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Editors: Célia Takada & Massimo Milano

28/08/2024

WEATHER REPORT | Medley
Live at the Pl***oy Jazz Festival
Hollywood Bowl, Los Angeles, CA
June 19, 1982

This concert came only three weeks after the new (post-Jaco) group was introduced at the San Diego show. This recording is a good one to get to see how the band progressed since they first played together. The material is much the same, and it shows some real progress for the playing and new song development (later became the "Procession" album).

01. Black Market
02. Elegant People
03. Badia
04. A Remark You Made
05. Fast City
06. Birdland

Joe Zawinul – piano, keyboards
Wayne Shorter – tenor and sopranos saxophones
Victor Bailey – bass
Omar Hakim – drums
Jose Rossy – percussion

***oy ***oyjazzfestival

26/08/2024

RADIO.STRING.QUARTET.VIENNA | Moon River
▶️ youtu.be/_-Lwcbxp6c0
Released: October 28, 2011 (ACT Music)

The arrival of the radio.string.quartet.vienna with an unlikely album of compositions from one of the loudest bands in jazz history, the Mahavishnu Orchestra, was like a breath of fresh air in 2007. They quickly discovered that like the fiction writer whose debut novel becomes a big hit, coming up with a follow-up is fraught with problems – which way to go? More of the same? Or a new direction? With Calling You they brought in vocalist Rigmor Gustafsson for a set of Esbjörn Svensson originals and on Radiotree they called on accordionist Klaus Paier to join them, and on both occasions it had the effect of diffusing the intimate and unique sound world they had created for themselves since their guests appeared to intrude into the whole concept of a string quartet, especially one attempting to navigate the often treacherous waters of jazz. With Radiodream they return to the quartet setting, and are all the more impressive for it. With new recruit Igmar Jenner replacing Johannes Dickbauer, this impressive set inspired by Sigmund Freud is in essence a musical expedition into the realm of dreams – “What would a whole night of dreams sound like,” says Bernie Mallinger. Casting their net wide, from Thom Yorke of Radiohead's ‘Nice Dream’, to ‘Strange Fruit’ to Liszt's ‘Liebestraum’ to Mancini's ‘Moon River’ and a version of ‘I Loves You, Porgy’ inspired by Keith Jarrett's version from his moving The Melody, the Night, With You plus nine well conceived originals, this album has the feel of a minor masterpiece from start to finish. RSQV bring precision, polish and depth through the wide range of sounds they draw from their instruments through a variety of bowing techniques as well as plucking the strings that achieve a surprisingly effective percussive effect and they do it all without once losing the essence of jazz feeling rooted in swing. This is vital, interesting and absorbing band is one of the “must see” ensembles in European jazz today. (Stuart Nicholson)

* * *

The radio.string.quartet, interim radio.string.quartet.vienna, is a contemporary string quartet based in Vienna.
They are known for using a big variety of musical styles including classical, folk, rock, jazz, pop music, electronica and contemporary music in their compositions and arrangements. Despite their name they have no artistic connection to any radio station.
The quartet was one of the big discoveries of the Berlin Jazz Festival in 2006 with its adaptation of the music of the Mahavishnu Orchestra.
John McLaughlin wrote the liner notes to their first album: ...."From the first note I was struck by the way this group had 'appropriated' my music and made it their very own. They even got the atmosphere which was present all those years ago. The other aspect that touched me deeply was the importance they attach to improvisation, and they do improvise!.... ...This is no ordinary string quartet. The love of, and the dedication they have to their respective instruments is marvellous, and the fact that they have taken what was electric jazz-fusion music, fused it with their training in 'classical' music, and conserved the 'electric' atmosphere is outstanding."
Radiodream (2011) marked a new chapter in the band's history: it is the most independent work of the quartet containing a huge percentage of their own compositions, which show the various musical and cultural backgrounds of the band members.
Posting Joe - Celebrating Weather Report - live (2013) is paying homage to their fellow countryman, the great composer and pianist/keyboard player Joe Zawinul. It was voted " #2 jazz album of the year 2013" by The Sunday Times.
In 2014 the band began to work on in between silence (2017), which defined a new operation mode both in their studio work and in their live-performance. The use of voices and electronics widens the band's horizons considerably, a stylistic device which is now used for the first time on several pieces. The album compositions - exclusively written by the quartet - basically were re-arranged for the live-performance. With that step the band tried to adapt the spatial variability of listening to music live or from an album. For in between silence album the band worked with a co-producer for the first time, the Norwegian pianist and NuJazz-pioneer Bugge Wesseltoft.
In 2020 the band begins with their "quadrology", whose basic idea is to represent the 4 elements earth, fire, air and water in their musical language and to relate them to each other. For each individual element there will be collaborations and a different line-up, the center and musical link of which will be radio.string.quartet.
The first element to appear, for the first time on her own label SeeYulette, was Erd' with the Austrian singer and composer Roland Neuwirth in June 2020. In 2022 they released B:A:C:H • like waters, an audiovisual journey based on Johann Sebastian Bach's g-minor Violin Solosonata. In 2022 they released B:A:C:H • like waters, an audiovisual journey based on Johann Sebastian Bach's g-minor Violin Solosonata.

Bernie Mallinger — violins
Sophie Abraham — violoncello
Cynthia Liao — viola
Igmar Jenner — violins

26/08/2024

"AND NOW THEY WANT OUR VOTES"

Eman Abdelhadi’s speech from the “Bodies Outside of Unjust Laws” demonstration on Aug. 18 in Chicago.

/// Chicago, we all know why we are here.

We are drowning, and our hearts are broken.

We are drowning in debt. In medical bills. In rising rents. In inflation.

We are under attack in this country. The Right has declared war on people of color, on trans people, on women. They are trying to dismantle our systems of education, trying to criminalize teaching Black history and the realities of racism, oppression and exploitation in this country.

They openly call for mass deportations and want to strip Black people of voter rights.

Every year, the climate crisis kills more people of heat, of floods, of fires. Every year, the number of climate refugees at home and abroad climbs and climbs.

"They have provided an infinite supply of bombs to destroy Gaza’s homes, its schools, its hospitals, its playgrounds, its mosques, its churches, its croplands, its infrastructure."
And in this moment of absolute disaster, of absolute crisis.

The American ruling class —the people descending on this city for the Democratic National Convention — have seen fit to spend our money on killing children in Gaza.

They have provided an infinite supply of bombs to destroy Gaza’s homes, its schools, its hospitals, its playgrounds, its mosques, its churches, its croplands, its infrastructure.

As the most powerful country on earth, they have bullied the rest of the world in the name of protecting a far-right government openly committing a genocide.

And now …

Now they want our votes.

They say they have earned them by showing a little more empathy towards those poor Palestinians they happened to kill.

Vice President Harris, we hear your shift in tone.

But …

Your tone will not resurrect the dead.

"Your tone will not pull bombs out of the sky. Your tone is not enough."

Your tone will not shelter the living.

Your tone will not pull bombs out of the sky.

Your tone is not enough.

Genocide Joe would still be on the ticket if it were not for this movement, for all of us. Our movement is one of the main reasons that you are now the Democratic candidate for President in the most powerful country on the planet.

You, Vice President Harris, get to run for office because we ousted your predecessor right here in these streets. But it was never just about him. It was about the 40,000 Palestinians he helped kill.

And now we are telling you that “Not the other guy” is not a platform.

We are telling you that you actually have to earn our votes.

And we are telling you exactly how to earn them.

We are telling you we want a weapons embargo.

We are telling you we want a permanent ceasefire.

And we are telling you that we want them NOW.

But the majority of Americans, in poll after poll, say they disapprove of Israel’s actions in Gaza.
You keep telling us that democracy itself is on the line.

You keep telling us that fascism is knocking at the door.

You keep telling us that Trump would be worse.

But the majority of Americans, in poll after poll, say they disapprove of Israel’s actions in Gaza. Study after study shows that a weapons embargo would earn you more votes, would secure you this election.

Vice President Harris, why are you risking the end of democracy, the rise of fascism, the return of Trump to protect Netenyahu’s war on children?

You are not the protector of democracy.

We are the protectors of democracy.

If you want to see democracy, look to Chicago’s streets this week. We are democracy speaking back to power, saying we will not be ignored.

> Eman Abdelhadi is an academic, activist and writer who thinks at the intersection of gender, sexuality, religion and politics. She is an assistant professor and sociologist at the University of Chicago, where she researches American Muslim communities. She is co-author of Everything for Everyone: An Oral History of the New York Commune, 2052 – 2072.

Source:
https://inthesetimes.com/article/harris-votes-abdelhadi-dnc

26/08/2024

AUSTRALIA’S NEW RIGHT TO DISCONNECT LAW ALLOWS WORKERS TO IGNORE CALLS AND EMAILS AFTER HOURS

Australians can now legally ignore unreasonable after-hours work calls and emails under new government legislation that came into effect on Monday, drawing criticism from business groups.

Under the laws, employers face fines of up to A$93,000 ($63,000) for getting in touch with an employee for non-essential reasons outside of working hours.

“Just as people don’t get paid 24 hours a day, they don’t have to work for 24 hours a day,” Prime Minister Anthony Albanese told Australian Broadcasting Corp. on Monday, adding that he expected the changes to boost productivity.

“For many Australians, I think they’re getting frustrated that they’re expected to be on their phones, their emails, all of that, for 24 hours a day,” he said. “It’s a mental health issue, frankly.”

Australia follows nations such as France, Spain and Belgium in introducing right to disconnect laws to protect workers from unreasonable contact outside of hours, while other governments around the world are considering similar measures.

Local business groups have already expressed concerns around the new laws. Andrew McKellar, chief executive officer of the Australian Chamber of Commerce and Industry, described the changes as a “thought bubble” and said business wasn’t consulted on them.

Any disputes over attempts by employers to contact workers outside office hours could be escalated to Australia’s industrial relations umpire, the Fair Work Commission, for a final determination, Workplace Relations Minister Murray Watt said Monday.

However he added that he hoped employers and employees would be able to resolve any disputes through discussions, without needing to escalate.

The right to disconnect will apply to employees from medium and large enterprises immediately, while small businesses will have 12 months before their workers are affected, according to the government.

Source:
https://time.com/7014775/australia-right-to-disconnect-law-work-calls-employers-fine/

26/08/2024

‘HIS SPIRIT IS EVERYWHERE’: THE FASCINATING STORY OF JIMI HENDRIX’S ELECTRIC LADY STUDIO

New documentary takes a look back to the late 60s when the star commissioned a recording studio that has since taken on a life of its own.

/// Eddie Kramer knows it sounds silly, but whenever he’s asked what’s so special about Electric Lady, the recording studio Jimi Hendrix commissioned him to build in 1968, he gives the same answer: “It’s the vibes. Any time I walk in here, I feel them,” he said as he sat inside the studio’s control room. “It’s in the walls. It’s in the hallway. The spirit of Jimi is everywhere.”
“If you want to believe it’s the vibes, fine,” said John Storyk, the architect who created the studio’s design, who sat next to Kramer as they spoke. “But there’s more to it. There’s also science involved.”

Add to that elements of luck, chaos and vision and you have an alchemy that, together, created a place that still draws music’s imperial tier, including Taylor Swift, Adele, Beyoncé and Lady Gaga. The complex history of the studio’s birth, as well as the trends in sound and design that it helped introduce, are thoroughly explored in the new documentary, Electric Lady Studios: A Jimi Hendrix Vision.

The movie, currently in theatres, will also be included in a forthcoming box set that features 38 previously unreleased tracks Hendrix cut in the studio between June and August of 1970. The timeline of those recordings torpedoes the first of several myths about Electric Lady. Because the studio didn’t officially open until August of 1970, it has often been reported that Hendrix only spent 10 weeks recording here before his tragic death that September. In fact, he began cutting music in the studio nearly four months before his demise, working tirelessly to hone songs included on the box set that were meant for a bold new double album. The nearly frantic pace at which Hendrix wrote and recorded in the final months of his life tips off the reason Electric Lady was created in the first place.

At the start of 1969, the guitarist was riding high off his double album, Electric Ladyland, a No 1 blockbuster that became an instant touchstone for the rock generation. If anything, its success only sped up Hendrix’s hunger to create as much new music as possible. “Jimi was jamming in New York at any studio he could get his hands on,” said Kramer, who served as the guitarist’s engineer starting with his 1967 debut, Are You Experienced. “He loved creating new sounds. He could barely breathe, he was in such a hurry get it all out. And thank God he did, because what he created then was the basis for all the music we were going to do next.”

Hendrix’s sonic brainstorming wasn’t confined to the studio. He was also jamming with seemingly every musician around, in search of new inspiration and interplay. In order to centralize those jam sessions, he decided to open his own club where he could play in front of people whenever he wanted and with whoever he liked. He settled on the site of a just shuttered W 8th Street club called the Generation, where he had jammed in the past with stars like BB King and Sly Stone. At the time, the street was dominated by head shops and shoe stores although, just a few doors down, was another important club, the Bon Soir, where Barbra Streisand got her start. The role model Hendrix had in mind for his venue was a short-lived avant-garde club called Cerebrum, located in a then abandoned Soho. A reporter from the New York Times struggled to describe the club in a 1968 story, writing, it “speaks to the ancient human desire to shed consciousness, to plug into some warm large Other, to regain the indiscriminate bliss of babyhood, to – one phrase for it – get zonked”.

To make sure everybody got good and “zonked”, Hendrix hired the same guy who designed Cerebrum, a 22-year-old recent architecture graduate named John Storyk. The only instructions he gave him was to paint everything white and to give the space a lot of sensuality with no sharp edges. The guitarist loved the renderings Storyk devised, but the notion of a club went south right after Kramer suggested to the musician and his manager that a studio would be a far wiser use of the space. As attention-getting as Cerebrum had been, it lost money. And, at the time, “Jimi was spending over $200,000 a year in studio time,” Kramer said. (That’s equivalent to $1.7m today.) “I said, ‘Let’s build you the best studio in the world, where you would not be disturbed, a womb-like structure where you could feel at home.’ He and his manager (Michael Jeffery) looked at me and said, ‘Good idea.’”

While Kramer would be the one overseeing the audio aspects of the space, Storyk was retained to create the design – a more daunting task than he first imagined. “Everything we know now about studios didn’t exist then,” Storyk said. “There was no manual you could follow.”

At the time, Kramer said, the major “studios were these horrible boxes. They were uninspiring places to make music. The idea of even putting a couch or a plant in a studio was not happening.”

More, the control rooms tended to be small, designed to accommodate the producer, not the artist. “At the time, the artist would just come into the studio, do their takes and go,” Kramer said. “They didn’t go into the control room because they didn’t produce their own records.”

Electric Lady was meant to rebalance the power dynamic, putting the artist in charge, an emerging idea at the time. “It was incredibly rare for artists to have their own studios then,” Kramer said. “That idea was way ahead of its time.”

Countering the cold studio rooms common to the day, Electric Lady would be warm, inviting and, at Hendrix’s instruction, full of feminine curves for the walls, further softened with carpet to make the space appear to evolve and envelope. It helped enhance the flow that the subterranean space had no columns. Color was also important to the guitarist. Even though he had asked Storyk to make the walls white, he wanted the ability to project onto them a rainbow of colors to create an ever-changing array of moods. The colors didn’t only have a visual function but an audio one, too. “When Jimi said, ‘Hey man, give me some green’ or ‘Give me more purple,’ it was code,” Kramer said. “I knew when he said ‘green’ it meant more reverb. ‘Red’ meant more distortion. Having the ability to dial in different colors to match whatever he was thinking was a great blessing.”

The shape of the room, and the ceiling, also had a defining effect. Because the space was located underneath a movie theater (the 8th Street Playhouse) with a floor that sloped down, the ceiling sloped in parallel. To exaggerate the effect, Storyk created a flying saucer design on the ceiling. He believes it’s the shape, more than anything, that created Electric Lady’s audio advantage. “The real magic of the room is the ceiling,” Storyk said. “I thought the shape would absorb mid and high frequencies. Little did I know that what we actually wound up making was a low frequency membrane absorber. That’s the science that made this a great rock‘n’roll room.”

In constructing it, however, the creators encountered any number of hurdles, the most alarming being the discovery of a water table left over from the Minetta Creek that ran just below the floor, causing major flooding along the way. Finding a way to deal with that took months, halting the project at one point while ballooning the budget. In the end, the studio’s construction took twice as long as expected, a full year, from May of 1969 to the next spring, at a cost of $1m in money at the time. (That translates to $8.6m today.) To make that work financially, the studio would have to function as far more than just a haven for Hendrix. Lots of artists needed to use it, not a given despite the studio’s brilliant sound as well as the guitarist’s considerable drawing power. Adding to the urgency was the fact that Electric Lady didn’t own the space it occupies. To this day, the owners pay rent. “It may be the worst real estate deal in New York history,” Storyk joked.

For Hendrix it was well worth it. Once he could start using the studio, said Kramer, “he was the happiest I’d ever seen him. He was completely in his element.”

Fans can hear some of the results on the box set, which also includes some of the banter between Kramer, Hendrix and others as the creative process evolved. The engineer singled out one track, Drifting, that features the guitarist carefully working out the song. “It’s absolutely beautiful to hear,” Kramer said.

Hendrix was especially excited about the new configuration of his band, which featured himself, the drummer Mitch Mitchell and the bassist Billy Cox. “Jimi’s direction was to take some of the funk and blues elements from his Band of Gypsys, but with Mitch in the group,” Kramer said. “Mitch had been listening to Buddy Miles (from Band of Gypsys) and you can hear it in his playing. It’s way funkier and less showy.”

The opening party for the studio took place on 26 August 1970. Immediately afterwards, Hendrix flew to London to headline the Isle of Wight festival. A few weeks later, he was gone. When news hit the studio, Kramer said “I just broke down,” pointing to the exact spot in the hallway where he lost it. At the same time, he knew the studio had to go on.

Within weeks, not only did Kramer begin the massive task of whipping the wealth of unreleased Hendrix music into shape, he began producing other projects at the studio, including Carly Simon’s debut album, which became a huge hit. Another bridge to Electric Lady’s future came from Stevie Wonder – “the other great genius of the moment”, said Storyk – who fell in love with the place and started recording some of his most adventurous music there, including parts of Music of My Mind, and Talking Book. From there, the studio hosted sessions for everyone from Led Zeppelin to the Stones to Bowie. In the late 90s and early 2000s, the Black music collective, the Soulquarians, recorded many of its most crucial albums there by artists like D’Angelo, the Roots and Erykah Badu. Though for a while the studio teetered financially, Kramer and Storyk say the current management, in place since 2010, have been exemplary stewards of its legacy.

As Kramer and Storyk surveyed the space when we spoke, they marveled at the renovations that have taken place over the years. The shape of the control room has expanded and the psychedelic collage mural that snaked around the entire hallway now appears in pieces rather than in its original, contiguous form. On a sadder note, the original facade outside, with its distinctive rolling brick design, was destroyed in 1997 to create a new entrance for Mount Sinai medical center when it took over what had been the 8th Street Playhouse next door. Even so, Kramer relishes the spirit and sound that remain. “I get chills whenever I walk in here,” he said. “To me, this will always be home.”

> Electric Lady Studios: A Jimi Hendrix Vision is now playing in cinemas in a series of cities in the US and UK. It will also be released 4 October as part of a box set and will begin streaming on Sky TV in the UK that month.

Source:
https://www.theguardian.com/music/article/2024/aug/26/jimi-hendrix-electric-lady-studios-documentary

23/08/2024

DELVING INTO JAPANESE VIDEO GAME ADS FROM THE 1980S

To promote their products, video game creators reinvented advertising displays with colourful and quirky visuals.

/// Video games and arcade games were two of the main leisure activities in the 1980s. During this decade and those that followed, the players didn’t just witness a titanic combat between games console makers Nintendo and Sega, but also saw the emergence of advertising campaigns flaunting the merits of the latest releases from Japanese companies. The posters, often in garish colours, present characters who seem a little absurd, the perfect symbols of the pop universe of the 1980s.

As many styles as audiences

Some of these adverts present families busy playing on a video arcade machine; others feature young women dressed in close-fitting pink leotards or wearing only a bikini, depending on the target market. Other adverts are more illustrated and represent scenery that draws on science fiction, like this campaign by Nichibutsu to promote Sector Zone (1984), or the advert for the arcade game Shuttle Invader (1979), the universe of which is largely inspired by Space Invaders.

The video game industry may have been born in the USA, but the giants in the sector developed in Japan, making the country the point of reference in gaming for decades. Japan may well later be renamed the ‘electric nation.’

Source:
https://pen-online.com/culture/delving-into-japanese-video-games-ads-from-the-1980s/?scrolled=3

**ta

23/08/2024

TUIRE KAYAPÓ, THE WOMAN WHO HELD BACK A DAM

With a single defiant gesture, this brave indigenous woman, who passed on August 10, delayed construction of the Belo Monte Dam by two decades and set an example for future generations.

/// A gesture that left a mark on history. A gesture that expressed ideas and passion with the movement of hands, arms, head, and body. A gesture associated with a tireless struggle to defend the rights of the forest, the rivers, and its peoples. A gesture that will be forever associated with one woman: Tuire Kayapó, a member of the Mebêngôkre people.

Tuire’s gesture was to lift a machete to the cheek of José Antonio Muniz Lopes, the general coordinator for the CEO of Eletronorte, in 1989. This powerful expression of defiance and opposition was aimed at the construction of the Kararaô Hydroelectric Plant, which would later become the Belo Monte Hydroelectric Plant, which currently pilfers and enslaves 70% of the water flow in the Xingu River to generate electricity. Tuire’s 19-year-old arm deterred a dam.

So many lives were contained in that one gesture! Tuire Kayapó’s revolt against the Kararaô hydroelectric project was not an isolated or individual act. Tuire’s machete-wielding arm carried and carries the original peoples’ insurrection against their dispossession from the time of the European invasion of the Americas. Tuire’s arm represents the blood and the memory of hundreds of years of pillaging, colonization, and territorial and cultural weakening of Amerindian collectives, expropriated from themselves by the developmentalist, sexist, slavery-supporting, and capitalist practices that continue to impact Brazilian national policy and its egotistical regime of excluding diversity.

“Not in our name,” I hear it when I look at the picture of Tuire’s gesture in 1989. A chorus of voices of the peoples of yesterday, today, and tomorrow is imposed upon the gesture of this Kayapó woman. A multitude-gesture, a multitude-people. “Not in our name,” screams the Xingu River against Kararaô and Belo Monte, those engineers of death and confiscation of life’s creative energies and creators. Tuire’s multitude-people-gesture neither begins nor ends in 1989.

This gesture starts before recorded history in the mythic narratives of time immemorial, conveyed and refined through the generations by Mebêngôkre women and men, including Tuire. This is expressed as iarem tum, [“ancient speech from ancient people” in the Mebêngôkre language]. In this time, communication abounded between what we have agreed to call different species – animals, humans, plants, rivers, winds, stones. In certain situations, people could alter their bodily forms, alternating between these different bodies. People becoming animals becoming people becoming plants becoming animals becoming people, becoming. This conversion marks Tuire’s people’s knowledge and respectful relationship with the forests, animals, plants, rivers, winds, rains. A plethora of conversations were held with the fish-people who gifted Tuire’s ancestors with beautiful names, songs, and dances for the ritual festivals. The children with these beautiful names had to be celebrated. The children had to be celebrated. Life had to be celebrated and defended.

The Mebêngôkre, like Tuire, do not grow alone. They are made by women’s hands: by the hands of their mothers, aunts, grandmothers, by the hands of formal friends, ones who act as godmothers, people who draw closer to one another, creating bonds of mutual affection, respect, and care. As the people grow, drawings are frequently applied by painting their bodies with an ink of genipapo and achiote. Black and red ink applied symmetrically. This continual process of body manipulation begins a few months after birth and carries on until a person’s physical death. It is seen on the hands of the painterwomen, blackened from their continued use of genipapo ink: the art of acceptance and the body’s beauty belongs to them, the ones responsible for continually strengthening the bodies and souls of all the people around them. We look at the picture of Tuire’s gesture in the city of Altamira, in 1989: it is her genipapo-blackened hand that holds the machete.

I never spent time with Tuire Kayapó, but it is as if I had. Her presence is in every Indigenous person, in collectives of Ribeirinhos and Quilombolas. Her presence is in those who step with respect across the forest’s ground. Her presence is in those who defend the socioenvironmental cause and know the weight of the term climate emergency. Tuire’s presence is in all my friends of the Mebêngôkre-Xikrin people of the Trincheira Bacajá Indigenous Territory. Tuire’s existence was, is, and will continue to be shared, extended, and spread. A multitude-existence. So much so that many times I feel I could nearly touch her hair.

In 2012, when construction began on the Belo Monte dam wall splitting the Xingu River, I had this feeling. I felt Tuire’s hair close to my hand. I was in the company of some of my Mebêngôkre-Xikrin friends in Bacajá Village, now called Pukatum (old land, old ground). We were in a canoe, with an outboard motor on the back, navigating along the Bacajá River. We navigated to a part of the forest. We were looking for the bark of a tree used for charcoal to make the genipapo ink used to apply drawings to bodies. Mopkure, one of my formal friends, patiently cleaned out her pipe, clogged with the remains of the previous night’s to***co. At our side, along the riverbanks, dozens and dozens of yellow-spotted river turtles of all sizes were sunbathing. Some on top of the others, they balanced on fallen tree trunks along the riverbank. Two baby turtles seemed to be playing. Irekà, a wife, grandmother and an auntie to many children, stared at that scene: baby river turtles free, with no knowledge of the tragedy, the catastrophe, the disaster that would lay waste to them when Belo Monte imposed a perennial drought on the Volta Grande do Xingu – the river’s big bend region. How much is life worth? How many kilowatt-hours is life worth?

“We’re going to hit the [Belo Monte] dam boss and we’re going to cut his ear. We’re angry. We’re not playing. Let’s talk tough against the dam. We’re going to take the keys to the [Belo Monte’s] machines and we’ll never give them back,” said Irekà one of my Mebêngôkre-Xikrin friends. I told this story in my doctoral thesis; I wanted people to hear these words. Irekà also said the “dam is punure [ugly, horrible], the river turtles will die, their babies will die, the water will dry up, there will be no more water for bathing. The dam is punure, the women don’t want the dam.”

Irekà’s frightening vision became a sad reality. More and more of the Bacajá River’s yellow-spotted turtles are disappearing year after year. I learned from a collaborative research collective called Mati (or the Independent Territorial Environmental Monitoring group) that the turtles’ disappearance is an important scientific indicator of serious environmental disturbance. People like Tuire and Irekà always knew this.

May we increasingly join the uprisings of women against the dispossession of life. We stand with Tuire, machetes in hand. What will remain for our daughters, our sons, our grandsons and granddaughters? What life will be left from the plundering perpetrated by white men and their greedy monochromatic uniforms?

On that day, inside a canoe on the Bacajá River, in the company of some of my Mebêngôkre-Xikrin friends, I nearly touched your hair, Tuire. You were there. You’re still there. You will always continue to be there, in that canoe and in thousands of other canoes, machete in hand against the greed and selfishness, together with so many people’s arms, with the arms of those who, like you, know that tough talk is needed against Belo Monte.

> Thais Mantovanelli lives in Altamira, Pará, almost at the edge of the Belo Monte reservoir, where the Xingu River’s waters are enslaved. She is an anthropologist with the Xingu Program at Instituto Socioambiental and completed her PhD in the Social Anthropology graduate studies program at the Federal University of São Carlos. She has been following the struggle of Indigenous peoples and Ribeirinhos against the impacts of the Belo Monte Dam since 2011.

Source:
https://sumauma.com/en/tuire-kayapo-vida-e-gesto-de-uma-pessoa-multidao

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WEATHER REPORT | Medley | Live at the Playboy Jazz Festival | Hollywood Bowl, Los Angeles, CA | June 19, 1982w

WEATHER REPORT | Medley Live at the Playboy Jazz Festival Hollywood Bowl, Los Angeles, CA June 19, 1982 This concert came only three weeks after the new (post-Jaco) group was introduced at the San Diego show. This recording is a good one to get to see how the band progressed since they first played together. The material is much the same, and it shows some real progress for the playing and new song development (later became the "Procession" album). 01. Black Market 02. Elegant People 03. Badia 04. A Remark You Made 05. Fast City 06. Birdland Joe Zawinul – piano, keyboards Wayne Shorter – tenor and sopranos saxophones Victor Bailey – bass Omar Hakim – drums Jose Rossy – percussion #weatherreport #joezawinul #wayneshorter #victorbailey #omarhakim #joserossy #playboy #playboyjazzfestival #hollywood #hollywoodbowl #losangeles #california #1980s #80s #80sjazz #blackmarket #badia #elegantpeople #aremarkyoumade #jaco #fastcity #birdland #miles #milesdavis #electricjazz #fusion #jazzfusion #jazzrock #medley #live

WHO IS SONNY ROLLINS? | 1968 | A film by Dick Fontaine | Canada. 28 min.

WHO IS SONNY ROLLINS? | 1968 A film by Dick Fontaine Canada. 28 min. “I’ve always been fascinated in Sonny because he was one of those people who is capable of saying no to what he was supposed to do. By doing that, he has carved out his own space, and he’s won the game, in the sense that he’s survived, which many of his colleagues did not.” — Dick Fontaine * * * In his snapshot of the famed saxophonist Sonny Rollins—taken at a moment of deep introspection in which he self-exiled from his audience in protest against the Vietnam War and worked on his watershed album The Bridge—the innovative British documentarian Dick Fontaine follows the enigmatic musician around New York as he reflects on his artistic process and discusses why he suddenly left the music scene. Rollins—who went from teen prodigy to world famous saxophonist in the span of a decade—speaks in a pensive tone throughout the film, affirming his love of jazz through philosophical remarks and earnest reflection. Rollins often paused his career to rethink and refine his sound. Who Is Sonny Rollins? reveals just how important these respites were in providing him with the time and space necessary to develop compositions that went against the norms of the music industry at the time. Rollins’s maverick spirit, much like Fontaine’s within his own documentary tradition, is indicative of a willingness to think beyond commercial pressures and social expectations in favor of mental wellness and sonic experimentation. The aura of reclusion that has always surrounded Rollins is part of what makes Fontaine’s documentary such a delight. After all, it’s a very different experience to read about Rollins’s marathon training sessions on the Williamsburg Bridge than it is to actually see him calmly playing his saxophone on it (Richard Leiterman, the film’s cinematographer, eventually worked with Frederick Wiseman, Allan King, and D.A. Pennebaker). Fontaine’s indelible images are reminde

LYLE MAYS | August | Live on ‘Lyle & Nana TV Special’ | Inter-Media Arts Center (IMAC) | Huntington, NY | Sometime in 1983

LYLE MAYS | August Live on ‘Lyle & Nana TV Special’ Inter-Media Arts Center (IMAC) Huntington, NY Sometime in 1983 “All those players were both strong and original. That was the first and last time that that ensemble ever played together. I put it together for that broadcast, but couldn't get sufficient funding after that. It was sad because that band had so much potential.” — Lyle Mays Lyle David Mays (November 27, 1953 – February 10, 2020) was an American jazz pianist, composer, and member of the Pat Metheny Group. Metheny and Mays composed and arranged nearly all of the group's music, for which Mays won eleven Grammy Awards. While growing up in rural Wisconsin, Mays had a lot of curiosity but had to learn many things all by himself due to a lack of available resources and information. He had four main interests: chess, mathematics, architecture, and music. His mother Doris played piano and organ, and his father Cecil, a truck driver, taught himself to play guitar by ear. His teacher allowed him to practice improvisation after the structured elements of the lesson were completed. At the age of nine, he played the organ at a family member's wedding, and at fourteen he began to play in church. During his senior year of high school, at summer national stage band camp in Normal, Illinois, he was introduced to jazz pianist Marian McPartland. Bill Evans at the Montreux Jazz Festival and Filles de Kilimanjaro by Miles Davis (both recorded in 1968) were important influences. He attended the University of North Texas after transferring from the University of Wisconsin–Eau Claire. He composed and arranged for the One O'Clock Lab Band and was the composer and arranger for the Grammy Award-nominated album Lab 75. After leaving the University of North Texas, Mays toured in the US and Europe with Woody Herman's Thundering Herd (big band) for approximately eight months. In 1975, he met Pat Metheny at the Wichita Jazz Festival and soon afterward they co-founded th

BEBEL GILBERTO | Tanto Tempo | Live on KEXP | KEXP Studios, Seattle, WA | July 20, 2018

BEBEL GILBERTO | Tanto Tempo Live on KEXP KEXP Studios, Seattle, WA July 20, 2018 After working with artists like Caetano Veloso, David Byrne, and Towa Tei, Bebel Gilberto made her solo recording debut in the U.S. with Tanto Tempo, licensed for American release in 2000 by Six Degrees. It's an album of stylish, cool, contemporary bossa nova, with Gilberto's vocals a bit more assured and polished than Astrud Gilberto's classic and similar recordings of the '60s. The tone is restrained and subdued, simmering over the low heat of quiet passion; the instrumentation is mostly acoustic, although there are some unobtrusively electronic dance-club sounds as well. Overall, Tanto Tempo is a terrific, promising way for Gilberto to make her first impression as a solo artist. (Steve Huey) Tanto Tempo was produced by Serbian producer Suba and co-produced by Béco Dranoff for the Ziriguiboom imprint of Crammed Discs. Suba died from smoke inhalation while saving the newly recorded album from a studio fire. The album was included in the book 1001 Albums You Must Hear Before You Die. Brazilian electronic artist Amon Tobin's "Nova", from the album Permutation, is the backing track of "Samba da Benção". In 2011 it was awarded a platinum certification from the Independent Music Companies Association which indicated sales of at least 400,000 copies throughout Europe. As of 2009 it has sold 309,000 copies in United States according to Nielsen SoundScan. and as of 2004 it was reported that it has reached over a million copies sold worldwide. * * * Bebel Gilberto is a singer, songwriter, and producer whose rich, evocative, smoky alto and unique phrasing are her trademarks. She the daughter of bossa nova co-creator João Gilberto and prolific Brazilian vocalist Miúcha, and her uncle is songwriter Chico Buarque. Gilberto developed her signature instrument and unique delivery style first as a studio backing vocalist in Brazil and the U.S. She signed to Warner and released a self-titled so

BLONDE REDHEAD | Sit Down For Dinner (1 & 2) | Live on KEXP | KEXP Studios, Seattle, WA | October 19, 2023

BLONDE REDHEAD | Sit Down For Dinner (1 & 2) Live on KEXP KEXP Studios, Seattle, WA October 19, 2023 On Penny Sparkle and Barragán, Blonde Redhead sounded so ephemeral that the music seemed ready to evaporate in an instant. On Sit Down for Dinner, however, the trio bring their quintessentially elegant, mysterious music down to earth. Inspired by death and other separations from loved ones (most notably the passing of Kazu Makino's beloved horse and her distance from her family in Japan during the COVID-19 global pandemic), they seize the moment with a fuller, richer sound and some of their most gripping songs in years. All of this is immediately apparent on the hypnotic opening track "Snowman," which reaches back to the Brazilian sounds that influenced Makino and Simone and Amadeo Pace's earliest musical experiments and drapes them in swaying layers of backing vocals and percussion. The largely acoustic palette makes Sit Down for Dinner's dreams and fantasies feel more immersive and that much closer to reality than on some of Blonde Redhead's other albums; the driving rhythm on the impossibly romantic, Makino-sung standout "Kiss Her Kiss Her" seems to nudge a pair of star-crossed lovers closer to each other. Likewise, the songwriting is just direct enough to keep listeners riveted. "I really care about you," Amadeo sings on "Not for Me," a plain-spoken declaration of devotion to someone faraway that feels eloquent when coupled with its haunting surroundings. "Before" updates the band's wounded chamber pop with tumbling choruses that are as catchy as they are graceful, but Sit Down for Dinner's evocative writing allows them to branch out on "I Thought You Should Know," an epic ballad that channels the sweep of "Wild Horses" and "Bridge Over Troubled Water" with surprising conviction, and "Melody Experiment," where they discover new ways to swoon by fusing dream-pop with trip-hop and dub. Throughout the album, Blonde Redhead give the beauty of their music a newfound

THE WHO | The Real Me | Live at the Royal Albert Hall | London, UK | November 27, 2000

THE WHO | The Real Me Live at the Royal Albert Hall London, UK November 27, 2000 "The Real Me" is a song written by Pete Townshend on The Who's second full-scale rock opera, Quadrophenia in 1973. This is the second track on the album, although it is the first with lyrics. It concerns a boy named Jimmy, a young English Mod with four distinct personalities. The song describes how he angrily deals with several individuals to identify "the real me". The song was released as a single (backed with I'm One) in the United States and Canada in 1974. The song is known for its virtuosic bass performance by John Entwistle. According to a 1996 interview with Entwistle by Goldmine Magazine, the bass part was recorded on the first take. Entwistle claimed he was "joking around" when he played the part, but the band loved it and used it in the final version. Aside from the verses about the psychiatrist, mother and preacher, Townshend's original demo of the song on his solo album Scoop 3 includes another verse about rock and roll in general. The arrangement of the song is also much slower than what it would end up as in Quadrophenia. Townshend has always referred to it as "Can You See the Real Me", rather than the more accepted abbreviated title. Record World said that "this tune exhibits the form that makes the group the premier British rockers" and praised the "fine rhythm work from bassist Entwistle and drummer Moon”. The band first performed "The Real Me" on their 1973 tour promoting the Quadrophenia album, as a medley with the tape track "I Am the Sea", and it was played up until the end of their next French tour the following year, this time without "I Am the Sea". For that purpose, it was released as a single (backed with "Doctor Jimmy") in France and Belgium in 1974. It was not played again until the 1979 tour, where it frequently used to close concerts. It remained a fixture of The Who's concerts until 1981, and was again played on their 1989 reunion tour. It was included

JAN GARBAREK | KEITH JARRETT | PALLE DANIELSSON | JON CHRISTENSEN | Blossom | Live at NRK TV Studio | Oslo, Norway | April 1974

JAN GARBAREK | KEITH JARRETT | PALLE DANIELSSON | JON CHRISTENSEN Blossom Live at NRK TV Studio Oslo, Norway April 1974 From beginning to end we are treated to a mélange of moods in this, the first effort from Keith Jarrett and his European quartet. Compositionally astute and clearly the work of steadied hands, Belonging finds each musician in fine form. Whether it is Garbarek’s punctilious doubling in the buoyant “Spiral Dance,” Danielsson’s mellifluous bass solo in “Blossom,” or Christensen’s rollicking snare in “The Windup,” everyone gets their moment in the spotlight. Jarrett’s fingerwork is, of course, superb throughout, but it is the energy underlying his playing—the very spirit of his pianism—that really seems to drive things forward. The album is zigzagged, fading adeptly from head-shaking abandon to heavy darkness from one cut to the next. Ballads make up the longest passages on Belonging and seem to turn ever inward within the confines of their own emotional borders. For the most part, sax and piano are explicitly unified, as if trekking on either side of the same divide, although sometimes they seem to look in opposite directions, as if involved in a long-running debate, unsure of whether reconciliation can be had in the throes of so much dialogue. Jarrett’s jilted approach is well suited to these down-tempo moments while the bass gently asserts its tremulous presence in the background. Garbarek’s sudden entrances weave a dense stratosphere of brassy elegance. “’Long As You Know You’re Living Yours” is pure Jarrett and provides Garbarek with plenty of space to run amok with his screeching serenade. The title cut is another ballad, this one of a different shade than the rest; not an alleyway, but a brief lapse into self-pity. As the album’s center, it also encapsulates a core theme: this music evokes a past from which one cannot escape or, more positively, simply a sense of belonging as the title would imply, the ine

AMBITIOUS LOVERS | Too Many Mansions | Live at Fabrik | 13. NDR-Jazzfestival Hamburg | Altona, Hamburg, West Germany | October 25, 1988

AMBITIOUS LOVERS | Too Many Mansions Live at Fabrik 13. NDR-Jazzfestival Hamburg Altona, Hamburg, West Germany October 25, 1988 Ambitious Lovers were a musical duo composed of guitarist/singer Arto Lindsay and keyboardist Peter Scherer, active from the mid-1980s to the early 1990s. Their music incorporated elements from Brazilian music and funk. Despite strong reviews from critics for their three albums, Ambitious Lovers found little success with mainstream audiences. Lindsay had earlier been active with DNA, a seminal group in New York City's noisy no wave music scene. With Ambitious Lovers, however, Lindsay would reduce the abrasive qualities in his music (apart from his own distinctive, untrained guitar mangling), and increase the presence of standard pop music elements. Notable was a strong influence from Brazilian music and funk, with Lindsay sometimes singing in Portuguese. Envy (1984) was the first of a projected series of albums inspired by the seven deadly sins, though Ambitious Lovers recorded only Greed (1988) and Lust (1991) before disbanding. Most of their albums featured appearances from many prominent New York-based musicians, including guitarists Marc Ribot, Vernon Reid and Bill Frisell, Brazilian music legend Caetano Veloso, percussionists Nana Vasconcelos and Joey Baron, bassist Melvin Gibbs and Nile Rodgers. Their legacy helped promote the modernization and globalization of world music under a singular brand and helped forward careers of many performers, who have since recorded for record labels like Nonesuch Records and Luaka Bop. Their song "It Only Has to Happen Once" was featured in the 1990 film Wild Orchid. Arto Lindsay – guitar, vocals Peter Scherer – keyboards Ann Klein – guitar Melvin Gibbs – bass Tony Lewis – drums Cyro Baptista – percussion #ambitiouslovers #artolindsay #peterscherer #melvingibbs #annklein #tonylewis #cyrobaptista #jazzfestival #hamburg #ndr #altona #germany #westgermany #fabrik #1980s #avantgarde #a

SIMON & GARFUNKEL | The Boxer | Live on Saturday Night Live (SNL) | Studio 8H, NBC Studios | New York City | October 18, 1975

SIMON & GARFUNKEL | The Boxer Live on Saturday Night Live (SNL) Studio 8H, NBC Studios New York City October 18, 1975 The dynamic between Paul Simon and Art Garfunkel is one that permeates outside of whether ‘Simon & Garfunkel’ happen to be a current entity or not. These are old bonded friends who grew up three blocks from each other and first recorded together as teenagers. Even when the duo are officially broken up, they’re never far removed from each other’s lives. 1975 wasn’t even the first time that the two were recording separately. After the relative failure of their debut LP Wednesday Morning, 3 A.M., Simon departed to England in 1964 and recorded his first solo album The Paul Simon Songbook while Garfunkel enrolled in Columbia University to study mathematics. During the summer of 1964, Garfunkel stayed with Simon. Ostensibly separated, the two still leaned on each other for friendship and connection. As much as Garfunkel has resonated as a second banana in popular culture due to Simon’s near-monopoly on songwriting, the truth is that Simon and Garfunkel were counterparts and equals, matching wits intellectually and complementing each other’s personalities, Garfunkel with his outgoing and opinionated demeanour and Simon with his more reserved nature. They harmonised in a way that only two people with a deep love and strong personal understanding of each could. There was nothing contrived, or even particularly refined, about it. It just worked so well. Both men knew they had a singular chemistry, but as their success and individual profiles rose in the latter half of the ’60s, their bond began to erode. By the time they reached the recording of Bridge Over Troubled Water, Garfunkel was actively pursuing a film career, alienating him from Simon’s dedication to music. Even though the group were one of the biggest acts in the world, they began to grow apart and realise that they both wanted more individualism. The two once again disbanded.

PETE JOLLY (with CLINT EASTWOOD) | From the documentary film “Piano Blues” | Directed by Clint Eastwood | Aired: October 4, 2003 on PBS

PETE JOLLY (with CLINT EASTWOOD) | Solo Piano Performance From the documentary film “Piano Blues” Directed by Clint Eastwood Aired: October 4, 2003 on PBS The final chapter of “Martin Scorsese Presents the Blues,” Clint Eastwood’s “Piano Blues” takes the greatest liberties in defining the musical form. Eastwood adds a more personal touch than the other six films — the director is seen onscreen asking broad questions and eventually even answering his own query — as he looks at a baker’s dozen of keyboardists, most of whom would find their work filed under jazz in record stores and personal collections. While the program lacks spelled-out links to connect jazz greats with the blues, “Piano” fulfills in providing lengthy performance segments and fabulous footage of the great New Orleans stylist Professor Longhair. To accept Eastwood’s definition of a “blues pianist” requires a redistricting of the blues terrain. He establishes ground zero with boogie-woogie pianists Meade Lux Lewis, Albert Ammons and Pete Johnson, though he gives no dates (they emerged in the 1930s) or historical data (they were Midwesterners who found a broad audience after the Carnegie Hall “Spirituals to Swing” concert in 1939). Building flashy styles with roots in ragtime, boogie-woogie, more than any other blues style, had a run in high-society circles before petering out as most fads do. The boogie-woogie champs certainly had an impact on the New Orleans pianists over the two decades that followed the style’s popularity, though “Piano Blues” doesn’t draw a direct line to Fats Domino or Professor Longhair (and completely ignores Roosevelt Sykes). Ray Charles is seated on the piano bench next to Eastwood, and as much as the two share their enthusiasm for similar musicians, interviews don’t move along the story. Also, it’s curious that among his other partners at the piano are jazzmen Dave Brubeck and Pete Jolly, both of whom have recorded fine work

PETE JOLLY | Seasons | A&M (1970) | Reissue: Light in the Attic, 2024

PETE JOLLY | Seasons | A&M (1970) ▶️ bit.ly/3wPc68j (Full Album) Reissue: Light in the Attic, 2024 Organic, electric, freeform. Pete Jolly's Seasons is comprised of melodies and textures composed live and without pretense—its grooves contain a complete and divine listening experience that surpasses all others of the era in which it was originally released, coming as close to transcendent musical meditation incarnate as one could possibly imagine. Seasons is an unsung masterpiece of ensemble groove and stellar musicianship, equally unsurpassed and inspired in its quiet excellence. While Seasons never had significant commercial success upon its release, it has since amassed a cult following, leading collectors to pay top dollar for copies of the rare record. Out of print since 1971, it has only been reissued once on CD. In his liner notes accompanying this release, Dave Segal puts the album’s massive demand in perspective: “British label owner Jonny Trunk put up an original pressing of the LP for sale for an undisclosed but large sum on Instagram in January 2023, and it sold in five minutes. With Seasons back in circulation, maybe Pete Jolly will finally gain the broader audience that his phenomenal skills merit,” writes Segal. “If nothing else, it serves as a valuable lesson to artists: venturing outside of your comfort zone can bring the most interesting, enduring results.” Remastered from the original analog master tapes by Kevin Gray at Coherent Mastering, this record not only foreshadows the roots of hip-hop but manages to embody the richness of a full album listening experience that few records can offer. Its timeless appeal is rare—and its dynamic range sets it apart as an album that straddles both the jazz and pop worlds in a way that almost no others can. Sit back, relax, and enjoy the changing and complex colors of Seasons for the first time ever since its initial release. * * * Born in 1932, Jolly grew up in Phoenix, Arizona, which ha

VUOI VEDERE CHE INTERNET È MORTA DAVVERO? La teoria del complotto nata nel 2016 sta diventando realtà. E non per colpa di qualche “cattivone” da film. C'entrano l'intelligenza artificiale e un po' di brutte abitudini. /// Nel gennaio 2021, una bizzarra teoria del complotto inizia a farsi largo. Sorta inizialmente in un oscuro forum, questa teoria sostiene che internet per come la conosciamo – popolato da contenuti creati da esseri umani – sia morta tra il 2016 e il 2017. La teoria del complotto Non è che sia stato ucciso di colpo, ma i contenuti generati dagli utenti sarebbero stati gradualmente spodestati da una valanga di materiale fasullo. Non è un caso che questa teoria, che si è fatta largo anche su Reddit e su YouTube, individui la “morte di internet” attorno al 2016. È proprio in quel periodo, infatti, che il grande pubblico ha iniziato ad avere dimestichezza con l’operato delle cosiddette fabbriche di troll (che cercavano di influenzare l’opinione pubblica anche attraverso il massiccio ricorso di bot), con l’impatto potenziale delle fake news e anche con i video manipolati tramite la tecnologia dei deep fake. La “dead internet theory” (com’è nota in lingua inglese) si spinge però molto più in là, sostenendo che un esercito di intelligenze artificiali progettate proprio a questo scopo sia ormai l’unico responsabile dei contenuti presenti online. Il tutto sarebbe parte di un enorme piano di propaganda governativa, volto – come già con lo scie chimiche e il 5G – ad annebbiare il cervello della popolazione e renderlo più controllabile. Le prove di questa cospirazione sarebbero i post tutti uguali che si ripetono su internet (pensate alla marea di “dimmi che sei di Milano senza dirmi che sei di Milano”, o simili), i politici che sui social ripetono in massa, parola per parola, quanto già detto dai colleghi di partito o i vari trend virali che spronano gli utenti a pubblicare contenuti estremamente simili tra lo

LEE MORGAN QUINTET (Last Performance) | Live on Soul! | PBS Studios, New York City | January 26, 1972

LEE MORGAN QUINTET (Last Performance) Live on Soul! PBS Studios, New York City January 26, 1972 A cornerstone of the Blue Note label roster prior to his tragic demise, Lee Morgan was one of hard bop's greatest trumpeters, and indeed one of the finest players of the '60s. An all-around master of his instrument modeled after Clifford Brown, Morgan boasted an effortless, virtuosic technique and a full, supple, muscular tone that was just as powerful in the high register. His playing was always emotionally charged, regardless of the specific mood: cocky and exuberant on uptempo groovers, blistering on bop-oriented technical showcases, sweet and sensitive on ballads. In his early days as a teen prodigy, Morgan was a busy soloist with a taste for long, graceful lines, and honed his personal style while serving an apprenticeship in both Dizzy Gillespie's big band and Art Blakey's Jazz Messengers. As his original compositions began to take in elements of blues and R&B, he made greater use of space and developed an infectiously funky rhythmic sense. He also found ways to mimic human vocal inflections by stuttering, slurring his articulations, and employing half-valved sound effects. Morgan led his first Blue Note session in 1956 and he would record his first two classic albums for the label during 1957 and 1958: The Cooker and Candy. He broke through to a wider audience with his classic 1963 album Sidewinder, whose club-friendly title track introduced the soulful, boogaloo jazz sound. Toward the end of his career, Morgan was increasingly moving into modal music and free bop, hinting at the avant-garde but remaining grounded in tradition; a sound showcased on his 1970 concert album Live at the Lighthouse. He had already overcome a severe drug addiction, but sadly, he would not live to continue his musical growth; he was shot to death by his common-law wife in 1972. Edward Lee Morgan was born in Philadelphia on July 10, 1938. He grew up a jazz lover, and his sister apparently

BOSSA RIO | With Your Love Now (Mustang Côr de Sangue) | Live on Playboy After Dark | CBS Television City | Los Angeles, CA | April 30, 1970

BOSSA RIO | With Your Love Now (Mustang Côr de Sangue) Live on Playboy After Dark CBS Television City Los Angeles, CA April 30, 1970 Highly sought on vinyl by bossa nova fans, this short-lived sextet (not to be confused with Sergio Mendes' Bossa Rio Sextet) seems to suggest a theory: the more handshakes away from Herb Alpert, the better and more authentic the music. Bossa Rio was discovered and produced by Mendes, who in turn was brought into the A&M fold by Alpert. Despite three Brasil '66-ish sounding covers of American hits, Bossa Rio stick to tunes from Marcos Valle, Antonio Carlos Jobim, Jorge Ben, Caetano Veloso, and Milton Nascimento, keeping with their roots (as Mendes and Brasil '66 progressed, the American chart covers took over their albums). Lead vocalist Gracinha Laporace (Mrs. Sergio Mendes, who featured on classic Brasil 77 albums such as “Poptastic” and “Brasilliant”) has a clear and gentle tone, and just like Pery Ribeiro is a star in her own right. Organist Manfredo Fest puts the devil in the details, coaxing similar sounds out of his Hammond as, strangely enough, Soft Machine's Mike Ratledge. About “With Your Love Now (Mustang Côr de Sangue)” One of the greatest records ever by the legendary Marcos Valle, originally from 1969, Mustang Côr de Sangue (Ou Corcel Côr de Mel) is much sunnier and upbeat than its predecessor, Viola Enluarada (1968), and includes the killer instrumental cut “Azimuth” (title that inspired the name of the Brazilian jazz-funk band Azymuth), and collaborations with some of the most important figures in the Brazilian music scene of the ‘70s, such as Eumir Deodato, Milton Nascimento and Naná Vasconcelos, among others. Originally from Rio de Janeiro, Marcos Valle was raised on a staple diet of classical, Brazilian popular music and North American jazz, becoming one of the most influential musicians (on guitar, piano and vocals) of the Bossa Nova period. He straddled North and South America for over twe

QUINCY JONES | TOOTS THIELEMANS | Brown Ballad | Live at Budokan | Tokyo, Japan | July 9, 1981

QUINCY JONES | TOOTS THIELEMANS Brown Ballad Live at Budokan Tokyo, Japan July 9, 1981 In a career spanning over seven decades, Quincy Jones has earned his reputation as a renaissance man of American music. Since entering the industry as an arranger in the early 1950s, he has distinguished himself as a bandleader, solo artist, sideman, songwriter, producer, film composer, and record label executive. A quick look at a few of the artists he's worked with -- Miles Davis, Frank Sinatra, Count Basie, Lesley Gore, Michael Jackson, Peggy Lee, Ray Charles, Paul Simon, and Aretha Franklin -- reveals the remarkable diversity of his career. He has been nominated for a record 80 Grammy awards, and has won 27 in categories including Best Instrumental Jazz Performance for "Walking in Space" (1969), Producer of the Year (1981), and Album of the Year for Jackson's Thriller (1983) and his own Back on the Block (1990). Outside recording studios, he has produced major motion pictures, helped create television series, and written books, including Q: The Autobiography of Quincy Jones (2001). An inductee into the Rock and Roll Hall of Fame (2013), he has continued producing and recording, contributing the song "Keep Reachin'" for the documentary Quincy: A Life Beyond Measure (2018). Quincy Delight Jones, Jr. was born in Chicago, Illinois on March 14, 1933. While still a youngster, his family moved to Seattle, Washington and he soon developed an interest in music. In his early teens, Jones began learning the trumpet and started singing with a local gospel group. By the time he graduated from high school in 1950, Jones had displayed enough promise to win a scholarship to Boston-based music school Schillinger House (which later became known as the Berklee School of Music). After a year at Schillinger, Jones relocated to New York City, where he found work as an arranger, writing charts for Count Basie, Cannonball Adderley, Tommy Dorsey, and Dinah Washington, among others. In 1953, Jones sco

JOE BONNER | Benazir, Benazir | Live at Cherry Sound Studios | Denver, CO | Spring 2013

JOE BONNER | Benazir, Benazir Live at Cherry Sound Studios Denver, CO Spring 2013 Pianist Joe Bonner was arguably the most enigmatic character on the Denver jazz scene for decades, yet his talent was hardly a mystery. Fortunately for jazz pianist Joe Bonner, enough people heard him play. People like legendary drummer Roy Haynes, who hired Bonner to replace Chick Corea in his band at Count Basie's Club in Harlem. Another was trumpeting great Freddie Hubbard, who Bonner performed with in the early 1970s, and saxophonist Pharoah Sanders, another jazz giant who recognized Bonner's talent and hired him. The challenge has always been getting others to hear. Bonner has a unique jazz story. Born in Rocky Mount, North Carolina, in April of 1948, he eventually earned a Bachelor's Degree in Classical Music from Virginia State and still listens to the classics all day long.. His travels took him to Denmark, where he joined or accompanied traveling jazz artists. Bonner appeared on a long list of recordings as a bandleader or sideman, with titles released on Evidence, Muse, Capri, and ABC/Impulse! He has over a dozen sides out on the Steeplechase label recorded during his twelve year stint in Europe, especially Copenhagen. Bonner resided in the Denver area for over twenty years and became quite the local piano fixture in the jazz scene there. In the turn of the new century Bonner put out more fine records as his “Monkisms,” (2000) and the highly acclaimed “The Art of Jazz Piano.” (2003) these display his amazing knowledge of jazz piano structure. Colorado audiences were lucky to enjoy Bonner's virtuoso sensibility, most recently through his leadership of The Bonner Party, a confluence of four masters of improvisation, communing through an invisible, yet lucid joining, conceiving passionate solos, grooving counter bass lines, soulful harmonies and driving rhythms. Orchestrating a celebration of rich modern jazz textures, rooted in bebop, gospel and blues. Spirited improvi

JOHN CARROLL KIRBY | Oropendola | Live from Stones Throw Studios | Los Angeles, CA | May 2023

JOHN CARROLL KIRBY | Oropendola Live from Stones Throw Studios Los Angeles, CA May 2023 Starting in the late 2000s and continuing into the 2020s, keyboardist, composer, and producer John Carroll Kirby has amassed an impressive and evolving discography as an adaptive collaborator and recording artist. Frequently heard on Sébastien Tellier's assorted studio projects, Kirby has also contributed to releases by Norah Jones, Solange, Bat for Lashes, and Harry Styles, among dozens of others. In addition to one-off sessions as part of Drool and Mind Gamers, Kirby has several solo releases to his credit. Almost exclusively instrumental and both melodic and atmospheric in nature, they've mixed new age, jazz, and R&B in a manner that is as expressive as it is difficult to classify. He started with a handful of low-key projects for assorted small independents toward the end of the 2010s, and has since issued Conflict (2020), My Garden (also 2020), and Septet (2021) through Stones Throw. In 2022, he released Dance Ancestral, a solo, primarily electronic collaboration with producer Yu Su, and followed it with 2023's Blowout, which was written in Costa Rica two years earlier. A lifelong Los Angeleno, John Carroll Kirby (often credited as John Kirby) established himself as a session and touring musician. He picked up his first major credits in 2007 with contributions to will.i.am's Songs About Girls, Jully Black's Revival, and Raya Yarbrough's self-titled LP -- an eclectic trio of albums that indicated Kirby's versatility. His résumé expanded throughout the next few years with albums by Mike Doughty, Norah Jones, David Holmes, and Madeleine Peyroux all featuring his input. Most notably, he played synthesizer and tack piano on Jones' Grammy-nominated "Chasing Pirates." Additionally, Kirby formed and soon deepened an affiliation with Sébastien Tellier. He was credited with electric piano on two songs for the artist's My God Is Blue, all keyboards on L'Aventura, and not only play

SINÉAD O'CONNOR | Danny Boy ( a cappella) | Live on The Late Late Show | Studio 4, RTÉ Television Centre | Donnybrook, Dublin 4 | December 24, 1993

SINÉAD O'CONNOR | Danny Boy ( a cappella) Live on The Late Late Show Studio 4, RTÉ Television Centre Donnybrook, Dublin 4 December 24, 1993 "Danny Boy" is a traditional song, with lyrics written by English lawyer Frederic Weatherly in 1910, and set to the traditional Irish melody of "Londonderry Air" in 1913. In 1910, in Bath, Somerset, the English lawyer and lyricist Frederic Weatherly initially wrote the words to "Danny Boy" to a tune other than "Londonderry Air". An alternative story is that his sister-in-law Margaret Enright Weatherly sent him a copy of "Londonderry Air" in 1913 and Weatherly modified the lyrics of "Danny Boy" to fit its rhyme and meter. A different story has Jess singing the air to Weatherly in 1912 with different lyrics. Yet another story is that Frederic did not set the poem to any tune, but that, in 1933, Margaret, who, with her husband Edward Weatherly, was living at the Neosho mine near Ouray, Colorado in the US, set it to the "Londonderry Air" which she had heard as a child in California played by her father and other Irish railway workers. Weatherly gave the song to the vocalist Elsie Griffin, who made it one of the most popular songs of the new century. Ernestine Schumann-Heink produced the first recording of "Danny Boy" in 1915. Jane Ross of Limavady is credited with collecting the melody of "Londonderry Air" in the mid-19th century from a musician she encountered. There are various conjectures about the meaning of "Danny Boy". Some interpret the song to be a message from a parent to a son going off to war. The 1918 version of the sheet music with Weatherly's printed signature included alternative lyrics ("Eily Dear"), with the instructions that "when sung by a man, the words in italic should be used; the song then becomes "Eily Dear", so that "Danny Boy" is only to be sung by a lady". Nonetheless, it is unclear whether this was Weatherly's intent and it is common practice for exactly the same lyrics to be used when sung by both wom

DANIEL LANOIS | PETER GABRIEL | The making of ‘Come Talk To Me’ | Recorded at Real World Studios | Box, Wiltshire, England | Sometime between October 1989 and June 1992

DANIEL LANOIS | PETER GABRIEL The making of ‘Come Talk To Me’ Recorded at Real World Studios Box, Wiltshire, England Sometime between October 1989 and June 1992 // US “I started out with 23 different lyric ideas, on a range of subjects, but the personal stuff seemed to dominate the songwriting, as it had done in my life for the past five or six years. The whole look inside was central for me, and not to have written about it would have been a denial. I don’t think the tone of the album is dark. It feels quite alive for the fact that it is letting stuff out, and relationships are more directly addressed than before… I feel that by looking in the darkness and by plunging into it, diving into it, that there is some light at the other end of it, which otherwise you bury, it gets suppressed. It feels quite hopeful to me, quite positive. I always leave a positive escape route open in my songs; they are never completely destructive. In the final analysis, people pay money for my records, that’s something I have to keep in mind. That means that I have no right to wipe them out completely with my songs and leave them no prospect for hope.” “I have never been more sincere in my life. Whether that’s sincere enough, I don’t know. But I do know that I have taken a lot of trouble to give the listener an unadulterated glimpse of my inner life. Therapy taught me that it’s always essential to be open about one’s feelings and emotions, in order to get a grip on them. The work (on US) was an enormous help to me, because I have the music completely under control, unlike my life. This control function gave me security, and this security enabled me in turn to come to terms better with my problems. On US, what is primarily involved is communication and relationships between human beings in all possible shades. And what is involved is how you, as an individual, are seen by other people. The idea, then, is of ‘us’ and ‘them’. As soon as a group of people ar

DENNY LAINE | Go Now | Live on David Essex Show | BBC, London, England | September 27, 1977

DENNY LAINE | Go Now Live on David Essex Show BBC, London, England September 27, 1977 "Go Now" is a song composed by Larry Banks and Milton Bennett and first recorded by Bessie Banks, released as a single in January 1964. The best-known version was recorded by the Moody Blues and released the same year. The song was first recorded by Larry Banks's former wife, Bessie Banks. A 1962 demo recording by Bessie of the song was heard by songwriters and record producers Jerry Leiber and Mike Stoller, who re-recorded it in late 1963, with arrangement by Gary Sherman and backing vocals from Dee Dee Warwick and Cissy Houston. The single was first released in early 1964 on their Tiger label, and later reissued on the Blue Cat label, the R&B/soul imprint of Red Bird. Her version reached No. 40 on the Cashbox R&B singles chart. Bessie Banks later commented: I remember 1963 Kennedy was assassinated; it was announced over the radio. At the time, I was rehearsing in the office of Leiber and Stoller. We called it a day. Everyone was in tears. "Come back next week and we will be ready to record 'Go Now'"; and we did so. I was happy and excited that maybe this time I'll make it. 'Go Now' was released in January 1964, and right away it was chosen Pick Hit of the Week on W.I.N.S. Radio. That means your record is played for seven days. Four days went by, I was so thrilled. On day five, when I heard the first line, I thought it was me, but all of a sudden, I realized it wasn't. At the end of the song it was announced, "The Moody Blues singing 'Go Now'." I was too out-done. This was the time of the English Invasion and the end of Bessie Banks’ career, so I thought. America's DJs had stopped promoting American artists. Banks' recollections are questionable, because her single was released in the US in January 1964, and The Moody Blues' version was not released until November 1964 in the UK and January 1965 in the US. The Bessie Banks version is included on the soundtrack of the film Stone

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WEATHER REPORT | Medley | Live at the Playboy Jazz Festival | Hollywood Bowl, Los Angeles, CA | June 19, 1982w

WHO IS SONNY ROLLINS? | 1968 | A film by Dick Fontaine | Canada. 28 min.

LYLE MAYS | August | Live on ‘Lyle & Nana TV Special’ | Inter-Media Arts Center (IMAC) | Huntington, NY | Sometime in 1983

BEBEL GILBERTO | Tanto Tempo | Live on KEXP | KEXP Studios, Seattle, WA | July 20, 2018

BLONDE REDHEAD | Sit Down For Dinner (1 & 2) | Live on KEXP | KEXP Studios, Seattle, WA | October 19, 2023

THE WHO | The Real Me | Live at the Royal Albert Hall | London, UK | November 27, 2000

JAN GARBAREK | KEITH JARRETT | PALLE DANIELSSON | JON CHRISTENSEN | Blossom | Live at NRK TV Studio | Oslo, Norway | April 1974

AMBITIOUS LOVERS | Too Many Mansions | Live at Fabrik | 13. NDR-Jazzfestival Hamburg | Altona, Hamburg, West Germany | October 25, 1988

SIMON & GARFUNKEL | The Boxer | Live on Saturday Night Live (SNL) | Studio 8H, NBC Studios | New York City | October 18, 1975

PETE JOLLY (with CLINT EASTWOOD) | From the documentary film “Piano Blues” | Directed by Clint Eastwood | Aired: October 4, 2003 on PBS

PETE JOLLY | Seasons | A&M (1970) | Reissue: Light in the Attic, 2024

LEE MORGAN QUINTET (Last Performance) | Live on Soul! | PBS Studios, New York City | January 26, 1972

BOSSA RIO | With Your Love Now (Mustang Côr de Sangue) | Live on Playboy After Dark | CBS Television City | Los Angeles, CA | April 30, 1970

QUINCY JONES | TOOTS THIELEMANS | Brown Ballad | Live at Budokan | Tokyo, Japan | July 9, 1981

JOE BONNER | Benazir, Benazir | Live at Cherry Sound Studios | Denver, CO | Spring 2013

JOHN CARROLL KIRBY | Oropendola | Live from Stones Throw Studios | Los Angeles, CA | May 2023

SINÉAD O'CONNOR | Danny Boy ( a cappella) | Live on The Late Late Show | Studio 4, RTÉ Television Centre | Donnybrook, Dublin 4 | December 24, 1993

DANIEL LANOIS | PETER GABRIEL | The making of ‘Come Talk To Me’ | Recorded at Real World Studios | Box, Wiltshire, England | Sometime between October 1989 and June 1992

DENNY LAINE | Go Now | Live on David Essex Show | BBC, London, England | September 27, 1977

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