Podcasts about yosvany terry

Avishai Cohen Banda "Iroko" || Abraham Rodriguez, conga, voc | Virginia Alves, voc | Yosvany Terry, sax, xequeré | Diego Urcola, tp | Avishai Cohen, b, voc | José Ángel, perc, voc | Horacio 'El Negro' Hernández, perc, dr | L'Estartit Jazz Festival, El Molinet, L'Estartit (Costa Brava), Spanien, Juli 2023 (Sendung vom 2.3.)

A native of São Paulo, Brazil, Felipe Salles has been an active musician in the US since 1995, where he has worked and recorded with prominent jazz artists, including Randy Brecker, Paquito D'Rivera, David Liebman, Melissa Aldana, Lionel Loueke, Jerry Bergonzi, Chico Pinheiro, Magos Herrera, Sofia Rei, Yosvany Terry, Jovino Santos Neto, Oscar Stagnaro, Luciana Souza, and Bob Moses. He has toured extensively in Europe, North and South America, India, and Australia, as a sideman and a leader of his own group. Salles is a 2018 Guggenheim Foundation Composition Fellow, a 2021 South Arts Jazz Road Creative Residency Grant Fellowship recipient, a 2015 NALAC Fund for the Arts Grant winner, a 2009-2010 winner of the French American Jazz Exchange Grant, and a 2005-2006 winner of the Chamber Music America New Works: Creation and Presentation Grant Program, grants sponsored by The Doris Duke Charitable Foundation. He was awarded First Place in the 2001 Concurso SGAE de Jazz " TETE MONTOLIU; 2001, with his composition The Return of The Chromo Sapiens. His arrangements and compositions have been performed by some of the top groups in the world including The Metropole Orchestra, UMO Helsinki Jazz Orchestra, Cayuga Chamber Orchestra, Amazonas Band, Helsinki Philharmonic Violas, Meta4 String Quartet, Manhattan School of Music Jazz Orchestra, Manhattan School of Music Jazz Philharmonic Orchestra, New England Conservatory Jazz Orchestra, and New England Conservatory Wind Ensemble, among others. Salles has released nine critically acclaimed recordings as a leader. Departure (Tapestry, 2012) received 4 stars from DownBeat Magazine and placed on their best albums of the Year list in 2013. They noted that Salles is adept at “crafting pieces that juggle intriguing complexity with buoyant rhythms and lush colors.” JazzTimes Magazine noted that “Felipe Salles blends the visceral and the cerebral on his fascinating fifth album, infusing classical modernist strains with the buoyant rhythms of his Brazilian homeland.”  Ugandan Suite (Tapestry, 2014) also earned a place on DownBeat Magazine's best albums of the Year list in 2014 and was praised by jazz guitarist Lionel Loueke: “This is one of the best progressive works I have heard in a long time. What a great blend of classical, African, and Jazz music.” Varanda (Tapestry, 2017) with the Brazilian jazz collective titled The Reunion Project, also earned critical acclaim including 4.5 stars in DownBeat Magazine. The Lullaby Project and Other Works for Large Jazz Ensemble (Tapestry, 2018) is Salles' first large jazz ensemble recording and was composed for and recorded by his own Interconnections Ensemble, to critical acclaim (DownBeat Magazine's best albums of the year list in 2019). His second extensive ensemble recording, the ambitious The New Immigrant Experience (Tapestry, 2020), was released as a CD/DVD set, to critical acclaim, including a 4.5 stars review from DownBeat Magazine, making the magazine's list of best albums of 2020. He has recently released a quartet album, Tiyo's Songs of Life (Tapestry, 2022), featuring Avery Sharpe, Zaccai Curtis, and Jonathan Barber, and his third significant ensemble recording, Home is Here (Tapestry, 2023), featuring an array of guest artists. Felipe Salles is a D'Addario Woodwinds Select Reeds and Conn-Selmer Saxophones Artist/Clinician. He currently leads both The Felipe Salles Group and The Felipe Salles' Interconnections Ensemble and works as a member of the New World Jazz Composers Octet, Kyle Saulnier Awakening Orchestra, Alex Alvears Mango Blue, and Gonzalo Grau (Grammy Nominated) La Clave Secreta. Felipe Salles has a Master's and a Graduate Diploma in Jazz Performance from New England Conservatory, and a Doctorate in Jazz Arts Advancement from Manhattan School of Music. He is a Professor of Jazz and African American Music Studies at the University of Massachusetts Amherst, where he has taught since 2010. In this episode, Felipe shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Adriana Bosch is fantastic—humble, open, present, giving, loving, sincere, and elegant. Really. She came in as an equal and a woman artist sharing her journey.  Her latest documentary, Letters to Eloisa, is a lyrical must-watch profile dedicated to the late and great José Lezama Lima. It airs tonight—October 15— on PBS 10-11 p.m. EST (check local listings) under the New Season of Latino Public Broadcasting's VOCES. She wants people to watch this film. You will not regret it. Adriana captures so much in so little time. Towards the end, my tears just flowed. She knew how to place Lezama's letters to his sister Eloisa to reveal everything she wanted to say. I guess that's what artistic prowess, agility, and humanity are. Letters to Eloisa is an ode about “an obscured artist.” And yet, the film is about the larger picture—Cuban history, dissenters everywhere, artistic freedom, and the fragility of brave people. She has a lot to say about a man who lived by his word—no small feat. I hope sometime soon, Adriana Bosch gets a retrospective. She has a lot to give and say, and we need her, todos los que somo poetas de corazón.    + 2021 for me, has had a Cuban theme, and all I can say is that I'm grateful for it.  Earlier this year, I helped Pedrito Martínez with his album Acertijos (Riddles), now nominated for a Latin Grammy in the Best Tropical Album category. Find his production details here and follow him on IG, because it's full of good percussion bites, and he's a master. Then came We Have Iré. You can read and learn about that project here—music by Yosvany Terry with special guest Xiomara Laugart, words by Paul S. Flores. Directed by Rosalba Rolón of Pregones/PRTT in New York, We Have Iré is a multimedia theater work that portrays real-life stories of Cuban emigré artists real-life stories framed by Flores's exploration of his roots as a Cuban-American as he traveled back to Cuba with them. Through the medium of music -- always an essential element in the Cuban story – We Have Iré relives their struggles to relocate to the US and explores the new identities they constructed in the process.  We Have Iré was commissioned and sponsored by the National Performance Network, Yerba Buena Center for the Arts (YBCA) in San Francisco, Pregones/PRTT in New York City, GALA Theatre in Washington D.C., MACLA/Movimiento de Arte y Cultura Latino Americana in San José, MECA-Houston, Miami  That's all for now/ Regreso pronto—Back soon. It's been a ride this pandemic year...LOL Sol

Concert pianist and composer Michael Arnowitt, assisted by ImproVisions Jazz, makes his debut with SWEET SPONTANEOUS, the title drawn from a poem by e.e.cummings. This two-disc jazz album features 14 of Arnowitt’s own compositions with the composer himself at the piano, joined by a dozen jazz notables including Yosvany Terry on alto sax, Lucas Pino on tenor sax, Dave Smith on trumpet, and Colin Stranahan on drums. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1193/SWEET_SPONTANEOUS.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Grounded in the traditions of the Djembe Orchestra, Kweku Sumbry is a multi-percussionist from Washington, DC. At the age of four years old Kweku fell in love with performing. Since then, Kweku has travelled the world healing through music. He began his studies as a toddler under the tutelage of his uncle, Mahiri Fadjimba Keita, founder and artistic director of Farafina Kan. Music has allowed Kweku to travel to Guinea, Senegal, Ghana, Australia, New Zealand, Amsterdam, and Turkey to name a few countries. At the age of 23, Kweku has already graced the stage with Ambrose Akinmusire, Dayna Stephens, Yosvany Terry, Cyrus Chestnut, Reggie Workman, to name a few. A true global citizen, Kweku continues to travel the world, building upon his knowledge of world musical traditions and cultures.  In the fall of 2015, Kweku moved to New York City and began his studies at The New School for Jazz and Contemporary Music on a full scholarship. While in New York Kweku has  worked with Abdel Salaam’s Forces of Nature Dance company, and the Asase Yaa African American dance Theatre under the tutelage of Yao Ababio, and Osei Ababio. Kweku recently obtained his MA in Arts Management and Entrepreneurship from the New School (c/o 2020), after just graduating with a BFA in jazz studies from the New School in Spring of 2019.  Kweku currently is a member of the Immanuel Wilkins Quartet, who recently released his debut album Omega on Blue note Records. A true lover of Art, Dance, Music, and all things pertaining to African culture, Kweku has set out to take the art world by storm, while changing the lens in which West African drumming is viewed by the rest of the world. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/creative-habits/support

  What happens outside the art scene inspires many of today’s curators, filmmakers and artists. They mine the conceptual depth of personal and communal rituals and routines. Community gardens, shared ride systems, public processionals, weathervanes, home improvement projects, live streaming radio and selfies on the internet are just a few of the subjects and sites of their research, commentary and engagement. Projects that elevate our view of the everyday reveal life as an art form—translating the mundane into the extraordinary. Sound Editor: Anamnesis Audio | Special Audio: Camionnette Chérie,  original sound by Claudette et Ti Pièrre; TET CHAJE, mix by Michelange Quay; David Walters, Mesi Bondye; Yosvany Terry, Conga Reversible Related Episodes: Marcus Gammel (2107), Skulptur Projekte Münster 2017, Sounds of Miami Art Week (2016), New Performance Art (2016), Cesar Cornejo (2015), Jllian Mayer (2014) Related Links: Giscard Bouchotte  Tap-Tap Chéri   Sculptors of Grand Rue, Haiti  Ghetto Biennale  Jeremy Deller  Jeremy Deller, Skulptur Projekte Münster 2007/2017  Cesar Cornejo  rootoftwo Whithervanes  EN MAS’ Tide by Side  Clair Tancons documenta 14 Public Radio Jillian Mayer 400 Nudes

Mike and Pat take the remaining winners of the Village Voice's best of 2014 to that special place only they have the pass-keys to, ponder the purpose of french horns in jazz, and generally whoop it up in 2015's final blast. Walter Smith III – STILL CASUAL; Yosvany Terry – NEW THRONED KING; Wadada Leo Smith – GREAT LAKES SUITE; Mark Taylor – QUIETLAND.

A very special Halloween show for all our faithful listeners will feature Ray" El Chino" Diaz from the Urban Merengue group The Ripiao Kingz and an interview with Oneza Lafontant and Ninaj Raoul of the Haitian roots group Kongo to talk about their upcoming show Makandal Mixtape: Live! at Harlem Stage Nov 8th , also featuring The Pedro Martinez Group and special guest Saxophonist/Composer Yosvany Terry. Plus music from all these brilliant artists and live tracks from the Pedrito Martinez Group. Get your tickets now!! by clicking on this Link: https://harlemstage.secure.force.com/ticket/#sections_a0Fd000000VpxfhEAB Presented by Harlem Stage in partnership with HABANA/HARLEM® Uptown Nights Makandal Mixtape LIVE A celebration of the traditional and modern musical and cultural mixings of Cuba, the Dominican Republic, and Haiti; inspired by the music of Makandal, an opera by Harlem Stage Don't miss an opportunity to experience the genius and daring compositions of The Pedrito Martinez Group, the soul, drums, and call and response of Kongo with Rock Steady Crew member Jose Figueroa and new sounds of The Ripiao Kingz, a band taking Merengue and Típico (perico ripiao) to new depths. Plus a special guest appearance by celebrated composer and saxophonist, Yosvany Terry. Mixer and Dance Party by DJ Asho HASHTAGS: #UPTWNS #MAKANDALMIX Saturday, November 8, 2014 Harlem Stage Gatehouse 7:00pm: Doors Open with a pre-performance mixer spun by DJ Asho 7:30pm: Makandal Mixtape LIVE Performances 10:15 pm: Post-performance dance party spun by DJ Asho Food and beverage available for purchase.

OMAR SOSAOmar Sosa (born April 10, 1965, in Camagüey, Cuba) is a composer, bandleader, and jazz pianist. Sosa began studying marimba at age eight, then switched to piano at the Escuela Nacional de Musica in Havana, where he studied jazz. Sosa moved to Quito, Ecuador, in 1993, then San Francisco, California, in 1995. In San Francisco he became deeply involved in the local Latin jazz scene and began a long collaboration with percussionist John Santos. He also made a series of recordings with producer Greg Landau, including the ground-breaking Oaktown Irawo, featuring Tower of Power drummer Dave Garibaldi, Cuban saxophonist Yosvany Terry and Cuban percussionist Jesus Diaz. Sosa and Landau recorded with Carlos “Patato” Valdes and Pancho Quinto and worked on several film scores. Around 1999 Sosa moved to Barcelona, Spain.Omar Sosa is one of the most versatile jazz artists on the scene today: composer, arranger, producer, pianist, percussionist, and bandleader. He fuses a wide range of world music and electronic elements with his native Afro-Cuban roots to create a fresh and original urban sound – all with a Latin jazz heart. On stage, Mr. Sosa is a charismatic figure, inspiring his fellow musicians with his dynamic playing and improvisational approach to the music – an approach full of raw emotional power and humor. Mr. Sosa invariably inspires audiences to their feet and to join him in chorus vocals, heightening the sense of spontaneity and connection.Mr. Sosa’s latest CD on Otá Records, Mulatos , features Latin jazz master Paquito D’Rivera on clarinet. The recording is an adventurous, finely wrought, and wholly delightful mélange of Cuban jazz, Latin dance grooves, French chanson, North African trance music, and European folk. It dances with rhythmic inspirations of Indian tabla, jazz drums, and studio mixing. Also featured is the delicate voice of the Arabic lute, the oud, and the composer himself on marimba. “Mulatos” was recently nominated for Latin Jazz Album of the Year by the NYC-based Jazz Journalists Association.Mr. Sosa’s music is a unique style of Afro-Cuban jazz, and while it is rooted in the folkloric traditions of the African Diaspora, he always takes an exploratory approach – never one to let orthodoxy stand in the way of his pursuit of freedom. Sosa offers a joyful mix of jazz and Afro-Caribbean rhythms, combining percussive forays inside the piano and a series of electronic effects with his inspired, passionate playing at the keyboard. His tempos are fluid, and his moods change freely. Sosa revels in the irresistible clave grooves of Latin jazz, while adding experimental touches to keep his listeners on their toes.Omar Sosa has released 15 recordings on the Oakland-based Otá Records label since 1997, including 2002’s GRAMMY-nominated Sentir . He performed recently with his Octet at the opening of Carnegie Hall’s new Zankel Hall, about which Alex Ross of The New Yorker remarked that Sosa has “a ferocious flair for rhythm and a keen musical wit”. Composer John Adams, who curated the opening of Carnegie Hall’s new venue, commented that “Sosa is a deeply creative musician with an extraordinary harmonic sense. His piano playing is sui generis : It has obvious roots in Cuban music, but he’s taken his approach to the keyboard into completely new regions”. And Don Heckman of The Los Angeles Times recently wrote “Sosa’s vision of contemporary jazz reaches across every imaginable boundary”. For more information, please visit www.melodia.com.Omar Sosa was nominated in 2003 for a BBC Radio 3 Award for World Music in the ‘Americas’ category, along with Ibrahim Ferrer, Caetano Veloso, and Os Tribalistas. He began 2004 with the debut of his first work for symphony orchestra, entitled From Our Mother , performed at the Paramount Theatre in Oakland by the Oakland East Bay Symphony under the direction of Michael Morgan. The 45-minute work in three movements, which combines folkloric elements from Cuba, Venezuela, and Ecuador with modern jazz harmonies, was co-commissioned by Yerba Buena Center for the Arts in San Francisco and the Oakland East Bay Symphony, with partial funding from the Rockefeller FoundationEGGUN released 2013 (OTA1024)EGGUN: The Afri-Lectric Experience began as an Omar Sosa commission from the Barcelona Jazz Festival in 2009. The assignment: to compose and produce a tribute performance to Miles Davis’ classic recording, Kind Of Blue, on the occasion of its 50th anniversary. Inspired by various musical elements and motifs from Kind Of Blue, Omar wrote a suite of music honoring the spirit of freedom in Davis’ seminal work.Featuring trumpet and two saxophones, Eggun provides a medium for musical elements from Africa to shape and develop the music. The resulting jazz textures are further enhanced by the subtle and expressive use of electronic elements. At the heart of the recording is the spirit of Mother Africa.The featured horn players are Joo Kraus on trumpet (Germany),Leandro Saint-Hill on alto saxophone and flute (Cuba), and Peter Apfelbaum on tenor saxophone (U.S.A.). Omar’s longtime rhythm section of Marque Gilmore on drums (U.S.A.) and Childo Tomas on electric bass (Mozambique) create the foundation.Special guests on the project include Lionel Loueke on guitars (Benin),Marvin Sewell on guitars (U.S.A.), Pedro Martinez on Afro-Cuban percussion (Cuba), John Santos on percussion (U.S.A.), and Gustavo Ovalles on Afro-Venezuelan percussion (Venezuela). The CD was recorded primarily in Brooklyn, NY. Of particular interest is a set of sixInterludios interspersed among the primary tracks of the recording, inspired by melodic elements from the solos of Bill Evans.Eggun, in the West African spiritual practice of Ifá and its variousexpressions throughout the African Diaspora, are the spirits of those whohave gone before us, both in our immediate families and those who serve as our Spirit guides.From the liner notes, by Joan Cararach, artistic director of theBarcelona Jazz Festival:Harmony, peace, respect, freedom. That has been Omar Sosa’sresponse to our proposal: to revisit Kind of Blue, by Miles Davis, from his own (quite exceptional) aesthetic assumptions. The year was 2009. The 41st Voll-Damm Barcelona International Jazz Festival had hired drummer Jimmy Cobb – the only surviving member of the group’s original line-up who created that record – and a tribute band committed to revive, in concert, the memory of that iconic jazz piece. But Kind of Blue, rather than a museum piece, is a mysterious record with an intimacy to be disclosed very slowly, generation after generation, beyond the commonplaces of history books.That’s why we asked two artists who are familiar with our festival to revisit Kind of Blue from another perspective, following the artistic principles evoked by Bill Evans in his notes to the record signed by Davis: be yourself, be spontaneous, give all you have to give, everything you learned from those who came before and those you are sharing the road with. We selected Chano Domínguez, from Andalucía, who contributed Flamenco Sketches (Blue Note, 2012), and Cuban Omar Sosa, who did a powerful research of Miles Davis’ record.Eggun (ancestors) is not a typical record, just as Sosa is not a typical pianist. The artist, at first reluctant, became obsessed probing into Kind of Blue to find nothing else but the paradoxes of a never-ending search: love and indifference; exile and emigration; being here and now with the lessons of those who illuminated us; restless energy and deliberate contemplation; the uncanny twists and turns of our souls and the shades of our lives; the constant strain between grief and joy, contradictory and supplementary at the same time.Eggun essentially derives from the melodic cells of Kind of Blue’s solos and has the aim of honoring that record, which, let’s say it once more, is hardly known in spite of having been used and abused. Eggun is like all of Sosa’s works, an invitation to a journey plentiful with luxury, peace and sensuality (thanks, Baudelaire!). We have a welcome withAlejet – whitein Arabic – and El Alba. All the sounds of the African diaspora – where Moroccan bendir meets Dominican merengue and Puerto Rican plena: So All Freddie. The interludes, almost sacred invocations to the genius of Bill Evans. And a passionate desperation in the finale, as in records conceived the old way, like a narrative, followed by the final rest, grace in a religious sense, like an overflowing energy which at the end of the journey becomes pure togetherness. Kindness, in short.To visit Omar Sosa's website CLICK HERE

  Onzième et dernière de la vingt-deuxième session !   Cette semaine, Marie-Eve Boulanger nous fait part de ses découvertes, du jazz postbop aux accents latin et monkien et notre saine dose de freejazz !   En musique: Yosvany Terry sur l'album Today's Opinion (Criss Cross, 2012);   Dan Tepfer Trio sur l'album Five Pedals Deep (Sunnyside, 2010);   Hobson's Choice sur l'album Off The Waves (Barnyard, 2012);   Pierrick Pédron sur l'album Kubic's Monk (ACT Music, 2012);Ingebrigt Håker Flaten New York Quartet sur l'album Now Is (Clean Feed, 2012)...  En compte-rendu:   Lee Konitz & Dan Tepfer en duo à l'Upstairs le 8 décembre 2012, 19h30...

  Onzième et dernière de la vingt-deuxième session !   Cette semaine, Marie-Eve Boulanger nous fait part de ses découvertes, du jazz postbop aux accents latin et monkien et notre saine dose de freejazz !   En musique: Yosvany Terry sur l'album Today's Opinion (Criss Cross, 2012);   Dan Tepfer Trio sur l'album Five Pedals Deep (Sunnyside, 2010);   Hobson's Choice sur l'album Off The Waves (Barnyard, 2012);   Pierrick Pédron sur l'album Kubic's Monk (ACT Music, 2012);Ingebrigt Håker Flaten New York Quartet sur l'album Now Is (Clean Feed, 2012)...  En compte-rendu:   Lee Konitz & Dan Tepfer en duo à l'Upstairs le 8 décembre 2012, 19h30...