Podcasts about John Coltrane

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

This week I'm joined by Australian musician Gareth Liddiard (Tropical Fuck Storm, The Drones) who chose to discuss one of the greatest concert films of all time,  EINSTÜRZENDE NEUBAUTEN:HALBER MENSCH.We talk about how Tropical Fuck Storm made their own film (Goody Goody Gumdrops) during the pandemic lockdown, Gareth playing shows with Neubauten, how TFS writes their brain-melting songs and how Neubauten's influence crept into their work, TFS having to leave Melbourne due to economics, making their music using equipment they didn't know how to use, how not to be too good at guitar, the influence of Greg Ginn, John Coltrane & Jimi Hendrix, Thrasher magazine, the current difficulties of touring the States, blowing things up in music videos, industrial high-school study music, Neubauten playing inside an actual freeway, how Neubauten are The Beatles of the industrial world in terms of charisma, how the film transcends pretension, Butoh dancers, Tarkovsky's Stalker, the microphoned shopping cart, Blixa's take on The Police, how the film is so well scripted and shot by filmmaker Gakuryū Ishii, how the legendary music producer Gareth Jones recorded one of the most expensive industrial records of all time and more. So let's set our instruments on fire and the music to stun on this week's episode of Revolutions Per Movie!TROPICAL FUCK STORM:https://usa.firerecords.com/products/tropical-f-storm-fairyland-codexhttps://tropicalfstorm.bandcamp.com/album/fairyland-codexREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Today on AirTalk, Trump's appeal to keep CA's National Guard in LA will be heard by a San Francisco court; the latest on Israel's military operations in Iran; specialty ice cream shop Salt and Straw's co-founder Tyler Malek, talks about the mastery behind his craft in a new book; an update into LA's houseless community services; a tribute concert to John Coltrane and the 50th anniversary of 'Jaws.' Today on AirTalk San Francisco court hears Trump's appeal to keep National Guard in LA (00:15) Latest on Israel-Iran and how local Iranians feel (15:48) A new ice cream cookbook (36:16) LA's houseless services check-in (51:48) A tribute concert to John Coltrane (1:09:58) 'Jaws' turns 50 (1:26:08)

Del triple CD, banda sonora del libro del francés Laurent Cugny, 'Une histoire du jazz', las grabaciones de Miles Davis ('Oleo'), Art Blakey & The Jazz Messengers ('Moanin'), Clifford Brown ('Joy spring'), Charles Mingus Septet ('Self portrait in three colors'), Miles Davis & Gil Evans ('Summertime'), Miles Davis ('So what'), John Coltrane ('Giant steps'), Ornette Coleman ('Invisible'), Billie Holiday ('Strange fruit') Sarah Vaughan ('Embraceable you') y Nina Simone ('My baby just cares for me').Escuchar audio

Playlist: Noah Howard - Schizophrenic Blues / Fire MarchNoah Howard - Mardi Gras / OleICP - I ForgotBerlin Jazz Workshop - New MovementsWillem Breuker - Jan De Wit

If you were eagerly anticipating the next pun-named episode of Music of the Mat Remix, then your wait is over. Shawn Michaels came out to his entrance theme "Sexy Boy" for many years, but what if instead of kicking his opponents' heads off with Sweet Chin Music, he wailed away on a saxophone instead? Why, he'd be... just a saxy boy (saxy boyyyyyy). On this episode, Andrew and first-time guest Roomba from the VOW Discord play songs that have a saxophone part in them. Artists played include Billy Idol, Fela Kuti, Ween, Romeo Void, FEAR, Sisters of Mercy, Grace Kelly, Miles Davis w/ John Coltrane & Cannonball Adderley, and many more. Get ready to make 'em hot and make 'em shiver with the help of some awesome saxophone songs!Theme song: "Hemispheres" by Silent PartnerBluesky: @MusicoftheMat / @justandrewAll VOW podcasts, articles, previews, and reviews: VoicesofWrestling.comJoin the VOW Discord to discuss Music of the Mat and other shows/topics: VoicesofWrestling.com/DiscordDonate to Music of the Mat and other VOW podcasts: VoicesofWrestling.com/DonateAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

El 9 de junio de 1891 nació en una pequeña población del estado de Indiana uno de los mayores compositores de la historia de la música popular. Clásicos de Cole Porter en grabaciones de Stéphane Grappelli & Yehudi Menuhin ('I get a kick out of you'), Louis Armstrong ('Let´s do it'), Ella Fitzgerald ('Love for sale', I love Paris'), Frank Sinatra ('I´ve got you under my skin', 'Just one of those things'), Tony Bennett & Lady Gaga ('I concentrate on you'), João Gilberto ('You do something to me'), Bebel Gilberto ('Night and day'), Caetano Veloso ('So in love'), Melody Gardot ('Get out of town') y John Coltrane ('Everytime we say goodbye').Escuchar audio

Radio Clásica presenta su más amplia de Jazz, piezas inéditas, grabaciones íntimas de Europa.

Episode 192 of Pudding On The Wrist.  In which your faithful deejay and psychic friend, Frozen Lazuras, spins choice cuts from The Monkees, John Coltrane, PiL, Spotch Forecey, and so many more.Giving you what the algorithms won't since 2020.

Playlist: Sam Rivers - alpha / betaManfred Schulze - Choral / Viertens

📝 INVESTIR AVEC NOUS : Conseil en investissement et club deals alternatifs : https://bit.ly/sondageRA30A --- 0:00 - Du Christ au Bitcoin 1:10 - Pourquoi la spiritualité revient en force? 5:59 - Le rôle des religions en 2025 6:48 - La rencontre avec Dieu 13:07 - La religion va disparaitre ?! 15:12 - Le contrecoup du nihilisme 17:33 - La transcendance 19:32 - Le lien entre l'éducation et la spiritualité 22:58 - Le Bitcoin comme figure messianique 27:07 - L'extrémisme spirituel et le complotisme 30:43 - La Terre est plate... 35:35 - La minute culture littérature : Isaac Asimov 40:23 - La minute culture cinéma : Terrence Malick 42:22 - La minute culture musique : John Coltrane #religion #spiritualité #catholique #musulman --- Nous sommes gestionnaires de patrimoine et conseillers en investissement. Nous accompagnons les citoyens à investir autrement. Nous sommes persuadés que le modèle économique du passé ne se reproduira pas et qu'il faut aller vers de nouvelles dimensions : fin de l'abondance, technologie du savoir, modes d'organisation, modèle économique... C'est un réel combat politique, qui se gagne par l'argent, le nerf de la guerre. Nous proposons des produits et services performants dans l'économie réelle, en respectant nos critères d'investissements : innovations utiles, éthiques et durables ; de souveraineté économique, industrielle, monétaire, technologique, énergétique et alimentaire. Nous axons nos stratégies d'investissements sur trois axes : - l'économie réelle via le private equity (le capital-investissement), deeptech, medtech, greentech, winetech, saas... - les investissements alternatifs de terrain (ressources naturelles, métaux rares et critiques, énergie, eau, vin, numismatique, oeuvres d'Art, immobilier atypique...) - les innovations Web3 (cryptoactifs, DeFi, RWA, token sales, DePIN, DAO, DApp, NFT, GameFi) --- // RESSOURCES : 📚 Le livre bestseller IMMOBITCOIN (gratuit) : http://bit.ly/immobtc 🧠 POUR ALLER PLUS LOIN (1h20) - INVESTIR durant la période de crise civilisationnelle en cours (atelier privée): https://youtu.be/rp71QVEjl78?si=enEoB6-NpPNNsXTA&t=2280 📞 Pour fixer un appel téléphonique avec un membre de l'équipe : https://fdinvest-patrimoine.com/contact // SUIS-NOUS 📷 Instagram : https://instagram.com/francoisjgdenis https://instagram.com/pic.podcast 💼 LinkedIn : https://www.linkedin.com/in/fdenis01 --- FD Invest – Société par actions simplifiés au capital social de 100 € - n°89888347500029 au RCS de Montpellier – 2 rue des pivoines 34070 Montpellier – http://fdinvest-patrimoine.com/. Enregistré à l'ORIAS sous le n°22001382 http://www.orias.fr/ en qualité de : Conseiller en investissement financier adhérent de la compagnie cif, association agréée auprès de l'Autorité des Marchés Financiers. FD Invest exerçant en marque commerciale sous le nom Riche à 30 ans. RC Pro auprès de MMA. - IMPORTANT: Risque de perte en capital ou de moins-value sur les investissements alternatifs. Faites vos recherches si vous n'êtes pas accompagné. Ce retour d'expérience ne constitue pas un conseil ou une recommandation. Un conseil est toujours au cas par cas.

The jazz standard "All The Things You Are" has been performed countless times by master jazz vocalists, 30s big bands, bebop small groups, hard-bop combos, modern deconstructionists, and even soon-to-be Kings of Pop. On this episode, Kirk takes listeners through the history of the now-famous tune, from its humble Broadway origins all the way to his recording studio in Portland, where he and some friends recorded an all-new arrangement just for Strong Songs.Music/Lyrics: Jerome Kern & Oscar Hammerstein IIVersions Featured:Broadway Original Cast Recording of "Very Warm for May," - 1939Tommy Dorsey and His Orchestra, feat. Jack Leonard, 1939Artie Shaw w/ Hellen Forrest, 1939Dizzy Gillespie w/ Charlie Parker, 1945Johnny Griffin w/ Hank Mobley, John Coltrane, Lee Morgan, Wynton Kelly, Paul Chambers, Art Blakey on A Blowing Session, 1957Ella Fitzgerald from Sings the Jerome Kern Songbook, 1963Michael Jackson, 1973Sonny Rollins w/ Coleman Hawkins from Sonny Meets Hawk!, 1963Bill Evans w/ Chuck Israels, bass, and Larry Bunker, drums at Shelly's Mane-Hole, 1963Keith Jarrett Trio, from Standards, Vol.1, 1983Brad Mehldau Trio, from Art of the Trio 4, 1999Jim Hall & Pat Metheney, 1999Strong Songs Version Featuring:Kirk Hamilton, tenor saxAndrew Oliver, keyboardScott Pemberton, guitarSam Howard, bassTyson Stubelek, drumsThe "All The Things You Are" Playlist:Spotify | Apple | YouTube MusicALSO REFERENCED/DISCUSSED:The Jazz Standards: A Guide To The Repertoire by Ted Gioia, 2012The terrific 99% Invisible episode about The Real Book“Autumn Leaves” by Joseph Kosma as recorded by Cannonball Adderley and Miles Davis on Somethin' Else, 1958“Pennies From Heaven” by Johnston and Burke, recorded by Stan Getz with the Oscar Peterson Trio, 1957“Bye Bye Blackbird” by Henderson/Dixon, recorded by Miles Davis on ‘Round About Midnight, 1957“All Of Me” by Marks and Simons, played by Charlie Parker, Lennie Tristano and Kenny Clarke, 1951“I Got Rhythm” by George Gershwin, recorded by Sonny Stitt on The Hard Swing, 1961Rachmaninoff: Prelude in C-Sharp Minor,  performed by Jason Minnis, 2011“Goodbye Yellow Brick Road” by Elton John, 1973“Bird of Paradise,” recorded by Charlie Parker w/ Howard McGhee, Tpt. on The Complete Dial Recordings, Feb 1947“Prince Albert” recorded by Art Blakey's Jazz Messengers (Mobley, Dorham, Watkins, Silver) live at Cafe Bohemia, 1955“Poinciana” by Simon/Bernier recorded by Amhad Jamal Live At The Pershing, 1958----LINKS-----

Send us a textAfter a drug deal gone wrong, a bruised brother must fight his way through the criminal underworld to make an appearance on a floundering podcast, unraveling a deep web of corruption and conspiracy that ensnares the show and its listeners. On Episode 670 of Trick or Treat Radio we are joined by Carlitos for our May Patreon Takeover! Carlitos has selected the films Havoc from director Gareth Evans, and Ash from director Flying Lotus! We also discuss war stories, celebrity encounters, and how to rise above the tropes of a genre. So grab your boxing magazines, practice your gun fu and strap on for the world's most dangerous podcast!Stuff we talk about: Spadoinkle Day, Cannibal: The Musical, Trey Parker, Matt Stone, the end of May, birthdays, Patreon Takeover, Carlitos, The Green Grocers Green Gringo, Benjamin Bratt, Blood In Blood Out, Nasty Boys, Saggin' Knobs, Spunkcast, Tom Towles, Kuso, Goldface the Fantastic Superman, Doom: The Dark Ages, Helldivers II, The Warriors, RIP Cartitos' Dad, Francis Ford Coppola, Apocalypse Now, Robin Williams, Demons, Shocking Dark, Brian Dennehy, Geretta Geretta, Glenn Fabry, Hellblazer, Preacher, Metallica's biggest fan, Pantera, White Zombie, Exodus, Soulfly, Phil Anselmo, 3:00 High, Ernie Hudson, The Dudesons, Mark Waid, Danny Trejo, Rick Martel, Spinal Tap, Ed Begley Jr. Christopher Guest, Dana Carvey, Shannon Tweed, Buff Bagwell, Luis Guzman, Gareth Evans, Havoc, Gangs of London, The Raid: Redemption, The Raid II, Tom Hardy, Dial M for Murder, The Living Head, Dead and Buried, Zombie Nightmare, Witchcraft 9, Jason Goes to Hell, Rupert Everett, Dellamorte Dellamore, Mars Attacks, Ted Levine, Tony Randall, Fist of the North Star, Danny Elfman, Kevin Conway, Bob Hope, The Last Action Hero, cliched action, Mickey 17, Gangs of London, Locke, the hourly rate of a bouncer, mumbaleo, Eric Roberts, The Immortals, that Gotham vibe, John Woo, Judge Dredd, The Book of Boba Fett, John Coltrane, Flying Lotus, Ash, Aaron Paul, Eiza Gonzalez, Heretic, Alien, Star Trek II: The Wrath of Khan, Jimmy Hart knock off, Iko Uwais, Buck Rogers, Event Horizon, scissor violence, Delroy Lindo, Sinners, Michael B. Jordan, Ryan Coogler, The Night Comes For Us, the legendary Brian Grant, Kill, Until Dawn, and trope-a-dope.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Playlist: Steve Lehman - Trinkle Tinkle / La Genes / 40BButch Morris - Conduction #51Brian Baggett - Adrift

Playlist: Steve Lehman - Trinkle Tinkle / La Genes / 40BButch Morris - Conduction #51Brian Baggett - Adrift

Send us a textCzym byłaby rozmowa o Blue Note Records bez choćby ogólnej analizy kilku kultowych nagrań z jej złotego okresu działalności? Inna sprawa, że nikt nie byłby w stanie nas słuchać przez 10 godzin o samych krążkach (:p), tym bardziej że już poczęstowaliśmy Was dwoma odcinka o historii tej wytwórni, więc ograniczyliśmy się do omówienia czterech naszych ulubionych krążków / winyli. Niezależnie od przedstawianych dzieł muzycznych, poprosiliśmy naszego przyjaciela i wielkiego pasjonata jazzu i bluesa - Piotra Łukasiewicz (radiowca, gospodarza audycji Jazz Czyli Blues w RadioJazz.FM) o gościnną wypowiedź w tym temacie. On też wybrał absolutną perłę :)I tym odcinkiem kończymy trylogię Pick Please Podcast o naszej ulubionej jazzowej wytwórni nagraniowej - Blue Note Records :)  muzyka: Łukasz Wojciechowski (intro)Możecie odsłuchać ten odcinek tutaj: https://tiny.pl/1xn9xg07Link do Spotify: Youtube: Zachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/oraz Instagramie - https://tiny.pl/cxk21Będziemy wdzięczni za wsparcie nas na Patronite (specjalne bonusy dla naszych patronów!): https://tiny.pl/r8yq62q5LINKOWNIA:Podstawowe info o BNR:Wikipedia (o wytwórni) - https://tiny.pl/0c3qyx0vStrona oficjalna wytwórni - https://tiny.pl/8z5-v5w2Styl Blue Note Records - https://tiny.pl/jbzsfg95Jazzpress.pl (o “Somethin` Else”) - https://tiny.pl/14rck0hqWykonawcy:Lee Morgan - https://tiny.pl/hb_tpbkyJohn Coltrane - https://tiny.pl/1-nppfw3Miles Davis - https://tiny.pl/hqk_m3wzArt Blakey - https://tiny.pl/99qg7bc0The Jazz Messengers - https://tiny.pl/5jm_wsssKenny Burrell - https://tiny.pl/crf6bgrgMUZYKA:PŁYTY:John Coltrane - Blue Train (1958) - https://tiny.pl/xdncs67nArt Blakey & The Jazz Messengers - Moanin' (1959) - https://tiny.pl/2wn8133xCannonball Adderley - Somethin' Else (1958) - https://tiny.pl/f_p0jpxqKenny Burrell - Midnight Blue (1963) - https://tiny.pl/mss8j_bwLee Morgan - Search For The New Land (1966) - https://tiny.pl/nq9xb10rProfile (social media) audycji Jazz Czyli Blues:Facebook - https://tiny.pl/5n4699vyInstagram - https://tiny.pl/cbw-5hgyRadioJazz.Fm (online player)- https://tiny.pl/jbrrqk3vFILM DOKUMENTALNY DO POLECENIA:“I Called Him Morgan” (trailer) - https://tiny.pl/2x9spcqw

Mark Kingsley is the author of Universal Principles of Branding and the forthcoming Brands in the Age of AI. A Grammy-nominated designer turned brand strategist, he's led work for Citi, Equinox, and Blue Note Records. Mark joined me on this week's On Brand to talk about branding's future—and how AI is changing the game. Mark Kingsley began his career designing album packages for legends like John Coltrane, Pat Metheny, and Quincy Jones—work that earned him a Grammy nomination in 2001 for Blue Note Records—before transitioning into corporate branding, where he led major initiatives at Landor and Collins for clients such as Citi, Ogilvy, and Equinox. Through his studio, Malcontent, he serves a diverse mix of clients from indie filmmakers to Pulitzer Prize winners. Mark teaches in the SVA Masters in Branding program, previously held the Melbert B. Cary Professorship at the Rochester Institute of Technology, and is currently Head of Brand for the fashion label Oumlil. His book Universal Principles of Branding became a bestseller in 2023, and his next, Brands in the Age of AI, is due out in December. What brand has made Mark smile recently? Mark shared decades-old smiles from the record label ECM, a company whose recordings provide a classic example of creating space through design and sound. Connect with Mark on LinkedIn and the Malcontent website. Listen and subscribe at  Apple Podcasts, Spotify, Amazon/Audible, Google Play, Stitcher, TuneIn, iHeart, YouTube, and RSS. Rate and review the show—If you like what you're hearing, be sure to head over to Apple Podcasts and click the 5-star button to rate the show. And, if you have a few extra seconds, write a couple of sentences and submit a review to help others find the show. Did you hear something you liked on this episode or another? Do you have a question you'd like our guests to answer? Let me know on Twitter using the hashtag #OnBrandPodcast and you may just hear your thoughts here on the show. On Brand is a part of the Marketing Podcast Network. Until next week, I'll see you on the Internet! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Jazz Session No.416 from RaidersBroadcast.com as aired in May 2025, featuring the 2012 album “Unity Band” from legendary jazz-guitarist Pat Metheny. TRACK LISTING: How Long Has This Been Going On? - Peggy Lee & The Benny Goodman Orchestra; This Subdues My Passion - Baron Mingus and His Octet; Blues in Orbit - George Russell; Good Citizen Swallow - Gary Burton; New Year - Pat Metheny; Leaving Town - Pat Metheny; Am I Wasting My Time - Earl "Fatha" Hines; Prayer, ft. Louis Winsberg - Cedric Duchemann; Be-Bop - Milt Jackson & John Coltrane; Kite Song - Joshua Redman, Brad M, Christian McBride, Brian Blade; Everybody's Everything - Santana; Unknown Soldier - Weather Report; Back and Forth - Mark Lockheart; Shiryo - John Pope Quintet; Come and See - Pat Metheny; Roofdogs - Pat Metheny; I Wish I Could Shimmy Like My Sister Kate - The Chris Barber Jazz & Blues Band; 1919 March - Kenny Ball; Never Give Up On a Good Thing - George Benson; Feel No Fret - Average White Band.

Des de principis dels anys 40 del segle XX, el segell discogr

durée : 00:59:51 - Jultrane "Jultrane plays John" - par : Nicolas Pommaret - “Jultrane Plays Coltrane” de Jultrane, un album tourné sur la musique unique et spirituelle de John Coltrane. Parution chez Jazz Family.

Welcome to our new series, “The Beat Goes On,” where we will celebrate the work and enduring influence of Jack Kerouac, Allen Ginsberg, William Burroughs, and the other writers whom we identify as “The Beats.” - that crop of artists who worked to expand our consciousness, exploring the hidden possibilities of post WW2 America in the 1950s - Other significant names to be explored: Diane Di Prima, Tuli Kupferberg, Ed Sanders, Delmore Schwarz, Anne Waldman, Carolyn Cassidy, and many others.We will also include jazz musicians like Miles Davis, John Coltrane and Dizzy Gillespie, whose sinuous Bebop lines influenced the expansive prose of Kerouac and poetry of Ginsberg, and comedians like Lenny Bruce, Lord Buckley, Brother Theodore and Dick Gregory with their scathing critique and unmasking of our nation's hypocrisy beneath the self-deceptive rhetoric of American exceptionalism.  And, then there are their artistic children like Hunter S. Thompson, Charles Bukowski, Tom Waits and Lou Reed…. The list goes on.First off: we need to define that confusing term “beat”… Once the satirists were able to pin them down, the Beats and their devotees were labelled “Beatniks” (a cold war epithet) and put into a farcical box. This is where I, as a child, first became aware of them through the character of Maynard G. Krebs on the Dobie Gillis show. The child-like, pre-hippie with the dirty sweatshirt and goatee, indelibly played by Bob Denver, later of Gilligan fame. He was a gentle figure of fun, not to be taken seriously. But, the truth goes so much deeper. Kerouac defined Beat as short for “beatitude” - a state of grace, a codex for the maturing “peace and love” Baby Boom generation coming up - those in search of existence's deeper meaning beyond the consumerist and war-like American culture being offered as our only option.Well, boy, do we need them now! HENRY MILLER INTERVIEWOur inaugural offering is a 1964 interview with the writer Henry Miller, of TROPIC OF CANCER, TROPIC OF CAPRICORN, and THE ROSY CRUCIFIXION TRILOGY fame, among many others. This is an insightful, in depth look at a artist of gargantuan influence. Miller was interviewed by Audrey June Wood  in Minneapolis during a speaking tour; he considered this interview to be one of his best. Miller discourses on some of his favorite books and authors and the struggle of writing well. It was released on Smithsonian/ Folkways Records.Strictly speaking, Miller was not a Beat - he preceded them, and out lived many of them, making it to 88 in 1980, but he was their spiritual and artistic pathfinder.Living hand to mouth, on the edge, abroad in Paris, writing free form in a raw, explicit, semi-autobiographical manner, telling the truth about sex, love, art, and struggle - he set the artistic compass for the Beats - as Dostoevsky and Walt Whitman had done before him. They are all part of a chain - a chain of searchers, and we are fortunate to have these lights to guide us on our own personal journeys to self realization. Please enjoy…THE BEAT GOES ON. 

On this week's episode, we make the case for putting John Coltrane into next year's class of the Rock & Roll Hall of Fame as an early influencer. For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - ⁠⁠https://allmylinks.com/musichistorytoday⁠

"Strange days have found usStrange days have tracked us downThey're going to destroyOur casual joysWe shall go on playingOr find a new town"Let's escape the darkness together this afternoon on this week's Whole 'Nuther Thing on KXFM 104.7 Joining us are Tim Buckley, John Coltrane, Malo, Jimi Hendrix, Bob Dylan, The Byrds, Jefferson Airplane, The Youngbloods, Santana, The Tradewinds, Thunderclap Newman, Steppenwolf, Stan Getz w Astrud Gilberto, Lynyrd Skynyrd, Stevie Wonder, Phoebe Snow, Trevor Gordon Hall, Warren Zevon, 38 Special, Jose Feliciano and The Doors. I'll be showcasing a timely track from James Lee Stanley's latest CD "The Day Today during Hour 1.

durée : 01:05:30 - Club Jazzafip - Le chanteur, pianiste et compositeur Andy bey, l'une des voix les plus impressionnantes du jazz, pour lequel John Coltrane ne tarissait pas d'éloge, est décédé samedi dernier à l'âge de 85 ans.

Aprofitant l'efem

"We skipped the light fandango, turned cartwheels 'cross the floorI was feeling kind of seasick, but the crowd called out for moreThe room was humming harder, as the ceiling flew awayWhen we called out for another drinkThe waiter brought a tray"Join me on this Holiday weekend as we skip the light fandango accompanied by 2 hours of great tuneage. Joining us are The Blue Dolphins, Love, Urge Overkill, Miles Davis, Yes, Patti Smith, Pat Metheny, Crosby Stills & Nash, Carole King, Leon Russell, John Coltrane, Van Morrison, The Blues Project, Art Garfunkel, Jefferson Airplane, The Smiths, XTC, Blind Faith, Tears For Fears, Joni Mitchell, Kenny Rankin, The Shangri-Las, Beatles, Tommy James & The Shondells, The Doors, Moody Blues and Procol Harum.

Wat is de overeenkomst tussen Barry Hay, Fay Claassen, John Coltrane en Leonard Cohen? Ze komen allemaal langs in dit tweede uur All That Jazzz @1Twente Enschede.

(S4 Ep18) The Real McCoy (Blue Note) with guest Steve Myerson October 1967, Recorded April 21, 1967 The Real McCoy (1967) is a landmark album by jazz pianist McCoy Tyner, marking his first solo release after leaving John Coltrane's legendary quartet. With a stellar lineup featuring tenor saxophonist Joe Henderson, bassist Ron Carter, and drummer Elvin Jones, the album showcases Tyner's unique modal jazz style, blending African rhythmic influences and his signature wide interval voicings. The album's compositions, all written by Tyner wrote, demonstrate his incredible range as a pianist and composer, with tracks like "Passion Dance" and "Contemplation" now regarded as jazz standards. The interplay between the musicians is dynamic, with Henderson's fluid solos, Carter's solid bass work, and Jones's explosive drumming providing a perfect backdrop for Tyner's improvisations. The album balances uptempo tracks, like "Four by Five," with slower, more meditative pieces, such as "Search for Peace," highlighting Tyner's ability to navigate diverse moods and textures. The Real McCoy is widely praised for its deep emotional resonance and technical brilliance, solidifying McCoy Tyner as one of his generation's most influential jazz pianists.Signature Tracks: "Passion Dance", "Contemplation", "Four By Five" Full Album YouTube Spotify  Playlist     YouTube  Spotify 

This week's episode will have you feeling like a stranger in a strange land when you listen to the best podcast about John Coltrane and the 232nd greatest album of all time, Giant Steps.   Before we get to the music, we'll help you get hella full with some pancake preparation tips straight from a random grocery store clerk. We also enjoy some record store zen featuring new and used albums. Then we provide some travel tips for all of you heading to Ireland and Costa Rica...passport, pants, and electrolytes....you may want to write that down.    Then, at (55:00), we turn this taco truck into a Ferrari and become the best jazz podcast by breaking down John Coltrane's seminal jazz album. We discuss Coltrane's devotion to jazz music, chord changes, and the fastest songs of all time.    Next week's episode is certain to include many previous things when we become the best Tori Amos podcast and cover her debut studio album, Little Earthquakes.

The iconic jazz trumpet player Freddie Hubbard was born in Indianapolis on April 7th of 1938. During his extraordinary career, Hubbard made enormous contributions to hard bop and fusion music, performing on landmark albums by John Coltrane, Herbie Hancock, Quincy Jones, Sonny Rollins, Wayne Shorter and many others. Hubbard also issued many classic recordings as a bandleader. Nine of those albums appeared on the Billboard charts and his 1972 LP First Light earned a Grammy award for "Best Jazz Performance by a Group". Hubbard's technical mastery of the trumpet earned widespread critical acclaim and drew comparisons to legendary musicians like Miles Davis. Freddie  Hubbard passed away in 2008 at the age of 70, but his impact on music endures. His influence extends beyond jazz, shaping hip-hop as well. His recordings have been sampled by some of rap's most respected artists, including A Tribe Called Quest, Raekwon, Common, J Dilla, and MF DOOM. In this episode, we'll celebrate Hubbard's birthday by exploring the use of his music in hip-hop.

Send us your thoughts! The French Impressionists revolutionized the art world by privileging the emotional and spiritual perception of the natural world over its literal reproduction. Hailing from France, harpist Isabelle Olivier has always felt an innate affinity for Impressionism and discovered its echoes within her other artistic passions, primarily the parallel worlds of jazz and classical music.On her vibrant new album, Impressions, Olivier conjures a bold musical landscape from the lush and stirring hues of her diverse influences. Inspired by tenor sax icon John Coltrane's revered composition “Impressions,” she explores the confluences of jazz and Impressionism with a painter's instinct for complementary colors, forms and textures. “I think about Impressionism as a combination between elegance, minimalism, spectral notions, feelings and vibes – things that you can feel but you cannot explain,” Olivier describes. “Looking at Impressionist art is like becoming part of nature, to the point where you forget that you're human. I love this feeling.”Out now in Europe and in the US/Canada on March 21, 2025 via Olivier's Rewound Echoes imprint, Impressions features a versatile and genre-fluid ensemble that includes the harpist's sons – pianist and accordionist Tom Olivier-Beuf and electronic musician Raphael Olivier – along with a string quartet (violinists Mathias Naon and Anne Le Pape, violist Cyprien Busolini and cellist Jean-Philippe Feiss) and drummer Baptiste Thiebault. In addition to Olivier's Impressionism-inspired compositions, the album is interspersed with a number of group improvisations that suggest or were suggested by impressionistic ideas – from the misty, crepuscular “Fog on the Lake” to the stark, pointillist “A Pizzicato Life.”With its many references to Chicago art and artists, Impressions brings together the two metropolises that Olivier calls home – the Windy City and the City of Lights, Chicago and Paris. The album bridges various landmarks for the harpist, including her roots in jazz and classical music, as well as her love for aural and visual art. These seemingly divergent poles have never been separate in her mind – she was introduced to her instrument in the first place by Duchess, the harp-playing cat in Walt Disney's jazz-inflected 1970 animated film The Aristocats. Not long after finishing her classical studies at the Conservatoire National Supérieur de Musique et de Danse in Lyon, she co-founded the jazz quartet Océan with the Moutin Brothers, well known figures on the French and American jazz scenes.Support the show

The acclaimed rapper, actor, poet and activist joined Zan for a joyous Take 5 at the end of a tumultuous 2020.

"Listening is everything. Without listening, there's no music, no art, no understanding—just noise.” (Charlie Peacock, from the episode) Acclaimed musician, producer, podcaster, and author Charlie Peacock joins Mark Labberton to reflect on music, art, attention, listening, faith, and spirituality. From his groundbreaking work in pop music production (e.g., Amy Grant, Switchfoot, the Civil Wars), to his deep engagement with faith and mentorship, Charlie explores how attention shapes creativity, why making space for beauty is a spiritual discipline, and how a life of music can be an act of service. Through stories of artistic risk, collaboration, and calling, this conversation explores the rhythms of a flourishing life. In this episode, they discuss: Charlie's new memoir, Roots and Rhythm: A Life In Music The communal nature of making and producing music The unsung music heroes from Charlie's life Non-neutrality and the interdependence of all things Hearing and visualizing music The intersection of creativity, spirituality, and paying attention, How listening transforms both art and relationships, Life lessons from jazz, pop, and worship music production, And the role of both sound and silence in artistic and spiritual life. About Charlie Peacock Charlie Peacock is a six-time Grammy Award–winning musician and producer, having produced Amy Grant, Switchfoot, the Civil Wars, and many more artists. A three-time recipient of the Gospel Music Association's Producer of the Year Award, he's named by Billboard's Encyclopedia of Record Producers as one of the five hundred most important producers in popular music history. His latest book is Roots and Rhythm: A Life In Music, and you can listen to his podcast, Music & Meaning. For more information visit charliepeacock.com. Episode Highlights "If you're not paying attention, you're missing the song that's already being sung around you." "A mentor doesn't hand you a map; they help you learn how to navigate." "Faith and art are both about trust—trusting the unseen, the unfinished, and the uncertain." "The hardest and best lesson for any artist: keep showing up and doing the work." "Music isn't just a product—it's a means of connection, healing, and worship." Show Notes Charlie Peacock, Roots & Rhythm Music and community The unsung music heroes from Charlie's life Non-neutrality and the interdependence of all things Hearing and visualizing music Michael Polanyi tacit understandings Re-creation of the old into the dramatically new—e.g., Notre Dame Cathedral The joy of generational community Jazz: spirit, skill, and ability “That's what I love about jazz improvisation. There was nothing and then there was something. Over and over again. … When you have those people in a room making music … it's hard to go to sleep at night.” “I have been pursued by a loving Creator … God-haunted since I was a little boy.” “I wanted to know everything. … how, why, what, when … everything.” “Never once was there a moment when I was out of God's grip.” Charlie Peacock's Secret of Time: “God gives you time to be saved.” John Coltrane's spiritual journey “250 people a night…” “I took the F-word out of two songs, and stopped taking 10% from the bar tab.” Hans Rookmaaker Inklings Time in England and the Netherlands, including time at L'Abri (run by Francis and Edith Schaeffer) “An artist and a follower of Jesus, and how those two could be congruent …” “Our death is life to life. The kingdom has already begun. We have been living it. And we will continue to live it.” “Playing with the entire history of music in your brain.” The Civil Wars: “We re-presented hyper-dynamics. … A lot of people have never heard that before. … It invites you in and lets you sit back.” (e.g., pianissimo to forte) Over-compressed music. “That lean in to the music is a part of your participation. … I'm committed to this music.” “I produced music in the ‘80s. I know how to ruin a record. … Big hair and big snare. … But really it had to do with technology.” Music in the late ‘70s and early ‘80s Neil Postman: “To a man with a hammer, everything looks like a nail.” “When I use this tool I have to make sure it doesn't use me.” “My subtext is that this is a book about epistemology. … To say, ‘This is how I know what I know.' It came through God, people, and place.” A worker-bee in the music business “Like a house with a party going on” Vocation, epistemology, and how an artists become who they are Production Credits Conversing is produced and distributed in partnership with Comment magazine and Fuller Seminary.

Folks, we are seeding lots of stuff this eps, from the Golden Girls to the members of the podcast, we are ranking it! Then we find out we have a new fan, we talk live shows, and Aaron blows our mind with his big announcement about something that will make his life miserable.    Then we become the best Tom Petty Podcast when we talk about his final album on the list. We talk about lawsuits, albums that never made #1, and what the hell is going on with this album cover!  Call or text the next line 802 277 BECK (2325) Next week we are talking GIANT STEPS by John Coltrane.   

Making a return for his third appearance on StoryBeat is the great jazz and world flutist, Michael Mason.  Michael's been a professional musician and composer for forty years, while simultaneously working in the fire service of the Downers Grove, Illinois Fire Department, recently retiring at the rank of Lieutenant. Michael is one of the first responders from the Chicago area who flew to New York City just days after the destruction of the World Trade Center. He helped the New York City Fire Department and Port Authority for many weeks. In 2024, Michael released his latest album called “Luminosity,” which follows up 2023's, “Impermanence,” “Transcendence” in 2022, and “Human Revolution” in 2021. All are original jazz and world music compositions which received approval for voting from the National Academy of Recording Arts and Sciences for Grammy Award consideration.Michael's musical influences come from James Newton, Ian Anderson, Miles Davis, John Coltrane, Eric Dolphy, Sun Ra, Yusef Lateef, and James Galway.I've listened multiple times to each of his excellent records and can tell you Michael's impressive work will instantly soothe your soul with warm, beautiful melodies, gorgeous arrangements, and Michael's brilliance on the flute.  I highly recommend you check out his wonderful recordings and music.Michael's currently in the studio mixing 8 new songs for release in 2025 on the AVG Records label, so be sure to look out for that.Michael's been gracious enough to lend us his radiant composition, Moments from Luminosity. Please be sure to stick around at the end of the show to give it a listen. 

When he isn't touring the country as a member of the free jazz collective ‘The Music Quintet' Coleman Rose makes time as a performer and composer in the Sonny Rollins Ensemble at Oberlin College. Well equipped to live and work in both free and traditional jazz, Coleman showcases the latter here in this sextet featuring works by Wayne Shorter, Cannonball Adderley and John Coltrane. Featuring Coleman Rose on Tenor Sax, Chris Coles on Alto Sax, Mitchell Galligan on Hammond B3, Tommy Lehman on Trumpet, Tim Picard on Guitar, and Ori Jossell on drums, and from a sold out performance from March 29th, 2024, it's the Coleman Rose Sextet – Live at the Bop Stop.

THELONIOS MONK TRIO “THE COMPLETE BLUE NOTE RECORDINGS OF THELONIOUS MONK”: New York, October 24, 1947Ruby my dear, Well you needn't, April in Paris, Off minorThelonious Monk (p) Gene Ramey (b) Art Blakey (d) New York, November 21, 1947In walked Bud, ‘Round midnight George Tait (tp) Sahib Shihab (as) [aka Edmund Gregory (as) ] Thelonious Monk (p) Bob Paige (b) Art Blakey (d) DUKE ELLINGTON AND HIS ORCHESTRA “MASTERPIECES BY ELLINGTON” New York, December 18, 1950Mood indigo (yl vcl)Nelson Williams, Andrew “Fats” Ford Harold Baker, Ray Nance William Anderson (tp) Mercer Ellington (flugelhorn) Lawrence Brown, Quentin Jackson (tb) Tyree Glenn (tb,vib) Jimmy Hamilton (cl,ts) Johnny Hodges (as) Russell Procope (as,cl) Paul Gonsalves (ts) Duke Ellington Billy Strayhorn (p) Wendell Marshall (b) Sonny Greer (d) Yvonne Lanauze (vcl) MILES DAVIS QUINTET “THE COMPLETE COLUMBIA RECORDINGS: MILES DAVIS & JOHN COLTRANE”: ‘Round About Midnight, New York, October 26, 1955 Ah-leu-chaMiles Davis (tp) John Coltrane (ts) Cannonball Adderley (sa) Red Garland (p) Paul Chambers (b) Philly Joe Jones (d) Milestones, New York, February 4, 1958 MilestonesMiles Davis (tp) Cannonball Adderley (as) John Coltrane (ts) Red Garland (p) Paul Chambers (b) Philly Joe Jones (d) Kind of Blue – New York, March 2, 1959 Blue in greenMiles Davis (tp) John Coltrane (ts) Bill Evans (p) Paul Chambers (b) Jimmy Cobb (d) Continue reading Puro Jazz 03 de junio, 2024 (Repetición) at PuroJazz.

 Producing a historical recording requires enormous patience, investigative powers like an investigative journalist. The journey is long, emotional, and exciting when the recordings are discovered, and the final package completed. This is what Zev Feldman does. He is the producer for and co-president of Resonance Records, a record label that releases archival recordings that are previously unissued. The Resonance catalogue includes John Coltrane, Bill Evans, Wes Montgomery, Freddie Hubbard, among many other legendary musicians. In this episode, Zev Feldman and I discuss his insights into his multifaceted career, how he got started in the music industry and his subsequent journey through various roles in sales, marketing, and ultimately producing rare jazz recordings. Feldman works with numerous other labels including Blue Note, Verve Label Group, Elemental Music as well as own his own labels, Jazz Detective and Deep Digs. Feldman spins many stories about his adventures in discovering music long forgotten. It's music that is not just good; it must be GREAT! Curating legacy music requires a sense of understanding about the elements of a dynamic recording, one that exceeds others in the quality of the performance, the importance of a certain date, and the historical aspect of the show or studio recording. Then there is the emotional involvement with the families of these jazz legends, many of whom become close friends, such as it has with the families of jazz guitar legend Wes Montgomery (Zev produced the first archival recording of Wes Montgomery for Resonance) and piano virtuoso Bill Evans as Feldman is just releasing his 13th archival recordings of Bill Evans. Then there is the importance of Record Store Day on April 12. Feldman highlights the significance of this little-known observed day in bringing these projects to life. This episode is rich with music, thanks to Zev Feldman and Resonance Records. There is more than 36 minutes of full tracks of music along with clips of recordings discussed. The playlist includes: Freddie Hubbard-On Fire, “True Colors-Breaking Point Closer” (13:32); Freddie Hubbard-trumpet, Bennie Maupin-tenor saxophone, Kenny Barron-piano, Herbie Lewis-bass, Freddie Waits-drums. Charles Mingus-Mingus in Argentina-The Buenos Aires Concerts, “Duke Ellington's Sound of Love” (9:32), Charles Mingus-bass, Ricky Ford tenor saxophone, Jack Walrath-trumpet, Robert Neloms -piano, and Dannie Richmond-drums. Kenny Dorham-Blue Bossa in the Bronx: Live from the Blue Morocco, “Blue Bossa”, (13:31), Kenny Dorham-trumpet, Sonny Red-alto sax, Cedar Walton-piano, Paul Chambers-bass and Denis Charles-drums. Short music clips: Charles Mingus-"Pork Pie Hat", Freddie Hubbard-"Crisis", Kenny Dorham-Blue Friday, Bill Evans-"Ro(u)nd Midnight". Thank you for listening to this podcast. I know you have many others to listen to, but you chose Strictly Jazz Sounds. When you subscribe you become one of the first to hear new episodes, read articles, see new photos, and learn of my annual “Best of” list. Soon, I will introduce a Patreon opportunity, your way of saying thanks to me for spending the more than 25 hours per episode to bring it to you. Photo by Zak Shelby-Szyszko

John Harris is an old pal from our days in the music press. You might remember him from Sounds, the NME and Select (which he edited) and he's been one of the mainstays of the Guardian ever since, writing mostly about pop culture and politics. When his son James was diagnosed with autism and, looking for ways to connect with him and help his development, John began playing him various types of music. The results were life-changing for the family and recorded in his moving and revelatory book ‘Maybe I'm Amazed - A Story Of Love And Connection In 10 Songs'. With autism, John points out, “you can see the trees but seeing the wood is harder”. This fascinating conversation involves … … have we misread the eccentricities of John Coltrane or Van Morrison, Prince, David Byrne and Gary Numan? … how many musicians are outsiders in an industry requiring them to be the opposite of what they feel capable of. … how people with autism hear songs differently each time and “music is an endlessly replenishable source of wonder”. … why so many lead guitarists are loners. .. how James has perfect pitch and hears everything – birdsong, lawn-mowers, police sirens – as notes. And how music taught him to sight-read. … vivid, unforgettable, emotional recollections of the moment you first heard records – in John's case Sir Duke, Baker Street, Strange Town. … “blokes in black denim jackets drinking Becks”: the allure of working for the West End rock press. … “all records are novelty records when you're young”. … how 50-year-olds marvel at Spotify and 20-year-olds at vinyl. … the artistic rise and fall of Britpop. Order John's highly recommended book ‘Maybe I'm Amazed' here: https://www.amazon.co.uk/Maybe-Im-Amazed-Story-Connection-ebook/dp/B0D6B7H5NYFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

John Harris is an old pal from our days in the music press. You might remember him from Sounds, the NME and Select (which he edited) and he's been one of the mainstays of the Guardian ever since, writing mostly about pop culture and politics. When his son James was diagnosed with autism and, looking for ways to connect with him and help his development, John began playing him various types of music. The results were life-changing for the family and recorded in his moving and revelatory book ‘Maybe I'm Amazed - A Story Of Love And Connection In 10 Songs'. With autism, John points out, “you can see the trees but seeing the wood is harder”. This fascinating conversation involves … … have we misread the eccentricities of John Coltrane or Van Morrison, Prince, David Byrne and Gary Numan? … how many musicians are outsiders in an industry requiring them to be the opposite of what they feel capable of. … how people with autism hear songs differently each time and “music is an endlessly replenishable source of wonder”. … why so many lead guitarists are loners. .. how James has perfect pitch and hears everything – birdsong, lawn-mowers, police sirens – as notes. And how music taught him to sight-read. … vivid, unforgettable, emotional recollections of the moment you first heard records – in John's case Sir Duke, Baker Street, Strange Town. … “blokes in black denim jackets drinking Becks”: the allure of working for the West End rock press. … “all records are novelty records when you're young”. … how 50-year-olds marvel at Spotify and 20-year-olds at vinyl. … the artistic rise and fall of Britpop. Order John's highly recommended book ‘Maybe I'm Amazed' here: https://www.amazon.co.uk/Maybe-Im-Amazed-Story-Connection-ebook/dp/B0D6B7H5NYFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

NICOLE MCCABE “LIVE AT JAMBOREE” Barcelona, February 24, 2023Instinct, I mean youNicole McCabe (as) Iannis Obiols (p) Logan Kane (b) Ramon Prats (d) JOHN SCOFIELD “UNCLE JOHN'S BAND” Rhinebeck, NY, August, 2022Budo, The girlfriend cord, Stairway to the stars, Ray's ideaJohn Scofield (g) Vicente Archer (b) Bill Stewart (d) RED GARLAND “THE BEST OF THE RED GARLAND QUINTETS” Hackensack, NJ, December 13, 1957Billie's bounceDonald Byrd (tp) John Coltrane (ts) Red Garland (p) Jamil Nasser (b) Art Taylor (d) New York, March 16, 1961On Green Dolphin StreetRichard Williams (tp) Oliver Nelson (as,ts) Red Garland (p) Peck Morrison (b) Charli Persip (d) Continue reading Puro Jazz 19 de marzo, 2025 at PuroJazz.

Theo Delaney's guest is  Harry Pearson who writes beautifully about football and much else. His book The Far Corner is regarded as a football classic and his regular column in When Saturday Comes is beloved of the cognoscenti. Among the stars of this, part one of two, the Middlesboro fan selects John Hickton, Bernie Slaven and… John Coltrane @camsell59@camsell59.bsky.social@LifeGoalsTD@theodelaney @theodelaney.bsky.socialhttps://harrypearson.contently.com/https://www.theodelaney.com/life-goals-links

El 30 de junio de 1967, Ella Fitzgerald se presentó en el Coliseo de la ciudad californiana de Oakland, acompañada por su trío y por músicos de la orquesta de Duke Ellington. Casi 60 años después, a partir de las cintas conservadas en el archivo personal del productor Norman Granz, podemos escuchar aquel concierto en el disco 'The moment of truth: Ella at the Coliseum' en el que Ella canta 'The moment of truth', 'Don´t be that way', 'You´ve changed', 'Let´s do it (Let´s fall in love)', 'Alfie', 'Music to watch girls by' o 'In a mellow tone'. Del disco de Mulatu Astatke & Hoodna Orchestra 'Tension' (2024) los instrumentales 'Delilah' y 'Yashan'. Abre la pianista Clélya Abraham con 'Orion', de su reciente disco 'Atacama', y cierra el cuarteto de John Coltrane con 'My favorite things' en un concierto de 1963 en la Universidad estatal de Pensilvania.Escuchar audio

Have Giant Steps and Meditations scared you away from John Coltrane? Join us on the other side of the Trane tracks with what might be the best trio of albums ever dropped in the same year. We're talking 1963 Coltrane—at his most accessible (dare we say smooth?) yet still cutting straight to the truth. From the GRAMMY hall-of-famer Ballads to his legendary Impulse! sessions with Duke Ellington and Johnny Hartman, enter the perfect gateway into Coltrane's world. We break down his honest melodies, the masterful support from McCoy Tyner, Elvin Jones, Jimmy Garrison (and more), and quibble with certain Rudy Van Gelder… choices… Whether you're Coltrane-curious or already converted, this episode has something special for your ears.Link to Spotify playlistTry OS Membership today! → https://osjazz.link/aboutLooking to drop a question? Want to listen to the audio pod? Look no further!https://youllhearit.com/

“Art is a thing people forget they need until they need it” - yasiin beyFeaturing, in order of appearance: Questlove, Michelle Wolf, Niko Is, Narcy, Radio Rahim, Roc Marciano and Black Thought Contains audio clips featuring Prince and Chuck Berry and unreleased music from Black Star, as well as John Coltrane and Pharoah SandersRecorded in Ohio, Summer 2020 and Spring 2021Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi Wilbur, and Miles HodgesProduced by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayRecording Engineer: Federico LopezRecording Engineer: Adrián Bruque for NPNDAssistant Editor: Noah Kowalski Additional Score by Jasper van Dijk Senior Sound Designer: Russell TopalTranscription Supervisor: Sam BeasleyMixer: Jordan GalvanPodcast Artwork: Rachel EckStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Kyle Ranson-Walsh, Sina Sadighi, Mark Silverstein, and Carla Sims.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2021 by Pilot Boy Productions, Inc., all rights reserved.Author-read book passages from Vibrate Higher, by Talib Kweli (available at KweliClub.com, Audible.com, or other booksellers)

She's an economist, an institution-builder, an ecosystem-nurturer and one of our finest thinkers. Shruti Rajagopalan joins Amit Varma in episode 410 of The Seen and the Unseen to talk about her life & times -- and her remarkable work. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Shruti Rajagopalan on Twitter, Substack, Instagram, her podcast, Ideas of India and her own website. 2. Emergent Ventures India. 3. The 1991 Project. 4. Life Lessons That Are Priceless -- Episodes 400 of The Seen and the Unseen. 5. Other episodes of The Seen and the Unseen w Shruti Rajagopalan, in reverse chronological order: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18. 6. The Day Ryan Started Masturbating -- Amit Varma's newsletter post explaining Shruti Rajagopalan's swimming pool analogy for social science research. 7. A Deep Dive Into Education -- Episode 54 of Everything is Everything. 8. Fixing Indian Education — Episode 185 of The Seen and the Unseen (w Karthik Muralidharan). 9. Population Is Not a Problem, but Our Greatest Strength -- Amit Varma. 10. Our Population Is Our Greatest Asset -- Episode 20 of Everything is Everything. 11. Where Has All the Education Gone? -- Lant Pritchett. 12. Lant Pritchett Is on Team Prosperity — Episode 379 of The Seen and the Unseen. 13. The Theory of Moral Sentiments — Adam Smith. 14. The Wealth of Nations — Adam Smith. 15. Commanding Heights -- Daniel Yergin. 16. Capitalism and Freedom -- Milton Friedman. 17. Free to Choose -- Milton Friedman and Rose Friedman. 18. Economics in One Lesson -- Henry Hazlitt. 19. The Road to Serfdom -- Friedrich Hayek. 20. Four Papers That Changed the World -- Episode 41 of Everything is Everything. 21. The Use of Knowledge in Society -- Friedrich Hayek. 22. Individualism and Economic Order -- Friedrich Hayek. 23. Understanding the State -- Episode 25 of Everything is Everything.  24. Richard E Wagner at Mercatus and Amazon. 25. Larry White and the First Principles of Money -- Episode 397 of The Seen and the Unseen. 26. Fixing the Knowledge Society -- Episode 24 of Everything is Everything. 27. Marginal Revolution. 28. Paul Graham's essays. 29. Commands and controls: Planning for indian industrial development, 1951–1990 -- Rakesh Mohan and Vandana Aggarwal. 30. The Reformers -- Episode 28 of Everything is Everything. 31. India: Planning for Industrialization -- Jagdish Bhagwati and Padma Desai. 32. Open Borders: The Science and Ethics of Immigration -- Bryan Caplan and Zach Weinersmith. 33. Cows on India Uncut. 34. Abdul Karim Khan on Spotify and YouTube. 35. The Surface Area of Serendipity -- Episode 39 of Everything is Everything. 36. Objects From Our Past -- Episode 77 of Everything is Everything. 37. Sriya Iyer on the Economics of Religion -- The Ideas of India Podcast. 38. Episodes of The Seen and the Unseen with Ramachandra Guha: 1, 2, 3, 4, 5, 6. 39. Episodes of The Seen and the Unseen with Pratap Bhanu Mehta: 1, 2. 40. Rohit Lamba Reimagines India's Economic Policy Emphasis -- The Ideas of India Podcast. 41. Rohit Lamba Will Never Be Bezubaan — Episode 378 of The Seen and the Unseen. 42. The Constitutional Law and Philosophy blog. 43. Cost and Choice -- James Buchanan. 44. Philip Wicksteed. 45. Pratap Bhanu Mehta on The Theory of Moral Sentiments -- The Ideas of India Podcast. 46. Conversation and Society — Episode 182 of The Seen and the Unseen (w Russ Roberts). 47. The Common Sense of Political Economy -- Philip Wicksteed. 48. Narendra Shenoy and Mr Narendra Shenoy — Episode 250 of The Seen and the Unseen. 49. Sudhir Sarnobat Works to Understand the World — Episode 350 of The Seen and the Unseen. 50. Manmohan Singh: India's Finest Talent Scout -- Shruti Rajagopalan. 51. The Importance of the 1991 Reforms — Episode 237 of The Seen and the Unseen (w Shruti Rajagopalan and Ajay Shah). 52. The Life and Times of Montek Singh Ahluwalia — Episode 285 of The Seen and the Unseen. 53. The Forgotten Greatness of PV Narasimha Rao — Episode 283 of The Seen and the Unseen (w Vinay Sitapati). 54. India's Massive Pensions Crisis — Episode 347 of The Seen and the Unseen (w Ajay Shah & Renuka Sane). 55. The Life and Times of KP Krishnan — Episode 355 of The Seen and the Unseen. 56. Breaking Through — Isher Judge Ahluwalia. 57. Breaking Out — Padma Desai. 58. Perestroika in Perspective -- Padma Desai. 59. Shephali Bhatt Is Searching for the Incredible — Episode 391 of The Seen and the Unseen. 60. Pics from the Seen-Unseen party. 61. Pramod Varma on India's Digital Empowerment -- Episode 50 of Brave New World. 59. Niranjan Rajadhyaksha Is the Impartial Spectator — Episode 388 of The Seen and the Unseen. 60. Our Parliament and Our Democracy — Episode 253 of The Seen and the Unseen (w MR Madhavan). 61. Episodes of The Seen and the Unseen with Pranay Kotasthane: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13. 62. The Overton Window. 63. When Ideas Have Sex -- Matt Ridley. 64. The Three Languages of Politics — Arnold Kling. 65. Arnold Kling and the Four Languages of Politics -- Episode 394 of The Seen and the Unseen. 66. The Double ‘Thank You' Moment — John Stossel. 67. Economic growth is enough and only economic growth is enough — Lant Pritchett with Addison Lewis. 68. What is Libertarianism? — Episode 117 of The Seen and the Unseen (w David Boaz). 69. What Does It Mean to Be Libertarian? — Episode 64 of The Seen and the Unseen. 70. The Libertarian Mind: A Manifesto for Freedom -- David Boaz. 71. Publish and Perish — Agnes Callard. 72. Classical Liberal Institute. 73. Shruti Rajagopalan's YouTube talk on constitutional amendments. 74. What I, as a development economist, have been actively “for” -- Lant Pritchett. 75. Can Economics Become More Reflexive? — Vijayendra Rao. 76. Premature Imitation and India's Flailing State — Shruti Rajagopalan & Alexander Tabarrok. 77. Elite Imitation in Public Policy — Episode 180 of The Seen and the Unseen (w Shruti Rajagopalan and Alex Tabarrok). 78. Invisible Infrastructure -- Episode 82 of Everything is Everything. 79. The Sundara Kanda. 80. Devdutt Pattanaik and the Stories That Shape Us -- Episode 404 of The Seen and the Unseen. 81. Y Combinator. 82. Space Fields. 83. Apoorwa Masuk, Onkar Singh Batra, Naman Pushp, Angad Daryani, Deepak VS and Srijon Sarkar. 84. Deepak VS and the Man Behind His Face — Episode 373 of The Seen and the Unseen. 85. You've Got To Hide Your Love Away -- The Beatles. 86. Caste, Capitalism and Chandra Bhan Prasad — Episode 296 of The Seen and the Unseen. 87. Data For India -- Rukmini S's startup. 88. Whole Numbers And Half Truths — Rukmini S. 89. The Moving Curve — Rukmini S's Covid podcast, also on all podcast apps. 90. The Importance of Data Journalism — Episode 196 of The Seen and the Unseen (w Rukmini S). 91. Rukmini Sees India's Multitudes — Episode 261 of The Seen and the Unseen (w Rukmini S). 92. Prosperiti. 93. This Be The Verse — Philip Larkin. 94. The Dilemma of an Indian Liberal -- Gurcharan Das. 95. Zakir: 1951-2024 -- Shruti Rajagopalan. 96. Dazzling Blue -- Paul Simon, featuring Karaikudi R Mani. 97. John Coltrane, Shakti, Zakir Hussain, Ali Akbar Khan, Pannalal Ghosh, Nikhil Banerjee, Vilayat Khan, Bismillah Khan, Ravi Shankar, Bhimsen Joshi, Bade Ghulam Ali Khan, Nusrat Fateh Ali Khan, Esperanza Spalding, MS Subbulakshmi, Lalgudi Jayaraman, TN Krishnan, Sanjay Subrahmanyan, Ranjani-Gayatri and TM Krishna on Spotify. 98. James Buchanan, Gordon Tullock, Israel Kirzner, Mario Rizzo, Vernon Smith, Thomas Schelling and Ronald Coase. 99. The Calculus of Consent -- James Buchanan and Gordon Tullock. 100. Tim Harford and Martin Wolf. 101. The Shawshank Redemption -- Frank Darabont. 102. The Marriage of Figaro in The Shawshank Redemption. 103. An Equal Music -- Vikram Seth. 104. Beethoven: Symphony No. 7 - Zubin Mehta and the Belgrade Philharmonic. 105. Pyotr Ilyich Tchaikovsky's violin concertos. 106. Animal Farm -- George Orwell. 107. Down and Out in Paris and London -- George Orwell. 108. Gulliver's Travels -- Jonathan Swift. 109. Alice in Wonderland and Through the Looking Glass -- Lewis Carroll. 110. One Day in the Life of Ivan Denisovich -- Aleksandr Solzhenitsyn. 111. The Gulag Archipelago -- Aleksandr Solzhenitsyn. 112. Khosla Ka Ghosla -- Dibakar Banerjee. 113. Mr India -- Shekhar Kapur. 114. Chalti Ka Naam Gaadi -- Satyen Bose. 114. Finding Nemo -- Andrew Stanton. 115. Tom and Jerry and Bugs Bunny. 116. Michael Madana Kama Rajan -- Singeetam Srinivasa Rao. 117. The Music Box, with Laurel and Hardy. 118. The Disciple -- Chaitanya Tamhane. 119. Court -- Chaitanya Tamhane. 120. Dwarkesh Patel on YouTube. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Learn' by Simahina.

Zishi Liu is a Chinese-born saxophone player inspired by Western greats like John Coltrane and Kenny G. He's performing a unique Chinese-infused jazz with his band on Saturday at the Charles Hotel Regattabar. He joins us first for Live Music Friday.Ian Coss is host and producer of the GBH podcast The Big Dig. He's back with another podcast series about the wildly successful Mass. Lottery called "Scratch and Win." He joins alongside Dawn Hayes, longtime lottery presenter for WBZ.Boston Medical Center's Dr. Katherine Gergen Barnett talks bird flu, a new framework for defining obesity and RFK Jr.'s confirmation hearing. The NAACP's Michael Curry talks about what the federal funding freeze means for local health centers, Trump blaming “DEI” for Wednesday's deadly plane crash, and a new study showing Black men are being hit disproportionally hard by the opioid crisis.

John Coltrane provides this week's Welcome with his heartfelt tenor playing. Another jazz great, Charles Lloyd is on deck with his latest release at age 86. From there we play some of the great young players of today with Gerald Clayton, Glenn Zaleski, Jahari Stampley and more. The show is ended as we began with jazz legends, Wes and Wayne. Playlist  Artist ~ Name ~ Album John Coltrane Quartet ~ Welcome ~ Transition Charles Lloyd ~ Booker's Garden ~ The Sky Will Still Be There Tomorrow Out Of/Into ~ Synchrony ~ Motion I Glenn Zaleski ~ Two Days ~ Star Dreams Jahari Stampley ~ Power ~ Still Listening Ed Kornhauser ~ Celadon ~ The Short Years Larry Goldings, Peter Bernstein & Bill Stewart ~ FU Donald ~ Perpetual Pendulum Wes Montgomery ~ Bumpin' On Sunset (Alternate Take) ~ Tequila (Expanded Edition) Wayne Shorter ~ Ana Maria ~ Native Dancer

In light of Janis Stockhouse's unexpected death at the tail end of 2024, we're re-posting Kirk's 2019 interview with her for anyone who might want to listen to it.Janis started teaching at North high school in Bloomington, Indiana, in the early 1980s. It was a time when "jazz education" as a concept was still a relatively new thing. She retired 38 years later, having grown the North band program into a well-known Midwest institution, winning countless awards at festivals around the world and regularly turning out graduates who would go on to become professional musicians, as well as many others who would simply have a lifelong love of music.On this episode she tells the story of starting out at North and developing the program, along with her thoughts on how to get students to practice, which composers she prefers for student groups, women in jazz, funding for the arts, and some good old-fashioned album recommendations.REFERENCED ON THIS EPISODE:Janis's 2004 book Jazzwomen: Conversations With Twenty-One Musicians, which she co-wrote with Wayne Enstice - there are used copies on Amazon, and you should really track down a copy and read itThe late great jazz legend David Baker, whose NYT obituary captured at least some of his legacy: https://www.nytimes.com/2016/03/30/arts/music/david-baker-who-helped-bring-jazz-studies-into-the-academy-dies-at-84.htmlMUSIC ON THIS EPISODE:"IU Swing Machine" by David Baker as played by the 2016 IU Celebration Big Band"Don't Get Sassy" by the Thad Jones/Mel Lewis big band"Hang Gliding" by Maria Schneider from Alegresse"Bright Eyes" as played by the Bill Holman big band"Take the 'A' Train" by Billy Strayhorn as performed by the Duke Ellington orchestra"Vol. 6: All 'Bird' - Now's The Time" Play-A-Long by Jamey Aebersold (featuring Kenny Barron and Ron Carter(!!))"Laugh, Clown, Laugh" by Abbey Lincoln from Abbey Is Blue, 1959"Song Patrol" by Jane Ira Bloom from Early Americans, 2016"Lingala" by the SF Jazz Collective from their 2005 self-titled album"So What" and "Flamenco Sketches" by Miles Davis from Kind of Blue, 1959"My Favorite Things" as performed by John Coltrane on My Favorite Things, 1966"Mercy Mercy Mercy" by Josef Zawinul as performed by the Cannonball Adderley quintet on Mercy, Mercy, Mercy, 1966OUTRO SOLOIST: BJ CORDThis episode's outro soloist is BJ Cord, a fellow Bloomington North graduate and fantastic trumpet player based in Portland. BJ works at Monette trumpets making some of the most beautiful horns in the world, and is a regular presence on their Instagram: https://www.instagram.com/monettetrumpets

To kick off the New Year, we're sharing a podcast that we think Hit Parade listeners are going to love: Broken Record. Check out this episode with singer/songwriter Norah Jones, co-hosted by Blue Note Records President Don Was. Norah has been with Blue Note Records since releasing her juggernaut 2002 debut album, Come Away With Me. In this conversation, Norah details her musical upbringing and what it was like striking it big with her debut album. She also performs for us, and talks about the musical freedom she's found as part of the Blue Note family. Blue Note is one of the first and longest standing institutions of jazz music. Since its formation in 1939 the label has put out albums by Robert Glasper, Lee Morgan, John Coltrane, Wayne Shorter, Gergory Porter, Bobby McFerrin, and many more. Learn more about your ad choices. Visit megaphone.fm/adchoices