Podcasts about Timbales

Esta semana invitamos a Roberto Ramos, presidente de la Asociación Toro Enmaromado de Yuncos y al periodista Juan Bazaga para hablar del Toro de San Blas de esta localidad toledana. Pasó también por los microfonos de Clarines y Timbales, el novillero David Campos El minuto de Ignacio Muruve #Callejón de Olivenza Conexión en directo con México para hablar de la corrida Aniversario de la plaza Ultimo Tercio con Genaro Suarez

Timbales

durée : 02:03:33 - Musique matin du vendredi 03 janvier 2025 - par : Jean-Baptiste Urbain - Le percussionniste sort un premier album avec son Trio Xenakis, explorant les sonorités de Reich, Xenakis ou Taïra. Timbalier solo au Philharmonique de Radio France depuis cinq ans, il joue la 9e de Beethoven ce week-end sous la direction de leur futur chef Jaap van Zweden. Portrait d'un passionné. - réalisé par : Margot Page

Tito Puente's musical tutelage and Oye Como Va.

Thanks for tuning in. The Drums and Rums podcast is coming back from a hiatus with a great guest who continues the legacy of the king of Latin percussion and its also his father, out guest is Tito Puente Jr.Don't forget to LIKE this video and SUBSCRIBE to our channelHELP SUPPORT the podcast.https://www.patreon.com/drumsandrums/postshttps://cash.app/$drumsandrumsCHECK out  https://www.drumsandrums.com/FOLLOW us :https://www.instagram.com/drumsandrumhttps://www.facebook.com/drumsandrums/https://www.tiktok.com/@drumsandrumshttps://twitter.com/drumsandrumsDon't forget to LIKE and SUBSCRIBE to the YouTube channel and FOLLOW US ON APPLE PODCASTS or where ever you listen to podcasts and don't forget to RATE us a 5 star and leave us a review.  The Timbales! 1. Tito Puente and the Timbales: Tito Puente, hailed as the “King” of Latin music, left an indelible mark on percussion. His signature instrument? The timbales—a pair of cylindrical drums with a distinct sound. Tito Puente's influence extended beyond Cuba, introducing timbales to audiences worldwide. Timbales Unveiled: What are they?Are played with the sticks and consist of two single-skinned, metal-shelled cylindrical-shaped drums. The "timbales" are actually a mutation of a drum that migrated originally out of India and Africa years ago in the shape of giant kettle drums that were strapped to the sides of camels, horses and elephants. Eventually this drum made its way to Europe and Spain, and had mutated and shaped to what is known today in Europe and the West as the, "Timpani" drums. Cuban music is a melting pot of African and Spanish (European) influences and cultures. The shells are made of either brass or steel and set on a stand. The larger timbale, called "hembra" (pronounced embrah), and the "cha cha" bell (smaller bell), are traditionally positioned to the left side of the "timbalero" (one who plays the timbales). The "macho" timbale (smaller drum), the "mambo" bell (larger bell), and the "cymbal" are traditionally positioned to the right of a right-handed player. "Cascara" literally means "shell" in Spanish, and the "paila" or cascara is the traditional pattern played by the timbalero player on the side of the macho timbale (smaller drum) It can also be played on the cymbal, cowbell or woodblock. In some cases, Cuban musicians will use the word "pailas" for the timbales and "cascara" for playing on the shell or sides of the drums. All patterns are based on the clave and emphasize the accents within the rhythm. Tito Puente's mastery of these drums significantly shaped Afro-Cuban music in America. Tito Puente Signature Series Timbales: In honor of this iconic musician, Latin Percussion (LP) created the Tito Puente Signature Series Timbales. Available in brass, bronze, or stainless steel, these timbales capture the essence of Puente's rhythm. Thunderous Beats: Puente's timbales produce a deep, complex tone with exceptional projection. Their 15-inch and 16-inch diameters, coupled with 10-inch extra-deep shells, create a sound that resonates like thunder. Legacy Lives On: Tito Puente's timbales continue to inspire percussionists globally. From the 1996 Olympic Games closing ceremonies in Atlanta to countless stages, these drums echo Puente's enduring legacy. So next time you hear the rhythmic heartbeat of timbales, remember the man who made them dance—the incomparable Tito Puente.Tune in for part 3 of celebrating the life and music of Tito Puente. Support the show

Timbales

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Jimmy Bosch is a world-class salsa and jazz artist Trombonist, Director, and Vocalist,  Performing in over 100 countries, and has been revolutionary in the New York style Afro Caribbean music known as “Salsa Dura” or Hard Salsa. Salsa Masters is performed by Bosch and his incredible band, Adan Perez, with Piano, and Background Vocals. Alex Apolo Ayala, Bass. Brian Pozo, Bongos, Bells, Background Vocals. Ricky Rosa, Timbales,Background Vocals. Jesus Muñoz, Congas. Daniel Arboleda, Tenor Sax. Jorge Castro, Baritone Sax. Guiro Gonzalez, Trumpet. Dan Lehner, Trombone.  Bosch has worked with Eddie Palmieri, Ruben Blades, Ray Barretto, Mambo Legends, and Pete El Conde Rodrigez.Jimmy Bosch joins us for an extraordinary salsa podcast and will be Performing at SING AND SWING on Sunday, February 25th at 4 PM!   The concert is a celebration of the Great American Songbook featuring the spectacular trumpet and vocal talents, Bria Skonberg and Benny Benack III, with the opening act, the legendary salsa and jazz trombonist, Jimmy Bosch with his band Salsa Masters! Event: Lehman Center for the Performing Arts proudly presents Jazz at Lincoln Center SING AND SWING on Sunday, February 25th at 4 PM.Tickets: at LehmanCenter.orgSponsored by: Lehman Center!Support the show

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

En este programa hablamos con la Asociación Toro Enmaromado de Yuncos que realizó su suelta del Toro de Cuerda el pasado sábado en esta localidad toledana e hicimos análisis de la Feria de San Isidro con los colaboradores del programa. El minuto de Ignacio Muruve Callejón de Olivenza El ultimo Tercio

À la fin d'Août 2023, des professeurs de Flûte (Traversières + Tuba & Timbales!!) et un Quatuor de Saxophone, aussi réalisé par des professeurs de Conservatoire, redonnaient vie (mouvementée et quelque peu déjantée!!!) au "Songe d'une nuit d'été"...de Félix MENDELSSOHN sur des textes de William SHAKESPEARE..... MAIS à la "Sauce XXI°Siècle". Enregistrement réalisé à l'Auditorium du Conservatoire de BOURGES.

À la fin d'Août 2023, des professeurs de Flûte (Traversières + Tuba & Timbales!!) et un Quatuor de Saxophone, aussi réalisé par des professeurs de Conservatoire, redonnaient vie (mouvementée et quelque peu déjantée!!!) au "Songe d'une nuit d'été"...de Félix MENDELSSOHN sur des textes de William SHAKESPEARE..... MAIS à la "Sauce XXI°Siècle". Enregistrement réalisé à l'Auditorium du Conservatoire de BOURGES.

El PP cree que el debate a tres ha demostrado que Feijóo es la única alternativa a Sánchez. Sánchez asegura que a Feijóo le da vergüenza aparecer junto a Abascal. Yolanda Díaz termina en debate “satisfecha”. Abascal acusa al gobierno de “ocultar la realidad”. Israel y Estados Unidos firman un acuerdo para el pacto de exención de visas. Brasil prohíbe la importación de cannabis medicinal. No queda ya nada para que se termine la ola de calor. El guitarrista mexicano Carlos Santana cumple hoy 76 años. See omnystudio.com/listener for privacy information.

El PP cree que el debate a tres ha demostrado que Feijóo es la única alternativa a Sánchez. Sánchez asegura que a Feijóo le da vergüenza aparecer junto a Abascal. Yolanda Díaz termina en debate “satisfecha”. Abascal acusa al gobierno de “ocultar la realidad”. Israel y Estados Unidos firman un acuerdo para el pacto de exención de visas. Brasil prohíbe la importación de cannabis medicinal. No queda ya nada para que se termine la ola de calor. El guitarrista mexicano Carlos Santana cumple hoy 76 años. See omnystudio.com/listener for privacy information.

En este programa hicimos resumen de la Feria de San Isidro con los habituales colaboradores. El minuto de Ignacio Muruve El Callejón de Olivenza La voz de la Afición El Ultimo Tercio

Our 14th episode features conga virtuoso, Gon Bops' Signature artist Roberto Quintero.   Originally from Venezuela, Roberto comes from a distinguished family of musicians and has made a respected name for himself, playing with many greats including Oscar de Leon, Celia Cruz, Eddie Palmeri and Marc Anthony, to name just a few.  Roberto has multiple releases, including the Grammy-nominated “Quintero Salsa Project” with his cousin, Luisito Quintero.  Enjoy this great conversation including some tracks from his solo album, “Transmission”. 

Uno de los instrumentos más llamativos de la orquesta es el timbal y aunque pueden tener poco trabajo en algunos pasajes, hay momentos estelares de la historia de la música en los que su protagonismo es indudable y muy brillante. Para descubrir muchas cosas sobre un instrumento de percusión básico desde hace más de 2 siglos, visita nuestro estudio la joven percusionista Celia Berlinches, quien nos cuenta mil y un detalles sobre los timbales mientras escuchamos obras de Haydn, Druschetzky, Borodin, Oliverio y Shostakovich, en las que nuestro protagonista de hoy tiene un papel destacado… Acompáñanos en esta rítmica y poderosa entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Join Tamara for an interview with Veronica Garcia-Melendez, who is half of synth band Bero Bero - described as Sade meets Kate Bush - as well as a member of the more recent grunge/metal band The Maxines. You might remember hearing a few of Bero Bero's songs on our Local Music show at Thanksgiving, and there'll be 3 clips that play during this interview as well. Awesome to be learning the details on how they were created!  Check out Bero Bero's videos on Youtube: https://www.youtube.com/channel/UCSeLKL2d5alzeNSpMAQHDVg And follow both bands for news about shows and upcoming releases here: https://www.instagram.com/beroberoband/ https://www.instagram.com/themaxinesband/  Topics in their chat include: The importance of a music teacher/tutor being a consistent presence in kids' lives; the success of using Craigslist to find musical opportunities in NYC vs. Savannah; getting up on stage at a Wormhole open mic night; which Bero Bero song is most often filmed at their shows and shared online; recording on others' albums as a hired musician and/or singer; what are Timbales?; what is a layered ostinato?; how the keytar has changed Veronica's live performances; and singing karaoke at the Jinx.    Tune in and get all the details!

Parliamo di: The Bad Guy, Dry January, Tre uomini e un sogno, Mo Mountain Mutts e molto molto altro...

El especial de este mes en Achilitime gira en torno a la figura del productor gitano más avanzado del planeta según Txarly Brown: Jack Jean Tarradellas "Jack Chakataga" Escoudé (Barcelona, 14/6/1984) hijo del mítico Johnny Tarradellas "Chipén". Jack es una figura imprescindible para entender la evolución de la rumba y el flamenco en el siglo XXI en nuestro país. Su curriculum es tan extenso como el de Pharrell. Un productor vocacional es el que no mira nunca el reloj en su estudio. Jack no sabe si es de día o de noche. Aparece con tan solo ocho años en los créditos de No Sólo de Rumba Vive el Hombre (BMG, 1992) de Albert Pla como corista. Su primer encuentro con los controles de un estudio de grabación se remontan al disco coral ideado por su padre, Som la Rumba (Zanfonia, 2000) con 16 años. Antes ya había formado su primer combo rumbero, Chipimaya, a duo con Chiqui Amaya hijo de José de Los Amaya. Más tarde cursa estudios musicales en el Taller de Mùsics donde forma (entre otros muchos) el proyecto de corte flamenco latin jazz Chakataga; uno de rumba arabesca junto músicos amazighs, Rumbamazigha, y otro de recuperación del legado de la rumba catalana con Rumba Vella. Todos ellos editan más de un disco que él mismo graba y arregla. También forma parte fundamental del proyecto Banda Achilifunk y actualmente del Achilifunk Sound System. Paralelamente arranca su carrera como productor, técnico de sonido y arreglista convirtiéndose en el pluriempleado más prolifico de la escena rumbera. Por sus manos han pasado Lady Gipsy, Sabor de Gràcia, Arrels de Gràcia, Viejos Rumberos, Micu, Ai Marai, Revolución, Manuel Malou, 4 de la Cera, Ramonet, Peret, Chacho y una lista interminable... También podemos otorgarle el mérito de ser el primero en grabar a Rosalía cantando Herois Obscurs en el disco Or Verd (Temps Record, 2014). Para más "inri", toca con solvencia prácticamente todos los instrumentos conocidos y si no, aprende en el tiempo que tarda en sujetarlos. Y es el inductor a la rumba y el flamenco de todo tipo de músicos: del pop al jazz. Algo así como lo que hizo Víctor Martínez en la mutación de C Tangana a la rumba: Musical Box, Handclaps, Guitar, Keyboards, Flamenco Guitar [Spanish Guitar], Electric Bass, Classical Guitar, Congas, Bongos, Bells, Maracas, Guiro, Backing Vocals, Timbales, Claves, Voice, Effects [Flamenco Percussion], Rhythm Guitar & Drums. Eso consta en los créditos.Veamos lo que hace Jack en un año de trabajo. Estamos en 2022. El programa de hoy recoge algunos de esos momentos. Desde sus conocimientos musicales y su bagaje sonoro, recrea y reinterpreta estilos dispares con una versatilidad y soltura impresionante. Arrancamos con el track que marcará el futuro presente. Cuando el rumbatón (o flamencotón) y la kinkydelia electrónica andaluza ya son mainstream (Tangana / Califato) Jack los adelanta a todos por la izquierda y se saca de la manga un taladro con adornos flamencos que dinamita las redes: Gipsy Drill. Jack hace tiempo que está a la vanguardia, a pesar de que nadie se entere de ello. Quizás su modestia y el no vivir a sueldo de una multinacional lo hacen único. Su espíritu libre y su caos vital lo acercan al genio indomable que siempre está un paso por delante. Si alguien se ofende lo sentimos, pero en este país de "catetos" Stromae o Tyler The Creator serian camareros. España es esa monarquía bananera en el que el Ministro de Cultura tiene menos ídem que un youtuber y lo más bochornoso es que no se avergüenza de ello. Eso lo explica todo.Volvamos al tracklist. Alternaremos a A93 con las 4th music sessions: trap, drill y rumbaton de salida a toda velocidad. Pasando por las baladas electrónicas de Iria M caeremos en la electrónica arabesca experimental. Con ella nos mudaremos al anime japonés. Lo de Jack es realmente de otro planeta: trasladar al flamenco sintonías de videojuegos. Otro salto estilístico: de la sintonía del Festival Flamenco Trocadero de Sotogrande de aire salsero gitano caeremos en la copla modernizada de Manuel Fernandez y su Bien Pagá. Repite Iria M, la musa de Jack (que en cuanto la descubra una multinacional volará hasta la luna). Sigue el programa con un surtido de rumbas al estilo moderno, sumándole samba, electrónica, balkan beats, metales preciosos, catalanismo o lo que haga falta, Jack siempre sorprende. Hasta Machado sucumbe al taladro. Y como colofón una sinfonía experimental de flamenco jazz. Talento en estado puro. Estos son algunos proyectos recientes, no es un "Lo Mejor de..." porque sería imposible sintetizar su carrera en una sola hora. Simplemente es un muestrario reciente de la extraordinaria versatilidad del mejor productor gitano en activo. Un crack.

Este programa fue el último de la 11ª Temporada, realizamos tertulia con los colaboradores de los principales temas de actualidad El minuto de Ignacio Muruve El Callejon de Olivenza El Ultimo Tercio

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

PODCAST INTEGRANTE DE ESFERA JAZZ: https://www.esferajazz.com Tito Puente fue un extraordinario artista, reconocido internacionalmente por sus contribuciones a la música latina como brillante arreglista, líder de orquesta, compositor, percusionista y vibrafonista. Puente trabajó sin parar desde el año 1937 hasta el 2000, concretamente hasta el 31 de mayo, fecha en la que falleció tras someterse a una operación cardiaca. Tenía 77 años. Conocido por todos como el Rey del Mambo, Tito Puente grabó casi 150 álbumes, publicó mas de 400 composiciones, y ganó cinco premios Grammy. Hoy os vamos a hablar de On Broadway editado en el año 1982 por Tito Puente junto a su Latin Ensemble que estaba compuesto por algunos de los mejores músicos de jazz latino de esos años, gente como Jorge Dalto, Mario Rivera, Alfredo de la Fé o Jerry González. Hoy vamos a gozar en el tejado con jazz latino de muy alto nivel, amigos. Esperamos que disfrutéis. TRACKS 1-T.P.'s Especial Puente 2-Sophisticated Lady Ellington, Mills, Parish 3-Bluesette Gimbel, Thielemans 4-Soul Song Nascimento 5-On Broadway Leiber, Mann, Stoller, Weil 6-Maria Cervantes (A Noro Morales) Noro Morales 7-Jo-Je-Ti Puente 8-First Light Hubbard CREDITS Tito Puente Percussion, Leader, Piano (Electric), Timbales, Vibraphone Jorge Dalto Piano Alfredo de la Fé Violin Jimmy Frisaura Trombone, Trumpet Ray Gonzales Trumpet Jerry Gonzalez Conga, Flugelhorn Edgardo Miranda Guitar Mario Rivera Flute, Sax (Soprano), Sax (Tenor) Bobby Rodriguez Guitar (Bass) Johnny Rodriguez Percussion, Bongos

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Fajardo Jr. born in New York City, New York on January 29, 1972. Coming from a musical family, Fajardo Jr. became a musician playing congas at the age of 3, then Timbales at the age of 4. At that tender age, he began his musical journey with father " Jose Fajardo" leader of the band "Fajardo Y Sus Estrellas".Fajardo Jr. made his first TV appearance at the age of 3 in Miami. On his first tour, in 1977 at the age of 5, he and his father performed in Africa sponsored by RMM (Ralph Mercado Management). With his father at his side, he became knowledgeable in the world of music. He was destined to follow the Fajardo tradition. At the age of 6 Fajardo Jr. was already exposed to promoters and business giants, they referred to him as a prodigy child and nicknamed him EL NINO PRODIGIO. Earlier on in his childhood, his father would sit down with him and show him positions on the flute, he also tried to teach him how to read music to see if Fajardo Jr. could catch on and play like his father. In high school, Fajardo Jr. had the opportunity to study flute once again and began playing second flute chair in the concert band for Memorial High school. At this time, Fajardo Jr. was also Drum Captain for the school's Concert, Jazz and Marching bands. He was well liked and had is own fame in school as one of the best percussionist in Hudson County. “Nothing could take the place of my salsa music and the limelight.” Fajardo Jr. exclaimed. His first love was and will always remain his TIMBALES and percussion instruments.As a percussionist, he developed his own style by watching and learning from famous percussionists like Tito Puente, Johnny Almendra, Ralph Irizarry and others.Throughout the years Fajardo Jr. has had the privilege of performing along side the likes of Johnny Pacheco, Oscar D' Leon, Jose Alberto (El Canario), La Sonora Mantancera, Johnny Ray, Grupo Imagen, Luisito Carrion, Pedro Jesus, Cano Estremerra, Johnny Almendra, Tito Puente, Sheila E., Nino Segarra, Cachao and many more. Fajardo Jr. has also had the opportunity to travel with many of these artists to such places like Africa, Mexico, Canada, France, Martinique, Guadelupe, St. Marten, Germany, Russia, Holland, Colombia as well as throughout the United States. In New York and Miami he has performed in some of the most famous night clubs such as THE COPACABANA, LATIN QUARTERS, LA MAGANETTE, CASA BLANCA, THE PALM TREE, CLUB MYSTIQUE and more.Fajardo Jr. has appeared on recordings with artist such as Jose Fajardo (his father), Javier Vasquez (Sonora Mantancera), David Cedeno, Grupo Imagen, Glen Vargas, Felipe Mercado and more. In his career he has also appeared on TV shows such as "SIEMPRE EN DOMINGO", "EL SHOW DE ROLANDO BARRAL", "EL SHOW DE EL MEDIO DIA", "ACCESS HOLLYWOOD", "PRIMERA EDICION", "SALSA EN LA CALLE".Fajardo Jr. has become the musical director of his father's band FAJARDO Y SUS ESTRELLAS in 2001. This 6-11 piece latin band brings much excitement to the stage in any event. Besides performing latin music this band can also perform some american classics to satisfy all dancers alike.Bio Credit: The BashPodcast hosted byConcert Photographer Adrian Montanez & DJ Broadway!Support the show (https://cash.app/$AdrianLMontanez)

Tito Puente, eigentlich Ernest Anthony Puente Jr., (* 20. April 1923 in New York City; † 31. Mai 2000 ebenda?) war ein US-amerikanischer Jazz-, Salsa- und Mambo-Musiker sowie post mortem Podcast-Philanthrop. Puente war, wie man es umgangssprachlich bezeichnet, ein Nuyorican, ein in New York geborener Sohn puerto-ricanischer Eltern. Er wuchs in Spanish Harlem – auch El Barrio genannt – auf, einem Stadtteil von Manhattan, östlich des eigentlichen Zentrums von Harlem. Er wurde El Rey del Timbal (span. „König der Timbales“) oder King of Mambo („König des Mambo“) genannt und ist bekannt sowohl für seine Mambo- als auch seine lateinamerikanischen Jazz-Kompositionen, auf die er seine über 50-jährige Karriere aufbaute. Er spielte Saxophon, Klavier, Vibraphon, Timbales, Congas und Bongos. Musikalisch kommt Puente Eddie Palmieri sehr nah. Sein ursprünglicher Berufswunsch war Mambo-Tänzer. Im Jahre 1948 bekam er einen Plattenvertrag von George Goldners Latin-Plattenlabel Tico Records. Puente befand sich auf dem Höhepunkt seiner Beliebtheit und brachte afro-kubanische und karibische Musik wie Mambo, Son und Cha-Cha-Cha einer großen Öffentlichkeit näher. Später wechselte er zu mehr universellen Musikrichtungen, z. B. Pop und Bossa Nova; schließlich blieb er bei einer Mischung von afro-kubanischem und lateinamerikanischem Jazz, die Salsa genannt wurde. Für sein Werk erhielt er fünf Grammy Awards, die National Medal of Arts (1997), die James Smithson Bicentennial Medal (1999), den „Status“ einer Living Legend des Library of Congress (2000) und zwei Ehrendoktorwürden. Er starb im Jahr 2000 in New York City an Herzversagen. Sein Stück Oye Como Va erlangte durch Carlos Santana große Bekanntheit. 2022 sponserte der tot geglaubte Puente die 34. Folge des Schnelle Nummer Podcasts und erhielt den Titel El Rey del Numero Rapido (span. „König der Schnellen Nummer“).

Novedades 2021 last call. Este año en Achilitime hemos reunido en cuatro programas las principales novedades del espectro rumbero actual español. "Cruce de Caminos", "El Rumbero" y "Verano del 2021" son los tres precedentes. Este es último del año y llega tras la grata noticia de los tres Grammys Latinos para el sagaz C. Tangana "El Madrileño", gracias a su reciente reconversión rumbera y previo pago del canon de participación en el certamen. Sin restarle ningún mérito, pero no todo el mundo se lo puede permitir sin una multinacional que te respalde. Pero es igualmente motivo de alegría para la semilla rumbera local que siembra este programa desde hace meses. Recordemos que el capítulo de mayo llamado "El Rumbero" se auguraba: "Arrancamos el programa con la sensación del año: El Madrileño. C. Tangana se corona rumbero mayor de la mano de los clásicos para facturar un disco que marcará su punto de inflexión..." Payo dame un Grammy!. El nuevo Rey de la Rumba, a tenor de sus números, inicia gira mundial en breve. A ver cuanto le dura la fiebre del Hawaiano. Su formula rumbero flamencotona se llama Víctor Manuel Sánchez Martínez (de Elche) que "solamente" le ha ayudado -según los créditos del disco- con: Musical Box, Handclaps, Guitar, Keyboards, Flamenco Guitar [Spanish Guitar], Electric Bass, Classical Guitar, Congas, Bongos, Bells, Maracas, Guiro, Backing Vocals, Timbales, Claves, Voice, Effects [Flamenco Percussion], Rhythm Guitar & Drums.Vamos con las novedades del último trimestre del 2021. Alex Melero lanza este diciembre su Latin Persuasive Funk, donde rumba y ritmos latinos se reúnen en plan dream team para conformar un LP temático como los de antes. Grabado hace cuatro años, por fin ve la luz de la mano de Gutifunk Records. Una batería de instrumentales profundos y bailables, ellos abren y cierran el programa. Otra novedad es la versión en single del tema de Van Halen, Jump, por obra de Boogalizer, combo barcelonés heredero de los míticos Fulanos que inicia su despegue tropical. Dale Meneíto, de Raúl Latino es el último proyecto sabrosón del ex líder de Latino y los Llobregantes. Heredero de la pasada década de apogeo de la rumba catalana, años en los que Muchachito Bombo Inferno o Los Manolos dieron que hablar, y que lanzan sendos singles que podrás oír a continuación en clave swing brass band y hip-hop rumba. De ahí ya saltamos directamente al rumbatón puro y duro que ha sabido rentabilizar El Madrileño: Canelita, Luisa Fernanda, Moncho Chavea, Manuel "El Popeye", El Polo... la lista es interminable. Todos merecedores de su Grammy visto lo visto. En medio se cuelan Derby Motoreta's Burrito Kachimba, que han incrustado su trianismo de manual en la BSO de Las Leyes de la Frontera (Daniel Monzón, 2021). Han pasado del progresismo kinkydelico a la rumbita chichona, ¡super oportunos! Otro tema nuevo de nuestra querida Poochyeeh y sus Sweet Barrio se cuela en esta lista de novedades: Naide. Junto con Rosario "La Tremendita" o Lucia Fernanda no se les debería perder la pista. En la parte final rozando la navidad nos topamos con Sabor de Gracia en clave villancico trap, poniéndose al día a toda velocidad. Les sigue Pep Lladó que lanza nuevo disco en solitario del que rescatamos el himno neoclásico Brama la Fera, en el que colaboran todos los vocalistas de Ai Ai Ai: Rafalito Salazar, Sicus, Mikel Gorriz, Jordi Gas. Y acabamos con Rambo y su Timba que, vistas las cifras de seguidores y visualizaciones en redes, podemos asegurar que hoy por hoy es la gran esperanza gitano rumbera salseada de Catalunya. ¡Caramba, carambita, carambirulí! Desde luego que por su simpatía lo merece, pero además por ser el mejor percusionista gitano del país según Txarly Brown. De grabar para Sony tendría la casa llena de Grammys.

The great Orestes Vilato, a true Cuban legend, is considered to be one of the most influential timbaleros and bongoceros in the world of percussion today.  He's paved the way for so many greats percussionists who quote Orestes as one of their main influences.  Orestes was at the center of the Salsa music explosion in the '70s, having played with greats like Chico O'Farrill, Lionel Hampton, Ray Barretto, Celia Cruz, Ruben Blades and many more.  He's also worked with popular music icons like Whitney Houston, Aretha Franklin, Santana, Willie Nelson and even Oscar-winning actor, Andy Garcia!  Orestes is a Signature artist for Gon Bops, helping us to create his unique, light-weight aluminum-shell Timbales.  We're so happy to have him on the show - this our 10th episode to round out 2021!   

Our 9th episode features Grammy winning percussionist/Gon Bops Signature artist Luisito Quintero.  Hailing from Caracas, Venezuela, Luisito comes from a lineage of distinguished musicians.  He has performed with a host of music's greats including Oscar D'Leon, Jack DeJohnette, Tito Puente, Alicia Keys and the Spanish Harlem Orchestra.  Quintero was a member of Chick Corea's  Grammy-winning Spanish Heart Band, performing and recording with the music legend up till his untimely passing. Luisito's solo recordings include Percussion Madness, Third Element and the Quintero Salsa Project - a project he shares with his cousin, Roberto Quintero.  Our Luisito Quintero Signature Series timbales remains one of our most sought-after products.   We're proud to welcome him to the Percussion Loft! (Contact us for song titles appearing on this episode)

En este episodio comentamos los juegos de la semana 11 de la NFL, y analizamos cómo estará el juego de los Rams vs Packers en la semana 12 con nuestro invitado Ricardo Villalpando ¡No te lo puedes perder!

Bienvenidos a la caja de la descripción del video del programa número 77 de 'El Otro Día' presentado por Galder Varas y Urko Vázquez. Ya sabemos todos que aquí es dónde venís a pasarlo realmente bien, pero en esta ocasión fue de invitado al programa el cómico titán todo terreno Raúl Massana y no queremos distraer la atención de nadie con una sola palabra más en este texto. Esa era la última. Esa. Esta. Ya. Venga hombre. Y ahora qué. ¡Al video, maldita sea! Gracias a @wearelgato y a Pablo Moreno por darnos clases para vengar la muerte de nuestro padre.

Episode 55 Drum Machines: A Recorded History, Part 2: Digital Drum Machines   Playlist Linn Drum Gary Numan, “My Brothers Time” from Dance (1981 Beggar's Banquet). Early use of the Linn LM-1 by John Webb on this track. Note the sound of the claves, played by Numan but not digital. Bass, Saxophone, Mick Karn; Linn LM-1 drum machine, John Webb; Piano, Claves, Gary Numan. 4:37 Rajie, “ストーミー・ナイト (Stormy Night)” from Acoustic Moon (Sony 1981). Early recognition in Japan of the original Linn LM-1 drum machine. Rajie, vocals; Guitar, Mikihiko Matsumiya; Bass, Tsugutoshi Goto ; Chorus,  Hiroshi Koide,  Raji ; Composed By,  Akira Inoue ; Drums,  Tatsuo Hayashi ; Electric Guitar-Tsuyoshi Kon; Flute,  Motoya Hamaguchi ; Lyrics By,  Etsuko Kisugi ; Percussion,  Motoya Hamaguchi ; Prophet-10, Linn LM-1, Electric Piano,  Akira Inoue. Early Linn Drum Computer. 5:08 Herbie Hancock, “The Twilight Clone” from Magic Windows (1981 Columbia). If you want to study the latest in emerging electronic music instruments, just listen to the many albums by Herbie Hancock throughout the 1970s and 1980s. He was an early adopter of the Linn LM-1, heard here and played by Hancock. Bass, Louis Johnson; Linn LM-1 Drum Machine, Herbie Hancock; Ghanian Drums, Moody Perry III; Ghanian Drums, Bells, Kwasi Dzidzornu, Kwawu Ladzekpo; Lead Guitar, Adrian Belew; Percussion, Paulinho Da Costa; Rhythm Guitar, George Johnson; Written by, A. Belew, H. Hancock. 8:16 Don Henley, “The Boys of Summer” Linn Drum demo version (excerpt) (1984 private). Guitar and Linndrum, Mike Campbell; Synthesizer, Steve Porcaro; Synthesizer, Guitar, Danny Kortchmar. Bass, Larry Klein; vocals, lyrics, Don Henley. The instrumental part of the song came first and was put together by Tom Petty bandmate Mike Campbell who had just purchased a LinnDrum machine which was a more affordable model than the original LM-1 released in 1980. Campbell put together a rhythm track and played some guitar. Tom Petty wasn't interested in the song at that time, so it went to Henley, who wrote the lyrics. This demo was close to the final version. The final mix of the song also included some human drumming, as did live performances where a human drummer tried to replicate the sound of the original Linndrum. 0:42 Jean Michel Jarre, “Zoolookologie” from Zoolook (1984 Disques Dreyfus). A fascinating exploration of samples both of voice and drums. This is the later version of the Linn Linndrum machine, just before the introduction of the Linn 9000. There is pure joy in this track as Jarre uses the Linndrum to create many unexpected sounds and atypical rhythms. Bass, Marcus Miller; Composer, Producer, Ethnic Vocals Processing, Keyboards, Electronics, Jean-Michel Jarre; Drums, Yogi Horton; Daniel Lazerus; Guitar Ira Siegel; Guitar, Effects, Adrian Belew; Keyboards, Frederic Rousseau. 4:13 David Van Tieghem, “In-A-Gadda-Da-Vida” from In-A-Gadda-Da-Vida (1986 Wide Angle). Drummer and percussionist Van Tieghem created this version of the Iron Butterfly song using electronic drums (Octapads) and digital drums. Engineer, Programmed By Fairlight Programming Assistance, Eric Liljestrand; Guitar, Larry Saltzman; Vocals, Synthesizer Digital, Analog, Percussion Acoustic, Electronic, Mixed By, Producer, David Van Tieghem; Written-By, Doug Ingle. Basically a one-person performance aside from guitarist Saltzman. Van Tieghem was using both hand played electronic drums (the Octapads) plus some digital drum machines. 5:36 Suzanne Ciani, “Mosaic” from Neverland (1988 Private Music). Composed, Arranged, Performed, Produced by Suzanne Ciani. Among the many electronic instruments used by Ciani were keyboards made by Yamaha, Roland, and Bode (vocoder). For drum programming, she turned to the Linn 9000. This track has some decidedly simple, yet complex rhythms using the Linn 9000 that are truly nuanced and more jazz like. The care with which she programmed this track is in contrast to the typical drum machine beats you hear on records. Ciani also used a Roland TR-707 on this album, which you may also detect on this track. 4:37 Oberheim DMX Todd McKinney, “Kimberlite” from The Sound Of The System (1982 Oberheim). This 7-inch demo disc includes music created by Todd McKinney and Daniel Soger, two Oberheim employees. “Kimberlite” was composed and performed by McKinney using the DMX Programmable Digital Drum Machine, the DSX Digital Polyphonic Sequencer, and the OB-Xa Polyphonic Synthesizer. 2:28 Tangerine Dream, “Poland” from Poland (The Warsaw Concert) (1984 Jive Electro). You can hear the Bohn Digital Drums in the first half of the song and the Oberheim DMX in the second half. But that's a bit of a guess. Dr. Böhm DIGITAL DRUMS was a rhythm machine made in Germany from 1982-83, also known as ''the German Linndrum.'' Composed, performed, and produced by Tangerine Dream. Jupiter 8, PPG Wave 2.3 Waveterm, Minimoog, Korg Monopoly, Sequenced by EEH CM 4 Digital Sequencer, Bohm Digital Drums, Roland Tr 808 Drums, Roland SDE 3000 Delay, MXR 01 Digital Reverb, MXR Digital Delay, Johannes Schmoelling; Prophet 5, Prophet 600, Prophet 1, E-mu Custom Programmable Synth, Moog Custom Programmable Modular Synth, MTI Synergy, Sequenced by the PE Polyrhythmic Sequencer, Compulab Digital Sequencer, Syntec Custom Digital Drum Computer, Electronic Drums Simmons Drum Modules, Effects Quantec Room Simulator, Roland SDE 3000, Electronics Hill Multi-mixer, Chris Franke; Yamaha DX 7, Yamaha YP 30, Jupiter 8, Jupiter 6, Prophet 5, PPG Wave 2.2, Sequenced By Pe Polyrhythmic Sequencer, EEH Cm 4 Digital Sequencer, PE Custom Trigger Selector, DMX Oberheim Digital Drum machine, Edgar Froese. 8:43 Herbie Hancock, “Earth Beat” from Future Shock (1983 Columbia). In addition to the DMX, this track includes evidence that Garfield Electronics Dr. Click Rhythm Controller was a much-needed rhythm device for wrangling the otherwise incompatible signals prior to the introduction of MIDI a few years later. Craig Anderton wrote the following about Doctor Click in an article in Keyboard from 1983: "Doctor Click is not a keyboard instrument, not a drum machine, and not a signal processor: What it does is synchronize and interface these three families of devices together. Not only can it interface to existing sync tracks, it can build up click tracks from incomplete click tracks, and even create sync and/or click tracks which are referenced to a live musician." Hancock masters Dr. Click on this album. Fairlight CMI, Yamaha GS-1, Yamaha CE-20, Dr. Click Rhythm Controller, Herbie Hancock; DMX Drum Machine, Synare Electronic Drums, Memory Moog Programming, Michael Beinhorn; Bass, Bill Laswell; Bata, Daniel Ponce; Turntables – Grandmixer D. ST. 5:09 Herbie Hancock, “Hardrock” from Sound System (1984 Columbia). The sound of the Oberheim DMX digital drum machine as used by Herbie Hancock. This album was his follow-up to the album Future Shock on the DMX made a famous appearance in the song Rockit, which was unusually a top-selling hit for Hancock. The DMX is played here by non-other than Bill Laswell. Note that Simmons electronic drums are also being played on this track by Anton Fier, but I think you can tell the difference. Bass, Drum Machine DMX, Tape, Bill Laswell; Bata, Daniel Ponce; Simmons electronic drums, Sound Plates, Cuica, Anton Fier; Guitar, Henry Kaiser, Nicky Skopelitis; Fairlight CMI Programming, Will Alexander; Fairlight CMI, Rhodes Chroma, Apple IIe, Yamaha DX7, Emu 4060 Digital Keyboard, Herbie Hancock; Synthesizer (XMD), Rob Stevens; Turntables, D. St; Written-By, B. Laswell, D. Showard, Herbie Hancock. 6:10 Davy DMX, “Bonus Beats” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberhheim DMX digital sampling drum machine. He is also known as David Franklin Reeves, Jr. Here is a bonus track of only drum machine and turntable. 1:47 Davy DMX, “One For The Treble (Fresh) (Instrumental)” from One For The Treble (Fresh) (1984 Tuff City). Davy DMX when he first met the Oberheim DMX digital sampling drum machine. Another track from that same 12-inch. 7:31 Movement MCS Drum Computer John Foxx, “Pater Noster” from The Garden (Virgin 1981). This album was produced after Foxx left Ultravox. It is another example of the MCS Drum Computer. This track only features Foxx on synthesizers, voice, drum programming, and a manually struck Tom Tom. 2:30 Roland El Escuadrón Del Ritmo, “Las Cucarachas” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). I discovered this wonderful collection of Mexican synth-pop tracks, some never before heard, and immediately dug-out a track using a drum machine. This track is from 1982. In this case, the drum machine is the Roland Compu-Rhythm CR-78, which was a transitional analog device with analog drum sounds and digital control for programming patterns. 3:44 Nahtabisk, “La Dama De Probeta” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Another hidden gem from Mexico. This track is from 1984 and features the Roland drumTR-606 Drumatix. The TR-606 featured PCM-encoded sounds of real drums. This small device, that ran on batteries, helped define the sound of early techno. 3:20 E-mu Joe Mansfield, “Drumulator (Instrumental)” from Drumulator (2014 Get On Down). This is a track featuring the sounds of the E-mu Drumulator that was sold from 1983 to 1985. It had twelve, 8-bit sampled sounds of real drums and at about $1000 was more affordable that drum machines like the Linndrum and Oberheim DMX. It was created on the heels of the sample synthesizers they made under the Emulator name. It also had a relatively short life so few recordings from the time were made. This demo is an example of what could be done with the Drumulator and Herbie Hancock took a liking to it prior to switching to the Oberheim DMX. 2:02 Richard Souther, “Uncharted Waters” from Innermission (1986 Meadowlark Records). Music and realization by Richard Souther. Includes synthesizers from Roland, PPG, Sequential Circuits, and Casio. He also used both the Linn 9000 and E-mu SP-12 drum machines, which are both heard on this track. You can clearly hear the Linn 900 and its distinctive snare and bass sounds, while the E-mu, which was built around the circuits in the company's popular keyboard samplers, provided some of the more unusual, even exotic, percussion sounds. 3:23 Alesis Slant, “Sheep” and “Ducks” from Hive (1989 These Records). This amazing group, although short-lived, was a British experiment in rock with noise elements that included Cris Cheek, Philip Jeck, Sianed Jones, and Osian Tam. Cross used an Alesis HR-16, which is showcased in the second of two tracks, “Ducks.” I think that is probably the same drum machine in the first track, “Sheep” so I thought this represented some good contrast in the way that the sound could be treated. This had 49 digital samples of drums that could be programmed in real-time by playing the velocity sensitive drum buttons. Double Bass Julia Doyle; Guitar, Cabasa, Engineer, Co-producer Maciek Hrybowicz; Keyboards, Accordion, Synthesizer DX7; Piano, Clarinet, Voice, Marimba, Goblet Drum Darabouka, Tambourine, Bells Agogo Bells, Sampler Cassette Samples, Flute Souffara, Rattle Seed Pod Rattles, Performer Emax, Alesis HR-16, Breath Rhythms, Face Slap, Mixed By, Co-producer Cris Cheek; Turntables, Radio Philip Jeck; Violin, Piano, Vocals, Organ, Fife, Viol Viola Da Gamba, Harmonium, Claves, Performer Emax, Breath Rhythms, Mixed By, Co-producer Sianed Jones; Voice Osian Tam. 4:31 Closing, Linn LinnDrum Mikel Rouse, “Quorum part 2” from Quorum (1984 Club Soda Music). It was inevitable that a composer would create an extended piece of music using only the Linn Linndrum. Mikel Rouse was that person. Listen to the hypnotic patterns of this work. From the composer's notes: “Quorom is a piece for LinnDrum machine (or 18 percussion players) in 9 parts running approximately 1 hour and 45 minutes in length. Though the sequence of parts 1 through 9 must be maintained, the parts may be divided into sections, or run continuously. Themes are produced through the synchronization of the 3 generators, 3-5-8, and their complimentary factors yield counterthemes. Power series are then applied to produce harmonic contrasts from the original themes. Thematic material is developed through multiple variation techniques (circular permutations, accents through superimposition of an additional component, natural growth through the summation series). I decided to undertake the programming myself and, with the aid of Jim Bergman, successfully completed the programming in about 5 hours. I would like to stress that all programming was done through the step-by-step process provided in the operator's manual for construction “songs” from “patterns”. No special treatments or extensions (including cassette interfaces) were required.” Such was the versatility of the Linn Linndrum. 11:16   Background Sounds Volti, “Corazón” from Back Up: Mexican Tecno Pop 1980-1989 (2021 Dark Entries). Mexican electro-pop group. This track is from 1986 and features unknown drum programming. vocals, synthesizer, Lyndell Brookhouse; bass, synthesizers, drum programming percussion, Eddie Rubello; Backing Vocals, Katie Taylor; Congas, Edgar Herrera; Piano, Vincent Kenis; Timbales, Pedro Ortiz. 3:45. Adams and Fleisner, tracks “a1, a2, b1, b2, b3” from Modern Digital Recorded Drumcomputer Rhythm Tracks (1983 Break Records). I think this track of library digital drum samples from the Netherlands was made with the Drum Computer MCS II (or Percussion Computer) from Movement Computer Systems, a rare British made-drum machine circa 1983. It had an integrated CRT monitor and had an orange (or black) case. It used 8-bit samples of drums and featured 14 voices and programmable patterns. Opening: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations. There are dozens of drum machines that dot the history of electronic music. For an encyclopedic list of almost every drum machines ever made, and there were dozens of variations and models up until around 1985, check-out the excellent books by Alex Graham, a UK-based drum machine collector and specialist.

Oh boy, oh boy! Do we have a treat for you! This week we sit down with comedian, writer and Twitter extraordinaire MYKA FOX!! When we asked Myka what her favorite subjects were she stumped us with her thirst for statistics, linguistics and physics. Clearly Myka hasn't listened to the show or she would have known that we aren't smart enough to write such quizzes. HELP!  "Irregardless", Lindsey starts the school day with a Statistics quiz called, "Survey Says" where she asks two real statistics questions and then switches to some of the weirdest statistics of all time because she isn't really smart enough to teach an entire class on numbers and things. Then Kelly takes us to Marching Band class because Myka used to be a whizz on the french horn? Timbales? MARIMBAS! Get it girl! At recess we talk about all the times Myka got kicked out of her friend group. Kids can be so cruel! LEAVE LITTLE MYKA ALONE OR ELSE!  Then Lindsey makes an attempt at teaching the class Linguistics with a game called "First Statistics, Now Linguistics". Spoiler: Kelly's edible kicks in during this quiz and things get realllll hairy.  Then Kelly ends our school day with a Theatre History class where we play a game called "What A Bunch Of Thespians" where we get all Greek and shit. Question: Who came first? Jesus or Thespis? Asking for a couple of dumb dumbs.  Follow Myka Fox, Twitter Queen: https://twitter.com/MykaFox https://www.instagram.com/mykafox/ Follow the show's Insta: instagram.com/kellyandlindsey/ Follow Kelly: instagram.com/kelly_wallacebarnowl Follow Lindsey: instagram.com/lindseygentile Also!!!! Abortion Funds and Beyond: Here are the ways you can help Texans. https://www.salon.com/2021/09/02/abortion-funds-and-beyond-here-are-the-best-ways-to-help-texans/ And if you can, please donate to the Afghan Women's Mission: http://www.afghanwomensmission.org/

Episode 47 The French Love Their Synthesizers Playlist Roger Roger (Cecil Leuter), “Duetto (La Concierge Et Le Monsieur Du Premier)” and “Rondeau Cucu” from Musique Idiote (1970 Neuilly). I believe this is the first library music record that he composed for Moog Modular synthesizer. The tunes are pretty simple, either one track or two tracks recorded in a multitracked sequence. 1:33 and 1:41 Jean-Pierre Ferland, “It Ain't Fair” from ‎Jaune (1970 Barclay). This song has English lyrics on an album that includes tunes in both French and English. This album was recorded in Montreal during the early days of synthesizer use at Andre Perry's studio. Perry's uncredited Moog Modular synthesizer adds little touches throughout, especially on this song. Ferland was a widely popular French-Canadian singer/songwriter. 2:03 Heldon, “Zind” from Electronique Guerilla (1974 Disjuncta). Bass Guitar, Pierrot Roussel; Drums, Coco Roussel; Guitar, Alain Renaud; Piano, EMS VCS 3 Synthesizer, Patrick Gauthier; EMS VCS 3 Synthesizer, Georges Grumblatt; Vocals, Gilles Deleuze; Written by Richard Pinhas. 2:18 Heldon, “Back to Heldon” from Electronique Guerilla (1974 Disjuncta). Bass Guitar, Pierrot Roussel; Drums, Coco Roussel; Guitar, Alain Renaud; Piano, EMS VCS 3 Synthesizer, Patrick Gauthier; EMS VCS 3 Synthesizer, Georges Grumblatt; Vocals, Gilles Deleuze; Written by Richard Pinhas. 8:31 Heldon, “Ouais, Marchais, Mieux Qu'en 68 (Ex : Le Voyageur)” from Electronique Guerilla (1974 Disjuncta). Bass Guitar, Pierrot Roussel; Drums, Coco Roussel; Guitar, Alain Renaud; Piano, EMS VCS 3 Synthesizer, Patrick Gauthier; EMS VCS 3 Synthesizer, Georges Grumblatt; Vocals, Gilles Deleuze; Written by Richard Pinhas. 4:22 Philippe Grancher, “Birds, Birds” from 3000 Miles Away (1975 PÔLE 0014). Composed, Arranged by, Piano, Electric Piano, Synthesizer (String Ensemble), Mellotron, Organ, Effects, Philippe Grancher; Synthesizer, Jean-Louis Rizet; Bass, Gérard Bouquin; Drums – Pascal X; Electric Guitar, Arnaud Chevalier. 8:27 Henri Roger, “‎Asyle Cosmique” from Images...(1975 Pôle Records). Composed and performed by, instruments, Mini Korg Synthesizer, Elka Rhapsodie, Yamaha YC 45 D organ, Electric Guitar, Henri Roger. 10:25 Michel Madore, "Stanley” from Le Komuso À Cordes (1976 Barclay). Another product of Montreal. Guitar, Keyboards, Synthesizer, Piano, Cimbalom [Cymbalom], Ocarina, Producer, Arranged By, Written-By, Michel Madore; Drums, Tubular Bells, Gong, Percussion, Mathieu Léger; Electric Bass, Contrabass, Errol Walters; Electric Piano, Piano, Phillippe Beck; Saxophone, Synthesizer, Ocarina, Percussion, Arranged By, Ron Proby. 3:52 Space Art, “Psychosomatique,” from Trip In The Center Head (1977 IF Records). Music by Dominique Perrier, Roger Rizzitelli playing the following Instruments: Polymoog, Minimoog, Hammond Organ, Fender Piano, Piano, Drums, Clavinette, Arp Odyssey, Eminent, Violon électrique Flanger, Guitare électrique, Vibraphone, Bell-Trees, Gong, Timbales, Grosse caisse symphonique, Korg, Mellotron. 10:38 Jean Michel Jarre, "Oxygène Parts 1, 2, 3” from Oxygène (1977 Polydor). Composed By, Producer, ARP Odyssey synthesizer, EMS A.K.S. and V.C.S. 3 Synthesizers, R.M.I. Harmonic synthesizer, Farfisa organ, Eminent organ, Mellotron, Rhythmin' Computer, Jean-Michel Jarre. 18:41 Clearlight, “Spirale D'Amour” from Visions (1978 Polydor). Arranged by Clearlight, Cyrille Verdeaux; Bass, Philippe Melkonian; Drums, Percussion, Jacky Bouladoux; Electric Bottleneck Guitar Cosmique, Christian Boule; Flute, Tenor Saxophone, Soprano Saxophone, Didier Malherbe; Grand Piano, ARP Odyssey Synthesizer, Gong, produced by Cyrille Verdeaux; Synth Programmed by Francis Mandin; Minimoog Synthesizer, Luc Plouton; Violin, Bass Violin, Didier Lockwood. 7:33 Richard Pinhas, “Iceland Parts 1 and 2” from Iceland (1979 Polydor). Composed By, Performed By, Electronics, Guitar, Richard Pinhas. Pinhas was also a member of Heldon, whose music combined rock and electronic. 10:43 Tai Phong, “Thirteenth Space” from Last Flight (1979 Warner Brothers). Piano, (Acoustic, Electric), Synthesizer, Celesta, written by Pascal Wuthrich and Michaël Jones; Drums, Stephan Caussarieu; Engineer, Khanh; Guitar, Bass, Vocals, Michaël Jones. 4:56 Tai Phong, “Last Flight” from Last Flight (1979 Warner Brothers). Piano (Acoustic, Electric), Moog Synthesizer. EML synthesizer, Pascal Wuthrich; Vocals, Electric Guitar, and written by, Khanh; Drums, Stephan Caussarieu; Engineer, Khanh; Guitar, Bass, Vocals, Michaël Jones. 9:58 Szajner, “Brute Reason” from Brute Reason (1983 Island). Composed By electronics, keyboards, Bernard Szajner; Bass, Felipe Maujardo; Drums, Kirt Rust. Guitar, Xavier Geronimi; Saxophone, Schroeder; Vocals, Percussion, Joji Hirota. Szajner is also the man who invented the laser harp, used by Jarre in performance. 5:18   Background music: Space Art, “Speedway,” from Trip In The Center Head (1977 IF Records). Music by Dominique Perrier, Roger Rizzitelli playing the following Instruments: Polymoog, Minimoog, Hammond Organ, Fender Piano, Piano, Drums, Clavinette, Arp Odyssey, Eminent, Violon électrique Flanger, Guitare électrique, Vibraphone, Bell-Trees, Gong, Timbales, Grosse caisse symphonique, Korg, Mellotron. 2:54 Szajner, “Without Leaving” from Brute Reason (1983 Island). Composed By electronics, keyboards, Bernard Szajner; Bass, Felipe Maujardo; Drums, Kirt Rust. 3:46 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

God made Prince funky and he liked to spread that funk around. In celebration of his birthday Lyd the SBW is listening to songs he wrote and produced and some he featured on but all were ultimately created to allow other people to shine.

En pleno otoño Maga y Martín se ponen malla y ojotas y salen de paseo por las playas de Puerto Rico para conocer la vida y la obra de Tito Puente. Plaza1110 se llena de sol, Mar y tambores para aprender bailando al ritmo del mambo, la salsa y el latin jazz del Rey de los Timbales. Además curiosidades musicales, buen humor y la música de nuestra musa María Elena Walsh endulzando nuestros oídos en este nuevo episodio por la Once diez.

Episode 42 New Arrivals to the Archives New-Old Recordings Making it into the Archives Playlist Vincenzo Agnetti, “Pieces Of Sound” from Revolutions Per Minute (The Art Record) (1982 Ronald Feldman Fine Arts Inc.). Reading and tape composition by Italian artist, photographer and writer Vincenzo Agnetti. 4:38 Chris Burden, “The Atomic Alphabet” from Revolutions Per Minute (The Art Record) (1982 Ronald Feldman Fine Arts Inc.). Solo poetry piece by Chris Burden. 0:31 Canarios, “Genesis” and “Prana” from Ciclos (1974 Ariola). Spanish album of symphonic space rock. Adapted by E. Bautista (from Vivaldi's Four Seasons); Bass, Synthesizer, Theremin, Christian Mellies; Drums, Electronic Drums (Moog), Timbales, Triangle, Vocals, Castanets, Maracas, Bells, Temple Bells, Flexotone, Glockenspiel, Rototoms, Gongs, Percussion (Bambus), Goblet Drum (Dharbuka), Alain Richard; Electric Piano, Hammond Organ,Piano, Violin, Mathias Sanveillan; Guitar, Acoustic Guitar, Lyre, Echoplex, Phase Shifter, Vocals, Antonio García De Diego; Synthesizer, Keyboards, Mellotron, Digital Frequency Meter, Ribbon Controller, Vocals,Teddy Bautista. This is pretty audacious. 7:22 Holger Czukay, “Ho-Mai-Nhi (The Boat Woman Song)” from Technical Space Composer's Crew ‎– Canaxis 5 (1969/ RE 2018). Basic tape composition work from this German pioneer, circa 1968. Originally privately released in 1969 by Technical Space Composer's Crew and titled "Canaxis 5". Later reissued as "Canaxis" by Holger Czukay and Rolf Dammers. Czukay studied under Karlheinz Stockhausen from 1963–1966, and in 1968 co-founded the German rock group Can. 7:31 Deuter, “Atlantis” from D (1971 Kuckuck). Georg Deuter, produced and composed on tape. Early work from this German ambient, electronic composer. 6:04 Far East Family Band, “The God Of Wind,” “Moving, Looking, Trying, Jumping In A Maze,” “Wa, Wa (Yamato)” from The Cave: Down To The Earth (1975 Mu Land). Bass, Akira Fukakusa; Drums, Shizuo Takasaki; Guitar, Fumio Miyashita, Hirohito Fukushima; Keyboards, Akira Ito, Fumio Miyashita, Masanori Takahashi; Percussion, Masanori Takahashi; Vocals, Hirohito Fukushima. Japanese psychedelic jam band. Spacey, fun, rollicking organs and guitars. 4:53 Langston Hughes, conclusion of Rhythms Of The World (1955 Folkways). African American poet and author Hughes narrated this work based on his book "The First Book of Rhymes.” The “documentary sounds” were field recordings used to underscore the poetry. 5:08 Steve Hackett, “Jacuzzi” from Defector (1980 Charisma). Solo album from guitarist for Genesis. This is a track of largely keyboard-like sounds featuring such instruments as the Matell Optigan and Roland GR500 Guitar Synthesizer, played by Hackett. Bass, Dik Cadbury; Concert Flute, Alto Flute, John Hackett; and keyboards by Nick Magnus. 4:37 Pedro Morquecho, “Mi Corazon Es Un Violin (Fox)” from Pedro Morquecho (Su Novacord Y Su Orquesta) (1965 Orfeon). Mexican keyboard artist who found his groove with the amazing Hammond Novachord. Here he plays some numbers for the night life, popular favorites designated for different kinds of dances, such as Afro-Beguine, Fox, and Rhumba. 3:33 Enoch Light And The Light Brigade, “Swamp-Fire” from Dimension •3• (1964 Command). This is one of the many amazing instrumental albums produced by Enoch Light for Command in the sixties. In this case, we have Dick Hyman on organ, Tony Mottola on guitar and Alto Saxophone by Walt Levinsky. I also hear an uncredited appearance by an Ondioline, a monophonic organ known to be used by Enoch Light on many albums. 2:19 Akira Itoh, “Life from the Light 光からの生命” from Inner Light Of Life / やすらぎを、君に (1978 King Records). Alto Saxophone, Flute, Vocals – Noboru Kimura; Electric Bass – Keiju Ishikawa; Electric Guitar, Vocals – Nobuo Hajime; Piano, Vocals – Kenji Kijo; Synthesizer – Akira Ito; Vocals – Goko Kunikida. Ito was previously a member of the Far East Family Band (see earlier track). 6:53 Alain Markusfeld, “1st movement” from Contemporus (1979 Egg). French singer and songwriter. Composed by, arranged By, ARP Polyphonic, ARP Prosoloist, Acoustic Piano, electric guitar, Organ, Percussion, Cymbals, Triangle, Marimbas, Harmonica, Handclaps, Vocals – Alain Markusfeld; vocals Patricia Markusfeld. 3:06 Masquerade, “Guardian Angel” from Masquerade ‎– Guardian Angel (1983 Metronome). PPG Waveterm synthesizer, Chris Evans. I don't know much about this group, other than this song and it was basically one person playing the instruments, the short-lived PPG Wave synthesizer, also used by Gary Numan, Depeche Mode, among others. 4:27 Bruno Menny, “Orbite Autour De La Planète 3” from Cosmographie (1972 Arion). This is unique album from the engineer who was also a student of composer Iannis Xenakis. This is his only album. It is a blend of concrete and synthesized sounds. 19:12 Orchestral Manoeuvres In The Dark, “Maid Of Orleans (The Waltz Joan Of Arc)” from Orchestral Manoeuvres In The Dark (1981 Dindisc). A 7-inch single. Bass, Guitar, Horns, Mellotron, Organ, Percussion (Acoustic, Electronic), rhythm program, Synthesizer, Vocals, Andrew McCluskey; Drums, Percussion (Acoustic, Electronic), Synthesizer Bass, Malcolm Holmes; Mellotron, Melodica, Organ, Percussion (Acoustic, Electronic), Piano, rhythm program, Synthesizer, Vocals, Paul Humphreys; Organ, Piano, Synthesizer, Michael Douglas. 4:12 Harold L. O'Neal Jr. (producer), “Ultimate Obstacle (All Tests Simultaneously)” from RCOA Stereo Systems Test Record (1972 Yorkshire Records). Test record using electronic sounds and tone clusters, bursts. “The Ultimate High-Fidelity Test Record.” 2:04 Karlheinz Stockhausen, “Mikrophonie I” (1964), first part, from Mikrophonie I & II / Prozession (1969 CBS). From France comes this boxed set. Electronics (Filters), Hugh Davies, Jaap Spek, Karlheinz Stockhausen; Electronics (Microphone) – Harald Boje*, Johannes G. Fritsch; Percussion (Tam-tam), Alfred Alings, Aloys Kontarsky. Mikrophonie I for Tamtam, Two Microphones, Two Filters and Potentiometers Essentially, a piece for cardboard tubes scraped on cymbals and mixed with electronic amplification and reverberation. Hugh Davies worked with Stockhausen during this period. Recorded at West German Radio Studios, Cologne, December 17 & 18, 1965. 7:24 Donna Summer, “Grand Illusion” from The Wanderer (1980 Geffen). Words and vocals by Donna Summer; Music by Giorgio Moroder; Synthesizers, Harold Faltermeyer, Sylvester Levay; Guitar, Jeff Baxter, Steve Lukather, Tim May; Drums, Percussion, Keith Forsey; Bass Guitar, John Pierce, Lee Sklar, Les Hurdle. 3:50 Ruth White, David White, Gary Maynard, Animals Are Wonderful (1982 Tom Thumb Records). Synthesizers, Ruth White. Yes, that's the Ruth White of sixties Moog Modular fame. She also made her way with children's activity records such as this. 2:16   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

Eddie Rodriguez a 40 + year Latin Music Industry professional sending greetings from Puerto Rico. My story is based on firsthand experience as a record label executive and the inequality that still exists today to sign, market and promote Black Latino artists in the US Spanish Market (except for some Reggaeton artists) by multi national recording companies Latin divisions (Universal Music Group, Sony Music and Warner Music).Ernesto Antonio "Tito" Puente, Jr. (April 20, 1923 – June 1, 2000) was an American musician, songwriter, record producer and bandleader. The son of Ernest and Felicia Puente, native Puerto Ricans living in New York City's Spanish Harlem, Puente is often credited as "The Musical Pope", "El Rey de los Timbales" (The King of the Timbales) and "The King of Latin Music". He is best known for dance-oriented mambo and Latin jazz compositions that endured over a 50-year career. He and his music appear in many films such as The Mambo Kings and Fernando Trueba's Calle 54. He guest-starred on several television shows, including Sesame Street and The Simpsons two-part episode "Who Shot Mr. Burns?". His most famous song is "Oye Como Va"   https://youtu.be/zZQh4IL7unMhttps://youtu.be/zZQh4IL7unM     https://youtu.be/X6NpFAsBc1g     https://youtu.be/eewrHI2dFfs   https://youtu.be/IXMvl1YlpMk https:   https://youtu.be/s9nFtytRJfo  

Después de escuchar al entrenador del Real Valladolid tras la derrota ante el Granada, en otra rueda de prensa bochornosa, no tengo ni la más mínima duda de que se imagina una situación como la descrita anteriormente siendo el todopoderoso y magnánimo rey que se asoma al balcón para ser aclamado y recibido entre loores, vítores y alabanzas. Otra posibilidad es que no se crea nada de lo que dice y que después de tantas declaraciones ensuciando la imagen del club al que representa sin ningún tipo de reprobación se haya visto a si mismo con un poder que nadie se atreve a discutir --- Send in a voice message: https://anchor.fm/radio-4g-valladolid/message

Tito Puente's musical tutelage and Oye Como Va.

El "Clarines y Timbales" de esta semana realizamos tertulia con los colaboradores del programa y con dos de nuestros oyentes de los temas de actualidad de los últimos días. Los festejos de Jaen y Morón de la Frontera La Liga Nacional de Novilladas La Feria de San Isidro de Vistalegre organizada por la Casa Matilla en la que se ha denominado "El Matillazo"

Born and raised in Los Angeles, Stephen Ray Hernandez is one of the most sought after young percussionists in Hollywood. Known for his versatility, he has quickly made a name for himself in the LA music scene.Artists and groups he has performed with include the Los Angeles Philharmonic, Disneyland's Viva Navidad Parade, Disneyland's Tale of the Lion King, Musical Theater West, 3D Theatricals, the Golden State Pops Orchestra, John Williams, The Angel City Chorale, Marvin Hamlisch, Gustavo Dudamel, Bruce Broughton, Terence Blanchard, Vince Mendoza, David Newman, Christopher Young, Dionne Warwick, Betty Buckley, Debbie Gibson, Shirley Jones, David Rose, Kelli O'hara, Robin Thicke, Kelly Clarkson, Jennifer Nettles, John Legend, Phillip Phillips, Michael Bublé, John Stamos, Tituss Burgess, Rebel Wilson, Daddy Yankee, Luis Fonsi, Sara Bareilles, Johnny Mathis, Cheech Marin, Harvey Fierstein, Ally Brooke, Reggie Watts, Tyga, Kid Cudi, Lea Michele, Camilla Cabello, and Kanye West.Stevie Ray can also be seen playing percussion on the hit TV shows Grease Live, The Late Late Show With James Corden, American Idol, The Voice, America's Got Talent, Dancing With the Stars, Coco Live, The Mandalorian, Chuck, Duets and The X-Factor. Stevie Ray can be seen on the big screen in the Warner Bros. movie “Gangster Squad” as Carmen Miranda's Conguero. Watch out for him in national spots for Little Caesars, Buick, Ford, Dos Equis, AARP, Dr. Pepper, and Carmax.Recently, Stevie Ray has been a featured drummer in Camila Cabello's music video for “Havana”. He can also be spotted playing with Camila on the 2019 Grammy Awards. Look out for Stevie Ray performing for the soundtrack of the upcoming ABC broadcast of “Little Mermaid Live”.0:00:00 Stevie Ray Hernandez Intro0:01:00 Stevie's connection to Erik-G and The Gajate-Garcia family0:02:30 Learning to be versatile at Cal State University, Northridge0:04:00 Learning from the late Jerry Steinholtz0:04:30 Orchestral experience0:05:00 Playing drums et in an orchestra setting0:06:30 Contemporary Percussion vs Orchestral Percussion0:07:00 Playing at The Hollywood Bowl0:08:00 Shout out Career Musician's Germaine Franco and John Powell0:09:00 Alan Menken Paramount Studios Story0:09:30 Working on a major studio production0:10:00 Working on COCO Live for Disney+0:11:30 The history of Timbales and Timpani0:12:00 African culture in modern music0:13:00 Stevie is a Mexican kid from The Valley0:14:00 How the music bug bit Stevie0:14:30 Stevie grew up loving K-Earth 101, Motown and The Beatles0:15:45 Stevie's first gig0:17:50 Stevie's massive resume0:18:30 Stevie's practice routine0:20:00 How do you break into the real music scene?0:23:00 Cultivating genuine relationships in the biz0:23:30 From Luis Fonsi to John Williams0:25:30 Show up as early as you can0:27:00 The unwritten rules of studio sound stages0:29:30 Be relaxed and acclimated to environment before start0:30:25 Mid-roll0:31:00 Do you have a mantra?0:31:30 Be like Alex Verdugo from the LA Dodgers0:32:15 Pandemic life and work0:33:00 Working at Shabby Road Studios in Woodland Hills0:34:00 The seriousness of tambourine0:36:00 Orchestral tambourine vs Brazilian0:36:45 Being a member of the musician's union AMF Local 470:37:00 Working on the show Chuck0:38:30 The benefits of joining the union0:40:00 How do you define success?0:41:00 Playing for The LA Phil and Sara Bareilles on The Little Mermaid0:41:30 Steve putting on party shows around town0:44:30 Words of Wisdom: Don't be afraid to fail0:46:30 Steve looks like Jimmy Fallon0:47:30 Rapid Fire0:49:00 Richie Gajate Garcia at Mambo's Cafe0:51:00 Closing

Born and raised in Los Angeles, Stephen Ray Hernandez is one of the most sought after young percussionists in Hollywood. Known for his versatility, he has quickly made a name for himself in the LA music scene. Artists and groups he has performed with include the Los Angeles Philharmonic, Disneyland’s Viva Navidad Parade, Disneyland’s Tale of the Lion King, Musical Theater West, 3D Theatricals, the Golden State Pops Orchestra, John Williams, The Angel City Chorale, Marvin Hamlisch, Gustavo Dudamel, Bruce Broughton, Terence Blanchard, Vince Mendoza, David Newman, Christopher Young, Dionne Warwick, Betty Buckley, Debbie Gibson, Shirley Jones, David Rose, Kelli O’hara, Robin Thicke, Kelly Clarkson, Jennifer Nettles, John Legend, Phillip Phillips, Michael Bublé, John Stamos, Tituss Burgess, Rebel Wilson, Daddy Yankee, Luis Fonsi, Sara Bareilles, Johnny Mathis, Cheech Marin, Harvey Fierstein, Ally Brooke, Reggie Watts, Tyga, Kid Cudi, Lea Michele, Camilla Cabello, and Kanye West. Stevie Ray can also be seen playing percussion on the hit TV shows Grease Live, The Late Late Show With James Corden, American Idol, The Voice, America’s Got Talent, Dancing With the Stars, Coco Live, The Mandalorian, Chuck, Duets and The X-Factor. Stevie Ray can be seen on the big screen in the Warner Bros. movie “Gangster Squad” as Carmen Miranda’s Conguero. Watch out for him in national spots for Little Caesars, Buick, Ford, Dos Equis, AARP, Dr. Pepper, and Carmax. Recently, Stevie Ray has been a featured drummer in Camila Cabello’s music video for “Havana”. He can also be spotted playing with Camila on the 2019 Grammy Awards. Look out for Stevie Ray performing for the soundtrack of the upcoming ABC broadcast of “Little Mermaid Live”. 0:00:00 Stevie Ray Hernandez Intro 0:01:00 Stevie's connection to Erik-G and The Gajate-Garcia family 0:02:30 Learning to be versatile at Cal State University, Northridge 0:04:00 Learning from the late Jerry Steinholtz 0:04:30 Orchestral experience 0:05:00 Playing drums et in an orchestra setting 0:06:30 Contemporary Percussion vs Orchestral Percussion 0:07:00 Playing at The Hollywood Bowl 0:08:00 Shout out Career Musician's Germaine Franco and John Powell 0:09:00 Alan Menken Paramount Studios Story 0:09:30 Working on a major studio production 0:10:00 Working on COCO Live for Disney+ 0:11:30 The history of Timbales and Timpani 0:12:00 African culture in modern music 0:13:00 Stevie is a Mexican kid from The Valley 0:14:00 How the music bug bit Stevie 0:14:30 Stevie grew up loving K-Earth 101, Motown and The Beatles 0:15:45 Stevie's first gig 0:17:50 Stevie's massive resume 0:18:30 Stevie's practice routine 0:20:00 How do you break into the real music scene? 0:23:00 Cultivating genuine relationships in the biz 0:23:30 From Luis Fonsi to John Williams 0:25:30 Show up as early as you can 0:27:00 The unwritten rules of studio sound stages 0:29:30 Be relaxed and acclimated to environment before start 0:30:25 Mid-roll 0:31:00 Do you have a mantra? 0:31:30 Be like Alex Verdugo from the LA Dodgers 0:32:15 Pandemic life and work 0:33:00 Working at Shabby Road Studios in Woodland Hills 0:34:00 The seriousness of tambourine 0:36:00 Orchestral tambourine vs Brazilian 0:36:45 Being a member of the musician's union AMF Local 47 0:37:00 Working on the show Chuck 0:38:30 The benefits of joining the union 0:40:00 How do you define success? 0:41:00 Playing for The LA Phil and Sara Bareilles on The Little Mermaid 0:41:30 Steve putting on party shows around town 0:44:30 Words of Wisdom: Don't be afraid to fail 0:46:30 Steve looks like Jimmy Fallon 0:47:30 Rapid Fire 0:49:00 Richie Gajate Garcia at Mambo's Cafe 0:51:00 Closing

Born and raised in Los Angeles, Stephen Ray Hernandez is one of the most sought after young percussionists in Hollywood. Known for his versatility, he has quickly made a name for himself in the LA music scene. Artists and groups he has performed with include the Los Angeles Philharmonic, Disneyland's Viva Navidad Parade, Disneyland's Tale of the Lion King, Musical Theater West, 3D Theatricals, the Golden State Pops Orchestra, John Williams, The Angel City Chorale, Marvin Hamlisch, Gustavo Dudamel, Bruce Broughton, Terence Blanchard, Vince Mendoza, David Newman, Christopher Young, Dionne Warwick, Betty Buckley, Debbie Gibson, Shirley Jones, David Rose, Kelli O'hara, Robin Thicke, Kelly Clarkson, Jennifer Nettles, John Legend, Phillip Phillips, Michael Bublé, John Stamos, Tituss Burgess, Rebel Wilson, Daddy Yankee, Luis Fonsi, Sara Bareilles, Johnny Mathis, Cheech Marin, Harvey Fierstein, Ally Brooke, Reggie Watts, Tyga, Kid Cudi, Lea Michele, Camilla Cabello, and Kanye West. Stevie Ray can also be seen playing percussion on the hit TV shows Grease Live, The Late Late Show With James Corden, American Idol, The Voice, America's Got Talent, Dancing With the Stars, Coco Live, The Mandalorian, Chuck, Duets and The X-Factor. Stevie Ray can be seen on the big screen in the Warner Bros. movie “Gangster Squad” as Carmen Miranda's Conguero. Watch out for him in national spots for Little Caesars, Buick, Ford, Dos Equis, AARP, Dr. Pepper, and Carmax. Recently, Stevie Ray has been a featured drummer in Camila Cabello's music video for “Havana”. He can also be spotted playing with Camila on the 2019 Grammy Awards. Look out for Stevie Ray performing for the soundtrack of the upcoming ABC broadcast of “Little Mermaid Live”. 0:00:00 Stevie Ray Hernandez Intro 0:01:00 Stevie's connection to Erik-G and The Gajate-Garcia family 0:02:30 Learning to be versatile at Cal State University, Northridge 0:04:00 Learning from the late Jerry Steinholtz 0:04:30 Orchestral experience 0:05:00 Playing drums et in an orchestra setting 0:06:30 Contemporary Percussion vs Orchestral Percussion 0:07:00 Playing at The Hollywood Bowl 0:08:00 Shout out Career Musician's Germaine Franco and John Powell 0:09:00 Alan Menken Paramount Studios Story 0:09:30 Working on a major studio production 0:10:00 Working on COCO Live for Disney+ 0:11:30 The history of Timbales and Timpani 0:12:00 African culture in modern music 0:13:00 Stevie is a Mexican kid from The Valley 0:14:00 How the music bug bit Stevie 0:14:30 Stevie grew up loving K-Earth 101, Motown and The Beatles 0:15:45 Stevie's first gig 0:17:50 Stevie's massive resume 0:18:30 Stevie's practice routine 0:20:00 How do you break into the real music scene? 0:23:00 Cultivating genuine relationships in the biz 0:23:30 From Luis Fonsi to John Williams 0:25:30 Show up as early as you can 0:27:00 The unwritten rules of studio sound stages 0:29:30 Be relaxed and acclimated to environment before start 0:30:25 Mid-roll 0:31:00 Do you have a mantra? 0:31:30 Be like Alex Verdugo from the LA Dodgers 0:32:15 Pandemic life and work 0:33:00 Working at Shabby Road Studios in Woodland Hills 0:34:00 The seriousness of tambourine 0:36:00 Orchestral tambourine vs Brazilian 0:36:45 Being a member of the musician's union AMF Local 47 0:37:00 Working on the show Chuck 0:38:30 The benefits of joining the union 0:40:00 How do you define success? 0:41:00 Playing for The LA Phil and Sara Bareilles on The Little Mermaid 0:41:30 Steve putting on party shows around town 0:44:30 Words of Wisdom: Don't be afraid to fail 0:46:30 Steve looks like Jimmy Fallon 0:47:30 Rapid Fire 0:49:00 Richie Gajate Garcia at Mambo's Cafe 0:51:00 Closing

A partir de hoy vamos a alternar nuestros programas habituales de Música para Gatos con otros que serán cápsulas de tan sólo 20 minutos dedicadas a un único vinilo de forma exclusiva. Nuestra idea es acercar un trabajo que haya gozado de poca difusión y que creamos que vale la pena reivindicar desde el tejado y nuestra primera propuesta es City Tribes, un larga duración del año 1995 firmado por un extraordinario bajista que se llamó Charles Fambrough. Esperemos que os guste esta nueva formula y os invitamos a que nos deis vuestras impresiones. Discografía completa como lider de Charles Fambrough 1991 "The Proper Angle" CTI Records (Creed Taylor, Inc.) 1992 "The Charmer" CTI Records (Creed Taylor, Inc.) 1993 "Blues at Bradleys Live" CTI Records (Creed Taylor, Inc.) 1995 "Keeper of the Spirit" Records Audioquest 1995 "City Tribes" Evidencia 1997 "Upright Citizen" Records NuGroove 2002 "Charles Fambrough Live at Zanzibar Blue" Random Chance TRACKS 1-Canto de Guebra (DaSilva, Fambrough) 2-The Hunt (Fambrough) 3-Add a Lesson (Fambrough) 4-Dolores (Shorter) 5-Alligators (OConnell) 6-Irish Lullaby (OConnell) 7-Laura Marie (Swana) 8-Past Time (Fambrough) 9-City Tribes (Fambrough) CREDITS Charles Fambrough Bass (Electric), Producer, Bass (Acoustic) Bill O'Connell Keyboards Craig Handy Clarinet (Bass), Sax (Soprano), Sax (Tenor) Café Percussion, Conga, Timbales, Berimbau, Tympani Ricky Sebastian Percussion, Drums Marlon Simon Percussion, Conga, Timbales, Vocals, Tympani John Swana Trumpet Dave Valentin Flute

Bienvenidos de nuevo a Podcast de Toros. Arrancamos, hoy, con un programa especial con nuestros amigos de Podcast CLARINES Y TIMBALES y los amigos del Podcast BURLADERO JOVEN. En la primera parte te contamos un poco como nació cada podcast y las "batallitas" de los backstage. También se nos cuela algún que otro "secretillo". Para ello contamos con DIEGO HUMANES, ALEJANDRO CORTIJO y MARC GRIÑÓ que será el encargado, como anfitrión, de presentar este programa. Y en la segunda parte añadimos a un colaborador de cada podcast para hacer una tertulia que no puedes perderte. Contamos con Javier Humanes en representación de Clarines y Timbales, Fernando García por Burladero Joven y Francesc Del Castillo de Podcast De Toros. En esta tertulia hablamos de cosas muy interesantes como ¿Qué haría cada uno para cambiar la tauromaquia actual?, lo típico de ¿Cómo ven la temporada 2021?, hablamos de las calles y las diferencias entre aficionados y alguna que otra controversia más. #triodeAses #clarinesytimbales #burladerjoven #podcastdetoros #tauromaquia #toro #vaca #taurino #NUESTRAVUELTASERÁGRANDE #festejospopulares #ferias  --- Send in a voice message: https://anchor.fm/detoros/message

This is The Spoon, where Mason Reese is our guest, and we're looking back at the anals of television.  Music By  Life, Interrupted  Cotton Mather  The New Pornographers  Spoon Feeding  Muriel Anderson ~ Harp Guitar  Pluto TV  Slings And Arrows  The Persuaders The Protectors  The Men Of The Spoon Robbie Rist Chris Jackson Thom Bowers The Spoon on Twitter  The Spoon Facebook Group The Spoon Facebook Page Email: the_spoon_radio@yahoo.com  

Quizmasters Lee and Marc are joined by Erik (aka fr0w) to ask, suss and answer a general knowledge quiz with topics including Pop Music, Mixed Drinks, Types of Candy, Beveridges, World Records, Classic Songs, Famous Rhythm Sections, History, Baseball, Fruits, Television Creators, Famous Landmarks, Geography and Grammy Awards and more! Round One POP MUSIC - Girls Tyme was the original name of what girl group? MIXED DRINKS - What is the main liquor used in a paloma, complimenting it’s other main ingredient, grapefruit soda? TYPES OF CANDY - German confectionery worker Hans Riegal invented what candy which was originally named after animals he saw at street fairs? BEVERIDGES - Bert Beveridge is the billionaire founder of what company which was founded in 1997 in Austin, TX? WORLD RECORDS - What claim can the Thrust SSC make? CLASSIC SONGS - “Oye Coma Va” was a song written by which American musician, songwriter and producer who has been called “El Rey de los Timbales (The King of the Timbales)”? Missed Corrections Our Simpsons crossover knownote was from Kevin Hunt (not Kevin Hart). He said his former boss made the same mistake, so we need to put an end to the confusion here. Kevin Hunt is a legitimate name. Mo pointed out that I almost sussed the Wilson Brothers (Luke and Owen) for the Dukes of Hazzard. Andrew with some Muppets Waldorf/Statler/Astoria trivia. Jeopardyman calls in to tell us to buzz off. Round Two FAMOUS RHYTHM SECTIONS - “Black Magic Woman” was a 1968 single for what band that is named for its rhythm section? HISTORY - The German Empire and Austria-Hungary were the first places to adopt what on April 30th, 1916? BASEBALL - Nicknamed “Axeman” and “El Oso”, who played for the Cleveland Indians for most of the 2010’s decade and also manned first base for the American League in the 2019 All-Star game? FRUITS - What fruit, whose name was made popular by a 1993 western, is the state fruit of Idaho? TELEVISION CREATORS - What author, producer, director and screenwriter got his break writing the episode “Explode” of Space Ghost: Coast 2 Coast before going on to create popular television series such as Veronica Mars, Cupid, Party Down, the 2008 90210 reboot and iZombie? FAMOUS LANDMARKS - The Petronas Twin Towers are located in which country, which is broken up by the China Sea into two territories (Peninsular and East)? Rate My Question GEOGRAPHY - "The summit of Mt everest is the highest point above sea level, but it is the summit of Mt Chimborazo that is the farthest point from the center of the earth. This is due to it being significantly closer to the earth's equator than Mt Everest. In which country would you find Mt Chimborazo?" - submitted by Usha MOVIES - “In the Back to the Future series, in 1955 what is the name of Doc Brown's dog?” - submitted by Andrew DLRaddict GEOGRAPHY - How many states border Pennsylvania? - submitted by Todd the Trucker Final Questions WORLD HISTORY - The Treaty of Ghent ended what war? GRAMMY AWARDS - “Room 17” was the working title given by co-writer Itaal Shur to what song, which won Record Of The Year at the 2000 Grammy Awards and was named the Number 2 Pop Song by Billboard on their All-Time Hot 100 and Top 40 charts? Upcoming LIVE Know Nonsense Trivia Challenges December 23rd, 2020 - Know Nonsense Trivia Challenge - Point Ybel Brewing Co. - 7:30 pm EDT You can find out more information about that and all of our live events online at KnowNonsenseTrivia.com All of the Know Nonsense events are free to play and you can win prizes after every round. Thank you Thanks to our supporters on Patreon. Thank you, Quizdaddies – Dylan, Tommy (The Electric Mud) and Tim (Pat's Garden Service) Thank you, Team Captains – Shaun, Lydia, Gil, David, Aaron, Kristen & Fletcher Thank you, Proverbial Lightkeepers – Ryan, Mollie, Lisa, Alex, Jenny, Spencer, Kaitlynn, Manu, Mo, Matthew, Luc, Hank, Justin, Cooper, Elyse, Sarah, Karly, Kristopher, Josh, Lucas Thank you, Rumplesnailtskins – Doug, Kevin and Sara, Tiffany, Allison, Paige, We Do Stuff, Mike S. ,Kenya, Jeff, Eric, Steven, Efren, Mike J., Mike C. If you'd like to support the podcast and gain access to bonus content, please visit http://theknowno.com and click "Support." Special Guest: Erik.

Tercer y último episodio del Clarines y Timbales Summer edition. Volvemos en Septiembre

Sebastián Yatra llamó al jefe de su disquera para darle una mala noticia... "alguien tenía marihuana en el carro y los paró la policía".