Podcasts about windham hill

¡Hay tanto en la religión de autoengaño!, que uno se pregunta para qué sirve la oración. Pensamos si Dios todo lo sabe y lo puede, ya que es soberano y nos ama, no hace falta pedirle nada. Él cuida de nosotros. La cuestión es que no es Dios el que necesita la oración, sino nosotros. Tras la sintonía de Ruta 66, hoy a cargo de una cantante sueca llamada María Wells, escuchamos una canción de una recopilación de música del llamado "Rock de Jesús" de finales de los 60 y parte de los 70 (Electric Holy Land), que ha aparecido ahora en vinilo en una serie de coleccionistas que no está disponible en plataformas digitales. Son discos, la mayor parte autoeditados, pero con sorprendente sonido de la época, como el de Barrie Hobby y los Suite Destiny de 1976. El tema que escuchamos es sobre la oración, "¡Ponte de rodillas!" (Get Down On Your Knees). Nos sirve para introducir la parábola de Jesús sobre la viuda y el juez injusto (Lucas 18:1-8). El peligro de la autoconfianza se muestra a continuación en la historia del fariseo y el publicano (vv. 9-14), el religioso satisfecho consigo mismo y un individuo corrupto, que en su inmoralidad se ve indigno de presentarse ante de Dios. La sorpresa que nos espera al final de la parábola, es que es el que reconoce su culpa y busca la misericordia de Dios, vuelve a casa justificado. La canción de Mark Heard, "Estoy llorando de nuevo" (I´m Crying Again 1981) habla del "criminal en mi piel que no vemos y se cree inocente, pero la verdad es como un cuchillo". Las letras de este cantautor americano que estuvo en Suiza con Francis Schaeffer, son conocidas por su gran sinceridad. Murió de un ataque al corazón a los 40 años, cuando empezaba a llegar al gran público con el popular sello de música instrumental Windham Hill, donde grababa su amigo católico Pierce Pettis. Estaba a punto de firmar un contrato con la casa canadiense del cantautor Bruce Cockburn, cuando el Señor se lo llevó a su Hogar eterno. Un niño no tiene la conciencia de un adulto. Si nuestra fe dependiera de ella, no habría salvación para ellos, pero Jesús dice que de ellos es el Reino de los Cielos (vv. 15-17). Un músico que llegó a la fe a finales de los 60 por Larry Norman, Randy Stonehill, escribió una canción para levantar fondos para la organización de ayuda a la infancia, Compassion International. La grabó con Phil Keaggy y otros músicos cristianos en 1984. En ella se pregunta "¿Quien salvará a los niños?" (Who Will Save The Children?). El encuentro de Jesús con el joven rico (vv. 18-27) es uno de los episodios más sorprendentes del Evangelio. Lo comentamos ilustrado con algunos diálogos de la película del alemán Wim Wenders, "Tierra de abundancia" (2004), que tiene canciones de Leonard Cohen, a las que añadimos la banda sonora de Ry Cooder para Wenders en "Paris Texas". Es la historia de una chica muy joven interpretada por Michelle Williams, hija de misioneros en Israel, que vuelve al país donde nació, para ayudar a un pastor afroamericano que atiende a personas "sin techo" en Los Angeles. Su sencilla fe contrasta con la opulencia de la sociedad norteamericana y la paranoia de un tío obsesionado por el peligro del terrorismo islámico. Frente a nuestra autoconfianza, Jesús nos presenta el camino de la cruz (vv. 28-34). La canción del grupo The Choir nos lleva al sacrificio de Jesús en un tema que esta banda de rock alternativo, nacida en torno a la Capilla Calvario de la Revolución por Jesús en 1983, grabó en el que es para muchos, su mejor disco (Circle Slide 1990). La curación del ciego que cierra el capítulo 18 de Lucas nos muestra cómo "la luz de su amor" nos permite ver el mundo con otros ojos. La expresión del Evangelio es tomada por el grupo escocés Simple Minds en un disco lleno de lenguaje religioso, "New Gold Dream" (1982), donde Jim Kerr canta con la pasión de una oración que le ilumine su luz (Glittering Prize).

Philip Aaberg is a celebrated pianist and composer. He recorded 8 wonderful solo albums on Windham Hill Records known for their mellow “New Age” sound. He's performed on hits like “Fooled Around And Fell In Love” (Elvin Bishop), “Shannon” (Henry Gross), and “Angel Of The Morning” (Juice Newton). He's played with the Boston Pops, Peter Gabriel, the Doobie Brothers and on over 200 albums. And he's received Grammy and Emmy nominations!My featured song is “Because She Said So” from the album Play by my band, Project Grand Slam. Spotify link. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest) Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Philip:www.philipaaberg.comwww.ofthewest.netwww.sweetgrassmusic.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

One of the bastards loves holiday music (Mike loves to flex his knowledge-of-obscure-Xmas-tunes-muscles) and so the holiday episode has become an annual tradition.  Luckily, every year at least a few jazz musicians put out a holiday album (if under duress) and archival and historical finds are always there to enjoy as well.  Various Artists – A JAZZ CHRISTMAS; Shorty Rogers – THE SWINGIN' NUTCRACKER; Louis Armstrong – WISHES YOU A COOL YULE; George Burton – the YULE LOG    Ken Serio – A JAZZY YULETIDE.

Welcome to Season 03 Episode 07 - the "Heartwarmer" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include Prof. Emeritus of Voice Dan Ihasz on the Live at the Met production of Florencia en el Amazonas, Messrs. Phil McMullen and Ben Sheedy, co-directors of the Main Street Studio production of A Christmas Carol, and Libby Cardy-Sciarrino, co-director for It's a Wonderful Life: The Radio Play at Lakeshore Center for the Arts. Notes from the Aisle Seat is available from most of your favorite podcast sites, including Apple Podcast, Google Podcast, Stitcher, Spotify, and Amazon Prime Music, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Thanks for listening! Time Stamps: Dan Ihasz - Live at the Met. 2:10 Ben Sheedy/Phil McMullen - A Christmas Carol  19:50 Arts Calendar - 38:18 Libby Cardy-Sciarrino - It's A Wonderful Life 40:02 Media: "Night (Midnight)", "Prelude", and "Joy"; from the album December, George Winston, composer/performer, Windham Hill, November 1982 "Escúchame" and “Ella nunca cedió a las tentaciones del amor”, from the opera Florencia en el Amazonas; Daniel Catán, composer; Marcela Fuentes-Berain, librettist; performed by Aylin Pérez, soprano, and Gabriella Reyes, soprano; Metropolitan Opera House, December 2023 For More Information: Metropolitan Opera House Main Street Studios Lakeshore Center for the Arts BECOME A MEMBER!    

Will Ackerman is a visionary composer, fingerstyle guitarist and producer. As the founder of Windham Hill Records, he achieved international success with his own music and that of artists such as Michael Hedges, George Winston, Alex De Grassi and others.  Windham Hill's sumptuous, detailed sound is widely acknowledged to be a milestone in the evolution of the acoustic guitar. Let's face it: When the first D-28 rolled off the Martin Guitar Company production line, they were hardly expecting Michael Hedges! In fact, no one was...least of all Will Ackerman. In this conversation, he shares some beautiful stories about meeting Michael for the first time and the recording sessions for Aerial Boundaries!  We also get some extraordinary insights about the early days of Will's career, hanging out with the Kingston Trio, kayaking with Steve Jobs, the correct way to kick priceless digital mastering equipment, and much more. Many of you doubtless know that Will Ackerman was touched by tragedy at an early age. He talks candidly about this when we discuss his beautiful piece, "The Impending Death of The Virgin Spirit." Once again - this is REAL LIFE on the fretboard - but listener discretion is encouraged.  I caught up with Will Ackerman during his visit to the beautiful English town of Royal Tunbridge Wells. The hotel where he was staying had been a favorite of Queen Victoria and its staff continue to uphold fastidious levels of excellence...even at one point interrupting the recording with a session of vacuum cleaning right outside the room. While I dealt with this Ackerman was left with a hot mic;  I have kept the results for posterity.  To contribute directly to Life on The Fretboard please use this Tip Jar link https://michaelwattsguitar.com/tip-jars/4745 This episode was brought to you by the kind sponsorship of Mirabella Guitars https://www.mirabellaguitars.com/ , Microtech Gefell Microphones  https://www.microtechgefell.de/, Fretboard Journal and, you, the listener. To learn more about Will Ackerman visit https://williamackerman.com/  Join me next time where I will be spending time with the extraordinary talent that is Italian singer/songwriter Emma Tricca. You may have seen her on tour with Nick Mason's Saucerful of Secrets or Dinosaur Jr. It's a fantastic conversation that I can't wait to share with you.  

No matter where you are in your career, you'll benefit from listening to 3Q. 3Q provides a window into the careers of some of the best in the music business. Every episode is an insider's view of the realities of life as a music executive. Topics include issues of empowerment, uncertainty, trust, finances, etc; issues that will impact you both personally and professionally. The executives we interview represent every aspect of the industry including but not limited to A&R, Marketing, Music Supervision, Artist Management, Promotion, and more. About Michael: Michael Kauffman is the Executive Director of the Clio Music and Clio Cannabis programs at The Clio Awards, the premier awards competition for the creative business. Clio Music honors creativity in advertising and marketing for artist promotion and brand collaborations, as well as the use of music in ads, trailers, and film & video. Clio Cannabis celebrates the creative work and creators at the forefront of cannabis marketing and communications.Prior to his current role, Kauffman held senior marketing and corporate communications roles at YouTube, Google, and RightsFlow, a licensing and rights-management start-up acquired by Google. He also held executive roles with Universal Music Group's Verve and BMG's Windham Hill record labels.ABOUT CLIOClio is the premier international awards competition for the creative business. Founded in 1959 to celebrate creative excellence in advertising, Clio today honors the work and talent at the forefront of the industry in a variety of specialized fields, including: sports, fashion, music, entertainment, cannabis and health. As a leading authority on the diverse and ever-changing creative landscape, Clio celebrates creativity 365-days-a-year via its global ad database Ads of The World and its content platform Muse by Clio.ABOUT CLIO MUSICBuilt on Clio's enduring reputation for recognizing the most creative and culturally relevant marketing and communications, Clio Music celebrates the visceral power of music to connect consumers with artists and brands around the world. The program was introduced in 2014 to award the creative contributions of the marketers and communicators that propel the industry forward, inspire a competitive marketplace of ideas, and foster meaningful connections within the creative community.

Insights In Sound - Steven Miller, Producer/Engineer - Season 12, Episode 7 (#117) Steven Miller is a bit of a music industry Zelig. His productions run the gamut from Windham Hill and Dave Matthews to Pink and Jonas Brothers. He helped Steve Jobs introduce the Apple Macintosh, and created the ubiquitous Ocean Way Drums library. We met up with him at the legendary East West Studios in Hollywood.

Steve Turner of Mudhoney has been chasing vinyl for years - today he discusses his record collection, the amazing finds, the rare records of Mudhoney, early days of Subpop, the new LP "Plastic Eternity" and lots more. Topics include: Interview intro Mudhoney 2023 Australia dates Recording “Plastic Eternity” Does Mudhoney have control of their catalogue? The upcoming Mudhoney Box Set Jack Endino recent Soundgarden Ultramega OK remix What's up with the Mudhoney master tapes? Steve's record collection – buying self-released singles Steve replaces super rarities with reissues Steve and Jeff Ahmet have been purchasing Windham Hill records What Psychedelic and punk record collectors move to Steve prefers 7” records, especially for DJing Mark like making an album Upcoming Australia-only single from Tym records Steve's involvement in record colours, numbers, etc Working at Cascade Record Pressing plant Dan Peters is surpassing Steve's enthusiasm for records Buying records while on tour The current prices of punk records Jackie Shark and the Beach Butchers single The most special records in Steve's collection What's the most you've ever spent on a record? He's still finding deals on records Giving his original Misfits single to Tom Hazelmyer Did records ever become a problem? Steve's records are quite organized The holy grails he's looking for The Victims reissues, shows w Ray Ahn Steve's early Subpop test pressings The story of the Subpop Singles Club The rare “Touch Me I'm Sick” colours Rejected test pressings Nirvana Bleach misprints / missing tracks Collecting Mudhoney international releases Starting Super-Electro Records Putting out Mudhoney records on Super Electro with unclear permissions Tales and sales of Super Electro Records Mudhoney / Subpop / Warner get along well Melvins / Mudhoney – White Lazy Boy session We all love Melvins Melvins “Leech” was based on an early Green River song Interview wrap up Get the new Mudhoney LP "Plastic Eternity" here Tickets to Australian 2023 shows here. High-resolution & Commercial Free version of this interview available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8 Follow our Podcast: https://linktr.ee/vinylguide Facebook: www.Facebook.com/VinylGuide Instagram: www.Instagram.com/VinylGuide Support our show: www.Patreon.com/VinylGuide If you like records, just starting a collection or are an uber-nerd with a house-full of vinyl, this is the podcast for you. Nate Goyer is The Vinyl Guide and discusses all things music and record-related

On this edition of the podcast, we are excited to welcome back the prolific recording artist, Barbara Higbie. Barbara is a Grammy-nominated, Bammy award-winning composer, singer-songwriter, and multi-instrumentalist who has just released her latest album, Presence, the third in a trilogy of recordings alongside Resonance and Murmuration. In this inspiring conversation, Barbara talks about the creative process, the distinctly nurturing feminine quality of her work, and her thoughts on music and healing. Barbara has 17 recordings to her credit as well as contributions to 10 compilations that have sold in the millions. She has performed on more than 100 albums, including Carlos Santana's 2007 release. She was the first woman signed to Windham Hill records, and was part of the chart-topping band, Montreux. Barbara has also released recordings with Olivia Records and her own Slow Baby Records. Barbara was the first ever Artist in Residence at the prestigious west coast Jazz Club, Yoshi's, where she created two new bands. Roots music's Hills to Hollers with icons Linda Tillery and Laurie Lewis, and the exotic Cello Heaven with cellists Joan Jeanreneau of Kronos Quartet fame and new age star Jami Sieber. She also put together the popular annual Windham Hill Solstice tour, which features a variety of Windham Hill artists including Dave Ackerman, Liz Story, and Lisa Lynne to name a few. She tours nationally and internationally with her own work and many other popular artists. To learn more about Barbara, purchase her music, or find out about upcoming concerts, visit barbarahigbie.com.

Grammy winning new age pianist Peter Kater and Paul Cardall, also an award winning pianist, discuss Peter's career and the history new age music. They talk about building successful and prosperous independent music careers in a genre often misunderstood and overlooked by the commercial market. ABOUT PETER KATERWebsite: http://www.peterkater.comFacebookTwitterYoutubeInstagram Listen to Peter KaterSpotifyApple MusicAmazon Music Peter Kater was born of German parents in the Bavarian City of Munich. At the age of seven, not long after moving to New Jersey, his mother insisted that he take classical piano lessons. At the age of 18 Peter left New Jersey with his backpack and his music books and hitch-hiked all around the continental US for over a year. He slept in parks and on beaches and roadsides across the country while stopping to play piano at restaurants and lounges for tips and meals. After logging in over 30,000 miles on the road Peter landed in Boulder, Colorado, finding comfort and inspiration in the Rocky Mountains which reminded him of his childhood upbringing in the Bavarian Alps. Shortly thereafter he started listening to the music of pianist Keith Jarrett; the avant jazz group, Oregon; and the Paul Winter Consort. This opened a whole new musical world and he began improvising 3-4 hours a night at clubs and lounges throughout the Boulder/Denver area sometimes 5 to 6 nights a week. After several years he tired of playing clubs and lounges and quit all his engagements and began renting out small churches and self-promoting small concerts through out Colorado. In 1983 Peter released his first album of solo piano compositions and improvisations entitled SPIRIT. His music was very well received and started charting in the Top 10 of National Contemporary Jazz Airplay charts and within a short couple of years Peter went from playing small churches to performing at 3,000 seat concert halls and at national jazz festivals at the age of 27. In 1985, Actor ROBERT REDFORD asked Peter to play at the then brand new Sundance Institute & Film Festival in Utah. Peter became the featured performer at many of Redford's “green” political fundraisers and events attended by many Hollywood A-list actors, directors and celebrities such as Alan Alda, Sidney Pollock, James Brooks, Dave Grusin, Laura Dern, Mathew Broderick and Ted Turner to name just a very few. In his concerts around Colorado, Peter started to share the stage with some of his favorite artists from his teen years such as DAN FOGELBERG and JOHN DENVER. John Denver asked Peter to coordinate the music for his ground breaking Choices for the Future Symposiums every summer in Aspen, Colorado and also invited him to perform at concerts in Japan and at World Forum events performing for dignitaries and celebrities such as Mikael Gorbachov and Shirley McLain. These collaborations with John Denver went on for almost 10 years until John's untimely death in 1997. Peter's music also caught the attention of New York City's legendary director and Circle Rep Theater co-founder, Marshall Mason and Pulitzer Prize winning playwright, Lanford Wilson. Peter's music became the score to their Tony-Award winning Broadway production of Burn This starring John Malkovich and Joan Allen which ran for over one year. As the newest member of their “A-team” in the following years Peter scored the music for 11 On- & Off-Broadway dramatic plays receiving widespread critical acclaim. As Peter's music spread across the world he scored more music for television and films and worked closely with his favorite environmental and humanitarian organizations such as Greenpeace, the National Wildlife Federation, the Nature Conservancy and ChildReach. In 1989 a close friend gave Peter a cassette called Earth Spirit by Native American flutist, R. CARLOS NAKAI. Peter was completely taken by the beauty and earthiness of the Native flute. Peter tracked down Nakai and asked him to collaborate with him on a recording. In the studio they felt as if they'd been playing together forever and their first album, Natives, was completed effortlessly in just a few hours. When recording with Nakai, Peter felt he was embarking on a little “personal” indulgence, temporarily diverging from his thriving mainstream contemporary jazz career. But to his surprise, while his recordings like Coming Home, Two Hearts, Gateway and Rooftops were charting in the Top 10 of National Jazz charts; the new recordings with R. Carlos Nakai quickly became immensely popular in the alternative market selling 100's of thousands of units each and generated a solid and much more personal fan base. Because of the deep satisfaction Peter felt in co-creating this beautiful music with Nakai, he quickly lost interest in the “jazz” genres and shifted his focus to music of a more intimate “healing” nature. Peter then recognized a need for music in support of the healing arts that could actually aid in deep personal healing and transformation. He recorded albums like Compassion and Essence that provided not only a loving supportive musical landscape but also an invitation to dive deeply and safely into one's essential emotional and spiritual nature. Many more CD's in support of the Healing Arts followed as did more recordings with R. Carlos Nakai, seven of which charted in the Top 20 of Billboard's New Age chart. Peter's love and appreciation for the earth and indigenous cultures inspired him to invite more indigenous musicians to record on various projects with him including Native American vocalists Joanne Shenandoah, Bill Miller and Rita Coolidge; Native American flutists Robert Mirabal, Joseph Firecrow, Mary Youngblood, Douglas Blue Feather, Kevin Locke; and South American flutists Jorge Alfano and Ara Tokatlian. Peter also composed two songs for the immensely popular Sacred Spirit recording which sold over 5 millions copies in Europe alone. Peter's music continued to grow and evolve and found it's way into the 2000 and 2004 World Olympics, the Kentucky Derby, the Wild World of Sports and countless television shows like Good Morning America, Entertainment Tonight, LifeStyles of the Rich & Famous and Bay Watch to name just few. He's scored the music for acclaimed television series like How The West Was Lost; Wild America; Civil War: The Untold Story; Eco-Challenge and Joseph Campbell's Mythos series and films like Sirius, The Legend of Secret Pass and 10 QUESTIONS FOR THE DALAI LAMA. He's given concerts throughout the USA, Europe, Japan and South Korea including performances at the Kennedy Center, Carnegie Hall, JFK Stadium in Washington DC, Red Rocks Amphitheater in Denver and the United Nations in NYC where he received the prestigious United Nations Environment Leadership Award. Possibly one of Peter's strongest attributes is his love for collaboration with other artists such as Singer/songwriter Kenny Loggins; Tibetan flutist, Nawang Khechog; Sting guitarist Dominic Miller; Sacred Chantress Snatam Kaur and of course his legendary collaboration with Native American flutist, R. Carlos Nakai. He's also enjoyed performing and recording with many other talented musicians such as virtuoso reedman Paul McCandless; Maverick Cellist David Darling; Peter Gabriel's legendary Bassist, Tony Levin; and renowned Brazilian cellist Jaques Morelenbaum. Peter has often been called prolific and is said to have the “gift of melody”. His love and enthusiasm for the creative process, self-exploration, the healing arts and the natural world continues to inspire a well-spring of composing and recording. In a thriving career spanning over 3 decades and going strong, Peter Kater has recorded over 60 albums resulting in the sales of millions of units; has scored the music for well over 100 television and film productions including 11 On- and Off-Broadway dramatic plays; ands the recipient of dozens of awards and honors including 14 Grammy® nominations and a Grammy Award win for his 2017 Dancing On Water recording and his 2019 Wings recording. But most importantly his music has uplifted, soothed, healed and inspired the lives of millions of people all around the world.  ABOUT THE HOST PAUL CARDALLhttp://www.paulcardall.comhttp://www.facebook.com/paulcardallmusichttp://www.youtube.com/cardallhttp://www.instagram.com/paulcardall LISTEN TO HIS MUSICAPPLE MUSIC - https://music.apple.com/us/artist/paul-cardall/4312819SPOTIFY - https://open.spotify.com/artist/7FQRbf8gbKw8KZQZAJWxH2AMAZON - Ask Alexa to play Peaceful Piano by Paul Cardall Paul Cardall is an artist who has given a new meaning to the phrase, a change of heart and how he used this radical change to take his music to an unexpected place.  Despite being born with a potentially life-threatening heart defect Paul Cardall has become a world recognized pianist. He is even endorsed by Steinway & Sons as one of the finest pianist of our time. A Dove award winner for his Christmas album, Paul's recordings have debuted on 11 No. 1 Billboard charts along with 46 other chart debuts. His music has 25 million monthly listeners with more than 3 billion lifetime streams and is often categorized as Classical, Christian, and Holiday. Although most of albums are instrumental, Paul has songs that feature Grammy winning gospel legend CeCe Winans, Matt Hammitt (Sanctus Real), Kristin Chenoweth, Country duo Thompson Square, David Archuleta, Tyler Glenn (Neon Trees), Audrey Assad, Steven Sharp Nelson (The Piano Guys), and more.    Paul has performed for audiences worldwide including the White House. Forbes, American Songwriter, Jesus Calling, Lifestyles Television, Mix Magazine, and countless other media outlets have share his remarkable journey of receiving a life changing heart transplant and using music as a tool to help God heal spiritual, mental, and emotional hearts.

“La predicación debe ser con autoridad, al exponer los principios bíblicos, pero tentativa al aplicarlos a los complejos temas del momento”, dice John Stott (1921-2021) en su libro La predicación, puente entre dos mundos (Libros Desafío, 2000). Esa extraña combinación de convicción y apertura, dogmatismo y agnosticismo, por la que Stott enseñaba la verdad con autoridad, pero dejaba a las personas la libertad para pensar por sí mismas, sigue siendo bastante inusual en un medio que suele tender al fundamentalismo o al liberalismo. No hay mucho entre medio. Ese es, sin embargo, el cristianismo evangélico clásico que creo que tendríamos que recuperar entre tanto predicador americano de moda. En este programa por el centenario de Stott, "Al Trasluz", escuchamos sus consejos para predicadores y un extracto de un antiguo breve mensaje evangelístico en su iglesia, que transmitió la BBC. Oímos una canción del "Bulevar del Sermón Expositivo" de Rickie Lee Jones, que ha descubierto las palabras de Jesús, tras largos años de adicció. Una experiencia similar tuvo Aretha Franklin cuando volvió al góspel en una iglesia de Los Ángeles, para el disco y la película "Sublime gracia". En su canción "Old Landmark" repite una y otra vez: "Predica la Palabra". José de Segovia analiza la predicación de Stott con el fondo instrumental de Douglas Trowbridge y John Michael Talbot en aquel sello que en los años 80 intentó emular a Windham Hill con músicos cristianos bajo el nombre de Meadowlark...

ENG: William Ackerman, guitarist, producer and founder of Windham Hill Records, talks to Jack about music, live performance and recording, personal history, Italy, inspiration, albums. (This episode is in English!)ITA: William Ackerman, chitarrista vincitore di un Grammy Award, nonche' fondatore della celebre etichetta Windham Hill , parla con Jack di musica, concerti e lavoro di studio, storia personale e passione per l'Italia, ispirazione, album.(Questa puntata è in inglese!)

Smokey and smooth are the words used to describe her vocals.  Named among the "Top Ten Jazz Albums" in British Columbia in 2003, “Top Ten Jazz Albums” in Ottawa, Canada in 2006, and named by Cincinnati's Citybeat Magazine as one of the "Top Local Artists to Produce a CD on A National Level", Ms. Jaz grew in popularity with her 2002 CD release "Chances".  In February 2009, she was named #1 on the Australian Independent Record Charts with her track “Guess Who I Saw Today” off her “Me Too Live” CD.  A Cincinnati based vocalist and writer; she has performed in various cities across the nation.  Many have compared her vocals to Phyllis Hyman and Anita Baker.  Ms. Jaz performed background vocals live in concert for Phil Perry, Windham Hill's hot vocalist at Cincinnati's Aronoff Center and opened for National Recording Artists Regina Belle, Bobby Blue Bland, Marion Meadows and Pieces of a Dream.  In 2004, she performed for the Cincinnati Symphony Orchestra (CSO) as the featured artist on a Benefit Cruise.  Her back-up band is Cincinnati's own "JAMSET", a group comprised of session and touring musicians who have played for and opened for such acts as Millie Jackson, Roy Ayers, Jean Carne, Ronnie Laws, Pieces of a Dream, Phil Perry, Regina Belle, and most recently Bobby Blue Bland. Rock and Roll Hall of Famer Prince featured the "Upper Room with Joe Kelley and Gi Dussault" on his official website www.npgmusicclub.com. This is the first radio show to have ever received that honor. "Joe Kelley Radio" has been on the radio airwaves since 1982. Joe Kelley and Gi Dussault co-host the show and are well-respected in the music business as creative air personalities and supporters of independent musicians . Our web site is located at www.joekelleyradio.com . Originally aired in 2002.

Esta semana nos llegó la fatídica noticia del fallecimiento de Klaus Schulze, pieza clave de la historia de la música electrónica. Su aportación ha sido definitiva para la aparición de varios estilos musicales, así como para la incorporación de diferentes instrumentos electrónicos a las salas de conciertos y a las de grabación. Al final del programa dedicaremos unos minutos a escuchar una ínfima parte de su extensa obra, pero antes escucharemos una selección musical de diferentes artistas, en su mayoría músicos de Windham Hill. Esta semana escucharemos: Peter Kater - Legend of Secret Pass Overture Hilary Stagg - Sweet Return Phil Coulter - The Shores Of The Swilliy Shadowfax - A Thousand Teardrops William Ackerman - The Impending Death Of The Virgin Spirit Isato Nakagawa - Rainbow Chaser Nightnoise - Snow On High Ground Mark Isham - On The Threshold Of Lyberty Michael Hedges - Chava's Song Mars Lasar - Cellular City Klaus Schulze - Osiris Part 1 Klaus Schulze - Ruins (Bonus Track) Klaus Schulze - Cristal Lake

Los Angeles Guitar Quartet — Opalescent (Lagq Records) Jump to giveaway form New Classical Tracks - Los Angeles Guitar Quartet by “One could argue that the original goal was that we needed to get an ‘A' in this classical guitar ensemble we signed up for,” guitarist William Kanengiser said about how the Los Angeles Guitar Quartet started. “We're still working on it.” LAGQ was formed 40 years ago at the University of Southern California, and its members are celebrating that occasion with their new release, which highlights the varied colors of the guitar, Opalescent. “It started with a friendship I formed with Scott Tennant at one of Pepe Romero's master classes,” Kanengiser said. “This was before he arrived at USC, and Pepe was a member of Los Romeros, the most famous guitar quartet. He told Tennant and I that we should have a quartet. “It wasn't until two years later that we went from being the USC guitar quartet to the Los Angeles Guitar Quartet. That's why we're celebrating our 40th anniversary now.” Can you talk about Matt Greif, your newest member, who also studied with Pepe in Spain? “Greif joined our group, and we call him the new guy. He's only been with us for 16 years. We're still breaking him in. He was my student at USC and has done beautiful arrangements for us, one of which is featured on the new recording. “It was heartwarming to see the arrangement of Michael Hedges' Aerial Boundaries. I hadn't realized he'd been gone for 25 years. To hear that piece of music brought back to life by four guitarists makes Hedges sound like he was actually playing four guitars.” Why is it so important to have Hedges' Aerial Boundaries on this recording? “Hedges had a groundbreaking recording on Windham Hill called Ariel Boundaries. It just blew the socks off everybody. It changed finger-style guitar forever. “The funny thing is, quite a bit of this arrangement is a straight cover of what he did. It speaks to his amazing virtuosity and creativity that it takes four of us to do what he did on one guitar. Greiff went off the beaten track in the arrangement with a minimal 12/8 section that also beautifully adds his voice to the piece. It seamlessly works its way back to the original Hedges' track later on.” Why did you dedicate the album to Australian composer Phillip Houghton? “He's most famous in the guitar world for his suite for four guitars called Opals. It attempts to portray the glints and reflections you see when you rotate the Australian national stone, the opal. “He passed away three years ago and when we had started playing Opals, we thought we should record this beautiful piece. That work started the whole idea of what other pieces can reflect on the intersection between light and sound, or between the colors of the guitar and the colors you would see in your mind.” How does Frederick Hand's The Chorale turn your quartet into a choir? “It's unusual for us to have each person playing a single line as if we were singing. It's probably the hardest thing to do with four guitars. “John Dearman liked to say, ‘You know, it took us half our career to figure out how to play together and the other half to figure out how not play together, but to be together.' That requires years, and a lot of telepathy.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now More on Los Angeles Guitar Quartet Listen to the Los Angeles Guitar Quartet's recent Twin Cities concert New Classical Tracks Los Angeles Guitar Quartet Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Los Angeles Guitar Quartet — Opalescent (Amazon) Los Angeles Guitar Quartet (official site)

A quiet movement in contemporary music got started unintentionally in 1973, when a lanky, laid back American folk musician named GEORGE WINSTON released an album of ballads, blues, and ragtime called PIANO SOLOS. Influenced by the folk music revival of the 1960s, it was a modest success that attracted the attention of the rising Windham Hill label. In 1980 Winston released AUTUMN, an album of impressionistic solo piano ballads that caught the spirit of the times, sold over a million copies, and helped establish the success of what later came to be called New Age music. Of course, European classical composers had been writing sophisticated music for solo piano ever since the pianoforte was invented at the beginning of the 18th century. But Winston's "rural folk piano" (as he called it) was something different: simple, lyrical, quiet, imagistic, and American as cherry pie. By avoiding the technical virtuosity and complexity of European classical music, Winston opened up a populist alternative. Today, musicians all over the world continue to create personal music for solo piano that combines the sophistication of European classical with the effortless appeal of folk music. On this transmission of Hearts of Space, a program of recent contemplative music for solo piano called PIANO PURO. Music is by NILS FRAHM, LUDOVICO EINAUDI, MAX RICHTER, RODELIUS & TIM STORY, PETE KUZMA, and MATTHEW LABARGE. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

In 2021 I saw that John Gorka, was performing a virtual concert—so I bought tickets, set up a video projector, and watched him in my living room with my wife and my two boys.  It was a moment of light in a dark time.  So, when it came time to put together Restoring Memory: A COVIDCalls exploration of the first 2 COVID years, I took a chance and reached out—and well, he's here! From New Jersey, John Gorka is a world-renowned singer-songwriter who got his start at a neighborhood coffeehouse in eastern Pennsylvania.  Jack Hardy's legendary Fast Folk circle (a breeding ground for many a major singer-songwriter) was a powerful source of education and encouragement early in his career, and he won the New Folk Award in 1984 at Texas' Kerrville Folk Festival. In addition to his 11 critically acclaimed albums, John released a collector's edition box featuring a hi-definition DVD and companion CD called The Gypsy Life. Windham Hill also released a collection of John's greatest hits from the label called Pure John Gorka. In 2010, he also released an album with his friends and Red House label-mates Lucy Kaplansky and Eliza Gilkyson under the name Red Horse. Getting high praise from critics and fans alike, it landed on the Billboard Folk Charts and was one of the most played albums on folk radio. Many well known artists have recorded and/or performed John Gorka songs, including Mary Chapin Carpenter, Nanci Griffith, Mary Black and Maura O'Connell. John has played all over the USA and Europe at hallowed venues like Austin City Limits and Mountain Stage.

The story of Windham Hill Records is both a story of success, and a cautionary tale. From its emergence in the heart of Silicon Valley in 1976 as a tiny independent label for co-founder WILL ACKERMAN's ironically low-tech solo acoustic guitar music, it became the poster child for the emerging genre that was eventually dubbed New Age by the record industry ten years later. Described as "instrumental, acoustic, and mellow," with high quality analogue recordings on vinyl and tasteful minimalist graphics, Windham Hill got distribution from one of the major labels, expanded its roster with kindred acoustic artists like pianist GEORGE WINSTON and guitarist MICHAEL HEDGES, and went on to sell millions of records. So...success, but there's a big difference between music, and the music business. The pressure was intense, and Will Ackerman wasn't happy. He never wanted to be a corporate record executive, so he sold his half of the company in 1992 and retired to a farm in rural Vermont. That would normally be the end of the story, but Ackerman was still relatively young and wanted to get back to making music. So he built a recording studio on the property, teamed up with ace engineers CORIN NELSEN and TOM EATON, and began to record and produce other acoustic artists. A few years later he started another independent label, but this time — he stayed independent. And that's where the story takes a creative turn. In over twenty years of working with hundreds of compatible musicians, Ackerman began to collaborate as an acoustic guitarist as well as a producer, which led to participation in instrumental "supergroups" like FLOW (in 2019) with trumpeter JEFF OSTER, guitarist LAWRENCE BLATT, pianist FIONA JOY HAWKINS, and triple-threat artist-engineer-producer TOM EATON; and (in 2021) with JEFF OSTER and TOM EATON in BROTHERS....

To paraphrase Dr. Winston O'Boogie (John Lennon speaking of Chuck Berry and the art of rock and roll) – if you want to call solo bass by another name…call it… Michael Manring! A fretless virtuoso, Manring brings the instrument to places hitherto unknown, unexplored, and untried – until now. Working his virtuosity on the fretless with a myriad of tonal and textural effects and alternative tunings, Manring is a genre unto himself. Self-effacing, gracious, insightful, humble, and humorous are just a few of the adjectives to describe this conversation with Mr. “Manthing.”Michael Manring Playlist

Michael Dowling has been the Head Co-Coach of the Centenary University IHSA Team and an Assistant Professor of Equine Studies for 20 years. Centenary is located in Hackettstown, NJ and Michael is also the owner of Windham Hill in Far Hills, NJ and Wellington and Ocala, FL. Michael also is a horse show manager, judge, steward and course designer. Michael has his B.A. from Fairfield University in Fairfield, CT and a diploma in International Relations at the University of Lancaster, England. Michael.dowling@centenaryuniversity.edu

On her second lp, the newly released Urban Driftwood, Virginia-based guitarist Yasmin Williams creates expansive acoustic music. Playing guitar, kalimba, percussion, and kora, she pulls from disparate musical strands—including the smooth jazz she heard growing up—into music that feels spiritually connected to New Age music, Windham Hill guitar, and the work of contemporaries like Daniel Bachman (who calls her "a guitarist for a new century"), William Tyler, and Marisa Anderson, both whom she's recently collaborated. She joined us for a conversation about being a Black artist in a primarily white genre, how she taught herself guitar, and how she processes the "American Primitive" genre tag.

You would be hard pressed to find a bass guitarist that has pushed the boundaries of the instrument further than Michael Manring. Michael is one of the premiere bassists of our time and recently talked by phone with Brad Apple about his career. He talks about what it was like to take lessons from Jaco Pastorius, recording for the Windham Hill record label, his current recording, basses, and much more!Support the show (http://www.paypal.me/acousticmusictalk)

ArTEEtude is West Cork´s first art, fashion and design podcast created and produced by Detlef Schlich. He will dive and discover with us and the multi talent Kenny Dread into the unknown and exciting deep ocean of the creative mind. In this podcast, Dread and Schlich speak about Dread´s time as musician, stage-diving into the 1980's Washington D.C. punk-rock scene. He recorded go-go anthem D.C. Groove ( https://www.youtube.com/watch?v=WHS7FYDDEVM ) with Static Disruptors in 1982 and toured the East Coast with go-go punks Outrage until 1987. The Static D's and Outrage brought the funk to new-wave clubs like CBGB and Danceteria and had the skinheads skanking at hardcore hall shows. Kenny Dread got his stage name touring ( https://www.youtube.com/watch?t=3589&v=RjBfz6azC28 ) and recording with the legendary Rastafari punk shaman and Rock & Roll Hall of Fame nominee H.R. ( http://hrdocumentary.com/ ) , lead singer of Bad Brains ( https://www.youtube.com/watch?v=2pUlNfdnsAM ). During the 80's Kenny also promoted concerts and afterhours parties, produced records for D.C. punk groups ( https://www.youtube.com/watch?v=ptlUWdZiXbM ) , performed with nyabinghi reggae godfather Ras Michael ( https://www.youtube.com/watch?v=ixIEgQmbQYs ) , and recorded with English punk goddess Poly Styrene of X-Ray Spex ( https://www.youtube.com/watch?v=DGROSJbCPV8 ). The early 90's found Kenny in the South of France performing with American expatriate rock band The Immigrants ( https://www.youtube.com/watch?v=FmgY4wQgG2M ) , and collaborating with members of that group to create his first solo foray, the dreamy folk-rock Walkin' Down Your Street ( https://www.kennydread.com/music/walkin-down-your-street/ ). A slow motion move to the West of Ireland inspired a more acoustic mode: The rootsy singer-songwriter album Powderhorn ( https://www.kennydread.com/music/powderhorn/ ) was released in 1997 with contributions from Asian-American guitar wizard Levi Chen and Windham Hill harpist Lisa Lynne ( https://lisalynne.com/windham-hill-winter-solstice/ ) , as well as a licensed adaption of poetry by Michael Ondaatje ( https://en.wikipedia.org/wiki/Michael_Ondaatje ) , author of The English Patient. Kirtan yoga chanting became a major focus from the turn of the century: Kenny Dread co-founded and produced Chicago chant ensemble Devi 2000 ( https://open.spotify.com/track/09Pxz5sRahmv2N0VdoGixt ) , and performed with kirtan dignitaries Dave Stringer and Bhagavan Das. Schlich is Visual Artist, Film Maker and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture and the video installation Transodin´s Tragedy. He is mainly working in the field of performance, photography, painting, sound, installations, and film. To research our human condition and create art work from this reflection he is using often the methodology of the digital-shaman as alter ego. Due to the pandemie and the following lock down Schlich had to stop his recent project, which was a digital crossover opera called Tribal Loop. Working on a new podcast concept and design, he produced and finally published the ArTEEtude podcast in August 2020. A new ArTEEtude episode is available twice a week on every common podcast platform. --------------- *WEBSITE LINKS* --------------- *Instagram* ----------- *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) ** *Facebook* ---------- *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *ArTEEtude* ( http://www.arteetude.com/ ) *You Tube Channels* ------------------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) ** *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) ** *Detlef Schlich* ( http://www.detlefschlich.com/ ) ** *Det Design* ( http://www.detdesign.com/ ) ** *Tribal Loop* ( http://www.triballoop.com/ ) ** *Download here for free Detlef Schlich´s Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- *Kenny Dread Social Media* Contact and Videeo Clips --------------------------------------------------- https://www.kennydread.com/ https://www.instagram.com/kenny_dread/ https://www.facebook.com/kennydread/ https://www.youtube.com/channel/UCgeCsEQB_iQquiq6eX-Mu5Q Bad Brains https://www.youtube.com/watch?v=2pUlNfdnsAM ( https://l.facebook.com/l.php?h=AT2YVGGrIqWAoppwB4f9wNoAEpcrss26b0bS8uw7OMBxV0uZmPiVedM_5_XT3FVkurdXBZeSmuXARRXn9PDTkhULHGGPsaJqZSeD4AGp_I5-KcFyUt2saQJEWAUeEW2WT7k&u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D2pUlNfdnsAM%26fbclid%3DIwAR1daTNnZdN63ww4OR4KFqc7j0Zt0LZ2DnyrMTabtxcdB4dD2_sYlfpguDE ) Static Disruptors https://www.youtube.com/watch?v=WHS7FYDDEVM ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=WHS7FYDDEVM ) Kenny Dread https://www.youtube.com/watch?v=t_3aVtK4HRM ( https://www.youtube.com/watch?fbclid=IwAR1j1zXJnQMo7biojONvKdJGA_UQQ2dbp8-4i3W3JcPZLvcFn-ibnwd6uDc&v=t_3aVtK4HRM ) https://www.youtube.com/watch?v=x45AxfdA31o ( https://www.youtube.com/watch?fbclid=IwAR0hHPpwe1-7wVR6tJAiojxwi6ps7745VfswByAJ17LlIUEXtiOFdx8ANGQ&v=x45AxfdA31o ) https://www.youtube.com/watch?v=xDNyRjhVe1Y ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=xDNyRjhVe1Y ) Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

ArTEEtude is West Cork´s first art, fashion and design podcast created and produced by Detlef Schlich. He will dive and discover with us and the multi talent Kenny Dread into the unknown and exciting deep ocean of the creative mind. In this podcast, Dread and Schlich speak about Dread´s time as musician, stage-diving into the 1980's Washington D.C. punk-rock scene. He recorded go-go anthem D.C. Groove ( https://www.youtube.com/watch?v=WHS7FYDDEVM ) with Static Disruptors in 1982 and toured the East Coast with go-go punks Outrage until 1987. The Static D's and Outrage brought the funk to new-wave clubs like CBGB and Danceteria and had the skinheads skanking at hardcore hall shows. Kenny Dread got his stage name touring ( https://www.youtube.com/watch?t=3589&v=RjBfz6azC28 ) and recording with the legendary Rastafari punk shaman and Rock & Roll Hall of Fame nominee H.R. ( http://hrdocumentary.com/ ) , lead singer of Bad Brains ( https://www.youtube.com/watch?v=2pUlNfdnsAM ). During the 80's Kenny also promoted concerts and afterhours parties, produced records for D.C. punk groups ( https://www.youtube.com/watch?v=ptlUWdZiXbM ) , performed with nyabinghi reggae godfather Ras Michael ( https://www.youtube.com/watch?v=ixIEgQmbQYs ) , and recorded with English punk goddess Poly Styrene of X-Ray Spex ( https://www.youtube.com/watch?v=DGROSJbCPV8 ). The early 90's found Kenny in the South of France performing with American expatriate rock band The Immigrants ( https://www.youtube.com/watch?v=FmgY4wQgG2M ) , and collaborating with members of that group to create his first solo foray, the dreamy folk-rock Walkin' Down Your Street ( https://www.kennydread.com/music/walkin-down-your-street/ ). A slow motion move to the West of Ireland inspired a more acoustic mode: The rootsy singer-songwriter album Powderhorn ( https://www.kennydread.com/music/powderhorn/ ) was released in 1997 with contributions from Asian-American guitar wizard Levi Chen and Windham Hill harpist Lisa Lynne ( https://lisalynne.com/windham-hill-winter-solstice/ ) , as well as a licensed adaption of poetry by Michael Ondaatje ( https://en.wikipedia.org/wiki/Michael_Ondaatje ) , author of The English Patient. Kirtan yoga chanting became a major focus from the turn of the century: Kenny Dread co-founded and produced Chicago chant ensemble Devi 2000 ( https://open.spotify.com/track/09Pxz5sRahmv2N0VdoGixt ) , and performed with kirtan dignitaries Dave Stringer and Bhagavan Das. Schlich is Visual Artist, Film Maker and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture and the video installation Transodin´s Tragedy. He is mainly working in the field of performance, photography, painting, sound, installations, and film. To research our human condition and create art work from this reflection he is using often the methodology of the digital-shaman as alter ego. Due to the pandemie and the following lock down Schlich had to stop his recent project, which was a digital crossover opera called Tribal Loop. Working on a new podcast concept and design, he produced and finally published the ArTEEtude podcast in August 2020. A new ArTEEtude episode is available twice a week on every common podcast platform. --------------- *WEBSITE LINKS* --------------- *Instagram* ----------- *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) ** *Facebook* ---------- *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *ArTEEtude* ( http://www.arteetude.com/ ) *You Tube Channels* ------------------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) ** *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) ** *Detlef Schlich* ( http://www.detlefschlich.com/ ) ** *Det Design* ( http://www.detdesign.com/ ) ** *Tribal Loop* ( http://www.triballoop.com/ ) ** *Download here for free Detlef Schlich´s Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- *Kenny Dread Social Media* Contact and Videeo Clips --------------------------------------------------- https://www.kennydread.com/ https://www.instagram.com/kenny_dread/ https://www.facebook.com/kennydread/ https://www.youtube.com/channel/UCgeCsEQB_iQquiq6eX-Mu5Q Bad Brains https://www.youtube.com/watch?v=2pUlNfdnsAM ( https://l.facebook.com/l.php?h=AT2YVGGrIqWAoppwB4f9wNoAEpcrss26b0bS8uw7OMBxV0uZmPiVedM_5_XT3FVkurdXBZeSmuXARRXn9PDTkhULHGGPsaJqZSeD4AGp_I5-KcFyUt2saQJEWAUeEW2WT7k&u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D2pUlNfdnsAM%26fbclid%3DIwAR1daTNnZdN63ww4OR4KFqc7j0Zt0LZ2DnyrMTabtxcdB4dD2_sYlfpguDE ) Static Disruptors https://www.youtube.com/watch?v=WHS7FYDDEVM ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=WHS7FYDDEVM ) Kenny Dread https://www.youtube.com/watch?v=t_3aVtK4HRM ( https://www.youtube.com/watch?fbclid=IwAR1j1zXJnQMo7biojONvKdJGA_UQQ2dbp8-4i3W3JcPZLvcFn-ibnwd6uDc&v=t_3aVtK4HRM ) https://www.youtube.com/watch?v=x45AxfdA31o ( https://www.youtube.com/watch?fbclid=IwAR0hHPpwe1-7wVR6tJAiojxwi6ps7745VfswByAJ17LlIUEXtiOFdx8ANGQ&v=x45AxfdA31o ) https://www.youtube.com/watch?v=xDNyRjhVe1Y ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=xDNyRjhVe1Y ) Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

ArTEEtude is West Cork´s first art, fashion and design podcast created and produced by Detlef Schlich. He will dive and discover with us and the multi talent Kenny Dread into the unknown and exciting deep ocean of the creative mind. In this podcast, Dread and Schlich speak about Dread´s time as musician, stage-diving into the 1980's Washington D.C. punk-rock scene. He recorded go-go anthem D.C. Groove ( https://www.youtube.com/watch?v=WHS7FYDDEVM ) with Static Disruptors in 1982 and toured the East Coast with go-go punks Outrage until 1987. The Static D's and Outrage brought the funk to new-wave clubs like CBGB and Danceteria and had the skinheads skanking at hardcore hall shows. Kenny Dread got his stage name touring ( https://www.youtube.com/watch?t=3589&v=RjBfz6azC28 ) and recording with the legendary Rastafari punk shaman and Rock & Roll Hall of Fame nominee H.R. ( http://hrdocumentary.com/ ) , lead singer of Bad Brains ( https://www.youtube.com/watch?v=2pUlNfdnsAM ). During the 80's Kenny also promoted concerts and afterhours parties, produced records for D.C. punk groups ( https://www.youtube.com/watch?v=ptlUWdZiXbM ) , performed with nyabinghi reggae godfather Ras Michael ( https://www.youtube.com/watch?v=ixIEgQmbQYs ) , and recorded with English punk goddess Poly Styrene of X-Ray Spex ( https://www.youtube.com/watch?v=DGROSJbCPV8 ). The early 90's found Kenny in the South of France performing with American expatriate rock band The Immigrants ( https://www.youtube.com/watch?v=FmgY4wQgG2M ) , and collaborating with members of that group to create his first solo foray, the dreamy folk-rock Walkin' Down Your Street ( https://www.kennydread.com/music/walkin-down-your-street/ ). A slow motion move to the West of Ireland inspired a more acoustic mode: The rootsy singer-songwriter album Powderhorn ( https://www.kennydread.com/music/powderhorn/ ) was released in 1997 with contributions from Asian-American guitar wizard Levi Chen and Windham Hill harpist Lisa Lynne ( https://lisalynne.com/windham-hill-winter-solstice/ ) , as well as a licensed adaption of poetry by Michael Ondaatje ( https://en.wikipedia.org/wiki/Michael_Ondaatje ) , author of The English Patient. Kirtan yoga chanting became a major focus from the turn of the century: Kenny Dread co-founded and produced Chicago chant ensemble Devi 2000 ( https://open.spotify.com/track/09Pxz5sRahmv2N0VdoGixt ) , and performed with kirtan dignitaries Dave Stringer and Bhagavan Das. Schlich is Visual Artist, Film Maker and Ritual Designer, living and loving in West Cork and best known for his Essay about the Cause and Effect of Shamanism, Art and Digital Culture and the video installation Transodin´s Tragedy. He is mainly working in the field of performance, photography, painting, sound, installations, and film. To research our human condition and create art work from this reflection he is using often the methodology of the digital-shaman as alter ego. Due to the pandemie and the following lock down Schlich had to stop his recent project, which was a digital crossover opera called Tribal Loop. Working on a new podcast concept and design, he produced and finally published the ArTEEtude podcast in August 2020. A new ArTEEtude episode is available twice a week on every common podcast platform. --------------- *WEBSITE LINKS* --------------- *Instagram* ----------- *Detlef Schlich* ( https://www.instagram.com/detschlich/ ) ** *ArTEEtude* ( https://www.instagram.com/arteetude/ ) ** *I love West Cork Artists* ( https://www.instagram.com/ilovewestcorkartists/ ) ** *Facebook* ---------- *Detlef Schlich* ( https://www.facebook.com/Transodin ) ** *I love West Cork Artists Group* ( https://www.facebook.com/groups/WestCorkArt/ ) *ArTEEtude* ( http://www.arteetude.com/ ) *You Tube Channels* ------------------- visual Podcast *ArTEEtude* ( https://www.youtube.com/channel/UCBnOjvvGVETmyPqv-jMCw1g?guided_help_flow=3 ) *Cute Alien TV* ( https://www.youtube.com/channel/UCDN-60zrAMRlZn3rh2bxn7zA ) ** *official Website* ------------------ *ArTEEtude* ( http://www.arteetude.com/ ) ** *Detlef Schlich* ( http://www.detlefschlich.com/ ) ** *Det Design* ( http://www.detdesign.com/ ) ** *Tribal Loop* ( http://www.triballoop.com/ ) ** *Download here for free Detlef Schlich´s Essay about the* *Cause and Effect of Shamanism, Art and Digital Culture* ( https://www.researchgate.net/publication/303749640_Shamanism_Art_and_Digital_Culture_Cause_and_Effect ) ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- *Kenny Dread Social Media* Contact and Videeo Clips --------------------------------------------------- https://www.kennydread.com/ https://www.instagram.com/kenny_dread/ https://www.facebook.com/kennydread/ https://www.youtube.com/channel/UCgeCsEQB_iQquiq6eX-Mu5Q Bad Brains https://www.youtube.com/watch?v=2pUlNfdnsAM ( https://l.facebook.com/l.php?h=AT2YVGGrIqWAoppwB4f9wNoAEpcrss26b0bS8uw7OMBxV0uZmPiVedM_5_XT3FVkurdXBZeSmuXARRXn9PDTkhULHGGPsaJqZSeD4AGp_I5-KcFyUt2saQJEWAUeEW2WT7k&u=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D2pUlNfdnsAM%26fbclid%3DIwAR1daTNnZdN63ww4OR4KFqc7j0Zt0LZ2DnyrMTabtxcdB4dD2_sYlfpguDE ) Static Disruptors https://www.youtube.com/watch?v=WHS7FYDDEVM ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=WHS7FYDDEVM ) Kenny Dread https://www.youtube.com/watch?v=t_3aVtK4HRM ( https://www.youtube.com/watch?fbclid=IwAR1j1zXJnQMo7biojONvKdJGA_UQQ2dbp8-4i3W3JcPZLvcFn-ibnwd6uDc&v=t_3aVtK4HRM ) https://www.youtube.com/watch?v=x45AxfdA31o ( https://www.youtube.com/watch?fbclid=IwAR0hHPpwe1-7wVR6tJAiojxwi6ps7745VfswByAJ17LlIUEXtiOFdx8ANGQ&v=x45AxfdA31o ) https://www.youtube.com/watch?v=xDNyRjhVe1Y ( https://www.youtube.com/watch?fbclid=IwAR3U1fW4uXEDEQ7aIW_v8euchaEXSoz48tSYQlExwPCinvDJiKfSwC2hSq4&v=xDNyRjhVe1Y ) Support this podcast at — https://redcircle.com/arteetude-a-podcast-with-artists-by-detlef-schlich/donations

On this episode, Laura Chandler is in conversation with producer and director, Paul Howard, talking about his latest documentary, Infinite Potential: The Life & Ideas of David Bohm. Bohm was a visionary physicist and explorer of consciousness, who Einstein called his “spiritual son” and the Dalai Lama called his “science guru.” Bohm’s explorations led him to intuit a hidden order to reality — the Quantum Potential — that underlies both the microscopic world of subatomic particles and also the macro world of stars and galaxies. In this episode, Paul and Laura discuss Baum’s early work, his initial rejection by the scientific community, his relationship with spiritual leaders the Dalai Lama and Krishnamurti, and the intersection of science and spirituality demonstrated in Bohm’s life and his work, the hidden-variable theory. Paul Howard has directed many critically acclaimed documentaries including Waiting for Houlihan, The Irish in Hollywood, Bloomsday, and Triumph of the Nomads — a history of Australia prior to the arrival of European white settlement. You can learn more about Paul and his lastest film at infinitepotential.com. Our featured musical artist is composer and multi-instrumentalist, Aryeh Frankfurter. In addition to his outstanding solo releases, he has played on numerous records with a variety of artists, and regularly collaborates with his partner and colleague, Windham Hill artist and Billboard chart-topping harpist and composer, Lisa Lynne. Learn more about Aryeh at lionharp.com.

No, it's not Windham Hill

Kari connects Patti to her dad and soul sister, while they talk about their Windham Hill days which was like a tsunami and included having their videos on MTV alongside bands like Depeche Mode and the advice they gave to their niece St. Vincent, what they see is their raison d'etre as a duo, whether they are always together personally and professionally because of their love or the music, past lives and how they recognized each other before speaking at that moment they met again, not playing it safe on stage and metaphors for life, how this moment in the world is different for everyone, the music that plays in their heads, Bach gets a mention, Tuck's way of reminding himself to be grateful in that moment, Patti's songwriting and what she does for grounding, and is scatting like channeling and can everyone do it?

A talk with Gary Schmidt in Colorado. His first recording in 2016 “Landscapes of the Heart was produced by Windham Hill founder, Will Ackerman. It went on to win the award forBest Piano with Instruments from both One World Radio, based out of the UK, and Enlightened piano radio. His second recording in 2018 “Even for a Moment” was released by Heart Dance Records and again was nominated for Best Piano with Instruments from One World Radio (it won third). Along the way he appeared as performer in award ceremonies at both Carnegie Hall and the Grand Old Opry. https://www.apianist.com

Will talks about being on KGO radio as a kid, the Kingston Trio, the serendipity of how he stumbled onto his life path, which ultimately led to his life, which includes being a Grammy-winning musician and creating the famed Palo Alto-based label Windham Hill Records that created a new instrumental genre of music that created a life for many artists, including the story of how he met George Winston, writing music in Positano, Italy, and farming and feeding chickens in Vermont now.

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!

Grammy nominated - Windham Hill producer, Cookie Marenco and artist Jenna Mammina talks about high-end audio and starting Blue Coast Records. | http://www.jennamammina.com | https://bluecoastrecords.com | In addition, Tom discusses the state of audio shows and women in audio with California Audio Show General Manager Vivian Lamb. MUSIC Pond 5 | All The Right Moves' Brandon Daily "Money Isn't Everything" and Jeff Gehlart playing Aud Lang Syne. www.uncommoncorepodcast.com https://www.instagram.com/uncommoncorepodcast/ https://www.pinterest.com/uncommoncorepod/pins/ SUPPORT the UnCommonCore Podcast by contributing $1 to our Patreaon page at :  https://www.patreon.com/UnCommonCore Happy New Year!!!

Scott Tennant is a founding member of the the Los Angeles Guitar Quartet, the GRAMMY-winning ensemble composed of alumni of the USC Thornton School of Music, and is himself considered to be one of the world’s top classical guitarists. During his student years at USC (1980-1986), he studied with Pepe Romero, James Smith and was a chosen performer in the USC Segovia Masterclasses of 1981 and 1986. He has authored several books and articles on guitar technique, including the best-seller Pumping Nylon, which has attained a “cult” classic status. It has become a standard text in conservatory and university guitar programs around the world.Tennant has made numerous recordings as a soloist on the GHA, Delos and GSP labels, and with the LAGQ he has recorded for GHA, Delos, Sony Classical, Windham Hill, Deutsche Grammophon and Telarc labels. Their Telarc release LAGQ Latin was nominated for a Grammy award, and it was their current Telarc title LAGQ’s Guitar Heroes that won a Grammy as the best classical crossover recording of 2005. Tennant is best known for his performances of Spanish music, and his recordings of the music of Joaquín Rodrigo.Due to a technical glitch, the conversation enters mid-stream as we were talking about the way classical guitar playing levels have changed over the years. We go on to discuss his injury that nearly ended his playing, his recordings, we talk about traveling and balancing a teaching schedule, the state of the recording business these days and much more. Enjoy!

Steve KIW (BAOL) Guest Mix |Gigi Masin – Swallows tempest – Bear On The Moon LP ‘Wind' |Dos Palos – I've been around (Seahawks ultra remix) – NuNorthernSoul 12” |Merge – Black room – Growing Bin LP ‘Long Distance' |George Winston – Thanksgiving – Windham Hill LP ‘An introduction to Windham Hill' |Dip In The Pool – On Retinae (west version) - Music From Memory 12” |Monsoon – Sunset across the Ganges – Mobile Suit Corporation 12” |Los Porcos – Jesus luvs u baby (Coyote lazy hammock mix)– Uber 12” |Zoovox - Why (ambient version) – Lectric Sands EP ‘Great cats and weak dogs' |M – Transmission (the world is at your fingertips) – MCA LP ‘The Official Secrets Act' | B12 – Soundtrack of space – Warp LP |Doug Ashdown – Winter in America – Decca LP ‘Winter in America' |

Will Ackerman plays guitar beautifully and has inspired many people with the heart in his music, including his many records and the artists he produced as founder of Windham Hill Records. He listened to music all the time as a youngster, and used to call in to Jim Lange’s show on KGO radio to request songs. He was even interviewed by Lange when he was young and saw the record business. He also knew the members of the Kingston Trio while at Stanford, and learned that, “Music is made by people; it’s not a distant thing. … From a very young age, music was very important to me.” He experienced many amazing coincidences in his life related to music, as he explains in the podcast. A neighbor, Michael Kilmartin, first put a guitar in his hands, and then ended up promoting Will’s first record nationally to radio stations. “There was almost nothing that was intentional,” he says. He found something in open tunings that really resonated with him when playing guitar; they allowed him to remove the intellectual aspects from the process and the only thing he had to work with was emotion and feeling. “It was just pure heart,” he says. Doors flew open for him, and that was also the story with the founding of Windham Hill and the many, many fantastic artists on its records. “I found refuge in listening to music, and I think probably that informed my approach as to how I approached music in myself. … The process for me was utterly subjective. I wasn’t trying to change the world. I wasn’t trying to give the world a gift. I was only trying to be true to the emotion, and some very painful memories or new occurrences. I was somebody who needed deeply, emotionally, to express something that I think words were not capable of doing for me.” He also has felt great solace through nature in his life, which is also sensed in his amazing music. Please enjoy a fascinating Planetary Gig Talk podcast interview with Will. You can find out more at www.williamackerman.com and contact him at will@williamackerman.com.

PLAYLIST MÚSICAS IMAGINADAS 15 DE ABRIL DE 2019 - A WINGED VICTORY FOR THE SULLEN. We Played Some Open Chords (A Winged Victory for the Sullen, 2011) - DAVID LANZ. Wings to Altair (Cristofori's Dream Re-envisioned, 2013) - TIM STORY. Lydia (The Perfect Flaw, 1994) - ANCIENT FUTURE. Hillside View (VV.AA. Narada Decade, the Anniversary Collection, 1993) - DAVID FRANKLIN & MICHAEL MANRING. Not Just a Walk in the Park (Playing with Shadows, 2015) - PETER KATER & R. CARLOS NAKAI. Walking the Path (Migration, 1992) - WILLIAM ALLAUDIN MATHIEU & BOBBY MCFERRIN. To the Well (VV.AA. Windham Hill, the First Ten Years, 1990) - ANNE LOVETT. The Eleventh Hour (The Eleventh Hour, 2018) - MAX RICHTER. On the Nature of Daylight (The Blue Notebooks, 2004) - LUDOVICO EINAUDI. Experience (In a Time Lapse, 2013)

On this episode, hear the conclusion of Laura Chandler’s interview with scholar and bestselling author, Robert Thurman, who talks about the importance of the Sacred Feminine, the ways he sees humankind progressing, and why there is reason for hope. And in the second half, Laura is joined by author and teacher, Isa Gucciardi, who regularly co-teaches workshops with Bob on the subjects of Buddhism, shamanism, and the Divine Feminine. Isa discusses her workshops with Bob and the importance of bringing the masculine and feminine aspects in each of us into balance in order to create a more peaceful, productive, and harmonious world. To learn more about Bob or to listen to his podcast, visit bobthurman.com. For more on his classes and retreats, visit his retreat center website, menla.us, or Tibet House’s website, tibethouse.us. To learn more about Isa Gucciardi, visit her websites, isagucciardi.com and depthhypnosis.com. Our featured music is from Lisa Lynne and the Elfin Love Tribe, Instrumental Songs of Good Cheer, featuring Sony and Windham Hill recording artist, Lisa Lynne (lisalynne.com) and acclaimed composer and multi-instrumentalist, Aryeh Frankfurter (lionharp.com).

Greetings from the rainy west. Welcome to the February episode of the Aquarium Drunkard Transmissions podcast. This episode, we’ve got a duo of musicians whose art blurs the lines between minimalism, the avant-garde, and Americana (whatever that word means in this fractured age). This episode, we’re joined by guitarist William Tyler. You might recognize him from our podcast’s theme song, “Four Corners,” or the essay he recently penned for Aquarium Drunkard, “Cosmic Pastoral,” which drew lines connecting the tranquil sounds of Windham Hill to cosmic new age, the modern jazz and classical sounds of ECM, and William’s own music. Your host Justin Gage sat down with him at Gold Diggers in East Hollywood as part of our recurring Talk Show series, to discuss and hear live selections from his most new record, Goes West. But first, we head to Wickenburg, Arizona where Jason P. Woodbury sat down with Bruce Hornsby to discuss his brand new, just announced album, Absolute Zero. It’s out April 12th, and like everything he does, it’s hard to put it in a box. Self-produced, the record features collaborations with Justin Vernon of Bon Iver, Brad Cook, ECM veteran Jack DeJohnette, guitarist Blake Mills, yMusic, Grateful Dead lyricist Robert Hunter, and others. There are moments inspired by jazz, others inspired by classical, some which draw on Hornsby’s folk and roots influences.

El episodio de esta semana tenía que girar alrededor de un sello discográfico, Narada, que en la década de los 80 y 90 fue el digno competidor de Windham Hill por el liderazgo de la música New Age en los EE. UU., pero ha irrumpido con fuerza la última obra de Ezio Bosso, la Sonata nº 1 para Cello y Piano y ha acabado convirtiéndose en el centro de este capítulo. La vuelta a las raíces musicales de Bosso nos sirve para explorar diferentes estilos y épocas musicales, pero teniendo al piano como hilo conductor de buena parte del programa. Esta semana escucharemos temas de Michael Jones, Angus MacRae, Bruno Sanfilippo, Federico Albanese, Arvo Pärt, Ludwig van Beethoven, Ezio Bosso, The Narada Artists, Josh Cohen, Kostia, Lito Vitale, Giovanni Sollima, Rodrigo Leão y Paul Mounsey.

Working Class Audio Session #118 with Tyler Crowder!!! Tyler Crowder is a freelance recording/audio engineer in the San Francisco Bay Area, who enjoys working in various recording studios, where he's done projects with both artist on major labels including Sony, RCA, Def Jam, GOOD Music, Windham Hill, Arista Records, B&G, Dancing Cat, etc. as well as  with a diverse range of local indy bands.  By working with a diverse range of major artists and local indy artist, it allows Tyler to be fluent in all styles of music, and be able to contribute to the local community of musicians and bands that surround the San Francisco Bay Area. Over the years Tyler has earned 2 Grammy nominations for audio engineering, and participated in many Billboard Charting Albums. Tyler has worked with numerous artists including Kanye West, Justin Bieber, Jennifer Hudson, Lil’ Wayne, Snoop Dog, George Winston, Melvin Seals, Tuck & Pattie, Joan Jeanrenaud, Phil Aaburg, Henry Butler, Dave “Dave’s Hands” Jackson, Keola Beamer, Cyril Pahinui, Bola Sete, Professor Longhair, Steven, Damian, and Ziggy Marley, and the Los Lonely Boys along with many other artists.

Fiona Joy poured her heart and soul into Signature – Synchronicity, a New Age album submitted to the 59th Grammy Awards for consideration. You can listen on: http://www.thebcompany.com/fionajoy-fyc.html. Or a Soundcloud link https://soundcloud.com/user-260052746 From Fiona I'm very proud of this album about fairy-tales told from an adult perspective - it has taken me a long time to be able to find a little 'naïve' in some of these heart-felt issues. I’m a full-time composer, recording and touring musician and just returned from my third tour of China. Signature - Synchronicity is my 11th album with Little Hartley Music and I’m also an audiophile who records in hi-res formats with Blue Coast Records (content partners with Sony). I have been an ARIA Finalist (Australia), 8 x New Age Music Award Winner, a 5x IMA Finalist, and I’ve been Runner Up or Finalist in the International Acoustic Music Awards (IAMAs) over the last three years. On this album, I believe I’ve worked with some of the finest session musicians in the world including Tony Levin, Jeff Haynes, Eugene Friesen and legendary Producer and guitarist Will Ackerman (Founder, Windham Hill Records), who says: “One of the brightest lights in contemporary instrumental music, Fiona Joy is poised to move into stardom.” - Will Ackerman, Founder of Windham Hill Records Australian Pianist, Producer & Singer Fiona Joy is enjoying the success of her recent release Signature Synchronicity after returning from her third major tour of China, recording a new album in the US, and featuring in several Australian concerts with her Blue Dream Ensemble at the Joan Sutherland Performing Arts Centre and the Sydney Women's International Jazz Festival. In China Fiona Joy is nick-named The Piano Angel, not just for her romantic, melodic songs and lush arrangements, but also for her gracious and mesmerizingly ballet-like performance style in concert. A prolific composer, she has always been interested in creating music that evokes images, emotions and stories. The album so far has won two catetories in the Independent Music Awards, a Finalist in the International Acoustic Music Awards, Hollywood Music in Media Awards and the USA Songwriting Competition. Her recording schedule for 2017 includes Blue Coast Records solo piano release (SACD/CD/DSD) Into the Mist and FLOW - the debut album by Fiona Joy, Lawrence Blatt, Jeff Oster & Will Ackerman. FLOW will be a groundbreaking release by a New Age group fof successful artists inspired by the iconic music of Windham Hill. It follows that her upbringing was filled with music. She recalls that her father embraced Andrew Lloyd Webber's music, playing Jesus in the Tamworth Musical Society production of Jesus Christ Superstar. Her classical piano training is evident in her thematic and melodic compositions. Ravel's “Bolero” emerged as an early influence, she says, adding, "I loved it, I played it over and over and deconstructed every part. George Winston, Prokofiev and Mendelssohn also intrigued me.” In 2015 Fiona contributed to a GRAMMY-winning album and traversed three continents, performing solo on a grand tour of China, entertaining in the U.S. at the ZMR Awards and at the audiophile Mecca, T.H.E. Show, closing out the year in Australia at the Sydney Women's International Jazz Festival with her renowned Blue Dream Ensemble. Once home, she attracted the national TV show ‘Lateline’, which ran a feature lifestyle piece on her life and music. (https://youtu.be/6RCTtmkwdSI) In 2014, a version of Fiona’s song “Grace” was chosen for a GRAMMY®-winning album that also reached #1 on the Billboard charts, and in 2013, her evocative piano and ethereal vocals earned her the global broadcaster’s choice and honor as the Best Instrumental Piano Album for600 Years in a Moment at the ZMR Awards, whose airplay charts she also graced at #1 for several months with Signature Solo. Fiona Joy also placed as Runner Up for Best Instrumental Song in the International Acoustic Music Awards, nominated alongside Pete Seeger for Best LIVE Performance Album in the Independent Music Awards, and she was an ARIA Finalist in Australia in 2008. As a forward-looking artist, Fiona is interested in pioneering new musical concepts and recording techniques to better serve her highly-interactive fan base. She frequently appears at audiophile conferences, and is signed to Blue Coast Records for high-fidelity recordings; owner/producer Cookie Marenco is considered and leader in the field, partnering with Sony Music to deliver hi-resolution music to discerning audiophile consumers. Marenco says, "Fiona's melodic solo piano and masterful performances are the perfect music to debut the kind of clarity double DSD audio brings to the home listener.  Her music is a cross of George Winston's simple melodies and Ludovico Einaudi's musical sophistication." Fiona's hard work and conceptual vision for the Signature Series is now coming to fruition in Signature Synchronicity, produced in collaboration with Will Ackerman's team in full orchestral form. Ackerman, founder of both Windham Hill Records and Imaginary Road Studios, embraced and encouraged Fiona’s music years ago, stating, “Fiona’s Blue Dream album was the most ambitious project of my entire career and resulted in one of the most remarkable collaborations this genre has ever known. Blue Dream is unique and I’m as proud of it as anything I’ve ever worked on in my 35-year career of GRAMMY® Awards and Gold/Platinum records.”  As a collaborator, Fiona has worked with Will Ackerman, Lawrence Blatt, T-Bone Wolk (Hall & Oates), Tony Levin (Peter Gabriel, Dire Straits), Jeff Haynes (Pat Metheny), Eugene Friesen (Paul Winter Consort), Heather Rankin, Charlie Bisharat (Shadowfax), Rebecca Daniel (ACO), Jeff Oster and many others. In 2014, she and Ackerman co-produced the successful debut album of Jennifer DeFrayne, who won Best New Artist in the 2015 ZMR Awards for her album By A Wire. Music writer Michael Diamond, recently reviewed one of Fiona’s live concerts in the U.S., writing “What I appreciated most was being able to listen and watch Fiona at the piano. The passion and elegance in her performance was breathtaking, as her flawless technique combined with pure emotional expression.”  When not recording or touring, Fiona is busy directing the entrepreneurial side of her music business, an effort which is crucial to the success of every independent artist. She manages her growing record label, Little Hartley Music, and promotes Fiona Joy Jewellery, her new line offering the upscale Swarovsky crystal-adorned bracelets and foot jewellery that she wears while performing barefooted in concert. When not on the road, Fiona escapes to her peaceful home in a small rural village in Australia. Fiona Joy http://www.fionajoy.com http://www.youtube.com/fionajoy https://www.facebook.com/fionajoymusic https://en.wikipedia.org/wiki/Fiona_Joy_Hawkins +61 0428637498 Little Hartley Music

Michael has played on 500+ recordings; he was the house bassist for the Windham Hill label in the '80s and has put out seven solo albums. He expands what electric bass can do by using many tunings, even retuning on the fly using a custom-built system, using his bass as a percussion instrument, and sometimes playing multiple basses at once. We discuss "Excuse Me, Mr. Manring" from Soliloquy(2005), and "My Three Moons" and "The Enormous Room," both from Thonk (1994). The opening music is "Thunder Tactics" from Unusual Weather (1986), and we wrap up with "Unclear, Inarticulate Things" by Attention Deficit from Idiot King (2001). Learn more at manthing.com. Hear more Nakedly Examined Music. Like our Facebook page.

Michael has played on 500+ recordings; he was the house bassist for the Windham Hill label in the '80s and has put out seven solo albums. He expands what electric bass can do by using many tunings, even retuning on the fly using a custom-built system, using his bass as a percussion instrument, and sometimes playing multiple basses at once. We discuss "Excuse Me, Mr. Manring" from Soliloquy(2005), and "My Three Moons" and "The Enormous Room," both from Thonk (1994). The opening music is "Thunder Tactics" from Unusual Weather (1986), and we wrap up with "Unclear, Inarticulate Things" by Attention Deficit from Idiot King (2001). Learn more at manthing.com. Hear more Nakedly Examined Music. Like our Facebook page.

I have a confession to make.  Back in the 80s & early 90s I used to listen to a lot of New Age music.  Stuff like Enya, Andreas Vollenweider, anything on Windham Hill, etc.  Even though much of the general public thinks of ambient music as new age music, real ambient fans know the difference.  It can be difficult to articulate that difference.  I use a "I know it when I hear it" approach.  I guess I'm still wary of the new age label so that's why I called the mix "Music for Meditation." Even though I moved away from new age music long ago, I still have a soft spot for certain sounds that can be considered new age staples.  Two of my favs are Tibetan singing bowls & the Fender Rhodes keyboard.  Actually anything with a bell-like sonic signature usually gets me. Last year I came across the re-release of an album called "Gymnosphere, Song of the Rose" by Jordan De La Sierra.  It was recorded in 1977.  It has been called a long lost new age masterpiece.  I guess it is sort of new age-ish, although I think it has more in common with Brian Eno, Terry Riley & Steve Reich than Yanni or Steven Halpern.  It's a fine album and it got me thinking about new age music and the parts that I still enjoy.  Find out more here... https://numerogroup.wordpress.com/2014/09/04/announcing-jordan-de-la-sierras-gymnosphere-song-of-the-rose-2cd2lp/ Once I decided to do this mix I knew for sure that Steven Halpern would make the final cut.  I remember buying a cassette of his album "Spectrum Suite" from a shop in Madison, WI that had floatation tanks.  I booked a half hour in one of the tanks and played that music while I floated around, literally & figuratively.  The Harold Budd track that follows Halpern, I have always thought sounded very new agey.  But I have always loved it.  I like that the mix has both old and new cuts in it.  I think it does a good job giving off a meditation vibe without being too sickly sweet.  Good for meditation or sleeping. Enjoy T R A C K L I S T : 00:00    Somni451 - Yellow 06:30    Jordan De La Sierra - Music for Gymnastics 12:30    Field Recording - Wind Chimes & Thunderstorm 14:20    Michael Stearns - As the Earth Kissed the Moon 18:25    Peter Davison - Glide V 23:50    Porya Hatami - After the Rain 31:40    eternell - Kalimba I 37:33    Halftribe - Shashlik 42:12    Steven Halpern - Keynote C Red 44:54    Harold Budd - Bismillahi 'Rrahmani' Rrahim 52:36    Jeff Pearce - Through Darkened Halls 56:14    33 bowls - Morning 58:51    Jim Cole - Light Shines In Your Heart 65:21    end

INTRO: THE INHERENT HEALTH RISKS OF PLAYING GUITAR A couple common themes have emerged with the four guitarists we’ve covered so far. First of all: being a world-renowned guitarist is, without question, bad for your health. Another lesson we can take away from Joe, Paco, and Frank is that good music rarely occurs in a vacuum. What is often considered innovation is usually an artful synthesis of musical influences. Michael Hedges’ 1981 Windham Hill release Breakfast in the Field was a landmark guitar recording full of percussive effects, open tunings, and right hand legato techniques. There’s a third thread that ties all these artists together, and it’s probably my favorite feature of their work. That is that the guitar was a vehicle that served their compositional ideas rather than the other way around.   Recordings: Matthew Cochran, “Cicadas at the Equinox” from Vapor Trail from a Paper Plane Michael Hedges, “Layover” from Breakfast In The Field Commercial Break: Season Sponsor, Strings By Mail Music Bed: Steve Reich, “Fast” from Electric Counterpoint, Pat Metheny, guitarist   PART TWO: SOME ESSENTIAL HEDGES GUITAR TECHNIQUES (AND WHY HE EMPLOYED THEM) This section of the conversation gets a bit technical. Non-guitarists, bear with me for a few minutes, or feel free to skip ahead to Part Three, where I discuss Hedges early musical influences. For my money, it doesn’t get any more quintessentially Hedges than the title track from Aerial Boundaries. If you’re interested in replicating Hedges’ legato effects, or maybe you got lost in the explanation, fear not! Here’s a talented guy named Mark Whidden who’s made a video of himself playing “Aerial Boundaries” with both hands prominently displayed:   https://www.youtube.com/watch?v=XyLXPKgfjVo   Oh, and I should mention that “Aerial Boundaries”, like all Hedges compositions, uses a Scordatura, or a non-standard tuning. This particular one is, from low to high, C2, C3, D3, G3, A3, D4. If you’d like to know more about Hedges’ tunings, I’d recommend visiting www.stropes.com   Michael Hedges is often referred to as a “fingerstyle” guitarist, but he’s also great with a pick. We listen to two tracks that feature Hedges with a pick.   Recordings Michael Hedges, “Aerial Boundaries” from Aerial Boundaries  Michael Hedges, “Fusion of Five Elements” from Scorched Michael Hedges, “Ritual Dance” from Taproot   PART THREE: HEDGES BIO AND EARLY MUSICAL INFLUENCES We explore Hedges’ early life in Enid, OK, his studies at Peabody, and his first records with Windham Hill.   Recordings: Arnold Schoenberg, “The Moonfleck” from Pierrot Lunaire, Christine Schäfer, sop., Pierre Boulez, cond.   Steve Reich and Musicians, “Pulse” from Music for 18 Musicians Music bed: Michael Hedges, “Baal T ‘Shuvah” from Beyond Boundaries Michael Hedges, “Eleven Small Roaches” from Breakfast in the Field Commercial Break: Peghead Nation Music Bed: Punch Brothers, “Flippen” from Who’s Feeling Young Now?   PART FOUR: THE JONI EFFECT Michael Hedges often cited Joni Mitchell as major influence. He understood the genius of Joni’s songwriting of course, but he also appreciated her unique, inventive, and criminally underrated approach to the guitar.   Recordings: Joni Mitchell, “Otis and Marlena” from Don Juan’s Reckless Daughter Michael Hedges, “Woman of the World” from Watching My Life Go By Joni Mitchell, “God Must Be A Boogie Man” from Mingus Michael Hedges, “After the Gold Rush” (Neil Young cover) from Aerial Boundaries   PART FIVE: THE HEDGES’ LEGACY Some closing thoughts about originality and Hedges’ lasting legacy   Recording: Michael Hedges, “Chava’s Song” from Taproot  

El 1997 el segell discogràfic Windham Hill publica el disc "Songs without words" produit per en Michael Whalen sota la filosofia de convidar a excelents compositors i músics per a tocar una peça o cançó enfrontant-se al piano en solitari. En aquest programa gaudim d'aquestes interpretacions per part de'n David Foster, Desmond Child, David Benoit, Eric Bazilian, John Corey, Walter Afanasieff, Bob James i Michael Kamen

This week, the Traveler takes an unexpected turn as Cathy is interviewed by her guest host Rob Rothschild about the making of her acclaimed recording of new music to the words of Unity poet laureate James Dillet Freeman. You'll get to go behind the scenes to see how this project came about, who played what, how and where they were recorded, and many fun facts about the process. You'll learn how the brilliant arranger Tracy Collins gets his inspiration and hear a little-known poem that was one of James and his wife Virginia Love-Freeman's personal favorites. Windham Hill artists George Tortorelli and Lisa Lynne, Acoustic Eidolon's cellist Hannah Alkire, accordionist Michael Ward-Bergeman, and. Rev. Marciah McCartney all played roles in this project, plus many more!

Novo especial da serie DIALOGOS 3. Nesta ocasión recuperamos dunha vella cinta de casete no aquivo sonoro do Pequeno Monstro, un programa monográfico, emitido o 6 de agosto de 1991 en Radio 3 [RNE], adicado ao trompetista, pianista e produtor MARK ISHAM. MARK ISHAM, nace un 7 de setembro de 1951 en Nova Iorque. Na súa adolescencia xuntábase cos seus amigos nos garaxes das súas moradas para fazer músicas. Entre eles estaban, Terry Bozzio, Peter Maunu e Patrick O´Hearn. Ao cumprir 20 anos comeza a estudiar programación de música electrónica, inda que mantén a trompeta coma instruemento principal na súa carreira coma compositor. Traballos por el asinados, coma Vapor Drawings, Castalia ou Tibet foron nominados aos premios Grammy. Ademáis foi galardonado nos Emmy e candidato aos Globos de Oro e Oscar. De feito, Mark Isham é actualmente un dos tres compositores de BSO de filmes máis recoñecidos, xunto a Ennio Morricone e John Williams. No seu haber están máis dun cento de músicas para filmes. A banda sonora do filme The Moderns [Alan Rudolph, 1988] ou mesmo a sinfonía eletrónico-tribal, para o video TIBET, producido por Windham Hill, casa discográfica para a que MARK ISHAM ten gravado unha parte da súa música, son parte da súa produzón. ISHAM ten colaborado coma músico de sesión, en traballos doutros artistas: Tanita Tikaram, Suzanne Vega, Art Lande, Taj Mahal, Van Morrison, Joni Mitchell ou, os mesmísimos, Rolling Stones. Neste especial de DIALOGOS 3, apresentado nesta ocasión por Lara López, escoitaremos un repaso a sua biografía coma músico, parte da súa obra, así coma a súa participación creativa en traballos doutros artistas, por esta orde: - Patrick O´Hearn [Rivers Gonna Rise, 1988] - Peter Maunu [Warm Sound in a Gray Field, 1990] - Mark Isham [BSO Country, 1984 - traballo colectivo] - Mark Isham [BOS The Moderns, 1988] - Mark Isham [Castalia, 1988] - Rubaja & Hernandez [High Plateux, 1987] - Isham, produtor. - Mark Isham [BSO Tibet, 1990] - Mark Isham [BSO Songs my ChildrenTaught me, 1991] Sintonizamos. Radio 3 [RNE], tres da tarde, Dialogos 3. Dirixe Ramón Trecet, presenta Lara López. Fonte: arquivo sonoro de o Pequeno Monstro [Rádio Filispim] http://pequenosmonstros.blogspot.com

Primeiro dos programas especiais adicados ao selo alemán ECM [Edition of Contemporary Music], da serie Diálogos 3 [Rádio 3, RNE] que inauguramos a semana pasada neste blog. O programa que rescatamos hoxe responde ao primeiro dunha serie de dous que Ramón Trecet adicou ao selo alemán de nova música, ECM. Lembro que durante algunha grella radiofónica, Trecet, realizaba programas os sábados e domingos, donde aproveitaba para deterse na biografía dos músicos que pinchaba de luns a venres ou, mesmo, en selos discográficos coma ECM. Calquera outra lembranza ou emenda é benvida como comentario a esta entrada. Neste primeiro programa, RamónTrecet nos relata como un proxecto de distribución de músicas por correio postal chamado Jazz by Post, se transforma a finais da década dos sesenta nunha discográfica capitaneada por Manfred Eicher, ECM, na que comezarían a gravar as súas produzóns artistas que non se acomodaban a ningunha etiqueta convencional. Jazz, world music, contemporánea, clásica, son xéneros que atopamos en cada un dos artistas do catálogo de Múnich ECM, resultando unha "nova música" de corte Europeo que unida ao deseño artístico das portadas conforman a personalidade única deste interesantísimo selo alemá. As audaciais musicais, ou mesmo visuais [artísticos deseños das carpetas dos vinilos] do catálogo ECM, foron máis tarde emuladas por outros selos, coma Windham Hill ou mesmo CODA Records. Neste primeiro Diálogos 3 adicado a ECM, escoitamos: - PAT METHENY [New Chautauqua, 1979] - CHICK COREA & RETURN TO FOREVER [Return to Forever, 1972] - RALPH TOWNER con Jan Garbarak, Eberhard Weber & Jon Crhistensen [Solstice, 1977] - MEDERITH MONK [Dolmen Music for 6 voices, 1979] Fechamos os ollos e sintonizamos. Fin de semana do mes de marzo de 1992, tres da tarde, Radio 3 [RNE], Ramón Trecet, Diálogos 3... Máis info en: http://pequenosmonstros.blogspot.com

show#40108.20.11Andres Roots Roundabout - Spider Jam (Leigh's Spider Jam 2011)George Harmonica Smith - Harp Stomp (Teardrops Are Falling 2011)Bacon Fat - Juicy Harmonica (Modern Master: The Best of Rod Piazza Disc 1 2003 originaly on Grease One For Me)Rod Piazza & The Mighty Flyers - What Makes You So Tough (Almighty Dollar 2011)Tom Hambridge - Nine Pound Hammer (Boom! 2011)Freddie King - You Can Run But You Can't Hide (Larger Than Life 1975)Hound Dog Taylor & the Houserockers - See Me in the Evening (Deluxe Edition 1999)The Gas House Gorillas - Nine Lives (Five Gorillas Walk Into A Bar 2008)Chris Bergrson - Mr. Jackson (Imitate The Sun 2011)Guitar Shorty - Just Warming Up (I Go Wild 2001)Samantha Fish - Down In the Swamp (Runaway 2011)Carlos Del Junco & The Blues Mongrels - My Favourite Uncle (Mongrel Mash 2011)Scrapomatic - I Want the Truth (Sidewalk Caesars 2008)Ray Manzarek; Roy Rogers - Blues In My Shoes (Translucent Blues 2011)   Spinner's Section:just a set of songs by some artistsDennis Gruenling: up the line (4:57) (I Just Keep Lovin' Him, BackBender, 2008)Angela Strehli (ft. Paul Thorn): hello my lover (3:38) (Blue Highway, MC, 2005)Canned Heat: world in a jug (3:23) (Boogie With Canned Heat, Liberty, 1968)Bill Wyman's Rhythm Kings: spooky (3:37) (Anyway The Wind Blows, BMG, 1998)Sugar Blue: back door man (7:01) (Blue Blazes, Alligator, 1994)Cuby + Blizzards: five long years (4:12) (Desolation, Philips, 1966)Bluesiana Triangle: next time you see me (4:50) (-, Windham Hill, 1990)Nighthawks: the chicken and the hawk (3:45) (Trouble, Powerhouse, 1991)Back To Beardo:Guy Forsyth - Alligators in the 9th Ward (Unrepentant Schizophrenic Americana 2007)Victor Wainwright and the Wildroots - Beale St to The Bayou (Beale St to The Bayou 2009)

New listeners... heads up... pick a different show to listen to for a more representative experience of our show... thank you! I don't have time to type out the incredibly frustrating experience of producing this show. Now I see I didn't encode it to .mp3 before I uploaded it. Sorry, but you must deal with it. It will probably be omitted from iTunes too. See ya' next week..... show#374 02.04.11 OOOPS !!! Damn... it sucked gettin' this show done from so far from my home office... Carlos del Junco Band - Bailey's Bounce (Steady Movin' 2008) Big Guitars From Texas - Ride Of The Ruthless  (Big Guitars From Texas 1985) Big Joe & The Dynaflows - Bad Luck Blues (I'm Still Swingin' 1998) Roomful Of Blues - Just A Little Love (Hook, Line & Sinker 2011) Eugene Hideaway Bridges - Real Hero (Live in San Antonio 2009) Retro Deluxe - You're Lyin' (Watermelon Tea 2010) Victor Wainwright and the Wildroots - Planet Earth (Beale St to The Bayou) Spinner's Section: Jimmie Vaughan: tilt-a-whirl (4:56) (Strange Pleasure, Epic, 1994) Jimmy Thackery & the Drivers: that dog won't hunt (7:24) (Inside Tracks, Telarc, 2008) Fleetwood Mac: trying so hard to forget (4:50) (Mr. Wonderful, Blue Horizon, 1968) Eddie Boyd: she's real (3:00) (7936 South Rhodes, Blue Horizon, 1968) Blues Traveler: sweet talking hippie (6:22) (-, A&M, 1990) Fay Lovsky: eye to eye (3:59) (Fay Lovsky & La Bande Dessinee, Basta, 1996) Bluesiana Triangle: life's a one way ticket (5:34) (-, Windham Hill, 1990) John Hall: going to the valley (1:02) (Action, Columbia, 1973) One more from Beardo: Danny Gatton and Tom Principato - Howz Yer Sistah? (audio from a PBS show available on DVD from Powerhouse Records)

Bandana Blues Show #237  Beardo & Spinner crank out some great music.... Spinner goes totally NOLA  this week !!!show#2374.13.08 Ernestine Anderson - Harlem Nocturne (3:04) Albert Castiglia - Twister (4:32)Spinner's Section:some New Orleans style rhythm & bluesLee Dorsey: ya ya (1961) (Robinson, Dorsey, Lewis) (Holy Cow The Best Of Lee Dorsey, Arista, 1985)Earl King & Roomful of Blues: mardi gras in the city (E. King) (Glazed, Black Top, 1986)Bluesiana Triangle: when the saints go marchin' in (Public Domain) (-, Windham Hill, 1990)Allen Toussaint: what is success (Toussaint) (The Allen Toussaint Collecion, Reprise, 1991)Andy J. Forest: leavin' Louisiana (Forest) (N.O.LA., Appaloosa, 1992)Jon Cleary: groove me (King Floyd) (Alligator Lips And Dirty Rice, Ace, 1993)The Meters: I'm gone (A. Toussaint) (New Directions, Warner Bros, 1977)Back To Beardo: Tab Benoit - Hustlin' Down in New Orleans (5:27) Willie Cobbs - Black Night (4:15) Stringbean & the Stalkers - Heidi (6:40) Jeff Healey - It's Only Money (3:09) Taxman - SRVBandana Blues weekly podcast.With Beardo & Spinner, the Dutch-American connection.A new show added every weekend with all the blues you can use.

show#18904.29.07The Cream - As You Said (from Wheels Of Fire Atlantic 1968)Turtle Island String Quartet - Crossroads ( from Skylife  1990 Windham Hill records )Corky Siegels String Quartet - Unfinished Jump Opus 13 (from self titled 1994 Alligator Records) Spinner's Section:and some more live stuffCarlos del Junco: rocket 88 (Just Your Fool, Big Reed Records, 1995)Guy Forsyth: Mr. Lucky (High Temperature, Munich, 1994)Popa Chubby: heart attack and vine (Hit The High Hard One, Laughing Bear/Dixiefrog, 1996)Red Devils: cut that out (King King, Def American, 1992)Paul Lamb & the King Snakes: no glue in the world (Live At The 100 Club, Sanctuary, 2003)Back To Beardo:Dennis Gruenling - Dirty Deal (from Up All Night 2000 Backbender Records)Ian Siegel - Sugar Rush (from Meat & Potatoes 2005 Nugene Records )Jean Paul Rena & Terrawheel - Make Believe (from Can't Be Satisfied 2007 Corazong Records)Grant Lyle - MellowDown (from Retronym 2007)Look for Beardo on A World Of Blues http://www.aworldofblues.comand http://www.bandanablues.com where you should please sign the petition....