欧美国一级视频直播

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							Backstories
						
      
									The Black Entrepreneurs of Early Jazz
							
      
			Read "The Black Entrepreneurs of Early Jazz" reviewed by Karl Ackermann
			
      
				
      
				
							
      
			
      Preamble: In 2020, I published A Map of Jazz: Crossroads of Music and Human Rights (WS Publishing), a book that looks at the culture of jazz on a timeline with cultures of the world. At more than 500 pages, the book is incomplete by necessity; there is no well-marked path, and the history is sometimes nebulous. However, as a map of events and the chronology of jazz music, it leads to unfamiliar places. The series Backstories dives deeper into people ...
      
			
		
      
	
      

	
      
		
      
		
						
			
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							Live Review
						
      
									Reykjavik Jazz Festival 2025
							
      
			Read "Reykjavik Jazz Festival 2025" reviewed by Nenad Georgievski
			
      
				
      
				
							
      
			
      Reykjavik Jazz Festival Harpa Concert Hall Reykjavik, IcelandAugust 26-31, 2025 Jazz festivals are rarely just stages and instruments. They are living, breathing ecosystems, a careful weaving together of artists, ideas, and audiences. Each performer brings a unique expression, and each set is curated with an ear for the festival's identity. Financial constraints may exist, but thoughtful curation is what gives a festival its soul. The Reykjavik Jazz Festival is no exception: it's a mosaic of ...
      
			
		
      
	
      

	
      
		
      
		
						
			
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							Interview
						
      
									Gary Bartz Is Nobody's Jazz Musician
							
      
			Read "Gary Bartz Is Nobody's Jazz Musician" reviewed by Bridget A. Arnwine
			
      
				
      
				
							
      
			
      Gary Bartz is nobody's jazz musician. What he has built and created as an artist with a career that spans six decades defies labels, especially ones that have storied racist connotations and otherwise derogatory origins like the word jazz. He is a composer of the finest order and as gifted as the most revered names in classical music. Defining his work as improvised music is too simple a term to fully capture the essence of what Bartz and “jazz" musicians ...
      
			
		
      
	
      

	
      
		
      
		
						
			
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							Live Review
						
      
									2025 Detroit Jazz Festival: All Free, All Jazz
							
      
			Read "2025 Detroit Jazz Festival: All Free, All Jazz" reviewed by Paul Rauch
			
      
				
      
				
							
      
			
      2025 Detroit Jazz Festival Hart Plaza & Cadillac Square Detroit, MI August 28-September 1, 2025 There is a story Detroit Jazz Festival President and Artistic Director Chris Collins loves to tell about an intimate conversation he had with Gretchen Valade. Valade had rescued the festival from the brink of financial demise with a generous endowment, and wanted to be very clear with Collins about her intent and wishes for the event well into the future. ...
      
			
		
      
	
      

	
      
		
      
		
						
			
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							Big Band in the Sky
						
      
									Remembering Hermeto Pascoal: The Sorcerer's Spell
							
      
			Read "Remembering Hermeto Pascoal: The Sorcerer's Spell" reviewed by Ian Patterson
			
      
				
      
				
							
      
			
      Hermeto Pascoal, the one-of-a-kind Brazilian multi-instrumentalist and composer, has gone to the great gig in the sky. Known affectionately as Bruxo (Sorcerer), Pascoal passed away on September 13, 2025. He was 89. Few musicians have traversed as many styles of Brazilian music as Pascoal. His first commercial recording, in 1956, was with Clóvis Pereira--the renowned composer of folkloric, choral and orchestral works; Pascoal plays sanfona (button accordion) on two tracks. Over the next 65 years, Pascoal contributed to ...
      
			
		
      
	
      

	
      
		
      
		
						
			
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							Inside The Interview
						
      
									Arturo O’Farrill: The Arts Belong to the People
							
      
			Read "Arturo O’Farrill: The Arts Belong to the People" reviewed by Steven Roby
			
      
				
      
				
							
      
			
      The first thing you notice about Arturo O'Farrill is how completely he turns purpose into sound. Whether he's speaking about water, memory, or the way a room breathes during a concert, the GRAMMY-winning pianist and composer treats music as a living system--one that welcomes humor, fury, and community in equal measure. That sensibility powers his new project, Mundoagua: Celebrating Carla Bley (Zoho), and it animates his return to SFJAZZ Center, where he'll lead a charged, pan-American ensemble built for openness ...
      
			
		
      
	
      

	
      
		
      
		
						
			
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							Interview
						
      
									Kahlil Childs and Jacob Hart: Two Young Stars Rise From Detroit
							
      
			Read "Kahlil Childs and Jacob Hart: Two Young Stars Rise From Detroit" reviewed by Paul Rauch
			
      
				
      
				
							
      
			
      The Detroit Jazz Festival is a huge draw. For fans, it is the largest free jazz event in the world, removing financial barriers and accommodating over 300,000 attendees over Labor Day weekend annually. Over four days, four stages present the best the jazz world has to offer and in the process, celebrates the great jazz history in Detroit by booking the best of the local scene and giving them ample time on the festival's main stages. A very unique aspect ...
      
			
		
      
	
      

	
      
		
      
		
						
			
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							Inside The Interview
						
      
									Dominique Fils-Aimé: Jazz as Freedom, Healing, and Connection
							
      
			Read "Dominique Fils-Aimé: Jazz as Freedom, Healing, and Connection" reviewed by Steven Roby
			
      
				
      
				
							
      
			
      Montreal vocalist--composer Dominique Fils-Aimé discusses music as essential as breath--something vital, grounding, and shared. In conversation, a few recurring themes emerge: freedom as the driving force of jazz, healing as the restorative power of music on the body, and connection--among people, across generations, and through history--as the quiet foundation that allows songs to travel. These ideas are not mere abstract concepts for her; they influence how she writes and constructs a live set--especially in intimate spaces like SFJAZZ's Joe Henderson ...
      
			
		
      
	
      

	
      
		
      
		
						
			
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							Interview
						
      
									Kenneth Dahl Knudsen: Beyond 'Sound American'  –  Crafting a Nordic Jazz Identity
							
      
			Read "Kenneth Dahl Knudsen: Beyond 'Sound American'  –  Crafting a Nordic Jazz Identity" reviewed by Ieva Pakalniskyte
			
      
				
      
				
							
      
			
      What does finding an authentic musical voice in a genre so deeply connected to history and geography mean? The answer for Danish double bassist, composer, and educator Kenneth Dahl Knudsen is to transcend limitation and let identity shape the sound. A restless presence on the European jazz scene, Knudsen has resisted the pressure to “sound American" and instead draws from his Scandinavian roots, folk song, church music and rock energy, while taking influences from collaborators worldwide. 
      
			
		
      
	
      

	
      
		
      
		
						
			
							23
						
			
		
		
      
		
      
							Opinion
						
      
									Deconstructing Free Jazz
							
      
			Read "Deconstructing Free Jazz" reviewed by Robert J. Lewis
			
      
				
      
				
							
      
			
      In the continuously evolving history of artistic expression, certain movements emerge that challenge the very foundations of our aesthetic sensibilities. In the early and mid-20th century, Expressionism and free jazz were two audacious musics that not only broke all the rules but broke the spirit of many well-intentioned listeners. If the terms are not quite interchangeable, Expressionism and free jazz share a common genesis that goes back to the early 20th century with the introduction of the 12-tone ...
      
			
		
      
	
      


      


      

			
      
		
      
		
		
      

       

      
    
      
		
		
      
			
      
				
      
					
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‘Oh, that,’ she said. ‘Dear Julia; I hope we shall be great friends again, when I come back from Brighton. I shall be very glad to, I am sure.’ "His captain asked him what he had to say for himself to escape punishment, and the man replied that it was unreasonable to expect all the cardinal virtues for thirteen dollars a month. The captain told him the excuse was sufficient for that time, but would not do for a repetition of the offence."  "Pat who--oh? I tell you, my covey,--and of course, you understand, I wouldn't breathe it any further--"  We have seen how Carneades, alike in his theory of probability and in his ethical eclecticism, had departed from the extreme sceptical standpoint. His successor, Clitomachus, was content with committing the doctrines of the master to writing. A further step was taken by the next Scholarch, Philo, who is known as the Larissaean, in order to distinguish him from his more celebrated namesake, the Alexandrian Jew. This philosopher asserted that the negations of the New Academy were not to be taken as a profession of absolute scepticism, but merely as a criticism on the untenable pretensions of the Stoa. His own position was that, as a matter of fact, we have some certain knowledge of the external world, but that no logical account can be given of the process by which it is obtained—we can only say that such an assurance has been naturally stamped on our minds.254 This is the theory of intuitions or innate ideas, still held by many persons; and, as such, it marks a return to pure Platonism, having been evidently suggested by the semi-mythological fancies of the161 Meno and the Phaedrus. With Philo as with those Scotch professors who long afterwards took up substantially the same position, the leading motive was a practical one, the necessity of placing morality on some stronger ground than that of mere probability. Neither he nor his imitators saw that if ethical principles are self-evident, they need no objective support; if they are derivative and contingent, they cannot impart to metaphysics a certainty which they do not independently possess. The return to the old Academic standpoint was completed by a much more vigorous thinker than Philo, his pupil, opponent, and eventual successor, Antiochus. So far from attempting any compromise with the Sceptics, this philosopher openly declared that they had led the school away from its true traditions; and claimed for his own teaching the merit of reproducing the original doctrine of Plato.255 In reality, he was, as Zeller has shown, an eclectic.256 It is by arguments borrowed from Stoicism that he vindicates the certainty of human knowledge. Pushing the practical postulate to its logical conclusion, he maintains, not only that we are in possession of the truth, but also—what Philo had denied—that true beliefs bear on their face the evidence by which they are distinguished from illusions. Admitting that the senses are liable to error, he asserts the possibility of rectifying their mistakes, and of reasoning from a subjective impression to its objective cause. The Sceptical negation of truth he meets with the familiar argument that it is suicidal, for to be convinced that there can be no conviction is a contradiction in terms; while to argue that truth is indistinguishable from falsehood implies an illogical confidence in the validity of logical processes; besides involving the assumption that there are false appearances and that they are known to us as such, which would be impossible unless we were in a position to compare them with the corresponding162 truths.257 For his own part, Antiochus adopted without alteration the empirical theory of Chrysippus, according to which knowledge is elaborated by reflection out of the materials supplied by sense. His physics were also those of Stoicism with a slight Peripatetic admixture, but without any modification of their purely materialistic character. In ethics he remained truer to the Academic tradition, refusing to follow the Stoics in their absolute isolation of virtue from vice, and of happiness from external circumstances, involving as it did the equality of all transgressions and the worthlessness of worldly goods. But the disciples of the Porch had made such large concessions to common sense by their theories of preference and of progress, that even here there was very little left to distinguish his teaching from theirs.258 After she had done that she stood hesitating for just a moment before she threw off all restraint with a toss of her head, and strapped about her waist a leather belt from which there hung a bowie knife and her pistol in its holster. Then slipping on her moccasins, she glided into the darkness. She took the way in the rear of the quarters, skirting the post and making with swift, soundless tread for the river. Her eyes gleamed from under her straight, black brows as she peered about her in quick, darting glances. George II. was born in 1683, and was, consequently, in his forty-fourth year when he ascended the throne. In 1705 he married the Princess Caroline Wilhelmina of Anspach, who was born in the year before himself, by whom he had now four children—Frederick Prince of Wales, born in 1707, William Duke of Cumberland, born in 1721, and two daughters. On the 13th of February the Opposition in the Commons brought on the question of the validity of general warrants. The debate continued all that day and the next night till seven o'clock in the morning. The motion was thrown out; but Sir William Meredith immediately made another, that a general warrant for apprehending the authors, printers, and publishers of a seditious libel is not warranted by law. The combat was renewed, and Pitt made a tremendous speech, declaring that if the House resisted Sir William Meredith's motion, they would be the disgrace of the present age, and the reproach of posterity. He upbraided Ministers with taking mean and petty vengeance on those who did not agree with them, by dismissing them from office. This charge Grenville had the effrontery to deny, though it was a notorious fact. As the debate approached its close, the Ministers called in every possible vote; "the sick, the lame were hurried into the House, so that," says Horace Walpole, "you would have thought they had sent a search warrant into every hospital for Members of Parliament." When the division came, which was only for the adjournment of Meredith's motion for a month, they only carried it by fourteen votes. In the City there was a confident anticipation of the defeat of Ministers, and materials had been got together for bonfires all over London, and for illuminating the Monument. Temple was said to have faggots ready for bonfires of his own. "No, you don't," answered Shorty. "I'm to be the non-commish of this crowd. A Lieutenant'll go along for style, but I'll run the thing."  "Si Klegg, be careful how you call me a liar," answered the Orderly. "I'll—" "Then there is nothing to be done?" Dward asked.  "I'll have a good grain growing there in five year—d?an't you go doubting it. The ground wants working, that's all. And as fur not wanting the farm no bigger, that wur f?ather's idea—Odiam's mine now." At last the gods, who are more open-handed than ungrateful people suppose, took pity on the rivals, and gave them something to fight about. The pretext was in itself trivial, but when the gunpowder is laid nothing bigger than a match is needed. This particular pretext was a barrow of roots which had been ordered from Kitchenhour by Reuben and sent by mistake to Grandturzel. Realf's shepherd, not seeing any cause for doubt, gave the roots as winter fodder to his ewes, and said nothing about them. When Reuben tramped over to Kitchenhour and asked furiously why his roots had never been sent, the mistake was discovered. He came home by Grandturzel, and found his precious roots, all thrown out on the fields, being nibbled by Realf's ewes.   "It is false!" he replied, "no human law have I violated, and to no man's capricious tyranny will I submit." HoME欧美国一级视频直播
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