Podcast appearances and mentions of James Blood Ulmer

Charlie Burnham Interview Charlie Burnham is an accomplished American violinist, singer, and composer celebrated for his imaginative and eclectic style. Burnham traverses multiple genres, including bluegrass, folk, free jazz, blues, classical, and chamber jazz. His innovative use of the wah-wah pedal on the violin adds a distinctive flair to his performances. Burnham first gained prominence through his contributions to James "Blood" Ulmer's Odyssey album, highlighting his versatility and skill. The ensemble from that project later formed Odyssey the Band. Throughout his career, Burnham has been a pivotal member of several notable groups and artists, like Living Colour, Cassandra Wilson,  String Trio of New York, 52nd Street Blues Project, Hidden City, We Free Strings, the Improvising Chamber Ensemble, and the Kropotkins. He has also recently recorded new music with Eureka Shoes, showcasing his continual evolution as a musician. Beginning as an informal gathering of friends and now blossoming into a fully-fledged collaborative band, Eureka Shoes' Beautalina (Adhyâropa ÂR00079) soars aloft on gorgeous 3-part harmonies, delicate acoustic textures, and world-class songcraft. Eureka Shoes features award-winning songwriter Jean Rohe, acoustic music stalwart Skye Soto Steele, and omni-genre multi-instrumentalist Charlie Burnham. Rounded out here by the virtuosic bass of Rashaan Carter, Beautalina is an enduring testament to the power of music to unite, communicate, and elevate. Eureka Shoes Beautalina https://open.spotify.com/album/1bH16X7J5KU6YNJgDbEVL2?si=t0YsU9C7RVehdGdwc6hpdg

The First Jazz Feature tonight is "An Introduction to Jazz" narrated by Julian "Cannonball" Adderley. It is a tradition on The Jazz Show every year paying tribute to this time of year..."back to school, back to work" etc. with this educational and entertaining overview of the history of Jazz. Although it was recorded in 1960 it has significance and relevance to today's Jazz of 2024. The second Jazz Feature is a significant album by one of the most distinctive voices of the alto saxophone, the late Arthur Blythe. Mr. Blythe was well known in Los Angeles as a member of that city's Jazz underground and when he emigrated to New York in the mid 70's and recorded for small labels. Blythe to the surprise of many was signed by Columbia Records and recorded his first album called "Lenox Avenue Breakdown" . It was edgy, energetic and consisted of only four long compositions by Arthur Blythe. His band was unique as well with Arthur's fulsome alto saxophone paired with flute, guitar, tuba bass and drums. Blythe is accompanied by James Newton on flute, James "Blood" Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums and Guilherme Franco on percussion. This date began a four album run for Columbia and strangely they all soon became collectors items as they were not kept in the catalogue. Perhaps they were too adventurous for the lay Jazz public. Tonight The Jazz Show presents the first and best on "Lenox Avenue Breakdown". Head's up!!!

Salty Dog's VERTICAL Podcast, July 2024 We're standing straight and tall tone hounds... real vertical! Ha! Some fabulous cuts on the VERTICAL show, I ain't lyin'. Check out Albert Cummings, Julia Sas, The Macnamarr Project, Curtis Salgado, Clayton Doley, Bill Barber, Sean Riley, Great Unknown, Bec Willis, Hurray For The Riff Raff, Daryl Roberts, The Blow Out, James Blood Ulmer, Elliot Sharps' Terraplane, Johnny Burgin, Damon Smith N Ezra Lee, Tura Bullfrog Rata, Watermelon Slim, Ton Waits, Mike Wheeler, Chris Whitley N Jeff Lang. ARTIST / TRACK / ALBUM ** Australia 1. Albert Cummings / Emmylou / Strong 2. Julian Sas / Mercy / Bound To Roll 3. Anthony Geraci / Broken Mirror, Broken Mirror / Tears In My Eyes 4. ** The Macnamarr Project / Driving Wheel / The Quasar Sessions 5. Curtis Salgado / You Give the Blues A Bad Name / Fine By Me 6. ** Clayton Doley N The Flashy Dashbacks / Bully Stick / Jazz That Makes You Go Wow! 7. ** Bill Barber N The Holding Cell / Different Kind of Free / single pre release 8. Sean Riley N The Water / Stone Cold Hands / Stone Cold Hands 9. ** The Great Unknown / Flying Too High / Dirt And Bones 10. ** Bec Willis / End of Time / Other Side of Town 11. Hurray For The Riff Raff / Alibi / The Past Is Still Alive 12. ** Daryl Roberts N Hey Gringo / Bad Luck Reprise / Keep On Moving 13. ** The Blow Out / Road Song / Version of You 14. James Blood Ulmer / Death Letter / Memphis Blood: The Sun Sessions 15. Elliot Sharps' Terraplane / Mirrors N Smoke / Forged 16. Johnny Burgin / Fresno Woman / Ramblin' From Coast To Coast 17. ** Damon Smith, Ezra Lee / GFC / Piano Boogie Wonderland! 18. Tura Bullfrog Rata / Next Town / Harmonica Masters of New Zealand 19. Watermelon Slim / St. Peter's Ledger / Church of the Blues 20. Tom Waits / Kentucky Avenue / Blue Valentine 21. Mike Wheeler / The Devil Got You First / Sunbeams All Twisted 22. Chris Whitley, ** Jeff Lang / Stagger Lee / Dislocation Blues

In this final episode, we turn to people living with HIV today — longtime survivors of a plague who, despite their pain, frustrations and desires to just be done with it, realize they can't be done with it. These are people like Kia LaBeija, an artist who has been HIV-positive since birth, who turned to photography at 16, shortly after her mother died, to help make sense of her story. And they are people like Phill Wilson, an activist who still bears the scars of his decades fighting in the HIV and AIDS trenches; Valerie Reyes-Jimenez, the proudly positive woman we met in the first episode, who talks about what it's like to age as a HIV-positive woman; Victor Reyes, one of the children who went through Harlem Hospital and lived long enough to grow up and start a family of his own; and Lizzette Rivera, who who lost her mother to AIDS in 1984 and spent decades trying to find her mother's burial spot so that she could properly mourn and honor her. Together, these five remind us that the HIV and AIDS epidemic is not over — and there is still so much we need to do to bring it out of the shadows.Voices in this episode include:• Kia LaBeija, a former mother of the House of LaBeija, is an image-maker and storyteller born and raised in Hell's Kitchen in the heart of New York City. Her performative self-portraits embody memory and dream-like imagery to narrate complex stories at the intersections of womanhood, sexuality and navigating the world as an Afro Filipina living with HIV.• Warren Benbow is a drummer who has worked with Nina Simone, James “Blood” Ulmer, Betty Carter and Whitney Houston, among others. He grew up in Bed-Stuy, Brooklyn, and went to the High School of Performing Arts. Warren is Kia's father.• Phill Wilson is the founder of the Black AIDS Institute, AIDS policy director for the city of Los Angeles at the height of the epidemic, and a celebrated AIDS activist in both the LGBTQ+ and Black communities since the early 1980s.• Valerie Reyes-Jimenez is a HIV-positive woman, activist and organizer with Housing Works. She saw the AIDS crisis develop from a nameless monster into a pandemic from her home on New York City's Lower East Side.• Victor Reyes was born at Harlem Hospital Center and spent much of his childhood receiving treatment and care at the hospital's pediatric AIDS unit. He is the director of an after school program at a grade school in Washington, D.C. He also does research at the Global Community Health Lab at Howard University.• Lizzette Rivera is a data analyst who remains haunted by her mother's death in 1984. Rivera spent years trying to find the whereabouts of mother's burial site on Hart Island. She finally succeeded in 2020. She now visits her mother's grave regularly.Blindspot is a co-production of The HISTORY® Channel and WNYC Studios, in collaboration with The Nation Magazine.A companion photography exhibit by Kia LaBeija featuring portraits from the series is on view through March 11 at The Greene Space at WNYC. The photography for Blindspot was supported by a grant from the Economic Hardship Reporting Project, a nonprofit organization that promotes coverage of social inequality and economic justice.

Sean leads us into the exciting and chaotic world of free jazz with an album by American guitarist James Blood Ulmer. We detail in brief the history of this subgenre and learn how Ulmer developed his unique style of playing.   If you like us, please support us at patreon.com/idbuythatpodcast to get exclusive content, or tell a friend about us. Broke and have no friends? Leave us a review, it helps more people find us. Thanks!

Salty Dog's SOCKET Podcast, December 2023 Welcome to the SOCKET show as we slide on into the festival season. A Santa bag full of goodness if you've all behaved! :-) Cuts from Seth James, Bettye LaVette, Checkerboard Lounge, Van Walker N The Ferriters, Tom Petty, Shane Pacey Trio , The Blow Out, Bruce Cockburn, Ross Hannaford Trio, Steve Lucas, Chris Forsyth, James Blood Ulmer, John Haitt , Eddy N The Exciters, Kaliopi N The Blues Messengers , Early James, Keith Hall Band, Allman Brothers Band, Sweet Talk , Bob Dylan, Miss Lou's Blues , Lisa Mills. ARTIST / TRACK / ALBUM ** Australia 1. Seth James / Burn It Down / Different Hat 2. Bettye LaVette / See Through Me / LaVette! 3. ** Checkerboard Lounge / Came To Get My Heart Back / Roller Coaster 4. ** Van Walker N The Ferriters / Drinking Too Much / Greetings From Newtown 5. Tom Petty / Don't Fade On Me / Wildflowers 6. ** Shane Pacey Trio / Listen Here / Who Made You King 7. ** The Blow Out / Turn On You / Version of You 8. Bruce Cockburn / All Our Dark Tomorrows / You've Never Seen Everything 9. ** Ross Hannaford Trio / Can Can Yes We Can / Ross Hannaford Trio 10. ** Steve Lucas / Baby, Let Your Hair Hang Down / Baby, Let Your Hair Hang Down 11. Chris Forsyth / Long Warm Afternoon / Solar Motel Expanded 12. James Blood Ulmer / Death Letter / Memphis Blood : The Sun Sessions 13. John Haitt / Love's Not Where We Thought We Left It / Master of Disaster 14. ** Eddy N The Exciters / Let's All Swing Oujt / Unreleased 15. ** Kaliopi N The Blues Messengers / Kissing in The Dark / Blues For Minnie 16. Early James / One Trip Pony / One Trip Pony 17. ** Keith Hall Band / I Keep Rollin' On / Blue And Indigo 18. Allman Brothers Band / Pony Boy / Brothers And Sisters 19. ** Sweet Talk / Left Me For The Music / I'd Rather Be Listening to Sweet Talk 20. Bob Dylan / Not Dark Yet (Version 1) / Fragments - Time Out Of Mind Sessions 21. ** Miss Lou's Blues / Singing The Blues / Miss Lou's Blues 22. Lisa Mills / Blue Guitars of Texas / Tempered In Fire

We all know about fusion - the (sometime unholy) union of jazz and rock that tried to find a new audience for instrumentalists in the 1970s.  But there have always been, well, odder experiments with electricity in jazz, more like intrusions of the rock world than integrations, and we look at four rather varied examples in this here podcast.  Running the gamut from harmolodic blues-slinger to fusion axe-hero to . . . Herbie Mann? - these artists let the guitar off da hook and, possibly, into your hearts.  Herbie Mann - MEMPHIS UNDERGROUND ; James Blood Ulmer – BLACK ROCK;  Alan Holdsworth – NONE TOO SOON; Jay Hoggard - RIVERSIDE DANCE.

THIS WEEK's BIRDS:  Vintage Guinean Authenticité from  Kante Manfila and Camayenne Sofa; Ouzbek music from Khwarazm; vintage refusal ("No Me Llores") from legendary Cuban guitarist/vocalist/composer Arsenio Rodriguez; James Blood Ulmer's "Captain Black" explored, extended, expanded, retitled by Rashid Ali w. Quartet (live in Finland ca. 2007); instrumental flamenco guitar improvisation by Manzanita; recent and not-so-recent canto jondo from El Torta and David Palomar; fados from Chico Buarque/Carlos do Carmo (duet) and  João Braga; MPB from Jussara Silveira, samba from Clementina de Jesus;  Maria Bethania renders Fauzi Arap lines in song; Eddie Gale's Ghetto Music; vintage Bobby Hutcherson; Farida Parveen sets  Bengali poet Lalon Shah to music (performed/recorded  live in Bangledesh); Bengali /Baul minstrel song from Purna das Baul; and, as ever, much, much more ...! LISTEN LIVE: Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG.  via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/17563836/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

EPISODE #907 Living Colour Guitarist Vernon Reid on A.I. and the Music Industry Richard speaks with a legendary musician about the impact Artificial Intelligence is having on the Music Industry. GUEST: Vernon Reid is the founder and primary songwriter of the rock band Living Colour, Reid was named No. 66 on Rolling Stone magazine's 2003 list of the 100 Greatest Guitarists of All Time. Reid has played with artists ranging in style from Mariah Carey to Public Enemy, and from Mick Jagger to jazz guitarist Bill Frisell. He has undertaken a wide range of musical journeys, including the production of James Blood Ulmer's blues album at the legendary Sun Studios in Memphis, reuniting with Living Colour for a series of shows, and touring with former Cream front man Jack Bruce. LINKS: https://www.facebook.com/VernonReid SUPPORT MY SPONSORS!!! Copy My Crypto Discover how over 2,800 people - many of who know nothing about crypto or how to invest - are building rapid wealth the cabal can never steal. "You don't need to know a thing about cryptocurrency if you copy someone who does." Gain Access for just $1 https://copymycrypto.com/richard BECOME A PREMIUM SUBSCRIBER https://strangeplanet.supportingcast.fm Use the discount code "Planet" to receive one month off the first subscription. We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and services, you agree to our use of cookies as described in our Cookie Policy. Learn more about your ad choices. Visit megaphone.fm/adchoices Learn more about your ad choices. Visit Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://strangeplanet.supportingcast.fm/

The Shane Schneider Memorial episode,  featuring tracks exclusively from his collection.1)James Blood Ulmer/"Moon Shines"/Tales of Captain Black '782)Brotzmann/Bennink/"No.3"/Ein Halber Hund Kann Nicht Pinkeln '773)Roscoe Mitchell/"Nonaah"/Solo Saxophone Concerts '734)Andrew Cyrille/"The Loop"/The Loop '785)Ornette Coleman/"Him and Her"/Of Human Feelings '796)John Coltrane/"Peace on Earth"/Concert in Japan '667)Heiner Goebbels/Alfred 23 Harth/"Lightning Over Moscow"/Live Victoriaville '878)Braxton & Bailey/"Another Rehearsal Extract"/Live at Wigmor '749)Arthur Doyle/"Hey Minnie Hey Wilbur Hey Mingus"/Plays & Sings From the           Songbook '9210)Shannon Jackson & the Decoding Society/"Small World"/Nasty '8111)Joseph Jarmen/"Little Fox Run"/Song For '6612)Oliver Lake/"Whap"/Passing Thru '74

Playlist: Snatch It Back and Hold It – Junior Wells; Damn Right I've Got the Blues – Buddy Guy; Early in the Morning – Buddy Guy, feat. Eric Clapton, Jeff Beck; Before You Accuse Me, Malted Milk, Layla – Eric Clapton; Ten Long Years, Days of Old – B. B. King, Eric Clapton; Every Day I Have the Blues, The Thrill is Gone – B. B. King; Done Got Old, Baby Please Don't Leave Me – Buddy Guy; Dimples – John Lee Hooker; Dimples – James "Blood" Ulmer. Escuchar audio

This week's guest Rich Brown. Hailing from Canada, Rich is a highly accomplished performer, composer, producer, and educator. He's recorded three albums as band leader and has been featured on over 70 recordings covering a wide range of musical genres. Rich has played, toured, and recorded with some of the most distinguished musicians on the planet, from James Blood Ulmer, Vernon Reid and Steve Coleman to Rudresh Mahanthappa, Angelique Kidjo, and David Clayton Thomas—just to name a few. Host Josh Paul talks to Rich about his upbringing, his performing and teaching style, and his philosophy on what it takes to be a multi-faceted musician in today's age.

I have said two things all season long. The first is that we're going to be exploring a single topic for ten episodes, and that topic is fusion. But the second thing I've been saying is that what I'm talking about when I say the word fusion isn't a style or a genre, but a state of mind. It's not what you play, it's how you approach music-making.In previous episodes, we've talked about what people typically think of as fusion, which drummer Lenny White, who appeared in episode two of this series, prefers to call jazz-rock. That's the version that more or less starts with Miles Davis's Bitches Brew and Tony Williams' Lifetime and branches out to include Mahavishnu Orchestra and Return To Forever and Weather Report. But my version of that continuum also includes early Seventies Santana, it includes the Fania All Stars collaborating with Jan Hammer and Billy Cobham, it includes adventurous funk and R&B fusion, like P-Funk and Earth, Wind & Fire and the Ohio Players and Slave, and it includes jazz-funk acts like Donald Byrd and Freddie Hubbard and George Duke.Vernon Reid is a guitarist who was born in England but grew up in New York. He's best known as the leader of Living Colour, and one of the co-founders of the Black Rock Coalition along with the late writer Greg Tate, but he's got a long and varied discography that encompasses solo material, duo and trio work with other guitarists like Bill Frisell, David Torn and Elliot Sharp, and guest appearances with a ton of groups from Public Enemy to the Rollins Band, Mick Jagger, Janet Jackson, Mariah Carey, Santana, and many, many more. His solo album Mistaken Identity from 1996 is the only album to carry co-producer credits from Prince Paul and Teo Macero. Back in 2012, he made an album with a group called Spectrum Road which featured John Medeski on keyboards, Jack Bruce on bass, and Cindy Blackman Santana on drums — it was conceptually a tribute to Tony Williams Lifetime, but it's very much its own thing as well, so definitely check that out.Reid got his start, though, with drummer Ronald Shannon Jackson's band the Decoding Society. He played guitar, banjo, and guitar synth with that group, which had two bassists: Melvin Gibbs, who was on this podcast a couple of years ago, and Reverend Bruce Johnson, and then some horn players, mostly Zane Massey on saxophones and Henry Scott on trumpet. It's high-energy music that's also really melodic in a kind of post-Prime Time way — jazz, funk, rock, Texas blues and West African music all swirled together and thrown straight at your face at a hundred miles an hour. Their albums Nasty, Street Priest, Mandance, Barbeque Dog, Montreux Jazz Festival and Earned Dreams are all incredible. They're all out of print right now, too, but some of them are on streaming services, so dig up whatever you can. Reid has a new record out with the group Free Form Funky Freqs, a trio with bassist Jamaaladeen Tacuma, who's also been on this podcast before, and drummer Calvin Weston, and as he explains in this conversation, it's full-on improv, starting from zero every time they play together, and because it's so limited – no rehearsals, no soundchecks with all three members – they know exactly how many times they've played together. The album represents their 73rd encounter. It's called Hymn Of The 3rd Galaxy, sort of a tribute to Return To Forever there, who had an album called Hymn Of The Seventh Galaxy, and you'll hear a little bit of the music late in the podcast. I think you'll really enjoy this episode. I've been a fan of Vernon Reid's music for about 35 years. The first Living Colour album came out when I was in high school, and I saw them play on the first Lollapalooza festival in the summer of 1991. And I interviewed him once before, about 10 years ago, when he was doing a multimedia presentation called Artificial Africa. So in this conversation, we talk about his work with the Decoding Society, about the Free Form Funky Freqs, about the whole wave of guitarists who came up at the same time he did, including Michael Gregory Jackson and Kelvyn Bell and Jean-Paul Bourelly and Brandon Ross, as well as older players like James "Blood" Ulmer and Pete Cosey and Sonny Sharrock… we talk about a lot of things, and I'm just gonna end this introduction here, so you can dive in.MUSIC IN THIS EPISODE:Living Colour, “WTFF” (from Stain)Ronald Shannon Jackson and the Decoding Society, “Iola” (from Mandance)Vernon Reid & Bill Frisell, “Size 10 1/2 Sneaks” (from Smash & Scatteration)Free Form Funky Freqs, “Outer Arm” (from Hymn of the 3rd Galaxy)

With Skip's internet down, we recorded our 98th episode the old-fashioned way. Once you get past the distorted land line telephone, you'll hear about how you can win some truly amazing gear on our 100th episode (including a new Grez Mendocino Junior guitar!), plus what inspires Skip, screen resistors on power tubes, center taps on resistors, and one heck of a goat story. This week's episode is sponsored by Calton Cases, Jupiter Condenser Co., Amplified Parts and Grez Guitars. You can also use the discount code FRET10 to save 10% off your Izotope purchase. Support us on Patreon.com for added content and the occasional surprise. One of our patrons will win a Hello Sailor Fuzz Face this month!  Some of the topics discussed this week: :54 The Fretboard Journal 50 (link) ...and issue 1; NAMM Shows 6:15 Our 100th episode giveaways: Win a Grez Guitars Mendocino Junior; a Madsen Electronics GE Fuzz; or a First Coast Amplification Masco - 5F2A Princeton conversion... plus, Josephine Baker was a spy 11:57 What exactly does a Variac do on a dormant amp? 15:43 A super microphonic Deluxe Reverb 17:33 Screen resistors on power tubes: 1-watt resistors vs 3-watt resistors 22:10 Center taps on power transformers: Grounded, tapped-off, or artificial? 26:29 Replacing the rotary off-on switches on Gibsons; Carling rotary switches (link) 29:45 What inspires Skip 35:23 Skip and the Reserve Champion goat 47:09 How important is the orientation of film capacitors?   53:20 A 1974 Fender Pro Reverb with a hissing problem that goes away with the vibrato; rosemary seasoned foil-wrapped corn on the cob 59:08 Voltage on the chassis of a two-pronged Harmony H-195 1:03:50 Replica cabinets from Lightning Music in Marengo, Ohio; Electro-Harmonix Hum-Debugger pedals, Bruce Forman, James "Blood" Ulmer, the Westerlies 1:07:48 The Fretboard Summit at Chicago's Old Town School of Folk Music, August 25-27, 2022 (www.fretboardsummit.org) 1:09:18 Ananyo Bhattacharya's 'The Man From the Future: The Visionary Life of John Von Neuman' (Amazon link), vacuum tubes for computer memory, Nixie tubes, Fender Dimension IV Sound Exploder / Tel-Ray goo 1:12:26 The tone of Orange Drop capacitors: polyester versus polypropylene; spaghetti bolognese with a slug of El Pato 1:19:25 A Carl's Custom Amps Octal Princeton that can use either a 6L6, EL34, KT77, or 6CA7... and the difference in wattage 1:23:24 Musical instrument insurance; Heritage Insurance (link)  1:26:25 Do you need an insulator board on a turret board amp build? How to find time to work on amps when you have a busy life and family and other parenting tips.    1:36:22 Homework: How to add a tone control to a Gibson GA17-RVT?  Submit your amp questions, recipes and life hacks to the podcast via podcast@fretboardjournal.com and don't forget to share the show with friends on social media. 

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)

Featuring the glassy new jams of bassist/keyboardist Spencer Zahn; the debut of a young Brazilian guitar virtuoso, Plinio Fernandes; LA drummer Mark Guiliana and Beat Music; master vocalist Theo Bleckmann from his interpretations of Kate Bush; Parisian reedsman Robby Marshall channels multiple continents on a track from his upcoming release; free jazz pioneer James Blood Ulmer and his collaboration with George Adams, Phalanx; pianist Keith Jarrett serenades us in his home studio on this 1999 release; the retro-electronic pop pride of France, Air; and finally, saxophonist Gene Ammons preaches to the choir.

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)

On May 1 at BAM, there will be a reimagining of Ornette Coleman's seminal 1959 album, The Shape of Jazz to Come, featuring an all-new Bang on a Can Orchestra including his son, drummer Denardo Coleman, as well as Jason Moran, Jamaaladeen Tacuma, Lee Odom, Wallace Roney Jr. and special guest James “Blood” Ulmer —conducted by Awadagin Pratt. Six composers rearranged & rework tracks from The Shape of Jazz to Come to honor the six pieces on the album that established Coleman as one of America's visionary musicians. Denardo Coleman joins us to preview the show.

A cura di Gigi Longo. Musiche: Brian Auger, Julie Driscoll, Freddie Hubbard, alGot, James Blood Ulmer, Dave Gisler Trio with Jaimie Branch and David Murray, Eclectic Maybe Band, Martin Archer Trio, Corrado Ciervo, Omri Ziegele Where's Africa Trio, Damo Suzuki and Spiritczualic Enhancement Center.

A cura di Gigi Longo. Musiche: Brian Auger, Julie Driscoll, Freddie Hubbard, alGot, James Blood Ulmer, Dave Gisler Trio with Jaimie Branch and David Murray, Eclectic Maybe Band, Martin Archer Trio, Corrado Ciervo, Omri Ziegele Where's Africa Trio, Damo Suzuki and Spiritczualic Enhancement Center.

This week, we share a potpourri of favorite moments from 2003, as we celebrate that particular season with musical guests that include Paul Brady, The Waifs, Marcia Ball, James "Blood" Ulmer, Derek Trucks and more. Plus, Nick's conversation with Jim Proffitt is one you'll definitely want to hear.

We'll be talking with Lillian Cicerchia about the limitations of post Marxism, and then we're going to be discussing the Black Music and the culture industry with Greg Tate   About Lillian Cicerchia: Lillian is a post-doc at the Institute of Philosophy at the Free University of Berlin. Her areas of specialization are political philosophy, feminist philosophy, and critical theory. Her research is about capitalism, structural injustice, and the intersection of the two, especially the ways in which capitalism influences experiences of social group oppression. Her work also asks how contexts of structural injustice frame the way that we think about our normative criteria for justice in terms of democratic rights and participation.   What's Left of Philosophy Podcast: https://www.youtube.com/channel/UCuwLXhuSvi3NRGbSmcRS3ig   About Greg Tate: Tate was born and raised in Dayton, Ohio. When he was 13 years old, his family moved to Washington, D.C.[1][2] He credits Amiri Baraka's Black Music and Rolling Stone, which he first read when he was 14, with stimulating his interest in collecting and writing about music.[3] As a teenager, Tate taught himself how to play guitar. He attended Howard University, where he studied journalism and film.   In 1982, Tate moved to New York City, where he developed friendships with other musicians, including James "Blood" Ulmer and Vernon Reid. In 1985 he co-founded the Black Rock Coalition with some of the African-American musicians he knew who shared a common interest in playing rock music.   Tate became a staff writer for The Village Voice in 1987, a position he held until 2005. His 1986 essay "Cult-Nats Meet Freaky Deke" for the Voice Literary Supplement is widely regarded as a milestone in black cultural criticism; in the essay, he juxtaposes the "somewhat stultified stereotype of the black intellectual as one who operates from a narrow-minded, essentialized notion of black culture" (cultural nationalists, or Cult-Nats) with the freaky "many vibrant colors and dynamics of African American life and art", trying to find a middle ground in order to break down "that bastion of white supremacist thinking, the Western art [and literary world" His work has also been published in The New York Times, The Washington Post, Artforum, Down Beat, Essence, JazzTimes, Rolling Stone, and VIBE. The Source described Tate as one of "the Godfathers of hip-hop journalism".   In 1999, Tate established Burnt Sugar, an improvisational ensemble that varies in size between 13 and 35 musicians. Tate described the band in 2004 as "a band I wanted to hear but could not find".   Tate has been a visiting professor of Africana studies at Brown University and the Louis Armstrong Visiting Professor at Columbia University's Center for Jazz Studies. In 2010, he was awarded a United States Artists fellowship.   Thank you, guys, again for taking the time to check this out. We appreciate each and every one of you. If you have the means, and you feel so inclined, BECOME A PATRON! We're creating patron only programing, you'll get bonus content from many of the episodes, and you get MERCH!   Become a patron now https://www.patreon.com/join/BitterLakePresents?   Please also like, subscribe, and follow us on these platforms as well, (specially YouTube!)   THANKS Y'ALL   YouTube: www.youtube.com/thisisrevolutionpodcast Twitch: www.twitch.tv/thisisrevolutionpodcast www.twitch.tv/leftflankvets   Facebook: https://www.facebook.com/Thisisrevolutionpodcast/   Twitter: @TIRShowOakland Instagram: @thisisrevolutionoakland   The Dispatch on Zero Books (video essay series): https://youtu.be/nSTpCvIoRgw   Medium: https://jasonmyles.medium.com/kill-the-poor-f9d8c10bc33d   Pascal Robert's Black Agenda Report: https://www.blackagendareport.com/author/PascalRobert   Get THIS IS REVOLUTION Merch here: www.thisisrevolutionpodcast.com   Get the music from the show here: https://bitterlakeoakland.bandcamp.com/album/coronavirus-sessions

When Matthew Rifino picked up an acoustic guitar at 5, a 30 year love affair with music began. 3 years later, he convinced his grandfather to buy him a four-track cassette recorder and Matthew would sit for hours recording and overdubbing. He started recording his first band at their first rehearsal and honed his basic recording chops by trial and error. Matthew and his friends threw themselves into the NJ Hardcore and Punk scene of the mid 90's. Forming an indie label and throwing shows, Matthew wanted to be immersed in the music community. Channel surfing after school, Matthew stumbled upon a show being filmed at a recording studio only one town over from his house! He showed up at their door and told them he wanted to learn how to record. Matthew lucked out and the owner Tee DiMura took him under his wing. It was an old school 16 track analog 70's studio with floor to ceiling shag carpet and the smell of cigarettes in the air. Matthew spent all four years of high school afternoons learning as much as he could about recording and mixing. It was Avatar Studios (The Power Station) that gave Matthew his first real taste of what it's like working with big names in the music industry. At 19-years-old, he scored a 3 month unpaid internship that turned into 4 years on staff at this legendary facility.  Everyday, Matthew was in awe while learning from Grammy winning engineers and producers. Al Schmidt, Jack Joseph Puig, Michael Brauer, Jason Corsaro, Neil Dorfsman, and Rich Costey were some the greats he got to watch perform their craft. The years he spent at Avatar still influenced the rest of his life.After 4 years, he wanted to make the move to freelance. Matthew had a couple of indie records lined up and then by a chance meeting he got a gig mixing monitors for the NBC Today Show. He had never mixed anything live before but got thrown right into the fire on his first show mixing Elvis Costello. At the same time with an inherent gravitational pull towards his recording studio roots he signed on as a staff engineer at Granite Alps Studios in NJ and later as Chief Engineer at Fenix Studios in Staten Island, NY. During that time, Matthew worked with Living Colour, James Blood Ulmer, Bernard Purdie (Steely Dan, Aretha Franklin, Hall and Oates), Wu Tang Clan, Wyclef Jean plus lots of independent rock and pop artists. While at Fenix, he also had the opportunity to mix jingles for television, radio, as well as tracks that would end up in major motion pictures.At just 27, Matthew took on the role of Broadcast Music Mixer for the NBC TODAY SHOW. Mixing the 5.1 Surround Sound on air-mixes that millions watch daily along with millions of streams on the net. During his time at NBC, Matthew has worked with a cornucopia of artists such as Adele, Aerosmith, Bon Jovi, Dave Matthews Band, Robert Plant, Fleetwood Mac, Lady Gaga, Sting, Aretha Franklin, Taylor Swift, John Mellencamp, among many others.After a few years away from the record business to focus on television, he could not resist the urge to get back into the studio. Having recently completed his personal mix room "Stone House Studios”, Matthew has started mixing records again. His goal is to be able to deliver high quality mixes to all his clients.Guest Links:https://www.mattrifinomusicmixer.com/https://www.instagram.com/rifinomatthew/Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_s-xclick&hosted_button_id=9JCBNUCRNRVKY&source=url)

I'm so happy to present episode 20 of Basscraft to you all! Thanks so much for the support. It's great to have one of my favourite artists and educators Rich Brown on this week's episode. We chat about his bass journey, solo bass, teaching and all the amazing opportunities coming his since he launched his YouTube channel . Ive put links to some of the stuff we covered in the chat Toronto-born electric bassist Rich Brown has established himself as an incredibly versatile artist. Along with being one of the most called upon electric bass players in Canada, Rich is additionally a composer, producer, bandleader, educator and clinician, broadcaster, and voiceover artist. He has recorded three albums as a leader, and appears as a sideman on a plethora of recordings ranging from Jazz to Funk to traditional Arabic and Asian music. Brown has performed with a wide variety of artists including Rudresh Mahanthappa, Steve Coleman, Angelique Kidjo, Kurt Elling, and James Blood Ulmer among many others. He leads two groups—rinsethealgorithm and The Abeng—and was nominated for a Juno Award in 2016 for his latest album ‘Abeng'. Check out Rich at these links ► https://www.instagram.com/richthealgorithm/ ► https://rinsethealgorithm.bandcamp.com/ ► https://www.youtube.com/user/brownztone Jaco Pastorius " Modern Electric Bass" https://www.youtube.com/watch?v=REM2wGN0kTE Barry Harris chromatic scale mentioned in Ep https://www.youtube.com/watch?v=or1NTTeo_2E "That" Willy weeks solo. Starts at 8 mins in https://www.youtube.com/watch?v=3gpN-SJD-VY Support the Podcast ► Merch - https://basscraft.bigcartel.com/ ► Paypal me link - https://www.paypal.com/paypalme/henstepmusic ► Buy me a coffee - https://ko-fi.com/stephenmcgrathbass ► Instagram - https://www.instagram.com/stephenmcgrathbass ► Youtube - https://www.youtube.com/c/stephenmcgrathbass

We start with our Fearless Beer Review. We get into some of the new vinyl we bought this week, and that leads to our Songs Of The Week from Caterina Valente and James Blood Ulmer. We finish up with some new music and other happenings in the music world. Don’t forget to rate, review and subscribe on iTunes. Leave a comment on Facebook, Instagram, Twitter or AsinineRadio.com. Email us at AsinineRadio@gmail.com. We’re even on Spotify! iTunes: www.itunes.apple.com/us/podcast/asi…130289553?mt=2 Spotify: open.spotify.com/show/60pYwZVJoOm2NvmmQHcks7 Twitter: www.twitter.com/AsinineRadio Instagram: www.Instagram.com/asinineradio/ Facebook: www.facebook.com/asinineradio/

Bob and Mike plays three songs from Catherine Ireton, two songs from Sunny War (including a Wire cover as well as the Wire original), plus songs from Beak>, James Blood Ulmer, Damaged Bug, and Cut Worms. all while telling stories about spelling bees and The Antiques Roadshow.

Salty Dog's L.A.F.L Podcast, December 2020 Visit: www.salty.com.au Looking forward to better times in '21, so the Dawg tracks through twenty cuts that are L.A.F.L - Love At First Listen. Too many to include tone hounds - but here's some of the best. What are your LAFL (pronounced La Fel) cuts? Happy New Year!! Cuts from Lou Reed, John Butler, Chris Wilson, Chris Whitley, John Hiatt, North Mississippi Allstars, Sly and Family Stone, Mary Gauthier, David Francey, Buddy Guy, Charlie Mussellwhite, Moreland N Arbuckle, Joni Mitchell, Tome Waits, Jeff Lang, Violent Femmes, James Blood Ulmer, Malcolm Holcombe, Paul Butterfield, Stevie Ray Vaughan. ----------- ARTIST / TRACK / ALBUM ** Australia 1. Lou Reed / Paranoia Key of E / Ecstasy 2. ** John Butler Trio / Treat Yo Mama / Sunrise Over Sea 3. ** Chris Wilson / Go Go Gaugin / Spiderman 4. Chris Whitley / Frontier / Hotel Vast Horizon 5. John Hiatt / Love's Not Where We Thought We Left It / Master of Disaster 6. North Mississippi Allstars / No Mo / Electric Blue Watermelon 7. Sly and the Family Stone / Don't Call Me Nigger, Whitey / Stand! 8. Mary Gauthier / Falling Out Of Love / Mercy Now 9. David Francey / All Lights Burning Bright / Seaway 10. Buddy Guy N Junior Wells / A Man Of Many Words / Play The Blues! 11. Charlie Musselwhite / Just A Feeling / Delta Hardware 12. Moreland N Arbuckle / 18 Counties / Flood 13. Joni Mitchell / Amelia / Hejira 14. Tom Waits / Tom Traubert's Blues / Small Change 15. ** Chris Whitley N Jeff Lang / Dislocation Blues / Dislocation Blues 16. Violent Femmes / Add It Up / Violet Femmes 17. James Blood Ulmer / Death Letter Blues / Memphis Blood ‎– The Sun Sessions 18. Malcolm Holcombe / Outta Luck / Pretty Little Troubles 19. Paul Butterfield Blues Band / Just To Be With You / The Original Lost Elektra Sessions 20. Stevie Ray Vaughan N Double Trouble / Texas Flood / Blues Explosion (Montreux Jazz Festival 1982)

A charismatic and dynamic saxophonist and bandleader, Lakecia Benjamin fuses traditional conceptions of Jazz, HipHop, and Soul. Benjamin's electric presence and fiery sax work has shared stages with several legendary artists, including Stevie Wonder, Alicia Keys, The Roots, and Macy Gray. As the bandleader of Lakecia Benjamin and Soul Squad, she melds the vintage sounds of James Brown, Maceo Parker, Sly and the Family Stone, and the Meters with soaring, dance-floor worthy rhythms. Benjamin's grooves take the classic vibe to a whole new level with sultry alto saxophone creating something special on every cut - be it a smoldering late-night ambiance, or a forceful jazz intensity, or even the tight funk multi-horn harmony sections.A streetwise New York City native born and raised in Washington Heights, Lakecia Benjamin first picked up the saxophone at Fiorello LaGuardia High School for the Performing Arts. From there she joined the renowned jazz program at New York's New School University. However, even at that early stage, Benjamin was already playing with renowned jazz figures like Clark Terry and Reggie Workman, which introduced her to opportunities to play and tour with an array of artists such as Rashied Ali, the David Murray Big Band, Vanessa Rubin and James "Blood" Ulmer. With her deep jazz roots, she was soon in demand as an arranger and horn section leader, landing stints with such acclaimed artists as Anita Baker. Currently Lakecia Benjamin's latest album "Pursuance" is an intergenerational masterpiece that takes one on a journey through the lineage of the music with the works of John and Alice Coltrane. Benjamin pays homage to those who have come before by featuring innovative bandleaders of her generation, such as, Reggie Workman (Coproducer and playing ), Ron carter , Gary Bartz, Dee Dee Bridegwater, Meshell Ndegecello, Regina carter, Bertha Hope, Last poets, Greg Osby, Steve Wilson, John Benitez, Marc Cary, Marcus Gilmore, Keyon Harrold, Marcus Strickland, Brandee Younger, Georgia Anne Muldrow, and Jazzmeia Horn.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love". Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album. Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire … Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com.Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love".  Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album.  Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire …  Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com. Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love". Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album. Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire … Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com.Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears.The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In this week's episode, we welcome former Face editor Sheryl Garratt into RBP's Zoomworld to ask her about rave and club culture – and how we got from disco to acid house to 2020's quarantine raves. Sheryl discusses her newly-reissued/revised 1999 classic Adventures in Wonderland and looks back on her journey from the NME to The Observer. Mark, Barney & Jasper ask her about her seminal 1986 Face piece on Chicago's House scene – and about Ecstasy and 1988's "second summer of love".  Clips from the week's new audio interview, a 2005 conversation between DJ History's Bill & Frank and Shoom/Boy's Own legend Terry Farley, provide the perfect springboard for further reminiscence of House music and the UK's ever-fecund club scene. Sheryl also pitches in on the week's Free On RBP feature about fellow Brummie Mike (The Streets) Skinner, whose classic track 'Weak Become Heroes' was arguably the greatest elegy for the rave era. We hear a clip of Skinner speaking to Gavin Martin in 2002 and celebrate that year's splendid Original Pirate Material album.  Among the new RBP library additions considered are Hugh Nolan's Disc report on London's psychedelic temple the UFO club (1967), a slightly unlikely 1989 encounter between David Toop and Bakersfield country icon Buck Owens, and Chris Heath's hilarious 1997 Rolling Stone cover story on the Spice Girls. Jasper takes us out with observations on a pointless Tim Buckley tribute album (2000) and an interview with Public Service Broadcasting's amusingly-monikered J. Willgoose , Esquire …  Many thanks to special guest Sheryl Garratt; buy Adventures in Wonderland on Amazon and visit her website at sherylgarratt.com. Pieces discussed: House sound of Chicago, Blackpool Weekender, 1988 and all that, Terry Farley audio, The Streets audio, The Streetser, The Streetsest, UFO Club, George Harrison, Al Green, Buck Owens, Neil Kulkarni's letter to MM, Spice Girls, Tim Buckley tribute, Tim Buckley live, James Blood Ulmer, Public Service Broadcasting and Britney Spears. The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.

In the first episode of 2020, Mark, Barney & Jasper celebrate the 40th birthday of James Blood Ulmer's startling Are You Glad to be in America? Pringle waxes lyrical about seeing Ulmer live and about the man's influence on his own guitar-playing – and then, with his colleagues, discusses the "punk-jazz" scene that coalesced around JBU, James Chance, Defunkt and others.RBP's power trio then considers amusing interviews with Billy Idol, Gerry [and the Pacemakers] Marsden and Solomon Burke by New Zealander and former Rip It Up editor Chris Bourke. (Honorary mentions, along the way, to Nik Cohn, Nick Lowe and Jürgen Klopp.)Mark intros a discussion of the week's new audio interview — with Joan Baez in 1992 — by playing a clip of America's folk queen describing how she's (temporarily) let go of her political activism. Baez's significance and legacy are considered after a second clip about learning how hard it is to write songs when you're not Bob Dylan.Mark also talks us through his highlights of the week's new library additions, including a report on hanging out with Madeline Bell in swinging '60s London that reads like a scene from Austin Powers; Sounds' Dave McCullough bemoaning the joyless postpunk of the Raincoats and the Mekons in 1979; and Police man Stewart Copeland and others on the art of drumming in 1988…By contrast, Jasper revisits the return of avant-funk postpunks 23 Skidoo in 2000, a probing biog of Beyoncé from 2015 and the musings of Panic! at the Disco's Brendon Urie in 2016…James Blood Ulmer and Ornette Coleman, James Blood Ulmer, Punk Jazz, Billy Idol, Gerry Marsden, Solomon Burke, Joan Baez audio, Plonk Lane of the Small Faces, Madeline Bell, Jimi Hendrix R.I.P., Weather Report, Simon Frith, The Raincoats, Tony Wilson, Drummers, Black Box, Speed, Lucinda Williams, 23 Skidoo, White Stripes, Beyoncé, Panic! at the Disco and Lizzo live.

In the first episode of 2020, Mark, Barney & Jasper celebrate the 40th birthday of James Blood Ulmer's startling Are You Glad to be in America? Pringle waxes lyrical about seeing Ulmer live and about the man's influence on his own guitar-playing – and then, with his colleagues, discusses the "punk-jazz" scene that coalesced around JBU, James Chance, Defunkt and others. RBP's power trio then considers amusing interviews with Billy Idol, Gerry [and the Pacemakers] Marsden and Solomon Burke by New Zealander and former Rip It Up editor Chris Bourke. (Honorary mentions, along the way, to Nik Cohn, Nick Lowe and Jürgen Klopp.) Mark intros a discussion of the week's new audio interview — with Joan Baez in 1992 — by playing a clip of America's folk queen describing how she's (temporarily) let go of her political activism. Baez's significance and legacy are considered after a second clip about learning how hard it is to write songs when you're not Bob Dylan. Mark also talks us through his highlights of the week's new library additions, including a report on hanging out with Madeline Bell in swinging '60s London that reads like a scene from Austin Powers; Sounds' Dave McCullough bemoaning the joyless postpunk of the Raincoats and the Mekons in 1979; and Police man Stewart Copeland and others on the art of drumming in 1988… By contrast, Jasper revisits the return of avant-funk postpunks 23 Skidoo in 2000, a probing biog of Beyoncé from 2015 and the musings of Panic! at the Disco's Brendon Urie in 2016… James Blood Ulmer and Ornette Coleman, James Blood Ulmer, Punk Jazz, Billy Idol, Gerry Marsden, Solomon Burke, Joan Baez audio, Plonk Lane of the Small Faces, Madeline Bell, Jimi Hendrix R.I.P., Weather Report, Simon Frith, The Raincoats, Tony Wilson, Drummers, Black Box, Speed, Lucinda Williams, 23 Skidoo, White Stripes, Beyoncé, Panic! at the Disco and Lizzo live.

In the first episode of 2020, Mark, Barney & Jasper celebrate the 40th birthday of James Blood Ulmer's startling Are You Glad to be in America? Pringle waxes lyrical about seeing Ulmer live and about the man's influence on his own guitar-playing – and then, with his colleagues, discusses the "punk-jazz" scene that coalesced around JBU, James Chance, Defunkt and others.RBP's power trio then considers amusing interviews with Billy Idol, Gerry [and the Pacemakers] Marsden and Solomon Burke by New Zealander and former Rip It Up editor Chris Bourke. (Honorary mentions, along the way, to Nik Cohn, Nick Lowe and Jürgen Klopp.)Mark intros a discussion of the week's new audio interview — with Joan Baez in 1992 — by playing a clip of America's folk queen describing how she's (temporarily) let go of her political activism. Baez's significance and legacy are considered after a second clip about learning how hard it is to write songs when you're not Bob Dylan.Mark also talks us through his highlights of the week's new library additions, including a report on hanging out with Madeline Bell in swinging '60s London that reads like a scene from Austin Powers; Sounds' Dave McCullough bemoaning the joyless postpunk of the Raincoats and the Mekons in 1979; and Police man Stewart Copeland and others on the art of drumming in 1988…By contrast, Jasper revisits the return of avant-funk postpunks 23 Skidoo in 2000, a probing biog of Beyoncé from 2015 and the musings of Panic! at the Disco's Brendon Urie in 2016…Pieces discussed: James Blood Ulmer and Ornette Coleman, James Blood Ulmer, Punk Jazz, Billy Idol, Gerry Marsden, Solomon Burke, Joan Baez audio, Plonk Lane of the Small Faces, Madeline Bell, Jimi Hendrix R.I.P., Weather Report, Simon Frith, The Raincoats, Tony Wilson, Drummers, Black Box, Speed, Lucinda Williams, 23 Skidoo, White Stripes, Beyoncé, Panic! at the Disco and Lizzo live.The RBP podcast is part of the Pantheon Podcasts network.

In the first episode of 2020, Mark, Barney & Jasper celebrate the 40th birthday of James Blood Ulmer's startling Are You Glad to be in America? Pringle waxes lyrical about seeing Ulmer live and about the man's influence on his own guitar-playing – and then, with his colleagues, discusses the "punk-jazz" scene that coalesced around JBU, James Chance, Defunkt and others. RBP's power trio then considers amusing interviews with Billy Idol, Gerry [and the Pacemakers] Marsden and Solomon Burke by New Zealander and former Rip It Up editor Chris Bourke. (Honorary mentions, along the way, to Nik Cohn, Nick Lowe and Jürgen Klopp.) Mark intros a discussion of the week's new audio interview — with Joan Baez in 1992 — by playing a clip of America's folk queen describing how she's (temporarily) let go of her political activism. Baez's significance and legacy are considered after a second clip about learning how hard it is to write songs when you're not Bob Dylan. Mark also talks us through his highlights of the week's new library additions, including a report on hanging out with Madeline Bell in swinging '60s London that reads like a scene from Austin Powers; Sounds' Dave McCullough bemoaning the joyless postpunk of the Raincoats and the Mekons in 1979; and Police man Stewart Copeland and others on the art of drumming in 1988… By contrast, Jasper revisits the return of avant-funk postpunks 23 Skidoo in 2000, a probing biog of Beyoncé from 2015 and the musings of Panic! at the Disco's Brendon Urie in 2016… Pieces discussed: James Blood Ulmer and Ornette Coleman, James Blood Ulmer, Punk Jazz, Billy Idol, Gerry Marsden, Solomon Burke, Joan Baez audio, Plonk Lane of the Small Faces, Madeline Bell, Jimi Hendrix R.I.P., Weather Report, Simon Frith, The Raincoats, Tony Wilson, Drummers, Black Box, Speed, Lucinda Williams, 23 Skidoo, White Stripes, Beyoncé, Panic! at the Disco and Lizzo live. The RBP podcast is part of the Pantheon Podcasts network.

The Album: James Blood Ulmer: Odyssey  (1984)  “Electric guitar” and “free jazz” may not be terms that folks normally pair together but when James Blood Ulmer first began collaborating with jazz giant Ornette Coleman in the mid 1970s, Ulmer found an instant kinship is the heady, improvisational style of Coleman’s harmolodics theory. The influence would shape the beginnings of Ulmer’s solo career later in the decade, culminating, for many, in Odyssey, recorded in 1983 with just Ulmer, drummer Warren Benbow and violinist Charles Burnham. Since then, the album is considered one of Ulmer’s greatest achievements, what longtime New York music critic, Robert Christgau lauded as a “ur-American synthesis that takes in jazz, rock, Delta blues and even country music…you’d be hard-pressed to pin just one style on any of this painfully beautiful stuff.” Odyssey came to us via music historian and author RJ Smith. He's already written  books on everything from the Los Angeles post-war jazz scene to photographer Robert Frank to an R&B artist named James Brown. He's currently working on a new biography, this one about Chuck Berry. For RJ, Ulmer's masterpiece represented a distillation of musical movements all colliding together in early 1980s New York City and where Odyssey's opening song felt like an invitation to prayer and mediation.  More on RJ Smith Interview between RJ and June Thomas (Slate.com) "Tell Us 5 Things About Your Book: Capturing the Elusive Robert Frank" (NY Times) "In 'Rhythm,' Bhi Bhiman's Music Isn't Limited By National Borders" (NPR) More on Odyssey Robert  Christgau's review of Odyssey (and other Ulmer albums of the era) 1998 interview between Ulmer and Jason Gross (Furious.com) Show Tracklisting (all songs from Odyssey unless indicated otherwise): Love Dance Church Smothered Soul Ornette Coleman Quartet: Live in Roma Swing and Things Wynton Marsalis: When It's Sleepytime Down South Swing and Things Church Please Tell Her Little Red House Are You Glad To Be In America Here is the Spotify playlist of as many songs as we can find there. If you're not already subscribed to Heat Rocks in Apple Podcasts, do it here!

One of the most interesting cats around, Ronny has more credits than a bank note. He’s played with Janet Jackson, Meshell N’degeocello, Alica Keys, Mary J. Blige, Roy Ayers, Labelle, Bernie Worrell, George Clinton, Anne Murray, Flava Flav, Nona Hendryx. James Blood Ulmer, The Chambers Brothers, Tony Williams Life Time, Todd Rundgren, Wilson Pickett & hundreds of other artists, and is currently a member of 24/7 Spyz Ronny pulls back the curtain, keeping it raw as he discusses the ups and downs of growing up in South Jamaica, Queens (NYC) and the lessons learned from James Brown, Albert King, The Exciters, Jimi Hendrix & others. Learning to pay attention to how you’re feeling, understanding what is going on around you… love, acknowledging the good in everyone, learning to let go of the past, and more. Deep stuff, 100% Real: Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar

AP Gonzalez is my guest for today's continuation of the CBBP New Orleans Drummers Series!!! AP is one of the rare drummers who bridges punk/jazz& funk & was an absolute idol of mine while playing in his band Lump in the early-mid-90’s. We get into his original band Black Problem, being an oddball band in the late 80’s in New Orleans, going out to LA during the 92’ riots to record with SST band Universal Congress Of, the failure and the subsequent victory of learning UCO’s material, forming Lump and meeting Galactic saxophonist Ben Ellman/ his new band Alpha Sardine, early memories of when he first started playing, his love for The Minutemen, The Clash, Devo, Elvis Castello, Bad Brains, James Blood Ulmer plus stories about mullets, Jerry Springer, Bourbon Street & more!! https://www.facebook.com/Alpha-Sardine-340508063046743/ CBBP Sponsor: http://www.neworleansrecordpress.com/

1ère émission de la 37e session et 500e de Du Vanguard au Savoy Cette semaine, on célèbre humblement avec de l'électro-jazz, du jazz moderne et jazz-rock ! En musique: Yazz Ahmed sur l'album La Saboteuse  (Naim, 2017); Portico Quartet sur l'album Art in the Age of Automation  (Gondwana, 2017); Andy Emler sur l'album Running Backwards  (La Buissonne, 2017); Tim Berne's Snake Oil sur l'album Incidentals  (ECM, 2017); Burning Ghosts sur l'album Reclamation  (Tzadik, 2017); James Blood Ulmer and The Thing sur l'album Baby Talk  (Trost, 2017)...

1ère émission de la 37e session et 500e de Du Vanguard au Savoy Cette semaine, on célèbre humblement avec de l'électro-jazz, du jazz moderne et jazz-rock ! En musique: Yazz Ahmed sur l'album La Saboteuse  (Naim, 2017); Portico Quartet sur l'album Art in the Age of Automation  (Gondwana, 2017); Andy Emler sur l'album Running Backwards  (La Buissonne, 2017); Tim Berne's Snake Oil sur l'album Incidentals  (ECM, 2017); Burning Ghosts sur l'album Reclamation  (Tzadik, 2017); James Blood Ulmer and The Thing sur l'album Baby Talk  (Trost, 2017)...

Pre-Concert James Blood Ulmer by Melodyvision

It's been four years, and Mike and Pat celebrate by discussing some out of the way quartet music - and trying to determine which jazz quartets were the greatest of all time. Throw in some political commentary and missed programming communication, and you've got an anniversary blowout! Hollywood Sax Quartet – JAZZ IN HOLLYWOOD; Bartosz Dworak – POLISHED; Clifford Jordan – GLASS BEAD GAMES; Anthony Braxton – QUARTET (COVENTRY); Rex Stewart and His Feetwarmers; James Blood Ulmer – LIVE AT BIRDLAND.

This week, Josh discusses James Blood Ulmer's incredible 2005 solo blues album, Birthright!

Toni is an international champion of hip-hop culture, known for the irresistible, contagious energy of her performances and for her alluring female presence. An award-winning artist, her steadfast work and commitment to hip-hop led the U.S. Department of State to select her to work as the first ever hip-hop artist to work as an American Cultural Specialist. She has already served in Senegal, Ghana, Botswana, and Swaziland where her residencies include performance, workshops, and lectures on hip hop music and culture. She recently toured Southeast Asia with Jazz at Lincoln Center’s Musical Ambassador program and has shared the stage with the likes of Erykah Badu, Mos Def, The Roots, Wu Tang Clan, GURU, Bahamadia, Boot Camp Clic, Me’Shell NdegeoCello, Sarah McLachlan, Sheryl Crow, Jill Sobule and even Rickie Lee Jones. Her first book, Inner-Course was released in 2003 (Villard/Random House). Toni has performed in Eve Ensler’s V-Day Festival, the DODGE Poetry Festival, in Spain at the Barcelona World Social Forum, featured in the CUTTING EDGE Festival in Darmstadt, Germany, featured at SENERAP International Hip Hop Festival in Dakar and toured South Africa as a headliner on the URBAN VOICES Festival alongside the legendary Linton Kwesi Johnson. Toni has collaborated with a host of highly esteemed musicians including Craig Harris, James “Blood” Ulmer, Vernon Reid, Jay Rodriguez and master kora players Papa Susso and Yacouba. She continues to work with artists from around the world. She has been listed in ESSENCE Magazine’s listing of “30 Women to Watch,” featured in SAVOY Magazine, Newsweek Japan, The Washington Post, and in The New York Times. NHK-Global Japan Television produced a full-length documentary on her work with hip-hop airing it to 11 million viewers on national TV in Japan. She and her work have been highlighted on BET, as well as on FOX News and VH1, featured in UPSCALE, and VIBE.

Mission encre noire Tome 17 Chapitre 222 Purity de Jonathan Franzen paru en 2016 aux éditions Boréal est un roman très attendu après le succès international des Corrections (2002, Boréal). Qui est donc Purity ? Purity Tyler est une jeune femme de 23 ans. Elle ignore tout de ses origines, sa mère lui dissimule l'essentiel et en particulier la véritable identité de son père. Au détour d'une rencontre fortuite avec des militants anarchistes allemands, au sein de sa collocation, son destin va prendre une autre tournure. Purity va partir à la recherche de son père. Militantisme, trajectoires amoureuses complexes et contrariées, réseaux sociaux engagés, Pip, comme la surnomme sa mère, va se confronter aux maux de notre époque. Purity est un roman fleuve, captivant qui nous éclaire sur les dérives de nos sociétés modernes post 11 septembre, si connectées et paranoïaques à la fois, à grand renforts d'autodérision et de scénario catastrophe. Extrait: «Leila secoua de nouveau la tête. Chaque fois qu'elle devait vomir, ce n'était pas uniquement l'idée de la nourriture qui l'écoeurait ; c'était l'idée d'avoir envie de quoi que ce soit. La nausée, négation de tout désir. De même, aussi, que la dispute. Elle se souvenait de ce vieil abattement et l'éprouvait à présent encore, la conviction que l'amour était impossible, qu'aussi profond qu'ils enterreraient leur conflit, celui-ci ne disparaitrait jamais. Le problème d'une vie librement choisie chaque jour, une vie de Nouveau Testament, c'était qu'elle pouvait se terminer à tout moment.» L'apprentissage de Duddy Kravitz de Mordecai Richler paru en 2016 aux éditions du Boréal est une nouvelle réédition avec Lori Saint-Martin et Paul Gagné à la baguette pour la traduction. Leur travail a été salué internationalement, plus précisément en ce qui concerne les romans Joshua et Solomon Gursky du même auteur. Quoi de plus envoûtant que de replonger dans le Montréal d'après guerre, Maurice Richard enflamme le Forum, et Duddy Kravitz fait les 400 coups. Élevé dans les quartiers pauvres de la ville, fatigué de se morfondre dans la médiocrité de ces tristes faubourgs, Duddy a de l'ambition: devenir riche. Il se fiche bien du regard de la communauté juive, et tout les moyens seront bons pour y arriver. Premier roman de Mordecai Richler, je vous invite à découvrir sous un nouveau jour, cet écrivain si contreversé.  Extrait: «Regarde-moi bien, songea-t-il, regarde-moi vraiment bien parce que, d'accord, je suis peut-être un moins que rien, en ce moment. Je ne suis jamais allé à Paris et je sais pas faire la différence entre Picasso et un barbouilleux de clôture. Je sais pas jouer au tennis comme les autres garçons d'ici, mais je passe pas non plus mon temps à verser du Ketchup sur le lit des autres. J'arrache pas de promesses débiles à des types qui sont soûls. Je suis pas non plus une sale langue comme toi. Tu te moques de ton père. Tu l'aimes pas. Ça me fait une belle jambe. Mais il t'envoie en Europe et au Mexique, et qui paie tous les verres que tu siffles l'après-midi? Tu regrettes d'avoir fait de moi le dindon de la farce? Mautadit, mon coeur saigne. Regarde-moi, espèce de salope. Aujourd'hui, je suis peut-être un moins que rien, d'accord. Ce salaud de Cohen, qui fait du marché noir à tour de bras, me donne vingt dollars, me fait la morale sur le jeu et va se sentir bien fier pendant une semaine. Mais écoute-moi bien, petite. Ça va pas toujours être comme ça. Si tu dois parier sur quelqu'un, je te conseille de parier sur moi. Je vais être quelqu'un. Ça c'est sûr.» Agenda Culturel de la semaine: The Thing et James Blood Ulmer le dimanche 16 juin 2016 à la Sala Rossa dans le cadre du festival Suoni per il popolo.

Mission encre noire Tome 17 Chapitre 222 Purity de Jonathan Franzen paru en 2016 aux éditions Boréal est un roman très attendu après le succès international des Corrections (2002, Boréal). Qui est donc Purity ? Purity Tyler est une jeune femme de 23 ans. Elle ignore tout de ses origines, sa mère lui dissimule l'essentiel et en particulier la véritable identité de son père. Au détour d'une rencontre fortuite avec des militants anarchistes allemands, au sein de sa collocation, son destin va prendre une autre tournure. Purity va partir à la recherche de son père. Militantisme, trajectoires amoureuses complexes et contrariées, réseaux sociaux engagés, Pip, comme la surnomme sa mère, va se confronter aux maux de notre époque. Purity est un roman fleuve, captivant qui nous éclaire sur les dérives de nos sociétés modernes post 11 septembre, si connectées et paranoïaques à la fois, à grand renforts d'autodérision et de scénario catastrophe. Extrait: «Leila secoua de nouveau la tête. Chaque fois qu'elle devait vomir, ce n'était pas uniquement l'idée de la nourriture qui l'écoeurait ; c'était l'idée d'avoir envie de quoi que ce soit. La nausée, négation de tout désir. De même, aussi, que la dispute. Elle se souvenait de ce vieil abattement et l'éprouvait à présent encore, la conviction que l'amour était impossible, qu'aussi profond qu'ils enterreraient leur conflit, celui-ci ne disparaitrait jamais. Le problème d'une vie librement choisie chaque jour, une vie de Nouveau Testament, c'était qu'elle pouvait se terminer à tout moment.» L'apprentissage de Duddy Kravitz de Mordecai Richler paru en 2016 aux éditions du Boréal est une nouvelle réédition avec Lori Saint-Martin et Paul Gagné à la baguette pour la traduction. Leur travail a été salué internationalement, plus précisément en ce qui concerne les romans Joshua et Solomon Gursky du même auteur. Quoi de plus envoûtant que de replonger dans le Montréal d'après guerre, Maurice Richard enflamme le Forum, et Duddy Kravitz fait les 400 coups. Élevé dans les quartiers pauvres de la ville, fatigué de se morfondre dans la médiocrité de ces tristes faubourgs, Duddy a de l'ambition: devenir riche. Il se fiche bien du regard de la communauté juive, et tout les moyens seront bons pour y arriver. Premier roman de Mordecai Richler, je vous invite à découvrir sous un nouveau jour, cet écrivain si contreversé.  Extrait: «Regarde-moi bien, songea-t-il, regarde-moi vraiment bien parce que, d'accord, je suis peut-être un moins que rien, en ce moment. Je ne suis jamais allé à Paris et je sais pas faire la différence entre Picasso et un barbouilleux de clôture. Je sais pas jouer au tennis comme les autres garçons d'ici, mais je passe pas non plus mon temps à verser du Ketchup sur le lit des autres. J'arrache pas de promesses débiles à des types qui sont soûls. Je suis pas non plus une sale langue comme toi. Tu te moques de ton père. Tu l'aimes pas. Ça me fait une belle jambe. Mais il t'envoie en Europe et au Mexique, et qui paie tous les verres que tu siffles l'après-midi? Tu regrettes d'avoir fait de moi le dindon de la farce? Mautadit, mon coeur saigne. Regarde-moi, espèce de salope. Aujourd'hui, je suis peut-être un moins que rien, d'accord. Ce salaud de Cohen, qui fait du marché noir à tour de bras, me donne vingt dollars, me fait la morale sur le jeu et va se sentir bien fier pendant une semaine. Mais écoute-moi bien, petite. Ça va pas toujours être comme ça. Si tu dois parier sur quelqu'un, je te conseille de parier sur moi. Je vais être quelqu'un. Ça c'est sûr.» Agenda Culturel de la semaine: The Thing et James Blood Ulmer le dimanche 16 juin 2016 à la Sala Rossa dans le cadre du festival Suoni per il popolo.

Mission encre noire Tome 17 Chapitre 222 Purity de Jonathan Franzen paru en 2016 aux éditions Boréal est un roman très attendu après le succès international des Corrections (2002, Boréal). Qui est donc Purity ? Purity Tyler est une jeune femme de 23 ans. Elle ignore tout de ses origines, sa mère lui dissimule l'essentiel et en particulier la véritable identité de son père. Au détour d'une rencontre fortuite avec des militants anarchistes allemands, au sein de sa collocation, son destin va prendre une autre tournure. Purity va partir à la recherche de son père. Militantisme, trajectoires amoureuses complexes et contrariées, réseaux sociaux engagés, Pip, comme la surnomme sa mère, va se confronter aux maux de notre époque. Purity est un roman fleuve, captivant qui nous éclaire sur les dérives de nos sociétés modernes post 11 septembre, si connectées et paranoïaques à la fois, à grand renforts d'autodérision et de scénario catastrophe. Extrait: «Leila secoua de nouveau la tête. Chaque fois qu'elle devait vomir, ce n'était pas uniquement l'idée de la nourriture qui l'écoeurait ; c'était l'idée d'avoir envie de quoi que ce soit. La nausée, négation de tout désir. De même, aussi, que la dispute. Elle se souvenait de ce vieil abattement et l'éprouvait à présent encore, la conviction que l'amour était impossible, qu'aussi profond qu'ils enterreraient leur conflit, celui-ci ne disparaitrait jamais. Le problème d'une vie librement choisie chaque jour, une vie de Nouveau Testament, c'était qu'elle pouvait se terminer à tout moment.» L'apprentissage de Duddy Kravitz de Mordecai Richler paru en 2016 aux éditions du Boréal est une nouvelle réédition avec Lori Saint-Martin et Paul Gagné à la baguette pour la traduction. Leur travail a été salué internationalement, plus précisément en ce qui concerne les romans Joshua et Solomon Gursky du même auteur. Quoi de plus envoûtant que de replonger dans le Montréal d'après guerre, Maurice Richard enflamme le Forum, et Duddy Kravitz fait les 400 coups. Élevé dans les quartiers pauvres de la ville, fatigué de se morfondre dans la médiocrité de ces tristes faubourgs, Duddy a de l'ambition: devenir riche. Il se fiche bien du regard de la communauté juive, et tout les moyens seront bons pour y arriver. Premier roman de Mordecai Richler, je vous invite à découvrir sous un nouveau jour, cet écrivain si contreversé.  Extrait: «Regarde-moi bien, songea-t-il, regarde-moi vraiment bien parce que, d'accord, je suis peut-être un moins que rien, en ce moment. Je ne suis jamais allé à Paris et je sais pas faire la différence entre Picasso et un barbouilleux de clôture. Je sais pas jouer au tennis comme les autres garçons d'ici, mais je passe pas non plus mon temps à verser du Ketchup sur le lit des autres. J'arrache pas de promesses débiles à des types qui sont soûls. Je suis pas non plus une sale langue comme toi. Tu te moques de ton père. Tu l'aimes pas. Ça me fait une belle jambe. Mais il t'envoie en Europe et au Mexique, et qui paie tous les verres que tu siffles l'après-midi? Tu regrettes d'avoir fait de moi le dindon de la farce? Mautadit, mon coeur saigne. Regarde-moi, espèce de salope. Aujourd'hui, je suis peut-être un moins que rien, d'accord. Ce salaud de Cohen, qui fait du marché noir à tour de bras, me donne vingt dollars, me fait la morale sur le jeu et va se sentir bien fier pendant une semaine. Mais écoute-moi bien, petite. Ça va pas toujours être comme ça. Si tu dois parier sur quelqu'un, je te conseille de parier sur moi. Je vais être quelqu'un. Ça c'est sûr.» Agenda Culturel de la semaine: The Thing et James Blood Ulmer le dimanche 16 juin 2016 à la Sala Rossa dans le cadre du festival Suoni per il popolo.

Toni is an international champion of hip-hop culture, known for the irresistible, contagious energy of her performances and for her alluring female presence. An award-winning artist, her steadfast work and commitment to hip-hop led the U.S. Department of State to select her to work as the first ever hip-hop artist to work as an American Cultural Specialist. She has already served in Senegal, Ghana, Botswana, and Swaziland where her residencies include performance, workshops, and lectures on hip hop music and culture. She recently toured Southeast Asia with Jazz at Lincoln Center’s Musical Ambassador program and has shared the stage with the likes of Erykah Badu, Mos Def, The Roots, Wu Tang Clan, GURU, Bahamadia, Boot Camp Clic, Me’Shell NdegeoCello, Sarah McLachlan, Sheryl Crow, Jill Sobule and even Rickie Lee Jones. Her first book, Inner-Course was released in 2003 (Villard/Random House). Toni has performed in Eve Ensler’s V-Day Festival, the DODGE Poetry Festival, in Spain at the Barcelona World Social Forum, featured in the CUTTING EDGE Festival in Darmstadt, Germany, featured at SENERAP International Hip Hop Festival in Dakar and toured South Africa as a headliner on the URBAN VOICES Festival alongside the legendary Linton Kwesi Johnson. Toni has collaborated with a host of highly esteemed musicians including Craig Harris, James “Blood” Ulmer, Vernon Reid, Jay Rodriguez and master kora players Papa Susso and Yacouba. She continues to work with artists from around the world. She has been listed in ESSENCE Magazine’s listing of “30 Women to Watch,” featured in SAVOY Magazine, Newsweek Japan, The Washington Post, and in The New York Times. NHK-Global Japan Television produced a full-length documentary on her work with hip-hop airing it to 11 million viewers on national TV in Japan. She and her work have been highlighted on BET, as well as on FOX News and VH1, featured in UPSCALE, and VIBE.

Bassist Jamaaladeen Tacuma is in the interview chair this episode. Not to discount the hard work that makes it possible, but for the music lover, Tacuma's career seems like a dream. After a couple years woodshedding on the electric bass as a North Philly teen, his talent is spotted and he is whisked away to the major leagues of jazz, first with organist Charles Earland, who had a sizable hit with the tune “Black Talk” in 1969 and then famously with jazz legend Ornette Coleman in his ground-breaking band, Prime Time. In 1975, at the age of 18, Jamaaladeen packed his bags and relocated for six months to Paris with Ornette's band, playing and recording the classic LP DANCING IN YOUR HEAD. From there Jamaaladeen's world expanded, playing international stages, releasing his own records and playing with Jeff Beck, Carlos Santana, The Roots, Nona Hendryx, Kip Hanrahan, The Golden Palominos, and James Blood Ulmer on numerous and far-reaching sessions. Jamaaladeen's playing exhibits a good-humored excitement that flows from the man himself as we meet for the first time on mic. He talks about the Philadelphia he grew up in, his insights into Ornette, his appearance on Saturday Night Live, his interest in fashion and design, his exclusive clothing boutique and his new acquisition, the acoustic bass.

Guest Blues Harmonica player David A. Barnes has been mainly associated with guitar legends, Vernon Reid and James ‘Blood’ Ulmer.

Guest Blues Harmonica player David A. Barnes has been mainly associated with guitar legends, Vernon Reid and James ‘Blood’ Ulmer.

Today on the Jeff Foxx Radio Show Online.  Iconic musical couple. Ray Chew and Vivian Scott Chew Present “OUR MUSIC, OUR HISTORY” As their production company, Chew Entertainment, will celebrate African-American History Month at historic Harlem eatery Minton's (206 West 118th Street, New York, NY). “Our Music, Our History” will be a two-day event on Monday, February 24th and Tuesday, February 25th and will feature two sets each evening at 7:30pm and 10pm.   Monday, February 24th will showcase the musical styling of Grammy-nominated blues guitarist, James "Blood" Ulmer (www.jamesbloodulmer.com).  The evening of Tuesday, February 25th highlights the growing popularity of the new face of jazz with soulful singer, songwriter and guitarist Leon Timbo (www.leontimbo.com). Rounding out both evenings will be acclaimed musician and Music Director, Ray Chew (“Dancing With the Stars,” “American Idol,” and “The 65th Primetime Emmy Awards” For reservations, please visit the Minton's website at www.mintonsharlem.com or call 212-243-2222.  

Host: Charles "IamBranded" Madison Guest: Jazz Musican/Blues guitarist   James "Blood" Ulmer Ongoing Series broadcasting and spotlighting music and entertainment news from up and coming artists in all entertainment levels. www.nexxlegacy.com Call number (949) 270-5912

Listen[audio:http://media.rvanews.com/wp-content/uploads/2013/03/25-The-Bopst-Show_-_Tantalizing-Fragrance-Epiosde-231_.mp3|titles=The Bopst Show -- Tantalizing Fragrance -- Episode 231]SubscribeiTunes: The Bopst show podcastEverything else: The Bopst show podcastDownloadThe Bopst Show -- Tantalizing Fragrance -- Episode 231— ∮∮∮ —Title: The Bopst Show: "Tantalizing Fragrance (Episode 231)"Rating: PG-13 (Adult Situations & Language)
Intent: To squeeze the simpleton…Random Richmond Diversion: About 30% of health care providers in Virginia use the database to check patients' prescription drug records to determine whether they are abusing the system.Random USA Diversion: Fox is going to give you the factsRandom World Diversion: He’s going to be questioned later on by investigators, within the next couple of hoursRandom Image: I can’t breath
Random Music Blog: Music For HumansRandom Bopst Show: The Bopst Show: “The Black American (Episode 164)So good: http://www.youtube.com/watch?v=f2oua7nITx4Construction Date: Sunday March 17th, 2013Equipment: Mac G5, Free Audio Editor & Recorder Software from Audacity, Frontier US-122 USB Audio/MIDI Interface, Shure SM57 MicrophonePosted: Monday March 18th, 2013Artists and Groups in order of appearance: Paul Weston & Jeffery Bearman (Bopst/Sun Ra Mix), Juggy Murray Jones, The Heroine Sheiks, Michael Eingorn, James Blood Ulmer, Uncle Dave Macon & The Fruit Jar Drinkers, Commercial Break, The Slits, Weirdos, Cal Tjader & Eddie Palmieri, FJ McMahonLiner Notes“And on a personal note – a little girl grows up in Jim Crow Birmingham – the most segregated big city in America – her parents can’t take her to a movie theater or a restaurant – but they make her believe that even though she can’t have a hamburger at the Woolworth’s lunch counter – she can be President of the United States and she becomes the Secretary of State. Yes, America has a way of making the impossible seem inevitable in retrospect. But of course it has never been inevitable – it has taken leadership, courage and an unwavering faith in our values.

 Condi RiceHere are some shows I’m hustling at Balliceaux this week...NEXT NEW SHOW: 03/25/13 
 
***New show times***. The Bopst Show airs Sundays, 11PM and Tuesdays, 6PM (EST-USA) on KAOS Radio Austin.Until Next Time:Stay clean,BOPSTHo there, reader of RSS feeds! Do you ever want to support RVANews in a real and tangible way? Or at least pay a small penance for reading ad-free content? If so, support us on Patreon for a couple bucks a month!

show#46912.22.12Little Jimmy King - Happy Christmas Tears (Bullseye Blues Christmas 1995)David Gogo - Christmas On the Bayou (Christmas With the Blues 2012)Jefferson Airplane 1965 - Tobacco Road (Wolfgang's Vault)J. Geils Band - Serves You Right To Suffer (Wolfgang's Vault Fillmore East  6/27/1971) Ron Levy's Wild Kingdom - Hittin' It Hahd & Sweet (Funky Soul Grooves 2012)Mike Bloomfield - Love Me Or I'll Kill You, Baby (Wolfgang's Vault Record Plant (11/10/1974 )The Dixie Dregs - Take It Off The Top (Wolfgang's Vault Sigma Sound Studios in Philly6/17/1979)Bonnie Raitt with Dave Maxwell - Everybody's Cryin' Mercy (Wolfgang's Vault Lenox Music Inn  8/25/1973 )Boz Scaggs - Loan Me A Dime (Wolfgang's Vault Fillmore West  6/30/1971 )Little Feat - A Apolitical Blues (Wolfgang's Vault Winterland (San Francisco, CA) 2/16/1976)Frank Zappa - Village Of The Sun (Wolfgang's Vault Capitol Theatre Passaic, NJ 10/13/1978 Early Show) Spinner's Section:Big Sugar: wild ox moan (5:39) (Five Hundred Pounds, Hypnotic, 1993)Aynsley Lister: since I met you babay (2:48) (-, Ruf, 1999)James Blood Ulmer: who let the cat out of the bag? (4:37) (Blues Preacher, Columbia, 1994)Johnny Adams: imitation of love (4:31) (The Real Me, Sky Ranch, 1992)Paul Lamb & the King Snakes: nomad blues (2:51) (I'm on a roll, Blue Label, 2005)Duke Robillard: early in the morning (4:36) (Stomp!The Blues Tonight, Stony Plain, 2009)Paul deLay Band: rode myself crazy (2:38) (American Voodoo, Criminal, 1984)Dtrain: born in Georgia (7:44) (Go For It Baby, Tramp, 1993)R.J. Mischo: give it up (2:44) (King Of A Mighty Good Time, Challis, 2008)Two Bones and a Pick: honey boy (2:28) (Butter Up 'N' Go, CRS, 1998)

show #31411.28.09Phil Berkowitz - The Party's Over (5:15)The Radio Kings - You Got to Die (4:45)Spinner's Section:Brian Setzer Orchestra: Sammy Davis city (3:55) (Guitar Slinger, Interscope, 1996)Omar & the Howlers: life is just a circle (3:26) (Muddy Springs Road, Ruf, 2005)James Blood Ulmer: cheering (6:47) (Bues Preacher, Columbia, 1994)The Rockin' Highliners: so sorry doesn't cut it (3:38) (Oh My!, Stony Plain, 1999)Duster Bennett: I've got to be with you tonight (5:16) (Fingertips (1975), Castle, reisue 2003)Maria Muldaur: it feels like rain (6:55) (Meet Me Where They Play The Blues, Telarc, 1999)Little Mike & the Tornadoes: don't bother my baby (4:02) (Flynn's Place, Flying Fish, 1995)Back To Beardo:Billy Lavender - 3AM (5:57)James Day - Boiled Peanuts (3:10)Norbert Schneider - The Bluff (2:25)Phil Berkowitz - Beach Bar Boogie (3:50)Eli "Paperboy" Reed & The True Loves - The Satisfier (2:37)Ricky Gene Hall And The Goods - Noth'n at All (5:00)Storyville - Good Day For The Blues (3:59)Sonny Landreth - The Milky Way Home (4:10)Sure Enough It's You - Walter 'Wolfman' Washington (3:46)Too Slim and the Taildraggers - Dollar Girls (6:54)Alastair Greene Band - Say What You Want (3:02)TV Slim - Flat Foot Sam (2:10)Larry Liggett - That Man Is Walking (2:46)Monkey Junk - Beefy (5:06)Nucklebusters Blues Band - Layin' In the Alley (4:32)Erick Hovey - Goin Down (3:19)Victor Wainwright and the Wildroots - Sold Down River (1:15)Sean Chambers - In The WInter Time (6:06)Does your music make the cut?Contact Beardo at thebeardo@gmail.com and we we'll talk..Meanwhile, Bandana Blues archives at http://beardo1@libsyn.com

CJSW radio host Paula Fayerman profiles James Blood Ulmer, a bona fide original who has produced some of planet’s most interesting, idiosyncratic and funky music, featuring his signature harmolodic guitar style and poignant, relevant lyrics.

Huitième de la huitième session: Quoi de mieux qu'un peu de fusion pour débuter avec The Brecker Brothers. Ensuite, des extraits de l'album Where to go (2008) du saxophoniste québécois Samuel Blais. En présentation principale, The Flying Luttenbachers dans un style jazz-rock-noise qui percute. Pièces des albums Constructive Destruction (1994), Revenge of the Flying Luttenbachers (1996), Infection and Decline (2002) et Cataclysm (2006) Aussi au menu, une pièce de Joe McPhee et quelques pièces de James Blood Ulmer. Possible lecture de quelques pages de l'auteur Pierre Theilhard de Chardin.

Huitième de la huitième session: Quoi de mieux qu'un peu de fusion pour débuter avec The Brecker Brothers. Ensuite, des extraits de l'album Where to go (2008) du saxophoniste québécois Samuel Blais. En présentation principale, The Flying Luttenbachers dans un style jazz-rock-noise qui percute. Pièces des albums Constructive Destruction (1994), Revenge of the Flying Luttenbachers (1996), Infection and Decline (2002) et Cataclysm (2006) Aussi au menu, une pièce de Joe McPhee et quelques pièces de James Blood Ulmer. Possible lecture de quelques pages de l'auteur Pierre Theilhard de Chardin.

New Music from Kevin McKendree and James Blood Ulmer and more, plus a Spinner's Section taking a spin around Europe!!, ENJOY! Thanks For Listening! Please drop me an e-mail.