Just A Band
Drops Their Return Single
‘Probably For Lovers’.
Hear it Now!
Using it as a benchmark for the whole record I will go out on a limb and predict this to be the best record the band has made so far. I’ve never heard Just A Band’s vocals sound so rich nor have I heard production from them as layered as this.
And just how good does this song make you feel? I’m floating!
Call for Chapters for an Edited Book: (Re)tracing African History, Societies and Cultures
Deadline: 30 October 2012
We are now accepting chapters for the second edition of (Re)tracing African History, Societies, and Cultures: A Multi-disciplinary Study of Africa, edited by Drs. Salome Nnoromele and Ogechi Anyanwu. This book is intended to give both instructors and students of The African Experience a comprehensive and up-to-date account of Africa’s cultural and political history, economic development, artistic expressiveness, religious and philosophical worldviews, etc. Each chapter must cover relevant issues surrounding a subject from the pre-colonial period to the present. The editors welcome scholarly submissions from academics and researchers in the field. Please consult the list of topics below and submit a 300-word abstract of your proposed paper to salome.nnoromele@eku.edu and ogechi.anyanwu@eku.edu on or before October 30, 2012. If your proposal is accepted, you will be requested to submit a complete essay on March 30, 2013. Papers must be original and should not be previously published or simultaneously been reviewed elsewhere for publication. All completed papers will be peer-reviewed before they are accepted for publication.
1. African Geography and Environment
2. Christianity and Christian Missions in Africa
3. Islam and Islamic Revival in Africa
4. Traditional Justice systems in Africa
5. Postcolonial Justice Systems in Africa
6. Law and Order in Africa
7. Social Institutions in Africa
8. Political Institution in Africa
9. Healthcare and Medicine in Africa
10. Masculinity in Africa
11. Marriage and the Family in Africa
12. Sport in Africa
13. The Cold War and Africa
14. Security Challenges in Contemporary Africa
15. Agriculture and Food Production in Africa
16. The Politics of Hunger in Africa
17. Slavery and its effects in Africa
18. Racial Diversity in Africa
19. Class and Gender Relations in African Societies
20. Cities and urbanization in Africa
21. Democratization in Postcolonial Africa
22. Globalization and challenges of African DevelopmentEDITORS
Dr. Salome C. Nnoromele
Director, African/African-American Studies
Professor, Dept. of English & Theatre
Eastern Kentucky University
229 Mattox Building
Richmond, KY 40475
Phone: (859) 622-8676
Email: salome.nnoromele@eku.eduDr. Ogechi E. Anyanwu
Associate Professor of History
Eastern Kentucky University
310 Keith Building
Richmond, KY 40475
Phone: (859)-622-1375
Fax: 859-622-1357
Email: ogechi.anyanwu@eku.eduCONTACT INFORMATION:
For queries: ogechi.anyanwu@eku.edu
For submissions: salome.nnoromele@eku.edu and ogechi.anyanwu@eku.edu
Website: http://www.barnesandnoble.com/w/bookanyanwu/1108150232
The New Writer Prizes
CATEGORIES for U.S. Writers
for Worldwide Writers
U.K. Writing Competitions
Poetry | Entry Fee |
Fiction | Entry Fee |
Non-Fiction | Entry Fee |
Deadline:
30th November 2012
Entry Fee:
5 - £ 12
Prizes:
£ 100 - £ 150 - £ 300
This is the 13th year of the Prose & Poetry Prizes sponsored by The New Writer magazine, although it is the 16th consecutive year of the Poetry Prizes - previous winners include Judi Moore, Sharon Black, Wes Lee, Alexandra Fox, Cathy Whitfield, Mo McAuley, Alesha Racine, David Grubb, Katy Darby and Graham Clifford, whose award winning entries appeared in our anthologies - find details on this website. Prizes are awarded in the following categories: FACT Essays, Articles, Interviews - covering any writing-related or literary theme in its widest sense up to 2,000 words. 1st prize £150, 2nd £100, 3rd £50. FICTION Short Stories, Micro Fiction - short stories 500 to 5,000 words, micro fiction up to 500 words; on any subject or theme, in any genre (not children's). Previously published work is not eligible. Short Stories: 1st prize £300, 2nd £200, 3rd £100. Micro Fiction: 1st prize £150, 2nd £100, 3rd £50. POETRY Single Poems and Collections - Single Poems up to 40 lines; Collections of between 6 - 10 poems - no restriction on length of poems in the Collection category. Single poem entries must be previously unpublished; previously published poems can be included as part of a Collection. Collection: 1st prize £300, 2nd £200, 3rd £100. Single: 1st prize £100, 2nd £75, 3rd £50. Total Prize Fund £2,500 How to Enter the Prose & Poetry Prizes If sending poetry by email please send as an attachment - either Microsoft Word (.doc) or plain text (.txt) formats. However, we would prefer to receive longer MSS of poetry collections, short stories and features in the post to The New Writer at the address at the foot of this page along with a covering sheet with your name, address, tel/fax/email, and the title(s) of your work. Short stories of 500 to 5,000 words and Micro fiction up to 500 words on any subject or theme, in any genre (not children's). Previously published material is not eligible for entry. Entry fees: £5 per short story (TNW subscribers two stories at same fee); £5 for up to two Micro fiction entries (TNW subscribers three for £5). Single poems must be previously unpublished with a limit of 40 lines. Entry fee: £5 for up to 2 single poems (TNW subscribers 3 poems for £5). Collection of poems (6-10 poems) can be previously published. No line limit. Entry fee £12 per collection. Essays, articles and interviews up to 2,000 words covering any writing-related or literary theme in its widest sense. Previously published material is not eligible. Single entry £5 (TNW subscribers two entries at same fee). All work should be clearly typed, double-spaced (poetry should be single-spaced), on white A4 paper and paperclipped. Entrants may make as many submissions as they wish but please include your name, address, title of entry, word count (fiction only) and category on a separate cover sheet with every entry. Preliminary judging will be carried out by The New Writer editorial board with guest judges making the final selection so there should be no identifying marks - apart from the title - on the entries. Entries are non-returnable. A full list of winners will be sent provided SAE is enclosed. http://www.thenewwriter.com/
http://www.thenewwriter.com/prizes.htm
http://www.thenewwriter.com/entryform.htmClick on the link above and go to the contest official site
via justacontest.com
Welcome to the Atlantis Short Story
Competition 2012
"I don't believe you have to be better than everybody else.
I believe you have to be better than you ever thought you could be." -Ken Venturi>> International Call For Entries - Writers from all around the world are welcome <<
1st PRIZE: $300 + IN-DEPTH FEEDBACK
2nd PRIZE: $100 + IN-DEPTH FEEDBACK
3rd PRIZE: $50 + IN-DEPTH FEEDBACK
TOP 15: IN-DEPTH FEEDBACK
TOP 40: NAME AND SHORT STORY'S TITLE POSTED ON WEBSITE***EVERY PARTICIPANT: BRIEF COMMENT AND EVALUATION TABLE (altogether about 1 to 2 pages)***
****************************************************
As a writer you probably do not get the attention you expect and deserve. It is often the case that the family
and friends do not appreciate your dedication to writing at all.But writers want to be heard, right? Why else should they sit and carefully type each character. Word by Word.
Sentence after sentence. Writing allows you to create entire worlds and therefore it would be a real pity, if nobody got the reading pleasure and the opportunity to proceed your thoughts and ideas.
As an unpublished author of fiction work, it is pretty difficult to actually live long enough to experience your 'lucky break'. Whether you're an unpublished short story writer with the ambition of eventually getting your
work published, or you're an screenwriter, a poet or a playwright, etc. To break in, to get your lucky break without having contacts in the industry, your work of fiction does need to be excellent, otherwise a pitching (brief oral presentation: 'What is your work about?') opportunity is a lost shot.Honest feedback really improves the quality of your work and consequently the chances of being heard.
Our goal is to offer a short story competition that provides insightful feedback that the writer can benefit from.
We want to give everybody the chance to become better, as it does not rarely happen that writers are not ready when the job comes by.
What do you exactly gain by entering the competition?
Every submitted short story is professionally evaluated. The salient point is that we allow you to see what
we think about your short story. We write for every participant's short story a brief, insightful comment
(approx. one page) and include an evaluation table which gives you a quick overview about the strengths and
weaknesses of your work.The Top 3 participants are awarded with cash prizes. (see above)
The Top 15 participants will get in-depth feedback (2 - 4 pages, depends on the story's length).
The Top 15 participants have the option to get their story published on our website.
At the end of the contest the author will be asked, if she/he wants her/his story to
be published on the website.
In the case that the author wants her/his story to be removed from the website later on,
she/he can write us an e-mail to inquiry@atlantis-shortstorycontest.com .
Her/his short story promptly will be removed then.The Top 40 participants will be posted on the website with their story's title, name
(and a sharp two-sentence logline, if they want). The author retains all rights to her/his work.Thank you for visiting the Atlantis Short Story Contest!
Shadow & Act
Black Filmmakers To Watch:
Jackie J. Stone
From 'If I Leap'
First... rehashing changes I previously noted about the annual Shadow & Act Black Filmmakers To Watch series in the announcement I posted about 4 weeks ago, if only for those who missed it to catch up (you can skip the next 2 paragraphs, if you've already read them).
- Say goodbye to the once-every-12-months list of 10 to 20 filmmakers, and say hello to what will be an ongoing series, profiling black filmmakers who we feel deserve individual spotlights. Each week, we're introduced to the works of black filmmakers (and we're considering the entire diaspora, not just black American filmmakers) that impress us enough, suggesting the idea that something continuous, throughout the year, makes more sense, than publishing a single list annualy. We want to highlight as many filmmakers as we can, especially in this climate that sees only a handful of *black films* every year that enjoy anything close to broad awareness; and also, in part, to combat the notion that there isn't enough variety in what stories we can tell, and how we choose to tell them. I think we get so distracted and depressed about what we don't have, that we tend to forget to appreciate those who are toiling away in creative silence/obscurity. And I realize it's best to show who/what else is out there that we don't already know about en masse, or that we do know about, but, for one reason or another, aren't paying as much attention to, as we probably should.
- Second, unlike previous years, our emphasis will be on relatively *unknown* filmmakers; our goal is to highlight those filmmakers who are producing work (whether still in film school, making short films, or veterans who've been making films for years, and everything between), but just haven't quite yet been *discovered* if you will (of course that's a loaded word, because it could mean any number of things, to any number of people; but instead of listing specific criteria, I'll just let the posts speak for themselves); essentially, filmmakers we believe are creating interesting work, who haven't received much attention, and who we believe you all should definitely know about (if you don't already). There's a reason why I've repeatedly requested that filmmakers we haven't covered, contact us, and introduce yourselves and your work; it's so that we can get to know you, and your work, for this purpose (and others). I continue to encourage that STRONGLY! As I've said before, we try to stay as connected and informed as we can; however, we don't know of every single black filmmaker and every single black film in circulation, every year. We rely on you folks to assist in providing some of that knowledge as well.
So now that you know all that... here's the 4th of many filmmakers who will be featured in this new S&A Black Filmmakers To Watch format (thus far, Canadian writer/director Alfons Adetuyi, British/Zambian filmmaker Rungano Nyoni, and African American director Russ Parr have been profiled in the last few weeks).
Jackie J. StoneThis week it's someone that I think many of you will already be familiar with - Jackie J. Stone.Given your reactions to her award-winning 20-minute short film, If I Leap, which we posted last year, I'd say that many of you were likely more than curious to see what the NYU alum, would do next.
Featuring the talents of names you should be familiar with - Adepero Oduye (Pariah), Anslem Richardson (Five Deep Breaths, The Locksmith), and cinematographer extraordinaire Bradford Young (Pariah, Restless City, Middle Of Nowhere) - If I Leap was an especially picturesque, moving, stand-out short film that deserved all the accolades it received, and a year later, we wait with bated breath for some kind of a follow-up - not to that film specifically, but just another glimpse of the scope of Ms Stone's imagination.
She relocated to Los Angeles, and has since been on a writing spree, with work aimed at all the platforms: TV, film, web, notably. Although it is a rough-and-tumble business, and Hollywood has demonstrated that it really isn't all that interested in stories that center around the lives of young black women, as is the case in If I Leap.
But maybe a recent boost, as in being recently selected as a participant for the 2012 Film Independent Project Involve Forum (Film Independent’s signature diversity program, dedicated to increasing diversity in the film industry by cultivating the careers of under-represented filmmakers) might assist in some way.
The program, which runs from October 2012 through June 2013, selects filmmakers from diverse backgrounds and filmmaking tracks. For 9 months, the Fellows are paired one-on-one with a mentor from the film industry, assigned to a team to make a short film incorporating a given theme, and attend monthly filmmaking workshops and other educational seminars.
It's a program that past filmmakers we've written about went through (who then graduated to make feature films, win acclaim in some cases, and carve out careers for themselves).
Opting to keep a tight lid on her projects, Jackie continues to write, and write, and write (a feature film, a web series, and more), and I'd say that it's only a matter of time before we are thrilled with another piece of art from this up-and-coming talent.
If you missed our post on If I Leap, and haven't yet seen the film, it's embedded below, so watch it in full now.
Synopsis:
Zipporah, a sister in a religious order, is dealing with a secret about her desire for something she has never experienced -- erotic love. When Luca, the nephew of the Mother Superior, seeks refuge at the convent after deserting the army, Zipporah engages in an intimate relationship with him that will change the course of her life.
Watch the lush 20-minute short film below:
Trailer
For Somali Pirate Thriller
'A Hijacking'
(Claims To Consider
Global Economic Disparities)
"A Hijacking"
Speaking of Somali pirate movies (see my David Oyelowo post from earlier this morning HERE)...
Danish filmmaker Tobias Lindholm's feature film, A Hijacking, was first profiled on this site oer the summer.
A Hijacking is described as a fascinating window onto the phenomenon of modern piracy as yet another by-product of the catastrophic economic disparity between impoverished countries and the "First World."
When I initially read that, I was encouraged. It told me that the filmmaker seems to understand that there's more than just simplistic "good and evil" or "good versus evil" labeling here. It's a far more complicated issue than many realize.
Although, in watching the below trailer, I'm not sure any of that really comes through. So, I'd need to see the film in full.
A Hijacking's synopsis reads:
Tensions are high after a Danish freighter is captured and held for ransom by Somali pirates, leading to weeks of high-stakes negotiations — and an escalating potential for explosive violence — in Tobias Lindholm's grittily authentic and suspenseful thriller.
A little bit more of what I read about the film:
Meanwhile, the crew, their families, and the pirates themselves — some of them just kids, some apparently coerced into participating in the hijack — struggle to deal with the ever-mounting pressure, uncertainty, and potential for violence.
And also...
Hewing to the aesthetic he devised for his co-directed feature debut R (which dealt with life in a penitentiary), Lindholm and his collaborators make vivid use of actual locations and draw some of their cast from people who have been involved in similar situations... Far more than a gimmick, these elements of authenticity and Lindholm's documentary style not only invest the proceedings with a lived-in, matter-of-fact air, but ratchet up the tension and create an all-too-believable atmosphere of claustrophobia and fear. Forgoing exploitation tactics and cheap thrills, Lindholm zooms in on the harsh reality of his scenario.
I'm interested, and definitely want to check this out for myself, and hope it makes it way to NYC.
A Hijacking made its world premiere at the Toronto International Film Festival last month.
It most recently screened at the Abu Dhabi Film Festival, where the above interview was had.
Watch the trailer below:
LE PRIX DU PARDON
(THE PRICE OF FORGIVENESS)
Le Prix Du Pardon (The Price of Forgiveness)*
Le prix du pardon is based on a novel by Mbissane Ngom who, like film-maker Mansour Sora Wade, comes from the coast of Senegal, where the story is set.
A fishing village on the south coast of Senegal lives in fear because of a strange cloud of mist that hangs above the village. As a result, the fishing boats on which the whole village depends economically cannot set sail. When the young Mbanik makes them disappear, he is the village hero. As a result, he can at last declare his love for Maxoye. Yatma (Humbert Koundé), Mbanik’s childhood friend, is crazy with jealousy at Mbanik’s prestige and his relationship with Yatma and, in a fit of rage, he kills him. He briefly manages to remain unpunished and is even allowed to marry Maxoye. However Maxoye is pregnant with Mbanik’s baby. via
*pt. 1, pt. 2, pt. 3, pt. 4, pt. 5, pt. 6, pt. 7 - in Arabic with English subtitles
a must see film!
Dancers from a samba school on a float representing African slaves during the first night of carnival parade in the giant Sambadrome in Rio de Janeiro.
From Samba to carnival:
Brazil's thriving African culture
October 23, 2012Rio de Janeiro's African heritage
STORY HIGHLIGHTS
- African culture is evident in Brazil's carnival, music, dance food and religion
- It was the last country to abolish the slave trade, with an estimated four million slaves shipped over 300 years
- A Historical Circuit of African Heritage in Rio de Janeiro helps to connect the past and present
Each week, Inside Africa takes its viewers on a journey, exploring the diversity of different cultures, countries and regions.
Rio de Janeiro (CNN) -- From samba and carnival to food, music and religion, African culture is everywhere in Brazil.
The cultural heritage stems from the estimated four million slaves who were brought to the country over a 300-year period, at least four times as many as to the United States.
Brazil was the last country to abolish the slave trade in 1888. More than half of Brazilians now identify themselves as black or of mixed race, according to the latest census.
Rio de Janeiro now has the most famous carnival in the world, attracting an estimated 1.1 million visitors to the city this year and with 5.3 million people taking part in street parties, according to the English language newspaper The Rio Times.
Carnival celebrations in Salvador. Carnival is the grandest holiday in Brazil, drawing millions in celebrations leading up to Fat Tuesday, before the start of Lent. The origins of Carnival combine the Catholic festival celebrations of Portuguese colonialists and the music and dancing of African slaves.
Samba dancers perform during a parade celebrating Brazil's independence from Portugal 190 years ago, at Independence park in Sao Paulo. Samba was developed in Brazil by the descendants of African slaves and draws on West African influences.
Salvador, in Bahia state, northeast Brazil, is the country's third largest city and was the country's first colonial capital. It has strong African roots and is the center for Afro-Brazilian culture.
Members of a quilombo community in Vao de Almas, Brazil. Quilombo communities were formed by escaped slaves during the Portuguese colonialism and many are isolated from modern Brazil. The 400 families living in Vao de Almas have no road, water, electricity, telephone or doctor.
Orixas, deities of the Candomble religion, have been built in Salvador, northeastern Brazil. Salvador, which has a large Afro-Brazilian population, has many followers of Candomble.
An artist performs in front of the old Basilica of Our Lady of Aparecida in Aparecida during Brazilian patron saint's day. Some people believe that the 39-cm-high teracotta statuette of Our Lady of Aparecida was found by runaway slaves on their way to a quilombo community.
Carnival, which is celebrated across Brazil, combines samba -- music and dance which grew out of Brazil's black neighborhoods -- and the Catholic tradition of celebrating the run-up to Lent brought by Portuguese colonialists.
After the abolition of slavery, the rituals of the Catholic former colonialists and their former slaves merged to form the origins of modern carnival, according to the Rio Times.
One explanation for the origins of carnival is that it began in a Catholic church, Our Lady of the Rosary, built by slaves in the 1700s whose masters wanted them to convert to Catholicism.
"The black people that were part of this congregation, most of them came from Congo," said Joao Carlos Desales, a tour guide who took CNN around Rio de Janeiro.
"So they were able to organize a celebration where they would choose a man and a woman, and they would be the king and queen of Congo. That celebration turned out to be the beginning of carnival celebrated in Brazil."
Even many of Brazil's Catholic saints are said to have African heritage.
St Benedict, whose name is remembered in Our Lady of the Rosary church, was a slave from North Africa, who promised to devote himself to Catholicism if he became a free man, Desales said.
Brazil's African communities
Brazil's patron saint, Our Lady of Aparecida, a black clay statue of the Virgin Mary, was -- according to some -- found by runaway slaves on their way to Quilombo, a community of runaway slaves.
Quilombo communities continue across Brazil to this day.
Luis Sacopa, president of the association of Quilombos, runs a restaurant with his 17 members of his family in a piece of jungle in what is now an expensive suburb of Rio de Janeiro.
His grandparents found this piece of land after escaping slavery.
The family has fought a legal battle to hold on to its land against the threat of eviction, and now has official protection for their right to remain.
"Thanks to god we have had success and we're still here at the end of our dispute," said Sacopa. "Thanks to god, the family has united, we're fighting and we're winning the fight against the elite in this expensive neighborhood of Rio de Janeiro."
Sacopa said he was able to resist eviction with the help of his Orixas, gods of the Yoruba people of Southwest Nigeria, Benin and Togo.
In Brazil, the religion is known as Candomble, and it has a large following in some Afro-Brazilian areas, particularly Salvador in Bahia state.
Also on Inside Africa: Why Tanzanians believe in witchcraft
Candomble was prohibited in Brazil up until the 1950s, but influenced much of the country's food and music.
In Sacopa's restaurant he serves feijoada, a typical Brazilian dish originally created by slaves from their masters' leftovers.
A new Historical Circuit of African Heritage opened in Rio de Janeiro in 2010 to help tourists and descendants of slaves reconnect with the past slavery.
A neighbor told us, a long time ago, your street was a slave cemetery.
Ana de la Merced GuimaraesThe project began after workers installing a new drainage system in the central districts of Saude and Gamboa discovered hundreds of personal objects belonging to African slaves, according to the Rio Times.
Archaeologists established that this was the site of the 19th century slave trading complex, the Cais do Valongo, or Valongo Quays.
Many of the discoveries are now on display in the Valongo Gardens, the newspaper reported.
Another discovery of recent years is the remains of a squalid slave cemetery in the courtyard of a home in central Rio de Janeiro.
Renaldo Tavares, an archeologist who has been studying the discovery, said: "These are human remains mixed in with the garbage from the city. It shows how society in the 19th century treated slaves.
"Bones, pieces of ceramic, bits from construction, tiles, animal remains, bits of food, society threw all sorts of things in here. Slaves were considered garbage by society."
Ana de la Merced Guimaraes, the homeowner who discovered the bones in her courtyard, said: "When we started a reform in our house, we found all these bones. We thought it was a family grave, but there was so much we thought maybe it had been a serial killer.
"But then we calmed down and talked about it and called a lawyer and the police. And he said don't worry, we aren't going to accuse you, it's probably something very old.
"A neighbor told us, a long time ago, your street was a slave cemetery."
Brazil's third city Salvador, in Bahia state, northeast Brazil, has some of the strongest links to Africa.
Salvador was the first colonial capital of Brazil and its central district, Pelourinho, now a UNESCO world heritage site, was the New World's first slave market from 1553, according to UNESCO.
CASSANDRA WILSON
In a public Q&A at City University of New York in late 2008, critic Gary Giddins talked withCassandra Wilson about her background. Her father was a teacher at Jackson State College in Mississippi and a professional guitarist, and her mother taught grade school. It was a musical household, filled with vocals by Nancy Wilson, Nina Simone, Ella Fitzgerald and Sarah Vaughan.
From age 6, Wilson played piano, and she picked up the clarinet in school. She had determination, recalling, "I was third clarinet, last chair, [and thought], 'One day I want to get that first chair.' " In high school, she was teaching herself guitar, inspired by the folksingers Joan Baez, Bob Dylan, Richie Havens and Joni Mitchell.
Wilson calls her jazz-or-folk quandary "Joni or Now's the Time?" She began to resolve it when she left Jackson State and moved to New Orleans, where she experienced the modern clarinet of Alvin Batiste and saxophonist Kidd Jordan. "It was the craziest music I had ever heard, way out," Wilson says.
Wilson studiously transcribed Charlie Parker, moved with her husband to New Jersey, met some of the established players in New York, and became involved with musical adventurers in Brooklyn who called themselves M-Base (Macro Basic Array of Structure Extemporization). As for role models, "Betty Carter was it, the woman as leader of the band." The irony is that when Carter heard Wilson's first album, Blue Skies(featuring standards and the impressive Mississippian Mulgrew Miller on piano), Carter said that the new vocalist still had to find herself.
Mississippi, home of the Delta Blues, lies at the root of Cassandra Wilson's uniqueness. Over time, that background is coming to the fore. Her voice has depth and a blur on the edges. Try the upward phrase "when he's with his Sweet Lorraine," early in "Sweet Lorraine," to hear several colors and some nice syncopation. Her music embraces the paradox between harshness ("You can mistreat me in New York City, but you can't mistreat me when I go home") and glamour. From New Moon Daughter to Belly of the Sun to Thunderbird and now Loverly, a string of her recent album titles suggests the light, flight and homecoming in her music.
Cassandra Wilson takes her time. Her voice is another instrument in the band. She invites each player to share the space. They are Marvin Sewell (from Chicago) on many guitars; pianist Jonathan Batiste from New Orleans (on Loverly, the pianist is Jason Moran); and bassist Reginald Veal and drummer Herlin Riley, a great team 20 years ago in the early Wynton Marsalis Quartet and since.
Originally recorded Sept. 26, 2008 at the Chicago Symphony Center. This story originally ran March 26, 2009.
Credits: Thanks to Jim Fahey and Rebecca Mix at Chicago Symphony Center. Recording by Chris Willis. Surround Sound mix by Duke Markos.
>via: http://www.npr.org/templates/story/story.php?storyId=102357878
