Podcast appearances and mentions of Art Blakey

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Whilst enjoying the multitude of styles that compose the repertoire of jazz today, many fans have long decried the disappearance of Bebop in favour of crossover music and other listener-to-listener styles. There is some evidence though that things may be changing, and one piece of that evidence is the emergence of some bands playing music closer to bop or hard bop style. One such is the British quintet Five Way Split, and Hot Box 152 samples tracks from their new album, Modus Operandi, alongside such classic hard boppers as Horace Silver and Art Blakey. Track list for The Hot Box #152 – Back to Bebop! Dr Stol / Five Way Split Modus Operandi / Five Way Split Along Came Betty / Art Blakey & The Jazz Messengers These Foolish Things / Charlie Parker Something to Remember You By / Charlie Parker Juicy Lucy / Horace Silver Sister Sadie / Horace Silver Two Little Alphas / Five Way Split Sack of Woe / Cannonball Adderley Tune In: Listen Back: Catch past episodes on The Hot Box Jazz and Jazz Ireland. Subscribe to The Hot Box: Via Android: Subscribe on Android By Email: Subscribe by Email Spread the Word: Help us grow our jazz community by sharing The Hot Box with your friends and on social media. Your support keeps us going!

There is an entire chapter of Indian music history that has shaped global music in unknown ways remains preserved only in the human memory of a select few.  Sandhya Sanjana is one of those humans. Long before "world music" became a marketing category, she was part of a generation of home-grown South-Asian artists blurring the edges of jazz, global and Indian classical music by a trial and error met with genuine curiosity, rather than novelty.  Co-founder one of India's earliest internationally touring world-fusion ensembles, Sanjana has been more than thirty albums, and spent decades moving between radically different musical worlds without reducing either of them into aesthetic decoration. In this conversation, we try to trace that arc. From an upbringing between Bombay and Delhi, to the nightclub circuits of Calcutta, with first-generation Indian Jazz musicians. From backstage blessings from Alice Coltrane after the exchange of a cassette tape, to the origins of India's first international festival ‘Jazz Yatra' where the appearances from the likes of icons such Art Blakey, Max Roach, Stan Getz, Freddie Hubbard and John Handy and their days in India in open exchange with local musicians threaten to fade away amidst undocumented history. What emerges is not nostalgia, but a portrait of a generation of artists that worked without the visibility, institutional support, or mythology later scenes would inherit.  Artists building language in real time. Documenting culture through performance while remaining largely undocumented themselves. In the words of Sandhya herself, much of that era was "not presented to the world."  This conversation tries to remember.    Listen to the second half of the episode.   Connect with Sandhya: https://instagram.com/achhamusica https://facebook.com/sandhyasanjana https://youtube.com/@achha_musica   Connect with T.L. Mazumdar: https://findtl.com/ Free Artist Training. Brought to you by the Holistic Musician Academy.    

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Pianist /composer Keith Jarrett (born May 8, 1945) has had a long and distinguished career performing with his own groups, making a succession of solo piano recordings, and playing with the bands of Miles Davis, Art Blakey and Charles Lloyd. In recent years he has been sidelined by the effects of a stroke which tragically left him without the use of his right hand.

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À Saint-Germain-des-Prés cohabitaient les anciens et les modernes dans une atmosphère insouciante où l'on prenait la fête très au sérieux. En 1948 le Club Saint-Germain ouvre ses portes dans la cave du 13 rue Saint-Benoît, un lieu mythique qui accueillera Duke Ellington, Django Reinhardt, Miles Davis, Art Blakey et toutes les légendes du jazz de passage à Paris. C'est alors tout le cœur de Saint-Germain-des-Prés qui bat au rythme du jazz, de ses caves enfumées à ses hôtels où loge le gotha du jazz international. Oui, Saint-Germain-des-Prés est à l'époque une sorte de Harlem-sur-Seine !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

What happens when you finally get to mix Spinal Tap in Dubly Atmos? You turn it up to 11, of course!My guest today is Grammy-nominated engineer and mixer Steve Genewick, joining us from his Atmos room in Los Angeles to walk us through the wild, hilarious, and surprisingly heartfelt process of capturing and mixing the new "Spinal Tap II: The End Continues" soundtrack and album. In this episode, Steve talks about working directly with Christopher Guest, Michael McKean, and Harry Shearer; recording their live vocals; tracking the band as a real rock group; and assembling a full dubly Atmos experience that honors the original film while pushing the new one into immersive territory.We dig into the whole workflow - from the Beyerdynamic M500 ribbon mics he labeled as Nigel, David, and Derek… to tracking full songs live at The Village… to mixing the concert sequences for the film… to remixing "Break Like the Wind" in Atmos using the original 1990s analog tapes that had to be transferred from tape box track sheets. Steve also talks about Spinal Tap's actual backstory, the improvised nature of the films, working directly with Rob Reiner, and why the guys are not in character in the studio - except when it's time to sound "more Nigel."We also go deep into Atmos and orchestral recording, Steve's work on classic jazz records (Miles Davis, Art Blakey, Freddie Hubbard), his remixing of the "Jaws" and "Jaws 2" soundtracks, and how immersive music translates between speakers, earbuds, and soundbars. Steve explains LFE strategy, subwoofer layouts, mixing bass into objects, and why a great Atmos mix is not about flying things around the room — it's about clarity, space, and emotional impact. And yes, we do talk about Stonehenge… the pizza pedal… the cheese guitar… and whether mixing break like the wind is allowed in the control room.Get access to FREE mixing mini-course: https://MixMasterBundle.comTHANKS TO OUR SPONSORS!http://UltimateMixingMasterclass.comhttps://usa.sae.edu/ The next program starts May 11, 2026 https://www.izotope.com Use code ROCK10 to get 10% off!https://www.native-instruments.com Use code ROCK30 to get 1 month free of NI 360!https://www.spectra1964.comhttps://gracedesign.com/https://pickrmusic.com https://RecordingStudioRockstars.com/Academyhttps://www.thetoyboxstudio.com/Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusicListen to this guest's discography on Apple Music:https://music.apple.com/us/playlist/steve-genewick-atmos-mixes/pl.u-76oNkrMF1JKbpIf you love the podcast, then please leave a review: https://RSRockstars.com/ReviewCLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/556

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大家都知道，听爵士乐和研究爵士乐是我的一大爱好之一。在有了女儿之后，琢磨女儿的教育问题也成了我的另一大爱好。而如今，我将两个爱好结合在一起，借助AI（ChatGPT 和 Gemini），发展出了一套爵士乐育儿指南。这是据我所知，全国，乃至全世界，第一份爵士乐育儿指南，敬请收听。节目最后 Tutti 跟女儿一起跳舞的视频可在小红书搜索 Tutti 并关注。今年十一假期，Why for Jazz 联合 SEAIC 法国中欧艺术创新中心发起了一个针对巴黎和波尔多的法国旅行团。我将与建筑艺术学者，我的太太 Tutti 联合带队，深入法国，开启一趟沉浸式的以爵士乐，建筑，红酒和文化学习交流为主线的全景之旅。旅行团即可开始报名，计划招募15位同行者。有兴趣的朋友可以点击上面链接，或直接添加下面二维码进行咨询。期待十一相见。扫码开启法国之旅Playlist of the Show:[23:09] What'd I Say - Ray Charles[26:30] Early Summer - Ryo Fukui[28:52] Hymn to Freedom - Oscar PetersonAI建议的爵士乐育儿歌单（20月龄-36月龄）20个月：高保真钢琴触键（物理建模期） ● 曲目： Midnight Sugar (山本刚), C-Jam Blues (Red Garland), Linus and Lucy (Vince Guaraldi), Bag's Groove (MJQ) ● 深度分析： ○ 脑神经科学： 20个月的孩子，内耳耳蜗的**音调映射（Tonotopic map）**正在进行最后的物理微调。山本刚这类钢琴录音拥有极高的“瞬态响应（Transients）”，每一个音符的起始极其清晰。这种“干净”的声音信号能最大程度减少听觉系统解码的噪音，帮助大脑建立“钢琴”这种复杂音色的高质量统计模型。 ○ 发展心理学： 此时孩子处于感知运动阶段的尾声，通过“敲击”产生的声音最能吸引其注意力。钢琴的打击乐属性最能引起这种因果关系的共鸣。21个月：行走贝斯与前庭系统平衡 ● 曲目： 1. Work Song (Nat Adderley) 2. Killer Joe (Benny Golson) 3. Blues in the Closet (Bud Powell) 4. Strollin' (Horace Silver) ● 深度分析： ○ 脑神经科学： 这一组曲目强调 Walking Bass（行走贝斯）。稳定的、如同心跳般的低音提琴拨奏（Quarter-note pulse）能直接激活基底神经节，这是人类处理节奏与运动控制的核心。 ○ 发育心理学： 21个月的孩子正处于走路重心从摇晃趋向平稳的阶段。这种稳定的低频驱动能与她的身体运动产生神经夹带（Entrainment），通过前庭系统感知重力与节奏的重合，建立起最早的“摇摆感（Swing Feeling）”。22个月：硬波普（Hard Bop）与社交对话逻辑 ● 曲目： 1. Moanin' (Art Blakey) 2. Song for My Father (Horace Silver) 3. The Sidewinder (Lee Morgan) 4. Watermelon Man (Herbie Hancock) 5. What'd I Say (Ray Charles) ● 深度分析： ○ 脑神经科学： 此时孩子正经历语言词汇量的激增，**布罗卡区（Broca's area）**极度活跃。这些曲目中经典的 Call & Response（呼唤与回应） 结构，完美契合了大脑对社交性沟通的生理渴望。 ○ 发育心理学： 此时孩子开始理解“轮流”的概念。通过这种音乐结构，她在无意识中练习了沟通的节奏感，激活了镜像神经元系统，这不仅是音乐启蒙，更是共情能力的早期培养。23个月：Jazz Hip Hop 与持续注意力的构建 ● 曲目： 1. Aruarian Dance (Nujabes) 2. Luv(sic) Part 3 (Nujabes) 3. Waltz for Life Will Born (Uyama Hiroto) 4. Feather (Nujabes) ● 深度分析： ○ 脑神经科学： 稳定的 Loop（循环）能给大脑提供极强的“神经安全性”。当背景节奏是高度可预测的，而上层的钢琴即兴是流动的，这能训练**前额叶皮层（Prefrontal Cortex）**在稳定的背景中提取细微的变化信号。 ○ 发育心理学： 这个阶段孩子开始能进行较长时间的专注游戏。高质量的循环乐句能降低皮质醇水平，延长其**深度探索（Deep Play）**的时间窗口。24个月：奇数拍与认知弹性（两岁里程碑） ● 曲目： 1. Take Five (Dave Brubeck) 2. Unsquare Dance (Dave Brubeck) 3. Blue Rondo à la Turk (Dave Brubeck) 4. Eleven Four (Paul Desmond) ● 深度分析： ○ 脑神经科学： 两岁是突触剪枝（Synaptic Pruning）剧烈发生的节点。如果此时只听 4/4 拍，大脑会认定 5/4 或 9/8 为“不可理解信号”。输入奇数拍是为了保持神经系统的认知弹性（Cognitive Flexibility），训练大脑在不对称中寻找更高阶的数学规律。 ○ 发育心理学： 此阶段孩子自我意识觉醒（Terrible Twos），非对称的节奏正好契合了这种不安分的探索精神，帮助她建立对“不平衡”的心理包容力。第二阶段：和声色彩与审美拓宽（25m - 30m）核心目标： 引入复杂和弦（9, 11, 13音），在听觉皮层建立高维度的“美学坐标系”。25个月：三拍子的流体感知（空间感知进阶） ● 曲目： 1. Waltz for Debby (Bill Evans) 2. Bluesette (Toots Thielemans) 3. Alice in Wonderland (Bill Evans) 4. Up with the Lark (Bill Evans) ● 深度分析： ○ 脑神经科学： 三拍子会强烈刺激小脑的前庭系统。Bill Evans 的“无根音和弦（Rootless Voicings）”让声音听起来是“悬浮”的。根据 Robert Zatorre 的研究，这种高级和声能精细化音调映射（Tonotopic map），训练大脑不依赖低音根音去寻找调性中心。 ○ 发育心理学： 3/4 拍的圆舞曲感能带给孩子优雅、流动的感官体验，有助于精细动作的优雅化发育。26个月：Bossa Nova 与多线信号处理 ● 曲目： 1. The Girl from Ipanema (Stan Getz) 2. Wave (Antônio Carlos Jobim) 3. Desafinado (Stan Getz) 4. Corcovado (Cannonball Adderley) ● 深度分析： ○ 脑神经科学： Bossa Nova 的底层节奏是平直的八分音符，而上层爵士和弦极其复杂。这种矛盾感要求大脑进行听觉场景解构（Auditory Scene Analysis）。 ○ 发育心理学： 这种轻松的氛围是训练情绪调节（Emotional Regulation）的绝佳工具。在神经科学上，它能激活边缘系统中的愉悦中枢而不产生过度亢奋。27个月：调式爵士（Modal Jazz）与深度观察 ● 曲目： 1. So What (Miles Davis) 2. Maiden Voyage (Herbie Hancock) 3. Little Sunflower (Freddie Hubbard) 4. Flamenco Sketches (Miles Davis) ● 深度分析： ○ 脑神经科学： 调式爵士和弦变化极慢。根据 Bregman 的理论，这种“低变化率”会迫使大脑将注意力转向**音色（Timbre）**的微观纹理。 ○ 发育心理学： 培养“静谧感”。这种音乐能训练孩子在无外部剧烈刺激的环境中进行内在的深度观察，是建立长时注意力的基石。28个月：冷爵士（Cool Jazz）与边缘系统开发 ● 曲目： 1. My Funny Valentine (Chet Baker) 2. You'd Be So Nice to Come Home To (Art Pepper) 3. Autumn Leaves (Cannonball) 4. Django (MJQ) ● 深度分析： ○ 脑神经科学： 略带忧郁、克制的音色能激活**边缘系统（Limbic system）**中的杏仁核与海马体连接。研究表明，幼儿能感知到音乐中的哀伤情绪，这能丰富其大脑的情感皮层。 ○ 发育心理学： 28个月的孩子开始萌发初级共情。通过理解音乐中的“忧郁”，她在学习处理复杂的人类情感。29个月：Bebop 与神经放电频率挑战 ● 曲目： 1. Scrapple from the Apple (Charlie Parker) 2. A Night in Tunisia (Dizzy Gillespie) 3. Donna Lee (Charlie Parker) 4. Salt Peanuts (Dizzy Gillespie) ● 深度分析： ○ 脑神经科学： 极速音阶挑战了听觉神经元的放电频率（Firing Rate）。这是一种神经层面的“高强度间歇训练（HIIT）”，旨在提高大脑对高密度信息的即时处理带宽。 ○ 发育心理学： Bebop 的多变与灵动契合了孩子此时精力旺盛、喜欢探索事物边界的行为逻辑。30个月：日本爵士 - 叙事建模（情感深度期） ● 曲目： 1. Early Summer (Ryo Fukui) 2. Scenery (Ryo Fukui) 3. Blow Up (Isao Suzuki) 4. Girl Talk (Tsuyoshi Yamamoto) ● 深度分析： ○ 脑神经科学： J-Jazz 具有独特的旋律线条。30个月的孩子正致力于将碎片化的信息拼凑成故事，此时大脑的**默认模式网络（DMN）**开始在音乐欣赏中起作用。 ○ 发育心理学： 建立文化认同感。通过这些具有东方美学色彩的爵士乐，她在潜意识中完成了一种审美的文化建构。第三阶段：结构解构与即兴逻辑（31m - 36m）核心目标： 识别主题与变奏的边界，培养长时记忆与宏观思维构架。31个月：人声爵士与语言-音乐桥梁 ● 曲目： 1. L-O-V-E (Nat King Cole) 2. Cheek to Cheek (Fitzgerald & Armstrong) 3. Fly Me to the Moon (Sinatra) 4. How High the Moon (Ella Fitzgerald) ● 深度分析： ○ 脑神经科学： SSIR 假说（Shared Syntactic Integration Resource）指出，语言与音乐共享神经资源。此时利用人声爵士独特的韵律感（Prosody），可以极大地加速她对词汇节拍的内化。 ○ 发育心理学： 模仿是此阶段的核心。Scat（拟声唱法）能锻炼她口腔肌肉的精细化控制，对发音清晰度有显著提升作用。32个月：工作记忆与“主题追踪” ● 曲目： 1. St. Thomas (Sonny Rollins) 2. Moritat (Sonny Rollins) 3. Cantaloop (Us3) 4. Mercy, Mercy, Mercy (Cannonball) ● 深度分析： ○ 脑神经科学： 训练工作记忆（Working Memory）。大脑需要记住开头的“主题（Hook）”，并在复杂的即兴独奏中，保持对这个逻辑原点的潜意识追踪。 ○ 发育心理学： 训练解决问题的策略——在复杂变幻的环境中寻找“恒定点”。33个月：拉丁爵士（Latin Jazz）与听觉分流 ● 曲目： 1. Mambo Inn (George Shearing) 2. Manteca (Dizzy Gillespie) 3. Afro Blue (Mongo Santamaría) 4. Tequila (Wes Montgomery) ● 深度分析： ○ 脑神经科学： 拉丁爵士包含大量的多声部打击乐。根据 Bregman 的理论，这要求大脑完成最高难度的流提取（Stream Segregation）。 ○ 发育心理学： 狂欢节般的节奏能释放孩子的压力，增强其在运动中的爆发力与协调性。34个月：现代融合（Fusion）与认知弹性 ● 曲目： 1. Spain (Chick Corea) 2. Birdland (Weather Report) 3. Chameleon (Herbie Hancock) 4. 500 Miles High (Chick Corea) ● 深度分析： ○ 脑神经科学： 引入非自然音色（合成器）。大脑需要重新识别这些信号，刺激腹侧注意网络（Ventral Attention Network）。 ○ 发育心理学： 培养对新奇事物的包容度，不让其听觉审美固化在单一的木质乐器上。35个月：极限和声（Coltrane Changes）算法建模 ● 曲目： 1. Giant Steps (John Coltrane) 2. Naima (John Coltrane) 3. Speak No Evil (Wayne Shorter) 4. Round Midnight (Thelonious Monk) ● 深度分析： ○ 脑神经科学： Coltrane Changes 是爵士乐中最复杂的数学矩阵。此时输入这种极限逻辑，就像是在给计算机预装最强的算法底座，挑战其处理信息的深度。 ○ 发育心理学： 训练对“高张力”的承受力。在极度复杂的声音中寻找内在平衡，是培养未来演奏家“大将之风”的必经之路。36个月：自由即兴与全球脑连接（启蒙圆满） ● 曲目： 1. Rhapsody in Blue (Gershwin) 2. Hymn to Freedom (Oscar Peterson) 3. The Köln Concert (Keith Jarrett) 4. My Favorite Things (Coltrane 1961) ● 深度分析： ○ 脑神经科学： 激活默认模式网络（DMN）。这种长篇幅、大跨度的自由即兴曲目，能让大脑在不同脑区间建立长程连接，实现想象力与自我意识的统一。 ○ 发育心理学： 此时她已经拥有了一套完整的“爵士底层操作系统”。无论以后学不学琴，这套系统都将成为她认知世界、理解“自由”的底色。

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durée : 00:59:34 - par : Nathalie Piolé -

An Art Blakey kinda episode, including an interview with Fraser Calhoun and Nat Lazzarotto, who talked about their concert series. Plus some brand-new music played.Playlist: Art Blakey & The Jazz Messengers - Hipsippy bluesArt Blakey & The Jazz Messengers - Quick trickSteve Husted and Friends - When we were youngRémi Bolduc - The lickingNick Fraser - There are other waysAmalie Dahl's Dafnie's EXTENDED - drifting_turningHendrik Meurkens - Herb's samba

Podcast Jazztime 714 – 31.03.26 Diese Sendung hat Joachim Böskens zusammengestellt. Das LIVE Anspiel diesmal ist: “Satin Doll“ – 1953 vom „Duke“ und Billy Strayhorn komponiert. Folgende Titel sind zu hören : 1.Wabash Stomp – Roy Eldridge 3:07 2.Strasbourg / St. Denise – The Roy Hargrove Quintet 4:41 3.Course – Camille Bertault 4:09 4.Slick Stuff – Joachim Kühn 4:30 5.Satin Doll – Rolf Kühn & NDR Bigband 4:38 6.Cheeck to cheek – Knut Kiesewetter & HR Big Band 3:24 7.Moanin' – Art Blakey and The Jazz Messengers 7:48 8.Send in the Clowns – Elina Duni 4:30 Für Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

Qu'ont en commun Miles Davis, Louis Armstrong, Chet Baker, Sidney Bechet, Billie Holiday, Anita O'Day, Frank Sinatra, Thelonious Monk, Bud Powell, Dexter Gordon, Sonny Rollins, Art Blakey, Philly Joe Jones et Art Pepper ? Et bien oui, toutes ces légendes du jazz ont eu affaire à la police et toutes ont, un jour ou l'autre, dormi derrière les barreaux. Bagarres, agressions, règlements de comptes, violences domestiques, braquages, stupéfiants : les jazzmen furent impliqués dans toutes sortes d'affaires, des plus louches aux plus sordides. Mais ils furent aussi victimes de l'excès de zèle, voire de l'acharnement de la police. Dans tous les cas, les histoires que nous allons vous raconter en disent long sur le climat délétère dans lequel les artistes de jazz ont évolué, cette Amérique ségrégationniste et violente qui ne leur a pas fait de cadeau. Même Ella Fitzgerald, pourtant au-dessus de tout soupçon, a eu le droit à son séjour à l'ombre ! Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In this episode of Backstage Bay Area, host Steve Roby interviews Dr. Eddie Henderson — a trumpet master, bandleader, and one of the few remaining links to Miles Davis's world. Born in San Francisco, Henderson's musical career started at 17 when Miles Davis stayed at his parents' house (his stepfather was Miles' doctor), introduced him to the legendary quintet, and ignited a lifelong love for jazz.Henderson shares remarkable personal stories: witnessing the Kind of Blue repertoire live with Coltrane, Cannonball Adderley, and Philly Joe Jones; receiving direct advice from Miles to "get your own sound"; and the unforgettable moment he silenced Miles by dropping the name Freddie Webster. He also opens up about his time with Herbie Hancock's Mwandishi band, his years playing alongside Art Blakey, and his current role as a trumpet instructor at Oberlin Conservatory.The conversation looks ahead to Eddie's upcoming performance at SF Jazz's Miles Davis Centennial Tribute at Miner Auditorium in San Francisco on March 21, where he'll lead a group performing the complete ‘Kind of Blue' album alongside drummer Lenny White and saxophonist Javon Jackson — both of whom have their own deep connections to Miles.Topics covered:Meeting Miles Davis at age 17 and seeing the first live performance of the Kind of Blue repertoireWhy Miles' music has endured — from modal jazz to Bitches Brew to hip hopMiles' philosophy: playing music vs. playing the instrumentThe famous "Freddie Webster" exchange and what it taught Henderson about finding your own voiceMiles as housemate, mentor, and comedianPerforming alongside Lenny White (Bitches Brew) and Javon Jackson at the SF Jazz tributeTeaching jazz at Oberlin and passing down the wisdom of MilesLinks & Info:SF Jazz Miles Davis Tribute — Saturday, March 21st, Miner Auditorium, San FranciscoTickets: sfjazz.org (shows nearly sold out at time of recording)Backstage Bay Area is your inside look at the Bay Area jazz scene. Subscribe and leave us a review if you enjoyed this episode.

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Oscar, Grammy, and Emmy-winning documentary filmmaker Morgan Neville tells us about his new film, ‘Man on The Run.'It begins when the Beatles end, with Paul McCartney trying to figure out who he is as a musician and as a person— without John Lennon and the band that defined him since he was a teenager. Neville got access to previously unseen archival footage of McCartney with his young family and forming his new band, Wings. He spoke with Fresh Air contributor/producer Ann Marie Baldonado.  Also, jazz critic Martin Johnson reviews an Art Blakey concert album, ‘Strasbourg 82.' To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Oscar, Grammy, and Emmy-winning documentary filmmaker Morgan Neville tells us about his new film, ‘Man on The Run.'It begins when the Beatles end, with Paul McCartney trying to figure out who he is as a musician and as a person— without John Lennon and the band that defined him since he was a teenager. Neville got access to previously unseen archival footage of McCartney with his young family and forming his new band, Wings. He spoke with Fresh Air contributor/producer Ann Marie Baldonado.  Also, jazz critic Martin Johnson reviews an Art Blakey concert album, ‘Strasbourg 82.' To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

STANDARSEMANAL.-The Girl From Ipanema.-VINILOS MITICOS DEL JAZZ-.BUDDY DEFRANCO - And The Oscar Peterson Quartet.-JAZZACTUALIDAD.-.MARTINA SABARIEGO BIG BAND-FORCES AND BATTLEMENTS Bonifacio Ferdinand Leonard "Buddy" DeFranco (Camden, Nueva Jersey, 17 de febrero de 1923 − Panama City, Florida, 24 de diciembre de 2014)[1]​ fue un clarinetista de jazz estadounidense. De origen italiano, comenzó a tocar el clarinete en 1935 con sólo 12 años para ayudar a su padre ciego a mantener a su familia muy pobre que vivía en el sur de Filadelfia. A los 16 años ya era un músico que giraba a través de los Estados Unidos con varias bandas. Su carrera se desarrolló en lo que se considera la época dorada del swing jazz y las big bands, que tenía como principales clarinetistas a Artie Shaw, Benny Goodman y Woody Herman. Pero él fue el primero en dedicarse con su instrumento al bebop y a la música de Charlie Parker, y con Tony Scott se convirtió en uno de los pocos clarinetistas en ese tipo de la historia del jazz. También fue el primero en utilizar el clarinete bajo en el jazz con resultados extraordinarios. Entre sus colaboraciones más importantes se encuentran las que tocó con Count Basie, Sonny Clark y Tal Farlow. De 1966 a 1974 fue líder de la orquesta de Glenn Miller. También tocó con George Shearing, Gene Krupa, Charlie Barnet, Art Tatum, Oscar Peterson, Terry Gibbs, Art Blakey, Tommy Gumina y muchos otros. Se le dedicó una hermosa biografía en el libro: Una vida en la edad de oro del Jazz. También fue organizador del festival de jazz para jóvenes talentos Buddy DeFranco Jazz Fest y en 1996 como maestro y profesor publicó su versión del método Hanon para el aprendizaje de clarinete de jazz. Junto con su amigo de Tony Scott es considerado el más grande de todos clarinetista de jazz de su tiempo. Agotado desde hace mucho tiempo, este LP, reeditado por el sello «WaxTime» en 2018, presenta al brillante clarinetista Buddy DeFranco con el Oscar Peterson Quartet, o lo que es lo mismo, el trío habitual del orondo pianista de Toronto, con el añadido del baterista, Louie Bellson. Si bien las seis tomas son todas estándares, DeFranco y Peterson producen swing a raudales y con un ritmo alejado del habitual “tempo” de Oscar Peterson. DeFranco suena impecable en el clarinete, lo que hace que suene tan fácil de tocar como un rayo; pocos clarinetistas se han acercado alguna vez a esta velocidad. Disco muy recomendable para ver tocar el piano a Óscar Peterson fuera de su zona de confort, si es que alguna vez estuvo en ella. Martina Sabariego Big Band Forces And Battlements La compositora y multiinstrumentista de Xirivella, Martina Sabariego, presenta Forces and Battlements, su segundo álbum y el primero escrito y grabado para big band. Un trabajo con cuatro piezas que ponen el foco en la cultura valenciana, explorando nuevos paisajes sonoros con una mirada personal y valiente. El proyecto se ha materializado en Boston, gracias al apoyo del New England Conservatory, y consolida la proyección internacional de una artista que debutó con Xano Xano. Forces and Battlements ya está disponible en: https://martinasabariego.bandcamp.com/album/forces-and-battlements-2 --- Lista de temas: 1. Vida y Muerte de la Devesa 06:58 2. Muixeranga 04:15 3. Elvira 07:39 4. Alquería Coca 08:54 --- Repertorio y solos: 1. Vida y Muerte de la Devesa  Solos de Jason Ryu, Walker McSween, Nadav Brenner y Carlo Kind 2. Muixeranga 3. Elvira  Solos de Nick Isherwood y Joey DuBois 4. Alquería Coca  Solos de Pavle Zvekic, Juan Saus, Albert Climent y Carlo Kind --- Integrantes de la big band: Saxofón Alto 1 (a soprano): Lenka Molcanyiova Saxofón Alto 2 (a flauta): Juan Saus Saxofón Tenor 1 (a clarinete en Sib): Gabriel Nieves Saxofón Tenor 2: Ella Wilhemina Saxofón Barítono: Noa Zebley Trompeta 1: Shota Syamaguchi Trompeta 2: Joey DuBois Trompeta 3: Walker McSween Trompeta 4 Maddoc Johnson Trombón 1: Jason Ryu Trombón 2: Albert Climent Trombón 3: Aiden Coleman Trombón Bajo: David Paligora Guitarra Eléctrica: Nadav Brenner Piano: Pavle Zvekic Contrabajo: Nick Isherwood Batería: Carlo Kind --- Compuesto, arreglado y dirigido por: Martina Sabariego Ingeniero de grabación: Sam McCarthy Ingeniero de mezcla: Adrià Serrano Grabado en The Record Co., en octubre de 2024, Boston (MA) Agradecimientos especiales al New England Conservatory of Music por la beca EM.

durée : 00:59:27 - Banzzaï du jeudi 29 janvier 2026 : Juste un petit peu - rediffusion - par : Nathalie Piolé -

durée : 01:00:02 - La vie est un jeu - par : Nathalie Piolé -

EPISODIO 280.Temporada 7-10.EPISODIO PATROCINADO POR:CBM Clases de batería Madrid. https://clasesdebateriamadrid.com/ .Superdrummer Academy.www.simonefolcarelli.com .COMUNIDAD DEL CBM de Iñigo Iribarne:http://Clasesbateriaonline.com .EL MÉSTODO. ​​https://t.me/unmetodoalmes/ .MÚSICA RECOMENDADA por Iñigo.Quien No Corre Vuela de Ray Heredia:https://open.spotify.com/intl-es/album/7HRYjaG9CbpajIUm87yYhc?si=6dBB6X4uSEizRCdMbg3j2g .Info: https://es.wikipedia.org/wiki/Ray_Heredia .HERRAMIENTA RECOMENDADA por Simone.NBO for musicians: https://www.instagram.com/p/DOZBqIXDA6G/ .TOP TRI.Simone:Gary Novak: https://www.youtube.com/watch?v=CH3VmTCLun8 .Kajuhlro:  https://www.youtube.com/@drumkajuhiro/shorts .Riccardo Vandelli: https://www.youtube.com/watch?v=-F2-h0hh5Sc .Iñigo:Álex Gonzálex: ​https://www.instagram.com/alexgonzalezelanimal/ .​Art Blakey: https://youtu.be/CX-Y-6kw8HU?si=EtjhO65nXMM0NTeS .Battle Drummer: https://www.instagram.com/battle_drummer/ .Síguenos en: FB: https://www.facebook.com/Drumless-el-Podcast-101614758071997 .INSTAGRAM: https://www.instagram.com/drumlesspodcast/ .TELEGRAM: https://t.me/drumlesspodcast .ABEL:https://www.instagram.com/kustomdk/ .SIMONE:https://www.simonefolcarelli.com .http://clasesdebateriaonline.com .IÑIGO:http://inigoiribarne.com .https://Clasesdebateriamadrid.com .https://www.twitch.tv/inigobatera .https://www.ellibrodelascorcheas.com  .http://Clasesbateriaonline.com  .http://insidethegrooveof.com/ .BUY US A COFFEEPaypal: https://www.paypal.me/inigoiribarne .Bizum: 606424669 . 

Today's guest journeyed from Soviet Russia to The United States of America to become a key member of Art Blakey's Jazz Messengers. With the Messengers, he has performed at major concert halls, clubs, and festivals all over the world, and made numerous television appearances with the Messengers in Europe, Japan, and Brazil. In the United States he has made television appearances on "To Tell The Truth", the PBS network, National Geographic Today as well as CNN. It is my pleasure to introduce Valery Ponomarev to the show.

durée : 00:59:06 - Art Blakey "Strasbourg 82" & Horace Silver "Silver in Seattle : Live at the Penthouse" - par : Nicolas Pommaret - Ce soir, deux inédits de légendes : Art Blakey et Horace Silver. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

THIS WEEK's BIRDS: new Amirtha Kidambi (Live); Mohamed Errebbaa & Tagna (gnawa jazz);  Baluchi trance/healing music from Abdulrahman Surizehi; Elmo Hope at Riker's; latter-day Art Blakey; Nuyorican salsa from Roberto Roena; Venezuelan salsa from Federico Betancourt; vintage Billy Harper; Simon Nabatov, Ed Schuller, John Betsch & Arto Tuncboyaci swing Latin; samba from Jovelina Perla Negra & Leci Brandão; Moroccan vocalist Latifa Raafat; also from Morocco: Lemchaheb; film music from Tahira Syed; new Henry Threadgill; new Mary Halvorson; raga from sarod player Ashoke Roy;  much,. much, more.... Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/21356437/Conference-of-the-Birds and via the Conference of the Birds page at www.WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks Find WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR

Episode 641 also features an E.W. Poetic Piece titled, "Autumn Son." Our music this go round is provided by these wonderful artists: Thelonious Monk, Art Blakey & the Jazz Messengers, Stevie Wonder, Manchester Orchestra, Branford Marsalis & Terence Blanchard. Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors

Today's guest journeyed from Soviet Russia to The United States of America to become a key member of Art Blakey's Jazz Messengers. With the Messengers, he has performed at major concert halls, clubs, and festivals all over the world, and made numerous television appearances with the Messengers in Europe, Japan, and Brazil. In the United States he has made television appearances on "To Tell The Truth", the PBS network, National Geographic Today as well as CNN. It is my pleasure to introduce Valery Ponomarev to the show.

Estados Unidos y Japón dos países separados por un abismo histórico cultural y también por una cruenta guerra que dejó cicatrices imborrables. Un antagonismo que con el paso de los años encontró un camino de reencuentro y comprensión al que no fue ajeno el mundo del jazz El público japonés descubrió en el jazz una forma de arte moderna, innovadora y atractiva que se ajustaba a los nuevos gustos y tendencias de aquella compleja y contradictoria sociedad que, ya a mediados del siglo XX, comenzaba a abrirse a las influencias culturales occidentales navegando entre el universo de las innovaciones tecnológicas y la tradición ancestral de su país. Y en ese nuevo Japón futurista, construido sobre las más profundas raíces históricas y culturales, comienzan a aventurarse los músicos de jazz norteamericanos a partir de la década de los sesenta del pasado siglo, descubriendo maravillados, una sociedad acogedora y respetuosa. Un público devoto y entusiasta insaciable de aquella forma de arte que en su propio país de origen era tratada con desdén, a menudo como una vulgar forma de entretenimiento, siendo sus protagonistas objeto de las crueles consecuencias del racismo y la discriminación Así que, aquel encuentro mitad choque, mitad abrazo, espoleó a los artistas norteamericanos a corresponder a toda aquella cortesía, a la veneración de la afición nipona, dando lo mejor de su arte en los escenarios de aquel país, cuyos registros discográficos son un testimonio del empeño de aquellos jazzmen en agradecer todas esas atenciones impensables en la conflictiva Norteamérica de aquellas décadas. Pero más allá de este fenómeno que hemos abordado en diversas ocasiones en Radio Jazznoend, el influjo de Japón sobre los artistas norteamericanos se tradujo en creaciones musicales, en grabaciones y composiciones dedicadas a aquel país, que tal impactó tuvo en sus vidas que llegó a adentrarse en ocasiones, en lo más íntimo de sus existencias. Nuestro podcast se centra en esta ocasión en aquellas composiciones y registros que algunos de los más destacados artistas del jazz moderno, dedicaron a Japón tras su paso por los escenarios de aquel misterioso país, tomando como fuente de inspiración, sus ciudades, su cultura o sus gentes. Una inspiración que alcanzó a las más brillantes figuras del jazz moderno como Art Blakey, Horace Silver, Thelonious Monk, Louis Hayes, Dave Brubeck o el guitarrista Allan Holdsworth que cerrará nuestro programa con su deslumbrante Tokyo Dream.

durée : 01:00:15 - Archipel - par : Nathalie Piolé -

Trumpeter / composer Kenny Dorham (born August 30, 1924) is hardly a household name, but one would be hard pressed to name a musician held in as high regard by other jazz musicians. He played at a consistently high level throughout a career that included stints with Charlie Parker, Max Roach, Art Blakey, Joe Henderson to name just a few, and myriad excellent recordings under his own name. A number of his compositions have become jazz standards as well.   And don't forget ... St. Michael's Jazz Fest returns for a second year of incredible jazz in Carlsbad Village! Headlining is New Orleans' own, the legendary Grammy Award-Winning Rebirth Brass Band, joined by Euphoria Brass Band, Gilbert Castellanos Latin Jazz Ensemble, Starsign, Chunky Hustle Brass Band, Sue Palmer Swing Orchestra, and more. Free to the public and held outside on the campus lawn of St. Michael's by-the-Sea in Carlsbad. Learn more and consider volunteering or donating: https://www.stmichaelsjazzfest.org/ Saturday, September 27, 2025

Saxophonist / composer Wayne Shorter (born August 25, 1933) has cast an oversized shadow on jazz since he joined Art Blakey's Jazz Messengers in 1959. Soon becoming the primary composer for that group, and upon joining Miles Davis' second great quintet in 1964, he soon filled that role with Miles as well. In 1970, he co-founded the jazz fusion group Weather Report with Joe Zawinul and in the course of his long career he recorded twenty recordings under his own leadership, becoming one of the most original and prolific jazz composers of all time.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode, I talk with Michael Manasseh, the drummer for the current Hadestown national tour. Michael shares his unique path from studying economics at Columbia University to landing gigs on Broadway tours, and how his early training shaped the versatile musician he is today.We talk about:* How growing up in Boston, church music, and early jazz studies shaped his drumming identity* His college years at Columbia, balancing academics with student theater, and realizing music could become a career* The turning point of joining Muse (Musicians United for Social Equity) and mentorship with John Clancy, which led to his first big break on the Shrek tour* What it's like playing Hadestown night after night—the mental and physical demands, the freedom to improvise, and why it feels like “jazz theater”* Stories from the road, including near-misses with quick costume changes, learning directly from orchestrators, and pulling influences from Art Blakey to Mark Guiliana* His perspective on the business side of Broadway, the economics of touring shows, and why relationships—not transactions—drive opportunities for drummersMichael's story highlights not just the technical side of playing drums on a major tour, but also the importance of balance, community, and adaptability in building a long-term career in theater.If you're a drummer looking to break into Broadway—or just want to hear what life is really like behind the kit on a national tour—you won't want to miss this conversation.More about Michael: https://www.michaelmanassehmusic.com/If you want to understand how to make a lasting career in this business — not just play the music — my upcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career dives deep into both the art and the industry.Subscribe to Broadway Drumming 101 so you don't miss Michael's episode and other conversations that go beyond the notes.This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, The Hippest Trip: The Soul Train Musical, and The Gospel at Colonus (featuring Kim Burrell). As a skilled sub, he has contributed his talents to notable productions, including Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, and the national tour of Hadestown, among many others. He has also appeared on major shows including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards. He has performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton is the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career, the only guide you'll need to succeed in the competitive world of musical theater.Sign up to be the first to know when the book drops: www.BroadwayBoundBook.comHe proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock at www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

ART BLAKEY AND THE JAZZ MESSENGERS “BUHAINA'S DELIGHT” Englewood Cliffs, NJ, November 28, 1961Backstage Sally, Bu's delightFreddie Hubbard (tp) Curtis Fuller (tb) Wayne Shorter (ts) Cedar Walton (p) Jymie Merritt (b) Art Blakey (d) SHIRLEY HORN “A LAZY AFTERNOON” New York, July 9, 1978I'm old fashioned, Why did I choose you ?, I'll go my way by myselfShirley Horn (vcl,p) Buster Williams (b) Billy Hart (d) CLARK TERRY “AIN'T MISBEHAVIN'” New York, March 15 & 16, 1979Ain't misbehavin' (jh vcl), Jitterbug waltz, Your feet's too big (ct vcl), Honeysuckle rose, Black and Blue, The joint is jumpin' (ct vcl)Clark Terry (tp,flhrn,vcl) Chris Woods (as,fl-1) Oscar Peterson (p) Victor Sproles (b) Billy Hart (d) Johnny Hartman (vcl) Continue reading Puro Jazz 12 de agosto, 2025 at PuroJazz.

THE APOCALYPSE WERE:Tony Capuano - Guitar, Lead VocalsJohn Shorb - Alto SaxGene Meros - Tenor SaxGreg Novik - Bass, Backing Vocals (guitar on Stormy Monday)Oggie Hamilton - Drums, Backing VocalsFeaturing The Apocalypse playing:“Good Good Lovin'” and “Try Me” by James Brown“Hi-Heel Sneakers" by Tommy Tucker“The Shadow of Your Smile” by Mandel & Webster"I Don't Want To Cry" by Dixon/Jackson“Sack of Woe” by Cannonball Adderley“Think” by Lowman Pauling"The Midnight Hour" by Steve Cropper & Wilson Pickett"Shout" by The Isley Brothers“Stormy Monday” by Aaron 'T-Bone' Walker"Song For My Father” by Horace SilverALSO FEATURED/DISCUSSED:“Stainless Soul,” “Wichita Lineman,” and “Watch Your Step” by The New Apocalypse from Stainless Soul, 1969. Listen via Demir Kelebek on YouTube"Moanin" by Bobby Timmons recorded by Art Blakey and the Jazz Messengers on Moanin', 1959Excerpt from Hot Rod Hulbert's WWIN Show via RadioMaven77The Herald Times obituary for Ogden HamiltonThe Baltimore Sun obituary for Greg Novik“Greg's Goodbye” by Leah Erskin for Baltimore Magazine, 2017----LINKS-----

Trumpeter Freddie Hubbard (born April 7, 1938) was one of the most gifted and technically proficient of any of the jazz trumpet players of his generation. His fiery, athletic, harmonically rich, seemingly effortless style influenced virtually all trumpet players who came after him. Serving his apprenticeship with Art Blakey's Jazz Messengers, his compositions provided a springboard for that group as well as his own groups, and he was a popular sideman on quintessential recordings by Herbie Hancock, Wayne Shorter and many other jazz greats.

durée : 00:59:32 - Nuit noire - par : Nathalie Piolé - ✨ Ce soir, la nuit nous enveloppe, nous entoure, et fait de nous ses enfants. - réalisé par : Fabien Fleurat Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Trumpeter/composer Lee Morgan (born July 10, 1938) first rose to national prominence as a teenager with Dizzy Gillespie's big band. Becoming one of the most prominent hard bop trumpet soloists, he spent years with Art Blakey's Jazz Messengers, eschewing forming his own bands even as he issued numerous recordings as a leader in his own right. His recording of his tune "The Sidewinder" became an unexpected hit for Blue Note Records, leading to a scramble of the label to replicate that success for years after, with no success. Morgan was tragically struck down at the age of 33 in 1972, after an altercation with his common-law wife during a gig in NYC, cutting short what was a mercurial career for the influential trumpet player.

EPISODIO 265.Temporada 6-44.EPISODIO PATROCINADO POR:CBM Clases de batería Madrid. https://clasesdebateriamadrid.com/ .Superdrummer Academy.www.simonefolcarelli.com .COMUNIDAD DEL CBM de Iñigo Iribarne:http://Clasesbateriaonline.com .EL MÉSTODO. ​​https://t.me/unmetodoalmes/ .Disco recomendado por Iñigo.Soul Station de Hank Mobley, Art Blakey a la batería:  https://open.spotify.com/intl-es/album/731OW49heGHCMrMOREHYlY?si=cYesjhk7Syu-BOPLx_Qg7Q&nd=1&dlsi=54a85d3d2bf04a24 .LIBRO RECOMENDADO por Simone .El arte de la Batería - Pere Foved: https://amzn.eu/d/hzsoNPL .TOP TRI.Simone: Mario Duplantier: https://www.youtube.com/watch?v=UhHz_2Bo0Cs .Taylor Gordon:  https://www.youtube.com/watch?v=heHF_dRTddY .Nate Smith: https://www.youtube.com/watch?v=YcStheJQ32E .Iñigo:Maxim Kabalskis: https://www.instagram.com/doctordrums/ .Roberto Faenzi: https://www.instagram.com/faenziroberto/ .Katherin Benítez Bertot: https://www.instagram.com/kathedrums/ .Síguenos en: FB: https://www.facebook.com/Drumless-el-Podcast-101614758071997 .INSTAGRAM: https://www.instagram.com/drumlesspodcast/ .TELEGRAM: https://t.me/drumlesspodcast .ABEL:https://www.instagram.com/kustomdk/ .SIMONE:https://www.simonefolcarelli.com .http://clasesdebateriaonline.com .IÑIGO:http://inigoiribarne.com .https://Clasesdebateriamadrid.com .https://www.twitch.tv/inigobatera .https://www.ellibrodelascorcheas.com  .http://Clasesbateriaonline.com  .http://insidethegrooveof.com/ .BUY US A COFFEEPaypal: https://www.paypal.me/inigoiribarne .Bizum: 606424669 . 

THE MODERN JAZZ QUARTET “THE LAST CONCERT – AVERY FISHER HALL” New York, November 25, 1974The golden striker, The cylinder, What's new ?Milt Jackson (vib) John Lewis (p) Percy Heath (b) Connie Kay (d) DIANA KRALL “TURN UP THE QUIET” Hollywood, CA, c. 2017 No Moon At AllDiana Krall (vcl,p) acc by Stefon Harris (vib-1) John Clayton, Jr. (b) Jeff Hamilton (d) Alan Broadbent (arr,cond) + strings, Shari Sutcliffe (cond) I'm confessin' (that I love you), Moonglow, I'll see you in my dreams Diana Krall (vcl,p) acc by Marc Ribot (g) Stuart Duncan (fiddle) Tony Garnier (b) Karriem Riggins (d) Shari Sutcliffe (cond) HANK MOBLEY “SOUL STATION” Englewood Cliffs, NJ, February 7, 1960Remember, This I dig of you, Soul stationHank Mobley (ts) Wynton Kelly (p) Paul Chambers (b) Art Blakey (d) Continue reading Puro Jazz 08 de julio, 2025 at PuroJazz.

MILES DAVIS QUARTET “BLUE HAZE” New York, March 15, 1954Four, Old devil moon, Blue hazeMiles Davis (tp) Horace Silver (p) Percy Heath (b) Art Blakey (d) TED ROSENTHAL TRIO “RHAPSODY IN GERSHWIN” Paramus, NJ, July 16 & 17, 2013Rhapsody in blue, Let's call the whole thing offTed Rosenthal (p) Martin Wind (b) Tim Horner (d) QUINCY JONES BIG BAND “LIVE IN PARIS” March 5, 7 & 9, 1960Doodlin', Birth of a bandBenny Bailey, Clark Terry, Lennie Johnson, Floyd Standifer (tp) Melba Liston, Jimmy Cleveland, Quentin Jackson, Ake Persson (tb) Julius Watkins (fhr) Phil Woods, Porter Kilbert (as) Budd Johnson, Jerome Richardson (ts) Sahib Shihab (bar) Patti Bown (p) Les Spann (g,fl) Buddy Catlett (b) Joe Harris (d) Quincy Jones (dir,arr) Continue reading Puro Jazz 12 de junio, 2025 at PuroJazz.

The jazz standard "All The Things You Are" has been performed countless times by master jazz vocalists, 30s big bands, bebop small groups, hard-bop combos, modern deconstructionists, and even soon-to-be Kings of Pop. On this episode, Kirk takes listeners through the history of the now-famous tune, from its humble Broadway origins all the way to his recording studio in Portland, where he and some friends recorded an all-new arrangement just for Strong Songs.Music/Lyrics: Jerome Kern & Oscar Hammerstein IIVersions Featured:Broadway Original Cast Recording of "Very Warm for May," - 1939Tommy Dorsey and His Orchestra, feat. Jack Leonard, 1939Artie Shaw w/ Hellen Forrest, 1939Dizzy Gillespie w/ Charlie Parker, 1945Johnny Griffin w/ Hank Mobley, John Coltrane, Lee Morgan, Wynton Kelly, Paul Chambers, Art Blakey on A Blowing Session, 1957Ella Fitzgerald from Sings the Jerome Kern Songbook, 1963Michael Jackson, 1973Sonny Rollins w/ Coleman Hawkins from Sonny Meets Hawk!, 1963Bill Evans w/ Chuck Israels, bass, and Larry Bunker, drums at Shelly's Mane-Hole, 1963Keith Jarrett Trio, from Standards, Vol.1, 1983Brad Mehldau Trio, from Art of the Trio 4, 1999Jim Hall & Pat Metheney, 1999Strong Songs Version Featuring:Kirk Hamilton, tenor saxAndrew Oliver, keyboardScott Pemberton, guitarSam Howard, bassTyson Stubelek, drumsThe "All The Things You Are" Playlist:Spotify | Apple | YouTube MusicALSO REFERENCED/DISCUSSED:The Jazz Standards: A Guide To The Repertoire by Ted Gioia, 2012The terrific 99% Invisible episode about The Real Book“Autumn Leaves” by Joseph Kosma as recorded by Cannonball Adderley and Miles Davis on Somethin' Else, 1958“Pennies From Heaven” by Johnston and Burke, recorded by Stan Getz with the Oscar Peterson Trio, 1957“Bye Bye Blackbird” by Henderson/Dixon, recorded by Miles Davis on ‘Round About Midnight, 1957“All Of Me” by Marks and Simons, played by Charlie Parker, Lennie Tristano and Kenny Clarke, 1951“I Got Rhythm” by George Gershwin, recorded by Sonny Stitt on The Hard Swing, 1961Rachmaninoff: Prelude in C-Sharp Minor,  performed by Jason Minnis, 2011“Goodbye Yellow Brick Road” by Elton John, 1973“Bird of Paradise,” recorded by Charlie Parker w/ Howard McGhee, Tpt. on The Complete Dial Recordings, Feb 1947“Prince Albert” recorded by Art Blakey's Jazz Messengers (Mobley, Dorham, Watkins, Silver) live at Cafe Bohemia, 1955“Poinciana” by Simon/Bernier recorded by Amhad Jamal Live At The Pershing, 1958----LINKS-----

Sean Imboden is an American saxophonist and composer. Sean has released three albums as a leader, the most recent being Communal Heart by the Sean Imboden Large Ensemble. His music pioneers forward-thinking, original compositions, and presents cutting-edge live performances. Sean has performed and recorded with GRAMMY-winning artists and jazz luminaries, including Slide Hampton, Taylor Eigsti, Mike Rodriguez, Sean Jones, Emmet Cohen, Steve Allee, Kenny Phelps, John Raymond, and Valery Ponomarev (of Art Blakey's Jazz Messengers). A long-time member of Indianapolis-based quartet Tucker Brothers, Sean plays on the band's four critically-acclaimed albums. An active sideman, Sean has appeared on The Tonight Show Starring Jimmy Fallon and with the Radio City Music Hall Orchestra, the Indianapolis Symphony Orchestra, the Buselli-Wallarab Jazz Orchestra, Aretha Franklin, The Temptations, Barry Manilow, Johnny Mathis, and Idina Menzel. Sean toured internationally for many years with various Broadway productions, and as a featured soloist with Blast II. Sean has taught at the Jacobs School of Music at Indiana University, and is currently on faculty at Butler University and Ball State University. Sean is a Conn-Selmer artist, and works with students around the world through his online Virtual Studio.

The drummer and percussionist Billy Martin, whose name many Time Sensitive listeners may recognize—he created the Time Sensitive theme song—defies any boxed-in or limiting definitions of his work. Best known as a member of the band Medeski Martin & Wood (MMW), he's spent the past three-plus decades making experimental, boundary-pushing, and uncategorizable instrumental jazz-funk-groove music, shaping sounds that feel as expansive as they are definitive and distinctive. Across all his artistic output, Martin continually, meditatively searches for harmony. He is also a composer, a teacher, a visual artist, and a builder and craftsman. His expansive creative practice comes most alive at his home in Englewood, New Jersey, where he has cultivated a bamboo garden, crafted his own Japanese-style teahouse, and constructed a music studio. Martin is someone for whom rhythm is not just something heard, but also seen and felt.On the episode, he talks about his MMW journey at length, his concept of “rhythmic harmony,” and why he views sound creation as a sacred act.Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:Billy Martin[7:31] Medeski Martin & Wood[7:31] John Medeski[7:31] Chris Wood[7:31] “Not Not Jazz” (2024)[10:12] Iggy Pop's “Avenue B” (1999)[10:12] Don Was[11:27] “The Lover” (1995)[11:27] “Friday Afternoon in the Universe” (1995)[11:27] “Old Angel Midnight” (1973) by Jack Kerouac[13:44] Ra-Kalam Bob Moses[13:44] John Scofield[13:44] David Baker[15:57] “Shuck It Up” (1993)[15:57] “It's a Jungle in Here” (1993)[18:12] “Latin Shuffle” (1998)[18:12] “Combustication” (1998)[18:12] Frankie Malabe[18:12] Art Blakey[33:25] Thelonious Monk[33:58] “Life on Drums” (2011)[38:32] John Bonham[38:32] Charlie Watts[38:32] Stewart Copeland[38:32] Elvin Jones[38:32] Max Roach[38:32] Danny Richmond[38:32] Charles Mingus[38:32] Jack DeJohnette[38:32] Joe Morello[38:32] Roy Haynes[38:32] Stan Getz[38:32] Airto Moreira[38:32] Naná Vasconcelos[38:32] Babatunde Olatunji[39:58] Gus Johnson[39:58] “Whatever Happened to Gus” (1998)[39:58] Steve Cannon[40:54] “Chubb Sub” (1995)[40:54] ”Uncle Chubb” (1992)[46:41] “Shack-man” (1996)[47:06] “Drumming Birds” (2004)[54:48] “Bamboo Rainsticks” (1999)[54:48] Amulet Records[1:00:23] Creative Music Studio

Listen to an interview with legendary jazz saxophonist and composer Gary Bartz. Bartz has performed with Charles Mingus, Max Roach, Art Blakey, and McCoy Tyner. In 1970, Bartz joined Miles Davis' band, contributing to the seminal Live-Evil sessions. But its Bartz work as a bandleader during the 1970s that cemented his reputation as a jazz icon, from his recordings with the Mizell Brothers, to performances with his group Ntu Troop. A two-time Grammy Award winner, Bartz was recently named an NEA Jazz Master by the National Endowment for the Arts.

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Legendary trumpeter Terence Blanchard is the first Black composer to have had an opera performed at the Metropolitan Opera. But, as he says, he isn't the first Black composer qualified to do so. This hour, we talk to musicians who are changing the face of opera by bringing new stories to the fore. GUESTS: Terence Blanchard: Executive Artistic Director at SF Jazz and Multiple Grammy Award-winning trumpeter and composer. He has performed as part of Art Blakey & The Jazz Messengers and composed the scores for dozens of films, including Spike Lee films like BlacKkKlansman and Malcolm X. In 2021 he became the first Black composer to have had their opera performed at the Metropolitan Opera with Fire Shut Up in My Bones. He will be performing selections from Fire Shut Up in My Bones in Hartford on April 24th. Julia Bullock: Grammy Award-winning classical singer. She has curated a program that she performs called “History’s Persistent Voice.” It’s a multimedia project that includes poetry, visual art and music inspired by the songs of enslaved people. See omnystudio.com/listener for privacy information.

In part one of this two-part interview, trumpeter, composer, and 2024 NEA Jazz Master Terence Blanchard speaks about his deep musical roots in New Orleans and how the city's rich traditions shaped his artistry. He reflects on growing up in a household filled with music, his early piano lessons, and the pivotal moment when he switched to trumpet after hearing Alvin Alcorn. Blanchard discusses the educators who had a lasting impact on him, including Roger Dickerson and Ellis Marsalis, and his formative experiences at the New Orleans Center for Creative Arts and Rutgers University. He also shares stories of touring with Lionel Hampton as a teenager, learning the ropes of the jazz world, and his time with Art Blakey's Jazz Messengers, where he honed his skills as a composer and bandleader. Blanchard also talks about forming a quintet with Donald Harrison and their commitment to innovation, as well as launching his solo career in the early '90s. He describes his unexpected entry into film composition, starting with Mo' Better Blues, and how that led to a decades-long collaboration with Spike Lee. Blanchard reflects on the challenges and rewards of storytelling through music. Stay tuned for part two of my conversation with Terence Blanchard, where he discusses his work in opera, his ongoing exploration of sound with his current band, taking on the role of  artistic director of SFJAZZ, and his role as an educator mentoring the next generation of musicians. 

Adam and Peter finally delve into the great Caravan by Art Blakey and his Jazz Messengers. So many iconic jazz musicians came through that institution and the YHI team has been pining to breakdown all the things that make this album great.Unlock your FREE Open Studio trial to become a better player today.Looking to drop a question? Want to listen to the audio pod? Look no furtherhttps://youllhearit.com/Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open Studio