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8 episodes with Lester Bowie
8 episodes with Lester Bowie
9 episodes with Lester Bowie
2 episodes with Lester Bowie
2 episodes with Lester Bowie
3 episodes with Lester Bowie
2 episodes with Lester Bowie
2 episodes with Lester Bowie
2 episodes with Lester Bowie
Here it is: the very first episode of Deep Focus ever, and it's a killer! Graham Haynes is the guest and Ed Blackwell is the subject. First-hand stories about Blackwell? Yes! Don Cherry? Yes! Lester Bowie? Yes! Carlos Ward? Yes! Roy Haynes? Yes! Fantastic music that we've never heard? What do you think? Tune in to find out. Photo credit: fair use. Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.
Yes, Jimi Hendrix was a rock guitar god, but he inspired scores of jazz players, and fans. After all, he is the first non-jazz musician to enter the Down Beat Hall of Fame, back in 1970 (the year of his passing). Enjoy our third and final segment of this week's tribute to Jimi Hendrix, and yet more jazz renditions of Jimi Hendrix classics. The playlist features World Saxophone Quartet; Idris Muhammad; Mac Gollehon, Lester Bowie; Jay Anderson; Robert Dick; Mina Agossi, Archie Shepp; Triad, Geri Allen, Mark Batson, Scott Batson; Kamikaze Ground Crew; Liro Rantala, Lars Danielsson, Peter Erskine; Bugge Wesseltoft. Happy listening!
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
This episode of The Other Side of the Bell, featuring commercial trumpeter and vocalist, Ravi Best, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Ravi: Ravi Best is a New York City based jazz and commercial trumpet player who has performed domestically and internationally for two decades. Most recently, he has been performing, recording, and touring with Kool & The Gang, Blood, Sweat and Tears, The Duke Ellington Orchestra, and Little Steven and The Disciples of Soul, where he had the chance to perform with Sir Paul McCartney, and Bruce Springsteen. He has performed with several Jazz, Rock, and R&B artists such as Stevie Wonder, Aretha Franklin, Whitney Houston, Beyonce, Jay-Z, Lenny Kravitz, Queen Latifah, Annie Lennox, Robert Cray, ani difranco, Michael Buble, Clark Terry, Tony Bennett, and Herbie Hancock. He has played in several Broadway shows such as The Heart of Rock and Roll, Merrily We Roll Along, Hell's Kitchen, Diana, The Color Purple, Chicago, 42nd St., Sweet Charity, Annie, and several others. He has made several TV appearances playing in the house band on SNL, Jesus Christ Superstar Live, Jimmy Kimmel Live( Kool and The Gang), Good Morning America(Boyz II Men), The Today Show(Little Big Town), The Late Show(Rufus Wainwright), and The Sherri Show. Ravi was also featured in the Chris Colombus film The Christmas Chronicles. He can also be heard on many recordings such as, Kenny Garrett's Pushing The World Away, Little Steven and The Disciples of Soul's Soulfire Live, and Summer of Sorcery, David Byrne & St. Vincent's Love This Giant, David Murray Octet's Octet Plays Trane, Lester Bowie's Brass Fantasy's The Odyssey of Funk & Popular Music, Sam River's Rivbea Orchestra's Culmination, Ani DiFranco's Evlolve, So Much Shouting, So Much Laughter, and Mya's Moodring, The Broadway cast recordings of Jesus Christ Superstar Live In Concert, Heart of Rock and Roll, Diana, Ain't Too Proud, 42nd Street, and Baby It's You.
Amina Claudine Myers was one of the earliest members of the AACM, and if you're listening to this podcast, I'm pretty sure you know what the AACM is, but just in case you don't, the Association for the Advancement of Creative Musicians is an organization formed by Muhal Richard Abrams, Roscoe Mitchell and a few other musicians in Chicago in the mid-1960s. A tremendous number of the most important avant-garde jazz musicians of the mid to late 20th century and the 21st century have come out of the AACM, including Anthony Braxton, Henry Threadgill, Fred Anderson, the Art Ensemble of Chicago, Wadada Leo Smith, Matana Roberts, Nicole Mitchell, Tomeka Reid, and Amina Claudine Myers. There's a tremendous book by trombonist and composer George Lewis, called A Power Stronger Than Itself, that's the best possible introduction to the group. You should absolutely read that if you're a fan of any of the musicians I just named.Now, all the founders and early members of the AACM worked together, supporting each other, and moving the music forward in large part by composing and performing original work. What's interesting — and this is something we talk about in this conversation — is that Amina Claudine Myers' early albums included some original music, but they also included interpretations of other people's compositions, specifically Marion Brown and Bessie Smith. But she always paired that music up with pieces of her own that demonstrated a really fascinating compositional voice that was a combination of jazz, gospel, blues, and classical music. She took all her influences and early training and combined them into something that sounded like nobody else out there, and was incredibly powerful.In addition to making her own records, she's been a part of albums by Lester Bowie, Henry Threadgill, Muhal Richard Abrams, Anthony Braxton, Kalaparusha Maurice McIntyre, Bill Laswell, and many other people. Her latest release is a collection of duos with Wadada Leo Smith, the first time they've recorded together since 1969, and their first collaboration as leaders.I'm really glad I had the chance to interview her. We talked about a lot of things — the AACM, the role of spirituality in music and the way the term spiritual jazz is used to gatekeep certain things, her work with all the artists I just mentioned, her upbringing in Arkansas and Texas and how it influenced her writing... this is a really wide-ranging conversation that I think will be really interesting for you to hear. I thank you as always for listening.
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
•Curtis Fondren is the epitome of a seasoned music professional. As a master percussionist having performed in various genres with adept musicians and singers including Fontella Bass, David Peaston, Dionne Warwick, Lester Bowie, Tramaine Hawkins, Rev. Jesse Dixon, The Barrett Sisters, Rev. James Cleveland, Vanessa Bell Armstrong, Albertina Walker, Lamont Lenox, Twinkie Clark, Chrystal Rucker and Rev. Jessie Jackson and The Operation Push Choir to name a few. •In over 3 decades, Curtis developed and perfected his craft while playing on numerous recordings. These recordings included Rev. Clay Evans and The Fellowship Baptist Church Choir, Dr. Charles G. Hayes and the Cosmopolitan Church of Prayer Choir ( including the Gold selling Jesus Can Work it Out LP), Gospel Music Legends Donald and Geraldine Gay, Rev. Calvin Bridges, Elsa Harris, Fontella Bass, and a host of others. •Curtis Fondren makes it clear that he wasn't just playing drums all those years, he was also listening. Now, he celebrates and reveals his own music in the form of his debut double cd, “Heart Songs & Other Melodies” Vol. 1. One disc is Gospel, and the other Secular. As drummers do, he is part of the band. But now, he takes his place in the distinguished field of composers and producers, joined by co-writers Gregory Gay and Jocelyn Buchanan. The double disc's single, “With Thee I Wed” (the wedding song) which features Desmond Pringle and Felicia Coleman-Evans has been enjoying worldwide airplay and peaked at # 1 on the Billboard Nielsen BDS Internet Radio Gospel Chart ( week 7 November 2021). Curtis Fondren and Jocelyn Buchanan created the song with hopes to inspire the Christian and Secular world about the sanctity of marriage as ordained by God. If you love music, whether it's gospel, non-gospel, or both, Listen to the Man. The Writings of Curtis Fondren Heart Songs & Other Melodies Vol. 1 Produced By: Gregory Gay, Curtis Fondren & Pharis Evans Jr. Curtis joins the ranks of elite music makers and influencers as a Voting Member of The Recording Academy, also he celebrates endorsements from Soultone Cymbals and Xcel Drumsticks •Please send me an email sharing your thoughts about this show segment also if you have any suggestions of future guests you would like to hear on the show. Send an email to letstalk2gmg@gmail.com •You may also “like” and share the podcast episode; or you may Subscribe to be alerted when the newest show is published. •LET'S TALK: GOSPEL MUSIC GOLD RADIO SHOW AIRS SATURDAY MORNING 9:00 AM CST / 10:00 AM EST ON INTERNET RADIO STATION WMRM-DB •The Podcast and Radio show is heard anywhere in the World! •NEW BOOK RELEASE! •Legacy of James C. Chambers -And his Contributions to Gospel Music History •Available to purchase on Amazon.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/letstalk2gmg-ansonia/message
Bassist Reggie Washington was a key participant in the Modern Jazz revolution of the '80s and '90s. He became known touring, recording, and performing with Steve Coleman, Branford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, Cassandra Wilson, Don Byron, Jean-Paul Bourelly, Lester Bowie, and Ronald Shannon Jackson.In 2005, Reggie began successfully touring with his own bands. They were a mix of American & European musicians such as Ravi Coltrane, Gene Lake, Stéphane Galland, Jef Lee Johnson, Erwin Vann, Jacques Schwarz-Bart, E.J Strickland, Jozef Dumoulin, Skoota Warner, Matthew Garrison, Marcus Strickland, Jason Lindner, Poogie Bell, and Ronny Drayton.A versatile, 360-degree musician, Reggie plays Jazz, Funk, R&B, Blues, World, and Experimental music with a natural and contagious energy. His bass lines are both sophisticated and explicit. He is diligent in his work and enjoys mixing people of different cultures as a way to enhance music by learning from others and sharing ideas. Reggie leads the Black Lives Band who has released two stellar albums "Generation to Generation" and "People Of Earth". He also has recorded two albums of songs of his friend, the late great Jef Lee Johnson.Reggie has toured with Archie Shepp, Jacques Schwarz-Bart, The Headhunters, Alex Tassel, Dana Leong, Hervé Samb, Brian Jackson's New Midnight Band “Tribute to Gil Scott Heron”, Rokia Traoré, Randy Brecker, Stanley Jordan, and gospel diva Liz McComb.________"Musicians Reveal with Joe Kelley" Podcast BioRock and Roll Hall of Famer Prince featured the "Upper Room with Joe Kelley and Gi Dussault" on his official website www.npgmusicclub.com. This is the first radio show to have ever received that honor. "Musicians Reveal with Joe Kelley" has been on the radio airwaves since 1982. Joe Kelley and Gi Dussault co-host the show and are well-respected in the music business as creative air personalities and supporters of independent musicians . Our web site is located at www.musiciansreveal.com . The show features creative music in funk, R&B, jazz, blues, rock, hip-hop, latin, and gospel. In addition, Joe Kelley has interviewed renowned musicians such as Victor Wooten, Sheila E. , Foley, Robin Duhe, Jef Lee Johnson, Jellybean Johnson, Monte Moir, Rhonda Smith, Bernie Worrell, Cyndi Lauper, Michael Bland, Larry Graham, Chris Frantz and Tina Weymouth, Steve Smith, St. Paul Peterson, JD Blair, Tori Ruffin, Kat Dyson, Eric Person, actor Jeff Daniels, Junior Giscombe, John Scofield, EC Scott, John Blackwell, Mystic Bowie, and many others.
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.
Brass bands are not exclusive to New Orleans, but it sure seems like it! Whether it's Crescent City jazz, pop covers, or even funeral spirituals, there's a lot to like about brass band music. In this episode we cover New Orleans legends The Dirty Dozen Brass Band, and a band from Chicago, by way of St. Louis, Lester Bowie's Brass Fantasy. These bands artfully expose all that the genre offers -- including just plain fun.Good luck staying in your seat!
Ep.28: Mono anfibio. Un programa de música para gente que le gusta la música. Bill Evans, Carmen Souza, Rodrigo y Gabriela, Sonny Criss, Lester Bowie, Bud Powell, Carmen Sánchez Viamoente, Alice Russell, Villelisa, y más, más y más! Conduce Cintia Rodil. Musicalizan Cintia y Agustín Dellagiovanna. Edita Diego Carrera.
Puntata dedicata al jazz e alla musica creativa di Chicago, con l`Art Ensemble of Chicago, Nicole Mitchell, Hamid Drake, Rob Mazurek, Chad Taylor, Tomeka Reid, Irreversible Entanglements e Lester Bowie.
Space is the place_jazz e dintorni del 11 aprile 2023Puntata dedicata al jazz e alla musica creativa di Chicago, con l`Art Ensemble of Chicago, Nicole Mitchell, Hamid Drake, Rob Mazurek, Chad Taylor, Tomeka Reid, Irreversible Entanglements e Lester Bowie. Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-11-aprile-2023 Tutti i podcast di Space is the place: https://www.radiotandem.it/category/space-is-the-place
The Beatles were at the height of their popularity, and surprisingly near the end of their time as a group when they recorded Abbey Road, their eleventh studio album. In fact, it would be the last album the group started recording, as Let it Be was mostly recorded prior to the Abbey Road sessions even though it wasn't finished until after Abbey Road was released. John, Paul, George, and Ringo were iconic by this time, though all were still under 30 years of age. The recording of this album was more harmonious than the Get Back/Let It Be sessions earlier in the same year, but they were not free of conflict. John Lennon did not perform on several tracks, and would have quietly left the group prior to the album's release.The album is a bit of a throwback to a previous style of production, prior to the conflict-ridden processes that had typified Get Back and The White Album. Producer George Martin agreed to this, but on the condition that all group members - especially John Lennon - let him produce the record as the earlier records were produced, and that everyone maintain discipline for the process. The result actually faced mixed reviews at the time of its release, though with the passage of time it has attained its present status as one of the greatest rock albums of all time.The cover is the iconic picture of the band members walking across a zebra crossing outside Abbey Road Studios.Special guest and friend of the show Eric Von Haessler from “The Von Haessler Doctrine” on WSB Radio joins us to present this album - one of his all-time favorites. Eric recommends the version from the 1987 CD, as newer versions have been remixed to the detriment of the album. Come TogetherThe opening track is a bit of a continuation of the earlier song “Let's Get It Together” which John Lennon wrote for Timothy Leary when he was campaigning for the California gubernatorial race against Ronald Reagan. The song's lyrics are quite surrealistic, but the title may represent the desire of the band to get together in harmony for the sake of the music.Here Comes the SunGeorge Harrison wrote this incredibly positive song in Eric Clapton's garden during a break from business meetings for the Beatles. John Lennon was recovering from a car accident when the track was recorded, and did not perform on the track. Believe it or not, this was not released as a single from the album!Maxwell's Silver HammerPaul McCartney wrote this song after traveling to India in 1968 and originally wanted to record it for the White Album, but the group thought it was “too complicated” and pushed it off until this album. McCartney further annoyed the others by insisting on a perfect performance of the work. The multiple takes were, in the words of George Harrison, “a real drag.”I Want You (She's So Heavy)Lennon wrote this song about his relationship with Yoko Ono. The finished product is a combination of two different recording attempts, one made just after the Get Back sessions with Billy Preston, and the other made during the Abbey Road sessions. The phrase “heavy” at the time meant deep or significant, and in no way related to Ono's weight! **We opted to cover 5 Staff Picks and did not feature an Entertainment Track on this podcast** STAFF PICKS:Me by Otis Rush Wayne starts this week's staff picks with a Chicago blues artist that got his start in the early 50's. This song is about a guy who attributes his position on hard work and self-determination. “I paid my own way, gave stuff for free 'cause the only true friend I ever had was me.” Duane Allman is on guitar on this track.Oh What a Night by the DellsBruce's staff pick is a remake of a number 4 R&B hit from 1956, also by The Dells. This updated version went to number 10 on the Billboard Hot 100. A number of covers of this song have been done through the years, including by Sly Stallone and the Biscaynes, Tracey Ullman, Lester Bowie, Nick Kaman, and the Moonlighters.Sweet Caroline by Neil Diamond This one is not a deep cut by any stretch of the imagination. Rob features a sing-a-long song for many sports teams, including the Carolina Panthers, Iowa State, the University of Pittsburgh, and of course the Boston Red Sox. The inspiration for the name was Caroline Kennedy, the last surviving child of President John Kennedy, though Diamond wrote it for his wife, Marsha. He felt like a three-syllable name would fit the song better.Green River by Creedence Clearwater RevivalLynch brings us some swamp rock from CCR. Creedence Clearwater Revival had 14 top 10 hits within a 17-month period. Although the group is from California, the song was written about the Green River near New Orleans and has a Louisiana feel. Despite their success, acrimony within the group would lead to a breakup in 1972.Sugar, Sugar by The ArchiesEric Von Haessler finishes off the staff picks with a very different song from the Beatles. The Archies were a fictional band based on the TV show and comic strip of the same name. The music was recorded by session musicians. A number of these “bubble gum pop” songs were successful, with a lighthearted, positive touch. Jeff Barry and Andy Kim wrote this, and it hit number 1 on the Billboard Hot 100 for four weeks INSTRUMENTAL TRACK:Baby, I Love You by Otis RushWe exit the podcast by double-dipping on an instrumental blues number by Otis Rush.
Puntata dedicata al jazz afro-americano e della diaspora nera, in occasione del Black History Month, con Kenny Garrett, Angela Bat Dawid, James Brandon Lewis, Don Byron, Lester Bowie e altri ancora.
Space is the place_jazz e dintorni del 28 febbraio 2023Puntata dedicata al jazz afro-americano e della diaspora nera, in occasione del Black History Month, con Kenny Garrett, Angela Bat Dawid, James Brandon Lewis, Don Byron, Lester Bowie e altri ancora. Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-28-febbraio-2023 Tutti i podcast di Space is the place: https://www.radiotandem.it/category/space-is-the-place
"Lester Bowie": instead of thinking of that sound as a person's name, maybe we should start thinking of it as a verb. Here's one definition: to change the orientation of something familiar so that it becomes unimaginably magnificent. Example: "I'm going to Lester Bowie this pebble and make a beautiful jewel out of it" or "I'm going to Lester Bowie these old tires into a holiday feast." It helps if you apply a bit of magic as Lester always seemed to manage to do. This Monday night on Jazz Alternatives, Eric Person and host Mitch Goldman put Lester Bowie in Deep Focus. While Lester may be more familiar from his work with the Art Ensemble of Chicago and Brass Fantasy, Eric and Mitch are digging somewhat deeper. Once again, gems from the WKCR archives abound. Only on WKCR 89.9FM, WKCR HD1 and wkcr.org this Monday from 6pm to 9pm NYC time. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #DeepFocus #JazzAlternatives #EricPerson #LesterBowie #MitchGoldman #JazzInterview #JazzPodcast Photo credit: Robbie Drexhage, CC BY-SA 4.0 , attraverso Wikimedia Commons
"Lester Bowie": instead of thinking of that sound as a person's name, maybe we should start thinking of it as a verb. Here's one definition: to change the orientation of something familiar so that it becomes unimaginably magnificent. Example: "I'm going to Lester Bowie this pebble and make a beautiful jewel out of it" or "I'm going to Lester Bowie these old tires into a holiday feast." It helps if you apply a bit of magic as Lester always seemed to manage to do. This Monday night on Jazz Alternatives, Eric Person and host Mitch Goldman put Lester Bowie in Deep Focus. While Lester may be more familiar from his work with the Art Ensemble of Chicago and Brass Fantasy, Eric and Mitch are digging somewhat deeper. Once again, gems from the WKCR archives abound. Only on WKCR 89.9FM, WKCR HD1 and wkcr.org this Monday from 6pm to 9pm NYC time. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #DeepFocus #JazzAlternatives #EricPerson #LesterBowie #MitchGoldman #JazzInterview #JazzPodcast Photo credit: Lester Bowie, Sweet Basil, NYC by Anthony Barboza, Collection of the Smithsonian National Museum of African American History and Culture. Fair use.
"Lester Bowie": instead of thinking of that sound as a person's name, maybe we should start thinking of it as a verb. Here's one definition: to change the orientation of something familiar so that it becomes unimaginably magnificent. Example: "I'm going to Lester Bowie this pebble and make a beautiful jewel out of it" or "I'm going to Lester Bowie these old tires into a holiday feast." It helps if you apply a bit of magic as Lester always seemed to manage to do. This Monday night on Jazz Alternatives, Eric Person and host Mitch Goldman put Lester Bowie in Deep Focus. While Lester may be more familiar from his work with the Art Ensemble of Chicago and Brass Fantasy, Eric and Mitch are digging somewhat deeper. Once again, gems from the WKCR archives abound. Only on WKCR 89.9FM, WKCR HD1 and wkcr.org this Monday from 6pm to 9pm NYC time. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/ #WKCR #DeepFocus #JazzAlternatives #EricPerson #LesterBowie #MitchGoldman #JazzInterview #JazzPodcast Photo credit: Robbie Drexhage, CC BY-SA 4.0 , attraverso Wikimedia Commons
Roberto Gatto è uno dei più importanti batteristi italiani, riconosciuto anche a livello internazionale per aver collaborato con artisti del calibro di: Chet Baker, Freddy Hubbard, Lester Bowie, George Coleman, Bob Berg, Michael e Randy Brecker, Pat Metheny, Stefano Bollani, Enrico Rava, Danilo Rea, Dado Moroni... In questa intervista parla della sua carriera, del suo pensiero musicale e del nuovo metodo didattico "The Jazz Drum Book", edito da Volonté. ► I miei CORSI ONLINE: https://bit.ly/corsi_batteria
In this episode we welcome the very engaging Robert Gordon "all the way from" his hometown of Memphis and ask him to talk about the music of his city from Sun and Stax to Alex Chilton and Big Star.Robert tells us about his childhood, along with the blues epiphany that was watching Furry Lewis support the Rolling Stones on the Memphis leg of their 1975 U.S. tour. Moving on to Stax, we look back at a great 1988 interview Robert did with the Memphis Horns' Andrew Love and Wayne Jackson — and then forward to the Wattstax festival, staged in L.A. 50 years ago this summer.Clips from the week's new audio interview — Tony Scherman asking Billy Gibbons about Robert Johnson — afford us the perfect excuse not just to discuss ZZ Top and their imminent new album but to revisit our guest's exhaustive 1991 essay on the "plundering" of Delta blues legend Johnson's estate.Mark talks us through a selection of newly-added library pieces about Frankie Lymon, Alma Cogan, San Francisco's Trips festival, Syreeta, Gang of Four and Lester Bowie's Brass Fantasy. In the absence of a vacationing Jasper, Barney wraps things up with quotes from articles about rock scribe R(ichard) Meltzer, the Specials and — circling back to Stax — Booker T. Jones recalling co-writing Albert King's brooding 'Born Under a Bad Sign' with William Bell...Many thanks to special guest Robert Gordon; the 25th anniversary edition of It Came From Memphis is published by Third Man Books and available now. Visit his website at therobertgordon.com.Pieces discussed: The Memphis Horns, The plundering of Robert Johnson, It Came From Memphis, Wattstax, Wattstax, Wattstax, Billy Gibbons audio, Frankie Lymon, Andrew Loog Oldham, Syreeta, Punk magazine, XTC, Lester Bowie's Brass Fantasy, Alma Cogan, Trips Festival, Sly Stone, Gang of Four, Richard Meltzer, The Specials and Booker T. Jones.
This episode is part of Pledge Week 2022. Every day this week, I'll be posting old Patreon bonus episodes of the podcast which will have this short intro. These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode -- there are well over a hundred of these in the archive now. If you like the sound of these episodes, then go to patreon.com/andrewhickey and subscribe for as little as a dollar a month or ten dollars a year to get access to all those bonus episodes, plus new ones as they appear. Click below for the transcript Transcript Today we're going to look at a record which I actually originally intended to do a full episode on, but by an artist about whom there simply isn't enough information out there to pull together a full episode -- though some of this information will show up in other contexts in future episodes. So we're going to have a Patreon bonus episode on one of the great soul-pop records of the mid 1960s -- "Rescue Me" by Fontella Bass: [Excerpt: Fontella Bass, "Rescue Me"] Fontella Bass was actually a second-generation singer. Her mother, Martha Bass, was a great gospel singer, who had been trained by Willie Mae Ford Smith, who was often considered the greatest female gospel singer of the twentieth century but who chose only to perform live and on the radio rather than make records. Martha Bass had sung for a short time with the Clara Ward Singers, one of the most important and influential of gospel groups: [Excerpt: The Clara Ward Singers, "Wasn't It A Pity How They Punished My Lord?"] Fontella had been trained by her mother, but she got her start in secular music rather than the gospel music her mother stuck to. She spent much of the early sixties working as a piano player and singer in the band of Little Milton, the blues singer. I don't know exactly which records of his she's on, but she was likely on his top twenty R&B hit "So Mean to Me": [Excerpt: Little Milton, "So Mean to Me"] One night, Little Milton didn't turn up for a show, and so Bass was asked to take the lead vocals until he arrived. Milton's bandleader Oliver Sain was impressed with her voice, and when he quit working with Milton the next year, he took Bass with him, starting up a new act, "The Oliver Sain Soul Revue featuring Fontella and Bobby McClure". She signed to Bobbin Records, where she cut "I Don't Hurt Any More", a cover of an old Hank Snow country song, in 1962: [Excerpt: Fontella Bass, "I Don't Hurt Any More"] After a couple of records with Bobbin, she signed up with Ike Turner, who by this point was running a couple of record labels. She released a single backed by the Ikettes, "My Good Loving": [Excerpt: Fontella Bass, "My Good Loving"] And a duet with Tina Turner, "Poor Little Fool": [Excerpt: Fontella Bass and Tina Turner, "Poor Little Fool"] At the same time she was still working with Sain and McClure, and Sain's soul revue got signed to Checker records, the Chess subsidiary, which was now starting to make soul records, usually produced by Roquel Davis, Berry Gordy's former collaborator, and written or co-written by Carl Smith. These people were also working with Jackie Wilson at Brunswick, and were part of the same scene as Carl Davis, the producer who had worked with Curtis Mayfield, Major Lance, Gene Chandler and the rest. So this was a thriving scene -- not as big as the scenes in Memphis or Detroit, but definitely a group of people who were capable of making big soul hits. Bass and McClure recorded a couple of duo singles with Checker, starting with "Don't Mess Up a Good Thing": [Excerpt: Fontella Bass and Bobby McClure, "Don't Mess Up a Good Thing"] That made the top forty on the pop charts, and number five on the R&B charts. But the follow-up only made the R&B top forty and didn't make the pop charts at all. But Bass would soon release a solo recording, though one with prominent backing vocals by Minnie Ripperton, that would become one of the all-time soul classics -- a Motown soundalike that was very obviously patterned after the songs that Holland, Dozier, and Holland were writing, and which captured their style perfectly: [Excerpt: Fontella Bass, "Rescue Me"] There's some dispute as to who actually wrote "Rescue Me". The credited songwriters are Carl Smith and Raynard Miner, but Bass has repeatedly claimed that she wrote most of the song herself, and that Roquel Davis had assured her that she would be fairly compensated, but she never was. According to Bass, when she finally got her first royalty cheque from Chess, she was so disgusted at the pitiful amount of money she was getting that she tore the cheque up and threw it back across the desk. Her follow-up to "Rescue Me", "Recovery", didn't do so well, making the lower reaches of the pop top forty: [Excerpt: Fontella Bass, "Recovery"] Several more singles were released off Bass' only album on Chess, but she very quickly became disgusted with the whole mainstream music industry. By this point she'd married the avant-garde jazz trumpeter Lester Bowie, and she started performing with his group, the Art Ensemble of Chicago. The music she recorded with the group is excellent, but if anyone bought The Art Ensemble of Chicago With Fontella Bass, the first of the two albums she recorded with the group, expecting something like "Rescue Me", they were probably at the very least bemused by what they got -- two twenty-minute-long tracks that sound like this: [Excerpt: The Art Ensemble of Chicago with Fontella Bass: "How Strange/Ole Jed"] In between the two albums she recorded with the Art Ensemble of Chicago, Bass also recorded a second solo album, but after it had little success she largely retired from music to raise her four children, though she would make the odd guest appearance on her husband's records. In the 1990s she made a few gospel records with her mother and her younger brother, the R&B singer David Peaston, and toured a little both on the nostalgia circuit and performing gospel, but she never returned to being a full-time musician. Both she and her brother died in 2012, Peaston from complications of diabetes, Bass from a heart attack after a series of illnesses. "Rescue Me" was her only big hit, and she retired at a point when she was still capable of making plenty of interesting music, but Fontella Bass still had a far more interesting, and fulfilling, career than many other artists who continue trying to chase the ghost of their one hit. She made music on her own terms, and nobody else's, right up until the end.
In this episode we welcome the very engaging Robert Gordon "all the way from" his hometown of Memphis and ask him to talk about the music of his city from Sun and Stax to Alex Chilton and Big Star.Robert tells us about his childhood, along with the blues epiphany that was watching Furry Lewis support the Rolling Stones on the Memphis leg of their 1975 U.S. tour. Moving on to Stax, we look back at a great 1988 interview Robert did with the Memphis Horns' Andrew Love and Wayne Jackson — and then forward to the Wattstax festival, staged in L.A. 50 years ago this summer.Clips from the week's new audio interview — Tony Scherman asking Billy Gibbons about Robert Johnson — afford us the perfect excuse not just to discuss ZZ Top and their imminent new album but to revisit our guest's exhaustive 1991 essay on the "plundering" of Delta blues legend Johnson's estate.Mark talks us through a selection of newly-added library pieces about Frankie Lymon, Alma Cogan, San Francisco's Trips festival, Syreeta, Gang of Four and Lester Bowie's Brass Fantasy. In the absence of a vacationing Jasper, Barney wraps things up with quotes from articles about rock scribe R(ichard) Meltzer, the Specials and — circling back to Stax — Booker T. Jones recalling co-writing Albert King's brooding 'Born Under a Bad Sign' with William Bell...Many thanks to special guest Robert Gordon; the 25th anniversary edition of It Came From Memphis is published by Third Man Books and available now. Visit his website at therobertgordon.com.Pieces discussed: The Memphis Horns, The plundering of Robert Johnson, It Came From Memphis, Wattstax, Wattstax, Wattstax, Billy Gibbons audio, Frankie Lymon, Andrew Loog Oldham, Syreeta, Punk magazine, XTC, Lester Bowie's Brass Fantasy, Alma Cogan, Trips Festival, Sly Stone, Gang of Four, Richard Meltzer, The Specials and Booker T. Jones.
The latest episode of the Burning Ambulance podcast features an interview with tuba player Bob Stewart.I have said all season long that we're going to be exploring a single subject for ten episodes, and that subject is fusion. But as I hope has become clear over the course of the five previous episodes, during which I interviewed techno pioneer Jeff Mills, drummer Lenny White, trumpeter Randy Brecker, pianist Cameron Graves, and guitarist Brandon Ross, most of whom come from different musical generations and are not peers, when I say the word fusion, I'm talking about a state of mind, not a style or a genre. It's not what you play, it's how you approach music-making.I understand that when most people hear the word fusion, they think of the big name bands from the 1970s: the Mahavishnu Orchestra, Return to Forever, and Weather Report. Those groups, and the Miles Davis bands from 1969 to 1975, and many other less immediately recognizable groups, all did a particular thing, playing extremely complex music that blurred the lines between progressive rock and jazz. We talked about those acts in the second and third episodes this season, with Lenny White and Randy Brecker, both of whom were around then and were actively participating in making some of that music.If you think of fusion as a mindset, though, rather than a style, the discussion gets a lot more interesting. And that's really how I prefer to think about it. Because the people who fall into the latter category are the ones who I find to be the most interesting, and the ones who are more likely to have careers where almost every record they play on is at least worth hearing, worth giving a chance. You may not like all of it. But they're creative enough that they've earned the benefit of the doubt.A perfect example of this is Bill Laswell, the bassist and producer. He doesn't use the term fusion. He calls what he does “collision music,” bringing together players from wildly disparate areas — stylistic areas, and literal geographical ones, putting African players together with guys from Southeast Asia and New York rock artists and whoever else he thinks has something to say — and seeing what comes out when they all work together toward a common goal. And sometimes you get something glorious, that you never could have predicted or imagined beforehand. Like pairing Pharoah Sanders with a troupe of Gnawa musicians from North Africa. Or putting improvising guitarist Derek Bailey together with drummer Jack DeJohnette, DJ Disk from the Invisibl Skratch Piklz, and Laswell himself on bass. I heard a recording of that group just a few days ago, and you might not expect it to work, but it really, really did.Bob Stewart is a fusion artist in that he takes an instrument that has had a relatively low profile in jazz for decades — the tuba — and created a variety of fascinating contexts for it. Not only on his own albums, but particularly in partnership with the late alto saxophonist Arthur Blythe. They began working together in the early 1970s, and Stewart's playing on some of Blythe's albums, most notably Bush Baby, where it's just the two of them and a percussionist, and on Lenox Avenue Breakdown and Illusions, where they had some incredible bands that included at different times James “Blood” Ulmer on guitar, Cecil McBee on bass, Jack DeJohnette on drums, James Newton on flute, and Abdul Wadud on cello. On the album Blythe Spirit, Blythe and Stewart record a version of the spiritual “Just A Closer Walk With Thee,” with Amina Claudine Myers on organ, that's absolutely amazing. We talk about that piece a little bit in this interview.He's worked with a lot of other artists over the course of his career, too, including Charles Mingus, McCoy Tyner, Carla Bley, Gil Evans, the Jazz Composers Orchestra, Bill Frisell, the David Murray Big Band, Lester Bowie's Brass Fantasy, and on and on. The reason he's able to do so many different things is that his approach to the tuba is really expansive, conceptually speaking. He treats it as much more than a substitute bass. He understands its full range, and the subtleties it's capable of expressing, and he uses it in ways lots of other people would never even think of. On his own albums First Line, Then & Now, and Connections — Mind the Gap, he puts together really unorthodox collections of personnel. For example on Then & Now, which was originally released in 1996 but just recently popped up on Bandcamp, some of the tracks feature two trumpets, trombone, French horn, and drums, while another is a duo with pianist Dave Burrell, and others have trumpet, alto sax, guitar, and drums. And Connections — Mind the Gap, which is from 2014, features tuba, guitar and drums, with trumpet and trombone on two tracks, but then on five others it's the core trio plus a string quartet. Now that's very much a kind of fusion — jazz which is already in an avant-garde zone, combined with chamber music.Bob Stewart is a fascinating guy, an endlessly creative spirit who has done a tremendous amount to change the image of his instrument in order to pave the way for guys like Theon Cross, who plays tuba with Sons of Kemet, or with Jose Davila, who plays with Henry Threadgill's Zooid. I really enjoyed this conversation, and I hope you enjoy listening to it.Music in this episode:Bob Stewart, “Bush Baby” (Connections – Mind The Gap)Arthur Blythe, “Lenox Avenue Breakdown” (Lenox Avenue Breakdown)Bob Stewart, “The Rambler” (from Then & Now)
En este último episodio consagrado a la trompeta escuchamos a Roy Hargrove, Wallace Roney y Kenny Wheeler en jazz melódico, a los infaltables íconos del free Lester Bowie y Don Cherry y luego nos vamos al mundo: Claudio Roditi de Brasil, Enrico Rava y Paolo Fresù de Italia, con broche final de las jóvenes catalanas Andrea Motis y Alba Armengou. Y en el próximo episodio...el esperado saxo tenor!!
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.
In a career spanning over 4 decades, jazz/blues/gospel guitarist/composer Stew Cutler has established himself as a bandleader, composer, arranger and teacher. With seven record releases to his credit as a bandleader and countless sessions as a sideman, Cutler's prolific career is a walk-through musical history. HIs latest album is entitled "The Blues From Another Angle". Cutler was born and raised in New York City and found his first job with ZZ Hill. Cutler has worked as a sideman with many musical greats including Percy Sledge, Eddie Floyd, Wilson Pickett, Fontella Bass (featured on Bass' Grammy nominated album No Ways Tired), Earl King, Jimmy Castor and many more. Cutler has also worked with jazz greats David Sanborn, Bill Frisell, Lester Bowie, Charlie Hunter, Wayne Horvitz to name a few as well as artists as diverse as Meatloaf, Jeb Loy Nichols, David Fanshawe, Sweet Georgia Brown, and Jimmy Dale Gilmore among others. www.stewcutler.com www.joekelleyradio.com Rock and Roll Hall of Famer Prince featured the "Upper Room with Joe Kelley and Gi Dussault" on his official website www.npgmusicclub.com. This is the first radio show to have ever received that honor. "Joe Kelley Radio" has been on the radio airwaves since 1982. Joe Kelley and Gi Dussault co-host the show and are well-respected in the music business as creative air personalities and supporters of independent musicians . Our web site is located at www.joekelleyradio.com . The show broadcasts 24 hours/ 7 days a week here, and also, live locally, in Fairfield, CT on WVOF 88.5 FM , on Mondays from 6pm-8pm EST. The show features creative music in funk, R&B, jazz, blues, rock, hip-hop, latin, and gospel. In addition, Joe Kelley has interviewed renowned musicians such as Victor Wooten, Sheila E. , Foley, Robin Duhe, Jef Lee Johnson, Jellybean Johnson, Monte Moir, Rhonda Smith, Bernie Worrell, Cyndi Lauper, Michael Bland, Larry Graham, Chris Frantz and Tina Weymouth, Steve Smith, St. Paul Peterson, JD Blair, Tori Ruffin, Kat Dyson, Eric Person, actor Jeff Daniels, Junior Giscombe, John Scofield, EC Scott, John Blackwell, Mystic Bowie, and many others. Finally, "Joe Kelley Radio" hosts an in-house concert series.
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.
Question: How can you build campfires, mixing music and social activism? Guest: Arturo O'Farrill, Founder, Artistic Director, Afro Latin Jazz Alliance; Professor, Global Jazz Studies, The UCLA Herb Alpert School of Music, Associate Dean for Equity, Diversity, and Inclusion Arturo O'Farrill builds campfires and connects music, activism, and community to build momentum to change his areas of passion in the world -- especially in New York. He shares with us the many projects he is working on, his Grammy-award winning music melding and digging beyond jazz and Latin music roots, his strong beliefs about Cuba and US foreign policy, and his new projects in housing and music in Spanish Harlem. He talks about the impacts on artists with the Virtual Birdland project, which garnered a Grammy nomination, and his work with Dr. Cornel West with Four Questions. He recalls his desires to conduct back at age 6 and breaking into his father's record collection and finding Seven Steps to Heaven, locking in his passion for music. He states with bold examples how "Happiness is marrying your conviction with your art," which frames most of his adult work. He speaks the vigor about the results of unbridled capitalism -- and does not mince words. Our GuestARTURO O'FARRILL, pianist, composer, and educator, was born in Mexico and grew up in New York City. Arturo's professional career began with the Carla Bley Band and continued as a solo performer with a wide spectrum of artists including Dizzy Gillespie, Lester Bowie, Wynton Marsalis, and Harry Belafonte. In 2007, he founded the Afro Latin Jazz Alliance as a not-for-profit organization dedicated to the performance, education, and preservation of Afro Latin music. An avid supporter of all the Arts, Arturo has performed with Ballet Hispanico, Ron Brown's EVIDENCE Dance company, and the Malpaso Dance Company, for whom he has written several ballets. Arturo's well-reviewed and highly praised “Afro-Latin Jazz Suite” from the album CUBA: The Conversation Continues (Motéma) took the 2016 Grammy Award for Best Instrumental Composition as well as the 2016 Latin Grammy for Best Latin Jazz Recording. In addition, his composition “Three Revolutions” from the album Familia-Tribute to Chico and Bebo also received the Best Instrumental Composition Grammy in 2018. Arturo's 2020 album, “Four Questions” won yet another Grammy award in 2021. Arturo has been a Steinway Artist for many years and is now a Blue Note Records Recording Artist. Mentioned Links Websites: https://arturoofarrill.com/ http://www.afrolatinjazz.org Twitter: https://twitter.com/afrolatinjazz Wikipedia: https://en.wikipedia.org/wiki/Arturo_O'Farrill https://schoolofmusic.ucla.edu/people/arturo-ofarrill/ (UCLA: https://schoolofmusic.ucla.edu/people/arturo-ofarrill/) New Complex in Spanish Harlem: https://latinjazznet.com/news/new-home-for-the-afro-latin-jazz-alliance/ (https://latinjazznet.com/news/new-home-for-the-afro-latin-jazz-alliance/) Fandango at the Wall (2020): https://www.imdb.com/title/tt11278140/ (https://www.imdb.com/title/tt11278140/) Cuba meets Khaleeji, the Middle Eastern roots of Afro Cuban jazz: https://www.nyuad-artscenter.org/en_US/events/2019/cuban-khaleeji-project-arturo-ofarrill-afro-latin-jazz-orchestra-and-guests/ (https://www.nyuad-artscenter.org/en_US/events/2019/cuban-khaleeji-project-arturo-ofarrill-afro-latin-jazz-orchestra-and-guests/) Virtual Birdland: https://latinjazznet.com/news/new-releases/arturo-o-farrill-aljo-to-release-virtual-birdland/ Dr. Cornel West and Four Questions: https://latinjazznet.com/news/new-releases/arturo-ofarrill-the-afro-latin-jazz-orchestra-release-new-album-four-questions/ Timecodes 00:03 Introduction and current work 01:24 Hiring a new bass player with recordings - changing the system he was handed 02:29 ALJA and Building Campfires 04:18 Affordable Housing in
Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.
Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.
Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.
Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.
Sulla scorta delle marchin' band, ma non solo, nel periodo del pre-jazz, il basso tuba entrò da subito nella strumentazione della musica di matrice afro-americana. Fu essenziale anche nelle piccole formazioni ma piano piano fu sostituita dal contrabbasso, per certi versi più maneggevole, che per il suo suono pizzicato più vellutato meglio espletava la funzione di “legante” della musica.Il basso tuba ha avuto importanti solisti che nel jazz della prima ora agirono in orchestre come quelle di Louis Armstrong, Jelly Roll Morton, Clarence Williams, Fletcher Henderson. Malgrado la perdita di velocità dovuta all'emergere del contrabbasso, il basso tuba è restato presente nella strumentazione del jazz, avendo in seguito addirittura una sorta di rilancio - grazie anche a solisti come Howard Johnson - in epoca contemporanea, presente ad esempio nelle orchestre e nei gruppi di Gil Evans, Lester Bowie, Mike Westbrook, Henry Threadgill, o ancora nella funambolica Dirty Dozen Brass Band.
Hailed by the New York Times as “a tenor saxophonist with an enigmatic, elegant and harddriving style,” JD Allen is a bright light on today's international jazz scene. His unique and compelling voice on the instrument – the result of a patient and painstaking confrontation with the fundamentals of the art – has earned Allen years of critical attention signaling his ascension to the upper ranks of the contemporary jazz world. Originally from Detroit, Allen's apprenticeship, anchored by his lengthy tenure with Betty Carter, occurred largely in New York, where he worked with legends Lester Bowie, George Cables, Ron Carter, Louis Hayes, Frank Foster Big Band, Winard Harper, Dave Douglas, Cindy Blackman, Butch Morris, David Murray, Wallace Roney, Rufus Reid and Geri Allen.
Kicking off February's Black History/Futures Month, Sugar-Free Radio heads to the free, spiritual, and liberating sounds of [mostly] 1970's jazz. Includes records from labels such as Black Jazz, BYG, and Actuel, and musicians Lester Bowie, Don Cherry, Alice Coltrane, and Sun Ra. ~ Dj Nails
This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 9th December 2021 Artist - Track - Album - Year Harold Mabern Straight Street Mabern Plays Coltrane 2021 Phil Parisot From the Ancestors Inventions 2021 Ron Wilkins Lil' Pipsqueak Trombocalist 2021 Denise Perrier Ellington Medley Live at Yoshi's: Blue Monday Party 2003 David Sanford Big Band featuring Hugh Ragin Woman in Shadows A Prayer for Lester Bowie 2021 Gordon Goodwin's Big Phat Band My Man Sam (for Sammy Nestico) The Reset 2021 Joshua Redman Facts (feat. Ron Miles, Scott Colley, Brian Blade) Relief: A Benefit for the Jazz Foundation of America's Musicians' Emergency Fund 2021 David Janeway Excursion Distant Voices 2021 Pluto Juice Green Gargantua Pluto Juice 2021 Rachel Eckroth Oil The Garden 2021 Theo Croker 4Knowledge Blk2Life/A Future Past 2021 Theo Croker Soul Call//Vibrate Blk2Life/A Future Past 2021 BadBadNotGood Signal from the Noise Talk Memory 2021 The Eivind Aarset 4-Tet Intoxication Phantasmagoria (or) A Different Kind of Journey 2021 Paul Mullikin Lacrimosa Orchestral Quintet 2020 Dave Meder The Lake and the Mountain (feat. Miguel Zenón) Unamuno Songs and Stories 2021 Amir Elsaffar Rivers of Sound Orchestra March The Other Shore 2021 The post The Creative Source (#CreativeSource) – 9th December 2021 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.
Ion Celestinok Luis De Pablo, Lester Bowie eta Art Ensemble ekarri dizkigu....
This week a playlist that focuses on the contribution of jazz musicians to pop, hip-hop, and rock projects, from the Art Ensemble of Chicago playing with French singer Brigitte Fontaine, to John Zorn featured on the debut album by the Brazilian queen Marisa Monte and The Thing's mighty alliance with Neneh Cherry. And a tribute to the late Dr. Lonnie Smith a jazz master known for his boundary-defying attitude. The playlist also features Iggy Pop; D'Angelo, Roy Hargrove; Guru, Branford Marsalis; Justin Warfield, Michael Blake, Steven Bernstein; A Tribe Called Quest, Ron Carter; MC Solaar; Michael Leonhart, JSWISS, Keyon Harrold; Steely Dan; Jim Beard, Jon Herrington; Michael Stipe, Bill Frisell, Doug Wieselman; Marisa Monte, John Zorn, Marty Ehrlich; Neneh Cherry & The Thing; Gigi, Bill Laswell, Henry Threadgill; Brigitte Fontaine, Art Ensemble of Chicago; Danny Wilson, Lester Bowie; Ivano Fossati, Enrico Rava. Detailed playlist at https://spinitron.com/RFB/pl/14250210/Mondo-Jazz (up to "Jubilaeum Bolero"). Happy listening! Photo credit: Kim Hiorthoy
Bone2pick heads back to school with an exhilarating sit down featuring one of the best all-around tuba players in the history of the instrument, Mr. Marcus Rojas. Marcus has added his distinctive tuba sound to every conceivable style of music including performances and recordings with the Metropolitan Opera, Yo Yo Ma, Lester Bowie's Brass Fantasy, Michael Jackson, the Art Ensemble of Chicago, Paul Simon, Sting, Dave Douglas, George Russell, Gil Evans, Wayne Shorter, New York City Ballet, to name but a few. He has over 60 motion picture soundtracks to his credit, as well as countless jingles and dozens of Broadway shows. He is an avid proponent of contemporary classical and improved music and is currently on faculty at the Berklee College of Music, Boston Conservatory and the New School. Enjoy!
Arturo O'Farrill, pianist, composer, and educator, was born in Mexico and grew up in New York City. He received his formal musical education at the Manhattan School of Music and the Aaron Copland School of Music at Queens College. Arturo's professional career began with the Carla Bley Band and continued as a solo performer with a wide spectrum of artists including Dizzy Gillespie, Lester Bowie, Wynton Marsalis, and Harry Belafonte. O'Farrill's well-reviewed and highly praised “Afro-Latin Jazz Suite” from the album CUBA: The Conversation Continues (Motéma) took the 2016 Grammy Award for Best Instrumental Composition and the 2016 Latin Grammy Award for Best Latin Jazz Album. His powerful “Three Revolutions” from the album Familia-Tribute to Chico and Bebo was the 2018 Grammy Award (his sixth) winner for Best Instrumental Composition. In this episode, Arturo shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com
"Salsa for Eddie G" Jack DeJohnette New Directions: In Europe (ECM, 1980) Jack DeJohnette, Lester Bowie, John Abercrombie, Eddie Gomez. Jack DeJohnette fue el autor del tema, un homenaje al gran contrabajista de Santurce (Puerto Rico), Eddie Gomez. © Pachi Tapiz, 2021 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html.
Last week, England and Italy faced each other in the finals of the European Soccer Cup. It was a compelling match with a nail-biting end between two teams that exceeded expectations and that promise to have a brilliant future. Italy won in a penalty shootout because in sports--especially in the finals of a tournament--there has to be a winner and a loser. That's why we much prefer arts--and music in particular--where usually everyone wins (or everyone loses… if the music is terrible, but then again… you don't have to listen to that). So here's re-match in which Italy and England go side by side rather than against each other, for a game of Fantasy Jazz Sport matching one British musician, band or project, with one from Italy. The playlist features Steve Argüelles; Tommaso Cappellato; Ezra Collective [pictured]; Gianluca Petrella; Wildflower; Leo Gasperoni Mamud Band feat. Lester Bowie; Ginger Baker; Zeno De Rossi; Stefano Battaglia; John Taylor; Antonio Zambrini; Stan Tracey; Franco D'Andrea; Nunzio Rotondo; Tubby Hayes. Detailed playlist at https://spinitron.com/RFB/pl/13662704/Mondo-Jazz (up to Tubby Hayes). Happy listening!
En grandes pinceladas nos detenemos en algunos de los otros exponentes del free jazz. Archie Schepp (Florida 1937-), saxo tenor de enorme carrera, comprometido social y políticamente. Compañero de Coltrane en sus etapas free después de 1965 (Ascension) cuando Coltrane lleva la corriente al extremo. Don Cherry (corneta) desarrolla su carrera post Ornette Coleman. Albert Ayler, que muere a los 36 en 1970, forma parte de una "segunda camada" de impulsores del free. Extremo de energía en el tenor, vibrato cuasi paródico. David Murray (tenor). Rashan Roland Kirk, Sun Ra, Anthony Braxton. El Art Ensemble de Chicago con Lester Bowie (tp) y Roscoe Mitchell (saxos), teatral. Entre los blancos destacamos a Charlie Hayden (b) y Steve Lacy (soprano).
What are the lessons that musicians look to their forebears for? How to play the instrument? Certainly. Composition? Sure. Bandleading? Yes. What else? What about finding humor in desperation? What about embracing life? What about theatricality? What about swagger? What about making something out of nothing? What about the things that make people talk about you decades after you have left the planet? Melvin Gibbs checked out Lester Bowie mighty close and he has something to say about it on this edition of Mitch Goldman's Deep Focus from 2016. #WKCR #MitchGoldman #DeepFocus #MelvinGibbs #LesterBowie #JazzRadio #JazzInterview JazzPodcast Photo credit: Lester_Bowie,_Jazz_Festival_Zeltweg_1983 - Jodeli, CC BY-SA 4.0 creativecommons.org-licenses-by-sa-4.0 via Wikimedia Commons
What are the lessons that musicians look to their forebears for? How to play the instrument? Certainly. Composition? Sure. Bandleading? Yes. What else? What about finding humor in desperation? What about embracing life? What about theatricality? What about swagger? What about making something out of nothing? What about the things that make people talk about you decades after you have left the planet? Melvin Gibbs checked out Lester Bowie mighty close and he has something to say about it on this edition of Mitch Goldman's Deep Focus from 2016. #WKCR #MitchGoldman #DeepFocus #MelvinGibbs #LesterBowie #JazzRadio #JazzInterview JazzPodcast Photo credit: Lester_Bowie,_Jazz_Festival_Zeltweg_1983 - Jodeli, CC BY-SA 4.0 creativecommons.org-licenses-by-sa-4.0 via Wikimedia Commons
What are the lessons that musicians look to their forebears for? How to play the instrument? Certainly. Composition? Sure. Bandleading? Yes. What else? What about finding humor in desperation? What about embracing life? What about theatricality? What about swagger? What about making something out of nothing? What about the things that make people talk about you decades after you have left the planet? Melvin Gibbs checked out Lester Bowie mighty close and he has something to say about it on this edition of Mitch Goldman's Deep Focus from 2016. #WKCR #MitchGoldman #DeepFocus #MelvinGibbs #LesterBowie #JazzRadio #JazzInterview JazzPodcast Photo credit: Lester_Bowie,_Jazz_Festival_Zeltweg_1983 - Jodeli, CC BY-SA 4.0 creativecommons.org-licenses-by-sa-4.0 via Wikimedia Commons
What are the lessons that musicians look to their forebears for? How to play the instrument? Certainly. Composition? Sure. Bandleading? Yes. What else? What about finding humor in desperation? What about embracing life? What about theatricality? What about swagger? What about making something out of nothing? What about the things that make people talk about you decades after you have left the planet? Melvin Gibbs checked out Lester Bowie mighty close and he has something to say about it on this edition of Mitch Goldman's Deep Focus from 2016. #WKCR #MitchGoldman #DeepFocus #MelvinGibbs #LesterBowie #JazzRadio #JazzInterview JazzPodcast Photo credit: Lester_Bowie,_Jazz_Festival_Zeltweg_1983 - Jodeli, CC BY-SA 4.0 creativecommons.org-licenses-by-sa-4.0 via Wikimedia Commons
TALKING SPIRITS PODCAST #14 - DEAN BOWMAN A conversation between Dean Bowman and Armin Alic Welcome to the Talking Spirits Podcast #14, the first episode of Season 2. My guest today is my dear brother, the American maestro vocalist Dean Bowman. Dean and I go back a very long time as we met in 2006 on Myspace, after I have been a fan of his for some time already. In 2007 we founded the band "Little Rock Nine", and had lots of fun making music together. While the band went on a hiatus in 2009 when my band Royal Street Orchestra came together and became a focus for me, we are still friends and will definitely do some more music together in the future… In our conversation we are talking about the impact of Covid-19 on Dean´s life, his "tenure" as the original vocalist of David Fiuczynski´s Screaming Headless Torsos, his very diverse body of work, which includes working together with highly acclaimed musicians such as John Scofield, Don Byron, Lester Bowie and many more, being a vocalist, why Jazz can be a white racist word, and many more highly interesting topics… Definitely an episode you wanna listen to, if you are into Black Music… Chapters: 00:00:00 Intro 00:01:36 The impact of Covid-19 00:02:49 First memories of music in life 00:04:09 The decision to go for it as a singer 00:06:43 Screaming Headless Torsos 00:14:25 Wedding in Sarajevo 00:19:41 Working in different musical settings 00:22:50 The music of Ray Charles 00:26:35 Building different characters as a singer 00:33:42 Advice for singers 00:35:12 Jazz (is a white racist word) 00:39:28 Charles Mingus 00:42:39 The art of a-capella solo performance 00:48:09 Traveling 00:50:48 Becoming a father 00:54:02 Current activities 00:55:57 Message to the listeners 00:56:45 Outro Links: Dean Bowman on Facebook Black Rock Coalition webpage Screaming Headless Torsos debut album on Spotify Dean´s blog post "Father´s Day and the Alic Family" Dean´s a-capella gospel album "Death don´t have no mercy" on Spotify
Bassist Reggie Washington was a key participant in the Modern Jazz revolution of the 80's and 90's. He became known touring, recording and performing with Steve Coleman, Branford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, Cassandra Wilson, Don Byron, Jean-Paul Bourelly, Lester Bowie and Ronald Shannon Jackson. In 2005, Reggie began successfully touring with his own bands. They were a mix of American & European musicians such as Ravi Coltrane, Gene Lake, Stéphane Galland, Jef Lee Johnson, Erwin Vann, Jacques Schwarz-Bart, E.J Strickland, Jozef Dumoulin, Skoota Warner, Matthew Garrison, Marcus Strickland, Jason Lindner, Poogie Bell and Ronny Drayton. Originally aired June 29th 2015 https://reggiewashington-official.com/ (https://reggiewashington-official.com) https://my.captivate.fm/www.joekelleyradio.com (www.joekelleyradio.com) https://reggiewashington-official.com/
Although Sting is widely known for his solo career and for fronting The Police, his love for jazz has been a common thread throughout his career. His jazz sensibility became more prominent when he started his solo career with a band of young heavy-weights from the New York jazz scene of the time, Branford Marsalis, Kenny Kirkland, Darryl Johns and Omar Hakim. We continue our exploration of Sting's jazz projects and renditions of his jazz compositions by the likes of Lester Bowie, Pat Metheny, Esbjörn Svensson, Michael Brecker, collaborations with producer Hal Willner and more. Happy listening! The playlist also features Bob Belden; Christian McBride; Michela Lombardi; Nils Landgren, Lars Danielsson, Wolfgang Haffner; Eric Reed; Nobuyoshi Ino; Joe Henderson; Bill Frisell, David Sanborn, Fareed Haque, Don Alias, Hank Roberts; and Branford Marsalis. Detailed playlist at https://spinitron.com/RFB/pl/11767727/Mondo-Jazz (from Bob Belden's "The Dream of the Blue Turtles" on).
My guest this week is MARION HAYDEN – BASSBorn in Detroit, MI, a crucible of jazz, Marion Hayden is one of the nation’s finest proponents of the acoustic bass. Mentored by master trumpeter Marcus Belgrave, Hayden began performing jazz at the age of 15. She has performed with such diverse luminaries as Bobby McFerrin, Nancy Wilson, Geri Allen, Regina Carter, Steve Turre, Lester Bowie, David Allen Grier, James Carter, Dorothy Donegan, Joe Williams, Lionel Hampton, Frank Morgan, Jon Hendricks, Hank Jones, Bobby Hutcherson, Larry Willis, Vanessa Rubin, Sheila Jordan, Mulgrew Miller, Annie Ross, and many others. She is a co-founder of the touring jazz ensemble Straight Ahead- the first all-woman jazz ensemble signed to Atlantic Records. She is a member of the Detroit International Jazz Festival All-Star Ambassadors touring ensemble.We talk about her walk through the creative spheres, her life her family, and her art.Photo by Jeff Dunn2016 Marion Hayden - Kresge Artist Fellowhttp://marionhayden.comThis podcast is sponsored byMichigan ArtShareJazz Alliance of Mid-Michigan J.A.M.M.Shambones MusicTo be a sponsor for this podcast, go to the Patreon link below.https://www.patreon.com/TiaTime1Produced by Green Bow Music
Un giornalista chiede al Lester Bowie: "mi scusi signor Bowie, il jazz così come lo conosciamo è morto ormai?" E la risposta del trombettista è la stessa che potremmo dare ancora oggi: "dipende da quello che conosci".
Miles Davis e Geri Allen ci permettono di ricordare degnamente Jimmy Cobb. Con Billie Holiday e Lester Bowie ricordiamo anche la tragica morte di George Floyd. Art Ensemble of Chicago, Antonio Sanchez, Art Pepper e Philip Glass completano la scaletta della puntata di oggi.
Mentre sta lavorando a That's The Way I Feel Now, il doppio Lp dedicato a Monk, Willner concepisce un terzo album-tributo, consacrato questa volta a Kurt Weill, il grande musicista tedesco collaboratore di Brecht, autore delle musiche dell'Opera da tre soldi, e che poi, in esilio dalla Germania nazista, aveva avuto una seconda vita artistica, non meno interessante, nel mondo della musica americana. Uscito nell'85, Lost in the Stars ha il suo punto di forza in un assortimento di nomi di prestigio veramente eccezionale, ma rimane al di sotto della creatività degli album dedicati a Rota e a Monk con riletture delle musiche di Weill mediamente non altrettanto originali. Fra i protagonisti dell'album ascoltiamo Sting (nella ballata di Mackie Messer), Bruce Fowler, Stan Ridgway, Henry Threadgill (con Lester Bowie), Richard Butler, Bob Dorough, John Zorn, Van Dyke Parks, Lou Reed (in September Song), Carla Bley (con Phil Woods in Lost in the Stars), Tom Waits, Elliott Sharp, Dagmar Krause, Charlie Haden (in Speak Low).
Mentre sta lavorando a That's The Way I Feel Now, il doppio Lp dedicato a Monk, Willner concepisce un terzo album-tributo, consacrato questa volta a Kurt Weill, il grande musicista tedesco collaboratore di Brecht, autore delle musiche dell'Opera da tre soldi, e che poi, in esilio dalla Germania nazista, aveva avuto una seconda vita artistica, non meno interessante, nel mondo della musica americana. Uscito nell'85, Lost in the Stars ha il suo punto di forza in un assortimento di nomi di prestigio veramente eccezionale, ma rimane al di sotto della creatività degli album dedicati a Rota e a Monk con riletture delle musiche di Weill mediamente non altrettanto originali. Fra i protagonisti dell'album ascoltiamo Sting (nella ballata di Mackie Messer), Bruce Fowler, Stan Ridgway, Henry Threadgill (con Lester Bowie), Richard Butler, Bob Dorough, John Zorn, Van Dyke Parks, Lou Reed (in September Song), Carla Bley (con Phil Woods in Lost in the Stars), Tom Waits, Elliott Sharp, Dagmar Krause, Charlie Haden (in Speak Low).
Mentre sta lavorando a That's The Way I Feel Now, il doppio Lp dedicato a Monk, Willner concepisce un terzo album-tributo, consacrato questa volta a Kurt Weill, il grande musicista tedesco collaboratore di Brecht, autore delle musiche dell'Opera da tre soldi, e che poi, in esilio dalla Germania nazista, aveva avuto una seconda vita artistica, non meno interessante, nel mondo della musica americana. Uscito nell'85, Lost in the Stars ha il suo punto di forza in un assortimento di nomi di prestigio veramente eccezionale, ma rimane al di sotto della creatività degli album dedicati a Rota e a Monk con riletture delle musiche di Weill mediamente non altrettanto originali. Fra i protagonisti dell'album ascoltiamo Sting (nella ballata di Mackie Messer), Bruce Fowler, Stan Ridgway, Henry Threadgill (con Lester Bowie), Richard Butler, Bob Dorough, John Zorn, Van Dyke Parks, Lou Reed (in September Song), Carla Bley (con Phil Woods in Lost in the Stars), Tom Waits, Elliott Sharp, Dagmar Krause, Charlie Haden (in Speak Low).
This week let's pay homage to the musical legacy of Michael Jackson. It's been 10 years since Michael Jackson passed away and lots of things have emerged since then, but the popularity of his music remains strong, including among jazz musicians (the majority of the tracks featured this week was released after his passing). If you are concerned that jazz interpretations of pop music come very close to smooth jazz, don't worry… that's not Mondo Jazz's fare and the fact that musicians like Lester Bowie, Mal Waldron, Geri Allen, Enrico Rava, Vijay Iyer, Ran and Michael Blake have embraced the repertoire of the King of Pop should provide sufficient reassurances. So stay tuned for 2 hours of covers played by these musicians (& more) plus a collaboration between Michael Jackson and the master of jazz organ, Jimmy Smith, under the watchful eye of Quincy Jones. Detailed playlist at https://spinitron.com/RFB/pl/9893602/Mondo-Jazz Cover based on a file photo (AP Photo/Cliff Schiappa)
This week we have have decided to do the jazz shuffle, and by shuffle we don't mean the jazz rhythm, but the randomized play. A perfect approach to revel through unexpected pairings, daring juxtapositions and accidental non sequiturs. After all if one is careful to only add great music in an ipod or music collection, then no matter how random the selection is, it'll sound good. Enjoy jumping from John Zorn to Vinicius Cantuaria, from Don Byron to United Future Organization, from Ornette Coleman to Timi Yuro, from Towa Tei to Bill Evans or from Captain Beefheart to Lester Bowie and realizing that it all makes perfect sense. The playlist features also: Osmiza, Calvin Keys, Oliver Nelson, Keely Smith, John Fourie, Stanley Turrentine, Ben Allison, George Lewis, Bill Frisell, Lucio Dalla, Phillip Johnston, Steve Argüelles, Rodney Kendrick, Jason Moran, Skopje Connection, Leo Gasperoni 3Quietmen, Bunky Green Detailed playlist at https://spinitron.com/RFB/pl/9529864/Mondo-Jazz
Uomo pratico quanto poetico, capace di slanci romantici e perfide ironie
On 20 July 1969, while Herbie Mann was over the figurative moon, because his "Memphis Underground" was the best selling jazz album in the country, the man was landing on the actual moon (apologies for the gender insensitivity here but otherwise the pun won't work...). What a day! 50 years later we celebrate the latter milestone with two hours of jazz inspired by the moon and the desire to cross big divides. The playlist includes Herbie Mann, Maria Ahn, Ahn Trio, Nguyên Lê with NDR Bigband & Michael Gibbs, John Zorn, Stephane Furic, Michel Benita, Daniel Yvinec, Gato Barbieri, Massimiliano Milesi, Giacomo Papetti, Cassandra Wilson, William Parker, Lester Bowie, Theo Bleckmann, Fumio Yasuda, Charlie Haden, Pat Metheny, Geoff Keezer, Ron Horton, Michael Bates-Samuel Blaser Quintet, Cristina Zavalloni, Sun Ra, Ornette Coleman, Zoot Sims, Rob Wasserman, The Mancini Project. Detailed playlist at https://spinitron.com/RFB/pl/9145979/Mondo-Jazz. Photo credit: Barbara Rigon
a cura di Gigi Longo. Brani di Garbarek-Stenson Quartet, Savina Yannatou, Frode Haltli, Azimuth, Codona, Surman, DeJohnette, Lester Bowie's Brass Fantasy
a cura di Gigi Longo. Brani di Garbarek-Stenson Quartet, Savina Yannatou, Frode Haltli, Azimuth, Codona, Surman, DeJohnette, Lester Bowie’s Brass Fantasy (seconda parte)
a cura di Gigi Longo. Brani di Garbarek-Stenson Quartet, Savina Yannatou, Frode Haltli, Azimuth, Codona, Surman, DeJohnette, Lester Bowie’s Brass Fantasy (seconda parte)
Welcome to Antipod: A Radical Geography Podcast and Sound Collective! This is Episode 0... In our initial episode, the six members of the Antipod Sound Collective introduce themselves, describe their research, discuss the origins of the podcast and the collective, and share our intentions for Season 1 of the podcast. The Antipod Sound Collective was conceived at Antipode’s sixth Institute for the Geographies of Justice (IGJ), which was held in Montréal/Tiohtiá:ke on unceded Kanien’kehá:ka land. As we discuss in this episode, our time together at IGJ included a visit to Kanehsatà:ke. You can learn more about the history of Kanehsatà:ke by watching Alanis Obomsawin's landmark 1993 film, "Kanehsatà:ke: 270 Years of Resistance," available for free on YouTube courtesy of the National Film Board of Canada. https://www.youtube.com/watch?v=7yP3srFvhKs You can learn more about the IGJ and the Antipode Foundation at the Antipode Foundation's website. https://antipodefoundation.org/ https://antipodefoundation.org/institute-for-the-geographies-of-justice/ Our theme music is "It’s Not Jazz," by Tronx. Additional music on this episode is from Frenic. Music from both artists is available on archive.org's amazing Netlabels collection and is licensed under the Creative Commons 3.0. https://archive.org/details/netlabels https://archive.org/details/dystopiaq029/103TronxItsNotJazz.mp3 https://archive.org/details/DWK082/Frenic_-_03_-_Everything_Electric.mp3 https://creativecommons.org/licenses/by-nc-nd/3.0/ The vocal sample in Frenic's "Everything Electric" is Jimi Hendrix in conversation with Dick Cavett in 1969. https://youtu.be/da-969idG7Y The vocal sample in Tronx's "It's Not Jazz" is Lester Bowie of the Art Ensemble of Chicago. https://www.youtube.com/watch?v=FKAi-7MpT8g Make sure to follow us on Twitter! @ThisIsAntipod Want to find out more about Antipod: A Radical Geography Podcast and Sound Collective? Visit our website at: https://thisisantipod.org Many thanks to The Antipode Foundation for their generous support. Episode 0 is hosted by KT Bender, Akira Drake Rodriguez, Allison Guess, Alex Moulton, Darren Patrick a.k.a. “dp” and Brian Williams. The episode was mixed and edited by dp and Brian.
A cura di Fabio Barbieri. Musiche di Roscoe Mitchell and the Note Factory, Lester Bowie, Lester Bowie's Brass Fantasy, Leo Smith.
A cura di Fabio Barbieri. Musiche di Roscoe Mitchell and the Note Factory, Lester Bowie, Lester Bowie’s Brass Fantasy, Leo Smith. (seconda parte)
A cura di Fabio Barbieri. Musiche di Roscoe Mitchell and the Note Factory, Lester Bowie, Lester Bowie’s Brass Fantasy, Leo Smith. (seconda parte)
A cura di Fabio Barbieri. Musiche di Lester Bowie e della Lester Bowie's Brass Fantasy.
A cura di Fabio Barbieri. Musiche di Lester Bowie e della Lester Bowie’s Brass Fantasy. (seconda parte)
A cura di Fabio Barbieri. Musiche di Lester Bowie e della Lester Bowie’s Brass Fantasy. (seconda parte)
Topics: Mattis resignation, stock market collapse, government shut-down, shafting hungry Americans (again), and the U.N.’s Anti-Poverty work Guest: Dr. Mila Rosenthal, Director of Communications for the United Nations Development Programme (UNDP) Music: “My Baby’s Gone” by Robert Belfour off the album “What’s Wrong with You” “B Funk” by Lester Bowie off the album “Works ” “Mario Tambien Come” By y Sergio Mendoza off the album “Mambo Mexicano” “Al Capone” by Prince Buster off the box set “The Story of Jamaican Music”
This week we will explore the cross pollination between jazz and popular music genres, like pop, rock, soul, funk and ska. Archie Shepp playing with Whitney Houston? The jazz beginnings of Björk, Serge Gainsbourg, Sacha Distel? Ornette Coleman's and Sonny Rollins' adventures in rock-land? Lester Bowie playing ska? How Miles Davis' "So What" inspired Pee Wee Ellis' horn lines for James Brown's "Cold Sweat"? Paul Simon's latest album with Bill Frisell and Wynton Marsalis? Stevie Wonder jamming with Dizzy Gillespie? The Jazz moods of Sting, Tom Waits, David Bowie, Vinicio Capossela, Lyle Lovett, Paolo Conte. We'll look into this and more... Detailed playlist available at https://spinitron.com/radio/playlist.php?station=rfb&playlist=7890#here
Once again David and Jacob talk through some of their favorite ECM tracks, now all streaming everywhere except ONE mystery song, one of the earliest recordings Paul Motian ever made... You can only hear it here! Otherwise we've got Sinikka Langeland, Joe Lovano, Bill Frisell, Zakir Hussein, Lester Bowie, Valentin Silvestrov, Craig Taborn and more. Whole playlist we talk about is here: https://tinyurl.com/ycqq6hj9
Kim Clarke is a native New Yorker. She is a bassist and composer. She is a parent, bassist, composer, bandleader, website developer, educator, and earring designer. Most known for her electric bass playing with Joseph Bowie's Defunkt, she toured with Joe Henderson and Joanne Brackeen. She performed locally with Art Blakey, Marylou Williams, Bertha Hope, Harold Ousley, Jimmy Heath, Jaki Byard, George Braith and Space Island, Rashied Ali, Junior Cooke, Steve Coleman and Five Elements, Teri Thornton, Lester Bowie, Andy Bey, Louis and Gerald Hayes, Lionel Hampton, Donald Byrd, Donald Blackman, Candido, Patato, Little Jimmy Scott, Dr. Billy Taylor, Olu Dara, Screamin Jay Hawkins, Philly Joe Jones, Marylou Williams, Sharon Freeman, and Geri Allen. She is the founder and producer of the LADY GOT CHOPS Women's History Month Music and Arts Festival, Inc. that has the mission of globally elevating Women's History Month through the promotion of women's contributions, artistic and otherwise, during the month of March. It is a grassroots institution providing free promotion to women artists and bookings in celebration of Women's History Month. Incorporated in December 2015, the festival became a 501(c)(3) not for profit corporation in 2017. In 2018, LADY GOT CHOPS will celebrate its 16th year. www.ladygotchops.com www.wijsf.org
En Malditos Jazztardos #8, la versión que la Josh Roseman Unit realizaba en Cherry (Knitting Factory, 2001), de “Smells Like Teen Spirit” de Nirvana. En este tema participaban Josh Roseman, Lester Bowie, Joey Baron, John Medeski, Dave Fiuczinsky, Bob Stewart y Jay Rogrigues. © Pachi Tapiz, 2017 Malditos Jazztardos es un podcast de jazz… para quienes no saben que les gusta el jazz. Malditos Jazztardos está editado, presentado y producido por Pachi Tapiz. Toda la información de MJ 007 en http://www.tomajazz.com/web/?p=28856 Toda la información de MJ en http://www.tomajazz.com/web/?cat=18516
We interviewed in the first half hour, the great saxophonist José Luis Santacruz and his album Stephanie Dreams, I leave a few notes of his long career. Born in Brazil in 1967 with Spanish parents, his family soon moved to Spain, specifically Alicante. From an early age he began to study the whole family of saxophones, piano and flute as well as composition, arrangements and direction. He was awarded a scholarship to study at Berkeley and The Juilliard School in New York, being considered as a virtuoso of the tenor sax, alto, soprano and flute, sharing poster with jazz greats like Phil Woods, Art Blakey, Lester Bowie, Tony Williams, Influenced By Mike Manieri and Jaco Pastorius mainly, also demonstrates his affinity for T Monk, John Coltrane, Gato Barbieri, Joe Sample, Joe Zawinul. We are also accompanied in the program Joel del Rosario Ken ford Frank piombo Jain Chuck Manglione with his Feels So Good, Chuck's masterpiece (to our modest understanding) And a long etc. Traductor de Google para empresas:Google Translator ToolkitTraductor de sitios webGlobal M Spanish : Entrevistamos en la primera media hora, al gran saxofonista José luis Santacruz y su álbum Stephanie Dreams, os dejo unos apuntes de su dilatada carrera. Nacido en Brasil en 1967 de padres españoles, muy pronto su familia se traslada a España, en concreto a Alicante. Desde muy niño comienza a estudiar toda la familia de los saxofones, piano y flauta así como composición, arreglos y dirección. Fue becado para estudiar en Berkeley y The Juilliard School en New York, siendo considerado como un virtuoso del saxo tenor, alto, soprano y la flauta, compartiendo cartel con grandes del Jazz como Phil Woods, Art Blakey, Lester Bowie, Tony Williams,Influenciado por Mike Manieri y Jaco Pastorius principalmente, también demuestra su afinidad por T Monk, John Coltrane, Gato Barbieri, Joe Sample, Joe Zawinul. Nos acompañan también en el programa Joel del Rosario ken ford frank piombo jain Chuck Manglione con su Feels So Good, la obra maestra de Chuck (a nuestro modesto entender) y un largo etc.
书店塑料人 2016年4月19日 旧天堂书店分享会黑胶播放曲目：1，Santana ： Carnaval/Let the Children Play/Jugando《festival》1977开场的暖场曲，Santana 1977年《Festival》专辑热情奔放，Carnaval/Let the Children Play/Jugando 三曲连发。2，王海玲 ： 偈 《偈》1980台湾民谣期最没有商业色彩的纯净之音。郑愁予的词和苏来的曲，搭配王海玲的声线就是完美。3，Gilbert O'Sullivan ： Alone Again (Naturally)《Alone Again》1986爱尔兰民谣歌手Gilbert O'Sullivan的这首Alone Again (Naturally)被不同歌手以不同风格翻唱过无数版本，但感觉还是原唱的味道持久。4，坂本龙一 ： Variety Show《未来派野郎》1986后YMO时期的坂本龙一散发出更加强烈的创作动力，《音乐图鉴》和《未来派野郎》是其中最为突出的专辑。另外的推荐曲目包括 大航海 和 黄土高原。5，矢野显子 ： ただいま《ただいま。》EP 1981坂本龙一的前妻矢野显子是有使用最日本的方式演绎现代流行曲的女歌者，这首曲子是他们夫妻档当年合作的作品。（现场黑胶播放时误用了33转速，效果独特：）6，Mahavishnu Orchestra ： Radio-Activity《Mahavishnu》1984Mahavishnu Orchestra重组后的专辑，基本不是原班人马，风格大变，不复当年之勇，但这首Radio-Activity还是相当好听。7，Little Walter ： Rocker《Confessin' The Blues》1977每个布鲁斯音乐家的人生都有传奇的经历，这同他们的音乐一起组成了布鲁斯的历史。8，Gato Barbieri ： Encuentros《Chapter One: Latin America》1973永远的潘帕斯高原暖风，RIP。9，Lee Oskar ： BLT《Lee Oskar》197670年代永远不缺的是激情，突破和超越。看看封面设计。10，渡边香津美 ： 强制接吻《Mobo俱乐部》198480年代的爵士亮点在日本，这里是渡边香津美的狂野吉他，他的Mobo和Spice Life系列专辑值得推荐。11，郭颂 ： 串门《新货郎》1980东北单鼓调歌曲，含蓄诙谐幽默。12，王洁实 谢丽斯 ： 笑比哭好《王洁实 谢丽斯 男女声二重唱》1983王洁实 谢丽斯，当年分不清谁是男女。这对组合除了翻唱台湾民谣外，还有大量原创，笑比哭好就是当年流传较广的一首。13，Son House ： Death Letter《Raw Delta Blues》 2011一个最正宗的密西西比三角洲布鲁斯之声，一个悲伤却无法回头的故事。14，Dave Brubeck Quartet ： Take Five《Time Out》1959Cool jazz，休息一下。15，Lester Bowie's Brass Fantasy ： Coming Back, Jamaica 《I Only Have Eyes For You》1985谁也逃不开爵士乐在80年代的衰败和沉沦，摸索着找一些亮点和火种。16，Captain Beefheart & the Magic Band ： The Witch Doctor Lift《Ice Cream for Crow》1982著名画家的怪胎音乐：摇滚，布鲁斯，自由爵士，古典，邪恶，无理，荒谬。17，Tangerine Dream ： Movement of a Visionary《Phaedra》1978德国摇滚的太空之声。18，Don Vit0 - Banana《A Collection of Songs from Sold-out Records》2012？深圳人民的老朋友Don Vito，还记得那年雨夜在旧天堂书店的加场演出吗？19，Curlew ： Oklahoma《Northern America》1985一个英国人在纽约能折腾出什么音乐，听听这张专辑。20，Can ： Deadlock 《Soundtrack》1969日本主唱Damo Suzuki在很大程度上塑造了Can的气质，虽然在他之前和之后的乐队音乐都在很高水准上，但那种夸张神经质的戏剧性就没有了。21，Elliot Sharp ： Intervention《Carbon》1985纽约实验音乐吉它圣手在85年的作品，他也来过深圳的明天音乐节。22，Agra Stakleih Perli ： Sloarni Modus《Agra Stakleih Perli》1970前南斯拉夫的塞尔维亚的迷幻乐队封尘已久的伟大专辑，几年前复刻出版。23，宇川久信 ： 城山《萨摩琵琶名作选》1979日本萨摩琵琶分支流派众多，不止鹤田锦史。24，Embryo ： End of Soul《Opel》1970德国Krautrock运动中，很多乐队被忽略，Embryo便是其一。25，The Pyramids ： Jamaican Carnival《Birth Speed Merging》1976The Pyramids的音乐带有强烈的非洲根源色彩，神秘，前卫，原始，迷幻。26，Terry Riley ：Part 1《Descending Moonshine Dervishes》1982极简音乐大师Terry Riley壮年的作品。27，Last Exit ： Sore Titlies《Cassette Recordings 87》1987老皮（Brotzmann）和 Bill Lawell组成的前卫乐团，1987年丹麦北海音乐节现场录音。28，Nick Cave And The Bad Seeds ：Death is not the End《Murder Ballads》1995
Jonathan Powell Talks About Beacons Of Light With Jonathan Michel His concepts behind the new recording and his band nu Sangha. “And the young trumpeter Jonathan Powell is brilliant. At times listening to Powell makes one think, of a young Freddie Hubbard tempered with Lester Bowie’s flair for unpredictable phrasing and melodrama.” Duck Baker, Jazz Times On Beacons of Light, trumpeter Jonathan Powell pays tribute to some of the great minds of our time, people who touched the hearts and minds of many with the light of the truth. The music draws inspiration from jazz icons past and present, including John Coltrane, Freddie Hubbard, the Brian Blades Fellowship and Pat Metheny among others. Powell describes his music as “modern jazz,” but the label barely scratches the surface of his range and abilities. Virtuosic compositions such as Malwana showcase Powell and his band’s aptitude for interweaving Eastern and Middle Eastern sounds with counterpoint melodies. During a recent conversation with the publication, Jazz Speaks, Powell talked about the overall concept: “Each tune has a subject or person of interest. For example, Aung San Suu Kyi was an advocate for democracy advocate in Burma. Then there’s the Christian Mystic named, Stylianos Atteshlis, and the original Siddhartha Buddha, Rumi, the great Sufi mystic and poet, doctor Robert Lanza, Mahatma Gandhi, Dr. Martin Luther King Jr., and Tenzin Gyatso, the 14th and current Dalai Lama.” While composing the material, he noted a specific sound and vibe that radiated from each of his subjects. When the material was completed, he reached out to Kickstarter, the world’s largest global crowd funding platform, and the universe graciously responded. Powell was born in Largo, Florida, where he took up the trumpet at the age of twelve. In high school, he excelled as a featured member of the All-State Band and All-State Jazz Band, met three like-minded students and formed the group Quantum, which earned the award for Best Student Jazz Group in the Downbeat Student Awards (1998, 1999).
Grammy Award Winning Pianist/Composer/Educator - Arturo O'FarrillFounder and Artistic Director of the nonprofit Afro Latin Jazz Alliance, and Grammy award winner, Arturo O'Farrill, can appropriately be dubbed "the apple that did not fall far from the tree." He is the son of the late great Cuban composer and arranger, Chico O'Farrill. Arturo has worked with a wide range of jazz greats including: Dizzy Gillespie, Steve Turre, Freddy Cole, The Fort Apache Band, Lester Bowie, and Wynton Marsalis to name a few,With 10 CD's already under his belt, including his recent Grammy winner, "Offense of the Drum", Arturo has produced yet another incredible work that just may garner him another Grammy nomination. "Cuba: The Conversation Continues", Arturo's newest release, is a heart pounding, chaotic, rhythmic blend of pure Afro-Cuban jazz bliss, that goes well beyond just being about music. It is also about "repairing the rupture between the US and Cuba." He pushes it to the limit on this one ya'll!
Grammy Award Winning Pianist/Composer/Educator - Arturo O'FarrillFounder and Artistic Director of the nonprofit Afro Latin Jazz Alliance, and Grammy award winner, Arturo O'Farrill, can appropriately be dubbed "the apple that did not fall far from the tree." He is the son of the late great Cuban composer and arranger, Chico O'Farrill. Arturo has worked with a wide range of jazz greats including: Dizzy Gillespie, Steve Turre, Freddy Cole, The Fort Apache Band, Lester Bowie, and Wynton Marsalis to name a few,With 10 CD's already under his belt, including his recent Grammy winner, "Offense of the Drum", Arturo has produced yet another incredible work that just may garner him another Grammy nomination. "Cuba: The Conversation Continues", Arturo's newest release, is a heart pounding, chaotic, rhythmic blend of pure Afro-Cuban jazz bliss, that goes well beyond just being about music. It is also about "repairing the rupture between the US and Cuba." He pushes it to the limit on this one ya'll!
Born in Detroit, saxophonist and composer JD Allen has risen to prominence through a string of critically acclaimed recordings featuring various ensembles. He’s also been featured as a dynamic sideman with acclaimed bandleaders such as George Cables, Cindy Blackman, Winard Harper, Lester Bowie and Betty Carter among others. His current trio with drummer Rudy Royston and bassist Gregg […]
Get Open was founded in 1994 by producer and MC Siba, producer on the triple platinum and Grammy nominated album "Whitey Ford Sing the Blues, by Everlast (House of Pain). The group is comprised of three season musicains: Dimitri aka Zook, Kiambu and VonMeista. Since the group's conception, Get Open has headlined all across the globe and has opened for icons such as KRS-1, De La Soul, Jungle Brothers, Tha Alkoholics and Special Ed. They have worked with composer Saundi Wilson, Jazz Trumpeter, Lester Bowie, Main Concept (Germany), IAM (France) and many others. They speak with Bodega Fresh Sunday - 7PM.
GRAMMY® WINNER TERRI LYNE CARRINGTON PAYS HOMAGE TO DUKE ELLINGTON'S MONEY JUNGLE Drummer, composer, producer and clinician, Terri Lyne Carrington, was born in 1965 in Medford, Massachusetts. After an extensive touring career of over 20 years with luminaries like Herbie Hancock, Wayne Shorter, Al Jarreau, Stan Getz, David Sanborn, Joe Sample, Cassandra Wilson, Clark Terry, Dianne Reeves and more, she recently returned to her hometown where she was appointed professor at her alma mater, Berklee College of Music. Terri Lyne also received an honorary doctorate from Berklee College of Music in 2003.After studying under full scholarship at Berklee, with the encouragement of her mentor, Jack DeJohnette, Terri Lyne moved to New York in 1983. For 5 years she was a much in-demand musician, working with James Moody, Lester Bowie, Pharoah Sanders, and others. In the late '80s she relocated to Los Angeles, where she gained recognition on late night TV as the house drummer for the Arsenio Hall Show, then again in the late '90s as the drummer on the Quincy Jones late night TV show, VIBE, hosted by Sinbad.
Subscribe to Feed-Pod And then in November of 1973 a fiendishly anonymous trumpeter who called himself the Country Preacher started making headlines all over the South. Rumours of what was called a ‘Vertigo of the Infinite’ that he conjured with his words and ‘preachments,’ piled one atop the other like bandits trying to breach the borders of your consciousness without id. Like all the good and spreadingest rumours, the more the stories corroborated one another the more impossible they seemed. And the disembodied truth gained muscle and tone that way, and provoked new myths. There was the myth of a fleet of outspoken deacon types delivering what they called ‘urgent messages for those who would be real,’ messages so diffuse listeners would fill in the blanks and create information out of their beautiful provincial nonsense. And the Country Preacher himself became the mythic leader of the pack and shorthand for that ritualized collective imagination that all too often gets streamlined into vapid gossip. People would make up stories about the Country Preacher’s love affairs, how many kids he had with how many different women, the healing power of his words, the dangers of attending his traveling church-like scenes, etc. He became more and more intangible and more and more irresistible. Sometimes he came off as a dandy and sometimes he was painted as a dedicated champion of chastity and all things monotonous. He embodied these two extremes and all of their illegitimate siblings birthed through his trademark slogan ‘nah it ain’t religion’ and abandoned and returned to again and again, proving that what we call glory is a contrivance predicated upon a certain amount of disgrace. Proving the incurable human obsession with binaries of vice and purification and the tension in the space where that obsession is fused with a seizing renunciation of itself, and songs become. As far as the Preacher’s origins, It’s believed that one of the young teenagers who had traveled to Detroit with Amiri Baraka’s youth group The Spirit House Movers, to attend the commemorative concert sparked by Dumas’ killing in ‘68, had been so moved by the zeitgeist of Detroit and of the concert held during his visit, that he devoted himself to this transient role of Country Preacher evangelist dandy jive ass everything motherfucker of pure and utter greatness and trifling as he was righteous, he migrated through the southern states reading not from the Bible by God but from books of poems and lectures he had collected since Detroit in ‘68. His syncretism was intoxicating, his gospel was ‘while your eyes are watching god I’ll be watching the black maybe.’ He was deranged, lucid, bitter, unrepentant and free. No one is sure what he means by most anything he does to this day (he’s still giving regular sermons with same catchphrases and idiosyncrasies embedded within them), nor is deciphering their meanings a preoccupation, audiences are said to just listen, transfixed, and make catatonic exists. The silence is major part of the what we’ve been able to piece together of the Country Preacher’s illusive legacy. A legacy becoming as loose as we get in the grieving and jubilant space between disciplines that silence punctuates or punctures until we will it into muses and new musics. To this effect, it’s said that he travels with a dancer who wears only white lace, a plaintiff green bandanna, and as she dances the Country Preacher reads his sermons to the tempo she moves in. At the end of each and every preachment he improvises a trumpet solo riffing on Lester Bowie’s The Great Pretender, while she swings and chariots the frankincense. ‘Nah it ain’t religion,’ the goers chorus during their clumsy hushed exodus. For this installment of our podcast we’ve pieced together recordings of some of the Country Preacher’s sermons on the topic of Ohsun, the Yoruba goddess of ‘for love or money’ and other important prenatal questions completed by their incompletion....
Ishmael Reed was born in Chattanooga, Tennessee, but grew up in Buffalo, New York, where he attended the University of Buffalo, a private university that became part of the state public university system after he left. The university awarded him an honorary doctorate in 1995. He moved to New York City in 1962 and co-founded with the late Walter Bowart the "East Village Other", a well-known underground publication. He was also a member of the Umbra Writers Workshop, an organization that helped establish the Black Arts Movement and promoted a Black Aesthetic. Mr. Reed has written nine novels and has edited thirteen anthologies. Ishmael Reed is a founder of the Before Columbus Foundation, which since 1980 has annually presented the American Book Awards; the Oakland chapter of PEN; and There City Cinema, an organization that furthers the distribution and discussion of films from throughout the world. Two of his books have been nominated for National Book Awards, and a book of poetry, "Conjure", was nominated for a Pulitzer Prize. His "New and Collected Poems", 1964-2007, received the Commonwealth Club of California's Gold Medal. Reed's novels, poetry and essays have been translated into French, Spanish, Italian, German, Japanese, Hebrew, Hungarian, Dutch, Korean, Chinese and Czech, among other languages. Ishmael Reed's texts and lyrics have been performed, composed or set to music by Albert Ayler, David Murray, Allan Touissant, Carman Moore, Taj Mahal, Olu Dara, Lester Bowie, Carla Bley, Steve Swallow, Ravi Coltrane, Leo Nocentelli, Eddie Harris, Anthony Cox, Don Pullen, Billie Bang, Bobby Womack, Milton Cardonna, Omar Sosa, Fernando Saunders, Yosvanni Terry, Jack Bruce, Little Jimmy Scott, Robert Jason, Alvin Youngblood Hart, Mary Wilson of the Supremes, Cassandra Wilson and others. Since the early 1970s, Ishmael Reed has championed the work of other writers, founding and serving as editor and publisher of various small presses and journals. His current publishing imprint is Ishmael Reed Publishing Company, and his online literary magazine, "Konch", featuring poetry, essays and fiction, can be found at www.ishmaelreedpub.com. Reed recently retired from teaching at the University of California, Berkeley, where he taught for thirty-five years. He currently lives in Oakland, California with his wife of almost 40 years, Carla Blank, the acclaimed author, choreographer, and director. We interviewed Mr. Reed at A Different Booklist bookstore in Toronto where he was promoting his most recent book, "Barack Obama and the Jim Crow Media or The Return of the Nigger Breakers". We would like to thank A Different Booklist and Baraka Books in setting up our interview with Mr. Reed. You can find more information on Mr. Reed at his website www.ishmaelreedpub.com. Please feel free to email us at info@blackcanadianman.com God bless, peace, be well and keep the faith, Vibe and Vegas info@blackcanadianman.com http://thevibeandvegasshow.wordpress.com/
Luis Bonilla blends humor, adventurousness and a passion for his family on his new CD, I Talking Now (Planet Arts, 2009). In this interview, the in-demand trombonist talks about the use of humor in music; the effect of his time with Lester Bowie; and how thinking "beginning brass" was a shop class led to his life with the trombone. Learn more at trombonilla.com. If you'd like to buy this album, you can help support The Jazz Session by purchasing it via the link below:
A mainstay of the Chicago music scene for more than thirty years, Eric Hochberg has lent his bass work, both upright and electric, and an occasional trumpet, keyboard and vocal lick to a variety of projects across the realms of jazz, folk, rock and blues. He has performed and/or recorded with the likes of Terry Callier, Pharoah Sanders, Bobby McFerrin, Pat Metheny, Lyle Mays, Steve Kuhn, Barbra Streisand, Cassandra Wilson, Von Freeman, Chico Freeman, Ken Nordine, David Baker, Cannonball Adderly, Charles McPherson, Jon Faddis, Joshua Redman, David Bromberg, Johnny Frigo, Joe Daley, Howard Levy, Kurt Elling, Trio New, Bill Carrothers, Eric Alexander, Tierny Sutton, Patricia Barber, Jackie Allen, Janice Siegal, Peter Erskine, Paul McCandless, Donny McCaslin, Claudio Roditi, Bob Mintzer, Dave Liebman, Sam Rivers, Jack DeJohnette, Joey Baron, Bobby Broom, Eric Marienthal, Bobby Shew, Tom Harrell, Larry Novak, Gary Novak, Rick Margitza, Sheila Jordan, Diane Reeves, Dee Alexander, Jay Clayton, Janice Siegel, Janice Borla, Ari Brown, Alan Pasqua, Bob Sheppard, Mark Murphy, Bob Dorough, Randy Brecker, Don Ellis, Larry Coryell, Rebecca Paris, Leni Andrade, Sonny Fortune, Willie Pickens, Bobby Lewis, Ari Brown, Jeremy Kahn, Ernie Adams, Mike Garson, Roger Rosenberg, Erma Thompson, Lew Tabackin, Brian Lynch, Lester Bowie, Don Moye, Earnest Dawkins, Henry Butler, Emily Remler, Herb Geller, Chevere de Chicago, Sonia Dada, Mark Colby, Orbert Davis, Ed Thigpen, Anthony Molinaro, Ben Sidran, Bonnie Koloc, Michal Urbaniak Quartet, Bill Holman, The Boston Brass, Bill Russo’s Chicago Jazz Ensemble, The Chicago Jazz Orchestra, Rob Parton Orchestra, The Miami Saxophone Quartet, Jim Walker & Free Flight, The Grant Park Symphony with Luciana Souza and Patti Austin, The Joffrey Ballet, Luna Negra Dance Company, The Chicago Human Rhythm Project, and Chicago Tap Theater. Eric has the distinction of having performed in the bands of three of the four members of the Pat Metheny Group - a tour in 1977 with Pat, a long association with drummer Paul Wertico and a Latin American tour with Lyle Mays in 1992. He has toured nationally/internationally with the Lyle Mays Quartet, the Terry Callier Group, the Paul Wertico Trio, the Kurt Elling Quartet, Ken Nordine’s Word Jazz, the Howard Levy Quartet and the Grazyna Auguscik Quintet. He has performed at the Jazz Festivals of Chicago (21 times), Montreal, San Francisco, Detroit, Montreux, UK/London, Free Jazz/Rio & Sao Paolo Brazil, Leverkeusen/Germany, World Music Festival/Barcelona, Rome Jazz, Rotterdam Jazz, Karlsruhe Festival/GR, Frappe Festival/FR, Nice Jazz/FR, Gigon Festival/SP, Cully Jazz/Swiss, Blues and Roots Fest/Australia, The International Society of Jazz Educators/Atlanta, The Chicago Flute Club, The Percussive Arts Society/Columbus OH, Rockford Jazz/IL, Hyde Park Jazz Festival/Chicago, South Shore Jazz/Chicago, Elkhart Jazz/IN, Columbus Jazz Festival/OH, Milwaukee Summerfest, Louisville Festival of the Arts, Blue Note Tokyo, Yokohama and Milan, and concerts and clubs worldwide. He has also performed on the Oprah Winfrey Show three times with Barbra Streisand, Josh Groban and Johnny Mathis, and with Gloria Estefan. He can also be heard in clubs and concert venues around the Chicago area, including Catch 35 Chicago with the Eric Hochberg Trio, The Green Mill, Andy’s Jazz Club, Pops for Champagne, The Jazz Showcase, Fitzgerald’s, Katarina’s, Pete Miller’s, The Checkerboard Lounge, Room 43, Mayne Stage, Morseland, Pick Staiger Hall, Pritzker Pavillion and many others. The Eric Hochberg Orchestra has performed for countless events of all kinds over the past twenty-five years and Eric Hochberg Music contracts the finest musicians in the Chicago area for clients worldwide. The EHO was the band for the City of Chicago’s 5000 guest “Chicago Welcomes the World” Millennium Celebration. Eric produced Jackie Allen's 2006 debut Blue Note Records release, Tangled and her 2003 release The Men in My Life. Eric has also worked extensively with legendary singer-songwriter Terry Callier, producing his 2005 album, Lookin' Out, on Emarcy Records, the critically acclaimed TC in DC on Premonition, tracks on Verve Forecast's Timepeace, Novo Record's Chicago Rapid Transit and Acid Jazz Totally Re-wired Vol. 8. He co-produced Future Tense by Hochberg, Eisen & Potter, Reflections and Yesterday’s Gardenias by saxophonist Mark Colby and New Bolero by Trio New, Kurt Elling's original band. His latest project with pianist Bradley Williams and drummer Jim Widlowski is entitled 3. As a composer, Eric has made contributions to Kurt Elling's Close Your Eyes and The Messenger on Blue Note Records, Hochberg and Potter's World Thing on HoPo Records, Trio New New Bolero, Paul Wertico's Yin and the Yout and The Paul Wertico Trio's Live in Warsaw and Don't Be Scared Anymore. Five compositions are featured on Future Tense, the latest recording by Eric, Steve Eisen and Andrew Scott Potter. Two of his compositions are featured on the recently released album, The Rob Parton Quartet. New tunes are featured on the album 3, by Williams, Widlowski & Hochberg. He also composed the theme song for Contrabass Conversations, the weekly double bass interview show. He can be heard on the recordings of: Williams, Hochberg, Widlowski • 3 Hochberg, Eisen & Potter • Future Tense, World Thing Chevere de Chicago • Secret Dream Kurt Elling • Close Your Eyes, The Messenger Paul Wertico Trio • Live in Warsaw, Don't Be Scared Anymore, Stereonucleosis John Moulder • Through the Open Door, Trinity Grazyna Auguscik • River Terry Callier • Lookin' Out, TimePeace, Lifetime, TC in DC Rich Corpolongo • Just Found Joy, Smiles Howard Levy • Harmonica Jazz Mark Colby • Yesterday’s Gardenias, Reflections, Tenor Reference, Speaking of Stan and many others. Eric has also played on over 1000 jingle, television and movie soundtrack recording sessions and 100 album projects. He maintains an active teaching studio where students of all levels learn the jazz language and apply it to their music. He also teaches at the Merit School of Music. Eric has served on various Craft Committees for the National Academy of Recording Arts and Sciences (GRAMMY AWARDS) 2006-2008. Eric endorses Lakland Basses and highly recommends Pirastro, Velvet, and Thomastik-Infield double bass strings.
A mainstay of the Chicago music scene for more than thirty years, Eric Hochberg has lent his bass work, both upright and electric, and an occasional trumpet, keyboard and vocal lick to a variety of projects across the realms of jazz, folk, rock and blues. He has performed and/or recorded with the likes of Terry Callier, Pharoah Sanders, Bobby McFerrin, Pat Metheny, Lyle Mays, Steve Kuhn, Barbra Streisand, Cassandra Wilson, Von Freeman, Chico Freeman, Ken Nordine, David Baker, Cannonball Adderly, Charles McPherson, Jon Faddis, Joshua Redman, David Bromberg, Johnny Frigo, Joe Daley, Howard Levy, Kurt Elling, Trio New, Bill Carrothers, Eric Alexander, Tierny Sutton, Patricia Barber, Jackie Allen, Janice Siegal, Peter Erskine, Paul McCandless, Donny McCaslin, Claudio Roditi, Bob Mintzer, Dave Liebman, Sam Rivers, Jack DeJohnette, Joey Baron, Bobby Broom, Eric Marienthal, Bobby Shew, Tom Harrell, Larry Novak, Gary Novak, Rick Margitza, Sheila Jordan, Diane Reeves, Dee Alexander, Jay Clayton, Janice Siegel, Janice Borla, Ari Brown, Alan Pasqua, Bob Sheppard, Mark Murphy, Bob Dorough, Randy Brecker, Don Ellis, Larry Coryell, Rebecca Paris, Leni Andrade, Sonny Fortune, Willie Pickens, Bobby Lewis, Ari Brown, Jeremy Kahn, Ernie Adams, Mike Garson, Roger Rosenberg, Erma Thompson, Lew Tabackin, Brian Lynch, Lester Bowie, Don Moye, Earnest Dawkins, Henry Butler, Emily Remler, Herb Geller, Chevere de Chicago, Sonia Dada, Mark Colby, Orbert Davis, Ed Thigpen, Anthony Molinaro, Ben Sidran, Bonnie Koloc, Michal Urbaniak Quartet, Bill Holman, The Boston Brass, Bill Russo’s Chicago Jazz Ensemble, The Chicago Jazz Orchestra, Rob Parton Orchestra, The Miami Saxophone Quartet, Jim Walker & Free Flight, The Grant Park Symphony with Luciana Souza and Patti Austin, The Joffrey Ballet, Luna Negra Dance Company, The Chicago Human Rhythm Project, and Chicago Tap Theater. Eric has the distinction of having performed in the bands of three of the four members of the Pat Metheny Group - a tour in 1977 with Pat, a long association with drummer Paul Wertico and a Latin American tour with Lyle Mays in 1992. He has toured nationally/internationally with the Lyle Mays Quartet, the Terry Callier Group, the Paul Wertico Trio, the Kurt Elling Quartet, Ken Nordine’s Word Jazz, the Howard Levy Quartet and the Grazyna Auguscik Quintet. He has performed at the Jazz Festivals of Chicago (21 times), Montreal, San Francisco, Detroit, Montreux, UK/London, Free Jazz/Rio & Sao Paolo Brazil, Leverkeusen/Germany, World Music Festival/Barcelona, Rome Jazz, Rotterdam Jazz, Karlsruhe Festival/GR, Frappe Festival/FR, Nice Jazz/FR, Gigon Festival/SP, Cully Jazz/Swiss, Blues and Roots Fest/Australia, The International Society of Jazz Educators/Atlanta, The Chicago Flute Club, The Percussive Arts Society/Columbus OH, Rockford Jazz/IL, Hyde Park Jazz Festival/Chicago, South Shore Jazz/Chicago, Elkhart Jazz/IN, Columbus Jazz Festival/OH, Milwaukee Summerfest, Louisville Festival of the Arts, Blue Note Tokyo, Yokohama and Milan, and concerts and clubs worldwide. He has also performed on the Oprah Winfrey Show three times with Barbra Streisand, Josh Groban and Johnny Mathis, and with Gloria Estefan. He can also be heard in clubs and concert venues around the Chicago area, including Catch 35 Chicago with the Eric Hochberg Trio, The Green Mill, Andy’s Jazz Club, Pops for Champagne, The Jazz Showcase, Fitzgerald’s, Katarina’s, Pete Miller’s, The Checkerboard Lounge, Room 43, Mayne Stage, Morseland, Pick Staiger Hall, Pritzker Pavillion and many others. The Eric Hochberg Orchestra has performed for countless events of all kinds over the past twenty-five years and Eric Hochberg Music contracts the finest musicians in the Chicago area for clients worldwide. The EHO was the band for the City of Chicago’s 5000 guest “Chicago Welcomes the World” Millennium Celebration. Eric produced Jackie Allen's 2006 debut Blue Note Records release, Tangled and her 2003 release The Men in My Life. Eric has also worked extensively with legendary singer-songwriter Terry Callier, producing his 2005 album, Lookin' Out, on Emarcy Records, the critically acclaimed TC in DC on Premonition, tracks on Verve Forecast's Timepeace, Novo Record's Chicago Rapid Transit and Acid Jazz Totally Re-wired Vol. 8. He co-produced Future Tense by Hochberg, Eisen & Potter, Reflections and Yesterday’s Gardenias by saxophonist Mark Colby and New Bolero by Trio New, Kurt Elling's original band. His latest project with pianist Bradley Williams and drummer Jim Widlowski is entitled 3. As a composer, Eric has made contributions to Kurt Elling's Close Your Eyes and The Messenger on Blue Note Records, Hochberg and Potter's World Thing on HoPo Records, Trio New New Bolero, Paul Wertico's Yin and the Yout and The Paul Wertico Trio's Live in Warsaw and Don't Be Scared Anymore. Five compositions are featured on Future Tense, the latest recording by Eric, Steve Eisen and Andrew Scott Potter. Two of his compositions are featured on the recently released album, The Rob Parton Quartet. New tunes are featured on the album 3, by Williams, Widlowski & Hochberg. He also composed the theme song for Contrabass Conversations, the weekly double bass interview show. He can be heard on the recordings of: Williams, Hochberg, Widlowski • 3 Hochberg, Eisen & Potter • Future Tense, World Thing Chevere de Chicago • Secret Dream Kurt Elling • Close Your Eyes, The Messenger Paul Wertico Trio • Live in Warsaw, Don't Be Scared Anymore, Stereonucleosis John Moulder • Through the Open Door, Trinity Grazyna Auguscik • River Terry Callier • Lookin' Out, TimePeace, Lifetime, TC in DC Rich Corpolongo • Just Found Joy, Smiles Howard Levy • Harmonica Jazz Mark Colby • Yesterday’s Gardenias, Reflections, Tenor Reference, Speaking of Stan and many others. Eric has also played on over 1000 jingle, television and movie soundtrack recording sessions and 100 album projects. He maintains an active teaching studio where students of all levels learn the jazz language and apply it to their music. He also teaches at the Merit School of Music. Eric has served on various Craft Committees for the National Academy of Recording Arts and Sciences (GRAMMY AWARDS) 2006-2008. Eric endorses Lakland Basses and highly recommends Pirastro, Velvet, and Thomastik-Infield double bass strings.
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