Tag Archives: Braitwaite and Katz

World Poetry Celebrates the Talented Musician Peter Nelson!

Ariadne’s Notes. On November 15, CFRO 100.5 FM,  The World Poetry Café welcomed  the amazing Peter Nelson who called in at 1:30 PM PST to talk about his own journey of healing from a debilitating illness and his new CD Ash, Dust and the Chalkboard Cinema which  beautifully illustrates healing through his music and brings a message of balance , listening to the body and spirit. This interview meant a lot to me since I had gone through a difficult recovery from polio for many years which gave me ongoing challenges. Peter’s story has given me ongoing hope for recovery. Peter comes to us courtesy of Braitwaite and Katz. World Poetry Contributors: Alaha Ahar from Afghanistan and the US with tips and a poem by regular contributor Jeanne Probst. The team: Ariadne Sawyer, MA, Host and producer, Victor Schwartzman super tech and special volunteer Sharon Rowe completed the team.

LISTEN TO THIS GREAT SHOW RIGHT NOW!

 

 

 

 

 

Peter Nelson
Born in Lansing, Michigan, Peter Nelson discovered the trombone at age 10. Earning a bachelors degree in Jazz Studies at Michigan State University allowed him to study and perform with some of today’s top jazz artists, including Rodney Whitaker, Etienne Charles, Diego Rivera, Michael Dease and Vincent Chandler. After spending a year after college producing and recording his second album as a leader, Nelson moved to Brooklyn, NY where he currently performs, composes, and teaches in a number of settings. Nelson has been a finalist in every major North American jazz trombone competition and in 2012 was awarded the prestigious Sudler prize in the Arts. He leads multiple groups and is also a sought after section player, having performed with jazz orchestras backing the likes of John Hendricks, McCoy Tyner, Benny Golson, Jamie Cullum and Terence Blanchard. As a composer, Nelson has amassed a body of work that includes everything from jazz ensemble to contemporary pop. His versatility as a performer has led to a wide variety of performances and recordings with artists such as Christian McBride, Verve Pipe, Orrin Evans’ Captain Black Big Band, Jamie Cullum, The Hudson Horns, Marianne Solivan, the Dan Pugach Nonet, Matt Wilson, Grupo Ayé, The George Gee Swing Orchestra, Fleur Seule, Valerie Ponomarev, Michael Dease Big Band, and a score of others.
Peter Nelson

“This is an exciting and unusual contemporary jazz album, one with many layers of meaning, and definitely one you should discover.” –Marc Phillips, The Vinyl Anachronist.

Through vivid compositions and enthralling playing the album retraces Nelson’s five-year struggle with a debilitating condition that threatened to end his career as a musician just as it was entering its ascendancy.

Nelson enlisted three different ensembles to tell this story: an ethereal trio featuring vibraphonist Nikara Warren and the wordless vocals of Alexa Barchini; a hard-swinging quartet with pianist Willerm Delisfort, bassist Raviv Markovitz, and drummer Itay Morchi; and a brilliant septet supplementing the quartet with alto saxophonist Hailey Niswanger, trumpeter Josh Lawrence, and bass clarinetist Yuma Uesaka.

Trombonist/Composer Peter Nelson Triumphs Over His Five-Year Struggle with Mysterious Chronic Pain on Stunning New Album Ash, Dust, and the Chalkboard Cinema, out August 31 on Outside In Music, features three ensembles taking listeners on a narrative journey through suffering, discovery and healing.

A native of Lansing, Michigan, Nelson earned his degree in Jazz Studies at Michigan State University, where he studied with heavy hitters like bassist Rodney Whitaker. After recording two albums in his home state he decided to move to Brooklyn in 2013, and soon found himself performing with longtime heroes like pianist/bandleader Orrin Evans and drummer Matt Wilson. Almost simultaneously, however, he started to develop strange symptoms while playing.
At first the issues were minor: small, localized pain and subtle feelings of anxiety. Before long, the symptoms escalated to include chronic hyperventilation, severe shortness of breath, and excruciating pain in the face down his back and arms. “Here I was playing with a lot of my heroes, in musical settings that I’d dreamed about and I spent a lot of time trying to cultivate,” Nelson recalls. “And it became very difficult to be on the bandstand while at the same time fighting my horn and fighting my body. It felt like a physically violent way of losing my medium for relating to the world, and was emotionally and spiritually crippling.”
Nelson sought the help of innumerable doctors, physiologists and educators, failing to find satisfactory answers from any source. After more than a year and a half of intense pain and frustrating questions, Nelson found his way to physiologist and trombonist Jan Kagarice, one of the world’s leading authorities on musicians’ health. Kagarice diagnosed him with focal dystonia, chronic hyperventilation and Chvostek sign, and in a single lesson reversed 60% of his pain, immediately allowing him to play again.
His symptoms, it turned out, were the result not of some curious illness but of bad pedagogy – bad habits inherited from teachers working from a misunderstanding of the human body and the physical process of making music. “The stereotype is that brass players have chops problems and difficulty with endurance,” he explains. “But the entirety of brass pedagogy is not only physiologically destructive but physics-wise has very little to do with how sound is actually made.”
Five years after the onset of his symptoms, Nelson is fully recovered and playing as beautifully as ever, pain-free. Writing the ten compositions on this album meant excavating a number of difficult feelings, but the trombonist was intent on engaging fully and honestly with the full spectrum of his ordeal. He brings his experiences vividly to life with the help of his gifted collaborators, each of whom have played an important part in his life in one context or another, from the bandstand to the classroom.
Nelson is hesitant to reveal the meaning behind his somewhat cryptic album title, but a few themes emerge: Ash and Dust make obvious references to things crumbling away and left behind, referring perhaps to the composer’s symptoms or incorrect approaches. The Chalkboard Cinema, meanwhile, suggests the somewhat illusory nature of education, jazz education in particular – lessons taught as gospel but more akin to the flickering images of the silver screen.
Ash, Dust, and the Chalkboard Cinema traces each step along Nelson’s road to recovery, from the creeping onset in “It Starts Slowly (First in Your Heart)” to the confounding spiral of “Cyclical Maze (Round and Round We Go)” through the zen-like mantra “Do Nothing (If Less Is More),” a tribute to Kagarice and her life-altering teachings. “Behind Kind Eyes (Thank You)” is a meditation on the loss of a loved one, a nod to the tragedies that can occur around us while we’re struggling through our own, while “Closure is a Wasted Prayer (Release, Relax)” ends with the ambiguous acknowledgment that expecting any chapter of life to neatly draw to a conclusion.

With the evocatively titled Ash, Dust, and the Chalkboard Cinema, trombonist/composer Peter Nelson retraces his five-year struggle with a debilitating condition that threatened to end his career as a musician just as it was entering its ascendancy. The album’s vivid compositions and enthralling playing draw the listener in to experience the grueling emotional journey that Nelson undertook, from the onset of mysterious symptoms through the isolating battle with physical and mental pain through the rigor of healing and the joy and revelation of recovery.clusion is a fool’s errand.

“We always want closure,” Nelson says, “but it’s an almost laughable concept. I’m always going to be dealing with dystonia, but it’s not something that controls my life. The idea of putting a cap on this whole process does a disservice to the process of excavating these feelings and dealing with them. Everything that I learned about brass playing — and more importantly about myself and what music-making really means to me –those lessons are priceless and I wouldn’t change a thing.”

“Peter Nelson is an exciting and creative trombonist making waves on the NYC jazz scene. If his name is on it, you know you are getting something good! With the music world brimming with talent more than ever, Peter’s one to keep an eye on.” – Michael Dease, award-winning trombonist and educator

“Nelson has a sweet, stutter shuttled virtuosity on his valveless instrument of mystical musical astronomers, floating on deep rhythmic currents.” – Kitty Montgomery, Chamber Music America

Due out August 31 via Outside In Music, Ash, Dust, and the Chalkboard Cinema enlisted three different ensembles to tell its compelling story, all featuring Nelson on trombone: an ethereal trio featuring vibraphonist Nikara Warren and the wordless vocals of Alexa Barchini; a hard-swinging quartet with pianist Willerm Delisfort, bassist Raviv Markovitz, and drummer Itay Morchi; and a brilliant septet supplementing the quartet with alto saxophonist Hailey Niswanger, trumpeter Josh Lawrence, and bass clarinetist Yuma Uesaka.

© Greg Jones

 Source and Copyright © 2018 Braithwaite & Katz, All rights reserved.

 

World Poetry Celebrates Randall Stephen Hall from Ireland!

 

 

 

 

 

 

 

 

Ariadne’s Notes:  The World Poetry Café Radio Show,  November 15 at 1-130 PM PST, CFRO 100.5 FM   featured the talented and amazing Randall Stephen Hall  with music, poetry and stories! Due to a time difference, he was not able to call in but our radio audience greatly enjoyed his music and bio as we read from the fascinating Canada Link which is listed below. Also, we welcomed  the wonderful Peter Nelson with his new CD;Ash, Dust and the Chalkboard Cinema, He shared his unique story of healing and recovery and added suggestions. The music mirrors his story and is very healing.  Peter comes to us courtesy of Braitwaite and Katz.  World Poetry Contributors: Alaha Ahar from Afghanistan  and the US with tips and a poem by regular contributor Jeanne Probst. The team: Ariadne Sawyer, MA, Host and producer, Victor Schwartzman super tech and special Volunteer Sharon Rowe completed the team.

LISTEN TO THIS GREAT SHOW RIGHT NOW!

 

 

 

 

 

 

 

THE CANADIAN LINK.

“I travelled to Vancouver Island in 2000 and in 2001 I travelled to Sioux Valley Reserve
(near Brandon) which I found interesting too. Both trips were a kind of pilgrimage, back to Canada, where my great grandfather, William Frederick, had been born in 1864.”

LINK: “DANCING ON THE RED ROAD”.
https://www.youtube.com/watch?v=pmL8KaCuJmY

“His father, Richard, was born in Westmeath, in Ireland in 1828. He had joined the army in 1848, around the time of the Irish Famine. His own journey had taken him to Cape Colony, South Africa and India during the Indian Mutiny. He travelled to Canada in 1861 where his first 6 children were born.”

On my trip to Vancouver Island I went to look at the native art and to hopefully have contact with some native practitioners themselves. Along the way I visited Ladysmith, Duncan, Cowichan, Campbell River, Quadra Island, Port Alberni, Tofino, Port Hardy, Fort Rupert and Alert Bay along with Sontulla.

Up until that time I had barely done any storytelling workshops or had found my way back into making music. All that changed after my first trip to Canada. So you could say that my trip to Canada was expansive and very worthwhile.

EARLY LIFE.

I was born in Belfast in October 1957. I nearly didn’t survive my birth. I had to really struggle to get here. I was born into a political context I didn’t understand, in Northern Ireland and it has taken me most of my life to educate myself about Ireland in general.

LINK: “THE MECHANISM”. Monologue.
https://soundcloud.com/hugh-midden-speaks/the-mechanism-4-4-15

Because of the very divisions that still exist where I live today (wasn’t there a peace process?) I was raised a Presbyterian (Protestant) automatically branding me an outsider. While many people just accept that it made me very curious about labels and the cultural architecture that makes us seem different to each other.

LINK: “MY TWO HANDS”. (Including THE BOOK OF YERDAGH & MY DA TOO PART 1.)
https://www.youtube.com/watch?v=Y15zxlKwVaE

During my education, up until the age of 18, I had little or no contact with the opposite side of the Irish fence here, other than through some simple friendships, playing beyond the restrictive and divided barriers of location, education, church and social politics. Even then I was asking myself questions about these barriers.

LINK: “WALLS”. Poem.
https://soundcloud.com/hugh-midden-speaks/walls-19-11-14

My first serious girlfriend was a Catholic. That too, left a lasting mark upon me in a positive way.
1976-1980. Art College introduced me to many more Catholics but I thought then, as I still do, that our divided education systems kept us apart for far too long in our early lives. Sadly, things are much the same now and even though there has been a Peace Process there has not been a religious, educational or cultural process for the mind.

1980-1988. After Art College I worked in local adverting as a designer and studio artist, learning the basics. After six years I became a Freelance Illustrator still working in advertising, taking me beyond Belfast to Dublin and Glasgow in Scotland.

1988-1998. In 1996 I produced my first book called “THE GANT’S CAUSEWAY”, a local legend that tells the story of two local giants battling against each other. This led me towards storytelling in schools and beginning to understand how to tell a story to an audience of children or adults.

LINK: “THE GIANT’S CAUSEWAY”
https://www.youtube.com/watch?v=RnN5HQe1Fvk

This is part of an animated DVD published in 2005. It utilises English, Irish, Ulster Scots, Scots Gaelic and Scots. All languages associated with this region.

1998-2018. During this period I began to do more workshops in schools, taking me to many schools around Northern Ireland but up into Donegal as well.

Around 2007 I began to write songs in a more focused way, playing some live music.

A recent song called “SEAMUS AND JAMES”.
https://www.youtube.com/watch?v=fN1z03IwTLA

In 2010 I released my first CD called “SONGS FROM THE MOON SHED”

A collection of 21 songs and poems. This pushed me into playing with a live band called The Moon Shed. From 2010 to the present I have written many songs and poems, many of which can be accessed at my website www.randallstephenhall.com

In 2016 not there collection of 17 songs and poems was released called “RE-WIRED”. Followeec by a live sampler album called “Leaving the Box Room”.

Of course this isn’t the whole story, just some highlights and being an outsider has had some advantages. I’m blessed by the opportunity to be creative on a daily basis.

www.ruftyroohah.com

I’ll end with this poem called “THE GATE IN THE FIELD”
https://soundcloud.com/hugh-midden-speaks/the-gate-in-the-field-6-5-1

Further songs and poems can be found at

www.soundcloud.com/Randall Stephen Hall

www.youtube.com/Randall Stephen Hall

www.soundcloud.com/Hugh Midden Speaks

RANDALL STEPHEN HALL
www.randallstephenhall.com
www.ruftyroohah.com
You Tube, Sound Cloud and Facebook

World Poetry Celebrates the Talented Ayn Inserto!

 

 

 

 

 

 

 

Ariadne’s Notes: On October , 8 2018, an exciting guest called into the World Poetry Café Radio Show at 1:10 PM PST. Ayn Inserto shared with us her new CD Down A Rabbit Hole available from Summit Records; a musical adventure with songs that took us on a journey into an imaginary world of sounds. Hosts  Dr. Diego Bastinutti , Ariadne Sawyer , super tech Victor Schwartzman, special volunteer Sharon Rowe and regular correspondent Jeanne Probst completed the World Poetry Team. We would like to thank Braitwaite and Katz for sending this great composer and musician.

LISTEN TO THE RADIO SHOW HERE!!! 

 

 

 

 

 

 

 

Ayn Inserto is a groundbreaking composer who is emerging as one of the preeminent voices of her generation. She received her Masters of Music degree in Jazz Composition from the New England Conservatory in May 2001. She is a winner of the 2007 IAJE/ASCAP Emerging Composer Commission honoring Frank Foster, the 2003/04 and 2005/06 ASCAP Young Jazz Composers’ Awards and has received various honors which include the Concord Pavilion Associates Marian McPartland Award, the Pacific Coast Jazz Festival Most Outstanding small jazz ensemble, and the 1999 Best Original Composition award at the Billy Higgins Jazz Festival. She was picked by Bob Brookmeyer to study jazz composition as his protégé. Listen to her work at http://ayninserto.com/