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Beiträge
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gypsy tail wind…
Am Ende sitzt man da, ergriffen, schweigend, erschlagen von der Wucht der Musik, zum tiefen Nachdenken gebracht, aber auch erfüllt von einer wunderbaren Wärme (die nicht wohlig ist, zum wohlfühlen ist diese Musik nicht gemacht!) und der Überzeugung, dass man gerade etwas Grosses erleben durfte. Roberts Musik ist komplett, sie scheut keine Grenzen, schert sich nicht um Genres – und es gelingt ihr…..Wunderbar beschrieben, vielen Dank gypsy. Ich wäre noch länger sitzengeblieben, aber man hat uns ja irgendwann beinahe die Stühle unter dem Hintern weggezogen.
Heute hat mir Matana via tumblr meine Frage nach einem Vinyl-Release von Coin Coin Chapter Two beantwortet (note: cst = Constellation Records):
„…..not sure honestly. vinyl is very expensive 2 produce and im really greatful 2 don and ian at cst 4 insisting on it….. but i guess 4 chapter 2 we will both have 2 just wait and see! fingers crossed!…“
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When shit hit the fan, is you still a fan?Highlights von Rolling-Stone.deSo klingen die größten Schlagzeuger ohne ihre Band
Welches Equipment verwenden eigentlich…Pink Floyd?
Musikalische Orgasmen: 6 Songs voller Höhepunkte
Dies ist (laut Fans und Kritikern) die beste Folge von „Friends“
Studio-Magier: Die 8 besten Musikproduzenten
So arbeiteten die Beatles am „Weeping Sound“ für das White Album
WerbungIch erlaube mir mal, das hier zu posten – das Festival bringt regelmässig phantastische Konzerte und das Ambiente scheint wunderbar zu sein, leider hab ich’s noch nie dahin geschafft ….
7th JAZZ FESTIVAL
22 – 25th November 2012
Poznań POLANDPRESS INFOS
The spectrum of Chicago jazz is represented – from talented young artists to the legends that helped create the important movements in jazz history. Hear what Chicago sounds like – from the club atmosphere to the grand concert halls, from a classical perspective to the avant-garde. 7th edition of Made in Chicago Jazz Festival – the only one of its kind in Europe!MADE IN CHICAGO / www.madeinchicago.pl / festival is organized in association with the Jazz Institute of Chicago/ www.jazzinchicago.org and the Poznań Municipality since 2006. It is one of the most remarkable and original concepts on the map of Polish and European jazz festivals. Estrada Poznańska artistic director Wojciech Juszczak / www.estrada.poznan.pl / co-curates this festival with the Jazz Institute of Chicago’s executive director Lauren Deutsch.
The Made in Chicago festival introduces the Polish audience to the entire historical legacy of Jazz in Chicago by assembling a group of musicians who can play in several different music contexts. The idea of the festival is to present different aspects of the Chicago jazz scene, from traditional to the avant-garde, the American musicians playing varied styles of jazz in groups of changing line-ups. The previous projects featured both young, talented musicians, and jazz legends (like Fred Anderson, Roscoe Mitchell, Henry Threadgill, Kahil El Zabar, Douglas Ewart, Ari Brown, Ed Wilkerson Jr., Art Hoyle, Ed House, Mwata Bowden, Ernest Dawkins, Corey Wilkes, Tatsu Aoki, Larry Gray, Josh Abrams, Jason Adasiewicz, Junius Paul, Charles Heath, Saalik Ziyad, Fareed Haque, David Boykin, Robert Irving III, Bobby Broom, Jeff Parker, Mike Allemana, Vincent Davis, Mike Reed, Stephen Berry, Ken Chaney, Justin Dillard, Erwin Helfer, Greg Ward, Jim Baker, Nicole Mitchell, Tomeka Reid, Maia, Myra Melford, Dee Alexander, Maggie Brown, Ann Ward, Duriel E. Harris, Saalik Ziyad, Willie Pickens, Hamid Drake, Orbert Davis, Ernie Adams, Ryan Cohan, Fred Jackson, Rajiv Halim, and so on – together more than 100 musicians during six editions).
Every year, during the festival the city of Poznań could enjoy the unsurpassable atmosphere of Chicago jazz concerts. For these few days, Poznań resounds with the rich legacy of the music – from the traditional to the avant-garde. MADE IN CHICAGO has already developed a tradition of a very special finale, a premiere project prepared by the festival star, and featuring all the invited musicians. In 2006, the festival introduced Nicole Mitchell whose “Harambee” suite was composed specially for the Poznań event; in 2007, Douglas Ewart and his “Inventions” project. In 2008, finale featured a Roscoe Mitchell composition “Cards for Orchestra”, in 2009 Ed Wilkerson’s Jr. compositions “Poznań Rhapsody”.
The fifth edition of Made In Chicago Jazz Festival in 2010 marked the special appearance of AACM’s GREAT BLACK MUSIC ENSEMBLE – the leading 17 piece band of the Chicago’s AACM. The band performed twice. During the first concert, they presented their genuine compositions, while during the second one, the grand finale in Poznan, for the first time since its premiere in Chicago, they played the compositions dedicated to the recently deceased legendary saxophonist, Fred Anderson.
Just months after the premiere at the Chicago Jazz Festival, the artists from Chicago and the Poznan-based an_ARCHE NewMusicEnsmeble played the latest piece by Nicole Mitchell, “Arc of O“, which was a combination of jazz and modern music. The concert has just been published on Cd by the french label RogueArt http://web.roguart.com/shop/album/id/62
On 2011, Made In Chicago festival presented in Poznań a “Tribute to Von Freeman“, with Vonsk’y original rhythm section – Michael Allemana, Michael Raynor and Matt Ferguson and special guests – Ari Brown, Greg Ward, Rajiv Halim and Corey Wilkes. Vonsk’y was too ill to attend the festival.
Furthermore, as part of the festival, free workshops are organized. These, then, provide a unique opportunity for their participants to try the collective creation of music and improvise.
The festival is extensively promoted both on national and local level. A documentary about the 2006 festival, as well as concert recordings of the 2006, 2007. 2008 and 2009 editions were shot for TVP Kultura national channel. Moreover, The Chicago Tribune wrote numerous articles about the event and an extensive report was published by Jazz Times, the American music magazine.
Every year the event brought thousand of spectators to Poznań.Concerts
VII Made in Chicago Festival 2012 22 – 23 – 24 – 25 NOV. 2012THURSDAY 22th Nov.
free opening concert
ESTRADA or Pavillon 8.00 PM
Sun Rooms Trio
Mike Reed – drums
Jason Adasiewicz – vibes
Nate McBride – bassFRIDAY 23th Nov.
ESTRADA 8.00 PM
Harrison Bankhead Sextet
Harrison Bankhead – bass
Mars Williams – sax
Edward Wilkerson – sax
James Anders – violin
Ernie Adams – drums
Avreeayl Ra – percussionCLUB or Pavillon 10.30 PM
Mary Halvorson Group
Mary Halvorson – guitar
Nate McBride – bass
Tomas Fujiwara – drums
Taylor Ho Bynum – trumpetSATURDAY 24th Nov.
STRADA 8.00 PM
Living By Lanterns
Mike Reed – drums
Tomas Fujiwara – drums
Tomeka Reid – cello
Joshua Abrams – bass
Greg Ward – sax
Ingrid Laubrock – sax
Taylor Ho Bynum – cornet
Mary Halvorson – guitar
Jason Adasiewicz – vibesCLUB or Pavillon 10.30 PM
Awekening
Ari Brown – sax
Ken Chaney – piano
Ernie Adams – drums
Harrison Bankhead – bass
T.S. Galloway – tromboneSUNDAY 25th Nov.
ESTRADA 8.00 PM
Blowing in From Chicago
Edward Wilkerson – sax
Ari Brown – sax
Ken Chaney – piano
Ernie Adams – drums
Harrison Bankhead – bassPAVILLION – WORKSHOPS / FREE materclasses program
FRIDAY 23th Nov.
Ingrid Laubrock – sax 1st set – 10 AM : 13 AM
Greg Ward – sax 2nd set – 2PM : 5PMSATURDAY 24th Nov.
James Sanders – violin 1st set – 10 AM : 13 AM
Avreeayl Ra – percussion 2nd set – 2PM : 5PMSUNDAY 25th Nov.
Joshua Abrams – bass 1st set – 10 AM : 13 AM
Tomeka Reid – cello 2nd set – 2PM : 5PM
WORKSHOPS FINAL JAM SESSION 10 P.M.
open jam session – chicago musicians + workshops participantsLIVING BY LANTERNS
Drummer Mike Reed and an amazing young cutting-edge band drawn equally from New York and Chicago explore the music and mythology of another key Chicago player from the era, Sun Ra. For the Chicago JazzFest 2011 Mike Reed was commissioned to create a performance based on the 700 hours of the Sun Ra/El Saturn Audio Collection. Chicago professor, jazz writer John Corbett uncovered a bunch of tapes, writings and artwork from the basement of Ra manager and partner Alton Abraham and saved it from being thrown out as garbage. Mike Reed and Jason Adasiewicz had the privilege to listen and pick from recordings that have never been made public, such as rehearsal tapes, live recordings and vocal Sun Ra recitations. Some of those sounds are the basis for the new composition, while others were used as samples and electronic backgrounds. Premiered at the Chicago Jazz Festival in 2011, for this project he added five young musicians to the Loose Assembly, thus mixing the Chicago and New York scenes: Taylor Ho Bynum – cornet; Ingrid Laubrock – tenor sax; Mary Halvorson – guitar; Nick Butcher – electronics; Tomas Fujiwara – drums.
http://www.mikereedmusic.com/thinkingoutloud.cfmJASON ADASIEWICZ’S SUN ROOMS
Part of a crew of inventive Chicago musicians who each contribute to each other’s’ projects, vibraphonist Jason Adasiewicz is a vibraphonist, drummer, and composer. His current trio “Sun Rooms” is comprised of vibraphone, bass and drums; an amalgam of rough metallic edges and vibrant harmonics. Adaseiwicz’s aggressive yet lyrical style has helped to define a new era in Chicago’s improvised music scene, along with Sun Rooms band mates drummer Mike Reed and bassist Nate McBride.
http://jasonadasiewicz.com/HARRISON BANKHEAD SEXTET
Long a mainstay on the Chicago jazz scene as a sought after sideman, bassist Harrison Bankhead assumes the leadership role for the first time with this band that includes long time collaborators Edward Wilkerson on tenor saxophone and clarinets and Avreeayl Ra on percussion, along with Mars Williams on saxophones, James Sanders on violin and Ernie Adams on percussion. The music has a wide ranging experimental flow to it, recalling the likes of Chicago greats such as Fred Anderson and Roscoe Mitchell. Adept at a range of music, Bankhead leaves no question about his capacity for translating his feelings into sound.
http://news.allaboutjazz.com/news.php?id=84006#.UESONqAXLrc
http://www.youtube.com/watch?v=9mHywBwHr00
http://www.youtube.com/watch?v=sW7tNWA0U
http://jazztimes.com/articles/28282-morning-sun-harvest-moon-harrison-bankhead-sextetBLOWIN’ IN FROM CHICAGO
A Classic Blue Note Album featuring Chicago tenor giants Clifford Jordan and John Gilmore, “Blowin’ in from Chicago“ represented a seminal recording of the world renowned “Chicago Sound in 1957.” Fifty five years later the continuum of that sound is represented by two more generations of Chicago saxophone players. Current tenor giants Edward Wilkerson Jr. and Ari Brown pay homage to their predecessors and make their own statement on the evolution of the Chicago Sound. Pianist Ken Chaney holds up the recording’s Horace Silver seat on piano, Ernie Adams is the conduit for Art Blakey on drums and Harrision Bankhead puts his own spin on Curley Russell’s recorded response on bass.
http://www.youtube.com/watch?v=I0Elamav-lsAWAKENING
Spiritual jazz funk at it best !!! An excellent funky fusion group from Chicago – and one of the best ensembles in the 70s – which recorded for the Black Jazz label. The group’s made up of hip Chicago underground players Ken Chaney (piano, keyboards), Frank Gordon (trumpet), Steve Galloway (trombone), Richard (Ari ) Brown (sax), Bill Henderson (soprano sax), Arlington Davis jr. (drums, percussions), Reggie Willis (bass ). They produced only two albums „Hear Sense and Feel“ & „Mirage“ for Chicago label Black Jazz Records. Leading up to a new recording of new compositions, the new and old members, featuring Ari Brown, T.S. Galloway and Ken Chaney returned for a live performance in Chicago in 2008.
http://blackjazz.com/009.html
http://kenchaney.webs.com/More : www.madeinchicago.pl /polish website/
CONTACT:
ESTRADA POZNAŃSKA
Wojciech Juszczak – artistic director
PL 61 – 767 Poznań
ul.Masztalarska 8
+48.61.852.07.92
+ 48. 697.691.740
w.juszczak@estrada.poznan.pl
www.estrada.poznan.pl
www.madeinchicago.pl--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #157: Benny Golson & Curtis Fuller – 12.11.2024 – 22:00 / #158 – 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
r.i.p. Bill Brimfield
(das Photo hat Chuck Nessa hier gespostet)
Ein Auszug aus Neil Tessers Nachruf im Examiner:
In A Power Stronger Than Itself, his monumental history of the AACM, George Lewis discusses a short unpublished biography of Brimfield in which the trumpeter stated, “I had seen [the film] Young Man With A Horn with Kirk Douglas four times and I knew I had to be a trumpet player.” In Evanston, he and Anderson, who was then in his late 20s, utilized the practice rooms in the School of Music at Northwestern University for informal lessons. As Anderson recalled, “I was learning all the tunes, and I taught Brimfield his first Charlie Parker tune. He was then in the high school band, and he was hooked on Louis Armstrong.”
Brimfield got past his flirtation with early jazz soon enough, and in the summer of 1965, he and Anderson performed in the first official AACM concert, at 79th St. and Stony Island, as part of a quintet led by reedist Joseph Jarman. The following year, Brimfield and Anderson recorded the pieces that became „Song For“ (Delmark), Jarman’s first album – and only the second to reveal the new music of the AACM.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #157: Benny Golson & Curtis Fuller – 12.11.2024 – 22:00 / #158 – 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaredbeansandrice
The Ronnie Singer Tape[…]
Bleibt zu sagen, schade dass es nicht mehr gibt, schade, dass es Singer nicht besser ergangen ist, hier geht es zu den Aufnahmen.
falls doch wer den post gelesen hat;-) nach jimmy gourley’s tape steht jetzt auch eine weitere version des ronnie singer tapes online und sie ist erheblich länger (diese hier kam nicht von jimmy gourley sondern von jimmy stewart (zweiter gitarrist bei gabor szabo), der gitarrist axel hagen hat sie hochgeladen und auch einen schönen text über singer geschrieben)
link:
http://axelhagen.com/ronnie-singer/the-recordings/--
.Ein paar Stills vom zu kurzen Auftitt des Art Ensemble of Chicago in Moshé Mizrahis Film „Les Stances à Sophie“:
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #157: Benny Golson & Curtis Fuller – 12.11.2024 – 22:00 / #158 – 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #157: Benny Golson & Curtis Fuller – 12.11.2024 – 22:00 / #158 – 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaSehr schöne Bilder, gips. Ich mag Lester Bowie überaus gern, habe ihn auch zweimal live sehen dürfen. Lohnt sich der Soundtrack?
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How does it feel to be one of the beautiful people?ClauSehr schöne Bilder, gips. Ich mag Lester Bowie überaus gern, habe ihn auch zweimal live sehen dürfen. Lohnt sich der Soundtrack?
Der Soundtrack ist das Album ganz oben in meiner Chicago-Top-10, die Du ja nachlesen kannst
Grossartiges Album, allein schon wegen des Openers „Thème de Yoyo“ mit Fontella Bass und dem besten Free-Funk-Groove ever!
Hab die Gruppe leider nie live gesehen, aber ein Solo-Konzert von Roscoe Mitchell erlebt, das verdammt stark war!
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #157: Benny Golson & Curtis Fuller – 12.11.2024 – 22:00 / #158 – 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaMatana Roberts – Creative Defiance
Conducted at the artist’s home in New York City
January 4, 2013—2 p.m.
Filmed, condensed, and edited by Molly Sheridan
Poster image by B. Abrams
Transcribed by Julia Lu
Source: http://www.newmusicbox.org--
When shit hit the fan, is you still a fan?Zum sensationellen Konzert von Mike Reed und seinem Projekt „Living By Lanterns“ kriege ich keinen gescheiten Bericht mehr hin … aber es war unglaublich toll und ich verweise einfach mal auf die Posts hier:
http://www.organissimo.org/forum/index.php?/topic/14653-what-live-music-are-you-going-to-see-tonight/page__st__2760#entry1259896Es war das letzte Konzert der Tour, Adasiewicz, der am Vorabend im Amsterdam nicht spielte (krank, unwohl, was weiss ich, seine Vibes standen da, scheint also was kurzfristiges gewesen zu sein), war mit dabei und glänzte, ebenso Mary Halvorson, die drei Bläser Taylor Ho Bynum (Puck!), Matt Bauder (soulful tenor) und Greg Ward (komplettes Alt, da ist einfach alles drin, unglaublich gut!), Joshua Abrams am Bass, die Twin-Drummers Mike Reed und Tomas Fujiwara, die sich manchmal abwechselten aber gemeinsam einen unglaublich mitreissenden Groove hinlegten. Tomeka Reid am Cello war leider etwas zu leise abgemischt, aber ihr Solo-Feature im zweiten Set war grossartig. Das ganze war wirklich Band-Musik, die dennoch allen auch Raum zur individuellen Entfaltung bot. Und bei allen ungraden Metren, rasanten Bebop-Linien und unkonventionellen Einfällen (das Programm basiert ja auf Material von Sun Ra, das Reed und Adasiewicz arrangiert haben) war das Konzert auch ein riesiges Groove-Fest!
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #157: Benny Golson & Curtis Fuller – 12.11.2024 – 22:00 / #158 – 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbasoso, dann hat frau schweizer also wieder gemeckert… wie typisch dogmatisch von ihr, zwei gleichzeitig eingesetzten schlagzeugen das existenzrecht zu verweigern.;-)
ernsthaft, klingt sehr toll, was du da erlebt hast. ich kenne von einigen leuten gar nichts, andere wiederum nur in eigenen kontexten. dass sun ra als chicagoer bezugsgröße fungiert, ist ja nichts neues (ist beim exploding star orchestra, in dem reed auch trommelt, glaube ich, ja auch so), finde ich aber sehr nachvollziehbar.
von reed selbst, den ich im adasiewicz-trio toll finde, kenne ich nur die ABOUT US von 2009, die mich leider völlig kalt lässt.
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Three Questions for South Side Jazz Great David Boykin
[…]
Chicago has lost a few key figures in the past several years—Fred Anderson, Von Freeman, Jodie Christian. How has this affected the city’s jazz vibe overall, but specifically the South Side scene?
Artistically, each of them represented or upheld a particular style. Fred Anderson and Jodie Christian were first-generation members of the AACM and represented the black avant-garde jazz style. Jodie Chrisitian, in addition to this, was a master of the bebop piano style. Von Freeman was the last Chicago bebop saxophonist with ties to the Charlie Parker era.[…]
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #157: Benny Golson & Curtis Fuller – 12.11.2024 – 22:00 / #158 – 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbasteve coleman über chicago ende der 70er und einen durch von freeman ausgelösten rhytmischen schock:
You could play with professional R ‘n’ B type cats, or there was a lot of blues happening in Chicago, you could play with professional blues musicians, or you could play with cats like Von (Freeman).
There were at least three distinct scenes – Chicago was very segregated then, it was all among black musicians. There were three separate scenes that were all kind of related in some way. At least in terms of the feel thing a lot of them were related. The Blues scene and the R ‘n’ B scene were closer to each other, than with what Von and them were doing. Because you really had to know a lot to do what Von and them did. You had to know harmony and shit like this, so this wasn’t a scene that you could just jump into. I mean if they’re playing ‚Days of Wine and Roses‘, you just can’t come in there and just play pentatonic scales – you had to know something.
So their scene had to be combined with the sophisticated pitch shit they were doing, and the other scenes didn’t. In those scenes you could get away with playing blues licks and pentatonic things and stuff like that. So I did that first, but when I started following Sonny Stitt and these guys around, their shit was way more sophisticated pitch-wise. But the rhythmic thing, they still talked about it in the same way. So I said to myself ‘OK the pitch shit is more sophisticated but they’re still on this rhythm thing’. And the first thing I noticed is that when I played with Von and we’d play ‘Billie’s Bounce’, or anything, how different it felt. I mean I’m playing with him, but I feel like ‘Man, this guy – the weight of what he’s playing, and the feel – just the way it feels and everything, it’s so much different to what I’m doing. I mean I’m playing the same notes, but it’s not even close!’, you know.
And so I started trying to analyze this whole micro-beat thing I was talking about the other day, like why does it feel like that when he’s playing and not when I’m playing? What is it that I’m missing here? What’s happening?
So I started to try to analyze this, not in a way like – I don’t know if you ever saw Vijay Iyer’s essay online where he does this whole computerised kind of thing, in terms of like ‘we measured the beat and it’s 15% behind’ kind of thing – well it wasn’t that you know, it was just trying to figure out what was happening with what these cats were doing. And then I started listening to the drummers and everything.
So that was one kind of shock, was that whole period of figuring that out, and also realizing this stuff had nothing to do with reading music. It had nothing to do with what cats were doing when they read music. This was something completely outside that and it couldn’t even be notated. Even when I started transcribing, I would transcribe something and I would just write ‘lay back’, or ‘pull back’, or whatever, because there was no other way of notating it. But pull back where? How much? None of that was there – there was no information, I just knew what it meant when I saw that sort of like a ‘stickit’ thing {a stickit is a note you write to yourself} once I saw that it reminded me that that had to be done.
And so I realized that their beat was more like this……….it was like this variable amoeba-like thing, but it wasn’t just amoeba anywhere there was a certain concept to how to do it and it just took listening and all that. So that was my first shock with the rhythmic thing and it included the R’n’B thing and stuff like that.
weiter über mel lewis & thad jones, doug hammond u.a. von hier.
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noch so ein tolles Interview, Brad Goode über seine Zeit als gesetzlicher Vormund von Chris Potter, angeblicher illegitimer Sohn Red Rodney, wie Jodie Christian die Band verliess, um sich auf den Weltuntergang vorzubereiten, und vieles mehr (Von Freeman, Lin Halliday, Edde Harris etc)
http://goteamband.com/blog/2012/11/16/brad-goode-interview
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.das würde ja erklären, warum Potter auf diesen späten Rodney-Aufnahmen mitspielen durfte
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #157: Benny Golson & Curtis Fuller – 12.11.2024 – 22:00 / #158 – 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
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