Podcasts about Rashied Ali

PABLO LEDESMA & AGUSTÍ FERNÁNDEZ “IMPROVOCACIONES” La Plata, agosto, 2012Improvocaciones 2,3,4,& 8Pablo Ledesma (saxos) & Agustí Fernández (p) RALPH ALESSI QUARTET “IT'S ALWAYS NOW” Udine, Italy, June, 2021Hypnagogic, Old baby, Migratory party, ResidueRalph Alessi (tp,comp) Florian Weber (p) Banz Oester (b) Gerry Hemingway (d) LOUIS BELOGENIS “LIVE AT TONIC” New York, January 6th, 2001Invocation; Trane Is in the House, SpiritualLouis Belogenis (st) Wilber Morris (b) Rashied Ali (dr) Continue reading Puro Jazz 09 de enero, 2025 at PuroJazz.

PABLO LEDESMA & AGUSTÍ FERNÁNDEZ “IMPROVOCACIONES” La Plata, agosto, 2012Improvocaciones 2,3,4,& 8Pablo Ledesma (saxos) & Agustí Fernández (p) RALPH ALESSI QUARTET “IT'S ALWAYS NOW” Udine, Italy, June, 2021Hypnagogic, Old baby, Migratory party, ResidueRalph Alessi (tp,comp) Florian Weber (p) Banz Oester (b) Gerry Hemingway (d) LOUIS BELOGENIS “LIVE AT TONIC” New York, January 6th, 2001Invocation; Trane Is in the House, SpiritualLouis Belogenis (st) Wilber Morris (b) Rashied Ali (dr) Continue reading Puro Jazz 10 de enero, 2025 at PuroJazz.

JOEL FRAHM TRIO “LUMINATION” New York, May 9, 2023The nurse is in, Loomie nation, Vesper flightsJoel Frahm (ts) Dan Loomis (b) Ernesto Cervini (d) ALICE COLTRANE “A MONASTIC TRIO” New York, January 29, 1968Gospel trane, I want to see you, Oceanic beloved (1)Alice Coltrane (p,harp) Jimmy Garrison (b) Rashied Ali (d) Pharoah Sanders (bells) BEN WENDEL “UNDERSTORY: LIVE AT THE VILLAGE VANGUARD” New York, November 4-6, 2022Proof, Jean & RenataBen Wendel (saxes,effects) Gerald Clayton (p) Linda May Han Oh (b,vcl) Obed Calvaire (d) Continue reading Puro Jazz 20 de diciembre, 2024 at PuroJazz.

JOEL FRAHM TRIO “LUMINATION” New York, May 9, 2023The nurse is in, Loomie nation, Vesper flightsJoel Frahm (ts) Dan Loomis (b) Ernesto Cervini (d) ALICE COLTRANE “A MONASTIC TRIO” New York, January 29, 1968Gospel trane, I want to see you, Oceanic beloved (1)Alice Coltrane (p,harp) Jimmy Garrison (b) Rashied Ali (d) Pharoah Sanders (bells) BEN WENDEL “UNDERSTORY: LIVE AT THE VILLAGE VANGUARD” New York, November 4-6, 2022Proof, Jean & RenataBen Wendel (saxes,effects) Gerald Clayton (p) Linda May Han Oh (b,vcl) Obed Calvaire (d) Continue reading Puro Jazz 20 de diciembre, 2024 at PuroJazz.

Send us a Text Message.Joris Teepe is an acoustic and electric bassist from Amsterdam and has lived in New York since 1992. He has led his own groups for 30 years and recorded 22 CD's as a leader or co-leader and over 60 CD's as a sideman.Arriving in New York in 1992 with just his bass and a suitcase, he took lessons with bassist Ron Carter, quickly met many musicians and started to work a lot. A year later he recorded his first CD, with a band co-led by saxophonist Don Braden and featuring pianist Cyrus Chestnut, drummer Carl Allen and trumpeter Tom Harrell. From that point everything really took off for Joris and he became a bassist in great demand. He has been working with the “who-is-who in Jazz”, such as Benny Golson, Sonny Fortune, Rashied Ali, Billy Hart and Randy Brecker.Teepe has composed 95 original compositions, including pieces for Symphony Orchestra & Small Jazz Group and Symphony Orchestra, Big Band, and Choir. He leads his own big band in New York, playing exclusively his own music, and performs his own repertoire as a guest soloist with local big bands. The JORIS TEEPE REAL BOOK will be released in 2024.Joris Teepe WebsiteFeatured on this episode:"Is That You" - Split Five WaysCraft Brewed Music PodcastGET FEATUREDSupport the Show.Instagram / Twitter / Youtube / Website / BSA / View More Episodes

Soul Of A Nation 2 (Jazz Is The Teacher Funk Is The Preacher: Afro-Centric Jazz, Street Funk And The Roots Of Rap In The Black Power Era 1969-75): -Art Ensemble Of Chicago ”Theme De Yo-Yo” -The Har-You Percussion Group “Welcome To The Party” -The Pharaohs “Damballa” -Baby Huey “Hard Times” -James Mason “Sweet Power Your Embrace” -Byron Morris And Unity “Kitty Bey” -Funkadelic “Nappy Dugout” -Rashied Ali & Frank Lowe “Exchange Part 2” (II) -Gary Bartz NTU Troop “Celestial Blues” -Oneness Of Juju “Space Jungle Funk” Escuchar audio

JOE HENDERSON WARM VALLEY  - Washington, D.C., April 11 & 12, 1991 Warm valley (1), Zsa Zsa (1) Joe Henderson (sax-1) Louis Scherr (p) Susan Kelly (cello-2) Tommy Cecil (b) Tony Martucci (d) JEFF PALMER ISLAND UNIVERSE  - New York, March 8, 1994 Loop Hole, Amerigo, Count sirloin Arthur Blythe (as) Jeff Palmer (org-bass pedals) John Abercrombie (g) Rashied Ali (d) DUKE JORDAN FLIGHT TO JORDAN  - New York, October 10, 1955 Sultry eve, Summertime (p-solo) Duke Jordan (p) Percy Heath (b) Art Blakey (d) - New York,November 20, 1955 Two loves, Yesterdays (eb out) Eddie Bert (tb) Cecil Payne (bar) Duke Jordan (p) Percy Heath (b) Art Blakey (d)

2e émission de la 57e session...Cette semaine, jazz contemporain récent et une pensée libre pour Charles Gayle! En musique: Asher Gamedze sur l'album Turbulence and Pulse  (International Anthem, 2023); James Brandon Lewis Red Lily Quartet sur l'album For Mahalia, With Love  (TAO Forms, 2023); Irreversible Entanglements sur l'album Protect Your Light  (Impulse!, 2023); Charles Gayle, William Parker, Rashied Ali sur l'album Touchin' on Trane  (FMP, 1993); Charles Gayle sur l'album Repent  (Knitting Factory Works, 1992); Charles Gayle sur l'album Time Zones  (Tompkins Square, 2006)...

Sax tenore ma anche valente polistrumentista, Charles Gayle, afroamericano, nato a Buffalo nel 1939, emerge nel jazz d'avanguardia solo negli ultimi anni ottanta. Nei sessanta insegna musica all'università e a New York partecipa alla scena del free jazz, ma senza cercare di farsi notare. Poi sceglie la vita dell'homeless, e suona per strada e nella metropolitana a New York e dintorni, rarissimamente in bar o club, facendo una musica senza compromessi, completamente libera: nel suo sax tenore è potentemente sedimentata la memoria di Sonny Rollins, Albert Ayler, John Coltrane, ma Gayle ha una sua fortissima personalità. Alla metà degli ottanta però la Knitting Factory gli offre un ingaggio settimanale, e nell'87 una etichetta svedese decide di fargli incidere un album: è il primo di una lunga serie di dischi sotto suo nome, e l'inizio di una carriera che Gayle non aveva mai avuto né cercato di avere. Profondamente religioso, Gayle riversa nelle sue energetiche improvvisazioni tutto il suo trasporto spirituale, ma anche il desiderio di suonare con la potenza e lo scatto con cui si tira di boxe, sua grande passione. Con Charles Gayle, morto a 84 anni il 5 settembre, se ne va quello che assieme a David S. Ware, mancato già da diversi anni, è stato il più importante sax tenore di quell'area free newyorkese che negli ultimi decenni ha ruotato interno a William Parker, e in assoluto uno dei più formidabili sax tenori di tutto il jazz - non solo dell'avanguardia - a cavallo tra secolo scorso e nuovo millennio. Lo ricordiamo col classico Touchin' On Trane (1991), in trio con William Parker al basso e Rashied Ali, il batterista dell'ultimo Coltrane; con Always A Pleasure (1993), in cui è nel gruppo di Cecil Taylor; con Requiem (2004) di William Parker; e con Live in Belgium (2015) in trio con gli italiani Manolo Cabras e Giovanni Barcella.

In  this episode, I join jazz bassist, composer, and bandleader Omer Avital in his beautiful, intimate studio in Brooklyn, NY. Born in Givatayim, Israel, to Moroccan and Yemeni parents, Omer studied classical guitar from age 11 before eventually shifting to acoustic bass. We talk about his 1992 arrival in New York, where he shook up the city playing in groups with jazz legends Roy Haynes, Jimmy Cobb, Kenny Garrett, and Rashied Ali. We discuss his musical influences and the importance of learning about the elders and jazz masters who paved the way for him, as well as politics in the Middle East and how he views it all as an artist. Lastly we consider the Brooklyn oasis he created called Wilson Live. Founded in 2018, Wilson Live provides a platform that enables local artists to document and present their work in an easy and effective way, all while forming a musical community in the heart of the borough. Wilson Live hosts weekly musical happenings with great homemade food by its culinary curator, Yoav Adereth.https://www.omeravital.com

For many black musicians, jazz was more than a gig and a way to make bread. Cecil McBee, Jon Hendricks, Rashied Ali, Doug Carn and Vincent Pelote speak about the importance of this music in their lives and its role in bridging the distance between races, on and off the bandstand.

Join Rain on LaunchLeft today as they welcome Oscar-nominated Son Lux to kick off Qasim Naqvi's launch. Tune in for an engaging conversation with Ryan, Ian, Rafiq, and Qasim Naqvi as they discuss their unique experiences and creative processes in music-making. This versatile group excels as a live band, studio recording artists, and composers, embracing various aspects of the art they cherish. As a special treat, you'll have the privilege of hearing Qasim Naqvi's captivating performance of "The Curve" at the end of the episode. -----------------  LAUNCHLEFT OFFICIAL WEBSITEhttps://www.launchleft.com  LAUNCHLEFT PATREON https://www.patreon.com/LaunchLeft  TWITTER https://twitter.com/LaunchLeft  INSTAGRAM https://www.instagram.com/launchleft/  FACEBOOK https://www.facebook.com/LaunchLeft  --------------------- LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery. --------------------- IN THIS EPISODE: [02:23] Ryan tells how he and Rafiq came to collaborate.  [08:25] Ian explains how they became composers for Everything, Everywhere, All At Once.  [10:26] Rafiq shares what they have been working on recently.  [12:39] Ryan comments on the reward versus the work and how the work won out.  [17:42] Qasim Naqvi reveals how he met the members of Son Lux, and they all reflect on their times together.  [25:02] Ryan talks about how their music is visual, and Qasim Naquiv discusses the modular synthesis while they land on making music with what they have.  [40:03] Listen to “The Curve” by Qasim Naqvi.    KEY TAKEAWAYS:  The difference between performing on stage and recording in a studio is night-and-day. When you find like-minded artists who appreciate each other's talents, you have a winning combination. Sometimes it’s the accident that makes the music. It’s called working with what you have.   BIOGRAPHIES::  SON LUX BIO: From the start, Son Lux has operated as something akin to a sonic test kitchen. The Academy Award® and BAFTA-nominated band strives to question deeply held assumptions about how music is made and reconstruct it from a molecular level. What began as a solo project for founder Ryan Lott expanded in 2014, thanks to a kinship with Ian Chang and Rafiq Bhatia too strong to ignore. The trio strengthened their chemistry and honed their collective intuition while creating, releasing, and touring six recordings, including Brighter Wounds (2018) and the triple album Tomorrows (2021). The result is a carefully cultivated musical language rooted in curiosity and balancing opposites that largely eschews genre and structural conventions. And yet, the band remains audibly indebted to iconoclastic artists in soul, hip-hop, and experimental improvisation who themselves carved new paths forward. Distilling these varied influences, Son Lux searches for an equilibrium of raw emotional intimacy and meticulous electronic constructions. Son Lux has most recently scored the new Daniels film for A24, Everything Everywhere All at Once (March 2022). The full score album features new collaborations with Mitski, David Byrne, Randy Newman, and Moses Sumney, among others. Based in New York, Rafiq Bhatia is the first-generation American son of Muslim immigrant parents who trace their ancestry to India through East Africa. Early influences such as Jimi Hendrix, John Coltrane, and Madlib—as well as mentors and collaborators including Vijay Iyer and Billy Hart—prompted him to see music as a way to actively shape and represent his own identity, not limited by anyone else’s prescribed perspective. When Ian Chang describes his creative process, the phrase "third culture” keeps coming up. Born in the colony of Hong Kong in 1988, Chang has lived a nomadic life. Stationed out of New York for ten years and since relocated to Dallas, Texas, he built an impressive roster of progressive pop collaborators such as Moses Sumney, Joan As Policewoman, and Matthew Dear, among others, all while performing internationally and recording as a member of Son Lux and Landlady. Ryan Lott makes his home in Los Angeles but grew up all over the United States. Music was the one constant in his formative years spent at the piano. In addition to an extensive career writing music for dance, he has become a sought-after composer for advertising, television, and film. Lott’s feature film credits include The Disappearance of Eleanor Rigby (2014), Paper Towns (2015), and Mean Dreams (2017). He has co-produced and co-written music for and with Woodkid, Sufjan Stevens, and Lorde.   BIOGRAPHY: QASIM NAQVI  Qasim Naqvi is a drummer and founding member of Dawn of Midi. Outside of his role in D.O.M., Qasim works on various projects, from electronic music to composing for orchestras, chamber groups, dance and film.  His concert music has been performed/commissioned by The BBC Concert Orchestra, Jennifer Koh, The London Contemporary Orchestra, Stargaze, Bang on a Can All-Stars, Crash Ensemble, The Now Ensemble, The Erebus Ensemble, yMusic, The Helsinki Chamber Choir, Alexander Whitley, Cikada, The Chicago Symphony Orchestra(MusicNOW Season) and others. He has been a featured composer at the Musica Nova Festival in Helsinki, the Spitalfields Festival in London, Ultima Festival, Southbank Centre and the Rest is Noise Festival in Holland.   Qasim's soundtracks for the film have appeared on HBO, NBC, PBS, Showtime, New York Times Op-Docs, VICE Media, at The Tribeca, Sundance, Toronto, Rotterdam and London Film Festivals, at dOCUMENTA 13 and 14, The Guggenheim Museum, The Tate Britain (Turner Prize 2018), MOMA P.S. 1, IDFA, Berlinale and others. He has worked with such notable filmmakers as Laura Poitras, Mariam Ghani, Marc Levin, Naeem Mohaiemen, Smriti Keshari, Prashant Bhargava and Erin Heidenreich. Acoustic trio Dawn of Midi has released two albums. Their most recent Dysnomia was acclaimed by Pitchfork, Rolling Stone, Spin, The Guardian and the New Yorker. Radiohead personally picked Dawn of Midi as their support band for two sold-out concerts at New York's Madison Square Garden for their Moon Shaped Pool tour.    Qasim earned his B.F.A in performance from the New School Jazz and Contemporary Music program and his M.F.A in composition and performance from California Institute of the Arts. He studied drums and performance with Andrew Cyrille, Joe Chambers, Reggie Workman, Buster Williams, Ralph Peterson Jr., Charlie Haden and Rashied Ali and composition with Wolfgang von Schweinitz, James Tenney, Morton Subotnick, Marc Sabat, Wadada Leo Smith, Michael Jon Fink and Anne LeBaron. He is a 2016 N.Y.F.A Fellow in Music and Sound and has received other fellowships and awards from Chamber Music America, The Foundation for Contemporary Arts, Mid-Atlantic Arts Council, Harvest Works, The Lower Manhattan Cultural Council, S.T.E.I.M. and Art OMI. Presently, Qasim lives in Brooklyn, New York and works on various projects as a freelance composer and drummer. He is represented by Erased Tapes Publishing.   RESOURCE LINKS Podcast - LaunchLeft   SON LUX LINKS: Son Lux Music - Website Son Lux - Instagram Son Lux - Twitter Son Lux - Facebook Son Lux - YouTube Son Lux - Soundcloud   QASIM NAQVI LINKS: Qasim Naqvi - Website Qasim Naqvi - Instagram Qasim Naqvi - Twitter Qasim Naqvi - Bandcamp  

ALICE COLTRANE JOURNEY IN SATCHIDANANDA – New York, November 8, 1970 Journey in Satchidananda, Something about John Coltrane Pharoah Sanders (sop,perc) Alice Coltrane (p,harp-1) Tulsi (tamboura) Cecil McBee (b) Rashied Ali (d) Majid Shabazz (bells,tamb) SCHUBERT / UCHIHASHI /KUGEL BLACK HOLES ARE HARD TO FIND – Berlin, Germany, September 3 & 4, 2021 Needle’s eye, […]

In this episode, I discuss legendary saxophonist John Coltrane with talented historians, writers, and, of course, musicians. One of those musicians, Charles McPherson, knew Coltrane personally. Coltrane's signature album A Love Supreme and his groundbreaking song "Giant Steps" are singled out for attention, and we talk about his classic quartet with Elvin Jones, McCoy Tyner, and Jimmy Garrison, as well as some of his other great bandmates, including Eric Dolphy, Pharoah Sanders, Rashied Ali, and Alice Coltrane. Coltrane's spirituality, its influence on his sound, and his passion and dedication to the horn permeate the interviews. Recommended listening:A Love Supreme                                              Blue TrainAfrica Brass                                                       ImpressionsGiant Steps                                                        MeditationsKulu Se Mama                                                  Black PearlsTransition                                                            Live at BirdlandDuke Ellington and John Coltrane     Interstellar SpaceBallads                                                                  Coltrane's SoundOut of This World                                          My Favorite Things 

I'm psyched to have Greg Tardy as my guest on Notes. Greg is a wonderful saxophonist and clarinetist, a composer and recording artist. He has played, toured and recorded with some of the greats, Elvin Jones, Rashied Ali, Andrew Hill, to name just a few. He continues to work and play with a whole roster of our great contemporary improvising musicians, as well. He is on a couple of my favorite Andrew Hill recordings, which is how I first found out about him. We had a great conversation. Greg has some really helpful and insightful things to say to aspiring musicians and veterans alike. He has recently recorded with the Bill Frisell quartet, and he has a new recording under his own name, "Sufficient Grace". I hope you'll check out his recordings and videos on his website. Gregorytardy.comI am available for online or in person study. Reach out to me at: keith@keithdavismusic.com Keith Davis Music

Alice Coltrane described the period after her husband John's death as ‘tapas' - a Sanskrit word meaning ‘a painful and austere ordeal'. This avant-garde fusion of modal post-bop jazz and traditional Indian drone music is the process of grief writ large - teaming up with fellow members of her late husband's band including ace drummer Rashied Ali and multiphonic saxophonist extraordinaire Pharoah Sanders. Together they pay tribute to John Coltrane's life with a surprisingly accessible experimental Hindu jazz odyssey that incorporates the harp, the oud and the tanpura named after Alice's spiritual king, Swami Satchidananda. “Journey In Satchidananda” is listed as #446 on Rolling Stone's 2020 list of the 500 Greatest Albums of All Time which means it's time for Liam Withnail and Christopher Macarthur-Boyd to enjoy it. They talk about everything from chocolate covered crisps to Ganesh, as well as Pharoah Sanders' recent collaboration with the electronic musician Floating Points and the London Symphony Orchestra, and the sexual assault allegations made against the titular swami. All that, plus Tattoo Woohoo/Tattoo Boohoo, Secret Posho, Unhinged YouTube Comment of the Week, and much much more. Enjoy!

Andrew Cyrille is the last man standing from the first wave of free jazz drummers. He and Milford Graves, Sunny Murray, and Rashied Ali really revolutionized jazz rhythm in their playing with Cecil Taylor, Albert Ayler, John Coltrane and other musicians in the early to mid '60s. Their influence was huge, and each of them brought a different perspective and instantly identifiable style to the music. What I hear when I listen to Andrew Cyrille, whether he's playing with Cecil Taylor or Anthony Braxton or in any other situation, is an incredible precision and consideration. He really seems to be thinking about every single strike and placing it with unbelievable care, even when he's playing ridiculously fast.In the last few years, Cyrille has been making some really interesting records as a leader for ECM. He started in 2016 with The Declaration of Musical Independence, which featured Bill Frisell on guitar, Richard Teitelbaum on synth, and Ben Street on bass, then he made Lebroba with Frisell and Wadada Leo Smith, and now he's got a new album out, The News, which features Frisell and Street again but has David Virelles on piano instead of Teitelbaum. And right before that string of records, in 2015, he was on guitarist Ben Monder's album Amorphae. And I also want to mention a record he did in 2017, Dione, a trio record with Ivo Perelman and Matthew Shipp. He's had an incredible career as a sideman, too, working with David Murray, Leroy Jenkins, Muhal Richard Abrams, Marion Brown, Horace Tapscott, Peter Brötzmann, and of course he's also one of the members of Trio 3 with Oliver Lake and Reggie Workman — they played at the 2021 Vision Festival, where he also presented a solo tribute to Milford Graves.We talk about Graves a lot in this interview, as well as Cyrille's approach to rhythm and to music generally, and a lot of other things. It's funny, the conversation has kind of a false ending, because I had been told by his publicist that he only wanted to talk for a half hour, and I negotiated us up to 45 minutes, and then at the 45 minute mark I started saying goodbye and thanking him for his time, and he showed no interest in stopping, so we kept going and probably could have talked for another half hour. If you do enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Andrew Cyrille/Wadada Leo Smith/Bill Frisell, “Worried Woman” (Lebroba)Andrew Cyrille, “Go Happy Lucky” (The News)Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletter

Andrew Cyrille is the last man standing from the first wave of free jazz drummers. He and Milford Graves, Sunny Murray, and Rashied Ali really revolutionized jazz rhythm in their playing with Cecil Taylor, Albert Ayler, John Coltrane and other musicians in the early to mid '60s. Their influence was huge, and each of them brought a different perspective and instantly identifiable style to the music. What I hear when I listen to Andrew Cyrille, whether he's playing with Cecil Taylor or Anthony Braxton or in any other situation, is an incredible precision and consideration. He really seems to be thinking about every single strike and placing it with unbelievable care, even when he's playing ridiculously fast.In the last few years, Cyrille has been making some really interesting records as a leader for ECM. He started in 2016 with The Declaration of Musical Independence, which featured Bill Frisell on guitar, Richard Teitelbaum on synth, and Ben Street on bass, then he made Lebroba with Frisell and Wadada Leo Smith, and now he's got a new album out, The News, which features Frisell and Street again but has David Virelles on piano instead of Teitelbaum. And right before that string of records, in 2015, he was on guitarist Ben Monder's album Amorphae. And I also want to mention a record he did in 2017, Dione, a trio record with Ivo Perelman and Matthew Shipp. He's had an incredible career as a sideman, too, working with David Murray, Leroy Jenkins, Muhal Richard Abrams, Marion Brown, Horace Tapscott, Peter Brötzmann, and of course he's also one of the members of Trio 3 with Oliver Lake and Reggie Workman — they played at the 2021 Vision Festival, where he also presented a solo tribute to Milford Graves.We talk about Graves a lot in this interview, as well as Cyrille's approach to rhythm and to music generally, and a lot of other things. It's funny, the conversation has kind of a false ending, because I had been told by his publicist that he only wanted to talk for a half hour, and I negotiated us up to 45 minutes, and then at the 45 minute mark I started saying goodbye and thanking him for his time, and he showed no interest in stopping, so we kept going and probably could have talked for another half hour. If you do enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Andrew Cyrille/Wadada Leo Smith/Bill Frisell, “Worried Woman” (Lebroba)Andrew Cyrille, “Go Happy Lucky” (The News)Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletter

Esta semana, en una nueva sesión de Rebelión Sónica destacamos al quinteto A Love Supreme Electric, que el pasado 13 de noviembre lanzó el álbum “A Salvo Inspired by John Coltrane: A Love Supreme & Meditiations”, una recreación actual de los discos canónicos de John Coltrane, “A Love Supreme” (1965) y “Meditiations” (1966). El proyecto está integrado por músicos de importantes trayectorias de varias tradiciones musicales: el vientista Vinny Golia, el baterista John Hanrahan, el guitarrista Henry Kaiser, el tecladista Wayne Peet y el bajista Mike Watt. El álbum fue editado el 13 de noviembre a través del sello Cuneiform Records y, como decíamos, reinterpreta de manera libre los trabajos mencionados de Coltrane, “desde una variedad caleidoscópica de ángulos”. Kaiser, el teórico de facto del proyecto, decidió comenzar a recrear las canciones partiendo de la siguiente pregunta: “¿Qué pasa si “A Love Supreme” y “Meditiations” son dos partes de una sola expresión de un estado espiritual extático?”. El mismo Kaiser escribe en las notas del disco que, “sabía que Coltrane tenía la intención de que su suite ‘Meditations’ fuera una secuela espiritual de ‘A Love Supreme’”. Agrega que: “Después de haber tocado los dos discos uno después de otro, notamos que las dos piezas realmente encajaban para convertirse en una suite de dos partes, donde todas las secciones individuales informan, profundizan, hacen referencia cruzada y se expanden entre sí, tanto en el ámbito musical como en el spiritual”. Al final del programa, viajamos a la fuente misma, para escuchar una composición del disco “Meditiations”, que Coltrane registró con Pharoah Sanders, McCoy Tyner, Jimmy Garrison, Elvin Jones y Rashied Ali. Rebelión Sónica se transmite por radio Rockaxis, todos los miércoles a las 10, 17 y 23 horas -se repite los domingos a las 19-, con la conducción y curatoría de Héctor Aravena. A continuación, mira las carátulas de los discos que sonarán en el capítulo 41 de la temporada 2020 del programa.

Esta semana, en una nueva sesión de Rebelión Sónica destacamos al quinteto A Love Supreme Electric, que el pasado 13 de noviembre lanzó el álbum “A Salvo Inspired by John Coltrane: A Love Supreme & Meditiations”, una recreación actual de los discos canónicos de John Coltrane, “A Love Supreme” (1965) y “Meditiations” (1966). El proyecto está integrado por músicos de importantes trayectorias de varias tradiciones musicales: el vientista Vinny Golia, el baterista John Hanrahan, el guitarrista Henry Kaiser, el tecladista Wayne Peet y el bajista Mike Watt. El álbum fue editado el 13 de noviembre a través del sello Cuneiform Records y, como decíamos, reinterpreta de manera libre los trabajos mencionados de Coltrane, “desde una variedad caleidoscópica de ángulos”. Kaiser, el teórico de facto del proyecto, decidió comenzar a recrear las canciones partiendo de la siguiente pregunta: “¿Qué pasa si “A Love Supreme” y “Meditiations” son dos partes de una sola expresión de un estado espiritual extático?”. El mismo Kaiser escribe en las notas del disco que, “sabía que Coltrane tenía la intención de que su suite ‘Meditations’ fuera una secuela espiritual de ‘A Love Supreme’”. Agrega que: “Después de haber tocado los dos discos uno después de otro, notamos que las dos piezas realmente encajaban para convertirse en una suite de dos partes, donde todas las secciones individuales informan, profundizan, hacen referencia cruzada y se expanden entre sí, tanto en el ámbito musical como en el spiritual”. Al final del programa, viajamos a la fuente misma, para escuchar una composición del disco “Meditiations”, que Coltrane registró con Pharoah Sanders, McCoy Tyner, Jimmy Garrison, Elvin Jones y Rashied Ali. Rebelión Sónica se transmite por radio Rockaxis, todos los miércoles a las 10, 17 y 23 horas -se repite los domingos a las 19-, con la conducción y curatoría de Héctor Aravena. A continuación, mira las carátulas de los discos que sonarán en el capítulo 41 de la temporada 2020 del programa.

In Basgasten interviewt Hidde Roorda bekende Nederlandse bassisten over wat ze heeft gevormd tot de muzikant die ze zijn. Welke albums, bassisten en baslijntjes zijn belangrijk voor ze? In aflevering 30 is Joris Teepe (1962) te gast. Joris woont een deel van het jaar in New York en werkte daar met mensen als Rashied Ali en Randy Brecker. Tevens is hij docent aan het Prins Claus Conservatorium in Groningen.Alle genoemde nummers zijn te vinden in de Basgasten Spotify playlist: https://open.spotify.com/user/hidderoorda/playlist/6YOFD8pqFXK2OET1oupRpAVragen? Suggesties? Klachten? Mail naar basgasten@hidderoorda.nl

..Il festival del jazz di Willisau, in Svizzera, può vantare diversi importanti album intitolati Live in Willisau o Live at Willisau (Brotherhood of Breath, Cecil Taylor, Anthony Braxton), e l'album pubblicato dalla Intakt del sassofonista James Brandon Lewis e del batterista Chad Taylor si inserisce degnamente in questa tradizione, così come onora la gloriosa storia di duo sax/percussioni registrati al festival: Max Roach e Anthony Braxton, Max Roach e Archie Shepp, Rashied Ali e Arthur Rhames, Dewey Redman e Edward Blackwell. Completa la puntata un assaggio di Kalan Teban, secondo album pubblicato dalla Intakt del trio del balafonista ivoriano Aly Keita, e del batterista Lucas Niggli e del clarinettista e sassofonista Jan Galega Bronniman, entrambi svizzeri.

A charismatic and dynamic saxophonist and bandleader, Lakecia Benjamin fuses traditional conceptions of Jazz, HipHop, and Soul. Benjamin's electric presence and fiery sax work has shared stages with several legendary artists, including Stevie Wonder, Alicia Keys, The Roots, and Macy Gray. As the bandleader of Lakecia Benjamin and Soul Squad, she melds the vintage sounds of James Brown, Maceo Parker, Sly and the Family Stone, and the Meters with soaring, dance-floor worthy rhythms. Benjamin's grooves take the classic vibe to a whole new level with sultry alto saxophone creating something special on every cut - be it a smoldering late-night ambiance, or a forceful jazz intensity, or even the tight funk multi-horn harmony sections.A streetwise New York City native born and raised in Washington Heights, Lakecia Benjamin first picked up the saxophone at Fiorello LaGuardia High School for the Performing Arts. From there she joined the renowned jazz program at New York's New School University. However, even at that early stage, Benjamin was already playing with renowned jazz figures like Clark Terry and Reggie Workman, which introduced her to opportunities to play and tour with an array of artists such as Rashied Ali, the David Murray Big Band, Vanessa Rubin and James "Blood" Ulmer. With her deep jazz roots, she was soon in demand as an arranger and horn section leader, landing stints with such acclaimed artists as Anita Baker. Currently Lakecia Benjamin's latest album "Pursuance" is an intergenerational masterpiece that takes one on a journey through the lineage of the music with the works of John and Alice Coltrane. Benjamin pays homage to those who have come before by featuring innovative bandleaders of her generation, such as, Reggie Workman (Coproducer and playing ), Ron carter , Gary Bartz, Dee Dee Bridegwater, Meshell Ndegecello, Regina carter, Bertha Hope, Last poets, Greg Osby, Steve Wilson, John Benitez, Marc Cary, Marcus Gilmore, Keyon Harrold, Marcus Strickland, Brandee Younger, Georgia Anne Muldrow, and Jazzmeia Horn.

To learn how something is done or achieved, we may find it helpful to look at the thing or things that are doing or achieving that something so as to better learn how the something does what it does and achieves what it achieves. We may find it helpful to observe and model after an example that has achieved. Study the masterworks, they say. I have to agree--and not only do I agree, I've been extremely fortunate to be in a situation to study and perform with masters. Today on Progress Culture, we get a chance to pick the brain of my mentor and master musician and drummer, Paul F. Murphy. Paul has achieved at the highest levels of art and music. He has been recognized by Oxford for developing a new sound in jazz and art and has a long history of friendships and working relationships with icons and trailblazers in art including Gene Krupa, Miles Davis, Rashied Ali, Salvador Dali, Jimmy Lyons, and Cecil Taylor. We get a chance to hear how to achieve mastery through a master who came from masters!Mastery Through MastersProgress Culture PodcastEpisode 15Sonic Spirits -and- TechPortLittle Rock Cottage Sessions (Mondays)Progress Culture Podcast (Wednesdays)Progress Culture OnScreen (Thursdays)SIF/TechPort Sessions (Fridays)www.ProgressCulture.orgwww.TechPortSoMD.orgwww.Sonic-Spirits.com

On April 15, bassist Henry Grimes passed away.  I will have a full episode about his life and music ready for next week.  In the meantime, enjoy some of his poetry and a track from Spirits Aloft, his live album with drummer Rashied Ali. Questions? Comments? Requests? E-mail me: WNPMPod@gmail.com

One is walking down the lonely Canadian streets whistling in the wind trying to find some clarity. Drifting in academia, directionless and yet so talented. The other a mass of Peaceful Volcanism. Endless ideas endless creativity endless compassion. That's it for the Other One because when these two strangers met it forged a musical and personal relationship that lasts till this day. One of my guests needed a burst of love through waves of spontaneous variation of chord patterns and progressions learning from my other guest in Divine Radiance even in those somber Canadian Winters. They played almost everyday in a small classroom until the teacher had taught enough and needed to move on. He had more people to teach and love and reinvigorate. They gigged a bunch in Toronto as a trio channeling music of peace and for peace. The student continued on to become an established figure in the music industry. He was the leader of The Worlds Most Dangerous Band which incorporated his roots music of Buffalo Springfield, Bobby Womack, Oscar Peterson and The British Invaders . He played jingles and sit coms and made albums of his is own. His teacher continued on his own trip in a contiguous orbit making music of his own. Sometimes on the guitar sometimes on the drums with its rhythms built inside the teachers constitution. Elevating, getting higher higher higher with series and sequences of ideas and musical messages that have stayed true in his student to this day as they collaborate with The late great Rashied Ali, Pharoah Sanders, Ra-kalam Bob Moses Cheryl Hardwick and Don Pate. The teacher was once offered an opportunity in the world of entertainment from Phil Ramone and said no. On a silver platter with all the trimmings and the teacher said no. His music is of Divine Radiance, of the heart a language spoken by all peoples, races, creeds, genders and origins. It spoke to his student who has long since gravitated to the Land of a Letterman which allowed him to play with all the greatest musicians like Earl Scruggs, Donald Fagan Yoko Ono Lou Soloff and his teacher. This is why I do my show. Paul Shaffer and Tisziji Munoz welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

This week: Donald Byrd; Kamasi Washington; Selim Sesler; Rashied Ali; Guillermo do Brito; Maria Bethânia; Gelupga Order (Buddhist Monks); Yamoto Ensemble; Chip Wickham; Reshma; Defao; dumama + kechou; Asmara All-Stars; Chief Stephen Osita Osadebe; John Coltrane; Alice Coltrane; Brian Landrus, Fred Hersch, Drew Gress, Billy Hart; much more...  Always FREE of charge to listen, stream, download, and subscribe. via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. ***In response to the COVID-19 pandemic, Conference of the Birds will be broadcasting remotely, with little to no back-announcing, for the foreseeable future. Playlists will be updated live, in real-time, on the pop-up player on the WRFI website (for those listening live via WRFI's live-stream), on Spinitron at the Conference of the Birds page:  https://spinitron.com/WRFI/show/92902/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG:https://www.wrfi.org/wrfiprograms/conferenceofthebirds/ We will continue to update playlists here within 24-48 hours of the program's airing Friday evenings on WRFI. Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks Contact: confbirds@gmail.com

Artist Cindy Bernard initiated sound. at Angels Gate Park in San Pedro, California, in 1998. This concert series eventually evolved into the Society for the Activation of Social Space through Art and Sound—better known as SASSAS—a small Los Angeles organization fostering exciting new site-based work at the intersection of experimental music and contemporary art. The episode features performances from two CD compilations of early sound. concerts: James Tenney (performing John Cage), Solid Eye, Nels Cline and Gregg Bendian (performing John Coltrane and Rashied Ali), Philip Gelb and Pauline Oliveros, Extended Organ, and Voice of the Bowed Guitar.

The musical Avant-Garde in general and Avant-Garde jazz, in particular, have either misleading or no connotations at all for most listeners (and non-listeners.) Say the words "free jazz," and most will think of musical anarchy—sonic chaos. And then they'll run for their lives. But when you consider the most prominent practitioners of so-called "free jazz"—the likes of John Coltrane (late period), Ornette Coleman, and Cecil Taylor—one thing should be clear: these are great musicians. So before you run, at least consider why they might be doing what they do, and what they're really doing. And also consider some of your favorite mainstream music may be imbued with musical ideas brought into the world by the so-called Avant-Gardists. The Choice By definition, there is not much in common in the music of artists like John Cage, John Coltrane, Edgar Varese, and Sun Ra. They are, after all, musical outliers: they don't hang out in the same clubs together. But all of them do have one thing in common: they made a choice, somewhere along the line, to create their own musical languages. Making such a choice can, of course, be artistically and personally dangerous, leading to ostracization within the artistic community, derision by fans, and diminished employment opportunities. So why do some do it, where others are satisfied to work solely within the "accepted" musical frameworks, seemingly passed on down for generations? Here's the thing: what we think of as the "accepted" frameworks are almost always languages created by some bold musical soul in the past. Now, I will be the first to admit that we will probably never walk around humming Cecil Taylor or Schoenberg tunes. This music is too extreme in its willingness to push boundaries to become part of the popular music culture in its own right. Seeping Into the Mainstream But these extremes of musical expression, if they are any good, do enter the musical lexicon, even if we're not consciously aware of them doing so. They have a way of filtering down into more mainstream forms, enriching them with surprising turns and details. Listen to the experimental elements in later albums by the Beatles, like Sergeant Pepper's, then go check out modern "classical" composers like Edgar Varése or Karlheinz Stockhausen. The Beatles did. Or, as a more recent example, check out Kendrick Lamar's To Pimp a Butterfly. Then check out late Coltrane,or Ornette Coleman. And movie music? Psychologically challenging scenes would be nowhere without Arnold Schoenberg's serialism. To be sure, Schoenberg created his twelve-tone system for reasons that had nothing to do with Hollywood (though ironically, he ended up living there) but the point is that once these new musical languages are let loose into the world, they find many "uses" beyond the composer's original intention. They simply add to to the ever-growing musical palette. So before you run away from the Avant Garde, seriously consider what it has given us. Artists Mentioned in this Podcast: Cecil Taylor: Conquistador certainly gets right down to it. Cecil's pianistic language is so distinctive as to be recognizable in about 3 seconds. If you're looking for traditional song structures, tunes, recognizable chord changes, etc., you've come to exactly the wrong place. But, try to get through it. There is a structure there, just not one you're used to. And, more importantly, it's simply beautiful music by an oft-maligned genius. Late Beethoven: I mentioned the Great Fugue(Grösse Fugue) in the podcast. It is really a strange and difficult piece of music. Fugues, in general, are intellectually challenging, and this is what's known as a double fugue (two themes interacting.) Also, check out Hammerklavier. The first movement is particularly challenging; the 2nd highlights an interesting trait in late Beethoven wherein he seems to be hinting at a swing (jazz) rhythm. What's up with that? Late Coltrane: Interstellar Space, is one of the last things John Coltrane recorded. It' a suite with just him and drummer, Rashied Ali. To say the least, it's relentless and challenging. But even as Coltrane was always pushing boundaries, there is always something of his lyrical side here. Carlo Gesualdo: The madrigal, Moro lasso al mioduolo, is so strange, and harmonically ahead of its time that people probably thought the composer was crazy. And he probably was. Edgar Varése: Perhaps Poem Eletronique sounds like so much noise and effects to our ears—sound design in modern terms, and pretentious sound design at that. But while it may not be something you put on to chill (or sing along with) it does prove my point about sounds of the Avant-Garde being incorporated into the mainstream. So you can easily hear elements of this being incorporated into a "chill vibe" if not being a very chilly vibe itself. I don't' know if that's good or bad. It just is. Follow: Podcast Homepage Episode Transcript Subscribe on Apple Podcasts Bandcamp Page Patreon Page Twitter Peter Saltzman Website Facebook Contact: info@petersaltzman.com

Educator, clinician, player, and all around killer drummer Ricky Sebastian is today’s guest! We get into moving to NY in the 80’s from New Orleans and subsequent observations/contrasts of both cites, the NY scene in the 80’s/90’s and playing gigs with the unpredictable genius in Jaco Pastorius (plus a notorious gig with JP), Rashied Ali, Tania Maria and more, finding the appeal in the NY hustle, New Orleans as the northernmost Caribbean city, playing with Dr. John, his early inclination to playing the drums and early mentors, the process of teaching, and challenges in Afro-Cuban, Brazilian, Latin-Fusion, his first drum-method book and teaching at both The University of New Orleans and the Drummers Collective in NY, the badass that was Tony Williams, plus drumming injuries/the athleticism of drumming in general. http://www.rickysebastian.com/

Kim Clarke is a native New Yorker. She is a bassist and composer. She is a parent, bassist, composer, bandleader, website developer, educator, and earring designer. Most known for her electric bass playing with Joseph Bowie's Defunkt, she toured with Joe Henderson and Joanne Brackeen. She performed locally with Art Blakey, Marylou Williams, Bertha Hope, Harold Ousley, Jimmy Heath, Jaki Byard, George Braith and Space Island, Rashied Ali, Junior Cooke, Steve Coleman and Five Elements, Teri Thornton, Lester Bowie, Andy Bey, Louis and Gerald Hayes, Lionel Hampton, Donald Byrd, Donald Blackman, Candido, Patato, Little Jimmy Scott, Dr. Billy Taylor, Olu Dara, Screamin Jay Hawkins, Philly Joe Jones, Marylou Williams, Sharon Freeman, and Geri Allen.  She is the founder and producer of the LADY GOT CHOPS Women's History Month Music and Arts Festival, Inc. that has the mission of globally elevating Women's History Month through the promotion of women's contributions, artistic and otherwise, during the month of March.  It is a grassroots institution providing free promotion to women artists and bookings in celebration of Women's History Month. Incorporated in December 2015, the festival became a 501(c)(3) not for profit corporation in 2017. In 2018, LADY GOT CHOPS will celebrate its 16th year. www.ladygotchops.com www.wijsf.org

Henri Texier, Aldo Romano y Louis Sclavis, tres invitados de lujo para esta edición de "Club de Jazz" del 20 de febrero de 2013. Con estos tres grandes del jazz francés charlamos, sobre sus viajes a África que junto al fotógrafo Guy Le Querrec nos han proporcionado tres grabaciones desde que se reunieran por primera vez como trío en 1990 para una gira por diversos países de este continente. También nos dará tiempo a partir viaje en "París", la ciudad en la que ejercen gran parte de su actividad, gracias en este caso a la música de "Songs of the Metropolis" de Gilad Atzmon & The Orient House Ensemble. Jesús Moreno presenta "desde mi cadiera" un registro de 1974 del cuarteto del saxofonista Frank Wright grabado en el loft de Rashied Ali y que ahora se presenta bajo el título de "Blues for Albert Ayler". En el "Tren Azul" de Luis Díaz García volvemos a la curiosa caja "Swing Surprise-Partie" que recopila grabaciones de swing de la posguerra francesa entre 1945 y 1957. En los "Ritmos Latinos", Anxo indaga en el último trabajo del cantautor Lucas Santtana, "Deus que devasta mas tambén cura". Y Alberto Varela pone contrapunto de blues con la música de Don Vilanova. Toda la información y derechos: http://www.elclubdejazz.com

Henri Texier, Aldo Romano y Louis Sclavis, tres invitados de lujo para esta edición de "Club de Jazz" del 20 de febrero de 2013. Con estos tres grandes del jazz francés charlamos, sobre sus viajes a África que junto al fotógrafo Guy Le Querrec nos han proporcionado tres grabaciones desde que se reunieran por primera vez como trío en 1990 para una gira por diversos países de este continente. También nos dará tiempo a partir viaje en "París", la ciudad en la que ejercen gran parte de su actividad, gracias en este caso a la música de "Songs of the Metropolis" de Gilad Atzmon & The Orient House Ensemble. Jesús Moreno presenta "desde mi cadiera" un registro de 1974 del cuarteto del saxofonista Frank Wright grabado en el loft de Rashied Ali y que ahora se presenta bajo el título de "Blues for Albert Ayler". En el "Tren Azul" de Luis Díaz García volvemos a la curiosa caja "Swing Surprise-Partie" que recopila grabaciones de swing de la posguerra francesa entre 1945 y 1957. En los "Ritmos Latinos", Anxo indaga en el último trabajo del cantautor Lucas Santtana, "Deus que devasta mas tambén cura". Y Alberto Varela pone contrapunto de blues con la música de Don Vilanova. Toda la información y derechos: http://www.elclubdejazz.com

John Coltrane (el Padre) y Pharoah Sanders (el Hijo) purgan nuestros oídos en esta edición de "Club de Jazz" del 11 de julio de 2012. De Pharoah escuchamos su "Village of the Pharoahs" y de Coltrane su "Live at the Vanguard... again!" en el que participa el propio Sanders y músicos como Alice Coltrane (p), Jimmy Garrison (cb), Rashied Ali (bt). Se nos cuela Chavela Vargas con su "La luna grande", homenaje a Federico García Lorca. Descubrimos "Brooklyn Bazaar", primer trabajo del violinista francés Scott Tixier. Los "Ritmos Latinos" de Anxo nos proponen el "Cancionero de romances" de Joaquín Díaz. El "Jazz Porteño" de Alberto Varela nos presenta "Our song", trabajo del saxofonista Gustavo Musso. Y en el "Tren Azul" de Luis Díaz García más padres: los de la guitarra y el violín de jazz Eddie Lang y Joe Venuti. Toda la información y derechos: http://www.elclubdejazz.com

John Coltrane (el Padre) y Pharoah Sanders (el Hijo) purgan nuestros oídos en esta edición de "Club de Jazz" del 11 de julio de 2012. De Pharoah escuchamos su "Village of the Pharoahs" y de Coltrane su "Live at the Vanguard... again!" en el que participa el propio Sanders y músicos como Alice Coltrane (p), Jimmy Garrison (cb), Rashied Ali (bt). Se nos cuela Chavela Vargas con su "La luna grande", homenaje a Federico García Lorca. Descubrimos "Brooklyn Bazaar", primer trabajo del violinista francés Scott Tixier. Los "Ritmos Latinos" de Anxo nos proponen el "Cancionero de romances" de Joaquín Díaz. El "Jazz Porteño" de Alberto Varela nos presenta "Our song", trabajo del saxofonista Gustavo Musso. Y en el "Tren Azul" de Luis Díaz García más padres: los de la guitarra y el violín de jazz Eddie Lang y Joe Venuti. Toda la información y derechos: http://www.elclubdejazz.com

This show features several new releases from March 29. More information about the records is below.*Update!* I think I mentioned in this show that All Eternals Deck was the Mountain Goats third LP, which is obviously incorrect (ouch, indie cred!). What I meant to and should have said was that this is the third LP with a more rock-oriented trio. Sorry, ya'll.Beat City Radio #583 PlaylistDownload show (right-click, save target as): Beat City Radio #583Stream: A Few of This Week's New Releases The Mountain Goats released All Eternals Deck, which takes its name from a fictional set of tarot cards. The album shows that John Darnielle's songwriting is still quite solid and the rhythm section gets a boost from Superchunk drummer Jon Wurster.  Stream the album on NPR's website. Favorite tracks: Damn These Vampires, High Hawk Season, The Autopsy Garland, For Charles Bronson, Birth of Serpents.Hosannas is a duo from Portlandia who create sweeping and beautiful experimental dream pop tinged with cosmic spaghetti western sounds and shoegazing tendencies. They are back with a FREE EP, Thug Life Nicole, that follows the release of their third album, Together late last year. Find out more about the band and download the EP from the link above.Bonus mp3s:   Hosannas - Obsolete PeopleHosannas - Walroos From the Moon Duo website: "Moon Duo was formed by Ripley Johnson of Wooden Shjips and Sanae Yamada in San Francisco in 2009. Inspired initially by the legendary duo of John Coltrane and Rashied Ali, Moon Duo counts such variant groups as Silver Apples, Royal Trux, Moolah, Suicide, and Cluster as touchstones. Utilizing primarily guitar, keyboards, and vocals, the Duo plays space against form to create a primeval sound experience." This experimental psychedelic duo dropped Mazes this week on Sacred Bones Records.Bonus mp3s:Moon Duo - MazesMoon Duo - ScarsMoon Duo - When You Cut The Pains of Being Pure at Heart are a shoegazing bliss/gliss rock quartet from Brooklyn, NY. They released their debut self-titled album a couple of years ago to much critical acclaim. That record was very much rooted in the 80s, with elements of post-punk, dream pop, twee, and the C86 sound. It was a very saccharine heart-on-the-sleeve album, but balanced those elements with some darker tones and distortion. The sophomore album, Belong out on Slumberland Records, builds on the first album's elements and takes them further with a BIG and slick wall of sound production style, courtesy of Flood and Alan Moulder (Smashing Pumpkins, My Bloody Valentine, Depeche Mode). The overall sound of this album is early 90s guitar pop-rock, though there are some synth-washed tracks that recall Modern English and The Cure. Belong is a big-sounding, shimmering and slick, heart-breakingly blissful record that glides along beautifully and is enjoyable, though cloying at times. Favorite tracks: Heart in Your Heartbreak, My Terrible Friend,Anne With an E, The Body.Bonus mp3:The Pains of Being Pure at Heart - I Wanna Go All the Way (B-side of the Belong 7" vinyl single).We also played a new one from Swedish indie rockers Peter Bjorn and John's new album, Gimme Some and a couple from Dirty Beaches. We'll feature Dirty Beaches in another post.Enjoy!Bonus Video: The Pains of Being Pure at Heart - Young Adult Friction from The Pains of Being Pure at Heart out on Slumberland Records in 2009.

Until his untimely death in 2009, Rashied Ali was widely regarded as the doyen of free jazz drummers. He made his name in John Coltrane's quartet and went on to a wide range of musical activity in the forty-two years since Coltrane's death. More of a colourist than a rhythm player, Rashied Ali changed the role of jazz drumming for ever. In a candid interview with Alyn Shipton he explains the importance of John Coltrane to his life and work, and selects the finest records they made together, before also selecting highlights of his discs with Marion Brown, Archie Shepp, Eddie Henderson and his own bands.

Dutch bassist Joris Teepe has lived in New York for the past 20 years, making a name for himself with everyone from Benny Golson to the late Rashied Ali. Recently, Teepe was commissioned to write music for both an orchestra and a big band in Europe. Those two experiences were so positive that he decided to start a big band in New York, and the result is the CD We Take No Prisoners (Challenge Records/Twinz Records, 2009). In this interview, conducted in Teepe's back yard in Englewood, NJ, Teepe talks about how Don Braden helped him learn to arrange for large ensembles; how he approaches the bass in the very different bands of Golson and Ali; and why he decided two decades ago to follow the "New York sound" across the water. Learn more at www.joristeepe.com. Help support The Jazz Session by buying this album via the link below:

Today we feature the music of Carmen Lundy from her latest: "Solamente." We open with "Going to the Ritual" by the late drummer/composer, Rashied Ali. Our guest this morning is Israeli-French filmmaker Simone Bitton, director of "Rachel," a new investigative film about the events surrounding the killing of peace activist Rachel Corrie.

This morning we will speak to Ulysses Owens Jr., drummer, about his work and the legacy of Rashied Ali who passed from this life a week ago. Ali played with John Coltrane and Coltrane's late wife, Alice Coltrane. We'll play some of Ulysses' favorite Rashied tracks along with some of my Ulysses's favorites, from his latest, "U.O. Project 'It's Time for U." "It's Time" is a wonderful work featuring vocals as well as instrumental work, all peppered with Owens' distinctive or perhaps the correct term is signature percussion. We'll take calls if you want to share Rashied Ali memories or reflections. We played music from a number of albums, many from: "No One In Particular" Rashied Ali Quintet featuring:Ravi Coltrane on saxes, Gene Ess on guitar, Greg Murphy on piano, Matt Garrison on bass and the unstoppable spirit of Rashied Ali on drums. Visit http://bitmunk.com/media/6341966. Thursday, August 20, we'll have a special broadcast from 1-3 PM. Guests will be from SF Playhouse's current staging of "One Flew Over the Cuckoo's Nest," and perhaps Lolis Eric Elie, the principle or subject of "Faubourg Tremé: The Untold Story of New Orleans." There is a benefit for the Oakland Public Conservatory Saturday, August 29, 2009. The event is scheduled to coincide with the fourth anniversary of Hurricane Katrina. The event is at 6:30 p.m., Saturday, August 29, at the Kaiser Center Auditorium, 300 Lakeside Drive, 2nd Floor. On hand to discuss the film with audiences will be its co-producer, co-writer and central narrator, nationally renowned New Orleans newspaperman Lolis Eric Elie. Director Dawn Logsdon and producer Lucie Faulknor will also bring their perspective and expertise to the panel discussion.

In this episode, we are joined by Bob Freeman. Topics include MC Hammer's cousin Big Marv, Kirstie Alley, Ice T and Coco, and Squeaky Fromme. Pre-Intro "Free Bigg Marv" by Bob Freeman and Big Tone. Intro Song "A Love Supreme" by John Coltrane. Outro "Preaching the Blues" by The Gun Club.