Podcast appearances and mentions of mel powell

Episode 170 Chapter 29, Buchla Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 29, Buchla Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH BUCHLA ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1.     Morton Subotnick, “Prelude No. 4” (1966). Early work for piano and electronic tape using sounds created on the Buchla 100. Pianist, Richard Bunger, recorded in 1973 (Buchla tape from 1966). 05:15 01:40 2.     Morton Subotnick, “Silver Apples of the Moon” (Part 1) (1966). First commissioned work of electronic music from Nonesuch Records. 04:23 08:32 3.     Gerry Olds, “4/3 + 1” (1967). Jazz mixed with electronics created on the Buchla 100 at a San Francisco Tape Music Center Concert. 11:19 12:58 4.     Buffy Sainte- Marie, “Better To Find Out For Yourself” and “The Vampire” (1969). Electronic “settings,” processing of Sainte-Marie's voice and guitar done on Buchla 100 modular systems (3 units) used by Michael Czajkowski at the electronic music studio of NYU. 04:39 24:16 5.     Douglas Leedy, “Entropical Paradise” (1970). Sonic environments created by the Moog and Buchla modular synthesizers. 20:09 28:52 6.     George Marsh, “Wind Borne” (1973). Prepared Buchla 200 Synthesizer with sequencing, George Marsh. 08:28 49:06 7.     David Rosenboom and Donald Buchla, “How Much Better If Plymouth Rock Had Landed On The Pilgrims, Section V” (1978). Buchla modular synthesizers by composer Rosenboom and the inventor himself, Donald Buchla. 22:47 57:34 8.     Morton Subotnick, “The Last Dream of the Beast” (1978, 1982, 1984). Featured the Buchla 400. 14:47 01:20:20 9.     Mel Powell, “Three Synthesizer Settings” (1981). Moog and Buchla synthesizers. 08:47 01:35:06 10.   Morton Subotnick, “A Sky of Cloudless Sulphur, Opening” (1980). Buchla 200 and Subotnick's “ghost shadow electronics.” 11:15 01:43:51   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

COLEMAN HAWKINS – “ALL AMERICAN FOUR / FIVE” New York, May 29, 1944Make believe, Don't blame meColeman Hawkins (ts) Teddy Wilson (p) John Kirby (b) Sidney Catlett (d) New York, October 17, 1944Under a blanket of blue, Beyond the blue horizonBuck Clayton (tp) Coleman Hawkins (ts) Teddy Wilson (p) Slam Stewart (b) Denzil Best (d) LESTER YOUNG / HARRY EDISON – “PRES & SWEETS” Los Angeles, November 1, 1955Pennies from Heaven, That's all, One o'clock jumpHarry “Sweets” Edison (tp) Lester Young (ts) Oscar Peterson (p) Herb Ellis (g) Ray Brown (b) Buddy Rich (d) VIC DICKENSON – “QUARTET” New York, June 24, 1952Tenderly, Lion's den, In a mellow toneVic Dickenson (tb) Bill Doggett (org) John Collins (g) Jo Jones (d) MEL POWELL – “SEPTET” New York, December 30, 1953‘S wonderful, It's been so long, You're lucky to meBuck Clayton (tp) Henderson Chambers (tb) Edmond Hall (cl) Mel Powell (p) Steve Jordan (g) Walter Page (b) Jimmy Crawford (d) Continue reading Puro Jazz 15 de abril, 2025 at PuroJazz.

COLEMAN HAWKINS – “ALL AMERICAN FOUR / FIVE” New York, May 29, 1944Make believe, Don't blame meColeman Hawkins (ts) Teddy Wilson (p) John Kirby (b) Sidney Catlett (d) New York, October 17, 1944Under a blanket of blue, Beyond the blue horizonBuck Clayton (tp) Coleman Hawkins (ts) Teddy Wilson (p) Slam Stewart (b) Denzil Best (d) LESTER YOUNG / HARRY EDISON – “PRES & SWEETS” Los Angeles, November 1, 1955Pennies from Heaven, That's all, One o'clock jumpHarry “Sweets” Edison (tp) Lester Young (ts) Oscar Peterson (p) Herb Ellis (g) Ray Brown (b) Buddy Rich (d) VIC DICKENSON – “QUARTET” New York, June 24, 1952Tenderly, Lion's den, In a mellow toneVic Dickenson (tb) Bill Doggett (org) John Collins (g) Jo Jones (d) MEL POWELL – “SEPTET” New York, December 30, 1953‘S wonderful, It's been so long, You're lucky to meBuck Clayton (tp) Henderson Chambers (tb) Edmond Hall (cl) Mel Powell (p) Steve Jordan (g) Walter Page (b) Jimmy Crawford (d) Continue reading Puro Jazz 15 de abril, 2025 at PuroJazz.

Anthony Brandt is an acclaimed composer who is also a multi-disciplinary researcher. Dr. Brandt is a Professor at Rice University and co-founder and Artistic Director of Musiqa. Like many people worldwide, I had first learned of his work as co-author with neuroscientist David Eagleman, of the amazing book “The Runaway Species: How Human Creativity Remakes the World”. We started this episode with an overview of that book, and Tony's passion for the importance of encouraging creativity at all stages of life comes through in our discussion of his research, compositions, teaching and mentoring. You'll hear about how he and other researchers are using mobile brain body imaging, and how research into the arts are so important to the development of neuroscience. You'll learn about his unique childhood, his mentors and approach to composing and teaching composition, his valuable insights on presenting new music and how integrating art forms can help to connect with audiences. We're also shining a light on his recent album of string quartet music Meeting of Minds and LiveWire which are both collaborations with the NobleMotion Dance Company and the University of Houston Brain Center. Central to this episode is the importance of creativity, and different ways to investigate and explore that. Like all my episodes, you can also watch this on my YouTube channel, and I've also linked the transcript, everything linked here Anthony Brandt website Meeting of Minds Scene 9 video It's a joy to be able to bring these meaningful conversations to you, but this project costs me quite a bit of money and lots of time; please support this series through either my merchandise store or on my Ko-fi page. On my Ko-fi page you can buy me one coffee, or every month For the merch, it features a unique design by artist Steffi Kelly and you can browse clothes, notebooks, water bottles and more, everything printed on demand. My newsletter where you'll get access to exclusive information about upcoming guests. I have linked a few episodes that you may be interested in: Thomas Cabaniss Frank Horvat Dorothy Lawson of ETHEL Cheng2 Duo Nimrod Borenstein Ceara Conway Diane Nalini Please check out my back catalogue Timestamps: (00:00) Intro (02:22) book “The Runaway Species: How Human Creativity Remakes the World”, David Eagleman (15:48) project and album string quartet music Livewire and Meeting of Minds, brain body imaging, neural synchrony (23:21) Meeting of Minds: Scene 9 (links in show notes) (26:14) Anthony's decision to become a composer, his process (31:52) Musiqa new music collective, diversity, community engagement, neuroscience (40:55) Anthony Brandt's operas, librettist Neena Beber (47:32) connecting to audiences (47:55) other episodes linked to this one; different ways to support this series (48:50) connecting to audiences, mentoring composition students (56:43)the life of a composer, finding your voice, mentors Mel Powell and Earl Kim (01:04:11) research in Indonesia with Gamelan and neural synchrony (01:12:54) Chelsea de Souza, more research on improvisation (01:14:32) how the arts help science, advantages of mobile brain body imaging, research with elderly, the importance of mental flexibility (01:22:42) Anthony's childhood, encouraging creativity (01:25:07) his course Creativity up Close

In this episode, Dave and Andrew explore a composer who played with Benny Goodman as a jazz pianist, and then embraced Arnold Schoenberg's musical ideas as a member of the academy. What kind of music does that concoction create? Listen to this episode on Duplicates, Powell's winning piece for two pianos and orchestra. If you'd like more information about Mel Powell, we recommend: Sally Lamb, “An Analytical Guide to the Works of Mel Powell.” DMA diss., Cornell University, 1988. Jeffrey Perry, "Constructing a Relevant Past: Mel Powell's Beethoven Analogs" American Music 29, no. 4 (2011): 491–535. Finally, you might like to see Mel Powell in action with Benny Goodman:

Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. Mark Vickness began his musical training on piano at age six. The road from there to the composer/modern fingerstyle guitarist he is today included a bachelor's and master's degree in composition, studies in classical piano, guitar, sitar and tabla, years as a performing jazz guitarist, composer and arranger, several film scores and three decades of recording and performing as the instrumental half of the acoustic fusion duo, Glass House which has released three CD's, two EPs and a host of widely viewed YouTube videos. Mark's performing experience spans a huge range of genres from free improv to West African drum and dance ensembles, from Motown and funk bands to big band jazz and orchestral conducting. Schooled in composition by Pulitzer Prize winning composer, Mel Powell, Mark has recorded and performed with world renowned musicians including two-time Grammy winners, The Turtle Island String Quartet, legendary bassist, Michael Manring, and guitarists Alex DiGrassi and Don Ross. Following the release of “Places” in 2017 and “Interconnected” in 2020, composer/guitarist Mark Vickness announces the release of “In The Rain Shadow” with a newly expanded group, MVI (Mark Vickness Interconnected). PLEASE WELCOME MULTI-INSTRUMENTALIST, COMPOSER AND ARRANGER MARK VICKNESS TO INTERVIEWING THE LEGENDS …   PURCHASE THE NEW ALBUM BY MVI (Mark Vickness Interconnected) Entitled IN THE RAIN SHADOW “In The Rain Shadow” will be available on Spotify, Apple Music and all streaming platforms. CDs will be available at www.cdbaby.com. Official Release date: May 15, 2023 Featuring: Mads Tolling, violin; Matt Renzi, oboe/English horn/sax; Joseph Hebert, cello; Dan Feiszli, bass; Ty Burhoe, tabla; MB Gordy, percussion; Mark Vickness, guitar. Says Mark, “This is my dream ensemble. Each musician is an accomplished soloist adept at many different types of music. They all bring an astounding breadth and depth of musical understanding and experience. There is almost no style of music we cannot draw from. From a classical trio to a jazz quartet, from funk to raga style improvisation, from interwoven counterpoint to rock power chords, from a fast Irish 12/8 romp to an ambient textural tapestry and more – these virtuoso players bring an infectious energy that is palpable on every track.”   FOR MORE INFORMATION ABOUT MARK VICKNESS AND INTERCONNECTED VISIT www.markvickness.com official website https://www.facebook.com/mark.vickness/ Facebook https://www.youtube.com/@markvickness3641 YouTube   Support us!

Mainstream - more Vanguard sides featuring the Vic Dickenson Septet (with Ruby Braff, Shad Collins, Edmund Hall, Sir Charles Thompson, Steve Jordan, Walter Page, Les Erskine and Jo Jones) and the Mel Powell Septet (with Braff, Hall and Henderson Chambers) --- Support this podcast: https://anchor.fm/john-clark49/support

Mel Powell on Vanguard . .great trio, quartet and quintet sessions from 1954 and 1955 featuring Ruby Braff, Paul Quinichette, Skeeter Best, Bobby Donaldson and Oscar Pettiford with the great Mel Powell on piano --- Support this podcast: https://anchor.fm/john-clark49/support

  MEL POWELL QUINTET OUT ON A LIMB – New York, October 19, 1955 Liza, Rosetta, Three little words, The best thing for you is me Ruby Braff (tp) Mel Powell (p) Skeeter Best (g) Oscar Pettiford (b) Bobby Donaldson (d)             MOSE ALLISON I DON’T WORRY ABOUT A THING […]

Tete Montoliu was a spanish pianist who had a long and successful career. As part of our " pianists under the radar" we discuss him and his playing style. This goes with our other episodes on pianists Mel Powell, Joe Albany, Hod O'Brien and Horace Parlan all well worth checking out if you haven't heard those episodes.

Today's episode celebrates a pioneer in the performance of twentieth century vocal music in anticipation of her 96th birthday on Christmas Day. Bethany Beardslee was a titan who set standards in the performance of the music of Arnold Schoenberg and Milton Babbitt in particular, but who also acted as muse to a host of mid-twentieth century avant garde composers whose work she premiered and often recorded. But she was also a member of the pioneering early music ensemble New York Pro Musica in the late 1950s and was an innovator in programming daring and diverse recital repertoire which combined Lieder and melodies with the contemporary music for which she was best known. This episode samples her recordings over the course of more than thirty years, and includes composers such as John Dowland, Robert Schumann, Claude Debussy, Giovanni Battista Pergolesi, and Johannes Brahms alongside such twentieth century giants as Anton Webern, Ernst Krenek, Igor Stravinsky, Ben Weber, Mel Powell, Robert Helps, Fred Lerdahl, and Godfrey Winham, her second husband. Throughout the course of a career devoted to, to paraphrase the title of her autobiography, “singing the unsingable,” Bethany Beardslee combined rock solid-technique and silvery tone with peerless musicianship and interpretive acuity to set standards that have yet to be surpassed. Please join me in celebrating this great artist. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

For the 20th episode of Darmstadt On Air, we will hear an interview with composer Alvin Singleton, conducted by historical musicologist Harald Kisiedu and composer George Lewis on July 19 2021. In 1972, Singleton's work Argoru II for cello was the first ever to be performed by a Black composer at the Darmstadt Summer Course. Two years later, his Be Natural for three string instruments received the Kranichstein Music Prize. In this podcast, Singleton talks about his early listening experiences and music studies during his formative years in Brooklyn, New York, his graduate work in composition at Yale University with Mel Powell and Yehudi Wyner, and his activities as the founder of Yale's Black Music Students Union. Singleton also discusses his fourteen-year sojourn in Italy and Austria, his rich experiences at the Darmstadt Summer Course, where he collaborated with cellist Siegfried Palm and others, and he tells us about the significance of improvisation and cultural intermixture in his life and work. Singleton's Again for chamber orchestra, which won the 1979 Musikprotokoll Composition Prize, will be performed at the Darmstadt Summer Course Opening Concert on July 31 2021 by Ensemble Modern, conducted by Enno Poppe. From the Darmstadt archives, we will hear Singleton discussing Again at the Darmstadt Kompositionsstudio in 1979, chaired by Brian Ferneyhough, as well as excerpts of several other Singleton compositions: Et Nunc for alto flute, bass clarinet, and double bass, Be Natural, and Mestizo II for orchestra, from a rare recording of its 1970 premiere by the Yale Symphony Orchestra.

Synopsis Haydn’s oratorio “The Seasons” had its premiere performance on this date in Vienna in 1801. Like its predecessor, “The Creation,” Haydn’s new oratorio was a great success, and, as before, Haydn received help with the text and a lot of advice from the versatile Gottfried Bernhard Baron van Swieten, an enthusiastic admirer of Handel oratorios and the music of J. S. Bach. Swieten’s text for “The Seasons” included many opportunities for Baroque-style “tone painting”—musical representations of everything from croaking frogs and workers toiling in the fields, sections that raised a lot of smiles in 1801 and still do today. Haydn, famous for his sense of humor, in this case humored the old-fashioned tastes of the Baron as well. Speaking of the text, since Haydn was tremendous popular in England, Baron van Swieten prepared an English-language version of his text, trying to fit the English words to the rhythm of his original German. Alas, the good Baron’s command of English was, to put it diplomatically, perhaps not as firm he imagined. So these days, ensembles wishing to perform Haydn’s oratorio have a choice: they can opt for Swieten’s quaint but clunky English version, or his more graceful German original. Music Played in Today's Program Franz Joseph Haydn (1732 - 1809) Ländler, fr The Seasons Academy of St Martin in the Fields; Neville Marriner, cond. Philips 438715 On This Day Deaths 1921 - Dutch composer Alfons Diepenbrock, age 58, in Amsterdam; 1948 - Mexican composer Manuel Ponce, age 65, in Mexico City; 1998 - American composer Mel Powell, age 75, in Sherman Oaks, Calif.; He won the Pulitzer Prize for Music in 1990; Premieres 1742 - Handel: oratorio, "Messiah" (Julian date: April 13); 1801 - Haydn: oratorio "The Seasons," in Vienna; 1950 - Bernstein: incidental music "Peter Pan" (play by J.M. Barrie) at the Imperial Theater in New York City, conducted by Ben Steinberg; 1957 - Ives: String Quartet No. 1, in New York City (This music was completed in 1896); 1988 - Anthony Davis: "Notes from the Underground" (dedicated to Ralph Ellison), at Carnegie Hall in New York by the American Composers Orchestra, Paul Lustig Dunkel conducting; 1990 - Bright Sheng: "Four Movemenets" for piano trio, at Alice Tully Hall in New York City , by The Peabody Trio; 1992 - Joan Tower: Violin Concerto, with soloist Elmar Oliveira and the Utah Symphony, Joseph Silverstein conducting; 1997 - Stephen Paulus: opera "The Three Hermits," at House of Hope Presbyterian Church in St. Paul, Minn., with Thomas Lancaster conducting; Links and Resources On Haydn

Synopsis Haydn’s oratorio “The Seasons” had its premiere performance on this date in Vienna in 1801. Like its predecessor, “The Creation,” Haydn’s new oratorio was a great success, and, as before, Haydn received help with the text and a lot of advice from the versatile Gottfried Bernhard Baron van Swieten, an enthusiastic admirer of Handel oratorios and the music of J. S. Bach. Swieten’s text for “The Seasons” included many opportunities for Baroque-style “tone painting”—musical representations of everything from croaking frogs and workers toiling in the fields, sections that raised a lot of smiles in 1801 and still do today. Haydn, famous for his sense of humor, in this case humored the old-fashioned tastes of the Baron as well. Speaking of the text, since Haydn was tremendous popular in England, Baron van Swieten prepared an English-language version of his text, trying to fit the English words to the rhythm of his original German. Alas, the good Baron’s command of English was, to put it diplomatically, perhaps not as firm he imagined. So these days, ensembles wishing to perform Haydn’s oratorio have a choice: they can opt for Swieten’s quaint but clunky English version, or his more graceful German original. Music Played in Today's Program Franz Joseph Haydn (1732 - 1809) Ländler, fr The Seasons Academy of St Martin in the Fields; Neville Marriner, cond. Philips 438715 On This Day Deaths 1921 - Dutch composer Alfons Diepenbrock, age 58, in Amsterdam; 1948 - Mexican composer Manuel Ponce, age 65, in Mexico City; 1998 - American composer Mel Powell, age 75, in Sherman Oaks, Calif.; He won the Pulitzer Prize for Music in 1990; Premieres 1742 - Handel: oratorio, "Messiah" (Julian date: April 13); 1801 - Haydn: oratorio "The Seasons," in Vienna; 1950 - Bernstein: incidental music "Peter Pan" (play by J.M. Barrie) at the Imperial Theater in New York City, conducted by Ben Steinberg; 1957 - Ives: String Quartet No. 1, in New York City (This music was completed in 1896); 1988 - Anthony Davis: "Notes from the Underground" (dedicated to Ralph Ellison), at Carnegie Hall in New York by the American Composers Orchestra, Paul Lustig Dunkel conducting; 1990 - Bright Sheng: "Four Movemenets" for piano trio, at Alice Tully Hall in New York City , by The Peabody Trio; 1992 - Joan Tower: Violin Concerto, with soloist Elmar Oliveira and the Utah Symphony, Joseph Silverstein conducting; 1997 - Stephen Paulus: opera "The Three Hermits," at House of Hope Presbyterian Church in St. Paul, Minn., with Thomas Lancaster conducting; Links and Resources On Haydn

This is the final part of my Glenn Miller birthday salute. Today we'll be playing music from Glenn's Army Air Force Orchestra. There are some great selections on this show as they all came from RCA Victor's Glenn Miller - A Legendary Performer Part 3. I really enjoyed the music in this set as I was putting it together.  There is a great version of Mel Powell's Mission to Moscow featuring the great Peanuts Hucko on clarinet. Happy Birthday Glenn and thank you for the music. Please visit this podcast at http://bigbandbashfm.blogspot.com

WETF Show - Benny Goodman in 1945/6 . . from December '45 to Jan '46 - one radio show and two transcription sessions featuring the big band (with Stan Getz, Bernie Privin and Mel Powell) and the Trio, Quintet and Sextet (with Powell, Red Norvo, Mike Bryan and others). Some of Goodman's greatest and least inhibited playing under his own name --- Support this podcast: https://anchor.fm/john-clark49/support

Pianist/composer/improviser Vicki Ray's musicality has spanned the gamut of many new musical worlds - genre-be-damned. Vicki's expressive reach is just incredible. We explore her work with The California Ear Unit, the music of Morton Feldman, Mel Powell, Wadada Leo Smith, and the micro-tonal music of Harry Partch. All of that, and Vicki's current dive into the solo piano music of Cecil Taylor, on The ProgCast right now.

Nick and Simon discuss the pianist Mel Powell who had an illustrious career  in Jazz and Modern classical music.  He played with some of the top jazz players of the age and married a film star.  His later Years  were as an educator at the highest level   replacing Paul Hindemith as head of composition at Yale and setting up Cal Arts back in Hollywood. a pianist who deserves more attention perhaps. 

Stan Getz on 1945, 46 and 49 sessions for Savoy with Kai Winding's Kats, the Stan Getz Quartet and Orchestra featuring Shorty Rogers, Hank Jones, Max Roach, Al Cohn, Zoot Sims, Jimmy Raney and Earl Swope . . two Getz records with Benny Goodman (for Columbia, featuring Mel Powell and Billy Butterfield) are added for good measure --- Support this podcast: https://anchor.fm/john-clark49/support

Benny Goodman the sideman! While he was leading the most popular big band in the country, BG still made occasional appearances in the recording studio with other bands - Teddy Wilson, Mel Powell and Gene Krupa's sessions are presented here with BG along with the leaders, Harry James, Jonah Jones, Roy Eldridge, Chu Berry, Ben Webster, Jess Stacy and Israel Crosby among others. --- Support this podcast: https://anchor.fm/john-clark49/support

In this episode, we bring you pianist Mel Powell, pianist Mary Lou Williams, and pianist/vocalist Nat King Cole.

David Raiklen, a composer, producer, and host. David was mentored by Oscar Winner John Williams, and Pulitzer Prize winner Mel Powell. He has worked for Fox, Sony, Disney, Sprint, Mattel, Warner bros. and PBS. Films he scored have starred Elliot Gould, Doug Jones, and Martin Sheen.

About: Jill Fraser is a composer and electronic music pioneer. She was mentored by Morton Subotnick, studied with Mel Powell and Earle Brown at CalArts and attended master classes with, among others John Cage and Lou Harrison. After finishing her master’s degree in composition she worked at Serge Modular in Hollywood and took her modular synths into the Hollywood studios to score films. Her composing credits on film scores include Personal Best directed by Robert Towne with collaborator, the infamous composer Jack Nitzsche and Hardcore (starring George C Scott, directed by Paul Schrader). Jill has composed both electronic and acoustic music for hundreds of TV commercials for Lexus, BMW, Honda, Porsche, Nissan, Mazda, Mitsubishi, Mattel, Carl’s Jr, NBC, Apple Computers, Adidas, Estee Lauder, Baskin Robbins, Yamaha Motorcycles and many, many others. She has won 3 Clios for original music and is a voting member of the Academy of Television Arts and Sciences. She toured with singer Buffy Sainte Marie and performance artist Ivan E Roth. Her performances with Ivan were part of the vibrant Los Angeles punk and spoken word scene and she played live modular synthesizer, opening for acts including the Minutemen and Henry Rollins. Ivan and Jill released the CD Alphabetical Disorders on Periodic Music featuring “Life is a Noun”. Links: http://www.jillfrasermusic.com/ https://thezzyzxsociety.bandcamp.com/releases https://www.facebook.com/jillfrasermusic

Shellac Stack No. 157 pays homage to Debussy, Previn, and the fighting men of WWI. Along the way, we hear from Helen Kane, George Olsen, Mario Perry, Arthur Fields, the Tailgate Jazz Band, Mel Powell, and even the Mormon Tabernacle Choir.

Shellac Stack No. 128 parades and polkas to victory! Alongside some terrific jazz from Benny Carter, Mel Powell, and Fats Waller, we hear some very good vocals from Helen Richards and Betty Hutton. The jury's still out on Florence Foster Jenkins. We also do a bit of sleuthing into a mysterious record by the “Reno … Continue reading »

www.bulletproofagencynetwork.com @BulletproAgency   Bulletproof Agency proudly presents this podcast   In this episode, we are back at #BeeAuthentic for The Steve Kuncewicz panel to discuss brand authenticity in the era of fake news. Steve (Slater & Gordon) is joined by Mel Powell and David Edmundson-Bird (Manchester Metropolitan University Business School), and Anna Varley Jones (Weber Shandwick).   Topics covered in this episode: What is fake news?. Millennials: are they better equipped to identify and avoid fake news? Anna Varley Jones Talks about how Weber Shandwick tackles the problem. The level of responsibility mainstream news media bears. How many brands are actually authentic? The legal and social responsibility of platforms like Facebook or Google for hosting fake news. Can influencers be a trusted source of information amidst fake news? Self-regulation could be the way forward. Can you regain public trust once you’ve lost it and Does a brand’s bad taste really affect their bottom line?   Presenter Bio A journalist and broadcaster for nearly 30 years, Andy runs his own media consultancy in Manchester working with clients like Weber Shandwick, the NFU, and the Institute of Directors. Andy started in print before 17 years as a BBC presenter & reporter, appearing on BBC Breakfast, Five Live & the Today programme. For five years Andy presented the award-winning BBC1 current affairs programme Inside Out, travelling across Europe making documentaries on terrorism, the smuggling of illegal guns into the UK and the Manchester IRA bomb. He also made films with Sir Bobby Charlton, Yoko Ono, Lord Heseltine and Johnny Marr.   Panel Bios Steve is a principal lawyer in the business advisory team at Slater and Gordon Lawyers in Manchester.He specialises in intellectual property, media and social media law with a particular emphasis on the creative, digital and technology sector. Steve is listed as a “recommended lawyer” in tier 2 of the Legal 500s 2014, 2015, and 2016 North West Technology, Media & Telecoms section.   He is a regular media spokesperson, and has given interviews to the local and national press through BBC Breakfast, Sky News, ITV, BBC Radio 2, BBC Radio 4, BBC Radio 5 Live and LBC London. Steve’s first book, “Legal Issues of Web 2.0 and Social Media”, was published in June 2011 and his second book “Legal Issues of Corporate Communication in the Online World” was published in June 2012.”   Twitter: @SteveKuncewicz   Website: http://www.blmlaw.com   Mel Powell Mel Powell is a Senior Lecturer in Public Relations and Associate Head for Student Employability at Manchester Metropolitan University Business School. After 10 years as a local authority PR practitioner and then as a theatre marketer, she started to teach PR at university level in 1996 at Leeds Beckett University before moving to Manchester in 2002.   Mel is a member of the PRCA and is CIPR Accredited Practitioner of the CIPR, serving as a co-opted member of the CIPR North West Regional Group since 2011. As well as public relations, she specialises in personal professional development, including personal branding, values and ethics, as well as communications and media theory, which has led to a developing specialist interest in the area of ‘fake news’.   Website: http://www2.mmu.ac.uk/   Twitter: @MMUPRMel   David Edmundson-Bird David is Principal Lecturer in Digital Marketing & Enterprise at Manchester Metropolitan University, where he runs a number of digital communications programmes, and is Course Leader for Manchester Met’s new full-time MSc Digital Marketing Communications.   David founded Manchester Met’s Agency Life programme 5 years ago to enable students experience live work skills in the workplace very early in their course. He also set up their first part-time MSc in Digital Marketing in 2007, a programme that has now graduated nearly 300 high-profile professionals into the profession.   He has enjoyed several spells in academia as well as senior management roles in the digital sector, and even helped to set up Manchester’s second web design agency back in 1995   Website: http://www2.mmu.ac.uk/   Twitter: @groovegenerator   Anna Varley Jones Anna Varley Jones is Weber Shandwick Manchester’s consumer marketing director and leads an integrated team of marketing experts working on national and global clients in the travel, retail, FMCG and technology sectors.   Specialising in delivering smart campaigns that have real impact for a business, Anna has significant experience as a trusted advisor big brands from strategy development through to campaign delivery. Anna is passionate about insight-driven creativity and develops campaigns built on robust insights, trends and data to create compelling stories that resonate with consumers. Anna leads integrated project teams ensuring that clients have access to the planning, creative, technology and content specialists that they need to drive impactful and disruptive work.   She has a Masters Distinction in Public Relations.   Website: http://webershandwick.co.uk/   Twitter: @annavarleyjones Next up we have Robert Craven helping you build the best business yet!

This June 6th, 2017 is the anniversary of the invasion of Normandy better known as D-Day. It was a day that many American service men lost their lives. To pay tribute to those who served during that fateful time I would like to present some music from Glenn Miller and his Army Air-Force Orchestra. In order to get the timing right I've picked four numbers and two live radio remotes. Glenn's show was called "I Sustain The Wings". We'll be hearing a 13 minute show and a 29 minute show. There is some great music in these shows and I hope you enjoy it as we remember the many events that happened on June 6th, 1944. Please visit this podcast at http://bigbandbashfm.blogspot.com

This week we continue our look at the arrangers. The arranger has a vast store of musical knowledge and uses it to take 15 to 20 musicians and create a musical masterpiece. They decide who plays when, what section is playing, who takes a solo and much more. Benny Goodman had a lot of the great arrangers working for him in the 1930's so I thought it would be interesting to focus on his band's hits and see who they were arranged by. We'll be hearing arrangements by Mel Powell, Eddie Sauter, Fletcher Henderson and more. I hope you will tune in. Please visit this podcast at http://www.fgmiller.com/bbb/

Musik af Bach, Aksel Borup-Jørgensen, Sven Erik Werner, Vivaldi og Mel Powell. Michala Petri, blokfløjte. Pia Rose Hansen, mezzosopran. Mahan Esfahani, cembalo. Jens E. Christensen, orgel. (Vor Frelsers Kirke, København 25. oktober). Vært: Mette Greiffenberg.

- Vi människor delar mer med varandra än vad som skiljer oss åt. Kanske kan vi nå allra längst med musik, säger den hyllade tonsättaren Kerstin Jeppsson i denna dokumentär av Birgitta Tollan. Kerstin Jeppsson föddes 1948 och valdes in i Föreningen Svenska Tonsättare 1977 som andra kvinna i modern tid. Hennes musik anses vara vid sidan av huvudfåran i den nya svenska musiken och som stilistisk trolös. Med sin livsbejakelse och oaffekterade egenart försöker hon skildra och tolka världen och existensen genom sin musik.Kerstin Jeppsson är mycket välutbildad. Vid Musikhögskolan i Stockholm blev hon musiklärare, sångsolist, sångpedagog och dirigent. Samtidigt studerade hon komposition för den lyrisk-romantiske expressionisten Maurice Karkoff.Hon fick diplom 1977 efter studier i komposition och dirigering vid Konservatoriet i Krakow, Polen, där hennes lärare hette Krzysztof Penderecki, Krzysztof Meyer och Jozef Radwan.Två år senare blev Kerstin Jeppsson Master of Fine Arts vid California Institute of Arts i Valencia, USA, där både Mel Powell och Morton Subotnik undervisade henne i komposition.Som om inte det vore nog så blev Kerstin Jeppsson 1976 fil kand vid Stockholms Universitet i musikvetenskap, pedagogik och socialantropologi. -Redan som barn var jag en väldigt nyfiken person, berättar Kerstin Jeppsson, som växte upp i en familj där musik var starkt förankrad. Jag målade, dansade, hittade på pjäser, byggde cirkusar och sjöng. Jag var väldigt, väldigt kreativt tröttsam och min mamma drog en lättnadens suck när jag började skolan!Alla Kerstin Jeppssons verk är väldigt personliga. Cellokonserten komponerade hon i sorgearbetet efter en nära och kär anhörigs död. - Tre sånger om livet kom till när min yngsta systers lilla barn rycktes bort. Det var så ofattbart, obegripligt och jag drabbades av stor vrede och sorg som jag kanaliserade in i komponerandet. - Kerstin Jeppsson försöker bryta hierarkien mellan de fyra stränginstrumenten i stråkkvartetterna, säger Patrik Swedrup från Talekvartetten och Kungliga filharmonikerna i Stockholm. Talekvartetten spelade in två av Jeppssons stråkkvartetter.Mezzosopranen Ingrid Tobiasson, tidigare solist under 25 år vid Kungliga Operan i Stockholm, sjöng in sviten Impossible med texter ur Göran Sonnevis diktsvit Det omöjliga tillsammans med KammarensembleN och dirigenten Joakim Unander. - Det är en av mina stoltaste inspelningar! När jag fick skivan i min hand blev jag otroligt glad. Musiken är fantastiskt, vårt samspel är superbt och Sonnevis dikter är underbara, berättar Ingrid Tobiasson. - Kerstin Jeppsson har en stor känslighet för texter, säger Marie Wärme i Wärmekvartetten, som spelade in verket Mater Mea Min moder med texter av Elisabet Hermodsson.Även poesi av Pär Lagerkvist, Karin Boye, Edith Södergran, Elsa Grave och Ulla Olin har Kerstin Jeppsson tonsatt. - Livet går inte förbi mig. Jag erfar, uppfattar och upplever väldigt mycket hos mig själv och hos andra människor och har lätt att ta del i vad andra människor berättar eller uttrycker. Vi människor delar mer med varandra än vad som skiljer oss åt. Kanske kan vi nå allra längst med musik, säger Kerstin Jeppsson i programmet. En P2 Dokumentär av Birgitta Tollan.Låtlista: 14:00 Katarina Dalayman, Mats Rondin, Sveriges Radios Symfoniorkester (Stockholm) - Embrio 14:03 Katarina Dalayman, Mats Rondin, Sveriges Radios Symfoniorkester (Stockholm) - Embrio 14:10 Gustaf Sjökvist - Till Dig 14:13 Jonny Axelsson - Prometheus 14:21 Ingrid Tobiasson, Joakim Unander, Kammarensemblen - Impossibile 14:26 Ingrid Tobiasson, Joakim Unander, Kammarensemblen - Impossibile 14:27 Ingrid Tobiasson, Joakim Unander, Kammarensemblen - Impossibile 14:30 Ingrid Tobiasson, Joakim Unander, Kammarensemblen - Impossibile 14:32 Ingrid Tobiasson, Joakim Unander, Kammarensemblen - Impossibile 14:35 Ingrid Tobiasson, Joakim Unander, Kammarensemblen - Impossibile 14:37 Tale-Kvartetten - Stråkkvartett Nr 2 14:44 Talekvartetten - StråKkvartett Nr. 3 14:47 Wärmekvartetten - Revelationes 14:50 Wärmekvartetten - Revelationes 14:51 Hanna Dahlqvist Sveriges Radios Symfoniorkester. Drigent: Johannes Gustavsson - Cellokonsert

- Vi människor delar mer med varandra än vad som skiljer oss åt. Kanske kan vi nå allra längst med musik, säger den hyllade tonsättaren Kerstin Jeppsson i denna dokumentär av Birgitta Tollan. Kerstin Jeppsson föddes 1948 och valdes in i Föreningen Svenska Tonsättare 1977 som andra kvinna i modern tid. Hennes musik anses vara vid sidan av huvudfåran i den nya svenska musiken och som stilistisk trolös. Med sin livsbejakelse och oaffekterade egenart försöker hon skildra och tolka världen och existensen genom sin musik.Kerstin Jeppsson är mycket välutbildad. Vid Musikhögskolan i Stockholm blev hon musiklärare, sångsolist, sångpedagog och dirigent. Samtidigt studerade hon komposition för den lyrisk-romantiske expressionisten Maurice Karkoff.Hon fick diplom 1977 efter studier i komposition och dirigering vid Konservatoriet i Krakow, Polen, där hennes lärare hette Krzysztof Penderecki, Krzysztof Meyer och Jozef Radwan.Två år senare blev Kerstin Jeppsson Master of Fine Arts vid California Institute of Arts i Valencia, USA, där både Mel Powell och Morton Subotnik undervisade henne i komposition.Som om inte det vore nog så blev Kerstin Jeppsson 1976 fil kand vid Stockholms Universitet i musikvetenskap, pedagogik och socialantropologi. -Redan som barn var jag en väldigt nyfiken person, berättar Kerstin Jeppsson, som växte upp i en familj där musik var starkt förankrad. Jag målade, dansade, hittade på pjäser, byggde cirkusar och sjöng. Jag var väldigt, väldigt kreativt tröttsam och min mamma drog en lättnadens suck när jag började skolan!Alla Kerstin Jeppssons verk är väldigt personliga. Cellokonserten komponerade hon i sorgearbetet efter en nära och kär anhörigs död. - Tre sånger om livet kom till när min yngsta systers lilla barn rycktes bort. Det var så ofattbart, obegripligt och jag drabbades av stor vrede och sorg som jag kanaliserade in i komponerandet. - Kerstin Jeppsson försöker bryta hierarkien mellan de fyra stränginstrumenten i stråkkvartetterna, säger Patrik Swedrup från Talekvartetten och Kungliga filharmonikerna i Stockholm. Talekvartetten spelade in två av Jeppssons stråkkvartetter.Mezzosopranen Ingrid Tobiasson, tidigare solist under 25 år vid Kungliga Operan i Stockholm, sjöng in sviten Impossible med texter ur Göran Sonnevis diktsvit Det omöjliga tillsammans med KammarensembleN och dirigenten Joakim Unander. - Det är en av mina stoltaste inspelningar! När jag fick skivan i min hand blev jag otroligt glad. Musiken är fantastiskt, vårt samspel är superbt och Sonnevis dikter är underbara, berättar Ingrid Tobiasson.  - Kerstin Jeppsson har en stor känslighet för texter, säger Marie Wärme i Wärmekvartetten, som spelade in verket Mater Mea Min moder med texter av Elisabet Hermodsson.Även poesi av Pär Lagerkvist, Karin Boye, Edith Södergran, Elsa Grave och Ulla Olin har Kerstin Jeppsson tonsatt. - Livet går inte förbi mig. Jag erfar, uppfattar och upplever väldigt mycket hos mig själv och hos andra människor och har lätt att ta del i vad andra människor berättar eller uttrycker. Vi människor delar mer med varandra än vad som skiljer oss åt. Kanske kan vi nå allra längst med musik, säger Kerstin Jeppsson i programmet. En P2 Dokumentär av Birgitta Tollan.