Bøger af David Lasocki

Tony Dagradi is best known as the leader ofthe New Orleans modern-jazz group AstralProject, which he has made his life project.Yet he has had several other important threadsin his forty-year career: serving a series ofinformal apprenticeships with experimentaljazz, soul, and rhythm and blues artists in the1970s; playing, touring, and recording withProfessor Longhair, 1978-80; doing the samewith the Carla Bley Band, 1980-85; partneringwith the bassist Ramsey McLean in the early1980s; performing in a longstanding triowith James Singleton and John Vidacovich;making recordings as a sideman with manyNew Orleans jazz and popular musicians; andteaching at Loyola University of New Orleansas well as writing some important pedagogicalmaterials on jazz saxophone.Drawing on interviews with Tony and some40 other New Orleans musicians as well as aninconceivable quantity of other research, thisbook examines all facets of his career and hisrecordings as leader and sideman. Essentialreading for fans of Tony, Astral Project, NewOrleans music, and jazz saxophone.

A revolution in consciousness was fueled in the United States in the 1960s by a small group of people who used the tools of psychedelic drugs, story-telling, improvisational theater, communal living, sharing, kindness, humor, and pranks to release people from the confines of society, and get them to think for themselves as well as make deep connections with others. The clown, comedian, and political activist Wavy Gravy led the way. Not only did he found the Hog Farm, the country's longest-running commune. He became loosely affiliated with the Merry Pranksters, led by Ken Kesey, Neal Cassady, George Walker, and Ken Babbs, who famously rode the bus FURTHUR from California to New York in 1964, spreading theater, music, rubber balls, and laughter among unsuspecting citizens along the way. In the mid-60s, The Pranksters organized Acid Tests along the West Coast-parties to promote the then-legal drug LSD. To perform at the parties they hired The Warlocks, soon renamed the Grateful Dead, whose improvisational jams, drug-explorations, and unprecedented ability to attract legions of loyal fans (Deadheads) became a movement and a community that reflected the same revolutionary spirit of life outside the mainstream. Beyond the tours and albums of the Grateful Dead, its singularly talented principal members, Jerry Garcia, Bob Weir, Phil Lesh, Billy Kreutzmann, and Mickey Hart, had their own bands, a kind of Dead on the Side. "The Bus to Never Ever Land" explores this territory-from Wavy to the Merry Pranksters to the Grateful Dead's origins, poets, and side projects-through pointed excerpts from dozens of radio interviews that Jake Feinberg conducted with the protagonists and others who were there at the time. "We won't be bought, we won't be sold, we'll move in the inner circles, we'll move in the outer circles, we'll be what we'll be, and what we'll be is be free" (Ken Babbs).Seminal figures that are focused on include: Ken Babbs, John Perry Barlow, Neal Cassady, Jerry Garcia, Mickey Hart, Robert Hunter, Billy Kreutzmann, Ken Kesey, Phil Lesh, Mountain Girl (Carolyn Garcia), George Walker, Wavy Gravy, and Bobby Weir.

Founded in 1978, and still going in 2018, Astral Project has been "New Orleans' best-kept secret" - a world-class modern-jazz group comprised of the city's finest players. Beneath its funky Big Easy style the group has a spiritual agenda: to put the audience on the astral plane.In "A Higher Fusion," drawing on interviews with group members and some 40 other New Orleans musicians along with an inconceivable quantity of other research, David Lasocki paints a lively picture of Astral Project and its history. He looks at the group's spiritual agenda and considers why it has never become world famous. He also examines Astral Project's recordings, studio and live, in illuminating detail. A comprehensive discography and an equally comprehensive bibliography are thrown in for good measure.The book is a must-read for fans of Astral Project, its members, and New Orleans music, not to mention people curious about how on earth jazz can be "spiritual."

The drummer (and cymbalist) John Vidacovich, familiarly known as Johnny V, the winner of a lifetime achievement award from OffBeat magazine, has made an enormous impact on the music of his native New Orleans over the last fifty-plus years. Whether as a founding member of Astral Project, the leader of his own jazz or funk groups, or a sideman in numerous styles of popular music, Johnny has followed intensely in the distinguished tradition of Big Easy percussionists. And like other great performers, he has developed his own, inimitable style within the tradition. Although Johnny has been interviewed by the press for decades, nothing like a full-length study of his life and work has ever been made. The present book fills that void with biography, photographs, commentary on his recordings, improvisations on his teaching, and a visit to his poetry and comedy, not to mention a detailed discography and bibliography.

Founded in 1978, and still going in 2018, Astral Project has been "New Orleans' best-kept secret" - a world-class modern-jazz group comprised of the city's finest players. Beneath its funky Big Easy style the group has a spiritual agenda: to put the audience on the astral plane.In "A Higher Fusion," drawing on interviews with group members and some 40 other New Orleans musicians along with an inconceivable quantity of other research, David Lasocki paints a lively picture of Astral Project and its history. He looks at the group's spiritual agenda and considers why it has never become world famous. He also examines Astral Project's recordings, studio and live, in illuminating detail. A comprehensive discography and an equally comprehensive bibliography are thrown in for good measure.The book is a must-read for fans of Astral Project, its members, and New Orleans music, not to mention people curious about how on earth jazz can be "spiritual."

Steve Masakowski jokes modestly that he's probably best known now in New Orleans as the father of his daughter Sasha, a rising star on the jazz and pop scene. That belies his world-class performances with the city's leading modern-jazz group, Astral Project, and other renowned local and touring jazz artists. His career has had several other innovative threads, including the electronic fusion group Mars, multi-year duets with Ellis Marsalis, and running the Composers Recording Studio in the 1980s; nine albums as a leader, including two for the prestigious Blue Note Records in the 1990s; and more recently, performances and recordings with his talented family. His early adoption of self-designed seven-string guitars, his invention of the keytar, and his specially designed switch-pick all bear witness to his creativity. Highly respected as a jazz educator, he is a Distinguished Professor at the University of New Orleans, where he holds the position of Coca-Cola Endowed Chair and Director of Jazz Studies. Drawing on interviews with Steve and some 40 other New Orleans musicians as well as an inconceivable quantity of other research, this book examines all facets of his career and his recordings as leader and sideman. Essential reading for fans of Steve, Astral Project, New Orleans music, and jazz guitar.

Steve Masakowski jokes modestly that he's probably best known now in New Orleans as the father of his daughter Sasha, a rising star on the jazz and pop scene. That belies his world-class performances with the city's leading modern-jazz group, Astral Project, and other renowned local and touring jazz artists. His career has had several other innovative threads, including the electronic fusion group Mars, multi-year duets with Ellis Marsalis, and running the Composers Recording Studio in the 1980s; nine albums as a leader, including two for the prestigious Blue Note Records in the 1990s; and more recently, performances and recordings with his talented family. His early adoption of self-designed seven-string guitars, his invention of the keytar, and his specially designed switch-pick all bear witness to his creativity. Highly respected as a jazz educator, he is a Distinguished Professor at the University of New Orleans, where he holds the position of Coca-Cola Endowed Chair and Director of Jazz Studies. Drawing on interviews with Steve and some 40 other New Orleans musicians as well as an inconceivable quantity of other research, this book examines all facets of his career and his recordings as leader and sideman. Essential reading for fans of Steve, Astral Project, New Orleans music, and jazz guitar.

Scholars lament that next to nothing has been discovered about the life and work of Pietro Grassi Florio (1738?-1795), one of the best-known names among flutists of the 18th century. In particular, it has never been clear what association he may have had with the invention of the six-keyed flute, the model of flute marketed under the name Florio, and the reintroduction of the C-foot. The present book blows open the research about Florio. It traces in detail: his move from Dresden to London, his employment as a flutist in London by the major opera houses and concert series, the music he performed in concert and at the opera (where "Florio's Breathing Flute ... merited much Applause"), the compositions he wrote and published, his reputation as a musician and as a person, his marriage to the daughter of a London woodwind maker, and the involvement of Florio and his wife with the six-keyed flute. The second part of the book contains 60 pages of musical examples, including many complete movements, illustrating the music that Florio both performed and composed.

According to myth (or received opinion), the wealth of sizes of recorder present in the Renaissance petered out in the Baroque period, until only the alto (British: treble) was left, except for a few smaller sizes in concertos and vocal music. In this book David Lasocki examines all the surviving writings between about 1600 and 1800 (treatises, tutors, inventories, advertisements, purchases and sales) as well as indications of instrumentation in the repertoire. He concludes that sizes of recorder besides the alto were far more common and far more diverse than we have imagined. Imagine!

Since moving to New Orleans in 1976, James Singleton has been one of the city's most sought-after bass players, primarily in jazz of all kinds, but also blues, R&B, funk, and folk. Since 1978, he has been a mainstay of New Orleans' leading modern-jazz group, Astral Project, led by Tony Dagradi, which is still performing after 40 years. In 1995, he co-founded the free-jazz group 3NOW4 with Dave Easley. In the 2000s, he began to unveil his own groups: the James Singleton Trio, Quartet, String Quartet, and Orchestra, featuring his own singular compositions (pun intended). In the 2010s, he has been collaborating with the Nolatet and WATIV, and in various duos and trios with younger musicians. In "James Singleton, Rhythm Crusader," drawing on interviews with James and some 40 other New Orleans musicians as well as unbelievable amounts of other research, David Lasocki paints a lively picture of the life and times of this dynamic figure. James' recordings are analyzed, and a comprehensive discography is included.

On The Jake Feinberg Show (radio) and in Facebook Lives, Jake Feinberg has conducted over 1,500 interviews with "The Cats"-popular musicians across the spectrum. His unique interviewing style puts musicians at their ease, inspiring them to reflect candidly on topics familiar or unexpected. This second volume of striking extracts from the interviews examines how, back before drum machines and pitch correction were invented, before clubs and music stores declined, before diddy bop danced up, before radio became networked and homogenized, we had regional markets and local beats. Neighborhoods mentored their young musicians. The relaxed format of the innumerable clubs encouraged jamming and sitting in. Artists, black and white alike, were nourished by camaraderie and brotherhood. The US embraced great performers from other cultures. Leaders trusted their sidemen and brought out the best in them. Jake's book improvises freely on that "Cadence of Their Time," extracting its juicy essence.And what now? How can musicians influence the cadence of our own time and the time to come? Through fairness, connection, striving for excellence, trusting each another, digging deep, playing what they don't know, moving beyond the categorization of genres, keeping the faith, creating transcendent experience for themselves and their audiences, embracing individuality and difference. It's all in the book, too.Based on interviews with: John Abercrombie, Carmine Appice, Gary Barone, Dick Berk, Hal Blaine, Doug Carn, Ron Carter, Stanley Clarke, Bob Cranshaw, Eumir Deodato, Bob Dorough, Cleveland Eaton, Wilton Felder, Alvin Fielder, Jon Hendricks, Ronnie Hawkins, Nat Hentoff, John McLaughlin, Charles McPherson, Hugh Masekela, Harvey Mason, Bill Maxwell, Mtume, Cyril Neville, Deren Ney, Taj Mahal, Charlie Musselwhite, Odean Pope, Lew Tabackin, Fred Tackett, Ernie Watts, Larry Willis, Cedar Walton, Randy Weston, and Phil Woods.

The drummer (and cymbalist) John Vidacovich, familiarly known as Johnny V, the winner of a lifetime achievement award from OffBeat magazine, has made an enormous impact on the music of his native New Orleans over the last fifty-plus years. Whether as a founding member of Astral Project, the leader of his own jazz or funk groups, or a sideman in numerous styles of popular music, Johnny has followed intensely in the distinguished tradition of Big Easy percussionists. And like other great performers, he has developed his own, inimitable style within the tradition. Although Johnny has been interviewed by the press for decades, nothing like a full-length study of his life and work has ever been made. The present book fills that void with biography, photographs, commentary on his recordings, improvisations on his teaching, and a visit to his poetry and comedy, not to mention a detailed discography and bibliography.

Following on Vibrational Hugs, Angelic Hugs began to be created in March 2020, and the series felt complete in November. They are not energy transmission as Vibrational Hugs are, but rather, represent an element, an idea, a concept, a state of mind, a state of being, a being, or Being itself, taking us into different experiences and dimensions. The images in the collection of Angelic Hugs, which are all linked, show you your current state of being, and encourage your expansion and transformation.See which image is calling to you. As you gaze at it, allow its energy to seep into your body and your whole being. You receive what you require. Shift happens....

On The Jake Feinberg Show (radio) and in Facebook Lives, Jake Feinberg has now conducted over 1,000 interviews with "The Cats"-popular musicians across the spectrum from rock to jazz, R&B to folk, pop to country, bluegrass to fusion. Jake's unique interviewing style puts musicians at their ease and inspires them to reflect candidly on topics familiar or unexpected.This first volume of striking extracts from the interviews comprises three parts. Part 1 covers 13 musicians who have primarily made a living in the recording studio. Part 2 celebrates the life of Neal Casal. And Part 3 features 10 "wizards" who have had extensive solo careers or worked largely in established bands.The Cats tell little stories, muse about life, uncover aspects of the music business, dig deep into overcoming adversity, revel in camaraderie, and open their souls. You will never see musicians in the same light again....Based on interviews with Randy Brecker, Kenny Burrell, Neal Casal, Leon "Ndugu" Chandler, Billy Cobham, Dennis Coffey, Larry Coryell, Greg Errico, Buzz Feiten, Steve Gadd, David Garibaldi, Jim Keltner, Dave Liebman, David Lindley, Pat Martino, Joe Sample, Danny Kortchmar, Chuck Rainey, Emil Richards, Leland Sklar, David Spinozza, Steve Swallow, Ron Tutt, and Lenny White.

Literal shackles are rings and chains around our wrists and ankles, ensuring that we stay imprisoned. The figurative shackles dealt with in this book are physical (sickness), mental, emotional, spiritual, environmental, social, and cultural. They still imprison us, because they create blockages and restrictions in the flow of our life. For anything to exist in this world, it must have form, or what is commonly called structure. Our society, family, schools, religion, laws, food, and medicine all create form for us. These forms support us, but they also have the potential to shackle us. Why? Because they tend to become self-serving, to perpetuate themselves, instead of flowing with the changes of life. As a result, we end up doing what others have been doing, based on the past, rather than finding out who we are and what would work for us in our lives in the present. So how can we release our shackles: what is no longer serving us in our lives? The first step is to recognize and acknowledge that something else would serve us better. Sometimes shackles release from only our awareness of their existence; or else the release occurs because our awareness leads to new choices in our lives, or we discover a new technique that shifts shackles. At other times, the releasing of shackles benefits from a helping hand. In any case, releasing shackles means, essentially, perceiving life differently. Part 1 of the book covers some common shackles. Part 2 summarizes essential background information. Many ways of releasing shackles have been coming to the world in the last ten or twenty years. Part 3 of the book introduces some of the ways that the author has been using in his energy-healing work with his clients (and on himself). Here's to a free and authentic life!

Tony Dagradi is best known as the leader ofthe New Orleans modern-jazz group AstralProject, which he has made his life project.Yet he has had several other important threadsin his forty-year career: serving a series ofinformal apprenticeships with experimentaljazz, soul, and rhythm and blues artists in the1970s; playing, touring, and recording withProfessor Longhair, 1978-80; doing the samewith the Carla Bley Band, 1980-85; partneringwith the bassist Ramsey McLean in the early1980s; performing in a longstanding triowith James Singleton and John Vidacovich;making recordings as a sideman with manyNew Orleans jazz and popular musicians; andteaching at Loyola University of New Orleansas well as writing some important pedagogicalmaterials on jazz saxophone.Drawing on interviews with Tony and some40 other New Orleans musicians as well as aninconceivable quantity of other research, thisbook examines all facets of his career and hisrecordings as leader and sideman. Essentialreading for fans of Tony, Astral Project, NewOrleans music, and jazz saxophone.

David Lasocki and Robert Ehrlich trace the history of the recorder from the fourteenth century to the present day. From minstrelsy to Baroque masterpieces, from Renaissance court splendor to Nazi propaganda, this fascinating account shows how present and significant the recorder has been throughout seven centuries of Western art music.

In the 1530s, five Bassano brothers, who were outstanding wind players and instrument makers, emigrated from Venice to England.