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Pianist Matthew Shipp makes music where free jazz and modern classical meet. In the early '90s, he played in the David S. Ware Quartet and soon began leading his own sessions, often with bassist William Parker. He has recorded many duets with musicians such as Roscoe Mitchell and Mat Maneri. He began playing piano at five and focused on jazz by age 12. He studied with Robert “Boisey” Lawrey and later attended the New England Conservatory after brief studies with Dennis Sandole. He moved to New York City in 1984, where he met William Parker, and has since recorded for labels including HatArt, Thirsty Ear, RogueArt, AUM Fidelity, ESP-Disk, and Tao Forms. Matthew was recently in the news for his comments on Andre 3000's recent 7 Piano Sketches album. In April he release a collection of essays and poems Black Mystery School Pianists and Other Writings.
Long-time Madisonian and master of improvisation Roscoe Mitchell joined Thursday 8 O'Clock Buzz host Tony Castañeda to talk about his upcoming shows at Café Coda this weekend. The post Jazz Legend Roscoe Mitchell Plays Benefit Show at Café Coda appeared first on WORT-FM 89.9.
THIS WEEK's BIRDS: new music from Asher Gamedze; new music from Los Speyer; new music from Kenneth Jimenez; rendition of Raga Shree (on the rudra veena) by Madhuvani Pal; vocal rendition of Raga Nandkauns by Parween Sultana; vintage Roscoe Mitchell (w. Sound and Space Ensemble); Peruvian song from Arturo "Zambo" Cavero; salsa from Johnny Pacheco; from Cuba: Rumbavana, Eulogio Abreu, Daisy Diaz; Ikue More, Okkyung Lee, & DJ Olive; samba from Martinho da Vila & Mart'nália; Titina from Cabo Verde; Halit Araboğlu (from Turkey); from Algeria: Dahmane el Harrache (cha'abi); Cherif Zârour (Arabo-Andalous); gulf singer Mohammed Omer; much, much more... Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 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: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/19737600/Conference-of-the-Birds and via the Conference of the Birds page at www.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
Out on strike and newly single, Roger seeks comfort in sound in the shape of legendary avant-garde, free jazz giants The Art Ensemble of Chicago, on a rare visit to Sheffield in the spring of 1984. Intro and outro music: Simon Elliott-KempArtwork: RionaghEditor: Nigel FloydSound FX courtesy of Freesound.org, with particular thanks to:Concert applause: Recording Hopkins.Djembe: Rutger Muller.Drum loop: Esares.City street ambience: Sage Tyrtle.Jazz drums: Big Joe Drummer.Double bass: El Zozo.Trumpet: Soro Hanro.Saxophones: Uauaua.Church bell: Audeption.Wind chime: Inspector J.Gong: Boss Music.Ian Hall: Splash, Chinese cymbal.David J. Woll: cymbal rolls.Club ambience: Rikus 246.Send us a textNever miss an episode.Follow me at: https://twitter.com/rogerquailhttps://www.instagram.com/rogerquail/RSS feed - https://feeds.buzzsprout.com/289673.rss
New single Tamgo drops Oct 7th! mindofthenoise.comJason D. Harris—a hip-hop architect and founder of Mind of the Noise Records, as well as visionary educator whose journey from the gritty streets of St. Louis to the bright lights of LA is nothing short of legendary. Jason's mission? To flip the script on music education and empower the next generation through his groundbreaking “Beat School with Mr. J.”At just 11 years old, Jason made a pact with himself while watching the Grammys—he'd never stop until his sound reverberated across the globe. Fast forward, and this kid from St. Louis has crafted beats and engineered sounds for icons like Kid Cudi, Ledisi, and J.Lo. But it wasn't just about the fame. Jason discovered his true calling when he realized his beats could do more than just move the crowd—they could shape the future.Jason's journey led him to LA with a vision as big as the beats he was creating. Every rhythm he laid down carried a deeper purpose—a mission to give back and inspire the youth who look up to him. That's how “Beat School with Mr. J” was born. This isn't just a program; it's a cultural revolution. It's where young creatives get the tools to produce, write, and perform, all while finding their own voice in the process. Jason's “Buy a Hat, Donate a Class” initiative is the real deal—buy a hat, and you're opening the door for a kid to step into the studio and start crafting their future.Jason's journey is packed with milestones—a Grammy nod, powerful collaborations with artists like Taraji P. Henson, and a relentless drive to turn every beat into a movement. With the support of his mom and mentorship from legends like Roscoe Mitchell, Jason's connection to the community runs deep. Now, he's ready to take his sound global, dropping his debut album “Blingville” alongside the Beat School movement. This isn't just about music; it's about turning every beat into a source of strength, inspiration, and change for kids worldwide.
English episode! Ausnahmsweise gibt es mal wieder eine Folge von kHz & Bitgeflüster auf Englisch.((This interview with Julia A. Miller, owner of legendary blues and jazz label Delmark Records, has been recorded in English and starts after a short German intro.))Die Gelegenheit, in Chicago mit der Besitzerin eines der ältesten Jazz- und Blues-Labels der USA zu sprechen, konnte Olaf sich nicht entgehen lassen.Seit 1953 gibt es Delmark Records schon, wenn auch ursprünglich als "Delmar Records". Gründer Bob Koester war ein glühender Musikfan und Plattensammler. Mit frühen Aufnahmen von James Crutchfield, Speckled Red oder Big Joe Williams gründete er das Label zunächst in St. Louis, Missouri, und zog 1958 nach Chicago um. Delmark (jetzt mit einem 'k' am Ende) wurde in den 1960ern und 1970ern zu einem wichtigen Bestandteil der Chicagoer Musikszene. Luther Allison, Buddy Guy, Junior Wells, Roscoe Mitchell oder Sun Ra veröffentlichten ihre ersten Alben auf dem Label. Parallel dazu betreibt Bob Koester einen weltweit bekannte Plattenladen namens Jazz Record Mart.Zeitsprung ins Jahr 2018: Bob Sr. ist bereits deutlich im Rentenalter, seine Frau Sue und sein Sohn Bob Jr. wird die Doppelbelastung mit Plattenladen und Label langsam zu viel. Sie verkaufen Label und das dazugehörige Studio an Julia A. Miller, eine in Chicago ansässige Gitarristin, Musik-Professorin und experimentelle Musikerin. Über ihren musikalischen Werdegang, und wie sie dazu kam, das traditionsreiche Label zu kaufen, erzählt Julia im Gespräch mit Podcast Host-Olaf.Delmark Records: Jazz and Blues since 1953Im Vorfeld der HiFi-Messe Axpona traf sich Olaf im legendären Delmark-Studio mit der Label-Chefin Julia. Das Studio ist zwar "erst" seit den 1990er Jahren an diesem Standort, doch das meiste Equipment vorher bereits in einem anderen Chicagoer Studio jahrzehntelang im Einsatz gewesen. Unter anderem werden bei Delmark heute noch Aufnahmen mit einem Steinway-Klavier von 1917 gemacht.Delmark Records fühlt sich ganz offensichtlich der amerikanischen Musiktradition verpflichtet, die das Label mit geprägt hat, und ganz besonders der Musikszene von Chicago. Junior Wells und Buddy Guy waren zu ihrer Zeit die jungen Wilden und fanden bei Delmark und in den Clubs der Metropole am Lake Michigan ihr Publikum. Mit Sun Ra, Roscoe Mitchell oder dem Art Ensemble of Chicago entstand hier später eine neue Jazz-Avantgarde.Dieses Erbe zu erhalten, zu pflegen und für Musikfans auf der ganzen Welt zugänglich zu machen, ist eine Motivation für Julia und das Delmark-Team. Doch auch neue Musiker:innen sollen nicht zu kurz kommen, denn davon hat Chicago nach wie vor reichlich zu bieten.Im Podcast unterhalten sich Julia und Olaf über die bewegte Geschichte von Delmark Records, über die Zukunft des Labels, aber auch über Julias spannenden Werdegang als Musikerin, Dozentin, Experimental-Künstlerin und Ton-Meisterin.Die vollständigen Shownotes zur Folge mit vielen Musiktipps von Julia findest du auf HIFI.DE. Hosted on Acast. See acast.com/privacy for more information.
Greetings! I definitely employed a very "stream of consciousness" vibe as I programmed this week's show, starting with a cello track I couldn't fit into my earlier cello-themed show, getting to a couple of Petridisch tracks, 80's vintage Robert Wyatt's take on a Chic tune, new music from my compadre Joe Benzola and a bunch of other new things. Whew! Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Twitter-like x-thing: https://x.com/envpusher1 6-29-24 PTE Playlist Cello Chili - cello/voice: Bryan Hayslett / composer: Brent Michael Davids - Cello Unlocked - Neuma Records (2024) https://neumarecords.org/ols/products/bryan-hayslett-cello-unlocked "Je suis venue te dire que je m'en vais" (I Came To Tell You I'm Going) - Petridisch with Leah Callahan / composer: Serge Gainsbourg - Fish Prints digital single (2024) https://fishprintsinc.bandcamp.com/album/je-suis-venue-te-dire-que-je-men-vais At Last I Am Free - Robert Wyatt - Nothing Can Stop Us (compilation) - Rough Trade (1982) https://www.theguardian.com/music/musicblog/2013/jan/10/old-music-robert-wyatt-at-last-free In The Red - Petridisch - A Fixed Point - I Heart Noise (2017) https://iheartnoise.bandcamp.com/album/petridisch-a-fixed-point The Basement Jam - Ayumi Ishito - Wondercult Club - 577 Records (July 2024 pre-release) https://577records.bandcamp.com/album/wondercult-club Death of a Solipsist (The Way In) - Veins Full Of Static - A House Wrapped In Sleep - Machine Music (2024) https://machinerecords.bandcamp.com/album/a-house-wrapped-in-sleep carried by all the hands forgotten in the wind - Heavy Cloud - carried by all the hands forgotten in the wind / mirror sky - digital release (2024) https://heavycloud.bandcamp.com/album/carried-by-all-the-hands-forgotten-in-the-wind-mirror-sky Actant Theory - CZiGO - Actant Theory - Machine Records (2024) https://machinerecords.bandcamp.com/album/actant-theory The White Thing - Tu-Ner - Tu-Ner For Lovers - 7d Media (2024) https://tu-ner7d.bandcamp.com/album/t-2-tu-ner-for-lovers The Process - Gerald Cleaver - The Process - 577 Records/Positive Elevation (2024) https://positiveelevation.bandcamp.com/album/the-process Mysterium Meditation-St. Thérèse of Lisieux - Joseph Benzola - Mysterium Meditation-St. Thérèse of Lisieux - digital single (2024) https://josephbenzola.bandcamp.com/track/mysterium-meditation-st-th-r-se-of-lisieux VPF - Thomas Buckner (voice); Roscoe Mitchell (soprano saxophone, alto saxophone, percussion, flute) - 8 O'Clock: Two Improvisations - Mutable Music (2004) https://mutablemusic.bandcamp.com/album/8-oclock-two-improvisations
Amina Claudine Myers was one of the earliest members of the AACM, and if you're listening to this podcast, I'm pretty sure you know what the AACM is, but just in case you don't, the Association for the Advancement of Creative Musicians is an organization formed by Muhal Richard Abrams, Roscoe Mitchell and a few other musicians in Chicago in the mid-1960s. A tremendous number of the most important avant-garde jazz musicians of the mid to late 20th century and the 21st century have come out of the AACM, including Anthony Braxton, Henry Threadgill, Fred Anderson, the Art Ensemble of Chicago, Wadada Leo Smith, Matana Roberts, Nicole Mitchell, Tomeka Reid, and Amina Claudine Myers. There's a tremendous book by trombonist and composer George Lewis, called A Power Stronger Than Itself, that's the best possible introduction to the group. You should absolutely read that if you're a fan of any of the musicians I just named.Now, all the founders and early members of the AACM worked together, supporting each other, and moving the music forward in large part by composing and performing original work. What's interesting — and this is something we talk about in this conversation — is that Amina Claudine Myers' early albums included some original music, but they also included interpretations of other people's compositions, specifically Marion Brown and Bessie Smith. But she always paired that music up with pieces of her own that demonstrated a really fascinating compositional voice that was a combination of jazz, gospel, blues, and classical music. She took all her influences and early training and combined them into something that sounded like nobody else out there, and was incredibly powerful.In addition to making her own records, she's been a part of albums by Lester Bowie, Henry Threadgill, Muhal Richard Abrams, Anthony Braxton, Kalaparusha Maurice McIntyre, Bill Laswell, and many other people. Her latest release is a collection of duos with Wadada Leo Smith, the first time they've recorded together since 1969, and their first collaboration as leaders.I'm really glad I had the chance to interview her. We talked about a lot of things — the AACM, the role of spirituality in music and the way the term spiritual jazz is used to gatekeep certain things, her work with all the artists I just mentioned, her upbringing in Arkansas and Texas and how it influenced her writing... this is a really wide-ranging conversation that I think will be really interesting for you to hear. I thank you as always for listening.
Estas dos palabras dan título a un álbum grabado por Ornette Coleman en doble cuarteto a finales de 1960 para el sello Atlantic. La obra —cuyo título completo es Free Jazz: A Collective Improvisation— rompe las estructuras previas del jazzy apunta a un paroxismo nunca escuchado._____Has escuchadoAscension - Edition I (1965) / John Coltrane. John Coltrane, saxofón tenor; McCoy Tyner, piano; Jimmy Garrison, bajo; Elvin Jones, batería; Archie Schepp y Pharoah Sanders, saxofón tenor; John Tchicai y Marion Brown, saxofón alto; Art Davis, bajo. Impulse (1987)Hello Chi (1970) / Art Ensemble of Chicago. Fontella Bass, voz; Lester Bowie, trompeta; Roscoe Mitchell, flauta y saxofón alto; Joseph Jarman, flauta y saxofón alto; Malachi Favors, bajo. FreeFactory (2010)Simple Like (1969) / Anthony Braxton. Leo Smith, trompeta y mult. instrumentos; Anthony Braxton, saxofón alto y mult. instrumentos; Leroy Jenkins, violín y mult. instrumentos; Steve McCall, percusiones. BYG Records (1969)Sunday Morning Church (2003) / William Parker. Billy Bang, violín; Hamid Drake, batería; William Parker, contrabajo. Thirsty Ear (2003)Truth Is Marching in (1966) / Albert Ayler. Albert Ayler, saxofón tenor; Don Ayler, trompeta; Michel Sampson, violín; Bill Folwell y Henry Grimes, bajos; Beaver Harris, batería. Impulse (1998)_____Selección bibliográficaANDERSON, Iain, This Is Our Music: Free Jazz, the Sixties, and American Culture. University of Pennsylvania Press, 2007BRADLEY, Francis R., Universal Tonality: The Life and Music of William Parker. Duke University Press, 2021CARLES, Philippe y Jean-Louis Comolli, Free Jazz: Black Power. Traducido por Juan Giner. Anagrama, 1973JENKINS, Todd S., Free Jazz and Free Improvisation: An Encyclopedia. Greenwood Press, 2004JOST, Ekkehard, Free jazz: une étude critique et stylistique du jazz des années 1960. Outre Mesure, 2002KOLODA, Richard, Holy Ghost: The Life & Death of Free Jazz Pioneer Albert Ayler. Jawbone Press, 2022MAZZOLA, Guerino y Paul B. Cherlin, Flow, Gesture, and Spaces in Free Jazz Towards a Theory of Collaboration. Springer, 2009ONSMAN, Andrys y Robert Burke, Experimentation in Improvised Jazz: Chasing Ideas. Routledge, 2019PARKER, William et al., Conversations. Rogueart, 2011—, Conversations II: Dialogues and monologues. Rogueart, 2015—, Conversations III: Dialogues and monologues. Rogueart, 2019—, Conversations IV. Rogueart, 2023PEYROU, Mariano, Free jazz: la música más negra del mundo. Anagrama, 2024RUSH, Stephen, Free Jazz, Harmolodics, and Ornette Coleman. Routledge, 2017SCHWARTZ, Jeff, Free Jazz: A Research and Information Guide. Routledge Music Bibliographies, 2018*SKLOWER, Jedediah, Free jazz, la catastrophe féconde: une histoire du monde éclaté du jazz en France (1960-1982). L'Harmattan, 2006SPICER, Daniel, Peter Brötzmann: Free-Jazz, Revolution and the Politics of Improvisation. Repeater, 2024STEINBECK, Paul, Message to Our Folks: The Art Ensemble of Chicago. The University of Chicago Press, 2017SZWED, John F., Space Is the Place: The Lives and Times of Sun Ra. Duke University Press, 2020TONELLI, Chris (Chris J.), Voices Found: Free Jazz and Singing. Routledge, 2019TOOP, David, En el maelström: música, improvisación y el sueño de la libertad antes de 1970. Caja Negra, 2018*WILMER, Val, As Serious As Your Life: Black Music and the Free Jazz Revolution, 1957-1977. Serpent's Tail, 2018 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March
THIS WEEK's BIRDS: Egyptian composer Nadah El Shazly; Congolese rumba from Bopol Mansiamina and Tabu Ley Rocheareau; Italian songstress Ornella Vanoni; vintage David S. Ware; recent Roscoe Mitchell (w. trio); brand new music from Amirtha Kidambi and Elder Ones; Kuwait/gulf singer Rabab; Dexter Gordon & Slide Hampton in Copenhagen; Kenny Duorham goes Afro-Cuban; Cuban legend Pío Leyva; also from, Cuba ; Guillermo Pompa Montero; guaguancó fro, Principe y su; popular Brazilian bossa and samba from Maria Bathânia; Abel Silva & Roberto Menascal (w. Wanda Sá); cross-cultural collaboration in music/poetry (Brazil, Portugal, Italy, Argentina..,.) from Vinicius de Moraes, Giuseppe Ungaretti, Sergio Endrigo, et al. and of course much, much more!!!! Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 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: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/18724154/Conference-of-the-Birdshttps://spinitron.com/WRFI/pl/18724154/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 week on the show, a conversation with pianist, composer, bandleader, and writer, Vijay Iyer. He's been at it since 1995, recording for labels like Savoy, Pi, and ECM, and he's collaborated with a diverse and inspiring roster along the way including Amiri Baraka, Matana Roberts, Das Racist, previous Transmissions guest Wadada Leo Smith, and many more. His records have incorporated electronic music and spoken word, chamber jazz reverence and loose, free falling blues. Last year, in collaboration with vocalist Arooj Aftab and bassist Shazhad Ismaily, he released Love in Exile on the Verve label. Writing about the album for our 2023 Year in Review, we called it “A spectral meeting of the minds. This haunting and luminous se…locates a nexus between ambient, jazz, and classical, all while feeling entirely conjured in the moment—because it was.” Now he's back with a new ECM release, Compassion, and in another trio, reuniting with his bandmates on 2021's stirring Uneasy, bassist Linda May Han Oh and drummer Tyshawn Sorey. Produced by Manfred Eicher, it's a stunning listen start to finish, from its meditative and expansive title track to the dug down groove of “Ghostrumental,” a startling showcase for may Han Oh's thoughtful melodicism, to the thoughtfully chosen covers of Roscoe Mitchell's “Nonaah” and Stevie Wonder's “Overjoyed,” everything about Compassion demonstrates the intentional focus of Iyer and his collaborators. He joins host Jason P. Woodbury to speak about it, reflect on the post-pandemic nebulousness in the air, discuss his mentors Greg Tate and Baraka, and much more. For heads, by heads. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support via our Patreon page. Transmissions is part of the Talkhouse Podcast Network. Join us next week for a conversation with John Lurie.
Sandy Ewen, is an experimental guitarist, artist, and architect based in Brooklyn, NY. She focuses on texture and timbre in her guitar playing, using various objects and extended techniques. Her recent recordings include collaborations with Jason Nazary, Maria Chavez, Lisa Cameron, Roscoe Mitchell, Damon Smith, Weasel Walter, and Keith Rowe. Sandy has played internationally at festivals such as the Moers festival, Wels festival, and Molten Plains festival. Sandy also creates video art, digital animations, slide projections, and microcollages to accompany her music.
In the 32nd episode of the ECM podcast we're once again joined by Vijay Iyer, whose new album "Compassion" is the pianist's second outing with his trio of Linda May Han Oh on bass and drummer Tyshawn Sorey and was co-produced with Manfred Eicher. Vijay talks about the state of the world, the bond created when making music in collaboration with others, album titles and compassion.
4e émission de la 58e session...Cette semaine, piano trio et jazz moderne! En musique: Ethan Iverson sur l'album Technically Acceptable (Blue Note, 2024); Vijay Iyer, Linda May Han Oh, Tyshawn Sorey sur l'album Compassion (ECM, 2024); JD Allen sur l'album This (Savant, 2023); Jason Adasiewicz sur l'album Roscoe Village, The Music of Roscoe Mitchell (Corbett vs. Dempsey, 2023); Mary Halvorson sur l'album Cloudward (Nonesuch, 2024); Friends & Neighbors sur l'album Circles (Clean Feed, 2024)...
Having first captured our attention with Monolithic Nuance (2018) for Longform Editions, Megan Mitchell's Cruel Diagonals has continued to impress with each new work. With Fractured Whole, she set herself the task of producing an album using nothing but her voice as raw material. While she deserves recognition as a gifted vocalist, she deserves at least as much praise for her production work, alchemically transmuting her voice into a wide range of instruments and textures. In this episode, she discusses the production challenges posed by Fractured Whole, her background in musical theatre, her work with the feminist archive Many Many Women, and much more. Read more at www.acloserlisten.com TRACKLIST ARTIST – “TITLE” (ALBUM, LABEL, YEAR) Cruel Diagonals - “Penance” (Fractured Whole, Beacon Sound, 2023) INTRO Cruel Diagonals - “Monolithic Nuance” (Monolithic Nuance, Longform Editions, 2018) Mika Vainio - “Se On Olemassa (It Is Existing)” (In The Land Of The Blind One-Eyed Is King, Touch, 2003) Matthewdavid - “Phased Moon” (Mycelium Music, Leaving, 2023) Cruel Diagonals - “Monolithic Nuance” (Monolithic Nuance, Longform Editions, 2018) Cruel Diagonals - “Render Arcane” (Disambiguation, Drawing Room Records, 2018) Cruel Diagonals & Jon Carr - “Fall Back Into Earth” (Fall Back Into Earth, 2022) Asmus Tietchens - “Club of Rome” (The Emergency Cassette Vol. 2, Los Angeles Free Music Society, 1981) Faust - “Why don't you eat carrots?” (Faust, Polydor, 1971) Can - “One More Night” (Ege Bamyasi, Liberty, 1972) Demdike Stare - “Black Sun” (Voices of Dust, Modern Love, 2010) Andy Stott - “Luxury Problems” (Luxury Problems, Modern Love, 2012) Porter Ricks - “Biokinetics 2” (Biokinetics, Chain Reaction, 1996) Anne Gillis - “A6” (Monetachek, Rangehen, 1985) Techno Animal - “Bionic Beatbox (Tortoise version)” (Techno Animal Versus Reality, City Slang, 1998) Cruel Diagonals - “Intuit Sensate [edit]” (Fractured Whole, Beacon Sound, 2023) Pauline Oliveros, Stuart Dempster, Panaiotis - “Lear” (Deep Listening, New Albion, 1989) Eliane Radigue - “L'Île re-sonante (2000)” (L'Île re-sonante, Shiiin, 2005) Annea Lockwood - “For Ruth” (Tête-à-tête by Ruth Anderson & Annea Lockwood, Ergot, 2023) Petr Kotik – S.E.M. Ensemble – Many Many Women – Part 13 (That being uncovered) (Many Many Women, Labor, 1981) Cruel Diagonals - “Fluvial” (A Dormant Vigor, 2021) Laurie Spiegel - “Three Sonic Spaces II” (Unseen Worlds, Scarlett/Infinity, 1991) Lana Del Rabies - “Grace the Teacher (Cruel Diagonals remix)” (Becoming Everything: STREGA BEATA Remixed, 2024) Cruel Diagonals - “Live in Los Angeles - March 2023 pt.1” (Live in Los Angeles, March 2023, Beacon Sound, 2023) Cruel Diagonals - “Vestigial Mythology (remix)” (Live in Los Angeles, March 2023, Beacon Sound, 2023) Cruel Diagonals - “Vestigial Mythology” (Fractured Whole, Beacon Sound, 2023) Andy Stott - “Submission” (We Stay Together, Modern Love, 2011) Andy Stott - “Promises” (It Should Be Us, Modern Love, 2019) Luc Ferrari - “Music Promenade” (Music Promenade / Unheimlich Schön, Recollection GRM, 2019) Cruel Diagonals - “Soporific Return” (Disambiguation, Drawing Room, 2018) Cruel Diagonals - “Decimated Whole” (Fractured Whole, Beacon Sound, 2023) Pauline Oliveros, Roscoe Mitchell, John Tilbury, Wadada Leo Smith - “Part III [Encore]” (Nessuno, I Dischi Di Angelica, 2016) Demdike Stare - “We have already died” (Elemental, Modern Love, 2012) Can - “Call Me” (Saw Delight, Mute/Spoon, 1977/1991) Silent Servant - “Violencia” (Violencia, Sandwell District, 2008) Realivox Ladies (2015) Bjork - “It's Not Up To You” (Vespertine, Polydor, 2001) Pauline Oliveros - “Sound Patterns” (Extended Voices, Odyssey, 1967) Maxwell - “This Woman's Work” (Now, 2001) Richard Maxwell - “Pastoral Symphony” (An Anthology of Noise & Electronic Music Volume 5, 2008) Cruel Diagonals - “Live in Los Angeles - March 2023 pt.2” -—- Sound Propositions produced by Joseph Sannicandro. --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support
ARCHIE SHEPP & ROSWELL RUDD - LIVE IN NEW YORK - New York, September 23 & 24, 2000 Acute motelitis, Steam, Bamako Roswell Rudd, Grachan Moncur, III (tb) Archie Shepp (ts,p,vcl) Reggie Workman (b) Andrew Cyrille (d) DEWEY REDMAN - LIVING ON THE EDGE - New York, September 13 & 14, 1989 Boo boodoop, Blues for J.A.M. Dewey Redman (ts,as) Geri Allen (p) Cameron Brown (b) Eddie Moore (d) MUHAL RICHARD ABRAMS / GEORGE LEWIS / ROSCOE MITCHELL - STREAMING - Brooklyn, NY, January 8 & 9, 2005 Dramaturns George Lewis (tb,laptop) Roscoe Mitchell (sop,as,perc) Muhal Richard Abrams (p,bell,bamboo-fl,taxi-hrn,perc)
RUFUS REID CELEBRATION - New York, September 15 & 16, 2019 Celebration, Cedar's blues, Tranescape Steve Allee (p) Rufus Reid (b) Duduka Da Fonseca (d) + Sirius String Quartet: Fung Chern Hwei, Gregor Huebner (vln) Ron Lawrence (viola) Jeremy Harmon (cello) NEIL SWAINSON 49TH PARALLEL - Toronto, ON, Canada, May 2 & 3, 1987 49th parallel, Port of Spain, Homestretch (1) Woody Shaw (tp) Joe Henderson (ts-1) Gary Williamson (p) Neil Swainson (b) Jerry Fuller (d) PJ Noviembre 2023 GRACHAN MONCUR, III NEW AFRICA - Paris, France, August 11, 1969 Queen Taman, New Africa, Black call, Ethiopian market Grachan Moncur, III (tb) Roscoe Mitchell (as,pic) Archie Shepp (ts-1) Dave Burrell (p) Alan Silva (b) Andrew Cyrille (d)
As educators, we love sharing musicians, artists, and composers with our students. Listening to their music inspires us to create, move, and engage in music making and composing ourselves. Today I'm talking with Emi Ferguson about the book Iconic Composers that she wrote with Nicolas Csicsko. The illustrations by David Lee Csicsko are incredible! Emi and I discuss the project, how this book can be used inside and outside of the classroom, and thoughts on being creative and composing as well as the importance of guiding students in composition opportunities. Follow Emi on Instagram: @emiferguson Emi's Website: www.emiferguson.com Meet Emi Ferguson Emi is very proud to be named a 2023 Avery Fisher Career Grant awardee, and can be heard live in concerts and festivals around the world as a soloist and with groups including AMOC*, the New York New Music Ensemble, the Handel and Haydn Society, and the Manhattan Chamber Players. She has spoken and performed at several TEDX events and has been featured on media outlets including The Discovery Channel, Vox's "Explained" series on Netflix, Amazon's The Marvelous Mrs. Maisel, and Juilliard Digital's TouchPress apps talking about how music relates to our world today. A passionate chamber musician of works new and old, Emi has been a featured performer at the Marlboro, Lucerne, Ojai, Lake Champlain, Bach Virtuosi, and June in Buffalo festivals and has premiered works by many of today's leading composers, working most recently with composers Michael Hersch, Roscoe Mitchell, Emily Koh, Gabriela Ortiz, and Georgina Derbez. Follow Jessica on Instagram @howtoteachmusicwithjessica Jessica's Website: www.jessicagrant.org
THIS WEEK's BIRDS: Ethnic Heritage Ensemble reprises Freddie Hubbard; vintage Joe Henderson; David Murray leads a quartet recorded live in London; flamenco from Fernanda de Utrera, Remedios Amaya, and Chocolat; Munir Bashir (oud) accompanies Nouna el Hana (vocals) and collaborates with Olga Chung & Rabih Abou-Khalil; Elvira Plenar w. Vittold Red; vintage Roscoe Mitchell (w. the Note Factory); Satoko Fujii w. Otomo Yoshihide; Eddy Tussa and Longino from Cape Verde; Muslim highlife from Alhaji Waziri Oshomah; and 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. WRFI/WINO has improved and expanded its signal, and can now be heard on one of our frequencies from Northern Pennsylvania to Lake Ontario!!! 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/16935780/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
The Shane Schneider Memorial episode, featuring tracks exclusively from his collection.1)James Blood Ulmer/"Moon Shines"/Tales of Captain Black '782)Brotzmann/Bennink/"No.3"/Ein Halber Hund Kann Nicht Pinkeln '773)Roscoe Mitchell/"Nonaah"/Solo Saxophone Concerts '734)Andrew Cyrille/"The Loop"/The Loop '785)Ornette Coleman/"Him and Her"/Of Human Feelings '796)John Coltrane/"Peace on Earth"/Concert in Japan '667)Heiner Goebbels/Alfred 23 Harth/"Lightning Over Moscow"/Live Victoriaville '878)Braxton & Bailey/"Another Rehearsal Extract"/Live at Wigmor '749)Arthur Doyle/"Hey Minnie Hey Wilbur Hey Mingus"/Plays & Sings From the Songbook '9210)Shannon Jackson & the Decoding Society/"Small World"/Nasty '8111)Joseph Jarmen/"Little Fox Run"/Song For '6612)Oliver Lake/"Whap"/Passing Thru '74
"You inspire us to work hard to improve the service we do for the music community." In this episode of MFM Speaks Out, Dawoud Kringle offers a retrospective of the progress of the MFM Speaks Out podcast in 2022. The guests mentioned, and / or whose music was included, include Ken Butler, Ariel Hyatt, Neel Murgai, Banning Eyre, Baba Don Eaton Babatunde, William Parker, Bruce Lee Gallanter, Jeff Slatnick, Hubert Howe, and April Centrone.The progress and accomplishments of MFM as a whole during the year 2022 were also briefly discussed. Topics discussed:Our guest for episode 35 in January was musician, experimental musical instrument builder, and visual artist Ken Butler. He builds hybrid musical instruments and other artworks that explore the interaction and transformation of common and uncommon objects, altered images, sounds and silence.He is internationally recognized as an innovator of experimental musical instruments created from diverse materials including tools, sports equipment, and household objects.February's episode 36 featured Ariel Hyatt. Ariel is a digital marketer, writer, and teacher who assists independent musicians in career development. She is the author of Music Success in 9 Weeks, Cyber PR For Musicians, Crowdstart, and other books. Hyatt worked at New York City's WNEW-FM, and the What Are Records? record label. She moved to Boulder CO, where she managed and handled publicity for the funk band, Lord of Word. She is also the founder and owner of the New York-based public relations firm Cyber PR. Her clients included the Toasters and George Clinton.Neel Murgai was our 37th guest in March. Neel is a sitarist, overtone singer, percussionist, composer, teacher, and Co-Artistic Director of the Brooklyn Raga Massive, a raga inspired musician's collective.Banning Eyre is a writer, guitarist and producer, and the senior editor and producer of the public radio program Afropop Worldwide. He has traveled and done music research in over 20 African countries, as well as in the Caribbean, South America and Europe. His latest initiative is the launch of Lion Songs Records, an independent label dedicated to uplifting overlooked, mostly acoustic music from the African universe. He is the author of several books, and the co-author of AFROPOP! An Illustrated Guide to Contemporary African Music. Eyre is a contributor to National Public Radio's All Things Considered, and his writing has been published in Billboard, Guitar Player, Salon, the Boston Phoenix, College Music Journal, Option, The Beat, Folk Roots, Global Rhythm, and other publications. He also has a background in technology, and worked for 10 years as a software technical writer. Eyre is also on the Advisory Committee of Musicians for Musicians. Baba Don Eaton Babatunde. He is a percussionist and master of African Drumming and the rhythms of the African Diaspora in the Americas. Baba Don has performed and recorded with Abidun Oyewole and The Last Poets, Pattie Labelle, Joe Henderson, Donald Brown, Jason Linder, Tyrone Jefferson, Tevin Thomas, James Spaulding, Ron Carter, George Clinton, Pharaoh Sanders, the Metropolitan Orchestra, Bill Laswell, and Philycia Rashadto name a few. His work with dance companies and choreographers includes The Dance Theatre of Harlem, Alvin Ailey Dance Theatre, Maurice Hines, Gregory Hines, Andy Williams, Chuck Davis Dance theatre, Frank Hatchet, Geoffrey Holder, Louis Johnson, and Pyramid Dance Company.Episode 40 featured free jazz bass master William Parker. He has also performed and recorded with Cecil Taylor, Peter Brotzmann, Derek Bailey, John Zorn, Hamid Drake, Anthony Braxton, Milford Graves, Oliver Lake, Daniel Carter, Billy Bang, Andrew Cyrille, Matthew Shipp, Roy Campbell, Warren Smith, Joe McPhee, Roscoe Mitchell, Jemeel Moondoc, Joe Morris, Steve Swell, David S. Ware, Leena Conquest, and many others. He was the leader of the Little Huey Creative Music Orchestra and In Order to Survive, a member of the Other Dimensions in Music cooperative, and co-founder of the musician's non-profit organization Arts For Art. Our guest for episode 41 was Bruce Lee Gallanter, the owner and proprietor of Downtown Music Gallery (DMG), a Manhattan based music store that specializes in new, used, hard to find, and out of print CDs, Vinyl, DVDs, and books. DMG was started in 1991 by David Yamner & Steve Popkin, with Gallanter working for the store. They remained in their first location on east 4th street in Manhattan for 12 years until 2003, and started having weekly free concerts, an idea that Gallanter had started with Manny Maris when they worked at Lunch For Your Ears. Gallanter became the owner in 1997. Around the time. he and Emperor Mike started the DMG newsletter, In 2003, they moved into a new store on the Bowery, not far from St. Marks Place, Tower Records, and Other Music.Jeff Slatnick was our 42nd guest. Jeff has been an employee and later the owner of Music Inn for over 54 years. Music Inn is one of the oldest music stores in New York City (second in longevity only to Sam Ash). It is a landmark music store in the West Village of NYC specializing in imported world and western instruments, rare and exotic music items, and records. Music Inn has been described as “a museum, rich with music history from around the world.” Music Inn is also the headquarters of Limulus, a company that designs and manufactures unique solid body string instruments. Hubert Howe graced the annals of our podcast as our 43rd guest. Hubert was one of the first researchers in computer music, and became Professor of Music and Director of the Electronic Music studios at Queens College in New York, where he was also Director of the Aaron Copland School of Music from 1989 to 1998, 2001 to 2002, and Autumn 2007. He taught at the Juilliard School from 1974 through 1994. In 1988-89 he held the Endowed Chair in Music at the University of Alabama. He has been a member of the Society of Composers, Inc. , President of the US section of the League of Composers / International Society of Contemporary Music, a member of the International Computer Music Association, and directed the International Computer Music Conference at Queens College, a member of Society for Electro-Acoustic Music, a member of BMI, and the American Composers Alliance since 1974 and served as their President from 2002 to 2011. He is a member of the New York Composer's Circle and has served as Executive Director since 2013. In 2009, he founded the New York City Electroacoustic Music Festival, and he continues as Director.Our final guest for for 2022 was April Centrone. April Centrone is a multi-instrumentalist (specialising in the riqq, darbuka, frame drum, trap drum, and oud), co-founder of the New York Arabic Orchestra, teacher, composer, film producer and director, and music therapist. She is a Carnegie Hall World Explorer musician and educator, business owner and founder of 10PRL, arts/film/event space on the Jersey Shore. Shehas performed in venues such as the United Nations, NYC Opera House, Carnegie Hall and Lincoln Center, and has toured throughout Europe, the Americas, Middle East and Far East.Music on this episode:"Aurora" by Adam Reifsteck / Sonic Fear"Building a Desert Blizzard" by Ken Butler"Bagheshri Unbound" by Neel Murgai"Today is a New Day" by Voyagers"25 Years" by Abiodun Oyewole, featurning Baba Don Eaton"Give Me Back My Drum" by William Parker"Warm Arms to Hold You" by Dawoud the Renegade Sufi (a.k.a. Dawoud Kringle)"Inharmonic Fantasy No. 7" by Hubert Howe"New Moon" by April Centrone"Welcome New Iran" by SoSaLa (a.k.a. Sohrab Saadat Ladjevardi)(All music used by permission)
"Music is Defined as Anything that is Beautiful, and What Makes Something Beautiful is Music"Our guest for this episode of MFM Speaks Out is free jazz bass master William Parker. Parker was born in the Bronx, New York City, and grew up in the Melrose housing project. His first instruments were the trumpet, trombone and cello. Parker had no formal training as a classical player, but in his youth studied with Jimmy Garrison, Richard Davis and Wilbur Ware.In the 1980s, he first came to public attention playing with Cecil Taylor. He has also performed and recorded with Peter Brotzmann, Derek Bailey, John Zorn, Hamid Drake, Anthony Braxton, Milford Graves, Oliver Lake, Daniel Carter, Billy Bang, Andrew Cyrille, Matthew Shipp, Roy Campbell, Warren Smith, Joe McPhee, Roscoe Mitchell, Jemeel Moondoc, Joe Morris, Steve Swell, David S. Ware, Leena Conquest, and many others. He also led several groups, such as the Little Huey Creative Music Orchestra and In Order to Survive.His discography is extensive, with dozens of albums as a leader and co-leader, and with the aforementioned artists. They received very favorable reviews from publications such as Downbeat, The Village Voice, The Wall Street Journal, Parker is a prominent musician in the New York City experimental jazz scene, where he leads a number of groups and is associated with the Vision Festival, organized by his wife, dancer / choreographer Patricia Nicholson. He is also a member of the Other Dimensions in Music cooperative, and co-founder of the musician's non-profit organization Arts For Art. He has performed at many prestigious venues and music festivals around the world. In addition to double bass, Parker also plays trumpet, tuba, bamboo flutes, shakuhachi, flute, double reeds, Kora, gembri, and donso ngoni.In 2006, Parker was awarded the Resounding Vision Award from Nameless Sound. In March 2007, his book of political thoughts, poems, and musicological essays, Who Owns Music?, was published by Buddy's Knife Jazzedition in Cologne, Germany. In June 2011, Parker's second book, Conversations, a collection of interviews with notable free jazz musicians and forward thinkers, mainly from the African-American community, was published by RogueArt. Parker is frequently noted for his community dedication, mentorship, and status as "unofficial mayor of the New York improvisational scene." The Village Voice named him "the most consistently brilliant free jazz bassist of all time" and Downbeat has called him "one of the most adventurous and prolific bandleaders in jazz."Topics discussed:His beginnings as a musician and what led him to free jazz, his work with Cecil Taylor, Roy Campbell, Hamid Drake, Jimmy Garrison, and many others, his work and long association with Arts for Art (AFA), the Vision Festival, the Other Dimensions in Music Cooperative, AFA's kinship with other musician's organizations, his thoughts on hip hop, social media, and modern music technology, racism in America, the spiritual essence of music (especially free / improvised music), the future of free jazz, and his experience, thoughts, and advice about the political and economic climate of the the music business.Music on this episode:"Give Me Back My Drum""It's A Great Day to Be Dead""Canyons of Light"All Music by William Parker
In previous episodes, we've talked about what people commonly understand as fusion, which drummer Lenny White, who appeared in episode two of this series, prefers to call jazz-rock. That's the version that starts with Miles Davis's Bitches Brew and Tony Williams' Lifetime and quickly branches out with Mahavishnu Orchestra and Return To Forever and Weather Report and on and on. But as we've continued the discussion, we've expanded the scope of inquiry to include adventurous funk and R&B fusion, which includes everything from P-Funk and Earth, Wind & Fire and the Ohio Players — and wow, do the Ohio Players deserve a place in the fusion conversation that they are very rarely granted — to Donald Byrd and Freddie Hubbard and especially George Duke.Adam Rudolph is a fusion artist in about as broad a sense as you can imagine. He's been a percussionist for close to 50 years, and should be much better known than he is. He's been around since the early '70s and has worked with everyone: Yusef Lateef, Fred Anderson, Don Cherry, Roscoe Mitchell, Pharoah Sanders, Sam Rivers, Wadada Leo Smith, Herbie Hancock, Maulawi, Foday Musa Suso, Hassan Hakmoun, Jon Hassell… he's part of the Bill Laswell company of players, too, so he's on a zillion records through that connection. Plus he leads two main groups of his own, Moving Pictures and the Go! Organic Orchestra, which have made many, many albums and even crossed over with each other a time or two.Adam and I had a really fascinating conversation over the course of two phone calls. The impetus was Symphonic Tone Poem For Brother Yusef, a collaboration between him and reeds player Bennie Maupin that's just been released. Bennie Maupin of course is a legend on his own — he played on Miles Davis's Bitches Brew and On The Corner, he was a member of Marion Brown's group in the 1960s, he was in Mwandishi and the Headhunters with Herbie Hancock, he played with Woody Shaw, and his own album from 1974, The Jewel In The Lotus, is an absolutely brilliant record that blends spiritual jazz with almost New Age ambient music. There's really no other album like it; if you've never heard it, it's a must-hear. So obviously Rudolph and I talk about Maupin, whom he's worked with off and on for decades, but we also talk about Laswell and about Lateef and about the whole idea of world music and fusion-as-creative-mindset that I've been discussing with every artist I've interviewed for the podcast this year. We talk a lot about the philosophy that goes into bringing together musicians from all sorts of traditions, from all over the globe, and finding ways to make their ideas flow together. That's what he does with Go! Organic Orchestra, the membership of which is completely open and the music of which is created through spontaneous conduction. So he was really the ideal person to talk about all this stuff with. I think you'll come away from this episode with a lot to think about. I know I did. And I hope you enjoy listening to it. All the music you'll hear, by the way, comes from Symphonic Tone Poem For Brother Yusef.
The Wire places Sara Schoenbeck in the "tiny club of bassoon pioneers" at work in contemporary music today, while the New York Times has called her performances "galvanizing" and "riveting.” She has performed with or been a member of Anthony Braxton's 12+1(tet) and Tri-Centric Orchestra, Wayne Horvitz's Gravitas Quartet, Harris Eisenstadt's Golden State, Wavefield Ensemble, SEM Ensemble, Wet Ink, Marty Ehrlich's Duende Winds, Nels Cline's Lovers, Adam Rudolph's Organic Orchestra, and the Michael Leonhart Orchestra. She has worked with many of creative music's luminaries including Roscoe Mitchell, Henry Threadgill, Butch Morris, Yusef Lateef, Wadada Leo Smith, George Lewis, and Pamela Z. She can be heard on music and film recordings including Matrix 2 and 3, Spanglish and Dahmer. She has performed at major venues throughout North America and Europe. A partial list includes Carnegie Hall, Lincoln Center Out of Doors, the Kitchen, Iridium, Disney Hall, Redcat, the Kennedy Center, the Free Music Festival in Antwerp Belgium, Biennale Musica in Venice Italy, the American Festival of Improvised Music, MicroFest, SXSW, New Orleans, Newport, Berlin, Victoriaville and Ottawa Jazz Festivals; the Vancouver International Jazz Festival, Angel City Jazz Festival in Los Angeles; San Francisco, Saalfelden and Tempere Jazz festivals. Sara received her BFA from the San Francisco Conservatory of Music and MFA from the California Institute of the Arts. Sara has been adjunct faculty at California Institute of the Arts, Citrus College, and Pasadena Conservatory and has given master classes at Amherst College, Hampshire College, Cornish College, University of Denver, and Western Washington University. She is currently on faculty at Brooklyn Conservatory of Music and Packer Collegiate Institute. In this episode, I speak to Sara about her musical journey, how her career developed and took off, and the inspiration behind her recent self-titled album release, she gives me some practical tips on how to become a better improviser and how to approach free improvisation, tips on creativity, her main musical influences, the challenges of working as a female musician, tips for young musicians and she fills me in on the jazz/music scene in New York, and which jazz clubs I should visit in New York. Listen to her album here: https://open.spotify.com/album/6SMnwqkm8odd2KXNaUqku9?si=3JzotXziSY6u_InOokxYfA Find out more about Sara: https://www.saraschoenbeck.com LOR podcast is being sponsored by Baron Cane, use the coupon code "legendsofreed", to enjoy free shipping on Barton Cane. https://www.bartoncane.com/
From early morning sunrise to evening sunset, AMOC dives into the music of icons George Lewis and Roscoe Mitchell, the life and music of Julius Eastman alongside world premieres of works by Anthony Cheung and new staging of Messian's Harawi. Guests: AMOC member and flutist Emi Ferguson and composer Anthony Cheung. Emily Praetorius, producer and host Louis Ng, sound engineer (lensonproductions.com) OJAICast theme by Thomas Kotcheff and Louis Weeks Music Excerpts in Episode 2: Gay Guerilla, by Julius Eastman Performed by Julius Eastman Stay on It, by Julius Eastman Performed by Julius Eastman, Doug Gaston, Amrom Chodos, Dennis Kahle, Benjamin Hudson, Joseph Ford, George Mitkoff, Jan Williams, Peter Kotik Harawi, mvts. 2, 6, 10, by Olivier Messiaen Performed by Hetna Regitze Bruun and Kristoffer Hyldig
Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.
Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.
Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.
Rievocazione in questa serie di Birdland della vera e propria nascita del celebre gruppo dell'avanguardia jazz statunitense anni '60 e ‘70‘.A partire dal 1965, sotto l'impulso di Muhal Richard Amrams, i futuri membri dell'Art Ensemble of Chicago si erano già esibiti e avevano registrato in numerosi gruppi sotto vari nomi. Dopo il plauso della critica sulla stampa nazionale e internazionale per le loro innovative esibizioni, Roscoe Mitchell, Joseph Jarman, Lester Bowie e Malachi Favors decisero di continuare insieme la loro avventura musicale e si recarono a Parigi nel 1969 dove assunsero il nome definitivo di Art Ensemble of Chicago, un'estensione dell'originale Roscoe Mitchell Art Ensemble. Furono subito invitati ad esibirsi per un mese al leggendario Theatre Lucernaire a Montparnasse. Seguirono numerosi concerti in tutta la Francia e la registrazione di diversi album di gruppo ma pure in collaborazione con i tanti musicisti americani della scena parigina di quel periodo.Nel 1970 composero la colonna sonora del film Les Stances à Sophie, un classico di culto con la voce di Fontella Bass e anche la prima registrazione che vede la partecipazione del batterista Don Moye.
Dopo il ritorno nel '70 da Parigi, le strade di Leo Smith e Anthony Braxton si erano separate. Nell'ottobre del '74 però Smith è di nuovo in studio di incisione con Braxton, per un brano in trio con Richard Teitelbaum (negli anni sessanta a Roma uno degli animatori di Musica Elettronica Viva) che viene pubblicato nell'album di Braxton Trio and Duet. Nel febbraio del '76 poi Smith è di nuovo con Anthony Braxton per l'incisione dell'album di Braxton Creative Music Orchestra 1976; la formazione è molto ampia, oltre venti musicisti, e qualificatissima, praticamente una all stars (fra i componenti Roscoe Mitchell, Jon Faddis, George Lewis, Muhal Richard Abrams, Frederic Rzewski, Teitelbaum, Karl Berger, Dave Holland, Barry Altschul), le composizioni sono di Braxton, ma Smith ha un ruolo di rilievo in questo album che è un lavoro molto significativo nella produzione di Braxton degli anni settanta: suona in due dei sei brani dell'album, ma dirige l'orchestra in altri tre.
Dopo il ritorno nel '70 da Parigi, le strade di Leo Smith e Anthony Braxton si erano separate. Nell'ottobre del '74 però Smith è di nuovo in studio di incisione con Braxton, per un brano in trio con Richard Teitelbaum (negli anni sessanta a Roma uno degli animatori di Musica Elettronica Viva) che viene pubblicato nell'album di Braxton Trio and Duet. Nel febbraio del '76 poi Smith è di nuovo con Anthony Braxton per l'incisione dell'album di Braxton Creative Music Orchestra 1976; la formazione è molto ampia, oltre venti musicisti, e qualificatissima, praticamente una all stars (fra i componenti Roscoe Mitchell, Jon Faddis, George Lewis, Muhal Richard Abrams, Frederic Rzewski, Teitelbaum, Karl Berger, Dave Holland, Barry Altschul), le composizioni sono di Braxton, ma Smith ha un ruolo di rilievo in questo album che è un lavoro molto significativo nella produzione di Braxton degli anni settanta: suona in due dei sei brani dell'album, ma dirige l'orchestra in altri tre.
This week: Jean Bokelo & Orchestre Conga Succès; Les Kamale; Youlou Mabiala; MingBauSet (Gerry Hemingway / Vera Bauman / Florestan Berset); Antonio Sanchez; Gonzalo Rubalcaba; Conjunto Rumbavana; Kelley Hurt, Chad Fowler, Christopher Parker, Bernard Santacruz & Anders Griffen ; Roscoe Mitchell; Hideo Shiraki w. 3 Koto Girls; Keith Tippet; Saban Hasni; Jen Shyu; I Wayan Sadra; William Parker; Orchestre Vecve; 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/14807807/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
En este tercer episodio dedicado al saxo alto nos interesamos por jazzistas modernos y del free jazz: Eric Dolphy, Ornette Coleman, Anthony Braxton, Roscoe Mitchell entre otros.
Nel giugno del '69 Leo Smith partecipa, in trio con il violinista Leroy Jenkins, alla registrazione di un nuovo album di Anthony Braxton: proprio firmato da Smith è il brano che dà il titolo al disco. Un paio di mesi dopo Smith è a Parigi, dove nel frattempo sono già arrivati Roscoe Mitchell col suo gruppo (che proprio in questa occasione assume il nome di Art Ensemble of Chicago) e Anthony Braxton. I musicisti chicagoani si mescolano con Archie Shepp e altri reduci dal Festival Panafricano di Algeri e con altri esponenti dell'avanguardia afroamericana, in una estate parigina che sarà il canto del cigno del free jazz ma anche il trampolino di lancio del post-free di cui i chicagoani - in quel momento ancora sconosciuti a New York - sono gli alfieri. Nel settembre del '69 e nel gennaio del '70 Smith a Parigi partecipa all'incisione di altri due album di Anthony Braxton, destinati all'etichetta francese Byg; ma, non accreditato sull'album, è alla tromba anche in Comme à la radio, famoso Lp della cantante francese Brigitte Fontaine. Nel corso del suo soggiorno parigino, che si prolunga fino ai primi mesi del '70, Smith ha anche occasione di incontrare per la prima volta, e di frequentare regolarmente, in un rapporto molto formativo, Ornette Coleman.
Nel giugno del '69 Leo Smith partecipa, in trio con il violinista Leroy Jenkins, alla registrazione di un nuovo album di Anthony Braxton: proprio firmato da Smith è il brano che dà il titolo al disco. Un paio di mesi dopo Smith è a Parigi, dove nel frattempo sono già arrivati Roscoe Mitchell col suo gruppo (che proprio in questa occasione assume il nome di Art Ensemble of Chicago) e Anthony Braxton. I musicisti chicagoani si mescolano con Archie Shepp e altri reduci dal Festival Panafricano di Algeri e con altri esponenti dell'avanguardia afroamericana, in una estate parigina che sarà il canto del cigno del free jazz ma anche il trampolino di lancio del post-free di cui i chicagoani - in quel momento ancora sconosciuti a New York - sono gli alfieri. Nel settembre del '69 e nel gennaio del '70 Smith a Parigi partecipa all'incisione di altri due album di Anthony Braxton, destinati all'etichetta francese Byg; ma, non accreditato sull'album, è alla tromba anche in Comme à la radio, famoso Lp della cantante francese Brigitte Fontaine. Nel corso del suo soggiorno parigino, che si prolunga fino ai primi mesi del '70, Smith ha anche occasione di incontrare per la prima volta, e di frequentare regolarmente, in un rapporto molto formativo, Ornette Coleman.
Irreversible Entanglements, Ben LaMar Gay, Eric Binder, Artifacts, Roscoe Mitchell, Henry Threadgill, Makaya McCraven, Johnathan Blake, Arturo O'Farrill, Adam O'Farrill, Steph Richards, Ron Miles, Kate McGarry + Keith Ganz, Jocelyn Barth, Elizabeth Shepherd & Michael Occhipinti, Beth McKenna, Le JagerPlaylist: Irreversible Entanglements - Open the GatesBen LaMar Gay, featuring Ohmme - Sometimes I Forget How Summer Looks on YouEric Binder Trio, featuring Walter Smith III & Petros Klampanis - Trane RideArtifacts, featuring Tomeka Reid, Nicole Mitchell & Mike Reed - Dedicated to Alvin FielderRoscoe Mitchell - Slow Ride TwoHenry Threadgill Zooid - PoofMakaya McCraven - Autumn in New YorkJohnathan Blake - Shakin' The BiscuitsArturo O'Farrill - Dreaming in LionsAdam O'Farrill - stakraSteph Richards, featuring Joshua White - SequoiaRon Miles - The RumorKate McGarry + Keith Ganz Ensemble, featuring Ron Miles & Gary Versace - Dancing in the DarkJocelyn Barth, featuring John MacMurchy, Dave Restivo & Artie Roth - Lost in a FogElizabeth Shepherd, Michael Occhipinti - Lovers in a Dangerous TimeBeth McKenna - Letting GoLe Jager - Proclamacion
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Bob Koester, scomparso qualche mese fa a 89 anni, è stato il fondatore della Delmark Records, una delle più significative etichette discografiche americane.La triste circostanza ci dà lo spunto per ricordare, grazie alla sapiente guida di Riccardo Bertoncelli, la storia di questa label nata nel 1953 con base prima a St. Louis poi a Chicago, che ha documentato soprattutto - ma non solo - la frizzante scena del blues urbano e del jazz d'avanguardia della Windy City.Nel suo sterminato catalogo appaiono – tra i tanti – i nomi di Sleepy John Estes, Big Joe Williams, Arthur Crudup, Otis Rush, Luther Allison, Buddy Guy, Magic Sam. Più avanti quelli di Byther Smith, Michael Coleman, Little Arthur Duncan, Eddie C. Campbell.In ambito jazz hanno registrato per la label Donald Byrd, Bud Powell, Barney Bigard, Sonny Stitt, Ira Sullivan nonché moltissimi esponenti del jazz più avanzato quali Sun Ra, Archie Shepp, Art Ensemble of Chicago, Muhal Richard Abrams, Roscoe Mitchell, Anthony Braxton e in tempi più recenti Ken Vandermark, Rob Mazurek, Nicole Mitchell , l'Ethnic Heritage Ensemble.
Guru dell'"Associazione per la promozione dei musicisti creativi" di Chicago, l'ambito da cui sono emerse figure ancora oggi di punta come Anthony Braxton, Roscoe Mitchell, Henry Threadgill e Wadada Leo Smith, il pianista Muhal Richard Abrams, mancato nel 2017, è stato a partire dagli anni sessanta uno dei protagonisti cruciali dell'avanguardia. Su commissione di Bobby Zankel, leader di una formazione di Philadelphia, The Warriors of the Wonderful Sound, Muhal scrisse una composizione, Soundpath, che con la sua direzione fu presentato con successo appunto a Philadelphia nel 2012. Qualche mese prima di morire Muhal incoraggiò Zankel a riprendere il lavoro e a continuare a interpretarlo. Nel 2018 effettivamente Soundpath è stato riproposto a Philadelphia, con la direzione di Marty Ehrlich, forte di una lunga confidenza con la musica di Abrams, e con una formazione comprendente alcuni dei Warriors, e musicisti che avevano lavorato con Muhal a New York. Il giorno dopo la presentazione dal vivo Soundpath è stato inciso in studio, ed è adesso un album pubblicato dall'etichetta portoghese Clean Feed, che ci fa il regalo di una creazione prima inedita su disco di un musicista tanto importante, amato e rispettato. Fra i musicisti dell'orchestra, oltre a Ehrlich e Zankel, diversi nomi di tutto rilievo come Graham Haynes, Steve Swell, Michael Formanek e Chad Taylor.
Angelica è una rassegna bolognese che da trent'anni in primavera propone un ampio cartellone dedicato a forme molto varie di avanguardia musicale. Già in passato Angelica ha pubblicato degli album, ma adesso la sua attività discografica sembra aver innestato un'altra marcia, con una nutrita serie di uscite e - forte di un archivio di registrazioni che testimonia della qualità della sua programmazione - con un livello molto alto delle proposte. Apriamo la puntata con un doppio cd prezioso per più di un motivo: At Angelica 2000 Bologna di Cecil Taylor, che documenta il solo dello straordinario pianista afroamericano nel 2000, ma anche la rara conversazione in pubblico alla quale Taylor si era concesso nella stessa occasione, di cui viene fornita la registrazione corredata di minuziosa trascrizione in inglese con traduzione in italiano. Passiamo in rassegna poi due album di due maestri afroamericani del post-free: il Duo (2018) del sassofonista Anthony Braxton con l'arpista Jacqueline Kerrod, e Splatter di Roscoe Mitchell, che presenta due esibizioni del 2017 di Mitchell, una delle quali con l'Orchestra del Teatro Comunale di Bologna; e due di due capiscuola della free music europea: Rituals of Transition del compianto Misha Mengelberg (piano solo in diverse occasioni nel nuovo millennio, fra cui Bologna 2002), e The Catch of A Ghost cointestato al sassofonista tedesco Peter Brotzmann, al marocchino Moukhtar Gania e al chicagoano Hamid Drake, e registrato ad Angelica nel 2019.
Dalla metà degli anni ottanta anima di "Ai confini tra Sardegna e Jazz", l'11 novembre scorso è mancato improvvisamente a Sant'Anna Arresi Basilio Sulis, che per chi ha frequentato il festival di Sant'Anna Arresi, così come per centinaia di musicisti fra i più importanti a livello internazionale che al festival hanno suonato, e che in generale non conoscevano nemmeno il suo cognome, era, semplicemente, Basilio. Con il suo temperamento, con la sua personalità speciale, Basilio con una determinazione non comune, in cui certo c'era moltissimo di sardo, è stato capace di portare avanti per trentacinque anni andando contro venti e maree il festival che aveva fatto nascere "in un angolo di periferia dell'impero", come gli piaceva dire. Votato al jazz più avanzato e audace, grazie a Basilio che lo ha guidato, "Ai confini tra Sardegna e Jazz" può vantare una tradizione, una identità e una indipendenza di scelte più uniche che rare. Rendiamo omaggio a Basilio Sulis con alcuni degli album che sono stati ricavati da concerti di protagonisti di primo piano del jazz d'avanguardia che il festival di Sant'Anna Arresi ha proposto nell'ultimo ventennio: Matthew Shipp, David S. Ware, Butch Morris, Roscoe Mitchell, Nicole Mitchell, Rob Mazurek, Evan Parker.
Welcome to Episode 3 of Anechoic Chamber - free-form, "erased interviewer" dialogue on the fertile margins of art and culture. This episode's guest is Weasel Walter, restless multi-instrumentalist associated with the "brutal prog" and "punk jazz" musical idioms, whose character he has played a key role in shaping while active in three distinct geographic 'scenes.' Over the course of 200+ commercially available recordings, and collaborations with hundreds of sympathetic musicians, Walter has built an entire cottage industry upon intensity, exertion, and the wholesale rejection of tepid attitudes. Key moments have included the formation of the Flying Luttenbachers combo and their integration into the '90s Chicago scene based around 'Skin Graft' records, collaborations with numerous luminaries of avant-jazz (e.g. Roscoe Mitchell, Marshall Allen, Henry Kaiser, Evan Parker), and international touring with Lydia Lunch Retrovirus. music used in this episode: Walter / Drumm / Lonberg-Holm: "I Just Whaled on a Music Critic with a Baseball Bat" Weasel Walter "Half Death" and "Viral Humanity" cover photo: unknown photographer, please contact us to be credited. artist links: https://weaselwalter.bandcamp.com/ http://www.ugEXPLODE.com http://nowave.pair.com/weasel_walter/index.html Anechoic Chamber links: donate (Paypal): tbwb@protonmail.com other inquires: core@tbwb.net
Saxophonist, composer and 2020 NEA Jazz Master Roscoe Mitchell is a musical seeker. He's interested in sound and its colors. He is one of the most influential (and prolific) jazz musicians around who nonetheless says he has never been as excited or inspired as when I spoke with him in December 2019. And this from one of the original members of the Association for the Advancement of Creative Musicians and one of the founders of the Art Ensemble of Chicago! Our interview was on my birthday—and it was the best present I could have received. Roscoe Mitchell—aside from being a fabulous musician--is an eloquent philosopher about music. Speaking with him was a true pleasure and I hope you'll feel the same listening to this podcast.
Oltre a due brani dall'album di John Coltrane inciso nel '63 e rimasto inedito per 55 anni, Jazz Anthology presenta un album registrato nell'agosto 2005 al festival sardo "Ai confini tra Sardegna e jazz" di Sant'Anna Arresi, Accelerated Projection, del duo Roscoe Mitchell (sax alto, soprano e flauto) e Matthew Shipp (pianoforte), da poco pubblicato da Rogue Art. Mitchell è certamente uno dei musicisti che sono stati più coerenti e indefessi nel portare avanti la tensione alla ricerca di cui Coltrane è stato per la nuova generazione di giovani emersi nel jazz negli anni sessanta un fulgido esempio. La fama di Roscoe Mitchell è legata innanzitutto alla sua militanza nell'Art Ensemble of Chicago: ma Mitchell ha prodotto moltissimo anche col proprio lavoro personale, ed è certamente ancora oggi una delle figure di punta dell'avanguardia jazzistica. Matthew Shipp ha avuto in Mitchell, con cui ha ampiamente collaborato, un maestro, ma è anche una delle figure di rilievo di quell'area di avanguardia afroamericana newyorkese che ha in William Parker il suo catalizzatore. Questo duo di Mitchell e Shipp va annoverato tra i grandi esempi di duo piano/sax, come può esserlo il classico duo Steve Lacy/Mal Waldron. Musica audace, ardita ma tutt'altro che priva di una sua affascinante e avvolgente fluidità: e bisogna rendere merito ad una rassegna come "Ai confini tra Sardegna e jazz" che offre proposte di livello così alto e così intransigenti. Con questo album si allunga la lista dei "live at Sant'Anna Arresi" di cui il festival può andare orgoglioso.
Episode 103! This week the guys check out the newest release from Marcel P. Black, “Seven.” Marcel is a friend from Baton Rogue who has been covered several times on Comprehensive Beatdown. The opening track is from the superb new Roscoe Mitchell album, “Discussions.”https://marcelpblack.bandcamp.com/Roscoe MitchellBe sure to check us out on the Satchel Player! You can download the app from the Apple Store or Google Play Store to follow and support your favorite podcasts. Go to http://satchelplayer.com/ to check it out! Follow us on Twitter! @compbeatdownSend any questions/comments/suggestions to comprehensivebeatdown@gmail.com Like us on Facebook!Click HERE if you want to keep up with an inordinate amount of new music, follow Silent G's 2017 Albums/EPs playlist on Spotify. Check out Bloggy Bonilla's website to see what he is enjoying day-to-day. http://keyb2lock.com/As always, follow http://dopemedianetwork.com/ and find the podcast on iTunes and leave a review.
On today's episode I talk to free jazz pianist Matthew Shipp. Originally from Delaware, Matt moved to New York in 1984 and quickly became one of the leading lights in the New York jazz scene. He was a sideman in the David S. Ware quartet and also for Roscoe Mitchell's Note Factory before making the decision to concentrate on his own music. Since then, dozens of his albums have been released, mostly on the labels Hatology and Thirsty Ear. His latest album Cactus, recorded with drummer Bobby Kapp, is available now from Northern Spy. This is the website for Beginnings, subscribe on iTunes, follow me on Twitter.
In this episode, we learn about Brian's passion for becoming a composer/musician, the constant challenges he faced with accepting that playing music could be a full-time profession that was meaningful and appreciated by others. Brian constantly struggled with accepting that working as a musician was a fine way of making a living, and eventually learned that he didn't need to work a traditional 9-5 job to contribute to the advancement of society. His genuine appreciation for the musical talent he was born with, his supportive environment, and the acknowledgement of the good luck he came across played a pivotal role in his success. We also discuss how failure is a part of the process, how accepting failure can actually be an achievement in the grander scheme of things, and how failure serves as motivation to continue on your path, not as a deterrent from it. Brian Baumbusch is a composer and multi-instrumentalist based in Oakland, California, whose "harmonically vivid... intense... simmering" (NY Times) compositions push the boundaries of new music. He has spearheaded projects of both western and non-western music which are considered a “cultural treat” (Maryland Gazette). He has headlined performances at the Bali Arts Festival in Denpasar, The Smithsonian Instituion in Washington, The Clarice Smith Center of Maryland, Kresge Hall at MIT, Cambridge, The Yerba Buena Center of San Francisco, and the Prado Concert Series in Madrid, among others. He has collaborated with musicians such as The JACK Quartet, Evan Ziporyn, Pauline Oliveros, David Behrman, Wayne Vitale, and I Made Bandem. Baumbusch has conducted extensive research and collaborated with a variety of musicians from around the globe. In 2009, he founded the Cacho Ensemble in Madrid, dedicated to reviving traditional Argentinean folk music, which has performed throughout Europe and the United States. In 2010, Baumbusch completed the first full English translation of Atahualpa Yupanqui's epic poem "El payador perseguido.” The translation was presented at the Embassy of Argentina in Washington D.C., sponsored by the cultural attaché of the embassy, Francisco Achaval, who describes Baumbusch's playing as embodying “supurb technique which, while listening, took me back to the deep heartland of my country; he has found a way to sing zambas from the bottom of his soul.” Baumbusch has also performed with and helped direct many Balinese gamelan groups across the U.S., including Dharma Swara of New York, Galak Tikka of Boston, Sekar Jaya of San Francisco, Gita Sari of Holy Cross, and Candra Kancana of Bard College. Dr. I Made Bandem describes Baumbusch as “a serious musician and composer whose profound understanding of Balinese music, dance, and culture has contributed a lot to the development of Balinese music.” In 2012, Baumbusch produced a large scale collaboration with the JACK Quartet and Balinese choreographers Dr. I Made Bandem and Dr. Suasthi Bandem, together with Dr. Bandem's performing group Makaradhwaja. They premiered their collaboration at the Bali Arts Festival in June, 2012. The Jakarta Post described the premiere saying "Baumbusch's overture was a grand and rich musical epic and instantly drew the crowd's amazement. Its patterns were intricate, a testament of Baumbusch's virtuosity and his ability to push the musicians to reveal the astounding ability of their instruments." Additionally, Baumbusch's arrangements of traditional gamelan pieces for string quartet caught the attention of David Harrington (violinist and director of the Kronos Quatet) who describes Baumbusch's work as “one of the finest attempts to bring the string quartet into the world of Gamelan music. For a composer so youthful to possess this expertise is a very hopeful sign.” In 2013, Baumbusch founded The Lightbulb Ensemble, an new-music composer's collective performing on steel instruments built and designed by Baumbusch. The group was highlighted in November of 2013 at the Performing Indonesia Festival at the Smithsonian Institution in Washington, where they represented the advent of American experimental performing ensembles drawing heavy influence from gamelan music. In 2014, The Lightbulb Ensemble was awarded a major grant from the Gerbode Foundation, commissioning Baumbusch and his mentor and collaborator, Wayne Vitale, to compose an evening length work for The Lightbulb Ensemble to be premiered alongside Gamelan Sekar Jaya at the Yerba Buena Center of San Francisco, in May, 2015. The group is currently busy developing these ongoing projects. Baumbusch received his undergraduate degree from Bard College, where he studied microtonal composition with Kyle Gann, and received his M.A. in composition from Mills College, where he studied under various established composers including Chris Brown, Fred Frith, Roscoe Mitchell, and Zeena Parkins, among others. Baumbusch has lectured on composition and world music at the University of Maryland, The Smithsonian Institution, CalArts, Union College, Holy Cross, Bard College, Mills College, U.N. Reno, and the Escuela TAI of Madrid. He has additionally presented electronic music performances at UCSD, UCSB, CalArts, UNR and Mills College. He is currently based in the Bay Area. Website: brianbaumbusch.com Email: brianbaumbusch@yahoo.com ------- VISIT: www.progress-not-perfection.com SPREAD THE WORD: If you liked this episode, please subscribe in iTunes and WRITE A REVIEW. This is what helps make the podcast easily accessible to those who could benefit from it. GET NEW EPISODES DELIVERED TO YOUR PHONE: Download the Podcasts app and subscribe to the progress-not-perfection podcast to have new episodes delivered directly to your phone. FEEDBACK: If you want to bounce any ideas off me, provide show feedback, or guest recommendations, email me at zaid@progress-not-perfection.com.
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