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Episode 41, Jazz and Politics, Part 4
The first part of this episode addresses the inroads female jazz artists have made over the years, as I start with a track by the amazing trio of Geri Allen, Teri Lyne Carrington, and Esperanza Spalding, followed by something from the new album by Molly Johnson.
Then I play another Canadian: Vancouver born composer and bandleader, Darcy James Argue. His album “Real Enemies” addresses the vicious circle of conspiracy theories.
Then 19 minutes of Sonny Rollins, who composed one of the earliest Civil Rights composition—his 1958 “Freedom Suite”, with Max Roach on drums.
And speaking of Max Roach, you’ll hear an improvised duet between Roach’s drums and the remarkable voice of Abbey Lincoln, tracing the parallels between slavery in America and the bondage of apartheid in South Africa.
Lastly, from Les McCann and Eddie Harris, the great Eugene McDaniels composition of Compared to What.
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By Larry Saidman
4.4
4141 ratings
The first part of this episode addresses the inroads female jazz artists have made over the years, as I start with a track by the amazing trio of Geri Allen, Teri Lyne Carrington, and Esperanza Spalding, followed by something from the new album by Molly Johnson.
Then I play another Canadian: Vancouver born composer and bandleader, Darcy James Argue. His album “Real Enemies” addresses the vicious circle of conspiracy theories.
Then 19 minutes of Sonny Rollins, who composed one of the earliest Civil Rights composition—his 1958 “Freedom Suite”, with Max Roach on drums.
And speaking of Max Roach, you’ll hear an improvised duet between Roach’s drums and the remarkable voice of Abbey Lincoln, tracing the parallels between slavery in America and the bondage of apartheid in South Africa.
Lastly, from Les McCann and Eddie Harris, the great Eugene McDaniels composition of Compared to What.
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