Podcasts about Charlie Parker

When the artist Jennie C. Jones listens closely to a piece of music, she's particularly attuned to its pauses, in-between moments, and breaks. Widely celebrated for her abstract works in painting, sculpture, and sound art that, in many instances, incorporate architecture or space—through which she often elevates undersung or little-known Black artists and musicians—her practice is largely informed by minimalism and color field painting, as well as by jazz and avant-garde music. Jones currently has two exhibitions on view at the Pulitzer Arts Foundation in St. Louis (through Feb. 1, 2026): “A Line When Broken Begins Again,” which features a selection of new and existing paintings, sculptures, works on paper, and sound pieces, and “Other Octaves,” a group show she curated of works by artists who have been formative to her practice. She was also commissioned to create the 2025 rooftop installation at New York's Metropolitan Museum of Art.On this episode of Time Sensitive, she discusses what listening as a conceptual practice looks like in action, the art of putting together a playlist, and her deep love of things tactile and analog.Special thanks to our Season 12 presenting sponsor, Van Cleef & Arpels.Show notes: [04:35] “Jennie C. Jones: A Line When Broken Begins Again” (2025)[04:35] “Other Octaves” (2025)[04:57] Carmen Herrera[04:57] Agnes Martin[04:57] Martin Puryear[04:57] Alma Thomas[04:57] Mildred Thompson[05:21] A Free and Shifting Tonal Center (2024)[7:26] Ellsworth Kelly[11:44] Fred Moten[11:44] “Dynamics” (2022)[13:02] Trisha Brown's “Leaning Duets” (1970)[14:40] Tadao Ando[14:55] “These (Mournful) Shores” (2020)[17:21] Moses Williams[17:21] Louis Dotson[18:20] Richard Tuttle[30:25] Olly Wilson[31:28] Maryanne Amacher[31:28] Arthur Russell[37:10] Jennie C. Jones: Compilation (2015)[38:30] “The Theater of Refusal: Black Art and Mainstream Criticism” (1993)[42:25] “Slow Birds” (2004) [42:25] "Slowly in a Silent Way, Caged” (2010)[42:25] Charlie Parker[1:09:47] “Jennie C. Jones: RPM (revolutions per minute)” (2018)[1:12:06] “Ensemble” (2025)

Kirk sits down with jazz piano legend Peter Martin to talk about Peter's musical background, his momentous early encounters with Wynton Marsalis and Kenny Kirkland, the jazz scene of the 1990s, how the Suzuki method works, and why jazz students today should be less shy about talking to their heroes. Check out Peter's online jazz education program Open Studio, as well as You'll Hear It, the music podcast he co-hosts with Adam Maness. DISCUSSED/REFERENCED:“Variations Sur ‘Le Carnaval de Venise” feat. Wynton Marsalis and the Eastman Wind Ensemble from Carnival, 1987“Path Adjacent” Peter Martin w/ Gregory Hutchinson, Sarah Hanahan & Reuben Rogers from Generation S, 2023“Bag's Groove” by Milt Jackson from Miles Davis, Bag's Groove, 1967“Tea For Two” by Youmans/Ceasar, played by Art Tatum from Piano Starts Here, 1968“Broad Way Blues” by Ornette Coleman from New York Is Now, 1968“Swingin' at the Haven” by Branford Marsalis from Royal Garden Blues, 1986“Now's The Time/Billie's Bounce” by Charlie Parker from Jamey Aebersold Vol. 6: All Bird“Naima's Love Song” by Betty Carter from I_t's Not About The Melody_, 1992“Mental Phrasing” by Roy Hargrove live w/ Joshua Redman, Ron Blake, Peter Martin, Rodney Whitaker, Greg Hutchinson“Turnaround” by Joshua Redman w/ Pat Metheny from Wish, 1993“Jig-A-Jug” by Joshua Redman and “St. Thomas” by Sonny Rollins” from Spirit of the Moment: Live at the Village Vanguard, 1995“Cat Battles” and “One Shining Soul” by Joshua Redman from Freedom in the Groove, 1996“The Loneliness of a Long Distance Runner” intro and “Mind and Body” from Solo, Live in New York, 2015“Why Approach Chords Matter” - Adam Maness for Open Studio on YouTube, 2025“2 Down & 2 Across,” “Sing a Song of Song,” “Before It's Time to Say Goodbye” by Kenny Garrett feat. Kenny Kirkland from Songbook, 1997“Phyrzzinian Man” by Wynton Marsalis from Black Codes from the Underground, 1985“Necessary Evil” by Elvin Jones and “Whatever Possessed Me” by Chet Baker feat. Pat LaBarbera (Tenor) and Kenny Kirkland from Brother John, 1982“Stella by Starlight” by Hoagy Carmichael, performed by the Miles Davis Quintet on My Funny Valentine: In Concert, 1965----LINKS-----

This week, Kate Molleson explores the life and work of a musical giant – drummer and composer Max Roach – in the company of writer and broadcaster Kevin Le Gendre. Together they trace Roach's extraordinary journey: from his early days at the heart of bebop alongside Bud Powell, Thelonious Monk, Dizzy Gillespie and Charlie Parker, through his pioneering role as a bandleader, his political activism during the civil rights era, and his later innovations in percussion and collaboration. Roach's story is one of constant reinvention as performer, composer and activist, shaping jazz and beyond for more than half a century.Music includes: Dr Free-Zee (from Max Roach +4) Joy Spring (from Clifford Brown and Max Roach) Bu Dee Daht (from Coleman Hawkins: Rainbow Mist) Salt Peanuts (from Dizzy Gillespie and Charlie Parker: Town Hall, New York City, June 22, 1945) Ko-Ko (from Charlie Parker: The Complete Savoy and Dial Master Takes) Bird Gets the Worm (from Charlie Parker: The Complete Savoy and Dial Master Takes) Move (from Miles Davis: The Complete Birth of the Cool) Cherokee (from Jazz at Massey Hall) Cou Manchi-Cou (from Max Roach Quartet, featuring Hank Mobley) Maximum (from In the Beginning) Daahoud (from Clifford Brown and Max Roach) Sandu (from Study in Brown) Take the A Train (from Study in Brown) Fleurette Africain (from Money Jungle) Driva'man (from We Insist! Max Roach's Freedom Now Suite) Freedom Day (from We Insist! Max Roach's Freedom Now Suite) Garvey's Ghost (from Percussion Bitter Sweet) Lonesome Lover (from It's Time: Max Roach, his Chorus and Orchestra) The Drum Also Waltzes (from Drums Unlimited) Libra (from Members Don't Git Weary) Let Thy People Go (from Lift Every Voice and Sing) Joshua (from Lift Every Voice and Sing) A Quiet Place (from Collage) Double Delight (from Bright Moments) Spirit Possession (from Birth and Rebirth) Love is a Many Splendored Thing (from Clifford Brown and Max Roach at Basin Street) Presented by Kate Molleson. Produced by Martin Williams for BBC Audio Wales & West. For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Max Roach (1924-2007) https://www.bbc.co.uk/programmes/m002mb7w. And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z.

Welcome back to When Words Fail Music Streaks, the podcast where we battle depression with the transformative power of music. I'm your host, James Cox—your “handicapped” guide through the stories that keep us moving when life gets heavy.In today's episode we sit down with award‑winning writer, filmmaker, playwright, and cultural documentarian Alan Govnar (who kindly corrects us on the title of his newest novel, Come Round Right). Alan's career spans more than three decades of preserving the music of everyday people: from his landmark 1984 Living Texas Blues project for the Dallas Museum of Art, to an intimate portrait of blues scene in Deepum, to his groundbreaking documentaries that put disability‑rights narratives front‑and‑center.We'll explore hotly debated questions like: Where did the blues really begin? — Texas, the Mississippi Delta, or Memphis? — and hear Alan's compelling argument that blues emerged from the African diaspora and found early written references in Texas.Beyond blues, Alan reveals how his personal hearing of Dizzy Gillespie, Charlie Parker, and New Orleans R&B as a four‑year‑old sparked a lifelong quest to document music that speaks to the soul, no matter how “un‑virtuosic” it may seem. His stories range from a hunchback dwarf tattoo artist in a wheelchair to the polio‑stricken African drummer Siddiqui Conde, whose student Aaron Phillips (now a trans Vogue cover model) turned a Tumblr following into the inspiring memoir This Kid Can Fly.We'll also get a sneak peek at Alan's newest feature, Quiet Voices in a Noisy World: The Struggle for Change in Jasper, Texas, premiering at Cinema Village in New York this November—a powerful look at a community healing from the trauma of a 1998 lynching.If you're a fan of music history, social justice, or simply crave stories that turn hardship into hope stay tuned. Grab your headphones, let the rhythm lift you, and get ready for a conversation that proves music can indeed speak louder than depression.

STANDARS SEMANAL.-HOT HOUSE.-VINILOSMITICOSDELJAZZ.-Tommy Flanagan-Overseas.JAZZACTUALIDAD.-CRISTINA AMILS-NOBODY ELSE Overseas es un álbum del pianista Tommy Flanagan , grabado con el bajista Wilbur Little y el baterista Elvin Jones en 1957. Fue el álbum debut de Flanagan como líder. Grabación y música El pianista Tommy Flanagan estaba de gira por Europa como parte de la banda del trombonista JJ Johnson en 1957 cuando se le dio la oportunidad de dirigir una sesión de grabación por primera vez.Del grupo de gira de Johnson, Flanagan contrató a Little y Jones para la sesión, que tuvo lugar en Estocolmo el 15 de agosto. Seis de las nueve piezas del álbum eran originales de Flanagan. Flanagan regrabó cinco de las selecciones del álbum en su álbum de trío de 1996 , Sea Changes , su última grabación de estudio como líder. Se trataba de sus composiciones originales "Beat's Up", "Delarna", "Eclypso" y "Verdandi", así como "Relaxin' at Camarillo" de Charlie Parker. CRISTINA AMILS-NOBODY ELSE Tras una larga y sólida trayectoria musical, la cantante de jazz Cristina Amils da un paso adelante y publica su primer disco al frente de su cuarteto de confianza. El álbum se presenta como un viaje musical íntimo y vibrante, fiel reflejo de la versatilidad artística y lingüística que define a Amils y su grupo. Las diez piezas del disco combinan la elegancia del jazz clásico —con estándares de referentes como Gershwin o Kern/Hammerstein— con incursiones en el blues, el bolso nuevo y la chanson francesa.

Ravi Coltrane with Marcus MillerMarcus Miller interviews Ravi Coltrane about his musical evolution and the dual legacy of his parents, Alice and John Coltrane. This insightful and candid talk, recorded live on the Journey of Jazz cruise, covers the challenges of growing up under the shadow of a jazz icon and finding one's own voice through the music.Key TakeawaysThe episode is a conversation between host Marcus Miller and guest Ravi Coltrane, focusing on Ravi's development as a jazz saxophonist.Ravi's father, John Coltrane, passed away in 1967 when Ravi was 2 years old, leaving Ravi to be raised by his mother, Alice Coltrane. Ravi notes that his father's instruments are currently in his stateroom.Ravi began his musical journey playing the clarinet throughout junior high and high school. He switched to the soprano saxophone at age 16 after his mother gave it to him for his birthday as a hint, later moving to the tenor saxophone.Ravi did not initially feel pressure from his famous last name because, during the 1970s in the San Fernando Valley where he grew up, John Coltrane was still considered "underground" or "counter culture".The death of Ravi's older brother, John Jr., in an automobile accident when Ravi was 17, caused a "void" that Ravi later filled by studying his father's music. Ravi began listening to his father's records to gain answers for questions asked at parties, and through this, the music "hit" him.Ravi worked with key members of the John Coltrane Quartet, including joining drummer Elvin Jones's band in 1991 (though he felt he was "prematurely" ready) and later working with pianist McCoy Tyner in the 2000s.Ravi and Marcus discuss the meaning of being "ready" to perform at a high level, noting that it means being "prepared to do the job properly" and recognizing that evolution and learning are continuous processes.Host and Guest InfoHost: Lee Mergner (introduction), Marcus Miller (interview).Guest: Ravi Coltrane.This talk was recorded during the Journey of Jazz cruise. Marcus Miller provided the theme music, which is a clip from his song "High Life" on his album Aphrodesia on Blue Note.The talk was captured by Brian Ratchkco and his production team.Send us a text

Peste 1000 de muzicieni au colaborat pentru un album prin care protestează față de modificările propuse de guvernul britanic la legea dreptului de autor astfel încît companiile de inteligență artificială să-și poată construi produsele pe baza unor opere de artă, muzică, texte protejate de drepturi de autor. „Is This What We Want?” se numește albumul care propune înregistrări silențioase, cu zgomotul de fond din studiouri goale și a fost lansat la începutul anului. În noiembrie albumul a fost lansat și pe vinil, variantă care conține un bonus: o „melodie silențioasă” purtînd semnătura lui Paul McCartney. Artiștii atrag atenția asupra pericolelor și amenințărilor la adresa muncii creative aduse de dezvoltarea inteligenței artificiale și nereglementarea ei, precum și asupra chestiunilor de etică pe care le implică folosirea muncii artiștilor fără a plăti drepturi de autor. Invitaţii noştri sînt saxofonistul și compozitorul Mihai Iordache şi cercetătorul Radu Uszkai, de la Centrul de Cercetare în Etică Aplicată.Ca muzician, înveți și de la alții. Ești ceea ce asculți. Cînd compui, o faci implicit pentru că te-ai hrănit și chiar inspirat din muzica altora – chiar dacă e inconștient și implicit. Nu-l imiți pe John Coltrane sau pe Charlie Parker, dar le-ai ascultat muzica – poate chiar o știi pe de rost – și ceva din muzica lor e și-n compozițiile tale. Ce e diferit față de ce face Inteligența Artificială atunci cînd preia mii de ore de muzică și compilează partituri noi?Mihai Iordache: „Ăsta e cel mai simplu de demontat dintre argumentele pro-inteligenţă artificială în discuţia despre muzică. În momentul cînd te hrăneşti cu ce ai ascultat, cu ce ai citit sau ai desenat ca artist, în mod absolut automat acele lucruri trec prin sensibilitatea ta şi rămîi un om care cîntă, compune, face diverse lucruri. Ceea ce este cu totul diferit de (ce face) o maşină, pînă la urmă – pentru că termenul de inteligenţă este foarte exagerat folosit, ca să nu spun că e greşit –, o maşină care încearcă să compileze tot ce s-a făcut într-un stil, fără nici un fel de suflet, fără nici un fel de intenţie, în afara aşa-zisei intenţii a prompterului care-i spune vreau o melodie aşa, şi aşa, şi aşa şi care abia aşteaptă să-i vină ceva pe tavă fără să fi făcut nimic.”Cum ar trebui reglementată funcționarea modelelor de inteligență artificială astfel încît să fie respectată munca oamenilor pe baza căreia se antrenează AI? Radu Uszkai: „Discuţile despre reglementare le purtăm nu într-un vacuum, ci în contextul existenţei unei diversităţi din punctul de vedere al reglementărlor. Ce facem noi s-ar putea să n-aibă nimic de-a face cu ce se întîmplă, de pildă, în spaţiul chinezesc. Poziţia ideală ar fi ca reglementatorul, adică statul, să reunească toate părţile co-interesate, care au o miză morală în acest proces. Asta înseamnă artişti, public, companii, sistem educaţional şi în primul rînd să pornim de la mizele lor atît financiare, cît şi de natură estetică. În mod uzual însă, ce se întîmplă nu este acest proces transparent, ci cîştigă lobby-ul unei părţi. Fie lobby-ul corporatist, fie interesele de ordin politic ale unor politicieni care sînt împotriva unor corporaţii. Răspunsul este generic, fiindcă realmente nu am un răspuns clar. Vin de pe o poziţie nu neapărat tehno-optimistă, dar tehno-realistă, în care văd diverse elemente cît se poate de pozitive în aceste unelte – chiar dacă sînt lipsite de creativitate în sens uman, le văd ca avînd un soi de creativitate sintetică, ce poate fi un ameliorator în anumite contexte –, de aceea aş zice că modul de reglementare nu ar trebui să blocheze în totalitate capacitatea inginerilor şi a companiilor de a investi şi de a le dezvolta, luînd în considerare însă şi consecinţele negative ale acestui proces.”Apasă PLAY pentru a asculta interviul integral! O emisiune de Adela Greceanu și Matei Martin Un produs Radio România Cultural

Saxophonist Phil Woods (born November 2, 1931) was much more than just another alto saxophonist who followed in the footsteps of the great Charlie Parker. Throughout his career, he carved his own path, continuing to develop his own voice on the instrument, as well as his voice as a prolific composer. He delved into the avant-guarde with his group 'The European Rhythm Machine' for several years when he chose to become an expatriate. But shortly after his return to the United States in 1972, he formed the straight ahead group he was to lead until shortly before his death ten years ago. Through multiple changes in personnel, his bassist, Steve Gilmore and his drummer, Bill Goodwin stayed with him the entire time. 

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.

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

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

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

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.

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.