Podcasts about Village Gate

BMCC Talks Naples Grape Festival AND Bivona's Fundraiser in Village Gate 

In this epsiode we examine several of Pete Seeger's albums recorded and released after the period of the Blacklist. We discuss the Bowdoin College Concert and Live at the Village Gate, and his first Columbia albums - Story Songs, The Bitter and the Sweet, and Children's Concert at Town Hall. We also dissect Pete's efforts to bring folk music to people through television, particularly the controversy over censorship surrounding the failed attempt to get Seeger to appear on the Hootenanny television show.

Tonight's Jazz Feature honors the late, great Les McCann who passed away December 29,2023 at age 88. This fine album featuring pianist McCann's working trio with bassist Herbie Lewis and drummer Ron Jefferson was called "Les McCann LTD". McCann had been appearing at New York's Village Gate with the LTD and recording for his label Pacific Jazz but this was a one-night only get together with very limited rehearsal with three of McCann's favorite horn players including trumpeter Blue Mitchell, and the great tenor saxophonist Stanley Turrentine and the lesser known Frank Haynes. All six compositions are by McCann and reflect his talents as a writer. This is one fine way to honor a musician that was loved by just about everyone. Les McCann in New York is tonight's Jazz Feature.

A mediados de 1961, John Coltrane se presentó con su cuarteto (Mc Coy Tyner, Reggie Workman, Elvin Jones) y Eric Dolphy como invitado en el club Village Gate de Nueva York. Un disco doble recién publicado recoge aquellos momentos con grabaciones de 'My favorite things', 'When lights are low', 'Impressions' o 'Greensleeves'.Escuchar audio

Featuring:Wayne Shorter/"Witch Hunt"/Speak No Evil/1966Eddie "Cleanhead" Vinson/"House of Joy"/Roomfull of Blues/1982Dolo Coker/"Jumping Jacks"/California Hard/1978Henry "Red" Allen/"Ain't She Sweet"/Ride Red Ride/1957Art Farmer/"Naima"/Listen To/1962Johnny Dodds/"Oh Lizzie Take 1"/Spirt of New Orleans/1927Milford Graves + Don Pullen/"PGIV"/Nomo/1966Yusef Lateef/5th&6th Movement/Suite 16/1970Dirty Dozen Brass Band/"Who Took the Happiness Out?"/Live/1985Benny Carter/"Walking Thing"/Jazz Giant/1958John Coltrane + Eric Dolphy/"Impressions"/Evenings at the Village Gate/1961

Estéreo360º despide 2023 con un programa que recopila 12 canciones de algunas de las mejores recopilaciones, reediciones y similares editadas a lo largo del año con el siguiente MENÚ SONORO: JONI MITCHELL (In France They Kiss on Main Street (Alternate Version: The Hissing of Summer Lawns Sessions)) / THE TEARDROP EXPLODES (Suffocate (With Strings) (Baroque Version)) / NEW ORDER (Confusion Dub ’87) / THE REZILLOS (Destination Venus) / ABC (Poison Arrow (Steven Wilson Instrumental Mix)) / FRANK ZAPPA (Love Will Make Your Mind Go Wild) / NEIL YOUNG (Stringman) THE WHO (Time Is Passing) / ISAAC HAYES (Soulsville (Live at Wattstax)) / ELVIS COSTELLO (You Can Have Her) / ARTHUR RUSSELL (Telling No One) / JOHN COLTRANE with ERIC DOLPHY (Impressions (Live at The Village Gate)) //

Ep. 22 What is it really like to be married to your business partner? What are the pros and cons of working with a BOSSY woman who is also your wife? We've invited our husbands Aaron Metras and Don Bush to find out.  We'll explore the intricate dynamics of working side by side with your life partner, where the advantages of seamless communication and constant accessibility are weighed against the challenges of separating work from personal life—a common struggle for couples in business together. This special episode also delves into the issues of perceptions and burnout in the entrepreneurial world, dispelling common misconceptions about the realities of running a business. Gain valuable insights on how to combat burnout while keeping the momentum of your business intact, a topic that resonates with countless entrepreneurs. We also unravel our partner's childhood dreams, which surprisingly involved aspirations of becoming Elvis and the Pope, injecting a delightful touch of humor into the conversation.  To round out this episode, co-founders Kelly Bush and Kelly Metras, seasoned business owners in male-dominated industries, share their own origin story and the birth of BOSSY, a thriving networking and support group for over 500 women business owners and what both husbands initially thought about the This podcast offers a personal and informative peek into the lives of these business-savvy couples, underlining their unwavering commitment to supporting and empowering women entrepreneurs. Join us for an episode that celebrates the unique challenges and rewards of being both life and business partners. RESOURCES  Join BOSSY at www.BossyRoc.com Follow Bossy on Instagram @BossyRoc Riverside.FM Discount Code: JAZZYCAST for 15% of Remote Audio/Video Recording Start your own podcast with production, distribution help from JazzCast Pros.    Thank you to our Sponsors: Salena's Mexican Restaurant at Village Gate 302 N Goodman St, Rochester, NY 14607  Marshall Street Bar 81 Marshall St, Rochester, NY 14607

Chris talks with Dario Joseph (@dardarstinks @refinedtasteroc) about his upcoming comedy special recording at the events room at Salena's Restaurant (@salenasmexican) in Village Gate! Of course they had plenty of tangents and community talk along the way.The recording will be October 21st at 7pm and 9pm and we have a discount code if you want to join Chris at the late show.Use foodtown to get a ticket for just $5 and support local standup comedy!https://www.eventbrite.com/e/dario-joseph-records-an-album-late-show-tickets-700939869017?aff=oddtdtcreatorMentioned in this episode:Anomaly Film FestivalJoin the Anomaly Film Festival Wednesday, November 8 – Sunday, November 12, 2023 at the Little Theatre for the best in independent genre movies! Get all the details at http://www.anomalyfilmfest.com!

Featuring brand new music from Italian songstress Lucia Comnes; lush string arrangements on Parisian chanteuse Melody Gardot's latest release; Seattle music legend Wayne Horvitz and his pandemic project; a fresh gem from the Verve vault showcasing Nina Simone live in all her glory; vintage Irish jazz masters Louis Stewart and Noel Kelehan; a cut from the stellar recording of John Coltrane live at the Village Gate in 1961; and lo-fi goodness courtesy of Erik and his Dutch collaborators.

Ha fatto giustificata sensazione questa estate l'uscita di Evenings at the Village Gate, grande inedito live di John Coltrane risalente al 1961, pubblicato dalla Impulse! Nel 2021 la Impulse! aveva pubblicato (vedi la nostra puntata del 29 novembre 2021) A Love Supreme Live in Seattle, un inedito assolutamente prezioso dal punto di vista del suo rilievo storico ed estetico, ma che purtroppo lascia alquanto a desiderare quanto a qualità della registrazione: nel caso invece di Evenings at the Village Gate il livello della musica è stratosferico, ma anche della qualità della registrazione non ci si può proprio lamentare. Al sax tenore e al sax soprano, nell'agosto del '61 Coltrane si esibisce al Village Gate con Eric Dolphy, flauto, clarinetto basso e sax alto, McCoy Tyner al piano, Reggie Workman al contrabbasso e in una delle due serate fotografate dalle registrazioni da cui è stato ricavato l'album anche un secondo contrabbassista, Art Davis, e Elvin Jones alla batteria. Il momento che l'album documenta rappresenta un tassello molto importante per la ricostruzione della progressione della ricerca di Coltrane prima delle registrazioni dell'autunno del '61, realizzate al Village Vanguard e ai concerti europei. Al Village Gate Coltrane era fresco dell'exploit di My Favorite Things, che, pubblicato anche come singolo in 45 giri, aveva avuto molto successo: ma Coltrane è ormai entrato in una fase in cui la sua musica dal vivo è già molto più avanzata, audace, dei suoi album appena usciti. Basti pensare alla differenza tra il carattere rassicurante del My Favorite Things che era così piaciuto e quello, con un'improvvisazione di Coltrane molto più "delirante", che sentiamo proporre dal sassofonista al Village Gate: è solo uno dei motivi di grande fascino di questo album.

The grandfather of Rock & Roll Productions that was the master of ceremonies for Woodstock, oversaw the Newport Folk Festival and has a resume full of iconic artists joins the show. What he designed as a youngster that McCormick purchased and how the first Wednesday of each month in 1954 became his escape and introduced him to numerous plays on Broadway. Bob Dylan wrote songs in his apartment!Hear about Village Gate, Newport Folk Festival, Newport Jazz at same time toured with many named artists..Oh and then there is Sam Shepard! The Rolling stones in 1966 along with the music festivals at Monterey, Philadelphia, & Miami that saw the likes of Jimi Hendrix, The Who, Janis Joplin, Judy Garland, Pink Floyd, Fleetwood Mac, and many others!In 1969, there was WOODSTOCK! He was the lightning designer who became the emcee. Hear stories about this iconic festival that includes his famous, “Don't take the brown acid” speech. Crosby, Stills, Nash and Joni Mitchel at Greek Theatre, Eric Clapton's Derek & the Dominos premiere, and The Rolling Stones free concert with the Hells Angels. His relationship with Paul Anka in Vegas, and dealing with Yoko Ono for a John Lennon concert, handling the lighting for Elvis in Hawaii in 1973. He received a Tony Award Nomination for lightning design of the Rocky Horror Picture Show! Zaire Festival with James Brown during the “Rumble in the Jungle.” How his license plates caused Bette Midler to drive into his car! Then there was the Beach Boys Stadium Tour and let's not forget the 1984 Olympics! And this is just a snippet of his career! Chip Monck Links:Website: https://www.chipmonck.com/Wikipedia: https://en.wikipedia.org/wiki/Chip_MonckChip Monck Stage Announcements @ Woodstock: https://www.youtube.com/watch?v=yBysxN5ry-8 Before the Lights Link:Become a BTL Member: https://www.beforethelightspod.com/supportBefore the Lights Website: https://www.beforethelightspod.com/Get Tommy a Glass of Vino: https://www.buymeacoffee.com/beforethelightsPlease Rate & Review the show!Support the showFollow the show on Instagram: https://www.instagram.com/beforethelightspodcast/Follow the show on Face Book: https://www.facebook.com/beforethelightspodcast/Follow the show on Tik Tok: https://www.tiktok.com/@beforethelightspodcast?lang=enFollow Tommy on Face Book: https://www.facebook.com/tcanale3Rate & Review: https://podcasts.apple.com/us/podcast/before-the-lights/id1501245041Email the host: beforethelightspod@gmail.com

Maggie speaks with Grammy-winning music historian, journalist, producer, and educator Ashley Kahn about Evenings At The Village Gate: John Coltrane With Eric Dolphy, McCoy Tyner, Jimmy Garrison and Elvin Jones. In 1961, the John Coltrane Quintet played an engagement at the legendary Village Gate in Greenwich Village, New York.  Coltrane's Classic Quartet was not as fully established as it would soon become and there was a meteoric fifth member of Coltrane's group those nights— visionary multi-instrumentalist Eric Dolphy. Ninety minutes of never-before-heard music from this group were recently discovered at the New York Public Library for the Performing Arts, offering a glimpse into a powerful musical partnership that ended much too soon. In addition to some well-known Coltrane material (“My Favorite Things”, “Impressions”, “Greensleeves”), there is a breathtaking feature for Dolphy's bass clarinet on “When Lights Are Low” and the only known non-studio recording of Coltrane's composition “Africa”, from the Africa/Brass album. This recording represents a very special moment in John Coltrane's journey—the summer of 1961—when his signature, ecstatic live sound, commonly associated his Classic Quartet of '62 to '65, was first maturing and when he was drawing inspiration from deep, African sources— and experimenting with the two-bass idea both in the studio (Olé) and on stage. This truly rare recording of "Africa" captures his expansive vision at the time.Ashley Kahn is a Grammy-winning American music historian, journalist, producer, and professor. He teaches at New York University's Clive Davis Institute for Recorded Music, and has written books on two legendary recordings—Kind of Blue by Miles Davis and A Love Supreme by John Coltrane—as well as one book on a legendary record label: The House That Trane Built: The Story of Impulse Records. He also co-authored the Carlos Santana autobiography The Universal Tone, and edited Rolling Stone: The Seventies, a 70-essay overview of that pivotal decade. His latest book is entitled George Harrison on George Harrison: Interviews and Encounters. Source: https://www.allaboutjazz.com/evenings-at-the-village-gate-john-coltrane-impulse-records__14009Source: https://www.impulserecords.com/#/Source: https://tisch.nyu.edu/about/directory/clive-davis-institute/1417614318Host 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.Support the show

Nuestra portada fue el nuevo trabajo de M.E.B. antes conocida como la Miles Electric Band, que este 2023 ha publicado el frequísimo That You Not Dare To Forget. Después Marc Ribot nos presentará el trabajo del compositor Frantz Casseus en Marc Ribot Plays solo guitar works of Frantz Casseus, publicado en 2021. Nuestro Clásico de la Semana fue una vez más el gran John Coltrane, de nuevo junto a su Classic Quartet y al gran Eric Dolphy, en esta novedad, Evenings at the Village Gate, directo inédito hasta ahora y recientemente publicado este 2023 por Impulse! Seguir leyendo La Montaña Rusa 33.2023. M.E.B. Marc Ribot. John Coltrane and Eric Dolphy. Larry Goldings, Peter Bernstein, Bill Stewart. Alfons Bertrán Trio. Joe Chambers. en La Montaña Rusa Radio Jazz.

In den letzten Jahren sind immer wieder bisher unveröffentlichte Aufnahmen von Jazzlegende John Coltrane entdeckt worden, natürlich wird da unsere Jazzredaktion hellhörig! Jetzt ist eine neue Live-Aufnahme des Saxophonisten aus einer besonderen Schaffensphase seiner Karriere erschienen. Ulrich Habersetzer stellt es vor.

Topics: summer stoop and roof hangs, Shipwrecked Golf in Red Hook, lunchtime walks in Central Park, Silverball Retro Arcade in Asbury Park, Jon Bon Jovi rest stop, Savak at Mama Tried, Balthazar, Milady's, Rose City Band at Union Pool, Maritime Aquarium in Norwalk, CT, Phish at Madison Square Garden, Evenings at the Village Gate by John Coltrane with Eric Dolphy, The Ballad of Darren by Blur, Welshpool Frillies by Guided By Voices, I Inside the Old I Dying by PJ Harvey, My Back Was a Bridge For You to Cross by ANOHNI and the Johnsons, Lost Son - An American Family Trapped Inside the FBI's Secret Wars by Brett Forrest.

Esta semana, en una nueva sesión de Rebelión Sónica, los invitamos a escuchar el viejo/nuevo disco “Evenings At The Village Gate: John Coltrane with Eric Dolphy”, grabación que documenta un raro encuentro entre estos dos gigantes del jazz, ambos fallecidos muy jóvenes. Editado el recién pasado 14 de julio el sello Impulse!, el álbum en vivo nunca antes escuchado fue registrado durante la residencia de Coltrane en el club Village Gate de Nueva York durante el verano de 1961. El registro consta de 80 minutos de música inédita con los dos vientistas acompañados por el pianista McCoy Tyner, el bajista Reggie Workman y el baterista Elvin Jones. Dolphy murió tres años después, y esta grabación tiene la importancia histórica de ser el único documento en vivo de estas presentaciones en el Village Gate. Además de material de Coltrane bien conocido (‘My Favorite Things’, ‘Impressions’ y ‘Greensleeves’), Dolphy aporta una sección ampliada de clarinete bajo en ‘When Lights Are Low’, mientras que el conjunto también incluye la única grabación conocida fuera de estudio de la composición de Coltrane, ‘Africa’, que cuenta en esta versión con el bajista Art Davis. Las cintas de la reveladora grabación fueron descubiertas recientemente en la Biblioteca Pública de Nueva York, en una grabación hecha por el ingeniero Rich Alderson, que realizó como parte de una prueba del nuevo sistema de sonido del club. El lanzamiento además incluirá ensayos de dos participantes de esas noches en Village Gate: el bajista Reggie Workman y el ingeniero Rich Alderson, así como de la historiadora de jazz Ashley Kahn y de los saxofonistas Branford Marsalis y Lakecia Benjamin, todos ofreciendo valiosos y perspicaces artículos sobre las grabaciones.

durée : 00:54:29 - John Coltrane & Eric Dolphy - par : Alex Dutilh - Sortie annoncée chez Impulse / Universal, le 14 juillet, des enregistrements inédits du quartet de John Coltrane rejoint par Eric Dolphy au Village Gate de New York à l'été 1961. Solaire et bouleversant.

durée : 00:54:29 - John Coltrane & Eric Dolphy - par : Alex Dutilh - Sortie annoncée chez Impulse / Universal, le 14 juillet, des enregistrements inédits du quartet de John Coltrane rejoint par Eric Dolphy au Village Gate de New York à l'été 1961. Solaire et bouleversant.

Tonight's Jazz Feature is a bit of a catch-up as we return to live broadcasting. This Jazz Feature is an extended tribute to Black History Month and part 1 is Sonny Rollins' famous piece "The Freedom Suite" which was recorded in February of 1958 for Riverside Records. Mr. Rollins wrote this suite and performed it here with two pioneers of Modern Jazz, bassist Oscar Pettiford and drummer Max Roach. It is Rollins' statement to the trials and triumphs of African Americans and was a ground breaking recording. It is in 3 movements and spans about 20 minutes of magnificent playing by all, Part 2 of tonight's Jazz Feature is a performance by the John Handy "New" Quintet at New York's Village Gate. Handy is on alto saxophone with Bobby Hutcherson on vibes, Pat Martino on guitar, Albert Stinson on bass and Doug Sides on drums. The piece is dedicated to the great but underrated civil rights advocate, James Meridith who risked his life to integrate the University of Mississippi in Jackson. It is sometimes referred to as "Old Miss". Meridith was successful and today there is a statue at the university in his honor. John Handy wrote and performs his composition dedicated to Meridith called "Tears Of Old Miss" (Anatomy of a Riot). It is a stunning and intese performance depicting the effort it took Meridith to accomplish what he did. Both pieces are a tribute to Black History Month.

Born in 1967 to the late, great bassist Jamil Nasser, Muneer 's exposure to the jazz idiom was early and powerful. In 1976, "My dad took me to see Dizzy Gillespie at the Village Gate and Dizzy blew the place apart.  I had to get a trumpet and weeks later I did."  In 1979, he went to the International Art of Jazz Workshop for college students. Dave Burns, a trumpeter in Gillespie's Big Band, had reservations about his age. Muneer's talent, however, overshadowed this concern.  "Mr. Burns acceptance fortified my confidence and I began studying with him." Muneer also received private instruction from George Coleman, Jimmy Owens, Oliver Beener, and Webster Young. These workshops and lessons taught him the basics of jazz improvisation, which were tested at serious jam sessions conducted by Eddie Henderson, Ted Curson, Tommy Turrentine, Barry Harris, C Sharpe, and Gil Coggins. "If you couldn't play, they would bench you with quickness and give you a homework assignment." As a youngster, Muneer saw many masters in concert such as George Coleman, Randy Weston, Lou Donaldson, Woody Shaw, Roy Eldridge, and Phineas Newborn.Support the show

Nina Murano has appeared as a singer in numerous New York venues including Jimmy Weston's, Village Gate, Sweet Basil, Sweetwater's, Greene St., Condon's, 37th St. Hideaway, Red Blazer, Freddy's, Tramps, Eleonora's; The Triad and Danny's Skylight Room. She has performed in Los Angeles at The Beverly Hilton; in Florence, Italy at ” Il Sipario” ; in Amsterdam at the Bette Asfalt Theatre and for an event in Hamburg, Germany.She has received the Bistro Award from Backstage; the Outstanding Solo Performance Award from NY Native and has been the recipient of more than 15 annual ASCAP Special Popular Song Panel Awards.“Nina Murano has a voice that glows…and jazz phrasing know-how.” NY NEWSDAY“Nina's Classy and Classic” NEW YORK POST“Murano's touch of elegance…creates a moody, and dreamlike musical interlude” DRAMALOGUE“Murano is as polished and sophisticated a singer as one could hope for…a best kept secret.” NY NATIVE Nina studied with Sanford Meisner at The Neighborhood Playhouse School of the Theatre and continued her professional acting training with William Esper and Mordecai Lawner. Her twenty five plus years of award winning club and cabaret singing becomes the basis of her coaching for Broadway musicals and drama. Thank you, Nina, for being today's guest on the Matt Baxter Show!

Mark Rubinsky It started by sorting screws and bolts as an apprentice at a Summer Stock Theater in Rhode Island. By High School Mark was designing and turning coffee cans into spotlights, scrounging junkyards for lumber, and building scenery. College brought a paid gig in the Theater Department and work as a carpenter at Trinity Square Repertory Company and finally an escape to NY! First as a stage carpenter, electrician, sometimes handyman and dozens of Showcases. One Showcase paid off when “What's A Nice Country Like You Doing in A State Like This” opened off-Broadway and a PA job became a Stage Management job. Harry Chapin's “Cotton Patch Gospel” was up next, and Stage Management became a career. Other favorites include Kander and Ebb's “2 By 5” at the Village Gate, On Your Toes on the road and “Agnes of God.” “Tap Dance Kid” and “Phantom of the Opera” on Broadway to name a few. (The list is long and that is what LinkedIn is for). In the gaps between shows, Mark worked in “Business Theater” when an AEA Stage Manager was required, and the steady work and large budget became irresistible. Before long, Makr was producing the Business Theater events. As an Executive Producer Mark produced shows and meetings that motivated thousands of franchise owners, sales associates, and business executives to sell hamburgers, planes, bulldozers, computers, TVs, cars, hair dye, candy, and lots and lots of pills. It was a blast! Worked with mad scientists at Bell Labs and took Toyota Engineers on a 25,000-mile caravan across North America stopping at manufacturing plants, dealerships, and scenic byways, to hold events. Over 15 years he produced Canon's Expo and Digital Solutions Forums, which included multiple stages and performances alongside copy machines, cameras, and medical imaging equipment. He supervised the building and installation of Media Labs and Briefing Centers for AT&T and Cisco Systems and Lucent in NY and London. Asked by a friend to produce a commission he had written, Mark jumped at the chance and hired the perfect designer/collaborator for the job, Tony Castrigno. Combining multi-media with live performance, “Alexander Hamilton: In Worlds Unknown” ran for five months at the New York Historical Society in 2004. When a business colleague had an idea for a show with Ballroom Dancers interpreting Rock and Roll music and Mark had to be involved and went on to produce a workshop of Ballroom Rocks and a Tour of They Called it Rock. He currently chairs the Board of Directors of the not-for-profit Works In ProgressNYC. And now with his colleague, friend and now business partner, Tony Castrigno, Mark is dedicating this next era to helping artists realize their work on the stage, and bringing it to audiences, everywhere. Find Mark at mttmtheatrics.com

ARE THEY FOR REAL?Look what you get to do if you're a monstrously famous and beloved comic performer: you get to live out your soul man fantasies, backed by some of the greatest living musicians. You get to sell 3.5 million copies of your vanity-project album, and then, parlay your karaoke delusion into a couple of hit movies. I saw John Belushi in Lemmings at the Village Gate in 1973, doing his immortal Joe Cocker impression in the Woodstock parody: “Woodshuck - Three days of peace, love, and death”. When he fell on the floor, convulsing and salivating, he captivated my imagination, and I fell in love. When SNL happened two years later, followed by his indelible turn in Animal House, Belushi became a star for the entire world. The Blues Brothers were first incarnated on SNL as a kind of joke, but Dan Ackroyd and John Belushi's commitment and obvious love of Soul and Blues were undeniable. Musical Director Paul Shaeffer put together the most deluxe ensemble to sell the illusion, and the conceit scored. The boys couldn't really sing like their idols, but it was a sleight of hand trick, bolstered by their unbridled zest and style. As I listen to JB's croaking throughout this recording, I'm reminded of the super nova of his career that shot up and imploded like the Challenger rocket. The hit Blues Brothers movie of 1980, directed by John Landis, got packed with so many musical idols (Ray Charles and Aretha, etc) that the boys musical shortcomings were easily covered up, and their comedic acting skills were always the point anyway.For me, the most amazing cut on this album is Dan Ackroyd's “Rubber Biscuit” , in which Elwood babbles like a psychedelic auctioneer with the most articulately rapid-fire mouth movements. That song was released as a single, and made it up to 37 on the Billboard chart.  So, here's my question: is this music? Is it comedy? Is it both? Is it real or is it Memorex?  

#jerseyshore #singersongwriter #richiehavens #photographer CONVERSATIONS WITH CALVIN WE THE SPECIES NEW: POPPA JOHN BUG; Musician; Singer-Songwriter;; New Album, ”Forgiven;” During interview, PREMIERE of “Where is America” (music video); JAM Band; LIVE from Jersey Shore SPECIAL MESSAGE:AT SIX MINUTE mark is the PREMIERE of music video “Where is America” from new album “Forgiven.” Video by Jeremiah Verdecias ** 174 Interviews. GLOBAL Reach. Earth Life. Amazing People. PLEASE SUBSCRIBE (You can almost find any subject you want) https://www.youtube.com/c/ConversationswithCalvinWetheSpecIEs ** ** POPPA JOHN BUG; Musician; Singer-Songwriter; NJ Icon; Photographer (Poppa-Razzi); New Album, ”Forgiven;” During this interview, PREMIERE of “Where is America” (music video); JAM Band; LIVE from Jersey Shore YouTube: SPECIAL MESSAGE: Here AT SIX MINUTE mark is the PREMIERE of music video “Where is America” from new album “Forgiven.” Video by Jeremiah Verdecias ** CONTACT: LinkedIn: https://www.linkedin.com/in/poppa-john-bug-9bb58623/ Facebook: https://www.facebook.com/poppa.j.bug Website (music) poppajohnbug.com ** BIO: "Poppa John Bug" has played Electric Bass professionally since 1973 when he interviewed with Richie Havens at the Electric Lady Studios in New York City. Richie had just introduced a new Gospel Rock group called Fresh Flavor on The Tonight Show, starring Johnny Carson and wanted to add a rhythm element and there was Bug, in the right place at the right time. While on tour with Flavor, he met the Godfather of British Blues, legendary Alexis Korner. After finishing his time with Flavor, Poppa met many of NY's fine musicians, including Eric Oxendine, Murray Weinstock of Manhattan Transfer, Rob Gerstein who played with Carly Simon and world-famous drummer Bernard Purdie of Aretha Franklin fame. John also worked with George Caldwell of CBS London. Hanging out in the Village John was inspired by jamming in many of the village's fine clubs including, The Bitter End, The Dug Out, The Village Gate & The Café Wha. Thirteen years ago, John decided to change his direction and go back to his roots, playing music, writing songs and just living again. Poppa teamed up with his New Jersey friends and are known as “The Jam Band” they are currently working in the Studio and Showcase circuit. After three years of recording at Shore Fire Studios with engineer Joseph D'Maio, his new CD “Before & After” reflects his music from ‘Before' & his music which is ‘Now' expressed on this CD!! Poppa got his guitar strumming influence from the one and only rhythm master Richie Havens. ** ** ALSO ON AUDIO: SPOTIFY http://spoti.fi/3bMYVYW GOOGLE PODCASTS http://bit.ly/38yH3yP edits by Claudine Smith- Email: casproductions01@gmail.com ** PLEASE SUBSCRIBE (You can almost find any subject you want) #animalwelfare #animalrescue #climatechange #ONEHEALTH #womenshealth #popculture #military #singersongwriter #clerks #GenZ #Nutrition #Comedy

Episode 1 Kelly Bush and Kelly Metras both own multiple businesses in male-dominated industries. After years of not feeling heard or understood, they created BOSSY, a networking and support group for over 500 women business owners. Get to know these fearless leaders and how they revolutionized the way entrepreneurs do business with each other in Rochester, NY.  Sponsored by Gallery Salon & Nox in the Village Gate, Rochester, NY  www.BossyRoc.Com    

Let My People Come is a musical with book and music by Earl Wilson, Jr. and lyrics by Wilson and Phil Oesterman. Subtitled "A Sexual Musical", the sexually-explicit show originally ran from 1974 to 1976 at The Village Gate theater in Greenwich Village, New York City. Kathryn Keats and Paul Tenaglia were cast members of the company that played in New York and toured North America. More Info: Let My People Come

Many of our listeners have asked to present more pop songs.  So we first decided to define the term “Pop Songs”.  Having established that, we'll take you on a grand tour of decades of Pop songs ranging from the standard to the bizarre.  Ones that rock the house and ones that touch the heart -- ones that went all the way to the top of the charts and ones that never got off the ground -- but certainly should have.  And ones from famous movie scores and ones from Hit New York Musicals.  So if ya' like Pop Songs, you're not allowed to miss this Episode!Scattershot Symphony is presented by Watchfire Music watchfiremusic.com

The Village Gate was one of the best Jazz Clubs in the United States. It's where the best of the best played at.

John Kapelos, is a Canadian actor from London, Ontario. He is best known for his portrayals of janitor Carl Reed in #TheBreakfastClub and Detective Donald Schanke in Forever Knight. An alumnus of #TheSecondCity, Chicago, John Kapelos's theatrical work spans eight years from Second City's Touring Company (1978–1982) to six revues as a member of the famed Resident Company (1982–1986), and finally Second City's critically acclaimed return to off-Broadway in Orwell That Ends Well at the former Village Gate in New York City. His movie highlights include 1999's The Deep End of the Ocean, which received praise from both The New York Times and Roger Ebert from The Chicago Sun Times. His appearance in three John Hughes films, Sixteen Candles, The Breakfast Club, and Weird Science, earned him fame in the 1980s as a character actor. 

Featuring a mesmerizing track from super-talent Devonte Hynes' latest film score; a fresh release of a vintage recording from other-worldly genius Alice Coltrane; percussive super group Jomoro with a new single showcasing the enchanting vocalist Sharon Von Etten; cutting edge British hiphop-jazzers Sons of Kemet; another track from Pakastani/NYC songstress Arooj Aftab's excellent record ‘Vulture Prince'; the amazing Leslie Mendelson from her kick ass 2020 record ‘If You Can't Say Anything Nice'; music from Erik's 2018 release 'Falling Flowers'; and the one and only Stan Getz live at the Village Gate in 1961 .

Nel 1960, per la prima volta in un decennio, Getz non risulta il sax tenore dell'anno nel referendum del mensile Down Beat: la consultazione questa volta ha premiato John Coltrane, il sax tenore che fa parte del gruppo di Miles Davis. Getz sente vacillare il suo trono e capisce che deve rientrare negli Stati Uniti. Non è che sia stato lontano moltissimo, ma nei due anni e mezzo della sua assenza molti cambiamenti cruciali sono intervenuti nella scena del jazz e nel pubblico, a cominciare dall'irruzione del free jazz. Getz deve rimontare la china. Quando nel novembre del '61 si esibisce al Village Gate di New York con Steve Kuhn al piano, John Neves al contrabbasso e Roy Haynes alla batteria, Getz è alle soglie dell'uscita del suo album con Bob Brookmeyer, che contribuirà a rilanciare la sua popolarità, e a qualche mese dall'incisione di Jazz Samba, che si tradurrà in un clamoroso successo: ma lo Stan Getz che si esibisce al Gate è ancora uno Stan Getz che si sta battendo per tornare in cima, per riaffermare il suo ruolo di grande star, è uno Stan Getz che non fa prigionieri. Pubblicato dalla Verve nel 2019, Getz at the Gate è stato ricavato da una registrazione realizzata dalla stessa Verve, e poi dimenticata nei suoi archivi per decenni: evidentemente la Verve aveva preso in considerazione l'idea di pubblicare un live, che poi però, dopo l'exploit di Jazz Samba, in quegli anni non avrebbe avuto senso: ma un live che fa felici noi oggi.

Nel 1960, per la prima volta in un decennio, Getz non risulta il sax tenore dell'anno nel referendum del mensile Down Beat: la consultazione questa volta ha premiato John Coltrane, il sax tenore che fa parte del gruppo di Miles Davis. Getz sente vacillare il suo trono e capisce che deve rientrare negli Stati Uniti. Non è che sia stato lontano moltissimo, ma nei due anni e mezzo della sua assenza molti cambiamenti cruciali sono intervenuti nella scena del jazz e nel pubblico, a cominciare dall'irruzione del free jazz. Getz deve rimontare la china. Quando nel novembre del '61 si esibisce al Village Gate di New York con Steve Kuhn al piano, John Neves al contrabbasso e Roy Haynes alla batteria, Getz è alle soglie dell'uscita del suo album con Bob Brookmeyer, che contribuirà a rilanciare la sua popolarità, e a qualche mese dall'incisione di Jazz Samba, che si tradurrà in un clamoroso successo: ma lo Stan Getz che si esibisce al Gate è ancora uno Stan Getz che si sta battendo per tornare in cima, per riaffermare il suo ruolo di grande star, è uno Stan Getz che non fa prigionieri. Pubblicato dalla Verve nel 2019, Getz at the Gate è stato ricavato da una registrazione realizzata dalla stessa Verve, e poi dimenticata nei suoi archivi per decenni: evidentemente la Verve aveva preso in considerazione l'idea di pubblicare un live, che poi però, dopo l'exploit di Jazz Samba, in quegli anni non avrebbe avuto senso: ma un live che fa felici noi oggi.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! En este Xtra de CDS RadioShow os ofrecemos la escucha de una actuación memorable. Nos vamos hasta el Greenwich Village para gozar con una joven Nina Simone en estado de gracia. Corría el año 1961, Simone aun no era la estrella rutilante y mundial, pero su clase ya se desbordaba en cada interpretación. Gracias por la escucha.Escucha este episodio completo y accede a todo el contenido exclusivo de CDS RADIOSHOW. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/101133

Do 10. ure lahko spremljate preostanek Glasbene jutranjice; tokrat jo je pripravila glasbena urednica Vesna Volk. Drugi sklop Glasbene jutranjice do 8. ure je namenila Osterčevi Simfoniji v C-duru, imenovani Ideali, v zadnjem, 3. sklopu – od osmih do desetih – pa boste lahko poslušali glasbo skladateljev, ki so v 19. stoletju prejeli prestižno nagrado Prix de Rome. Pet čez deseto bo na vrsti še zadnja oddaja iz ciklusa Skladatelj tedna, ki je tokrat posvečen Edvardu Griegu. Avtorica Suzana Vidas Karoli je oddajo namenila pregledu zadnjih dveh desetletij skladateljevega življenja. Grieg je jesen svojega življenja preživljal po ustaljenem vzorcu; spomladi in poleti je skladal na svojem idiličnem posestvu v Troldhaugnu, jeseni in pozimi pa koncertiral in potoval po evropskih glasbenih središčih, kjer je predstavljal svoje skladbe. Pet čez trinajsto bo na vrsti oddaja Izpod peresa slovenskih skladateljev; tokrat jo je pripravila glasbena urednica Tjaša Krajnc, ki bo predstavila samospeve, moški zbor, valčke, polke in druge klavirske miniature Josipine Turnograjske ter pogovor z muzikologom dr. Francem Križnarjem o njeni glasbeni ustvarjalnosti. Josipina Turnograjska je bila v 19. stoletju prva slovenska skladateljica, ki je kot odlična pianistka tudi sama izvajala svoje skladbe. Bila je cenjena pripovednica, pesnica in pisateljica ter zavedna Slovenka in velika buditeljica slovenske narodne zavesti. Oddaja Filmska glasba, ki se bo začela ob 14. uri in 35 minut in jo pripravlja Tina Ogrin, bo tokrat v znamenju glasbe Urbana Kodra iz filma Carmen. Pol ure pozneje sledi oddaja Tretje Uho Huga Šekoranje, ki bo predstavil novo ploščo z naslovom Tribute Renato Chicco tria. Renato Chicco sodi v sam vrh slovenskih jazzovskih pianistov. Je letnik 1962, rojen v Izoli. Približno desetletje je preživel v Ameriki, kjer je bil član orkestra legendarnega vibrafonista Lionela Hamptona in zasedbe prav tako legendarnega pevca Jona Hendricksa, za katerega je opravljal tudi delo glasbenega direktorja. Nastopil je v nekaterih najpomembnejši newyorških klubih, kot so Burdland, Village Gate in Blue Note. Glasbeno popoldne na programu ARS bo ob 17ih zaokrožila oddaja Recital. Glasbeni urednik Marko Šetinc je za predvajanje izbral posnetke s koncerta Klavirskega tria Marvin, ki je nastopil 5. februarja v cerkvi Jezusa Kristusa v Berlinu. Trio Marvin sestavljajo violinistka Marina Grauman, violončelist Marius Urba in pianist Dasol Kim. Koncertni spored so spletala dela za klavirski trio Ludwiga van Beethovna, Ernsta Křeneka in Franza Schuberta. V oddaji Petkov koncertni večer, ki se bo začela ob 20. uri, vas glasbena urednica Anuša Volovšek vabi k poslušanju posnetka 6. koncerta za oranžni abonma Orkestra Slovenske filharmonije, ki je bil 28. marca leta 2014. Orkester je vodila njegova takratna šefinja dirigentka Keri-Lynn Wilson. Koncertni večer je bil v celoti posvečen ruski glasbeni ustvarjalnosti prejšnjega stoletja. V prvem delu je bil na sporedu Koncert za klavir in orkester št. 3 v C-duru, op. 26 Sergeja Prokofjeva, ki ga je izvedel priznani ameriški pianist Andrew von Oeyen, v drugem delu abonmajskega koncerta pa je bila na sporedu ena redkeje izvajanih simfonij Dmitrija Šostakoviča – Osma v c-molu, op. 65. Pet minut čez deseto zvečer bo na sporedu oddaja Zborovski koncert. Urednica Brigita Rovšek vas vabi k spremljanju koncerta angleškega ansambla Tenebrae. Zbor, ki ga bomo lahko slišali tudi na festivalu Europa cantat julija v Ljubljani, je lani poleti gostoval na festivalu v Granadi, in sicer z glasbo Tomasa Luisa de Victorie. Zapel je njegov Officium defunctorum: Misso pro defunctis/Mašo za umrle. Več kot polovico oficija je Victoria namreč namenil maši, preostanek pa motetoma Versa est in luctum in Taedet anima mea. Petkov večer na programu ARS bo ob 23. uri zaokrožila oddaja Jazz Ars. Njen avtor Marko Kumer jo tokrat namenja ameriškemu pihalcu in skladatelju Andrewu Whiteu, ki je novembra lani preminil v starosti 78 let. White je do potankosti obvladal igranje različnih instrumentov – vseh vrst saksofonov, kontrabasa, električnega basa, bil je tudi virtuoz na oboi, ki jo je uporabil tako v resnem kot jazzovskem kontekstu ter ji namenil številne razprave in celo knjigo humorja, povezanega s tem instrumentom. Lahko je posnel skladbo za godalni kvartet in z nasnemavanji sam odigral vse instrumente. Transkribiral je praktično čisto vse saksofonske sole Johna Coltranea in Eroca Dolphyja. Na saksofonu je odigral 24-urni koncert na katerem so ga morale spremljati tri različne ritem sekcije. Bil je član simfomičnih orkestrov, komornih zasedb klasične glasbe, velikih jazzovskih orkestor, igral je bas in oboo v fusion skupini Weather Report, igral bas s Steviejem Wonderjem in pisal aranžmaje za priljubljeno zasedbo 5th Dimension.

Episode 19!!! On Nina Simones birthday 2/21 I recorded a tribute to my favorite singer, songwriter, & classical concert pianist. Underscore: Under the Lowest (Live at Town Hall, September 15, 1959) Colpix Records Nina's Blues (Live at the Newport Jazz Festival, June 30, 1960) Colpix Records Bye Bye Blackbird (Live at the Village Gate, January 15, 1962) Colpix Records References: Cohodas, Nadine, (2003). Princess Noire: The Tumultuous Reign of Nina Simone Simone, Nina, (1993). I Put a Spell on You: The Autobiography of Nina Simone --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/givethedrummersome/support

Spike Wilner, Gregory Agid and Darrian Douglas discuss the importance of Jazz Clubs and how they contribute to the arts community.  Spike Wilner Bio:  Michael "Spike" Wilner, was born in the city of Manhattan, New York. Spike was inspired to play ragtime piano at a young age. Spike entered into the first class of the, now legendary, New School For Social Research's Jazz and Contemporary Music Program, then led by the late Arnie Lawrence. Spike performed with and has led many bands in New York City at many famous, now closed, jazz clubs including The Village Gate, The Angry Squire, Visiones, Augies, The West End Gate and The Village Corner. Spike also toured with The Artie Shaw Big Band, The Glen Miller Orchestra, Maynard Furgeson & Lennie Cuje.  In 1994, Spike began to work a regular gig at Smalls Jazz Club. This became his permanent musical home and led to his current position as partner and manager of the club. Spike now spends most of his time at Smalls making sure that it keeps on running. Each Tuesday he performs with his group. Spike's company SmallsLIVE LLC is a digital media company with the purpose of distributing live recorded music from Smalls Jazz Club. SmallsLIVE currently has a catalog of 40 HD titles, broadcasts live shows every night on the internet via www.smallslive.com. SmallsLIVE has also documented every show at Smalls Jazz Club since September of 2007. The audio/video archive now has more than 7000 recordings and represents from than 550 prominent jazz artists. Support this podcast

SHOWS: Little Shop of Horrors, The Boy from Oz, Steel Magnolias BOOK: Stages: A Theater Memoir Albert Poland has long been one of the most iconic individuals in New York's Off-Broadway theatre movement. As a general manager, the one who keeps an eye on the budget and the individual who has to keep all parties creative and happy, he has worked on almost 100 different productions including The Homecoming, Talk Radio, Glengarry Glen Ross (Tony Award, Best Revival), Hugh Jackman in The Boy From Oz, Long Day's Journey Into Night (Tony Award, Best Revival), and Gore Vidal's The Best Man, Dirty Blonde, The Last Night of Ballyhoo (Tony Award, Best Play), The Grapes of Wrath (Tony Award, Best Play), As Is (Drama Desk Award, Best Play), The Price, the original productions of Little Shop of Horrors (Drama Critics, Drama Desk, Outer Critics Best Musical), Steel Magnolias, and One Mo' Time as well as Bill W. and Dr. Bob, Steve Martin's Picasso at the Lapin Agile (Drama Desk, Best Play), Uta Hagen in Mrs. Klein, Eileen Heckart in The Waverly Gallery, Always Patsy Cline, Sam Shepard's A Lie of the Mind (Drama Critics, Drama Desk, Outer Critics Best Play), Vanities, David Mamet's A Life in the Theatre, The Neon Woman, Tommy Tune Atop the Village Gate, Let My People Come, Stephen Sondheim's Marry Me a Little and Tom Lehrer's Tomfoolery. Mr. Poland operated the Astor Place Theatre from 1977 through 2000, during which time it was host to such long runs as A Coupla White Chicks, The Dining Room, The Foreigner, and Blue Man Group. He is the Co-Editor/Author, with Bruce Mailman, of The Off-Off Broadway Book published in 1972 by Bobbs-Merrill. As a performer, he appeared at Carnegie Hall, La Mama, Judson Poets Theater and the Village Gate. Mr. Poland's first venture in show business was as the founding president of The Official Judy Garland Fan Fan Club in 1955. Albert pulls back the curtain on his career to discuss how he chatted up Judy Garland, what it was like creating theatre during the height of the AIDS epidemic, and why he knew Little Shop of Horrors would be brilliant. Also, Albert shines the spotlight on Lucille Lortel, Gretchen Cryer, and Hugh Jackman! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 Learn more about your ad choices. Visit megaphone.fm/adchoices

Gifted Overexcitabilities with John Hall “There's so much to be said about the power of music, storytelling, and connecting.” — Dianne A. Allen (24:02-24:09) Are you wondering what it’s like to grow up in an environment with different influences? In this episode, we’re going to talk about gifted overexcitabilities with John Hall, a multi-talented musician, singer, and songwriter. He’s well-known both in the music and political world.  Part One of ‘Gifted Overexcitabilities with John Hall’ John and his brothers were expected to excel at whatever they did. He was exposed to music lessons from a young age, and that’s how he got involved in music. From his piano lessons at age 5 to his medal-winning French horn performance at the Ithaca College Music Festival, from his folk days of singing Weavers, Peter Paul and Mary, and Bob Dylan songs, from his obsession with the Ventures, Beach Boys, Beatles, and Jimi Hendrix, John Hall learned three things: Play, Write, Listen.  Now that he's finished serving two terms as the Congressman from New York's 19th District, John is writing songs again, performing solo and with Orleans, and continuing with his environmental activism. In early 1972, John's local jam band in Woodstock turned into Orleans when first Wells Kelly and then Larry Hoppen joined the ensemble. Later that year, Lance Hoppen joined on bass, freeing Larry to play guitar and keyboard. Orleans recorded four albums in the seventies, scoring radio hits with 'Still The One' and 'Dance With Me'. “As a culture and humanity, we've evolved.” – Dianne A. Allen (26:45-26:47) John left Orleans in 1978 and made two solo records, "John Hall" and "Power." The latter featured the anti-nuclear anthem, which later became the theme of the No Nukes concerts, recorded by the Doobie Brothers with James Taylor. Then followed two John Hall Band albums, and the AOR and MTV hit "Crazy (Keep On Falling)." After Wells Kelly's death in 1984, John reunited with Larry and Lance Hoppen, and they were recruited by Tony Brown of MCA Nashville to record there. The result was 1986's "Grownup Children." Since then, John has alternated between recording and touring with Orleans and doing solo projects, including "Recovered," "On A Distant Star," and "Love Doesn't Ask." Part Two of ‘Gifted Overexcitabilities with John Hall’ Along the way, environmental and political concerns have kept John moving in and out of direct community involvement. He was elected to the Ulster County Legislature in 1989 and served one term in 1990 and '91. In the late 1990s, he was elected twice as trustee of the Saugerties NY Board of Education, where his fellow trustees elected him president. He also served as a volunteer member of the Hudson River Sloop Clearwater's board of directors before running successfully for Congress in 2006. “Live life in a way that's manageable, with structure and support.” – Dianne A. Allen (43:21-43:23) John Hall’s story is empowering because it teaches us that you can be interested in many different things and still be successful regardless of how others perceive you.  There’s always more to someone than meets the eye. That’s why we must never judge a book by its cover.  John learned how to ski in his forties to be a chaperone with her daughter’s school group. He didn’t just learn it; he mastered it and became the instructor of the year at Hunter Mountain, just south of the village of Hunter, in Greene County, New York, United States.  So, if you’re afraid to step into your authenticity zone, don’t get intimidated by people telling you how hard it is. Take the time to explore, follow your inner desire and keep learning. Step into your higher calling, and live in the moment.  About John Hall From his piano lessons at age 5 to his medal-winning french horn performance at the Ithaca College Music Festival, from his folk days of singing Weavers, Peter Paul and Mary, and Bob Dylan songs, from his obsession with the Ventures, Beach Boys, Beatles and Jimi Hendrix, John Hall learned to play, write, and listen. As John honed his bass and guitar skills as part of the band Kangaroo, James Taylor was gigging around the corner at the Night Owl with the Flying Machine and Jimi was backing up John Hammond at Village Gate as Jimi James and the Blue Flames. Kangaroo alternated sets for a time with a band called the Castilles, whose lead singer was Bruce Springsteen. During this time, he wrote and directed the music for the Broadway show "Morning, Noon and Night," and 1969's Obie-winning "Honest to God Schnozzola." From the another off-Broadway score came a guitar lick that became the underpinning for "Half Moon," recorded by Janis Joplin on "Pearl." John later penned songs for Bonnie Raitt, Linda Ronstadt, Ricky Skaggs, Steve Wariner and many more. After moving to Woodstock, John worked as a studio guitarist for Seals and Crofts, John Simon, and Little Feat, produced Bonnie Raitt’s third album, and toured with Taj Mahal, recording the double album "The Real Thing" at the Fillmore East and West. In early 1972, John's local jam band in Woodstock turned into Orleans when first Wells Kelly and then Larry Hoppen joined the ensemble. Later that year, Lance Hoppen joined on bass, freeing Larry to play guitar and keyboard. Orleans recorded four albums in the seventies, scoring radio hits with 'Still The One' and 'Dance With Me' (both certified over six million airplays in the US, and hundreds of millions of streams). John left Orleans in 1978 and made two solo records, "John Hall" and "Power". The latter featured the anti-nuclear anthem which later became the theme of the No Nukes concerts (organized by Jackson Browne, Raitt, Graham Nash and Hall) and recorded there by the Doobie Brothers with James Taylor. Then followed two John Hall Band albums (with John Troy, Bob Leinbach and Eric Parker), and the AOR and MTV hit "Crazy (Keep On Falling)". After Wells Kelly's death in 1984, John reunited with Larry and Lance Hoppen and they were recruited by Tony Brown of MCA Nashville to record there. The result was 1986's "Grownup Children." Since then John has alternated between recording and touring with Orleans, and doing solo projects including "Recovered," "On A Distant Star," and "Love Doesn't Ask," “Rock Me On the Water.” Along the way, environmental and political concerns have kept John moving in and out of direct community involvement. He was elected to the Ulster County Legislature in 1989 and served one term in 1990 and '91. Having learned to ski in his 40s, John became a certified PSIA Level 2 instructor, named 1997 Instructor of the Year by Hunter Mountain in the Catskills. He is also a lifelong sailor and has written for Cruising World Magazine. In the late 1990's, he was elected twice as trustee of the Saugerties NY Board of Education, where his fellow trustees elected him president. He also served as a volunteer member of the Hudson River Sloop Clearwater's board of directors before running successfully for Congress in 2006. He was re-elected in 2008. Congressman John Hall represented New York's 19th district until 2011, when he returned to private life, and a life of music. After the Fukushima meltdowns in March 2011, he wrote and recorded the song "I Told You So," which he recorded and later performed with Bonnie Raitt, Jackson Browne and others as part of a MUSE/No Nukes concert in Mountainville CA. Since reuniting with Orleans in August 2013, John has crossed the country half a dozen times, sharing the stage with artists including Christopher Cross, Poco, Firefall, Leo Sayer, Al Stewart, Player, Robbie Dupree, Gary Wright, and Ambrosia A live recording of John with Jonell Mosser has just been released. Drawn from a 1994 performance at the Bearsville Theater in Woodstock NY, the record shows Jonell and John as a combustible duo, her vocals and his guitar rocking the house. Since the pandemic caused all concerts to be canceled or postponed, John has been working on recordings and videos with Orleans, the latest song “Home” having been written with Johanna Hall and Don Schlitz.  He is also finishing recording and mixing tracks for his forthcoming solo album “Reclaiming My Time” which will be released this winter Since reuniting with Orleans in August 2013, John has crossed the country half a dozen times, sharing the stage with artists including Christopher Cross, Firefall, Al Stewart, Player, Robbie Dupree, Gary Wright, and Ambrosia. A book detailing his journey from rocker to representative, "Still the One: A Rock'n'Roll Journey to Congress and Back," is available here from Amazon. How to Connect with Dianne A. Allen You have a vision inside to create something bigger than you. What you need are a community and a mentor. The 6-month Visionary Leader Program will move you forward. You will grow, transform, and connect. http://bit.ly/DianneAAllen Join our Facebook Group Someone Gets Me Follow our Dianne’s Facebook Page: Dianne A. Allen Email contact: dianne@visionsapplied.com Dianne’s Mentoring Services: msdianneallen.com Website: www.visionsapplied.com Be sure to take a second and subscribe to the show and share it with anyone you think will benefit. Until next time, remember the world needs your special gift, so let your light shine!

Clearwater Jazz Holiday's History of Jazz Outreach Program engages professional musicians to share the story of Jazz through live, interactive musical experiences. By Spring 2020, the Program had reached nearly 30,000 students in approximately 60 Tampa Bay area schools and has evolved to also bring meaningful experiences to schools and organizations serving at risk students, people of all ages with special needs, neurodiversities, and autism, as well as older adults in senior living communities and memory care centers. Frank T. Williams III, a 40-year + educator, band director, clinician, author, adjudicator, and composer, is a long-time CJH education partner, important to the development of many CJH Outreach programs. In 2020, CJH launched its STOP-TIME SERIES with Frank Williams to complement the History of Jazz Outreach Program by creating a comprehensive visual and audio History of Jazz archive delivered in Frank's one-of-a-kind style. WATCH & LISTEN! Visit the CJH website Education & Outreach section to watch all STOP-TIME videos for FREE or enjoy listening here as part of the CJH Young Lions Jazz Master "Virtual" Sessions Podcast. To learn more about the annual CJH festival tradition and year-round Education & Outreach: www.clearwaterjazz.com

Don’t Give Me No Sugar Cubes ​When I started touring, Bill Cosby took over my room above the Gaslight. ​I was at The Village Gate opening up for Coleman Hawkins doing standup. Bob Dylan said, “You gotta come to the Gaslight.” He kicked Cosby out of the room to give it back to me. ​Cosby thought anytime I would offer him a drink it was filled with LSD. He was certain that everything that I touched turned into LSD. Who else thought that was Jose Feliciano. “Don’t give me no sugar cubes,” he used to say. ​The Golden Lion ​Once I got to New York, I established a gig at The Golden Lion in Hartford, Connecticut doing jazz and poetry. It was a hit; it was huge. Every Monday for years, Beatniks would line up around the block. ​I brought in people like Don Ellis, Jaki Byard, and Jimmy Giuffre. We got paid: that’s how I got these guys to come out. Every Monday was a payday. We would leave New York City and drive to Hartford and do it. ​I’m just a hippie poet in an altered space. “Space is the place,” said Sun Ra. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Held twice a year, the Village Gate is our formal way for folks to get to know us. What makes us tick? What do we believe? How and why do we do what we do as a local church? Through the lenses of Gospel, Community, and Mission, we'll speak to those things and more in this three-episode series.This particular episode accompanies the third section of our Village Gate content: Gospel. You can read through the Google Doc version here, complete with links to related resources and more!

Held twice a year, the Village Gate is our formal way for folks to get to know us. What makes us tick? What do we believe? How and why do we do what we do as a local church? Through the lenses of Gospel, Community, and Mission, we'll speak to those things and more in this three-episode series.This particular episode accompanies the second section of our Village Gate content: Gospel. You can read through the Google Doc version here, complete with links to related resources and more!

Held twice a year, the Village Gate is our formal way for folks to get to know us. What makes us tick? What do we believe? How and why do we do what we do as a local church? Through the lenses of Gospel, Community, and Mission, we'll speak to those things and more in this three-episode series.This particular episode accompanies the first section of our Village Gate content: Gospel. You can read through the Google Doc version here, complete with links to related resources and more!

If you've ever been on the hunt for live events in NYC, your eyes have most certainly skimmed the words, “(Le) Poisson Rouge.” A music scene mainstay since 2008, LPR, as it's affectionately known, hosts acts from punk to classical, burlesque to Broadway. It's no accident their event calendar reads like a cultural roll of the dice. As founder Justin Kantor puts it, “We wanted to reframe the question of what is considered culture,” intentionally hosting a wide array of performances from high art to low, and everything in between.    12 years and one pandemic later, Justin is doing his best to keep LPR and similar ventures going strong, noting that independent venues contribute to the economic and cultural mosaic of a city in a way that few other businesses can.   Thanks for listening! Get the latest updates here! Follow festivalPass on Instagram.   Quotes “In our case what makes things really weird is that we come from classical music.”  “It's not about a party, it's about what's going on onstage.” “We wanted to reframe the question of what is considered culture.”   Big Ideas  The fantastical club history behind the space at LPR.  LPR's unique take on mixing high and low art in order to redefine and integrate arts and culture from different backgrounds. The monumental ways in which independent venues contribute to the economic and cultural wellbeing of cities and neighborhoods.   Links (Le) Poisson Rouge LPR on Instagram (Le) Poisson Rouge Kickstarter National Independent Venue Association Save Our Stages Venue Pilot Andy Warhol Film Nina Simone at the Village Gate   Music by Joakim Karud http://www.joakimkarud.com

Episode #9 of the Miller Piano Podcast is finally here! In this episode, host Jason Skipper talks with Eric Bikales, a musician, composer, and amazing pianist. If you are a music lover, this is an episode you do not want to miss out on! Topics Discussed: Eric's Relationship with Miller Piano How Eric Became the Musician He Is Today Advice to an Aspiring Musician The Music Business and LA Living Eric's Music and New Album Transcript Jason Skipper 0:12 Welcome to the Miller Piano Podcast! I'm your host, Jason Skipper, and in this episode, we have special guest, Eric Bikales connected with us. Eric has been a longtime friend of Miller piano specialist and is a musician. Specifically a wonderful pianist, composer, also a flute player and many other things. Eric has played for 37 years, I believe, with Neil Sedaka. He has composed music and played for many different artists, TV shows, and much more. I'm really looking forward to having Eric share so many of his stories. Eric, welcome to the podcast! Eric Bikales 0:47 Hey, Jason, great to be here. I'm really happy to speak with you. The first thing I want to say is thank you to Miller Piano for being such a great home to me. All the people over there so nice, and they have treated me so well. For years now they just really make me feel like I have a place here in Franklin, Tennessee. You know, they also sell the best pianos too! Jason Skipper 1:18 That is for sure! I know you've been with their events, "The River of Calm" and other events that they've done over the years at Miller Piano Specialists. I heard your music there and heard it online many times. Your music is amazing. Talking about Miller since we started there, how did your relationship start with Miller Piano Specialists? Eric Bikales 1:37 Well, it was kind of funny. I had just moved to Franklin from a little bit north of Nashville. I lived there for a number of years. When I moved to Franklin, I decided that I want to start teaching piano out of my home. So I designed some posters and I just looked up what music stores were in the area and the first one on the list happened to be Miller. I went over there and I met Sherry Carlisle Smith, who was their general manager and a saleswoman, and she and I just really hit it off. Jason Skipper 2:16 It's hard not to with Sherry in it? Eric Bikales 2:19 She's got that bubbly personality! We sat down and talked for I think what amounted to like a couple of hours. I was only going to ask her if I could hang up an ad for teaching in her music store and it wound up that we knew all kinds of people in common. Then I found out that she had been in the business herself as one of the Jordanaires, which is a very famous singing group who used to backup Elvis and a lot of other artists. One of the guys in the Jordanaires and the name escapes me now (Charlie McCoy), who actually devised the Nashville Number System that we still use today. Sherry was there on the ground level when all that was happening, she was touring as a singer and she didn't become a piano salesperson until later on in life. Anyway, we had a great conversation and became really good friends. I just wound up starting to go there weekly to check up on how things were going, and then I got involved in their Writers Night, and she let me play original material. I developed a little audience and following at Miller, and then one thing developed into another and we've just been going strong for years. Jason Skipper 3:43 How long has that been? Eric Bikales 3:45 Well, I've been here for about six years, something like that. I think that she was one of the first people I met when I got here. Jason Skipper 3:52 Okay. I know you've been connected through "Writers Night," you've been involved in that activity. Also "The River of Calm." How often are you in these events? And how often are these events held? Eric Bikales 4:03 Miller Piano has events going every month. They have a whole schedule of things ranging from "Writers Night" where anybody can come out there and talk to Sherry about it, or Dave and get signed up to perform on a Writers Night. It is just such a good experience for people who write original material and want to test it out on an audience. Believe it or not, even though it is a piano store, "Writers Night" doesn't even cater to piano artists, in particular. Lots and lots of guitars, people who sing and play guitar, come out there and participate in Writers Nights as well. Then there's "The River of Calm" and that's something that started up a couple of years ago with Ed Bazell. "The River of Calm" is an internet radio station that promotes healing, soothing, relaxing music. It's primarily based on piano but not totally. I met Ed Bazell at Miller Piano. Come to think of it, I met Ed at my CD release party for my first CD that I put out called "Follow Your Heart." That was an event that Sherry was kind enough to sponsor for me at Miller Piano to be able to have my release party there. I had a nice sized crowd and I got to play a few of my tunes from the upcoming record, and I played a few new ones. We had a great time. Ed and I actually started hanging out and decided to form a drone company because we're both into flying drones. So, we joined forces and we started a company called "Fly by Day." Jason Skipper 6:05 Oh wow! Very cool! Eric Bikales 6:08 We still have a little Facebook page up and some of our work. That continued for a couple of years until the laws changed regarding commercial drone flying. Of course, now, it requires a pilot's license of sorts, and things kind of came unglued at that point. But, we still do it and we still have our drones. So in fact, I use the drone now for taking photos from my records and my latest record, which is called "Fire in the Clouds." That piece, "Fire in the Clouds" is written for a scene that I took a photo of which was a beautiful sunset right here in Tennessee. I guess I had it up there at almost as high as you could get it about 380 feet or so. I got a really gorgeous shot and that wound up being the cover of the new CD. To continue about Miller, they sponsor their "Writers Night" I think those are the first Thursday of every month. They sponsor "The River of Calm," which is the third Thursday of every month. Then, they have various other things like CD release parties, and of course, they have teachers on-site there who give lessons. Sherry also gives a class lesson on piano. It's a busy place you know, they've always got stuff going on there. Jason Skipper 7:29 Always, always. Well for our listeners, follow Miller Piano Specialists Facebook page, because we're always sharing when these events are. You can see it on our website, Millerps.com, as well. I know that these are always going out live from the Miller Piano Facebook page, and also The River of Calm Facebook page, I believe. Always come out, too. It's quite an experience, as Eric said. Eric, let's get to know you a little bit more, just about you, where you're from. So let me just ask you that, where are you from? Eric Bikales 7:58 I'm a Kansas City guy. Jason Skipper 8:00 Kansas City! Eric Bikales 8:01 Yeah! Kansas City, Kansas. My family was all musical, everybody in the family played instruments. There were four kids in my family, two boys, and two girls. We all started on the piano, and if we chose to, we could take a second instrument after a couple of years. I chose flute, I really chose drums, but my folks said, "No!" Then I said okay well then, saxophone and they said no again. And then they suggested, "How about flute" and I went, "Okay." I mean, my folks were totally classically oriented. What we listened to at home was classical music or show tune. So that was the era in which my folks grew up in. To them, The Beatles would have been kind of like new crazy music that you know, they just don't listen to. Which seems so funny to us, because The Beatles are so accepted at this point. But back then, it was a new thing. So I didn't get into listening to pop music until I got into junior high school or middle school, as they call it now. That's, that's when I got turned on to pop music and jazz in particular. Once I heard a couple of jazz artists that really spoke to me, I was off and running. I just, I love this stuff. I mean, I heard Dave Brubeck. His song "Take Five" was brand new, I think was released in the late 50s or maybe early 60s. I can't remember. But, it was a cool, cool thing. That record "Time Out" just captivated me. Then when I heard Ramsey Lewis come out with "In Crowd," that was it. I had to learn how to play that note for note and so I did! I just learned the whole thing, see by then, I had already had several years of classical lessons and so I had some fingers at that point. I just had to try to copy what Ramsey was doing. I didn't know what I was doing, I'm sure I ruined a couple of record albums, putting the needle back and forth, making sure I had everything exactly the way he did it. Then I did the same thing with Herbie Mann on a flute because the first time I heard Herbie Mann live at the Village Gate, which only had three songs on it which were "Summertime," "Comin' Home Baby" and something else. It absolutely captivated me and it gave me a direction besides classical. Although I love classical, I was at the age where I was really interested in integrating into the music of my generation, and music that my peers were listening to. I know that when I performed classical music, in school and talent shows and stuff like that, people were receptive to it, and I think they were more impressed than the present. Really, I think that classical music was always something that some people listen to and other people never really bothered with. I love it to this day, I still have a classical repertoire that I play on the piano and a little bit of flute. I try to keep those things up as best I can. The problem these days is that there's so much music that you collect throughout your life, that it's just really hard to keep it all going at once. Jason Skipper 11:24 Right! Well, let me ask you this. I understand you lived in Los Angeles for a while, and you've done quite a bit of commercial music. I know you've moved around, played with Neil Sedaka, I believe 37 years. How did you get into all of that? Eric Bikales 11:37 Well, I guess it all started in college. Just briefly what happened was that I discovered when I went to the University of Kansas that contrary to my entire belief system, I wasn't going to be a doctor. I thought I was going to go to medical school like my dad. I just figured that was what I was going to do because it seemed like a really good thing to do. Of course, that's pretty naive. So when it really gets down to brass tacks, you find out pretty quickly if you've got what it takes to be in that world. The magic wasn't there for me, I wasn't really actively taking physics and chemistry and biology when I got to college. I was in the liberal arts program, and I realized that I'm not going to be a doctor. Then I didn't know what I wanted to do. I wound up deciding that I should do what I do best, and that's music. So it had nothing to do with making a living or anything else. I didn't really consider anything except, "What do I do the best? What do I love doing? What do I want to go into?" It's just so naive, but that's where I was. So I said, "Follow your heart." Yeah, I just decided to do that and I got into the Music School at the University of Kansas. I did that for two years until I realized that it was kind of a dead-end for me because the school didn't even recognize jazz or pop music as a legitimate art form. They really only did classical and they went right from classical into all this postmodern stuff that I didn't really like all that much. I didn't really look like serial music and 12 tones and all the really weird stuff just didn't appeal to me at all and I didn't see the purpose of it. So after two years of music school, I quit and I joined a band. The band became really popular in a regional way. It's called Sanctuary, and that attracted the attention of a producer in Los Angeles named Mike Post. Mike had a couple of hit tunes, one with classical gas, Mason Williams, and he had a hit with Kenny Rogers in the first edition called, "To See What Condition My Condition Was In." So everybody knew who Mike Post was, and he was interested in producing my own song "Sanctuary." He and I became really good friends, and we did a recording session together with him. At that session, he pulled me aside and said, "You know, you should really consider coming out to LA and being a studio musician." I said, "Yeah, I definitely want to do that. And what is a studio musician by the way? Jason Skipper 14:29 Right! Eric Bikales 14:29 He said, "You know, you could play people's records for a living!" I said, "I could make a living from that?" And he said, "Sure, you could get paid union scale for playing with different people. You just have to know how to play in all styles. Your time has to be good. You have to play in tune, you have to be able to read a little bit. Look, why don't you just work on all those skills for a year or two, save your money, move out to LA and I'll help you!" I said, "Man, that's an incredible offer. I would love to do that." It opened up a whole world to me that I could go into. I just had never thought about moving to California or making a living in music or anything else. I was just kind of floating with what was going on. So I took him at his word, and I wood-shed for two solid years, and I practiced between five and eight hours a day, took lessons, and I really worked hard. I saved my money, and I moved out to LA. Sure enough, he made good on his word only he had also, in the meantime, become a really hot TV composer. When I saw what he was doing, he was splitting focus between producing records and writing music for TV. He had shows like Rockford Files, The A-Team and Black Sheep Squadron and those were all hit shows. He said, "Eric, you really need to follow me into this, you'd be perfect for this." Off show, you had to write for a picture. So he sat down with me and taught me how to write music for TV. However, I didn't have any training as an orchestrator or an arranger, and he was using like a 37 piece orchestra. So I had to take lessons on the fly from a guy in Hollywood. He took one of the pieces that I wrote, and he scored it for A-Team. He had me come to the session, and I got to hear my music played on the air. Then he sat down, showed me how to do it, and he showed me how it all worked. He gave me an opportunity to write some music for A-Team and then for a show called Hunter. Later on, there was NYPD Blue, Hill Street, and LA Law, White Shadow, just a whole bunch of shows. Ten one of the guys that he was working with, I started working with that person. His name's Danny Lux, and he had that he had the work on like Party of Five, Ally McBeal, My Name Is Earl, Sliders, Sabrina the Teenage Witch, Scrubs, Good Wife. It just goes on. Jason Skipper 17:12 That had been amazing the first time that you heard your music being played live on these shows. Eric Bikales 17:19 Yeah, it really was. It was an incredible experience for me. As exciting as it was even then I didn't really get how cool it was until years later when I could gain some perspective on it and realize how fortunate I was to have come across Mike Post and become one of his protegees, have him show me the ropes as he did. He's amazing. I mean, this guy was just so talented musically, and so good at business, so sharp and so good at thinking on his feet. He was just like a perfect role model and he was hot at that point. He was the number one TV composer. He kind of was to TV what Hans Zimmer became in the movie industry, later on. In looking at everything, for me, it's been a game of trying to be the absolute best you can be at all times and never stopping with practicing and learning and being a student, just absorbing everything you can. But then the other half of the equation is accessibility, and we just all need to have access to something that can propel us in the right direction with the right people at the right time. My guy was Mike Post at that time, and I was just so fortunate. During that time, I had a lot of opportunities to audition for different people and play in different recording situations and road situations that work with The Pointer Sisters, [Inaudible], Chere, Bette Midler, a whole bunch of different artists. I wound up auditioning for Niels Sedaka one point, and I had played recording sessions with everybody in his band, and so when they decided to have a second keyboard player, I got the call. I didn't get the job, but I just had to audition along with all the other usual suspects. I would see the same piano players that all the auditions, it's all the same guys. They're all really good, sometimes you get it sometimes, they get it. You take turns and it was really fun. I happened to get the audition for Neil, so I joined his band in 1983. I have been doing it ever since and I just never thought I could possibly last that long. Yet it has he just keeps going and he keeps using more or less the same guys. It's changed a little bit. We have been all over the world, we've played so many different places everywhere from Carnegie Hall to Billy Bob's in Texas. The best place everywhere and I've been in so many different countries Jason Skipper 20:03 Really? Eric Bikales 20:06 Oh, it's been an incredible experience. It's not all smooth sailing, but it's provided me with so much travel and experience that I never would have gotten any other way. You know, Jason, it's really a question of being ready for those opportunities when they come around. Sometimes you are and sometimes you aren't, it's not a matter of luck, It's a matter of good fortune. There were auditions that I went out for that I did not get. I thought, "Gosh, I mean, I thought I played pretty well. "And yet, there are reasons, they're there sometimes things beyond your control, or maybe somebody came in and played a lot better. One thing I did learn in LA very quickly is that there are 10 people that probably live on the block that can play circles around you, and it's just amazing. You just don't want to pin all your hopes and dreams and your ego on the fact that other people can't outplay you, because you won't be able to deal with it psychologically if you've got that kind of a personality. You really have to let that go and figure out there are people that can play better than you all over the place. You know you find your own little niche. You have your own way of doing things. Everybody is special in their own way. You know, they have their way of writing songs, their way of playing their style, and you can find your place. Jason Skipper 21:44 That is a great life motto. It doesn't matter what niche you're in, it doesn't matter what you do. There's always someone that can run circles around you. So I love that! Eric Bikales 21:56 I'm constantly amazed, and especially with it with YouTube now and all the phenomena's that you see on YouTube. Little kids that are six years old that can play rock [Inaudible.] It never ceases to amaze me, but I don't I really don't think about it too much. It's one of those things that there's always somebody that can outdo you at something. It's really not the point of it. Jason Skipper 22:23 Right. You mentioned you have a new album out, of course, with the drone, you were able to take the footage of that, but I'd like to hear more about the album. Exactly, what did it take to make that? How long have you been working on it? Eric Bikales 22:35 I'm going to start with the album for that, which was my first release in quite a long time. I actually had a little record deal toward the end of my stay in Los Angeles. I released four CDs as a new age electronic artist. I was on a label called "Mood Tape". I guess the best-known record that I did of the four was called "Tranquility." There's still stuff on the radio that they play from some of those four albums. At that point in time, the easiest way and the most inexpensive way to record was to do it all electronically and digitally. That's what I did because I've always enjoyed synthesizers and electronics. Then the styles when Windham Hill came along, the style started shifting more toward acoustic music. That really left me out in the cold because I was an electronic guy, with that deal. It wasn't that I couldn't play acoustic piano, that's my main instrument. It's just that's not what I was known for. So there was some period of inactivity there and then I didn't pick back up on being a solo artist until I got to Tennessee. Then I decided I wanted to do something to take the place of the TD music that I'm really not doing anymore because most of that's done out in LA or at least was then. So I started working toward making a solo CD and I wanted to make it all piano because I wanted to show people that I can play the piano and that I love acoustic music as much as electronic. So I released an album called "Follow Your Heart." It did moderately well and got a lot of radio play all over the world. My follow up album is the one that you're speaking of, and it's called "Fire in the Clouds." The difference between these two records is mainly that "Fire in the Clouds" was recorded completely at home in my own studio. I've got this great studio, I've had a studio for as long as I've been in the music business and it's always changed. It's morphed from one thing into another because technology changes so much. At this point, It's a pretty efficient little studio. I decided I'm going to try to do the whole thing at home. That's what I did. This record now is just being released as we speak. It's not up on Spotify yet, but it will be within the week. You can find it on any of the usual vendors online from Apple Music, iTunes, it'll be streaming on Spotify, Pandora, basically everywhere. I have a promotion company that was helping me get it out there called "Higher Level Media," and they're just great. So they're helping me with the effort, and I'm getting a lot of help from The River of Calm and from Sherry down at Miller. I'm just hoping that the follow-up record does better than the first record. I mean, that's sort of the idea, Jason Skipper 25:51 Right, of course! Eric Bikales 25:54 What's really changed that is hard to completely get my mind around is the fact that CDs are going away. I find fewer and fewer people who are buying CDs. So it's really hard for me to let go of, I'm at the age where I grew up with records, and then that that gave way to CDs. I didn't mind that so much. CDs to me sound better than records even though records are kind of a kick down for a lot of younger people, it's just it's like a nostalgic thing. You know, it's vintage and all that. But, the fact that CDs could be seeing their last days is a difficult thing to transition for me to make. Personally, I really like the idea of having physical media that you can hold in your hands and say, "This is my record, you know, this is my music." I find that what we're going to is a world where you can say, "Yes, I'm a composer. Here's my music because you can't hold it in your hand because now it's just a file. Jason Skipper 27:00 Right, It's just a file. Eric Bikales 27:02 This may be a weird thing for some people to understand but for those of us musicians who were old enough to have been through the era of vinyl, it's kind of sad to see it all going away. It's only going to be streaming at least for now. We never know what the future holds. Jason Skipper 27:23 It has changed so much the music industry I know that I didn't grow up with records, but I grew up with cassette tapes, and then, of course, CDs and everything along with that. It has changed so much over the years. We don't have a CD player in our house. Of course, I do in my truck, but I don't at my house. And I think that's the norm anymore. Everyone uses digital now. Eric Bikales 27:45 You can't fight the trend, right? I mean, you can't. You have to go with where everybody is going if you want to be a part of it. Honestly, for me, Jason, it's been a struggle to let go of the old school music business and embrace the new music business. Suffice it to say, that where I am in my career right now, I mean forget about records and forget about CDs and all that you really need to get your stuff out there on the streaming stations so that people can hear you because that's how music is being listened to. We're making this transition and while CDs are not completely dead yet, they're just like gasping for breath. So you still have to make a CD sometimes. I find that at some radio station if you want them to play your music, you have to submit it on a CD. Jason Skipper 28:41 Oh, is that right? Eric Bikales 28:42 Yeah, it is! That's one good reason to go ahead and at least make a short run on CDs. I like having the physical thing that I can hold in my hand and I like it when I go play for a gig and I want to sell my music at the gig, that I can sell a CD. So I'm still making CDs. But I think by the time I do another record, ooh, I don't know. That may be the end of us. Jason Skipper 29:13 Wow, yeah. It's hard to let go but it very well maybe because it has changed so much. Well, one more follow up question here. So we don't get too long. You mentioned that you had put together some footage from your drone and put it with music. Do you post that anywhere? Is there a way to see that footage? Eric Bikales 29:32 Well, what footage we've actually had time to do, my wife Khai has put together for me, she's really getting into the video editing portion of this. You are asking where you can find it. Well, right now it's only on my Facebook, but I intend to put that up on YouTube and I intend to see if I can develop a YouTube channel. It's just another way of adapting to what there is to do at this point in time. I still have a lot of music that I want to write, I have lots and lots of ideas. I have a nice studio and I'm at a time in my life where I'm really kind of foregoing a lot of the activities that I used to be involved with, because I'm sort of tired of doing those and I want to focus more attention on writing and getting my music out there. So I want to build a following and I want to build a fan base that enjoys my music and is willing to buy it or download it or at least listen to it stream. Which, again, that's the main thing I guess. I'm in their pitch and you know, I haven't turned in the towel a doubt If I'll ever do that. Jason Skipper 30:38 Well, I think that's the way it has to be done today. That would be great if you could get something up on YouTube. Now, for everyone who is looking for on Facebook, we can find you on I believe it's facebook.com/ebikales, correct? Eric Bikales 30:55 That's right, yes. The other thing too is that I've gotten to enjoy teaching, which is something I never did in my earlier years. I work for the Academy of Art in San Francisco as an instructor, and I've written several courses for them, and I teach them. So I have college students and graduate students from all over the world that are enrolled in the Academy of Art based in San Francisco. I teach online, I teach harmony and theory, notation, ear training, arranging and film scoring. I do that full time I've been doing that for about, over five years, maybe six years, I really enjoy it. So being an educator is another thing that is part of my life. It's a stabilizing factor. I enjoy helping people to understand what music is important and what's not and what you really ought to do to equip yourself to do your art. Jason Skipper 31:49 All right. Do you still do personal lessons as well? Eric Bikales 31:52 I do, I do. I still have piano students and love to teach a piano and I've given lessons on B3. I have one of those over here. I've taught people in film scoring, how to write for a picture. Yes, I can do it all privately. So if you're in the Tennessee area, I'm happy to oblige. Jason Skipper 32:11 All right, well, how can people get ahold of you? Eric Bikales 32:13 The best way is to go to my website, which is undergoing a facelift right now. But It is www.Ericbikales.com. That website is being redone as we speak. Also there's the Facebook site that you mentioned already is facebook.com/ebikales. By all means, you can friend me on Facebook and my email address is easy to find on both of those sites, so you can write me a personal email if you wish to do that. I am selling the second CD and the first one, and copies of it if you have a CD player! Jason Skipper 32:51 Well, I'm gonna buy it off of Apple Music, but I'm really looking forward to that as soon as it comes out there. I was looking forward to earlier. Eric Bikales 32:57 Well, great. It's been a pleasure, Jason, I am so happy to be associated with Miller Piano. You know, they sell the best pianos in the world. Even when I go out of town with Neil Sedaka, and play concerts with him, we always have a grand piano for him. Then I play it for part of the evening. 90% of the time, that's a Yamaha. They just make the most consistent pianos. Jason Skipper 33:22 They really do. Well, that is amazing. I just love hearing all your stories, Eric, I imagine we could probably talk for another two hours. You can probably share maybe more, you know, of just all the things you've been through. This has just been a great, great time to hear your stories. This has been great, Eric, I really appreciate it. One last question. As a personal note here, you said you're from Kansas City. Are you a Chief's fan? Eric Bikales 33:47 Oh, you betcha. I am so proud of the chiefs. The Super Bowl, It was an amazing thing. Yeah, I was jumping up and down. Jason Skipper 33:56 I bet, I bet. We're a little sad here that Tennessee didn't make it, that the Titans didn't make it this year, but we were written for the Chiefs when they made it through. At least I was and everyone I know was, as well. So, alright Eric. Well, thank you. Eric Bikales 34:11 Thanks, Jason. It's been really fun talking to you. I appreciate the opportunity of coming to your podcast and getting to talk to everybody. I'm so happy and proud to be associated with Miller Piano, and I'm going to be a supporter from now until the end! Jason Skipper 34:28 Well, thank you, Eric, so much for being a part of Miller Piano and everything that we're doing and we appreciate that. This has been great. This was Eric Bikales, a pianist, flutist, composer, drone flyer, just a great guy, get his music! As always on this podcast, you can find show notes and a transcript of this episode right on our website at Millerps.com, as well as you can also find us on Apple Podcasts, Google Play podcasts and Spotify. Look us up on your favorite podcast listening platform. Don't forget to rate, review and subscribe. It really does help us, we'd really appreciate it. Once again, I'm your host Jason Skipper, and we'll see you next time!

'“Over the years, we've taken artists who may know each other, may have played with each other 20-30 years ago, and it's sort of a reunion. I remember being backstage last year when Dave Bromberg and Tom Chapin – at one point they were both in the New York music scene – and they were saying ‘ya remember when we played the Village Gate?' Or to see Richie Havens hugging Odetta … just so many stories. We try to do it in the form of a song-swap; put them all up on stage together and they go round robin and do two songs each, and at the end of the show they usually do one big ‘Goodnight Irene' thing or ‘This Land Is Your Land.' It's just great.” That's Bruce Newman, Memphis tax and entertainment lawyer extraordinaire, talking about 25 years of the annual benefit concerts known as Acoustic Sunday Live. For the second year in a row, 2019's concert will benefit Protect Our Aquifer, the nonprofit group started by Ward Archer dedicated to public oversight of our precious Memphis water.

The Village Gate night club came alive the first Monday night of each month with Salsa meets Jazz! A special event where a Salsa band would be the backdrop for a solo Jazz musician to improvise. My dad the Salsa and Jazz freak that he was would throw his girlfriend, my sister and I in the car and head down to the village in Manhattan. I did not like Salsa or Jazz at the time. But hey, it was a night out and as a young musician. I heard outstanding music and I got to see the masters perform.

Episode Notes Episode 2: Shareef Clayton Trumpet player & composer:Shareef Clayton, a jazz trumpeter, is a native of Miami, Florida. In 2012 Shareef recorded the album "Multiverse" with the “Bobby Sanabria Big Band” which got nominated for a Grammy. Clayton performs regularly with Macy Gray, Melody Gardot, Bobby Sanabria, and the Duke Ellington Orchestra. In the past he has performed with artists such as Stevie Wonder, The Roots, Michael Mcdonald, Ruben Blades, and many more.http://mintonsharlem.com: Arguably, America’s greatest cultural contribution to the world has been jazz music. It may be argued with equal force that one of the most important shrines in the history of jazz was Minton’s Playhouse in Harlem.Wynton Marsalis: (born October 18, 1961) is a trumpeter, composer, teacher, music educator, and artistic director of Jazz at Lincoln Center in New York City, United States.  Mo’ Betta Blues is a 1990 musical drama film starring Denzel Washington, Wesley Snipes, and Spike Lee, who also directed. It follows a period in the life of fictional jazz trumpeter Bleek Gilliam (played by Washington) as a series of bad decisions result in his jeopardizing both his relationships and his playing career.How to be your own booking agent:The award-winning, How To Be Your Own Booking Agent THE Musician’s & Performing Artist’s Guide To Successful Touring is one of the top selling music and performing arts business books. Princess Lalla Salma of Morocco: Princess Lalla Salma (born Salma Bennani (Arabic: سلمى بناني‎, Amazigh: ⵍⴰⵍⵍⴰ ⵙⵍⵎⴰ); 10 May 1978) is the princess consort of Morocco. She is the wife of King Mohammed VI and the first wife of a Moroccan ruler to have been publicly acknowledged and given a royal title.Gloria Gaynor (born September 7, 1949) is an American singer, best known for the disco era hits "I Will Survive" (Hot 100 number 1, 1979), "Never Can Say Goodbye" (Hot 100 number 9, 1974), "Let Me Know (I Have a Right)" (Hot 100 number 42, 1980) and "I Am What I Am" (R&B number 82, 1983).San Sebastián: San Sebastián (Spanish: [san seβasˈtjan]) or Donostia (Basque: [doˈnos̺tia])[3] is a coastal city and municipality located in the Basque Autonomous Community, Spain.Milo Z: Carson Daly dubbed him a "New York Institution!" For nearly 3 decades, Milo Z has been bringing his own original style of music , "Razzamofunk" (a blend of Rock, Rap, R&B, Jazz, and Funk) to the Big Apple and the world.Brockett Parsons: Brockett Parson is known for his work on Lady Gaga Presents: The Monster Ball Tour at Madison Square Garden (2011), Mona Lisa - Leonardo's Earlier Version (2013) and Lady Gaga & the Muppets' Holiday Spectacular (2013). Tamir Muskat:(in Hebrew תמיר מוסקט) is an Israeli musician/producer-sound engineer who was born and raised in Petach Tikva, Israel as son of a Romanian immigrant. His father was the manager of Anzeagi Conservatorion for music in Petach Tikva.Jon “Shemz” Ashton: "Jonny Shemz (aka. Blacklighter). This man obviously grew up listening to old soul/funk records because whichever style the music ventures his vocal performance always gives a slight nod to singers of past generations.Indofunk Satish: Professional musician, alternative process photographer, former scientist.(Le) Poisson Rouge: (Le) Poisson Rouge is a multimedia art cabaret founded by musicians on the site of the historic Village Gate. Dedicated to the fusion of popular and art cultures in music, film, theater, dance, and fine art, the venue’s mission is to revive the symbiotic relationship between art and revelry; to establish a creative asylum for both artists and audiences.Village Gate:The Village Gate was a nightclub at the corner of Thompson and Bleecker Streets in Greenwich Village, New York. Art D'Lugoff opened the club in 1958, on the ground floor and basement of 160 Bleecker Street. The large 1896 Chicago School structure by architect Ernest Flagg was known at the time as Mills House No. 1 and served as a flophouse for transient men. In its heyday, the Village Gate also included an upper-story performance space, known as the Top of the Gate.The Niagaras: Take a dash of Herb Albert, a pinch of David Bowie, add a handful of Andy Kaufman, and you’ve got Comic Tales of Tragic Heartbreak – and their new album, One Car Crash. Added bonus? The Leonard Cohen/Tom Waits/Frank O’Hara-inspired lyrics, and tunes like something found on Stiff Records in 1979.Mariah Carey: Mariah Carey is an American singer and songwriter. Referred to as the "Songbird Supreme" by the Guinness World Records, she is noted for her five-octave vocal range, vocal power, melismatic style, and signature use of the whistle register. Shrinking Orchestras: Dark clouds loom over American symphony orchestras. Changes in audience behavior, demographic shifts, and the impact of technology are all threatening to leave musicians out in the cold.Steve Hass: Steve Hass (born May 11, 1975) is an American drummer based in Los Angeles. Originally from Island Park, New York, born to Greek immigrant parents from Athens. He is notable for his technical skill, time feel, and his musical versatility, having played with many artists from a wide variety of genres. Game of Death: The Game of Death is an incomplete 1972 Hong Kong martial arts film directed, written, produced by and starring Bruce Lee, in his final film attempt. Lee died during the making of the film. Over 100 minutes of footage was shot prior to his death, some of which was later misplaced in the Golden Harvest archives.Will Connell: Saxophonist/bass clarinetist/composer Will Connell, Jr., came of age in the 1960s as an invaluable part of Horace Tapscott’s organization and the Los Angeles Black Arts Movement, and stood as an underground giant of New York’s Free Jazz and New Music circle since 1975.Ornette Coleman: Randolph Denard Ornette Coleman was an American jazz saxophonist, violinist, trumpeter, and composer.David Murray Big Band: David Murray Big Band conducted by Lawrence "Butch" Morris is an album by David Murray released on the DIW/Columbia label.Benny Russell:  (NOT Benny Green!): Born February 21, 1958 in Baltimore, Maryland, Russell started clarinet lessons at age 7 under the instruction of Mr. James H. Holliman. At 12 he began playing tenor. And by the time he was 15, sitting in with the Morgan State bands, Russell was playing tenor, alto and soprano saxophones as well as clarinet, bass clarinet and flute.The Message (Grandmaster Flash and the Furious Five song): "The Message" is a song by Grandmaster Flash and the Furious Five. It was released as a single by Sugar Hill Records on July 1, 1982 and was later featured on the group's first studio album, The Message. Bach Stradivarius Trumpet:  Born Vincent Shrotenbach in Vienna in 1890, he initially received training on violin, but subsequently switched to trumpet when he heard its majestic sound.Josh Landress: ​J. Landress Brass is owned and operated independently by Master Brass Technician Josh Landress. Josh's love for music began at an early age of 6 with the guitar.Shires Trombone: S.E. Shires Co. was founded in 1995 for the sole purpose of building custom brass instruments of unparalleled professional quality. em·bou·chureˌämbo͞oˈSHo͝or/noun1.MUSICthe way in which a player applies the mouth to the mouthpiece of a brass or wind instrument.Phil Woods: Philip Wells "Phil" Woods was an American jazz alto saxophonist, clarinetist, bandleader, and composer.Steel Drum: Steel Pans (also known as steel drums or pans, and sometimes, collectively with other musicians, as a steel band or orchestra) is a musical instrument originating from Trinidad and Tobago. Steel pan musicians are called pannists.Melton Mustafa: Melton Mustafa-Trumpet player extraordinaire, arranger/composer, producer, and educator.Support Foxes and Hedgehogs by donating to their Tip Jar: https://tips.pinecast.com/jar/foxes-and-hedgehogsThis podcast is powered by Pinecast.

(Le) Poisson Rouge (LPR) is a multimedia art cabaret founded by musicians on the site of the historic Village Gate in New York City. We're here live for an exciting musical program dedicated to Mexican composers. Hosted by Seth Boustead Produced by Sarah Zwinklis Music Neuroma de Morton by Felipe Peréz Santiago Coleman Itzkoff, cello; Beomjae Kim, flute; Mike Sasaki, piano; Caeli Smith, viola; Suliman Tekali, violin Tres Danzas Seculares by Mario Lavista Coleman Itzkoff, cello; Mika Sasaki, piano De Animos y Quebrantos by Gabriela Ortiz Brandon Ilaw, percussion; Coleman Itzkoff, cello; Beomjae Kim, flute; Caeli Smith, viola; Suliman Tekali, violin Y Los Oros La Luz by Ana Lara Bixby Kennedy,clarinet; Coleman Itzkoff, cello; Beomjae Kim, flute; Mika Sasaki, piano; Suliman Tekali, violin Neurocardiogénico by Felipe Peréz Santiago Coleman Itzkoff, cello; Beomjae Kim, flute; Mike Sasaki, piano; Caeli Smith, viola; Suliman Tekali, violin

PROGRAM NOTES In today's VINYL VIBRATIONS podcast, we explore jazz guitarist and composer Larry Coryell. INTRO TO  "LARRY CORYELL": Larry Coryell was born in 1943 in Galveston. He is an american jazz fusion guitarist. A long background as a musician, he played in local bands in Texas and later in the Seattle area.  He moved to NYC in 1965  - age 22 - and was part of Chico Hamilton's quartet. In the late 1960s he recorded with jazz vibraphonist great, great Gary Burton. He also played in the band Free Spirits.  He formed his own group, The Eleventh House, in 1973. Later in the 1970s  in 1979, Coryell formed "The Guitar Trio" with jazz fusion guitarist John McLaughlin and flamenco guitarist Paco de Lucia. Coryell's music combined influences and styles of rock, jazz and eastern. That eastern influence was not doubt a result of his interest in the spiritual leader Sri Chimnoy. Coryell's discography is impressive.  As leader, there are 36 albums, and as sideman, there are many other albums. This podcast follows Larry Coryell's work from a rich time in his younger years, 1968-1975, or from age 25-32, recording in New York City for Vanguard Apostolic, Mega records  and Arista. In today's podcast we will hear six of Larry Coryell's best !! Starting with… M1 Song Treats Style Album Lady Coryell M2 Song After Later Album Larry Coryell at the Village Gate M3 Song Further Explorations for Albert Stinson Album Fairyland M4 Song Low-Lee-Tah Album Introducing the Eleventh House w Larry Coryell M5 Song Pavane For A Dead Princess Album The Restful Mind M6 Song Level One Album Level One Album Artist Eleventh House featuring Larry Coryell   M1  Song Treats Style Album Lady Coryell. Album Artist Larry Coryell. Composer Jim Garrison   Larry Coryell was just 25 when this album was recorded in 1968. It is his first album as a leader.By now, LC had recorded two albums with vibraphonist Gary Burton, in his group The Free Spirits. Decades of collaboration would follow between LC and jazz-great Burton, king of the four-mallet style, on jazz vibes. And now in 1968, two more jazz masters are with Coryell  - - Jimmy Garrison on bass, and Elvin Jones on drums … guest artists on this album. Bassist and song composer Garrison played as a sideman with the John Coltrane classic quartet -- along with pianist McCoy Tyner and drummer Elvin Jones, from 1962-1967. Jimmy Garrison and Elvin Jones formed the "rhythm section" of the John Coltrane Quartet.  They gave bold physicality to Coltrane, due to the focused intensity of their rhythm section.   You will hear that focused intensity of the rhythm section on this song. This rhythm machine, plus Coryell's licks provide an outstanding TRIO performance. And there is a Milestone Event for Coryell …on this song, "Treats Style", Coryell takes his first guitar solo!! Larry Coryell's blues guitar signature is imitated but never duplicated, such as his solo here in TREATS STYLE.  This is great early LC, in his formative years, in the 1960s,   as jazz guitarist, composer, arranger and co-producer. The album was produced by David Weiss and LC. Treats Style, was composed by the bassist, Jimmy Garrison, who was 35 at the time of this album. By Vanguard Apostolic. Year 1969 Featuring the trio - - - Larry Coryell guitar Jim Garrison Bass Elvin Jones drums M2 Song After Later, Album Larry Coryell at the Village Gate, Album Artist Larry Coryell, Composer Larry Coryell, Year 1971, By Vanguard Recording Society Featuring Larry Coryell guitar Mervin Bronson bass Harry Wilkinson drums Larry Coryell is almost 28 at the time of this show at the Village Gate in NYC. After Later is a jazz-rock guitar instrumental, done, in 10/4 time. On this song we have the driven lead guitar jazz rock style of LC, with distortion and feedback effects. Some of that overdrive is the unique combination of LC's choice of what is typically a jazz guitar,

Aaron Newman is a dynamic serial entrepreneur who, prior to founding CloudCheckr, already had several successful startups to his credit. Founded just seven years ago, CloudCheckr already employs more than 100 people in Rochester's Village Gate. Aaron's innovative approach to technology and community leadership falls right in line with RocGrowth's vision of New Rochester. If you too are interested in helping to shape the future of our community, this is an event you don't want to miss! RocGrowth Candids

Production company Access Contemporary Music has partnered with the esteemed Manhattan venue, LPR – (Le) Poisson Rouge a multimedia art cabaret founded by musicians on the site of the historic Village Gate. Pianist Jenny Lin is taking the stage for the first in this exciting new series. This concert is celebrating Philip Glass's 81st birthday with a live performance of his Piano Etudes coinciding with her album release. Hosted by Seth Boustead Produced by Sarah Zwinklis

For those of you who don’t know, Bobby Sanabria is a master percussionist and musician. Straight from his bio, “drummer, percussionist, composer, arranger, recording artist, producer, filmmaker, conductor, educator, activist, multi-cultural warrior and multiple Grammy nominee.” Boom. Or as Ricans would say on the street, “una jodienda.” Bobby has a benefit concert on October 23rd at the old Village Gate, now (le) poisson rouge where Salsa met Jazz every Monday night for years. The talk with Bobby ended up being a four-part mini-series but I’m sharing the first two. He goes off and gives the full line up of the band and mixes it all with a history lesson on music, the New York music scene when he was growing up, and just a general sense of the times and music and his love for it. Also on the talk is Elena Martínez, veteran and senior folklorist, researcher, writer and overall cultural guardian. Love her. I don’t have much else to say other than take a listen. History. Diaspora. Latin Music. Puerto Ricans in Latin Music. Music heals. Salsa meets Jazz again on the 23rd. Big Band and all… Bobby and Elena teamed up with the Jazz Foundation of America. Proceeds go to them for Puerto Rican musicians affected by the aftermath of hurricanes Irma and María.

For those of you who don’t know, Bobby Sanabria is a master percussionist and musician. Straight from his bio, “drummer, percussionist, composer, arranger, recording artist, producer, filmmaker, conductor, educator, activist, multi-cultural warrior and multiple Grammy nominee.” Boom. Or as Ricans would say on the street, “una jodienda.” Bobby has a benefit concert on October 23rd at the old Village Gate, now (le) poisson rouge where Salsa met Jazz every Monday night for years. The talk with Bobby ended up being a four-part mini-series but I’m sharing the first two. He goes off and gives the full line up of the band and mixes it all with a history lesson on music, the New York music scene when he was growing up, and just a general sense of the times and music and his love for it. Also on the talk is Elena Martínez, veteran and senior folklorist, researcher, writer and overall cultural guardian. Love her. I don’t have much else to say other than take a listen. History. Diaspora. Latin Music. Puerto Ricans in Latin Music. Music heals. Salsa meets Jazz again on the 23rd. Big Band and all… Bobby and Elena teamed up with the Jazz Foundation of America. Proceeds go to them for Puerto Rican musicians affected by the aftermath of hurricanes Irma and María.

Lionel Richie got nothing on Sonny Rollins - as we learn from Newk's 15 minutes solos on the incredible (and sometimes exhausting) Complete Village Gate release, he sure can keep it going all night long. Branford M. solo and Dexter Gordon chip in to provide context and Pat rants about the movie Sing. Branford Marsalis – IN MY SOLITUDE; Dexter Gordon – BOTH SIDES OF MIDNIGHT; Sonny Rollins – COMPLETE LIVE AT THE VILLAGE GATE 1962

En la semana de celebración de nuestro15 aniversario, esta edición de 'Club de Jazz' del 8 de febrero de 2016 reúne a (casi) todos nuestros colaboradores para celebrar con ellos. Jesús Moreno recupera la primera actuación en España del contrabajista Peter Kowald; Alberto Varela encuentra "Música de ida y vuelta" con el pianista uruguayo Nando Michelín; Anxo nos ofrece una doble muestra instrumental del brasileño Alfredo del Penho; Ferran Esteve nos regala las "Complete live at the Village Gate 1962" del cuarteto de Sonny Rollins con Don Cherry. Además, la música de "Astronautilus", nuevo disco de los británicos Get the Blessing. Y anticipo de la actuación en Madrid del dúo entre Joe McPhee y Chris Corsano. Toda la información y derechos: http://www.elclubdejazz.com

En la semana de celebración de nuestro15 aniversario, esta edición de 'Club de Jazz' del 8 de febrero de 2016 reúne a (casi) todos nuestros colaboradores para celebrar con ellos. Jesús Moreno recupera la primera actuación en España del contrabajista Peter Kowald; Alberto Varela encuentra "Música de ida y vuelta" con el pianista uruguayo Nando Michelín; Anxo nos ofrece una doble muestra instrumental del brasileño Alfredo del Penho; Ferran Esteve nos regala las "Complete live at the Village Gate 1962" del cuarteto de Sonny Rollins con Don Cherry. Además, la música de "Astronautilus", nuevo disco de los británicos Get the Blessing. Y anticipo de la actuación en Madrid del dúo entre Joe McPhee y Chris Corsano. Toda la información y derechos: http://www.elclubdejazz.com

Le 30 décembre, le New Morning ouvre ses portes et offre sa scène mythique à une jam session. Pour cette occasion, Belkacem Meziane vous fera voyager à travers les décennies et les continents pour découvrir l'univers de la jam session, du bœuf, de la descarga... différents noms utilisés pour décrire ces rencontres improvisées chères aux musiciens de tous horizons. Au programme de cette dernière émission de l'année : les joutes saxophonistiques de Coleman Hawkins et Lester Young, les improvisations psychédéliques du Grateful Dead ou Jimi Hendrix, les grooves funky et pleins de sueur de James Brown ou George Clinton ou les rythmes hypnotiques des rois de la musique cubaine et latine...tout, vous saurez tout sur l'histoire de ces moments éphémères et remplis de magie. Un voyage dans l'ambiance des lieux mythiques que furent le Minton's, le Village Gate ou le boeuf sur le toît où une page importante de l'histoire des musiques actuelles fût écrite. En fin d'émission, les musiciens qui animeront cette jam viendront au micro nous raconter comment ils se sont rencontrés et quel est leur plan d'attaque pour faire communier tout ce beau monde pour le meilleur...et non le pire ! We're gonna jam all night long !

On this episode of the Food About Town podcast I sat down in the studio with James Black from Nox Cocktail Lounge in the Village Gate to discuss my recent review of the restaurant in the City Newspaper. James and I also covered his past in the industry, some of his... The post F.A.T. Episode 31 – Nox Cocktail Lounge first appeared on Food About Town.

El mes de septiembre de 1963, Mongo Santamaría y su grupo se presentaron en el Village Gate de Nueva York. El concierto quedó registrado en un LP que constituye un hito en la historia del jazz latino.Para más información, consulta el blog de Calle Heredia.

A los 30 años de edad Art D'Lugoff era promotor y productor de conciertos en Nueva York. A él se le debía, entre otros hechos, el retorno de Billie Holiday a los escenarios neoyorquinos luego de 15 años de ausencia. Resulta que la gran diva del jazz, al igual que todos los músicos de su tiempo, tenía una tarjeta de identificación para poder actuar vigente desde la ley seca. Se llamaba New York City Cabaret Identification Card y a Holiday se la habían revocado por un problema de drogas. D'Lugoff la presentó en 1957 en el teatro Loew's y su prestigio creció como la espuma, tanto que al año siguiente consiguió sin problemas la licencia para su nuevo local, un sótano ubicado en la esquina de Bleecker y Thompson, cerca de Washington Square, y que por su ubicación estratégica en Greenwich Village decidió llamar Village Gate. Y esta es la historia del Village Gate y de una reunión de estrellas latinas conocida como la Tico All Stars en La Hora Faniática.

show#576 01.24.15 Lincoln Durham - Rise In The River from Exodus of the Deemed Unrighteous 2014 (2:53) The Kirby Sewell Band - Cryin' All The Way from Girl With a New Tattoo 2014 (4:26) Dennis Gruenling (Featuring Doug Deming & The Jewel Tones) - One Scotch, One Bourbon, One Beer from Rockin' All Day 2012 (4:21) Otis Spann - this is the blues from Delta Blues 2005 (3:10) Paul Filipowicz - Everyday - Everynight from Saints And Sinners 2013 (2:46) Sue Foley - Give It to Me from Walk in the Sun 1996 (3:53) Muddy Waters - Country Boy from Folk Singer 1964 (3:28) Siegel-Schwall Band - Hey Leviticus from Flash Forward 2005 (2:42) Mighty Mike Schermer - Someday from Be Somebody 2013 (4:05) James Harman Band - Mad About Something from Do Not Disturb 1991 (4:39) Little G Weevil - Swing In The Middle from Moving 2013 (5:21) Mariëlla Tirotto & The Blues Federation - Why Are You Running From Yourself? from Dare To Stand Out 2011 (5:05) Paul Geremia - Cocaine Princess from Gamblin' Woman Blues 1992 (3:47) Robert Johnson - Phonograph Blues from The Complete Recordings 1996 (2:40) Lynwood Slim - Me, Myself and I from Last Call 2006 (3:55) Django Reinhardt - Minor Swing from 1937 (3:17) Geoff Achison & Adrian Keating - Getting Evil from Classically Blue 2011 (4:18) Killing Floor - Rack My Brain from Rock 'N' Roll Gone Mad 2012 (4:57) The Chris O'Leary Band - 377-9189 from Waiting For The Phone To Ring 2012 (5:56) Frank Bey & Anthony Paule - You're Somebody Else's Baby Too from Soul For Your Blues 2013 (5:41) David Gogo - Kings from Come On Down 2013 (4:16) Jeff Dale and The South Woodlawners - Naked Woman In My Bed from Good Music 2014 (2:39) Tim Elliott & Troublemakers - chain gang bound from Tim Elliott & the Troublemakers 1993 (4:24) Steve James - Banker's Blues from American Primitive 1994 (3:33) Terry Garland - Vacation Due from Whistling in the Dark 2006 (4:44) Nathan James - Hear Me Calling from Hear Me Calling (4:01) Ian Siegal - Only tryin' to Survive from The Picnic Sessions 2014 (4:24) Ron Tanski - Bang My Baby Grand from Never Pet A Burning Dog (3:33) The Alastair Greene Band - People from Trouble At Your Door 2014 (3:45) Mystery Guest - The Opening from Live at The Village Gate 1971 (6:30)

Taboo Talk, a Christian talk show featuring Lady Charmaine Day (Pastor, Publisher, Author and Radio Host www.ladycharmaineday.com). On this episode, Al shares his candid, honest, and deep insight on current events. About Al Peters, born in Harlem, USA, Al Peters has been residing in staten island. Al Peters has been an a "EDUtainer" for the last thirty years with the longest running cable tv show on staten island and possibly within the five boroughs of nyc broadcasting since 1981. His comedy consists of social dysfunction and observation of black people in America. He has performed at clubs like Comedy Strip, Cotton Club, Village Gate, Apollo just to a name a few. He was on Def jam and Jersey 2. He is a cynical satire commentator. He also belongs to a jazz spoken word group called the Reparation Poets. He is a long standing community and political activist on staten island. He is the Founder of Men Who build Inc. which helps newly released prisoners to assimilate back into society and deal with health related issues such as HIV and others. He can be reached at livendirect51@aol.com

Taboo Talk, a Christian talk show featuring Lady Charmaine Day (Pastor, Publisher, Author, Radio Host and Motivational Speaker www.ladycharmaineday.com). Taboo Talk helps individuals transform their mind, body, and spirit utilizing the principles of Jesus Christ! Guest starring Al Peters. On this episode, Al discusses the state of African Americans in America and gives his opinion on a variety of topics relating to the history of African Americans in America. This is a show that pushes the envelope and one that you don't want to miss. Please tune in to listen. About Al Peters, born in Harlem, USA, Al Peters has been residing in staten island. Al Peters has been an a "EDUtainer" for the last thirty years with the longest running cable tv show on staten island and possibly within the five boroughs of nyc broadcasting since 1981. His comedy consists of social dysfunction and observation of black people in America. He has performed at clubs like Comedy Strip, Cotton Club, Village Gate, Apollo just to a name a few. He was on Def jam and Jersey 2. He is a cynical satire commentator. He also belongs to a jazz spoken word group called the Reparation Poets. He is a long standing community and political activist on staten island. He is the Founder of Men Who build Inc. which helps newly released prisoners to assimilate back into society and deal with health related issues such as HIV and others. He can be reached at livendirect51@aol.com

Laury Webb Singer, musician, actor, writer  has been a fixture on the New York reggae circuit for several years. His original and unique blend of reggae music is suited for any forum and seeks to bridge all generation gaps. With a unique style, Laury literally ignite and explode on stage. He has performed at some of New York City's premier musical venues, including Lincoln Center's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, and The Baggot Inn.  Ampah Isaac(Blakk Souljah)e third son and miss Eunice Dansowah.He was born on sunday e 28th april,1985 at Asamankese old clinic.His biological mother is Mrs.Agnes Ofosuah and Mr.Emmanuel Amoah Bediako is his biological father.He is a musician,producer and a radio presenter who works with Nkonim fm(93.5)at Asamankese in e Lower West Akim District of Ghana(Eastern Region). He graduated from Daras Preparatory a Junior High Secondary School in e year 2002 and completed a science student at Asasco a Senior High Secondary School(Asamankese)in e year 2005. His hobbies are singing,dancing,reading,playing football watching movies and playing video games

  Taboo Talk, a Christian talk show featuring Lady Charmaine Day (Pastor, Publisher, Author and Motivational Speaker  www.ladycharmaineday.com). Taboo Talk helps individuals transform their mind, body, and spirit utilizing the principles of Jesus Christ!Guest starring Al Peters. On this show, Al shares his controversial point of view about different topics, shares a variety of characters from his standup comedy and at the end gives words of encouragement. This is a show you don't want to miss! Born in Harlem, USA, Al Peters has been residing in staten island. Al Peters has been an a "EDUtainer" for the last thirty years with the longest running cable tv show on staten island and possibly within the five boroughs of nyc broadcasting since 1981. His comedy consists of social dysfunction and observation of black people in America. He has performed at clubs like Comedy Strip, Cotton Club, Village Gate, Apollo just to a name a few. He was on Def jam and Jersey 2. He is a cynical satire commentator. He also belongs to a jazz spoken word group called the Reparation Poets. He is a long standing community and political activist on staten island. He is the Founder of Men Who build Inc. which helps newly released prisoners to assimilate back into society and deal with health related issues such as HIV and others. He can be reached at livendirect51@aol.com

      Singer, musician, actor, writer Laury Webb has been a fixture on the New Yorkreggae circuit for several years. His original and unique blend of reggae music is suited for any forum and seeks to bridge all generation gaps. With a unique style, Laury literally ignite and explode on stage. He has performed at some of New York City's premier musical venues, including LincolnCenter's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, and The Baggot Inn.  Laury's musical career began with a role as keyboardist and later backing vocalist with the reggae vocal group, The Meditations. He also found time to accompany reggae singjay, Eek-A-Mouse, playing keyboards on Mouse's West German tour. After enjoying years of being a back-up musician, Laury launched a solo career with his TigerBone Band accompanying him. During that period he recorded and released singles, “Robot Taxi”, “Seems the Same”, and “Woman My Queen.” v  

Pianist Les McCann and his trio called "Les McCann Ltd." with Herbie Lewis on bass and Ron Jefferson on drums augmented by three boss horns:Blue Mitchell(trumpet),Stanley Turrentine and the underrated Frank Haynes on tenor saxophones and recorded at the Village Gate in New York. One of McCann's best! Les McCann in New York.