Podcast appearances and mentions of peter brotzmann

At Mike's suggestion, we devote an episode to the recently departed European avant-garde powerhouse Peter Brotzmann.  The sound quality is a bit off.  Pat says he forgot to press "record."  Listeners know he was probably just cowering behind the couch.  Mike  shows us the breadth of the fire-breather's career, touching on a mid-size ensemble session, an electric gig with rock elements, a more introspective duet, and Brotzmann's uncompromising debut.  Pat whimpers.  Peter Brotzmann:  FOR ADOLPHE SAX; GOING ALL FANCY; Last Exit - THE NOISE OF TROUBLE - LIVE IN TOKYO; Chicago Tentet - STONE/WATER.

To some people, Ornette Coleman represents the adventurous spirit of jazz. To others, Kenny G is as exciting as it gets. This episode is more dedicated to the former..... Welcome to episode 107 of See Hear Podcast. This month, Tim has selected the film under discussion. It's a documentary filmed in a jazz club in Budapest called “Free The Jazz”. Released in 2014, but seemingly filmed in 2007, its format is simple. Director Czabán György interviewed a range of jazz musicians from Germany, England, Japan, America and Norway about their love of free jazz and what it means to them. After each 2 minute interview, we see that musician in action....then it moves onto the next performer. On the surface, this doesn't sound like a great film format. However, it allows people who may not necessarily be familiar with many of these artists to listen to what they have to say and sample their music. If you don't like one, you only have to wait a brief time to the next one – the jazz sampler equivalent of speed dating if you will. In that regard, this film is highly worth watching, both if you're a fan of free jazz or even if you're not. It's informative enough for it's format, and allows you to follow up on those artists that may take your interest. Kerry, Tim and Maurice discuss their histories with free jazz, how it's different from tonal and modal jazz, and the politics that inspired some of the musicians. They debunk the notion that it's groups of musicians playing what they want with no thought.....oh, and they discuss the film.... They dedicate the episode to the memory of the recently deceased Peter Brotzmann, a giant in the field of free jazz. “Free The Jazz” is on YouTube in its entirety to watch at: https://youtu.be/KHlshNgkmOE There are hard subs in Hungarian, but much of the film is in English, and you can activate the English subs for those musicians speaking in other languages. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast Check out the Instagram page at www.instagram.com/seehearpodcast/?hl=en You can download the show by searching for See Hear on whatever podcast app you favour. Learn more about your ad choices. Visit megaphone.fm/adchoices

To some people, Ornette Coleman represents the adventurous spirit of jazz. To others, Kenny G is as exciting as it gets. This episode is more dedicated to the former..... Welcome to episode 107 of See Hear Podcast. This month, Tim has selected the film under discussion. It's a documentary filmed in a jazz club in Budapest called “Free The Jazz”. Released in 2014, but seemingly filmed in 2007, its format is simple. Director Czabán György interviewed a range of jazz musicians from Germany, England, Japan, America and Norway about their love of free jazz and what it means to them. After each 2 minute interview, we see that musician in action....then it moves onto the next performer. On the surface, this doesn't sound like a great film format. However, it allows people who may not necessarily be familiar with many of these artists to listen to what they have to say and sample their music. If you don't like one, you only have to wait a brief time to the next one – the jazz sampler equivalent of speed dating if you will. In that regard, this film is highly worth watching, both if you're a fan of free jazz or even if you're not. It's informative enough for it's format, and allows you to follow up on those artists that may take your interest. Kerry, Tim and Maurice discuss their histories with free jazz, how it's different from tonal and modal jazz, and the politics that inspired some of the musicians. They debunk the notion that it's groups of musicians playing what they want with no thought.....oh, and they discuss the film.... They dedicate the episode to the memory of the recently deceased Peter Brotzmann, a giant in the field of free jazz. “Free The Jazz” is on YouTube in its entirety to watch at: https://youtu.be/KHlshNgkmOE There are hard subs in Hungarian, but much of the film is in English, and you can activate the English subs for those musicians speaking in other languages. If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com. Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast Check out the Instagram page at www.instagram.com/seehearpodcast/?hl=en You can download the show by searching for See Hear on whatever podcast app you favour. Learn more about your ad choices. Visit megaphone.fm/adchoices

On May 17th, Peter Brotzmann, the godfather of European free jazz, stopped by the dublab studio and recorded a wide-ranging interview with Acting Consul General of Germany in Los Angeles and dublab friend Stefan Biedermann. We're proud to present this very special conversation in full, along with a selection of recent recordings from Peter Brotzmann. --- Support this podcast: https://podcasters.spotify.com/pod/show/dublab-inconversation/support

PETER BROTZMANN EIGHT BY THREE – Trumbull, CT, April, 1996 Falconets, Propelling the barricade Anthony Braxton (as,contrabass-cl,contrabass-fl,fl,sopranino) Peter Brotzmann (as,cl,tarogato,ts) Borah Bergman (p) PETER BROTZMANN BERLIN DJUNGLE – Live “Delphi Theater”, during the Jazzfest Berlin, Berlin, November 4, 1984 What a day (first part) Toshinori Kondo (tp) Johannes Bauer, Alan Tomlinson (tb) Tony Coe, J.D. […]

PETER BROTZMANN 14 LOVE POEMS – Berlin, August 21-23, 1984 1 Baritone sax, 4 & 9 Bass-Clarinet Peter Brotzmann (cl,b-cl,as,ts,bar,tarogato) DIE LIKE A DOG QUARTET – FROM VALLEY TO VALLEY – July 15, 1998 U Mass Amherst MA 01 – i Brötzmann (sa,st, cl, tarogato) Roy Campbell (flugl, t, pocket t) William Parker (b) Hamid […]

PETER BROTZMANN SOLO + TRIO ROMA – Live, “27th Festival International de Musique Actuelle de Victoriaville”, Victoriaville, PQ, Canada, May 21, 2011 Never too late but always too early Peter Brotzmann (as,ts,cl) PETER BROTZMANN OCTET MACHINE GUN – Bremen, May, 1968 Music for Han Bennink I Peter Brotzmann (ts,bar) Willem Breuker (ts,b-cl) Evan Parker (ts) […]

Dedicato ad Albert Ayler, registrato dal vivo a Berlino nel '93, pubblicato dalla Fmp, etichetta di riferimento dell'improvvisazione europea, Die Like a Dog è un album classico degli anni novanta, con un quartetto che riunisce all'insegna dell'improvvisazione tre continenti: il sassofonista Peter Brotzmann, caposcuola dell'improvvisazione europea, Kondo, giapponese, e gli americani William Parker al contrabbasso e Hamid Drake alla batteria. In queste due puntate troviamo Kondo con la sua tromba in quattro situazioni molto diverse: nell'improvvisazione radicale newyorkese della seconda metà degli anni settanta, nella sua musica elettrica degli anni ottanta-novanta, in Die Like a Dog in cui l'improvvisazione appare più vicina a quella del free jazz storico, e per finire in una situazione ulteriormente diversa, il live Eternal Triangle in trio con Massimo Pupillo, basso ed elettronica, e Tony Buck, batteria. Quattro situazioni che valgono come testimonianze della versatilità di Kondo, del suo talento che è consistito anche nell'essere pertinente, centrato, rispetto a contesti molto differenti. Recentemente pubblicato da I dischi di Angelica, Eternal Triangle è stato registrato nel maggio 2019 a Bologna nell'ambito del festival di Angelica. Kondo è mancato un anno e mezzo dopo, nell'ottobre 2020. Scrive Massimo Pupillo in una nota di copertina: "Non sapevamo certo che quel live sarebbe stato l'ultimo di Toshinori Kondo fuori dal Giappone e il suo ultimo concerto con una band".

"You inspire us to work hard to improve the service we do for the music community." In this episode of MFM Speaks Out, Dawoud Kringle offers a retrospective of the progress of the MFM Speaks Out podcast in 2022. The guests mentioned, and / or whose music was included, include Ken Butler, Ariel Hyatt, Neel Murgai, Banning Eyre, Baba Don Eaton Babatunde, William Parker, Bruce Lee Gallanter, Jeff Slatnick, Hubert Howe, and April Centrone.The progress and accomplishments of MFM as a whole during the year 2022 were also briefly discussed. Topics discussed:Our guest for episode 35 in January was musician, experimental musical instrument builder, and visual artist Ken Butler. He builds hybrid musical instruments and other artworks that explore the interaction and transformation of common and uncommon objects, altered images, sounds and silence.He is internationally recognized as an innovator of experimental musical instruments created from diverse materials including tools, sports equipment, and household objects.February's episode 36 featured Ariel Hyatt. Ariel is a digital marketer, writer, and teacher who assists independent musicians in career development. She is the author of Music Success in 9 Weeks, Cyber PR For Musicians, Crowdstart, and other books. Hyatt worked at New York City's WNEW-FM, and the What Are Records? record label. She moved to Boulder CO, where she managed and handled publicity for the funk band, Lord of Word. She is also the founder and owner of the New York-based public relations firm Cyber PR. Her clients included the Toasters and George Clinton.Neel Murgai was our 37th guest in March. Neel is a sitarist, overtone singer, percussionist, composer, teacher, and Co-Artistic Director of the Brooklyn Raga Massive, a raga inspired musician's collective.Banning Eyre is a writer, guitarist and producer, and the senior editor and producer of the public radio program Afropop Worldwide.  He has traveled and done music research in over 20 African countries, as well as in the Caribbean, South America and Europe. His latest initiative is the launch of Lion Songs Records, an independent label dedicated to uplifting overlooked, mostly acoustic music from the African universe. He is the author of several books, and the co-author of AFROPOP! An Illustrated Guide to Contemporary African Music. Eyre is a contributor to National Public Radio's All Things Considered, and his writing has been published in Billboard, Guitar Player, Salon, the Boston Phoenix, College Music Journal, Option, The Beat, Folk Roots, Global Rhythm, and other publications. He also has a background in technology, and worked for 10 years as a software technical writer. Eyre is also on the Advisory Committee of Musicians for Musicians.  Baba Don Eaton Babatunde. He is a percussionist and master of African Drumming and the rhythms of the African Diaspora in the Americas. Baba Don has performed and recorded with Abidun Oyewole and The Last Poets, Pattie Labelle, Joe Henderson, Donald Brown, Jason Linder, Tyrone Jefferson, Tevin Thomas, James Spaulding, Ron Carter, George Clinton, Pharaoh Sanders, the Metropolitan Orchestra, Bill Laswell, and Philycia Rashadto name a few. His work with dance companies and choreographers includes The Dance Theatre of Harlem, Alvin Ailey Dance Theatre, Maurice Hines, Gregory Hines, Andy Williams, Chuck Davis Dance theatre, Frank Hatchet, Geoffrey Holder, Louis Johnson, and Pyramid Dance Company.Episode 40 featured free jazz bass master William Parker. He has also performed and recorded with Cecil Taylor, Peter Brotzmann, Derek Bailey, John Zorn, Hamid Drake, Anthony Braxton, Milford Graves, Oliver Lake, Daniel Carter, Billy Bang, Andrew Cyrille, Matthew Shipp, Roy Campbell, Warren Smith, Joe McPhee, Roscoe Mitchell, Jemeel Moondoc, Joe Morris, Steve Swell, David S. Ware, Leena Conquest, and many others. He was the leader of the Little Huey Creative Music Orchestra and In Order to Survive, a member of the Other Dimensions in Music cooperative, and co-founder of the musician's non-profit organization Arts For Art. Our guest for episode 41 was Bruce Lee Gallanter, the owner and proprietor of Downtown Music Gallery (DMG), a Manhattan based music store that specializes in new, used, hard to find, and out of print CDs, Vinyl, DVDs, and books. DMG was started in 1991 by David Yamner & Steve Popkin, with Gallanter working for the store. They remained in their first location on east 4th street in Manhattan for 12 years until 2003, and started having weekly free concerts, an idea that Gallanter had started with Manny Maris when they worked at Lunch For Your Ears. Gallanter became the owner in 1997. Around the time. he and Emperor Mike started the DMG newsletter, In 2003, they moved into a new store on the Bowery, not far from St. Marks Place, Tower Records, and Other Music.Jeff Slatnick was our 42nd guest. Jeff has been an employee and later the owner of Music Inn for over 54 years. Music Inn is one of the oldest music stores in New York City (second in longevity only to Sam Ash). It is a landmark music store in the West Village of NYC specializing in imported world and western instruments, rare and exotic music items, and records. Music Inn has been described as “a museum, rich with music history from around the world.” Music Inn is also the headquarters of Limulus, a company that designs and manufactures unique solid body string instruments. Hubert Howe graced the annals of our podcast as our 43rd guest. Hubert was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College in New York, where he was also Director of the Aaron Copland School of Music from 1989 to 1998, 2001 to 2002, and Autumn 2007. He taught at the Juilliard School from 1974 through 1994. In 1988-89 he held the Endowed Chair in Music at the University of Alabama. He has been a member of the Society of Composers, Inc. , President of the US section of the League of Composers / International Society of Contemporary Music, a member of the International Computer Music Association, and directed the International Computer Music Conference at Queens College, a member of Society for Electro-Acoustic Music, a member of BMI, and the American Composers Alliance since 1974 and served as their President from 2002 to 2011. He is a member of the New York Composer's Circle and has served as Executive Director since 2013. In 2009, he founded the New York City Electroacoustic Music Festival, and he continues as Director.Our final guest for for 2022 was April Centrone. April Centrone is a multi-instrumentalist (specialising in the riqq, darbuka, frame drum, trap drum, and oud), co-founder of the New York Arabic Orchestra, teacher, composer, film producer and director, and music therapist. She is a Carnegie Hall World Explorer musician and educator, business owner and founder of 10PRL, arts/film/event space on the Jersey Shore. Shehas performed in venues such as the United Nations, NYC Opera House, Carnegie Hall and Lincoln Center, and has toured throughout Europe, the Americas, Middle East and Far East.Music on this episode:"Aurora" by Adam Reifsteck / Sonic Fear"Building a Desert Blizzard" by Ken Butler"Bagheshri Unbound" by Neel Murgai"Today is a New Day" by Voyagers"25 Years" by Abiodun Oyewole, featurning Baba Don Eaton"Give Me Back My Drum" by William Parker"Warm Arms to Hold You" by Dawoud the Renegade Sufi (a.k.a. Dawoud Kringle)"Inharmonic Fantasy No. 7" by Hubert Howe"New Moon" by April Centrone"Welcome New Iran" by SoSaLa (a.k.a. Sohrab Saadat Ladjevardi)(All music used by permission)

"Music is Defined as Anything that is Beautiful, and What Makes Something Beautiful is Music"Our guest for this episode of MFM Speaks Out is free jazz bass master William Parker. Parker was born in the Bronx, New York City, and grew up in the Melrose housing project. His first instruments were the trumpet, trombone and cello. Parker had no formal training as a classical player, but in his youth studied with Jimmy Garrison, Richard Davis and Wilbur Ware.In the 1980s, he first came to public attention playing with Cecil Taylor. He has also performed and recorded with Peter Brotzmann, Derek Bailey, John Zorn, Hamid Drake, Anthony Braxton, Milford Graves, Oliver Lake, Daniel Carter, Billy Bang, Andrew Cyrille, Matthew Shipp, Roy Campbell, Warren Smith, Joe McPhee, Roscoe Mitchell, Jemeel Moondoc, Joe Morris, Steve Swell, David S. Ware, Leena Conquest, and many others. He also led several groups, such as the Little Huey Creative Music Orchestra and In Order to Survive.His discography is extensive, with dozens of albums as a leader and co-leader, and with the aforementioned artists. They received very favorable reviews from publications such as Downbeat, The Village Voice, The Wall Street Journal, Parker is a prominent musician in the New York City experimental jazz scene, where he leads a number of groups and is associated with the Vision Festival, organized by his wife, dancer / choreographer Patricia Nicholson. He is also a member of the Other Dimensions in Music cooperative, and co-founder of the musician's non-profit organization Arts For Art. He has performed at many prestigious venues and music festivals around the world. In addition to double bass, Parker also plays trumpet, tuba, bamboo flutes, shakuhachi, flute, double reeds, Kora, gembri, and donso ngoni.In 2006, Parker was awarded the Resounding Vision Award from Nameless Sound. In March 2007, his book of political thoughts, poems, and musicological essays, Who Owns Music?, was published by Buddy's Knife Jazzedition in Cologne, Germany.  In June 2011, Parker's second book, Conversations, a collection of interviews with notable free jazz musicians and forward thinkers, mainly from the African-American community, was published by RogueArt. Parker is frequently noted for his community dedication, mentorship, and status as "unofficial mayor of the New York improvisational scene." The Village Voice named him "the most consistently brilliant free jazz bassist of all time" and Downbeat has called him "one of the most adventurous and prolific bandleaders in jazz."Topics discussed:His beginnings as a musician and what led him to free jazz, his work with Cecil Taylor, Roy Campbell, Hamid Drake, Jimmy Garrison, and many others, his work and long association with Arts for Art (AFA), the Vision Festival, the Other Dimensions in Music Cooperative, AFA's kinship with other musician's organizations, his thoughts on hip hop, social media, and modern music technology, racism in America, the spiritual essence of music (especially free / improvised music), the future of free jazz, and his experience, thoughts, and advice about the political and economic climate of the the music business.Music on this episode:"Give Me Back My Drum""It's A Great Day to Be Dead""Canyons of Light"All Music by William Parker

Nueva entrega de El Faro del jazz, en esta ocasión con todo el programa dedicado a ilustrar musicalmente los contenidos del nuevo número de la revista Más Jazz, en su edición nº 56, publicada muy recientemente. El hilo conductor de la este número concreto es el free jazz, con algunos artículos muy interesantes dedicados a este controvertido sub estilo jazzistico, por lo que sonarán algunos temas relacionados, concretamente de los saxofonistas Peter Brotzmann y Pharoah Sanders. Pero no todo va a ser free en este programa. Tendremos la presentación del nuevo disco del pianista Daniel García Diego, La vía de la plata. Incluso un mini espacio dedicado al interesante pianista y compositor polaco Krzysztof Komeda, con algunos temas jazzísticos y otros extraídos de sus bandas sonoras para películas de Roman Polansky. También, relacionados con sendos artículos de la revista, pasarán por el programa el pianista cubano Chucho Valdés y la cantante portuguesa Maria Joao. Y, precisamente iniciando el programa, e ilustrando el gran debate sobre esa gran pregunta, ¿qué es jazz?, sonarán temas tan magníficos como contrapuestos de Wynton Marsalis y Miles Davis en los 80. Un programa variado y que espero satisfaga a todos los aficionados, al menos en algunas de sus partes.

Angelica è una rassegna bolognese che da trent'anni in primavera propone un ampio cartellone dedicato a forme molto varie di avanguardia musicale. Già in passato Angelica ha pubblicato degli album, ma adesso la sua attività discografica sembra aver innestato un'altra marcia, con una nutrita serie di uscite e - forte di un archivio di registrazioni che testimonia della qualità della sua programmazione - con un livello molto alto delle proposte. Apriamo la puntata con un doppio cd prezioso per più di un motivo: At Angelica 2000 Bologna di Cecil Taylor, che documenta il solo dello straordinario pianista afroamericano nel 2000, ma anche la rara conversazione in pubblico alla quale Taylor si era concesso nella stessa occasione, di cui viene fornita la registrazione corredata di minuziosa trascrizione in inglese con traduzione in italiano. Passiamo in rassegna poi due album di due maestri afroamericani del post-free: il Duo (2018) del sassofonista Anthony Braxton con l'arpista Jacqueline Kerrod, e Splatter di Roscoe Mitchell, che presenta due esibizioni del 2017 di Mitchell, una delle quali con l'Orchestra del Teatro Comunale di Bologna; e due di due capiscuola della free music europea: Rituals of Transition del compianto Misha Mengelberg (piano solo in diverse occasioni nel nuovo millennio, fra cui Bologna 2002), e The Catch of A Ghost cointestato al sassofonista tedesco Peter Brotzmann, al marocchino Moukhtar Gania e al chicagoano Hamid Drake, e registrato ad Angelica nel 2019.

Simple recommendation to listen to Brotzmann. 1968. --- Send in a voice message: https://anchor.fm/tv-guyd/message

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Come to Life by Arthur Russell on Iowa Dream (Audika) 3′48″ Whitey on the Moon by Gil Scott-Heron on The Revolution Begins: The Flying Dutchman Masters (Ace) 8′45″ Color of Anyhow by Beverly Glenn-Copeland on Beverly Glenn-Copeland (Super Sonic Jazz Records) 12′17″ Morning Prayer by Hypnotic Brass Ensemble on Book of Sound (Honest Jon's) 16′32″ Spirits by Albert Ayler on Prophecy (ESP-Disk) 26′23″ When Will It Ever End by The Awakening on Hear, Sense and Feel (Ovation Records) 33′45″ Ishmael (Live) by Dollar Brand / Abdullah Ibrahim on Live At Montreux (Enja Horst Weber) 43′49″ WHATTHEFUCKDOYOUWANT 1 by Peter Brotzmann, Sonny Sharrock on WHATTHEFUCKDOYOUWANT (Trost) 50′43″ El Hajj Malik El Shabazz by Phil Cohran and the Artistic Heritage Ensemble on The Malcom X Memorial - A Tribute In Music (Katalyst) 57′49″ Trance Celestial - Movement 3 by Laraaji on Connecting With The Inner Healer Through Music (Leaving Records) Check out the full archives on the website.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Come to Life by Arthur Russell on Iowa Dream (Audika) 3′48″ Whitey on the Moon by Gil Scott-Heron on The Revolution Begins: The Flying Dutchman Masters (Ace) 8′45″ Color of Anyhow by Beverly Glenn-Copeland on Beverly Glenn-Copeland (Super Sonic Jazz Records) 12′17″ Morning Prayer by Hypnotic Brass Ensemble on Book of Sound (Honest Jon's) 16′32″ Spirits by Albert Ayler on Prophecy (ESP-Disk) 26′23″ When Will It Ever End by The Awakening on Hear, Sense and Feel (Ovation Records) 33′45″ Ishmael (Live) by Dollar Brand / Abdullah Ibrahim on Live At Montreux (Enja Horst Weber) 43′49″ WHATTHEFUCKDOYOUWANT 1 by Peter Brotzmann, Sonny Sharrock on WHATTHEFUCKDOYOUWANT (Trost) 50′43″ El Hajj Malik El Shabazz by Phil Cohran and the Artistic Heritage Ensemble on The Malcom X Memorial - A Tribute In Music (Katalyst) 57′49″ Trance Celestial - Movement 3 by Laraaji on Connecting With The Inner Healer Through Music (Leaving Records)

Episode 403: January 20, 2019 playlist: Lali Puna, "Being Water" (Being Water) 2019 Morr Music Matmos, "Silicone Gel Implant" (Plastic Anniversary) 2019 Thrill Jockey Bowery Electric, "Freedom Fighter" (Lushlife) 2000 Beggars Banquet Jah Division, "Isolation Dub" (Dub Will Tear Us Apart...Again) 2019 Ernest Jenning Ultramarine, "Spark from Flint to Clay" (Signals Into Space) 2019 Les Disques Du Crépuscule Laurie Spiegel, "From a Harmonic Algorithm" (Unseen Worlds) 1991 Unseen Worlds Michael O'Shea, "Kerry" (Michael O'Shea) 1982 Dome Locust, "Fuck These Days" (RED) 2019 Medical Dolphin Midwives, "Jungespell" (Liminal Garden) 2018 Beacon Sound Peter Brotzmann and Heather Leigh, "Summer Rain" (Sparrow Nights) 2018 Trost Fossil Aerosol Mining Project, "Emptying The Village" (The Recounting Of Night Time) 2018 Helen Scarsdale Jozef van Wissem and Jim Jarmusch, "The Unclouded Day" (An Attempt to Draw Aside the Veil) 2019 Sacred Bones 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.

Come con Machine Gun di Peter Brotzmann, registrato nel maggio '68, a cui abbiamo dedicato una puntata propro in maggio, proporvi questo live - pure del maggio - della Mike Westbrook Concert Band è anche un nostro modo di rendere omaggio al fatidico anno. Tra la fine del '66 e il maggio del '68 la vecchia sede del Ronnie Scott's ribattezzata Old Place, viene destinata al jazz londinese giovane ed emergente. La sera della domenica viene affidata a Mike Westbrook, che guida allora un sestetto, e che approfitta dell'opportunità di suonare con regolarità per montare una ampia compagine, in cui figurano alcuni dei più formidabili musicsti della scena inglese dell'epoca: fra gli altri i sassofonisti Mike Osborne e John Surman, i trombonisti Malcolm Griffiths e Paul Rutherford, il bassista sudafricano Harry Miller, oltre al leader al piano. L'album - recentemente pubblicato dalla Cadillac, l'etichetta creata all'inizio degli anni settanta da Westbrook e da John Jack, e ancora attiva - coglie l'orchestra nell'ultimo travolgente concerto prima della chiusura dell'Old Place.

Come con Machine Gun di Peter Brotzmann, registrato nel maggio '68, a cui abbiamo dedicato una puntata propro in maggio, proporvi questo live - pure del maggio - della Mike Westbrook Concert Band è anche un nostro modo di rendere omaggio al fatidico anno. Tra la fine del '66 e il maggio del '68 la vecchia sede del Ronnie Scott's ribattezzata Old Place, viene destinata al jazz londinese giovane ed emergente. La sera della domenica viene affidata a Mike Westbrook, che guida allora un sestetto, e che approfitta dell'opportunità di suonare con regolarità per montare una ampia compagine, in cui figurano alcuni dei più formidabili musicsti della scena inglese dell'epoca: fra gli altri i sassofonisti Mike Osborne e John Surman, i trombonisti Malcolm Griffiths e Paul Rutherford, il bassista sudafricano Harry Miller, oltre al leader al piano. L'album - recentemente pubblicato dalla Cadillac, l'etichetta creata all'inizio degli anni settanta da Westbrook e da John Jack, e ancora attiva - coglie l'orchestra nell'ultimo travolgente concerto prima della chiusura dell'Old Place.

Come con Machine Gun di Peter Brotzmann, registrato nel maggio '68, a cui abbiamo dedicato una puntata propro in maggio, proporvi questo live - pure del maggio - della Mike Westbrook Concert Band è anche un nostro modo di rendere omaggio al fatidico anno. Tra la fine del '66 e il maggio del '68 la vecchia sede del Ronnie Scott's ribattezzata Old Place, viene destinata al jazz londinese giovane ed emergente. La sera della domenica viene affidata a Mike Westbrook, che guida allora un sestetto, e che approfitta dell'opportunità di suonare con regolarità per montare una ampia compagine, in cui figurano alcuni dei più formidabili musicsti della scena inglese dell'epoca: fra gli altri i sassofonisti Mike Osborne e John Surman, i trombonisti Malcolm Griffiths e Paul Rutherford, il bassista sudafricano Harry Miller, oltre al leader al piano. L'album - recentemente pubblicato dalla Cadillac, l'etichetta creata all'inizio degli anni settanta da Westbrook e da John Jack, e ancora attiva - coglie l'orchestra nell'ultimo travolgente concerto prima della chiusura dell'Old Place.

Jazz Anthology celebra il '68 con una puntata dedicata a Machine Gun di Peter Brotzmann, registrato proprio nel fatidico maggio di cinquant'anni fa: album di culto, pietra miliare dell'improvvisazione europea, un disco veramente all'altezza di quell'anno e di quel mese eccezionali. Machine Gun: un titolo tutto un programma di attacco musicale nel '68 iniziato, il 30 gennaio, con i vietcong che scatenano l'offensiva del Tet...

Jazz Anthology celebra il '68 con una puntata dedicata a Machine Gun di Peter Brotzmann, registrato proprio nel fatidico maggio di cinquant'anni fa: album di culto, pietra miliare dell'improvvisazione europea, un disco veramente all'altezza di quell'anno e di quel mese eccezionali. Machine Gun: un titolo tutto un programma di attacco musicale nel '68 iniziato, il 30 gennaio, con i vietcong che scatenano l'offensiva del Tet...

Jazz Anthology celebra il '68 con una puntata dedicata a Machine Gun di Peter Brotzmann, registrato proprio nel fatidico maggio di cinquant'anni fa: album di culto, pietra miliare dell'improvvisazione europea, un disco veramente all'altezza di quell'anno e di quel mese eccezionali. Machine Gun: un titolo tutto un programma di attacco musicale nel '68 iniziato, il 30 gennaio, con i vietcong che scatenano l'offensiva del Tet...

La liste des musiciens avec lesquels il n’a pas joué serait plus facile à établir que celle avec lesquels il a joué. En effet William Parker a une discographie impressionnante à la fois en leader et en side man, il est incontestablement le contrebassiste de jazz le plus prolifique. Et si vous vous interrogez sur le fait que l’on parle de jazz et non de free jazz, c’est justement parce que William Parker s’emploie à ne pas faire de différence, il n’y a qu’un jazz a-t-il insisté lorsqu’on l’a rencontré en Janvier dernier. De fait même s’il a été associé à des noms comme Cecil Taylor, Peter Brotzmann, Bill Dixon ou Derek Bailey, il n’y a aucune difficulté à trouver dans sa discographie, des enregistrements dont la sonorité est loin d’être agressive. Avec lui nous parlons de musique mais aussi de l’état d’esprit qui prévaut à toute forme d’expression artistique. Pour cette occasion nous avons fait les choses en grand, de la même manière que certains enregistrements historiques ressortent parfois avec des « bonus » nous vous proposons sur cette page une conversation plus longue que celle diffusée durant l’émission. En seconde heure nous vous présentons le nouvel album du saxophoniste californien Rent Romus et de son groupe Life’sBlood Ensemble et on en profite pour écouter les figures légendaires du free west coast: John Carter et Bobby Bradford. Puis on repart en direction de l’actualité avecle nouveau cd de ARBF alias Anti Rubber Brain Factory « Marokait » ou sous la houlette de Yoram Rosilio le groupe revisite quelques traditionnels marocains avec autant de respect que de liberté entre la truculence de Mingus et la spiritualité de Sun Ra en Egypte. On ne pouvait terminer sans vous parler de l’anthologie Bobby Jaspar qui sortchez Frémeaux. Liste des titres en première heure: -Billy bang « goin Through » inédit -William Parker « James Baldwin to the rescue » de l’album « Raining On The Moon » -Toxic « lesson » de l’album « This Is Beautiful Because We Are Beautiful People" -Tatsuya Nakatani, William Parker, Ed Wilkerson inédit -William Parker « Raining On The Moon » de l’album « Raining On The Moon » -William Parker « O Neal’s bridge » -William Parker « donso n goni » -William Parker « morning mantra » de l’album « Double Sunrise Over Neptune » Le site de William Parker : http://www.williamparker.net Liste des Titres en deuxième heure : -Rent Romus Lif’s Blood Ensemble « Caccini « de l’album Rogue Star » : http://www.edgetonerecords.com/catalog/4191.html -John Carter et Bobby Bradford « Encounter » de l’album « Self Determination Music » : https://www.discogs.com/fr/John-Carter-3-Bobby-Bradford-Self-Determination-Music/release/1101315 -ARBF « Leïlaa Lill » de l’album « Marocait » : https://soundcloud.com/user-448241994/sets/anti-rubber-brain-fact0ry-mar0kait/s-NSzEx -Bobby Jaspar « Très Chouette » et « Well You Needn’t » de l’album « The Quintessence » : https://www.fremeaux.com/index.php?page=shop.product_detailsetcategory_id=64etflypage=shop.flypageetproduct_id=1866etoption=com_virtuemart

Grammy Award-winning bassist and longtime Branford Marsalis collaborator Eric Revis joins Jason for today's deep-dive into growing up in California, being influenced by Parliament and prog rock, gut string explorations, and much more. A special shout-out to Eric Roy of Upton Bass for connecting me with Eric Revis for this conversation! About Eric Revis: One of the most talented and accomplished musicians of his generation, Grammy Award-winning bassist and composer Eric Revis has, over the past 15 years, become an important voice in jazz. Branford Marsalis states, “Eric’s sound is the sound of doom; big, thick, percussive.” Scores of musicians across various disciplines agree. Revis has performed and recorded with Betty Carter, Peter Brotzmann, Jeff “Tain” Watts, Kurt Rosenwinkel, Steve Coleman, Ralph Peterson, Lionel Hampton, McCoy Tyner, Andrew Cyrille, and Tarbaby (the experimental trio he tri-leads with Orrin Evans and Nasheet Waits). Manning the bass chair with Branford Marsalis’ powerfully flexible quartet since 1997, Revis has also recorded four brilliant albums as a leader. 2004’s Tales of the Stuttering Mime and 2009’s Laughter’s Necklace of Tears have both revealed his startling range as a musician and composer. Informed by his past but not tethered to it, a glimpse into the musical trajectory of this artist is indelibly clear on his latest release Parallax (Clean Feed ) and the soon to be released City of Asylum (Clean Feed). “Tales of the Stuttering Mime was an amalgam of songs I’d been composing for quite some time,” Revis explains. “Being that there were a lot of different influences at play, it required that I use various band configurations on almost every tune, which was great in that I had a very real connection to all of the musicians involved.” With Laughter’s Necklace of Tears the same conceptual construct was in place in terms of the confluence of musical influences, but the goal was to present it in a more cohesive fashion in terms of having one group navigate the songs for the record as opposed to five or six”. Conceptually improvisational and thematically broad, Parallax (Clean Feed) is timeless and borderless. The albums’ approach is one of inclusion, extrapolation and exploration. Joined by Jason Moran, Ken Vandermark and Nasheet Waits, it is a true document of Revis’ growth as a composer, bassist and sounding board. As on previous recordings, Revis’ playing is personal and distinctive: his tone deep and woody, his execution, agile, melodic and clear. A musical polyglot, Revis is comfortable in any setting, any direction. His skills as a band leader and composer are equally profound and inspiring. Links to Check Out: Eric's website Tales Of The Stuttering Mime by Eric Revis After Hours at the Upton barn Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D’Addario Strings This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets.     Subscribe to the podcast to get these interviews delivered to you automatically!

Ep 39 Malisa Humphrey & Diana-Sofia Estrada: The People On this episode our guests are Malisa Humphrey & Diana-Sofia Estrada. Malisa Humphrey is an artist who lives and works in Los Angeles and Diana-Sofia Estrada is also an artist who lives and works in Los Angeles who is also an avid cyclist and animal lover. This episode in our Notes from The People we're featuring a contribution from long time friend of the show Andrew Choate, an audio collage titled "Dope As Self Control" compiled from sounds he recorded on a recent trip to New Zealand. To close out the show, we have music by Peter Brotzman brought to us by Los Angeles' own Andrew Choate / The Unwrinkled Ear. He has produced a concert on May 16th, 2016, which is coming up if you're listening to this near the original air date, that will be at the Echoplex featuring legendary German saxophonist Peter Brotzmann. Brotzmann is bringing a band to Los Angeles for the first time since the 1970s, and that band is none other than the stellar London rhythm section of Steve Noble on drums, John Edwards on doublebass and, Chicago's finest, Jason Adasiewicz on vibraphone. We'll hear an excerpt from their album "Mental Shake", recorded at a recent live date at Cafe Oto in London.

Mike burns Pat's playhouse down with some inflammatory sixties avante garde - and one avuncular avatar of Chicago out. Peter Brotzman – MACHINE GUN; Ken Vandermark – SINGLE PIECE FLOW; Albert Ayler – SPIRITUAL UNITY; Cecil Taylor – CONQUISTIDOR.

A psychedelic trip down the watery path of Laswell, Psychic TV, Entheogenic, Calamalka, Scarab, Peter Brotzmann and the ambient dub of Divination.

A psychedelic trip down the watery path of Laswell, Psychic TV, Entheogenic, Calamalka, Scarab, Peter Brotzmann and the ambient dub of Divination.