Podcast appearances and mentions of cameron graves

ROBERT GLASPER EXPERIMENT “BLACK RADIO” Los Angeles, July 3-6, 2011Black radio (yb vcl), Letter to Hermione (b vcl),Robert Glasper Experiment : Robert Glasper (p,el-p,synt) Derrick Hodge (b) Chris Dave (d) Casey Benjamin (vocoder,as,f,synt) Jahi Sundance (turntables) Stokely (vcl,perc) Shafiq Husayn, Erykah Badu, Lalah Hathaway, Lupe Fiasco, Bilal, Ledisi, King, Amber Strother, Anita Bias, Musiq Soulchild, Chrisette Michele, Meshell Ndegeocello, Yaslin Bey, Hindi Zahra (vcl) HIROMI UEHARA (HIROMI) “ALIVE : THE TRIO PROJECT” New York, February 5-7, 2014Alive, Life goes onHiromi Uehara (p) Anthony Jackson (contrabass-g) Simon Phillips (d) KAMASI WASHINGTON “THE EPIC” Los Angeles, CA, fall 2016-2017Change of the guard, Final ThoughtIgmar Thomas (tp) Ryan Porter (tb) Kamasi Washington (ts,comp,arr) Cameron Graves (p,org,choir vcl) Neel Hammond, Tylana Renga Enomoto, Paul Cartwright, Jennifer Simone, Lucia Micarelli (vln) Molly Rodgers, Andrea Whitt (viola) Artyom Manukyan, Ginger Murphy (cello) Miles Mosley (b) Stephen Bruner (el-b) Tony Austin (d) Patrice Quinn (vcl,choir vcl) Dawn Norfleet, Thalma de Freitas, Malya Sykes, Gina Manziello, Natasha F Agrama, Dwight Trible, Steven Wayne, Taylor Graves, Charles Jones, Jason Morales, Dexter Story, Tracy Carter (vcl) MAKAYA MCCRAVEN “IN THESE TIMES” various locations, c. Continue reading Puro Jazz 23 de diciembre, 2024 at PuroJazz.

ROBERT GLASPER EXPERIMENT “BLACK RADIO” Los Angeles, July 3-6, 2011Black radio (yb vcl), Letter to Hermione (b vcl),Robert Glasper Experiment : Robert Glasper (p,el-p,synt) Derrick Hodge (b) Chris Dave (d) Casey Benjamin (vocoder,as,f,synt) Jahi Sundance (turntables) Stokely (vcl,perc) Shafiq Husayn, Erykah Badu, Lalah Hathaway, Lupe Fiasco, Bilal, Ledisi, King, Amber Strother, Anita Bias, Musiq Soulchild, Chrisette Michele, Meshell Ndegeocello, Yaslin Bey, Hindi Zahra (vcl) HIROMI UEHARA (HIROMI) “ALIVE : THE TRIO PROJECT” New York, February 5-7, 2014Alive, Life goes onHiromi Uehara (p) Anthony Jackson (contrabass-g) Simon Phillips (d) KAMASI WASHINGTON “THE EPIC” Los Angeles, CA, fall 2016-2017Change of the guard, Final ThoughtIgmar Thomas (tp) Ryan Porter (tb) Kamasi Washington (ts,comp,arr) Cameron Graves (p,org,choir vcl) Neel Hammond, Tylana Renga Enomoto, Paul Cartwright, Jennifer Simone, Lucia Micarelli (vln) Molly Rodgers, Andrea Whitt (viola) Artyom Manukyan, Ginger Murphy (cello) Miles Mosley (b) Stephen Bruner (el-b) Tony Austin (d) Patrice Quinn (vcl,choir vcl) Dawn Norfleet, Thalma de Freitas, Malya Sykes, Gina Manziello, Natasha F Agrama, Dwight Trible, Steven Wayne, Taylor Graves, Charles Jones, Jason Morales, Dexter Story, Tracy Carter (vcl) MAKAYA MCCRAVEN “IN THESE TIMES” various locations, c. Continue reading Puro Jazz 23 de diciembre, 2024 at PuroJazz.

FILMOTECAMURCIA.es Viernes 20 de septiembre / 18.45 horas / Entrada libre hasta completar aforo'Una noche en la ópera' (A night at the opera; Sam Wood, 1935) Estados Unidos. 94'. VELlevado por un extravagante sentido de los negocios, Groucho mete en un barco con destino a Nueva York a las grandes estrellas de la Ópera de Milán. A bordo viajan también unos polizones: Harpo y Chico. Entre los tres revolucionan el barco, organizan un escándalo en Nueva York y convierten la noche del estreno en una locura que el mundo de la ópera nunca podrá olvidar. Martes 24 / 20.45 horas / (Centenario Truman Capote) / Entrada libre hasta completar aforo'Truman Capote' (Bennet Miller, 2005) Estados Unidos. 110'. VOSEEn noviembre de 1959, Truman Capote lee una crónica del New York Times que relata el sangriento asesinato de los cuatro miembros de la familia Clutter en su granja de Kansas. Aunque sucesos similares aparecen en la prensa todos los días, hay algo que llama la atención del escritor y quiere utilizarlo para demostrar una teoría: en manos de un escritor adecuado, la realidad puede ser tan apasionante como la ficción. Consigue que el The New Yorker lo envíe a Kansas con su amiga Harper Lee para cubrir el caso. Su voz aniñada, su amaneramiento y su peculiar forma de vestir despiertan al principio la hostilidad de los vecinos de la zona, pero Capote se gana pronto la confianza de Alvin Dewey, el agente encargado de la investigación. Miércoles 25 de septiembre / 18.30 horas / Entrada libre hasta completar aforo'Ben – Hur' (William Wyler, 1959) USA 212' / (La antigüedad filmada: el cine de romanos)Antigua Roma, bajo el reinado de los emperadores Augusto y Tiberio (s. I d.C.). Judá Ben-Hur (Charlton Heston), hijo de una familia noble de Jerusalén, y Mesala (Stephen Boyd), tribuno romano que dirige los ejércitos de ocupación, son dos antiguos amigos, pero un accidente involuntario los convierte en enemigos irreconciliables: Ben-Hur es acusado de atentar contra la vida del nuevo gobernador romano, y Mesala lo encarcela a él y a su familia. Mientras Ben-Hur es trasladado a galeras para cumplir su condena, un hombre llamado Jesús de Nazaret se apiada de él y le da de beber. En galeras conocerá al comandante de la nave (Jack Hawkins) y más tarde a un jeque árabe (Hugh Griffith) que participa con sus magníficos caballos en carreras de cuadrigas. Jueves 26 de septiembre / 21.30 horas/ (Centenario Truman Capote) 'A sangre fría' (Richard Brooks, 1967) Estados Unidos. 134'. VOSEAdaptación de la novela homónima de Truman Capote. Un honrado granjero de Kansas lleva una vida tranquila con su esposa y sus dos hijos. No puede sospechar ni remotamente que él y su familia van a ser asesinados por dos ex-presidiarios con las facultades mentales perturbadas. ESTRENOS DE LA SEMANA'Topuria: Matador' (Giampaolo Manfreda, 94´)Hay muchos números uno, pero solo uno logra ser leyenda. El flamante campeón de artes marciales mixtas, Ilia Topuria, lo tiene claro. Tras derrotar a Josh Emett en Florida y colocarse en el Top Five Mundial de la todopoderosa liga UFC, entra en la jaula dispuesto a arrebatarle el título al hasta entonces invicto Alexander “The Great” Volkanovsky. 'Topuria: Matador' es la historia de superación personal de Ilia, desde su Georgia natal en guerra y su llegada a España, hasta catapultarse como el campeón mundial.'Transformers: One' (Josh Cooley, animación, 103´)Es la historia jamás contada del origen de Optimus Prime y Megatron y de cómo pasaron de ser hermanos de armas que cambiaron el destino de Cybertron para siempre, a convertirse en enemigos acérrimos.'Puntos suspensivos' (David Marqués, 90´)Diego Peretti, Jose Coronado, Cecilia SuárezLeo (Diego Peretti), exitoso escritor de novelas de misterio, firma con el seudónimo de Cameron Graves. Mientras escribe su próximo libro en un aislado chalet, recibe la extraña visita de Jota (José Coronado), un inquietante personaje que dice ser periodista. Nadie conoce la identidad de Leo y solo Victoria (Cecilia Suarez), su agente, sabe que está allí, así que: ¿Cómo ha conseguido Jota llegar hasta él?, ¿Cuáles son sus intenciones? Un oscuro secreto relacionado con Adriana (Georgina Amorós), su joven amante, parece estar detrás de la misteriosa visita. Mentiras, traiciones, amenazas y muerte marcaran el despiadado duelo entre estos personajes.'Solos en la noche' (Guillermo Rojas, 88´)Pablo Gómez-Pando, Andrea Carballo, Alfonso SánchezUn grupo de abogados laboralistas, significados políticamente, se esconde en una casa cuando se produce en España el golpe de Estado del 23 de febrero de 1981. Sin saber muy bien qué hacer, discutirán entre huir del país, permanecer escondidos a esperar acontecimientos o intentar hacer algo para defender la joven democracia española.

Sasha Berliner, Sonica, Antonio Sanchez, Will Vinson, Gilad Hekselman, Joey Alexander, Emmet Cohen, Connie Han, Cameron Graves, Ryan Porter, Steve Davis, Carsten Rubeling, David Virelles, Rafael Zaldivar, Chris Andrew and Kate Wyatt.Playlist: Sasha Berliner, featuring Thana Alexa - Crescent Park (In Elliptical Time)Thana Alexa, Nicole Zuraitis, Julia Adamy - DoyenneAntonio Sanchez, featuring Meshell Ndegeocello - Comet, Come to MeWill Vinson, featuring Melissa Aldana - FableGilad Hekselman, featuring Eric Harland - Long Way From HomeJoey Alexander, featuring Chris Potter and Gilad Hekselman - Rise UpEmmet Cohen - Finger BusterConnie Han - Prima MateriaCameron Graves - Sacred Spheres (Live)Ryan Porter - Kings & QueensSteve Davis - EncouragementCarsten Rubeling - Shunda CreekDavid Virelles, featuring Julia Barreto - PorticoRafael Zaldivar - Short BluesChris Andrew - Wrecking BallKate Wyatt - Duet

DOMi & JD BECK, Sly5thAve & Roberto Verastegui, The Suffers, Robert Glasper, Kamasi Washington, Jean Carne, Cameron Graves, Brandon Coleman, Butterfly Black, Anthony Fung, Jacob Wutzke, Ernesto Cervini, Jocelyn Gould, Elizabeth Shepherd & Michael Occhipinti, Andy Milne, Joy LappsPlaylist: DOMi & JD BECK - SMiLESly5thAve & Roberto Verástegui - Tie BreakThe Suffers - Don't Bother MeRobert Glasper , featuring Q-Tip & Esperanza Spalding - Why We SpeakKamasi Washington - The Garden PathJeane Carne, Adrian Younge & Ali Shaheed Muhammad - Black LoveCameron Graves - Sons of Creation (Live)Brandon Coleman, featuring Keyon Harrold, Ben Williams & Marcus Gilmore - Astral WalkButterfly Black, featuring Ben Williams & Syndee Winters - I Just Wanna Love YouAnthony Fung - SightseeingJacob Wutzke - Flying SouthErnesto Cervini, featuring Nir Felder - WanderingJocelyn Gould - Golden HourElizabeth Shepherd, Michael Occhipinti - Lord of the StarfieldsAndy Milne & Unison, featuring John Hebert & Clarence Penn - Winter PalaceJoy Lapps - Lulu's Dream

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

Coming Up this week: Courtney Pine's personal jazz picks from Jeremy Pelt, Anson Jones, Cameron Graves, Trish Clowes, Kevin Eubanks and more…It's the latest Courtney Pine Global Podcast!  Courtney's playing refreshingly cool jazzy vibes for you to work, rest and play to!  Commercial free, and hand-picked for a vibrant, and soulful listen!  Jam-packed full of new releases and plenty of fun, including many of the artists introducing their own tracks!  This week featuring jazz blues, Cuban-jazz, funk, nu-soul, fusion, big-band, nu-jazz & Brit-Asian grooves .  World music and classical music lovers will enjoy this too! Walter Smith III & Matthew Stevens – Reds Whirlwind Luis Deniz – Gesture Modica Jeremy Pelt - I'm Still Standing Highnote  Anson Jones - Unforeseen Ropeadope John Lee - Soul Leo Cellar  Cameron Graves - Sacred Spheres Mack Avenue Eubanks Evans Experience – And…They Ran Out of Biscuits Imani  Hermeto Pascoal - Coalhada Farout Trish Clowes - A View with a Room Greenleaf Arun Ghosh - Made in England Camoci

Episode 73 of the Burning Ambulance podcast features an interview with pianist Cameron Graves.I have a single subject we're going to be exploring through all ten episodes that I'm going to be presenting this season, and that subject is fusion. Fusion means much more, I think, than just the music that most people probably think of when they hear the word. Of course, it immediately brings to mind bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex-members of Miles Davis's band, playing extremely complex compositions that blurred the lines between progressive rock and jazz, while still leaving room for extended improvisation. But if you think of fusion as a process rather than a style, the discussion gets a lot more interesting. Because then you can pull in the music being made by Yes, King Crimson, Emerson, Lake & Palmer, Santana, etc., all of which gets filed under just plain rock. And you can talk about the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All Stars were making at the same time. Or the really adventurous funk and R&B that was being made by Sly and the Family Stone, Parliament, Funkadelic, the Isley Brothers, Earth, Wind & Fire, the Ohio Players, Slave, which then leads you to jazz-funk names like George Duke, Billy Cobham, the Crusaders, Donald Byrd, Freddie Hubbard, Eddie Henderson, and of course Mwandishi and the Headhunters. This is how I prefer to think about fusion. It's not just a specific, narrow slice of music, it's the sound of walls being knocked down across the landscape.So that's the kind of philosophical starting point for all the interviews I'm doing this season, and that's what makes Cameron Graves such a perfect person to talk to. Because he's a guy who crosses all sorts of musical boundaries. He's had a lot of classical music training, as I learned during this conversation, he spent several years studying Indian music, and obviously he's got a deep jazz background starting out as a member of the Young Jazz Giants with Kamasi Washington and the Bruner brothers, Stephen aka Thundercat on bass and his brother Ronald on drums, which evolved into the West Coast Get Down and all the albums that they've made over the last half dozen years or so. But Cameron's also a lifelong metalhead — in fact, he played keyboards and guitar in Wicked Wisdom, the nu-metal band fronted by Jada Pinkett Smith in the early 2000s. So he's not only toured the world with Kamasi Washington and with Stanley Clarke, because he's a member of Clarke's band, too — he also played Ozzfest.And here's an interesting connection: the drummer for Wicked Wisdom was Philip “Fish” Fisher, the drummer for Fishbone. And when you talk about fusion as the kind of big-tent/umbrella sort of conceptual thing that I'm talking about, you have to include them in there. They mixed funk and hard rock and punk and metal and ska and reggae and jazz into one big swirl, particularly on their most ambitious album, 1991's The Reality of My Surroundings. There's all kinds of music on there, from Bad Brains-style hardcore to Last Poets-style abstract jazz poetry. And of course they were the best live band on the planet from the mid '80s to the early '90s.Fishbone were never as big as they deserved to be, but they were absolute heroes in L.A., and they were a huge inspiration to all kinds of open-minded musicians who came up in their wake. Last year, I interviewed Terrace Martin, who's an alto saxophonist affiliated with the West Coast Get Down but is also a hip-hop producer who's worked with Snoop Dogg for years — in fact, he put together a live band for Snoop in about 2010 that included Kamasi Washington, Thundercat, Ryan Porter, who's been on this podcast before, and other people from their circle as well. Anyway, when I talked to Martin, he expressed a lot of love for Fishbone. And he's now a member of Herbie Hancock's band, in addition to being part of R+R=NOW, a group that also includes Robert Glasper and Christian Scott. And Thundercat and his brother, Ronald Bruner Jr., were both members of Suicidal Tendencies, playing straight-up punk and thrash, for years. There are so many connections between jazz and funk and metal, when you look for them, and bands that combine them in various really fascinating ways. It's all fusion, in the broad sense.Another thing that's really interesting, to me anyway, is that there are so many direct connections between the West Coast Get Down guys and the Seventies fusion artists. Like I said, Cameron Graves is in Stanley Clarke's band. Terrace Martin is in Herbie Hancock's band. Ronald Bruner Jr. played with George Duke before Duke died. Thundercat covered a George Duke song on one of his albums, and had Steve Arrington from Slave on his most recent record. It really is like they're the next generation of fusion. And we talk about all this and a lot more in the interview you're about to hear. This was a really fun conversation that went in some very interesting directions, and I hope you enjoy listening to it.Music in this episode:Cameron Graves, “Planetary Prince” (from Planetary Prince)Cameron Graves, “The Life Carriers” (from Seven)Cameron Graves, “Red” (from Live From the Seven Spheres)

Welcome to a new edition of the Neon Jazz interview series with Los Angeles-based Jazz Pianist & Composer Cameron Graves on the 2022 CD Live from the Seven Spheres .. It's due out on April 8, 2022 on Artistry Music and triumphantly reconvenes his core quartet featuring guitarist Colin Cook, bassist Max Gerl and drummer Mike Mitchell .. Cameron calls this the third chapter in the trinity .. He opens up about this COVID living, the future and much more .. Dig .. Click here to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/If you like what you hear, please let us know. You can contribute a few bucks to keep Neon Jazz going strong into the future.   https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4

Sam and Peter continue to celebrate Black History Month by starting off the episode talking about The Beatles (hear us out!). Sam's song is by a San Francisco Bay Area artist and Peter chose to highlight one of the members of the West Coast Get Down. Today's episode title come from one of Frank Zappa's most famous quotes. Our songs for this week:Hard to Love by H.E.R., from her 2021 album Back of My Mind released via RCA Records.Red by Cameron Graves, from his 2021 album Seven released via Artistry Music / Mack Avenue Records.Support the show (https://www.buymeacoffee.com/2songs1couple)

Twelve more recordings voted by jazz critics and radio stations as being the best of 2021. I start with Los Angeles pianist Cameron Graves and end with Tony Bennett & Lady Gaga. And between those selections are a variety of straight-ahead and ‘out there’ jazz. From New York, there’s drummer/percussionist Ches Smith and The We…Continue reading Episode 179: Best of 2021, Part 4 (last one).

This is the Burning Ambulance podcast's sixth year, and our seventieth episode, so I decided it was time to change things up a little. This season, we're going to have a single subject we're going to be exploring through all ten episodes that I'm going to be presenting, and that theme is fusion.Fusion is a very charged term. When most people hear it, in reference to music, anyway, they probably think of bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups formed by ex-members of Miles Davis's band that combined a certain freedom to improvise with extremely complex compositions that were closer to progressive rock than to jazz. I mean, when you listen to the first two Mahavishnu Orchestra albums, The Inner Mounting Flame and Birds of Fire, side by side with King Crimson's Larks' Tongues in Aspic and Starless and Bible Black, they really fit together quite well. I mean, they're even using the same instrumental palette: guitar, violin, keyboards, bass, drums. The only real difference is that King Crimson had a singer.What interests me about fusion, the term and the concept, is that it lives up to something saxophonist Wayne Shorter, one of the co-founders of Weather Report, has said many times — that to him, the word jazz means “I dare you”. I dare you to play as loud as the rock bands. I dare you to embrace funk and multi-part suites and the most advanced studio production techniques available. I dare you to go big, to be ambitious. Because that's what the best fusion of the 1970s was, and what modern-day fusion is. It's ambitious. It doesn't recognize externally imposed limitations, people saying “you can't do that”. Why not? Why can't you? It refuses to stay within the boundaries of genre. It's not jazz, it's not rock, because there's no such thing as jazz and no such thing as rock. One of the things I discovered, or became more certain of, while writing my book Ugly Beauty: Jazz in the 21st Century, which is out this month from Zero Books in the UK, is that jazz is ultimately about artistic intention. There's no one instrument or rhythm or harmonic relationship that defines it, but there are two crucial values: innovation and improvisation. There must be an attempt to do something new, or to put a new spin on something old, and there must be an element of uncertainty and a real-time exchange of ideas, or in the case of solo performances, there must be an element of real-time thinking and spontaneous creation. Because it's absolutely possible to play something that startles or surprises yourself, and then respond to it.So fusion is about taking ideas from seemingly disparate genres and combining them. And taking the philosophies that govern those seemingly disparate genres and figuring out what they have in common. That's what the Seventies artists did, and that's what modern-day fusion acts are doing. I would include people like Thundercat, Cameron Graves, Christian Scott and even Kassa Overall, who's been on this podcast before, in that category. And that's what we're going to be talking about all year long on this podcast, through interviews with prominent fusion artists of the past and present.Many people may not think of Jeff Mills as a fusion artist. He's normally thought of as one of the most important musicians in techno history. I'm not gonna run down his discography here, that's what Wikipedia's for, but suffice it to say that his influence in the 1990s was massive, but what makes him interesting to me is that he's taken the creative space his fame has brought him and used it to really expand his own sonic parameters. He's made an album with a full orchestra. He's created new scores for silent films. He's made albums inspired by astronomy, science fiction, and his interest in the supernatural. And he's collaborated with musicians who are geniuses in their own fields. In 2018, he made an album called Tomorrow Comes the Harvest with legendary Afrobeat drummer Tony Allen. And that project led to the first of the three albums he put out in 2021. It's called Counter Active, and it's a collaboration with keyboardist Jean-Philippe Dary under the name The Paradox.The second album he released this year was called The Clairvoyant, and it's about two hours long — if you buy it on vinyl, it's three LPs, and he says that the best way to experience it is to lie back in the dark and listen to the whole thing from beginning to end. It arises out of his interest in spiritualism at the beginning of the 20th century and his perception of the similarities and connections between that era and now. That's one of the topics we discuss in the interview you're about to hear, in fact. And I have to admit I was surprised by how willing, even eager, he was to discuss social issues. A lot of electronic music is deliberately anonymous, deliberately emotionally blank — it's a canvas on which you can paint your own feelings. But it also reflects broader social conditions, as any art produced by human beings inevitably must. Detroit techno represented the frustration and anger, as well as the hopes and dreams, of the citizens of that city, and Underground Resistance, a collective Mills formed with Mike Banks and Robert Hood, was explicitly political, taking on social conditions in their city and the overall politics of the music industry.The third album Jeff Mills put out in 2021 was The Override Switch, a collaboration with Rafael Leafar, who plays a number of instruments on the record, including tenor, alto, soprano and baritone saxophones, clarinet, bass clarinet, contra-alto clarinet, flute, cornet, and a wide range of keyboards. The music they make together is fusion in the purest and most genuine sense: the rhythmic steadiness of electronic music combined with the melodic and harmonic adventurousness of jazz. The individual pieces, and the album as a whole, take the listener on a real journey. And frankly, on a purely sonic level, I find it easy to draw lines between this and the music that people like Stanley Clarke and George Duke were making in the 1970s.Anyway, I feel extremely lucky to have gotten the chance to talk to Jeff Mills for an hour. He's an incredibly busy guy, so tracking him down was a challenge, and the day we were initially scheduled to talk, he had to run from Paris to London, so we moved it, and then when I did catch him, I thought he was still in Paris but it turned out he had returned to London, which meant I was calling him an hour later than expected. Still, it was a fascinating conversation that went in some really unexpected directions. I hope you enjoy listening to it.Music featured in this episode:The Paradox, "Super Solid" (Counter Active)Jeff Mills, "Someone Who Feels Things" (The Clairvoyant)Jeff Mills & Rafael Leafar, "The Sun King" (The Override Switch)

This is the Burning Ambulance podcast's sixth year, and our seventieth episode, so I decided it was time to change things up a little. This season, we're going to have a single subject we're going to be exploring through all ten episodes that I'm going to be presenting, and that theme is fusion.Fusion is a very charged term. When most people hear it, in reference to music, anyway, they probably think of bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups formed by ex-members of Miles Davis's band that combined a certain freedom to improvise with extremely complex compositions that were closer to progressive rock than to jazz. I mean, when you listen to the first two Mahavishnu Orchestra albums, The Inner Mounting Flame and Birds of Fire, side by side with King Crimson's Larks' Tongues in Aspic and Starless and Bible Black, they really fit together quite well. I mean, they're even using the same instrumental palette: guitar, violin, keyboards, bass, drums. The only real difference is that King Crimson had a singer.What interests me about fusion, the term and the concept, is that it lives up to something saxophonist Wayne Shorter, one of the co-founders of Weather Report, has said many times — that to him, the word jazz means “I dare you”. I dare you to play as loud as the rock bands. I dare you to embrace funk and multi-part suites and the most advanced studio production techniques available. I dare you to go big, to be ambitious. Because that's what the best fusion of the 1970s was, and what modern-day fusion is. It's ambitious. It doesn't recognize externally imposed limitations, people saying “you can't do that”. Why not? Why can't you? It refuses to stay within the boundaries of genre. It's not jazz, it's not rock, because there's no such thing as jazz and no such thing as rock. One of the things I discovered, or became more certain of, while writing my book Ugly Beauty: Jazz in the 21st Century, which is out this month from Zero Books in the UK, is that jazz is ultimately about artistic intention. There's no one instrument or rhythm or harmonic relationship that defines it, but there are two crucial values: innovation and improvisation. There must be an attempt to do something new, or to put a new spin on something old, and there must be an element of uncertainty and a real-time exchange of ideas, or in the case of solo performances, there must be an element of real-time thinking and spontaneous creation. Because it's absolutely possible to play something that startles or surprises yourself, and then respond to it.So fusion is about taking ideas from seemingly disparate genres and combining them. And taking the philosophies that govern those seemingly disparate genres and figuring out what they have in common. That's what the Seventies artists did, and that's what modern-day fusion acts are doing. I would include people like Thundercat, Cameron Graves, Christian Scott and even Kassa Overall, who's been on this podcast before, in that category. And that's what we're going to be talking about all year long on this podcast, through interviews with prominent fusion artists of the past and present.Many people may not think of Jeff Mills as a fusion artist. He's normally thought of as one of the most important musicians in techno history. I'm not gonna run down his discography here, that's what Wikipedia's for, but suffice it to say that his influence in the 1990s was massive, but what makes him interesting to me is that he's taken the creative space his fame has brought him and used it to really expand his own sonic parameters. He's made an album with a full orchestra. He's created new scores for silent films. He's made albums inspired by astronomy, science fiction, and his interest in the supernatural. And he's collaborated with musicians who are geniuses in their own fields. In 2018, he made an album called Tomorrow Comes the Harvest with legendary Afrobeat drummer Tony Allen. And that project led to the first of the three albums he put out in 2021. It's called Counter Active, and it's a collaboration with keyboardist Jean-Philippe Dary under the name The Paradox.The second album he released this year was called The Clairvoyant, and it's about two hours long — if you buy it on vinyl, it's three LPs, and he says that the best way to experience it is to lie back in the dark and listen to the whole thing from beginning to end. It arises out of his interest in spiritualism at the beginning of the 20th century and his perception of the similarities and connections between that era and now. That's one of the topics we discuss in the interview you're about to hear, in fact. And I have to admit I was surprised by how willing, even eager, he was to discuss social issues. A lot of electronic music is deliberately anonymous, deliberately emotionally blank — it's a canvas on which you can paint your own feelings. But it also reflects broader social conditions, as any art produced by human beings inevitably must. Detroit techno represented the frustration and anger, as well as the hopes and dreams, of the citizens of that city, and Underground Resistance, a collective Mills formed with Mike Banks and Robert Hood, was explicitly political, taking on social conditions in their city and the overall politics of the music industry.The third album Jeff Mills put out in 2021 was The Override Switch, a collaboration with Rafael Leafar, who plays a number of instruments on the record, including tenor, alto, soprano and baritone saxophones, clarinet, bass clarinet, contra-alto clarinet, flute, cornet, and a wide range of keyboards. The music they make together is fusion in the purest and most genuine sense: the rhythmic steadiness of electronic music combined with the melodic and harmonic adventurousness of jazz. The individual pieces, and the album as a whole, take the listener on a real journey. And frankly, on a purely sonic level, I find it easy to draw lines between this and the music that people like Stanley Clarke and George Duke were making in the 1970s.Anyway, I feel extremely lucky to have gotten the chance to talk to Jeff Mills for an hour. He's an incredibly busy guy, so tracking him down was a challenge, and the day we were initially scheduled to talk, he had to run from Paris to London, so we moved it, and then when I did catch him, I thought he was still in Paris but it turned out he had returned to London, which meant I was calling him an hour later than expected. Still, it was a fascinating conversation that went in some really unexpected directions. I hope you enjoy listening to it.Music featured in this episode:The Paradox, "Super Solid" (Counter Active)Jeff Mills, "Someone Who Feels Things" (The Clairvoyant)Jeff Mills & Rafael Leafar, "The Sun King" (The Override Switch)

Master Bassist & Composer Stanley Clarke Discusses His Musical Career In Great Depth starting from the beginning in Philadelphia to his meeting and collaborating with maestro Chick Corea. Stanley discusses the journey of finding his own sound, Long before he became a four-time Grammy Award-winning recording artist, performer, composer, conductor, arranger, producer, a composer for recordings and film, as well as one of the most celebrated acoustic and electric bass players in the world, Stanley Clarke was a student. Stanley's “school days” were not only the inspiration for his world-renowned bass anthem, but essential to the origin story of the pioneering bass virtuoso from the streets of Philadelphia.Source: https://stanleyclarke.com/Source: https://stanleyclarke.com/stanley/This episode is from an archive from the KPFK program Profiles adapted for podcast. Host 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

CLÁSICO DE LA SEMANA.Recuerdo a Rick Laird. Soft Focus, 1977. Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade. RoundAgain, 2020. JAZZ EN ESPAÑOL. Magali Sare i Manel Fortia. Fang i Nuvols, 2021. Cameron Graves. Seven, 2021. Jaga Jazzist. Pyramid, 2020.

CLÁSICO DE LA SEMANA.Recuerdo a Rick Laird. Soft Focus, 1977. Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade. RoundAgain, 2020. JAZZ EN ESPAÑOL. Magali Sare i Manel Fortia. Fang i Nuvols, 2021. Cameron Graves. Seven, 2021. Jaga Jazzist. Pyramid, 2020.

CLÁSICO DE LA SEMANA.Recuerdo a Rick Laird. Soft Focus, 1977. Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade. RoundAgain, 2020. JAZZ EN ESPAÑOL. Magali Sare i Manel Fortia. Fang i Nuvols, 2021. Cameron Graves. Seven, 2021. Jaga Jazzist. Pyramid, 2020.

CLÁSICO DE LA SEMANA.Recuerdo a Rick Laird. Soft Focus, 1977. Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade. RoundAgain, 2020. JAZZ EN ESPAÑOL. Magali Sare i Manel Fortia. Fang i Nuvols, 2021. Cameron Graves. Seven, 2021. Jaga Jazzist. Pyramid, 2020.

We had the pleasure of interviewing 19&YOU over Zoom video! 19&YOU recently released their self-titled debut EP. With this 7-track collection of alt-pop songs, 19&YOU delivers an expressive narrative filled with coming-of-age tales regarding ex-lovers, past celebrations, and the pursuit of self-discovery amidst the chaos and heartbreaks. 19&YOU says this of their EP:"Our debut EP '19&YOU' touches on heartbreak, transition, and longing. We started writing this EP when Noah came to visit us (Cam, Jack, and Liam), when we were studying abroad in Australia. At that time, we were all going through heartbreak and decided one night to make a song using that shared experience. That was the start of 19&YOU. We write from experience and relatability, which is why we believe our fans will be able to really connect with the tracks on the EP." The opening track, “PART OF YOU (with Carlie Hanson)”, serves as a sweeping tribute to love and the fond memories of a former life. “PART OF YOU” underlines lead singer Cameron Graves' honeyed vocals and the band's penchant for crisp arrangements and soft pop. The song is further elevated by the angelic and impactful vocals of Carlie Hanson. The band, growing their fan base with the success of each release, has been able to capture the attention of several publications, radio, and playlist features, including Zane Lowe at Beats 1, Apple Music's Pop Chill playlist, Spotify's soda playlist, MTV, CLASH, AltPress, Ones to Watch, Lyrical Lemonade, LADYGUNN, American Songwriter, The Line of Best Fit, and more. More InfoMeet 19&YOU. This is the story of boy meets girl, boy pursues girl to Sydney, and then boy unexpectedly makes new friends and creates a band instead of chasing love. Noah Taylor (executive producer) was love-struck when he followed a girl around the world. He ended up crashing at a friend's place in Australia, where he subsequently came across Cameron Graves (vocals), Jackson Leitch (guitar), and Liam Wallis (drums). An instant camaraderie took flight and the four guys started a band within days. In the following months via virtual sessions, the newly formed group completed their first batch of songs in one week. For the band, ‘19' represents an age in life between adolescence and adulthood that's full of transformative moments. Following their move to Los Angeles in June 2020, 19&YOU is gearing up for a 2021 breakthrough that begins with their debut EP.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod  #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetworkListen & Subscribe to BiBFollow our podcast on Instagram and Twitter! 

Welcome to a new edition of the Neon Jazz interview series with Los Angeles-based Jazz Vocalist, Pianist & Composer Cameron Graves .. We spoke to him about his life in music, the future and his latest 2021 CD Seven… He calls the music he’s architected for his new Artistry Music/Mack Avenue Music Group release thrash-jazz, though that only begins to tell the story. He grew up in metal-rich Los Angeles, headbanging to Living Colour as a kid and, after immersing himself in jazz and classical studies for years, reigniting his love for hard rock through records by Pantera, Slipknot and his most profound metal influence, Swedish titans Meshuggah. From the world of jazz, he digs Weather Report and Return to Forever – Dig his story .. Click to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Listen to each show at https://www.mixcloud.com/neonjazzkc. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/If you like what you hear, please let us know. You can contribute a few bucks to keep Neon Jazz going strong into the future. https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4

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 4th March 2021 Artist - Track - Album - Year Matthew Alec and the Soul Electric    Cleveland Time (Radio edit)    Cleveland Time    2020 Gayelynn McKinney and McKinney Zone    Having Fun    Zoot Suit Funk    2020 John Lang    Triolation    Now Ear This    2020 Meridian Odyssey    F Minus    Second Wave    2021 Cameron Graves    Paradise Trinity    Seven    2021 David Larsen    Lonesome Boulevard    The Mulligan Chronicles    2021 Roseanna Vitro    You Go to My Head    Listen Here (1984)    2020 Chad Lefkowitz-Brown    Watermelon Man    Quartet Sessions    2021 Grete Skarpied    Cats in Crete    Beyond Other Stories    2021 Jeremy Pelt    Words by JD Allen    Griot: This is Important!    2021 Jeremy Pelt    Don't Dog the Source    Griot: This is Important!    2021 Rossano Sportiello    The Shiek of Araby    That's It!    2020 Rodrigo Faina and Change Ensemble    At Night    Different Roots    2021 Dan Blake    Prologue: A New Normal    Da Fé    2021 Peter Kronreif Wayfarers    Obviously Oblivious    aeronautics    2020 Dan Blake    Cry of the East    Da Fé    2021 Lyle Workman    Noble Savage    Uncommon Measures    2021 Lyle Workman    Arc of Life    Uncommon Measures    2021 Edward Simon    Pathless Path    25 Years    2020 The post The Creative Source (#CreativeSource) – 4th March 2021 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

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 February 2021 Artist - Track - Album - Year Return to Forever    No Mystery    No Mystery    1975 Return to Forever    Captain Señor Mouse    Hymn of the Seventh Galaxy    1973 Chick Corea    Got a Match?    Chick Corea Elektric Band    1986 Chick Corea    Compadres    Touchstone    1992 Chick Corea & Friends    Tempis Fugit    Remembering Bud Powell    1997 Chick Corea & Origin    Awakening    Change    1999 The Chick Corea-Steve Gadd Band    Like I Was Sayin'    Chinese Butterfly    2007 Chick Corea    Chick Talks Duets    Plays    2020 Chick Corea    Duet: Yaron    Plays    2020 Cameron Graves    Super Universes    Seven    2021 Jeremy Pelt    Words by Harold Mabern    Griot: This is Important!    2021 Jeremy Pelt    Solidarity    Griot: This is Important!    2021 The Rooibos Quartet    A Trip Around the Sun    Rooibos    2021 Albare    Favela    Plays Jobim Vol. 2    2021 Andy James    Perfidia    Tu Amor    2021 Lee Smith    Lo Siento Mi Amor    Faith in the New Day    2020 Monder/Malaby/Rainey    Suite 3320, Part I    Live at the 55 Bar    2021 The post The Creative Source (#CreativeSource) – 18th February 2021 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

Thundercat thinks bass players run the world and not just because he's a great one. The multi-talented singer-songwriter talks with Marc about growing up with music all around him, learning at the feet of his brother and his friends Kamasi Washington and Cameron Graves, and finding his own sound on the bass. They also talk about his work with Kendrick Lamar on To Pimp A Butterfly and Thundercat describes the three areas around which he has structured his life: music, Marvel and anime. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

Thundercat thinks bass players run the world and not just because he’s a great one. The multi-talented singer-songwriter talks with Marc about growing up with music all around him, learning at the feet of his brother and his friends Kamasi Washington and Cameron Graves, and finding his own sound on the bass. They also talk about his work with Kendrick Lamar on To Pimp A Butterfly and Thundercat describes the three areas around which he has structured his life: music, Marvel and anime. See omnystudio.com/listener for privacy information.

Cameron Graves is a keyboardist, composer and founding member of The West Coast Get Down. A frequent collaborator of Kamasi Washington, he appeared on the saxophonist's groundbreaking album 'The Epic.' Graves' own debut album, 'Planetary Prince,' was released in 2017. --- Support this podcast: https://anchor.fm/brian-zimmerman/support

Support Burning Ambulance on Patreon Get the Burning Ambulance email newsletter The 54th episode of the Burning Ambulance podcast features an interview with trombonist Ryan Porter. If you’ve seen Kamasi Washington live, you’ve seen Ryan Porter — he’s the trombonist standing directly to Kamasi’s left onstage. They’ve been friends since they were kids, growing up in L.A. together and playing on all kinds of projects, including Snoop Dogg’s touring band and the sessions for Kendrick Lamar’s To Pimp a Butterfly, and of course all of Kamasi’s records like The Epic, Heaven and Earth, Harmony of Difference, the soundtrack to Becoming (the Netflix documentary about Michelle Obama), and more. He’s also played on records by other members of the West Coast Get Down like Miles Mosley, Cameron Graves, and Brandon Coleman. Plus, Porter has made multiple albums of his own, including The Optimist, Force For Good, and Spangle-Lang Lane, which is a collection of children’s music, something we talk about in this interview. He’s also done a lot of session work on his own and as a member of the Clayton Hamilton Jazz Orchestra, playing on records by Diana Krall, Michael Bublé, Nick Cave, Quincy Jones, Anthony Hamilton and Leon Russell. He gets around. I talked to Porter on Wednesday, June 3. The interview had been booked a week earlier, and by the time it happened, the protests surrounding the killing of George Floyd by the Minneapolis police had gotten well underway across the country – a lot of cities were under curfew, if they hadn’t already been that way because of COVID-19. So to talk about music with a guy who made an album of children’s music, and made two other albums with the titles The Optimist and Force for Good, almost felt like a kind of really dark irony. I mean, is this a particularly optimistic time in American history, the summer of 2020? I don’t think it is, and I’m straight, white, and middle-aged. If I was young, or not white, I would not feel especially optimistic about life in this country, now or in the immediate future. But Ryan Porter is an optimistic guy. He’s clear-eyed about the environment he grew up in, and how it shaped him, and the world he lives in and what he can accomplish, or put across, with his music. But I’m not gonna misrepresent the conversation we had. We talked about art, and creativity, and making a career as a musician and how that’s not just about taking every opportunity you can – sometimes it’s about realizing that you don’t necessarily want to exist on a certain level, and taking a step or two back. Like everyone else I’ve ever had on this show, Ryan Porter is a really smart, perceptive, creative guy, and I think you’re going to enjoy hearing our conversation. If you do enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks! Music heard in this episode: Ryan Porter, "Madiba" (Live in Paris at New Morning) Ryan Porter, "The Psalmist" (The Optimist)

Seth and Rob set the table with a talk about Stanley Clarke and all of the musicians he has worked with over the years. Clarke is an innovative jazz-and-beyond bassist who even had a bit of hit with the title track of his Stanley Clarke Band record, “School Days” in the 70s, and with the landmark fusion band, Return To Forever. We learn about when the now-iconic “School Days” bass line came to Stanley, and about how RTF-band-mate Chick Corea convinced Stanley to start writing years before that. Stanley elaborates on the importance of Art Blakey, and about how Clarke was so moved by John Coltrane that he at one point even seriously considered ditching his bass to play sax. Stanley also talks about his recent work with the Smithsonian, how he chose to play Alembic bass. and the great honor recently bestowed upon him by the Montreal Jazz Festival. Stanley very much continues to make amazing music today, and the genesis and ethos of his poignant 2018 release, The Message is discussed. Stanley benefits from the compositional and performance talents of some incredible young musicians on this record, many of which are discussed including Cameron Graves (a founding member of West Coast Get Down) and Beka Gochiashvili (who was discovered by Condoleeza Rice in Georgia, the former Soviet republic). Perhaps best of all for some, Stanley shares some memories about jazz pioneer, Charles Mingus. Before the episode ends Seth shares his experiences at the Hulaween Festival in Florida, and Rob talks about seeing Bob Dylan in North Carolina and Bob Weir and The Wolf Brothers in Tennessee. We're proud to partner with Ben & Jerry’s to help raise awareness of The WaterWheel Foundation. As mentioned in the episode, listeners can receive free shipping on all orders over $50 using the promo code OSIRIS at checkout. Click here to order "It's Ice...Cream" and pick up a t-shirt. Do it today—the holidays are right around the corner. More information It’s Ice, Men’s tee https://store.benjerry.com/ben-jerrys-t-shirt-mens-cut-its-ice/ It’s Ice, Women’s tee https://store.benjerry.com/ben-jerrys-t-shirt-womens-cut-its-ice/ It’s Ice… Cream product https://store.benjerry.com/phishs-its-ice-cream-pint/ Cherry Garcia tee https://store.benjerry.com/ben-jerrys-t-shirt-unisex-cherry-garcia/ More on the history of Phish food: https://www.benjerry.com/flavors/phish-food-ice-cream Mini Doc we created about Phish Food and WaterWheel: https://www.youtube.com/watch?v=FvJaUOdBkDc Our Favorite Phish moments: https://www.benjerry.com/flavors/favorite-phish-moments wTnS is Produced by Rob Turner and Engineered by Josh Thane of Wonder Dog Sounds Studio. www.joshthaneproductions.com www.wonderdogsounds.com All social media management, promotion and website maintenance/building done by Harris Sullivan. wTnS is a proud partner of the Osiris Podcast Network. Osiris is a global community connecting passionate music fans with podcasts about music, artists, and culture; currently consisting of 15 link-minded podcasts and more can be found at www.osirispod.com wTnS Sponsors: Polay + Clark 21st Century Accounting (Don't wait till April and get screwed, get Polayed) www.polayclark.com Inside Out w/ Turner and Seth: insideoutwtns.com Twitter: @InsideoutWTNS Instagram: www.instagram.com/insideoutwtns Facebook: www.facebook.com/insideoutwTnS See acast.com/privacy for privacy and opt-out information.

Pianist Cameron Graves is bringing his trio to the Dakota Sunday, Nov. 4th at 7 p.m. He spoke with Jazz88's Emily Reese about the trio, the show, and his background.

Pianist Cameron Graves is bringing his trio to the Dakota Sunday, Nov. 4th at 7 p.m. He spoke with Jazz88's Emily Reese about the trio, the show, and his background.

Pianist Cameron Graves is bringing his trio to the Dakota Sunday, Nov. 4th at 7 p.m. He spoke with Jazz88's Emily Reese about the trio, the show, and his background.

CASA BERTALLOT - lunedì 29 ottobre Laneous - Modern RomanceRemy Shand - Take a messageMick Jenkins, Ben Hixon - Reginald (feat. Ben Hixon) Greentea Peng - Mind Kari Faux - Color Wheel Georgia Anne Muldrow - Bobbies dittie Cameron Graves - el diablo Soul coughing - the idiots KingsMatthew dear - what you don’t knowMachinedrum - Gunshotta (Fracture's Astrophonica Remix)Dj krust - warhead , dj steppa rmxSaxxon - one for meConnie Constance - Fast Cars Raiza Biza & REMI - Jiggy (feat. Sampa The Great) Childish Gambino - this is americaPuma Blue - Moon Undah Water

This week, Nick and Alex are joined by pianist Cameron Graves and his 'Planetary Prince' bandmates, Mike Mitchell and Max Gerl. See acast.com/privacy for privacy and opt-out information.

14 april staat TivoliVredenburg geheel in het teken van het Transition Festival, dat in samenwerking met North Sea Jazz wordt georganiseerd. Guy van Hulst (programmeur jazz) en Brent Oostrum (programmeur/marketeer) bespreken hun tips voor het festival, zoals de Noorse jazzformatie Jaga Jazzist, de invloedrijke fusion-gitarist Pat Martino, en Cameron Graves, een van de oprichters van de West Coast Get Down, het collectief muzikanten uit Los Angeles waar onder meer Kamasi Washington en Miles Mosley uit voort kwamen.www.transitionfestival.nl--De muziek uit de podcast:Monks Casinohttps://open.spotify.com/track/5CEmG9WMwybrtK6FkaxYv1?si=DwOmkrh_R1-M5kSm7ygrOgCameron Graveshttps://open.spotify.com/track/0RDPruYI8wmOrFTi3RMx6K?si=L65WnoaGR8OjjYutGX8uQQIda Lupino Projecthttps://open.spotify.com/track/6sUANkv1Pr8yeLnOTPJh3L?si=-PExfWvEQz-bpRUswc5PYgJaga Jazzisthttps://open.spotify.com/track/19CwW7Ny6YiqpSk7ZWpw5I?si=cKrXL3wjT5yIsL3QnFzlpgPat Martinohttps://open.spotify.com/track/14ju2mAvlt091Ns5sQnGYl?si=_F9W_05BRCSLO2jQBoGHkAMammal Handshttps://open.spotify.com/track/4bSjFyslz7l4kOcx85syHA?si=qnXBda6bSKW82f0icHDNUA--Podcast geproduceerd door David Achter de Molen See acast.com/privacy for privacy and opt-out information.

Tú, yo, el cosmos, el jazz y los chistes. Exploramos el jazz del afrofuturismo y también el espacio y también los chistes. 01. Kamasi Washington, Change of the guard 02. Sun Ra, Sleeping Beauty 03. Frank Woeste, Nouakchott 04. Joe Henderson, Fire 05. Christian Scott, Encryption 06. Cameron Graves, Satania Our Solar System Y los chistes.

Music and conversation with virtuoso pianist Cameron Graves. Here is what visionary saxophonist Kamasi Washington had to say about Cameron Graves: “Cameron Graves is a musical genius. He has an innovative approach to the piano that is completely unique. Cameron’s new album ‘Planetary Prince’ is an amazing and almost unbelievable combination of modal jazz, romantic era […]

2100HRS (UK) Laboratory with your host Robert Bosson… Catch it Live the second Saturday of every month! Our Laboratory session is once again scheduled for this Saturday with our resident experimentalist, Rob Bosson, mixing up the sound waves for your aural pleasure. This Saturday’s show will include fresh cuts from Cameron Graves, Boys Noize, Gary Numan and Kendrick Lamar, as well as lovely repressed vinyl from Azimuth and classic synth-pop from Propaganda, plus a load more surprises from the Laboratory vaults. Broadcasting live from Laboratory HQ at 9pm… A regular show for Radio Nova Lujon exploring contemporary rhythms and their past influences from the outer reaches. Electronica // Dub Techno // Ambient // Afro // Drum&Bass // Jazz // Deep House // Alternative and much more… CONTACT THE SHOW DIRECT (E-MAIL) The post 12.08.17 Laboratory appeared first on Radio Nova Lujon.

Cameron Graves is an LA jazz artist and member of the impeccable West Coast Get Down collective (Kamasi Washington, Miles Mosley and more.) He breaks down the connection with jazz and the universe, ancient Egypt, and his biggest inspiration "The Urantia Book." Check out his new album "Planetary Prince."

Cameron Graves is an LA jazz artist and member of the impeccable West Coast Get Down collective (Kamasi Washington, Miles Mosley and more.) He breaks down the connection with jazz and the universe, ancient Egypt, and his biggest inspiration "The Urantia Book." Check out his new album "Planetary Prince."

Besides being one of the founding members of the mighty West Coast Get Down, bassist Miles Mosley's resume (Kamasi Washington, Kendrick Lamar, Lauryn Hill...) reads like a who's who of the biggest names in music. Earlier this year we reviewed his stellar debut solo LP, Uprising, and recently we had the chance to sit down with the master innovator before his ground shaking show at Songbyrd Music House right here in Washington, DC. Join us and get delivered some TRUTH about music, life, and existential excellence from one of modern music's most electric voices.PLUS! Cameron Graves (also a founding member of the West Coast Get Down) is one of the most innovative keyboard players on the modern jazz (or any) scene. On his new album Planetary Prince, he's pulling out all the stops and taking the listener on an intensely cosmic jazz odyssey...that also happens to be one of the best albums of 2017. Tune in, and drop out with the lead off track from this funk and soul infused triumph, "Satania In Our Solar System." See acast.com/privacy for privacy and opt-out information.

It's episode 88 of Comprehensive Beatdown and Bloggy Bonilla and Silent G are listening to “The Beautiful,” the brand new album from New Orleans artist Alfred Banks. This is Banks' third album and it debuted at #12 on the Rap/Hip Hop chart on iTunes and #79 on the Billboard Top 100 Heatseekers chart. The intro music is the title track from Cameron Graves' newest album, “Planetary Prince.”(An album this podcast cannot recommend enough) Finally, the guys check out the new Kendrick Lamar song. https://alfredbanks.bandcamp.com/http://www.underdogcentral.com/https://www.camerongravesmusic.com/ Be sure to check us out on the Satchel Player! You can download the app from the Apple Store or Google Play Store to follow and support your favorite podcasts. Go to http://satchelplayer.com/ to check it out! Follow us on Twitter! @compbeatdown Send any questions/comments/suggestions to comprehensivebeatdown@gmail.com Like us on Facebook! Click HERE if you want to keep up with an inordinate amount of new music, follow Silent G's 2017 Albums/EPs playlist on Spotify. Check out Bloggy Bonilla's website to see what he is enjoying day-to-day. http://keyb2lock.com/ As always, follow http://dopemedianetwork.com/ and find the podcast on iTunes and leave a review.  

Music and conversation with virtuoso pianist Cameron Graves. Here is what visionary saxophonist Kamasi Washington had to say about Cameron: “Cameron Graves is a musical genius. He has an innovative approach to the piano that is completely unique. Cameron’s new album ‘Planetary Prince’ is an amazing and almost unbelievable combination of modal jazz, romantic era European […]