Podcasts about val wilmer

Maggie speaks with Zev Feldman, an internationally recognized, independent record producer and the Co-President of Resonance Records. He is also a consulting producer of archival and historical recordings for Blue Note Records. Over the last 25 years he has worked for PolyGram, Universal Music Group, Rhino/Warner Music Group, Concord Music Group, among others. He won DownBeat Magazine's International Critics Poll for "Rising Star Producer" in 2016 for his work on a staggering 26 historical jazz recordings that year and was called "The Indiana Jones of Jazz" by Stereophile Magazine. In addition to his lauded work at Resonance, where he works closely with the estates of jazz icons such as Bill Evans, Wes Montgomery and so much more. Maggie and Zev discuss B.B. King In France: Live at the Nancy Jazz Pulsations Festival (1977) is a previously unissued live recording from the legendary bluesman B.B. King captured by the ORTF in France on October 7, 1977 and released on producer Zev Feldman's Deep Digs label in partnership with Elemental Music and INA France.The limited-edition 180g 2 x LP set was mastered and cut by Matthew Lutthans at The Mastering Lab, and include rare photos by Thierry Trombert, Val Wilmer, Jan Persson and more; plus liner notes by the acclaimed french author Jean Buzeline; and testimonials from fellow blues icons who knew or were inspired by B.B. King.Also joining Zev & Maggie is Cary Baker, a writer based in Southern California but, born on Chicago's South Side, he not only had the chance to grow up with the blues but began his writing career at age 16 for the Chicago Reader. Mr. Baker is the author of “Down On The Corner: Adventures in Busking and Street Music.” His return to writing follows a 42-year hiatus during which he directed publicity for six record labels and two of his own companies. Prior to his PR years,  Baker wrote for, among others, Creem, Trouser Press, Bomp!, Goldmine, Billboard, Mix, and Record magazine. He has also written liner notes for historical reissues from labels including Universal and Capitol-EMI. Cary Baker has also been a voting member of the Recording Academy since 1979.Source: https://www.elemental-music.com/inicio/4860-bb-king-in-france-live-at-the-1977-nancy-jazz-pulsations-festival-8435395504581.htmlSource: https://recordstoreday.com/PromotionalItem/18422Source: https://www.allaboutjazz.com/the-archival-producer-zev-feldmanHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

In this episode we're joined by NME legend Chris Salewicz, author of acclaimed books about Bob Marley, Joe Strummer and others. We hear about our guest's boyhood in Yorkshire — and about the first gig he ever saw: the Beatles in Leeds in 1963 (followed in rapid succession by the Rolling Stones — plus a young David Bowie — in Huddersfield). Chris then describes how a move to London in the early '70s led to getting his foot in the door at Let It Rock and then, in 1974, at the indispensable New Musical Express. Discussion of the culture at the NME — sprinkled with yarns about such colleagues as Mick Farren,  Tony Tyler and Tony Stewart — prompts recollections of Chris' interviews with Jimmy Page (in 1977) and Prince (in 1981)... and culminates in the moment he opted to quit the paper for pastures new. A digression on Supertramp's 50-year-old Crime of the Century sparks a passionate defence of that unfairly maligned ensemble by 28-year-old Jasper Murison-Bowie. Jumping forward to the 21st century, we hear wonderful clips from Gavin Martin's 2006 audio interview with the youngest member of the "27 Club" series Chris collected in his 2015 book Dead Gods. Our thoughts on the astounding talent and tragically short life of Amy Winehouse then follows. After Mark quotes from newly-added library pieces — Val Wilmer's 1967 interview with free-jazz trailblazer Archie Shepp; Mick Brown's 1975 encounter with Bakersfield country icon Buck Owens – Jasper concludes the episode with his thoughts on a piece about "hip hop's Mozart" J Dilla (2011). Many thanks to special guest Chris Salewicz. For more Chris and info about all his books, visit chris-salewicz.com. Pieces discussed: The Gig Interview: Jimmy Page, The Clash: Clash On Tour, Bob Marley: A Day Out At The Gun Court, Prince, Supertramp: Crime Of The Century, Supertramp: To Concept Or Not To Concept?, Supertramp: The Taking of America by Strategy, Supertramp: Is This Really The Most Fun You Can Have With a Washing-Up Glove?, Amy Winehouse audio, Archie Shepp, Buck Owens and J Dilla: The Mozart of Hip-Hop.

For this episode we're joined by the admirable Simon Raymonde, sometime Cocteau Twin, head honcho at Bella Union Records and author of the autobiographical In One Ear. We commence by asking our guest about growing up as the son of the legendary Ivor Raymonde, string arranger on umpteen hits by pop idols from Billy Fury to the Walker Brothers. We hear clips from Ira Robbins' 1989 audio interview with Raymonde Sr.'s most famous client Dusty Springfield — and discuss a Ray Connolly piece from 1970 in which she more or less outs herself as gay. Simon then talks about his days behind the counter at Beggars Banquet Records and how they led to his joining the Cocteaus in 1984. Clips from a 1996 audio interview with the trio prompt his reflections on writing and performing with Robin Guthrie and Elizabeth Fraser — and how their extraordinary music won the admiration of everyone from Prince to Jeff Buckley. Simon also recalls the fallout from leaving indie sanctuary 4AD for major-label Fontana. We conclude by asking our guest about the 27-year-old Bella Union label, home to Midlake, Fleet Foxes, Beach House, John Grant, Flaming Lips and Father John Misty… and to 17-year-old Nell Smith, who tragically died in a car accident three days before we recorded this episode. After Mark quotes from newly-added library pieces — Val Wilmer's 1966 interview with Sun Ra; Lester Bangs' rave review of the Temptations' Sky's the Limit — Jasper brings the episode to a close with his thoughts on early interviews with Alicia Keys (2001) and Amy Winehouse (2004). Many thanks to special guest Simon Raymonde. In One Ear: Cocteau Twins, Ivor and Me is published by Nine Eight Books and available now from all good bookshops. Visit the Bella Union Vinyl Shop at 25 Church St in Brighton and online at bellaunionvinylshop.com. Pieces discussed: Cocteau Twins, Cocteau Triplets, Cocteau Quadruplets, Dusty Springfield audio, Dusty Springfield: Dusty at 30... loneliness is an occasional thing, Sun Ra: Flying Saucers Coming To Take Me Away, Ha Ha!, The Temptations: Sky's the Limit, Alicia Keys: Move over Macy and Whine and Song; Amy Winehouse hits out at girl singers and why she's one of the very best.

For this episode we're joined by the Brooklyn-based Andrew Smith, author of the bestselling Moondust, the "dotcom swindle" saga Totally Wired and the brand-new Devil in the Stack. We start by asking Andrew about the peripatetic childhood that took him from Greenwich Village to Hastings via San Francisco's summer of love. A riveting account of auditioning to replace Mick Jones in the Clash leads us to our guest's recollections of writing in the '80s and '90s for Melody Maker and The Face — and eventually becoming chief pop critic at London's Sunday Times. Jumping to Andrew's new book — with its subtitle A Coding Odyssey — we ask him about music's "digital revolution" in the mid-'80s, with particular attention to the ubiquity of Yamaha's DX7 keyboard. From there we revisit his 1995 interview with Björk – an artist who overtly embraced electronic sounds in that decade — and then listen to two audio clips from David Toop's absorbing encounter with the Icelandic maverick six years later. After a fascinating discussion about A.I. – its upsides and its threat not merely to musicians but to humanity at large — we return to the mid-'90s to celebrate the all-too-short life of the Notorious B.I.G., hip hop's "King of New York" in that all-too-violent decade. Mark provides quotes from recently-added library pieces about Captain Beefheart (1969), the Sex Pistols (1978) and oddly Francophobe goths Sisters of Mercy (1987), and Jasper wraps up the episode with his thoughts on articles about pop fanzines (2003) and writer, photographer and recent podcast guest Val Wilmer (2024). Many thanks to special guest Andrew Smith. Devil in the Stack: A Coding Odyssey is published by Grove Press and available now. Visit Andrew's website at andrewsmithauthor.com for more details. Pieces discussed: Andrew Smith on RBP, Björk: An International Word, Sound and Fury: Radiohead, Björk audio, Notorious B.I.G.: B.I.G. Trouble, Biggie, Tupac et al: Hollywood or Bust-up, Black Metropolis: Notorious R.I.P., Captain Beefheart & His Magic Band: Trout Mask Replica, The Sex Pistols: Never Mind the Bollocks, Here's the Sex Pistols, The Sisters Of Mercy: After The Flood, The Fanzine Editor: Publish And Be Damned and Val Wilmer: Deep Blues 1960–1988 (Café Royal).

In this episode — our first-ever "field recording" — we travel up to North London to interview the legendary writer-photographer Val Wilmer. Val takes us back to her earliest musical memories in Streatham, South London, and her immersion in the capital's '60s jazz and blues scenes. We hear about her first pieces for Jazz Journal and her experiences of interviewing (and photographing) the likes of blues singer Jesse Fuller. We also hear about her remarkable DownBeat interview with Jimi Hendrix from early 1968. Val's classic 1977 book As Serious As Your Life — reissued in 2018 — provides the pretext for asking about her passionate championing of the "free jazz" of John Coltrane, Ornette Coleman and others. We focus on her 1966 Melody Maker encounter with the extraordinary Albert Ayler and the unsolved mystery of his death in 1970. A discussion of Val's deep involvement in the women's movement leads us to clips from Ira Robbins 1994 audio interview with the late Lesley ('It's My Party') Gore — and in particular her startling photo-feminist classic 'You Don't Own Me', six decades young this year. Jasper talks us out with his thoughts on Alan Light's 1991 Rolling Stone interview with Queen Latifah. Many thanks to special guest Val Wilmer. As Serious As Your Life is published by Serpent's Tail and available from all good bookshops. Pieces discussed: Jimi Hendrix: An experience, Once Upon A Time In Williamsburg, Ayler: Mystic tenor with a direct hot line to heaven?, Memories of Hoppy: An interview with Val Wilmer, The New Jazz Gets With It (That Means With Contemporary Art), Tempo: Coltrane, Shankar and All That Rock & Roll, Coltrane, Davis, Monk, Mingus, Lesley Gore audio and Queen Latifah's New Gambit.

Val Wilmer has photographed and interviewed many of the most significant musicians of the post-war years, including Duke Ellington, Muddy Waters, Miles Davis, Jimi Hendrix, Bob Dylan, Aretha Franklin and many more. Val grew up in Streatham in South London, where a local record shop helped to nurture her love of music, especially jazz. Her lifelong passion for jazz and photography began at an early age: when she was just 14 years old, she persuaded her mother to take her to London Airport to see off the jazz legend Louis Armstrong who had been playing in the UK. She asked him for an autograph, then took a picture of him as he broke into a huge smile. The image was the first of many classic shots. Alongside her work as a photographer, Val has written extensively about music, as a journalist for numerous publications and as an author: her book As Serious As Your Life, examining the evolution of free jazz within the wider context of racial and sexual politics, has been widely acclaimed as a classic text. In 1983 she co-founded Format, the first all-female photographic agency, which aimed to champion women photographers and to widen the range of images available to newspapers and magazines. Her photographs are held in the collections of the V&A and the National Portrait Gallery. DISC ONE: Potato Head Blues - Louis Armstrong & His Hot Seven DISC TWO: Black, Brown And White - Big Bill Broonzy DISC THREE: Sonata for Solo Cello, Op. 8_1. By Kodaly, First movement performed by Janos Starker DISC FOUR: The Weary Blues – Langston Hughes DISC FIVE: My Lovely Elizabeth - S.E. Rogie DISC SIX: Criss Cross - Thelonious Monk DISC SEVEN: Dogon A D - Julius Hemphill DISC EIGHT: Love and Affection - Joan Armatrading BOOK CHOICE: The Collective Works of Langston Hughes LUXURY ITEM: Nail scissors CASTAWAY'S FAVOURITE: Criss Cross - Thelonious Monk Presenter Lauren Laverne Producers Tim Bano and Sarah Taylor

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost.Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books.Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson.Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher.Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com.Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost. Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books. Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson. Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher. Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com. Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost.Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books.Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson.Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher.Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com.Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

In this episode we invite the great Peter Guralnick — Zooming in from his native Massachusetts — to discuss his "adventures in music and writing"… to quote the subtitle of his wonderful 2020 collection Looking to Get Lost. Peter takes his hosts back to his discovery of Delta blues giants Skip James and Robert Johnson in the early '60s — and to the first pieces he wrote for Paul Williams' Crawdaddy! in 1966. He explains his approach to the masterful profiles he collected in Feel Like Going Home and Lost Highway, and the friendships with Charlie Rich and Bobby "Blue" Bland that resulted from them. Conversation leads from Howlin' Wolf to Solomon Burke and southern soul, and from there to the use of Val Wilmer's remarkable photos in Peter's books. Talk of Memphis and Muscle Shoals prompts Mark to introduce the first of three clips from Barney's 1985 audio interview with Atlantic Records legend Jerry Wexler. Peter reminisces about his relationship with "Wex" (and with Ray Charles), then follows up with riveting recall of Joe Tex and Jerry Lee Lewis. Pieces by Memphis writer Andria Lisle — one of many Guralnick disciples — brings us on to discussion of Bobby Bland and the late Hi Rhythm section drummer Howard Grimes. We also remember the brilliant Betty Davis and Syl ('Is It Because I'm Black?') Johnson. Finally, Mark quotes from newly-added library pieces about John Lee Hooker, Nik Venet, the Nazz and Simon Napier-Bell, while Jasper notes articles about Norah Jones and Robert Glasper. Bringing things full circle, Barney quotes from Peter's friend Bill Millar's tribute to recently-deceased soul specialist Bob Fisher. Many thanks to special guest Peter Guralnick. Looking to Get Lost is published by Little, Brown, and you can visit his website at peterguralnick.com. Peter Guralnick interviewed by Bob Ruggiero and by Maud Barthomier, Sweet Soul Music, Jerry Wexler audio, Andria Lisle on Memphis, Mick Hucknall meets Bobby "Blue" Bland, Hi Rhythm, Betty Davis, Syl Johnson, John Lee Hooker, Nik Venet, The Nazz, CBGBs, Hoagy Carmichael, Simon Napier-Bell, 'River Deep, Mountain High', Stephanie Mills, Norah Jones, Robert Glasper and Bob Fisher.

“Jazz Power !”Jazz Magazine, vingt ans d'avant-garde (1954-1974)à Croisière,Les Rencontres de la photographie d'Arles – 52e éditiondu 4 juillet au 26 septembre 2021Interview de Clara Bastid et de Marie Robert, lauréates 2019 de la Bourse de recherche curatoriale des Rencontres d'Arles, et commissaires de l'exposition,par Anne-Frédérique Fer, à Arles, le 8 juillet 2021, durée 17'05.© FranceFineArt.Communiqué de presseCommissaires de l'exposition :Clara Bastid et Marie Robert, lauréates de la Bourse de recherche curatoriale des Rencontres d'Arles, assistées de Jade Jollivet.“Nous mettrons les musiciens de jazz dans une situation où l'on plaçait, dans d'autres magazines comme Match, les vedettes de cinéma.” Daniel Filipacchi (1956)À l'époque des lois de ségrégation raciale aux États-Unis, en vigueur jusqu'en 1964, et du difficile processus de décolonisation entamé par la France, rarissimes sont les publications de la presse hexagonale qui mettent en couverture des Afro-Américains. Aussi le ton est-il donné dès le premier numéro de Jazz Magazine en décembre 1954. D'emblée, la jeune équipe de la revue se fait l'apôtre des emprunts musicaux et des échanges culturels, témoignant ardemment des luttes pour les droits civiques en Amérique, comme des discriminations subies par les Afro-Américains des deux côtés de l'Atlantique. Le mensuel devient rapidement le terrain d'expérimentation et de prise de position des deux rédacteurs en chef, Frank Ténot et Daniel Filipacchi, amis fougueux et ambitieux fascinés par le jazz et la contre-culture afro-américaine. Entourés de passionnés, ils participent activement à la construction des « légendes » en France. Le temps de deux décennies, ils légitiment le jazz comme pratique culturelle, le consacrent et en révèlent la dimension éminemment politique.Clara Bastid & Marie RobertJazz power ! L'aventure Jazz Magazine (1954-1974) nous fait parcourir en images les 20 premières années de cette revue française qui oeuvra à faire découvrir le jazz en France, à faire évoluer la représentation des jazz.wo.men noir.e.s et plus largement celle de la communauté africaineaméricaine.À l'époque des lois de ségrégation raciale aux Etats-Unis (en vigueur jusqu'en 1964) et du difficile processus de décolonisation entamé par la France, rarissimes sont les publications de la presse hexagonale qui mettent en couverture des Afro-Américains comme le fait Jazz Magazine avec Billie Holiday, Abbey Lincoln, Mahalia Jackson, Thelonious Monk, Dizzie Gillespie ou John Coltrane…D'emblée, la jeune équipe de la revue, fondée en 1954 par Nicole et Eddie Barclay, se fait l'apôtre des emprunts musicaux et des échanges culturels, témoignant ardemment des luttes pour les droits civiques en Amérique, comme des discriminations subies par les Afro-Américain.e.s des deux côtés de l'Atlantique.Le mensuel devient rapidement le terrain d'expérimentation et de prise de position des deux rédacteurs en chef, dès 1956, Frank Ténot et Daniel Filipacchi. Entourés de passionnés, ils participent activement à la construction des « légendes » en France, entre sacralisation et humanisation, entre mise à distance des stars et révélation contrôlée des coulisses de ce club très exclusif qu'est le jazz.Ce faisant, ils inventent de nouvelles formes d'écriture journalistique, prescrivent des manières de vivre le jazz et façonnent l'amateur idéal. En deux décennies, ils légitiment le jazz en France comme pratique culturelle, en révèlent sa dimension éminemment politique, qu'ils diffusent auprès d'un public français jeune, hédoniste et avide de modernité américaine.Les contributeurs de la revue sont nombreux, et en particulier les photographes. Français, italiens, allemands ou américains, tels Horace, Jean-Pierre Leloir, Herman Leonard, Guy Le Querrec, Jean-Marie Périer, Giuseppe Pino, ou encore la jeune photographe Val Wilmer. Ils alimentent tous les mois le magazine, se rendant aux festivals, accompagnant les interviews, organisant des prises de vues… À partir de 1962, les mises en pages graphiques associant photographies, typographies et titres-jeux de mots deviennent sous la direction artistique d'Andréa Bureau la marque de fabrique de la revue, qui célébra ses 20 ans d'existence en 1974.Publication : Jazz Power, l'aventure Jazz Magazine, 1954‑1974. Textes de Clara Bastid, Marie Robert et de Bernard Loupias,delpire & co, 2021.https://delpireandco.com/jazz-power-laventure-jazz-magazine-1954-1974/Conçu pour proposer une expérience rythmée, le livre associe doubles pages percutantes au format original du magazine, images d'archives, extraits de textes et couvertures mythiques, restituant ainsi la richesse et l'énergie de ces années. Un premier volume regroupe les plus belles doubles-pages du magazine, qui, pliées, s'entrechoquent dans un jeu de correspondances improvisées. Un cahier central, encarté, rassemble une série de reproductions recto/verso des tirages de photographies de presse de l'époque, utilisées pour réaliser les mises en page du magazine, ainsi que deux textes :-Clara Bastid et Marie Robert, les autrices du livre, ont pu accéder aux archives du magazine et ont rencontré les journalistes et photographes, pour révéler l'esprit de ces années. Pour ce travail, elles sont lauréates de la bourse de recherche curatoriale des Rencontres d'Arles. -Bernard Loupias, journaliste musical, a croisé Jazz Mag a de nombreuses reprises au cours de sa carrière. Dans son essai Jazz is my Religion, il revient sur cette initiation qui démarra en 1960, où, adolescent, il écoute pour la première fois cette musique qui changera sa vie. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

While reading Jazz People by Val Wilmer (no, not Val Kilmer), I was inspired to check out some of the artists she interviewed. One of […]

In this week's episode, RBP's very own Terrible Trio are joined by the legendary Jill Furmanovsky for a free-ranging conversation about her long career – and about rock photography in general. Jill describes her lucky 1972 break at London's Rainbow Theatre, talks about shooting Pink Floyd and Bob Dylan, and namechecks fellow snappers Pennie Smith and Barrie Wentzell. Discussion follows about free pieces (on Henry Diltz, Dennis Morris, and Barry Feinstein) by Observer photography critic Sean O'Hagan. The first of three clips from a 1975 interview with the late Errol Brown prompts reflections on the delicious Hot Chocolate – and what made Brown such a compelling star of '70s pop. Mark then guides us through new library pieces about Andy Williams (1963), the MC5 (1968), Ringo Starr (1972), and Scritti Politti (1988). Barney spotlights articles on Frankie Goes to Hollywood and the state of music journalism in 2018. Jasper wraps up the episode by considering the post-Velvets careers of Lou Reed, John Cale and co., plus an unlikely 2011 live pairing of Foo Fighters and CeeLo Green… Many thanks to special guest Jill Furmanovsky; visit rockarchive.com to see her photography.We are delighted to launch our exclusive collaboration with Rockarchive at rocksbackpages.com/rockarchive.The Rock's Backpages podcast is part of the Pantheon podcast network.Pieces discussed: Jill Furmanovsky's Moment, Jill's Bobquest, Val Wilmer, Dennis Morris, Henry Diltz, Barry Feinstein, Hot Chocolate audio, Andy Williams, The Beatles, MC5, Ringo Starr, Muddy Waters, Scritti Politti, Suede, Fiona Apple, Frankie Goes to Hollywood, Music journalism, Life beyond the Velvets, Foo Fighters/CeeLo Green and Zoot Suit riots.

In this week's episode, RBP's very own Terrible Trio are joined by the legendary Jill Furmanovsky for a free-ranging conversation about her long career – and about rock photography in general. Jill describes her lucky 1972 break at London's Rainbow Theatre, talks about shooting Pink Floyd and Bob Dylan, and namechecks fellow snappers Pennie Smith and Barrie Wentzell. Discussion follows about free pieces (on Henry Diltz, Dennis Morris, and Barry Feinstein) by Observer photography critic Sean O'Hagan.  The first of three clips from a 1975 interview with the late Errol Brown prompts reflections on the delicious Hot Chocolate – and what made Brown such a compelling star of '70s pop. Mark then guides us through new library pieces about Andy Williams (1963), the MC5 (1968), Ringo Starr (1972), and Scritti Politti (1988). Barney spotlights articles on Frankie Goes to Hollywood and the state of music journalism in 2018. Jasper wraps up the episode by considering the post-Velvets careers of Lou Reed, John Cale and co., plus an unlikely 2011 live pairing of Foo Fighters and CeeLo Green…  Many thanks to special guest Jill Furmanovsky; visit rockarchive.com to see her photography. We are delighted to launch our exclusive collaboration with Rockarchive at rocksbackpages.com/rockarchive. The Rock's Backpages podcast is part of the Pantheon podcast network. Pieces discussed: Jill Furmanovsky's Moment, Jill's Bobquest, Val Wilmer, Dennis Morris, Henry Diltz, Barry Feinstein, Hot Chocolate audio, Andy Williams, The Beatles, MC5, Ringo Starr, Muddy Waters, Scritti Politti, Suede, Fiona Apple, Frankie Goes to Hollywood, Music journalism, Life beyond the Velvets, Foo Fighters/CeeLo Green and Zoot Suit riots.

STANDARD SEMANAL.- “Moment's Notice”.-JAZZ RECUERDO ANIVERSARIO.-Ronnie scott - the couriers of jazz!( & tubby hayes) (1958).-JAZZ ACTUALIDAD .- Ander Garcia Trio con su álbum “AMAHIRU” PROG.Nº 648.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Moment's Notice” JAZZ RECUERDO ANIVERSARIO.-Ronnie scott - the couriers of jazz!( & tubby hayes) (1958) Ronnie Scott & Tubby Hayes - The Couriers Of Jazz* ?– The Couriers Of Jazz Sello: Carlton ?– LP12-116 Formato: Vinyl, LP, Mono País: US Publicado: 1958 Género: Jazz Estilo: Bop Lista de Títulos A1 Mirage 5:20 A2 After Tea 7:50 A3 Stop The World, I Want To Get Off 3:40 A4 In Salah 3:50 B1 Star Eyes 4:10 B2 The Monk 4:35 B3 My Funny Valentine 4:45 B4 Day In, Day Out 5:30 Créditos • Bass – Jeff Clyne • Drums – Bill Eyden • Piano – Terry Shannon • Tenor Saxophone – Ronnie Scott, Tubby Hayes Ronnie Scott OBE (nacido Ronald Schatt , 28 de enero de 1927 - 23 de diciembre de 1996) era un saxofonista tenor inglés de jazz y propietario de un club de jazz. [1] Cofundó el Ronnie Scott's Jazz Club , uno de los clubes de jazz más populares del Reino Unido, en 1959. Ronnie Scott nació en Aldgate , East London , en una familia judía. Su padre, Joseph Schatt, era de ascendencia rusa, y la familia de su madre Sylvia asistió a la sinagoga portuguesa en Alie Street. Scott asistió a la Fundación Central Boys 'School . Scott comenzó a tocar en pequeños clubes de jazz a la edad de 16 años. Su reclamo a la fama fue que "el suegro de Vera Lynn le enseñó a tocar". Estuvo de gira con el trompetista Johnny Claes de 1944 a 1945 y con Ted Heath en 1946. Trabajó con Ambrose , Cab Kaye y Tito Burns . Estuvo involucrado en la cooperativa banda y club Club Eleven de músicos de corta duración (1948–50) con Johnny Dankworth . Scott se hizo conocido del arreglista / compositor Tadd Dameron , cuando el estadounidense trabajaba en el Reino Unido para Heath, y se informa que actuó con Dameron como el pianista, en un concierto de Club Eleven. Scott fue miembro de la generación de músicos británicos que trabajaron en el transatlántico Cunard Queen Mary de forma intermitente desde 1946 hasta alrededor de 1950 para visitar la ciudad de Nueva York y escuchar la nueva forma de jazz llamada bebop en los clubes de allí. Scott fue uno de los primeros músicos británicos influenciados por Charlie Parker y otros músicos de jazz moderno. En 1952, Scott se unió a la orquesta de Jack Parnell y de 1953 a 1956 dirigió una banda y quinteto de nueve integrantes que incluyó a Pete King , con quien luego abrió su club de jazz, Victor Feldman , Hank Shaw y Phil Seamen . Co-dirigió The Jazz Couriers con Tubby Hayes de 1957 a 1959 y fue líder de un cuarteto que incluía a Stan Tracey (1960-67). De 1967 a 1969, Scott fue miembro de la Big Band Kenny Clarke / Francy Boland , que recorrió Europa e incluyó a Johnny Griffin y Eddie "Lockjaw" Davis . Simultáneamente, dirigió su octeto, que incluía a John Surman y Kenny Wheeler , y un trío con Mike Carr en los teclados y Bobby Gien en la batería (1971–1975). Las otras bandas de Scott a menudo incluían a John Critchinson en los teclados y Martin Drew en la batería. Hizo un trabajo de sesión ocasional, que incluyó tocar el solo en " Lady Madonna ", el sencillo de 1968 de los Beatles , tocar en la partitura de Roy Budd para la película Fear Is the Key (1972) y tocar el solo de saxo tenor en " I Missed Again ", el sencillo de 1981 de Phil Collins . Charles Mingus dijo de él en 1961: "De los niños blancos, Ronnie Scott se acerca al sentimiento del negro y azul, como lo hace Zoot Sims ". [9] Scott grabó con poca frecuencia durante las últimas décadas de su carrera. Sufría de depresión. Mientras se recuperaba de una cirugía para implantes dentales, murió a la edad de 69 años de una sobredosis accidental de barbitúricos recetados por su dentista. La viuda de Ronnie Scott, Mary Scott, y su hija, Rebecca Scott, escribieron las memorias A Fine Kind of Madness: Ronnie Scott Remembered , con un prólogo de Spike Milligan. El libro fue publicado en 1999 en Londres por Headline Book Publishing. Scott es quizás mejor recordado por su cofundación, con el ex tenista de saxo tenor Pete King , Ronnie Scott's Jazz Club , que abrió el 30 de octubre de 1959 en un sótano en 39 Gerrard Street en el distrito Soho de Londres , con el debut de un joven alto El saxofonista llamado Peter King (sin relación), antes de mudarse a un lugar más cercano en 47 Frith Street en 1965. El lugar original continuó operando como el "Old Place" hasta que el contrato de arrendamiento se agotó en 1967, y fue utilizado para actuaciones de la nueva generación de músicos nacionales. Scott actuó regularmente como el genial Maestro de Ceremonias del club, y se destacó por su repertorio de bromas, comentarios y frases ingeniosas. Una introducción típica podría ser: "Nuestro próximo invitado es uno de los mejores músicos del país. En la ciudad, es una mierda". Otro anuncio memorable fue: "La próxima semana estamos orgullosos de tener un cuarteto con Stan Getz y el violinista Stuff Smith. Se llama el" Cuarteto relleno de Getz ". Ronnie solía usar en los últimos días los servicios de John Schatt para reservar bandas de rock para Ronnie. Scott está arriba. Después de la muerte de Scott, King continuó dirigiendo el club durante otros nueve años, antes de venderlo al empresario de teatro Sally Greene en junio de 2005. En septiembre de 2013, mientras se redecoraba el club, se colocó un acaparamiento de 12 metros cuadrados en la fachada de la calle Frith como un homenaje a su fundador homónimo, con una fotografía gigante de Ronnie Scott por Val Wilmer , junto a una de su legendaria -liners: "Me encanta este lugar, es como estar en casa, sucio y lleno de extraños". Además de participar en orquestas de nombre, Scott dirigió o co-dirigió numerosas bandas con algunos de los músicos de jazz más destacados de Gran Bretaña del día. JAZZ ACTUALIDAD .-Esta semana vamos a tener al contrabajista Ander Garcia Trio con su álbum “AMAHIRU” Cuando los ingredientes son sobradamente conocidos, tendemos a pensar que los resultados también serán los habituales. Y aunque a menudo es así, cuando esos mismos ingredientes caen en manos de un artitsta valiente, obstinado y brillante como Ander Garcia la sorpresa puede ser mayúscula. Y este bello y excitante nuevo trabajo que se presenta bajo el nombre de Ander Garcia Trio sin duda lo es. En ese sentido, son especialmente destacables sus discos en solitario “Ttun Kurrun” y “Hiru”, ampliamente aclamados por la crítica especializada. Pero en el caso que nos ocupa, el del trio que forma junto al piano de Jorge Castañeda y la batería de Mikel Urretagoiena, nos encontramos con el Ander Garcia mas explorador y aventurero. En este proyecto Ander utiliza las métricas y melodías de ancestrales bailes y bersos euskaldunes para desarrollar sus improvisaciones, y al mismo tiempo los moldea y adapta a nuevos contextos musicales creando un espacio de intercambio limbre entre ellos. De este modo el ritmo de la ezpata dantza se convierte en danza latinoaméricana, y partiendo del de los zortzikos llega a un híbrido rítimico absolutamente contemporáneo y desconocido, o se lanza a llevar el ritmo del tamboril a la batería para diseccionarlo en un abánico de variantes deslumbrante. Las oportunidades para la sorpresa son infinitas en este disco.

From Kansas City to New York, young Charlie Parker conquered the world of jazz.. He was famous during his life, and even more famous after he died aged 34. He's nominated here by former health minister, home secretary and chancellor of the exchequer, Kenneth Clarke. Together with Richard Williams and Val Wilmer, Ken recounts what made Bird great, and why he died so very young. "If you look at the street scenes of Harlem in 1940, it was a squalid place. Club life in New York was probably a smart escape." Ken Clarke The programme also includes clips by Dizzy Gillespie and Annie Ross. and music such as Koko and Now's the Time. The presenter is Matthew Parris, and the producer in Bristol is Miles Warde.

14 Val Wilmer.WAV by Musicians' Union

The Rolling Stones’ rise to fame is one of rock ‘n’ roll’s epic stories. Yet one crucial part of that story has never been fully told: the role of Brian Jones, the visionary who founded the band and meticulously controlled their early sound, only to be dethroned by Mick Jagger and Keith Richards. Tormented by paranoia and drug problems, Jones drowned at the age of twenty-seven. Drawing on new information and interviews with Richards, Andrew Oldham, and Marianne Faithfull, among dozens of others, Brian Jones lays bare the Rolling Stones’ full story, in all its glory and squalor.Paul Trynka is a respected music writer known both for his groundbreaking role as editor of MOJO magazine and as author of Starman and Open Up and Bleed, biographies of David Bowie and Iggy Pop, respectively, which attracted laudatory reviews worldwide. Portrait of the Blues, his collection of oral histories with more than sixty blues musicians (in collaboration with photographer Val Wilmer), is regarded as a landmark work. Paul was also editor of the widely respected International Musician magazine and founding editor of the Guitar Magazine, for which he first interviewed Keith Richards more than twenty years ago. Paul lives with his wife, Lucy, and son, Curtis, in Greenwich, London, just down the road from Mick and Keith’s old stomping ground of Dartford.

Cerys Matthews celebrates the life of one of her musical heroines, the great gospel singer Mahalia ("Halie") Jackson, who died in 1972. Jackson became one of the most influential gospel singers in the world at the height of her popularity, inspiring singers like Aretha Franklin and Mavis Staples. But she was also one of the unsung heroes of the civil rights movement in America, described by the legendary historian and broadcaster Studs Terkel as one of the bravest people he'd ever met. As a child she suffered illness, poverty and deprivation. The Church was her shelter. During the late 1920s, at the height of the great migration, she toured Illinois performing in churches. But it was in Chicago that she made her name and carved out a place for herself as the first professional gospel singer. She refused to sing secular music, a pledge she kept throughout her professional life. Even Louis Armstrong couldn't persuade her to sing jazz with him. By the 1950s and 60s, touring across Europe, she was being described as "the greatest spiritual singer alive." Throughout, she remained a close friend and comrade of Martin Luther King, travelling with him to the deepest parts of the segregated south and often singing at gatherings where he spoke including at the famous march on Washington. In this programme Cerys shares her passion for Mahalia with another huge fan, Sir Tom Jones. She also talks to gospel singer Vermettya Royster and to the Reverend Stanley Keeble both of whom knew and played with Mahalia. We also hear archive recordings of the historian Studs Terkel talking with Mahalia in the years when they became close friends. We hear from blues and gospel writers Val Wilmer and Viv Broughton. As well as hearing her live performances. Produced by Sarah Cuddon A Falling Tree Production for BBC Radio 4.