#gary mclaughlin

[sweetsavageflame]

Saturday’s Bride by Kate Walker, Harlequin Presents 2131, cover art Gary McLaughlin

[affiches-concerts]

Carlos Santana and Mahavishnu John McLaughlin in Ann Arbor, Michigan, August 31, 1973. Art : Gary Grimshaw.

[jazzdailyblog]

Larry Coryell: The Godfather of Fusion Jazz

Introduction: Larry Coryell, often referred to as the “Godfather of Fusion,” was a pioneering guitarist whose innovative blend of jazz, rock, and blues revolutionized the jazz world in the 1960s and 1970s. His virtuosic playing and fearless exploration of new musical territories helped define the fusion jazz genre and inspired generations of musicians. In this blog post, we will delve into the…

[krispyweiss]

Eric Clapton to Lead Jeff Beck Tribute in London

- Gigs to take place at Royal Albert Hall May 22-23

Eric Clapton is spearheading pair of London gigs in celebration of the late Jeff Beck.

Billed as Eric Clapton & Friends and slated for May 22-23 at Royal Albert Hall, the gigs will feature members of Beck’s band and “rock legend colleagues and friends” including Rod Stewart, Derek Trucks and Susan Tedeschi, Gary Clark Jr., Doyle Bramhall II, Billy Gibbons, John McLaughlin, Robert Randolph, Joss Stone and Johnny Depp.

“Most … are expected to take part in both concerts” and more performers will be added, per an announcement.

Beck, who replaced Clapton in the Yardbirds, died in January.

Ticketing info here.

3/10/23

[mitjalovse]

John McLaughlin continues to be an important face in the idiom of jazz fusion as we can guess from here. Well, this shouldn't suggest he rest on his laurels, because he keeps recording despite announcing his retirement every once in a while. However, his latest works don't show him slowing down. I mean, he even established another supporting band of his, the 4th Dimension, which basically finds him making a complex idiom even more complex, if that is possible. Sure, the results can sound generic , if you just glean them with your ears – the production is way too clean here at some points –, yet do not do this. Dare to pay attention to hear the incredible intricacies only jazz fusion can do. Yes, Mr. McLaughlin continues to challenge himself.

[mooseyspooky]

Moz Solo was already on it @lovely-lady-fox! FamousWhenDead posted the whole thing:

Johnny Marr: How could Meryl Streep agree to be in Mamma Mia?

The guitarist lets us into his cultural life, from his love of David Hockney to making his friends watch a Joan Didion documentary

My favourite piece of music For a long time now, it’s been My Goal’s Beyond by John McLaughlin. Like his work with the Mahavishnu Orchestra, it is in a genre entirely of its own. It’s unquantifiable and makes me feel a certain way, no matter what happens in the outside world.

The lyric I wish I’d written “You’re going to reap just what you sow”, from Perfect Day by Lou Reed.

The instrument I wish I’d learnt Piano. I can play it, but only in amateurish fashion. I should say though there are guitar players who play the piano nicely like Neil Young, Paul McCartney and David Bowie. They play it as a means to an end and do wonderful things with it. But I would like to be a few levels up from there.

The music that cheers me up Any good pop music, which by definition usually means contemporary. There are things from my past that of course make me feel good. But there’s something about hearing music that’s fresh, upbeat and represents the modern world — it makes you feel that everything is OK.

I’m having a fantasy dinner party, I’ll invite these artists and authors Gary Oldman, Muhammad Ali and certainly Marilyn Monroe.

And I’ll put on this music Spirit Power: The Best of Johnny Marr.

Overrated I don’t tend to like shitting on people, but Mamma Mia!, for God’s sake, or We Will Rock You or any of those sorts of musicals. How did it get to that? We’re supposed to go along with the idea that they’re good. What was Meryl Streep thinking she was doing starring in that film, and Julie Walters? What were they thinking? There are a lot of things culturally that we’ve just gone along with and they really must stop.

Underrated

Blindboy Boatclub, the artist and musician from Limerick, is best known as one half of the Irish comedy hip-hop group the Rubberbandits. He’s amazing, has such an interesting way of thinking and also hosts the brilliant series The Blindboy Podcast too. One of the best books I have ever read is his Topographia Hibernica. I can’t recommend him or it enough.

My favourite author

Aldous Huxley. People would assume I’m thinking about Brave New World orThe Doors of Perception, but I’m actually referring to his work after he moved to the United States in the second half of his life. His essays and lectures are even better than his earlier work. I rediscovered him in the Nineties and he is my actual hero. Everything you read of his is an education.

The book I’m reading

Autobiography of Red by Anne Carson. It’s a trip, moving around from style to style. The novel is loosely based on Greek mythology, but set in modern times. It’s relatable and super interesting. PJ Harvey introduced me to Carson, an intriguing cross between an essayist and a poet.

The book I couldn’t finish

The Perennial Philosophy by Aldous Huxley. Just couldn’t do it.

The book I’m ashamed I haven’t read Ulysses by James Joyce. It just sounds so hard going. I love the idea of it and feel genuinely bad that I haven’t read it, but I do also feel like I know so much about it already. I admire it enough, without feeling the need to put myself through the hassle of reading it.

My favourite film Sergio Leone’s film Once Upon a Time in America. When it was first released, I went to see it a few times and decided then it was the best thing I’d ever seen. I recently saw The End We Start From, starring Jodie Comer. It’s so good. Amazingly, I came away from it with this feeling of triumph of the human spirit. It says a lot about what it means to be human and what we fundamentally need, which is compassion, connection, love and understanding. And Comer is just so believable in the role.

The box set I’m hooked on I’m rewatching Nurse Jackie. There’s so much good stuff out there that whenever I occasionally revisit old, great stuff, you forget how much it stands up. I like anything Edie Falco is in. I also have just rewatched the documentary Joan Didion: The Center Will Not Hold. I’ve watched it at least three times and whenever someone comes to my place that hasn’t watched it, I watch it with them.

My favourite TV series It has to be Mad Men. One of my friends is eagle-eyed and noticed that when they put an album on a turntable, it has the correct label from the Sixties. That’s crazy.

The film I walked out on

There are loads, often stuff I take my kids to see and they don’t even notice I’d left. I didn’t enjoy Baby Driver — I didn’t like the music in that at all.

I wasted an evening watching Manchester City play in the Champions League final in 2021.

The last movie that made me cry These days I can cry at almost anything so I can’t remember.

The place I feel happiest Running around Brooklyn, over the Williamsburg Bridge. Or around Portland, Oregon. Whenever I’m at those places, I always run unless I’m injured. I’ve done a lot of things in my life, but nothing quite beats that.

My guiltiest cultural pleasure Cheese and onion pasty, chips and peas. Anybody who says that’s not a culture doesn’t know what they are talking about.

If I could own one painting it would be We Two Boys Together Clinging by David Hockney. Any of his work would be a dream to own. Even the iPad stuff is beautiful. I went to see David Hockney: Bigger and Closer at the Lightroom and it was great.

FamousWhenDead's post of the article

[diceriadelluntore]

Storia Di Musica #300 - Miles Davis, Live-Evil, 1971

Quando si ascoltò questo disco per la prima volta, i critici ebbero un profondo senso di smarrimento: Come bisogna definirlo? Cosa è? È jazz? È rock? È qualcosa di altro? In parte era lo scopo del suo creatore, in parte perfino a lui, genio incontrastato delle rivoluzioni musicali, qualcosa "sfuggì di mano", divenendo addirittura qualcosa di altro dalla sua idea primigenia. Questo è un disco che parte da un percorso iniziato qualche anno prima, quando Miles Davis e il suo storico secondo quintetto iniziano ad esplorare le possibilità che gli strumenti elettrici e le strutture della musica rock possono dare al jazz. I primi esperimenti con Miles In The Sky (1968), poi con quel capolavoro magnetico che è In A Silent Way (1969), il primo con la nuova formazione elettrica, la quale sviluppa a pieno quella rivoluzione che va sotto il nome di jazz fusion con il fragoroso, e irripetibile, carisma musicale rivoluzionario che fu Bitches Brew (1970, ma registrato qualche giorno dopo il Festival di Woodstock, nell'Agosto del 1969). Davis è sempre stato curioso e non ha mai avuto paura di guardarsi intorno dal punto di vista musicale, ne è testimone la sua discografia. E nell'idea che il jazz stesse morendo, era sua intenzione innestarlo di nuova vitalità contaminandolo con altri generi, non solo il rock, ma anche il funk, il soul, la musica sperimentale europea. A tutto ciò, per la prima volta nel jazz (e questa fu l'accusa più viva di eresia), il ruolo del produttore, del suo fido e sodale Teo Macero, è proprio quello di cercare tra le sessioni di prove le parti migliori, o come amava dire Davis "le più significative", e metterle insieme in un lavoro sorprendente e meticoloso di collage musicale, che in teoria elimina la componente espositiva solista del musicista jazz, ma che allo stesso tempo regala una nuova filosofia musicale ai brani, del tutto inaspettata. Decisivo fu, nel 1970, il compito che fu affidato a Davis di curare la colonna sonora del film documentario A Tribute To Jack Johnson, di Bill Cayton, sulla vita del pugile che nel 1908 divenne il primo pugile di colore e il primo texano a vincere il titolo del mondo di boxe dei pesi massimi, quando sconfisse il campione in carica Tommy Burns. Per questa ragione fu considerato una sorta di simbolo dell'orgoglio razziale della gente di colore all'inizio del ventesimo secolo, soprattutto poiché nel periodo erano ancora in vigore le leggi Jim Crow, leggi che di fatto perpetuarono la segregazione razziale in tutti i servizi pubblici, istituendo uno status definito di "separati ma uguali" per i neri americani e per gli appartenenti a gruppi razziali diversi dai bianchi, attive dal 1875 al 1965.

Il disco di oggi somma tutte queste istanze, in maniera unica e per certi versi selvaggia, divenendo di fatto una sorta di manifesto che Il Signore Delle Tenebre ostenta alla sua maniera, cioè nel modo più sfavillante possibile. Live-Evil esce nel Novembre del 1971, ma è frutto di storiche serate live al The Cellar Dome di Washington DC, dove la band di Davis si esibì per diverse serate nel Dicembre del 1970, e una parte di registrazioni in studio sotto lo sguardo attento di Teo Macero, presso gli studi della Columbia di New York. Con Davis, nelle esibizioni al Cellar Dome, che come prima pietra dello scandalo usa la tromba elettrica, infarcita di pedali di effetti e di wah wah (amore trasmessogli da Jimi Hendrix) c'erano Gary Bartz (sassofono), John McLaughlin (chitarra elettrica), Keith Jarrett (piano elettrico), Michael Henderson (basso elettrico), Jack DeJohnette (batteria) e Airto Moreira (percussioni) e in un brano solo, come voce narrante, l'attore Conrad Roberts. Nelle sessioni in studio di aggiungono altre leggende, tra cui Herbie Hancock e Chick Corea (con lui nei precedenti dischi citati), Billy Cobham, Joe Zawinul e il fenomenale musicista brasiliano Hermeto Pascoal, la cui musica e i cui brani saranno centrali in questo lavoro. Tutto il magma creativo di queste idee sfocia in un doppio disco dalla forza musicale devastante, tanto che oggi alcuni critici lo definiscono un heavy metal jazz, che parte dalle origini più profonde ma sfocia in una musica caotica e sfacciatamente meravigliosa, trascinante e indefinibile, che gioca tutto sulle dissonanze, sugli ossimori, sui palindromi simbolici e musicali. E manifestazione più chiara ne è la copertina, bellissima, di Mati Klarwein, artista francese autore di alcune delle più belle copertine musicali, tra cui quella di Bitches Brew: lasciato libero di creare da Davis, pensò alla copertina con la donna africana incinta, come simbolo di creazione "primordiale", ma fu lo stesso Davis, a pochi giorni dalla pubblicazione, una volta deciso il titolo, che gli chiese un nuovo disegno, che accostasse il "bene" al "male" attraverso una rana. Klarwein in quel momento aveva una copertina della rivista Time che raffigurava il presidente Hoover, che fu presa come spunto per la rana del male, che campeggiò sul retro della copertina, e che vi faccio vedere:

Musicalmente il disco si divide in brani autografi di Davis, che diventano lunghissime jam session di sperimentazione, di assoli di chitarra, sfoghi di batteria, con la sua tromba elettrica che giganteggia qua e la, che raccolgono quel senso di rivoluzione, anche giocata sulla sua storica abilità di comunicazione (Sivad e Selim, che sono il contrario di Davis e Miles, la seconda scritta per lui da Pascoal, languida e dolcissima), il medley Gemini/Double Image, scritta con Zawinul, e le lunghissime e potentissime What I Say, quasi una dichiarazione di intenti, Funky Tonk, rivoluzionaria e la chiusura con Inamorata And Narration by Conrad Roberts, che è quasi teatro sperimentale, e le altre composizioni di Pascoal, Little Church e Nem Um Talvez, musica che stupì tantissimo lo stesso Davis, che considerava Pascoal uno dei più grandi musicisti del mondo: il brasiliano, polistrumentista, arrangiatore, produttore, è una delle figure centrali della musica sudamericana, e essendo albino è da sempre soprannominato o bruxo, lo stregone. Tutti brani vennero "perfezionati" da Macero, e addirittura nelle ristampe recenti è possibile leggere nelle note del libretto l'esatta costruzione dei brani, ripresi dalle sessioni live e dalle registrazioni in studio. Di quelle leggendarie serate al The Cellar Dome, nel 2005 la Columbia pubblicò un inestimabile cofanetto, di 5 cd, The Cellar Door Sessions 1970 con le intere esibizioni del Dicembre 1970: le parti usate in Live-Evil sono nel quinto e sesto disco, nei precedenti ulteriori esplorazioni musicali da brividi, per una delle serie di concerti storicamente più importanti del jazz.

Il disco verrà considerato il capolavoro che è solo dopo anni, in un periodo, quello degli anni '70, dove Davis accettò apertamente di sfidare la critica con la sua musica. Da allora però, per quanto in parte ancora enigmatico e "difficile", è considerato l'ennesimo pilastro della leggenda Davis, in uno dei suoi capitoli musicali che ebbe più fortuna, poichè buona parte dei fenomenali musicisti che contribuirono a questo disco erano in procinto, o già alle prese, con esperienze musicali che partendo dalla lezione del Maestro, ne approfondiranno i contenuti, e ne esploreranno i limiti: sarà quest'ambito che legherà le altre scelte di Novembre e questo omaggio, che come i precedenti numeri miliari (1,50,100,150,200,250) è dedicato al formidabile uomo con la tromba.

[rhapsodynew]

Gary Moore on his favorite musicians.

Gary Moore is rightfully considered one of the best guitarists of all time. After leaving the band THIN LIZZY, he embarked on a solo career and contributed a lot to the revival of interest in the blues in Britain and around the world. In 2007, the guitarist spoke about the musicians who inspired him and influenced the formation of his style.

Hank Marvin (THE SHADOWS)

"When I started, that person was Hank Marvin. I was about ten years old, so it was in the early sixties, about 62-63 years old."

George Harrison (THE BEATLES)

"Then THE BEATLES came along, and, accordingly, George Harrison."

Eric Clapton (John Mayall)

"At that time, the turning point for me was the Eric Clapton album with John Mayall, in fact, as for many people of my generation. The Beano album by the BLUESBREAKERS. He completely shocked me. I borrowed a copy from a friend because I couldn't afford to buy a record back then. And I played it from morning to night, just learning all the solos."

Peter Green (At John Mayall's)

"After that, the album A Hard Road with Peter Green was released. It was another wonderful moment in my life."

Mick Taylor (At John Mayall's)

"Then Mick Taylor played on Crusade, and it was just great."

Jeff Beck (with THE YARDBIRDS)

"Then Jeff Beck appeared on the scene, with the YARDBIRDS."

Jimi Hendrix

"Jimi. The whole period of the sixties was a great time for guitar and for young guys playing guitars. Then there were all these incredible unique guitarists with a very strong personality, and each of them is great in their own way. I've collected the recordings of all these guys for myself. And somewhere along the way, you become them, if you're lucky. That's exactly what influenced me the most. But in the seventies, I slowly moved on to very different music."

"I listened to John McLaughlin, Bill Connors and Return to Forever by Chick Corea. And I liked a lot of it. I liked being in a zone where there was a lot of this fusion stuff. I really fell in love with Django Reinhardt then. And of course, all the bluesmen, BB King, Freddie King, Otis Rush, Albert Collins, Albert King, they are really very cool guys."

Freddie King - Have You Ever Loved A Woman

Otis Rush: I`Cant Quit You Baby

Albert King - Blues Power - 9/23/1970 - Fillmore East

Irish guitarist Gary Moore died on February 6, 2011 at a hotel in Estepona, Spain. According to experts, the musician had a heart attack due to an excessive dose of alcohol.

#Everything you need to know about Rock📌

[localariesenemy]

Rivals Series Playlist

Okay, so this will be the first ever post I’ll do on this app and I’m not sure whether to laugh or cry about it being about a Yuri on Ice fanfic from years ago that haven’t left me since the first time I read it.

This is a list of songs you can listen to here that I thought fit Yuuri and Viktor’s feels in the Rivals series by @kazliin, which you can find here:

Until My Feet Bleed and My Heart Aches

Of Bright Stars and Burning Hearts

Rivals- Past, Present and Future

I’m not kidding when I say it’s absolutely life changing (I reread it every year so safe to say it’s my absolute favorite). I would like to list down every single lyric and the intricacies of how I arranged the songs in order but the sane part of my brain is refraining me from doing so. Let’s just say that I followed the progression of both POVs and matched that up with the lyrics of the songs.

It’s almost 4 hours of pure feels so buckle up, here we go.

1. You’re Still a Mystery- Bleachers

2. State of Grace- Taylor Swift

3. Into My Arms- COIN

4. See Through- The Band CAMINO

5. Untouchable- Taylor Swift

6. O Mio Babbino Caro- Giacomo Pucini

7. You Are In Love- Taylor Swift

8. gold rush- Taylor Swift

9. Belle- The Shock Band

10. I Can See You- Taylor Swift

11. Crashing- ILLENIUM, Bahari

12. Movement- Hozier

13. Sun and Moon- Claude-Michel Schönberg, Lea Salonga, Simon Bowman

14. On My Own- Lea Salonga

15. Say Don’t Go- Taylor Swift

16. Let The Light In- Lana Del Rey, Father John Misty

17. K.- Cigarettes After Sex

18. Say My Name Cover- Hozier

19. illicit affairs- Taylor Swift

20. Foolish One- Taylor Swift

21. Never Change- COIN

22. Felt This Way- Carly Rar Jepsen

23. So Close- Jon McLaughlin

24. Magkasuyo Buong Gabi- Agsunta

25. Dark Eyes- The Broln Czech Radio Orchestra

26. Wake Me- Bleachers

27. First Light- Hozier

28. First Time- Hozier

29. Break My Fall- Doc Robinson

30. Pretty Boy- The Neighbourhood

31. TALK ME DOWN- Troye Sivan

32. Fucked My Way Up To The Top- Lana Del Rey

33. The Louvre- Lorde

34. august- Taylor Swift

35. The Other- Lauv

36. Somewhere Only We Know- Keane

37. Fire Meet Gasoline- Sia

38. Don’t Let Me Go- Cigarettes After Sex

39. Francis Forever- Mitski

40. Like a River Runs- Bleachers

41. You Are In Love- Taylor Swift

42. Daylight- Taylor Swift

43. One And Only- Adele

44. Water Under the Bridge- Adele

45. The Last Time- Taylor Swift, Gary Lightbody

46. Bravado- Lorde

47. The Archer- Taylor Swift

48. Falling Slowly- Glen Hansard, Markéta Irglová

49. The Night We Met- Lord Huron

50. Yuri on ICE- Taro Umebayashi

51. Long Live- Taylor Swift

52. Holy Ground- Taylor Swift

53. I Love You Always Forever- Donne Lewis

Forgive me for the abundance of Taylor Swift, she clearly read the Rivals series and made those songs for them specifically.

I tried my best to incorporate both POVs but I think it leaned too Viktor-centric. However, my fav Yuuri song on here is Bravado, it captured his anxiety during the Scandal so well and I resonate with that. It was hard to pick for Viktor but One And Only really stood out to me, it reads like his plea to Yuuri. BUT if I had to choose one song to explain their dynamic it’s Untouchable, applicable for both Yuuri and Viktor and just as heartbreaking.

[vminews]

Joint Commissioning

May 15, 2023—Cadets commissioned into the U.S. Armed Forces in a joint ceremony held in Cameron Hall this morning. Cadets joined the Army, Navy, Marine Corps, Air Force, Space Force, and Coast Guard. The commissioning officers were Gen. Gary Brito, U.S. Army; Maj. Gen. William Bowers ’90, U.S. Marine Corps; Rear Adm. Brendan McLane, U.S. Navy; Lt. Gen. Philip A. Garrant, U.S. Space Force; and Adm. Steven D. Poulin, U.S. Coast Guard.—VMI Photos by H. Lockwood McLaughlin, Kelly Nye, Andrew Partridge ’24, and Marianne Hause.

[onetwofeb]

Miles Davis - Live - Evil (1971)

Live-Evil was released on this day in 1971. Half of the tracks are composites created from live recordings at Washington, D.C.’s Cellar Door club, with a slimmed-down ensemble, and the other half are studio-born and sutured together.

Artwork – Abdul Mati Bass – Dave Holland (tracks: A2, A3), Michael Henderson (tracks: A1, B1, C2, D), Ron Carter (tracks: B2, C1) Drums – Billy Cobham (tracks: A3), Jack DeJohnette Electric Piano, Whistling – Hermeto Pascoal (tracks: A2) Guitar – John McLaughlin (tracks: A1 to B1, C2, D) Keyboards – Chick Corea (tracks: A2, A3, B2, C1), Herbie Hancock (tracks: A2, B2, C1), Joe Zawinul (tracks: A3), Keith Jarrett (tracks: A2, B2, C1) Percussion – Airto Moreira Piano – Keith Jarrett (tracks: A1, B1, C2, D) Saxophone – Gary Bartz (tracks: A1, B1, C2, D), Steve Grossman (tracks: A2, B2, C1), Wayne Shorter (tracks: A3) Sitar – Khalil Balakrishna (tracks: A3) Trumpet – Miles Davis Vocals – Hermeto Pascoal (tracks: B2, C1)

[cinematicct]

Seabiscuit (2003)

🏇

Based on the best-selling novel by Laura Hillenbrand, this sports drama tells the true story about the legacy of a Thoroughbred racehorse named Seabiscuit.

The cast includes: Tobey Maguire as jockey John “Red” Pollard, Jeff Bridges as millionaire/businessman Charles S. Howard, Chris Cooper as cowboy/trainer Tom Smith, Elizabeth Banks as Charles’ second wife Marcela Zabala-Howard, real-life jockey Gary Stevens as George Woolf and William H. Macy as sports commentator “Tick Tock” McLaughlin.

Tobey Maguire has the charisma to play a young man whose spirit is rebuilt as he rides Seabiscuit with enthusiasm. Jeff Bridges is the embodiment of success, even though his character had to start over from scratch. Chris Cooper is depicted as hard-working, inspiring and persistent as his character is willing to prove that anything is possible.

The story takes place in the Great Depression era. Seabiscuit was undersized (standing at 15 hands in height), lazy and unruly. His long shot status was relatable to the struggle of many during the economic fall. But under ownership of Charles Howard and innovative training by Tom Smith, Seabiscuit quickly became a widely popular media sensation.

Both rider and horse had a special connection with one another since they were impaired in different ways. Pollard was partially blind from amateur boxing while Seabiscuit had a limp in his walk despite being able to gallop at great speed. But in spite of their respective disabilities, they were able to give it their all.

Seabiscuit was considered a symbol of hope for a lot of people during a time when everyone longed for a new future. In a way, the racing legend himself brought Pollard, Howard and Smith together and inspired each other to reach the unreachable. Even when Pollard fractured his leg at one point and had a substitute jockey fill in during a match race (against Triple Crown-winning racehorse War Admiral), Seabiscuit still proved himself capable of earning his championship title.

From humble beginnings, the racing career of Seabiscuit marked the transition of a seemingly impossible dream to a life of opportunity. What’s more, his winning streak drew so much attention, he made history as America’s top moneymaker.

Finally, Seabiscuit’s journey from underdog to champion against all odds restored joy and optimism when times were tough for everyone. I strongly recommend this nostalgic, triumphant film to every admirer of horse racing.

[parkerbombshell]

Rules Free Radio Jan 9 2023

Tuesdays 2pm - 5pm  EST Rules Free Radio With Steve  Caplan bombshellradio.com On the next Rules Free Radio with I’m Steve Caplan we’ll be mixing up old and new including some brand new and even a few tracks from albums that have yet to be released including a new one by Liam Gallagher from Oasis with John Squire from The Stone Roses, one of what will be monthly releases leading to a new album this September by Rob Moss, plus new and recent releases by The Incurables, Boston’s Fireking, Jim Basnight, The Weeklings, Gumshoes, and others. We'll hear a lot of classics including The Beach Boys, Blondie, Power Of Blue, Mark Lanegan, Jefferson Airplane, Neil Diamond, Nico, Radiohead, Jimi Hendrix, Robin Trower, The Dears, Rainy Day, and a bunch more. In the last hour, we’ll pay tribute to a couple of very different Jazz musicians we recently lost. Les McCann was a pianist, composer, and arranger perhaps best known for the song Compared to What. English drummer Tony Oxley played with such greats as Paul Bley, John McLaughlin, and Gary Peacock. The Weeklings - Like We Used To Do The Incurables - I Told Myself (Absolutely Nothing) Blondie - One Way or Another Rob Moss and Skin-Tight Skin - The World (Is a Playground) Lillix - What I Like About You Astrid - Cherry Cherry Neil Diamond - You Got To Me Las Antorchas - Shake Powers of Blue - Cool Jerk Fireking - Today The Mad Starlings - Little Green Men Jefferson Airplane - The Ballad of You and Me and Pooneil Oasis - Morning Glory Peter Bilt Group - Do It Up Gumshoes - Cacophony The Postmarks - Watercolors Mark Lanegan - Wild Flowers The Beach Boys -  Don't Worry Baby Rainy Day - I'll Keep It With Mine Jim Basnight - Stay To The End Nico - Somewhere There's A Feather Boy Scouts - Model Homes Art Moore - Rewind Christine Sako - Warmth The Dears - Warm and Sunny Days Radiohead - Paranoid Android Liam Gallagher feat John Squire -  Just Another Rainbow The Stone Roses - Waterfall Jimi Hendrix Experience - Love or Confusion Robin Trower - Little Bit of Sympathy Richard “Groove” Holmes & Les McCann - Black Groove Teddy Edwards & Les McCann Ltd. - Our Love Is Here to Stay Les McCann - Yours Is My Heart Alone Lou Rawls & Les Mccann - In The Evening (When The Sun Goes Down) Les McCann and Eddie Harris - Compared to What Paul Bley - Speak Easy Cecil Taylor - Chimes John McLaughlin - Arjen's Bag/Pete the Poet Gordon Beck - Orbit (Unless It’s You) Read the full article

[mondoradiowmse]

10/11/23 Mondo Radio Playlist

Here's the playlist for this week's edition of Mondo Radio, which you can download or stream here. This episode: "There Comes a Time …", featuring classic jazz fusion and more. If you dig it, don't forget to also follow the show on Facebook and Twitter!

Artist - Song - Album

John McLaughlin - Marbles - The Essential John McLaughlin

John McLaughlin - Peace One - The Essential John McLaughlin

Miles Davis - Shhh/Peaceful - In A Silent Way

Miles Davis Quintet - Riot - The Best Of Miles Davis Quintet 1965-'68

Tony Williams - Emergency - Ultimate Tony Williams

The Tony Williams Lifetime - There Comes A Time - Ego

Animal Time - His Life As A Penguin - Jacked Up? No More

Chick Corea - Where Are You Now - Works

Chick Corea & Gary Burton - Children's Song - Works

Mahavishnu Orchestra - Dream (Live) - Between Nothingness & Eternity

Weather Report - Umbrellas - Weather Report

Pat Metheny - Unquity Road - Bright Size Life

Weather Report - Teen Town - Heavy Weather

Return To Forever - Theme To The Mothership - The Anthology

Return To Forever - Sofistifunk - The Anthology

Herbie Hancock - Chameleon - Head Hunters

Herbie Hancock - Watermelon Man - Head Hunters

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Crypto may see second wind in the US as courts 'rein in the SEC' — Lawyer

There are hopes that the United States could see a new crypto resurgence after several rulings this year have seen court judges “rein in the SEC,” according to a digital asset lawyer from K&L Gates. On Aug. 31, Jeremy McLaughlin, a partner at the global law firm, noted that multiple U.S. court cases have stomped on arguments from Securities and Exchange Commission chair Gary Gensler — who has…

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There are hopes that the United States could see a new crypto resurgence after several rulings this year have seen court judges “rein in the SEC,” according to a digital asset lawyer from K&L Gates.On Aug. 31, Jeremy McLaughlin, a partner at the global law firm, noted that multiple U.S. court cases have stomped on arguments from Securities and Exchange Commission chair Gary Gensler — who has said that almost all digital assets are securities.McLaughlin was speaking on a panel at Intersekt23 in Melbourne alongside payment services firm Novatti chief Effie Dimitropoulos and Invest Hong Kong fintech head King Leung.He said early crypto regulation happened at the state level and was “pretty clear what you needed to do” but after the SEC and the Commodity Futures Trading Commission got involved “a lot of the market started to close up.”“People delisted tokens, some companies pulled out of the U.S. because they saw how aggressive the SEC was being, and continues to be,” McLaughlin said.“Now that the courts are starting to rein in the SEC a bit, I think there's some hope that the industry is kind of igniting again in the U.S.”In recent months the SEC has been handed a loss in a suit it brought against a crypto firm and also lost a suit a crypto firm brought against it.On Aug. 29 a U.S. District Court judge ruled against the SEC over Grayscale Investments being denied its application to convert its flagship Bitcoin (BTC) fund into an exchange-traded fund. Dimitropoulos (center-left), McLaughlin (center-right) and Leung (right) speaking on a panel regarding crypto regulation. Source: Tom Mitchelhill/CointelegraphIn July, the SEC also took a partial loss in its case against Ripple Labs over XRP (XRP) sales when a judge ruled it wasn’t a security when sold to retail traders.“To be a lawyer in the space, it’s quite difficult to advise clients,” McLaughlin remarked. He added he it was also frustrating that he couldn’t give clients clear answers.He does see hope, however, that crypto regulations are emerging from the “pit of chaos.”“Finally, there are cases that are being filed and the decisions have been going strongly in the favor of the digital asset industry,” McLaughlin added.Aussies ‘lagging’ while others gainIn another part of the discussion, the panelists were asked about their thoughts on the state of Australia’s crypto legislation, compared to others. Novatti’s Dimitropoulos had one word: “Lagging.”Dimitropoulos pointed to new regulatory frameworks in Hong Kong and the European Union as proof Australia’s crypto regulations were falling behind.“It's very clear to say that Australia is lagging. What that means [...] Is how that affects on-the-ground businesses that are operating with digital assets.”She highlighted the overhead needed for local crypto firms to get legal advice “that could be defunct in three minutes' time.”“We hear the Treasurer is going to come out with regulation, [the Australian Securities and Investments Commisson] is going to do something, Senator Bragg's bill in play,” she said.“There are so many pieces that are still in play with no clear resolution as to when it's going to happen. So that supports my word: ‘Lagging.’” Source