Podcast appearances and mentions of Frank London

En este episodio de La Montaña Rusa, hemos escuchado y comentado los discos:ÁLBUM DESTACADO. Frank London and The Elders. Spirit Stronger Than Blood (2024),Thumbscrew. Multicoloured Midnight (2022).CLÁSICO DE LA SEMANA. Freddie Hubbard. On Fire: Live from the Blue Morocco (2025).John Zorn. Homenaje a Remedios Varo (2023).JAZZ EN ESPAÑOL. Yei Yi & Co. Live at Isosteles Studi (2025).Mamiko Watanabe. Being Guide by the Light (2024).Ambrose Akinmusire. Honey From a Winter Stone (2025).

Jazz88's Peter Solomon speaks with trumpeter Frank London about the history of klezmer music in America and 40 years of Genre Bending klezmer interpretations and collaborations by the Klezmatics. The Klezmatics play the Dakota Tuesday night (May 27th) with Minneapolis-based ensemble Red Thread. Pictured: The Klezmatics. Frank London is seated holding a flugelhorn.

Jazz88's Peter Solomon speaks with trumpeter Frank London about the history of klezmer music in America and 40 years of Genre Bending klezmer interpretations and collaborations by the Klezmatics. The Klezmatics play the Dakota Tuesday night (May 27th) with Minneapolis-based ensemble Red Thread. Pictured: The Klezmatics. Frank London is seated holding a flugelhorn.

On the February 22 WBGO Journal, guitar duo Gil Parris and Bernie Williams talk about their friendship and upcoming gig at Luna Luna and an update on Klezmatics founder and trumpeter Frank London

The boys are back to take on four more entries from the New York Times' Best of 2024 list and Mike especially is happy with these selections.  "Spiritual Jazz" leaves a imprint on several of this episode's albums and bastard number 2 loves it.  Pat meanwhile is relieved that Blue Note's entry is the best yet, in his opinion, by a rising young artist, but he finds one of the other entries just an almighty racket.  Melissa Aldana – ECHOES OF THE INNER PROPHET; Frank London – SPIRIT STRONGER THAN BLOOD;  THE MESSTHETICS AND JAMES BRANDON LEWIS; Isaiah Collier – THE ALMIGHTY.

Frank London visited with "The Shmooze" to chat about his latest LP, "In the City of God," and other releases. In a far-flung conversation, Frank spoke about how he became a musician, his influences past and present, and the release of the new LP. Episode 384 December 5, 2024 Amherst, MA

Journey into the 5th Dimension as Trivial Theater, Jacob Anders Reviews and Movie Emporium as we discuss the iconic television show created by Rod Serling. This Week Nick is stuck in the Twilight Zone, therefore Trivial Theater takes over and this week the podcast joined once again by Raymond Smith as they talk about Season 5 Episode 2 titled. Steel. The Episode is Directed by: Don Weis and Stars: Lee Marvin, Joe Mantell, Chuck Hicks, Merritt Bohn and Frank London. If you'd like to support our podcast and like the show you can always donate to the link here: https://podcasters.spotify.com/pod/show/5thdimension/support You can Find Raymond Smith at: YouTube: https://www.youtube.com/@rayhs1984 Twitter: @RaymondhSmith You Can Find Jacob Anders Reviews at: YouTube: www.youtube.com/JacobAnders YouTube: www.youtube.com/@retrojakexy Twitter @Redneval2 You can find Trivial Theaters content at: YouTube Channel: www.youtube.com/TrivialTheater Twitter: @trivia_chic Merch Store: https://www.etsy.com/shop/TrivsPlace You can find Movie Emporium's content at: YouTube Channel: www.youtube.com/MovieEmporium Twitter: @Movie Emporium Intro Created by Trivial Theater Music Created by Dan Jensen #TheTwilightZone #MovieEmporium #TrivialTheater #JacobAndersReview --- Support this podcast: https://podcasters.spotify.com/pod/show/5thdimension/support

Frank London of the Klezmatics talks with Felix Teitelbaum and Aron Guttman ahead of their show at Cornell, Saturday April 13, 2024. More at www.klezmatics.com and www. cornellconcertseries.com

Hochzeitskapelle und japanische Freunde, den tuvinischen Sänger Batsükh Dorj aus der Mongolei, Frank London's Klezmer Brass Allstars, Lakvar, Don Kipper und Herje Mine stellt Grit Friedrich vor.

Ep #158 with Frank London, Klezmatics founder and composer Frank London is an eclectic composer who works in an extremely wide range of styles but he is mostly famous for his group The Klezmatics, which has been together for decades. This world-touring group's mission is all about fun, ecstasy and irreverence and it shows in their music big time. He is a trumpet player and is very well known in NYC where he lives. This episode features some of his Klezmer music but also a choral work and an excerpt of a recent work called “Ghetto Songs." A Worldsoul Records production derrikjordan.com Facebook: https://www.facebook.com/109866072979... YouTube: https://youtu.be/hfxQPsRp0C0 Podcast: https://soundcloud.com/hilljoy/ep-105... Derrik Jordan Host and Producer of The World Fusion Show National Winner of the Best Entertainment and Arts Series 2019 on Publ

Greetings! Welcome to this week's program featuring primarily newer releases with a bit of jazz to fill out Phase Three.  BTW, I've released a single that's available for your listening/downloading pleasure.  Here's the Bandcamp link: https://joelkrutt.bandcamp.com/track/con-forza (Yes, I dabble in some found sound/musique concrete type audio manipulation myself.) Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter: https://twitter.com/envpusher1    3-25-23 PTE Playlist   The Body of Your Dreams - Prism Saxophone Quartet / composer: Jacob TV - XAS (2023) https://www.prismquartet.com/recording/body/    ...and the higher leaves of the trees seemed to shimmer in the last of the sunlight's lingering touch of them... - field studies: chamber music of Emilie Cecilia LeBel - Redshift Records (2023) https://www.emilielebel.ca/blue-of-the-distance/    Part 1: Beneath the Dust - Joseph Blane - The Spider Room - digital album (2023) https://josephblane.bandcamp.com/album/the-spider-room    Sub Wub - Death Tape Super Bass - Hellmouth - Spider Baby (2023) https://deathtapesuperbass.bandcamp.com/album/hellmouth    The Space Between Silence and Enough / Confessional / Tattoo - Guy Barash (electronics) & Nick Flynn (poetry) w/ Kathleen Supové (piano), Frank London (trumpet) & Eyal Maoz (guitar) - Killdeer - New Focus Recordings (2023) https://www.newfocusrecordings.com/catalogue/guy-barash-killdeer/    Blow Upon My Death Whistle - Anatomy of the Heads - In the Realm of Allied Barbarians and Tributary Lords - digital release (2023) https://aoftheh.bandcamp.com/album/in-the-realm-of-allied-barbarians-and-tributary-lords    Lost In Reading - guitar/midi instruments: Gordon Grdina / composer: Tim Berne - Oddly Enough: The Music of Tim Berne - Attaboygirl Records (2022) - track included on the Musicworks #144 CD https://gordongrdina.bandcamp.com/album/oddly-enough https://www.musicworks.ca    Ascending Bird - Kayhan Kalhor (kamancheh or "Persian spiked fiddle") and Brooklyn Rider - Silent City - World Village (2008)   Far From Your Fire - anth​é​ne & Clara Engel - Anxiety / Hope - Ambient Echoes (2023) https://ambientologist.bandcamp.com/album/anxiety-hope    Nephophilia - Robert Scott Thompson - Ascension - Aucourant Records (2022) https://robert-scott-thompson.bandcamp.com/album/ascension-2    Flashback - Reiner Witzel/Ritchie Beirach Quintet - The World Within - Jazzsick Records (2023) https://www.jazzsick.com/blog/releases/the-world-within/    Rumi and the Whirling Dervish - Joel Goodman - An Exquisite Moment - (2023 pre-release, June)    Critical Conversation - Joel Harrison & Anthony Pirog - The Great Mirage - Alternative Guitar Summit Recordings (2023) https://agsrecordings.bandcamp.com/album/the-great-mirage    Reeper - John Oliver - Cool Take - John Oliver Music (2017) https://johnolivermusic.bandcamp.com/album/cool-take 

Episode 89 The Theremin Part 2: Recordings After 1970 Playlist Ultimate Spinach, “(Ballad of The) Hip Death Goddess” from Ultimate Spinach (1968 MGM Records). This American psychedelic rock band was from Boston, Massachusetts, although they had a sound that had more an affinity with the free spirit of San Francisco. The Theremin has a prominent part in this song, following the vocalist and filling in some interesting instrumental parts. Bass and Feedback, Richard Nese; Vocals, Drums, Tabla, Bass Drum, Bells, Chimes, Keith Lahteinen; Vocals, Electric Guitar, Guitar, Kazoo, Barbara Hudson; Vocals, Electric Piano, Electric Harpsichord, Organ, Harpsichord, Twelve-String Guitar, Sitar, Harmonica, Wood Flute, Theremin, Celesta, Ian Bruce-Douglas; Vocals, Lead Guitar, Guitar Feedback, Sitar Drone, Electric Sitar, Geoffrey Winthrop. 8:11 Hawkwind, “Paranoia Part 2” from Hawkwind (1970 Liberty). Hawkwind was a pioneering space-rock and psychedelic group from the UK. They were known to use a theremin during their early years—1969 to 1973 and revived its use on stage in later performances using a Moog Etherwave model in the 2000s. This first album features a theremin added to much of the sonic textures, sometimes overtly but often run through effects to provide a looming background, as in this song. It is sometimes difficult to distinguish, but I think there is a theremin providing some of the droning background and then sporadic bursts of tones beginning around 4:25. 14:54 McKendree Spring, “God Bless the Conspiracy” from 3 (1972 Decca). Electric Violin, Viola, Theremin, Michael Dreyfuss; Electronics (Ring Modulator), Tom Oberheim; Vocals, Acoustic Guitar, Dulcimer, Fran McKendree; Electric Bass, Larry Tucker; Electric Guitar, Martin Slutsky. This progressive band with experimental leanings was a quartet without a drummer. Dreyfus later said, “In God Bless the Conspiracy and No Regrets I was able to play viola and Theremin at the same time by bringing my body closer to the Theremin (to change pitch) while playing a harmony part on the viola,”(2006). He played a Theremin beginning 1969. He may have used a Moog theremin, such as the Troubadour. 6:53 Linda Cohen, “Horizon Jane” from Lake Of Light (1973 Poppy). Folky album from Philadelphia featuring several electronic musicians. Acoustic Guitar, Bass, Piano, Polytonic Modulator, Jefferson Cain; Classical Guitar, Composer, Linda Cohen; Flute, Stan Slotter; Producer, Electric Guitar, Matrix Electronic Drums, Modulator, Sitar, Synthesizer, Craig Anderton; Minimoog, Theremin, Charles Cohen. 3:36 Ronnie Montrose, “Space Station #5” from Montrose (1973 Warner Brothers). Ronnie Montrose added a custom-built Theremin to his equipment with the pitch antenna mounted on his aluminum (silver) Velano guitar so that he could play both at the same time. Volume for the theremin was controlled by a black box mounted on a mike stand, to which he stood nearby. He was recording with it throughout the 1970s. Here is a great live clip you where you can see how he played it. Note the end of the clip where he put the theremin guitar up against the speaker and wails on the volume control of the theremin control box. Bass, Bill Church; Drums, Denny Carmassi; Guitar, Theremin-Guitar, Ronnie Montrose; Vocals, Sam Hagar. 5:36 Arthur Brown's Kingdom Come, “Time Captives” from Journey (1974 Passport). Fender Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals, Andy Dalby; Mellotron, ARP 2600, EMS VCS 3, Piano, Theremin, Percussion, Vocals, Victor Peraino. 8:37 Michael Quatro, “Get Away” from In Collaboration with The Gods (1975 United Artists Records). Brother of Detroit rockers Suzi and Patti Quatro, he had a flare for progressive rock and electronic keyboards in the 1970s. The Theremin makes frequent appearances on this album, this track in particular. Arranger, Piano Baldwin, Electric Piano Gretsch Electro, Piano Tack Piano, Sonic Six Synthesizer, Effects Univox Phaser, Univox Stringman, EC-80 Echo, Elka Electric Piano, Hammond Organ, Minimoog Synthesizer, Univox Mini-Korg, Electroharmonix Boxes, Mellotron Violin, Cello, Flute, Effects Wah-Wah Pedals, Effects Syntha-Pedal, Bass Nova Bass, Horns, Organ Pipe Organ, Sounds Ring Modulation, Maestro Theremin, Electronic Effects, Percussion , Michael Quatro;Bass, Lead Vocals, Arranged By Arranging Assistance, Dave Kiswiney; Drums, Kirk (Arthur) Trachsel; Guitar, Teddy Hale. 4:04 Melodic Energy Commission, “Revise The Scene” from Stranger In Mystery (1979 Energy Discs). This is the first album from this Canadian space-rock, psychedelic and folk troupe from British Columbia. The Theremin was a key instrument in their ensemble and was custom-built by group member George McDonald. His Theremin would eventually be known as the Galactic Stream Theremin and would take some 25 years to build and evolve into a six antennae instrument for “tuning into the performers body motions.” During this recording, a simpler, more traditional version was used. Gas & Steam Bass, Bells, Tambourine, Mark Franklin; Dulcimer, Bowed Dulcimer, Khaen, Gongs, Flute, Randy Raine-Reusch; Hydro-electric Guitar, Custom-made Theremin, Aura, Wall Of Oscillation, George McDonald; Percussion, Tablas, Brass Tank, Glockenspiel, Roland SH5 Synthesizer, Organ, Paul Franklin; EMS Synthi AKS, Delatronics, Electric Guitar, Del Dettmar; Wordy Voice, Guitar, Piano, Organ, Roland SH 1000 Synthesizer, Gongs, Vibraphone, Kalimba, Stone Drum, Egyptian Shepherd's Pipe, Xaliman. 6:13 The Nihilist Spasm Band, “Elsinore” from Vol. 2 (1979 Music gallery Editions). Canadian group that used all hand-made instruments, including the kit-made Theremin by Bill Exley. Bass, Hugh McIntyre; Drums, Greg Curnoe; Guitar, John Clement, Murray Favro; Kazoo, John Boyle; Pratt-a-various, Art Pratten; Vocals, Theremin, Bill Exley. Recorded live at the Toronto Music Gallery, February 4th 1978. 5:14 Yuseff Yancy, Garret List, “Sweetness” Garrett List / A-1 Band, “Sweetness” from ‎Fire & Ice (1982 Lovely Music). Alto Saxophone, Byard Lancaster; Maestro Theremin, Electronics, Youseff Yancy; Vocals, Genie Sherman. 4:11. Todd Clark, “Into the Vision” from Into The Vision (1984 T.M.I. Productions). Guitar, Cheetah Chrome; Theremin, Bat-wing Guitar with ARP Avatar, Todd Clark; Found Vocals, William Burroughs. 8:38 Danielle Dax, “Yummer Yummer Man” from Yummer Yummer Man (1985 Awesome). UK artist Danielle Dax. Wah Guitar, Steve Reeves; Guitar, Slide Guitar, Organ, David Knight; Producer, arranger, lyrics, Vocals, Theremin, Tapes, Danielle Dax; Drums, Martyn Watts; Music by Danielle Dax, David Knight. Dax is an experimental English musician, artist, and producer, born as Danielle Gardner. 3:16 Mars Everywhere, “Attack of the Giant Squid” from Visitor Parking (1989 Audiofile Tapes). Cassette release from this space-rock band from the 1980s. Electric Guitar, Electronics, Tape, Ernie Falcone; Synthesizer, Theremin, Keyboards, Tom Fenwick. 5:03 Jon Spencer Blues Explosion, “Vacuum of Loneliness” from The Jon Spencer Blues Explosion (1992 Caroline). This NY band uses an original Moog Vanguard (circa 1960). This rock and blues band was active from 1991 until 2016. Baritone Saxophone, John Linnell; Drums, Russell Simins; Guitar, Vocals, Judah Bauer; Tenor Saxophone, Kurt Hoffman; Trumpet, Frank London; Vocals, Guitar, Moog Vanguard Theremin, Jon Spencer. Here is a video of a live performance of The Jon Spencer Blues Explosion with a Moog Vanguard Theremin (just after the 39-minute mark). 3:02 Calvin Owens and His Blues Orchestra, “Vincent Van Gogh” from That's Your Booty (1996 Sawdust Alley). Trumpet solo and vocals, Calvin Owens; Maestro Theremin, Youseff Yancy; Alto Saxophone, Tenor Saxophone, Eddy De Vos, Kurt van Herck, Peter Vandendriessche; Backing Vocals, B. J. Scott, Frank Deruytter, Mieke Belange, Yan De Bryun; Baritone Saxophone, Bo Vander Werf, Johan Vandendriessche; Bass, Ban Buls, Roman Korohek; Cello, B. Piatkowski, X. Gao; Drums, Cesar Janssens, Laurent Mercier; Guitar, Marty Townsend, Yan De Bryun; Keyboards, Rafael Van Goubergen; Organ, Peter Van Bogart; Saxophone, Jimmy Heath; Tenor Saxophone, David "Fathead" Newman, Shelly Caroll Paul; Trombone, Marc Godfroid, Yan De Breker; Trumpet, Andy Haderer, Rüdiger Baldauf; Violin, D. Ivanov, E. Kouyoumdjian; Vocals, Archie Bell, Otis Clay, Ruby Wilson. 6:23. David Simons, “Music For Theremin And Gamelan (1998-1999), parts I and II” from Fung Sha Noon (2009 Tzadik). Theremin, Rob Schwimmer; Gamelan, Theremin, Sampler, MIDI Controller, Percussion, Marimba, Zoomoozophone, 43 Pitch Zither, Harmonic Canon, Slide Guitar, Chromelodeon harmonium, David Simons; Gamelan, Barbara Benary, Denman Maroney, John Morton, Laura Liben. 6:09 (part I) and 6:29 (part II) Lydia Kavina, “Voice of the Theremin,” composed by Vladimir Komarov from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina. Arranged, mixed, performed by Lydia Kavina. 8:11 Lydia Kavina, “Free Music #1,” composed by Percy Grainger from Music from The Ether, Original Works For Theremin (1999 Mode). TVox Tour model theremin, Lydia Kavina; mixed and spatialized, Steve Puntolillo. This work was originally written for theremin although Grainger had many ideas around how this type of “free music” should be played. This native Australian was fascinated by the sounds of the real world and invented a mechanical machine for making such sounds. In 1938, Grainger said, "...Out in nature we hear all kinds of lovely and touching 'free' (non-harmonic) combinations of tones, yet we are unable to take up these beauties and expressiveness into the art of music because of our archaic notions of harmony.” His adaptation of free music for theremin was an attempt to create sounds that were new to music. This version was multitracked by Kavina and an old acquaintance of mine, sound engineer Steve Puntolillo, to recreate the parts for four theremins. 1:19 The Kurstins, “Sunshine” from Gymnopedie (2000 Rouge Records). Composed by Roy Ayers; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:47 The Kurstins, “Outside” from Gymnopedie (2000 Rouge Records). Composed by Greg Kurstin; Minimoog, ARP String Ensemble, Organ, Guitar, Sampler, Drums, Rhodes Electric Piano, Greg Kurstin; Moog Theremin, Theremin Vocoder, Moogerfoogers, Pamelia Kurstin. 3:55 Hecate's Angels, “Shrink-Wrapped Soul” from Saints And Scoundrels (2004 redFLY Records). Los Angeles-based Pietra Wexstun is a composer, singer, keyboard and theremin player. Vocals, Farfisa organ, piano, theremin, sound effects, Pietra Wexstun; bass, Bill Blatt; guitar, Stan Ridgway; drums, Elmo Smith. 3:52 Pamelia Kurstin, “Barrow In Furness” from Thinking Out Loud (2007 Tzadik). From Kurstin first solo record. Composed, Produced, Theremin With L6 Looping Pedals and Microsynth Pedal, Guitar, Piano, Pamelia Kurstin. She played the Etherwave Pro Theremin by Moog fo this recording. Pamelia Kurstin, video with she and Bob Moogdiscussing the Etherwave Pro when it was introduced. Kurstin uses the Etherwave Pro Theremin by Moog Music. 5:12 Barbara Bucholtz, “SixEight” from Moonstruck (2008 Intuition Records). Bucholtz was a German theremin player and composer. She played a TVox Tour model theremin. Drums, Sebastian Merk; Music By, Contrabass Flute, Sampler, programmed, engineered, produced, and recorded by Tilmann Dehnhard; Trumpet, Arve Henriksen. 4:01 Herb Deutsch, “Longing” from Theremin One Hundred Years (2020 Electronic Sound). Composer, Herb Deutsch; Piano, Nancy Deutsch; Moog Melodia Theremin, Daryl Kubian. Recording from 2012. The beloved Herb Deutsch, who died recently at age 90, was an early collaborator with Bob Moog on the creation of the synthesizer. Herb became acquainted with Bob by purchasing a Theremin kit—a Moog Melodia model, in the early 1960s. He was primarily responsible for convincing Moog to add a keyboard to his modular unit. Also, this is taken from a terrific compilation of modern Theremin artists to benefit the New York Theremin Society. Check it out. 3:38 M83, “Sitting” from M83 (2016 Lowlands Festival). This is a live recording from Holland. “Sitting” was a song on M83's first album in 2001. But it didn't have a theremin part until they decided to spice-up the live interpretation of the song in 2016. Jordan Lawlor uses a Moog Theremini when M83 performs this in concert. He puts down his guitar, grabs some drum sticks, beats a rhythm on some electronic drums while dancing in place and moving his hands around a theremin. You can hear the theremin in this track but don't mistake it for the keyboard tones that Gonzalez is playing on his modular system. A longer sequence of theremin begins at 1:38 in the audio. You can view the video here, beginning at 26:54 into the show. M83 is a French electronica band founded in 1999 by Anthony Gonzalez, who remains the only sole member from the original outfit. Performing members on this live tour included: Anthony Gonzalez, lead vocals, modular synthesizers, keyboards, guitars, piano, bass, drums, percussion, programming, arrangement, mixer, production; Loïc Maurin, drums, percussion, guitar, bass, keyboards; Jordan Lawlor, guitars, vocals, multi-instrumentalist; Kaela Sinclair, Dave Smith and M-Audio keyboards, vocals; Joe Berry, piano, synthesizers, electronic wind instrument, saxophone. 4:03 Radio Science Orchestra, “Theme from Doctor Who” (2019). This UK-based band unites theremin, ondes martenot, Moog and modular electronics, for its performances. They've played such events as the TEDSummit, the British Library, and Glastonbury Festival. They made a concert recording with Lydia Kavina in 2009 of the Theme from Doctor Who. This version was made more recently and appears to also include Kavina. She plays the TVox Tour model theremin made by her husband G. Pavlov. 2:18 Thorwald Jørgensen, Kamilla Bystrova, “Moderato” from Air électrique: Original Music For Theremin And Piano (2020 Zefir). Jørgensen is an accomplished Dutch classical theremin player. Piano, Kamilla Bystrova; Liner Notes, Design, Moog Etherwave Pro Theremin, Thorwald Jørgensen. 2:10 Dorit Chrysler, “A Happy Place” from Theremin One Hundred Years (2020 Electronic Sound). Issued with the magazine's 7” vinyl and magazine bundle Electronic Sound Magazine, issue 70. Written, produced, and performed by Dorit Chrysler. 2:06 Dorit Chrysler, “Calder Plays Theremin Side A” from Calder Plays Theremin (2023 NY Theremin Society/Fridman Gallery) Written for Theremin Orchestra in 5 Movements, Chrysler's work is based on a commissioned sound piece by The Museum of Modern Art in conjunction with the exhibition Alexander Calder: Modern from the Start. Chrysler identified two of Alexander Calder's sculptures, Snow Flurry, I (1948) and Man-Eater with Pennants (1945), to interact and “play” multiple Theremins on site. I believe the Theremin are various Moog models. Calder Plays Theremin is a co-release of the NY Theremin Society and Fridman Gallery. 8:48   Opening background tracks: Ronnie Montrose, “Open Fire” (excerpt) from Open Fire (1978 Warner Brothers). Bass, Alan Fitzgerald; Drums, Rick Shlosser; Guitar, Custom-built Theremin mpounted to his electric guitar, Ronnie Montrose; composed by Edgar Winter, Ronnie Montrose. 2:09 Hooverphonic, “‎L'Odeur Animale” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Maestro Theremin, trumpet, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 3:46. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.

I was honoured to speak with the inspiring singer, composer, choir leader, pianist and cultural activist Polina Shepherd. In this episode you'll hear Polina's stories from growing up in Tartarstan, in the former Soviet Union, finding a bridge to her Jewish identity through Klezmer music, collaborating with her mentors, founding Yiddish and Russian choirs in the U.K., and many other creative projects. During the episode she sings songs from different traditions, including one of her compositions, and is such a warm and engaging speaker I trust a wide audience will find inspiration and food for thought in her perspectives on education, mentorship, creativity, health, identity, connection and collaboration. The link for both the podcast and video is linked with the full transcript: https://www.leahroseman.com/episodes/polina-shepherd  Her website https://www.polinashepherd.co.uk/ If you are specifically interested in Klezmer music, you may be interested in previous episodes with Alicia Svigals, Josh “Socalled” Dolgin, and Marilyn Lerner. Please encourage me to keep this series going. https://ko-fi.com/leahroseman photo credit: Shendl Copitman Timestamps: (00:00:00) Intro (00:01:27) connecting through music, COVID, Sing With Me workshops (00:05:14) Polina's childhood, family music-making (00:07:16) intro to Russian Romance by Lermontov and Shashina (00:10:14) Polina's musical training and voice (00:12:16) Tomsk, Kazan, growing up in Tartarstan, Jewish community, perestroika (00:16:27) Yiddish song, Polina sings “A Frisher Vind” Dovid Hofshsteyn poetry (00:21:31) secular Yiddish culture, song cycle with poems of Troim Katz Handler (00:24:11) falling in love with Merlin Shepherd, experience of immigration to the UK (00:28:17) first trip to US, Lorin Sklamberg, Adrienne Cooper, Zalmen Mlotek (00:31:07) 150 Voices with Lorin Sklamberg, part in “The Crown” (00:35:09) The Caravan Orchestra and Choir, teaching improvisation, working with youth (00:40:39) Tartarstan cultural influences (00:42:40) Polina's advice for musicians, collaboration (00:48:13) memorisation, playing by ear (00:49:15) advice for health for singers and everyone else (00:52:48) accompanying silent films (00:57:43) collaboration with dance, community outreach (00:59:22) Polina's way of manifesting projects, starting her choirs, Jackie Fuller (01:04:12) working with community choirs (01:06:55) learning from Adrienne Cooper, Zalmen Mlotek, Lorin Sklamberg, Frank London, Merlin Shepherd, Psoy Korolenko (01:13:37) Niggun Koyach (01:16:14) Polina's reflections and advice --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

A cimbalom Prima díjas művésze részben jazzmuzsikusnak tekinti magát, nem csoda, ha jazzrajongó, de minthogy hangszere egyáltalán nem jellemző a műfaj múltjában és jelenében sem, Lukács Miklós jazzhez való kötődési pontjairól izgalmas lesz hallani a Náray Erikával folytatott zenés beszélgetésben. Lukács Miklós a nemzetközi színtéren fontos elismerést szerzett a magyar jazznek, amikor évekkel ezelőtt csatlakozott Charles Lloyd zenekarához. De természetesen rendkívül büszke lehet pályája több más állomására is. Már tizenegy évesen az UNICEF egy brüsszeli gálaestjén adott szólókoncertet, később pedig olyan zenekarokkal dolgozott szólistaként, mint a Budapesti Fesztiválzenekar, a BBC Symphony Orchestra, az Orchestre de la Suisse Romande, a Philharmonisches Staatsorchester Hamburg, az ORF Vienna Radio Symphony Orchestra, a Remix Ensemble, az Israel Contemporary Players, az Ensemble Musikfabrik, a Ligeti Ensemble, az UMZE Kamaraegyüttes vagy a THReNSeMBle. Kurtág György és Eötvös Péter műveik tolmácsolására kérték fel, sőt kifejezetten számára írt versenyművet Eötvös mellett Bella Máté, Fekete-Kovács Kornél, Szakcsi Lakatos Béla, Oláh Kálmán, Bacsó Kristóf, Vukán György és Borbély Mihály. Lloyd mellett olyan jazzsztárokkal dolgozott együtt, mint Archie Shepp, Steve Coleman, Bill Frisell, Chris Potter, Uri Caine vagy Frank London. Játéka több mint ötven lemezen hallható, ezek egyharmadán saját produkcióival. Cimbiózis elnevezésű trióját 2013-ban alapította Orbán György nagybőgőssel és Baló István dobossal. az est háziasszonya, ének: Náray Erika Közreműködők zongora: Juhász Attila basszusgitár: Frey György dob, zenei vezető: Berdisz Tamás

Judith Sloan tells stories about her community where 167 languages are spoken. In 2003 she and her husband Warren Lehrer published Crossing the BLVD a kaleidoscopic view of refugees and new immigrants living in the borough of Queens New York. Since then, Judith has explored new multimedia forms combining fiction and documentary to enable teenagers and women from war torn countries to chronicle their stories. She's received grants from the Queens Council on the Arts, the NY Council on the Arts Grant and the New York Foundation for the Arts. She and Warren have an artist driven nonprofit organization called Earsay dedicated to workshops, youth programs and cultural dialogue. Links https://earsay.org/    Song Credits Dance Teacher: Malika Kalontarova  from Crossing the BLVD audio CD- Recorded and produced by Judith Sloan and Warren Lehrer.  If Money Were a Skirt- music and lyrics by Judith Sloan, singer Meah Pace, Music Production Josh Valleau Listen to Me: developed out of the EarSay workshops with Judith Sloan, Emily Wexler, written by Cheryle Chong and Judith Sloan and sung and arranged by the group. Produced by Judith Sloan (there are two versions use whichever you want.) What's Your Status: written and performed by Judith Sloan, music by Taylor Rivelli, Frank London   Judith's Inspirations  In 2005 I saw this by the French director:  Ariane Mnouchkine https://www.newyorker.com/magazine/2005/08/01/the-new-nomads In 2020 right before Covid outbreak I was lucky enough to see Anaïs Mitchell's Hadestown Heather Cox Richardson – American Historian I usually am more inspired by the visceral feeling in a live theater event but I read this book several years ago and had the same respect for the story and the writing. Jennifer Clement's Prayers for the Stolen Anything by Colson Whitehead. Each week in Creative Confidential Jude Kampfner chats to an independent professional performance or visual artist about how they survive and thrive. They share details of moving between projects, becoming more entrepreneurial, finding the best opportunities and developing a signature image and style. Her guests range from lyricists to novelists, videographers to sound designers. A broadcaster, writer and coach, Jude gently probes and challenges her so that whatever your line of creativity you learn from her advice and the experiences of her lively guests. REACH OUT TO JUDE: -  Jude's WebsiteJude on TwitterJude on LinkedInJude on Instagram Theme music composed by Gene Pritsker. https://www.genepritsker.com/ Show Producer and Editor, Mark McDonald. Launch YOUR podcast here.    

Dés András bécsi ütőhangszeres és zeneszerző, népszerű, nemzetközi hírű zenész. 7 évesen kezdte klasszikus ütőhangszeres tanulmányait. Érdeklődése később a különböző népzenei hangszerek felé fordult, végül a Liszt Ferenc Zeneművészeti Főiskola Jazz szakán szerzett diplomát 2005-ben. Jobb kezével úgy játszik, mint egy dobos és a bal kezével, mint egy ütős. Számos sikeres jazz zenekar tagjaként turnézott a világ minden táján, sok fontos helyszínen játszott, mint a Carnegie Hall, a Covent Garden, az Amsterdam Concertgebouw, a Damaszkuszi Operaház, a Jeruzsálemi Színház, a Kairói Jazz Fesztivál vagy a Sanghaji Világkiállítás. Ütőhangszeresként közel 100 albumon működött közre. Saját albumok: “Unquiet Stillness" 2009, "Tourist No 1" 2014, "The Worst Singer In The World" 2017, "Einschließlich" 2020. Számos film- és színházi zenét is komponált. A jazz mellett egyéb zenei stílusokban is otthonosan mozog. Tagja volt Magyarország egyik legsikeresebb popzenekarának, a Jazz+Az-nak, számos népdalénekesnővel is dolgozott, többek között Palya Beával, Szalóki Ágival és az elektronikus világzenét játszó Mitsoura zenekarral. Jazz-zenészként olyan előadókkal dolgozott együtt, mint Lukács Miklós, Balázs Elemér, Kaltenecker Zsolt, Palle Mikkelborg, Frank London, Charlie Mariano, Theodossii Spassov, Snétberger Ferenc, Jack DeJohnette, Gerard Presencer, Fekete-Kovács Kornél, Eivind Aarset, Mihály Borbély, Eric Truffaz és Chris Potter. Sokat dolgozik édesapjával, a zeneszerző-szaxofonossal, Dés Lászlóval. Nyitottsága a művészet különböző formáira nem korlátozódik a zenére. Írókkal és költőkkel való együttműködése mellett az Unblinking című szóló színházi darab szerzője és előadója is. Folyamatos fellépője a hazai zenei eseményeknek, részt vett többek között a Sziget Fesztiválon, Kapolcson a Művészetek Völgyében, a Balatonboglári Jazz- & Borfesztiválon, a Ceglédi, a Cserfői, az Esztergomi, Debreceni Fesztiválokon és még lehetne sorolni. #zene #zenész #Bécs #DésAndrás http://andrasdes.com/ https://hu-hu.facebook.com/desandras https://www.instagram.com/desandras/ http://elteonline.hu/kultura/2020/02/14/ket-des-paratlan-parosok-beszelgetes-des-laszloval-es-des-andrassal/ Témák, fejezetek: 00:00 Mindjárt kezdünk 1:23 Beköszönés 1:36 Hogy került a család Bécsbe? 4:16 Utazás: Feltöltődés? Munka? 2. Album: Tourist No 1 8:34 Műfajok közötti utazás, kísérletezés, album felvétel erdőben 13:39 Több formáció, zenekar 17:25 Dés László fiaként a pályán 23:19 Népzene, jazz és a zenei pálya 28:40 Népzene, világzene 31:22 Pál utcai fiúk musical 34:14 Aktuális koncertek, fesztiválok, MÜPA, Magyar Zene Háza, Radnóti est 38:36 A sok projekt, hogy fér bele az életedbe? 39:55 Háttérmunkák 42:25 Időmanagement 44:14 Gyerekek és a zene, zeneoktatás 51:49 Koncert élmények, koncertezés 54:50 Különleges pillanatok a Covid után 57:03 Különleges utazással kapcsolatos élmények 1:01:17 Utazás zenészként 1:03:36 A pizza sütő esete 1:07:25 Bécs 20 éve és most & Budapest 1:14:44 Elköszönés Teljes Koncertek: https://youtu.be/sLPAnUUWV40 https://youtu.be/PAAYXQLKzE0 Interjú: Heti Jazz: 1+2 rész: https://youtu.be/__aogU0P_54 https://youtu.be/wDbIuys3qxE Klubrádió: https://youtu.be/zZWK3QjbG7s -------------------------------------------------------------------------

In this essay, Dorian Wallace discusses the use of music as a source of emancipatory inspiration, revolutionary practice, and transformational communal healing. He addresses the interconnections between music therapy, political music, and liberation psychology as the first step toward deeper exploration and discourse. Dorian Wallace is a composer, pianist, music therapist, and educator renowned for his stylistic versatility, improvisational skill, relentless confrontation against unjust social struggles, and the exploration of the complex and nuanced philosophical nature of transformation. In addition to a successful solo career, he regularly collaborates with artists such as Bonita Oliver, John Sanborn, Paul Pinto, Pamela Z, Charlotte Mundy, Frank London, and Nicholas Finch. Our music comes from Them'uns (featuring Yous'uns). Anarchist Essays is brought to you by Loughborough University's Anarchism Research Group. Follow us on Twitter @arglboro Artwork by Sam G.

"The Shmooze" visits with Frank London to chat about the upcoming “Celebrate Hanukkah with the Klezmatics” taking place at Symphony Space December 5, 2021. The performance will feature Hanukkah-themed songs, many written by American folk singer Woody Guthrie, who was inspired by the Jewish culture he encountered while living in Coney Island in the 1940s. Episode 314 December 2, 2021 Yiddish Book Center Amherst, MA

Parshat Vayeilech - We review the septennial Hakhēl convocation where the Torah is read publicly as an opportunity to explore the revolutionary nature of the Hebrew Alphabet from both a social and technological perspective. In so doing, maybe we shed some light on the proliferation of alphabetical acrostics in the Psalms and later liturgy and piyyutim. Sefaria Source Sheet: www.sefaria.org/sheets/346294 Transcript: Geoffrey Stern  00:00 Welcome to Madlik disruptive Torah. We are every Friday at four o'clock here on clubhouse Eastern time. And we go ahead and record this. And then we post it as a podcast called Madlik. And it's available on all of your favorite podcasting channels. And if you like what you hear today, go ahead and listen to it as a podcast and share it with your friends, and give us a few stars and say something nice about us, in any case, this week portion Vayelech. And it's Deuteronomy 31, for the most part. And in Deuteronomy 31, verse nine, it says, "And Moses wrote down this teaching, and he gave it to the priest, sons of Levy, who carried the Ark of the Lord's covenant, and to all the elders of Israel. And Moses instructed them as follows, every seventh year, the year set for shmitah, at the Feast of Booths, which will start in another week or two, when all Israel comes to appear before the Lord your God, in the place that he will choose, you shall read this teaching aloud, in the presence of all Israel, gather the people, men, women, children, and the strangers in your communities that they may hear. And so learn to revere the Lord your God, and to observe faithfully every word of this teaching. Their children too who have not had the experience shall hear and learn to revere the Lord your God, as long as they live in the land that you are about to cross the Jordan to possess." And then a few verses down, it finishes off by saying, "When Moses had put down in writing, the words of this teaching to the very end "ad tumam" , Moses charged the Levites to carry the Ark of the Covenant of the Lord saying, Take this book of teaching and place it beside the Ark of the Covenant of the Lord your God, and let it remain there as a witness against you." So Wow, this is a pretty fundamental law, it touches upon a public reading of the Torah, it touches upon the seventh year, the cycle of the shmita, of the sabbatical year that we are starting as we speak. And it also talks about placing that Torah scroll, if you will, into the ark right next to the 10 commandments. So rabbi, what says this to you?   Adam Mintz  02:47 So I want to go to the end, it's so interesting that the Torah scroll plays a role here, it all seems to be about strengthening our commitment to Torah and to God, and therefore everything has a Torah scroll that is right in the middle of it. And I think that's really, really interesting. At the end of each shmita cycle, they used to gather all the people in Jerusalem, the men, the women, the children, and the king used to read the Torah. So really, even the sabbatical year, is about strengthening our commitment to Torah.   Geoffrey Stern  03:28 I totally agree. But I have to confess that when I tell people, and I've been telling everybody I can, trust me, that this is the sabbatical year, unlike the Sabbath that occurs every seven days. And I'd like to think, we can discuss this on another afternoon. I'd like to think it was one of the Jews greatest contributions to culture and society, a day of rest. It's actually a statement of human rights because you rest your servants rest to animals were at rest, that everybody kind of gets whether they keep the Sabbath on a Saturday or Sunday or a Friday, or they just understand they have to reboot once in a while. But the idea of the seventh year cycle, the sabbatical that has only really survived in academia. And I hope it's still the case where academics take off a year to broaden their horizons, to travel to see other academics and maybe go out into the field. It struck me when I read this portion, that Wow, there actually is a connection because mostly when we think of the sabbatical year, we think of letting the land life fallow, and all of the other things I discussed before, but there is clearly an intellectual aspect of this and that's what you were talking about Rabbi in terms of both faith and understanding The idea was in this sabbatical year, we all have to give ourselves a chance to be exposed to that which is important to us. But it kind of works both ways. Because on the Sabbath, we also read from the Torah publicly, and the rabbi's understood the connection between this because those of you who have been in an orthodox synagogue and know that the first Aliyah, the first calling up to the Torah, is for the Cohen. And the second one is for the Levi The Tom wood learns it literally from this verse, if you will call. It says that, in verse nine, that Moses wrote down this teaching, gave it to the priests the kohanim, sons of Levi. From here, the rabbi's learned that the colon gets the first Aliyah and the Levi gets the second. And then of course, the Israelite gets the third and onward. But I'm much less interested in the law. And I'm more interested in the connection the rabbi's took from this annual reading or the I should say, the seven year cycle of reading it in the sabbatical year, and reading it every week. In both cases, we're kind of doing this amazing public discourse of our most important texts.   Adam Mintz  06:20 Yes. I mean, and I think that's a super interesting thing. The fact that the Torah, even though study is an individual act, we do it by ourselves, we do it with a havruta (study partner), with one other individual. But actually, the reading of the Torah is always a public act. That's something fascinating, isn't it? Geoffrey.  Right, the Torah  is a public act, we read it in the temple, we read it in this Synagogue, it's always public.   Geoffrey Stern  06:50 I totally agree. And we're going to get a little bit more into that in a second. But before we do, the other thing that is kind of interesting to me is that the reading of it is also a conduit into the future. And you see that in two ways. If you recall, in verse 13, it says, and their are children who have not had the experience shall hear and learn. And the idea is, even though they were speaking in the present tense, and as it said, they were crossing the Jordan into the promised land. This was not to be limited to the people in the room, so to speak. This was the vehicle for transmitting this experience into the future, this interactive, maybe immersive reading of our sacred texts in public, placing them in a tactile form on the side of the shattered and full 10 commandments was an amazing, both commentary and commitment to what the written and spoken word can do in terms of transmitting ideas and values into the future.   Adam Mintz  08:05 I couldn't agree more with that. I think that that's a very important thing. And that's why you know, we're kinda not focusing on this, but this is the end of the Torah. This is the third to the last portion in the Torah.  We have Ha'azinu next week, and then on Simchat Torah, we finish the Torah with Zot HaBracha. This is the end Geoffrey. So whatever is going on now is a lesson forever.   Geoffrey Stern  08:32 I love the fact that you say it is the end, this is it got it both gives this statement more importance. But it also raises another fascinating Talmudic discussion. And that is: the last six or eight verses of the Torah are written after, in the narrative, after Moses dies. So the question comes, how can it be in our verses that Moses gives the complete Torah to the priests and the tribe of Levi? If in those last few verses are things that clearly he could not have written? And the Talmud gives two answers. One answer is: You're right. Moses, wrote everything except the last eight verses and Joshua wrote the book under his name, the Book of Joshua, and the last eight verses, but what I find so dramatic and those of you who were with us last week know how much drama there can be in our wonderful Torah. I love the answer. That was Rabbi Shimon's. And he says, Is it possible that the Torah scroll was missing a single letter, but it has said take this Torah scroll. Rather until this point, the Holy One blessed be He dictated and Moses repeated after him and wrote the text, from the point where it says that Moses has died, the Holy One, blessed be he dictated, and Moses wrote with tears", just an unbelievable image of someone waiting their own obituary, so to speak. But again, the reason I bring it up is because it really parallels this concept of having the children who had not experienced listen to it. Even in the ending of the Torah, it is understood that the writing of the Torah either continues in this hand of other people like Joshua, or that we are all part of a narrative, and we can't experience every part that we're in. But by hearing it and listening to it, we become a part of that narrative. And to me, Moses writing and tears streaming down his cheeks, it's just almost too much to bear.   Adam Mintz  11:04 I mean, Geoffrey, you're not so surprised, because as we all know, if you're anybody, The New York Times has your obituary on file, right? famous people get their obituaries written ahead of time. So it's interesting, the whole idea of, you know, writing your own obituary, I'll just tell you that there was a rabbi, his name was the Vilna Gaon, a great Rabbi in Lithuania, in the 1700s. And he says that the word for tears "Dema" can also be translated as the word "demua", which means mixed up. And he says that what happened was that God commanded Moshe, like a Scrabble board to take all of the letters that would appear in the last eight verses at the Torah, but not to arrange them in order. And Joshua was the one who arranged them in order.   Geoffrey Stern  12:01 Wow, that absolutely blows me away. And we are going to come back to it but to give you a little taste of how we're going to come back to that is, so much of the Yom Kippur liturgy has to do with that alphabet that you just described. Whether it's the "Ashamnu"  that is an alphabetic acronym and has our alphabet or whatever. So this story that you just told of the Vilna Gaon explanation of Joshua putting the letters together is something that really resonates with me and we are going to come back to. Michael Posnick welcome to the Bimah.   Michael Posnik  12:45 Pleasure to be here. I just have a question. Is it possible that the word for tears could be from "dom"  from the"demama" that Moses wrote this?   Adam Mintz  12:59 Like in in "Unetaneh Tokef"  "v'Kol demamah daka yishoma"   Michael Posnik  13:04 That's right that he wrote it in silence...   Adam Mintz  13:06 It's nice. Technically speaking, the root of the word dema is Dalet Mem Ayin, the root of the word 'dimama" meaning silence. is Dalet Mem Mem. These are two different words. It's a nice sermon. But technically speaking in terms of language, it's not really the same word.   Geoffrey Stern  13:32 And of course, you have Aaron who after his two sons died, it says "vaYidom", and  normally translated as silent. Is that the word that it should be translated?   Adam Mintz  13:44 The word "dom" is "demama"  We say in Unetana Tokef, We blow the mighty Shofar "vekol demama daka Yishama" But the sound that we hear is a silent or quiet sound.   Geoffrey Stern  14:06 Fantastic. The truth is, and this will also come up in our discussion, that there are those who believe and I think the the most prominent proponents of this theory, were Martin Buber, and Franz Rosenzweig. And their current student who's a professor named Everett Fox, who believes that much of the Torah has to be listened to as much as read. And therefore it gives you a little bit more, I think, flexibility and wiggle room -  poetic license if you will, to make some of these connections. But even if, from a strict grammatical point of view, there are limitations. Then there's also the pun and I think that the biblical text and certainly Talmudic texts We're very sensitive to words that might have been different, but sounded alike that conjure up certain emotions and certain responses. So I think there's no question that the connection that you made Michael is is there at some level.   Adam Mintz  15:14 Yeah, very nice. And especially because it relates to Rosh Hashana and Yom Kippur with Unetana Tokef. It really is just right. So thank you so much, Michael.   Geoffrey Stern  15:23 So let's, let's move on a little bit. The title of today's episode, if you will, is the Aleph Beit Revolution. And the reason why it is a revolution is there are scholars...  the one I most recently read is somebody named Joshua Berman, who wrote a book Created Equal - How the Bible Broke with Ancient political thought, who believe that what happened when the Aleph Beit was created in Canaan was as revolutionary as the printing press when it was created in Europe. And we all know what happened when the (Guttenberg) printing press was created. within a very short time, not only did people for the first time get to read their Bible, because that was the first book that was written and popularized publicized. But they were people like Luther, who were able to get out a mimeograph machine, so to speak, and start posting things on the doors of the church. And all of a sudden, our whole revolution occurred within Christianity. And you could even argue maybe the Judeo-Christian tradition, because people were all of a sudden exposed to text in ways that they never were. And these scholars argue that when the Jews, the Israelites were in Canaan, they were surrounded by two empires who pretty much used cuneiform and  hieroglyphics. These are highly intricate ways of expressing whether it's numbers or events, or narratives or stories, using pictures, and the vocabulary was so large, that only the professional scribes could, could master it. So it was something that was never given to the general public. And even when they had, like the Gilgamesh epic, or Homer and Euripides, these were things that were written on stele on stone, they were hidden within the temple, even during the New Year ceremony that we discussed before called Akitu in Babylon. It was literally the king who read these things in private in the Holy of Holies, if you will, and what these scholars are saying about the alphabet, which has 22 symbols, the word that we use for the alphabet in Hebrew is "otiot". And those of you who are sensitive to the Hebrew knows the power of the word "Ot", it is a symbol, but from those symbols, you can ultimately put together any sort of concept. And all of a sudden, the written words of the Torah, were now publicly available to the congregation. And notice here it says, men, women and children who are here and who are not here, it was literally a revolution. As big as the revolution we discussed in prior weeks, where God says, You have no other kings besides me, I'm your only King. You don't worship anybody else here too, you get your information directly from the source, and you can interact with that information. And this was an amazing revolution that is on par with anything else that came out of Canaan and the ancient Israelites and included with Hebrew was Akkadian and Ugaritic, and Phoenician and actually, the Greeks got the 22 letter alphabet, from the Phoenicians, they've said it themselves. When we talk about the Delta virus, we have alpha, beta, delta, there are no words like that in Greek, those are words that come from the Aleph Beit gimel dalet, dalet, is delta, Aleph is alpha. As we approach the new year. This is revolutionary with a capital R.   Adam Mintz  19:56 Yes, I mean, I'm not an expert in alphabet, but yeah, this is all All fascinating material fascinating.   Geoffrey Stern  20:02 And it puts into a totally different perspective, this concept of the public reading of the text.  We think read, you need someone who is literate, who can literally read. But in the Torah, the word that we use is "Li'Kro". And "Li'kro" is similar to what I was saying before, when I talked about Buber and Rosenzweig, it equally applies to reading as it applies to listening or hearing...  to calling out. And so really, I think that the this image of the Torah ending, and it's saying that every seven years, and by extension, every seven days, the Torah is to be read in a vernacular, which literally means a people's language, and can be discussed, really ties into so much that we've been talking about on Madlik in terms of the ability for man to own and introduce and interact with our holy texts.   Adam Mintz  21:19 Michael, You actually began this conversation? With your discussion of the word to my mind? Do you have any thoughts on this?   Michael Posnik  21:30 Just a few come up, I've had the good fortune to be studying Nehemiah. And there, when it's described, when Israel read the Torah, it was read in four different ways. It was read exactly as the text presents it. And then there was someone who did the vernacular so that people could understand that if they didn't know the Hebrew, and then there were two other ways, which are not quite clear what's meant. And on Rosh Hashanna I attended a service of the New Shul, which was outdoors, a couple 100 people in a park in Brooklyn, and, and the Torah was read was held up by two gentlemen, and a 13, or 14 year old girl layned (chanted). And then she layned a couple of pesukim (verses). And then a man, a man with a beautiful voice sang the translation of those pesukim And then Frank London, the trumpeter played the emotional life. On his trumpet. It was very, very, very powerful. So it goes out to the mind, it goes out to the heart, it goes out to the body in the sense that if you listen to it, you might act differently, which would be a great benefit for all of us.   Adam Mintz  22:55 Hey, Geoffrey, that's amazing, because that's really what you said. And that is the experience of reading is actually much deeper than the way we understand reading. But it's about listening. Reading and speaking is where you didn't even discuss the fact that reading is music. And Geoffrey we can actually talk about the fact that the Torah is read in a special tune. And actually on Rosh Hashanah and Yom Kippur that tune is a little different reflective of a more somber kind of Rosh Hashannah and Yom Kippur spirit. I mean, it's extremely striking; the tune for the Torah reading. On Rosha Hashannah and Yom Kippur at least to me is one of the highlights of Rosh Hashanna and Yom Kipper.   Geoffrey Stern  23:40 Absolutely I have to echo what you said, Michael, I went to an African American synagogue in Chicago outside of Chicago. I believe the rabbi's name is Rabbi Capers C. Funnye Jr. (an African-American rabbi, who leads the 200-member Beth Shalom B'nai Zaken Ethiopian Hebrew Congregation of Chicago, Illinois) He's literally a cousin of Michelle Obama. And they read the Torah exactly as you describe. And it's exactly as the Talmud describes it, it was with a "Mitargaminan" with a translator. So the person would read the verses "Bereshit Barah Elohim et aha Shamayim ve'et HaAretz"  And in the same chant, someone would say, "In the beginning, God created the heavens in the earth." And it was such a moving experience because we forget so many times when we read from the Torah publicly, what an empowering spiritual, and I would say, revolutionary, democratizing thing that we are doing in terms of "you need to understand this". This is not something that's hidden. This is not something that we don't want you to understand. We want you to ask every question and to provide your novel explanation. And there's the music, you're absolutely right, you can approach it on every different level.   Michael Posnik  24:56 What you said before, about reading is also listening And the question is for each of us, what are we listening to? While that's going on. What are we hearing? And how deeply does the listening go? In in real terms, what are we actually hearing? or listening to? When we hear the words of the Torah? This is a real question, I think for all of us, and not just the Torah, the davening (praying)  all of it, what are we really, really listening to? What are those words? Really? How deep do those words go? Because they come from a deep place. Do we hear it? how deeply do we go?   Geoffrey Stern  25:42 I totally agree. The only thing that I would add and I want to pick up on Rabbi Adam's earlier comment about the Vilna Gaon saying that when Joshua wrote the last eight verses of the Torah that describe Moses death, Moses had actually scrambled it, Joshua put out the letters, and had the letters combined. And for those of you who know, Hasidic stories, about the High Holidays, you probably have all heard one version or another of the beautiful story.  It's the last service on the holiest day of the year of Yom Kippur. And the name of the service is Ne'ilah, because the gates of prayer are about to close. And everybody is thirsty and hungry, and waiting for those gates to close, and for the shofar to be sounded so they can all go home and eat. And there is the great Hasidic rabbi, whether it's the Ba'al Shem Tov or the Maggid of Mezrich, who knows who is standing and waiting and waiting, and the stars come out, and the sun goes down, and he's waiting, and he's waiting. And finally, 20 minutes after he should have closed the ark, he closes it. And all of the students come and the people say what happened. And he said, there was a little peasant boy in the back, and the peasant boy had never gone to a Cheder, never gone into Hebrew school, never learned anything except the Aleph bet. And all he was doing was repeating over the letters of the alphabet of the Aleph Bet, and saying, God, you put them together into the prayer, and the Ba'al Shem Tov said, we've been here for 24 hours, we've been here for 10 days, we've been here for the whole month of Ellul, and we haven't been able to break through the gates of prayer, and the purity and the intensity of this child's repeating over the Aleph Beit (in the same way that Joshua repeated it over, according to the Vilna Gaon story) is what has opened up the gates of prayer. And I just have always been struck by that question, because yes, Michel, it is the depth of the message. But sometimes, it's just the sound of the letter possibly, or in this case, coming from my kind of research in the last few days. Maybe it's just the revolution of that alphabet, the fact that we all have the right and the ability to portray ourselves and to express ourselves. But I love that story. And I love the fact that yes, it's at every level.   Adam Mintz  28:33 I mean, that story captures really, what, what it means to to appreciate experience. I mean, here, Geoffrey, you're really jumping from reading to experiential. And I think that's probably what Buber meant. You need to experience the text, not just to read it.   Geoffrey Stern  28:54 Yeah, the prayer that we say that really comes to mind is the Ashamnu new prayer. It's the prayer where we confess all of our sins, it's only said on Yom Kippur, and it's in alphabetical order. And according to Buber, who you just mentioned, the reason why the Ba'al Shem Tov explained, is he says, if you're doing your sins, there's no end to it. So luckily, the alphabet has only these 22 letters. So we can we can end somewhere. But again, it just seems throughout the whole day, and I encourage all of you to pay attention to the machzor to the prayer book. There seems to be such an emphasis on the alphabetical acrostics, whether it's in the poems in the Piyuttim, or whether in the Ashamnu prayer, and there's something special there. There's something special about the alphabet and I'm not talking even on a mystical level, just that we revolutionized the world and we were part of that revolution, in giving every Jew and every human being the ability to decode the meaning of past generations and make their contribution into the future. And that's an awesome responsibility, but also an amazing capability that we have   Adam Mintz  30:19 Amazing. So how are we going to bring this back to, to the shmita? and to the Torah that was placed in front of the people. How did how does all this relate to that Geoffrey in our last minute?   Geoffrey Stern  30:33 Well, it just seems to me that the fact that this rule was brought up at the very end of the Torah, almost as the climax, shows how important it is the contribution of our tradition, that the Torah and the words that are written on it, are so so valued. Anybody who comes to a synagogue is so impressed by the fact that there are no images but the ark opens up and we worship our book, we are called the People of the Book. And that's our contribution that the value of the written word and the spoken word and the heard word and the transmission of that word. And the conversation is ultimately one of our most proudest and most awe inspiring contributions to the world. And to me, it's something that we have to rejoice in and also be obligated by   Adam Mintz  31:35 that's a beautiful thought Geoffrey, as we enter Yom Kippur, I want to wish everybody a Shabbat Shalom, thank you, Geoffrey, and g'mar Hatimah Tovah. Everybody should have an easy and meaningful fast and we look forward to next Friday. So on Yom Kippur, you can be looking forward to your Madlik class the following day, that we're going to be talking the parsha of Ha'Azinu next week. Shabbat Shalom, everybody.   Geoffrey Stern  31:58 Shabbat Shalom and an easy fast and a wonderful Shabbat to you all. Look forward to seeing you next week.

"Golgotham" Thomas Chapin Trio Plus Brass: Insomnia (Knitting Factory Records, 1993) El trío: Thomas Chapin, Mario Pavone, Michael Sarin. Los metales (trompetas, trombones y tuba): Al Bryant, Frank London, Curtis Fowlkes, Peter McEachern, Marcus Rojas. El disco está grabado en The Knitting Factory, New York City, en diciembre de 1992. El tema es una composición de Thomas Chapin. La "culpa" de que suene en JazzX5 es de Diego Sánchez Cascado: ¡gracias por descubrírmelo hace la tira de años! © Pachi Tapiz, 2021 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. Adolphus van Tenzing recordaba en su sección Tomajazz Recomienda la figura y a su vez recomendaba alguna grabación de Thomas Chapin en https://www.tomajazz.com/web/?p=2031

"This week on The Shmooze Seth Rogovoy talks about the upcoming (July 11) virtual YIDSTOCK: The Festival of New Yiddish Music. The 75-minute virtual event features Frank London, Lorin Sklamberg, Eleanor Reissa, Daniel Kahn, Cilla Owens, Sarah Gordon & Michael Winograd, Polina and Merlin Shepherd, and as Seth tell us “tons more groovy wonderful musicians.” Episode 301 July 8, 2021 Yiddish Book Center Amherst, Massachusetts "

This year's virtual Yidstock: The Festival of New Yiddish Music features a dozen artists from around the globe performing Yiddish songs of social justice. The 75-minute event will stream on Sunday, July 11, at 4 p.m. and the ticketed link will be good for 72 hours. Yidstock Artistic Director Seth Rogovoy, author of "The Essential Klezmer: A Music Lover's Guide to Jewish Roots and Soul Music" is here to tell us more along with Lisa Newman – Director of Communications at the Yiddish Book Center. This year's Yidstock performances, exclusively recorded the event, feature a diverse roster of artists from Berlin, the Netherlands, the UK, and US: Sarah Gordon and Michael Winograd, Niki Jacobs, Daniel Kahn, Sveta Kundish and Patrick Farrell, Frank London, Sarah Myerson and Ilya Shneyveys, Cilla Owens, Eleanor Reissa, Polina and Merlin Shepherd, Lorin Sklamberg, Tatiana Wechsler, and Eleonore Weill and Zoë Aqua. They perform a broad and eclectic repertoire of social justice songs, including

Ep #105 with Frank London, Klezmatics founder and composer Frank London is an eclectic composer who works in an extremely wide range of styles but he is mostly famous for his group The Klezmatics, which has been together for decades. This world-touring group's mission is all about fun, ecstasy and irreverence and it shows in their music big time. He is a trumpet player and is very well known in NYC where he lives. This episode features some of his Klezmer music but also a choral work and an excerpt of a recent work called “Ghetto Songs." A Worldsoul Records production derrikjordan.com Facebook: https://www.facebook.com/109866072979176/videos/965421220879486 YouTube: https://youtu.be/iCRILVFXESE Podcast: https://soundcloud.com/hilljoy/ep-105-with-frank-london-klezmatics-founder-and-composer Derrik Jordan Host and Producer of The World Fusion Show National Winner of the Best Entertainment and Arts Series 2019 on Public Access TV

Ep #105 with Frank London, Klezmatics founder and composer Frank London is an eclectic composer who works in an extremely wide range of styles but he is mostly famous for his group The Klezmatics, which has been together for decades. This world-touring group's mission is all about fun, ecstasy and irreverence and it shows in their music big time. He is a trumpet player and is very well known in NYC where he lives. This episode features some of his Klezmer music but also a choral work and an excerpt of a recent work called “Ghetto Songs." A Worldsoul Records production derrikjordan.com Facebook: https://www.facebook.com/109866072979176/videos/965421220879486 YouTube: https://youtu.be/iCRILVFXESE Podcast Derrik Jordan Host and Producer of The World Fusion Show National Winner of the Best Entertainment and Arts Series 2019 on Public Access TV

1. (Sig) The English Country Blues Band : The Italian Job from the CD Unruly (Weekend Beatnik) 2. Ma Polaine : Audrey from the DL Single (Ma Polaine) 3. Half Deaf Clatch : Severine The Voodoo Queen from the DL album Severine The Voodoo Queen Of New Orleans (Speak Up) 4. Màiri MacMillan : Cailleach Mhòr Stadhlaigh from the CD Gu Deas (Mairi MacMillan) 5. Katherine Priddy : The Isle Of Eigg from the CD The Eternal Rocks Beneath (Navigator) 6. Calexico : The Rue Of Ruby Whores from the LP Snockument (Blue Navigator) 7. Libby Weitnauer : Fond True Lover from the 45 Single (Libby Weitnauer) 8. Justin Adams : She Moved Through The Fair from the CD The Electric Muse Revisited (Good Deeds) 9. The Imagined Village feat. Eliza Carthy : The Quiet Joys Of Brotherhood from the CD The Electric Muse Revisited (Good Deeds) 10. Yaraka : Maletìmbe from the DL Single (Zero Nove Nove) 11. Paolo Angeli : Futti 'entu from the CD Jar'a (AnMa Productions) 12. Peg Leg Howell : Coal Man Blues from the CD Matchbox Bluesmaster Series, Set 4 (Matchbox/ Saydisc) 13. Lil McClintock : Don't Think I'm Santa Claus from the CD Matchbox Bluesmaster Series, Set 4 (Matchbox/ Saydisc) 14. Acholi Machon : Acholi 19-Zero from the CD EP Sons Of South Sudan (Good Deeds) 15. Grupo Changui De Guantanamo : Hazlo Como Yo from the CD Changüí – The Sound Of Guantánamo (Petaluma) 16. Folkatron Sessions feat. Sam Lee : Three Galleys from the DL EP Home No More (Upcycled Sounds) 17. Khasi-Cymru Collective : Wel, Bachgen Ifanc Ydwyf from the CD Sai-Thai – Ki Sur (Naxos World) 18. Martin Brinsford & Keith Ryan with Gareth Kiddier : Jimmy Duffy's 1 & 2 from the CD Next Slide Please (Firebird) 19. Showman, Coole, Gross, Allison, Kilianski : Shelvin' Rock from the CD Adeline (Adeline) 20. Seckou Keita feat Baaba Maal : Homeland from the DL Single (Seckou Keita Music) 21. Boubacar Badian Diabaté : Sakonke from the CD Mande Guitar (Lion Songs) 22. Sarah McQuaid : Rabbit Hills (The St Buryan Sessions) from the DL Single (Shovel And A Spade) 23. Sarah Smout : Atlas from the DL Single (Sarah Smout) 24. Efren Lopez & Christos Barbas : La Nau from the CD Atlas (Seyir Muzik) 25. Monsieur Doumani : Pissourin from the CD Pissourin (Glitterbeat) 26. Jon Wilks : Greek Street from the DL Single (Jon Wilks) 27. Braden Gates : Lipstick On A Coffee Cup from the CD Kitchen Days (Borealis) 28. Frank London feat. Sveta Kundish : Minutn Fun Bitokhn from the CD Ghetto Songs (Venice And Beyond) (Felmay) 29. Eva Quartet : Velko Si Rada Zaljubi from the CD Minka (Riverboat) 30. Transglobal Underground feat. Eugenia Georgieva : Human Atomic Clock from the DL Single (Transglobal Underground) 31. Talisk : Aura from the DL Single (Talisk) Podwireless can also be heard streamed live on Mixcloud. You can find more details including past playlists and links to labels at www.podwireless.com Follow the links for previous podcasts.

Il nuovo cd di Frank London, fondatore e anima dei Klezmatics: una ricognizione nei ghetti di ieri e di oggi, ispirato alla storia degli ebrei veneziani. "Non potevo che partire da qui. Intanto perché la parola ‘ghetto' nasce proprio a Venezia, dal nome dell'area dell'antica fonderia (geto) che fu scelta a questo scopo. E poi, ancor più importante, per la straordinaria prova di resistenza di cui gli ebrei veneziani furono capaci di generazione in generazione. Mai si smise di studiare e produrre cultura ad alto livello, andando a influenzare, attraverso molteplici strade, anche la società esterna". Clicca e ascolta

Dorian Wallace is a composer and professional piano player that was formerly a member of the New Jersey National Guard's 63rd Army Band. He grew up in a small town in Ohio and joined the Ohio National Guard for money to go to college. Before finishing, he realized that life would lead him to spontaneously move to New York City. Wallace has collaborated with artists such as Bonita Oliver, John Sanborn, Paul Pinto, Pamela Z, Charlotte Mundy, Frank London, and Nicholas Finch, to name a few. Additionally, Wallace is one of New York City's most in-demand dance accompanists, he has played for Martha Graham Dance Company, Doug Varone and Dancers, Juilliard, New York University, Columbia University, and many, many others. He also teaches Music for Dancers at the Martha Graham School and is a teaching artist for the Mark Morris Dance Accompaniment Training Program. Wallace received a BA in Music Therapy from Montclair State University, studying under Dr. Brian Abrams and Dr. Michael Viega. He currently resides in Harlem, NYC, with his partner Hajnal Pivnick and their daughter Ildikó.

On this Live N" Local podcast we welcome trombonist and composer, Daniel Linden. After receiving a M.M. from the New England Conservatory in Trombone Performance, Daniel toured the U.S., Europe and Asia with orchestras, opera companies and rock bands. He has played regularly on Broadway, Off Broadway, and numerous festivals including: the Montreal Jazz Festival, Lincoln Center Out of Doors and Bang on a Can Marathon. Active in world music and jazz, Daniel has worked with David Byrne, Slavic Soul Party, Asphalt Orchestra, The Ed Palermo Big Band, The Gregorio Uribe Big Band and Frank London’s Klezmer Brass All Stars. Daniel has taught trombone at Brandeis University and is a teaching artist for Carnegie Hall. However, for this On Air session he put down his trombone and picked up his guitar (and computer) to share his brand new original compositions with us. Listen up!  Then check out more of his music at www.daniellindenmusic.com

Holy-ing up your eardrums with tracks from Yosef Goldman, Jewlia Eisenberg, HaBnot Nechama, Irving Berlin, and Frank London's Klezmer. This Jewish podcast is all about Christmas...God help us.

Max Reinhardt hosts The Turbans, She'Koyokh and Frank London's Klezmer Brass Allstars.This is the Soho Radio podcast, showcasing some of the best broadcasts form our online radio station, right from the heart Soho London.Across our Music and Culture channels, we have a wide range of shows covering every genre, along with chat shows, discussions and special broadcasts.To catch up on all Soho Radio shows from both our music and culture channels head on over mixcloud.com/sohoradio or tune in live anytime at sohoradiolondon.com.This is a Soho Radio Productions Podcast.Support this show http://supporter.acast.com/soho-radio. See acast.com/privacy for privacy and opt-out information.

Sing and dance to your heart’s content. This is certainly our jam this week as our hosts, back from Coronavirus isolation, dive into three very different films that each look at music in a different way.FRANK (2014) Dir. Lenny Abrahamson, starring Michael Fassbender, Domhnall Gleeson, Maggie Gyllenhaal"A young aspiring musician finds himself far out of his element after he joins an eccentric pop group led by the enigmatic Frank, who wears a giant fake head. As the band prepare to record their debut album, their personal issues generate tension."Trailer: https://www.youtube.com/watch?v=1A7iVIg_ry8LONDON ROAD (2015) Dir. Rufus Norris, starring Olivia Coleman, Tom Hardy, and the original West End Cast.`London Road' a Verbatim Musical that documents the events that occurred in 2006, when the quiet rural town of Ipswich, Suffolk, was shattered by the discovery of the bodies of five women.Trailer: https://www.youtube.com/watch?v=CyBMYeG7pMMTHE UMBRELLAS OF CHERBOURG (1964) Dir. Jacques Demy, starring Catherine Deneuve, Nino Castelnuovo.A Franch Sung through musical about Genevieve, who is pregnant from Guy, a mere motor mechanic, and is pressurized by her mother to marry the wealthy Roland, who is ready to accept and raise her child. Will Genevieve accept the proposal?Trailer: https://www.youtube.com/watch?v=imCOi7pqKh0SOCIALShttps://twitter.com/picturerangershttps://www.instagram.com/picturerangers/facebook.com/MotionPictureRangers/Shane's Twitter:https://twitter.com/shanem_andersonJosh's Twitter:https://twitter.com/thatsundancekdFind us on Facebook, Twitter OR email us motionpicturerangers@gmail.com See acast.com/privacy for privacy and opt-out information.

Rabbi Avram Mlotek visits with The Shmooze to talk about the tradition of the Third Seder and how, in the midst of the coronavirus pandemic, he's found a way to celebrate this tradition with an online international Yiddish cultural event taking place on April 12. The live event will feature a stellar ensemble of some of our leading contemporary Yiddish performing artists--Frank London, Zalmen Mlotek, Joyce Rosenzweig, Lorin Sklamberg, Susan Abbe Watts, Joanne Borts, Sarah Gordon, Michael Winograd, Shura Lipovsky, Daniel Kahn, Elmore James, and Steven Skybell--all working remotely. The Yiddish Book Center is a sponsor of the Third Seder. Episode 0252 April 2, 2020 Yiddish Book Center Amherst, Massachusetts

We hang out with Shoko Nagai and Satoshi Takeshi and hear tracks from her amazing TOKALA project...    Shoko Nagai is a versatile musical artist who improvises and performs with world-renowned musicians on piano and accordion and composes original scores for films and live performances. As a teenager in her native Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan and studying classical and jazz music at Berklee, she has adapted her mastery of the keyboard to prepared piano, accordions, the melodica and other instruments, often inspired by the minimalist approach of composer Takemitsu Toru. Whether she is performing Klezmer, Balkan or experimental music, Nagai is a charismatic presence onstage, who hypnotizes audiences with her intense focus and virtuoso sound. Since moving to New York in 1999 she has been dubbed an "MVP" of the downtown jazz scene, performing with John Zorn, Erik Friedlander, Ikue Mori, Marc Ribot, Frank London, Matana Roberts, Miho Hatori (Cibo Matto), Satoshi Takeishi, Butch Morris, Elliot Sharp, Jeremiah Lockwood and many eclectic performers. Nagai frequently tours internationally, performing in Sweden (2009 Nobel Prize ceremony for German writer, Herta Muller), Italy (Napoli Teatro Festival 2015), Austria (Saalffelden Jazz Festival 2014), France (Banlieues Bleues 2012), Switzerland (Rote Fabrik 2012), Holland (Bimhuis 2012),  Japan (Fuji Rock Festival 2012), Israel (Romanian Institute 2011), Canada (Suoni Popolo Festival 2008), Germany (Moers Jazz festival 2007), and Brazil (resfest 2007) and in the U.S. (Newport Jazz Festival 2015, Saratoga Jazz Festival 2008). She has received grants from JazzJants (Painted Bride Arts Center) in 2008 and the New York Foundation for the Arts in 2010. Nagai's compositions for films include, L'amour Cache (2007), directed by Alessandro Capone and conducted by Butch Morris, as well as a trio of films directed by Linda Hoaglund: ANPO: Art X War (2010 Toronto, DOC NYC, Vancouver, and Hong Kong film festivals), Things Left Behind, (2012) produced by Japan's national broadcaster, NHK, and The Wound and The Gift, narrated by Vanessa Redgrave (Vancouver, DOC NYC, Tokyo FilmX 2014). CARE (2016 DOC NYC, AFI DOCS, Sheffield Doc Fest, Reelworld Impact Award) directed by Diredre Fishel   “Connection beyond genre and contrasting elements, in quest for the essence” is what Japanese-born musician/improviser Satoshi Takeishi strives for in his performances, whether behind a drum set, a hybrid percussion set or computer-based electronics.  With over 30 years’ experience in live performances and recording sessions around the world, executing in styles of Jazz, Rock, Contemporary Classical, Avant Garde, Experimental Electronic, Latin, South American, Arabic and African music, Takeishi moves among diverse musical environments. Rather than a specialist of any one style, Takeishi constantly strives for an integration of his diverse musical experience and knowledge. 

During the epic annual Zlatne Ustne Goldenfest, the crowd was worked into a frenzy by a rollicking set by LITVAKUS, Zisl Slepovich's klezmer band.  We get a chance to hang backstage with the maestro and renaissance man, Zisl Slepovich.   Zisl Slepovitch (Dmitri Zisl Slepovitch) is an internationally renowned multiinstrumentalist (clarinetist, saxophonist, flutist, pianist, keyboardist, singer), composer, arranger, translator, and music and Yiddish educator. Slepovitch is the founder and leader of the Litvakus klezmer band, Zisl Slepovitch Trio, Assistant Music Director / Music Director / Music Coordinator in many productions by the National Yiddish Theatre Folksbiene, including the Drama Desk Award nominated operetta The Golden Bride (2015/16) and Fiddler on the Roof in Yiddish directed by Joel Grey. Zisl Slepovitch has taught Yiddish language and culture The New School, served as educator and artist in residence at BIMA at Brandeis University, guest artist at University of Michigan, Indiana University, and Amherst College and Vassar College, a teaching fellow and performing artist at YIVO Institute for Jewish Research (New York City), Vienna Klezmer Workshop (Vienna), The Moscow Sefer Center, and Eshkolot Project (both in Moscow). Some of Slepovitch’s theater, film, and TV contributions include consulting and acting in Defiance (Paramount), Eternal Echoes (Sony Classical), Rejoice with Itzhak Perlman and Cantor Yitzchak Meir Helfgot (PBS),  original scores for the documentary Funeral Season, children’s musical The King of Chelm, ballet Di Tsvey Brider, and many more. See Zisl Slepovitch on     Zisl Slepovitch has performed/ recorded / collaborated / worked with / wrote for Itzhak Perlman, Joshua Bell, Ron Rifkin, Joel Grey, Edward Zwick, Michael Alpert, Zalmen Mlotek, Paul Brody, Psoy Korolenko, Frank London, Lipa Schmeltzer, Yale Strom, Lev “Ljova” Zhurbin, Cantor Yaakov “Yanky” Lemmer, and many others. Slepovitch brought over from his home country Belarus a rich ethnographic collection of Belarusian Jewish music folklore collected together with Dr. Nina Stepanskaya. The collection was used in Slepovitch’s his multimedia concert program Traveling the Yiddishland. Some of Yiddish poetry by Zisl Slepovitch has been set to music and published in Israel, Russia, and the US. Over the years, Jewish music and Yiddish culture have remained the core elements of his creative inspirations. Get the music by Zisl’s LITVAKUS’ klezmer band: Bandcamp (also as CDs), iTunes, Amazon MP3, CDBaby, and more!

A cura di Gigi Longo. Brani di Frank London, Medesky, Martin & Wood, Robin Holcomb, Shelley Hirsh, Chris Speed, Anat Cohen, Charming Hostess, Erik Friedlander, Cyro Baptista, Pharaoh's Daughter, Elysian Fields, Mike Patton.

A cura di Gigi Longo. Brani di Frank London, Medesky, Martin & Wood, Robin Holcomb, Shelley Hirsh, Chris Speed, Anat Cohen, Charming Hostess, Erik Friedlander, Cyro Baptista, Pharaoh's Daughter, Elysian Fields, Mike Patton.

A cura di Gigi Longo. Brani di Frank London, Medesky, Martin & Wood, Robin Holcomb, Shelley Hirsh, Chris Speed, Anat Cohen, Charming Hostess, Erik Friedlander, Cyro Baptista, Pharaoh's Daughter, Elysian Fields, Mike Patton.

Jon Madof plays guitar and writes music, and has been described by NPR’s Liane Hansen as ‘Dick Dale doing the music at your bar mitzvah.’ Leader of the bands Zion80, Blivet and Rashanim, he is co-founder of Chant Records, a label that aggregates and amplifies the work of an international community of artists pushing the boundaries of music across many genres; a ‘sonic temple for adventurous music.’ Jon has collaborated with musicians including John Zorn, Matisyahu, Marc Ribot and Frank London. https://chantrecords.com https://zion80.com/the-music/ https://www.jonmadof.com/jon-madof/ Join Sound Heights on Patreon: www.patreon.com/soundheightsrecords

In this episode of Black & White Radio Nico de Rooij interviews Martin Ptak. Martin studied trombone, piano and composition in Vienna. Heavily influenced by filmmusic since his childhood. Wrote music for orchestras, bigbands, brass-ensembles and films. Co-Founder of the Bands "Takon Orchester" & "Velvet Elevator". Played with mit Steve Bernstein, Elliot Sharp, Jim Thirlwell, Jack Walrath, Bill Reichenbach´s "Trombones L.A.", NÖ Tonkünstlerorchester, Janus Ensemble, Scott Kinsey, Upper Austrian Jazzorchestra, Willi Resetarits, Count Basic, Tyler, Frank London, Ensemble „Spitzbergen“, Renald Deppe, Martin Grubinger, Julian le Play, Axel Wolph, 5/8 in Ehren, die Strottern and others. www.martinptak.com

Hosted by Al Filreis and featuring Frank London, Maria Damon, and Jake Marmer.

WMSE’s Local/Live once again returns to Club Garibaldi’s for another awesome Local/Live segment that you can join! On Tuesday, February 6th, we welcome the zany and crazy-talented Xposed 4Heads for a live show and interview on-site and over the airwaves. In 2012, Xposed 4Heads had the opportunity to “regroup” for the “Lest We Forget” festival and has been going strong ever since. X4 has had numerous acclaimed releases in the synth pop art rock genre. Guest artists have included No Wave legend James Chance, Tuxedomoon co-founder Blaine Reininger, Grammy winner Frank London from the Klezmatics and Deborah Evan from The Flying Lizards (among others). 2017’s ‘Urgency Squad’ stayed on WMSE’s Top Ten play list for 6 months. Xposed 4Heads are a party band that puts on a high energy, witty show that is compared to a mash-up between Devo and the B52’s which features the Star Girls, two aliens that have come for peace and dancing. You can join WMSE and the Xposed 4Heads at Club Garibaldi’s as we team up for this live radio show. If you can’t make it, listen live over the airwaves (or in the WMSE archives). As always, WMSE Music Director Erin Wolf and co-host Cal Roach will lead the Rhythm Chicken through questions in between the live performance with the help of our audience (audience participation is encouraged!). Doors are at 5:30pm and the segment starts at 6pm and runs until 7pm. Club Garibaldi’s is located at 2501 S. Superior Street in Bay View. This is a 21+ event which is FREE and open to the public. Again, if you can’t join us for the live segment and show at Club Garibaldi’s, please tune in, per usual, to 91.7 FM (or stream online at WMSE.org) at the 6 o’clock hour. Local/Live on WMSE is sponsored by Club Garibaldi’s.

Seth Rogovoy, who literally wrote the book on klezmer, gives us a sneak preview of the Yidstock (July 13-16, 2017) lineup, from concerts featuring Eleanor Reissa & Frank London's Klezmer Brass All-Stars, the Andy Statman Trio, Alicia Svigals and Lauren Brody Duo, Ezekiel's Wheels Klezmer Band, the Hankus Netsky and Eden MacAdam-Somer Duo, to Frank London's multimedia oratorio A Night at the Old Marketplace, based on the groundbreaking 1907 play of the same name by I.L. Peretz. Episode 0151 June 7, 2017 Yiddish Book Center Amherst, Massachusetts

In the next of our chats with members of the cast and creative team of the very first production of The Merchant of Venice to be staged in the Venice Ghetto itself, Judi Herman talks to Frank London, composer and musician. The Grammy-winning trumpeter and composer, founder of the Klezmatics and leader of bhangra/Yiddish group Sharabi (with Deep Singh), Shekhinah Big Band, and his Klezmer Brass Allstars is no stranger to large-scale collaborative projects, or of course to Jewish-themed work. Here he talks about the musicians who are working with him on this project and his inspirations for the music that will be heard in the Ghetto.

Nada mejor para quitarse el bajón de los acontecimientos mundiales que unos temarracos del demonio, aunque sea por pocos minutos. En Soleado 305 los hay de Frank London, Still Weavens, Daniel Haaksman, Guts, Beatspoke y Eerie Wanda.

Nos invités Julien Lourau et Bojan Z évoqueront avec Pascal Anquetil 20 ans de complicité musicale à l'occasion de la sortie de leur nouvel album et du concert qu'ils donneront le soir-même au New Morning. Romain, le pote de lycée qu'on aurait tous aimé avoir, nous livrera ses « premières fois » : en ces temps rudes où les termes d'attentats et d'état d'urgence nous submergent, il nous rappellera que la Marseillaise n'est pas seulement un chant guerrier... Laurence Haziza, programmatrice du festival Jazz'n'Klezmer, nous fera le bilan de la 14ème édition de l'évènement auquel participèrent des artistes tels que Frank London, Olivier Temime ou Yom. Enfin, cinéma oblige, David Unger plongera dans l'œuvre musicale du cinéaste culte John Carpenter, à l'occasion de la reprise en salle de son chef-d'œuvre : The Thing.

More than a decade ago, an Italian-born Jerusalem-based singer named Shulamit learned of a collection of songs composed in concentration camps during WWII. Written by a handful of women most of whom perished in the war, the songs nearly possessed her. Shulamit began performing them, and in 2013 started working with trumpet player Frank London, of the Klezmatics, and the Israeli pianist Shai Bachar, to make arrangements and adaptations for an album. That album, called For You the Sun Will Shine: Songs of Women in the Shoa, is now out. From her apartment in Jerusalem, Shulamit tells Vox Tablet host Sara Ivry about the individual... See acast.com/privacy for privacy and opt-out information.

In this public program, The Klezmatics’ bandleader and "Letters to Afar" collaborator, Frank London, considers the creation of the exhibition’s music and his own Jewish and musical journey. Recorded on March 6, 2015.

Abrimos con los polacos de la Warsaw Village Band, en colaboración con los suecos de Hedningarna, a quienes también oímos desde su último disco, para continuar con el proyecto de uno de ellos, concretamente Samu Andersson: Looptok. Continuamos con músicas del sello neoyorquino Soundbrush, con sabor a jazz y tango (Fernando Otero o Pablo Aslan Quintet), a samba y bossa nova (Roger Davidson) y a klezmer (con Frank London por partida doble, juntándose también con el pianista Roger Davidson). Aires klezmer, pero esta vez desde tierras extremeñas, nos trae el debut discográfico de Barrunto Bellota Band. Y terminamos en África, con clásicos del soul en clave afro a cargo de Maloko y con los caboverdianos Ferro Gaita.

Seth Rogovoy talks with Yiddish vocalist Eleanor Reissa about her upcoming performance at Yidstock. Reissa will be singing with Frank London's Klezmer Brass Allstars at Yidstock on Sunday, July 15th, 2012. Episode 0025 June 5, 2012 Yiddish Book Center Amherst, Massachusetts

Klezmer Podcast 20- Frank London. In new this week, I ask for donations for California fire victims. Donations can be made at the American Red Cross, San Diego Jewish Federation, and Orange County Jewish Federation. Frank talks about his new show A Night In The Old Marketplace.

Frank London discusses his creative process, his views of Jewish music, and his many ongoing projects. His wife, Tine Kindermann joins us with a song and insight into her KlezKanada experience. Run time- 37:09