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6 episodes with Muhal Richard Abrams
9 episodes with Muhal Richard Abrams
4 episodes with Muhal Richard Abrams
4 episodes with Muhal Richard Abrams
2 episodes with Muhal Richard Abrams
5 episodes with Muhal Richard Abrams
2 episodes with Muhal Richard Abrams
2 episodes with Muhal Richard Abrams
2 episodes with Muhal Richard Abrams
GRAMMY® Winning TrumpeterIn This Episode, To Get Us in a Celebration of Music I Played 'Black Girl Magic" (feat. Badia Farha, Mumu Fresh & Nikki Grier) & Harlem Shake On "En Motion". Just a Couple Songs from the Amazing Nabate Isles'.Nabaté Isles is a Grammy-winning trumpeter as well as a composer and producer, born and raised in New York City. Nabaté is releasing his second album called, En Motion, to be released on Ropeadope Records in the Fall of 2022. The album features the core lineup of Sam Barsh (also the album's producer), Eric Harland, Kaveh Rastegar, David Gilmore and Rachel Eckroth & guests include James Francies, Ben Wendel, Victor Provost, Sasha Berliner, Badia Farha. Added featured performers on the album are Mumu Fresh, Kardinal Offishall and Chuck D.Nabaté has performed, toured and/or recorded with unique artists Yasiin Bey (aka Mos Def), Christian McBride, Chuck D, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Leslie Odom, Jr., Robert Glasper, Dianne Reeves, José James, Savion Glover, Gregory Porter, Freda Payne, Shareefa, Oliver Lake, Steve Coleman, Ravi Coltrane, Steve Wilson, Joey DeFrancesco, Muhal Richard Abrams, Matthew Shipp, Charli Persip, Mike Longo, Uri Caine, Buster Williams, Grady Tate, Jay Hoggard, Holt McCallany, the Mingus Big Band, and the José Limon Dance Company. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. Nabaté also received two commissions from the Festival of New Trumpet Music to compose and premiere new compositions entitled, ‘We Need Unity in the Community' and 'Same Strife, Different Life'.Nabaté provided private trumpet instruction to the actor Rob Brown for his role as trumpeter Delmond Lambreaux on the HBO series, ‘Treme'. Nabaté was part of three Christian McBride Big Band's Grammy-winning albums, ‘The Good Feeling', ‘Bringin' It' and 'For Jimmy, Wes & Oliver' as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, ‘Empire II'. He recently completed a score for his first feature called, 'The Rhythm in Blue'. He recently co-released a record dedicated to the late, great thespian and humanitarian, Chadwick Boseman called, 'Super Hero: Ode to Chadwick Boseman' with Niles, featuring Beth Griffith-Manley. As a sports trivia expert, he is the only person to Stump The Schwab on ESPN (Season 2) and be crowned a Sports Jeopardy champion (Season 1, Episode #8), on Crackle.com. Now, he created and hosts his own podcast, 'Whe're They At', which profiles prominent retired athletes (https://linktr.ee/Whe_reTheyAt). The show has featured numerous Hall of Famers and luminaries like Chuck D, Dr. John Carlos, Chris Evert, Darrelle Revis, Warren Moon, David Robinson, Marshall Faulk, Tom Glavine, Larry Brown, Branford Marsalis, Taylor Hackford, to name a few.© 2025 All Rights Reserved© 2025 BuildingAbundantSuccess!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Amina Claudine Myers was one of the earliest members of the AACM, and if you're listening to this podcast, I'm pretty sure you know what the AACM is, but just in case you don't, the Association for the Advancement of Creative Musicians is an organization formed by Muhal Richard Abrams, Roscoe Mitchell and a few other musicians in Chicago in the mid-1960s. A tremendous number of the most important avant-garde jazz musicians of the mid to late 20th century and the 21st century have come out of the AACM, including Anthony Braxton, Henry Threadgill, Fred Anderson, the Art Ensemble of Chicago, Wadada Leo Smith, Matana Roberts, Nicole Mitchell, Tomeka Reid, and Amina Claudine Myers. There's a tremendous book by trombonist and composer George Lewis, called A Power Stronger Than Itself, that's the best possible introduction to the group. You should absolutely read that if you're a fan of any of the musicians I just named.Now, all the founders and early members of the AACM worked together, supporting each other, and moving the music forward in large part by composing and performing original work. What's interesting — and this is something we talk about in this conversation — is that Amina Claudine Myers' early albums included some original music, but they also included interpretations of other people's compositions, specifically Marion Brown and Bessie Smith. But she always paired that music up with pieces of her own that demonstrated a really fascinating compositional voice that was a combination of jazz, gospel, blues, and classical music. She took all her influences and early training and combined them into something that sounded like nobody else out there, and was incredibly powerful.In addition to making her own records, she's been a part of albums by Lester Bowie, Henry Threadgill, Muhal Richard Abrams, Anthony Braxton, Kalaparusha Maurice McIntyre, Bill Laswell, and many other people. Her latest release is a collection of duos with Wadada Leo Smith, the first time they've recorded together since 1969, and their first collaboration as leaders.I'm really glad I had the chance to interview her. We talked about a lot of things — the AACM, the role of spirituality in music and the way the term spiritual jazz is used to gatekeep certain things, her work with all the artists I just mentioned, her upbringing in Arkansas and Texas and how it influenced her writing... this is a really wide-ranging conversation that I think will be really interesting for you to hear. I thank you as always for listening.
Rufus Reid is an extremely important but under-recognized figure in modern jazz. He's always been someone who's had one foot in the mainstream and one in the avant-garde — he did a lot of work with soul jazz and jazz-funk saxophonist Eddie Harris in the early 1970s, before joining Dexter Gordon's band when Gordon made his famous US comeback after years in Europe. He was also part of Andrew Hill's band in the late '80s, and has done a ton of straightahead records. But he was also a member of Jack DeJohnette's Special Edition in the early '80s, and he was one of the four bassists on Henry Threadgill's X-75 album, and he played on Muhal Richard Abrams' Things To Come From Those Now Gone, and he played with Anthony Braxton on the two Seven Standards 1985 albums with Hank Jones on piano and Victor Lewis on drums. He was also a member of the World Bass Violin Ensemble, which was a group of six bassists that made an album for Black Saint in 1984. Reid has also done a lot of work as a leader. He's made a string of albums in collaboration with drummer Akira Tana and various other musicians; he's done bass duo albums with Michael Moore; and he's led the Out Front trio with pianist Steve Allee and drummer Duduka Da Fonseca. In 2014, he released Quiet Pride: the Elizabeth Catlett Project, an album that featured a total of 19 instrumentalists and a singer all paying tribute to a sculptor whose work focused on the Black female experience in America. Reid is also an educator and the author of The Evolving Bassist, a book originally published in 1974 that's still a standard text for bassists. In this interview, we talk about Reid's work with Eddie Harris, with Dexter Gordon, with Henry Threadgill, and with his own ensembles. We talk about a six-CD set he made with Frank Kimbrough a few years ago, recording all of Thelonious Monk's compositions. We talk about his approach to the instrument, his influences, and about his new album, which is a duo collaboration with pianist Sullivan Fortner. This was a really enjoyable and informative conversation, and I think you'll come away from it with a new or perhaps a renewed appreciation for someone who's been a major figure in jazz for 50 years and isn't stopping yet.
GRAMMY® Winning TrumpeterIn This Episode, To Get Us in a Happy Holiday Mood You Listened to Black Girl Magic (feat. Badia Farha, Mumu Fresh & Nikki Grier) & Harlem Shake On "En Motion". Just a Couple Songs from Great New Music from Nabate Isles'.Nabaté Isles is a Grammy-winning trumpeter as well as a composer and producer, born and raised in New York City. Nabaté is releasing his second album called, En Motion, to be released on Ropeadope Records in the Fall of 2022. The album features the core lineup of Sam Barsh (also the album's producer), Eric Harland, Kaveh Rastegar, David Gilmore and Rachel Eckroth & guests include James Francies, Ben Wendel, Victor Provost, Sasha Berliner, Badia Farha. Added featured performers on the album are Mumu Fresh, Kardinal Offishall and Chuck D.Nabaté has performed, toured and/or recorded with unique artists Yasiin Bey (aka Mos Def), Christian McBride, Chuck D, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Leslie Odom, Jr., Robert Glasper, Dianne Reeves, José James, Savion Glover, Gregory Porter, Freda Payne, Shareefa, Oliver Lake, Steve Coleman, Ravi Coltrane, Steve Wilson, Joey DeFrancesco, Muhal Richard Abrams, Matthew Shipp, Charli Persip, Mike Longo, Uri Caine, Buster Williams, Grady Tate, Jay Hoggard, Holt McCallany, the Mingus Big Band, and the José Limon Dance Company. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. Nabaté also received two commissions from the Festival of New Trumpet Music to compose and premiere new compositions entitled, ‘We Need Unity in the Community' and 'Same Strife, Different Life'.Nabaté provided private trumpet instruction to the actor Rob Brown for his role as trumpeter Delmond Lambreaux on the HBO series, ‘Treme'. Nabaté was part of three Christian McBride Big Band's Grammy-winning albums, ‘The Good Feeling', ‘Bringin' It' and 'For Jimmy, Wes & Oliver' as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, ‘Empire II'. He recently completed a score for his first feature called, 'The Rhythm in Blue'. He recently co-released a record dedicated to the late, great thespian and humanitarian, Chadwick Boseman called, 'Super Hero: Ode to Chadwick Boseman' with Niles, featuring Beth Griffith-Manley. As a sports trivia expert, he is the only person to Stump The Schwab on ESPN (Season 2) and be crowned a Sports Jeopardy champion (Season 1, Episode #8), on Crackle.com. Now, he created and hosts his own podcast, 'Whe're They At', which profiles prominent retired athletes (https://linktr.ee/Whe_reTheyAt). The show has featured numerous Hall of Famers and luminaries like Chuck D, Dr. John Carlos, Chris Evert, Darrelle Revis, Warren Moon, David Robinson, Marshall Faulk, Tom Glavine, Larry Brown, Branford Marsalis, Taylor Hackford, to name a few.© 2023 All Rights Reserved© 2023 BuildingAbundantSuccess!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
ARCHIE SHEPP & ROSWELL RUDD - LIVE IN NEW YORK - New York, September 23 & 24, 2000 Acute motelitis, Steam, Bamako Roswell Rudd, Grachan Moncur, III (tb) Archie Shepp (ts,p,vcl) Reggie Workman (b) Andrew Cyrille (d) DEWEY REDMAN - LIVING ON THE EDGE - New York, September 13 & 14, 1989 Boo boodoop, Blues for J.A.M. Dewey Redman (ts,as) Geri Allen (p) Cameron Brown (b) Eddie Moore (d) MUHAL RICHARD ABRAMS / GEORGE LEWIS / ROSCOE MITCHELL - STREAMING - Brooklyn, NY, January 8 & 9, 2005 Dramaturns George Lewis (tb,laptop) Roscoe Mitchell (sop,as,perc) Muhal Richard Abrams (p,bell,bamboo-fl,taxi-hrn,perc)
THIS WEEK's BIRDS: Astrud Gilberto (RIP); Karl Evalgelista's Apura; Noite Illustrada; Agepê; Muhal Richard Abrams; Gordon Koang; Florence Adooni; Dariush Talâl; Samy el Maghribi; Teun Creemers; Talal Salamah; Nabeel; Abel Silva & Roberto Menascal; Mlamani Park Orchestra; Tartitl Waganda Kenya; Lucha Campillo; Belita Palma; Cesaria Evora; much, much more ...! LISTEN LIVE: Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG. 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: PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/17479459/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/ Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com
1ere émission de la 55e session...Cette semaine, du gros free jazz! En musique: Muhal Richard Abrams sur l'album Things to Come From Those Now Gone (Delmark, 1975); Michael Cosmic sur l'album Peace in the World (Cosmic, 1975); Art Ensemble of Chicago sur l'album The Sixth Decade: From Paris to Paris (RogueArt, 2023); Large Unit sur l'album Clusterfuck (PNL, 2022); St. Monday Quad sur l'album Wheelie-Ing (Otoroku, 2022); Lori Freedman & Scott Thomson sur l'album Amber (Clean Feed, 2022)...
GRAMMY® Winning TrumpeterIn This Episode, To Get Us in a Happy Holiday Mood You Listened to Black Girl Magic (feat. Badia Farha, Mumu Fresh & Nikki Grier) & Harlem Shake On "En Motion". Just a Couple Songs from Great New Music from Nabate Isles'.Nabaté Isles is a Grammy-winning trumpeter as well as a composer and producer, born and raised in New York City. Nabaté is releasing his second album called, En Motion, to be released on Ropeadope Records in the Fall of 2022. The album features the core lineup of Sam Barsh (also the album's producer), Eric Harland, Kaveh Rastegar, David Gilmore and Rachel Eckroth & guests include James Francies, Ben Wendel, Victor Provost, Sasha Berliner, Badia Farha. Added featured performers on the album are Mumu Fresh, Kardinal Offishall and Chuck D.Nabaté has performed, toured and/or recorded with unique artists Yasiin Bey (aka Mos Def), Christian McBride, Chuck D, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Leslie Odom, Jr., Robert Glasper, Dianne Reeves, José James, Savion Glover, Gregory Porter, Freda Payne, Shareefa, Oliver Lake, Steve Coleman, Ravi Coltrane, Steve Wilson, Joey DeFrancesco, Muhal Richard Abrams, Matthew Shipp, Charli Persip, Mike Longo, Uri Caine, Buster Williams, Grady Tate, Jay Hoggard, Holt McCallany, the Mingus Big Band, and the José Limon Dance Company. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. Nabaté also received two commissions from the Festival of New Trumpet Music to compose and premiere new compositions entitled, ‘We Need Unity in the Community' and 'Same Strife, Different Life'.Nabaté provided private trumpet instruction to the actor Rob Brown for his role as trumpeter Delmond Lambreaux on the HBO series, ‘Treme'. Nabaté was part of three Christian McBride Big Band's Grammy-winning albums, ‘The Good Feeling', ‘Bringin' It' and 'For Jimmy, Wes & Oliver' as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, ‘Empire II'. He recently completed a score for his first feature called, 'The Rhythm in Blue'. He recently co-released a record dedicated to the late, great thespian and humanitarian, Chadwick Boseman called, 'Super Hero: Ode to Chadwick Boseman' with Niles, featuring Beth Griffith-Manley. Nabaté Isles' broadcasting and production career is just as vast as his music career. He has covered a plethora of sporting events involving the NFL, NBA, MLB, NCAA Basketball, and world boxing championship prizefights. Nabaté co-hosted a SiriusXM boxing show, Going The Distance with the well-respected Teddy Atlas and Wally Matthews. He was featured and consulted with the ESPN 30-for-30 documentary short, '86-32'. Also, he was an accomplished producer for SiriusXM NBA Radio. As a sports trivia expert, he is the only person to Stump The Schwab on ESPN (Season 2) and be crowned a Sports Jeopardy champion (Season 1, Episode #8), on Crackle.com. Now, he created and hosts his own podcast, 'Whe're They At', which profiles prominent retired athletes (https://linktr.ee/Whe_reTheyAt). The show has featured numerous Hall of Famers and luminaries like Chuck D, Dr. John Carlos, Chris Evert, Darrelle Revis, Warren Moon, David Robinson, Marshall Faulk, Tom Glavine, Larry Brown, Branford Marsalis, Taylor Hackford, to name a few.© 2022 All Rights Reserved© 2022 BuildingAbundantSuccess!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
durée : 00:59:39 - En fumée - par : Nathalie Piolé -
Professor Bill Lowe has recorded with Muhal Richard Abrams, Henry Threadgill, Frank Foster and many others. We talk about his work with the Makanda Project and leading his own projects around Boston. He's such a sage person; so many pearls of wisdom in this episode!-Follow @BosBones on instagram and facebook -Download at your favorite podcast store -Sign up for the mailing list at www.MichaelPrentky.com/BosBones -Support the show (https://venmo.com/michael-prentky)Support the show
We're celebrating the announcement of the 2023 NEA Jazz Masters by revisiting my interview with 2021 NEA Jazz Master and 2016 Pulitzer-Prize winner Henry Threadgill. Threadgill remains one of music's great innovators—as a composer and as a musician. In this podcast, Threadgill reflects on the vast musical legacy he found in his hometown of Chicago and the early influence of Muhal Richard Abrams and The Association for the Advancement of Creative Musicians. He looks back at his ensembles and the various musical languages he's expressed with each as well as his overall philosophy of composing and making music—explaining why he believes the true test of music is in the live performance. Henry Threadgill is not just a musical seeker, he's also a deeply thoughtful and very funny storyteller. Follow us on Apple Podcasts!
We're celebrating the announcement of the 2023 NEA Jazz Masters by revisiting my interview with 2021 NEA Jazz Master and 2016 Pulitzer-Prize winner Henry Threadgill. Threadgill remains one of music's great innovators—as a composer and as a musician. In this podcast, Threadgill reflects on the vast musical legacy he found in his hometown of Chicago and the early influence of Muhal Richard Abrams and The Association for the Advancement of Creative Musicians. He looks back at his ensembles and the various musical languages he's expressed with each as well as his overall philosophy of composing and making music—explaining why he believes the true test of music is in the live performance. Henry Threadgill is not just a musical seeker, he's also a deeply thoughtful and very funny storyteller. Follow us on Apple Podcasts!
Dopo il ritorno nel '70 da Parigi, le strade di Leo Smith e Anthony Braxton si erano separate. Nell'ottobre del '74 però Smith è di nuovo in studio di incisione con Braxton, per un brano in trio con Richard Teitelbaum (negli anni sessanta a Roma uno degli animatori di Musica Elettronica Viva) che viene pubblicato nell'album di Braxton Trio and Duet. Nel febbraio del '76 poi Smith è di nuovo con Anthony Braxton per l'incisione dell'album di Braxton Creative Music Orchestra 1976; la formazione è molto ampia, oltre venti musicisti, e qualificatissima, praticamente una all stars (fra i componenti Roscoe Mitchell, Jon Faddis, George Lewis, Muhal Richard Abrams, Frederic Rzewski, Teitelbaum, Karl Berger, Dave Holland, Barry Altschul), le composizioni sono di Braxton, ma Smith ha un ruolo di rilievo in questo album che è un lavoro molto significativo nella produzione di Braxton degli anni settanta: suona in due dei sei brani dell'album, ma dirige l'orchestra in altri tre.
Dopo il ritorno nel '70 da Parigi, le strade di Leo Smith e Anthony Braxton si erano separate. Nell'ottobre del '74 però Smith è di nuovo in studio di incisione con Braxton, per un brano in trio con Richard Teitelbaum (negli anni sessanta a Roma uno degli animatori di Musica Elettronica Viva) che viene pubblicato nell'album di Braxton Trio and Duet. Nel febbraio del '76 poi Smith è di nuovo con Anthony Braxton per l'incisione dell'album di Braxton Creative Music Orchestra 1976; la formazione è molto ampia, oltre venti musicisti, e qualificatissima, praticamente una all stars (fra i componenti Roscoe Mitchell, Jon Faddis, George Lewis, Muhal Richard Abrams, Frederic Rzewski, Teitelbaum, Karl Berger, Dave Holland, Barry Altschul), le composizioni sono di Braxton, ma Smith ha un ruolo di rilievo in questo album che è un lavoro molto significativo nella produzione di Braxton degli anni settanta: suona in due dei sei brani dell'album, ma dirige l'orchestra in altri tre.
Iniziamo la puntata facendo un piccolo passo indietro: prima di partire per Parigi, nel luglio del '69 Leo Smith partecipa alla registrazione di quella che diventerà la seconda facciata de Young at Heart/Wise in Time, secondo album di Muhal Richard Abrams: del quintetto raccolto in studio fa parte anche il sassofonista Henry Theadgill, che, dopo aver collaborato con Abrams nella prima metà degli anni sessanta, è appena tornato dal Vietnam. Rientrato da Parigi negli Stati Uniti nel '70, Smith registra con la Creative Construction Company, cioè un sestetto comprendente Anthony Braxton, Leroy Jenkins e Muhal Richard Abrams, solidarizza con Henry Threadgill, e collabora con Marion Brown, sassofonista che nei sessanta ha inciso con Shepp e ha persino partecipato ad Ascension di Coltrane, e poi dal '67 è stato tre anni in Europa: la storia di Brown è dunque più lunga e importante di quella di Smith, che ha inciso solo con i chicagoani che hanno appena cominciato a farsi conoscere: ma è proprio Smith a dare l'impronta più originale alle registrazioni in duo realizzate con Brown nel '70.
Iniziamo la puntata facendo un piccolo passo indietro: prima di partire per Parigi, nel luglio del '69 Leo Smith partecipa alla registrazione di quella che diventerà la seconda facciata de Young at Heart/Wise in Time, secondo album di Muhal Richard Abrams: del quintetto raccolto in studio fa parte anche il sassofonista Henry Theadgill, che, dopo aver collaborato con Abrams nella prima metà degli anni sessanta, è appena tornato dal Vietnam. Rientrato da Parigi negli Stati Uniti nel '70, Smith registra con la Creative Construction Company, cioè un sestetto comprendente Anthony Braxton, Leroy Jenkins e Muhal Richard Abrams, solidarizza con Henry Threadgill, e collabora con Marion Brown, sassofonista che nei sessanta ha inciso con Shepp e ha persino partecipato ad Ascension di Coltrane, e poi dal '67 è stato tre anni in Europa: la storia di Brown è dunque più lunga e importante di quella di Smith, che ha inciso solo con i chicagoani che hanno appena cominciato a farsi conoscere: ma è proprio Smith a dare l'impronta più originale alle registrazioni in duo realizzate con Brown nel '70.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
"Blu Blu Blu" The Muhal Richard Abrams Orchestra: Blu Blu Blu (Black Saint, 1990) Jack Walrath, Alfred Patterson, John Purcell, Robert De Bellis, Eugene Ghee, Patience Higgins, Joe Daley, Brad Jones, David Fiuczynski, Warren Smith, Joel Brandon, Thurman Barker, Lindsey Horner. El tema es una composición de Muhal Richard Abrams. © Pachi Tapiz, 2021 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. El disco Blu Blu Blu, no es la primera vez que aparece en Tomajazz: fue una de las razones para amar el jazz (https://www.tomajazz.com/web/?p=33059); ya ha sonado en el podcast HDO en el programa Una hora con... Muhal Richard Abrams (https://www.tomajazz.com/web/?p=33070); y Pachi Tapiz reseñó la caja Muhal Richard Abrams: The Complete Remastered Recordings On Black Saint & Soul Note (Cam Jazz, 2012) (https://www.tomajazz.com/web/?p=5390). En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast
Andrew Cyrille is the last man standing from the first wave of free jazz drummers. He and Milford Graves, Sunny Murray, and Rashied Ali really revolutionized jazz rhythm in their playing with Cecil Taylor, Albert Ayler, John Coltrane and other musicians in the early to mid '60s. Their influence was huge, and each of them brought a different perspective and instantly identifiable style to the music. What I hear when I listen to Andrew Cyrille, whether he's playing with Cecil Taylor or Anthony Braxton or in any other situation, is an incredible precision and consideration. He really seems to be thinking about every single strike and placing it with unbelievable care, even when he's playing ridiculously fast.In the last few years, Cyrille has been making some really interesting records as a leader for ECM. He started in 2016 with The Declaration of Musical Independence, which featured Bill Frisell on guitar, Richard Teitelbaum on synth, and Ben Street on bass, then he made Lebroba with Frisell and Wadada Leo Smith, and now he's got a new album out, The News, which features Frisell and Street again but has David Virelles on piano instead of Teitelbaum. And right before that string of records, in 2015, he was on guitarist Ben Monder's album Amorphae. And I also want to mention a record he did in 2017, Dione, a trio record with Ivo Perelman and Matthew Shipp. He's had an incredible career as a sideman, too, working with David Murray, Leroy Jenkins, Muhal Richard Abrams, Marion Brown, Horace Tapscott, Peter Brötzmann, and of course he's also one of the members of Trio 3 with Oliver Lake and Reggie Workman — they played at the 2021 Vision Festival, where he also presented a solo tribute to Milford Graves.We talk about Graves a lot in this interview, as well as Cyrille's approach to rhythm and to music generally, and a lot of other things. It's funny, the conversation has kind of a false ending, because I had been told by his publicist that he only wanted to talk for a half hour, and I negotiated us up to 45 minutes, and then at the 45 minute mark I started saying goodbye and thanking him for his time, and he showed no interest in stopping, so we kept going and probably could have talked for another half hour. If you do enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Andrew Cyrille/Wadada Leo Smith/Bill Frisell, “Worried Woman” (Lebroba)Andrew Cyrille, “Go Happy Lucky” (The News)Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletter
Andrew Cyrille is the last man standing from the first wave of free jazz drummers. He and Milford Graves, Sunny Murray, and Rashied Ali really revolutionized jazz rhythm in their playing with Cecil Taylor, Albert Ayler, John Coltrane and other musicians in the early to mid '60s. Their influence was huge, and each of them brought a different perspective and instantly identifiable style to the music. What I hear when I listen to Andrew Cyrille, whether he's playing with Cecil Taylor or Anthony Braxton or in any other situation, is an incredible precision and consideration. He really seems to be thinking about every single strike and placing it with unbelievable care, even when he's playing ridiculously fast.In the last few years, Cyrille has been making some really interesting records as a leader for ECM. He started in 2016 with The Declaration of Musical Independence, which featured Bill Frisell on guitar, Richard Teitelbaum on synth, and Ben Street on bass, then he made Lebroba with Frisell and Wadada Leo Smith, and now he's got a new album out, The News, which features Frisell and Street again but has David Virelles on piano instead of Teitelbaum. And right before that string of records, in 2015, he was on guitarist Ben Monder's album Amorphae. And I also want to mention a record he did in 2017, Dione, a trio record with Ivo Perelman and Matthew Shipp. He's had an incredible career as a sideman, too, working with David Murray, Leroy Jenkins, Muhal Richard Abrams, Marion Brown, Horace Tapscott, Peter Brötzmann, and of course he's also one of the members of Trio 3 with Oliver Lake and Reggie Workman — they played at the 2021 Vision Festival, where he also presented a solo tribute to Milford Graves.We talk about Graves a lot in this interview, as well as Cyrille's approach to rhythm and to music generally, and a lot of other things. It's funny, the conversation has kind of a false ending, because I had been told by his publicist that he only wanted to talk for a half hour, and I negotiated us up to 45 minutes, and then at the 45 minute mark I started saying goodbye and thanking him for his time, and he showed no interest in stopping, so we kept going and probably could have talked for another half hour. If you do enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Andrew Cyrille/Wadada Leo Smith/Bill Frisell, “Worried Woman” (Lebroba)Andrew Cyrille, “Go Happy Lucky” (The News)Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletter
Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)
Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)
Guru dell'"Associazione per la promozione dei musicisti creativi" di Chicago, l'ambito da cui sono emerse figure ancora oggi di punta come Anthony Braxton, Roscoe Mitchell, Henry Threadgill e Wadada Leo Smith, il pianista Muhal Richard Abrams, mancato nel 2017, è stato a partire dagli anni sessanta uno dei protagonisti cruciali dell'avanguardia. Su commissione di Bobby Zankel, leader di una formazione di Philadelphia, The Warriors of the Wonderful Sound, Muhal scrisse una composizione, Soundpath, che con la sua direzione fu presentato con successo appunto a Philadelphia nel 2012. Qualche mese prima di morire Muhal incoraggiò Zankel a riprendere il lavoro e a continuare a interpretarlo. Nel 2018 effettivamente Soundpath è stato riproposto a Philadelphia, con la direzione di Marty Ehrlich, forte di una lunga confidenza con la musica di Abrams, e con una formazione comprendente alcuni dei Warriors, e musicisti che avevano lavorato con Muhal a New York. Il giorno dopo la presentazione dal vivo Soundpath è stato inciso in studio, ed è adesso un album pubblicato dall'etichetta portoghese Clean Feed, che ci fa il regalo di una creazione prima inedita su disco di un musicista tanto importante, amato e rispettato. Fra i musicisti dell'orchestra, oltre a Ehrlich e Zankel, diversi nomi di tutto rilievo come Graham Haynes, Steve Swell, Michael Formanek e Chad Taylor.
Guru dell'"Associazione per la promozione dei musicisti creativi" di Chicago, l'ambito da cui sono emerse figure ancora oggi di punta come Anthony Braxton, Roscoe Mitchell, Henry Threadgill e Wadada Leo Smith, il pianista Muhal Richard Abrams, mancato nel 2017, è stato a partire dagli anni sessanta uno dei protagonisti cruciali dell'avanguardia. Su commissione di Bobby Zankel, leader di una formazione di Philadelphia, The Warriors of the Wonderful Sound, Muhal scrisse una composizione, Soundpath, che con la sua direzione fu presentato con successo appunto a Philadelphia nel 2012. Qualche mese prima di morire Muhal incoraggiò Zankel a riprendere il lavoro e a continuare a interpretarlo. Nel 2018 effettivamente Soundpath è stato riproposto a Philadelphia, con la direzione di Marty Ehrlich, forte di una lunga confidenza con la musica di Abrams, e con una formazione comprendente alcuni dei Warriors, e musicisti che avevano lavorato con Muhal a New York. Il giorno dopo la presentazione dal vivo Soundpath è stato inciso in studio, ed è adesso un album pubblicato dall'etichetta portoghese Clean Feed, che ci fa il regalo di una creazione prima inedita su disco di un musicista tanto importante, amato e rispettato. Fra i musicisti dell'orchestra, oltre a Ehrlich e Zankel, diversi nomi di tutto rilievo come Graham Haynes, Steve Swell, Michael Formanek e Chad Taylor.
Violinist/composer Tom Chiu leads the Flux Quartet, a cutting edge quartet from NYC who've taken on the massive 6-hour, "String Qt No.2 by Morton Feldman. Tom has collaborated with Oliver Lake, Muhal Richard Abrams, and Henry Threadgill. Tom and I worked with Ornette Coleman in Ornette's Harmelodic Chamber Players. We chat about that wild project, Tom's composition, "RETROCON," and more.
Episode 33 Youseff Yancy--Pioneer of Electronic Jazz Part 1 Playlist Yuseff Lateef, “Sound Wave” from A Flat, G Flat And C (1966 Impulse!). Tenor Saxophone, Alto Saxophone, Flute, Oboe, Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson. 4:00. Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet). Harp, Dorothy Ashby. No other credits are given. Unknown Theremin player. 3:19. Sunny Murray's Untouchable Factor, “New York Maze” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Alto Saxophone, Arthur Blythe; Baritone Saxophone, Hamiet Bluiett; Bass, Fred Hopkins; Guitar, Monnette Sudler. 18:34. Sunny Murray's Untouchable Factor, “Applebluff” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Drums, Sonny Brown; Flutes], Whistles, Percussion, Abdul Zahir Batin. 9:10. Muhal Richard Abrams, “Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 6:50. Muhal Richard Abrams, “Inneroutersight” from Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 7:54. Byard Lancaster, “Blue Nature” from, Documentation The End of a Decade (1980 Bellows). Theremin and trumpet, Youseff Yancy. Recorded in New York in 1979, this is a multi-tracked, solo performance by Yancy on his own composition. One track of straight trumpet, at least one track of electronically modified trumpet, and another track of Theremin. On the liner notes, “B. Lancaster acknowledges the spiritual and education guidance from Youseff Yancy and family.” 2:43. Garrett List and the A-1 Art Band, “Where We Are” from Various – From The Kitchen Archives - New Music New York 1979 (2004 Orange Mountain Music). Piano, Trombone, Garrett List; Theremin, Trumpet, Youseff Yancy; Soprano Saxophone, Byard Lancaster; Voice, Genie Sherman. Recorded live at The Kitchen, New York City. 8:38. Opening background music: Garrett List / A-1 Band, “Passions of Miles” from Fire & Ice (1982 Lovely Music). Composed by, Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman. Second background track: Better Daze, “Heavenly Sweetness” from First Flight E.P. (1995 Ubiquity). Acid jazz remix of “Sweetness,” a song that originated on the 1980 album by Byard Lancaster featuring Youseff Yancy and vocalist Joan Hansom. Opening and closing sequences voiced by Anne Benkovitz.
Henry Threadgill remains one of music's great innovators—as a composer and as a musician. He was awarded the Pulitzer Prize for Music in 2016 for his album In for a Penny, In for a Pound, becoming only the third jazz artist to receive the award. A multi-instrumentalist, throughout his career he has led ensembles of varying sizes—experimenting with instrumentation and creating new compositional techniques. In this podcast, Threadgill reflects on the vast musical legacy he found in his hometown of Chicago and the early influence of Muhal Richard Abrams and The Association for the Advancement of Creative Musicians—a collective that encouraged musicians to compose and play their own music. He looks back at his ensembles and the various musical languages he's expressed with each as well as his overall philosophy of composing and making music—explaining why he believes the true test of music is in the live performance and why he eschews the word “jazz.” Henry Threadgill is not just a musical seeker, he's also a deeply thoughtful and funny storyteller.
Henry Threadgill remains one of music’s great innovators—as a composer and as a musician. He was awarded the Pulitzer Prize for Music in 2016 for his album In for a Penny, In for a Pound, becoming only the third jazz artist to receive the award. A multi-instrumentalist, throughout his career he has led ensembles of varying sizes—experimenting with instrumentation and creating new compositional techniques. In this podcast, Threadgill reflects on the vast musical legacy he found in his hometown of Chicago and the early influence of Muhal Richard Abrams and The Association for the Advancement of Creative Musicians—a collective that encouraged musicians to compose and play their own music. He looks back at his ensembles and the various musical languages he’s expressed with each as well as his overall philosophy of composing and making music—explaining why he believes the true test of music is in the live performance and why he eschews the word “jazz.” Henry Threadgill is not just a musical seeker, he’s also a deeply thoughtful and funny storyteller.
Henry Threadgill remains one of music’s great innovators—as a composer and as a musician. He was awarded the Pulitzer Prize for Music in 2016 for his album In for a Penny, In for a Pound, becoming only the third jazz artist to receive the award. A multi-instrumentalist, throughout his career he has led ensembles of varying sizes—experimenting with instrumentation and creating new compositional techniques. In this podcast, Threadgill reflects on the vast musical legacy he found in his hometown of Chicago and the early influence of Muhal Richard Abrams and The Association for the Advancement of Creative Musicians—a collective that encouraged musicians to compose and play their own music. He looks back at his ensembles and the various musical languages he’s expressed with each as well as his overall philosophy of composing and making music—explaining why he believes the true test of music is in the live performance and why he eschews the word “jazz.” Henry Threadgill is not just a musical seeker, he’s also a deeply thoughtful and funny storyteller.
This week:This week: Mahmoud al-Idrissi (RIP) x2; Slimane Azem w. Noureddine Meziane (comedy in dialogue); Waldjinah; Leroy Jenkins 2. Muhal Richard Abrams; Michael Wimberly (new); Grupo É D+ & Leci Brandão (new); Clark Terry ; Johnny Dyani; David S. Ware w. strings; Martino da Vila; Unidos da Ponte; Arlindo Cruz; Ahmed Wahby; Cohelmec Ensemble; Impacto Crea; El Cabrero; Alba Molina;; Manuel Agujetas (vintage); Salah Sadouai; Lahkano Jogi; much more... Always FREE of charge to listen to the radio program on WRFI, or stream, download, and subscribe to the podcast: via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/12470689/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/ We will continue to update playlists at confbirds.blogspot.com 24-48 hours of the program's posting online. Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com
"An Alternative (music business) infrastructure is one of the things that helps us keep this sustainable."In this episode of MFM Speaks Out, Dawoud Kringle interviews Oakland, California based guitarist Karl Evangelista is among the new wave of 21st century experimental / improvisational musicians. His work blends contemporary improvised music with popular song, 20th century composition, psychedelic rock, free jazz, and multicultural concepts. The topics discussed include his beginnings and inspiration as a professional improvisational / experimental musician, his work with Oliver Lake, Fred Frith, Eddie Gale, Trevor Watts, Hafiz Modizradeh, Muhal Richard Abrams, Roscoe Mitchell and many others, his involvement in music education (including lecturing at UC Berkeley and directed guitar ensembles at the East Bay Center for the Performing Arts and San Francisco Waldorf High School, and as a licensed instructor in the Kinderguitar method), his prolific recording output, his GREX project with Rei Scampavia, his iconoclastic interpretation of John Coltrane's A Love Supreme, his approach to the music business, the production of four "Lockdown Festivals" during the coronavirus pandemic, music activism, and his involvement with MFM.Visit Karl Evangelista at grexsounds.comThe following music featured in this episode areOpening track: "Apura!" by Karl Evangelista w/Alexander Hawkins, Louis Moholo-Moholo, and Trevor WattsMiddle track: "The Other Mouses: by GrexEnding track: "Acknowledgement: A Love Supreme" by Grex
Grammy Award, Sirius XM The Grammy-winning trumpeter and composer was born and raised in New York City. Nabaté's debut album called, 'Eclectic Excursions' dropped in the Summer of 2018 and until that point, he's had a glorious career journey. During his high school years, Nabaté represented the fifth generation of jazz for the preview of the Louis Armstrong Archives, with trumpet greats Dr. Donald Byrd, "Doc" Cheatham, "Dizzy" Gillespie, Jimmy Owens, Jon Faddis and Wynton Marsalis. Nabaté also appeared in a Coca-Cola commercial, directed by John Singleton and produced by Roy Eaton. While attending Eastman, Nabaté was a featured soloist with the Rochester Pops Orchestra. Nabaté also participated in the Thelonious Monk Institute of Jazz summer program at Aspen Snowmass and its Jazz Gala at the Kennedy Center. He went on to receive his BM from the Eastman School of Music and his MA from New York University. Nabaté has performed, toured and/or recorded with unique artists Yasiin Bey (aka Mos Def), Christian McBride, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Robert Glasper, Dianne Reeves, José James, Savion Glover, Gregory Porter, Freda Payne, Shareefa, Oliver Lake, Steve Coleman, Ravi Coltrane, Steve Wilson, Muhal Richard Abrams, Matthew Shipp, Charli Persip, Mike Longo, Uri Caine, Buster Williams, Grady Tate, Jay Hoggard, Holt McCallany, the Mingus Big Band, and the José Limon Dance Company. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. Nabaté also received a commission from the Festival of New Trumpet Music to compose and premiere a new piece which he entitled, 'We Need Unity in the Community'. Nabaté provided private trumpet instruction to the actor Rob Brown for his role as trumpeter Delmond Lambreaux on the HBO series, 'Treme'. Nabaté was part of both of Christian McBride Big Band's Grammy-winning albums, 'The Good Feeling' (2012) and 'Bringin' It' (2018) as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, 'Empire II'. He recently completed a score for his first feature called, 'The Rhythm in Blue'. Also, Nabaté is an accomplished producer and host for SiriusXM NBA Radio & he hosts his own weekly television show called 'So Much to Talk About' on MNN (Manhattan cable). Also, a sports trivia expert, Nabaté excelled on TV gameshows, ESPN's Stumb The Schwab and Crackle/NBC Sports' Sports Jeopardy. Nabaté Isles' Eclectic Excursions featuring the joined talents of: Nabaté Isles - Trumpet Alex Han - Alto and Soprano Saxophone David Gilmore - Guitar Theo Hill - Keyboards Brad Jones - Bass Rudy Royston - Drums Special Guests: Alita Moses - Vocals Michael Mayo - Vocals Find Nabaté Isles via social media: Instagram: @nsi.universal Twitter: @NabateIslesSMTA Facebook: www.facebook.com/NabateIslesTrumpet The trumpeter Nabaté Isles recently released his debut album, “Eclectic Excursions,” and it lives up to its title. Mr. Isles has worked most often as a side musician for artists across hip-hop, jazz and R&B, and his own record manages to throw it all together — making room along the way for a few guest singers and rappers — while keeping a firm center. Playing with a quintet, Mr. Isles started off with “Minute Pieces of Wozzeck,” a trippy, motivic original composed around a set of 12-tone harmonies from Alban Berg’s experimental opera, “Wozzeck.” As Adam Klipple’s organ and Joshua Crumbly’s bass hit a stopped-up, two-chord pattern, Mr. Isles retorted with a circular phrase. The guitarist David Gilmore ran snaky improvisations around them, leading your ear gently astray until the rhythm section dropped decisively into a thrashing rock beat. Mr. Isles and the soprano saxophonist Ian Young played in wet blasts of harmony, and Mr. Isles drove headlong into a rugged solo. He pushed hard, leaning into the song’s screwball-fusion vibe but maintaining a measured sense of swing. Midway through the set, the rapper Elzhi — a onetime member of Slum Village, and a guest on the album — guested on two songs, and the band switched comfortably to a radiant, festive mode. Then the vocalist Alita Moses came on to sing “Find Your Light,” a standout from “Eclectic Excursions,” with a strong redolence of Esperanza Spalding’s dreamy neo-soul side. Over a mid-tempo groove, Ms. Moses sang the song’s lyrics of invitation with acrobatic poise, moving deliberately at cloud altitude. Mr. Isles responded with a solo of sharp bursts and grounded rumbles, filling some of the vertical space in the atmosphere below her. A version of this above article appears in print on , on Page C5 of the New York edition with the headline: Contradictions and Fresh Material Abound. ©2020 Building Abundant Success!! 2020 All Rights Reserved Join Me on iHeart Radio @ https://tinyurl.com/iHeartBAS Spot Me on Spotify: https://tinyurl.com/yxuy23ba
Brandon Lopez is a bassist/improviser/composer who works at the intersection of jazz, free improvisation, noise and new music. He has been an artist-in-residence at Roulette and Issue Project Room, performed as a soloist with the NYPhilharmonic and in ensembles with Fred Moten, Okkyung Lee, Ingrid Laubrock, Tyshawn Sorey and Gerald Cleaver, who is his guest for this episode. TAK commissioned and performed Empty Church of Plenty with Brandon in the fall of 2019 at St. Mary’s Church in Harlem and on the 2020 New Ear Festival. Gerald Cleaver, a drummer/improviser/composer who’s worked with Henry Threadgill, Roscoe Mitchell, Muhal Richard Abrams, and William Parker. He’s the bandleader of Violet Hour, Black Host and he recently released an album of electronic music titled Signs. Gerald Cleaver's Signs: https://577records.bandcamp.com/album/signs Black Host: https://geraldcleaversblackhost.bandcamp.com/releases Brandon Lopez's bandcamp: https://nevernotagravedigger.bandcamp.com/ website: https://www.brandonlopez.nyc/ to learn more about TAK, go to http://takensemble.com
Episodio numero 21 con un ricordo di Viola Smith, il nuovo Rob Mazurek, il solito Shabaka Hutchings, gli Ezra Collective. Il consueto appuntamento con #EllingtonLiveClub ci regala un inedito di Massimo Urbani e poi Horace Parlan, Krzysztof Komeda, Muhal Richard Abrams, Clifford Brown & Max Roach, Dinah Washington. Buon jazz a tutti.
Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Your Motion Says by Arthur Russell on Love Is Overtaking Me (Audika) 5′00″ No Deposit-No Return Blues by Sandy Bull on E Pluribus Unum (Vanguard) 22′00″ Galouli Ensaha by Les Freres Megri & Jacques Hendrix on Mahmoud Hassan Younes (Phillips) 26′43″ Journey In Saturn And A Star by Klyfta on Cosmic Pilgrimage: The Klyfta Tapes 1972 - 1975 (Joyful Noise) 33′30″ Hymn to the East by Muhal Richard Abrams on Afrisong ( India Navigation) 38′15″ To Lay Me Down (rehearsal) by Meg Baird on The Storehouse Bandcamp Compilation (The Storehouse) 45′02″ Blue Line Swinger by Yo La Tengo on Electr-O-Pura (Matador) 55′13″ The First Time Ever I Saw Your Face by Roberta Flack on First Take (Atlantic) The next World of Echo is on Monday, September 21st at 7:00 am. Check out the full archives on the website.
AACM, Roscoe Mitchell, Bird, NEA, Muhal Richard Abrams, Sun Ra, Absence of the Black Media, Jackson, MI, --- Support this podcast: https://anchor.fm/jake-feinberg/support
One of the soul cats! AACM, Roscoe Mitchell, Bird, NEA, Muhal Richard Abrams, Sun Ra, Absence of the Black Media, Jackson, MI, --- Support this podcast: https://anchor.fm/jake-feinberg/support
Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. worriedaboutsatan, "Crystalline" (Crystalline) 2020 Sound In Silence 2. African Head Charge, "Dub for the Spirits" (Churchical Chant Of The Iyabinghi) 1993 / 2020 On-U Sound 3. Mary Lattimore, "Cake" (Cake) 2020 self-released 4. Muhal Richard Abrams, "Think All, Focus One" (Think All, Focus One) 1995 Black Saint / (Celestial Birds) 2020 Karlrecords 5. Promise, "I'm Not Ready for Love" (I'm Not Ready For Love) 1975 New Directions / 2020 Numero Group 6. Cold Beat, "Prism" (Mother) 2019 DFA 7. Mute Forest, "Dance the Spell Off" (Riderstorm) 2020 Lost Tribe 8. Jackie Lynn, "Casino Queen" (Jaqueline) 2020 Drag City 9. Test Card, "The Lost Field Tapestry Network" (Music For The Towers) 2020 Sound In Silence 10. Abul Mogard, "Stumbling Oscillations" (Air Texture Vol. VII) 2020 Air Texture 11. Beatrice Dillon, "Workaround Eight" (Workaround) 2020 PAN 12. HTRK, "Body Lotion" (Body Lotion EP) 2014 Sleeperhold / 2020 self-released * Sendung vom 16. Februar 2020 == Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. * http://brainwashed.com
Colin Hinton is an active member of Brooklyn’s creative music community. A drummer, percussionist, and composer, his music draws from the jazz and free music traditions of Henry Threadgill, Anthony Braxton, and Muhal Richard Abrams, as well as 20th century classical composers Messiaen, Scriabin, Feldman, and Grisey. He has performed in the US, Canada, Central and South America, and Asia, and has had his compositions performed in the US, Italy, and Canada. An active educator in the NYC area, Colin has taught at the City College of New York, numerous music academies, and runs a private teaching studio. He has given clinics at the City College of New York and the University of Toronto. Hinton studied drums with Ed Soph, Tyshawn Sorey, Dan Weiss, Ralph Peterson, and Ari Hoenig, and composition with Ingrid Laubrock, Tyshawn Sorey, and Eric Wubbels. He studied at the University of North Texas and City College of New York, completing a BFA in Jazz Performance and an MA in Music Performance with a focus in 20th century theory. Colin has performed with Ingrid Laubrock, Todd Neufeld, Tony Malaby, Brandon Seabrook, Michael Formanek, Lotte Anker, Jon Irabagon, Okkyung Lee, Eivind Opsvik, Tyshawn Sorey, Brandon Lopez, Jacob Sacks, Briggan Krauss, Miles Okazaki, Michaël Attias, Jesse Zubot, and Anna Webber. He performed on Jake Hanlon’s 2012 CD release “Follow” which was nominated for ECMA Jazz Recording of the Year. He has performed at notable NYC venues such as The Jazz Gallery, The Stone, Bar Next Door, Rockwood Music Hall, and Cornelia Street Café. Hinton currently leads contemporary classical/avant-jazz quintet Simulacra (Anna Webber, Yuma Uesaka, Edward Gavitt, Shawn Lovato, Colin Hinton), free-jazz/post-punk hybrid Glassbath (Peyton Pleninger, Edward Gavitt, Eva Lawitts, Colin Hinton), Aphelion (Tony Malaby, Todd Neufeld, Eivind Opsvik, Colin Hinton), and a piano trio featuring Santiago Leibson and Eivind Opsvik. Colin also co-leads Ocelot – a collaborative trio featuring Yuma Uesaka and Cat Toren whose debut recording will be released in fall 2020. Hinton is also the founder and co-curator of Off-Brand Music Series – a monthly music series hosted at Branded Saloon in Brooklyn that celebrates the avant-garde and experimental music scene. Off-Brand Music Series has been running monthly since January of 2018. For more information visit https://www.colinhinton.com/
La sua attività di produttore è stata amplissima e variegata: lavorò fra gli altri con Lou Reed e Marianne Faithful, e nelle prima metà degli ottanta fu coordinatore musicale del popolarissimo programma televisivo Saturday Night Live. Ma la fama internazionale di Hal Willner - mancato il 7 aprile scorso per complicazioni da coronavirus - è legata in particolare ad alcuni memorabili album-tributo che Willner allesti' a partire dal principio degli ottanta. All'epoca la compresenza in uno stesso album di artisti appartenenti ad ambiti musicali diversi era tutt'altro che scontata. Nell'81 Willner, venticinquenne, realizzò Amarcord Nino Rota, un omaggio all'autore delle musiche dei film di Fellini: la genialità di Willner stava tanto nell'assortimento di musicisti coinvolti, quanto nella sorpresa che riusciva ad ingenerare nell'ascoltatore proponendogli la musica del grande compositore rivisitata da artisti la cui associazione col mondo musicale di Rota e dei film di Fellini era in molti casi tutt'altro che ovvia: chi si sarebbe aspettato di trovare Rota interpretato da Deborah Harry, la cantante dei Blondie, figura di culto della new wave anni settanta, e da Muhal Richard Abrams, guru dell'avanguardia chicagoana? Oltre a loro Jaki Byard, Bill Frisell, Carla Bley (in uno strepitoso Otto e mezzo), e Steve Lacy (in un magico Roma in solo al soprano).
La sua attività di produttore è stata amplissima e variegata: lavorò fra gli altri con Lou Reed e Marianne Faithful, e nelle prima metà degli ottanta fu coordinatore musicale del popolarissimo programma televisivo Saturday Night Live. Ma la fama internazionale di Hal Willner - mancato il 7 aprile scorso per complicazioni da coronavirus - è legata in particolare ad alcuni memorabili album-tributo che Willner allesti' a partire dal principio degli ottanta. All'epoca la compresenza in uno stesso album di artisti appartenenti ad ambiti musicali diversi era tutt'altro che scontata. Nell'81 Willner, venticinquenne, realizzò Amarcord Nino Rota, un omaggio all'autore delle musiche dei film di Fellini: la genialità di Willner stava tanto nell'assortimento di musicisti coinvolti, quanto nella sorpresa che riusciva ad ingenerare nell'ascoltatore proponendogli la musica del grande compositore rivisitata da artisti la cui associazione col mondo musicale di Rota e dei film di Fellini era in molti casi tutt'altro che ovvia: chi si sarebbe aspettato di trovare Rota interpretato da Deborah Harry, la cantante dei Blondie, figura di culto della new wave anni settanta, e da Muhal Richard Abrams, guru dell'avanguardia chicagoana? Oltre a loro Jaki Byard, Bill Frisell, Carla Bley (in uno strepitoso Otto e mezzo), e Steve Lacy (in un magico Roma in solo al soprano).
La sua attività di produttore è stata amplissima e variegata: lavorò fra gli altri con Lou Reed e Marianne Faithful, e nelle prima metà degli ottanta fu coordinatore musicale del popolarissimo programma televisivo Saturday Night Live. Ma la fama internazionale di Hal Willner - mancato il 7 aprile scorso per complicazioni da coronavirus - è legata in particolare ad alcuni memorabili album-tributo che Willner allesti' a partire dal principio degli ottanta. All'epoca la compresenza in uno stesso album di artisti appartenenti ad ambiti musicali diversi era tutt'altro che scontata. Nell'81 Willner, venticinquenne, realizzò Amarcord Nino Rota, un omaggio all'autore delle musiche dei film di Fellini: la genialità di Willner stava tanto nell'assortimento di musicisti coinvolti, quanto nella sorpresa che riusciva ad ingenerare nell'ascoltatore proponendogli la musica del grande compositore rivisitata da artisti la cui associazione col mondo musicale di Rota e dei film di Fellini era in molti casi tutt'altro che ovvia: chi si sarebbe aspettato di trovare Rota interpretato da Deborah Harry, la cantante dei Blondie, figura di culto della new wave anni settanta, e da Muhal Richard Abrams, guru dell'avanguardia chicagoana? Oltre a loro Jaki Byard, Bill Frisell, Carla Bley (in uno strepitoso Otto e mezzo), e Steve Lacy (in un magico Roma in solo al soprano).
Episode 452: February 16, 2020 playlist: worriedaboutsatan, "Crystalline" (Crystalline) 2020 Sound In Silence African Head Charge, "Dub for the Spirits" (Churchical Chant Of The Iyabinghi) 1993 / 2020 On-U Sound Mary Lattimore, "Cake" (Cake) 2020 self-released Muhal Richard Abrams, "Think All, Focus One" (Think All, Focus One) 1995 Black Saint / (Celestial Birds) 2020 Karlrecords Promise, "I'm Not Ready for Love" (I'm Not Ready For Love) 1975 New Directions / 2020 Numero Group Cold Beat, "Prism" (Mother) 2019 DFA Mute Forest, "Dance the Spell Off" (Riderstorm) 2020 Lost Tribe Jackie Lynn, "Casino Queen" (Jaqueline) 2020 Drag City Test Card, "The Lost Field Tapestry Network" (Music For The Towers) 2020 Sound In Silence Abul Mogard, "Stumbling Oscillations" (Air Texture Vol. VII) 2020 Air Texture Beatrice Dillon, "Workaround Eight" (Workaround) 2020 PAN HTRK, "Body Lotion" (Body Lotion EP) 2014 Sleeperhold / 2020 self-released Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.
STANDARD SEMANAL.- “more than you know”.-JAZZ RECUERDO ANIVERSARIO.- Rahssan Roland Kirk - Reeds and Deeds [1963].-JAZZ ACTUALIDAD .-4 WOMEN QUARTET .-UNA HISTORIA DE MUJERES EN EL JAZZ, .-EZEQUIEL CAMPOS de EUDE RADIO MADRID en su programa “EL BAUL DE MIS RECUERDO” a Patricia Krauss PROG.Nº 650.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “more than you know” JAZZ RECUERDO ANIVERSARIO.- Rahssan Roland Kirk - Reeds and Deeds [1963] Reeds & Deeds es un álbum del multi-instrumentista de jazz Roland Kirk . Fue lanzado originalmente en elsello Mercury en 1963 y presenta actuaciones de Kirk con Virgil Jones , Charles Greenlee , Harold Mabern , Abdullah Rafik , Walter Perkins , Tom McIntosh y Richard Davis con arreglos de Benny Golson Personnel[edit] • Roland Kirk: tenor saxophone, manzello, stritch, flute, siren • Virgil Jones: trumpet • Charles Greenlee: trombone (tracks 1-5) • Harold Mabern: piano • Abdullah Rafik: bass (tracks 1-5) • Walter Perkins: drums • Tom McIntosh: trombone (tracks 6-8) • Richard Davis: bass (tracks 6-8) • Benny Golson: arranger (tracks 6-8) . [2] Walter "Baby Sweets" Perkins (10 de febrero de 1932, Chicago, Illinois-14 de febrero de 2004, Queens, Nueva York) fue un baterista de jazz estadounidense. Formado en el importante mundo jazzístico de Chicago, entre 1956 y 1957 Perkins trabajó Ahmad Jamal,1 antes de formar la banda MJT+3, con Paul Serrano, Nicky Hill, Muhal Richard Abrams y Bob Cranshaw. En 1959, una nueva versión de la banda 1959, con Willie Thomas, Frank Strozier, Harold Mabern y Cranshaw grabó para Vee-Jay y continuaron a tocar en Chicago hasta 1962, cuando Perkins se fue a Nueva York. Tocó con Sonny Rollins en 1962 y acompañó a Carmen McRae en 1962-63, y en 1964 con Art Farmer y Teddy Wilson. También tocó con Rahsaan Roland Kirk, George Shearing, Gene Ammons, Charles Mingus, Billy Taylor, Booker Ervin, Jaki Byard, Lucky Thompson, Pat Martino, Sonny Stitt, Sonny Criss, Charles Earland. JAZZ ACTUALIDAD .-Esta semana vamos a tener La banda 4 WOMEN QUARTET presenta un concierto ÚNICO en El Teatro de Triana, con el que nos invita a hacer un recorrido por la historia del Jazz desde una perspectiva femenina, recordando los trabajos de mujeres compositoras, letristas, instrumentistas y cantantes, mostrando sus trabajos y aportaciones, algunos de ellos determinantes en el desarrollo del género. Lilian Hardin, Betty Carter, Nina Simone, Ann Ronell, Maria Schneider, son algunas de las protagonistas de UNA HISTORIA DE MUJERES EN EL JAZZ, y con ellas transitaremos estas músicas, desde el sonido de sus orígenes africanos, pasando por el Blues, el Hot Jazz, la era del Swing, el Bebop hasta llegar al Jazz Contemporáneo. Natalia Ruciero – voz y percusión Virginia Moreno – clarinete y voces Laura Domínguez – piano y voces Blanca Barranco – contrabajo y voces Fecha: El 16/02/2020 Lugar: El Teatro de Triana Horario: 20:00 hora Precio: De 10 € Para finalizar tendremos la entrevista que le realizó nuestro compañero EZEQUIEL CAMPOS de EUDE RADIO MADRID en su programa “EL BAUL DE MIS RECUERDO” a Patricia Krauss
A cura di Gigi Longo. Musiche di Nino Rota interpretate da Carlo Savina, Jaki Byard, Sharon Freeman, Muhal Richard Abrams, Michael Sahl and Chris Stein.
A cura di Gigi Longo. Musiche di Nino Rota interpretate da Carlo Savina, Jaki Byard, Sharon Freeman, Muhal Richard Abrams, Michael Sahl and Chris Stein. (prima parte)
A cura di Gigi Longo. Musiche di Nino Rota interpretate da Carlo Savina, Jaki Byard, Sharon Freeman, Muhal Richard Abrams, Michael Sahl and Chris Stein. (prima parte)
Grammy Award, Sirius XM The Grammy-winning trumpeter and composer was born and raised in New York City. Nabaté's debut album called, 'Eclectic Excursions' dropped in the Summer of 2018 and until this point, he's had a glorious journey. During his high school years, Nabaté represented the fifth generation of jazz for the preview of the Louis Armstrong Archives, with trumpet greats Dr. Donald Byrd, "Doc" Cheatham, "Dizzy" Gillespie, Jimmy Owens, Jon Faddis and Wynton Marsalis. Nabaté also appeared in a Coca-Cola commercial, directed by John Singleton and produced by Roy Eaton. While attending Eastman, Nabaté was a featured soloist with the Rochester Pops Orchestra. Nabaté also participated in the Thelonious Monk Institute of Jazz summer program at Aspen Snowmass and its Jazz Gala at the Kennedy Center. He went on to receive his BM from the Eastman School of Music and his MA from New York University. Nabaté has performed, toured and/or recorded with unique artists Yasiin Bey (aka Mos Def), Christian McBride, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Robert Glasper, Dianne Reeves, José James, Savion Glover, Gregory Porter, Freda Payne, Shareefa, Oliver Lake, Steve Coleman, Ravi Coltrane, Steve Wilson, Muhal Richard Abrams, Matthew Shipp, Charli Persip, Mike Longo, Uri Caine, Buster Williams, Grady Tate, Jay Hoggard, Holt McCallany, the Mingus Big Band, and the José Limon Dance Company. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. Nabaté also received a commission from the Festival of New Trumpet Music to compose and premiere a new piece which he entitled, 'We Need Unity in the Community'. Nabaté provided private trumpet instruction to the actor Rob Brown for his role as trumpeter Delmond Lambreaux on the HBO series, 'Treme'. Nabaté was part of both of Christian McBride Big Band's Grammy-winning albums, 'The Good Feeling' (2012) and 'Bringin' It' (2018) as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, 'Empire II'. He recently completed a score for his first feature called, 'The Rhythm in Blue'. Also, Nabaté is an accomplished producer and host for SiriusXM NBA Radio & he hosts his own weekly television show called 'So Much to Talk About' on MNN (Manhattan cable). Also, a sports trivia expert, Nabaté excelled on TV gameshows, ESPN's Stumb The Schwab and Crackle/NBC Sports' Sports Jeopardy. Nabaté Isles' Eclectic Excursions featuring the joined talents of: Nabaté Isles - Trumpet Alex Han - Alto and Soprano Saxophone David Gilmore - Guitar Theo Hill - Keyboards Brad Jones - Bass Rudy Royston - Drums Special Guests: Alita Moses - Vocals Michael Mayo - Vocals Find Nabaté Isles via social media: Instagram: @nsi.universal Twitter: @NabateIslesSMTA Facebook: www.facebook.com/NabateIslesTrumpet The trumpeter Nabaté Isles recently released his debut album, “Eclectic Excursions,” and it lives up to its title. Mr. Isles has worked most often as a side musician for artists across hip-hop, jazz and R&B, and his own record manages to throw it all together — making room along the way for a few guest singers and rappers — while keeping a firm center. Playing with a quintet, Mr. Isles started off with “Minute Pieces of Wozzeck,” a trippy, motivic original composed around a set of 12-tone harmonies from Alban Berg’s experimental opera, “Wozzeck.” As Adam Klipple’s organ and Joshua Crumbly’s bass hit a stopped-up, two-chord pattern, Mr. Isles retorted with a circular phrase. The guitarist David Gilmore ran snaky improvisations around them, leading your ear gently astray until the rhythm section dropped decisively into a thrashing rock beat. Mr. Isles and the soprano saxophonist Ian Young played in wet blasts of harmony, and Mr. Isles drove headlong into a rugged solo. He pushed hard, leaning into the song’s screwball-fusion vibe but maintaining a measured sense of swing. Midway through the set, the rapper Elzhi — a onetime member of Slum Village, and a guest on the album — guested on two songs, and the band switched comfortably to a radiant, festive mode. Then the vocalist Alita Moses came on to sing “Find Your Light,” a standout from “Eclectic Excursions,” with a strong redolence of Esperanza Spalding’s dreamy neo-soul side. Over a mid-tempo groove, Ms. Moses sang the song’s lyrics of invitation with acrobatic poise, moving deliberately at cloud altitude. Mr. Isles responded with a solo of sharp bursts and grounded rumbles, filling some of the vertical space in the atmosphere below her. Mr. Isles released his album“Eclectic Excursions” in July. A version of this above article appears in print on , on Page C5 of the New York edition with the headline: Contradictions and Fresh Material Abound. ©2019 Building Abundant Success!! 2019 All Rights Reserved Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBAS See you on @ facebook.com/BuildingAbundantSuccess'
Dijo el pianista Cecil Taylor que los seres humanos somos "los poemas transitorios", la parte de la naturaleza "más efímera". La reflexión del maestro inspira "The transitory poems", grabación a dos pianos de dos grandes creadores de nuestro tiempo: Vijay Iyer y Craig Taborn. Con ellos abrimos la edición de 'Club de Jazz' del 13 de abril de 2019, con un trabajo que dedican a la memoria del propio Taylor, Muhal Richard Abrams, Geri Allen y el escultor Jack Whitten. El "Jazz Porteño" de Alberto Varela nos hace viajar en el tiempo hasta los años 40, cuando el be-bop llegó a Argentina y músicos de la escena de Buenos Aires como el pianista Enrique Villegas o el trompetista Emilio Troise se unían a músicos estadounidenses que se instalaron en el país. En los "Ritmos Latinos" de Anxo, viaje a la Italia de los 70 mediante grabaciones de artistas extranjeros. Historias curiosas como la del militar estadounidense Charles Hilton Brown o el éxito de Pantaleón Pérez Prado jugando con su famoso apellido. "Dos personas que se acaban de conocer, de diferentes culturas, que se entienden en un mal inglés y le dan al 'Rec'". El encuentro entre el saxofonista catalán Ferran Besalduch y el guitarrista japonés Riuichi Daijo se condensa en "Cumulonimbus". Toda la información y derechos: http://www.elclubdejazz.com
Dijo el pianista Cecil Taylor que los seres humanos somos "los poemas transitorios", la parte de la naturaleza "más efímera". La reflexión del maestro inspira "The transitory poems", grabación a dos pianos de dos grandes creadores de nuestro tiempo: Vijay Iyer y Craig Taborn. Con ellos abrimos la edición de 'Club de Jazz' del 13 de abril de 2019, con un trabajo que dedican a la memoria del propio Taylor, Muhal Richard Abrams, Geri Allen y el escultor Jack Whitten. El "Jazz Porteño" de Alberto Varela nos hace viajar en el tiempo hasta los años 40, cuando el be-bop llegó a Argentina y músicos de la escena de Buenos Aires como el pianista Enrique Villegas o el trompetista Emilio Troise se unían a músicos estadounidenses que se instalaron en el país. En los "Ritmos Latinos" de Anxo, viaje a la Italia de los 70 mediante grabaciones de artistas extranjeros. Historias curiosas como la del militar estadounidense Charles Hilton Brown o el éxito de Pantaleón Pérez Prado jugando con su famoso apellido. "Dos personas que se acaban de conocer, de diferentes culturas, que se entienden en un mal inglés y le dan al 'Rec'". El encuentro entre el saxofonista catalán Ferran Besalduch y el guitarrista japonés Riuichi Daijo se condensa en "Cumulonimbus". Toda la información y derechos: http://www.elclubdejazz.com
Es una de nuestras voces improvisadoras favoritas. La griega Savina Yannatou forma parte de "Tous des oiseaux", el nuevo trabajo de la compositora Eleni Karaindrou. Ella nos ofrece la calma antes de la tempestad de músicas creativas en esta edición de 'Club de Jazz' del 13 de marzo de 2019, que abre el proyecto "Magma", reunión del pianista Agustí Fernández con el guitarrista Joe Morris y la cantante Charmaine Lee. Escuela Steve Coleman, el trompetista Jonathan Finlayson dedica "3 Times round" a Muhal Richard Abrams. El proyecto lo comparte con los saxofonista Steve Lehman y Brian Settles, el pianista Matt Mitchell, el bajista John Hebert y el baterista Craig Weinrib. Diez años después de su formación, el cuarteto de la saxofonista canadiense Allison Au firma "Wander Wonder". Toda la información y derechos: http://www.elclubdejazz.com
Es una de nuestras voces improvisadoras favoritas. La griega Savina Yannatou forma parte de "Tous des oiseaux", el nuevo trabajo de la compositora Eleni Karaindrou. Ella nos ofrece la calma antes de la tempestad de músicas creativas en esta edición de 'Club de Jazz' del 13 de marzo de 2019, que abre el proyecto "Magma", reunión del pianista Agustí Fernández con el guitarrista Joe Morris y la cantante Charmaine Lee. Escuela Steve Coleman, el trompetista Jonathan Finlayson dedica "3 Times round" a Muhal Richard Abrams. El proyecto lo comparte con los saxofonista Steve Lehman y Brian Settles, el pianista Matt Mitchell, el bajista John Hebert y el baterista Craig Weinrib. Diez años después de su formación, el cuarteto de la saxofonista canadiense Allison Au firma "Wander Wonder". Toda la información y derechos: http://www.elclubdejazz.com
10e émission de la 37e session... Cette semaine, hommage à l'unique Muhal Richard Abrams décédé dernièrement et free jazz ! En musique: Muhal Richard Abrams Orchestra sur l'album Blu Blu Blu (Black Saint, 1991); Muhal Richard Abrams sur l'album One Line, Two Views (New World, 1995); Muhal Richard Abrams and Fred Anderson sur l'album SoundDance (Pi Recordings, 2011); The Heliosonic Tone-Tette sur l'album Heliosonic Toneways Vol. 1 (ScienSonic Laboratories, 2017); Trio Fatal sur l'album Space Way Messenger (Hôte Marge, 2013); Matthieu Donarier and Santiago Quintans sur l'album Sun Dome (Clean Feed, 2017); Kodian Trio sur l'album II (Trost, 2017)...
10e émission de la 37e session... Cette semaine, hommage à l'unique Muhal Richard Abrams décédé dernièrement et free jazz ! En musique: Muhal Richard Abrams Orchestra sur l'album Blu Blu Blu (Black Saint, 1991); Muhal Richard Abrams sur l'album One Line, Two Views (New World, 1995); Muhal Richard Abrams and Fred Anderson sur l'album SoundDance (Pi Recordings, 2011); The Heliosonic Tone-Tette sur l'album Heliosonic Toneways Vol. 1 (ScienSonic Laboratories, 2017); Trio Fatal sur l'album Space Way Messenger (Hôte Marge, 2013); Matthieu Donarier and Santiago Quintans sur l'album Sun Dome (Clean Feed, 2017); Kodian Trio sur l'album II (Trost, 2017)...
a cura di Alessandro Achilli. Musiche: Fahey, Coxhill, Annette Peacock, Cream, Pink Floyd, Jefferson Airplane, Braxton-Abrams, Beresford-Bennink, Hughscore, Kahondo Style, Michael Mantler, Allegri Leprotti, Biota, Roots Magic, Remote Viewers
a cura di Alessandro Achilli. Musiche: Fahey, Coxhill, Annette Peacock, Cream, Pink Floyd, Jefferson Airplane, Braxton-Abrams, Beresford-Bennink, Hughscore, Kahondo Style, Michael Mantler, Allegri Leprotti, Biota, Roots Magic, Remote Viewers
En HDO 340 un homenaje sonoro al recientemente fallecido Muhal Richard Abrams, escuchando su música… o más bien sus composiciones interpretadas por The Muhal Richard Abrams Orchestra: Blu Blu Blu (Black Saint, 1991), una de las grabaciones esenciales de los años 90; y The Hearinga Suite (Black Saint, 1989). Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz.
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Nella sua edizione 74 il festival sfoggia sei eminenti pianisti: mettendoli in ordine di data di nascita sono Earl Fatha Hines (1903), Jay McShann (1916), Randy Weston (1926), Cecil Taylor (1929), Muhal Richard Abrams (1930), Roland Hanna (1932). Dalle esibizioni di tutti loro tranne Abrams vengono ricavati degli album che escono nello stesso 74 o qualche tempo dopo (ma Abrams figura come guest nell'album dal vivo che viene realizzato dell'esibizione dell'Art Ensemble of Chicago). Complessivamente gli album live che vengono tratti da Montreux 74 sono più di dieci. Oltre al brano che ha dato il titolo all'album Carnival di Weston, un'idea dell'incredibile carrellata di pianisti di Montreux 74 ce la offre qualche momento delle esibizioni di McShann, Taylor, Hines. A cura di Marcello Lorrai
Nella sua edizione 74 il festival sfoggia sei eminenti pianisti: mettendoli in ordine di data di nascita sono Earl Fatha Hines (1903), Jay McShann (1916), Randy Weston (1926), Cecil Taylor (1929), Muhal Richard Abrams (1930), Roland Hanna (1932). Dalle esibizioni di tutti loro tranne Abrams vengono ricavati degli album che escono nello stesso 74 o qualche tempo dopo (ma Abrams figura come guest nell'album dal vivo che viene realizzato dell'esibizione dell'Art Ensemble of Chicago). Complessivamente gli album live che vengono tratti da Montreux 74 sono più di dieci. Oltre al brano che ha dato il titolo all'album Carnival di Weston, un'idea dell'incredibile carrellata di pianisti di Montreux 74 ce la offre qualche momento delle esibizioni di McShann, Taylor, Hines. A cura di Marcello Lorrai
1967, Fort Riley, Kansas. Henry Threadgill is 23 years old. Knowing he’s going to be drafted into the military, he joins the Army Concert Band, hoping to focus on his passion: writing music. As he surrounds himself with new ideas, he works his influences into the music that he's arranging. Then one day, the band plays one of his arrangements of a patriotic song for an inauguration of big-wigs, and from the calm of a quietly confused crowd comes a cry from a cardinal in attendance: “Blasphemy!” One day later, he’s told to gather his things. Thirty days later, he’s on his way to Vietnam. Fifty years later, he wins the Pulitzer Prize for music composition. This is only the beginning of the story of how the energy, hunger and curiosity of Henry Threadgill have influenced and changed the people around him. In spite of the failure and rejection he’s faced, Threadgill is perpetually driven toward new ideas, new challenges and new opportunities to pursue and grow stronger in his improvisational creative vision. His music is the product of the community he builds in the moment. This is the story of Henry Threadgill, told by the people whose lives he has touched. Heard a piece of music that you loved? Discover it here! 1:32—Samuel Ward: America the Beautiful | Listen 1:47—Cecil Taylor: Air Above Mountains | Listen 1:51—Igor Stravinsky: Rite of Spring | Listen 1:57—Thelonious Monk: Solo Monk | Listen 2:58—The Star-Spangled Banner, re-imagined by Meet the Composer3:29—Henry Threadgill: Someplace | Buy 3:47—Henry Threadgill: Higher Places | Buy 5:24—Henry Threadgill: Little Pocket-Sized Demons | Buy 6:00—Nico Muhly: Mothertongue: I. Archive | Listen 6:20—Henry Threadgill: The Devil is on the Loose and Dancing with a Monkey | Listen 6:58—Henry Threadgill: Try Some Ammonia | Listen 9:00—Edward Ciuksza: Basia | Listen 9:07—Demiran Cerimovic: Laca's Proud Cocek | Listen 9:17—Sallie Martin Singers: Jesus | Listen 9:28—Howlin' Wolf: Back Door Man | Listen 10:20—Ernest Tubb & Red Foley: Hillbilly Fever | Listen 10:33—Dmitri Shostakovich: Cello Concerto No. 1 in E-flat Major, op. 107 | Listen 10:39—Big Maybelle: Do Lord | Listen 10:52—Meade Lux Lewis: Honky Tonk Train Blues | Listen 12:17—Billy Strayhorn: Lush Life | Listen 13:11—Bishop Samuel Kelsey & Others: Tell Me How Long Has The Train Been Gone | Listen 14:19—Henry Threadgill: Where's Your Cup | Listen 16:10—Muhal Richard Abrams: Wise in Time | Listen 18:02—Muhal Richard Abrams: Marching With Honor | Listen 18:09—George Lewis: Voyager Duo 4 | Listen 18:16—Amina Claudine Myers: African Blues | Listen 18:24—Roscoe Mitchell: A Game of Catch | Listen 18:30—Wadada Leo Smith: Lake Michigan | Listen 18:31—Henry Threadgill: Old Locks & Irregular Verbs | Listen 28:03—Henry Threadgill: Old Locks & Irregular Verbs | Listen 29:15—Henry Threadgill: Subject to Change: This | Buy 34:08—Henry Threadgill: In for a Penny, Out for a Pound | Listen 37:27—Henry Threadgill: Old Locks & Irregular Verbs | Listen
George Lewis is a groundbreaking trombonist and composer as well as the Edwin H. Case Professor of American Music at Columbia University. Lewis’ career as a musician has been closely tied to the Association for the Advancement of Creative Musicians, a group founded in Chicago in 1965 to nurture creative and experimental music. Since 1971, Lewis has performed and recorded with a number of the group’s members, including Muhal Richard Abrams, Anthony Braxton, and Roscoe Mitchell. Lewis is also well-known for his work with computers and electronic music, including his software Voyager, which listens to and improvises with human performers. Since the 1990’s, he has also achieved success as a scholar, notably with his 2008 book A Power Stronger than Itself: The AACM and American Experimental Music, which won the American Book Award in 2009.
The candles blew and then disappeared, the curtains flew and then he appeared, saying "baby, don't be afraid" . . . to discuss the first four releases on powerhouse jazz label Black Saint: Billy Harper – BLACK SAINT; Archie Shepp – SEA OF FACES; Muhal Richard Abrams – SIGHTSONG; Don Pullen – CAPRICORN RISING.
The Chicago based Association for the Advancement of Creative Musicians is celebrating its 50th anniversary this week. This episode features an archival conversation conducted by Lincon T. Beauchamp with AACM members Muhal Richard Abrams, George Lewis, and Roscoe Mitchell at the ICASP Colloquium in Guelph Ontario in 2010. It originally aired on CFRU 93.3Fm on April 23, … Continue reading Episode #17: The AACM at 50: Muhal Richard Abrams, George Lewis, and Roscoe Mitchell →
Grandes trompetistas que presentan sus nuevos trabajos en esta edición de 'Club de Jazz' del 12 de abril de 2015. Jeremy Pelt firma "Tales, musings and other reveries" con Simona Premazzi (p), Ben Allison (cb) y dos bateristas, Billy Drummond y Victor Lewis. Daniel Cano debuta con "Don't touch the blue" junto a Pedro Cortejosa (sx), Paco Charlín (cb), Wilfried Wilde (gt) y Jesús Pazos (bt). Uno de los "padrinos" de Cano es Chris Kase, de quien recuperamos música de su magnífico "Six". Wadada Leo Smith se reúne en "Red hill" con Joe Morris (cb), Jamie Saft (p) y Balasz Pandi (bt) para una sesión de improvisación. También improvisada fue la reunión de grandes del jazz argentino que nos presenta Alberto Varela en el "Jazz Porteño" y que reunió en 2012 a músicos como el pianista Jorge Navarro o el trompetista Gustavo Bergalli. Y además de trompetistas, tiempo para el "Made in Chicago" que subió en esta ciudad sobre el escenario a Jack DeJohnette (bt), Henry Threadgill (sx y fl), Roscoe Mitchell (sx, fl y bass recorder), Muhal Richard Abrams (p) y Larry Gray (cb). Con Luis Díaz García swingueamos a Bach en el "Tren Azul" de la mano de Jacques Loussier y recuperamos el encuentro entre Max Roach y Clifford Brown (otro gra trompetista) en 1955.Y en "The New Standard" se divierte Jamie Saft con Steve Swallow (b) y Bobby Previte (bt). Toda la información y derechos: http://www.elclubdejazz.com
Grandes trompetistas que presentan sus nuevos trabajos en esta edición de 'Club de Jazz' del 12 de abril de 2015. Jeremy Pelt firma "Tales, musings and other reveries" con Simona Premazzi (p), Ben Allison (cb) y dos bateristas, Billy Drummond y Victor Lewis. Daniel Cano debuta con "Don't touch the blue" junto a Pedro Cortejosa (sx), Paco Charlín (cb), Wilfried Wilde (gt) y Jesús Pazos (bt). Uno de los "padrinos" de Cano es Chris Kase, de quien recuperamos música de su magnífico "Six". Wadada Leo Smith se reúne en "Red hill" con Joe Morris (cb), Jamie Saft (p) y Balasz Pandi (bt) para una sesión de improvisación. También improvisada fue la reunión de grandes del jazz argentino que nos presenta Alberto Varela en el "Jazz Porteño" y que reunió en 2012 a músicos como el pianista Jorge Navarro o el trompetista Gustavo Bergalli. Y además de trompetistas, tiempo para el "Made in Chicago" que subió en esta ciudad sobre el escenario a Jack DeJohnette (bt), Henry Threadgill (sx y fl), Roscoe Mitchell (sx, fl y bass recorder), Muhal Richard Abrams (p) y Larry Gray (cb). Con Luis Díaz García swingueamos a Bach en el "Tren Azul" de la mano de Jacques Loussier y recuperamos el encuentro entre Max Roach y Clifford Brown (otro gra trompetista) en 1955.Y en "The New Standard" se divierte Jamie Saft con Steve Swallow (b) y Bobby Previte (bt). Toda la información y derechos: http://www.elclubdejazz.com
Talking Smooth Jazz welcomes trumpeter Farnell Newton. Farnell, a composer/trumpeter was exposed to many forms of music, including jazz, salsa, funk, and hip-hop. He has performed with many musicians, including Aretha Franklin, James Moody, Marvin Santiago, and Muhal Richard Abrams. We welcome Farnell to talk about his new cd, Class Is Now In Session.
Fred Anderson, who died in June, was a founder member of the AACM in Chicago and ran the city's famous club, the Velvet Lounge. Alyn Shipton visited him at the site of his historic club before it was demolished in 2006, and talked to Anderson about his best recordings. The music features Joe Jarman, Muhal Richard Abrams and Anderson's long-term collaborator, the drummer Hamid Drake.
Deuxième de la quatorzième session... Cette semaine on s'inspire des récipiendaires du National Endowment for the Arts 2010 (États-Unis) et le retour de la chronique Big Band de Marie-Eve Boulanger ! En musique: On ouvre avec Cedar Walton et Clifford Jordan sur l'album A Night at Boomers Vol.1 (Muse, 1973); Ensuite dans la chronique de Marie-Eve, les artistes suivants: Bob Mintzer Big Band, Big Phat Band, Dave Holland Big Band et le GRP All Star Big Band. Par après, Bobby Hutcherson et des pièces de l'album Medina (Blue Note, 1969); Yusef Lateef avec l'album Before Dawn (Polygram, 1957); Finalement, Muhal Richard Abrams et des pièces de l'album Lifea Blinec (Novus, 1978)... Normal 0 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";}
Deuxième de la quatorzième session... Cette semaine on s'inspire des récipiendaires du National Endowment for the Arts 2010 (États-Unis) et le retour de la chronique Big Band de Marie-Eve Boulanger ! En musique: On ouvre avec Cedar Walton et Clifford Jordan sur l'album A Night at Boomers Vol.1 (Muse, 1973); Ensuite dans la chronique de Marie-Eve, les artistes suivants: Bob Mintzer Big Band, Big Phat Band, Dave Holland Big Band et le GRP All Star Big Band. Par après, Bobby Hutcherson et des pièces de l'album Medina (Blue Note, 1969); Yusef Lateef avec l'album Before Dawn (Polygram, 1957); Finalement, Muhal Richard Abrams et des pièces de l'album Lifea Blinec (Novus, 1978)... Normal 0 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";}
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