Podcasts about Bitches Brew

Een TORcast geheel gewijd aan de muziek van Miles Davis. Miles werd honderd jaar geleden (op 26 mei 1926) geboren en ontwikkelde zich tot één van de belangrijkste musici, niet alleen in de geschiedenis van de jazz maar in die van hele hedendaagse muziek.  In deze TORcast laat Willem Habers een selectie van zijn favoriete Davis-opnames horen. Geen uitputtende opsomming, geen verantwoord chronologisch overzicht, geen doorwrocht spectrum van ’s mans invloeden en werk maar een heel persoonlijke keuze uit het gigantische oeuvre van deze jazzgigant. Playlist: So What Miles Davis (trompet), Bill Evans (piano), Cannonball Adderly (altsax), John Coltrane (tenorsax), Paul Chambers (bas), Jimmy Cobb (drums) Move met Gerry Mulligan, Max Roach, Lee Konitz, Karl Winding en John Barber (tuba) If I Were A Bell Miles Davis (tp), Red Garland (piano), John Coltrane (tenorsax), Paul Chambers (bas), Philly Jo Jones (drums) Someday My Prince Will Come Miles Davis (tp), John Coltrane (sax), Hank Mobley (sax), Wynton Kelly (piano), Psul Chambers (bas), Jimmy Cobb (drums) My Funny Valentine Miles Davis (trompet), Herbie Hancock (piano), Wayne Shorter (tenorsax), Ron Carter (bas), Tony Williams (drums) Générique – Ascenseur pour l’echafaud Miles Davis (trompet), Barney Wilen (sax), René Urtreger (piano), Pierre Michelot (bas) en Kenny Clarke (drums) Concierto de Aranjuez: Adagio Miles Davis (trompet), orkest onder leiding van Gil Evans Een paar bespiegelingen… De muziek van Miles Davis is niet slechts een hoofdstuk in de geschiedenis van de jazz; zij is een voortdurend herlezing van wat muziek kan zijn. Wie naar Davis luistert, hoort niet alleen noten, maar ook een bepaalde houding ten opzichte van tijd, stilte en vernieuwing. Zijn oeuvre lijkt zich steeds te onttrekken aan elke definitie die men erop loslaat. Dat maakt zijn betekenis filosofisch relevant: Davis laat zien dat identiteit niet iets statisch is, maar een proces van voortdurende transformatie. Een van de opvallendste kenmerken van zijn muziek is het gebruik van ruimte. In albums als *Kind of Blue* wordt stilte niet als leegte ervaren, maar als een actief element. Deze benadering roept vragen op over de aard van expressie zelf. Moet muziek altijd gevuld zijn, of kan juist het weglaten een diepere vorm van communicatie zijn? Davis' antwoord lijkt te zijn dat betekenis ontstaat in de spanning tussen klank en stilte. Daarmee sluit hij aan bij een bredere existentiële intuïtie: dat wat niet gezegd wordt, vaak even belangrijk is als wat wel wordt uitgesproken. Daarnaast belichaamt Davis het idee van artistieke vrijheid als morele houding. Hij weigerde zich te conformeren aan de verwachtingen van zijn publiek of de industrie. Telkens wanneer hij succes bereikte—of het nu ging om bebop, modal jazz of fusion—koos hij ervoor om een nieuwe richting in te slaan. In die zin is zijn carrière een praktijk van wat de filosoof Nietzsche “zelfoverwinning” noemde: het voortdurend achterlaten van het oude zelf om ruimte te maken voor het nieuwe. Deze radicale trouw aan vernieuwing maakt hem tot een bron van inspiratie voor hedendaagse musici. De invloed van Miles Davis op huidige jazzmuzikanten ligt dan ook niet alleen in specifieke harmonieën of technieken, maar in een manier van denken. Moderne jazz kenmerkt zich door hybriditeit: invloeden van hiphop, elektronische muziek en wereldmuziek vloeien samen tot nieuwe vormen. Deze openheid is rechtstreeks schatplichtig aan Davis' grensverleggende experimenten, vooral in zijn latere werk zoals *Bitches Brew*. Hij legitimeerde het idee dat jazz geen afgesloten traditie is, maar een permeabel veld waarin alles kan worden opgenomen. Ten slotte blijft Davis relevant omdat hij de luisteraar actief betrekt. Zijn muziek vraagt om aandacht, om interpretatie, om een zekere existentiële inzet. Zij is nooit volledig transparant; er blijft altijd iets ongrijpbaars. In een tijd waarin muziek vaak als achtergrondconsumptie fungeert, herinnert Davis ons eraan dat luisteren een vorm van denken is. Zo bezien is Miles Davis niet alleen een muzikant, maar een filosoof in klank. Zijn erfenis leeft voort in elke muzikant die durft te experimenteren, te twijfelen en opnieuw te beginnen—en in elke luisteraar die bereid is om in die zoektocht mee te gaan.

Een TORcast geheel gewijd aan de muziek van Miles Davis. Miles werd honderd jaar geleden (op 26 mei 1926) geboren en ontwikkelde zich tot één van de belangrijkste musici, niet alleen in de geschiedenis van de jazz maar in die van hele hedendaagse muziek.  In deze TORcast laat Willem Habers een selectie van zijn favoriete Davis-opnames horen. Geen uitputtende opsomming, geen verantwoord chronologisch overzicht, geen doorwrocht spectrum van ’s mans invloeden en werk maar een heel persoonlijke keuze uit het gigantische oeuvre van deze jazzgigant. Playlist: Seven Steps to Heaven Miles Davis (trompet), Ron Carter (bas), Anthony Williams, Frank Butler (drums), Herbie Hancock, Victor Feldman (piano), George Coleman (tenorsax), Nefertiti Miles Davis (trompet), Wayne Shorter (tenorsax), Tony Williams (drums), Ron Carter (bas), Herbie Hancock (piano) Boplicity Miles Davi (trompet), Lee Konitz (altsax), Gerry Mulligan (baritonsax), John Lewis (piano), Kenny Clark (drums), Nelson Boyd (bas)J.J. Johnson (trombone), Bill Barber (tuba) Milestones Miles Davis (trompet), John Coltrane (tenorsax), Cannonball Adderly (altsax), Red Garland (piano), Paul Chambers (bas), Philly Jo Jones (drums) Tutu Miles Davis (trompet), Marcus Miller (producer, instruments), George Duke (keyboards), Paulhinho da Costa (percussie) Amandla Miles Davis (trompet), Kenny Garrett (altsax), Marcus Miller (bas), Omar Hakim (drums), Joe Sample (keyboards) Human Nature Miles Davis (trompet), Darryll Jones (bas), Vince Wilburn jr. (drums), John Scofield (gitaar), Robert Irving III (keyboards), Round Midnight Miles Davis (trompet), John Coltrane (tenorsax), Cannonball Adderly (altsax), Red Garland (piano), Paul Chambers (bas), Philly Jo Jones (drums) Jam Session Miles Davis (trompet), Michel Legrand (piano), Jimmy Cleveland (trombone), Kenny Garrett (sax), Mark Rivett (gitaar), Alphonse Mouzon, Harvey Mason (drums), Benny Reitveld (bas) Een paar bespiegelingen… De muziek van Miles Davis is niet slechts een hoofdstuk in de geschiedenis van de jazz; zij is een voortdurend herlezing van wat muziek kan zijn. Wie naar Davis luistert, hoort niet alleen noten, maar ook een bepaalde houding ten opzichte van tijd, stilte en vernieuwing. Zijn oeuvre lijkt zich steeds te onttrekken aan elke definitie die men erop loslaat. Dat maakt zijn betekenis filosofisch relevant: Davis laat zien dat identiteit niet iets statisch is, maar een proces van voortdurende transformatie. Een van de opvallendste kenmerken van zijn muziek is het gebruik van ruimte. In albums als *Kind of Blue* wordt stilte niet als leegte ervaren, maar als een actief element. Deze benadering roept vragen op over de aard van expressie zelf. Moet muziek altijd gevuld zijn, of kan juist het weglaten een diepere vorm van communicatie zijn? Davis' antwoord lijkt te zijn dat betekenis ontstaat in de spanning tussen klank en stilte. Daarmee sluit hij aan bij een bredere existentiële intuïtie: dat wat niet gezegd wordt, vaak even belangrijk is als wat wel wordt uitgesproken. Daarnaast belichaamt Davis het idee van artistieke vrijheid als morele houding. Hij weigerde zich te conformeren aan de verwachtingen van zijn publiek of de industrie. Telkens wanneer hij succes bereikte—of het nu ging om bebop, modal jazz of fusion—koos hij ervoor om een nieuwe richting in te slaan. In die zin is zijn carrière een praktijk van wat de filosoof Nietzsche “zelfoverwinning” noemde: het voortdurend achterlaten van het oude zelf om ruimte te maken voor het nieuwe. Deze radicale trouw aan vernieuwing maakt hem tot een bron van inspiratie voor hedendaagse musici. De invloed van Miles Davis op huidige jazzmuzikanten ligt dan ook niet alleen in specifieke harmonieën of technieken, maar in een manier van denken. Moderne jazz kenmerkt zich door hybriditeit: invloeden van hiphop, elektronische muziek en wereldmuziek vloeien samen tot nieuwe vormen. Deze openheid is rechtstreeks schatplichtig aan Davis' grensverleggende experimenten, vooral in zijn latere werk zoals *Bitches Brew*. Hij legitimeerde het idee dat jazz geen afgesloten traditie is, maar een permeabel veld waarin alles kan worden opgenomen. Ten slotte blijft Davis relevant omdat hij de luisteraar actief betrekt. Zijn muziek vraagt om aandacht, om interpretatie, om een zekere existentiële inzet. Zij is nooit volledig transparant; er blijft altijd iets ongrijpbaars. In een tijd waarin muziek vaak als achtergrondconsumptie fungeert, herinnert Davis ons eraan dat luisteren een vorm van denken is. Zo bezien is Miles Davis niet alleen een muzikant, maar een filosoof in klank. Zijn erfenis leeft voort in elke muzikant die durft te experimenteren, te twijfelen en opnieuw te beginnen—en in elke luisteraar die bereid is om in die zoektocht mee te gaan.

Minimalist music is not about minimal materials. It's about time. It's a process that puts the experience of time into sound. In discussing Minimalist Music, his new book for 33 1/3's GENRE series, musician and critic George Grella, Jr. (Miles Davis' Bitches Brew) looks at the classical music history that pushed composers like Philip Glass, Steve Reich, Meredith Monk, and Arvo Pärt to pursue a musical approach that shunned early 20th Century academic trends and brought classical music back to the public. He also talks about the ways this music interacts with pop culture, through film scores and soundtracks and appearances on TV shows like The Simpsons and Ted Lasso. Hosted and produced by Justin Remer. Recorded remotely via Zencastr. If you like podcasts, maybe you would enjoy audiobooks too. Please out the Skylight Books Podcast playlist of audiobooks featured in our recent Skylit author interviews, on Libro.fm. Opening music: "Optimism (Instrumental)" by Duck the Piano Wire. Closing music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band.

Miles Davis- Miles In The Sky (Columbia Records)(Released  January 16, 1968 and May 15–17, 1968)Miles in the Sky (1968) captures Miles Davis at a pivotal moment of transition. Recorded with his celebrated Second Great Quintet—Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams—the album marks the first clear step toward Davis's electric period. Released by Columbia Records, the record introduces electric piano and electric bass into Miles's studio sound while retaining the sophisticated interplay the quintet had developed through earlier post-bop recordings. The four extended tracks blend groove-based structures with the band's advanced rhythmic freedom and conversational improvisation. Pieces such as “Stuff” and “Paraphernalia” hint at the influence of late-1960s rock and funk, while still grounded in the group's exploratory jazz language. The album stands as the final full studio statement by the Second Great Quintet and foreshadows Davis's radical electric experiments that would soon emerge on his 1969 releases In a Silent Way and Bitches Brew. (S5-EP16)

durée : 00:59:40 - par : Nicolas Pommaret - L'esprit de ce trio, Pascal Schumacher, Sebastian Studnitzky et Edward Perraud, évoque une relecture contemporaine de “Bitches Brew” de Miles Davis — mais pour notre époque. Même goût du risque, même fascination pour l'inconnu, transposés à travers trois voix singulières. “Singülar” sort chez XJAZZ! - réalisation : Emmanuelle Lacaze, Adrien Landivier Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

In this episode of Backstage Bay Area, host Steve Roby interviews Dr. Eddie Henderson — a trumpet master, bandleader, and one of the few remaining links to Miles Davis's world. Born in San Francisco, Henderson's musical career started at 17 when Miles Davis stayed at his parents' house (his stepfather was Miles' doctor), introduced him to the legendary quintet, and ignited a lifelong love for jazz.Henderson shares remarkable personal stories: witnessing the Kind of Blue repertoire live with Coltrane, Cannonball Adderley, and Philly Joe Jones; receiving direct advice from Miles to "get your own sound"; and the unforgettable moment he silenced Miles by dropping the name Freddie Webster. He also opens up about his time with Herbie Hancock's Mwandishi band, his years playing alongside Art Blakey, and his current role as a trumpet instructor at Oberlin Conservatory.The conversation looks ahead to Eddie's upcoming performance at SF Jazz's Miles Davis Centennial Tribute at Miner Auditorium in San Francisco on March 21, where he'll lead a group performing the complete ‘Kind of Blue' album alongside drummer Lenny White and saxophonist Javon Jackson — both of whom have their own deep connections to Miles.Topics covered:Meeting Miles Davis at age 17 and seeing the first live performance of the Kind of Blue repertoireWhy Miles' music has endured — from modal jazz to Bitches Brew to hip hopMiles' philosophy: playing music vs. playing the instrumentThe famous "Freddie Webster" exchange and what it taught Henderson about finding your own voiceMiles as housemate, mentor, and comedianPerforming alongside Lenny White (Bitches Brew) and Javon Jackson at the SF Jazz tributeTeaching jazz at Oberlin and passing down the wisdom of MilesLinks & Info:SF Jazz Miles Davis Tribute — Saturday, March 21st, Miner Auditorium, San FranciscoTickets: sfjazz.org (shows nearly sold out at time of recording)Backstage Bay Area is your inside look at the Bay Area jazz scene. Subscribe and leave us a review if you enjoyed this episode.

Tanja Ritterbex is kunstenaar. Ze maakt schilderijen en videokunst. Ritterbex heeft tentoonstellingen gehad in verschillende Europese steden en ook in Brazilië en op Curaçao. In 2016 won ze de Koninklijke Prijs voor de Vrije Schilderkunst met haar olieverfschilderij ‘Best Time Ever'. Vanaf februari presenteren Keetje Mans, Aline Thomassen en Tanja Ritterbex samen hun project ‘Bitches Brew' in het Bonnefanten Museum. Ze tonen ieder een eigen solotentoonstelling, terwijl hun werken ook met elkaar in dialoog gaan. In de tentoonstelling van Ritterbex is uitbundig, vrolijk en ontroerend werk te zien over de tijd vóór en tijdens het moederschap, over het vrouw-zijn en over hoe anderen naar je kijken.

Your weekly guide to the music biz and how it all works – and this week they speak to Ricky Bates, head of booking and promotion at the Joiners in Southampton - one of the UK's great grassroots venues. But first they chat about:Half a million pounds is being distributed in the UK to grassroots venues artists and events - and it's money gathered from the levy on ticket sales in the UK. Steve and Stu discuss how this money is being spent – and how it will make a difference.Last week, Steve spoke to highly successful UK manager Niamh Byrne (Blur, Gorillaz and more)  and you'll be able to hear that interview in a couple of weeks. But one notable thing she spoke about was how managers are working harder than ever, and need to provide more services than before. So what is a manager's job now?Also at the Music Ally Connect conference, a key Universal music exec spoke about how AI can create new songs when one song is “covered” by AI versions of other artists: “I really want to hear what it sounds like for Jimi Hendrix to play Bitches Brew”. But do people really want to hear AI-generated cover versions?Then the duo speak to Ricky Bates and he discusses the reality of running a local grassroots venue in 2026 – and it's a solid-gold local venue that has hosted most of today's biggest bands on their way up. It's where both Coldplay and Manic Street Preachers signed their first deals, and how Green Day "accidentally" played their Kerplunk! album launch show at the Joiners. The public podcast contains highlights of the interview – however Patreon Superfan listeners can hear the whole interview as this week's lock-in content! (Become a Patreon Superfan here! ⁠⁠⁠⁠⁠https://www.patreon.com/ThePriceofMusic⁠⁠⁠)Ricky speaks about:How he started at the venue  by being thrown in at the deep end – and how he cleared a huge rent debt (with help from some Frank Turner gigs)How a “reset button” has been hit in the last few years – and how people's gig-going habits have changed recentlyWhat the hidden costs are of running a venue – and why the profit margins are so tightThe stressful process of buying the venue with the help of the Music Venue TrustHow artists are starting to book shorter “big city” tours that avoid the regional towns and cities, leaving local fans with fewer options.How under-18s fans are often drawn to the huge arena shows at the expense of cheap local shows.The future of the venue and what decades of moshing has done to the floor of the dancefloor!===================================As ever, we welcome your feedback, emails and – in particular – any questions you might have about how the music biz works!Email us: ⁠⁠thepriceofmusicpodcast@gmail.com⁠⁠See you next week!Steve and Stuart======TPOM online: http://tpom.uk/Support The Price of Music on Patreon:⁠⁠https://www.patreon.com/ThePriceofMusic⁠⁠Follow Steve on X - @steve_lamacqFollow Stuart on X - @stuartdredgeFollow The Price of Music on X - @PriceofMusicpodFor sponsorship opportunities, please email - ⁠⁠joe@musically.com

Send us a textIn tribute to the late Bob Weir, our venerable gentlemen put on their specs and take a closer look at the Grateful Dead classic "Touch of Grey". As they amble down the road they rip a Page off of Jimmy, find themselves in a Bitches Brew, and come to the realization that aging is a Fact of Life and nothing WEIRd after all.  Join the lads as they commemorate their 50th episode and marvel as to what a long strange trip it's been...Songs:The Reverb Syndicate - Better Dancing Through TechnologyCate Le Bon - Always the SameGrateful Dead - Touch of GreyBob Weir and Wolf Bros. - RippleCrosby, Stills, and Nash - Teach Your ChildrenJim Bryson - Traveled by LandMiles Davis - John McLaughlinMary Lattimore and William Tyler - @ Le Guess Who 2019Led Zeppelin - That's the WayLeonard Cohen - I Can't ForgetConnect with us:Instagram

Barry and Abigail try something a little different with newly minted Three-Timer Jeff “Jafo” Shettler, who previously appeared on Jukebox: Wish There Were Beer (Pink Floyd and brewLAB) and Bonus: Pink Floyd Leftovers (Pink Floyd and brewLAB Leftovers). Jafo brings us on location to brewLAB in Carpinteria, California, to open a bottle of The False Prophet he had been saving for over eight years.Watch this video version of this episode!Suggested pairings of brewLAB beers and albums we heard included: Green Tea IPA and Mad Villainy by MF DOOM, Coco Johnny and Time Out of Mind by Bob Dylan, Green Tea IPA and Rust Never Sleeps by Neil Young, Beatbox and License to Ill by Beastie Boys, and Sorciere Noir and Dub Side of the Moon by Easy Star All-Stars.Abigail was intrigued by Mangose and Botanicale Deux. Barry called out Rice Rice Baby.Jafo suggested pairing The False Prophet with Sympathy for the Devil by The Rolling Stones, Bitches Brew by Miles Davis, or Ripple by Grateful Dead. Other suggested song pairings we heard included California Dreamin' by The Mamas & The Papas, Caravan by Van Morrison, Cinnamon Girl by Neil Young, Banana Pancakes by Jack Johnson, and Worst Comes to Worst by Dilated Peoples.Barry suggested pairing Jafo's homebrewed Maple Bacon Bourbon Porter with Darkness on the Edge of Town by Bruce Springsteen. By the way, you can hear our discussion of this album in our episode Dark Beer on the Edge of Town from 2021.Abigail wasn't drinking, but she plugged I Don't Want to Know by Fleetwood Mac.Dave, one of the brewers and the beertender the night we “stopped by,” suggested pairing The False Prophet with (Got) Everything to Shine by Saudade Experiment.Up next… Brothers in Arms by Dire StraitsJingles are by our friend Pete Coe.Visit Anosmia Awareness for more information on Barry's condition.Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic!Leave us a rating or a review on Apple Podcasts or Spotify!Facebook | Instagram | Bluesky | YouTube | Substack | Website | Email us | Virtual Jukebox | Beer Media Group

Cikle „Kai klasika įkvėpė popmuzikos dainius“ – Brucknerio Penktoji ir roko grupė „The White Stripes“. Rubrikoje „Muzikos einšteinai“ – vienas įtakingiausių XX a. kūrinių, Steve‘o Reicho „Muzika aštuoniolikai muzikantų“. Na ir pagaliau, populiariausių džiazo albumų „Bitches Brew“ ir „Time Out“ prodiuseriui Teo Macero – 100.Ved. Domantas Razauskas

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On October 26, 2025, the legendary jazz drummer Jack DeJohnette passed away at the age of 83. DeJohnette was one of the greatest drummers in modern jazz. He released more than 50 albums as a bandleader and appeared on hundreds of recordings as a sideman — including landmark sessions such as Miles Davis' “Bitches Brew”, Wayne Shorter's “Super Nova”, and Keith Jarrett's “Standards”, among many others. DeJohnette also recorded six classic albums with Naptown jazz icon Freddie Hubbard. This week on Echoes of Indiana Avenue, we'll share music highlighting Freddie Hubbard's collaborations with Jack DeJohnette.  Born in Chicago in 1942, DeJohnette began his musical journey studying classical piano before switching to drums — a duality that shaped his melodic sensibility behind the kit. He rose to prominence in the 1960s through his work with jazz luminaries including Charles Lloyd, Chick Corea, Bill Evans, and Miles Davis. During his six-decade career, DeJohnette led numerous ensembles and recorded prolifically, creating a distinctive sound that fused jazz traditions with abstract and avant-garde influences. A National Endowment for the Arts Jazz Master and Grammy Award winner, DeJohnette was a guiding force in the evolution of modern jazz.

rWotD Episode 3005: Return to Forever Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Saturday, 26 July 2025, is Return to Forever.Return to Forever was an American jazz fusion band that was founded by pianist Chick Corea in 1972. The band has had many members, with the only consistent bandmate of Corea's being bassist Stanley Clarke. Along with Weather Report, The Headhunters, and Mahavishnu Orchestra, Return to Forever is often cited as one of the core groups of the jazz-fusion movement of the 1970s. Several musicians, including Clarke, Flora Purim, Airto Moreira and Al Di Meola, came to prominence through their performances on Return to Forever albums.After playing on Miles Davis's jazz-fusion albums In a Silent Way (1969) and Bitches Brew (1970), Corea formed an avant-garde jazz band called Circle with Dave Holland, Anthony Braxton and Barry Altschul. In 1972, after converting to Scientology, Corea decided he wanted to communicate better with his audience. This meant performing a more accessible style of music than avant-garde jazz.Return to Forever first disbanded in 1977 after five years and seven studio albums. The band never released another studio album, but occasionally reunited for live performances until Corea's death in 2021.This recording reflects the Wikipedia text as of 00:05 UTC on Saturday, 26 July 2025.For the full current version of the article, see Return to Forever on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Niamh.

Author and sports columnist Dave Zirin of The Nation joins us to delve into the Muhammad Ali psychedelia of A.K.A. CASSIUS CLAY (1970), possibly the trippiest sports documentary ever conceived. In this amazing conversation, Dave explains how Ali linked the civil rights movement to growing antiwar protests as well as giving us the lowdown on director Jimmy Jacobs and narrator Richard Kiley, a Broadway legend who looks like a handsy college professor here. Cory and Bob talk about the movie's funkified jazz score by Teo Macro, who scored this movie the same year he produced Miles Davis' fusion opus BITCHES BREW! And Dave sticks around long enough to tell us about the time that George Foreman (RIP) sang Bob Dylan to him. You'll never guess which song Big George sang, so you'll have to listen. Bob and Cory also talk a little bit about the new SUPERMAN movie and speculate if David Zaslav is the greatest studio chief of all time with Super and SINNERS coming out during his watch. We promised Dave Zirin talking Ali and Foreman back in PhilenApocalypse III and gave you THE BIRDS instead. And in THE BIRDS ep, we promised horse movies with Philena's partner Sage and you finally got Zirin and Ali. So the next episode will be Sage joining us for horse movies, but there's yet another programming change. Instead of Smoky and Francis the Talking Mule, you'll get HOT TO TROT (1988) with the great Bobcat Goldthwait plus Elizabeth Taylor in NATIONAL VELVET (1944), which Cory says is the least stony movie of all time but Bob promises is kinda pervy in a disturbing way, so there's that. Please subscribe so you don't miss it. You can find Dave Zirin at https://www.edgeofsports.com/ Hosts: Bob Calhoun and Cory Sklar Philena and Greg are on assignment OMFYS Theme and "Hamburgers for America" by Chaki the Funk Wizard used by permission. Calluses II by William Rosati via YouTube Audio Library Archival audio via Archive.org 20060419.horse.neigh.wav by dobroide -- freesound.org/s/18229/ -- License: Attribution 4.0 Web: www.oldmoviesforyoungstoners.com Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Contact: oldmoviesforyoungstoners AT gmail DOT com

For the Record is a conversation series where we speak with all manner of music heads — DJs, music journos, indie label captains, record shop owners, listening bar kingpins, et al — about their stories + the music that makes them.Join the Crate Coalition: https://discord.gg/sAaG6a7bv4Doug Moore is a prolific extreme metal musician based in Queens. He's the vocalist of Pyrrhon, Scarcity, Glorious Depravity, & Seputus, and the multi-instrumentalist and vocalist of Weeping Sores.In prior years, he worked as a music critic and editor for Stereogum, Invisible Oranges, and BrooklynVegan, among other outlets. Outside of his musical activities, he pays the bills by working as a software engineer, and pursues lifelong interests in fitness and literature.https://linktr.ee/avantdumbMUSIC MENTIONSNirvanaStone Temple PilotsSoul AsylumRadioheadFairport ConventionThe BeatlesPink FloydLed ZeppelinMetallicaSlayerMatt HollenbergJohn ZornClericEarly days, vocal inspirations (11:50):James HetfieldMikael ÅkerfeldtOpethThe Dillinger Escape PlanDimitri MinakakisTomas LindbergAt the GatesJ.R. HayesPig DestroyerPeter TägtgrenHypocrisyDavid VincentMorbid AngelTom ArayaJeff WalkerCarcassSteve SchweglerPyrrhonSeputusDylan DiLellaDigital MetalMetal JudgmentLambgoatMetal ReviewLast RitesWNYU RadioContextualizing work as a music journalist (26:45):Invisible OrangesWyatt MarshallStereogumRelapse RecordsQ&ALankumIan LynchBill WellsAidan MoffatArab StrapPhilip GlassKrallice“Second Wound” by Plowshare“Exhaust” by PyrrhonWillowtip RecordsScarcity“The Promise of Rain” by ScarcityThe FlenserWeeping SwordsI, Voidhanger RecordsHave a Nice LifeDiscovering music today (35:08):Music journalist friends, band mates, etcWyatt MarshallIan ChaineyAaron LariviereCaroline HarrisonThomson GusterFire Draw NearFirst album ever purchased (41:11):“Tubthumper” by ChumbawumbaMost recent album purchased (42:42):“Everything's Getting Older” by Aidan Moffat and Bill WellsArtists discovered in the past year (44:20):Shovel Dance CollectiveBłotoPlowshareDesert island discs (49:33):“Bitches Brew” by Miles Davis“OK Computer” by Radiohead“Master of Puppets” by Metallica

When it came to music, Miles Davis wasn't about no safe, tired yesterday bullsh*t. After kicking his heroin addiction, he traded bespoke suits for fringe jackets and spearheaded an experimental blur of jazz and rock, eclipsing his contemporaries with a complete reinvention of himself. But the second act of Miles' life came fraught with failures and new fixes, including a wrecked Lambo, two broken legs, and a mountain of coke and pills so massive that Miles almost never made it down the other side. This episode contains themes that may be disturbing to some listeners and includes descriptions of domestic violence. To see the full list of contributors, see the show notes at www.disgracelandpod.com. This episode was originally published on May 17, 2022. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter)  Facebook Fan Group TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This week, we are joined by New Zealand musician & composer LUKASZ PAWEL BUDA (Hunt For The Wilderpeople; The Phoenix Foundation), who picked the Dave Markey music documentary 1991: THE YEAR PUNK BROKE to discuss. We talk about discovering Nirvana & Sonic Youth, what it's like for Luke to compose music for director Taika Waititi's films, 1991's director Dave Markey's history with SST records, Luke taking the teenage trek to see grunge bands live and does Pearl Jam count as a grunge band, how this movement captured in the film eventually became a world wide sensation, the Sonic Youth Goo VHS tape, Thurston's stream of conciousness rants in the movie, the start of documenting everything with film & video, how Sonic Youth did not come off as goofballs on their albums but did in their videos, Meat Puppets Up On The Sun, the Sub-Pop situation, selling out, Jawbreaker, what was selling out in New Zealand like, Flying Nun Records, Bad Moon Rising, the ceiling of the underground, Nirvana's Bleach, hearing Smells Like Teen Spirit for the first time, Chris's Sub-Pop band playing with Mudhoney and Nirvana the day their album went gold, seeing Sonic Youth wearing shorts, The Crucifucks, Steve Shelley's drumming, Markey's knack of knowing where to film at any given moment, the incredible coolness of Kim Gordon, how the film gloriously shows how Sonic Youth actually made these songs come to life, how impressive it is that Sonic Youth could still hold onto what made them singualr while moving into a more accessable world, Miles Davis' Bitches Brew, how Nirvana ecplised Sonic Youth's popularity by the time this film came out, Courtney Love, the overwhelming Redding Festival lineup that year, how the Super 8mm format enhanced the film, blind spots in musical cultutre, The Pixies and the melancholy that happens as your tour ends.So grab the tiny mic and scream straight into the camera on this week's episode of Revolutions Per Movie!!!LUKASZ PAWEL BUDA:https://thephoenixfoundation.bandcamp.comhttps://www.monikermusic.nethttps://lukebuda1.bandcamp.com/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

In this lively episode of 'Top 10 Time Machines,' the hosts, alongside fan-favorite Lisa and AI Sabrina, embark on a musical journey as they draft iconic albums from 1970. After paying homage to Dave's late cousin and fellow music lover, Scott, they explore legendary records by The Beatles, Led Zeppelin, and more, recounting personal anecdotes like Milt's humorous Grateful Dead concert story. The discussion, enriched by personal reflections and banter around albums like Jackson 5's ABC and Let It Be, brings nostalgia and spirited debate over the decade's top albums. The episode concludes with insights into potential future collaborations and an invitation for further audience engagement.00:00 Introduction and Draft Teaser01:26 Personal Story: Remembering Scott04:47 Listener Guest Introduction06:00 Drafting the Best Albums of 197013:23 Sabrina's Picks: Led Zeppelin and Black Sabbath15:26 Dave's Picks: The Beatles and The Rolling Stones18:45 Milt's Picks: Simon & Garfunkel and CCR32:07 Lisa's Picks: Grateful Dead and George Harrison43:31 Drafting Woodstock: A Legendary Live Album47:56 Neil Young's After the Gold Rush51:11 The Who's Live at Leeds57:00 Bitches Brew by Miles Davis01:00:22 Crosby, Stills, Nash & Young's Deja Vu01:02:24 Bobby Sherman: A Personal Choice01:05:54 Tea for the Tillerman by Cat Stevens01:08:19 James Brown's Sex Machine01:11:23 Jackson 5's ABC01:13:16 Recap and Final Thoughts

In this week's episode, the Cauldron Crew come together to say their final goodbyes to Bitches Brew. Justin, Marcella, and Kelly joins Lisette and Allen to reminisce about their favorite parts. How can we forget about “Loadmas” and “Timmy searching for his daddy”. Grab your beverage and your broomstick for one last ride. Social:Email - cauldroncrewpod@gmail.comX - cauldroncrewpodInsta / TikTok - bitches.brew.pod

Italy born producer and modular synthesist David Castellani is an aficionado in all things modular with a focus on driving, contemporary techno. His sound, fuelled by an array of analog hardware, showcases the intricate aspects of modern music production, while staying true to the fundamentals. Having formerly cut his teeth in a DJ/Producer duo, David has already built a category of healthy releases, collaborations and remixes, while sharing the decks with industry heavies including Nastia, Mark Broom, Dense & Pika & Vril, to name a few. Now based in LA by way of Chicago, Castellani launched his record label Noetic in 2021, cultivating smart & dynamic techno with a focus on synthesizers and analog hardware. The label has curated eleven releases from Castellani so far, featuring remixes from Redshape, Matrixxman, Voiski & Etapp Kyle. Castellani's journey in music has been marked by two guiding principles – passion and learning, including exploration of world cultures. He uses the didgeridoo, part of ancient First Nation Australian culture which he respectfully acknowledges, in his live sets. He was taught drums by respected Afro Cuban percussionist Juma Santos, who featured on the legendary Miles Davis album ‘Bitches Brew'. The experience of working with Santos has stayed with him till this day. “It was one of the most vivid memories of my youth. We just spent hours playing drums together and then we'd indulge in some cannabis while Juma would share stories about hanging out with Miles Davis in the 70's. I was about 17 and remember travelling home, thinking how excited I was to start this new journey in music. And most of all, this helped me understand the value of education via a proper teacher within music.” Castellani would go on to be an educator himself, thriving as a teacher at Chicago's respected Columbia College, where he'd teach for almost a decade. His passion for educating is something that stays with him till this day, involved in running modular synth workshops in LA in collaboration with the RE/FORM crew, with whom he holds a residency. He also volunteers with the Jazz Angels, an outreach program that sees him go into schools and help children record and learn about music. His passion and curiosity for all things learning, creativity and technological development has seen him create his own sequencer module, the Precision Disrupter. His background in graphic design also sees a collaboration with clothing brand After Infinite, responsible for designing all their rave wear garments. A magnetic live performer, recent highlights include a special 360-degree audio-visual performance in LA alongside Colin Benders and ONYVAA; a coveted spot playing Chicago's Arc Festival and the release of his collaborative project ‘Hysteria Dichotic' with AnnMarie Arcuri, which combined techno, contemporary dance, modular synthesis and film. Castellani wishes to acknowledge that First Nations Australians are the traditional owners of the didgeridoo, a wind instrument he uses in his live sets. He pays his respects to all First Nations people. Tracklist via -Spotify: bit.ly/SRonSpotify -Reddit: www.reddit.com/r/Slam_Radio/ -Facebook: bit.ly/SlamRadioGroup Archive on Mixcloud: www.mixcloud.com/slam/   Subscribe to our podcast on -iTunes: apple.co/2RQ1xdh -Amazon Music: amzn.to/2RPYnX3 -Google Podcasts: bit.ly/SRGooglePodcasts -Deezer: bit.ly/SlamRadioDeezer   Keep up with SLAM: https://fanlink.tv/Slam  Keep up with Soma Records: https://linktr.ee/somarecords    For syndication or radio queries: harry@somarecords.com & conor@glowcast.co.uk Slam Radio is produced at www.glowcast.co.uk

In this week's episode, Lisette and Allen educate each other on some very important topics… sex fantasies and Scooby Doo. They created some PowerPoint slides and descend into craziness. Get ready to get schooled in this iteration of Bitches Brew! Social:Email - cauldroncrewpod@gmail.comX - cauldroncrewpodInsta / TikTok - bitches.brew.pod

Welcome to Why Music Matters, a podcast where we examine the power and influence that music can wield in our lives. I'm your host, Jeff Miers. Today's episode is a special one for me. Way back in 2002, I watched the renowned drummer, composer and Western New York native Bobby Previte lead a hand-picked band of musicians through the tumultuous and strangely beautiful terrain of Miles Davis' game-changing 1970 album Bitches Brew, at the former Tralf, in Buffalo. That performance changed my life, and taught me in a deep and lasting way what the concept off freedom in music truly means. In the time since that fateful evening, I've followed Bobby's richly diverse career, and gotten to know the man a bit. As a drummer and composer, he has been guided by a singular musical wanderlust, one that seeks to live in that dangerous space where form and chaos meet and commingle. “If it's not balancing on the edge of chaos, then it's no good, and I'm not interested,” Bobby once told me. I'm honored that Bobby is joining me here today on Why Music Matters, and it's fitting that we centered our conversation on Miles Davis and his enduringly influential Bitches Brew album - which, by the way, Bobby will perform with a curated band of top-tier Buffalo musicians at the Sportsmen's Tavern on Monday, October 7 at 7 pm, as part of the Classic Vinyl Live with Jeff Miers concert series. Welcome to Why Music Matters, Bobby Previte!

Man...sometimes we record an episode, and after it's done I want to go back and just hit delete.  But I don't.  You have to suffer through this if I do.  It's a good episode, I just question my judgement and blathering more than usual.  But, also, every podcast needs a villain and I'm doing my part to live up to the role.  This week it's Bitches Brew vs. I Think You Know and The Phone Call vs. Dad!  Dive in, nerds, and suffer.

In this week's episode, Lisette and Allen take a look through the looking glass to Lisette's time on Bitches Brew. Allen grills Lisette on BB trivia and Lisette reflects on her tenure on the podcast. Sabrina Carpenter makes a special guest appearance!

Harvey Brooks is one of the most important and heralded bass players of the entire rock era. Starting in the 1960s he played on so many seminal albums and singles including Bob Dylan's "Highway 61 Revisited", "Super Session" with Mike Bloomfield, Al Kooper and Stephen Stills, Bloomfield's band, The Electric Flag, and even Miles Davis's groundbreaking album "Bitches Brew". He also played on hits by The Doors, John Sebastian, Seals and Crofts and Fontella Bass to name just a few.My featured song is “Out Of Tahini” from the album Play by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Harvey at:Harvey Brooks on Bass - YouTube Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Welcome to the next round of Musical Shenanigans.We are whiddling down the albums and getting closer to the end of our March Sadness Bracket.  The title?  Yeah, it is out there.  But if you are familiar with the Whizzo Chocolate Company, it makes a lot of sense.  (Hint: Search for it on YouTube).As always, thanks for coming out again, and somewhere in this app it will let you send us a message (do not ask me how), but if you find it, drop us a line.Peace, Love, and Coffee,Cory, Dave, and ScottHere are the rounds in this showRound OneErc B. and Rakim - Paid in FullvsDavid Bowie - The Rise and Fall of Ziggy Stardust and the Spiders from MarsRound TwoPortishead - DummyvsLed Zeppelin - (debut self-titled album)Round ThreeFiona Apple - When the Pawn...vsAC/DC - Back in BlackRound FourMiles Davis - Bitches BrewvsPink Floyd - Dark Side of the MoonSend us a Text Message.Support the Show.Check out our homepage website here!Follow us on Instagram!You can now listen to the show on YouTube!Support your favorite uncaffeinated podcasters - buy us a coffee... please???

In this episode of the LEGENDS: Podcast by All Day Vinyl, host Scott Dudelson sits down with Rock and Roll bass legend Harvey Brooks and we talk about some extraordinary moments in his storied career. This in-depth interview we focus on a few specific points in Harvey's career during the 1960's - working with Bob Dylan during the "Highway 61 Revisited" sessions and subsequent tour, forming and working with Electric Flag with Mike Bloomfield, performing on Miles Davis "Bitches Brew" and a legendary impromptu jam session between Harvey, Jim Morrison, Jimi Hendrix and Janis Joplin. Harvey is one of the early innovators of rock and roll bass and his story is amazing and so important to the history of music.  The episode includes incredible anecdotes and stories about Bob Dylan, The Band (Robbie Robertson + Levon Helm), Mike Bloomfield, Miles Davis, Albert Grossman, Teo Maceo, Miles Davis, Jimi Hendrix, Jim Morrison and others.   If you like the podcast episode please rate, subscribe and share.    

In this week's episode, Allen and Lisette get a little chaotic! Allen is on the wine train and looking to rate some rat boys. Lisette shares that fucking a fish may not be too bad in Fuck, Marry, Kill Disney edition. Buckle your seatbelts for this bumpy ride of Bitches Brew. • Social: Email - cauldroncrewpod@gmail.com X - cauldroncrewpod Insta / TikTok - bitches.brew.pod

In this week's episode, Lisette and Allen pits their favorite things against each other. Lisette begs the question, who would you let back into your life? An ex lover or an ex family member. Allen brings up which Taylor Swift song is the best to cry to. The brackets are loaded and they are facing off in this iteration of Bitches Brew. Social: Email - cauldroncrewpod@gmail.com X - cauldroncrewpod Insta / TikTok - bitches.brew.pod

In this week's episode, Allen and Lisette brings a little chaos to Bitches Brew. There is no set topic but they found ways to talk about their exes, talents shows, and a penis on a dead girl's phone. Pandora's box has been open and the chaos is reining supreme. Social: Email - cauldroncrewpod@gmail.com X - cauldroncrewpod Insta / TikTok - bitches.brew.pod

Doug has long been a fan of Frank Zappa's music, yet we've never spent an episode discussing it. In our irregular series looking at individual albums, we look at Zappa's best-selling record, the 1979 Sheik Yerbouti. Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes: Frank Zappa: Sheik Yerbouti (https://www.zappa.com/releases-archive/sheik-yerbouti/#/) Episode #268: Miles Davis, Bitches Brew (https://www.thenexttrack.com/273) Robert Christgau on Sheik Yerbouti (https://www.robertchristgau.com/get_album.php?id=8200) Zappa (https://www.thezappamovie.com) (documentary) Our next tracks: Genesis: Wind and Wuthering (https://amzn.to/3tX6IyQ) Frank Zappa: Sheik Yerbouti (https://amzn.to/3HnsMFS) "> If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

In this week's episode, Allen is channel surfing while Lisette is off recharging her batteries. But he is joined by Dayna and Breezy from SoManyThings Pod! They discuss how Gordon Ramsey's wrinkles mysteriously disappeared and how Canada has the worst drivers! Welcome to Bitches Brew, we'll be your hosts this evening!

We discuss Miles Davis's groundbreaking 1970 album Bitches Brew. Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes: Bitches Brew (https://amzn.to/3QwZXLu) The Complete Bitches Brew Sessions (https://amzn.to/3ubRJ3D) Rolling Stone review of Bitches Brew (https://www.rollingstone.com/music/music-album-reviews/bitches-brew-186433/) Guardian review of Bitches Brew (https://www.theguardian.com/music/2020/jul/28/miles-davis-bitches-brew-reviewed-jazz-1970) Miles Runs the Voodoo Down - 8/18/1970 - Tanglewood (https://www.youtube.com/watch?v=q3BaGMevjeM) Black Beauty: Miles Davis at Fillmore West (https://amzn.to/465SiJQ) About the 4/10/70 concert (http://cryptdev.blogspot.com/2011/06/miles-davis-and-dead-41070.html) Our next tracks: Phillip Glass and Paul-Leonard Morgan: The Pigeon Tunnel (https://embed.music.apple.com/us/album/the-pigeon-tunnel-soundtrack-from-the-apple-original-film/1709715156) Medicine Head: New Bottles, Old Medicine (https://amzn.to/462QtNF) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

We're in our 70's with episode 71 of the DOD45 Show & our guest this week joins us from all the way over in England. It ain't Benny Hill, it ain't Hyacinth Buckt, it's someone far more enjoyable, it's the lovely, Buddy Peace. Buddy is the In-house DJ for Strange Famous records, a megamix, finger drumming phenom and we are buzzing we had a chance to have a chat with him. We get into his music & even get a glimpse of his process in creating his Miles Davis mega mix Sons of Bitches, a complete dismantling & reconfiguring of the albums Bitches Brew & On the Corner in the style of Buddy which results in a phenomenal audible experience. We also play out a scenario of potential actors to play roles in the Buddy Peace Biopic, will it be Nick Nolte or Nick Cage to play Father Peace, will it be Nick Frost or Nick Offerman to play Scroobius Pip & who will get the honor of playing Buddy, Tom Hiddleston or Tom Hardy? Sure that all seem quite maddening, but as always, the DOD45 format allows for that madness to veer into deeper conversations. Kinds of conversations that I won't give up in this 1 minute promo, but something I can share is that Sage Francis pops in to ask about a 2019 Buddy Peace post that actually has the word “chillax” in it. Hmmmm. Other names & topics to come up in this episode are Ron Perlman, Tom Waits, Themselves, L7, Giant Haystacks, Rob Zombie, Neil Breen, Piers Morgan, Buddy Holly, Lynyrd Skynyrd, The Nuge, The Mighty Boosh, Cecil otter, Married With Children and yes, of course, The Young Ones. We even go on about Francis Ford Coppola's criminally overlooked film The Conversation. Hey, I'm a dork for smashing beats & British panel shows like 8 out of 10 cats and Taskmaster and having someone on our show who encompasses the skills to provide said smash-beats & also produces a podcast that has had many of my favorite people from said panel shows as guests, was an exciting prospect and Buddy does not disappoint. He's an absolute pleasure of a guest and you're gonna see that soon. So shake off the umbrella, pop on the kettle, toss in a tea bag, turn off all emotions & let's get crackin' on this episode 71 of The DOD45 Show with Buddy Peace. ArtByTai.com DOD45.com StrangeFamousRecords.com #ArtByTai #BuddyPeace #StrangeFamousRecords #SFR #dod45 --- Send in a voice message: https://podcasters.spotify.com/pod/show/artbytai/message Support this podcast: https://podcasters.spotify.com/pod/show/artbytai/support

In this week's episode, Allen and Lisette share some personal ghost stories they have experienced first-hand. Allen talks about how his house was haunted by the “Top Hat Man”. Lisette admits to calling a priest to cleanse her house from being haunted. Both hosts agree that there is “something” out there.

In this week's episode, Allen and Lisette review “Am I The Asshole?” cases! Allen contemplates whether a wife is bitter that her ex-husband is gay/bisexual. Lisette brings some attention to non-offenders in her court rulings! Both judges discuss whether a future sister-in-law can dictate what their child wears to a wedding. Court is in session in this episode of Bitches Brew

In this week's episode, Allen and Lisette discuss some lasting impressions they have encountered over the years. Lisette is out for blood while she divulges how a lunch lady stole from her. Allen proclaims how he thinks “LET'S GO” people are annoying. They both reveal their first impressions of their husbands. Are first impressions everything? Tune in to this iteration of Bitches Brew

In this week's episode, Allen and Lisette walk down memory lanes. Lisette confesses about her kidnapping an ex-boyfriend. Allen admits to public indecency on a beach and then assault and battery to Lisette years ago on her birthday. Tune in to see if our hosts go to jail in this iteration of Bitches Brew.

You're Miles Davis.  It's March of 1970 and you're about to release Bitches Brew, your most incendiary album yet.  You have an electric band of young assassins (each of whom will go on to become a legendary bandleader in his own right) and they don't sound like any band anyone has ever heard.  You know you've got the goods.  You're looking for a new audience for this new sound and you get invited to share a bill with a major rock band at the Fillmore East, THE place where the Woodstock Generation is finding its music.  Can you win them over?  What do you hit them with?     Slide trumpeter Steven Bernstein and producer/beatmaster Scotty Hard have both been both relentless shatterers of audience expectations and dedicated fans of Miles Davis, particularly in this phase of his career.   What happens if we put them in the audience for Miles's first night at the legendary Fillmore East?  (and did we mention that it's Wayne Shorter's last gig with Miles?).     Find out Monday (8/7) from 6p to 9p NYC time on Mitch Goldman's Deep Focus on WKCR 89.9FM, WKCR-HD or wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/    Photo credit: publishing info not available.   #WKCR #JazzAlternatives #ScottyHard #StevenBernstein #MitchGoldman #DeepFocus #MilesDavis #JazzRockFusion #FillmoreEast #JazzInterview #JazzPodcast #BitchesBrew  

You're Miles Davis.  It's March of 1970 and you're about to release Bitches Brew, your most incendiary album yet.  You have an electric band of young assassins (each of whom will go on to become a legendary bandleader in his own right) and they don't sound like any band anyone has ever heard.  You know you've got the goods.  You're looking for a new audience for this new sound and you get invited to share a bill with a major rock band at the Fillmore East, THE place where the Woodstock Generation is finding its music.  Can you win them over?  What do you hit them with?     Slide trumpeter Steven Bernstein and producer/beatmaster Scotty Hard have both been both relentless shatterers of audience expectations and dedicated fans of Miles Davis, particularly in this phase of his career.   What happens if we put them in the audience for Miles's first night at the legendary Fillmore East?  (and did we mention that it's Wayne Shorter's last gig with Miles?).     Find out Monday (8/7) from 6p to 9p NYC time on Mitch Goldman's Deep Focus on WKCR 89.9FM, WKCR-HD or wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/    Photo credit: Miles Davis - Harvard University, Cambridge, Mass. - 1970 by Robert Houston - Collection of the Smithsonian National Museum of African American History and Culture, Gift of Robert and Greta Houston.   #WKCR #JazzAlternatives #ScottyHard #StevenBernstein #MitchGoldman #DeepFocus #MilesDavis #JazzRockFusion #FillmoreEast #JazzInterview #JazzPodcast #BitchesBrew  

You're Miles Davis.  It's March of 1970 and you're about to release Bitches Brew, your most incendiary album yet.  You have an electric band of young assassins (each of whom will go on to become a legendary bandleader in his own right) and they don't sound like any band anyone has ever heard.  You know you've got the goods.  You're looking for a new audience for this new sound and you get invited to share a bill with a major rock band at the Fillmore East, THE place where the Woodstock Generation is finding its music.  Can you win them over?  What do you hit them with?     Slide trumpeter Steven Bernstein and producer/beatmaster Scotty Hard have both been both relentless shatterers of audience expectations and dedicated fans of Miles Davis, particularly in this phase of his career.   What happens if we put them in the audience for Miles's first night at the legendary Fillmore East?  (and did we mention that it's Wayne Shorter's last gig with Miles?).     Find out Monday (8/7) from 6p to 9p NYC time on Mitch Goldman's Deep Focus on WKCR 89.9FM, WKCR-HD or wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/    Photo credit: Miles Davis - Harvard University, Cambridge, Mass. - 1970 by Robert Houston - Collection of the Smithsonian National Museum of African American History and Culture, Gift of Robert and Greta Houston.   #WKCR #JazzAlternatives #ScottyHard #StevenBernstein #MitchGoldman #DeepFocus #MilesDavis #JazzRockFusion #FillmoreEast #JazzInterview #JazzPodcast #BitchesBrew  

Sip along as Allen and Kelly from the Bitches Brew Podcast join me to discuss our favorite comedies from the 2000's! You can find Bitches Brew here, or wherever you get your podcast fix: https://open.spotify.com/show/2Uds4jhmGq3d8mQHOzJbhI?si=f3b902b40c184179 The Sip List is a proud member of the I Did Not Make These Rankings podcast network. You can also find An Evening at the Movies, Mass Debaters, Crushgasm, and more here.  Check out all the other shows the network has to offer! https://idnmtrpodcastnetwork.com/ You can find The Sip List on social media! https://www.thesiplistpodcast.com/ https://www.facebook.com/thesiplistpod https://www.instagram.com/thesiplistpod/ https://twitter.com/list_sip Merch Store:  https://www.teepublic.com/user/the-sip-list-podcast music cred: Make love not war - Patino https://www.youtube.com/watch?v=c_dmlF5VHqkSip --- Support this podcast: https://podcasters.spotify.com/pod/show/amanda-kohlhofer/support

One of the most important things that you can do is listen to jazz music, and that seems so simple, but literally you are practicing when you listen to jazz music. You will become a better jazz musician, simply by putting on your headphones or putting them on the speakers and just listening to how this music actually sounds. So today I'm gonna talk about 25 jazz albums that every jazz musician absolutely needs to know, absolutely needs to listen to. In this episode:1. Listening to jazz is essential for becoming a great jazz musician.2. Being aware of different styles and artists in jazz is important for personal growth and inspiration.3. Jazz albums can have a transformative effect on a musician's playing. #1: Louis Armstrong's "Complete Hot Five and Hot Seven Sessions" #2: Duke Ellington's "Live at Newport" #3: Count Basie's "The Complete Deca Recordings"#4: Benny Goodman's "The Famous 1938 Carnegie Hall Jazz Concert"#5: Charlie Parker and Dizzy Gillespie's "Quintet Jazz at Massey Hall"#6: "Charlie Parker with Strings" - Charlie Parker#7: Sonny Rollins' "Saxophone Colossus" #8: John Coltrane's "Blue Train" #9: Art Blakey and the Jazz Messengers' "Moanin'"#10: "Sonny Side Up" by Dizzy Gillespie #11: "Boss Tenors" by Gene Ammons and Sonny Stitt #12: "Soul Station" by Hank Mobley #13: Wes Montgomery's "Boss Guitar" #14. "Kind of Blue" by Miles Davis#15: "Time Out" by Dave Brubeck#16:  "Mingus Ah Um" by Charles Mingus #17: "The Shape of Jazz to Come" by Ornette Coleman#18: "Giant Steps" by John Coltrane #19:  "A Love Supreme" by John Coltrane #20: "The Blues in the Abstract Truth" by Oliver Nelson #21:  "Bitches Brew" by Miles Davis #22:  "Head Hunters" by Herbie Hancock #23:  "Heavy Weather" by Weather Report#24:  "Bright Size Life" by Pat Metheny#25:  "Deep Song" by Kurt RosenwinkelImportant Links:Free Guide to learning standards by ear: Learn Jazz Standards the Smart WayLJS Inner Circle MembershipListen to the Learn Jazz Standards PodcastGet 50% off your first month when joining the Inner Circle: https://members.learnjazzstandards.com/sp/inner-circle-sales-page-podcast-direct/

California's Reparations Task Force recommends billions in payments and a formal apology to descendants of slavery. A New York jury is set to begin deliberating a civil case against Donald Trump. E Jean Carroll is suing the former president for allegedly raping her in 1996. The Writers Guild and AMPTP aren't close to a deal, but the studios agree that showrunners must cross picket lines to do the non-writing parts of their jobs. Miles Davis changed modern music when he released “Bitches Brew” 53 years ago. Today, a new project called “London Brew” pays homage to his legacy. Tonight at Crypto.com Arena, the Lakers will play the Golden State Warriors in Game 4 of the NBA Western Conference Semifinals.

A 50th anniversary concert for Miles Davis's seminal album Bitches Brew was meant to take place in London in 2020, but the pandemic ultimately scrapped those plans. Three years later, the collective of musicians behind the cancelled concert have released the album London Brew, an improvisatory record inspired by Davis's original and recorded over three days. Saxophonist Shabaka Hutchings and producer Martin Terefe join us for a Listening Party.

When it came to music, Miles Davis wasn't about no safe, tired yesterday bullsh*t. After kicking his heroin addiction, he traded bespoke suits for fringe jackets and spearheaded an experimental blur of jazz and rock, eclipsing his contemporaries with a complete reinvention of himself. But the second act of Miles' life came fraught with failures and new fixes, including a wrecked Lambo, two broken legs, and a mountain of coke and pills so massive that Miles almost never made it down the other side.This episode contains themes that may be disturbing to some listeners and includes descriptions of domestic violence.To hear all episodes of Disgraceland for free, visit amazon.com/disgraceland. Show notes are available at disgracelandpod.com. Follow us @disgracelandpod on Instagram, Twitter, and Facebook for music news, bonus episodes, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When it came to music, Miles Davis wasn’t about no safe, tired yesterday bullsh*t. After kicking his heroin addiction, he traded bespoke suits for fringe jackets and spearheaded an experimental blur of jazz and rock, eclipsing his contemporaries with a complete reinvention of himself. But the second act of Miles’ life came fraught with failures and new fixes, including a wrecked Lambo, two broken legs, and a mountain of coke and pills so massive that Miles almost never made it down the other side. This episode contains themes that may be disturbing to some listeners and includes descriptions of domestic violence. To see the full list of contributors, see the show notes at www.disgracelandpod.com. This episode was originally published on May 17, 2022. To listen to Disgraceland ad free and get access to a monthly exclusive episode, weekly bonus content and more, become a Disgraceland All Access member at disgracelandpod.com/membership. Sign up for our newsletter and get the inside dirt on events, merch and other awesomeness - GET THE NEWSLETTER Follow Jake and DISGRACELAND: Instagram YouTube X (formerly Twitter) Facebook Fan Group TikTok See omnystudio.com/listener for privacy information.