Interview with Wendell Berry

Poet, Essayist, Farmer, And Novelist Wendell Berry

We’re members of each other—all of us—everything. The difference is not whether you are or not, but whether you know you are or not. Because we’re all under each other’s influence. We’re all are affected by one another’s others lives and decisions. And there is no escape from this membership.

Wendell Berry is an American man of letters, academic, cultural and economic critic, and farmer.

The author of more than forty works of fiction, nonfiction, and poetry, Berry has been the recipient of numerous awards and honors.

Born in 1934 in Henry County, Kentucky, his writing is grounded in the notion that one’s work ought to be rooted in and responsive to one’s place.

His nonfiction serves as an extended exploration of the good life: sustainable agriculture, appropriate technologies, healthy rural communities, the pleasures of good food, husbandry, good work, local economics, fidelity, frugality, and reverence.

Interview with Shana Ritter, January 21, 2011

Jack Kerouac's "Blues & Haikus"

In the spring of 1958, just a few weeks after cutting
Poetry for the Beat Generation, producer Bob Thiele suggested making a second album -- quite a daring notion, considering that the first album would prove so controversial that it wouldn't reach the public for a year -- and Jack Kerouac agreed. Instead of pianist Steve Allen, however, Kerouac insisted that he be accompanied this time by two good friends, tenor saxmen Al Cohn and Zoot Sims. With Cohn doubling on piano, the resulting Blues and Haikus is a stunning duet between speaker and saxmen, working spontaneously in this peculiar mix of jazz and voice, in which the saxmen do get their solo spots around Kerouac's work. There's much more of a sense on this album of a conscious interaction here between Kerouac and his accompanists, and the album is more arch but also more intense and more imposing than its predecessor.
-- allmusic

Jazz Gangstaz 5 : KMTN 96.9

Back when I lived in Jackson Hole, Wyoming in the mid-to-late 1990s, I was fortunate enough to serve as a DJ for the local radio station, KMTN 96.9 FM. One of my slots was the Sunday night jazz show, playing mostly-mellow jazz cuts from 6pm-midnight as a way to wind down the last hours of the week for the valley. I got a little restless with the straight-ahead jazz format and so invited my then-new friend DJ Edubious to sit in with me for a couple hours towards the end of the show.

We spun funk, hip hop, acid jazz, groovetronica, breaks and all manners of music that one could argue existed on the outher fringes of the jazz universe. We didn't have any format to follow, no commercials to play, probably not a ton of listeners either… so we just got irie and tag-teamed musical selections back and forth, whatever we felt like playing.

The station manager must've never tuned in during those late hours as I don't think we we're spinning what he intended for me to play. We always got a kick out of thinking "I bet this is the first time Pharcyde / Funkadelic / Groove Collective has ever been played on Wyoming radio." Some of these tracks sound rather dated now -- a time capsule from the acid jazz/Ubiquity Records/Greyboy-style 1990s -- but you can sure tell we're having fun and kickin' it loose 'n large across the vast airwaves of Jackson Hole, eastern Idaho and the Greater Yellowstone landscape.