Podcast appearances and mentions of charlie mariano

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**It's The Jazz2Go Show Replay On traxfm.org. Jazz2Go Presented Contemporary/Be Bop/Samba/Neo/Soulful Jazz Trax From Real Ax Band, East Coast Standards Time, Charlie Mariano, Jesus Molina, Leon Thomas, Batacumbele, Eddie Palmieri, Nu Tropic, Bah Samba, David Lugo & Latin Jazz Motion, Max Greger JNR & Milan Pilar, Brian Andres & The Afro Cuban Jazz Cartel & More #originalpirates #JazzMusic #jazzfunk #jazzclub #jazzdance #neojazz #sambajazz #bebop Catch Jazz2Go Every Monday From 7PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Es geht weiter mit dem Monat der Legenden! Heute darf ich einen echten Schlagzeugprofessor am Mikrofon begrüßen: Professor Udo Dahmen. Wie es für Legenden üblich ist, bedarf es im Grunde keiner Vorstellung, ich tue es aber trotzdem, weil es einfach so einzigartig ist, was Udo geleistet hat. Udo ist nicht nur einer der erfolgreichsten Drummer Deutschlands und spielte unter anderem mit Kraan, Charlie Mariano, Sting, Sarah Brightman, Nina Hagen um nur einige zu nennen, ist Träger des Verdienstordens des Landes Baden Württemberg, das Gesicht der Popakademie, Gründer und Initiator der Berufsmusikschule in Trossingen und Dinkelsbühl, Dozent für unzählige der bekanntesten Drummer und Drummerinnen Deutschlands, ständiger Radio Gast und vor allem ein ganz, ganz toller Mensch mit visionären Ideen und jemand der definitiv etwas zu sagen hat. Ich kann mich kaum mehr geehrt fühlen als durch dieses Interview. Darum Tee machen, Spekulatius rausholen und lauschen - es lohnt definitiv. Viel Spaß mit dieser Episode des Trommel-Talks. Mehr zu Udo findest du hier: https://de.wikipedia.org/wiki/Udo_Dahmen Erklär mir Pop gibt es hier: https://www.swr.de/~podcast/swrkultur/programm/erklaer-mir-pop-108.xml Wenn du wissen willst, was Second Line Drumming ist, bekommst du hier einen Eindruck: https://youtu.be/SdzweSXO9zg?feature=shared oder: https://youtu.be/sgKwZGX-5ms?feature=shared Ich freu mich tierisch, wenn du auf der Seite von Einfach Schlagzeug mal unter https://einfachschlagzeug.de/ oder bei Instagram vorbeischaust: https://www.instagram.com/krafftfelix/?hl=de Kapitelmarken 0:00:09 - Start 0:03:41 - Am Anfang war der Stick 0:19:01 - Von Dante zur Lehre 0:26:28 - Das ist doch nicht lehrbar 0:35:09 - Ist Kunst Pop und Pop Kunst? 0:40:21 - Kreativität entsteht aus Bekanntem 0:52:03 - Der Musiker als Profi 1:12:35 - Schnellfragerunde

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Am 12. November wäre Charlie Mariano 100 Jahre alt geworden – der US-Amerikaner italienischer Abstammung spielte Alt- und Sopransaxophon, Flöte und die indische Nadaswaram. Angefangen hat er mit Bebop und Cool Jazz, mit etwa 50 Jahren öffnete er seine Musik den Einflüssen indischer Klassik, Rock und Fusion. Die letzten 30 Jahre seines Lebens verbrachte Charlie Mariano in Köln. Niklas Wandt erinnert an diesen vielseitigen Musiker.

Abrimos número semanal de La Montaña Rusa, con el recuerdo al inolvidable batería John Marshall, enorme músico de Jazz Rock, Fusion y Rock Progresivo, que participó en legendarias bandas como Soft Machine y lo pudimos ver al lado de músicos de Jazz como John McLaughlin, Allan Holdsworth, John Surman, Charlie Mariano, John Abercrombie, Arild Andersen o siendo miembro permanente de los Colours de Eberhard Weber. Nos ha dejado recientemente y lo recodaremos escuchando el que probablemente es su último proyecto publicado, este mismo 2023, Other Doors, de los Soft Machine. Seguir leyendo La Montaña Rusa 38.2023. Recuerdo a John Marshall. Art Hirahara. Bill Evans. John Zorn’s Simulacrum. Joaquín Martínez. Matt Greenwood en La Montaña Rusa Radio Jazz.

No views Sep 16, 2023 The Best Music Podcast With Dan Spencer #BenjaminKoppel #saxophone #musiclesson  Listen to the album and find out more at https://benjaminkoppel.com/ Benjamin Koppel, Danish saxophonist and composer, is one of the most award-winning musicians of his generation, known for his versatility and virtuosity. Also a renowned composer, Koppel is the grandson of noted Danish classical composer Herman D. Koppel. His father, Anders Koppel, is a well-known and successful Hammond organ player and a composer…the family is full of music and creativity.  The prizes Benjamin has won so far include the Palæ Bars Jazz Prize, the Jacob Gade Prize, Holstebro Music Prize, and others. He was also named Knight of France, Chevalier des Arts et des Lettres in 2011 for his musical work. Koppel has released more than 60 albums as a jazz soloist along with some of the biggest international jazz names, including Joe Lovano, Kenny Werner, Charlie Mariano, Daniel Humair, Phil Woods, Alex Riel, Larry Goldings, Randy Brecker, Peter Erskine…and many, many others. Koppel has collaborations with a number of high-class classical soloists, including Katrine Gislinge, Michala Petri, Henrik Dam Thomsen, Inger Dam Jensen, and others. His saxophone can be heard on a large number of albums, including Moonjam (the best selling Scandinavian instrumental band with several multiple platinum albums to their credit), Danseorkestret, Rugsted & Kreutzfeldt, Maria Montell, Marie Carmen Koppel, Hanne Boel, Alberte Winding, Sanne Salomonsen and soundtracks for several feature films, documentaries, cartoons and ballets. He has jazz groups and plays classical, pop, R&B, folkloric music and almost anything in between. As a composer, he writes in those genres and is not afraid to take on large scale projects and compose music for theatre, put together two festival programs per year and write a book whenever there is a break. Since 2012 Benjamin has been member of the trio Koppel-Colley-Blade Collective together with bassist Scott Colley and drummer Brian Blade. Their new album “Perspective” is out now wherever you listen to music. Listen to the album and find out more at https://benjaminkoppel.com/

Número 37.2023 que abrimos con lo nuevo de la saxofonista holandesa Tineke Postma, Aria, publicado este 2023. Después descubriremos juntos la música de Sisa Michalidesova, de la que escuchamos el estupendo Majster a Margareta. Nuestro Clásico de la Semana fue el saxofonista Charlie Mariano, al que escuchamos en October, del año 1977. De vuelta a nuestros días, escucharemos el nuevo álbum de los Jazz Sabbath, Vol. 2, que vio la luz en 2022. Seguir leyendo La Montaña Rusa 37.2023. Tineke Postma. Sisa Michalidesova. Charlie Mariano. Jazz Sabbath. Rodrigo Aguirre. Lakecia Benjamin. en La Montaña Rusa Radio Jazz.

Tonight on the program`s Jazz Feature is the music of Charles Mingus. It`s an important album in the Mingus recorded legacy and it was his initial album for the Impulse label. It was called ``The Black Saint and the Sinner Lady`` Mingus considered this one of his finest documents. It is a suite of music played by an 11 piece ensemble with some incredible solos by all involved like alto saxophonist Charlie Mariano and soprano and baritone saxophonist Jerome Richardson and trombonist Quentin Jackson and others. It is an intense that covers the gamut of emotions from anger, despair to hope. Mingus looms large as a pianist, bassist and composer of this work and he was given full control of the music, editing and sequencing. It`s his show and he made the best of it. Tonight`s jazz feature: Mr. Charles Mingus!

**It's The Jazz2Go Show Replay On traxfm.org. Jazz2Go Presented Some Classic & Contemporary Jazz Crackers From Arturo Cipriani, Maynard Ferguison, Ellen Johnson, Joseph Malik, Michael Brecker, Marco Di Marco, Charlie Mariano, Harris Simon, Gustavo Palacios, Skymark, Cuban Jazz Combo, Fred Buccini & More #Jazz #JazzClassics #ContemporaryJazz #JazzGroove #JazzSoul Catch Jazz2Go Every Monday From 7PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Tonight's Jazz feature is the only domestic recording by The Toshiko Mariano Quartet. Toshiko Akiyoshi was one of the first Japanese musicians to gain national acclaim in the USA. Pianist/composer Toshiko Akiyoshi was born in Manchuria on Dec.12,1929 and she is still writing and performing. She emigrated to the Us in 1956 and began recording and gigging. She met and married alto saxophone master Charlie Mariano in 1959 and they decided to form a band in 1960: hence The Toshiko Mariano Quartet. They recorded this classic album in 1960 when they found their ideal rhythm section of bassist Gene Cherico and drummer Eddie Marshall. The album consists of two tunes by Charlie Mariano and an arrangement of an old spiritual ("Deep River") plus two tunes co-composed by Akiyoshi and Mariano. This album is a beauty and is tonights Jazz Feature!

Dés András bécsi ütőhangszeres és zeneszerző, népszerű, nemzetközi hírű zenész. 7 évesen kezdte klasszikus ütőhangszeres tanulmányait. Érdeklődése később a különböző népzenei hangszerek felé fordult, végül a Liszt Ferenc Zeneművészeti Főiskola Jazz szakán szerzett diplomát 2005-ben. Jobb kezével úgy játszik, mint egy dobos és a bal kezével, mint egy ütős. Számos sikeres jazz zenekar tagjaként turnézott a világ minden táján, sok fontos helyszínen játszott, mint a Carnegie Hall, a Covent Garden, az Amsterdam Concertgebouw, a Damaszkuszi Operaház, a Jeruzsálemi Színház, a Kairói Jazz Fesztivál vagy a Sanghaji Világkiállítás. Ütőhangszeresként közel 100 albumon működött közre. Saját albumok: “Unquiet Stillness" 2009, "Tourist No 1" 2014, "The Worst Singer In The World" 2017, "Einschließlich" 2020. Számos film- és színházi zenét is komponált. A jazz mellett egyéb zenei stílusokban is otthonosan mozog. Tagja volt Magyarország egyik legsikeresebb popzenekarának, a Jazz+Az-nak, számos népdalénekesnővel is dolgozott, többek között Palya Beával, Szalóki Ágival és az elektronikus világzenét játszó Mitsoura zenekarral. Jazz-zenészként olyan előadókkal dolgozott együtt, mint Lukács Miklós, Balázs Elemér, Kaltenecker Zsolt, Palle Mikkelborg, Frank London, Charlie Mariano, Theodossii Spassov, Snétberger Ferenc, Jack DeJohnette, Gerard Presencer, Fekete-Kovács Kornél, Eivind Aarset, Mihály Borbély, Eric Truffaz és Chris Potter. Sokat dolgozik édesapjával, a zeneszerző-szaxofonossal, Dés Lászlóval. Nyitottsága a művészet különböző formáira nem korlátozódik a zenére. Írókkal és költőkkel való együttműködése mellett az Unblinking című szóló színházi darab szerzője és előadója is. Folyamatos fellépője a hazai zenei eseményeknek, részt vett többek között a Sziget Fesztiválon, Kapolcson a Művészetek Völgyében, a Balatonboglári Jazz- & Borfesztiválon, a Ceglédi, a Cserfői, az Esztergomi, Debreceni Fesztiválokon és még lehetne sorolni. #zene #zenész #Bécs #DésAndrás http://andrasdes.com/ https://hu-hu.facebook.com/desandras https://www.instagram.com/desandras/ http://elteonline.hu/kultura/2020/02/14/ket-des-paratlan-parosok-beszelgetes-des-laszloval-es-des-andrassal/ Témák, fejezetek: 00:00 Mindjárt kezdünk 1:23 Beköszönés 1:36 Hogy került a család Bécsbe? 4:16 Utazás: Feltöltődés? Munka? 2. Album: Tourist No 1 8:34 Műfajok közötti utazás, kísérletezés, album felvétel erdőben 13:39 Több formáció, zenekar 17:25 Dés László fiaként a pályán 23:19 Népzene, jazz és a zenei pálya 28:40 Népzene, világzene 31:22 Pál utcai fiúk musical 34:14 Aktuális koncertek, fesztiválok, MÜPA, Magyar Zene Háza, Radnóti est 38:36 A sok projekt, hogy fér bele az életedbe? 39:55 Háttérmunkák 42:25 Időmanagement 44:14 Gyerekek és a zene, zeneoktatás 51:49 Koncert élmények, koncertezés 54:50 Különleges pillanatok a Covid után 57:03 Különleges utazással kapcsolatos élmények 1:01:17 Utazás zenészként 1:03:36 A pizza sütő esete 1:07:25 Bécs 20 éve és most & Budapest 1:14:44 Elköszönés Teljes Koncertek: https://youtu.be/sLPAnUUWV40 https://youtu.be/PAAYXQLKzE0 Interjú: Heti Jazz: 1+2 rész: https://youtu.be/__aogU0P_54 https://youtu.be/wDbIuys3qxE Klubrádió: https://youtu.be/zZWK3QjbG7s -------------------------------------------------------------------------

WW.YOUTUBE.COM/REBECCALMAHAN AND REBECCA SOUNDS REVEILLE YOUTUBE CHANNEL & MOST ALL PODCAST APPS What do your words have to do with it? Well, a whole lot! Words are an expression of everything we think, feel, see, and more! They describe all of our senses and yet when they are woven within the very notes of the palette of instruments laid out before us, there is even more that can be said, felt, and heard. The guest in this episode is a master at not only being able to convey through her own music and lyrics an incredible amount of expression, but she is able to inspire others through her extraordinary wisdom and talent through the gift of teaching in her STORYTELLERS WORKSHOP NYC. Guest, Songstress and Producer, Monday Michiru, was born in Tokyo, Japan and raised in coastal U.S. as the daughter of NEA Jazz Master and Japanese National Living Treasure Toshiko Akiyoshi, cult jazz saxophonist Charlie Mariano as well as jazz saxophonist-flutist Lew Tabackin, Monday Michiru, so named to reflect both her Japanese and American-Italian heritages, started music classically on flute studying at the prestigious Interlochen Arts Academy in the U.S. on scholarship, gravitating later to singing, composition and production. In 1987 she debuted in the lead role as an opera singer in the Japanese movie "Hikaru Onna" which garnered her Best New Actress award by the Japan Film Academy. Her subsequent move back to Japan furthered her career in acting, as well as hosting her own radio programs, modeling, performing in fashion corporate events, and as a journalist with steady columns. Since her music debut release in 1991, Monday has released albums on an annual basis both as a soloist and collaborator and is known as one of the pioneers of the Japanese acid jazz movement. While her discography boasts countless dance floor hits worldwide, Monday's compositional style and repertoire has evolved to that which is undeniably hers with reflections of jazz, soul, Brazilian, folk, and other urban and world flavors. Monday currently resides in New York, continues to record and perform worldwide, and heads the lyric writing seminars STORYTELLERS WORKSHOP NYC. www.mondaymichiru.com Rebecca L. Mahan TV/Radio Show Host www.facebook.com/rebeccalmahan www.facebook.com/rebeccasoundsreveille www.rebeccamahan.ladiesofjustice.com Turn on one of the channels below to catch the show! On video  Rebecca L. Mahan www.youtube.com/rebeccalmahan  Rebecca Sounds Reveille www.youtube.com/channel/UCQl7JcfNrcoyNDPGlHgdbKQ  IGTV www.instagram.com/copperheels/channel/?hl=en #celebrityinterview #monday # Michiru #recordingartist #songstress#reveille #rebeccamahan #rebeccalmahan

WW.YOUTUBE.COM/REBECCALMAHAN AND REBECCA SOUNDS REVEILLE YOUTUBE CHANNEL & MOST ALL PODCAST APPS What do your words have to do with it? Well, a whole lot! Words are an expression of everything we think, feel, see, and more! They describe all of our senses and yet when they are woven within the very notes of the palette of instruments laid out before us, there is even more that can be said, felt, and heard. The guest in this episode is a master at not only being able to convey through her own music and lyrics an incredible amount of expression, but she is able to inspire others through her extraordinary wisdom and talent through the gift of teaching in her STORYTELLERS WORKSHOP NYC. Guest, Songstress and Producer, Monday Michiru, was born in Tokyo, Japan and raised in coastal U.S. as the daughter of NEA Jazz Master and Japanese National Living Treasure Toshiko Akiyoshi, cult jazz saxophonist Charlie Mariano as well as jazz saxophonist-flutist Lew Tabackin, Monday Michiru, so named to reflect both her Japanese and American-Italian heritages, started music classically on flute studying at the prestigious Interlochen Arts Academy in the U.S. on scholarship, gravitating later to singing, composition and production. In 1987 she debuted in the lead role as an opera singer in the Japanese movie “Hikaru Onna” which garnered her Best New Actress award by the Japan Film Academy. Her subsequent move back to Japan furthered her career in acting, as well as hosting her own radio programs, modeling, performing in fashion corporate events, and as a journalist with steady columns. Since her music debut release in 1991, Monday has released albums on an annual basis both as a soloist and collaborator and is known as one of the pioneers of the Japanese acid jazz movement. While her discography boasts countless dance floor hits worldwide, Monday's compositional style and repertoire has evolved to that which is undeniably hers with reflections of jazz, soul, Brazilian, folk, and other urban and world flavors. Monday currently resides in New York, continues to record and perform worldwide, and heads the lyric writing seminars STORYTELLERS WORKSHOP NYC. www.mondaymichiru.com Rebecca L. Mahan TV/Radio Show Host www.facebook.com/rebeccalmahan www.facebook.com/rebeccasoundsreveille www.rebeccamahan.ladiesofjustice.com Turn on one of the channels below to catch the show! On video Rebecca L. Mahan www.youtube.com/rebeccalmahan Rebecca Sounds Reveille www.youtube.com/channel/UCQl7JcfNrcoyNDPGlHgdbKQ IGTV www.instagram.com/copperheels/channel/?hl=en #celebrityinterview #monday # Michiru #recordingartist #songstress#reveille #rebeccamahan #rebeccalmahan --- Support this podcast: https://anchor.fm/rebecca-l-mahan/support

WW.YOUTUBE.COM/REBECCALMAHAN AND REBECCA SOUNDS REVEILLE YOUTUBE CHANNEL & MOST ALL PODCAST APPS What do your words have to do with it? Well, a whole lot! Words are an expression of everything we think, feel, see, and more! They describe all of our senses and yet when they are woven within the very notes of the palette of instruments laid out before us, there is even more that can be said, felt, and heard. The guest in this episode is a master at not only being able to convey through her own music and lyrics an incredible amount of expression, but she is able to inspire others through her extraordinary wisdom and talent through the gift of teaching in her STORYTELLERS WORKSHOP NYC. Guest, Songstress and Producer, Monday Michiru, was born in Tokyo, Japan and raised in coastal U.S. as the daughter of NEA Jazz Master and Japanese National Living Treasure Toshiko Akiyoshi, cult jazz saxophonist Charlie Mariano as well as jazz saxophonist-flutist Lew Tabackin, Monday Michiru, so named to reflect both her Japanese and American-Italian heritages, started music classically on flute studying at the prestigious Interlochen Arts Academy in the U.S. on scholarship, gravitating later to singing, composition and production. In 1987 she debuted in the lead role as an opera singer in the Japanese movie "Hikaru Onna" which garnered her Best New Actress award by the Japan Film Academy. Her subsequent move back to Japan furthered her career in acting, as well as hosting her own radio programs, modeling, performing in fashion corporate events, and as a journalist with steady columns. Since her music debut release in 1991, Monday has released albums on an annual basis both as a soloist and collaborator and is known as one of the pioneers of the Japanese acid jazz movement. While her discography boasts countless dance floor hits worldwide, Monday's compositional style and repertoire has evolved to that which is undeniably hers with reflections of jazz, soul, Brazilian, folk, and other urban and world flavors. Monday currently resides in New York, continues to record and perform worldwide, and heads the lyric writing seminars STORYTELLERS WORKSHOP NYC. www.mondaymichiru.com Rebecca L. Mahan TV/Radio Show Host www.facebook.com/rebeccalmahan www.facebook.com/rebeccasoundsreveille www.rebeccamahan.ladiesofjustice.com Turn on one of the channels below to catch the show! On video  Rebecca L. Mahan www.youtube.com/rebeccalmahan  Rebecca Sounds Reveille www.youtube.com/channel/UCQl7JcfNrcoyNDPGlHgdbKQ  IGTV www.instagram.com/copperheels/channel/?hl=en #celebrityinterview #monday # Michiru #recordingartist #songstress#reveille #rebeccamahan #rebeccalmahan

WW.YOUTUBE.COM/REBECCALMAHAN AND REBECCA SOUNDS REVEILLE YOUTUBE CHANNEL & MOST ALL PODCAST APPSWhat do your words have to do with it? Well, a whole lot! Words are an expression of everything we think, feel, see, and more! They describe all of our senses and yet when they are woven within the very notes of the palette of instruments laid out before us, there is even more that can be said, felt, and heard. The guest in this episode is a master at not only being able to convey through her own music and lyrics an incredible amount of expression, but she is able to inspire others through her extraordinary wisdom and talent through the gift of teaching in her STORYTELLERS WORKSHOP NYC.Guest, Songstress and Producer, Monday Michiru, was born in Tokyo, Japan and raised in coastal U.S. as the daughter of NEA Jazz Master and Japanese National Living Treasure Toshiko Akiyoshi, cult jazz saxophonist Charlie Mariano as well as jazz saxophonist-flutist Lew Tabackin, Monday Michiru, so named to reflect both her Japanese and American-Italian heritages, started music classically on flute studying at the prestigious Interlochen Arts Academy in the U.S. on scholarship, gravitating later to singing, composition and production. In 1987 she debuted in the lead role as an opera singer in the Japanese movie "Hikaru Onna" which garnered her Best New Actress award by the Japan Film Academy. Her subsequent move back to Japan furthered her career in acting, as well as hosting her own radio programs, modeling, performing in fashion corporate events, and as a journalist with steady columns. Since her music debut release in 1991, Monday has released albums on an annual basis both as a soloist and collaborator and is known as one of the pioneers of the Japanese acid jazz movement. While her discography boasts countless dance floor hits worldwide, Monday's compositional style and repertoire has evolved to that which is undeniably hers with reflections of jazz, soul, Brazilian, folk, and other urban and world flavors. Monday currently resides in New York, continues to record and perform worldwide, and heads the lyric writing seminars STORYTELLERS WORKSHOP NYC.www.mondaymichiru.comRebecca L. Mahan TV/Radio Show Hostwww.facebook.com/rebeccalmahanwww.facebook.com/rebeccasoundsreveillewww.rebeccamahan.ladiesofjustice.comTurn on one of the channels below to catch the show!On video  Rebecca L. Mahanwww.youtube.com/rebeccalmahan  Rebecca Sounds Reveillewww.youtube.com/channel/UCQl7JcfNrcoyNDPGlHgdbKQ  IGTV www.instagram.com/copperheels/channel/?hl=en#celebrityinterview #monday # Michiru #recordingartist #songstress#reveille #rebeccamahan #rebeccalmahan

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

Django Reinhardt e Toots Thielemans sono gli esponenti più in vista di una scuola chitarristica belga che annovera, oltre ad alcuni musicisti minori, anche due altre figure di primo piano.Grazie al “patrocinio” di Reinhardt, René Thomas (1927-1975) ha avuto un ruolo di protagonista a partire dai primi anni '50 sulla scena parigina. Si trasferì poi negli Stati Uniti, rientrando in Europa verso la metà di '60. Influenzato da un maestro dello strumento come Jimmy Rainey, Thomas ha segnato l'evoluzione dello strumento nel jazz e l'approccio allo stesso di musicisti della successiva generazione quali Larry Coryell o John McLaughlin. Molto stimato tra i colleghi, fu uno dei chitarristi preferiti di Sonny Rollins.Possiamo considerare per certi versi anche Philip Catherine (Londra, 1942) un continuatore dell'estetica di Thomas. Messosi in luce sulla scena internazionale nella seconda metà anni '60 accanto a Dexter Gordon, Niels-Henning Ørsted Pedersen, Charles Mingus, Charlie Mariano, Carla Bley, Catherine ha iniziato a proporsi come leader con l'album Stream del 1971. Lo ricordiamo attivo in uno duo di successo di chitarre acustiche con Larry Coryell e poi anche in ambito jazz-rock, genere che affrontò con proprie formazioni e soprattutto in seno al gruppo del violinista Jean-Luc Ponty.

Django Reinhardt e Toots Thielemans sono gli esponenti più in vista di una scuola chitarristica belga che annovera, oltre ad alcuni musicisti minori, anche due altre figure di primo piano.Grazie al “patrocinio” di Reinhardt, René Thomas (1927-1975) ha avuto un ruolo di protagonista a partire dai primi anni '50 sulla scena parigina. Si trasferì poi negli Stati Uniti, rientrando in Europa verso la metà di '60. Influenzato da un maestro dello strumento come Jimmy Rainey, Thomas ha segnato l'evoluzione dello strumento nel jazz e l'approccio allo stesso di musicisti della successiva generazione quali Larry Coryell o John McLaughlin. Molto stimato tra i colleghi, fu uno dei chitarristi preferiti di Sonny Rollins.Possiamo considerare per certi versi anche Philip Catherine (Londra, 1942) un continuatore dell'estetica di Thomas. Messosi in luce sulla scena internazionale nella seconda metà anni '60 accanto a Dexter Gordon, Niels-Henning Ørsted Pedersen, Charles Mingus, Charlie Mariano, Carla Bley, Catherine ha iniziato a proporsi come leader con l'album Stream del 1971. Lo ricordiamo attivo in uno duo di successo di chitarre acustiche con Larry Coryell e poi anche in ambito jazz-rock, genere che affrontò con proprie formazioni e soprattutto in seno al gruppo del violinista Jean-Luc Ponty.

Django Reinhardt e Toots Thielemans sono gli esponenti più in vista di una scuola chitarristica belga che annovera, oltre ad alcuni musicisti minori, anche due altre figure di primo piano.Grazie al “patrocinio” di Reinhardt, René Thomas (1927-1975) ha avuto un ruolo di protagonista a partire dai primi anni '50 sulla scena parigina. Si trasferì poi negli Stati Uniti, rientrando in Europa verso la metà di '60. Influenzato da un maestro dello strumento come Jimmy Rainey, Thomas ha segnato l'evoluzione dello strumento nel jazz e l'approccio allo stesso di musicisti della successiva generazione quali Larry Coryell o John McLaughlin. Molto stimato tra i colleghi, fu uno dei chitarristi preferiti di Sonny Rollins.Possiamo considerare per certi versi anche Philip Catherine (Londra, 1942) un continuatore dell'estetica di Thomas. Messosi in luce sulla scena internazionale nella seconda metà anni '60 accanto a Dexter Gordon, Niels-Henning Ørsted Pedersen, Charles Mingus, Charlie Mariano, Carla Bley, Catherine ha iniziato a proporsi come leader con l'album Stream del 1971. Lo ricordiamo attivo in uno duo di successo di chitarre acustiche con Larry Coryell e poi anche in ambito jazz-rock, genere che affrontò con proprie formazioni e soprattutto in seno al gruppo del violinista Jean-Luc Ponty.

Django Reinhardt e Toots Thielemans sono gli esponenti più in vista di una scuola chitarristica belga che annovera, oltre ad alcuni musicisti minori, anche due altre figure di primo piano.Grazie al “patrocinio” di Reinhardt, René Thomas (1927-1975) ha avuto un ruolo di protagonista a partire dai primi anni '50 sulla scena parigina. Si trasferì poi negli Stati Uniti, rientrando in Europa verso la metà di '60. Influenzato da un maestro dello strumento come Jimmy Rainey, Thomas ha segnato l'evoluzione dello strumento nel jazz e l'approccio allo stesso di musicisti della successiva generazione quali Larry Coryell o John McLaughlin. Molto stimato tra i colleghi, fu uno dei chitarristi preferiti di Sonny Rollins.Possiamo considerare per certi versi anche Philip Catherine (Londra, 1942) un continuatore dell'estetica di Thomas. Messosi in luce sulla scena internazionale nella seconda metà anni '60 accanto a Dexter Gordon, Niels-Henning Ørsted Pedersen, Charles Mingus, Charlie Mariano, Carla Bley, Catherine ha iniziato a proporsi come leader con l'album Stream del 1971. Lo ricordiamo attivo in uno duo di successo di chitarre acustiche con Larry Coryell e poi anche in ambito jazz-rock, genere che affrontò con proprie formazioni e soprattutto in seno al gruppo del violinista Jean-Luc Ponty.

Django Reinhardt e Toots Thielemans sono gli esponenti più in vista di una scuola chitarristica belga che annovera, oltre ad alcuni musicisti minori, anche due altre figure di primo piano.Grazie al “patrocinio” di Reinhardt, René Thomas (1927-1975) ha avuto un ruolo di protagonista a partire dai primi anni '50 sulla scena parigina. Si trasferì poi negli Stati Uniti, rientrando in Europa verso la metà di '60. Influenzato da un maestro dello strumento come Jimmy Rainey, Thomas ha segnato l'evoluzione dello strumento nel jazz e l'approccio allo stesso di musicisti della successiva generazione quali Larry Coryell o John McLaughlin. Molto stimato tra i colleghi, fu uno dei chitarristi preferiti di Sonny Rollins.Possiamo considerare per certi versi anche Philip Catherine (Londra, 1942) un continuatore dell'estetica di Thomas. Messosi in luce sulla scena internazionale nella seconda metà anni '60 accanto a Dexter Gordon, Niels-Henning Ørsted Pedersen, Charles Mingus, Charlie Mariano, Carla Bley, Catherine ha iniziato a proporsi come leader con l'album Stream del 1971. Lo ricordiamo attivo in uno duo di successo di chitarre acustiche con Larry Coryell e poi anche in ambito jazz-rock, genere che affrontò con proprie formazioni e soprattutto in seno al gruppo del violinista Jean-Luc Ponty.

Boston Bari - the Boston recordings of Serge Chaloff in 1949 and 1954/5. These groups were mostly working units in the Boston area and presented a great mix of Bebop, Swing, Cool and blues in sophisticated arrangements with great solo work - Chaloff, Herb Pomeroy, Boots Mussullli, Charlie Mariano, Ralph Burns, Dick Twardzik and Ray Santisi are featured. --- Support this podcast: https://anchor.fm/john-clark49/support

This is the third Jazz Feature on underrated and under recorded trumpeters. Boston born Joe Gordon started young and worked with Georgie Auld, locals Charlie Mariano, Jaki Byard and toured with Lionel Hampton. He was also first call when Charlie Parker played in Boston. Gordon moved to New York in 1954 and worked and recorded with Art Blakey and joined Dizzy Gillespie's big band and toured the Middle East and recorded with Dizzy. He also played with pianist Horace Silver then seemed to disappear. He emerged in L.A. in 1959 and became first call Jazz trumpeter and worked with Harold Land, Wes Montgomery and recorded with Thelonious Monk. Joe's real fame came when he joined drummer Shelly Mann'e Quintet and toured Europe and recorded many albums. Shelly's Quintet was one of the great groups in Jazz history. Tonight's album was done in 1961 and was only Joe's second under his name however it not only featured his crackling and fiery trumpet but 8 of his compositions He appears here with alto saxophonist Jimmy Woods making his recording debut. Dick Whittington is on piano, Jimmy Bond on bass and the swingin' Milt Turner on drums. "Lookin' Good!" was Joe's last recording as he died in a house fire in November of 1963 at age 35. Check out Joe Gordon tonight, you'll be glad you did!

Charles Mingus looms large as one of the true greats of American Jazz. Composer, virtuoso bassist and pianist and a man who like Duke Ellington created his own brand of music. Two different recording sessions are represented here. The first is from January 1963 with an 11 piece ensemble. Two updates of Mingus compositions featuring the passionate alto saxophone work of the late Charlie Mariano. "I X Love" and "Celia" are the two tunes with some familiar Mingus melodies. The second session from September 1963 with similar personnel had Eric Dolphy replacing Mariano and Mingus regulars, Booker Ervin and Richard Williams in the ensemble and Walter Perkins replacing Mingus' drummer Dannie Richmond. Most of the 6 tunes here are updates of older Mingus compositions with new titles. All great performances. This is one of Mingus' finest albums and one of his most accessible too! Git it!

This album is one of bassist/pianist/composer Charles Mingus' great musical triumphs. Mr. Mingus was finally able to put out a recording of all original music and had full control of the production. The cover, the notes, the editing and post-production and of course the music. It was everything he wanted and this album is arguably one of his very best. He was able to get this band into shape via a long engagement at New York's Village Vanguard. The music is a suite of basically four movements. The band consists of 12 pieces and the chief soloists are Jerome Richardson on baritone and soprano saxophones, Quentin "Butter" Jackson on trombone, Charlie Mariano on alto saxophone, Jaki Byard on piano Jay Berliner on guitar and Mingus on bass and piano. The music is dense and powerful and runs an incredible gamut of emotions from pristine beauty to angry chaos. As I stated this is one of Mr. Mingus' triumphs.......The Black Saint and The Sinner Lady.

This was the first album under his name of composer/arranger/tenor saxophonist Bill Holman. He first got recognition as a saxophonist and arranger/composer for Stan Kenton then went on to occasionally form his own big band for a few dates and a possible recording session. By dint of his residence in Los Angeles, Holman was able to recruit many of the finest studio/Jazz players in L.A.This he did on this his debut record. "The Fabulous Bill Holman" lives up to it's name and marks it as a classic of big-band Jazz and sets a very high standard for others to follow. The playing of all involved is superb both in ensemble work and solos. You will hear over the six selections, solos by Charlie Mariano and Herb Geller on altos,Holman and Richie Kamuca on tenors, Conte Candoli and Stu Williamson on trumpets and others plus a great rhythm section of Lou Levy on piano, Max Bennett on bass and the great Mel Lewis on drums. All in all great writing by Holman covering four of his own tunes and one by Sonny Rollins...Airegin and a great Harold Arlen, Johnny Mercer standard called Come Rain or Come Shine. It was all recorded in April of 1957 and remains one of the finest examples of big-band Jazz!

Stan Kenton's Orchestra over the years covered just about every style of music imaginable. From simple dance music to the most complex semi-classical scores. This album called "Contemporary Concepts" is Kenton at his most swinging. It is serious Jazz and features a range of exciting soloists like alto saxophonists Lennie Niehaus and Charlie Mariano, to tenor saxophonist Bill Perkins, trombonists Carl Fontana and Kent Larsen to trumpeters Sam Noto and Stu Williamson and others. Stan's rhythm section couldn't help but swing hard....Ralph Blaze on guitar. Max Bennett on bass and Mel Lewis on drums plus the maestro Stan Kenton on piano. Bill Holman wrote the arrangements of six standards and turned each of them into mini symphonies. The seventh tune is the exciting Gerry Mulligan original based on "I've Got Rhythm" that he called "Limelight". This album is a favourite among Kenton fans and non-fans too. "Contemporaty Concepts" is a classic.

Tonight The Jazz Show honours and celebrates the 91st Birthday of one of American's most individual and iconic geniuses of this music referred to as Jazz....the one and only Charles Mingus. Mingus was a wonderful pianist and a virtuoso bassist but one of this music's greatest composers. He ranks with Ellington and Monk at creating a huge body of work. Today Mingus' compositions are played by the Mingus Big Band and his legacy is in the hands of his widow, Susan Mingus. This album was recorded in early 1963 with an 11 piece orchestra that had played two long engagements at Bird and The Village Vanguard in New York. The music was the first album in Mingus' new contract with Impulse Records and the label spared no expense catering to Mingus' wishes in the production and most importantly in the post-production. Mingus had full control as to his musical vision and this album was one, at the time that Mingus felt was his best to date. It is a suite of 3 movements with the long 4th being an amalgam of the first three. It's called "The Black Saint and The Sinner Lady" and has some outstanding solos by Jerome richardson on soprano and baritone saxophone, Mingus on bass and piano, Jaki Byard on piano but most importantly Charlie Mariano on alto saxophone. Mariano tears and cries out with unbridled passion with some of his best playing ever. This is a challenging and dense work worthy of listening to and re-listening.Happy Birthday Charles Mingus!

This wonderful short-lived band only made one domestically produced record.A few bootlegs exist and one rare recording made in Japan,featuring tunes from "West Side Story" are the only documentation of this group. At the time the late alto saxophone master, Charlie Mariano (1923-2009) was married to Toshiko Akiyoshi and they formed this creative quartet with the late Gene Cherico on bass and a young Eddie Marshall on drums. The album was issued on the very short-lived Candid label and was done on December 5,1960. Two Charlie Mariano compositions are featured and two by Ms. Akiyoshi-Mariano and one arrangement of an old spiritual (Deep River) by Mr. Mariano. The recording is a beautiful and passionate statement by this great little band. The only small drawback is the tinny piano that Toshiko has to work with but as usual she makes the most of it.

Toshiko Akiyoshi(pianist/composer) and her then husband, alto saxophone master Charlie Mariano co-led this fine quartet which featured the recording debuts of bassist Gene Cherico, who worked with everybody from Paul Desmond and Stan Getz to Peggy Lee and Frank Sinatra and drummer Eddie Marshall who also has worked with John Handy,Bobby Hutcherson and everybody who played at San Francisco's legendary "Keystone Korner".Mariano is one of the most passionate voices of the alto saxophone and plays beautifully on this, their only recording as a band.