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Brainfood from the Heartland
The Louie b. Free Radio Show

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Schedule for July 20, 2017

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Litter Control & Recycling -JENNIFER JONES


SATOKO FUJII

SATOKO FUJII "She is the Ellington of free jazz."―Bob Rusch, Cadence “Unpredictable, wildly creative, and uncompromising…Fujii is an absolutely essential listen for anyone interested in the future of jazz." ― Dan McClenaghan, All About Jazz “Fujii is clearly one of the most exciting musicians to come along in a while.” ― Robert Iannapollo, Cadence Critics and fans alike hail pianist and composer SATOKO FUJII as one of the most original voices in jazz today. A truly global artist, she tours internationally leading several ensembles based in Japan, Europe, and the United States. Just as her career spans international borders, her music spans many genres, blending jazz, contemporary classical, rock, and traditional Japanese music into an innovative synthesis instantly recognizable as hers alone. Her wide-ranging compositions can incorporate the simple melodies of folk song, the harmonic sophistication of jazz, the rhythmic power of rock, and the extended forms of symphonic composers. Although Fujii’s compositions are full of sudden shifts in direction and mood, the extremes are always part of a greater conceptual whole. The 2015 El Intruso International Critics Poll recognized her as one of the composers of the year and in 2016 she was named a Rising Star Composer in the 64th Annual DownBeat International Critics Poll. As an improviser, Fujii is equally wide-ranging and virtuosic. In her solos, explosive free jazz energy mingles with delicate melodicism and a broad palette of timbre and textures. Born on October 9, 1958 in Tokyo, Japan, Fujii began playing piano at four and received classical training until twenty, when she turned to jazz. From 1985 to 1987, she studied at Boston’s Berklee College of Music, where her teachers included Herb Pomeroy and Bill Pierce. She returned to Japan for six years before going back to the US to study at the New England Conservatory in Boston, where her teachers included George Russell, Cecil McBee, and Paul Bley, who appeared on her debut CD Something About Water (Libra, 1996). Since then Fujii has been an innovative bandleader and soloist, a tireless seeker of new sounds, and a prolific recording artist in ensembles ranging from duos to big bands. She has showcased her astonishing range and ability on more than 80 CDs as leader or co-leader. With each recording or new band, she explores new aspects of her art. Between 1997 and 2009, her New York trio with bassist Mark Dresser and drummer Jim Black released seven critically acclaimed CDs. Cadence magazine described the group as “Beautiful and exciting by turns, and sometimes both at once.” Jason Bivins in Signal to Noise praised the “dynamite unit” for its “improv delirium, hot grooves, and melodic dances.” In 2004 Fujii’s husband, trumpeter Natsuki Tamura, joined the trio to form the Satoko Fujii Four, which released the critically acclaimed Live in Japan 2004 and 2006’s When We Were There. At the same time, she and Tamura began documenting their intimate duo music. By now, the pair has made five CDs for various labels in Europe and Japan. In his four-star DownBeat review of Chun (2008), Ted Panken wrote, “Fujii’s orchestral technique, clear chromatic lines and ‘prepared piano’ devices contrast effectively with Tamura’s arsenal of extended techniques which he executes with a warm, vocalized tone throughout the trumpet’s full range.” Their sixth duet album is due out in 2017. In 2001 came the radically different Vulcan (Libra Records), an avant-rock/free-jazz fusion album by a new group, the Satoko Fujii Quartet featuring Tatsuya Yoshida of the Japanese avant-rock duo, The Ruins. “The sensibility here is aggressive to the point of primitive,” said Bill Bennett in JazzTimes. “Vulcan is … a masterpiece of jazz expression.” Between 2001 and 2007, each of the Japanese quartet’s five albums, including Zephyros (Polystar, 2004) and Angelona (Libra, 2005), received equally enthusiastic approval. Toh-Kichi, her duo with the quartet’s drummer Yoshida, released CDs in 2002 and 2004. Even as she led these disparate small ensembles, moving with equal vigor in widely divergent directions, Fujii also embarked one of the most important aspects of her career―composer, leader, and soloist with some of the most innovative large jazz ensembles of the past twenty years. Cadence magazine dubbed her “the Ellington of free jazz.” In 1996, she founded Orchestra New York, which boasts the cream of New York’s contemporary avant-garde improvisers, including saxophonists Ellery Eskelin and Tony Malaby, trumpeters Herb Roberton and Steven Bernstein, and trombonist Curtis Hasselbring, among others. Over the course of seven albums, Fujii has “reinvigorated the big-band concept for the new century – and placed herself at the forefront of the style at the same time,” according to Marc Chénard in Coda. Orchestra Tokyo, founded a year later in 1997, draws on that city’s best improvisers, and has recorded five CDs to date. Writing in All About Jazz, Dan McClenaghan praised the band for its “Power, exuberance, fierce soloing…moments of beauty, serenity, delicacy interspersed with seismic Elvis Costello ‘Pump it Up’ percussion/bass modes that lead into gentle classical harmony… Fujii is an absolutely essential listen for anyone interested in the future of jazz.” However, Fujii’s creative ideas for large ensemble cannot be fully encompassed by a mere two big bands, and she has gone on to work with two others―Orchestra Nagoya, with which she has recorded three CDs since 2004, and Orchestra Kobe. In 2006 she released an unprecedented four big band CDs―one by each of these orchestras―at one time. Even four orchestras are not enough for the prolific composer-improviser. At the 2013 Chicago Jazz Festival she premiered a fifth big band, the Satoko Fujii Orchestra Chicago. In 2014, she added Orchestra Berlin to her growing list of large ensembles, and recorded Ichigo Ichie. The album “swells in oceanic crests from which its musicians soar wildly. The four-part title suite repeatedly builds to thrilling, noisy, near-hysterical climaxes,” wrote Derk Richardson in The Absolute Sound. As the new century progressed, Fujii continued to establish new ensembles. In 2007, Fujii formed ma-do, a quartet which included Tamura on trumpet, bassist Norikatsu Koreyasu, and Akira Horikoshi, the drummer in Orchestra Tokyo. The group showcased the latest developments in her composition for small ensembles, while playing in a more intimate acoustic setting that contrasted with the high-volume, rock-influenced Quartet. They made three impressive CDs before the tragic death of bassist Koreyasu in 2011. Alan Young in Lucid Culture called their second release, Desert Ship, a “characteristically fascinating, emotionally varied, richly melodic one by her pretty straight-up small combo ma-do…. Another triumph for this extraordinary composer.” In 2006, she established yet another acoustic quartet, the Min-Yoh Ensemble with Tamura, trombonist Curtis Hasselbring, and accordionist Andrea Parkins. Dedicated to developing written and improvised music in the collective spirit of Japanese folkloric music, the band made two CDs. Writing in All About Jazz, Budd Kopman called their debut, Fujin Raijin, “a stupendous, almost terrifying record that shatters any and all expectations during its six tracks… If any music has the ability to change one’s life, this is it, making Fujin Raijin a powerful experience in which to revel.” In 2013, Fujii set off on a fresh musical adventure with the Satoko Fujii New Trio, featuring bassist Todd Nicholson and drummer Takashi Itani―her first piano trio since 2009. The group released their debut recording, Spring Storm, that same year. “It is tempting to say the very focused, often gorgeous and always thought-provoking Spring Storm―with its delicacy versus strength dynamic, and melodic beauty beside the articulate and challenging interplay―is her best work to date,” wrote Dan McClenaghan in All About Jazz. With the addition of trumpeter Tamura in 2014, the trio expanded into a quartet called Tobira and toured North and South America. Their debut release, Yamiyo Ni Karasu, “rises to the top tier of her sprawling discography,” according to Steve Greenlee in JazzTimes. In addition to leading her own ensembles, Fujii has engaged in many collaborative projects and ad hoc groups, and appeared as a member of ensembles led by others. With violinist Carla Kihlstedt, she has made two CDs, including Minamo, which Ben Ratliff of the New York Times says “is extraordinary, a series of tight, dramatic events.” She has also released a limited edition duo recording with pianist Myra Melford, Under the Water. A meeting between Fujii and Tamura and Dutch pianist Misha Mengelberg and trumpeter Angelo Verploegen is documented on Crossword Puzzle. Her recent collaboration with bassist Joe Fonda, documented on 2016’s Duet, was called “miraculous” and “a bravura performance” by All About Jazz. Increasingly since 2013, she and Tamura are joined by special guests, such as laptop musician Ikue Mori and British guitarist John Russell, as they tour around the globe. She has also toured and recorded with saxophonist Larry Ochs’ Sax and Drum Core, and appeared on albums by drummer Jimmy Weinstein, saxophonist Raymond McDonald, and Japanese free jazz pioneer, trumpeter Itaru Oki. She is a regular member of Tamura’s groups, Gato Libre (in which she plays accordion) and First Meeting, and played synthesizer in his quartet between 2002 and 2004. In recent years she has worked with dance and music ensembles featuring percussive dancer Mizuki Wildenhahn. Dos Dos includes Wildenhahn and percussionist Faín S. Dueñas, a founder of the Grammy-nominated Radio Tarifa; Hakidame ni Tsuru features trumpeter Tamura, as well as percussionist Takaaki Masuko, and guitarist Usui Yasuhiro. The cooperative group that currently claims most of her attention is the international quartet Kaze, featuring Fujii and Tamura along with trumpeter Christian Pruvost, and drummer Peter Orins from France. Kaze has earned wide acclaim. As Virginia Schaefer said of a live show she covered for JazzTimes, “Intense and playful, down-to-earth and international, Kaze communicates in a musical language of contrasts and continuity.” Jon Garelick writes in Giant Steps, “Kaze takes jazz abstraction to a sublime limit…. There is suspense, virtuosity, mystery, calm.” Their debut recording Rafale (2011) earned acclaim from Mark Medwin in The New York City Jazz Record, as “a stunning achievement from note one…” Their second CD Tornado (August 2013), earned similar acclaim. In 2015, they released their third album, Uminari, which Jazz Magazine (France) called, “a compelling example of free jazz today. Compositions are perfectly scripted, with a well-oiled interaction and playing of beautiful power…” In addition, Kaze appears as special guests with Orchestra Tokyo on their 2016 release, Peace. In 2016 Kaze expanded to include a second pianist, Sophie Agnel, and a second drummer, Didier Lasserre, to become Trouble Kaze, which released an album in early 2017. Fujii tours as relentlessly as she records. She has appeared live on every continent except Antarctica, performing at festivals, concert halls, and clubs. In 2013, she was honored with three nights on which to present her music at the Bielefeld Festival in Germany. In August and September of that year, she presented a week of music by several of her bands at The Stone in New York City. The year 2016 marked Fujii’s 20th anniversary in music as well the 20th anniversary of Libra Records, which has released most of her recordings. To celebrate, she embarked on a worldwide tour that included completely improvised solo concerts once a month in Europe, the US, and Japan; concerts in which she and Tamura were joined by special guests; and performances by several of her small and large ensembles, past and present. Fujii tirelessly continues to explore the possibilities and expand the parameters of the many groups she’s established over the years, and there is certainly more provocative and exciting listening in store as she pursues her ultimate goal: “I would love to make music that no one has heard before.”


Dr. Jay N. Cohn

Dr. Cohn is a 1956 graduate of the Cornell University Medical School, and completed his internship and residency at Beth Israel Hospital in Boston. From 1960 to 1965, he was a cardiovascular research fellow and clinical investigator at Georgetown University and the Veterans Affairs Medical Center in Washington, DC. In 1965 he became the chief of hypertension and clinical hemodynamics at this VA Medical Center, and a professor of medicine at Georgetown University. Dr. Cohn joined the University of Minnesota faculty as chair of the cardiovascular division in 1974, and served in this position through 1996. Dr. Cohn is internationally recognized for his numerous contributions to the cardiology field. He fostered applying physiologic principles to the management of cardiovascular disease, pioneered assessing cardiovascular function in patients with hypertension, acute myocardial infarction, shock, and heart failure, and first identified the syndrome of right-ventricular infarction. Dr. Cohn was among the first to advocate bedside hemodynamic monitoring in acutely-ill patients, a concept that led directly to the development of intensive-care units. These seminal discoveries establish Dr. Cohn as a founder of many contemporary therapies for heart disease. Dr. Cohn’s contributions to the study and treatment of heart failure are many and exemplary. His laboratory and clinical research established that left-ventricular structural remodeling is the basis for progressive heart failure, and he was among the first to identify neurohormonal activation in vasoconstriction as a key contributor to this progression Dr. Cohn organized and chaired the first long-term clinical trials in heart failure, the Veterans Affairs Cooperative Study Program on Vasodilator Therapy of Heart Failure (V-HeFT). Known for his leadership in designing and conducting clinical trials that determine the efficacy of potential therapies for heart failure, Dr. Cohn was the first to document and advocate the value of vasodilator drugs in improving left-ventricular function. This discovery led to the development of vasodilating and neurohormonal-inhibiting medications (including nitroprusside, nitrates with hydralazine, and converting-enzyme inhibitors) that are the current standard of care. In 1994, Dr. Cohn founded the Heart Failure Society of America, now the world’s premier organization dedicated to the diagnosis and treatment of heart failure, and served as its first president. He also founded the first journal dedicated to heart failure, the Journal of Cardiac Failure, and was its editor-in-chief. He serves on the editorial boards of many major journals, is the author of more than 700 scientific publications, and is the co-editor of two texts, Cardiovascular Medicine and Drug Treatment of Heart Failure. Dr. Cohn has written extensively on the topics of circulatory physiology, hypertension, vascular compliance, nervous-system control mechanisms in heart failure, and congestive heart failure and its treatment Dr. Cohn’s recent work involves screening asymptomatic individuals for cardiovascular disease, so that therapy can be initiated and disease progression prevented. His innovative early-detection methods include diagnosing stiffening in small arteries. Developed at the University of Minnesota, this methodology is now FDA-approved and marketed worldwide Dr. Cohn holds several patents related to pulsewave analysis for arterial-elasticity measurement, and to the use of hydralazine and isosorbide dinitrate to treat heart failure. He has presented numerous honorary lectures worldwide, and has served as a visiting professor at many national and international universities


Cardiovascular Health How Conventional Wisdom is Failing Us Dr. Jay N. Cohn

Cardiovascular Health How Conventional Wisdom is Failing Us Dr. Jay N. Cohn In Cardiovascular Health, Jay N. Cohn MD., a renowned cardiologist describes the biological processes leading to heart and blood vessel disease. He challenges the conventional view that risk factors such as poor diet, and lack of exercise are the biggest culprits. Each of these widely-described risk factors is individually discussed and Dr. Cohn concludes that their role in affecting cardiovascular health is often overstated. He promotes a greater emphasis on an individual’s personal and largely inherited cardiovascular health by simple assessment of the function and structure of the arteries and heart. By identifying early disease likely to progress he advocates for early intervention, often with drug therapy, to slow disease progression and prevent symptoms of cardiovascular disease. He concludes that health care providers can better treat patients with medications that slow the biological processes that contribute to the development of artery and heart disease. These medications lower blood pressure and cholesterol, but their main effect is to slow progression of disease even in those whose blood pressure and cholesterol levels are not elevated. He describes a strategy for identifying and treating these early abnormalities before symptoms develop. Ultimately, early diagnosis and treatment, he argues, can contribute to better prevention and the slowing of cardiovascular disease progression that would otherwise shorten our lives.



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