Podcasts about zooid

In this episode we speak to Pulitzer Prize winning composer and musician Henry Threadgill and the co-author of his autobiography Brent Hayes Edwards. The book we discuss, which was published last year is entitled Easily Slip into Another World: A Life in Music. Henry Threadgill was born in Chicago in 1944. He is one of the most significant and innovative composers of the 20th and 21st Century. In addition to being an award winning composer is an amazing saxophonist and flautist. He also is known for his percussion work, in particular the invention of the hubkaphone, a marimba like instrument made out of hub caps. He has been a leader or co-leader of the bands Air, Ensemble Double UP, Make a Move, The Henry Threadgill Ensemble, The Henry Threadgill Sextett, The Situation Society Dance Band, Very Very Circus, X-75, Zooid and 14 or 15 Kestra: Agg and probably some others I didn't track down.  If we went into all the bands and groups Henry was a part of the list would be three times as long. In recent years Threadgill has established a completely new chromatic system for musical composition outside the confines of diatonic harmony. In 2016, he was awarded the Pulitzer Prize for In For a Penny, In for a Pound, an album he composed for his sextet, Zooid. He currently lives in New York. Brent Hayes Edwards is a Professor at the Center for Jazz Studies at Columbia University and the Director of the Scholars-in-Residence Program at the Schomburg Center for Research in Black Culture at the New York Public Library. So why this episode, it's a bit outside of most of our content here. Perhaps the closest things we've done to a conversation like this would be the dialogue we hosted between Fred Moten & Hanif Abdurraqib or the interview we did with Dionne Brand last year. But although I didn't ask it directly, the guiding question that animated this interview and engagement with Henry and Brent's book for me was: what insights might a truly revolutionary composer have for aspiring revolutionary organizers or for cultural workers seeking to maximize the revolutionary possibilities of their work?  We hope you enjoy this conversation and that it proves as meaningful to you as it was to us. It was a tremendous honor to sit down with Henry Threadgill and Brent Hayes Edwards to discuss their beautiful book which is available now everywhere. Thank you to Aidan Elias for co-producing this episode. If you appreciate the work that we do, as always you can support our work for as little as $1 per month at patreon.com/millennialsarekillingcapitalism. Our podcast is fully supported by individual contributions of folks like you and we encourage you to join the amazing folks who make it possible for us to bring you these conversations on a weekly basis. 

Get 20% OFF @manscaped + Free Shipping with promo code EAE at MANSCAPED.com! #ad #manscapedpodThis week we're discussing every album by Hammerhead. Closely associated with Amphetamine Reptile Records (AmRep) and the 90s noise rock scene in Minneapolis, MN, Hammerhead is one of the loudest and most punishing trios in the whole genre. Made up of core members Paul Erickson (bass, vocals), Paul Sanders (guitar, vocals), and Jeff Mooridian (drums), Hammerhead is criminally underrated and totally unique. Are they for everyone? Absolutely not.Closing track: “Zooid” from New Directionz (2015)Into the Vortex on Spotify:https://open.spotify.com/album/164ZdT1PTlbE8O0uGuC6Qr?si=e6c409e3928b4507Spotify episode playlisthttps://open.spotify.com/user/motherpuncherincPatreonhttps://www.patreon.com/everyalbumeverMerchhttps://pandermonkey.creator-spring.com/Mike's EP:Pander Monkey on Bandcamp, Spotify, Apple,Instagram:Mike @pandermonkeyAlex @everyalbumalexHistory Tom's stuff:Debut album on Bandcamp, Spotify, AppleSubstackWebsiteMike's Picks:Duh, the Big City (1996) — Best Album, Personal FavoriteExcommunications (2022) — Worst Album, Least FavoriteAlex's Picks:New Directionz (2015) — Best AlbumEthereal Killer (1993) — Personal FavoriteExcommunications (2022) — Worst Album, Least FavoriteAlbums we discussed this episode…Ethereal Killer (1993)Evil Twin EP (1993)Into the Vortex (1994)Duh, the Big City (1996)Memory Hole EP (aka Anarcho Retardist Terror Exhibit) (2011)Global Depression EP (2014)New Directionz (2015)Excommunications (2022)

The latest episode of the Burning Ambulance podcast features an interview with tuba player Bob Stewart.I have said all season long that we're going to be exploring a single subject for ten episodes, and that subject is fusion. But as I hope has become clear over the course of the five previous episodes, during which I interviewed techno pioneer Jeff Mills, drummer Lenny White, trumpeter Randy Brecker, pianist Cameron Graves, and guitarist Brandon Ross, most of whom come from different musical generations and are not peers, when I say the word fusion, I'm talking about a state of mind, not a style or a genre. It's not what you play, it's how you approach music-making.I understand that when most people hear the word fusion, they think of the big name bands from the 1970s: the Mahavishnu Orchestra, Return to Forever, and Weather Report. Those groups, and the Miles Davis bands from 1969 to 1975, and many other less immediately recognizable groups, all did a particular thing, playing extremely complex music that blurred the lines between progressive rock and jazz. We talked about those acts in the second and third episodes this season, with Lenny White and Randy Brecker, both of whom were around then and were actively participating in making some of that music.If you think of fusion as a mindset, though, rather than a style, the discussion gets a lot more interesting. And that's really how I prefer to think about it. Because the people who fall into the latter category are the ones who I find to be the most interesting, and the ones who are more likely to have careers where almost every record they play on is at least worth hearing, worth giving a chance. You may not like all of it. But they're creative enough that they've earned the benefit of the doubt.A perfect example of this is Bill Laswell, the bassist and producer. He doesn't use the term fusion. He calls what he does “collision music,” bringing together players from wildly disparate areas — stylistic areas, and literal geographical ones, putting African players together with guys from Southeast Asia and New York rock artists and whoever else he thinks has something to say — and seeing what comes out when they all work together toward a common goal. And sometimes you get something glorious, that you never could have predicted or imagined beforehand. Like pairing Pharoah Sanders with a troupe of Gnawa musicians from North Africa. Or putting improvising guitarist Derek Bailey together with drummer Jack DeJohnette, DJ Disk from the Invisibl Skratch Piklz, and Laswell himself on bass. I heard a recording of that group just a few days ago, and you might not expect it to work, but it really, really did.Bob Stewart is a fusion artist in that he takes an instrument that has had a relatively low profile in jazz for decades — the tuba — and created a variety of fascinating contexts for it. Not only on his own albums, but particularly in partnership with the late alto saxophonist Arthur Blythe. They began working together in the early 1970s, and Stewart's playing on some of Blythe's albums, most notably Bush Baby, where it's just the two of them and a percussionist, and on Lenox Avenue Breakdown and Illusions, where they had some incredible bands that included at different times James “Blood” Ulmer on guitar, Cecil McBee on bass, Jack DeJohnette on drums, James Newton on flute, and Abdul Wadud on cello. On the album Blythe Spirit, Blythe and Stewart record a version of the spiritual “Just A Closer Walk With Thee,” with Amina Claudine Myers on organ, that's absolutely amazing. We talk about that piece a little bit in this interview.He's worked with a lot of other artists over the course of his career, too, including Charles Mingus, McCoy Tyner, Carla Bley, Gil Evans, the Jazz Composers Orchestra, Bill Frisell, the David Murray Big Band, Lester Bowie's Brass Fantasy, and on and on. The reason he's able to do so many different things is that his approach to the tuba is really expansive, conceptually speaking. He treats it as much more than a substitute bass. He understands its full range, and the subtleties it's capable of expressing, and he uses it in ways lots of other people would never even think of. On his own albums First Line, Then & Now, and Connections — Mind the Gap, he puts together really unorthodox collections of personnel. For example on Then & Now, which was originally released in 1996 but just recently popped up on Bandcamp, some of the tracks feature two trumpets, trombone, French horn, and drums, while another is a duo with pianist Dave Burrell, and others have trumpet, alto sax, guitar, and drums. And Connections — Mind the Gap, which is from 2014, features tuba, guitar and drums, with trumpet and trombone on two tracks, but then on five others it's the core trio plus a string quartet. Now that's very much a kind of fusion — jazz which is already in an avant-garde zone, combined with chamber music.Bob Stewart is a fascinating guy, an endlessly creative spirit who has done a tremendous amount to change the image of his instrument in order to pave the way for guys like Theon Cross, who plays tuba with Sons of Kemet, or with Jose Davila, who plays with Henry Threadgill's Zooid. I really enjoyed this conversation, and I hope you enjoy listening to it.Music in this episode:Bob Stewart, “Bush Baby” (Connections – Mind The Gap)Arthur Blythe, “Lenox Avenue Breakdown” (Lenox Avenue Breakdown)Bob Stewart, “The Rambler” (from Then & Now)

Henry Threadgill: On One Distinguished composer, multi-instrumentalist, and bandleader Henry Threadgill discusses the making of a new orchestral multimedia work and all the history that played into it. With musical examples from his band Zooid including excerpts from a premiere at Roulette that earned him a 2016 Pulitzer Prize. The new piece unfolds at Roulette May 20-21, 2022. https://roulette.org/

Distinguished composer, multi-instrumentalist, and bandleader Henry Threadgill discusses the making of a new orchestral multimedia work and all the history that played into it. With musical examples from his bands Zooid and Double Up including excerpts from a premiere at Roulette that earned him a 2016 Pulitzer Prize. The new piece unfolds at Roulette May 20-21, 2022.

We are back at it… our ongoing exploration of the best new and upcoming releases, from the neo-cool, of Donald Fagen and Patricia Barber, to one of the events of the fall, the latest album by Henry Threadgill's Zooid. The cherries on top: the thorougly satisfying new albums by Burnt Sugar--The Arkestra Chamber and Adam O'Farrill. The playlist features Donald Fagen; Patricia Barber; Burnt Sugar--The Arkestra Chamber; Adam O'Farrill; Julius Rodriguez, Cisco Swank; Michel Meis; Antoine Pierre; Hermon Mehari, Alessandro Lanzoni; Simone Alessandrini; Silke Eberhard; Henry Threadgill. Detailed playlist at https://spinitron.com/RFB/pl/14221029/Mondo-Jazz (up to "Beneath the Bottom") Happy listening! Photo credit: Luciano Rossetti (Phocus Agency)

Da lunedì 22 a venerdì 26 febbraio 2021 Una personalità davvero unica quella di Henry Threadgill nel panorama del jazz nero-americano degli ultimi 50 anni, alla quale ci avvicineremo grazie alla sapiente guida di Claudio Sessa in questa serie di "Birdland". Multistrumentista, suona vari tipi di sassofono e il flauto, e compositore, Threadgill è nato a Chicago nel 1944. Ha contribuito in maniera essenziale alla definizione della scuola del jazz d'avanguardia chicagoano dagli anni '70 in poi. Ha fondato gruppi eterogenei e spesso dalla inusuale strumentazione come il trio Air (1971), il proprio sestetto/settetto con violoncello, la band Very Very Circus (con due chitarre elettriche e due basso tuba), il quintetto Make a Move (con fisarmonica o vibrafono, chitarre e basso elettrici), più di recente gli ensemble Zooid e Double Up. Nell'arte di Threadgill, che trascende i confini stilistici, convergono in una originalissima sintesi elementi di tradizioni diverse: il ragtime, la musica di strada e da circo, il be-bop, la nuova musica di matrice eurocolta, il free jazz. La sua cifra di compositore è stata riconosciuta grazie alla commissioni di enti importanti quali la Carnegie Hall, la Columbia University, l'ensemble Bang on a Can, la Biennale Musica di Venezia, il Festival jazz di Saalfelden. Nel 2016 ha vinto il Premio Pulitzer per la musica con il disco In for a penny, in for a pound del suo gruppo Zooid.

Da lunedì 22 a venerdì 26 febbraio 2021 Una personalità davvero unica quella di Henry Threadgill nel panorama del jazz nero-americano degli ultimi 50 anni, alla quale ci avvicineremo grazie alla sapiente guida di Claudio Sessa in questa serie di "Birdland". Multistrumentista, suona vari tipi di sassofono e il flauto, e compositore, Threadgill è nato a Chicago nel 1944. Ha contribuito in maniera essenziale alla definizione della scuola del jazz d'avanguardia chicagoano dagli anni '70 in poi. Ha fondato gruppi eterogenei e spesso dalla inusuale strumentazione come il trio Air (1971), il proprio sestetto/settetto con violoncello, la band Very Very Circus (con due chitarre elettriche e due basso tuba), il quintetto Make a Move (con fisarmonica o vibrafono, chitarre e basso elettrici), più di recente gli ensemble Zooid e Double Up. Nell'arte di Threadgill, che trascende i confini stilistici, convergono in una originalissima sintesi elementi di tradizioni diverse: il ragtime, la musica di strada e da circo, il be-bop, la nuova musica di matrice eurocolta, il free jazz. La sua cifra di compositore è stata riconosciuta grazie alla commissioni di enti importanti quali la Carnegie Hall, la Columbia University, l'ensemble Bang on a Can, la Biennale Musica di Venezia, il Festival jazz di Saalfelden. Nel 2016 ha vinto il Premio Pulitzer per la musica con il disco In for a penny, in for a pound del suo gruppo Zooid.

Da lunedì 22 a venerdì 26 febbraio 2021 Una personalità davvero unica quella di Henry Threadgill nel panorama del jazz nero-americano degli ultimi 50 anni, alla quale ci avvicineremo grazie alla sapiente guida di Claudio Sessa in questa serie di "Birdland". Multistrumentista, suona vari tipi di sassofono e il flauto, e compositore, Threadgill è nato a Chicago nel 1944. Ha contribuito in maniera essenziale alla definizione della scuola del jazz d'avanguardia chicagoano dagli anni '70 in poi. Ha fondato gruppi eterogenei e spesso dalla inusuale strumentazione come il trio Air (1971), il proprio sestetto/settetto con violoncello, la band Very Very Circus (con due chitarre elettriche e due basso tuba), il quintetto Make a Move (con fisarmonica o vibrafono, chitarre e basso elettrici), più di recente gli ensemble Zooid e Double Up. Nell'arte di Threadgill, che trascende i confini stilistici, convergono in una originalissima sintesi elementi di tradizioni diverse: il ragtime, la musica di strada e da circo, il be-bop, la nuova musica di matrice eurocolta, il free jazz. La sua cifra di compositore è stata riconosciuta grazie alla commissioni di enti importanti quali la Carnegie Hall, la Columbia University, l'ensemble Bang on a Can, la Biennale Musica di Venezia, il Festival jazz di Saalfelden. Nel 2016 ha vinto il Premio Pulitzer per la musica con il disco In for a penny, in for a pound del suo gruppo Zooid.

Da lunedì 22 a venerdì 26 febbraio 2021 Una personalità davvero unica quella di Henry Threadgill nel panorama del jazz nero-americano degli ultimi 50 anni, alla quale ci avvicineremo grazie alla sapiente guida di Claudio Sessa in questa serie di "Birdland". Multistrumentista, suona vari tipi di sassofono e il flauto, e compositore, Threadgill è nato a Chicago nel 1944. Ha contribuito in maniera essenziale alla definizione della scuola del jazz d'avanguardia chicagoano dagli anni '70 in poi. Ha fondato gruppi eterogenei e spesso dalla inusuale strumentazione come il trio Air (1971), il proprio sestetto/settetto con violoncello, la band Very Very Circus (con due chitarre elettriche e due basso tuba), il quintetto Make a Move (con fisarmonica o vibrafono, chitarre e basso elettrici), più di recente gli ensemble Zooid e Double Up. Nell'arte di Threadgill, che trascende i confini stilistici, convergono in una originalissima sintesi elementi di tradizioni diverse: il ragtime, la musica di strada e da circo, il be-bop, la nuova musica di matrice eurocolta, il free jazz. La sua cifra di compositore è stata riconosciuta grazie alla commissioni di enti importanti quali la Carnegie Hall, la Columbia University, l'ensemble Bang on a Can, la Biennale Musica di Venezia, il Festival jazz di Saalfelden. Nel 2016 ha vinto il Premio Pulitzer per la musica con il disco In for a penny, in for a pound del suo gruppo Zooid.

Da lunedì 22 a venerdì 26 febbraio 2021 Una personalità davvero unica quella di Henry Threadgill nel panorama del jazz nero-americano degli ultimi 50 anni, alla quale ci avvicineremo grazie alla sapiente guida di Claudio Sessa in questa serie di "Birdland". Multistrumentista, suona vari tipi di sassofono e il flauto, e compositore, Threadgill è nato a Chicago nel 1944. Ha contribuito in maniera essenziale alla definizione della scuola del jazz d'avanguardia chicagoano dagli anni '70 in poi. Ha fondato gruppi eterogenei e spesso dalla inusuale strumentazione come il trio Air (1971), il proprio sestetto/settetto con violoncello, la band Very Very Circus (con due chitarre elettriche e due basso tuba), il quintetto Make a Move (con fisarmonica o vibrafono, chitarre e basso elettrici), più di recente gli ensemble Zooid e Double Up. Nell'arte di Threadgill, che trascende i confini stilistici, convergono in una originalissima sintesi elementi di tradizioni diverse: il ragtime, la musica di strada e da circo, il be-bop, la nuova musica di matrice eurocolta, il free jazz. La sua cifra di compositore è stata riconosciuta grazie alla commissioni di enti importanti quali la Carnegie Hall, la Columbia University, l'ensemble Bang on a Can, la Biennale Musica di Venezia, il Festival jazz di Saalfelden. Nel 2016 ha vinto il Premio Pulitzer per la musica con il disco In for a penny, in for a pound del suo gruppo Zooid.

Henry Threadgill’s music and community can’t be separated; there is no boundary: challenge and failure and growth in music are the same as challenge and failure and growth in life. This Meet the Composer bonus track shares an exclusive performance by Henry Threadgill's Zooid ensemble of I Never, recorded live by Q2 Music at the Village Vanguard on Oct. 2, 2016. Throughout his career, Threadgill has led countless ensembles with diverse instrumentations and personalities. And in each of them, he finds a way to unearth a type of asymmetry – a blend of unease and transcendence that comes across in his remarkably structured compositions. He unites musicians in the same way as he composes: with affection for the mysterious, embrace of the unexpected, and spontaneity guided by a rigorous intellect. As Threadgill has said, “Improvisation is a way to live your life and solve problems.” Music is one outlet, one way to activate this philosophy, which is something we hear echoed often from his collaborators. In this recording, we hear the 2016 Pulitzer Prize laureate leading his longest standing chamber ensemble, Zooid, in a live performance inside the legendary New York City underground jazz venue, the Village Vanguard. Performers: Henry Threadgill, alto saxLiberty Ellman, tresChristopher Hoffman, celloJosé Davila, tubaElliot Humberto Kavee, drums, percussion This live recording was produced by Curtis Macdonald and engineered by Edward Haber (technical director and remix), Irene Trudel, Duke Markos, Bill Moss and Curtis Macdonald.

8e émission de la 30e session... Cette semaine l'animateur est au Suoni, alors mixette nostalgique et actuelle pas mal into the free zone avec une pensée pour Ornette Coleman... En musique: Kalaparusha sur l'album Wildflowers 1: The New York Loft Jazz Sessions (Douglas, 1977); Flight to Sanity sur l'album Wildflowers 2 : The New York Loft Jazz Sessions (Douglas, 1977); Ornette Coleman Trio sur l'album At the "Golden Circle" Stockholm Volume One (Blue Note, 1965); Dennis Gonzalez Yells at Eels sur l'album In Quiet Waters (ForTune, 2014); Gard Nilssen's Acoustic Unity sur l'album Firehouse (Clean Feed, 2015); Henry Threadgill & Zooid sur l'album In For a Penny, In For a Pound (Pi Recordings, 2015); Gonçalo Almeida, Wilbert de Joode & Fred Lonberg-Holm sur l'album Live at ZAAL 100 (Cylinder, 2015)...

8e émission de la 30e session... Cette semaine l'animateur est au Suoni, alors mixette nostalgique et actuelle pas mal into the free zone avec une pensée pour Ornette Coleman... En musique: Kalaparusha sur l'album Wildflowers 1: The New York Loft Jazz Sessions (Douglas, 1977); Flight to Sanity sur l'album Wildflowers 2 : The New York Loft Jazz Sessions (Douglas, 1977); Ornette Coleman Trio sur l'album At the "Golden Circle" Stockholm Volume One (Blue Note, 1965); Dennis Gonzalez Yells at Eels sur l'album In Quiet Waters (ForTune, 2014); Gard Nilssen's Acoustic Unity sur l'album Firehouse (Clean Feed, 2015); Henry Threadgill & Zooid sur l'album In For a Penny, In For a Pound (Pi Recordings, 2015); Gonçalo Almeida, Wilbert de Joode & Fred Lonberg-Holm sur l'album Live at ZAAL 100 (Cylinder, 2015)...

The trek through Blackrock Mountain continues, which means... more card reviews! Bryan, Billy and Andres share their varied experiences over the past week, including a discussion of the latest heroics and a curious look at Billy's quite successful OTK warrior. Notable moments include an extended discussion about the role and purpose of aggro decks in strategy games and Bryan's insistence that Dragadin is one of the best deck names ever. (Though not as good as Zooid).We had fun making this episode and hope you enjoy it! If not feel free to yell at us through any of the following mediums:Twitter: @HearthaholicsAndres: @IplaiGamesBryan: @LordMeldorrBilly: @BBrawlyEmail: hearthaholics@gmail.comYouTube: https://www.youtube.com/channel/UCFmxmGzLSJjn_wGo0H9uk8AFacebook: https://www.facebook.com/pages/Hearthaholics-A-Hearthstone-Podcast/1821911224700937?sk=timelineiTunes: https://itunes.apple.com/al/podcast/hearthaholics-hearthstone/id983756722?mt=2Our theme song is Let the Hunt Begin, arranged by Masseve. 

Oct. 25, 2013. A rare Washington appearance from Henry Threadgill, "one of the most important living composers in and around the jazz idiom" (Nate Chinen) and a dazzling alto saxophonist and flutist with masterly improvisational skills. Speaker Biography: At the edge of the jazz avant-garde since the early 1960s, composer-performer Henry Threadgill operates within a sophisticated, multi-sourced musical language developed over decades, since his early years with the Association for the Advancement of Creative Musicians. It's a language uniquely his own, one that his Zooid colleagues speak fluently. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6619

Oct. 26, 2013. Larry Appelbaum interviews composer and multi-instrumentalist Henry Threadgill about his musical upbringing in Chicago, the Association for the Advancement of Creative Musicians (AACM), the story of his life-changing experience in Vietnam, his groups Air and Zooid, and his approach to composition and improvisation. Speaker Biography: Henry Threadgill is an American composer, saxophonist and flautist who came to prominence in the 1970s leading ensembles with unusual instrumentation and often incorporating a range of non-jazz genres. He has had a music career for over forty years as both a leader and as a composer. Speaker Biography: Larry Appelbaum is a senior music reference librarian and jazz specialist in the Music Division at the Library of Congress. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6241

Music writer and musician Hank Shteamer talks about Mosaic's new Henry Threadgill boxed set, The Complete Novus & Columbia Recordings of Henry Threadgill & Air, for which Shteamer wrote the liner notes. In this interview, Shteamer talks about the two-decade period covered by the set; the amazing variety of Threadgill's bands and compositions; Threadgill's infectious humor; and how Threadgill differs from other musical iconoclasts. Get the boxed set at Mosaic's site, and read more of Hank Shteamer's writing at his excellent blog, Dark Forces Swing Blind Punches. Tracks used in this episode: Card Five: Open Air Suit; Come Carry The Day; Salute To The Enema Bandit; Paille Street; Noisy Flowers; Sweet Holy Rag. NOTE: Listen to Henry Threadgill on The Jazz Session talking about his Zooid project. NOTE 2: A poem inspired by one of the tracks on the Mosaic boxed set: "Threadgill's birds"