Podcasts about Roswell Rudd

Toumani Diabaté é um dos mais reconhecidos intérpretes contemporâneos da kora, considerado por muitos como o “rei da kora”, um instrumento de 21 cordas, típico da África ocidental e da cultura mandinga. Toumani Diabaté morreu, na sexta-feira, aos 58 anos, mas deixa uma herança intemporal que alia tradições ancestrais e modernidade. Para o músico guineense Nino Galissa, Toumani Diabaté é “um ícone e uma lenda”. Toumani Diabaté nasceu em 1965 numa família de contadores de histórias e de músicos e começou a tocar ainda em criança. O pai era Sidiki Diabaté, um dos intérpretes no primeiro álbum de kora gravado, o “Cordes Anciennes”, de 1970. Inspirado pelo ambiente onde cresceu e pelo instrumento de vários séculos, Toumani Diabaté tornou-se num embaixador da música africana e tocou com imensos músicos, desde outro virtuoso da kora, o maliano Ballaké Sissoko, e o cantor e guitarrista também maliano Ali Farka Touré. Também se interessou por outras sonoridades, incluindo o flamenco, o jazz, o blues, a pop e tocou com a islandesa Björk, o norte-americano Roswell Rudd, o brasileiro Arnaldo Antunes, o britânico Damon Albarn, o francês M, entre muitos outros. No meio da world music, é enaltecido pelo disco “In the Heart of the Moon”, gravado em duo com o guitarrista maliano Ali Farka Touré, e “Boulevard de l'Indépendance”, à frente da sua Symmetric Orchestra.Neste programa, falámos com o músico guineense Nino Galissa sobre Toumani Diabaté. Para o também tocador de kora, que está a criar uma escola para ensinar este instrumento na Guiné-Bissau, Toumani Diabaté é “um ícone e uma lenda” que conseguia transmitir plenamente “o mistério” da kora.

Some shows just flow and fit together well. This was one of them. Part fairly straight-ahead jazz, part jazz from the outer rim.Playlist: Lisa Hilton - Anxiety societyPat Metheny Unity Group - AdagioHutchinson Andrew Trio - JigSteve Lehman et Orchestre National de Jazz - Le seuilPatrick Battstone - Film noirPositive Catastrophe - Deebruhoe threeSteve Lehman et Orchestre National de Jazz - Le seuil (part 2)Russ Speigel - The underdown grooveElton Dean, Paul Dunmall, Tony Levin, Paul Rogers, Roswell Rudd, Keith Tippet - Too suchmuchness

It's hard to sum up how important Verna Gillis has been for music lovers. First of all, she is an ethnomusicologist who  recorded traditional music  around the world including in Kashmir, Afghanistan, Iran, Haiti, the Dominican Republic, Peru, Surinam, Ghana, and the United States. This episode will bring you along on some of these journeys.  25 of these recordings are available through Smithsonian Folkways and Lyrichord, and I'm very grateful to Smithsonian Folkways for allowing us to use some of these tracks for this specific episode. The albums that this music comes from are linked here in the show notes, where you'll find the video version, transcript, and photo gallery from Verna's career: ⁠https://www.leahroseman.com/episodes/verna-gillis⁠ In 1979 Verna  opened Soundscape, the first multi-cultural performance space in New York City, which put on hundreds of performances over 5 years. You'll also hear Verna reminisce about her work on career development with phenomenal international musicians including Youssou N'dour from Senegal, Salif Keita from Mali, and Carlinhos Brown from Brazil. As a producer, Verna was twice nominated for a GRAMMY award for two of the albums  she produced with Roswell Rudd. She's also a writer and spoken word performer. We've  included in this episode one of her recent spoken word videos with British musician Jennifer Maidman. There's so much more in this episode, and I hope a wide audience will be inspired by Verna Gillis' reflections on her remarkable life in music.   --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

This episode of Across The Margin: The Podcast presents an interview with musician trumpeter, slide trumpeter, arranger/composer and bandleader from New York City, Steven Bernstein. Steven is best known for his work in The Lounge Lizards, Sexmob, Spanish Fly, and the Millennial Territory Orchestra. He has released four albums under his own name on John Zorn's Tzadik Records and he has performed with jazz giants including Roswell Rudd, Sam Rivers, Don Byron, and Medeski, Martin & Wood, as well as musicians ranging from Aretha Franklin to Lou Reed, from Linda Ronstadt to Digable Planets, from Sting to Courtney Love. Steven was a member of Levon Helm's Midnight Ramble band, playing in Helm's Woodstock home, as well as touring with the band. As an arranger he has written for Bill Frisell, Rufus Wainwright, and Elton John, just to name a few. He has composed for dance, theater, film and television, and with composer John Lurie, arranged the scores to many feature films, including Get Shorty. While Steven is prolific with his output, this episode centers on two of his projects, Sexmob, which just released a terrific new album called The Hard Way, and The Millennial Territory Orchestra, which recently released four excellent records, in one day, on the Royal Potato Family label. Sexmob's latest release is a bit of a departure for the band, as with producer Scotty Hard at the board, The Hard Way skews decisively electronic. On it, Hard's beats and soundscapes provide Steven, saxophonist Briggan Krauss, bassist Tony Scherr and acoustic/electric drummer Kenny Wollesen, all the stimulus they need for further compose and fearlessly reinvent. With each offering, and certainly with The Hard Way and its rich electro-acoustic groove canvas, Steven and crew reveal a modernizing impulse, but also an equally strong foundation in the roots of jazz and American song. Funky, bluesy, with a tattered dissonance conjured up by Krauss Throaty saxophone tone, the distinctive wail of Steven's rare horn, and the swagger of Scherr and Wollesen's rhythm section grind, Sexmob continues to chart new paths in 21st-century creative music. In this episode host Michael Shields and Steven Bernstein talk about Sexmob's new direction sonically found on The Hard Way while exploring the production process behind this captivating work of art. They converse on producer Scott Hard's influence on the album, the unique art house label that The Hard Way was released on called Corbett vs. Dempsey, and the four albums Steven recently released with The Millennial Territory Orchestra. They even discuss Sexmob's forthcoming tour with Laurie Anderson, the many “gifts” Steven received in his career from renowned producer Hal Willner, and so much more. Hosted on Acast. See acast.com/privacy for more information.

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.

It's an episode years in the making when Mike is finally able to track down guitarist, composer, and raconteur Duck Baker.   We discovered Duck through his solo recording of Herbie Nichols' tunes, but Mike finds out that Duck has collaborated with such luminaries as John Zorn, Roswell Rudd, and Eugene Chadbourne while keeping up a stream of solo and group releases and composing dozens of tunes.  Don't miss this discussion from one of the only finger-style guitarists as comfortable at playing folk tunes and jazz covers as he is traveling to outer space.  And be sure to visit www.duckbaker.com for more information on this artist.

  Ben Patterson: Push the limits (Origin, Title 1)   Scott Reeves Quintet: The alchemist (Origin, 4+5)   Clayton/Pauer/Neumeister: 3 for the road (Meistero Music, 8+9)   Ray Anderson Pocket Brass Band: Come in (Double Moon, 1+2) Ed Neumeister Quartet: What have I done? (Meistero, 1+2+3) Roswell Rudd & Duck Baker: Live (Dot Time, 1+2+3) … Read more Jazz-Zeit: USA (tb)

Modern piano rooted in the tradition, timeless playful tongue-in cheek elegance, and two tributes to the great Herbie Nichols in this set. The playlist features Mathis Picard, Savannah Harris; Deanna Witkowski; Isaiah J. Thompson; Cécile McLorin Salvant; Aki Takase, Daniel Erdmann; Dandy Dandie; Anna Webber; Ben Allison; Duck Baker, Roswell Rudd. Detailed playlist at https://spinitron.com/RFB/pl/15900727/Mondo-Jazz (up to "The Happenings"). Happy listening!

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What do you need to make great music? Chops? Theory? Encyclopedic knowledge of the music? Yeah, that too, but if you don't have curiosity, a willingness to engage with people, a giving heart, who is going to want to hear what you have to say? Through sixty years of fusing traditions with experimentation, that was always the message from Roswell Rudd and his trombone. Roswell passed away in December 2017 at the age of 82. Trumpeter Steven Bernstein, who was one of Roswell's musical partners, takes this message to heart.     We've got music like you've never heard (because I promise you've never heard this!).   #WKCR #DeepFocus #MitchGoldman #RoswellRudd #StevenBernstein #SexMob #MTO #JazzRadio #JazzInterview #JazzPodcast   Photo credit: Christian Sahm Aschaffenburg, Deutschland, CC BY-SA 2.0 , via Wikimedia Commons

What do you need to make great music? Chops? Theory? Encyclopedic knowledge of the music? Yeah, that too, but if you don't have curiosity, a willingness to engage with people, a giving heart, who is going to want to hear what you have to say? Through sixty years of fusing traditions with experimentation, that was always the message from Roswell Rudd and his trombone. Roswell passed away in December 2017 at the age of 82. Trumpeter Steven Bernstein, who was one of Roswell's musical partners, takes this message to heart.     We've got music like you've never heard (because I promise you've never heard this!).   #WKCR #DeepFocus #MitchGoldman #RoswellRudd #StevenBernstein #SexMob #MTO #JazzRadio #JazzInterview #JazzPodcast   Photo credit: Christian Sahm Aschaffenburg, Deutschland, CC BY-SA 2.0 , via Wikimedia Commons

What do you need to make great music? Chops? Theory? Encyclopedic knowledge of the music? Yeah, that too, but if you don't have curiosity, a willingness to engage with people, a giving heart, who is going to want to hear what you have to say? Through sixty years of fusing traditions with experimentation, that was always the message from Roswell Rudd and his trombone. Roswell passed away in December 2017 at the age of 82. Trumpeter Steven Bernstein, who was one of Roswell's musical partners, takes this message to heart.   We've got music like you've never heard (because I promise you've never heard this!).   #WKCR #DeepFocus #MitchGoldman #RoswellRudd #StevenBernstein #SexMob #MTO #JazzRadio #JazzInterview #JazzPodcast   Photo credit: Christian Sahm Aschaffenburg, Deutschland, CC BY-SA 2.0 , via Wikimedia Commons

What do you need to make great music? Chops? Theory? Encyclopedic knowledge of the music? Yeah, that too, but if you don't have curiosity, a willingness to engage with people, a giving heart, who is going to want to hear what you have to say? Through sixty years of fusing traditions with experimentation, that was always the message from Roswell Rudd and his trombone. Roswell passed away in December 2017 at the age of 82. Trumpeter Steven Bernstein, who was one of Roswell's musical partners, takes this message to heart.   We've got music like you've never heard (because I promise you've never heard this!).   #WKCR #DeepFocus #MitchGoldman #RoswellRudd #StevenBernstein #SexMob #MTO #JazzRadio #JazzInterview #JazzPodcast   Photo credit: Christian Sahm Aschaffenburg, Deutschland, CC BY-SA 2.0 , via Wikimedia Commons

What do you need to make great music? Chops? Theory? Encyclopedic knowledge of the music? Yeah, that too, but if you don't have curiosity, a willingness to engage with people, a giving heart, who is going to want to hear what you have to say? Through sixty years of fusing traditions with experimentation, that was always the message from Roswell Rudd and his trombone. Roswell passed away in December 2017 at the age of 82. Trumpeter Steven Bernstein, who was one of Roswell's musical partners, takes this message to heart.   We've got music like you've never heard (because I promise you've never heard this!).   #WKCR #DeepFocus #MitchGoldman #RoswellRudd #StevenBernstein #SexMob #MTO #JazzRadio #JazzInterview #JazzPodcast   Photo credit: Christian Sahm Aschaffenburg, Deutschland, CC BY-SA 2.0 , via Wikimedia Commons

What do you need to make great music? Chops? Theory? Encyclopedic knowledge of the music? Yeah, that too, but if you don't have curiosity, a willingness to engage with people, a giving heart, who is going to want to hear what you have to say? Through sixty years of fusing traditions with experimentation, that was always the message from Roswell Rudd and his trombone. Roswell passed away in December 2017 at the age of 82. Trumpeter Steven Bernstein, who was one of Roswell's musical partners, takes this message to heart.   We've got music like you've never heard (because I promise you've never heard this!).   #WKCR #DeepFocus #MitchGoldman #RoswellRudd #StevenBernstein #SexMob #MTO #JazzRadio #JazzInterview #JazzPodcast   Photo credit: Christian Sahm Aschaffenburg, Deutschland, CC BY-SA 2.0 , via Wikimedia Commons

In the Jazz world, Steve Lacy is like Broadway: doesn't fit neatly into the grid but, wherever he intersects it, magical things happen. No wonder he loved Monk and no wonder Phillip Johnston is an acolyte. Phillip and I put Steve Lacy in Deep Focus.  Roswell Rudd's trombone also contributes some open-handed wonder. #WKCR #DeepFocus #MitchGoldman #PhillipJohnston #SteveLacy #JazzRadio #JazzInterview #JazzPodcast Photo credit: Steve Lacy by Lioneldecoster, CC BY-SA 3.0 creativecommons.org-licenses-by-sa-3.0 via Wikimedia Commons.jpeg

In the Jazz world, Steve Lacy is like Broadway: doesn't fit neatly into the grid but, wherever he intersects it, magical things happen. No wonder he loved Monk and no wonder Phillip Johnston is an acolyte. Phillip and I put Steve Lacy in Deep Focus.  Roswell Rudd's trombone also contributes some open-handed wonder. #WKCR #DeepFocus #MitchGoldman #PhillipJohnston #SteveLacy #JazzRadio #JazzInterview #JazzPodcast Photo credit: Steve Lacy by Lioneldecoster, CC BY-SA 3.0 creativecommons.org-licenses-by-sa-3.0 via Wikimedia Commons.jpeg

In the Jazz world, Steve Lacy is like Broadway: doesn't fit neatly into the grid but, wherever he intersects it, magical things happen. No wonder he loved Monk and no wonder Phillip Johnston is an acolyte. Phillip and I put Steve Lacy in Deep Focus.  Roswell Rudd's trombone also contributes some open-handed wonder. #WKCR #DeepFocus #MitchGoldman #PhillipJohnston #SteveLacy #JazzRadio #JazzInterview #JazzPodcast Photo credit: Steve Lacy by Lioneldecoster, CC BY-SA 3.0 creativecommons.org-licenses-by-sa-3.0 via Wikimedia Commons.jpeg

In the Jazz world, Steve Lacy is like Broadway: doesn't fit neatly into the grid but, wherever he intersects it, magical things happen. No wonder he loved Monk and no wonder Phillip Johnston is an acolyte. Phillip and I put Steve Lacy in Deep Focus.  Roswell Rudd's trombone also contributes some open-handed wonder. #WKCR #DeepFocus #MitchGoldman #PhillipJohnston #SteveLacy #JazzRadio #JazzInterview #JazzPodcast Photo credit: Steve Lacy by Lioneldecoster, CC BY-SA 3.0 creativecommons.org-licenses-by-sa-3.0 via Wikimedia Commons.jpeg

In the Jazz world, Steve Lacy is like Broadway: doesn't fit neatly into the grid but, wherever he intersects it, magical things happen. No wonder he loved Monk and no wonder Phillip Johnston is an acolyte. Phillip and I put Steve Lacy in Deep Focus.  Roswell Rudd's trombone also contributes some open-handed wonder. #WKCR #DeepFocus #MitchGoldman #PhillipJohnston #SteveLacy #JazzRadio #JazzInterview #JazzPodcast Photo credit: Steve Lacy by Lioneldecoster, CC BY-SA 3.0 creativecommons.org-licenses-by-sa-3.0 via Wikimedia Commons.jpeg

In the Jazz world, Steve Lacy is like Broadway: doesn't fit neatly into the grid but, wherever he intersects it, magical things happen. No wonder he loved Monk and no wonder Phillip Johnston is an acolyte. Phillip and I put Steve Lacy in Deep Focus.  Roswell Rudd's trombone also contributes some open-handed wonder. #WKCR #DeepFocus #MitchGoldman #PhillipJohnston #SteveLacy #JazzRadio #JazzInterview #JazzPodcast Photo credit: Steve Lacy by Lioneldecoster, CC BY-SA 3.0 creativecommons.org-licenses-by-sa-3.0 via Wikimedia Commons.jpeg

Celebramos a Totó La Momposina y a Caetano Veloso (con Tom Veloso) quienes estuvieron de cumpleaños en agosto. Un edición muy ecléctica con Roswell Rudd y Toumani Diabaté, el fenecido Victor Victor, Danyel Waro, Luiba Maria Hevia y Gema Corredera. Programa del 23 de agosto del 2020. Transmitido en Quisqueya FM, 96.1, Santo Domingo. Primera hora. Foto: Kevin A. Naar

Cuando el baterista Jim Black irrumpió en la escena neoyorquina no era frecuente escucharlo en el formato de piano, contrabajo y batería. No fue hasta hace poco más de una década que Black vio la luz en el pianista Elias Stemeseder y en el contrabajista Thomas Morgan que iluminó el camino para desarrollar sus propias ideas en este formato. El trío publica su cuarto disco, "Reckon". "Live in Graz", dedicado al gran Roswell Rudd, es el nuevo trabajo del cuarteto del trombonista Joe Fiedler, un grupo en la tradición de los ensembles de trombón. Con el sustento de la tuba de Jon Sass, Fiedler comparte su Big Sackbut con los trombonistas Ryan Keberle y Luis Bonilla. El pianista madrileño Álvaro Torres reflexiona sobre la ilusión del presente en "Specious present", un proyecto en el que reúne al contrabajista Eric Surmenian y al baterista Ivo Sans con la música de Paul y Carla Bley como inspiración. Toda la información y derechos: http://www.elclubdejazz.com

Cuando el baterista Jim Black irrumpió en la escena neoyorquina no era frecuente escucharlo en el formato de piano, contrabajo y batería. No fue hasta hace poco más de una década que Black vio la luz en el pianista Elias Stemeseder y en el contrabajista Thomas Morgan que iluminó el camino para desarrollar sus propias ideas en este formato. El trío publica su cuarto disco, "Reckon". "Live in Graz", dedicado al gran Roswell Rudd, es el nuevo trabajo del cuarteto del trombonista Joe Fiedler, un grupo en la tradición de los ensembles de trombón. Con el sustento de la tuba de Jon Sass, Fiedler comparte su Big Sackbut con los trombonistas Ryan Keberle y Luis Bonilla. El pianista madrileño Álvaro Torres reflexiona sobre la ilusión del presente en "Specious present", un proyecto en el que reúne al contrabajista Eric Surmenian y al baterista Ivo Sans con la música de Paul y Carla Bley como inspiración. Toda la información y derechos: http://www.elclubdejazz.com

In questa puntata completiamo l'ascolto integrale del doppio Lp dedicato nell'84 da Hal Willner a Thelonious Monk, con, nell'ordine, Randy Weston, il duo Steve Lacy/Elvin Jones, un fulminante John Zorn, una formazione comprendente Pat Patrick e Roswell Rudd, gli Shockabilly di Eugene Chadbourne, Mark Bingham, Joe Jackson allora sulla cresta dell'onda (che interpreta Round Midnight), Bobby McFerrin/Bob Dorough, la pop star Peter Frampton, Steve Lacy in solo, Steve Slagle, e un eccezionale duo Steve Lacy/Gil Evans.

In questa puntata completiamo l'ascolto integrale del doppio Lp dedicato nell'84 da Hal Willner a Thelonious Monk, con, nell'ordine, Randy Weston, il duo Steve Lacy/Elvin Jones, un fulminante John Zorn, una formazione comprendente Pat Patrick e Roswell Rudd, gli Shockabilly di Eugene Chadbourne, Mark Bingham, Joe Jackson allora sulla cresta dell'onda (che interpreta Round Midnight), Bobby McFerrin/Bob Dorough, la pop star Peter Frampton, Steve Lacy in solo, Steve Slagle, e un eccezionale duo Steve Lacy/Gil Evans.

In questa puntata completiamo l'ascolto integrale del doppio Lp dedicato nell'84 da Hal Willner a Thelonious Monk, con, nell'ordine, Randy Weston, il duo Steve Lacy/Elvin Jones, un fulminante John Zorn, una formazione comprendente Pat Patrick e Roswell Rudd, gli Shockabilly di Eugene Chadbourne, Mark Bingham, Joe Jackson allora sulla cresta dell'onda (che interpreta Round Midnight), Bobby McFerrin/Bob Dorough, la pop star Peter Frampton, Steve Lacy in solo, Steve Slagle, e un eccezionale duo Steve Lacy/Gil Evans.

“The people that I connect with online come from all over the musical world, from contemporary composition, from blues, from free jazz, from rock music, from noise… To me it's just all music. I've never felt those barriers were hard and fast — they were imposed by someone else.” Elliott Sharp has been one of the key figures in the avant-garde and experimental scenes in New York City since the late 1970s. With close to 100 releases spanning jazz, noise, orchestral, no wave, contemporary classical, and electronic music, his career can really only be described as prolific. He studied with icons like Morton Feldman, Roswell Rudd, and Robert Moog. His compositions have been performed by renowned ensembles like the Kronos and FLUX quartets. He's released music for the alt rock SST label alongside bands like Sonic Youth and Hüsker Dü. He's collaborated with everyone from jazz legend Jack DeJohnette to Blondie's Debbie Harry to Wilco's Nels Cline to Nusrat Fateh Ali Khan, the Pakistani Qawwali singer regarded as having one of the most impressive voices ever recorded. We chatted about the halcyon '60s when people thought of all kinds of music as simply music, when genrification didn't really stratify how we think about what we hear. We also spoke of the evolution of community alongside the emergence of online platforms, and the importance of resonance when it comes to making music and finding others to make it with. And for budding experimental artists, Elliott offered some wisdom into how they can find their people and work toward making a living. Support Elliott Sharp: www.elliottsharp.com/ Music in this episode, used with permission from Elliott Sharp: The Boreal  (excerpt) -  performed by JACK Quartet Flexagons (excerpt) - performed by Elliott Sharp and Orchestra Carbon Port Bou: Words  (excerpt from opera) - performed by Nicholas Isherwood with Jenny Lin, William Schimmel, and Elliott Sharp Koinoinia - performed by Elliott Sharp on Koll 8-string guitarbass --- Send in a voice message: https://anchor.fm/greymatterfm/message

Jazz Live Galore med Radio Jazz studievært Ole Matthiessen præsenterer sjældne live optagelser fra den københavnske jazzscene med George Benson, Thelonious Monk Tentet, Coleman Hawkins, Riel-Mikkelborg kvintetten, Don Byas, Tete Montoliu, Erroll Garner, Karin Krog, Frank Jensen, Michael von Biel, Per Aage Brandt Trio, Finn von Eyben Workshop, Roswell Rudd, Bech-Kroner Kvartetten, Contemporary Jazz Quintet, Tania Maria, Dizzy Gillespie United Nations Orchestra, Gary Burton Group og Sivuca. Sendt i Radio Jazz i 2017 Der er mere jazz på www.radiojazz.dk

Herbie Nichols was a master of the piano which has inspired generations of musicians after his passing, despite the little commercial success that his albums obtained when first released. 2019 marks the centennial of his birth and to remedy the lack of retrospectives that his work should have, but hasn't, received this year, this week's edition of Mondo Jazz will be looking into the impact that his memorable compositions have had on a number of contemporary artists. This episode includes both compositions that Nichols was able to record himself, as well as others that he never managed to bring to a recording studio, but other musicians after him did. As a special bonus, also never released material by the Herbie Nichols Project, one of the bands that championed Nichols' music. The playlist also includes Paul Motian, Ted Nash, Dave Douglas, Heikki Sarmanto, Simon Nabatov, Duck Baker, Roswell Rudd, Misha Mengelberg, Steve Lacy, Pietro Tonolo, Flavio Boltro, Emmanuel Bex, Joe Chambers, Lucas Gillan, Ben Allison, Mal Waldron, Buell Neidlinger, Geri Allen, Charlie Haden, Paul Motian, The Mary Lou Williams Collective, Matt Wilson, Simon Nabatov. Detailed playlist available at https://spinitron.com/RFB/pl/9934856/Mondo-Jazz (up to Duck Baker)

Enrico Rava turned 80 this year and has had a five-decade long artistic path that paralleled and often intersected that of the label founded by Manfred Eicher. To mark this double anniversary this week we focus on his work as leader looking at his collaborations with many masters of this art form, from John Abercrombie to Paul Motian and Joe Lovano, the sources of his inspiration ranging from Miles Davis to Chet Baker and Don Cherry, as well the countless young talents he has nurtured in his bands, from Stefano Bollani to Gianluca Petrella and Giovanni Guidi. This playlist features his work with the likes of Roswell Rudd, Franco D'Andrea, John Abercrombie, Gianluigi Trovesi, Aldo Romano, Javier Girotto, Richard Galliano, Tony Oxley, Marcello Melis, Nana Vasconcelos, Stefano Battaglia and many more. Detailed playlists at https://spinitron.com/RFB/pl/9699344/Mondo-Jazz Photo credit: Andrea Rotili.

To get live links to the music we play and resources we offer, visit This show includes the following songs: Alika Arlynn - My Devotion Ali McManus - Unbreakable Lisa Richards - Open Ed & Carol Nicodemi - Remembered Jessica Lá Rel - We Are Holly Tucker - Brick By Brick Azaima Anderson - Good Days Too Cayla Brooke - You Didn't Break Me FURY - I Won't Roswell Rudd Quartet - I'm Going Sane For Music Biz Resources Visit Visit our Sponsor Alika Arlyn at:   Visit our Sponsor Ed & Carol Nicodemi at: Visit our Sponsor Ali McManus at: Visit our Sponsor Bandzoogle at:

To get live links to the music we play and resources we offer, visit This show includes the following songs: Alika Arlynn - My Devotion Ali McManus - Unbreakable Lisa Richards - Open Ed & Carol Nicodemi - Remembered Jessica Lá Rel - We Are Holly Tucker - Brick By Brick Azaima Anderson - Good Days Too Cayla Brooke - You Didn't Break Me FURY - I Won't Roswell Rudd Quartet - I'm Going Sane For Music Biz Resources Visit Visit our Sponsor Alika Arlyn at:   Visit our Sponsor Ed & Carol Nicodemi at: Visit our Sponsor Ali McManus at: Visit our Sponsor Bandzoogle at:

A cavallo tra la fine del secolo e l'inizio del nuovo millennio, Lacy ritrova il vecchio amico Roswell Rudd in un quartetto che viene registrato in effervescenti esibizioni dal vivo. Negli ultimi anni della sua vita Lacy continua ad esibirsi spesso in solo, anche in Italia, per esempio a Labirinti Sonori di Siracusa: un suo set in solo al festival nel 2001, con una splendida medley monkiana, si traduce in un album. Alla metà del 2003 gli viene diagnosticato un cancro. Lacy continua a suonare, negli Usa e in Europa, dall'estate fino a poco più di due mesi dalla morte, che sopraggiunge nel giugno 2004. Lacy suona benissimo fino alla fine. Non solo suona, ma stoicamente ha la forza nelle sue esibizioni di fare riferimento alla morte. Nell'autunno 2003 dà il suo addio all'Europa: in un concerto in solo a Zurigo, diventato l'album November (Intakt), esegue diversi brani che aveva composto in omaggio a persone che erano mancate: fra i brani Tina's Tune, dedicato al sassofonista tedesco Tina Wrase, che era stato stroncato dalla stessa malattia che stava portando via Lacy: Lacy esegue il brano e recita il testo da cui è corredato, un haiku sulla morte scritto da Ozaki Koyo, ucciso, nel 1903, dallo stesso male.

A cavallo tra la fine del secolo e l'inizio del nuovo millennio, Lacy ritrova il vecchio amico Roswell Rudd in un quartetto che viene registrato in effervescenti esibizioni dal vivo. Negli ultimi anni della sua vita Lacy continua ad esibirsi spesso in solo, anche in Italia, per esempio a Labirinti Sonori di Siracusa: un suo set in solo al festival nel 2001, con una splendida medley monkiana, si traduce in un album. Alla metà del 2003 gli viene diagnosticato un cancro. Lacy continua a suonare, negli Usa e in Europa, dall'estate fino a poco più di due mesi dalla morte, che sopraggiunge nel giugno 2004. Lacy suona benissimo fino alla fine. Non solo suona, ma stoicamente ha la forza nelle sue esibizioni di fare riferimento alla morte. Nell'autunno 2003 dà il suo addio all'Europa: in un concerto in solo a Zurigo, diventato l'album November (Intakt), esegue diversi brani che aveva composto in omaggio a persone che erano mancate: fra i brani Tina's Tune, dedicato al sassofonista tedesco Tina Wrase, che era stato stroncato dalla stessa malattia che stava portando via Lacy: Lacy esegue il brano e recita il testo da cui è corredato, un haiku sulla morte scritto da Ozaki Koyo, ucciso, nel 1903, dallo stesso male.

A cavallo tra la fine del secolo e l'inizio del nuovo millennio, Lacy ritrova il vecchio amico Roswell Rudd in un quartetto che viene registrato in effervescenti esibizioni dal vivo. Negli ultimi anni della sua vita Lacy continua ad esibirsi spesso in solo, anche in Italia, per esempio a Labirinti Sonori di Siracusa: un suo set in solo al festival nel 2001, con una splendida medley monkiana, si traduce in un album. Alla metà del 2003 gli viene diagnosticato un cancro. Lacy continua a suonare, negli Usa e in Europa, dall'estate fino a poco più di due mesi dalla morte, che sopraggiunge nel giugno 2004. Lacy suona benissimo fino alla fine. Non solo suona, ma stoicamente ha la forza nelle sue esibizioni di fare riferimento alla morte. Nell'autunno 2003 dà il suo addio all'Europa: in un concerto in solo a Zurigo, diventato l'album November (Intakt), esegue diversi brani che aveva composto in omaggio a persone che erano mancate: fra i brani Tina's Tune, dedicato al sassofonista tedesco Tina Wrase, che era stato stroncato dalla stessa malattia che stava portando via Lacy: Lacy esegue il brano e recita il testo da cui è corredato, un haiku sulla morte scritto da Ozaki Koyo, ucciso, nel 1903, dallo stesso male.

a cura di Alessandro Achilli. Musiche della Carla Bley Band, Art Ensemble of Chicago, Art Bears, Olivier Messiaen, Art Zoyd (seconda parte)

a cura di Alessandro Achilli. Musiche della Carla Bley Band, Art Ensemble of Chicago, Art Bears, Olivier Messiaen, Art Zoyd (seconda parte)

Prima e dopo la rimpatriata a New York con Roswell Rudd, nel '76 Steve Lacy si esibisce in Italia in duo e in trio con il batterista/percussionista Andrea Centazzo, che proprio per pubblicare la registrazione di un duo live con Lacy - per cui non trova interesse nelle case discografiche - dà vita alla propria etichetta Ictus. Nell'82 Lacy fa parte di un quintetto con cui Roswell Rudd riesce a coronare il sogno di incidere un album di musiche di Herbie Nichols e di Thelonious Monk con musicisti di livello e per un'etichetta non marginale: con loro ci sono Ken Carter al contrabbasso e due capiscuola dell'improvvisazione olandese, il pianista Misha Mengelberg e il batterista Han Bennink, che condividono la devozione di Rudd per Nichols e Monk. L'album, Regeneration, viene registrato a Milano per la Soul Note del produttore Giovanni Bonandrini (dall'82 all'85 Bonandrini viene proclamato "produttore dell'anno" dall'annuale referendum della rivista americana Down Beat).

Prima e dopo la rimpatriata a New York con Roswell Rudd, nel '76 Steve Lacy si esibisce in Italia in duo e in trio con il batterista/percussionista Andrea Centazzo, che proprio per pubblicare la registrazione di un duo live con Lacy - per cui non trova interesse nelle case discografiche - dà vita alla propria etichetta Ictus. Nell'82 Lacy fa parte di un quintetto con cui Roswell Rudd riesce a coronare il sogno di incidere un album di musiche di Herbie Nichols e di Thelonious Monk con musicisti di livello e per un'etichetta non marginale: con loro ci sono Ken Carter al contrabbasso e due capiscuola dell'improvvisazione olandese, il pianista Misha Mengelberg e il batterista Han Bennink, che condividono la devozione di Rudd per Nichols e Monk. L'album, Regeneration, viene registrato a Milano per la Soul Note del produttore Giovanni Bonandrini (dall'82 all'85 Bonandrini viene proclamato "produttore dell'anno" dall'annuale referendum della rivista americana Down Beat).

Prima e dopo la rimpatriata a New York con Roswell Rudd, nel '76 Steve Lacy si esibisce in Italia in duo e in trio con il batterista/percussionista Andrea Centazzo, che proprio per pubblicare la registrazione di un duo live con Lacy - per cui non trova interesse nelle case discografiche - dà vita alla propria etichetta Ictus. Nell'82 Lacy fa parte di un quintetto con cui Roswell Rudd riesce a coronare il sogno di incidere un album di musiche di Herbie Nichols e di Thelonious Monk con musicisti di livello e per un'etichetta non marginale: con loro ci sono Ken Carter al contrabbasso e due capiscuola dell'improvvisazione olandese, il pianista Misha Mengelberg e il batterista Han Bennink, che condividono la devozione di Rudd per Nichols e Monk. L'album, Regeneration, viene registrato a Milano per la Soul Note del produttore Giovanni Bonandrini (dall'82 all'85 Bonandrini viene proclamato "produttore dell'anno" dall'annuale referendum della rivista americana Down Beat).

Nella prima metà degli anni settanta le collaborazioni e le esperienze di Lacy tendono a moltiplicarsi. Uno dei musicisti con cui Lacy collabora e incide è il trombettista austriaco Franz Koglmann. Della stessa fase sono anche i primi grandi esempi di solo di Lacy, una dimensione a cui il sassofonista si dedicherà intensamente. Intanto verso la metà degli anni sessanta anche Mal Waldron si è trasferito in Europa, e Lacy e il pianista hanno così l'occasione di riannodare e rinnovare la loro intesa. Lacy comincia inoltre ad immergersi nella più avanzata improvvisazione europea: del '75 è per esempio una registrazione dal vivo con la Globe Unity Orchestra, emblema della free music del vecchio continente. Sintomatica dell'apertura di Lacy alle esperienze più diverse è la sua presenza nell'album degli Area, pubblicato nel '76, Maledetti. Nel marzo del '76 a New York Lacy ritrova poi in studio di incisione il suo vecchio amico Roswell Rudd.

Nella prima metà degli anni settanta le collaborazioni e le esperienze di Lacy tendono a moltiplicarsi. Uno dei musicisti con cui Lacy collabora e incide è il trombettista austriaco Franz Koglmann. Della stessa fase sono anche i primi grandi esempi di solo di Lacy, una dimensione a cui il sassofonista si dedicherà intensamente. Intanto verso la metà degli anni sessanta anche Mal Waldron si è trasferito in Europa, e Lacy e il pianista hanno così l'occasione di riannodare e rinnovare la loro intesa. Lacy comincia inoltre ad immergersi nella più avanzata improvvisazione europea: del '75 è per esempio una registrazione dal vivo con la Globe Unity Orchestra, emblema della free music del vecchio continente. Sintomatica dell'apertura di Lacy alle esperienze più diverse è la sua presenza nell'album degli Area, pubblicato nel '76, Maledetti. Nel marzo del '76 a New York Lacy ritrova poi in studio di incisione il suo vecchio amico Roswell Rudd.

Nella prima metà degli anni settanta le collaborazioni e le esperienze di Lacy tendono a moltiplicarsi. Uno dei musicisti con cui Lacy collabora e incide è il trombettista austriaco Franz Koglmann. Della stessa fase sono anche i primi grandi esempi di solo di Lacy, una dimensione a cui il sassofonista si dedicherà intensamente. Intanto verso la metà degli anni sessanta anche Mal Waldron si è trasferito in Europa, e Lacy e il pianista hanno così l'occasione di riannodare e rinnovare la loro intesa. Lacy comincia inoltre ad immergersi nella più avanzata improvvisazione europea: del '75 è per esempio una registrazione dal vivo con la Globe Unity Orchestra, emblema della free music del vecchio continente. Sintomatica dell'apertura di Lacy alle esperienze più diverse è la sua presenza nell'album degli Area, pubblicato nel '76, Maledetti. Nel marzo del '76 a New York Lacy ritrova poi in studio di incisione il suo vecchio amico Roswell Rudd.

A cavallo fra anni cinquanta e sessanta la rete di rapporti e di collaborazoni di Steve Lacy è sorprendentemente estesa e qualificata: Gil Evans, Cecil Taylor, Sonny Rollins, Ornette Coleman, Jimmy Giuffre, Monk, Roswell Rudd, Don Cherry. Nel '60 Lacy fa parte del quartetto di Jimmy Giuffre: molta parte del repertorio è costituita da composizioni di Monk. Ha occasione di ascoltarli lo stesso Monk, che quando poi decide di allargare il suo gruppo chiama Lacy a farne parte. Lacy stringe amicizia - come quello con Waldron un rapporto destinato a durare nei decenni - con il trombonista Roswell Rudd: con lui nel '61 Lacy monta un quartetto che si focalizza su Monk. Nel gennaio del '61 Lacy e Rudd sono chiamati da Buell Neidlinger a partecipare alla seduta di incisione da cui nasce l'album New York City R'n'B, con Taylor al pianoforte. Nel novembre, in quartetto con Don Cherry alla tromba, Lacy incide un album dal titolo monkiano, Evidence.

A cavallo fra anni cinquanta e sessanta la rete di rapporti e di collaborazoni di Steve Lacy è sorprendentemente estesa e qualificata: Gil Evans, Cecil Taylor, Sonny Rollins, Ornette Coleman, Jimmy Giuffre, Monk, Roswell Rudd, Don Cherry. Nel '60 Lacy fa parte del quartetto di Jimmy Giuffre: molta parte del repertorio è costituita da composizioni di Monk. Ha occasione di ascoltarli lo stesso Monk, che quando poi decide di allargare il suo gruppo chiama Lacy a farne parte. Lacy stringe amicizia - come quello con Waldron un rapporto destinato a durare nei decenni - con il trombonista Roswell Rudd: con lui nel '61 Lacy monta un quartetto che si focalizza su Monk. Nel gennaio del '61 Lacy e Rudd sono chiamati da Buell Neidlinger a partecipare alla seduta di incisione da cui nasce l'album New York City R'n'B, con Taylor al pianoforte. Nel novembre, in quartetto con Don Cherry alla tromba, Lacy incide un album dal titolo monkiano, Evidence.

A cavallo fra anni cinquanta e sessanta la rete di rapporti e di collaborazoni di Steve Lacy è sorprendentemente estesa e qualificata: Gil Evans, Cecil Taylor, Sonny Rollins, Ornette Coleman, Jimmy Giuffre, Monk, Roswell Rudd, Don Cherry. Nel '60 Lacy fa parte del quartetto di Jimmy Giuffre: molta parte del repertorio è costituita da composizioni di Monk. Ha occasione di ascoltarli lo stesso Monk, che quando poi decide di allargare il suo gruppo chiama Lacy a farne parte. Lacy stringe amicizia - come quello con Waldron un rapporto destinato a durare nei decenni - con il trombonista Roswell Rudd: con lui nel '61 Lacy monta un quartetto che si focalizza su Monk. Nel gennaio del '61 Lacy e Rudd sono chiamati da Buell Neidlinger a partecipare alla seduta di incisione da cui nasce l'album New York City R'n'B, con Taylor al pianoforte. Nel novembre, in quartetto con Don Cherry alla tromba, Lacy incide un album dal titolo monkiano, Evidence.

This episode of Out There features the music of Sun Ra, Roswell Rudd, Jaki Byard, and more, and also a couple of songs that didn't make it into the episodes about Eric Dolphy and Bobby Hutcherson

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This album was the debut date for this creative young trombonist/composer: Grachan Moncur 111. Grachan had apprenticed with bandleaders Nat Phipps and Ray Charles and Art Farmer and Benny Golson's Jazztet before plunging headlong into the more adventurous side of the New York Jazz scene with alto saxophonist Jackie McLean who in the early 60s was looking at some new ways to express himself. Pioneers like Ornette Coleman, Bill Dixon, Cecil Taylor had opened new doors in Jazz and other musicians like Grachan Moncur were embracing that influence. Moncur along with the late Roswell Rudd were the new voices of the trombone in the early 60s. Moncur had another ace up his sleeve as he was a fine composer with an open imagination. This album called "Evolution" is his first and was released on Blue Note as that label had opened the door to the new sounds of the 60s as well. Grachan picked alto saxophonist Jackie McLean and trumpeter Lee Morgan as the horns and Morgan sounds amazing here in this context. Bobby Hutcherson's vibes add to the free sounds and Bob Cranshaw's bass keeps everything grounded. The teenage drum sensation Anthony "Tony" Williams is as usual creative and adds a great deal to the success of this date. Only four tunes are contained on this session and they are all Moncur creations. The exciting "Air Raid" leads of followed by the mournful, moody "Evolution" to "The Coaster" which has a fetching melody and hard swing. Finally a tribute to Thelonious Monk called "Monk in Wonderland" wraps things up. Grachan Moncur and his music is in the spotlight as tonight's Jazz Feature...check it out!

In this episode we'll explore jazz by African musicians and by foreign musicians fascinated with the African continent and its music, with a special focus on Mali, Morocco and Tunisia. The Playlist includes: Yacine Boulares, Anouar Brahem & Dave Holland, Bill Frisell & Sidiki Camara, Ben Allison & Mamadou Diabate, Roswell Rudd & Toumani Diabate, Michael Blake, Joachim Kuhn & Majid Bekkas, Smadj, Daniel Freedman, Club d'Elf, Toubab Krewe, Regina Carter, Dee Dee Bridgewater, BOZILO. Detailed playlist at: https://spinitron.com/radio/index.php?station=rfb&playlist=6554#here

5e émission de la 38e session... Cette semaine, pensée pour Roswell Rudd, freebop et free jazz ! En musique: Tim Daisy's Fulcrum Ensemble sur l'album Animation  (Relay, 2018); Amok Amor sur l'album We Know Not What We Do  (Intakt, 2017); Roswell Rudd, Jamie Saft, Trevor Dunn, Balázs Pándi sur l'album Strenght and Power  (RareNoise, 2016); The Heat Death sur l'album The Glenn Miller Sessions  (Clean Feed, 2018); Fire! sur l'album The Hands  (Rune Grammofon, 2018)...

5e émission de la 38e session... Cette semaine, pensée pour Roswell Rudd, freebop et free jazz ! En musique: Tim Daisy's Fulcrum Ensemble sur l'album Animation  (Relay, 2018); Amok Amor sur l'album We Know Not What We Do  (Intakt, 2017); Roswell Rudd, Jamie Saft, Trevor Dunn, Balázs Pándi sur l'album Strenght and Power  (RareNoise, 2016); The Heat Death sur l'album The Glenn Miller Sessions  (Clean Feed, 2018); Fire! sur l'album The Hands  (Rune Grammofon, 2018)...

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a cura di Alessandro Achilli. Musiche di Rudd-Lacy-Mengelberg-Carter-Bennink, Carla Bley Band, Roswell Rudd & Archie Shepp, ZnR, Bruford, Peter Blegvad (seconda parte)

a cura di Alessandro Achilli. Musiche di Rudd-Lacy-Mengelberg-Carter-Bennink, Carla Bley Band, Roswell Rudd & Archie Shepp, ZnR, Bruford, Peter Blegvad (seconda parte)

Episode 4 of the Burning Ambulance podcast features the final interview with trombonist Roswell Rudd before his death in December 2017. Rudd was one of the pioneering figures of the jazz avant-garde; though he started out in a Dixieland band, by 1960, he was working with Archie Shepp, Cecil Taylor, and Steve Lacy. He was a member of the ensemble that recorded the legendary ESP-Disk’ album New York Eye & Ear Control, alongside Albert Ayler, Don Cherry, John Tchicai, Gary Peacock and Sunny Murray; along with Tchicai, drummer Milford Graves, and several different bassists, he formed the New York Art Quartet, whose debut album, also on ESP-Disk’, is a landmark of the free jazz era. He and Lacy collaborated for years, interpreting Thelonious Monk's music without a pianist; he was also on multiple Shepp albums in the ’60s, and appeared on the Jazz Composers Orchestra album Communications. In the 2000s, Rudd explored music beyond jazz, recording albums with Mongolian musicians and with Puerto Rican guitarist and cuatro player Yomo Toro. His latest releases include Strength and Power, a collaboration with keyboardist Jamie Saft , bassist Trevor Dunn , and drummer Balazs Pandi, and Embrace, with singer Fay Victor, pianist Lafayette Harris, and bassist Ken Filiano. Rudd was diagnosed with cancer in 2013, and battled the disease until his death in December 2017, but maintained as busy a recording and performing schedule as he could until the end. It’s easy to tell, in this conversation, that he was in poor health; he spoke softly and slowly. But I think it’s still a very interesting interview, and I hope you’ll enjoy it.

Phil Freeman talks to trombonist Roswell Rudd.

New music from Diamanda Galas and The Caretaker plus more spooky music for your Halloween pleasures. Original air date: October 20, 2017 Danger Mouse & Sparklehorse “Dark Night of the Soul (feat. David Lynch)”from Dark Night Of The Soul CD Album (Capitol 2010) The Caretaker “it's just a burning memory”from Everywhere at the end of time (history Always Favours The Winners www.brainwashed.com/vvm 2016) The Caretaker “we don't have many days”from Everywhere at the end of time (history Always Favours The Winners www.brainwashed.com/vvm 2016) Roswell Rudd and Carla Bley “musique mecanique II : at midnight”from musique mecanique (1979) Diamanda Galas “Round Midnight”from All The Way (Intravenal Sound Operations 2017) John Zorn “Tre Nel 5000”from The Big Gundown CD Album (Intravenal Sound Operations 1985) Diamanda Galas “you don't know what love is”from all the Way (Intravenal Sound Operations 2017) David Lynch “Ghost of Love”from Inland Empire (2006) Jimmy Scott “Sycamore Trees”from Twin Peaks Fire Walk With Me Death in June “fall apart”from The Wall of Sacrifice CD Single (New European Recordings 1989) The Veils “Axoloti”from Total Depravity (Nettwerk 2016) Moondog “Logrundr in C Minor”from Bracelli (1987)  

Trombonist and composer Roswell Rudd has been a force in American music for over 60 years. Emerging … The post ANFTD #40: Roswell Rudd first appeared on Greenleaf Music by Dave Douglas.

La revista 'Cuadernos de Jazz' cumple 25 años y en esta edición de "Club de Jazz" del 25 de abril de 2015 los celebramos conversando con María Antonia García, fundadora de la publicación junto a Raúl Mao, quien fue su director hasta su fallecimiento hace dos años. Recordamos con ella a Raúl y los avatares de la revista y escuchamos la música de quienes participarán el 30 de abril en un concierto muy especial en Madrid. Así grabaciones de TRIEZ, Joachim Kühn (junto a Ramón López y Majid Bekkas y en solo) y Lucía Martínez con Agustí Fernández (en adelanto en exclusiva de su próximo disco). Además, Charles Mingus y Bill Evans, de entre los discos favoritos de Raúl, y un fragmento de la emisión radiofónica de "Esa vieja magia negra" que realizaban María Antonia y Raúl en los 80, con música de Roswell Rudd. Tiempo también para la reflexión con las palabras de Juan Goytisolo y la música de "S'Û", el último trabajo de Paolo Angeli. Toda la información y derechos: http://www.elclubdejazz.com

La revista 'Cuadernos de Jazz' cumple 25 años y en esta edición de "Club de Jazz" del 25 de abril de 2015 los celebramos conversando con María Antonia García, fundadora de la publicación junto a Raúl Mao, quien fue su director hasta su fallecimiento hace dos años. Recordamos con ella a Raúl y los avatares de la revista y escuchamos la música de quienes participarán el 30 de abril en un concierto muy especial en Madrid. Así grabaciones de TRIEZ, Joachim Kühn (junto a Ramón López y Majid Bekkas y en solo) y Lucía Martínez con Agustí Fernández (en adelanto en exclusiva de su próximo disco). Además, Charles Mingus y Bill Evans, de entre los discos favoritos de Raúl, y un fragmento de la emisión radiofónica de "Esa vieja magia negra" que realizaban María Antonia y Raúl en los 80, con música de Roswell Rudd. Tiempo también para la reflexión con las palabras de Juan Goytisolo y la música de "S'Û", el último trabajo de Paolo Angeli. Toda la información y derechos: http://www.elclubdejazz.com

Lance Brown is an artist, actor, musician and song writer who has lived by his wits and creativity since 1977. He holds a Bachelor of Fine Arts from the University of Denver and studied music composition, theory and performance for 3 semesters at the University of Maine under Roswell Rudd, jazz trombonist of Berkley School of Music fame.

Lance Brown is an artist, actor, musician and song writer who has lived by his wits and creativity since 1977. He holds a Bachelor of Fine Arts from the University of Denver and studied music composition, theory and performance for 3 semesters at the University of Maine under Roswell Rudd, jazz trombonist of Berkley School of Music fame. His songwriting education came from 4 years in the US Navy, 4 years as a social worker in a state institution for the mentally challenged and the various life experiences he has gleaned from traveling as a working actor and musician for the last 22 years. His mainstay has been a one-person show called "Will Rogers Now" which he has toured nationwide for the last 22 years. During all this time he has been a prolific songwriter penning pieces ranging from the patently absurd to the deeply philosophical. On the absurd end he and collaborator Steve Wellman created the satirical "Somewhat Fractured History of the World Show" which was billed as a history of the world from the Big Bang to the present in silly songs and stupid music. Lance performed that show nationwide for 10 years. Lance's satirical songs have found their way onto the "Dr. Demento Show" out of Los Angeles ("Buzzards in Love" "Soap on a Rope") and many local radio stations WBEZ, WFMT and WNUR ("The Dan Ryan Blues). He also performs around Chicago with his Lance Brown Group playing his own form of bluesy jazz and jazzy blues.Here's the link to all the videos from this Podcast. 

The boys explore four of the latest entries in Mike's rotation. It's a kaleidoscope with clown-makeup tinged edges . . . David Sanchez – STREET SCENES; Hal Galper – PORTRAIT; Charles Gayle – TOUCHIN' ON TRANE; Steve Lacy – MONK'S DREAM

De paseo por Sevilla nos encontramos con Javier, el guitarrista de la Plaza de España (http://www.elclubdejazz.com/roundjazz/no_jazz/guitarrista_plaza_espana.html). En esta edición de "Club de Jazz" del 26 de diciembre de 2012 los sonidos de la ciudad andaluza nos sirven el paseo y la música el recogimiento. La guitarrista islandesa Hafdís Bjarnadóttir nos regala villancicos tradicionales pero también la extraña belleza de su disco "Jaeja". A tono con el paisaje, el finés Verneri Pohjola nos cuenta su "Ancient history" y Scott DuBois dibuja los "Landscape scriptures". Africanismos en el encuentro entre el trompetista alemán Volker Goetze y el cantante e intérprete de kora senegalés Ablaye Cissoko; también en el "Malicool" de Roswell Rudd y Toumani Diabaté. Recuperamos "Rigth brain patrol", el encuentro en 1993 entre el bajista Marc Johnson, el guitarrista Ben Monder y el cantante y percusionista Arto Tunçboyaciyan. Abrimos las páginas de la revista francesa 'Jazz Magazine - JazzMan' e indagamos en su recopilatorio de cinco discos del que extraemos al trío Texier, Sclavis, Romano, al propio Louis Sclavis, los originales experimentos de Ahmed Abdul-Malik o el oud de Dhafer Youssef. Toda la información y derechos: http://www.elclubdejazz.com

De paseo por Sevilla nos encontramos con Javier, el guitarrista de la Plaza de España (http://www.elclubdejazz.com/roundjazz/no_jazz/guitarrista_plaza_espana.html). En esta edición de "Club de Jazz" del 26 de diciembre de 2012 los sonidos de la ciudad andaluza nos sirven el paseo y la música el recogimiento. La guitarrista islandesa Hafdís Bjarnadóttir nos regala villancicos tradicionales pero también la extraña belleza de su disco "Jaeja". A tono con el paisaje, el finés Verneri Pohjola nos cuenta su "Ancient history" y Scott DuBois dibuja los "Landscape scriptures". Africanismos en el encuentro entre el trompetista alemán Volker Goetze y el cantante e intérprete de kora senegalés Ablaye Cissoko; también en el "Malicool" de Roswell Rudd y Toumani Diabaté. Recuperamos "Rigth brain patrol", el encuentro en 1993 entre el bajista Marc Johnson, el guitarrista Ben Monder y el cantante y percusionista Arto Tunçboyaciyan. Abrimos las páginas de la revista francesa 'Jazz Magazine - JazzMan' e indagamos en su recopilatorio de cinco discos del que extraemos al trío Texier, Sclavis, Romano, al propio Louis Sclavis, los originales experimentos de Ahmed Abdul-Malik o el oud de Dhafer Youssef. Toda la información y derechos: http://www.elclubdejazz.com

"Accelerando" llega Vijay Iyer con su trío en esta edición de "Club de Jazz" del 29 de febrero de 2012 en la que escucharemos el homenaje del trombonista Steve Turre a su mentor Woody Shaw en "Woody´s delight". Otro trombonista, Roswell Rudd se fue a Malí en 2001 para grabar "Malicool" junto a músicos como el intérprete de kora Toumani Diabate. Jesús Moreno llega con "Organica", los soplos en solitario de David S. Ware. En los "Ritmos Latinos" de Anxo el pianista Roberto Fonseca suena "Live in Marciac". En el "PuroJazz" de Roberto Barahona grabaciones de 1953 y 1954 de Sonny Rollins junto a Thelonious Monk. Y Alberto Varela en el "Jazz Porteño" nos ofrece la trompeta de Valery Ponomarev junto a los Jazz Messengers de Art Blakey. Toda la información y derechos: http://www.elclubdejazz.com

"Accelerando" llega Vijay Iyer con su trío en esta edición de "Club de Jazz" del 29 de febrero de 2012 en la que escucharemos el homenaje del trombonista Steve Turre a su mentor Woody Shaw en "Woody´s delight". Otro trombonista, Roswell Rudd se fue a Malí en 2001 para grabar "Malicool" junto a músicos como el intérprete de kora Toumani Diabate. Jesús Moreno llega con "Organica", los soplos en solitario de David S. Ware. En los "Ritmos Latinos" de Anxo el pianista Roberto Fonseca suena "Live in Marciac". En el "PuroJazz" de Roberto Barahona grabaciones de 1953 y 1954 de Sonny Rollins junto a Thelonious Monk. Y Alberto Varela en el "Jazz Porteño" nos ofrece la trompeta de Valery Ponomarev junto a los Jazz Messengers de Art Blakey. Toda la información y derechos: http://www.elclubdejazz.com

Première de la neuvième session. On débute la session d'été avec la présentation du tromboniste Roswell Rudd qui sera à Montréal le 4 juin prochain. Au menu cette semaine nous avons la musique de Strata Institute (1988), Simon Legault (2008), Arcado String Trio et Double Trio (1994) et de Sun Ra (1972).

Première de la neuvième session. On débute la session d'été avec la présentation du tromboniste Roswell Rudd qui sera à Montréal le 4 juin prochain. Au menu cette semaine nous avons la musique de Strata Institute (1988), Simon Legault (2008), Arcado String Trio et Double Trio (1994) et de Sun Ra (1972).