« Back By Fotis Nikolakopoulos Try a different filter or a new search keyword Clean Feed Records is a jazz record label founded in Lisbon, Portugal, in 2001 www.cleanfeed-records.com Streaming and Download help Shipping and returns Redeem code supported by 13 fans who also own “A Glancing Blow” supported by 12 fans who also own “A Glancing Blow” Jazz bassist Nim Sadot pays homage to the life of his his late grandfather a Polish artist who escaped a Soviet labor camp Trumpeter Harry Spencer’s orchestral modern jazz has cinematic scope inspired here by dissidents throughout history Bandcamp Daily  your guide to the world of Bandcamp A Guide to Newcastle’s Improvisational Scene Konstrukt and Keiji Haino Make Their Own Improvisational Musical Language Lifetime Achievement: Joe McPhee’s Vast and Brilliant Improvisational Discography Backxwash joins the show to discuss her recent release Rahsaan Barber: Six Words (Jazz Music City Records) | Michael Sarian: Live At Cliff Bell's (Shifting Paradigm Records SP208) | John Butcher Chris Corsano: The Glass Changes Shape (Relative Pitch Records RPR1207) | Monkin’ Around: 4 In 1 (Ubuntu Music UBU179) Hot on the heels of his trombonist brother Roland’s impressive playing on John Alvey’s recent Loft Glow comes this Jazz Music City release by saxophonist Rahsaan Barber No prizes for guessing whom the Barbers senior named their twins after There’s an eight-part suite reflecting the power of music through six words – inspire protest and expression – and it’s a melodic piece of mainly ensemble work with the emphasis on composition and arrangement But it also incorporates imaginative solos by each musician from the thoughtful and contemplative (The Long Wait For Justice and Remembering Roy) whilst cutting loose with greater abandon on Dreams Of Goliath There are fine excursions from pianist Matt Endahl but it’s the front line of the Barbers and trumpeter Pharez Whitted that attracts attention showing they can mix the rough and forceful equally with the lyrical and expressive at times bringing to mind the enduring influence of Wayne Shorter As a bonus there’s an extra eight-minute track giving each player several bars soloing with ensemble support Trumpeter Michael Sarian and his quartet recorded this live at Cliff Bell’s a Detroit art-deco styled club built in 1935 with proceeds from Bell’s lucrative years running speakeasies during prohibition Some of the tracks have an Armenian influence running through on Yis Ku Ghimetn Chim Gidi (translated as I Don’t Know Your True Meaning a poem by 18th century Armenian poet Sayat Nova) and Glass Mountain relating to the Ethiopian ruler who saved a group of Armenian musicians who had fled genocide The more contemplative Aurora is a meditation on the killings in the town in Illinois and no doubt a reflection on the manifest imprudence of American gun laws there are similarities of style and approach to Enrico Rava a direct tribute to Rava’s 1975 recording The Pilgrim And The Stars (ECM) This could be described as mid-60s Miles Davis with free-form elements and this mixture is in the final piece a blues-orientated number with tempo changes in which the rhythm section continues its thoughtful bassist Martin Kenney and drummer Nathan Ellman-Bell all deliver worthwhile contributions throughout the album Cologne and with a very different approach to improvisation saxophonist John Butcher and drummer Chris Corsano are all mainstays of European improvised music having played and recorded together over the last couple of years and this is a good reflection of their collaboration and interaction Butcher is possibly the most familiar to readers and he is well known for his variations of style as he ranges from delicate sparks through abrasive trills and rasps Nor is he averse to entering the lush lower register of Webster-land who opens his box of tricks to reveal a cornucopia of sounds – bowed and scraped strings sinewy to distort the sound; flurries of pops and stops; bent a bonding for the turbulence and a springboard for commotion In the past Butcher has shown his ornithological leanings Although on the surface there may be elements of chaos an underlying sense and structural building blocks keep the listener engrossed drips and floating disturbance of Hidden Bell and Gentle Wiring In 1971 I saw Thelonious Monk during the Giants of Jazz tour with a close friend He was the ideal companion as he had written articles He had made the point that as Monk had a horn-like tone it was not surprising that his influence should have been primarily on horn players underlining the idea with five tracks of pianoless trio in which bassist Luke Fowler and drummer Billy Pod help saxophonist and Monk devotee Dave O’Higgins explore the space and freedom Monk’s compositions give the horn player The other tracks have either a quartet or quintet effectively adding pianist Sean Fyfe and trumpeter Martin Shaw The results show the interpretive skill and dedication of the musicians well as they develop the themes and mix the simple and complex the title track Four In One and others are all here reworked and losing none of their originality although with less of the disjunctive pianistic surprise of their creator which Monk himself never recorded (his son but which appeared on Jackie McLean’s Blue Note album A Fickle Sonance as Five Will Get You Ten The story was that Clark had pocketed the music whilst at the flat of Baroness Pannonica de Koenigswarter and put the proceeds towards his addiction Later issues correct it to include Monk as co-writer This was an encouraging and uplifting end to the year All this monastic stimulation had me delving into the Monk shelf – the perfect antidote to the seasonal shopping mall sounds of Slade Lennon and Mariah Carey echoing in my head © Unless otherwise indicated, all content copyright Jazz Journal 1948-2025 Corsano Health is launching the company's CardioWatch EU-MDR certified patient monitoring bracelet with Cuffless Non-Invasive Blood Pressure at ESC in Amsterdam 2023 /PRNewswire/ -- Today, Corsano Health and marketing medical grade continuous health monitoring announces the addition of Cuffless Blood Pressure measurements to its advanced smart bracelet.  The CardioWatch 287-2 is a EU-MDR certified wireless remote monitoring intended for continuous collection of physiological data in home and healthcare settings Data is transmitted wirelessly from the device via the application or gateway to a server or health cloud where it is stored and made available for further analysis The Corsano Cuffless Non-Invasive Blood Pressure algorithm has been in development since 2019 based on arterial line and ABPM data recorded from over 500 patients The Corsano Blood Pressure algorithm was validated according to ISO 81060-2:2019 and the AAMI/ESH/ISO collaboration statement "A Universal Standard for the Validation of Blood Pressure Measuring Devices" 2018 EXERCISE and TREATMENT are ongoing to meet all ESH recommendations The research team of the Reinier de Graaf Hospital will present their validation of the Corsano Cuffless Non-Invasive Blood Pressure algorithm at the European Cardiology Congress August 28 "Corsano Health's CardioWatch 287-2 enables continuous monitoring of vital signs over extended periods with un-restricted access to raw data for AI and ML development This approach allows for early detection of any abnormalities as it captures fluctuations that may go unnoticed with spot measurements Continuous monitoring proves especially beneficial for managing chronic conditions like heart disease where automatic continuous monitoring can significantly improve patient outcomes," says Drs based in The Netherlands with offices in Switzerland is a leading wearable MedTech company developing producing and marketing medical smart monitoring devices designed to measure vital parameters 24/7 using wireless The Corsano brand name is derived from in corpore sano (in a healthy body) Corsano's CardioWatch 287 is an EU-MDR certified patient monitoring system that provides a simple and effective method for continuous monitoring of vital parameter measurements (i.e. More information at http://www.corsano.com Photo: https://mma.prnewswire.com/media/2189077/Corsano_CardioWatch.jpg Do not sell or share my personal information: say—and sometimes it veered into soundcape territory You could hear Orcutt singing and moaning along as they bashed out the tunes in the room capturing moments when his mouth realized where the music was going next before his fingers did Its energy and playfulness had you wishing for another collaboration Orcutt and Corsano return with a slightly different kind of record They recorded the album in 2020 during the pandemic so instead of raising a holy racket together in one space Corsano cut his drum parts on his own and then sent them to Orcutt who improvised while listening to what Corsano had laid down “I was watching the waveforms as I was recording so I could see when a crescendo was coming or when to bring it down.” Orcutt overdubbed an additional guitar relegating one to some notion of “rhythm” and another “lead,” though what you hear doesn’t match any conventional idea of that distinction Corsano’s free playing seems at all times to hover in the space between a steady beat and an ecstatic solo; he hits his kit with the same pace and force as their last outing And Orcutt’s guitars are less cutting and sharp with a warmer tone that rings and clangs while notes hang in the air as if we are hearing a recording of a giant wind chime left outside during a hurricane they make a rare kind of racket—music where the precise form is hard to apprehend while the obvious beauty comes pouring through On “Some Tennessee Jar,” Corsano pays particular attention to cymbals his hands falling on the metal in dense waves as Orcutt plays a sustained repeating figure on one guitar while the other climbs up and down the neck to outline a melody that is exuberant yet shaded with a darker atonality On “Thirteen Ways of Looking,” Orcutt creates a withering mass of bent notes sometimes lurching higher for a single piercing tone while his partner moves from dense pounding to light caresses on cymbals And on “Man Carrying Thing,” Orcutt’s dual guitars solo furiously either fusing into a single line or clashing dissonantly while Corsano makes his snare and toms sound like a brick of fireworks exploding This is one of the more uplifting records of experimental music in recent memory There’s something about how Orcutt and Corsano push each other that leads to work that pulses with the life force—these pieces bring to mind sunlight hitting a maple leaf Along with his 2019 solo album Odds Against Tomorrow Made Out of Sound makes an excellent introduction to the gorgeous and challenging work of Orcutt’s second act Catch up every Saturday with 10 of our best-reviewed albums of the week. Sign up for the 10 to Hear newsletter here. and CIO interviews of medium and large enterprises exclusively from Medical Tech Outlook Company Corsano Health produces and markets medical smart monitoring devices designed to measure vital parameters 24/7 using wireless the Corsano CardioWatch is an essential part of a cardiac arrhythmia screening system that can by providing a simple and effective method for continuous monitoring of the user’s heart rhythm help identify the risk of a heart attack in an early phase Sito Web: mythras.it Amministratore: Roberto Livio Mastronardi Descrizione: Mythras è un team di tecnici specializzati nell'assistenza tecnica su strumentazione IVD esperti nell'aiutare i responsabili di laboratorio a garantire la precisione l'accuratezza e la conformità dei loro strumenti È la scelta ideale per numerosi clienti e distributori al servizio delle loro complesse esigenze di assistenza tecnica e ricondizionamento della strumentazione IVD Citazione: “Siamo certificati ISO 9001:2015 per l'assistenza tecnica e il ricondizionamento della strumentazione analitica IVD.” I agree We use cookies on this website to enhance your user experience. By clicking any link on this page you are giving your consent for us to set cookies. More info We use cookies and similar technologies to enhance your experience on our website and to provide personalized content and advertisements By clicking "Accept," you agree to the use of these technologies as described below You can manage your choices or withdraw consent at any time by visiting our Privacy Policy page Essential Cookies: We use essential cookies to make our site work You may disable these by changing your browser settings but this may affect how the website functions Types of Personal Data Processed: We process personal data including unique identifiers and browsing behavior please refer to our Cookie and Privacy Policies Google Services: Please note that we use Google services such as Ad Manager and Google Analytics GA4 to improve our website's functionality and performance Cookies are small text files that are stored on your device (computer They allow the website to recognize your device and store certain information about your preferences or actions We use cookies and similar technologies for the following purposes: You have the option to accept or reject non-essential cookies when you first visit our website You can also manage your cookie preferences at any time by adjusting your browser settings or visiting our cookies consent form Most web browsers allow you to control cookies through their settings You can typically find these settings in the "Options" or "Preferences" menu of your browser Please note that disabling certain cookies may affect the functionality of our website if you would like to share the information in this article www.medicaltechoutlook.com/corsano-health All kinds of experimental music can be found on Bandcamp: free jazz If an artist is trying something new with an established form or inventing a new one completely there’s a good chance they’re doing it on Bandcamp Marc Masters picks some of the best releases from across this wide September’s selection includes a meeting of post-punk heavyweights and cello improvisations made to accompany burning buildings Bordreuil gradually increases the volume and intensity of her noises (made with cello and electronics) until her instruments sound as inflamed as the images she’s responding to It’s not just the crescendos that are great; every moment is marked by well-chosen sounds that create a 3-D sonic space meditative studio tracks filled with patient playing and loops that seem like they could echo forever but I’m most impressed by the way he uses high-toned notes to flirt with New Age dreaminess without losing a sense of being grounded—listen to the slow harp strums in the beginning of “Living in a World Where Things Are Much Too Big for Me” or the trebly bells throughout closer “Go Somewhere and Stay Nowhere.” The latter in particular could’ve gotten treacly but Shanley’s assured hand turns all the chimes and rings into something more substantial the trio sounds comfortable with each other from the get-go each player patiently leaving room for the other while holding nothing back The highlights come when all three crest into busy climaxes—take the all-out clatter of “I Looked in the Mirror Again” or the jangly grind of “Popeye vs Bluto”—but there’s no let up anywhere on Corsano Baiza Watt Trio Even the quietest moments ripple with charged conversation Asheville-based artist Lynn Fister used to make enchanting music under the name Aloonaluna. In recent years she’s adopted the moniker Farewell Phoenix and The Angels in These Fields is her first full-length under that name these tracks are recognizable for their ghostly tones and near-subliminal rhythms Tracks like the rising “Weaving a Blanket to Warm Your Dreams” and the moaning “Ritual of Ruin” meld frictive textures into waves as if her drones are gathering flotsam and jetsam as they pass “Rebirthday” and “Spectre Halo” are more abstract as Fister confidently trusts less tangible sounds to create their own harmonics 20-minute epic that displays the many moods Fister can evoke It’s easy to be hypnotized by Hocus the solo project of Lisbon-based musician João Almeida especially on this matter-of-factly titled set of live recordings as Almeida uses trumpet and electronics to cycle endlessly but it’s pretty sure to get your neurons firing—just try to trace the paths of whirrs and blasts on the 30-minute opening track “Cave 12 Geneva” and your brain will get some real exercise based around cutting bursts that at times sound like a fire detector struggling to survive Almeida’s total commitment to his cyclical sounds is evident; there’s no pause or breath in either of these two performances For many decades, Al Margolis has been a vital champion of the cassette underground, both through his Sound of Pig label/distributor and his musical project If, Bwana (an acronym for “It’s Funny but Margolis is a master of timing and texture and he can pull tension from the smallest sonic moments Part of this comes from his well-varied palette 2” utilizes what sounds like strings and metal objects to create a kind of ghostly jazz “Dec 2023 Toy Turntables” creates similar atmosphere with clicks and statics as if the humans of the first track have been replaced by machines Based in Nantes, France, the Orgone Percussion Ensemble explores contemporary percussion compositions, as they put it, “at the limit of the genre.” They’ve played works by John Cage, Karlheinz Stockhausen, Z’EV the group could easily make overly busy music but the tracks here are often about atmosphere with reverberations taking up as much space as the original sounds that generate them like “Résonance du bourgeon de ferrite,” all the dark echoes become subliminal as if the Ensemble is projecting fading images onto a wall already covered in shadows Jardins de m​é​tal doesn’t spend all its time off in the distance Take the 17-minute “Pétales Cuivrés,” a cascade of metal crashes so big and wide it’s hard to believe microphones were able to capture it all Based in Baltimore, Virginia Warwick is a visual and performance artist whose work is often playful and funny. On this recording of her trio at the excellent Baltimore record store Wax Atlas each of the rather short tracks shines with free thought and unfettered enthusiasm That’s not to say that Take Me to the Market is just a lovefest and the music behind her is just as given to lurching as sprinting These dichotomies are most powerful during “I’m Getting Very Frustrated,” which opens with a theremin-like whine and Warwick screeching “Sounds very good to me!” before launching into a bass-heavy mantra led by her hypnotic chants but her pieces are less demonstrations than impressions often smearing rhythms and repetitions into abstraction Check out closer “Circles,” which travels from early video game sounds to space transmissions to static cacophony By Ferruccio Martinotti Live at SuperDeluxe - Volume 1 by Rasmussen / Sakata / O'Rourke / Corsano is pleased to announce that Christine Del Corsano has joined the firm as their Chief Financial Officer Chief Executive Officer of Enavate Sciences and will oversee finance and operations for the firm and will partner with the executive team on corporate strategy Del Corsano has over 25 years of experience in finance and healthcare investment banking she was a Managing Director and Business Manager at Leerink Partners where she partnered with senior management to develop the strategic direction for the investment bank and was then instrumental in building the infrastructure and leading the operations for the business Del Corsano spent over 10 years at Merrill Lynch in a variety of finance and business management roles.  She began her career as a staff accountant at New York Life Insurance "Christine's deep and specialized experience managing health care finance accounting and operations makes her a great fit for our team as we continue to build and grow our business," said Mr "I look forward to working with Christine again and I believe that her insights into our business infrastructure needs and corporate strategy will be invaluable to us." and to be part of this very talented team," added Ms "Enavate has an extraordinary opportunity with Patient Square Capital and has built tremendous momentum with nine partner companies in the portfolio currently I am excited to collaborate with the team and contribute to the financial success and growth of the organization." This addition to the senior team marks an ongoing period of growth for Enavate and builds on the momentum of its previously announced hire of Sara Nayeem as Executive Vice President Media Contacts: Doug Allen/Zach Kouwe Dukas Linden Public Relations 646-722-6530 [email protected] In collaboration with Princess Máxima Centre and the company Corsano and with funding from the Dutch Fight cancer Foundation TU/e researchers are seeking a smart device solution to help children and adolescents and their families regulate the impulses to eat When cancer strikes the hypothalamus in the brain of a child or adolescent they can be left with a faulty hypothalamus the part of the brain that produces hormones to regulate body temperature these cancer survivors must learn to live with the condition and control their bodies and their impulses themselves TU/e researchers are developing a smart device to help monitor their bodies and improve their quality of life Children and young adults with a brain tumor in the hypothalamus have an excellent chance of surviving the disease they will be left with a hypothalamus that functions badly the hypothalamus regulates many bodily functions such as our day-night rhythm The absence of a solid connection between the hypothalamus and other brain areas can also affect our behavior and emotional balance adults dealing with this condition can benefit from lifestyle advice but there is a limit to their presence and watchfulness With this in mind, oncologist Hanneke van Santen at the Princess Máxima Centre contacted TU/e Industrial Design researcher Yuan Lu to explore how a smart device could improve the quality of life for families The Dutch Fight cancer Foundation funds this research through KWF Dutch Cancer Society the Fight cancer Foundation funds various research studies with the proceeds from their fundraising events this research is among seven studies being funded A project to help young individuals with a malfunctioning hypothalamus and their families could benefit many an associate professor of Systemic Change and Director of Education at the Department of Industrial Design plays a key role in the project and was very open to the project proposal when approached “When Hanneke van Santen of Princess Máxima Centre for Pediatric Oncology contacted me with the request to develop a smart device to help young patients suffering from a chronic affliction intrigued and glad to set up the research project with her It’s a problem that needs an urgent solution,” says the researcher Children with a tumor near the hypothalamus Yet the quality of life after treatment is often poor due to hormone imbalances These (former) patients experience disturbed feelings of hunger and thirst in collaboration with TU/e and Corsano Health wants to develop a smartwatch that can work as a kind of ‘external hypothalamus’ Lu and her colleagues understood that their pursuit of a solution would be limited given the requirements for performing clinical research studies Lu: “We knew we would first look at existing Corsano Health is a Dutch company involved in the project as the wearable device partner bringing the technology and a robust platform for collection of medically certified physiological parameters Hanneke already teamed up with them when initiating the project idea and this helped us to focus our search.” the group of patients with this condition is also not very large from a commercial viewpoint That makes developing an entirely new device too costly. As a result they opted to turn to existing technology as a foundation for their research PhD researcher Yu Zhang joined this research project at the end of 2023 under the supervision of Yuan Lu He set about getting to know his research topic with an extensive literature study “It was immediately clear that sodium levels in the blood are a critical factor to be monitored continuously to keep track of one’s fluid balance,” he explains “The fluid balance between water and electrolytes (such as sodium) is important to keep the body functioning optimally and to prevent dehydration or its direct opposite: water intoxication the sodium level was the first key parameter I wanted to incorporate in the smart device.” One of the first things that comes to mind when considering a smartwatch is that it could be suited to measure chemicals on the skin's surface this idea was the first big disappointment in the project the sodium level in your sweat does not have a strong enough correlation with the sodium level in your blood to be effectively used for this group of patients,” Zhang explains “The fluid that does bear a strong correlation is the liquid between the cells in your body To ensure that monitoring is as minimally invasive as possible we want to measure that fluid just one millimeter below the skin's surface.” “I will be looking into new and novel ways of measuring sodium levels in interstitial fluids because I have not encountered a standard method.” The reason that Zhang must turn to non-invasive or minimally invasive methods is that young patients have often experienced many invasive or painful procedures on the road to recovery it is imperative that the continuous monitoring which they may rely on for their life-long care is as comfortable and easy to wear and use as possible Zhang: “I’m inspired by the devices (ports) for continuous glucose measurements (CGM) Small devices that can be applied to the arm or stomach of diabetes patients to monitor their glucose levels The results can be checked with a smartphone app These devices eliminate the need for finger pricks to draw blood to measure glucose levels several times daily.” “I will explore this type of device as a potential solution but I also have some surprising alternatives in mind.” With his research in its early stages we’ll have to wait until he is a bit further down the research road to see which design might be the winning avenue of approach Yuan adds: “We have several different goals in the project and hope these produce interesting results and connect us to new technical partners to help us develop our ideas further I’m already impressed with the work done by Zhang so far and I’m curious to see where this research may take us.” It is exceptional to have a TU/e-led project selected by KWF as one of the seven projects to receive funding from the Fight Cancer campaign “We are thrilled about this unique honor,” says Lu As part of the efforts to raise further funding, KWF is organizing the Swim to Fight Cancer in Eindhoven which will take place on June 29th at the IJzeren Man and happens to be located across the road from the TU/e campus we’re not strong swimmers ourselves,” says Lu with a smile or perform other activities to support KWF research this year And thank you to everyone for helping to raise funding for such a great cause.” the KWF designates research projects that are eligible for funding from the Fight Cancer Foundation This foundation organizes various sporting activities through which participants raise money for that research all year round Would you like to contribute to the research in this article or one of the other wonderful projects By Guido Montegrandi Chris Corsano to Rattle the Walls at Goner The irrepressibly inventive drummer speaks on his solo work in anticipation of the show.. (Photo: Rudi Schuerewegen) 10:22 a.m Subscribe to our newsletter News Opinion Calendar Music Screens Arts+Culture Food+Drink Books Sports Fun Stuff SaveSave this storySaveLess than a minute into Brace Up!, the guitarist Bill Orcutt and drummer Chris Corsano call a temporary truce The pair have been locked in a tussle for 50 seconds with Orcutt jabbing a guitar tone like rusted but somehow sharpened steel violently into Corsano’s unrelenting cavalcade letting his amp whimper as Corsano dances inside the beat Someone in the studio yells out in giddy adoration Orcutt turning the sparring contest into a battle of attrition by strumming the same note until they both collapse as though slipping on a puddle of shared sweat Those hoots and hollers and temporary feelings of sudden exhaustion are minor but telling details throughout Brace Up! the studio debut for this long-running instrumental tandem Only two tracks here were captured in front of a crowd but they help make these dozen tangles—and the whole album really—feel like one meticulous live recording an onstage exhortation unmitigated by pre-production plans or post-production tweaks takes care to preserve that first-take feeling from the way Orcutt’s squeals and whoops suggest a crowd urging them ahead to the methodical arcs in momentum after a mid-album sequence of four explosive tracks After collaborating in a variety of settings for the last six years and change — mostly duo, but with an occasional extra ringer or two thrown in — guitarist Bill Orcutt (Harry Pussy) and drummer Chris Corsano (The Hated Music Duo, Icepick, Dissention) have brought out their first full-length studio LP, Brace Up!, on the guitarist’s Palilalia label Entering the studio proper does not necessarily mean that the rough-hewn veneer from previous live records and limited-edition cassettes is at all lost; on the contrary their scuzzy message remains both tight and far-reaching channeling everything from the Minutemen to Bob Thompson and Doug Snyder TMT writer Clifford Allen posed as referee in this improvised phone conference on October 28 I’m curious how the idea of playing together first appeared and the duo’s effect on your views of improvisation Bill Orcutt: I think it started when I emailed Chris to see if he was available to play; I got his email from [Roaratorio Records honcho] James Lindbloom and thought it would — I wanted to play electric and I wanted to play with a drummer and had the idea that playing with Chris would be the best thing Obviously Harry Pussy is one thing and the work with Chris is different that medium has changed for you and how you feel this project with Chris is centered BO: I only knew Chris’s work from YouTube but he was working in a lot of different spaces and was also playing the kind of non-jazz non-rock music that I thought I was playing It’s interesting that poking around YouTube is the way to introduce yourself to someone’s playing or introduce someone’s language into your own I guess the way we find people to collaborate with is changing and has changed over the last few decades but it seems like this was a very specific choice rather than meeting at a concert or through other connected ensembles and he said he was actually kinda busy and couldn’t do anything — CC: There was a specific date that I couldn’t do I said I was going to be in New York and asked if you’d be around and you weren’t Brace Up! by Chris Corsano & Bill Orcutt I assume you were aware of Bill’s work and of course knowing your history in duo performances in general — and I’m not gonna say I had all the records because that’s pretty tough to pull off And Adris [Hoyos] was huge for me; seeing her opened up a lot of doors You don’t want to do it exactly like the people you admire it was the group — so I wanted to play with Bill of course I don’t think I worry about it much now because it has developed but [I didn’t want it to be] a cover band of someone’s old thing I don’t even think about the formation to be honest; if it’s a duo or a trio but in a duo I might say there’s a lot of space to fill up or there’s a lot of space to play with I like this because I can dig into every note that Bill is playing for instance; I can hear it as long as I’m not too loud I can really concentrate on the music we’re making together As far as the language you’ve developed the landscape you’re working with now includes so much of the Great American Songbook and the jazz repertoire and takes from a lot of traditions in solo guitar I’m curious how that has been worked into an improvised duo formation BO: The process of working out those songs had a big influence on what I thought you could do with four strings I had a much bigger vocabulary of chords than before; I had a lot of melodies and cadences and little chord sequences that I learned that inevitably found their way into the duo Although we don’t really ever play any songs per se I might throw in the melody of “Lonely Woman” or something at certain points I would assume that as you work into these melodic snatches and forms it does probably make you think somewhat differently about orchestrating a duo or ensemble than you might otherwise you know; there were all these rules about what you couldn’t do — you couldn’t play chords convoluted rhythms or you could play the most moronically simple rhythm I’ve loosened up a lot of those rules though that’s still part of what I’m doing but I also got the freedom to do other stuff as well CC: Were those actual rules that were stated Particularly when we brought Dan [Hosker] into the band and I remember some really awkward sessions when we were trying to get started; he was making what would be perfectly good suggestions for another band we’re not going to do that.” There was a tense moment when he wasn’t returning my phone calls and I had to write a song out so the next time he showed up at rehearsal we’d have something to do together CC: Did you write a song out that broke some of those rules and it is called “Sick Again.” But yeah it was getting to be the point where I was just shooting down all his suggestions but I didn’t really have anything positive to contribute other than to say “Oh we can’t do that.” I had to come up with something we could do together and I managed to get him to come back to one rehearsal That built enough trust that we could sort of go on from there Having only listened to the records and never seen Harry Pussy when it was a going concern it seems to me like it was also — not to get too much into the past but there was a performative aspect that is different from what you are doing now It was almost performance art in its operation How did you decide to move into the studio for this project CC: We had a day off from our tour in Brussels and to call it a studio is a bit of a stretch but it was a place we’d played without people in it and they were kind enough to let us hang out was kind enough to show up and set up mics and he did a great job and he did a rough mix that we ended up using As far as “studio” — it was more than a Zoom [microphone] in the back of a room but we’d had a couple of blown-out recordings and we decided to try something with different fidelity to see what would come out of it Were you trying to get to a point in your work where you could make a studio record together or was it more of an afterthought in terms of how you are developing your sound and that it was natural to document it as such we’d put out some tapes and a live record and it was logical to put out something else You should be giving people something on tour so in my head there was no concept of building toward something and it’s released when you decide that this is something worth having people listen to having Christophe record and mix it moved the recording out of my hands and I could just focus on whether what I was doing was quality or not As you’ve now been working together for several years what kind of changes in your practice have you noticed either as you play together or separately BO: I find there have been changes in how I play; I don’t know specifically but across solo and duo I feel like — the last show we played in St I felt like we’d gotten to a place as a duo where looking at it with a somewhat selfish point of view Not that I ever stopped myself from doing what I want before it feels good and seems like it is working I think I’m a pretty open performer and not afraid to reveal myself I definitely have my own approach with its own logic and idiosyncrasies it’s all about the interaction with the other performers and I think people made a bigger deal and made it seem like you were putting out an ECM record or something but I felt like we should try something with a similar recording style It’s not just the physical playing that changes but you think about this stuff beyond the doing of it towards how it gets presented and maybe… it’s not like this is an answer to Bill’s solo record as in the expectations our small little world has I don’t feel like I develop much or regress Regression is like me listening to a lot of Hendrix in his last year and how much of Mitch Mitchell I can borrow (well I was thinking of maybe less well-known points of reference like Ray Russell and Alan Rushton There is a language of guitar and percussion duos each pairing very different from one another and it’s quite an area to fit yourself into as well CC: That comes up a lot; I’ll hear comparisons people will bring it up — if I’m playing with a sax player and say that musician does something that’s very Coltrane-ish it not only calls up just Interstellar Space but also every Coltrane record we may have heard It’s even not just setting yourself up in the history of just two instruments because I think that’s kind of limited Bill’s killing it now — what other guitarists do I like that are also killing it and a band doesn’t require 3 or 4 or 7 people It is what resources you have and the intent CC: And a good band doesn’t sound like — The Meters don’t sound like four individuals doing their own thing That rhythm section — it’s two people You can try and sorta get into that without thinking of strict personnel and that level of technicality Sometimes you can channel another instrument that isn’t actually there and it — that’s just music and sound BO: I was thinking of — and I think I told Chris this in an email — but I was thinking of the Minutemen listening to the tapes after we recorded it CC: [George] Hurley — when I was a kid trying to learn his things because he was hooking up with [Mike] Watt so hardcore that if you just play Hurley’s beats you could even solo his tracks on those recordings and they would sound amazing there’s a chemical thing that happens between the bass and the drums — in the rhythm section on that level you’ll never be able to reproduce it yourself it makes you play more melodically than you would’ve if you just were trying to learn the drum part on paper taking the Minutemen thread a little bit further there’s so much blues and folk music that enters into their lexicon that it is very apt as a signpost your playing certainly looks to those areas quite often BO: It’s also a great Telecaster band and a lot of songs that are in the one- to two-minute range which kinda surprised me based on having seen you guys perform live and engage things that are more suite-like and move in a different way BO: I don’t know if you ever got into Indent or any of those live Cecil Taylor records he’ll come out and do a series of encores and each encore is a bit shorter [laughs] there’s like a 30 second one at the end I always thought if you did a whole concert of those it would be fun CC: If you play a show and they’re all really short songs and of course hardcore bands do that all the time but having people clap after each one… you can make anything work live sometimes the audience can get tired of clapping all the time — oh we actually didn’t do any short songs and it came out really well I thought — those were some of the best things because they forced — recording is a different thing and I can get really should we do another one?” If you do a short blast you’re a little more conscious of the two things that came before so it forces you to — forces me to get into some weirder spots faster by not relying on a big buildup It’s like doing intervals or something like I think of athletics and having to do these short bursts of intense activity and then a short rest are sometimes brought together in a way that doesn’t do either a great service but it does make me think of that kind operation and that readiness and level of synapse training For someone who has been in practice for a number of decades but it’s also probably quite a challenge as well you don’t have time to ease up to an idea You kinda have to start it with a specific idea in mind — for me at least CC: It’s almost like compositionally more challenging than physically because the brain’s kind of a muscle anyway You can’t be thinking long — it’s just like from the first note we do or the second note because the first note is random if we’re starting at the same time but then I hear what Bill’s note is and I’m like this is it.” If you know it’s going to be a short thing then the focus is maybe more akin to a sprinter: every step has to be as hard and as purposeful as possible I’m curious whether there’s any thought to developing the duo in a structurally different way in the future either adding personnel again or stretching the current machinations as far as they will go BO: I’m just trying to get through what we’ve got now we did do those tapes of the drums run through Bill’s programming CC: That’s definitely an expansion of what we’re doing BO: That’s actually some of my favorite — I told Chris this already but I think one of those isn’t just the best thing we’ve done [laughs] It’s called Gucci Tops and Bottoms But there’s something about the notion of development but I don’t see it — I guess I’m not looking to have things progress to something greater than what it already is we’ll get there eventually,” you know It may be different and perhaps there are more facets of the thing to check out but I wouldn’t want to lose anything with anything or any kind of band I’ve been in: Is it still as fierce or fucked up as it was the first time when we didn’t know each other as well I don’t want to lose that because you can polish it and some things do get easier and it does feel like we can go anywhere but it does feel like we can go in any direction Louis thing [at New Music Circle] was with Okkyung and Joe McPhee but both he and Bill spring “Lonely Woman” on me which is the toughest song to play when you don’t have a bassist because you need [Charlie] Haden and fast drums That’s always a mind-fuck and I love it I like this thing of being not too comfortable because there could always be something new I remember this feeling,” and for me it’s not really about developing it further More about: Bill Orcutt, Chris Corsano This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page Filippo Bartolotta delves into how Terenzuola’s Fosso di Corsano offers an unusually “serious” expression of Vermentino by straddling the terroirs of Liguria and Tuscany There’s some wines one has been having a longer relationship than others and Terenzuola Vermentino Fosso di Corsano is one of them Maybe because it’s a wine born in Fosdinovo the mystical border region of Lunigiana which blurs the boundaries between Tuscany and Liguria leaving the travellers always uncertain whether his foot steps are walking in one or the other region Or it is maybe because 15 years ago nobody really cared about Vermentino as a “serious” wine and I felt Terenzuola’s was a delicious outcast: an underdog variety emphasising the mineral and iodine traits derived from the sandy and schisty soil overlooking the Ligurian sea but banking on the skeleton of the Tuscan geological matrix While enjoying this wine after a long day of hiking on these beautiful and forgotten seaside mountain I remember thinking how this vibrant juice wasn’t just the perfect companion with my friends and the local testaroli pasta al pesto Fosso di Corsano Vermentino Colli di Luni is the essence of the Ligurian sea breeze with that iodine a hyper-focused citrus fruit character with wild fennel and dry Mediterranean herbs Ivan Giuliani is now the owner of 22 hectares of vines which stretch from the Colli di Luni towards the Candia hills right under the long shade of the (Michelangelo’s) marble caves of Massa and Carrara all the way to the heroical terraces of Cinque Terre Fosso di Corsano Vermentino comes from 5ha split in 16 parcels located between 250 and 450 metres above sea level and the must goes though a short cold maceration before fermentation in steel tanks where it spends 7-8 months on its fine lees Andriano and Terlan: taking Alto Adige’s white wines to new heights We are using cookies to give you the best experience on our website You can find out more about which cookies we are using or switch them off in settings This website uses cookies so that we can provide you with the best user experience possible Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings we will not be able to save your preferences This means that every time you visit this website you will need to enable or disable cookies again Chris Corsano makes himself at home across multiple scenes and sound-worlds from rock to noise to free-jazz to ________ He’s played with a massive range of musicians He’s also in a little trio called Rangda with Sir Richard Bishop and Ben Chasny and works frequently with Mick Flower in the Flower-Corsano Duo Corsano’s dropped some astounding and gonzo solo albums — 2006’s The Young Cricketer and 2009’s Another Dull Dawn — and has recently been spotted working with free-jazz legends like Paul Dunmall and Joe McPhee Not only is he out collaborating with whoever’s up for the challenge but he’s constantly drifting across the globe searching for new sounds and kicking up noise at international festivals and in mysterious galleries he’s not an easy dude to catch up with we tied him up for an hour and forced him to talk to us about what it’s like to be one of the most exciting drummers making music today You played on a track on guitarist Glenn Jones’ new album called “The Orca Grand Cement Factory At Victorville.” I interviewed Jones a few months ago and he said the following about you: “Chris Corsano — nothing musical is alien to him.” How do you feel about that He can cut through things really well — he’s clear He can talk about music very eloquently and also play the hell out of a guitar I don’t know what he was thinking this time [Laughs] There are plenty of musical things that are alien to me He also mentioned that the first time you met each other was at the Brattleboro Free Folk Festival in 2003 How have you seen that scene evolve since those early days It was a defining moment for me and many others and the DeStijl/Freedom From Festival and the No Fun Festivals a few years later they all started to feel like family reunions and new members of the family started to come in one way or another Despite the bastardization of “free folk” into “freak folk,” all the people who were there are still solid but it seems like the music comes more from within their own cracked heads. [Laughs] “I look at drums as tools for when there’s a sound in my head that I want to get out or if there’s somebody who’s producing sounds When I’m really excited about the person I’m playing with there’s a creative energy that I need to release.” I’ve heard some drummers talk about how they approach their kit as a tool I don’t subscribe to the idea of “drums as a part of the body.” That’s more of a metaphor than an actuality It would be weird to think of those drum sets as a part of my body that just changed every night I look at drums as tools for when there’s a sound in my head that I want to get out there’s a creative energy that I need to release Or maybe there will just be an action that my arms want to do and there are some things with drums I can’t do I wish I could play so fast that it would be only tones maybe then the “drum as part of the body” metaphor works since we’re always dealing with these limitations whether of the body or of the drums themselves They’re just these heavy things that I lug around because they’re the best instrument I’ve found so far to make the kind of music I want to make You’ve incorporated a lot of small utensils and random objects into your kit in the past What have you been working with recently I’ve been getting more into contact mics recently and I’ve been using pieces of wood on the skins stretching them across the drum and blowing them I’ve been tinkering mostly with old setups like a sax mouthpiece into a funnel on the skins with a circular breathing drone I’ve been refining some things that never really sounded quite right to me maybe I’ve been hitting a few dead-ends recently There was a period when I was arriving at a lot of new stuff but these days I’ve been more focused on honing what I already have Maybe it’s like a writer’s block I’ve seen you perform twice this year both times in Philadelphia: One was a trio with Nate Wooley and C These required you to adapt to two very different performance situations Actually… that reminds me that I just totally fucking lied to you about that last question I did this whole elaborate thing with contact mics and strings and an amplified fork and there’s a whole bunch of new shit I’ve been using recently [Laughs] I forget what I’m doing sometimes I don’t normally think about what I’m using until someone asks me Like when people go to work and do their daily thing… this is just what I do None of it seems important other than the overall goal of making music that I enjoy I have an idea of what the people I’ll be playing with are going to sound like people will notice that you’re being insensitive to what’s happening around you The thing with Andy required much more of an adaptation and there were some technical difficulties so we couldn’t do a run through before the show As you were hearing that dialogue for the first time I had seen the visuals and could sort of guess what the content was The score wasn’t supposed to be as improvised as it was the song titles created this narrative of advice to a young I found this book in a thrift shop in the UK and it fit really well with a couple of metaphors — maybe no one else picked up on them — and I used an image for the cover art and noticed that with all the other countries where I could move England is really not that much different — same language But doing the Cricketer record was like me joking around to myself and being in this new spot and feeling alienated from the city Cricket seemed ultra-English and the book was written by this old-timer — the guy on the cover is actually the writer’s father It was filled with all of this kinda old-fogey advice like “We need to keep the spirit of cricket alive,” and when you take that out of the context I’m serious about what I’m doing but I like including at least a vague sense of humor I think it makes this sorta very serious music a bit easier to ingest Music without lyrics doesn’t necessarily have some kind of meaning it’s trying to communicate other than the music so then with the titles you have this open text that you can play around with Cricketer was something like a concept record except there’s no concept other than the music Last year you put out a really raw and raging record with saxophonist Virginia Genta called Live In Lisbon Virginia sent me the recordings and was like “Hey it sounds really dirty and raw and we shouldn’t.” She wrote back and said “I think you’re wrong.” I gave a copy of the recording to my friend Bill Nace and asked him what he thought and he gave it a thumbs up I trusted his judgment over mine. [Laughs] It was on the rooftop of Gallery ZDB in Lisbon but it was summer so we decided to do it on the roof It was in this older section of Lisbon where the buildings are really jammed next to each other so I could look out and see some old guy in his kitchen wearing a sleeveless T-Shirt with stains all over it hanging out It was a fun show because the space wasn’t a dark club but I thought the drums might be too loud You recently did a residency at Incubate Festival in the Netherlands I played three nights in a row with people whose music I really love and the third was a duo with Mats Gustafsson The first night actually ended in a trio with me I would’ve like to do more of that: bring together two people who hadn’t played together before and who wouldn’t played together otherwise They both seem to travel in different circles The stuff Dennis is doing with vocals and tapes fit in really well with what Christine’s doing but because they get looked at a certain way they end up playing different gigs and live in different worlds I’ve always been lucky to hop back and forth between many different worlds which is what I always liked about the Free Folk Fest They’d bring together all these things even though everyone didn’t sound the same if you listen to all the late-’70s New York bands like Teenage Jesus and DNA and then people called it No-Wave and it became a thing so it’s up to musicians to make the connections and play with each other but as soon as a writer writes something about music readers take it really seriously and 10 years later someone reads it and they think that’s how it was Musicians also can get lazy and they read something and think this is how I really am,” or “This is how that person is.” I’ve found that the expectations I have of someone from some particular scene are always imploded the moment I play with them Everyone’s eager to get out of their skin and do something different Once you start cross-pollinating with new people I wish I did more of that at Incubate “Virginia sent me the recordings and was like ‘Hey it sounds really dirty and raw and we shouldn’t.’ She wrote back and said ‘I think you’re wrong.’” Of Christine Sehanoui’s recorded material I’ve heard and Mats Gustafsson often goes really hard How was it improvising with these two different stylists I think Christine’s responsible for the loudest sound I’ve ever heard made with a saxophone and one of them is that she can cut through air like a knife but he can also be really detailed and delicate when he wants to be Playing with someone really helps me see the entirety of their palette as opposed to listening to them on a record but it often happens at different volume levels Christine’s like a human synthesizer so I was just thinking about what I could do to complement that I was using a sax mouthpiece and a piece of metal pulsing against the snare skin I got to some places that I’d never reached before and that was totally because of her doing these other long tones and intense sounds I heard you also recently played in trio with Alan Bishop and Bill Orcutt Bill played electric guitar and Alan was on electric bass I hadn’t seen Orcutt since his Harry Pussy days as soon as you try to crystallize what they’re playing with words you’re already leaving out 50 percent of what’s really going on Music has more things going on than can be put into words and expressed in conversation If we’re both talking at the same time A new Flower-Corsano record’s coming up soon, right The new one with Mick Flower and Matt Heyner’s off to the pressing plant and it should come out in December when Mick and I are doing a short tour in the UK opening for Group Inerane We had these recordings from 2009 at Issue Project Room when Mick and I played with Matt who’s also in Test and No-Neck Blues Band He brought his electric bass and did some percussion but it changes slowly so it felt really good to have Matt be the driving force So you’re not always conscious on the records what Matt’s doing and so when I mixed the record I just cranked his bass It’s not just another Flower-Corsano thing Matt’s more like our special guest leader on this one In the past few years a lot of this non-Western music that used to be really esoteric is blowing up even on normally sheltered websites like NPR Coming from a punk and hardcore background normally when someone shows up on NPR it’s a sign that a terrible thing has happened [Laughs] Maybe there are some good things happening in the world that bubble up to the surface so people like NPR cover it Alan Bishop and Sublime Frequencies are really responsible for that when it comes to bands like Group Inerane They spend their whole lives chasing this stuff down I think it’s cool that more people get to hear it the world-music stuff was normally softer sounds that translated more easily to an NPR audience But if groups like Inerane and Group Bombino are gonna toughen the skin of your average NPR listener “I wondered if this super-surreal exposure I got by doing the Björk tour would bring out some new people and in the end I really don’t care.” Do you think a day will come where your solo music streams on NPR but it only really takes one crazy person at a radio station or wherever to think that it’s a good idea and con their bosses into thinking it’s legit I wondered what would happen after I played on the Björk tour I wondered if it would change who came out to shows When I signed up for that tour I had already done some solo tours and I realized that it was just the same people out in the audience who looked like me — same age I was just playing for myself all the time and I started to wonder if that made my music less valid since the only people who seemed to relate to it were those who had the same history as me I’m not convinced that you have to have the widest audience possible but it’s nice to do something that can appeal to a diverse group of people without having to compromise your work I wondered if this super-surreal exposure I got by doing the Björk tour would bring out some new people and in the end I really don’t care If something weird happened and my solo stuff was on NPR I think it would just be a blip on the radar… That’s where I’ve gotten all my inspiration from anyway Things are the way they should be for what I’m doing and I’m not looking to change anything you’re sorta traversing between many different worlds…shifting between scenes and frequently engaging with new collaborators and seeking new sounds it makes me feel good to continue musical relationships with people like Mick I want to create something that’s new for both of us who needs all these goddamn records?” when I look at how many records I’ve done Sometimes I don’t think anybody should have to buy all of them I want each one to be different and good enough so there’s a reason why a bunch of plastic was used to make them and people actually parted with their money to get them or even to part with disc space to illegally download them so I want any attention or kindness thrown my way to be warranted by always creating something new and not making the same record over and over again There needs to be new sounds every time or there’s no point “We’re both working moms with over-scheduled children so we’re on the move constantly,” say the founders of Soak “We saw the need for a comfortable yet stylish shoe that was a step up from flip-flops.” March 18, 2015 • People, Shopping Update: Comments have been turned off due to spam Tribeca Citizen on Instagram Frank Corsano passed away peacefully on Thursday and resided in Montvale for the last 49 years and dedicated man who cared deeply for his family A mass was held to celebrate his life on Saturday at Our Lady of Mercy Church located in Park Ridge Memorial donations can be made to the American Cancer Society Former Montvale Catholic School Teacher Alleges Anti-Semitism in Lawsuit All content on this website is the property of The Press Group and is protected by copyright. Reproduction, distribution, or use of any material without prior written permission is strictly prohibited, unless otherwise stated. To report any misuse, please contact us at PascackPress@ThePressGroup.net Sponsored Corsano Health Patient-friendly real-time remote monitoring system Current solutions for remote health monitoring can be seen as invasive by patients and mostly do single variant intermittent tracking FDA clearance brings one of Europe’s most advanced real-time continuous remote monitoring systems to the US market for the first time A patient-friendly multi-sensor bracelet which helps to address some of the key challenges around the adoption of remote patient monitoring systems (RPM) has been given clearance by the United States Food and Drug Administration (FDA) Corsano Health’s CardioWatch System is an advanced real-time monitoring system which consists of a bracelet worn by an adult patient (at least 22 years old) and a mobile app that can operate in either patient or healthcare professional (HCP) mode The system collects continuous vital signs data and makes it available to patients healthcare providers and developers for screening Vital signs that can be monitored include Pulse Rate Encrypted data is transmitted from the system to a secure health cloud where it is stored and made available for further analysis including for AI and ML applications development FDA clearance is significant for a system which is already CE-MDR medically certified in Europe It has played a role in more than 100 clinical trials and research projects including the development of cardiovascular The results of these trials have been published in medical publications such as The Lancet "This achievement is a major milestone for Corsano Health in its mission to provide continuous patient monitoring “We take pride in delivering a proven and reliable digital health system that accelerates clinical trials and generates unparalleled insights to develop life-saving therapies faster.” According to analyst Straits Research, RPM and the increasing prevalence of chronic conditions are the main drivers of a global patient monitoring market which is growing by 7.3% annually The analyst suggests that RPM’s capacity to lower costs and enhance outcomes is “transforming” healthcare provision in the US and insights that can be captured in real-time to provide a more streamlined patient experience are also widely seen as potential benefits of RPM implementation integration remains an important challenge for developers and digital health leaders as they seek to enable and realise those benefits The Corsano CardioWatch System includes an API and Software Development Kit (SDK) which allows providers of RPM platforms and researchers to build interfaces between the device and their own systems The system is also integrated with third-party devices for displaying and monitoring physiological signs including spot monitoring of non-invasive blood pressure (NIBP) and continuous monitoring of axillary temperature Other challenges for RPM adoption include patient participation in the system and adherence to its use and the burden of data management and interpretation which new systems can impose on healthcare professionals the CardioWatch System can assist with the creation of personalised treatment plans which help patients to feel more motivated to participate in their own care improving outcomes and providing a better patient experience The bracelet is intended for use in professional healthcare facilities such as hospitals or skilled nursing facilities or at home by trained healthcare professionals the system enables in-house monitoring – for example notifying them when physiological data falls outside selected parameters while freeing them from manual monitoring tasks Find out more at Corsano Health.  More Whitepapers More Webinars © 2025 Healthcare IT News is a publication of HIMSS Media A former lawyer finds fulfillment as a Richmond-based children’s entertainer | Photos by Jay Paul Tony Corsano gives a TonyTunes performance at Carytown’s Cartwheels & Coffee in December Tony Corsano thumps a steady rhythm on his conga drum as a dozen wriggling toddlers enthusiastically flail their bodies dancing with the blissful abandon of the very young bound by the spell Corsano has cast with his song “That’s good listening,” he encourages them before picking up the beat again “Play When the Drum Says Play” is one of the songs Corsano has written for TonyTunes a roving musical program for children ages 1 to 5 Corsano’s 30-minute set is packed with coordinated motion It’s not exactly the career you would expect from a Fordham-trained former corporate lawyer but Corsano says he was never meant to spend years filing motions and preparing briefings in a posh New York office When he says he “lost his way,” he means by going to law school and practicing law “but it became apparent to me early on that you had to live a certain lifestyle That wasn’t who I was.” Finding his way after a self-described “midlife crisis” meant taking a step back from his family and leaving his New York law firm in an attempt to get back to who he really was: a musician at heart He rented a practice space in Manhattan and lived there with the no-wave/punk act James Chance and the Contortions But life on tour was exhausting, and Corsano quickly saw that being on the road was equally unsuited for his preferred lifestyle, one in which he could be present for his wife and daughter. That’s when he began to gravitate toward children’s music. As a kid growing up in the Bronx, Corsano had spent countless hours with best friend Rob McGrath in the home of Bob McGrath I lived almost every week for a day or two in the McGrath house,” Corsano says because [Bob] was always so happy.” Corsano saw McGrath find success with music and enjoy his life while doing so “I watched him make a very successful career doing music with kids,” he remembers “When I was burning out on the drummer stuff that started to resonate.” He started “The Family Jam,” a precursor to TonyTunes Corsano performs weekly at Cartwheels & Coffee and Perk in addition to other public and private gigs saw that rising rents in Brooklyn were making it nearly impossible to stay put after two trips to Richmond — chosen for its location affordability and culture — they picked up and relocated to Bon Air a more suitably flexible but nonetheless full-time job Corsano performs weekly at Cartwheels & Coffee in Carytown (free with admission) and Perk in addition to monthly gigs at cultural arts centers TonyTunes is built to entertain a variety of audiences from babes in arms to grown-ups at yoga retreats “It’s about putting an instrument in someone’s hand and energizing them.” At 60 years old Corsano is confident in his unique approach with alpha energy that wakes people up and makes them move: “From the very beginning I knew I didn’t have the warm-and-fuzzy thing verbal and aural — to create a multisensory experience that’s fast-paced and educational I leave that to Raffi and everybody else,” Corsano notes “My big complaint about a lot of my peers is that some of this stuff is too heady to me toddlers and their caregivers sit with their elbows touching their puffy winter coats shuffling against one another in the rectangular play space Corsano calls each child by name in a song that encourages everyone to say “Hello!” to one another and the audiences are more appreciative,” he says because I’ve learned if you lose an audience Never miss a Sunday Story: Sign up for the newsletter, and we’ll drop a fresh read into your inbox at the start of each week. To keep up with the latest posts search for the hashtag #SundayStory on Twitter and Facebook With a galaxy of collaborators orbiting the molten rock of Corsano it’s only a matter of time before collaborators collide and create a new supernova those collaborators are Paul Flaherty and Mette Rasmussen saxophone wizards born in different countries and from different generations but both committed to ripping a hole in your pre-conceived ideas about how un-cool saxophones are The five tracks on Star-Spangled Voltage will serve to remind you how lucky we are to have the gift that keeps on giving that is the Corsano galaxy More about: Chris Corsano, Mette Rasmussen, Paul Flaherty The veteran musicians talk their studio debut John Singer Sargent’s epic mural “The Triumph of Religion” at the Boston Public Library includes a panel titled “Church.” In it a young woman symbolizing the Christian church holds a host and chalice She’s also a pietà; the dead Christ slumps between her knees this particular painting had deep personal resonance for Sargent His niece Rose-Marie Ormond had been killed at 24 in a German bombing of a Paris church the year before and the figure in “Church” wears a wimple and an army great coat both worn by nurses in World War I-era France “John Singer Sargent and His Muse: Painting Love and Loss” by Karen Corsano and Daniel Williman intricately pieces together the stories of Sargent scholar-turned-soldier Robert André-Michel Corsano and Williman paint detailed portraits of Rose-Marie and Robert’s families While some of the background feels superfluous (such as Robert’s grandparents’ lengthy sojourn in Hawaii) much of it feeds right into a story inexorably altered by war The young lovers were connected before they were born reviewed Sargent’s notorious “Madame X” in the 1884 Paris Salon He praised Sargent’s “audacious work and his original talent.” Robert was born that fall the year Sargent contracted to create “The Triumph of Religion.” His work on the mural which he saw (along with those at the Museum of Fine Arts and Harvard’s Widener Library) as the pinnacle of his career But Corsano and Williman put Rose-Marie and Robert at its heart; their love story and their unabashed idealism and sacrifice drive the narrative He hosted summer house parties in the Alps His paintings of Rose-Marie from those outings portray a girl quick to laugh The watercolor “Simplon Pass: Reading,” depicting a reclining Rose-Marie staring at us from behind a woman with a parasol was a signature image in last fall’s “John Singer Sargent Watercolors” exhibition at the MFA Robert and Rose-Marie come across in their own words as passionately devoted to cause and country she took up work at an infirmary for blind soldiers she attended a concert of 16th-century motets at the Church of St A high-powered missile tore into the church and killed nearly 90 people he accepted a British commission to paint the war “Gassed,” depicts a line of blinded Tommies stumbling forward he had “The Triumph of Religion” to complete Corsano and Williman affectingly describe how Sargent’s losses infused It’s a wrenching story about a young couple largely lost to history whose lives and deaths touched the visions of a great American artist Cate McQuaid can be reached at catemcquaid@gmail.com. Follow her on Twitter @cmcq. Home Delivery Gift Subscriptions Log In Manage My Account Customer Service Delivery Issues Feedback News Tips Help & FAQs Staff List Advertise Newsletters View the ePaper Order Back Issues News in Education Search the Archives Privacy Policy Terms of Service Terms of Purchase Work at Boston Globe Media Internship Program Co-op Program Do Not Sell My Personal Information The tiny bar known as The Sunset Tavern has always played host to the misfits of the underground; musicians and artists so tired of being shoved into the small niche of genre and style that they continually push back despite the fact they’ll never be able to shake the labels we give as place-holding descriptors Thankfully the four individuals who graced the stage at The Sunset on Sept 12 don’t give two shits about how their albums are categorized by journos and record stores; they just want to make great music And make great music they did. I entered the venue just in time to catch the beginning caterwauls of Wally Shoup’s saxophone being flanked by Chris Corsano’s machine-gun rounds of snare and toms Corsano has a reputation for being good accoutrement to any skilled saxophonist honing his skills with legends the globe over (Paul Flaherty The dynamic between the grayed Shoup and the baby-faced Corsano was far more explosive than that of past Corsano jazz duos though it was Shoup who was allowed to take centerstage with a blend of jerky bellows and drawn-out blows Shoup’s execution changes from minute to minute like a mood ring frequently changing colors to reflect internal shifts Corsano’s ability to gauge those rapid shifts and follow suit is a gift few rhythm musicians have but it drew the interest of a scattered crowd cowering in every nook of the small but somehow roomy club the crowd was treated to the main event: the unveiling of a new supergroup consisting of friends Sir Richard Bishop (Sun City Girls) The online marquee promised a night of free-form jazz but the trio of Bishop/Chasny/Corsano weren’t about to remotely hit a jazz note launching into a skronk-filled seizure of psychedelia and classic rock Bishop’s Middle Eastern influences were absent Chasny’s folk tendencies replaced by angry spasms of punchy guitar and Corsano’s earlier restraint tossed aside as his arms became the envy of Stretch Armstrong the newly minted group switched between early '80s no-wave spurred by the likes of Teenage Jesus and Sonic Youth and drum smack was pure rock and roll ooze Bishop and Chasny played with an old abandon once familiar to '70s arena rock though the glossy production and slick stage show was replaced by the blood and guts of a genre that has been quartermained in every direction the past 30 years I am grateful to be part of the Harrington School where talented faculty and staff and engaged students make it a special place to work I am thankful for the opportunities the school provides It was a challenging academic year for our faculty Take a look at the exciting research and creative work being done by our faculty and the awards won by our students and alumni and friends’ support allowed us to offer professional development opportunities accepted a lecturer position with the Communications Department last month I’m glad our students will be able to learn from her Several of our long-time faculty retired last month; others got promoted I look forward to welcoming you to the newly renovated Ranger Hall A grand reopening ceremony is planned for October 21st and more information will be sent in August Reflecting on my first year as Associate Director of the Harrington School I am so glad we were able to safely return to campus and thrive as a community The excitement felt in August at the Coffee on the Quad new students event carried throughout the year and finished strong with 178 students receiving Academic Honors at the Harrington Pre-Commencement Ceremony students were guided through their introduction to college by RAMs networked with alumni and members of the Executive Advisory Board and graduated the Rhody way with a return to the quad as you will see in more detail as you peruse our newsletter.  I will be working to bring the new Film Production Lab online scheduling a Harrington-wide career fair for the fall and developing experiential learning opportunities for the year ahead I look forward to putting these plans into action with all of you in September.  Copyright © 2025 University of Rhode Island | University of Rhode Island URI is an equal opportunity employer committed to the principles of affirmative action