Podcast appearances and mentions of Billy Childs

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

**It's The Jazz2Go Show Replay On traxfm.org. Jazz2Go Presented Contemporary/Be Bop/Samba/Neo/Soulful Jazz Trax From Colletivo Immaginario, Joyce, Metropilitan Jazz Affair, Billy Childs, Dr Robert Rodriguez, Flora Purim, Azymuth, Carlos Garnett, Kazumi Watanabe, Friends From Rio, Sergio Esposito, Joao Donatao, Raul De Souza & More #originalpirates #JazzMusic #jazzfunk #jazzclub #jazzdance #neojazz #sambajazz #bebop #bossanova Catch Jazz2Go Every Monday From 7PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Here is the playlist for the 09/08 episode of the Seventh House. Enjoy!Alexander Courage- Theme From Star TrekRewiring Genesis- The Lamb Lies Down on BroadwayPink Floyd- Set the Controls for the Heart of the SunSteve Hackett- Twice Around the SunDarWin- Five Steps on the SunYes- Heart of the Sunrise  (the tradition continues....)Beat- Neal and Jack and MeSupertramp- Bloody Well RightRobert Plant- ChevroletShawn Colvin, Billy Childs and Chris Botti- Save the CountryChimpan A- Smackwater JackSupertramp- RudySteven Wilson- Invisible TightropeLunatic Soul- The World Under UnsunDeep Energy Orchestra- Captain QuirkFearful Symmetry- The Dance of the Ghillie DruBioscope- Bioscope PT I, II and IIISupertramp- CannonballSupertramp- From Now OnSupertramp- Goodbye, StrangerRewiring Genesis- It

**It's The Jazz2Go Show Replay On traxfm.org. Jazz2Go Presented Contemporary/Be Bop/Samba/Neo/Soulful Jazz Trax From Victor Assis Brasil, Billy Childs, Floria Purim, Spick & Span, Iguazu Acoustic Trio, The Jazz Steppers, Cuban Jazz Trio, Eddie Palmieri, Vince Vella's Cuban Collective, Azymuth, Emmanual Chopis Sexteto, Shigeharu Mukai, Corina Bartra & More #originalpirates #JazzMusic #jazzfunk #jazzclub #jazzdance #neojazz #sambajazz #bebop #bossanova Catch Jazz2Go Every Monday From 7PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Conductor Miguel Harth-Bedoya leads music that celebrates global influences — including Ravel's La Valse and Jimmy López's Fiesta! Saxophonist Steven Banks is the featured soloist in Billy Childs' bold new concerto.

Sara Gazarek is a 2x Grammy Winning Jazz Vocalist. She has recorded five albums and done world tours. She has collaborated with luminaries like Kurt Elling, Fred Hersch, Larry Goldings and Billy Childs. She is a founder of Saje, the all-female vocal group. And she is the Jazz Voice Professor at the Eastman School of the University of Rochester.My featured song is my reimagined version of Joni Mitchell's reimagined version of a song by Charles Mingus called “The Dry Cleaner From Des Moines”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH SARA:www.saragazarek.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

El pianista y compositor californiano de jazz Billy Childs quedó fascinado por Laura Nyro al descubrir los discos de ella que tenía su hermana mayor. Y en 2014, organizó 'Map to the treasure: Reimagining Laura Nyro', disco con el que quiso rendir homenaje a la cantautora neoyorquina fallecida en 1997 con solo 49 años: 'New York tendaberry' -con Renée Fleming & Yo-Yo Ma-, 'The confession' -con Becca Stevens-, 'Map to the treasure' -con Lisa Fischer-, 'Upstairs by a chinese lamp' -con Esperanza Spalding & Wayne Shorter-, 'Been on a train' -con Rickie Lee Jones & Chris Potter-, 'Stoned soul picnic' -con Ledisi-, 'Gibsom street' -con Susan Tedeschi & Steve Wilson-, 'Save the country' -con Shawn Colvin & Chris Botti- y 'To a child' -con Dianne Reeves-. Escuchar audio

Tim Palmer is a renowned producer and mixer who has worked with an extensive roster of iconic artists, ranging from Robert Plant, David Bowie, and Tears for Fears to Ozzy Osbourne, The Goo Goo Dolls, and U2. With the recent success of The Psychedelic Furs' latest album, which he mixed, Tim has achieved the remarkable milestone of contributing to UK Top Ten albums across five decades.Tim's career includes mixing Pearl Jam's Ten, one of the top 50 best-selling albums of all time. This landmark record was inducted into the Grammy Hall of Fame in 2021. In 2001, Tim was nominated for a Grammy for his mixing work on U2's All That You Can't Leave Behind, an album that won the Grammy for Best Rock Album. Tim also mixed the Grammy-winning tracks Stuck in a Moment and Elevation from the same release.Currently based in Austin, Texas, Tim continues to collaborate with prominent artists such as Tears for Fears, Jason Mraz, Blue October, The Polyphonic Spree, H.I.M., and The Psychedelic Furs. In 2014, he mixed Map to the Treasure by Billy Childs, an album that earned three Grammy nominations.In recent years, Tim has contributed to projects with Grammy-winning producer Larry Klein, mixing works by Kandace Springs, Lang Lang, Lizz Wright, Luciana Souza, and two multi-artist jazz albums honoring Charlie Parker and Jacques Brel. Additionally, he co-produced Ville Valo's (VV) latest album, which debuted at #4 in Germany, and mixed The Tipping Point by Tears for Fears, which reached #8 on the Billboard 200.Beyond the studio, Tim has served two terms as a Recording Academy Trustee and sits on the advisory board of Sonic Guild (formerly Black Fret), an Austin-based nonprofit that supports local musicians as artists deserving of patronage. Over four years, Sonic Guild has provided more than $3.5 million in grants and performance payments to Austin's vibrant music community.IN THIS EPISODE YOU'LL LEARN:Learning the good and bad traits of other producers/engineersBeing open to working in all genresFinding the beauty in production detailsThe flow of an albumStaying on top of musical/production trendsMixing Pearl Jam's “Ten”The challenges of doing remixes/remasters of classic recordsAdding elements in the mixing stageNot being afraid to edit tracksGetting snares to crack and cut through mixesAdding cymbal samplesPreserving imperfectionsTo learn more about Tim Palmer, visit https://timpalmer.com/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join: https://masteryourmix.com/amplitude/Want additional help with your music productions?For tips on how to improve your mixes, visit https://masteryourmix.com/Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.comThe Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio:

In this episode Listen to a conversation between your host Vivienne Aerts and Aubrey Situmorang - Indonesian bass player living in Los Angeles, California - as we talk about her life in LA, being on tour for weeks at a time while sleeping in a bus … and her passion for jazz.   About Aubrey Situmorang Aubrey Situmorang is an Indonesian bass player currently residing in Los Angeles, California. Aubrey has played for notable artists from a diverse array of genres, listing the Grammy winning pianist and composer Billy Childs, double-platinum artist Bipolar Sunshine, and singer/producer SASAMI. Aubrey's recent performances include selling out two nights at Los Angeles' legendary Baked Potato with Billy Childs in June 2024, opening for Yeah Yeah Yeahs at the Huntington Bank Pavilion in Chicago, Illinois, and for Soccer Mommy at Outside Lands Festival in San Francisco, California both in the summer of 2023. Beyond her live performances, Aubrey also released her album “One Point One” which received a nomination for Best Jazz Album at Indonesia's highest music awards Anugerah Musik Indonesia 2022. ⁠Instagram⁠ ⁠Website⁠ About ViviTalks - Interviews with the Women Behind Typuhthâng. Introducing ViviTalks, a podcast hosted by Dutch New York-based musician Vivienne Aerts. Join us as we celebrate 100 talented female musicians from Vivienne's latest album "Typuhthâng," with a mission to empower female cacao farmers in the Virunga State Park of Congo and contribute to rainforest restoration. We delve into the musical journeys, creative processes, and unique perspectives of these talented women, seeking to bring greater balance to the music industry. It's a safe space for honest and authentic conversations with artists and trailblazers. Let's amplify the voices of remarkable women in music and stay tuned for inspiring stories and meaningful dialogues on ViviTalks. ⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠ ⁠Stream⁠⁠⁠⁠⁠⁠⁠⁠⁠ the Album Buy it on Bandcamp⁠⁠⁠⁠⁠⁠⁠⁠⁠ and get the chocolate! ⁠⁠⁠⁠⁠⁠⁠⁠⁠More about Vivienne here Follow the podcast on your favorite platform

Rick and Ron host Internationally renowned jazz drummer, percussionist, clinician, author, and educator, Steve Houghton to the podcast. Steve initially received acclaim at age twenty as the drummer with Woody Herman's Young Thundering Herd. Since then he has shared stage and studio with luminaries Freddie Hubbard, Rufus Reid, Gary Burton, Dave Stryker, Clay Jenkins, Shelly Berg, Jared Gold, Lyle Mays, Bob Sheppard, Billy Childs, Bobby Hutcherson, Pat LaBarbara, Bobby Shew, Geoff Keezer, Bob Bowman, Walter Smith III , Wayne Bergeron, Bill Cunliffe, Arturo Sandoval, Steve Allee, Joe Henderson, Ray Brown, Eddie Henderson, among others. Steve retired in 2022 as Professor of Percussion and Jazz at Indiana University's Jacobs School of Music. He continues to presents clinics and master classes to students around the world, most recently in Germany, England, China, New Zealand, Australia and Taiwan. Houghton is a Past- President of the Percussive Arts Society (PAS) a founding member of the Jazz Education Network (JEN) and endorses, Yamaha drums and percussion, Zildjian cymbals, Vic Firth sticks and mallets, and Remo world percussion products and drumheads.

Internationally renowned jazz drummer, percussionist, clinician, author, and educator, Steve Houghton initially received acclaim at age twenty as the drummer with Woody Herman's Young Thundering Herd. Since then he has shared stage and studio with luminaries Freddie Hubbard, Rufus Reid, Gary Burton, Dave Stryker, Clay Jenkins, Shelly Berg, Jared Gold, Lyle Mays, Bob Sheppard, Billy Childs, Bobby Hutcherson, Pat LaBarbara, Bobby Shew, Geoff Keezer, Bob Bowman, Walter Smith III , Wayne Bergeron, Bill Cunliffe, Arturo Sandoval, Steve Allee, Joe Henderson, Ray Brown, Eddie Henderson, among others. Steve retired in 202 as Professor of Percussion and Jazz at Indiana University's Jacobs School of Music. He continues to presents clinics and master classes to students around the world, most recently in Germany, England, China, New Zealand, Australia and Taiwan. Houghton is a Past- President of the Percussive Arts Society (PAS) a founding member of the Jazz Education Network (JEN) and endorses, Yamaha drums and percussion, Zildjian cymbals, Vic Firth sticks and mallets, and Remo world percussion products and drumheads.

The John & Alice Coltrane Home and the Coltrane Family, in partnership with Impulse! Records, Detroit Jazz Festival, Hammer Museum, Alonzo King LINES Ballet, The New York Historical Society, and many more, have declared 2024-2025 to be THE YEAR OF ALICE, celebrating the extensive life work of spiritual leader, composer, and musician Alice Coltrane.In addition to being an iconic and remarkably prolific musician, Mrs. Coltrane was a beloved and wise spiritual leader, a pragmatic person with a keen eye for business, and a deeply giving human, who emphasized the importance of charitable giving, education, and spiritual guidance.My guest today, Michelle Coltrane, is a jazz vocalist and composer. She was born in Paris, France and was raised primarily in Long Island, New York by her mother, musician Alice Coltrane, and her step-father, saxophonist John Coltrane.Michelle has performed and collaborated with artists such as Scott Hiltzik, Shea Welsh, Kenny Kirkland, Jeff Watts, Ronnie Laws, Billy Childs, Jack DeJohnette, Marvin "Smitty" Smith, Reggie Workman, The Gap Band, McCoy Tyner and her brother Ravi Coltrane.Michelle has performed internationally with the Sai Anantam Ashram Singers presenting the music of Alice Coltrane.Her second album, Awakening, was released in 2017 and featured sung versions of her father, John Coltrane's, songs.Michelle of course co-hosted the “Straight No Chaser” radio program with me here on KPFK in Los Angeles and she is chief creative officer of the John Coltrane Home, a non-profit organization.September Events"A Force For Good Day" - A John & Alice Coltrane Home Service Event at the Half Hollow Hills Community Library in Dix Hills, NY. Mark your calendar for this free event, featuring a young persons concert of Long Island student musicians. Saturday, September 14 | 1pm - 4pm.LINES Ballet premiere  - as part of "The Year of Alice," the LINES Ballet will premiere a new work set to Alice Coltrane's transformative music. Thursday, September 26 | 7:30pm.TicketsAlso in September, please check back for more Year Of Alice events at Shapeshifter Plus in Brooklyn. Source: https://www.alicecoltrane.com/Source: https://thecoltranehome.org/Source: https://store.ververecords.com/pages/artist/alice-coltraneHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

For this week's episode, we go back 60's hard bop format for most of the show. From Rollins to Trane, we groove to this era's hard hitting jazz. I did throw in a couple of modern pieces from Eddie Henderson and Billy Childs, that reflect on the hard-bop period. Playlist Artist ~ Name ~ Album Sonny Rollins ~ Alone Together ~ Sonny Rollins and the Contemporary Leaders Hank Mobley ~ Up Over And Out ~ Reach Out! Eddie Henderson ~ Totem Pole ~ Witness to History Billy Childs ~ The Starry Night ~ Rebirth Jackie McLean ~ Climax ~ Jacknife John Coltrane ~ Bahia ~ Bahia John Coltrane ~ Something I Dreamed Last Night ~ Bahia

Musik nur für Dich: zum Nachdenken und um wieder zu Dir zu finden. Sei für diese halbe Stunde frei von allen Pflichten. Lebe diesen Moment, der Dich atmen lässt. Diese Musikstücke hörst Du in dieser Folge: Johann Sebastian Bach – "Klavierkonzert d-moll" // Michael Manring – "Wide Asleep" // Dario Marianelli – "Jane Eyre" // Billy Childs – "Hand Picked Rose Of A Fading Dream" // Edvard Grieg – "Klavierkonzert a-moll" // Eric Withacre – "Seal Lullaby" // Den Podcast "WDR 5 Innenwelt – das psychologische Radio" findest du hier: https://www.ardaudiothek.de/sendung/wdr-5-innenwelt-das-psychologische-radio/95426470/ Wenn Du eine Idee oder einen Wunsch zu einem musikalischen Thema hast, dann schreib mir eine Mail: playlist@ndr.de

 Breeze Smith plays drums, percussion and creates electronic live-looping. An improvisational drummer, instrument designer/builder, visual artist/designer and sound sculptor, he has completed several commissions for sculptures, paintings, designs and soundtracks. His growing interest in experimental/improvised music and his ever-expanding search for new sounds led him to incorporate his metal sound sculptures into his drum/percussion universe.Breeze says his journey of musical expression has gifted him with opportunities to create with so many  including Dwight Trible, Stan Smith, Scott Heustis, David Ornette Cherry, Justo Almario, Ralph Miles Jones lll, Roberto Miranda, Neneh Cherry, Rod Poole, Hannibal Lakumbe, Dianne McIntyre, Roger Hines, Dwight Trible, Trevor Ware, John Beasley, Billy Childs, Charles Owen, Maggie Brown, Eric Barber, Tony Green, Andre Caporaso, Thomas Hamasu, Eddie Ray & Co, Willie Pooch Blues Band AND duos with his wife, dancer/vocalist Cheryl Banks-Smith.Breeze will perform with his band, Cosmic Vibrations at The World Stage May 31. You can connect with Breeze to inquire about, or to purchase, his music or art at:       www.breezemuse.com/about   www.instagram.com/breezemuse888

Episode 6: A conversation Sara Gazarek►Sara Gazarek website: https://saragazarek.comBorn and raised in Seattle, WA, GRAMMY Award® winning jazz vocalist Sara Gazarek reigns as one of the most creative voices of her generation, and one “who may well turn out to be the next important jazz singer” (Los Angeles Times). Collaborating with jazz legends Fred Hersch, Billy Childs, Kurt Elling, and more, and with 6 critically-acclaimed albums under her belt at the age of 40, Gazarek often tours internationally as a soloist/band leader, and as a co-founder of the vocal collective, säje, whose debut album earned a GRAMMY Award® for Best Arrangement Instruments and Vocals. Sara is a 2023 Chamber Music of America New Jazz Works grant recipient, serves on the LA Chapter Board of Governors for the Recording Academy, and works as an Associate Professor of Jazz Voice at the Eastman School of Music (University of Rochester) where she is currently designing and leading their new jazz voice program. Sara's full length nonet project, an expansion of her critically celebrated EP Vanity, is set to release in Fall of 2024.Humanity is at the core of this artform, I am human, everyone is human. If I'm not embracing the spectrum of humanity, what am I doing with this genre that I've dedicated my life to?”~Sara Gazarek►Key Moments:0:00 - Introductions4:13 – Seattle, in the beginning… 5:48 – given permission to be myself/having respect for the music7:40 – feeling embarrassed about “things I didn't know”.10:30 – “Even if I don't know, I'm going to keep on going”. No imposter's syndrome13:25 – Launch of a career…18:18 – Merit as currency19:13 –“You can't control why people write good or bad reviews” ~John Clayton25:00 – “Everything I do, I throw 100% of myself into it”.25:37 – No barriers to creative expression29:19 – Being ok with what we can't control33:00 – säje37:50 – Values and Intentions in music making43:10 – Thirsty Ghost►Follow John Daversa Online:Instagram: https://www.instagram.com/johndaversa/Facebook: https://www.facebook.com/JohnDaversaMusic/YouTube:  https://www.youtube.com/johndaversamusicWebsite: http://www.johndaversa.com  ►CreditsHost and Producer: John DaversaVideo Editing: Max NierlichVideo and Audio Capture: Dudley MerriamGraphic Design: Marcus SassevilleAdditional Graphic Design: Izzi GuzmanRecorded in Miami, FL, April, 2023►Music"The John Daversa Podcast""Moonlight Muse""Junk Wagon"All compositions composed and arranged by John DaversaDaversafications Publications (ASCAP)#saragazarek #jazzvocal #sageSupport the Show.►CreditsHost and Producer: John DaversaVideo: Max NierlichAudio: Dudley MerriamMarcus Sasseville: Graphic DesignRecorded in Miami, FL►Music"The John Daversa Podcast""Moonlight Muse""Junk Wagon" All compositions composed and arranged by John DaversaDaversafications Publications (ASCAP)

Welcome to Season 17 of Jazzism (a katzpheno mix).... as always there is more Jazz music love here than you know what to do with, as I continue my quest to bring All You Young Jazz Lovers  - Nothing But The Best That The World Has To Offer In Jazz Music.  Those of course are my trademark slogans. In any event this is the maiden voyage of 2024 so, all aboard the seas are calm and we have a steady wind blowing to take us anywhere we choose to go. Sail On, Brian "Katzpheno" Phoenix featuring: Billy Childs - The Starry Night (2017) Ahmad Jamal - Invitation (2012) Terri Lyne Carrington & Nona Hendryx - Transformation (2011) Bobby Hutcherson - Hey Harold (2014) Nicholas Payton - Back To The Source (1998) Christian Scott - Uncrown Her (2017) Lee Morgan - You Go To My Head (1965) Tia Fuller - Lil Les (2012) Branford Marsalis & Kurt Elling - Long As You're Living (2016) Joe Chambers - Mirrors (1998) Stefon Harris & Blackout - Langston's Lullaby (2009)  

Here is the playlist for the 03/03 episode of Crosswinds. Enjoy!Kim Richmond Concert Jazz Orchestra- Intermission Riff (theme)Lyle Lovett Large Band- The Blues WalkDave Stryker and WDR Big Band- Wichita LinemanColin James- Cadillac BabyCory Weeds Little Big Band- K.D.S. MotionThad Jones/Mel Lewis Orchestra- Big DipperCount Basie Orchestra- Sent for You YesterdayJazz at Lincoln Center Orchestra- 2 Degrees East 3 Degrees WestBuddy Rich Big Band- Groovin' HardBob Curnow Big Band- And Then I KnewJoe Satriani- Summer SongPat Metheny Group- Spring Ain't HereSteve Gadd Band- Spring SongDr. Um- Eleven ElevenStan Getz Quartet- Spring Can Really Hang You Up the MostAhmad Jamal- Spring is Here/Your StoryStevie Wonder- I WishThe Temptations- I Wish it Would RainWynton Marsalis Septet- I Wish I Knew How it Would Feel to be FreeVasil Hadzimanov Band- I Wish IThe Fearless Flyers- Introducing The Delta ForceSnarky Puppy- BinkyOz Noy w/Chris Potter- Tired But WiredRicky Lee Jones, Billy Childs and Chris Potter- Been on a TrainEthan Iverson- The Feeling is MutualBob James- CourtshipBruce Hornsby- Rainbow's CadillacSteely Dan- Glamour ProfessionDr. Um- Little Fun K

Reggie is bass royalty in LA, where he has been a first-call session and touring bassist for many years. He has toured or recorded with Seal, Eros Ramazzotti, Babyface, Queen Latifah, Billy Childs, Christina Aguilera, Ricky Martin, Bette Midler, George Duke, Whitney Houston, Stanley Clarke, David Lynch, John Mellencamp, Warren Zevon, Mariah Carey, Tina Turner, Tiziano Ferro, Boyz II Men, Johnny Hallyday and many, many others. Greg and Reggie get into the Gristle!2:38 - Touring with Chris Bodie, and what it's like to tour 250 days out of the year and having no idea what kind of gear you'll be playing10:50 - Growing up in New York, and Reggie's jazz mentors throughout the years19:31 - Playing and studying with guitar legend Dennis Sandole, and the importance of great teachers34:51 - What drew Reggie to Los Angeles, how music connects people (even if they disagree), and the joy of jamming with Reggie Hamilton around the world52:27 - Reggie's time jamming with Michael Landau, and what Reggie has been up to recently61:03 - Fodera Guitars, guitar hoarding, and family72:22 - Goodbye — oh wait, let's talk about tour and food!Total Length: 86:30Fishman Dedicated to helping musicians achieve the truest sound possible whenever they plug-in. Wildwood Guitars One of the world's premier retailers of exceptional electric and acoustic guitars.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

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Billy Childs is no stranger to Grammy attention. Since 1995 Childs' work has been routinely nominated for Grammys and he's nabbed quite a few wins during his storied career as well. This year Childs is up for "Best Instrumental Jazz Album" for his work on his album "The Winds of Change". Sean McPherson connected with Billy Childs to get input on the impact and importance of the Grammys for a career jazz musician.

Our guest today is Shane Dähler, drummer for the contemporary jazz quintet. Daruma will appear at Dazzle on Sat, January 20.  Daruma is a fresh, new, contemporary jazz project featuring original music by some of Denver's finest young talent. Their sound takes audiences from deep grooves to intimate ballads to Coltrane-inspired swing. Daruma reinterprets the jazz aesthetic for the 21st century and crosses it with progressive rock, film music, and neo-soul in a genre-bending original sound. Ensemble members have performed with leading voices in contemporary music, ranging from Billy Childs, Rufus Reid, and Tia Fuller to the Colorado Symphony Orchestra and Big Gigantic. They've played at notable venues, including Red Rocks Amphitheatre, the Blue Note Amsterdam, and Birdland, and have won ASCAP and Downbeat awards. The ensemble will release its debut album on the respected Monk Music label in the spring of 2024. --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message

Continuing from last week's episode, we review some of my favorite releases from 2023. Besides long time favorites like Chris Potter and Billy Childs, there are newcomers on the scene producing great music. Tina Raymond, Miki Yamanaka, Lakecia Benjamin and Isaiah Thompson are represented here. Playlist  Artist ~ Name ~ Album Chris Potter ~ Got the Keys to the Kingdom ~ Got the Keys to the Kingdom: Live at the Village Vanguard Tina Raymond ~ The Emperor ~ Divinations Billy Childs ~ Master of the Game ~ The Winds of Change Miki Yamanaka & Mark Turner ~ Shades Of Rainbow ~ Shades of Rainbow Lakecia Benjamin ~ Trane ~ Phoenix Isaiah J. Thompson ~ The Soul Messenger (feat. Julian Lee, Philip Norris & Tj Reddick) ~ The Power of the Spirit

Here is the playlist for the 12/10 episode of Crosswinds. Enjoy!Stan Kenton Orchestra- Intermission Riff (theme)Gordon Goodwin's Big Phat Band- That's How We RollTommy Dorsey Orchestra- Opus OneCount Basie Orchestra- CuteArtie Shaw and His Orchestra- Begin the BeguineBuddy Rich Big Band- Ya Gotta TryJohn Daversa Big Band- SwingWDR Bog Band and the Yellowjackets- Mile HighBobby Sanabria Multiverse Big Band- Let the Good Times RollDarcy James Argue's Secret Society- Mae West AdviceTrondheim Jazz Orchestra w/Chick Corea- Crystal SilenceEarth, Wind & Fire- DecemberDjabe w/Steve Hackett- Two Little SnowflakesLarry Coryell and Philip Catherine- SnowshadowsDonald Fagen- Snowboundartemis- The SidewinderTerence Blanchard and the E-Collective- Compared to WhatJoshua Redman- Streets of PhiladelphiaJon Batiste- Sweet LorraineCecile McLorin Salvant- Easy Come. Easy Go BluesRobert Glasper Experiment w/Norah Jones- Let it RideTigran Hamasyan and Joshua Redman- Big FootHerbie Hancock- All I WantPrince- A Case of YouTina Turner- Edith and the KingpinJoni Mitchell- Sex KillsEsperanza Spalding and Fred Hersch- Girl TalkBecca Stevens- The ConfessionShawn Colvin, Billy Childs and Chris Botti- Save the CountryPat Metheny Group- Phase Dance (live)

Here is the playlist for the 12/04 episode of the Seventh House. Enjoy!Jean Michel Jarre- The WatchersJean Michel Jarre- The OpeningArena- Witch HuntRiverside- In Two MindsSpock's Beard- East of Eden, West of MemphisThe Tangent- Up-Hill From HomeMelanie Mau and Martin Schnella- Something Happened on the Way to HeavenTilt- No SupermanFlicker- Counting TimeThe Watch- Black is DeepLevel 42- Children SayYes- Children of the Light (the tradition continues....)Iona- Children of TimePeter Gabriel- This is HomeMariusz Duda- Why So Serious, Cassandra?Peter Gabriel- Olive TreeTangerine Dream- Genesis of Precious ThoughtsRoyksopp- Let's Get it RightFish on Friday- Don't Lose Your SpiritMelanie Mau and Martin Schnella- Tom SawyerBecca Stevens- The ConfessionShawn Colvin, Billy Childs and Chris Botti- Save the CountryTedeschi- Trucks Band- Hear My DearConjure One- Center of the Sun

laddybirdd, Ambrose Akinmusire, Alex Louloudis & Zack Clarke, saje, Billy Childs, Jalen Baker, Johnathan Blake, Terell Stafford, Bruce Barth, Curtis Nowosad, Tyshawn Sorey, Jessica Ackerley, KneeJerk and Malleus Trio.Playlist: ladyybirdd, featuring Gina Izzo, Ambrose Akinmusire, Immanuel Wilkins, Nick Dunston & Ian Rosenbaum - Where Do We Go?Ambrose Akinmusire - Carvin.Alex Louloudis, Zack Clarke - Carvinitesaje, featuring Ambrose Akinmusire, Sara Gazarek, Amanda Taylor, Johnaye Kendrick & Erin Bentlage - Never You MindBilly Childs, featuring Ambrose Akinmusire, Scott Colley & Brian Blade - The Great Western LoopJalen Baker - Lexi's LullabyJohnathan Blake - Groundhog DayTerell Stafford, featuring Johnathan Blake, Tim Warfield, Bruce Barth, David Wong & Alex Acuna - You Taught My Heart to SingBruce Barth, featuring Vicente Archer & Montez Coleman - Let's Go (for McCoy Tyner)Curtis Nowosad - If I Had a Hammer (The Hammer Song)Tyshawn Sorey - In What Direction Are You HeadedJessica Ackerley, Kevin Cheli, Gahlord DeWald - AloftKneeJerk, featuring Brian Horswill, Karlis Silins & Kenton Loewen - Before the TidesMalleus Trio - On / Off

LINER NOTES beings season six with saxophonist and educator Steve Wilson. In this episode of LINER NOTES, Steve highlights his new quartet, The Analog Band, as well as an upcoming commissioning project with Billy Childs featuring Steve with wind symphony, two of the myriad projects that he juggles as one of today's most in demand leaders and sideman.

Abrimos este número de La Montaña Rusa con el estupendo vibrofonista, Simon Moullier, cómo nos gusta! y su nuevo álbum de este 2023, Isla Después escucharemos Two Takes, Vol. 2: Big Band, del batería y compositor Jared Schonig, álbum publicado en 2021. Nuestro Clásico de la Semana fue este directo inédito, reciéntemente publicado, del pianista Walter Bishop Jr. Bish ate The Bank: Live in Baltimore, que tuvo lugar entre 1966 y 1967. Seguir leyendo La Montaña Rusa 25.2023. Simon Moullier. Jared Schonig. Walter Bishop Jr. Ilugdin Trio. Jerónimo Martín. Billy Childs. en La Montaña Rusa Radio Jazz.

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 18th May 2023 Artist - Track - Album - Year Artemis    Bow and Arrow    In Real Time    2023 Richard X Bennett & Matt Parker    Style v Substance    Parker Plays X    2023 Joe Locke    Song for Vic Juris    Makram    2023 Cecilia Smith    Miss D.D.    The Mary Lou Williams Resurgence Project Small Ensemble Repertoire Volume One    2023 Louis Hayes    Hand in Glove    Exactly Right!    2023 Wayne Escoffery    Shuffle    Like Minds    2023 Dan Wilson    For Tomorrow    Things Eternal    2023 Jason Keiser    Zoltan    Shaw's Groove    2023 Gilbert Castellanos    Totem Pole    Espérame en el Cielo    2022 Billy Childs    The Black Angel    The Winds of Change    2023 Jae Sinnett's Zero to 60 Quartet feat. Randy Brecker    Takin' it There    Commitment    2023 Eric Reed    Peace    Black, Brown and Blue    2023 Bruno Råberg    Chennai Reminiscence    Look Inside    2022 Mason Razavi    Darn That Dream    Six-String Standards    2023 Tim Lin    Table Steaks    Empathy    2023 Eric Alexander    Blues for Diane    A New Beginning: Alto Saxophone with Strings    2023 The Arti Roth Quartet    Sound and Sky    Resonants    2023 The Arti Roth Quartet    Sky Blues    Resonants    2023 Tom Teasley    Ra of Sunshine    The Breath    2023 Tom Teasley    Crescent Moon    The Breath    2023 Sylvie Courvoisier & Cory Smythe    La sacre du printemps, Part 1: The Adoration of Earth    The Rite of Spring - Spectre d'un Songe    2023 The post The Creative Source (#CreativeSource) – 18th May 2023 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

All of the music from this week's show was from postings on Jazztodon.com (a Mastodon instance). And I forgot to mention it was Jackie McLean's birth date last week, May 17, 1932. New music here by Artemis, Billy Childs, Joe Lovano, Ben Wolfe.  Playlist  Artist ~ Name ~ Album Bobby Watson & Horizon ~ Country Corn Flakes ~ No Question About It Jackie McLean ~ Snuff ~ It's Time Dave Holland Quartet ~ Four Winds ~ Conference of the Birds The Gary Burton Quartet ~ Liturgy ~ Duster Joe Lovano ~ Our Daily Bread ~ Our Daily Bread ARTEMIS ~ Bow and Arrow ~ In Real Time Billy Childs ~ The Black Angel ~ The Winds of Change Ben Wolfe ~ Mask Man ~ Unjust Barney Kessel ~ On a Clear Day You Can See Forever ~ Autumn Leaves

In this episode of the newly renamed Jazz Cruises Conversations podcast, pianists Renee Rosnes and Billy Childs talked with host LeRoy Downs about their common history and inspirations. 

Pianist Billy Childs celebrated his new album "The Winds of Change" with his touring quartet in an exclusive KNKX studio session.

On this Reggie Hamilton Interview: This guy is the ULTIMATE in cool, and has tons of great stories. Studying with Kim Clarke, living on his own at age 12, making great money gigging 6 nights a week as a teenager, why he moved to LA... working with Seal, Queen Latifah, Stanley Clarke, Bette Midler, Freddy Hubbard… absolute LOUDEST guitarist he's ever heard (you'll never guess who), dark days he managed to get through, a beautiful philosophy by John Coltrane, East Elmhurst, a Michael Jackson nightmare, tons of jazz history, and of course, NYC Pizza. Reggie  kept it very real, this is a MUST listen: Cool Guitar, Music & ELG T-Shirts!: http://www.GuitarMerch.com   Reggie started playing at 11 and gigging professionally at 12. He has toured or recorded with Seal, Eros Ramazzotti, Babyface, Queen Latifah, Billy Childs, Christina Aguilera, Ricky Martin, Bette Midler, George Duke, Whitney Houston, Stanley Clarke, David Lynch, John Mellencamp, Warren Zevon, Mariah Carey, Tina Turner, Tiziano Ferro, Boyz II Men, Johnny Hallyday, Freeflight, and many others Subscribe & Website:  https://www.everyonelovesguitar.com/subscribe Support this show: http://www.everyonelovesguitar.com/support

Pianist Billy Childs connected with Sean McPherson via ZOOM to discuss his new album, his collaborators and his upcoming show at the Dakota in Minneapolis. - This podcast was produced and edited by Autumn Haeg.

The gem in this podcast is the final track from the late great Ahmad Jamal. Before that we hear from newcomer Lakecia Benjamin in her sophomore release. That is followed by a couple of covers from Billy Childs and San Diego guitarist Peter Sprague. Noah Preminger plays filmaker Otto Preminger and an exciting new single from Indian fusion band Shakti. Playlist Artist ~ Name ~ Album Lakecia Benjamin ~ Phoenix (feat. Georgia Ann Muldrow) ~ Phoenix Lisa Fischer & Billy Childs ~ Map to the Treasure ~ Map to the Treasure: Reimagining Laura Nyro Peter Sprague ~ Going with Me ~ Peter Sprague Plays Pat Metheny, Vol. 2 Noah Preminger ~ For Advise and Consent ~ Preminger Plays Preminger Shakti ~ Mohanam (single) ~ This Moment  Ahmad Jamal ~ Bogota ~ Outertimeinnerspace

This week we focus on the emerging musicians that will ensure that the historic South African jazz scene will have a bright future, and on a number of recent releases showcasing the many facets of a living master of the piano, Kenny Barron, featured as an accompanist for a vocalist, as a solo artist on a rare recording date as a leader, as a composer that inspires other contemporary musicians, and as a side-man in a very bop-oriented concert which has been recently unearthed. The playlist also features Vusi Mahlasela; Thandi Ntuli; Bokani Dyer [pictured]; Linda Sikhakhane; Mthunzi Mvubu; BCUC; Claudia Acuña; Billy Childs; Sonny Stitt. Detailed playlist at https://spinitron.com/RFB/pl/17181589/Mondo-Jazz (from "Umzala" onward). Photo credit: Raees Hassan

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Here is the playlist for the 01/22 episode of Crosswinds. Enjoy!Stan Kenton Orchestra- Intermission Riff (theme)Gordon Goodwin's Big Phat Band- That's How We RollGordon Goodwin's Big Phat Band- The Jazz PoliceThad Jones and Mel Lewis Orchestra (w/Joe Williams)- It Don't Mean a Thing (if it Ain't Got That Swing)Benny Goodman Orchestra- Sing, Sing, SingBuddy Rich Big Band- Mercy, Mercy, MercyYellowjackets and WDR Big Band- Mile HighMcCoy Tyner Big Band- Love Surrounds UsDon Ellis Orchestra- Pussy Wiggle StompBruce Hornsby- Spider FingersIsaac Hayes- Early Sunday MorningIsaac Hayes- Be YourselfArt Blakey and the Jazz Messengers- Just Coolin'Cannonball Adderley Quintet- Somethin' ElseBilly Childs- RebirthShawn Colvin, Billy Childs and Chris Botti- Save the CountryStan Getz Quartet- AireginEthan Iverson Quartet- Polka Dots and MoonbeamsLarry Coryell and Philip Catherine- Miss JulieRodrigo Y Gabriela- The Struggle ContinuesJoni Mitchell- CoyoteMichael Hedges- i carry your heartDoobie Brothers- Echoes of LoveSnarky Puppy- Bad Kids to the BackDavid Crosby- Balanced on a PinSnarky Puppy with David Crosby- Somebody HomeBilly Cobham- Crosswinds (closing theme)

"All around the city and from coast to coast, I'm slicker than most, slicker than most" - Guru (from "Slicker Than Most", Jazzamatazz Vol. 1 1993) Yep, yep... It's your boy Brian "katzpheno" Phoenix once again puttin' the Jazz in your ear! Have no fear this episode of Jazzism (a katzpheno mix) is chock full of gooey, chewy,  jazz filled knuggets to excite and delight and here and there I also drop some words of insight. So turn on, tune in and ride along with me from one side of the jazz spectrum to the other, in other words - we rollin' all around the city and from coast to coast. Enjoy the mix, Brian "Katzpheno" Phoenix featuring: Takuya Kuroda - Afro Blues (2014) Stefon Harris/David Sanchez/Christian Scott - Black Action Figure (2011) Russell Gunn - Footprints (2007) Giacomo Gates - Tutu (2013) Kenny Garrett - Wiggins (2012) Geri Allen - A Prayer For Peace (1992) Art Blakey & The Jazz Messengers - The Back Sliders (1961) The Roy Hargrove Quintet - I'm Not So Sure (2008) David Sanchez - Coast To Coast (2008) Chantale Gange - The Light We Need (2010) Billy Childs featuring Alicia Olatuja - Stay (2017) Vijay Iyer Trio - Mystic Brew (2009)

Los Angeles-based pianist and composer Paul Cornish is a finalist for the 2023 American Pianists Awards. Hailing from Houston where he was a student at the prestigious High School for the Performing and Visual Arts, Cornish was one of seven jazz prodigies worldwide selected to be awarded a full fellowship to attend the esteemed Herbie Hancock Institute of Jazz at UCLA. Here, he completed his master's degree and studied and performed with such renowned artists as Carl Allen, Jerry Bergonzi, Billy Childs, Herbie Hancock, Bob Hurst, Geoffrey Keezer, Dick Oatts, Chris Potter, Walter Smith and Terell Stafford.Cornish received the Los Angeles Jazz Society's 2020 New Note Commission and recently was awarded First Place in the Jacksonville Jazz Piano Competition and the 18th Street Arts Center's 2021 Make Jazz Fellowship. Cornish was also awarded the Grand Prize in the 2018 American Jazz Piano Competition. Currently residing in Los Angeles, Cornish has performed extensively across the globe with such notable artists as Herbie Hancock, Mary Stallings, Louis Cole, Theo Croker, Snoh Aalegra, Terrace Martin, John Legend and HAIM. I was inspired by this conversation with Paul, both by his thoughtful, contemplative approach to music, and his artistic range and experiences spanning so many genres of music. We are honored to have him here in Indianapolis as a finalist in the American Pianists Awards.

Born and raised in Wellington, New Zealand, Grammy nominated and winning Bassist Benjamin J. Shepherd started playing when he was 7 years old. 11 years later he moved to Los Angeles to pursue a full time music career and to study with Bass legends Charlie Haden, Alphonso Johnson and Darek Oles at the California Institute of Arts (CalArts). He has since become one of the most in demand and versatile bassists in Los Angeles. His extensive resumè covering a multitude of different musical styles is a testament of his ability to virtually fit in on any gig.His studio and live credits include: Chance the Rapper (Bassist on Grammy winning album “Coloring Book”), School Boy Q, Isaiah Rashad (Bassist and Co-producer on critically acclaimed track entitled “Free Lunch”), Kamasi Washington, Lee Ritenour, Patrice Rushen, Marquis Hill, Dave Weckl, Billy Childs, Peter Erskine, Simon Phillips, Jeff Lorber, Mike Stern, John Beasley and MONKestra (6x Grammy nominations and 1x Grammy award), Amanda Seales, Miguel Atwood Ferguson, Mark de Clive-Lowe, and many more.Benjamin also leads his own group showcasing his original compositions as well as co-leads a duo based group called "Benjamin and The Deva with singer/songwriter Terra Deva.He currently endorses Ibanez Basses, Aguilar Amplification, Accugroove Cabinets, Gruv Gear Accessories, GHS Strings and Xotic Pedals.

Although it may appear Smith is a new voice on the scene, he is widely recognized as an adept performer, accomplished composer, and inspired educator. This spring, Smith welcomes his newest release, In Common III. The boundary pushing album features some of the most important and talked about musicians in the world - Matt Stevens, Kris Davis, Dave Holland and Terri Lyne Carrington.​Smith has developed under the wings of many of the music's greats. Walter is/has been a member of several legendary groups (recording and/or touring) including the Roy Haynes Fountain of Youth Band, Terence Blanchard Quintet, Eric Harland's “Voyager”, Bill Stewart Trio, Jason Moran's In My Mind:Monk at Town Hall, Ambrose Akinmusire Quintet, the Christian McBride “Situation”, Marquis Hill “New Gospel Revisited”, Gerald Clayton Quintet, Christian Scott group and the Sean Jones Quintet to name a few.​Smith has performed all over the world participating in virtually every international festival as well as famed venues such as Carnegie Hall, the Village Vanguard, and the Kennedy Center. In addition, he has shared the stage and/or appeared on recordings with many important artists including Mulgrew Miller, Billy Childs, Joe Lovano, Herbie Hancock, Maria Schneider, Dee Dee Bridgewater, Terri Lyne Carrington, Ralph Peterson, and a host of others. To date, Walter has appeared on over 100 recordings that are released worldwide.​Originally from Houston, TX, Smith now resides in Boston, MA and is Chair of Woodwinds at Berklee College of Music helping to prepare the next generation of young artists.https://www.waltersmith3.com

From an early age, Walter Smith III began taking music very seriously. “My first gig was playing at a McDonalds in Houston with another saxophone player. I took a solo on “Blue Bossa.” It was terrible. People clapped, and I figured if I could get away with that and get applause, how could I fail?” ​Although it may appear Smith is a new voice on the scene, he is widely recognized as an adept performer, accomplished composer, and inspired educator. This spring, Smith welcomes his newest release, In Common III. The boundary pushing album features some of the most important and talked about musicians in the world - Matt Stevens, Kris Davis, Dave Holland and Terri Lyne Carrington. ​Smith has developed under the wings of many of the music's greats. Walter is/has been a member of several legendary groups (recording and/or touring) including the Roy Haynes Fountain of Youth Band, Terence Blanchard Quintet, Eric Harland's “Voyager”, Bill Stewart Trio, Jason Moran's In My Mind: Monk at Town Hall, Ambrose Akinmusire Quintet, the Christian McBride “Situation”, Marquis Hill “New Gospel Revisited”, Gerald Clayton Quintet, Christian Scott group and the Sean Jones Quintet to name a few. ​Smith has performed all over the world participating in virtually every international festival as well as famed venues such as Carnegie Hall, the Village Vanguard, and the Kennedy Center. In addition, he has shared the stage and/or appeared on recordings with many important artists including Mulgrew Miller, Billy Childs, Joe Lovano, Herbie Hancock, Maria Schneider, Dee Dee Bridgewater, Terri Lyne Carrington, Ralph Peterson, and a host of others. To date, Walter has appeared on over 100 recordings that are released worldwide. ​Originally from Houston, TX, Smith now resides in Boston, MA and is Chair of Woodwinds at Berklee College of Music helping to prepare the next generation of young artists. We spoke recently about his early development, the Houston sound, his thoughts on education, practice, improvisation, leadership, raising a family as a musician, meeting your heroes, and LA real estate. www.third-story.com www.patreon.com/thirdstorypodcast

Dan Schnelle has played with great artists such as Billy Childs, Larry Goldings, Alan Ferber, Sara Gazarek, Laurence Hobgood, etc. His career speaks for itself. Dan is now stepping out as leader and composer on his first album, Shine Thru, available May 13, 2022 via Outside In Music. On episode 143, Jamie and Dan discuss the album, his approach to composing, the recording process, and all his educational and career stops along the way. This interview contains a wealth of information and insights. If you are not hip to Dan's playing, do yourself a favor and pick up a copy of Shine Thru on May 13.

Notes: Conversations with songwriters can be illuminating. Moira and I talk about wanting our voices to make a difference, and how to evaluate that, how Moira's voice has protected and shaped her, rest as part of the job of being a creator, and so much more. She shares a song that is in the process of becoming, and we get a very special glimpse of this creative process, which includes a calling sound that fascinates Moira right now. As you sing along, you'll be able to really tune in to what feels good to you this day -- is it the commitment and determination of "each day we make a little light"? The seeking melodic curve of "mmm...render...mmm...a remedy?" The wild, aching cry of the calling sounds? Or something else that you feel called to bring to the song? As you're singing in your own space, I wonder if there will be movement -- stepping or dancing or swaying? Songwriter Info: As a composer, Moira Smiley is known worldwide for choral arrangements like Bring Me Little Water, Silvy and originals, Stand in That River and How Can I Cry. Her music is sung by millions of singers worldwide. She's credited with helping to bring body percussion into the choral mainstream and is in demand as a commissioned composer, writing multi-movement pieces including Time In Our Voices and In The Desert With You for the Los Angeles Master Chorale, evening-length secular liturgy, The Song Among Us and Tis A Fearful Thing for Craig Hella Johnson's Conspirare and CVAE, Vonnegut Requiem: Light Perpetual for Voces Novae, Loud My Soul for Ad Astra Festival and I Have A Voice for ACDA Women's Choral Consortium. The European premiere of Time In Our Voices was performed by the voices and mobile phones of Ars Nova Copenhagen under the direction of Paul Hillier.   In 2018-2019 Moira released the album and choral songbook, Unzip The Horizon as companion to her ‘The Voice Is A Traveler' solo show. In 2021 she released the all-vocal social-justice centered album, In Our Voices with four powerful singers of diverse ethnic and cultural backgrounds. She continues composing and improvising in collaboration with artists in film, video game production, theater and dance, and her work can be heard on feature film soundtracks, BBC & PBS television programs, NPR, and on more than 70 commercial albums.   “Moira Smiley is a marvel—an omnivorous singing and composing chameleon with a voice that can wail or caress at will!” -- Grant Gershon - artistic director, Los Angeles Master Chorale   “Moira Smiley is a brilliant musician – an innovative composer and arranger, and a heartbreakingly beautiful singer. Her music transcends (and expands) boundaries.” -- Billy Childs - multi-grammy-winning composer/pianist   “I'm so thankful I've had the privilege of performing and recording with Moira. She embodies the endless creative potential of the voice, and… (has made) a deeply moving body of work.” -- Merrill Garbus - Tune-Yards Links: www.moirasmiley.com for all info including sheet music, practice tracks! https://moirasmileysubscription.com/ to support Moira monthly for as little as $4/mo. https://www.instagram.com/moirasmiley/ for up-to-date personal and music pics https://www.youtube.com/c/MoiraSmileyMusic for official music videos, song and body percussion tutorials and live performances Lissa Schneckenburger -- the link goes to her interview on A Breath of Song, which includes her own site links and more Night Song - Nusrat Fateh Ali Khan & Michael Brook. The link goes to the title song of the album. Here is the album on Apple Music. Shara Nova - "My Brightest Diamond" -- This link goes to a live performance and interview (go to about 2'40" to get close to the start). Song Learning Time Stamps: Start time of teaching: 00:03:12 Start time of reprise: 00:54:45 Nuts & Bolts: 4:4, Minor, Dorian & Aeolian, harmonized layers Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

Notes: Okay, I procrastinated on recording this episode for the longest of any song yet... I respect Moira so much, and I desperately wanted to share her song in a beautiful way that convinced you to love it, too. I felt like I wasn't good enough, and I got a good run of the whole imposter syndrome going, yada, yada, yada. But you know what shifted? I remembered why this podcast exists -- to share songs that help me heal, adapt, and grow, so you can sing them, too. And this song is one that I've sung to myself over and over in the middle of troubling times to help me release and let go. When I sing this into myself, I can see more clearly which actions might be mine to make next. And when the world is in turmoil, this is what helps me navigate a way forward. None of us (myself included) need to have a stunning voice for a song to be a companion... and I'm grateful to Moira for this gift. Please notice, I haven't shared the entire song here, only an excerpt... check out the links below to hear the whole song, and buy the music on her website for yourself or to share with others. Next episode: a conversation with Moira Smiley herself, who turns out to be absolutely lovely and generous -- we talk creativity, how rest is part of the job, how her voice has protected her, and more... Songwriter Info: As a composer, Moira Smiley is known worldwide for choral arrangements like Bring Me Little Water, Silvy and originals, Stand in That River and How Can I Cry. Her music is sung by millions of singers worldwide. She's credited with helping to bring body percussion into the choral mainstream and is in demand as a commissioned composer, writing multi-movement pieces including Time In Our Voices and In The Desert With You for the Los Angeles Master Chorale, evening-length secular liturgy, The Song Among Us and Tis A Fearful Thing for Craig Hella Johnson's Conspirare and CVAE, Vonnegut Requiem: Light Perpetual for Voces Novae, Loud My Soul for Ad Astra Festival and I Have A Voice for ACDA Women's Choral Consortium. The European premiere of Time In Our Voices was performed by the voices and mobile phones of Ars Nova Copenhagen under the direction of Paul Hillier.   In 2018-2019 Moira released the album and choral songbook, Unzip The Horizon as companion to her ‘The Voice Is A Traveler' solo show. In 2021 she released the all-vocal social-justice centered album, In Our Voices with four powerful singers of diverse ethnic and cultural backgrounds. She continues composing and improvising in collaboration with artists in film, video game production, theater and dance, and her work can be heard on feature film soundtracks, BBC & PBS television programs, NPR, and on more than 70 commercial albums.   “Moira Smiley is marvel—an omnivorous singing and composing chameleon with a voice that can wail or caress at will!” -- Grant Gershon - artistic director, Los Angeles Master Chorale   “Moira Smiley is a brilliant musician – an innovative composer and arranger, and a heartbreakingly beautiful singer. Her music transcends (and expands) boundaries.” -- Billy Childs - multi-grammy-winning composer/pianist   “I'm so thankful I've had the privilege of performing and recording with Moira. She embodies the endless creative potential of the voice, and… (has made) a deeply moving body of work.” -- Merrill Garbus - Tune-Yards Links: www.moirasmiley.com for all info including sheet music, practice tracks! https://moirasmileysubscription.com/ to support Moira monthly for as little as $4/mo. https://www.instagram.com/moirasmiley/ for up-to-date personal and music pics https://www.youtube.com/c/MoiraSmileyMusic for official music videos, song and body percussion tutorials and live performances A beautiful recording of a quartet singing the full Stand In That River, part of "The Mt. Tom Sessions". Moira's own recording of Stand In That River with VOCO. Visit abreathofsong.com for lyrics, more of Patty's artwork, and a way to nominate songs or songwriters for the podcast. Nuts & Bolts: ​3:4, Ionian, harmonized melody Join the A Breath of Song mailing list to receive a heads up as a new episode is released, plus a large version of the artwork, brief thoughts from my slightly peculiar brain... and occasional extras when they seem vitally important! This week, for example, I shared a video collected by the Polyphony Project of Ukrainian women singing a traditional song about a son who has gone to be a soldier, and I included a list of possible organizations to support the people harmed by war. No junk -- I will never sell your address. I read out all your names into my living room when I send new mailings... I appreciate the connection to you who are listening and singing these songs with me. Exchange energy with A Breath of Song with dollars at the Gratitude Jar (whoo-hoo!!!!), or by making comments, leaving reviews, suggesting songs or songwriters (including yourself) ..... your participation matters!

Dr Randall sits down with the Minstrel of Malibu Jacqui Hylton!Jacqui Hylton singer, songwriter, composer continues to captivate her audiences locally and through her recordings. Having earned the moniker, The Minstrel of Malibu, her work as a jazz singer includes gigs at the most reputable venues: Catalina's, The Baked Potato, Beverly Hills Hotel, The Mint, Genghis Cohen, Ford Amphitheatre to name a few.  As a songwriter, her sound is an acoustic blend of pop, jazz, classical and blues. Ms. Hylton recently recorded one of her original songs entitled “Beautiful” alongside Oscar nominated composer, arranger and conductor David Campbell and his 22-piece orchestra ensemble. Notable musicians on this recording also include bass player Nathan East (member of group ToTo, Eric Clapton, Barbra Streisand, Celine Dion), Vinnie Colaiuta (Sting, Frank Zappa) and pianist Tamir Hendleman (Barbra Streisand, Natalie Cole, Michael Buble).Ms. Hylton lures audiences with lush vocals and composes vibrant melodies, generously supporting songs that touch the heart of human experiences. She was classically trained on piano at a young age through the Royal Conservatory of Music which grew into a love for jazz after being introduced to her father's jazz collection which featured Billie Holiday, Sarah Vaughan and Ella Fitzgerald. These legendary musical influences spurned a love for writing, singing, stage performance and frequenting jazz clubs. After relocating from Toronto Canada to Los Angeles, she became a student of voice builder to the stars Gary Catona and vocal coach Annette Warren Smith. Ms. Hylton currently resides in Agoura Hills CA. Ms. Hylton has created a following in the Malibu and Beverly Hills communities performing at Savory Malibu, Sage Room, Malibu Music Festival, Malibu Golf to End Cancer Benefit Concerts, Sofitel Hotel with Ryan Cross, DOMA Beverly Hills, Beverly Hills Rotary Club and Nic's Beverly Hills.Ms. Hylton has shared the stage and performed with accomplished musicians bassist Reggie Hamilton, saxophonist Katisse Buckingham, drummer Joey Hereida who are members of multi Grammy award winning Billy Childs' band. 2016-2019, Ms Hylton continues to perform in the greater Los Angeles Area at distinguished jazz clubs and abroad and is a volunteer member of Maria Newman's Westwood Choir and Orchestra. Vocalist Annette Warren Smith, 95, shadow singer for Lucille Ball in Fancy Pants and Ava Gardner in Show Boat presented Ms. Hylton as a special guest performer at Catalinas jazz club in Hollywood. Ms. Hylton also joined the stage with Multi Grammy winning double bassist/orchestral arranger James Leary (Frank Sinatra, Sammy Davis Jr, Count Basie Orchestra) at The World Stage Theatre.On Dec 15th 2018 Jacqui Hylton & Friends performed a jazz concert and Holiday Toy Drive to benefit The Children's Lifesaving Foundation at Aldabella's in Westlake Village. Musicians included) Katisse Buckingham-sax and woodwinds (associated acts Herbie Hancock, Billy Childs, the late Prince), Chris Cadenhead on keys, (associated acts the late Prince, Fourplay, Justin Bieber, Tony Moore Drums, (Norman Brown, Jeff Lorber ) John Hart bass (Gladys Knight). The evening featured original compositions by Jacqui Hylton as well as jazz covers.Jan 2019- March 2020  Jacqui Hylton secured a residency at The Hilton Checkers Hotel in Los Angeles    In Feb 2021 Ms. Hylton performed a virtual concert for MJCS'  annual Purimspiel in Malibu, CA.     Beginning Sept 2021, Ms. Hylton created Jazz Sundays, performing weekly on Sunday nights at Nonna Restaurant in Westlake Village CA.Tune in! 

Grammy® nominated jazz singer, Sara Gazarek, has been one of the leading lights of an impressive generation of jazz vocalists since her brilliant emergence at age 20. She has five acclaimed albums, an ardent fanbase, enthusiastic reviews, a teaching position at the University of Southern California, and collaborations with such luminaries as Kurt Elling, Fred Hersch, Billy Childs, and Larry Goldings.Sara joins The Playful Musician to discuss the Grammy® nomination process and what it's like to be nominated and attend music's biggest event. We chat about the loss of legendary jazz musician Chick Corea. Sara shares about finding success at an early age, improvising beyond melodies, and the value of going on the road. We discuss teaching practices and how she empowers and challenges her students. Sara also shares her approach to songwriting and how she's finding inspiration with her new vocal group, säje.