Podcasts about Charles Mingus

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    

Elle pouvait faire swinguer Chopin et chavirer Hollywood ! Pianiste virtuose, figure emblématique du Café Society de New-York dans les années 1940, Hazel Scott avait tout pour réussir. Elle fut même la première femme afro-américaine à présenter son propre show télé et enregistra avec Charles Mingus et Max Roach. Oui, mais c'était sans compter sur cette Amérique gangrénée par le racisme et le maccarthysme, qui aura raison d'elle et de ses engagements. Hazel Scott, itinéraire d'une pianiste en noir et blanc, dans cette nouvelle enquête de Pour Qui Sonne le Jazz. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

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

'Joni´s Jazz' se titula la caja que celebra el amor de Joni Mitchell por el jazz en 61 grabaciones extraídas de la discografía de la cantante y compositora canadiense. Con músicos como Charles Mingus, Wayne Shorter, Jaco Pastorius, Pat Metheny o Herbie Hancock, 'Hejira', 'A chair in the sky', 'Off night backstreet', 'In France they kiss on main street', 'Twisted', 'Sometimes I´m happy', 'Good bye pork pie hat', 'Not to blame', 'You´re my thrill', 'Summertime', 'Stormy weather', 'At last' y 'Trouble man'. Escuchar audio

Cinquième épisode, et sans doute pas le dernier, consacré au grand clash entre jazz et classique. On termine cette semaine avec l'idée folle de Gunther Schuller : plutôt que de laisser les musiciens de jazz "reprendre" des airs de classique, pourquoi ne pas leur écrire une musique originale qui réunirait le meilleur des deux mondes ? C'est ce que Schuller appela le "Third Stream" ou troisième courant. Et de John Lewis à Miles Davis en passant par Stan Getz, Charles Mingus, Bill Evans et Wynton Marsalis, nombreux sont ceux qui se sont engouffrés dans la brèche ! Et puisque le sujet est si vaste et qu'en cinq épisodes nous n'avons pas pu tout explorer, loin de là, Pour Qui Sonne le Jazz reviendra plus tard pour une deuxième semaine de clash entre jazz et classique !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 01:00:26 - La fièvre - par : Nathalie Piolé -

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 

Sun Ra; Idris Ackamoor; Salah Ragab; Phil Choran; Charles Mingus; Oliver Nelson; Joe Henderson; more

The gifted young Hungarian/American pianist Julia Hamos presents Ellis Island, one of the most impressive solo piano debut releases in recent memory, featuring works by Kurtag, Bartok, Ligeti, Meredith Monk, Charles Mingus and Schubert. Promotional video - https://www.facebook.com/reel/621337480674569Ligeti's Fanfares - https://www.youtube.com/watch?v=tItbf6F-M3ALink to purchase - https://www.prestomusic.com/classical/products/9759948--ellis-island?srsltid=AfmBOorpob-cx3Rc0JrrcaEg1sIz9QHIn6gnHJQ7ssacJ2q_cgF5Irm-

En este episodio de La Montaña Rusa hemos escuchado y comentado los siguientes álbumes:ÁLBUM DESTACADO. Sean Imdoden. A Dreamer's Journey (2024).Bill Frisell. Four (2022).CLÁSICO DE LA SEMANA. Charles Mingus. Mingus in Argentina, The Buenos Aires Concerts (2025).Joshua Redman. Where We Are (2023).JAZZ EN ESPAÑOL. K12. Landscapes We Found (2024).Tord Gustavsen Trio. Seeing (2024).Claudio Scolari Project. Bloom (2025).

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.)

RSD - or Record Store Day for you vinyl virgins- comes but once, er, or twice a year, and while the main focus is who will win the privilege to buy a color-vinyl edition of the Wicked soundtrack, there's a little bit of jazz sprinkled in there, too.  The boys talk about four selections, three recently uncovered live dates on the prolific Resonance Records, and a studio date from German stalwart MPS.  Kenny Dorham  - BLUE BOSSA IN THE BRONX; Charles Mingus – IN ARGENTINA – THE BUENOS AIRES CONCERTS; Freddie Hubbard – ON FIRE: LIVE FROM THE BLUE MOROCCO; Nathan Davis – HAPPY GIRL.

CHARLES MINGUS OCTET “MUSIC WRITTEN FOR MONTEREY, 1965, NOT HEARD… PLAYED IN ITS ENTIRETY AT UCLA – CONCERT “ROYCE HALL”. Los Angeles, CA, September 25, 1965″Meditations on inner peace, Ode to Bird and Dizzy (hd,jo,jw,hj out) The arts of Tatum and Freddie Webster, Twelfth Street rag [Muskrat ramble] Don't be afraid, the clown's afraid tooLonnie Hillyer, Hobart Dotson (tp) Jimmy Owens (tp,flhrn) Julius Watkins (fhr) Howard Johnson (tu) Charles McPherson (as) Charles Mingus (b,p) Dannie Richmond (d) Continue reading Puro Jazz 16 de mayo, 2025 segundo programa especial dedicado a Charles Mingus at PuroJazz.

Jazz88's Peter Solomon spoke with legendary saxophonist Charles McPherson about his formative influences, including Charlie Parker, Barry Harris, and Charles Mingus. McPherson also discusses his contributions to the Soundtrack for the Clint Eastwood Charlie Parker bio-pic "Bird" and his tenure as resident composer of the San Diego Ballet. McPherson is 85 years old and still performing. He is playing at the Dakota on May 22nd.

THE CHARLES MINGUS JAZZ WORKSHOP “PITHECANTHROPUS ERECTUS” New York, January 30, 1956Pithecanthropus erectus [suite]: Evolution – Superiority-complex – Decline – DestructionJackie McLean (as) J.R. Monterose (ts) Mal Waldron (p) Charles Mingus (b) Willie Jones (d) “THE CLOWN” New York, February 13, March 12, 1957Haitian fight song (1), Reincarnation of a lovebird (1)Jimmy Knepper (tb) Shafi Hadi (as-1,ts-2) [aka Curtis Porter (as,ts) ] Wade Legge (p) Charles Mingus (b) Dannie Richmond (d,tamb) “MINGUS AH UM” New York, May 5, 1959Better get it in your soul, Goodbye pork pie hat, Fables of FaubusJimmy Knepper (tb) John Handy (cl-1,as) Shafi Hadi (as-2,ts) Booker Ervin (ts) Horace Parlan (p) Charles Mingus (b,p-3) Dannie Richmond (d) Continue reading Puro Jazz 15 de mayo, 2025 Programa especial dedicado a Charles Mingus at PuroJazz.

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

Enjoy an episode of Mondo Jazz that features old masters, new masters and future masters in an intergenerational playlist. The playlist features John Ellis; Claudio Fasoli; Adam O'Farrill; Anaïs Drago [pictured]; and Charles Mingus. Detailed playlist at https://spinitron.com/RFB/pl/20583581/Mondo-Jazz [from "Linus and the Lyre" to "For Harry Carney"]. Happy listening!

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

durée : 00:59:19 - Ladies First - par : Nathalie Piolé - Où sont les femmes ? Elles sont partout. Dans la soul des années 70, par exemple. Elles s'engagent, demandent du respect, se battent pour leurs droits, dénoncent les injustices. Place aux voix puissantes, dans Banzzaï !

Tonight's Jazz Feature should need no introduction to Jazz people as it is an essential classic and arguably one of bassist/composer Charles Mingus' finest albums. It was done for Columbia Records and it was Mingus' first album for a major label which guaranteed wide distribution and a quality product. It became a best seller for Mingus and Columbia. It was critically acclaimed and literally brought Mingus out of the Jazz underground to the Jazz fore forefront.. It featured Mingus' basic Jazz Workshop quintet augmented by a few Mingus alumni from previous Workshop editions. The regulars were: John Handy on alto and tenor saxophones, Booker Ervin on tenor saxophone, Horace Parlan on piano, Mingus on bass and Dannie Richmond on drums.. The added horns were Shafi Hadi on tenor and alto in an ensemble role, Jimmy Knepper or Willie Dennis on trombone. Mingus had full control of the date and supervised the post production editing and the sequencing of the tunes on the recording. With this album Mingus widened his audience and his musical influence everywhere. Enjoy Mingus Ah Um tonight as our Jazz Feature celebrating Mingus' 103rd Birthday Anniversary tomorrow April 22.

SAMARA JOY “PORTRAIT” Englewood Cliffs, NJ, February, 2024Reincarnation of a lovebird, Autumn nocturne, Now and then (In rememberance of…)Samara Joy (vcl) Jason Charos (tp,flhrn) Donavan Austin (tb) David Mason (as,fl) Kendric McAllister (ts) Connor Rohrer (p) Felix Moseholm (b) Evan Sherman (d) CHARLES MINGUS TRIO WITH HAMPTON HAWES “CHARLES MINGUS THREE” New York, July 9, 1957Back home blues, I can't get started, Hamp's new blues, SummertimeSamara JoyHampton Hawes (p) Charles Mingus (b) Dannie Richmond (d) ARTURO O'FARRILL “MUNDOAGUA : CELEBRATING CARLA BLEY” New York, June 6 & 7, 2022Mundoagua I – Glacial, Blue Palestine – Part two, Dia de los muertos – Mambo cadaverousArturo O'Farrill and the Afro Latin Jazz Orchestra Continue reading Puro Jazz 17 de abril, 2025 at PuroJazz.

Tonight's Jazz Feature is an early version of the Charles Mingus Jazz Workshop recorded on his independent record label: Debut Records. Mingus and drummer Max Roach owned the label during it's short existence (1952 to 1957). Mingus in 1955 had begun a new concept for his bands. No written music. Mingus taught the players from the piano as Mingus was a more than competent pianist. The players memorized the compositions, background riffs and everything without written music and it gave Mingus' bands more what he was aiming for. This band reflects his new concept and hence the name The Charles Mingus Jazz Workshop. This edition was recorded on Sunday evening from 5:50pm to 8:30 pm on December 18,1955 at a small New York club called The Cafe Bohemia.. The band includes George Barrow on tenor saxophone a fine underrated player with a big sound and a cliche-free concept. Eddie Bert, one of the finest trombonists is on the front line. Mal Waldron is on piano, Mingus leads and is on bass and Willie Jones is on drums. The tunes are all arranged by Mingus and with two exceptions the 8 selections are Mingus compositions. This is a fine solid set and is a new beginning for one of the most innovative and creative minds in Jazz music: Charles Mingus.

In this episode of Life Along the Streetcar, we sit down with Arthur Vint, drummer, visionary, and the creative force behind the Century Room, Tucson's very own slice of New York's jazz scene. Nestled inside Hotel Congress with its own discreet entrance off Congress & 5th, the Century Room blends NYC basement-club charm with a warm Sonoran welcome. Arthur shares how his years performing and working at the iconic Village Vanguard inspired the design, sound, and soul of this Downtown gem.

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

 Producing a historical recording requires enormous patience, investigative powers like an investigative journalist. The journey is long, emotional, and exciting when the recordings are discovered, and the final package completed. This is what Zev Feldman does. He is the producer for and co-president of Resonance Records, a record label that releases archival recordings that are previously unissued. The Resonance catalogue includes John Coltrane, Bill Evans, Wes Montgomery, Freddie Hubbard, among many other legendary musicians. In this episode, Zev Feldman and I discuss his insights into his multifaceted career, how he got started in the music industry and his subsequent journey through various roles in sales, marketing, and ultimately producing rare jazz recordings. Feldman works with numerous other labels including Blue Note, Verve Label Group, Elemental Music as well as own his own labels, Jazz Detective and Deep Digs. Feldman spins many stories about his adventures in discovering music long forgotten. It's music that is not just good; it must be GREAT! Curating legacy music requires a sense of understanding about the elements of a dynamic recording, one that exceeds others in the quality of the performance, the importance of a certain date, and the historical aspect of the show or studio recording. Then there is the emotional involvement with the families of these jazz legends, many of whom become close friends, such as it has with the families of jazz guitar legend Wes Montgomery (Zev produced the first archival recording of Wes Montgomery for Resonance) and piano virtuoso Bill Evans as Feldman is just releasing his 13th archival recordings of Bill Evans. Then there is the importance of Record Store Day on April 12. Feldman highlights the significance of this little-known observed day in bringing these projects to life. This episode is rich with music, thanks to Zev Feldman and Resonance Records. There is more than 36 minutes of full tracks of music along with clips of recordings discussed. The playlist includes: Freddie Hubbard-On Fire, “True Colors-Breaking Point Closer” (13:32); Freddie Hubbard-trumpet, Bennie Maupin-tenor saxophone, Kenny Barron-piano, Herbie Lewis-bass, Freddie Waits-drums. Charles Mingus-Mingus in Argentina-The Buenos Aires Concerts, “Duke Ellington's Sound of Love” (9:32), Charles Mingus-bass, Ricky Ford tenor saxophone, Jack Walrath-trumpet, Robert Neloms -piano, and Dannie Richmond-drums. Kenny Dorham-Blue Bossa in the Bronx: Live from the Blue Morocco, “Blue Bossa”, (13:31), Kenny Dorham-trumpet, Sonny Red-alto sax, Cedar Walton-piano, Paul Chambers-bass and Denis Charles-drums. Short music clips: Charles Mingus-"Pork Pie Hat", Freddie Hubbard-"Crisis", Kenny Dorham-Blue Friday, Bill Evans-"Ro(u)nd Midnight". Thank you for listening to this podcast. I know you have many others to listen to, but you chose Strictly Jazz Sounds. When you subscribe you become one of the first to hear new episodes, read articles, see new photos, and learn of my annual “Best of” list. Soon, I will introduce a Patreon opportunity, your way of saying thanks to me for spending the more than 25 hours per episode to bring it to you. Photo by Zak Shelby-Szyszko

As we noted so succinctly way back in 2014:  Some trios play nicer together than others - Pat and Mike investigate.   Duke Ellington – MONEY JUNGLE; Terri Lyne Carrington – MONEY JUNGLE PROVOCATIVE IN BLUE; Jean-Michel Pilc – WELCOME HOME; Herbie Nichols – LOVE, GLOOM, CASH, LOVE.  Tune in next time as the Herbie Nichols connection leads to a brand new episode covering four albums devoted solely to his music.

CHARLES MINGUS “THE CLOWN” New York, February 13, March 12, 1957Haitian fight song (1), Reincarnation of a lovebird (1)Jimmy Knepper (tb) Shafi Hadi (as-1,ts-2) [aka Curtis Porter (as,ts) ] Wade Legge (p) Charles Mingus (b) Dannie Richmond (d,tamb) JOHN PATITUCCI “SONGS, STORIES AND SPIRITUALS” New York, April 9 & 10, 2002It never entered my mind (ls vcl), Love eternal (es,sp duo), Wise one (jp,bb duo)Edward Simon (p) Sachi Patitucci (cello) John Patitucci (b,el-b) Brian Blade (d,perc) Luciana Souza (vcl) MILES DAVIS ORCHESTRA, GIL EVANS (DIR.) “MILES AHEAD (MILES + 19)” New York, May 6, 10, 1957Springsville, The maids of Cadiz, The Duke, Miles ahead, The Meaning of the BluesBernie Glow, Ernie Royal, Louis Mucci, Taft Jordan, John Carisi (tp) Miles Davis (flhrn) Frank Rehak, Jimmy Cleveland, Joe Bennett (tb) Tom Mitchell (b-tb) Willie Ruff, Tony Miranda (fhr) Bill Barber (tu) Romeo Penque (cl,cl,oboe) Sid Cooper (cl,fl) Danny Bank (b-cl) Lee Konitz (as) Paul Chambers (b) Art Taylor (d) Gil Evans (arr,cond) Continue reading Puro Jazz 12 de marzo, 2025 at PuroJazz.

Participants: John Steppling (writer of “Rambo III”), Max Parry, Hiroyuki Hamada, and Dennis Riches. Topics covered: Phase 2 of the American war against Europe, documentary film “No Other Land”, Adorno on “adults acting like the adults they never became,” why our present leaders don't even rise to the level of mediocrity (rhetorical question), celebrity activists who fall silent or fall for dubious causes, politicians as effigies for global financial interests, writing “Rambo III” in 1988. Music track “Goodbye Pork Pie Hat” by Charles Mingus (public domain).

It's May 2024, and after an Onomichi underwater detour, we find ourselves in nighttime Hiroshima, where Mother Teresa and Charles Mingus meet in perfect harmony.

(00:00:00) Warren Zevon - Preludes / 2007 (00:32:15) Various Artists - Tokyo Flashback (PSF Psychedelic Sampler) / 1991 (01:00:36) Charles Mingus - The Black Saint and the Sinner Lady / 1963

Today, the Spotlight shines On author Jonathon Grasse. His new book, Jazz Revolutionary, traces Eric Dolphy's journey from the clubs of 1940s Los Angeles to his groundbreaking work in New York's avant-garde jazz scene.Eric Dolphy's revolutionary voice in jazz was silenced far too soon. He was an artist who pushed the boundaries of what was possible on alto sax, flute, and bass clarinet, collaborating with giants like John Coltrane and Charles Mingus before his tragic death in 1964 at the age of 36. Jonathan's intimate portrait reveals the innovative musician and the gracious human being remembered by those who knew him.Enjoy the show.–Dig DeeperPurchase Jonathon Grasse's Jazz Revolutionary: The Life & Music of Eric Dolphy from Jawbone Press, Bookshop, Powell's, Barnes & Noble, or AmazonBest Eric Dolphy Tracks: 20 Free Jazz EssentialsRichard Brody on How Eric Dolphy Sparked My Love of JazzCharles Mingus and Eric Dolphy - Syncopated JusticeJohn Coltrane and Eric Dolphy Answer the Jazz CriticsJonathon Grasse on Eric Dolphy (The Music Book Podcast)Dig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

This is our Thanksgiving special, with the first set paying tribute to perhaps my favorite holiday. Jimmy Greene and Thelonious Monk provide the musical setting for a Thanksgiving feast. The podcast episode concludes with a modern classical composition depicting a ballroom dance with Madam and Chairman Mao for Nixon's visit from composer John Adams and the San Francisco Symphony. In between, there is new music from Borgo, Z. Curtis and Wilcox as well as a new release from Charles Mingus previously released studio tapes. Playlist   Artist ~ Name ~ Album Jimmy Greene ~ Give Thanks ~ Mission Statement Thelonious Monk ~ Stuffy Turkey ~ It's Monk's Time David Borgo ~ Pilgrimage ~ Persistence Zaccai Curtis ~ Maple Leaf Rag ~ Cubop Lives! Andrew Wilcox ~ Self-Doubt ~ Dear Mr. Hill Charles Mingus ~ Re-incarnation Of A Love Bird (1st Version /Take 4) ~ Reincarnations Edo de Waart & San Francisco Symphony ~ The Chairman Dances (Foxtrot for Orchestra) ~ Adams: The Chairman Dances