Melodic mode in South Asian music
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Drawing from over two decades of musical training and deep roots in Ayurvedic philosophy, Dr. Shubham explains how ancient healing modalities like sound, music, and raga-based therapy can support emotional, psychological, and spiritual well-being to manage depression, insomnia, and anger.The conversation then turns to one of the most intimate and often overlooked areas of medicine: end-of-life care. Dr. Shubham shares his experiences working with terminally ill patients and reflects on the five stages of grief through deeply personal stories.This episode is a gentle, powerful reminder that understanding death helps us better understand life, and that caregivers, families, and physicians play a sacred role in helping others let go with dignity, grace, and peace.Topics Covered:Indian classical music for therapySpecific ragas for mental health supportEnd of life careThe five stages of grief Peaceful Death Timestamp:00:00 - 09:30: Integration of Ayurveda & Musical Therapy 09:30 - 19:30: Ragas for Anxiety, Sleeplessness, and more19:30 - 25:30: End of life care for the terminally ill 25:30 - 30:00: Living or Leaving? What do most choose?30:00 - 35:00: The five stages of grief35:00 - 42:00: Greatest Wish: Peaceful Death42:00 - 1:00:00: Accepting Death & Dependence1:00:00 - 1:12:06: Music Therapy About Dr. Shubham KulkarniDr. Shubham Kulkarni is a compassionate healer and multi-faceted expert in Ayurveda, music therapy, mental health, palliative care, end-of-life care, spirituality, and Indian classical music. With a profound understanding of holistic well-being, Dr.Kulkarni combines ancient wisdom with modern practices to guide individuals on their journey to health and harmony.If you are interested in doing one to one Ayurvedic consultation with Dr Vignesh Devraj, please find the details in this link: https://calendly.com/drvignesh/30-minute-session-with-dr-vignesh-devraj-md-ay-istIf you are economically challenged, please use the form provided to request a free Ayurvedic consultation here. (or copy paste this in your browser: https://docs.google.com/forms/d/e/1FAIpQLSd29nHcrC1RssR-6WAqWCWQWKKJo7nGcEm8ITEl2-ErcnfVEg/viewform )BALANCE THE MIGHTY VATA - ONLINE COURSE NOW AVAILABLE What makes Ayurveda unique in its treatment approach is its practical wisdom on the concept of Vata. Vata is responsible for Prana - the life energy, nervous system - the master panel of our body, and our emotions. In Ayurveda, it is mentioned that controlling Vata is the most difficult part of healing and recovery. Recently, I have recorded a workshop on - Balancing The Mighty Vata which has over 6 hrs of content, with notes filled with practical inputs that can be integrated into our life. You can access this at https://drvignesh.teachable.com/For further information about Dr Vignesh Devraj, kindly visit www.vigneshdevraj.com and www.sitaramretreat.com Instagram - @sitarambeachretreat | @vigneshdevrajTwitter - @VigneshDevrajWe truly hope you are enjoying our content. Want to help us shape and grow this show faster? Leave your review and subscribe to the podcast, so you'll never miss out on any new episodes. Thanks for your support.Disclaimer: - The content of the podcast episodes is not intended to be a substitute for professional medical procedures, consultations, diagnosis, or treatment in any manner. We strongly do not recommend using the content of these episodes as medical advice for any medical conditions for you, others, or for treating your patients.
Bas Ragas speelt 25 mei zijn voorstelling 'In Godsnaam' in Caprera
Studijoje svečiuojasi kompozitoriai Domantas Pūras, Ignas Šoliūnas ir Jokūbas Preikša – šiuolaikinės elektroninės muzikos trio „El Chico Fuendre“, įsikūręs Vilniuje. Grupė savo kūryboje jungia įkvėpimus iš vokiečių krautroko ir Indijos tradicinės muzikos, o gyvuose pasirodymuose kuria psichodelinio roko ir analoginių sintezatorių persmelktus garsovaizdžius.Šv. Velykų dieną „El Chico Fuendre“ pristato savo naują singlą „Raga for Roaring Sky“, o mėnesio pabaigoje – ir visą albumą Ragas for City Dwellers.Pokalbio metu grupės nariai dalinasi jiems svarbiais mėgstamos muzikos įrašais, pasakoja apie kūrybines įtakas, siekius, komponavimo būdą ir koncertinę veiklą.Ved. Lukas Devita
Kala Ramnath is a world-renowned Indian violinist who performs in both the Hindustani classical tradition, and in collaborations that incorporate many styles with Ray Manzarek of The Doors, Bela Fleck and Edgar Meyer, Hilary Hahn, Kronos Quartet with Reena Esmail and veena player Jayanthi Kumaresh, and leading orchestras such as my own National Arts Centre, to name but a few. You'll hear about her childhood, and how she became a disciple of the legendary vocalist Pandit Jasraj, leading her to revolutionize her approach to Hindustani violin technique. As a teacher she has put together an incredible resource with an extensive video library that she's created of Indian music, Indianclassicalmusic.com When I recorded this interview with Kala, she had just the day before returned from the celebration of life for the legendary tabla master Zakir Hussain, who died this past December, and was one of the most important musicians in both Indian music and in bringing a global audience to Indian music. He had moved to San Francisco in the 1960s and was involved in too many projects to begin to list; in 2024 he was the first musician from India to receive 3 Grammys at one ceremony, including his collaboration with Bela Fleck and Edgar Meyer. Zakir Hussain was an incredibly important mentor of Kala, and you'll hear in her words about what his guidance and collaborations meant to her. Kala talked to me about some of her many cross-genre collaborations, including her fantastic albums with tabla master Bikram Ghosh and her inventive trio with George Brooks and Gwyneth Wentink and you'll hear some of that music as well (albums linked below). Like all my episodes, you can watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript : YouTube and TranscriptKala Ramnath Website Indianclassicalmusic.com Raag Ahir Bhairav Paperboats album Elements trio albumOther episodes I've linked directly to this one, which I think may interest you: Karnatic violinist Suhadra VijaykumarSitar and tabla player Mohamed Assani Bansuri player Milind DateSarod player Avi KishnaIt's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity. Please buy me a coffee? Or check out my merch store Sign up for my newsletter and get exclusive sneak peeks! Timestamps:(00:00) Intro(02:41)Zakir Hussain, Triveni with Jayanthi Kumaresh(10:53) Kala's childhood(15:17) Indianclassicalmusic.com resource(17:56) Kala Ramnath Collective world music (19:13) albums with Bikram Ghosh(20:28) A Better Place from Paperboats with Bikram Ghosh (26:30) Pandit Jasraj, changing her approach to the violin(34:46) Raag Ahir Bhairav (video linked in show notes) (46:16) Kala's Singing Violin style(48:12) other episodes you'll enjoy and different ways to support this series(49:05)Concerto for Hindustani Violin and Orchestra written with Reena Esmail(54:32) Ragas according to the time of day(57:43) Ray Manzarek of The Doors, ragas with other musical traditions(01:02:31) why Kala uses viola strings and tunes low(01:04:21) trio with George Brooks and Gwyneth Wentink(01:05:42) Better Than Coffee from Elements, George Brooks, Gwyneth Wentink (link in show notes)(01:10:15) Bela Fleck, Edgar Meyer, importance of consistent practice(01:13:54) Kalashree foundation(01:15:28) pandemic shutdowns, performing with Zakir Hussain
José Ragas, historiador, conversa con Glatzer Tuesta en No Hay Derecho de Ideeleradio. No Hay Derecho en vivo de lunes a viernes, desde las 7 a. m., por el YouTube y Facebook de Ideeleradio.
De bijbel, is dat eigenlijk een goed boek? Hij vindt van wel, omdat het voor hem gaat over hoe je tot je recht komt als mens. We spreken over vergeving, over troost. En over die herdertjes die bij nachte lagen, daar in het veld.
This episode covers the next section of chapter 15 from: “The foundation stones of Hindu music are ragas...” to “... all its subtle microtonal and rhythmic variations.” Summary: We dissect Paramahansa Yogananda's detailed explanations of the significance of chants and music in the context of Indian classical music and ragas, highlighting their role in connecting with God and our own path. The subject matter is brought to life with extracts of commentary and explanations from experts in the fields such as Pundit Ravi Shankar. We also explored the historical and scientific aspects of music, including the wild application of using sound to extinguish fires! The oral tradition of teaching in Indian classical music is well established and deserves some appreciation due to its unique experience, spiritual basis and subtleties that are difficult to grasp without a peeping through the looking glass. 0:00 The importance of this episode; 3:12 Prior episode; 4:42 Structure and types of ragas; 15:24 Mantra and the primal sound; 34:42 Octaves and Scales; 58:50 Looking ahead. Links discussed in this episode: Akhanda Mandalakaram: https://youtu.be/mD1S6mz88Is?si=hee_glyDuOSVBu8A&t=3274 https://youtu.be/J1ifDRJL1Wo?si=ukFeYvZeUFCQoKwl https://en.wikipedia.org/wiki/Tansen Rain Chant - https://youtu.be/c_BoiSfAN78?si=jWsH6BYo5VMHv2yH https://en.wikipedia.org/wiki/Akbar https://en.wikipedia.org/wiki/Birbal https://en.wikipedia.org/wiki/Charles_Kellogg_(naturalist) https://youtu.be/X0fSUOiar0k?si=1nGtyk9cK1vSRp4s&t=332 https://youtu.be/X0fSUOiar0k?si=9LabmjTmC2UCO9Su Homework for next episode— Read, absorb and make notes on the next part of chapter 15: “Bach, among Western composers, understood the charm and power of repetitious...” to “...I joyously sang the refrains, beating time with our hands.” #autobiographyofayogi #autobiographylinebyline #paramahansayogananda Autobiography of a Yogi awake.minute Self-Realization Fellowship Yogoda Satsanga Society of India #SRF #YSS
Send your questions or provocations to Adam or Budi here!Ragas Of The Rooted Heart is a journey through the intertwined emotions of love, identity, and home. Shila, an Indian immigrant artist, reflects on her experiences in New York City while holding onto her deep connection to India. As she stands at the crossroads of two worlds, Shila navigates the complexities of cultural displacement, the evolving meaning of home, and the vulnerability of love.Through poetic monologue and the soulful echoes of India through her lens, Shila invites us into her inner world—a place of longing, resilience, and quiet strength. She questions societal expectations, confronts the isolation of being an outsider, and finds solace in the memories of her roots. Ragas Of The Rooted Heart is a tender exploration of what it means to create a life, a home, and a sense of belonging in an unfamiliar land, all while staying open to love and the unknown.CAST Shila - Tanvi JhansiSaheba - Prashant TiwariImmigration Officer - Jacob BrandtLinda - Pearl RheinKaren - Amanda NaughtonBlack Women Officer / Joan - Whitney AndrewsPapa - Rahul Dodwani Playwright - Sneha SakhareDirector - Cloteal L. HorneDramaturg - Steven Gaultney Sound Designer - Jack Burmeister Sound Associate - Lulu Perry Vocals by Sri Satya Sai Media Center, Prashanti Nilayam, India.Support the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister
Send your questions or provocations to Adam or Budi here!For our final playwright interview in the 2024 Audio New Play Festival, Adam and Budi sit down with Sneha Sakhare to discuss her audio play 'Ragas of the Rooted Heart'.Sneha is an actor, singer, writer, voiceover artist, and teacher from Yavatmal, India, currently based in New York City. Her work is deeply rooted in ‘Prasada Budhi,' which means a mindset of thinking that everything is a divine offering with whatever is presented to us, shaped by her spiritual background in Yoga through her father and the teachings in Vedas. As an actor, Sneha is a classically trained clown with intensive four-year training with her teacher-mentor Christopher Bayes at the Pandamonium Studio. She has also been trained with Aitor Basauri (Clown, Bouffon), Jim Calder (Intensive Acting, Commedia), and Budi Miller (Balinese performing arts and mask work) in Bali, Indonesia. Sneha has completed her 1-year acting conservatory program at The Barrow Group theatre company, Manhattan, 2017-18. As a singer trained in Indian Classical Music for almost a decade, Sneha as a bhajan (devotional song) singer has been offering her performances at numerous spiritual centers, pilgrimages, and temples in India. She has received many prestigious accolades like ‘Singing Idol' and ‘Voice of the Region' through which she performed on National television and had experience performing in concerts in front of thousands of people in various cities of India.Sneha received her Bachelor's in Electronics and Telecommunication Engineering from India and worked for 4 years as an engineer where she created corporate theatre performances immersed in music and corporate theories.Sneha has been awarded multiple scholarships as a performer which includes a one-year full scholarship by Christopher Bayes at Pandamonium Studio in 2020, ‘The Eugene O'Neill Scholarship' in 2021 at Oneil Theatre, Waterford, CT, and “A distinct 2-year fellowship from Lin-Manuel Miranda and the Miranda Family for emerging artists of color who have exhibited exceptional passion, drive, and unique points of view in various artistic mediums – including but not limited to theatre, dance, film, visual arts, and music – and is actively working to expand her professional development,2021-2023”She has written and performed original works like ‘Pandemic Chapati' and devised a piece called ‘Glimpse' in collaboration with Global majority artists for Rattlestick Theatre Company, New York City in 2021. Currently, Sneha is on her one-year apprenticeship program as a teacher with Christopher Bayes at the David Geffen School of Drama at Yale University, New Haven, CT, and at the PandamonTiny Bar ChatsChats with influential, inspiring, prolific and community oriented folks.Listen on: Apple Podcasts SpotifySupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister
When we sing our brain releases the neurotransmitter endorphins and dopamine in our body. Both substances lift up our feelings and reduce our stress. If we sing emotional, we exhaust our negative emotions and become happy… If we sing in a choir with other people, we get connected to the people and don't feel alone anymore. Even better if we sing very emotional Gospels, Ragas, Bhakti songs for God, we can connect with God or the divine. This is the easiest way to connect with God! We can learn to improvise or to sing free instead to sing learned songs. It doesn't matter how it sounds, it is more important that we enjoy it. As a Taoist I have learned to sing free, it is called Soul Singing. This means we sing out our soul or what is in us. When we repeat a pattern of some notes, we should intentionally change what we sing. We put one palm 5 to 10cm in front of our heart chakra and the other hand like a karate hand with the thumb pointing upward and fingers pointing forwards in front of our first hand. And then we sing what is coming from inside. Where can we sing? If we drive a car, we sing, and the car driving is much more relaxed. The singing will calm us down and somehow make it easier to be focused and relaxed when we drive.The Chinese and Tibetan healing are using healing sounds and sound-mantras to heal the body and to spiritualize our being. These sound techniques are very powerful. After an extended training, we can go with healing sounds or sound-mantras within seconds in a blissful and calm state, or we can heal with them!!!! And we can even make the healing sounds in silence/ remote. Still, it works! The other choice is we chose some Karaoke songs; we can find them on YouTube and sing after them. Enjoy it!My Video: How to feel good through singing? https://youtu.be/DVvk-bgbz6MMy Audio on Podcast: RELAX WITH MEDITATION or see link in the end. My Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast.A/How-to-feel-good-through-singing.mp3
Is een leven zonder plastic nog wel denkbaar? En in hoeverre is dit eigenlijk wel zo wenselijk? Zijn onze huidige recyclingmethoden effectief, of zijn er betere oplossingen nodig? Zijn alternatieven voor plastic een realistische oplossing? Duik dieper in deze vragen met milieukundige Ad Ragas en chemicus Jeroen Jansen. Laat je daarnaast meeslepen door muzikanten Rogier de Nijs en Sjaak van Dam die met hun performance Soundtrack of the Plastic Age een statement maken tegen de wegwerpcultuur en vóór een schonere wereld. Toekomst zonder plastic? | Lezingen, gesprek en muziek met milieukundige Ad Ragas, chemicus Jeroen Jansen en Soundtrack of the Plastic Age Maandag 7 oktober 2024 | 20.00 - 21.45 uur | LUX, Nijmegen Radboud Reflects en Faculteit der Natuurkunde, Wiskunde en Informatica Lees hier het verslag: https://www.ru.nl/services/sport-cultuur-en-ontspanning/radboud-reflects/nieuws/toekomst-zonder-plastic-lezingen-gesprek-en-muziek-met-milieukundige-ad-ragas-chemicus-jeroen-jansen-en-soundtrack-of-the-plastic-age Bekijk de video: Like deze podcast, abonneer je op dit kanaal en mis niks. Bekijk ook de agenda voor nog meer verdiepende lezingen: www.ru.nl/radboud-reflects/agenda Wil je geen enkele verdiepende lezing missen? Schrijf je dan in voor de nieuwsbrief: www.ru.nl/rr/nieuwsbrief
Calbo and the party welcome the birth (berth?) of his child and Stigveld faces down Ragas...If you want to learn to play D&D, Gadget is running beginner's sessions on Startplaying.Games. Take a seat at his table and check out what he's got to offer: Professional Game Master - Gadget | StartPlayingCONTACT USmodernescapism.co.uk@ScorchedSheep@ModernEscapismtwitch.tv/modernescapismmodernescapismpod@gmail.comhttps://discord.gg/bfNnu8PYou can also follow us individually at:@OodlesODimm@Stig_Stu@Bigkopman@Gadget8Bit@candymachine85This episode was written, produced and edited by @Gadget8BitSpotify Playlist Linkhttps://open.spotify.com/playlist/7n3h37BPaHaQanoQl3rYswCover art by Jo Candymachine: https://instagram.com/candymachine_art?igshid=19n3suhjv3ybbSupport this show http://supporter.acast.com/scorchedsheep. Hosted on Acast. See acast.com/privacy for more information.
José Ragas, historiador, conversa con Glatzer Tuesta en No Hay Derecho de Ideeleradio. No Hay Derecho en vivo de lunes a viernes, desde las 7 a. m., por el YouTube y Facebook de Ideeleradio.
In deze podcast gaat David in gesprek met Bas Ragas - zanger, acteur en schrijver - over zijn boek 'Jezus, waarom?' en zijn persoonlijke zoektocht naar betekenis en spiritualiteit. Verwacht een diepgaand gesprek vol openhartigheid, scherpe inzichten en een frisse blik op oude verhalen!
How do you systematically measure, optimize, and improve the performance of LLM applications (like those powered by RAG or tool use)? Ragas is an open source effort that has been trying to answer this question comprehensively, and they are promoting a "Metrics Driven Development" approach. Shahul from Ragas joins us to discuss Ragas in this episode, and we dig into specific metrics, the difference between benchmarking models and evaluating LLM apps, generating synthetic test data and more.
How do you systematically measure, optimize, and improve the performance of LLM applications (like those powered by RAG or tool use)? Ragas is an open source effort that has been trying to answer this question comprehensively, and they are promoting a "Metrics Driven Development" approach. Shahul from Ragas joins us to discuss Ragas in this episode, and we dig into specific metrics, the difference between benchmarking models and evaluating LLM apps, generating synthetic test data and more.
Gintarė Adomaitytė. „Paskutinioji taurė“ ir „Ožio ragas“. Skaito aktorė Agnė Gregorauskaitė.
Retrieval Augmented Generation (RAG) enhances the abilities of Large Language Models (LLMs) by enabling the retrieval of documents into the LLM context to provide more accurate and relevant responses. Existing RAG solutions do not focus on queries that may require fetching multiple documents with substantially different contents. Such queries occur frequently, but are challenging because the embeddings of these documents may be distant in the embedding space, making it hard to retrieve them all. This paper introduces Multi-Head RAG (MRAG), a novel scheme designed to address this gap with a simple yet powerful idea: leveraging activations of Transformer's multi-head attention layer, instead of the decoder layer, as keys for fetching multi-aspect documents. The driving motivation is that different attention heads can learn to capture different data aspects. Harnessing the corresponding activations results in embeddings that represent various facets of data items and queries, improving the retrieval accuracy for complex queries. We provide an evaluation methodology and metrics, synthetic datasets, and real-world use cases to demonstrate MRAG's effectiveness, showing improvements of up to 20% in relevance over standard RAG baselines. MRAG can be seamlessly integrated with existing RAG frameworks and benchmarking tools like RAGAS as well as different classes of data stores. 2024: Maciej Besta, Aleš Kubíček, Roman Niggli, Robert Gerstenberger, Lucas Weitzendorf, Mingyuan Chi, Patrick Iff, Joanna Gajda, Piotr Nyczyk, Jurgen Muller, H. Niewiadomski, Marcin Chrapek, Michal Podstawski, Torsten Hoefler https://arxiv.org/pdf/2406.05085
José Ragas, historiador, conversa con Glatzer Tuesta en No Hay Derecho de Ideeleradio. No Hay Derecho en vivo de lunes a viernes, desde las 7 a. m., por el YouTube y Facebook de Ideeleradio.
Welcome to the Drunken Fist Podcast! I'm your host, RabSoPetty aka the Hood Dub King. Today, we have the Hood Jujutsu Kaisen cast joining us.We'll dive into the behind-the-scenes of their fan dub, discussing how they got involved, the creative process, and some hilarious stories. We'll also explore Jujutsu Kaisen's characters and favorite moments, and our guests will share their insights and advice for aspiring creators.In the Drunken Spin segment, we'll spin the activity wheel for some unexpected fun, and in Last Call, each guest will create a cocktail inspired by their favorite anime.Grab your drink and join us for laughs, insights, and nerdy conversation. Cheers!
In this podcast Kushal Solanki revisit the NaadSadhana for iOS. This Apple Design Award-winning app is a comprehensive musical companion that offers a suite of features for both practice and performance. Musicians can hone their skills with Note and Ear Workouts, and explore a multi-octave keyboard and various essential instruments for free. The app allows users to perform alongside a Live Orchestra, featuring an extensive collection of 27 instruments, 262 Ragas, and 54 Taals across 10 Styles/Genres. Additionally, users can create professional-quality audio and video recordings with automatic mixing and microphone enhancements. The app's rich instrument library includes the Tanpura, Surpeti, Metronome, Swarmandal, and more, catering to a wide range of musical tastes and styles. With features like Note and Beat guidance, Karaoke with pitch shifting, In-Ear Monitoring, and iCloud sync, the app is designed to be an all-in-one solution for music creation and practice, making it easier for artists to share their work and manage their repertoire.Note: The free and paid subscription versions of the NaadSadhana iOS app are: Free Version Provides access to basic features like note and ear workouts, pitch detection, multi-octave keyboard, and essential instruments like tanpura, metronome, and swarmandal. Allows practicing with a limited set of instruments and ragas.Paid Subscription (NaadSadhana Pro) Unlocks the full "Live Orchestra" feature with 27 instruments across 10 world music styles, 262 ragas, 54+ taals/rhythms. Enables creating audio and video recordings that are automatically mixed, with microphone enhancements. Provides additional features like note/beat guidance, song presets with lyrics and tuning, karaoke mode with pitch shifting and looping, in-ear monitoring with reverb and EQ, iCloud sync for songs/playlists, and smart song suggestions.The subscription is available as monthly ($4.99), quarterly ($12.49), or annual ($39.99) plans.So in essence, the free version is focused on practice tools, while the paid subscription unlocks the full performance capabilities with the virtual orchestra, multi-track recording studio, and additional utilities for serious musicians and learners.NaadSadhana on the App Storehttps://apps.apple.com/us/app/naadsadhana/id1348181386transcription: Disclaimer: This transcript is generated by AIKO, an automated transcription service. It is not edited or formatted, and it may not accurately capture the speakers' names, voices, or content. Good day AppleVis, and today on this podcast I'll be demonstrating the NAD Sadhana app.Now I did do a podcast on this in 2021.So today is going to be about revisiting the app, because since my podcast in 2021, the app has undergone major changes when it comes to accessibility, like when it comes to features as well as accessibility improvements, simply user interface and all that great stuff.And the developers really committed when it comes to accessibility, which is really great to see.And what this app basically does, it basically listens to you and according to your singing, it will improvise.The app is primarily based for Indian classical musicians, but the cool thing is that it also has styles for Western music as well.And so you can say it's not…
Je vaste dosis verhalen, analyses en een gulle lach over dat fraaie medium: de radio! Met in aflevering 163:Na een half jaar radiostilte zijn Coen Swijnenberg en Sander Lantinga dan eindelijk weer te horen met de Coen & Sander Show, dit keer in de ochtend op Joe-Joe. We luisteren naar de opening van hun allereerste show, een paar nieuwe items én welke toegevoegde waarde hun nieuwslezer Merel Westrik heeft. Hebben de heren het ochtendgevoel én de 70's-80's-90's vibe van de zender al een beetje in de vingers? Gaat dit duo Joe-Joe een boost geven?Een beetje overdreven: het NOS Journaal op NPO Radio 2 opent met wie de opvolger wordt op het tijdstip van hun vertrekkende dj Gijs Staverman. Het blijkt Paul Rabbering en zijn huidige plek wordt dan weer ingenomen door Evelien de Bruijn. Hoe logisch is die keuze?Half Nederland viert meivakantie, maar ook minimaal de helft van alle radiomakers. Bijna overal waren invallers te horen? Arjan vermoedt een complot! We luisteren even naar de meest prominente nieuwe invallers: het duo Moral El Ouakili en Roelof de Vries, in de ochtend op NPO Radio 2. Hebben deze heren al een beetje chemie?We bespreken nog een aantal vakantie-invallers, maar één nieuwe naam op NPO Radio 5 moet even apart benoemd worden: Bas(tiaan) Ragas. Hij mag de bingoballen van Henk van Steeg warm houden.Veel mensen waren geschokt door het nieuws dat Dieuwertje Blok per direct al haar werk neerlegt. Ze moet voor kanker worden behandeld en zal een neus-amputatie moeten ondergaan. Dieuwertje is één van de vaste stemmen van het NPO Klassiek-programma NTR Podium. Hoe brengt vervanger Maartje Stokkers dit vreselijke nieuws over collega Dieuwertje?In het Blooperblokje oa: Morad el Ouakili, Joost Swinkels, Eva Vloon, Dorald Megens en Jorien Renkema.Syb zet robots in en de Zeeuwse Top 40 is op Hemelvaart het jaarlijkse radiohoogtepunt.De slotwoorden zijn van 'Boom Room'-dj Gijs Alkemade van SLAM! Hij plugt de SM7, maar kraakt de Røde Broadcaster. Doe er je voordeel mee!In de exclusieve bonusshow voor vrienden van de show deze week:We staan even stil (...) bij de Dodenherdenking op de radio. Want hoe klinken op 4 mei die twee lange minuten stilte op alle zenders? En hoe worden ze ingeleid door de presentatoren en dj's? Er zijn opvallende verschillen!Herman Hofman moest een paar jaar geleden van de nieuwe zenderleiding weg bij 3FM, maar vond via Rob Stenders onderdak bij Radio Veronica. Maar nu moet hij ook daar weg. We luisteren of zijn afscheidswoorden dit keer even emotioneel zijn als destijds bij 3FM.Plus bonusbloopers van o.a. ANWB-held Tim Schaap, Martijn La Grouw, de jonge talenten van YourSaveRadio en het allround talent Mieke van der Weij.Om de bonusshow te horen ga je naar Vriendvandeshow.nl/Radio Als je ‘Vriend van de show' wordt (€3,50 per maand of €35,- per jaar) steun je ons om deze podcast voort te zetten en krijg je élke week zo'n extra show! De extra afleveringen, ook alle vorige, komen vanzelf in je eigen podcast-app.Bestook ons met feedback, post, blooper-tips en meer via: ditwasderadio@gmail.com.Volg ons op de socials: Facebook | X | Threads | Instagram | Youtube | TikTokDit Was De Radio dankt 'De Radiofabriek' voor de opnamefaciliteiten. Meer info op: www.radiofabriek.nl.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.
"Trees Can Have My Soul; In Return, Let Me Have My Grief" asks what a mother tongue is when survival requires assimilation. Content warnings: Mild body horror, grief, death of a parental figure, racism Copyright khōréō magazine 2024. Story by Rukman Ragas, edited by Isabella Kestermann. Audio edition read by Ahrreby Anandakumar and produced by Lian Xia Rose, with casting by Jenelle DeCosta. Visit khoreomag.com and follow us on Twitter, Instagram and Facebook @KhoreoMag. Music: This Too Shall Pass by Scott Buckley https://soundcloud.com/scottbuckley Creative Commons Attribution 3.0 Unported CC BY 3.0 Sound effects by jcdecha and Samulis from freesound.org licensed under CC0 1.0
Bas Ragas is zanger, acteur en vanaf mei verteller in de EO-tv-serie ‘Bijbelen met sterren'. Hij is gegrepen door de Bijbel, met name door de symbolische betekenis van de verhalen. Hij schreef het boek ‘Jezus waarom' en toert nu het land door met de voorstelling ‘In Gods Naam'. Ragas begon zijn carrière in de muziek en was zanger in de boyband ‘Caught in the act', een periode waar hij met enige verbijstering op terugkijkt. Hij speelde in tv-series en musicals en schreef boeken over zijn vaderschap. Voormalig voetballer Dean Gorré is technisch directeur van de nationale voetbalbond Curaçao. Na zijn actieve carrière bij onder andere Feyenoord, Groningen en Ajax speelde hij in Engeland en is daar blijven plakken. Onlangs was hij enige tijd - vrij succesvol - bondscoach van Suriname, zijn geboorteland. Een van Gorré's zoons is inmiddels in de voetsporen van zijn vader getreden en voetbalt in Qatar. Gorré is het type voetballer dat als kind met een bal in bed sliep en elke dag op het pleintje te vinden was.
Voor buitenstaander Bastiaan Ragas zijn Marieke 't Hart en Sabine Leenhouts totale tegenpolen. Hoe kan het dan toch dat de vrouwen achter de podcast Zo Doet Zij Dat nu samen een boek hebben gemaakt? Dat bespreken de drie in een nieuwe aflevering van Zo Doet Zij Dat die volledig in het teken staat van het aanstaande boek over de podcast. Marieke vertelt hoeveel moeite ze had met het schrijven van de hoofdstukken over haar zieke moeder. En Sabine vraagt zich af waarom vrouwen anno 2024 een slet zijn als ze met twee mannen op een avond zoent.See omnystudio.com/listener for privacy information.
Brolių Grimmų pasaką „Veršenikė, skrybėlė ir ragas“ skaito aktorius Juozas Rygertas.
Saint Louis In Tune welcomes Seema Kasturi, a practitioner of Carnatic Classical music from St. Louis. Seema shares insights on her upcoming show, Harmony in Music, which aims to blend Carnatic classical music with Western improvisation, including jazz and other genres, alongside English literature for broader comprehension. The segment underlines the collaborative essence of music across cultures and highlights the event scheduled for April 6th at the Grandel Theatre. Besides musical endeavors, the episode also touches on an St. Louis Cardinals' history, Yogi Berra's famous quotes, and various recognitions of national and international observances.[00:00] Fusion of Musical Genres: A Unique Blend[00:27] Welcome to St. Louis In Tune: A Fresh Perspective[01:04] Civility and Parking Etiquette: A Light-hearted Banter[02:19] Introducing Seema Kasturi: A Maestro of Carnatic Classical Music[02:53] Harmony in Music: A Fusion Concert Preview[03:14] The Art of Improvisation: Blending Carnatic and Jazz[09:12] Exploring Carnatic Music: Scales, Improvisation, and Rehearsals[14:17] A Multifaceted Talent: From Music to Software Engineering[17:46] Engaging with the Audience: The Power of Interactive Performances[20:23] Bridging Cultures Through Music: Seema Kasturi's Vision[23:05] The Dred Scott Heritage Foundation: A Call for Commemoration[24:07] St. Louis In Tune: A Platform for Informative Stories[25:42] Harmony and Music: A Final Reminder[31:35] Nostalgic Baseball Memories and Stadium Experiences[32:38] Stadium Amenities and Changes Over Time[34:36] Historical Highlights and Cardinal Achievements[36:34] Unique Stadium Events and Fan Experiences[38:24] Concerts and Other Events at the Stadium[41:17] National Days and Fun Facts[47:06] Yogi Berra's Wisdom and LegacyHarmony in Music – Soorya Performing ArtsSeema Kasthuri YouTubeSeema Kasthuri – Soulful MusicSoorya Performing ArtsThis is Season 7! For more episodes, go to stlintune.com#grandeltheatre #sooryaperformingarts #harmonyinmusic #carnaticclassicalmusic #carnaticmusic #seemakasthuri #toddmosby #fusioninmusic #musicalstyles
The heart of today's topic is developing trust in your ideas, even when they are innovative and outside the box. You'll learn what a Raga is, how Ragas help with healing, and how Dharma helps you move forward with ease in your purpose. Join us to learn more from my interesting guest!Dr. Shubham Kulkarni is “The Raga-Singing Ayurvedic Doctor,” a practicing Ayurvedic doctor and music therapist based in Pune and Mumbai, India. He works in renowned palliative hospice care centers and at his own private practice. In addition to his medical studies, he holds master's degrees in palliative care and psychology and is a music therapist and vocalist of Indian classical music. He has successfully conducted clinical research in the field of Ayurveda and on music therapy's effects on insomnia, stress, depression, dementia, cancer, and pregnancy care. Show Highlights:How music and Ayurveda became part of Dr. Shubham's life and workWhy he is interested in the applied knowledge of music and Ayurveda in concepts like mental health, palliative care, and death/dyingWhat the learning process was for Dr. Shubham to learn music and the practical application of musicHow parents, teachers, gurus, and books help us discover our Dharma as we learn discipline and trustWhat a Raga is, how it is viewed as medicine, and how it affects our emotions and feelingsHow Dr. Shubham uses sound therapy, music therapy, and Raga therapy therapeutically in the treatment of specific diseasesHow music therapy can be used effectively as a cure and for careWhat Dr. Shubham says to people who are unsure of their DharmaWhat his birth chart shows about his creativity and his desire to help people healDr. Shubham's advice to others who do innovative workHear Dr. Shubham's answers to rapid-fire questions about helpful advice, morning routine, and recommended books.Resources:Connect with Dr. Shubham Kulkarni: Facebook and InstagramBooks recommended by Dr. Shubham: Bhagavad Gita and On Death and Dying by Elizabeth Kubler-RossConnect with PaulaThe Cosmic Business Lab is now open! This is a year-long program with me going deep into the business strategies I've used to build my six-figure business. You'll get access to resources, courses, and three calls a month, plus bonus calls with guest experts. Are you ready to uplevel? Join here.Upgrade to the Cosmic Business Mastermind, which gives you personalized support with me and is limited to 20 people. Details are here, and you can book a call with me where we'll look at your business and your birth chart to see if the program is a fit. We start March 4th - and there are only 20 spaces total available (some are already booked!)Get the 2024 Astrology Guidebook and receive all my hand-picked lay-low and auspicious days for the year,...
José Ragas, historiador, conversa con Glatzer Tuesta en No Hay Derecho de Ideeleradio. No Hay Derecho en vivo de lunes a viernes, desde las 7 a. m., por el YouTube y Facebook de Ideeleradio.
José Ragas, historiador y docente de la Universidad Católica de Chile, conversa con Glatzer Tuesta en No Hay Derecho de Ideeleradio. No Hay Derecho en vivo de lunes a viernes, desde las 7 a. m., por el YouTube y Facebook de Ideeleradio.
Bastiaan Ragas is als zanger, acteur, schrijver en presentator een alleskunner. Zijn carrière begon als lid van de band ‘Caught in the Act' en sindsdien speelde hij in vele musicals en films en presenteerde hij diverse tv-programma's. Op dit moment staat hij op de planken met zijn theatervoorstelling ‘In Gods Naam'. Vier jaar geleden dook hij, samen met theoloog Ad van Nieuwpoort, in de eeuwenoude verhalen van de Bijbel. Zijn bevindingen zijn te lezen in zijn boek, dat vorige maand uitkwam: ‘Jezus, waarom?'
MLOps Coffee Sessions #179 with Shahul Es, All About Evaluating LLM Applications. // Abstract Shahul Es, renowned for his expertise in the evaluation space and the creator of the Ragas Project. Shahul dives deep into the world of evaluation in open source models, sharing insights on debugging, troubleshooting, and the challenges faced when it comes to benchmarks. From the importance of custom data distributions to the role of fine-tuning in enhancing model performance, this episode is packed with valuable information for anyone interested in language models and AI. // Bio Shahul is a data science professional with 6+ years of expertise and has worked in data domains from structured, NLP to Audio processing. He is also a Kaggle GrandMaster and code owner/ ML of the Open-Assistant initiative that released some of the best open-source alternatives to ChatGPT. // MLOps Jobs board https://mlops.pallet.xyz/jobs // MLOps Swag/Merch https://mlops-community.myshopify.com/ // Related Links All about evaluating Large language models blog: https://explodinggradients.com/all-about-evaluating-large-language-models Ragas: https://github.com/explodinggradients/ragas --------------- ✌️Connect With Us ✌️ ------------- Join our slack community: https://go.mlops.community/slack Follow us on Twitter: @mlopscommunity Sign up for the next meetup: https://go.mlops.community/register Catch all episodes, blogs, newsletters, and more: https://mlops.community/ Connect with Demetrios on LinkedIn: https://www.linkedin.com/in/dpbrinkm/ Connect with Shahul on LinkedIn: https://www.linkedin.com/in/shahules/ Timestamps: [00:00] Shahul's preferred coffee [00:20] Takeaways [01:46] Please like, share, and subscribe to our MLOps channels! [02:07] Shahul's definition of Evaluation [03:27] Evaluation metrics and Benchmarks [05:46] Gamed leaderboards [10:13] Best at summarizing long text open-source models [11:12] Benchmarks [14:20] Recommending evaluation process [17:43] LLMs for other LLMs [20:40] Debugging failed evaluation models [24:25] Prompt injection [27:32] Alignment [32:45] Open Assist [35:51] Garbage in, garbage out [37:00] Ragas [42:52] Valuable use case besides Open AI [45:11] Fine-tuning LLMs [49:07] Connect with Shahul if you need help with Ragas @Shahules786 on Twitter [49:58] Wrap up
In collaboration with Jaipur Literature Festival Houston, the Rothko Chapel hosted classical Indian quartet Anirudh Varma Collective and Houston Poet Laurate Aris Kian for a contemplatived morning music and poetry experience inside the sanctuary followed by light bites on the Plaza. About the presenters The spirit of the iconic Jaipur Literature Festival, held annually in Jaipur, India, travels across countries and continents with a caravan of writers, thinkers, poets, influencers, balladeers and raconteurs. The Anirudh Varma Collective (AVC) is a contemporary Indian classical ensemble from New Delhi, India. It is led by pianist, composer & producer, Anirudh Varma. The Anirudh Varma Collective comprises musicians & artistes from across India, America, and Canada. The Collective aims to discover, re-discover, and present the tradition & diversity of Indian music in a contemporary yet rooted manner in order to reach and connect with the masses. Aris Kian Brown is currently the Houston Poet Laureate 2023-2025 and ranked #2 in the 2023 Womxn of the World Poetry Slam. Previously an Inprint C. Glenn Cambor Fellow, she received her MFA from the University of Houston. She was ranked #10 in the 2020 Women of the World Poetry Slam and #4 in the nation at the 2019 ACUI College Unions Poetry Slam Invitational with UH team Coogslam. She is a current member of Smoke Slam alongside LeChell “The Shootah” R.H, R.J. Wright, Blacqwildflowr, and Sherrika Mitchell, coached by Ebony Stewart. About the observance This event was held in observance of International Day of Peace which takes place annually on September 21st. Established in 1981 by unanimous United Nations resolution, Peace Day provides a globally shared date for all humanity to commit to reace above all differences and to contribute to building a global culture of peace. This year's theme is "Actions for Peace," recognizing our individual and collective responsibilities to foster peace and more just and inclusive societies, free from fear and violence.
Madi Das discusses the fusion of Indian mantras with western music on his album Mantra Americana. Born to an American mom and German dad, Madi Das grew up in the Vaishnava tradition of Bhakti Yoga. At age 7 he went to boarding school in India where he studied sacred chants, became fluent in Hindi, and made lifelong friends. Now living in Melbourne, when he's not sharing music with his community, he works in film production. His debut album Bhakti Without Borders was nominated for a New Age Grammy, and his next project Mantra Americana received a Grammy nomination for best Chant album. Mantra Americana II releases August 2023.http://mantraamericana.org/Host Bonnie Burkert melds the worlds of media and higher consciousness, sharing tools for transformation to find our highest truth and live our brightest life. www.instagram.com/yogi_bonThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3589860/advertisement
In anticipation of the Ragas Live Festival 2023 coming October 14-15 to Pioneer Works, we will be broadcasting this amazing set from 2022 featuring Saraswathi Ranganathan on veena and Sriram Raman on Mridangam The radio broadcast will be at WKCR 89.9 FM-NY (www.wkcr.org) at 7PM on August 6, or you can enjoy here on the NYC Radio Live Podcast. Tix and info for Ragas Live Festival are available at www.ragaslive.com You can also watch a video of this performance on YouTube here.
In anticipation of the Ragas Live Festival 2023 coming October 14-15 to Pioneer Works, we will be broadcasting this amazing set from 2022 featuring Kane Mathis on Kora and Roshni Samlal on Tabla. Kane Mathis, a man of many talents, also mixed and mastered this and all the recordings from Ragas Live Festival 2022. The radio broadcast will be at WKCR 89.9 FM-NY (www.wkcr.org) at 7PM on August 6, or you can enjoy here on the NYC Radio Live Podcast. Tix and info for Ragas Live Festival are available at www.ragaslive.com You can also watch a video of this performance on YouTube here.
Connor Ragas is a versatile composer for visual media. On his YouTube channel @CRProductions-connorragas, you will find music for Film, Video Games, and TTRPG like Dungeons and Dragons (DnD).
José Ragas, historiador, conversa con Glatzer Tuesta en No Hay Derecho de Ideeleradio. No Hay Derecho en vivo de lunes a viernes, desde las 7 a. m., por el YouTube y Facebook de Ideeleradio.
Andrew Ragas of Northwoods Bass Fishing Adventures joins the Boundless Pursuit podcast to talk trophy smallmouth bass, muskie, pike, and more fishing in the Northwoods. Ragas and David Graham have a history in fishing media dating back to 2010, and the origins of the Boundless Pursuit blog. We talk changes in the fishing media landscape and more!Instagram: @northwoods_basswww.northwoodsbass.comwww.ragasmedia.comYoutube: https://www.youtube.com/@NorthwoodsBass__________________________________________________________See more at www.boundless-pursuit.com in partnership with www.haverodswilltravel.comInstagram: @boundlesspursuitFacebook: @HRWT studios
Quien haya vivido en los años noventa en el Perú experimentó con toda seguridad una de las transformaciones más importantes de estos últimos dos siglos. Como José Ragas explica en "Los años de Fujimori (1990-2000)", el régimen de Alberto Fujimori no solo significó un cambio de modelo económico, sino también la aparición de un estilo de cultura política que perdura hasta la actualidad. Este volumen de Historias Mínimas Republicanas aborda la complejidad de ese periodo y plantea que los cambios económicos y la modernización del país no pueden ser comprendidos sin las violaciones de los derechos humanos, incluyendo las esterilizaciones forzadas, y la conformación de un modelo autoritario de gobierno. Escrito en un estilo sencillo y directo, ofrece una visión panorámica de episodios ampliamente conocidos junto con otros que suelen ser pasados por alto. Se trata de un mapa de la época, con un amplio abanico de personajes, regiones y procesos, que nos permiten aproximarnos a esos años, a su legado y a quienes lo forjaron y combatieron. José Ragas es Profesor Asistente en el Instituto de Historia de la Pontificia Universidad Católica de Chile. Se formó en Estados Unidos en historia global de la ciencia y tecnología. Antes de incorporarse al Instituto de Historia fue investigador postdoctoral de la Fundación Mellon en el Departamento de Ciencia y Tecnología (STS) de la Universidad de Cornell (2015-2017) y dictó seminarios y asesoró tesinas en el Programa de Historia de la Ciencia y Medicina (HSHM) de la Universidad de Yale (2017-2018). Los cursos y proyectos que lleva a cabo en el Instituto reflejan precisamente sus dos intereses principales: la historia global contemporánea y la historia de la ciencia y la tecnología. Entrevista por Luka Haeberle, un entusiasta estudiante de la historia latinoamericana. Sus principales áreas de interés son la economía política, la historia laboral y la teoría política. Puedes encontrarlo en Twitter: @ChepoteLuka
José Ragas, historiador, conversa con Glatzer Tuesta en No Hay Derecho de Ideeleradio. No Hay Derecho en vivo de lunes a viernes, desde las 7 a. m. por el Facebook, YouTube y Twitter de Ideeleradio.
Abdullah Ibrahim is a South African pianist and composer. His music reflects many of the musical influences of his childhood in the multicultural port areas of Cape Town, ranging from traditional African songs to the gospel of the AME Church and Ragas, to more modern jazz and other Western styles. See omnystudio.com/listener for privacy information.
In today's news, clickbait headlines and “deep-fake” videos can stand alongside legitimate, well-reported stories. Any business can quickly be victimized by a wrong, even malicious story or social media post. DePaul professors Ron Culp and Matt Ragas, co-authors of “Business Acumen for Strategic Communicators,” join DePaul Download to discuss how business leaders can both correct the record and save reputations without getting into a mudslinging contest. Culp and Ragas also discuss the Public Relations and Advertising program's recent PRWeek award for Outstanding Education Program.
José Ragas, historiador, conversa con Glatzer Tuesta en No Hay Derecho de Ideeleradio. No Hay Derecho en vivo de lunes a viernes, desde las 7 a. m. por el Facebook, YouTube y Twitter de Ideeleradio.
Cerys Matthews and Jeffrey Boakye are joined this week by Gillian Moore, Director of Music at London's Southbank Centre, and Romanian concert violinist Bogdan Văcărescu, to add the next five tracks to the playlist. The studio guests serve up their usual eclectic mix, and from Mumbai we hear from one of the great voices of a classical Indian music tradition. Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald The five tracks in this week's playlist: Infernal Dance from The Firebird Suite by Igor Stravinsky The Sea and Sinbad's Ship: Scheherazade by Nikolai Rimsky-Korsakov Toxic by Britney Spears Raga Madhuvanti by Hariprasad Chaurasia You're the Voice by John Farnham Other music in this episode: Scherzo Fantastique, Op 25 by Antonio Bazzini, performed by Bogdan Văcărescu and Julian Jacobson Thunderball by Tom Jones Tere Mere Beech Mein by Lata Mangeshkar and S.P. Balasubrahmanyam Venus in Furs by The Velvet Underground 400 Lux by Lorde
Episode one hundred and thirty-nine of A History of Rock Music in Five Hundred Songs looks at “Eight Miles High” by the Byrds, and the influence of jazz and Indian music on psychedelic rock. This is a long one... Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Winchester Cathedral" by the New Vaudeville Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, as there were multiple artists with too many songs. Information on John Coltrane came from Coltrane by Ben Ratliffe, while information on Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. For information on the Byrds, I relied mostly on Timeless Flight Revisited by Johnny Rogan, with some information from Chris Hillman's autobiography. This dissertation looks at the influence of Slonimsky on Coltrane. All Coltrane's music is worth getting, but this 5-CD set containing Impressions is the most relevant cheap selection of his material for these purposes. This collection has the Shankar material released in the West up to 1962. And this three-CD set is a reasonable way of getting most of the Byrds' important recordings. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript This episode is the second part of a loose trilogy of episodes set in LA in 1966. We're going to be spending a *lot* of time around LA and Hollywood for the next few months -- seven of the next thirteen episodes are based there, and there'll be more after that. But it's going to take a while to get there. This is going to be an absurdly long episode, because in order to get to LA in 1966 again, we're going to have to start off in the 1940s in New York, and take a brief detour to India. Because in order to explain this: [Excerpt: The Byrds, "Eight Miles High"] We're first going to have to explain this: [Excerpt: John Coltrane, "India (#3)"] Before we begin this, I just want to say something. This episode runs long, and covers a *lot* of musical ground, and as part of that it covers several of the most important musicians of the twentieth century -- but musicians in the fields of jazz, which is a music I know something about, but am not an expert in, and Hindustani classical music, which is very much not even close to my area of expertise. It also contains a chunk of music theory, which again, I know a little about -- but only really enough to know how much I don't know. I am going to try to get the information about these musicians right, but I want to emphasise that at times I will be straying *vastly* out of my lane, in ways that may well seem like they're minimising these musicians. I am trying to give just enough information about them to tell the story, and I would urge anyone who becomes interested in the music I talk about in the early parts of this episode to go out and find more expert sources to fill in the gap. And conversely, if you know more about these musics than I do, please forgive any inaccuracies. I am going to do my best to get all of this right, because accuracy is important, but I suspect that every single sentence in the first hour or so of this episode could be footnoted with something pointing out all the places where what I've said is only somewhat true. Also, I apologise if I mispronounce any names or words in this episode, though I've tried my best to get it right -- I've been unable to find recordings of some words and names being spoken, while with others I've heard multiple versions. To tell today's story, we're going to have to go right back to some things we looked at in the first episode, on "Flying Home". For those of you who don't remember -- which is fair enough, since that episode was more than three years ago -- in that episode we looked at a jazz record by the Benny Goodman Sextet, which was one of the earliest popular recordings to feature electric guitar: [Excerpt: The Benny Goodman Sextet, "Flying Home"] Now, we talked about quite a lot of things in that episode which have played out in later episodes, but one thing we only mentioned in passing, there or later, was a style of music called bebop. We did talk about how Charlie Christian, the guitarist on that record, was one of the innovators of that style, but we didn't really go into what it was properly. Indeed, I deliberately did not mention in that episode something that I was saving until now, because we actually heard *two* hugely influential bebop musicians in that episode, and I was leaving the other one to talk about here. In that episode we saw how Lionel Hampton, the Benny Goodman band's vibraphone player, went on to form his own band, and how that band became one of the foundational influences for the genres that became known as jump blues and R&B. And we especially noted the saxophone solo on Hampton's remake of "Flying Home", played by Illinois Jacquet: [Excerpt: Lionel Hampton, "Flying Home"] We mentioned in that episode how Illinois Jacquet's saxophone solo there set the template for all tenor sax playing in R&B and rock and roll music for decades to come -- his honking style became quite simply how you play rock and roll or R&B saxophone, and without that solo you don't have any of the records by Fats Domino, Little Richard, the Coasters, or a dozen other acts that we discussed. But what we didn't look at in that episode is that that is a big band record, so of course there is more than just one saxophone player on it. And one of the other saxophone players on that recording is Dexter Gordon, a musician who was originally from LA. Those of you with long memories will remember that back in the first year or so of the podcast we talked a lot about the music programme at Jefferson High School in LA, and about Samuel Browne, the music teacher whose music programme gave the world the Coasters, the Penguins, the Platters, Etta James, Art Farmer, Richard Berry, Big Jay McNeely, Barry White, and more other important musicians than I can possibly name here. Gordon was yet another of Browne's students -- one who Browne regularly gave detention to, just to make him practice his scales. Gordon didn't get much chance to shine in the Lionel Hampton band, because he was only second tenor, with Jacquet taking many of the solos. But he was learning from playing in a band with Jacquet, and while Gordon didn't ever develop a honk like Jacquet's, he did adopt some of Jacquet's full tone in his own sound. There aren't many recordings of Gordon playing solos in his early years, because they coincided with the American Federation of Musicians' recording strike that we talked about in those early episodes, but he did record a few sessions in 1943 for a label small enough not to be covered by the ban, and you can hear something of Jacquet's tone in those recordings, along with the influence of Lester Young, who influenced all tenor sax players at this time: [Excerpt: Nat "King" Cole with Dexter Gordon, "I've Found a New Baby"] The piano player on that session, incidentally, is Nat "King" Cole, when he was still one of the most respected jazz pianists on the scene, before he switched primarily to vocals. And Gordon took this Jacquet-influenced tone, and used it to become the second great saxophone hero of bebop music, after Charlie Parker -- and the first great tenor sax hero of the music. I've mentioned bebop before on several occasions, but never really got into it in detail. It was a style that developed in New York in the mid to late forties, and a lot of the earliest examples of it went unrecorded thanks to that musicians' strike, but the style emphasised small groups improvising together, and expanding their sense of melody and harmony. The music prized virtuosity and musical intelligence over everything else, and was fast and jittery-sounding. The musicians would go on long, extended, improvisations, incorporating ideas both from the blues and from the modern classical music of people like Bartok and Stravinsky, which challenged conventional tonality. In particular, one aspect which became prominent in bebop music was a type of scale known as the bebop scale. In most of the music we've looked at in this podcast to this point, the scales used have been seven-note scales -- do-re-mi-fa-so-la-ti- which make an octave with a second, higher, do tone. So in the scale of C major we have C, D, E, F, G, A, B, and then another C: [demonstrates] Bebop scales, on the other hand, would generally have an extra note in, making an eight-note scale, by adding in what is called a chromatic passing note. For example, a typical bebop C major scale might add in the note G#, so the scale would go C,D,E,F,G,G#, A, B, C: [demonstrates] You'd play this extra note for the most part, when moving between the two notes it's between, so in that scale you'd mostly use it when moving from G to A, or from A to G. Now I'm far from a bebop player, so this won't sound like bebop, but I can demonstrate the kind of thing if I first noodle a little scalar melody in the key of C major: [demonstrates] And then play the same thing, but adding in a G# every time I go between the G and the A in either direction: [demonstrates] That is not bebop music, but I hope you can see what a difference that chromatic passing tone makes to the melody. But again, that's not bebop, because I'm not a bebop player. Dexter Gordon, though, *was* a bebop player. He moved to New York while playing with Louis Armstrong's band, and soon became part of the bebop scene, which at the time centred around Charlie Christian, the trumpet player Dizzy Gillespie, and the alto sax player Charlie Parker, sometimes nicknamed "bird" or "Yardbird", who is often regarded as the greatest of them all. Gillespie, Parker, and Gordon also played in Billy Eckstine's big band, which gave many of the leading bebop musicians the opportunity to play in what was still the most popular idiom at the time -- you can hear Gordon have a saxophone battle with Gene Ammons on "Blowing the Blues Away" in a lineup of the band that also included Art Blakey on drums and Dizzy Gillespie on trumpet: [Excerpt: Billy Eckstine, "Blowing the Blues Away"] But Gordon was soon leading his own small band sessions, and making records for labels like Savoy, on which you can definitely hear the influence of Illinois Jacquet on his tone, even as he's playing music that's more melodically experimental by far than the jump band music of the Hampton band: [Excerpt: Dexter Gordon, "Dexter Digs In"] Basically, in the late 1940s, if you were wanting to play bebop on the saxophone, you had two models to follow -- Charlie Parker, the great alto saxophonist with his angular, atonal, melodic sense and fast, virtuosic, playing, or Dexter Gordon, the tenor saxophonist, whose style had more R&B grease and wit to it, who would quote popular melodies in his own improvisations. And John Coltrane followed both. Coltrane's first instrument was the alto sax, and when he was primarily an alto player he would copy Charlie Parker's style. When he switched to being primarily a tenor player -- though he would always continue playing both instruments, and later in his career would also play soprano sax -- he took up much of Gordon's mellower tone, though he was also influenced by other tenor players, like Lester Young, the great player with Count Basie's band, and Johnny Hodges, who played with Duke Ellington. Now, it is important to note here that John Coltrane is a very, very, big deal. Depending on your opinion of Ornette Coleman's playing, Coltrane is by most accounts either the last or penultimate truly great innovator in jazz saxophone, and arguably the single foremost figure in the music in the last half of the twentieth century. In this podcast I'm only able to tell you enough about him to give you the information you need to understand the material about the Byrds, but were I to do a similar history of jazz in five hundred songs, Coltrane would have a similar position to someone like the Beatles -- he's such a major figure that he is literally venerated as a saint by the African Orthodox Church, and a couple of other Episcopal churches have at least made the case for his sainthood. So anything I say here about him is not even beginning to scratch the surface of his towering importance to jazz music, but it will, I hope, give some idea of his importance to the development of the Byrds -- a group of whom he was almost certainly totally unaware. Coltrane started out playing as a teenager, and his earliest recordings were when he was nineteen and in the armed forces, just after the end of World War II. At that time, he was very much a beginner, although a talented one, and on his early amateur recordings you can hear him trying to imitate Parker without really knowing what it was that Parker was doing that made him so great. But as well as having some natural talent, he had one big attribute that made him stand out -- his utter devotion to his music. He was so uninterested in anything other than mastering his instrument that one day a friend was telling him about a baseball game he'd watched, and all Coltrane could do was ask in confusion "Who's Willie Mays?" Coltrane would regularly practice his saxophone until his reed was red with blood, but he would also study other musicians. And not just in jazz. He knew that Charlie Parker had intensely studied Stravinsky's Firebird Suite, and so Coltrane would study that too: [Excerpt: Stravinsky, "Firebird Suite"] Coltrane joined the band of Eddie "Cleanhead" Vinson, who was one of those figures like Johnny Otis, with whom Vinson would later perform for many years, who straddled the worlds of jazz and R&B. Vinson was a blues shouter in the style of Big Joe Turner, but he was also a bebop sax player, and what he wanted was a tenor sax player who could play tenor the way Charlie Parker played alto, but do it in an R&B setting. Coltrane switched from alto to tenor, and spent a year or so playing with Vinson's band. No recordings exist of Coltrane with Vinson that I'm aware of, but you can get an idea of what he sounded like from his next band. By this point, Dizzy Gillespie had graduated from small bebop groups to leading a big band, and he got Coltrane in as one of his alto players, though Coltrane would often also play tenor with Gillespie, as on this recording from 1951, which has Coltrane on tenor, Gillespie on trumpet, with Kenny Burrell and two of the future Modern Jazz Quartet, Milt Jackson and Percy Heath, showing that the roots of modern jazz were not very far at all from the roots of rock and roll: [Excerpt: Dizzy Gillespie, "We Love to Boogie"] After leaving Gillespie's band, Coltrane played with a lot of important musicians over the next four or five years, like Johnny Hodges, Earl Bostic, and Jimmy Smith, and occasionally sat in with Miles Davis, but at this point he was still not a major musician in the genre. He was a competent, working, sideman, but he was also struggling with alcohol and heroin, and hadn't really found his own voice. But then Miles Davis asked Coltrane to join his band full-time. Coltrane was actually Davis' second choice -- he really wanted Sonny Rollins, who was widely considered the best new tenor player around, but he was eventually persuaded to take Coltrane. During his first period with Davis, Coltrane grew rapidly as a musician, and also played on a *lot* of other people's sessions. In a three year period Coltrane went from Davis to Thelonius Monk's group then back to Davis' group, and also recorded as both a sideman and a band leader on a ton of sessions. You can get a box set of his recordings from May 1956 through December 1958 that comes to nineteen CDs -- and that's not counting the recordings with Miles Davis, which aren't included on that set. Unsurprisingly, just through playing this much, Coltrane had grown enormously as a player, and he was particularly fascinated by harmonics, playing with the notes of a chord, in arpeggios, and pushing music to its harmonic limits, as you can hear in his solo on Davis' "Straight, No Chaser", which pushes the limits of the jazz solo as far as they'd gone to that point: [Excerpt: Miles Davis, "Straight, No Chaser"] But on the same album as that, "Milestones", we also have the first appearance of a new style, modal jazz. Now, to explain this, we have to go back to the scales again. We looked at the normal Western scale, do-re-mi-fa-so-la-ti-do, but you can start a scale on any of those notes, and which note you start on creates what is called a different mode. The modes are given Greek names, and each mode has a different feel to it. If you start on do, we call this the major scale or the Ionian mode. This is the normal scale we heard before -- C,D,E,F,G,A,B,C: [demonstrates] Most music – about seventy percent of the melodies you're likely to have heard, uses that mode. If you start on re, it would go re-mi-fa-so-la-ti-do-re, or D,E,F,G,A,B,C,D, the Dorian mode: [demonstrates] Melodies with this mode tend to have a sort of wistful feel, like "Scarborough Fair": [Excerpt: Simon and Garfunkel, "Scarborough Fair"] or many of George Harrison's songs: [Excerpt: The Beatles, "I Me Mine"] Starting on mi, you have the Phrygian mode, mi-fa-so-la-ti-do-re-mi: [demonstrates] The Phrygian mode is not especially widely used, but does turn up in some popular works like Barber's Adagio for Strings: [Excerpt: Barber, "Adagio for Strings"] Then there's the Lydian mode, fa-so-la-ti-do-re-mi-fa: [demonstrates] This mode isn't used much at all in pop music -- the most prominent example I can think of is "Pretty Ballerina" by the Left Banke: [Excerpt: The Left Banke, "Pretty Ballerina"] Starting on so, we have so-la-ti-do-re-mi-fa-so -- the Mixolydian mode: [demonstrates] That mode has a sort of bluesy or folky tone to it, and you also find it in a lot of traditional tunes, like "She Moves Through the Fair": [Excerpt: Davey Graham, "She Moved Thru' The Bizarre/Blue Raga"] And in things like "Norwegian Wood" by the Beatles: [Excerpt: The Beatles, "Norwegian Wood"] Though that goes into Dorian for the middle section. Starting on la, we have the Aeolian mode, which is also known as the natural minor scale, and is often just talked about as “the minor scale”: [demonstrates] That's obviously used in innumerable songs, for example "Losing My Religion" by REM: [Excerpt: REM, "Losing My Religion"] And finally you have the Locrian mode ti-do-re-mi-fa-so-la-ti: [demonstrates] That basically doesn't get used, unless someone wants to show off that they know the Locrian mode. The only vaguely familiar example I can think of is "Army of Me" by Bjork: [Excerpt: Bjork, "Army of Me"] I hope that brief excursion through the seven most common modes in Western diatonic music gives you some idea of the difference that musical modes can make to a piece. Anyway, as I was saying, on the "Milestones" album, we get some of the first examples of a form that became known as modal jazz. Now, the ideas of modal jazz had been around for a few years at that point -- oddly, it seems to be one of the first types of popular music to have existed in theory before existing in practice. George Russell, an acquaintance of Davis who was a self-taught music theorist, had written a book in 1953 titled The Lydian Chromatic Concept of Tonal Organization. That book argues that rather than looking at the diatonic scale as the basis for music, one should instead look at a chord progression called the circle of fifths. The circle of fifths is exactly what it sounds like -- you change chords to one a fifth away from it, and then do that again and again, either going up, so you'd have chords with the roots C-G-D-A-E-B-F# and so on: [demonstrates] Or, more commonly, going down, though usually when going downwards you tend to cheat a bit and sharpen one of the notes so you can stay in one key, so you'd get chords with roots C-F-B-E-A-D-G, usually the chords C, F, B diminished, Em, Am, Dm, G: [demonstrates] That descending cycle of fifths is used in all sorts of music, everything from "You Never Give Me Your Money" by the Beatles: [Excerpt: The Beatles, "You Never Give Me Your Money"] to "I Will Survive" by Gloria Gaynor: [Excerpt: Gloria Gaynor, "I Will Survive"] But what Russell pointed out is that if you do the upwards cycle of fifths, and you *don't* change any of the notes, the first seven root notes you get are the same seven notes you'd find in the Lydian mode, just reordered -- C-D-E-F#-G-A-B . Russell then argued that much of the way harmony and melody work in jazz could be thought of as people experimenting with the way the Lydian mode works, and the way the cycle of fifths leads you further and further away from the tonal centre. Now, you could probably do an entire podcast series as long as this one on the implications of this, and I am honestly just trying to summarise enough information here that you can get a vague gist, but Russell's book had a profound effect on how jazz musicians started to think about harmony and melody. Instead of improvising around the chord changes to songs, they were now basing improvisations and compositions around modes and the notes in them. Rather than having a lot of chord changes, you might just play a single root note that stays the same throughout, or only changes a couple of times in the whole piece, and just imply changes with the clash between the root note and whatever modal note the solo instrument is playing. The track "Milestones" on the Milestones album shows this kind of thinking in full effect -- the song consists of a section in G Dorian, followed by a section in A Aeolian (or E Phrygian depending on how you look at it). Each section has only one implied chord -- a Gm7 for the G Dorian section, and an Am7(b13) for the A Aeolian section -- over which Davis, Cannonball Adderley on alto sax, and Coltrane on tenor, all solo: [Excerpt: Miles Davis, "Milestones"] (For the pedants among you, that track was originally titled "Miles" on the first pressings of the album, but it was retitled "Milestones" on subsequent pressings). The modal form would be taken even further on Davis' next album to be recorded, Porgy and Bess, which featured much fuller orchestrations and didn't have Coltrane on it. Davis later said that when the arranger Gil Evans wrote the arrangements for that album, he didn't write any chords at all, just a scale, which Davis could improvise around. But it was on the album after that, Kind of Blue, which again featured Coltrane on saxophone, that modal jazz made its big breakthrough to becoming the dominant form of jazz music. As with what Evans had done on Porgy and Bess, Davis gave the other instrumentalists modes to play, rather than a chord sequence to improvise over or a melody line to play with. He explained his thinking behind this in an interview with Nat Hentoff, saying "When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them." This style shows up in "So What", the opening track on the album, which is in some ways a very conventional song structure -- it's a thirty-two bar AABA structure. But instead of a chord sequence, it's based on modes in two keys -- the A section is in D Dorian, while the B section is in E-flat Dorian: [Excerpt: Miles Davis, "So What"] Kind of Blue would become one of the contenders for greatest jazz album of all time, and one of the most influential records ever made in any genre -- and it could be argued that that track we just heard, "So What", inspired a whole other genre we'll be looking at in a future episode -- but Coltrane still felt the need to explore more ideas, and to branch out on his own. In particular, while he was interested in modal music, he was also interested in exploring more kinds of scales than just modes, and to do this he had to, at least for the moment, reintroduce chord changes into what he was doing. He was inspired in particular by reading Nicolas Slonimsky's classic Thesaurus of Scales and Melodic Patterns. Coltrane had recently signed a new contract as a solo artist with Atlantic Records, and recorded what is generally considered his first true masterpiece album as a solo artist, Giant Steps, with several members of the Davis band, just two weeks after recording Kind of Blue. The title track to Giant Steps is the most prominent example of what are known in jazz as the Coltrane changes -- a cycle of thirds, similar to the cycle of fifths we talked about earlier. The track itself seems to have two sources. The first is the bridge of the old standard "Have You Met Miss Jones?", as famously played by Coleman Hawkins: [Excerpt: Coleman Hawkins, "Have You Met Miss Jones?" And the second is an exercise from Slonimsky's book: [Excerpt: Pattern #286 from Thesaurus of Scales and Melodic Patterns] Coltrane combined these ideas to come up with "Giant Steps", which is based entirely around these cycles of thirds, and Slonimsky's example: [Excerpt: John Coltrane, "Giant Steps"] Now, I realise that this is meant to be a history of rock music, not jazz musicology theory time, so I promise you I am just hitting the high points here. And only the points that affect Coltrane's development as far as it influenced the music we're looking at in this episode. And so we're actually going to skip over Coltrane's commercial high-point, My Favourite Things, and most of the rest of his work for Atlantic, even though that music is some of the most important jazz music ever recorded. Instead, I'm going to summarise a whole lot of very important music by simply saying that while Coltrane was very interested in this musical idea of the cycle of thirds, he did not like being tied to precise chord changes, and liked the freedom that modal jazz gave to him. By 1960, when his contract with Atlantic was ending and his contract with Impulse was beginning, and he recorded the two albums Olé and Africa/Brass pretty much back to back, he had hit on a new style with the help of Eric Dolphy, a flute, clarinet, and alto sax player who would become an important figure in Coltrane's life. Dolphy died far too young -- he went into a diabetic coma and doctors assumed that because he was a Black jazz musician he must have overdosed, even though he was actually a teetotal abstainer, so he didn't get the treatment he needed -- but he made such a profound influence on Coltrane's life that Coltrane would carry Dolphy's picture with him after his death. Dolphy was even more of a theorist than Coltrane, and another devotee of Slonimsky's book, and he was someone who had studied a great deal of twentieth-century classical music, particularly people like Bartok, Messiaen, Stravinsky, Charles Ives, and Edgard Varese. Dolphy even performed Varese's piece Density 21.5 in concert, an extremely demanding piece for solo flute. I don't know of a recording of Dolphy performing it, sadly, but this version should give some idea: [Excerpt: Edgard Varese, "Density 21.5"] Encouraged by Dolphy, Coltrane started making music based around no changes at all, with any changes being implied by the melody. The title song of Africa/Brass, "Africa", takes up an entire side of one album, and doesn't have a single actual chord change on it, with Dolphy and pianist McCoy Tyner coming up with a brass-heavy arrangement for Coltrane to improvise over a single chord: [Excerpt: The John Coltrane Quartet: "Africa"] This was a return to the idea of modal jazz, based on scales rather than chord changes, but by implying chord changes, often changes based on thirds, Coltrane was often using different scales than the modes that had been used in modal jazz. And while, as the title suggested, "Africa" was inspired by the music of Africa, the use of a single drone chord underneath solos based on a scale was inspired by the music of another continent altogether. Since at least the mid-1950s, both Coltrane and Dolphy had been interested in Indian music. They appear to have first become interested in a record released by Folkways, Music Of India, Morning And Evening Ragas by Ali Akbar Khan: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But the musician they ended up being most inspired by was a friend of Khan's, Ravi Shankar, who like Khan had been taught by the great sarod player Alauddin Khan, Ali Akbar Khan's father. The elder Khan, who was generally known as "Baba", meaning "father", was possibly *the* most influential Indian musician of the first half of the twentieth century, and was a big part of the revitalisation of Indian music that went hand in hand with the growth of Indian nationalism. He was an ascetic who lived for music and nothing else, and would write five to ten new compositions every day, telling Shankar "Do one thing well and you can achieve everything. Do everything and you achieve nothing". Alauddin Khan was a very religious Muslim, but one who saw music as the ultimate way to God and could find truths in other faiths. When Shankar first got to know him, they were both touring as musicians in a dance troupe run by Shankar's elder brother, which was promoting Indian arts in the West, and he talked about taking Khan to hear the organ playing at Notre Dame cathedral, and Khan bursting into tears and saying "here is God". Khan was not alone in this view. The classical music of Northern India, the music that Khan played and taught, had been very influenced by Sufism, which was for most of Muslim history the dominant intellectual and theological tradition in Islam. Now, I am going to sum up a thousand years of theology and practice, of a religion I don't belong to, in a couple of sentences here, so just assume that what I'm saying is wrong, and *please* don't take offence if you are Sufi yourself and believe I am misrepresenting you. But my understanding of Sufism is that Sufis are extremely devoted to attaining knowledge and understanding of God, and believe that strict adherence to Muslim law is the best way to attain that knowledge -- that it is the way that God himself has prescribed for humans to know him -- but that such knowledge can be reached by people of other faiths if they approach their own traditions with enough devotion. Sufi ideas infuse much of Northern Indian classical music, and so for example it has been considered acceptable for Muslims to sing Hindu religious music and Hindus to sing songs of praise to Allah. So while Ravi Shankar was Hindu and Alauddin Khan was Muslim, Khan was able to become Shankar's guru in what both men regarded as a religious observance, and even to marry Khan's daughter. Khan was a famously cruel disciplinarian -- once hospitalising a student after hitting him with a tuning hammer -- but he earned the devotion of his students by enforcing the same discipline on himself. He abstained from sex so he could put all his energies into music, and was known to tie his hair to the ceiling while he practiced, so he could not fall asleep no matter how long he kept playing. Both Khan and his son Ali Akhbar Khan played the sarod, while Shankar played the sitar, but they all played the same kind of music, which is based on the concept of the raga. Now, in some ways, a raga can be considered equivalent to a mode in Western music: [Excerpt: Ali Akbar Khan, "Rag Sindhi Bhairavi"] But a raga is not *just* a mode -- it sits somewhere between Western conceptions of a mode and a melody. It has a scale, like a mode, but it can have different scales going up or down, and rules about which notes can be moved to from which other notes. So for example (and using Western tones so as not to confuse things further), a raga might say that it's possible to move up from the note G to D, but not down from D to G. Ragas are essentially a very restrictive set of rules which allow the musician playing them to improvise freely within those rules. In the late 1940s and early 1950s, the violinist Yehudi Mehuin, at the time the most well-known classical musician in the world, had become fascinated by Indian music as part of a wider programme of his to learn more music outside what he regarded as the overly-constricting scope of the Western classical tradition in which he had been trained. He had become a particular fan of Shankar, and had invited him over to the US to perform. Shankar had refused to come at that point, sending his brother-in-law Ali Akbar Khan over, as he was in the middle of a difficult divorce, and that had been when Khan had recorded that album which had fascinated Coltrane and Dolphy. But Shankar soon followed himself, and made his own records: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] The music that both Khan and Shankar played was a particular style of Hindustani classical music, which has three elements -- there's a melody instrument, in Shankar's case the sitar and in Khan's the sarod, both of them fretted stringed instruments which have additional strings that resonate along with the main melody string, giving their unique sound. These are the most distinctive Indian instruments, but the melody can be played on all sorts of other instruments, whether Indian instruments like the bansuri and shehnai, which are very similar to the flute and oboe respectively, or Western instruments like the violin. Historically, the melody has also often been sung rather than played, but Indian instrumental music has had much more influence on Western popular music than Indian vocal music has, so we're mostly looking at that here. Along with the melody instrument there's a percussion instrument, usually the tabla, which is a pair of hand drums. Rather than keep a steady, simple, beat like the drum kit in rock music, the percussion has its own patterns and cycles, called talas, which like ragas are heavily formalised but leave a great amount of room for improvisation. The percussion and the melody are in a sort of dialogue with each other, and play off each other in a variety of ways. And finally there's the drone instrument, usually a stringed instrument called a tamboura. The drone is what it sounds like -- a single note, sustained and repeated throughout the piece, providing a harmonic grounding for the improvisations of the melody instrument. Sometimes, rather than just a single root note, it will be a root and fifth, providing a single chord to improvise over, but as often it will be just one note. Often that note will be doubled at the octave, so you might have a drone on both low E and high E. The result provides a very strict, precise, formal, structure for an infinitely varied form of expression, and Shankar was a master of it: [Excerpt: Ravi Shankar, "Raga Hamsadhwani"] Dolphy and, especially, Coltrane became fascinated by Indian music, and Coltrane desperately wanted to record with Shankar -- he even later named his son Ravi in honour of the great musician. It wasn't just the music as music, but music as spiritual practice, that Coltrane was engaged with. He was a deeply religious man but one who was open to multiple faith traditions -- he had been brought up as a Methodist, and both his grandfathers were ministers in the African Methodist Episcopal Zion Church, but his first wife, Naima, who inspired his personal favourite of his own compositions, was a Muslim, while his second wife, Swamini Turiyasangitananda (who he married after leaving Naima in 1963 and who continued to perform as Alice Coltrane even after she took that name, and was herself an extraordinarily accomplished jazz musician on both piano and harp), was a Hindu, and both of them profoundly influenced Coltrane's own spirituality. Some have even suggested that Coltrane's fascination with a cycle of thirds came from the idea that the third could represent both the Christian Trinity and the Hindu trimurti -- the three major forms of Brahman in Hinduism, Brahma, Vishnu, and Shiva. So a music which was a religious discipline for more than one religion, and which worked well with the harmonic and melodic ideas that Coltrane had been exploring in jazz and learning about through his studies of modern classical music, was bound to appeal to Coltrane, and he started using the idea of having two basses provide an octave drone similar to that of the tamboura, leading to tracks like "Africa" and "Olé": [Excerpt: John Coltrane, "Olé"] Several sources have stated that that song was an influence on "Light My Fire" by the Doors, and I can sort of see that, though most of the interviews I've seen with Ray Manzarek have him talking about Coltrane's earlier version of "My Favourite Things" as the main influence there. Coltrane finally managed to meet with Shankar in December 1961, and spent a lot of time with him -- the two discussed recording an album together with McCoy Tyner, though nothing came of it. Shankar said of their several meetings that month: "The music was fantastic. I was much impressed, but one thing distressed me. There was turbulence in the music that gave me a negative feeling at times, but I could not quite put my finger on the trouble … Here was a creative person who had become a vegetarian, who was studying yoga, and reading the Bhagavad-Gita, yet in whose music I still heard much turmoil. I could not understand it." Coltrane said in turn "I like Ravi Shankar very much. When I hear his music, I want to copy it – not note for note of course, but in his spirit. What brings me closest to Ravi is the modal aspect of his art. Currently, at the particular stage I find myself in, I seem to be going through a modal phase … There's a lot of modal music that is played every day throughout the world. It is particularly evident in Africa, but if you look at Spain or Scotland, India or China, you'll discover this again in each case … It's this universal aspect of music that interests me and attracts me; that's what I'm aiming for." And the month before Coltrane met Shankar, Coltrane had had a now-legendary residency at the Village Vanguard in New York with his band, including Dolphy, which had resulted not only in the famous Live at the Village Vanguard album, but in two tracks on Coltrane's studio album Impressions. Those shows were among the most controversial in the history of jazz, though the Village Vanguard album is now often included in lists of the most important records in jazz. Downbeat magazine, the leading magazine for jazz fans at the time, described those shows as "musical nonsense" and "a horrifying demonstration of what appears to be a growing anti-jazz trend" -- though by the time Impressions came out in 1963, that opinion had been revised somewhat. Harvey Pekar, the comic writer and jazz critic, also writing in DownBeat, gave Impressions five stars, saying "Not all the music on this album is excellent (which is what a five-star rating signifies,) but some is more than excellent". And while among Coltrane fans the piece from these Village Vanguard shows that is of most interest is the extended blues masterpiece "Chasin' the Trane" which takes up a whole side of the Village Vanguard LP, for our purposes we're most interested in one of the two tracks that was held over for Impressions. This was another of Coltrane's experiments in using the drones he'd found in Indian musical forms, like "Africa" and "Olé". This time it was also inspired by a specific piece of music, though not an instrumental one. Rather it was a vocal performance -- a recording on a Folkways album of Pandita Ramji Shastri Dravida chanting one of the Vedas, the religious texts which are among the oldest texts sacred to any surviving religion: [Excerpt: Pandita Ramji Shastri Dravida, "Vedic Chanting"] Coltrane took that basic melodic idea, and combined it with his own modal approach to jazz, and the inspiration he was taking from Shankar's music, and came up with a piece called "India": [Excerpt: John Coltrane, "India"] Which is where we came in, isn't it? [Excerpt: The Byrds, "Eight Miles High"] So now, finally, we get to the Byrds. Even before "Mr. Tambourine Man" went to number one in the charts, the Byrds were facing problems with their sound being co-opted as the latest hip thing. Their location in LA, at the centre of the entertainment world, was obviously a huge advantage to them in many ways, but it also made them incredibly visible to people who wanted to hop onto a bandwagon. The group built up much of their fanbase playing at Ciro's -- the nightclub on the Sunset Strip that we mentioned in the previous episode which later reopened as It's Boss -- and among those in the crowd were Sonny and Cher. And Sonny brought along his tape recorder. The Byrds' follow-up single to "Mr. Tambourine Man", released while that song was still going up the charts, was another Dylan song, "All I Really Want to Do". But it had to contend with this: [Excerpt: Cher, "All I Really Want to Do"] Cher's single, produced by Sonny, was her first solo single since the duo had become successful, and came out before the Byrds' version, and the Byrds were convinced that elements of the arrangement, especially the guitar part, came from the version they'd been performing live – though of course Sonny was no stranger to jangly guitars himself, having co-written “Needles and Pins”, the song that pretty much invented the jangle. Cher made number fifteen on the charts, while the Byrds only made number forty. Their version did beat Cher's in the UK charts, though. The record company was so worried about the competition that for a while they started promoting the B-side as the A-side. That B-side was an original by Gene Clark, though one that very clearly showed the group's debt to the Searchers: [Excerpt: The Byrds, "I'll Feel a Whole Lot Better"] While it was very obviously derived from the Searchers' version of "Needles and Pins", especially the riff, it was still a very strong, original, piece of work in its own right. It was the song that convinced the group's producer, Terry Melcher, that they were a serious proposition as artists in their own right, rather than just as performers of Dylan's material, and it was also a favourite of the group's co-manager, Jim Dickson, who picked out Clark's use of the word "probably" in the chorus as particularly telling -- the singer thinks he will feel better when the subject of the song is gone, but only probably. He's not certain. "I'll Feel a Whole Lot Better", after being promoted as the A-side for a short time, reached number one hundred and two on the charts, but the label quickly decided to re-flip it and concentrate on promoting the Dylan song as the single. The group themselves weren't too bothered about their thunder having been stolen by Sonny and Cher, but their new publicist was incandescent. Derek Taylor had been a journalist for the Daily Express, which at that time was a respectable enough newspaper (though that is very much no longer the case). He'd become involved in the music industry after writing an early profile on the Beatles, at which point he had been taken on by the Beatles' organisation first to ghostwrite George Harrison's newspaper column and Brian Epstein's autobiography, and then as their full-time publicist and liner-note writer. He'd left the organisation at the end of 1964, and had moved to the US, where he had set up as an independent music publicist, working for the Byrds, the Beach Boys, and various other acts in their overlapping social circles, such as Paul Revere and the Raiders. Taylor was absolutely furious on the group's behalf, saying "I was not only disappointed, I was disgusted. Sonny and Cher went to Ciro's and ripped off the Byrds and, being obsessive, I could not get this out of my mind that Sonny and Cher had done this terrible thing. I didn't know that much about the record business and, in my experience with the Beatles, cover versions didn't make any difference. But by covering the Byrds, it seemed that you could knock them off the perch. And Sonny and Cher, in my opinion, stole that song at Ciro's and interfered with the Byrds' career and very nearly blew them out of the game." But while the single was a comparative flop, the Mr. Tambourine Man album, which came out shortly after, was much more successful. It contained the A and B sides of both the group's first two singles, although a different vocal take of "All I Really Want to Do" was used from the single release, along with two more Dylan covers, and a couple more originals -- five of the twelve songs on the album were original in total, three of them Gene Clark solo compositions and the other two co-written by Clark and Roger McGuinn. To round it out there was a version of the 1939 song "We'll Meet Again", made famous by Vera Lynn, which you may remember us discussing in episode ninety as an example of early synthesiser use, but which had recently become popular in a rerecorded version from the 1950s, thanks to its use at the end of Dr. Strangelove; there was a song written by Jackie DeShannon; and "The Bells of Rhymney", a song in which Pete Seeger set a poem about a mining disaster in Wales to music. So a fairly standard repertoire for early folk-rock, though slightly heavier on Dylan than most. While the group's Hollywood notoriety caused them problems like the Sonny and Cher one, it did also give them advantages. For example, they got to play at the fourth of July party hosted by Jane Fonda, to guests including her father Henry and brother Peter, Louis Jordan, Steve McQueen, Warren Beatty, and Sidney Poitier. Derek Taylor, who was used to the Beatles' formal dress and politeness at important events, imposed on them by Brian Epstein, was shocked when the Byrds turned up informally dressed, and even more shocked when Vito Paulekas and Carl Franzoni showed up. Vito (who was always known by his first name) and Franzoni are both important but marginal figures in the LA scene. Neither were musicians, though Vito did make one record, produced by Kim Fowley: [Excerpt: Vito and the Hands, "Vito and the Hands"] Rather Vito was a sculptor in his fifties, who had become part of the rock and roll scene and had gathered around him a dance troupe consisting largely of much younger women, and also of himself and Franzoni. Their circle, which also included Arthur Lee and Bryan MacLean, who weren't part of their dance troupe but were definitely part of their crowd, will be talked about much more in future episodes, but for now we'll just say that they are often considered proto-hippies, though they would have disputed that characterisation themselves quite vigorously; that they were regular dancers at Ciro's and became regular parts of the act of both the Byrds and the Mothers of Invention; and we'll give this rather explicit description of their performances from Frank Zappa: "The high point of the performance was Carl Franzoni, our 'go-go boy.' He was wearing ballet tights, frugging violently. Carl has testicles which are bigger than a breadbox. Much bigger than a breadbox. The looks on the faces of the Baptist teens experiencing their grandeur is a treasured memory." Paints a vivid picture, doesn't it? So you can possibly imagine why Derek Taylor later said "When Carl Franzoni and Vito came, I got into a terrible panic". But Jim Dickson explained to him that it was Hollywood and people were used to that kind of thing, and even though Taylor described seeing Henry Fonda and his wife pinned against the wall by the writhing Franzoni and the other dancers, apparently everyone had a good time. And then the next month, the group went on their first UK tour. On which nobody had a good time: [Excerpt: The Byrds, "Eight Miles High"] Even before the tour, Derek Taylor had reservations. Obviously the Byrds should tour the UK -- London, in particular, was the centre of the cultural world at that time, and Taylor wanted the group to meet his old friends the Beatles and visit Carnaby Street. But at the same time, there seemed to be something a little... off... about the promoters they were dealing with, Joe Collins, the father of Joan and Jackie Collins, and a man named Mervyn Conn. As Taylor said later "All I did know was that the correspondence from Mervyn Conn didn't assure me. I kept expressing doubts about the contents of the letters. There was something about the grammar. You know, 'I'll give you a deal', and 'We'll get you some good gigs'. The whole thing was very much showbusiness. Almost pantomime showbusiness." But still, it seemed like it was worth making the trip, even when Musicians Union problems nearly derailed the whole thing. We've talked previously about how disagreements between the unions in the US and UK meant that musicians from one country couldn't tour the other for decades, and about how that slightly changed in the late fifties. But the new system required a one-in, one-out system where tours had to be set up as exchanges so nobody was taking anyone's job, and nobody had bothered to find a five-piece group of equivalent popularity to the Byrds to tour America in return. Luckily, the Dave Clark Five stepped into the breach, and were able to do a US tour on short notice, so that problem was solved. And then, as soon as they landed, the group were confronted with a lawsuit. From the Birds: [Excerpt: The Birds, "No Good Without You Baby"] These Birds, spelled with an "i", not a "y", were a Mod group from London, who had started out as the Thunderbirds, but had had to shorten their name when the London R&B singer Chris Farlowe and his band the Thunderbirds had started to have some success. They'd become the Birds, and released a couple of unsuccessful singles, but had slowly built up a reasonable following and had a couple of TV appearances. Then they'd started to receive complaints from their fans that when they went into the record shops to ask for the new record by the Birds, they were being sold some jangly folky stuff about tambourines, rather than Bo Diddley inspired R&B. So the first thing the American Byrds saw in England, after a long and difficult flight which had left them very tired and depressed, especially Gene Clark, who hated flying, was someone suing them for loss of earnings. The lawsuit never progressed any further, and the British group changed their name to Birds Birds, and quickly disappeared from music history -- apart from their guitarist, Ronnie Wood, who we'll be hearing from again. But the experience was not exactly the welcome the group had been hoping for, and is reflected in one of the lines that Gene Clark wrote in the song he later came up with about the trip -- "Nowhere is there love to be found among those afraid of losing their ground". And the rest of the tour was not much of an improvement. Chris Hillman came down with bronchitis on the first night, David Crosby kept turning his amp up too high, resulting in the other members copying him and the sound in the venues they were playing seeming distorted, and most of all they just seemed, to the British crowds, to be unprofessional. British audiences were used to groups running on, seeming excited, talking to the crowd between songs, and generally putting on a show. The Byrds, on the other hand, sauntered on stage, and didn't even look at the audience, much less talk to them. What seemed to the LA audience as studied cool seemed to the UK audience like the group were rude, unprofessional, and big-headed. At one show, towards the end of the set, one girl in the audience cried out "Aren't you even going to say anything?", to which Crosby responded "Goodbye" and the group walked off, without any of them having said another word. When they played the Flamingo Club, the biggest cheer of the night came when their short set ended and the manager said that the club was now going to play records for dancing until the support act, Geno Washington and the Ramjam Band, were ready to do another set. Michael Clarke and Roger McGuinn also came down with bronchitis, the group were miserable and sick, and they were getting absolutely panned in the reviews. The closest thing they got to a positive review was when Paul Jones of Manfred Mann was asked about them, and he praised some of their act -- perceptively pointing to their version of "We'll Meet Again" as being in the Pop Art tradition of recontextualising something familiar so it could be looked at freshly -- but even he ended up also criticising several aspects of the show and ended by saying "I think they're going to be a lot better in the future". And then, just to rub salt in the wound, Sonny and Cher turned up in the UK. The Byrds' version of "All I Really Want to Do" massively outsold theirs in the UK, but their big hit became omnipresent: [Excerpt: Sonny and Cher, "I Got You Babe"] And the press seemed to think that Sonny and Cher, rather than the Byrds, were the true representatives of the American youth culture. The Byrds were already yesterday's news. The tour wasn't all bad -- it did boost sales of the group's records, and they became friendly with the Beatles, Stones, and Donovan. So much so that when later in the month the Beatles returned to the US, the Byrds were invited to join them at a party they were holding in Benedict Canyon, and it was thanks to the Byrds attending that party that two things happened to influence the Beatles' songwriting. The first was that Crosby brought his Hollywood friend Peter Fonda along. Fonda kept insisting on telling people that he knew what it was like to actually be dead, in a misguided attempt to reassure George Harrison, who he wrongly believed was scared of dying, and insisted on showing them his self-inflicted bullet wounds. This did not go down well with John Lennon and George Harrison, both of whom were on acid at the time. As Lennon later said, "We didn't want to hear about that! We were on an acid trip and the sun was shining and the girls were dancing and the whole thing was beautiful and Sixties, and this guy – who I really didn't know; he hadn't made Easy Rider or anything – kept coming over, wearing shades, saying, "I know what it's like to be dead," and we kept leaving him because he was so boring! ... It was scary. You know ... when you're flying high and [whispers] "I know what it's like to be dead, man" Eventually they asked Fonda to get out, and the experience later inspired Lennon to write this: [Excerpt: The Beatles, "She Said, She Said"] Incidentally, like all the Beatles songs of that period, that was adapted for the cartoon TV series based on the group, in this case as a follow-the-bouncing-ball animation. There are few things which sum up the oddness of mid-sixties culture more vividly than the fact that there was a massively popular kids' cartoon with a cheery singalong version of a song about a bad acid trip and knowing what it's like to be dead. But there was another, more positive, influence on the Beatles to come out of them having invited the Byrds to the party. Once Fonda had been kicked out, Crosby and Harrison became chatty, and started talking about the sitar, an instrument that Harrison had recently become interested in. Crosby showed Harrison some ragas on the guitar, and suggested he start listening to Ravi Shankar, who Crosby had recently become a fan of. And we'll be tracking Shankar's influence on Harrison, and through him the Beatles, and through them the whole course of twentieth century culture, in future episodes. Crosby's admiration both of Ravi Shankar and of John Coltrane was soon to show in the Byrds' records, but first they needed a new single. They'd made attempts at a version of "The Times They Are A-Changin'", and had even tried to get both George Harrison and Paul McCartney to add harmonica to that track, but that didn't work out. Then just before the UK tour, Terry Melcher had got Jack Nitzsche to come up with an arrangement of Dylan's "It's All Over Now, Baby Blue": [Excerpt: The Byrds, "It's All Over Now, Baby Blue (version 1)"] Nitzsche's arrangement was designed to sound as much like a Sonny and Cher record as possible, and at first the intention was just to overdub McGuinn's guitar and vocals onto a track by the Wrecking Crew. The group weren't happy at this, and even McGuinn, who was the friendliest of the group with Melcher and who the record was meant to spotlight, disliked it. The eventual track was cut by the group, with Jim Dickson producing, to show they could do a good job of the song by themselves, with the intention that Melcher would then polish it and finish it in the studio, but Melcher dropped the idea of doing the song at all. There was a growing factionalism in the group by this point, with McGuinn and to a lesser extent Michael Clarke being friendly with Melcher. Crosby disliked Melcher and was pushing for Jim Dickson to replace him as producer, largely because he thought that Melcher was vetoing Crosby's songs and giving Gene Clark and Roger McGuinn free run of the songwriting. Dickson on the other hand was friendliest with Crosby, but wasn't much keener on Crosby's songwriting than Melcher was, thinking Gene Clark was the real writing talent in the group. It didn't help that Crosby's songs tended to be things like harmonically complex pieces based on science fiction novels -- Crosby was a big fan of the writer Robert Heinlein, and in particular of the novel Stranger in a Strange Land, and brought in at least two songs inspired by that novel, which were left off albums -- his song "Stranger in a Strange Land" was eventually recorded by the San Francisco group Blackburn & Snow: [Excerpt: Blackburn & Snow, "Stranger in a Strange Land"] Oddly, Jim Dickson objected to what became the Byrds' next single for reasons that come from the same roots as the Heinlein novel. A short while earlier, McGuinn had worked as a guitarist and arranger on an album by the folk singer Judy Collins, and one of the songs she had recorded on that album was a song written by Pete Seeger, setting the first eight verses of chapter three of the Biblical book of Ecclesiastes to music: [Excerpt: Judy Collins, "Turn Turn Turn (To Everything There is a Season"] McGuinn wanted to do an electric version of that song as the Byrds' next single, and Melcher sided with him, but Dickson was against the idea, citing the philosopher Alfred Korzybski, who was a big influence both on the counterculture and on Heinlein. Korzybski, in his book Science and Sanity, argued that many of the problems with the world are caused by the practice in Aristotelean logic of excluding the middle and only talking about things and their opposites, saying that things could be either A or Not-A, which in his view excluded most of actual reality. Dickson's argument was that the lyrics to “Turn! Turn! Turn!” with their inflexible Aristotelianism, were hopelessly outmoded and would make the group a laughing stock among anyone who had paid attention to the intellectual revolutions of the previous few decades. "A time of love, a time of hate"? What about all the times that are neither for loving or hating, and all the emotions that are complex mixtures of love and hate? In his eyes, this was going to make the group look like lightweights. Terry Melcher disagreed, and forced the group through take after take, until they got what became the group's second number one hit: [Excerpt: The Byrds, "Turn! Turn! Turn!"] After the single was released and became a hit, the battle lines in the group hardened. It was McGuinn and Melcher on one side, Crosby and Dickson on the other, with Chris Hillman, Michael Clarke, and Gene Clark more or less neutral in the middle, but tending to side more and more with the two Ms largely because of Crosby's ability to rub everyone up the wrong way. At one point during the sessions for the next album, tempers flared so much that Michael Clarke actually got up, went over to Crosby, and punched Crosby so hard that he fell off his seat. Crosby, being Hollywood to the bone, yelled at Clarke "You'll never work in this town again!", but the others tended to agree that on that occasion Crosby had it coming. Clarke, when asked about it later, said "I slapped him because he was being an asshole. He wasn't productive. It was necessary." Things came to a head in the filming for a video for the next single, Gene Clark's "Set You Free This Time". Michael Clarke was taller than the other Byrds, and to get the shot right, so the angles would line up, he had to stand further from the camera than the rest of them. David Crosby -- the member with most knowledge of the film industry, whose father was an Academy Award-winning cinematographer, so who definitely understood the reasoning for this -- was sulking that once again a Gene Clark song had been chosen for promotion rather than one of his songs, and started manipulating Michael Clarke, telling him that he was being moved backwards because the others were jealous of his good looks, and that he needed to move forward to be with the rest of them. Multiple takes were ruined because Clarke listened to Crosby, and eventually Jim Dickson got furious at Clarke and went over and slapped him on the face. All hell broke loose. Michael Clarke wasn't particularly bothered by being slapped by Dickson, but Crosby took that as an excuse to leave, walking off before the first shot of the day had been completed. Dickson ran after Crosby, who turned round and punched Dickson in the mouth. Dickson grabbed hold of Crosby and held him in a chokehold. Gene Clark came up and pulled Dickson off Crosby, trying to break up the fight, and then Crosby yelled "Yeah, that's right, Gene! Hold him so I can hit him again!" At this point if Clark let Dickson go, Dickson would have attacked Crosby again. If he held Dickson, Crosby would have taken it as an invitation to hit him more. Clark's dilemma was eventually relieved by Barry Feinstein, the cameraman, who came in and broke everything up. It may seem odd that Crosby and Dickson, who were on the same side, were the ones who got into a fight, while Michael Clarke, who had previously hit Crosby, was listening to Crosby over Dickson, but that's indicative of how everyone felt about Crosby. As Dickson later put it, "People have stronger feelings about David Crosby. I love David more than the rest and I hate him more than the rest. I love McGuinn the least, and I hate him the least, because he doesn't give you emotional feedback. You don't get a chance. The hate is in equal proportion to how much you love them." McGuinn was finding all this deeply distressing -- Dickson and Crosby were violent men, and Michael Clarke and Hillman could be provoked to violence, but McGuinn was a pacifist both by conviction and temperament. Everything was conspiring to push the camps further apart. For example, Gene Clark made more money than the rest because of his songwriting royalties, and so got himself a good car. McGuinn had problems with his car, and knowing that the other members were jealous of Clark, Melcher offered to lend McGuinn one of his own Cadillacs, partly in an attempt to be friendly, and partly to make sure the jealousy over Clark's car didn't cause further problems in the group. But, of course, now Gene Clark had a Ferrarri and Roger McGuinn had a Cadillac, where was David Crosby's car? He stormed into Dickson's office and told him that if by the end of the tour the group were going on, Crosby didn't have a Bentley, he was quitting the group. There was only one thing for it. Terry Melcher had to go. The group had recorded their second album, and if they couldn't fix the problems within the band, they would have to deal with the problems from outside. While the group were on tour, Jim Dickson told Melcher they would no longer be working with him as their producer. On the tour bus, the group listened over and over to a tape McGuinn had made of Crosby's favourite music. On one side was a collection of recordings of Ravi Shankar, and on the other was two Coltrane albums -- Africa/Brass and Impressions: [Excerpt: John Coltrane, "India"] The group listened to this, and basically no other music, on the tour, and while they were touring Gene Clark was working on what he hoped would be the group's next single -- an impressionistic song about their trip to the UK, which started "Six miles high and when you touch down, you'll find that it's stranger than known". After he had it half complete, he showed it to Crosby, who helped him out with the lyrics, coming up with lines like "Rain, grey town, known for its sound" to describe London. The song talked about the crowds that followed them, about the music -- namechecking the Small Faces, who at the time had only released two single
Fulbright India scholar Daniel Paul earned his 9 year degree in the classical music of India from the Ali Akbar College of Music in San Rafael, CA. Primarily studying under the guidance of the late Maestro Ali Akbar Khan, Daniel also served as the maestro's personal assistant and tour manager, all the while studying tabla drumming under several of India's great classical masters: Zakir Hussain, Swapan Chaudhuri and Jnan Prakash Ghosh. Throughout his long career Daniel has performed with a diverse group of musicians from the late bansuri flute master G.S. Sachdev to Hawaii's Henry Kapono, and with many of today's top kirtan chanting artists such as Snatam Kaur, Seattle's Gina Salá and for two decades with Grammy nominee Jai Uttal. This interview was originally recorded on September 22nd 2020. Podcast intro music - "Summer" by Daniel Paul and Will Marsh from the album “Ragas of the Four Seasons” available on all streaming platforms. Connect and learn more about Daniel by visiting https://www.tabladaniel.com/ The World Music Podcast Jingle- composed by Will Marsh featuring musicians Josh Mellinger (tabla) and Misha Khalikulov (cello). Do you know someone who would enjoy this Podcast? Please take a moment to share and spread the inspiration! COPY THIS LINK TO SHARE! https://anchor.fm/will-marsh This is a master link that allows you to choose which platform to listen on. See Below for more offerings from your host, Will Marsh. “Raga for All Instruments” is an online course for musicians/vocalists from any musical background with a desire to explore the magic of Hindustani Raga music. Begin your raga journey now! The first four lesson videos of this course are free. https://willmarshmusic.thinkific.com/courses/raga-for-all-instruments Visit my website to connect with me - https://willmarshmusic.com/ Check out my original world-inspired music - https://distrokid.com/hyperfollow/willmarsh/the-integration Book a lesson with me https://www.willmarshmusic.com/product-category/lessons/ For the finest electric sitar on the market, travel sitars and tanpuras visit - https://www.willmarshmusic.com/shop/ To access written transcriptions of these episodes, go to my blog - https://www.willmarshmusic.com/blog/ Visit my youtube channel for free lesson and music performance videos - https://www.youtube.com/c/WillMarsh Become a Patron and receive exclusive access to patron only content - https://www.patreon.com/WillMarsh?fan_landing=true --- Support this podcast: https://podcasters.spotify.com/pod/show/will-marsh/support
The College Football Experience (@TCEonSGPN) on the Sports Gambling Podcast Network continues its 130 college football team season preview series with the Louisiana Rajin' Cajuns. Pick Dundee aka (@TheColbyD) and Patty C (@PattyC831) recap Louisiana's season last year and hit on their current roster and project the upcoming season. Will Billy Napier and Louisiana have a magical year? Is Levi Lewis the best quarterback in the Sun Belt? Could the Rajin' Cajuns upset Texas in Week 1? Can the ground game makeup for the losses of Mitchell and Ragas. Will Louisiana be able to get past Appalachian State and Georgia Southern? We talk it all on this special Louisiana Ragin' Cajun edition of The College Football Experience. Make sure you subscribe to The College Basketball Experience at sg.pn/tcbeFollow - Twitter | InstagramWatch - YouTube | TwitchSubscribe - Apple | SpotifyRead - SportsGamblingPodcast.comDiscuss - Slack | RedditDownload the SGPN app - https://sgpn.appSupport for this episode - WynnBet | UnderdogFantasy code “SGPN” | PropSwap.com code “SGP” Learn more about your ad choices. Visit podcastchoices.com/adchoices
2021 NFL Draft Exclusive It remains the staple audio alternative for NFL personnel to know potential prospects. Go-one-on-one with Louisiana Ragin' Cajuns standout Trey Ragas on the College2Pro Players Platform Show. It is the show to know before they go pro, because College2Pro.com has been featuring NFL Draft Prospects for over a decade. Professional scouting (CFL), working in conjunction with collegiate all-star games (Texas vs. The Nation, Gridiron Showcase), no other platform combined with experience allows future NFL stars to reveal their identity to the world-wide listening audience. In depth analysis, allows listeners that includes NFL Scouts and GMs to know the prospect on a personal level rather than just knowing their jersey number. Join host Bo Marchionte and special guest Trey Ragas on the C2P podcast powered by football lovers everywhere. KNOW MORE THAN THE NAME…
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