Podcasts about Dizzy Gillespie

This week in the Screening Room we’re talking about factory lines, automobiles, unions, blackmail, Dizzy Gillespie for President, and the 1978 film ‘Blue Collar.’ Plus the return of the Hypothetical Theoretical Metaphorical Potentially Possible Mixtape with songs by Tommy James, Bruce Springsteen, and more. Become an All Access member and get ad-free listening by visiting disgracelandpod.com.See omnystudio.com/listener for privacy information.

This episode of The Other Side of the Bell, featuring trumpet composer, performer and producer Gabriel Johnson, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Gabriel Johnson Trumpet Interview" And, find the expanded show notes, transcript and more photos here --- Gabriel Johnson went to the Monterey Jazz Festival at 9 years old - by himself - and witnessed Dizzy Gillespie and Freddie Hubbard on stage. He went home, switched instruments to the trumpet, and the rest is history. Gabe learned to play the trumpet by ear, playing along to Miles Davis, learning "the excitement inside the sadness." A glimmer of hope for Gabe during a difficult childhood. Self taught until later in high school, it wasn't until he was at the New England Conservatory when he learned that what seemed second-nature all along was in fact perfect pitch. A chance encounter with Chris Botti on Gabe's last night in Boston before moving to Los Angeles led to a friendship of over 20 years, and pivotal connections including meeting the manager of Blood, Sweat & Tears, who invited him to be the band's musical director for a year. From hanging out with Clint Eastwood and Robert Redford, to learning recording techniques and producer psychology from David Foster, Gabe has built a remarkable career full of originality and spontaneity, covering soundtracks, jazz, pop and more. With AI creeping into musicians' livelihood, Gabriel has some pertinent advice: individual artist expression is something that can never be replicated, whether by artificial intelligence or another human. Be yourself, be creative, be original. The rest will follow. About Gabriel Johnson:  Gabriel Johnson is an American jazz trumpeter whose lyrical sound and deep musical fluency have earned praise from artists, including David Foster, Clint Eastwood, and Chris Botti.  Gabe studied at New England Conservatory and then moved to Los Angeles and built a wide ranging career as a solo artist, session musician and featured performer. Recording and performing with artists such as Gladys Knight, Steven Tyler, David Foster, Chris Botti , Andrea Bocelli, Lyle Lovett, and Burt Bacharach, he was featured by Clint Eastwood as a trumpet soloist on the film scores for Changeling and Invictus, and has released a substantial catalog of recordings on his Sunset Horn label, blending jazz tradition with cinematic electronic and modern production influences. Episode Links: Website: www.gabrieljohnsonmusic.com Bandcamp: https://gabrieljohnson.bandcamp.com YouTube: https://www.youtube.com/user/GJTrumpet Apple Music: https://music.apple.com/us/artist/gabriel-johnson/336452318 Instagram: https://www.instagram.com/gjtrumpet/?hl=en Bob Reeves Brass Events and Appearances: William Adam Trumpet Festival July 9-12, Southern Illinois University, Carbondale, Ill. Book your trumpet alignment here: https://trumpetmouthpiece.com/products/william-adam-trumpet-festival-valve-alignment-presale Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Photo Credits - Courtesty Brian Shaw and Equinox Publishing Audio Engineer - Ted Cragg

用全世界的温柔，说一句谢谢你。最近循环到一首超级温暖的宝藏儿歌“Thank you around of the world” 集齐了全世界各国的语言，合唱一句温柔的「谢谢你」。最戳我的细节：中文没有刻意翻译，而是纯粹的拼音 xie xie ni。简单、干净，又格外亲切，一瞬间被狠狠治愈节一直很偏爱这种有格局、有温度的作品。就像情人节全网语言说“我爱你”，母亲节万物同声唤“妈妈”，还有封神的2002年小泽征尔新年音乐会：乐团全员用母语道新年祝福，最后小泽征尔温柔说出一句中文「新年好」跨越国界的善意，永远最动人。愿我们永远心怀感恩，热爱世间所有美好。坂本龙一最爱的巴西家庭，女儿终于来了坂本龙一封神专辑《Casa》，来自他视作家人的巴西音乐世家 Morelenbaum 夫妇。当年在巴萨诺瓦之父 Jobim 家中录制，坂本说：这不是录音，是回家。如今，这对夫妻的女儿 Dora Morelenbaum 带着自己的音乐正式出道。她在传奇身边长大，继承了温柔又高级的嗓音，是《Casa》真正的下一代声音。被低估的客家民谣诗人|陈永淘《打孔窍》小众宝藏民谣分享，台湾客家音乐人陈永淘，圈内都唤他民谣诗人不追逐舞台热度，扎根乡土创作歌声裹着山野烟火气，腔调淳朴又动人，偏爱这首《打孔窍》慢悠悠的曲调舒缓治愈，朴实歌词里藏着通透的生活哲思，客家方言吟唱自带独特韵味，抛开浮躁静心聆听，总能从旋律里读懂平凡人生的处世心境，小众民谣真的越品越有味道。老男孩一响 我的青春彻底回来了谁的青春里没有一首《老男孩》啊作为和肖央相识多年的老朋友，一路看着他成长，也见证了筷子兄弟的一路高光，2010年横空出世的《老男孩》道尽了年少追梦的遗憾与不甘，瞬间戳中无数8090后的内心后来的《父亲》温柔又催泪再到火遍全网的《小苹果》首首都是刻在时光里的经典金曲这么多年过去。旋律依旧熟悉，情怀从未褪色这些歌声早已不是简单的音乐而是我们回不去的滚烫年少，藏着数不清的青春故事与难忘回忆终于等到线下相聚时刻，赴一场青春之约，重温年少心动。爵士控狂喜！人声与鼓的极致极简对决谁懂啊！挖到一首极致干净的爵士神级曲目心1978年Sarah Vaughan与Oscar Peterson四重奏专辑收尾曲“When Your Lover Has Gone” 制作人特意要求：去掉贝斯、去掉和弦只留爵士天籁女声+鼓点，没有任何多余编曲，空灵又有空气感，极简到极致，却又帅到骨子里。《企鹅爵士指南》三星认证，评价它用最简单的配置唱出了最纯粹的爵士情感，每一句都戳心小众又高级，戴上耳机听氛围感直接拉满喜欢爵士的宝子一定要码住，慢下来静静听感受这份不被打扰的爵士浪漫。爵士界“火云邪神”：迪兹•吉莱斯皮用意外改写爵士史的小号巨人如果你爱爵士，一定认得这张脸—鼓胀如球的腮帮子、向上歪45°的小号，这就是Dizzy Gillespie（1917.10.21-1993.1.6），原名约翰•博克斯•吉菜斯皮，比波普（Bebop）与拉丁爵士的双料奠基人，20世纪最伟大的小号演奏家之一。标志性“吉莱斯皮囊”：不是天生，是肌肉传奇他吹奏时双颊会鼓成皮球，圈内专属叫法“吉莱斯皮囊”。这并非天生特质，而是数十年高强度小号训练练就的肌肉形态。为了吹出更快、更高、更具爆发力的音符，他的腮部肌肉异于常人，也成为独一份的个人符号。歪脖小号：1953年一场意外，成就永恒经典他那支向上弯曲45°的歪脖小号，源自一场意外。1953年妻子生日派对的演出现场，他将小号放置一旁，两名舞者打闹摔倒不慎压到乐器，喇叭口就此变形。他试吹后发现，变形后的乐器音色更清亮、穿透力更强，声场表现也更出色，便决定不再修复。之后还专门定制同款造型，歪脖小号就此成为他的专属标志，也间接影响了爵士小号的声学设计与风格。他如何定义现代爵士？作为比波普宗师，他和查理•帕克一同开创Bebop风格，以复杂即兴、快速音阶打破传统摇摆乐的框架，筑牢现代爵士的根基。同时他也是拉丁爵士先驱，将古巴节奏与爵士音乐巧妙融合，代表作《突尼斯之夜》享誉世界。他身兼演奏家、作曲家、乐队领袖多重身份，舞台风格风趣鲜活，是爵士乐坛极具影响力的人物。为什么他值得被记住？他不仅拥有顶尖的演奏技艺，更是一位把偶然意外化作艺术特色、将个人风格铸成时代符号的革新者。独特的外形与乐器背后，是对爵士乐纯粹的热爱与不断探索的精神。

'Day waves' es un disco que el trompetista brasileño Claudio Roditi, que formó parte del grupo de Paquito D´Rivera y de la United Nations Orchestra de Dizzy Gillespie, grabó en septiembre de 1991 con obras de Jobim como 'Sue Ann' y 'Ana Luiza' o 'Theme for Leny', para la cantante Leny Andrade, y 'A hug for Claudio' dedicado al trompetista por su amigo el percusionista brasileño Thiago de Mello. Thiago de Mello y el clarinetista y saxofonista estadounidense Dexter Payne publicaron hace 20 años 'Another feeling' con instrumentales como 'Rede de caboclo', 'A hug for Gil Evans' o 'No wolf at the door'. Airto Moreira, uno de los percusionistas más influyentes de la historia, firma 'Maracanós' con el pianista, compositor y productor Ricardo Bacelar ('Pé no chao', 'Bumba meu boi', 'Vôo da tarde' -con la voz de Flora Purim-). Airto, Ricardo y Flora ya habían grabado antes 'Aqui oh!', de Toninho Horta y Fernando Brant. Escuchar audio

Photography Historian and Curator Audrey Sands joins PhotoWork with Sasha Wolf to discuss her book, Lisette Model: The Jazz Pictures (Eakins Press Foundation). Drawing on years of research, Sands presents Lisette Model's rarely seen archive of photographs of 1950s jazz legends, including Louis Armstrong, Billie Holiday, Duke Ellington, Percy Heath, Miles Davis, and Dizzy Gillespie. Sands and Wolf discuss the rise of fine art photography as a collectible medium in the latter half of the 20th century, the role of museums and institutions in shaping the narrative of photographic history, and the role of the historian in editing and interpreting an artist's work posthumously. https://harvardartmuseums.org/about/press-media/audrey-sands-appointed-associate-curator-of-photography-at-the-harvard-art-museums https://www.instagram.com/audreyleesands/  Audrey Sands is a historian of photography and curator who specializes in twentieth-century American photography.. She holds a Ph.D. and M.Phil. in the History of Art from Yale University, an M.St. in the History of Art and Visual Culture from the University of Oxford, and a B.A. in Art History from Barnard College. Since February 2025, Sands has served as the Richard L. Menschel Associate Curator of Photography at the Harvard Art Museums, where she oversees a collection of approximately 75,000 photographs and time-based media ranging from the early 19th century to the present. Her appointment followed a postdoctoral fellowship as Andrew W. Mellon Postdoctoral Curatorial Fellow in the Department of Photographs at the National Gallery of Art, Washington, D.C. (2022–25), during which she contributed to the exhibitions Gordon Parks: Camera Portraits from the Corcoran Collection (2024–25) and the multi-venue Photography and the Black Arts Movement, 1955–1985 (2025–26). Prior to the NGA, from 2019 to 2022, Sands held the Norton Family Assistant Curator of Photography position at the Center for Creative Photography (CCP), University of Arizona—a joint appointment with Phoenix Art Museum—where her exhibitions included Freedom Must Be Lived: Marion Palfi's America, 1940–1978 (2021–22) and Farewell Photography: The Hitachi Collection of Postwar Japanese Photographs, 1961–1989 (2022). Earlier curatorial positions include the Department of Photographs at The Museum of Modern Art, the National Gallery of Art, and the J. Paul Getty Museum. Sands has been the lead scholar on the work of photographer Lisette Model for over a decade, beginning with her Yale dissertation, “Lisette Model and the Inward Turn of Photographic Modernism.” Her most recent publication, Lisette Model: The Jazz Pictures (Eakins Press Foundation, 2025), realized a suppressed collaboration between Model and Langston Hughes that had been shelved during the McCarthy era, publishing for the first time nearly 200 of Model's approximately 1,500 jazz negatives alongside Hughes's original essay and new scholarship by Sands. Her ongoing research on flash photography—supported by a 2021 Curatorial Research Fellowship from the Andy Warhol Foundation for the Visual Arts—is developing toward a publication and exhibition titled The Shape of Light: History, Ethics, and Aesthetics of Flash Photography.

In this episode, Carl interviews legendary Cuban-born jazz drummer Ignacio Berroa who spent over a decade alongside the great Dizzy Gillespie and has performed with icons like McCoy Tyner, Chick Corea, Clark Terry, and Jaco Pastorius. Born into a distinguished Cuban musical family, Ignacio fell in love with jazz at age 11 after his father brought home a Glenn Miller Orchestra record, and he never let go of the dream, even when the regime he lived under made loving American music a punishable offense. Ignacio opens up about what life was really like inside Castro's Cuba: the state surveillance, the religious suppression, the secret nights spent tuning his radio toward Key West to catch Willis Conover and the Voice of America Jazz Hour. He shares the heartbreak of tasting freedom on tours through Spain and knowing he had to return to a country that felt like a prison, and the impossible loyalty that kept him from defecting because two people he loved would have paid the price. When the Port of Mariel finally opened in 1980, his cousin flew from New York and waited in the harbor for a month to bring him home. The conversation moves from the personal to the prophetic as Carl and Ignacio discuss the truth about Marxist regimes that today's young Americans never learned in school, the lessons of the Berlin Wall and Checkpoint Charlie, the four and a half years Ignacio's wife and son were held in Cuba as hostages while he tried to make it in New York, and why he believes the Cuban people deserve nothing less than full freedom. With his memoir The Path I Chose: My Story now available on Amazon, Ignacio offers a powerful testimony of resilience, faith, and the unstoppable pursuit of a dream.

My guest, Bobby Sanabria, is a 7 time Grammy nominee. He is noted drummer, percussionist, composer, arranger, conductor, producer, documentary filmmaker, bandleader...and most important to me, educator. He has played with some of the all time greats, including Dizzy Gillespie, Mongo Santamaria, Tito Puente, Celia Cruz, Ruben Blades, Randy Brecker, to named a few. He was named Percussionist of the Year in 2011 and 2013 by Jazz Journalist Association. He has a radio show in the New York area entitled, "Latin Jazz Cruise" on WBGO FM (wbgo.org). Simply a magnificent episode not to be missed!  Produced, directed, edited and hosted by Stephen E Davis. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

durée : 00:59:30 - par : Nathalie Piolé -

Bobby Broom is the consummate jazz guitarist. His playing is informed by the greats like Wes Montgomery, Jim Hall, Grant Green, George Benson and others, but is also strikingly original. Over a career spanning decades, he played extensively with artists like Sonny Rollins, Kenny Burrell, Dizzy Gillespie, Charles Earland, Stanley Turrentine, and Dr. John among others. He has also released many albums as a leader, often in the company of his longtime trio of bassist Dennis Carol and drummer Kobie Watkins. On his upcoming release, Notes of Thanks which will be released on May 1st, 2026, Broom pays tribute to his longtime employer Sonny Rollins. Broom first played with Rollins in the early 1980s and recorded more than a half dozen albums with the elder statesman of jazz saxophone into the 2000s. I hope that you enjoy our conversation and that you get a chance to hear Bobby Broom live sometime soon. He is a great musician. 

Es curioso que uno de los trompetistas latinos más cotizados en EU y con más de 52 discos grabados en todo su historial dedicado a la música sea tan desconocido Se llama ARTURO SANDOVAL. Ha sido nominado a los Premios Grammy en 17 oasiones y se le han concedido en 9 ocasiones.El trompetista de jazz DIZZY GILLESPIE, en una actuación en La Habana, le subió al escenario y le presentó como el LOUIS ARMSTRONG cubano Es lógico que le dediquemos este programa.

Estrella Acosta en haar band Esquina 25 vieren de release van hun nieuwe album ‘Caminos' in het voorjaar van 2026 met een concerttournee, waarmee ze op vrijdag 3 april De Tor in Enschede aandoen. Ze hebben hun horizon verbreed en een breed scala aan Latijns-Amerikaanse muziek laten horen, niet alleen uit Cuba, maar uit heel Zuid-Amerika en het Caribisch gebied. Aanleiding voor TORcast-host Willem Habers om eens in de wereld van Latijns Amerikaanse muziek te duiken. Playlist: Buena Vista Social Club: Chan Chan; Estrela Acosta & Esquina 25: Baila e Son Con Mi Mulata; Estrella Acosta: Mi Tierra Es Asi; Dizzy Gillespie: Manteeca; Tito Puente: Oye Como Va; Dubbelaar: Mongo Santamaria: Afro Blue; John Coltrane quartet: Afro Blue; Antonio Carlos Jobim: Wave; Elis Regina, Antonio Carlos Jobim: Aguas de Março; Josee Koning, Has Vromans, Nelson Maria, Daniel Pezzotti: Desafinado; Izaline Calister: Mi Pais; Estrella Acosta: Que Viva Chango; Astor Piazzolla: Libertango. Beluister deze TORcast Latijns‑Amerikaanse muziek heeft een enorme invloed gehad op de ontwikkeling van de jazz, vooral via ritmes, percussie‑technieken, dansvormen en nieuwe harmonieën. Hieronder vind je een chronologisch en thematisch overzicht. Cuba: de bakermat van Afro‑Cubaanse ritmes Afro‑Cubaanse basis (19e–20e eeuw) Ontstaan uit de mix van Afrikaanse ritmiek (Yoruba, Congo, Arará) en Spaanse melodie/harmonie. Belangrijke vormen: Rumba, Son, Danzón, Mambo, Cha‑cha‑chá. Cruciaal instrument: clave (2–3 / 3–2 patroon), hét ritmische fundament. Cuban Jazz & Latin Jazz (jaren 40–50) Jongeren in Havana en New York vermengen Son, Mambo en jazzharmonie. Sleutelpersonen: Mario Bauzá, Machito, Dizzy Gillespie, Chano Pozo (o.a. Manteca). Ontstaan van Afro‑Cuban Jazz: krachtige blazers, complexe polyrhythms, montuno‑piano. Later (jaren 70–heden) Salsa ontwikkelt zich (Fania All‑Stars, Willie Colón, Celia Cruz). Moderne Cubaanse jazz: Chucho Valdés, Irakere, Gonzalo Rubalcaba, Roberto Fonseca. Brazilië: ritmische rijkdom & zwoele harmonieën Samba (begin 20e eeuw) Afro‑Braziliaanse wortels, ontwikkeld in Rio. Ritmische kenmerken: 2/4 feel, syncopen, grote percussiegroepen. Bossa Nova (jaren 50–60) Intiemere, harmonisch verfijnde stijl (invloed van jazz). Pioniers: João Gilberto, Tom Jobim, Vinicius de Moraes. Wereldwijde doorbraak met The Girl from Ipanema (Getz/Gilberto). Harmonieën beïnvloeden jazzpianisten & componisten wereldwijd. MPB en beyond MPB (Música Popular Brasileira): Caetano Veloso, Gilberto Gil, Elis Regina. Moderne Brazilian Jazz: Hermeto Pascoal, Egberto Gismonti, Hamilton de Holanda. Argentinië: Tango & Nieuw‑Tango Traditionele Tango (eind 19e–20e eeuw) Ontstaan in Buenos Aires en Montevideo. Melancholisch, dramatisch, bandoneón‑gedreven. Iconische figuur: Carlos Gardel. Nuevo Tango (jaren 50–90) Astor Piazzolla mengt tango met jazz en klassieke muziek. Complexe harmonie en ritmische vrijheid. Invloedrijk in de moderne jazzwereld; talloze jazzarrangementen van Piazzolla's werk. Andere regio's & stijlen Mexicaanse invloeden Bolero, Ranchera, Son Jarocho (bv. La Bamba). Minder directe jazzkruising, maar bolero's worden vaak in jazzsetting gespeeld. Caribisch gebied (Puerto Rico, Dominicaanse Republiek) Plena, Bomba, Merengue, Bachata. Sterk aanwezig in moderne salsa en Latin jazz (bijv. Tito Puente, Eddie Palmieri). De invloed op jazz: een korte lijn door de tijd Jaren 30–40 – Eerste invloeden Duke Ellington en Jelly Roll Morton integreren Latijnse ritmes. Jaren 40–50 – Afro‑Cuban Jazz boom Gillespie & Pozo fuseerden bebop met Cubaanse percussie. Jaren 60 – Bossa Nova in de jazz Stan Getz populariseert Bossa Nova. Pianisten als Bill Evans en Herbie Hancock nemen Braziliaanse harmonieën over. Jaren 70–90 – Salsa & Latin Fusion Latin jazz‑orchestra's (Puente, Palmieri). Jazz musicians integreren samba, baião, MPB en folkloristische ritmes. 2000–heden – Cross‑genre & global jazz Mix van Afro‑Cuban, Brazilian, elektronische muziek, hiphop en jazz. Voorbeelden: Arturo O’Farrill, Miguel Zenón, Hiromi met Latin‑influences, Snarky Puppy (sterke Braziliaanse invloed). Samenvatting in één oogopslag Stijl Land Kernkenmerken Jazzinvloed Son / Rumba / Mambo Cuba Clave ritme, percussie, montuno Basis Afro‑Cuban jazz Samba Brazilië Energieke percussie, 2/4 feel Jazzdrums & ritmiek Bossa Nova Brazilië Zachte groove, rijke harmonie Grote invloed op jazzstandards Tango Argentinië Dramatische melodieën Avant‑garde/fusion via Piazzolla Salsa Cariben Mambo + son + jazz Big band Latin jazz

Een TORcast waarin Dizzy Gillespie de nodige aandacht krijgt, als voorbereiding op het concert van komende vrijdag in Jazzpodium de Tor. Maar niet louter Dizzy en zijn muziek; ook veel andere fraaie jazz. Gewoon omdat ’t kan en zo lekker is.. Playlist: Dizzy Gillespie quintet: Swing Low Sweet Cadillac; Dizzy Gillespie quintet: Ooh-Shoo-Bee-Doo-Be; Dizzy Gillespie & Manteca: Night in Tunisia; Lincoln Center Jazz Orchestra, Illinois Jacquet: Cottontail; Earl Grant: Sermonette; Naomi & Her Handsome Devils: I Can’t Give You Anything; Sidney Bechet: Blues My Naughty Sweetie Gives To Me; Preservation Hall Jazz Band: Choko Mo Feel No Hey; Roy Eldrige: Jump Through The Window; Hank Jones, Oliver Nelson: Jazztime, USA; Toots Thielemans: Bluesette; Gerry Mulligan Sextet: Prelude In E Minor.

durée : 00:59:20 - Soul Serenade - par : Nathalie Piolé -

La saxofonista chilena Melissa Aldana publica 'Filin' su tercer disco para el sello Blue Note. Toma su título del movimiento de la canción cubana inspirado en la trova, el bolero y el jazz, nacido en La Habana a finales de los años cuarenta, cuenta con el piano y los arreglos de Gonzalo Rubalcaba, y contiene piezas como 'La sentencia', 'Dime si eres tú' de Portillo de la Luz, 'No te empeñes más' de Marta Valdés -en la voz de Cécile McLorin Salvant, que también canta en español 'Las rosas no hablan' del brasileño Cartola- o 'Little church' de Hermeto Pascoal. Del guitarrista italo-estadounidense Pasquale Grasso, y su disco 'Solo bebop!, 'Chasin the Bird' de Charlie Parker, 'Salt peanuts' de Dizzy Gillespie, 'Manhattan' de Rodgers y Hart y 'Stella by starlight'; del guitarrista franco-británico Hugo Lippi, y su disco 'Olha Maria', la composición de Jobim que le da título, su 'Spolete', 'But beautiful' de Van Heusen y Burke y 'Do it again' de Walter Becker y Donald Fagen.Escuchar audio

Ornette Coleman's The Shape of Jazz to Come (1959) may be the most controversial album in jazz history, and one of the most important.In 1959, a broke musician from Fort Worth, Texas arrived in New York City with a plastic saxophone and a band that didn't play by the rules. And EVERYONE had an opinion about it.Jazz legends hated it. Miles Davis said Ornette was "all screwed up inside." Max Roach punched him in the mouth. Dizzy Gillespie said Ornette's music wasn't even jazz. Meanwhile, Leonard Berstein and John Coltrane celebrated him.So what exactly is The Shape of Jazz to Come, and why was it so radical? Jazz pianists Peter Martin and Adam Maness break down every track, from "Lonely Woman" to "Chronology". They dig into harmolodics, free jazz, and how Ornette shaped everyone from Miles Davis (who eventually came around) to the '80s burnout crew, including Wynton Marsalis, who personally recommended this record to Peter.Dig into The Shape of Jazz to Come with us, and learn why this soft spoken saxophonist inspired both criticism and awe.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/yhi-------------------------------Related You'll Hear It episodes:Mingus Ah Um: https://youtu.be/XYeRZ0Awui4Giant Steps: https://youtu.be/8umC2yZlPHcKind of Blue: https://youtu.be/ShzSnjP8bSgTime Out: https://youtu.be/-_qPhFSJeQUNina Simone at Town Hall: https://youtu.be/2PDjN5_2y5Q-------------------------------About You'll Hear It:In this popular music series Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love:https://youllhearit.com/newsletter-------------------------------0:00:00 - Ornette Coleman's The Shape of Jazz to Come0:01:42 - 1959: A Pivotal Year0:03:06 - Ornette Coleman: The Backstory0:04:44 - Ornette's Earlier Sound0:06:18 - Lore of the Five Spot0:07:00 - "Lonely Woman"0:12:27 - Harmolodics Explained (Charlie Haden + Don Cherry)0:13:27 - "Eventually"0:14:42 - The '80s Jazz Connection (Wynton, Branford, Kirkland)0:17:21 - "Peace"0:23:50 - Ad: Open Studio0:24:57 - Mingus Said THIS About Coleman0:27:47 - "Focus on Sanity"0:29:40 - When Peter Played with Charlie Haden0:32:43 - Don Cherry's Kids: Neneh Cherry + Eagle-Eye Cherry0:34:22 - "Congeniality"0:36:28 - "Chronology"0:37:23 - Technical Technique vs. Artistic Vision0:42:13 - Categories: Desert Island Tracks, Apex Moments0:48:55 - You'll Read It Newsletter + Ambies

This past year was another stellar year for the podcast. I aired 260 episodes, mainly interviews with famous and amazing musicians and other creatives, but also Special Episodes featuring my new musical works, tribute episodes, and Encore episodes.As I've done in the past, I've put together a Highlights Show featuring some of the best excerpts from ten of the episodes. Ann Hampton Callaway is one of the greatest stars of Broadway, Television, concerts and recording. Among her many other accomplishments she wrote and sang the theme song to “The Nanny” TV show. She talks about getting that assignment.   Michael Shrieve was the longtime drummer for Santana, one of the greatest bands of the modern era. They were one of the biggest stars of Woodstock, and Michael's drum solo in “Soul Sacrifice” literally stole the show. He talks about the rumor that the band was high on psychedelics during that memorable performance.   Arturo Sandoval is one of the greatest jazz trumpeters of all time. He grew up in Cuba and had to defect to come to the U.S. He talks about how Dizzy Gillespie was instrumental in getting him and his bandmates out of Cuba and their first gig in the U.S.   Jeffrey Biegel is an acclaimed Grammy winning concert pianist. He's a good friend of Neil Sedaka, the legendary pop star and composer. He tells the story about how Neil informed his piano teacher at Juilliard about his first pop hit.   Dave Eggar is a 5x Grammy nominated rock star cellist who played on Coldplay's massive hit, “Viva La Vida”. He tells the story about meeting Chris Martin of Coldplay for the first time.   Giora Schmidt is a virtuoso American-Israeli violinist. He tells the story of what happened when he flew on a commuter plane and there was no room in the overhead for his very expensive concert violin.   Ivor Davis is a renowned journalist, investigative reporter and author. He tells what it was like to travel with and cover The Beatles on their 1964 tour of America.   Benny Benack III is a spectacular young trumpet player and vocalist who has performed all over the world. He tells about playing wedding gigs when he was first starting out.   Lucy Kaplansky is a folk music star and singer-songwriter. She talks about her loyal fans and their demographic.   Billy Cobham is one of the greatest drummers of the modern era. He played in the Mahavishnu Orchestra, one of the most heralded bands of the jazz fusion era. He talks about the band's first gig.   So that's it. Our 2025 Highlights Show. Stay tuned for more great episodes. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes  Click here for Guest List  Click here for Guest Groupings  Click here for Guest Testimonials Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH KAVITA:www.kavitashahmusic.com —---------------------------------------- ROBERT'S LATEST RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —--------------------------------------- ROBERT'S RECENT SINGLE “MI CACHIMBER” is Robert's recent single. It's Robert's tribute to his father who played the trumpet and loved Latin music.. Featuring world class guest artists Benny Benack III and Dave Smith on flugelhorn CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S LATEST ALBUM: “WHAT'S UP!” is Robert's latest compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)” CLICK HERE FOR THE OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —---------------------------------------- Audio production: Jimmy RavenscroftKymera Films   Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com   Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com    

After five decades as jazz's best-kept secret, multi-instrumentalist Roger Glenn steps into the spotlight with his first solo album in 50 years. In this episode of Backstage Bay Area, host Steve Roby sits down with the son of jazz royalty to discuss Latin jazz, life lessons from legends, and why 2025 was finally the right time to share his story. Episode HighlightsGrowing Up in Jazz Royalty: Roger shares stories of his father, Tyree Glenn, and the legendary musicians who shaped his musical education—from Count Basie's Joe Jones to Miles Davis's Winton KellyThe Great Day in Harlem: Roger reveals he skipped the iconic 1958 photo shoot, only to later perform with many of those same jazz giants, including Mary Lou Williams18 Instruments and Counting: How Roger became a multi-instrumental wizard, mastering everything from flute to vibraphoneThe 50-Year Wait: Why COVID, economic downturns, and Grammy category eliminations delayed the release of "My Latin Heart"Cultural Fusion: The deep meaning behind tracks like "Zambos Mambo" and "Congo Square," exploring the African and European roots of American musicBeyond Music: Roger's parallel passions as a multi-engine pilot, helicopter pilot, and sailor—and how they inspire his compositionsFeatured TracksZambos MamboShowcasing Roger's incredible flute work (currently charting on Jazz Week)Congo SquareA tribute to cultural fusion featuring Roger's vibraphone masteryAll music used on the podcast was supplied by the musicians and used with there permissionUpcoming ShowsBach Dancing and Dynamite Society - Half Moon BaySunday, March 8th at 4:30 PMFeaturing special guest Ray Obito on guitar

Send us a textIntro: Some Enchanted Evening by Perry Como (1949)30. Manana (Is Soon Enough For Me) by Peggy Lee (1947)29. The Gypsy by The Ink Spots (1946)28. 'Round Midnight by Thelonious Monk (1947)27. A Night in Tunisia by Dizzy Gillespie (1944)26. Near You by Francis Craig (1947)

durée : 00:59:53 - Pauvre Joe ! - par : Nathalie Piolé -

durée : 00:59:24 - Banzzaï du mardi 30 décembre 2025 : Vauriens ! - rediffusion - par : Nathalie Piolé -

Watch The X22 Report On Video No videos found (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:17532056201798502,size:[0, 0],id:"ld-9437-3289"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs");pt> Click On Picture To See Larger PictureGermany has followed the [CB]/[WEF] green new scam and now the manufacturing jobs imploding. Germany will struggle in 2026. The debt in the US is made up of fraud, its most likely in the trillions. There a silver storm approaching and the gap between gold and silver will close as the [CB] loses control. Sound money is the only way. The [DS] is now panicking, their money laundering scheme is being exposed, the people now know that they funnel money via NGO’s and shell companies. This is bigger than anyone could ever imagine. We are in the exposure and investigative phase, Next is the cleanup, then justice. To bring down the entire corrupt system, it must be done right, it must carry weight, we must follow the rule of law, good thinks sometimes take time. Economy (function(w,d,s,i){w.ldAdInit=w.ldAdInit||[];w.ldAdInit.push({slot:18510697282300316,size:[0, 0],id:"ld-8599-9832"});if(!d.getElementById(i)){var j=d.createElement(s),p=d.getElementsByTagName(s)[0];j.async=true;j.src="https://cdn2.decide.dev/_js/ajs.js";j.id=i;p.parentNode.insertBefore(j,p);}})(window,document,"script","ld-ajs"); Half of Germany's Manufacturing Sectors Anticipate Significant Layoffs and Job Losses in 2026   Germany is the epicenter of the European Union's overall goal to chase the green energy agenda. For the past several years Germany has been deconstructing their fossil fuel energy production and replacing it with far more expensive alternatives.  This has led to large increases in overall energy prices, and downstream increases in manufacturing costs. The consequences have been snowballing throughout 2025, while cheap competitive alternatives coming into the EU from China have compounded their problem.  Recently a survey of major industries was conducted in Germany to determine the forecast for 2026, the results are not good. Approximately half of the industrial sectors in Germany are anticipating job losses, cuts or layoffs this year. 22 out of 46 business associations are preparing to downsize their labor force.  Only 9 of the 46 are expected to increase hiring.   Job losses are expected in auto manufacturing, the textile sector, wood and paper fabrication.  Job gains are expected in aerospace, shipbuilding and defense production – i.e. the war machinery. When the largest and most developed industrial economy in Europe is pinning its economic survival on war machinery, a particular momentum is created.  It is never a good outcome for Europe when Germany becomes reliant on war to maintain employment. Source: theconservativetreehouse.com https://twitter.com/stats_feed/status/2005654716462538992?s=20 2009 – $12T 2010 – $13.6T 2011 – $14.8T 2012 – $16.1T 2013 – $16.7T 2014 – $17.8T 2015 – $18.2T 2016 – $19.6T 2017 – $20.2T 2018 – $21.5T 2019 – $22.7T 2020 – $27T 2021 – $28.4T 2022 – $30.9T 2023 – $33.2T 2024 – $35.3T 2025 – $38.5T https://twitter.com/StephenM/status/2005494075793735925?s=20  self-loathing, self-denigration and the redistribution of our national resources to the states and peoples of the undeveloped world. https://twitter.com/profstonge/status/2005633652852437451?s=20 Political/Rights Trump-Kennedy Center Hits Jazz Star with $1M Lawsuit For Backing Out Of Christmas Eve Show Redd, a drummer and vibraphone player who has performed with legends including Dizzy Gillespie and Ray Brown, had hosted the Christmas Eve Jazz Jam at the Kennedy Center since 2006. He took over the tradition from bassist William “Keter” Betts and maintained it for nearly two decades. This year marked an abrupt departure from that longstanding commitment. “When I saw the name change on the Kennedy Center website and then hours later on the building, I chose to cancel our concert,” Redd told The Associated Press. The Trump-Kennedy Center is pursuing a $1 million lawsuit against jazz musician Chuck Redd after he withdrew from his annual Christmas Eve concert at the last minute, citing the recent addition of President Trump’s name to the venue.  Source: zerohedge.com https://twitter.com/libsoftiktok/status/2005398115030024201?s=20 DOGE Geopolitical Trump Administration Slashes UN “Humanitarian” Funding Pledge  The United States announced a $2 billion pledge for United Nations humanitarian aid programs on Monday, marking a sharp reduction from previous years as the Trump administration pushes for major reforms in global aid spending. This pledge represents a fraction of historical U.S. contributions, which have reached up to $17 billion in recent years, with voluntary funding often in the $8-10 billion range. Administration officials describe the amount as sufficient to keep America as the world's top humanitarian donor while demanding greater efficiency from UN agencies. The funding will flow through an umbrella mechanism controlled by the UN's Office for the Coordination of Humanitarian Affairs (OCHA), allowing targeted distribution to specific crises and countries. Initial priorities include 17 nations such as Bangladesh, Congo, Haiti, Syria, and Ukraine. Notably absent from the list are Afghanistan and the Palestinian territories, with officials stating Gaza aid will tie into ongoing peace efforts. Source: discernreport.com  War/Peace Did US Land Strikes On Venezuela Begin Last Week & No One Knew It? President Trump on Friday in a radio interview disclosed something which missed the attention of the US and global media. He let slip that a large land site had been knocked out by a strike from US forces in the Caribbean – however without specifying which country was hit (whether Venezuela or perhaps Colombia). o  According to the full remarks in context, the president said: “But every time I knock out a boat, we save 25,000 American lives. It’s very simple. And what’s happening is they’re having a hard time employment-wise, they can’t get anybody. And we just talked out, I don’t know if you read or you saw, they [Venezuela] have a big plant or a big facility where the ships come from. Two nights ago, we knocked that out. So we hit them very hard. But drugs are down over 97 percent. Can you believe it?” Some unnamed American officials suggested to the New York Times that the Commander-in-Chief was referring to a drug facility in Venezuela: Trump did not name the location of the facility, though American officials told the New York Times that the president was referring to a drug facility in Venezuela that was eliminated. The president's comment is the only report of such an attack. No other Latin American government, including Venezuela, has disclosed a strike of this sort. : Source: zerohedge.com  Zelensky Wants 50-Year(!) Security Guarantee From Trump A major point of disagreement remains security guarantees. Ukraine has been pushing maximalist demands for something akin to NATO Article 5 protections. It would be like getting all the benefits of being in NATO but without being a formal member of the Western military alliance. The Ukrainian side has revealed that President Trump had offered security guarantees for 15 years following a peaceful settlement, but Zelensky considered this much too short to protect from future potential Russian aggression. But in classic Zelensky fashion, he wants way more than this. Also, maximalist demands are something that European leaders have backed him on all along – and they may have even put him up to. According to The Wall Street Journal: Kyiv had asked for security guarantees to last up to 50 years after the end of the conflict during weekend discussions. In the documents currently being discussed, the U.S. offered a 15-year guarantee with the possibility of extension, Zelensky said in audio messages to journalists on Monday.   Source: zerohedge.com  Russia accuses Ukraine of military attack on Putin’s residence: ‘state terrorism’   Russia is promising retaliation against Ukraine for an alleged military attack on President Vladimir Putin’s residence in the northern Russia area of Novgorod, which Ukrainian President Volodymyr Zelensky deemed a lie intended to undermine peace talks, Reuters reports. . Russian Foreign Minister Sergei Lavrov said Monday that Russian air defenses destroyed all 91 long-range drones targeting Putin’s residence and that no one was injured and no damage reported. “Such reckless actions,” which Lavrov deemed “state terrorism,” will be answered with retaliatory strikes on targets in Ukraine, he said. Ukrainian President Zelensky says it’s a false claim intended to undermine peace talks  . Source: justthenews.com https://twitter.com/AutistDivision/status/2005463473006801341?s=20  geo-political territories forever. And lets be honest, they couldn’t get them back under any circumstances again. Medical/False Flags [DS] Agenda https://twitter.com/amuse/status/2005334470799565113?s=20   LAFD Battalion Chief Kenneth Cook rejected the final Palisades fire report after LAFD leadership removed critical findings tied to preparation failures before Jan. 7. Drafts obtained through public records show staffing violations, delayed assignments & ignored wind warnings were scrubbed from the final version. The report meant to save lives became a political shield. As a side note, New York City is setting themselves up for the same problem... https://twitter.com/amuse/status/2005608785990262859?s=20 https://twitter.com/EricLDaugh/status/2005622039999062219?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E2005622039999062219%7Ctwgr%5E11dcdb289244b9644ea68d25359a18f753233f5d%7Ctwcon%5Es1_c10&ref_url=https%3A%2F%2Fwww.thegatewaypundit.com%2F2025%2F12%2Fsomali-fraud-scandal-expands-as-lawyer-exposes-damning%2F   pushing for that in every single state!” “The state will, as long as the doctor has approved it, continue to pay you. It could be for 10 hours, 12 hours, up to 24 when it’s critical care.” “So you could sit at home without caring for an elderly parent who really doesn’t need it, make about $75,000 to $90,000 a year. Now you add two parents, that’s $180,000. Now you add your in-laws $250,000.” “You continue to add this and you wonder what are the services being provided? So a lot of providers came and said fraud is occurring because we said we weren’t going to rubber stamp this paperwork.” “So they went to other providers, their home health care networks saying we’ll make it worth your while. Well, sounds like a kickback to me.” “So we really need to investigate the Medicaid system and how much it’s increased since the Somalian population came and who really needs critical care because that’s meant for our disabled, our elderly and people who really need it, not to just live off our system.” “And that’s what’s happening in Ohio. I think it’s ridiculous. I think it’s despicable, but authorities are now looking at it from the Attorney General’s office to the U.S. Attorney’s office.” “I flagged them all because this is Ohio tax dollars and we have to take it seriously. I’m tired of people telling me, well, this is the way it’s always been. It’s subjective and we can’t really check. No, you can.” https://twitter.com/ArthurMacwaters/status/2005324862756127166?s=20   this not instant jail?! Like this is electoral fraud on top of Medicare fraud How is this not front page of every newspaper?! https://twitter.com/elonmusk/status/2005535693918138533?s=20 https://twitter.com/amuse/status/2005657030111932568?s=20   was unanimously convicted by a jury only to have Judge Sarah West vacate the verdict. In two separate cases to other judges dismissed the cases against his wife and his brother. $7.2 million is gone and no one is being held accountable. This story is being repeated across Minnesota to the tune of more than $8 billion so far. Somali criminals in Minnesota have stolen more than Somalia’s GDP from American taxpayers. Why won’t Democrat judges hold them accountable? https://twitter.com/elonmusk/status/2005496793279439182?s=20 https://twitter.com/JoeLang51440671/status/2005476678261461399?s=20   broke to being worth up to $30 million in just a year — as a massive, up to $9 billion fraud scheme involving the Somali community in her district unfolded right under her nose in Minnesota.” $9 billion in fraud happened in her district? Can I ask the question? How many Somali daycares did Ilhan Omar own? “Close to 90 people have been charged so far, including at least three with direct ties to the lefty Squad member, though she has not been charged.” https://nypost.com/2025/12/27/us-news/ilhan-omars-hubbys-30m-firm-quietly-scrubs-names-from-website-as-squad-member-faces-mounting-questions-on-sudden-wealth-amid-minnesota-welfare-fraud/ That's going to change. Have we looked into the wealth of the brother she married? I wonder if he owns some Somali daycares in Minnesota? Tick Tock!! https://twitter.com/libsoftiktok/status/2005657804301013272?s=20  , the Google business listing for this center showed the phone number 651-201-3400, which is the official public contact line for the Office of Governor Tim Walz and Lt. Governor Peggy Flanagan    https://twitter.com/JoeLang51440671/status/2005329284785647715?s=20   significant investments in pre-K for four-year-olds as well as other early learning programs serving children and families birth-to-school entry. This year he focused on the country's youngest children and their families' need for high-quality child care.” The Obama administration was a gigantic money laundering operation. “The President explained the need in last Tuesday's address stating, “In today's economy, when having both parents in the workforce is an economic necessity for many families, we need affordable, high quality childcare more than ever.” “But the child care tax credit isn't all the President proposed.” “He would also significantly expand the Child Care and Development Fund(CCDF), a child care subsidy for low- and moderate-income families authorized under the Child Care Block Development Grant (CCDBG) Act. (CCDBG was reauthorized last year after 18 years.) By 2025, the proposed expansion would increase the reach of CCDF to an additional one million children, under four-years-old.” Taxpayers subsidies and grants for “childcare.” “The last part of the President's proposal, in typical Obama Administration-style, is a competitive grant that would promote innovation in the child care system. The proposed grants– totaling $100 million– would allow states to create pilot programs to determine the best ways to provide child care to vulnerable populations, including children with disabilities, parents who work non-traditional hours, and families who have difficulty finding high-quality child care.” https://newamerica.org/education-policy/edcentral/presidents-child-care-plan/ Taxpayers “grants” totaling $100 million (for starters) to be given to “vulnerable populations.” Can you say “Somali?” Taxpayers funding of “childcare,” was a “necessity” for the funding of the democrat party. The Somali community was always a hub of this “childcare” theft of taxpayers money. It was set up this way on purpose. A Somali community, governed by Somali's and protected by the democrat party. The Somali's were being brought into this country starting with the George W. Bush's presidency. But Obama began accelerating the number of refugees from Somalia along with other Muslim countries. Here's just the last year under Obama. “A total of 38,901 Muslim refugees entered the U.S. in fiscal year 2016, making up almost half (46%) of the nearly 85,000 refugees who entered the country in that period, according to a Pew Research Center analysis of data from the State Department's Refugee Processing Center. That means the U.S. has admitted the highest number of Muslim refugees of any year since data on self-reported religious affiliations first became publicly available in 2002.” “Just two countries – Syria (12,486) and Somalia (9,012) – were the source of more than half of fiscal 2016's Muslim refugees. The rest are from Iraq (7,853), Burma (Myanmar) (3,145), Afghanistan (2,664) and other countries (3,741).” https://pewresearch.org/short-reads/2016/10/05/u-s-admits-record-number-of-muslim-refugees-in-2016/ Obama was an installed puppet of Prince Alwaleed and was doing his bidding. Obama filled his administration with people tied to the Muslim Brotherhood, who were implementing their “civilization jihad.” These communities began electing corrupt representatives like Ilhan Omar. Infiltration not invasion. Taxpayers money was funneled into these communities through “childcare grants” and other “welfare programs,” in order to fund the democrat party. Minnesota is just the “doorway” into a much larger nationwide fraud scheme to fund the democrat party. A magnifying glass is about to be put on ALL state welfare programs that are receiving “federal funding.” These grants and benefits handed out to these crooks, are now the doorway to expose and bring them all to an end. BOOMERANG! https://twitter.com/everytime_11/status/2004718928686350461?s=20 https://twitter.com/EndWokeness/status/2005651406985036272?s=20 Tim Walz's Office Responds with an Outrageous Falsehood After Journalist Nick Shirley Exposes Fraud of the Century in Minnesota “The governor has worked for years to crack down on fraud and ask the state legislature for more authority to take aggressive action,” a spokesperson for Walz told Fox News. “He has strengthened oversight – including launching investigations into these specific facilities, one of which was already closed,” the spokesperson added. “(He) hired an outside firm to audit payments to high-risk programs, shut down the Housing Stabilization Services program entirely, announced a new statewide program integrity director, and supported criminal prosecutions.” Walz previously called Shirley and others who have questioned his handling of the scandal “white supremacists.” Walz's team wants the public to believe that not only does the governor have no involvement in the scandal, but he has also been a leading advocate against this corruption. They must think that every day Americans have the same >IQ as Somali citizens.   Source: thegatewaypundit.com https://twitter.com/ElectionWiz/status/2005427571861909629?s=20 https://twitter.com/KevinKileyCA/status/2005329670083145745?s=20 Back on June 24, 2025. about 31% of applications to California’s 116 community colleges were deemed likely fraudulent by the chancellor’s office—equating to over 1.2 million fake applications. These were mostly detected and blocked before enrollment or aid disbursement, but some fraud succeeded, costing millions in stolen financial aid (around $11 million total in 2024, a small fraction of the billions distributed overall).The piece discusses ongoing efforts to combat the issue, like improved detection tools, identity verification, and a proposed $10 application fee to deter bots and scammers targeting the free-application, open-access system.  https://twitter.com/CynicalPublius/status/2005388876807057913?s=20 President Trump's Plan https://twitter.com/stats_feed/status/2005654716462538992?s=20 2009 – $12T 2010 – $13.6T 2011 – $14.8T 2012 – $16.1T 2013 – $16.7T 2014 – $17.8T 2015 – $18.2T 2016 – $19.6T 2017 – $20.2T 2018 – $21.5T 2019 – $22.7T 2020 – $27T 2021 – $28.4T 2022 – $30.9T 2023 – $33.2T 2024 – $35.3T 2025 – $38.5T https://twitter.com/4nt1p4tt3rn/status/2005345471674388575?s=20  deniability to the federal and state governments, and allow them to funnel money into the NGOs to do what the governments either don’t want to (due to optics) or can’t (due to legal constraints) do. They are quite literally dismantling the United States of America, and they’re doing it with YOUR money. Quite literally money taken out of your pockets. Food taken out of your children’s mouths. They’re directly or indirectly responsible for: * the massive invasion of this country by illegals * the high cost of healthcare * the shortage and high price of homes * the shortage and high price of unimproved land * the high cost of food and other goods * the high taxes you’re forced to pay * the skyrocketing national debt * the skyrocketing federal deficit * DEI and the elimination of qualified American workers from jobs * deaths of Americans on our roadways * the broken “justice” system In other words, literally everything everyone’s complaining about. https://twitter.com/911NewsBreaks/status/2005660846848958944?s=20   planning to livestream a racially motivated extremist attack with pipe b-mbs and g-ns. https://twitter.com/HarmeetKDhillon/status/2005444604624028029?s=20   year later as special counsel in November … statute runs on his obvious shenanigans late 2027 * Democrats in Congress and those in the states colluding with Biden WH hide their behavior, some of which STILLL HASN'T come to light! Statute runs on this five years after their concealed behavior is known to the government. This means the statute could run in the next administration. STOP POSTING CLICKBAIT BS!!! You are being used! https://twitter.com/HarmeetKDhillon/status/2005446072634872033?s=20 https://twitter.com/grok/status/2005427970681217334?s=20   to Jan. 6, 2021/2026. Specific cases vary by act. ‘Ten-year stain:' Bondi asks prosecutors to probe Obama-Biden lawfare as criminal conspiracy FBI Director Kash Patel penned a memo predicating an investigation looking at the weaponization of intelligence and law-enforcement powers dating to the Russia collusion case as an ongoing conspiracy. Attorney General Pam Bondi   asked the prosecutors to investigate the Obama-Biden era of lawfare as an ongoing election-meddling conspiracy that protected Democrats from criminal investigation and infringed the civil rights of Republicans like President Donald Trump and his supporters. An “ongoing conspiracy” and the statute of limitations Such an approach allows prosecutors to charge defendants with alleged crimes outside the statute of limitations because they were connected to an ongoing conspiracy, much like those cases brought against the mafia and drug cartels. “At my direction, our U.S. Attorneys and federal agents are actively investigating instances of government weaponization nationwide,” Bondi said. “This is a ten-year stain on the country committed by high-ranking officials against the American people. Source: justthenews.com https://twitter.com/WarClandestine/status/2005434508124782615?s=20   to be deported. They opposed the One Big Beautiful Bill because it funds ICE/US MIL, and they know Trump is going to invoke the Insurrection Act to deploy troops to their cities to assist ICE in deporting the illegals. If the Dems can't cheat in elections, they lose access to our tax dollars, and thus they lose all their power. They never cared about diversity, equality, equity, inclusion, immigration or any of that shit. It was all just a transaction. Everything they say and do is just a means to justify their treasonous scheme to steal our tax dollars. That's why it's so important to nuke the filibuster, pass the Save Act, invoke the Insurrection Act, deport all the illegals, and arrest everyone involved. If we don't, the Dems will take complete control, we will become a one-party State, and they will eventually phase us out via mass immigration. That's why the Dems have been trying to destroy, obstruct, and kill Trump, ever since he came down the escalator. Because they knew that he knew about all this, and is on a mission to stop it. The American People are being replaced, and the Democrats are directly responsible for it. This is the battle for the Republic. 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This episode of The Other Side of the Bell is brought to you by Bob Reeves Brass. Makers of the finest handcrafted #trumpet, #trombone & #frenchhorn mouthpieces since 1968. Visit https://bobreeves.com to find your next mouthpiece and trumpet accessory!  This episode also appears as a video episode on our YouTube channel, you can find it here: "The Other Side of the Bell Holiday Special 2025!" Find the expanded show notes, transcript and more photos here: https://bobreeves.com/blog/holiday-special-john-snell-and-friends-the-other-side-of-the-bell-148   John gets some good friends together to toast the end of one year, and the start of the next: it's our 2025 Holiday Special - perhaps the first annual? It was a lot of fun, so we might just start a new trend!   Eric Baker, Mike Zonshine, Kenny Rampton, Liesl Whitaker and the voice of Vinnie Ciesielski are here to share some highlights of the year, musical and otherwise, and things to look forward to in the new year.   Join us for a rousing conversation on such diverse topics as: Eric sharing his trick for playing a great horse neiiighhh on the trumpet, perhaps the bane of trumpet players' existence over the holidays. Mike's recent outdoor concert in Los Angeles, playing arrangements by none other than Keith Snell, John's dad. Kenny's holiday menu, centered around the Big Green Egg, might be a small reflection of a mid-life crisis? Liesl sharing some holiday family traditions in the Whitaker/Rampton household. And a great update from the voice of Vinnie - he talks about his new Christmas album, the inspiring sight of hearing kindergarteners talk about Miles Davis and Dizzy Gillespie, and the story behind the recording itself: forced at the last minute to go from a first-class studio to recording remotely. But they pulled it off in less than 30 days, just in time for Black Friday!   There's a great shout out to Will Leathers, some fantastic trivia, everyone's favorite holiday songs to play, and some poignant and heartful wishes for the new year.   Thank you to all our viewers and listeners for a great year, it's been a pleasure to bring you more episodes of The Other Side of the Bell in 2025, and we'll keep up the production in 2026.   And don't forget to check out our partner podcasts, The Trombone Corner and The Horn Signal, including our Trombone Corner Holiday Episode, with John, co-host Noah Gladstone, and special guests Jay Friedman and Michael Dease The Trombone Corner Holiday Episode   Episode Guest Links: Eric Baker, Trumpets Mic'd Up Mike Zonshine Liesl Whitaker Kenny Rampton Vinnie Ciesieulski   Bob Reeves Brass Upcoming Events and Appearances: Trumpet Festival of the Southeast, Jan. 17, 2026, Kennesaw State University, Georgia Texas Music Educators Association Conference, Feb. 11-14 2026, San Antonio, Texas Dylan Music, Feb. 26-28, Woodbridge, New Jersey   Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Audio Engineer - Ted Cragg

durée : 01:00:02 - Si tu vis - par : Nathalie Piolé -

En el aniversario 17 de su fallecimiento, ocurrido el 4 de diciembre de 2007, recordamos al legendario percusionista Carlos "Patato" Valdés. Luego de formar parte del Conjunto "Kubavana" del cantante Alberto Ruiz, en 1946 pasa a integrar la sección rítmica del Conjunto Casino donde permanecerá hasta 1955 cuando decide radicar en Nueva York. Durante su etapa con el Conjunto Casino desarrolló -en el marco del formato del conjunto sonero- su avanzado concepto armónico en función del riquísimo espectro rítmico de la música cubana, pudiendo experimentar además con una serie de ideas vinculadas a la innovación de las tumbadoras. Señalaba siempre Tata Güines, otra leyenda de la percusión, que fue "Patato" el primero en utilizar dos tumbadoras con afinación para lo cual se apoyó en la invención del sistema de llaves que hoy todos conocemos. En innumerables proyectos, cubriendo una extensa trayectoria, dejó su huella junto a importantes figuras de su tiempo, entre ellas Machito, Tito Puente y Dizzy Gillespie. En la memoria Patato Valdés. Había nacido el 4 de noviembre de 1926 en La Habana, Cuba. La centenaria radio cubana nos recuerda la importancia de las emisoras independientes que, durante la primera mitad del siglo XX, contribuyeron con sus programaciones en directo a que la isla se convirtiera en plaza artística a tener en cuenta. Muy a propósito la señal continental de la CMQ, repartida en los estelares shows "De fiesta con Bacardí" y "La Pausa que refresca", nos brindará un verdadero desfile de estrellas: Josephine Baker, el grupo vocal vasco "Los Xey", el trío "Los Panchos", Luis Carbonell y los charros cantores del cine de oro mexicano: Pedro Infante y Jorge Negrete. En la despedida: Celia Cruz junto a la jazz band "Riverside".

durée : 00:59:58 - Uh Huh - par : Nathalie Piolé -

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

This conversation is hosted by JJA Board Member and Chair of our Book Committee, Bob Blumenthal. Bob, along with JJA members Fiona Ross, Todd Jenkins and Katch Cartwright, share some of their book recommendations for you to consider for those on your 2025 holiday nice list. Maybe a few of the naughty people deserve some of these, too. The JJA's book committee votes on Book Award nominees everyJanuary and February. The recommendations herein do not reflect any prejudgments by the committee nor should this episode be taken as any preview of what's to come with the awards. Here is your shopping list of books and music discussed in this episode:Books Discussed in DetailWriting Jazz: Conversations with Critics and Biographers by Sasha FeinsteinGuide to Jazz in Japan by Michael PronkoFocus on Women in Jazz by Guy le QuerrecThe Story of Jazz by Marshall Stearns Jazz: Its Evolution and Essence by André HodeirThe Life and Writings of Ralph J. Gleason: Dispatches from the Front by Don ArmstrongGoing Back to T-Town: The Ernie Fields Territory Big Band by Carmen FieldsMaster of the Drums: Gene Krupa and the Music He Gave the World by Elizabeth J. Rosenthal Cross Rhythms: An Introspective into the Life and Musicality of Joe Chambers by Joe Chambers and Cristian SchorrOceans of Time: The Musical Autobiography of Billy Hart by Billy Hart and Ethan IversonThe Jazz Barn: The Music Inn, the Berkshires, and the Place of Jazz in American Life by John GennariBecoming Ella Fitzgerald by Judith TickStomp Off, Let's Go: The Early Years of Louis Armstrong by Ricky RiccardiSong for Someone: The Musical Life of Kenny Wheeler by Brian Shaw and Nick SmartSax Expat: The Biography of Don Byas by Con ChapmanBlack Mystery School Pianists and Other Writings by Matthew ShippRun the Song: Writing About Running, About Listening by Ben RatliffBooks ReferencedSophisticated Giant by Maxine Gordon (about Dexter Gordon)Gene Krupa: His Life and Times by Bruce CrowtherRhythm Man: Chick Webb and the Beat that Changed America by Stephanie Stein CreaseThe Swing Era by Gunther Schuller Albums Referenced Friday and Saturday Night at the Blackhawk by Miles Davis (includes essay by Ralph J. Gleason)Dizzy on the French Riviera by Dizzy Gillespie (includes essay by Ralph J. Gleason)The Jazz Omnibus is on sale now at 25% off. This 600-page anthology features 21st-century photos and writings by JJA members. Details at: bit.ly/jja25If you're a media-maker working in jazz, the JJA is offering first-time members a special rate of $50. Join a community of colleagues telling all the stories of jazz. Sign up at members.jazzjournalists.org/joinDon't miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. For more from the Jazz Journalists Association, go to JJANews.org.

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

Only a few episodes remain in Season Five, and this week, Erv welcomes some local Michigan music royalty to the program. Drummers, Jeff Shoup and and 90 year old Randy Gelispie (Uncle G) make a studio appearance to talk more Blues (and Jazz!) history. Be sure to listen for Uncle G's humorous story about he and Trumpet phenom, Dizzy Gillespie…you are sure to laugh at this one! The duo also share stories about their early years in music, their development as musicians, and what they are up to these days on the local music scene.Jazz Tuesdays 7-10pm @ Moriarty's Pub, 802 E. Michigan Avenue in Lansing!Facebook: https://www.facebook.com/jazztuesdaysatmoriartys Jazz Tuesdays Facebook: https://www.facebook.com/groups/1713766632758653 YouTube Channel: https://www.youtube.com/jazztuesdays _________________________Facebook: Time SignaturesYouTube: Time SignaturesFacebook: Capital Area Blues SocietyWebsite: Capital Area Blues SocietyFriends of Time Signatures _______Website: University of Mississippi Libraries Blues ArchiveWebsite: Killer Blues Headstone ProjectWebsite: Blues Society Radio NetworkWebsite: Keeping the Blues Alive Foundation

Send us a textWe talk about the some of the big figures in jazz education Dizzy Gillespie, Hal Crook, Jerry Coker, John Meghan, Jamey Aebersold, Mark Levine and Barry Harris. There are others we couldn't fir into the 5 minutesThis is our website This is our InstagramThis is our Facebook group

Send us a textWe talk about the some of the big figures in jazz education Dizzy Gillespie, Hal Crook, Jerry Coker, John Meghan, Jamey Aebersold, Mark Levine and Barry Harris. There are others we couldn't fit into the 5 minutesThis is our website This is our InstagramThis is our Facebook group

Leopoldo Fernández y Aníbal de Mar en las pieles de sus famosos personajes "Pototo y Filomeno", con el apoyo de la orquesta "Melodías del 40" del maestro Regino Frontela Fraga, comenzaron el programa con el son montuno de Félix Cárdenas: "Yo pico un pan". Grabación producida por la etiqueta "Puchito" hacia 1955. Muy a propósito del aniversario 113 de este compositor, tresero y guitarrista matancero, será un gusto retomar algo de su riquísima producción autoral. "Quiero un sombrero", otra de sus composiciones, llega a la manera del gran Orlando Guerra "Cascarita". Lo acompañan en esta grabación registrada a mediados de los 40 por RCA Víctor, la orquesta "Casino de la Playa" con un descollante Pérez Prado al piano. La señal de la antigua CMQ de Monte y Prado, foco artístico importante de La Habana allá por 1945, nos trajo la sonoridad de la veterana jazz band "Hermanos Castro" con su cantante Orlando Planas. "Revoltillo", guaracha de Félix Cárdenas, antecede a otro de sus éxitos de esos años: "El cuento del sapo", un son montuno que grabó con la orquesta del trompetista Julio Cueva otro olvidado cantante cubano: Reinaldo Valdés "el jabao". Desde el son al guaguancó, la guaracha, el montuno y el bolero, entre otros tantos géneros, el legado de Félix Cárdenas indiscutiblemente contribuyó a la evolución de la música popular. Nació en Matanzas el 6 de noviembre de 1912, y la mejor manera de celebrar su vida y obra es escuchando algunas de sus creaciones. "Ya Mantilla se botó", un guaguancó de Félix Cárdenas a la manera de Faz, Espí y Vallejo con el Conjunto Casino de 1952. Despedimos este breve segmento con el bolero "Oye una canción para tí" y el son montuno "A bailar monte adentro". Cantan Beny Moré y Juan Antonio Jo "El Fantasmita". Arribar a los 95 años con la increíble lucidez vocal de Omara Portuondo, es sin lugar a dudas, una suerte inmensa para la cultura cubana. Seguidamente una selección de grabaciones históricas nos permitirán celebrar la respetable carrera de "La Novia del Feeling". Así volverá a deleitarnos aquella simpática mulata que, finalizando los años 40, iluminó los escenarios integrando los fabulosos cuartetos "Loquibambia" de Frank Emilio, y los de los también pianistas y compositores Orlando de la Rosa y Aida Diestro. La voz del feeling que, luego de 50 años en los escenarios, como parte del proyecto "Buenavista Social Club" logró darle un nuevo y definitivo aire a su ya extensa trayectoria, volviendo a los clásicos cubanos. Con cuatro piezas, que igualmente representan importantes momentos de su carrera como solista, celebramos los 95 de Omara: "Llanto de luna" de Julio Gutiérrez; "Nada para ti" de Enrique Jorrin; "Como un milagro" de Juanito Márquez y "No me vayas a engañar" de Osvaldo Farrés. De Artemisa para el mundo. El 6 noviembre de 1949, hace 76 años nació Arturo Sandoval, una de las grandes leyendas de la música popular y el jazz cubanos. En esta última categoría, muy especialmente, no ha dejado de destacar este valioso músico. Sincronía de alma y grandeza su encuentro con el gran Dizzy Gillespie, así como la conjunción con otros importantes músicos de su generación que luego de integrar la Orquesta de Música Moderna en 1967, cinco años más tarde diera paso a la aparición de la banda más influyente de los últimos tiempos: "Irakere". Multifacético e incombustible, ha dejado una copiosa discografia en la que maravillosamente ha reflejado su virtuosismo así como el infinito caudal de referentes de la música clásica, lo popular y bailable cubano, y el jazz norteamericano. Felicidades Maestro. Unos minutos junto al gran Arturo Sandoval.

It's October 28th. This day in 1964, the presidential election is in the home stretch, with candidates like Lyndon B Johnson, Barry Goldwater -- and Dizzy Gillespie?Jody, NIki, and Kellie discuss the only-half-joking candidacy of the legendary jazz trumpeter, and the intersection of entertainment and politics in that era. Plus: the power of great merch.Sign up for our America250 Watch newsletter, where you'll also get links and lots more historical tidbits.https://thisdaypod.substack.com/Find out more about the show at thisdaypod.comThis Day In Esoteric Political History is a proud member of Radiotopia from PRX.Your support helps foster independent, artist-owned podcasts and award-winning stories.If you want to support the show directly, you can do so on our website: ThisDayPod.comGet in touch if you have any ideas for future topics, or just want to say hello. Follow us on social @thisdaypodOur team: Jacob Feldman, Researcher/Producer; Brittani Brown, Producer; Khawla Nakua, Transcripts; music by Teen Daze and Blue Dot Sessions; Audrey Mardavich is our Executive Producer at Radiotopia Learn about your ad choices: dovetail.prx.org/ad-choices

We're continuing our series of episodes inspired by the 2024 documentary Soundtrack to a Coup D'Etat with an examination of some of the film's key characters: the so-called ‘Jazz Ambassadors', a group of mostly black US musicians sent around the world to (unwittingly) promote American soft power during the Cold War. Tim and Jeremy give a brief history of the emergence of the CIA in the post-war USA, explain the role of NATO, and detail a few of the great many instances of US interference in newly decolonised states around the globe. We hear about Louis Armstrong in Ghana, Dizzy Gillespie's tours to West Asia and revisit Max Roach from our previous show, alongside Brubeck, Stravinsky and… Bing Crosby. The guys discuss these various attempts to portray America as a haven of free self expression at home while it repeatedly violated sovereignty and democracy abroad. Also included in this show: Fantasia, the Military Industrial Complex, the Kennedy assassination and some speculative White House tripping. Edited by Matt Huxley. Become a Patron at Patreon.com/LoveMessagePod.www.LoveistheMessagePod.comTracklist:Aaron Copeland - Fanfare for the Common Man Bing Crosby - The Isle of InnisfreeIgor Stravinsky - The Rite of Spring Louis Armstrong - (What Did I Do To Be So) Black and Blue Louis Armstrong - Spooks Dizzy Gillespie - Tour de Force Dave Brubeck - Take Five Max Roach - Triptych: Prayer / Protest / Peace The Byrds - He Was a Friend of Mine Books:William Blum - Killing Hope Susan Williams - White Malice 

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/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/american-studies

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 17ú lá de mí Dheireadh Fómhair, liomsa Lauren Ní Loingsigh. I 1970 ainmníodh duine a raibh ó Bhaile Átha Cliath aois 26 mar cheann amháin de na daoine a fuair bás ag an timpiste droichead I Melbourne. I 1986 bhí triúir duine saor ó ghortú nuair a thit eitleán ar fheirm I mBaile Átha Cliath. I 1986 don chéad uair I cúig bliana bhí laghdú den mhéid post déantúsaíocht a bhí ann san Iarthar Láir. I 1997 tháinig sé amach go mbeadh Mary McAleese agus Adi Roche chun easaontú ina fheachtas uachtaránachta in Inis. Sin Elton John le Candle In The Wind – an t-amhrán is mó ar an lá seo I 1997. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 2007 fuair amhránaí Teresa Brewer bás ag aois 76. Bhí sí cáiliúil I timpeall 1950 agus bhí amhráin aici cosúil le Gonna Get Along Without Ya Now agus Into Each Life Some Rain Must Fall. Chan sí le Tony Bennett agus Duke Ellington chomh maith. I 2008 bhris Madonna agus Guy Ritchie suas tar éis 7 mbliain le chéile. Tháinig an preas amach ag rá gan comhaontú réamhphósta go mbeadh Guy Ritchie chun fáil 50 milliúin punt ó Madonna a raibh 300 milliúin punt aici. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Felicity Jones sa Bhreatain I 1983 agus rugadh amhránaí Eminem I Meiriceá ar an lá seo I 1972 agus seo chuid de amhrán. Beidh mé ar ais libh an tseachtain seo chugainn le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 17th of October, with me Lauren Ní Loingsigh 1970: A 26 year old Dubliner was named as one of the 5 Irish men killed in the Melbourne Bridge Disaster 1986: 3 people escaped injury yesterday when their light aircraft struck a tree and crash-landed on a farm in Dublin 1986: For the first time in five years the industrial development Authority, mid west region, reports a decline in the number of manufacturing jobs created by them. 1997: Government candidate, Mary McAleese and Adi Roche, the peoples Alliance Candidate, will clash in their presidential campaigns in Ennis. That was Elton John with Candle In The Wind – the biggest song on this day in 1997 Onto music news on this day In 2007 US singer Teresa Brewer died aged 76. She was one of the most popular US pop singers of the 1950s scoring hits such as ‘Gonna Get Along Without Ya Now' and ‘Into Each Life Some Rain Must Fall.' She also sang with Tony Bennett, Duke Ellington, Dizzy Gillespie and Wynton Marsalis. 2008 Madonna and Guy Ritchie announced that their seven-year marriage was over because they had drifted apart. The press reported that without a pre-nuptial agreement, Ritchie could be looking at up to £50million of Madonna's £300million fortune. And finally celebrity birthdays on this day – actress Felicity Jones was born in the UK in 1983 and rapper Eminem was born in America on this day in 1972 and this is one of his songs. I'll be back with you next week with another edition of Ar An Lá Seo.

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

The legendary composer, arranger, musician and penny whistle player, David Amram, will be in conversation with Academy Award documentary filmmaker Barbara Kopple at the Woodstock Film Festival on Sunday, 10/19 12 noon. The venue is the Kleinert/James Art Center, 34 Tinker St, Woodstock. David Amram started his professional life in music as a French Hornist in the National Symphony Orchestra (Washington, D.C.) in 1951. After serving in the US Army from 1952-54, he moved to New York City in 1955 and played French horn in the legendary jazz bands of Charles Mingus, Dizzy Gillespie, Lionel Hampton and Oscar Pettiford. In 1957, he created and performed in the first ever Jazz/Poetry readings in New York City with novelist Jack Kerouac, a close friend with whom Amram collaborated artistically for over 12 years. Since the early 1950s, he has traveled the world extensively, working as a musician and a conductor in over thirty-five countries including Cuba, Kenya, Egypt, Pakistan, Israel, Latvia and China. He also regularly crisscrosses the United States and Canada.He composed the scores for many films including Pull My Daisy (1959), Splendor In The Grass (1960) and The Manchurian Candidate (1962). He composed the scores for Joseph Papp's Shakespeare In The Park from 1956-1967 and premiered his comic opera 12th Night with Papp's libretto in 1968. He also wrote a second opera, The Final Ingredient, An Opera of the Holocaust, for ABC Television in 1965. From 1964-66, Amram was the Composer and Music Director for the Lincoln Center Theatre and wrote the scores for Arthur Miller´s plays After The Fall (1964) and Incident at Vichy (1966). Appointed by Leonard Bernstein as the first Composer In Residence for the New York Philharmonic in 1966, he is now one of the most performed and influential composers of our time. For tickets & details: https://woodstockfilmfestival.org/2025-all-events?eventId=68c4216f81b8e06c5bb8c1fc

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

Renowned pianist and multi-Grammy winner Gonzalo Rubalcaba is set to perform at the Indy Jazz Fest this Friday, Sept. 19, at 8 PM at the Schrott Center for the Arts in Indianapolis.This marks Rubalcaba's first performance in Indiana, bringing his celebrated talent to the state as part of the ongoing festival. The event is a highlight for the Indy Jazz Fest, which aims to showcase exceptional musical talents from around the world.Gonzalo Rubalcaba, originally from Havana, Cuba, has been a significant figure in the jazz world since being discovered by Dizzy Gillespie in 1985. He has since won multiple Grammy and Latin Grammy awards, establishing himself as a creative force in music.Rubalcaba's music is deeply influenced by Afro-Cuban genres and his upbringing in the culturally rich neighborhood of Cayo Hueso in Havana.Pavel Polanco-Safadit expressed excitement about Rubalcaba's appearance at the festival, noting that it was a long-standing dream to bring him to Indianapolis.The upcoming performance by Gonzalo Rubalcaba at the Indy Jazz Fest is anticipated to be a memorable event for jazz enthusiasts in Indiana, offering a rare opportunity to experience his exceptional artistry live.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Gonzalo Rubalcaba is a Grammy-winning Cuban pianist and composer celebrated as one of the most innovative voices in modern jazz. WFYI's Kyle Long and Rubalcaba discuss his connection to Dizzy Gillespie and his latest album “A Tribute to Benny Moré and Nat King Cole.”

Gonzalo Rubalcaba is a Grammy-winning Cuban pianist and composer celebrated as one of the most innovative voices in modern jazz. He'll be performing at Indy Jazz Fest on September 19. Born in Havana in 1963 to a musical family, Rubalcaba was classically trained before emerging as a prodigy of the city's vibrant jazz scene. His virtuosic technique quickly drew international attention, leading to collaborations with legends like Dizzy Gillespie, Charlie Haden, and Herbie Hancock. In his conversation with WFYI's Kyle Long, Rubalcaba discusses his connection to Dizzy Gillespie and his latest album, “A Tribute to Benny Moré and Nat King Cole.”

The Real Ambassadors is a poignant tale of cultural exchange, anti-racism, and jazz history. And it's a love story — between life-long husband and wife partners, Iola & Dave Brubeck and their vision for a better world. Appalled by the racist treatment of Black jazz musicians in the United States in the 1950s and 60s, the Brubecks wrote a musical based on the Jazz Ambassadors Program established by President Eisenhower and the US State Department during the Cold War. In an effort to win hearts and minds, jazz musicians were sent out around the world to represent the freedom and creativity of America through their art form. Louis Armstrong, Dizzy Gillespie and most of the other Jazz Ambassadors were Black. The irony is that they were treated like royalty around the world, but could not stay in hotels or play in integrated bands in their own country.Performed live only once, at the Monterey Jazz Festival in 1962, the Real Ambassadors featured Louis Armstrong, Carmen McCrae, Dave Brubeck and Lambert Hendricks and Bavan. The musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly.The story features original music, rare archival recorded letters sent back and forth between the Brubecks and Louis Armstrong about the project, rehearsal recordings and interviews with Dave and Iola Brubeck. Other voices include: the Brubecks' sons, Chris and Dan Brubeck, Keith Hatschek, author of the  book, "The Real Ambassadors,” Ricky Riccardi, Director of Research Collections for the Louis Armstrong House Museum, and singer/actress Yolande Bavan, the last surviving performer involved in the project.Thanks to: Keith Hatschek, Chris Brubeck, Dan Brubeck, Ricky Riccardi, Yolande Bavan,  Lisa Cohen, and Wynton Marsalis.Special thanks to: The Louis Armstrong Educational Foundation and the Louis Armstrong House Museum; Michael Bellacosa and the Brubeck Collection, Wilton Library, Wilton, Connecticut; The Complete Louis Armstrong Columbia & RCA Victor Studio Sessions 1946-66 Mosaic Records 270; The Milken Family Foundation Archive Oral History Project; and The Library of Congress.Produced by The Kitchen Sisters (Nikki Silva and Davia Nelson) and Brandi Howell in collaboration with Jackson Spenner. Mixed by Jim McKee.

El samba-jazz instrumental que surgió en pequeños locales de Río de Janeiro ha cautivado a muchos músicos de jazz. Grabaciones, todas ellas del año 1962, del saxofonista Coleman Hawkins ('Desafinado', 'One note samba', 'Um abraço no Bonfá', 'Stumpy bossa nova'), Quincy Jones y su Big Band Bossa Nova ('Lalo´s bossa nova', 'Soul bossa nova', 'A taste of honey'), el saxofonista y flautista Bud Shank y el pianista y arreglista Clare Fischer ('Samba da borboleta', 'Ilusão', 'Pensativa', 'João'). el cuarteto del pianista Dave Brubeck ('This can´t be love', 'Bossa nova U.S.A.') y el trompetista Dizzy Gillespie ('Chega de saudade').Escuchar audio

Jed Distler picks ten albums that represent a broad scope of jazz piano legend Oscar Peterson's extraordinary career.Links to the albums here:The Oscar Peterson Quartet - https://www.youtube.com/watch?v=G2QAj7OuSXc&t=134sLive at the Concertgebouw - https://open.spotify.com/album/5u9s4m4f1og4Yz6uUfuljkWest Side Story - https://www.youtube.com/watch?v=LGb2wuT1p9oCanadiana Suite - https://www.amazon.com/Canadiana-Suite-Oscar-Peterson/dp/B00000E5HTMy Favorite Instrument - https://www.youtube.com/watch?v=9t_GnQVgvewWalking the Line - https://www.youtube.com/watch?v=V4MzBdy05TUOscar Peterson and Dizzy Gillespie - https://www.youtube.com/watch?v=57nzCqu0rjoOscar Peterson and the Bassists - https://www.amazon.com/Oscar-Peterson-Bassists-Montreux-77/dp/B00004ZC1P; video link - https://www.youtube.com/watch?v=L4LXYe-bTRASatch and Josh: Count Basie Encounters Oscar Peterson - https://www.youtube.com/watch?v=-Z14WqU_9xwThe Legendary Oscar Peterson Trio Live at the Blue Note (4 CD set, complete recordings) - https://concord.com/concord-albums/the-legendary-oscar-peterson-trio-live-at-the-blue-note-complete-4-cd-set/

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