Podcasts about Charles Mingus

I am so grateful to Dr. Dan Piccolo(dear old friend and percussionist) for recommending this book and to Ross Huff(dear old friend and trumpet player) for joining us on the read. Two big ideas stuck with me from this book. One is that creating music is dependent on the tension between understanding the basics of a deep tradition AND constantly improvising to create something new. Two is the intimacy in Dyer's stories about many of America's most lauded musicians. We see Thelonius Monk, Lester Young, Charles Mingus, Ben Webster, and more not as icons but in their completely messy painful humanity, often suffering at the hands of the country that celebrates their music, dealing with real mental health issues and loss. Dan and Ross were the perfect guests and you should take my advice and go check out their music. www.danpiccolo.com www.rosshuff.com

Rain welcomes John Vanderslice to LaunchLeft today.  John launches Spacemoth, and together we discuss how getting away from the handbook and taking risks can make a lasting piece of art. John doesn’t hold back on his views of creativity, production, artists' treatment, and more. Spacemoth joins in to discuss recording studios and her music. Stay tuned to the end to hear Spacemoth’s vibey track ‘UFO Bird’.  -----------------  LAUNCHLEFT OFFICIAL WEBSITEhttps://www.launchleft.com  LAUNCHLEFT PATREON https://www.patreon.com/LaunchLeft  TWITTER https://twitter.com/LaunchLeft  INSTAGRAM https://www.instagram.com/launchleft/  FACEBOOK https://www.facebook.com/LaunchLeft  --------------------- LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery. --------------------- IN THIS EPISODE: [01:08]John discusses his journey through what, how and why he writes his music.  [07:28] What two artists inspired John to step out of his comfort zone.  [10:27] John’s examples of ‘whatever it takes to get by’.  [11:55] John talks about his collection of instruments.  [13:57] What would John do if he ever stopped making music?  [17:31] What non-attachment means to John and how grieving informs an artist.  [20:29] How John spends his time in and out of the studio and his views of this creative art.  [27:51] Spacemoth talks about finding Tiny Telephone and the different vibes in studios.  [36:40] Listen to Spacemoth’s song “UFO Bird” from the album, No Past No Future.   KEY TAKEAWAYS:  Artists must always find something inspiring. They are constantly looking for gems in music and others. Sometimes when “accidents” happen in the studio, they can result in fantastic music. Collaboration in music is the key to making lasting records while the artists have fun and find joy in making them.   BIOGRAPHY:  The Reintroduction of John Vanderslice by Grayson Haver Currin Nearly 20 years ago, or just after the start of this century, John Vanderslice made some of his generation’s most masterful singer-songwriter records. Life and Death of an American Four-Tracker, Cellar Door, Pixel Revolt: Every year or so, he’d release another set of engrossing songs set expertly on edge, vulnerable excavations animated by a new dawn of endless-war unrest. Those albums sounded like little else, each blown-out drum line or warped calliope melody or sun-baked synthesizer layer a testament to Vanderslice’s laborious process and tireless ingenuity. (There were rumors, possibly true, he once cut 500 hours of tape for a single album.) This dovetailed, of course, with his emergence as a keen analog revivalist and the proprietor of one of the best studios in the country, San Francisco’s Tiny Telephone. But on a sunny winter day in his gently sloped Los Angeles backyard, feet from the little green cabin where he now makes music, Vanderslice beams as he disavows all of it. “I went from this scrappy dude who wanted to own a studio to someone able to record in a big room with a full orchestra, like fucking Frank Sinatra, the end result of an obsession with songwriting,” he says of his maximalist apogee, 2011’s White Wilderness, brushing hair so blonde it sometimes seems white from his suddenly trenched brow. “I should have wrapped it up right there—no more tape, no more reel-to-reel, no more linear format. Let’s blow it up. It took me a long time to learn how.” Let’s round it, in fact, to a dozen years: Crystals 3.0—the culmination of a span of ecstatic experimentation with harsh noise and hard drugs, curious samples and cascading sequencers—is both a new pinnacle for Vanderslice and the manifestation of a revelatory outlook. A seamless 19-minute sequence of melodies so memorable they belong in an ice cream truck, static bursts so meticulous they belong on a Merzbow tribute and beats so spring-loaded they belong on a trap record, Crystals 3.0 applies the unencumbered enthusiasm of vintage Vanderslice records to his ideas about breaking old molds, about avoiding easy interpretation. “Songwriting is inherently conservative, and I just don’t have the mindset to write something like ‘Exodus Damage’ again,” Vanderslice, now 55, says, grinning broadly in his contagious way. “I want to make music that poses more questions than it answers.” The essential elements here are nothing unprecedented for Vanderslice. He was, after all, the sample guy in his acclaimed band of ’90s weirdos, MK Ultra, and his approach to crosshatching rhythms and hooks in playful patterns betrayed a love of hip-hop and electronica at least since 2004’s Cellar Door. During pandemic lockdowns, though, a budding fascination led him to embrace those elements unabashedly—drugs, from acid and coke to mushrooms and MDMA. After years as the songwriter who didn’t drink on tour for fear of how it might impact his craft, the spoils of a libertine Los Angeles became distinct tools, allowing him to tunnel into his creativity in distinct ways. He would build electronic trances on ecstasy or up the mushrooms on recording days, looking for unimagined connections. During 2022, Vanderslice would often sit in his backyard studio in some pleasant psychedelic state and work while a film—maybe something by the Maysles Brothers or Frederick Wiseman—played in the background. If something caught his ear, he’d often weave it into the music, using the distortion inherent in those decades-old documentaries to counter the rigidly clean tones of digital instruments. No context, just the serendipity of overlapping moments. Those samples populate Crystals 3.0 like reawakened ghosts, maybe guests of honor at one of the drug parties Vanderslice throws in the backyard with his partner, Maria. The whole dense little record feels like a distilled fête, its 13 overlapping tracks functioning as fragments from conversations and encounters. Bits of singing that might have fit on Pixel Revolt about sequences that Chicks on Speed would have loved; celebrations of jungle drums run into sunken-keyboard miasmas, like an old friend pulling you aside to deliver some bad news. Vanderslice spent a year building, sorting, and stitching together these pieces; despite the brevity, you may spend just as long trying to unpack every layer, and decode every secret. It is no mystery that the music Vanderslice made at the start of this century is no longer in supreme vogue, not a source of major cachet. He’s not only OK with that but also invigorated by it, the way it permits him to pursue whatever excites him. When he talks about music, he hopscotches between modern rappers and classical composers, abrasive producers and Charles Mingus, beaming as he goes. He gloats about one day dying broke, about creating with no master plan except what’s right in front of him. “You have to move on to more challenging silos,” he says, “or you’re just going to be a boring fucking artist.” Named for a novel method of synthesizing pure LSD, Crystals 3.0 overflows with youthful vim, the sense that to settle into an old pattern is to be dead already. If you have previously loved John Vanderslice, you will hear him here instantly, whether it’s that familiar warble during “Crystals 26” or the way he cavorts with hooks. If you’ve never known him, you will instead instantly hear a mind on post-modern fire, trying, like always, to make sense of our modern mess. This side of John Vanderslice’s sound hid in plain sight for two decades on records that remain essential because of those very interests; it has never sounded more full, dauntless, or thrilling than on Crystals 3.0.   RESOURCE LINKS Podcast - LaunchLeft John Vanderslice - Website John Vanderslice - Twitter John Vanderslice - Facebook John Vanderslice - Instagram John Vanderslice - Bandcamp - Website John Vanderslice - Wikipedia Spacemoth - Website Spacemoth - Bandcamp - Website Spacemoth - Instagram Spacemoth - Twitter Spacemoth - YouTube

Great singer -the best Ellington ever had - heard here fronting her own group (mostly Ellington's band), the Gotham Stompers (a combination of Ellington's and Chick Webb's bands) and two all stars sessions for Black and White on the West Coast. Featuring Johnny Hodges, Willie Smith, Harry Carney, Cootie Williams, Karl George, Lucky Thompson, Irving Ashby, Charles Mingus, Chick Webb, Joe Nanton, Duke Ellington, Barney Bigard, Buddy Collette and others! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

This week's episode features Hazel Scott, a child prodigy, piano virtuoso, and one of the most outspoken civil rights activists of the mid-20th century in the entertainment industry. Whether playing the classics on the nose or employing her fiery fingers to fuse jazz and classical music, Hazel Scott was as unapologetic in her talents as she was in her commitment to changing the way Black actors were portrayed on film and television which ultimately led to the demise of her short but illustrious career.Featured Music:"Hungarian Rhapsody No. 2" by Franz Liszt, arranged and performed by Hazel Scott"Fantaisie-Impromptu Op. 66" by Frederic Chopin, performed by Hazel Scott"A Foggy Day," performed by pianist/vocalist Hazel Scott, bassist Charles Mingus, and percussionist Rudy NicholsSupport the show

Seattle Repertory Jazz Orchestra Artistic Director Michael Brockman selected a program representing Mingus' range as a composer from blues-based ballads to fiery bop burners.

Jeff Beck arrived at a time when all the rules were being questioned.  Unlike many of his contemporaries (and many in his audience), he never lost the sense of discovery in his music.  Put an instrumental band together and get it played on the radio?  Sure, why not?  Collaborate with Stevie Wonder and Tina Turner?  I'll try that!  Introduce a whole new audience to the music of Charles Mingus? That's for me.   And it never sounded stale or contrived or like the work of anyone else.  Always, organically, Jeff Beck; his fans loved him for it.     Jeff Beck, seemingly the eternally enthusiastic youngster, died this past January and a violent shockwave tore through the music community.  No one was ready for him to go and so much felt unfinished.   This Monday from 6pm to 9pm on WKCR 89.9FM, WKCR HD1 and wkcr.org, guitarist/sonic architect Ben Tyree joins host Mitch Goldman for a Deep Focus on Jeff Beck, with special attention to live recordings from the WKCR archives of his vibrant Seventies improvisations.     Next week it goes up at the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #DeepFocus #JeffBeck #BenTyree #MitchGoldman #JazzRadio #JazzPodcast #JazzInterview   Photo credit: Jeff_Beck 1973 by Jean-Luc Ourlin, CC BY-SA 2.0 creativecommons.org-licenses-by-sa-2.0    

Jeff Beck arrived at a time when all the rules were being questioned.  Unlike many of his contemporaries (and many in his audience), he never lost the sense of discovery in his music.  Put an instrumental band together and get it played on the radio?  Sure, why not?  Collaborate with Stevie Wonder and Tina Turner?  I'll try that!  Introduce a whole new audience to the music of Charles Mingus? That's for me.   And it never sounded stale or contrived or like the work of anyone else.  Always, organically, Jeff Beck; his fans loved him for it.     Jeff Beck, seemingly the eternally enthusiastic youngster, died this past January and a violent shockwave tore through the music community.  No one was ready for him to go and so much felt unfinished.   This Monday from 6pm to 9pm on WKCR 89.9FM, WKCR HD1 and wkcr.org, guitarist/sonic architect Ben Tyree joins host Mitch Goldman for a Deep Focus on Jeff Beck, with special attention to live recordings from the WKCR archives of his vibrant Seventies improvisations.     Next week it goes up at the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #DeepFocus #JeffBeck #BenTyree #MitchGoldman #JazzRadio #JazzPodcast #JazzInterview   Photo credit: Jeff_Beck 1973 by Jean-Luc Ourlin, CC BY-SA 2.0 creativecommons.org-licenses-by-sa-2.0

The boys take another walk down the "out" side of the street this episode, with looks at a little known outing from one of Charles Mingus' trumpet players to a twin-guitar / alto sax ensemble, to two rather challenging works on the Pyroclastic label.  Mike's more patient with those efforts than Pat.   Who's ready for some asbestos earmuffs?  Pop matters delves into what Iggy Pop got up to with his buddy David Bowie during that infamous Berlin hang.  Trevor Dunn – SEANCES; Nate Wooley – ANCIENT SONGS OF BURLAP HEROES; Greg Ward's Rogue Parade – DION'S QUEST; Ted Curson – TEARS FOR DOLPHY.

Jeff Beck arrived at a time when all the rules were being questioned.  Unlike many of his contemporaries (and many in his audience), he never lost the sense of discovery in his music.  Put an instrumental band together and get it played on the radio?  Sure, why not?  Collaborate with Stevie Wonder and Tina Turner?  I'll try that!  Introduce a whole new audience to the music of Charles Mingus? That's for me.   And it never sounded stale or contrived or like the work of anyone else.  Always, organically, Jeff Beck; his fans loved him for it.     Jeff Beck, seemingly the eternally enthusiastic youngster, died this past January and a violent shockwave tore through the music community.  No one was ready for him to go and so much felt unfinished.   This Monday from 6pm to 9pm on WKCR 89.9FM, WKCR HD1 and wkcr.org, guitarist/sonic architect Ben Tyree joins host Mitch Goldman for a Deep Focus on Jeff Beck, with special attention to live recordings from the WKCR archives of his vibrant Seventies improvisations.     Next week it goes up at the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #DeepFocus #JeffBeck #BenTyree #MitchGoldman #JazzRadio #JazzPodcast #JazzInterview   Photo credit: Jeff_Beck in 1979 - Chris Hakkens, CC BY-SA 2.0 creative commons.org-licenses-by-sa-2.0 via Wikimedia Commons

An eclectic set of music starting with Hartford based guitarist Frank Varela. Next is a new release from Terri Lyne Carrington celebrating women jazz composers. LP and the Vinyl cover a pop tune and drummer from Charlie Brown Christmas classic covers Charles Mingus. More from Joe Farrell, Charles McPherson, Ethan Iverson and young vibraphonist Joel Ross round out the set. Playlist Artist ~ Name ~ Album Frank Varela ~ Ganja Groove ~ Grandma's Revenge Terri Lyne Carrington ~ Respected Destroyer ~ New Standards, Vol. 1 LP and the Vinyl ~ Everybody Wants to Rule the World ~ Heard and Seen Jerry Granelli ~ Boogie Stop Shuffle ~ Dance Hall Joe Farrell ~ Sonic Text ~ Sonic Text Charles McPherson ~ Karen ~ First Flight Out Ethan Iverson ~ Confirmation ~ The Purity of the Turf Joel Ross ~ WAIL ~ The Parable Of The Poet

Tom Verlaine spins everything from Charles Mingus to The Day the Earth Stood Still soundtrack.

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. 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

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Mingus. Sometimes he was described as volatile, tender, or misunderstood, but most agree he was a musical genius. In this episode we are taking a look / listen at some of Mingus' music with a different lens and perspective: his dedication pieces. It would have to take a special musician for Charles Mingus to write a composition dedicated to them and that is exactly what we are exploring. One thing is guaranteed - all the music will be fantastic!

Rudy Williams was a journeyman sax player who stylistically crossed between swing and bebop. The son of legendary/notorious bandleader Fess Williams and the cousin of Charles Mingus, Williams is here heard on alto sax with a pickup group put together by Baron Timme Rosenkrantz in 1939 (with Don Byas, Tyree Glenn, Rex Stewart, Russell Procope, Billy Kyle, Walter Page and Jo Jones), the Savoy Sultans (his regular band from 1937-1941 or so), a Don Byas group (with Charlie Shavers and Clyde Hart), Tadd Dameron's Sextet (with Fats Navarro, Allan Eager, Kenny Clarke and Curly Russell), Bennie Green's Sextet (on baritone, with Teddy Brannon and Lockjaw Davis) and the Howard McGhee Korean All-Stars (on tenor, with J.J. Johnson and Skeeter Best). --- Support this podcast: https://anchor.fm/john-clark49/support

We look at three 2022 releases this time (albeit one recorded way back in 1972) along with the first harbinger of the new year.  There's an electronic sounding long-playing debut by a pair of youtube wunderkinder (all played in real-time we promise), a straight-ahead tenor sax trio, another star-studded portfolio album from a rising sax star, and a sprawling live opus from the music's greatest bassist/composer.  For a chase, a sprawl of pop matters that ranges from gospel tunes to stereo demonstration discs to poor lonely Art Garfunkel.  Lakecia Benjamin – PHOENIX; Domi & JD Beck – NOT TIGHT; Adam Larson – WITH LOVE, FROM CHICAGO; Charles Mingus – THE LOST ALBUM FROM RONNIE SCOTT'S.

We continue our month of historic female figures by focusing on Maya Angelou and Toshiko Akiyoshi. Maya Angelou is a well respected artist and activist who worked alongside some of the biggest names in the Civil Rights Movement and courageously wrote about her tumultuous upbringing in multiple autobiographies. Toshiko Akiyoshi moved from Japan to America in the 50s to pursue a career as a jazz musician and became one of the most well respected figures in the genre, working with huge jazz stars such as Norman Granz and Charles Mingus.

John Maguire & Ruth Barton have been watching Till, A Man Called Otto, Empire of Light, The Pale Blue Eye, Alcarrás. Guy Barker is back with a new take on Charles Mingus, where he explores the artists who inspired Mingus himself.

Today's show features John McLaughlin, an English guitarist, composer and band leader, born in 1942 in Doncaster, a city in South Yorkshire, that's located in northern England. His mother was a concert violinist. He studied violin and piano as a child and then took up the guitar at age 11. His childhood musical influences included MILES DAVIS and LUDVIG VON BEETHOVEN, and more contemporary artists were JOHN COLTRANE and JIMMY HENDRIX McLaughlin is a pioneer of Jazz Fusion. In his music, one can clearly pick out elements of ROCK, JAZZ and BLUES…and also additional elements later on such as WORLD MUSIC, and Western Classical Music. In the 1960s at about age 20, he moved to London where he contributed to several British groups and did session work. One of those British Groups was the Graham Bond Quartet with Jack Bruce and Ginger Baker of Cream. Another rare opportunity was working with Miles Davis.  And he gave guitar lessons too, and one of his students was Jimmy Page, founder of Led Zeppelin. M1 Arjen's Bag (John McLaughlin) EXTRAPOLATION, Marmalade Records, released 1969 in UK, Re-released on Polydor Records, 1972, 4:25. M2 Goodbye Pork Pie Hat, (Charles Mingus 1959) My Goal's Beyond, Mahavishnu John McLaughlin, Douglas 9 Released 1971(solo album) 3:15            . M3- Dawn (John McLaughlin), Inner Mounting Flame, The Mahavishnu Orchestra with John McLaughlin, Columbia, Released 1971 (5:15) M4 Birds of Fire(John McLaughlin), Birds of Fire, Mahavishnu Orchestra, CBS Columbia, Released 1973 (5:50).. M5 Sanctuary (John McLaughlin), Birds of Fire, Mahavishnu Orchestra, CBS Columbia, Released 1973 (5:05). M6 WINGS of KARMA(John McLaughlin), Apocalypse, Mahavishnu Orchestra, with London Symphony Orchestra, CBS Columbia, Released 1974 (6:12) M7- La Danse du Bonheur, Shakti with John McLaughlin, Columbia, 1977 (4:48). rev4 04Jan2023 17:30

durée : 00:59:23 - Au boulot - par : Nathalie Piolé -

This week we'll pay tribute to the Indianapolis-born arranger, composer and jazz pianist Bob Hammer, who passed away last December at the age of 91. Hammer had a significant career in jazz music and is best remembered for his association with the jazz legend Charles Mingus. Hammer wrote arrangements for some of Mingus' most critically acclaimed albums. Mingus referred to Hammer as "my Beethoven." 

Die Liste ist schier endlos: Mozart, Brahms, Duke Ellington, Schumann, Schubert, Satie, Charles Mingus, Schönberg - alle diese Komponisten, sich selbst und noch viele mehr hat Mathias Rüegg bearbeitet und in eine eigene Form zwischen Klassik und Jazz gebracht.  Schon in seiner Zeit als Leiter des Vienna Art Orchestra, aber auch in den 12 Jahren seit er das VAO aus finanziellen Gründen aufgeben musste. Die Pianistin und Komponistin Luzia Von Wyl war als Studentin beteiligt an einer Uraufführung eines klassischen Werkes von Mathias Rüegg - sie diskutiert das reiche Schaffen des Wahlwieners Rüegg mit einem Schwerpunkt auf die jüngste Zeit in der JazzCollection mit Jodok Hess.

Desde la muerte del genial bajista y compositor Charles Mingus en 1979, su viuda Sue Mingus se consagró a la tarea de eternizar su música a través de diversas formaciones cuyo único repertorio serían las composiciones de su esposo. De entre ellas, la más brillante y exitosa es la Mingus Big Band, una banda de 14 músicos que debutó discográficamente en 1993 con el álbum Nostalgia in Times Square. Desde su sede neoyorquina en el club Jazz Standard, la banda no ha cesado su actividad en las últimas décadas, en los escenarios del mundo entero y con una intensa actividad discográfica, reintepretando una y otra vez la compleja e insondable obra de Charles Mingus en la que se resume la historia del jazz, desde sus inicios en Nueva Orleans hasta la mismísima vanguardia del Free Jazz de los 60, siempre bajo la óptica de la heterodoxia y la rebeldía que definieron la personalidad y la música del compositor. En este nuevo programa de Radio Jazznoend tendremos la oportunidad de disfrutar de la obra de Mingus, de la mano de algunos de los más brillantes músicos del jazz contemporáneo y su música servirá también de homenaje y despedida a tres personas de indudable relevancia tanto en la creación y trayectoria de la banda, como en la propia vida de Charles Mingus, y que nos dejaron en este año de 2022: el saxofonista Ronnie Cuber que militó en la banda desde su creación hasta su muerte, el arreglista Sy Johnson, autor de muchos de los arreglos de la orquesta, y la propia viuda de Mingus, alma mater de la Mingus Big Band, Sue Mingus.

Answering the question: What does a hacker, some crows, Charles Mingus, his cat, and a toilet have in common?(Originally broadcast for Cyberpunk Day 2022)https://www.cyberpunkday.com/

Sometimes "tribute "can be a dirty word in jazz - a sign a project's only justification is a well-known name - a warning that reverence may have trumped inspiration on a record.  But it doesn't have to be that way.  This episode, the bastards look at four 2022 releases that each celebrate a towering figure from jazz's past without getting tangled up in its shadow.   With dedicatees as varied as Johnny Hodges, Charles Mingus, Yusef Lateef, and Wes Montgomery, things never get in a rut.  Bennie Maupin - SYMPHONIC TONE POEM FOR BROTHER LATEEF;  Ethan Philion – MEDITATIONS ON MINGUS; Owen Broder:  HODGES FRONT AND CENTER; Tim Fitzgerald – FULL HOUSE.

A wedding weekend in Minnesota leaves Jake with a tired voice, and his new frequent guest continues to not pull her weight.Music recommendations are “Mingus Mingus Mingus Mingus Mingus” by Charles Mingus, and “Rothko Chapel” by Morton Feldman.Wake & Jakehttps://www.auxchicago.com/wake-jakehttps://www.instagram.com/wakeandjakepod/https://twitter.com/WakeandJakePodJake Fisherhttps://www.instagram.com/kennyg.g.allin/https://deathbotrecords.bandcamp.com/Music Composed by Jake FisherLogo by Baitul Javid

This week on Bass For The Culture, we have a double header featuring two of the most legendary Jazz Bassist of all time- Charles Mingus & Ron Carter "On Bass".Also, find out what two songs sparked a heated debate between our hosts, plus much more! Listen to the songs featured on today's episode here: https://youtube.com/playlist?list=PLCliC2En6Kk6XMyyoBxvp6BFTR1bjYBmLWhile you're here, please follow/subscribe, rate, and review. It helps us tremendously!We'd love to here from you, please send feedback and questions to Bassfortheculture@gmail.comCatch us on Instagram @bassforthculture and on Facebook| Bass For The Culture

Very mellow episode this week, starting with a great cover of Charles Mingus's classic "Haitian Fight Song." Continuing to dig deep on the old and the new. Thanks so much for tuning in as always. Tracklist: Johnny Cretu-Raducanu, Surprise Chef, Misha Panfilov, Nala Sinephro, Phi-Psonics, Walter Wanderley

Very special episode of all Charles Mingus tunes, to celebrate the 100th anniversary of his birth!

Season eight continues with its third episode, and the 46th episode of the show overall, and the guests continue to nothing but illustrious as Kevin welcomes multi instrumentalist Tom Morris to the show. Tom primarily makes music under the band name Swim Camp, but this fall he went on tour playing drums for Victoria Park's project Pictoria Vark. Tom talks about his love of both jazz music and downer indie rock, and they give Phil Collins his flowers. For information about Tom's project Swim Camp, take a listen to his output on Bandcamp, or follow him on Instagram and Twitter; For additional information about Anhedonic Headphones, please click here.  Episode Musical Credits Intro Music: "Brooklyn Zoo (instrumental)," written by Russell Jones, Dennis Coles, and Robert Diggs; originally performed by Ol' Dirty Bastard. Taken from the Get On Down reissue of Return to The 36 Chambers: The Dirty Version, 2011.  Outro Music: "What Does Your Soul Looks Like (Part 4)," performed by DJ Shadow. Endtroducing..., Mo Wax, 1996.   "Self Portrait in Three Colors," written and performed by Charles Mingus. Mingus Ah Um, Columbia, 1959. "Fields of Gold," written by Gordon Sumner; performed by Sting. Ten Summoner's Tales, A&M, 1993. "Solsbury Hill," written and performed by Peter Gabriel. Peter Gabriel 1: Car, ATCO, 1977. "Nefertiti," written by Wayne Shorter; performed by Miles Davis. Nefertiti, Columbia, 1968 "Glass," written and performed by Blue Smiley. Return, self-released, 2016. "Steps - What Was," performed by Chick Corea. Now He Sings, Now He Sobs, Solid State, 1968. "Inside Out," written and performed by Duster. Stratosphere, Up, 1998. "Graceland," written and performed by Paul Simon. Graceland, Warner Brothers, 1986. Vordhosbn," written by Richard D. James; performed by Aphex Twin. Drukqs, Warp, 2002. "M," written by Emily Sprague; performed by Florist. Emily Alone, Double Double Whammy, 2019.

Bob Mover is a virtuosic saxophonist who performed with Chet Baker, Charles Mingus, Lee Konitz and countless others over a long career. Visit https://www.bobmoverjazz.com/ to sign up for Bob Mover's weekly online masterclass sessions every Saturday. List of names mentioned: Charlie Parker, Roland Kirk, Bill Evans, Roy Eldridge, Richie Kamuca, Ira Sullivan, Walter Piston, Gerry Mulligan, Chet Baker, Stan Getz, Zoot Sims, Wynton Kelly, Kenny Dorham, Sonny Rollins, Lee Konitz, Jaki Byard, Al Cohn, Phil Woods, Bud Powell, Thelonius Monk, Jimmy Lyons, Cecil Taylor, Saul Frompkin, Don Byas, Coleman Hawkins, Art Tatum, Bud Powell, Hank Jones, Al Haig, Dodo Marmarosa, Joe Albany, Albert Dailey, Kenny Barron, Warne Marsh, Lennie Tristano, Lester Young, Count Basie, Jerry Coker, Allen Rock, Duffy Jackson, Bill Pierce, Mark Colby, Melton Mustafa, Ramblerny Music camp, Roger Rosenberg, Mike Brecker, Randy Brecker, Eddie Cleanhead Vinson, Shelly Manne, Brooks Kerr, Tony Castellano, Mulgrew Miller, Walter Davis Junior, John Bennett, Bernie Senensky, Cory Weeds, Sam Noto, Isaac Raz, Antoine Drye, Steve Kenyon, Emily Mover, Danny Kaye

Country music star Loretta Lynn died Oct. 4 at the age of 90. Her life story was made famous in the film Coal Miner's Daughter. She had 16 No. 1 hits, some controversial in their day because they were about drinking, divorce, wayward husbands, and birth control. She spoke with Terry Gross in 2010. Also, we remember Sue Graham Mingus, who died Sept. 24 at the age of 92. After the death of her husband, composer and bassist Charles Mingus in 1979, she devoted her life to keeping his legacy alive.

Celebramos el centenario del genial contrabajista con algún tema-sorpresa, pero nos pasamos antes por la actualidad de la trompeta (Laura Jurd, Enrico Rava, Jaimie Branch), para acabar con lo que se cuece en Amsterdam (Camilla George) y lo que nos ha preparado para el domingo el Rock and Blues de Zaragoza (Andreu Domenech Quartet).Temas que se escuchan:01 2021 Laura Jurd - The Big Friendly Album 08 Henry - Mark Lockheart Dylan Bates Frode Haltli Martin Lee Thomson Danielle Price Alex Haines Ruth Goller Corrie Dick (3' 00'')02 2022 Enrico Rava & Fred Hersch - The song is you 03 Retrato em Branco e Preto (7' 37'')03 2022 Medicine Singers - Medicine Singers 01 A Cry - Ian Wapichana Joe Rainey Sr. Jaimie Branch Yonatan Gat Thor Harris Christopher Pravdica Laraaji (2' 02'')04 1947 Lionel Hampton and his Orchestra - Mingus Fingers - Charles Mingus05 1959 Charles Mingus - Blues & Roots 01 Wednesday night prayer meeting - Jackie McLean John Handy Booker Ervin Pepper Adams Jimmy Knepper Willie Dennis Horace Parlan Mal Waldron Dannie Richmond (5' 38'')06 1959 Charles Mingus - Mingus Ah Um 2 Goodbye, Pork Pie Hat (5' 41'')07 1959 Charles Mingus - Dynasty 02 Diane - Richard Williams John Handy Booker Ervin Benny Golson Jerome Richardson Jimmy Knepper Maurice Brown Seymour Barab Roland Hanna Teddy Charles Dannie Richmond (7' 27'')08 1964 Charles Mingus - The great concert of Charles Mingus - Parkeriana - Johnny Coles Eric Dolphy Clifford Jordan Jaki Byard Dannie Richmond09 2022 Camilla George - Ibio-Ibio - Ekpe - Sheila Maurice-Grey Rosie Turton Kadialy Kouyate Shirley Tetteh Sarah Tandy Daniel Casimir Winston Clifford Daru Jones (5' 39'')10 2019 Andreu Domenech - Hirundo Rustica 06 Myotis ruber - Dani Ferruz Juan Pastor Asier Olabarrieta (3' 55'')Para estar al día de todo lo que sucede en el jazz en Aragón os recomiendo, como siempre, la web jazzaragon.es y el Facebook juanemiliojazz.

Chicago based bassist and band leader Ethan Philion pays tribute to the iconic Charles Mingus with his new recording Meditations on Mingus on Sunnyside Records. In this episode of LINER NOTES Ethan discusses the care with which he approached the musical canon of the iconic Mingus while simultaneously endeavoring to highlight the social justice themes of the music which are as relevant today as they were fifty years ago when the music was composed. 

Two fifty is as good an artificial milestone as any, so the boys decide it's time for a GOAT episode.  First they wrestle a top-twenty artist list into shape, arguing that there's so much consensus out there little work remains to be done and still taking an hour doing it.  Then it's on to the tricky bit - picking out 21 through 40.   Totems will get tumbled, weird choices will get made, and hearts will get broken.  Mostly Mike's.  No pop matters this time as two hours of rampant opinion slinging should be enough for any listener.  

Music by, or inspired by, Brazil, Charles Mingus, Mal Waldron, Humanity... and the Convulsionaries... To know more... click on the embedded player and happy listening! The playlist features also Anat Cohen [pictured]; Roberto Ottaviano, Alexander Hawkins; Cristina Mazza, Sean Bergin Daniele D'Agaro Bruno Marini Jean-Jacques Avenel Sangoma Everett; Angelica Sanchez; Matt Ulery, Zach Brock; Jasper Høiby; Trevor Dunn; Julian Lage; Jeff Parker, Eric Revis, and Nasheet Waits. Detailed playlist at https://spinitron.com/RFB/pl/16420871/Mondo-Jazz (up to "Wait").

Synopsis In 1962, American jazz composer, performer, and bandleader "Duke" Ellington was 63 years old – an acknowledged master, but trends in American jazz were changing, and there were much younger figures emerging, with more challenging styles. Take, for example, the bassist Charles Mingus, Jr, a master of collective improvisation, and drummer Max Roach, a pioneer in the Be-Bop movement. Despite their age and stylistic differences, these three jazz titans went into a recording studio on today's date in 1962 and, while tape rolled, using bare-bones charts provided by Ellington of melodies and harmonies, the three jazz titans improvised. The results were issued the following year as a classic LP entitled, “Money Jungle.” Despite his fame, Ellington did not have a recording contract in 1962, and, perhaps after decades experiencing the highs and lows of life as a Black jazz musician in a segregated society, “Money Jungle” reflects a certain bitterness. Along with the charts he gave Mingus and Roach, Ellington also provided poetic story lines for each track, like: "Crawling around on the streets are serpents who have their heads up; these are agents and people who have exploited artists. Play that along with the music.” Music Played in Today's Program Duke Ellington (1899-1974), Charles Mingus (1922-1979), and Max Roach (1924-2007) –Money Jungle: Blue Note 31461

Ethan Philion is an award-winning bassist, composer, and bandleader based in Chicago. A graduate of Oberlin Conservatory and DePaul University, he has performed with Rufus Reid, Greg Ward, Dana Hall, and many other artists.  Ethan also won the International Society of Bassists Jazz Competition in 2019 and was selected to Chicago's Luminarts Jazz Fellowship in 2020.   Ethan recently released an album with his 10-piece ensemble on Sunnyside Records titled Meditations on Mingus.  We dig into the story behind this album and much more.  Enjoy!     Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   theme music by Eric Hochberg

Selections from 1937 to 1973 tonight. We'll hear Artie Shaw, Coleman Hawkins Orchestra, Benny Goodman & His Orchestra, Django Reinhardt, Billie Holiday & Lester Young, Charles Mingus, Miles Davis Sextet, Modern Jazz Quartet, John Coltrane Quartet, Charlie Byrd & Stan Getz, and James Moody.

We have selections from 1937 to 1973 tonight. We'll hear Artie Shaw, Coleman Hawkins Orchestra, Benny Goodman & His Orchestra, Django Reinhardt, Billie Holiday & Lester Young, Charles Mingus, Miles Davis Sextet, Modern Jazz Quartet, John Coltrane Quartet, Charlie Byrd & Stan Getz, and James Moody.

The best albums out this week include It's Almost Dry from Pusha T, space rock from Spiritualized, a gorgeous ambient record from OHYUNG, a rediscovered Charles Mingus live recording and more.Featured Albums:1. Pusha T — It's Almost DryFeatured Tracks "Let the Smokers Shine the Coupes," "Dreaming of the Past," "Just So You Remember," "I Pray For You"2. Jorge Drexler — Tinta y TiempoFeatured Tracks: "El Plan Maestro," "¡Oh, Algoritmo!"3. Ben Marc — Glass EffectFeatured Track: "Way We Are"4. Spiritualized — Everything Was BeautifulFeatured Tracks: "Always Together With You," "Crazy"5. Charles Mingus — The Lost Album from Ronnie Scott'sFeatured Track: "Orange Was The Color Of Her Dress, Then Silk Blues"6. OHYUNG — imagine naked!Featured Track: "symphonies sweeping"Other notable releases for April 22:• Becca Stevens & Attacca Quartet — Becca Stevens & Attacca Quartet• Bill Evans — Inner Spirit: The 1979 Concert at the Teatro General San Martín, Buenos Aires • Bonnie Raitt — Just Like That...• Charles Mingus — Mingus Three (Deluxe Edition)• claire rousay — everything perfect is already here• Fontaines D.C. — Skinty Fia• Hatchie — Giving the World Away• Jason Aldean — GEORGIA• King Gizzard & the Wizard Lizard — Omnium Gatherum• Mister Goblin — Bunny• Patrick Watson — Better in the Shade• Roger Eno — The Turning Year• S. Carey — Break Me Open

Acclaimed classical pianist Jeremy Denk's new memoir begins with his first piano lessons and ends with his last formal lesson when he was 26. He'll talk about the obsessive practicing and repetition that's essential to reach his level of proficiency, and what he's learned about technique and conveying emotion. We'll also hear music from his new album.John Powers reviews the new CNN documentary Navalny, about the Russian dissident who survived a murder attempt and is now in prison. And jazz critic Kevin Whitehead pays tribute to bassist Charles Mingus on the 100th anniversary of his birth.

BRITAIN'S GOVERNMENT has proposed sending asylum-seekers to Rwanda. The plan has been widely criticised as expensive and ineffective—but the greater danger is that the plan works. New research suggests that diversification, rather than boosting domestic production, may keep supply chains resilient. And our correspondent considers the legacy of Charles Mingus, an American composer and bassist born 100 years ago today. See acast.com/privacy for privacy and opt-out information.