Podcast appearances and mentions of Evan Parker

Episode 176 Chapter 35, Live Electronic Music— Historical Practices. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 35, Live Electronic Music— Historical Practices from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC—HISTORICAL PRACTICES   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     Karlheinz Stockhausen, “Mikrophonie I” (1964) from Mikrophonie I · Mikrophonie II.   Mikrophonist 1, Johannes Fritsch; Mikrophonist 2, Harald Bojé; Electronic Filters and Potentiometers 1, Karlheinz Stockhausen; Electronic Filters and Potentiometers 2, Hugh Davies, Jaap Spek; Tam-tam, Aloys Kontarsky; Tam-tam, Fred Alings.  Brüsseler Version 1965 recorded at WDR, Cologne. 07:24 01:42 2.     AMM, “In The Realm Of Nothing Whatever” (1966) from AMMMusic 1966. Cello, Accordion, Clarinet, Transistor Radio, Lawrence Sheaff; Electric Guitar, Transistor Radio, Keith Rowe; Music by, Cardew, Prévost, Rowe, Sheaff, Gare; Percussion, Eddie Prévost; Piano, Cello, Transistor Radio, Cornelius Cardew; Tenor Saxophone, Violin, Lou Gare. Recorded on the 8th and 27th June 1966 at Sound Techniques. 13:22 09:06 3.     Musica Elettronica Viva (MEV), “SpaceCraft” (1967) from MEV 40. Mbira Thumb Piano Mounted On A Ten-litre Agip Motor Oil Can, Contact Microphones, Amplified Trumpet, Voice, Alvin Curran; Amplified Glass Plate With Attached Springs, Contact Microphones, Frederic Rzewski; Homemade Synthesizer from Electronic Organ Parts, Allan Bryant; Moog Modular Synthesizer, Contact Microphones, Voice, Richard Teitelbaum; Tenor Saxophone, Ivan Vandor; Voice, Carol Plantamura. 30:45 22:26 4.     David Tudor, “Rainforest Version One” (1968) from Rainforest. Live electronics, David Tudor, Takehisa Kosugi. Used transducers to amplify objects. Recorded by Rob Miller. 21:50 53:10 5.     Karlheinz Stockhausen, “Kurzwellen” (1968), excerpt from Festival of Hits. Composed By, Mixed By, Electronics, Filters, Potentiometers, Karlheinz Stockhausen; Electronium, Harald Bojé; Tamtam, Alfred Alings, Rolf Gehlhaar; Piano, Aloys Kontarsky; Electric Viola, Johannes G. Fritsch. This is the opening of this long work, excerpted for this strange collection of greatest “hits” by Stockhausen (you had to be in 1970 to understand this). Kurzwellen is a piece where the musicians need to improvise and react to signals they receive on randomly tuned shortwave radios. This is from the Cologne recording made in the Rhenus studio in Godorf for the Cologne Radio (WDR, Westdeutscher Rundfunk Köln) on the 8th and 9th of April 1969 (53'30), which was record 2 of the original 2-record set. By the way, this ensemble also featured the Electronium Pi, made by Hohner beginning in 1952. It was a monophonic, electronic keyboard instrument and was an add-on instrument for the piano mounted under the keyboard, which is the model used by Stockhausen. His keyboardist, while Harald Bojé used the accordion-like model. 06:19 01:14:56 6.     The Music Improvisation Company, “Tuck” (1970) from The Music Improvisation Company. Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. 03:00 01:21:14 7.     David Tudor, “Rainforest IV” (1973) from Rainforest IV.  Composed in 1973 by David Tudor; performed by Composers Inside Electronics (David Tudor, Martin Kalve, Philip Edelstein, Ralph Jones, Bill Viola, John Driscoll). Recorded at the exhibition "Für Augen und Ohren - Von der Spieluhr zum akustischen (Environment (For eyes and ears - from the mechanical clock to the acoustic environment)" at the Akademie der Künste, Berlin, January 1980. 25:12 01:24:24 8.     Maryanne Amacher, “"Head Rhythm 1" And "Plaything 2" (1999) from Sound Characters (Making The Third Ear). Electroacoustic composer of sound installations, best known for her incorporation of otoacoustic emissions -- sounds that seem to be emanating from inside one's own head. This track plays with that concept and sets your brain up to experience itself, so to speak. 10:04 01:49:36 9.     Caroline Park, “Grain 5” (2011) from Grain. This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed by Caroline Park. 09:05 01:59:32 10.   Caterina Barbieri. “This Causes Consciousness To Fracture” (2017) from Patterns Of Consciousness.  Italian composer and musician from Bologna. This album was created using analog synthesis. Barbieri has said, “In Patterns of Consciousness I was interested in exploring the power of sound on our consciousness. I wanted to explore how a pattern creates a certain state of consciousness and how the gradual transformation of that pattern can affect that state of consciousness. I believe that sound is a tool for the exploration, reconfiguration and expansion of human perceptions.” I find this to be in a similar psychological vein as the Amacher work also heard in this episode. 22:44 02:08:36 11.   Sarah Davachi, “First Cadence” (2021) from Antiphonals. Composed, recorded, performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. 05:48 02:31:20 12.   Asha Tamirisa, “Live Performance,”(2023) at the Waterworks 2023: Festival of Experimental Sound. Laptop synthesis, snare drums, Asha Tamirisa. Soundtrack for a video recorded by Wenhua Shi & Nick Stevens, video editing by Nick Stevens, and audio recording and mixing, Matthew Azevedo. 25:10 02:37:02   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Send us your thoughts! Jon Irabagon is a Filipino-American saxophonist, composer, and founder of Irabbagast Records.[1]Winner of the 2008 Thelonious Monk Jazz Competition[1] and one of Time Out's "25 essential New York City jazz icons",[2] Irabagon is known for the breadth of his work on a jazz continuum ranging "from postbop to free improvisation, avant country to doom metal".[3] His "extraordinary eclecticism"[4] has led to performances with such diverse artists as Wynton Marsalis,[5] Lou Reed, Evan Parker, Billy Joel, the Maria Schneider Orchestra, Bertha Hope, Herbie Hancock, Conor Oberst,[6] Christian McBride,[7] Mike Pride,[8] Kenny Barron, Darcy James Argue's Secret Society, Bill Laswell, Peter Evans,[9] Tyshawn Sorey, Ingrid Laubrock,[10] Ava Mendoza,[11] Mick Barr, and Tom Rainey.Irabagon's many projects as bandleader include a quartet with Luis Perdomo, Yasushi Nakamura, and Rudy Royston,[12] as well as a trio with Mark Helias and Barry Altschul.[13] He is also a member of the Mary Halvorson Quintet, Septet,[14] and Octet;[15] the Dave Douglas Quintet;Support the show

Gabriel Ferrandini estreou-se a solo no Théâtro de la Ville, em Paris, partilhou com o público uma experiência de improvisação, explorando a liberdade sonora da bateria. Compositor e baterista, Ferrandini combina ritmo, textura e harmonia de forma inovadora. Nascido na Califórnia, filho de pai moçambicano e mãe brasileira, vive em Lisboa, onde se destacou em grupos como RED Trio e Rodrigo Amado Motion Trio. Colaborou com artistas como Thurston Moore (Sonic Youth), Evan Parker e Hilary Woods. RFI: Durante o concerto que relação sentiu com o público?Gabriel Ferrandini: Nesta coisa das vibrações e dos feedbacks há qualquer coisa de meio medo e aquela coisa impressionante que  quase que nos junta um bocado a todos e as dinâmicas de ir para um muito alto ou muito baixo e trazer esse silêncio para dentro da sala, algo muito poderoso. Às vezes dá para sentir o público e neste concerto acho que sim. Estávamos todos juntos.Há intervenções do público nos seus concertos. Houve um momento em que quase que havia impulsos para as pessoas baterem palmas, por exemplo. Isso acontece?Às vezes acontece. A malta acha que são falsos fins, mas às vezes até as pessoas tossem ou há coisas a cair na sala. Eu gosto dessa parte porque há qualquer coisa que pode entrar e, como estou a improvisar, posso agarrar em qualquer coisa. Um sentimento que vem do nada por causa de uma coisa exterior. E eu gosto de trabalhar em cima disso. Tenho uma estrutura fechada, mas a coisa é toda muito aberta e inevitavelmente estou num sítio, num espaço e não consigo controlar tudo. E tudo pode ser música. De certa maneira.Tudo é música, até mesmo o tossir das pessoas e qualquer ruído que venha do público, como dizia John Cage e tantos outros, não é? Gabriel tocou durante uma hora a solo. Foi pura improvisação ?Sim, é uma peça que não conseguiria repetir. Há uma narrativa, há uma estrutura. Mas não é uma composição clássica no sentido em que tudo o que eu estou a tocar está escrito, com a estrutura e um arco narrativo. Eu sei como é que vou começar, sei o que vai acontecer no meio, sei o que vai acontecer no final e o resto são gavetas minhas. São coisas da minha linguagem com as quais convivo diariamente. Portanto, às vezes pode entrar um bocadinho depois, ou um bocadinho antes, ou bem mais tarde, ou antecipar. Mas lá está, começámos com o gongo. Havia toda uma introdução do gongo. Havia um som de uma pandeireta com o gongo que eu trouxe para o final. Portanto, há toda uma estrutura, mas é bastante aberto, sim.Qual é essa narrativa? Em que é que pensa? Porque cada instrumento conta uma história e cada instrumento parece assumir uma personagem...Sim. A percussão e a bateria têm essa coisa incrível de infinito, não é? Há muitos instrumentos que são o que são, um saxofone, um violino, trompete e na percussão; temos aqui um gongo gigantesco, até uma peça meio rara de se ter acesso. Os amplificadores gigantescos, depois a bateria em si e as percussões todas de mão. Eu, a mim, interessa-me mexer nestas coisas, nestas matérias e, depois, com o tempo, talvez até com os anos, essas matérias começam a ter ligações emocionais comigo. Porque uma pessoa, quando toca um piano, um acorde, ou um acorde numa guitarra, ou uma melodia de um instrumento melódico, é algo mais clara, emocionalmente. A bateria, a clareza da bateria tem a ver com o ritmo. É algo primordial, rítmico. Mas a questão da emoção, às vezes, é difícil de pintar as cores. Esta coisa dos feedbacks e de conseguir ter coisas longas, é o que sustém. É por aí que eu tenho tentado explorar um bocado a coisa.E há países ou há públicos mais receptivos a essa exploração e ao tempo de ouvir? Sim, eu acho que cada país, cada sítio ou continente... Mas acho que isto tem sempre a ver com a disponibilidade do público. A música é algo muito universal e esta coisa mais experimental e do jazz são línguas absolutamente... Qualquer pessoa pode tocar em qualquer sítio e é uma coisa unificadora da linguagem e das ferramentas da música experimental. Eu acho que, no fim, é um bando de nerds ou pessoas muito disponíveis e abertas, e isso encontra-se em qualquer lado. As pessoas que querem coisas novas, ou a malta nova que tem muita sede. Mas eu não consigo dizer que haja um sítio em que haja mais disponibilidade. Acho que tenho tido surpresas um pouco por todo o lado.Fez parte de vários trios como com o Rodrigo Amado.  É pouco comum ver percussionistas ou bateristas a solo e perguntei-lhe porquê?Sim, por excelência, a bateria é um instrumento de acompanhamento, não é? Há papéis... Os instrumentos também têm papéis nas suas constelações, nos trios, nos quartetos ou nas orquestras. E o papel da bateria é esse: manter o ritmo, manter a pressão sonora, o pulso, e também ajudar os outros a soarem melhor. Não é um solista. Está a fazer um solo, seja qual for o instrumento. E o baterista está a acentuar os sítios que são importantes ou a criar tensão onde tem que ser, criando uma coisa de "release". E isso é a história do instrumento agora. Há alguns malucos que gostam de fazer isto sozinhos e isso não é muito comum. Mas há alguma história de bateria a solo.Porquê malucos?Não é uma coisa usual e acho que quando contrariamos a natureza do instrumento... Eu conto como uma banda, eu estou em casa e é fácil para mim, porque estou um bocadinho mais lá atrás. Mesmo que eu possa ter uma importância grande, sou um "team player", não é? Não estou no foco, no spotlight. E eu digo "maluco" mais nisto, nesta coisa de abraçar essa questão de não posso ir pela estrutura normal deste instrumento e mergulhar, sabe-se lá para onde.Em 1914, Igor Stravinsky mudou a estrutura da música tradicional e colocou o ritmo no topo da pirâmide da "Sagração da Primavera". Ele já era, na altura, vanguardista e maluco.Com certeza. Claro, só podia, não é? Mas também um grande virtuoso. Devia ser doido, de certeza.Para mudar a estrutura musical nacional, inevitavelmente fala das luzes, as luzes que ocupam um espaço muito importante neste seu espetáculo a solo. Como é que foi trabalhado? Tenho tido a sorte de trabalhar com o Rui Monteiro e acho que não só o trabalho dele é incrível, mas todo este trabalho que tenho feito... A bateria tem aquele perigo de ser um meio de exibição, um showcase, e estar a mostrar os virtuosismos de cada coisa que sabemos fazer. E aquilo que tenho tentado fazer é pensar numa narrativa ou numa história, num arco. E eu acho que a luz ajuda muito nisso. E em vez de ser aquela coisa mais clássica, há aqui uma luz em cima do instrumento e que pode mudar um bocadinho, conforme o que está a acontecer. É muito diferente de haver uma coisa mais completa, que está sincronizada com a estrutura. A luz também é muito aberta, abstrata, mas é bastante clara. E acho que isso oferece espaço às pessoas, de repente, dois ou três minutos só faziam uma linha contínua de graves, não há realmente muito a acontecer, mas se houver também uma componente visual, talvez aí cada pessoa possa viajar para onde quiser. E eu gosto quando há esse espaço em que as pessoas podem pôr o que quiserem ali, no que está a acontecer, e não ser só aquela coisa de absorver apenas o momento musical. Acho que é fixe as pessoas irem para onde têm que ir também.A música, que também cria imagem, além de ser apoiada pela luminosidade. E depois há esta questão da exploração e do trabalho do som, que em inglês chamamos "noise", o ruídoTem a ver com o timbre que estamos mais habituados ou texturas que estamos mais habituados. E sim, acho que plasticamente, esteticamente, há aqui coisas que têm a ver com esse barulho estranho, que, de certa maneira, é também um monstro que eu estou aqui a querer controlar. E, às vezes, eu deixo que esse monstro tome controle e às vezes estou eu a tentar apanhar as rédeas. E esse monstro é noise, de certeza.Como é que de repente sabe o que está a criar, a interpretar, a improvisar? Como é que todas estas sonoridades acontecem, naturalmente? Dá ideia que, no final do espetáculo, está em transe? Sim. Eu não estou completamente em controlo. Lá está e a concentração é a única coisa que me pode ajudar, a estar ali focado e perceber o que vai acontecer. Mas eu nunca sei o que vai acontecer. E, por mais que eu queira controlar, eu também gosto de não estar completamente sob controlo. Mas isso só me obriga a estar mais atento porque, se fosse uma estrutura ou uma competição cerrada, mesmo, poderia ter as suas dificuldades. É uma coisa mais segura, de certa maneira.Se uma pessoa souber o que fazer, aquilo sai. Eu gosto desta novidade: De repente, há uma coisa que me cai, de repente, há um som... Como já fiz muita força na pele, ela já mudou de nota... há muitas coisas. Às vezes é um bocado infeliz, porque pode levar os sons para sítios que não são tão interessantes. Mas o incrível é que, quando essas pequenas mudanças que não controlo são coisas boas, é como se houvesse música dentro da música. O que tento fazer é estar só preparado para isso. Eu estou com estes sons. Mais estranho que isso pareça, eu convivo com isto, não é? É estar pronto para qualquer coisa que possa acontecer.Já esteve aqui em Paris com o espectáculo "Dans la mesure de l'impossible", de Tiago Rodrigues, cuja música é sua. Aqui, é, mais uma vez, uma forma de representar?Ali eu estava a tocar música e houve uma criação e havia uma história, não é? E eu estou a tocar para aquilo, estou a tocar para a história. É uma banda sonora. Aqui, não estou a tocar para nada. De certa forma, estou livre. Estou completamente livre, mas não consigo pôr um nome nisto, dar uma estética definida. Há materiais que trago e esses materiais têm uma presença e aquilo que tento é mexer com essa presença. No caso do teatro, tudo o que levo para ali é para a peça e para aquela história.Nasceu nos Estados Unidos, os seus pais tem origem brasileira e moçambicana. Tem ligações a Itália, a Espanha..  vive em Portugal. Esta multiculturalidade à sua volta também ascende na música que faz e com a qual cresceu?Sim, eu acho que a bateria apareceu aí. Esta coisa de não ter bem uma nação, de não ter bem uma linguagem que seja mesmo minha e ser um pouco de todo o lado não ser de lado nenhum. Acho que a bateria tem um bocado essa coisa. A bateria é uma coisa universal e que não tem bem a palavra, não tem bem a nota. E apesar de ser um instrumento claro, é muito abstracto. E eu acho que talvez tenha sido por isso que vim aqui parar à bateria e depois, ainda dentro disso, vim parar aqui a este outro sítio. Portanto, acho que isto tem a ver, talvez com esta minha, esta minha confusão criativa e a estrutura da minha família e por onde eu andei e talvez apanhei um bocadinho de cada sítio, mas à minha maneira.O que é que sentiu esta noite? Não sei se penso mesmo, mais é uma coisa de delivery. É uma coisa de querer que aquilo que que aparece ali a qualquer momento que aquilo resulte é fazer aquilo soar. O grande objectivo é pôr um instrumento a cantar. Posso ir por aqui, posso ir por ali. Há muitas coisas, como pudeste ver, que podem acontecer, mas a minha preocupação é o meu corpo, é a minha cabeça estarem no sítio certo para eu poder agarrar essas janelas de oportunidades que surgem. Eu acho que é só isso. Estou sempre só à procura de um som que possa agarrar e que possa espremer.Gabriel Ferrandini nasceu na Califórnia, é filho de pai moçambicano e mãe brasileira com origens italianas e espanholas. Vive em Lisboa onde construiu uma carreira de destaque na música, sendo parte central de grupos como RED Trio e Rodrigo Amado Motion Trio. Colaborou com artistas renomados, como Thurston Moore (Sonic Youth), Evan Parker, Hilary Woods e Peter Evans.

Evan Parker is back to talk about the hobby and Mantel. Talking Points on this episode (may include): *Fanatics hobby stranglehold. *Mantel's new app. *NSCC thoughts. *Mantel 1 year in. *Future plans. *The Hobby Magic Wand Follow us on Social Media: Website:https://www.sportscardnationpo... https://linktr.ee/Sportscardna... Merch shop:https://sports-card-nation.pri... To eliminate pre & post-roll adshttps://www.spreaker.com/podca...

Evan Parker is back to talk about the hobby and Mantel. Talking Points on this episode (may include): *Fanatics hobby stranglehold. *Mantel's new app. *NSCC thoughts. *Mantel 1 year in. *Future plans. *The Hobby Magic Wand Follow us on Social Media: Website:https://www.sportscardnationpo... https://linktr.ee/Sportscardna... Merch shop:https://sports-card-nation.pri... To eliminate pre & post-roll adshttps://www.spreaker.com/podca...

ORNETTE COLEMAN “THE SHAPE OF JAZZ TO COME” Hollywood, CA, May 22, 1959Lonely womanDon Cherry (cnt) Ornette Coleman (as) Charlie Haden (b) Billy Higgins (d) JOHN COLTRANE “ASCENSION” Englewood Cliffs, N.J., June 28, 1965Ascension (Edition I – Part 1)Freddie Hubbard, Dewey Johnson (tp) John Tchicai, Marion Brown (as) John Coltrane, Pharoah Sanders, Archie Shepp (ts) McCoy Tyner (p) Jimmy Garrison, Art Davis (b) Elvin Jones (d) CECIL TAYLOR “UNIT STRUCTURE” Englewood Cliffs, N.J., May 19, 1966StepsEddie Gale (tp-1) Jimmy Lyons (as-2) Makanda Ken McIntyre (as-3,oboe-4,b-cl-5) Cecil Taylor (p,bells-4) Henry Grimes, Alan Silva (b) Andrew Cyrille (d) ALBERT AYLER TRIO “SPIRITUAL UNITY” New York, July 10, 1964Ghosts (first variation)Albert Ayler (ts) Gary Peacock (b) Sunny Murray (d) PETER BROTZMANN OCTET “MACHINE GUN” Bremen, May, 1968Music for Han Bennink IPeter Brotzmann (ts,bar) Willem Breuker (ts,b-cl) Evan Parker (ts) Fred Van Hove (p) Peter Kowald, Buschi Niebergall (b) Han Bennink (d) Sven-Ake Johansson (d,perc) Continue reading Puro Jazz 16 de diciembre, 2024 at PuroJazz.

ORNETTE COLEMAN “THE SHAPE OF JAZZ TO COME” Hollywood, CA, May 22, 1959Lonely womanDon Cherry (cnt) Ornette Coleman (as) Charlie Haden (b) Billy Higgins (d) JOHN COLTRANE “ASCENSION” Englewood Cliffs, N.J., June 28, 1965Ascension (Edition I – Part 1)Freddie Hubbard, Dewey Johnson (tp) John Tchicai, Marion Brown (as) John Coltrane, Pharoah Sanders, Archie Shepp (ts) McCoy Tyner (p) Jimmy Garrison, Art Davis (b) Elvin Jones (d) CECIL TAYLOR “UNIT STRUCTURE” Englewood Cliffs, N.J., May 19, 1966StepsEddie Gale (tp-1) Jimmy Lyons (as-2) Makanda Ken McIntyre (as-3,oboe-4,b-cl-5) Cecil Taylor (p,bells-4) Henry Grimes, Alan Silva (b) Andrew Cyrille (d) ALBERT AYLER TRIO “SPIRITUAL UNITY” New York, July 10, 1964Ghosts (first variation)Albert Ayler (ts) Gary Peacock (b) Sunny Murray (d) PETER BROTZMANN OCTET “MACHINE GUN” Bremen, May, 1968Music for Han Bennink IPeter Brotzmann (ts,bar) Willem Breuker (ts,b-cl) Evan Parker (ts) Fred Van Hove (p) Peter Kowald, Buschi Niebergall (b) Han Bennink (d) Sven-Ake Johansson (d,perc) Continue reading Puro Jazz 16 de diciembre, 2024 at PuroJazz.

On this week's episode Mac and Stock welcome Evan Parker from Mantel to the podcast.During the episode they discuss:the story of Mantelthe power of community in the hobbybuilding a platform for collectors and multiple collecting typeslearnings from seeing how collectors use other social media platformsways he's seen collectors use Mantellooking for early adopters to help shape the platform moving forwardYou can follow Evan and the Mantel journey through the link below:Evan Parker on IGMantel on IGFollow Mac and Stock on InstagramMac_cardcollectionStockn_trade Hosted on Acast. See acast.com/privacy for more information.

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Topic: Teamwork Online Webinar 12 - Entrepreneurship in Sports Guests: RaShaun Brown, Scott Horowitz, and Evan Parker

Dive deep into the shadowy depths of the CIA's darkest operations with "Veil of Shadows: The Hidden Truths of the CIA". Uncover startling revelations and bone-chilling secrets of an agency that operates beyond the grasp of law, cloaked in mystery and deception. Each episode peels back layers of intrigue, exposing covert missions and the tangled webs of deceit woven with the approval of the highest echelons of power. From orchestrating coups to secret wars and espionage, "Veil of Shadows" reveals a chilling portrait of an agency that shapes history from the shadows. Are you ready to uncover the truth? Listen if you dare.(00:00 - 01:25) Valentine discusses his extensive research on the CIA, noting it operates outside U.S. laws with Congressional, executive, and Supreme Court backing, enabling it to commit crimes overseas without prosecution.(02:03 - 03:28) He outlines the CIA's operation criteria: intelligence potential and absolute deniability, explaining that operations must be both potentially beneficial and entirely secret, with agents often disguised as diplomats, military officers, or businessmen to maintain deniability.(03:28 - 05:10) Valentine introduces his book and the Phoenix Program, a CIA initiative from the Vietnam War aimed at dismantling the Viet Cong's infrastructure through targeting civilian leaders, emphasizing the program's secrecy and its critical role in U.S. military strategy.(06:32 - 10:27) The Phoenix Program is described in depth, revealing its two-tier approach: high-level operations to turn Viet Cong leaders into double agents and low-level actions to terrorize villagers and dissuade them from supporting the Viet Cong, often using extreme measures like bombings and assassinations.(11:35 - 55:38) Valentine shares personal anecdotes about his journey to uncovering CIA secrets, his interactions with key figures like William Colby and Evan Parker, and the broader implications of his findings, including the alignment of CIA objectives with American capitalist and imperialist agendas, and the parallel he draws between the Phoenix Program and post-9/11 U.S. Homeland Security strategies.

«Speak to Me» von Julian Lage ist eine Aufforderung an die Welt, das Gespräch zu suchen. Conversations #11/#12 von Florian Arbenz eine Diskussion im Sextett. In Gabriela Krapfs Karfunkel spricht Jazz in Mundart und in Marseille redet man über Global Music. Ausserdem heute in der Sendung: Black Lives - ein Large Ensemble, dass Schwarze Musiker*innen aus den USA, Afrika, der Karibik und Europa vereint. Sie haben ihr neues Album «People of Earth» veröffentlicht, auf dem Jazz, Soul, Funk und Hip Hop verschmelzen. Michael Arbenz bearbeitet klassische Kompositionen und steckt sie in ein Jazzgewand. Seine ganz eigene Perspektive auf die Stücke überrascht und erfrischt. Der Berliner Jazzpianist Alexander von Schlippenbach hat die improvisierte Musik in Deutschland massgeblich mitgeprägt. Für sein Lebenswerk erhielt er den deutschen Jazzpreis. (00:01:07) Black Lives – People of Earth (00:07:56) Gabriela Krapf – Karfunkel (00:17:01) Babel Music XP (00:30:12) Florian Arbenz – Conversations #11/#12 (00:35:41) Michael Arbenz – Classicism (00:45:09) Alexander von Schlippenbach (00:51:16) Julian Lage – Speak to Me Die gespielten Titel / Interpret:innen (Album | Label) As It Were / Julian Lage (Speak to Me | Blue Note) Morgä am See - Drachä / Gabriela Krapf (Karfunkel) Valley of Kings - On Sèl Rèv / Black Lives (People of the Earth | Jammin Colors) Deixem o morto morrer / Ana Lua Caiano (Vou ficar neste quadrado | Glitterbeat Records) Lam la mer / Oriane Lacaille (iViV | Galileo Music) Parranda la Cruz / Parranda la Cruz (Parranda la Cruz | Lamastrock) Nomad / Bedouin Burger (Bb | PopArabia) Lenga d'Oc / Belugueta (Espigòts | Tradethik Productions) Saiyé / Zar Electrik (Hawa | Jarring Effects) Flirtation - Freedom Jazz Dance / Michael Arbenz (Conversations #11/#12 | Hammer Recordings) The Roadside Tavern - Where It Springs Into Being / Michael Arbenz (Classicism - a point of view)  Improvisation X / Alexander von Schlippenbach (Slow Pieces for Aki | Intakt Records Where is Kinga? / Alexander von Schlippenbach, Evan Parker, Paul Lovens (Warsaw Concert | Intakt Records) Serenade - South Mountain - Northern Shuffle - Omission / Julian Lage (Speak to Me | Blue Note)

«Speak to Me» von Julian Lage ist eine Aufforderung an die Welt, das Gespräch zu suchen. Conversations #11/#12 von Florian Arbenz eine Diskussion im Sextett. In Gabriela Krapfs Karfunkel spricht Jazz in Mundart und in Marseille redet man über Global Music. Ausserdem heute in der Sendung: Black Lives - ein Large Ensemble, dass Schwarze Musiker*innen aus den USA, Afrika, der Karibik und Europa vereint. Sie haben ihr neues Album «People of Earth» veröffentlicht, auf dem Jazz, Soul, Funk und Hip Hop verschmelzen. Michael Arbenz bearbeitet klassische Kompositionen und steckt sie in ein Jazzgewand. Seine ganz eigene Perspektive auf die Stücke überrascht und erfrischt. Der Berliner Jazzpianist Alexander von Schlippenbach hat die improvisierte Musik in Deutschland massgeblich mitgeprägt. Für sein Lebenswerk erhielt er den deutschen Jazzpreis. (00:01:07) Black Lives – People of Earth (00:07:56) Gabriela Krapf – Karfunkel (00:17:01) Babel Music XP (00:30:12) Florian Arbenz – Conversations #11/#12 (00:35:41) Michael Arbenz – Classicism (00:45:09) Alexander von Schlippenbach (00:51:16) Julian Lage – Speak to Me Die gespielten Titel / Interpret:innen (Album | Label) As It Were / Julian Lage (Speak to Me | Blue Note) Morgä am See - Drachä / Gabriela Krapf (Karfunkel) Valley of Kings - On Sèl Rèv / Black Lives (People of the Earth | Jammin Colors) Deixem o morto morrer / Ana Lua Caiano (Vou ficar neste quadrado | Glitterbeat Records) Lam la mer / Oriane Lacaille (iViV | Galileo Music) Parranda la Cruz / Parranda la Cruz (Parranda la Cruz | Lamastrock) Nomad / Bedouin Burger (Bb | PopArabia) Lenga d'Oc / Belugueta (Espigòts | Tradethik Productions) Saiyé / Zar Electrik (Hawa | Jarring Effects) Flirtation - Freedom Jazz Dance / Michael Arbenz (Conversations #11/#12 | Hammer Recordings) The Roadside Tavern - Where It Springs Into Being / Michael Arbenz (Classicism - a point of view)  Improvisation X / Alexander von Schlippenbach (Slow Pieces for Aki | Intakt Records Where is Kinga? / Alexander von Schlippenbach, Evan Parker, Paul Lovens (Warsaw Concert | Intakt Records) Serenade - South Mountain - Northern Shuffle - Omission / Julian Lage (Speak to Me | Blue Note)

Evan Parker comes over from The Athletic to bring his expertise to the new hobby community Mantel hoping it to be a game changer, we discuss this and chop up some hobby as well.   Follow us on Social Media: Website:https://www.sportscardnationpo....com https://linktr.ee/Sportscardna...Become a supporter of this podcast: https://www.spreaker.com/podcast/sports-card-nation-podcast--4761791/support.

Time Stamps:(1:02) - Introduction to Evan and his early background in sports & entertainment(3:17) - Evan's background as a collector and the through line of passion in his career(8:54) - Evan's time as VP Head of Content as NASCAR(14:56) - The evolution of sports and content coming together(20:25) - Evan's time as General Manager of The Athletic(27:31) - The founding story of Mantel(32:27) - Mantel's ambitions and product roadmap for collectors(42:13) - Evan's take on the current state of collectibles(51:54) - Closing thoughts from Evan and where to find Mantel Find Evan and Mantel:On their website = https://www.onmantel.com/On Instagram = https://www.instagram.com/onmantel/ Find Neustreet:On our website = https://neustreet.com/On Twitter = https://twitter.com/realneustreetOn Instagram = https://www.instagram.com/realneustreetOn TikTok = https://www.tiktok.com/@neustreet 

Spring Flowering Trees with Evan Parker at MO Conservation: McGraw Show 3 - 29 - 24 by

Today's podcast is a conversation with Mantel CEO Evan Parker. Mantel is a new collectibles community founded by Reddit cofounder Alexis Ohanian and Wheelhouse founder Brent Montgomery. Parker serves as the CEO, coming from The Athletic. We discuss Mantel's mission, why collectibles have become so popular over the years, how to build an online community, monetization strategies and more. Ps. I recently launched a sports business community on Microsoft Teams. Join here: https://teams.live.com/l/community/FAAIJe0ERyXmJDuOQw

De raigambre europea y originada en Gran Bretaña, conecta con el free jazz, la música académica contemporánea, la experimental y la vanguardia que se gesta también en Estados Unidos. Si el jazz se ha calificado muchas veces como “el sonido de la sorpresa”, esta sería una “música sin memoria”._____Has escuchadoBarcelona. Esterri / Derek Bailey y Agustí Fernández. Derek Bailey, guitarra; Agustí Fernández, piano. Hopscotch Records (2001)Monoceros / Evan Parker. Evan Parker, saxofón soprano solo. Incus (1978)Solos. Ejié / Seijiro Murayama. Seijiro Murayama, caja (snare drum) sola. Zerojardins (2009)Todos los animales se reúnen en un gran gemido. Huracán de púrpura / Truss. Ferran Fages, guitarra acústica; Alejandro Rojas-Marcos, clavicordio; Bárbara Sela, flautas. Inexhaustible Editions (2020)Winter. Aconite / Wade Matthews & Alfredo Costa Monteiro. Wade Matthews, síntesis digital; Alfredo Costa Monteiro, objetos amplificados. Copy For Your Records (2011)_____Selección bibliográficaALONSO, Chefa, Improvisación libre: composición en movimiento. Dos Acordes, 2010*—, Enseñanza y aprendizaje de la improvisación libre. Propuestas y reflexiones. Editorial Alpuerto, 2014*BAILEY, Derek, La improvisación: su naturaleza y su práctica en la música. Ediciones Trea, 2010*BARZEL, Tamar, “‘We Began from Silence': Toward a Genealogy of Free Improvisation in Mexico City: Atrás del Cosmos at Teatro El Galeón, 1975-1977”. En: Experimentalism in Practice: Music Perspectives from Latin America. Editado por Ana R. Alonso-Minutti, Eduardo Herrera y Alejandro L. Madrid-González. Oxford University Press, 2018*BEN-TAL, Oded y Caroline Wilkins, “Improvisation as a Creative Dialogue”. Perspectives of New Music, vol. 51, n.º 1 (2013), pp. 21-39*BOSSEUR, Jean-Yves, Musique et contestation: la création contemporaine dans les années 1960. Minerve, 2019*CANONNE, Clément, “Improvisation collective libre et processus de création musicale: création et créativité au prisme de la coordination”. Revue de Musicologie, vol. 98, n.º 1 (2012), pp. 107-148*—, “Focal Points in Collective Free Improvisation”. Perspectives of New Music, vol. 51, n.º 1 (2013), pp. 40-55*—, “Du concept d'improvisation à la pratique de l'improvisation libre”. International Review of the Aesthetics and Sociology of Music, vol. 47, n.º 1 (2016), pp. 17-43*CORBETT, John, A Listener's Guide to Free Improvisation. University of Chicago Press, 2016COSTA, Rogério, “Free Musical Improvisation and the Philosophy of Gilles Deleuze”. Perspectives of New Music, vol. 49, n.º 1 (2011), pp. 127-142*DENZIER, Bertrand y Jean-Luc Guionnet (eds.), The Practice of Musical Improvisation: Dialogues with Contemporary Musical Improvisers. Bloomsbury, 2021*GALIANA, Josep Lluís, “De la naturaleza de la improvisación libre: elementos esenciales para su identificación y diferencias con la composición escrita”. Itamar: Revista de Investigación Musical: Territorios del Arte, n.º 4 (2018), pp. 26-49*—, Emociones sonoras: de la creación electroacústica, la improvisación libre, el arte sonoro y otras músicas experimentales. EdictOràlia, 2020*HOYER, Timo, Anthony Braxton: Creative Music. Wolke Verlag, 2022IRETA SÁNCHEZ, Iván Tadeo, La improvisación libre en solo: una aproximación fenomenológica y una proposición de análisis. Tesis doctoral, Universitat Autònoma de Barcelona, 2019MATTHEWS, Wade, Improvisando: la libre creación musical. Turner, 2012*MOLINA ALARCÓN, Miguel, “Auscultando la improvisación libre a la deriva”. En: Quartet de la Deriva. La improvisación libre y la teoría de la deriva. Editorial Obrapropia, 2012MUNÁRRIZ ORTIZ, Jaime, “Del lienzo en blanco al playback. Modelos de improvisación libre en el arte tecnológico”. Revista de Bellas Artes: Revista de Artes Plásticas, Estética, Diseño e Imagen, n.º 14 (2019-2020), pp. 51-67NOGLIK, Bert, “La música improvisada europea”. En: Hurta Cordel. Festival Internacional de Música Improvisada. La Casa Encendida, 2008OLEWNICK, Brian, Keith Rowe: The Room Extended. Powerhouse Books, 2019PIEKUT, Benjamin, “Indeterminacy, Free Improvisation, and the Mixed Avant-Garde: Experimental Music in London, 1965-1975”. Journal of the American Musicological Society, vol. 67, n.º 3 (2014), pp. 769-824*PRÉVOST, Edwin, “Free Improvisation in Music and Capitalism: Resisting Authority and the Cults of Scientism and Celebrity”. En: The Ashgate Research Companion to Experimental Music. Editado por James Saunders. Routledge, 2009*ROD, Johannes, Free Jazz and Improvisation on Vinyl, 1965-1985. Rune Grammofon, 2014SBORDONI, Alessandro et al., Free Improvisation: History and Perspectives. Libreria Musicale Italiana, 2018SALADIN, Matthieu, Esthétique de l'improvisation libre: expérimentation musicale et politique. Les Presses du Réel, 2014*SANSOM, Matthew, “Imaging Music: Abstract Expressionism and Free Improvisation”. Leonardo Music Journal, vol. 11 (2001), pp. 29-34*TOOP, David, En el maelström: música, improvisación y el sueño de la libertad antes de 1970. Caja Negra, 2018ZULIAN, Claudio, “La experiencia del colectivo de improvisación libre: músicas de vanguardia, free jazz y músicas alternativas”. En: Alter (músiques) natives. Generalitat de Catalunya, Departament de Cultura, 1995 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Space is the place_jazz e dintorni Puntata in cui curiosiamo tra i cartelloni delle rassegne dei primi mesi del 2024, con Miguel Zenon, Joe Lovano, Evan Parker, Olivia Trummer, Naïssam Jalal, Lina Alemanno Four e i Radian. Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-12-marzo-2024 Tutti i podcast di Space is the place: https://www.radiotandem.it/space-is-the-place

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Driving in fury, letting the endings be real, slow and lonely. The free improvisation percussionist discusses three important albums.Mark's picks:Don Cherry, Dewey Redman, Charlie Haden, Ed Blackwell – Old And New Dreams (1979)Evan Parker – MonocerosRebecca Saunders – Fury IIAs always, Mark has a bunch of upcoming live dates. These include Evan Parker's 80th birthday residency at Cafe Oto, for which Mark has prepared a four-part percussion group. Mark's website is here.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

3e émission de la 58e session...Cette semaine, freebop et free jazz! En musique: Robert Ruff sur l'album Shaza-Ra  (Baystate, 1978); Jon Irabagon's OUTRIGHT! sur l'album Recharge the Blade  (Irabbagast, 2024); Paul Dunmall sur l'album Bright Light A Joyous Celebration  (Discus Music, 2023); Dan Phillips Quartet sur l'album Sunstrike  (Lizard Breath, 2023); Marteau Rouge & Evan Parker sur l'album Gift  (FOU, 2023, enr. 2009)...

Esta semana, en una nueva sesión de Rebelión Sónica, tributamos al recientemente fallecido percusionista inglés, Tony Oxley. Figura fundamental del jazz y la música improvisada, Oxley murió a los 85 años el 26 de diciembre de 2023, luego de una larga enfermedad. Baterista que creó su propio lenguaje, su vasta obra quedó registrada en discos solistas y en múltiples colaboraciones y bandas que lideró o en las que participó. Entre ellas, Joseph Holbrooke Trio, junto al bajista Gavin Bryars y el guitarrista Derek Bailey, además de su trabajo con John McLaughlin, Evan Parker, Kenny Wheeler, Bill Dixon, John Surman y el pianista estadounidense Cecil Taylor, solo por nombrar algunos. Justamente, escucharemos material del álbum en vivo “Conversations with Tony Oxley” de Taylor. Grabado en la sala de Música de Cámara de la Filarmónica de Berlín en febrero de 2008, fue editado años más tarde, en 2018, por el sello Jazzwerkstatt. En él se puede apreciar de manera cristalina, el complejo y único vocabulario percusional de Oxley.

Abrimos 2024 con el brillante nuevo trabajo del guitarrista Wolfgang Muthspiel, Dance Of The Elders, publicado en 2023 para ECM. Descubriremos la música del contrabajista y compositor australiano Brendan Keller-Tuberg, del que escuchamos su álbum del 2021, In Spite Of It All. Nuestro Clásico de la Semana fue el recuerdo al batería Tony Oxley, quien nos ha dejado recientemente. Figura clave junto a otros del Free y Avantgarde británico, lo escucharemos en su debut del año 1969, The Baptised Traveller, junto a Kenny Wheeler, Evan Parker, Derek Bailey y Jeff Clyne. Seguir leyendo La Montaña Rusa 01.2024. Wolfgang Muthspiel. Brendan Keller-Tuberg. Recuerdo a Tony Oxley. John Scofield. Novas Trio. Jean-Michel Pilc. en La Montaña Rusa Radio Jazz.

Mark Greuber and Evan Parker with MO Conservation: McGraw Show 12 - 29 - 23 by

THIS WEEK's BIRDS:  World's Experience Orchestra; Evan Parker; Dave Burrell; Roopa Mahadevan; Art Ensemble of Chicago; Myra Melford & Tanya Kalmanovitch; Growling Tiger; Les Aiglons;  Sába Miniamba; Suoper Mama Djombo; Orquesta Innovación; Lebron Brothers; João Bosco; Peregoyo y Su Combo Vacana; Beatings Are in the Body;; Hagai BNilitzky; much, much more ...! LISTEN LIVE: Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG.  via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/17450717/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

1. Sextet – Otomo Yoshihide, Sachiko M, Evan Parker, John Edwards, Tony Marsh, John Butcher – Quintet Sextet – 2013 2. Z – Leo Chang & Lucie Vitková – Religion – 2022 3. MIX 006: instability – Farida Amadou – Reading eyes and facial expressions – 2020 4. Basket of Knives – Alex Cunningham, Thom … Continue reading tone science 490

Studio Soundtracks takes listeners behind the scenes of how music is crafted for film and television by hearing directly from composers, songwriters and music professionals in the Entertainment Industry. Listen to inspiring conversations about composition and hear works from Emmy, Grammy, and Oscar-winning film scores on the show. COLIN STETSON Colin Stetson was born and raised in Ann Arbor, spent a decade in San Francisco and Brooklyn honing his formidable talents as a horn player, eventually settling in Montreal in 2007. Over the years he has worked extensively, live and in studio, with a wide range of bands and musicians including Tom Waits, Arcade Fire, Bon Iver, TV On The Radio, Feist, Laurie Anderson, Lou Reed, Bill Laswell, Evan Parker, The Chemical Brothers, Animal Collective, Hamid Drake, LCD Soundsystem, The National, Angelique Kidjo, Fink, and David Gilmore. Meanwhile he has developed an utterly unique voice as a soloist, principally on saxophones and clarinets, his intense technical prowess matched by his exhilarating and emotionally gripping skills as a songwriter. Stetson's astounding physical engagement with his instruments (chiefly bass and alto saxophones) produces emotionally rich and polyphonic compositions that transcend expectations of what solo horn playing can sound like. Stemming from that approach and aesthetic, he has been contributing regularly to the world of film, TV, and game scoring over the past decade with such titles as Hereditary (2018), The First (2018), Red Dead Redemption 2 (2018), Color Out of Space (2019), Barkskins (2020), Mayday (2021), Among The Stars (2021), Texas Chainsaw Massacre (2022), The Menu (2022), and Uzumaki (2023). TIMOTHY WILLIAMS Timothy Williams is a multi-award-winning composer best known for his work on Pearl, Finding You, Brightburn, and Get Out! Williams' films includes A24's Pearl, co-scored with Tyler Bates, Gravitas' The Swearing Jar, Roadside Attractions' Finding You, Screen Gems' Brightburn, directed by David Yarovesky, We Summon The Darkness, directed by Marc Meyers, which won best score award at ScreamfestLA; Wild Horses, directed by Robert Duvall; I.T., directed by John Moore, and Red Sky, for which Tim Williams was nominated Best Composer by Motion Picture Sound Editors and best score at the Hollywood Music in Media Awards. Williams has written additional music for the Academy Award® and Golden Globe® winner Get Out!, Guardians of the Galaxy Vol. 1 and Vol. 2, Hobbs and Shaw, Deadpool 2, 300, Watchmen, Super, Sucker Punch, and The Spy Who Dumped Me. Television work includes co-scoring AMC/Shudder Creepshow with Tyler Bates, Disney Junior's Piney, the Fox pilot Richard Lovely, and additional music on Fox's The Exorcist (S2), ABC's Missing and Comedy Network's Sym-Bionic Titan. A graduate of the National Film and Television School, Williams has received two Motion Picture SE Golden Reel Award nominations (Red Sky), four Thea Award wins, 10 ASCAP Plus Awards and won best score at the 24FPS Festival (Butterfly Circus), best score at ScreamfestLA 2019 (We Summon The Darkness) and best soundtrack nomination at the HMMA Awards (Red Sky). Tim has had multiple soundtracks released by Milan Records, Lakeshore Records, Varèse Sarabande and MovieScore Media.

Chicago Soul Jazz Collective, Fred Anderson & Hamid Drake, Bennie Maupin & Adam Rudolph, SSWAN, Janel Leppin, James Brandon Lewis, Land of Kush, Fanfare Pourpour, Kee Avil, Eric Chenaux, Marilyn Lerner & Nicole Rampersaud, Natural Information SocietyPlaylist: Chicago Soul Jazz Collective, featuring Dee Alexander - Mama are we there yet?Fred Anderson & Hamid Drake - For Brother ThompsonBennie Maupin & Adam Rudolph - Fifth MovementJessica Ackerley, Patrick Shiroishi, Chris Williams, Luke Stewart, Jason Nazary - Pattern PhasesJanel Leppin - She Had SynesthesiaJames Brandon Lewis, featuring The Messthethics - Fear NotLand of Kush - Sand EnigmaFanfare Pourpour - Toujours plus fortKee Avil - I Too, BuryEric Chenaux - Say LauraMarilyn Lerner, Nicole Rampersaud - BristlesNatural Information Society, featuring Evan Parker - descension (Out of Our Constrictions) I

Journalism in all forms is constantly evolving as consumer demands change, and the sports industry is no different. For decades, the way sports fans kept up with everything going on with their favorite teams happened like this: •   Watch SportsCenter (probably multiple times). •   Subscribe to magazines such as Sports Illustrated or ESPN The Magazine. •   Catch the beat reporter's insights in the newspaper. For the longest time, that was basically it, you paid to consume sports content, and that's just how things were. Evan Parker, The Athletic's Senior Vice President and General Manager, joined Brian Clapp on the WorkInSports Podcast to discuss how The Athletic found its niche, how the content philosophy of The Athletic has worked despite the challenges this model faces, what the job landscape looks like for sports content creators and how to break into and advance in this part of the sports industry.

Intro: One More Night – Can                                                                                                                1.  Let's Go Baby (Where the Action Is) – Robert Parker (2:31) 2.  Bad News Telephone – Melodie Group (2:08) 3.  The Waggoner – Serious Sam Barrett (2:42) 4.  Nostalgia – Emily Barker (3:56) 5.  Hard To Take – Native Harrow (4:07) 6.  Plough Sunday – Rev. Simpkins (3:45) 7.  Abigail – Jason Steel (7:28) 8.  Firewater – Alasdair Roberts (3:59) 9.  Hell for Certain – Gwenifer Raymond (5:54) 10.  The Sheep Shearing Song – Belinda Kempster & Fran Foote (4:06) 11.  Hela'r Dryw Bach – Burd Ellen (5:50) 12.  3KA-3 – Gagarin (5:45) 13.  Monoceros 3 (excerpt) – Evan Parker (c.6:00) 14.  Polska – Bonfire Radicals (4:38) 15.  Kopanitsas – Pick Yer Feet Up (1:59) 16.  A Sailor's Wife – The Owl Service (6:04)                                                                                                       17.  Here Is The Corn – Diamond Family Archive (2:20) 18.  White Over – Haress (6:07) 19.  The Screaming Cathedral – Alex Rex (2:30) 20.  Pilentse Pee – London Bulgarian Choir (2:46) 21.  Bring Me Here Pt.1: The Dear Irish Boy – John Francis Flynn (3:13) 22.  Baked Smile – Masal (15:17) 23.  Worcester City – Eliza Carthy (4:48) Outro: Pogles Walk – Vernon Elliott Ensemble

This week: Wau Wau Collectif; Mamadou Doumbia; Maeken Music; Horace Silver; Nelson Gonçalves; Nicole Mitchell, Tomeka Reid et al. (Artifacts) X 2; Joseph Jarman; Dave Green Trio w. Evan Parker; Hank Roberts; Aline Calixto with Dolores 602;  Erik Friedlander; much more... Always FREE of charge to listen to the radio program on WRFI, or stream, download, and subscribe to the podcast: via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/15547863/Conference-of-the-Birds https://spinitron.com/WRFI/pl/15496560/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  We will continue to update playlists at confbirds.blogspot.com 24-48 hours of the program's posting  online. Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

La portada de este número de Marzo de Libertad Jazzera fue el jovencísimo cuarteto, Sex Magick Wizards y su último trabajo hasta la fecha, Your Bliss My Joy, publicado en 2021. Descubrimos también el explosivo talento de la guitarrista Ava Mendoza, de la que escuchamos New Spells, publicado en 2021. De vuelta de nuevo con John Zorn, en este caso, acompañado de un viejo compañero de aventuras, Bill Laswell, con el que firma en 2021, The Cleansing. Escuchamos también de nuevo a Krokofant, esta vez dándole espacio a II, publicado en 2015 y III, éste de 2017. Echamos la vista a atrás hacia el final del programa, escuchando a los japoneses Takayanagi's Angry Waves, con 850113, publicado en 2000 y cerraremos con el legendario octeto del batería Louis Moholo, en directo para BBC 3, en el año 1978. Que lo disfrutéis!

La portada de este número de Marzo de Libertad Jazzera fue el jovencísimo cuarteto, Sex Magick Wizards y su último trabajo hasta la fecha, Your Bliss My Joy, publicado en 2021. Descubrimos también el explosivo talento de la guitarrista Ava Mendoza, de la que escuchamos New Spells, publicado en 2021. De vuelta de nuevo con John Zorn, en este caso, acompañado de un viejo compañero de aventuras, Bill Laswell, con el que firma en 2021, The Cleansing. Escuchamos también de nuevo a Krokofant, esta vez dándole espacio a II, publicado en 2015 y III, éste de 2017. Echamos la vista a atrás hacia el final del programa, escuchando a los japoneses Takayanagi's Angry Waves, con 850113, publicado en 2000 y cerraremos con el legendario octeto del batería Louis Moholo, en directo para BBC 3, en el año 1978. Que lo disfrutéis!

Intro: One More Night – Can                                                                                                           1.  I Can't Stand It – Betty Everett & Jerry Butler (2:15)                                                                                                                  2.  I Can't Stand It – Alton Ellis (2:54)                                                                                                                                           3.  Lord, I'm The True Vine – Eddie Head & Family (3:09)                                                                                                              4.  New Face in Hell (Cedar Ballroom, Birmingham 20-11-80) – The Fall (5:02)                                                                            5.  Greener Pools – John Dwyer, Nick Murray, Brad Caulkins, Greg Coates & Tom Dolas (3:40)                                                  6.  My Dark Ages – Pere Ubu (4:05)                                               7.  Gada – Baligh Hamda (2:07)                                                               8.  Mil Gaya Humko Saathi Mil Gaya – R.D. Burman, featuring Asha Bhosle & Kishore Kumar (3:52)                                                              9.  Kogarashi – Kikagaku Moyo (4:43)                                                                                                                               10.  The Be Colony – Broadcast & the Focus Group (4:34)                                                                                                            11.  Main Theme from ‘Blood on Satan's Claw'– Marc Wilkinson (2:38)                                                       12.  Bleary Winter – English Acoustic Collective (4:17)                                                     13.  Damme La Manu – Justin Adams & Mauro Durante (4:11)                                                                                                    14.  Bonnets of Blue / The Kennington Jig – English Acoustic Collective (6:36)                                                                                                                                                                                15.  Nikala – Najma (4:31)                                                                                                               16.  Theme from Ernest Borgnine –Squarepusher (7:56)                                                                                               17.  Untitled piece – Uncredited Beri Beri xylophone & drum ensemble (3:05)                                                                                                                                                                    18.  Untitled piece – Uncredited Ibibio ‘trumpet' ensemble (2:36)                                                                                                19.  Persian Surgery Dervishes (Performance 2, Part 1) (excerpt) – Terry Riley (6:00)                                                                    20.  Persian Carpet in Reverse – Kitchen Cynics (7:06)                                                                                                                21.  Persian Love – Holger Czukay (6:24)                                                                                   22.  Tewe – Autechre (7:58)                             23.  Reedling Call (0:19)                                 24.  8:29 (excerpt) – Evan Parker with Birds (5:30)                                                                   25.  Praise Song of the Gobi – Dagiranc (8:17)                                                                                                                                                                                                                                                                                                         Outro: Pogles Walk – Vernon Elliott Ensemble

Episode 64 Playlist Hugh Davies, “Shozyg I” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from 1968. 8:16 The Music Improvisation Company, “Tuck” from The Music Improvisation Company (1970 ECM). Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. Recorded on August 25th, 26th, 27th, 1970 at the Merstham Studios, London. 3:14 Gentle Fire, “Group Composition IV” (excerpt) from Explorations (1970 - 1973) (2020 Paradigm Discs). Recorded live At ICES 72 (The Roundhouse, London, 14th August 1972). Cello, Michael Robinson; Springboard, Hugh Davies; Performer, Gentle Fire; Recorder, EMS VCS3, Graham Hearn; Tabla, Richard Bernas; Trumpet, Cello, Stuart Jones. 4:33 Gentle Fire, “Edges” from Earle Brown, John Cage, Christian Wolff – 4 Systems, Music For Amplified Toy Pianos, Music For Carillon, Edges (1974 EMI Electrola). German recording of the Christian Wolff piece “Edges,” performed by Gentle Fire. Graham Hearn, Hugh Davies, Michael Robinson, Richard Bernas, Stuart Jones. 10:17 Hugh Davies, “Music for Bowed Diaphragms” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from October 7, 1977. 10:08 Hugh Davies, “Salad” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55 Hugh Davies, “Toads” from the National Sound Archive of The British Library. The recording dates from 1980. 5:50 Hugh Davies, “Spring Song” from the National Sound Archive of The British Library. The recording dates from 1980. 4:56 Borbetomagus, “Concordat 7” from Work On What Has Been Spoiled (1981 Agaric). Live Electronics, Hugh Davies; Guitar, Donald Miller; Saxophone, Don Dietrich, Jim Sauter. 4:57 Hugh Davies, “Porcupine” from Warming up with the Iceman (2001 GROB). Solo work from 2000. 5:08. Porcupine was a more recent instrument invented by Davies in 2000. It comprised a disc shaped contact microphone and some wires that create a glissandi when touched with a finger. 5:08 Hugh Davies, “From Trees and Rocks” from Tapestries: Five Electronic Pieces (2005 Ants). Music for an installation at the Diozesanmuseum in Cologne called Walkmen that ran from April to September of 2000. A work in which “all the sounds were related to the processes that would have been undergone in order to transforms trees and rocks into works of art, especially sawing and chiselling; to these sounds I added others which were produced by treating the tools themselves as if they were simple musical instruments” (Davies). This CD is noted for the generous and informative biographical notes by David Toop, a friend and sometimes collaborator of Davies. 9:49 Background music: Karlheinz Stockhausen, Mikrophonie I (excerpt) (1967 Columbia). A key work for which Davies contributed while he was working as an assistant to Stockhausen. Filters, Potentiometers, Hugh Davies, Jaap Spek, Karlheinz Stockhausen; Microphones, Harald Bojé, Johannes Fritsch; Tamtam, Fred Alings, Aloys Kontarsky. 13:02 Notes: Many of the works attributed to the National Sound Archive of The British Library are also available on the following commercial recording: Hugh Davies, Performances 1969 – 1977 (2008 Another Timbre), a UK CD The Hugh Davies Collection: live electronic music and self-built electro-acoustic musical instruments, 1967–1975. Researcher/scholar James Mooney, of the University of Leeds, UK, keeps the Davies flame alive with his contributions around Davies handmade instruments and music. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.  

"Other Piece" Fred Van Hove: FMP Im Rückblick - In Retrospect. CD7. Piano Solo (FMP, 2011) Fred Van Hove, piano y creación. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? Fred Van Hove nació en Bélgica en 1937. Falleció el 13 de enero de 2022. Es uno de los pianistas pioneros del Free Jazz en Europa. En 1966 comenzó su colaboración con Peter Brötzmann. En 1968 grabó esa cumbre del Free Jazz Europeo que es Machine Gun. A lo largo de su carrera tocó y grabó con algunos de los músicos más importantes de las escena del Free Jazz y la libre improvisación en Europa: Brötzmann y Han Bennink (con los que mantuvo un trío hasta mediados de los años 70, que dejó una amplia discografía), Steve Lacy, Lol Coxhill, Albert Mangelsdorff, Vinko Globokar, Evan Parker, Paul Rogers o Paul Lytton por citar algunos. También son frecuentes sus grabaciones en solitario.Pi "Other Piece" fue incluido en el CD número 7 de la monumental caja FMP Im Rückblick - In Retrospect. En ella se incluían doce CD (seis de ellos con material inédito), que servían para repasar la historia del mítico sello berlinés FMP. También incluía un libro con las dimensiones de un LP de más de 200 páginas en las que se repasaba la historia del sello. El conjunto pesaba más de 3 kg y únicamente se publicaron 1000 ejemplares. El disco en el que se incluía el tema se titulaba Piano Solo y era una recopilación que recogía grabaciones de los años 1981 y 1986. Además de pianista, Fred Van Hove también fue acordeonista, organista de iglesia, improvisador y compositor, además de docente. En el año 1996 el Gobierno Belga lo nombró Embajador Cultural de Flandes. Escuchar Fred Van Hove FMP Im Rückblick - In Retrospect. CD7. Piano Solo: “Other Piece” En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos… https://www.tomajazz.com/web/?p=41459 Más información acerca de Fred Van Hove http://www.efi.group.shef.ac.uk/mvanhove.html https://www.tomajazz.com/web/?s=fred+van+hove&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

Dalla Gran Bretagna e dall'anno prima della pandemia due novità che testimoniano della vitalità dell'ambito della free music. Riferimento a Londra per il jazz d'avanguardia e la musica improvvisata, il Café Oto ha anche una attività discografica, con l'etichetta Otoroku; in due cd di circa 50 minuti ciascuno Some Good News documenta una serata al Café Oto del luglio 2019 con l'intenso flusso senza soluzione di continuità dell'improvvisazione di Orphy Robinson, marimba ed elettronica, Pat Thomas, piano ed elettronica, William Parker, contrabbasso e altri strumenti, Hamid Drake, percussioni, e della vocalist Elaine Mitchener. La Cadillac è una etichetta con una storia gloriosa e ormai antica, che dopo la morte del leggendario John Jack che l'aveva fondata nel 1973 è stata presa in mano da Mike Gavin, che sta facendo un eccellente lavoro con ristampe del catalogo storico, inediti provenienti dall'archivio (si veda la puntata di Jazz Anthology dell'ottobre 2018 dedicata a The Last Night at the Old Place, di Mike Westbrook) e nuove incisioni; nel giugno 2019 Evan Parker ha tenuto con Alexander Hawkins al piano, John Edwards al contrabbasso e Paul Lytton alla batteria uno dei suoi appuntamenti mensili al Vortex, altro club londinese di riferimento, e il giorno dopo con questo eccellente quartetto - con cui è al sax tenore - ha inciso questo album, che poi, ormai in tempi di pandemia, ha preso come titolo All Knavery and Collusion, ispirato dal Diario dell'anno della peste di Defoe.

L'improvvisazione radicale europea emerge con una fisionomia distinta rispetto a quella del free jazz d'oltre Atlantico nel corso degli anni sessanta. Nel 1970 tre capiscuola di questo filone, il sassofonista Evan Parker, il chitarrista Derek Bailey, entrambi britannici, e il batterista Han Bennink, olandese, incidono The Topography of the Lungs: prima uscita della Incus, etichetta fondata - in un'ottica di autogestione - proprio da Parker e Bailey assieme al batterista britannico Tony Oxley, The Topography of the Lungs viene subito riconosciuto come una pietra miliare dell'improvvisazione europea. E tuttavia The Topography of the Lungs, primo album del trio, rimane anche l'ultimo: negli anni successivi in effetti Bailey, Bennink e Parker hanno occasione di suonare assieme in contesti più ampi, ma raramente si producono invece come trio, e non registrano mai un altro album. E' in particolare Bailey, con la sua concezione rigorista dell'improvvisazione, che tende a sfuggire a gruppi con una configurazione fissa. Questo spiega l'importanza di Topographie Parisienne, pubblicato nel 2019 dalla francese Fou Records, un cofanetto di quattro cd, che documentano una serata dell'aprile 1981 al Dunois, glorioso locale parigino: ben tre ore e mezzo di musica, con due solo di Evan Parker, diversi duo nelle tre combinazioni possibili, e soprattutto due brani in trio di oltre quaranta minuti ciascuno, che rappresentano l'unica altra consistente testimonianza, oltre a The Topography of the Lungs, del trio di questi tre maestri.

People go to great lengths to get into elite law schools, but is it worth it? On this week's episode, Jelena and Branden sit down with Evan Parker, Ph.D., founding partner of Parker Analytics to answer that very question. But the answer—and there is indeed an answer—is really only the starting point of a deeper conversation about hiring practices in the legal field, including how things are changing, how they ought to change further, and how future lawyers can use Dr. Parker's hard-won insights to increase their chances of landing a great law firm job. In this episode, you'll hear: How law firms decide whom to hire, as well as how to use that information to your advantage as an applicant How diversity at a law firm results in increased profitability Why law firms hire data scientists like Dr. Parker What steps law firms do and don't take to correct their hiring practices Which characteristics in a law firm hiree are predictive of success, and which aren't What Malcolm Gladwell thinks about the LSAT Thanks to Dr. Evan Parker for joining us to share his knowledge and expertise! Links and Further Resources from This Episode: Dr. Parker's Firm, Parker Analytics, LLC: https://www.parkeranalytics.us/ Dr. Parker's Appearance on Malcolm Gladwell's “Revisionist History” Podcast: http://bit.ly/3tfl47L Dr. Parker's Appearance on the “Modern Lawyer” Podcast: http://bit.ly/3vjjaF0 Start Your 1L Free Trial Now: https://go.onelink.me/iOM8/68e2c335 TestMax Announces Justice in Action Program to Support 1,000 Future Lawyers: https://testmaxprep.com/blog/justice-in-action Start Your LSATMax Free Trial: https://go.onelink.me/z1Zu/689fb4b4 Start Your BarMax Free Trial Now: https://go.onelink.me/3011142272/d02ba2de The Road to 180: The Ultimate Guide to LSAT Prep (free on Kindle unlimited): https://amzn.to/3q4ifp1

In this episode we invite former Disc (and Music Echo) reporter Caroline Boucher to reflect on her journey from the Gravesend & Dartford Reporter to The Observer's Food Monthly supplement — via a stint at Elton John's Rocket label. Barney, Mark & Jasper ask Caroline about being a female pop reporter in that very unwoke era, and press her for stories about her favourite L.A. freaks Frank Zappa and Captain Beefheart.The Zappa theme leads into clips from not one but two audio interviews with Vince "Alice Cooper" Furnier, the first from August 1969 — when Alice signed to Frank's Straight label — and the second from exactly 20 years later, when Adam Blake talked to him about his new Trash album. Fond recall ensues of 'School's Out' and other Cooper classics.The conversation turns from freaky California weirdness to pompous English prog-rock, though Mark makes a compelling case for — and defence of — the 50-year-old Yes Album. The "team" pays its respects to the Supreme Mary Wilson, the jazz-fusing Chick Corea, Salsa godfather Johnny Pacheco and Byrds/Smiths biographer Johnny Rogan, after which Mark talks us through his library highlights from the previous fortnight and Jasper signs off with remarks on pieces about Halsey and Pharrell Williams.Many thanks to special guest Caroline Boucher; for more of her writing, visit her page on RBP.The Zappa documentary is streaming now on the altitude.film website and all major platforms from March.Pieces discussed: Frank Zappa, Captain Beefheart, Burgers with Alice Cooper, Alice Cooper backstage, Alice Cooper audio, Yes, Yes, Yes, Mary Wilson, The Supremes, Chick Corea, Johnny Pacheco, Johnny Rogan, The Beatles live, Aretha Franklin, Nick Drake, Sunset Strip groupies, Evan Parker, Chuck Berry, Keith Richards, George Clinton, The Jesus & Mary Chain, Alan Douglas, Al Bell, Pharrell Williams and Halsey.

In this episode we invite former Disc (and Music Echo) reporter Caroline Boucher to reflect on her journey from the Gravesend & Dartford Reporter to The Observer's Food Monthly supplement — via a stint at Elton John's Rocket label. Barney, Mark & Jasper ask Caroline about being a female pop reporter in that very unwoke era, and press her for stories about her favourite L.A. freaks Frank Zappa and Captain Beefheart.The Zappa theme leads into clips from not one but two audio interviews with Vince "Alice Cooper" Furnier, the first from August 1969 — when Alice signed to Frank's Straight label — and the second from exactly 20 years later, when Adam Blake talked to him about his new Trash album. Fond recall ensues of 'School's Out' and other Cooper classics.The conversation turns from freaky California weirdness to pompous English prog-rock, though Mark makes a compelling case for — and defence of — the 50-year-old Yes Album. The "team" pays its respects to the Supreme Mary Wilson, the jazz-fusing Chick Corea, Salsa godfather Johnny Pacheco and Byrds/Smiths biographer Johnny Rogan, after which Mark talks us through his library highlights from the previous fortnight and Jasper signs off with remarks on pieces about Halsey and Pharrell Williams.Many thanks to special guest Caroline Boucher; for more of her writing, visit her page on RBP.The Zappa documentary is streaming now on the altitude.film website and all major platforms from March.Pieces discussed: Frank Zappa, Captain Beefheart, Burgers with Alice Cooper, Alice Cooper backstage, Alice Cooper audio, Yes, Yes, Yes, Mary Wilson, The Supremes, Chick Corea, Johnny Pacheco, Johnny Rogan, The Beatles live, Aretha Franklin, Nick Drake, Sunset Strip groupies, Evan Parker, Chuck Berry, Keith Richards, George Clinton, The Jesus & Mary Chain, Alan Douglas, Al Bell, Pharrell Williams and Halsey.

The jazz piano virtuoso and highly praised composer/improviser channels spiritual and emotional musical poetry in concert excerpts from the Roulette archive, including his quartet with Allen Lowe, Gerald Cleaver, and Kevin Ray, a trio with Evan Parker and Paul Lytton, and a new solo album.

Welcome to Episode 3 of Anechoic Chamber - free-form, "erased interviewer" dialogue on the fertile margins of art and culture. This episode's guest is Weasel Walter, restless multi-instrumentalist associated with the "brutal prog" and "punk jazz" musical idioms, whose character he has played a key role in shaping while active in three distinct geographic 'scenes.' Over the course of 200+ commercially available recordings, and collaborations with hundreds of sympathetic musicians, Walter has built an entire cottage industry upon intensity, exertion, and the wholesale rejection of tepid attitudes. Key moments have included the formation of the Flying Luttenbachers combo and their integration into the '90s Chicago scene based around 'Skin Graft' records, collaborations with numerous luminaries of avant-jazz (e.g. Roscoe Mitchell, Marshall Allen, Henry Kaiser, Evan Parker), and international touring with Lydia Lunch Retrovirus. music used in this episode: Walter / Drumm / Lonberg-Holm: "I Just Whaled on a Music Critic with a Baseball Bat" Weasel Walter "Half Death" and "Viral Humanity" cover photo: unknown photographer, please contact us to be credited. artist links: https://weaselwalter.bandcamp.com/ http://www.ugEXPLODE.com http://nowave.pair.com/weasel_walter/index.html Anechoic Chamber links: donate (Paypal): tbwb@protonmail.com other inquires: core@tbwb.net

A 40-year retrospective on the work of composer and multi-instrumentalist Ned Rothenberg with 8 excerpts featuring the artist on bass clarinet, alto sax, and shakuhachi in compositions and improvisations alongside musicians including: Fred Frith, Hans Reichel (guitars, daxophone); Evan Parker (sax), Jennifer Choi/Olivia De Prato/Stephanie Griffin/Alex Waterman (string quartet); Yumiko Tanaka (Shamisen); Min Xiao-Fen (Pipa), Vortex (percussionist Satoshi Takeishi, pianist Shoko Nagai); Riley Lee, Ralph Samuelson (shakuhachi); and the Paul Dresher Ensemble (Joel Davel, conductor; Woramon Jamjod, engineer). Rothenberg does a stellar job of weaving the history together in stories and observations. Concert excerpts included in this program: Hans Reichel w/Fred Frith & Ned Rothenberg 1987 / Ned Rothenberg Solo 2005 / Evan Parker / Ned Rothenberg Duo 2006 / Ned Rothenberg Quintet #1 for Clarinet and String Quartet 2008 / Yumiko Tanaka / Ned Rothenberg / Min Xiao-Fen with Vortex 2013 / Ned Rothenberg's Ryu Nashi, New Music for Shakuhachi 2016 / Ned Rothenberg: Beyond C w/Paul Dresher Ensemble 2019

Today we share our conversation with Evan Parker, a Ph.D statistics expert and founder of Parker Analytics. Evan is ushering in a new era of data-driven decision-making for law firms by working with them to collect, assess, and evaluate their data, optimizing how they do business. He uses data to help them discover problematic trends in recruitment, diversity, and efficiency, then identifies their solutions. He recently discussed one of these trends on Malcolm Gladwell's podcast, Revisionist History. In this episode, Evan shares some surprising insights he has unearthed through looking at firm data, like how a good grade in torts is a better predictor of success than a good grade in contracts, why a top tier law degree does not predict greater success at a law firm than a mid-tier law degree, and the key factors causing certain demographic groups at law firms to fall behind, and others to succeed.

Evan Parker is a living legend who in the past fifty years he has almost singlehandedly reinvented the language of the saxophone, presenting a world of sonic possibilities perviously unimagined. Born at the tail end of World War II in Bristol, England, his first musical interest was cool West Coast jazz but quickly found his way to Bird and Diz, and eventually Trane. Through constant work and solo concerts as well as longstanding relationships with improvisers like Paul Lytton, Barry Guy, Alex von Schlippenbach and Paul Lovens, Evan has established himself as one of the forefathers of European improvisation. Today's conversation covers a lot of ground and it is an absolute honor to be able to present it here.

Chicago based composer/laptop improviser Sam Pluta has been developing a completely personal language for the better part of the past two decades. A professor at the University of Chicago, he has worked closely with Peter Evans, George Lewis, Jeff Snyder and Evan Parker. He is a member of the Wet Ink Ensemble and is a co-founder of Carrier Records. He's also a really funny and likable guy and today's talk is a good one.