Podcasts about Third stream

Le 31 décembre 1945, Mary Lou Williams monte sur la scène du Town Hall à New York pour un concert unique en son genre. Pianiste de génie, elle présente sa Zodiac Suite, une œuvre audacieuse mêlant jazz et musique classique, une première dans l'histoire de la musique. Pourtant, derrière ce succès, se cache un parcours semé d'injustices. Exploitée par l'industrie musicale, sous-payée et souvent spoliée de ses compositions, elle lutte pour se faire une place dans un milieu dominé par les hommes. Précoce, autodidacte et dotée d'une oreille prodigieuse, elle impressionne dès son plus jeune âge les plus grands noms du jazz. Ce concert, bien que marqué par des imprévus, symbolise son audace et son avant-gardisme. Il marque aussi la naissance du Third Stream, fusion novatrice du jazz et du classique. Fatiguée des obstacles, elle se retire peu à peu de la scène, mais laisse un héritage musical immense. Aujourd'hui encore, elle reste une figure incontournable du jazz. Merci pour votre écoute Vous aimez l'Heure H, mais connaissez-vous La Mini Heure H https://audmns.com/YagLLiK , une version pour toute la famille.Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/22750 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : Un jour dans l'Histoire : https://audmns.com/gXJWXoQL'Histoire Continue: https://audmns.com/kSbpELwAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvVous aimez les histoires racontées par Jean-Louis Lahaye ? Connaissez-vous ces podcast?Sous le sable des Pyramides : https://audmns.com/rXfVppv36 Quai des orfèvres : https://audmns.com/eUxNxyFHistoire Criminelle, les enquêtes de Scotland Yard : https://audmns.com/ZuEwXVOUn Crime, une Histoire https://audmns.com/NIhhXpYN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

AKI NAKAMURA began his professional journey as a quantum chemist, having graduated from the Department of Applied Chemistry at Yokohama National University. However, it wasn't long until he turned to the shakuhachi for his future career. Aki studied under numerous shakuhachi masters, including Katsuya Yokohama. He then went on to study composition and jazz theory at Berklee College of Music, USA, graduating summa cum laude. He finished his tertiary studies at the New England Conservatory of Music as a scholarship student in the Master of Music Composition and the Third Stream program. His compositions are diverse and include orchestral music, choral music, chamber music, big band music, and traditional Japanese music. He has established a performance method that makes full use of overtones, multiphonics, the traditional Japanese breathing technique of ‘Missoku', and his own originally developed method of ```, which involves exhaling and inhaling at the same time. While staying true to the traditions of the Komusō monks, collecting, analysing, and performing their repertoire, he is also active as a performer of rock, jazz and classical music. He has performed in more than 150 cities in over 40 countries, at events and venues such as the Montreux Jazz Festival, Queen Elizabeth Hall (London), the Lincoln Center (New York), Blue Note (New York), the Kennedy Center (Washington DC), the Berlin Philharmonic Hall, the Polish National Opera, under the auspices of the Ministry of Foreign Affairs and the Japan Foundation. His numerous performances have been shared worldwide through over 40 broadcasting platforms. Book: “Breathing with Missoku:The Undiscvered Zen Secret ofJapanese Culture”  

Jazz88's Peter Solomon spoke with pianist Aaron Diehl about his recent recording of Mary Lou Williams' "Zodiac Suite," the influence of pianist and composer John Lewis, and his upcoming performance of music by Lewis, Gunther Schuller and others with members of the Chamber Music Society of Minnesota Sunday, April 7th at Sundin Hall on the campus of Hamline University in St. Paul..

Jazz88's Peter Solomon spoke with pianist Aaron Diehl about his recent recording of Mary Lou Williams' "Zodiac Suite," the influence of pianist and composer John Lewis, and his upcoming performance of music by Lewis, Gunther Schuller and others with members of the Chamber Music Society of Minnesota Sunday, April 7th at Sundin Hall on the campus of Hamline University in St. Paul..

Charity Hammer Info Donate Link (https://donate.tiltify.com/@bifpod/charity-hammer-5-the-40k-slumber-party) Website - (www.charityhammer.com) Agenda - TBD (Found on www.charityhammer.com) Streams First Stream - (www.youtube.com/c/wargameslive) Second Stream - (www.youtube.com/c/bestintabletop) Third Stream - (www.twitch.tv/bestinfaction)

Ein amerikanischer Komponist deutscher Abstammung wird zur treibenden Kraft des "Third Stream", einer Verbindung von Jazz mit Klassischer und Neuer Musik. Anfangs umstritten, bescheinigen ihm später die Historiker: Aus den Reihen der Klassik sei er der größte Freund des Jazz gewesen: der Komponist und Arrangeur Gunther Schuller. Von Karsten Mützelfeldt.

Synopsis On today's date in 1961, the New York City Ballet presented a new work scored by a 35-year old composer named Gunther Schuller, who was conducting the pit orchestra. On stage, in the middle of the green- and purple-garbed dancers, were four additional musicians: namely, the Modern Jazz Quartet, decked out in their usual white ties and tails. Schuller's score, entitled Variants, was an attempt to fuse modern music and jazz into a style he labeled Third Stream. ”I had this idea of the First and Second streams [classical and jazz] getting married and giving birth to a child, which is the Third stream," recalled Schuller years later, ruefully noting that today one would have to call it the 10,000th stream as composers have since introduced a multitude of ethnic, folk and vernacular music into the mix as well. But back in 1961, the idea attracted a lot of press – not all favorable. The New Yorker, for example, thought it odd that the MJQ “sat like a quartet of hunters in a duck blind, anxiously shooting out carefully calculated notes.” Time magazine wrote: “Schuller's score was the essence of the cool – spare, fragmentary, but resembling jazz only in its rhythmic drive.” If this was the Third Stream, the reviewer concluded, “it never seemed to be flowing anywhere.” Music Played in Today's Program Gunther Schuller (b. 1925) Conversation Modern Jazz Quartet and ensemble; Gunther Schuller, conductor. Wounded Bird 1345

Ambition can be a great thing in jazz  - emphasis on the "can."  We look at a mixed bag of releases experimenting with third stream music, Bach, and other elements.  The results, like the music itself, are mixed.   Still, our guess is that you haven't heard about at least one of these artists yet, and maybe not all four.  Jacques Loussier – PLAY BACH AT THE THEATRE CHAMPS-ÉLYSÉES;  Sasha Berliner – ONYX;  Rolf & Joachim Kuhn – IMPRESSIONS OF NEW YORK; Mike Holober – DON'T LET GO.

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Orchestras come in all shapes, sizes, and sounds, and the Chicago Jazz Philharmonic is moving forward in its goal to offer a uniquely American aesthetic to as many listeners as it can. Garrett chats with the ensemble's Executive Director, Rhapsody Snyder and Artistic Director, Orbert Davis about the CJP's origins, the necessity of offering FREE concerts, and the concept of "Third Stream". Dalanie Harris from the Classically Black Podcast guest co-hosts and offers insights on the International Society for Black Musicians' inaugural conference, a widely overlooked album by Stevie Wonder, and more! Garrett and Dalanie spend the weekly TRILLOQUY engaging the conversation of respectability among some of the industry's Black musicians. Support for this opus of TRILLOQUY comes from HenselPushers: https://henselpushers.org Playlist: Tomas Adès - Violin Concerto perf. Adam Eccleston and Lydia Chung - Walter Piston Flute Sonata arr. Jasmine Pigott - "Lift Ev'ry Voice" (https://www.youtube.com/watch?v=BASuTqikjQA) Stevie Wonder - "Same Old Story" Gamal Abdel-Rahim - "Variations on an Egyptian Folksong" Margaret Bonds - "Montgomery Variations" perf. Kebra-seyoun Charles - Giovanni Bottesini Bass Concerto Orbert Davis - "Vice Versa" Orbert Davis - "Diaspora" More: Classically Black Podcast: https://www.classicallyblackpodcast.com Chicago Jazz Philharmonic: https://www.chicagojazzphilharmonic.org Downbeat (Ahmaud Arbery Defense Requests 'No More Black Pastors': https://www.youtube.com/watch?v=d_mDJL83do0 Justice for Ahmaud Arbery: https://www.runwithmaud.com All Classical Portland Wins National Honor: https://www.oregonlive.com/entertainment/2021/11/all-classical-portland-wins-national-honor-for-its-work-to-diversify-playlists.html Alleged Diversity in Haydn's String Quartets: https://datebook.sfchronicle.com/music/diversify-the-world-of-classical-music-some-key-players-are-digging-in-their-heels The Negro Artist and the Racial Mountain: https://www.poetryfoundation.org/articles/69395/the-negro-artist-and-the-racial-mountain

Mingus Fingers . . early (1945-49) recordings by various Charles Mingus groups on the West Coast - a mix of swing, bop and almost Third Stream experiments, most composed and arranged by Mingus. Featuring Buddy Collette, Karl George, Eric Dolphy, Willie Smith, Maxwell Davis, William "Brother" Woodman, Britt Woodman, Henry Coker, Wilbert Baranco, Lady Will Carr, Claude Trenier --- Support this podcast: https://anchor.fm/john-clark49/support

Remember record stores? Remember the thrill of turning your friends on to new music by swapping vinyl and CDs? Yeah, we do too. That’s why we’re rebooting that tradition for the digital age with our “Crate Digging” podcast series, in which we’ll search through crates of our memories to bring you a handful of album recommendations on a given theme. It’s social media in the truest sense of the term: no algorithms, no computer-generated playlist. Just jazz fans sharing records with other jazz fans. You can listen to the podcast version via the player below. Write-ups of individual albums and sample tracks follow. Welcome to the party! For this episode of Crate Digging, we have chosen some of our favorite third stream albums! Albums included: Modern Jazz Quartet, Django (Prestige, 1956) Gunther Schuller, Jumpin' in the Future (GM, 1988) Jacques Loussier, Play Bach N.1 (Decca, 1959) Charles Mingus, The Black Saint and the Sinner Lady (Impulse!, 1963) André Hodeir, Jazz et Jazz (Fontana, 1959) Various Artists, The Birth of Third Stream (Columbia, 1996) Eric Dolphy, Out There (New Jazz, 1961) John Lewis, Jazz Abstractions (Atlantic, 1961) Franco Ambrosetti, Music for Symphony and Jazz Band (Enja, 1991) Joe Lovano, Rush Hour (Blue Note, 1994) --- Support this podcast: https://anchor.fm/jazziz/support

SUPPORT ME ON PATREON WATCH MUSIC is not a GENRE VIDEOS and MORE There's a frame of mind that insists that the connections between genres are tangential & theoretical at best. Of course, MUSIC is not a GENRE is out to debunk that myth. It's hard enough to battle that mindset in the popular realm – like how country people don't like hip hop or rock people don't like dance. Those boundaries are blurring more & more, thankfully, because of the mish-mosh that is the internet and especially because of young artists like Breland or Rina Sawayama, who don't see a reason to stay “pure”. When it comes to so-called “highbrow” music – a distinction I reject, by the way – the bias is even stronger. There seems to be a need for high minded people to cling to a false sense of purity in their chosen music. Lovers of classical – or more accurately orchestral – music tend to dismiss anything written from at least Stravinsky onward, if not before. Jazz heads are often so strict about what's considered jazz that they'll dismiss all but one or two sub-classifications. Like how Wynton Marsalis once claimed that if a song wasn't rooted in a blues structure then it's not jazz. There have been, and always will be, people who are open to blends & mashups & cross-pollination, and people who need very solid & high walls to keep out anything they feel doesn't fit. But if you're a true lover of MUSIC – the history & development, the taxonomy and Darwinian evolution – then you know that ALL WALLS ARE FALSE, and have been SINCE FOREVER. If jazz is defined by improv, then are rock guitar solos jazz? If classical is defined by a strict interpretation of written notes, then how do you reconcile the hard fact that Liszt and Chopin and Mozart and even Bach were all known for their dazzling improvisational skills? We think classical music was always set in stone because we only inherited the sheet music. SO not true. Jacques Loussier knew this, and his music is one of the greatest embodiments of the porous boundaries between jazz & classical. He was known for interpreting the works of Bach, Vivaldi, Satie and many others, adding lots of improv in with the familiar melodies, harmonies & rhythms. He was a French pianist whose melding of jazz & classical was known as “third stream”, a term that's been around since the 1950s. Even though these venerable works don't need a jolt of improv to make them great, the third stream approach brings them right into the present moment. It makes them feel like they're brand new. I've used classical & jazz elements in many of my songs, probably none more so than “Dream for Real”, based on Pachelbel's Canon in D. More recently, my band REC's song “Polymath” uses a harpsichord-like keyboard sound to weave in a couple of classical inspired passages. And then there are the pair of songs I did for the film Lock-Load-Love, which combine well-known classical pieces, jazz rhythms, and space sounds. They were heavily influenced by Loussier, with a little bit of Esquivel thrown in: REC – “Polymath” (from the album Syzygy for the Weird) “Classical Space-Jazz 1” (from the soundtrack to the film Lock-Load-Love) “Classical Space-Jazz 2” (from the soundtrack to the film Lock-Load-Love) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nick-dematteo/support

Jazzvaneio 03, Imersão em quatro atos: Álbuns Década de 70Ato Terceiro: Charles Mingus “Let My Children Hear Music”Terceiro de quatro PodCast que propõem uma desafiadora imersão aos anos 70. Um homem e sua inexorável ânsia de expandir a linguagem da música e da composição improvisada pelos próprios alicerces do Jazz às últimas consequências. Um subversivo e visionário Charles Mingus precipita-se a tal empresa como um Colosso em plena comunhão com a “Terra” e suas raízes. Um impiedoso e ambíguo emaranhado de maiúscula sofisticação irmanado a um “primitivismo” não isento de crueza. “Let My Children Hear Music” é um manifesto compositivo que ainda assombra e apaixona impunemente os amantes de música. Uma obra de arte ímpar, estamos em 1972...Preparem-se!Album: Charles Mingus “Let My Children Hear Music” 1972 - Columbiawww.charlesmingus.comAto gravado no dia 15 de Setembro de 2020Texto da “The Chill of Death” Charles Mingus “Let MY Children Hear Music”:“The chill of death as she clutched my hand.I knew she was coming so I stood like a man. She drew up closer, close enough for me to look into her face, and then began to wonder, "Haven't I seen you some other place?" She beckoned for me to come closer as if to pay an old debt. I knew what she wanted; it wasn't quite time yet. She threw her arms about me as many women had done before. I heard her whisper, "You'll never cheat me, never anymore." Darkness and nothingness clouded my mind. I began to realise death was nothing to fear but something sweet and kind. I pinched to see if I was dreaming but failed to find bodily form. I then began to realize death had worked her charm. Taking myself of nothingness I chose a road to walk. I noticed death's pleasantness with no one to stop me to talk. I remembered stories of heaven as I envisioned the glory ahead. Two roads lay waiting for me to choose one now that I was dead. One road was dark; I could not see clearly such long stretched highway. The other road was golden and glowing, and shined as bright as day. I then remember stories of pearly gates, golden streets... or how... however those stories are told. I knew I'd reach heaven on this highway. If not, I'd have the gold. I took one footstep feeling safe and acting bold. Suddenly, I realised my mistake. My chosen road turned black, bittery, and white cold. No longer was it golden glory nor heaven that it's in. White hot flames were blazing; I saw the devil with his grin. I had taken but one footstep so I turned to hurry back. But there a sound more waited, not a door, nor a crack. Finally, coming to my senses, I walked on to my hell. For long before death had called me, my end was planned. Planned, but well”.Outras Referências Artísticas e “culturais” (por ordem de menção): Third Stream (movimento que buscava a incorporação de influências da música de câmera e sinfônica clássica ao Jazz nos anos 70), Pithecanthropus Erectus (Álbum do Charles Mingus), The Clown (Álbum do Charles Mingus), Mingus Ah Um (Álbum do Charles Mingus), The Black Saint and The Sinner Lady (Álbum do Charles Mingus), Joni Mitchell (Músico), Mingus (Álbum da Joni Mitchell), Herbie Hancock (Músico), Wayne Shorter (Músico), Teo Macero (Produdor Musical), Bitches Brew (Álbum do Miles Davis), In a Silent Way (Álbum do Miles Davis), Kind of Blue (Álbum do Miles Davis), Time Out (Álbum do Dave Brubeck), Miles Davis (Músico), Federico Fellini (Diretor de Cinema), Mr. Bungle (banda de Rock), Cardiacs (Banda de Rock), Duke Ellington (Músico), Edgard Varèse (Músico), Arnold Schoenberg (Músico), Pierre Boulez (Músico), Olivier Messiaen (Músico), Glenn Miller (Músico), Charlie Parker (Músico), Tidal (Plataforma de Streaming), Godfather (Filme Dirigido por Francis For Coppola), Nino Rota (Músico), The Halls of Fear (Música da trilha sonora do filme Godfather de 1972), Frank Zappa (Músico), Studio Tan (Álbum do Frank Zappa), The Adventures Of Greggery Peccary (Música do Frank Zappa) eBaratos Afins (Loja e Selo Musical de São Paulo).Contato: info@jazzvaneio.com

En los años 50 del siglo XX surgió una serie de compositores de jazz en los EEUU que se inspiraron en la gran música europea para "dignificar" a la tradición musical jazzística americana. A partir de entonces no fue raro recurrir a piezas de música clásica para construir nuevos temas de jazz. En este programa vamos a escuchar todo tipo de reelaboraciones creadas en los últimos 60 años de historia del jazz en todo el mundo. Otro diálogo abierto entre Jose Funes y Francisco Macías. 1. Miles Davis & Gil Evans - Wil O' the Wisp (Sketches of Spain) 2. Hubert Laws - Rite of Spring (The Rite of Spring) 3. Oliver Nelson - Hoe Down (The Blues and the abstract truth) 4. Art Ensemble of Chicago - Variations Sur un Theme de Monteverdi (Les Stances a Sophie) 5. Pedro Iturralde - Homenaje a Granados (Jazz Flamenco) 6. Chano Domínguez - El Puerto (Piano Ibérico) 7. Mike Westbrook - The Barber of Seville Overture (Westbrook - Rossini) 8. Uri Caine Ensemble - Symphony Nº5, Funeral March (Gustav Mahler in Toblach) 9. Alfonso Santimone Laser Pigs - Sechs Kleine Klavierstucke, Op.19 (V) (Ecce Combo) 10. Aka Moon - Aka 213 (The Scarlatti Book)

Hi, 歡迎收聽Third Stream! 在這裡你會聽到我們分享一些非主流的人事物 第一集想要分享的是為什麼我們想要搬離舒適的加州呢？ 本集內容: 背景介紹 0:20 加州吸引人的地方 15:44 加州的推力 19:35 未來想要搬去的城市 23:57 Music from https://tfbeats.com/

A dialéctica do Third Stream2019/Dec/FriMúsica de jazzPrograma número 93 de Notas de Jazz, emitido o 06/12/2019: A dialéctica do Third Stream

Steve Martin asked everyone to "get small," but in this episode, the bastards investigate what happens when jazz musicians get profound - and just a wee bit third-streamy. The results are mixed, and one high-profile release in particular gets a thorough dose of bastardy. The pop matters segment ranges from Oingo Boingo to a review of Joey DeFrancesco live. Wayne Shorter – EMANON; George Russell – OTELLO BALLET SUITE; Ingrid Laubrock – CONTEMPORARY CHAOS PRACTICES.

Follow the Artist: https://soundcloud.com/alexfont https://www.facebook.com/AlexFontMusic It is our pleasure to welcome the man behind Acmé & Third Stream imprints Alex Font to the next MINIM Podcast Series. Alex Font, musician, producer and DJ. A lover of all music in general, his main musical styles are based on classical music, funk, jazz, flamenco, latin, techno-dub, but the principal genre is “The Real House”, which is the way he likes to call it. Alex began to devote himself entirely to music more than twelve years ago buying his first records and deejaying in small clubs in Valencia. He is strongly influenced by the cities of London (where he lived three years and continuously keeps visiting), Berlin and Ibiza. His musical goal is to have the highest level as possible, surprising the listeners with original tracks and unusual rhythmic figures that never leave the audience indifferent. His greatest source of expression is the classic house of the main schools of New York, Chicago and Detroit, mixing it with a touch of latin, jazz and sounds comming from techno-dub. His sound can vary according to the mood either live or in the studio. Alex Font has performed in renowned clubs of Europe, especially in Spain and the UK. Alex has been studying music composition, harmony and sound engineering. Nowadays, he plays the piano, drums and latin percussion, all of these complete his evolution as a musician. Although his concept of music is to innovate, to experiment and to delve into all aspects of it , Alex likes to keep the roots alive! Alex considers himself a lover of the 12 inch vinyl and tries to get the best of both worlds of analog and digital.

Exploring new ways of leading that to foster creativity, collaboration and inspiration. Join us as we interview Orbert Davis, Emmy winning trumpeter, composer and co-founder of Chicago Jazz Philharmonic and creator of Collective Creativity Leadership. Lesley Picchietti has spent over 25 years doing what she loves with the constant being her addictive optimistic approach and desire to make a difference. Her career has spanned from local TV news to non-profit development, jazz vocalist and band leader, to a music educator.  Lesley believes the art of coaching/teaching, for any age, is through empowerment and engagement.  Using a unique blend of compassion, boldness and humor, she consistently shifts client and student energy from a place of hesitation to a more positive and constructive center. This productive shift ultimately allows individuals, groups and corporate teams to move forward with increased motivation and confidence. www.InspireBlissCoaching.com For over twenty years, Barb Heenan has been helping people turn obstacles into stepping stones for success. A former Occupational Therapist, Sales Manager, and Sales Consultant, she has a unique ability to inspire individuals to stretch out of their comfort zones both in work and play.  Barb helps busy professionals and entrepreneurs capture the power of connecting with their inner wisdom and natural talents using her positive energy and insight.  She holds degrees in Psychology and Occupational Therapy from the U of I and has successfully run two small businesses (an art business, and sales consulting).  Barb’s philosophy is that we each have the full capacity to create the life we really want. www.FreshCompanyCC.com

Russell Maret talks about the development of the primary themes of his artist's books - alphabet design, colour printing, and geometric form, also the influences of history and technology on his methods and subject matter.

Russell Maret talks about the development of the primary themes of his artist's books - alphabet design, colour printing, and geometric form, also the influences of history and technology on his methods and subject matter.

1959 was arguably the most creative year in all of jazz history. Bird had already passed away, and this year would see the passings of Lester Young and Billie Holiday. Musically speaking, when we read jazz history texts or see the labels among the many diverse styles of jazz (i.e "Free Jazz," "Modal Jazz," "Third Stream," etc...), we tend to separate these different styles into alternate universes. In fact, many of the contributions we now consider to be jazz "classics" all happened around the same time. To fully understand the realm of jazz today, or all the different possibilities that could occur tomorrow, we must understand that there wasn't a defining time in which Miles Davis woke up and said..."I'm going to make the most influential jazz album of all time [ Kind of Blue ] today." The same goes for Ornette Coleman, or Dave Brubeck, etc...In this spirit, we now explore the major jazz albums and contributions of 1959—the year that changed jazz.

Pianist Kenny Werner talks about his upcoming show with the Chamber Music Society of Minnesota and explains what Third Stream music is.

Collaboration is the name of the game, whether small groups mixing it up or big thinkers painting on bigger canvases. Pop matters is more expansive than usual, so any way you slice it, lots of bastardy to enjoy. Jason Moran – ALL RISE; Stanley Clarke – D STRINGS; THE BAD PLUS JOSHUA REDMAN; John Hollenbeck – SONGS I LIKE A LOT.

We follow the trail of improvisation in Baroque music to New Orleans and the beginnings of Jazz with Jelly Roll Morton, then onto Miles Davis, Gil Evans, and Dave Brubeck. Then we mix it all up with fascinating pieces where classical and jazz create a Third Stream. We end up in Spain where we hear Miles' Sketches where he incorporates an ancient musical technique with Jazz. Minds might be blown. contact the show at yccb@mauriceriverpress.com

A contemporary symphony in 4 movements

Mike and Pat pick up the cudgels and readdress themselves to the Village Voice list of the ten best jazz albums from 2014 (see episode 72 for the first part of this hatchet job). Leave it to those bastards to like the non-winning selection on this week's show the best. Myra Melford – SNOWY EGRET; Anne Mette Iversen's Double Life - SO MANY ROADS; Rufus Reid – QUIET PRIDE; Diego Barber/Craig Taborn – TALES.

Jazz It Up !!! #220 - 05.11.2015 by Simone Vimercati An eclettic mix of new, old and classic sounds with no time and one common thing: Jazz Music. This is the aim of "Jazz It Up !!!". A selection where Jazz is mixed but without borders and limits of time and genres, which often bring this music to be a niche's phenomenon for experts and purists. During this appointment, I give you a cocktail of pleasant and good quality music that goes from instrumental to vocal jazz, from soul to funky, from latin to rare grooves or new electric sounds. This is also to show everybody that jazz is not a musical genre, but a style, an attitude to express ourselves through the music. This attitude keeps on evolving and it has no limits. It is a music that embraces many listeners' generations: from the youngest, who can discover the past's giants through new artists, to the the eldest who will get amazed by listening to the music's evolution of jazz, soul and funk. I wish you a good listening: let you cherish by "Jazz It Up !!!". "Jazz It Up !!!" radioshow is available through radios, web radios, platforms for streaming on-demand and podcast. See all info on the website http://www.jazzitup.it Contact: info@jazzitup.it Jazz It Up !!! #220 - 05.11.2015 1. Animation “Soul Of A Machine” (2015 RareNoise Records) 2. Matthew Halsall & The Gondwana Orchestra ft. Josephine Oniyama “Into Forever” (2015 Gondwana Records) 3. Jeb Loy Nichols “That’s All I Want” (2015 Fourteen Black) 4. Marcos Valle “1985” - SS Translation by Theo Parrish (2015 Far Out Recordings) 5. Sonzeira “The Mystery Of Man” - Truccy remix (2015 Brownwood Recordings) 6. Deep Tenor City “Oba” - Opolopo remix (2015 BBE Music) 7. Hailu Mergia “Yegle Nesh” (2015 Philophon) 8. The Whole Truth “Memories Of Love” (2015 Whole Truth Records) 9. LV feat. Tigran Hamasyan “Hammers And Roses” (2015 Brownwood Recordings) 10. Kamasi Washington “Final Thought” (2015 Brainfeeder) 11. Third Stream “In A Galaxy Far Aways” (1978/2015 Tramp Records) 12. The Milk “Wanderlust” (2015 Wah Wah 45s) 13. Alan Lee “Dance Of The Adolescents” (1973 Cumquat Records / 2015 Jazzman Records) 14. Nat Birchall “A Luta Continua” (2015 Jazzman Records)

In this episode your favorite Pseudo-Historians compare a Communist Leader to an obscure Music Genre.

Bud shares his knowledge and expansive music collection to uncover the life and music of Artie Shaw. Artie Shaw (born Arthur Jacob Arshawsky; May 23, 1910 – December 30, 2004) was an American clarinetist, composer, bandleader and actor. Also an author, Shaw wrote both fiction and non-fiction. Widely regarded as "one of jazz's finest clarinetists", Shaw led one of the United States' most popular big bands in the late 1930s through the early 1940s. Though he had numerous hit records, he was perhaps best known for his 1938 recording of Cole Porter's "Begin the Beguine." Before the release of "Beguine," Shaw and his fledgling band had languished in relative obscurity for over two years and, after its release, he became a major pop artist within short order. The record eventually became one of the era's defining recordings. Musically restless, Shaw was also an early proponent of what became known much later as Third Stream music, which blended elements of classical and jazz forms and traditions. His music influenced other musicians, such as Monty Norman in England, with the vamp of the James Bond Theme, possibly influenced by 1938's "Nightmare".