Future Stride

The sound of stride piano vividly evokes scenes from the past: the roaring nightclubs of 1920s Harlem, the raucous birth pangs of jazz’s nascent years, the gymnastic burlesques of risk-taking silent movie madcaps.

The sound of stride piano vividly evokes scenes from the past: the roaring nightclubs of 1920s Harlem, the raucous birth pangs of jazz's nascent years, the gymnastic burlesques of risk-taking silent movie madcaps. But in the music of pianist/composer Emmet Cohen, the past is always present, if not venturing with sly turns into an open-eared future as we enter into a new iteration of the roaring 20s.On 'Future Stride', Cohen revisits one of the music's earliest forms without a trace of quaintness or throwback pastiche by meticulously covering the genre's lexicon spanning the past century and melding its context with "modern" music. He instead finds the immediacy in a stylistic approach that can speak volumes to modern listeners open to recognising its thrilling vitality.Though he's made a point of connecting with masters from the past throughout his still-young career, Cohen pointedly invites a group of his peers to realize this project, including his longtime rhythm section partners, bassist Russell Hall and drummer Kyle Poole, along with two of modern jazz's most progressive voices, trumpeter Marquis Hill and saxophonist Melissa Aldana.

Over the past two decades, The Album Leaf’s Jimmy LaValle has known music as a daily pursuit. Each morning he enters his studio with a disciplined work ethic, balancing concrete objectives with the open-ended intention of simply writing something. On top of six solo albums and myriad other releases, the routine has amassed a vast library of experiments; he gravitates back to some, tinkering, building, refining, and putting aside again in a cycle of constant production. He last released a full-length album in 2016; NPR praised Between Waves, noting the “cinematic sprawl… an evocation of drama, loss and fraught emotional atmosphere,” and it’s no surprise in the time since LaValle has become prolific in the film scoring space.

Quentin Angus was described by critics as "Lord of the strings"– The Age (Michael Dwyer), "The Future of Jazz Composition"– Paul Williams (ASCAP), and "Exuberant, richly melodic and smartly arranged"– Richard Kamins (Culture Creature), Angus has been leaving audiences in awe around the world with performances in Holland, Belgium, Romania, Switzerland, Turkey, New Zealand, Australia and the United States.

Quentin Angus was described by critics as "Lord of the strings"– The Age (Michael Dwyer), "The Future of Jazz Composition"– Paul Williams (ASCAP), and "Exuberant, richly melodic and smartly arranged"– Richard Kamins (Culture Creature), Angus has been leaving audiences in awe around the world with performances in Holland, Belgium, Romania, Switzerland, Turkey, New Zealand, Australia and the United States. This includes appearances at the 'Montreux International Jazz Festival' (Switzerland), 'HOOT International Jazz Festival' (Australia), and 'Jazz Hoeilaart Festival' (Belgium), along with the release of two critically acclaimed albums as a band leader, 'Retrieval Structure' (2011), described as "fresh, sophisticated, vibrant and formidable"– All About Jazz (Edward Blanco), and 'Perception' (2013), described as "A truly special and essential recording".

This book provides holistic yet concise information on what modern cognitive radio networks are, how they work, and the possible future directions for them. The authors first present the most generic models of modern cognitive radio networks while taking their different architectural designs and classifications into consideration.