Podcasts about Joseph Jarman

Out on strike and newly single, Roger seeks comfort in sound in the shape of legendary avant-garde, free jazz giants The Art Ensemble of Chicago, on a rare visit to Sheffield in the spring of 1984. Intro and outro music: Simon Elliott-KempArtwork: RionaghEditor: Nigel FloydSound FX courtesy of Freesound.org, with particular thanks to:Concert applause: Recording Hopkins.Djembe: Rutger Muller.Drum loop: Esares.City street ambience: Sage Tyrtle.Jazz drums: Big Joe Drummer.Double bass: El Zozo.Trumpet: Soro Hanro.Saxophones: Uauaua.Church bell: Audeption.Wind chime: Inspector J.Gong: Boss Music.Ian Hall: Splash, Chinese cymbal.David J. Woll: cymbal rolls.Club ambience: Rikus 246.Send us a textNever miss an episode.Follow me at: https://twitter.com/rogerquailhttps://www.instagram.com/rogerquail/RSS feed - https://feeds.buzzsprout.com/289673.rss

Estas dos palabras dan título a un álbum grabado por Ornette Coleman en doble cuarteto a finales de 1960 para el sello Atlantic. La obra —cuyo título completo es Free Jazz: A Collective Improvisation— rompe las estructuras previas del jazzy apunta a un paroxismo nunca escuchado._____Has escuchadoAscension - Edition I (1965) / John Coltrane. John Coltrane, saxofón tenor; McCoy Tyner, piano; Jimmy Garrison, bajo; Elvin Jones, batería; Archie Schepp y Pharoah Sanders, saxofón tenor; John Tchicai y Marion Brown, saxofón alto; Art Davis, bajo. Impulse (1987)Hello Chi (1970) / Art Ensemble of Chicago. Fontella Bass, voz; Lester Bowie, trompeta; Roscoe Mitchell, flauta y saxofón alto; Joseph Jarman, flauta y saxofón alto; Malachi Favors, bajo. FreeFactory (2010)Simple Like (1969) / Anthony Braxton. Leo Smith, trompeta y mult. instrumentos; Anthony Braxton, saxofón alto y mult. instrumentos; Leroy Jenkins, violín y mult. instrumentos; Steve McCall, percusiones. BYG Records (1969)Sunday Morning Church (2003) / William Parker. Billy Bang, violín; Hamid Drake, batería; William Parker, contrabajo. Thirsty Ear (2003)Truth Is Marching in (1966) / Albert Ayler. Albert Ayler, saxofón tenor; Don Ayler, trompeta; Michel Sampson, violín; Bill Folwell y Henry Grimes, bajos; Beaver Harris, batería. Impulse (1998)_____Selección bibliográficaANDERSON, Iain, This Is Our Music: Free Jazz, the Sixties, and American Culture. University of Pennsylvania Press, 2007BRADLEY, Francis R., Universal Tonality: The Life and Music of William Parker. Duke University Press, 2021CARLES, Philippe y Jean-Louis Comolli, Free Jazz: Black Power. Traducido por Juan Giner. Anagrama, 1973JENKINS, Todd S., Free Jazz and Free Improvisation: An Encyclopedia. Greenwood Press, 2004JOST, Ekkehard, Free jazz: une étude critique et stylistique du jazz des années 1960. Outre Mesure, 2002KOLODA, Richard, Holy Ghost: The Life & Death of Free Jazz Pioneer Albert Ayler. Jawbone Press, 2022MAZZOLA, Guerino y Paul B. Cherlin, Flow, Gesture, and Spaces in Free Jazz Towards a Theory of Collaboration. Springer, 2009ONSMAN, Andrys y Robert Burke, Experimentation in Improvised Jazz: Chasing Ideas. Routledge, 2019PARKER, William et al., Conversations. Rogueart, 2011—, Conversations II: Dialogues and monologues. Rogueart, 2015—, Conversations III: Dialogues and monologues. Rogueart, 2019—, Conversations IV. Rogueart, 2023PEYROU, Mariano, Free jazz: la música más negra del mundo. Anagrama, 2024RUSH, Stephen, Free Jazz, Harmolodics, and Ornette Coleman. Routledge, 2017SCHWARTZ, Jeff, Free Jazz: A Research and Information Guide. Routledge Music Bibliographies, 2018*SKLOWER, Jedediah, Free jazz, la catastrophe féconde: une histoire du monde éclaté du jazz en France (1960-1982). L'Harmattan, 2006SPICER, Daniel, Peter Brötzmann: Free-Jazz, Revolution and the Politics of Improvisation. Repeater, 2024STEINBECK, Paul, Message to Our Folks: The Art Ensemble of Chicago. The University of Chicago Press, 2017SZWED, John F., Space Is the Place: The Lives and Times of Sun Ra. Duke University Press, 2020TONELLI, Chris (Chris J.), Voices Found: Free Jazz and Singing. Routledge, 2019TOOP, David, En el maelström: música, improvisación y el sueño de la libertad antes de 1970. Caja Negra, 2018*WILMER, Val, As Serious As Your Life: Black Music and the Free Jazz Revolution, 1957-1977. Serpent's Tail, 2018 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Who was Joseph Jarman?  A shaman?  A conjurer?  A Buddhist priest?  A poet?  An Aikido sensei?  In the words of his fellow member of the Art Ensemble of Chicago, Lester Bowie, "Well, I guess that all depends on, ah, what you know."  We know that in the universe of this music, which thrives on original thinking, few ranged as far and as free as Jarman.  He brought us songs and stories, large-scale compositions, movement, theatricality, costumes and confrontation, along with collaborations and improvisations on every member of the woodwind family (as well as those "little instruments").  With Jarman, walls turned into windows, windows into doors, and those doors flew off their hinges.   So what's out there on the other side?   Is it any surprise that William Hooker is summoning Jarman for this week's Deep Focus? An improvising drummer who puts all his food on the same plate, composing spontaneously for silent films, collaborating with DJs and rockers, exploring architecture and futurism and tribal traditions... hungry for the world.  No, this one is gonna fly like hot lava from a volcano.     This Monday (7/10) from 6p to 9p on WKCR 89.9FM and WKCR-HD in NYC, wkcr.org on the web.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DeepFocus #WilliamHooker #JosephJarman #AEC #AECo #ArtEnsembleofChicago #JazzRadio #JazzInterview #JazzPodcast   Photo credit: fair use. 

Who was Joseph Jarman?  A shaman?  A conjurer?  A Buddhist priest?  A poet?  An Aikido sensei?  In the words of his fellow member of the Art Ensemble of Chicago, Lester Bowie, "Well, I guess that all depends on, ah, what you know."  We know that in the universe of this music, which thrives on original thinking, few ranged as far and as free as Jarman.  He brought us songs and stories, large-scale compositions, movement, theatricality, costumes and confrontation, along with collaborations and improvisations on every member of the woodwind family (as well as those "little instruments").  With Jarman, walls turned into windows, windows into doors, and those doors flew off their hinges.   So what's out there on the other side?   Is it any surprise that William Hooker is summoning Jarman for this week's Deep Focus? An improvising drummer who puts all his food on the same plate, composing spontaneously for silent films, collaborating with DJs and rockers, exploring architecture and futurism and tribal traditions... hungry for the world.  No, this one is gonna fly like hot lava from a volcano.     This Monday (7/10) from 6p to 9p on WKCR 89.9FM and WKCR-HD in NYC, wkcr.org on the web.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DeepFocus #WilliamHooker #JosephJarman #AEC #AECo #ArtEnsembleofChicago #JazzRadio #JazzInterview #JazzPodcast   Photo credit: fair use. 

Who was Joseph Jarman?  A shaman?  A conjurer?  A Buddhist priest?  A poet?  An Aikido sensei?  In the words of his fellow member of the Art Ensemble of Chicago, Lester Bowie, "Well, I guess that all depends on, ah, what you know."  We know that in the universe of this music, which thrives on original thinking, few ranged as far and as free as Jarman.  He brought us songs and stories, large-scale compositions, movement, theatricality, costumes and confrontation, along with collaborations and improvisations on every member of the woodwind family (as well as those "little instruments").  With Jarman, walls turned into windows, windows into doors, and those doors flew off their hinges.   So what's out there on the other side?   Is it any surprise that William Hooker is summoning Jarman for this week's Deep Focus? An improvising drummer who puts all his food on the same plate, composing spontaneously for silent films, collaborating with DJs and rockers, exploring architecture and futurism and tribal traditions... hungry for the world.  No, this one is gonna fly like hot lava from a volcano.     This Monday (7/10) from 6p to 9p on WKCR 89.9FM and WKCR-HD in NYC, wkcr.org on the web.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DeepFocus #WilliamHooker #JosephJarman #AEC #AECo #ArtEnsembleofChicago #JazzRadio #JazzInterview #JazzPodcast   Photo credit: fair use. 

Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.

Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.

Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.

Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.

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

Il 9 gennaio scorso è scomparso Joseph Jarman e noi oggi rendiamo omaggio a questo artista che ha dato un contributo fondamentale all'innovazione del jazz a partire dagli anni '60

JAZZ STORY les lundi, jeudi et dimanche à 17h. Luke Seabright nous raconte l'histoire du jazz. Cette semaine, The Art Ensemble of Chicago et Joseph Jarman, décédé il y a un mois. Ils sont 5 sur scène. Le rugissement de la trompette, batteurs et bassistes en costumes africains, le chapeau à plume et au centre, le doyen Roscoe Mitchell. Tous circulent sur scène s'essayant à différents instruments. Ils forment le noyau de l'Art Ensemble of Chicago qui figure parmi le panthéon des plus grands groupes de musique expérimentale. L'Ensemble fête cette année ses 50 ans et le coup sera marqué par la sortie en novembre prochain d'un coffret collector de 21 CD en édition limitée. Si le groupe tourne toujours, seuls deux membres de la formation originelle sont encore en vie. Le 9 janvier dernier, Joseph Jarman nous quittait à l'âge de 81 ans. Luke Seabright vous raconte la fabuleuse histoire de ce groupe mythique qui vint se produire en France aux côtés de Brigitte Fontaine...

In this week's dispatch from the Fortress of Proopitude, Greg and Jennifer jam on Jasmin Paris, J.B. Pritzker and Joseph Jarman.

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a cura di Alessandro Achilli. Musiche della Carla Bley Band, Art Ensemble of Chicago, Art Bears, Olivier Messiaen, Art Zoyd (seconda parte)

a cura di Alessandro Achilli. Musiche della Carla Bley Band, Art Ensemble of Chicago, Art Bears, Olivier Messiaen, Art Zoyd (seconda parte)

2e émission de la 41e session... Cette semaine, une pensée pour Joseph Jarman, jazz modal, post-bop et freejazz! En musique: Don Rendell - Ian Carr 5tet sur l'album Dusk Fire  (Columbia, 1966); Don Rendell - Ian Carr Quintet sur l'album Phase III  (Columbia, 1968); Roxy Coss sur l'album The Future is Female  (Posi-Tone, 2018); Erik Jekabson sur l'album Erik Jekabson Sextet  (Wide Hive, 2018); Jonathan Finlayson sur l'album 3 Times Round  (Pi Recordings, 2018); Joseph Jarman - Don Pullen - Don Moye sur l'album The Magic Triangle  (Black Saint, 1979); Joseph Jarman - Don Moye - featuring Johnny Dyani sur l'album Black Paladins  (Black Saint, 1980)...

2e émission de la 41e session... Cette semaine, une pensée pour Joseph Jarman, jazz modal, post-bop et freejazz! En musique: Don Rendell - Ian Carr 5tet sur l'album Dusk Fire  (Columbia, 1966); Don Rendell - Ian Carr Quintet sur l'album Phase III  (Columbia, 1968); Roxy Coss sur l'album The Future is Female  (Posi-Tone, 2018); Erik Jekabson sur l'album Erik Jekabson Sextet  (Wide Hive, 2018); Jonathan Finlayson sur l'album 3 Times Round  (Pi Recordings, 2018); Joseph Jarman - Don Pullen - Don Moye sur l'album The Magic Triangle  (Black Saint, 1979); Joseph Jarman - Don Moye - featuring Johnny Dyani sur l'album Black Paladins  (Black Saint, 1980)...

James Carter first heard the music of saxophonist Joseph Jarman on WDET. Decades later, he returned to honor Jarman's influence on him as a young musician live on our airwaves.

Por Pachi Tapiz. Si hay algo que caracteriza a Henry Threadgill a lo largo de su carrera es el trabajar con formaciones inéditas, o como mínimo infrecuentes. Es el caso de X-75 (1979), una grabación en formato de noneto (la primera publicada a su nombre cuando Threadgill mediaba la treintena), que incluía a cuatro flautistas (Henry Threadgill, Douglas Ewart, Joseph Jarman, Wallace McMillan), cuatro bajistas (Leonard Jones, Brian Smith, Rufus Reid, Fred Hopkins), y una cantante (Amina Claudine Myers). En HDO 453, noveno programa del especial Henry Threadgill en HDO, suena X-75, y también el disco inédito hasta su publicación en la caja de Mosaic The Complete Novus & Columbia Recordings Of Henry Threadgill & Air, X-75 Volume 2, grabado unos días después y con casi la misma formación que X-75. Tomajazz: © Pachi Tapiz, 2018 HDO es un podcast de jazz e improvisación (libre en mayor o menor grado) que está editado, presentado y producido por Pachi Tapiz. Para quejas, sugerencias, protestas, peticiones, presentaciones y/u opiniones envíanos un correo a hdo@tomajazz.com

The third episode of the Burning Ambulance podcast features an interview with pianist Myra Melford. Melford has been a prominent figure on the jazz avant-garde since the late 1980s, having worked with numerous figures affiliated with the AACM, including Henry Threadgill, Roscoe Mitchell, Joseph Jarman, Nicole Mitchell, and Leroy Jenkins. She’s also led several of her own groups, including Trio M with bassist Mark Dresser and drummer Matt Wilson; the Myra Melford Trio with bassist Lindsey Horner and drummer Reggie Nicholson, which later became the Myra Melford Expanded Ensemble with the addition of trumpeter Dave Douglas and saxophonist Marty Ehrlich; Be Bread, which explored a blend of jazz and traditional Indian music, which Melford has studied extensively; and Snowy Egret, which includes guitarist Liberty Ellman, cornet player Ron Miles, bassist Stomu Takeishi, and drummer Tyshawn Sorey, and with whom she just recorded a new album, due out in 2018. She’s got many other projects going as well, many of which are explored in this interview. Melford also discusses her early studies and her path to becoming a professional musician; her exploration of Indian music; her role as a professor at UC Berkeley; her participation in the Lincoln Center Jazz Orchestra's “Handful of Keys” salute to jazz piano history; and much more. It’s a fascinating, nearly hour-long conversation I hope you’ll enjoy.

The first episode of the Burning Ambulance podcast features an interview with legendary saxophonist and composer Roscoe Mitchell. Mitchell co-founded both the AACM and the Art Ensemble of Chicago, and has been one of jazz’s most forward-looking and inspiring figures since the 1960s. His latest album, Discussions (get it from Amazon), features large-ensemble interpretations of music originally improvised by a trio featuring Mitchell himself, Craig Taborn on keyboards, and Kikanju Baku on percussion. About a week after this interview was recorded, Mitchell led a new incarnation of the Art Ensemble of Chicago in their first New York performance since 2004. The group featured Hugh Ragin on trumpet, Tomeka Reid on cello, Jaribu Shahid and Junius Paul on basses, and Famoudou Don Moye on drums, and former AEOC member Joseph Jarman made a special appearance, reading his poetry accompanied by the others. The interview runs about 45 minutes; Mitchell talks about the Art Ensemble, his composition “Nonaah,” his other solo works, and much more. Stream it or download it below.

We’re featuring something a bit unusual for this week’s Contrabass Conversations episode. Ball State University bass professor and International Society of Bassists president Hans Sturm has been featured several times on the podcast in video episodes, and this week we’re featuring Hans discussing the fundamentals of the Rabbath technique left hand positioning system.This dialogue was featured in some of our previous video episodes, but it was broken up into bite-sized chunks, so I think you’ll enjoy the opportunity to hear the entire segment uninterrupted!After the segment, we feature some bass news and listener feedback. Enjoy!  About Hans: Double bassist Hans Sturm has performed as soloist, chamber, orchestral, jazz and improvisational musician throughout Europe, Asia, South America, Africa and the United States. Sturm received his doctorate from Northwestern University and is currently a Professor and Chair of the String Department at Ball State University.Sturm has appeared with a variety of artists across the spectrum of jazz music including Eddie Daniels, Phil Woods, Randy Brecker, Dick Hyman, Roscoe Mitchell, Joseph Jarman, Eddie Higgins, David Baker, Stanley Jordan, Peter Erskine, Joe LaBarbera, Alan Dawson, Bela Fleck, Howard Levy and many others. A frequent performer of chamber music, Sturm has toured with ‘Fireflight’ (soprano, Japanese koto and bass koto, double bass, and percussion) and ‘Trinkle, Burkett, and Sturm’ (trumpet, marimba and double bass) for more than fifteen years. He has worked in the electronic medium with composers such as Cleveland Scott and Joan Wildman. As an orchestral bassist, he has served as principal bassist of numerous regional orchestras including the Muncie Symphony, Quad Cities Symphony, Wisconsin Chamber Orchestra, Madison Symphony, Dubuque Symphony, Dorian Opera, Rockford Symphony, and Racine Symphony and toured Europe as a member of the American Sinfonietta Chamber Orchestra.Recently Hans Sturm has appeared at the Beijing Music Festival; the Association of Brazilian Contrabassists International Conventions in Goiania and Pirenopolus, Brazil; the Scottish Bass Trust’s International Convention and the Fringe Festival in Edinburgh Scotland; the College Music Society International Conference in Kyoto, Japan; Encontro de instrumentistas in Joao Pessoa and Belo Horizonte, Brazil; the Biennial International Symposium on Arts and Technology in New London, Connecticut; a State Department tour of Morocco; various International Society of Bassists Conventions in Bloomington, Houston, Indianapolis, Iowa City and Richmond; and jazz fest ivals in Chicago, New York, Detroit, Madison, Milwaukee, and Minneapolis. Sturm has contributed performances and compositions to more than thirty recordings with artists including the Pro Arte String Quartet, soprano Mimmi Fulmer, vocalist Jackie Allen, synthesist/composer Joan Wildman, guitarists Scott Fields, Rolf Sturm, Dave Baney, Jeff Parker, and Jack Grassel, trumpeters Bob Levy and David Young, and pianists Jane Reynolds, and Marilyn Crispell. He has recorded for A440, Innova, Red Mark, Music and Arts, CRI, Big Chicago, and Cadence labels among others.Hans Sturm is currently the President-Elect of the International Society of Bassists and served as the New Music Editor for the organization’s journal ‘Bass World’ for six years. He is on the summer faculty of the National High School Music Institute at Northwestern University and his works for bass are published by Liben Music (U.S.) and Klaus Schruff (Europe). His major teachers have included Northwestern University Professor Jeff Bradetich, Pittsburgh Symphony Principal Bass Emeritus Anthony Bianco, Philadelphia Orchestra bassist Ferdinand Maresh, and international soloist and pedagogue François Rabbath.