Podcast appearances and mentions of don pullen

STANDAR SEMANAL.-georgia on my mind,.VINILOS MITICOS DEL JAZZ.-927.Thelonious Monk - Brilliant Corners.-JAZZACTUALIDAD.SEDAJAZZ KIDS BAND-RAM SESSIONS Brilliant Corners es un álbum de estudio de 1957 del pianista de jazz estadounidense Thelonious Monk . Fue su tercer álbum para Riverside Records y el primero en el sello que incluía composiciones propias. Brilliant Corners se grabó en tres sesiones, entre octubre y diciembre de 1956, con dos quintetos diferentes. «Ba-lue Bolivar Ba-lues-Are» y «Pannonica», esta última con Monk tocando la celesta , se grabaron el 9 de octubre con los saxofonistas Ernie Henry y Sonny Rollins , el bajista Oscar Pettiford y el baterista Max Roach . La primera composición se tituló como una interpretación fonética de la pronunciación exagerada de Monk de «Blue Bolivar Blues»; esto hacía referencia al Hotel Bolívar de Manhattan, donde residía la heredera y mecenas del jazz Pannonica de Koenigswarter . [ 1 ] El 15 de octubre, Monk intentó grabar la canción principal con la misma banda durante una sesión de cuatro horas. La complejidad de la composición se convirtió en un reto para la banda, que intentó veinticinco tomas, y Henry y Pettiford se enfadaron con Monk. Monk intentó facilitarle la grabación a Henry no tocando durante su solo. [ 1 ] Durante una de las tomas, el productor Orrin Keepnews y otros en la sala de control no pudieron oír la interpretación de Pettiford; revisaron el micrófono de su bajo para ver si estaba roto, pero finalmente se dieron cuenta de que estaba haciendo una pantomima. Como no se completó ninguna toma, Keepnews editó la versión del álbum a partir de varias tomas. "Bemsha Swing" se grabó el 7 de diciembre, con Paul Chambers reemplazando a Pettiford en el bajo y el trompetista Clark Terry reemplazando a Henry; Monk grabó una versión para piano solo de " I Surrender Dear " el mismo día. La canción principal tiene una estructura poco convencional que se aleja tanto de la forma estándar de una canción como de las estructuras del blues. Su forma ternaria emplea una sección A de ocho compases, seguida de una sección B de siete compases y una sección A modificada de siete compases, e incluye un tema de doble compás en cada segundo estribillo y acentos rítmicos complejos . [ "Bemsha Swing" fue la única composición del álbum que Monk había grabado previamente. La Sedajazz Kids Band, cuyos integrantes tienen una media de 14 años, presentan un repertorio de funky blues, latin, flamenco jazz y hard bop, trabajado en la asignatura de combo, bajo la dirección de Fco. Angel Banco Latino. Desde el colectivo Sedajazz estamos muy felices de presentar el nuevo trabajo de la Sedajazz Kids Band titulado Ram Session, un concierto en directo grabado en La Rambleta Valencia el 14 de Julio de 2024. El sonido fue realizado por Jorge Perez y el video por Chechu Berlanga. El repertorio es el resultado de un curso trabajando temas de funky blues, latin, flamenco jazz y hard bop, con composiciones de Don Pullen, Art Pepper, Perico Sambeat, Dirty Dozen, Roy Hargrove, Dizzy Gillespie, y arreglos de Latino Blanco, Toni Belenguer y Perico Sambeat. El grupo está formado por jóvenes estudiantes del Taller Sedajazz en la asignatura de combo, bajo la dirección de Fco. Angel Blanco Latino. Este trabajo está inspirado en la música con la que Latino empezó en el Jazz con Los Urones, grupo liderado por Nacho Ros, un pianista valenciano. En ese grupo estaban también Paquito Vidre a la guitarra, Mari Mar en la voz y Julio Valls al bajo. A veces se unían Perico Sambeat, Eladio Reinon y Ramon Cardo. La edad media de los componentes de la Sedajazz Kids Band es de 14 años, y el resultado es muy satisfactorio. Estamos seguros de que os encantará escucharlos. Este es el segundo trabajo con esta formación después de su disco Rumbo a New Orleans, con el que hicieron numerosas presentaciones con gran éxito. Créditos Ximet Reillo: Saxo Soprano y Alto Luis Coronado: Saxo Alto Hugo Coronado: Trompeta David Bonet: Trombón Azul Prada: Guitarra Pau Montalt: Batería Pau Baena: Piano Fco. Angel Blanco Latino: Bajo eléctrico, Contrabajo, Dirección Grabado en directo el 14 de Julio de 2024 en La Rambleta Valencia Jorge Perez: Sonido, mezcla y mastering Josep Asensio: Asistente de sonido Chechu Berlanga: Video Pedro Gallego: Ayudante de producción Temas 1. Poodie Pie (Don Pullen. Arr. Latino Blanco) 07:16 2. Red car (Art Pepper. Arr. Latino Blanco) 08:24 3. Big Alice (Don Pullen. Arr. Latino Blanco) 08:02 4. Tipping (Horace Silver) 05:06 5. Blue March (Benny Golson. Arr. Latino Blanco) 11:32 buy track 6. Barri de la Coma (Perico Sambeat) 07:15 7. Night in Tunisia (Dizzy Gillespie. Arr. Latino Blanco) 05:18 8. Charlie Dozen (Dirty Dozen. Arr. Toni Belenguer) 10:31 9. The New Boogaloo (Marcus Printup. Arr. Toni Belenguer)) 06:30 10. Mercy Mercy Mercy (Joe Zawinul. Arr. Toni Belenguer) 10:07 11. Mr Clean (Freedie Hubbard) 10:06

GEORGE ADAMS / DON PULLEN “THE VILLAGE VANGUARD” New York City, August 19, 1983DianneGeorge Adams (st) Don Pullen (p) Cameron Brown (b) Dannie Richmond (dr) APRIL VARNER “APRIL” Paramus, NJ, August 29 & 30, 2023April blues, I'll remember April, Joy of April, April in ParisApril Varner (vcl,comp) acc by Benny Benack, III (tp,vcl) Dayna Stephens (ts,sop) Caelan Cardello (p) Russell Malone (g) Reuben Rogers (b) Miguel Russell (d) Theo Bleckmann (vcl) DUKE PEARSON WAHOO! Continue reading Puro Jazz 08 de octubre, 2024 at PuroJazz.

GEORGE ADAMS / DON PULLEN “THE VILLAGE VANGUARD” New York City, August 19, 1983DianneGeorge Adams (st) Don Pullen (p) Cameron Brown (b) Dannie Richmond (dr) APRIL VARNER “APRIL” Paramus, NJ, August 29 & 30, 2023April blues, I'll remember April, Joy of April, April in ParisApril Varner (vcl,comp) acc by Benny Benack, III (tp,vcl) Dayna Stephens (ts,sop) Caelan Cardello (p) Russell Malone (g) Reuben Rogers (b) Miguel Russell (d) Theo Bleckmann (vcl) DUKE PEARSON WAHOO! Continue reading Puro Jazz 08 de octubre, 2024 at PuroJazz.

After seeing Grammy-winning pianist and composer Kris Davis, live at the Village Vanguard, I knew I wanted to sit down with her and dive into jazz. Here we discuss her philosophy of improvisation and her energy and passion for performing live. The Canadian-born artist fell in love with jazz at an early age, studied jazz piano at the University of Toronto, and cites the legendary Don Pullen as a major influence. Along the way, as she shares, she's played with innovative performers such as J.D. Allen, Dave Holland, Terri Lyne Carrington, Tyshawn Sorey, and John Zorn. Before our conversation winds down, we talk albums and which speak to her the most.

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Returning this week with a big stack of jazz and more I picked up last month in NYC, and also a couple selections in tribute to Harry Belafonte, probably one of the most incredible people to ever walk the earth. I recommend everyone go and pick up his autobiography just to see all the things he was involved in and accomplished. He lived an amazing life, and I start and finish this set with two tunes of his I love. Tracklist: Harry Belafonte, Rick Laird, Charlie Antolini, Masaru Imada, Walter Bishop Jr., Ted Vining Trio, Eric Kloss, Roy Ayers, Sunburst, Gil Scott Heron, Don Pullen, Harry Belafonte

In this episode, musician Nduduzo Makhathini and I talk extensively about African spirituality and cosmology and their influence on his creative process. We discuss the effects of apartheid in South Africa and what it was like for him to grow up in racialized townships. American jazz was an early inspiration; we touch on the legends—including Andrew Hill, McCoy Tyner, Don Pullen, Alice Coltrane, and Randy Weston—who continue to inspire him today. Nduduzo delves into how he approaches live performance and why it's important to him to incorporate history, culture, ritual, and chanting in his shows. Lastly, he shares what it's like being signed to the iconic Blue Note label.

THIS WEEK's BIRDS: Shirley Scott; Amir el Saffar & Rivers of Sound; Elis Regina welcomes Spring; Amazigh poetry/music from Rkia Talbensirt; Farida Khanum sings Bengali music; Tanya St. Val (vintage Zouk!); new music from Rajna Swaminathan; Jose Mauro; Abel Lima; new salsa from La Pambelé; Eric Vloeimans & Will Holzhäuser (trumpet/accordian duo); Orchestre Regional de Mopti; Kébendo Jazz; The Feel Trio (Cecil Taylor, William Parker, Tony Oxley); Carlo Actis Date; twaarab from Rajab Suleiman & Kithara; David Harvey; Lady Issa; Empopo Loway Deyesse; Don Pullen; RSS Boy 1 w. Waclaw Zimpel;  and much more ...! LISTEN LIVE: Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI: 88.1FM Ithaca, 89.7FM Odessa, 91.9FM WINO Watkins Glen. and WORLDWIDE online at WRFI.ORG.  via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. WRFI/WINO has improved and expanded its signal, and can now be heard on one of our frequencies from Northern Pennsylvania to Lake Ontario!!! Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLISTS at SPINITRON: https://spinitron.com/WRFI/pl/17105721/Conference-of-the-Birds and via the Conference of the Birds page at WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks FIND WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR Contact: confbirds@gmail.com

aeropuertojazzcafe.com Programa 0510 - V16/09/2022 - Don Pullen & George Adams Quartet - Art Farmer & Bill Evans - Barbara Dennerlein - Bob Stewart - Wycliffe Gordon - Poncho Sanchez & Terence Blanchard ENLACES DE AUDIO EN NUESTRA WEB y en esferajazz.com #jazz #podcast EN FM CANARIAS: 7,7 Radio Radio Sol Maspalomas Radio Insular de Lanzarote Radio Tiempo Tenerife Onda Universal Tenerife

Blood has always played an integral role in God's plan from the beginning. Listen as Don Pullen discusses the Blood of the Covenant and what it means to us today.

Il sassofonista George Adams e il pianista Don Pullen, con il batterista Dannie Richmond – tutti fedeli partner dell'ultima fase creativa di Charles Mingus – danno vita dopo la scomparsa del loro mentore ad uno straordinario quartetto (Cameron Brown sarà al contrabbasso) che infuocherà i palcoscenici di festival, sale da concerto e club di tutto il mondo.Una musica di straordinaria potenza ed energia la loro, una delle storie più pregnanti del jazz degli anni '80 che ci è raccontata da Marcello Lorrai in questa serie di “Birdland”.

Il sassofonista George Adams e il pianista Don Pullen, con il batterista Dannie Richmond – tutti fedeli partner dell'ultima fase creativa di Charles Mingus – danno vita dopo la scomparsa del loro mentore ad uno straordinario quartetto (Cameron Brown sarà al contrabbasso) che infuocherà i palcoscenici di festival, sale da concerto e club di tutto il mondo.Una musica di straordinaria potenza ed energia la loro, una delle storie più pregnanti del jazz degli anni '80 che ci è raccontata da Marcello Lorrai in questa serie di “Birdland”.

Il sassofonista George Adams e il pianista Don Pullen, con il batterista Dannie Richmond – tutti fedeli partner dell'ultima fase creativa di Charles Mingus – danno vita dopo la scomparsa del loro mentore ad uno straordinario quartetto (Cameron Brown sarà al contrabbasso) che infuocherà i palcoscenici di festival, sale da concerto e club di tutto il mondo.Una musica di straordinaria potenza ed energia la loro, una delle storie più pregnanti del jazz degli anni '80 che ci è raccontata da Marcello Lorrai in questa serie di “Birdland”.

As we conclude our tribute to the 100th Birthday Anniversary of bassist/composer/band leader Charles Mingus, we present tonight's very long Jazz Feature. It is a concert by what many believe is his last great band. The concert takes place in Bremen, Germany at Postaula, a concert venue, on July 9,1975. The band and most of the repertoire was heard on two Atlantic Records albums "Changes 1 & 2" but on the studio recordings some of the tunes had to be edited for space. This doesn't occur here as they were in concert and there are no edits. Hence the length of tonight's Jazz Feature. The band consists of Jack Walrath on trumpet (the only living member), George Adams on tenor saxophone, Don Pullen on piano, Dannie Richmond on drums and Mingus. Each tune is given a long exploration and is one of the most compelling and exciting Mingus performances from this period. Check it out tonight as our Jazz Feature, you won't regret it!

As we conclude our tribute to the 100th Birthday Anniversary of bassist/composer/band leader Charles Mingus, we present tonight's very long Jazz Feature. It is a concert by what many believe is his last great band. The concert takes place in Bremen, Germany at Postaula, a concert venue, on July 9,1975. The band and most of the repertoire was heard on two Atlantic Records albums "Changes 1 & 2" but on the studio recordings some of the tunes had to be edited for space. This doesn't occur here as they were in concert and there are no edits. Hence the length of tonight's Jazz Feature. The band consists of Jack Walrath on trumpet (the only living member), George Adams on tenor saxophone, Don Pullen on piano, Dannie Richmond on drums and Mingus. Each tune is given a long exploration and is one of the most compelling and exciting Mingus performances from this period. Check it out tonight as our Jazz Feature, you won't regret it!

Il sassofonista George Adams e il pianista Don Pullen, con il batterista Dannie Richmond – tutti fedeli partner dell'ultima fase creativa di Charles Mingus – danno vita dopo la scomparsa del loro mentore ad uno straordinario quartetto (Cameron Brown sarà al contrabbasso) che infuocherà i palcoscenici di festival, sale da concerto e club di tutto il mondo.Una musica di straordinaria potenza ed energia la loro, una delle storie più pregnanti del jazz degli anni '80 che ci è raccontata da Marcello Lorrai in questa serie di “Birdland”.

Il sassofonista George Adams e il pianista Don Pullen, con il batterista Dannie Richmond – tutti fedeli partner dell'ultima fase creativa di Charles Mingus – danno vita dopo la scomparsa del loro mentore ad uno straordinario quartetto (Cameron Brown sarà al contrabbasso) che infuocherà i palcoscenici di festival, sale da concerto e club di tutto il mondo.Una musica di straordinaria potenza ed energia la loro, una delle storie più pregnanti del jazz degli anni '80 che ci è raccontata da Marcello Lorrai in questa serie di “Birdland”.

What will be revealed on Deep Focus this Monday night?  In every episode of Deep Focus, we discover new facets of (at least) 2 artists: our guest lends insight about the subject but the guest also inevitably reveals new sides of him or herself.   So what do we get when we listen to Don Pullen's music with a fellow conceptualist like William Hooker?  Host Mitch Goldman says, "I could tell you but wouldn't you rather hear it for yourself?"   It's on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DonPullen #WilliamHooker #DeepFocus #MitchGoldman   Photo credit: fair use.

What will be revealed on Deep Focus this Monday night?  In every episode of Deep Focus, we discover new facets of (at least) 2 artists: our guest lends insight about the subject but the guest also inevitably reveals new sides of him or herself.   So what do we get when we listen to Don Pullen's music with a fellow conceptualist like William Hooker?  Host Mitch Goldman says, "I could tell you but wouldn't you rather hear it for yourself?"   It's on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DonPullen #WilliamHooker #DeepFocus #MitchGoldman   Photo credit: fair use.

What will be revealed on this Deep Focus?  In every episode of Deep Focus, we discover new facets of (at least) 2 artists: our guest lends insight about the subject but the guest also inevitably reveals new sides of him or herself.   So what do we get when we listen to Don Pullen's music with a fellow conceptualist like William Hooker?  Host Mitch Goldman says, "I could tell you but wouldn't you rather hear it for yourself?"   It's on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR #JazzAlternatives #DonPullen #WilliamHooker #DeepFocus #MitchGoldman   Photo credit: fair use.

Album molto noto della discografia di Mingus, Mingus at Carnegie Hall fu ricavato da una esibizione del contrabbassista del gennaio del '74 e fu pubblicato nello stesso anno dalla Atlantic. L'Lp originario conteneva solo due tracce, una per facciata, due interpretazioni di oltre venti minuti ciascuna di due brani del repertorio di Ellington, C Jam Blues e Perdido: si trattava dell'ultima parte del concerto, in cui al sestetto di Mingus, in un clima da jam session, si erano aggiunti tre sassofonisti che avevano lavorato con Mingus in fasi precedenti della sua carriera, John Handy, Charles McPherson e Roland Kirk. Ora la Rhino, nel formato di tre Lp o due cd, ripropone l'album completo di tutta la prima parte del concerto, quasi ottanta minuti supplementari. Con quattro giovani, John Faddis alla tromba, George Adams al sax tenore, Hamiet Bluiett al baritono, Don Pullen al piano, e con alla batteria il fidato Dannie Richmond ritornato all'ovile, Mingus rilegge tre suoi classici, Peggy's Blue Skylight, Celia, Fables of Faubus (a cui si aggiunge il brillante Big Alice firmato da Pullen): l'arte di Mingus, con la sua meravigliosa vena melodica e il suo temperamento, che in una musica spumeggiante, scattante, nervosa, trova nuova carica e ragione d'essere nel contatto con l'energia di l'impeto di una nuova generazione.

Album molto noto della discografia di Mingus, Mingus at Carnegie Hall fu ricavato da una esibizione del contrabbassista del gennaio del '74 e fu pubblicato nello stesso anno dalla Atlantic. L'Lp originario conteneva solo due tracce, una per facciata, due interpretazioni di oltre venti minuti ciascuna di due brani del repertorio di Ellington, C Jam Blues e Perdido: si trattava dell'ultima parte del concerto, in cui al sestetto di Mingus, in un clima da jam session, si erano aggiunti tre sassofonisti che avevano lavorato con Mingus in fasi precedenti della sua carriera, John Handy, Charles McPherson e Roland Kirk. Ora la Rhino, nel formato di tre Lp o due cd, ripropone l'album completo di tutta la prima parte del concerto, quasi ottanta minuti supplementari. Con quattro giovani, John Faddis alla tromba, George Adams al sax tenore, Hamiet Bluiett al baritono, Don Pullen al piano, e con alla batteria il fidato Dannie Richmond ritornato all'ovile, Mingus rilegge tre suoi classici, Peggy's Blue Skylight, Celia, Fables of Faubus (a cui si aggiunge il brillante Big Alice firmato da Pullen): l'arte di Mingus, con la sua meravigliosa vena melodica e il suo temperamento, che in una musica spumeggiante, scattante, nervosa, trova nuova carica e ragione d'essere nel contatto con l'energia di l'impeto di una nuova generazione.

Fra i grandi protagonisti delle vicenda del jazz, Charles Mingus è tra quelli la cui musica sta maggiormente beneficiando del trend di pubblicazione di inediti nel campo del jazz a cui si è assistito negli ultimi anni, e che si conferma anche in questo. Sull'onda dell'uscita di una edizione di molto accresciuta di Mingus at Carnegie Hall, in tre puntate passiamo in rassegna questo e altri due importanti inediti del contrabbassista. Cominciamo da Jazz in Detroit - Strata Concert Gallery, pubblicato nel 2018 da Proof Records/BBE Music come cofanetto di cinque cd o di cinque Lp o in digitale. Nella versione in cd sono tre ore e tre quarti di musica più tre quarti d'ora di parlato radiofonico e di intervista con il batterista Roy Brooks, che ci presentano Mingus in una residenza a Detroit nel '73, quando il contrabbassista è alle soglie del gruppo con cui avrebbe vissuto l'ultima stagione della sua creatività, prima che gli venisse diagnosticata la malattia che nel '79 lo portò via a soli cinquantasei anni. Di quel gruppo qui c'è già il pianista Don Pullen, mentre al sax tenore troviamo John Subblefield, alla tromba Joe Gardner e alla batteria appunto Roy Brooks. Fra i pezzi forti di questo inedito una trascinante versione di 25 minuti di uno dei capolavori di Mingus, Pithecanthropus Erectus, e due versioni di Dizzy Profile, una composizione dedicata da Mingus a Dizzy Gillespie, di cui non si hanno altri esempi nella discografia del contrabbassista.

Fra i grandi protagonisti delle vicenda del jazz, Charles Mingus è tra quelli la cui musica sta maggiormente beneficiando del trend di pubblicazione di inediti nel campo del jazz a cui si è assistito negli ultimi anni, e che si conferma anche in questo. Sull'onda dell'uscita di una edizione di molto accresciuta di Mingus at Carnegie Hall, in tre puntate passiamo in rassegna questo e altri due importanti inediti del contrabbassista. Cominciamo da Jazz in Detroit - Strata Concert Gallery, pubblicato nel 2018 da Proof Records/BBE Music come cofanetto di cinque cd o di cinque Lp o in digitale. Nella versione in cd sono tre ore e tre quarti di musica più tre quarti d'ora di parlato radiofonico e di intervista con il batterista Roy Brooks, che ci presentano Mingus in una residenza a Detroit nel '73, quando il contrabbassista è alle soglie del gruppo con cui avrebbe vissuto l'ultima stagione della sua creatività, prima che gli venisse diagnosticata la malattia che nel '79 lo portò via a soli cinquantasei anni. Di quel gruppo qui c'è già il pianista Don Pullen, mentre al sax tenore troviamo John Subblefield, alla tromba Joe Gardner e alla batteria appunto Roy Brooks. Fra i pezzi forti di questo inedito una trascinante versione di 25 minuti di uno dei capolavori di Mingus, Pithecanthropus Erectus, e due versioni di Dizzy Profile, una composizione dedicata da Mingus a Dizzy Gillespie, di cui non si hanno altri esempi nella discografia del contrabbassista.

Charlie Mingus (1922 Arizona, 1979 Cuernavaca, México) fue uno de los más grandes compositores, bajistas y pianistas del jazz moderno. Años 60, Mingus mira al free jazz con una mezcla de curiosidad, envidia y desdén. Encuentra en Eric Dolphy (saxos, clarinete bajo) un punto común. El concierto de Town Hall. Eric Dolphy se incorpora (multi instrumentista de cañas). En los 70 entran Don Pullen (pn) y George Adams (ts). 1977 diagnóstico de ALS (esclerosis lateral amiotrófica). Para su cumpleaños 56 la Filarmónica de NY toca su pieza "Revelations". Es invitado a la Casa Blanca por Carter. Su legado esta vivo, y en particular Joni Mitchell graba un disco Mingus. Mingus Dinasty se forma con algunos miembros de su banda, así como la Mingus Big Band.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Tone Bone Kone by Arthur Russell on World of Echo (Audika) 2′24″ Now He Sings, Now He Sobs by Chick Corea on Now He Sings, Now He Sobs (Solid State Records) 9′22″ In A Silent Way/ It's About That Time by Miles Davis on In A Silent Way (Columbia) 30′34″ Speaking to the Spoken by Milford Graves on Stories (Tzadik) 37′41″ Stated With Peace by David Murray and Milford Graves on Real Deal (DIW Records) 44′55″ Memory by Milford Graves on Grand Unification (Tzadik) 53′06″ P.G. IV by Milford Graves and Don Pullen on Nommo (SRP) Check out the full archives on the website.

We were talking about “The Total Package” as a bandleader: what does that really mean? It means choosing the right sidemen (perhaps ones whom others might not have thought of); it means choosing the right music (maybe songs you write or ones you cultivate from other composers). More than anything, it means having a distinct point of view and letting those decisions flow from that. Don Pullen demonstrated that ethos through the many bands he led over the years, none more so than his last band, The African-Brazilian Connection (I mean, the POV is there in the name!).   Drummer JT Lewis was in that band. Maybe that experience contributed to his decision to start the band that he still co-leads, Harriet Tubman (hmmm, there’s one of those names again).   Trust me: this is one from the heart.   #WKCR #DeepFocus #JTLewis #DonPullen #MitchGoldman #JazzRadio #JazzInterview #Jazz

We were talking about “The Total Package” as a bandleader: what does that really mean? It means choosing the right sidemen (perhaps ones whom others might not have thought of); it means choosing the right music (maybe songs you write or ones you cultivate from other composers). More than anything, it means having a distinct point of view and letting those decisions flow from that. Don Pullen demonstrated that ethos through the many bands he led over the years, none more so than his last band, The African-Brazilian Connection (I mean, the POV is there in the name!).   Drummer JT Lewis was in that band. Maybe that experience contributed to his decision to start the band that he still co-leads, Harriet Tubman (hmmm, there’s one of those names again).   Trust me: this is one from the heart.   #WKCR #DeepFocus #JTLewis #DonPullen #MitchGoldman #JazzRadio #JazzInterview #Jazz

We were talking about “The Total Package” as a bandleader: what does that really mean? It means choosing the right sidemen (perhaps ones whom others might not have thought of); it means choosing the right music (maybe songs you write or ones you cultivate from other composers). More than anything, it means having a distinct point of view and letting those decisions flow from that. Don Pullen demonstrated that ethos through the many bands he led over the years, none more so than his last band, The African-Brazilian Connection (I mean, the POV is there in the name!).   Drummer JT Lewis was in that band. Maybe that experience contributed to his decision to start the band that he still co-leads, Harriet Tubman (hmmm, there’s one of those names again).   Trust me: this is one from the heart.   #WKCR #DeepFocus #JTLewis #DonPullen #MitchGoldman #JazzRadio #JazzInterview #Jazz

We were talking about “The Total Package” as a bandleader: what does that really mean? It means choosing the right sidemen (perhaps ones whom others might not have thought of); it means choosing the right music (maybe songs you write or ones you cultivate from other composers). More than anything, it means having a distinct point of view and letting those decisions flow from that. Don Pullen demonstrated that ethos through the many bands he led over the years, none more so than his last band, The African-Brazilian Connection (I mean, the POV is there in the name!).   Drummer JT Lewis was in that band. Maybe that experience contributed to his decision to start the band that he still co-leads, Harriet Tubman (hmmm, there’s one of those names again).   Trust me: this is one from the heart.   #WKCR #DeepFocus #JTLewis #DonPullen #MitchGoldman #JazzRadio #JazzInterview #Jazz

We were talking about “The Total Package” as a bandleader: what does that really mean? It means choosing the right sidemen (perhaps ones whom others might not have thought of); it means choosing the right music (maybe songs you write or ones you cultivate from other composers). More than anything, it means having a distinct point of view and letting those decisions flow from that. Don Pullen demonstrated that ethos through the many bands he led over the years, none more so than his last band, The African-Brazilian Connection (I mean, the POV is there in the name!).   Drummer JT Lewis was in that band. Maybe that experience contributed to his decision to start the band that he still co-leads, Harriet Tubman (hmmm, there’s one of those names again).   Trust me: this is one from the heart.   #WKCR #DeepFocus #JTLewis #DonPullen #MitchGoldman #JazzRadio #JazzInterview #Jazz   Don Pullen photo credit: Metaweb FB CC-BY-SA

We were talking about “The Total Package” as a bandleader: what does that really mean? It means choosing the right sidemen (perhaps ones whom others might not have thought of); it means choosing the right music (maybe songs you write or ones you cultivate from other composers). More than anything, it means having a distinct point of view and letting those decisions flow from that. Don Pullen demonstrated that ethos through the many bands he led over the years, none more so than his last band, The African-Brazilian Connection (I mean, the POV is there in the name!).   Drummer JT Lewis was in that band. Maybe that experience contributed to his decision to start the band that he still co-leads, Harriet Tubman (hmmm, there’s one of those names again).   Trust me: this is one from the heart.   #WKCR #DeepFocus #JTLewis #DonPullen #MitchGoldman #JazzRadio #JazzInterview #Jazz   Don Pullen photo credit: Metaweb FB CC-BY-SA

Trombonist Craig Harris was an aspiring student in the early Seventies when he encountered Charles Mingus’s then-current quintet.  Mingus had a trio of young incendiary devices— pianist Don Pullen, tenor man George Adams and baritone saxophonist Hamiet Bluiett— playing with him and his stalwart drummer, Dannie Richmond.   This did not sound like Goodbye Pork Pie Hat!  What happened on stage was unprecedented free improvisation with all of the craft and imagination of Mingus’s greatest bands.  Craig Harris was hooked: he knew what he needed to do and he has been doing it ever since.  He waited for that band to make a record but they never did.  Craig has been waiting for the emergence of that music for 40 years.   It’s time.  

Trombonist Craig Harris was an aspiring student in the early Seventies when he encountered Charles Mingus’s then-current quintet.  Mingus had a trio of young incendiary devices— pianist Don Pullen, tenor man George Adams and baritone saxophonist Hamiet Bluiett— playing with him and his stalwart drummer, Dannie Richmond.   This did not sound like Goodbye Pork Pie Hat!  What happened on stage was unprecedented free improvisation with all of the craft and imagination of Mingus’s greatest bands.  Craig Harris was hooked: he knew what he needed to do and he has been doing it ever since.  He waited for that band to make a record but they never did.  Craig has been waiting for the emergence of that music for 40 years.   It’s time.  

Trombonist Craig Harris was an aspiring student in the early Seventies when he encountered Charles Mingus’s then-current quintet.  Mingus had a trio of young incendiary devices— pianist Don Pullen, tenor man George Adams and baritone saxophonist Hamiet Bluiett— playing with him and his stalwart drummer, Dannie Richmond.   This did not sound like Goodbye Pork Pie Hat!  What happened on stage was unprecedented free improvisation with all of the craft and imagination of Mingus’s greatest bands.  Craig Harris was hooked: he knew what he needed to do and he has been doing it ever since.  He waited for that band to make a record but they never did.  Craig has been waiting for the emergence of that music for 40 years.   It’s time.  

Trombonist Craig Harris was an aspiring student in the early Seventies when he encountered Charles Mingus’s then-current quintet.  Mingus had a trio of young incendiary devices— pianist Don Pullen, tenor man George Adams and baritone saxophonist Hamiet Bluiett— playing with him and his stalwart drummer, Dannie Richmond.   This did not sound like Goodbye Pork Pie Hat!  What happened on stage was unprecedented free improvisation with all of the craft and imagination of Mingus’s greatest bands.  Craig Harris was hooked: he knew what he needed to do and he has been doing it ever since.  He waited for that band to make a record but they never did.  Craig has been waiting for the emergence of that music for 40 years.   It’s time.  

Salut à toutes et à tous,  Pour cet épisode 17, je reçois Frédéric Charbaut; co-président (chargé de la programmation) du festival Jazz à Saint Germain qui tiendra sa 20ème édition du 9 au 20 mai 2020 dans différents lieux du quartier de Saint Germain des Prés. Nous revenons sur le parcours de Frédéric; de l'aéronautique jusqu'au journalisme et la radio; le défi qu'a représenté la création du festival et sa pérénité...  Un petit détour par la programmation de cette 20ème édition qui s'annonce exceptionnelle et que vous pouvez retrouver à cette adresse :  https://festivaljazzsaintgermainparis.com/accueil/ Puis nous passons à sa sélection avec les disques suivants :  1950 :  Miles Davis - Kind of blue (1959) extrait : So What 1960 : Duke Ellington - Money Jungle (1962) extrait : Wig Wise 1960 : The Beatles - Abbey road (1969) extrait : Come together 1960 : John Mayall - The turning point (1969) extrait : The laws must change 1970 : Joni Mitchell - Mingus (1979) extrait : God must be a boogie man 1970 : Marvin Gaye - What's goin' on (1971) extrait : What's goin' on 1980 :  Steely Dan - Gaucho (1980) extrait : Gaucho 1990 : EST  - From Gagarin's point of view (1999) extrait : Dodge the dodo 1990 : Don Pullen - Ode to life (1993) extrait : El Matador 2000 : Michael Brecker - Wide Angles (2003) extrait : BroadBand 2010 : Lars Danielsson - Liberetto I-II-III (2012-2014-2016) extrait : Swedish Song Vous pouvez retrouver l'association l'esprit Jazz à cette adresse : https://www.espritjazz.com et le compte Twitter du festival : https://twitter.com/JazzStGermain  Episode enregistré le 12 février 2020 au restaurant le Mezieres (75006)   Morceau de cloture : Lars Danielsson - Eilat Générique : "It was 3am I was looking up at the sky" by Springtide (www.springtide.jp)

..Nell'estate del '73 Rivers è al prestigioso festival svizzero di Montreux, e dalla sua esibizione la Impulse ricava l'album Streams. Nell'estate successiva Rivers è alla prima edizione di Umbria Jazz: in Italia c'è un nuovo pubblico giovanile ingordo di jazz d'avanguardia, e Rivers, un mattatore, è uno dei personaggi in cui questo pubblico giovanile si identifica maggiormente. Alla metà degli anni settanta di Rivers cominciano ad interessarsi diverse etichette italiane: nel '75 Rivers partecipa a Capricorn Rising, intestato a Don Pullen, per la Black Saint; nel '76 incide The Quest per la Red Record; nell'estate del '76 Rivers è per due sere a Umbria Jazz e dalle sue esibizioni la Horo ricava due Lp doppi, intitolati Black Africa!

..Nell'estate del '73 Rivers è al prestigioso festival svizzero di Montreux, e dalla sua esibizione la Impulse ricava l'album Streams. Nell'estate successiva Rivers è alla prima edizione di Umbria Jazz: in Italia c'è un nuovo pubblico giovanile ingordo di jazz d'avanguardia, e Rivers, un mattatore, è uno dei personaggi in cui questo pubblico giovanile si identifica maggiormente. Alla metà degli anni settanta di Rivers cominciano ad interessarsi diverse etichette italiane: nel '75 Rivers partecipa a Capricorn Rising, intestato a Don Pullen, per la Black Saint; nel '76 incide The Quest per la Red Record; nell'estate del '76 Rivers è per due sere a Umbria Jazz e dalle sue esibizioni la Horo ricava due Lp doppi, intitolati Black Africa!

..Nell'estate del '73 Rivers è al prestigioso festival svizzero di Montreux, e dalla sua esibizione la Impulse ricava l'album Streams. Nell'estate successiva Rivers è alla prima edizione di Umbria Jazz: in Italia c'è un nuovo pubblico giovanile ingordo di jazz d'avanguardia, e Rivers, un mattatore, è uno dei personaggi in cui questo pubblico giovanile si identifica maggiormente. Alla metà degli anni settanta di Rivers cominciano ad interessarsi diverse etichette italiane: nel '75 Rivers partecipa a Capricorn Rising, intestato a Don Pullen, per la Black Saint; nel '76 incide The Quest per la Red Record; nell'estate del '76 Rivers è per due sere a Umbria Jazz e dalle sue esibizioni la Horo ricava due Lp doppi, intitolati Black Africa!

Carmen Lundy, ha sido comparada con Aretha Franklin, Ella Fitzgerald y Sarah Vaughan. Es hermana del bajista Curtis Lundy. En 1980 formó su propio trío, actuando con pianistas de la talla de John Hicks y Onaje Gumbs. También ha tocado con Walter Bishop Jr., Don Pullen, Mulgrew Miller, Billy Childs, Terri Lyne Carrington, Kip Hanrahan, Courtney Pine, Marian McPartland, y la banda Quasimode. Lundy ha compuesto y publicado más de cuarenta canciones. Sus composiciones han sido grabadas por artistas como Kenny Barron (“Momentos de silencio”), Ernie Watts (“Al Final de Mi Cuerda”), y Straight Ahead (“Never Gonna Let you Go”). Su primer álbum, Good Morning Kiss (1985) mostró varias composiciones originales, y fue reeditado en el año 2002. Su segundo álbum fue Night and Day (1986), y contó con músicos como Kenny Kirkland (piano), Alex Blake (bajo), Curtis Lundy (bajo), Victor Lewis (batería), Rodney Jones (guitarra), Ricky Ford (saxo tenor). Carmen Lundy desempeñó el papel principal en la gira Europea del musical de Broadway, Damas Sofisticadas con música de Duke Ellington. En la escena Off-Broadway ella retrató a Billie Holiday en la obra de Lawrence Holder They Were All Gardenias. Hizo su debut televisivo en la CBS con Shangri-La Plaza (1990), en el papel de Ginebra.

Tonight TWO (count 'em) TWO Jazz Features. One is the celebration of Duke Ellington's Birthday Anniversary today (April 29) with his epic "Far East Suite". A suite of 9 movements celebrating Duke's tour of the Middle and Far East. Recorded in December of 1966. Most of the key members of the Ellington Orchestra are here and playing at their peak: Johnny Hodges, Paul Gonsalves, Cootie Williams, Jimmy Hamilton and of course Duke himself. This is a great recording and and on the the pinnacles of Ellington's later career. The second Jazz Feature celebrates albeit belatedly the Birthday Anniversary of Charles Mingus. He was born on Earth Day (April 22, 1922). Tonight we will hear what is his arguably "last great quintet" recorded in concert in Bremen, Germany on July 9, 1975. Mingus, who succumbed to ALS was still in fine health with this great band composed of Jack Walrath (trumpet), George Adams (tenor saxophone), Don Pullen (piano) Mingus on bass and Dannie Richmond on drums. This is a well recorded and rather amazing concert and is NOT available on commercial records and discs. There it is, the Jazz Show's TWO great Jazz Features. Don't miss them!

1. Azar Lawrence - Novo Ano 2. Sahib Shihab - Ct + Cb 3. The Last Electro-Acoustic Space Jazz & Percussion Ensemble - Horace (For Horace Tapscott) 4. Gasper Lawal - Awon-Ojise-Oluwa 5. Eddy Senay - Cameo 6. Asiko - Love And Peace 7. Buari - Advice From Father 8. Richard Davis - Dealin' 9. Electro Keyboard Orchestra - The Soaring Sea Gull 10. Urszula Dudziak - Kasia's Dance 11. Jeremy Steig - Blue Seven 12. Don Pullen feat. Sam Rivers - Joycie Girl 13. Art Ensemble Of Chicago - Funky Aeco 14. Johnny Lytle - Mine 15. Nate Morgan - Mrafu 16. Randy Weston - Marrakesh Blues 17. Michael Garrick Septet - Ursula 18. Don Rendell & Ian Carr Quintet - Tan Samfu 

Pat and Mike discuss some used records Pat picked up, with some familiar faces and some new ones in the mix. Stay tuned for shocking allegations against one of the artists. Art Farmer – SING ME SOFTLY OF THE BLUES; Don Pullen/George Adams – LIVE AT MONTMARTRE; Kenny Wheeler – DOUBLE DOUBLE YOU; Al Haig – PIANO INTERPRETATIONS.

The candles blew and then disappeared, the curtains flew and then he appeared, saying "baby, don't be afraid" . . . to discuss the first four releases on powerhouse jazz label Black Saint: Billy Harper – BLACK SAINT; Archie Shepp – SEA OF FACES; Muhal Richard Abrams – SIGHTSONG; Don Pullen – CAPRICORN RISING.

Tonight's Jazz feature is a long one but worth the listening effort as it is a very rare live performance by what this author considers to be Charles Mingus' last great band. This band recorded a wonderful double album set on Atlantic records in December 1974 called "Changes 1 and Changes 2" but this is a live performance by the very same band and it truly captures the energy and power of this band. The personnel is Jack Walrath (trumpet), George Adams (tenor saxophone), Don Pullen (piano), Dannie Richmond (drums) and of course Mr. Charles Mingus on bass. It was recorded in Bremen, Germany on July 9, 1975. The tunes are long and these unedited performances capture the band at it's inspired best. Mingus at this time was enjoying a period of re-discovery and a restoration of his power and musical authority before feeling the first effects of the ALS which took hold the following year and led to his passing at age 58 on January 5,1979. Mingus forever!

Ishmael Reed was born in Chattanooga, Tennessee, but grew up in Buffalo, New York, where he attended the University of Buffalo, a private university that became part of the state public university system after he left. The university awarded him an honorary doctorate in 1995. He moved to New York City in 1962 and co-founded with the late Walter Bowart the "East Village Other", a well-known underground publication. He was also a member of the Umbra Writers Workshop, an organization that helped establish the Black Arts Movement and promoted a Black Aesthetic. Mr. Reed has written nine novels and has edited thirteen anthologies. Ishmael Reed is a founder of the Before Columbus Foundation, which since 1980 has annually presented the American Book Awards; the Oakland chapter of PEN; and There City Cinema, an organization that furthers the distribution and discussion of films from throughout the world. Two of his books have been nominated for National Book Awards, and a book of poetry, "Conjure", was nominated for a Pulitzer Prize. His "New and Collected Poems", 1964-2007, received the Commonwealth Club of California's Gold Medal. Reed's novels, poetry and essays have been translated into French, Spanish, Italian, German, Japanese, Hebrew, Hungarian, Dutch, Korean, Chinese and Czech, among other languages. Ishmael Reed's texts and lyrics have been performed, composed or set to music by Albert Ayler, David Murray, Allan Touissant, Carman Moore, Taj Mahal, Olu Dara, Lester Bowie, Carla Bley, Steve Swallow, Ravi Coltrane, Leo Nocentelli, Eddie Harris, Anthony Cox, Don Pullen, Billie Bang, Bobby Womack, Milton Cardonna, Omar Sosa, Fernando Saunders, Yosvanni Terry, Jack Bruce, Little Jimmy Scott, Robert Jason, Alvin Youngblood Hart, Mary Wilson of the Supremes, Cassandra Wilson and others. Since the early 1970s, Ishmael Reed has championed the work of other writers, founding and serving as editor and publisher of various small presses and journals. His current publishing imprint is Ishmael Reed Publishing Company, and his online literary magazine, "Konch", featuring poetry, essays and fiction, can be found at www.ishmaelreedpub.com. Reed recently retired from teaching at the University of California, Berkeley, where he taught for thirty-five years. He currently lives in Oakland, California with his wife of almost 40 years, Carla Blank, the acclaimed author, choreographer, and director. We interviewed Mr. Reed at A Different Booklist bookstore in Toronto where he was promoting his most recent book, "Barack Obama and the Jim Crow Media or The Return of the Nigger Breakers". We would like to thank A Different Booklist and Baraka Books in setting up our interview with Mr. Reed. You can find more information on Mr. Reed at his website www.ishmaelreedpub.com. Please feel free to email us at info@blackcanadianman.com God bless, peace, be well and keep the faith, Vibe and Vegas info@blackcanadianman.com http://thevibeandvegasshow.wordpress.com/

This band was one of the most innovative and exciting groups of the 1980's. It's beginnings happened in what many consider to be Charles Mingus' last great band. In that band was tenor saxophonist/vocalist George Adams, pianist Don Pullen and of course, drummer Dannie Richmond plus trumpeter Jack Walrath and Mingus. Pullen left the Mingus band after a musical dispute with the leader and Adams left a while later to work with Gil Evans and McCoy Tyner, After Mingus' death in January 1979, Adams, Pullen and Richmond decided to form a band along with bassist Cameron Brown for tours and gigs. This became one of the most sought after bands of the 1980's. They recorded for various small European labels and finally with the release of tonight's Feature: "Breakthrough!" on Blue Note, their first domestically recorded album. One more followed, called "Song Everlasting" and that was it for Blue Note. The recordings were soon deleted and hard to find, yet this band always drew long line-ups at any place that they played. They continued to perform until the untimely death in 1988 of drummer Dannie Richmond. The two Blue Note albums are once again available on a Mosaic set at www.mosaicrecords.com. This recording captures some of the creativity and drive of this amazing band and The Jazz Show is proud to present this important document now that Adams, Pullen and Richmond are no longer with us.