Podcasts about Ronald Shannon Jackson

Ronald Shannon Jackson's music was open source.  It was not possible to play it correctly without bringing your own voice to it: your background, your proclivities, your vocabulary.  And if you didn't have it to bring, the music wasn't going to make it off the stage.  Jack DeSalvo brought a musical lexicon to the Decoding Society that was unmatched.  When Shannon expressed a mood-- on drums or flute or schalmei or in a composition-- Jack was able to flesh it out in a completely distinct way.  Entire new pathways were charted.     Mitch Goldman presents the third installment of his memorial broadcasts for Ronald Shannon Jackson from 2013, with guest Jack DeSalvo.  This week's show features guest cameos of Prince(!), Iron Maiden(!) Ethan Singer(!), a stolen vanload of gear(!) and that guy at the hotel in the south of France(!).  I tell you, this one is not to be missed.   #WKCR #DeepFocus #MitchGoldman #RonaldShannonJackson #JackDeSalvo #JazzRadio #JazzInterview #JazzPodcast #DecodingSociety   Photo credit: no publishing information available.   Here is part 2 of this episode: 2013.11.18 Jack DeSalvo on Ronald Shannon Jackson - 2 of 3   And here is part 3: 2013.11.18 Jack DeSalvo on Ronald Shannon Jackson - 3 of 3

On our previous Deep Focus, host Mitch Goldman and his guest, saxophonist Eric Person explored the work of the David Murray Octet of the 1980s.  Here was an ensemble that punched far above its weight, with swinging horn parts like a Thirties big band as well eyeball-to-eyeball improvisation like a small ensemble.  They had the storytelling of a traditional group with the expansive harmonies and extended techniques that were being freshly discovered at the time.  It was a laboratory for the music's possible futures, and they grooved like hell.     Could there have been another band at the time that fit this description?  As Eric Person's one-time employer, Ronald Shannon Jackson might have said, "Where there's one there's two."  This week Mitch and Eric explore the equally inventive bands of Arthur Blythe.  His eighties quintet didn't sound like any other band before or since.  It was as if he had exploded a standard hard bop ensemble and rebuilt it with a new kit of parts.     And do you know who that band's original guitarist was?  And have you ever heard live recordings of that band with him in it?  We don't think you have!  Tune in and you will.     This Monday (2/3) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #EricPerson #ArthurBlythe #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman  

On our previous Deep Focus, host Mitch Goldman and his guest, saxophonist Eric Person explored the work of the David Murray Octet of the 1980s.  Here was an ensemble that punched far above its weight, with swinging horn parts like a Thirties big band as well eyeball-to-eyeball improvisation like a small ensemble.  They had the storytelling of a traditional group with the expansive harmonies and extended techniques that were being freshly discovered at the time.  It was a laboratory for the music's possible futures, and they grooved like hell.     Could there have been another band at the time that fit this description?  As Eric Person's one-time employer, Ronald Shannon Jackson might have said, "Where there's one there's two."  This week Mitch and Eric explore the equally inventive bands of Arthur Blythe.  His eighties quintet didn't sound like any other band before or since.  It was as if he had exploded a standard hard bop ensemble and rebuilt it with a new kit of parts.     And do you know who that band's original guitarist was?  And have you ever heard live recordings of that band with him in it?  We don't think you have!  Tune in and you will.     This Monday (2/3) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #EricPerson #ArthurBlythe #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman  

On our previous Deep Focus, host Mitch Goldman and his guest, saxophonist Eric Person explored the work of the David Murray Octet of the 1980s.  Here was an ensemble that punched far above its weight, with swinging horn parts like a Thirties big band, as well eyeball-to-eyeball improvisation like a small ensemble.  They had the storytelling of a traditional group with the expansive harmonies and extended techniques that were being freshly discovered at the time.  It was a laboratory for the music's possible futures, and they grooved like hell.     Could there have been another band at the time that fit this description?  As Eric Person's one-time employer, Ronald Shannon Jackson might have said, "Where there's one there's two."  This week Mitch and Eric explore the equally inventive bands of Arthur Blythe.  His eighties quintet didn't sound like any other band before or since.  It was as if he had exploded a standard hard bop ensemble and rebuilt it with a new kit of parts.     And do you know who that band's original guitarist was?  And have you ever heard live recordings of that band with him in it?  We don't think you have!  Tune in and you will.     This Monday (2/3) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #EricPerson #ArthurBlythe #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman  

For the first episode of 2025, former Rolling Stone staffer and Bay Area photographer Michael Goldberg joins us to reminisce about his music journalism and discuss his new book Jukebox. We start by asking our guest about the influences of San Franciscan "shooters" from Herb Greene to Annie Liebowitz, with special emphasis on Jim Marshall and Baron Wolman. Michael then recounts the story of how — as a 17-year-old living in Mill Valley — he came to interview the Grateful Dead's Jerry Garcia in 1970 for his self-published zine Hard Road. From there we hear about some of the photos Michael took in the '70s, from Frank Zappa in 1975 to the Sex Pistols' final show in 1978. Mention of the great Taj Mahal — photographed by our guest a decade after the country-blues/world-music pioneer posed for Baron Wolman in Topanga — takes us to clips from (and discussion of) a 1982 audio interview with Taj by John Hutchinson. Finally we ask Michael about his stellar writing career from the San Francisco Chronicle to Rolling Stone — and finally to his trailblazing '90s online magazine Addicted to Noise, for whom he interviewed Prince in 1998. Many thanks to special guest Michael Goldberg. Jukebox: Photographs 1967–2023 is published by Hozac Books and available now. Pieces discussed: Introduction to Jukebox, An interview with Baron Wolman, Jim Marshall's jazz images, Jim Marshall, Taj Mahal audio, An audience with Prince, the Beach Boys, Ronald Shannon Jackson, Eric B. & Rakim and the Smash Hits Tour 2000.

I love it when I go to a gig and I see that Micah Gaugh is going to be playing. It means it is certain that something unexpected is going to happen. And Micah surprised me with his selection of a subject for Deep Focus: Ronald Shannon Jackson. I was 19 years old and already a die hard music fan but I had no idea what music could do until I heard Shannon's band, The Decoding Society. Now you're going to hear what I heard then. Caution: severe tire damage! Monday April 2 from 6pm to 9pm on WKCR 89.9FM, WKCR HD-1 and wkcr.org.

I love it when I go to a gig and I see that Micah Gaugh is going to be playing. It means it is certain that something unexpected is going to happen. And Micah surprised me with his selection of a subject for Deep Focus: Ronald Shannon Jackson. I was 19 years old and already a die-hard music fan but I had no idea what music could do until I heard Shannon's band, The Decoding Society. Now you're going to hear what I heard then. Caution: severe tire damage! Monday April 2 from 6pm to 9pm on WKCR 89.9FM, WKCR HD-1 and wkcr.org.

I love it when I go to a gig and I see that Micah Gaugh is going to be playing. It means it is certain that something unexpected is going to happen. And Micah surprised me with his selection of a subject for Deep Focus: Ronald Shannon Jackson. I was 19 years old and already a die hard music fan but I had no idea what music could do until I heard Shannon's band, The Decoding Society. Now you're going to hear what I heard then. Caution: severe tire damage! Monday April 2 from 6pm to 9pm on WKCR 89.9FM, WKCR HD-1 and wkcr.org.   #WKCR #DeepFocus #MicahGaugh #RonaldShannonJackson #ShannonJackson #MitchGoldman #JazzPodcast #JazzRadio #JazzInterview 

Subscribe to The Jazz, Blues and R and B Podcast and Radio Show Period: Also, Subscribe to The Beatles Come To America (limited-run with Brooke Halpin, we review all the Beatles US Albums) To Subscribe go to: Youtube, Itunes, Anchor, Spotify, Amazon Podcasts, Google Podcast, Overcast, Breaker, Castbox, Radio Public, Podbay, Stitcher....and more! Contacts: Email: somethingcamefrombaltimore@gmail.com Twitter: something came from baltimore (@tom_gouker) / Twitter Instagram: Something Came From Baltimore (@something.came.from.baltimore) TheBocX.com - The Jazz, Blues & R&B Podcast and Radio Show Period THE SHOW INFO: Something came from Baltimore is a Podcast and a 30-minute radio show and can be heard weekly (Thursday's at 7pm EST) it's called, SOMETHING came from Baltimore THE SHOW. Check out the Station: Jazz Music Radio - The BocX Streaming Jazzy Music TIPS! (Thank You!) Tom Gouker's Cash App Account: $ThomasGouker Tom Gouker's Venmo Account: Thomas-Gouker --- Send in a voice message: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/message Support this podcast: https://podcasters.spotify.com/pod/show/somethingcame-from-baltim/support

Bassist Reggie Washington was a key participant in the Modern Jazz revolution of the '80s and '90s. He became known touring, recording, and performing with Steve Coleman, Branford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, Cassandra Wilson, Don Byron, Jean-Paul Bourelly, Lester Bowie, and Ronald Shannon Jackson.In 2005, Reggie began successfully touring with his own bands. They were a mix of American & European musicians such as Ravi Coltrane, Gene Lake, Stéphane Galland, Jef Lee Johnson, Erwin Vann, Jacques Schwarz-Bart, E.J Strickland, Jozef Dumoulin, Skoota Warner, Matthew Garrison, Marcus Strickland, Jason Lindner, Poogie Bell, and Ronny Drayton.A versatile, 360-degree musician, Reggie plays Jazz, Funk, R&B, Blues, World, and Experimental music with a natural and contagious energy. His bass lines are both sophisticated and explicit. He is diligent in his work and enjoys mixing people of different cultures as a way to enhance music by learning from others and sharing ideas. Reggie leads the Black Lives Band who has released two stellar albums "Generation to Generation" and "People Of Earth". He also has recorded two albums of songs of his friend, the late great Jef Lee Johnson.Reggie has toured with Archie Shepp, Jacques Schwarz-Bart, The Headhunters, Alex Tassel, Dana Leong, Hervé Samb, Brian Jackson's New Midnight Band “Tribute to Gil Scott Heron”, Rokia Traoré, Randy Brecker, Stanley Jordan, and gospel diva Liz McComb.________"Musicians Reveal with Joe Kelley" Podcast BioRock and Roll Hall of Famer Prince featured the "Upper Room with Joe Kelley and Gi Dussault" on his official website www.npgmusicclub.com. This is the first radio show to have ever received that honor. "Musicians Reveal with Joe Kelley" has been on the radio airwaves since 1982. Joe Kelley and Gi Dussault co-host the show and are well-respected in the music business as creative air personalities and supporters of independent musicians . Our web site is located at www.musiciansreveal.com . The show features creative music in funk, R&B, jazz, blues, rock, hip-hop, latin, and gospel. In addition, Joe Kelley has interviewed renowned musicians such as Victor Wooten, Sheila E. , Foley, Robin Duhe, Jef Lee Johnson, Jellybean Johnson, Monte Moir, Rhonda Smith, Bernie Worrell, Cyndi Lauper, Michael Bland, Larry Graham, Chris Frantz and Tina Weymouth, Steve Smith, St. Paul Peterson, JD Blair, Tori Ruffin, Kat Dyson, Eric Person, actor Jeff Daniels, Junior Giscombe, John Scofield, EC Scott, John Blackwell, Mystic Bowie, and many others.

A playlist to travel the spaceways of Sun Ra and Bernie Worrell, but also those of Ronald Shannon Jackson and Joe Zawinul, experience the Afro Futuristic Dreams of Idris Ackamoor, the grooves of the Adam Dietch Quartet feat. John Scofield and the river streams that have inspired Helen Svoboda and Slowly Rolling Camera. The playlist also features David Helbock; Cindy Blackman Santana, John King; Orquestra Afrosinfônica, Jazzmeia Horn; Kris Davis; John O'Connor, Tim Green; Verneri Pohjola and Josh Arcoleo. Detailed playlist at https://spinitron.com/RFB/pl/17904177/Mondo-Jazz [up to "Flow"]. Happy listening!

THIS WEEK's BIRDS: Amadou Balaké (from the last record); Ronald Shannon Jackson's Decoding Society; Taureg song from Teita Lebid; Frank Mimita (Vintage Angolan pop); from Greece: Trionfas, Greek Fusion Orchestra, Christos Nikolopoulos & Yiorgos Saris; acoustic Mahavishnu; vintage George Sams; vintage Paul Motion; vintage Roland Kirk (pre-Rahsaan); ecstatic Baluchi music from Abdorahman Surizehi, Morâd Salazehiu; Shirley Scott & George Coleman, live at the Left Bank (newly rediscovered); Sory Kandia Kouyaté; Shundu Wembadio; poems from Anne Waldman; Jaki Byard w. Jon Farrell; much, much more ...! LISTEN LIVE: Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG.  via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/17393481/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

This Monday night on Jazz Alternatives, Mitch Goldman welcomes drummer Don McKenzie back to the studio for a very special Deep Focus on the supergroup Last Exit (Peter Brotzmann, Sonny Sharrock, Bill Laswell, Ronald Shannon Jackson), a rebroadcast from 2015. The band was known for its uncompromising musical ferocity, fueled by the band members' confrontational attitudes. Greg Kot wrote that they brought a level of "volume and violence that makes most rock bands sound tame."  Although Last Exit left a mere handful of recordings and made only limited tour dates, they left a reputation for scorched earth; dazzled, sputtering listeners and no apologies.  A quarter century later, however, when the swagger of the music's creators has been set aside, what emerges is magnificent improvisation (they never rehearsed) with glistening shards of beauty from each of the composer/bandleader members.  This will be especially well borne out by the unreleased live recordings to be presented on Monday night, music the world has almost never heard.   Drummer Don McKenzie, well-known for his playing with Elliot Sharp, Marc Ribot, Vernon Reid and Roswell Rudd among many, many others, brings special insight into this ensemble, so often discussed but so seldom brought to light.   WKCR 89.9FM, WKCR HD1 and wkcr.org.   Catch it on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com.   #WKCR #JazzAlternatives #LastExit #DonMcKenzie #DeepFocus #MitchGoldman #PeterBrotzmann #SonnySharrock #BillLaswell #RonaldShannonJackson #JazzRockFusion #NoWave   Photo credit: no publishing information available.

This Monday night on Jazz Alternatives (6pm to 9pm) Mitch Goldman welcomes drummer Don McKenzie back to the studio for a very special Deep Focus on the supergroup Last Exit (Peter Brotzmann, Sonny Sharrock, Bill Laswell, Ronald Shannon Jackson), a rebroadcast from 2015. The band was known for its uncompromising musical ferocity, fueled by the band members' confrontational attitudes. Greg Kot wrote that they brought a level of "volume and violence that makes most rock bands sound tame."  Although Last Exit left a mere handful of recordings and made only limited tour dates, they left a reputation for scorched earth; dazzled, sputtering listeners and no apologies.  A quarter century later, however, when the swagger of the music's creators has been set aside, what emerges is magnificent improvisation (they never rehearsed) with glistening shards of beauty from each of the composer/bandleader members.  This will be especially well borne out by the unreleased live recordings to be presented on Monday night, music the world has almost never heard.   Drummer Don McKenzie, well-known for his playing with Elliot Sharp, Marc Ribot, Vernon Reid and Roswell Rudd among many, many others, brings special insight into this ensemble, so often discussed but so seldom brought to light.   WKCR 89.9FM, WKCR HD1 and wkcr.org.   Catch it on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com.   #WKCR #JazzAlternatives #LastExit #DonMcKenzie #DeepFocus #MitchGoldman #PeterBrotzmann #SonnySharrock #BillLaswell #RonaldShannonJackson #JazzRockFusion #NoWave   Photo credit: no publishing information available.

This Monday night on Jazz Alternatives, Mitch Goldman welcomes drummer Don McKenzie back to the studio for a very special Deep Focus on the supergroup Last Exit (Peter Brotzmann, Sonny Sharrock, Bill Laswell, Ronald Shannon Jackson), a rebroadcast from 2015. The band was known for its uncompromising musical ferocity, fueled by the band members' confrontational attitudes. Greg Kot wrote that they brought a level of "volume and violence that makes most rock bands sound tame."  Although Last Exit left a mere handful of recordings and made only limited tour dates, they left a reputation for scorched earth; dazzled, sputtering listeners and no apologies.  A quarter century later, however, when the swagger of the music's creators has been set aside, what emerges is magnificent improvisation (they never rehearsed) with glistening shards of beauty from each of the composer/bandleader members.  This will be especially well borne out by the unreleased live recordings to be presented on Monday night, music the world has almost never heard.   Drummer Don McKenzie, well-known for his playing with Elliot Sharp, Marc Ribot, Vernon Reid and Roswell Rudd among many, many others, brings special insight into this ensemble, so often discussed but so seldom brought to light.   WKCR 89.9FM, WKCR HD1 and wkcr.org.   Catch it on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com.   #WKCR #JazzAlternatives #LastExit #DonMcKenzie #DeepFocus #MitchGoldman #PeterBrotzmann #SonnySharrock #BillLaswell #RonaldShannonJackson #JazzRockFusion #NoWave   Photo credit: no publishing information available.

This week: Kampec Dolores; Shahida Parveen; WeFreeStrings; Odette Mendes; Leila Pinheiro; Tumi Mogorosi w. Gabi Motuba; Lakis Halkias; Ali Bin Mohammed; Dresch Dudás Mihály Quartet; Kaja Draksler Octet; Kidd Jordan; Ronald Shannon Jackson; Melvin Gibbs; Juanita Euka; The Latin Souls; Blaga Petreska;  ;much more... Always FREE of charge to listen to the radio program on WRFI, or stream, download, and subscribe to the podcast: via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/16068975/Conference-of-the-Birdshttps://spinitron.com/WRFI/pl/16068975/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  We will continue to update playlists at confbirds.blogspot.com 24-48 hours of the program's posting  online. Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

I have said two things all season long. The first is that we're going to be exploring a single topic for ten episodes, and that topic is fusion. But the second thing I've been saying is that what I'm talking about when I say the word fusion isn't a style or a genre, but a state of mind. It's not what you play, it's how you approach music-making.In previous episodes, we've talked about what people typically think of as fusion, which drummer Lenny White, who appeared in episode two of this series, prefers to call jazz-rock. That's the version that more or less starts with Miles Davis's Bitches Brew and Tony Williams' Lifetime and branches out to include Mahavishnu Orchestra and Return To Forever and Weather Report. But my version of that continuum also includes early Seventies Santana, it includes the Fania All Stars collaborating with Jan Hammer and Billy Cobham, it includes adventurous funk and R&B fusion, like P-Funk and Earth, Wind & Fire and the Ohio Players and Slave, and it includes jazz-funk acts like Donald Byrd and Freddie Hubbard and George Duke.Vernon Reid is a guitarist who was born in England but grew up in New York. He's best known as the leader of Living Colour, and one of the co-founders of the Black Rock Coalition along with the late writer Greg Tate, but he's got a long and varied discography that encompasses solo material, duo and trio work with other guitarists like Bill Frisell, David Torn and Elliot Sharp, and guest appearances with a ton of groups from Public Enemy to the Rollins Band, Mick Jagger, Janet Jackson, Mariah Carey, Santana, and many, many more. His solo album Mistaken Identity from 1996 is the only album to carry co-producer credits from Prince Paul and Teo Macero. Back in 2012, he made an album with a group called Spectrum Road which featured John Medeski on keyboards, Jack Bruce on bass, and Cindy Blackman Santana on drums — it was conceptually a tribute to Tony Williams Lifetime, but it's very much its own thing as well, so definitely check that out.Reid got his start, though, with drummer Ronald Shannon Jackson's band the Decoding Society. He played guitar, banjo, and guitar synth with that group, which had two bassists: Melvin Gibbs, who was on this podcast a couple of years ago, and Reverend Bruce Johnson, and then some horn players, mostly Zane Massey on saxophones and Henry Scott on trumpet. It's high-energy music that's also really melodic in a kind of post-Prime Time way — jazz, funk, rock, Texas blues and West African music all swirled together and thrown straight at your face at a hundred miles an hour. Their albums Nasty, Street Priest, Mandance, Barbeque Dog, Montreux Jazz Festival and Earned Dreams are all incredible. They're all out of print right now, too, but some of them are on streaming services, so dig up whatever you can. Reid has a new record out with the group Free Form Funky Freqs, a trio with bassist Jamaaladeen Tacuma, who's also been on this podcast before, and drummer Calvin Weston, and as he explains in this conversation, it's full-on improv, starting from zero every time they play together, and because it's so limited – no rehearsals, no soundchecks with all three members – they know exactly how many times they've played together. The album represents their 73rd encounter. It's called Hymn Of The 3rd Galaxy, sort of a tribute to Return To Forever there, who had an album called Hymn Of The Seventh Galaxy, and you'll hear a little bit of the music late in the podcast. I think you'll really enjoy this episode. I've been a fan of Vernon Reid's music for about 35 years. The first Living Colour album came out when I was in high school, and I saw them play on the first Lollapalooza festival in the summer of 1991. And I interviewed him once before, about 10 years ago, when he was doing a multimedia presentation called Artificial Africa. So in this conversation, we talk about his work with the Decoding Society, about the Free Form Funky Freqs, about the whole wave of guitarists who came up at the same time he did, including Michael Gregory Jackson and Kelvyn Bell and Jean-Paul Bourelly and Brandon Ross, as well as older players like James "Blood" Ulmer and Pete Cosey and Sonny Sharrock… we talk about a lot of things, and I'm just gonna end this introduction here, so you can dive in.MUSIC IN THIS EPISODE:Living Colour, “WTFF” (from Stain)Ronald Shannon Jackson and the Decoding Society, “Iola” (from Mandance)Vernon Reid & Bill Frisell, “Size 10 1/2 Sneaks” (from Smash & Scatteration)Free Form Funky Freqs, “Outer Arm” (from Hymn of the 3rd Galaxy)

Sortie du double album Black Lives, From Generation To Generation chez Jammin'colorS. Cheick Tidiane Seck, Immanuel Wilkins, Stephanie McKay, Sonny Troupé, Jacques Schwarz-Bart, David & Marque Gilmore, Reggie Washington, DJ Grazzhoppa, Jean-Paul Bourelly, Jeremy Pelt, Grégory Privat, Marcus Strickland, Alicia Hall Moran… et tant d'autres réunis sur un même album en un collectif d‘artistes qui continuent de lutter contre le racisme à travers la musique. "La musique est l'arme du futur". Le slogan du totémique Fela Kuti demeure d'actualité en 2021, tant les problèmes qui divisent depuis trop longtemps le monde en noir et blanc restent prégnants dans une société qui semble avoir dans sa grande majorité été sourde aux messages des artistes. Car le Nigérian est loin d'être le seul à avoir porté le débat des droits civiques sur les scènes publiques. Nina Simone comme Bob Marley, Curtis Mayfield comme Abbey Lincoln, Miriam Makeba, comme James Brown, la liste est trop longue des musiciens qui ont fait de leur médium un instrument de luttes. Si les lignes ont bougé sur le terrain de la musique, les fractures sont encore béantes dans un monde qui tend à se replier vers des identités fermées et des idéologies réactionnaires. C'est tout l'enjeu de ce projet, dont le titre renvoie au grand mouvement citoyen américain, qui essaime depuis à travers la planète. Black Lives, from Generation to Generation, un message plus que nécessaire à l'heure où George Floyd comme Adama Traoré sont décédés.   Cette sélection conçue par Stefany Calembert s'en fait l'écho. La productrice entend démontrer la vivacité de ce message qui traverse depuis des décennies les générations et qui aujourd'hui, plus que jamais, incite à agir. Ici, les plus jeunes n'ont guère plus de vingt ans et le vétéran va bientôt fêter ses quatre-vingt printemps. Ils sont nés à Ségou, Bruges, Washington, Chicago, en banlieue de Pointe-à-Pitre comme dans le Bronx. Ils sont américains, martiniquais, sud-africains ou haïtiens, tous unis autour de cette cause commune, qui en rien ne doit gommer la diversité de leurs origines qui s'exprime ainsi dans une profusion stylistique. C'est l'autre objectif de cette sélection : démontrer en vingt titres la créativité d'une communauté afro-diasporique dont la bande-son raconte à travers un foisonnant éclectisme le destin d'hommes et de femmes qui ont su transcender cet originel arrachement à leur continent. Ce son, c'est celui du fond des cales des navires négriers, c'est celui des rythmes réinventés loin de leur terreau ancestral, c'est celui d'une voix qui parvient à sublimer ses douleurs, celui d'un saxophone qui hurle face à la ségrégation. Ce son, c'est celui de l'Atlantique noir, cet océan composé par tant de vies et de morts, cette zone de flux et de remous, d'allers et désormais de retours, d'où auront émergé aussi bien le blues que le rap, le jazz que la biguine. Au cœur ou dans les marges de cet espace informel et pourtant bien réel, ceux qui n'avaient pas le droit à la parole se sont exprimés, un temps dans le secret, aujourd'hui sur tous les canaux médiatiques, faisant résonner au plus haut ce message d'émancipation.   Black Lives from Generation to Generation Jammin'colorS / l'Autre Distribution. À paraître le 25 mars 2022. La liberté d'expression ne serait qu'un mot vain sans la diversité des voix pour la porter. Que l'on se nomme Cheick Tidiane Seck, piano tambour malien ; ou Sonny Troupé, tambour enchanté guadeloupéen ; Reggie Washington, maître groover dont la basse narre toute l'épopée du jazz ; ou Jean-Paul Bourelly, érudit chercheur de son qui creuse un singulier sillon en direction d'Haïti. C'est de cela dont parle cette sélection : des maux dits blues, de la soul engagée, des phrasés qui tonnent… Tous ceux-là cohabitent autour d'un même désir d'en finir avec cette vision en noir et blanc qui n'a que trop duré, aussi bien Alicia Hall Moran, mezzo-soprano qui entremêle culture classique et improvisation débridée, que Kokayi, chantre hip-hop capable de délirer sur les octaves, DJ Grazzhoppa dont la science des platines se joue au-delà des querelles de chapelles comme Jacques Schwarz-Bart dont le saxophone s'est illustré autant du côté de la bonne vieille nu-soul que du jazz aux accents caribéens. Pas de transes portées sans cette fondamentale diversalité d'horizons, tel un juste écho à la féconde pensée post-moderne d'Édouard Glissant qui, pour avoir été parmi les activistes du premier Congrès des artistes et écrivains noirs à la Sorbonne en 1956, n'en fut moins, dans les mêmes années, engagé dans la lutte contre la guerre coloniale en Algérie. Le poète philosophe martiniquais ne disait-il pas : "Depuis la révolution de Césaire et tout ce qui s'ensuit, nous commençons à comprendre que nous sommes un peuple et une culture composites. Et ceci, aujourd'hui, n'est pas un manque et un vice, c'est pratiquement un avantage". Nos invités sont Cheick Amadou Tidiane Seck, Sonny Troupé, Reggie Washington, Guimba Tamba Kouyaté et Stefany Calembert-Washington (productrice exécutive).   Titres Interprétés à RFI au Grand studio - Sanga Bô, LIVE RFI Vidéo RFI Vidéos - Walk Feat. Alicia Hall Moran, extrait de Black Lives - Siya Woloma, LIVE RFI (version originale sur l'album Mandin Groove 2003) Vidéo RFI Vidéos.   Son : Benoît Letirant & Mathias Taylor.   CHEICK TIDIANE SECK (voix, claviers). Né en 1953 à Ségou, Mali. Compositeur, arrangeur et musicien, Cheick a écrit et joué avec des artistes tels que Fela Kuti, Mory Kanté, Salif Keita, Youssou N‘Dour, Manu Dibango, Dee Dee Bridgewater, Joe Zawinul. Il est connu pour son album avec Hank Jones intitulé Sarala. SONNY TROUPÉ (batterie). Né en 1978 aux Abymes, Guadeloupe. Sonny joue des instruments tels que le tambour ka ainsi que de la batterie, et mélange la musique traditionnelle guadeloupéenne et le jazz moderne. Il collabore avec David Murray, Kenny Garrett, Reggie Washington, Mario Canonge, Grégory Privat, Jacques Schwarz Bart, Magic Malik, Lionel Loueke, Alain Jean Marie. REGGIE WASHINGTON (basse). Né en 1962 à Staten Island, New York. Reggie a été un participant-clé de la révolution Modern Jazz des années 80 et 90. Il s‘est fait connaître en tournée, en enregistrant et en jouant avec Steve Coleman, Branford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, The Headhunters, Cassandra Wilson, Don Byron, Jean-Paul Bourelly et Ronald Shannon Jackson. Et pour cette session, le guitariste malien Guimba Tamba Kouyaté était présent. Il est déjà venu dans notre studio avec Oumou Sangaré. + Bonus Tracks - Super Biton de Ségou Ndossoke (AfroJazzFolk Collection Vol.1/ Mieruba/Deviation 2022) - Vieux Farka Gabou Ni Tie (Les Racines/ World Circuit/BMG 2022).   Réalisation : Steven Helsly.

As you know if you've been listening this season, we have a single subject we're going to be exploring across ten episodes, and that subject is fusion. Fusion means much more, I think, than just the music that most people think of when they hear the word. I'm not talking exclusively about the big-name bands from the 1970s: the Mahavishnu Orchestra, Return to Forever, and Weather Report. Those groups, and the Miles Davis bands from 1969 to 1975, and many other less immediately recognizable groups, all did the classic fusion thing, playing extremely complex music that blurred the lines between progressive rock and jazz. We talked about those acts in the second and third episodes this season, when I interviewed drummer Lenny White and trumpeter Randy Brecker, both of whom were around then and were actively participating in making that music.If you think of fusion as a mindset, though, rather than a style of music, the discussion gets a lot more interesting. And that's really how I prefer to think about it. It's not just a specific narrow slice of music, it's a way you approach any kind of music you make. KRS-One said rapping is something you do, hip-hop is something you live. And that's kind of close to what I'm talking about here, conceptually speaking. Fusion can be a style of music, or it can be a way you approach the making of music. And the people who fall into the latter category are the ones who I find to be the most interesting, and the ones who are more likely to have careers where almost every record they play on is at least worth hearing, worth giving a chance. You may not like all of it. But they're creative enough that they've earned the benefit of the doubt.Brandon Ross is one of those guys. He's been on a hell of an artistic journey over the course of the last forty-some years. His first recording was on an Archie Shepp album from 1975, There's a Trumpet in My Soul. He worked with violinist Leroy Jenkins. He worked with saxophonists Marion Brown and Oliver Lake. He worked with Henry Threadgill for something like ten years, in multiple bands or one evolving band. He worked with Cassandra Wilson on her breakout album, Blue Light Til Dawn, and the follow-up, New Moon Daughter. He's made albums under his own name. The reason a lot of people probably know his name right now is he's the guitar player in Harriet Tubman, with bassist Melvin Gibbs, who's been on this podcast before, and drummer JT Lewis.And now here's the really interesting part – Brandon Ross has an album coming out a little later this year on my label, Burning Ambulance Music. He's got a new group, see, called Breath Of Air, which is a trio featuring violinist Charles Burnham and drummer Warren Benbow. Something I learned in this interview, by the way, is that Brandon has done the guitar-violin thing several times, with Leroy Jenkins and also with Terry Jenoure, a very interesting violin player who isn't nearly as well known as she ought to be. When I was researching Brandon to come up with questions for this interview, I learned about her and now I'm gonna be diving into her catalog, and I suggest you do the same. Some of her music is on streaming services; she released a 3CD set called Portal last year that's fantastic. Anyway, Breath Of Air has a self-titled debut, most of which was recorded live in February 2020, right before the pandemic started and live music went away, and like I said it'll be out a little bit later this year.In the meantime, enjoy this conversation between me and Brandon Ross. We talk about his work with Henry Threadgill, about his work with Cassandra Wilson, about Archie Shepp and Oliver Lake and Marion Brown, about Harriet Tubman, about the sort of No Wave punk-funk jazz scene of the late '70s and early '80s that included Ornette Coleman's Prime Time and Ronald Shannon Jackson's Decoding Society and all the other guitarists that came out of that scene, including Michael Gregory Jackson and Kelvyn Bell and Jean-Paul Bourelly and James "Blood" Ulmer and Vernon Reid… we also talk about his particular approach to the guitar and to sound. There's a lot to learn and a lot to think about in the hour or so of conversation you're about to hear. I hope you enjoy listening to it.Music in this episode:Breath Of Air, “No One On Earth Can See You Anymore” (from Breath Of Air)Henry Threadgill, “Little Pocket Size Demons” (from Too Much Sugar For A Dime)Harriet Tubman, “Farther Unknown” (from The Terror End Of Beauty)

Sortie du double album Black Lives, From Generation To Generation chez Jammin'colorS. Cheick Tidiane Seck, Immanuel Wilkins, Stephanie McKay, Sonny Troupé, Jacques Schwarz-Bart, David & Marque Gilmore, Reggie Washington, DJ Grazzhoppa, Jean-Paul Bourelly, Jeremy Pelt, Grégory Privat, Marcus Strickland, Alicia Hall Moran… et tant d'autres réunis sur un même album en un collectif d‘artistes qui continuent de lutter contre le racisme à travers la musique. "La musique est l'arme du futur". Le slogan du totémique Fela Kuti demeure d'actualité en 2021, tant les problèmes qui divisent depuis trop longtemps le monde en noir et blanc restent prégnants dans une société qui semble avoir dans sa grande majorité été sourde aux messages des artistes. Car le Nigérian est loin d'être le seul à avoir porté le débat des droits civiques sur les scènes publiques. Nina Simone comme Bob Marley, Curtis Mayfield comme Abbey Lincoln, Miriam Makeba, comme James Brown, la liste est trop longue des musiciens qui ont fait de leur médium un instrument de luttes. Si les lignes ont bougé sur le terrain de la musique, les fractures sont encore béantes dans un monde qui tend à se replier vers des identités fermées et des idéologies réactionnaires. C'est tout l'enjeu de ce projet, dont le titre renvoie au grand mouvement citoyen américain, qui essaime depuis à travers la planète. Black Lives, from Generation to Generation, un message plus que nécessaire à l'heure où George Floyd comme Adama Traoré sont décédés.   Cette sélection conçue par Stefany Calembert s'en fait l'écho. La productrice entend démontrer la vivacité de ce message qui traverse depuis des décennies les générations et qui aujourd'hui, plus que jamais, incite à agir. Ici, les plus jeunes n'ont guère plus de vingt ans et le vétéran va bientôt fêter ses quatre-vingt printemps. Ils sont nés à Ségou, Bruges, Washington, Chicago, en banlieue de Pointe-à-Pitre comme dans le Bronx. Ils sont américains, martiniquais, sud-africains ou haïtiens, tous unis autour de cette cause commune, qui en rien ne doit gommer la diversité de leurs origines qui s'exprime ainsi dans une profusion stylistique. C'est l'autre objectif de cette sélection : démontrer en vingt titres la créativité d'une communauté afro-diasporique dont la bande-son raconte à travers un foisonnant éclectisme le destin d'hommes et de femmes qui ont su transcender cet originel arrachement à leur continent. Ce son, c'est celui du fond des cales des navires négriers, c'est celui des rythmes réinventés loin de leur terreau ancestral, c'est celui d'une voix qui parvient à sublimer ses douleurs, celui d'un saxophone qui hurle face à la ségrégation. Ce son, c'est celui de l'Atlantique noir, cet océan composé par tant de vies et de morts, cette zone de flux et de remous, d'allers et désormais de retours, d'où auront émergé aussi bien le blues que le rap, le jazz que la biguine. Au cœur ou dans les marges de cet espace informel et pourtant bien réel, ceux qui n'avaient pas le droit à la parole se sont exprimés, un temps dans le secret, aujourd'hui sur tous les canaux médiatiques, faisant résonner au plus haut ce message d'émancipation.   Black Lives from Generation to Generation Jammin'colorS / l'Autre Distribution. À paraître le 25 mars 2022. La liberté d'expression ne serait qu'un mot vain sans la diversité des voix pour la porter. Que l'on se nomme Cheick Tidiane Seck, piano tambour malien ; ou Sonny Troupé, tambour enchanté guadeloupéen ; Reggie Washington, maître groover dont la basse narre toute l'épopée du jazz ; ou Jean-Paul Bourelly, érudit chercheur de son qui creuse un singulier sillon en direction d'Haïti. C'est de cela dont parle cette sélection : des maux dits blues, de la soul engagée, des phrasés qui tonnent… Tous ceux-là cohabitent autour d'un même désir d'en finir avec cette vision en noir et blanc qui n'a que trop duré, aussi bien Alicia Hall Moran, mezzo-soprano qui entremêle culture classique et improvisation débridée, que Kokayi, chantre hip-hop capable de délirer sur les octaves, DJ Grazzhoppa dont la science des platines se joue au-delà des querelles de chapelles comme Jacques Schwarz-Bart dont le saxophone s'est illustré autant du côté de la bonne vieille nu-soul que du jazz aux accents caribéens. Pas de transes portées sans cette fondamentale diversalité d'horizons, tel un juste écho à la féconde pensée post-moderne d'Édouard Glissant qui, pour avoir été parmi les activistes du premier Congrès des artistes et écrivains noirs à la Sorbonne en 1956, n'en fut moins, dans les mêmes années, engagé dans la lutte contre la guerre coloniale en Algérie. Le poète philosophe martiniquais ne disait-il pas : "Depuis la révolution de Césaire et tout ce qui s'ensuit, nous commençons à comprendre que nous sommes un peuple et une culture composites. Et ceci, aujourd'hui, n'est pas un manque et un vice, c'est pratiquement un avantage". Nos invités sont Cheick Amadou Tidiane Seck, Sonny Troupé, Reggie Washington, Guimba Tamba Kouyaté et Stefany Calembert-Washington (productrice exécutive).   Titres Interprétés à RFI au Grand studio - Sanga Bô, LIVE RFI Vidéo RFI Vidéos - Walk Feat. Alicia Hall Moran, extrait de Black Lives - Siya Woloma, LIVE RFI (version originale sur l'album Mandin Groove 2003) Vidéo RFI Vidéos.   Son : Benoît Letirant & Mathias Taylor.         CHEICK TIDIANE SECK (voix, claviers). Né en 1953 à Ségou, Mali. Compositeur, arrangeur et musicien, Cheick a écrit et joué avec des artistes tels que Fela Kuti, Mory Kanté, Salif Keita, Youssou N‘Dour, Manu Dibango, Dee Dee Bridgewater, Joe Zawinul. Il est connu pour son album avec Hank Jones intitulé Sarala. SONNY TROUPÉ (batterie). Né en 1978 aux Abymes, Guadeloupe. Sonny joue des instruments tels que le tambour ka ainsi que de la batterie, et mélange la musique traditionnelle guadeloupéenne et le jazz moderne. Il collabore avec David Murray, Kenny Garrett, Reggie Washington, Mario Canonge, Grégory Privat, Jacques Schwarz Bart, Magic Malik, Lionel Loueke, Alain Jean Marie. REGGIE WASHINGTON (basse). Né en 1962 à Staten Island, New York. Reggie a été un participant-clé de la révolution Modern Jazz des années 80 et 90. Il s‘est fait connaître en tournée, en enregistrant et en jouant avec Steve Coleman, Branford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, The Headhunters, Cassandra Wilson, Don Byron, Jean-Paul Bourelly et Ronald Shannon Jackson. Et pour cette session, le guitariste malien Guimba Tamba Kouyaté était présent. Il est déjà venu dans notre studio avec Oumou Sangaré. + Bonus Tracks - Super Biton de Ségou Ndossoke (AfroJazzFolk Collection Vol.1/ Mieruba/Deviation 2022) - Vieux Farka Gabou Ni Tie (Les Racines/ World Circuit/BMG 2022).   Réalisation : Steven Helsly.

Melvin has played bass on over 200 albums since 1980 in the worlds of jazz, rock, and hip-hop, and has numerous songwriting credits, playing with Defunkt, Arto Lindsay, Henry Rollins, Bernie Worrell, Vernon Reid, etc. We discuss his solo tune featuring Kokayi "Get Some" from 4+1 Equals 5 for May 25 (2021), the title track from The Terror End Of Beauty (2018) by his trio Harriet Tubman, and "Howard Beach Memoirs" by Power Tools (with Bill Frisell and Ronald Shannon Jackson) from Strange Meeting (1987). We end by listening to "Canto por Odudua" by Melvin Gibbs' Elevated Entity from Ancients Speak (2009) Intro: "Melvin's Tune" from Defunkt (1980). More at music.melvin-gibbs.com. Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon. Sponsors: Visit HelloFresh.com/examined14 and use code examined14 for up to 14 free meals with free shipping. Save 10% on Nebia shower stuff by using code nem at nebia.com/nem (excludes pre-order products).

"And Senator: can you imagine being able to smell a flower - on the planet Mars?" Strangers on a Train, Directed by Alfred Hitchcock, performance by Robert Walker, Warner Bros., 1951. "The Decoding Society was a band but it was also a way of thinking about things.  Shannon would always say, 'It ain't what you think it is. What you think it is? It ain't that.'" Vernon Reid, Deep Focus with host Mitch Goldman, WKCR, New York, Dec.2, 2013   What if you saw a group of people who appeared to be talking amongst themselves at great distance and you didn't know that they had just invented the cel phone?  You might think they were crazy or, if you're very perceptive, you still might be completely baffled, entranced, just utterly gobsmacked.  Now, if invited, would you join the conversation?  Vernon Reid's answer to that question was yes.  And that response granted him access to places far beyond the bounds of the known universe.  Join us for this memorial broadcast for Ronald Shannon Jackson from 2013, the last in a series of 4 broadcasts.  Our money-back guarantee: all shall be revealed.   Now that we have nearly 200 episodes posted, many of you have asked for a way to search through old episodes.  Your request has been answered.  You'll find a search bar at https://mitchgoldman.com/about-deep-focus/   #WKCR #DeepFocus #MitchGoldman #VernonReid #RonaldShannonJackson #LivingColour #JazzInterview #JazzRadio   Photo credit: no publishing information available.

Melvin has played bass on over 200 albums since 1980 in the worlds of jazz, rock, and hip-hop, and has numerous songwriting credits, playing with Defunkt, Arto Lindsay, Henry Rollins, Bernie Worrell, Vernon Reid, etc. We discuss his solo tune featuring Kokayi "Get Some" from 4+1 Equals 5 for May 25 (2021), the title track from The Terror End Of Beauty (2018) by his trio Harriet Tubman, and "Howard Beach Memoirs" by Power Tools (with Bill Frisell and Ronald Shannon Jackson) from Strange Meeting (1987). We end by listening to "Canto por Odudua" by Melvin Gibbs' Elevated Entity from Ancients Speak (2009) Intro: "Melvin's Tune" from Defunkt (1980). More at music.melvin-gibbs.com. Hear more Nakedly Examined Music. Like our Facebook page. Support us on Patreon. Sponsors: Visit HelloFresh.com/examined14 and use code examined14 for up to 14 free meals with free shipping. Save 10% on Nebia shower stuff by using code nem at nebia.com/nem (excludes pre-order products).

"And Senator: can you imagine being able to smell a flower - on the planet Mars?" Strangers on a Train, Directed by Alfred Hitchcock, performance by Robert Walker, Warner Bros., 1951. "The Decoding Society was a band but it was also a way of thinking about things.  Shannon would always say, 'It ain't what you think it is. What you think it is? It ain't that.'" Vernon Reid, Deep Focus with host Mitch Goldman, WKCR, New York, Dec. 2, 2013 What if you saw a group of people who appeared to be talking amongst themselves at great distance and you didn't know that they had just invented the cel phone?  You might think they were crazy or, if you're very perceptive, you still might be completely baffled, entranced, just utterly gobsmacked.  Now, if invited, would you join the conversation?  Vernon Reid's answer to that question was yes.  And that response granted him access to places far beyond the bounds of the known universe.  Join us for this memorial broadcast for Ronald Shannon Jackson from 2013, the last in a series of 4 broadcasts.  Our money-back guarantee: all shall be revealed.   Now that we have nearly 200 episodes posted, many of you have asked for a way to search through old episodes.  Your request has been answered.  You'll find a search bar at https://mitchgoldman.com/about-deep-focus/   #WKCR #DeepFocus #MitchGoldman #VernonReid #RonaldShannonJackson #LivingColour #JazzInterview #JazzRadio   Photo credit: no publishing information available.

"And Senator: can you imagine being able to smell a flower - on the planet Mars?" Strangers on a Train, Directed by Alfred Hitchcock, performance by Robert Walker, Warner Bros., 1951. "The Decoding Society was a band but it was also a way of thinking about things.  Shannon would always say, 'It ain't what you think it is. What you think it is? It ain't that.'" Vernon Reid, Deep Focus with host Mitch Goldman, WKCR, New York, Dec.2, 2013 What if you saw a group of people who appeared to be talking amongst themselves at great distance and you didn't know that they had just invented the cel phone?  You might think they were crazy or, if you're very perceptive, you still might be completely baffled, entranced, just utterly gobsmacked.  Now, if invited, would you join the conversation?  Vernon Reid's answer to that question was yes.  And that response granted him access to places far beyond the bounds of the known universe.  Join us for this memorial broadcast for Ronald Shannon Jackson from 2013, the last in a series of 4 broadcasts.  Our money-back guarantee: all shall be revealed.   Now that we have nearly 200 episodes posted, many of you have asked for a way to search through old episodes.  Your request has been answered.  You'll find a search bar at https://mitchgoldman.com/about-deep-focus/   #WKCR #DeepFocus #MitchGoldman #VernonReid #RonaldShannonJackson #LivingColour #JazzInterview #JazzRadio   Photo credit: no publishing information available.

Ronald Shannon Jackson's music was open source.  It was not possible to play it correctly without bringing your own voice to it: your background, your proclivities, your vocabulary.  And if you didn't have it to bring, the music wasn't going to make it off the stage.  Jack DeSalvo brought a musical lexicon to the Decoding Society that was unmatched.  When Shannon expressed a mood-- on drums or flute or schalmei or in a composition-- Jack was able to flesh it out in a completely distinct way.  Entire new pathways were charted.     Mitch Goldman presents the third installment of his memorial broadcasts for Ronald Shannon Jackson from 2013, with guest Jack DeSalvo.  This week's show features guest cameos of Prince(!), Iron Maiden(!) Ethan Singer(!), a stolen vanload of gear(!) and that guy at the hotel in the south of France(!).  I tell you, this one is not to be missed.   #WKCR #DeepFocus #MitchGoldman #RonaldShannonJackson #JackDeSalvo #JazzRadio #JazzInterview #JazzPodcast #DecodingSociety   Photo credit: no publishing information available.

Ronald Shannon Jackson's music was open source.  It was not possible to play it correctly without bringing your own voice to it: your background, your proclivities, your vocabulary.  And if you didn't have it to bring, the music wasn't going to make it off the stage.  Jack DeSalvo brought a musical lexicon to the Decoding Society that was unmatched.  When Shannon expressed a mood-- on drums or flute or schalmei or in a composition-- Jack was able to flesh it out in a completely distinct way.  Entire new pathways were charted.     Mitch Goldman presents the third installment of his memorial broadcasts for Ronald Shannon Jackson from 2013, with guest Jack DeSalvo.  This week's show features guest cameos of Prince(!), Iron Maiden(!) Ethan Singer(!), a stolen vanload of gear(!) and that guy at the hotel in the south of France(!).  I tell you, this one is not to be missed.   #WKCR #DeepFocus #MitchGoldman #RonaldShannonJackson #JackDeSalvo #JazzRadio #JazzInterview #JazzPodcast #DecodingSociety   Photo credit: photo by Dany G.

Part 2 of the rebroadcasts of the Ronald Shannon Jackson memorial broadcasts from 2013.  Melvin Gibbs opens up about the genesis of the Decoding Society, including cameos of Ornette Coleman, Gil Evans, the Bad Brains and many more.  Also featuring an ultra-rare live recording of the Encryption Trio (Jackson, Reid, Gibbs).  Mind expansion.   Monday night from 6pm to 9pm on WKCR 89.9FM, WKCR HD-1 and wkcr.org.   #WKCR #DeepFocus #MitchGoldman #RonaldShannonJackson #DecodingSociety #MelvinGibbs #JazzRadio #JazzInterview #JazzPodcast  #OrnetteColeman  #BernNix #GilEvans #EncryptionTrio   Photo credit: Ronald Shannon Jackson 06N5970 - license creativecommons.org-licenses-by-sa-3.0.

Part 2 of the rebroadcasts of the Ronald Shannon Jackson memorial broadcasts from 2013.  Melvin Gibbs opens up about the genesis of the Decoding Society, including cameos of Ornette Coleman, Gil Evans, the Bad Brains and many more.  Also featuring a very rare live recording of the Encryption Trio.  Mind expansion.   Monday night from 6pm to 9pm on WKCR 89.9FM, WKCR HD-1 and wkcr.org.  T #WKCR #DeepFocus #MitchGoldman #RonaldShannonJackson #DecodingSociety #MelvinGibbs #JazzRadio #JazzInterview #JazzPodcast  #OrnetteColeman  #BernNix #GilEvans #EncryptionTrio   Photo credit: no publishing information available.

Part 2 of the rebroadcasts of the Ronald Shannon Jackson memorial broadcasts from 2013 (check out "2013.10.21 Eric Person and Roger Cramer on Ronald Shannon Jackson" for part 1).  Melvin Gibbs opens up about the genesis of the Decoding Society, including cameos of Ornette Coleman, Gil Evans, the Bad Brains and many more.  Also featuring a live recording of the Decoding Society at the height of its powers from London's Roundhouse.  Mind expansion.   Monday night from 6pm to 9pm on WKCR 89.9FM, WKCR HD-1 and wkcr.org.  #WKCR #DeepFocus #MitchGoldman #RonaldShannonJackson #DecodingSociety #MelvinGibbs #JazzRadio #JazzInterview #JazzPodcast  #OrnetteColeman  #BernNix #GilEvans #LondonRoundhouse #Roundhouse   Photo credit: no publishing information available.

"He sucked all the air out of the room and turned it back into this wonderful... fragrance."  That's Ronald Shannon Jackson talking about Albert Ayler, his spiritual avatar.  Leave aside the unrivaled, prodigious drumming; the utterly singular style of bandleading; the absolutely distinctive composing.  Like Ayler before him, Ronald Shannon Jackson's music brought a spiritual force.  It could change the way the world looked-- yes, the way it smelled and tasted and felt.     Shannon Jackson died on Saturday October 19, 2013.  Two days later WKCR presented a memorial broadcast that included 2 of his closest friends and collaborators: saxophonist/flutist Eric Person and manager Roger Cramer, with nearly unheard rarities from the WKCR archives.  This episode of Deep Focus is from the first of 4 consecutive broadcasts on Ronald Shannon Jackson.    #WKCR #DeepFocus #MitchGoldman #RonaldShannonJackson #EricPerson #RogerCramer #AlbertAyler #JazzRadio #JazzInterview #JazzPodcast  #OrnetteColeman    Photo credit: no information available.

"He sucked all the air out of the room and turned it back into this wonderful... fragrance."  That's Ronald Shannon Jackson talking about Albert Ayler, his spiritual avatar.  Leave aside the unrivaled, prodigious drumming; the utterly singular style of bandleading; the absolutely distinctive composing.  Like Ayler before him, Ronald Shannon Jackson's music brought a spiritual force.  It could change the way the world looked-- yes, the way it smelled and tasted and felt.     Shannon Jackson died on Saturday October 19, 2013.  Two days later WKCR presented a memorial broadcast that included 2 of his closest friends and collaborators: saxophonist/flutist Eric Person and manager Roger Cramer.  This Monday from 6pm to 9pm EDT on Mitch Goldman's Deep Focus, WKCR rebroadcasts this program with nearly unheard rarities from the WKCR archives.  This episode of Deep Focus is the first of 4 consecutive broadcasts on Ronald Shannon Jackson.    Tuesday morning the show goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #DeepFocus #MitchGoldman #RonaldShannonJackson #EricPerson #RogerCramer #AlbertAyler #JazzRadio #JazzInterview #JazzPodcast  #OrnetteColeman    Photo credit: no information available.

A sit down with bassist and composer Melvin Gibbs. Emerging from the fertile New York art scene of the early '80s where he played with Defunkt, Gibbs has brought grace and heaviness to work with Arto Lindsey, John Zorn, Caetano Veloso, Bill Frisell, Ronald Shannon Jackson, Sonny Sharrock, and dozens more jazz luminaries, in rock bands like Rollins Band and Harriet Tubman, and on records by dead prez and David Byrne. His latest project is an EP, 4 + 1 equals 5 for May 25. which reflects on the murder of George Floyd and the spirit of the protests that arose in its wake. He also teams with visionary drummer Greg Fox and guitarists Sahsa-Frere Jones and Grey McMurray in Body Meπa, which recently released The Work Is Slow, a mind-melter of rock abstraction. Gibbs joined host Jason P. Woodbury for a wide-ranging discussion this week on Aquarium Drunkard Transmissions.

Episode 37 Youseff Yancy--Pioneer of Electronic Jazz, Part 2   Playlist Youseff Yancy and Genie Walker, "That Look" (circa 1979 from a privately recorded cassette tape). This recording is from a cassette and was digitally restored by Genie Walker.  Composer, vocals, Genie (Sherman) Walker; flugelhorn, electronics, Youseff Yancy. Recorded circa 1979. 3:41. Byard Lancaster, “Sweetness” from Documentation The End of a Decade (1980 Bellows). Theremin, Youseff Yancy; flute, Bayard Lancaster; vocal, Joan Hanson. This recording for solo voice and Theremin was later sampled in entirety for a rendition called “Heavenly Sweetness” by Better Daze, complete with electronic accompaniment (1995 Ubiquity). 4:25. Garrett List / A-1 Band, “Sweetness” from ‎Fire & Ice (1982 Lovely Music). Alto Saxophone, Byard Lancaster; Theremin, Electronics, Youseff Yancy; Vocals, Genie Sherman. 4:11. Garrett List / A-1 Band, “Fly Hollywood” from ‎Fire & Ice (1982 Lovely Music). Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman. 4:12. Calvin Owens and His Blues Orchestra, “Vincent Van Gogh” from That's Your Booty (1996 Sawdust Alley). Trumpet solo and vocals, Calvin Owens; Theremin, Youseff Yancy; Alto Saxophone, Tenor Saxophone, Eddy De Vos, Kurt van Herck, Peter Vandendriessche; Backing Vocals, B. J. Scott, Frank Deruytter, Mieke Belange, Yan De Bryun; Baritone Saxophone, Bo Vander Werf, Johan Vandendriessche; Bass, Ban Buls, Roman Korohek; Cello, B. Piatkowski, X. Gao; Drums, Cesar Janssens, Laurent Mercier; Guitar, Marty Townsend, Yan De Bryun; Keyboards, Rafael Van Goubergen; Organ, Peter Van Bogart; Saxophone, Jimmy Heath; Tenor Saxophone, David "Fathead" Newman, Shelly Caroll Paul; Trombone, Marc Godfroid, Yan De Breker; Trumpet, Andy Haderer, Rüdiger Baldauf; Violin, D. Ivanov, E. Kouyoumdjian; Vocals, Archie Bell, Otis Clay, Ruby Wilson. 6:23. Hooverphonic, “‎L'Odeur Animale” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Theremin, trumpet, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 3:48. Hooverphonic, “‎Jackie Cane” from The Magnificent Tree (2000 Columbia). Guitar, Raymond Geerts; Keyboards, Bass, Programmed by Alex Callier; Vocals, Geike Arnaert; Theremin, Youseff Yancy; Fairlight, Effects, Dan Lacksman. 4:21. James Baldwin, David Linx, Pierre Van Dormael , “A Lover's Questions Part II” from A Lover's Question (1999 Label Bleu). Poetry written and read by James Baldwin; produced by David Linx, Pierre Van Dormael; Trumpet, Theremin, Youseff Yancy; Harmonica, Toots Thielmans; backing vocals, Téjan Karefa-Smart; Percussion, Chris Joris; Saxophone, Flute, Percussion, Voice, Byard Lancaster; Vocals, Deborah Brown; Vocals, Drums, Percussion, David Linx. Poetry of James Baldwin set to jazz, features Yancy on two tracks. 6:47. Opening background music: Garrett List / A-1 Band, “Passions of Miles” from ‎Fire & Ice (1982 Lovely Music). Composed by, Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman. 5:54. Second background track: Byard Lancaster, “Blue Nature” from, Documentation The End of a Decade (1980 Bellows). Theremin and trumpet, Youseff Yancy. Recorded in New York in 1979, this is a multi-tracked, solo performance by Yancy on his own composition. One track of straight trumpet, at least one track of electronically modified trumpet, and another track of Theremin. On the liner notes, “B. Lancaster acknowledges the spiritual and education guidance from Youseff Yancy and family.” 2:43. Opening and closing sequences voiced by Anne Benkovitz.  

The opposite of politeness, sucky sucky bloodsuckers, ego destruction on the subway. The two improvisatory collaborators discuss their important albums.

Facebook: https://www.facebook.com/thebestmusicpodcast Blog: https://bestmusiccoach.blogspot.com Twitter: https://www.twitter.com/thebestmusicpod Instagram: https://www.instagram.com/thebestmusicpodcast/ You can find Dave: Website: https://www.davidfiuczynski.com/ Facebook: @fuzeofficial Website: http://www.torsos.com/ Facebook: @ScreamingHeadlessTorsos Dave's Microtonal Music: https://www.rarenoiserecords.com/artists/david-fiuczynski/ David “Fuze” Fiuczynski is an iconoclastic innovator and a rebel with a guitar. Fluent in funk, rock, fusion, wicked fretless blues slides, Eastern melodicism, Western microtonalism, and everything in-between, his remarkably open-minded and versatile approach to his instrument and music, in general, has made him a “first call” player, and lead to tours and recording projects with a remarkably diverse cast of characters, including Stewart Copeland (The Police), Jack DeJohnette (Miles Davis, John Coltrane), John Zorn, Hiromi, JoJo Mayer, Dennis Chambers, Rudresh Mahanthappa, Marcus Miller, Billy Hart, John Medeski, Ronald Shannon Jackson's Decoding Society, and countless others. He has played on nearly 100 recordings as a session musician, bandleader, or band member, won a Guggenheim Fellowship in 2011, and is a professor at the prestigious Berklee College of Music in Boston. Best known as the leader of the Screaming Headless Torsos, KiF, and as a member of Hasidic New Wave, Fuze launched Planet MicroJam, an institute that explores the use of microtones in groove, jazz, ethnic, folk, and other contexts, in 2012. With this impressive resume under his belt, the mad-scientist guitar hero is now seeking to bring his music to new audiences. #Fuze #screamingheadlesstorsos #microtones 0:00 Intro 2:14 Masterclass: Microtones 12:22 Masterclass: Microtonal harmony 14:44 Mystic Microjam 16:34 More microtones 18:40 Indian and Middle Eastern Music 19:32 Jazz approach to microtones 20:10 Dave's approach 21:48 Dave's Funk guitar 24:07 Music inspires 25:15 Funk inspires 27:34 Fuze inspires 29:27 When Fuze goes metal 33:39 The Original Version of Screaming Headless Torsos 34:47 SHT: Putting a song together 39:31 Groove science - feeling 43:54 Album: Planet MicroJam 47:11 Getting into microtones 51:16 Planet Microjam Institute at Berklee College of Music 59:52 Album: Mikrojazz 1:03:42 Georgian Microtonal music 1:04:33 Album: Flam! Blam! Pan-Asian Microjam 1:15:00 Fuze on Teaching at Berklee 1:16:39 Ending #musicians #songwriter #songwriters #composers #musicmajor #musicmajors #musiceducator #musiceducators #musiceducation #podcast #thebestmusicpodcast #clips #musicpodcast #singer #guitarist #guitarplayer #trombonist #trumpet #violin #viola #cello #bass #brass #trombone #mandolin #banjo #drums #percussion #timpani #marimba #oboe #sax #saxophone #clarinet #basoon #alto #soprano #tenor #piano #keyboard #microtones #microtonal Logo, Intro Video, and Branding: Arron Leishman Audio and Video: Zach Ramey zacherylramey@gmail.com Dan's Thumbnail Photo: John Mollura Photography

Episode 33 Youseff Yancy--Pioneer of Electronic Jazz   Part 1 Playlist Yuseff Lateef, “Sound Wave” from A Flat, G Flat And C (1966 Impulse!). Tenor Saxophone, Alto Saxophone, Flute, Oboe, Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson. 4:00. Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet). Harp, Dorothy Ashby. No other credits are given. Unknown Theremin player. 3:19. Sunny Murray's Untouchable Factor, “New York Maze” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Alto Saxophone, Arthur Blythe; Baritone Saxophone, Hamiet Bluiett; Bass, Fred Hopkins; Guitar, Monnette Sudler. 18:34. Sunny Murray's Untouchable Factor, “Applebluff” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Drums, Sonny Brown; Flutes], Whistles, Percussion, Abdul Zahir Batin. 9:10. Muhal Richard Abrams, “Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 6:50. Muhal Richard Abrams, “Inneroutersight” from Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 7:54. Byard Lancaster, “Blue Nature” from, Documentation The End of a Decade (1980 Bellows). Theremin and trumpet, Youseff Yancy. Recorded in New York in 1979, this is a multi-tracked, solo performance by Yancy on his own composition. One track of straight trumpet, at least one track of electronically modified trumpet, and another track of Theremin. On the liner notes, “B. Lancaster acknowledges the spiritual and education guidance from Youseff Yancy and family.” 2:43. Garrett List and the A-1 Art Band, “Where We Are” from Various ‎– From The Kitchen Archives - New Music New York 1979 (2004 Orange Mountain Music). Piano, Trombone, Garrett List; Theremin, Trumpet, Youseff Yancy; Soprano Saxophone, Byard Lancaster; Voice, Genie Sherman. Recorded live at The Kitchen, New York City. 8:38. Opening background music: Garrett List / A-1 Band, “Passions of Miles” from ‎Fire & Ice (1982 Lovely Music). Composed by, Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman. Second background track: Better Daze, “Heavenly Sweetness” from First Flight E.P. (1995 Ubiquity). Acid jazz remix of “Sweetness,” a song that originated on the 1980 album by Byard Lancaster featuring Youseff Yancy and vocalist Joan Hansom. Opening and closing sequences voiced by Anne Benkovitz.    

Bassist Reggie Washington was a key participant in the Modern Jazz revolution of the 80's and 90's. He became known touring, recording and performing with Steve Coleman, Branford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, Cassandra Wilson, Don Byron, Jean-Paul Bourelly, Lester Bowie and Ronald Shannon Jackson. In 2005, Reggie began successfully touring with his own bands. They were a mix of American & European musicians such as Ravi Coltrane, Gene Lake, Stéphane Galland, Jef Lee Johnson, Erwin Vann, Jacques Schwarz-Bart, E.J Strickland, Jozef Dumoulin, Skoota Warner, Matthew Garrison, Marcus Strickland, Jason Lindner, Poogie Bell and Ronny Drayton. Originally aired June 29th 2015 https://reggiewashington-official.com/ (https://reggiewashington-official.com) https://my.captivate.fm/www.joekelleyradio.com (www.joekelleyradio.com) https://reggiewashington-official.com/

For over thirty years, Eric Person has been committed to composing, recording and performing dynamic and innovative music. His personal sound on alto, soprano, tenor saxophones and flute have been featured on more than 50 recordings. He studied at the St. Louis Conservatory of Music and has taught and performed internationally. He has a broad range of experience performing with the masters of modern creative music, such as Dave Holland, McCoy Tyner, Chico Hamilton, Wallace Roney, Ronald Shannon Jackson, World Saxophone Quartet, John Hicks and more.

In this episode, I talk to the amazing Vernon Reid.Vernon is one of the most intelligent and interesting people I know. We share out love for science fiction, comic books, and music. Besides Living Colour, he’s played with people like Ronald Shannon Jackson, Mick Jagger, The Roots, Public Enemy, Janet Jackson, Don Byron, Bernie Worrell, Santana, Jack Bruce, and many more.As a guitar player, he’s still very cutting edge and represents what I feel is a perfect balance of feel, technique, and technology and an infinite range of sounds.

Composer/bandleader Eric Person learned his craft from some of boldest who ever played the game.  Dave Holland was an influence, Chico Hamilton had a major impact but Ronald Shannon Jackson is the one who inspired Eric to lead a band playing compositions that Jackson wrote.  The work is unmistakeable– filled with history, mystery and suspense– and Eric will bring some astonishingly rare recordings to life.  

This week I’m talking to the amazing guitarist David Fiuczynski (or as he’s known by many, Fuze).The first time I heard Fuze was on the Meshell N’degeocello song “Soul Record” which is the first song off of her first album “plantation lullabies” where he takes this blazing guitar solo. (Play that solo) As a bass player, that album was already a big deal to me but I was a fan of the Fuze’s guitar playing from then on. I soon heard Lunar Crush which was a record that Fuze made with John Medeski and it would feature Screaming Headless Torsos members Fima Ephron, Jojo Mayer who plays drums on some of it and Gene Lake who also plays drums on some of it. And then, of course Fuze is known as the guitarist and bandleader of Screaming Headless Torsos which is a genre-smashing band that mixes funk/jazz/avant garde/free jazz/gospel/electronic music and everything in between.He’s also worked with people like Ronald Shannon Jackson, Bernie Worrell, Stewart Copeland, Hiromi, Billy Hart, Jack Dejohnette, and many others.

Composer/bandleader Eric Person learned his craft from some of boldest who ever played the game.  Dave Holland was an influence, Chico Hamilton had a major impact but Ronald Shannon Jackson is the one who inspired Eric to lead a band playing compositions that Jackson wrote.  The work is unmistakeable– filled with history, mystery and suspense– and Eric will bring some astonishingly rare recordings to life.  

Support Burning Ambulance on Patreon Get the Burning Ambulance email newsletter It's true: After a three-month hiatus, the Burning Ambulance podcast is back, with an interview with legendary saxophonist Peter Brötzmann! Brötzmann first emerged onto the global scene in the late '60s — he released his first album, For Adolphe Sax, named for the inventor of the saxophone, in 1967. A year later, he made Machine Gun, which is a landmark record not just in free jazz but in jazz history, period. A lot of critics have said that the music on Machine Gun was more extreme than anything that had come before, mostly because Brötzmann and the other two saxophonists, Willem Breuker and Evan Parker, seemed to be going even farther on their horns than John Coltrane or Pharoah Sanders or Albert Ayler had gone, but when you pay close attention to it you’ll hear that there are actually riffs — really big, honking, fist-pumping riffs, especially at the end. And Brötzmann has said many times that the music was inspired by Lionel Hampton’s big band, which had four saxophonists up front blowing in unison. I’ve been a fan of Brötzmann’s for a long time, and I’ve seen him live twice. The first time was in January 1997, at the Cooler in the Meatpacking District in Manhattan, with Thomas Borgman on saxophone, William Parker on bass, and Rashid Bakr on drums, a show that was released on CD under the name The Cooler Suite. The other time was at Tonic, with a version of his quartet Die Like A Dog. On record, that band usually featured Toshinori Kondo on trumpet, William Parker on bass, and Hamid Drake on drums, but at this gig Kondo wasn’t there for whatever reason, and Roy Campbell subbed in. I was also a big fan of Last Exit, a group formed by Bill Laswell that included Brötzmann, Sonny Sharrock on guitar, and Ronald Shannon Jackson on drums. Their music was a combination of free jazz, metal, and funk, totally improvised in the moment, and some of it is amazing. It used to be hard to find their CDs, but now you can get almost all of their albums on Laswell’s Bandcamp page. This interview was recorded back in early October, and a lot of it’s about his new solo album I Surrender Dear, and about his connections to jazz history. He really loves old school players like Don Byas and Coleman Hawkins, and he absolutely loves the blues, so we talk a lot about that. I think you’ll really get a sense of him as a music fan — he talks about all the bands he saw growing up in Germany in the '50s and '60s. We talk about what he looks for in collaborations, and how he chooses projects, too, 'cause he gets more invitations than he accepts. We also talk about his visual art, which is just as important as the music — he had originally planned to be a visual artist, with music as a side thing, but it didn’t work out that way. Still, he’s designed almost all of his own album covers for the last 50 years, and he’s got an instantly recognizable visual style, very blocky and heavy like a printmaker. It’s a perfect complement to his sound on the horn. And at the very end of our conversation, I ask him about Ginger Baker, who had died just a few days before we spoke. The two of them played together for three gigs in 1987 in a band that included Sonny Sharrock and Nicky Skopelitis on guitars, and Jan Kazda on bass, under the name No Material. So that’s where this conversation ends. I hope you enjoy the interview, and thanks for listening. 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 heard in this episode: Peter Brötzmann, "I Surrender Dear" (I Surrender Dear)

In this series, I've spoken with many musicians who have a serious appreciation for heavy metal, and some who have plenty of experience playing it, but Vernon Reid is in another category altogether. He's a genuine legend of the genre whose band, Living Colour, achieved household-name status with their 1988 debut, Vivid. Both before Living Colour and alongside it, the guitarist and songwriter has worked on the cutting-edge of jazz, playing with artists such as drummer Ronald Shannon Jackson and pianist Geri Allen, as well as in the project Spectrum Road, a tribute to the Tony Williams Lifetime that featured Jack Bruce, John Medeski and Cindy Blackman-Santana. In this episode, Vernon discusses the Decoding Society's unique musical DNA, how he came to work with Jack Bruce, what makes the power chord essential to his musical arsenal, why the Mahavishnu Orchestra foreshadows Meshuggah and much more.

Melvin Gibbs is an extraordinary bass player who for the better part of the last four decades has been a key figure in the worlds of rock, jazz, funk and the New York avant-garde. An original member of the Black Rock Coalition and a veteran of bands led by Ronald Shannon Jackson, Sonny Sharrock, Henry Rollins and others, Melvin has led an incredibly varied and colorful career. Ahead of his appearance this Thursday at the 2019 Vision Festival, Melvin stopped by to talk about his new project the God Particle, a collaboration with physicist and musician Stephon Alexander.

Melvin Gibbs is the bassist for the avant-rock/jazz/metal/dub trio Harriet Tubman, whose new album The Terror End of Beauty is out now and sweeping up rave reviews everywhere. Before forming Tubman with guitarist Brandon Ross and drummer JT Lewis in 1998, Gibbs was a founding member of Defunkt and of Ronald Shannon Jackson's Decoding Society (alongside future Living Colour guitarist Vernon Reid); he played in Sonny Sharrock's band; he appeared on John Zorn's Spillane and The Big Gundown; he was a member of Arto Lindsay's band Ambitious Lovers; and from 1994 to 1998, he was the bassist for the Rollins Band. In this episode of the Burning Ambulance podcast, Gibbs talks about his time with Jackson, with Rollins, and with Harriet Tubman; about whether his music is jazz, and how one even defines such a thing; and much, much more. This is the standard, free version of this episode, and runs 64 minutes. There is an extended, 92-minute version of the podcast available exclusively to Patreon subscribers; join at patreon.com/burningambulance for $5 a month to hear it. Future episodes of the podcast will be similarly expanded, and additional subscriber-only stories will also show up from time to time.

It's the podcasts' fifth anniversary so the albums discussed feature quintets. Laughs, insights, and just a few sentimental moments as the boys contemplate this milestone. Oh, and they rant about Microsoft just a little bit. Ronald Shannon Jackson – SHANNON’S HOUSE; Oliver Lake – PROPHET; Jimmy Lyons – GIVE IT UP; Kenny Cox – INTRODUCING KENNY COX AND THE CONTEMPORARY JAZZ QUINTET.

Segunda entrega dedicada al trombonista Albert Mangelsdorff en MPS. En esta ocasión se repasan las grabaciones a trío Trilogue (con Jaco Pastorius y Alphonse Mouzon) y Live In Montreux (con Ronald Shannon Jackson y Jean-François Jenny-Clark), y la cumbre de trombonistas Trombone Workshop (con el veterano Slide Hampton, Jiggs Wigham y Ake Persson). HDO es un audioblog editado, producido y presentado por Pachi Tapiz. Toda la información en http://www.tomajazz.com/web/?cat=13298

hour one: "blues to elvin (take 3 alternate) john coltrane "2012 memphis drum shop clinic - excerpt #3" matt chamberlain "premenstral" spielgusher "heavy rain" boris "zero" melt-banana "ybe ybe" kyoka (mike watt on bass) "stationary waves" dearness (mike watt on spiel) "stegosaurus carved into angkor wat" jee jee band "what circumcision?" bullets or balloons "the scene between" the go! team "last fad" deerhoof "makedonski son" bernays propaganda hour two: "left out (the freaky pieces)" allegheny white fish (tobacco) "su linee rette" andrea belfi "puttin' on dog" ronald shannon jackson "ako nisam dobra" vlasta popic "cycles of existential rhyme" chicano batman "continuity" howie reeve - brother matt's spin cycle (collaborating w/matt chamberlain on drum box machine) - hour three: "theme from 'dr who' show" bash.o "first day after life" the orange disaster "joe giardia" dippers "2001" elmo and the styx "basic cable" richard haxton "everything brings me to you" rexx "awful son" pale angels "spit" seb + the rahh dicks "marquee moon" (1974 prac) television (richard hell on bass) "chaine infine" free moral agents "friday the 13th" worker bee "rockin the town" offenders "offspring" steve mackay "we only exist when we're thought of" thollem electric's keyngdrum overdrive w/sara lund

Onaje Allan Gumbs' career spans for over 3 decades and is a sought after arranger, composer and pianist extraordinaire.Panasonic chose his song, "Dare To Dream", as the theme for their tenth anniversary celebration of Kid Witness News. Gumbs has composed, arranged and performed the original score for the Showtime film, Override, directed by actor and producer Danny Glover and is also a NAACP Image Award Nominee for Outstanding Jazz Artist for his album, "Remember Their Innocence".His signature arrangements are: Woody Shaw (Rosewood), Phyllis Hyman (Betcha By Golly Wow and The Answer is You) and for Stanley Jordan (The Lady in My Life) to name a few.We are pleased to present his latest release: Bloodlife - A collection of solo performances based on melodies composed by Ronald Shannon Jackson. This album is an eclectic collection of melodies created by the venerable drummer/composer Ronald Shannon Jackson (1940-2013) and combined with masterful improvisations on solo piano by the Legendary Onaje Allan Gumbs. http://www.onajeallangumbs.com/Please subscribe to our newsletter and stay in touch: http://Artheo-Megazine.comWe are sponsored by http://HealthRoads.Net/Visit their blog at http://ZealForLifeProducts.com/    ... See MoreColored People® Network is a private global multicultural artistic community.

Onaje Allan Gumbs' career spans for over 3 decades and is a sought after arranger, composer and pianist extraordinaire.Panasonic chose his song, "Dare To Dream", as the theme for their tenth anniversary celebration of Kid Witness News. Gumbs has composed, arranged and performed the original score for the Showtime film, Override, directed by actor and producer Danny Glover and is also a NAACP Image Award Nominee for Outstanding Jazz Artist for his album, "Remember Their Innocence".His signature arrangements are: Woody Shaw (Rosewood), Phyllis Hyman (Betcha By Golly Wow and The Answer is You) and for Stanley Jordan (The Lady in My Life) to name a few.We are pleased to present his latest release: Bloodlife - A collection of solo performances based on melodies composed by Ronald Shannon Jackson. This album is an eclectic collection of melodies created by the venerable drummer/composer Ronald Shannon Jackson (1940-2013) and combined with masterful improvisations on solo piano by the Legendary Onaje Allan Gumbs. http://www.onajeallangumbs.com/Please subscribe to our newsletter and stay in touch: http://Artheo-Megazine.comWe are sponsored by http://HealthRoads.Net/Visit their blog at http://ZealForLifeProducts.com/    ... See MoreColored People® Network is a private global multicultural artistic community.

Today's guest on the Nato Sessions is Vernon Reid, multi-Grammy-winning guitarist with Living Colour. Vernon and I talk about his roots in avant garde jazz with drummer Ronald Shannon Jackson, his ties to both fabled New York healthcare union SEIU 1199 and Reagan's attack on PATCO, and the price comedians and musicians have to pay to be free. And of course, Captain America.

El cuarteto más alocado del jazz, Mostly Other People Do The Killing, revisa ahora en "Red hot" el jazz hot de los 20 y 30. La banda de 'Moppa' Elliott (cb), Kevin Shea (bt), Jon Irabagon (sx) y Peter Evans (tp), suma para llegar al septeto a Brandon Seabrook (banjo), Dave Taylor (tb) y Rob Stabinsky (p). En esta edición de "Club de Jazz" del 23 de octubre de 2013 estrenamos "Distrails", el cuarto trabajo del dúo Selva de Mar formado por Sasha Agranov (chelo) y Pablo Wayne (percusión y hang). En él cuentan con hasta siete colaboradores, entre ellos Oriol Roca (bt) y Mû (voz). "desde mi cadiera" Jesús Moreno recuerda a Ronald Shannon Jackson, fallecido el pasado día 19 de octubre, a través de su participación en el "Body meta" de Ornette Coleman. Estrenamos el nuevo disco de radio.string.quartet.vienna, "Posting Joe", dedicado al repertorio de Weather Report. En los "Ritmos Latinos" de Anxo bailamos con la "Sambinha" de The Hi Fly Orchestra y nos damos un alegrón con el "Get happy" de Pink Martini. En el "Tren Azul" de Luis Díaz García, la vertiente vocal de Hoagy Carmichael. Y en el "Jazz Porteño" de Alberto Varela, uno de los grandes guitarristas argentinos: Ricardo Pellican. Toda la información y derechos: http://www.elclubdejazz.com

El cuarteto más alocado del jazz, Mostly Other People Do The Killing, revisa ahora en "Red hot" el jazz hot de los 20 y 30. La banda de 'Moppa' Elliott (cb), Kevin Shea (bt), Jon Irabagon (sx) y Peter Evans (tp), suma para llegar al septeto a Brandon Seabrook (banjo), Dave Taylor (tb) y Rob Stabinsky (p). En esta edición de "Club de Jazz" del 23 de octubre de 2013 estrenamos "Distrails", el cuarto trabajo del dúo Selva de Mar formado por Sasha Agranov (chelo) y Pablo Wayne (percusión y hang). En él cuentan con hasta siete colaboradores, entre ellos Oriol Roca (bt) y Mû (voz). "desde mi cadiera" Jesús Moreno recuerda a Ronald Shannon Jackson, fallecido el pasado día 19 de octubre, a través de su participación en el "Body meta" de Ornette Coleman. Estrenamos el nuevo disco de radio.string.quartet.vienna, "Posting Joe", dedicado al repertorio de Weather Report. En los "Ritmos Latinos" de Anxo bailamos con la "Sambinha" de The Hi Fly Orchestra y nos damos un alegrón con el "Get happy" de Pink Martini. En el "Tren Azul" de Luis Díaz García, la vertiente vocal de Hoagy Carmichael. Y en el "Jazz Porteño" de Alberto Varela, uno de los grandes guitarristas argentinos: Ricardo Pellican. Toda la información y derechos: http://www.elclubdejazz.com

Brad Mehldau y Kevin Hays enfrentan y complementan sus pianos en "Modern Music" con los arreglos de Patrick Zimmerli. En esta edición de "Club de Jazz" del 7 de diciembre de 2011 escuchamos su música y la de algunos de sus referentes: Philip Glass o Steve Reich. Otro pianista, el italiano Stefano Bollani, se reúne con la NDR BigBand de Hamburgo en "Bigband!" bajo los arreglos y dirección de Geir Lysne. Jesús Moreno recupera "desde mi cadiera" la Last Exit de Sonny Sharrock (gt), Ronald Shannon Jackson (bt), Peter Brötzmann (sx) y Bill Laswell (b) a través de su "Köln" de 1990. En los "Ritmos Latinos" Anxo recuerda al guitarrista portugués Carlos Paredes mientras Alberto Varela bucea en el "Jazz Porteño" por la "Grappelliana" del grupo Cordal Swing. Tiempo también para "Notturno Mediterraneo", proyecto del compositor Angelo Valori junto a músicos como Gabriele Mirabassi (cl) o Gil Goldstein (p). Toda la información y derechos: http://www.elclubdejazz.com

Brad Mehldau y Kevin Hays enfrentan y complementan sus pianos en "Modern Music" con los arreglos de Patrick Zimmerli. En esta edición de "Club de Jazz" del 7 de diciembre de 2011 escuchamos su música y la de algunos de sus referentes: Philip Glass o Steve Reich. Otro pianista, el italiano Stefano Bollani, se reúne con la NDR BigBand de Hamburgo en "Bigband!" bajo los arreglos y dirección de Geir Lysne. Jesús Moreno recupera "desde mi cadiera" la Last Exit de Sonny Sharrock (gt), Ronald Shannon Jackson (bt), Peter Brötzmann (sx) y Bill Laswell (b) a través de su "Köln" de 1990. En los "Ritmos Latinos" Anxo recuerda al guitarrista portugués Carlos Paredes mientras Alberto Varela bucea en el "Jazz Porteño" por la "Grappelliana" del grupo Cordal Swing. Tiempo también para "Notturno Mediterraneo", proyecto del compositor Angelo Valori junto a músicos como Gabriele Mirabassi (cl) o Gil Goldstein (p). Toda la información y derechos: http://www.elclubdejazz.com