#Stuart Bogie

[sonicziggy]

"Bedlam Blues" by Red Hot Org, Meshell Ndegeocello, Justin Hicks, Marshall Allen, Immanuel Wilkins, Stuart Bogie https://ift.tt/IkoEn3J

#IFTTT #Spotify #Red Hot Org #Meshell Ndegeocello #Justin Hicks #Marshall Allen #Immanuel Wilkins #Stuart Bogie

[thejoyofviolentmovement]

New Audio: Ghost Funk Orchestra Shares Bittersweet Fever Dream "Again"

New Audio: Ghost Funk Orchestra Shares Bittersweet Fever Dream "Again" @coleminerecords @PavementPR

Ghost Funk Orchestra founder, creative mastermind, composer, arranger, producer and multi-instrumentalist Seth Applebaum has always had a latent fascination with space and space travel. Midway through writing the arrangements, which would comprise the material of the band’s fifth album, On a Trip To The Moon, Applebaum became aware that Internet Archive had made the recordings of the Apollo to…

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#Ghost Funk Orchestra #Ghost Funk Orchestra A New Kind of Love #Ghost Funk Orchestra A Trip To The Moon #Ghost Funk Orchestra Again #Ghost Funk Orchestra To The Moon! #Megan Mancini #Mike Sarason #New Audio #New Single #psych jazz #psych soul #Romi Hanoch #Single Review #Single Review: Again #Single Review: Ghost Funk Orchestra Again #Stuart Bogie #women who kick ass

[krispyweiss]

Song Review(s): Joe Russo’s Almost Dead with Stuart Bogie - “Foolish Heart” -> “Slipknot!” -> “Casey Jones” (Live, Jan. 28, 2023)

Joe Russo’s Almost Dead sure can play.

Too bad about those vocals, though.

Having never seen the band live, Sound Bites’ JRAD experience is limited to the generous giveaways the band provides from its livestreams. But the blog has watched enough over the years to know that while he would likely get more out of a live gig, the Almost Dead men tend to lose him when the singing starts.

The Jan. 28 opening sequence of “Foolish Heart” -> “Slipknot!” -> “Casey Jones” was no exception. And it was a segue Sound Bites took a chance on owing to the instrumental track he saw on the setlist.

With sax man Stuart Bogie sitting in, the band lit into a funky jam that seemed to telegraph what would come. Yet this little intro was a little gem and, with 10 years now upon their collective heads, JRAD has the ensemble chops to move effortlessly into the song of the moment - in this case “Foolish Heart.”

And everything about this one is solid; except … the vocals. Damn shame, too, because the band adds grit to the Grateful Dead sound while keeping with its improvisational ethos.

So, when the outro slips seamlessly into the “’Knot!,” things perk up considerably. Not only are the mics cold, the band is hot, executing the complex changes fluidly and adding its own flavor to the spicy mix as the musicians create their own arrangement right on the spot. In fact, this “Slipknot!” is essentially a JRAD original with just a couple of nods to the title under which it’s played.

It led into another flawless transition to “Casey Jones.”

Too bad about those vocals though.

If the opportunity presents itself, Sound Bites will gladly buy a JRAD ticket and go to the show. In the meantime, he’ll continue to be picky about the videos he chooses to engage with as he’s heard enough to know he can’t get past the vocals when the concert hall is his castle.

Grade card: Joe Russo’s Almost Dead with Stuart Bogie - “Foolish Heart” -> “Slipknot!” (Live - 1/28/23) - B-/A-/C

1/29/23

#Youtube #joe russo’s almost dead #grateful dead #stuart bogie #ghost light #ween #foolish heart #slipknot! #casey jones

[zef-zef]

First 3 tracks of he upcoming album by Matana Roberts

Matana Roberts - Coin Coin Chapter Five: In The Garden​.​.​. (Constellation, 2023)

releases September 29, 2023

Matana Roberts (composer / horns / harmonicas / aux percussion / vocal / wordspeak) Mike Pride (drums / aux percussion / vocal) Matt Lavelle (alto clarinet / pocket trumpet / tin whistle / vocal) Stuart Bogie (bass clarinet / clarinet / tin whistle / vocal) Cory Smythe (piano / vocal / tin whistle) Mazz Swift (violin / vocal/ tin whistle) Darius Jones (alto sax / tin whistle / vocal) Ryan Sawyer (drums / aux percussion / vocal) Gitanjali Jain (text collage) Kyp Malone (synths) Jaimie Branch (Courage 1983-2022)

storytelling

#2020s #Matana Roberts #Jazz #Free Jazz #Free Imprivisation #improvised music #avant jazz #avant garde #avantgarde jazz #experimental #Folk #spoken word #storytelling #Coin Coin Chapter Five #Constellation #2023 #week 30-2023 #Bandcamp #Women in jazz

[dustedmagazine]

Matana Roberts — Coin Coin, Chapter Five: In the Garden (Constellation)

Photo by Anna Niedermeier

This is the fifth album of a projected 12 in Matana Roberts’s Coin Coin series, named after a slave, later activist, Marie Thérèse Coincoin. As with previous volumes, Coincoin’s biography intermingles with folk tales, slave stories and songs, and discussions of the rich, often tragic, history of African Americans. Another element of the Coin Coin series is the relationship between past and present. In this case, the overturning of Roe v. Wade in the present mirrors the story of an illegal and fatal abortion conducted on one of Roberts’s ancestors. In the notes, she says,"I wanted to talk about this issue, but in a way where she gets some sense of liberation.” Rather than being shamed, as so many women currently are in the wake of the SCOTUS decision, in the lyrics Robert’s relative is described as, “electric, alive, spirited, fire, and free.”

Roberts is a versatile artist, a saxophonist and composer who not only works in musical contexts but in theater, fine arts, and poetry. The spoken word portions of Coin, Coin Chapter Five are performed by Roberts and poet Gitnajali Jain. The balance of spoken word and music is well-conceived. The music itself is performed by a host of prominent musicians and produced by Kyp Malone (TV on the Radio). Roberts covers a number of instruments in addition to saxophone, Darius Jones plays alto saxophone, Matt Lavelle, clarinet and trumpet, Mazz Swift, violin, Stuart Bogie, clarinet and bass clarinet, and Mike Pride and Ryan Sawyer play drums and percussion. Pretty much all the performers play tin whistles and sing.

Free jazz is an important component of Robert’s music-making, and it is here in abundance on “Different Rings,” “Shake My Bones,”  and “Predestined Confessions.” The arrangements of these complex pieces are well wrought throughout. “A Caged Dance,” trades a gorgeous post-bop solo with dissonant interjections, providing a polystylistic framework. This is not unique to “A Caged Dance.” A number of pieces combine different idioms. Malone’s synthesizer and Pride and Sawyer’s rockist drumming move the piece outside the jazz tradition. The chorused vocals that sing rounds and the children’s folk song, “All the Pretty Horses,” create some of the most memorable music on the album.

The closing track, “Ain’t I … Your mystery is our history,” with its plethora of tin whistles and jangly percussion, recalls both avant-classical and African music. It is significant that Roberts returns to a bespoke instrumentation and non-Western sound world to send the piece home. Less than halfway through, the Coin Coin series is engaging and ever new. Seven more installments: one is eager to hear what is next.

Christian Carey

#matana roberts #coin coin chapter five #in the garden #constellation #christian carey #albumreview #dusted magazine #saxophone #jazz #sound collage #avant garde #experimental #Marie Thérèse Coincoin #african american history #Bandcamp

[voskhozhdeniye]

Coin Coin Chapter Five: In the garden… is the latest instalment in composer, improviser, saxophonist, bandleader and visual artist Matana Roberts’ visionary project exploring African-American history through ancestry, archive and place. Weaving together elements of jazz, avant-garde composition, folk and spoken word, Roberts tells the story of a woman in their ancestral line, who died following complications from an illegal abortion. At a time when reproductive rights are under attack, her story takes on new resonance. “I wanted to talk about this issue, but in a way where she gets some sense of liberation,” Roberts explains. By unpacking family stories and conducting extensive research in US public archives, Roberts has created a rounded portrait of a woman who is, as their lyrics put it, “electric, alive, spirited, fire and free.” Each part of Coin Coin explores radically different musical settings, from the free jazz and post-rock eruptions of Chapter One to the solo noise collage of Chapter Three. Featuring a new ensemble steeped in jazz, improvisation, new music and avant-rock, helping to expand the project’s existing sonic palette, Chapter Five is no exception. Roberts is joined by fellow alto saxophonist Darius Jones, violinist Mazz Swift (Silkroad Ensemble, D’Angelo), bass clarinettist Stuart Bogie (TV On The Radio, Antibalas), alto clarinettist Matt Lavelle (Eye Contact, Sumari), pianist Cory Smythe (Ingrid Laubrock, Anthony Braxton), vocalist/actor Gitanjali Jain and percussionists Ryan Sawyer (Thurston Moore, Nate Wooley) and Mike Pride (Pulverize The Sound, MDC). The late, great trumpeter jaimie branch, who was due to play on the album, receives a credit for “courage”. The album is produced by TV On The Radio’s Kyp Malone, who also contributes synths. As a composer, Roberts draws upon strategies associated with the post-war avant-garde, including John Cage and Fluxus member Benjamin Patterson’s conceptual approaches to scoring and performance. The immersive work of Maryanne Amacher, in which “sound and the body almost collaborate” is another key influence. “That is the foundation for me of the Coin Coin work,” they explain. “It’s not just the alto saxophone as an instrument placed in the jazz canon, it's the alto saxophone as an instrument that can be utilised to affect the body.” Listeners will be struck by Roberts’ ability to mould diverse sounds into a cohesive whole. The spoken word passages are accompanied by driving modal jazz on “how prophetic”, minimalist synth loops on “enthralled not by her curious blend” and cantering folk forms on “(a)way is not an option”. These are interspersed with instrumental pieces that range from avant-garde abstraction and squalling free jazz, to solo saxophone reflections and Mississippi fife and drums blues. There’s a further evocation of American roots music in the powerful group vocal arrangement of “but I never heard a sound so long”, adapted by Roberts from the plantation lullaby “All The Pretty Horses.” While this new chapter of Coin Coin focusses on a female-identified protagonist, others haven’t (Chapter Three being from the perspective of a male ancestor) and Roberts intends for future chapters to continue to cover the breadth of the gender spectrum, as well as their Native American heritage. “I'm proud that people say that the Coin Coin work speaks of a woman's story. But I want to make sure that it retains its inclusivity, because what we look like is not always what you see.” This reflects Roberts’ own experiences as a queer person of colour. For the remaining chapters of Coin Coin, Roberts will continue exploring identity and ancestry. “Expect it to keep heading towards a liberation of the human spirit.”  

#:)

[theyearlywalk]

Stuart Bogie – Morningside

[theam-cjsw]

The AM: December 11, 2023

After some initial cosmic digressions, it's a more guitar-forward episode of the AM, particularly in the last half, with dreamy tunes from Lush, the Haiduks, the Amazing, Ultimate Painting and more. Plus the story of a Christmas weed, and bright vibes for a dark winter day.

Listening links:

CJSW

Soundcloud

Spotify playlist

Hour One:

ekki hugsa Ólafur Arnalds • It's 2am and I'm Not Tired

Pulse at the Centre of Being - Mor Elian Remix Max Cooper • Unspoken Words Remixes III

Hungover and Late Richard Reed Parry, featuring Stuart Bogie, Andrew Barr • Eileen OST

Sundogs Mount Maxwell • Littlefolk

In the Soil Various Artists, featuring Hermeneia & Zaumne • Always + Forever

Space Pop Lars Deutsch • Boum Dans L'Espace

Nordlicht Kosmischer Läufer • Volume Five

Airwaves Kraftwerk • Radio-Activity

Dream Rain Stilz • Single

Pure Rich Aucoin • Synthetic: Season 2

Hour Two:

The Great Wave Tristan De Liége x Jambal • Enterprises of Great Pith and Moment

Penthouse in Pernambuco ATA Records • The Library Archive, Vol.3

Crescent Blade The Budos Band • Frontier's Edge

Fried Neck Bones And Some Home Fries Willie Bobo • Uno Dos Tres 1•2•3

For Free Rogér Fahker • East of Any Place

Never the Bride Raf Wilcot • Cinnabar Bouquet

Breathe Again Dada Plan • A Dada Plan Is Free

Who’s the Thief??? Dada Plan • A Dada Plan is Free

Only the Lonely Know How MOONRIIVR • Vol. 1

Dos Pasajeros Melenas • Ahora

I Can’t Speak La Luz • Weirdo Shrine

Shapes Bong Wish • Hazy Road

Things I Hold Knife Pleats • Hat Bark Beach

Cheerleader Coldfront (Guided By Voices Cover) Lab Coast • Cover to Cover

Hour Three

Stop Trying (jubilant reprise) siskiyou • Not Somewhere

Plain As Your Eyes Can See Various Artists, featuring Acetone • Light in the Attic & Friends

Ten Street Ultimate Painting • Ultimate Painting

Shelter Alice Phoebe Lou • Shelter

I Have the Moon Lush • Topolino

I’m Still Here The Haiduks • 1968

Waiting for You Sundays & Cybele • Gypsy House

Beau baptême Population II • Électrons libres du québec

Occhi Malvagi Futuropaco • Fortezza di Vetro, Vol. 1

Picture You The Amazing • Picture You

[muznew]

Beatport Top Best New Electronica 2023

- Artists: Beatport DATE CREATED: 2023-11-02 GENRES: Electronica, Organic House / Downtempo Tracklist : 1. Palestre - Raverino(Original Mix) 2. Gold Panda - Swimmer(Kaitlyn Aurelia Smith Remix) 3. Pauline Anna Strom - Alpine Flight(Original Mix) 4. James Murphy, Stuart Bogie - Morningside(Original Mix) 5. Sam Goku - Orchids(Altered by Call Super) 6. Martin HERRS - Paraiso 94(Original Mix) 7. Danny Daze, Nick Leon, Jonny from Space - Silver Box (feat. Nick Leon & Jonny From Space)(Original Mix) 8. DJ Chrysalis - Gather Thistles, Expect Prickles(Original Mix) 9. Tom Thiel - Emag Ballad(Original Mix) 10. RONA. - Aperleye(Original Mix) 11. Monodogue - Dripzzz(Original Mix) 12. Nathan Fake - Guiro(Original Mix) 13. Pheek - Sudden Waves(Original Mix) 14. ddwy - Naini's Call(Original Mix) 15. Lo Fi Jack - Excellent(Original Mix) 16. Anja Schneider, Joplyn - On My Mind(Original Mix) 17. Il Quadro di Troisi - Sfere di Qi(Atom™ Remix) 18. Forest Swords - Night Sculpture( Read the full article

[djmusicbest]

Beatport Top Best New Electronica 2023

- Artists: Beatport DATE CREATED: 2023-11-02 GENRES: Electronica, Organic House / Downtempo Tracklist : 1. Palestre - Raverino(Original Mix) 2. Gold Panda - Swimmer(Kaitlyn Aurelia Smith Remix) 3. Pauline Anna Strom - Alpine Flight(Original Mix) 4. James Murphy, Stuart Bogie - Morningside(Original Mix) 5. Sam Goku - Orchids(Altered by Call Super) 6. Martin HERRS - Paraiso 94(Original Mix) 7. Danny Daze, Nick Leon, Jonny from Space - Silver Box (feat. Nick Leon & Jonny From Space)(Original Mix) 8. DJ Chrysalis - Gather Thistles, Expect Prickles(Original Mix) 9. Tom Thiel - Emag Ballad(Original Mix) 10. RONA. - Aperleye(Original Mix) 11. Monodogue - Dripzzz(Original Mix) 12. Nathan Fake - Guiro(Original Mix) 13. Pheek - Sudden Waves(Original Mix) 14. ddwy - Naini's Call(Original Mix) 15. Lo Fi Jack - Excellent(Original Mix) 16. Anja Schneider, Joplyn - On My Mind(Original Mix) 17. Il Quadro di Troisi - Sfere di Qi(Atom™ Remix) 18. Forest Swords - Night Sculpture( Read the full article

[sonicziggy]

"Nessie" by Dutch Williams, Dave King, Aaron Burnett, Stuart Bogie https://ift.tt/zipb4we

#IFTTT #Spotify #Dutch Williams #Dave King #Aaron Burnett #Stuart Bogie

[luuurien]

Dawn Richard & Spencer Zahn - Pigments

(Ambient Pop, Chamber Jazz, Post-Minimalism)

Built on dreamy chamber jazz but colored with everything from ambient pop to post-minimalist electronica, Dawn Richard and Spencer Zahn's new collaborative album is transformative to the fullest extent. Pushing both artists into new territory, Pigments is a daring and enormous statement for them as individuals and as a team.

☆☆☆☆☆

Pigments sounds absolutely nothing like the music Dawn Richard nor Spencer Zahn have released in the past, yet it's such a clear and natural progression for them both. It's this flow of energy and ease of movement Pigments sinks itself into, Richard and Zahn melting into one another across 11 marvelous pieces that never settle down even as they build some of the most beautiful ambient jazz atmospheres in recent years, their respective musical histories blooming in electrifying new ways where it seems like both Richard’s futuristic R&B and Zahn’s pensive modern classical were heading towards the same destination all along. As a result, Pigments feels both deeply innovative and remarkably natural, the duo fully assured in their vision along with the seven other instrumentalists behind Richard and Zahn helping to make their world a reality, each slyly psychedelic arrangements and the duo’s willingness to step back and let the music guide itself keeps the album at a gradual pace while holding an iron grip on your heart the whole way through. Zahn’s arrangements are the backbone of Pigments and bring out his best work in years, still within the elegant classical realm of his previous releases but stretched out into dreamy electronica and chilly chamber jazz as his and Richard’s cleansing new age world comes to life. With his nine-piece orchestra comprised of clarinet/bass clarinetists Stuart Bogie and Doug Weiselman, guitarists Mike Haldeman and Kirk Schoenherr, cello/viola/violinist Malcom Parson, drummer Dave Scalia, flute/tenor saxophonist Jas Walton, vocalist Dawn Richard, and Zahn himself, Pigments largely eschews darker textures in favor of light and agile compositions that aren’t bogged down with the weight of heavy bass brass or electronics and can take flight whenever he needs them to: Sandstone starts off quiet and mysterious before Richard’s manipulated vocals cast a neon sheen atop Zahn’s electronics and soft woodwind accompaniment, but quickly expands into a soaring rapture of heavenly strings, brisk acoustic guitar and Zahn’s velvety vibraphone arpeggios; Vantablack creates a border of shuffling drums and thick bass clarinet for Richard’s voice to drift in and out of; the gentle bass drum pulse and minimal instrumentation in Umber help bring the album to a soft but utterly gorgeous finish. Richard’s voice isn’t the leading force it tends to be in her solo work - rather, it’s another instrument she and Zahn use to create Pigments’ rich hues, slathering it in reverb or autotune to give it just the right feel for Cerulean’s cavernous romance or Saffron’s glowing hopefulness, the album’s three-movement classical structure and otherworldly sound palette working to benefit Richard’s sumptuous vocals and Zahn’s wildest dreams as a composer. It’s a perfect combination, and not once does the magic fade. That three movement structure never seems to stop the album from smoothly transitioning from one piece to another, either, instead splitting the album up into three moods you can dig into for specific feelings - these songs aren’t named after colors for no reason, after all. The first movement, starting at opener Coral and closing out with Vantablack, offers up the album’s bolder and more ethereal tones, the former track setting the stage with clear woodwind tones and delicate strings that seamlessly move into Sandstone’s wintry chamber jazz, the spacious interlude Indigo after it a bold but quick delight before Vantablack’s patient vocals and dark, earthy tones bring the first movement to a marvelous finish. In contrast, the second movement is much warmer with a greater emphasis on electronics and ambiance: Cerulean is almost entirely guided by Zahn’s synth programming before swelling into a celestial explosion of improvised saxophone and searing strings - there’s even a guitar solo thrown in for good measure - and the five-minute Sienna forgoes Richard’s vocals entirely, the most fragile Pigments ever gets with its icy synth tones and ever so gentle instrumentation. That’s not even to mention Opal and Saffron, their inclusion of prominent acoustic guitar adding a pastoral touch to Zahn’s expansive dreamspace before a gentle groove and crossroads of saxophone and upright bass dance around one another. The final three tracks, then, strive for a luminosity and elegance in both their titling and sound, Crimson’s angelic lead vocals bolstered by rumbling bass and golden strings, as rich in hue as the color of its title but with the sharp edge of each syllable leaving your lips. Cobalt, though another interlude, is one of the album’s loveliest, the soft yet handsome blue of its color found in each new wave of clarinet and the glistening synths that sit behind them - a perfect way to lead into the album’s spotless finale, Umber. The only track with something close to a solid groove all the way  - though it’s little more than a constant kick drum about halfway in - Richard and Zahn cease the moment to embrace meditation rather than a huge, unforgettable finish. Richard’s backing vocals float about like a lingering memory; bass clarinet and synth wrap around one another to fill the lower side of the mix; Zahn’s ambient electronics keep the song heading further and further up into the clouds. It’d be easy to grow into something huge and inhuman, the profound energy of Cerulean dipped in molten lava, but Pigments isn’t that kind of album. It’s slow and willing to linger, and it’s all the better for it. Like many left-field jazz and electronic albums in recent years, Pigments succeeds not simply because of its transcendent sound and mystical energy, but also in spite of them, staying remarkably grounded and in touch with the human spirit even as Richard and Zahn approach levels of ambient bliss that could only ever materialize on an ice planet hiding a tropical forest under the surface, mercurial in sound yet entirely unified in its search for peace and stability. The combined wonders of their music as individuals merge into one story and one feeling, Pigments as much about their history as artists as it is the shared understanding of the world that drives their music, in constant pursuit of captivation and new energy wherever it may be hiding - it's a blessing these magnificent chamber jazz pieces were where the moment took them. Pigments manages to mesmerize through its sheer commitment to peerless songcraft and atmospheres that are both alien and tactile at once, a delicate world Richard and Zahn imbue with unspeakable beauty and eternal love in every moment.

This review is part of the ALL I MISSED: 2022, where I review all the albums I didn't get to from last year.

#dawn richard #spencer zahn #pigments #merge #ambient #ambient pop #art pop #chamber jazz #ecm style jazz #electronic #experimental #jazz #new age #post-minimalism #2022 #10/10 #album review #album reviews #new music #all i missed 2022 #2022 albums

[krispyweiss]

Quarter Notes: Blurbs & Briefs from Sound Bites

- In this edition: Morgan Wallen; Margo Price, Bob Weir and Ramblin’ Jack Elliott; Joe Russo; and the Outlaw Music Festival

MORGAN WALLEN CANCELED: Morgan Wallen’s April 23 concert in Mississippi was canceled at the last minute after the country singer and noted purveyor of the “N” word reportedly lost his voice. If there’s any justice in the world, he won’t find it any time soon.

MARGO PRICE WRITING WITH BOB WEIR AND RAMBLIN’ JACK ELLIOTT: Margo Price is writing a song with Bob Weir and Ramblin’ Jack Elliott, per an April 24 tweet from Price.

JOE RUSSO FORMS NEW BAND: Joe Russo will debut a new band, Selcouth Quartet, with concerts June 9 and 10 in New York State and New York City. The group, which also includes Stuart Bogie, Jon Shaw and Jonathan Goldberger, will release its debut album in the fall.

OUTLAW MUSIC FESTIVAL TO RIDE INTO FALL: Wille Nelson’s Outlaw Music Festival added a fall leg to its 2023 itinerary with Bobby Weir & Wolf Bros, the Avett Brothers, Tedeschi Trucks Band, Gov't Mule, the String Cheese Incident, Los Lobos and Elizabeth Cook among the guests to appear at various stops. The tour runs Sept. 8-Oct. 15; ticketing info here.

4/24/23

#quarter notes #morgan wallen #bob weir #grateful dead #margo price #ramblin’ jack elliott #joe russo #furthur #joe russo’s almost dead #selcouth quartet #willie nelson #bobby weir & wolf bros #los lobos #elizabeth cook #the avett brothers #tedeschi trucks band #gov’t mule #the string cheese incident #outlaw music festival

[musicpromoapp]

Dawn Richard and Spencer Zahn Announce New Album Pigments, Share New Songs

Dawn Richard and Spencer Zahn Announce New Album Pigments, Share New Songs

Dawn Richard and Spencer Zahn have announced a new collaborative album called Pigments, sharing the four songs of its first movement: “Coral,” “Sandstone,” “Indigo,” and “Vantablack.” The full-length is due out October 21 via Merge. Check out the video for “Vantablack”—Richard’s directorial debut—below. Pigments features contributions from Stuart Bogie (clarinet), Mike Haldeman (guitar, sampled…

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[burlveneer-music]

The Bogie Band featuring Joe Russo - The Prophets In The City - horn & percussion jams from Daptone regulars & friends (Royal Potato Family)

The Bogie Band featuring Joe Russo is a new collaboration between old friends. Stuart Bogie's fiery arrangements meet Russo's dynamic drumming with a ten-piece ensemble utilizing only wind and percussion instruments. Bogie and Russo are joined by a cadre of players whose resumes run through some of New York City’s most beloved bands, including Antibalas, The Dap-Kings, Red Barat, Budos Band, St. Vincent and David Byrne's American Utopia. The nine tracks constructed on their debut album, The Prophets In The City, are riotous and jubilant, pushing the boundaries of wind music. Stuart Bogie has worked with artists such as Arcade Fire, TV On The Radio and Iron & Wine, though he's best known for his time as member/conductor of Antibalas. He wrote the score for the Oscar nominated film, How to Survive a Plague. Russo's career has included performing and recording with Furthur, Gene Ween Band and Benevento/Russo Duo. He also leads his own group, the highly-regarded Joe Russo’s Almost Dead (JRAD).  Drums, Timpani, Mallet Percussion: Joe Russo Percussion: Mauro Refosco, Joe Russo, Korey Richey, Stuart Bogie, Jeff Citron additional commotion: Karyn Starr, Arthur Lee Johnson, Louis Thebeau Starr Johnson Sousaphone: John Altieri Trumpets: Jordan McLean, Michael Leonhart, Dave Guy, Billy Aukstik, Eric Biondo Trombones: Raymond Mason, Adam Dotson, Dave Smoota Smith Saxes: Cochemea Gastelum (Bari), Matt Bauder (Bari, Alto), Ian Hendrickson-Smith (Alto), Colin Stetson (Soprano), Stuart Bogie (Tenor, Bari) Flutes: Domenica Fossati, Stuart Bogie Choir/Claps: Korey Richey, Jeff Citron, Stuart Bogie, Domenica Fossati, Matt Bauder

#the bogie band #stuart bogie #brass #horns #percussion #drums #brooklyn #jazz #brass band #2022 #royal potato family #afrobeat #daptone

[nofatclips]

Finally Home by Richard Reed Parry from the album Quiet River of Dust Vol. 1 - Director, Cinematographer & Editor: Stephanie Weber Biron

#music #canadian music #richard reed parry #stuart bogie #stuart d. bogie #laurel sprengelmeyer #video #music video #stephanie weber biron #lat dance #brittney canda #lat montreal dance #LATMontreal.dance #secret city records #anti records #quiet river of dust