Podcasts about Charlie Parker

On tonight's show: Cab Calloway, Minne The Moocher Jimmie Lunceford, My Blue Heaven Dizzy Gillespie with Charlie Parker, Fats Navarro, Red Norvo, Hank Jones: Diga Diga Doo Gene Krupa, Mulligan Stew Count Basie and His Orchestra, Splanky The Vinnie Burke Quartet, Time Out Stan Getz Quartet & Mose Allison, Down Beat Sonny Criss, Memories Of You Zoot Sims, On the Alamo Dinah Washington, Ev'ry Time We Say Goodbye (feat. Quincy Jones and His Orchestra) Grant Green, Born to Be Blue Sarah Vaughan, Till the End of Time Ella Fitzgerald, Midnight Sun (1964 Version) Yusef Lateef, Slippin' And Slidin'

Charlie Parker was punk rock before there was punk rock. His bebop was underground music: subversive, intellectual, and a major departure from popular music of the day (think: Nat King Cole, The Andrews Sisters, Perry Como). He was an intellectual heavyweight, nearly untouchable in his technical ability and pushing music to places no one else was daring to go. So where did Charlie Parker with Strings, his most accessible album, come from?It's not Bird going commercial, like some have claimed. Charlie Parker with Strings is an album he fought to make. He loved Bach and Stravinsky (even quoting the opening of Stravinsky's 'Firebird Suite' mid-solo in one legendary performance), and had longed to make a record where his jazz saxophone was accompanied by strings.The resulting record is music's greatest improviser at his best. Jazz pianists Peter Martin and Adam Maness listen to select tracks (like "Just Friends" and "Summertime"), breaking down the theory behind the music to understand what makes this album great. Jazz is the foundation of the most GENIUS music in recent history: Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo. In this popular music series, You'll Hear It, Adam and Peter break down the greatest albums of all time. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.Like the jam at the end of the show? Head to @openstudiomusic on YouTube for more.Visit openstudiojazz.com for ALLLLL your jazz lesson needs.00:00 - Intro: Charlie Parker with Strings01:10 - "Just Friends"04:40 - Want to Be a Great Musician? Study This Track10:20 - Early Recording: "Swingmatism" (1941)12:45 - The Secret to Charlie Parker's Genius: Practice15:20 - The Savoy Sessions: "Now's the Time" & Young Miles Davis18:20 - The Contrafact Built in Real Time21:45 - "Koko": Miles Davis Couldn't Play It?!24:30 - Musicians NEED to Listen to This27:15 - Think Parker Sold Out? Think AGAIN28:55 - "April in Paris": Parker's Chosen Tune33:55 - About Mitch Miller's Oboe ... 38:25 - "Summertime"44:10 - "Out of Nowhere"46:35 - We Have An Album! 47:20 - "East of the Sun"53:00 - "I'll Remember April"55:50 - Categories: Desert Island Tracks56:35 - The BEST Moments on Strings1:11:10 - Open Studio Plays "Just Friends"

Een bijzondere avond, vrijdag 27 februari 2026. Allereerst een voorpremiere van het nieuwe programma van het North Sea String Quartet, hèt Nederlandse jazz-strijkkwartet van dit moment. Aansluitend een presentatie van Miriam Kroeze en Ruud Ouwehand. Zij vertellen over hun zelfgebouwde Cello (Honey) en Contrabas (Honey-B). Hoewel de jazztraditie vooral geassocieerd wordt met blaasinstrumenten, piano en ritmesectie, hebben strijkinstrumenten zoals viool en cello door de hele jazzgeschiedenis een verrassende rol gespeeld. In deze TORcast aandacht voor strijkers in de jazz. Playlist: Joe Venuti, Eddie Land & Their All-Star Orchestra: After You’ve Gone; Yehudi Menuhin, Stephane Grapelli, Max Harris, Alan Clare Denny Wright: Fascinating Rhythm; Tim Kliphuis: The Nearness Of You; Charlie Parker with Strings: Everything Happens To Me; Charlie Parker with Strings: Autumn In New York; North Sea String Quartet: One Night Music Stand; ZAPP4 & Hermine Deurloo: Het Gouden Wagentje; Fred Katz: Feeling The Blues; Jean-Luc Ponty: King Kong; Regina Carter: Georgia On My Mind; Nigel Kennedy, Stephane Grapelli: Melody In The Wind.

Saxophonist & composer Chris Potter returns to ‘Pablo Held Investigates’ for an in-depth conversation, recorded just before heading out on their European tour together. Zooming in on their repertoire, Chris shares insights into his compositional process. Other topics include Herbie Hancock's ‘Actual Proof’, what Chris pays attention to when listening to Charlie Parker and John Coltrane, playing on ‘Alegria’ by Wayne Shorter and much more.Catch the Pablo Held Trio & Chris Potter on their ongoing February 2026 European tour: Feb 18 – Munich (DE) // Unterfahrt Feb 19 – Hamburg (DE) // Laeiszhalle Feb 20 – Bonn (DE) // BeethovenhausFeb 21 – Dortmund (DE) // Domicil Feb 23 – Aachen (DE) // Theater Aachen Feb 24 – Engelsholm (DK) // Agerumsladen Feb 25 – Trondheim (NO) // Dokkhuset Feb 26 – Echternach (LUX) // Trifolion https://pabloheld.com

Jazzdrum‑Playlist (Volgorde: van vroeg → modern) 1. Gene Krupa – “Sing, Sing, Sing” (Benny Goodman, 1937) De oerdonder van de swingdrums—Krupa maakt de toms en jungle‑feel wereldberoemd. 2. Baby Dodds – “Spooky Drums” (1946) Een solo-opname die laat horen hoe vroeg-jazzdrummers kleur, ritme en improvisatie benaderden. 3. Max Roach – “Cherokee” (met Charlie Parker, 1945) Razendsnelle bebop en totaal vernieuwend ride‑cymbalspel. 4. Art Blakey – “Moanin'” (1958) Blakey's “press roll thunder” en soulvolle drive: hét hard‑bop geluid. 5. Philly Joe Jones – “Two Bass Hit” (Miles Davis, 1958) Super strakke rudiments, dynamische fills, en meesterlijke controle. 6. Elvin Jones – “A Love Supreme: Pt II – Resolution” (John Coltrane, 1965) Golvende, spirituele storm aan polyritmiek. Volgens kenners één van de meest invloedrijke drumopnames ooit. 7. Tony Williams – “Seven Steps to Heaven” (Miles Davis, 1963) Williams was 17 (!) en revolutionair in drive, vrijheid en cymbal‑articulatie. 8. Roy Haynes – “Snap Crackle” (1962) Zijn bijna elektronische “snap & crackle” stijl komt hier volledig tot recht. 9. Billy Cobham – “Stratus” (1973) Kracht, snelheid, precisie: Cobham zet een nieuwe standaard voor fusiondrums. 10. Steve Gadd – Intro van 50 Ways To Leave Your Lover 11. Steve Gadd – “Foam Home” (Steve Gadd Band – 70-Strong, 2015) Legendarische precisie, frasevorming en groove—drummer's favorite. 12. Peter Weissink – Up Jumped Spring (Keys and Beats – 2024) Als toetje: de ‘huisdrummer’ en organisator van de Tor-JazzJamsessions: Peter Weissink en zijn muzikale companen John Hondorp en Sebatian Altekamp op hammond en piano. Drums en slagwerk vormen de ritmische motor van jazz. Van de vroege “trap sets” in New Orleans tot de complexe metriek van het modern jazz‑drummen: elke periode bracht nieuwe technieken, geluiden en muzikale rollen. 1. Vroege jazz & New Orleans (1900–1920) De moderne drumkit ontstond in New Orleans toen slagwerkers verschillende percussie-instrumenten combineerden tot één set (o.a. bass drum, snare en bekkens). Kenmerken Tweeledige rol: ritme én kleur Veel marching band‑invloeden Gebruik van vroege “rudiments” en eenvoudige ritmiek Belangrijke drummers Baby Dodds — pionier van het improvisatorische drumwerk Zutty Singleton — populair door zijn werk met Louis Armstrong 2. Swing Era & Big Bands (1930–1940) Met de opkomst van bigbands werd de drummer een tijd-keeper die de dansbare “swing feel” moest dragen. Kenmerken Focus op steady hi-hat en basdrum Grote orkesten → meer kracht en consistentie nodig Drumsoli worden een showelement Belangrijke drummers Gene Krupa — maakte de tom-toms beroemd, enorme showman Chick Webb — krachtig, invloedrijk swingdrummer Jo Jones — verplaatste de “time” van basdrum naar ride-bekken, een mijlpaal 3. Bebop (jaren 40) Bebop zette de drummer in een interactieve, minder voorspelbare rol. De muziek werd sneller, complexer en meer op improvisatie gericht. Kenmerken Ride-cymbal wordt het hoofdritme-instrument “Dropping bombs”: accenten op de basdrum Veel vrijheid en communicatie met solisten Belangrijke drummers Kenny Clarke — grondlegger van moderne bebop-drums Max Roach — melodisch drummen, polyritmiek Art Blakey — dynamisch en krachtig, bekend van Jazz Messengers 4. Hard Bop & Soul Jazz (jaren 50–60) De groove werd zwaarder en aardser, beïnvloed door gospel en blues. Kenmerken Sterkere backbeat Meer emotionele spanning Interactie met blazers en piano Belangrijke drummers Art Blakey (opnieuw) — echte hard bop‑architect Philly Joe Jones — strak, fel, met prachtige rudimental frases Elvin Jones — revolutionaire, golvende “drum‑storm” rond Coltrane 5. Modal Jazz en Post-Bop (jaren 60) De ritmische vrijheid neemt toe; drummers bewegen zich losser rond de beat. Kenmerken Minder voorspelbare patronen Veel gebruik van textuur en ruimte Accent verschuift van swing naar flow en kleur Belangrijke drummers Tony Williams — enorm vernieuwend op jonge leeftijd, bij Miles Davis Jack DeJohnette — lyrisch, open, breed geluid Roy Haynes — “snap, crackle”, lichte en springerige stijl 6. Jazz Fusion (jaren 70) Elektrische instrumenten en rockinvloeden brengen nieuwe energie. Kenmerken Krachtiger spel, rock‑dynamiek Complexe maatsoorten Gebruik van elektronische drums en percussie Belangrijke drummers Billy Cobham — stormachtig, technisch extreem sterk Lenny White — pionier bij Return to Forever Harvey Mason — funk‑jazz, strakke groove 7. Contemporary Jazz (jaren 80–heden) Hedendaagse drummers mengen jazz met wereldmuziek, hip-hop, elektronica, en nog veel meer. Kenmerken Hybride setups en elektronica Complexe metriek (bijv. 7/8, 11/8) Mix van jazz, pop, funk, hip-hop en indie-invloeden Belangrijke drummers Brian Blade — muzikaal, gevoelig, dynamisch Jeff “Tain” Watts — krachtige post-bop energie Mark Guiliana — pionier van elektrojazz en “future groove” Terri Lyne Carrington — veelzijdig, grensverleggend

STANDARSEMANAL.-The Girl From Ipanema.-VINILOS MITICOS DEL JAZZ-.BUDDY DEFRANCO - And The Oscar Peterson Quartet.-JAZZACTUALIDAD.-.MARTINA SABARIEGO BIG BAND-FORCES AND BATTLEMENTS Bonifacio Ferdinand Leonard "Buddy" DeFranco (Camden, Nueva Jersey, 17 de febrero de 1923 − Panama City, Florida, 24 de diciembre de 2014)[1]​ fue un clarinetista de jazz estadounidense. De origen italiano, comenzó a tocar el clarinete en 1935 con sólo 12 años para ayudar a su padre ciego a mantener a su familia muy pobre que vivía en el sur de Filadelfia. A los 16 años ya era un músico que giraba a través de los Estados Unidos con varias bandas. Su carrera se desarrolló en lo que se considera la época dorada del swing jazz y las big bands, que tenía como principales clarinetistas a Artie Shaw, Benny Goodman y Woody Herman. Pero él fue el primero en dedicarse con su instrumento al bebop y a la música de Charlie Parker, y con Tony Scott se convirtió en uno de los pocos clarinetistas en ese tipo de la historia del jazz. También fue el primero en utilizar el clarinete bajo en el jazz con resultados extraordinarios. Entre sus colaboraciones más importantes se encuentran las que tocó con Count Basie, Sonny Clark y Tal Farlow. De 1966 a 1974 fue líder de la orquesta de Glenn Miller. También tocó con George Shearing, Gene Krupa, Charlie Barnet, Art Tatum, Oscar Peterson, Terry Gibbs, Art Blakey, Tommy Gumina y muchos otros. Se le dedicó una hermosa biografía en el libro: Una vida en la edad de oro del Jazz. También fue organizador del festival de jazz para jóvenes talentos Buddy DeFranco Jazz Fest y en 1996 como maestro y profesor publicó su versión del método Hanon para el aprendizaje de clarinete de jazz. Junto con su amigo de Tony Scott es considerado el más grande de todos clarinetista de jazz de su tiempo. Agotado desde hace mucho tiempo, este LP, reeditado por el sello «WaxTime» en 2018, presenta al brillante clarinetista Buddy DeFranco con el Oscar Peterson Quartet, o lo que es lo mismo, el trío habitual del orondo pianista de Toronto, con el añadido del baterista, Louie Bellson. Si bien las seis tomas son todas estándares, DeFranco y Peterson producen swing a raudales y con un ritmo alejado del habitual “tempo” de Oscar Peterson. DeFranco suena impecable en el clarinete, lo que hace que suene tan fácil de tocar como un rayo; pocos clarinetistas se han acercado alguna vez a esta velocidad. Disco muy recomendable para ver tocar el piano a Óscar Peterson fuera de su zona de confort, si es que alguna vez estuvo en ella. Martina Sabariego Big Band Forces And Battlements La compositora y multiinstrumentista de Xirivella, Martina Sabariego, presenta Forces and Battlements, su segundo álbum y el primero escrito y grabado para big band. Un trabajo con cuatro piezas que ponen el foco en la cultura valenciana, explorando nuevos paisajes sonoros con una mirada personal y valiente. El proyecto se ha materializado en Boston, gracias al apoyo del New England Conservatory, y consolida la proyección internacional de una artista que debutó con Xano Xano. Forces and Battlements ya está disponible en: https://martinasabariego.bandcamp.com/album/forces-and-battlements-2 --- Lista de temas: 1. Vida y Muerte de la Devesa 06:58 2. Muixeranga 04:15 3. Elvira 07:39 4. Alquería Coca 08:54 --- Repertorio y solos: 1. Vida y Muerte de la Devesa  Solos de Jason Ryu, Walker McSween, Nadav Brenner y Carlo Kind 2. Muixeranga 3. Elvira  Solos de Nick Isherwood y Joey DuBois 4. Alquería Coca  Solos de Pavle Zvekic, Juan Saus, Albert Climent y Carlo Kind --- Integrantes de la big band: Saxofón Alto 1 (a soprano): Lenka Molcanyiova Saxofón Alto 2 (a flauta): Juan Saus Saxofón Tenor 1 (a clarinete en Sib): Gabriel Nieves Saxofón Tenor 2: Ella Wilhemina Saxofón Barítono: Noa Zebley Trompeta 1: Shota Syamaguchi Trompeta 2: Joey DuBois Trompeta 3: Walker McSween Trompeta 4 Maddoc Johnson Trombón 1: Jason Ryu Trombón 2: Albert Climent Trombón 3: Aiden Coleman Trombón Bajo: David Paligora Guitarra Eléctrica: Nadav Brenner Piano: Pavle Zvekic Contrabajo: Nick Isherwood Batería: Carlo Kind --- Compuesto, arreglado y dirigido por: Martina Sabariego Ingeniero de grabación: Sam McCarthy Ingeniero de mezcla: Adrià Serrano Grabado en The Record Co., en octubre de 2024, Boston (MA) Agradecimientos especiales al New England Conservatory of Music por la beca EM.

В прошлом году саксофонист Алексей Круглов выпустил свой 100-й альбом, поэтому его смело можно назвать самым продуктивным джазменом России. 30 января этого года со своим #bigband и певицей Кариной Кожевниковой вышел альбом с оперной музыкой Джорджа Гершвина Porgy & Bess. Сразу замечу, что классическая музыка этим ребятам дается очень хорошо. Яркий пример этому альбом Bach Games ©️2024, название которого говорит само за себя. Еще ребята делали обработки военных песен - Друзья-однополчане. Это особенный альбом, который я обозревал и даже брал интервью у Алексея, что бы он подробнее рассказал об этой работе 2021 года. А впервые я услышал этого перформера в 2020 году обозревая альбом Yardbird Suite, где речь шла о знаменитом бибопере Charlie Parker.Как мы слышим не обязательно быть Ella Fitzgerald или Louis Armstrong, чтобы исполнять эту оперу. В данном случае мы слышим только женский голос, но думаю пройдет время и мы услышим мужской тоже. И если мечтать дальше, то возможно Юнона и Авось тоже появится в джазовой обработке и вообще джаз будут сочинять больше на русском языке. По любому, начало есть и надо сказать большое спасибо Алексею и его команде за такую прекрасную работу. Мне не знакома художественная тема этой оперы, но слушая этот альбом, захотелось увидеть ее на сцене оперного театра в исполнении артистов. Напишите в комментариях, кто был, какие ваши впечатления?Я же расскажу свои о музыке. Во-первых, тексты на английском звучат без акцента - это говорит о хорошей подготовке, знании темы и языка. Во-вторых, музыканты играют не только хорошо по нонам, но и замечательно импровизируют. То есть, как говорит Алексей, играют играючи, как в игру - это слышно не только на скете певицы, но и в общей картине всего оркестра, и особенно в спонтанных соло. Хотя я не уверен, это спонтанно или так написано в нотах. Отсюда в-третьих, аранжировки, если они есть, а они есть и просто великолепны. По ощущениям это намного интереснее и приятнее, чем рок-оперы моей молодости, пронизанные драматизмом.СЛУШАТЬ АЛЬБОМ - https://band.link/4rJSNИНТЕРВЬЮ - https://youtu.be/Uipun-2VuGg?si=E8AkI19Ip1nsnfdQДРУЗЬЯ-ОДНОПОЛЧАНЕ - https://t.me/discor/6009YARDBIRD SUITE - https://t.me/discor/5747BACH GAMES - https://t.me/discor/7193Лучший трек альбома в плей-листе JAZZ по-русски 9 на AppleMusic и SpotifyПоставь лайк ❤️ и подпишись на канал JAZZ по-русски https://t.me/discor

The fun of playing some songs is that we just never know what we're going to hear. This George Gershwin piece has been like that ever since Danny Cox brought us better chords for it a year or so ago. Now the song is like a shiny little red convertible parked in the garage just waiting for the next sunny day. You and your buddies pile in, not knowing where you're going, just enjoying the company and the sights and the sounds of each other's laughter. Hop in! We're going for a joy ride!About the SongAs reported earlier, “Lady Be Good” has been a perennial party favorite for more than a century now.Nineteen-Twenty-Four was a watershed year for Gershwin. After spending more than a decade pounding the pavement in New York's Tin Pan Alley, he composed his landmark "Rhapsody in Blue." Then, alongside his brother Ira, George scored his first major Broadway hit, the musical comedy Lady Be Good, which ran for more than 300 performances.The enduring significance of the show's title tune, "Lady Be Good," lies in its rare ability to transcend musical eras. A unique entry in the Great American Songbook, it beautifully bridged two distinct jazz ages, surviving the transition from the loose Dixieland style of the Roaring Twenties to the smooth swing sound of the 1930s.A favorite among jazz legends as diverse as Charlie Parker and Lester Young, the song's rich history also includes interpretations by vocal icons like Ella Fitzgerald and Mel Tormé.For more on the back story of this song, see this earlier Flood Watch entry.More Floodifaction?And if this has you hungry for a little more of the band's jazzier selections, drop by the free Radio Floodango music streaming feature and click on the “Swingin'” Channel.Click here to give it a spin. 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

durée : 00:59:58 - Same Space - par : Nathalie Piolé -

On this week's episode of History From The Backpages, Collin analyzes the 1944 supernatural horror film The Uninvited, directed by Lewis Allen and starring Ray Milland, Gail Russell, Donald Crisp, and Ruth Hussey. Noting the film's iconic song Stella By Starlight, which was later covered by Frank Sinatra, Charlie Parker, and Miles Davis.

El baterista suizo Daniel Humair, uno de los músicos europeos de jazz importantes, ha tocado con muchos grandes en sus 87 años de vida. Escuchamos grabaciones suyas realizadas en directo, entre 1964 y 1987, de composiciones de Eric Dolphy ('Les', 'Serene'), Charlie Parker ('Au privave'), Gerry Mulligan ('Walking shoes'), Phil Woods ('Nite at St. Nicks'), Michel Portal ('Pressing à deux'), Benny Golson ('Stable mates'), Jane Ira Bloom ('I´ve got rhythm but not melody'), Meyer, Kahn y Caesar ('Crazy rhythm') y J.J. Johnson ('Wee') acompañado por saxofonistas como Eric Dolphy, Gerry Mulligan, Phil Woods, Johnny Griffin o Jane Ira Bloom, pianistas como Kenny Drew, Gordon Beck, Martial Solal y Tete Montoliu, contrabajistas como Henri Texier o Guy Pedersen, el guitarrista René Thomas o el organista Eddy Louis.Escuchar audio

In this episode we speak to Professor Andrew Bowie, who discusses his work at the intersection of philosophy and music, suggesting that both practices “make sense” of things, and that aesthetic experience opens up new ways of relating that extend beyond the simply cognitive. It is within this context that ideas of freedom arise. While resisting a definition of freedom, Andrew is clear that music is not just a metaphor for freedom but is itself a liberatory practice, responding to constraints and working to transcend these. If you enjoyed this episode, please subscribe and share Sounding Freedom and Liberation with your community. Biography Andrew Bowie is Professor Emeritus of Philosophy and German, Royal Holloway, University of London, and a jazz saxophonist. He has written extensively about the relationship between music and philosophy, showing how they are entangled with each other historically, and how each illuminates the other. Works in this area include Music, Philosophy, and Modernity (Cambridge University Press, 2007), Aesthetic Dimensions of Modern Philosophy (Oxford University Press, 2022), alongside numerous articles and chapters, as well as two introductions to German philosophy. Links to accompany the episode This is from the same tour as when I heard alto saxophonist Johnny Hodges live with the Ellington band, which sparked a lifelong obsession with the expressive possibilities of saxophone tone. https://youtu.be/ASdihZyUIy0?si=aoEzyEJ4JO5vPH6D The coda to Bruckner's 8th Symphony, which I never tire of, since hearing it live with Herbert von Karajan and the Berlin Philharmonic in 1976. This excerpted version of the coda gets a clarity many recordings lack. However one thinks about it, this seems to me to show what is meant by musical transcendence. https://youtu.be/uXS-LvrJgdU?si=xmzRgyTYYqLXIThG This is my favourite example of how Louis Armstrong really invented jazz: there is nothing like this in music before Louis started playing in this way. The rather staid accompaniment only serves to highlight how startling his playing was. https://youtu.be/KF7-xh8Ai1c?si=WHZ2_dEamZS_NuZR Beethoven's Missa Solemnis in an outstanding live performance. It's works like this that make me resist trying to reduce the great tradition of Western music to issues like colonialism. https://youtu.be/pKPVAyDaFY4?si=vc7eOivnVC9LCV3s This not very well recorded version of Thelonious Monk's Round Midnight by Charlie Parker, with a completely exceptional piano solo by Bud Powell, was on about the 3rdjazz LP I ever bought, aged 16 in 1968. https://youtu.be/ECLoE-bw3Kw?si=RzMce_K9XMbul9JP Beethoven's Grosse Fuge. Like the Missa Solemnis, this resists reduction to any of the ways it might be thought about. He said of it that it was ‘“tantôt libre, tantôt recherchée”: the freedom it embodies is expressed so powerfully because it is manifest in relation to music governed by many complex rules. https://youtu.be/EqGKHDjMTiM?si= The conclusion of Mahler's 2nd Symphony in a remarkable performance under Klaus Tennstedt. At a time when the world is descending into chaos such music offers a form of temporary liberation whose value cannot be underestimated. https://youtu.be/cUccRm0SYaY?si=jVSnbU1Y2KLAB60s Andrew recommends … “The best books to show why so much modern philosophy fails to make real sense of the world”: https://shepherd.com/best-books/why-so-much-modern-philosophy-fails-to-make-real-s Podcast hosts Dr Férdia Stone-Davis: www.ferdiastonedavis.com Dr Charissa Granger: https://sta.uwi.edu/fhe/dlcc/dr-charissa-granger Podcast acknowledgements The Sounding Freedom and Liberation music was composed by Samuel J. Wilson. Website: https://www.samueljwilson.com/profile The Sounding Freedom and Liberation logo was designed by Pavlína Kašparová. Website: https://www.creativenun.com/bio The Podcast was recorded at the Media Lab, the West Hub, Cambridge, and was edited by Mike Chivers

Charlie Parker gives a message of depth and weight in 2015 at Fellowship of The Spirit NorCal in Folsom, CA. Find us at https://maddogspeakers.com/.

Back in the late 80s, Clint Eastwood directed a movie about jazz saxophonist Charlie Parker.  It starred Forest Whitaker and currently stands at 81% on Rotten Tomatoes. So, this must be a good movie, right? Well, the boys take a look.    Links Does This Still Work? - TV Podcast https://www.podchaser.com/podcasts/does-this-still-work-1088105 ‎Does This Still Work? on Apple Podcasts https://podcasts.apple.com/us/podcast/does-this-still-work/id1492570867 creatoraccountabilitynetwork.org. You can rate and review us in these places (and more, probably) Creator Accountability Network A breath of freedom - jazz - slips into a Soviet club https://www.newspapers.com/article/the-kansas-city-star-301-bird-1988-0/186310932/ The House that Jazz Built https://www.newspapers.com/article/daily-news-301-bird-1988-1/186310714/ Suddenly, Jazz Seems to Be Reawakening in Laid-Back San Diego Page 1: https://www.newspapers.com/article/the-los-angeles-times-301-bird-1988-31/186311140/ Page 2: https://www.newspapers.com/article/the-los-angeles-times-301-bird-1988-32/186311339/ Page 3: https://www.newspapers.com/article/the-los-angeles-times-301-bird-1988-33/186311443/  

Nuestra despedida hasta el 2026. ADIVINA LA MINISERIE TV. María del Mar Bonet. L’AGUILA NEGRA. SAN TORAL. Alfredo Kraus. CANCIÓN DEL VAGABUNDO de Alma de Dios. Charlie Parker. KO KO. EFEMÉRIDES. Slade. MERRY XMAS EVERYBODY. Banda de Música de Artajona. AGÁRRATE SAXO, pasodoble. PROMOCIONES. John Coltrane. MY FAVORITE THINGS. Patxi Andión. UNA, DOS Y TRES. CANCIÓN COMÚN […] The post Los Tres Tenores 17/12/2025 first appeared on Ripollet Ràdio.

Charles Parker is a higher-education leader at Keiser University, where he focuses on student success, career-driven education, and preparing graduates for today's evolving workforce. With experience navigating the intersection of academics, industry needs, and innovation, Charles is passionate about helping students turn education into real-world opportunity. His work reflects Keiser's mission of practical, hands-on learning and outcomes-focused education.

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.

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

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. 

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!

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

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

“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.