Podcasts about cd made

Op woensdag 1 november 2023 wordt November Music - traditiegetrouw - geopend met het Bosch Requiem: een nieuw gecomponeerd requiem dat rond Allerzielen voor het eerst klinkt. Dit jaar is de componist van het Bosch Requiem Aart Strootman, die niet alleen componist, maar ook gitarist en instrumentbouwer is. Hij schreef zijn Requiem 'Laatste Woorden' op een aangrijpende tekst van de in april 2022 overleden Jan Rot. Waarin onder meer door Strootman zelf gemaakte microtonaal gestemde buisklokken te horen zijn, en dat wordt uitgevoerd door het Cello Octet Amsterdam, twee zangeressen, slagwerkers, een gitarist en een basgitarist. Een uitvoerig interview met Aart Strootman vind je elders op deze website of in de podcast November Music: De Interviews. 23.04  CD Made in Paris (Etcetera KTC 1776) Claude Debussy, arr. Alexander van Eerdewijk: Children's Corner - Doctor Gradus ad Parnassum De Bezetting Speelt 2'30” 23.08 CD Noveselye - Housewarming (Challenge Classics CC 72822) Dmitri Sjostakovitsj: Prelude en Scherzo opus 11 ROctet 9'45” eigen opname NTR Aart Strootman: (in)dependence Philharmonie ZuidNederland 9'30”  23.18 CD Obscure Atlas (TRPTK TTK 0068) Aart Strootman: Obscure Atlas Helena Basilova [piano]; Konstantyn Napolov [slagwerk, stem]; Maya Fridman [cello] 4'00”  eigen opname Aart Strootman: Entropy TEMKO (Aart Strootman, Fred Jacobsson, Ramon Lormans) 6'36”  23.36 CD Obscure Atlas (TRPTK TTK 0068) Aart Strootman: Obscure Atlas Helena Basilova [piano]; Konstantyn Napolov [slagwerk, stem]; Maya Fridman [cello] 9'00”  23.48 CD Foreverandevernomore (Opal Music UCCS-1325) Brian Eno: Making Gardens Out Of Silence Brian Eno 8'15” 

Welcome to a new edition of the Neon Jazz interview series with Miami-baseed Jazz Saxophonist & Composer Camilo Valencia .. He opened up with us about the new 2022 CD Made in Miami .. This album was twenty years in the making and featuring world class musicians like Arturo Sandoval .. Miami is often called "The bridge to the Americas" is the playground and inspiration for this work that fuses music styles from many of its different cultures and this album reflects that with elements of Pop, Jazz, Funk, R&B, BeBop, Songo, Salsa, Samba and Afro Cuban ..Camilo was born in Cuba and started his musical carrier in the 1970's in Miami .. Dig this story .. Click to listen.Thanks for listening and tuning into yet another Neon Jazz interview .. where we give you a bit of insight into the finest players and minds around the world giving fans all that jazz ..  If you want to hear more interviews, go to Famous Interviews with Joe Dimino on the iTunes store, visit the YouTube Neon Jazz  Channel at https://www.youtube.com/c/neonjazzkc, go The Home of Neon Jazz at  http://theneonjazz.blogspot.com/ and for everything Joe Dimino related go to www.joedimino.com When you are there, you can donate to the Neon Jazz cause via PayPal https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4 or through Patreon at https://www.patreon.com/neonjazzkc - Until next time .. enjoy the music my friends ..

Oh man this is big, secure your internet as the whole world wide web gonna feel this one. On this kick off to America Day weekend we are joined in the studio by the one and only DJ Jester the Filipino Fist. His latest mixtape/CD - Made in USA (with DJ Marz on one side, Jester on the other) is out now in them streets and it's the first mixtape in a while that will make you THINK. So many levels to this one, it's both a deft cultural critique AND a jammin ass mix that goes in directions you would never expect. I've been obsessing over dissecting the whole thing for a week now. But it's not just all about the new tape. Jester and I go way back and he is one of my favorite people in the world. On this episode we talk about his early days with Prince Klassen in San Antonio running a scratch school and speaking of San Antonio there is a whole section on Scuba Steve. We also talk about how hip hop in Texas is not and never was limited to what you hear about from Houston, there's loads of layers to this and we try to peel back them all. He is one of the best turntablists (sp?) on the planet and was making viral TikTok videos way before there was even an internet, and cell phones were the size of a brick. When he finally releases his compilation DVD entitled 90's Jestah, the walls of Babylon will come crashing down. DJ Jester may be our only hope. Find out why by tuning in here and feeling all the realness at hand! @filipinofist on all the socials and PLEASE tell a friend to tell a friend to check out the whole Talk So Real with Matt Sonzala series on your favorite platforms. Next season coming to even more, like TikTok and such. Prepare yo delf.

Oh man this is big, secure your internet as the whole world wide web gonna feel this one. On this kick off to America Day weekend we are joined in the studio by the one and only DJ Jester the Filipino Fist. His latest mixtape/CD - Made in USA (with DJ Marz on one side, Jester on the other) is out now in them streets and it's the first mixtape in a while that will make you THINK. So many levels to this one, it's both a deft cultural critique AND a jammin ass mix that goes in directions you would never expect. I've been obsessing over dissecting the whole thing for a week now. But it's not just all about the new tape. Jester and I go way back and he is one of my favorite people in the world. On this episode we talk about his early days with Prince Klassen in San Antonio running a scratch school and speaking of San Antonio there is a whole section on Scuba Steve. We also talk about how hip hop in Texas is not and never was limited to what you hear about from Houston, there's loads of layers to this and we try to peel back them all. He is one of the best turntablists (sp?) on the planet and was making viral TikTok videos way before there was even an internet, and cell phones were the size of a brick. When he finally releases his compilation DVD entitled 90's Jestah, the walls of Babylon will come crashing down. DJ Jester may be our only hope. Find out why by tuning in here and feeling all the realness at hand! @filipinofist on all the socials and PLEASE tell a friend to tell a friend to check out the whole Talk So Real with Matt Sonzala series on your favorite platforms. Next season coming to even more, like TikTok and such. Prepare yo delf. #ATX #AustinTX #Texas #talksoreal #interview #podcast #Jester #DJJester #filipinofist #mikey #DJ #hiphop #4thofJuly #mixtape #July4th #MadeInUSA --- Send in a voice message: https://anchor.fm/pushermania/message

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Have you ever illegally downloaded a song from the internet? How about illicitly burned copies of a CD? Made a “party tape?” Bought a bootleg album? You may have done these things, but have you purchased a bootlegged song-sheet? In Pop Song Piracy: Disobedient Music Distribution Since 1929 (University of Chicago, 2011) Barry Kernfeld fills us in on the history of disobedient music reproduction and distribution since, well, before the advent of recording technology. Along the way he discusses the above mentioned disobedient distribution techniques along with a few others: fake books, music photocopying, and pirate radio round out the book. Kernfeld suggests that the history of pop music piracy is never ending, with battles of different types of disobedience taking similar forms: the music “monopolists” (song owners) attempting to enact prohibitions on illegal production and distribution, the failed containment of said production and distribution systems and, finally, the assimilation of disobedient forms into the mainstream production and distribution industries. Barry Kernfeld is on the staff of the Special Collections Library of the Pennsylvania State University. He is the author of The Story of Fake Books: Bootlegging Songs to Musicians and What to Listen for in Jazz, and he is the editor of The New Grove Dictionary of Jazz. He is also a professional jazz saxophonist playing in Jazza-ma-phone and a clarinetist in local musical theater productions. Learn more about your ad choices. Visit megaphone.fm/adchoices