Podcasts about Max Roach

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Bjorn Ytlling...yeah he's the "Bjorn" of the group Peter, Bjorn and John...visits with us to discuss " Illegal Hit (Out of Bounds)," his first jazz album in like two decades under the moniker of "Yttling Jazz." Since Bjorn is in full jazz mode, he wanted to discuss "Money Jungle" that is credited to Duke Ellington but also includes jazz legends Max Roach and Charlie Mingus. Plenty of other discussion including The Radioheads, tugboats, Peter Hook, illegal hockey hits, taxi drivers inspiring a title to a song, and did you know that "Young Folks" was originally a jazz song?We don't discuss jazz all that often on this podcast so this was a nice detour. Even if you're not a fan of jazz music, hopefully there's something here for you to explore. Enjoy!Check out Bjorn at: https://yttlingjazz.com/Check out Bjorn in Peter, Bjorn and John at:  https://www.peterbjornandjohn.com/Check out other episodes at RecordsRevisitedPodcast.com, Apple Podcasts, Castbox, iHeartMedia, Google Podcasts and Spotify. Additional content is found at: Facebook.com/recordsrevisitedpodcast or twitter @podcastrecords or IG at instagram.com/recordsrevisitedpodcast/ or join our Patreon at patreon.com/RecordsRevisitedPodcast

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durée : 00:59:43 - par : Nathalie Piolé -

Sonny Rollins passed away this week at 95. Jazz pianists Peter and Adam are listening through the recordings that defined his career and made him one of the most influential musicians in jazz history. From his earliest bebop tunes to Saxophone Colossus to A Night at the Village Vanguard, they trace the arc of a player who kept raising the bar on himself even when the rest of the world thought he'd already cleared it. Plus - they talk through the legendary Williamsburg Bridge sabbatical: two years of practicing up to 16 hours a day.------------------------------About You'll Hear It:In this popular music series, Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.00:00 Sonny Rollins (1930-2026)00:37 Celebrating Sonny Rollins: Opening Tribute04:54 Sonny as the Bridge Between Bebop Generations05:57 "Autobahn" 09:47 "Pent-Up House" 12:56 "I'll Remember April" 16:10 "Oleo" 17:32 "Tenor Madness" 19:32 "More Than You Know" 21:19 "The Way You Look Tonight" 22:51 "Bemsha Swing" with Clark Terry24:00 Is Sonny Rollins the Most Influential Tenor Saxophone Player of All Time?28:01 "St. Thomas" from Saxophone Colossus34:40 "I'm an Old Cowhand" from Way Out West36:14 "A Night at the Village Vanguard" (Afternoon Set)39:00 "Wonderful! Wonderful!" 40:50 The Williamsburg Bridge Sabbatical44:04 "Without a Song" 46:29 Later Career: 1970s - 201249:13 "Blue Seven"

There is an entire chapter of Indian music history that has shaped global music in unknown ways remains preserved only in the human memory of a select few.  Sandhya Sanjana is one of those humans. Long before "world music" became a marketing category, she was part of a generation of home-grown South-Asian artists blurring the edges of jazz, global and Indian classical music by a trial and error met with genuine curiosity, rather than novelty.  Co-founder one of India's earliest internationally touring world-fusion ensembles, Sanjana has been more than thirty albums, and spent decades moving between radically different musical worlds without reducing either of them into aesthetic decoration. In this conversation, we try to trace that arc. From an upbringing between Bombay and Delhi, to the nightclub circuits of Calcutta, with first-generation Indian Jazz musicians. From backstage blessings from Alice Coltrane after the exchange of a cassette tape, to the origins of India's first international festival ‘Jazz Yatra' where the appearances from the likes of icons such Art Blakey, Max Roach, Stan Getz, Freddie Hubbard and John Handy and their days in India in open exchange with local musicians threaten to fade away amidst undocumented history. What emerges is not nostalgia, but a portrait of a generation of artists that worked without the visibility, institutional support, or mythology later scenes would inherit.  Artists building language in real time. Documenting culture through performance while remaining largely undocumented themselves. In the words of Sandhya herself, much of that era was "not presented to the world."  This conversation tries to remember.    Listen to the second half of the episode.   Connect with Sandhya: https://instagram.com/achhamusica https://facebook.com/sandhyasanjana https://youtube.com/@achha_musica   Connect with T.L. Mazumdar: https://findtl.com/ Free Artist Training. Brought to you by the Holistic Musician Academy.    

Een TORcast geheel gewijd aan de muziek van Miles Davis. Miles werd honderd jaar geleden (op 26 mei 1926) geboren en ontwikkelde zich tot één van de belangrijkste musici, niet alleen in de geschiedenis van de jazz maar in die van hele hedendaagse muziek.  In deze TORcast laat Willem Habers een selectie van zijn favoriete Davis-opnames horen. Geen uitputtende opsomming, geen verantwoord chronologisch overzicht, geen doorwrocht spectrum van ’s mans invloeden en werk maar een heel persoonlijke keuze uit het gigantische oeuvre van deze jazzgigant. Playlist: So What Miles Davis (trompet), Bill Evans (piano), Cannonball Adderly (altsax), John Coltrane (tenorsax), Paul Chambers (bas), Jimmy Cobb (drums) Move met Gerry Mulligan, Max Roach, Lee Konitz, Karl Winding en John Barber (tuba) If I Were A Bell Miles Davis (tp), Red Garland (piano), John Coltrane (tenorsax), Paul Chambers (bas), Philly Jo Jones (drums) Someday My Prince Will Come Miles Davis (tp), John Coltrane (sax), Hank Mobley (sax), Wynton Kelly (piano), Psul Chambers (bas), Jimmy Cobb (drums) My Funny Valentine Miles Davis (trompet), Herbie Hancock (piano), Wayne Shorter (tenorsax), Ron Carter (bas), Tony Williams (drums) Générique – Ascenseur pour l’echafaud Miles Davis (trompet), Barney Wilen (sax), René Urtreger (piano), Pierre Michelot (bas) en Kenny Clarke (drums) Concierto de Aranjuez: Adagio Miles Davis (trompet), orkest onder leiding van Gil Evans Een paar bespiegelingen… De muziek van Miles Davis is niet slechts een hoofdstuk in de geschiedenis van de jazz; zij is een voortdurend herlezing van wat muziek kan zijn. Wie naar Davis luistert, hoort niet alleen noten, maar ook een bepaalde houding ten opzichte van tijd, stilte en vernieuwing. Zijn oeuvre lijkt zich steeds te onttrekken aan elke definitie die men erop loslaat. Dat maakt zijn betekenis filosofisch relevant: Davis laat zien dat identiteit niet iets statisch is, maar een proces van voortdurende transformatie. Een van de opvallendste kenmerken van zijn muziek is het gebruik van ruimte. In albums als *Kind of Blue* wordt stilte niet als leegte ervaren, maar als een actief element. Deze benadering roept vragen op over de aard van expressie zelf. Moet muziek altijd gevuld zijn, of kan juist het weglaten een diepere vorm van communicatie zijn? Davis' antwoord lijkt te zijn dat betekenis ontstaat in de spanning tussen klank en stilte. Daarmee sluit hij aan bij een bredere existentiële intuïtie: dat wat niet gezegd wordt, vaak even belangrijk is als wat wel wordt uitgesproken. Daarnaast belichaamt Davis het idee van artistieke vrijheid als morele houding. Hij weigerde zich te conformeren aan de verwachtingen van zijn publiek of de industrie. Telkens wanneer hij succes bereikte—of het nu ging om bebop, modal jazz of fusion—koos hij ervoor om een nieuwe richting in te slaan. In die zin is zijn carrière een praktijk van wat de filosoof Nietzsche “zelfoverwinning” noemde: het voortdurend achterlaten van het oude zelf om ruimte te maken voor het nieuwe. Deze radicale trouw aan vernieuwing maakt hem tot een bron van inspiratie voor hedendaagse musici. De invloed van Miles Davis op huidige jazzmuzikanten ligt dan ook niet alleen in specifieke harmonieën of technieken, maar in een manier van denken. Moderne jazz kenmerkt zich door hybriditeit: invloeden van hiphop, elektronische muziek en wereldmuziek vloeien samen tot nieuwe vormen. Deze openheid is rechtstreeks schatplichtig aan Davis' grensverleggende experimenten, vooral in zijn latere werk zoals *Bitches Brew*. Hij legitimeerde het idee dat jazz geen afgesloten traditie is, maar een permeabel veld waarin alles kan worden opgenomen. Ten slotte blijft Davis relevant omdat hij de luisteraar actief betrekt. Zijn muziek vraagt om aandacht, om interpretatie, om een zekere existentiële inzet. Zij is nooit volledig transparant; er blijft altijd iets ongrijpbaars. In een tijd waarin muziek vaak als achtergrondconsumptie fungeert, herinnert Davis ons eraan dat luisteren een vorm van denken is. Zo bezien is Miles Davis niet alleen een muzikant, maar een filosoof in klank. Zijn erfenis leeft voort in elke muzikant die durft te experimenteren, te twijfelen en opnieuw te beginnen—en in elke luisteraar die bereid is om in die zoektocht mee te gaan.

Nachtclub ÜberPop widmet sich in dieser Ausgabe der Frage, wie eng Popmusik und Menschenrechte miteinander verbunden sind. Siri Keil spricht mit dem Musikkenner und international renommierten Menschenrechtsanwalt Wolfgang Kaleck (ECCHR) über sein neues Buch, über Kolonialgeschichte, politische Morde, aktuelle Konflikte - und über Musik als Mittel des Widerstands. Von Victor Jara über Max Roach bis Shervin Hajipour zeigt die Sendung, wie Songs und Musiker*innen weltweit zum Bestandteil politischer Bewegungen werden. Eine Stunde über juristische Stärke, künstlerische Wirkung und die Frage, warum Musik ein unverzichtbares Menschenrecht ist.

Busquem sons de resist

We don't need to do everything by ourselves. Especially when life gets hard, it is super important to let others in to carry the weight of things together. To guide us in how we might do that, Petra first talks to Irish author and documentary producer Kevin Toolis about his book My Father's Wake. As it turns out, the Irish grieving ritual is packed with moments where people gather around the bereaved. In the second half, we bring back a conversation with former producer Grace McArthur from our 2024 episode on confession. She lays out Brené Brown's wisdom around vulnerability, a key ingredient in sharing the load with others. A list of bookstores selling Kevin Toolis' book can be found here Sacred Texts: Tuesdays with Morrie by Mitch Albom The film Living, directed by Oliver Hermanus and starring Bill Nighy and Aimee Lou Wood Music: FTA by Whitney Ocean City by Gunn-Truscinski Duo The Weight by The Band Innerspace by The Apples in Stereo One by U2 Pray for Me by SAULT Equipoise by Max Roach

What happens when you put three of jazz's biggest personalities in a studio for a day? You get Money Jungle: Duke Ellington, Charles Mingus and Max Roach. Can it work? Miles Davis hated it. Others revere it. And the story behind this album is WILD.It's perhaps the most tense album we've ever listened to. And this episode of You'll Hear It is possibly the most we have ever disagreed about an album! Listen for the music, the hot takes, or just to see what all the fuss is about. No matter your reason for listening to this episode, you'll never hear Money Jungle the same way again.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/yhi-------------------------------Related You'll Hear It episodes:Mingus Ah Um: https://youtu.be/XYeRZ0Awui4Thelonious Monk Plays Duke Ellington: https://youtu.be/Z5YJr2iLG74-------------------------------About You'll Hear It:In this popular music series, Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love:https://youllhearit.com/newsletter -------------------------------00:00 - Money Jungle: Ellington, Mingus, Roach01:00 - Can This Record Work?05:06 - "Money Jungle": Mingus is Menacing!09:15 - What Was Really Happening That Day12:17 - Musical Context Leading Up to Money Jungle14:15 - "Fleurette Africaine": Stunning Bass Work17:00 - Must Great Artists Make Great Art? Not Always20:18 - Why Money Jungle Keeps Showing Up on "Greatest" Lists23:45 - "Very Special": Can This Song Win Over Peter?27:07 - One Week Later: Duke Ellington & John Coltrane29:32 - Adam's Hot Take: Duke's Magnificent Final Act36:43 - "A Warm Valley": That Piano Sound!39:35 - "Wig Wise": Sounding Like Monk. Can You Hear It?42:59 - We Don't Talk About This Enough In Jazz45:27 - "Caravan": Best Moment on Money Jungle48:18 - Or Is THIS the Best Moment on Money Jungle?52:25 - Want to Learn to Play Like Duke? Join Open Studio!55:55 - "Solitude": A Musical F-You to End the Album1:02:42 - Is This a "Emperor Has No Clothes" Situation?1:03:40 - Desert Island Tracks + Bespoke Playlists01:05:40 - Quibble Bits ... Do We Even Need to Ask?01:08:48 - How Snobby Is This Album?01:10:35 - What to Listen to Next01:11:18 - Have We Ever Disagreed This Much? Wrap-Up

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Ornette Coleman's The Shape of Jazz to Come (1959) may be the most controversial album in jazz history, and one of the most important.In 1959, a broke musician from Fort Worth, Texas arrived in New York City with a plastic saxophone and a band that didn't play by the rules. And EVERYONE had an opinion about it.Jazz legends hated it. Miles Davis said Ornette was "all screwed up inside." Max Roach punched him in the mouth. Dizzy Gillespie said Ornette's music wasn't even jazz. Meanwhile, Leonard Berstein and John Coltrane celebrated him.So what exactly is The Shape of Jazz to Come, and why was it so radical? Jazz pianists Peter Martin and Adam Maness break down every track, from "Lonely Woman" to "Chronology". They dig into harmolodics, free jazz, and how Ornette shaped everyone from Miles Davis (who eventually came around) to the '80s burnout crew, including Wynton Marsalis, who personally recommended this record to Peter.Dig into The Shape of Jazz to Come with us, and learn why this soft spoken saxophonist inspired both criticism and awe.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/yhi-------------------------------Related You'll Hear It episodes:Mingus Ah Um: https://youtu.be/XYeRZ0Awui4Giant Steps: https://youtu.be/8umC2yZlPHcKind of Blue: https://youtu.be/ShzSnjP8bSgTime Out: https://youtu.be/-_qPhFSJeQUNina Simone at Town Hall: https://youtu.be/2PDjN5_2y5Q-------------------------------About You'll Hear It:In this popular music series Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love:https://youllhearit.com/newsletter-------------------------------0:00:00 - Ornette Coleman's The Shape of Jazz to Come0:01:42 - 1959: A Pivotal Year0:03:06 - Ornette Coleman: The Backstory0:04:44 - Ornette's Earlier Sound0:06:18 - Lore of the Five Spot0:07:00 - "Lonely Woman"0:12:27 - Harmolodics Explained (Charlie Haden + Don Cherry)0:13:27 - "Eventually"0:14:42 - The '80s Jazz Connection (Wynton, Branford, Kirkland)0:17:21 - "Peace"0:23:50 - Ad: Open Studio0:24:57 - Mingus Said THIS About Coleman0:27:47 - "Focus on Sanity"0:29:40 - When Peter Played with Charlie Haden0:32:43 - Don Cherry's Kids: Neneh Cherry + Eagle-Eye Cherry0:34:22 - "Congeniality"0:36:28 - "Chronology"0:37:23 - Technical Technique vs. Artistic Vision0:42:13 - Categories: Desert Island Tracks, Apex Moments0:48:55 - You'll Read It Newsletter + Ambies

Send us a textA packed ballroom. A tired drummer. A stranger rolls down his window and asks if he's leaving. That quick parking-lot chat sends Eric Haft—lifelong musician, jazz obsessive, student of Al Miller, Jim Chapin, and Keith Copeland—onto a stage with nothing but a mic and a pulse. What follows is a rare, unfiltered look at how rhythm shapes far more than music, and why the first laugh can feel like the cleanest downbeat of your life.We swap stories from a childhood steeped in Miles and Max Roach to the humbling shock of elite peers who force you to rebuild your hands, ears, and ego. Eric explains how singing standards, learning forms, and listening to Sinatra sharpened his pocket more than any lick ever did. Then the conversation pivots: a stand-up class turns fear into craft. We break down set structure, timing, crowd work, and how a seven-minute act stretches into a headlining hour through writing, reps, and ruthless editing. Along the way, we get real about club dates, volume wars, and why “play it like the record” can smother the art if you stop listening.If you've ever wondered what makes a drummer hireable—or a comic memorable—this talk draws the map. We dig into mentors and residencies, booking mechanics, theaters vs. clubs, and the quiet power of choosing gigs for either the art or the fee. The throughline is simple and hard: serve the song, serve the room, know your why. Groove still wins, and so does honesty.Hit play if you care about feel over flash, story over shtick, and craft that crosses disciplines. If it resonates, follow the show, share it with a friend who loves drums or stand-up, and leave a quick review to help more curious listeners find us.Support the show

Jazz, in particular, has played a central role in this lineage. From John Coltrane's “Alabama,” to Max Roach and Abbey Lincoln's We Insist! Freedom Now Suite, from Nina Simone's “Mississippi Goddamn” to Charles Mingus' “Fables of Faubus,” jazz has always spoken truth to power. That tradition continues today, ascontemporary jazz musicians compose artistic eulogies for Oscar Grant III, Trayvon Martin, Tamir Rice, Sandra Bland, and George Floyd; celebrate the nation's first Black president; and reaffirm that “Black Is Beautiful,” more than 60 years after the phrase became a unifying call within the Black PowerMovement. Jazz also chronicled the life and journey of Dr. King in real time, beginning with his emergence as a young preacher and activist in the early 1950s, and has continued to honor his legacy in the decades since his life was cut short. On thisspecial episode of Milestones, we explore the role jazz played inadvancing King's philosophy and celebrating his extraordinary impact as one of the most consequential leaders in American history with NEA Jazz Master and four-time GRAMMY-winning artist and educator Terri Lyne Carrington, GRAMMY-winning bassist and vocalist Ben Williams, and GRAMMY-nominated pianist and curator Orrin Evans. Together, with host Angélika Beener, they reflect on pieces like Herbie Hancock's 1969 “I Have a Dream,” and more, examining their cultural impact and role in the musical evolution of jazz. Hip-hop historians T.L. Cross and WBGO's own Stevan Smith also join the conversation,shedding new light on “King Holiday,” the 1986 hip-hop and R&B anthem that united an ensemble of rising stars—from New Edition and Run-DMC to Whitney Houston and Stephanie Mills. With the late Dexter Scott King at the helm, Kurtis Blow was tasked with assembling a collective to create an anthem for thenext generation – one that would honor Dr. King's legacy and serve as the soundtrack for the inaugural MLK holiday celebration, 40 years ago. The iconic scholar, author, global thought leader and visionary Dr. Angela Davis joins as a very special guest, offering remarkable insights on this milestone anniversary.  

This week, Kate Molleson explores the life and work of a musical giant – drummer and composer Max Roach – in the company of writer and broadcaster Kevin Le Gendre. Together they trace Roach's extraordinary journey: from his early days at the heart of bebop alongside Bud Powell, Thelonious Monk, Dizzy Gillespie and Charlie Parker, through his pioneering role as a bandleader, his political activism during the civil rights era, and his later innovations in percussion and collaboration. Roach's story is one of constant reinvention as performer, composer and activist, shaping jazz and beyond for more than half a century.Music includes: Dr Free-Zee (from Max Roach +4) Joy Spring (from Clifford Brown and Max Roach) Bu Dee Daht (from Coleman Hawkins: Rainbow Mist) Salt Peanuts (from Dizzy Gillespie and Charlie Parker: Town Hall, New York City, June 22, 1945) Ko-Ko (from Charlie Parker: The Complete Savoy and Dial Master Takes) Bird Gets the Worm (from Charlie Parker: The Complete Savoy and Dial Master Takes) Move (from Miles Davis: The Complete Birth of the Cool) Cherokee (from Jazz at Massey Hall) Cou Manchi-Cou (from Max Roach Quartet, featuring Hank Mobley) Maximum (from In the Beginning) Daahoud (from Clifford Brown and Max Roach) Sandu (from Study in Brown) Take the A Train (from Study in Brown) Fleurette Africain (from Money Jungle) Driva'man (from We Insist! Max Roach's Freedom Now Suite) Freedom Day (from We Insist! Max Roach's Freedom Now Suite) Garvey's Ghost (from Percussion Bitter Sweet) Lonesome Lover (from It's Time: Max Roach, his Chorus and Orchestra) The Drum Also Waltzes (from Drums Unlimited) Libra (from Members Don't Git Weary) Let Thy People Go (from Lift Every Voice and Sing) Joshua (from Lift Every Voice and Sing) A Quiet Place (from Collage) Double Delight (from Bright Moments) Spirit Possession (from Birth and Rebirth) Love is a Many Splendored Thing (from Clifford Brown and Max Roach at Basin Street) Presented by Kate Molleson. Produced by Martin Williams for BBC Audio Wales & West. For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Max Roach (1924-2007) https://www.bbc.co.uk/programmes/m002mb7w. And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z.

Joining me today is Emanuel Harrold, Educator, entrepreneur, producer, master drummer, two-time Grammy Award-winning musician, Harrold continues to raise the bar with collaborations and touring with the likes of Damon Alburn, Gregory Porter, Hypnotic Brass Ensemble, De La Soul and Roy Hargrove. When you think of four words, Emanuel Harrold name comes to mind: Fashion, community, music and love. Emanuels music legacy stands three generations. If you enjoy artists such as Gregory Porter, Robert Glasper, Max Roach, Miles Davis, Gospel, Classical, Jazz, Electro and any music that moves you, Harrold likes it too. Born into the artistry of music by way of St. Louis, MO, USA, Harrold is a multiple Grammy-nominated and winning musician. Emanuel's father being a pastor whilst growing up, the appetite for singing and playing instruments grew. There were many musical outlets, those being his grandfather's Memorial Lancers Drum and Bugle Corps, church gatherings and family reunions. Harrold did not seriously pursue his current instrument until after high school. In St. Louis, Emanuel was involved with Off-Broadway musicals with The Black Repertory Theater, traditional jazz and local gospel scenes. Harrold is a self-taught musician and inspired by many great people on his musical journey to date. He has performed or recorded in no specific order with: Wynton Marsalis, Roy Hargrove, Robert Glasper, Ronnie Mathews, Keyon Harrold, Damon Auburn, John Hicks, James Spaulding, Shedrick Mitchell, Marcus Strickland, Stevie Wonder, Kidz in The Hall, Hypnotic Brass Ensemble, Ben La Uncle Soul, Gregory Porter, Ambrose Akinmusire, Revive The Live Big Band, Jonathan Batiste, Keyon Harrold, Laura Mvula, and too many other great amazing musicians to name in this short bio. I truly Love Emanuels, stylish, dynamic and subtle drumming and im very grateful that he was kind enough to give up an hour from his busy schedule. www.emanuelharrold.com Huge thanks to The UK Drum Show for sponsoring this episode www.theukdrumshow.com 2026 drum show dates - October 24th & 25th 2026 ACC Liverpool

We're continuing our series of episodes inspired by the 2024 documentary Soundtrack to a Coup D'Etat with an examination of some of the film's key characters: the so-called ‘Jazz Ambassadors', a group of mostly black US musicians sent around the world to (unwittingly) promote American soft power during the Cold War. Tim and Jeremy give a brief history of the emergence of the CIA in the post-war USA, explain the role of NATO, and detail a few of the great many instances of US interference in newly decolonised states around the globe. We hear about Louis Armstrong in Ghana, Dizzy Gillespie's tours to West Asia and revisit Max Roach from our previous show, alongside Brubeck, Stravinsky and… Bing Crosby. The guys discuss these various attempts to portray America as a haven of free self expression at home while it repeatedly violated sovereignty and democracy abroad. Also included in this show: Fantasia, the Military Industrial Complex, the Kennedy assassination and some speculative White House tripping. Edited by Matt Huxley. Become a Patron at Patreon.com/LoveMessagePod.www.LoveistheMessagePod.comTracklist:Aaron Copeland - Fanfare for the Common Man Bing Crosby - The Isle of InnisfreeIgor Stravinsky - The Rite of Spring Louis Armstrong - (What Did I Do To Be So) Black and Blue Louis Armstrong - Spooks Dizzy Gillespie - Tour de Force Dave Brubeck - Take Five Max Roach - Triptych: Prayer / Protest / Peace The Byrds - He Was a Friend of Mine Books:William Blum - Killing Hope Susan Williams - White Malice 

Before his life was tragically ended by an automobile accident at the age of 25, trumpeter Clifford Brown (born October 30, 1930) set the jazz world ablaze with his seemingly effortless mastery of his instrument and incendiary playing. His trailblazing quintet with drummer Max Roach and saxophonists Sonny Rollins, and later, Harold Land, set the standard for the post bop era, and many of the compositions he penned for this band remain jazz standards.

On dit que la musique adoucit les mœurs. Mais elle peut, aussi, être politique, utilisée comme un outil de soft power ou une tribune de protestation. Soundtrack to a coup d'Etat, formidable documentaire, uniquement réalisé à partir d'archives pour certaines inédites ou exhumées de l'oubli, raconte les différentes variations ayant conduit à l'assassinat de Patrice Lumumba, le premier Premier ministre de la République démocratique du Congo de juin à septembre 1960. Jazz, politique et décolonisation s'entremêlent dans ce grand huit historique qui réécrit un incroyable épisode de la guerre froide. En 1961, la chanteuse Abbey Lincoln et le batteur Max Roach, militants des droits civiques et figures du jazz, interrompent une session du Conseil de sécurité de l'ONU pour protester contre l'assassinat de Patrice Lumumba, Premier ministre du Congo nouvellement indépendant. Dans ce pays en proie à la guerre civile, les sous-sols, riches en uranium, attisent les ingérences occidentales. L'ONU devient alors l'arène d'un bras de fer géopolitique majeur et Louis Armstrong, nommé «Ambassadeur du Jazz», est envoyé en mission au Congo par les États-Unis, pour détourner l'attention du coup d'État soutenu par la CIA. Nous recevons Johan Grimonprez, le réalisateur de Soundtrack to a Coup d'Etat primé au festival de Sundance en 2024. Musiques : Vive Patrice Lumumba d'African Jazz ; Black and blue de Louis Amstrong ; Blacky Blood de Malaka sur la Playlist Rfi. Vous pouvez retrouver la bande son de «Soundtrack to a coup d'Etat» ici.

Here's a playlist which shines a light on Lex Korten, one of New York's most in-demand young pianists. Alongside his much-anticipated debut, you'll hear collaborations that show just how deeply he's shaping today's scene. Also included: a stirring Max Roach tribute from Terri Lyne Carrington and Christie Dashiell, plus an uplifting new release from pianist Michael Wolff. The playlist features Michael Wolff; Terri Lyne Carrington, Christie Dashiell; Milena Casado; Lex Korten (pictured); Alex Hitchcock; Zoh Amba. Detailed playlist at https://spinitron.com/RFB/pl/21207965/Mondo-Jazz [from "Sunny Day" onwards]. Happy listening!

ANTHONY WILSON “HACKENSACK WEST” Los Angeles, June 20 & 21, 2023Daido, The lands, Hackensack WestGerald Clayton (p) Anthony Wilson (g) John Clayton (b) Jeff Hamilton (d) ABBEY LINCOLN “THAT'S HIM !” New York, October 28, 1957Strong man, Don't explain (pc out,1)Abbey Lincoln (vcl) acc by Kenny Dorham (tp) Sonny Rollins (ts) Wynton Kelly (p,b1) Paul Chambers (b) Max Roach (d) SPHERE QUARTET “SPHERE” Brooklyn, N.Y., October 4, 1997We see, Isfahan, Uncle BubbaGary Bartz (as,sop1) Kenny Barron (p) buster Williams (b) Ben Riley (d) Continue reading Puro Jazz 22 de septiembre, 2025 at PuroJazz.

THELONIOUS MONK QUINTET “BRILLIANT CORNERS” New York, October 9 & 15, 1956Pannonica, Ba-lue bolivar ba-lues-are, Brilliant CornersErnie Henry (as) Sonny Rollins (ts) Thelonious Monk (p,celeste) Oscar Pettiford (b) Max Roach (d) SONNY ROLLINS TRIO “WAY OUT WEST” Los Angeles, March 7, 1957I'm an old cowhand, Come, gone, Way out westSonny Rollins (ts) Ray Brown (b) Shelly Manne (d) Continue reading Puro Jazz 17 de septiembre, 2025 at PuroJazz.

Grammy Award-winning drummer and composer Terri Lyne Carrington, together with Grammy-nominated jazz vocalist and recording artist Christie Dashiell discuss We Insist 2025—a powerful reimagining of Max Roach's groundbreaking 1960 work, We Insist!.

Trumpeter / composer Kenny Dorham (born August 30, 1924) is hardly a household name, but one would be hard pressed to name a musician held in as high regard by other jazz musicians. He played at a consistently high level throughout a career that included stints with Charlie Parker, Max Roach, Art Blakey, Joe Henderson to name just a few, and myriad excellent recordings under his own name. A number of his compositions have become jazz standards as well.   And don't forget ... St. Michael's Jazz Fest returns for a second year of incredible jazz in Carlsbad Village! Headlining is New Orleans' own, the legendary Grammy Award-Winning Rebirth Brass Band, joined by Euphoria Brass Band, Gilbert Castellanos Latin Jazz Ensemble, Starsign, Chunky Hustle Brass Band, Sue Palmer Swing Orchestra, and more. Free to the public and held outside on the campus lawn of St. Michael's by-the-Sea in Carlsbad. Learn more and consider volunteering or donating: https://www.stmichaelsjazzfest.org/ Saturday, September 27, 2025

Today we have JJA president Howard Mandel hosting a compelling discussion on political activism in jazz with three remarkable musicians who have dedicated their careers to both artistic excellence and social change.Our first guest is Terri Lyne Carrington, the four-time Grammy-winning drummer, composer, and producer who serves as Founder and Artistic Director of the Berklee Institute of Jazz and Gender Justice. As an NEA Jazz Master and Doris Duke Artist, Terri Lyne has spent four decades advocating for women, transgender, and nonbinary musicians while reimagining jazz's aesthetic possibilities. Her recent work includes the acclaimed album "new STANDARDS vol.1," featuring compositions by women, and a powerful reconceptualization of Max Roach and Abbey Lincoln's "We Insist!" for the modern era.Joining her is Orbert Davis, the Emmy Award-winning trumpeter, composer, and educator who co-founded the Chicago Jazz Philharmonic. As host of "The Real Deal with Orbert Davis" on 90.9 FM WDCB, Orbert has built extraordinary cultural bridges through his "Immigrant Stories" concert series and groundbreaking collaborations with Cuban musicians. His work transforms jazz into a vehicle for international understanding and social healing.Our third guest is Marc Ribot, the innovative guitarist whose extensive collaborations include work with Tom Waits, Elvis Costello, and John Zorn. Beyond his acclaimed recording career spanning over 25 albums, Marc has emerged as a fierce advocate for musicians' economic rights through his organizing work with the Content Creators Coalition and efforts to reform the American Federation of Musicians.Together, these three artists explore what jazz activism means today—from challenging gender inequities and supporting immigrant communities to fighting for fair compensation and workers' rights. Their conversation reveals how jazz continues to serve as both artistic expression and instrument of social change.Take a look at the Jazz Omnibus, the 600-page anthology of 21st century photos and writings by members of the Jazz Journalist Association, available online and wherever books are soldDon't miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. For more from the Jazz Journalists Association, go to JJANews.org.

Tenor saxophonist/composer Hank Mobley (born July 7, 1930) has been described as one of the most underrated musicians of the bop era. Even though his career included stints with Miles Davis, Max Roach, Horace Silver and recordings with most of the greatest players of his generation, addiction and poor health adversely affected his life, leading to homelessness and an early death at the age of 55. He left behind a legacy of wonderful recordings and compositions, and has influenced myriad players to this day.

Mark Lo  (Director/Producer) has worked in film and TV for more than 20 years. First, as a music agent and supervisor, collaborating with composers and artists to bring music to picture and then as an Executive Music Producer Mark recently produced and directed the feature music documentary Count Me In. A  celebration of drummers and their unique ability to drive generations of music.     I love being a drummer. Everyone thinks you're dumb. What they don't realise is that if it weren't for you, their band would suck. – Dave Grohl Eat drums! Eat cymbals! – Animal   Drumming was the only thing I was ever good at. John Bonham   Count Me In is a celebration of the role of the drummer in popular music.  Mark Lo's British-made doc dates back to the even darker days of 2021.  It's drummers talking about other drummers and appreciating great drumming, and if that works for you, then hear the drummer and get wicked.   The documentary includes interviews with the late Taylor Hawkins (Foo Fighters), Stewart Copeland (The Police), Roger Taylor (Queen), Chad Smith (Red Hot Chili Peppers), Nick Mason (Pink Floyd), Cindy Blackman Santana (Lenny Kravitz, Santana) and Jim Keltner (The Traveling Wilburys) and many others. They all seem to talk about Keith Moon (The Who), John Bonham (Led Zep), and Neil Peart (Rush).   Watching Ringo Starr, Charlie Watts, John Bonham, Ginger Baker, or Keith Moon play for the first time is amazing. Of course, many of those legends were inspired themselves by the great American jazz drummers like Max Roach, Buddy Rich, and Gene Krupa. Still, watching Nicko McBrain from Iron Maiden give a detailed account of the differences in style between Starr and Watts is remarkable.   Enjoy the drumology session on the Mulligan Stew Podcast.  Turn it Up and Count Me In. 

In this crossover episode with Rakeem Shabazz of Wise the Dome TV, Cold War Cinema co-host Anthony Ballas discusses the recent documentary Soundtrack to a Coup d'État (dir. Johan Grimonprez 2024). The documentary explores the weaponization of jazz music during the Cold War, the contradictions of using Black art to mask American imperialism, and the legacy of artists like Louis Armstrong, Max Roach, and Nina Simone. Ballas breaks down how the film links Cold War coups and cultural propaganda to present-day resource extraction in the Congo, and why the documentary's archival style is itself a radical political act. Ballas also discusses his recent piece on the film (co-authored with Gerald Horne), "Antidote to Soft Power: Johan Grimonprez's Soundtrack to a Coup d'État" for Scalawag Magazine.  Please subscribe to the podcast, and don't forget to leave a review! Also, make sure you check out and subscribe to Wise the Dome TV. _____________________ Logo by Jason Christian  Theme music by DYAD (Charles Ballas and Jeremy Averitt).  Please drop us a line anytime at coldwarcinemapod@gmail.com. Happy listening!

Terri Lyne Carrington has spent her life behind the drums—and out in front. In this wide-ranging conversation, the Grammy-winning musician, educator, and activist reflects on her remarkable journey from child prodigy to visionary bandleader, and from mentee to mentor. She shares stories from her early gigs with jazz legends like Clark Terry and Buddy Rich, her formative years with Herbie Hancock and Wayne Shorter, and her ongoing work shaping the next generation through the Berklee Institute of Jazz and Gender Justice. We spoke on the occasion of We Insist 2025!, Carrington's powerful new reimagining of Max Roach's classic 1960 protest suite. But the conversation goes far beyond the music—it's about legacy, leadership, gender equity, and the responsibility of artists to help create a more just and expansive world. As Carrington puts it, “Only an open hand receives.” www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

The remarkable singer and drummer, Ruby Laks. Currently studying at the Oberlin Conservatory under the guidance of Billy Hart and La Tanya Hall, Laks is already paving her own artistic path. With a voice reminiscent of Carmen McRae and a drumming style shaped by Max Roach and Elvin Jones, her artistry merges tradition with originality. She's performed everywhere from intimate jazz clubs to iconic venues like Carnegie Hall, and has shared the stage with musicians including Edmar Colon, Chico Pinheiro, Mark Mothersbaugh, and Gerald Cannon (to name a few). Learn more about your ad choices. Visit megaphone.fm/adchoices

The drummer and percussionist Billy Martin, whose name many Time Sensitive listeners may recognize—he created the Time Sensitive theme song—defies any boxed-in or limiting definitions of his work. Best known as a member of the band Medeski Martin & Wood (MMW), he's spent the past three-plus decades making experimental, boundary-pushing, and uncategorizable instrumental jazz-funk-groove music, shaping sounds that feel as expansive as they are definitive and distinctive. Across all his artistic output, Martin continually, meditatively searches for harmony. He is also a composer, a teacher, a visual artist, and a builder and craftsman. His expansive creative practice comes most alive at his home in Englewood, New Jersey, where he has cultivated a bamboo garden, crafted his own Japanese-style teahouse, and constructed a music studio. Martin is someone for whom rhythm is not just something heard, but also seen and felt.On the episode, he talks about his MMW journey at length, his concept of “rhythmic harmony,” and why he views sound creation as a sacred act.Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:Billy Martin[7:31] Medeski Martin & Wood[7:31] John Medeski[7:31] Chris Wood[7:31] “Not Not Jazz” (2024)[10:12] Iggy Pop's “Avenue B” (1999)[10:12] Don Was[11:27] “The Lover” (1995)[11:27] “Friday Afternoon in the Universe” (1995)[11:27] “Old Angel Midnight” (1973) by Jack Kerouac[13:44] Ra-Kalam Bob Moses[13:44] John Scofield[13:44] David Baker[15:57] “Shuck It Up” (1993)[15:57] “It's a Jungle in Here” (1993)[18:12] “Latin Shuffle” (1998)[18:12] “Combustication” (1998)[18:12] Frankie Malabe[18:12] Art Blakey[33:25] Thelonious Monk[33:58] “Life on Drums” (2011)[38:32] John Bonham[38:32] Charlie Watts[38:32] Stewart Copeland[38:32] Elvin Jones[38:32] Max Roach[38:32] Danny Richmond[38:32] Charles Mingus[38:32] Jack DeJohnette[38:32] Joe Morello[38:32] Roy Haynes[38:32] Stan Getz[38:32] Airto Moreira[38:32] Naná Vasconcelos[38:32] Babatunde Olatunji[39:58] Gus Johnson[39:58] “Whatever Happened to Gus” (1998)[39:58] Steve Cannon[40:54] “Chubb Sub” (1995)[40:54] ”Uncle Chubb” (1992)[46:41] “Shack-man” (1996)[47:06] “Drumming Birds” (2004)[54:48] “Bamboo Rainsticks” (1999)[54:48] Amulet Records[1:00:23] Creative Music Studio

CHARLIE PARKER “CHARLIE PARKER'S REBOPPERS” New York, November 26, 1945Billie's bounce, (1,3) Now's the time, (1,3) Thriving from a riff Anthropology, Meandering (3), Ko-ko (2,3)Miles Davis (tp-1) Dizzy Gillespie (tp-2,p-3) Charlie Parker (as) Argonne Thornton (p-4) [aka Sadik Hakim (p) ] Curly Russell (b) Max Roach (d) PAOLO FRESU & URI CAINE “THINK” Cavalicco, Italy, October 10-12, 2008Blood money, Darn that dream, Doxy, Roberto StrepitosoPaolo Fresu (tp,flhrn) Uri Caine (p,el-p) + Alborada String Quartet : Anton Berovski, Nico Ciricugno (vln) Sonia Peana (viola) Piero Salvatori (cello) CHET BAKER/ART PEPPER SEXTET “PICTURE OF HEATH” Hollywood, CA, November 20 & 21, 1956Picture of Heath, For miles and miles, C.T.A. Continue reading Puro Jazz 12 de mayo, 2025 at PuroJazz.

It's a new month for the Watchcast, and with that comes a new theme of music movies! And kicking things off is the 2021 ?uestlove film Summer of Soul, a doc that unearths a treasure trove of musical performances from the 1969 Harlem Cultural Festival. CHAPTERS: (00:00:00) - The Nextlander Watchcast Episode 134: Summer of Soul (...or, When the Revolution Could Not Be Televised) (2021) (00:00:38) - Intro. (00:02:32) - The times in which this festival takes place. (00:07:05) - We love a documentary that unearths footage people haven't ever seen before. (00:12:26) - What an insane lineup of great music. (00:16:45) - How did this festival happen, and why did this footage disappear for so long? (00:30:13) - Break! (00:30:58) - We're back, and it's time to get into the festival itself. (00:34:48) - The marvel that is Stevie Wonder. (00:39:12) - The Chambers Brothers. (00:40:48) - The youngest any of us have ever seen BB King look." (00:42:46) - On jazz flute and The 5th Dimension. (00:45:48) - A whole lot of gospel. (00:53:15) - David Ruffin sans Temptations. (00:55:56) - Shout out to Gladys Knight (and The Pips!) (00:58:15) - Here comes Sly. (01:03:37) - The broader cultural shifts. (01:08:03) - Max Roach and Abbey Lincoln. (01:10:06) - The power of Nina Simone. (01:17:27) - How good this movie is at weaving its history with the performances. (01:22:43) - Final thoughts. (01:28:34) - Housekeeping for Alex's upcoming list, and next week's movie: Metallica: Some Kind of Monster! (01:34:41) - Outro.

RICH PERRY “PROGRESSION” New York ?, c. 2022Blind faith, Progression, Now Rich Perry (ts) Gary Versace (p) Jay Anderson (b) John Riley (d) HERBIE NICHOLS PROJECT “LOVE IS PROXIMITY” Brooklyn, NY, May 4, 1995 & May 11, 1996Love is proximity, Trio, Love, gloom, cash, loveRon Horton (tp) Ted Nash (saxes) Frank Kimbrough (p) Ben Allison (b) Jeff Ballard (d) THAD JONES “THE MAGNIFICENT THAD JONES” Hackensack, N.J., July 14, 1956April in Paris, If someone had told meThad Jones (tp) Billy Mitchell (ts) Barry Harris (p) Percy Heath (b) Max Roach (d) Continue reading Puro Jazz 07 de mayo, 2025 at PuroJazz.

Andy Bey, the acclaimed jazz singer known for his remarkable four-octave range, died April 26 at the Actors Fund Home in Englewood, New Jersey. He was 85. His nephew, actor and singer Darius de Haas, announced his passing. A Newark native and child prodigy, Bey began his career with his sisters in Andy and the Bey Sisters before collaborating with jazz legends like Max Roach. His solo albums, including “Experience and Judgment” and “Ballads, Blues & Bey,” earned critical acclaim. Bey, an openly gay man living with HIV, became a beloved figure in jazz. He won numerous awards and remained musically vibrant into his 80s, saying in 2019, “The music is always inspiring.” Rest in power, Andy Bey. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Andy Bey, the acclaimed jazz singer known for his remarkable four-octave range, died April 26 at the Actors Fund Home in Englewood, New Jersey. He was 85. His nephew, actor and singer Darius de Haas, announced his passing. A Newark native and child prodigy, Bey began his career with his sisters in Andy and the Bey Sisters before collaborating with jazz legends like Max Roach. His solo albums, including “Experience and Judgment” and “Ballads, Blues & Bey,” earned critical acclaim. Bey, an openly gay man living with HIV, became a beloved figure in jazz. He won numerous awards and remained musically vibrant into his 80s, saying in 2019, “The music is always inspiring.” Rest in power, Andy Bey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to an interview with legendary jazz saxophonist and composer Gary Bartz. Bartz has performed with Charles Mingus, Max Roach, Art Blakey, and McCoy Tyner. In 1970, Bartz joined Miles Davis' band, contributing to the seminal Live-Evil sessions. But its Bartz work as a bandleader during the 1970s that cemented his reputation as a jazz icon, from his recordings with the Mizell Brothers, to performances with his group Ntu Troop. A two-time Grammy Award winner, Bartz was recently named an NEA Jazz Master by the National Endowment for the Arts.

Tonight's Jazz Feature is an early version of the Charles Mingus Jazz Workshop recorded on his independent record label: Debut Records. Mingus and drummer Max Roach owned the label during it's short existence (1952 to 1957). Mingus in 1955 had begun a new concept for his bands. No written music. Mingus taught the players from the piano as Mingus was a more than competent pianist. The players memorized the compositions, background riffs and everything without written music and it gave Mingus' bands more what he was aiming for. This band reflects his new concept and hence the name The Charles Mingus Jazz Workshop. This edition was recorded on Sunday evening from 5:50pm to 8:30 pm on December 18,1955 at a small New York club called The Cafe Bohemia.. The band includes George Barrow on tenor saxophone a fine underrated player with a big sound and a cliche-free concept. Eddie Bert, one of the finest trombonists is on the front line. Mal Waldron is on piano, Mingus leads and is on bass and Willie Jones is on drums. The tunes are all arranged by Mingus and with two exceptions the 8 selections are Mingus compositions. This is a fine solid set and is a new beginning for one of the most innovative and creative minds in Jazz music: Charles Mingus.

Critically-acclaimed composer and saxophonist Darius Jones’s playing has been described using adjectives such as “fearless,” “riveting” and “breath-taking” from publications ranging from Pitchfork, to The Wire, to the New York Times, and has received superlatives from many other publications, as well. Currently an Assistant Professor of Music at Wesleyan University, Jones has previously been awarded the Van Lier Fellowship, Jerome Foundation Artist-in-Residence and commission, Western Front residency and commission, French-American Jazz Exchange Award, Robert D. Bielecki Foundation Award, and Fromm Music Foundation commission from Harvard University. Hear how music by Kim Burrell, Max Roach, and MF Doom helped form his artistic viewpoint. His newest album–Legend of e’Boi (The Hypervigilant Eye)--was released in December of 2024.See omnystudio.com/listener for privacy information.

As we noted so succinctly way back in 2014:  Some trios play nicer together than others - Pat and Mike investigate.   Duke Ellington – MONEY JUNGLE; Terri Lyne Carrington – MONEY JUNGLE PROVOCATIVE IN BLUE; Jean-Michel Pilc – WELCOME HOME; Herbie Nichols – LOVE, GLOOM, CASH, LOVE.  Tune in next time as the Herbie Nichols connection leads to a brand new episode covering four albums devoted solely to his music.

“Just keep going.”—Dave ChappelleFeaturing, in order of appearance:Kevin Hart, Questlove, Mo Amer, Bill Burr, Pras, Michelle Wolf, and Jon StewartContains music by:Dizzy Gillespie, Charlie Parker, Thelonious Monk, Max Roach, Miles Davis, Milt Jackson, and Stevie WonderRecorded in Ohio, Summer 2020Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi Wilbur, and Miles HodgesProduced by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayRecording Engineer: Federico LopezRecording Engineer: Adrián Bruque for NPNDAssistant Editors: Danny Carissimi and Noah Kowalski Senior Sound Designer: Russell TopalTranscription Supervisor: Sam BeasleyMixer: Jordan GalvanPodcast Artwork: Rachel EckStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Kyle Ranson-Walsh, Sina Sadighi, Mark Silverstein, and Carla Sims.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2021 by Pilot Boy Productions, Inc., all rights reserved.

The Katherine Massey Book Club @ The C.O.W.S. hosts the 7th study session on the late Dr. Maya Angelou's The Heart of A Woman. This is a rare "double dip" for the book club, as we read I Know Why The Caged Bird Sings in the summer of 2014 just after the transition of the famed author and Wake Forest scholar. Gus T. was inundated with the life and literary work of Dr. Angelou during his recent Golden State sojourn. And it took Gus seeing the documentary film Soundtrack to a Coup d'État three times to accurately write down the title Heart of a Woman. The extraordinary film on the assassination of Patrice Lumumba is "receipt-heavy," and Andrée Blouin and Dr. Angelou's respective memoirs are just 2 of the many books in the project. Last week, Dr. Angelou describes her involvement in the White French convict Jean Genet's play, The Blacks: A Clown Show. This celebrated show featured a cast of renown black thespians and was shown around the world. Dr. Angelou describes how mostly White audiences devoured the play, but continued their dedication to White Supremacy - even to the negro cast as soon as they stepped off the stage. The Suspected Racist director, Sidney Bernstein, shafted Max Roach and Dr. Angelou for their musical labor on the play. This is typical White Racism and the time-honored White tradition of robbing black artists. Bernstein was not ignorant about Racism. After speculating that her husband Vus might be cheating on her, our heroine contemplates poisoning her African care-mate. #AppleEvent #SoundtrackToACoupdÉtat #TheCOWS16Years INVEST in The COWS – http://paypal.me/TheCOWS Cash App: https://cash.app/$TheCOWS CALL IN NUMBER: 605.313.5164 CODE: 564943#

Feature: 'Soundtrack to a Coup d'Etat' director discusses Jazz greats and their relationship to post-colonial Africa The Oscar-nominated documentary Soundtrack to a Coup d'Etat has received critical success through it’s focus on an international incident, a relationship between developing countries in a post-colonial era, and how artists can unknowingly play a role in this. The documentary, directed by Johan Grimonprez, uses jazz music from the likes of Louis Armstrong and Max Roach as an entryway into post-colonial Africa. Grimonprez spends much of the documentary getting into newly independent African nations, the most notable being the Democratic Republic of Congo, and how their relationship with colonial powers involved in the United Nations can impact their new democracies. This narrative is put together with prominent jazz musicians at the time and how their performances in these new nations were used for political purposes unbeknownst to them. So, for this week’s FilmWeek feature, we sit down with Johan Grimonprez, director of Soundtrack to a Coup d'Etat. “Soundtrack to a Coup d'Etat” is out now in select theaters and available on VOD

Merriam-Webster's Word of the Day for January 19, 2025 is: virtuoso • ver-choo-OH-soh • noun Virtuoso is used broadly to refer to a person who does something very skillfully, and is often used specifically to refer to a very skillful musician. // He's a real virtuoso in the kitchen, whipping up gourmet dishes for his family not just on holidays but on regular weeknights. // Although the violin was her first instrument, she eventually proved to be a virtuoso on the harp. See the entry > Examples: "The newly assembled band finished its engagement and, shortly after, proceeded to New York to record Rich versus Roach (1959), a concept album pitting [Max] Roach in a drum battle with famed bandleader and drum virtuoso Buddy Rich." — Colter Harper, Jazz in the Hill: Nightlife and Narratives of a Pittsburgh Neighborhood, 2024 Did you know? English speakers borrowed the Italian noun virtuoso in the 1600s, but the Italian word had a former life as an adjective meaning both "virtuous" and "skilled." The first virtuosos (the English word can be pluralized as either virtuosos or, in the image of its Italian forbear, as virtuosi) were individuals of substantial knowledge and learning ("great wits," to quote one 17th-century clergyman). The word was then transferred to those skilled in the arts and specifically to skilled musicians. In time, English speakers broadened virtuoso to apply to a person adept in any pursuit.

THIS WEEK's BIRDS: poetry & music from Sara Serpa; Oum Koulsum; Xmas redux from, Roland Kirk; Max Roach x 2 (w. Rev. Jeremiah Wright); Horoya Band National (from Guinea); salsa from. Adalberto Santiago & Orquesta Cimarrón; Karl Evangelista's Apura; Sababa 5 w. Yureka;  Steve Lacy Sextet; Lucas Niggli Zoom Ensemble;  and of course, so much, much more... Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER 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/19997572/Conference-of-the-Birds and via the Conference of the Birds page at www.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

The 15th UN General Assembly of September 1960 may not seem like the most avant-garde topic for a cinematically adventurous documentary, but don't tell that to director Johan Grimonprez. His stunningly creative “Soundtrack to a Coup d'Etat,” recently named to the Oscar Shortlist for Best Documentary Feature, is a cinematic high point of 2024 and also one of the year's most thoroughly engaging historical/political dramas.   Johan joins Ken on the pod to discuss the events surrounding the truncated political independence that was “granted” to the Congo (now the Democratic Republic of the Congo) in June 1960 by the Belgian government. Soon after, Belgium (Johan's home country) and the US joined forces with the UN leadership to undermine the Congo's newly elected prime minister, Patrice Lumumba, who had emerged as a dynamic leader of the nascent united Africa movement. Lumumba's downfall plays out in the bitterly divided 15th UN Assembly. Nikita Khruschev, Malcolm X and Fidel Castro appear alongside jazz legends Louis Armstrong, Dizzy Gillespie, Max Roach, Abbey Lincoln and others, who also play a key role in the story… and in the soundtrack.   “Soundtrack to a Coup d'Etat” is released by Kino Lorber.   Hidden Gem: “Theremin: An Electronic Odyssey” “Close-Up”   Follow: @topdocspod on Instagram and X    The Presenting Sponsor of "Top Docs" is Netflix.

"Soundtrack To A Coup d'Etat" had its world premiere at the 2024 Sundance Film Festival, where it won the Special Jury Award for Cinematic Innovation and received critical acclaim for its unique storytelling of how musicians Abbey Lincoln and Max Roach crashed the UN Security Council in protest against the murder of Congolese leader Patrice Lumumba during the Cold War. Director Johan Grimonprez was kind enough to spend a few minutes speaking with us about his work on the documentary, which you can listen to below. Please be sure to check out the film, which is now playing in theaters from Kino Lorber and is up for your consideration at this year's Academy Awards for Best Documentary Feature. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode continues from last week in bringing new music that I heard from Monterey Jazz Fest recently. Following that is more music from the Hartford jazz scene with Abena Koomson-Davis, Andrew Wilcox and Matt Dwonczyk. Playlist  Artist ~ Name ~ Album Marquis Hill ~ A Star Is Born ~ Composers Collective: Beyond The Jukebox Brandee Younger ~ Brand New Life ~ Brand New Life Robert Glasper ~ Prototype ~ Keys To The City Volume One Anat Cohen ~ Paco ~ Quartetinho: Bloom Abena Koomson-Davis ~ Just the Two of Us ~ Where Is Love Matt Dwonszyk ~ Groovin' on Wine ~ Donny Time Matt Dwonszyk ~ What a Difference a Day Makes ~ Donny Time Andrew Wilcox ~ Old Devil Moon ~ Dear Mr. Hill Jazz at Lincoln Center Orchestra & Wynton Marsalis ~ Freedom Day ~ The Music of Max Roach