Thursday, November 22th Special programming 11AM to 2PM on "The Global Village"

Don’t miss this Thanksgiving Day special broadcast – from 11am to 2pm – Harry Partch’s BITTER MUSIC, read by KPFK’s John Schneider & friends. BITTER MUSIC is the long-lost journal of American composer Harry Partch’s homeless wanderings during the Depression.  In and out of jails and transient shelters - from cleaning sewers to having tea with Irish poet W. B. Yeats, Partch’s words and music place him shoulder to shoulder with the two best-loved storytellers of the era, John Steinbeck & Woody Guthrie.   Archive (available until Dec 6th 2012) Play

 

IN-STUDIO GUEST:  SUSAN SVRCEK & YURI INOO (“An Evening of Piano & Percussion”);  BARRY SCHRADER (“Scream” Finale at Redcat);

Aruna Sairam, “Rangapura Vhara,” Divine Inspiration, World Village

Piano Spheres: P plus P=Percussion squared

An Evening of Piano and Percussion / Susan Svrcek

Friday Nov 9 / 8pm / Boston Court Pasadena

http://www.bostoncourt.com/music-at-boston-court

Susan Svrcek & Yuri Inoo, Mellits:“Tight Sweater Remix: ‘Exposed Zipper, Trans Fatty Acid's Rein, Mechanically Separated Chicken Parts,” Live In-Studio

Susan Svrcek & Yuri Inoo, “Like Still Water,” Live In-Studio

Susan Svrcek & Yuri Inoo, Chen Yi: “China West Suite,” (Intro, Meng Songs, Miao Dances), Live In-Studio

Makoto Nakura, “Duo for Viola and Vibraphone, III. Birds, Wood and Forest,” AMR

Tuesday, November 13, 2012

P'ansori: Korean Opera and Improvisation

http://www.redcat.org/event/pansori

Bae Il-Dong, Rehearsal at San Francisco World Music Festival:

http://www.youtube.com/watch?v=RyLE2L2KyI0

Los Angeles Electric 8, “Mantle Hood, Implosion,” Interlocking Textures

Saturday, November 10, 2012

SCREAM Finale

http://www.redcat.org/event/scream-finale

Barry Schrader, “The Romanesque and Gothic Entranceways,” “The Hall of Mermaids,” The Barnum Museum, Innova

Wadada Smith, Wu Xing (Barry Schrader), “Cycle of Destruction,” Private Recording

Barry Schrader, “Chinese Kaleidoscopes,” “The Chamber of False Things,” The Barnum Museum, Innova

It's All About Vibration

Monday, November 12, 2012 • 7pm – Art Center/Pasadena

http://www.muse-ique.com/showinfo.php?id=3

Ensemble Caprice, “Concerto #5: Allegro”, Bach: Concertos Brandenbourgeois, Analekta

 

THANKS FOR PLEDGING!

Ganavidya Viridhi Lalitha Navile, “Mohanam,” Rhythmic Delights, Tillanas, Sangettha

So Percussion, Grey McMurray, “This Place the Place,” Where (We) Live, cantaloupe.com

Anat Cohen, “Um A Zero,” Claroscuro, Anzic Records

Dave Douglas Quintet, “High on a Mountain,” Be Still, Greenleaf Music

Lang Lang (Chopin), “Etudes op 25, No. 1 in A-flat major,” The Chopin Album, Sony

Lang Lang (Chopin), “Etudes op 25, Nocturne in C-Sharp Minor,” The Chopin Album, Sony

Lang Lang (Chopin), “Waltz in D Flat Major,” The Chopin Album, Sony

Bob Dylan, “Tempest,” Tempest, Columbia

Jess Walker (arranged by Gavin Bryars, Joe Townsend, Jim Holmes, “A Little Drop of Poison,” Mercy and Grand, The Music of Tom Waits and Kathleen Brennan, GB Records

Forma Antiqva (Vivaldi), “Spring,” The Four Seasons, Winter & Winter

Itzhak Perlman & Cantor Vitzchak Meir Helfgot, “Romanian Doyne (Romanian Shepherd's Lament),” Eternal Echoes, Songs and Dances for the Soul, Sony Classical

Eclipse Quartet plays American Mavericks

Beyond Baroque Literary Center/Saturday Oct 27 – 9pm

www.beyondbaroque.org

Ben Johnston, “Revised Standards (1987)”, private recording

Quatour Bozzini, “Cognate Canons”, Arbor Vitae: James Tenney Quatours + Quintettes, www.actuellecd.com

Kronos Quartet, “Different Trains,” Steve Reich, Different Trains, Elektra/Nonesuch

Tatiana Nikolayeva, “Prelude and Fugue, No. 13 in F Sharp,” Dmitri Shostakovich, 24 Preludes and Fugues op 87, Hyperion Records Limited

Tatiana Nikolayeva, “Prelude and Fugue, No. 14 in E Flat Minor,” Dmitri Shostakovich, 24 Preludes and Fugues op 87, Hyperion Records Limited

Ensemble Caprice - Matthias Maute, Shostakovich: “Fugue #11”, Bach: “Brandenburg Concerto No. 1, BWV 1046 Allegro Bach,” Bach, Brandenburg Concertos, Analekta

Ensemble Caprice - Matthias Maute, Shostakovich: Prelude Op. 87, No. 11, Bach: Brandenburg Concerto Concerto No. 6, BWV 1051, Allegro, Bach, Brandenburg Concertos, Analekta

Kate Stenberg (Violin) and Eva-Maria Zimmermann, (Piano), Josef Matthias Hauer, “Jazz (from Funf Stucke for Violine and Kalvier, Op 41, 1925),” Scenes from a New Music Séance, Other Minds Records

Kate Stenberg (Violin) and Eva-Maria Zimmermann, (Piano), “Henry Cowell (Ballade (from Violin Sonata, 1945), Scenes from a New Music Séance, Other Minds Records

Graham Nash, “Almost Gone,” Single grahamnash.com

Robert Paterson, “Clarinatrix,” Six Mallet Marimba, AMR

Frank Zappa, "Zomby Woof," Over-Nite Sensation, Zappa

 

GUESTS:  ALI LEXA & THE UKULADY; THE MODERN ARTS GUITAR QUARTET; BONNIE BARNETT (WORDS & MUSIC, AT REDCAT, TRIBUTE TO DOROTHEA GROSSMAN)

Bombay Sisters, “Bilahari,” Tillanas, Rhythmic Delights, Sangeetha

The Ukester

The Ukulady, “Crust Lady,” “Friendheart,” “Dragons and Monsters,” To the Downfall of Evil, Mopps Music

Ted Norman Legacy Concerts

www.indiegogo.com/tnlegacy

www.facebook.com/TedNormanLegacyConcerts

Sunday Oct 2/2pm & Saturday Oct 13/8pm

Post-Modern Arts Guitar Quartet, Theodore Norman: “Posada,” Live In-Studio

Post-Modern Arts Guitar Quartet, Norman: “Glad Rag,” “Tango,” “Go-go Boogie,” Buzz Gravelle: “Canticle,” “Carnival Skies at Dusk,” Live In-Studio

Modern Arts Guitar Quartet, Walter Marsh: “Three Contraptions,” Modern Arts Guitar Quartet, www.magq.net

Words & Music: Bonnie Barnett

http://www.redcat.org/event/bonnie-barnett

Wed Oct 3/8:30pm

Dottie Grossman & Michael Vlatkovich, “Dear Terre Haute”, We Waited the storm out”, On a navy-blue night”, Call and Response, pfmentum records

Bonnie Barnett, “Boerum,” “Discreet Alliances,” and “Verdigris,” Trio for Two, Nine Winds

Bonnie Barnett, “A Wife Has a Cow - A Love Story,” Live at the Roulette, Nine Winds

Frank Zappa, “Camarillo Brillo,” Over-Nite Sensation, Zappa Records

Frank Zappa, “Don't Eat the Yellow Snow,” Apostrophe, Zappa Records

Frank Zappa, “Peaches and Regalia,” Hot Rats, Zappa Records

Frank Zappa, “Nanook Rubs It,” Apostrophe, Zappa Records

The Mothers of Invention, “Help, I am a Rock,” Freak Out!, Zappa Records

Frank Zappa, “I'm The Slime,” Over-Nite Sensation, Zappa Records

Roland Dyens in LA!

http://www.facebook.com/pages/American-Guitar-Society/142740239104490

Saturday Sept 29 / 8pm – LA Valley College Mainstage Theater

BEWARE THE 405!

Roland Dyens, “Nuages,” "Felicidade,"Nuages, GHA

 

GLOBAL VILLAGE WITH JOHN SCHNEIDER, PLAYLIST FOR 9/20/12

GUEST HOST: MAGGIE LEPIQUE

TRIBUTE TO JACO PASTORIUS (With special in-studio guest Alex Acuña. ) from 12 Noon-1pm

1. Lionel Loueke, “Ife,” Heritage, EMI

2. Coralie Clement, “Samba de Mon Coeur Qui Bat,” Something's Gotta Give, Movie Soundtrack, Columbia

3. Charles Trenet, “Que Reste Til De Nos Amour,” Something's Gotta Give, Movie Soundtrack, Columbia

4. Les Escrocs, “Assedic,” Something's Gotta Give, Movie Soundtrack, Columbia

5. Los Lobos, “Kiko and the Lavender Moon,” Kiko (Live), Shout Factory

6. Neil Young, “Sugar Mountain,” Sugar Mountain, Live at Canterbury House, 1968, Reprise

7. Bob Dylan, “Duquesne Whistle,” Tempest, Columbia

8. Kurt Elling, “A House Is Not A Home,” 1619 Broadway, The Brill Building Project, Concord

9. Return to Forever, “Concierto de Aranjuez/Spain,” The Mother Ship Returns, Eagle Rock Entertainment

10. Miles Davis, “Mr Pastorius,”Amandla, Warner Brothers

11. Jaco Pastorius, “Donna Lee,” Jaco Pastorius, Epic/Legacy

12. Weather Report, “Havona,” Heavy Weather, Columbia Legacy

13. Weather Report/Jaco Pastorius solo bass- “Portrait of Tracy,” and "Cannon Ball" DVD Live in Montreaux, 1976 Eagle Rock Entertainment/Eagle Eye Records

Jaco Pastorius Born December 1st 1951, passed from this earth September 21st 1987 "JACO LIVES"

This is Pat Metheny's liner notes to the 2000 reissue of Jaco's debut album, "Jaco Pastorius", a piece we feel captures what Jaco and his music is all about.

Jaco Pastorius may well have been the last jazz musician of the 20th century to have made a major impact on the musical world at large. everywhere you go, sometimes it seems like a dozen times a day, in the most unlikely places you hear Jaco's sound; from the latest tv commercial to bass players of all stripes copping his licks on recordings of all styles, from news broadcasts to famous rock and roll bands, from hip hop samples to personal tribute records, you hear the echoes of that unmistakable sound everywhere. (it may even be more imitated at this point than the previously most pervasive jazz sound to escape into the broader culture beyond the local borders of jazz, the moody harmon mute stylings of Miles Davis). for all the caterwauling that has gone on about new musicians that have shown up in recent years being toted as the "next miles", or the "Duke Ellington of their generation", or whatever, jaco outranks all of them and all of that by being the one and the only of his kind, without predecessor; the only post 1970 jazz musician known on a first name basis with all music fans of all varieties everywhere in the world. from the depths of Africa where he is revered in almost god-like status to the halls of most every music university on the planet. to this day, and maybe more than ever, he remains the one and the only JACO.

And how odd it is to see this era of historical revisionism in jazz how this accomplishment is often relegated by people who should know better as being "not jazz" or as "fusion" (possibly the single most ignorant and damaging term ever invented to describe (discount) an important and vital branch of the jazz music tree). Jaco at his best, as on this record, defines what the word jazz really means. jaco used his own experiences filtered through an almost unbelievable originality informed by a musicianship as audacious as it was expansive, to manifest into sound through improvisation a musical reality that illuminated his individuality. and besides all that, he simply played his ass off - in a way that was totally unprecedented on his instrument, or on ANY instrument for that matter.

Because Jaco's thing has been so fully assimilated into the culture and the musical vocabulary of our time, i notice that it is difficult for people who weren't around at the time of his emergence to fully weigh the impact of his contribution. as a young musician who met jaco in his prime when we were both just starting out, i can only say that my reaction upon hearing him for the first time (with Ira Sullivan in Miami, Florida in 1972) was simply one of shock - i had literally never heard anything remotely like it, nor had anyone else around at the time. and yes, as is so often noted in his case, the way he was playing was unprecedented in technical terms, but that wasn't what made it so stunningly appealing to me. There was a humanity to Jaco's thing, built into those relentless grooves was that rare quality that only the most advanced jazz musicians seem to be able to conjure up - with Jaco, you were hearing the sound of a time, of an entire generation at work, on the move.

Our musical relationship was immediate. we recognized in each other a kind of impatience with the status quo of our respective instruments and jazz in general and found an instantaneous rapport from the first notes we played together. we also became really good friends. during the short time that i lived in Miami (near Jaco's hometown of Ft. Lauderdale), we played show gigs together and occasionally played at his house (he was living on top of a laundromat at the time) and spent a lot of time just talking about music, much of it about how intensely we both disliked the so-called jazz/rock of the time. ( how ironic that we are both now associated (inaccurately) with that movement). shortly after we met, i wound up moving to Boston to join Gary Burton's quartet. during this period, jaco and i spent time working together in new york with pianist Paul Bley and began a trio that lasted for several years with drummer bob moses (that group later went on to record what became my first record "bright size life".)

In the middle of this period Jaco recorded this album. when Jaco got word that Herbie Hancock (a major hero of both of ours) had agreed to participate, i think his already inspired vision of what he could be as a musician and what he could do with this record in particular went to a whole other level. listening again to this record, and the way that he and Herbie hook up on the original and the alternate takes of "used to be a cha-cha" we are hearing improvised music at it's highest level - but with a difference. jaco restructured the function of the bass in music in a way that has affected the outcome of countless musical projects to follow in his wake - an innovation that is still being absorbed by rhythm section players to this day - he showed the world that there was an entirely different way to think of the bass function, and what it meant. for this alone, jaco would earn a major place in the pantheon of jazz history. but, of course, there was so much more.

His solo on 'Donna Lee', beyond being astounding for just the fact that it was played with a hornlike phrasing that was previously unknown to the bass guitar is even more notable for being one of the freshest looks at how to play on a well traveled set of chord changes in recent jazz history - not to mention that it's just about the hippest start to a debut album in the history of recorded music. that solo, along with his best compositions like "continuum" reveal a melodic ingenuity (that rarest and hardest to quantify of musical qualities amongst improvisors) that comes along only a few times in each generation. and then there is just his basic relationship to sound and touch; refined to a degree that some would have thought impossible on an "electric" instrument.

Jaco's legacy has had a rough go of it - a horribly inaccurate, botched biography, endless cassette bootlegs of late-life gigs that do nothing but devalue the importance of his message through greed and overkill, and a mythology that seems to thrive on the stories that surrounded the lesser aspects of his lifestyle over the triumphs of his early musical vision and wisdom.
But you know what? you put this record on, and none of that matters. it is all here, in the grooves; everything you need to know about the guy. jaco pastorius was one of the most important musicians of our time - the fact that this was his first record is simply astonishing, there is no other way to put it. that this is without question the most auspicious debut album of the past quarter century is inarguable. as with all great recordings, the force of it's value becomes more evident as time passes.
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IN-STUDIO GUESTS:  DAVID TRASOFF (SAROD); PATRICK SCOTT (JACARANDA)

Shweta Jhaveri, “To A Beloved,” Anahita, Music and Media

Modern Mandolin Quartet, “Irish Roots Medley,” Americana, Sono Luminus

Joanne Polk (piano), “Prelude and Fugue,” Fanny & Felix Mendelssonn, Bridge

David Trasoff, “Rag Kaushi Kanada,” Private Recording

David Trasoff, “Rag Jaijaiwanti,” When Worlds Disappear, Lili Vihun Music/BMI

David Trasoff, “Rag Misra Kafi,” Private Recording

Reiko Kimiura, “Midare,” Music for Koto, Celestial Harmonies

B.B. King, “Every Day I Have the Blues,” “Sweet Little Angel,” “Nobody Loves Me But My Mother,” B.B. King, Icon 2, Universal Music

www.jacarandamusic.org

John Cage,Indeterminacy (Reading), “Indeterminacy,” Indeterminacy, New Aspect of Form in Instrumental and Electronic Music, Ninety Stories with Music, Smithsonian Folkways

Amadinda Percussion Group (John Cage), “Second Construction,” John Cage, Music for Percussion, Complete Edition No. 1: 1935-1941, Hungaroton Classic

Hans-Ola Ericsson (John Cage), “Hallowell S.M. and Advent C.M.,” Organ Music from the USA, Grammophon

John Cage, “String Quartet in Four Parts,” String Quartet Four Parts, Vox

Dawn Upshaw, “Ariadna en su Laberinto,” Osvaldo Golijob, Ayre, Deutsche Grammophon

Crosby, Stills, & Nash, “Long Time Gone,” “Helplessly Hoping,” Crosby, Stills, & Nash, Alantic

Forma Antiqva, Aaron Zapico, “Allegro,” “Adagio,” and “Presto,” Vivaldi, The Four Seasons, Winter & Winter

 

GUESTS:  JACARANDA – pianists Steve VanHauwaert, Dzovig Markarian, Yevgeniy Milyavskiy + Patrick Scott

Ganavidya Varidhi Lalitha Navile, “Ragam, Mohanam,” Rhythmic Delights, Tillanas, Sangeetha

Ry Cooder, “The 90 and the 9,” Election Special, Nonesuch

Dawn Upshaw with the Andalucian Dogs, “Black is the Color,” Luciano Berio, Folk Songs For Voice and Seven Instruments, Deutsche Grammophon

Susan Palma Nidel, “Milonga Para Hermeto,” Elegante, New Flute Music from South America, Flutewine Productions

Janne Rattya, “Johann Sebastian Bach, Goldberg Variations, BWV 988,” Bach: Goldberg Variations (Accordion), Ondine Oy

Tom Johnson, Andrew Nathaniel McIntosh, “Eggs and Baskets,” Tom Johnson, Correct Music, Populist

Various, “Etenraku In Oshikicho,” Gagaku, Ancient Japanese Music, E2

Julian Lage Group, “Iowa Taken,” Gladwell, Decca

Frank Zappa, “Little Umbrellas,” Hot Rats, Zappa Records

Joe Shannon and John Williams, “The Derry Hornpipe,” A Taste of Ireland, Nimbus Records

Sukhawat Ali Khan, “Barapar,” Shukriya, www.jahnurmusic.com

CAGE 100 Festival

Thursday-Sunday: http://jacarandamusic.org/0906.php

Jacaranda, John Cage selection, Live In-Studio

Steve VanHauwaert, Dzovig Markarian, Yevgeniy Milyavskiy, Satie: Vexations – Live from Studio A

Tom Peters & John Schneider, John Cage: 45” For a Speaker with 26' 1.1499" For a String Player John Cage, Tiger Barb

John Cage, “Readings,” Indeterminacy, Smithsonian Folkways

James Tenney, “Sonatas 5 & 6,” John Cage, Sonatas & Interludes, Hat[now] Art

Musica Andalusi, Omar Metioui, “Twishya,” Al Ala Al-Andalusiyya, AECI

Raul Garcia Zarate, “Suyallarkayki,” Guitarra, Raul Garcia Zarate (Peru), Seeds Records

Master U. Srinivas, “Vathapi,” Mandolin, OMI

Ry Cooder, “Take Your Hands Off,” Election Special, Nonesuch

 

 

GUESTS:  WILLIAM KRAFT & HUGH LEVICK (HEAR NOW MUSIC FEST); TOM CHIU (FLUX QUARTET VIOLINIST)

Shakti with John McLaughlin, “La Danse Du Bonheur,” A Handful of Beauty, Columbia

Van Shipley, “Chahe Mujhe Koi Junglee Kahe,” Bollywood Steel Guitar, radiodiffusion.net

Donald Vega, “Accompong”, Spiritual Nature, Resonance

Toumane Diabate, “Kaounding Cissoko,” The Mande Variations, Nonesuch

Donald Vega, “Contemplation,” Spiritual Nature, Resonance

Ziryab Trio, “Sama'i Shat Araban,” MashreoClassics, Ziryab Trio, Crammed Discs

- 2010 Hear Now Festival -

in Venice: Lutheran Church 815 Venice Blvd • Sat 8pm/Sun 5pm –

www.hearnowfestival.com

Thomas Ades, “Concert Paraphrase on Powder Her Face”, Private Recording

Lyris Quartet, Burton Goldstein, “String Quartet 2,” Private Recording

Eric Guinivan, “Autumn Dances,” Private Recording

Gernot Wolfgang, “Three Short Stories”, Private Recording

William Kraft, “Settings for Pierrot Lunaire”, Private Recording

Noon

Sambasunda Quintet, “Arang Arang Keleon Prawa,” Sambasunda Quintet, Java, Riverboat Records, World Music

- Beyond Music –

Tom Chiu plays Cage & Nancarrow

in Venice: Beyond Baroque on Venice Blvd • Sat 9pm –

www.beyondbaroque.org

Tom Chiu (John Cage), “Freeman Etude, No. 3” Live In-Studio

Flux Quartet, Nancarrow: “String Quartet #3,I”, Feldman: “Structures”, Dunaway,”Balloon & String Quartet”, Private Recording

Tom Chiu (John Cage), “Cheap Imitation,” and “Freeman Etude,” Live, In-Studio

Steve Mackey & New World Symphony, “Puffe”, Tuck & Roll, BMG