Podcasts about Clifford Jordan

THIS WEEK's BIRDS: Gulf pop from Abass Al Badri; our from Arman Teboul; Carpathian gnawa from Tariqa;  gnawa from Etoile Gnawa; Ava Mendoza & Dave Sewelson; from, 1963, live: Prince Lasha, Sonny Simmons, Clifford Jordan,Don Cherry; jazz from Archie Shepp w. Kahil el Zabar's Ritual Trio; Minee Coskun (Turkey) and Takes Vrakatselos (Greece); Dhoffir (from Grand Camaore), Nancy Viera from Cape Verde; Oumou Sangaré from Mali; from Kenya: Mbaraka Mwinshehe & the Morogoro Jazz Band; World Bass Violin Ensemble;  Hadi Salia from Sudan; Indian pop from Malika Pukraj; salsa from Sonora Ponceña, Orquesta Colon, and Adalberto Alvarez;  and , as ever, much, much  more!! Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/19170052/Conference-of-the-Birds and via the Conference of the Birds page at https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com  

COMPLETE JOE HENDERSON BLUE NOTE STUDIO SESSIONS – “MODE FOR JOE” Englewood Cliffs, NJ, January 27, 1966Mode for Joe, GrantedLee Morgan (tp) Curtis Fuller (tb) Joe Henderson (ts) Bobby Hutcherson (vib) Cedar Walton (p) Ron Carter (b) Joe Chambers (d) THE COMPLETE CLIFFORD JORDAN STRATA-EAST SESSIONS – WILBUR WARE “SUPER BASS” TownSound Studios, Englewood, NJ, January 1968Mod House, Wilbur's Red Cross, For Frazier, Felicia, Veneida & BernarDon Cherry, tp; Clifford Jordan, ts; Wilbur Ware, b: Ed Blackwell, d. Continue reading Puro Jazz 05 de junio, 2024 at PuroJazz.

COMPLETE JOE HENDERSON BLUE NOTE STUDIO SESSIONS – “MODE FOR JOE” Englewood Cliffs, NJ, January 27, 1966Mode for Joe, GrantedLee Morgan (tp) Curtis Fuller (tb) Joe Henderson (ts) Bobby Hutcherson (vib) Cedar Walton (p) Ron Carter (b) Joe Chambers (d) THE COMPLETE CLIFFORD JORDAN STRATA-EAST SESSIONS – WILBUR WARE “SUPER BASS” TownSound Studios, Englewood, NJ, January 1968Mod House, Wilbur's Red Cross, For Frazier, Felicia, Veneida & BernarDon Cherry, tp; Clifford Jordan, ts; Wilbur Ware, b: Ed Blackwell, d. Continue reading Puro Jazz 05 de junio, 2024 at PuroJazz.

Yesterday saw the release of Jordan Rakei's fifth studio album The Loop, an album he's wanted to make since he was 19.  He took his 35 acoustic demos and refined them down to 13 tracks, recorded over two “action-packed” weeks with an orchestra, choir, and band.   Rakei says it's his most ambitious project to date, inspired by becoming a father.  LISTEN ABOVE See omnystudio.com/listener for privacy information.

OUT TO LUNCH Englewood Cliffs, NJ, February 25, 1964Hat and beard (2), Gazzelloni (3)Freddie Hubbard (tp) Eric Dolphy (as-1,b-cl-2,fl-3) Bobby Hutcherson (vib) Richard Davis (b) Tony Williams (d) CHARLES MINGUS SEXTET – “CORNELL UNIVERSITY” Ithaca, NY, March 18, 1964Jitterbug Waltz, A.T.F.W.Johnny Coles (tp) Eric Dolphy (as,b-cl,fl) Clifford Jordan (ts) Jaki Byard (p) Charles Mingus (b) Dannie Richmond (d) LAST DATE Hilversum, The Netherlands, June 2, 1964Hypochristmutreefuzz (1)Eric Dolphy (fl-3,as-2,b-cl-1) Misha Mengelberg (p) Jacques Schols (b) Han Bennink (d) UNREALIZED TAPES Paris, June 11, 1964SpringtimeDonald Byrd (tp) Eric Dolphy (as,b-cl) Nathan Davis (ts) Jacques “Jack” Dieval (p) Jacques Hess (b) Franco Manzecchi (d) Jacky Bambou (perc-1) Continue reading Puro Jazz 03 mayo, 2024 at PuroJazz.

OUT TO LUNCH Englewood Cliffs, NJ, February 25, 1964Hat and beard (2), Gazzelloni (3)Freddie Hubbard (tp) Eric Dolphy (as-1,b-cl-2,fl-3) Bobby Hutcherson (vib) Richard Davis (b) Tony Williams (d) CHARLES MINGUS SEXTET – “CORNELL UNIVERSITY” Ithaca, NY, March 18, 1964Jitterbug Waltz, A.T.F.W.Johnny Coles (tp) Eric Dolphy (as,b-cl,fl) Clifford Jordan (ts) Jaki Byard (p) Charles Mingus (b) Dannie Richmond (d) LAST DATE Hilversum, The Netherlands, June 2, 1964Hypochristmutreefuzz (1)Eric Dolphy (fl-3,as-2,b-cl-1) Misha Mengelberg (p) Jacques Schols (b) Han Bennink (d) UNREALIZED TAPES Paris, June 11, 1964SpringtimeDonald Byrd (tp) Eric Dolphy (as,b-cl) Nathan Davis (ts) Jacques “Jack” Dieval (p) Jacques Hess (b) Franco Manzecchi (d) Jacky Bambou (perc-1) Continue reading Puro Jazz 03 mayo, 2024 at PuroJazz.

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Tonight's Jazz Feature is a recording done at San Francisco's Jazz Workshop on October 27,1962 by the Max Roach Quartet with drum master Max Roach at the helm with Clifford Jordan on tenor saxophone, Mal Waldron on piano and Eddie Khan on bass. Two extended works are featured. The first is the title track "Speak Brother Speak" depicts speakers on a soapbox expounding on the state of the nation. The second piece is an extended work based on a theme by Villa-Lobos called Prelude by retitled by Max Roach as "A Variation". It again offers extended solo opportunities for everyone to say their say. The band is so fine that these extended performances stand up and never drag on. "Speak Brother Speak" celebrates the accomplishments of Dr.Martin Luther King and Martin Luther King Day today January 15,2024.

Tonight's show: Louis Armstrong, Billie Holiday, Duke Ellington & His Orchestra, Coleman Hawkins and His Orchestra, Barney Kessel, Annie Ross & Zoot Sims (Russ Freeman piano), Lee Morgan & Clifford Jordan, Clifford Jordan, Herb Ellis & Stuff Smith, Ella Fitzgerald & The Marty Paich Orchestra, Dorothy Donegan, and Deodato.  

Tonight's show: Louis Armstrong, Billie Holiday, Duke Ellington & His Orchestra, Coleman Hawkins and His Orchestra, Barney Kessel, Annie Ross & Zoot Sims (Russ Freeman piano), Lee Morgan & Clifford Jordan, Clifford Jordan, Herb Ellis & Stuff Smith, Ella Fitzgerald & The Marty Paich Orchestra, Dorothy Donegan, and Deodato.

El pianista y compositor Horace Silver es uno de los arquitectos del Hard Bop, la corriente principal del jazz moderno que nace a mediados de los años cincuenta del pasado siglo. Entre los hitos de su curriculum artístico podemos citar el haber sido cofundador de la legendaria banda The Jazz Messengers, junto al batería Art Blakey o haber liderado durante décadas su propio quinteto por el que desfilaron artistas de la talla de Art Farmer, Clifford Jordan, Blue Mitchell, Joe Henderson o Randy Brecker por citar solo algunos de ellos. Finalmente Silver será recordado como compositor de algunos de los más brillante standards jazzísticos de aquel periodo. Temas como Senor Blues, Peace, Nica´s Dream o Song for my Father, son algunas de su más célebres composiciones. Así que Radio Jazznoend, en este nuevo podcast, rinde homenaje a esta eminente figura de la historia del jazz, relatando episodios y anécdotas de su carrera y escuchando algunas de su más destacadas grabaciones registradas para la discográfica Blue Note, en la primera década de su actividad como líder de banda.

EDDIE HENDERSON - WITNESS TO HISTORY  - New York, c. 2023 Scorpio rising (1), Freedom jazz dance, Born to be blue Eddie Henderson (tp,flhrn) Donald Harrison (as) George Cables (p) Gerald Cannon (b) Lenny White (d) Mike Clark (d-1) BETTY CARTER - I'M YOURS, YOU'RE MINE  - New York, January 24 & 25, 1996 I'm yours, you're mine (1,2,3), East of the sun (2,3) Betty Carter (vcl) acc by Andre Hayward (tb-1) Mark Shim (ts-2) Xavier Davis (p) Curtis Lundy (b-3) Gregory Hutchinson (d) SLIDE HAMPTON -  ROOTS  - Monster, Holland, April 17, 1985 Precipice, Solar Slide Hampton (tb) Clifford Jordan (ts) Cedar Walton (p) David Williams (b) Billy Higgins (d)

THIS WEEK's BIRDS: Cheikh M'hamed Elanka; Fay Victor; Kyriakos Sfetsas & Greek Fusion Orchestra; Greek clarinet from Tassos Halkias;  Henry Cow; Ahi Nana; vintage Algerian vocals from Saloua; vintage Moroccan pop from Jil JIlala; Donald Byrd w/ chorus; Sonic Liberation Front w. Oliver Lake; Famille Nguyên Van Mùi de Hanoi; recent Ida Widawati; Clifford Jordan (new release, old recording); Bhopal & Kelassi Bhopa; raga from Kishori Amonkar; Dimitrios Lantzos; much, much more ...! LISTEN LIVE: Cheikh M'hamed ElankaFriday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG.  via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/17650202/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

Abrimos número de La Montaña Rusa con el nuevo álbum del pianista Franco D’Andrea, Sketches of the 20th Century, publicado este 2023, en el que encontramos los estupendos arreglos del pianista y compositor tinerfeño, Eduardo Rojo. Después, un poco más del gran John Zorn, Parables, publicado en 2021 junto al talentosísimo trío de guitarras de Bill Frisell, Gyan Riley y Julian Lage. Nuestro Clásico de la Semana fue el saxofonista Clifford Jordan, del que se ha publicado este 2023 estas sesiones de 1974, Drink Plenty Water. Seguir leyendo La Montaña Rusa 30.2023. Franco D’Andrea y Eduardo Rojo. John Zorn. Clifford Jordan. Roxy Coss. Èlia Lucas Quartet. Adriano Clemente en La Montaña Rusa Radio Jazz.

In 2018, Delta airlines unveiled new uniforms made of a synthetic-blend fabric. Soon after, flight attendants began to get sick with rashes, hair loss, and brain fog. Alden Wicker explains how toxic chemicals get in clothes in To Dye For. Also, jazz critic Kevin Whitehead reviews a newly unearthed recording from tenor saxophonist Clifford Jordan.

In 2018, Delta airlines unveiled new uniforms made of a synthetic-blend fabric. Soon after, flight attendants began to get sick with rashes, hair loss, and brain fog. Alden Wicker explains how toxic chemicals get in clothes in To Dye For. Also, jazz critic Kevin Whitehead reviews a newly unearthed recording from tenor saxophonist Clifford Jordan.

7e émission de la 56e session...Cette semaine, hard-bop et freebop! En musique: Sonny Stitt sur l'album Boppin' in Baltimore: Live ath the Left Bank  (Elemental, 2023, enr. 1973); Clifford Jordan sur l'album Drink Plenty Water  (Harvest Song, 2023, enr. 1974); David Young sur l'album David Young  (Mainstream, 1971); Charles Sullivan sur l'album Re-Entry  (Whynot, 1976); The Nu Band sur l'album Renual  (Not Two, 2022); Mark Whitecage, Bob Magnuson, Cameron Brown, Lou Grassi sur l'album Agama  (Indépendant, 2023)...

Kassa Overall - John Coltrane (Clifford Jordan Quartet) (feat. Tomoki Sanders & Vitamin D) from the 2023 self-released album Shades 3. The ever-talented jazz musician, emcee, singer, producer and drummer Kassa Overall dropped the latest addition to his Shades mixtape series, Shades 3, in February as a sample-heavy remix project that fuses jazz with modern danceable drum machine rhythms in a gonzo approach to the jazz tradition. The Seattle-raised, Brooklyn-based artist has been blowing minds to a wide audience of fervent fans since the release of his acclaimed sophomore record I Think I'm Good in 2020 and this project does not disappoint. Our Song of the Day reimagines the Clifford Jordan Quartet's 1974 track “John Coltrane” with the help of New York-based multi-instrumentalist Tomoki Sanders on Tenor Sax and Derrick Jabar Brown, better known as Vitamin D, on vocals. “Welcome to the Upside Down” introduces the song before going into a profession for the love of jerk chicken. Over a warbling brass line, manipulated vocals cry out “Black spirit” while Vitamin D spits a verse about Black power and the incredible endurance and accomplishments of Black folks despite the many obstacles thrown at them. Below, watch Kassa Overall's KEXP in-studio performance from 2020 and read the full post at KEXP.org.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Drum great Max Roach is tonight`s Jazz Feature Artist. Mr.Roach was always aware of civil rights and was politically aware of the changes in American society but around about 1960 he decided to combine his music with the politics of civil rights and made a statement that he would never play any music that didn`t have social significance. Tonight`s Jazz Feature is his fine album, his first of two for the newly formed Impulse Records. Roach wrote and arranged all six pieces all dedicated to aspects and people involved in the fight for rights and freedom. Along with Roach on drums, Art Davis is on bass, Mal Waldron is on piano and the horns include trumpeter Booker Little, trombonist Julian Priester, tenor saxophonist Clifford Jordan, the great Eric Dolphy on flute, bass clarinet and alto saxophone. Abbey Lincoln is the vocalist on two tracks and two percussionists are added on some tunes, Carlos `Patato` Valdes on conga drum and Carlos `Totico` Eugenio on timbales and percussion. Tonight`s Jazz Feature is dedicated to the legacy of Dr. Martin Luther King and celebrates not only the US holiday but his Birthday Anniversary which was January 15th. Politics coupled with great music by Max Roach and his Ensemble.

  ART FARMER “AT BOOMERS” – New York, May 14 & 15, 1976 Will you still be mine ?, What’s new (cj out) Art Farmer (flis) Clifford Jordan (st) Cedar Walton (p) Sam Jones (b) Billy Higgins (dr)             HANK JONES “THE ORACLE”   – New York, March, 1989 The […]

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Mike Stephen talks to Chalkbeat Chicago reporter Samantha Smylie and learns how Illinois is turning to tutors to help students , chats with legendary Chicagoan Pemon Rami about creativity and activism, and discovers the Secret History of saxman Clifford Jordan.

obituary courtesy of the International Society of Bassists: The ISB is sad to learn of the passing yesterday of bassist, composer, educator and recording artist Kelly Sill. He was 70 years old. Kelly was a beloved mainstay of the Chicago jazz scene for more than 35 years. Born in Fargo, North Dakota, he grew up in the Chicago area. After receiving his bachelor's degree from the University of Illinois at Urbana-Champaign, he returned to Chicago to perform and record with jazz artists such as Art Blakey, Joe Henderson, Art Farmer, Clark Terry, Cedar Walton, Herb Ellis, Woody Shaw, Hank Jones, Freddie Hubbard, Kenny Burrell, Barney Kessel, Chris Potter, Ernie Watts, Bob Mintzer, Mel Torme, Anita O'Day, Jackie McLean, Joey DeFrancesco, Donald Byrd, Eddie Harris, Scott Hamilton, Victor Lewis, Clifford Jordan and Bucky Pizzarelli. He performed at the Chicago Jazz Festival, the Elkhart Jazz Festival, the Red Sea Jazz Festival, Thessaloniki Concert Hall in Greece and Symphony Center in Chicago. Kelly's discography includes more than fifty recordings as a sideman and leader.   Kelly served on the faculties of Northeastern Illinois University, Lake Forest College, DePaul University and Northern Illinois University. He also taught at the Interlochen Arts Camp, Jamey Aebersold Summer Jazz Workshop, Janice Borla Vocal Jazz Camp, University of Wisconsin/Stevens Point Jazz Camp, Clark Terry Great Plains Jazz Camp and the University of Illinois (Urbana-Champaign) Summer Music Program.   Saxophonist Gregory Dudzienski recalls his friend: "Kelly was one of the warmest, most welcoming, supportive, and funniest people I've ever had the fortune to spend time with. He had that way of interacting with you, that way of giving you his full attention and self that made it feel like you were the most important person in the world to him. That way of interacting carried into his playing as well."   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life!   theme music by Eric Hochberg

J.J. JOHNSON “J.J. INC.” – New York, August 1, 1960 Mohawk, Minor mist, In walked Horace Freddie Hubbard (tp) J.J. Johnson (tb) Clifford Jordan (ts) Cedar Walton (p) Arthur Harper (b) Albert “Tootie” Heath (d)             BARNEY KESSEL “THE POLL-WINNERS” – Los Angeles, March 18 & 19, 1957 Jordu, Mean […]

Courtney's playing refreshingly cool new jazzy vibes for you to work, rest and play to!  Jam-packed full of new releases and plenty of fun, including many of the artists introducing their own tracks!  This week: swingin jazz fundamentals, summer nu-soul, bluegrass guitar, progressive fusion, musica italiana, vocal swing, South African Malaysian grooves and blues - prepare your ears folks it's another blinder from the one and only Courtney Pine!!1 Steve Davis – Encouragement 4'39Bluesthetic SMOKE SESSIONS Tr 1Steve Davis tb Geoffrey Keezer pno Christian McBride bs Willie Jones III dr Peter Bernstein gtr Steve Nelson vbsDavisAmazing live jazz captured again by NYC's fab Smoke Sessions: check the incredible lineup, close your eyes and you're there!!2 Grant Stewart – Bearcat 6'34Lighting of the Lamps CELLAR MUSIC GROUP Tr 7Grant Stewart tr Bruce Harris tpt David Wong bs Tardo Hammer pno Phil Stewart drJordanWhat a beautiful big-hearted sound from Grant's tenor!  Clifford Jordan blues style swing recorded in the legendary Van Gelder studio and you can hear it! 3 Reuben James – What U Need 3'36Tunnel Vision RUFIO RECORDS  Tr 7Reuben James dr bass gtr fxs Gareth Lockrane fl Reuben James vox / keys Ric Wilson vox Vanessa Butler bvsJames Lush flute from Gareth Lockrane on this cool summer mix from Birmingham's own Reuben James!“I'd just got married, I was in a happy place and the whole thing was improvised in the moment...a lot of songs come from pain, but this one comes from a lot of joy. It was a big vibe for me. I was just in a moment of bliss.” 4 John Scofield - Not Fade Away 5'43John Scofield ECM Tr10John Scofield gtrHardin/Petty  “A Buddy Holly song.  Phil Lesh of the Grateful Dead has invited me to play with him many times, playing mostly Dead tunes.  He played this one every night I think.  It's got that Bo Diddley beat.  If you don't know by now, rock'n'roll is here to stay!” JS5 Dan Schnelle - Unknown Territory 6'24Shine Thru OUTSIDE IN Tr 1Josh Nelson pno Jeff Babko keys Anthony Wilson gtr David Binney alto Alex Boneham bs Dan Schnelle drD SchnelleExciting 1st full length album from Dan one of LA's top session drummers: heaps of stunning energy with crazy cool keys touches from Jeff Babko - lovin this track!6 Moonchild - What you Wanted (Kiefer Remix) 3'26Starfruit TRU THOUGHTS Tr 9Amber Navran, Max Bryk, Andris Mattson Kiefer ShackelfordNavran/Bryk/Mattson/Shackelford/ KrstajicSoulful goodness to start your day right every single morning from LA trio Moonchild - lush grooves and nice keys!!  7 Tommaso Moretti – Italiano in America 7'54Inside Out BACE RECORDS Tr1Tommaso Moretti dr Ben Dillinger bs Jake Wark sx Edinho Gerber gtr MorettiVintage Musica Italiana fused with Chicago jazz from Italian drummer Tommaso with beautiful guitar soloing from Edinho! 8 Robin McKelle - I Must Have That Man 5'13I Must Have That Man SELF-RELEASE - Tr 1Aaron Goldberg pno Peter Slavov bs Mark McLean drMcHugh/FieldsGreat to have female songwriter Dorothy Fields on the episode.  Fast happenin' swing from the brilliant Robin and band, and fantastic piano solo from Aaron.   9 Simeon Davis group - Seven Come Wednesday 10'39Of Narratives and Nocturnes OUTSIDE IN MUSIC Tr 2Simeon Davis sx fl Tyler Thomas, Rachel Azbell vc Jonathan Shier tpt fl Maria Wellmann Alex Hand gtrHolly Holt keys Jake Chaffee bs Josh Parker dr Maxima Santana tb Jess Meadoer vn Aramis Fernandez percS DavisHypnotic South African/Malaysian Grooves from Cape Town to get you on your feet! 10 Jacob Garchik - Pastiche 4'47Assembly SELF RELEASE Tr 2Jacob Garchik tb Sam Newsome sx Jacob Sacks pno Thomas Morgan bs Dan Weiss drGarchik/ Hogoe Publishing ASCAPSoft blues centre hidden inside a hard swing shell from multi-talented Jacob who arranges for Kronos Quartet, Anne Sofie von Otter, Kd Lang, and plays with Lee Konitz, Steve Swallow + Mary Halvorson.      

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The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

This is the last installment of our May Jazz features that spotlight short-lived bands. We'll do this again later this year. The band in question tonight was led by one of the pioneers of Modern Jazz, trombone master J.J.Johnson. This band came from J.J.'s desire to put together a group of young up and coming players. He accomplished this by hiring a young Freddie Hubbard on trumpet, Clifford Jordan on tenor saxophone, Cedar Walton on piano, Arthur Harper on bass and Albert "Tootie" Heath on drums. In the case of Hubbard, Jordan, Walton and Heath, they became some of the most influential Jazz artists of the 60s and well beyond. They played several concerts and club gigs and fortunately made this, their only recording for Columbia Records. J.J. called the band "J.J. Inc.". The band recorded these brand new tunes written and arranged by Mr. Johnson in August of 1960. Soon after the recording J.J. regrettably disbanded as he was weary of dealing with clubs and booking agents but more importantly needed time to fulfill a lot of writing commissions that were coming his way including composing for TV and movies too. So this is what we have, this fine album by J.J. Inc. to remember this band by. Tune in and check out this amazing group, your ears will love you for it!

durée : 00:59:29 - Tout bleu - par : Nathalie Piolé - Blues du coeur, blues des dunes, blues des zoo... Tous les bleus sont dans Banzzaï ! - réalisé par : Fabien Fleurat

Nuestra portada fue el excelente trabajo del pianista y compositor Daniel Andrades y su Trio, en Ego Boost, publicado en 2021. Escuchamos a Red Fiction y su último álbum publicado hasta la fecha, Vision of the Void, de 2020. En nuestra sección fija Clásico de la Semana, le tocó el turno al gran Clifford Jordan, del que escuchamos The Highest Mountain, publicado en 1975. Nos zambullimos en aguas de Jazz Rock y Fusión de la mano del guitarrista y compositor Mark Lettieri, con Deep: The Baritone Sessions, Vol. 2, de 2021. Seguimos con el trombonista Doug Scarborough y su novedad de este 2022, The Color of Angels. Y cerramos con este estupendo álbum de 2020, Trío Grande, firmado por tres de mis músicos favoritos, Will Vinson, Antonio Sanchez y Gilad Hekselman. A disfrutarla!

Nuestra portada fue el excelente trabajo del pianista y compositor Daniel Andrades y su Trio, en Ego Boost, publicado en 2021. Escuchamos a Red Fiction y su último álbum publicado hasta la fecha, Vision of the Void, de 2020. En nuestra sección fija Clásico de la Semana, le tocó el turno al gran Clifford Jordan, del que escuchamos The Highest Mountain, publicado en 1975. Nos zambullimos en aguas de Jazz Rock y Fusión de la mano del guitarrista y compositor Mark Lettieri, con Deep: The Baritone Sessions, Vol. 2, de 2021. Seguimos con el trombonista Doug Scarborough y su novedad de este 2022, The Color of Angels. Y cerramos con este estupendo álbum de 2020, Trío Grande, firmado por tres de mis músicos favoritos, Will Vinson, Antonio Sanchez y Gilad Hekselman. A disfrutarla!

Tonight's Jazz Feature honours Black History Month and throughout February we'll spotlight music that has social significance. We'll open with a piece by drummer Max Roach's band from 1980 first. The piece is a composition by Mr. Roach, and it's called "The Dream/ It's Time". It features the Roach Quartet interspersed by sections of Dr. Martin Luther King's Famous "I have a dream" speech. The band includes Max Roach on drums with Cecil Bridgewater on trumpet, Odean Pope on tenor saxophone and Calvin Hill on bass. Then we go to Roach's famous album with his working band from 1962 plus a 16 voice chorus. The album was called "It's Time!" The band includes Clifford Jordan on tenor saxophone, Richard Williams on trumpet, Julian Priester on trombone, Mal Waldron on piano, Art Davis on bass and of course Max Roach on drums. The chorus is conducted by Coleridge Perkinson. It's a unique combination of chorus and band. Mr. Roach wrote all of the music. The music is primarily instrumental but reflects Roach's concern with civil rights in the USA. The compositions are "It's Time!", "Another Valley", "Sunday Afternoon", "Living Room", "The Profit" and the only vocal by Max Roach's then wife Abbey Lincoln and she sings "Lonesome Lover". This is a fiery and intense listening experience and unique in Max Roach's legacy. "It's Time!" is tonight's Jazz Feature.

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durée : 00:58:51 - Ride On Baby - par : Nathalie Piolé - La playlist jazz de Nathalie Piolé. - réalisé par : Fabien Fleurat

FRED HERSCH SONGS FROM HOME – Pensilvania, 2020 After You’re Gone, Get out of Town, Consolation Fred Hersch (p) HORACE SILVER – FURTHER EXPLORATIONS – Hackensack, N.J., January 13, 1958 Moon rays, Pyramid, Safari Art Farmer (tp) Clifford Jordan (ts) Horace Silver (p) Teddy Kotick...

How is one elevated to the land of giants especially when it comes to music. For my guest today it had a lot to do with biding his time, forming deep collaborations and a selfless heart. He has played spiritual burning music with a generation of musicians who were prolific in their writing, arranging and unapologetic viewpoint on the African roots of jazz. Donald Byrd, Billy Higgins, Clifford Jordan, John Coltrane, Blue Mitchell, Eric Kloss, David Williams, Freddie Hubbard and Wayne Shorter. Like the organist Jimmy Smith my guest today wants you to feel what he's playing. Stick with a theme, do it again, make it apparent to the listener and player that he will be relentless in his pursuit of ideas that can permeate the mind and let you dig it. My guest today is a messenger who has delivered soul bop and soul jazz to audiences around the world. He left the university of Denver and came to NY where he became an instant mainstay @ the old Birdland. The tunes he has written have shared appeal among fellow collaborators like Art Blakey, the aforementioned Hubbard, Wayne Shorter and all the eastern revelers. Today he is still as active as ever and it is a great privilege to have him on the program. Cedar Walton welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

Drummer Max Roach's quartet was recorded at The legendary Jazz Workshop in San Francisco in October of 1962. Two long selections are heard on this album which was Roach's last before he was boycotted for three years by all the record companies for his militant stance and the politics of his music. He resumed recording in 1965 with Atlantic Records. Mr. Roach leads a power quartet here with the great Clifford Jordan on tenor saxophone, Mal Waldron on piano, Eddie Khan on bass. Each player gets on his soapbox and "speaks his piece" on "Speak Brother Speak!" . The other tune is called "A Variation" and it's an extended piece based on Heitor Villa-Lobos' "Prelude" once again extended solos are on the menu. Inspired, militant and powerful music abounds!

To swing or not to swing, that is the question, and here is the answer - Swinguer ou ne pas swinguer, telle est la question, et voici la réponse. À vous de départager les deux protagonistes de cette émission en direct du Mellotron à Paris. Fred Boucaumont et Lawrence Walken s'envoient du lourd, et on l'impression qu'ils y prennent goût. Ils sont touchants, en fait. À bout portant, plus exactement. Jugez plutôt : Art Blakey vs Charles Mingus vs Miles Davis vs Kenny Dorham vs Joe Henderson vs Clifford Jordan vs Art Farmer et Donald Byrd vs Charlie Byrd vs Scott Hamilton vs George Wallington...

Por Pachi Tapiz. “Mandrake”. Eric Dolphy: Musical Prophet (Resonance Records. 3CD. Reed.) Eric Dolphy, William “Prince” Lasha, Huey “Sonny” Simmons, Clifford Jordan, Woody Shaw, Garvin Bushell, Bobby Hutcherson, Richard Davis, J.C. Moses © Pachi Tapiz, 2019 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120

Reggae Jazz (2ª part): John Scofield; Clifford Jordan; Henri Texier; The Hot 8 Brass Band; Bacao Rhythm & Steel Band; Monty Alexander; Don Drummond; Hamid Drake & Bindu; Sarah Tandy; Ezra Collective.

This was an incredible chance to sit down with a living legend of music: Reggie Workman. In 1961, Workman joined the John Coltrane Quartet, replacing Steve Davis. He was present for the saxophonist's Live at the Village Vanguard sessions, and also recorded with a second bassist (Art Davis) on the 1961 albums, Olé Coltrane and Africa/Brass. Workman recorded frequently through the 1960s and performed with such icons as Art Blakey's Jazz Messengers, Thelonious Monk, Max Roach, Freddie Hubbard, Lee Morgan, Eric Dolphy, Gigi Gryce, Booker Little, Roy Haynes, Wayne Shorter, Red Garland, James Moody, Abbey Lincoln, Alice Coltrane, Booker Ervin, Horace Silver, Benny Golson, Cedar Walton, Elvin Jones, McCoy Tyner, Curtis Fuller, Yusef Lateef, Pharoah Sanders, Herbie Mann, Archie Shepp, Clifford Jordan, Bobby Hutcherson, Sonny Fortune, Billy Harper, and David Murray.   We got this lucky chance to speak with him because the Brooklyn Raga Massive will be performing A Love Supreme with Reggie Workman on June 9th as part of their Wall to Wall: John Coltrane Event.  

As we honour Black History Month, we present another of drummer Max Roach's albums that reflect not only his concern with innovative music but his political stance on justice, equality and civil rights. Roach radically changed his approach to music in the volatile climate of the USA in the early 1960's. Has it really changed much? Mr. Roach and his Ensemble and 6 of his compositions grace this album, his first for Impulse Records. It was called "Percussion Bitter Sweet". Roach's Ensemble consists of trumpeter Booker Little, trombonist Julian Priester, the amazing Eric Dolphy on flute/bass clarinet and alto saxophone, Clifford Jordan on tenor saxophone, Mal Waldron on piano, Art Davis on bass, Carlos "Patato" Valdes on conga drums and Carlos "Totico" Eugenio on percussion and timbales. Vocalist Abbey Lincoln appears on the first two compositions...wordless on the first called "Garvey's Ghost" and with words by Mr. Roach on "Mendacity". Check out Max roach and his music tonight as our tribute to Black History Month.

Por Pachi Tapiz. Alan Douglas produjo unas sesiones de grabación de Eric Dolphy el 1 y el 3 de julio de 1963. Fruto de aquellas sesiones de grabación se publicaron los LP Conversations e Iron Man. En 2019 se publica Musical Prophet (Resonance Records), un triple CD/LP que incluye las dos grabaciones mencionadas y más de ochenta minutos inéditos procedentes de esas sesiones de grabación. En HDO 491 escuchamos temas de ambas grabaciones, así como algunos de los temas inéditos hasta ahora. En ellos Eric Dolphy está acompañado por Prince Lasha, Sonny Simmons, Clifford Jordan, Woody Shaw, Garvin Bushell, Bobby Hutcherson, Richard Davis, Eddie Kahn, J.C. Moses y Charles Moffett, y se le puede escuchar en distintos formatos: tenteto, noneto, quinteto, dúo y en solitario. Tomajazz: © Pachi Tapiz, 2019 HDO 491 te gustará… si te gusta el jazz… si te gusta Eric Dolphy… si te gusta el jazz de la década de los años 60… HDO es un podcast de jazz e improvisación (libre en mayor o menor grado) que está editado, presentado y producido por Pachi Tapiz. Para quejas, sugerencias, protestas, peticiones, presentaciones y/u opiniones envíanos un correo a hdo@tomajazz.com

In this episode, we feature three great musicians:  Tenor Sax  Clifford Jordan; Tenor Sax Dexter Gordon; and finally, trumpeter Blue Mitchell.

Bassist Richard Davis has always been one of the leading exponents of that noble instrument. Davis has had long experience in many styles of music from symphony work with the New York Philharmonic to recordings and gigs with some of Jazz music's most adventuresome spirits like Eric Dolphy, Booker Little, Andrew Hill, Booker Ervin, Miles Davis and many others. He was a charter member of the famous Thad Jones/Mel Lewis Orchestra. Davis for all his ubiquity made few recordings under his own name and this is one of them. It concludes our exploration of rare recordings by well known or lesser known artists. Tonight's Jazz Feature was recorded live at a club in New York called Jazz City in September of 1972. The band includes one of the day's leading tenor saxophonists, Clifford Jordan and powerhouse trumpeter Marvin "Hannibal" Peterson, cutting edge pianist Joe Bonner and drummer Freddie Waits and of course Richard Davis. The music is very edgy and adventurous and the band explored only two tunes but both are lengthy. Thelonious Monk's "Epistrophy" goes where even Mr. Monk wouldn't venture and Charlie Parker's blues "Now's The Time" gets a long workout into every nook and cranny of style. The music goes from straight-ahead to the outer reaches and back again. The adventurous spirit of Richard Davis is in tonight's spotlight and thanks to Muse Records we can experience "Now's The Time".

Chris Connor syngur lögin Lover Man, It Only Happens When I Dance With You, Just Squeeze Me, All I Need Is Love, The Night We Called It A Day, Moonlight In Vermont, Good For Nothin', Be My All, Try A Little Tenderness og Everything I've Got. Kvintett Herbie Hancock leikur lögin Watermelon Man, Driftin', Empty Pockets, Three Bags Full, The Maze og Alone and I. Kvartett Cliffords Jordan leikur lögin Quasimodo, I'll Be Around, The Adventurer, Blues For Muse og No More.

Chris Connor syngur lögin Lover Man, It Only Happens When I Dance With You, Just Squeeze Me, All I Need Is Love, The Night We Called It A Day, Moonlight In Vermont, Good For Nothin', Be My All, Try A Little Tenderness og Everything I've Got. Kvintett Herbie Hancock leikur lögin Watermelon Man, Driftin', Empty Pockets, Three Bags Full, The Maze og Alone and I. Kvartett Cliffords Jordan leikur lögin Quasimodo, I'll Be Around, The Adventurer, Blues For Muse og No More.

@CoachSoderling & @CoachNRizzo go around the table with Bianca Jauregui (Illinois-Springfield Asst.), Clifford Jordan (Knox College Asst.), and Ian Wilson (Illinois Wesleyan University Asst. This fun group discuss how they all first met, every aspect of recruiting, the difference (or lack thereof) between the division levels in college soccer, what their programs and schools look like, how the became college coaches, along with some great stories in coaching. Join the discussion on twitter every Wednesday night at 9:30PM EST using #SoccerChat or following @ChatSoccr. SPONSOR: Social Media For The High School Athlete, www.socialstudentathletes.com, also on Facebook/Twitter at @HSSocialMedia.

1. Revelation by Yusef Lateef 2. Moanin' by Charles Mingus 3. Flute Song by Wildflower 4. Quiet Fire by Roy Haynes 5. Song For Mozambique by Archie Shepp 6. Like A Galaxy Of Stars by Byron Morris And Unity 7. Mother Of The Future by Anne Wirz 8. Wildfire by Hubert Laws 9. Suratal Ihklas by Doug Carn 10. Message From Kenya by Art Blakey & Sabu 11. El Maja by Robin Jones 12. Kram Samba by Frank Strozier Quintet 13. Jelly's Da Beener by Robert Glasper 14. Maimoun by Clifford Jordan 15. Song Of Freedom by David Wertman & Sun Ensemble 16. The Song Of Loving/Kindness by Gary Bartz 17. Today Is The Day by Frazelle 18. Hot Taste Jam (The Mighty Zaf & Phil Asher Edit) by Masanori Sasaji 19. One More Try (12" Disco Mix) by Ashford & Simpson 

Clifford Jordan is from Chicago and is a graduate of the legendary DuSable High School music program. Many many famous musicians and performers graduated from this school and the music program was under the venerable Captain Walter Dyett who taught, reading, discipline, tone and ability to blend with other instruments. Jordan worked with Horace Silver, Max Roach, J.J. Johnson and Charles Mingus and others and recorded a whole series of albums under his own name for many labels. Jordan was one of the most distinctive and easily recognizable tenor saxophonists that Modern Jazz ever produced. Tonight is one of his most personal albums. Jordan is the only horn and he is backed by a free flowing rhythm section with the great Cedar Walton on piano and Teddy Smith on bass, a newcomer to New York at the time of this recording in 1961/62. The open and very individual drumming of J.C. Moses makes this rhythm section distinctive and gives it that free and floating quality.The album is called "Bearcat" (named for a wrestler friend of Jordan's: "Bearcat" Wright) and it contains 5 Jordan originals, all memorable and melodic. One standard and one Jazz standard is included. This is a fine date by Jordan and one of his best.

It's been four years, and Mike and Pat celebrate by discussing some out of the way quartet music - and trying to determine which jazz quartets were the greatest of all time. Throw in some political commentary and missed programming communication, and you've got an anniversary blowout! Hollywood Sax Quartet – JAZZ IN HOLLYWOOD; Bartosz Dworak – POLISHED; Clifford Jordan – GLASS BEAD GAMES; Anthony Braxton – QUARTET (COVENTRY); Rex Stewart and His Feetwarmers; James Blood Ulmer – LIVE AT BIRDLAND.

This album was recorded at the legendary Jazz Workshop in the North Beach area of San Francisco in October of 1962. In 1959 Max Roach declared that his music would from that time on reflect not only his musical stance but his political stance as regards civil rights for his people of African-American heritage. After this recording, Mr. Roach was boycotted by many booking agents and the record companies of the day. He did not resume recording until he signed with Atlantic Records in 1965. This album brings his working band to the fore and unfortunately doesn't include his wife, vocalist Abbey Lincoln but it is all about his powerhouse quartet with included tenor saxophonist Clifford Jordan, pianist Mal Waldron and bassist Eddie Khan and of course Mr. Roach. Two long pieces are included on this recording and both are in the form of a suite designed to feature everyone in the band extensively.. "Speak Brother, Speak!" is the first long suite based in the blues and the second piece entitled "A Variation" based on a theme by Heitor Villa-Lobos is another foray into a minor key. Both are so effective and moving. "Speak Brother, Speak!" speaks to us all so listen up!

Drummer/composer and Modern Jazz pioneer Max Roach did two wonderful albums for the Impulse label and as second tribute to Black History Month we present the first of these two recordings called "Percussion: Bitter Sweet". As is common knowledge, Max Roach's music became more political in about 1959 when he stated that he would never play or record anything that didn't have political or social significance as regards the African-American and civil rights. Max Roach's Ensemble consists of his then wife Abbey Lincoln on vocal on the first two tunes. The instrumentalists are trumpeter Booker Little, tenor saxophonist Clifford Jordan, trombonist Julian Priester, and Eric Dolphy on alto saxophone, flute and bass clarinet, Mal Waldron on piano, Art Davis on bass and where heard percussionist Carlos "Patato" Valdes (conga drum) and Carlos "Totico" Eugenio (percussion and timbales). There are six compositions on the record and the music is militant, powerful and inspired. Percussion: Bitter Sweet is a classic.

When you hear this music, it's hard the believe that it's 53 years old. The date was done in February of 1962 by drummer Max Roach and his group plus a 16 voice choir,. The combination was innovative and very new to the world of Jazz and demonstrates the advanced thinking of Max Roach. Roach as most people are aware was a pioneer of Modern Jazz and it's major drummer. We have Charlie Parker, Dizzy Gillespie, Bud Powell and Max Roach as the real fathers of Modern Jazz. Mr. Roach was always aware of his place in society as a proud African-American and this music reflects his pride, his militancy, his anger, his joy and his triumph. His group consisted of himself on drums, Art Davis on bass, Mal Waldron on piano, Julian Priester on trombone, Richard Williams on trumpet and the powerful Clifford Jordan on tenor saxophone. The choir is 16 voices strong and under the direction of Coleridge T. Perkinson. The compositions and arrangements of the six movements are by Max Roach. "it's Time!" stands as on of Mr. Roach's most innovative and significant recordings in a very long and illustrious career. Yes indeed.......It's Time!

O.K. so maybe I could have dug even deeper, but hopefully you'll appreciate that with the birth of my twin boys, crate diggin' time is limited, so recourse to few old favourites in this selection. Nevertheless it's not exactly obvious unless you're one of those chin stroking jazz snobs. I'd been wanting to do a kind of "pure" jazz show for a while, the criteria could have been even more stringent, I could have outlawed all electric instruments, but I did want to keep some variety. I can't remember the last time I played something from the Riverside label on the show, so slipping a couple into the first half hour was kind of satisfying, great tunes from Jimmy Heath and Clifford Jordan. Then there's vocals, a scat masterclass from Jon Hendricks, Ann Young tearing up a standard and The Metronomes with silky smooth harmonies. I also decided to do a mini Prestige feature.... what's the difference between Blue Note and Prestige, a day's rehearsal.... yes it is the kind of ugly sister of classic jazz labels, more "blowing dates" less recording sessions. Yet of course there are some awesome titles in the Prestige catalogue, Frank Wess' "Southern Comfort" is certainly one of those, soul-jazz with a Latin twist and really punchy well balanced recording. As always the mellow meltdown in the middle is fun to do, it's what radio's for in my opinion. Listening to Duke Pearson's Sweet Honey Bee album again for the first time in ages, the beauty of "After The Rain" left me quite astounded, Pearson was the quintessential Blue Note artist, he acted as an A&R man for Alfred Lion, and composed the timeless "Cristo Redentor" for which he should be duly honoured as it is one of the most beautiful melodies of all time. "After The Rain" comes close to that peak of sublimity. Continuing the rainy theme the Masabumi Kikuchi composition "Drizzling Rain" from his album with Gil Evans is just as beguiling, with a Japanese lyricism, a kind of Jazz haiku. "En Passant" performed by West Coast stalwarts Shelly Manne ands His Men is an early composition by the great John Williams from U.S. tv series Checkmate, Williams' list of film credits is ridiculous , probably the most successful composer of the twentieth century? All that instrumental grace is followed by a trio of vocal cuts with a morning theme....lushness from Carmen McRae, the brilliant Lorez Alexandria, and Andy Bey ripping some conscious flavour through Gary Bartz NTU Troops leftfoot jazz-funk. Closing the show the last sequence gets lowdown and funky, and a bit abstract! Drums and basslines, a touch of James Brown in Roy Haynes' "Guadalupe", and some electronic undertow in Julian Priester's " Love Love" which I played just a portion of as it covers a whole side. Shame that I only squeezed a the first bit of Monette Sudler's "Brighter Days For You" as it takes me back to my early days of The Cosmic Jam all those years ago.... still love it, and the title says it all. Peace, love and music P.x 1. Jimmy Heath Orchestra - Big P 2. Jon Hendricks - Good Ol' Lady 3. Benny Bailey - Little B 4. Ann Young & Yuji Ohno Trio - Speak Low 5. Hector Costita - Tokio 6. Mary Lou Williams & Friends - Prologue 7. Clifford Jordan - Bearcat 8. The Metronomes - On Green Dolphin Street 9. Sun Ra - The Others In Their World 10. Tadd Dameron & John Coltrane - Mating Call 11. Frank Wess - Blues For Butterball 12. Charles Earland - Letha 13. Duke Pearson - After The Rain 14. Gil Evans & Masabumi Kikuchi - Drizzling Rain 15. Shelly Manne & His Men - En Passant 16. Carmen McRae - Just A Little Lovin' 17. Lorez Alexandria - Morning 18. Gary Bartz NTU Troop - Rise 19. Doug Hammond - Kone Pone 20. Roy Haynes - Guadalupe 21. Julian Priester - Love Love 22. Byron Pope Speed Of Light - No Boundaries 23. Monette Sudler Sextet - Brighter Days For You

16e émission de la 30e session... Cette semaine, l'animateur est en vacances, alors des nouveautés et du jazz aux influences arabes! En musique: Charles McPherson sur l'album The Journey (Capri, 2015); Roots Magic sur l'album Hoodoo Blues (Clean Feed, 2015); Clifford Jordan sur l'album Spiritual Jazz 6: Vocals (Jazzman, 2015, enr. 1973 sur l'album Glass Bead Game); Vibration Society sur l'album Spiritual Jazz 6: Vocals (Jazzman, 2015, enr. 1986 sur l'album The Music Of Rahsaan Roland Kirk); Amir ElSaffar's Two River Ensemble sur l'album Crisis (Pi Recordings, 2015); Anouar Brahem sur l'album Souvenance (ECM, 2014); A Trio & Alan Bishop sur l'album Burj Al Imam (Annihaya, 2015); Pierre Favre sur l'album SOLO Münster Bern (Cubus, 2008)...

16e émission de la 30e session... Cette semaine, l'animateur est en vacances, alors des nouveautés et du jazz aux influences arabes! En musique: Charles McPherson sur l'album The Journey (Capri, 2015); Roots Magic sur l'album Hoodoo Blues (Clean Feed, 2015); Clifford Jordan sur l'album Spiritual Jazz 6: Vocals (Jazzman, 2015, enr. 1973 sur l'album Glass Bead Game); Vibration Society sur l'album Spiritual Jazz 6: Vocals (Jazzman, 2015, enr. 1986 sur l'album The Music Of Rahsaan Roland Kirk); Amir ElSaffar's Two River Ensemble sur l'album Crisis (Pi Recordings, 2015); Anouar Brahem sur l'album Souvenance (ECM, 2014); A Trio & Alan Bishop sur l'album Burj Al Imam (Annihaya, 2015); Pierre Favre sur l'album SOLO Münster Bern (Cubus, 2008)...

In 1962 Lee Morgan was sick, drug addicted and destitute and without a trumpet yet at the beginning of the year he made this extraordinary recording by picking a great band, borrowing a horn and contributing 4 of the 6 tunes heard here. Morgan's story is well known and can be found in his harrowing, and candid biography called "Delightfulee" published by The University of Michigan Press. Despite his chaotic life Lee Morgan never lost his talent nor his playing ability. This album was his only recording in 1962 and it has been critically acclaimed. Morgan picked tenor saxophonist Clifford Jordan on the front line plus the great Barry Harris on piano and firebrand Louis Hayes on drums. Four of the six tunes are by Morgan and one by Jordan and one by the legendary pianist/composer Elmo Hope complete the date. The playing is inspired all around and don't forget that Morgan was all of 23!! 1963 proved a better year for Morgan as he met a lady who helped him rebuild his life and career and he recorded "The Sidewinder" for Blue Note...the rest is history until his untimely and tragic death by a shooting in February of 1972. He was only 33 but he had earned his place in Jazz History. Tonight's Feature is an important milestone in Lee's history. "Take Twelve" is a super recording!

This album was recorded in October of 1962 at the legendary Jazz Workshop in San Francisco as part of a two week engagement. Mr. Roach usually traveled with his girlfriend (who became his wife), singer Abby Lincoln but not this time. This writer was there for two nights but not on the evening of the recording. The same two pieces were played every night, among many others. By this time Max Roach was playing music that had sociological and political overtones in keeping with his African-American heritage and the turbulent times in the USA. The title piece is called "Speak brother Speak" and it instrumentally depicts people standing on a soapbox in any ghetto in the USA and speaking their piece. It is in a series of movements that feature everyone in the band. The second long piece is Max Roach's arrangement of a Heitor Villa-Lobos theme called "Prelude" that displays the talents and soloing of all four band members. The tenor saxophone is played by the great Clifford Jordan and his high keening sound and melodic concept displays his deep emotional commitment to the music. On piano is Mal Waldron who reflects the influence of Bud Powell and Monk but with his penchant for hypnotic repetition. The strong bass of the lesser known Eddie Kahn is a great asset to this band as well as his soloing ability and Mr.Roach is a picture of intense fire and creativity. This recording captures one of the great moments in Jazz and furthers our tribute to Black History Month.

This wonderful recording is led by one of the most distinctive tenor saxophonists in Jazz, Clifford Jordan. Here he leads two quartets each playing original material composed by Jordan himself and the individual band members.The people involved in Quartet #1 are Jordan on tenor saxophone, Stanley Cowell on piano, Bill Lee (Spike Lee's dad) on bass and the great Billy Higgins on drums. One composition by Jordan, two by Cowell and two by Lee are represented. The music is pure, lyrical and organic. Quartet #2 has Jordan and Higgins with Cedar Walton replacing Cowell and Sam Jones replacing Lee. Jordan is represented compositionally by the album's title track (Glass Bead Games) and Walton penned two and a Sam Jones blues (One For Amos) closes the set. Again the music is passionate, organic and unified. It just flows and has a quality that is missing from most Jazz recordings, a great feeling of a band! This music came out on a musician-run label called "Strata-East" and it is now hard to find. It was recorded in New York on October 29,1973 and in those days it was like a breath of fresh air. It is just that today....timeless music and the best of Jazz.

This is considered to be Clifford Jordan's debut album. His earlier appearance on the Blue Note label was a co-led two tenor saxophone session with John Gilmore. This rare recording has never had a domestic re-release but was first issued as Blue Note 1565 and called "Cliff Jordan". It features the very distinctive sound of Jordan's tenor saxophone with the young teen-aged trumpet sensation Lee Morgan on three tracks. Curtis Fuller on trombone and Jordan's high school classmate, the legendary alto saxophonist John Jenkins. Ray Bryant is on piano, Paul Chambers on bass and Arthur Taylor on drums. The first two tunes are without Morgan and then tune #3 is a composition by Lee and was his first recorded tune called "Ju-Ba". The full band is featured on the final two tunes, Jenkins reworking of Miles Davis' "Milestones" (the early version) and an up=tempo interpretation of one of the day's pop tunes called "Beyond The Blue Horizon". Clifford Jordan spread the chores out wisely and came up with a very representative album of New York Jazz from the mid 1950's. This fine recording deserves a domestic re-issue in stereo. It's a fine tribute to the artistry of the late Clifford Jordan, who passed away in 1993.

Deuxième de la quatorzième session... Cette semaine on s'inspire des récipiendaires du National Endowment for the Arts 2010 (États-Unis) et le retour de la chronique Big Band de Marie-Eve Boulanger ! En musique: On ouvre avec Cedar Walton et Clifford Jordan sur l'album A Night at Boomers Vol.1 (Muse, 1973); Ensuite dans la chronique de Marie-Eve, les artistes suivants:  Bob Mintzer Big Band, Big Phat Band, Dave Holland Big Band et le GRP All Star Big Band. Par après, Bobby Hutcherson et des pièces de l'album Medina (Blue Note, 1969); Yusef Lateef avec l'album Before Dawn (Polygram, 1957); Finalement, Muhal Richard Abrams et des pièces de l'album Lifea Blinec (Novus, 1978)...       Normal 0 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";}        

Deuxième de la quatorzième session... Cette semaine on s'inspire des récipiendaires du National Endowment for the Arts 2010 (États-Unis) et le retour de la chronique Big Band de Marie-Eve Boulanger ! En musique: On ouvre avec Cedar Walton et Clifford Jordan sur l'album A Night at Boomers Vol.1 (Muse, 1973); Ensuite dans la chronique de Marie-Eve, les artistes suivants:  Bob Mintzer Big Band, Big Phat Band, Dave Holland Big Band et le GRP All Star Big Band. Par après, Bobby Hutcherson et des pièces de l'album Medina (Blue Note, 1969); Yusef Lateef avec l'album Before Dawn (Polygram, 1957); Finalement, Muhal Richard Abrams et des pièces de l'album Lifea Blinec (Novus, 1978)...       Normal 0 MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";}        

Virtuoso bassist Richard Davis leads an adventurous band recorded at the short lived New York club called "Jazz City" on September 7,1972 on but two long tunes. The record's title explains what the tunes are. Davis, who had a long career in Jazz and classical music, he was only the second African-American to be employed in a symphony orchestra in the mid 1960's. He played in the New York Philharmonic under Leonard Bernstein and was singled out for praise by none other than Igor Stravinsky. Davis, who recorded very little under his own name leads an all-star band here with the great tenor saxophonist, Clifford Jordan playing some of his most adventurous work. Marvin "Hannibal" Peterson is on trumpet, a strong declarative player who could shout and whisper on the horn. He wasn't nicknamed "Hannibal" for nothing. Joe Bonner on piano plays everything from Powell through to Cecil Taylor and Freddie Waites on drums can be abstract and swinging at the same time. Freddie also plays some percussion and wind instruments like the wooden flute and other devices. The two tunes are given very very broad interpretations far beyond what their composers imagined. Monk's "Epistrophy" is given a very abstract interpretation and Charlie Parker's "Now's The Time" is a bit more grounded as it's the blues. Richard Davis said this about the music: "the idea here was to just play sounds and music"........that's exactly what they did to a full and enthusiastic house that night.

This recording was drummer/composer Max Roach's second album for the Impulse label and was one of his most innovative. It is unique in that it combined Mr. Roach's working band with a 16 voice choir. The themes, all composed and arranged by Roach reflected his ever growing involvement in America's civil rights struggle. The themes are defiant, militant and intense. Max's band included Clifford Jordan on tenor saxophone, Richard Williams on trumpet, Julian Priester on trombone,Mal Waldron on piano, Art Davis on bass plus a choir under the direction of Coleridge Perkinson. Roach's wife of the time, the wonderful singer, Abbey Lincoln appears on one tune. It's hard to believe that soon after this recording was made, Max Roach was boycotted from recording because of his political attitudes and commitment to racial equality. This recording was done in February of 1962 and Roach did not make any domestic recording until 1965, when he was signed to Atlantic Records. "It's Time!" is a rewarding and moving experience.

From the early 60's on drummer/composer/Jazz pioneer, Max Roach made a vow to never play or record anything that did not have some form of political significance. Usually music and politics are a bad mix with music often taking a back seat but with Mr. Roach this was not the case. Max became a champion of civil rights and although others made strong statements about the plight of African-Americans, Max's voice was among the most articulate and musical. Roach was blacklisted from recording for many years in the 60's for his political stance. This album is a follow-up to his famous "Freedom Now Suite" and his first of two for the forward thinking Impulse label.His band includes the late trumpeter Booker Little, who was only two months away from his death at 23 from uremia. Julian Priester is on trombone, Clifford Jordan on tenor saxophone, and Eric Dolphy is heard on alto saxophone,flute and bass clarinet. Mal Waldron is on piano and Art Davis is on bass and on several tunes two percussionists are added in the persons of Carlos "Patato" Valdes on congas and Carlos "Totico" Eugenio on timbales and assorted percussion. Two vocals are by Abbey Lincoln. All the compositions and arrangements are by Max Roach and the recording was done over several days in August of 1961. This album is both a strong political and musical statement by one of the true giants of Jazz and creative music, Max Roach.

This album was pianist/composer Horace Silver's third recording for Blue Note with his working band. The band, with this personal was captured at it's peak before some of the men left to persue other opportunities. Art Farmer on trumpet provided cliche-free, thoughtful solos in contrast to the outgoing Rollins influenced tenor saxophone work of Chicago born Clifford Jordan, Teddy Kotick, who was Charlie Parker's favourite bassist is strong and vibrant here. The drumming of Louis Hayes adds to the mix. Horace Silver's spare, swinging playing is so distinctive and his compositions reflect Silver's creative processes. Soon after, Horace had to rebuild his quintet as Farmer left to join Gerry Mulligan and Jordan left to play with J.J. Johnson and Kotick left to freelance and work with Bill Evans. The band was tight and together for this album appropriately called "Further Explorations".

This most personal statement from this great Chicago-born tenor saxophonist, Clifford Jordan, is even more unique because all the tunes save for the standard, "How Deep is the Ocean?", and Tom McIntosh's tune "Malice Towards None" are all written by Jordan. His great sound and individual approach to the tenor is evident here, his high keening sound and blues inflected concept works beautifully. Jordan's main influence was Sonny Rollins but by the time of this recording in late 1961, Jordan was his own man. He's backed here by pianist Cedar Walton. They had met when they were a part of trombonist J.J.Johnson's short-lived sextet of 1960-61. Walton understands Jordan's bright clear ideas and is in tune with Jordan's rhythmic concept. The late Teddy Smith is on bass. Teddy had just arrived on the New York scene and worked very well with drummer J.C. Moses in providing a loose but very solid foundation for Jordan and Walton. This music is firm and rooted in Jazz tradition but has some new and wonderfully innovative properties as well and is an important statement by one of the finest tenor saxophonists to grace the planet.

This was one of the most amazing bands that bassist/composer/innovator Charles Ningus ever led. The band consisted of Johnny Coles("Little Johnny 'C'')on trumpet, Eric Dolphy on alto saxophone, flute and bass clarinet, Clifford Jordan on tenor saxophone, Jaki Byard, piano and Dannie Richmond on drums. This concert recorded by The Student Society at Cornell has just been newly discovered and issued as a double CD on Blue Note. The music reflects Mingus in a positive and optimistic space and yet as always covers the many moods of Mingus from joy to anger. A monumental discovery!!!

Morgan was only 22 when he recorded this mature statement and at 22 was already a veteran Jazz player. Lee appears here with Clifford Jordan(tenor saxophone),Wynton Kelly(piano),Paul Chambers(bass)and Art Blakey(drums). A fine showcase for Morgan's talents.

The Magic Triangle was a great band that played melody,harmony and rhythm hence the name.Clifford Jordan on tenor saxophone,Cedar Walton on piano,Sam Jones on bass and Billy Higgins on drums was one of the finest Jazz groups of all time. The Magic Triangle tonight!!!!

Troisième de la cinquième session. On se consacre pour la majeure partie de l'émission à Christian Mcbride (double contrebassiste américain, né en 1972). On termine avec un succès souvenir de Clifford Jordan, tout en se quittant avec une pensée spirituelle pour Alice Coltrane.

Troisième de la cinquième session. On se consacre pour la majeure partie de l'émission à Christian Mcbride (double contrebassiste américain, né en 1972). On termine avec un succès souvenir de Clifford Jordan, tout en se quittant avec une pensée spirituelle pour Alice Coltrane.