Browse Titles - 31 results
Alexander O'Neal Live at the Hammersmith Apollo, London
produced by Jon Wells, fl. 1968; performed by Alexander O'Neal, 1953- (Paris, Ile-de-France: Qwest TV, 2006), 1 hour 24 mins
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a littl...
Sample
produced by Jon Wells, fl. 1968; performed by Alexander O'Neal, 1953- (Paris, Ile-de-France: Qwest TV, 2006), 1 hour 24 mins
Description
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a little crazy tonight," he says. Hard not to agree with his colleague: in front of the audience of the London theater, O'Neal is simply unhin...
“My guitarist wants to know if I took my medication today,” quips the 54-year-old singer between songs. Dressed in purple, R&B legend Alexander O'Neal stands on stage at the Hammersmith Apollo looking better than ever. Neither his enveloping voice nor his roguish looks seem to have aged. "He finds me a little crazy tonight," he says. Hard not to agree with his colleague: in front of the audience of the London theater, O'Neal is simply unhinged. With remarkable energy, he plays the titles that propelled him to the rank of darling of the 80s: he becomes a languid lover again with "If You Were Here Tonight," slips into the skin of the repentant Don Juan of "A Broken Heart Can Mend,” and dons his costume of a transitory lover with “What Is This Thing Called Love.” Tireless, the singer does not allow himself a break, not even between the titles, where he multiplies the strokes of humor and the glances at the public. This live show from 2007 recalls everything that makes the singer so charming. It's up to you to decide if you will fall for his velvety voice, his mischievous attitude, and his slightly roguish air. Léance Kalanzau
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Date Written / Recorded
2006-03-11
Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Alexander O'Neal, 1953-
Contributor
Jon Wells, fl. 1968
Author / Creator
Alexander O'Neal, 1953-
Date Published / Released
2006
Publisher
Qwest TV
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2006 Auditorium
×
America's Music Legacy, America's Music Legacy - Blues
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1982), 1 hour 54 mins
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also partic...
Sample
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1982), 1 hour 54 mins
Description
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also particularly interesting for its film archives of the big names who illustrated the different stages of history until their acceptance by the...
This excellent program of almost two hours is, for those who are not familiar with this musical genre, a perfect introduction to the mysteries of the blues, to its evolution from the acoustic rural blues of the Deep South to the electrified Chicago Blues which took off after the Second World War. It is also particularly interesting for its film archives of the big names who illustrated the different stages of history until their acceptance by the general public. For example, it opens with a fabulous goosebump-inducing appearance by Bessie Smith that lasts several minutes and also features footage of performances by Billie Holiday, Mamie Smith, and Jimmy Rushing seducing a young girl at her window with his singing. And to put everything in perspective, the master of ceremonies does not fail to mention the names of Louis Armstrong, WC Handy, Jelly Roll Morton, but also Sonny Terry & Brownie McGhee, Willie Dixon and Memphis Slim, Buddy Guy and Junior Wells in order to hammer home the notion that the blues "is the voice of Black America." And since it is impossible to say who is at the origin of the genre, he illustrates his point with Bukka White's formula: “the blues came from behind a mule's ass.” This black pride is portrayed by a theatrical staging of a club show. Among the artists, the successful performances of BB King, the harsh singing of Linda Hopkins, the classy Joe Williams and his feverish duet with Esther Phillips are the highlights. Gerald Wiggins’ musical direction and arrangements as well as the choruses of the excellent musicians of his orchestra are essential to the success of the project. Philippe Lesage
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Date Written / Recorded
1985
Field of Study
American Music
Content Type
Performance
Contributor
Herb Silvers, Sandra Turbow, Skylark Savoy
Author / Creator
Kip Walton, Isaac Kennedy
Date Published / Released
1982
Publisher
Qwest TV
Series
America's Music Legacy
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 1982 Auditorium
×
America's Music Legacy, America's Music Legacy - Soul
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1985), 1 hour 34 mins
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showma...
Sample
directed by Kip Walton; presented by Isaac Kennedy; produced by Herb Silvers and Sandra Turbow, Skylark Savoy, in America's Music Legacy (Paris, Ile-de-France: Qwest TV, 1985), 1 hour 34 mins
Description
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showmanship that it makes Otis Redding smile. After this dazzling musical moment, it is possible to pick up the thread of a beautiful program...
It might be surprising, but not it would not be perverse to invite the reader to first watch the archive where Otis Redding sings "I Can't Get No Satisfaction" surrounded by about thirty children, which is found at the end of the program In the group, there is a kid who has such an innate sense of dance and showmanship that it makes Otis Redding smile. After this dazzling musical moment, it is possible to pick up the thread of a beautiful program dedicated to Soul Music. Hybridization of gospel and rhythm & blues, brought to the end of the 1950’s by Ray Charles, in phase with the spirit of the struggle for civil rights of Martin Luther King, soul music marks the desire for emancipation of the African-American youth, and the bringing to the foreground of black pride and its culture. This music, which both identifies and challenges, is not exempt from contradictions; it oscillates between incisive incantatory singing with James Brown, and sexualized syrupy ballads, as if it had to comply with the demands of entertainment. To produce its own effect with an insane but not kitsch look becomes a scenic imperative: Rufus Thomas' cape, canary yellow suit, and blood red boots are a perfect illustration of this. One forgives this narcissistic childishness as the expressiveness of the voices always reaches an exceptional level; you just have to listen to Carla Thomas, Gladys Knight or the versions of "Spanish Harlem" by Ben E. King or "For Your Precious Love" by Jerry Butler, who was Curtis Mayfield's sidekick in the group The Impressions to be convinced. Philippe Lesage
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Field of Study
Jazz
Content Type
Performance
Contributor
Herb Silvers, Sandra Turbow, Skylark Savoy
Author / Creator
Kip Walton, Isaac Kennedy
Date Published / Released
1985
Publisher
Qwest TV
Series
America's Music Legacy
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 1985 Auditorium
×
Bilal
directed by Carine Zuber; produced by Moods Jazz Association; performed by Bilal, 1979-, Bilal, 1991-, Randy Runyon, Conley (Tone) Whitfield and Joseph Grissett (Paris, Ile-de-France: Qwest TV, 2019), 2 hours 2 mins
Though sometimes associated with the nu soul scene, Bilal is an artist that defies categorization. With ties to hip hop (Guru, Common ... ) and beatmaking, the singer has chosen the path of innovation more often than not, as demonstrated by In Another Life, his surprising 2015 album. Endowed with a proverbial open...
Sample
directed by Carine Zuber; produced by Moods Jazz Association; performed by Bilal, 1979-, Bilal, 1991-, Randy Runyon, Conley (Tone) Whitfield and Joseph Grissett (Paris, Ile-de-France: Qwest TV, 2019), 2 hours 2 mins
Description
Though sometimes associated with the nu soul scene, Bilal is an artist that defies categorization. With ties to hip hop (Guru, Common ... ) and beatmaking, the singer has chosen the path of innovation more often than not, as demonstrated by In Another Life, his surprising 2015 album. Endowed with a proverbial open mind (he notably covered Radiohead's "High And Dry"), Bilal starts his set on the Moods stage with the impeccable "Sirens II," a haunt...
Though sometimes associated with the nu soul scene, Bilal is an artist that defies categorization. With ties to hip hop (Guru, Common ... ) and beatmaking, the singer has chosen the path of innovation more often than not, as demonstrated by In Another Life, his surprising 2015 album. Endowed with a proverbial open mind (he notably covered Radiohead's "High And Dry"), Bilal starts his set on the Moods stage with the impeccable "Sirens II," a haunting theme that stands at the crossroads between rock and rhythm and blues. The next two hours are a testament to his tried and tested formula. With Randall Runyon on guitar, Tone Whitfield on bass and Joe Blaxx on drums, the band unites over an ambient repertoire. When listening to the jazzy sequences, and more particularly to "Naima," a John Coltrane track that Bilal gives a dazzling interpretation of, it becomes clear how the group acts as a conduit for different styles. Often electric, sometimes psychedelic, the set evokes the performer's beginnings with the legendary Soulquarians, as well as the work of close friend Adrian Younge, the boss of Linear Labs studio and author of the recent Jazz Is Dead sessions. Vincent Caffiaux
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Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Bilal, 1979-, Bilal, 1991-, Randy Runyon, Conley (Tone) Whitfield, Joseph Grissett
Contributor
Moods Jazz Association
Author / Creator
Carine Zuber, Bilal, 1979-, Bilal, 1991-, Randy Runyon, Conley (Tone) Whitfield, Joseph Grissett
Date Published / Released
2019
Publisher
Qwest TV
Topic / Theme
Soul, Funk, Blues, Hip-Hop
Copyright Message
Copyright © 2019 Auditorium
×
Billy Cobham - Live at the Palais Des Festivals Hall, Cannes 1989
performed by Billy Cobham, 1944-, Peter Wölpl, 1962-, Nippy Noya, 1946-, Rita Marcotulli, 1959-, Wayne Cobham and Wolfgang Schmid, 1948- (Paris, Ile-de-France: Qwest TV, 1989), 45 mins
Heard with Miles Davis via Bitches Brew and A Tribute To Jack Johnson, on equal footing with Jack DeJohnette, then alongside guitarist John McLaughlin in the very fusion Mahavishnu Orchestra, American drummer Billy Cobham is an inseparable figure of jazz from the 1970s. Captured at the Palais Des Festivals in Cann...
Sample
performed by Billy Cobham, 1944-, Peter Wölpl, 1962-, Nippy Noya, 1946-, Rita Marcotulli, 1959-, Wayne Cobham and Wolfgang Schmid, 1948- (Paris, Ile-de-France: Qwest TV, 1989), 45 mins
Description
Heard with Miles Davis via Bitches Brew and A Tribute To Jack Johnson, on equal footing with Jack DeJohnette, then alongside guitarist John McLaughlin in the very fusion Mahavishnu Orchestra, American drummer Billy Cobham is an inseparable figure of jazz from the 1970s. Captured at the Palais Des Festivals in Cannes in 1989, the drumming virtuoso gives us a clear demonstration of expertise with his very particular touch. Accompanied by a solid ba...
Heard with Miles Davis via Bitches Brew and A Tribute To Jack Johnson, on equal footing with Jack DeJohnette, then alongside guitarist John McLaughlin in the very fusion Mahavishnu Orchestra, American drummer Billy Cobham is an inseparable figure of jazz from the 1970s. Captured at the Palais Des Festivals in Cannes in 1989, the drumming virtuoso gives us a clear demonstration of expertise with his very particular touch. Accompanied by a solid band including his own brother Wayne Cobham on keyboards, Rita Marcotulli on piano, and Wolfgang Schmid on bass, the instrumentalist and composer builds various arrangements typical of jazz-rock. Often more groovy than some of his counterparts at the time (he later released a live album with George Duke), Billy Cobham assimilates notably the Latin elements – a cultural legacy transmitted by a family of Panamanian origin. Illustrated by short interviews with the main players and opening shots of the very photogenic Mediterranean coast, this forty-five-minute scenic document sets the record straight with the hectic "Incoming," an extract from the very recent eponymous opus, and with "Tinseltown," a bewitching sequence fueled by the interventions of Nippy Noya on percussion. Vincent Caffiaux
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Date Written / Recorded
1989
Field of Study
Jazz
Content Type
Performance
Performer / Ensemble
Billy Cobham, 1944-, Peter Wölpl, 1962-, Nippy Noya, 1946-, Rita Marcotulli, 1959-, Wayne Cobham, Wolfgang Schmid, 1948-
Author / Creator
Billy Cobham, 1944-, Peter Wölpl, 1962-, Nippy Noya, 1946-, Rita Marcotulli, 1959-, Wayne Cobham, Wolfgang Schmid, 1948-
Date Published / Released
1989
Publisher
Qwest TV
Topic / Theme
Jazz
Copyright Message
Copyright © 1989 Auditorium
×
Chick Corea - Elektric Band: Live At The Maintenance Shop
directed by Doug Brooker; produced by Doug Brooker, Interprom; performed by Chick Corea, 1941-, John Patitucci, 1959- and Dave Weckl, 1960-, Chick Corea Elektric Band (Paris, Ile-de-France: Qwest TV, 1987), 48 mins
When Chick Corea died in 2021, he left a magnificent legacy of an artist who innovated widely in the realm of jazz. He was certainly one of the modern-day jazz titans. He blazed onto the scene starring as a member of Miles Davis’ first forays into electric music, then forged out on his own to the then-unknown so...
Sample
directed by Doug Brooker; produced by Doug Brooker, Interprom; performed by Chick Corea, 1941-, John Patitucci, 1959- and Dave Weckl, 1960-, Chick Corea Elektric Band (Paris, Ile-de-France: Qwest TV, 1987), 48 mins
Description
When Chick Corea died in 2021, he left a magnificent legacy of an artist who innovated widely in the realm of jazz. He was certainly one of the modern-day jazz titans. He blazed onto the scene starring as a member of Miles Davis’ first forays into electric music, then forged out on his own to the then-unknown soundscape of fusion with his brilliant band Return to Forever. It became one of the many jazz saviors taking the music into the future....
When Chick Corea died in 2021, he left a magnificent legacy of an artist who innovated widely in the realm of jazz. He was certainly one of the modern-day jazz titans. He blazed onto the scene starring as a member of Miles Davis’ first forays into electric music, then forged out on his own to the then-unknown soundscape of fusion with his brilliant band Return to Forever. It became one of the many jazz saviors taking the music into the future. After RTF called it quits, Corea continued to explore—as a solo pianist as well as in a duo piano partnership with the likes of Herbie Hancock and Hiromi. But in the ‘80s, he pivoted again, forming two new bands to embrace his expression: his Akoustic Band and in 1986 his Elektric Band that he formed in New York City. Its first two recordings resulted in two Grammy nominations. In its early days as a jazz force, the Elektric Band set up shop at Iowa State University for a five-song set that showed the ecstatic crowd the expansive vision Corea had for his music. With original Elektric band members, drummer Dave Weckl and six-string electric bassist John Patitucci, Corea kept the fusion level high, with wall-of-sound jazz improvisations, deep grooves and at times, like on his rambunctious song “Rumble,” a rock flair. Plus, to balance the flow, Corea delivered gentle lyricism on his beautiful tune ”India Town.” For much of the show, Corea left his stack of electric keyboards and synthesizers to dance around the stage playing his synth-driven keytar (a keyboard with a guitar-like neck that he strapped on and wore to perpetual groove effect). The crowd loved it, so Corea treated them to a singalong on the end song, “Malaguena.” This video offers a vital view of the creative Corea mid-career thriving in beauty, power and joy. Dan Ouellette
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Date Written / Recorded
1985
Field of Study
Jazz
Content Type
Performance
Performer / Ensemble
Chick Corea Elektric Band, Chick Corea, 1941-, John Patitucci, 1959-, Dave Weckl, 1960-
Contributor
Doug Brooker, Interprom
Author / Creator
Doug Brooker, Chick Corea Elektric Band, Chick Corea, 1941-, John Patitucci, 1959-, Dave Weckl, 1960-
Date Published / Released
1987
Publisher
Qwest TV
Topic / Theme
Jazz
Copyright Message
Copyright © 1987 Auditorium
×
Chuck Berry - Rock & Roll Music
directed by D. A. Pennebaker, 1925-2019 and Chris Hegedus, 1952-; produced by Frazer Pennebaker, 1955-; performed by Chuck Berry, 1926-2017 (Paris, Ile-de-France: Qwest TV, 1991), 46 mins
Matrix of rock and roll on an equal footing with the delirious Little Richard, Chuck Berry had an obvious influence on groups like the Rolling Stones or the Beatles who in their beginnings revisited the repertoire of the American guitarist via the phenomenal "Come On" and "Roll Over Beethoven”. These different a...
Sample
directed by D. A. Pennebaker, 1925-2019 and Chris Hegedus, 1952-; produced by Frazer Pennebaker, 1955-; performed by Chuck Berry, 1926-2017 (Paris, Ile-de-France: Qwest TV, 1991), 46 mins
Description
Matrix of rock and roll on an equal footing with the delirious Little Richard, Chuck Berry had an obvious influence on groups like the Rolling Stones or the Beatles who in their beginnings revisited the repertoire of the American guitarist via the phenomenal "Come On" and "Roll Over Beethoven”. These different and significant covers say a lot about the ancestry of Chuck Berry and his imprint on the International music scene. The result of an ex...
Matrix of rock and roll on an equal footing with the delirious Little Richard, Chuck Berry had an obvious influence on groups like the Rolling Stones or the Beatles who in their beginnings revisited the repertoire of the American guitarist via the phenomenal "Come On" and "Roll Over Beethoven”. These different and significant covers say a lot about the ancestry of Chuck Berry and his imprint on the International music scene. The result of an explosive mix of rhythm and blues, jazz and country, the St. Louis native is filmed here in 1969 in Toronto during the famous Rock & Roll Revival festival by Chris Hegedus and the great DA Pennebaker. Faced with an overheated audience, the inventor of the duck walk delivers a breathtaking set where the hits of the last fifteen years collide. Monuments from the popular repertoire such as “Maybellene,” “Carol,” or “Johnny B. Goode” are reviewed. Of course, the blues heir to the Chess years has not been forgotten, as this powerful version of Willie Dixon's "I'm Your Hoochie Coochie Man" proves. And R&B occupies a prominent place with an imperious reading of "In The Wee Wee Hours (Of The Nite)" by James Brown from his Famous Flames period: lets' rock! Vincent Caffiaux
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Date Written / Recorded
1969
Field of Study
American Music
Content Type
Performance
Performer / Ensemble
Chuck Berry, 1926-2017
Contributor
Frazer Pennebaker, 1955-
Author / Creator
D. A. Pennebaker, 1925-2019, Chris Hegedus, 1952-, Chuck Berry, 1926-2017
Date Published / Released
1991
Publisher
Qwest TV
Topic / Theme
Rock & Roll
Copyright Message
Copyright © 1991 Auditorium
×
CNN Style, Nashville, Tennessee
presented by Derek Blasberg, 1939-; produced by Cable News Network (CNN); interview by Derek Blasberg, 1939-, in CNN Style (Atlanta, GA: Cable News Network (CNN), 2016), 23 mins
Explore Nashville’s evolution to its current hip status with Reese Witherspoon, Sheryl Crow, Victoria's Secret model Lily Aldridge and take a visit to the Gibson Guitar factory and, of course, to the Country Music Hall of Fame.
Sample
presented by Derek Blasberg, 1939-; produced by Cable News Network (CNN); interview by Derek Blasberg, 1939-, in CNN Style (Atlanta, GA: Cable News Network (CNN), 2016), 23 mins
Description
Explore Nashville’s evolution to its current hip status with Reese Witherspoon, Sheryl Crow, Victoria's Secret model Lily Aldridge and take a visit to the Gibson Guitar factory and, of course, to the Country Music Hall of Fame.
Field of Study
World Music
Content Type
Documentary
Contributor
Cable News Network (CNN)
Author / Creator
Derek Blasberg, 1939-
Date Published / Released
2016
Publisher
Cable News Network (CNN)
Series
CNN Style
Person Discussed
Holly Williams, fl. 2012, Lily Aldridge, 1985-, Sheryl Crow, 1962-, Reese Witherspoon, 1976-
Topic / Theme
Country
Copyright Message
Copyright © 2016 CNN Newsource Sales, Inc.
×
Cool Summer, Cool Summer - Dexter Gordon & McCoy Tyner
in Cool Summer (Paris, Ile-de-France: Qwest TV, 1982), 1 hour 3 mins
The Paul Masson Vineyards (now known as The Mountain Winery) in Saratoga, California (in the foothills of the Santa Cruz Mountains where a few years later Silicon Valley was born) staged marquee acts of jazz in its outdoor concert bowl. It had been an elegant winery party venue for many years—with jazz leading t...
Sample
in Cool Summer (Paris, Ile-de-France: Qwest TV, 1982), 1 hour 3 mins
Description
The Paul Masson Vineyards (now known as The Mountain Winery) in Saratoga, California (in the foothills of the Santa Cruz Mountains where a few years later Silicon Valley was born) staged marquee acts of jazz in its outdoor concert bowl. It had been an elegant winery party venue for many years—with jazz leading the way when it started doing concerts in 1958. In this 1982 edition of Harvest Jazz Festival, excerpts of superb shows by two jazz mas...
The Paul Masson Vineyards (now known as The Mountain Winery) in Saratoga, California (in the foothills of the Santa Cruz Mountains where a few years later Silicon Valley was born) staged marquee acts of jazz in its outdoor concert bowl. It had been an elegant winery party venue for many years—with jazz leading the way when it started doing concerts in 1958. In this 1982 edition of Harvest Jazz Festival, excerpts of superb shows by two jazz masters is presented in classy style. First up is the great tenor saxophonist Dexter Gordon, a giant of jazz, figuratively and literally at his six-feet, six-inch height. He’s in great, amiable shape as he often raises his horn and bows with it to exhibit its strength. He plays powerhouse in his opener “Cheesecake” to an appreciative afternoon audience followed up by a soulful gust in the ballad “Skylark.” The end of the video captures Gordon in fiery form for “Backstage at the Village.” In between the explosive Gordon expressions, McCoy Tyner takes center stage. The onetime member of John Coltrane’s classic ‘60s quartet, Tyner became a star on his own, here with a quintet. On piano, Tyner delivers a dynamic display of his rich harmonic style, opening with the rousing “Habana.” Later for a couple of tunes, Tyner invites vibraphone ace Bobby Hutcherson (who lived not far away in Montara) to bring even more vigor into the show with his robust mallet playing on “The Seeker.” All the artists on this video combine to create the compelling sound of a Cool Summer in the wine region of Santa Clara County. Dan Ouellette
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Date Written / Recorded
1982
Field of Study
Jazz
Content Type
Performance
Date Published / Released
1982
Publisher
Qwest TV
Series
Cool Summer
Topic / Theme
Jazz
Copyright Message
Copyright © 1982 Auditorium
×
David Holt's State of Music, Season 5, Episode 2, Zoe and Cloyd
directed by Deni McIntyre; produced by Will McIntyre, Will & Deni McIntyre Foundation; interview by David Holt; performed by Zoe & Cloyd, in David Holt's State of Music, Season 5, Episode 2 (Arlington, VA: Public Broadcasting Service, 2021), 25 mins
Bluegrass and klezmer traditions meet in the music of married duo Zoe & Cloyd. Fiddler Natalya Zoe Weinstein and singer/songwriter/instrumentalist John Cloyd Miller visit with host David.
Sample
directed by Deni McIntyre; produced by Will McIntyre, Will & Deni McIntyre Foundation; interview by David Holt; performed by Zoe & Cloyd, in David Holt's State of Music, Season 5, Episode 2 (Arlington, VA: Public Broadcasting Service, 2021), 25 mins
Description
Bluegrass and klezmer traditions meet in the music of married duo Zoe & Cloyd. Fiddler Natalya Zoe Weinstein and singer/songwriter/instrumentalist John Cloyd Miller visit with host David.
Field of Study
Popular Music
Content Type
Documentary
Performer / Ensemble
Zoe & Cloyd
Contributor
Will McIntyre, Will & Deni McIntyre Foundation
Author / Creator
Deni McIntyre, Zoe & Cloyd, David Holt
Date Published / Released
2021
Publisher
Public Broadcasting Service
Series
David Holt's State of Music
Person Discussed
Natalya Zoe Weinstein, John Cloyd Miller
Topic / Theme
Bluegrass, Klezmer
Copyright Message
Copyright © 2021 Will & Deni Mcintyre Foundation
×