Podcasts about Arthur Blythe

On our previous Deep Focus, host Mitch Goldman and his guest, saxophonist Eric Person explored the work of the David Murray Octet of the 1980s.  Here was an ensemble that punched far above its weight, with swinging horn parts like a Thirties big band as well eyeball-to-eyeball improvisation like a small ensemble.  They had the storytelling of a traditional group with the expansive harmonies and extended techniques that were being freshly discovered at the time.  It was a laboratory for the music's possible futures, and they grooved like hell.     Could there have been another band at the time that fit this description?  As Eric Person's one-time employer, Ronald Shannon Jackson might have said, "Where there's one there's two."  This week Mitch and Eric explore the equally inventive bands of Arthur Blythe.  His eighties quintet didn't sound like any other band before or since.  It was as if he had exploded a standard hard bop ensemble and rebuilt it with a new kit of parts.     And do you know who that band's original guitarist was?  And have you ever heard live recordings of that band with him in it?  We don't think you have!  Tune in and you will.     This Monday (2/3) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #EricPerson #ArthurBlythe #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman  

On our previous Deep Focus, host Mitch Goldman and his guest, saxophonist Eric Person explored the work of the David Murray Octet of the 1980s.  Here was an ensemble that punched far above its weight, with swinging horn parts like a Thirties big band as well eyeball-to-eyeball improvisation like a small ensemble.  They had the storytelling of a traditional group with the expansive harmonies and extended techniques that were being freshly discovered at the time.  It was a laboratory for the music's possible futures, and they grooved like hell.     Could there have been another band at the time that fit this description?  As Eric Person's one-time employer, Ronald Shannon Jackson might have said, "Where there's one there's two."  This week Mitch and Eric explore the equally inventive bands of Arthur Blythe.  His eighties quintet didn't sound like any other band before or since.  It was as if he had exploded a standard hard bop ensemble and rebuilt it with a new kit of parts.     And do you know who that band's original guitarist was?  And have you ever heard live recordings of that band with him in it?  We don't think you have!  Tune in and you will.     This Monday (2/3) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #EricPerson #ArthurBlythe #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman  

On our previous Deep Focus, host Mitch Goldman and his guest, saxophonist Eric Person explored the work of the David Murray Octet of the 1980s.  Here was an ensemble that punched far above its weight, with swinging horn parts like a Thirties big band, as well eyeball-to-eyeball improvisation like a small ensemble.  They had the storytelling of a traditional group with the expansive harmonies and extended techniques that were being freshly discovered at the time.  It was a laboratory for the music's possible futures, and they grooved like hell.     Could there have been another band at the time that fit this description?  As Eric Person's one-time employer, Ronald Shannon Jackson might have said, "Where there's one there's two."  This week Mitch and Eric explore the equally inventive bands of Arthur Blythe.  His eighties quintet didn't sound like any other band before or since.  It was as if he had exploded a standard hard bop ensemble and rebuilt it with a new kit of parts.     And do you know who that band's original guitarist was?  And have you ever heard live recordings of that band with him in it?  We don't think you have!  Tune in and you will.     This Monday (2/3) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD or wkcr.org.     Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  It's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.     Photo credit: no publishing information available.   #WKCR #DeepFocus #EricPerson #ArthurBlythe #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman  

durée : 00:59:23 - Escapade - par : Nathalie Piolé -

Original air date: 2-16-24 THIS WEEK's BIRDS: new music from Ruiqi Wang; Etenesh Wassie w. Mathieu Sourisseau (experimental Ethiopian vocal/bass duo); from the Maghreb: Hedi Lajmi, Saloua; Slimane Azem; Salim Halali; British jazz from Elton Dean Quintet; George Gruntz and ensemble; Oratnitza; virtuoso guitarist Ousmane Kouyate and band from Mali; Fatoumata Diawara; Kaniba Oulé Kouyaté; Arthur Blythe; Old and New Dreams (Don Cherry, Dewey Redman, Charlie Haden, Ed Blackwell);  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/18564250/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

The First Jazz Feature tonight is "An Introduction to Jazz" narrated by Julian "Cannonball" Adderley. It is a tradition on The Jazz Show every year paying tribute to this time of year..."back to school, back to work" etc. with this educational and entertaining overview of the history of Jazz. Although it was recorded in 1960 it has significance and relevance to today's Jazz of 2024. The second Jazz Feature is a significant album by one of the most distinctive voices of the alto saxophone, the late Arthur Blythe. Mr. Blythe was well known in Los Angeles as a member of that city's Jazz underground and when he emigrated to New York in the mid 70's and recorded for small labels. Blythe to the surprise of many was signed by Columbia Records and recorded his first album called "Lenox Avenue Breakdown" . It was edgy, energetic and consisted of only four long compositions by Arthur Blythe. His band was unique as well with Arthur's fulsome alto saxophone paired with flute, guitar, tuba bass and drums. Blythe is accompanied by James Newton on flute, James "Blood" Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums and Guilherme Franco on percussion. This date began a four album run for Columbia and strangely they all soon became collectors items as they were not kept in the catalogue. Perhaps they were too adventurous for the lay Jazz public. Tonight The Jazz Show presents the first and best on "Lenox Avenue Breakdown". Head's up!!!

Darek Oles (Oleszkiewicz) was born on February 20, 1963 in Wroclaw, Poland. At the age of five Oles began his music education at the State Music School in Wroclaw. Piano was his first instrument, but later he played guitar, electric bass and finally at eighteen years old, he switched to accoustic bass. While in his teens he played with amateur groups, evolving in popular music styles from rock, blues, jazz-rock to straight ahead jazz. In the early 1980's, Oles participated in various jazz festivals and national competitions for young musicians. In 1983, he was the most awarded musician at the Jazz Juniors in Cracow, winning the first individual prize, first prize for jazz composition and a second prize in jazz combo category. Later that year Oles was invited by Jan Ptaszyn Wroblewski, a jazz legend in Poland, to join saxophonist's quartet on tour.In the following five years Darek Oles was working steadily with some of the best jazz bands in the country such as: Zbigniew Namyslowski Quartet, Tomasz Szukalski Quartet, Henryk Majewski Quintet, Wojciech Karolak Trio and Andrzej Jagodzinski Trio and Jan Ptaszyn Wroblewski Quartet. With those groups he recorded for Polish Jazz, Polskie Nagrania, East Wind and also for the radio and television in Poland and abroad. Darek was touring extensively in Poland, France, Germany, Czech Republic, Cuba, Mexico and performed at major festivals, concerts and jazz club venues.In 1988, Darek Oles arrived in Los Angeles with a simple plan in mind: to broaden his musical horizon. One year later he received a full scholarship from California Institute Of The Arts and began studies with the legendary bassist Charlie Haden. After graduation in 1992, he accepted a teaching position at the Institute, where he has been conducting jazz ensembles and teaching bass ever since. Since 2002 Oles has been a jazz faculty member at the University Of California in Irvine.Aside from his teaching duties, Darek Oles has been very active as a performer and became one of the most sought after bass players on the West Coast. “Oles” (his American nick-name) had the opportunity to perform and record with the greatest masters in jazz. A partial list of his collaborations include: Brad Mehldau, Billy Higgins, Pat Metheny, Joe Lovano, Eddie Henderson, Charles Lloyd, John Abercrombie, Bennie Maupin, Lee Konitz, Peter Erskine, Alan Pasqua, Bennie Wallace, Victor Lewis, Harvey Mason, Dave Grusin, Art Farmer, Horace Silver, Alice Coltrane, Ravi Coltrane, James Newton, Arthur Blythe, Lew Tabackin, Steve Kuhn, Gary Smulyan, Ronnie Cuber, Billy Hart, Kevin Hays, Munyungo Jackon, Steve Hass, Toshiko Akiyoshi, Marian McPartland, Janis Siegel, Bob Brookmeyer, Curtis Fuller, Roy McCurdy, Tom Harrell, Larry Goldings, Bill Stewart, Chris Potter, Kei Akagi, Billy Childs, Bob Sheppard, Joe LaBarbera, Bill Cunliffe, Patrice Rushen, Bennie Golson, Piotr Baron, Teri Lynn Carrington, Buddy De Franco, Terry Gibbs, Anthony Wilson Nonet and Los Angeles Jazz Quartet.Moods in Freedom on SpotifySupport the showInstagram / Twitter / Youtube / Website / BSA / View More Episodes

As an improviser, trombonist Joe Fiedler describes himself as living half in the inside world and half in the outside world. This is evident in his new recording Will Be Fire. For this project, Fiedler collaborates with guitarist Pete McCann, tuba virtuoso Marcus Rojas, and percussionist Jeff Davis, in an elegant instrumentation that pays homage to the late Arthur Blythe. In this episode of LINER NOTES Joe articulates his perspective on the evolution of the trombone and his aspirations for its future direction.

Malgré une relative faible notoriété, le compositeur et saxophoniste américain Arthur BLYTHE, homme discret, était un maître, excellant dans tous… The post S06E08 Arthur BLYTHE first appeared on Radio Campus Angers.

The latest episode of the Burning Ambulance podcast features an interview with tuba player Bob Stewart.I have said all season long that we're going to be exploring a single subject for ten episodes, and that subject is fusion. But as I hope has become clear over the course of the five previous episodes, during which I interviewed techno pioneer Jeff Mills, drummer Lenny White, trumpeter Randy Brecker, pianist Cameron Graves, and guitarist Brandon Ross, most of whom come from different musical generations and are not peers, when I say the word fusion, I'm talking about a state of mind, not a style or a genre. It's not what you play, it's how you approach music-making.I understand that when most people hear the word fusion, they think of the big name bands from the 1970s: the Mahavishnu Orchestra, Return to Forever, and Weather Report. Those groups, and the Miles Davis bands from 1969 to 1975, and many other less immediately recognizable groups, all did a particular thing, playing extremely complex music that blurred the lines between progressive rock and jazz. We talked about those acts in the second and third episodes this season, with Lenny White and Randy Brecker, both of whom were around then and were actively participating in making some of that music.If you think of fusion as a mindset, though, rather than a style, the discussion gets a lot more interesting. And that's really how I prefer to think about it. Because the people who fall into the latter category are the ones who I find to be the most interesting, and the ones who are more likely to have careers where almost every record they play on is at least worth hearing, worth giving a chance. You may not like all of it. But they're creative enough that they've earned the benefit of the doubt.A perfect example of this is Bill Laswell, the bassist and producer. He doesn't use the term fusion. He calls what he does “collision music,” bringing together players from wildly disparate areas — stylistic areas, and literal geographical ones, putting African players together with guys from Southeast Asia and New York rock artists and whoever else he thinks has something to say — and seeing what comes out when they all work together toward a common goal. And sometimes you get something glorious, that you never could have predicted or imagined beforehand. Like pairing Pharoah Sanders with a troupe of Gnawa musicians from North Africa. Or putting improvising guitarist Derek Bailey together with drummer Jack DeJohnette, DJ Disk from the Invisibl Skratch Piklz, and Laswell himself on bass. I heard a recording of that group just a few days ago, and you might not expect it to work, but it really, really did.Bob Stewart is a fusion artist in that he takes an instrument that has had a relatively low profile in jazz for decades — the tuba — and created a variety of fascinating contexts for it. Not only on his own albums, but particularly in partnership with the late alto saxophonist Arthur Blythe. They began working together in the early 1970s, and Stewart's playing on some of Blythe's albums, most notably Bush Baby, where it's just the two of them and a percussionist, and on Lenox Avenue Breakdown and Illusions, where they had some incredible bands that included at different times James “Blood” Ulmer on guitar, Cecil McBee on bass, Jack DeJohnette on drums, James Newton on flute, and Abdul Wadud on cello. On the album Blythe Spirit, Blythe and Stewart record a version of the spiritual “Just A Closer Walk With Thee,” with Amina Claudine Myers on organ, that's absolutely amazing. We talk about that piece a little bit in this interview.He's worked with a lot of other artists over the course of his career, too, including Charles Mingus, McCoy Tyner, Carla Bley, Gil Evans, the Jazz Composers Orchestra, Bill Frisell, the David Murray Big Band, Lester Bowie's Brass Fantasy, and on and on. The reason he's able to do so many different things is that his approach to the tuba is really expansive, conceptually speaking. He treats it as much more than a substitute bass. He understands its full range, and the subtleties it's capable of expressing, and he uses it in ways lots of other people would never even think of. On his own albums First Line, Then & Now, and Connections — Mind the Gap, he puts together really unorthodox collections of personnel. For example on Then & Now, which was originally released in 1996 but just recently popped up on Bandcamp, some of the tracks feature two trumpets, trombone, French horn, and drums, while another is a duo with pianist Dave Burrell, and others have trumpet, alto sax, guitar, and drums. And Connections — Mind the Gap, which is from 2014, features tuba, guitar and drums, with trumpet and trombone on two tracks, but then on five others it's the core trio plus a string quartet. Now that's very much a kind of fusion — jazz which is already in an avant-garde zone, combined with chamber music.Bob Stewart is a fascinating guy, an endlessly creative spirit who has done a tremendous amount to change the image of his instrument in order to pave the way for guys like Theon Cross, who plays tuba with Sons of Kemet, or with Jose Davila, who plays with Henry Threadgill's Zooid. I really enjoyed this conversation, and I hope you enjoy listening to it.Music in this episode:Bob Stewart, “Bush Baby” (Connections – Mind The Gap)Arthur Blythe, “Lenox Avenue Breakdown” (Lenox Avenue Breakdown)Bob Stewart, “The Rambler” (from Then & Now)

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Quella di Chico Hamilton (1921-2013) è stata una originale figura nell'ambito del jazz moderno. Non molti altri colleghi hanno riunito in sé le peculiarità di questo artista che, da dietro piatti e tamburi, si è profilato anche come innovativo compositore e direttore di propri gruppi.Già ai tempi del liceo a Los Angeles aveva suonato con gente come Dexter Gordon e Charles Mingus, per poi andare in tour con Lionel Hampton e Billy Berg. Dopo la guerra lavorò tra gli altri con Count Basie, Lester Young, Lena Horne e nel quartetto di Gerry Mulligan.Nel 1955 fondò un proprio quintetto che resterà nella storia per la particolare line-up (con, oltre alla batteria, flauto/sax, chitarra, cello, contrabbasso – poi trombone) e una peculiare proposta al crocevia di avanguardia, Third Stream e ultra hard-bop. Fucina di talenti - dove sfileranno tra gli altri giovani virgulti come Jim Hall, Buddy Collette, Eric Dolphy, Charles Lloyd, Gregor Szabo, il gruppo sarà attivo fino a metà anni '60.Lo ritroveremo in seguito molto impegnato come musicista di studio e per la TV, ma senza rinunciare a propri gruppi dove troveranno spazio gente come il chitarrista Larry Coryell e i sassofonisti Arthur Blythe, Steve Potts, più tardi Eric Person. Registrerà negli anni '90 diversi album per l'italiana Soul Note e sarà presente sui palcoscenici e in studio di registrazione sin nel primo decennio del nuovo secolo. 

Hello everyone, This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic, a monthly interviews podcast where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets. On this episode of the Jazz Transcription Clinic Podcast Mirko Guerrini interviews the guest jazz doctor: Stephen Magnusson Listen to Steve Magnusson's answers to the questions below: Why do you transcribe? 03:47 What do you expect to learn from a transcription? 17:41 How do you choose the solos to transcribe? 24:21 What is your transcribing methodology? 33:08 Do you use any software? 45:45 Which transcription of yours is your favourite? 01:09:05 Artists mentioned in this episode: Pat Metheny, Herbie Hancock, Dmitri Sostakovic, Charlie Parker, Charles Lloyd, Charlie Haden, John Scofield, Brad Mehldau, Sonny Rollins a.o.   Stephen Magnusson is considered one of Australia's most accomplished, versatile and distinct musicians with incredible technique and an astoundingly beautiful tone. His hectic schedule shows that he is a delight to work with and someone that has ‘something to say' in the world of improvised music. He was given his first ukulele at 3, his first guitar at 6 and began performing at 10 on an electric guitar that he loaned from his schoolteacher. At 13, he started to study under the guidance of Gordon Pendleton at the Box Hill Tafe and discovered the world of improvised music. In 1986, he studied at the esteemed Victorian College of the Arts under the supervision of some of Australia's finest musicians – Tony Gould, Bob Sedergreen and Mike Doyle. Here he expanded his practice regime and playing. He joined various bands playing numerous styles and developed an understanding of different methods. But, his main focus remained, to develop and hone the craft of mastering the guitar. He travelled to Europe and lived there and after being appointed on the staff at The Academy of Contemporary Music (Zurich) in 1997, Stephen met his long time collaborator – Sergio Beresovsky. They began to perform regularly with Swedish bassist – Bjorn Meyer and in the July of the same year, Australian saxophonist Julien Wilson travelled to meet and play with the trio. After the first week of playing, they formed SNAG and produced a self-titled album (released in Australia ‘Hey Guess What'). After 3 years of living in Zurich, Stephen returned to Melbourne in August 2000. He entered the National Jazz Award at Wangaratta Jazz and Blues Festival, where he tied for first place amongst much controversy. At this festival, he performed with his trio featuring Sergio and Eugene Ball. This recorded result is captured on the CD ‘Healing Songs'. He has worked with many artists including Charlie Haden, Meshell Ndegeocello, Ricki Lee Jones, Sinead O'Connor, John Cale, Gurrumul Yunupingu, Paul Grabowsky, Vince Jones, Katie Noonan, Lisa Young, Christine Sullivan, Michelle Nicole, Martin Breeze, The Assumptions Trio, Megan Washington, Paul Kelly, Jim Black, Mike Nock, Barney McAll, Enrico Rava, Arthur Blythe and many others. As a part of the Katie Noonan trio Elixir, the ensemble won the ARIA for Best Jazz Album in 2011. In 2013, Stephen was awarded the Melbourne Prize for Outstanding Musician, and the Australian Jazz Bell Award for Best Contemporary Jazz Album with his quartet MAGNET (with Carl Pannuzzo, Eugene Ball and Sergio Beresovsky). Stephen is currently concentrating on writing for his duo Boundaries with Frank DiSario, and trio MAG featuring DiSario and Dave Beck. He will also be completing the second release from MAGNET, SOM. You can check Steve Magnusson here: http://www.mag.net.au You can check Mirko Guerrini's music here: https://mirkoguerrini.bandcamp.com or here https://www.mirkoguerrini.com Mirko Guerrini is a D'Addario artist, playing D'Addario mouthpieces and reeds. Subscribe to this podcast and to my YouTube Channel. You can download this podcast episode, or any other episode here: Apple podcast: https://podcasts.apple.com/.../jazz.../id1574500923 Google Podcasts: https://www.google.com/podcasts... Spotify: https://open.spotify.com/show/1oQqf6mptnbh97XLi8Tcd6 Amazon Music/Audible: https://music.amazon.com/.../8b6f521b-d990-4c37-9a92   I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.

En este cuarto (y final) episodio dedicado al saxo alto recorremos los sonidos de jazzistas de la corriente principal de las u'ltimas de'cadas. Los estilos de Frank Morgan, Sadao Watanabe, Maceo Parker junto a Paquito de Rivera, Arthur Blythe, Kenny Garrett, Charlie Mariano y David Sandborn y redondeamos con Benny Carter. Para darle chispa a la serie, dejamos el tenor y el baritono para luego ya que en los pro'ximos episodios nos adentramos en trompeta, corneta y fliscorno.  

Jitterbug Waltz (vals de Fats Waller, 1942) es el primer vals de jazz compuesto específicamente. En tono de chanza, contrapone el jitterbug, danza frenética de los años del swing (de donde proviene el rock and roll) con el serio vals de ribetes vieneses. Escuchemos al autor en órgano, Art Tatum, Miles Davis, Dizzy Gillespie, Scott Hamilton, Eric Dolphy, Arthur Blythe, Corea y otros.

Featuring Chick Corea, John Pattittuci, George Benson, Arthur Blythe, Rahsan Roland Kirk and Wynton Marsalis

A podcast for musicians, music lovers, and anyone who loves a good story! In-depth discussions about the music industry & gig life with a variety of musicians & creatives from all over the world!@gigstorieswithmusicpeopleEp. 12 - Greg ErbaGreg has a ton of gigs with many bands under his belt. He's a guitarist-for-hire and also fronts his own band Greg & The Gallows. Some bands he's performed with in the past include The Fulltones, Royal Crown Revue, Leatherwolf, Rye Brothers, Blanco Diablo, Arthur Blythe, We Three, Merchants Of Moonshine, Brad Johnson & Killin' Time, Brian Lynn Jones & The Misfit Cowboys, Brant Vogel & Hellbent, Azteca, Barbed Wire Boys, and Foothill Station. Greg also does a livestream show every week that he started during the Covid lockdown, so check that out!http://www.facebook.com/gregandthegallowshttps://m.facebook.com/The-Fulltones-118856968155656/?ref=bookmarks@erbanatorHost:Evan Mykl Chudnow @evanonthebass @the_spaceminthttps://www.thespacemint.com/http://www.evanonthebass.com/https://gig-stories-music-people.captivate.fm*At the moment I have no sponsors, so if you'd like to support this podcast the best thing is to share it on social media or with someone who might be interested! If you want to go above and beyond that and help ensure more episodes you can also purchase my music at https://evanmykl.bandcamp.com/ or even make a contribution on Venmo @Evan-TheSpacemint any help is very much appreciated!Thank you for listening!

Episode 33 Youseff Yancy--Pioneer of Electronic Jazz   Part 1 Playlist Yuseff Lateef, “Sound Wave” from A Flat, G Flat And C (1966 Impulse!). Tenor Saxophone, Alto Saxophone, Flute, Oboe, Theremin, Yusef Lateef; Bass, Reggie Workman; Drums, Roy Brooks; Piano, Hugh Lawson. 4:00. Dorothy Ashby, “Soul Vibrations” from Afro-Harping (1968 Cadet). Harp, Dorothy Ashby. No other credits are given. Unknown Theremin player. 3:19. Sunny Murray's Untouchable Factor, “New York Maze” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Alto Saxophone, Arthur Blythe; Baritone Saxophone, Hamiet Bluiett; Bass, Fred Hopkins; Guitar, Monnette Sudler. 18:34. Sunny Murray's Untouchable Factor, “Applebluff” from Apple Cores (1978 Philly Jazz). Composed by Sunny Murray; Trumpet, Flugelhorn, Theremin and Various Electro-acoustical Sound Manipulating Devices, Youseff Yancy; Drums, Sonny Brown; Flutes], Whistles, Percussion, Abdul Zahir Batin. 9:10. Muhal Richard Abrams, “Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 6:50. Muhal Richard Abrams, “Inneroutersight” from Spihumonesty” (1980 Black Saint). Composer, Piano, Synthesizer, Muhal Richard Abrams; Theremin – Yousef Yancey; Trombone, Sousaphone, Synthesizer, George Lewis; Voice, Jay Clayton; Alto Saxophone, Flute, Roscoe Mitchell; Bass, Leonard Jones; Piano, Electric Piano, Organ, Amina Myers. 7:54. Byard Lancaster, “Blue Nature” from, Documentation The End of a Decade (1980 Bellows). Theremin and trumpet, Youseff Yancy. Recorded in New York in 1979, this is a multi-tracked, solo performance by Yancy on his own composition. One track of straight trumpet, at least one track of electronically modified trumpet, and another track of Theremin. On the liner notes, “B. Lancaster acknowledges the spiritual and education guidance from Youseff Yancy and family.” 2:43. Garrett List and the A-1 Art Band, “Where We Are” from Various ‎– From The Kitchen Archives - New Music New York 1979 (2004 Orange Mountain Music). Piano, Trombone, Garrett List; Theremin, Trumpet, Youseff Yancy; Soprano Saxophone, Byard Lancaster; Voice, Genie Sherman. Recorded live at The Kitchen, New York City. 8:38. Opening background music: Garrett List / A-1 Band, “Passions of Miles” from ‎Fire & Ice (1982 Lovely Music). Composed by, Trumpet, Flugelhorn, Theremin, Electronics, Youseff Yancy; Alto Saxophone, Soprano Saxophone, Flute, Piccolo Flute, Byard Lancaster; Drums, Percussion, Ronald Shannon Jackson; Trombone, Piano, Vocals, Garrett List; Vocals, Genie Sherman. Second background track: Better Daze, “Heavenly Sweetness” from First Flight E.P. (1995 Ubiquity). Acid jazz remix of “Sweetness,” a song that originated on the 1980 album by Byard Lancaster featuring Youseff Yancy and vocalist Joan Hansom. Opening and closing sequences voiced by Anne Benkovitz.    

ARTHUR BLYTHE – FOCUS – Paramus, N.J., April 11, 2002 Opus 1, Children’s song (cb out), C.C. rider (gwt out), Once again (bs,cb out) Arthur Blythe (as) Bob Stewart (tu) Cecil Brooks, III (d) Gust William Tsilis (mar) GLENN ZALESKI – LIVE AT JAZZ STANDARD – New York, August 7 & 8, 2018 Waltz for […]

Guitarist Simone Gubbiotti is a musician with a strong presence in both the USA and Europe. Based in Umbria (Italy) Simone frequents the US regularly where he performs with musicians including Peter Erskine, Sid Jacobs, Joe La Barbera, Arthur Blythe, Lewis Nash, Adam Nussbaum and Jay Anderson. Music was not Simone's first passion, he began his career in the world of sports where he played professionally for a number of top Italian soccer clubs including AC Milan. After sustaining a serious knee injury Simone took the decision to refocus and pursue a career in music.

durée : 01:55:21 - Retour de plage - Célébrons le jazz ce vendredi dans notre émission Retour de plage. Quelques grands noms, actuels ou plus anciens, sont au programme aujourd'hui : Gregory Porter, Charles Mingus, Arthur Blythe ou encore le Fred Nardin Trio !

Las cosas no son como parecen. Eso es el jazz. Eso es Jazz Up! un podcast dedicado al sonido y el virtuosismo de los que hacen y disfrutan del buen escuchar. Este episodio incluye: Arthur Blythe, Cory Henry, Oliver Nelson y un especial a Wynton Marsalis. Dale play!

Las cosas no son como parecen. Eso es el jazz. Eso es Jazz Up! un podcast dedicado al sonido y el virtuosismo de los que hacen y disfrutan del buen escuchar. Este episodio incluye: Arthur Blythe, Cory Henry, Oliver Nelson y un especial a Wynton Marsalis. Dale play!

India Navigation was an American independent record label specialized in avant-garde jazz between the 1970s and 1980s. It was founded by Bob Cummins, a corporate lawyer who helped jazz musicians with legal matters. Its visionary catalogue shifted between avant-garde jazz — Arthur Blythe, Hamiet Bluiett, Chico Freeman, Cecil McBee and the Revolutionary Ensemble — and minimal music — such as Arnold Dreyblatt, Phill Niblock and Joseph Celli, or Tom Johnson. The episode features: Chico Freeman, Phill Niblock, Arnold Dreyblatt, Jay Hoggard, Yoshi Wada and Pharoah Sanders.

I start by featuring Lonnie Johnson—who played the first guitar solo ever on record, in 1927.  And we hear him playing with a Toronto Dixieland band from 1965.   Plus two very early recordings with his guitar. I also talk about pianist McCoy Tyner, and play three tracks from a double album—–with guests Arthur Blythe, Bobby…Continue reading Episode 35. Vinyl records, Spring and Summer Finds

Arthur Blythe was Columbia's last major "out" signing, and he gets the full episode treatment now that he's playing with the angels. Horace Tapscott – THE GIANT HAS AWAKENED; Arthur Blythe –LENOX AVENUE BREAKDOWN, LIGHT BLUE; Roots - STABLEMATES. Plus, Pat misses by that much on all four selections of the Mike-citement meter.

11e émission de la 35e session... Cette semaine, une pensée pour Arthur Blythe et du nouveau jazz en trio ! En musique: Arthur Blythe sur l'album Basic Blythe  (Columbia, 1988); Arthur Blythe sur l'album Night Song  (Clarity, 1997); Carlos Bica & Azul feat. Frank Möbus and Jim Black sur l'album More Than This  (Clean Feed, 2017); Kołakowski:Wykpisz:Korelus sur l'album Schönberg  (For Tune, 2016); The Angelica Sanchez Trio sur l'album Float The Edge  (Clean Feed, 2017); Matt Piet Trio sur l'album at the Hungry Brain  (Indépendant, 2017)...

11e émission de la 35e session... Cette semaine, une pensée pour Arthur Blythe et du nouveau jazz en trio ! En musique: Arthur Blythe sur l'album Basic Blythe  (Columbia, 1988); Arthur Blythe sur l'album Night Song  (Clarity, 1997); Carlos Bica & Azul feat. Frank Möbus and Jim Black sur l'album More Than This  (Clean Feed, 2017); Kołakowski:Wykpisz:Korelus sur l'album Schönberg  (For Tune, 2016); The Angelica Sanchez Trio sur l'album Float The Edge  (Clean Feed, 2017); Matt Piet Trio sur l'album at the Hungry Brain  (Indépendant, 2017)...

El pianista Ethan Iverson reflexiona sobre el universo de Lennie Tristano en "Costumes are mandatory". Reflexiones que comparte con uno de sus alumnos más destacados, el saxofonista Lee Konitz, y junto a Larry Grenadier (contrabajo) y Jorge Rossy (batería). Ocasión para recuperar en esta edición de "Club de Jazz" del 30 de octubre de 2013 alguna grabación del que fuera un músico muy avanzado en su época. Jesús Moreno recuperó hace unos días en su blog "desde mi cadiera" las fotografías de la actuación en Huesca del contrabajista Peter Kowald en 1996 y ahora complementa con un momento de una actuación del bajista en el Total Music Meeting de Berlín en 1999. El club Jamboree de Barcelona acogió el pasado mes de abril una actuación del Filthy Habits Ensemble, formación dirigida por El Pricto que interpretó "La historia del Soldado" de Igor Stravinsky... a su manera. Alberto Varela nos adelanta en el "Jazz Porteño" algunos de los contenidos de la próxima edición del Festival de Jazz de Punta del Este (Uruguay) y nos ilustra con música del trompetista Diego Urcola. El saxofonista Víctor de Diego se presenta en trío junto al baterista Gonzalo del Val y al bajista Jordi Gaspar en "Tribute". "Aire" es el nuevo trabajo del saxofonista Kiko Berenguer en el que colaboran, entre otros, el intérprete de oud Amos Hoffman y el acordeonista Joao Frade. Los "Ritmos Latinos" de Anxo nos presentan la colaboración del grupo estadounidense de salsa Spanish Harlem Orchestra en el último trabajo del grupo senegalés Africando, "Viva Africando". El tiempo de "Tren Azul" de Luis Díaz García nos ofrece el adelanto de la programación del 7º Festival de Jazz de Tolivia (Asturias) y nos deleita con el trío vocal Lambert, Hendricks and Bavan en un directo de los años 60 con un auténtico all-star instrumental con músicos como Clark Terry o Coleman Hawkins. La recopilación "Music of the Sphere" recoge diferentes interpretaciones de la música de Thelonious Monk. Nosotros escucharemos las de Joel Harrison, Eric Reed y el dúo Arthur Blythe & John Hicks. Toda la información y derechos: http://www.elclubdejazz.com

El pianista Ethan Iverson reflexiona sobre el universo de Lennie Tristano en "Costumes are mandatory". Reflexiones que comparte con uno de sus alumnos más destacados, el saxofonista Lee Konitz, y junto a Larry Grenadier (contrabajo) y Jorge Rossy (batería). Ocasión para recuperar en esta edición de "Club de Jazz" del 30 de octubre de 2013 alguna grabación del que fuera un músico muy avanzado en su época. Jesús Moreno recuperó hace unos días en su blog "desde mi cadiera" las fotografías de la actuación en Huesca del contrabajista Peter Kowald en 1996 y ahora complementa con un momento de una actuación del bajista en el Total Music Meeting de Berlín en 1999. El club Jamboree de Barcelona acogió el pasado mes de abril una actuación del Filthy Habits Ensemble, formación dirigida por El Pricto que interpretó "La historia del Soldado" de Igor Stravinsky... a su manera. Alberto Varela nos adelanta en el "Jazz Porteño" algunos de los contenidos de la próxima edición del Festival de Jazz de Punta del Este (Uruguay) y nos ilustra con música del trompetista Diego Urcola. El saxofonista Víctor de Diego se presenta en trío junto al baterista Gonzalo del Val y al bajista Jordi Gaspar en "Tribute". "Aire" es el nuevo trabajo del saxofonista Kiko Berenguer en el que colaboran, entre otros, el intérprete de oud Amos Hoffman y el acordeonista Joao Frade. Los "Ritmos Latinos" de Anxo nos presentan la colaboración del grupo estadounidense de salsa Spanish Harlem Orchestra en el último trabajo del grupo senegalés Africando, "Viva Africando". El tiempo de "Tren Azul" de Luis Díaz García nos ofrece el adelanto de la programación del 7º Festival de Jazz de Tolivia (Asturias) y nos deleita con el trío vocal Lambert, Hendricks and Bavan en un directo de los años 60 con un auténtico all-star instrumental con músicos como Clark Terry o Coleman Hawkins. La recopilación "Music of the Sphere" recoge diferentes interpretaciones de la música de Thelonious Monk. Nosotros escucharemos las de Joel Harrison, Eric Reed y el dúo Arthur Blythe & John Hicks. Toda la información y derechos: http://www.elclubdejazz.com

Jack DeJohnette is one of the most extraordinary musicians to come along in the last 45 or so years. Jack was born in Chicago and came to New York in 1964 as an accomplished drummer and pianist. He was discovered by the great alto saxophone master Jackie Mclean and then went on to work with Charles Lloyd, Miles Davis, Stan Getz, Bill Evans, Freddie Hubbard and countless others. Jack and pianist Keith Jarrett worked with Charles Lloyd and their musical bond has remained to this day as the formidable trio of Jarrett, bassist Gary Peacock and DeJohnette is one of today's premier groups. DeJohnette first began recording under his own name in 1968 and his output has reflected a very eclectic taste. DeJohnette's recordings have explored anything musical but this band called "Special Edition" is amazing. This is their first recording and it is indeed a classic in the best sense of the word. The Special Edition band continued throughout the 80's and 90's with changing personnel but this first recording done in March of 1979 was one of their best. David Murray is heard on tenor saxophone and bass clarinet, Arthur Blythe on alto saxophone and Peter Warren on bass make up the band. DeJohnette is heard mostly on drums, of course, but we also hear him on piano and melodica. Three of the compositions are Jack's and two are Coltrane classics, "Central Park West" and "India". "Special Edition" was indeed very special.

This latter-day masterpiece by one of the most distinctive voices of the alto saxophone is the first Feature of the new year. Arthur Blythe is an extraordinary alto saxophonist and composer who while playing music with an 'edge' is also lyrical and accessible. Blythe can perform in any context but his own recordings are usually with unusual mixes, not your standard traditional setup with trumpet, alto, piano, bass and drums. Arthur works things differently and this recording, his debut for the major Columbia label, is unique in it's instrumentation. Blythe on alto saxophone, the great flute virtuoso, James Newton, James 'Blood' Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums and Guilherme Franco on percussion. Only four tunes comprise the album, all by Arthur Blythe. "Lenox Avenue Breakdown" stands as a modern classic and a great tribute to the originality of Arthur Blythe.

Troisième de la septième session. L'émission est consacrée presque entièrement à Jason Moran (pianiste américain né en 1975), avec des pièces tirées de 4 albums. Il y aura aussi du Andrew Hill et du Arthur Blythe.

Troisième de la septième session. L'émission est consacrée presque entièrement à Jason Moran (pianiste américain né en 1975), avec des pièces tirées de 4 albums. Il y aura aussi du Andrew Hill et du Arthur Blythe.