Podcast appearances and mentions of Henry Threadgill

From Cuba, Dafnis Prieto's revolutionary drumming techniques and compositions have had a powerful impact on the music landscape, nationally and internationally. His various awards and honors include a MacArthur “Genius” Fellowship, a GRAMMY Award for Back to the Sunset (2018), two additional GRAMMY nominations, two Latin GRAMMY nominations (including Best New Artist in 2007), and the Jazz Journalists Association's Up & Coming Musician of the Year in 2006. As a composer, Prieto has created music for dance, film, chamber ensembles, and most notably for his own bands, ranging from duets to big bands. He has received commissions, grants, and fellowships from Chamber Music America, Princeton University, Jazz at Lincoln Center, MoMA, Whitney Museum of American Art, National Association of Latino Arts and Cultures, Jerome Foundation, East Carolina University, Painted Bride Art Center, Meet The Composer, WNYC, New Music USA, Hazard Productions, and Metropole Orkest, among others. Prieto has performed at many national and international music festivals as a bandleader. Since his 1999 arrival in New York, he has also worked in bands led by Michel Camilo, Chucho and Bebo Valdés, Henry Threadgill, Steve Coleman, Eddie Palmieri, Chico and Arturo O'Farrill, Dave Samuels and the Caribbean Jazz Project, Jane Bunnett, D.D. Jackson, Edward Simon, Roy Hargrove, Don Byron, and Andrew Hill, among others. Also a gifted educator, Prieto has conducted numerous master classes, clinics, and workshops around the world. He was on the jazz studies faculty at New York University from 2005 to 2014, and in 2015 joined the faculty of the University of Miami's Frost School of Music. In 2016, Prieto published the groundbreaking analytical and instructional drum book, A World of Rhythmic Possibilities. In 2020, he published Rhythmic Synchronicity, a book for non-drummers inspired by a course of the same name that Prieto developed at the Frost School of Music. In 2025 he released the book "WHAT ARE THE ODDS" the third book in his catalog, and it shows not only his passion for rhythm and drumming but furthermore his commitment to music education at large. This one takes you to a fascinating journey of rhythms and meters. The book features 519 examples, and each of them comes with an audio track and a video clip. He is the founder of the independent music company Dafnison Music, established in 2008. In this episode Dafnis talks about: Building a career on your own terms Teaching at Frost School of Music at Miami University His new book: “What are the Odds” Asking tough questions about tradition as it relates to Latin music Allowing patterns and phrasing to dictate the time feel Valuing the content you play over the ability to play with a click Here's our PatreonHere's our YoutubeHere's our Homepage

In the early 1980s, when saxophonist Eric Person was coming up, one big question that was being addressed was how to combine the free-swinging improv of the Loft scene with the beauty and power of a large ensemble.  Many fascinating strategies would arrive (Henry Threadgill, Butch Morris, we're looking at you!).  One of the first and most thrilling came from saxophonist David Murray.  Murray was the emerging heavyweight champ of the tenor sax and he packed his Octet with Big Thinkers, Heavy Honkers, and Late-Night Prowlers.  "Men," in the words of Stanley Crouch, "of great magnitude."   And the David Murray Octet always played standing up.     This Monday (1/6) on Deep Focus, Mitch Goldman invites Eric Person into the WKCR archives for an exploration of this explosive and still underappreciated ensemble, from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #/EricPerson #DavidMurray #DavidMurrayOctet #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman  

In the early 1980s, when saxophonist Eric Person was coming up, one big question that was being addressed was how to combine the free-swinging improv of the Loft scene with the beauty and power of a large ensemble.  Many fascinating strategies would arrive (Henry Threadgill, Butch Morris, we're looking at you!).  One of the first and most thrilling came from saxophonist David Murray.  Murray was the emerging heavyweight champ of the tenor sax and he packed his Octet with Big Thinkers, Heavy Honkers, and Late-Night Prowlers.  "Men," in the words of Stanley Crouch, "of great magnitude."   And the David Murray Octet always played standing up.     This Monday (1/6) on Deep Focus, Mitch Goldman invites Eric Person into the WKCR archives for an exploration of this explosive and still underappreciated ensemble, from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #/EricPerson #DavidMurray #DavidMurrayOctet #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman  

In the early 1980s, when saxophonist Eric Person was coming up, one big question that was being addressed was how to combine the free-swinging improv of the Loft scene with the beauty and power of a large ensemble.  Many fascinating strategies would arrive (Henry Threadgill, Butch Morris, we're looking at you!).  One of the first and most thrilling came from saxophonist David Murray.  Murray was the emerging heavyweight champ of the tenor sax and he packed his Octet with Big Thinkers, Heavy Honkers, and Late-Night Prowlers.  "Men," in the words of Stanley Crouch, "of great magnitude."   And the David Murray Octet always played standing up.     This Monday (1/6) on Deep Focus, Mitch Goldman invites Eric Person into the WKCR archives for an exploration of this explosive and still underappreciated ensemble, from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #/EricPerson #DavidMurray #DavidMurrayOctet #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman

Don Was is one of music's most significant artists and executives, exceling in multiple roles and serving as one of the industry's beacons for integrity and forward-thinking. During this period of disruption and rapid evolution in the worldwide music business, Was remains committed to music as an art form and its importance to contemporary culture. As the President of Blue Note Records since 2011, Was is both the company's leader and an ambassador for its music, charged with bringing the label's 21st Century jazz artists and its expanding pallet of contemporary musicians to larger audiences. Was is also caretaker for Blue Note's singular and historic catalogue of music, and is burnishing the label's 80-year legacy by overseeing ongoing and extensive reissue campaigns that serve audiences in both the analogue and digital realms.His latest musical group is Don Was and the Pan-Detroit EnsembleMade up of stellar jazz musicians from his Detroit hometown, The Pan-Detroit Ensemble will perform a mix of new originals, interpretations of songs written by artists like Yusef Lateef, Olu Dara, and Henry Threadgill, and of course updated cuts from albums that Don recorded with Orquestra Was and Was (Not Was).His Pan-Detroit Ensemble is made up of many of the city's great jazz musicians including saxophonist Dave McMurray, keyboardist Luis Resto, and vocalist Steffanie Christi'an, with a sound marked by a funky, urban rawness and bone-deep grooves. Don & Maggie speak about the Monterey Jazz Festival and his new group and what's next in the Blue Note Catalog!Source:https://donwas.com/Source: https://www.kennedy-center.org/artists/w/wa-wn/don-was/Source: https://www.sfjazz.org/tickets/productions/24-25/don-was-pan-detroit-ensemble/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

On this episode of Songs of Our Lives, it's Darius Jones! He's been on a tear in recent years, and his last three albums - including the latest, “Legend of e'Boi (The Hypervigilant Eye)” - have really left a mark on me. I was thrilled to talk to Darius about the new record, his mental health journey, and so much more. We get into George Clinton's all-timer status, classic Jacko, Andy Bey being weird and great, Meshell Ndegeocello's multiple talents, the magic connection between MF Doom and Madlib, Henry Threadgill, Patti Labelle, and more!Listen to all of Darius's picks HERE“Legend of e'Boi (The Hypervigilant Eye)”Darius Jones WebsiteDarius on InstagramSongs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

HENRY THREADGILL “YOU KNOW THE NUMBER” New York, October 12 & 13, 1986Bermuda blues, Those who eat cookiesRasul Siddik (tp) Frank “Ku-umba” Lacy (tb) Henry Threadgill (b-fl,as,ts) Diedre Murray (cello) Fred Hopkins (b) Pheeroan ak Laff, Reggie Nicholson (perc) ALTUS “MYTHOS” Brooklyn, NY, August 5 & 6, 2022Embrace, Lay of the land, The last gift Dave Adewumi (tp) Nathan Reising (as) Neta Raanan (ts) Isaac Levien (b) Ryan Sands (d)   GAUCI/LANE/SHEA “SCHOLES STREET STUDIO”   Brooklyn, NY,ca, 2024Improvisations I, II & IIIStephen Gauci – tenor saxophone/clarinet, Adam Lane – bass and Kevin Shea – Drums         Continue reading Puro Jazz 16 de agosto, 2024 at PuroJazz.

HENRY THREADGILL “YOU KNOW THE NUMBER” New York, October 12 & 13, 1986Bermuda blues, Those who eat cookiesRasul Siddik (tp) Frank “Ku-umba” Lacy (tb) Henry Threadgill (b-fl,as,ts) Diedre Murray (cello) Fred Hopkins (b) Pheeroan ak Laff, Reggie Nicholson (perc) ALTUS “MYTHOS” Brooklyn, NY, August 5 & 6, 2022Embrace, Lay of the land, The last gift Dave Adewumi (tp) Nathan Reising (as) Neta Raanan (ts) Isaac Levien (b) Ryan Sands (d)   GAUCI/LANE/SHEA “SCHOLES STREET STUDIO”   Brooklyn, NY,ca, 2024Improvisations I, II & IIIStephen Gauci – tenor saxophone/clarinet, Adam Lane – bass and Kevin Shea – Drums         Continue reading Puro Jazz 16 de agosto, 2024 at PuroJazz.

Don Was & The Pan Detroit EnsembleMaggie LePique speaks with Don Was about his new musical group Don Was and the Pan-Detroit Ensemble. Don & the Ensemble are embarking on a West Coast run of concert dates in September 2024. Made up of stellar jazz musicians from his Detroit hometown, The Pan-Detroit Ensemble will perform a mix of new originals, interpretations of songs written by artists like Yusef Lateef, Olu Dara, and Henry Threadgill, and of course updated cuts from albums that Don recorded with Orquestra Was and Was (Not Was). Don's Detroit roots still run deep and, we explore those roots and highlight his most recent musical love letter to that great city, The Pan-Detroit Ensemble, and so much more. More on Don Was:Don Was is one of music's most significant artists and executives, exceling in multiple roles and serving as one of the industry's beacons for integrity and forward-thinking. During this period of disruption and rapid evolution in the worldwide music business, Was remains committed to music as an art form and its importance to contemporary culture. As the President of Blue Note Records since 2011, Was is both the company's leader and an ambassador for its music, charged with bringing the label's 21st Century jazz artists and its expanding pallet of contemporary musicians to larger audiences. Was is also caretaker for Blue Note's singular and historic catalogue of music, and is burnishing the label's 80-year legacy by overseeing ongoing and extensive reissue campaigns that serve audiences in both the analogue and digital realms.One of Was's most noteworthy musical associations of the past two decades is with The Rolling Stones, for whom he's produced their last four studio albums and a host of other studio and live recordings. Beginning with Voodoo Lounge in 1994 and continuing through Bridges To Babylon in 1997, A Bigger Bang in 2005 and Blue And Lonesome in 2016, Was's work with the Stones has resulted in Platinum and Gold certifications in dozens of countries. He also oversees the band's historic reissues, including Exile on Main Street in 2010, Some Girls in 2011 and Sticky Fingers in 2015, searching the band's vaults and master tapes for lost jewels and bringing the projects to completion. He produced the band's 2020 surprise single, “Living In A Ghost Town,” which was released amidst the global pandemic in April of that year.Source: https://donwas.com/https://www.bluenote.com/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the Show.

On this episode, host Joel Harrison speaks with guitarist Liberty Ellman about Henry Threadgill and Liberty's unique perspective on rhythm. For more content and instructional material, visit patreon.com/guitarunlimited. Guitar Unlimited is sponsored by the Alternative Guitar Summit. Visit alternativeguitarsummit.com for more info.

TOMEKA REID QUARTET 3+3 New Haven, CT, August 20 & 21, 2023Sauntering with Mr. BrownMary Halvorson (g) Tomeka Reid (cello,comp) Jason Roebke (b) Tomas Fujiwara (d TRÍO POKAZ VOICES c 2023Intro, Leading Home, Interlude, Waiting for the snow, VoicesAndrew Pokaz (p, elctrncs), comps, Eugene Myrmyr (b), Alex Poliakov (dr) HENRY THREADGILL & MAKE A MOVE EVERYBODY'S MOUTH'S A BOOK Brooklyn, NY, February 25-27, 2001Don't turn around, Biggest crumbHenry Threadgill (as,fl) Bryan Carrott (vib) Brandon Ross (g,el-g) Stomu Takeishi (b-g,el-b) Dafnis Prieto (d) Continue reading Puro Jazz 12 de Julio 2024 at PuroJazz.

TOMEKA REID QUARTET 3+3 New Haven, CT, August 20 & 21, 2023Sauntering with Mr. BrownMary Halvorson (g) Tomeka Reid (cello,comp) Jason Roebke (b) Tomas Fujiwara (d TRÍO POKAZ VOICES c 2023Intro, Leading Home, Interlude, Waiting for the snow, VoicesAndrew Pokaz (p, elctrncs), comps, Eugene Myrmyr (b), Alex Poliakov (dr) HENRY THREADGILL & MAKE A MOVE EVERYBODY'S MOUTH'S A BOOK Brooklyn, NY, February 25-27, 2001Don't turn around, Biggest crumbHenry Threadgill (as,fl) Bryan Carrott (vib) Brandon Ross (g,el-g) Stomu Takeishi (b-g,el-b) Dafnis Prieto (d) Continue reading Puro Jazz 12 de Julio 2024 at PuroJazz.

Amina Claudine Myers was one of the earliest members of the AACM, and if you're listening to this podcast, I'm pretty sure you know what the AACM is, but just in case you don't, the Association for the Advancement of Creative Musicians is an organization formed by Muhal Richard Abrams, Roscoe Mitchell and a few other musicians in Chicago in the mid-1960s. A tremendous number of the most important avant-garde jazz musicians of the mid to late 20th century and the 21st century have come out of the AACM, including Anthony Braxton, Henry Threadgill, Fred Anderson, the Art Ensemble of Chicago, Wadada Leo Smith, Matana Roberts, Nicole Mitchell, Tomeka Reid, and Amina Claudine Myers. There's a tremendous book by trombonist and composer George Lewis, called A Power Stronger Than Itself, that's the best possible introduction to the group. You should absolutely read that if you're a fan of any of the musicians I just named.Now, all the founders and early members of the AACM worked together, supporting each other, and moving the music forward in large part by composing and performing original work. What's interesting — and this is something we talk about in this conversation — is that Amina Claudine Myers' early albums included some original music, but they also included interpretations of other people's compositions, specifically Marion Brown and Bessie Smith. But she always paired that music up with pieces of her own that demonstrated a really fascinating compositional voice that was a combination of jazz, gospel, blues, and classical music. She took all her influences and early training and combined them into something that sounded like nobody else out there, and was incredibly powerful.In addition to making her own records, she's been a part of albums by Lester Bowie, Henry Threadgill, Muhal Richard Abrams, Anthony Braxton, Kalaparusha Maurice McIntyre, Bill Laswell, and many other people. Her latest release is a collection of duos with Wadada Leo Smith, the first time they've recorded together since 1969, and their first collaboration as leaders.I'm really glad I had the chance to interview her. We talked about a lot of things — the AACM, the role of spirituality in music and the way the term spiritual jazz is used to gatekeep certain things, her work with all the artists I just mentioned, her upbringing in Arkansas and Texas and how it influenced her writing... this is a really wide-ranging conversation that I think will be really interesting for you to hear. I thank you as always for listening.

Easily Slip Into Another World is Pulitzer Prize-winning composer/reeds and winds instrumentalist/bandleader Henry Threadgill's vivid autobiography, co-authored by Brent Hayes Edwards, a literary scholar teaching at Columbia University. Edwards is interviewed by JJA board member Bob Blumenthal, chair of the nominating committee for JJA Jazz Books of the Year. 

Rufus Reid is an extremely important but under-recognized figure in modern jazz. He's always been someone who's had one foot in the mainstream and one in the avant-garde — he did a lot of work with soul jazz and jazz-funk saxophonist Eddie Harris in the early 1970s, before joining Dexter Gordon's band when Gordon made his famous US comeback after years in Europe. He was also part of Andrew Hill's band in the late '80s, and has done a ton of straightahead records. But he was also a member of Jack DeJohnette's Special Edition in the early '80s, and he was one of the four bassists on Henry Threadgill's X-75 album, and he played on Muhal Richard Abrams' Things To Come From Those Now Gone, and he played with Anthony Braxton on the two Seven Standards 1985 albums with Hank Jones on piano and Victor Lewis on drums. He was also a member of the World Bass Violin Ensemble, which was a group of six bassists that made an album for Black Saint in 1984. Reid has also done a lot of work as a leader. He's made a string of albums in collaboration with drummer Akira Tana and various other musicians; he's done bass duo albums with Michael Moore; and he's led the Out Front trio with pianist Steve Allee and drummer Duduka Da Fonseca. In 2014, he released Quiet Pride: the Elizabeth Catlett Project, an album that featured a total of 19 instrumentalists and a singer all paying tribute to a sculptor whose work focused on the Black female experience in America. Reid is also an educator and the author of The Evolving Bassist, a book originally published in 1974 that's still a standard text for bassists. In this interview, we talk about Reid's work with Eddie Harris, with Dexter Gordon, with Henry Threadgill, and with his own ensembles. We talk about a six-CD set he made with Frank Kimbrough a few years ago, recording all of Thelonious Monk's compositions. We talk about his approach to the instrument, his influences, and about his new album, which is a duo collaboration with pianist Sullivan Fortner. This was a really enjoyable and informative conversation, and I think you'll come away from it with a new or perhaps a renewed appreciation for someone who's been a major figure in jazz for 50 years and isn't stopping yet.

In this episode we speak to Pulitzer Prize winning composer and musician Henry Threadgill and the co-author of his autobiography Brent Hayes Edwards. The book we discuss, which was published last year is entitled Easily Slip into Another World: A Life in Music. Henry Threadgill was born in Chicago in 1944. He is one of the most significant and innovative composers of the 20th and 21st Century. In addition to being an award winning composer is an amazing saxophonist and flautist. He also is known for his percussion work, in particular the invention of the hubkaphone, a marimba like instrument made out of hub caps. He has been a leader or co-leader of the bands Air, Ensemble Double UP, Make a Move, The Henry Threadgill Ensemble, The Henry Threadgill Sextett, The Situation Society Dance Band, Very Very Circus, X-75, Zooid and 14 or 15 Kestra: Agg and probably some others I didn't track down.  If we went into all the bands and groups Henry was a part of the list would be three times as long. In recent years Threadgill has established a completely new chromatic system for musical composition outside the confines of diatonic harmony. In 2016, he was awarded the Pulitzer Prize for In For a Penny, In for a Pound, an album he composed for his sextet, Zooid. He currently lives in New York. Brent Hayes Edwards is a Professor at the Center for Jazz Studies at Columbia University and the Director of the Scholars-in-Residence Program at the Schomburg Center for Research in Black Culture at the New York Public Library. So why this episode, it's a bit outside of most of our content here. Perhaps the closest things we've done to a conversation like this would be the dialogue we hosted between Fred Moten & Hanif Abdurraqib or the interview we did with Dionne Brand last year. But although I didn't ask it directly, the guiding question that animated this interview and engagement with Henry and Brent's book for me was: what insights might a truly revolutionary composer have for aspiring revolutionary organizers or for cultural workers seeking to maximize the revolutionary possibilities of their work?  We hope you enjoy this conversation and that it proves as meaningful to you as it was to us. It was a tremendous honor to sit down with Henry Threadgill and Brent Hayes Edwards to discuss their beautiful book which is available now everywhere. Thank you to Aidan Elias for co-producing this episode. If you appreciate the work that we do, as always you can support our work for as little as $1 per month at patreon.com/millennialsarekillingcapitalism. Our podcast is fully supported by individual contributions of folks like you and we encourage you to join the amazing folks who make it possible for us to bring you these conversations on a weekly basis. 

Isaiah Collier, Angel Bat Dawid, Mike Reed, Damon Locks & Rob Mazurek, Maddie Vogler, Caroline Davis, Rob Clearfield, Itamar Borochov, Ivo Perelman & Nate Wooley, Steve Lehman & Orchestre national de jazz, Henry Threadgill, Jacob Garchik, Darcy James Argue's Secret Society, Michael Blake, Aaron Leaney and Doxas BrothersPlaylist: Isaiah Collier - EggunAngel Bat Dawid - Joy n' Suff'rinMike Reed - We Just Came to DanceDamon Locks, Rob Mazurek - Yes!Maddie Volger, featuring Tito Carillo - While We Have TimeCaroline Davis - A way back to myself (for Keith Lamar)Rob Clearfield - FuriosoItamar Borochov, featuring Rob Clearfield, Rick Rosato & Jay Sawyer - DirgeIvo Perelman & Nate Wooley - FiveSteve Lehman et Orchestre National de Jazz - Los Angeles ImaginaryHenry Threadgill Ensemble - Movement III, Section 14Jacob Garchik - FanfareDarcy James Argue's Secret Society - Last Waltz for LevonMichael Blake - Merle the PearlAaron Leaney, featuring Guy Thouin - InwardDoxas Brothers - Wildcat

Space is the place_jazz e dintorni Puntata dedicata ai festival autunnali, passando per NovaraJazz Weekender, ParmaJazzFrontiere, Berlin Jazzfest e Padova Jazz. Con James Brandon Lewis, Irreversible Entanglements, Natural Information Society, Steph Richards, Henry Threadgill e altro ancora Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-21-novembre-2023 Tutti i podcast di Space is the place: https://www.radiotandem.it/space-is-the-place

"Easily Slip Into Another World," Henry Threadgill's recent memoir, is required reading for a full appreciation of tonight's Deep Focus.  It reveals the roots, the rich harvest, and the hidden, dark corners of a vibrant, creative life.  The prose is plainspoken and forthright but the content is absolutely mind-expanding.  No one of Threadgill's explosively expressive generation has laid bare the inspirations for his art as Threadgill does here.   - What was it like to talk with John Coltrane? (surprising answer!).   - And what about Duke Ellington? (astonishing answer!). - What experiences, musical and other, shaped you as a creative person? (kaleidoscopic answers!). - What really happened to you guys in Viet Nam? (hideous, bewildering answers). - How distinctive was the music scene in Chicago as you were coming up?    This last question brings us to tonight's Deep Focus.  Henry Threadgill joins host Mitch Goldman for an exploration of two of his great inspirations: saxophonists John Gilmore and Von Freeman.  And will the WKCR archives yield unheard wonders?  Only one way to find out!   This Monday (9/25) on WKCR 89.9FM, WKCR-HD and wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   Photo credit: no publishing information available.    #WKCR  #JazzAlternatives #DeepFocus #HenryThreadgill #MitchGoldman #VonFreeman #JohnGilmore #SunRa #JazzRadio #JazzInterview #JazzPodcast   

"Easily Slip Into Another World," Henry Threadgill's recent memoir, is required reading for a full appreciation of tonight's Deep Focus.  It reveals the roots, the rich harvest, and the hidden, dark corners of a vibrant, creative life.  The prose is plainspoken and forthright but the content is absolutely mind-expanding.  No one of Threadgill's explosively expressive generation has laid bare the inspirations for his art as Threadgill does here.   - What was it like to talk with John Coltrane? (surprising answer!).   - And what about Duke Ellington? (astonishing answer!). - What experiences, musical and other, shaped you as a creative person? (kaleidoscopic answers!). - What really happened to you guys in Viet Nam? (hideous, bewildering answers). - How distinctive was the music scene in Chicago as you were coming up?    This last question brings us to tonight's Deep Focus.  Henry Threadgill joins host Mitch Goldman for an exploration of two of his great inspirations: saxophonists John Gilmore and Von Freeman.  And will the WKCR archives yield unheard wonders?  Only one way to find out!   This Monday (9/25) on WKCR 89.9FM, WKCR-HD and wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   Photo credit: no publishing info available.   #WKCR  #JazzAlternatives #DeepFocus #HenryThreadgill #MitchGoldman #VonFreeman #JohnGilmore #SunRa #JazzRadio #JazzInterview #JazzPodcast   

"Easily Slip Into Another World," Henry Threadgill's recent memoir, is required reading for a full appreciation of tonight's Deep Focus.  It reveals the roots, the rich harvest, and the hidden, dark corners of a vibrant, creative life.  The prose is plainspoken and forthright but the content is absolutely mind-expanding.  No one of Threadgill's explosively expressive generation has laid bare the inspirations for his art as Threadgill does here.   - What was it like to talk with John Coltrane? (surprising answer!).   - And what about Duke Ellington? (astonishing answer!). - What experiences, musical and other, shaped you as a creative person? (kaleidoscopic answers!). - What really happened to you guys in Viet Nam? (hideous, bewildering answers). - How distinctive was the music scene in Chicago as you were coming up?    This last question brings us to tonight's Deep Focus.  Henry Threadgill joins host Mitch Goldman for an exploration of two of his great inspirations: saxophonists John Gilmore and Von Freeman.  And will the WKCR archives yield unheard wonders?  Only one way to find out!   This Monday (9/25) on WKCR 89.9FM, WKCR-HD and wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR  #JazzAlternatives #DeepFocus #HenryThreadgill #MitchGoldman #VonFreeman #JohnGilmore #SunRa #JazzRadio #JazzInterview #JazzPodcast   

Reeds player Henry Threadgill has capped a storied 50-plus-year career as a bandleader and composer with a superb new memoir of his life and thoughts about music entitled Easily Slip Into Another World. In this episode, he discusses how music by Howlin' Wolf, Thelonious Monk and James Brown shaped his course. Essential Tremors is produced by Matt Byars and Lee Gardner and distributed by Your Public Studios.See omnystudio.com/listener for privacy information.

[REBROADCAST FROM May 16, 2023] Over the last fifty years, Henry Threadgill has been one of the most renowned American composers, never afraid of leaning into innovation and experimentation. He's one of three Jazz artists to ever win a Pulitzer Prize. Today is the publishing day for his autobiography, Easily Slip into Another World: A Life in Music, which details his early years in Chicago, playing in an Infantry Division Band in Vietnam, and how he settled in New York and made a name for himself in the East Village in the 1970s. The book comes around the same time as the release of his latest composition, The Other One. Threadgill joins us in studio to discuss both projects.

THIS WEEK's BIRDS: Clifford Jordan; Diego "el Cigala" in Mexico; Orlando Contreras; cumbia from Pedro Laza y Sus Pelayeros,  Lisandro Meza, and others; cumbia from Charles Mingus; new Henry Threadgill; Bruce Ditmas, David Eyges & Paul Bley Trio; Paul Dunmall & Chris Corsano; Bobby Few with Noah Howard & Zusaan Kali Fasteau; Ahiyad Ait Mimoun; Moroccan song from Mahmoiud al Idrissi; taarab from Zuhura Swaleh & Party; rai from Cheba Zohra; Idris Ackamoor & The Collective; classic John Coltrane Quartet; Archie Shepp reprises Coltrane; Tchangodei w. Shepp  and Mal Waldron;  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: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/17508055/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

Washington Post reporter Hannah Natanson explains how the debates over teaching race, racism, gender identity and sexuality have put pressure on teachers who were already overworked and underpaid.Kevin Whitehead reviews composer and saxophonist Henry Threadgill's new album and book.

Washington Post reporter Hannah Natanson explains how the debates over teaching race, racism, gender identity and sexuality have put pressure on teachers who were already overworked and underpaid.Kevin Whitehead reviews composer and saxophonist Henry Threadgill's new album and book.

Bobby Sanabria is an eight time Grammy-nominee as a leader. Known as a drummer, percussionist, composer, arranger, conductor, documentary film producer, educator, activist, and bandleader, his versatility as both a drummer and percussionist, from small group to big band, has become legendary. A native son of the South Bronx born to Puerto Rican parents, he has performed and recorded with every major figure in the world of Latin jazz and salsa, from the founder of the Afro-Cuban/Latin jazz movement Mario Bauzá, to Tito Puente, Mongo Santamaría, Dizzy Gillespie, Chico O'Farrill, Ray Barretto, Candido, to Larry Harlow, Ruben Blades, Celia Cruz, and jazz luminaries as diverse as Henry Threadgill, Charles McPherson, Randy Brecker, Joe Chambers, Jean Lucien, The Mills Brothers, and others. DRUM! Magazine named him Percussionist of the Year (2005); he was named Percussionist of the Year by the Jazz Journalists Association in 2011 and 2013. In 2006, he was inducted into the Bronx Walk of Fame. He was a recipient of the 2018 Jazz Education Network (JEN) LeJENS of Jazz Lifetime Achievement Award for his work as a musician and educator. In 2008 Congressman Dennis Kucinich honored his work as a musician and educator by reading his name into the Congressional Record and in 2018 the U.S. Congressional Black Caucus honored him as a musician, educator. Every single one of his big band recordings, seven in total, have been nominated for Grammys. His 2018 recording, ‘West Side Story Reimagined,' reached #1 on the national Jazz Week radio charts, was nominated for a 2018 Grammy, and won the prestigious 2019 Record of The Year Award from the Jazz Journalists Association. Partial proceeds from sales of this double CD went to the Jazz Foundation of America's Puerto Rico Relief Fund for musicians. He is the Co-Artistic Director of the Bronx Music Heritage Center and the forthcoming Bronx Music Hall. His lifetime dedication to spreading the history, culture, of jazz and Latin jazz to the general public as a performer, as well as educating a new generation of players, composers, arrangers, has no parallel. A member of Max Roach's legendary M'BOOM percussion ensemble, he is on the faculty of the New School (his 26th year) and was on the faculty of NYU, his alma mater Berklee, and was on the faculty of the Manhattan School fo Music for 20 years where he conducted/taught the Afro-Cuban Jazz Orchestra receiving two Grammy nominations for recordings he did with directing his students. Sanabria is also the on air host of the Latin Jazz Cruise on WBGO FM and wbgo.org, the number one jazz station in the nation. Lehman College in NYC has recently awarded Maestro Sanabria an Honorary Doctorate. His new double CD, which will be released on May 12 2023, is a double CD with his Multiverse Big Band entitled VOX HUMANA. Recorded live at Dizzy's Club-Cola in NYC, it features three of jazz's finest contemporary vocalists - Janis Siegel from the Manhattan Transfer, blues and jazz Queen Antoinette Montague, and multi-lingual powerhouse Jennifer Jade Ledesna. In this episode, Bobby talks about:    His MULTIVERSE Big Band    Seeing Tito Puente perform at 12 years old    The new record - VOX HUMANA    Inspiring the next generation    The history of music as related to the history of America    Afro-cuban rhythms and their origins

SeaJun Kwon is a composer and bassist who focuses on exploring boundaries. His music draws from the jazz and avant-garde music traditions of Anthony Braxton and Henry Threadgill as well as contemporary classical composers György Ligeti, Tristan Murail, and Morton Feldman. Born and raised in Seoul, South Korea, Kwon graduated from Boston's New England Conservatory and is currently based in Brooklyn. He has been leading his group Walking Cliché Sextet since 2019. The ensemble released two albums, Suite Chase Reflex(2021) and Micro-Nap(2021).  If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Usually the things that are the farthest out — that look the least like art to me — are the things that become the most important.   American painter Glenn Ligon is one of the most recognizable figures in the contemporary art scene. His distinctive, political work uses repetition and transformation to abstract the texts of 20th-century writers. In this episode, Ligon talks about childhood and what it means to have a parent who fiercely and playfully supports you. He also discusses the essential lesson that there's value in the things you do differently, and why he won't take an afternoon nap in his own studio.  References: Courtney Bryan Pamela Z  Samiya Bashir Thelma Golden Robert O'Meally Romare Beardon Toni Morrison Lorna Simpson Margaret Naumberg The Walden School Mike D - Beastie Boys Murders of Chaney, Goodman, and Schwerner Davóne Tines Chris Ofili  Henry Threadgill Frédéric Bruly Bouabré “How It Feels to Be Colored Me” Saidiya Hartman Fred Moten Jason Moran

Professor Bill Lowe has recorded with Muhal Richard Abrams, Henry Threadgill, Frank Foster and many others. We talk about his work with the Makanda Project and leading his own projects around Boston. He's such a sage person; so many pearls of wisdom in this episode!-Follow @BosBones on instagram and facebook -Download at your favorite podcast store -Sign up for the mailing list at www.MichaelPrentky.com/BosBones -Support the show (https://venmo.com/michael-prentky)Support the show

NEW: Two (2) Two (2)-Hour episodes, minus (-) fluff and mumbling, equals (=) Three(3) Hours and 45 (forty-five) minutes of BIRDS. This may or may not be the format going forward. Comments, questions, concerns, complaints, commendations welcome: confbirds@gmail.com These weeks: Sara Serpa (w. Onisephone Nembe); Australian Art Orchestra; Alicia Carrasco; Ga'anda Flute Band (from Nigeria); Oluyemi Thomas's Positive Knowledge; James Brandon Lewis; El Grupo Jatari; Orquesta Aragón; Roberto Anglero; Jorge Humberto; Kerala Kante; Luis de Cordoba; Henry Threadgill 14 or 15 Kestra: AGG; Nat Birchall Unity Ensemble; Orchestre Kiam; Brenda Fassie; Lemma; Super Data; Linda May Han Oh;  Star Band de Dakar; Celestine Okwo; Angelika Nescier w. Alexander Hawkins; Carmen Moore; Anabela; Nara Leão; much much more...! Always FREE of charge to listen to the radio program on WRFI at our new time Sundays 7:00-9:00PM (New York time), and free also to stream, download, and subscribe to the podcast online: 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/16487207/Conference-of-the-Birdshttps://spinitron.com/WRFI/pl/16487207/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

We're celebrating the announcement of the 2023 NEA Jazz Masters by revisiting my interview with 2021 NEA Jazz Master and 2016 Pulitzer-Prize winner Henry Threadgill. Threadgill  remains one of music's great innovators—as a composer and as a musician. In this podcast, Threadgill reflects on the vast musical legacy he found in his hometown of Chicago and the early influence of Muhal Richard Abrams and The Association for the Advancement of Creative Musicians.  He looks back at his ensembles and the various musical languages he's expressed with each as well as his overall philosophy of composing and making music—explaining why he believes the true test of music is in the live performance.  Henry Threadgill is not just a musical seeker, he's also a deeply thoughtful and very funny storyteller.  Follow us on Apple Podcasts!

We're celebrating the announcement of the 2023 NEA Jazz Masters by revisiting my interview with 2021 NEA Jazz Master and 2016 Pulitzer-Prize winner Henry Threadgill. Threadgill  remains one of music's great innovators—as a composer and as a musician. In this podcast, Threadgill reflects on the vast musical legacy he found in his hometown of Chicago and the early influence of Muhal Richard Abrams and The Association for the Advancement of Creative Musicians.  He looks back at his ensembles and the various musical languages he's expressed with each as well as his overall philosophy of composing and making music—explaining why he believes the true test of music is in the live performance.  Henry Threadgill is not just a musical seeker, he's also a deeply thoughtful and very funny storyteller.  Follow us on Apple Podcasts!

The latest episode of the Burning Ambulance podcast features an interview with tuba player Bob Stewart.I have said all season long that we're going to be exploring a single subject for ten episodes, and that subject is fusion. But as I hope has become clear over the course of the five previous episodes, during which I interviewed techno pioneer Jeff Mills, drummer Lenny White, trumpeter Randy Brecker, pianist Cameron Graves, and guitarist Brandon Ross, most of whom come from different musical generations and are not peers, when I say the word fusion, I'm talking about a state of mind, not a style or a genre. It's not what you play, it's how you approach music-making.I understand that when most people hear the word fusion, they think of the big name bands from the 1970s: the Mahavishnu Orchestra, Return to Forever, and Weather Report. Those groups, and the Miles Davis bands from 1969 to 1975, and many other less immediately recognizable groups, all did a particular thing, playing extremely complex music that blurred the lines between progressive rock and jazz. We talked about those acts in the second and third episodes this season, with Lenny White and Randy Brecker, both of whom were around then and were actively participating in making some of that music.If you think of fusion as a mindset, though, rather than a style, the discussion gets a lot more interesting. And that's really how I prefer to think about it. Because the people who fall into the latter category are the ones who I find to be the most interesting, and the ones who are more likely to have careers where almost every record they play on is at least worth hearing, worth giving a chance. You may not like all of it. But they're creative enough that they've earned the benefit of the doubt.A perfect example of this is Bill Laswell, the bassist and producer. He doesn't use the term fusion. He calls what he does “collision music,” bringing together players from wildly disparate areas — stylistic areas, and literal geographical ones, putting African players together with guys from Southeast Asia and New York rock artists and whoever else he thinks has something to say — and seeing what comes out when they all work together toward a common goal. And sometimes you get something glorious, that you never could have predicted or imagined beforehand. Like pairing Pharoah Sanders with a troupe of Gnawa musicians from North Africa. Or putting improvising guitarist Derek Bailey together with drummer Jack DeJohnette, DJ Disk from the Invisibl Skratch Piklz, and Laswell himself on bass. I heard a recording of that group just a few days ago, and you might not expect it to work, but it really, really did.Bob Stewart is a fusion artist in that he takes an instrument that has had a relatively low profile in jazz for decades — the tuba — and created a variety of fascinating contexts for it. Not only on his own albums, but particularly in partnership with the late alto saxophonist Arthur Blythe. They began working together in the early 1970s, and Stewart's playing on some of Blythe's albums, most notably Bush Baby, where it's just the two of them and a percussionist, and on Lenox Avenue Breakdown and Illusions, where they had some incredible bands that included at different times James “Blood” Ulmer on guitar, Cecil McBee on bass, Jack DeJohnette on drums, James Newton on flute, and Abdul Wadud on cello. On the album Blythe Spirit, Blythe and Stewart record a version of the spiritual “Just A Closer Walk With Thee,” with Amina Claudine Myers on organ, that's absolutely amazing. We talk about that piece a little bit in this interview.He's worked with a lot of other artists over the course of his career, too, including Charles Mingus, McCoy Tyner, Carla Bley, Gil Evans, the Jazz Composers Orchestra, Bill Frisell, the David Murray Big Band, Lester Bowie's Brass Fantasy, and on and on. The reason he's able to do so many different things is that his approach to the tuba is really expansive, conceptually speaking. He treats it as much more than a substitute bass. He understands its full range, and the subtleties it's capable of expressing, and he uses it in ways lots of other people would never even think of. On his own albums First Line, Then & Now, and Connections — Mind the Gap, he puts together really unorthodox collections of personnel. For example on Then & Now, which was originally released in 1996 but just recently popped up on Bandcamp, some of the tracks feature two trumpets, trombone, French horn, and drums, while another is a duo with pianist Dave Burrell, and others have trumpet, alto sax, guitar, and drums. And Connections — Mind the Gap, which is from 2014, features tuba, guitar and drums, with trumpet and trombone on two tracks, but then on five others it's the core trio plus a string quartet. Now that's very much a kind of fusion — jazz which is already in an avant-garde zone, combined with chamber music.Bob Stewart is a fascinating guy, an endlessly creative spirit who has done a tremendous amount to change the image of his instrument in order to pave the way for guys like Theon Cross, who plays tuba with Sons of Kemet, or with Jose Davila, who plays with Henry Threadgill's Zooid. I really enjoyed this conversation, and I hope you enjoy listening to it.Music in this episode:Bob Stewart, “Bush Baby” (Connections – Mind The Gap)Arthur Blythe, “Lenox Avenue Breakdown” (Lenox Avenue Breakdown)Bob Stewart, “The Rambler” (from Then & Now)

The Wire places Sara Schoenbeck in the "tiny club of bassoon pioneers" at work in contemporary music today, while the New York Times has called her performances "galvanizing" and "riveting.” She has performed with or been a member of Anthony Braxton's 12+1(tet) and Tri-Centric Orchestra, Wayne Horvitz's Gravitas Quartet, Harris Eisenstadt's Golden State, Wavefield Ensemble, SEM Ensemble, Wet Ink, Marty Ehrlich's Duende Winds, Nels Cline's Lovers, Adam Rudolph's Organic Orchestra, and the Michael Leonhart Orchestra. She has worked with many of creative music's luminaries including Roscoe Mitchell, Henry Threadgill, Butch Morris, Yusef Lateef, Wadada Leo Smith, George Lewis, and Pamela Z. She can be heard on music and film recordings including Matrix 2 and 3, Spanglish and Dahmer. She has performed at major venues throughout North America and Europe. A partial list includes Carnegie Hall, Lincoln Center Out of Doors, the Kitchen, Iridium, Disney Hall, Redcat, the Kennedy Center, the Free Music Festival in Antwerp Belgium, Biennale Musica in Venice Italy, the American Festival of Improvised Music, MicroFest, SXSW, New Orleans, Newport, Berlin, Victoriaville and Ottawa Jazz Festivals; the Vancouver International Jazz Festival, Angel City Jazz Festival in Los Angeles; San Francisco, Saalfelden and Tempere Jazz festivals. Sara received her BFA from the San Francisco Conservatory of Music and MFA from the California Institute of the Arts. Sara has been adjunct faculty at California Institute of the Arts, Citrus College, and Pasadena Conservatory and has given master classes at Amherst College, Hampshire College, Cornish College, University of Denver, and Western Washington University. She is currently on faculty at Brooklyn Conservatory of Music and Packer Collegiate Institute. In this episode, I speak to Sara about her musical journey, how her career developed and took off, and the inspiration behind her recent self-titled album release, she gives me some practical tips on how to become a better improviser and how to approach free improvisation, tips on creativity, her main musical influences, the challenges of working as a female musician, tips for young musicians and she fills me in on the jazz/music scene in New York, and which jazz clubs I should visit in New York. Listen to her album here: https://open.spotify.com/album/6SMnwqkm8odd2KXNaUqku9?si=3JzotXziSY6u_InOokxYfA Find out more about Sara: https://www.saraschoenbeck.com LOR podcast is being sponsored by Baron Cane, use the coupon code "legendsofreed", to enjoy free shipping on Barton Cane. https://www.bartoncane.com/

As you know if you've been listening this season, we have a single subject we're going to be exploring across ten episodes, and that subject is fusion. Fusion means much more, I think, than just the music that most people think of when they hear the word. I'm not talking exclusively about the big-name bands from the 1970s: the Mahavishnu Orchestra, Return to Forever, and Weather Report. Those groups, and the Miles Davis bands from 1969 to 1975, and many other less immediately recognizable groups, all did the classic fusion thing, playing extremely complex music that blurred the lines between progressive rock and jazz. We talked about those acts in the second and third episodes this season, when I interviewed drummer Lenny White and trumpeter Randy Brecker, both of whom were around then and were actively participating in making that music.If you think of fusion as a mindset, though, rather than a style of music, the discussion gets a lot more interesting. And that's really how I prefer to think about it. It's not just a specific narrow slice of music, it's a way you approach any kind of music you make. KRS-One said rapping is something you do, hip-hop is something you live. And that's kind of close to what I'm talking about here, conceptually speaking. Fusion can be a style of music, or it can be a way you approach the making of music. And the people who fall into the latter category are the ones who I find to be the most interesting, and the ones who are more likely to have careers where almost every record they play on is at least worth hearing, worth giving a chance. You may not like all of it. But they're creative enough that they've earned the benefit of the doubt.Brandon Ross is one of those guys. He's been on a hell of an artistic journey over the course of the last forty-some years. His first recording was on an Archie Shepp album from 1975, There's a Trumpet in My Soul. He worked with violinist Leroy Jenkins. He worked with saxophonists Marion Brown and Oliver Lake. He worked with Henry Threadgill for something like ten years, in multiple bands or one evolving band. He worked with Cassandra Wilson on her breakout album, Blue Light Til Dawn, and the follow-up, New Moon Daughter. He's made albums under his own name. The reason a lot of people probably know his name right now is he's the guitar player in Harriet Tubman, with bassist Melvin Gibbs, who's been on this podcast before, and drummer JT Lewis.And now here's the really interesting part – Brandon Ross has an album coming out a little later this year on my label, Burning Ambulance Music. He's got a new group, see, called Breath Of Air, which is a trio featuring violinist Charles Burnham and drummer Warren Benbow. Something I learned in this interview, by the way, is that Brandon has done the guitar-violin thing several times, with Leroy Jenkins and also with Terry Jenoure, a very interesting violin player who isn't nearly as well known as she ought to be. When I was researching Brandon to come up with questions for this interview, I learned about her and now I'm gonna be diving into her catalog, and I suggest you do the same. Some of her music is on streaming services; she released a 3CD set called Portal last year that's fantastic. Anyway, Breath Of Air has a self-titled debut, most of which was recorded live in February 2020, right before the pandemic started and live music went away, and like I said it'll be out a little bit later this year.In the meantime, enjoy this conversation between me and Brandon Ross. We talk about his work with Henry Threadgill, about his work with Cassandra Wilson, about Archie Shepp and Oliver Lake and Marion Brown, about Harriet Tubman, about the sort of No Wave punk-funk jazz scene of the late '70s and early '80s that included Ornette Coleman's Prime Time and Ronald Shannon Jackson's Decoding Society and all the other guitarists that came out of that scene, including Michael Gregory Jackson and Kelvyn Bell and Jean-Paul Bourelly and James "Blood" Ulmer and Vernon Reid… we also talk about his particular approach to the guitar and to sound. There's a lot to learn and a lot to think about in the hour or so of conversation you're about to hear. I hope you enjoy listening to it.Music in this episode:Breath Of Air, “No One On Earth Can See You Anymore” (from Breath Of Air)Henry Threadgill, “Little Pocket Size Demons” (from Too Much Sugar For A Dime)Harriet Tubman, “Farther Unknown” (from The Terror End Of Beauty)

Henry Threadgill: On One Distinguished composer, multi-instrumentalist, and bandleader Henry Threadgill discusses the making of a new orchestral multimedia work and all the history that played into it. With musical examples from his band Zooid including excerpts from a premiere at Roulette that earned him a 2016 Pulitzer Prize. The new piece unfolds at Roulette May 20-21, 2022. https://roulette.org/

Distinguished composer, multi-instrumentalist, and bandleader Henry Threadgill discusses the making of a new orchestral multimedia work and all the history that played into it. With musical examples from his bands Zooid and Double Up including excerpts from a premiere at Roulette that earned him a 2016 Pulitzer Prize. The new piece unfolds at Roulette May 20-21, 2022.

Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.

Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.

Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.

Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.

Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.

The show where we uncover the stories, processes, and worldviews behind NYC's most artful and creative musicians.   Today's guest is pianist, composer, and bandleader Jason Moran. A native of Houston, Texas, Jason is a leading artistic figure of the day. He is a MacArthur Fellow who is on faculty at the New England Conservatory in Boston and the Rhythmic Music Conservatory in Copenhagen and also serves as the Musical Advisor and Artistic Director for the Kennedy Center, a position which he has held since 2011. He has recorded with musicians such as Greg Osby, David Murray, Charles Lloyd, Paul Motian, Archie Shepp, and Henry Threadgill and has composed the score for several films such as the heralded documentary 13th, Ta-Nehisi Coates' Between the World and Me, and the movie Selma. His band, "Jason Moran and the Bandwagon"--which features Jason on piano, Tarus Mateen on bass, and Nasheet Waits on drums--has been touring and recording since their debut album in 2000 and has been praised by the New York Times, Jazz Times, and Downbeat Magazine. His inter-disciplinary collaborations with skateboarders, painters, and ballet dancers have distinguished Moran from other musicians and have proven him truly worthy of the title: Artist. 

Iniziamo la puntata facendo un piccolo passo indietro: prima di partire per Parigi, nel luglio del '69 Leo Smith partecipa alla registrazione di quella che diventerà la seconda facciata de Young at Heart/Wise in Time, secondo album di Muhal Richard Abrams: del quintetto raccolto in studio fa parte anche il sassofonista Henry Theadgill, che, dopo aver collaborato con Abrams nella prima metà degli anni sessanta, è appena tornato dal Vietnam. Rientrato da Parigi negli Stati Uniti nel '70, Smith registra con la Creative Construction Company, cioè un sestetto comprendente Anthony Braxton, Leroy Jenkins e Muhal Richard Abrams, solidarizza con Henry Threadgill, e collabora con Marion Brown, sassofonista che nei sessanta ha inciso con Shepp e ha persino partecipato ad Ascension di Coltrane, e poi dal '67 è stato tre anni in Europa: la storia di Brown è dunque più lunga e importante di quella di Smith, che ha inciso solo con i chicagoani che hanno appena cominciato a farsi conoscere: ma è proprio Smith a dare l'impronta più originale alle registrazioni in duo realizzate con Brown nel '70.

Iniziamo la puntata facendo un piccolo passo indietro: prima di partire per Parigi, nel luglio del '69 Leo Smith partecipa alla registrazione di quella che diventerà la seconda facciata de Young at Heart/Wise in Time, secondo album di Muhal Richard Abrams: del quintetto raccolto in studio fa parte anche il sassofonista Henry Theadgill, che, dopo aver collaborato con Abrams nella prima metà degli anni sessanta, è appena tornato dal Vietnam. Rientrato da Parigi negli Stati Uniti nel '70, Smith registra con la Creative Construction Company, cioè un sestetto comprendente Anthony Braxton, Leroy Jenkins e Muhal Richard Abrams, solidarizza con Henry Threadgill, e collabora con Marion Brown, sassofonista che nei sessanta ha inciso con Shepp e ha persino partecipato ad Ascension di Coltrane, e poi dal '67 è stato tre anni in Europa: la storia di Brown è dunque più lunga e importante di quella di Smith, che ha inciso solo con i chicagoani che hanno appena cominciato a farsi conoscere: ma è proprio Smith a dare l'impronta più originale alle registrazioni in duo realizzate con Brown nel '70.

A lo largo del año 2021 el trompetista Wadada Leo Smith ha publicado en el sello finlandés TUM Records cuatro grabaciones que se expanden hasta once CD. En HDO 541 escuchamos estas grabaciones: Trumpet (Wadada Leo Smith; 3CD); Sacred Ceremonies (Wadada Leo Smith, Milford Graves, Bill Laswell; 3CD); The Chicago Symphonies (Wadada Leo Smith, Henry Threadgill, Jonathon Haffner, John Lindberg, Jack DeJohnette; 4CD); A Love Sonnet For Billie Holiday (Wadada Leo Smith, Jack DeJohnette, Vijay Iyer; 1CD). Tomajazz:  © Pachi Tapiz, 2022 HDO 541 te gustará… si te gusta el jazz... si te gustan Wadada Leo Smith o sus acompañantes (Milford Graves, Jack DeJohnette, Vijay Iyer, Bill Laswell, Henry Threadgill...) En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos… https://www.tomajazz.com/web/?p=58924 https://www.tomajazz.com/web/?p=58954 Más información sobre Wadada Leo Smith Página oficial de Wadada Leo Smith: https://wadadaleosmith.com/ Wadada Leo Smith en Tomajazz: https://www.tomajazz.com/web/?s=wadada+leo+smith&submit=Search https://www.tomajazz.com/web/?p=60639 Más sobre HDO HDO es un podcast de jazz e improvisación (libre en mayor o menor grado) que está editado, presentado y producido por Pachi Tapiz. Para quejas, sugerencias, protestas, peticiones, presentaciones y/u opiniones envíanos un correo a hdo@tomajazz.com Todas las entregas de HDO. Hablando de oídas están disponibles en https://www.tomajazz.com/web/?cat=13298 HDO 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

En este episodio 5, hemos destacado algunas de las novedades y discos que hemos escuchado recientemente. Abrimos con Sinister Hypnotization, el estupendo nuevo trabajo del Luís Lopes Lisbon Berlin Quartet, publicado por Clean Feed Records este 2021. Uno de los últimos trabajos del sello sevillano Sentencia Records, en este caso Génesis Negro, firmado por el ilustrador Antonio Ramírez y el músico Ricardo Jiménez, un disco libro sobre las crónicas de la Secta de los Hijos de Eva, basado en un texto de Alfonso Lebrón. Escuchamos también lo nuevo del trompetista Wadada Leo Smith junto a los guitarristas Henry Kaiser y Alex Varty, Pacifica Koral Reef, publicado por 577 Records este 2021. Además, lo nuevo del pianista Craig Taborn, Shadow Plays, para ECM, en este 2021 y cerramos con el nuevo trabajo del maestro Henry Threadgill, Poof, publicado también este 2021, para Pi Records.

Violinist/composer Tom Chiu leads the Flux Quartet, a cutting edge quartet from NYC who've taken on the massive 6-hour, "String Qt No.2 by Morton Feldman. Tom has collaborated with Oliver Lake, Muhal Richard Abrams, and Henry Threadgill. Tom and I worked with Ornette Coleman in Ornette's Harmelodic Chamber Players. We chat about that wild project, Tom's composition, "RETROCON," and more.

043 Marika HughesThis is Play It Like It's Music, I'm Trevor. Thanks for listening.On Wednesday, June 10 of 2020 music is not content, it's connection.To play the cello requires a smattering of cleverness and precision on the part of the player. The finger mechanics are complex, the alchemy of the bow is mystifying. On top of it all, gigs require an incredible fitness of nerves and preparation beyond that of many much more renumerative professions. However, mere cleverness and precision do not a complete musician make. Many cellists hit all the marks on their instrument but fail to make an artistic impact, and I feel for them because just playing the cello decently takes a huge amount of effort. Why pile on things like visual aesthetics or political awareness, or god forbid writing, verbal and administrative skills? Singing? Songwriting? Bandleading? Gimme a break.Fortunately, today we have as our guest a musician who brings it on every one of those levels. Marika Hughes is a native New Yorker, a cellist, singer, a storyteller on The Moth. She grew up in a musical family – Marika’s grandfather was the great cellist Emanuel Feuermann, and her parents owned a jazz club, Burgundy, on the Upper West Side. As children, she and her younger brother were both regulars on Sesame Street. She went to Barnard College and the Juilliard School, graduating with BAs in political science and cello performance, respectively.Marika has worked with Whitney Houston, Lou Reed, Anthony Braxton, David Byrne, Adele, Henry Threadgill, D’Angelo, Idina Menzel, Nels Cline, Somi and Taylor Mac, among many others. She was a founding member of the Bay Area-based bands 2 Foot Yard and Red Pocket. She is a master teacher and director for Young Arts and a teaching-artist at Carnegie Hall’s Lullaby Project. Before COVID she was holding down the cello chair at the Broadway show, Hadestown, and we hope they'll pick it back up. Marika puts out a vibe that just won't quit, leading her bands Bottom Heavy and The New String Quartet and as the co-founder and co-director of Looking Glass Arts, an artist residency and youth education program in upstate New York. We get into it: her legendary granddad, growing up and finding her own way in the Bay area, her initial band experiences. We're kindred spirits and I know you're going to love this conversation with Marika. Check it out:Press PLAY above to hear my conversation with Marika Hughes.music selections:Chapter 4 - Marika Hughes & Bottom Heavy, New York Nostalgia 2016, ASCAP Hopscotch Dreams *written by Marikasnippet: Borrowed Arms - 2 Foot Yard (Borrowed Arms 2008, Yard Work ASCAP) *written by 2 Foot YardFor Nico - Marika Hughes (The Simplest Thing, 2010, Hopscotch Dreams ASCAP) *written by Marika.Band: Kyle Sanna gtr, Todd Sickafoose bass, Matthias Kunstli drums, Shahzad Ismaily gtrThanks for listening to Play It Like It’s Music. Thanks to Marika Hughes for spending some very generous time with us. You can find her music at Marika Hughes dot com and follow her on all the socials @marikahughes.If you like this show, please tell a friend:Follow me on social media @trevorexter and talk to me on there if you have thoughts about the show.We're all contending with a mutating professional landscape, jacked revenue streams, a catastrophic global pandemic and plenty of other noise out in the culture.But you gotta keep playing.We don't draw any lines here between scenes or styles.As always, thank you for listening and remember to play it like its music.You can check out my music on bandcamp and other places. It’s all at my website, trevorexter.com. Sign the mailing list on substack to get this show sent right to you the very moment it comes out. Consider hiring me to score your piece, do some cello, teach you lessons, produce your show or back you up onstage. Music is a beautiful thing and it makes the world go round.Big love to your ears.Trevor(Did you press play yet?)...If you like this stuff, help it spread by sharing it!Hear songs: the “Trevor Exter Playlist” on SpotifySign the mailing list!Take lessons from me online!Hire me remotely for cello overdubs or to score your piece.Or to produce your podcast.Follow me on IG TW FBMore @trevorexter.compsst… sign up for emails: This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit playitlikeitsmusic.substack.com