Podcasts about brookmeyer

In this episode: Listen to a conversation between your host Vivienne Aerts and Hayley Lam as they discuss life as a musician in New York, recording her original music and playing in multiple bands at the same time About Hayley Lam New York based pianist, Hayley Lam is an award-winning composer who specializes in both contemporary jazz and classical music. She began her studies in music at a very young age, earning her Associate Diploma, ATCL Recital Piano from the Trinity College of London when she was just eleven. She then proceeded to earn her Licentiate Diploma, LTCL Recital Piano and Associate Diploma, ATCL Recital Violin a couple of years later. Hayley is also a holder of the Yamaha Teacher's Grade specializing in Piano since the age of twelve. With a profound interest in contemporary and jazz music, she was awarded a scholarship to further her studies at the prestigious Berklee College of Music. With her exceptional musical abilities, she completed her Bachelor of Music with a Five-year Dual Major Degree Program in Performance and Jazz Composition in just one and a half years. With her musicianship compared to as "Stravinsky meets Brookmeyer", she was selected as the Finalist at the Seattle Women's Jazz Orchestra (SWOJO) Annual Jazz Composition Contest for Women Composer in 2016. Hayley Lam is also a 2017 Global Music Awards (GMA) winner in the Composer and Jazz Big Band category. GMA is a top-tier international music competition that honors talented musicians around the world. In 2017, her solo piano work "Distant Structures" is selected to be the winner of the "Contemporary Piano 2017" international composition competition held at Athens. She is also selected as the composer showcase winner of the International Jazz Conference JEN at New Orleans. Her works were also commissioned for the London Women of the World equator festival in 2017. Her other accolades include winning the 2018 KMEA Composition Competition, 2018 American Prize in Composition - Light & Pop category, 2018 Semi-finalist of Maurice Ravel International Composition Competition.Hayley holds the 1st runner-up title for the International Songwriting Competition - Jazz Category. She emerged as one of the winners among some 16,000 entries from 140 countries around the world. ⁠ Instagram⁠ / ⁠Facebook⁠ / ⁠YouTube⁠ About ViviTalks - Interviews with the Women Behind Typuhthâng. Introducing ViviTalks, a podcast hosted by Dutch New York-based musician Vivienne Aerts. Join us as we celebrate 100 talented female musicians from Vivienne's latest album "Typuhthâng," with a mission to empower female cacao farmers in the Virunga State Park of Congo and contribute to rainforest restoration. We delve into the musical journeys, creative processes, and unique perspectives of these talented women, seeking to bring greater balance to the music industry. It's a safe space for honest and authentic conversations with artists and trailblazers. Let's amplify the voices of remarkable women in music and stay tuned for inspiring stories and meaningful dialogues on ViviTalks. ⁠⁠ Stream⁠⁠ the Album or ⁠⁠Buy it on Bandcamp⁠⁠ and get the chocolate! ⁠⁠More about Vivienne here. --- Send in a voice message: https://podcasters.spotify.com/pod/show/vivienne-aerts/message

Diese Sendung hat Andreas Pasternack zusammengestellt. Das LIVE - Anspiel ist : „Is you is or is you ain't my Baby” – komponiert von Billy Austin. Außerdem geht es um die spannenden Fragen: Singt Dean Martin wirklich Jazz und wozu braucht man eigentlich eine Ventilposaune ? Folgende Titel sind zu hören: C'est si bon – Dean Martin 2:55 Jive Hoot – Bob Brookmeyer & Friends 4:43 Tiger Rag – The Mills Brothers 1:51 Where or when – Diana Krall 4:07 Just one of those things – George Benson 2:42 Boom Boom – John Lee Hooker 2:34 Moten Swing – Oscar Petersen Trio 2:56 So close to you – Nils Wülker & Arne Jansen 4:39 Is you is or is you ain't my Baby – Dinah Washington 3:00 Be no evil – Howard Johnson & Gravity 3:2 Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de

durée : 00:59:31 - Banzzaï du lundi 13 novembre 2023 - par : Nathalie Piolé -

Selections from two great LPs featuring Brookmeyer playing valve trombone with a rhythm section (including future composer John Williams on piano!) and a blended group using some of Jimmy Giuffre's musicians - Jimmy Raney, Jim Hall, Bill Crow and Osie Johnson --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Tonight is a concert presentation of the "Second Great Gerry Mulligan Quartet" before a rapt and enthusiastic French audience in Paris in June 1954. The first edition of the Mulligan pianoless Quartet had trumpeter Chet Baker on the front line with baritone saxophonist Mulligan and was one of the most popular and talked about combos of it's time. Due to a variety of circumstances the Baker & Mulligan Quartet ended and after a time Mulligan reassembled the group with valve trombonist Bob Brookmeyer on the front line with Mulligan plus a new rhythm section with the great Red Mitchell on bass and the shamefully underrated drum master Frank Isola. They were booked to play in Paris and were welcomed like a liberating army. Both Mulligan and Brookmeyer were also great composers along with being two of the leading voices on their horns so it was a perfect fit. These concert recordings are tonight's Jazz Feature and demonstrate how fresh and new this band still sounds after so many years. Check it out tonight and you'll be glad you did.

Check out the data for the use of the Frederick County crisis car over the past year as it assists law enforcement and other emergency services.See omnystudio.com/listener for privacy information.

"I've grown accustomed to her face" (Me acostumbré a su cara) es una canción de 1956 para la comedia musical My Fair Lady. La escuchamos por Annie Ross con Mulligan, Bennet/Basie, Chet Baker, Wes Montgomery, Jim Hall, Coleman Hawkings, Brookmeyer y otros.

Gardner and Dr. Brookmeyer provide the latest information for Frederick County Residents. See omnystudio.com/listener for privacy information.

The podcast is about Vitamin A deficiency and how it typically gets overlooked. Due to the lack of recognition of this deficiency, not many know the negative and dangerous effects on mothers and children. Sources Miller, M., Humphrey, J., Johnson, E., Marinda, E., Brookmeyer, R., & Katz, J. (2002). Why do children become vitamin A deficient?. The Journal of nutrition, 132(9 Suppl), 2867S–2880S. https://doi.org/10.1093/jn/132.9.2867S National Institute of Health. (2021). Vitamin A. https://ods.od.nih.gov/factsheets/VitaminA-Consumer/ National Library of Medicine. (2020). Vitamin A Deficiency and Child Survival in Sub-Saharan Africa: A Reappraisal of Challenges and Opportunities. https://pubmed.ncbi.nlm.nih.gov/16465981/ Sanjoaquin, M. A., & Molyneux, M. E. (2009). Malaria and vitamin A deficiency in African children: a vicious circle?. Malaria journal, 8, 134. https://doi.org/10.1186/1475-2875-8-134 Stevens, G. A., Bennett, J. E., Hennocq, Q., Lu, Y., De-Regil, L. M., & Rogers, L. (n.d.). Trends and mortality effects of vitamin A deficiency in children in 138 low-income and middle-income countries between 1991 and 2013: a pooled analysis of population-based surveys. Define_me. Retrieved October 24, 2021, from https://www.thelancet.com/journals/langlo/article/PIIS2214-109X(15)00039-X/fulltext. Rucker, R. B. (2006). Handbook of Vitamins. CRC Press. Wagt, A. de. (n.d.). Vitamin A deficiency control programs in eastern and Southern Africa: A UNICEF perspective - arjan de wagt, 2001. SAGE Journals. Retrieved October 24, 2021, from https://journals.sagepub.com/doi/full/10.1177/156482650102200402. Vitamin A. The Nutrition Source. (2019, July 2). Retrieved November 5, 2021, from https://www.hsph.harvard.edu/nutritionsource/vitamin-a/. Wirth, J. P., Petry, N., Tanumihardjo, S. A., Rogers, L. M., McLean, E., Greig, A., Garrett, G. S., Klemm, R. D., & Rohner, F. (2017). Vitamin A Supplementation Programs and Country-Level Evidence of Vitamin A Deficiency. Nutrients, 9(3), 190. https://doi.org/10.3390/nu9030190

Plans are ready for the roll out of Covid vaccines to kids ages 5-12. See omnystudio.com/listener for privacy information.

A new Drive through vaccine location will be opening in Frederick. See omnystudio.com/listener for privacy information.

A panel discussion with three UCLA public health experts on translating COVID-19 research to our everyday lives.

Jan Gardner  does an about-face on some restauant restriction and Dr. Brookmeyer tries to untangle the vaccination confusion.  See omnystudio.com/listener for privacy information.

See omnystudio.com/listener for privacy information.

Back live again with Dr. Brookmeyer.

L'album originario, ristampato dalla MatchBall con lo stesso titolo, uscì nel '57 ma conteneva brani incisi da Getz nell'estate del '53 (a cui la ristampa aggiunge diversi bonus dalle stesse sedute). Nel '53 il sassofonista, allora ventiseienne e già una figura di primo piano, forma un nuovo gruppo, con Bob Brookmeyer al trombone a valvole, John Williams al pianoforte, Teddy Kotick al contrabbasso e Frank Isola alla batteria. Il quintetto ha un ingaggio al Tiffany di Los Angeles, mentre in un altro club della città, The Haig, tiene banco il "quartetto senza pianoforte" di Gerry Mulligan con Chet Baker: siamo nella fase in cui si afferma il west coast jazz e i due gruppi si scambiano visite e si ascoltano a vicenda con interesse (non a caso l'anno successivo Brookmeyer e Isola saranno nel meraviglioso quartetto di Mulligan che trionfa alla Salle Pleyel a Parigi). A metà del '53 il quintetto di Getz ha poi un lungo ingaggio in un altro locale di Los Angeles, Zardi's, durante il quale ha modo di ampliare il proprio repertorio e di mettere a punto il materiale che viene inciso nel corso dell'estate.

L'album originario, ristampato dalla MatchBall con lo stesso titolo, uscì nel '57 ma conteneva brani incisi da Getz nell'estate del '53 (a cui la ristampa aggiunge diversi bonus dalle stesse sedute). Nel '53 il sassofonista, allora ventiseienne e già una figura di primo piano, forma un nuovo gruppo, con Bob Brookmeyer al trombone a valvole, John Williams al pianoforte, Teddy Kotick al contrabbasso e Frank Isola alla batteria. Il quintetto ha un ingaggio al Tiffany di Los Angeles, mentre in un altro club della città, The Haig, tiene banco il "quartetto senza pianoforte" di Gerry Mulligan con Chet Baker: siamo nella fase in cui si afferma il west coast jazz e i due gruppi si scambiano visite e si ascoltano a vicenda con interesse (non a caso l'anno successivo Brookmeyer e Isola saranno nel meraviglioso quartetto di Mulligan che trionfa alla Salle Pleyel a Parigi). A metà del '53 il quintetto di Getz ha poi un lungo ingaggio in un altro locale di Los Angeles, Zardi's, durante il quale ha modo di ampliare il proprio repertorio e di mettere a punto il materiale che viene inciso nel corso dell'estate.

L'album originario, ristampato dalla MatchBall con lo stesso titolo, uscì nel '57 ma conteneva brani incisi da Getz nell'estate del '53 (a cui la ristampa aggiunge diversi bonus dalle stesse sedute). Nel '53 il sassofonista, allora ventiseienne e già una figura di primo piano, forma un nuovo gruppo, con Bob Brookmeyer al trombone a valvole, John Williams al pianoforte, Teddy Kotick al contrabbasso e Frank Isola alla batteria. Il quintetto ha un ingaggio al Tiffany di Los Angeles, mentre in un altro club della città, The Haig, tiene banco il "quartetto senza pianoforte" di Gerry Mulligan con Chet Baker: siamo nella fase in cui si afferma il west coast jazz e i due gruppi si scambiano visite e si ascoltano a vicenda con interesse (non a caso l'anno successivo Brookmeyer e Isola saranno nel meraviglioso quartetto di Mulligan che trionfa alla Salle Pleyel a Parigi). A metà del '53 il quintetto di Getz ha poi un lungo ingaggio in un altro locale di Los Angeles, Zardi's, durante il quale ha modo di ampliare il proprio repertorio e di mettere a punto il materiale che viene inciso nel corso dell'estate.

Para muchos expertos Jimmy Raney es uno de los mejores guitarristas de la historia del jazz. Al hilo del artículo de Marcos Pin, El romance musical entre Raney y Brookmeyer, en HDO la entrega 365 está dedicada a una hora de música de este gigante de las seis cuerdas con temas recogidos en las grabaciones A (1955), y Featuring Bob Brookmeyer (1956). Tomajazz: © Pachi Tapiz, 2018 HDO es un podcast editado, presentado y producido por Pachi Tapiz.

Tonight's Jazz Feature was the last recording of one of tenor saxophonist Stan Getz' finest bands. This was a truly magical band that included Getz and valve trombonist Bob Brookmeyer, they both exhibited a genuine 6th sense and blended and played together so well. The band for this session was re-united for a series of concerts and this recording done in Los Angeles on November 9,1954. There was only one change in personnel and that was bassist Bill Anthony who replaced the original bassist, Teddy Kotick. This band was together for a major part of 1953 and recorded extensively then re-united in 1954. The band consisted of Getz and Brookmeyer and a wonderful pianist from Vermont named Johnny Williams, The aforementioned Bill Anthony was on bass and a wonderful drummer who was a model of lightness and taste named Frank Isola. They recorded 6 tunes here, four standards and one Basie blues and an original by Brookmeyer and that was the end of what was arguably one of Stan Getz' best bands and for some people, one of the finest Jazz groups ever! The sound was cool and the music was hot!

This is a fine straight forward set from the mid-50s that is led by one of the most original guitarists to come up in that era from the late 40s to the 50s and beyond. The set is not music that is re-inventing the wheel or pushing the envelope but it has it's own kind of basic swing, melodic invention and creativity. Guitarist Raney appears here with his musical soul-mate, valve trombonist Bob Brookmeyer and these two very talented and musical gentlemen combine forces in this wonderfully unpretentious disc recorded in New York in 1956. A wise selection of standards that are well chosen and two original compositions each by Raney and Brookmeyer make up the 8 selections. The stellar rhythm section consists of Dick Katz on piano, Teddy Kotick on bass and Osie Johnson on drums for the first 4 tunes and Katz is replaced on the final 4 by the venerable Hank Jones. Jimmy Raney and Bob Brookmeyer were great friends and they make music that reflects this fact. Enjoy!

Eine krankheitsbedingt nahezu moderationsfreie Folge - Stefan Minder pr

In 2011, trombonist, bandleader and arranger Bob Brookmeyer celebrated his 80th birthday. To mark the event, Alyn Shipton met Brookmeyer to pick the highlights of his recorded work, ranging from his pioneering small group playing with Gerry Mulligan and Stan Getz to his big band contributions to the Mulligan Concert Jazz Band. Alyn also hears about Brookmeyer's New Art Orchestra, based in continental Europe, and discusses recent reissues of Bob's classics such as Traditionalism Revisited, and his trio with Jim Hall and Jimmy Giuffre.

Of all the bands that tenor saxophone giant Stan Getz put together, this one is the least documented. It was formed in 1953 and worked on the East Coast but Stan bought a house in Los Angeles and took the band out there to play gigs in that area. They made three recording sessions for Norman Granz in July and August 1953 and we'll hear some of the results of those. They were first issued on Granz' Clef and Norgran labels as "Interpretations #1 #2 #3 by the Stan Getz Quinttet".The group consisted of Getz, Bob Brookmeyer on valve trombone, Johnny Williams, piano, Teddy Kotick on bass and the underrated drummer Frank Isola. Getz and Brookmeyer had a unique musical chemistry that allowed them to weave lines together and improvise collectively almost like a modern Dixieland band, Pianist Johnny Williams' contributions to this band are enormous as he plays with the stabbing intensity of Horace Silver and Russ Freeman but sounds like only himself. Bassist Teddy Kotick was Charlie Parker's favourite and Bird called Teddy..."my heartbeat". Frank Isola was a subtle and swinging drummer who kept everything light and very swinging.Jimmy Giuffre said that this quintet was Stan Getz' best band and you'll hear why. It broke up in the late Fall of 1953 because of a lack of work but Getz re-united it for his legendary Shrine Auditorium concert in November 1954.