Octave One. Close to My People. DJ Fudge. Jon Ciafone. Peven Everett. Slavery Days. Tropical Soundclash. DJ Gregory. Star Suite. Mondo Grosso. Theme de Yo-Yo. Mari Ye Phepha. Bongo Maffin. Track Listing - Disc 3.
A student at Northwestern University he majored in English Composition , Winter spent time in the jazz clubs of Chicago. Winter had been accepted to the University of Virginia Law School but postponed those plans when, the next year, the Sextet was sent on a six-month a goodwill tour of Latin America as cultural ambassadors for the United States State Department , playing concerts in 23 countries. The Sextet had spent a month in Brazil during the tour, at the time that a new genre of music called bossa nova was blossoming there.
Following its return to the US, the group recorded an album of bossa nova. It became a second home for him and he recorded several albums there. Rio was released in , with liner notes by Vinicius de Moraes. Brazilian guitar, Afro-Brazilian percussion, and the symphonic music of Villa-Lobos inspired Winter to create a new ensemble in , as a forum for the increasingly diverse music he wanted to explore. He intended for the group to give ensemble playing and soloing equal importance, and analogous to a pure democracy, where every voice counted, and where there would be equal commitment to the wellbeing of the whole and to the expression of each individual within it.
The voices of the whales not only opened the door to the whole symphony of nature, but turned Winter into an activist, changing the course of his musical life.
The Consort continues, having evolved with different musicians over the years. In the early s, Winter began traveling to Russia. Also in , he met poet Yevgeny Yevtushenko. The two became good friends, and gave music and poetry tours together. The two groups felt an immediate kinship, and the following year recorded the album EarthBeat in Moscow and New York — the first album of original music created by Americans and Russians together.
Icarus was recorded in the summer of in the unhurried, unpressured atmosphere of a rented house near the sea, an experience, which underscored the importance of establishing a place where Winter could nourish his music and his community.
In Winter founded his own label, Living Music Records, as a forum for his developing musical-ecological sound-vision. The name alludes to his primary intentions of striving toward timeless music; recording in natural acoustic spaces, like stone churches, canyons, or the loft of a barn; and creating music that would embrace vital traditions of music, from Bach to Africa, and cello to wolf.
Winter is a member of the Lindisfarne Association , founded by William Irwin Thompson , of scientists, artists, scholars, and contemplatives devoted to the study and realization of a new planetary culture.
John the Divine. In , Dean Morton invited him to become artist-in-residence there, to build bridges between spirituality and the environment with his music. Cosmologist Father Thomas Berry greatly influenced Winter musical-ecological vision, and affirmed his intent to awaken in people, though music, a sense of relatedness with the larger community of life.
The major movements of the mass are based on the voices of whale, harp seal, and wolf. In , when he attended a lecture on whale songs by Dr. Winter was thrilled by the soulful beauty of these humpback whale voices in much the same way as when he had first heard jazz saxophonists like Charlie Parker.
Listening to the long, complex songs the whales repeat, he was amazed by their musical intelligence, and shocked to learn that these extraordinary creatures were rapidly being hunted to extinction. New Releases this week for Jazz.
All Rise Deluxe. Gregory Porter. I Wished On The Moon. Diana Krall. Chick Corea. Down by the Riverside. Christian McBride Big Band. Seth MacFarlane. The Call Within. Tigran Hamasyan. Those World War I veterans with Fascist pretensions and of the anti-Semitic Freikorps banded with other members in the National Socialist movement in denouncing Jews and blacks. This burgeoning hatred of jazz and its subculture infected the entire Nazi party structure that Adolf Hitler and his followers were trying so desperately to erect.
Hitler was not fond of modernism in the arts, which included music; in the Nazi party's program of February , he threatened to enforce future governmental laws against such inclinations in art and literature. Even though he never publicly spoke out against jazz specifically in the Weimar Republic , one can infer that Hitler's sentiments toward jazz must have had strong ties to his perception of racial hierarchy, with jazz, not surprisingly, being at the very bottom.
In the s, jazz began to see its downturn and started to suffer. Jazz's potential for being linked with the down-trodden minorities and pariahs of German society - the blacks and Jews - rendered it suspect. The future policies emerging against jazz were encouraged by German musicologists and radio spokesmen. In , attempting to widen the perceived gap between "Nigger-Jew Jazz" and "German Jazz", Hans Otto Fricke used his prominent status as the director of "Radio Frankfurt", giving a two-part lecture series on the subject.
It wasn't until that many crucial British and American jazz players began to leave the country as they faced increasing xenophobic harassment from colleagues and authorities. Many thought that the death of jazz was upon them, but little did they anticipate that it would be reborn into vitality and health under a dictatorship. Up until , Joseph Goebbels , the Reich Minister of Public Enlightenment and Propaganda, had hoped to convince and persuade the public via anti-jazz propaganda, rather than prohibit jazz.
In , the Nazi government did not allow German musicians of Jewish origin to perform any longer. They worked abroad during much of the s, touring throughout Europe, Asia, and the Middle East before settling in Australia in Even people with a single Jewish grandparent like swing trumpeter Hans Berry were forced to play undercover or to work abroad in Belgium, the Netherlands or in Switzerland.
Other dance bands and musicians were not even that fortunate. For example, Mitja Nikisch , son of the celebrated classical conductor Arthur Nikisch and himself a respected classical pianist, had created a fine popular dance ensemble in the s, the Mitja Nikisch Tanz Orchester, which played in prominent venues.
The Nazi regime brought about its demise, leading Nikisch to commit suicide in From onward, American musicians in Europe couldn't cross German borders. Admittedly, in spite of such persecution it was still possible, at least in major cities, to buy jazz records until the beginning of the war; however, the further development of, and the contact with, the American Jazz World were largely interrupted.
The " Reichsmusikkammer " Reichs Music Chamber supported dance music that bore some traits of Swing, but listening to foreign stations, which regularly played jazz, was penalised from on. Even after certain songs and performers were banned in Germany, several radio stations played jazz music by printing a new, German-centric label.
For example, the song " Tiger Rag " became "Schwarzer Panther", or the "black panther". Some musicians did not want to follow this command. With the pressing wartime effort from to , the Nazis accidentally fostered the jazz craze by forcing bands from Nazi-occupied nations in Western Europe to perform, bringing hot swing. The Nazis even re-developed and newly produced some pieces, giving them new lyrics, in special studios. One example is the song "Black Bottom", which was presented as "Schwarzer Boden".
For some Germans, the banned foreign stations with jazz programs were very popular. The Nazis on the one hand would jam transmissions from the Allies' stations, but on the other hand would also copy them. The band Charlie and His Orchestra is considered as a negative example, also called Mr. Goebbels Jazz Band. Several of Germany's most talented swing musicians, such as saxophonist Lutz Templin and vocalist Karl "Charlie" Schwedler , were active in a jazz band.
You're nice, little fellow, but by now you should know that you can never win this war! Negermusik "Negro Music" was a pejorative term used by the Nazis during the Third Reich to signify musical styles and performances by African-Americans that were of the jazz and swing music genres. The situation intensified in with the entry of the United States in the war. For diplomats of foreign embassies and Wehrmacht members, a couple of jazz clubs continued to remain open in Berlin. In addition, individual, illegitimate venues and private parties still played jazz.
In jazz record production was stopped. The Swing-Jugend , or Swing kids , was a movement among mainly youth from 14—20 years old who dressed, danced, and listened to jazz in defiance of the Nazi regime. The Nazi Party acted against this movement by detaining several of the young leaders of the Swing Youth and sending them to concentration camps. However, the Swing Youth continued to resist the Nazi party by participating in prohibited swing and jazz activities Neuhaus.
Charlie and His Orchestra was moved in the still bombproof province. Famous operas such as Krenek's Jonny spielt auf! The Nazi regime passed notorious edicts banning jazz records and muted trumpets calling them degenerate art or entartete Kunst. The "Degenerative Music" exhibit actually had the opposite effect of what the Nazis had hoped because soldiers became interested in genuine jazz Potter. The documentary film Swing Under the Swastika looks at jazz music under the Nazi regime in Germany, and at the cases of the Madlung sisters who were sent to Ravensbruck concentration camp merely for owning jazz records.
There are also interviews with jazz drummer and guitarist Coco Schumann and pianist Martin Roman, who were saved in the camps so they could and had to play for SS officers and during executions in Auschwitz as part of the "Ghetto Swingers". In the postwar period, and after nearly 20 years of isolation, many music fans as well as musicians themselves were very interested in the movements of jazz they had missed.
In fact, jazz gave young people the enthusiastic hope for rebuilding the country. In the jazz clubs, jazz lovers played important records even before they could organize concerts.New volume of the Jazz House Independent series, that has reached its 8th release. Born as a musical magazine about IRMAs most refined House releases contaminated with jazz and musicianss live sessions, now it also includes productions from associated labels as .