 de noviembre, 2024 at PuroJazz.

SIDNEY BECHET New York, June 8, 1939SummertimeSidney Bechet (sop) Meade Lux Lewis (p) Teddy Bunn (g) Johnny Williams (b) Sidney Catlett (d) SIDNEY BECHET New York, June 8, 1939Blues for Tommy Ladnier, Pounding heart bluesFrankie Newton (tp) J.C. Higginbotham (tb) Sidney Bechet (sop-1,cl-2) Meade Lux Lewis (p) Teddy Bunn (g) Johnny Williams (b) Sidney Catlett (d) SIDNEY BECHET New York, March 27, 1940Lonesome blues, Dear old southland, Bechet's steady rider, Saturday night blues Sidney Bechet (cl,sop) Teddy Bunn (g) Pops Foster (b) Sidney Catlett (d) SIDNEY BECHET New York, December 20, 1944St. Continue reading Puro Jazz 19 de noviembre, 2024 at PuroJazz.

Great and little-recorded clarinetist from the earliest days of the 20th Century in New Orleans . . Big Eye Louis was one of the busiest of the first generation of jazz players and exerted considerable influence on Sidney Bechet and Jimmy Noone, among others. Here are some of his very few recordings with Kid Rena's Delta Jazz Band in 1940 (with Alphonse Picou, Jim Robinson and others), John Reid's New Orleans Pioneers in 1944 (with Picou, Peter Bocage, Walter Decou, Pops Foster and Bechet on piano), Wooden Joe Nicholas' Band in 1949 (with Louis Nelson and Louis Keppard) and his own groups in 1949 (with Charlie Love, Louis Nelson, Louis Gallaud, Ernest Rogers and Johnny St. Cyr) --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

4.12.24 - Chuck Perkins // Ron Bechet by Crosstown Conversations

Sylvain Bechet Directeur Général Finances de GL Events nous explique pourquoi  les JO Paris 2024 sont un vrai enjeuHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 00:59:33 - Amour Toujours - par : Nathalie Piolé -

Article de la revue Acropole n°360 avril 2024.Auteur : Françoise Bechet, philosophe, formatrice à Nouvelle AcropoleArticle  lu par Bertrand EvinPrise de son : Bertrand Evinhttps://revue- acropolis.com/Recevez notre contenu par mail : contact@nouvelle-acropole.fr                                                                                                                                                                                                                                           Saviez-vous que la Nouvelle Acropole est réalisée à 100% par des bénévoles ? Nous dépendons donc beaucoup de nos étudiants et amis pour la divulgation !N'oubliez pas de vous abonner à la chaîne et de la partager sur vos réseaux sociaux.Ce sera d'une grande aide !

Sidney Bechet's New Orleans Rhythm Kings live from the Savoy Cafe in Boston, May 1945. For three weeks following the disastrous run with Bechet and Bunk Johnson, the New Orleans trumpet player Peter Bocage was brought in and he is featured on about six broadcasts, which are sampled here! Also featuring Ray Parker on piano, Pops Foster on bass, George Thompson on drums and on two tunes Brad Gowans on valve trombone --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Hiru gaitz horiei buruz hitz egin digu Felix Zubiak gaurko saioan....

Jazz and radio broadcasting were born right around the same time, and stuck together well into the Rock-N-Roll age. The early days of radio will filled with lots of jazz. One of the most celebrated shows was This Is Jazz, hosted by music critic Rudi Blesh. He founded Circle Records in 1946 to record new music by aging early jazz stars. You're going to hear two 1947 episodes of This is Jazz, with guest star Blue Lu Barker, one of the biggest blues vocalists in the 1930s and 40s. Making an appearance on the show is jazz fan and pioneering actor Canada Lee. The second episode features the great Sidney Bechet, one of the first important soloists in jazz. Bechet started performing in 1911, but was not fully appreciated until the 1940s. More at http://krobcollection.com

After covering "Doxy" in the last episode, we decided to follow it up with the song that supposedly was the original version, "Jada". AJ and Johnny listen to and discuss versions of this Jazz standard by The Original New Orleans Jazz Band, Louis Prima, Doc Cheatham and Nicholas Payton, Sidney Bechet, The Side Street Strutters, and new-to-us artist Adam Swanson.

Sidney Bechet was the first important jazz soloist on records in history (beating Louis Armstrong by a few months). A brilliant soprano saxophonist and clarinetist with a wide vibrato that listeners either loved or hated, Bechet's style did not evolve much through the years but he never lost his enthusiasm or creativity. A master at both individual and collective improvisation within the genre of New Orleans jazz, Bechet was such a dominant player that trumpeters found it very difficult to play with him. Bechet wanted to play lead and it was up to the other horns to stay the hell out of his way. 

durée : 00:03:26 - Dans le prétoire - En 1995, Nina Simone tire sur un adolescent qui faisait trop de bruit. En 1929, Sidney Bechet blesse trois passant en plein Montmartre. Deux stars du jazz ont connu les tribunaux correctionnels français au siècle dernier.

Protagonista a New Orleans del jazz delle origini, Sidney Bechet è stato uno dei primi grandi solisti della vicenda del jazz, uno dei primi ambasciatori del jazz in Europa, il primo importante sassofonista della storia del jazz, il primo - e per molto tempo unico - specialista del sax soprano; ma Bechet è stato anche uno dei primi importanti protagonisti della storia del jazz a rendersi conto dell'importanza di lasciare una traccia di sé non solo con la musica, in un'epoca - gli anni cinquanta - in cui realizzare delle autobiografie per i musicisti di jazz non era ancora così scontato: Treat It Gentle, pubblicata nel 1960, l'anno successivo alla morte di Bechet, è rimasta un classico nel campo delle autobiografie di ambito jazzistico, e finalmente è stata messa a disposizione del lettore italiano grazie alla collana Chorus della Quodlibet. Leggendola, scopriamo fra l'altro che Bechet è stato un pioniere anche nel vedere la propria identità e la propria musica in rapporto con l'Africa, con grande anticipo sul momento in cui il jazz cominciò a tematizzare e rivendicare la propria relazione con il Continente Nero. Di Treat It Gentle conversiamo con Claudio Sessa, che ha scritto la prefazione all'edizione italiana.

Normally, land owners get a powerful say in the direction of land use. But what if we could design policies such that public values of land use directed who gets to own the land? PhD student and farmer Roz Corbett travels to France to find out. Episode Links Public consultation on the Proposed Land Ownership and Public Interest (Scotland) Bill (closes 12th September 2023) Scotland's Rural Land Market insights (Scottish Land Commission) Tim Lang, Feeding Britain Terre des Liens How the authorisation system works and it's impact on land market competition Summary article on the development of the new Land law in France Amelia Veitch Speculation in French agricultural land markets and the impact on SAFER decisions on land allocations Article exploring the impact on proactive local authority support for agroecological installations Resistance to mega basins 1 Resistance to mega basins 2 Agroecological Transitions for Territorial Food Systems Project Landscapes is produced by Adam Calo. A complete written transcript of the episode and extended shownotes can be found on Adam's newsletter: Land Food Nexus.  Send feedback or questions to adamcalo@substack.com.  This podcast was a team effort of Tanguy Martin from Terre de Liens, Amelia Veitch from the Laboratoire d'Anthropologie Politique (LAP-EHESS) and the University of Lausanne, Hélène Bechet and Alice Martin-Prevel from Terre de Liens, and Claire Lamine from INRAE for her involvement and support through the ATTER project. Georgie Styles provided production and audio mastering support. With thanks to the ATTER project for funding this podcast.  Music by Blue Dot Sessions: “Kilkerrin” by Blue Dot Sessions (www.sessions.blue).    

Continuamos con algunos clásicos de New Orleans/Chicago. High society/Clarinet marmalade son dos de ellos que escuchamos en versiones de, entre otros: Morton, Louis, King Olver, Bechet, Bix, Fletcher Henderson etc. Hosted on Acast. See acast.com/privacy for more information.

Episode Notes On E335, I sit down with guest Kate McLennan as we talk about experiences with a starter pack of disabilities including CMT and Bechet's.  We go into Kate's experience feeling shame around disability but also we delve into what brings Kate joy and so much more in this episode.  Enjoy it!  Sign up to be on Disability After Dark + send in minisode letters and show ideas to: andrew@andrewgurza.com Episode Sponsors Clone-A-Willy or Clone-A-Pussy all your own and get 20% off sitewide by using coupon code DARKPOD at Checkout. www.cloneawillycom.  Get 15% off your next purchase of sex toys, books and DVDs by using Coupon code AFTERDARK at checkout when you shop at trans owned and operated sex shop Come As You Are www.comeasyouare.com  Support another great Disability themed pod! Listen to You First: A Disability Rights Florida Podcast.  This podcast is powered by Pinecast.

durée : 00:59:11 - Finie la brume ! - par : Nathalie Piolé -

I've found a new baby (Encontré una nueva chica) es un tema de Spencer Williams de 1926. Un deleite es comparar versiones de Lester, Django, Teddy Wilson, Bechet, Joe Pass, Rollins, Dizzy y otros. Hosted on Acast. See acast.com/privacy for more information.

Great band in the style of King Oliver's Creole Jazz Band led by clarinetist Claude Luter . . before he became a Bechet fanatic he was a Johnny Dodds stylist and his band brings out the early New Orleans sounds very well in a program of mostly standard tunes but with a few originals thrown in . .Christian Azzi, Pierre Merlin, Moustache Galipedes .. . --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

L'événement people de la fin d'été 1951 c'est le mariage de Sidney Bechet dans les rues d'Antibes devant 12.000 personnes. Bechet, 53 ans, costume blanc, crane dégarni et sourrire de jeune homme. Le “roi de la carotte” - c'est comme ça qu'on appelle en France son saxophone soprano - a trouvé en France la recette du succès !

The great New Orleans clarinet and soprano sax player Bechet leading some small groups for RCA Victor in 1940 and 1941 - great arrangements of both standards and originals featuring Red Allen, Gus Aiken, Sidney DeParis, Henry Goodwin, Sandy Williams, J.C. Higginbotham, Vic Dickenson, Lem Johnson, Cliff Jackson, Don Donaldson, James Tolliver, Bernard Addison, Wilson Myers, Wellman Braud, Manzie Johnson, J.C Heard and Sid Catlett among others . . --- Support this podcast: https://anchor.fm/john-clark49/support

In the great tradition of Jazz - that is, experiment and improvise - we're trying a new format on this episode of Same Difference. Don't worry, we're not changing the show now and forever, but we thought we'd branch out and try looking at a specific Jazz musician (rather than a Jazz song) this time. While Jazz musicians know the name Sidney Bechet quite well, his is not a name most people recognize. He was every bit as groundbreaking as Louis Armstrong and Duke Ellington, yet he never got the "marquee value" that they did, so today AJ and Johnny take a look at the life of Sidney Bechet, and try to figure out why he's not a household name. You'll hear plenty of music from Sidney, as well as interviews with musicians from the Sun Valley Jazz Festival, who offered up their knowledge and understanding of this overlooked musical genius. And while we're trying out new concepts, we invite you to check out "Something Came From Baltimore", a Jazz podcast from our new friend Thomas Gouker. While our podcast, "Same Difference", delves into the history of Jazz, Thomas's podcast focuses on what's currently happening in Jazz, so the two compliment each other well. Try downloading "Something Came From Baltimore" wherever you get your "Same Difference" podcasts from, and check out the show's Facebook page here: https://www.facebook.com/tomfunproductions

Great sides on the more swing-side done by Bechet's New Orleans Feetwarmers for Victor . . Rex Stewart, John Lindsay, Baby Dodds, Herb Jeffries and Earl Hines on one date; Willie the Lion Smith, Charlie Shavers, Everett Barksdale, Wellman Braud and either Manzie Johnson or Big Sid Catlett on the other two. --- Support this podcast: https://anchor.fm/john-clark49/support

  JOHN COLTRANE PROGRAMA ESPECIAL No. 2 de 3:               “MY FAVORITE THINGS” – New York, October 21, 1960 My Favorite Things John Coltrane (sop,ts) McCoy Tyner (p) Steve Davis (b) Elvin Jones (d) “COLTRANE PLAYS THE BLUES” – New York,October 24, 1960 Blues to Bechet (2) John Coltrane […]

We return this week with another early episode which highlights the life and times of New Orleans musician Sidney Bechet, the legendary jazz saxophonist and clarinetist, and his relationship with Bessie Smith, who he describes as "...the damnedest singer...that would really have the public going." Featuring bits from his autobiography, we learn of his knack for finding trouble, his stint in prison, and of course his musical journeys with Bessie and others. Full of great songs and wonderful pieces of Bechet history, this is one of our classic episodes.

In this episode of the Epigenetics Podcast, we caught up with Nada Jabado from McGill University to talk about her work on oncohistones as drivers of Pediatric Brain Tumors. Nada Jabado and her team were amongst the first to identify mutations in Histone 3.3 Tails which lead to differentially remodeled chromatin in pediatric glioblastoma. Mutations that occur include the Lysine at position 27 and the Glycine at position 34. If those residues are mutated it will influence the equilibrium of chromatin associated proteins like the Polycomb Repressive Complex (PRC) and hence domains of heterochromatin will be shifted. This, in turn, will lead to differential gene expression and development of developmental disorders or cancer.   References Schwartzentruber, J., Korshunov, A., Liu, X. Y., Jones, D. T., Pfaff, E., Jacob, K., Sturm, D., Fontebasso, A. M., Quang, D. A., Tönjes, M., Hovestadt, V., Albrecht, S., Kool, M., Nantel, A., Konermann, C., Lindroth, A., Jäger, N., Rausch, T., Ryzhova, M., Korbel, J. O., … Jabado, N. (2012). Driver mutations in histone H3.3 and chromatin remodelling genes in paediatric glioblastoma. Nature, 482(7384), 226–231. https://doi.org/10.1038/nature10833 Kleinman, C. L., Gerges, N., Papillon-Cavanagh, S., Sin-Chan, P., Pramatarova, A., Quang, D. A., Adoue, V., Busche, S., Caron, M., Djambazian, H., Bemmo, A., Fontebasso, A. M., Spence, T., Schwartzentruber, J., Albrecht, S., Hauser, P., Garami, M., Klekner, A., Bognar, L., Montes, J. L., … Jabado, N. (2014). Fusion of TTYH1 with the C19MC microRNA cluster drives expression of a brain-specific DNMT3B isoform in the embryonal brain tumor ETMR. Nature genetics, 46(1), 39–44. https://doi.org/10.1038/ng.2849 Papillon-Cavanagh, S., Lu, C., Gayden, T., Mikael, L. G., Bechet, D., Karamboulas, C., Ailles, L., Karamchandani, J., Marchione, D. M., Garcia, B. A., Weinreb, I., Goldstein, D., Lewis, P. W., Dancu, O. M., Dhaliwal, S., Stecho, W., Howlett, C. J., Mymryk, J. S., Barrett, J. W., Nichols, A. C., … Jabado, N. (2017). Impaired H3K36 methylation defines a subset of head and neck squamous cell carcinomas. Nature genetics, 49(2), 180–185. https://doi.org/10.1038/ng.3757 Chen, C., Deshmukh, S., Jessa, S., Hadjadj, D., Lisi, V., Andrade, A. F., Faury, D., Jawhar, W., Dali, R., Suzuki, H., Pathania, M., A, D., Dubois, F., Woodward, E., Hébert, S., Coutelier, M., Karamchandani, J., Albrecht, S., Brandner, S., De Jay, N., … Jabado, N. (2020). Histone H3.3G34-Mutant Interneuron Progenitors Co-opt PDGFRA for Gliomagenesis. Cell, 183(6), 1617–1633.e22. https://doi.org/10.1016/j.cell.2020.11.012 Chaouch, A., Berlandi, J., Chen, C., Frey, F., Badini, S., Harutyunyan, A. S., Chen, X., Krug, B., Hébert, S., Jeibmann, A., Lu, C., Kleinman, C. L., Hasselblatt, M., Lasko, P., Shirinian, M., & Jabado, N. (2021). Histone H3.3 K27M and K36M mutations de-repress transposable elements through perturbation of antagonistic chromatin marks. Molecular cell, 81(23), 4876–4890.e7. https://doi.org/10.1016/j.molcel.2021.10.008   Related Episodes Cancer and Epigenetics (David Jones) Epigenetics & Glioblastoma: New Approaches to Treat Brain Cancer (Lucy Stead) Targeting COMPASS to Cure Childhood Leukemia (Ali Shilatifard)   Contact Active Motif on Twitter Epigenetics Podcast on Twitter Active Motif on LinkedIn Active Motif on Facebook Email: podcast@activemotif.com

durée : 00:59:38 - Zombies d'ici - par : Nathalie Piolé - Ce soir, les zombies sont nos amis ! - réalisé par : Figaro Freslon Le Floc'h

durée : 01:14:59 - Les Nuits de France Culture - Il se dégage du jeu de saxophone soprano de Sidney Bechet une qualité flambloyante qui fait de l'autodidacte de la Nouvelle-Orléans un cas unique dans l'histoire du jazz. Voici la vie de ce clarinettiste de légende racontée en 1987 sur notre antenne avec ses proches et de belles archives. Figure emblématique de l'histoire du jazz américain du style Nouvelle-Orléans, le clarinettiste et saxophoniste Sidney Bechet est considéré comme l'un des solistes et improvisateurs les plus marquants de la première moitié du 20ème siècle. Il est apprécié pour sa sonorité, son souffle lyrique, son vibrato large. En France, il est l'un des musiciens de jazz les plus populaires. * Par Jean-Pierre Daubresse - Avec Claude Luter, Sidney Bechet et Joséphine Baker

Sidney Bechet in Paris 1949, 52 and 57 . . all sessions featuring Bechet on soprano as the only horn, with Lil Armstrong, Zutty Singleton, Eddie Bernard, Pierre Michelot, Kenny Clarke, Al Leavitt, Martial Solal --- Support this podcast: https://anchor.fm/john-clark49/support

An AFRTS transcription. Sidney Joseph Bechet (May 14, 1897 – May 14, 1959) was an American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz, and first recorded several months before trumpeter Louis Armstrong. His erratic temperament hampered his career, and not until the late 1940s did he earn wide acclaim. Bechet spent much of his later life in France.

10.22.21 - Simonette Berry // Timothy Watson // Ron Bechet by Crosstown Conversations

Easy Grooves Radio is bringing you rarities of Easy Listening, Lounge, Space Age Pop & Movie Soundtracks of the 60s and 70s each day and night at https://www.easygroovesradio.com . Follow us on Facebook: https://www.facebook.com/easygroovesradio or join our group: https://www.facebook.com/groups/2550013901963430 Follow us on Twitter: https://twitter.com/EasyGrooves Follow us on Instagram: https://www.instagram.com/easygrooves/ Follow our Youtube Channel: https://www.youtube.com/channel/UCgSTpgMimtlGR8aw5Zm_fRg/videos?view_as=subscriber Follow our Podcasts and shows on https://hearthis.at/easy-grooves-radio-bo/ Be our Patreon and get early previews and exclusive tunes and gifts for your support! https://www.patreon.com/easygrooves Thank you for watching or listening! Keep and eye on our website: www.easygroovesradio.com

Troi Bechet founded the Center for Restorative Approaches in the aftermath of Hurricane Katrina. For Troi, a restorative approach offered an alternative to the culture of punitive justice systems – a way to resolve conflict and build equity through dialogue. Through their creativity, innovation, and a vision of peace at the center, restorative circles and learning-centered approaches have much in common. Listen to this revealing podcast episode to hear more. Read the transcript here. Follow us on Twitter @GLPconsultants for the latest updates about the show and resources available for businesses and individuals alike. You can also find us on Instagram @GlobalLearningPartners, Facebook, and LinkedIn! Listen on Apple Podcasts, Spotify or virtually anywhere podcasts are found! This show is produced by Global Learning Partners and Greg Tilton JR. Our theme music is titled ‘Pretty Face' by singer/songwriter Una Walkenhorst. Like what you hear? Consider leaving us a rating on your podcast platform of choice!

Celebramos el 20 aniversario de Mundofonías, que nació con el nombre de Mapamundi en el año 2001, repasando sintonías, retales sonoros y músicas que han formado parte de estas dos décadas de radio dedicada a las músicas de inspiración popular de todo el mundo. We celebrate the 20th anniversary of Mundofonías, which was born with the name Mapamundi in the year 2001, reviewing theme tunes, sound clips and music that have been part of these two decades of radio dedicated to popular inspired music from all over the world. · David Krakauer – Klezmer à la Bechet – A new hot one · Cherno More – Andalona – Cherno More · Aisha – Ara que ja ens coneixem – Els camells no prenen cafè · Chuchurumel – Galanducha – Posta restante · José Afonso – O que faz falta – Coro dos tribunais · Miquel Gil – Primavera – Orgànic · Sam Lee – The ballad of George Collins – Ground of its own · Caetano Veloso – Terra – Caetano Veloso Imagen: / Image: Juan Antonio Vázquez & Araceli Tzigane (📸 Mundofonías)

Happy Tuesday my favourite people! I hope you are having a lovely week. Today's episode we are heading to Auckland and I am chatting to Holly Mercer about her diagnosis of rare disease Beçhet's Disease and Neuro Beçhet's. In this episode Holly talks us through the 15 or so years of constantly wondering what was happening to her, how she imagined receiving a diagnosis would look like… and then the reality of actually getting that diagnosis, what Beçhet's is, the treatment plan moving forward, and how chronic illness has inspired her art. I felt like I had known Holly forever and I loved getting to learn more about her story. I think you're really going to enjoy this episode too. You can find Holly on instagram: @hollydoesntfeelwell And to stay up to date with Touch Compass and when Holly's art installation Thread Count as part of /rītaha/ will be, you can check out their website: touchcompass.org.nz or follow them on social media @touchcompass For more information about Rare Disorders NZ: raredisorders.org.nz That “show must go on” post that we mention can be found on @offstage.equilibrium ‘s instagram: instagram.com/p/CT40X0rLkPG/ And if you want to reach out, tell me something fun that's happening for you, or just connect, feel free to send me a DM or follow along with the adventures over on Instagram, I'm @thatssochronic @thatssochronic | @jessssbrien | #thatssochronic Want to share your story on That's So Chronic? Here's the application form: https://forms.gle/csebLkwfwAjiLApK9 Or have an idea for an upcoming That's So: episode? Let me know here: https://forms.gle/4RZbCiHARjV5gmcWA Disclaimer: Here at That's So Chronic we are sharing personal stories and are not advocating any type of treatment, therapy, procedure or intervention. Everyone is unique so please seek professional medical advice before making any decisions for yourself or for others. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:59:41 - Joséphine Baker, même pas peur - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

Mood Indigo (libremente traducido sería: estado de alma melancólico o triste) es un mágico tema ellingtoniano con una melodía en trío donde el color lo da el trombón en las notas altas y el clarinete en las bajas. Grabada por primera vez en 1930, los autores son Ellington, Barney Bigard e Irving Mills (letra). Duke la retoma en cada década y la re-elabora. Escuchemos varias de sus versiones, incluyendo junto a Ella y a Coleman Hawkins. Pero también a Bechet, Monk, Mingus, Nina Simone y otros.

This week Paul is joined by British clarinettist Julian Bliss for a brief history of the the instrument, touching upon its earliest appearances in Mozart, through Krommer and Brahms, and its important role in the development of jazz in the first half of the 20th century. The episode includes not one but two "sneak peeks" of forthcoming recordings from Julian, one of which was recorded in Julian's home studio during lockdown.

Sidney Bechet live - the John Reid recordings...private recordings made by Bechet's Boswell from 1939-44. Some were rehearsals for his upcoming Victor recording sessions (Reid was the producer) and some were casual dance or party dates. Featuring Henry Goodwin, Sandy Williams, Don Donaldson, Sonny White, Don Frye, Max Miller, Wilson Myers, Manzie Johnson, Sid Catlett, Kenny Clarke and Freddie Moore --- Support this podcast: https://anchor.fm/john-clark49/support

Juniper [00:28] "Boys! Boys! Boys! Boys! Boys!" Juniper FABCOM! Records FR-002 2020 The finest bubblefun you can have and be sober! Siouxsie and the Banshees [02:19] "Christine" Kaleidoscope PVC Records PVC 7921 1980 I dated a Christine once. Thankfully she only had one personality. Sunn O))) [05:18] "Kannon 2" Kannon Southern Lord sunn250 2015 Hello heaviness. The New Trust [15:05] "Obsidian" Keep Dreaming Discos Huelga huel018 2013 Santa Rosa's very own. Recorded and mixed by Steve Albini at Electrical Audio. Merle Haggard and the Strangers [18:49] "Here in Frisco" Keep Movin' On Capitol Records ST 11365 1975 Evidently if you're from around these parts, you don't call it Frisco. But who am I, a Yankee, to say? Anywho, that one goes out to all you loyal listeners in Shakeytown making all alone work for the last year. I can't even imagine. The Four Tops [21:29] "Ain't No Woman (Like the One I Got)" Keeper of the Castle Dunhill/ABC Records DSX 50129 1972 Tell 'em Levi. Originally recorded by Hamilton, Joe Frank & Reynolds, who are three people, not four. We've had this discussion already. Artie Shaw and his Orchestra [24:24] "Begin the Beguine" Kellogg's Presents Big Band Classics RCA Special Products DPL1-0438(e) 1980 That's right kids: eat enough Frosted Flakes and you too could grow up to own a compilation of all your favorite big band numbers performed by yesterday's stars. Jerry Reed [29:00] "Eastbound and Down" Kickin' Country K-Tel WU 3600 1981 Guitar man Jerry Reed gets us ready for that beer run. Made it to number 3 on the Bubbling Under Hot 100 in 1977. Jerry gets a little help from Jordinaire Gordon Stoker. And Flash, of course. The Exbats [31:48] "I Got the Hots for Charlie Watts" Kicks, Hits, and Fits Burger Records BRGR 1456 2020 Easily one of my favorite albums from 2020. And of course, Inez is right. Roberta Flack [35:41] "Suzanne" Killing Me Softly Atlantic SD 7271 1973 We heard Roberta covering Leonard Cohen on her debut album First Take, so why not hear her covering Leonard Cohen on this double platinum album? Miles Davis [46:25] "Blue in Green" Kind of Blue Columbia PC 8163 1959 (1977 Terre Haute reissue) A modal ballad from Miles recorded March 2, 1959 with John Coltrane on tenor sax, Bille Evans on piano, Paul Chambers on double bass, and Jimmy Cobb on drums. Benny Goodman Quartet [51:41] "Vibraphone Blues" The King of Swing, Vol 1: 1937-38 Jazz Concert No. 2 Columbia CL 817 1956 Originally recorded in 1937, this track features Lionel Hampton on both vibes and vocals, plus Benny on clarinet, Teddy Wilson on piano, and Gene Krupa on drums. Sidney Bechet [55:04] "Crazy Rhythm" The King of the Soprano Saxophone Good Time Jazz L-12013 1956 A fine take on this standard, featuring Bechet and some assistance from Jonah Jones on trumpet. Music behind the DJ: "Gomez" by Vic Mizzy

Composición de los años 20 de Kid Ory con letra de Ray Gilbert, tiene en realidad origines discutidos. Louis Armstrong decía que era suya y que Ory le puso el título. Pero Sydney Bechet sostenía que venía de Buddy Bolden. Lo cierto es que la estrena Armstrong con los Hot Five (con Ory) en 1926  y desde entonces es un sine qua non del jazz tradicional. La muskrat es la rata almizclera y "to ramble" es pasear sin destino. Lamentablemente su estribillo fue robado por Country Joe and The Fish (Woodstock, 1969). Kid Ory (que tenía 72 años) nunca imaginó que su melodía sería escuchada por medio millón de personas juntas en vivo. Escuchemos a Louis, Ory, Bechet, Teagarden, Marsalis y otros.   Pops en 1962 Playlist en Spotify

Royal Dagger Ballet is Tristan Bechet’s first album as a solo artist after Flux Information Sciences, electronic rock duo SERVICES and Sauna Kings. The result is an edgy, opulent and mesmerizing compilation of genre-defying industrial experimentalism. Engaging in modern electronics, synthesizers and drum machines, each track is its different world, some cinematic and melodic and others rhythmically chaotic, industrial and cacophonous. Born in Portugal but raised between Brazil and New York City and now living in Paris, Tristan’s idiosyncratic approach to music uses a collision of electronic sound design. He has also composed for brands like Nike, Karl Lagerfeld, Dior, Chanel, Givenchy and The Creator’s Project, his works featured by The New York Times, Nowness and beyond. He is currently composing for a psychological drama horror film currently in the works. We spoke about all of this and more at the end of last year.

Seguro que os acordáis de la película Acordes y desacuerdos, una película de Woody Allen, acerca de un guitarrista ficticio llamado Emmet Ray, que según la película pudo haber sido el único guitarrista comparable a Django Reinhardt, durante la época de la Gran Depresión. La trama nos cuenta los momentos de gloria con su quinteto y su guitarra; sus romances y sus tropiezos; su gusto por la opulencia, la bebida y el billar. Allen dota a su protagonista de una particular sensibilidad, extrañas aficiones (matar ratas a balazos en el vertedero o ver pasar trenes, por ejemplo) y una pasión casi enfermiza por la música. La película está muy bien pero, lo que no tiene desperdicio, como en muchas otras películas de Woody Allen, gracias amigo, es la banda sonora. Y vamos a empezar con “I'll See You in My Dreams", una canción escrita por Isham Jones, y publicada en 1924. Originalmente grabada por el propio Isham Jones y la Ray Miller Orchestra, estuvo en las listas durante 16 semanas durante 1925. Por supuesto, la canción también fue grabada por Django Reinhardt, el ídolo de nuestro personaje. Esto es “I’ll see you in my dreams”, en la versión para la película de Dick Hyman Grup. Caravan" es un estándar de jazz estadounidense que fue compuesto por Juan Tizol y Duke Ellington y interpretado por primera vez por Ellington en 1936. Irving Mills escribió la letra de la canción pero la verdad es que nunca se canta. Ah pero, eso sí, se han grabado más de 350 versiones. Hemos pasado, como de puntillas, sobre el nombre de Juan Tizol. Buen, pues merece la pena reseñar, que este trombonista puertorriqueño, es coautor de los mayores éxitos de “el duque”, (también “Perdido” lleva su firma), y que durante los más de quince años que estuvo en la orquesta de Ellington se convirtió en el mayor exponente puertorriqueño en la historia del jazz. "Viper Mad", algo así como Víbora Loca, es una composición de Sidney Bechet y Rousseau Simmons que se publicó en 1924 interpretada por la vocalista Blossom Seeley . El propio Bechet grabó una versión como líder en 1938, con la Orquesta de Noble Sissle . La letra, que festeja el consumo de marihuana, dice que se llamaba "víbora" al fumador de yerba, debido al silbido de la inhalación. La letra dice, más o menos: "Envuelve tus chuletas alrededor de esta barra de té / Sóplate este medidor y ponte alto conmigo / El buen té es mi debilidad, sé que es malo / Me envía, puerta, y no puedo esperar, Estoy loco por las víboras ". Mucha metáfora, verdad? Viper Mad, interpretada para la ocasión por el autor, Sidney Becket. Old Fashioned Love, el corte que escucharemos a continuación fue compuesto por James Price Johnson, un pianista estadounidense nacido el 1 de febrero de 1894 que fue uno de los músicos más importantes en la época en que se empezaba a grabar, y que revolucionó la técnica de ragtime hacia lo que finalmente se llamaría jazz. Este hombre ejerció una gran influencia en músicos tan importantes como Count Basie, Duke Ellington o Art Tatum, sin ir más lejos. Johnson compuso muchas canciones de éxito, incluido el himno no oficial de los locos años veinte, “The Charleston” y siguió siendo el rey de los pianistas de jazz de Nueva York durante la mayor parte de la década de 1930. Old Fashioned Love está incluida en la banda sonora de la película de Woody Allen versionada por Dick Hyman Grup. La canción Just a Gigolo fue publicada por primera vez en Alemania en 1929 e interpretada por varias orquestas. La versión original tiene un contenido muy interesante. Viene a ser una visión poética del colapso social vivido en Austria después de la Primera Guerra Mundial , representado por la figura de un ex húsar que se recuerda a sí mismo desfilando con su uniforme, mientras que ahora tiene que arreglárselas como bailarín en un music-hall de mala muerte. En las versiones posteriores, nuevos letristas se encargaron de cambiar el sentido del texto y, aunque mantuvieron una triste historia, perdieron el valor histórico que tenía el original. La canción ha tenido numerosas versiones, como la Louis Armstrong o la Marlene Dietrich en su última aparición cinematográfica. En esta ocasión, son nuevamente Dick Human Grup los encargados de versionar para la película Just a Gigolo. Otra de las joyas con las que Allen nos obsequia es esta estupenda versión de All of me, Todo de mi, un estándar de jazz escrito por Gerald Marks y Seymour Simons en 1931. Grabado por primera vez por la famosa cantante de los años 20 y 30 Ruth Etting, con el paso de los años se ha convertido en una de las canciones más versionadas de mundo del jazz, con aportaciones de músicos tan notables como Billie Holiday, Frank Sinatra o Willie Nelson. Como no, en la película se hace referencia a la estupenda versión que grabó Django Reinhard. Los técnicos han desmenuzado la canción dándole mil vueltas y explicando lo inexplicable. Los simples aficionados que solo gozamos de un poco de oído, nos sentimos pagados con reconocer, cada vez e inmediatamente, sus primeras notas. Fruto de la improvisación, por cierto. Y si, la versión de la película está a cargo, nuevamente de Dick Human Grup. Vamos a terminar el repaso del álbum con un título que lo resume todo: “Todo esto no es nada, si no tiene swing” una canción compuesta por Duke Ellington y grabada el 2 de febrero de 1932. El tema fue compuesto por Duke Ellington y la letra fue escrita por Irving Millis. La letra no es tan extensa como en las canciones que estamos acostumbrados a escuchar, pero aun así, el mensaje es claro y conciso: todo lo que necesitas es Swing. Durante toda la canción, se repite y se argumenta el mismo mensaje, revindicar el Swing. Una idea que os dejo. Buscar la versión que grabaron Lady Gaga y Tony Bennett para su álbum de Jazz en común Cheek To Cheek. Impresionante. Y hemos terminado por hoy. Nos han quedado alguna que otra canción que hubiera merecido mejor suerte pero, bueno, las que hemos oído merecían la pena. Volvemos la semana que viene. Con más música, más músicos y más historias. Hasta entonces… “Buenas vibraciones”.

Seguro que os acordáis de la película Acordes y desacuerdos, una película de Woody Allen, acerca de un guitarrista ficticio llamado Emmet Ray, que según la película pudo haber sido el único guitarrista comparable a Django Reinhardt, durante la época de la Gran Depresión. La trama nos cuenta los momentos de gloria con su quinteto y su guitarra; sus romances y sus tropiezos; su gusto por la opulencia, la bebida y el billar. Allen dota a su protagonista de una particular sensibilidad, extrañas aficiones (matar ratas a balazos en el vertedero o ver pasar trenes, por ejemplo) y una pasión casi enfermiza por la música. La película está muy bien pero, lo que no tiene desperdicio, como en muchas otras películas de Woody Allen, gracias amigo, es la banda sonora. Y vamos a empezar con “I'll See You in My Dreams", una canción escrita por Isham Jones, y publicada en 1924. Originalmente grabada por el propio Isham Jones y la Ray Miller Orchestra, estuvo en las listas durante 16 semanas durante 1925. Por supuesto, la canción también fue grabada por Django Reinhardt, el ídolo de nuestro personaje. Esto es “I’ll see you in my dreams”, en la versión para la película de Dick Hyman Grup. Caravan" es un estándar de jazz estadounidense que fue compuesto por Juan Tizol y Duke Ellington y interpretado por primera vez por Ellington en 1936. Irving Mills escribió la letra de la canción pero la verdad es que nunca se canta. Ah pero, eso sí, se han grabado más de 350 versiones. Hemos pasado, como de puntillas, sobre el nombre de Juan Tizol. Buen, pues merece la pena reseñar, que este trombonista puertorriqueño, es coautor de los mayores éxitos de “el duque”, (también “Perdido” lleva su firma), y que durante los más de quince años que estuvo en la orquesta de Ellington se convirtió en el mayor exponente puertorriqueño en la historia del jazz. "Viper Mad", algo así como Víbora Loca, es una composición de Sidney Bechet y Rousseau Simmons que se publicó en 1924 interpretada por la vocalista Blossom Seeley . El propio Bechet grabó una versión como líder en 1938, con la Orquesta de Noble Sissle . La letra, que festeja el consumo de marihuana, dice que se llamaba "víbora" al fumador de yerba, debido al silbido de la inhalación. La letra dice, más o menos: "Envuelve tus chuletas alrededor de esta barra de té / Sóplate este medidor y ponte alto conmigo / El buen té es mi debilidad, sé que es malo / Me envía, puerta, y no puedo esperar, Estoy loco por las víboras ". Mucha metáfora, verdad? Viper Mad, interpretada para la ocasión por el autor, Sidney Becket. Old Fashioned Love, el corte que escucharemos a continuación fue compuesto por James Price Johnson, un pianista estadounidense nacido el 1 de febrero de 1894 que fue uno de los músicos más importantes en la época en que se empezaba a grabar, y que revolucionó la técnica de ragtime hacia lo que finalmente se llamaría jazz. Este hombre ejerció una gran influencia en músicos tan importantes como Count Basie, Duke Ellington o Art Tatum, sin ir más lejos. Johnson compuso muchas canciones de éxito, incluido el himno no oficial de los locos años veinte, “The Charleston” y siguió siendo el rey de los pianistas de jazz de Nueva York durante la mayor parte de la década de 1930. Old Fashioned Love está incluida en la banda sonora de la película de Woody Allen versionada por Dick Hyman Grup. La canción Just a Gigolo fue publicada por primera vez en Alemania en 1929 e interpretada por varias orquestas. La versión original tiene un contenido muy interesante. Viene a ser una visión poética del colapso social vivido en Austria después de la Primera Guerra Mundial , representado por la figura de un ex húsar que se recuerda a sí mismo desfilando con su uniforme, mientras que ahora tiene que arreglárselas como bailarín en un music-hall de mala muerte. En las versiones posteriores, nuevos letristas se encargaron de cambiar el sentido del texto y, aunque mantuvieron una triste historia, perdieron el valor histórico que tenía el original. La canción ha tenido numerosas versiones, como la Louis Armstrong o la Marlene Dietrich en su última aparición cinematográfica. En esta ocasión, son nuevamente Dick Human Grup los encargados de versionar para la película Just a Gigolo. Otra de las joyas con las que Allen nos obsequia es esta estupenda versión de All of me, Todo de mi, un estándar de jazz escrito por Gerald Marks y Seymour Simons en 1931. Grabado por primera vez por la famosa cantante de los años 20 y 30 Ruth Etting, con el paso de los años se ha convertido en una de las canciones más versionadas de mundo del jazz, con aportaciones de músicos tan notables como Billie Holiday, Frank Sinatra o Willie Nelson. Como no, en la película se hace referencia a la estupenda versión que grabó Django Reinhard. Los técnicos han desmenuzado la canción dándole mil vueltas y explicando lo inexplicable. Los simples aficionados que solo gozamos de un poco de oído, nos sentimos pagados con reconocer, cada vez e inmediatamente, sus primeras notas. Fruto de la improvisación, por cierto. Y si, la versión de la película está a cargo, nuevamente de Dick Human Grup. Vamos a terminar el repaso del álbum con un título que lo resume todo: “Todo esto no es nada, si no tiene swing” una canción compuesta por Duke Ellington y grabada el 2 de febrero de 1932. El tema fue compuesto por Duke Ellington y la letra fue escrita por Irving Millis. La letra no es tan extensa como en las canciones que estamos acostumbrados a escuchar, pero aun así, el mensaje es claro y conciso: todo lo que necesitas es Swing. Durante toda la canción, se repite y se argumenta el mismo mensaje, revindicar el Swing. Una idea que os dejo. Buscar la versión que grabaron Lady Gaga y Tony Bennett para su álbum de Jazz en común Cheek To Cheek. Impresionante. Y hemos terminado por hoy. Nos han quedado alguna que otra canción que hubiera merecido mejor suerte pero, bueno, las que hemos oído merecían la pena. Volvemos la semana que viene. Con más música, más músicos y más historias. Hasta entonces… “Buenas vibraciones”.

Revue Acropolis N°319 - Lecture d'article - Auteure Françoise Bechet, philosophehttps://www.revue-acropolis.fr/

"Somebody told me this Bessie, she was the damnedest singer, and I asked her to sing, and that's how it started. Just as soon as she started out I knew her voice was something that would really have the public going." That's legendary New Orleans born jazz saxophonist and clarinetist Sidney Bechet recounting memories from his collaborations with Bessie Smith, just one of the sections from Bechet's autobiography which we feature on this week's episode. Bechet spent much of his time in Paris, and had a knack for finding trouble. In his own words, we are given a glimpse into his many journeys, a stint he served in prison, and his work with Bessie and others. Of course, we will feature much of his wonderful, energetic music along the way. Before we dive into Bechet, Joe discusses some of the new realities of home based education and introduces a hilarious and prescient New Yorker piece from a decade ago called "Home Colleging," read here by Barbara Rosenblit.

This week on the podcast we have fellow Vasculitis Warrior and Ambassador Beth Howe. She runs the largest Bechet's Disease forum/group on the whole internet. Every patient I've met has a unique story. And every podcast I have learned something from each guest. It's why I'm constantly inspired by this community. I learned a lot from Beth about how she has coped with this disease since she was 19 years old. Through her young adulthood and into her adult life she has managed to keep a strong positive outlook despite some debilitating setbacks. I hope you get as much inspiration from Beth as I do!Intro music by Tyler HudginsLinks:Vasculitis Foundation Road to Wellness Webinars:https://www.vasculitisfoundation.org/mcm_webinar/vf-road-to-wellness-webinars/Vasculitis Visionaries:https://podcasts.apple.com/us/podcast/vasculitis-visionaries/id1503063714

durée : 00:59:50 - Sad Little Girl - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

Battistrada della musica africana moderna, antesignano della world music, Manu Dibango aveva cominciato con il jazz, che è poi sempre rimasto il suo grande amore. Mandato dai genitori a proseguire i suoi studi in Europa, Dibango era sbarcato sedicenne a Marsiglia nel '49: la scoperta del jazz, che negli anni cinquanta in Francia con personaggi come Sidney Bechet - uno degli eroi di Dibango - era popolarissimo, aveva portato Manu a imparare a suonare il sax. Tra i brani con cui, ad una settimana dalla scomparsa, gli rendiamo omaggio, ascoltiamo Petite Fleur, grande successo di Bechet riletto da Dibango nel 2007 in un album dedicato al pioniere del jazz di New Orleans, e Electric Africa, dall'omonimo album di Dibango, in cui il musicista camerunese è in compagnia fra gli altri di Herbie Hancock e Bill Laswell: oltre naturalmente a Soul Makossa.

Battistrada della musica africana moderna, antesignano della world music, Manu Dibango aveva cominciato con il jazz, che è poi sempre rimasto il suo grande amore. Mandato dai genitori a proseguire i suoi studi in Europa, Dibango era sbarcato sedicenne a Marsiglia nel '49: la scoperta del jazz, che negli anni cinquanta in Francia con personaggi come Sidney Bechet - uno degli eroi di Dibango - era popolarissimo, aveva portato Manu a imparare a suonare il sax. Tra i brani con cui, ad una settimana dalla scomparsa, gli rendiamo omaggio, ascoltiamo Petite Fleur, grande successo di Bechet riletto da Dibango nel 2007 in un album dedicato al pioniere del jazz di New Orleans, e Electric Africa, dall'omonimo album di Dibango, in cui il musicista camerunese è in compagnia fra gli altri di Herbie Hancock e Bill Laswell: oltre naturalmente a Soul Makossa.

Battistrada della musica africana moderna, antesignano della world music, Manu Dibango aveva cominciato con il jazz, che è poi sempre rimasto il suo grande amore. Mandato dai genitori a proseguire i suoi studi in Europa, Dibango era sbarcato sedicenne a Marsiglia nel '49: la scoperta del jazz, che negli anni cinquanta in Francia con personaggi come Sidney Bechet - uno degli eroi di Dibango - era popolarissimo, aveva portato Manu a imparare a suonare il sax. Tra i brani con cui, ad una settimana dalla scomparsa, gli rendiamo omaggio, ascoltiamo Petite Fleur, grande successo di Bechet riletto da Dibango nel 2007 in un album dedicato al pioniere del jazz di New Orleans, e Electric Africa, dall'omonimo album di Dibango, in cui il musicista camerunese è in compagnia fra gli altri di Herbie Hancock e Bill Laswell: oltre naturalmente a Soul Makossa.

 Welcome to AiArthritis Voices 360. This episode join your host, Tiffany, as she and co-host Simon Stones discuss the prevalence and logistics of living with multiple conditions. Most health systems have moved away from a model where General Practitioners are managing all aspects of patient care to a model that places more emphasis on specialists and a depth of expertise in a specific disease. The downside to this is it has created a system where patients must be their own Care Coordinators, yet most have no experience or understanding of how to do this. What can be done to change the system? What can you do in the meantime to ensure that your health is not slipping through the cracks? Tune in to this week’s episode to find out. AiArthritis Voices 360 is produced by the International Foundation for Autoimmune and Autoinflammatory Arthritis. Visit us on the web at www.aiarthritis.org/podcast. Find us on twitter, instagram, or Facebook (@ifAiArthritis) or email us (podcast@aiarthritis.org) to have your seat at the table.    Show Notes: Episode 18 – “Living with Multiple Conditions” 00:52 - Tiffany welcomes listeners and co-host, Simon Stones01:58 - Today’s topic is living with multiple conditions02:20 – Tiffany’s primary diagnosis is Non-Radiographic Axial Spondyloarthritis, but she also has comorbidities such as Bechet’s Disease and possibly Sjogren’s Syndrome 03:25 - If you have been sick for a while without an explanation, a diagnosis can be a relief 04:27 - Simon was diagnosed with Juvenile Idiopathic Arthritis at age 3 and has no memory of his life before Arthritis07:06 - At 10, Simon was diagnosed with Slipped Capital Femoral Epiphyses 08:30 - Sometimes secondary conditions can be masked by the symptoms of the primary diagnosis, even when under the care of specialists09:23 - Patients assume that their specialists will catch new problems, but there is a high risk of new symptoms being dismissed as part of the existing diagnosis09:45 - Every patient is an expert in their own body and must advocate if they know their symptoms are something to be explored13:20 - In his teenage years, Simon’s diagnosis was modified to include Psoriatic Arthritis or Undifferentiated Axial Spondyloarthritis 14:50 - In the UK, no biologic therapies are approved for adults with JIA, so patients must have a new diagnosis so they can have access to medication15:32 - Managing multiple complex diagnoses in a complex medical system can be very complicated16:51 - Around 12 years old, Simon developed symptoms of Crohn’s Disease, but the symptoms and markers were attributed to his JlA diagnosis19:03 - Doctors may be reluctant to order tests that are unpleasant for pediatric patients. Parents may need to advocate strongly for their children if they believe something is wrong.26:02 - Medicine should be evidence-based and not vary wildly from one doctor to the next27:10 - A comorbidity is the presence of two related diseases (like Rheumatoid Arthritis and Cardiovascular Disease or Psoriatic Arthritis and Psoriasis) where one is the index disease*27:33 - Multimorbidity is the presence of multiple diseases without the presence of a specific index disease and requires more holistic treatment29:23: Some people will combine terminology of related diseases (ex: Lupus and Rheumatoid Arthritis = Rupus)29:40 - Multiple Autoimmune Syndrome (MAS) is a term many doctors and patients use to refer to the presence of 3 or more autoimmune diseases 30:56 - Simon read a study that asserted that 25% of the general population of rheumatology patients has 2 or more diseases, but Simon’s experience would suggest it may be much higher than that 33:13 - Gathering more data would be helpful34:52 - The actual rarity of having only one autoimmune disease impacts clinical trials because patients with comorbidities and multimorbidities are all excluded from clinical trials38:17 - When you have multiple diagnoses and multiple specialists, you may need to become your own coordinator of care39:04 - Pediatric specialists seem to be better about coordinating with each other, but adult specialists often rely on the patient to report what they have been told by their other specialists41:10 - If you are not advocating for yourself and managing your own care, you run the risk of important warning signs being missed41:55 - General practitioners used to be very involved in managing patient care across multiple specialities, but that is no longer happening42:43 - Healthcare systems now really could benefit from moving to a coordinated care model46:02 - Obtaining health records can be very difficult because patient data is the property of the hospital or doctor’s office instead of the patient49:40 - Patient advocates should unite to tackle the problem of inconsistent patient data and data ownership54:27 - The system needs to change, and it can result from grassroots efforts 55:00 - Decision-making processes about reforming the healthcare systems must include patient voices55:17 - Patients often have the best solutions to healthcare systemic problems because we know exactly what we need to make things work better and reduce waste56:13 - Tiffany thanks Simon for co-hosting today’s episode56:52 - If you have an opinion on this topic, IFAA wants to hear from you! 57:08 - If you would like to take a seat at the table, visit us on social medias @IfAiArthritis on all platforms or email us @ podcast@aiarthritis.org *An index disease is a primary or core disease with a significant impact on the development of a comorbidity 

En Jazz Lo Sé Episodio 5, New Orleans parte 3 completamos nuestra recorrida por la cuna del jazz. Desde las "marching bands" llegamos a Kid Ory, artífice del "tailgate trombone" y recorremos su carrera en detalle. Nos detenemos en las orquestas blancas, Original Dixieland Jazz Band (la primera orquesta que grabó jazz, en 1917) y los New Orleans Rhythm Kings. Jass, Jism, Jazz: los orígenes de la palabra jazz, que ya aparece en un diario de San Francisco, escrita "jass" en 1913. Dixieland versus jazz negro de New Orleans, similitudes y diferencias. Y un final de calidad: Sidney Bechet, el creole que con su clarinete y saxo soprano rivalizó en sonoridad con el gran Satchmo. No se olviden de visitar el website y enviarnos sus comentarios! http://jazzlose.libsyn.com    

durée : 01:59:57 - Musique matin du lundi 23 décembre 2019 - par : Jean-Baptiste Urbain - Il est l'un des grands chefs ayant contribué au renouveau baroque et à la vitalité de la scène de musique ancienne ; René Jacobs s'attache maintenant à la relecture sur instruments anciens de l'opéra "Fidelio" de Beethoven, lui préférant sa version antérieure, "Léonore". - réalisé par : Yassine Bouzar

In this episode, learn about Bechet's, Takotsubo's, and HIT across the street with Peter. DISCLAIMER: This podcast is made by and for our internal medicine residents to enhance our educational experience. The content while edited by residents is not verified by host or speakers and we are not content experts on these topics. The content provided by this podcast is not intended and should not construe as medical advice, and should not be used to diagnose or treat any medical condition. We attempt to avoid use of opinion but all opinions represented are our own and not representative of our employer.This podcast is powered by Pinecast.

To understand the music of John Coltrane you must understand the long genealogy of the genre of African Diasporic cultural expression—called Black (or American) Classical Music or jazz as it is often labeled particularly, as it moves back and forth on the time/space continuum. From the Now moment. To the Future moment as yet seen. To the complexities of the past. Back to Now. Never in a linear path. You must listen to Sun Ra. Diz. Bird. Sonny. Brother Ah. Abdullah Ibrahim, Celia Cruz, Tito. Hugh Masekela. Abby. Max. Ella. Nina. Holiday. De La. Tribe. Guru. Heavy. The birds. The Wind. The rain. You must be able to map the material and non-material experiences…often improvised in response to the conditions within which Africana peoples found themselves. You must understand the deep ancestral, historical, and spiritual memory of a people to simultaneously be aware of these conditions while also seeing a world beyond those conditions. John Coltrane—the person, the musician—is a vital link in the long chain of humanity—a representation of an African vibration of humanity. Amiri Baraka in his article John Coltrane: Why His Legacy Continues? writes: “Why does his legacy continue to influence our lives, our music, and the arts?...Trane emerges as the process of historical clarification itself, of a particular social/aesthetic development…When we see him standing next to Bird and Diz, an excited young inlooker inside the torrent of the rising Bop statement, right next to the chief creators of that fervent expression of new black life, we are seeing actual point and line, note and phrase of the continuum. As if we could also see Louis and Bechet hovering over them, with Pres hovering just to the side waiting his entrance, and then beyond in a deeper yet to be revealed hover, Pharoah and Albert and David and Wynton or Olu in the mist, there about to be, when called by the notes of what has struck yet before all mentioned. Trane carried the deepness in us thru Bird and Diz, and them, back to us. He reclaimed Bop fire, the Africa, Polyrhythmic, Improvisational, Blue, Spirituality of us…the Free Jazz! Was parallel to Free Angela! Free Huey! The Ballot or the Bullet! Free Black People!” (192: Digging: The Afro American Soul of American Classical Music) ---Amiri Baraka adds more clarity---I love Music (For John Coltrane)-- For Amiri Baraka, and others, “Trane still sounds inside us as the freedom we seek, the total expression of our lives as the expression of the Human headed soul, teaching that the flaming paradise of his music is in us to create the world we live in” (194: Digging: The Afro American Soul of American Classical Music) But above all of this…more than any of this…to understand Trane you must understand his wife, Alice Coltrane. You must listen to her organized vibrational melodies that seek in their own space to free people, who did not know they needed to be freed, and as of yet still not know they need to be freed. Today, we will listen to a radio documentary produce by the Pacifica Archives, titled Trane Lives. We hear Alice on Trane…and Trane, less than a year before he moved beyond. For complete program: https://www.pacificaradioarchives.org/recording/pz065901-02 Our show was produced today in solidarity with the native, indigenous, African and Afro-descended communities at Standing Rock; Venezuela; Cooperation Jackson in Jackson, Mississippi; Brazil; the Avalon Village in Detroit; Colombia; Kenya; Palestine; South Africa; and Ghana; and other places who are fighting for the protection of our land for the benefit of all people. Image: Alice and John Coltrane: no copyright infringement is intended

Get to know Abbi Auger in this episode! Abbi is an Ironman, Ultrarunner, Achilles Athlete and all-around BAMR.  Hear more about Abbi's running journey, including how she balances training with life, advice she gives new runners as well as her take on living with Bechet's disease.  Abbi has a contagious spirit and is always willing to help motivate her fellow athletes. We hope you benefit from her take on running, and life in general, which is: "Don't Overthink It'.  Show Notes Achilles Athletes Bechet's Disease Follow Abbi on Instagram --- 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/bluegrassbamr/message Support this podcast: https://anchor.fm/bluegrassbamr/support

La ville de New Orleans, affectueusement dénommée Crescent City, fête cette année son tricentenaire. Cette ville qui a subi les influences française (il suffit de noter les noms à consonance française de Bechet, de Blanchard…), espagnole, anglaise, caribéenne et plus particulièrement haïtienne respire la musique. Ses habitants ne la quittent que contraints et forcés ; Fats Domino n’a jamais voulu partir, Terence Blanchard, malgré ses contraintes professionnelles est venu se réinstaller malgré les stigmates laissés par le passage de l’ouragan Katrina Cap donc sur Crescent City et son histoire musicale à forte connotation afro-américaine (60% de la population), du mythique trompettiste Buddy Bolden aux jeunes musiciens de Rebirth Grass Band. Notre invité est Claude Carrière. Il se fera le témoin de la musique de Crescent City, ville où il se rend régulièrement, hébergé et guidé - le veinard - par sa belle- famille afro-américaine . Longtemps producteur à France Musique, président de l’association Maison du Duke, préfacier de la biographie de Duke Ellington (Music Is My Mistress) et concepteur du coffret The Extravagant Mr Gillespie, Claude Carrière nous présentera des artistes emblématiques de la ville quoique méconnus chez nous comme la chanteuse Germaine Bazzle, les pianistes Ellis Marsalis et David Torkanowski et la formation Rebirth Brass Band. C’est évident, on aurait aussi aimé vous parler de Jelly Roll Morton, de Fats Domino, de Lee Dorsey, de Professor Longhair, des Neville Brothers, des Meters ; on se contentera d’Allen Toussaint et de Dr John, faute de temps. Hélène nous donnera sa chronique autour de la Stretch Music de Christian Scott mais nous parlerons aussi de la Suite composée par Terence Blanchard (illustrée dans l’émission par «  Funeral Dirge ») sans oublier « Congo Square » tiré de la Suite A Drum Is A Woman d’Ellington parce que c’est à Congo Square que les esclaves africains se réunissaient et firent éclore une musique qui allait embraser le monde : le Jazz.   Liste des titres : Rebirth Brass Band ; "Blackbird Special" de l'album The Main Event: Live At The Maple Leaf : https://www.discogs.com/fr/Rebirth-Brass-Band-The-Main-Event-Live-At-The-Maple-Leaf/release/1679817 Duke Ellington And His Orchestra ; "Congo Square" de l'album A Drum Is A Woman : https://www.discogs.com/fr/Duke-Ellington-And-His-Orchestra-A-Drum-Is-A-Woman/master/466893 Terence Blanchard ; "Funeral Dirge" de l'album A Tale Of God's Will (A Requiem For Katrina) : https://www.discogs.com/fr/Terence-Blanchard-A-Tale-Of-Gods-Will-A-Requiem-For-Katrina/release/2443140 The Ellis Marsalis Quintet, de l'album Plays The Music Of Ellis Marsalis : https://www.discogs.com/fr/The-Ellis-Marsalis-Quintet-Plays-The-Music-Of-Ellis-Marsalis/release/11804434 Germaine Bazzle, "You’ve Gone" Jazz Chamber Quintet, "Pretty Girl" de l'album For All We Know : http://chamberjazzquintet.com/for-all-we-know/ Duke Ellington Orchestra, "Harlem Airshaft " : https://www.discogs.com/fr/Duke-Ellington-His-Orchestra-Harlem-Air-Shaft-Five-Oclock-Drag/release/11239477 Duke Ellington And His Orchestra, "U.M.M.G." de l'album Ellington Jazz Party : https://www.discogs.com/fr/Duke-Ellington-And-His-Orchestra-Ellington-Jazz-Party/release/1915666 Dr. John, "My Buddy" de l'album In A Sentimental Mood : https://www.discogs.com/fr/Dr-John-In-A-Sentimental-Mood/master/193821 David Torkanowsky, "Spring Can Really Hang You Up The Most" de l'album Steppin' Out : https://www.discogs.com/fr/David-Torkanowsky-Steppin-Out/master/1264780 Louis Armstrong And His Orchestra, "Perdido Street Blues" de l'album Perdido Street Blues : https://www.discogs.com/fr/Louis-Armstrong-And-His-Orchestra-Perdido-Street-Blues-219-Blues/release/11461246 Allen Toussaint, "Working In The Coal Mine" de l'album Toussaint : https://www.discogs.com/Allen-Toussaint-Toussaint/release/1574769  

Since 1961, Preservation Hall has been the epicenter of traditional jazz music in New Orleans. In today's episode, we visit with Ben Jaffe, the band leader of the Preservation Hall Jazz Band. After a visit to New Orleans on their honeymoon in 1961, Ben's parents Allan and Sandra Jaffe created Preservation Hall. Along the way, they helped ensure this original American music form would have a place to be celebrated and honored. Ben and the Preservation Hall Jazz Band carry on that tradition, while also helping spread the celebration of jazz music worldwide. In today's show, we talk about the musicians, the music, the art scene in New Orleans in the early 1960s and more. You'll hear about artists from Buddy Bolden and Sweet Emma to recent collaborations with Dave Grohl and the Foo Fighters. We also talk about the Preservation Hall Foundation, and the work they do to help kids learn about jazz. All this and more on today's show! Resources Preservation Hall |726 St. Peter St - live shows offered nightly, seven days a week. Preservation Hall performances are open to all ages. Tickets can be purchased at the door, though patrons usually start lining up 45 minutes early. To avoid the line, purchase a Big Shot pass on the website. Follow Preservation Hall on Twitter (@PresHall), Instagram (@PreservationHall), and on Facebook. Thank You Thanks to Ben Jaffe for joining me on the podcast and for welcoming me into his parent's home. It was an honor to record this discussion with Ben about the past and future of New Orleans jazz music. A special thanks to Paul Sanchez for connecting me with Ben. Both are ambassadors for New Orleans and always looking to connect people who share a love of the Crescent City and her music. You can listen to an interview with Paul back in episode #23. Subscribe to the Podcast If you enjoy the show, please subscribe to the podcast on Apple Podcasts, Stitcher, Google Play Music or wherever you get your podcasts. If you do enjoy listening, please share Beyond Bourbon Street with someone who shares our love of New Orleans. Join Us on Facebook We now have a Facebook group where you can ask questions, share your New Orleans experiences and engage with others who love all things New Orleans. Join us by going to www.beyondbourbonst.com/facebook Contact Us Got an idea for an episode, have some feedback or just want to say hi? Leave us a message at 504-475-7632 or send an email to mark@beyondbourbonst.com Thanks for listening! Mark

Madams and Musicians - Storyville, New Orleans In 1897, New Orleans leaders created Storyville, the infamous red light district of New Orleans. For the next twenty years, Storyville was the legal center of prostitution in the Crescent City. Storyville was the workplace of madams and prostitutes.  Patrons might spend an evening at Lulu White's Mahogany Hall or at Josie Arlington's place. Here, they encountered lavish furnishings, live music, ample amounts of alcohol, and sex for a price. In addition to the sex trade, Storyville was a hotbed of music and musicians. Patrons wandering down Basin Street would come across Jelly Roll Morton, Manuel "Fess" Manetta, Tony Jackson, and maybe even a young Louis Armstrong. These musicians were expected to play everything from opera to ragtime. While jazz wasn't likely invented in Storyville, the collaboration and improvisation of these talented musicians helped shape and influence the music we know today. Meet Your Tour Guides to the Red Light District I welcomed three guests to the podcast this week, including a return visit by Pamela Arceneaux, author, senior librarian, and rare books curator at the Historic New Orleans Collection. Pamela's book, called the Guidebooks to Sin: the Blue Books of Storyville, was featured in episode #34. In addition to Pamela, HNOC curators John Lawrence and Eric Seiferth joined us for a lively discussion. Together, the three of them help bring Storyville to life for us. We learn about the madams and the musicians, as well as the music itself. Insider Knowledge: Did you know opera was as likely to be heard as ragtime? I didn't! Along the way, we discuss the divide between establishments targeted towards the wealthy (white) clients, and black Storyville, home of simple cribs. We also explore the new HNOC exhibit Storyville: Madams and Music, and talk about the photos of Earnest Bellocq and the movie Pretty Baby, featuring a very young Brooke Shields. All this and more in this episode of Beyond Bourbon Street! Resources You can find Pamela’s book at local booksellers, including Octavia Books, Garden District Book Shop and Maple Street Book Shop, as well as at The Historic New Orleans Collection. You can also find Guidebooks to Sin on Amazon. Explore the Historic New Orleans Collection online and in person. They are located at 533 Royal Street, in the heart of the French Quarter. Links and show notes for today's episode can be found at http://beyondbourbonst.com/35 Thank You Thanks to Pamela Arceneaux, John Lawrence and Eric Seiferth for joining me today. Together, they helped paint a picture of New Orleans and Storyville during the late 1800s and into the 20th century. Eli Haddow at the Historic New Orleans Collection made our discussion possible. Kate McCreary hepled with the research into Storyville. Finally, thanks to you for allowing me into your ears every other week. I truly enjoy sharing this city we both love! Subscribe to Beyond Bourbon Street If you enjoy the show, please subscribe to the podcast on iTunes, Stitcher, Google Play Music or wherever you get your podcasts. Search Beyond Bourbon Street. If you do enjoy listening, please share Beyond Bourbon Street with someone who shares our love of New Orleans. Contact Us Got an idea for an episode, have some feedback or just want to say hi? Leave us a message at 504-475-7632 or send an email to mark@beyondbourbonst.com Thanks for listening! Mark

The rousing spiritual from folk opera 'Porgy and Bess' has become one of the most recorded tunes of all time, says David Honigmann, with Miles Davis, Janis Joplin and Peter Gabriel among the artists who covered it. Credits: Columbia/Legacy, Mercury Records, Hallmark See acast.com/privacy for privacy and opt-out information.

John H. Lawrence, Director of Museum Programs at the Historic New Orleans Collection introduces Bruce Boyd Raeburn. Raeburn is a Curator at the Tulane University’s Hogan Jazz Archive and plays the drums. He presents Reflections of Bechet, A New Orleans Jazz Original: The Man and the Music. Recorded in 2012.

John H. Lawrence, Director of Museum Programs at the Historic New Orleans Collection introduces Bruce Boyd Raeburn. Raeburn is a Curator at the Tulane University’s Hogan Jazz Archive and plays the drums. He presents Reflections of Bechet, A New Orleans Jazz Original: The Man and the Music. Recorded in 2012.

Vortrag "Jazz - Die klassische Musik der Globalisierung"