Podcasts about Brubeck

Just returned from vacation is Japan, so this week's podcast is inspired from my trip. The episode begins with Japan impressions from two iconic jazz artists, Brubeck and Silver. Then we here from a couple japanese players Takura Kuroda (tr) and Yasuke Sato (as).  Playlist  Artist ~ Name ~ Album Horace Silver ~ Sayonara Blues ~ The Tokyo Blues The Dave Brubeck Quartet ~ Tokyo Traffic ~ Jazz Impressions of Japan Takuya Kuroda ~ Car 16 15 A ~ EVERYDAY Yosuke Sato & Jan Lundgren ~ Kagome Kagome ~ Furusato Hampton Hawes Trio ~ Suddenly I Thought Of You ~ The Seance  Kenny Barron ~ Softly As in a Morning Sunrise ~ Beyond This Place Joey Alexander ~ Blue ~ Continuance Greg Abate ~ Give Flight to Imagination ~ Positive Energy

In which we're exhausted. BUT ... we're socially contractually obligated to go live ... so, here we go ... let's do this ... let's IMPROV! Join us in the chat; this should be fun! Haymarket, Hepburn, and Ella ... and where is The Panama Canal located, anyway? Star Wars & Dave Brubeck singles. Also, let's share Atlas Shrugged Spoilers ... we never had to take it seriously, did we?!?)

Francesca Tandoi is an amazing Italian Jazz Pianist and Vocalist who I discovered online and invited to be a guest on the show. She has performed with Snarky Puppy, Scott Hamilton and Darius Brubeck. She has performed in the U.S., Italy, Japan, India, Turkey and Israel.My featured song is my version of Chick Corea's “Sea Journey” from my debut 1994 album Miles Behind. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Francesca:www.francescatandoi.it—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

durée : 00:59:47 - Danse Watusi - par : Nathalie Piolé - ➿ Comment danser le Watusi ? Les Vibrations vont nous apprendre.

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Ben Brubeck, Vice President of Regulatory, Labor and State Affairs, Associated Builders and Contractors. President Trump's Economic Agenda, Workforce Shortages, Labor Policy and More

Chris and Dan Brubeck have recorded several of their own albums while also keeping their father's music alive. They honored the jazz giant with a swinging performance at KNKX.

Time Out es un disco de 1959 (originalmente catalogado como CS 8192) del Dave Brubeck Quartet. Es caracterizado por piezas compuestas en compases musicales inusuales en el jazz contemporáneo al disco, incluyendo vals y vals de doble tiempo, como también compases de 9/8 y de 5/4, este último en una de las obras más famosas del grupo, Take Five, la cual fue compuesta por Paul Desmond. Aunque el disco fue concebido como un experimento (supuestamente el presidente de la productora Columbia Records, Goddard Lieberson, tomaba un riesgo al lanzarlo) y recogió críticas negativas luego de su lanzamiento, se transformó en uno de los más famosos y mejor vendidos discos de jazz de la historia, y su sencillo Take Five se convirtió en un estándar del género musical. Time Out Artículo Discusión Leer Editar Ver historial Herramientas Apariencia ocultar Texto Pequeño Estándar Grande Anchura Estándar Ancho Color (beta) Automático Claro Oscuro Time Out Álbum de Dave Brubeck Quartet Publicación 1959 Género(s) West Coast jazz Duración 38:21 Discográfica Columbia Records Productor(es) Teo Macero [editar datos en Wikidata] Time Out es un disco de 1959 (originalmente catalogado como CS 8192) del Dave Brubeck Quartet. Es caracterizado por piezas compuestas en compases musicales inusuales en el jazz contemporáneo al disco, incluyendo vals y vals de doble tiempo, como también compases de 9/8 y de 5/4, este último en una de las obras más famosas del grupo, Take Five, la cual fue compuesta por Paul Desmond. Aunque el disco fue concebido como un experimento (supuestamente el presidente de la productora Columbia Records, Goddard Lieberson, tomaba un riesgo al lanzarlo) y recogió críticas negativas luego de su lanzamiento, se transformó en uno de los más famosos y mejor vendidos discos de jazz de la historia, y su sencillo Take Five se convirtió en un estándar del género musical. Producción A pesar de que la temática y el propio título de Time Out giran en torno a lo poco frecuente que son los compases en las cuales están compuestos los temas, la cuestión puede ser analizada con más detenimiento. "Blue Rondo à la Turk" comienza con un compás de 9/8 (mismo ritmo de la danza turca zeybek, equivalente a la griega zeibekiko), pero con la poco tradicional subdivisión de 2+2+2+3 (el patrón normal para el 9/8 es 3+3+3), y los solos de saxo y piano están en 4/4. "Blue Rondo à la Turk" no está basada en "Rondo alla Turca", de la Sonata para piano nº 11 de Mozart, sino en un ritmo turco que Brubeck había escuchado.1​ "Strange Meadow Lark" comienza con un solo de piano sin una métrica definida, para luego asentarse en un ritmo corriente de 4/4 cuando se incorpora el resto de los instrumentos. "Take Five" se mantiene en 5/4 de comienzo a fin, excepto en el solo de batería. "Three to Get Ready" se inicia en ritmo de vals y luego alterna entre dos ritmos, el 3/4 (propio del vals) y dos de 4/4. "Kathy's Waltz" comienza en 4/4 y más adelante cambia a un vals doble, para luego fusionar ambos ritmos. "Everybody's Jumpin'" se desarrolla principalmente en un 6/4 flexible, mientas que "Pick Up Sticks" se afirma en un claro y regular 6/4. Emeki además de contar con una excelente producción, resulta ser un ejercicio de pura espontaneidad y frescura. Un disco sincero, sin más artificio que la recreación del instante en clave de pura elegancia jazz. Un trabajo que gira en torno a la búsqueda de identidad propia. Sutil, parte de sólidas premisas y nos propone el encuentro con ese momento irrepetible a través de la improvisación. Composiciones como Whisper not del saxofonista, compositor y arreglista norteamericano Benny Golson o Blue in Green, una composición original de Bill Evans y Miles Davis que aparecería en el aclamado disco Kind of Blue de este último, dotan al trabajo de una impronta poco frecuentes. La banda transita suavemente por los dinámicos e improvisados pasajes de In love in vain, una composición original de Jerome Kern para deleitarnos con la deliciosa adaptación de Over the rainbow. Rafa Aceves escribe Marian como homenaje a su hermana, una composición que pone de manifiesto, tanto la sensibilidad como el talento compositivo de su autor. La banda recrea la figura del pianista norteamericano Herbie Hancock en Dolphin dance, obsequiándonos nuevamente con la delicadeza siempre muy presente a lo largo de este trabajo en Never let me go, del compositor Jay Livingston para finalizar con la recreación de la canción popular La Tarara, recuperada y adaptada en su momento por el poeta y dramaturgo Federico García Lorca. Emeki está escrito con ese lenguaje aún por descubrir, imprevisible y sutil. Ese lenguaje delicado y sin palabras donde subyace entre millones de probabilidades, la opción precisa. Ese instante concreto y no otro. Una nota que fugazmente nos desvela la verdadera esencia de un artista en busca de lo extraordinario, en busca de lo que es.

Playing The Changes: Jazz in An African University and On the Road is the account by Catherine and Darius Brubeck (daughter-in-law and son of Dave Brubeck) of their 25-year sojourn in South Africa, where they expanded the jazz landscape, establishing a music program at University of KwaZulu-Natal. Todd S. Jenkins interviews the couple in this latest Author's Series episode of The Buzz: The Podcast of the Jazz Journalists Association.

Pianist/composer Dave Brubeck and Alto Saxophonist Paul Desmond are enshrined in jazz history as the most prominent voices of the popular Dave Brubeck quartet. This group cast an outsized shadow over the jazz scene of the 1950's and 1960's, Desmond's composition "Take Five" is one of the most beloved jazz compositions of all time and was the biggest hit the quartet ever had. Brubeck incorporated diverse musical influences, including that of French composer Darius Milhaud to fashion a style that incorporated odd rhythmic meters and polytonality into a fusion that predated the “third stream” movement. Desmond is perhaps the most influential voice on his instrument since Charlie Parker, he was famously quoted as saying his lyrical, pure sound on the instrument was a result of his wanting to sound like a “dry martini". His series of recordings with guitarist Jim Hall are masterpieces of melodic inventiveness, a testament to his spare, beautiful voice as both composer and performer. Enjoying the show? Help keep it going by donating here.

While I am at the Monterey Jazz Festival, I've queued up another episode originally published in March of this year. The episode begins with new music from guitarist Andrew Renfroe and vibraphonist Joel Ross. We then work our way back to the 1950's with classic Brubeck, Wes and Trane.   Playlist Artist ~ Track ~ Album Andrew Renfroe ~ BIG COUNTRY ~ Big Country EP Joel Ross ~ nublues ~ nublues Dezron Douglas & Brandee Younger ~ This Woman's Work ~ Force Majeure Samara Joy ~ Misty ~ Linger Awhile Shelly Manne and His Men ~ Our Delight ~ Shelly Manne & His Men At the Blackhawk, Vol. 1 The Dave Brubeck Quartet ~ The Duke ~ Jazz: Red, Hot and Cool Wes Montgomery ~ Four On Six ~ The Incredible Jazz Guitar of Wes Montgomery John Coltrane ~ Moment's Notice ~ Blue Train

Diese Sendung hat Joachim Böskens zusammengestellt. Das LIVE- Anspiel ist diesmal: „In your own sweet way“ – eine Komposition von Dave Brubeck. Folgende Titel sind zu hören: 1. Knock me a Kiss – Jimmie Lunceford & His Orchestra 3:04 2. Sunday Afternoon – Thomas Siffling 5:36 3. In your own sweet way – Miles Davis Quintett 4:38 4. Kathy's Waltz – Dave Brubeck Quartett 4:48 5. Lobby Call – Axel Fischbacher 3:57 6. Noemi's Song – Thomas Stieger 4:11 7. Rockin' in Rhythm – Weather Report 3:05 8. Rockin' in Rhythm – Duke Ellington & His Orchestra 2:57 9. Sometimes – Myriam-Catharina 2:53 10. Lester leaps in – James Carter 4:57 Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

Last Friday, the Biden-Harris administration—“the most pro-union administration in American history”—issued an Executive Order that overwhelmingly gives unions and unionized employers advantages in obtaining federal work.In this episode of Labor Relations Radio, returning guest Ben Brubeck, vice president of regulatory, labor and state affairs for the Associated Builders & Contractors explains how this “gift to unions is discouraging for the overwhelming majority of the U.S. construction industry workforce—nearly 90%—that works for nonunion employers.” Related: * ABC: Latest Biden-Harris Executive Order Panders to Unions, Harming 90% of Construction Workforce* Labor Relations Radio, E1–Associated Builders & Contractors' Ben Brubeck Discusses President Biden's Recent Executive Order on PLAs and more* Labor Relations Radio, Ep. 33—ABC's Ben Brubeck on the PRO Act Senate Vote and More* Labor Relations Radio, E106—ABC's Ben Brubeck on Biden's PLA Mandate, Joint Employer and Apprenticeship RulesGo here for all prior episodes of Labor Relations RadioLaborUnionNews.com and Labor Relations Radio are subscriber-supported. To receive new posts and support our work, please consider becoming a paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit laborunionnews.substack.com/subscribe

Last Friday, the Biden-Harris administration—“the most pro-union administration in American history”—issued an Executive Order that overwhelmingly gives unions and unionized employers advantages in obtaining federal work.In this episode of Labor Relations Radio, returning guest Ben Brubeck, vice president of regulatory, labor and state affairs for the Associated Builders & Contractors explains how this “gift to unions is discouraging for the overwhelming majority of the U.S. construction industry workforce—nearly 90%—that works for nonunion employers.”Related:ABC: Latest Biden-Harris Executive Order Panders to Unions, Harming 90% of Construction WorkforceLabor Relations Radio, E1–Associated Builders & Contractors' Ben Brubeck Discusses President Biden's Recent Executive Order on PLAs and moreLabor Relations Radio, Ep. 33—ABC's Ben Brubeck on the PRO Act Senate Vote and MoreLabor Relations Radio, E106—ABC's Ben Brubeck on Biden's PLA Mandate, Joint Employer and Apprenticeship RulesGo here for all prior episodes of Labor Relations Radio__________________________LaborUnionNews.com's Labor Relations Radio is a subscriber-supported publication. To receive new posts and support our work, consider becoming a subscriber here.

Send us a textBassist, composer, recording, and performing artist, and educator Chris Brubeck, of the iconic New Brubeck Quartet and Brubeck Brothers Quartet joins hosts bassists David C. Gross and Tom Semioli for an hour of jazz, classical, and music industry ruminations. Take Five More: Chris Brubeck Talks Career, Family Legacy, Future Plans  Playlist

Darius and Cathy join the show to share their lifetime of work and achievements. With a new book and film Playing The Changes as well as a rerelease of The Jazzanians iconic album We Have Waited Too Long theres so much to catch up on! Support the Show.

Back to more straight-ahead jazz this week from the 60's to the present. A brand new single from an upcoming album by Emmet Cohen starts the show followed by classic Brubeck, Chris Potter, Cannonball and more. Playlist  Artist ~ Name ~ Album Emmet Cohen ~ Emmet's Blues ~ Emmet's Blues - Single The Dave Brubeck Quartet ~ It's a Raggy Waltz ~ Time Further Out Chris Potter ~ Horizon Dance ~ Eagle's Point  Cannonball Adderley Quintet ~ Lisa ~ The Quintet Plus Charles McPherson ~ Old Folks ~ Reverence Mackenzie Leighton ~ Pm/Am ~ I Remember Lori Bell Quartet ~ Serenity ~ Recorda Me - Remembering Joe Henderson Joe Henderson ~ Power To The People ~ Power To The People

Designed by Richard Meier, with project architect Tod Williams, the 1973 Douglas House is a towering white residence built on a steep, conifer-covered slope overlooking Lake Michigan.  In 2007, retired Proctor & Gamble executives Mike McCarthy and Marcia Myers became the fourth owners and embarked on its second restoration, doing a deep dive to bring it back to life.

Here's an album I came across while looking for a specific artist for an earlier episode. I wasn't familiar with some of the musicians and most of the music on this record. But it represents an interesting time frame in music. Sort of between bebop and rock and roll styles seeing the most spots on the charts. There's also one country music star here as well.  The artists I recognized I knew were deserving of having their names big and bold on the venue's marquee in the late 1950s.  So get ready to hear various bands play a variety of musical styles in Volume 178: Headliners. More information about this album, see the Discogs webpage for it.  Credits and copyrights Various – The Headliners, Volume 2 Label: Columbia Record Club – GB-9, Columbia – GB-9 Format: Vinyl, LP, Club Edition, Limited Edition, Sampler, Mono Released: 1961 Genre: Jazz, Pop, Folk, World, & Country Style: Country, Vocal "Limited Edition Available to Club Members Only" Lester Lanin And His Orchestra–This Could Be The Start Of Something Released on the B-side of Blue Tango Rock released in 1961 by Epic Records. song by Steve Allen, published in 1956. Yes, the Steve Allen who created the Tonight Show. Johnny Cash–The Big Battle (cover only says The Battle) Written by Johnny Cash and released as a single on Columbia records in 1962. The Miles Davis Sextet (Quintet)–Drad Dog Written by Miles Davis and appeared on his 1961 Columbia record Someday My Prince Will Come. Dinah Washington– Somewhere Along The Line Composed by Dinah Washington, with lyrics by Dinah and Walter Merrick Released in 1961 on the Mercury label record Unforgettable. Jerry Murad's Harmonicats– Tuxedo Junction (A #1 hit for Glenn Miller in 1940) music was written by Erskine Hawkins, Bill Johnson, and Julian Dash in 1939. The Dave Brubeck Quartet– Slow and Easy (Lawless Mike) The Lawless Mike Written by Dave Brubeck This song was found on the CD re-release of the 1961 Brubeck album Time Further Out. It was not on the original vinyl LP, but made its way into this collection. I do not own the rights to this music. ASCAP, BMI licenses provided by third-party platforms for music that is not under Public Domain.

Send us a Text Message.I was excited when I was granted an interview with Darius Brubeck but it rapidly became clear that there was so much more to talk about than his talented father, probably one of the most famous jazz musicians in the world.A new film,  coming to a screen near you soon, Playing the Changes - Tracking Darius Brubeck shows Dave Brubeck's eldest son as he transforms jazz education in South Africa and the global social impact of jazz.Alongside the film is Darius's autobiography - co-written with his wife Catherine - Playing the Changes: Jazz at an African University and on the Road. The book is a fascinating read for anyone with a passing interest in the history of jazz in our times, and how South Africa has dealt with its cultural significance and incredible musicians. Apart from anything else, the book and the film together tell an incredible story of people sharing what they are good at and it was a real honour to talk to Darius.Thank you to Darius for also sharing tracks from the newly re-mastered and re-issued album by The Jazzanians We Have Waited Too Long  and I hope you enjoy listening to some clips from tracks from this fabulous 1988 sample of South African jazz, as encouraged and promoted by Darius and Catherine Brubeck.Thank you for listening to Harmonious World. Please rate, review and share: click on the link and subscribe to support the show.Don't forget the Quincy Jones quote that sums up why I do this: "Imagine what a harmonious world it would be if every single person, both young and old, shared a little of what he is good at doing."Support the Show.Thanks for listening to Harmonious World. You can support the show by becoming a subscriber.Please rate and review wherever you find your podcasts - it really helps.Read my reviews of albums, gigs and books as well as a little personal stuff on my blogFollow me on instagram.com/hilseabrookFollow me on facebook.com/HilarySeabrookFreelanceWriterFollow me on twitter.com/hilaryrwriter

durée : 00:59:40 - En Bataille - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

From the great postwar transatlantic liners to the sleek Scandinavian cruise ships of the 1970s, to Captain Stuebing and the Love Boat, ships and private yachts are also design showcases that featured edgy, trendsetting architecture. Maritime historian and art dealer Peter Knego and yacht owner Brian Biggott joins George poolside at Modernism Week to talk about nautical Modernism. Later on, from the studio, music from the next generation of the Dave Brubeck dynasty, his son Chris Brubeck, who grew up in a Modernist house. 

This episode begins with new music from guitarist Andrew Renfro and vibraphonist Joel Ross. We then work our way back to the 1950's with classic Brubeck, Wes and Trane. Playlist Artist ~ Track ~ Album Andrew Renfroe ~ BIG COUNTRY ~ Big Country EP Joel Ross ~ nublues ~ nublues Dezron Douglas & Brandee Younger ~ This Woman's Work ~ Force Majeure Samara Joy ~ Misty ~ Linger Awhile Shelly Manne and His Men ~ Our Delight ~ Shelly Manne & His Men At the Blackhawk, Vol. 1 The Dave Brubeck Quartet ~ The Duke ~ Jazz: Red, Hot and Cool Wes Montgomery ~ Four On Six ~ The Incredible Jazz Guitar of Wes Montgomery John Coltrane ~ Moment's Notice ~ Blue Train

 ‘The Dave Brubeck Quartet, Live From The Northwest, 1959' is a collection of never-before-released recordings from the archives of Brubeck Editions of two electrifying concerts recorded on April 4, 1959 at the historic Multnomah Hotel in Portland and on April 5th in the auditorium at nearby Clark College.  The legendary quartet of Dave Brubeck on piano, alto saxophonist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello are further testament to their unprecedented skills. What master sound engineer, Wally Heider, was able to capture from these diverse and challenging venues  are two performances that embody the very sound of the Dave Brubeck Quartet that audiences first fell in love with - described as “lightning in a bottle.”   We talk with multi-instrumentalist and Grammy-nominated composer, Chris Brubeck, about discovering this stellar collection in the archives, the backstory of how it happened, and why Brubeck Editions chose it as the label's third release in continuing the legacy of Dave Brubeck.  

"In Your Own Sweet Way" ( en tu singular y dulce modo) es un estándar de jazz de 1955 y una de las composiciones más famosas de Dave Brubeck. Fue escrito alrededor de 1952, pero su copyright es de1955.La esposa de Brubeck, Iola, para quien se escribió la canción, más tarde lr escribió una letra, lo que llevó a cantantes como Carmen McRae a grabarla. "In Your Own Sweet Way" se lanzó por primera vez en el álbum de estudio de Brubeck de 1956, Brubeck Plays Brubeck. Se conoce una grabación en vivo anterior. Un paseo por excelentes versiones en este episodio. Hosted on Acast. See acast.com/privacy for more information.

durée : 01:00:27 - Dave Brubeck - par : Alex Dutilh - Brubeck Editions annonce la sortie de “The Dave Brubeck Quartet, Live From The Northwest, 1959”, une collection d'enregistrements inédits du Dave Brubeck Quartet à l'époque de sa splendeur. Sortie en numérique et LP ce 24 novembre pour le Disquaire Day.

durée : 01:00:27 - Dave Brubeck - par : Alex Dutilh - Brubeck Editions annonce la sortie de “The Dave Brubeck Quartet, Live From The Northwest, 1959”, une collection d'enregistrements inédits du Dave Brubeck Quartet à l'époque de sa splendeur. Sortie en numérique et LP ce 24 novembre pour le Disquaire Day.

durée : 00:59:21 - Banzzaï du lundi 06 novembre 2023 - par : Nathalie Piolé - ❄️ Ce soir, il neige. Restons au chaud, et admirons les flocons !

El jazz en un mar tan ancho y profundo como misterioso. Para algunos es una música inabarcable e incomprensible, para otros es medicina para el alma. La realidad es que, como las demás músicas, solamente trata de emocionarte, conmoverte o animarme. En el jazz hay cimas, genios, voces eternas y años mágicos. Dave Brubeck fue parte esencial de uno de ellos, el mejor. A pesar de los tremendos años 40, cuando el jazz era la música de los jóvenes modernos, el género tocó techo una década después, a finales de los 50, cuando una generación de aventureros e innovadores dio a luz a la vez a una cosecha eterna.  Uno de esos discos de 1959 fue Time Out, del enorme Dave Brubeck. Un álbum arriesgado, innovador e influyente que marcó un nuevo camino sonoro y que acabó siendo uno de los trabajos más vendidos del jazz, junto a otros compañeros de cosecha como Kind of Blue (Miles Davis) o Giant Steps (John Coltrane), ambos de 1959. Dave Brubeck tenía 38 años cuando alumbró su obra maestra. A finales de los años 50, Brubeck era uno de los iconos del jazz. Lo era por su talento pero también porque en aquellos EEUU segregados y racistas era más cómodo vender y apostar por un músico blanco que por uno negro. Tras una etapa interesante todo cristalizó en esta obra maestro que lo consagró como uno de los grandes músicos de su generación. Por ello le dedicamos este Sofá Sonoro que compartimos con el músico y productor Igor Paskual. 

S2E10 - The Music Business w/ All Night Long (1962) & King Creole (1958) Independent filmmaker Floyd Webb joins us once again for a pair of classic near-noirs that show that the music business was scammy and sleazy long before Spotify, but it was maybe a little cooler when you had Walter Matthau in a smoke-filled backroom plotting how to screw the talent. First, we've got Charles Mingus on bass, Dave Brubeck on keys and Patrick McGoohan from THE PRISONER (!) on drums--and he's really playing those drums--in ALL NIGHT LONG (1962), a jazzified retelling of Shakespeare's Othello from British director Basil Dearden. This movie's got jazz cigarettes, reefer madness, awesome mid-century modern set design and some amazing musical performances from Mingus, Brubeck, Tubby Hayes and John Dankworth. Then, our ELVIS EPISODE was unexpectedly the third most popular installment of OMFYS in June, so the King is back in KING CREOLE (1958), a musical New Orleans noir from the braintrust that brought us CASABLANCA--producer Hal Wallis and director Michael Curtiz. Joining Elvis are Walter Matthau as ruthless gangster Maxie Fields, Dean Jagger as Elvis' feckless father, film noir regular Paul Stewart as Maxie's rival, Vic Morrow as a street thug, future nun Dolores Hart as the good girl, and Morticia Addams herself Carloyn Jones as the hard-luck dame who hopes Elvis can help her go straight. All this plus some of the best songs of any Elvis movie. Floyd discusses his upcoming martial arts documentary, THE SEARCH FOR COUNT DANTE, that he's been working on for way too long now + some awesome screenings in Chicago that he has coming up. Find out more about Floyd and what he's got going on at https://floydwebb.com/ https://thesearchforcountdante.com Also featuring THE STRIKE TOK REPORT with PHILENA FRANKLIN, a rundown of reactions to the SAG AFTRA and WGA strikes on TikTok. Co-hosts: Bob Calhoun & Cory Sklar Greg Franklin is on assignment. Philena Franklin is on strike but will return for our public domain Halloween ep. ALL NIGHT LONG (1962) is currently streaming on Criterion Channel as part of their excellent British Noir series and it's also available for free with commercials on Tubi. KING CREOLE (1958) is part of Criterion Channel's Elvis series and it's available with ads on Pluto. The Elvis Episode (S1E8): https://soundcloud.com/omfys/s1e8-the-elvis-episode-w-roustabout-1964-the-worlds-greatest-sinner-62 Music: OMFYS Theme Song: Chaki the Funk Wizard The Deadliest Man Alive: Count Dante and the Black Dragon Fighting Society (1997). All rights reserved. "Greaser" and "Smoke Jacket Blues" TrackTribe courtesy of YouTube Studio Audio Library All trailer audio courtesy of archive.org Twitter: OM4YStoners Instagram/Facebook (Meta): oldmoviesforyoungstoners Contact: oldmoviesforyoungstoners AT gmail DOT com

De la nada (salido/a de la nada) es un tema de Johnny Green hecho famoso por Bing Crosby. Escuchemos a Coleman Hawkins, Django, Ella, Artie Shaw, Charlie Parker, Sonny Stitt, Brubeck y otros. Hosted on Acast. See acast.com/privacy for more information.

Como luces esta noche, tema del gran Jerome Kern con letra de Dorothy Fields es del 1936 para el film Swing Time de Fred Astaire. Billie nos la regala junto a Ella, Tony, Goodman, Parker, Mulligan, Brubeck y otros, Hosted on Acast. See acast.com/privacy for more information.

Grâce à sa spontanéité et à sa vitalité permanentes, le jazz a constitué une révolution dans le domaine musical. Il a aussi fortement contribué à la lutte de la communauté noire américaine, jusqu'à la reconnaissance des droits civiques. Il est aussi, sans aucun doute, l'une des vitrines culturelles les plus importantes des Etats-Unis. Mais le jazz, synonyme de libertés sera aussi, en pleine guerre froide, récupéré par le pouvoir pour en faire un outil de propagande. Eclairage avec le professeur Boris Vejdovsky, maître d'enseignement de culture et de littérature américaine à l'Université de Lausanne. Photo: Dave Brubeck, pianiste et compositeur de jazz (1920 - 2012). Parmi les armes de persuasion des Etats-Unis durant la guerre froide, la musique tient un rôle important et le jazz est compris comme l'émanation la plus authentique de la culture américaine. Toutefois, lorsque Brubeck joue à l'étranger, il n'aime pas utiliser le mot "propagande". Il remarque cependant que dans les pays européens ayant connu la dictature, le jazz a été interdit. (© Darin McClure/flickr)

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

With Matt's dad in declining health, Jeff suggested that today's album should be "one for Dad." We discuss Dave Brubeck's Buried Treasures, an archival release which was originally recorded across three nights in Mexico City back in May of 1967. Notably, Dave took the stage with his quartet, featuring legendary saxophonist Paul Desmond, bassist Eugene Wright and drummer Joe Morello. As Brubeck writes in the liner notes, the concerts were recorded for Bravo! Brubeck!, an album that had a "Latin American themed" concept. Bravo! Brubeck! was released that same summer and the concept for the record meant that anything that didn't fit the theme was left on the shelf.  Which means a lot of material went unheard for years. The Buried Treasures release gave Brubeck fans a fresh round of cuts from what had been an extremely inspired run of shows. The liner notes, written by Brubeck, offer an extensive look behind the curtain of the performances. A separate booklet details Brubeck's history with Columbia Records. All of this makes for a fascinating journey into the world of Dave Brubeck if you're up for the trip.But that's just one part of today's episode. We discuss a number of different topics, including dads and parents in general, the sacrifices they make that we often don't know about until years later -- and getting a chance to repay the gifts. Some debts can never be truly repaid, but the gratitude lasts a lifetime. This one's for you, Dad.P.S. Get yourself a copy of Philip Clark's book, Dave Brubeck: A Life in Time. It's a must.

Synopsis Today marks the anniversary of the birth of the American composer and pianist Dave Brubeck. Born in Concord, California on December 6th, 1920, Dave Brubeck would become one of the most famous jazz performers of our time—and one of the most successful at fusing elements of jazz and classical music. Brubeck studied with Schoenberg and Milhaud, and in the late 1940's and '50's formed a jazz quartet incorporating Baroque-style counterpoint and unusual time signatures into a style that came to be known as "West Coast" or "cool" jazz, culminating in the 1960 release of a landmark jazz album for Columbia Records titled Time Out. This album produced two Hit Parade singles: Blue Rondo à la Turk and Take Five. Ironically, Brubeck had to fight to convince Columbia to release an album composed totally of original material with no familiar "standards" to help sales! In addition to works for chamber-sized jazz combos, Brubeck has written a number of large-scale sacred works, among them a 1975 Christmas Choral Pageant titled La Fiesta de la Posada, or, The Festival of the Inn. Originally written to celebrate the restoration of a Spanish mission in California, it wound up being premiered in Hawaii by the Honolulu Symphony. Since its premiere, La Fiesta de la Posada has been performed by both professional and amateur ensembles, ranging from symphony orchestras to mariachi bands. Its premiere recording was made by the Saint Paul Chamber Orchestra and the Dale Warland Singers, with Dennis Russell Davies conducting. Music Played in Today's Program Dave Brubeck (1920 - 2012) Blue Rondo a la Turk The Dave Brubeck Quartet Columbia 40585 Dave Brubeck La Fiesta del Posada Saint Paul Chamber Orchestra; Dennis Russell Davies, conductor. Columbia Legacy 64669

Courtney's playing refreshingly cool new jazzy vibes for you to work, rest and play to! This week Tel Aviv guitar bop, meditative vocals & kora, free-funk fusion, Parisian bossa, nu-soul grooves, Brubeck swing, electronica, modern jazz trio: spread the word folks this music is sunshine for your soul!1. Ron Magril - It's The Cops Until Now UBUNTU Tr1Ron Magril gtr Avshalom Meidan pno Oren Hardy bs Ofri Nehemya drMagril1950's Hard Bop reimagined by Tel Aviv's Ron & crew - gorgeous!2. Alma Naidu - Hold On To Me Alma LEOPARD Tr2Alma Naidu vc, Simon Oslender keys, Claus Fischer bs, Wolfgang Haffner dr, Liselotte Östblom, Florian Stierstorfer, Ann-Katrin Naidu bvs arrNaiduMessage of hope from soulful Alma - beautiful meditative vocals from Germany.3. Omar Sosa - Drops of Sunrise Suba BENDIGEDIG Tr4Omar Sosa pno Seckou Keita kora Gustavo Ovalles perc(Sosa/Keita)Afro-Cuba meets Senegal Griot poetry - a prayerful hybrid of togetherness & grace.4. Sued Nandayapa Bergmann Saunders - The Lower Field While It Lasts ROPEADOPE Tr3Natalio Sued sx Gustavo Nandayapa dr Andrew Bergmann bs Bruce Saunders gtrBergmannNetherlands, Mexico, Argentina & US all involved in the creating of this brill free energy meets funky backbeats fest!5. Tierney Sutton – Triste Paris Sessions 2 Tr1Tierney Sutton vc Serge Merlaud gtr Kevin Axt bsJobim arr MerlaudA love story in music btw Tierney & Serge: Bossa in Paris - delicious! 6. Large Bottom Productions feat Von - Ugly Girl SELF RELEASEVon vc Marzuq Asanti bs Kevin Morissette keys Avreeayl Ra perc dr Nicole Mitchell fl Phil Seed gtrAsantiMellow soul vibes outta Chicago feat gorgeous flute from Nicole Mitchell.7. Dave Brubeck Trio - Swanee River Live From Vienna 1967 BRUBECK EDITIONS Tr3Dave Brubeck pno Joe Morello dr Eugene Wright bsFoster arr BrubeckBrubeck minus Desmond swingin hard with incredible bass chops from Eugene Wright! 8. Rebecca Vasmant - Anthropology Dance Yourself Free TRU-THOUGHTS Tr2Rebecca Vasmant mix Nadia Carveth vc Chris Greive tbVasmant/Carveth/Greive/Grey/KoorSoulful jazzy club beats from Glasgow's Rebecca + community9. Bobby Sparks II - Musical Diarrhoea Paranoia LEOPARD RECORDS Tr2Jason JT Thomas dr pt1 Mike (Black Dynamite) Mitchell dr pt2 Frank Moka perc Hadrian Feraud Mark Lettieri Mike Stern Dean Brown gtr Chris Potter tnr Bobby Sparks II keysSparksMasterpiece of super-sized lyrical fusion electronica10. Avishai Cohen Trio – Videogame Shifting Sands NAIVE/BELIEVE Tr9Avishai Cohen bs Elchin Shirinov pno Roni Kaspi dr(Cohen)Modern jazz trio democracy in action from idea-maker acclaimed bassist Avishai.

The story of The Real Ambassadors, a jazz musical created by Dave Brubeck and Iola Brubeck for Louis Armstrong in the 1950/60s. The original show, featured Louis Armstrong, Carmen McCrae, Dave Brubeck and Lambert Hendricks and Bavan, and was performed live only once, at the Monterey Jazz Festival in 1962. This year's Monterey Jazz Festival, September 23-25, 2022, is the 60th Anniversary of the performance. The musical is based on the Jazz Ambassadors Program established by President Eisenhower and the US State Department during the Cold War as an effort to win hearts and minds around the world. Jazz musicians were sent out to represent the freedom and creativity of America through their art form. The irony is that Louis Armstrong, Dizzy Gillespie and most of the other Jazz Ambassadors were Black—they were treated like royalty around the world, but could not stay in hotels or play in integrated bands in their own country. The Brubeck's musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly. The story features original music, rare archival recorded letters back and forth between the Brubecks and Louis Armstrong about the project, rehearsal recordings and interviews with Dave and Iola Brubeck. Other voices include: the Brubeck's sons, Chris and Dan Brubeck; Keith Hatschek, author of newly released book, "The Real Ambassadors;” Ricky Riccardi, Director of Research Collections for the Louis Armstrong House Museum; and singer/actress Yolande Bavan, the last surviving performer involved in the project.  The Real Ambassadors is a poignant tale of cultural exchange, anti-racism, jazz history, and it's a love story—between life-long husband and wife partners, Iola and Dave Brubeck and their vision for a better world. The Peabody Award winning Kitchen Sisters, Davia Nelson and Nikki Silva, have created hundreds of stories for NPR, public media and their Webby Award-winning podcast “The Kitchen Sisters Present.” Brandi Howell is a member of The Kitchen Sisters team and the producer of The Echo Chamber, a podcast about music and its social impact. The Real Ambassadors was produced by The Kitchen Sisters (Nikki Silva and Davia Nelson) and Brandi Howell in collaboration with Jackson Spenner. Mixed by Jim McKee. Thanks to Keith Hatschek, Chris, Brubeck, Dan Brubeck,  Ricky Riccardi, Yolande Bavan;  Lisa Cohen; and Wynton Marsalis.   Special thanks to: The Louis Armstrong Educational Foundation and the Louis Armstrong House Museum; Michael Bellacosa and the Brubeck Collection, Wilton Library, Wilton, Connecticut; The Complete Louis Armstrong Columbia & RCA Victor Studio Sessions 1946-66 Mosaic Records 270; The Milken Family Foundation Archive Oral History Project; and The Library of Congress. 

As broad-ranging and eclectic as its repertoire may be, the Janoska Ensemble stands for a very special sound that offers audiences an intimate combination of sensuality and sophistication, airiness, and precision. When looking for a basic idea for their third album, the ensemble started from their own strength in improvising. The backbone of this release is Bach, Beethoven, and Brahms; and more contemporary composers: Bernstein, Bartók, and Brubeck. Purchase the music (without talk) at:Janoska Ensemble - Big B's - Amazon.com MusicYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katlyn Morahan from Morahan Arts and Media.

Janoska Ensemble — The Big B's (DG) Jump to giveaway form New Classical Tracks - Janoska Ensemble by Two violins, double bass and piano is an unusual combination for a classical quartet, but it's the perfect combination for the Janoska Ensemble.   “It's a new window that we want to open for classical music,” double bassist Julius Darvas said about the ensemble's sound. “We want to bring a new wave of air in classical music that includes great improvisation, with fantastic arrangements and virtuosity” The other ensemble members are violinists Ondrej and Roman Janoska and pianist Frantisek Janoska. Darvas married their sister. “When I met my wife, she told me that she has relatives in Bratislava,” Darvas said. “We went there, and the whole house was full of music. Somebody had left a double bass at her family's home. I took the double bass, and we were jamming together. Their father liked it very much and said, ‘You have to marry her because we need a good bass player in the family.'” Can you talk about how the ensemble respects Bach, Beethoven and Brahms? “We realized they are the big B's in classical historical music. We were searching for other composers with the letter B. We also found Bartók, Bernstein and Brubeck. We took our favorite compositions from them and made it Janoksa style.”  How is Bach's Concerto for Two Violins tailor-made for the ensemble? “We have the classical violin on one side, but the improvisatory jazz violin on the other. I'm playing the basso continuo, but sometimes some grooves. Frantisek accompanies the whole thing in a classical style combined with jazz and pop. Some new chords were added, which gave us a fantastic bassline to make new improvisations. Roman is playing the violin like a guitar. We also have flamenco technique in the piano.” Do you write pieces in honor of your family members? “Yes. It has become a tradition to write pieces for our family, usually for our children. It's a tribute to them. There are seven generations of musicians in the family. Ondrej Janoska's first composition is dedicated to his two wonderful daughters, Valentina and Letizia. The piece is Bagatelle Pour Va-Le.” How did you condense Beethoven's nine symphonies into just nine minutes? “We knew that we couldn't record all nine symphonies in this ensemble. The goal was to make it in nine minutes. We took one theme or melody from every symphony and arranged it for ourselves. The audience loves it. Some of them look at their watches during the concerts.” Watch now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. More on Janoska Ensemble New Classical Tracks: Bach and Beatles go hand-in-hand in Janoska Ensemble's 'Revolution' Giveaway Time For Three New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Janoska Ensemble — The Big B's (Amazon) Janoska Ensemble (official site)

Synopsis In the 13th century, St. Thomas Aquinas penned a Latin hymn in praise of the holy sacrament of the last supper in which bread and wine are mystically changed into the body and blood of Christ. Aquinas's text begins, “Pange lingua, gloriosi” or “Sing, my tongue, the Savior's Glory.” Aquinas's words have been set to a melody much older than his text, possibly derived from a Roman marching song or an even earlier Hebrew chant. On May 21, 1983, this ancient text and tune underwent yet another transformation at the hands of the American composer and jazzman Dave Brubeck, when his “Pange Lingua Variations” for chorus, jazz ensemble and orchestra had its premiere at the Cathedral of the Blessed Sacrament in Sacramento, California. In Brubeck's setting, each stanza is sung first in original Gregorian chant style, followed by a variation. Brubeck said, “I searched for the meaning of each stanza, and tried to convey that thought musically, so that each variation is a miniature meditation.” The third variation, taking its cue from the music's possible origin as a Roman marching tune, is given an appropriately martial treatment by both the chorus and jazz ensemble. While jazz fans associate Dave Brubeck with the sophisticated jazz he developed in the 50s and 60s, many church musicians also know him as the composer of many oratorios on sacred themes, which often incorporate jazz elements into their scoring. Music Played in Today's Program Dave Brubeck (1920 - 2012) — "Pange Lingua" Variations (Brubeck Quartet; London Voices; London Symphony; Russell Gloyd, cond.) Telarc 80621

Tonight on Jazz After Dark: Harlan Leonard, Art Tatum with  Benny Carter and Louis Bellson, Ruby Braff, Oscar Peterson Trio, Ella Fitzgerald, John Coltrane with Johnny Hartman, Duke Ellington and His Orchestra with  Oscar Peterson, Sarah Vaughan, Art Farmer, Bobby Militello with the Brubeck family, and Perico Sambeat.