Podcast appearances and mentions of Bob Koester

English episode! Ausnahmsweise gibt es mal wieder eine Folge von kHz & Bitgeflüster auf Englisch.((This interview with Julia A. Miller, owner of legendary blues and jazz label Delmark Records, has been recorded in English and starts after a short German intro.))Die Gelegenheit, in Chicago mit der Besitzerin eines der ältesten Jazz- und Blues-Labels der USA zu sprechen, konnte Olaf sich nicht entgehen lassen.Seit 1953 gibt es Delmark Records schon, wenn auch ursprünglich als "Delmar Records". Gründer Bob Koester war ein glühender Musikfan und Plattensammler. Mit frühen Aufnahmen von James Crutchfield, Speckled Red oder Big Joe Williams gründete er das Label zunächst in St. Louis, Missouri, und zog 1958 nach Chicago um. Delmark (jetzt mit einem 'k' am Ende) wurde in den 1960ern und 1970ern zu einem wichtigen Bestandteil der Chicagoer Musikszene. Luther Allison, Buddy Guy, Junior Wells, Roscoe Mitchell oder Sun Ra veröffentlichten ihre ersten Alben auf dem Label. Parallel dazu betreibt Bob Koester einen weltweit bekannte Plattenladen namens Jazz Record Mart.Zeitsprung ins Jahr 2018: Bob Sr. ist bereits deutlich im Rentenalter, seine Frau Sue und sein Sohn Bob Jr. wird die Doppelbelastung mit Plattenladen und Label langsam zu viel. Sie verkaufen Label und das dazugehörige Studio an Julia A. Miller, eine in Chicago ansässige Gitarristin, Musik-Professorin und experimentelle Musikerin. Über ihren musikalischen Werdegang, und wie sie dazu kam, das traditionsreiche Label zu kaufen, erzählt Julia im Gespräch mit Podcast Host-Olaf.Delmark Records: Jazz and Blues since 1953Im Vorfeld der HiFi-Messe Axpona traf sich Olaf im legendären Delmark-Studio mit der Label-Chefin Julia. Das Studio ist zwar "erst" seit den 1990er Jahren an diesem Standort, doch das meiste Equipment vorher bereits in einem anderen Chicagoer Studio jahrzehntelang im Einsatz gewesen. Unter anderem werden bei Delmark heute noch Aufnahmen mit einem Steinway-Klavier von 1917 gemacht.Delmark Records fühlt sich ganz offensichtlich der amerikanischen Musiktradition verpflichtet, die das Label mit geprägt hat, und ganz besonders der Musikszene von Chicago. Junior Wells und Buddy Guy waren zu ihrer Zeit die jungen Wilden und fanden bei Delmark und in den Clubs der Metropole am Lake Michigan ihr Publikum. Mit Sun Ra, Roscoe Mitchell oder dem Art Ensemble of Chicago entstand hier später eine neue Jazz-Avantgarde.Dieses Erbe zu erhalten, zu pflegen und für Musikfans auf der ganzen Welt zugänglich zu machen, ist eine Motivation für Julia und das Delmark-Team. Doch auch neue Musiker:innen sollen nicht zu kurz kommen, denn davon hat Chicago nach wie vor reichlich zu bieten.Im Podcast unterhalten sich Julia und Olaf über die bewegte Geschichte von Delmark Records, über die Zukunft des Labels, aber auch über Julias spannenden Werdegang als Musikerin, Dozentin, Experimental-Künstlerin und Ton-Meisterin.Die vollständigen Shownotes zur Folge mit vielen Musiktipps von Julia findest du auf HIFI.DE. Hosted on Acast. See acast.com/privacy for more information.

ARTHUR BIG BOY CRUDUP – LOOK ON YONDER´S WALL Hola amigas y amigos, espero que todos se encuentren bien y con ganas de abordar una nueva escucha, gracias por estar ahí, donde quiera que sea y contarles que la semana pasada en parte del guión mencionábamos al protagonista de hoy y hoy también vamos a escuchar un disco de la misma casa discográfica DELMALK que ha tenido una importancia muy grande en el mundo del blues gracias a su catálogo y el buen hacer de quien también hoy, nos va a prestar las notas del guión, Bob Koester.

I am Jack's 90th minute. I begin with a list of black clothing and burial money and I end with a monkey ready to be shot into space. Host Bubbawheat discusses the David Fincher movie Fight Club one minute at a time. He joined this week by guest Bob Koester. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Immunities⁠⁠ Follow Bubbawheat: On ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter aka X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Lance: On ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter aka X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Enter to win a copy of Fight Club 2 by sending a screenshot of a podcast review to FightClubMinute@gmail.com

I am Jack's 89th minute. I start with you're too young to train here and I end with sooner or later we all became what Tyler wanted us to be. Host Bubbawheat discusses the David Fincher movie Fight Club one minute at a time. He joined this week by guest Bob Koester. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Immunities⁠ Follow Bubbawheat: On ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter aka X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Lance: On ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter aka X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Enter to win a copy of Fight Club 2 by sending a screenshot of a podcast review to FightClubMinute@gmail.com

I am Jack's 88th minute I start with this conversation is over and I end with training for what? Host Bubbawheat discusses the David Fincher movie Fight Club one minute at a time. He joined this week by guest Bob Koester. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Immunities Follow Bubbawheat: On ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter aka X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow Lance: On ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter aka X⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Enter to win a copy of Fight Club 2 by sending a screenshot of a podcast review to FightClubMinute@gmail.com

Saludos de Carlos Díez y bienvenidos como siempre a este espacio de blues llamado el disco de la semana, hoy os traigo una joyita, al menos eso pienso yo, el primer disco de Luther Allison, titulado Love Me Mama, con un sonido Chicago 100%, vamos a seguir las notas del productor de la discográfica Delmark, Bob Koester, y de Jim Fishel el creador del Ann Arbor Blues Festival original, las notas nos trasladan de 1969.

In today's show Andy is joined by Iowa Ag Secretary Mike Naig and former United States Secretary of Agriculture Sonny Purdue at the Celebration of Ag in Cedar Rapids, Riley speaks with the winner of Benson Hill's Mockler Innovator Award, Bob Koester, and Andy and Dustin discuss the collaboration between John Deere, Kinze, and Ag Leader. 

Has there even been a more fitting union than Darren Arronofsky and the Bible? What is the bible if not a series of DA vignettes? This week on Authorized, we welcome Bob Koester to discuss the novelization of Noah, a movie that beefs up the story of Noah by adding, like, a story to it. Apocryphal texts, straight up fabrications- Dude had to put some meat on this story's skinny little bones. Guy puts animals on boat? No! Guy puts animals on boat that harbors murderer of his father while guy plots to kill his grandchildren before they are born. Now that's a damn story. Subscribe to our Patreon!: patreon.com/authorizedpod   Follow us on Twitter: Twitter.com/authorizedpod   Bluesky: https://bsky.app/profile/authorizedpod.bsky.social   Instagram: instagram.com/authorizedpod   Follow us on letterboxd:  letterboxd.com/AOverbye/   letterboxd.com/hsblechman/   Next week on Authorized: Joe Saunders returns to talk more Mission: Impossible stuff --- Support this podcast: https://podcasters.spotify.com/pod/show/authorizedpod/support

Has there even been a more fitting union than Darren Arronofsky and the Bible? What is the bible if not a series of DA vignettes? This week on Authorized, we welcome Bob Koester to discuss the novelization of Noah, a movie that beefs up the story of Noah by adding, like, a story to it. Apocryphal texts, straight up fabrications- Dude had to put some meat on this story's skinny little bones. Guy puts animals on boat? No! Guy puts animals on boat that harbors murderer of his father while guy plots to kill his grandchildren before they are born. Now that's a damn story. Subscribe to our Patreon!: patreon.com/authorizedpod   Follow us on Twitter: Twitter.com/authorizedpod   Bluesky: https://bsky.app/profile/authorizedpod.bsky.social   Instagram: instagram.com/authorizedpod   Follow us on letterboxd:  letterboxd.com/AOverbye/   letterboxd.com/hsblechman/   Next week on Authorized: Joe Saunders returns to talk more Mission: Impossible stuff --- Support this podcast: https://podcasters.spotify.com/pod/show/authorizedpod/support

Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.

Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.

Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.

Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.

Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.

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)

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)

A highly respected financial expert can indeed come from a background of playing music of all kinds with the greatest artists in the world. An amazing conversation of transition and excellence.

Show #896 RIP Bob Koester (1932-2021) A show in honor of Bob Koester, founder of Delmark Records, who passed away on May 12 at age 88. 01. Junior Wells - In The Wee Wee Hours (3:45) (Hoodoo Man Blues, Delmark Records, 1965) 02. Bonnie Lee - That's All Right (5:39) (Sweetheart Of The Blues, Delmark Records, 1995) 03. Curtis Jones - Highway 51 (4:34) (Lonesome Bedroom Blues, Delmark Records, 1962) 04. Jimmy Dawkins - Having Such A Hard Time (3:44) (All For Business, Delmark Records, 1971) 05. Mississippi Heat - Cab Driving Man (3:36) (Cab Driving Man, Delmark Records, 2016) 06. Magic Sam - I Have The Same Old Blues (3:35) (Black Magic, Delmark Records, 1969) 07. Otis Rush - Society Woman (6:38) (Cold Day In Hell, Delmark Records, 1975) 08. Ken Saydak - I Got You So Bad (3:43) (Love Without Trust, Delmark Records, 2001) 09. Arthur 'Big Boy' Crudup - She Gives Me A Thrill (5:47) (Sunny Road, Delmark Records, 2013) 10. Guy King - It's About The Dollar Bill (4:26) (Truth, Delmark Records, 2016) 11. Sharon Lewis & Texas Fire - What's Really Going On? (4:17) (The Real Deal, Delmark Records, 2011) 12. Dave Specter & Barkin' Bill Smith - Railroad Station Blues (7:13) (Bluebird Blues, Delmark Records, 1991) 13. Junior Wells - I Wish I Knew What I Know Now (4:06) (Soutside Blues Jam, Delmark Records, 1969) 14. Robert Jr. Lockwood - Steady Rollin' Man (3:01) (Steady Rollin' Man, Delmark Records, 1970) 15. Graná Louise - Gonna Get 'Cha (2:31) (Gettin' Kinda Rough!, Delmark Records, 2011) 16. Dave Specter & Billy Branch - The Ballad Of George Floyd (5:14) (Single, Delmark Records, 2020) 17. Johnny Burgin - Cherry On Top (4:59) (Single, Delmark Records, 2021) 18. Jose Ramirez - Whatever She Wants (4:09) (Single, Delmark Records, 2021) 19. Jimmy Dawkins - Jammin' With Otis (6:58) (All For Business, Delmark Records, 1971) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Actor Charles Grodin, of 'Midnight Run' and 'Heartbreak Kid' fame, died May 18. He was known for his deadpan humor and his ability to make even the most unpleasant characters likable and funny. He spoke with Terry Gross in 1989. Also, we remember Bob Koester, who died May 12. He was the founder of Delmark Records, which released records by blues and jazz artists, and he also operated the Jazz Record Mart in Chicago. He was a mentor and father figure for many Chicago musicians, and he was considered one of the major forces behind the blues revival in the mid '60s. Justin Chang reviews 'The Killing of Two Lovers' and TV critic David Bianculli reviews two shows, 'The Bite' and 'Solos.'

Actor Charles Grodin, of 'Midnight Run' and 'Heartbreak Kid' fame, died May 18. He was known for his deadpan humor and his ability to make even the most unpleasant characters likable and funny. He spoke with Terry Gross in 1989. Also, we remember Bob Koester, who died May 12. He was the founder of Delmark Records, which released records by blues and jazz artists, and he also operated the Jazz Record Mart in Chicago. He was a mentor and father figure for many Chicago musicians, and he was considered one of the major forces behind the blues revival in the mid '60s. Justin Chang reviews 'The Killing of Two Lovers' and TV critic David Bianculli reviews two shows, 'The Bite' and 'Solos.'

Greg pays tribute to Delmark Records founder Bob Koester and The Staples Singers' Pervis Staples, both behind the scenes legends of the Chicago music scene.   Join our Facebook Group: https://bit.ly/3sivr9T Become a member on Patreon: https://bit.ly/3slWZvc Make a donation via PayPal: https://bit.ly/3dmt9lU Record a Voice Memo: https://bit.ly/2RyD5Ah

NBA News, NFL News, MLB News, WNBA news, NHL news, Coronavirus impact on the sports & entertainment, Basketball Hall of Fame, Fox's the Moodys, 9-1-1, 9-1-1: Lone Star, The Resident, The Great North, The Masked Singer, Gordon Ramsey, the CW, NBC's This is Us, Law & Order franchise, The Mayor, Kenan, Young Rock, Ellen, Jimmy Fallon, CBS's The Unicorn, All Rise, B Positive, United States of Al, Mom, Young Sheldon, Neighborhood, Bob Hearts Abishola, Seal Team, Clairce, Evil, FBI franchise, NCIS franchise, ABC's Home Economics, Call your mother, American Housewife, Rebel, Big Sky, The Rookie, The Connors, Blackish/Mixedish, For life, A million little things, The Good Doctor, a Farewell to Pervis Staples, Bob Koester, Charles Grodin, Hal Breeden & Rennie Stennett. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/on-the-radar/support

On this edition of The Arts Section, host Gary Zidek take a closer look at a local media company that's captured many of great virtual productions we've watched at home over the past 14 months. Speaking of virtual theater, the Dueling Critics will join me to discuss First Folio's streaming world premiere, WAITING FOR TINA MEYER. Gary checks in with WDCB's own Steve Cushing to pay tribute to the late Bob Koester, the founder of Delmark Records and the owner of the Jazz Record Mart passed away this past week. Later in the show, we'll satisfy our sweet tooth, as Gary sits down with the third generation owner of one of Chicago's most popular ice cream parlors. The original Rainbow Cone has been a southside staple for 95 years, now it's expanding into the western suburbs.

Episode 20: I will be talking about Bob Koester of Jazz Record Mart, Lytton's, Dick Kay, and High-Low Foods. --- Send in a voice message: https://anchor.fm/pete-kastanes/message

Episode 20: I will be talking about Bob Koester of Jazz Record Mart, Lytton's, Dick Kay, and High-Low Foods. --- Send in a voice message: https://anchor.fm/pete-kastanes/message

Chicago's Jazz Record Mart's Bob Koester has passed away at age 88. He was heavily influential in Chicago's jazz scene early on. Jazz Journalists Association President Howard Mandel joins John Howell to remember his amazing life.

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Yvan Amar - Avec Cécile Savage (contrebassiste), Willie Schwartz (compositeur et musicien de studio), Bob Koester (producteur de disques) et Diana Davis (conseillère culturelle) - Réalisation Géraldine Prutner - réalisation : Virginie Mourthé

Brad talks to Ben Taylor from the Pleasant Green YouTube series about his work getting to the bottom of internet scams.Bob Koester shares how he is keeping entertained during The Quarantine.

durée : 01:00:00 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Par Yvan Amar - Avec Cécile Savage (contrebassiste), Willie Schwartz (compositeur et musicien de studio), Bob Koester (producteur de disques) et Diana Davis (conseillère culturelle) - Réalisation Géraldine Prutner - réalisation : Virginie Mourthé

We’re joined by Immunities creator Bob Koester to talk about the Rankin/Bass animated movie. (We’ll be back to minute by minute soon, we promise.) Follow us on Facebook and Twitter Email us: contact@lordoftheringsminute.com Shop on Amazon And be sure to join our listener group: Fellowship of … Continue reading →

Bob Koester subs in for Chris as we discuss why Holden acts like he’s 17, how tough it is being white and a hitch hiking story that doesn’t end in murder. Special Co-Host: Bob Koester from Immunities on Dueling Genre … Continue reading →

Multi-talented creative Bob Koester makes his Cosmic Geppetto debut to talk about his work with Dueling Genre Productions.Jarf returns for a very slow Speed Round.

A day white Bob Koester tell us about days Chicago Blue scene

A day white Bob Koester tell us about days Chicago Blue scene

Lorna discovers knew things about others and herself. Created and Executive Produced by Bob Koester. Image “Give Me Comfort” by Marina Coric. Music by Ars Sonor and Forget The Whale. Follow @immunitiesdrama The script is available here, and you can … Continue reading →

Bob Koester from Immunities co-hosts again discussing how great Joey Lauren Adams is,giving Burt Reynolds lots of love and also Chris pops in for a bit Special Guest: Bob Koester from Immunites on Dueling Genre Join our listener group:  https://www.facebook.com/groups/1487292897978451/ … Continue reading →

In our season finale, discoveries brings some things to an end. Created and Executive Produced by Bob Koester. Image “Broken City” by FraunFraun. Music by Ars Sonor and Colin Carr. Follow @immunitiesdrama The script is available here, and you can … Continue reading →

  Tasha Robinson and Bob Koester step up to Lloyd’s bar and talk about the wonderful Mr. Turkel, how he and Jack messed with Stanley, and why Jack owes Joe from waaaaaay back.   Download the file here: Shining Episode 25     On the set, with Joe, Jack and Stanley.   Please donate if you […]

Sin, freedom, rebellion, crime…can each be seen as the other, from a certain point of view? Created and Executive Produced by Bob Koester. Image “Beret” by FraunFraun. Music by Ars Sonor Follow @immunitiesdrama The script is available here, and you … Continue reading →

In a world of biological conformity and heartfelt repugnance, how do you convince anyone of anything? Created and Executive Produced by Bob Koester. Image “Practice With Textured Ink Brush” by FraunFraun. Music by Ars Sonor Follow @immunitiesdrama The script is … Continue reading →

Surprising encounters with unexpected beings. Created and Executive Produced by Bob Koester. Image “The Visitation” by Kevin Rolly. Music by Ars Sonor.& Kosta T Follow @immunitiesdrama The script is available here, and you can support us by making any size … Continue reading →

Are the people around you your opponents? Partners? Allies? Enemies? Everyone is trying to figure it out. Created and Executive Produced by Bob Koester. Image “What Remains – Simone” by Kevin Rolly. Music by Ars Sonor. Follow @immunitiesdrama The script … Continue reading →

Season two kicks off with the Lookers and the Immune each sensing a new danger, and gearing up in their own ways to learn more about it. Created and Executive Produced by Bob Koester. Artwork by FraunFraun. Music by Ars … Continue reading →

At last, a trailer for the new season, beginning next week. Things heat up as both aliens and humans try to cope with the shifting situation. Created and Executive Produced by Bob Koester. Artwork by FraunFraun. Music by Ars Sonor. … Continue reading →

Harry wanted to be alone, and so he was: as alone as a person can be, transmuted into tachyon particles and hurled into deepest space, with nothing but an artificial intelligence for company. He was alone, and then, gradually, he wasn't. Harry and his friend Cailyn, are commanders on distant power stations with nothing but their AIs and their correspondence for company. Harry and Cailyn receive an application that allows them to upload virtual surrogates of themselves so that they can communicate "in-person", and it's the connection forged via those surrogates that might just save the universe.

News about the second season, about the Audio Verse awards, other stories similar to Immunities & Companions, and mentions in other podcasts and elsewhere on the internet. Created and Executive Produced by Bob Koester. Artwork by FraunFraun. Music by Ars … Continue reading →

Talking Cicero, David Mamet and Charles Dickens… Are we sure this is Clerks? Special Guest: Bob Koester from Immunities on DuelingGenre.com Join our listener group:  https://www.facebook.com/groups/1487292897978451/ Bob Koester’s podcast: http://www.duelinggenre.com/category/podcasts/original-series/immunities/

Phone Phreaking, Lazy Locksmiths and Veronica is growing on us. Special Guest: Bob Koester from Immunities Podcast on DuelingGenre.com Join our listener group:  https://www.facebook.com/groups/1487292897978451/ Bob Koester’s podcast: http://www.duelinggenre.com/category/podcasts/original-series/immunities/

Dante is not going to be home by 12. Special Guest: Bob Koester from Immunities on DuelingGenre.com Join our listener group:  https://www.facebook.com/groups/1487292897978451/ Bob Koester’s podcast: http://www.duelinggenre.com/category/podcasts/original-series/immunities/

CO’s story reaches its end, and Tina’s agenda becomes clear. Created and Executive Produced by Bob Koester. Artwork by XelfrepuslaX. Music by Mister Vapor. Follow @immunitiesdrama

Harry and Cailyn’s reliance on technology, and each other, steadily grows until…   Created and Executive Produced by Bob Koester. Artwork by XelfrepuslaX. Music by Mister Vapor. Follow @immunitiesdrama

Our interim audio drama begins with the solitary commander of a space station facing an opportunity to connect.   Created and Executive Produced by Bob Koester. Artwork by XelfrepuslaX. Music by Mister Vapor. Follow @immunitiesdrama

A preview of our interim scifi drama: Companions, plus silly outtakes from season one of Immunities. Created and Executive Produced by Bob Koester. Artwork by FraunFraun. Music by Ars Sonor. Follow @immunitiesdrama

Season one comes to a conclusion, and characters display determination. Created and Executive Produced by Bob Koester. Artwork by FraunFraun. Music by Ars Sonor. Follow @immunitiesdrama

Roxanne is the one being examined, and also must undergo a process. Created and Executive Produced by Bob Koester. Artwork by FraunFraun. Music by Ars Sonor. Follow @immunitiesdrama

In the archducal box, COUNT DOOKU lifts his hand. The DROIDS lower their weapons. The COUNT calls out to the JEDI. Guest commentator: Bob Koester

Ray Charles special tribute featuring interviews with BB King, Ruth Brown, Marian McPartland, Jerry Lawson, Big Pete Pearson, Bob Koester and Johnny D. Blues America is a unique talk radio experience broadcasting weekly on Arizona radio and syndicated around the world. All third-party content is licensed and used by the artist and label by permission.

Wake up, shake up, time to wake up, everybody, because old Bob Koester and I are back with more Batman Triumphant! We're evolving the concept of the show a bit, and we've decided we're going to start off with a bit of movie news. We're also going with slightly longer episodes, so I hope you enjoy that. If you don't, just chill...the man with the gentle face shows up at the end! Click here to listen! Click HERE to read along! Or click HERE to start over from Part One! Also, we refer to an old video of ours in this episode. Watch it here...it's fucking weird: http://www.youtube.com/watch?v=TLnhfJai6-c And then: iTunes!             @BobbyKoester!         Facebook!        @WillRogers2000!          YouTube! Part Five next week!

2007 Detroit International Jazz Festival Jazz Talk Tent MONDAY, SEPTEMBER 3 2007 – 6:00 PM Moderator – Jim Gallert Panel – Dave Usher, Bob Koester, Bob Porter, Ira Gitler For more information on this and other JazzStage Productions programming, go to http://jazzstageproductions.com The Jazz Talk Tent was sponsored in part by Detroit JazzStage

2007 Detroit International Jazz Festival Jazz Talk Tent SATURDAY, SEPTEMBER 1, 2007 – 6:30 PM Panel – Bob Porter, Bob Koester, Larry McCray, Robert Jones, Robert Jr. Whitall and H. Fred Reif For more information, go to http://jazzstageproductions.com/djs The Jazz Talk Tent was sponsored in part by Detroit JazzStage