Podcasts about Charlie Parker

www.patreon.com/dopeypodcast This week on Dopey! Dave opens the episode feeling sick, dreading his upcoming dental implants, and joking about painkillers, nitrous, and Tylenol PM. He congratulates longtime dopes Margaret Hernandez (36 years sober) and Mattie Veach (recovering from cancer surgery), prays for the Knicks, and introduces guest RJ Elizarraz, co-host of Against All Odds with Rachel Slocum and founder of Oak Forest Recovery.Before diving in, Dave reads Spotify comments from the Brace Belden episode — about therapy, high memories, Suboxone, and more — gives shoutouts to listeners, and pushes the legendary Dopey socks. He jokes about how each platform reacts differently: Patreon loves him, Reddit hates him, Facebook doesn't care.He plays an old Miles Davis clip about Charlie Parker doing drugs and sex in a taxi while eating fried chicken, and finds the recovery moral in it — acceptance is the key. A listener named Nathan from San Francisco sends a disgusting classic: at 12 he cooked and ate his own poop hoping it would make DMT. It didn't. He puked, got bullied, overdosed, and finally got sober. Dave laughs, calls it top-notch Dopey storytelling, and awards him socks. Then comes the main interview with RJ Elizares. They record in RJ's Westlake Village home — complete with an infrared sauna, cold plunge, and jade crystal massage bed. RJ also runs a marketing agency for medical clients and has a 13-year-old daughter.RJ tells his story:Grew up in Westlake, straight-edge nerd playing video games and paintball.Swore he'd never do drugs, then caved at 15 after a best-friend betrayal.Smoked weed with his stepbrother, laughed hysterically at Maury Povich, devoured frozen peas, and instantly became “the stoner.”Started selling weed and stealing paintball gear; pulled off a heist from an optometrist's back-room store until his stepbrother turned him in for the reward.Skipped school, bribed attendance clerks with weed, got caught high at a parent meeting, expelled.At continuation school, excelled while high, manipulated teachers, and got expelled again for lying.Ran away on a dirt bike, sold weed full-time, then transferred to another continuation school where a rival stabbed him in the arm with a pencil for “selling on his turf.”Graduated early by testing out, kept selling, moved out, and lived off weed money.With his girlfriend (later the mother of his daughter) did ecstasy, coke, Xanax, mushrooms, pills — everything but heroin.She overdosed on ecstasy and stopped breathing before being revived — a turning point moment. 

Il n'est pas le plus connu et pourtant, Don Byas était l'un des meilleurs ténors américains. Né à Muskogee, Oklahoma, en 1913, il fut le trait d'union entre la génération des pionniers incarnée par Coleman Hawkins, et celle des boppers menée par Charlie Parker. Don Byas, c'était un son puissant et une vie mouvementée : de ses débuts chez Count Basie aux parties de pèche à Saint-Tropez en passant par les boîtes de la 52ème rue de New-York, Pour Qui Sonne le Jazz suit l'itinéraire de cet enfant gâté du ténor, en deux épisodes. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Dave opens this Tuesday Dopey Patreon teaser by reflecting on feeling burnt out, upcoming dental implant surgery, and the need to slow down. He jokes about “cultivating illness” to get rest and shares his current obsession with the Martin Scorsese documentary series Mr. Scorsese, hoping listeners will “pray and manifest” Scorsese appearing on Dopey. He talks about Scorsese's film legacy, calling Goodfellas untouchable.Dave reads a Spotify comment from Emma about a pork ad and debates if it's anti-Semitic, then begins a new segment reading from Miles Davis's autobiography — a vivid story about Charlie Parker pawning Miles's belongings for heroin.Next, longtime Dopey Nation member Selby calls in with a story about getting through TSA with weed gummies and ends with “stay strong, Dopey Nation, and fucking toodles for Chris.” Dave laughs about TSA searches, harmonicas being mistaken for weapons, and promises either to play harmonica on the road or stop traveling with it.The teaser transitions into the Patreon preview with Ray Brown and Dave's dad, where a discussion about politics erupts — his dad talks about kindness, empathy, immigration, and frustration with leadership. Dave tries to steer it back but ends up apologizing for the tangent. The teaser closes with Dave's song “I Wanna Be Good So Bad,” a raw, humorous original with lyrics about bad desire, frustration, calling his dad, and seeking peace and love.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Saxophonist Charlie “Yardbird” Parker (born  August 29, 1920) and trumpeter John Birks “Dizzy” Gillespie (born October 21, 1917) together revolutionized jazz music with their harmonic and rhythmic innovations. Both virtuosos on their respective instruments, they basically set the standard for others to aspire to. While Parker's life was cut short by his addictive, self destructive life style, he still set the standard for every other saxophonist to aspire to. Gillespie lived a long productive life, becoming a senior statesman of the music, a consistent inspiration to all who came in contact with him.  

Music includes: Now's The Time by Charlie Parker, Body and Soul by Coleman Hawkins, East of the Sun by Lester Young, My Old Flame by Stan Getz, Cotton Tail by Ben Webster and Warm Valley by Johnny Hodges.

Pianist / composer Thelonius Sphere Monk (born October 10, 1917), often referred to as the 'High Priest of Bebop', was one of the founders of the musical movement, alongside Charlie Parker and Dizzy Gillespie at Minton's Playhouse in Harlem. His idiosyncratic piano style and compositions are so distinctive as to be immediately identifiable as completely his own. His total originality is undeniable, there is only one Monk!

L'Invité Culture du jour est le grand Femi Kuti, multi-instrumentiste nigérian. Il est le fils de Fela Kuti, créateur révolutionnaire de l'afrobeat : ce mélange de musique traditionnelle nigériane, de highlife ghanéen, de funk et de jazz qui a toujours été un outil de résistance et de lutte contre les inégalités sociales. Aujourd'hui, Femi Kuti suit les traces de son père et porte son héritage. Il est au micro de Lisa Giroldini. RFI : Parlons d'abord de votre dernier album, Journey Through Life. Avec son titre, mais aussi avec la pochette de l'album, est-ce qu'on peut comprendre qu'il s'agit d'un bilan de votre carrière ? Femi Kuti : Oui, on pourrait dire ça. Mais plus important encore, ce sont mes pensées actuelles, la manière dont je me sens aujourd'hui. Ce sont les vertus qui m'ont guidé. Donc, j'ai pensé qu'il était important de chanter les règles que je me suis fixées, que j'ai suivies. Et, espérons-le, cela peut aider d'autres personnes. L'album est sorti à un moment où ma fille subissait une opération, donc ça m'a probablement poussé à me recentrer sur le plan politique, social et personnel. Cela m'a beaucoup fait réfléchir à cette époque. Vous jouez de l'afrobeat depuis toujours. Vous poursuivez la tradition initiée par votre père Fela Kuti, mais comment y apportez-vous votre propre patte ? Je savais que je devais trouver ma propre personnalité, et écouter du jazz m'a aidé. Parce que j'ai essayé d'être comme Charlie Parker ou Dizzy Gillespie, et j'ai compris que je n'y arriverais jamais. Et alors, je me suis dit : « Wow, je peux être Femi Kuti ». Tu vois ? J'aime mon père, j'ai de l'admiration pour lui, mais pourquoi je voudrais vivre sa vie ? J'ai mes propres douleurs, mes propres peines de cœur, je dois faire face à mon propre parcours, à ma propre pratique. Alors, je cherche Femi Kuti. L'afrobeat se caractérise par son aspect social et politique. Quels sont, selon vous, les messages essentiels à transmettre aujourd'hui ? Tellement de choses. Tellement. Il faut avoir le cœur brisé aujourd'hui quand on voit la guerre à Gaza ou en Ukraine, ou en sachant que le Congo est encore un endroit aussi chaotique. Même au Nigeria : Boko Haram, la corruption du gouvernement... Moi, je suis profondément convaincu que l'Afrique devrait être le plus beau continent, et donner envie au monde entier. Si les dirigeants étaient vraiment engagés et s'ils aimaient leur peuple, l'Afrique devrait rayonner de joie, tu vois ? Je sais que c'est possible. Et quand je rentre chez moi ou que je lis les nouvelles, j'ai vraiment le cœur brisé. Et je ne peux pas forcer les gens à croire en mes idées, sinon je ressemblerais à un dictateur. Ma conclusion, c'est : la politique a échoué. Vous écoutez la jeune génération ? Je n'écoute aucune musique. J'ai lu dans un livre que Miles Davis, pour trouver son propre son, a arrêté d'écouter les autres. Je fais la même chose depuis 25 ans. Aujourd'hui, tout le monde se dit musicien. Tu peux ne même pas savoir lire ou écrire la musique. Parce que quand tu commences un vrai parcours d'études musicales, c'est tellement difficile que tu fuis. Mais tu veux quand même être musicien, alors tu triches. Voilà où on en est : on a plein de tricheurs (rires). Apprenez à lire, apprenez à écrire, apprenez à jouer des instruments de musique. Je donne juste un conseil : si tu veux durer, comme un Miles Davis ou un Stevie Wonder, il faut le faire correctement.   Femi Kuti sera en concert le 7 octobre à Marseille, le 8 octobre à Toulouse, le 10 octobre à Tours et le 11 octobre à Aubervilliers.  À lire aussiFemi Kuti ou la tentative de l'aventure intérieure sur «Journey Through Life»

L'Invité Culture du jour est le grand Femi Kuti, multi-instrumentiste nigérian. Il est le fils de Fela Kuti, créateur révolutionnaire de l'afrobeat : ce mélange de musique traditionnelle nigériane, de highlife ghanéen, de funk et de jazz qui a toujours été un outil de résistance et de lutte contre les inégalités sociales. Aujourd'hui, Femi Kuti suit les traces de son père et porte son héritage. Il est au micro de Lisa Giroldini. RFI : Parlons d'abord de votre dernier album, Journey Through Life. Avec son titre, mais aussi avec la pochette de l'album, est-ce qu'on peut comprendre qu'il s'agit d'un bilan de votre carrière ? Femi Kuti : Oui, on pourrait dire ça. Mais plus important encore, ce sont mes pensées actuelles, la manière dont je me sens aujourd'hui. Ce sont les vertus qui m'ont guidé. Donc, j'ai pensé qu'il était important de chanter les règles que je me suis fixées, que j'ai suivies. Et, espérons-le, cela peut aider d'autres personnes. L'album est sorti à un moment où ma fille subissait une opération, donc ça m'a probablement poussé à me recentrer sur le plan politique, social et personnel. Cela m'a beaucoup fait réfléchir à cette époque. Vous jouez de l'afrobeat depuis toujours. Vous poursuivez la tradition initiée par votre père Fela Kuti, mais comment y apportez-vous votre propre patte ? Je savais que je devais trouver ma propre personnalité, et écouter du jazz m'a aidé. Parce que j'ai essayé d'être comme Charlie Parker ou Dizzy Gillespie, et j'ai compris que je n'y arriverais jamais. Et alors, je me suis dit : « Wow, je peux être Femi Kuti ». Tu vois ? J'aime mon père, j'ai de l'admiration pour lui, mais pourquoi je voudrais vivre sa vie ? J'ai mes propres douleurs, mes propres peines de cœur, je dois faire face à mon propre parcours, à ma propre pratique. Alors, je cherche Femi Kuti. L'afrobeat se caractérise par son aspect social et politique. Quels sont, selon vous, les messages essentiels à transmettre aujourd'hui ? Tellement de choses. Tellement. Il faut avoir le cœur brisé aujourd'hui quand on voit la guerre à Gaza ou en Ukraine, ou en sachant que le Congo est encore un endroit aussi chaotique. Même au Nigeria : Boko Haram, la corruption du gouvernement... Moi, je suis profondément convaincu que l'Afrique devrait être le plus beau continent, et donner envie au monde entier. Si les dirigeants étaient vraiment engagés et s'ils aimaient leur peuple, l'Afrique devrait rayonner de joie, tu vois ? Je sais que c'est possible. Et quand je rentre chez moi ou que je lis les nouvelles, j'ai vraiment le cœur brisé. Et je ne peux pas forcer les gens à croire en mes idées, sinon je ressemblerais à un dictateur. Ma conclusion, c'est : la politique a échoué. Vous écoutez la jeune génération ? Je n'écoute aucune musique. J'ai lu dans un livre que Miles Davis, pour trouver son propre son, a arrêté d'écouter les autres. Je fais la même chose depuis 25 ans. Aujourd'hui, tout le monde se dit musicien. Tu peux ne même pas savoir lire ou écrire la musique. Parce que quand tu commences un vrai parcours d'études musicales, c'est tellement difficile que tu fuis. Mais tu veux quand même être musicien, alors tu triches. Voilà où on en est : on a plein de tricheurs (rires). Apprenez à lire, apprenez à écrire, apprenez à jouer des instruments de musique. Je donne juste un conseil : si tu veux durer, comme un Miles Davis ou un Stevie Wonder, il faut le faire correctement.   Femi Kuti sera en concert le 7 octobre à Marseille, le 8 octobre à Toulouse, le 10 octobre à Tours et le 11 octobre à Aubervilliers.  À lire aussiFemi Kuti ou la tentative de l'aventure intérieure sur «Journey Through Life»

Musician Kelley Gant is heading to Los Angeles to perform at the Masters of Musical Whistling competition. She stopped by KCUR's Up To Date to whistle a Charlie Parker tune and tell us how she got into the art form.

Listen to an hour of music celebrating the legacy of The Bebop Society of Indianapolis. Hear rare recordings from Avenue musicians, including Wes Montgomery, Carl Perkins, David Baker, Pookie Johnson and more. In the early 1940s, a new style of jazz music known as bebop began to emerge. Bebop marked a revolutionary shift in jazz, breaking away from the swing dance music of the 1930s. Bebop was born in after-hours jam sessions at venues like Minton's Playhouse in Harlem. Bebop developed as musicians sought greater artistic freedom and technical challenge. Artists like Charlie Parker, Dizzy Gillespie, and Thelonious Monk pushed the boundaries of harmony, rhythm and improvisation. They created a style that featured fast tempos with complex melodies and chord progressions. Bebop transformed jazz into a modernist art form that focused on creativity, over commercial appeal.  Here in Naptown, the Avenue was the place to hear bebop music. In 1946, Dizzy Gillespie performed at the Avenue's Sunset Terrace nightclub, and in January of 1948 Charlie Parker played there too. 1948 was also the year that a collective of Naptown musicians and music fans, formed The Bebop Society of Indianapolis.  At that time, bebop music had not yet gained, widespread acceptance among music fans. The Bebop Society held concerts and lectures to educate the public on the music's importance Their events were not held in nightclubs,  the society hosted gatherings in community centers, including, The Senate Avenue YMCA, The Phyllis Wheatley YWCA, The Flanner House, and the Crispus Attucks High School auditorium. Guest speakers at the Bebop Soierty's events, included Crispus Attucks' music teacher Norman Merrifield and Jack Tracey, an editor for Down Beat magazine.  The Bebop Society also fought against racial segregation at music events. In 1948, members of the Bebop Society desegregated a Stan Kenton concert, at Riverside Park. As headline, in the Indianapolis Recorder stated, “Youth Group Breaks Jim Crow and Attends Concert at Riverside”. The Society also provided scholarships for talented young musicians, including the future Avenue jazz star David Baker.  But The Bebop Society's main focus was music, and their concerts featured the greatest jazz musicians in Naptown, including Pookie Johnson, Wes Montgomery, Carl Perkins, Buddy Montgomery, Monk Montgomery, Joe Mitchell, Maceo Hampton, Les “Bear” Taylor, Benny Barth, and Willis Kirk,  who served as president of the Society in 1950.

Following a "Chump Line" call inspired by Charlie Parker, Howie recalled some of the absurd things we had to do during Covid.  Visit the Howie Carr Radio Network website to access columns, podcasts, and other exclusive content.

Saviez-vous que Maurice Ravel était dingue de jazz ? Et qu'Igor Stravinsky avait vu Charlie Parker au Birdland ? Oui, depuis que le jazz existe, les compositeurs classiques sont fascinés par la musique afro-américaine. Et l'inverse est vrai aussi : de Duke Ellington à Bill Evans, nombre de jazzmen se sont amusés à détourner la musique classique. Rencontres improbables, reprises étonnantes : toute la semaine, nous allons explorer les liens entre "grande musique" et "musique improvisée", à commencer, dans ce premier épisode, par Stravinsky, Wagner et Tchaikovsky. C'est le grand clash entre jazz et classique !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Trumpeter / composer Kenny Dorham (born August 30, 1924) is hardly a household name, but one would be hard pressed to name a musician held in as high regard by other jazz musicians. He played at a consistently high level throughout a career that included stints with Charlie Parker, Max Roach, Art Blakey, Joe Henderson to name just a few, and myriad excellent recordings under his own name. A number of his compositions have become jazz standards as well.   And don't forget ... St. Michael's Jazz Fest returns for a second year of incredible jazz in Carlsbad Village! Headlining is New Orleans' own, the legendary Grammy Award-Winning Rebirth Brass Band, joined by Euphoria Brass Band, Gilbert Castellanos Latin Jazz Ensemble, Starsign, Chunky Hustle Brass Band, Sue Palmer Swing Orchestra, and more. Free to the public and held outside on the campus lawn of St. Michael's by-the-Sea in Carlsbad. Learn more and consider volunteering or donating: https://www.stmichaelsjazzfest.org/ Saturday, September 27, 2025

Send us a textRevered by his peers and bandleaders such as Charlie Parker, Count Basie, Duke Ellington, Coleman Hawkins, and Lester Young among others…. Don Byas chose a decidedly different path, migrating to Europe to escape social conditions and to seek artistic freedom. Author Con Chapman joins hosts David C. Gross and Tomaso Semioli to discuss his Byas biography out now on University Press of Mississippi The Story of Sax Expat: Don Byas Playlist

The last time legendary Wheeling-born saxophonist Chu Berry was in the recording studio, he gave some jazz love to a song written by a fellow West Virginian.The date was Aug. 28, 1941, and the tune — one of the four sides that Berry and his jazz ensemble would record that day for Milt Gabler's Commodore label in New York City's Reeves Sound Studios on East 44th Street — was “Gee, Baby, Ain't I Good to You.”The song was still relatively unknown. No one else had recorded it in the dozen years since Piedmont, WV, native Don Redmond wrote it for McKinney's Cotton Pickers to wax in 1929.As discussed here in an earlier article, the Roarin' Twenties has been good for Don Redman. He was responsible for integrating the rhythmic approach of Louis Armstrong's playing into arrangements for Fletcher Henderson's Orchestra. In 1927 Redman was wooed away from Henderson to join McKinney's Cotton Pickers, the house band at the celebrated Greystone Ballroom in Detroit.When Chu Berry revisited the song in 1941 (to be on the flip side of his version of "Sunny Side of the Street”), it featured ex-Bennie Moten/Count Basie trumpeter Oran “Hot Lips” Page, whose bluesy singing and plunger mute work capped the session.Incidentally, Page recorded it again in 1944, but even more importantly for the song's legacy (and to Don Redmond's checkbook) a year earlier the song was also recorded by an up-and-comer named Nat “King” Cole, who took it to No. 1 on the Billboard Harlem Hit Parade where stayed for four weeks.Losing ChuChu Berry would not live to know any of that. Almost exactly two months after the August 1941 recording date, he was on his way to Toronto for a gig with the Cab Calloway Orchestra, with which he had played for four years. Heavy fog made visibility poor, and the car in which Chu was a passenger skidded and crashed into a bridge abutment near Conneaut, Ohio, 70 miles northeast of Cleveland.Berry died three days later from his injuries just a few weeks after his 33rd birthday.Chu Berry was brought back to Wheeling for his funeral. More than a thousand mourners attended, including Cab Calloway and the members of his band who ordered a massive floral arrangement in the shape of a heart.At the funeral, Calloway told mourners Chu had been like a brother to him. The big man had charmed the world, he said, with advanced harmonies and smoothly flowing solos that would influence musicians for generations to come. “Chu will always be a member of our band,” Cab said. “He was the greatest.”Berry's RootsBorn in Wheeling in 1908, Leon Brown Berry took up the saxophone as a youngster after being inspired by the great tenor man Coleman Hawkins. Berry went on to model his own playing after Hawkins, who would later be quoted as saying, “Chu was about the best.” By the time of his 27th birthday, Chu had moved to New York where he worked with Bessie Smith, Lionel Hampton, Count Basie and others.Eventually, he became the featured sax player with the hottest jazz band of the day, Cab Calloway's legendary Cotton Club Orchestra. In 1937 and 1938, he was named to Metronome Magazine's All-Star Band. Younger contemporaries — notably Charlie Parker and Dizzy Gillespie — almost certainly heard Berry up close and personal at the now-legendary Monday night jam sessions at Minton's Playhouse in New York City, gatherings widely credited for the development of the bebop in the mid-1940s.Famously, in 1938 Parker — 14 years younger than Chu — named his first child Leon in tribute to Berry.And the Nickname?Multiple explanations have been given as to how Leon Berry got his nickname. Music critic Gary Giddins has said Berry was called “Chu” by his fellow musicians either because of his tendency to chew on his mouthpiece or because at one time he had a Fu Manchu-style mustache. Both stories work; take your pick.Our Take on the TuneJoining The Flood repertoire, some songs fit in right away, while others, like this one, need a little time to settle in, but when they do, wow — they're as comfortable as an old shoe. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Like many hip youngsters of my generation, at some point in my twenties I got Jazz-pilled by Beat literature, with writers like Jack Kerouac and Allen Ginsberg name-dropping bop-era musicians like Miles Davis, Thelonious Monk, John Coltrane, Charlie Parker, and many more, sending me to Limewire to download mp3s of 1950s and 1960s Jazz. In recent years, my casual appreciation has turned into a more intense investigation of music history and practice, particularly after discovering “The Grape,” a Jazz club in my neighborhood that's overflowing with colorful characters and musical adventure. My guest today is one of those characters: Monte Montgomery is a multi-instrumentalist, former touring funk guitarist, and all around hip music dude. In this conversation, he shares highlights from his decades in music, from playing funk with a group of Black GIs on a military base in Germany at the age of 17, to entertaining celebrities and insanely rich people on the Beverly Hills philanthropic event circuit, to his current gig holding court on piano, guitar, and drums every Tuesday night at The Grape. Check out my new ‘90s music podcast/video series with John Lombardo, 120 MONTHS: https://substack.com/@120months Listen to our special News Trap episode on the 20th anniversary of Hurricane Katrina with Justin Rogers-Cooper: https://www.patreon.com/posts/news-trap-8-30-w-137726055  Subscribe to the Nostalgia Trap Patreon for FREE to get updates on all our podcasts, videos, and writing:  patreon.com/nostalgiatrap    

Welcome back to The Ripple Effect Podcast! I'm so glad you're here for this solo episode. Think of it like we're sitting down over coffee, swapping stories about life, relationships, creativity, and yes, even some of the messy stuff we all go through. This episode will be a Q&A session, where I will answer some questions posed to me by Ripplers. Lately, I've been diving into some fantastic books. I'm making my way through Ryan Holiday's books, and I've been taking notes like crazy from Play Bigger. It's such a powerful read on category design, becoming a market leader, and finding your unique value proposition. On the music side, my heart is full, thanks to Bruce Springsteen's Lost Tracks Box set (unreleased songs that are pure magic!), and I've fallen down the rabbit hole with Charlie Parker's jazz albums. I've been loving podcasts like The Tim Ferriss Show, Clear + Vivid by Alan Alda, and Founders. But this episode isn't just about books and music. I'll let you in on my life as a caregiver for my 90-year-old dad, and how I've been handling the stress that comes with it. Spoiler: it hasn't been easy. But leaning into creativity has made all the difference. In particular, journaling, writing on my vintage typewriter, block printing, woodworking, and even baseball card collecting have brought me peace, joy, and a sense of fun. More than anything, this conversation is about finding ways to build authentic relationships, work through stress as an entrepreneur, and lean on faith when life feels uncertain. It's about discovering those small things that create positive Ripples for yourself and the people around you. If this episode connects with you, I'd love for you to subscribe, leave a review, and check out www.ripplecentral.com/pond to join our Ripple community. Together, we can keep building extraordinary relationships, one conversation at a time!   Ripple with Steve Harper Instagram: http://instagram.com/rippleon Facebook: https://www.facebook.com/rippleon X: https://twitter.com/rippleon Website: http://www.ripplecentral.com   Stay in the loop by being a part of the Ripple mail list: https://ripplecentral.com/subscribe Be a Patron: https://www.patreon.com/SteveHarper Join our ever-growing community of Ripplers in The Pond: https://ripplecentral.com/pond To inquire about my availability for conference keynotes, corporate training, or performance coaching, please contact info@ripplecentral.com.   #therippleeffect #rippleon #rippleeffectpodcast #steveharper #podcastcommunity #solopodcast #lifelessons #storytelling #ryanholiday #playbigger #categorydesign #creativeliving #journaling #writinglife #vintagetypewriter #makersmindset #creativitymatters #brucespringsteen #charlieparker #jazzlove #musicinspiration #timferriss #founderspodcast #alanalda #authenticrelationships #familycaregiving #stressmanagement #entrepreneurlife #faithjourney #mindfulnesspractice #positiveripples

Kansas City's own Charlie "Bird" Parker revolutionized jazz music. Local jazz legend Lonnie McFadden is leading a celebration of Parker's music and legacy at the Folly Theater this month.

Let's flip this Charlie Parker phrase in another way this week! WANT THE RESOURCES THAT GO ALONG WITH THIS EPISODE?? Head over to our Patreon page and when you donate $3 or more a month you get the resources for this episode and every other. We will also be bringing you many extras exclusively to our patrons including transcriptions and a FREE gift  of our latest Ebook, The Diatonic Method. We hope that we bring you value every week here at the 10 Minute Jazz Lesson and we appreciate all of your support! If you're serious about playing better jazz, not someday, but now, you probably ready for mentorship. You don't have to do this on your own anymore! Private & group lessons, a community of like-minded musicians, and everything you need to keep making progress. Click here to learn more and apply

Six longer sets tonight: Benny Carter, Johnny Hodges, Charlie Parker, Charlie Shavers, and more, Funky Blues Thelonious Monk & Gerry Mulligan, 'Round Midnight (feat. Wilbur Ware & Shadow Wilson) Ben Webster & Teddy Wilson, Ben's Blues Duke Ellington and Johnny Hodges, Harry Edison trumpet, Basin Street Blues Miles Davis, Solea Bill Evans Trio featuring Stan Getz, The Two Lonely People

With seven decades in film and television, Clint Eastwood is undeniably a Hollywood institution. Emerging first as a star in Westerns, then as the embattled cop in the Dirty Harry films, the ninety-five-year-old filmmaker has directed forty features and appeared in more than sixty. The film critic Richard Brody just reviewed a new biography of Eastwood. “What fascinated me above all are the origins of Clint Eastwood-ness—the way he had an aura that preceded him before his career in movies.”  Brody joins David Remnick to pick three of the films that set Eastwood apart as an artist: “Play Misty for Me,” his 1971 directorial début; “Bird,” his bio-pic about Charlie Parker; and “Sully,” starring Tom Hanks as the heroic pilot Chesley Sullenberger.

Sheila Jordan passed away today (August 11, 2025) at the age of 96. This is an interview I did with Sheila for episode #500. She will be missed. /// The Jazz Session celebrates its 500th episode with NEA Jazz Master Sheila Jordan. In this interview, Jordan talks about how a nickel changed her life; her early years on 52nd Street with Charlie Parker; her work with Steve Swallow and the poetry of Robert Creeley; her approach to ballads and teaching; and more. PATREON Become a Patreon supporter for $5 a month to get a bonus show called This I Dig Of You, on which the guest from the main episode talks about something non-musical that's bringing them joy. You'll also get early access to every episode, a thank you on an episode, and behind-the-scenes news. Join at https://patreon.com/thejazzsession. CREDITS Theme Music: The Respect Sextet (respectsextet.com) Logo: Sarah Walter Intro Voice: Chuck Ingersoll (hearchucknow.com)

Welcome into our new series where we explore some creative manipulation of Charlie Parker's incredible composition, Billie's Bounce. Enjoy! WANT THE RESOURCES THAT GO ALONG WITH THIS EPISODE?? Head over to our Patreon page and when you donate $3 or more a month you get the resources for this episode and every other. We will also be bringing you many extras exclusively to our patrons including transcriptions and a FREE gift  of our latest Ebook, The Diatonic Method. We hope that we bring you value every week here at the 10 Minute Jazz Lesson and we appreciate all of your support! If you're serious about playing better jazz, not someday, but now, you probably ready for mentorship. You don't have to do this on your own anymore! Private & group lessons, a community of like-minded musicians, and everything you need to keep making progress. Click here to learn more and apply

Pendant une grande partie du XXe siècle, le jazz, cette musique libre, vibrante, imprévisible… était tout simplement interdit en Union soviétique.Pourquoi ? Revenons au début.Dans les années 1920, après la révolution bolchévique, l'URSS vit une courte période d'ouverture culturelle. Le jazz arrive alors à Moscou, porté par des musiciens curieux, et même soutenu un temps par le régime, qui y voit un art moderne, populaire, presque révolutionnaire.Mais très vite, les choses changent. Dans les années 1930, avec Staline au pouvoir, tout ce qui ne colle pas aux normes du "réalisme socialiste" devient suspect.Et le jazz, avec ses syncopes, son swing, son côté improvisé et indomptable, ne rentre pas dans les cases. Pire encore : il vient des États-Unis, la grande puissance capitaliste et ennemie idéologique.Staline déteste ce qu'il appelle la "musique dégénérée". Le jazz est accusé d'être "antirusse", "bourgeois", "décadent". On le surnomme même la "musique de la jungle". Les saxophones sont bannis, les orchestres de jazz dissous, les musiciens surveillés.Et cela empire après la Seconde Guerre mondiale. En pleine guerre froide, écouter du jazz devient un acte de défiance politique. C'est être influencé par l'ennemi.Mais… la musique ne s'arrête pas.Malgré l'interdiction, le jazz continue de vivre en cachette. Dans les caves, les arrière-salles, les appartements privés, on joue du jazz clandestinement. On enregistre sur des radiographies médicales usagées — oui, sur des radios des poumons ! — qu'on appelle les "disques sur os", pour contourner la censure.Certains prennent tous les risques pour écouter des enregistrements de Duke Ellington ou Charlie Parker, captés illégalement sur les ondes occidentales.Et puis, dans les années 1960, le vent tourne un peu. Sous Khrouchtchev, une relative détente permet au jazz de ressortir timidement à la surface. Des festivals sont autorisés, des musiciens soviétiques comme Leonid Utyosov ou Igor Bril font revivre le genre, à leur manière.Mais le jazz ne sera jamais complètement libre en URSS. Il restera surveillé, encadré, soupçonné d'"américaniser" les esprits. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Composer Steve Reich is one of the most influential musicians of modern times. In the 1960s he helped rewrite the rules of composition, using analogue tape machines to experiment with rhythm, repetition and syncopation. As the godfather of musical minimalism, his influence on Philip Glass, David Bowie, Jonny Greenwood of Radiohead, and many other composers, has been enormous. Countless dance music producers also owe a debt to pieces including It's Gonna Rain, Drumming, Different Trains and Music for 18 Musicians. His music has been performed in concert halls all around the world, and his many awards include three Grammys, a Pulitzer Prize, the Polar Prize for Music and the Premium Imperiale. Steve Reich tells John Wilson how, at the age of 14, three very different recordings awoke his interest in music: Stravinsky's The Rite of Spring, Bach's 5th Brandenburg Concerto, and a piece of bebop jazz featuring saxophonist Charlie Parker, trumpeter Miles Davis and drummer Kenny Clarke. Inspired to start a jazz quintet of his own, Reich began to study percussion before enrolling in a music history course at Cornell University. It was here he discovered the music of Pérotin, the 12th century French composer associated with the Notre Dame school of polyphony in Paris. His beautiful sustained harmonies had a profound influence on Reich's own compositions, including Four Organs (1970) and Music for 18 Musicians (1976).Steve Reich also explains the significance of two books on his music; Studies in African Music by A.M.Jones and Music in Bali by Colin McPhee, both of which led to a greater understanding of music from parts of the world where music is passed down aurally rather than through notation.Producer: Edwina Pitman Additional recording: Laura Pellicer

New month, new series! Let's get started on the amazing Charlie Parker tune, Blues For Alice. Enjoy! WANT THE RESOURCES THAT GO ALONG WITH THIS EPISODE?? Head over to our Patreon page and when you donate $3 or more a month you get the resources for this episode and every other. We will also be bringing you many extras exclusively to our patrons including transcriptions and a FREE gift  of our latest Ebook, The Diatonic Method. We hope that we bring you value every week here at the 10 Minute Jazz Lesson and we appreciate all of your support!

Recorded by Dior J. Stephens for Poem-a-Day, a series produced by the Academy of American Poets. Published on June 3, 2025. ⁠⁠⁠⁠⁠⁠www.poets.org

The jazz standard "All The Things You Are" has been performed countless times by master jazz vocalists, 30s big bands, bebop small groups, hard-bop combos, modern deconstructionists, and even soon-to-be Kings of Pop. On this episode, Kirk takes listeners through the history of the now-famous tune, from its humble Broadway origins all the way to his recording studio in Portland, where he and some friends recorded an all-new arrangement just for Strong Songs.Music/Lyrics: Jerome Kern & Oscar Hammerstein IIVersions Featured:Broadway Original Cast Recording of "Very Warm for May," - 1939Tommy Dorsey and His Orchestra, feat. Jack Leonard, 1939Artie Shaw w/ Hellen Forrest, 1939Dizzy Gillespie w/ Charlie Parker, 1945Johnny Griffin w/ Hank Mobley, John Coltrane, Lee Morgan, Wynton Kelly, Paul Chambers, Art Blakey on A Blowing Session, 1957Ella Fitzgerald from Sings the Jerome Kern Songbook, 1963Michael Jackson, 1973Sonny Rollins w/ Coleman Hawkins from Sonny Meets Hawk!, 1963Bill Evans w/ Chuck Israels, bass, and Larry Bunker, drums at Shelly's Mane-Hole, 1963Keith Jarrett Trio, from Standards, Vol.1, 1983Brad Mehldau Trio, from Art of the Trio 4, 1999Jim Hall & Pat Metheney, 1999Strong Songs Version Featuring:Kirk Hamilton, tenor saxAndrew Oliver, keyboardScott Pemberton, guitarSam Howard, bassTyson Stubelek, drumsThe "All The Things You Are" Playlist:Spotify | Apple | YouTube MusicALSO REFERENCED/DISCUSSED:The Jazz Standards: A Guide To The Repertoire by Ted Gioia, 2012The terrific 99% Invisible episode about The Real Book“Autumn Leaves” by Joseph Kosma as recorded by Cannonball Adderley and Miles Davis on Somethin' Else, 1958“Pennies From Heaven” by Johnston and Burke, recorded by Stan Getz with the Oscar Peterson Trio, 1957“Bye Bye Blackbird” by Henderson/Dixon, recorded by Miles Davis on ‘Round About Midnight, 1957“All Of Me” by Marks and Simons, played by Charlie Parker, Lennie Tristano and Kenny Clarke, 1951“I Got Rhythm” by George Gershwin, recorded by Sonny Stitt on The Hard Swing, 1961Rachmaninoff: Prelude in C-Sharp Minor,  performed by Jason Minnis, 2011“Goodbye Yellow Brick Road” by Elton John, 1973“Bird of Paradise,” recorded by Charlie Parker w/ Howard McGhee, Tpt. on The Complete Dial Recordings, Feb 1947“Prince Albert” recorded by Art Blakey's Jazz Messengers (Mobley, Dorham, Watkins, Silver) live at Cafe Bohemia, 1955“Poinciana” by Simon/Bernier recorded by Amhad Jamal Live At The Pershing, 1958----LINKS-----

John Connolly is, in my opinion, the greatest living writer working in the overlap of crime and horror. His long-running series of novels—focused on the Strange cases of his haunted detective, Charlie Parker—is now over twenty books strong. The latest, The Children of Eve is a pivotal instalment, so this seemed a good time to get John on the show, to grill him about this saga's many mysteries, and hideous horrors.   We talk about creating iconic villains, writing violence against the vulnerable, the monstrous feminine and the strange truth of Parker's nature.   There's also some very exciting info on a possible TV adaptation!   Enjoy!   Support Talking Scared on Patreon   Check out the Talking Scared merch line – at VoidMerch   Come talk books on Bluesky @talkscaredpod.bsky.social  on Instagram/Threads, or email direct to talkingscaredpod@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Tonight's Jazz Feature is a belated Birthday tribute to one of the the most unique and individual voices of the alto saxophone John Lenwood "Jackie" McLean. Jackie was born in Harlem, New York City on May 17,1931 and passed away at age 74 on March 31, 2006 after a long illness. Jackie made his first recording at age 19 with Miles Davis as a disciple of Charlie Parker and with his own sound. It wasn't long before Jackie developed his own ideas and phrasing. The Jazz Feature is a rare and previously unissued Blue Note Records date from 1966 that has Jackie exploring linear modal forms on the five tunes on the album. He also presents along with bassist Don Moore, two relatively new players on the New York scene: pianist Larry Willis who contributes the title track and and one other tune and a great young drummer from Chicago named Jack DeJohnette! Jackie's sound has been described as "sugar free saxophone" and you'll hear that in abundance tonight. Happy Birthday Anniversary Mr. McLean and to our listers: enjoy "High Frequency".

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.

John Lenwood “Jackie” McClean (born May 17, 1931) grew up in the same neighborhood in Harlem that was home to Sonny Rollins, Bud Powell and Thelonius Monk, and soon fell under the sway of the Bebop Revolution, particularly as espoused by Charlie Parker. Throughout his career, Jackie kept his ears open to new developments in the music, while still remaining grounded in the bebop vocabulary of his youth, he recorded with many more adventuresome players, Ornette Coleman and Woody Shaw to name two. He became a well respected professor at Hart School of Music in Hartford, Connecticut and produced many talented students who have gone on to distinguished careers in jazz.

CHARLIE PARKER “CHARLIE PARKER'S REBOPPERS” New York, November 26, 1945Billie's bounce, (1,3) Now's the time, (1,3) Thriving from a riff Anthropology, Meandering (3), Ko-ko (2,3)Miles Davis (tp-1) Dizzy Gillespie (tp-2,p-3) Charlie Parker (as) Argonne Thornton (p-4) [aka Sadik Hakim (p) ] Curly Russell (b) Max Roach (d) PAOLO FRESU & URI CAINE “THINK” Cavalicco, Italy, October 10-12, 2008Blood money, Darn that dream, Doxy, Roberto StrepitosoPaolo Fresu (tp,flhrn) Uri Caine (p,el-p) + Alborada String Quartet : Anton Berovski, Nico Ciricugno (vln) Sonia Peana (viola) Piero Salvatori (cello) CHET BAKER/ART PEPPER SEXTET “PICTURE OF HEATH” Hollywood, CA, November 20 & 21, 1956Picture of Heath, For miles and miles, C.T.A. Continue reading Puro Jazz 12 de mayo, 2025 at PuroJazz.

On today's episode - Jane Austen, Charlie Parker and Brad Pitt.....what a combo! Facebook PatreonSee omnystudio.com/listener for privacy information.

When he was five years old, Max Pollak had a moment. Sitting in front of a black-and-white television in suburban Vienna, he saw Fred Astaire tap dancing for the first time. “I was so spellbound by his elegance and his effortless swinging persona that I immediately decided I have to learn how to do that,” he remembers. He didn't understand the cultural context or the language, but he knew that whatever was happening on that screen — the rhythm, the movement, the magic — was something he had to pursue. That moment sparked a lifelong journey that would take him from Austria to Harlem to Havana and back again. Here, Max Pollak tells the remarkable story of how he taught himself to dance in a place where no formal tap training existed. Early on, improvisation wasn't just part of his style — it was the only way forward. That instinctive relationship with rhythm would become the foundation of his unique voice as an artist. At 14, Pollak met his first mentor: Carnell Lyons, a master tap dancer from Kansas City who had relocated to Europe during the civil rights era. Lyons had grown up alongside Charlie Parker and had performed with jazz legends. He passed on not only the technical language of tap, but a deep awareness of the art form's Black American roots. That relationship shaped the way Max approached dance — not just as choreography, but as culture. After moving to New York, Max began studying drums and enrolled in Bobby Sanabria's Afro-Cuban ensemble at The New School. It was there that he was asked the question that would redefine his artistic path: Do you want to tap dance to Cuban music — or do you want to tap dance Cuban music? Inspired by that challenge, Pollak dove into Afro-Cuban music, learning the language of clave and fusing it with tap, body percussion, and voice. The result was RumbaTap — a groundbreaking synthesis of traditions that bridges continents and cultures. When members of the legendary Los Muñequitos de Matanzas saw Max perform, they asked him to teach them. That moment affirmed the authenticity of his approach and led to collaborations in Cuba that brought him closer to the source of the music he had been drawn to for so long. Today, Max Pollak is widely recognized as one of the most innovative tap dancers in the world. His contributions to the language of tap, particularly in blending it with Afro-Cuban music and body percussion, have earned him international recognition — including the rare honor of having his image featured on a United States postage stamp. He's also a vocalist, drummer, composer, and storyteller. This week, he celebrates the 25th anniversary of RumbaTap with a special performance at 92NY, featuring members of Los Muñequitos. This episode came together unexpectedly, sparked by a tip from bassist and composer Alexis Cuadrado, who sent me the press release for the 92NY concert. I reached out to Max for a short interview — and the conversation turned out to be so rich and wide-ranging that I decided to share it in full. We talk about lineage, improvisation, spirituality, and what happens when you follow the rhythm only you can hear. www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

When 13 year old Nicholas Barclay reappeared after vanishing three years earlier, his family welcomed him home with open arms, despite his new accent, eye color, and strange behavior. But private investigator Charlie Parker wasn't buying it. In this second part of the Nicholas Barclay case, the truth finally unravels: who was the man pretending to be Nicholas, and why did the family insist he was their missing son? What comes next is a wild tale of deception, grief, and one of the most notorious con artists the world has ever seen. Sponsors: Acorns Early Head to acorns.com/creepers or download the Acorns app to get started. Learn more about your ad choices. Visit megaphone.fm/adchoices

Impara tutto sulla musica e sul tuo strumento, poi dimentica tutto sia sulla musica che sullo strumento e suona ciò che la tua anima detta.(Charlie Parker)

It's time for another history series, listener! Patrick leads you through the development and history of bebop, the style that marked the beginning of modern jazz. In this second episode, we follow bebop's spread and learn about the musicians who took up the style, with a focus on four who rose to prominence: Dizzy Gillespie, Charlie Parker, Thelonious Monk and Miles Davis.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Djinn RecordsStitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Maggie discusses in depth, the release of Charlie Parker's "Bird in Kansas City" with Chuck Haddix, curator, Director of the Marr Sound Archives in Kansas City and Charlie Parker Biographer. Charlie Parker had a complicated relationship with his hometown of Kansas City, MO owing both to its history of racial segregation and to his strong ties to his family and friends there. This new set of rare recordings dating from between 1941-1951—most of them never having been heard before and some never even having been known to exist—chronicle Bird's evolution from a blossoming soloist with the Jay McShann Band into a brilliant improviser who dominated the jazz landscape for decades to come. In addition to two unreleased 78s with the McShann band, this set offers two sets of private recordings (at the home of Bird's friend Phil Baxter and at Vic Damon's studio) made with local musicians and a very relaxed-sounding Parker who has the room to really stretch out and show us the shape of jazz that was to come in his wake. This recording provides a fascinating look into Parker's development.Sources: https://www.udiscovermusic.com/news/charlie-parker-bird-in-kansas-city/Sources: https://www.kansascitypbs.org/local-shows/bird-not-out-of-nowhere/chuck-haddix/Sources: https://library.umkc.edu/bird/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

C'est un endroit intime, où l'on a l'habitude de se rendre seul mais qui en dit beaucoup sur nos sociétés. Souvent signalés à l'aide de pictogrammes pour nous aider à trouver le chemin, les toilettes régissent en effet nos comportements. Si les femmes portent aussi des pantalons, elles sont généralement invitées à se diriger vers le personnage habillé d'une robe. Derrière ces petits bonhommes géométriques se cacheraient finalement nos représentations des femmes et des hommes. Au point peut-être d'exclure les personnes qui ne s'identifient pas à un genre ? La question est tout sauf anecdotique. Aux Etats-Unis, elle s'immisce même dans l'épicentre du pouvoir. En novembre 2024, une Députée républicaine présentait un texte visant à interdire l'accès aux toilettes pour femmes du Capitole à Sarah McBride, première personne transgenre élue au congrès américain. Si les toilettes s'invitent dans les arcanes du pouvoir, l'univers de nos commodités méritent bien d'être exploré. Vous avez dit au fond du couloir à droite ?  Avec • Serge Tisseron, psychiatre, docteur en psychologie, membre de l'Académie des technologies. Auteur deAu fond du couloir à gauche - Un musée populaire de la différence des sexes (Armand Colin, 2025) Un entretien avec Loubna Anaki correspondante de RFI à New York aux Etats-Unis.   En fin d'émission, la rubrique Mondoblog chez les voisins avec Tanguy Lacroix • La blogueuse franco-sénégalaise Cécile Sow parle de la série de livres Histoire générale du Sénégal. • Sidoine Feugui, blogueur camerounais, raconte comment le système de télé-évaluation à l'université de Yaoundé 1 a nui à ses études. • Rob Alarcon, un musicien vivant aux États-Unis, rend hommage au saxophoniste Charlie Parker.  Programmation musicale :► Old Soldier - Kel P,Wande Coal►Kongolaise sous BBL - Theodora►Ka Bo Bem - Andreia

Angela Brown's passion for her gifts is evident in her conversation with Yvette. Angela personifies the ideal soprano: sheer vocal power; luxurious finesse; and shimmering, high pianissimos. With captivating star power, she unites opera, pops, and gospel in one sensational voice. She has graced the leading opera and symphonic stages on six continents. Performances in 2024 included two world premieres: the soprano solo for award-winning composer Nkeiru Okoye's new work, “When the Caged Bird Sings,” inspired by the life of Dr. Maya Angelou. She also reprised the role of Addie Parker in Charlie Parker's Yardbird with the Indianapolis Opera.

For this episode we're joined in person by the delightful Siân Pattenden, author of the Agatha Bilke and Magical Peppers children's book series. We start by asking our guest about her early years as a child actor and teenage playwright before she describes the fanzines she published with her pal Nicky Fijalkowska. We hear how these helped to get her foot in the door at Smash Hits, the million-selling pop bi-weekly she joined in 1989. Quotes from classic Hits pieces she wrote are interspersed with hilarious recollections of working alongside Tom Doyle and Sylvia Patterson.  From "Ver Hits" we move on to the more indie-tastic Select and Siân's part in the Britpop wars – with special attention to Elastica, Jarvis Cocker and a pulped July 1994 issue that contained her guide to "legal highs". After reminiscences of a stint teaching music writing at the London School of Journalism, Siân explains the genesis of her 1998 book How to Make It in the Music Business. Mention of a 2007 Guardian Blogs piece bemoaning the "boy-rock" template established by the Beatles leads into reflections on the all-girl Bangles, subject of a new authorised biography by two-time RBP podcast guest Jennifer Otter Bickerdike. The desperately sad passing of David Johansen prompted us to dig out and digitise a 1994 audio interview with the sometime New York Dolls frontman. We hear three clips of David talking very amusingly to Q's Mat Snow – and in the process pay tribute to the singer and his fellow Dolls.  After Jasper marks the 70th anniversary of the death of Charlie Parker with quotes from the late Richard Cook's magnificent 1995 piece about the bebop genius, we pay additional tribute to jazz-funk vibraphonist Roy Ayers and neo-soul queen Angie Stone. Many thanks to special guest Siân Pattenden. Visit her website at sianpattenden.co.uk for more info on her books, art and music. Pieces discussed: En Vogue: Dawn! Maxine! Terry! Cindy!, At Home in L.A. with Paula Abdul!, This is the Future: Elastica — the Bash Street Kids, Meet the Sheatles, The Bangs: Not Just Another Girl Group, The Bangles: a Female Fab Four?, The Bangles: Globe Trotters, The Bangles: Eternal Flame, The New York Dolls' David Johansen (1994), Charlie Parker: The Prince of Wails, Roy Ayers, Angie Stone: Precious and Pure, Dancing in New York Emmylou Harris: Emmylou on the Verge and The Swede Smell of Success.

The Quadraphonnes, Portland’s all-women sax quartet, will perform the music of the eccentric artist Moondog at the Alberta Rose Theater on March 7. Moondog was a blind street musician in New York City who worked with some of the biggest names in music in the mid-20th century, including Philip Glass, Leonard Bernstein, Charlie Parker and Benny Goodman. We’ll hear more about the show and get an in-studio performance from the quartet: Mieke Bruggeman on baritone saxophone, Chelsea Luker on alto and soprano saxophone, Michelle Medler on tenor saxophone, and and Mary-Sue Tobin on alto and soprano saxophone.

Alto saxophonist Erena Terakubo, from Sapporo, Japan, began her recording career early, releasing her first album when she was only 15 years old. Inspired by a saxophone-playing M&M doll, Erena developed an interest in music that led her to become a notable figure in contemporary jazz. Her journey inclu0des playing in big bands in Sapporo and preferring jazz over classical music. In this episode, Erena Terakubo exuberantly shares her early influences, including J Fusion and musicians like Charlie Parker and David Sanborn. She shares insights into her life in the United States, cultural adjustments, and the challenges she encounters in New York City's jazz scene. With guidance from fellow alto sax player Vincent Herring, Erena navigated the business side of jazz. Erena talks about overcoming initial nervousness, gaining confidence, and arranging music for big band performances at Jazz at Lincoln Center. She highlights the significance of emotional expression in music and how her influences have shaped her improvisational style. Additionally, Erena discusses her experiences as a woman in the predominantly male jazz industry, her ongoing project, and her future goals. This episode delves in her story and explores various aspects of jazz. Erena acquired the nickname, North Bird. Find out at the end of this episode how she earned it. The discography for this 32-year-old saxophonist is impressive. Erena now has six recordings as a leader: Absolutely Live (King Records, 2019), Little Girl Power (King Records, 2018), A Time for Love (Cellar Live/King International, 2016), Erena Terakubo with Legends: Burkina (Eighty-Eight's, 2013), Erena Terakubo with Legends: New York Attitude, (King Records, 2011), and North Bird (King Records, 2011). What is more impressive are the personnel for her first three projects. Listen to this conversation to learn about this. Thanks to King Records, we will listen to three tracks from Erena's latest recording, Erena Terakubo: Absolutely Live! The quartet includes Erena Terakubo-Alto Saxophone, soprano saxophone; Mayuko Katakura-piano, Rhodes; Motoi Kanamori-bass; Shinnosuke Takahashi-drums, percussion. All compositions written by Erena Terakubo. 1. Little Girl Power 8:26), 2. A Crystal Path (6:54), 3. Be Nice (4:47) Thank you for listening. We appreciate your choice to listen to Strictly Jazz Sounds among numerous available podcasts. Photo by Yasuhisa Yoneda

Music includes: Scrapple From the Apple by Charlie Parker, Lover by Stan Kenton, Easy Living by Billie Holiday, Shake That Thing by Turk Murphy, I Want To Be Loved by Benny Goodman and Boogie Woogie Stomp by Albert Ammons and Pete Johnson. 

“Just keep going.”—Dave ChappelleFeaturing, in order of appearance:Kevin Hart, Questlove, Mo Amer, Bill Burr, Pras, Michelle Wolf, and Jon StewartContains music by:Dizzy Gillespie, Charlie Parker, Thelonious Monk, Max Roach, Miles Davis, Milt Jackson, and Stevie WonderRecorded in Ohio, Summer 2020Executive Produced by Talib Kweli, yasiin bey, Dave Chappelle, Noah Gersh, Jamie Schefman, Nick Panama, Kenzi Wilbur, and Miles HodgesProduced by Noah Gersh and Jamie Schefman for SALTProduction Manager: Liz LeMayRecording Engineer: Federico LopezRecording Engineer: Adrián Bruque for NPNDAssistant Editors: Danny Carissimi and Noah Kowalski Senior Sound Designer: Russell TopalTranscription Supervisor: Sam BeasleyMixer: Jordan GalvanPodcast Artwork: Rachel EckStill Photography: Mathieu BittonThe Midnight Miracle is a Luminary Original Podcast in partnership with Pilot Boy Productions and SALT.Special thanks to Paul Adongo, Cipriano Beredo, Elaine Chappelle, Ivy Davy, Rikki Hughes, Kyle Ranson-Walsh, Sina Sadighi, Mark Silverstein, and Carla Sims.Photography made available courtesy of Pilot Boy Productions, Inc. Copyright © 2021 by Pilot Boy Productions, Inc., all rights reserved.

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

Jirayr Zorthian, Armenian genocide, Yale, Skull & Bones, Works Progress Administration (WPA), Zorthian's murals, Pentagon, Tennessee state capital, Army intelligence, Ritchie boys, Charles Manson, Tate murders, Hans Hebe, Army intelligence links to Manson, did Manson visit the Zorthian ranch?, postwar California communes, Zorthian Ranch, recyclable materials, day to day life at the Zorthian ranch, how wild were the parties?, paranormal phenomena at the ranch, UFOs, Richard Feynman, Charlie Parker, Bob Dylan, Andy Warhol, Jack Parsons, Jet Propulsion Laboratory (JPL), Devil's Gate, Babylon Working, L. Eon Hubbard, Marjorie Cameron, Parsons and Cameron at the Zorthian, Marjorie's artwork at the Zorthian, LA fires, what was destroyed at the Zorthian, UFOs seen during the LA fires, Israel, Jack Parsons' relationship with Israel, Levon Helms, Elizabeth's Levon Helms ghost storyZorthian Ranch's GoFund Me:https://www.gofundme.com/f/help-zorthian-ranch-recoverFor Elizabeth's Zoom group:https://www.facebook.com/witchinneworleansMusic by: Keith Allen Dennishttps://keithallendennis.bandcamp.com/Additional Music: Stone Breathhttps://stonebreath.bandcamp.com/album/the-shepherdess-and-the-bone-white-bird Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In James Baldwin's Sonny's Blues (Oxford University Press, 2024), Tom Jenks follows a scene-by-scene, sometimes line-by-line, discussion of the pattern by which Baldwin indelibly writes "Sonny's Blues" into the consciousness of readers. It provides ongoing observations of the aesthetics underlying the particulars of the story, with references to Edward P. Jones (whose magnificent story "All Aunt Hagar's Children" bears a knowing relationship to "Sonny's Blues,") to Charlie Parker's music, and to Billie Holiday's "Am I Blue?" and John Coltrane's "A Love Supreme" as part of the musical progression Baldwin creates, and with attention to Baldwin's oratorical gifts and the biblical references in the story, to its time structure, characterizations, dramatic action, and, most of all, its totality of effect. Drawing on Baldwin's book-length essay The Fire Next Time, which Baldwin published a six years after the publication of the short story, Tom Jenks offers insight on some of the sources in Baldwin's life for "Sonny's Blues" and on the logic and passion by which life may be meaningfully transformed into art. Tom Jenks is the cofounder and editor of Narrative magazine. Check out his magazine online here. He is a former editor of Esquire, Gentlemen's Quarterly, The Paris Review, and a senior editor at Scribners, where he edited Hemingway's The Garden of Eden. With Raymond Carver, he edited American Short Story Masterpieces. His writing has appeared in Harper's, Ploughshares, Vanity Fair, Esquire, The American Scholar, Five Points, the Los Angeles Times, and elsewhere. He has given classes at the Iowa Writers' Workshop, the Creative Writing Programs at University of California, and Washington University in St. Louis. Jessie Cohen holds a Ph.D. in History from Columbia University, and is an editor at the New Books Network. 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