Podcasts about Nonesuch Records

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

Episode 160 Chapter 21, The San Francisco Tape Music Center. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 21, The San Francisco Tape Music Center from my book Electronic and Experimental music.   Playlist: THE SAN FRANCISCO TAPE MUSIC CENTER   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Terry Riley, “Mescalin-Mix” (1960-62). Early tape collage and one of Riley's first works for tape. 14:23 01:38 2.     Terry Riley, “Concerto For Two Pianos and Five Tape Recorders” )1961).  Piano, LaMonte Young; piano and tape assemblage, Terry Riley. Recorded live. 1961 Riley-Terry_ConcertoForTwoPianos-b.wav 04:36 15:56 3.     Pauline Oliveros, “Apple Box Double” (performance 2008). This piece was composed for various configurations of apple crates that were touched and scraped with various objects while being amplified. The original dates from about 2006. This performance by Seth Cluett and Oliveros took place in 2008. 12:45 20:30 4.     Steve Reich, “Melodica” (1966). Tape piece and the last of Reich's works before moving onto instrumental composition in his minimalist style. 10:42 33:16 5.     Morton Subotnick, “Laminations” (1966). For orchestra and electronic sounds, on tape. By this point, Subotnick was working with an early model of a synthesizer built for the San Francisco Tape Music Center by Donald Buchla. This synthesizer material was also used for the opening of Silver Apples of the Moon the following year. 10:29 44:08 6.     Morton Subotnick, “Prelude No.4 for piano and electronic tape (1966). Another Subotnick work for instruments and tape with synthesized electronic sounds. 06:58 54:36 7.     Pauline Oliveros, “Alien Bog” (1967). Utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and a tape delay system. 33:17 01:01:30 8.     Morton Subotnick, “Silver Apples of the Moon” (1967). Subotnick, recently departed from San Francisco and taking up shop at New York University, brought synthesizers constructed for him by Don Buchla when he was at the San Francisco Tape Music Center. This electronic composition represented a high point for the use of synthesizers at that time and was recorded on commission from Nonesuch Records. 32:01 01:35:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Five years since the passing of Andrew Weatherhall, we dip our sabre in honor, - Worldy local favorites Carolina Chocolate Drops album Genuine Negro Jug turns 15 years old on Nonesuch Records - released in 2010. Face Radio presenters Jaf & Corin had a band in the 80's Zeitgeist - we spin a 12” released on Tony Fletcher's Jamming label, underground synth from Portugal, under the radar American Soul, and Spanish - Mexican protest songs, plus loads more. Enjoy the music without borders, cheers big ears. For more info and tracklisting, visit: https://thefaceradio.com/worldy/Tune into new broadcasts of Worldy with Matt and Dom, LIVE, Mondays from 10 AM - 12 Noon EST / 3- 5 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Shara Nova is a composer, vocalist, and producer currently creating from Detroit, Michigan. Shara has released six albums under the monikerMy Brightest Diamond and has composed works for The Crossing, Conspirare, yMusic, Brooklyn Rider, Roomful of Teeth, Aarhus Symfoni, and American Composers Orchestra among many others. In 2024 she starred in the Tony Award Winning musical “Illinoise” on Broadway, directed by Justin Peck, co-written by Jackie Sibblies Drury with music by Sufjan Stevens, witha live album released on Nonesuch Records.

durée : 00:11:40 - "The Desert Music" : Steve Reich and Musicians - En juin 1997, en point d'orgue d'une célébration internationale de près d'un an du 60e anniversaire de Steve Reich, Nonesuch Records a publié un coffret de 10 CD présentant une rétrospective de la musique du compositeur.

durée : 00:11:40 - "The Desert Music" : Steve Reich and Musicians - En juin 1997, en point d'orgue d'une célébration internationale de près d'un an du 60e anniversaire de Steve Reich, Nonesuch Records a publié un coffret de 10 CD présentant une rétrospective de la musique du compositeur.

durée : 00:11:40 - "The Desert Music" : Steve Reich and Musicians - En juin 1997, en point d'orgue d'une célébration internationale de près d'un an du 60e anniversaire de Steve Reich, Nonesuch Records a publié un coffret de 10 CD présentant une rétrospective de la musique du compositeur.

Esta semana, dedicamos una nueva edición de Rebelión Sónica, al nuevo trabajo de la infuyente artista multimedia estadounidense Laurie Anderson, “Amelia”. Editado el 20 de agosto por el sello Nonesuch Records, el álbum se basa en la historia de la leyenda de la aviación Amelia Earhart, la primera mujer en cruzar el Atlántico y que desapareció en su vuelo alrededor del mundo en 1937. “Las palabras utilizadas en Amelia están inspiradas en sus diarios de piloto, los telegramas que le escribió a su marido y mi idea de lo que podría pensar una mujer que vuela alrededor del mundo", dijo Anderson en un comunicado. “Amelia” contiene 22 temas y cuenta con contribuciones de Anohni, el violinista y arreglista Rob Moose, Gabriel Cabezas, Martha Mooke, Marc Ribot entre otros, así como de la orquesta checa Filharmonie Brno, dirigida por Dennis Russell Davies. Al final del programa, viajamos al pasado en la historia de Anderson, para escucharla con música de su álbum debut de 1982, “Big Science”. Sintoniza Rebelión Sónica en radio Rockaxis los jueves a las 10 y 22 horas, como siempre, con la curatoría y conducción de Héctor Aravena.

Welcome to Season 8 of The Witch Wave!Cécile McLorin Salvant is a three-time Grammy-winning singer and composer, considered by many to be the Ella Fitzgerald/Sarah Vaughan/Billie Holiday/choose-your-own-iconic-vocalist of our time. The late opera legend Jessye Norman described Salvant as “a unique voice supported by an intelligence and full-fledged musicality, which light up every note she sings.” Salvant's style and repertoire are extensive and expansive connecting vaudeville, blues, theater, jazz, baroque, pop, and folkloric music. She's known as an eclectic curator, unearthing rarely recorded, forgotten songs with strong narratives, interesting power dynamics, unexpected twists, and humor. Salvant is widely admired and decorated with such awards as being the winner of the Thelonious Monk competition in 2010, the MacArthur fellowship (known in shorthand as the MacArthur Genius Award), and the Doris Duke Artist Award, in addition to the aforementioned multiple Grammys for Best Jazz Vocal Album. In addition to her stunning singing, Cécile is beloved for her visionary visual style, as well as for the tropes of mythology, magic, and monstresses which often show up in her original songs and her interpretations of existing ones. Her two most recent albums, Ghost Song (Nonesuch Records, 2022) and Mélusine (Nonesuch Records, 2023) include songs about supernatural love and mythic transformations, and her forthcoming album and animated feature, Ogresse, is a musical fable she describes as both a biomythography and an homage to the loa Erzulie.Born and raised in Miami, Florida of a French mother and Haitian father, she started classical piano studies at 5, sang in a children's choir at 8, and started classical voice lessons as a teenager. Salvant received a bachelor's in French law from the Université Pierre-Mendes France in Grenoble while also studying baroque music and jazz at the Darius Milhaud Music Conservatory in Aix-en-Provence, France.Salvant is also an accomplished visual artist, and her fantastical drawings, embroideries, and papercuttings can currently be seen up at Picture Room in Brooklyn through Nov 3, 2024. She is also on tour now, and will be performing at Carnegie Hall multiple times over the coming months.On this episode, Cécile discusses how she learned to embrace her “weird” in her music and other work, her love of hybrid creatures and mystical monstresses, and her burgeoning interest in ancestral magic.Pam also talks about voting as a means of counteracting tired old tropes about “diabolical” outsiders, and answers a listener question about getting to know the goddess Athena.Cécile McLorin Salvant songs featured in this episode:“Ghost Song” from Ghost Song (Nonesuch Records, 2022)“Wuthering Heights” cover from Ghost Song (Nonesuch Records, 2022)“Fenestra” from Mélusine(Nonesuch Records, 2023)Our sponsors for this episode are Ritual + Shelter, The Vintage Storyteller, Black Phoenix Alchemy Lab, BetterHelp, Blackthorn's Book of Sacred Plant Magic out now from Weiser Books, Mithras Candle, and The Missing Witches Deck of Oracles out now from North Atlantic Books.We also have print-on-demand merch like Witch Wave shirts, sweatshirts, totes, stickers, and mugs available now here.And if you want more Witch Wave, please consider supporting us on Patreon to get access to detailed show notes, bonus Witch Wave Plus episodes, Pam's monthly online rituals, and more! That's patreon.com/witchwave

Candyman and Cultural Contradictions: Grateful Dead's Egypt AdventureIn this episode of the Deadhead Cannabis Show, host Larry Mishkin highlights two key topics: a favorite Grateful Dead show and his recent experiences at Goose concerts. First, Larry talks about an iconic Grateful Dead concert that took place on September 16, 1978, at the Sun et Lumiere Theater in Giza, Egypt, near the pyramids and the Sphinx. This event is special not just for its unique location but also for featuring collaborations with Egyptian musician Hamza El Din, who joined the Dead for a jam session. The Egypt shows are remembered for their blend of American rock and ancient Egyptian culture, marking a historic moment in music history.Larry also reflects on the song "Candyman" by the Grateful Dead, exploring its themes of melancholy and contradiction within the counterculture of the 1960s. He discusses how the song portrays a sympathetic yet flawed character, and how it resonates with the complex dynamics of that era, blending elements of peace, revolution, and criminality.Switching gears, Larry shares his recent experiences attending two Goose concerts in Chicago. He highlights Goose's cover of Bob Seger's "Hollywood Nights" and talks about the band's growing popularity. Larry attended the concerts with family and friends and praises the outdoor venue in Chicago, noting its impressive atmosphere and the city's skyline as a backdrop. He fondly recalls his connections to Bob Seger's music from his youth and marvels at how younger bands like Goose continue to bring classic rock into their performances.   Grateful DeadSeptember 16, 1978  (46 years ago)Son Et Lumiere Theater (aka Sphinx Theatre)Giza, EgyptGrateful Dead Live at Sphinx Theatre on 1978-09-16 : Free Borrow & Streaming : Internet Archive Giza (/ˈɡiːzə/; sometimes spelled Gizah, Gizeh, Geeza, Jiza; Arabic: الجيزة, romanized: al-Jīzah, pronounced [ald͡ʒiːzah], Egyptian Arabic: الجيزةel-Gīza[elˈgiːzæ])[3] is the third-largest city in Egypt by area after Cairo and Alexandria; and fourth-largest city in Africa by population after Kinshasa, Lagos, and Cairo. It is the capital of Giza Governorate with a total population of 4,872,448 in the 2017 census.[4] It is located on the west bank of the Nile opposite central Cairo, and is a part of the Greater Cairo metropolis. Giza lies less than 30 km (18.64 mi) north of Memphis (Men-nefer, today the village of Mit Rahina), which was the capital city of the unified Egyptian state during the reign of pharaoh Narmer, roughly 3100 BC. Giza is most famous as the location of the Giza Plateau, the site of some of the most impressive ancient monuments in the world, including a complex of ancient Egyptian royal mortuary and sacred structures, among which are the Great Sphinx, the Great Pyramid of Giza, and a number of other large pyramids and temples. Giza has always been a focal point in Egypt's history due to its location close to Memphis, the ancient pharaonic capital of the Old Kingdom. Son et lumière (French pronunciation: [sɔ̃n e lymjɛʁ] (French, lit. "sound and light")), or a sound and light show, is a form of nighttime entertainment that is usually presented in an outdoor venue of historic significance.[1] Special lighting effects are projected onto the façade of a building or ruin and synchronized with recorded or live narration and music to dramatize the history of the place.[1] The invention of the concept is credited to Paul Robert-Houdin, who was the curator of the Château de Chambord in France, which hosted the world's first son et lumière in 1952.[1] Another was established in the early 1960s at the site of the Great Pyramid of Giza in Egypt. One of the Seven Wonders of the Ancient World and a star attraction in Egypt, the pyramids of Giza offer a completely different experience at night, when lasers, lights, and visual projections bring their history to life. Here's how to visit the pyramids after dark. The sound and light show at Giza takes place every night for 55 minutes by the Great Sphinx of king Kephren, it is a laser show with history narration of your own language.  Kyle FitzgeraldThe National Standing under a total lunar eclipse at the foot of ancient power by the Great Pyramid, the Grateful Dead were concluding the final show of their three-night run at the Sound and Light Theatre in Giza in 1978.His hair in pigtails, guitarist Jerry Garcia wove the outro of the percussive Nubian composition Olin Arageed into an extended opening of Fire on the Mountain. “There were Bedouins out on the desert dancing … It was amazing, it really was amazing,” Garcia said in a 1979 radio interview. The September 14-16 shows in Giza were the ultimate experiment for the American band – the first to play at the pyramids – known for pushing music beyond the realms of imagination. And just as the Grateful Dead were playing in the centre of ancient Egypt, a landmark peace treaty was being brokered in the US that would reshape geopolitics in the Middle East. For as the Grateful Dead arrived in Egypt as cultural ambassadors, on the other side of the world US president Jimmy Carter had gathered his Egyptian counterpart Anwar Sadat and Israeli prime minister Menachem Begin to broker the Camp David Accords that led to an Egyptian-Israeli peace settlement. “No show that they have ever done has the international significance of their three performances in Egypt,” said Richard Loren, the Grateful Dead's manager from 1974-1981. “When we left the stage on the last show, everybody was high on acid, and the first news that came on: They signed the Camp David agreement. Sadat, Begin and Carter signed the agreement in Camp David. This happened during those three days.” Loren, who produced the shows, credited his friendship with Jefferson Airplane vocalist Marty Balin, who had a keen interest in Egypt, for developing his own fascination with the country. “The lead singer for Jefferson Airplane is the seed that resulted in the Grateful Dead playing in Egypt,” he said. Loren recalled riding a camel around the pyramid site during a three-week visit in 1975. To his right were the pyramids. In front of him, the Sphinx. “And I look down and I see a stage, and a light bulb went off in my head immediately. The Grateful Dead ought to play in Egypt,” he said. Loren, associate Alan Trist and Grateful Dead bass player Phil Lesh formed a scouting committee that would be responsible for liaising with American and Egyptian officials, Secret Service members and Egyptian first lady Jehan Sadat to allow the Grateful Dead to play in front of the pyramids. After the mission to the proposed site, meetings in Washington and Egypt, discussions with government officials and a party for the consulate, the band still needed to convince officials the purpose of the show was to make music – not money. And so the Dead paid their own expenses and offered to donate all the proceeds.Half would be donated to the Faith and Hope Society – the Sadats' favourite charity – and the other to Egypt's Department of Antiquities. “It was a sales pitch by the three of us – Alan, Richard and Phil,” Loren said. A telegram was sent on March 21, 1978, confirming the Grateful Dead would perform two open-air shows at the Sound and Light in front of the Great Pyramid and Sphinx. They would go on to play three shows. Describing the planning, bassist Phil Lesh said, "It sort of became my project because I was one of the first people in the band who was on the trip of playing at places of power. You know, power that's been preserved from the ancient world. The pyramids are like the obvious number one choice because no matter what anyone thinks they might be, there is definitely some kind of mojo about the pyramids."[11]Rather than ship all of the required sound reinforcement equipment from the United States, the PA and a 24-track, mobile studio recording truck were borrowed from the Who, in the UK. The Dead crew set up their gear at the open-air theater on the east side of the Great Sphinx, for three nights of concerts. The final two, September 15 & 16, 1978, are excerpted for the album. The band referred to their stage set-up as "The Gizah Sound and Light Theater". The final night's performance coincided with a total lunar eclipse. Drummer Bill Kreutzmann played with a cast, having broken his wrist while horseback riding. The King's Chamber of the nearby Great Pyramid of Giza was rigged with a speaker and microphone in a failed attempt to live-mix acoustical echo.[12] Lesh recalled that through the shows he observed "an increasing number of shadowy figures gathering just at the edge of the illuminated area surrounding the stage and audience – not locals, as they all seem to be wearing the same garment, a dark, hooded robe. These, it turns out, are the Bedouin, the nomadic horsemen of the desert: drawn in by the music and lights... each night they have remained to dance and sway rhythmically for the duration of the show."[13] Kreutzmann recalls "Egypt instantly became the biggest, baddest, and most legendary field trip that we took during our entire thirty years as a band... It was priceless and perfect and, at half a million dollars, a bargain in the end. Albeit, a very expensive bargain."[14] The concerts weren't expected to be profitable (proceeds were donated to the Department of Antiquities and a charity chosen by Jehan Sadat). Costs were to be offset by the production of a triple-live album; however, performances did not turn out as proficient as planned, musically, and technical problems plagued the recordings.[10] The results were shelved as the band focused instead on a new studio album, Shakedown Street.   INTRO:                     Candyman                                    Track #3                                    2:54 – 4:50 From Songfacts:  the American Beauty album is infused with sadness. Jerry Garcia's mother was still seriously injured and her still fate uncertain following an automotive accident, while Phil Lesh was still grieving his father's passing. The melancholic aura comes through in "Candyman" as much as any other song on the album.The effect of the melodic sadness on the song's context is interesting, to say the least. It makes everything about the candyman character in the song seem sympathetic, when the lyrics suggest that he is anything but. Dead lyricist Robert Hunter said he certainly didn't resonate with the character's penchant for violence (more on that below).The Random House Historical Dictionary of American Slang defines the term "candyman" primarily as a drug dealer and secondarily as a man who is lucky in general and lucky with women in particular. The latter version seems to fit better with the song, as the character announces his arrival to all the women in town and tells them they ought to open their windows (presumably to let him in). While there's no evidence to suggest that Hunter was getting at anything too deep with the song, "Candyman" does provide an interesting perspective on the contradictions of the 1960s counterculture. Mixed in with all the peaceniks and flowers were hard-drug pushers, violent revolutionaries, and common criminals. By 1970, this stew had long since become so mixed-up that its attendant parts could no longer be cleanly extracted from each other. The fact that American Beauty came out in the midst of the Manson Family "hippie cult killings" trial says just about all that needs to be said about the complicated reality that had arisen out of the 1960s counterculture.Beyond all that, though, the outlaw song that romanticizes criminality is a long-held and cherished tradition in American music. With American Beauty, Jerry Garcia wanted the Dead to do something like "California country western," where they focused more on the singing than on the instrumentation.  So the sang Hunter's lyrics: Good mornin', Mr. BensonI see you're doin' wellIf I had me a shotgunI'd blow you straight to HellThis is an oddly violent line for a song by the Grateful Dead, who sought to embody the '60s peace-and-love ethos about as sincerely and stubbornly as any act to come out of the era. It always got a raucous applause from the audience, too, which seems equally incongruous with the Deadhead culture.Hunter was bothered by the cheers. In an interview published in Goin' Down the Road by Blair Jackson (p. 119), he brings this phenomenon up when asked if any of his songs has been widely misinterpreted. He mentions that he had first witnessed an audience's enthusiastic response to violence while watching the 1975 dystopian film Rollerball and "couldn't believe" the cheers.Hunter tells Jackson that he hopes fans know that the perspective in "Candyman" is from a character and not from himself. He stresses the same separation between himself and the womanizer in "Jack Straw." As far as the Mr. Benson in "Candyman," David Dodd in the Annotated Grateful Dead Lyrics makes a great case for that being Sheriff Benson from Leadbelly's "Midnight Special" (who may very well have been based on a real sheriff). If true, this might place "Candyman" in Houston, Texas (though Hunter might not have had anything so specific in mind). Almost always a first set song.  Often featured in acoustic sets, back in the day. This version features this awesome Garcia solo that we were listing to.  Maybe he was inspired by the pyramids or whatever magical spirits might have come out from within to see this American band the Grateful Dead.  Hopefully, it made those spirits grateful themselves. Played:  273First:  April 3, 1970 at Armory Fieldhouse, Cincinnati, OH, USALast:  June 30, 1995 at Three Rivers Stadium, Pittsburgh, PA, USA  SHOW No. 1:         Hamza El Din                                    Track #10                                    7:30 – 9:00 Hamza El Din (Arabicحمزة علاء الدين) (July 10, 1929 – May 22, 2006) was an Egyptian Nubian composer, oudplayer, tar player, and vocalist. He was born in southern Egypt and was an internationally known musician of his native region Nubia, situated on both sides of the Egypt–Sudan border. After musical studies in Cairo, he lived and studied in Italy, Japan and the United States. El Din collaborated with a wide variety of musical performers, including Sandy Bull, the Kronos Quartet and the Grateful Dead. His performances attracted the attention of the Grateful Dead, Joan Baez, and Bob Dylan in the 1960s, which led to a recording contract and to his eventual emigration to the United States. In 1963, El Din shared an apartment in the San Francisco Bay Area with folk musician Sandy Bull. Following his appearance at the Newport Folk Festival in 1964, he recorded two albums for Vanguard Records, released 1964–65. His 1971 recording Escalay: The Water Wheel, published by Nonesuch Records and produced by Mickey Hart, has been recognized as one of the first world music recordings to gain wide release in the West, and was claimed as an influence by some American minimalist composers, such as Steve Reich and Terry Riley, as well as by Grateful Dead percussionist Mickey Hart.[1] He also performed with the Grateful Dead, most famously during their Egypt concerts of 1978. During these three shows, Hamza El Din, performed as a guest and played his composition "Ollin Arageed" He was backed by the students of his Abu Simbel school and accompanied by the Grateful Dead.  After Egypt, hamza el din played with the dead in the U.S. On October 21st, back in 1978, the Grateful Dead were in the midst of wrapping up a fiery five-night run at San Francisco's Winterland Ballroom. This string of shows was particularly special for the band, as they marked the first shows played by the Dead following their now-legendary performances near the Great Pyramid of Giza in Egypt a month prior. n an effort to bring their experiences in Northern Africa home with them to share with their fans, the Dead's '78 Winterland run saw sit-ins by Egyptian percussionist, singer, and oud player Hamza El Din. On October 21st, El Din opened the show solo, offering his divine percussion before the Grateful Dead slowly emerged to join him for an ecstatic rendition of “Ollin Arageed”, a number based off a Nubian wedding tune, before embarking on a soaring half-acoustic, half-electric jam, that we will get to on the other side of Music News: MUSIC NEWS: Lead in music:                  Goose — "Hollywood Nights" (Bob Seger) — Fiddler's Green — 6/8/24 (youtube.com)                  0:00 – 1:10             Goose covering Bob Seeger and the Silver Bullet Band's Hollywood Nights, this version from earlier this year but Goose did play it Friday night in Chicago at the Salt Shed's Festival stage outside along the Chicago river with the Skyline in the background. Very impressive. "Hollywood Nights" is a song written and recorded by American rock artist Bob Seger. It was released in 1978 as the second single from his album, Stranger in Town. Seger said "The chorus just came into my head; I was driving around in the Hollywood Hills, and I started singing 'Hollywood nights/Hollywood hills/Above all the lights/Hollywood nights.' I went back to my rented house, and there was a Time with Cheryl Tiegs on the cover...I said 'Let's write a song about a guy from the Midwest who runs into someone like this and gets caught up in the whole bizarro thing.'" [1] Seger also said that "Hollywood Nights" was the closest he has had to a song coming to him in a dream, similar to how Keith Richards described the riff to "(I Can't Get No) Satisfaction" coming to him in a dream. Robert Clark Seger (/ˈsiːɡər/SEE-gər; born May 6, 1945) is a retired American singer, songwriter, and musician. As a locally successful Detroit-area artist, he performed and recorded with the groups Bob Seger and the Last Heard and the Bob Seger System throughout the 1960s, In 1973, he put together the Silver Bullet Band, with a group of Detroit-area musicians, with whom he became most successful on the national level with the album Live Bullet (1976), recorded live with the Silver Bullet Band in 1975 at Cobo Hall in Detroit, Michigan. In 1976, he achieved a national breakout with the studio album Night Moves. On his studio albums, he also worked extensively with the Alabama-based Muscle Shoals Rhythm Section, which appeared on several of Seger's best-selling singles and albums. A roots rock musician with a classic raspy, powerful voice, Seger is known for his songs concerning love, women, and blue-collar themes, and is one of the best-known artists of the heartland rock genre. He has recorded many hits, including "Night Moves", "Turn the Page", "Mainstreet", "Still the Same", "Hollywood Nights", "Against the Wind", "You'll Accomp'ny Me", "Shame on the Moon", "Roll Me Away", "Like a Rock", and "Shakedown", the last of which was written for the 1987 film Beverly Hills Cop II and topped the Billboard Hot 100 chart. He also co-wrote the Eagles' number-one hit "Heartache Tonight", and his recording of "Old Time Rock and Roll" was named one of the Songs of the Century in 2001. Which leads us to: Goose plays three nights in Chicago: Wednesday, Thursday and Friday night at the Salt Shed.  I caught the Thursday and Friday show.  Went with my wife on Thursday and hung out with good friends John and Marnie, her brothers Rick and Joel, Stephan and others.  Friday with my son Daniel and good buddy Kevin who got us rock star parking and even more impressively killer seats dead center at the bottom of the grandstands in the back of the floor, a few feet off the floor and dead center so we could see everything, hear everything and have a place to sit and rest for a few minutes when needed. I have to say, I've now seen Goose five times and enjoy them more and more.  Great musical jams, great light show, lots of good energy from the band and the fans.  Rick Mitoratando is a first class guitartist and singer, Peter Anspach on keyboard and guitar and vocals, Jeff Arevalo, percussionist, Trevor Weekz on bass and newcomer, Cotter Ellis on drums, replacing original drummer, Ben Askind. Began playing in 2014 in Wilton Connecticut so this is their 10 year and they are just getting stronger.  They really love what they do and its shows in their live performances. Great set lists in Chicago: Thursday night they were joined on stage by Julian Lage, a jazz composer and guitarist for the last two songs of the first set, A Western Sun and Turned Clouds. If you have not yet seen Goose you need to see Goose.  Soon.  Jane's Addiction Concert Ends Abruptly After Perry Farrell Punches Dave Navarro Onstage 3.     Jane's Addiction Offer ‘Heartfelt Apology' for Fight, Cancel Sunday's Show Phish announce 3 night run in Albany Oct. 25 – 27 to benefit Divided Sky Foundation A residential program for people recovering from drug and alcohol abuse. The Divided Sky Foundation, a 46-bed nonprofit recovery center spearheaded by Phish frontman Trey Anastasio, will be an abstinence-based, nonmedical residence, one of the first ofits kind in Vermont. The Divided Sky Foundation is a charitable nonprofit founded by Anastasio; it purchased the Ludlow location to create a substance-use disorder treatment center back in 2021.  Anastasio, Phish's lead guitarist and vocalist, has dealt publicly with his own drug and alcohol use and later sobriety, a journey that brought him under the supervision of drug court in Washington County, New York, in the mid-2000s. There, he met Gulde, who worked in the court system at the time, and the two have stayed friends since.  Together, Gulde and Anastasio used their personal experiences with treatment facilities to implement a vision for the Ludlow space, she said.   Very cool organization, deserves everyone's support.  Trey turned it around which is why he is now 5 years older than Jerry was when he died in 1995 and Trey and Phish are just getting stronger and stronger. SHOW No. 2:         Ollin Arageed                                    Track #11                                    13:10 – 14:42 Musical composition written by Hamza El-Din.  He and members of the Abu Simbel School of Luxor choir opened the shows with his composition Olin Arageed on nights one and two, and opened set two of night three with the song as well.  Joined on stage by the band.  Fun, different and a shout out to the locals. The Dead played it a few more times with Hamza and then retired it for good.  SHOW No. 3:         Fire On The Mountain                                    Track #12                                    13:00 – end                                     INTO                                     Iko Iko                                    Track #13                                    0:00 – 1:37 This transition is one of my all time Dead favorites.  Out of a stand alone Fire (no Scarlet lead in) into a sublime and spacey Iko Iko.  Another perfect combination for the pyramids, sphinx and full lunar eclipse.A great reason to listen to this show and these two tunes. MJ NEWS: MJ Lead in Song            Still Blazin by Wiz Khalifa:  Still Blazin (feat. Alborosie) (youtube.com)                                                                        0:00 – 0:45 We talked all about Wiz Khalifa on last week's episode after I saw him headline the Miracle in Mundelein a week ago.  But did not have a chance to feature any of his tunes last week.  This one is a natural for our show. This song is from Kush & Orange Juice (stylized as Kush and OJ) is the eighth mixtape by American rapper Wiz Khalifa. It was released on April 14, 2010, by Taylor Gang Records and Rostrum Records. Kush & Orange Juice gained notoriety after its official release by making it the number-one trending topic on both Google and Twitter.[1] On the same day, a link to the mixtape was posted for download on Wiz's Twitter.[2] The hashtag#kushandorangejuice became the number-six trending topic on the microblogging service after its release and remained on the top trending items on Twitter for three days.[  1.                   Nixon Admitted Marijuana Is ‘Not Particularly Dangerous' In Newly Discovered Recording2.                  Marijuana Use By Older Americans Has Nearly Doubled In The Last Three Years, AARP-Backed Study Shows3.                  Medical Marijuana Helps People With Arthritis And Other Rheumatic Conditions Reduce Use Of Opioids And Other Medications, Study Shows4.                  U.S. Marijuana Consumers Have Spent More Than $4.1 Billion On Pre-Rolled Joints In The Past Year And A Half, Industry Report Finds   SHOW No. 4:         Sunrise                                    Track #162:08 – 3:37             Grateful dead song written, music and lyrics by Donna Jean Godchaux.  Released on Terrapin Station album, July 27, 1977             There are two accounts of the origins of this song, both of which may be true. One is that it is about Rolling Thunder, the Indian Shaman, conducting a ceremony (which certainly fits with many of the lyrics). The other is that it was written by Donna in memory of Rex Jackson, one of the Grateful Dead's crew (after whom the Rex Foundation is named). The song is about a Native American medicine man named Rolling Thunder, who spent a lot of time with the Dead."'Sunrise' is about sunrise services we attended and what Rolling Thunder would do," Godchaux said on the Songfacts Podcast. "It's very literal actually. Rolling Thunder would conduct a sunrise service, so that's how that came about."Donna Jean Godchaux wrote this song on piano after Jerry Garcia asked her to write a song for the Terrapin Station album. She said it just flowed out of her - music and lyrics - and was one of the easiest songs she ever wrote.The drumming at the end of the song was played by a real medicine man. "We cut it in Los Angeles, and he came and brought the medicine drum, so what you hear on the end is the real deal," Godchaux told Songfacts. "It was like a sanctuary in that studio when he was playing that. It was very heavy." It was played regularly by the Grateful Dead in 1977 and 1978 (Donna left the band in early 1979).This version is the last time the band ever played it. Played:  30 timesFirst:  May 1, 1977 at The Palladium, New York, NY, USALast:  September 16, 1978 at the Pyramids, Giza Egypt                                   OUTRO:                   Shakedown Street                                    Track #17                                    3:07 – 4:35                                   Title track from Shakedown Street album November 8, 1978 One of Jerry's best numbers.  A great tune that can open a show, open the second set, occasionally played as an encore, but not here.  It is dropped into the middle of the second set as the lead in to Drums.  This is only the second time the song is played by the band. Played:  164 timesFirst:  August 31, 1978 at Red Rocks Amphitheatre, Morrison, CO, USALast:  July 9, 1995 at Soldier Field, Chicago, IL – opened the second set, the final set of music ever performed by the band.  Shout outs:             Karen Shmerling's birthday                       This week my beautiful granddaughter, Ruby, is coming to town to visit.  Can't wait to see her and her parents.  .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

This week on Transmissions, return guest Yasmin Williams. On October 4th, she releases Acadia via Nonesuch Records. It's her long awaited follow up to 2021's Urban Driftwood, and like that record, it's beautiful—a showcase for a one-of-a-kind artist. And while the focus remains Williams' fluid and lyrical guitarwork, she's joined by a roster of ringers to help fill out the corners: Aoife O'Donovan, Dom Flemons, Kaki King, William Tyler, and Darklingside and Rich Ruth, whose vocal and synthesizer contributions can be heard on the recently released first single, "Virga." Williams first came back on the show way back in the lockdown days, but life has changed greatly for her since then. She discusses some of those changes, and opens up about her desire to create with Acadia something of a refuge from the chaos of the world. Even though the record finds her joined by an expanded cast, it feels even more personal. In carving out enough space for herself, Williams has opened more than enough for the listener too. Ahead of her fall tour dates with Brittany Howard and Michael Kiwanuka and an appearance at London's Pitchfork Music Fest in November, Williams joins host Jason P. Woodbury for a rousing conversation. Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Als Mozart in 1785 naar Istanboel was gereisd, zou hij dan per koets gegaan zijn? Misschien wel over deze stoffige weg? En wat voor muziek zou hij gehoord hebben? Zouden de composities van sultan Selim III hem hebben geïnspireerd tot iets subtielers dan zijn bekende 'Alla Turca'? Check de podcast > hier! CD Maqam of the Sultan M. Vahdettin Vol.2 (Ati Yapım z.nr.) Sultan M. Vahdettin: Nihavend çello taksim Hünkar Makamı Ensemble 2'32”  CD Maqam of the Sultan III Selim Vol.3 (Ati Yapım z.nr.) Sultan III.Selim: Hüseynî Saz-semâîsi Hünkar Makamı Ensemble 4'40”  CD De materie (Nonesuch Records 7559-79367-2) Louis Andriessen: De Materie pt IV - Asko|Schönberg olv Reinbert de Leeuw - Cindy Oswin [spreekstem]  - Nederlands Kamerkoor 28'02” eigen opname Een Harp Onder de Riem Beate Loonstra; Peter Tiehuis: 0 punt 0 Beate Loonstra, harp Peter Tiehuis, gitaar 11'30” 

After an airstrike killed 12 children in Israel-controlled territory at the weekend, retaliation in Lebanon seems inevitable. The end result could be a war on multiple fronts. British prisons are in crisis, so what should the new Labour government do (10:07)? And for the past 50 years, the Kronos quartet in America has brought together musical traditions to redefine classical music (22:48).Additional music copyright Nonesuch Records, Black Angels I. Departure & II. Absence by George Crumb, Blood Oath by Philip Glass, Sunrise of the Planetary Dream Collector by Terry Riley, Purple Haze by Jimi Hendrix, Tilliboyo by Foday Musa Suso, Nihavent Sirto, Flugufrelsarinn by Sigur Rós, Branching Patterns by Inti Figgis-Vizueta, Mishima/Closing by Philip GlassListen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

After an airstrike killed 12 children in Israel-controlled territory at the weekend, retaliation in Lebanon seems inevitable. The end result could be a war on multiple fronts. British prisons are in crisis, so what should the new Labour government do (10:07)? And for the past 50 years, the Kronos quartet in America has brought together musical traditions to redefine classical music (22:48).Additional music copyright Nonesuch Records, Black Angels I. Departure & II. Absence by George Crumb, Blood Oath by Philip Glass, Sunrise of the Planetary Dream Collector by Terry Riley, Purple Haze by Jimi Hendrix, Tilliboyo by Foday Musa Suso, Nihavent Sirto, Flugufrelsarinn by Sigur Rós, Branching Patterns by Inti Figgis-Vizueta, Mishima/Closing by Philip GlassListen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account.

Soms is een landschap met een weg bijna een abstract schilderij, een oningelijst voorbeeld van De Stijl, een vlakverdeling vlak voor je ogen - stel je de kleuren egaal en glad voor en wat je ziet betekent ineens iets heel anders dan je misschien dacht. Check het artikel over Een Harp Onder De Riem > hier. Check het interview met Monica Germino, Gerard Bouwhuis en Heleen Hulst over Louis Andriessen > hier. 23.04 eigen opname Een Harp Onder De Riem Rianne Wilbers; Bianca Bongers: Circle Rianne Wilbers [stem]; Bianca Bongers [cello] 11'47” 23.22 CD Walking the path of life (Kuku Music / China Record Corporation GCD-5514 Gong Linna; Lao Luo; Ouyang Xiu: Tin yuan sheng shen Gong Linna 4'12” 23.28 CD De materie (Nonesuch Records 7559-79367-2) Louis Andriessen: De Materie pt 3: De Stijl Asko|Schönberg olv Leeuw, Reinbert de Gertrude Thoma [spreekstem] Nederlands Kamerkoor 25'52”

On the show this time, it's the contemporary jazz and black classical music of Yussef Dayes. Drummer and composer Yussef Dayes makes music that embraces tradition, but then puts on a brand new shirt and walks out into the city, ready for anything.  He's a band leader - having put together a group of monster players to bring this music into existence. The Lewisham native has been in the midst of the current London community ever since he and his brothers were in a band together.  “United Vibrations” was jamming at the house on weekends, busking in the streets, and later putting on shows - including the infamous nights called “12 Tone.”  His debut solo album “Black Classical Music” is available through Brownswood Recordings and Nonesuch Records. Recorded 11/27/23. Raisins Under The Sun  Turquoise Galaxy Chasing The Drum Watch the full Live on KEXP session on YouTube.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

On the show this time, it's the contemporary jazz and black classical music of Yussef Dayes. Drummer and composer Yussef Dayes makes music that embraces tradition, but then puts on a brand new shirt and walks out into the city, ready for anything.  He's a band leader - having put together a group of monster players to bring this music into existence. The Lewisham native has been in the midst of the current London community ever since he and his brothers were in a band together.  “United Vibrations” was jamming at the house on weekends, busking in the streets, and later putting on shows - including the infamous nights called “12 Tone.”  His debut solo album “Black Classical Music” is available through Brownswood Recordings and Nonesuch Records. Recorded 11/27/23. Raisins Under The Sun  Turquoise Galaxy Chasing The Drum Watch the full Live on KEXP session on YouTube.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Zo laag hangen de wolken dat de toppen van de bergen aan het zicht onttrokken zijn - je weet dat je als onder een deken door tussen de steile wanden het dal gaat volgen - en dat hoog boven je, waar een frisse bries een wak in het wolkendek slaat, de lucht helder blauw is, bijna verblindend als een visioen. 23.04 eigen opname Een Harp Onder De Riem Hans Vroomans; Beate Loonstra: Vier handen moeten het doen Hans Vroomans [piano]; Beate Loonstra [harp] 9'08”  23.15 CD De materie (Nonesuch Records 7559-79367-2) Louis Andriessen: De Materie pt 2: Hadewych  - Asko|Schönberg olv Leeuw, Reinbert de - Narucki, Susan [sopraan]  - Nederlands Kamerkoor 28'40” 23.47 CD Ochre (Navona NV 6643) Caroline Shaw: Ochre - I Siderite - II Limonite - III Maghemite The Crossing olv Donald Nally 11'29”

Uitgehakt door keiharde rotsen, een weg die half grot, half richel is, het ravijn aan de ene zijde, de schijnbaar ondoordringbare bergwand naast en boven je. Onmogelijk te zien wat er op je afkomt, of waar je uitkomt. Uitgebroken en tegelijk ingekapseld, vrij maar ook onlosmakelijk verbonden. Muziek van het heden, nooit los van het verleden. 23.04 opname Een Harp Onder De Riem 6 juli 2024 Kika Sprangers, Mike del Ferro: Ardennen Mike del Ferro [piano]; Kika Sprangers [altsaxofoon] 7'32”  23.12 CD De materie (Nonesuch Records 7559-79367-2) Louis Andriessen: De Materie pt 1  Doing, James [tenor] Asko|Schönberg olv Reinbert de Leeuw 25'35” 23.40 opname Een Harp Onder De Riem 11 juli  Beate Loonstra; Eef van Breen: In jouw schoenen Eef van Breen [keys, slagwerk, bromtol, bugel, trompet, stem] Beate Loonstra [harp, klankschalen, stem] 7'53”  23.52 CD Still, Glowing (BBC Symphony Orchestra z.nr. ) Judith Weir: Still, Glowing BBC Symphony Orchestra olv Dalia Stasevska 5'00”

Daniel Behle hat Ende letzten Jahres den Ehrenpreis der deutschen Schallplattenkritik erhalten - «weil er auf eine optimistische bis fanatische Weise an das Medium Schallplatte glaubt», so die Laudatio. Insgesamt hat er 19 Alben veröffentlicht, das ist mehr als das Lebenswerk vieler Kolleg:innen. 00:35 Aktuell Das Swiss Jazz Orchestra ist hierzulande eine der wichtigsten Big Bands. Es feiert sein 20-Jahr-Jubiläum. 10:20 Talk Er stammt aus Hamburg, lebt seit vielen Jahren in Basel und ist auf den besten Opernbühnen der Welt zu Hause: Der Tenor Daniel Behle. Warum Behle die CD mehr schätzt als die Playlist, was die besten Opernhäuser der Welt ausmacht, und warum Computerspielen für einen reisenden Tenor das ideale Hobby ist, das erzählt er im Gespräch mit Jenny Berg. 26:46 Neuerscheinungen Der Jazzpianist Brad Mehldau veröffentlicht sein Album «Après Fauré», auf dem er die Kompositionen von Gabriel Fauré genau unter die Lupe nimmt - eine Produktion von Nonesuch Records. Auf der CD «Percussion Concerto und Wunderkammer» veröffentlich der Komponist Danny Elfman Filmmusik ohne Drehbuch; es spielen der Perkussionist Colin Currie, das Royal Liverpool Philharmonic Orchestra, Leitung JoAnn Falletta. Erschienen bei Sony Classical. 49:57 Swiss Corner Jedes Jahr trifft am Festival OBWALD hiesige Volksmusik auf ferne Musikkulturen. An fünf Tagen werden auf der Waldlichtung Gsang in Giswil Klänge verschmolzen, Gemeinsamkeiten und Unterschiede zelebriert und sich ausgetauscht. Dieses Jahr wurden Finnische Volksmusiker:innen eingeladen, unteranderem mit der Kantele im Gepäck. Sie ist mit dem Schweizer Hackbrett verwandt. Zwei Zitherinstrumente, das eine gezupft, das andere geschlagen.

Esta semana, en el último capítulo de la temporada 2023 de Rebelión Sónica, los invitamos a escuchar música de dos álbumes de la destacada guitarrista y compositora estadounidense Mary Halvorson: “Cloudward” de 2024 y “Code Girl” de 2018. Editado por el sello Nonesuch Records el 19 de enero de 2024, “Cloudward” presenta ocho nuevas composiciones de Halvorson, interpretadas con su sexteto Amaryllis, la banda de improvisación que grabó sus álbumes complementarios de 2022, “Amaryllis” y “Belladonna”. La banda está compuesta por Halvorson, Patricia Brennan (vibráfono), Nick Dunston (bajo), Tomas Fujiwara (batería), Jacob Garchik (trombón) y Adam O'Farrill (trompeta). Además, participa Laurie Anderson en la canción ‘Incarnadine', en una tradición de invitar a grandes músicos que, por ejemplo, está presente en su disco de 2020 “Artlessly Falling” con la presencia de Robert Wyatt. Halvorson señaló que “toda la música de “Cloudward” se compuso en 2022, principalmente en otoño e invierno, cuando las cosas empezaron a avanzar. La vida se sentía como una máquina chirriante que se pone en marcha de nuevo. Los viajes aéreos, por caóticos que fueran, se habían reanudado y una vez más estábamos envueltos en nubes. Las actuaciones, giras y grabaciones se produjeron después de una larga pausa y con un renovado sentido de gratitud. Esta banda, para mí, fue simplemente trabajar, tanto musical como personalmente, y lo principal que sentí mientras escribía la música fue optimismo”. Al final del programa, viajamos al pasado en el catálogo de Halvorson, para escucharla con el disco debut homónimo de su banda Code Girl, publicado en 2018 por el sello Firehouse 12. Como siempre, Rebelión Sónica se transmite por radio Rockaxis el miércoles a las 10 y 20 horas -se repite el domingo a las 17-, con la conducción de Héctor Aravena.

'Sicut lilium inter spinas' - als een lelie tussen de doornen, zo luidt het motto van de Illustre Lieve Vrouwe Broederschap in Den Bosch, treffend genoeg ook als om te illustreren hoe soms scabreuze liedjes de basis vormden voor de hemelse klanken van polyfone missen, zoals humus nodig is voor bloei en kleur en vrucht. 23.04 CD But not my soul (Channel Classics CCS45724) Florence Price: Strijkkwartet nr 2 in a - IV Finale Ragazze Quartet 6'09”  23.12 CD Piano transcriptions (Zefir ZEF 9704) Franz Schubert, Franz Liszt: Gretchen am Spinnrade Ketevan Sharumashvili  3'58”  23.18 CD The Feast of the Swan (NorthStar Recordings CC72880) Loÿset Compère: Dictes moy toutes voz pensées Cappella Pratensis olv Stratton Bull; Sollazzo Ensemble olv Anna Danilevskaia 6'14”  23.26 CD The Feast of the Swan (NorthStar Recordings CC72880) Anoniem/Marc Busnel/Eric Alink: Ick had een boelken uutvercoren / Oeverloos Cappella Pratensis olv Stratton Bull; Sollazzo Ensemble olv Anna Danilevskaia 4'46”  CD The Feast of the Swan (NorthStar Recordings CC72880) Benedictus Appenzeller: Missa Benedicti (Ick had een boelken uutvercoren) - Agnus Dei Cappella Pratensis olv Stratton Bull 5'41”  23.40 CD The Feast of the Swan (NorthStar Recordings CC72880) Anoniem/Marc Busnel/Eric Alink: Ick had een boelken uutvercoren / Oeverloos Vincent Bijlo; Sollazzo Ensemble olv Anna Danilevskaia 1'55”  23.45 CD Double Sextet, 2x5 (Nonesuch Records 7559-79786-4) Steve Reich: Double Sextet - II Slow Eight Blackbird 6'43”  23.54 CD Slow Roads (elsewhere 027) Ivan Vukosavljević: The Ladder II Lise Morrison [orgel] 3'52”

The Black Keys joined host Nicole Alvarez live from the Helpful Honda Sound Space at KROQ in Los Angeles for a special interview and performance, talking about their brand new album, Ohio Players, and giving a taste of what's to come on their International Players Tour kicking off in September. The Black Keys just dropped their 12th studio album, Ohio Players -- featuring the previously revealed single "Beautiful People (Stay High)" and more -- on April 5 via Nonesuch Records. Just before the release, Patrick Carney and Dan Auerbach gave some lucky fans at KROQ an exclusive preview of the record and spoke candidly about their early days together, making the new album with a who's-who list of collaborators, and more. Since Dan and Patrick have known each other for most of their lives, Nicole started off the conversation by showing off a few photos of the duo when they were younger. “The first time I met Dan, it was like, right when I moved to the neighborhood,” Patrick remembers. “It was dusk and all the kids were riding bikes. I had grown up in a neighborhood where it was just like, really old people who just yell at us all the time. So, it felt like I had moved into the Goonies' neighborhood. They kind of had all the characters; I'm not sure which one I was, but there's definitely a Chunk and all that.” “I mostly remember his older brother Will, because he was a train enthusiast,” says Dan about his first impressions of Pat. “He was the local eccentric kid,” Patrick says of his brother. “You would focus on Will,” Dan adds. “You wouldn't see Pat or his brother, Michael.” Diving into their new album, Ohio Players, which features collaborations with Beck, Oasis' Noel Gallagher, Juicy J from Three-Six Mafia, and more, “on the last album we started to dip our toes into collaborating with people, which we really hadn't done much of… like when we worked with Danger Mouse on a record, it was just him and the two of us. So, it was only in the last couple of years that we actually felt comfortable, I guess being in the studio with other people creating stuff from scratch. Once we broke through that barrier, and we needed to start this new record, we thought we'd dig into the Rolodex a little deeper.” “The first person we thought of was Beck because he was someone who helped us out very early on, took us on tour very early,” he continues. “He always talked about making some music with us and it, we'd never gotten around to doing it. So we reached out to him and that kind of got the ball rolling -- and it was that spirit of collaboration that we carried on making the record.” “I think the only thing that you need to know is that we've been doing this for a long time,” Patrick says, “and I think we just really figured out how to really enjoy it seriously. This is a product of us working harder than we ever have, but having more fun than we ever have.” “We got to this collection of songs, they all work together and it is different than anything we've made," he explains, "and it was really hard to pick the first couple of songs that got shared. So, I feel like people really don't have a concept of what the album sounds like yet. ‘Beautiful People' is, by far, the most kind of ‘mainstream' thing on the album… I'm excited for people to hear the whole thing.” Tickets for The Black Keys' International Players Tour are on sale now.  Don't miss The Black Keys' full interview and performance above -- and stay tuned for even more action from the Helpful Honda Sound Space at KROQ right here on Audacy. Words by Joe Cingrana Interview by Nicole Alvarez

Jazz Ahead 240 1. Limerick, evita Polidoro, Nerovivo, Tuk Music, 2024 2. perla/molt, Y-OTIS, Tre, We JAzz Records, 2024 3. alba, McCorman,A Page Is Turned | A Mountain Collapses | A Guy Leaves, Kohlhaas, 2023 4. The Hanged Man: ego sacrifice, Fedcrico Calcagno Octer, Mundus Inversus, Habitable Records, 2024 5. IV, Steve Gunn and David Moore, Live In London, RVNG, 2024 6. Linus with the Sick Burn, Ill Considered, Linus with the Sick Burn, New Soil, 2024 7. Years Ago, Alfa Mist feat. Amika Quartet, Years Ago/Exist (we forgot) Sekito, 2024 8. Owl Song 2, Ambrose Akinmusire, Bill Frisell, Herlin Riley, Owl Song, Nonesuch Records, 2023 9. Outer East, Horse Lords, Hidden Cities (Expandede), NNA Tapes, 2023

Jazz Ahead 237 1. Barakat, Abdullah Ibrahim, 3, Gearbox Records, 2024 2. Particule, Fur, Notebook, Tricollectif, 2024 3. Dizzy Ditty, Ariel Kalma, Jeremiah Chiu, and Marta Sofia Honer, The closest thing to Silence, International Anthem, 2024 4. Everything is Beautiful, Hiatus Kayote, Everything is Beautiful, Brainfeeder, 2024 5. The Tower, Mary Halvorson, Cloudward, Nonesuch Records, 2024 6. Sedici, Stefano Grasso, 33 modi - vol. 2, Autoproduzione, 2024 7. All I need, divr, Is This Water, Wejazz Records, 2024 8. So mi Stay, Nubiyan Twist, Find Your Flame, Strut, 2024 9. In the Grip, Circles 44, In the Grip, Aut Records, 2024 10. Poeira, Fabiano de Nascimento, Sam Gendel, The Room, Real World, Records, 2024

Jazz Ahead 236 1. Ultramarine, Mary Halvorson, Cloudward, Nonesuch Records, 2024 2. Grieving Was Yesterday, Simon Spiess Quiet Trio, Euphorbia, Intakt Records, 2024 3. Nottetempo, Arturo Garra, Inverno, Autoproduzione, 2023 4. Perfect Blue, David Cordero & Carlos Ferreira, Silent Articulations, Aural Canyon Music, 2023 5. African Sun, Henry Franklin (Shabaka Hutchings Remix), Remixes 20, Jazz is Dead, 2023 6. Maritime Jazz, Cosmic Analog Ensemble, Les Grandes Vacances, Jakarta Records, 2024 7. Defiant, Tender, Warrior, Charles Lloyd, The Sky Will Still Be There Tomorrow, Blue Note Records, 2024 8. Rising Son, Takuya Kuroda, Rising Son, First Word Records, 2023 9. In Tongues, Swart Waling Koolhaas, Joost Swart, Bjorn Waling, Jesse Koolhaas, Urban Waves, 2023

durée : 00:59:36 - Ambrose Akinmusire - par : Alex Dutilh - Le compositeur et trompettiste Ambrose Akinmusire inaugure sa signature chez Nonesuch Records avec “Owl Song”. En trio avec Bill Frisell et Herlin Riley. Sortie ce vendredi 15 décembre.

durée : 00:59:36 - Ambrose Akinmusire - par : Alex Dutilh - Le compositeur et trompettiste Ambrose Akinmusire inaugure sa signature chez Nonesuch Records avec “Owl Song”. En trio avec Bill Frisell et Herlin Riley. Sortie ce vendredi 15 décembre.

This show explores Harlem, one of New York City's most historic and noteworthy places. Co-hosted by special guest, Vita, she joins her mum, Stance's host and founder Chrystal Genesis to highlight some of their favorite places. As residents of the area, they visit a handful of their favorite spots, spanning film, food and nature to uncover what continues to make Harlem one of the most distinctive pockets of NYC.  Through independent filmmaking at Maysles Documentary Center, we chat with lead educator Art Jones about their one of a kind cinema space, filmmaking as a creative medium and the importance of community-first programming. At Sugar Hill Creamery we speak with co-founder Petrushka Bazin Larsen about founding Harlem's only family owned ice cream store, the relationship between ice cream and Harlem's community, and Vita gets to taste test a few of their seasonal flavors. Stance connects with The Brotherhood Sister Sol, a social justice organization empowering young people of color through community and environmental change. Chrystal and Vita visit their Green Youth Market and meet with senior manager, Nando Rodriguez, to find out how urban farming enriches the Harlem community. We end with music from New Yorker, Cameroonian American musician and songwriter, Vagabon, on her new record Sorry I Haven't Called exploring joy after grief. All music used in this podcast is from Vagabon's new album Sorry I Haven't Called. With thanks to Nonesuch Records.  This show was producer Zara Martin.  If you like what you heard, please subscribe, write us a review and join the conversation at stancepodcast.com and all podcasting apps @stancepodcast @chrystalgenesis Visit Stance's website at stancepodcast.com .com for more info and links from this episode. 

SUMMARY:Celebrated songwriter Natalie Merchant chats about her songwriting, from her days fronting 10,000 Maniacs up to her most recent album, Keep Your Courage. PART ONE: Were the Lilith Fair-era 1990s the best time for women in music? Scott and Paul discuss.PART TWO:Our in-depth conversation with the legendary Natalie MerchantABOUT:Natalie Merchant launched her career as the lead vocalist and primary lyricist of the band 10,000 Maniacs, which broke through with the double Platinum album In My Tribe in 1987. Subsequent albums Blind Man's Zoo and Our Time in Eden spawned the Merchant-penned singles “Trouble Me” and “These Are Days,” respectively. Following an appearance on MTV Unplugged and a hit single covering Bruce Springsteen and Patti Smith's “Because the Night,” Natalie departed the band to launch a solo career. Her debut album, Tigerlily, featured the Top 10 singles “Carnival,” “Wonder,” and “Jealousy,” and was certified five times Platinum. She has gone on to release nine solo studio albums, including the Platinum-selling Ophelia, which spawned the single “Kind & Generous”; Leave Your Sleep, which topped the US folk charts; and a 2014 self-titled release that reached the Top 5 on Billboard's rock chart. Recent years have found Natalie rearranging her songs for string quintet and acoustic instruments for the documentary Paradise Is There, directing Shelter, a documentary on domestic violence, curating the 10-disc box The Natalie Merchant Collection, and spending four days a week working with children as an artist-in-residence at a non-profit pre-school. In November 2022, Natalie was appointed to a six-year term on the board of trustees for the American Folklife Center at The Library of Congress. Her ninth studio album, and first album of all new, original material in nine years, is the self-produced Keep Your Courage on Nonesuch Records.  

durée : 00:59:30 - Darcy James Argue - par : Alex Dutilh - Le compositeur et chef d'orchestre Darcy James Argue et son ensemble Secret Society rejoignent Nonesuch Records avec “Dynamic Maximum Tension”. Sortie le 8 septembre 2023, distribution Warner.

SUMMARY:Lake Street Dive's Rachael Price and composer/guitarist Vilray discuss their dynamic duo that preserves the spirit of the Great American Songbook with original music.  PART ONE:Scott tells a story about a bad demo that helped him learn an important lesson. Then Paul introduces a pop quiz to identify songs solely based on their drum intros. Scott does OK. PART TWO:Scott's in-depth interview with Rachael & Vilray ABOUT RACHAEL & VILRAY:Rachael and Vilray first met when they were both students at the New England Conservatory of Music. Rachael Price went on to form the band Lake Street Dive with their fellow students Michael Calabrese, Bridget Kearney, and Mike “McDuck” Olson, while Vilray developed his own path as a solo performer. Inspired by a shared love of classic Tin Pan Alley pop standards, the duo came together in 2015, eventually signing with Nonesuch Records. They released their self-titled debut in 2019, and the more elaborately produced I Love a Love Song album earlier this year. While Rachael contributes as a songwriter in other contexts, vocalist and guitarist Vilray is the sole writer of the duo's original songs. Heavily steeped in classic songwriting traditions with a contemporary flourish, the music of Rachael & Vilray is simultaneously fresh and timeless. The pair joined Scott for a conversation about songwriting and song interpretation earlier this year when I Love a Long Song was first released.   

Photographer and Red Hook Editions partner, Igor Posner joins Michael for a discussion about his book, Cargó, published by Red Hook Editions. Igor is a self-taught photographer whose work explores the psychological impacts of migration and changing immigrant neighborhoods. Michael and Igor talk about how his projects come together and the way he needs to reinvent and change what he does in order to keep making work. https://igorposner.net https://www.redhookeditions.com/books-1/carg This podcast is sponsored by the Charcoal Book Club, a monthly subscription service for photobook enthusiasts. Begin Building your dream photobook library today at https://charcoalbookclub.com. Born in Leningrad (St. Petersburg). After the fall of the Soviet Union, Igor moved to California in the early 90s. He studied molecular and cell biology at the University of California, Los Angeles, where he first started to take pictures and experiment in the darkroom. Initial infatuation with picture-taking led Igor to explore the silent and haunting experience of walking after dark on the streets of Los Angeles and Tijuana. Collision of social and typical with personal and psychological, this first series of images “Nonesuch Records” savors the strange solitude of the enigmatic region between California and Mexico; amid the streets, bars, night shelter hotels, and disappearing night figures. After 14 years, Igor returned to St. Petersburg in 2006, taking up photography full time, which led to a book project entitled“Past Perfect Continuous”, published by Red Hook Editions in 2017. In 2022, Igor publishes his second monograph, entitled, “Cargó.” The book is a visual exloration of psychological aspects of migration and gradual disappearance of neighborhoods based on  immigrant communities in North America. At present, Igor is based in New York. In 2021, he joined Red Hook Editions, Brooklyn based independent publishing company, as a managing partner.  Igor's work has been shown in North America, Europe, Russia, and Southeast Asia. He joined Prospekt Photographers agency as a full memebr in 2011.  Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Was Arthur Moorhead the greatest jazz buyer that ever worked at Tower Records? Stan Goman believes that is the case. Growing up in Arizona, Arthur became a proficient trombone player and obsessed with jazz, movie soundtracks and orchestral music. By his own admission he was almost completely ignorant of pop music, except The Beatles. As a young teenager, his weekends consisted of hopping on a bus with a friend and making the rounds of Arizona record storeslooking for records. Eventually he worked for a local record store called Recordland in Phoenix and Mesa, Arizona.In 1975 Arthur moved to San Francisco to pursue a career as a professional trombone player, as opportunities in Phoenix were few & far between. Needing a day job, he entered Tower Records Columbus & Bay. As luck would have it the current jazz buyer was planning to leave for a job with a catering company. Arthur's interview consisted of Stan Goman and the current jazz buyer interviewing him with very basic jazz questions Arthur aced and he was hired on the spot. For the next five years, Arthur worked at Tower by day and evenings as a trombonist.Through his tenure at Columbus & Bay, Arthur got to know the heads of the record labels and was approached by the US Managing Director of ECM Records which at the time was distributed by Warner Bros. Records, to be the National Sales Manager for ECM based out of New York City. For the next 40 years, Arthur worked in the WEA family of labels spending time with Elektra, Atlantic, Rhino and Nonesuch. At Nonesuch Arthur worked with John Adams, Steve Reich, Johnny Greenwood, Pat Metheny, David Byrne, Wilco, Fleet Foxes, Bill Frisell, Randy Newman and a host of other amazing artists. Arthur was also a producer, executive producer and reissue supervisor on many projects.

Igor Posner was born in Leningrad (St. Petersburg). After the fall of the Soviet Union, he moved to California in the early 90s. He studied molecular and cell biology at the University of California, Los Angeles, where he first started to take pictures and experiment in the darkroom.Initial infatuation with picture-taking led Igor to explore the silent and haunting experience of walking after dark on the streets of Los Angeles and Tijuana. In a collision between social and typical with personal and psychological, this first series of images “Nonesuch Records” savors the strange solitude of the enigmatic region between California and Mexico; amid the streets, bars, night shelter hotels, and disappearing nocturnal figures.After 14 years, Igor returned to St. Petersburg in 2006, taking up photography full time, which led to his first book Past Perfect Continuous, published by Red Hook Editions in 2017.In 2022, Igor published his second monograph, entitled, Cargó. The book is a visual exloration of psychological aspects of migration and the gradual disappearance of neighborhoods based on immigrant communities in North America.Igor is currently based in New York and in 2021 he joined Brooklyn-based independent publishing company Red Hook Editions as a managing partner. Igor's work has been shown in North America, Europe, Russia, and Southeast Asia and he has been a member of Prospekt Photographers since 2011. In episode 202, Igor discusses, among other things:Growing up in St. PetersburgMoving to the USABeing gifted a camera by his motherThe New York Photo LeagueShooting in LAThe ‘language' he employs intuitivelyReturning to RussiaFirst attempts at editing being a ‘total failure'Brighton Beach and his second book, Cargo.The themes associated with the bookCommercial workSocial mediaReferenced:Anders PetersenMichael AckermanAntoine D'agataRobert FrankJason Eskenazi Website | Instagram“All I wanted to do was go out there and be on the street and just photograph. It was an incredible sense of freedom and liberation for the first time in my life of not going from point A to point B. That's what photography gives you because you have to be open to everything that's around you. All of a sudden I started just looking at things. That's a very trivial thing to say, but to me it felt like something I've never experienced before or at least not since my early childhood.”

Jazz Ahead 206 1. Mélusine, Cécile McLorin Salvant, Mélusine, Nonesuch Records, 2023 2. Rahma, KADEF, KADEF, RRGems Records, 2023 3. Eyes, Camilla Battaglia, Calor, Parco della Musica Records, 2023 4. Rio, Emilio Teubal, Futuro, Not Yet Records, 2023 5. You Are With Me Always, Lionmilk, Intergalactic Warp Terminal, 222, Leaving records, 2023 6. The Shadow Side, Ralph Alessi Quartet, ECM, 2023 7. That Thing, Kira Linn, Illusion, Whirlwind Recordings, 2023 8. Peddles, Nappy Nina fear. OHMi, Mourning Due, LucidHaus, 2023 9. Observation, FUR, Observation, Autoproduzione, 2023 10. Il Passo dell'Asino, Gianluca Zanello Umia, Permanent Colours, Autoproduzione, 2023

Synopsis Late in 2013, the musical world was gearing up to celebrate the 70th birthday of British composer John Tavener, but sadly he died, so his 70th birthday, which fell on today's date in 2014, became a memorial tribute instead. Tavener had suffered from ill health throughout his life: a stroke in his thirties, heart surgery and the removal of a tumor in his forties, and two subsequent heart attacks. In his early twenties, Tavener became famous in 1968 with his avant-garde cantata entitled The Whale, based loosely on the Old Testament story of Jonah. That work caught the attention of one of The Beatles, and a recording of it was released on The Beatles' own Apple label. Tavener converted to the Russian Orthodox Church in 1977, and his music became increasingly spiritual. Millions who watched TV coverage of the funeral of Diana, Princess of Wales, in 1997, were deeply moved by his “Song for Athene,” which was performed to telling effect as Diana's casket left Westminster Abbey. Taverner was knighted in 2000, becoming Sir John Tavener In 2003, Tavener's Ikon of Eros, commissioned for the Centennial of the Minnesota Orchestra, and premiered at St. Paul's Cathedral—the one in St. Paul, Minnesota, that is, not the one in London—and Tavener came to Minnesota for the event. Music Played in Today's Program Sir John Tavener (1944-2013) Ikon of Eros Jorja Fleezanis, vn; Minnesota Chorale; Minnesota Orchestra; Paul Goodwin, conductor. Reference Recording 102 On This Day Births 1791 - French opera composer Louis Joseph F. Herold, in Paris; 1898 - Italian-American composer Vittorio Rieti, in Alexandria, Egypt; 1944 - British composer Sir John Tavener, in London; Deaths 1935 - Russian composer Mikhail Ippolitov-Ivanov, age 75, in Moscow; 1947 - Venezuelan-born French composer Reynaldo Hahn, age 72, in Paris; Premieres 1725 - Bach: Sacred Cantata No. 92 ("Ich hab in Gottes Herz und Sinn") performed on Septuagesimae Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1828 - Schubert: Piano Trio in Bb, Op. 99 (D. 898), at a private performance by Ignaz Schuppanzigh (violin), Josef Linke (cello), and Carl Maria von Bocklet (piano); 1830 - Auber: opera "Fra Diavolo" in Paris at the Opéra-Comique; 1876 - Tchaikovsky: "Serenade mélancolique" for violin and orchestra, in Moscow (Julian date: Jan. 18); 1897 - Glazunov: Symphony No. 5, in London; 1915 - Ravel: Piano Trio in a, in Paris, by Gabriel Wilaume (violin), Louis Feuillard (cello), and Alfredo Casella (piano); 1916 - Granados: opera "Goyescas," at the Metropolitan Opera in New York; 1927 - Copland: Piano Concerto, by the Boston Symphony conducted by Serge Koussevitzky, with the composer as soloist; 1941 - Copland: "Quiet City," at Town Hall in New York City by the Little Symphony conducted by Daniel Saidenberg; This music is based on incidental music Copland wrote for Irwin Shaw's play of the same name produced by the Group Theater in New York in 1939; 1944 - Bernstein: Symphony No. 1 ("Jeremiah"), at the Syria Mosque in Pittsburgh by the Pittsburgh Symphony conducted by the composer, with mezzo-soprano Jennie Tourel as vocal soloist; 1972 - Scott Joplin: opera "Treemonisha" (orchestrated by T.J. Anderson), in Atlanta; 1990 - Joan Tower: Flute Concerto, at Carnegie Hall in New York, with soloist Carol Wincenc and the American Composers Orchestra, Hugh Wolff, conducting; 1995 - Elinor Armer: “Island Earth” (to a text by Sci-Fi writer Usula K. Le Guin), at the University of California, Berkeley, by the various San Francisco choirs and the Women's Philharmonic, conducted by JoAnn Falletta; On the same program were the premiere performance's of Chen Yi's “Antiphony” for orchestra and Augusta Read Thomas's “Fantasy” for piano and orchestra (with piano soloist Sara Wolfensohn); 1997 - Morten Lauridsen: “Mid-Winter Songs” (final version) for chorus and orchestra, by the Los Angeles Master Chorale, John Currie conducting; Earlier versions of this work with piano and chamber orchestra accompaniment had premiered in 1981, 1983, and 1985 at various Californian venues; 2000 - André Previn: "Diversions," in Salzburg, Austria, by the Vienna Philharmonic, the composer conducting; Others 1742 - Jonathan Swift, Dean of St. Patrick's Cathedral in Dublin (and the author of "Gulliver's Travels"), objects to the cathedral singers taking part in performances of Handel's works while the composer is in that city (Gregorian date: Feb. 8); Rehearsals for the premiere performance of Handel's "Messiah" would begin in April of that year, involving the choirs of both Christ Church and St. Patrick's Cathedrals in Dublin; 1971 - William Bolcom completes his "Poltergeist" Rag (dedicated to Teresa Sterne, a one-time concert pianist who was then a producer for Nonesuch Records); According to the composer's notes, the "Poltergeist" Rag was written "in a converted garage next to a graveyard in Newburgh, N.Y." Links and Resources On Tavener

I love a love song!, el segundo álbum del duo de Rachael & Vilray, una producción 2023 para Nonesuch Records lanzada al mercado el 13 de enero, es el invitado al 2 de uno de esta semana.

Julia Bullock bezeichnet die Jazzmusikerinnen Nina Simone und Billie Holiday als frühe und prägende Vorbilder. Gleichzeitig hat die heute 35jährige Sängerin aus St. Louis eine klassische Gesangausbildung absolviert. Seit knapp zwei Jahren lebt sie in München. Sie konzertiert mit renommierten Orchestern auf internationalen Konzertbühnen. Ihr Debütalbum ist soeben bei Nonesuch Records erschienen und trägt den Titel "Walkin in The Dark". Meret Forster stellt es vor.

Wilco's fourth studio album, the quirky-yet-beloved 'Yankee Hotel Foxtrot', is widely considered to be the band's masterpiece. So of course Rob dismissed it as overhyped alt-rock critic-bait for 20 years. Returning guest Steve Carroll patiently unwraps the storied tropes and mythical symbols of Jeff Tweedy and co., revealing a pretty fantastic rock record underneath. Songs featured in this episode: Jesus, etc. (Live at Sydney Opera House, 2013), Via Chicago - Wilco; After The Gold Rush - Neil Young; Drown - Son Volt; Forget The Flowers - Wilco; Black Horse - Gastr Del Sol; I Am Trying To Break Your Heart, Kamera - Wilco; Isi - NEU!; Radio Cure, War On War, Jesus, etc., Ashes Of American Flags, Heavy Metal Drummer - Wilco; American Girl - Tom Petty & The Heartbreakers; Strutter - Kiss; I'm The Man Who Loves You - Wilco; Apeman - The Kinks; Pot Kettle Black - Wilco; In Between Days - The Cure; Poor Places, Reservations - Wilco; Phonetic Alphabet NATO - The Conet Archive; I Am Trying To Break Your Heart - JC Brooks and The Uptown Sound

Taj Mahal y Ry Cooder, dos leyendas vivientes de la música, nos regalan esta joya del blues en un trabajo pra Nonesuch Records en este 2022. Un 2 de uno imperdible.

On today's episode, I talk to composer and singer-songwriter Gabriel Kahane. Originally from Venice Beach, California, Gabriel has been making albums for almost a decade and a half, starting with his self-titled album which was released on Family Records in 2008. Gabriel comes at much of his songwriting from a conceptual standpoint - on his 2014 album The Ambassador, he used ten addresses in LA to write songs from the perspectives of characters both real and imaginary, his 2018 album Book of Travelers was based on a cross-country train trip he took, and his first concert work Craigslistlieder set real Craisglist ads to music. In addition to his songwriting, Gabriel has also been commissioned to write dozens of pieces for orchestras, festivals and theaters, and his latest album Magnificent Bird was just released at the end of March on Nonesuch Records! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter.

Yankee Hotel Foxtrot is the fourth studio album by American rock band Wilco and first released on September 18, 2001. Recording sessions for the album began in late 2000. These sessions, which were documented for the film I Am Trying to Break Your Heart, were marred by conflicts including a switch in drummers and disagreements among the band members and engineers about songs. Despite this, the album would be completed in early 2001. The album showcased a more atmospheric and experimental sound than the band's previous work, and has been described as art rock and indie rock[3] by music critics. It was the band's first album with drummer Glenn Kotche, and last with multi-instrumentalist and songwriter Jay Bennett. Reprise Records, Wilco's record label at the time, refused to release the album as they felt unhappy about the end result; this would lead to Wilco's departure from Reprise. The band subsequently acquired the rights to the album and later streamed the entire album for free on their website on September 18, 2001. In November of that year, Wilco signed with Nonesuch Records, who gave the album its first official retail release on April 23, 2002. Yankee Hotel Foxtrot received widespread acclaim from music critics at release, and is widely regarded as one of the greatest albums of the 2000s. Today special guest cohost Charles Herald and I explore this album and rank the songs on it. So go ahead and fall in love with the drummer because this is That One Show Episode 14: Wilco's Yankee Hotel Foxtrot. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Having mesmerized listeners everywhere with his own compositions and traditional Armenian music, pianist Tigran Hamasyan is set to release his first album of American standards on April 29 via Nonesuch Records. StandArt finds him applying different techniques and ideas that he has developed over the years to a revered repertoire, breathing new life into well-worn songs and lesser-known gems. The music on StandArt is performed in a piano trio with bassist Matt Brewer and drummer Justin Brown, augmented with special guests Mark Turner and Ambrose Akinmusire on selected tracks. The latest project offers us an opportunity to chat with him about his love and admiration for American standards, as well as the influence of his Armenian background and the folk traditions of his native country, and the freedom that his music expresses and has helped establish him as one of today's top names in creative music. --- Support this podcast: https://anchor.fm/jazziz/support

"Tom Sawyer" Brad Mehldau: Jacob's Ladder (Nonesuch Records, 2022) Brad Mehldau, Chris Thile, Luca van den Bossche, Joel Frahm, Mark Guiliana, John Davis. ¿Sabías que? Todos tenemos un pasado... Brad Mehldau también. En su nueva grabación, Jacob's Ladder, rinde un homenaje a algunos grupos de rock progresivo que le sirvieron como puerta de entrada en el jazz. En concreto, en el disco hay versiones de temas de Rush, Yes y Gentle Giant. No es un disco exclusivamente de versiones, ya que hay temas del pianista. En el disco colaboran, entre otros y además de los participantes en "Tom Sawyer", las cantantes Cécile McLorin Salvant y Becca Stevens. Además del piano, Brad Mehldau toca en el disco otros teclacos como Fender Rhodes, Moog, Hammond, Wurlitzer o Mellotron. El tema es obra de Geddy Lee, Alex Lifeson, Neil Peart, integrantes del grupo Rush, y Pye Dubois integrante del grupo Max Webster. Durante una gira conjunta de ambas bandas canadienses, tocaban un tema a modo de puente entre sus actuaciones. El letrista de Max Webster fue quien ofreció a Rush un tema en el que había estado trabajando y que se convertiría en "Tom Sawyer", uno de los temas más populares de Rush. No hay prácticamente un disco grabado en directo, ni por supuesto un recopilatorio en el que no esté este famoso tema. Por ese motivo, la versión de Brad Mehldau pasa a la sección, con total merecimiento, de Malditos Jazztardos. © Pachi Tapiz, 2022 Escuchar Brad Mehldau Jacob's Ladder: "Tom Sawyer" Más información sobre JazzX5 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. Las sugerencias, quejas, felicitaciones, opiniones y el contacto en general en jazzx5 @ tomajazz.com También por WhatsApp en el teléfono de contacto. JazzX5 y los podcast de Tomajazz en Telegram 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. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

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Mike Calabrese & Mike "McDuck" Olson of Lake Street Dive join us to discuss their new album 'Obviously' and the organization they founded - Virtual Lessons for Actual Change. The band also perform the songs 'Hypotheticals' and 'Same Old News' - Recorded on 2/25 at Bunker Studios in Brooklyn NY. Special thanks to Nonesuch Records. http://www.lakestreetdive.com http://www.virtuallessonsforactualchange.com http://www.nonesuch.com WYCE is an independent, commercial-free, community radio station serving the communities of Grand Rapids, West Michigan, & beyond. Broadcasting on-air programming at 88.1fm, and reaching out to the world through online streaming. Dedicated to providing an eclectic blend of under-represented music. Listener-sponsored, volunteer-powered. http://www.wyce.org WYCE is a proud service of the Grand Rapids Community Media Center. http://www.grcmc.org

Joachim Cooder joins us to discuss his new album Over That Road I'm Bound - The Songs of Uncle Dave Macon. He also performs the songs ‘All In Down & Out' and ‘Come Along Buddy' exclusively for WYCE.   Special thanks to Nonesuch Records and Leslie Rouffe at Songlines Music. www.joachimcooder.com www.nonesuch.com   WYCE is an independent, commercial-free, community radio station serving   the communities of Grand Rapids, West Michigan, & beyond.  Broadcasting on-air  programming at 88.1fm, and reaching out to the  world through online streaming. Dedicated to providing an eclectic blend  of  under-represented music.  Listener-sponsored, volunteer-powered.   http://www.wyce.org   WYCE is a proud service of the Grand Rapids Community Media Center. http://www.grcmc.org

On September 18th, 2001, American alternative rock band Wilco, released their fourth album, Yankee Hotel Foxtrot. When Reprise Records refused to release the album, Wilco posted it for free on the Internet. 200.000 downloads later, Nonesuch Records picked up the band and released the album and so it became critical and commercial gold. In this podcast we go through Rolling Stone magazine's 500 Greatest Albums of All Time. As selected by a panel of music critics, journalists and musicians and published in 2003. Follow me: Twitter ► https://twitter.com/500albumspod Instagram ►https://www.instagram.com/500albumspod/ Hosted on Acast. See acast.com/privacy for more information.

AMYTHYST KIAH is a professed Southern Gothic, alt-country blues singer/songwriter based in Johnson City, Tennessee. Her commanding stage presence is only matched by her raw and powerful vocals—a deeply moving, hypnotic sound that stirs echoes of a distant and restless past. Accoutered interchangeably with banjo, acoustic guitar, or a full band (Her Chest of Glass), Kiaht's toolbox is augmented by her scholarship of African-American roots music. Provocative and coolly fierce, her ability to cross the boundaries of blues and old-time through reinterpretation is groundbreaking and simply unforgettable. She has two new releases this year: a solo project on Nonesuch Records produced by Joe Henry and Songs of Our Native Daughter the new roots music supergroup featuring her, Rhiannon Giddens (Carolina Chocolate Drops) Allison Russell (Birds of Chicago), and Leyla McCalla (Carolina Chocolate Drops). JOE ROBINSON is considered uniquely gifted as a virtuoso guitarist and singer/songwriter. He walks a tightrope between the instrumental music that has put him in the spotlight and a unique fusion of vocally based rock, blues, jazz, and R&B that is entirely his own. Born in the backwoods of Temagog, on the mid-north coast of New South Wales, Australia, his six-string ability and compositional insight have already earned him a worldwide following. Robinson's talents were further recognized by Guitar Player magazine as part of a cover story entitled “Youthquake 2017: Ten Mind-Blowing Young Guitarists.” He'll perform songs from his new album 'Undertones'. WoodSong Kid: Bella Guerrie is a 13 year old singer/songwriter from Denver, Colorado.