Podcast appearances and mentions of Chet Baker

Halloween over Florence: THE MARKET OF GHOSTSSeverino lived in the bell tower on the hill — the one next to the ancient Basilica of San Miniato al Monte.Every evening, at sunset, he would lock the gate at the base of the entrance stairway and before climbing back up, he would pause to watch Florence color itself amber.And so he did today as well. The tourists had left. Time stopped and silence became sacred again.Through the rusted bars the city stood there motionless — perhaps since forever; with its red roofs, marble facades and the Arno flowing between its stones like a glittering silver ribbon.Domes and towers trembling with light, almost suspended in the air, as if everything and everyone were holding their breath waiting for twilight — and for the night that would cover it with shadows, stars and dreams.One more glance, then he turned on his transistor radio that he had found a few years ago and the notes of Duke Ellington's 'Don't Get Around Much Anymore' filled the autumn evening.Silence may be sacred for the monks, but for Severino music was more so. Seven, his raven, didn't need to be called and at the first notes launched himself from the cypresses of the cemetery above, circled in front of the imposing facade of the Basilica and suddenly glided down along the stairway, to land gently on his left shoulder."Hey Seven, had a good day?""Yes. Could have been worse — Let's settle for that."At which, Severino smiled, turned up the radio's volume and began climbing resolutely toward le Porte del Cielo, while Jazz music echoed among the ancient stones.Nine years ago, on this same day in the month of October, the Olivetan monks residing in the Abbey found a child on the steps of the Basilica.He was there, wrapped in fog, silent as the night, eyes curious as the wind, without name and without past. They called him Severino — I don't know why — and he grew up among prayers and silences. He played in ancient rooms and discovered his world, surrounded by books, tombs, art and mysteries never revealed. At night a raven and a black cat accompanied him, illuminated by the moon, in the Cimitero delle Porte Sante, wandering among imposing crypts and motionless statues that whispered memories and mysteries.But on Halloween nights the whispers transform into screams and endless laments. Secrets manifest themselves, legends become reality, and dreams disguised as nightmares knock on doors lit by candles. And that full moon night was precisely this night: October 31st — and remember, whether you believe in spirits or not, nothing changes: the ghosts will come.And Severino was up there, right there waiting for them to arrive. Leaning out the highest window of the bell tower, calm, looking at Florence from above. While Thelonious Monk's 'Round Midnight' played on his radio, he watched — tapping time with one foot and waited.At the second of the twelve strokes of the midnight bells, something began to happen. On the Arno formed a dense fog that pulsed with spectral green. It began to rise and slide slow but inexorable over the bridges like fingers of cold hands of impatient ghosts. It slid over the Ponte Vecchio and rolled through the streets of Oltrarno until reaching San Niccolò, where it climbed up the hill swallowing everything it found in its path.When it reached the gate of San Miniato, it slipped through the bars and climbed up the stairs until it covered, like a high luminous tide, the entire square in front of the church. It climbed up the marble facade and wrapped also the Cimitero delle Porte Sante, covering the entire hill in a cloak of mystery. Then slowly, as if by enchantment, the fog began to dissolve rising toward the sky and when the last cloud melted into the night air, the square was no longer empty.Small jack-o'-lanterns with flickering lights floated in the air smiling with teeth of fire. Black candles sprouted from nowhere, illuminating spectral stalls full of everything and nothing. Bats that seemed made of paper but were alive fluttered among the lights with wings of black velvet, while autumn leaves danced without wind, sparkling with gold and copper. Pumpkins of every shape filled the stands, some carved with funny faces, others covered with silver spiderwebs that shone like threads of moon. Witch hats swirled in the air like flying umbrellas rotating slow on themselves. Roasted chestnuts perfumed the air with cinnamon and mystery, while small dancing skeletons tinkled like ice bells.And finally in the Cimitero delle Porte Sante, the Portal opened. Like every Halloween, for centuries, spirits from all over the world congregated in Florence for their annual meeting. A spectral river of ghosts poured into the square, each heading toward their own stall, and each with their impossible merchandise to sell or trade. The spirits had arrived and Severino observed them from above. A carnival of other worlds, made of sounds, colors and unimaginable stories.The deserted square had transformed into the Market of Ghosts. Stalls kept materializing from nowhere, carved and glowing pumpkins told each other stories of Halloweens past, present and future laughing malicious among the perfumes of lost memories, past centuries, tomorrow's candles and fallen stardust. The sky above the Tuscan hills and above Florence was full of ghosts arriving from everywhere to search for the unfindable. But no human eye could see this spectacle. No one except Severino, who descended from the tower enchanted by that spectacle and immersed himself in the crowd pulsating with otherworldly life. Seven circled above him observing with attentive eyes and cawing a bit nervous. Some ghosts looked at him with curiosity and recognized him. Someone greeted him and many others whispered his name in forgotten languages."There he is," murmured a witch from Prague."The child of time," sighed a Norman knight."He's returned, I told you so." laughed a Caribbean pirate.But Severino paid them no attention because there were ghosts selling: dreams of sleeping dragons, laughter of northern gnomes, tears of mermaids in love, the last breath of dinosaurs, shadows of unicorns. And even fears from past Halloweens — two for the price of one, but only for tonight. The ghost of a pirate who died during a boarding gone not so well shouted: "Storm bottles! Lightning in jars!" A witch from Salem whispered: "Love potions that last three lifetimes…" A medieval knight showed swords that cut fear, A Chinese spirit waved kites that fly into the past.The spectral crowd grew and thickened, laughed and bargained, while Severino walked amazed and fascinated among the impossible stalls of the Halloween Market. Seven cawed restless from above and Eleven, the black cat with orange eyes, jumped from one tent to another not losing sight of a single movement of Severino and the hundreds of souls circling around him.A ghost monk from an era that never existed saw him and smiled at him from behind a stall full of ancient radios adorned with mysterious symbols. Severino approached, fascinated."How wonderful! Do they all work?""Oh yes, certainly" replied the monk. "These transmit on the waves of past, present, and future time. But you don't need to buy one."The other ghosts stopped. They ceased selling, buying and bartering. They looked at Severino with respect and listened to what the collector of frequencies told him."The transistor radio you already have is more special than you think. But to discover its true secrets, you'll have to search in the ancient crypts where everything began."And suddenly the first lights of dawn began to illuminate the sky behind San Miniato with pink. In rush and hurry the ghosts said goodbye flying away in the wind. "Until next Halloween!" They told each other crossing in the sky. The stalls vanished. Lanterns and candles went out. The Market of Ghosts dissolved like a dream.Severino found himself alone in the empty square, Seven on his shoulder and Eleven sitting on the low wallLooking at Florence illuminating itself in the day of All Saints. He observed his old radio with new eyes and from the ancient crypts of San Miniato, something seemed to call him. He turned it on, turned up the volume and descended the stairway in time to Chet Baker's version of 'Autumn Leaves'.It was time to throw open the gate of the Basilica of San Miniato al Monte.___________________We will continue this story.... For now a Happy Halloween to all of you, may you always believe in magic!Story written by Marco Ciappelli for "Stories Under The Stars" Halloween 2025___________________Listen to Severino's Playlist for the songs that accompany this story and subscribe to discover new music with every adventure.

Halloween sopra Firenze: IL MERCATO DEI FANTASMISeverino viveva nel campanile sulla collina — quello accanto all'antica Basilica di San Miniato al Monte.Ogni sera, al tramonto, chiudeva a chiave il cancello alla base della scalinata d'ingresso e prima di risalire su, si soffermava ad osservare Firenze colorarsi d'ambra.E così fece anche oggi. I turisti se ne erano andati. Il tempo si fermò e il silenzio tornò sacro.Attraverso le sbarre arrugginite la città stava là immobile — forse da sempre; con i suoi tetti rossi, le facciate di marmo e l'Arno che scorreva fra le sue pietre come uno scintillante nastro argentato. Cupole e torri tremolanti di luce, quasi sospese nell'aria, come se tutto e tutti stessero trattenendo il respiro in attesa del crepuscolo — e della notte che l'avrebbe coperta di ombre, stelle e sogni.Ancora uno sguardo, poi accese la sua radio a transistor che aveva trovato qualche anno fa e le note di 'Don't Get Around Much Anymore' di Duke Ellington riempirono la serata autunnale.Il silenzio sarà sacro per i monaci, ma per Severino la musica lo era di più.Seven, il suo corvo, non si fece chiamare ed alle prime note si lanciò dai cipressi del cimitero sovrastante, volteggiò davanti alla facciata imponente della Basilica e d'improvviso planò in basso lungo la scalinata, per posarsi gentilmente sulla sua spalla sinistra. “Ciao Seven, passata una buona giornata?”“Sì. Poteva andare peggio — Accontentiamoci.” Al che, Severino sorrise, alzò il volume della radio e iniziò a risalire deciso verso le Porte del Cielo, mentre la musica Jazz echeggiava tra le pietre millenarie.Nove anni fa, in questo stesso giorno del mese d'Ottobre, i monaci Olivetani residenti nell'Abbazia trovarono un bambino sui gradini della Basilica.Stava lì, avvolto nella nebbia, silenzioso come la notte, occhi curiosi come il vento — senza nome e senza passato. Lo chiamarono Severino — non so il perché — e crebbe tra preghiere e silenzi. Giocava in stanze antiche e scopriva il suo mondo, circondato da libri, tombe, arte e misteri mai svelati.Di notte un corvo ed un gatto nero lo accompagnavano, illuminati dalla luna,  nel Cimitero Delle Porte Sante, vagando fra cripte imponenti e statue immobili che sussurravano memorie e misteri.Ma nelle notti di Halloween i sussurri si trasformano in grida e lamenti senza fine. Segreti si manifestano, leggende diventano realtà, e sogni mascherati da incubi bussano a porte illuminate da candele. E quella notte di luna piena era proprio questa notte: il 31 d'Ottobre — e ricordati, che tu creda agli spiriti o no, niente cambia: i fantasmi arriveranno.E Severino era lassù, proprio ad aspettare che arrivassero. Affacciato alla finestra più alta del campanile, tranquillo, guardando Firenze dall'alto. Mentre 'Round Midnight' di Thelonious Monk suonava nella sua radio, lui guardava — batteva il tempo con un piede ed aspettava.Al secondo dei dodici rintocchi delle campane di mezzanotte, qualcosa cominciò a succedere. Sull'Arno si formò una nebbia densa che pulsava di verde spettrale. Iniziò a salire e scivolare lenta ma inesorabile sui ponti come dita di mani fredde di fantasmi impazienti.  Scivolava sul Ponte Vecchio e rotolava per le vie d'Oltrarno fino a raggiungere San Niccolò, dove si arrampicava sulla collina inghiottendo tutto ciò che trovava sulla sua strada.Quando raggiunse il cancello di San Miniato, scivolò fra le sbarre e salì lungo le scale fino a coprire, come un'alta marea luminosa, tutto il piazzale antistante la chiesa. Si arrampicò sulla sua facciata di marmo e avvolse anche il cimitero delle Porte Sante, coprendo tutta la collina in un mantello di mistero. Poi lentamente, come per incanto, la nebbia iniziò a dissolversi salendo verso il cielo e quando l'ultima nuvola si sciolse nell'aria notturna, il piazzale non era più vuoto.Piccole jack-o'-lanterns con luci tremolanti galleggiavano nell'aria sorridendo con denti di fuoco. Candele nere spuntavano dal nulla, illuminando bancarelle spettrali colme di tutto e niente. Pipistrelli che sembravano di carta ma che erano vivi volteggiavano tra le luci con ali di velluto nero, mentre foglie d'autunno danzavano senza vento, scintillando d'oro e rame. Zucche di ogni forma riempivano i banchi, alcune intagliate con facce buffe, altre coperte di ragnatele argentate che brillavano come fili di luna. Cappelli da strega volteggiavano nell'aria come ombrelli volanti ruotando lenti su se stessi. Castagne arrostite profumavano l'aria di cannella e mistero, mentre piccoli scheletri danzanti tintinnavano come campanelli di ghiaccio.E finalmente nel cimitero delle Porte Sante, il Portale si aprì. Come ogni Halloween, da secoli, spiriti da tutto il mondo si congregavano a Firenze per il loro incontro annuale. Un fiume spettrale di fantasmi si riversò nel piazzale, ognuno dirigendosi verso la propria bancarella, ed ognuno con le sue mercanzie impossibili da vendere o scambiare.Gli spiriti erano arrivati e Severino li osservava dall'alto. Un carnevale di altri mondi, fatto di suoni, colori e storie inimmaginabili.Il piazzale deserto si era trasformato nel Mercato dei Fantasmi. Bancarelle continuavano a materializzarsi dal nulla, zucche intagliate e lucenti si raccontavano storie di Halloween passati, presenti e futuri ridendo maligne fra i profumi di memorie perdute, secoli passati, candele di domani e polvere di stelle cadute.Il cielo sopra le colline toscane e sopra Firenze era pieno di fantasmi che arrivavano da ogni dove per cercare l'introvabile. Ma nessun occhio umano poteva vedere questo spettacolo. Nessuno eccetto Severino, che scese dalla torre incantato da quello spettacolo e si immerse nella folla pulsante di vita ultraterrena. Seven gli volteggiava sopra osservando con occhi attenti e gracchiando un po' nervoso. Alcuni fantasmi lo guardavano con curiosità e lo riconoscevano. Qualcuno lo salutava e molti altri sussurravano il suo nome in lingue dimenticate."Eccolo," mormorava una strega di Praga. "Il bambino del tempo," sospirava un cavaliere normanno. "È tornato, ve lo dicevo io.” rideva un pirata dei Caraibi.Ma Severino non ci faceva attenzione perché c'erano fantasmi che vendevano: sogni di draghi addormentati, risate di gnomi del nord, lacrime di sirene innamorate, l'ultimo respiro dei dinosauri, ombre di unicorni. E perfino paure di Halloween passati — due al prezzo di uno, ma solo per stanotte. Il fantasma di un pirata morto durante un abbordaggio andato poco bene gridava:"Bottiglie di tempesta! Fulmini in barattolo!"Una strega di Salem sussurrava: “Pozioni d'amore che durano tre vite…”Un cavaliere medievale mostrava spade che tagliano la paura,Uno spirito cinese sventolava aquiloni che volano nel passato.La folla spettrale cresceva e si addensava, rideva e contrattava, mentre Severino camminava stupito e affascinato tra i banchi impossibili del Mercato di Halloween.Seven gracchiava inquieto dall'alto e Eleven, il gatto nero dagli occhi arancioni, saltava da una tenda all'altra non perdendo di vista un singolo movimento di Severino e delle centinaia d'anime che gli giravano intorno.Un monaco fantasma di un'epoca mai esistita lo vide e gli sorrise da dietro una bancarella piena di radio antiche ornate di simboli misteriosi. Severino si avvicinò, affascinato. "Che meraviglia! Funzionano tutte?""Oh sì, certamente" rispose il monaco, ”Queste trasmettono sulle onde del tempo passato, presente, e futuro. Ma tu non hai bisogno di comprarne una."Gli altri fantasmi si fermarono. Smisero di vendere, comprare e barattare. Guardarono Severino con rispetto e ascoltavano quello che gli diceva il collezionista di frequenze."La radio a transistor che hai già è più speciale di quanto credi. Ma per scoprire i suoi veri segreti, dovrai cercare nelle cripte antiche dove tutto ebbe inizio."E all'improvviso le prime luci dell'alba iniziarono a illuminare di rosa il cielo dietro San Miniato. In fretta e furia i fantasmi si salutarono volando via nel vento."Fino al prossimo Halloween!” Si dicevano incrociandosi in cielo.Le bancarelle svanirono. Lanterne e candele si spensero. Il Mercato dei Fantasmi si dissolse come un sogno.Severino si ritrovò solo nel piazzale vuoto, Seven sulla sua spalla e Eleven seduto sul muretto a guardare Firenze che si illuminava nel giorno di OgniSanti. Osservò la sua vecchia radio con occhi nuovi e dalle cripte antiche di San Miniato, qualcosa sembrava chiamarlo. L'accese, alzò il volume e scese la scalinata a tempo di 'Autumn Leaves' nella versione di Chet Baker.Era giunta l'ora di spalancare il cancello della Basilica di San Miniato al Monte.Continueremo questa storia. Per adesso un Buon Halloween a tutti voi, che possiate sempre credere nella magia! Storia scritta da Marco Ciappelli per "Storie Sotto Le Stelle" Halloween 2025Ascolta Severino's Playlist per le canzoni che accompagnano questa storia e iscriviti per scoprire nuove musiche ad ogni avventura.

Interpréter Bach, composer pour Nougaro ou jouer avec Chet Baker, c'est dans les cordes de Richard Galliano. Il a donné une nouvelle jeunesse à l'accordéon des bals d'antan. Richard Galliano continue d'arpenter les scènes du monde et s'apprête à fêter ses 75 ans au New Morning. Ses concerts retracent l'histoire de sa vie d'artiste, l'itinéraire d'un enfant animé par la passion de toutes les musiques. Il nous livre, ces jours-ci, une nouvelle version de l'album «Viaggio» paru en 1993, «New Viaggio». Richard Galliano, musicien, était l'invité de Nathalie Amar.   ► Playlist du jour - Richard Galliano - Tango pour Claude. - Richard Galliano - Muse.

Interpréter Bach, composer pour Nougaro ou jouer avec Chet Baker, c'est dans les cordes de Richard Galliano. Il a donné une nouvelle jeunesse à l'accordéon des bals d'antan. Richard Galliano continue d'arpenter les scènes du monde et s'apprête à fêter ses 75 ans au New Morning. Ses concerts retracent l'histoire de sa vie d'artiste, l'itinéraire d'un enfant animé par la passion de toutes les musiques. Il nous livre, ces jours-ci, une nouvelle version de l'album «Viaggio» paru en 1993, «New Viaggio». Richard Galliano, musicien, était l'invité de Nathalie Amar.   ► Playlist du jour - Richard Galliano - Tango pour Claude. - Richard Galliano - Muse.

La comédienne Liliane Rovère a eu une vie bien remplie. Elle est née en 1933 à Paris dans une famille juive marquée par la guerre, a découvert le jazz avec passion, a passé deux ans aux États-Unis avec le trompettiste Chet Baker, est entrée dans le monde du spectacle dans une pièce de Robert Dhéry… La vie de Liliane Rovère pourrait être un roman, mais c'est bien sa vie, dont elle raconte ici les débuts, dans une famille aimante mais où l'on ne parlait pas, où l'on n'avait pas de conversations, pas d'échanges… On s'aimait sans rien dire. (Des bruits parasites se sont invités dans la conversation sans demander la permission. Sorry !) Les parents, Abraham et Chaja Cukier Les mêmes, avec la jeune Liliane Liliane à 4 ans à 17 ans Avec sa mère à Nice, en 1957           Musique du générique : Frédi Loth Réalisation : Frédéric Milano Musiques additionnelles : Clifford Brown – sextet in Paris, 1953- Blue concept Chopin – polonaise, op.53, Evgeny Kissin  

The Legend of Clifford Hicks, signé Tommaso Valsecchi au scénario et Riccardo Rosanna au dessin, publié chez Glénat dans la collection Treize Étrange, est un album qui nous plonge dans l'univers du jazz américain, à la croisée de la musique, de la mémoire et de la légende.L'histoire s'ouvre sur une atmosphère typique des clubs enfumés des années 1940 et 1950. Clifford Hicks, trompettiste talentueux, y apparaît comme une figure à la fois familière et mystérieuse. Ce n'est pas un personnage historique réel, mais il est construit comme une somme de plusieurs musiciens emblématiques : on y devine des échos de Miles Davis, de Dizzy Gillespie, de Clifford Brown, ou même de Chet Baker. Ce mélange crée un héros de fiction crédible, une incarnation de tous ces artistes qui ont marqué le jazz, parfois dans l'ombre, parfois trop tôt disparus.

"Nieuwe Oogst" van onder andere Boz Scaggs, Harry Allen, Samara Joy en Cory Weed en eentje uit de oude doos van Chet Baker en Philip Catherine in dit tweede uur All That Jazzz @1Twente Enschede.

Songs include: All the Things You Are by Artie Shaw, The Last Time I Saw Paris by Kate Smith, Pick Yourself Up by Fred Astaire, Smoke Gets In Your Eyes by Jo Staffored and Look For the Silver Lining by Chet Baker. 

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Sintonía: "The Nearness Of You" - Gerry Mulligan con Chet Baker1.- "Rhythm-A-Ning" (Monk), "Decidedly" (Mulligan), "Straight, No Chaser" (Monk) y "I Mean You" (Monk), extraídas del álbum "Mulligan Meets Monk" (Riverside,1957)2.- "Reunion" (Mulligan), "When Your Lover Has Gone" (Swan), "My Heart Belongs To Daddy" (Porter), "Jersey Bounce" y "Surrey with the Fringe on Top" (Rodgers/Hammerstein), extraídas del LP "Reunion with Chet Baker" (1957)Bonus: "Swinghouse" (Mulligan) - Gerry Mulligan Quartet featuring Chet Baker (1955)Escuchar audio

Painting With John (New Opening) — JOHN LURIE, Painting with JohnRitual — CANBERK ULAŞ, ARVE HENRIKSEN, Echoes of BecomingSoftly as in a Morning Sunrise — FRED HERSCH, Silent Listening'Round Midnight — CHARLIE HADEN, CHET BAKER, ENRICO PIERANUNZI, BILLY HIGGINS, SilenceThe World Begins Today — TIGRAN HAMASYAN, OLIVIER BOGÉ, SAM MINAIE, JEFF BALLARD, The World Begins TodayDo Not Go Gentle Into That Good Night — JOHN ZORN, BILL FRISELL, JULIAN LAGE, GYAN RILEY, LamentationsNessun Dorma — ADAM NEELY, LAU NOAH, The Way UnderLove for Sale — AHMAD JAMAL, Black BeautyJasmine — BUD SHANK, SHORTY ROGERS, BILL PERKINS, NoctambulismEscuchar audio

Almoço foi servido com fome de ouvir.A mesa serve frequentemente como símbolo de união social e familiar, pode também ser confundida com religião, recebendo tanto o alimento físico quanto o espiritual.Nesse episódio, Júlio Adler e Bruno Bocayuva tem sede pelas histórias do Tito e sorvem cada vírgula com atenção e embriaguez.Celebramos as vidas extraordinárias do Bruxo, Hermeto Pascoal, e do Robert Redford, galã dos galãs.A trilha traz Raindrops Keep Falling On My Head(Burt Bacharach and Hal David), da trilha do Classico do cinema, Butch Cassidy and the Sundance Kid, na voz do B.J. Thomas, Almost Blue, orginalmente escrita por Elvis Costello, cantada por Chet Baker e Hermeto Pascoal, com Airto Moreira e Flora Purim com uma música chamada Velório.

Sintonía: "Tea for Two" - Gerry Mulligan & Chet Baker"Goose Grease" - "Remember" - "A Country Boy" - "You Know" - "People Will Say We´re In Love". Todas las músicas extraídas del álbum "Herb Ellis Meets Jimmy Giuffre" (1959), del guitarrista Herb Ellis y el saxofonista Jimmy Giuffre"Scotch Blues", "Caravan" y "Autumn in New York", extraídas del álbum "Blue Lights Volume 1" (1958) del guitarrista Kenny BurrellEscuchar audio

durée : 00:59:17 - Banzzaï du vendredi 29 août 2025 : Invitation - rediffusion - par : Nathalie Piolé -

El trompetista y cantante Chet Baker, venerado en sus años crepusculares como icono de la decadencia y la melancolía, concibió a partir de sus limitaciones físicas un estilo, que dejaba de lado el virtuosismo o las capacidades técnicas del músico, tan debilitadas en el Baker de aquellos años, para dar paso a una nueva forma de expresión basada en el puro lirismo y la emoción. Hasta el punto de que aquellas limitaciones técnicas, tal vez inaceptables en cualquier otro músico y su propio proceso de deterioro físico, se integraron, en el caso de Baker, como un elemento sustancial en la construcción de su personaje legendario. Las inapelables exigencias de sus terribles adicciones, convirtieron su vida en una peregrinación por una eterna noche de clubes y teatros, un proceso percibido por el público europeo como un martirio, una suerte expiación de la que en ocasiones surgía la más pura belleza profunda e inaprensible. La intensidad de su mensaje musical así como el irresistible atractivo de su leyenda, dejó tras su trágica muerte en Amsterdam en 1988, un legado heredado por varias generaciones de músicos, especialmente europeos, tributarios de aquella sensibilidad, de aquella dramática concepción de la vida y del arte. Nuestro podcast recorre algunos de los más interesante homenajes discográficos que el trompetista ha recibido a lo largo de los años, por parte de artistas de los más diversos estilos, procedencias y épocas, desde el pianista norteamericano Richie Beirach, que acompañó a Baker en la década de los setenta, pasando por el conmovedor tributo de los trompetistas italianos Enrico Rava y Paolo Fresu, del alemán Till Brönner o del francés Stephane Belmondo, todos ellos herederos en mayor o menor medida del sonido y el estilo de Baker y por tanto, testigos vivientes de su imborrable huella.

durée : 00:04:13 - Musique matin - par : Max Dozolme - Max Dozolme nous parle d'un petit motif musical qui a tellement été utilisé dans des solos et notamment dans le jazz qu'il est devenu un véritable cliché et même une blague entre musiciens, son nom ? le lick ! Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Jacob Jay and Dalton Sharp from the Jay/Sharptet visited the Flamingo Lounge on July 30, 2025. Based in Buffalo, NY, the Jay/Sharptet performs music with a focus on original compositions and arrangements. Founded by musicians Jacob Jay and Dalton Sharp, this versatile ensemble can perform as a trio, quartet, quintet, or even a big band. Drawing inspiration from iconic artists like the Miles Davis Quintets, Chet Baker, and Roy Hargrove, they strive to make every performance a unique musical statement that is engaging for their audience. Past performances include the Northwest Lewiston Jazz Festival, Queen City Jazz Festival, CMC Jazz Festival, and Pappy Martin Legacy Jazz Festival, as well as renowned venues like the Palmetto Theatre and Pausa Art House.

Puntata a cura di Untimoteo. Arrivato su Netflix nel 2025, Kids on the Slope è un anime del 2012 diretto da Shin'ichirō Watanabe, il celebre autore di Cowboy Bebop. Ma se là dominavano il ritmo frenetico e la fantascienza hardboiled, qui siamo agli antipodi: un racconto intimo e realistico di formazione, amicizia e amore, ambientato nel Giappone degli anni '60. Al centro della storia – tratta dal manga Sakamichi no Apollon – ci sono le jam session jazzistiche tra due liceali molto diversi. La musica, curata da Yoko Kanno, accompagna e scolpisce i momenti chiave: da Coltrane a Chet Baker, da Bill Evans a Gershwin. Un'opera breve (12 episodi), raffinata e nostalgica, che racconta la giovinezza con grazia e profondità.“Animazione” è il format del podcast di Mondoserie dedicato alle diverse scuole ed espressioni del genere, dall'Oriente alla scena europea e americana. Parte del progetto: https://www.mondoserie.it/  Iscriviti al podcast sulla tua piattaforma preferita o su: https://www.spreaker.com/show/mondoserie-podcast  Collegati a MONDOSERIE sui social:https://www.facebook.com/mondoserie https://www.instagram.com/mondoserie.it/   https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ  https://www.linkedin.com/in/mondoserie/ 

durée : 00:59:10 - Midnight Walk - par : Nathalie Piolé - ✨ Ce soir, on croit aux bonnes étoiles, on touche des mirages, on rêve de balades à minuit, très loin de notre lit. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The Jazz Session No.423 from RaidersBroadcast.com as aired in July 2025, featuring an excellent ECM-stable modern jazz album “Five Years Later”, from 1982, by John Abercrombie & Ralph Towner. TRACK LISTING: Oops - Steps Ahead; Blunt Object - Carla Bley; Hot and Anxious - Fletcher Henderson; The Dipsy Doodle, w. Ella Fitzgerald - Check Webb & His Orchestra ; Isla - John Abercrombie & Ralph Towner; The Juggler's Etude - John Abercrombie & Ralph Towner; Blues Five Spot - Thelonius Monk; Vietnam - George Kawaguchi Big Four; V (Suspended Variations) - Tomasz Stanko Quartet; Further - Federica Michisanti Trioness; Horse - Matching Mole; Island of Rhodes / Paper Board / AS If Your Eyes Were Open - Gilgamesh; Our Delight - Dizzy Gillespie, w. Milt Jackson & Ted Brown; Cruisin' with Cab - Cab Calloway; Bumabia - John Abercrombie & Ralph Towner; Child's Play - John Abercrombie & Ralph Towner; Jordu - Stan Getz & Chet Baker; Turnstile - Gerry Mulligan; Waders - Kit Downes, Peter Eldh & James Maddren; Night Shift - Mary Halvorson.

Canciones que se han escuchado en películas como 'Casablanca', 'The fabulous Baker Boys', 'L.A. Confidential' o 'Leaving Las Vegas' y dirigidas por Clint Eastwood, James Brooks o Blake Edwards: 'I love you for sentimental reasons' (grabación de Nat King Cole), 'As time goes by' (grabada por ulie London), 'Misty' (Julie London), 'My one and only love' (Chick Corea), 'It had to be you' (Betty Hutton), 'My funny Valentine' (Chet Baker), 'Look for the silver lining' (Chet Baker), 'Love is a many splendoured thing' (Joe Lovano y Joshua Redman), 'The Pink Panther theme' (Kyle Eastwood), 'Gran Torino' (Kyle Eastwood y Hugh Coltman), 'My favorite things' (Johnny Hartman), 'Moon river' (Melody Gardot), 'Two for the road' (Charlie Haden y Pat Metheny) y 'Cinema Paradiso main theme' (Charlie Haden y Pat Metheny).Escuchar audio

                                                                                                            Intro:  One More Night – Can  Here Comes the Summer – The Undertones (1:41)                                                                                                                             2.  Summer Holiday – Cliff Richard & the Shadows (2:06)                                                   3.  Sumer is Icumen in – Huelgas Ensemble/Van Nevel (2:36)                                                                                                                               4.  I Feel Love – Donna Summer (3:45)                                           5.  The Summer Wind – Frank Sinatra (2:52)                                   6.  A Summer Wasting – Belle & Sebastian (1:59)                                                                     Hot Fun in the Summertime – Sly & the Family Stone (2:39)                                                               8.  Long Hot Summer Night – Jimi Hendrix Experience (3:26)                                                   9.  Celebrated Summer – Hüsker Dü (4:02)                                 10.  Two Weeks Last Summer – Fotheringay (3:51)                                 11.  Endless Summer – Fennesz (8:29)                                 12.  White Summer of Love – Acid Mothers Temple & the Melting Paraiso U.F.O. (2:50)                                                                                           13.  Some Summer Day – John Fahey (3:28)                                                                                                                                                            The Hissing of Summer Lawns – Joni Mitchell (3:01)                                                                             15.  Summer Nights – Bobby Hutcherson (7:06)                                                                                         16.  Shall I Compare Thee to a Summer's Day? (Sonnet 18) – Cleo Laine, featuring John Dankworth (2:24)                                                                                                                         17.  Summer Evening – John Ireland, Parkin (4:49)                                                                                                             18.  Summertime – Galaxie 500 (5:59)     Summertime – Miles Davis (3:17)                                                   20.  Some Summers They Drop Like Flies – Dirty Three (6:22)                                               21.  Estate – João Gilberto (6:28)                                               22.  Summer Sketch – Russ Freeman & Chet Baker (4:35) Summertime Blues – The Flying Lizards (3:33)                                                         24.  I Know Where The Summer Goes – Belle & Sebastian (4:37)                                                                                                                                                                                                              25.  Summer ‘68 – Pink Floyd (5:29)                                                                                                                                                                           26.  Bummer in the Summer – Love (2:24)                                 27.  Summer Wine – Nancy Sinatra & Lee Hazlewood (4:17)                                     28.  Summer Babe (Winter Version) – Pavement (3:15)                                                                                                                                                                                                                                                                                                                                   Outro: Pogles Walk – Vernon Elliott Ensemble

Aron! is only 22, but his music seems to exist outside of time. A singer, songwriter, and multi-instrumentalist from North Carolina, he studied classical guitar, jazz voice, and film scoring—playing everything from indie rock in a college band to Nat King Cole covers in retirement homes—before landing on a sound that feels both old school and strikingly fresh. (He calls his sound “vintage pop”.) His debut EP cozy you (and other nice songs) began as a self-produced student project, recorded in a college studio with friends. It was completed before he signed with Verve Records—one of the most iconic jazz labels in the world—and showcases his gift for timeless songwriting, intimate performance, and warm, sophisticated arrangements. He first gained attention online through casual videos of himself playing standards and originals, quietly amassing a loyal audience. Among his early champions was Ryan Lerman (Scary Pockets), who helped connect Aron! with a wider musical community. Here he reflects on his musical roots, his love of old songs, the strange path from Instagram to Verve, and the challenge of staying grounded in a moment of rapid change. The songs may sound old, but the feeling is immediate. The muse, it seems, doesn't care what year it is. www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

durée : 00:25:05 - Riccardo Del Fra, contrebassiste (1/5) - par : Arnaud Merlin - De Rome à Paris, Riccardo Del Fra trace un chemin singulier entre jazz, écriture contemporaine et cinéma. Contrebassiste de Chet Baker, compositeur pour l'Ensemble Intercontemporain, il façonne une œuvre où l'improvisation dialogue avec la forme et la mémoire. - réalisé par : Arnaud Chappatte

durée : 00:25:12 - Riccardo Del Fra, contrebassiste (2/5) - par : Arnaud Merlin - De Rome à Paris, Riccardo Del Fra trace un chemin singulier entre jazz, écriture contemporaine et cinéma. Contrebassiste de Chet Baker, compositeur pour l'Ensemble Intercontemporain, il façonne une œuvre où l'improvisation dialogue avec la forme et la mémoire. - réalisé par : Arnaud Chappatte

durée : 00:25:16 - Riccardo Del Fra, contrebassiste (3/5) - par : Arnaud Merlin - De Rome à Paris, Riccardo Del Fra trace un chemin singulier entre jazz, écriture contemporaine et cinéma. Contrebassiste de Chet Baker, compositeur pour l'Ensemble Intercontemporain, il façonne une œuvre où l'improvisation dialogue avec la forme et la mémoire. - réalisé par : Arnaud Chappatte

durée : 00:25:15 - Riccardo Del Fra, contrebassiste (4/5) - par : Arnaud Merlin - De Rome à Paris, Riccardo Del Fra trace un chemin singulier entre jazz, écriture contemporaine et cinéma. Contrebassiste de Chet Baker, compositeur pour l'Ensemble Intercontemporain, il façonne une œuvre où l'improvisation dialogue avec la forme et la mémoire. - réalisé par : Arnaud Chappatte

durée : 00:25:15 - Riccardo Del Fra (5/5) - par : Arnaud Merlin - De Rome à Paris, Riccardo Del Fra trace un chemin singulier entre jazz, écriture contemporaine et cinéma. Contrebassiste de Chet Baker, compositeur pour l'Ensemble Intercontemporain, il façonne une œuvre où l'improvisation dialogue avec la forme et la mémoire. - réalisé par : Arnaud Chappatte

Veel gitaren en veel Chet Baker: mooie combinaite in dit eerrste uur van All That Jazzz @1Twente Enschede.

GERRY MULLIGAN & LEE KONITZ “REVELATION“ Los Angeles, late January 1953Almost like being in loveChet Baker (tp) Lee Konitz (as) Gerry Mulligan (bar) Carson Smith (b) Larry Bunker (d) Live “The Haig”, Los Angeles, late January 1953All the things you are, Lover man, I'll remember AprilChet Baker (tp) Lee Konitz (as) Gerry Mulligan (bar) Joe Mondragon (b) Larry Bunker (d) Phil Turetsky's House, Los Angeles, late January 1953Oh, Lady be good Chet Baker (tp) Lee Konitz (as) Gerry Mulligan (bar) Joe Mondragon (b) Larry Bunker (d) ARCHIE SHEPP / HORACE PARLAN “TROUBLE IN MIND” Copenhagen, Denmark, February 6, 1980Trouble in mind, Nobody knows you when you're down and out (1), See see rider, St. Continue reading Puro Jazz 05 de junio, 2025 at PuroJazz.

Gerry Mulligan (born April 6, 1927) is possibly the best known baritone saxophonist in jazz, but he has also recorded on soprano and tenor saxophones, clarinet and piano. He is a prolific  composer and arranger, contributing scores to the Miles Davis Birth of the Cool nonet, the Claude Thornhill and Stan Kenton bands, and his own Concert Jazz Band in the early 60s and 80s. His innovative piano-less quartet with trumpeter Chet Baker was the accidental result of the piano having been put into storage at the club where the group made its debut, and the group's spare, lyrical, contrapuntal style immediately became emblematic of the west coast jazz style.

La Venganza Será Terrible: todo el año festejando los 40 años Chacarerean Teatre, Palermo Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:01:27 Segmento Inicial • Viajar a Marte0:06:46 Segmento Dispositivo • Carpinteros y artesanos a lo largo de la historia0:41:15 • "Norwegian Wood (This Bird Has Flown)" ♫ (Toca el TSN) The Beatles, Rubber Soul. Segmento Humorístico • Cosas que pueden matarte Sordo Gancé / Trío Sin Nombre • Presentación • "Mañana Campestre" ♫ (Arco Iris) • "La Vieja Serenata" ♫ (Teófilo Ibáñez/Sandalio Gómez) • "Fields of Gold" ♫ (Sting) • "" ♫ () • "Seguir Viviendo Sin tu Amor" ♫ (Luis Alberto Spinetta) • "Tenderly" ♫ (Walter Gross/Lawrence) Chet Baker • "Hit The Road Jack" ♫ (Percy Mayfield)

Un 16 de mayo nos dejó Django Reinhardt. Escuchamos al legendario guitarrista en las grabaciones que hizo en París en 1953, unas semanas antes de su fallecimiento, de 'Crazy rhythm', 'Anouman', 'Nuages', 'Night and day', 'Insensiblement', 'Brazil', 'Confessin that I love you', 'Manoir de mes rêves', 'Le soir' y 'Chez moi' recogidas en el disco 'The last bebop sessions'. También en mayo, el día 13 pero de 1988, se fue Chet Baker. De su disco 'Late night jazz', grabado en París tres meses antes, clásicos como 'If you could see me now', 'Skylark', 'Love for sale', 'My foolish heart' o 'Body and soul'.Escuchar audio

El 13 de mayo de 1988 murió Cher Baker, un trompetista, cantante y músico de jazz estadounidense, quien destacó como exponente del cool jazz de los años 50.

EPISODE 73 of Five At The Door features an intimate and reflective conversation with John Galm, as he shares his journey through music, personal growth, and the struggles of sobriety. Join us as we explore Jon's evolution as an artist, from his early influences to the release of his latest record, while navigating the complexities of life and creativity.In this episode, John opens up about the importance of embracing one's true self, shedding the pressures of societal expectations, and finding comfort in vulnerability. He discusses the pivotal moments in his life that led him to reevaluate his relationship with alcohol, emphasizing the role of music as both an outlet and a refuge during difficult times. Listeners will gain insight into the raw emotions that fuel Jon's songwriting, as well as the significance of community and connection in the DIY music scene.The conversation delves into John's musical influences, including the likes of Willie Nelson and Chet Baker, and how these artists have shaped his sound and lyrical themes. He candidly reflects on the challenges of balancing a day job with his passion for music, and the constant struggle to pursue creativity while maintaining stability.Get ready to hear "Let Me Love You," a track that encapsulates the essence of Jon's journey and his commitment to authenticity. This episode is a celebration of resilience, creativity, and the transformative power of music.Here's a taste of the track that embodies the spirit of John Galm. Tune in:[https://music.apple.com/us/album/lmlu/1793630657?i=1793630925]Remember, whether you're an artist navigating your path or a listener seeking connection through music, this episode offers valuable insights into the heart of the creative process.Don't miss this episode as we dive deep into the world of John Galm, where honesty and artistry collide to create something truly special.Show notes penned by your favorite chronicler of the musical journey at Five At The Door.(00:00) Is this the new suit that you feel comfortable with(02:49) Who were you inspired by during the Snowing era and who are you inspiring now(09:19) What's a question you wish you asked yourself when you started making music(14:25) Bands talk about where their risk level lies when touring(20:36) M. M. is going on tour in June for Coachella(25:21) Dive into this record we have. The journey we have(25:47) All right, here's a question. What is your go to when sober(29:18) I had to change the way I smoke weed where it's just like(33:54) Josh says police arrested him for murdering his roommate on Saturday morning(37:28) This is a tincture story that happened to me recently(41:17) You played in Philly for about a year with Noah and Rowan(45:24) Every time I would try to quit drinking, it would quickly turn into(50:55) When I quit cigarettes, everything just kind of exploded out(56:33) First of all congratulations on your sobriety, man(59:08) There's a song called Summer After Work about drinking after work(01:05:17) Homie says death isn't something to joke about(01:09:16) This is. It's perfect. Like, it's so, like, this is. This is obviously super real(01:10:22) I like to ask everyone what do they do for their day job(01:15:09) I think having a job and doing art is completely possible(01:20:11) What song from the record would you like to be played(01:20:43) All right, so here's Let me love you by John Galm

Nella notte tra il 4 e il 5 maggio il gabinetto di sicurezza israeliano ha approvato un piano che prevede l'espansione della sua offensiva nella Striscia di Gaza e la “conquista” del territorio. Con Francesca Gnetti, editor di Medio Oriente di Internazionale.Al primo turno delle elezioni presidenziali rumene del 4 maggio George Simion, leader del partito ultranazionalista Aur, ha ottenuto quasi il 41 percento dei voti. Con Stefano Bottoni, docente di storia dell'Europa orientale all'università di FirenzeOggi parliamo anche di:Articolo • “Affari di famiglia”, di J. Spero e O. Walkerhttps://www.internazionale.it/magazine/j-spero/2025/04/30/affari-di-famiglia-4RaiPlay • Chet Baker a D.O.C., nella raccolta "I grandi del jazz"https://www.raiplay.it/video/2021/06/I-grandi-del-jazz---Chet-Baker-a-DOC-316f0ec7-bcf3-48c5-9041-f7d743e1f781.htmlCi piacerebbe sapere cosa pensi di questo episodio. Scrivici a podcast@internazionale.it Se ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/abbonatiConsulenza editoriale di Chiara NielsenProduzione di Claudio Balboni e Vincenzo De SimoneMusiche di Tommaso Colliva e Raffaele ScognaDirezione creativa di Jonathan Zenti

Aprofitant l'efem

Ezra Collective's Ife Ogunjobi on reimagining the work of Chet Baker, his new single, Speak Low, and why he's keeping a level head amidst Ezra Collective's unstoppable success.

Ballaké Sissoko et Piers Faccini en concert à la Philharmonie de Paris pour la sortie de l'album Our Calling. 19 mars 2025, Ballaké Sissoko et Piers Faccini présentent leur album Our Calling. RFI était là, morceaux choisis enregistrés par RFI Labo (sur le site rfi.fr) et entretien en loge.Deux décennies après leur toute première collaboration, le chanteur-songwriter italo-britannique Piers Faccini et le virtuose malien de la kora, Ballaké Sissoko, reviennent avec un album enchanteur : Our Calling. Cet album offre un dialogue captivant entre un instrumentiste au sommet de son art et un auteur-compositeur orfèvre des mots. Ensemble, ils créent de nouvelles formes de chansons avec une délicatesse qui relie les continents et joue avec les traditions. Les graines de Our Calling ont été semées lorsque Ballaké Sissoko et Piers Faccini se sont croisés pour la première fois au sein de Label Bleu au début des années 2000, initiant une amitié au long cours et profonde.Au fil des années, ils ont exploré ensemble de nouvelles passerelles entre les traditions mandingues et les formes de chanson folk britanniques et méditerranéennes. Sissoko avait d'ailleurs participé au deuxième album solo de Faccini, Tearing Sky, en 2005. En 2020, leur dialogue a trouvé un nouveau souffle grâce au label Nø Førmat!, lorsque Ballaké a invité Piers à chanter «Kadidja» en bambara sur son album Djourou. Plus tard, leur collaboration sur la chanson «The Fire Inside» a ravivé leur vision commune, et leur a donné l'envie de signer ce tout premier album en duo – enregistré par Frédéric Soulard (déjà présent sur le dernier album de Piers Faccini Shapes of the Fall) et réunissant une distribution exceptionnelle de musiciens invités, Vincent Segal (violoncelle), Badjé Tounkara (ngoni) et Malik Ziad (guembri). À travers dix morceaux finement ciselés, Our Calling est une ode sonore et narrative à la migration sous toutes ses formes : qu'elle soit végétale, telle une graine emportée par le vent, incarnée par des oiseaux, comme le rossignol migrant entre l'Afrique de l'Ouest et l'Europe au fil des saisons, ou humaine, à travers les siècles et les routes commerciales qui ont favorisé le partage des modes musicaux et des rythmes. Le dialogue entièrement acoustique des deux amis a été enregistré à Paris, côte à côte et en direct, en seulement cinq jours. Si l'album tire son originalité de sa profonde essence malienne, il est aussi subtilement imprégné de l'esprit propre à la chanson folk.Our Calling est ainsi presque exclusivement chanté en anglais, à une seule exception : Ninna Ninna, un morceau traditionnel du sud de l'Italie, qui rappelle les racines de Piers Faccini et montre une fois encore comment le duo sait rassembler différentes traditions musicales, sans qu'aucune ne prenne jamais l'ascendant sur les autres. C'est là sans doute le fruit de vingt ans d'amitié et de jeu : les chansons du duo créent une alchimie musicale qui unit et fusionne, tout en gardant les deux voix distinctes et les traditions intactes, suffisamment entières pour pouvoir dialoguer librement. De nombreux moments de l'album en témoignent, comme Shadows Are qui commence par un solo de kora envoûtant, joué dans un mode traditionnel mandingue, avant de se transformer miraculeusement en une chanson rappelant presque un standard de jazz, de ceux que chantait Chet Baker. Mais ces chansons, tout en rendant hommage à une époque ancienne de la musique et du chant, appartiennent fermement au XXIè siècle. La nature de ce dialogue constitue son originalité même : à aucun moment la kora ne se plie ni ne s'adapte pour trouver une place dans une forme de chanson occidentale, comme cela a souvent été le cas lors de l'âge d'or des fusions musicales dans les années 90 et 2000. Dès le début, la promesse du duo était claire : ici, la langue musicale devait commencer et se terminer avec les traditions et les modes mandingues. Les chansons, bien que chantées en anglais, suivent cette ligne directrice. Les mélodies, construites et articulées selon des structures mandingues, en sont la preuve. Les grooves ternaires de North and South ou Mournful Moon reflètent l'intense recherche et exploration des deux artistes au fil des années. Et c'est peut-être la chanson If nothing is real qui évoque le mieux ce dialogue originel : un morceau qui trouve un chez-soi à la fois en Afrique et en Europe, et qui est aussi un hommage au rossignol (Sorofé kono en bambara), l'oiseau qui a inspiré les deux vieux amis et les a incités à enregistrer leur propre musique, leur propre appel.Extraits choisis du concert (prise de son / mix : Mathias Taylor, Benoît Le Tirant (RFI Labo) :Nanni Nanna, Borne on the Wind, Mournful Moon, Nothing is Real, Kadidja.Un public attentif et de qualité pour applaudir ces deux magiciens.

Ballaké Sissoko et Piers Faccini en concert à la Philharmonie de Paris pour la sortie de l'album Our Calling. 19 mars 2025, Ballaké Sissoko et Piers Faccini présentent leur album Our Calling. RFI était là, morceaux choisis enregistrés par RFI Labo (sur le site rfi.fr) et entretien en loge.Deux décennies après leur toute première collaboration, le chanteur-songwriter italo-britannique Piers Faccini et le virtuose malien de la kora, Ballaké Sissoko, reviennent avec un album enchanteur : Our Calling. Cet album offre un dialogue captivant entre un instrumentiste au sommet de son art et un auteur-compositeur orfèvre des mots. Ensemble, ils créent de nouvelles formes de chansons avec une délicatesse qui relie les continents et joue avec les traditions. Les graines de Our Calling ont été semées lorsque Ballaké Sissoko et Piers Faccini se sont croisés pour la première fois au sein de Label Bleu au début des années 2000, initiant une amitié au long cours et profonde.Au fil des années, ils ont exploré ensemble de nouvelles passerelles entre les traditions mandingues et les formes de chanson folk britanniques et méditerranéennes. Sissoko avait d'ailleurs participé au deuxième album solo de Faccini, Tearing Sky, en 2005. En 2020, leur dialogue a trouvé un nouveau souffle grâce au label Nø Førmat!, lorsque Ballaké a invité Piers à chanter «Kadidja» en bambara sur son album Djourou. Plus tard, leur collaboration sur la chanson «The Fire Inside» a ravivé leur vision commune, et leur a donné l'envie de signer ce tout premier album en duo – enregistré par Frédéric Soulard (déjà présent sur le dernier album de Piers Faccini Shapes of the Fall) et réunissant une distribution exceptionnelle de musiciens invités, Vincent Segal (violoncelle), Badjé Tounkara (ngoni) et Malik Ziad (guembri). À travers dix morceaux finement ciselés, Our Calling est une ode sonore et narrative à la migration sous toutes ses formes : qu'elle soit végétale, telle une graine emportée par le vent, incarnée par des oiseaux, comme le rossignol migrant entre l'Afrique de l'Ouest et l'Europe au fil des saisons, ou humaine, à travers les siècles et les routes commerciales qui ont favorisé le partage des modes musicaux et des rythmes. Le dialogue entièrement acoustique des deux amis a été enregistré à Paris, côte à côte et en direct, en seulement cinq jours. Si l'album tire son originalité de sa profonde essence malienne, il est aussi subtilement imprégné de l'esprit propre à la chanson folk.Our Calling est ainsi presque exclusivement chanté en anglais, à une seule exception : Ninna Ninna, un morceau traditionnel du sud de l'Italie, qui rappelle les racines de Piers Faccini et montre une fois encore comment le duo sait rassembler différentes traditions musicales, sans qu'aucune ne prenne jamais l'ascendant sur les autres. C'est là sans doute le fruit de vingt ans d'amitié et de jeu : les chansons du duo créent une alchimie musicale qui unit et fusionne, tout en gardant les deux voix distinctes et les traditions intactes, suffisamment entières pour pouvoir dialoguer librement. De nombreux moments de l'album en témoignent, comme Shadows Are qui commence par un solo de kora envoûtant, joué dans un mode traditionnel mandingue, avant de se transformer miraculeusement en une chanson rappelant presque un standard de jazz, de ceux que chantait Chet Baker. Mais ces chansons, tout en rendant hommage à une époque ancienne de la musique et du chant, appartiennent fermement au XXIè siècle. La nature de ce dialogue constitue son originalité même : à aucun moment la kora ne se plie ni ne s'adapte pour trouver une place dans une forme de chanson occidentale, comme cela a souvent été le cas lors de l'âge d'or des fusions musicales dans les années 90 et 2000. Dès le début, la promesse du duo était claire : ici, la langue musicale devait commencer et se terminer avec les traditions et les modes mandingues. Les chansons, bien que chantées en anglais, suivent cette ligne directrice. Les mélodies, construites et articulées selon des structures mandingues, en sont la preuve. Les grooves ternaires de North and South ou Mournful Moon reflètent l'intense recherche et exploration des deux artistes au fil des années. Et c'est peut-être la chanson If nothing is real qui évoque le mieux ce dialogue originel : un morceau qui trouve un chez-soi à la fois en Afrique et en Europe, et qui est aussi un hommage au rossignol (Sorofé kono en bambara), l'oiseau qui a inspiré les deux vieux amis et les a incités à enregistrer leur propre musique, leur propre appel.Extraits choisis du concert (prise de son / mix : Mathias Taylor, Benoît Le Tirant (RFI Labo) :Nanni Nanna, Borne on the Wind, Mournful Moon, Nothing is Real, Kadidja.Un public attentif et de qualité pour applaudir ces deux magiciens.

durée : 00:05:37 - C'est une chanson - par : Frédéric Pommier - Il sera en concert les 21 et 22 mars au Sunset à Paris, où il jouera les titres de "QR CODE II", l'album qu'il a enregistré avec le pianiste Thierry Maillard. Au micro de Frédéric Pommier, le trompettiste Stéphane Belmondo évoque le standard "Everything Happens to Me" dans la version de Chet Baker.

De unas cintas que permanecieron más de 50 años guardadas en un garaje, un disco titulado 'In perfect harmony: The lost album' publicado hace unos meses y que se gestó en 1972 en California durante el encuentro de dos amigos, los trompetistas y vocalistas Chet Baker y Jack Sheldon, con grabaciones de 'Once I loved', de Jobim, clásicos del 'Great American songbook' como 'I´m old fashioned', 'When I fall in love', 'You fascinate me', 'Just friends', 'But not for me' o 'Too blue', y el bolero del panameño Carlos Eleta 'Historia de un amor'. Las guitarras del brasileño Fabiano do Nascimento y el japonés Shin Sasakubo en 'Ykitu', 'Rio Tapajós', 'Água e vinho' de Gismonti y 'Catharsis' de su disco a dúo 'Harmônicos'. Y del reciente disco sin título de Nyron Higor, 'Maravilhamento', 'Me vestir de você' y 'Ciranda'.Escuchar audio

El pianista François Couturier y el violinista Dominique Pifarély tocan 'I loves you, Porgy' de los Gershwin y 'La chanson des vieux amants' de Brel en su reciente disco a dúo 'Preludes and songs'. Además, Bianca Gismonti ('Sanfona', 'A fala da paixão'), Luiz Murá ('Undiú', 'Bahia com H'), Mafalda Minozzi ('Café South American style', 'Eu e a brisa', 'Agua de beber') y Chet Baker ('Skylark').Escuchar audio

La Venganza Será Terrible: todo el año celebrando sus 40 años Estudios AM 750 Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:01:29 Segmento Inicial • La importancia de la propina0:08:17 • Oyentes0:40:45 Segmento Dispositivo • La escandalosa princesa Carlota de Prusia0:48:46 • "Muñeca Brava" ♫ (Canta Gardel, 1929) Enrique Cadicamo/Luis N. Visca. Segmento Humorístico • Las quince cosas que jamás debes hacer en una reunión con amigos al aire libre1:07:05 Sordo Gancé / Trío Sin Nombre • Presentación1:34:47 • "Have You Ever Seen The Rain" ♫ (Creedence Clearwater Revival, Pendulum, 1970) • "Los Ejes De Mi Carreta" ♫ (Milonga de Atahualpa Yupanqui, letra de Romildo Risso) • "Another Day In Paradise" ♫ (Phil Collins, ...But Seriously, 1989) • "Tenderly" ♫ (Walter Gross/Jack Lawrence, 1946) Canta Dick Farney, 1947. Chet Baker, 1956. Y Nat King Cole. También Sarah Vaughan. • "El Cumbanchero" ♫ (Rafael Hernández Marín, El Jibarito, 1943) Compay Quinto, 1968.

durée : 00:30:02 - Jazz Collection - par : Alex Dutilh - Les voix buissonnières, ce sont des voix hors des sentiers battus, à l'écart des clichés attendus des chanteuses ou des chanteurs de jazz. Dans cet épisode, Blossom Dearie, Maxine Sullivan, Rose Murphy, Jimmy Scott, Chet Baker, Lisa Ekdahl, Kat Edmonson, Cyrille Aimée, Ken Nordine. - réalisé par : Pierre Willer

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. What better way to kick things off than where it all began? Here's a look back at episode one and our conversation with Jim Peterik.  ABOUT JIM PETERIKSinger, songwriter, guitarist, and keyboardist Jim Peterik is best known as a founding member of the band Survivor and the co-writer of their Grammy-winning double platinum #1 hit single, “Eye of the Tiger.” But that's only the tip of the iceberg. Thirty-five of Jim's songs have appeared on the Billboard Pop chart, including seven Top 10 singles. His first major success came when his original band, Ides of March, took the Peterik-penned “Vehicle” to the #2 position on the Pop chart in 1970, spawning cover versions by Chet Baker and Shirley Bassey. After a stint as a solo artist with Epic Records, Jim formed Survivor in 1979, penning a string of hits for the band, including “I Can't Hold Back,” “High On You,” “The Search is Over,” “Burning Heart,” and “Is This Love.” While still writing hits for his own group, Jim forged a successful partnership with the members of 38 Special, co-writing classic songs, including “Rockin' Into the Night,” “Hold On Loosely,” and “Caught Up In You.” Widely respected as a top-notch collaborator, Jim has co-written successful songs with a number of artists, including the Beach Boys, Lynyrd Skynyrd, Sammy Hagar, Cheap Trick, the Doobie Brothers, REO Speedwagon, and Mindi Abair. The long list of those who have covered his compositions includes Paul Anka, Gloria Gaynor, Tony Orlando, Reba McEntire, Larry Gatlin, Blackhawk, and The Outlaws. He is the co-author, with Dave Austin, of Songwriting for Dummies. 

Apasionarse por la vida. De eso se trata: el mejor jazz como regalo el primer Músicas Posibles del año. Alone Together Chet Baker Chet (Mono)Rosita Hawkins, Webster Coleman Hawkins Encounters Ben Webster Lush Life Michel Petrucciani The Blue Note AlbumsMy Funny Valentine Miles Davis Quintet Cookin' With The Miles Davis Quintet RVG Remaster 2007These Foolish Things Lester Young Blue Lester: The Immortal Lester YoungAlone Together Kenny Dorham Quiet Kenny RVG Remaster 2006Isfahan Duke Ellington Far East SuiteA Taste of Honey Paul Desmond  The Complete RCA Victor RecordingsIn A Sentimental Mood Sonny Rollins S. Rollins With The Modern Jazz QuartetAfter The Rain Duke Pearson Sweet Honey BeeDidn't Know About You Johnny Hodges & His Orchestra Blues-A-PlentySaturday Afternoon Blues Johnny Hodges & His Orchestra Blues-A-PlentyIn A Sentimental Mood Ellington & Coltrane Impulse! Escuchar audio

Estudios Radio AM 750 Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada Segmento Inicial • El boxeo: el deporte de moda • Oyentes Segmento Dispositivo • La castración • "Tu Pálida Voz" ♫ (Canta Charlo) Carlos José Perez de la Riestra/Homero Manzi, 1943. Segmento Humorístico • Cómo elegir una mascota que se adapte a tu estilo de vida Sordo Gancé / Manuel Moreira • Presentación1:40:25 • "Muñequita" ♫ (Francisco Lomuto/Adolfo Herschel, 1918) • "Sampa" ♫ (Caetano Veloso y A Outra Banda da Terra, Muito (Dentro da Estrela Azulada), 1978) • "El Viejito Del Acordeón" ♫ (José Domingo Aiello/Carmelo Aiello, 1936) Francisco Canaro, voz de Roberto Maida, 1934. • "Tenderly" ♫ (Walter Gross/Jack Lawrence, 1946) Canta Dick Farney, 1947. Chet Baker, 1956. Y Nat King Cole. También Sarah Vaughan. • "Al Ritmo Del Pan Dulce De Rolón" ♫ (Contrafactum de Ritmo De Maracas Y Bongos, Los Lamas, 1988) *La película con Tita Merello que a cada tanto glosan se llama El amor Nunca Muere, de Luis César Amadori, 1955.

Blender Alejandro Dolina, Patricio Barton, Gillespi Introducción • Entrada0:11:50 "A mí me han dicho que las cosas que a uno le ocurren en la vida, etcétera..." Segmento Inicial • Caminos a seguir si uno está enamorado de la novia de otro0:17:51 "¿Qué edad tiene, Gaby? Perdón la pregunta, porque la explicación parece de la revista Billiken..." Segmento Dispositivo • Una historia que ocurrió en las Filipinas0:51:15 • "Hallelujah" ♫ (Toca el TSN) Leonard Cohen, Various Positions, 1984. Jacob Collier, Live on Stream Aid, 2020. Segmento Humorístico • Mensajes del Chat en vivo, Whatsapp, presentaciones, etc.1:10:24 • Comportamiento adecuado en el gimnasio1:17:38 Sordo Gancé / Trío Sin Nombre • Presentación1:41:40 • "Recuerdos del Portezuelo" ♫ (Héctor Roberto Chavero, 1953) • "La Rueda Mágica" ♫ (Fito Páez, El Amor Después Del Amor, 1992) • "Tenderly" ♫ (Walter Gross/Jack Lawrence, 1946) Canta Dick Farney, 1947. Chet Baker, 1956. Y Nat King Cole. También Sarah Vaughan.