Podcasts about Charles Mingus

On this Artist Spotlight episode, we visit with Grammy Award winning engineer, Michael O'Reilly.Michael is a Grammy Award winning engineer for his work recording and mixing Dianne Reeves' A Little Moonlight (Best Jazz Vocal Album). Michael is also the mixer/engineer of 11 Grammy Award winning albums and 6 Grammy Award nominated albums, as well as 15 Platinum,19 Gold and 8 Multi-Platinum records. Simply put, most of us have heard the familiar sounds he's captured. Take for instance the Prince song “I Feel For You”, recorded by Chaka Kahn, or the very first single, “You Give Good Love”, from Whitney Houston's debut album, Whitney Houston.Michael began his career at New York's legendary Atlantic Records Recording Studios as an assistant engineer where he honed his craft. He gained experience working with a range of mega artists-- from The Rolling Stones, Bette Midler, Average White Band, George Carlin, and James Taylor to Aretha Franklin and Charles Mingus. Michael had the distinguished honor of working alongside legendary Producer Arif Mardin on virtually all of Arif's projects over the last 30 years. In addition, he has taught as an adjunct instructor of Music Engineering at NYU.

durée : 00:59:29 - par : Nathalie Piolé -

Former U.S. Poet Laureate and musician Joy Harjo (Mvskoke) immerses listeners in a diverse array of jazz styles and deeply emotional poetry in her new album, “Insomnia and Seven Steps to Grace”. Co-produced by Grammy-winning artist Esperanza Spalding, the album features originals and covers, including a re-interpretation of Charles Mingus’s “Goodbye Pork Pie Hat”. Harjo also transforms her 2015 poem, “I Pray for My Enemies”, into a feverish, free-form composition, while “Rabbit Is Up to Tricks” draws on the power of traditional oral storytelling and “Stomp All Night” delivers a fun and funk-filled jam. Acclaimed jazz vocalist Julia Keefe (Nez Perce) and the 16-piece ensemble of talented Native musicians known as the Indigenous Big Band make their album debut with “Incarnadine”. The album honors Native jazz pioneers like Mildred Bailey (Coeur d’Alene) and Jim Pepper (Kaw/Muscogee), as well as featuring innovative originals like “Wawasint8Da” and “Ddat Suite, MVT. 3 Iron Horse Gallup”. The ensemble continues to earn critical praise especially for their live performances, highlighted by their 2024 spring residency at the Kennedy Center. We’ll speak with both Joy Harjo and Julia Keefe about their new albums in this episode of Native Playlist, our regular feature on Indigenous music.

Former U.S. Poet Laureate and musician Joy Harjo (Mvskoke) immerses listeners in a diverse array of jazz styles and deeply emotional poetry on her new album, “Insomnia and Seven Steps to Grace”. Co-produced by Grammy-winning artist Esperanza Spalding, the album features originals and covers, including a re-interpretation of Charles Mingus’s “Goodbye Pork Pie Hat”. Harjo also transforms her 2015 poem, “I Pray for My Enemies”, into a feverish, free-form composition, while “Rabbit Is Up to Tricks” draws on the power of traditional oral storytelling and “Stomp All Night” delivers a fun, funk-filled jam. Acclaimed jazz vocalist Julia Keefe (Nez Perce) and the 16-piece ensemble of talented Native musicians known as the Indigenous Big Band make their album debut with “Incarnadine”. The album honors Native jazz pioneers like Mildred Bailey (Coeur d’Alene) and Jim Pepper (Kaw/Muscogee), as well as featuring innovative originals like “Wawasint8Da” and “Ddat Suite, MVT. 3 Iron Horse Gallup”. The ensemble continues to earn critical praise especially for their live performances, highlighted by their 2024 spring residency at the Kennedy Center. We’ll speak with both Joy Harjo and Julia Keefe about their new albums in this episode of Native Playlist, our regular feature on Indigenous music. Break 1 Music: Instinct (song) Joy Harjo (artist) Insomnia and Seven Steps to Grace (album) Break 2 Music: Traditional Side Step Song (song) Little Otter (artist) Side Step Songs (album)

**Still on an unexpected hiatus but new episodes will be back very soon! This week, let's revisit one of my favorite episodes w/ one of the most underrated musicians out there!**On this episode of Songs of Our Lives, it's Tomin! This one feels full circle. Ever since learning about Tomin's music nearly four years ago, I've felt a special connection to it. It's been hard to explain, but after seeing his picks for this episode and talking to him about them, it makes a lot more sense. His latest record, “A Willed and Conscious Balance,” is out now International Anthem and is such a special listen. We talk about that, his cheat code of a band, and plenty more before diving into TLC's eye-opening impact, the all-time greatness of jaimie branch, the absurdly underappreciated Marvin Hannibal Peterson, living in the same timeline as Alice Coltrane, transcending with Ballake Sissiko, Charles Mingus, James Brandon Lewis, John Coltrane, and loads more!Listen to all of Tomin's picks HERE“A Willed and Conscious Balance”“Flores para Verene / Cantos para Caramina”Songs of Our Lives is a podcast series hosted by Brad Rose of Foxy Digitalis that explores the music that's made us and left a certain mark. Whether it's a song we associate with our most important moments, something that makes us cry, the things we love that nobody else does, or our favorite lyrics, we all have our own personal soundtrack. Join Foxy Digitalis on Patreon for extra questions and conversation in each episode (+ a whole lot more!)Follow Foxy Digitalis:WebsitePatreonInstagramBlueskyThe Jewel Garden

durée : 00:59:50 - par : Nathalie Piolé -

We reviewed Blow By Blow by Jeff Beck last year and thought it was great (Ep 222) so we figured we'd also review Wired as it turns 50. And while Jeff did bring back producer George Martine (uh, The Beatles) he did choose to bring in some new blood. Most notably, he retained Jan Hammer - famous to the boys for creating the Miami Vice theme - and a jazz/new age legend in his own right. Wilbur Bascomb provides the bass (he's a real allstar on this record though Hammer does fill in on a couple of songs), Narada Michael Walden writes some songs and lays down the beat with Max Middleton returning on the keys to provide the foundation for Jeff and Jan to do their thing. Hearing these two playing off of each other can be intense and I wouldn't call this a rock record but more of a jazz fusion experiment. Led Boots is a heavy starter and while Jeff is happy to let others shine, he standouts extraordinarily on Charles Mingus' Goodbye Pork Pie Hat. Jan Hammer write Blue Wind starts the second side with some funk (provided mostly by Hammer on various machines) and the bluesy, jazzy jams make this record a showcase for getting talent in a room and letting them do their thing. There are no vocals on this album which makes it so surprising that it went platinum in the US. Jeff Beck never chased big fame or success, he chased tone and talent to play alongside. He willingly shares the spotlight and adds his flourishes when asked to but despite the name on the cover, it's very much a jazzy collaboration between some real pros. And he didn't think he could top it - he didn't make another studio album until 1980. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit our sponsor ⁠⁠⁠⁠⁠⁠⁠RareVinyl.com⁠⁠⁠⁠⁠⁠⁠ and use code UGLY to save 10% off one ENTIRE ORDER! ⁠⁠⁠⁠⁠⁠⁠bit.ly/UAWILROCKS⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

We reviewed Blow By Blow by Jeff Beck last year and thought it was great (Ep 222) so we figured we'd also review Wired as it turns 50. And while Jeff did bring back producer George Martine (uh, The Beatles) he did choose to bring in some new blood. Most notably, he retained Jan Hammer - famous to the boys for creating the Miami Vice theme - and a jazz/new age legend in his own right. Wilbur Bascomb provides the bass (he's a real allstar on this record though Hammer does fill in on a couple of songs), Narada Michael Walden writes some songs and lays down the beat with Max Middleton returning on the keys to provide the foundation for Jeff and Jan to do their thing. Hearing these two playing off of each other can be intense and I wouldn't call this a rock record but more of a jazz fusion experiment. Led Boots is a heavy starter and while Jeff is happy to let others shine, he standouts extraordinarily on Charles Mingus' Goodbye Pork Pie Hat. Jan Hammer write Blue Wind starts the second side with some funk (provided mostly by Hammer on various machines) and the bluesy, jazzy jams make this record a showcase for getting talent in a room and letting them do their thing. There are no vocals on this album which makes it so surprising that it went platinum in the US. Jeff Beck never chased big fame or success, he chased tone and talent to play alongside. He willingly shares the spotlight and adds his flourishes when asked to but despite the name on the cover, it's very much a jazzy collaboration between some real pros. And he didn't think he could top it - he didn't make another studio album until 1980. Check out our new website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ugly American Werewolf in London Website⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit our sponsor ⁠⁠⁠⁠⁠⁠RareVinyl.com⁠⁠⁠⁠⁠⁠ and use code UGLY to save 10% off one ENTIRE ORDER! ⁠⁠⁠⁠⁠⁠bit.ly/UAWILROCKS⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LInkTree⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.pantheonpodcasts.com⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

On April 22, 1922, jazz legend Charles Mingus was born. Known for his groundbreaking compositions and outspoken activism, Mingus helped shape modern jazz while challenging social injustice through his work and voice. Subscribe to our newsletter to stay informed with the latest news from a leading Black-owned & controlled media company: https://aurn.com/newsletter Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today's word of the day is ‘Mingus' as in Charles Mingus as in jazz as in Jazz Chisholm as in the New York Yankees as in the New York Mets. Both teams are struggling. Both teams are on 5-game losing streaks. But the biggest story of the weekend was Jazz Chisholm and his postgame comments. I cannot believe it. (20:35) The Mets are no better. 5-game losing streak. Lindor does not look like himself defensively. No Soto still. (26:40) The Houston Astros have major pitching problems. One road trip has resulted in four starting pitchers being hurt. The biggest of the issues is Tatsuya Imai and his struggles. (35:00) Ichiro got a statue. And there was a slight problem with it! (39:12) Review: Sirat. (41:17) NPPOD. (44:30) The Rockies have been sold! Well, not the entire team, just 40%. Let me explain. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today's word of the day is ‘Mingus' as in Charles Mingus as in jazz as in Jazz Chisholm as in the New York Yankees as in the New York Mets. Both teams are struggling. Both teams are on 5-game losing streaks. But the biggest story of the weekend was Jazz Chisholm and his postgame comments. I cannot believe it. (20:35) The Mets are no better. 5-game losing streak. Lindor does not look like himself defensively. No Soto still. (26:40) The Houston Astros have major pitching problems. One road trip has resulted in four starting pitchers being hurt. The biggest of the issues is Tatsuya Imai and his struggles. (35:00) Ichiro got a statue. And there was a slight problem with it! (39:12) Review: Sirat. (41:17) NPPOD. (44:30) The Rockies have been sold! Well, not the entire team, just 40%. Let me explain. Learn more about your ad choices. Visit podcastchoices.com/adchoices

For Bob's birthday, we're kicking off Jazz Appreciation Month with Frizz and Bob celebrating one of jazz's boldest, richest, and most emotionally alive albums: Charles Mingus' Mingus Ah Um. Frizz sips on Heaven's Door Bourbon, and Bob pours some Old Louisville Whiskey Company as they dig into Mingus' genius, temper, humor, protest, and obsession. From tributes to the Duke, more songs about more birds, the origins of "cool," and cats with six toes, we unpack how one album honored jazz history while pushing it into brand new territory.

What happens when you put three of jazz's biggest personalities in a studio for a day? You get Money Jungle: Duke Ellington, Charles Mingus and Max Roach. Can it work? Miles Davis hated it. Others revere it. And the story behind this album is WILD.It's perhaps the most tense album we've ever listened to. And this episode of You'll Hear It is possibly the most we have ever disagreed about an album! Listen for the music, the hot takes, or just to see what all the fuss is about. No matter your reason for listening to this episode, you'll never hear Money Jungle the same way again.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/yhi-------------------------------Related You'll Hear It episodes:Mingus Ah Um: https://youtu.be/XYeRZ0Awui4Thelonious Monk Plays Duke Ellington: https://youtu.be/Z5YJr2iLG74-------------------------------About You'll Hear It:In this popular music series, Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love:https://youllhearit.com/newsletter -------------------------------00:00 - Money Jungle: Ellington, Mingus, Roach01:00 - Can This Record Work?05:06 - "Money Jungle": Mingus is Menacing!09:15 - What Was Really Happening That Day12:17 - Musical Context Leading Up to Money Jungle14:15 - "Fleurette Africaine": Stunning Bass Work17:00 - Must Great Artists Make Great Art? Not Always20:18 - Why Money Jungle Keeps Showing Up on "Greatest" Lists23:45 - "Very Special": Can This Song Win Over Peter?27:07 - One Week Later: Duke Ellington & John Coltrane29:32 - Adam's Hot Take: Duke's Magnificent Final Act36:43 - "A Warm Valley": That Piano Sound!39:35 - "Wig Wise": Sounding Like Monk. Can You Hear It?42:59 - We Don't Talk About This Enough In Jazz45:27 - "Caravan": Best Moment on Money Jungle48:18 - Or Is THIS the Best Moment on Money Jungle?52:25 - Want to Learn to Play Like Duke? Join Open Studio!55:55 - "Solitude": A Musical F-You to End the Album1:02:42 - Is This a "Emperor Has No Clothes" Situation?1:03:40 - Desert Island Tracks + Bespoke Playlists01:05:40 - Quibble Bits ... Do We Even Need to Ask?01:08:48 - How Snobby Is This Album?01:10:35 - What to Listen to Next01:11:18 - Have We Ever Disagreed This Much? Wrap-Up

Ornette Coleman's The Shape of Jazz to Come (1959) may be the most controversial album in jazz history, and one of the most important.In 1959, a broke musician from Fort Worth, Texas arrived in New York City with a plastic saxophone and a band that didn't play by the rules. And EVERYONE had an opinion about it.Jazz legends hated it. Miles Davis said Ornette was "all screwed up inside." Max Roach punched him in the mouth. Dizzy Gillespie said Ornette's music wasn't even jazz. Meanwhile, Leonard Berstein and John Coltrane celebrated him.So what exactly is The Shape of Jazz to Come, and why was it so radical? Jazz pianists Peter Martin and Adam Maness break down every track, from "Lonely Woman" to "Chronology". They dig into harmolodics, free jazz, and how Ornette shaped everyone from Miles Davis (who eventually came around) to the '80s burnout crew, including Wynton Marsalis, who personally recommended this record to Peter.Dig into The Shape of Jazz to Come with us, and learn why this soft spoken saxophonist inspired both criticism and awe.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/yhi-------------------------------Related You'll Hear It episodes:Mingus Ah Um: https://youtu.be/XYeRZ0Awui4Giant Steps: https://youtu.be/8umC2yZlPHcKind of Blue: https://youtu.be/ShzSnjP8bSgTime Out: https://youtu.be/-_qPhFSJeQUNina Simone at Town Hall: https://youtu.be/2PDjN5_2y5Q-------------------------------About You'll Hear It:In this popular music series Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love:https://youllhearit.com/newsletter-------------------------------0:00:00 - Ornette Coleman's The Shape of Jazz to Come0:01:42 - 1959: A Pivotal Year0:03:06 - Ornette Coleman: The Backstory0:04:44 - Ornette's Earlier Sound0:06:18 - Lore of the Five Spot0:07:00 - "Lonely Woman"0:12:27 - Harmolodics Explained (Charlie Haden + Don Cherry)0:13:27 - "Eventually"0:14:42 - The '80s Jazz Connection (Wynton, Branford, Kirkland)0:17:21 - "Peace"0:23:50 - Ad: Open Studio0:24:57 - Mingus Said THIS About Coleman0:27:47 - "Focus on Sanity"0:29:40 - When Peter Played with Charlie Haden0:32:43 - Don Cherry's Kids: Neneh Cherry + Eagle-Eye Cherry0:34:22 - "Congeniality"0:36:28 - "Chronology"0:37:23 - Technical Technique vs. Artistic Vision0:42:13 - Categories: Desert Island Tracks, Apex Moments0:48:55 - You'll Read It Newsletter + Ambies

On this episode of Big Blend Radio, we're joined by Chris P. James, front man of the legendary The Burrito Brothers, to dive into the band's bold new album, The Magic Time Machine of Love. Rather than leaning on nostalgia, the Burritos are bending time—fusing recordings spanning 1983–2024 into a genre-blurring journey where jazz motifs inspired by Charles Mingus collide with cosmic country, prog-psych textures, and honky-tonk grit polished for the future. Chris P. James shares insights into the creative process behind the 12-track release, including: - The album's “time machine” concept - Innovative recording approaches inspired by The Beatles - Reimagining classics from artists like Procol Harum and Quicksilver Messenger Service - Honoring the legacy of country-rock pioneer Gram Parsons - Blending vintage Burritos spirit with modern sonic innovation The album also features remarkable moments, including archival contributions from original Flying Burrito members Jon Corneal and Ian Dunlop, a fiery guest turn from former Burrito Brothers guitarist Bob Hatter, and even two tracks featuring Gram Parsons' vocals brought forward through groundbreaking AI technology. Formed in Los Angeles in 1968 as the The Flying Burrito Brothers, the Burritos helped pioneer country-rock with landmark albums like The Gilded Palace of Sin. Today's Nashville-based lineup—Chris P. James, Steve Allen, Tony Paoletta, and Peter Young—continues that legacy while fearlessly pushing forward. Learn more: https://www.theburritobrothers.net/ 

(00:00:00) Warren Zevon - Preludes / 2007 (00:32:14) Various Artists - Tokyo Flashback / 1991 (10:00:36) Charles Mingus - The Black Saint and the Sinner Lady / 1963

Andri Snær Magnason er nýkominn til landsins eftir að hafa fylgt eftir heimildarmyndinni Time and Water, sem gerð er upp úr bók hans Um tímann og vatnið. Myndin hefur verið sýnd til dæmis á Sundance kvikmyndahátíðinni og vakti mikla athygli. Við fengum Andra til að segja okkur frá myndinni og hvernig hún kom til og hver væri munurinn á henni og bókinni. Svo tókum við aðeins með honum stöðuna í loftslagsmálum, því það er auðvitað það sem Andri skrifaði um í bókinni, sem kom út árið 2019, þar sem hann notaði sögur af forfeðrum sínum og ættingjum til þess að fjalla um loftslagsvísindin og þær breytingar sem eru að verða sem hafa áhrif á allt líf á jörðinni. Við ræddum hvernig umræðan hefur breyst undanfarnið, til dæmis þegar Bandaríkjastjórn hefur afturkallað ákvaraðnir um hættu vegna gróðurhúsalofttegunda. Lesandi vikunnar í Mannlega þættinum í þetta sinn var svo Gunnar Lárus Hjálmarsson, betur þekktur sem Dr. Gunni. Við fengum hann til að segja okkur frá því hvaða bækur hann hefur verið að lesa undanfarið og hvaða bækur og höfundar hafa haft mest áhrif á hann í gegnum tíðina. Gunnar talaði um eftirfarandi bækur og höfunda: Einn, tveir þrír, fjór... Bítlarnir í tímanna rás e. Craig Brown (Þýð. Helgi Ingólfsson) Tune in e. Mark Lewisohn Ævisögur Charles Mingus, Thelonious Monk og Chet Baker Bækur Braga Ólafssonar, Braga Páls Sigurðsson og Ólaf Gunnarsson Kokkáll e. Dóra DNA Bjarmalönd e. Val Gunnarsson Reyndu aftur, ævisaga Magnúsar Eiríkssonar e. Tómas Hermannsson Boy on Fire um Nick Cave e. Matt Mordue The Big Midwwk, Life inside the Fall e. Steve Hanley Tónlist í þættinum í dag: Frost / Pálmi Gunnarsson og Ragnheiður Gröndal (Pálmi Gunnarsson, Ragnheiður Gröndal, Stefán Örn Gunnlaugsson) Frostrósir / Haukur Morthens (Freymóður Jóhannsson) UMSJÓN: GUÐRÚN GUNNARSDÓTTIR OG GUNNAR HANSSON

El segundo disco del sexteto del contrabajista alavés Iosu Izaguirre se titula 'Ilusio' y contiene sus composiciones 'Presaren preso', 'Nostalgia in Kutxa square', 'Lau nota memorian', Isiltasun ituna', 'El logro del ogro' o 'Son mantxo'. Del primero, 'Mingus mood', publicado en 2023 e influenciado por uno de los músicos que más le ha marcado, el también contrabajista Charles Mingus, escuchamos 'Mingus moods', 'Piscola' y 'Landalan'. En el sexteto, con Izaguirre, el trompetista Rubén Salvador, el saxofonista alto Pablo Ramos, el trombonista Asier Iturbe, el pianista Koldo Uriarte y el baterista Aitor Bravo. Escuchar audio

Students of classical music know that Johann Sebastian Bach was one of the most important and influential composers of all time…his use of instruments, four-part harmonies, and use of innovative structures in his material were all brilliant… When he was alive, he commanded plenty of respect…but after he died in March 1685, he was almost forgotten…the only reason we talk about him today is that there was a Bach revival in the 19th century…he became a retro hero in the world of classical music… No one knew anything about Robert Johnson when he was alive other than some myths and legends among hardcore fans of Delta Blues…but when his records were reissued in 1961, 23 years after he died, did his reputation explode… Charles Mingus was revered by fellow jazz artists…it was only after he passed away in 1979 that his influence on jazz was celebrated… We can also talk about posthumous praise for Nick Drake, Jeff Buckley, and Elliott Smith…and although Tupac and Biggie were big stars when they were shot, they became even bigger stars in death… I'm going to add another name to this list: Ian Curtis and Joy Division…when Ian took his own life in May 1980, he and the band were so skint that he had to give his dog away because he and his wife couldn't afford to feed him… Today, though, Ian and Joy Division are acknowledged as one of the most important and most influential post-punk bands ever…why?...what was the big deal about Joy Division? And why do they continue to be a big deal?...let's examine this. Learn more about your ad choices. Visit megaphone.fm/adchoices

Singer-songwriter and guitarist Becca Stevens joins Pablo Held to talk about her new album “Maple To Paper” and the compositional process behind the title track. Other topics include learning standards, the power of lyrics and their inner rhythm, balancing creativity and parenting, and studying songs like “The Rainbow Connection,” Ornette Coleman's “What Reason Could I Give,” and Charles Mingus' “Portrait”.

1959 is music's best year ever according to Tim Rogers. He journeys through the year from Charles Mingus to The Isley Brothers and shares what he loves about watching music.

Jazz, in particular, has played a central role in this lineage. From John Coltrane's “Alabama,” to Max Roach and Abbey Lincoln's We Insist! Freedom Now Suite, from Nina Simone's “Mississippi Goddamn” to Charles Mingus' “Fables of Faubus,” jazz has always spoken truth to power. That tradition continues today, ascontemporary jazz musicians compose artistic eulogies for Oscar Grant III, Trayvon Martin, Tamir Rice, Sandra Bland, and George Floyd; celebrate the nation's first Black president; and reaffirm that “Black Is Beautiful,” more than 60 years after the phrase became a unifying call within the Black PowerMovement. Jazz also chronicled the life and journey of Dr. King in real time, beginning with his emergence as a young preacher and activist in the early 1950s, and has continued to honor his legacy in the decades since his life was cut short. On thisspecial episode of Milestones, we explore the role jazz played inadvancing King's philosophy and celebrating his extraordinary impact as one of the most consequential leaders in American history with NEA Jazz Master and four-time GRAMMY-winning artist and educator Terri Lyne Carrington, GRAMMY-winning bassist and vocalist Ben Williams, and GRAMMY-nominated pianist and curator Orrin Evans. Together, with host Angélika Beener, they reflect on pieces like Herbie Hancock's 1969 “I Have a Dream,” and more, examining their cultural impact and role in the musical evolution of jazz. Hip-hop historians T.L. Cross and WBGO's own Stevan Smith also join the conversation,shedding new light on “King Holiday,” the 1986 hip-hop and R&B anthem that united an ensemble of rising stars—from New Edition and Run-DMC to Whitney Houston and Stephanie Mills. With the late Dexter Scott King at the helm, Kurtis Blow was tasked with assembling a collective to create an anthem for thenext generation – one that would honor Dr. King's legacy and serve as the soundtrack for the inaugural MLK holiday celebration, 40 years ago. The iconic scholar, author, global thought leader and visionary Dr. Angela Davis joins as a very special guest, offering remarkable insights on this milestone anniversary.  

durée : 01:03:19 - Club Jazzafip - De Thelonious Monk à Yusef Lateef en passant par Charles Mingus ou Roland Kirk, le club met en lumière les artistes qui ont plusieurs cordes à leur arc musical. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2020 conversation with Elvis Costello. ABOUT ELVIS COSTELLOReleased between 1977 and 1979, Elvis Costello's first three albums—My Aim is True, This Year's Model, and Armed Forces—were all included in Rolling Stone magazine's list of the 500 Greatest Albums of All Time. That early period of his recording career yielded now-classic singles such as “Alison,” “Watching the Detectives,” “Pump it Up,” “Radio Radio,” “Oliver's Army,” “Accidents Will Happen,” and others.Though he established his career as a rock artist and reached commercial heights in the US with the pop hit “Everyday I Write the Book,” Costello's more than thirty studio albums cover a breathtaking range of stylistic ground, from Almost Blue, his early 1980s album of country covers, to The Juliet Letters, his 1993 collaboration with The Brodsky Quartet, to North, an album of ballads partially inspired by his wife Diana Krall that topped Billboard's Jazz chart in 2003, to Il Sogno, his first full-length orchestral work, which was performed by the London Symphony Orchestra, and topped Billboard's classical chart in 2004, to Wise Up Ghost, a 2013 collaboration with Questlove and The Roots. In between, he's continued to release albums both solo and with his bands The Attractions, The Imposters, and The Sugarcanes. Always an adventurous collaborator, Costello entered into a fruitful songwriting partnership with Paul McCartney that yielded more than a dozen songs, including Costello's Top 10 single “Veronica” and McCartney's “My Brave Face.” He went on to release entire collaborative albums with Richard Harvey, Burt Bacharach, Allen Toussaint, and others. He has written lyrics for compositions by Charles Mingus, Billy Strayhorn and Oscar Peterson, as well as musical settings for lyrics by Johnny Cash and Bob Dylan. His songs have been covered by a range of artists including George Jones, Chet Baker, Dusty Springfield, and Solomon Burke. Costello has been nominated for fourteen Grammy awards, two of which he won, as well as an Academy Award for co-writing “The Scarlet Tide” with T-Bone Burnett for the film Cold Mountain. He has received two Ivor Novello awards for Songwriting, the Americana Music Association's Lifetime Achievement in Songwriting award, and the ASCAP Founder's Award, which was presented by Burt Bacharach. He was inducted into both the Songwriters Hall of Fame and the Rock & Roll Hall of Fame, and was named one of the 100 Greatest Songwriters of All Time by Rolling Stone magazine. His genre-stretching new album, Hey Clockface, was recorded in Helsinki and Paris, and was released on October 30.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

1959 gave us Kind of Blue, Time Out ... and Mingus Ah Um. Adam and Peter dig into Charles Mingus's most adventurous, soulful record: gospel, bebop, and pure Mingus genius. You've never heard it quite like this.Charles Mingus was one of jazz's greatest bass players AND composers. Listen with us as we break down the genius in every track of his best-selling record, and share stories of the brilliant, chaotic, occasionally volatile man behind Mingus Ah Um. Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://osjazz.link/yhi    00:00 — Opening Jam: "Better Git It In Your Soul"01:40 — What's happening at Open Studio3:15 — 1959: What a Great Year!5:40 — Early Mingus10:40 — "All the Things You Can C#" from Mingus at the Bohemia11:40 — "A Foggy Day" from Pithecanthropus Erectus16:15 — "Better Get Hit In Your Soul"23:35 — This One is For the Nerds27:50 — "Goodbye Pork Pie Hat" 34:36 — "Boogie Stop Shuffle"38:30 — "Self-Portrait in Three Colors"40:30 — The Duke Ellington Influence45:10 — "Open Letter to Duke" 48:05 — "Bird Calls"49:00 — "Fables of Faubus"56:40 - "Pussy Cat Dues"58:15 — "Jelly Roll"1:00:15 — Categories1:10:50 — GALA

Participants: John Steppling, John Bower, Hiroyuki Hamada, and Dennis Riches. Topics covered: Operation Midway Blitz in Chicago, the purpose of public assassinations, Walter Benjamin's essay “Capitalism as Religion,” America's Venezuela problem, “The Seventh Seal” and other films about returning soldiers, TV series “The Devil in Disguise”. See Aesthetic Resistance on Substack for the links related to this episode. Music track: “Goodbye Pork Pie Hat” by Charles Mingus (public domain).

Tierney Sutton is a superb 9x Grammy nominated jazz singer. Since 1993 she has fronted The Tierney Sutton Band. Clint Eastwood has called her “my favorite singer” and he hired her to score his film “Sully” in which she sang the ending song “Flying Home”. She has released 16 albums as leader, addressing themes like materialism and the pursuit of happiness. When she's not performing she is in demand as a producer and a vocal coach.My featured song is my reimagined version of Joni Mitchell's version of Charles Mingus's “The Dry Cleaner From Des Moines” from the album Miles Behind. 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 TIERNEY:www.tierneysutton.com—----------------------------------------ROBERT'S NEW SINGLE:“MI CACHIMBER” is Robert's new single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhornCLICK HERE FOR YOUTUBE LINKCLICK HERE FOR ALL LINKS—--------------------------------------ROBERT'S RECENT SINGLE:“SUNDAY SLIDE” is Robert's recent single. It's been called “A fun, upbeat, you-gotta-move song”. Featuring 3 World Class guest artists: Laurence Juber on guitar (Wings with Paul McCartney), Paul Hanson on bassoon (Bela Fleck), and Eamon McLoughlin on violin (Grand Ole Opry band).CLICK HERE FOR ALL LINKSCLICK HERE FOR THE OFFICIAL VIDEO—-------------------------------------------ROBERT'S LATEST ALBUM:“WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”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  

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The legendary composer, arranger, musician and penny whistle player, David Amram, will be in conversation with Academy Award documentary filmmaker Barbara Kopple at the Woodstock Film Festival on Sunday, 10/19 12 noon. The venue is the Kleinert/James Art Center, 34 Tinker St, Woodstock. David Amram started his professional life in music as a French Hornist in the National Symphony Orchestra (Washington, D.C.) in 1951. After serving in the US Army from 1952-54, he moved to New York City in 1955 and played French horn in the legendary jazz bands of Charles Mingus, Dizzy Gillespie, Lionel Hampton and Oscar Pettiford. In 1957, he created and performed in the first ever Jazz/Poetry readings in New York City with novelist Jack Kerouac, a close friend with whom Amram collaborated artistically for over 12 years. Since the early 1950s, he has traveled the world extensively, working as a musician and a conductor in over thirty-five countries including Cuba, Kenya, Egypt, Pakistan, Israel, Latvia and China. He also regularly crisscrosses the United States and Canada.He composed the scores for many films including Pull My Daisy (1959), Splendor In The Grass (1960) and The Manchurian Candidate (1962). He composed the scores for Joseph Papp's Shakespeare In The Park from 1956-1967 and premiered his comic opera 12th Night with Papp's libretto in 1968. He also wrote a second opera, The Final Ingredient, An Opera of the Holocaust, for ABC Television in 1965. From 1964-66, Amram was the Composer and Music Director for the Lincoln Center Theatre and wrote the scores for Arthur Miller´s plays After The Fall (1964) and Incident at Vichy (1966). Appointed by Leonard Bernstein as the first Composer In Residence for the New York Philharmonic in 1966, he is now one of the most performed and influential composers of our time. For tickets & details: https://woodstockfilmfestival.org/2025-all-events?eventId=68c4216f81b8e06c5bb8c1fc

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s. Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Episode 182 - All Night Long (1962) "Me? Oh, I belong to that new minority group: white American jazz musicians. They're going to hold a mass meeting in a phone booth." Get ready to step into the coolest party of 1962. Basil Dearden's All Night Long is a cinematic powder keg, a film that brilliantly transplants Shakespeare's classic tragedy Othello into the vibrant, smoke-filled world of the London jazz scene, and it does so with an electrifying pulse that never lets up. This isn't just a drama; it's a front-row seat to a once-in-a-lifetime jam session, featuring knockout performances from real-life jazz giants like Dave Brubeck, Charles Mingus, and Johnny Dankworth. The result is a stunningly stylish and suspenseful ride that swings to its own dynamic rhythm. The story unfolds over the course of a single, spectacular evening. Wealthy music enthusiast Rod Hamilton (a wonderfully suave Richard Attenborough) is hosting an anniversary party for the golden couple of the jazz world: the supremely talented bandleader and pianist Aurelius Rex (Paul Harris) and his beautiful wife, Delia Lane (Marti Stevens), a celebrated singer who has happily retired from the stage for a life with her husband. The setting is a chic, converted warehouse on the Thames, buzzing with the energy of musicians, friends, and the infectious sound of bebop. The champagne is flowing, the music is hot, and love is in the air. For Rex and Delia, it's a perfect celebration of their first year together. But lurking in the shadows of this joyous occasion is the ambitious and conniving drummer, Johnny Cousin (a riveting Patrick McGoohan). Johnny has big plans to launch his own band, but his financial backing hinges on one crucial element: persuading Delia to be his lead singer. When Delia, devoted to Rex and her new life, politely turns him down, Johnny's ambition curdles into a venomous plot. If he can't get her to join him, he'll destroy the very foundation of her happiness. With a wicked grin and a drummer's sense of timing, he sets out to poison Rex's mind, spinning a devious web of lies to convince the bandleader that Delia is having an affair with their trusted friend and saxophonist, Cass Michaels (Keith Michell). What follows is a masterclass in tension, made all the more thrilling by the incredible musical backdrop. As the party roars on, with Mingus plucking his bass and Brubeck commanding the piano, Johnny moves through the crowd like a phantom, orchestrating his symphony of destruction. He slyly gets Cass to smoke a "drugged" cigarette, loosens his tongue, and then, in a stroke of cunning genius, uses a reel-to-reel tape recorder to capture and manipulate conversations. He masterfully edits the tape to create a false, damning narrative of Delia and Cass's "love affair." McGoohan is absolutely electric as the scheming Johnny, his intense eyes darting around the room, always a step ahead, turning a joyous celebration into his personal playground of chaos. The music acts as the film's heartbeat, with each sensational performance escalating the drama until it reaches a fever pitch. When Rex finally hears the doctored tape, his love and trust shatter, leading to a raw and explosive confrontation that silences the entire party. But just when it seems tragedy is inevitable, Johnny's web of deceit is heroically untangled by his own long-suffering wife. The truth comes crashing down, and Johnny's grand ambitions are left in ashes. In a powerful final scene, he is left alone, frantically beating his drums in a furious, solitary solo. The party is over, but for Rex and Delia, there's a glimmer of hope as they walk out into the dawn, their bond tested but ultimately not broken, ready to pick up the pieces. All Night Long is a triumph—a sharp, exhilarating fusion of high drama and spectacular music that remains an absolute knockout. This and previous episodes can be found everywhere you download your podcasts   Bonus content available at: patreon.com/ReelBritanniaPodcast   Follow us on Twitter @rbritanniapod    Thanks for listening Scott and Steven    

Comenzaremos la primera parte del programa hablando del compromiso de Donald Trump con Javier Milei, ofreciéndole ayuda para rectificar la situación económica en Argentina sin recurrir a un rescate financiero; y de la caída de la exportación de soja de Estados Unidos a China por las tensiones comerciales. Hablaremos también de un exhaustivo estudio biológico de una mujer que vivió hasta los 117 años; y por último, de una diputada mexicana y su plan de llevar el café veracruzano a Marte.    Para la segunda parte del programa les tenemos más acontecimientos relacionados con América Latina. En nuestro diálogo gramatical seguiremos ilustrando ejemplos de Uses of the Preposition Por. En este segmento hablaremos del idioma guaraní, todavía tan presente en varios países de Latinoamérica. Cerraremos la emisión explorando el uso de la frase Ser un tiro al piso, mientras analizamos la fusión que hizo Charles Mingus entre el jazz y la cumbia colombiana. - Trump promete ayuda económica a Argentina - Guerra comercial entre Estados Unidos y China abre oportunidad para la soja sudamericana - El primer estudio biológico integral de una persona supercentenaria - Diputada mexicana quiere llevar café a Marte - Las particularidades del guaraní - Cumbia colombiana y jazz, una fusión muy particular

Receiving B.S. and M.S. degrees from The Julliard School of Music, David Taylor started his playing career as a member of Leopold Stowkowski's American Symphony Orchestra, and with appearances with the New York Philharmonic under Pierre Boulez. Simultaneously, he was a member of the Thad Jones Mel Lewis jazz band, and recorded with groups ranging from Duke Ellington to The Rolling Stones. He has also recorded numerous solo CDs on the following labels: Koch, New World, ENJA, DMP, Tzadik, CIMP, PAU, and TLB. Mr. Taylor performs recitals and concerti around the world: from Lincoln Center in NY to the Musikverein in Vienna and Suntory Hall in Japan. In addition to his own compositions, he has been involved in well over a hundred commissioning projects for solo bass trombone collaborating with composers including Alan Hovhaness, Charles Wuorinen, George Perle, Frederic Rzewski, Lucia Dlugoszchewski, Eric Ewazen, Dave Liebman, and Daniel Schnyder. He has appeared and recorded chamber music with Yo Yo Ma, Itzhak Perlman, and Wynton Marsalis and performs with the Lincoln Center Chamber Music Society, the Mostly Mozart Festival Orchestra, Orpheus, and the St. Luke's Chamber Orchestra. Throughout his career, Taylor has appeared and recorded with major jazz and popular artists including Barbara Streisand, Miles Davis, Quincy Jones, Frank Sinatra, and Aretha Franklin. Mr. Taylor has won the National Academy of Recording Arts and Sciences Most Valuable Player Award for five consecutive years, and has been awarded the NARAS Most Valuable Player Virtuoso Award, an honor accorded no other bass trombonist. He has also won The International Trombone Association's Award “in recognition of his distinguished career and in acknowledgement of his impact on the world of trombone performance. He has been a member of the bands of Gil Evans, Thad Jones-Mel Lewis, Jaco Pastorius, Charles Mingus, JJ Johnson, Joe Henderson, George Russell, Michele Camilo, Bob Mintzer, Dave Matthews, Dave Grusin, Randy Brecker, and the Words Within Music Trio (Daniel Schnyder, David Taylor, Kenny Drew Jr., The Art of the Duo (with D Schnyder) and B3+. He has performed on numerous GRAMMY Award winning recordings. David Taylor is also on the faculties of the Manhattan School of Music, Mannes College, and NYU. He plays Edwards bass trombones and Griego/Taylor mouthpieces exclusively. https://www.davetaylor.net/

This week, Joe features Bassist and Composer, Charles Mingus, from his recording in 1977 and released in 1988 on Who's Who In Jazz/Jazz Workshop recording, titled “ Charles Mingus: His Final Work.”

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 

In this episode of Prisoners of Rock and Roll, we're looking at the clash between music and The Man diving into times when the FBI investigated musicians. In 1956, J. Edgar Hoover's FBI created a covert and legally questionable program called COINTELPRO with the goal of disrupting groups that the Feds considered to be subversive – communists, black nationalists, feminists, anti Vietnam protestors, civil rights activists.  Considering the role that music played in the 60s and 70s, it was only a matter of time before the FBI started investigating rock and roll. Some of the stories are silly. Picture this, it's 1963 and a bunch of FBI agents are hunched over a record player listening to Louie Louie over and over – forwards and backwards – desperately searching for dirty lyrics that didn't exist.  And others are more serious. In 1972, the FBI put John Lenon under surveillance and wiretapped his phone because President Nixon was afraid that his stance on the Vietnam War would influence young voters. The government started proceedings to deport him.  Over the decades, the FBI has investigated or kept tabs on all sorts of musicians. Jimi Hendrix and Jim Morrison; folk singers Pete Seeger and Woodie Guthrie; Aretha Franklin, the Monkees, NWA, Charles Mingus, the Insane Clown Posse, and more. There's a lot of ground to cover in this one, but we're up for the challenge. Let's hit it. Episode Playlist Check out our episode playlist ⁠⁠⁠⁠here⁠⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠⁠online⁠⁠⁠⁠, on⁠⁠⁠⁠ Facebook⁠⁠⁠⁠, ⁠⁠⁠⁠Twitter⁠⁠⁠⁠, or ⁠⁠⁠⁠YouTube.⁠⁠⁠⁠ or drops us an email at ⁠⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠⁠McCusker's Tavern⁠⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠⁠Pantheon Media⁠⁠⁠⁠. We're sponsored by⁠⁠⁠⁠ Boldfoot Socks⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Prisoners of Rock and Roll, we're looking at the clash between music and The Man diving into times when the FBI investigated musicians. In 1956, J. Edgar Hoover's FBI created a covert and legally questionable program called COINTELPRO with the goal of disrupting groups that the Feds considered to be subversive – communists, black nationalists, feminists, anti Vietnam protestors, civil rights activists.  Considering the role that music played in the 60s and 70s, it was only a matter of time before the FBI started investigating rock and roll. Some of the stories are silly. Picture this, it's 1963 and a bunch of FBI agents are hunched over a record player listening to Louie Louie over and over – forwards and backwards – desperately searching for dirty lyrics that didn't exist.  And others are more serious. In 1972, the FBI put John Lenon under surveillance and wiretapped his phone because President Nixon was afraid that his stance on the Vietnam War would influence young voters. The government started proceedings to deport him.  Over the decades, the FBI has investigated or kept tabs on all sorts of musicians. Jimi Hendrix and Jim Morrison; folk singers Pete Seeger and Woodie Guthrie; Aretha Franklin, the Monkees, NWA, Charles Mingus, the Insane Clown Posse, and more. There's a lot of ground to cover in this one, but we're up for the challenge. Let's hit it. Episode Playlist Check out our episode playlist ⁠⁠⁠here⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠online⁠⁠⁠, on⁠⁠⁠ Facebook⁠⁠⁠, ⁠⁠⁠Twitter⁠⁠⁠, or ⁠⁠⁠YouTube.⁠⁠⁠ or drops us an email at ⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠McCusker's Tavern⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠Pantheon Media⁠⁠⁠. We're sponsored by⁠⁠⁠ Boldfoot Socks⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Zev Feldman, a.k.a. the “Jazz Detective,” has turned his crate-digging passion into a career: He tracks down previously unreleased recordings and jumps through the necessary hoops to get them released, often in lavish packages for his label, Resonance Records. This past Record Store Day featured such Feldman finds as live albums from Bill Evans, Freddie Hubbard, Kenny Dorham and Charles Mingus plus a limited-edition double album of previously unreleased Patsy Cline performances, Imagine That: The Lost Recordings (1954-1963). Feldman also co-produced last year's incendiary Blue Note release from McToy Tyner and Joe Henderson, Forces of Nature: Live at Slugs. In this expansive conversation, Feldman tells his Jazz Detective origin story and describes how he finds these recordings (or vice versa), he gets specific about the importance of Record Store Day and these projects' tight margins, and he reveals his white whales. (Photo by Jean-Louis Atlan.)

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

THIS WEEK's BIRDS:Persian piano improvisation from Morteza Mahjoubi; Angelica Sanchez & Marilyn Crispell (piano duo); piano trio: Landaeus - de Heney - Osgood; Eric Dolphy goes solo;  Charles Mingus & group in Argentina; new music from cellist  Violeta García w.  Camilo Ángeles; Balinese pianist U Yee Nwe; new work from Jon Irabagon; Carnatic vocal work from Roopa Mahadevan; Tulipa Negra & Afrika Star (from Cabo Verde); salsa from Brooklyn Sounds; vintage Congolese rumba from l'Orchestra Bella Bella; and (as always) so much, much more. Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/20598357/Conference-of-the-Birds and via the Conference of the Birds page at www.WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks Find WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR

Jake and Phil discuss Teilhard de Chardin's 1946 Some Reflections on the Spiritual Repercussions of the Atom Bomb and Charles Mingus' "Oh Lord Don't Let Them Drop That Atomic Bomb on Me," off of his 1962 album Oh Yeah. The Manifesto: Teilhard de Chardin - "Some Reflections on the Spiritual Repercussions of the Atom Bomb" https://www.religion-online.org/book-chapter/chapter-8-some-reflections-on-the-spiritual-repercussions-of-the-atom-bomb/ The Art: Charles Mingus - "Oh Lord Don't Let Them Drop That Atomic Bomb on Me" https://www.youtube.com/watch?v=eaeVLd4G1Zg

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

In this episode of Prisoners of Rock and Roll, we're diving into the shadows of the stage—the bass players, the four-string rebels who hold down the low end.. These aren't just rhythm keepers; they're the heartbeat of rock, the growl in the groove. We've put together a list of some of the most iconic bass players in music history. James Jamerson, the legendary Motown musician who played the slinky groove for What's Going On while laying drunk on the studio floor.  Bootsy Collins and his cosmic funk. Lemmy eating lightning and crapping thunder as the bassist for Motorhead. The psychedelic jams of Phil Lesh, the jazz fire of Charles Mingus, and Les Claypool's…whatever it is that he does. Paul McCartney, The Ox, John Paul Jones, Donald Duck Dunn, and Carol Kaye.  They're musicians who broke out of the background, proving the bass isn't just support—it's the pulse of the music. So turn it up, feel the rumble, and let's give these low-end legends the stage they deserve. Episode Playlist Check out our episode playlist ⁠⁠here⁠⁠. Get In Touch Check us out ⁠⁠online⁠⁠, on⁠⁠ Facebook⁠⁠, ⁠⁠Twitter⁠⁠, or ⁠⁠YouTube.⁠⁠ or drops us an email at ⁠⁠show@prisonersofrockandroll.com⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠McCusker's Tavern⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠Pantheon Media⁠⁠. We're sponsored by⁠⁠ Boldfoot Socks⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Prisoners of Rock and Roll, we're diving into the shadows of the stage—the bass players, the four-string rebels who hold down the low end.. These aren't just rhythm keepers; they're the heartbeat of rock, the growl in the groove. We've put together a list of some of the most iconic bass players in music history. James Jamerson, the legendary Motown musician who played the slinky groove for What's Going On while laying drunk on the studio floor.  Bootsy Collins and his cosmic funk. Lemmy eating lightning and crapping thunder as the bassist for Motorhead. The psychedelic jams of Phil Lesh, the jazz fire of Charles Mingus, and Les Claypool's…whatever it is that he does. Paul McCartney, The Ox, John Paul Jones, Donald Duck Dunn, and Carol Kaye.  They're musicians who broke out of the background, proving the bass isn't just support—it's the pulse of the music. So turn it up, feel the rumble, and let's give these low-end legends the stage they deserve. Episode Playlist Check out our episode playlist ⁠here⁠. Get In Touch Check us out ⁠online⁠, on⁠ Facebook⁠, ⁠Twitter⁠, or ⁠YouTube.⁠ or drops us an email at ⁠show@prisonersofrockandroll.com⁠. Or if you're in Philadelphia, come visit our home base at ⁠McCusker's Tavern⁠. Prisoners of Rock and Roll is part of ⁠Pantheon Media⁠. We're sponsored by⁠ Boldfoot Socks⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Went back to the "Jazz 45s" box and pulled a few things out that I hadn't played in awhile. Spring is here and it felt right. A short set of selections, new and old - enjoy! Tracklist: Sam Hankins, Eric Kloss, Nautilus, Quincy Jones, Charles Mingus, Takumi Moriya, Phi-Psonics, Unknown artist, Eddie Harris, Jukka Eskola Trio, Mary Lou Williams

Renowned archivist & record producer Zev Feldman, "The Jazz Detective", returns to discusses the Record Store Day 2025 releases of lost jazz recordings from Freddie Hubbard, Charlie Mingus, Bill Evans, Patsy Cline & more!  Topics Include: Introduction of Zev Feldman, nicknamed "the jazz detective" Status of finding lost jazz recordings - feeling optimistic Live recordings create a "renaissance" for jazz enthusiasts Concern about aging jazz colleagues with undiscovered tapes Feldman works with multiple record labels simultaneously Record companies are selective about which projects to release Concerns about tariffs affecting vinyl manufacturing costs Vinyl jazz releases often operate on slim profit margins Resonance Records uses Canadian pressing plant Le Vinylist Six Record Store Day releases coming from Feldman Patsy Cline "Imagine That" was most difficult release to assemble Patsy Cline release required coordinating multiple rights holders Country Music Hall of Fame involved in Patsy Cline project Feldman's personal connection to record stores and vinyl collecting Freddie Hubbard "On Fire" recorded at Blue Morocco (1967) Bernard Drayton engineered the Blue Morocco recordings Blue Morocco club owned by Sugar Hill Records founders Kenny Dorham recordings from same Blue Morocco venue Dorham's recordings especially rare and significant to Feldman Dorham was also a writer who contributed to DownBeat magazine Charles Mingus in Argentina - recordings from 1977 concerts Second Argentina concert added due to popular demand Mingus recordings made less than year before his ALS diagnosis Wes Montgomery with Wynton Kelly Trio reissue with new mastering Original Montgomery release now selling for $100+ in stores Time machine question - which historic jazz gig to attend Discussion of legendary venue Slugs and its important shows Feldman's collection of music memorabilia and venue posters Bill Evans live in Finland recordings (1964-1969) Feldman's 13th Bill Evans production with the Evans Estate Finland recordings feature three different Evans trio lineups Record Store Day helping introduce Evans to younger audiences Plans for Record Store Day Black Friday releases Value of releasing previously unheard music versus reissues EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Photo by Jean-Louis Atlan Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8