Podcast appearances and mentions of Matana Roberts

Matana Roberts is a multidisciplinary artist, saxophonist, composer, and performer. With the release of In the Garden…, their ongoing, projected 12-chapter series COIN COIN is near its midpoint. Roberts has developed a composition system for the series based on mixed media scores combining graphic notation, visual art, film, and ephemera, channeling the images and (hi)stories left behind. Coming out of the fertile hybrid music scenes of Chicago, Roberts resists being pigeon-holed into any one genre, and has a particularly complicated relationship being labeled as a “jazz” musician. In fact, as they point out in this episode, Roberts rejects binaries in general, preferring to explore other ways of being, a theme which is also reflected in the narratives of each of the chapters of COIN COIN. In this episode, we discuss Chapter Five, the loss of jaimie branch, and the lessons they learned from Montreal.  LINKS Matana Roberts Bandcamp Constellation No Sound Left Behind Improvisation, Community and Social Practice (ICASP) Suoni per il Popolo—-Sound Propositions is written, recorded, mixed, and produced by Joseph Sannicandro. Read more, including tracklist, at https://acloserlisten.com/2024/09/15/sp-episode-38-dis-placed-with-matana-roberts-podcast/ --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support

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.

For his latest album composer, Victor Lazzarini has been adding the warmth of human improvisation to the electronic mix; Lina Andonovska of new New Music supergroup, Stone Drawn Circles explains the "why" and "how" of a new musical constellation; and Matana Roberts on the latest chapter of her epic of musical storytelling, Coin Coin.

Musician and composer, Matana Roberts, on the latest chapter of her jazz epic, Coin Coin, as well as the meaning of Beyonce's country turn. (2/2)

Musician and composer, Matana Roberts, on the latest chapter of her jazz epic, Coin Coin, and the unnamed woman whose story it explores. (1/2)

For this episode of Songs of Our Lives, I invite Matana Roberts on the show. This one was so much fun. Matana was at the airport waiting to fly out to Montreal, and something about the background airport noise adds to the vibrant mood. We dig into a lot of things like when we might see Matana at Burning Man, coming full circle with Albert Ayler, getting in trouble lip syncing Madonna, Joni Mitchell in blackface, the loveliness of Helado Negro, Klein doing things nobody else is, Éliane Radigue, recent killers from Mary Halvorson and James Brandon Lewis, + so much more.Listen to all of Matana's picks HEREMatana Roberts' websiteMatana Roberts on Constellation RecordsMatana Roberts “Coin Coin, Chapter 5: In The Garden”Songs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramTwitterBlueskyMastodonThe Jewel Garden

This week on the show, a conversation with pianist, composer, bandleader, and writer, Vijay Iyer. He's been at it since 1995, recording for labels like Savoy, Pi, and ECM, and he's collaborated with a diverse and inspiring roster along the way including Amiri Baraka, Matana Roberts, Das Racist, previous Transmissions guest Wadada Leo Smith, and many more. His records have incorporated electronic music and spoken word, chamber jazz reverence and loose, free falling blues.  Last year, in collaboration with vocalist Arooj Aftab and bassist Shazhad Ismaily, he released Love in Exile on the Verve label. Writing about the album for our 2023 Year in Review, we called it “A spectral meeting of the minds. This haunting and luminous se…locates a nexus between ambient, jazz, and classical, all while feeling entirely conjured in the moment—because it was.”  Now he's back with a new ECM release, Compassion, and in another trio, reuniting with his bandmates on 2021's stirring Uneasy, bassist Linda May Han Oh and drummer Tyshawn Sorey. Produced by Manfred Eicher, it's a stunning listen start to finish, from its meditative and expansive title track to the dug down groove of “Ghostrumental,” a startling showcase for may Han Oh's thoughtful melodicism, to the thoughtfully chosen covers of Roscoe Mitchell's “Nonaah” and Stevie Wonder's “Overjoyed,” everything about Compassion demonstrates the intentional focus of Iyer and his collaborators. He joins host Jason P. Woodbury to speak about it, reflect on the post-pandemic nebulousness in the air, discuss his mentors Greg Tate and Baraka, and much more.  For heads, by heads. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support via our Patreon page. Transmissions is part of the Talkhouse Podcast Network. Join us next week for a conversation with John Lurie.

THIS WEEK's BIRDS: recent (new) music from Matana Roberts; Mary Halvorson; vintage bop/post-bop from Fred Tompkins; Charlie Rouse; Lee Morgan live at the Lighthouse; cante jondo from El Cigala, "El Negri" and El Cabrero; Balinese pop from Detty Kurnia; Abida Parveen from Pakistan;  salsa from Orquesta Cervantes; vintage music from Mali (Rail Band du Mali); NIU RAZA;  much, much more!!!!   Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/18499517/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com  

"Streets on Fire" by Torn Hawk from Through Force of Will Anniversary Edition; "Departing the Body" by Roy Montgomery from Temple IV; "Speak" by Fawning from All Around Me; The Wendorlan single by Squarepusher from the upcoming album Dostrotime; "Le Trapeziste" by L'Empire Des Sons from their reissued self-titled album; "We Said" by Matana Roberts from Coin Coin Chapter Five In the Garden; "16:9" by Microstoria from Init Ding and Snd; "Ether" by Golden Features from Sisyphus; "Saturate" by Haslanded from The Mill Sessions Vol 1; The title track from the remastered Pyramid of the Moon by Maserati; "Ripple in High Tide" by BCMC from Foreign Smokes.

Women From Space Festival 2024: Lina Allemano, Bloop, Morgan-Paige, Nicole Rampersaud, Grace Scheele, Patricia Brennan, Mali Obomsawin, Magdalena Abrego, Allison Burik, Chiquita Magic, Matana Roberts and Germaine Liu. Plus Arturo O'Farrill and Esteban Herrera.Playlist: Lina Allemano - WildsBloop, featuring Lina Allemano & Mike Smith - Actual BloopMorgan-Paige - InsanireNicole Rampersaud - Concurrent Panoramas, Part OneNicole Rampersaud - Concurrent Panoramas, Part TwoNicole Rampersaud - Concurrent Panoramas, Part ThreeGrace Scheele - MiddlingPatricia Brennan - The Woman Who WeepsMali Obomsawin - Blood QuantumMali Obomsawin, Magdalena Abrego - DedicationAllison Burik - Fragment 94Umbrella Pine, featuring Allison Burik & Magdalena Abrego - Three CupsChiquita Magic, featuring Henry Solomon - Palm TreeMatana Roberts - A Caged DanceGermaine Liu - Keys ChainArturo O'Farrill - Blood in the WaterEsteban Herrera, featuring Gisela Romero - Infinito

Space is the place_jazz e dintorni Prima puntata del 2024, con una retrospettiva sui migliori dischi dell`anno appena concluso Con Irreversible Entanglements, Matana Roberts, Jamie Branch, Jason Moran, e altri ancora. Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-2-gennaio-2024 Tutti i podcast di Space is the place: https://www.radiotandem.it/space-is-the-place

In this episode, I spoke with Matana Roberts, who is an incredible saxophonist, vocalist, composer, visual artist, and overall creator of art. We delved into the latest installment of their Coin Coin Series, Chapter 5: In The Garden. We spoke about ancestry, their years coming up in Chicago, the creation of Coin Coin, who the original Coin Coin was, and many more fascinating topics. Enjoy.

Jazz Ahead 229 1. for they do not know, Matana Roberts, Coin Coin Chapter Five: In The Garden, Constellation Records, 2023 2. [terrestrial rebels], Caroline Davis, Alula: Captivity, Ropeadope, 2023 3. Oriki Oshun, Okan, Okantomi, Lulaworld, 2023 4. She goes to a silent war, Yuhan Su, Liberated Gesture, Sunnyside Records, 2023 5. burning grey, jaimie branch, Fly or Die Fly or Die Fly or Die World War, international Anthem, 2023 6. Lineage, Mali Obomsawin, Sweet Tooth, Out of Your Head Records, 2023 7. Weeping Waltz, Nappy Nina feat. Cavalier, Mourning Due, LucidHaus, 2023 8. Rage, Kira Linn, Illusion, Whirlwind Recordings, 2023 9. Luta Por Mim. Jup do Bairro feat. Mulambo, Corpo Sem Juízo, Autoproduzione, 2020

Jazz Ahead 227 1. Don't go back to sleep, Bex Burch, There is only love and fear, International Anthem, 2023 2. Venezia, Claudio Fasoli NeXt 4tet, Ambush, Abeat, 2023 3. Waves, The Vampires, Nightjar, Earshift Music, 2023 4. the promise, Matana Roberts, Coin Coin Chapter Five: In The Garden, Constellation Records, 2023 5. Shimmer, Anne Webber, Shimmer Wince, Intakt Records, 2023 6. Tribe, Archivio Futuro, Archivio Futuro X Gaza, Autoproduzione, 2023 7. Once Around, On the Turning ground, Tara Clerkin Trio, World of Echo, 2023 8. Seeds, TooSeriouslyCommittedPeople,Truth seeker, Mupe, 2023 9. The Lava Is Calm, Kassa Overall, Animals, Warp Records, 2023

In this chat, we get to meet acclaimed composer Matana Roberts. Best known for their work as a saxophonist, clarinetist, and composer in the world of avant garde and improvisational jazz, Matana Roberts has been making a name for themselves for quite a while. We met on the cusp of the release of the fifth chapter in their ongoing Coin Coin series -- Chapter 5: In the Garden. In this chat, Matana and I go long on this new album, and how it fits into the overall arc of Coin Coin, which sees Matana exploring their own personal and familial history alongside some bitter truths and explorations of American cultural and social history. The new record tells the story of a relative of theirs from the 1920s who died following an illegal abortion, and it's just as beguiling and beautiful as the chapters that preceded it. It's a bit of a circuitous talk, but in the best way - it felt like an alive conversation, and I had such fun diving head first into these complex and nuanced waters with Matana, who met me with warmth and wisdom. Thanks for listening and please enjoy. 

Jazz Ahead 224 1. 2 Sentimental, Kassa Overall, Warp Records, 2023 2. Sun Raag, Jordi Grognard Trio, Monkey's Meeting, El Negocito Records, 2023 3. Turns Luck, Todd Sickafoose, Bear Proof, Secret Hatch Records, 2023 4. Blue (pt. 2), Helen Svoboda, The Odd River, Earshift Music, 2023 5. unbeknownst, Matana Roberts, Coin Coin Chapter Five: In The Garden, Constellation Records, 2023 6. Stray, I.P.A, Grimsta, Cuneiform Records, 2023 7. Wind Blows, Two Things Of Gold, Two Things Of Gold, A.MA Records, 2023

01. Brendon Moeller - Through 02. Vladislav Delay - Wallfacer 03. The Bug - Hunted (on the run) 04. Holy Tongue - Our Tongue Is Furred With the Slime of Creatures 05. Creation Rebel - That's More Like It 06. Big Daddy - Esolang 07. TAPAN -High Road 08. Old And New Dreams - Chairman Mao 09. Robert Wyatt - Alife 10. muva of Earth - no one else has your magik! 11. Matana Roberts - unbeknownst 12. Maxo - PlayDis! 13. Armand Hammer - The Gods Must Be Crazy 14. JPEGMAFIA - Free The Frail 15. Jay Worthy - Stick up Kids (feat. Bandgang Lonnie Bands) 16. Mike - Ipari Park 17. Xiu Xiu - Ice Cream Truck 18. Frédéric D. Oberland - Worst Case Scenario 19. Los Mohanes - El Viento del Mar

4e émission de la 57e session...Cette semaine, avant-jazz et grands ensembles! En musique: Matana Roberts sur l'album Coin Coin Chapter 5: In The Garden...  (Constellation, 2023); Tomas Fujiwara sur l'album Pith  (Out Of Your Head, 2023); Darcy James Argue's Secret Society sur l'album Dynamic Maximum Tension  (Nonesuch, 2023); Steve Lehman & Orchestre National de Jazz sur l'album Ex Machina  (Pi, 2023); The Jazz Composer's Orchestra sur l'album Communication  (Fontana, 1966)...

Bob Boilen will retire from NPR on Oct. 2, and he decided to spend one of his final episodes hosting All Songs Considered with NPR Music's resident Viking, Lars Gotrich, for a mix of pop punk, meticulously cut-up banjo drone, worlds-collapsing free jazz and fingerstyle guitar. Featured Songs And Artists: 1. MxPx: "What I Tell Myself" from Find a Way Home 2. Slant: "Criminal" from Demo 2023 3. Daniel Bachman: "Summer's fingers sweetly linger (Everywhere on every side)" from When the Roses Come Again 4. Matana Roberts: "shake my bones" from Coin Coin Chapter Five: In the garden... 5. Svitlana Nianio: "Episode III" from Transilvania Smile, 1994 6. Liam Grant: "Androscogging River Ragg" from Amoskeag

Made up, mixed or invented. Josie Long presents not-so-long-radio sound paintings melting how we use words to make space for who we want to be. A Lovely Way to Spend an Evening Produced by Darragh Amelia Featuring June Katz, Patricia Hirsch, poet Xiao Yue Shan, photographer Anna Francesca Jennings and historian Alma Simba. The Magic of Waves Produced by Ève-Marie Bouché Remember There Is More Produced by Tej Adeleye Featuring activist Ngozi Alston, creator of the term Neuroexpansive; Dr Nick Walker, creator of Neuroqueer theory; Dr Ned Hallowell; Dr Keri Opai; Matana Roberts; Aiyanna Goodfellow, founder of Neuromancers and “a darling spook, writer, ghost whisperer, and friend". Produced by Axel Kacoutié Curated by Axel Kacoutié, Eleanor McDowall and Andrea Rangecroft A Falling Tree production for BBC Radio 4

Artists don't come much more eclectic than Lunch Money Life, so it's appropriate that they kick off the Independent Music Podcast this week as we travel through an hour of music that includes campaigning mothers of Indonesia, experimental screwdriver ambient music, and heavy, hypnotic vocal loops amongst much more. That ‘much more' includes Europop bangers from Glasgow, ferocious bass-driven music, idiosyncratic techno and a whole lot of the good stuff… You can listen to the first six tracks for free. To listen to the full episode, get a huge back catalogue of music, and access to our live shows and Discord group, please join our Patreon: patreon.com/independentmusicpodcast. The podcast only survives with Patron support TracklistingLunch Money Life – New Herdsman (Wolf Tone, UK)Shmu – Silver Cyborg Symposium (feat. Fire-Toolz) (Orange Milk Records, USA)Laure Boer – Voler (Kashual Plastik, Germany)Kylie Monologue – Philophobia (self-release, UK)Txetext – Slitdrum (Pho Bho, Italy)Apostille – Saturday Night, Still Breathing (Night School, UK)Mother Bank – Jalan-Jalan (Yes No Wave Music, Indonesia)Dom James – III (Hard Return, UK)Surusinghe – Skit (Steel City Dance Discs, Australia)Matana Roberts – unbeknownst (Constellation Records, Canada) This week's episode is sponsored by the state51 Conspiracy, an independent music house. Go to state51.com to find out more about everything they do: state51 Factory sessions and events; hand-made Atelier products; a diverse roster of Label releases; Greedbag stores, pop-up and fanzine, and the Collective of distribution partner labels and artists Produced and edited by Nick McCorriston.

I am over the moon about today's pick - it's life-affirming music from the great Roman Norfleet, this time joined by the stellar Be Present Art Group. Plus, some excellent news from Matana Roberts (speaking of greats!) and Souled American (again!) - a lovely day all around. Keep putting good things into this hellworld y'all. Wednesday episodes are exclusively on Patreon. Album of the Day: Roman Norfleet and Be Present Art Group https://mississippirecords.bandcamp.com/album/roman-norfleet-and-be-present-art-group Additional links for the day: https://matana-roberts.bandcamp.com/album/coin-coin-chapter-five-in-the-garden https://souledamerican.bandcamp.com/ https://zeenaparkinsprojects.bandcamp.com/album/lace Brad Rose is the the principal writer and editor-in-chief of Foxy Digitalis, an online music magazine and has run various DIY record labels for the last 30 years. Wednesday episodes are exclusively on Patreon. foxydigitalis.zone patreon.com/foxydigitalis twitter: @foxydigitalis Instagram: @foxy.digitalis Mastodon: foxydigitalis@mastodonmusic.social

Tomas Fujiwara is a Brooklyn-based drummer and composer. Described as “a ubiquitous presence in the New York scene…an artist whose urbane writing is equal to his impressively nuanced drumming” (Troy Collins, Point of Departure), Tomas is an active player in some of the most exciting music of the current generation, with his bands Triple Double (with Gerald Cleaver, Mary Halvorson, Brandon Seabrook, Ralph Alessi, and Taylor Ho Bynum), Tomas Fujiwara & The Hook Up (with Jonathan Finlayson, Brian Settles, Halvorson, and Michael Formanek) and The Tomas Fujiwara Trio (with Alessi and Seabrook); his collaborative duo with cornetist Taylor Ho Bynum; the collective trio Thumbscrew (with Halvorson and Formanek); and a diversity of creative sideman work with forward thinking peers like Tomeka Reid and Matana Roberts. In The New York Times, Nate Chinen writes, “Drummer Tomas Fujiwara works with rhythm as a pliable substance, solid but ever shifting. His style is forward-driving but rarely blunt or aggressive, and never random. He has a way of spreading out the center of a pulse while setting up a rigorous scaffolding of restraint...A conception of the drum set as a full-canvas instrument, almost orchestral in its scope.” Support the show

Aired on 2/21/2023 at 97.3/107.9 The Rock in Morro Bay, CA.A show focusing on a Top 5 or Fav 5 of black female artists.Peace!Matana Roberts ~ lulla/byeNicole Mitchell ~ F.O.C.Nikki Giovanni ~ The Woman GatherBeverly Glenn-Copeland ~ Complainin' BluesGloria Ann Taylor ~ What's Your World (7" version)Sudan Archives ~ FLUEKadhja Bonet ~ Thoughts Around TeaMESHELL NDEGEOCELLO~ Andromeda & The Milky Way~ Evolution~ White Girl~ Four Women~ Modern Time~ Funny How Time Flies (When You're Having Fun)ALICE COLTRANE~ Shiva-Loka~ Hare Krishna~ Morning Worship~ Pranadhana~ JagadishwarMARY LOU WILLIAMS~ Easy Blues~ Boogie Mysterioso~ O.W.~ Taurus Mood~ Just an Idea~ Baby ManANGEL BAT DAWID~ Black Family~ We Are Starzz~ No Space Fo Us~ London (live)~ Corn=Rowzz~ Husband of the Queen of Walo, WolofGRACE JONES~ Pars~ Use Me (long version)~ Cry Now - Laugh Later~ The Crossing (Ooh the Action...)~ Sunset SunriseKelela ~ Divorce

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In Soundworks: Race, Sound, and Poetry in Production (Duke UP, 2020), Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially.  Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes. Henry Ivry is a Lecturer in 20th and 21st Century Literature in the School of Critical Studies at the University of Glasgow. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Curiosando tra le rassegne jazz dell`autunno, da Cormons a Parma, per arrivare a Berlino. Con Sex Mob, Sun Mi Hong, Lumpeks, Silvia Tarozzi e Deborah Walker, Matana Roberts, Quartabé e altro ancora.

Space is the place_jazz e dintorni del 15 novembre 2022Curiosando tra le rassegne jazz dell`autunno, da Cormons a Parma, per arrivare a Berlino. Con Sex Mob, Sun Mi Hong, Lumpeks, Silvia Tarozzi e Deborah Walker, Matana Roberts, Quartabé e altro ancora. Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-15-novembre-2022 Tutti i podcast di Space is the place: https://www.radiotandem.it/category/space-is-the-place

Washington Social Club "Breaking the Dawn"Big Black "Steelworker"Dead Meadow "Sleepy Silver Door"Jessie Mae Hemphill "Married Man Blues"Benny Goodman "Sing, Sing, Sing"Swing Kids "Forty Three Seconds"Mission of Burma "Forget"Excuse 17 "Watchmaker"Minutemen "The Product"Johnny Cash "Johnny 99"Lungfish "Abraham Lincoln"Bad Brains "Banned In D.C."Blonde Redhead "Missile ++"Daniel Bachman "Levee"Billy Joe Shaver "The Devel Made Me Do It the First Time"Deerhoof "Fresh Born"Wright Holmes "Good Road Blues"Metamatics "Absence Of Rhythm"Loretta Lynn "Van Lear Rose"Bo Diddley "Cops and Robbers"Superchunk "On the Mouth"Bikini Kill "Reject All American"Universal Order of Armageddon "No Longer Stranger"The Halo Benders "Don't Touch My Bikini"Enon "Daughter in the House of Fools"Matana Roberts "Pov Piti"Rain Like the Sound of Trains "School"

Why is a Nazi resistance fighter famous in Brazil yet unheard of in Germany? How did an African American musician become a hero in East Germany? Dina Elsayed finds the answers to these questions and more while uncovering the stories behind Berlin's unusual street names.

We had the great pleasure of being joined by Matana Roberts, multidisciplinary artist, saxophonist, composer, and sound adventurer. We talked about the unequal mental health toll of the pandemic, the healing power of live music, their Coin Coin work and many other things!

Tomas Fujiwara is a Brooklyn-based drummer and composer. Described as “a ubiquitous presence in the New York scene…an artist whose urbane writing is equal to his impressively nuanced drumming” (Troy Collins, Point of Departure), Tomas is an active player in some of the most exciting music of the current generation, with his bands Triple Double (with Gerald Cleaver, Mary Halvorson, Brandon Seabrook, Ralph Alessi, and Taylor Ho Bynum), Tomas Fujiwara & The Hook Up (with Jonathan Finlayson, Brian Settles, Halvorson, and Michael Formanek) and The Tomas Fujiwara Trio (with Alessi and Seabrook); his collaborative duo with cornetist Taylor Ho Bynum; the collective trio Thumbscrew (with Halvorson and Formanek); and a diversity of creative sideman work with forward-thinking peers like Tomeka Reid and Matana Roberts. In The New York Times, Nate Chinen writes, “Drummer Tomas Fujiwara works with rhythm as a pliable substance, solid but ever-shifting. His style is forward-driving but rarely blunt or aggressive, and never random. He has a way of spreading out the center of a pulse while setting up a rigorous scaffolding of restraint...A conception of the drum set as a full-canvas instrument, almost orchestral in its scope.” Born and raised in Boston, MA, Tomas studied with legendary drummer and teacher Alan Dawson for eight years before moving to New York at the age of 17. He is currently a member of ensembles led by Taylor Ho Bynum, Mary Halvorson, Matana Roberts, Nicole Mitchell, Matt Bauder, and Tomeka Reid, in addition to projects with artists such as Anthony Braxton, John Zorn, Michael Formanek, Ben Goldberg, and Benoit Delbecq, and has performed at festivals and venues across North America, Europe, Asia, Australia, and the Middle East. He also has many experiences outside the jazz realm, including a five-year run with the Off-Broadway show Stomp and performances with the Tony Award-winning Broadway musical Fela!, featuring Patti Labelle and members of Antibalas. 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

The DIY bedroom-producer stars of this episode are Joseph Kamaru from Nairobi recording in Berlin under the name KMRU, Tristan Arp from Mexico City and CARM out of New York. We celebrate the release of the wonderful new record from Inni-K which fashions a new sonic cloak for the ancient sean-nós form and re-visit the music of Nicolas Jaar and his deepest work yet, Cenizas. In between, there's time to marvel at the powerful sounds of resistance coming from the alto-saxophone of Matana Roberts and at the fruits of a unique collaboration between two uncrowned kings of the wild frontier, Pavel Milyakov and Bendik Giske.   Shabazz Palaces https://shabazzpalaces.bandcamp.com/album/quazarz-born-on-a-gangster-star John Glacier https://plzmakeitruins.bandcamp.com/album/shiloh-lost-for-words Tristan Arp https://tristanarp.bandcamp.com/album/sculpturegardening KMRU https://kmru.bandcamp.com/album/there-was-nothing-in-between Pavel Milyakov and Bendik Giske https://pavelmilyakovbendikgiske.bandcamp.com/ Nicolas Jaar https://nicolasjaar.bandcamp.com/album/cenizas CARM https://carmband.bandcamp.com/album/carm Matana Roberts https://matana-roberts.bandcamp.com/album/coin-coin-chapter-four-memphis Inni-K https://inni-k.bandcamp.com/album/in-on   ///

Why is a Nazi resistance fighter big in Brazil and unheard of in Germany? How did an African American bass-baritone artist become a national hero in the former GDR? Does Onkel Toms Huette refer to a German man and his cabins or the protagonist of a controversial American 19th-century novel? Senior Producer Dina Elsayed explores the fascinating stories behind Berlin's unusual street names in this special Common Ground collaboration with the Goethe Institute for The Big Ponder series.  Featuring guests: Blogger and author Beata Gontarczyk-Krampe; Musicologist and historian Kira Thurman;  Saxophonist and sound experimentalist Matana Roberts; Literary and cultural historian Todd Carmody; Artist Tatiana Heide;  Filmmaker Thais Nepomuceno. This show was produced by Dina Elsayed and Soraya Sarhaddi Nelson.Frederic Chopin's Prelude Opus 28, No. 9 was performed by Paul Cantrell. Also featured are "Brazil" by Serge Quadrado, "Woke up this Morning" by Till Paradiso and All is Written by Matana Roberts from their album Coin Coin: Chapter Three.And from Blue Dot Studios, we heard Nine Count, Minister Creek, Vulcan Street and Ervira.Note on the correct pronunciation of Matana Roberts' first name: equal emphasis should be given to all three syllables.

Bonaventure Soh Bejeng Ndikung, is a curator best known as the artistic director of SAVVY—The Laboratory of Form-Ideas, a self-organized art institution located in Berlin. He has recently been appointed as the new director at the Haus der Kulturen der Welt (HKW) in Berlin. We hear from Bonaventure on the importance of positioning oneself, within collaboration but always in response and with response-ability. He is someone who didn't wait for legitimization and instead went ahead to create a space, and let things emerge from that space and from the people who end up hanging out there. Episode Notes & LinksThis episode was recorded during the Mediterranean wildfires that have taken place in Greece, Turkey, Italy, Algeria and Tunisia.SAVVY, the laboratory of form and ideas is a public cultural institution located in Berlin. https://savvy-contemporary.comTo go further deep into Bonaventure's thinking, check out this talk organized by the After the Archive? Initiative. https://open.spotify.com/episode/6SbXJlNDSJjYQPN5tWjM93?si=F0kjcbEERPOIJTQdSmVPqQ&dl_branch=1To get a better sense of his story of becoming, check out this conversation for the NKATA podcast. He also touches on the impact of the life, work and untimely deaths of two giants of contemporary art: Bisi Silva and Okwui Enwezor. https://nkatapodcast.com/2019/04/05/nkata-with-bonaventure-soh-bejeng-ndikung/At documenta 14 in Athens and in Kassel, the slogan “Wir (alle) sind das Volk” [We (all) are the people] was displayed on banners and posters in German and Greek and the languages understood by most foreign Documenta visitors, as well as the languages of the migrants and refugees who are exposed to xenophobic aggression in Europe. Among the languages are Arabic, Kurdish, Turkish, Farsi (as spoken in Afghanistan), and the language of refugees from Eritrea.https://www.documenta14.de/en/artists/13591/hans-haackeCurated by Bonaventure, the 13th edition of the Bamako Encounters - African Biennale of Photography will be on view in Bamako, Mali from November 20, 2021–January 20, 2022.In his essay titled “The Globalized Museum? Decanonization as Method: A Reflection in Three Acts”, Bonaventure proposes to utilize decanonization as method for “what might be a global museum of self-reflexivity, whereby the idea will not be to create new or parallel canons, or place them side by side, or universalize the Western canon, but to decanonize the entire notion of the canon.” https://www.moussemagazine.it/magazine/the-globalized-museum-bonaventure-soh-bejeng-ndikung-documenta-14-2017/Thomas Mann was a writer known for his highly symbolic and ironic epic novels and novellas which are noted for their insight into the psychology of the artist and the intellectual. https://en.wikipedia.org/wiki/Thomas_MannHenry Louis Gates is a literary critic, teacher, historian and filmmaker that conceptualized Signifyin', a critical approach to context-bound significance of words, which is accessible only to those who share the cultural values of a given speech community. The expression comes from stories about the Signifying Monkey, a trickster figure said to have originated during slavery in the United. States. https://en.wikipedia.org/wiki/Henry_Louis_Gates_Jr.Theaster Gates is a Chicago based artist whose work sources from social practice. https://en.wikipedia.org/wiki/Theaster_GatesThe Nettelbeckplatz is a square in the Berlin district of Wedding. https://second.wiki/wiki/nettelbeckplatzAn originally well known Armenian/Greek Christian neighborhood called Tatavla, Kurtuluş is a district of Istanbul. Meaning "liberation", "salvation", "independence" or "deliverance" in Turkish, Kurtuluş's non muslim population of the neighborhood is greatly diminished. https://en.wikipedia.org/wiki/KurtuluşSonsbeek is an international exhibition in Arnhem, Netherlands which largely focuses on public works of contemporary art. https://www.sonsbeek20-24.org“Chercher midi à quatorze heures" is a quirky way of telling someone that it is making an issue more difficult than it needs to be—turning something simple into something complicated in French.Director Jef Cornelis made an in-situ documentary about the Sonsbeek that had taken place in 1971 titled “Sonsbeek: buiten de perken” for the Belgian TV Channel VRT. His body of work is influential to imagine what television can be and how it can be used to document and represent art. https://vimeo.com/433640306Known as the founder of the art movement fluxus, Joseph Beuys was an influential teacher and artist who was influential in the latter half of the 20th century. https://en.wikipedia.org/wiki/Joseph_BeuysA champion of Africa's oral tradition and traditional knowledge, Amadou Hampâté Bâ was a writer, historian and ethnologist. https://en.wikipedia.org/wiki/Amadou_Hampâté_BâCuratorial Statement of Bamako Biennial quotes Amadou Hampâté Bâ's statement (Aspects de la civilisation africaine, Éditions Présence Africaine, 1972) presiding over the manifestation, Maa ka Maaya ka ca a yere kono, translates to, “the persons of the person are multiple in the person.”https://www.e-flux.com/announcements/361013/rencontres-de-bamako-african-biennale-of-photographymaa-ka-maaya-ka-ca-a-yere-kono/Sun Ra, was a jazz composer, bandleader, piano and synthesizer player, and poet known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances. For much of his career, Ra led "The Arkestra," an ensemble with an ever-changing name and flexible line-up.https://en.wikipedia.org/wiki/Sun_RaThelonious Monk was a seminal jazz pianist and composer. https://en.wikipedia.org/wiki/Thelonious_MonkStephen Wright is a writer and gardener based in France. He was the first guest of the previous season of Ahali. Listen at https://www.ahali.space/episodes/episode-1-stephen-wrightAssembled by the king of 6/8, the living legend Brice WassyKelin-Kelin Orchestra is a big band that consists of twelve musicians. Called the "queen of Taarab and Unyago music, Fatima binti Baraka also known as Bi Kidude, was a Zanzibari-born Tanzanian Taarab singer.https://en.wikipedia.org/wiki/Bi_Kidude Influenced by the musical traditions of the African Great Lakes, North Africa, the Middle East, and the Indian subcontinent. Taarab is a music genre popular in Tanzania and Kenya.https://en.wikipedia.org/wiki/TaarabNatasha Ginwala is a curator working in​​ the field of contemporary art.Ayesha Hameed is a lecturer, writer and practitioner who produces videos, audio essays and performance lectures.Matana Roberts is a sound experimentalist, visual artist, jazz saxophonist, clarinetist and composer. https://en.wikipedia.org/wiki/Matana_RobertsFormed in 1979 by Pierre-Edouard Décimus and Jacob Desvarieux, Kassav' is a Zouk band that makes Guadeloupean carnival music recording it in a more fully orchestrated yet modern and polished style. https://en.wikipedia.org/wiki/Kassav%27Jacob Desvarieux was a singer, arranger, and music producer. https://en.wikipedia.org/wiki/Jacob_DesvarieuxJocelyne Béroard is a singer and songwriter. She is one of the lead singers of the Kassav'. https://en.wikipedia.org/wiki/Jocelyne_BéroardZouk is a musical movement pioneered by the French Antillean band Kassav' in the early 1980s. https://en.wikipedia.org/wiki/ZoukNégritude (from French "Nègre" and "-itude" to denote a condition that can be translated as "Blackness") is a framework of critique and literary theory, developed mainly by francophone intellectuals, writers, and politicians of the African diaspora during the 1930s, aimed at raising and cultivating "Black consciousness" across Africa and its diaspora. https://en.wikipedia.org/wiki/NégritudeOne of the founders of the Négritude movement, Aimé Césaire was a Martinican poet, author, and politician. https://en.wikipedia.org/wiki/Aimé_CésaireServed as the first president of Senegal from 1960 to 1980, Léopold Sédar Senghor was a poet, politician and cultural theorist. https://en.wikipedia.org/wiki/Léopold_Sédar_Senghor Episode recorded on Zoom on August 4th, 2021. Interview by Can Altay. Produced by Aslı Altay & Sarp Renk Özer. Music by Grup Ses.

De dinsdagse uitvlucht. Plaatjes, wat praatjes en een hele hoop goede zin. DJ St. Paul koppelt driftig nieuwe releases aan relevante keuzes uit het verleden. Een subjectieve kijk op popcultuur met extra oog voor onderbelichte zaken.

De dinsdagse uitvlucht. Plaatjes, wat praatjes en een hele hoop goede zin. DJ St. Paul koppelt driftig nieuwe releases aan relevante keuzes uit het verleden. Een subjectieve kijk op popcultuur met extra oog voor onderbelichte zaken.

Good Morning, This is Louise. Episode 83 - Because of Flowersfeaturing music by Ana Roxanne, Meitei, and Kleinwith ambient recordings by Nomadic Ambiances programmed and produced by @small_ernst Namo Guan Shi Yin Pusa Thank you for listening

TW: Use of a homophobic slur in a non-derogatory manner. Ryan Muncy is saxophonist of the International Contemporary Ensemble, having been praised for his “amazing virtuosity” (The Chicago Tribune) and ability to "show off the instrument's malleability and freakish extended range as well as its delicacy and refinement" (The Chicago Reader). He is a recipient of the Kranichstein Music Prize awarded at the 46th Darmstadt Summer Courses, a Fulbright Fellowship in France, the Edes Foundation Prize for Emerging Artists, and has participated in the creation of more than 250 new works for the saxophone, highlighted by deeply collaborative relationships with leading artist-creators including Ashley Fure, Tyshawn Sorey, Wang Lu, Marcos Balter, Wojtek Blecharz, and Matana Roberts. Muncy received his doctorate from Northwestern University’s Bienen School of Music, where he studied with Frederick L. Hemke. He studied previously with John Sampen (Bowling Green State University), Jean-Michel Goury (CRR Boulogne-Billancourt), George Wolfe (Ball State University), and Jean-Yves Fourmeau (CNR Cergy-Pontoise). Ryan currently serves on the music faculty of The New School’s College of Performing Arts (Mannes School of Music) in New York City, in addition to his role as the Director of Institutional Giving of the International Contemporary Ensemble. ryanmuncy.com

Die Zonic Radio Show ist die hör-mediale Erweiterung der Kulturerscheinung Zonic. == SeaNaps 2019 u.a. 1. Ossie All-Stars - Ready Dub – Mr.Isaacs / Leggo Dub – 17 North Parade 2. The Idealist - Bad Thinhs Happen Dub – V.A.: Wire Tapper51 – The Wire 3. Felix Lee - Iywata – Inna Daze – Planet Mu 4. Matana Roberts - trail of the smiling sphinx – Coin Coin Chapter Four Memphis – Constellation 5. Daniel Desantis - Track 1 – Prepared Drums – Dromoscope Editions & Das Andere Selbst 6. Mapstation - Buenaventura – Present Unmetrics – TAL 7. Limpe Fuchs - Gebüsch – Gestrüpp – Play Loud 8. Contagious - Moon Wrase – s/t – Morphine 9. Expander des Fortschritts - Spätherbst Abseits – s/t – Points East 10. KIR - Dimiskija – Mramorje – Yerevan Tapes 11. FOQL - Colony Collapse – Total Solidarity – Oramics 12. Los Siquicos Litoralenos - Por Que Te Vas? – Medianos Exitos Subtropicales – Artetetra 13. Jealousy Party - Botta – Botta Vuota – Jealousy Party 14. Pierre Bastien - Moody Doom – Blue As An Orange – Morphine Records 15. Stella Chiweshe - Mayaya (Part 1 & 2) – Kasahwa: Early Singles – Glitterbeat * Sendung vom 23. Oktober 2019 == Zonic Radio Show Süd Die Zonic Radio Show ist die hör-mediale Erweiterung der Kulturerscheinung Zonic. Thematisch frei zwischen Musik, Literatur und Kunst changierend, gibt es von tieftauchenden popkulturellen Features über experimentelle Klangstücke oder Sound & Poetry- Mixe bis zum Hangeln durch den News-Jungle eines extrem offenen musikalischen Spektrums alles zu hören, was potentielle Relevanz im stetig sich ausbreitenden Zonic-Kosmos hat. Und über dessen Rand hinaus! Die Wort- & Musikauswahl liegt bei Zonic-Herausgeber Alexander Pehlemann. * http://www.zonic-online.de

Nova ruta sonora que en aquest cas posa focus en l'experimentació rock entesa des de visions musicals tan diferents entre sí, però alhora connectades, com les de Kim Gordon, Swans o Battles.

Saxophonist, composer and multidisciplinary artist, Matana Roberts is embarked on an epic 12-part project to explore and reflect on the American experience. She has recently released "Memphis", chapter four of her "Coin Coin" series. All rights reserved: http://www.elclubdejazz.com

Saxophonist, composer and multidisciplinary artist, Matana Roberts is embarked on an epic 12-part project to explore and reflect on the American experience. She has recently released "Memphis", chapter four of her "Coin Coin" series. All rights reserved: http://www.elclubdejazz.com

¡19 años de Club de Jazz! Y los celebramos recibiendo en el programa a una de las creadoras más excitantes. Conversamos con Matana Roberts, saxofonista y autora de la serie 'Coin Coin', una odisea musical en torno a la experiencia americana de esta afroamericana nacida en Chicago. Recorremos con ella música de los cuatro capítulos publicados hasta la fecha desde 2011: "Gens de couleur libres" (Capítulo uno), "Mississipi Moonchile" (Capítulo dos), "River Run Thee" (Capítulo tres) y "Memphis" (Capítulo cuatro). Toda la información y derechos: http://www.elclubdejazz.com

¡19 años de Club de Jazz! Y los celebramos recibiendo en el programa a una de las creadoras más excitantes. Conversamos con Matana Roberts, saxofonista y autora de la serie 'Coin Coin', una odisea musical en torno a la experiencia americana de esta afroamericana nacida en Chicago. Recorremos con ella música de los cuatro capítulos publicados hasta la fecha desde 2011: "Gens de couleur libres" (Capítulo uno), "Mississipi Moonchile" (Capítulo dos), "River Run Thee" (Capítulo tres) y "Memphis" (Capítulo cuatro). Toda la información y derechos: http://www.elclubdejazz.com

Hilary talks to Ava Mendoza about sedans, music store paranoia, and the nuances of being “you go girl”-ed. AVA'S BIO AVA MENDOZA is a Brooklyn-based guitarist, singer, songwriter and composer. Born in 1983, she started performing her own music, and as a sidewoman and collaborator in many different projects, as soon as she was legally allowed into clubs. As a guitarist, Mendoza has received acclaim for her technique and viscerality. Her most ongoing work is as leader of experimental rock band Unnatural Ways, and as a solo performer on guitar/voice. In any context she is committed to bringing expressivity, energy and a wide sonic range to the music. Mendoza has toured throughout the U.S. and Europe and recorded/performed with musicians including Carla Bozulich, Fred Frith, Adele Bertei, Malcolm Mooney, Steve Shelley, Mike Watt, Ikue Mori, Mick Barr, William Hooker, Nels Cline, John Zorn, Jamaaladeen Tacuma, William Parker, Hamid Drake, Matt Mitchell, Jon Irabagon, Matana Roberts, members of Caroliner, ROVA, Negativland, the Violent Femmes, and more. Recordings are available on labels Tzadik, Astral Spirits, Weird Forest, Clean Feed, Resipiscent, and New Atlantis. Friendly critics have quoted: “It's… Ava Mendoza's deconstructing of blues and punk into brutal shredfests that's causing a ruckus in NYC's DIY hubs” (Brad Cohan, Noisey.Vice). “A wizard on a semi-circle of effects pedals, but… equally adept with FX-less technique," (Lars Gotrich, NPR). "Mendoza plays these songs. She makes them sing. Her technique is impeccable, but her playing is astonishingly expressive. She doesn't just bend blue notes; she wads them up into a ball and throws them up against a wall... Mendoza knows what she does better than almost anyone else on the planet, which is tell stories with her guitar." (Aiding & Abetting). She was featured as one of Guitar World‘s “10 Female Guitarists You Should Know”. BRANDS/SHOPS MENTIONED Peavey / Fender / Radack Guitars / Seymour Duncan / Brooklyn Lutherie / Line 6 / Boss / Boomerang BANDS/ARTISTS AVA'S PLAYED WITH or COLLABORATED WITH/MENTIONED Devin Hoff / Trevor Dunn / Malcolm Mooney / Steve Shelley / Devin Brahja Waldman / Peter Conheim / Alex Marcelo / Unnatural Ways / Tatsuyo Yoshido / Daniel Moreno OTHER BANDS/ARTISTS MENTIONED Minutemen / Mike Watt / Nels Cline / Carla Bozulich / Mr. Bungle / Fantomas / CAN / Negativland / Ruins / Violent Femmes / Echo & the Bunnymen / Fred Frith / Shellshag / Jennifer Shagawat / Jessica Pavone / Jessica Ackerley / Sally Gates OTHER MENTIONS Astral Spirits Records / Relative Pitch Records / RIOT RI / Seizure's Palace Studio / Gowanus Sound / Monheim Triennale AVA'S HOT TIPS -Make sure to test everything the repair person does before you leave the shop -To prevent string breakage, wind your strings around the peg as much as possible -Graphite on nut and saddles keeps your guitar in tune with heavy tremolo use  AVA'S LINKS http://avamendozamusic.com (Website) https://www.instagram.com/avamendozamuzak/ (Instagram) Facebook MID-RIFF LINKS http://hilarybjones.com/midriffpodcast (Website) http://instagram.com/midriffpodcast (Instagram) http://facebook.com/midriffpodcast (Facebook) https://www.hilarybjones.com/gender-music-gear-survey (Gender and Music Gear Survey) CREDITS Ava's Bumper Track: “Dogbodies" byhttps://www.rachelblumberg.com/archcapemusic ( )https://unnaturalways.bandcamp.com/album/unnatural-ways (Unnatural Ways) Theme Music: "Hedonism" byhttps://towanda.bandcamp.com/ ( )https://towanda.bandcamp.com/ (Towanda) Artwork byhttps://www.juliagualtieri.com/ ( )https://www.juliagualtieri.com/ (Julia Gualtieri)

The talented, multi-disciplinary American artist Matana Roberts discusses her Coin Coin album series and its latest chapter, Coin Coin Chapter Four: Memphis, her personal and professional trajectory, upcoming projects, and more! Supported by Pizza Trokadero, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Please take this listener survey. 

Analysis Paralysis returns for 2020 and we're broadcasting live on Triple R (rrr.org.au) for the next month. What does this mean? Just a slight shake up from the standard formula from previous episodes, you'll be hearing a tweaked version of what originally went to air on RRR, but jazzed up with extra goodness. Think of this as the director's cut of the show. AP will return to its standard format in February 2020. This week The AP team plunder the depths of the critically acclaimed 'Magdalene' by UK artist FKA Twigs and turn their gaze toward the freeform jazz of Matana Roberts' 'Coin Coin: Chapter Four'. Credit to Red Bull Music Academy for a short 1 minute snippit of audio from their in conversation with Matana Roberts from 2016, which you can check out in full here: https://www.youtube.com/watch?v=9el6A8H3qnU Shouts to this FKA Twigs interview with NPR's all songs considered that we quote as well: https://www.npr.org/2019/11/08/776186866/i-found-the-key-fka-twigs-learns-to-write-for-her-voice-on-magdalene Purchase and listen to FKA Twigs: https://fkatwi.gs/ Purchase and listen to Matana Roberts: https://matana-roberts.bandcamp.com/album/coin-coin-chapter-four-memphis

Another remembrance, this week of a musician with a magic touch which has left us too early, Larry Willis, followed by the perusal of a pile of exciting new releases and re-relases building jazz bridges between North America and Europe, featuring Midnight Lilacs (i.e. Chris Speed, Marc Ribot, Danilo Gallo and Zeno De Rossi), Ethan Iverson Qt. with Tom Harrell, Simone Graziano, Tomeka Reid, Ghost Horse, Matana Roberts, Alban Darche and more. The playlist also features YES! Trio, Sketchbook Orchestra, Kris Davis, Rez Abbasi, Gerald Cleaver, David Sánchez, Raffaele Casarano and Mirko Signorile as well as the return of veteran guitarist Steve Khan, Kevin Hays, Lionel Loueke, Chase Baird, Warren Galea, David Sánchez and Petros Klampanis. and more. Detailed playlist at https://spinitron.com/RFB/pl/9657724/Mondo-Jazz. Photo credit: Luciano Rossetti (Phocus Agency)

Por Pachi Tapiz. "Fit To Be Tied" Matana Roberts: Coin Coin Chapter Four: Memphis (Constellation) Matana Roberts,, Hannah Marcus, Sam Shalabi, Ryan Sawyer, Steve Swell, Ryan White, Thierry Amar © Pachi Tapiz, 2019 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.

Dall'elettronica frantumata di Otto Solange alle carezze soul di Sassy Black, passando per Moor Mother, Saul Williams e Matana Roberts

Composer, saxophonist, and mixed media artist Matana Roberts presents her latest in the multi-chapter work Coin Coin project which documents the African-American cultural and historical experience. “Memphis,” which is chapter four, mixes jazz, blues, traditional songs, free improv, and Afro-futurism into a heavy sonic quilt of “21st century liberation music.” (Matana Roberts calls her approach “panoramic sound quilting.”) She "speaks memory," and "sings an American survival" in this chapter of the coin coin bloodline (Tiny Mixtapes), set in Memphis - home of Roberts’s grandmother- and around a story of a "wo(e)man chile named Liddie." Matana Roberts and her new band featuring Hannah Marcus on guitars, fiddle, and accordion; Ryan Sawyer on percussion; and Matt Lavelle on trumpet and bass clarinet, perform in-studio. - Caryn Havlik Watch the session here: 

9e émission de la 45e session... Cette semaine, deux albums complets d'avant-jazz! En musique: Matana Roberts sur l'album Coin Coin Chapter 4: Memphis  (Constellation, 2019); Tyshawn Sorey and Marilyn Crispell sur l'album The Adorment of Time  (Pi Recordings, 2019); John Zorn sur l'album Nove Cantici Per Francesco D'Assisi  (Tzadik, 2019)...

Con registros de actuaciones entre 2015 y 2018, el guitarrista sardo Paolo Angeli y la violinista y cantante checa Iva Bittová llevan su música "Sul Filo". Un trabajo inspirador de dos músicos originales, creativos e inclasificables. La saxofonista Matana Roberts presenta el cuarto capítulo de la serie "Coin Coin", su reflexión sobre la experiencia USAmericana y la esclavitud. En "Memphis" recrea en primera persona la historia de Liddie, una antepasada suya cuyo padre fue asesinado por el Ku Klux Klan. Se cumplen 25 años de la Conchalí Jazz Band, una formación de las comunas más pobres de Santiago de Chile. Fernando Ortiz de Urbina les dedica su "London Calling" con nuevas grabaciones de músicos que salieron de esta banda: los del Mapocho Ensemble o el trombonista Alfredo Tauber, que debuta en solitario. Toda la información y derechos: http://www.elclubdejazz.com

Con registros de actuaciones entre 2015 y 2018, el guitarrista sardo Paolo Angeli y la violinista y cantante checa Iva Bittová llevan su música "Sul Filo". Un trabajo inspirador de dos músicos originales, creativos e inclasificables. La saxofonista Matana Roberts presenta el cuarto capítulo de la serie "Coin Coin", su reflexión sobre la experiencia USAmericana y la esclavitud. En "Memphis" recrea en primera persona la historia de Liddie, una antepasada suya cuyo padre fue asesinado por el Ku Klux Klan. Se cumplen 25 años de la Conchalí Jazz Band, una formación de las comunas más pobres de Santiago de Chile. Fernando Ortiz de Urbina les dedica su "London Calling" con nuevas grabaciones de músicos que salieron de esta banda: los del Mapocho Ensemble o el trombonista Alfredo Tauber, que debuta en solitario. Toda la información y derechos: http://www.elclubdejazz.com

9e émission de la 45e session... Cette semaine, deux albums complets d'avant-jazz! En musique: Matana Roberts sur l'album Coin Coin Chapter 4: Memphis  (Constellation, 2019); Tyshawn Sorey and Marilyn Crispell sur l'album The Adorment of Time  (Pi Recordings, 2019); John Zorn sur l'album Nove Cantici Per Francesco D'Assisi  (Tzadik, 2019)...

Bristol sounds are high on the agenda for this week's Independent Music Podcast from the brutal sounds of the new Pinch EP on Berceruse Heroique to the latest from the wonderful Avon Terror Corps project. Elsewhere we have abstract hiphop from Ghana, Hawaiian leftfield music, Finnish krautrock, Argentinian dance music about dinosaurs and loads more. Tracklisting Pinch - Fortune Tellers (Berceruse Heroique, UK) Haircuts for Men - Cマイナーに嘆きます (Haircuts for Men, USA) Los Siquicos Litoraleños - La Danza Del Brontosaurio (Hive Mind Records, UK) Pharaoh Overlord - Abscission (Ektro Records, Finland) Anne Müller - Nummer 2 (Erased Tapes, UK) Friedman & Pais - untitled (Nonplace, Germany) Ekoplekz - Volcanik (Avon Terror Corps, UK) Klein - For What Worth ft. Matana Roberts (ijn inc, USA) Wanlov the Kubolor - Dis Be Ghana (self-release, Ghana) Fahmi Mursyid - Hening (Saron) (One Instrument Records, Germany) Produced and Edited by Nick McCorriston. Hit him up for any and all audio work at nickamc.com and follow him on Twitter @nickamc  

How do we surf and ride the wave of existence? Breaking down the work of Maurice White, Marvin Gaye, Buju Banton, Tupac Shakur, and Matana Roberts, Somerset House Studios resident Nadeem Din-Gabisi explores the artists that have inspired him artistically, serving as influence to his new multi-media project, POOL.   POOL examines the mental health issues of many young Black men, born in inner and outer London. Touching on personal moments of trauma and happiness, POOL seeks to find peace within these moments, asking: how can we maintain ourselves in spite of all the external factors faced?  Nadeem Din-Gabisi's work is centred around the re-presentation of the black image, pertaining to people of African Descent and the limitlessness of what it means to be black, other and more than that. His practice has been influenced by many years of work as a youth and play worker. Nadeem has recently completed his Masters in Fine Art at Chelsea College of Art, performs regularly as part of the musical phenomenon Steam Down, and currently hosts a monthly radio show on NTS Radio. Nadeem has recently been collaborating with fellow artist Hadiru Mahdi at the George Padmore institute to realise an artistic response to their archive.   A Reduced Listening and Somerset House Studios production. Produced by Femi Oriogun-Williams, hosted by Nadeem Din-Gabisi.  

We hang out with Shoko Nagai and Satoshi Takeshi and hear tracks from her amazing TOKALA project...    Shoko Nagai is a versatile musical artist who improvises and performs with world-renowned musicians on piano and accordion and composes original scores for films and live performances. As a teenager in her native Japan, Nagai was trained on Yamaha's electronic organ, the "Electone," to perform popular music. Since moving to the U.S. from Japan and studying classical and jazz music at Berklee, she has adapted her mastery of the keyboard to prepared piano, accordions, the melodica and other instruments, often inspired by the minimalist approach of composer Takemitsu Toru. Whether she is performing Klezmer, Balkan or experimental music, Nagai is a charismatic presence onstage, who hypnotizes audiences with her intense focus and virtuoso sound. Since moving to New York in 1999 she has been dubbed an "MVP" of the downtown jazz scene, performing with John Zorn, Erik Friedlander, Ikue Mori, Marc Ribot, Frank London, Matana Roberts, Miho Hatori (Cibo Matto), Satoshi Takeishi, Butch Morris, Elliot Sharp, Jeremiah Lockwood and many eclectic performers. Nagai frequently tours internationally, performing in Sweden (2009 Nobel Prize ceremony for German writer, Herta Muller), Italy (Napoli Teatro Festival 2015), Austria (Saalffelden Jazz Festival 2014), France (Banlieues Bleues 2012), Switzerland (Rote Fabrik 2012), Holland (Bimhuis 2012),  Japan (Fuji Rock Festival 2012), Israel (Romanian Institute 2011), Canada (Suoni Popolo Festival 2008), Germany (Moers Jazz festival 2007), and Brazil (resfest 2007) and in the U.S. (Newport Jazz Festival 2015, Saratoga Jazz Festival 2008). She has received grants from JazzJants (Painted Bride Arts Center) in 2008 and the New York Foundation for the Arts in 2010. Nagai's compositions for films include, L'amour Cache (2007), directed by Alessandro Capone and conducted by Butch Morris, as well as a trio of films directed by Linda Hoaglund: ANPO: Art X War (2010 Toronto, DOC NYC, Vancouver, and Hong Kong film festivals), Things Left Behind, (2012) produced by Japan's national broadcaster, NHK, and The Wound and The Gift, narrated by Vanessa Redgrave (Vancouver, DOC NYC, Tokyo FilmX 2014). CARE (2016 DOC NYC, AFI DOCS, Sheffield Doc Fest, Reelworld Impact Award) directed by Diredre Fishel   “Connection beyond genre and contrasting elements, in quest for the essence” is what Japanese-born musician/improviser Satoshi Takeishi strives for in his performances, whether behind a drum set, a hybrid percussion set or computer-based electronics.  With over 30 years’ experience in live performances and recording sessions around the world, executing in styles of Jazz, Rock, Contemporary Classical, Avant Garde, Experimental Electronic, Latin, South American, Arabic and African music, Takeishi moves among diverse musical environments. Rather than a specialist of any one style, Takeishi constantly strives for an integration of his diverse musical experience and knowledge. 

Support Burning Ambulance on Patreon Trumpeter Jason Palmer is based in Boston, where he teaches at Berklee and plays regularly at Wally's. He's recorded extensively as a leader, and has also worked with players as different from each other as Matana Roberts and Grace Kelly. He's just released a new double live CD, Rhyme and Reason, with the help of Giant Step Arts, a nonprofit formed by photographer Jimmy Katz and his wife Dena that provides jazz artists with funding for albums - Giant Step pays for the recording and the manufacturing, and even the publicity, and all the artists have to do is figure out a way to sell the CDs. In this interview, we talk about a lot of different subjects, including some of Palmer's previous albums, some things he's got coming up, the whole Giant Step Arts thing, his work in Damian Chazelle's movie Guy and Madeline on a Park Bench, and more. It’s a very interesting conversation, and one I hope you’ll enjoy. Music heard in this episode: Jason Palmer, "Herbs in a Glass" (Rhyme and Reason) Jason Palmer, "Waltz for Diana" (Rhyme and Reason)

Vitamins for the brain, learning from the masters, hypersensitive curiosity. The composer and saxophonist discusses three important albums.

Triangle tonight is focused on the label Constellation – or rather 3 releases on the label by Matana Roberts. There’s a track from each of the chapters of the COIN COIN trilogy, and wonderful it all is. Alongside this, we have the usual new releases and classics from the vaults.   Tracklisting: Tony Bevan & Matthew Bourne – Live at Leeds College of Music, May 2010 (edit) (Foghorn) – Download Coffin Screws – ~~~ (edit) – Dec 12th 2017 (Self Released) – Buy Bryan Kolaczkowski – Act One (edit) – Messiah Control (Self Released) – Buy Colin Webster & Graham Dunning – Through The Hub – Most Of What Follows Is True (Sound Holes) – Buy 3 Head Mechanism – Pause – Full Auto Stop (Self Released) – Buy Takami Fujimoto & Michel Kristof – L – Golden Cloud (MuteAnt) – Buy Ivy Meadows – Amaryllis Flower (edit) (Pan Y Rosas Discos) – Download Matana Roberts – Lulla-Bye – COIN COIN Chapter One: Gens de Couleur Libres (Constellation) – Buy Matana Roberts – Amma Jerusalem School – COIN COIN Chapter Two: Mississippi Moonchile (Constellation) – Buy Matana Roberts – All Is Written – COIN COIN Chapter Three: River Run Thee (Constellation) – Buy

Chicago-born saxophonist Matana Roberts’ Coin Coin series – named after a freed slave and businesswoman – openly questions the American jazz tradition while paying homage to it. In her lecture at the 2016 Red Bull Music Academy, Roberts discusses the evolution of her practice, her struggles as an artist, and the stories and ideas that are feeding the Coin Coin project.Interview by Anupa MistryProduced and engineered by Frank Westerkamp and Denis Hürter

For episode 134, I talk to a cat whom I've known for a long time and should have been on the show ages ago. Tomas Fujiwara has been in New York since the mid 90s and has cut a most impressive career as a drummer, working with artists such as Matana Roberts, Mary Halvorson, Anthony Braxton and Taylor Ho Bynum. More recently, he's stepped out as a band leader and this Friday, his newest album  "Triple Double" comes out on the Firehouse 12 label. Tomas is a wonderful human being and I really, really enjoyed this conversation.

Al habla con Raúl de Crudo Pimento para intentar desentrañar las claves del rompecabezas sonoro de este peculiar y fascinante dúo murciano. En apropiado y "apetecibilísimo" caos desfilarán ante tus oídos sonidos y referencias de -y a- Roy Orbison, Matana Roberts, Fania, J Dilla, el trap, los instrumentos fabricados en casa, la historia del black metal, David Lynch, el mento, el free jazz, Mano Negra, las rondallas... Y por supuesto algunos de los mejores momentos de Crudo Pimento. Déjense arrastrar por este torrente de emociones al límite.

La saxofonista Ingrid Laubrock (figura a reivindicar entre lo más interesante aparecido en la escena de la improvisación en los últimos años -y van unos cuantos), acaba de publicar dos grabaciones en directo en el interesante sello Relative Pitch Records, en el que han publicado grabaciones artistas como Joe Morris, Michael Bisio, Jemeel Moondoc, Matthew Shipp, Mary Halvorson, Tomas Fujiwara, Evan Parker, Sylvie Courvoisier, Nate Wooley, Matana Roberts, Chris Corsano… En la entrega 163 de HDO nos vamos de concierto con Laubrock y unos compañeros muy interesantes. En primer lugar suenan dos temas de Live @ The Jazz Happening Tampere (Relative Pitch Records, 2016) del grupo Perch Hen Brock & Rain, cuarteto integrado por Ab Baars, Ig Henneman, Tom Rainey e Ingrid Laubrock. A continuación suena una improvisación más del dúo formado por Tom Rainey e Ingrid Laubrock extraído de la grabación Buoyancy (Relative Pitch Records, 2016). © Pachi Tapiz, 2016 HDO es un podcast editado, presentado y producido por Pachi Tapiz. Toda la información de HDO 163 disponible en http://www.tomajazz.com/web/?p=26376 Toda la información de HDO en http://www.tomajazz.com/web/?cat=13298

Cuarto capítulo de 'Clásicos del Siglo XXI', producción de 'Club de Jazz' para Radio Vitoria (EiTB), en el que escuchamos algunos trabajos publicados en este comienzo de siglo y que, en opinión del programa, son ya clásicos de nuestro tiempo. En este cuarto programa suenan: "Work Songs" y "Transcendence" de Jaimeo Brown; "Songs of mirth and melancholy" de Branford Marsalis y Joey Calderazzo; "Coin Coin - Chapter One", de Matana Roberts y "Souvenance" de Anouar Brahem. Toda la información y derechos: http://www.elclubdejazz.com

Cuarto capítulo de 'Clásicos del Siglo XXI', producción de 'Club de Jazz' para Radio Vitoria (EiTB), en el que escuchamos algunos trabajos publicados en este comienzo de siglo y que, en opinión del programa, son ya clásicos de nuestro tiempo. En este cuarto programa suenan: "Work Songs" y "Transcendence" de Jaimeo Brown; "Songs of mirth and melancholy" de Branford Marsalis y Joey Calderazzo; "Coin Coin - Chapter One", de Matana Roberts y "Souvenance" de Anouar Brahem. Toda la información y derechos: http://www.elclubdejazz.com

¿Qué tiene que ver Miles Davis y La Niña de los Peines? ¿La escucharon él y Gil Evans para hacer la "Saeta" del disco "Sketches of Spain"? ¿Y las grabaciones españolas de Alan Lomax? Estas y otras preguntas nos las responde Juan Zagalaz, autor junto a Miguel Ángel Berlanga de un estudio al respecto que presentaron en el reciente congreso 'Rhythm Changes' de Birmingham. En esta edición de 'Club de Jazz' del 1 de mayo de 2016 damos la bienvenida a un nuevo colaborador, Fernando Ortiz de Urbirna, que en "London Calling" nos habla de este congreso y presenta igualmente un disco de canciones de George Brassens a cargo del trompetista François Biensan. "desde mi cadiera", Jesús Moreno anticipa la gira del proyecto Snakeoil del saxofonista Tim Berne. El baterista Jaimeo Brown firma el segundo capítulo de su serie Transcendence, en el que reflexiona sobre las canciones de trabajo y esclavitud con el uso de grabaciones de campo de Alan Lomax y otros. También la saxofonista Matana Roberts las incluye, tomadas por ella misma, en el capítulo tres de su serie "Coin Coin". Toda la información y derechos: http://www.elclubdejazz.com

¿Qué tiene que ver Miles Davis y La Niña de los Peines? ¿La escucharon él y Gil Evans para hacer la "Saeta" del disco "Sketches of Spain"? ¿Y las grabaciones españolas de Alan Lomax? Estas y otras preguntas nos las responde Juan Zagalaz, autor junto a Miguel Ángel Berlanga de un estudio al respecto que presentaron en el reciente congreso 'Rhythm Changes' de Birmingham. En esta edición de 'Club de Jazz' del 1 de mayo de 2016 damos la bienvenida a un nuevo colaborador, Fernando Ortiz de Urbirna, que en "London Calling" nos habla de este congreso y presenta igualmente un disco de canciones de George Brassens a cargo del trompetista François Biensan. "desde mi cadiera", Jesús Moreno anticipa la gira del proyecto Snakeoil del saxofonista Tim Berne. El baterista Jaimeo Brown firma el segundo capítulo de su serie Transcendence, en el que reflexiona sobre las canciones de trabajo y esclavitud con el uso de grabaciones de campo de Alan Lomax y otros. También la saxofonista Matana Roberts las incluye, tomadas por ella misma, en el capítulo tres de su serie "Coin Coin". Toda la información y derechos: http://www.elclubdejazz.com

Nos sumamos al 'Día Internacional de la Mujer' con una edición especial dedicada a Ejazz. La mujer en el jazz ha estado históricamente asociada a la voz, por eso las voces que suenan en esta edición de 'Club de Jazz' del 8 de marzo de 2016 tienen alguna peculiaridad: La maliense Rokia Traoré no pertenece a la tradición del jazz, pero en su último disco hace versión de "Strange fruit". La griega Savina Yannatou tiene una faceta "ortodoxa" con su grupo Primavera en Salonico, otra de improvisación libre en colaboraciones como la de "Time passing...", una especie de ópera del contrabajista Barry Guy. Voz hipnótica y quebradiza, la noruega Sidsel Endresen participó en "Time bell", trabajo del guitarrista holandés Bram Stadhouders con el baterista Jim Black como invitado. Pianistas hay muchas en el jazz, entre ellas la estadounidense Myra Melford, cuyo "Life carries me this way" se inspira en cuadros de Don Reich. También la eslovena Kaja Draksler, que profesa "This love" a la trompetista portuguesa Susana Santos Silva. Bateristas quizá no abunden, pero haberlas haylas. Ahí está la gallega Lucía Martínez, que se dedica al "Desalambrado" con el pianista Agustí Fernández. También con baquetas se maneja Allison Miller en el proyecto Boom Tic Boom del que también forma parte Myra Melford. Saxofonistas también las hay, como Matana Roberts, que en su serie "Coin Coin" reflexiona sobre algunos aspectos de la tradición del jazz, así como en la vida de los africanos en Estados Unidos durante el siglo XX. Toda la información y derechos: http://www.elclubdejazz.com

Nos sumamos al 'Día Internacional de la Mujer' con una edición especial dedicada a Ejazz. La mujer en el jazz ha estado históricamente asociada a la voz, por eso las voces que suenan en esta edición de 'Club de Jazz' del 8 de marzo de 2016 tienen alguna peculiaridad: La maliense Rokia Traoré no pertenece a la tradición del jazz, pero en su último disco hace versión de "Strange fruit". La griega Savina Yannatou tiene una faceta "ortodoxa" con su grupo Primavera en Salonico, otra de improvisación libre en colaboraciones como la de "Time passing...", una especie de ópera del contrabajista Barry Guy. Voz hipnótica y quebradiza, la noruega Sidsel Endresen participó en "Time bell", trabajo del guitarrista holandés Bram Stadhouders con el baterista Jim Black como invitado. Pianistas hay muchas en el jazz, entre ellas la estadounidense Myra Melford, cuyo "Life carries me this way" se inspira en cuadros de Don Reich. También la eslovena Kaja Draksler, que profesa "This love" a la trompetista portuguesa Susana Santos Silva. Bateristas quizá no abunden, pero haberlas haylas. Ahí está la gallega Lucía Martínez, que se dedica al "Desalambrado" con el pianista Agustí Fernández. También con baquetas se maneja Allison Miller en el proyecto Boom Tic Boom del que también forma parte Myra Melford. Saxofonistas también las hay, como Matana Roberts, que en su serie "Coin Coin" reflexiona sobre algunos aspectos de la tradición del jazz, así como en la vida de los africanos en Estados Unidos durante el siglo XX. Toda la información y derechos: http://www.elclubdejazz.com

On y va dans le local encore cette semaine avec des productions de genre très variés, mais tout de même super intéressantes!   -THEFORESTISMYFRIEND / Coresap -Asunder, Sweet / Godspeed You! Black Emperor -always say your name / nema nema nema / Matana Roberts -Sleep Maps / set fire to flames -Dry Fields / Linear Bells -1,001 159 652 20 / Nicolas Bernier

"Made Flesh" by Lilacs and Champagne from Midnight Features Vol 2; "A Geometric" by Sam Prekop from The Republic; "Washed Out" by cola from Cathay Bagroom; "Attica" by Vessels from Dilate; "Traumzeuge" by Claude Speeed from Sun Czar Temple; "Diane" by Paper Dollhouse from Aeonflower; "This Land Is Yours" by Matana Roberts from Coin Coin Chapter III; "Cormoran" by Turzi from C; "Grapevine" by Jackson Wilson from Retrograde; "Pilgrim (Paula Temple Remix)" by Fink from the Pilgrim EP; "Ice" by Moon Duo from Shadow of the Sun

"Made Flesh" by Lilacs and Champagne from Midnight Features Vol 2; "A Geometric" by Sam Prekop from The Republic; "Washed Out" by cola from Cathay Bagroom; "Attica" by Vessels from Dilate; "Traumzeuge" by Claude Speeed from Sun Czar Temple; "Diane" by Paper Dollhouse from Aeonflower; "This Land Is Yours" by Matana Roberts from Coin Coin Chapter III; "Cormoran" by Turzi from C; "Grapevine" by Jackson Wilson from Retrograde; "Pilgrim (Paula Temple Remix)" by Fink from the Pilgrim EP; "Ice" by Moon Duo from Shadow of the Sun

  7e de la 25e session...   Cette semaine, l'on débute facile en hardbop avant le jazz-narratif de Matana Roberts et l'avant-jazz du pianiste Matt Mitchell sur deux projets...   En musique:   Eric Alexander Quartet sur l'album Chim Chim Cheree (Venus, 2010);   Eric Alexander Quartet sur l'album Blues at Midnight (Venus, 2013);   Matana Roberts l'album complet Coin Coin Chapter 2: Mississippi Moonchile (Constellation, 2013);   Matt Mitchell sur l'album Fiction (Pi Recordings, 2013);   Tim Berne's Snake Oil sur l'album Shadow Man (ECM, 2013)...  

  7e de la 25e session...   Cette semaine, l'on débute facile en hardbop avant le jazz-narratif de Matana Roberts et l'avant-jazz du pianiste Matt Mitchell sur deux projets...   En musique:   Eric Alexander Quartet sur l'album Chim Chim Cheree (Venus, 2010);   Eric Alexander Quartet sur l'album Blues at Midnight (Venus, 2013);   Matana Roberts l'album complet Coin Coin Chapter 2: Mississippi Moonchile (Constellation, 2013);   Matt Mitchell sur l'album Fiction (Pi Recordings, 2013);   Tim Berne's Snake Oil sur l'album Shadow Man (ECM, 2013)...  

Matana Roberts has released two albums recently: Live In London (Central Control, 2011) and Coin Coin Chapter One: Gens De Couleurs Libre (Constellation, 2011). In this interview, Roberts talks about her Chicago roots and the mentorship of Fred Anderson; how she combined her musical practice with her passion for genealogy; and why working on your sound means being willing to take the slow road. Learn more at matanaroberts.com. Tracks used in this episode: (from Coin Coin Chapter One: Gens De Couleur Libres) Rise; Pov Piti; Song For Eulalie; Kersaia; Libation for Mr. Brown - Bid Em In; (from Live In London) My Sister; Exchange.

Matana Roberts has released two albums recently: Live In London (Central Control, 2011) and Coin...

This is a great show! We feature an interview with Amie Breeze Harper about her Sistah Vegan Anthology. Amie is a Masters Student at Harvard University EXT. She is focusing her Master's Thesis research on a project called Cyberterritories of Whiteness: Language, 'Colorblind' Utopias, and Sistah Vegan Consciousness. Amie was motivated by the negative responses that a PeTA Campaign comparing slavery, women's suffrage and the Holocaust to animal oppression drew on an African American oriented message board. Amie felt that what she saw "wasn't offensive but was in fact captivating and thought provoking, inducing critical consciousness engagement in viewers to question their own normative practices." She decided to start interviewing black identified vegan females for an anthology that she hopes "will be an effective literary model that will show the Black community (as well as all people) the health and environmental/ecological benefits of strongly considering veganism as a practice that simultaneously resists institutionalized racism and other legacies of slavery and colonialism."Our musical guest is Matana Roberts, a saxophonist and composer who tries to expose in her music the mystical roots and spiritual traditions of African American creative expression. Matana is a contributor to the Sistah Vegan Anthology.We have an intro audio clip from the recent "blessing of the animals" at Woodstock Farm Animal Sanctuary. Finally, we are interviewing Rocky Shepherd who runs a web site called Stop AETA. AETA is an acronym for the Animal Enterprise Terrorism Act which is an abominable new legislation which was snuck through the US Senate just before they went on vacation and will go to the House of Representatives in November when they reconvene. This bill would make even the mildest non-violent protests into possible acts of "terrorism" punishable by severe jail sentences. Rocky gives us an overview of the act and ideas on how to stop this encroachment on our civil liberties and First Amendment rights before it is too late.