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Rufus Reid is an extremely important but under-recognized figure in modern jazz. He's always been someone who's had one foot in the mainstream and one in the avant-garde — he did a lot of work with soul jazz and jazz-funk saxophonist Eddie Harris in the early 1970s, before joining Dexter Gordon's band when Gordon made his famous US comeback after years in Europe. He was also part of Andrew Hill's band in the late '80s, and has done a ton of straightahead records. But he was also a member of Jack DeJohnette's Special Edition in the early '80s, and he was one of the four bassists on Henry Threadgill's X-75 album, and he played on Muhal Richard Abrams' Things To Come From Those Now Gone, and he played with Anthony Braxton on the two Seven Standards 1985 albums with Hank Jones on piano and Victor Lewis on drums. He was also a member of the World Bass Violin Ensemble, which was a group of six bassists that made an album for Black Saint in 1984. Reid has also done a lot of work as a leader. He's made a string of albums in collaboration with drummer Akira Tana and various other musicians; he's done bass duo albums with Michael Moore; and he's led the Out Front trio with pianist Steve Allee and drummer Duduka Da Fonseca. In 2014, he released Quiet Pride: the Elizabeth Catlett Project, an album that featured a total of 19 instrumentalists and a singer all paying tribute to a sculptor whose work focused on the Black female experience in America. Reid is also an educator and the author of The Evolving Bassist, a book originally published in 1974 that's still a standard text for bassists. In this interview, we talk about Reid's work with Eddie Harris, with Dexter Gordon, with Henry Threadgill, and with his own ensembles. We talk about a six-CD set he made with Frank Kimbrough a few years ago, recording all of Thelonious Monk's compositions. We talk about his approach to the instrument, his influences, and about his new album, which is a duo collaboration with pianist Sullivan Fortner. This was a really enjoyable and informative conversation, and I think you'll come away from it with a new or perhaps a renewed appreciation for someone who's been a major figure in jazz for 50 years and isn't stopping yet.

Episode 170 of A History of Rock Music in Five Hundred Songs looks at "Astral Weeks", the early solo career of Van Morrison, and the death of Bert Berns.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-minute bonus episode available, on "Stoned Soul Picnic" by Laura Nyro. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata At one point I, ridiculously, misspeak the name of Charles Mingus' classic album. Black Saint and the Sinner Lady is not about dinner ladies. Also, I say Warren Smith Jr is on "Slim Slow Slider" when I meant to say Richard Davis (Smith is credited in some sources, but I only hear acoustic guitar, bass, and soprano sax on the finished track). Resources As usual, I've created Mixcloud playlists, with full versions of all the songs excerpted in this episode. As there are so many Van Morrison songs in this episode, the Mixcloud is split into three parts, one, two, and three. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used several biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word “hagiography” would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. Howard deWitt's Van Morrison: Astral Weeks to Stardom is over-thorough in the way some self-published books are, while Clinton Heylin's Can You Feel the Silence? is probably the best single volume on the artist. Information on Woodstock comes from Small Town Talk by Barney Hoskyns. Ryan Walsh's Astral Weeks: A Secret History of 1968 is about more than Astral Weeks, but does cover Morrison's period in and around Boston in more detail than anything else. The album Astral Weeks is worth hearing in its entirety. Not all of the music on The Authorized Bang Collection is as listenable, but it's the most complete collection available of everything Morrison recorded for Bang. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick warning -- this episode contains discussion of organised crime activity, and of sudden death. It also contains excerpts of songs which hint at attraction to underage girls and discuss terminal illness. If those subjects might upset you, you might want to read the transcript rather than listen to the episode. Anyway, on with the show. Van Morrison could have been the co-writer of "Piece of My Heart". Bert Berns was one of the great collaborators in the music business, and almost every hit he ever had was co-written, and he was always on the lookout for new collaborators, and in 1967 he was once again working with Van Morrison, who he'd worked with a couple of years earlier when Morrison was still the lead singer of Them. Towards the beginning of 1967 he had come up with a chorus, but no verse. He had the hook, "Take another little piece of my heart" -- Berns was writing a lot of songs with "heart" in the title at the time -- and wanted Morrison to come up with a verse to go with it. Van Morrison declined. He wasn't interested in writing pop songs, or in collaborating with other writers, and so Berns turned to one of his regular collaborators, Jerry Ragavoy, and it was Ragavoy who added the verses to one of the biggest successes of Berns' career: [Excerpt: Erma Franklin, "Piece of My Heart"] The story of how Van Morrison came to make the album that's often considered his masterpiece is intimately tied up with the story we've been telling in the background for several episodes now, the story of Atlantic Records' sale to Warners, and the story of Bert Berns' departure from Atlantic. For that reason, some parts of the story I'm about to tell will be familiar to those of you who've been paying close attention to the earlier episodes, but as always I'm going to take you from there to somewhere we've never been before. In 1962, Bert Berns was a moderately successful songwriter, who had written or co-written songs for many artists, especially for artists on Atlantic Records. He'd written songs for Atlantic artists like LaVern Baker, and when Atlantic's top pop producers Leiber and Stoller started to distance themselves from the label in the early sixties, he had moved into production as well, writing and producing Solomon Burke's big hit "Cry to Me": [Excerpt: Solomon Burke, "Cry to Me"] He was the producer and writer or co-writer of most of Burke's hits from that point forward, but at first he was still a freelance producer, and also produced records for Scepter Records, like the Isley Brothers' version of "Twist and Shout", another song he'd co-written, that one with Phil Medley. And as a jobbing songwriter, of course his songs were picked up by other producers, so Leiber and Stoller produced a version of his song "Tell Him" for the Exciters on United Artists: [Excerpt: The Exciters, "Tell Him"] Berns did freelance work for Leiber and Stoller as well as the other people he was working for. For example, when their former protege Phil Spector released his hit version of "Zip-a-Dee-Do-Dah", they got Berns to come up with a knockoff arrangement of "How Much is that Doggie in the Window?", released as by Baby Jane and the Rockabyes, with a production credit "Produced by Leiber and Stoller, directed by Bert Berns": [Excerpt: Baby Jane and the Rockabyes, "How Much is that Doggie in the Window?"] And when Leiber and Stoller stopped producing work for United Artists, Berns took over some of the artists they'd been producing for the label, like Marv Johnson, as well as producing his own new artists, like Garnet Mimms and the Enchanters, who had been discovered by Berns' friend Jerry Ragovoy, with whom he co-wrote their "Cry Baby": [Excerpt: Garnet Mimms and the Enchanters, "Cry Baby"] Berns was an inveterate collaborator. He was one of the few people to get co-writing credits with Leiber and Stoller, and he would collaborate seemingly with everyone who spoke to him for five minutes. He would also routinely reuse material, cutting the same songs time and again with different artists, knowing that a song must be a hit for *someone*. One of his closest collaborators was Jerry Wexler, who also became one of his best friends, even though one of their earliest interactions had been when Wexler had supervised Phil Spector's production of Berns' "Twist and Shout" for the Top Notes, a record that Berns had thought had butchered the song. Berns was, in his deepest bones, a record man. Listening to the records that Berns made, there's a strong continuity in everything he does. There's a love there of simplicity -- almost none of his records have more than three chords. He loved Latin sounds and rhythms -- a love he shared with other people working in Brill Building R&B at the time, like Leiber and Stoller and Spector -- and great voices in emotional distress. There's a reason that the records he produced for Solomon Burke were the first R&B records to be labelled "soul". Berns was one of those people for whom feel and commercial success are inextricable. He was an artist -- the records he made were powerfully expressive -- but he was an artist for whom the biggest validation was *getting a hit*. Only a small proportion of the records he made became hits, but enough did that in the early sixties he was a name that could be spoken of in the same breath as Leiber and Stoller, Spector, and Bacharach and David. And Atlantic needed a record man. The only people producing hits for the label at this point were Leiber and Stoller, and they were in the process of stopping doing freelance work and setting up their own label, Red Bird, as we talked about in the episode on the Shangri-Las. And anyway, they wanted more money than they were getting, and Jerry Wexler was never very keen on producers wanting money that could have gone to the record label. Wexler decided to sign Bert Berns up as a staff producer for Atlantic towards the end of 1963, and by May 1964 it was paying off. Atlantic hadn't been having hits, and now Berns had four tracks he wrote and produced for Atlantic on the Hot One Hundred, of which the highest charting was "My Girl Sloopy" by the Vibrations: [Excerpt: The Vibrations, "My Girl Sloopy"] Even higher on the charts though was the Beatles' version of "Twist and Shout". That record, indeed, had been successful enough in the UK that Berns had already made exploratory trips to the UK and produced records for Dick Rowe at Decca, a partnership we heard about in the episode on "Here Comes the Night". Berns had made partnerships there which would have vast repercussions for the music industry in both countries, and one of them was with the arranger Mike Leander, who was the uncredited arranger for the Drifters session for "Under the Boardwalk", a song written by Artie Resnick and Kenny Young and produced by Berns, recorded the day after the group's lead singer Rudy Lewis died of an overdose: [Excerpt: The Drifters, "Under the Boardwalk"] Berns was making hits on a regular basis by mid-1964, and the income from the label's new success allowed Jerry Wexler and the Ertegun brothers to buy out their other partners -- Ahmet Ertegun's old dentist, who had put up some of the initial money, and Miriam Bienstock, the ex-wife of their initial partner Herb Abramson, who'd got Abramson's share in the company after the divorce, and who was now married to Freddie Bienstock of Hill and Range publishing. Wexler and the Erteguns now owned the whole label. Berns also made regular trips to the UK to keep up his work with British musicians, and in one of those trips, as we heard in the episode on "Here Comes the Night", he produced several tracks for the group Them, including that track, written by Berns: [Excerpt: Them, "Here Comes the Night"] And a song written by the group's lead singer Van Morrison, "Gloria": [Excerpt: Them, "Gloria"] But Berns hadn't done much other work with them, because he had a new project. Part of the reason that Wexler and the Erteguns had gained total control of Atlantic was because, in a move pushed primarily by Wexler, they were looking at selling it. They'd already tried to merge with Leiber and Stoller's Red Bird Records, but lost the opportunity after a disastrous meeting, but they were in negotiations with several other labels, negotiations which would take another couple of years to bear fruit. But they weren't planning on getting out of the record business altogether. Whatever deal they made, they'd remain with Atlantic, but they were also planning on starting another label. Bert Berns had seen how successful Leiber and Stoller were with Red Bird, and wanted something similar. Wexler and the Erteguns didn't want to lose their one hit-maker, so they came up with an offer that would benefit all of them. Berns' publishing contract had just ended, so they would set up a new publishing company, WEB IV, named after the initials Wexler, Ertegun, and Berns, and the fact that there were four of them. Berns would own fifty percent of that, and the other three would own the other half. And they were going to start up a new label, with seventeen thousand dollars of the Atlantic partners' money. That label would be called Bang -- for Bert, Ahmet, Neshui, and Gerald -- and would be a separate company from Atlantic, so not affected by any sale. Berns would continue as a staff producer for Atlantic for now, but he'd have "his own" label, which he'd have a proper share in, and whether he was making hits for Atlantic or Bang, his partners would have a share of the profits. The first two records on Bang were "Shake and Jerk" by Billy Lamont, a track that they licensed from elsewhere and which didn't do much, and a more interesting track co-written by Berns. Bob Feldman, Richard Gottehrer, and Jerry Goldstein were Brill Building songwriters who had become known for writing "My Boyfriend's Back", a hit for the Angels, a couple of years earlier: [Excerpt: The Angels, "My Boyfriend's Back"] With the British invasion, the three of them had decided to create their own foreign beat group. As they couldn't do British accents, they pretended to be Australian, and as the Strangeloves -- named after the Stanley Kubrick film Dr  Strangelove -- they released one flop single. They cut another single, a version of "Bo Diddley", but the label they released their initial record through didn't want it. They then took the record to Atlantic, where Jerry Wexler said that they weren't interested in releasing some white men singing "Bo Diddley". But Ahmet Ertegun suggested they bring the track to Bert Berns to see what he thought. Berns pointed out that if they changed the lyrics and melody, but kept the same backing track, they could claim the copyright in the resulting song themselves. He worked with them on a new lyric, inspired by the novel Candy, a satirical pornographic novel co-written by Terry Southern, who had also co-written the screenplay to Dr Strangelove. Berns supervised some guitar overdubs, and the result went to number eleven: [Excerpt: The Strangeloves, "I Want Candy"] Berns had two other songs on the hot one hundred when that charted, too -- Them's version of "Here Comes the Night", and the version of Van McCoy's song "Baby I'm Yours" he'd produced for Barbara Lewis. Three records on the charts on three different labels. But despite the sheer number of charting records he'd had, he'd never had a number one, until the Strangeloves went on tour. Before the tour they'd cut a version of "My Girl Sloopy" for their album -- Berns always liked to reuse material -- and they started performing the song on the tour. The Dave Clark Five, who they were supporting, told them it sounded like a hit and they were going to do their own version when they got home. Feldman, Gottehrer, and Goldstein decided *they* might as well have the hit with it as anyone else. Rather than put it out as a Strangeloves record -- their own record was still rising up the charts, and there's no reason to be your own competition -- they decided to get a group of teenage musicians who supported them on the last date of the tour to sing new vocals to the backing track from the Strangeloves album. The group had been called Rick and the Raiders, but they argued so much that the Strangeloves nicknamed them the Hatfields and the McCoys, and when their version of "My Girl Sloopy", retitled "Hang on Sloopy", came out, it was under the band name The McCoys: [Excerpt: The McCoys, "Hang on Sloopy"] Berns was becoming a major success, and with major success in the New York music industry in the 1960s came Mafia involvement. We've talked a fair bit about Morris Levy's connection with the mob in many previous episodes, but mob influence was utterly pervasive throughout the New York part of the industry, and so for example Richard Gottehrer of the Strangeloves used to call Sonny Franzese of the Colombo crime family "Uncle John", they were so close. Franzese was big in the record business too, even after his conviction for bank robbery. Berns, unlike many of the other people in the industry, had no scruples at all about hanging out with Mafiosi. indeed his best friend in the mid sixties was Tommy Eboli, a member of the Genovese crime family who had been in the mob since the twenties, starting out working for "Lucky" Luciano. Berns was not himself a violent man, as far as anyone can tell, but he liked the glamour of hanging out with organised crime figures, and they liked hanging out with someone who was making so many hit records. And so while Leiber and Stoller, for example, ended up selling Red Bird Records to George Goldner for a single dollar in order to get away from the Mafiosi who were slowly muscling in on the label, Berns had no problems at all in keeping his own label going. Indeed, he would soon be doing so without the involvement of Atlantic Records. Berns' final work for Atlantic was in June 1966, when he cut a song he had co-written with Jeff Barry for the Drifters, inspired by the woman who would soon become Atlantic's biggest star: [Excerpt: The Drifters, "Aretha"] The way Berns told the story in public, there was no real bad blood between him, Wexler, and the Erteguns -- he'd just decided to go his own way, and he said “I will always be grateful to them for the help they've given me in getting Bang started,” The way Berns' wife would later tell the story, Jerry Wexler had suggested that rather than Berns owning fifty percent of Web IV, they should start to split everything four ways, and she had been horrified by this suggestion, kicked up a stink about it, and Wexler had then said that either Berns needed to buy the other three out, or quit and give them everything, and demanded Berns pay them three hundred thousand dollars. According to other people, Berns decided he wanted one hundred percent control of Web IV, and raised a breach of contract lawsuit against Atlantic, over the usual royalty non-payments that were endemic in the industry at that point. When Atlantic decided to fight the lawsuit rather than settle, Berns' mob friends got involved and threatened to break the legs of Wexler's fourteen-year-old daughter, and the mob ended up with full control of Bang records, while Berns had full control of his publishing company. Given later events, and in particular given the way Wexler talked about Berns until the day he died, with a vitriol that he never used about any of the other people he had business disputes with, it seems likely to me that the latter story is closer to the truth than the former. But most people involved weren't talking about the details of what went on, and so Berns still retained his relationships with many of the people in the business, not least of them Jeff Barry, so when Barry and Ellie Greenwich had a new potential star, it was Berns they thought to bring him to, even though the artist was white and Berns had recently given an interview saying that he wanted to work with more Black artists, because white artists simply didn't have soul. Barry and Greenwich's marriage was breaking up at the time, but they were still working together professionally, as we discussed in the episode on "River Deep, Mountain High", and they had been the main production team at Red Bird. But with Red Bird in terminal decline, they turned elsewhere when they found a potential major star after Greenwich was asked to sing backing vocals on one of his songwriting demos. They'd signed the new songwriter, Neil Diamond, to Leiber and Stoller's company Trio Music at first, but they soon started up their own company, Tallyrand Music, and signed Diamond to that, giving Diamond fifty percent of the company and keeping twenty-five percent each for themselves, and placed one of his songs with Jay and the Americans in 1965: [Excerpt: Jay and the Americans, "Sunday and Me"] That record made the top twenty, and had established Diamond as a songwriter, but he was still not a major performer -- he'd released one flop single on Columbia Records before meeting Barry and Greenwich. But they thought he had something, and Bert Berns agreed. Diamond was signed to Bang records, and Berns had a series of pre-production meetings with Barry and Greenwich before they took Diamond into the studio -- Barry and Greenwich were going to produce Diamond for Bang, as they had previously produced tracks for Red Bird, but they were going to shape the records according to Berns' aesthetic. The first single released from Diamond's first session, "Solitary Man", only made number fifty-five, but it was the first thing Diamond had recorded to make the Hot One Hundred at all: [Excerpt: Neil Diamond, "Solitary Man"] The second single, though, was much more Bert Berns' sort of thing -- a three-chord song that sounded like it could have been written by Berns himself, especially after Barry and Greenwich had added the Latin-style horns that Berns loved so much. Indeed according to some sources, Berns did make a songwriting suggestion -- Diamond's song had apparently been called "Money Money", and Berns had thought that was a ridiculous title, and suggested calling it "Cherry Cherry" instead: [Excerpt: Neil Diamond, "Cherry Cherry"] That became Diamond's first top ten hit. While Greenwich had been the one who had discovered Diamond, and Barry and Greenwich were the credited producers on all Diamond's records  as a result, Diamond soon found himself collaborating far more with Barry than with Greenwich, so for example the first number one he wrote, for the Monkees rather than himself, ended up having its production just credited to Barry. That record used a backing track recorded in New York by the same set of musicians used on most Bang records, like Al Gorgoni on lead guitar and Russ Savakus on bass: [Excerpt: The Monkees, "I'm a Believer"] Neil Diamond was becoming a solid hit-maker, but he started rubbing up badly against Berns. Berns wanted hits and only hits, and Diamond thought of himself as a serious artist. The crisis came when two songs were under contention for Diamond's next single in late 1967, after he'd had a whole run of hits for the label. The song Diamond wanted to release, "Shilo", was deeply personal to him: [Excerpt: Neil Diamond, "Shilo"] But Bert Berns had other ideas. "Shilo" didn't sound like a hit, and he knew a hit when he heard one. No, the clear next single, the only choice, was "Kentucky Woman": [Excerpt: Neil Diamond, "Kentucky Woman"] But Berns tried to compromise as best he could. Diamond's contract was up for renewal, and you don't want to lose someone who has had, as Diamond had at that point, five top twenty hits in a row, and who was also writing songs like "I'm a Believer" and "Red Red Wine". He told Diamond that he'd let "Shilo" come out as a single if Diamond signed an extension to his contract. Diamond said that not only was he not going to do that, he'd taken legal advice and discovered that there were problems with his contract which let him record for other labels -- the word "exclusive" had been missed out of the text, among other things. He wasn't going to be recording for Bang at all any more. The lawsuits over this would stretch out for a decade, and Diamond would eventually win, but the first few months were very, very difficult for Diamond. When he played the Bitter End, a club in New York, stink bombs were thrown into the audience. The Bitter End's manager was assaulted and severely beaten. Diamond moved his wife and child out of Manhattan, borrowed a gun, and after his last business meeting with Berns was heard talking about how he needed to contact the District Attorney and hire a bodyguard. Of the many threats that were issued against Diamond, though, the least disturbing was probably the threat Berns made to Diamond's career. Berns pointed out to Diamond in no uncertain terms that he didn't need Diamond anyway -- he already had someone he could replace Diamond with, another white male solo singer with a guitar who could churn out guaranteed hits. He had Van Morrison: [Excerpt: Van Morrison, "Brown-Eyed Girl"] When we left Van Morrison, Them had just split up due to the problems they had been having with their management team. Indeed, the problems Morrison was having with his managers seem curiously similar to the issues that Diamond was having with Bert Berns -- something that could possibly have been a warning sign to everyone involved, if any of them had known the full details of everyone else's situation. Sadly for all of them, none of them did. Them had had some early singles success, notably with the tracks Berns had produced for them, but Morrison's opinion of their second album, Them Again, was less than complimentary, and in general that album is mostly only remembered for the version of Bob Dylan's "It's All Over Now, Baby Blue", which is one of those cover versions that inspires subsequent covers more than the original ever did: [Excerpt: Them, "It's All Over Now, Baby Blue"] Them had toured the US around the time of the release of that album, but that tour had been a disaster. The group had gained a reputation for incredible live shows, including performances at the Whisky A-Go-Go with the Doors and Captain Beefheart as their support acts, but during the tour Van Morrison had decided that Phil Solomon, the group's manager, was getting too much money -- Morrison had agreed to do the tour on a salary, rather than a percentage, but the tour had been more successful than he'd expected, and Solomon was making a great deal of money off the tour, money that Morrison believed rightfully belonged to him. The group started collecting the money directly from promoters, and got into legal trouble with Solomon as a result. The tour ended with the group having ten thousand dollars that Solomon believed -- quite possibly correctly -- that he was owed. Various gangsters whose acquaintance the group had made offered to have the problem taken care of, but they decided instead to come to a legal agreement -- they would keep the money, and in return Solomon, whose production company the group were signed to, would get to keep all future royalties from the Them tracks. This probably seemed a good idea at the time, when the idea of records earning royalties for sixty or more years into the future seemed ridiculous, but Morrison in particular came to regret the decision bitterly. The group played one final gig when they got back to Belfast, but then split up, though a version of the group led by the bass player Alan Henderson continued performing for a few years to no success. Morrison put together a band that played a handful of gigs under the name Them Again, with little success, but he already had his eyes set on a return to the US. In Morrison's eyes, Bert Berns had been the only person in the music industry who had really understood him, and the two worked well together. He had also fallen in love with an American woman, Janet Planet, and wanted to find some way to be with her. As Morrison said later “I had a couple of other offers but I thought this was the best one, seeing as I wanted to come to America anyway. I can't remember the exact details of the deal. It wasn't really that spectacular, money-wise, I don't think. But it was pretty hard to refuse from the point of view that I really respected Bert as a producer. I'd rather have worked with Bert than some other guy with a bigger record company. From that angle, it was spectacular because Bert was somebody that I wanted to work with.” There's little evidence that Morrison did have other offers -- he was already getting a reputation as someone who it was difficult to work with -- but he and Berns had a mutual respect, and on January the ninth, 1967, he signed a contract with Bang records. That contract has come in for a lot of criticism over the years, but it was actually, *by the standards in operation in the music business in 1967*, a reasonably fair one. The contract provided that, for a $2,500 a year advance, Bang would record twelve sides in the first year, with an option for up to fifty more that year, and options for up to four more years on the same terms. Bang had the full ownership of the masters and the right to do what they wanted with them. According to at least one biographer, Morrison added clauses requiring Bang to actually record the twelve sides a year, and to put out at least three singles and one album per year while the contract was in operation. He also added one other clause which seems telling -- "Company agrees that Company will not make any reference to the name THEM on phonograph records, or in advertising copy in connection with the recording of Artist." Morrison was, at first, extremely happy with Berns. The problems started with their first session: [Excerpt: Van Morrison, "Brown-Eyed Girl (takes 1-6)"] When Morrison had played the songs he was working on for Berns, Berns had remarked that they sounded great with just Morrison and his guitar, so Morrison was surprised when he got into the studio to find the whole standard New York session crew there -- the same group of session players who were playing for everyone from the Monkees to Laura Nyro, from Neil Diamond to the Shangri-Las -- along with the Sweet Inspirations to provide backing vocals. As he described it later "This fellow Bert, he made it the way he wanted to, and I accepted that he was producing it... I'd write a song and bring it into the group and we'd sit there and bash it around and that's all it was -- they weren't playing the songs, they were just playing whatever it was. They'd say 'OK, we got drums so let's put drums on it,' and they weren't thinking about the song, all they were thinking about was putting drums on it... But it was my song, and I had to watch it go down." The first song they cut was "Brown-Eyed Girl", a song which Morrison has said was originally a calypso, and was originally titled "Brown-skinned Girl", though he's differed in interviews as to whether Berns changed the lyric or if he just decided to sing it differently without thinking about it in the session. Berns turned "Brown-Eyed Girl" into a hit single, because that was what he tended to do with songs, and the result sounds a lot like the kind of record that Bang were releasing for Neil Diamond: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has, in later years, expressed his distaste for what was done to the song, and in particular he's said that the backing vocal part by the Sweet Inspirations was added by Berns and he disliked it: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has been very dismissive of "Brown-Eyed Girl" over the years, but he seems not to have disliked it at the time, and the song itself is one that has stood the test of time, and is often pointed to by other songwriters as a great example of the writer's craft. I remember reading one interview with Randy Newman -- sadly, while I thought it was in Paul Zollo's "Songwriters on Songwriting" I just checked that and it's not, so I can't quote it precisely -- in which he says that he often points to the line "behind the stadium with you" as a perfect piece of writing, because it's such a strangely specific detail that it convinces you that it actually happened, and that means you implicitly believe the rest of the song. Though it should be made very clear here that Morrison has always said, over and over again, that nothing in his songs is based directly on his own experiences, and that they're all products of his imagination and composites of people he's known. This is very important to note before we go any further, because "Brown-Eyed Girl" is one of many songs from this period in Morrison's career which imply that their narrator has an attraction to underage girls -- in this case he remembers "making love in the green grass" in the distant past, while he also says "saw you just the other day, my how you have grown", and that particular combination is not perhaps one that should be dwelt on too closely. But there is of course a very big difference between a songwriter treating a subject as something that is worth thinking about in the course of a song and writing about their own lives, and that can be seen on one of the other songs that Morrison recorded in these sessions, "T.B. Sheets": [Excerpt: Van Morrison, "T.B. Sheets"] It seems very unlikely indeed that Van Morrison actually had a lover die of tuberculosis, as the lover in the song does, and while a lot of people seem convinced that it's autobiographical, simply because of the intensity of the performance (Morrison apparently broke down in tears after recording it), nobody has ever found anyone in Morrison's life who fits the story in the song, and he's always ridiculed such suggestions. What is true though is that "T.B. Sheets" is evidence against another claim that Morrison has made in the past - that on these initial sessions the eight songs recorded were meant to be the A and B sides of four singles and there was no plan of making an album. It is simply not plausible at all to suggest that "T.B. Sheets" -- a slow blues about terminal illness, that lasts nearly ten minutes -- was ever intended as a single. It wouldn't have even come close to fitting on one side of a forty-five. It was also presumably at this time that Berns brought up the topic of "Piece of My Heart". When Berns signed Erma Franklin, it was as a way of getting at Jerry Wexler, who had gone from being his closest friend to someone he wasn't on speaking terms with, by signing the sister of his new signing Aretha. Morrison, of course, didn't co-write it -- he'd already decided that he didn't play well with others -- but it's tempting to think about how the song might have been different had Morrison written it. The song in some ways seems a message to Wexler -- haven't you had enough from me already? -- but it's also notable how many songs Berns was writing with the word "heart" in the chorus, given that Berns knew he was on borrowed time from his own heart condition. As an example, around the same time he and Jerry Ragavoy co-wrote "Piece of My Heart", they also co-wrote another song, "Heart Be Still", a flagrant lift from "Peace Be Still" by Aretha Franklin's old mentor Rev. James Cleveland, which they cut with Lorraine Ellison: [Excerpt: Lorraine Ellison, "Heart Be Still"] Berns' heart condition had got much worse as a result of the stress from splitting with Atlantic, and he had started talking about maybe getting open-heart surgery, though that was still very new and experimental. One wonders how he must have felt listening to Morrison singing about watching someone slowly dying. Morrison has since had nothing but negative things to say about the sessions in March 1967, but at the time he seemed happy. He returned to Belfast almost straight away after the sessions, on the understanding that he'd be back in the US if "Brown-Eyed Girl" was a success. He wrote to Janet Planet in San Francisco telling her to listen to the radio -- she'd know if she heard "Brown-Eyed Girl" that he would be back on his way to see her. She soon did hear the song, and he was soon back in the US: [Excerpt: Van Morrison, "Brown-Eyed Girl"] By August, "Brown-Eyed Girl" had become a substantial hit, making the top ten, and Morrison was back in the States. He was starting to get less happy with Berns though. Bang had put out the eight tracks he'd recorded in March as an album, titled Blowin' Your Mind, and Morrison thought that the crass pseudo-psychedelia of the title, liner notes, and cover was very inappropriate -- Morrison has never been a heavy user of any drugs other than alcohol, and didn't particularly want to be associated with them. He also seems to have not realised that every track he recorded in those initial sessions would be on the album, which many people have called one of the great one-sided albums of all time -- side A, with "Brown-Eyed Girl", "He Ain't Give You None" and the extended "T.B. Sheets" tends to get far more love than side B, with five much lesser songs on it. Berns held a party for Morrison on a cruise around Manhattan, but it didn't go well -- when the performer Tiny Tim tried to get on board, Carmine "Wassel" DeNoia, a mobster friend of Berns' who was Berns' partner in a studio they'd managed to get from Atlantic as part of the settlement when Berns left, was so offended by Tim's long hair and effeminate voice and mannerisms that he threw him overboard into the harbour. DeNoia was meant to be Morrison's manager in the US, working with Berns, but he and Morrison didn't get on at all -- at one point DeNoia smashed Morrison's acoustic guitar over his head, and only later regretted the damage he'd done to a nice guitar. And Morrison and Berns weren't getting on either. Morrison went back into the studio to record four more songs for a follow-up to "Brown-Eyed Girl", but there was again a misunderstanding. Morrison thought he'd been promised that this time he could do his songs the way he wanted, but Berns was just frustrated that he wasn't coming up with another "Brown-Eyed Girl", but was instead coming up with slow songs about trans women. Berns overdubbed party noises and soul backing vocals onto "Madame George", possibly in an attempt to copy the Beach Boys' Party! album with its similar feel, but it was never going to be a "Barbara Ann": [Excerpt: Van Morrison, "Madame George (Bang version)"] In the end, Berns released one of the filler tracks from Blowin' Your Mind, "Ro Ro Rosey", as the next single, and it flopped. On December the twenty-ninth, Berns had a meeting with Neil Diamond, the meeting after which Diamond decided he needed to get a bodyguard. After that, he had a screaming row over the phone with Van Morrison, which made Berns ill with stress. The next day, he died of a heart attack. Berns' widow Ilene, who had only just given birth to a baby a couple of weeks earlier, would always blame Morrison for pushing her husband over the edge. Neither Van Morrison nor Jerry Wexler went to the funeral, but Neil Diamond did -- he went to try to persuade Ilene to let him out of his contract now Berns was dead. According to Janet Planet later, "We were at the hotel when we learned that Bert had died. We were just mortified, because things had been going really badly, and Van felt really bad, because I guess they'd parted having had some big fight or something... Even though he did love Bert, it was a strange relationship that lived and died in the studio... I remember we didn't go to the funeral, which probably was a mistake... I think [Van] had a really bad feeling about what was going to happen." But Morrison has later mostly talked about the more practical concerns that came up, which were largely the same as the ones Neil Diamond had, saying in 1997 "I'd signed a contract with Bert Berns for management, production, agency and record company,  publishing, the whole lot -- which was professional suicide as any lawyer will tell you now... Then the whole thing blew up. Bert Berns died and I was left broke." This was the same mistake, essentially, that he'd made with Phil Solomon, and in order to get out of it, it turned out he was going to have to do much the same for a third time.  But it was the experience with Berns specifically that traumatised Morrison enough that twenty-five years later he would still be writing songs about it, like "Big Time Operators": [Excerpt: Van Morrison, "Big Time Operators"] The option to renew Morrison's contracts with Berns' companies came on the ninth of January 1968, less than two weeks after Berns' death. After his death, Berns' share of ownership in his companies had passed to his widow, who was in a quandary. She had two young children, one of whom was only a few weeks old, and she needed an income after their father had died. She was also not well disposed at all towards Morrison, who she blamed for causing her husband's death. By all accounts the amazing thing is that Berns lived as long as he did given his heart condition and the state of medical science at the time, but it's easy to understand her thinking. She wanted nothing to do with Morrison, and wanted to punish him. On the other hand, her late husband's silent partners didn't want to let their cash cow go. And so Morrison came under a huge amount of pressure in very different directions. From one side, Carmine DiNoia was determined to make more money off Morrison, and Morrison has since talked about signing further contracts at this point with a gun literally to his head, and his hotel room being shot up. But on the other side, Ilene Berns wanted to destroy Morrison's career altogether. She found out that Bert Berns hadn't got Morrison the proper work permits and reported him to the immigration authorities. Morrison came very close to being deported, but in the end he managed to escape deportation by marrying Janet Planet. The newly-married couple moved to Cambridge, Massachusetts, to get away from New York and the mobsters, and to try to figure out the next steps in Morrison's career. Morrison started putting together a band, which he called The Van Morrison Controversy, and working on new songs. One of his earliest connections in Massachusetts was the lead singer of a band called the Hallucinations, who he met in a bar where he was trying to get a gig: [Excerpt: The Hallucinations, "Messin' With the Kid"] The Hallucinations' lead singer was called Peter Wolf, and would much later go on to become well-known as the singer with the J. Geils Band. He and Morrison became acquaintances, and later became closer friends when they realised they had another connection -- Wolf had a late-night radio show under the name Woofa Goofa, and he'd been receiving anonymous requests for obscure blues records from a fan of the show. Morrison had been the one sending in the requests, not realising his acquaintance was the DJ. Before he got his own band together, Morrison actually guested with the Hallucinations at one show they did in May 1968, supporting John Lee Hooker. The Hallucinations had been performing "Gloria" since Them's single had come out, and they invited Morrison to join them to perform it on stage. According to Wolf, Morrison was very drunk and ranted in cod-Japanese for thirty-five minutes, and tried to sing a different song while the band played "Gloria". The audience were apparently unimpressed, even though Wolf shouted at them “Don't you know who this man is? He wrote the song!” But in truth, Morrison was sick of "Gloria" and his earlier work, and was trying to push his music in a new direction. He would later talk about having had an epiphany after hearing one particular track on the radio: [Excerpt: The Band, "I Shall Be Released"] Like almost every musician in 1968, Morrison was hit like a lightning bolt by Music From Big Pink, and he decided that he needed to turn his music in the same direction. He started writing the song "Brand New Day", which would later appear on his album Moondance, inspired by the music on the album. The Van Morrison Controversy started out as a fairly straightforward rock band, with guitarist John Sheldon, bass player Tom Kielbania, and drummer Joey Bebo. Sheldon was a novice, though his first guitar teacher was the singer James Taylor, but the other two were students at Berklee, and very serious musicians. Morrison seems to have had various managers involved in rapid succession in 1968, including one who was himself a mobster, and another who was only known as Frank, but one of these managers advanced enough money that the musicians got paid every gig. These musicians were all interested in kinds of music other than just straight rock music, and as well as rehearsing up Morrison's hits and his new songs, they would also jam with him on songs from all sorts of other genres, particularly jazz and blues. The band worked up the song that would become "Domino" based on Sheldon jamming on a Bo Diddley riff, and another time the group were rehearsing a Grant Green jazz piece, "Lazy Afternoon": [Excerpt: Grant Green, "Lazy Afternoon"] Morrison started messing with the melody, and that became his classic song "Moondance": [Excerpt: Van Morrison, "Moondance"] No recordings of this electric lineup of the group are known to exist, though the backing musicians remember going to a recording studio called Ace recordings at one point and cutting some demos, which don't seem to circulate. Ace was a small studio which, according to all the published sources I've read, was best known for creating song poems, though it was a minor studio even in the song-poem world. For those who don't know, song poems were essentially a con aimed at wannabe songwriters who knew nothing about the business -- companies would advertise you too could become a successful, rich, songwriter if you sent in your "song poems", because anyone who knew the term "lyric" could be presumed to know too much about the music business to be useful. When people sent in their lyrics, they'd then be charged a fee to have them put out on their very own record -- with tracks made more or less on a conveyor belt with quick head arrangements, sung by session singers who were just handed a lyric sheet and told to get on with it. And thus were created such classics prized by collectors as "I Like Yellow Things", "Jimmy Carter Says 'Yes'", and "Listen Mister Hat". Obviously, for the most part these song poems did not lead to the customers becoming the next Ira Gershwin, but oddly even though Ace recordings is not one of the better-known song poem studios, it seems to have produced an actual hit song poem -- one that I don't think has ever before been identified as such until I made a connection, hence me going on this little tangent. Because in researching this episode I noticed something about its co-owner, Milton Yakus', main claim to fame. He co-wrote the song "Old Cape Cod", and to quote that song's Wikipedia page "The nucleus of the song was a poem written by Boston-area housewife Claire Rothrock, for whom Cape Cod was a favorite vacation spot. "Old Cape Cod" and its derivatives would be Rothrock's sole evident songwriting credit. She brought her poem to Ace Studios, a Boston recording studio owned by Milton Yakus, who adapted the poem into the song's lyrics." And while Yakus had written other songs, including songs for Patti Page who had the hit with "Old Cape Cod", apparently Page recorded that song after Rothrock brought her the demo after a gig, rather than getting it through any formal channels. It sounds to me like the massive hit and classic of the American songbook "Old Cape Cod" started life as a song-poem -- and if you're familiar with the form, it fits the genre perfectly: [Excerpt: Patti Page, "Old Cape Cod"] The studio was not the classiest of places, even if you discount the song-poems. Its main source of income was from cutting private records with mobsters' wives and mistresses singing (and dealing with the problems that came along when those records weren't successful) and it also had a sideline in bugging people's cars to see if their spouses were cheating, though Milton Yakus' son Shelly, who got his start at his dad's studio, later became one of the most respected recording engineers in the industry -- and indeed had already worked as assistant engineer on Music From Big Pink. And there was actually another distant connection to Morrison's new favourite band on these sessions. For some reason -- reports differ -- Bebo wasn't considered suitable for the session, and in his place was the one-handed drummer Victor "Moulty" Moulton, who had played with the Barbarians, who'd had a minor hit with "Are You a Boy or Are You a Girl?" a couple of years earlier: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] A later Barbarians single, in early 1966, had featured Moulty telling his life story, punctuated by the kind of three-chord chorus that would have been at home on a Bert Berns single: [Excerpt: The Barbarians, "Moulty"] But while that record was credited to the Barbarians, Moulton was the only Barbarian on the track, with the instruments and backing vocals instead being provided by Levon and the Hawks. Shortly after the Ace sessions, the Van Morrison Controversy fell apart, though nobody seems to know why. Depending on which musician's story you listen to, either Morrison had a dream that he should get rid of all electric instruments and only use acoustic players, or there was talk of a record deal but the musicians weren't good enough, or the money from the mysterious manager (who may or may not have been the one who was a mobster) ran out. Bebo went back to university, and Sheldon left soon after, though Sheldon would remain in the music business in one form or another. His most prominent credit has been writing a couple of songs for his old friend James Taylor, including the song "Bittersweet" on Taylor's platinum-selling best-of, on which Sheldon also played guitar: [Excerpt: James Taylor, "Bittersweet"] Morrison and Kielbania continued for a while as a duo, with Morrison on acoustic guitar and Kielbania on double bass, but they were making very different music. Morrison's biggest influence at this point, other than The Band, was King Pleasure, a jazz singer who sang in the vocalese style we've talked about before -- the style where singers would sing lyrics to melodies that had previously been improvised by jazz musicians: [Excerpt: King Pleasure, "Moody's Mood for Love"] Morrison and Kielbania soon decided that to make the more improvisatory music they were interested in playing, they wanted another musician who could play solos. They ended up with John Payne, a jazz flute and saxophone player whose biggest inspiration was Charles Lloyd. This new lineup of the Van Morrison Controversy -- acoustic guitar, double bass, and jazz flute -- kept gigging around Boston, though the sound they were creating was hardly what the audiences coming to see the man who'd had that "Brown-Eyed Girl" hit the year before would have expected -- even when they did "Brown-Eyed Girl", as the one live recording of that line-up, made by Peter Wolf, shows: [Excerpt: The Van Morrison Controversy, "Brown-Eyed Girl (live in Boston 1968)"] That new style, with melodic bass underpinning freely extemporising jazz flute and soulful vocals, would become the basis of the album that to this day is usually considered Morrison's best. But before that could happen, there was the matter of the contracts to be sorted out. Warner-Reprise Records were definitely interested. Warners had spent the last few years buying up smaller companies like Atlantic, Autumn Records, and Reprise, and the label was building a reputation as the major label that would give artists the space and funding they needed to make the music they wanted to make. Idiosyncratic artists with difficult reputations (deserved or otherwise), like Neil Young, Randy Newman, Van Dyke Parks, the Grateful Dead, and Joni Mitchell, had all found homes on the label, which was soon also to start distributing Frank Zappa, the Beach Boys, and Captain Beefheart. A surly artist who wants to make mystical acoustic songs with jazz flute accompaniment was nothing unusual for them, and once Joe Smith, the man who had signed the Grateful Dead, was pointed in Morrison's direction by Andy Wickham, an A&R man working for the label, everyone knew that Morrison would be a perfect fit. But Morrison was still under contract to Bang records and Web IV, and those contracts said, among other things, that any other label that negotiated with Morrison would be held liable for breach of contract. Warners didn't want to show their interest in Morrison, because a major label wanting to sign him would cause Bang to raise the price of buying him out of his contract. Instead they got an independent production company to sign him, with a nod-and-wink understanding that they would then license the records to Warners. The company they chose was Inherit Productions, the production arm of Schwaid-Merenstein, a management company set up by Bob Schwaid, who had previously worked in Warners' publishing department, and record producer Lewis Merenstein. Merenstein came to another demo session at Ace Recordings, where he fell in love with the new music that Morrison was playing, and determined he would do everything in his power to make the record into the masterpiece it deserved to be. He and Morrison were, at least at this point, on exactly the same page, and bonded over their mutual love of King Pleasure. Morrison signed to Schwaid-Merenstein, just as he had with Bert Berns and before him Phil Solomon, for management, record production, and publishing. Schwaid-Merenstein were funded by Warners, and would license any recordings they made to Warners, once the contractual situation had been sorted out. The first thing to do was to negotiate the release from Web IV, the publishing company owned by Ilene Berns. Schwaid negotiated that, and Morrison got released on four conditions -- he had to make a substantial payment to Web IV, if he released a single within a year he had to give Web IV the publishing, any album he released in the next year had to contain at least two songs published by Web IV, and he had to give Web IV at least thirty-six new songs to publish within the next year. The first two conditions were no problem at all -- Warners had the money to buy the contract out, and Merenstein's plans for the first album didn't involve a single anyway. It wouldn't be too much of a hardship to include a couple of Web IV-published tracks on the album -- Morrison had written two songs, "Beside You" and "Madame George", that had already been published and that he was regularly including in his live sets. As for the thirty-six new songs... well, that all depended on what you called a song, didn't it? [Excerpt: Van Morrison, "Ring Worm"] Morrison went into a recording studio and recorded thirty-one ostensible songs, most of them lasting one minute to within a few seconds either way, in which he strummed one or two chords and spoke-sang whatever words came into his head -- for example one song, "Here Comes Dumb George", just consists of the words "Here Comes Dumb George" repeated over and over. Some of the 'songs', like "Twist and Shake" and "Hang on Groovy", are parodying Bert Berns' songwriting style; others, like "Waiting for My Royalty Check", "Blowin' Your Nose", and "Nose in Your Blow", are attacks on Bang's business practices. Several of the songs, like "Hold on George", "Here Comes Dumb George", "Dum Dum George", and "Goodbye George" are about a man called George who seems to have come to Boston to try and fail to make a record with Morrison. And “Want a Danish” is about wanting a Danish pastry. But in truth, this description is still making these "songs" sound more coherent than they are. The whole recording is of no musical merit whatsoever, and has absolutely nothing in it which could be considered to have any commercial potential at all. Which is of course the point -- just to show utter contempt to Ilene Berns and her company. The other problem that needed to be solved was Bang Records itself, which was now largely under the control of the mob. That was solved by Joe Smith. As Smith told the story "A friend of mine who knew some people said I could buy the contract for $20,000. I had to meet somebody in a warehouse on the third floor on Ninth Avenue in New York. I walked up there with twenty thousand-dollar bills -- and I was terrified. I was terrified I was going to give them the money, get a belt on the head and still not wind up with the contract. And there were two guys in the room. They looked out of central casting -- a big wide guy and  a tall, thin guy. They were wearing suits and hats and stuff. I said 'I'm here with the money. You got the contract?' I remember I took that contract and ran out the door and jumped from the third floor to the second floor, and almost broke my leg to get on the street, where I could get a cab and put the contract in a safe place back at Warner Brothers." But the problem was solved, and Lewis Merenstein could get to work translating the music he'd heard Morrison playing into a record. He decided that Kielbania and Payne were not suitable for the kind of recording he wanted -- though they were welcome to attend the sessions in case the musicians had any questions about the songs, and thus they would get session pay. Kielbania was, at first, upset by this, but he soon changed his mind when he realised who Merenstein was bringing in to replace him on bass for the session. Richard Davis, the bass player -- who sadly died two months ago as I write this -- would later go on to play on many classic rock records by people like Bruce Springsteen and Laura Nyro, largely as a result of his work for Morrison, but at the time he was known as one of the great jazz bass players, most notably having played on Eric Dolphy's Out to Lunch: [Excerpt: Eric Dolphy, "Hat and Beard"] Kielbania could see the wisdom of getting in one of the truly great players for the album, and he was happy to show Davis the parts he'd been playing on the songs live, which Davis could then embellish -- Davis later always denied this, but it's obvious when listening to the live recordings that Kielbania played on before these sessions that Davis is playing very similar lines. Warren Smith Jr, the vibraphone player, had played with great jazz musicians like Charles Mingus and Herbie Mann, as well as backing Lloyd Price, Aretha Franklin, and Janis Joplin. Connie Kay, the drummer, was the drummer for the Modern Jazz Quartet and had also played sessions with everyone from Ruth Brown to Miles Davis. And Jay Berliner, the guitarist, had played on records like Charles Mingus' classic The Black Saint and the Sinner Lady: [Excerpt: Charles Mingus: "Mode D - Trio and Group Dancers, Mode F - Single Solos & Group Dance"] There was also a flute player whose name nobody now remembers. Although all of these musicians were jobbing session musicians -- Berliner came to the first session for the album that became Astral Weeks straight from a session recording a jingle for Pringles potato chips -- they were all very capable of taking a simple song and using it as an opportunity for jazz improvisation. And that was what Merenstein asked them to do. The songs that Morrison was writing were lyrically oblique, but structurally they were very simple -- surprisingly so when one is used to listening to the finished album. Most of the songs were, harmonically, variants of the standard blues and R&B changes that Morrison was used to playing. "Cyprus Avenue" and "The Way Young Lovers Do", for example, are both basically twelve-bar blueses -- neither is *exactly* a standard twelve-bar blues, but both are close enough that they can be considered to fit the form. Other than what Kielbania and Payne showed the musicians, they received no guidance from Morrison, who came in, ran through the songs once for them, and then headed to the vocal booth. None of the musicians had much memory of Morrison at all -- Jay Berliner said “This little guy walks in, past everybody, disappears into the vocal booth, and almost never comes out, even on the playbacks, he stayed in there." While Richard Davis later said “Well, I was with three of my favorite fellas to play with, so that's what made it beautiful. We were not concerned with Van at all, he never spoke to us.” The sound of the basic tracks on Astral Weeks is not the sound of a single auteur, as one might expect given its reputation, it's the sound of extremely good jazz musicians improvising based on the instructions given by Lewis Merenstein, who was trying to capture the feeling he'd got from listening to Morrison's live performances and demos. And because these were extremely good musicians, the album was recorded extremely quickly. In the first session, they cut four songs. Two of those were songs that Morrison was contractually obliged to record because of his agreement with Web IV -- "Beside You" and "Madame George", two songs that Bert Berns had produced, now in radically different versions: [Excerpt: Van Morrison, "Madame George"] The third song, "Cyprus Avenue", is the song that has caused most controversy over the years, as it's another of the songs that Morrison wrote around this time that relate to a sexual or romantic interest in underage girls. In this case, the reasoning might have been as simple as that the song is a blues, and Morrison may have been thinking about a tradition of lyrics like this in blues songs like "Good Morning, Little Schoolgirl". Whatever the cause though, the lyrics have, to put it mildly, not aged well at all: [Excerpt: Van Morrison, "Cyprus Avenue"] That song would be his standard set-closer for live performances for much of the seventies. For the fourth and final song, though, they chose to record what would become the title track for the album, "Astral Weeks", a song that was a lot more elliptical, and which seems in part to be about Morrison's longing for Janet Planet from afar, but also about memories of childhood, and also one of the first songs to bring in Morrison's fascination with the occult and spirituality,  something that would be a recurring theme throughout his work, as the song was partly inspired by paintings by a friend of Morrison's which suggested to him the concept of astral travel: [Excerpt: Van Morrison, "Astral Weeks"] Morrison had a fascination with the idea of astral travel, as he had apparently had several out-of-body experiences as a child, and wanted to find some kind of explanation for them. Most of the songs on the album came, by Morrison's own account, as a kind of automatic writing, coming through him rather than being consciously written, and there's a fascination throughout with, to use the phrase from "Madame George", "childhood visions". The song is also one of the first songs in Morrison's repertoire to deliberately namecheck one of his idols, something else he would do often in future, when he talks about "talking to Huddie Leadbelly". "Astral Weeks" was a song that Morrison had been performing live for some time, and Payne had always enjoyed doing it. Unlike Kielbania he had no compunction about insisting that he was good enough to play on the record, and he eventually persuaded the session flute player to let him borrow his instrument, and Payne was allowed to play on the track: [Excerpt: Van Morrison, "Astral Weeks"] Or at least that's how the story is usually told -- Payne is usually credited for playing on "Madame George" too, even though everyone agrees that "Astral Weeks" was the last song of the night, but people's memories can fade over time. Either way, Payne's interplay with Jay Berliner on the guitar became such a strong point of the track that there was no question of bringing the unknown session player back -- Payne was going to be the woodwind player for the rest of the album: [Excerpt: Van Morrison, "Astral Weeks"] There was then a six-day break between sessions, during which time Payne and Kielbania went to get initiated into Scientology -- a religion with which Morrison himself would experiment a little over a decade later -- though they soon decided that it wasn't worth the cost of the courses they'd have to take, and gave up on the idea the same week. The next session didn't go so well. Jay Berliner was unavailable, and so Barry Kornfeld, a folkie who played with people like Dave Van Ronk, was brought in to replace him. Kornfeld was perfectly decent in the role, but they'd also brought in a string section, with the idea of recording some of the songs which needed string parts live. But the string players they brought in were incapable of improvising, coming from a classical rather than jazz tradition, and the only track that got used on the finished album was "The Way Young Lovers Do", by far the most conventional song on the album, a three-minute soul ballad structured as a waltz twelve-bar blues, where the strings are essentially playing the same parts that a horn section would play on a record by someone like Solomon Burke: [Excerpt: Van Morrison, "The Way Young Lovers Do"] It was decided that any string or horn parts on the rest of the album would just be done as overdubs. It was two weeks before the next and final session for the album, and that featured the return of Jay Berliner on guitar. The session started with "Sweet Thing" and "Ballerina", two songs that Morrison had been playing live for some time, and which were cut in relatively quick order.  They then made attempts at two more songs that didn't get very far, "Royalty", and "Going Around With Jesse James", before Morrison, stuck for something to record, pulled out a new lyric he'd never performed live, "Slim Slow Slider". The whole band ran through the song once, but then Merenstein decided to pare the arrangement down to just Morrison, Payne (on soprano sax rather than on flute), and Warren Smith Jr: [Excerpt: Van Morrison, "Slim Slow Slider"] That track was the only one where, after the recording, Merenstein didn't compliment the performance, remaining silent instead – Payne said “Maybe everyone was just tired, or maybe they were moved by it.” It seems likely it was the latter. The track eventually got chosen as the final track of the album, because Merenstein felt that it didn't fit conceptually with anything else -- and it's definitely a more negative track than the oth

Tonight on the program`s Jazz Feature is the music of Charles Mingus. It`s an important album in the Mingus recorded legacy and it was his initial album for the Impulse label. It was called ``The Black Saint and the Sinner Lady`` Mingus considered this one of his finest documents. It is a suite of music played by an 11 piece ensemble with some incredible solos by all involved like alto saxophonist Charlie Mariano and soprano and baritone saxophonist Jerome Richardson and trombonist Quentin Jackson and others. It is an intense that covers the gamut of emotions from anger, despair to hope. Mingus looms large as a pianist, bassist and composer of this work and he was given full control of the music, editing and sequencing. It`s his show and he made the best of it. Tonight`s jazz feature: Mr. Charles Mingus!

Ben reads a piece of writing titled 'The Passive Voice'. 'The Passive Voice' was pulled together from notes made in 2020 during the George Floyd uprising, reflecting on the history of American citizenship and its relationship to slavery. The causes of racist state violence and Black American resistance to it have a material basis of course, but our understanding of them is mediated by a dense web of assumptions and ideological sleight of hand—like a police report written in the passive voice. The disconnect between the material and the ideological is the subject of these notes. The piece also featured in a recent episode of Ben's radio show Red White Blues: an Anthology of America's Music, where we hear the entirety of Charles Mingus's 1963 masterpiece The Black Saint and the Sinner Lady. We're up to episode five now and there's a lot more in the pipeline about jazz, oil and the making of American power. If you haven't listened yet, you can do so at soundcloud.com/spaghettiforbrains. You can also check out @__redwhiteblues on Instagram where you'll find the show notes and other fragments of research from the project.

The Grue-Crew review EVIL DEAD RISE (2023, New Line Cinema) on Gruesome Magazine episode 427. Award-winning filmmaker Christopher G. Moore, award-winning screenwriter Brian W. Smith, and Doc Rotten share their thoughts about this week's frightening addition to theatrical horror films. Doc, Christopher, and Brian are joined by Dave Dreher, Chad Hunt, and Christopher Slattery! CELEBRATING 10 YEARS OF HNR The Grue-Crew are celebrating our 10 year anniversary! Doc Rotten, Dave Dreher, Thomas Mariani, and Santos Ellin Jr. (The Black Saint) gathered together for the first time in April 2013 for the first episode of Horror News Radio, reviewing EVIL DEAD (2013). What a ride it's been, full of highs and lows, friendships and loss, as the Crew continued to explore the horror genre from retro classic with Decades of Horror to new releases with HNR and Gruesome Magazine. OUR CELEBRATION CONTINUES WITH THE GRUE CRUISE IN FEBRUARY 2024 ROYAL CARIBBEAN ALLURE OF THE SEAS: FEB 23-26, 2024 3-NIGHT BAHAMAS & PERFECT DAY Check out how you too can join the celebration: https://gruesomemagazine.com/gruecruise Warning: possible spoilers after the initial impressions! EVIL DEAD RISE (2023, New Line Cinema) A twisted tale of two estranged sisters whose reunion is cut short by the rise of flesh-possessing demons, thrusting them into a primal battle for survival as they face the most nightmarish version of family imaginable. Available in theaters beginning April 21, 2023 Directed by: Lee Cronin Written by: Lee Cronin Cast: Lily Sullivan, Alyssa Sutherland, Gabrielle Echols, Morgan Davies, Nell Fisher FOLLOW: Gruesome Magazine Website http://gruesomemagazine.com YouTube Channel (Subscribe Today!) https://youtube.com/c/gruesomemagazine Instagram https://www.instagram.com/gruesomemagazine/ Facebook Group: https://www.facebook.com/groups/HorrorNewsRadioOfficial/ Doc, Facebook: https://www.facebook.com/DocRottenHNR Crystal, Facebook: https://www.facebook.com/living6dead6irl Crystal, Instagram: https://www.instagram.com/livin6dead6irl/ Jeff, Facebook: https://www.facebook.com/jeffmohr9 Dave, Facebook: https://www.facebook.com/drehershouseofhorrors

Just in time for the spookiest of seasons comes a spine-chilling installment of Terminus with the team you fear most- The Death Metal Guy and Harried Terminus Intern Hyper Shaman. As is (usually) tradition for this combo, we've got a death metal centered episode for you, but fear not: only one of the records discussed has prominent slams! First off, though, is a look at the new Daemogog record, which follows in the style of bands like Astral Tomb in its gangly, abstract take on brutal death technique and dissonant melodic motifs. First to bat is the newest record by Imprecation, stalwarts of the Texas scene, who provide yet another blast of traditional, blasphemous death metal from the early 90s. While this music is immediate and straightforward from moment to moment, it's also deceptively complex owing to elaborate song structures and a striking rhythmic performance. Imprecation rejects the conceits of nowadays "OSDM" and strikes at the heart of what made the original records of that era great. FFO Morbid Angel, Profanatica, the literal devil, etc. Concluding the proceedings is the third (!) appearance of Anal Stabwound on the show with the project's second full length record. To the shock of absolutely no one who's been paying attention, the new record is a dizzying display of technical and compositional prowess. Expanding from the jazz-infused style of later Defeated Sanity, Anal Stabwound combines the brain-melting rhythmic concepts of The Sanguinary Impetus with an emphasis on readable and even catchy songwriting. I'm still mad at Nikhil though. 0:00:00 - Intro/Daemogog - Yawning Expanse Yearning (Bent Window Records) 0:23:51 - Imprecation - In Nomine Diaboli (Dark Descent) 1:02:15 - Interlude - Resurrection - “Smell of Blood” fr. Embalmed Existence (Nuclear Blast America, 1993) 1:06:09 - Anal Stabwound - Reality Drips Into the Mouth of Indifference (New Standard Elite) 1:50:43 - Outro - Charles Mingus - “Group Dancers (Soul Fusion) (Freewoman and Oh, This Freedom's Slave Cries)” fr. The Black Saint and the Sinner Lady (Impulse!, 1963) Terminus links: Terminus on Youtube Terminus on Patreon Terminus on Instagram Terminus on Facebook thetrueterminus@gmail.com

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Grue-Believers, the Grue-Crew is proud to present an early episode of Doc Rotten's MONSTER MOVIE PODCAST recorded nearly 10 years ago around the same time HORROR NEWS RADIO (and subsequently Gruesome Magazine) was being born. HNR co-host and extraordinary human being, SANTOS ELLIN, JR. (The Black Saint), took on a guest spot to discuss his […]

"Communication" Dewey Redman - Ed Blackwell: Red and Black In Willisau (Black Saint, 1985) Dewey Redman, Ed Blackwell. El tema es una composición de Dewey Redman. Aunque Red and Black In Willisau se publicó en 1985, el disco se grabó en directo en el festival suizo de Willisau el 31 de agosto de 1980. El disco, todo él, es un magnífico mano a mano entre el saxofonista y el baterista: muy recomendable. © Pachi Tapiz, 2022 En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=46241 Más información sobre Dewey Redman - Ed Blackwell Obituario de Dewey Redman en The New York Times https://www.nytimes.com/2006/09/04/arts/music/04redman.html https://www.tomajazz.com/web/?s=dewey+redman&submit=Search https://www.bluenote.com/artist/ed-blackwell/ https://www.tomajazz.com/web/?s=ed+blackwell&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. Las sugerencias, quejas, felicitaciones, opiniones y el contacto en general en jazzx5 @ tomajazz.com También por WhatsApp en el teléfono de contacto. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

Grue-Believers, the Grue-Crew is proud to present an early episode of Doc Rotten's MONSTER MOVIE PODCAST recorded nearly 10 years ago around the same time HORROR NEWS RADIO (and subsequently Gruesome Magazine) was being born. HNR co-host and extradentary human being, SANTOS ELLIN, JR. (The Black Saint), took on a guest spot to discuss his […]

This week, we are joined by the late, great Black Saint himself, Santos Ellin Jr. to talk killer dolls! Thanks for listening, and rest in peace, Saint!

Celebrated jazz musician Gary Crosby OBE was a founding member of the group Jazz Warriors in the 80s and was awarded an OBE in 2009 for Services to Music, and in 2018 became the first jazz musician to be awarded the Queen's Medal for Music. Here, he digs deep into one of the albums that influenced his career the most, Charles Mingus' The Black Saint and The Sinner Lady. Read more about your favourite albums here: classicalbumsundays.com

Celebrated jazz musician Gary Crosby OBE was a founding member of the group Jazz Warriors in the 80s and was awarded an OBE in 2009 for Services to Music, and in 2018 became the first jazz musician to be awarded the Queen's Medal for Music. Here, he digs deep into one of the albums that influenced his career the most, Charles Mingus' The Black Saint and The Sinner Lady. Read more about your favourite albums here: classicalbumsundays.com

Billy Harper has had a pretty incredible career. He was a member of Art Blakey's Jazz Messengers in 1968. He played with Max Roach. He was part of the Thad Jones/Mel Lewis Big Band and the Gil Evans big band, and because of those connections he got to play on a Louis Armstrong album. He was on Lee Morgan's final studio album, recorded in 1971. And he's had a solo career since the early Seventies, making legendary albums like Capra Black for the Strata-East label and Black Saint for…well, for Black Saint. It was their first release, and they named the label after it!Since about 2008, Harper has been a member of the Cookers, a group led by trumpeter David Weiss that also features Eddie Henderson on trumpet, Donald Harrison or Craig Handy on alto sax, George Cables — who's been on this podcast — on piano, Cecil McBee on bass, and Billy Hart on drums. All of those guys have long careers as leaders, but when they come together, playing music from their back catalogs and new material, they're really amazing. I've seen them live twice and it's just astonishing to watch absolute masters get up there and deliver the way they do.I really had a good time talking to Billy Harper. In this interview, we talk about the Texas tenor sax tradition, we talk about his time with Lee Morgan, we talk about the Cookers, about his solo work, about how to teach improvisation, and a bunch of other things. If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Billy Harper, “Call of the Wild and Peaceful Heart” (Black Saint)The Cookers, “Destiny is Yours” (Look Out!)Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletter

Billy Harper has had a pretty incredible career. He was a member of Art Blakey's Jazz Messengers in 1968. He played with Max Roach. He was part of the Thad Jones/Mel Lewis Big Band and the Gil Evans big band, and because of those connections he got to play on a Louis Armstrong album. He was on Lee Morgan's final studio album, recorded in 1971. And he's had a solo career since the early Seventies, making legendary albums like Capra Black for the Strata-East label and Black Saint for…well, for Black Saint. It was their first release, and they named the label after it!Since about 2008, Harper has been a member of the Cookers, a group led by trumpeter David Weiss that also features Eddie Henderson on trumpet, Donald Harrison or Craig Handy on alto sax, George Cables — who's been on this podcast — on piano, Cecil McBee on bass, and Billy Hart on drums. All of those guys have long careers as leaders, but when they come together, playing music from their back catalogs and new material, they're really amazing. I've seen them live twice and it's just astonishing to watch absolute masters get up there and deliver the way they do.I really had a good time talking to Billy Harper. In this interview, we talk about the Texas tenor sax tradition, we talk about his time with Lee Morgan, we talk about the Cookers, about his solo work, about how to teach improvisation, and a bunch of other things. If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Billy Harper, “Call of the Wild and Peaceful Heart” (Black Saint)The Cookers, “Destiny is Yours” (Look Out!)Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletter

"Blu Blu Blu" The Muhal Richard Abrams Orchestra: Blu Blu Blu (Black Saint, 1990) Jack Walrath, Alfred Patterson, John Purcell, Robert De Bellis, Eugene Ghee, Patience Higgins, Joe Daley, Brad Jones, David Fiuczynski, Warren Smith, Joel Brandon, Thurman Barker, Lindsey Horner. El tema es una composición de Muhal Richard Abrams. © Pachi Tapiz, 2021 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. El disco Blu Blu Blu, no es la primera vez que aparece en Tomajazz: fue una de las razones para amar el jazz (https://www.tomajazz.com/web/?p=33059); ya ha sonado en el podcast HDO en el programa Una hora con... Muhal Richard Abrams (https://www.tomajazz.com/web/?p=33070); y Pachi Tapiz reseñó la caja Muhal Richard Abrams: The Complete Remastered Recordings On Black Saint & Soul Note (Cam Jazz, 2012) (https://www.tomajazz.com/web/?p=5390). En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast

"The Hard Blues" The Julius Hemphill Sextat: fat man and the hard blues (Black Saint, 1991) Julius Hemphill, Marty Ehrlich, Carl Grubbs, James Carter, Andrew White, Sam Furnace. El sexteto de saxofonistas interpretaba la composición de Julius Hemphill que ya había grabado anteriormente.  © Pachi Tapiz, 2021 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. El disco, fat man and the hard blues, aparecía dentro de la caja Julius Hemphill: The Complete Remastered Recordings On Black Saint and Soul Note (Cam Jazz, 2012), que reseñaba Pachi Tapiz en https://www.tomajazz.com/web/?p=5311

This week on the show:   - Our album of the week is The Black Saint and the Sinner Lady by Charles Mingus - Our True Crime is the murder of Akku Yadav - Ken brings us sports facts - Joe brings us pet peeves   Let us know your thoughts via the usual contact channels below. See you next time. Keep on Craicin'!   https://www.facebook.com/craiconthecouch/   https://twitter.com/CraicOnTheCouch   preachinonpreacher@gmail.com   Read more at http://preachinonpreacher.libsyn.com/#IZX5hfQUqdtZ4F6f.99

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

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Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

Remember record stores? Remember the thrill of turning your friends on to new music by swapping vinyl and CDs? Yeah, we do too. That’s why we’re rebooting that tradition for the digital age with our “Crate Digging” podcast series, in which we’ll search through crates of our memories to bring you a handful of album recommendations on a given theme. It’s social media in the truest sense of the term: no algorithms, no computer-generated playlist. Just jazz fans sharing records with other jazz fans. You can listen to the podcast version via the player below. Write-ups of individual albums and sample tracks follow. Welcome to the party! For this episode of Crate Digging, we have chosen some of our favorite third stream albums! Albums included: Modern Jazz Quartet, Django (Prestige, 1956) Gunther Schuller, Jumpin' in the Future (GM, 1988) Jacques Loussier, Play Bach N.1 (Decca, 1959) Charles Mingus, The Black Saint and the Sinner Lady (Impulse!, 1963) André Hodeir, Jazz et Jazz (Fontana, 1959) Various Artists, The Birth of Third Stream (Columbia, 1996) Eric Dolphy, Out There (New Jazz, 1961) John Lewis, Jazz Abstractions (Atlantic, 1961) Franco Ambrosetti, Music for Symphony and Jazz Band (Enja, 1991) Joe Lovano, Rush Hour (Blue Note, 1994) --- Support this podcast: https://anchor.fm/jazziz/support

Episode 33 Youseff Yancy--Pioneer of Electronic Jazz   Part 1 Playlist Yuseff Lateef, “Sound Wave” from A Flat, G Flat And C (1966 Impulse!). Tenor Saxophone, Alto Saxophone, Flute, Oboe, Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson. 4:00. Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet). Harp, Dorothy Ashby. No other credits are given. Unknown Theremin player. 3:19. Sunny Murray's Untouchable Factor, “New York Maze” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Alto Saxophone, Arthur Blythe; Baritone Saxophone, Hamiet Bluiett; Bass, Fred Hopkins; Guitar, Monnette Sudler. 18:34. Sunny Murray's Untouchable Factor, “Applebluff” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Drums, Sonny Brown; Flutes], Whistles, Percussion, Abdul Zahir Batin. 9:10. Muhal Richard Abrams, “Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 6:50. Muhal Richard Abrams, “Inneroutersight” from Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 7:54. Byard Lancaster, “Blue Nature” from, Documentation The End of a Decade (1980 Bellows). Theremin and trumpet, Youseff Yancy. Recorded in New York in 1979, this is a multi-tracked, solo performance by Yancy on his own composition. One track of straight trumpet, at least one track of electronically modified trumpet, and another track of Theremin. On the liner notes, “B. Lancaster acknowledges the spiritual and education guidance from Youseff Yancy and family.” 2:43. Garrett List and the A-1 Art Band, “Where We Are” from Various ‎– From The Kitchen Archives - New Music New York 1979 (2004 Orange Mountain Music). Piano, Trombone, Garrett List; Theremin, Trumpet, Youseff Yancy; Soprano Saxophone, Byard Lancaster; Voice, Genie Sherman. Recorded live at The Kitchen, New York City. 8:38. Opening background music: Garrett List / A-1 Band, “Passions of Miles” from ‎Fire & Ice (1982 Lovely Music). Composed by, Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman. Second background track: Better Daze, “Heavenly Sweetness” from First Flight E.P. (1995 Ubiquity). Acid jazz remix of “Sweetness,” a song that originated on the 1980 album by Byard Lancaster featuring Youseff Yancy and vocalist Joan Hansom. Opening and closing sequences voiced by Anne Benkovitz.    

This week featuring: Tom Trago ft. Ben Westbeech, WhoMadeWho, DJ Koze, St Germain, Nightmares On Wax,  Logic1000, Sisto, Bruv, Luca Garaboni, Ron Carroll, Mike Catherall, Prok & Fitch Feat. Kyozo, Lana Rossa, Black Saint, Nhan Solo, Hot Since 82, Blaze. 

Arvid och Hannu kommer plocka isär Mingus magnus opus The Black Saint and the Sinner Lady Varför hade Mingus så mycket ångest? Var Mingus saxuellt frustrerad? Var det hans svenska påbrå som gav honom ångest?

Jazzvaneio 03, Imersão em quatro atos: Álbuns Década de 70Ato Terceiro: Charles Mingus “Let My Children Hear Music”Terceiro de quatro PodCast que propõem uma desafiadora imersão aos anos 70. Um homem e sua inexorável ânsia de expandir a linguagem da música e da composição improvisada pelos próprios alicerces do Jazz às últimas consequências. Um subversivo e visionário Charles Mingus precipita-se a tal empresa como um Colosso em plena comunhão com a “Terra” e suas raízes. Um impiedoso e ambíguo emaranhado de maiúscula sofisticação irmanado a um “primitivismo” não isento de crueza. “Let My Children Hear Music” é um manifesto compositivo que ainda assombra e apaixona impunemente os amantes de música. Uma obra de arte ímpar, estamos em 1972...Preparem-se!Album: Charles Mingus “Let My Children Hear Music” 1972 - Columbiawww.charlesmingus.comAto gravado no dia 15 de Setembro de 2020Texto da “The Chill of Death” Charles Mingus “Let MY Children Hear Music”:“The chill of death as she clutched my hand.I knew she was coming so I stood like a man. She drew up closer, close enough for me to look into her face, and then began to wonder, "Haven't I seen you some other place?" She beckoned for me to come closer as if to pay an old debt. I knew what she wanted; it wasn't quite time yet. She threw her arms about me as many women had done before. I heard her whisper, "You'll never cheat me, never anymore." Darkness and nothingness clouded my mind. I began to realise death was nothing to fear but something sweet and kind. I pinched to see if I was dreaming but failed to find bodily form. I then began to realize death had worked her charm. Taking myself of nothingness I chose a road to walk. I noticed death's pleasantness with no one to stop me to talk. I remembered stories of heaven as I envisioned the glory ahead. Two roads lay waiting for me to choose one now that I was dead. One road was dark; I could not see clearly such long stretched highway. The other road was golden and glowing, and shined as bright as day. I then remember stories of pearly gates, golden streets... or how... however those stories are told. I knew I'd reach heaven on this highway. If not, I'd have the gold. I took one footstep feeling safe and acting bold. Suddenly, I realised my mistake. My chosen road turned black, bittery, and white cold. No longer was it golden glory nor heaven that it's in. White hot flames were blazing; I saw the devil with his grin. I had taken but one footstep so I turned to hurry back. But there a sound more waited, not a door, nor a crack. Finally, coming to my senses, I walked on to my hell. For long before death had called me, my end was planned. Planned, but well”.Outras Referências Artísticas e “culturais” (por ordem de menção): Third Stream (movimento que buscava a incorporação de influências da música de câmera e sinfônica clássica ao Jazz nos anos 70), Pithecanthropus Erectus (Álbum do Charles Mingus), The Clown (Álbum do Charles Mingus), Mingus Ah Um (Álbum do Charles Mingus), The Black Saint and The Sinner Lady (Álbum do Charles Mingus), Joni Mitchell (Músico), Mingus (Álbum da Joni Mitchell), Herbie Hancock (Músico), Wayne Shorter (Músico), Teo Macero (Produdor Musical), Bitches Brew (Álbum do Miles Davis), In a Silent Way (Álbum do Miles Davis), Kind of Blue (Álbum do Miles Davis), Time Out (Álbum do Dave Brubeck), Miles Davis (Músico), Federico Fellini (Diretor de Cinema), Mr. Bungle (banda de Rock), Cardiacs (Banda de Rock), Duke Ellington (Músico), Edgard Varèse (Músico), Arnold Schoenberg (Músico), Pierre Boulez (Músico), Olivier Messiaen (Músico), Glenn Miller (Músico), Charlie Parker (Músico), Tidal (Plataforma de Streaming), Godfather (Filme Dirigido por Francis For Coppola), Nino Rota (Músico), The Halls of Fear (Música da trilha sonora do filme Godfather de 1972), Frank Zappa (Músico), Studio Tan (Álbum do Frank Zappa), The Adventures Of Greggery Peccary (Música do Frank Zappa) eBaratos Afins (Loja e Selo Musical de São Paulo).Contato: info@jazzvaneio.com

I was still a Young Man When I was working @ tower records following a stint @ Boston University in the late nineties when I came across a compact disc of a band that seemed to fit inside the Jake Feinberg pocket. Nice melodies, contrapuntal piano techniques, power horns and the funk drumming. It was harder soul then the Temps and more modal then the Brubeck/Desmond/Guaraldi Tjader Jazz across the Bay. They had infectious hooks, polyrhythmic percussion and messages that spoke to the changing dynamic of cities and the soul circuit of music as a conduit to magic. My guests drumming chops came from his work with Tower of Power but it also came in the form of Jacks on Sutter, The Vizedero, Jimbo's Bop City, The El Matador, the Black Saint and all his pocket trap buddies.....Eddie Moore, Gaylord Birch, Mike Clark, Eddie Marshall, Dick Berk Greg Errico and Jerry Granelli. Being able to play live for nights a time in Japan town with some sticky sake and udon noodles next to Chester Thompson ambidextrous organ, Greg Adams trumpet or Lenny Williams urban renewal of the Oakland Stroke. San Fran gets all the pub but Oaktown is the gritty dirty scrappy step brother who over performs and out maneuvers it's more glitzy neighbor. Don't change horses in midstream because the hot bet is on the boogie down east bay grease that cooked that stew of Sly Stone, The Fillmore District and East Side San Jose and Barry Bonds. My guest today is in the same master drumming discussion as the aforementioned cats as well as Mickey Roker, Lenny White, Bernard Purdie and Jim Keltner. He has the chops to play in any musical setting because he can feel and is sensitive to the bump city that might be on the 1/3 or the 2/4 or a quick hop skip over to the BART station to learn some drumming techniques from the birds on hippie hill. He's open to playing if the music is good just like Taj Mahal or Sam Lay or Michael White. He's open to painting the rhythm and hue because let's face it- the books still being written...David Garibaldi welcome to the JFS...... --- Support this podcast: https://anchor.fm/jake-feinberg/support

Charles Mingus's 1963 recording "The Black Saint and the SInner Lady" is a concept album, a fully realized artistic expression from the first note to the last.

We help you on a deep level to track Covid19, Riots, and Recession all over the country. This week Matt shares the real talk, inspirational story of long time effective politician Rene Flowers. www.ecosystemsbusinessconcierge.com

Tarptautinę džiazo dieną „Kitame laike“ prisimename genialų kontrabosininką, kompozitorių Charlesą Mingusą, kurio gimtadienio proga perleistas epochinis 1963-iųjų džiazo baletas „The Black Saint and the Sinner Lady“. Šis kūrinys iki šiol laikomas vienu svarbiausių džiazo albumų istorijoje. Minguso asmenybė – labai kontraversiška. Jis garsėjo kaip diktatorius, retkarčiais net smurtavęs prieš savo ansamblio muzikantus. Nemiga ir depresija galiausiai privedė kompozitorių iki psichiatrinės ligoninės ir ankstyvos mirties. Antrojoje laidos dalyje – premjera: amerikiečių minimalisto Johno Adamso naujausias kūrinys, dar kvepiantis spaustuvės dažais ir pasiekęs mus iš klasikinės muzikos leidyklos „Deutsche Grammophon“. Ved.Domantas Razauskas

Hver uge retter P8 JAZZ-værterne spotlyset mod ét specifikt jazzalbum, folder historierne ud og spiller musikken fra start til slut. Sæt streamingtjenesternes blandede spillelister på pause og fordyb dig i et jazzværk. Vært: Tina Rømer. www.dr.dk/p8jazz

..Nell'estate del '73 Rivers è al prestigioso festival svizzero di Montreux, e dalla sua esibizione la Impulse ricava l'album Streams. Nell'estate successiva Rivers è alla prima edizione di Umbria Jazz: in Italia c'è un nuovo pubblico giovanile ingordo di jazz d'avanguardia, e Rivers, un mattatore, è uno dei personaggi in cui questo pubblico giovanile si identifica maggiormente. Alla metà degli anni settanta di Rivers cominciano ad interessarsi diverse etichette italiane: nel '75 Rivers partecipa a Capricorn Rising, intestato a Don Pullen, per la Black Saint; nel '76 incide The Quest per la Red Record; nell'estate del '76 Rivers è per due sere a Umbria Jazz e dalle sue esibizioni la Horo ricava due Lp doppi, intitolati Black Africa!

..Nell'estate del '73 Rivers è al prestigioso festival svizzero di Montreux, e dalla sua esibizione la Impulse ricava l'album Streams. Nell'estate successiva Rivers è alla prima edizione di Umbria Jazz: in Italia c'è un nuovo pubblico giovanile ingordo di jazz d'avanguardia, e Rivers, un mattatore, è uno dei personaggi in cui questo pubblico giovanile si identifica maggiormente. Alla metà degli anni settanta di Rivers cominciano ad interessarsi diverse etichette italiane: nel '75 Rivers partecipa a Capricorn Rising, intestato a Don Pullen, per la Black Saint; nel '76 incide The Quest per la Red Record; nell'estate del '76 Rivers è per due sere a Umbria Jazz e dalle sue esibizioni la Horo ricava due Lp doppi, intitolati Black Africa!

..Nell'estate del '73 Rivers è al prestigioso festival svizzero di Montreux, e dalla sua esibizione la Impulse ricava l'album Streams. Nell'estate successiva Rivers è alla prima edizione di Umbria Jazz: in Italia c'è un nuovo pubblico giovanile ingordo di jazz d'avanguardia, e Rivers, un mattatore, è uno dei personaggi in cui questo pubblico giovanile si identifica maggiormente. Alla metà degli anni settanta di Rivers cominciano ad interessarsi diverse etichette italiane: nel '75 Rivers partecipa a Capricorn Rising, intestato a Don Pullen, per la Black Saint; nel '76 incide The Quest per la Red Record; nell'estate del '76 Rivers è per due sere a Umbria Jazz e dalle sue esibizioni la Horo ricava due Lp doppi, intitolati Black Africa!

Charles Mingus “Black Saint & The Sinner Lady”   This volcanic 1963 large-ensemble Mingus session for the Impulse record label has long been considered one of his best. Host Robert Bush speaks with award-winning composer Anthony Davis about Mingus. This is a deep dive down this Rabbit Hole…

Ghost Trees Ghost Trees are Seth Nanaa on drums and Brent Bagwell on tenor saxophone. Nanaa (ex-Indian Summer) and Bagwell met in NYC in 2000. Along with bassist Jordon Schranz, they formed The Eastern Seaboard. That trio toured the US relentlessly, releasing two records with legendary Italian label Black Saint and a fistful of vinyl and CDs from Tigerasylum Records. After playing together for over a decade, they began investigating the duo format in earnest and released their debut 10" picture disc on the Future Recordings label in 2012. September of 2014 saw the release of their LP, The New Gravity. In June of 2016, the duo - expanded to a big band as part of a month-long residency at Goodyear Arts - released a double 7" called Goodyear. Their most recent effort, an LP entitled The Fascination, was released in October of 2017. www.ghost-trees.com Space-Saver Horn and drums come together like matter in a black hole, dense and inescapable. – Bill Meyer, Downbeat Magazine 4/5 Stars Based in Charlottesville VA, Travis Thatcher (Voice of Saturn, Judi Chicago) and Steve Snider (Golden Glasses, Cataract Camp) utilize saxophones, drums, fx and self-designed electronics to produce a dynamic, wooly wall of noise containing within as much nuance as it does concussive power. Space-Saver is the real-time combination of Snider and Thatcher’s diverse musical experiences and tastes, including free jazz, doom metal, acid techno, ambient and minimal synth music. space-saver.bandcamp.com Kittie Cooper Kittie Cooper is a composer, performer, and educator based in Charlottesville, Virginia. She makes art that incorporates feminism and explores the spectrum between silliness and seriousness. Her work has been called "highly original and wonderfully fun". She is interested in text and graphic scores, improvisation, and DIY electronic instruments. She has recently performed and presented at festivals and conferences including SPLICE, Electronic Music Midwest, N_SEME, and MOXsonic Festival. She also performs locally in Charlottesville as a guitarist, electronic musician, and improviser. Kittie teaches music for students with visual impairments at the Virginia School for the Deaf and the Blind. She holds a BM from Northwestern University in music education and guitar performance, and is pursuing a Master’s degree in special education at George Mason University. In her spare time, she enjoys taking care of the stray cats in her neighborhood. kittiecooper.com   TELEMETRY is an unconventional music series, showcasing bold new musical compositions, new instrumentation, and unique collaborations across space and genre. Each transmission is recorded live at The Bridge Progressive Arts Initiative, in partnership with UVA Arts and The UVA Music Department in Charlottesville Virginia. For more information, visit thebridgepai.org

Black Venezuelans have introduced an African icon into a festival honoring St. John. See acast.com/privacy for privacy and opt-out information.

**DJ Ricky K Show Replay From New Zealand on www.traxfm.org. Ricky Mixed Cuts Like Pnau, Mike Williams, Kygo, 3LAU, Alesso, Kyro, Benson, Peggy Gou, Max Styler, High Contrast, 3LAU & Justin Caruso Feat Iselin, Alesso, ARTY, Flux Pavilion, Paul Kalkbrenner, Ian Van Dahl, Black Saint, Storm Queen, Klingrande, Dynoro, Haddaway, Ann Lee & More. Catch Ricky K Live Every Sunday From 11AM UK Time/12AM NZ time The Station: www.traxfm.org #traxfm #rickyk #dance #danceclassics #clubanthems #edm #edmradio #inthemix #upfrontdance #remix #bigroomdance Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

Wasup y'all, We got REAL on this ep! I couldn't ignore the Sri Lanka tragedy - may all those who lost their lives rest in peace. How the efff did Sri Lanka miss all the warnings!? Focusin on money and power, that's how. But then we got into it! We had my lawyer buddy, Jon Friedland, get real about bankruptcy! Are there ways to scoop up companies going bankrupt on the cheap? If so, how? And why is Jon doin' business deals in the back rooms of sketchy bars? Me and comedian St. James Jackson hit up Jon with all sorts of wacky 'what-if's'. We were also talm'bout the markets - this week they hit an ALL-TIME high! Bottom-line? Keep investin, it's all about the long game right now. Finally, we asked the hard question: should everyone be going to college? WHERE did this idea - everyone needs to go to college - even come from? Is it outdated? Enjoy the episode! Thanks for tuning in! 06:30- Sri Lanka terrorist attack 25:38- The stock market's at ALL TIME RECORD HIGHS! 34:20- Uber going public in stock market 43:10- Tesla missed earnings; announces Robotaxi's 48:30- 60/20/20 formula 51:45- Jon Friedland: Top Chicago bankruptcy attorney 53:00- How a company decides whether to declare bankruptcy or not 1:07:40- Secured and unsecured debt 1:15:10- Are there entrepreneurs that making money buying co's going through bankruptcy? 1:37:00- One successful deal example --- Support this podcast: https://anchor.fm/business-news-and-other-sheet/support

**DJ Ricky K Show Replay From New Zealand on www.traxfm.org. Ricky Mixed Cuts Like Marshmello, Dimitri Vegas, Joji, Kygo, Beth Yen, Black Saint, Hardwell, M-22, Meduza, Tiesto, Weiss, Mike Williams, Decline,Gaulin, Pink Panda, Three from David Guetta, Jax Jones & More. Catch Ricky K Live Every Sunday From 11AM UK Time/12AM NZ time The Station: www.traxfm.org #traxfm #rickyk #dance #danceclassics #clubanthems #edm #edmradio #inthemix #upfrontdance #remix #bigroomdance Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm **

Website: https://www.danu5ik.com Facebook: https://www.facebook.com/Danu5ik Spotify: https://open.spotify.com/artist/4AwxzReMvU6AFLt8UlCRPi Instagram: http://instagram.com/danu5ik/ YouTube: http://youtube.com/c/danu5ikvevo Twitter: https://twitter.com/ddanu 01.Agency - Damn 2 (Mark Picchiotti Club Remix) 02.Ten Ven - Just About (Hi Im Claude Extended Remix) 03.Shaima - Girl Gang (Parx Remix) 04.Black Saint ft. Sam Fischer - Everybody Wants You (Extended Mix) 05.Alice Chater - Thief (DM Slides Remix) 06.Anton Powers & Redondo - Make Your Move (Joe Stone Remix) 07.Calvin Harris & RagnBone Man - Giant (Robin Schulz Remix) 08.Courtney Act - Fight For Love (Extended Mix) 09.David Guetta ft. Brooks & Loote - Better When Youre Gone (Extended Mix) 10.Somn3um - Pass You By (Extended Mix) 11.Rykho - Cant Do Loving You (So Cool Network Remix) 12.Arty - Save Me Tonight (Extended Mix) 13.Tough Love ft. Alex Mills - Echoes (Extended Mix) 14.Wh0 - Marys Poppin (Extended Mix) 15.ZieZie - Sensei (Pink Panda Dub) This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

Website: https://www.danu5ik.com Facebook: https://www.facebook.com/Danu5ik Spotify: https://open.spotify.com/artist/4AwxzReMvU6AFLt8UlCRPi Instagram: http://instagram.com/danu5ik/ YouTube: http://youtube.com/c/danu5ikvevo Twitter: https://twitter.com/ddanu 01.Agency - Damn 2 (Mark Picchiotti Club Remix) 02.Ten Ven - Just About (Hi Im Claude Extended Remix) 03.Shaima - Girl Gang (Parx Remix) 04.Black Saint ft. Sam Fischer - Everybody Wants You (Extended Mix) 05.Alice Chater - Thief (DM Slides Remix) 06.Anton Powers & Redondo - Make Your Move (Joe Stone Remix) 07.Calvin Harris & RagnBone Man - Giant (Robin Schulz Remix) 08.Courtney Act - Fight For Love (Extended Mix) 09.David Guetta ft. Brooks & Loote - Better When Youre Gone (Extended Mix) 10.Somn3um - Pass You By (Extended Mix) 11.Rykho - Cant Do Loving You (So Cool Network Remix) 12.Arty - Save Me Tonight (Extended Mix) 13.Tough Love ft. Alex Mills - Echoes (Extended Mix) 14.Wh0 - Marys Poppin (Extended Mix) 15.ZieZie - Sensei (Pink Panda Dub) This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

**DJ Ricky K Show Replay From New Zealand on www.traxfm.org. Ricky Mixed Cuts Like LENNO, Meduza, Crush Club, Black Saint, Yolanda Be Cool, Sam Smith & Normani, Yolanda Be Cool, M-22, Skrillex & Poo Bear, NOTD, Chic - “Le Freak” (Oliver Heldens Remix), Loud Luxury, Blink, Bastille, Matoma, Sub Focus, M People, Haddaway… & More. Catch Ricky K Live Every Sunday From 11AM UK Time/12AM NZ time The Station: www.traxfm.org #traxfm #rickyk #dance #danceclassics #clubanthems #edm #edmradio #inthemix #upfrontdance #remix #bigroomdance Listen Here: www.traxfm.org Free Trax FM Android App: https://play.google.com/store/apps/details?id=net.traxfmradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/original103.3/ OnLine Radio Box: http://onlineradiobox.com/uk/trax/?cs=uk.trax Tune In Radio : https://tunein.com/radio/Trax-FM-s225176/ Radio Deck: http://www.radiodeck.com/radio/5a09e2de87e3370db06d44dc Radio.Net: http://traxfmlondon.radio.net/ Stream Radio : http://streema.com/radios/Trax_FM..The_Originals Live Online Radio: http://www.liveonlineradio.net/english/trax-fm-103-3.htm**

2e émission de la 41e session... Cette semaine, une pensée pour Joseph Jarman, jazz modal, post-bop et freejazz! En musique: Don Rendell - Ian Carr 5tet sur l'album Dusk Fire  (Columbia, 1966); Don Rendell - Ian Carr Quintet sur l'album Phase III  (Columbia, 1968); Roxy Coss sur l'album The Future is Female  (Posi-Tone, 2018); Erik Jekabson sur l'album Erik Jekabson Sextet  (Wide Hive, 2018); Jonathan Finlayson sur l'album 3 Times Round  (Pi Recordings, 2018); Joseph Jarman - Don Pullen - Don Moye sur l'album The Magic Triangle  (Black Saint, 1979); Joseph Jarman - Don Moye - featuring Johnny Dyani sur l'album Black Paladins  (Black Saint, 1980)...

Trumpeter, multi-instrumentalist, composer, and improviser Wadada Leo Smith has been a member of Chicago's legendary AACM collective for the past five decades. A finalist for the 2013 Pulitzer Prize in Music, he received the 2016 Doris Duke Artist Award and earned an honorary doctorate from CalArts, where he was also celebrated as Faculty Emeritus. A regular selection of the DownBeat International Critics Poll, In 2017 he topped three categories: Best Jazz Artist, Trumpeter of the Year and Jazz Album of the Year. Smith has released more than 50 albums as a leader on labels including ECM, Moers, Black Saint, Tzadik, Pi Recordings, TUM, Leo and Cuneiform. His diverse discography reveals a recorded history exploring the social, natural and political environment of his times with passion and fierce intelligence. His 2016 recording “America’s National Parks” earned the trumpeter-composer rave reviews and a place on numerous best-of-the-year lists including the New York Times and NPR Music. Join us for a special in-studio performance from Wadada Leo Smith in this installment of “Leonard Lopate at Large” on WBAI and a conversation about his storied career.

2e émission de la 41e session... Cette semaine, une pensée pour Joseph Jarman, jazz modal, post-bop et freejazz! En musique: Don Rendell - Ian Carr 5tet sur l'album Dusk Fire  (Columbia, 1966); Don Rendell - Ian Carr Quintet sur l'album Phase III  (Columbia, 1968); Roxy Coss sur l'album The Future is Female  (Posi-Tone, 2018); Erik Jekabson sur l'album Erik Jekabson Sextet  (Wide Hive, 2018); Jonathan Finlayson sur l'album 3 Times Round  (Pi Recordings, 2018); Joseph Jarman - Don Pullen - Don Moye sur l'album The Magic Triangle  (Black Saint, 1979); Joseph Jarman - Don Moye - featuring Johnny Dyani sur l'album Black Paladins  (Black Saint, 1980)...

Tracklist:  01. De Hofnar, Avi On Fire - Moving On feat Avi On Fire 02. Lost Frequencies ft The NGHBRS - Like I Love You 03. Silk City & Dua Lipa - Electricity (Flipside Club Edit) 04. EDX, Bazzi, Camila Cabello - Beautiful (EDX's Ibiza Sunrise Extended Mix) 05. Joe Jonas, Jonas Blue - I See Love 06. Black Saint ft Kelli-Leigh - Don't Wreck My Holiday 07. A M E, Shift K3Y - Entirety (VIP Remix) 08. Michael Brun & Kah-Lo - Spice 09. Au Ra - Panic Room - (Camelphat Remix) 10. Justin Timberlake - Sexy Back (Scissors Remix) 11. Ciara x Fisher - Losing It 1, 2 Step (Dramos Bootleg) 12. Loud Luxury ft brando - Body (Dirtcaps Remix) 13. Andrew Mathers, Essentials - Fluta 14. Vidojean X Oliver Loenn - Homerun (Kid Massive Remix) 15. Rak-Su - I Want You To Freak (James Hype Remix) 16. Robbie Rivera & Mamba ft Halana - El Sol (Angelo Ferreri 'Groove Insane' Remix) 17. Aya Nakamura - Djadja (Andrew Mathers Afro Remix)For more info check #MAORISOUNDS on Spotify!

Danny Ray Thompson is a veteran multi-instrumentalist who has toured with Nigerian percussionist Babatunde Olatunji and has been a regular member of the Sun Ra Arkestra for over 50 years. The Arkestra still tours internationally today, but they have made a home here in Germantown, and they have recorded their most recent album here at Rittenhouse Soundworks. Today, Danny Ray discusses the state of the Arkestra in the twenty-first century, including their experiences performing with Solange and U2, as well as some of the most extraordinary events he has witnessed in his decades of travelling the world with Sun Ra and his beloved band. Ghosts, mummies, and myths abound.Featured Music:Babatunde Olatunji. “Akiwowo (Chant to the Trainman).”Drums of Passion, Columbia, 1960.Sun Ra Arkestra. “The Mystery of Two.”Cosmos, Cobra, 1977.Sun Ra & His Arkestra. “Astro Black.”Astro Black, Impulse, 1972.Sun Ra. “Space Is the Place.”Space Is the Place, Blue Thumb Records, 1973.Sun Ra Arkestra. “Beautiful Love.”Hours After, Black Saint, 1989.Sun Ra Arkestra. “Along Came Ra.”Paris 1983, Enterplanetary Koncepts, 2015.Sun Ra & His Astro-Intergalactic Infinity Arkestra.“I’m Gonna Unmask the Batman.” Single, El Saturn Records, 1974.Sun Ra Arkestra. “Lanquidity.”Lanquidity, Philly Jazz, 1978.Photo: mhamiltonvisuals.comRecorded July 2018  Hosted by Thomas Hagen and Jim HamiltonProduced by Jim Hamilton, Tyler Ripley and Thomas Hagen

(Part 2 of 2) Danny Ray Thompson is a veteran multi-instrumentalist who has toured with Nigerian percussionist Babatunde Olatunji and has been a regular member of the Sun Ra Arkestra for over 50 years. The Arkestra still tours internationally today, but they have made a home here in Germantown, and they have recorded their most recent album here at Rittenhouse Soundworks. Today, Danny Ray discusses the state of the Arkestra in the twenty-first century, including their experiences performing with Solange and U2, as well as some of the most extraordinary events he has witnessed in his decades of travelling the world with Sun Ra and his beloved band. Ghosts, mummies, and myths abound.Featured Music:Babatunde Olatunji. “Akiwowo (Chant to the Trainman).”Drums of Passion, Columbia, 1960.Sun Ra Arkestra. “The Mystery of Two.”Cosmos, Cobra, 1977.Sun Ra & His Arkestra. “Astro Black.”Astro Black, Impulse, 1972.Sun Ra. “Space Is the Place.”Space Is the Place, Blue Thumb Records, 1973.Sun Ra Arkestra. “Beautiful Love.”Hours After, Black Saint, 1989.Sun Ra Arkestra. “Along Came Ra.”Paris 1983, Enterplanetary Koncepts, 2015.Sun Ra & His Astro-Intergalactic Infinity Arkestra.“I’m Gonna Unmask the Batman.” Single, El Saturn Records, 1974.Sun Ra Arkestra. “Lanquidity.”Lanquidity, Philly Jazz, 1978.Photo: mhamiltonvisuals.comRecorded July 2018  Hosted by Thomas Hagen and Jim HamiltonProduced by Jim Hamilton, Tyler Ripley and Thomas Hagen

Considered one of the great technical achievements of orchestrated Jazz The Black Saint and the Sinner Lady Stands as a testament to Charles Mingus’s innovation and determination to create a magnum opus.

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10e émission de la 37e session... Cette semaine, hommage à l'unique Muhal Richard Abrams décédé dernièrement et free jazz ! En musique: Muhal Richard Abrams Orchestra sur l'album Blu Blu Blu  (Black Saint, 1991); Muhal Richard Abrams sur l'album One Line, Two Views  (New World, 1995); Muhal Richard Abrams and Fred Anderson sur l'album SoundDance (Pi Recordings, 2011); The Heliosonic Tone-Tette sur l'album Heliosonic Toneways Vol. 1  (ScienSonic Laboratories, 2017); Trio Fatal sur l'album Space Way Messenger  (Hôte Marge, 2013); Matthieu Donarier and Santiago Quintans sur l'album Sun Dome  (Clean Feed, 2017); Kodian Trio sur l'album II  (Trost, 2017)...

10e émission de la 37e session... Cette semaine, hommage à l'unique Muhal Richard Abrams décédé dernièrement et free jazz ! En musique: Muhal Richard Abrams Orchestra sur l'album Blu Blu Blu  (Black Saint, 1991); Muhal Richard Abrams sur l'album One Line, Two Views  (New World, 1995); Muhal Richard Abrams and Fred Anderson sur l'album SoundDance (Pi Recordings, 2011); The Heliosonic Tone-Tette sur l'album Heliosonic Toneways Vol. 1  (ScienSonic Laboratories, 2017); Trio Fatal sur l'album Space Way Messenger  (Hôte Marge, 2013); Matthieu Donarier and Santiago Quintans sur l'album Sun Dome  (Clean Feed, 2017); Kodian Trio sur l'album II  (Trost, 2017)...

It's the return of the original AbsoluteDeicide, and the return of the Halloween Spook-a-Thon (again). Plus, was this secretly the best week for game releases... well, ever? Shhhh! Topics - More refunds, in Russia code redeems you, Home Sweet Home, R.I.P. The Black Saint, Asian Dude, ghost jukin', Nintendo and Atlus: double sided dildos, Cuphead, boss fights, Forza Motorsport 7, best week for game releases? Music - GWAR - Techno Destructo, Cuphead - Floral Fury, The Beatles - Rocky Raccoon

Con la entrega 302 de finaliza el pequeño especial veraniego dedicado a Anthony Braxton. Tras los tres programas dedicados a su cuarteto por antonomasia (que se pueden escuchar aquí, aquí y aquí), y los tres programas dedicados a su revisión de standards y repertorios de clásicos del jazz (que pueden escucharse aquí, aquí y aquí), suenan en el programa además de algún clásico, música de Braxton para grandes formaciones como la contenida en las grabaciones Creative Orchestra (Köln) 1978 (HatOlogy), Creative Orchestra Music 1976 (Arista), Anthony Braxton With The Northwest Creative Orchestra ?– Eugene (1989) (Black Saint), así como algún otro tema que no podía faltar en esta primera aproximación a la obra de Braxton en HDO. Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz.

La tradición es un elemento esencial en la carrera de Anthony Braxton, y por ese motivo la discografía del saxofonista se encuentra jalonada de proyectos centrados en algunas de las figuras esenciales de la historia del jazz, o en la recreación de standards. En HDO 299 escuchamos algunas de esas grabaciones centradas en figuras del jazz como el Anthony Braxton’s Charlie Parker Project 1993 (HatOlogy), Nine Compositions (Hill) 2000 (CIMP), Six Monk’s Compositions (1987) (Black Saint), o Eight (+3) Tristano Compositions 1989. For Warne Marsh (HatOlogy), que recreaban las figuras de Charlie Parker, Andrew Hill, Thelonious Monk o Lennie Tristano. Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz.

13e émission de la 36e session... Cette semaine, on fait dans les déclinaisons du bop avec deux vieux trucs et quelques nouveautés de chez Clean Feed ! En musique: Lee Morgan sur l'album Live at the Lighthouse (Blue Note, 1970); Billy Harper sur l'album Black Saint  (Black Saint, 1975); Benjamin Deschamps Quintet sur l'album Demi-nuit  (Multiple Chord Music, 2017); Eric Plaks Quintet sur l'album Some Ones  (Cadence Jazz, 2014); Roots Magic sur l'album Last Kind Words  (Clean Feed, 2017); Eric Revis sur l'album Sing Me Some Cry  (Clean Feed, 2017)...

13e émission de la 36e session... Cette semaine, on fait dans les déclinaisons du bop avec deux vieux trucs et quelques nouveautés de chez Clean Feed ! En musique: Lee Morgan sur l'album Live at the Lighthouse (Blue Note, 1970); Billy Harper sur l'album Black Saint  (Black Saint, 1975); Benjamin Deschamps Quintet sur l'album Demi-nuit  (Multiple Chord Music, 2017); Eric Plaks Quintet sur l'album Some Ones  (Cadence Jazz, 2014); Roots Magic sur l'album Last Kind Words  (Clean Feed, 2017); Eric Revis sur l'album Sing Me Some Cry  (Clean Feed, 2017)...

13 émission de la 32e session... Cette semaine, début rapide moderne, guitare, avant-jazz pis vieux beat très agréable! En musique: Phronesis sur l'album Parallax (Edition Records, 2016); Ergo sur l'album As Subtle as Tomorrow (Cuneiform, 2016); Marc Ducret Trio + 3 sur l'album Metatonal (Ayler, 2015); Henry Threadgill Ensemble Double Up sur l'album Old Locks and Irregular Verbs (Pi Recordings, 2016); Horace Tapscott sur l'album Dial "B" for Barbara (Nimbus, 1981); Julius Hemphill sur l'album Flat-Out Suite (Black Saint, 1980)..

In our fifth episode, Brian and Vince disagree over Van Morrison, discuss split personalities in music, and somehow don't mention Weird Al.

This album is one of bassist/pianist/composer Charles Mingus' great musical triumphs. Mr. Mingus was finally able to put out a recording of all original music and had full control of the production. The cover, the notes, the editing and post-production and of course the music. It was everything he wanted and this album is arguably one of his very best. He was able to get this band into shape via a long engagement at New York's Village Vanguard. The music is a suite of basically four movements. The band consists of 12 pieces and the chief soloists are Jerome Richardson on baritone and soprano saxophones, Quentin "Butter" Jackson on trombone, Charlie Mariano on alto saxophone, Jaki Byard on piano Jay Berliner on guitar and Mingus on bass and piano. The music is dense and powerful and runs an incredible gamut of emotions from pristine beauty to angry chaos. As I stated this is one of Mr. Mingus' triumphs.......The Black Saint and The Sinner Lady.

How do we love thee? Let Mike and Pat count the ways they love David Murray (not all 130+ albums, but many) in this very special "things were better back in my day now get off my lawn" episode about the beauties of eighties jazz. Plus, Pat makes new friends discussing Saturday and Sunday shows from the Chicago Jazz Fest. David Murray: HOME, BLACK & BLACK, SOUTH OF THE BORDER; CREOLE.

The candles blew and then disappeared, the curtains flew and then he appeared, saying "baby, don't be afraid" . . . to discuss the first four releases on powerhouse jazz label Black Saint: Billy Harper – BLACK SAINT; Archie Shepp – SEA OF FACES; Muhal Richard Abrams – SIGHTSONG; Don Pullen – CAPRICORN RISING.

Tormented - and tormenting - composer, bandleader, autobiographer and bass player extraordinaire Charles Mingus is the focus and.our moral is a simple one - keep out of knife fights. Charles Mingus - MINGUS AH UM; THE BLACK SAINT AND THE SINNER LADY; TIJUANA MOODS; MINGUS AT ANTIBES

Tonight The Jazz Show honours and celebrates the 91st Birthday of one of American's most individual and iconic geniuses of this music referred to as Jazz....the one and only Charles Mingus. Mingus was a wonderful pianist and a virtuoso bassist but one of this music's greatest composers. He ranks with Ellington and Monk at creating a huge body of work. Today Mingus' compositions are played by the Mingus Big Band and his legacy is in the hands of his widow, Susan Mingus. This album was recorded in early 1963 with an 11 piece orchestra that had played two long engagements at Bird and The Village Vanguard in New York. The music was the first album in Mingus' new contract with Impulse Records and the label spared no expense catering to Mingus' wishes in the production and most importantly in the post-production. Mingus had full control as to his musical vision and this album was one, at the time that Mingus felt was his best to date. It is a suite of 3 movements with the long 4th being an amalgam of the first three. It's called "The Black Saint and The Sinner Lady" and has some outstanding solos by Jerome richardson on soprano and baritone saxophone, Mingus on bass and piano, Jaki Byard on piano but most importantly Charlie Mariano on alto saxophone. Mariano tears and cries out with unbridled passion with some of his best playing ever. This is a challenging and dense work worthy of listening to and re-listening.Happy Birthday Charles Mingus!

Charles Mingus fue uno de los contraprogamadores del Festival de Jazz de Newport en 1960. De ahí salieron las grabaciones de los "Newport Rebels", con músicos como Roy Eldridge (tp), Paul Bley (p) o Eric Dolphy (clarinete bajo y saxo). En esta edición de "Club de Jazz" escuchamos algunos de sus registros así como seguimos repasando la caja de seis discos dedicada por Black Saint & Soul Note al trompetista Dave Douglas. En esta ocasión, turno para el "Convergence" de 1998. Jesús Moreno llega "desde mi cadiera" con el dúo entre el pianista Alexander Hawkins y el baterista Louis Moholo que nos recomiendan "Keep your heart straight"; Alberto Varela nos regala en el "Jazz Porteño" un pedacito de la actuación hace unos días en Punta del Este (Uruguay) de Paquito D´Rivera y Gary Smulyan; en los "Ritmos Latinos" de Anxo, la "Noite luzidia" de Maria Bethânia con colaboraciones como la de su hermano Caetano Veloso; en el "Tren Azul" de Luis Díaz García, las actuaciones de Miles Davis en el Hit-Hat de Boston en 1955. Toda la información y derechos: http://www.elclubdejazz.com

Charles Mingus fue uno de los contraprogamadores del Festival de Jazz de Newport en 1960. De ahí salieron las grabaciones de los "Newport Rebels", con músicos como Roy Eldridge (tp), Paul Bley (p) o Eric Dolphy (clarinete bajo y saxo). En esta edición de "Club de Jazz" escuchamos algunos de sus registros así como seguimos repasando la caja de seis discos dedicada por Black Saint & Soul Note al trompetista Dave Douglas. En esta ocasión, turno para el "Convergence" de 1998. Jesús Moreno llega "desde mi cadiera" con el dúo entre el pianista Alexander Hawkins y el baterista Louis Moholo que nos recomiendan "Keep your heart straight"; Alberto Varela nos regala en el "Jazz Porteño" un pedacito de la actuación hace unos días en Punta del Este (Uruguay) de Paquito D´Rivera y Gary Smulyan; en los "Ritmos Latinos" de Anxo, la "Noite luzidia" de Maria Bethânia con colaboraciones como la de su hermano Caetano Veloso; en el "Tren Azul" de Luis Díaz García, las actuaciones de Miles Davis en el Hit-Hat de Boston en 1955. Toda la información y derechos: http://www.elclubdejazz.com

Dave Douglas empezó fuerte en el mundo del jazz con "Parallel Worlds", una grabación junto a Mark Feldman (violín), Mark Dresser (contrabajo) y Michael Sarin (batería) que abre una caja recopilatoria de algunos de sus trabajos y colaboraciones publicadas por los sellos italianos Black Saint & Soul Note que empezamos a repasar en esta edición de "Club de Jazz" del 9 de enero de 2013. Abrimos programa con la voz de Mahalia Jackson y su colaboracion en la suite "Black, brown and beige" que grabó Duke Ellington en 1958. "desde mi cadiera" con Jesús Moreno da muestra del nuevo trabajo del trompetista Rob Mazurek: las "Skull Sessions" de su octeto con músicos brasileños y de la escena de Chicago. En "La duda permanente", Ferran Esteve presenta la doble edición discográfica del Free Art Ensemble ideado por el baterista Ívo Sans y con la colaboración de Agustí Fernández. El "Tren Azul" de Luis Díaz García indaga en grabaciones de los años 20 y nos da muestra de las bandas de Red Nichols y Charles Dornberger, además de la música de The Original Memphis Five. En los "Ritmos Latinos" de Anxo, grabaciones setenteras de Willie 'Bobo' y del puertorriqueño Cándido. En el "Jazz Porteño" de Alberto Varela iniciamos repaso a lo acontecido en la 17ª edición del Festival de Jazz de Punta del Este (Uruguay). Toda la información y derechos: http://www.elclubdejazz.com

Dave Douglas empezó fuerte en el mundo del jazz con "Parallel Worlds", una grabación junto a Mark Feldman (violín), Mark Dresser (contrabajo) y Michael Sarin (batería) que abre una caja recopilatoria de algunos de sus trabajos y colaboraciones publicadas por los sellos italianos Black Saint & Soul Note que empezamos a repasar en esta edición de "Club de Jazz" del 9 de enero de 2013. Abrimos programa con la voz de Mahalia Jackson y su colaboracion en la suite "Black, brown and beige" que grabó Duke Ellington en 1958. "desde mi cadiera" con Jesús Moreno da muestra del nuevo trabajo del trompetista Rob Mazurek: las "Skull Sessions" de su octeto con músicos brasileños y de la escena de Chicago. En "La duda permanente", Ferran Esteve presenta la doble edición discográfica del Free Art Ensemble ideado por el baterista Ívo Sans y con la colaboración de Agustí Fernández. El "Tren Azul" de Luis Díaz García indaga en grabaciones de los años 20 y nos da muestra de las bandas de Red Nichols y Charles Dornberger, además de la música de The Original Memphis Five. En los "Ritmos Latinos" de Anxo, grabaciones setenteras de Willie 'Bobo' y del puertorriqueño Cándido. En el "Jazz Porteño" de Alberto Varela iniciamos repaso a lo acontecido en la 17ª edición del Festival de Jazz de Punta del Este (Uruguay). Toda la información y derechos: http://www.elclubdejazz.com

Quatrième émission de la quatorizième session... Cette semaine, chronique de Marie-Eve Boulanger, du big band et du jazz orchestral ! En musique: Dans la chronique de Marie-Eve nous aurons du Dave Holland Big Band de même que du Joe Henderson...Elle revient aussi sur le concert du All City Big Band ! Ensuite, Roy Hargrove Big Band avec l'album Emergence (Emercy, 2009); David Murray Big Band sur Live at Sweet Basil Vol. 1 (Black Saint, 1984); Carla Bley & Paul Haines et des extraits de Escalator over the Hills (ECM, 1971)...     Normal 0 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";}        

Quatrième émission de la quatorizième session... Cette semaine, chronique de Marie-Eve Boulanger, du big band et du jazz orchestral ! En musique: Dans la chronique de Marie-Eve nous aurons du Dave Holland Big Band de même que du Joe Henderson...Elle revient aussi sur le concert du All City Big Band ! Ensuite, Roy Hargrove Big Band avec l'album Emergence (Emercy, 2009); David Murray Big Band sur Live at Sweet Basil Vol. 1 (Black Saint, 1984); Carla Bley & Paul Haines et des extraits de Escalator over the Hills (ECM, 1971)...     Normal 0 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";}