Podcasts about fender rhodes

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On a recent wintry afternoon in Manhattan, Stephan Crump was doing what he has done countless times in the city—toting his upright bass, clad in a heavy black bag, along the sidewalk, as if he had a baby that was also a bear.  Finding his car, Crump shimmied the instrument through the minivan's side, climbed into the front seat, exhaled, and then grinned. In less than 24 hours, he would fly to Portland to teach “On Magnetism,” a long-accreting class on connecting more deeply with yourself and others through your instrument, and to play solo at the city's jazz festival. But he knew he first needed to make the 40-minute trek from Brooklyn to Finlay + Gage, the legendary bass shop in Tribeca, to have his bass adjusted, so that he could make that connection himself. The sound post—that stout wooden dowel inside the bass that keeps it from collapsing on itself, and that the French call l'âme, or the soul—wasn't sitting quite right. “It's so personal, elusive, and mysterious. Yes, it's a mechanical thing, but it has so much mojo to it. That's why it's called ‘the soul,'” Crump explained several days later from Portland, noting that the hassle of the errand had been worth it. The bass felt good in his hands again. “It's this combination of sound and feel.” For a quarter-century now, pairing sound and feel have become Crump's ambit and expertise. A bassist and composer, collaborator and bandleader, Crump has become one of New York's most steadfast and experienced instrumentalists. He was the anchor of Vijay Iyer's foundational trio for 20 years, even as he developed a slew of imaginative ensembles of his own—the two-guitar Rosetta Trio, the Borderlands Trio alongside Kris Davis and Eric McPherson, the Secret Keeper duo with Mary Halvorson, just to sample. In all of these contexts, the act of bringing the rest of his life to the bass—the trauma and hope, the frustration and delight—remains Crump's primary motivation. It is, if you will, the soul of his playing. “All art is an expression of the artist's presence in that moment. Musicians need our evolving physical capabilities on the instrument and technical knowledge—how notes interact harmonically and melodically, transcribing our heroes, learning all that,” Crump said. “But in the act of making music, we need to allow that stuff to fall away, to not impose it on the music, to relinquish our defenses. We are sculpting energy as we make music, shaping magnetism.” In some ways, Crump's career is the fulfillment of his father's own youthful ambition. His dad toyed with turning pro as a jazz drummer, but he pursued architecture instead. (That's also how he met Crump's mother, who comes from a long line of French architects.) His devotion to jazz, though, didn't waver, and he would constantly play jazz classics—Monk, Miles, Coltrane, MJQ—in the family's Memphis home. Crump thinks that's where he fell for the bass, especially when the low-end would creep through old wooden walls at night. At his mother's behest, though, Crump's training started with piano, the Suzuki Method leading him through the classics and eventually to his all-time musical hero, Stevie Wonder. But at 13, Crump finally got his first bass, a MapleGlo Rickenbacker 4001 like that of another hero, Yes' Chris Squire. He joined a crackling power trio with his brother, later enlisted in a larger band, and then started his own group; they all gigged hard. Backpacking through Spain by himself after high school, however, he encountered an epiphany by the name of Dave Holland, playing in his mighty and future-facing quartet. The upright bass: That was Crump's future. His first was a dilapidated plywood model, collecting dust in a corner of Amherst College, where he'd in part gone to escape family turmoil down south. He'd intended to study physics and music, but he soon realized that his energy and enthusiasm belonged with the latter. That was helped along by a guitarist pal Crump met during his first few weeks at Amherst. He had connections in the West Village. Crump had the car. (“The bassist,” he half-joked, “always has the car.”) Most every week, they would drive the four hours south, link with high-caliber New York pros they'd hired, play until 2 a.m. or so, and head back to school. “That was really powerful and clarifying. It was thrilling to be 18 and gigging in New York. I got a taste for that level of musicianship, and I was doing more than just cutting it,” he said, smiling. “By the end of my first semester, I knew I was moving to New York as soon as I graduated.” That is precisely what Crump did. He used his paycheck from a month-long, fresh-out-of-college stint with the Tommy Dorsey Orchestra to rent his first Brooklyn apartment in 1994. He dove right in, roving the West Village with his bass, listening, and joining late-night jams that ended with the sun's arrival. He'd seal his shades with tape, sleep, and repeat.  Crump, though, bristled at the scene's pervasive machismo, how some of the city's most vaunted players would put up walls to prevent revealing too much of themselves through their music. That's actually what he craved. Crump found others who shared his ardor, earnestness, and a belief in what jazz could show of and to a person. Those people, like saxophonists Chris Cheek and Miguel Zenón, helped shape his first albums. There was film score work and sessions and stages alongside singer-songwriters. In these concentric creative circles, he met a young singer, Jen Chapin, and fell in love. They got married in September 1999.  After five years, the existence Crump had imagined for himself as a New York musician was happening. “My goal from the start was to come to New York and make a life in music—to make music that I loved, to learn and grow with amazing musicians,” said Crump. “I never set out to be a rock star, a jazz star. I just wanted to make music—real, deep, honest shit, you know?” Actually, Crump flirted with something at least like “jazz stardom” during a 20-year stint in Vijay Iyer's trio. Iyer cold-called Crump soon after moving to New York in 1999, on a friend's recommendation. They spent the next 20 years building the band into one of modern jazz's most successful units. It was a tremendous trip, of course, but it was again clarifying for Crump, revealing the sorts of bands he wanted to build outside of the Iyer orbit. He steadily realized that traditional jazz ensembles were not his preferred vehicle. The bass could get lost, its role restricted. And the power dynamics with such a clear and visible leader created an environment of dominance (again, often masculine) that he hoped to avoid. “Control and bravado keep you from deeper layers of experience and expression,” he said. “When you find yourself with a group of people who are willing to at least attempt ego dissolution and real communion, you have the opportunity for transcendence. You open a portal for each other and the audience—that's a service to society.” Crump has found those connections in so many contexts, emptying his feelings into his diverse ensembles. Rosetta Trio's bittersweet groove, for instance, emerged from little Fender Rhodes fragments he compiled in the months after watching 9/11 unfold with Jen from their Brooklyn roof. Open Wide, his 2002 set of duets with her, are intimate and entangled portraits of marriage's first few difficult, delightful years.  The music of Rhombal—his celebrated quartet with Tyshawn Sorey, Adam O'Farrill, Ellery Eskelin—unfolded after the death of his brother, Patrick, the one who first brought him into a band back in Memphis. And Slow Water, his latest project built with a drum-less sextet of fascinating New York artists, hinges on the Memphis native's experiences with bodies of water around the world, his lifelong love of nature, and his worry about and hope for our collective future.    “The acoustic bass is almost infinite as an instrument, sonically and expressively, but so much of that can get covered up in a traditional ensemble,” he said, turning toward his duos with saxophonist Steve Lehman and guitarist Mary Halvorson. “Those experiences gave me so much more room to explore the terrain of the instrument, its possibilities. That pushes you. It's the kind of scary environment you want to put yourself in.” When Crump talks about and teaches music, he doesn't discuss notes. Or rather, they are only the beginning, the technical basis for something that can and should be something much richer. Notes are vessels that the player then fills with their experiences, their ideas, their emotions, their essence.  These are gestures, at least as he has put it for many years now, the basis of the music he wants to put into and get out of the world. In some significant ways, this echoes his childhood in Memphis, where his Southern grandmother instilled the value of a story well told, and where he worked alongside his uncle building furniture—really, sculptures of wood—that they would sand until the material seemed somehow to shimmer. (Crump's music stand was made by his uncle, Stephen.) It wasn't just an object or a story; it was a piece of work you invested yourself in until it became art. “A note is an abstract notion, meaningless without all of the human, spiritual stuff you can channel into it,” Crump said. “A gesture has the physical element, a sense of offering, a reflection of our presence through each unfolding moment.” 

Extraits du concert de sortie de Passion Congo, pour les 80 ans de Ray Lema ! Ray Lema et l'Ensemble Partage. Le 3 avril 2026, le Studio de l'Ermitage a accueilli Passion Congo, un événement musical d'exception qui célèbre à la fois la sortie de l'album éponyme et les 80 ans de Ray Lema, figure emblématique des musiques du monde. Compositeur et pianiste de renommée internationale, Ray Lema a forgé au fil des décennies un langage musical unique, nourri depuis l'enfance par le répertoire classique européen et par les traditions musicales des plus de deux cents ethnies de la République démocratique du Congo. Son art réside dans cette capacité remarquable à fusionner des univers apparemment éloignés, créant ainsi des ponts sonores entre l'Afrique et l'Europe. Pour cette création majeure, Ray Lema s'entoure d'un ensemble de six musiciens italiens de haut niveau : un quatuor à cordes, un saxophone soprano et des percussions. Cette formation, à la fois classique et audacieuse, offre un cadre idéal pour explorer les richesses d'une écriture singulière où se rencontrent traditions africaines et européennes dans une harmonie captivante. Musiciens : Ray Lema (piano, voix), Massimiliano Gilli (1er violon), Sylvie Blanc (2e violon), Gerardo Vitale (violon alto), Claudia Ravetto (violoncelle), Manuel Pramotton (saxophone soprano), Marco Giovinazzo (percussions) + Isabel Gonzalez et Cathy Renoir (choristes historiques de Ray Lema) & son ami Laurent de Wilde au Fender Rhodes (avec qui Ray Lema a fait 2 albums). ► Album Passion Congo (One Drop / L'Autre distribution 2026). Site - Instagram - Facebook Studio de l'Ermitage.

Extraits du concert de sortie de Passion Congo, pour les 80 ans de Ray Lema ! Ray Lema et l'Ensemble Partage. Le 3 avril 2026, le Studio de l'Ermitage a accueilli Passion Congo, un événement musical d'exception qui célèbre à la fois la sortie de l'album éponyme et les 80 ans de Ray Lema, figure emblématique des musiques du monde. Compositeur et pianiste de renommée internationale, Ray Lema a forgé au fil des décennies un langage musical unique, nourri depuis l'enfance par le répertoire classique européen et par les traditions musicales des plus de deux cents ethnies de la République démocratique du Congo. Son art réside dans cette capacité remarquable à fusionner des univers apparemment éloignés, créant ainsi des ponts sonores entre l'Afrique et l'Europe. Pour cette création majeure, Ray Lema s'entoure d'un ensemble de six musiciens italiens de haut niveau : un quatuor à cordes, un saxophone soprano et des percussions. Cette formation, à la fois classique et audacieuse, offre un cadre idéal pour explorer les richesses d'une écriture singulière où se rencontrent traditions africaines et européennes dans une harmonie captivante. Musiciens : Ray Lema (piano, voix), Massimiliano Gilli (1er violon), Sylvie Blanc (2e violon), Gerardo Vitale (violon alto), Claudia Ravetto (violoncelle), Manuel Pramotton (saxophone soprano), Marco Giovinazzo (percussions) + Isabel Gonzalez et Cathy Renoir (choristes historiques de Ray Lema) & son ami Laurent de Wilde au Fender Rhodes (avec qui Ray Lema a fait 2 albums). ► Album Passion Congo (One Drop / L'Autre distribution 2026). Site - Instagram - Facebook Studio de l'Ermitage.

We got songs of all sorts tonight and non-songs for most sorts too. Take your pick! LISTEN AGAIN – you can stream on demand @ fbi.radio or podcast here. Abigail Snail – Good Grief [Romac Puncture Repairs] Abigail Snail – Attach Bayonets [Romac Puncture Repairs] You can get an idea of the experimental roots background of London guitarist Stef Ketteringham, usually known as Stef Kett, from his 10-year-old Guitar Arrangements (2016) and its sequel More Guitar Arrangements from the following year – a loose, free jazz approach to bluesy guitar, the outer limits of American Primitive. It’s not that far from there to punk rock, but nor is it far from the swamp. Garage rock is more the touchstone with Abigail Snail though, when Kett, on vox, guitar & bass, teams up with the incredibly versatile drummer Will Glaser, who’s played with the likes of Sly & the Family Drone, Yazz Ahmad, Ruth Goller and many other luminaries of the London jazz scene, and released an incredible solo album last year. The music’s a kind of hysterical, broken-down form of garage rock, dragged into swampy blues-jazz with the addition of James Allsopp on tenor sax & bass clarinet, a fixture of London’s jazz & experimental scenes for the last 2 decades. The album bio describes them as “London spray band Abigail Snail”, and the raucous-yet-vulnerable music here could well suit this new genre (as you know, we at Utility Fog love ridiculous new genres). Anyway, stick this on your boombox and scare pedestrians as you cycle to work next week. Jungstötter – Overturn [Unguarded/Bandcamp] Fabian Altstötter founded his solo project Jungstötter some years after his postpunk band Sizarr went on hiatus. Solo, his music draws from the dramatic experimental songwriting of Scott Walker & David Sylvian – on 2023’s One Star, his rich vocals were offset by industrial rumblings and shifting electronics, muddled in pitch-shifted shadows of themselves, mashed beats interrupting the flow, horn and string arrangements that grow raucous. New album Sustained is now announced, and single “Overturn” is very pared down – just that voice, some percussion, sparse electric piano, field recordings of children’s voices and occasional single note hits from horns. Oh, and the scrabbling guitar at the end, all suggesting something creepy around the corner. No doubt this will be an excellent album. Massive Attack x Tom Waits – Boots on the Ground [PIAS Records/Bandcamp] The most unexpected release of the century? Given that Tom Waits‘ last solo album Bad As Me came out in 2011, we could have been forgiven for expecting that was the end, but Massive Attack (who have stuck to random singles with feature artists for the last decade) convinced him to create this anti-war anthem, clattering percussion straight out of Tom’s Bone Machine, piano straight out of many of 3D’s productions, and Tom’s barked vocals which could refer to ICE or US troops in Venezuela, Iran, or heck, Vietnam. It’s proper chilling stuff. Loraine James – Flatline ft. Miho Hatori [Hyperdub/Bandcamp] From her soon-forthcoming album Detached From The Rest OF You, Loraine James here works with Miho Hatori of Cibo Matto on absolute thriller of a song, the beats a Loraine glitch-bass special and Hatori’s vocals spoken and sung but always cut-up. This is her “pop” album lol… Well, it’s full of great singers and James herself sings on more than a few tracks, but it’s still super experimental. Naavikaran & Simo Soo – For You Page (FYP) [Naavikaran Bandcamp] On her new EP MYSTIQ DISCOTHEQ, Naarm-based rapper Naavikaran puts a South Asian spin on her EDM-influenced rap & pop, enlisting Simo Soo to help bring out the deconstructed club vibes. Across the EP, Naavikaran raps and sings in Tamil, Marathi, Hindi and English, covering life as a disabled, LGBTQI+ refugee. Impressive and entertaining. deafkids – REFLEXO [Neurot Recordings/Bandcamp] Brazilian band deafkids may nominally be classed as “punk”, but hardcore punk mixes with industrial and noise in their sound, along with electronic music of all shapes. They released the incredible uncategorizable Metaprogramação on Neurosis‘ Neurot Recordings in 2019, and then when the pandemic hit, they put out a series of EPs that mixed Latin rhythmic complexity with guitar pedal and software experimentation, collected now on the album Ritos do Colapso. Except before that in 2020 came their collaboration DEAFBRICK with cross-continental noise-metal-industrial-electronic duo PETBRICK. So with various collabs and oddities in the interim, their forthcoming CICATRIZES DO FUTURO (Scars of the Future) is their first album proper since Metaprogramação. It looks to be more electronic, more intense, more angry than ever, a visceral reaction to the state of the world. Highly rhythmic and danceable, it shifts between hardcore punk, industrial, Latin American and club sounds with abandon. I can’t wait to hear the whole thing. james K – Doom Bikini (Hesaitix Remix) [AD93/Bandcamp] Following her vaporwave-trip-hop album Friend from last year, james K now reaches out for some heavy-duty Friends to remix the album. Hesaitix is the alias of James Whipple, better known as M.E.S.H, pioneer of “deconstructed club”. Here, though, he’s taking james K’s “Doom Bikini” and adding accelerated breakbeats in a lightweight jungle style. Very nice. Zoë Mc Pherson – Bang Bang (Nziria remix) [SFX/Bandcamp] Zoë Mc Pherson – Ambient Snake (Yushh remix) [SFX/Bandcamp] One of the leading lights of deconstructed club music (as we probably don’t call it anymore), Zoë Mc Pherson, releases the remix collection from last year’s Upside Down album, via their own SFX label. A great collection of various sorts of experimental bass music, including here some frenetic jungle/breakcore from Italian DJ & producer Nziria, and some ambient technoid lushness from Bristol’s Yushh, who will be playing here soon – at the Sydney Opera House, no less – for DUNJ’s Vivid Live event, also featuring Carrier and our own gi and Autogenesis. ARTISOMA – Boraq [YUKU/Bandcamp] Ravensburg, Germany-based producer Sarah Rendle ARTISOMA, debuting on YUKU with the Mobilya EP, exploring various configurations of UK bass and percussive techno. Quality production, as expected from anything on YUKU. OD Bongo – crystallinoron [Carton Records/Bandcamp] It’s almost inevitable that whatever is next released by French label Carton Records will be unlike whatever you’ve previously heard. Amédée de Murcia (aka Somaticae) on synths and Édouard Ribouillault aka C_C on drum machines, samplers & fx make up OD Bongo, whose second album Bongoville is technically co-released by Carton, zamzamrec, Prix Libre Record and basalte (whoever they are). This multiplicity of co-presentations is quite common in France it seems. Whoever you’re encountering it via, you’re in for a treat: hardware samplers, synths & drum machines produce a psychedelic cacophany of dance music styles, drawing in trap, juke and gqom with their bass-heavy techno – and a dub sensibility is ever-present. That’s got to hit the spot if you’re a Utility Fog listener! Haydn Douet Lukies – Amolador [Colectivo Casa Amarela/Bandcamp] Colectivo Casa Amarela are one of those Portuguese labels that you know will come through with the goods, even if you’re not sure what those goods will be. In the case of Old Dark Champagne, percussionist Haydn Douet Lukies uses his environment as his instruments – in this case the watery soundscape of Cacilhas, an industrial area in the estuary of Tagus River (Lisbon is built around that estuary), along with rusting chains, architectural surfaces and so on. But from these ingredients he makes music whose rhythms and sounds are linked to the beats of jungle, UK drill, industrial dub and other bass musics, as well as Arabic percussion and the Lisbon-centred, Afro-diasporic sounds of batida. It’s only an EP, and leaves us wanting more. Tristan Arp – Forking Paths [Kapsela/Bandcamp] Objekt‘s label Kapsela continues to be essential, now releasing an EP, Re-Weave, from the brilliant percussive techno sound-artist Tristan Arp. Case in point, tonight’s track “Forking Paths” starts with blissful synth arpeggios, but a minute and a bit in, rolling snares and a light but prominent “tok” on the 2nd & 4th beats drop in, switching into a syncopated bassline, and these various parts undulate and shuffle through the course of the track. The title is a reference to Borges’ classic story “The Garden of Forking Paths”, but also to the EP’s dedication to weaving mycelial networks and labyrinths. Beautiful. Yunzero – Cool Skunk [Yunzero Bandcamp] Naarm’s Jim Sellars makes some of the most weirdly crunchy, alternate-reality sample-based music of the last decade or so, under the name Yunzero. As the quote says on this new 2-tracker, “there’s something off”. If you wanted a summary of Utility Fog’s favourite kinds of music, “there’s something off” is a pretty good one, and it’s not a bad description of the jittery, rhythmic pieces on show here. Hora Lunga – Hearing through the Wall ft. Junge Eko [Hora Lunga Bandcamp] One album I loved from last year came from Argentinian cellist Violeta García working with the Swiss composer/producer Hora Lunga. The two musicians melded sound-art and noise with acoustic gestures, post-club sub-bass and glitched ambiences. Now Hora Lunga presents his New Age Music Vol. 2-3, which couches new agey soundscapes in post-modern irony (check the CD-R edition, which comes enclosed in repurposed pop album packaging). Deliberately awkward edits cultivate a sense of unease, only emphasised with guest vocals from the likes of Junge Eko aka Catia Lanfranchi, whispering over stop-start breaks. García appears with a vocal performance that pairs with industrial beats reminiscent of Atari Teenage Riot; meanwhile there’s angelic voice and distortion on “Doom Metal”, which is actually more like shoegaze, while Sam Portugal brings something more like black metal vocals to the dubbed-out “When I”. The double-album lurches from one genre to the next, never alighting on “new age” as such, but embodying the new, the post-, at all times. Joseph Branciforte & Jozef Dumoulin – ⊐ [greyfade/Bandcamp] With his greyfade label, NY composer, sound-artist & designer Joseph Branciforte presents music at the crossroads of contemporary classical, contemporary jazz and experimental electronic, especially where they meet in minimalism. This has led to some remarkable ideas, like the Folio edition of an acoustic reconstruction of Taylor Deupree‘s ambient-glitch classic Stil. Glitch, though, is a hallmark of the label, especially with Branciforte’s own works like the label’s debut release LP1 and its follow-up, which paired Branciforte with brilliant jazz singer Theo Bleckmann, with Branciforte on electronics and Fender Rhodes. That instrument brings us to this new collaboration, with Belgian Rhodes player Jozef Dumoulin. Both artists play their own Fender Rhodes, re-sampling and processing in realtime, and the music is (re)constructed from small fragments – but don’t think this is austere studio deconstruction; Joseph & Jozef are seasoned improvisers, and their intuitive connection is found throughout. In addition, a lot of the “editing” was done live in Branciforte’s realtime editing software. The album is released in a special deluxe edition with the whole 70 minute work on one CD, and an additional 4 CDs which contain the tracks spread out across them, to be re-sequenced or even layered if the listener wishes. Jonas Cambien – Tre – RADIO EDIT [Sonic Transmissions Records/Bandcamp] Rhythmic sounds here which hint at glitch-edits but are purely prepared piano, from Oslo-based Belgian pianist Jonas Cambien, whose Man Eating Tree is released by Norwegian label Sonic Transmissions Records. The release consists of four pieces, I believe part improvised and part composed, of rhythmic movement and minimalist gestures on prepared & unprepared piano and electric organ. Lovely stuff. Microfiche – Number 7 [Earshift Music/Bandcamp] One of Eora/Sydney’s best jazz bands, Microfiche, have their third album With Time coming out on June 12th. The album marks 10 years together as a band, and bids farewell to pianist/keyboardist Novak Manojlovic – replaced live now by the brilliant guitarist Hilary Geddes, although Novak still plays on the album, along with clarinettist/violist Phillippa Murphy-Haste, bassist Max Alduca, trumpeter Nick Calligeros, saxophonist Sam Gill (recently awarded the 2025 Freedman Jazz Fellowship) and drummer Holly Conner (who you’ve heard filling in on this show on a number of occasions). All of them are interested in music across genre, all are composers and improvisers and producers one way or other. The first single from the album is composed by Novak, and it’s a beautifully restrained piece with subtle details, clusters of virtuosity inside small musical gestures. The whole album’s special, stay tuned for more! Mariam Wallentin & Vestnorsk Jazzensemble – Basel [Hubro] Here’s a new single from an album that’s coming… sometime… from the great Norwegian label Hubro. Mariam Wallentin is one of the most extraordinary singers of our age – known for her postrock/pop/experimental duo Wildbirds & Peacedrums with her husband, drummer Andreas Werliin, and for her immense, emotive vocals with Fire! Orchestra, the Nordic free jazz big band centred around the Swedish trio Fire! formed by Werliin along with bassist Johan Berthlin and saxophonist Mats Gustafsson. Wallentin also has a solo project as Mariam The Believer which is perhaps more pop but still involves many experimental/jazz musicians. Here she is working with the Vestnorsk Jazzensemble, a jazz ensemble based in Bergen in the west of Norway, who commissioned a collaboration with Wallentin which reworks material from Mariam The Believer and even going back to Wildbirds & Peacedrums. However, “Basel” is a new song, a slow jazz groove with a pensive melody. Can’t wait to hear the rest. Claire Dickson – Waterfeel [New Amsterdam Records/Bandcamp] New York’s New Amsterdam Records are notionally a classical label, who tend to put out contemporary classical-adjacent pop, indie and experimental music as much as full-blown orchestral/ensemble work such as Sarah Kirkland Snider‘s compositions. On her second NewAm album Balance, Berlin-based Claire Dickson writes beautiful, laid-back songs around patient synth & piano patterns, fluttering strings, twinkling harp… Even when Lesley Mok‘s drums and Zoh Amba‘s sax are in the picture, it’s the slow-paced ostinati that call the shots. Dreamy & lovely stuff. Freda D’Souza – unravel (when ya comin back?) [Freda D’Souza Bandcamp] Speaking of low-key… Freda D’Souza is a London-based singer/songwriter/multi-instrumentalist who you may have heard me bugging you about before – or not, because she is the exact opposite of prolific. Her Windowledge EP from 2023 is small but perfectly formed and “The Love Song of J Alfreda D’Souza” speaks to me both on the pun level and also just as a wondrous song & performance. Anyway, how lucky are we then that she’s just pushed out a tiny single, with the lovely “lullabye” as the lead but backed up with a blissful Björk cover! The glitched, twinkling electronics of Vespertine (still my favourite Björk era) are replaced by layers of her voice and strings. Then again, if you like doom & post-metal, Freda’s band Wēven have just released their Wychelm EP, which is highly worth your time too. Listen again — ~214MB

Show Notes:Host Steve Roby sits down with celebrated saxophonist Javon Jackson to explore two landmark projects: his new album Jackson Plays Dylan — a jazz reimagining of Bob Dylan's songbook — and his upcoming live tribute to Miles Davis's Kind of Blue at SF Jazz. Episode Highlights:Discovering Bob Dylan through jazz — How Art Blakey's attorney first introduced Javon to Dylan's catalog in his twenties, and why he heard the songs as jazz-friendly love poetry rather than folk or rock musicA dual tribute to two poets — The story behind Jackson Plays Dylan, originally conceived with the late poet Nikki Giovanni, who planned to write new poetry and even reach out to Dylan himself before her passing in 2024. The album is dedicated to her memory."Hurricane" — the single — Javon breaks down his soulful, boogaloo-inflected arrangement of Dylan's 1976 protest song about boxer Rubin "Hurricane" Carter, featuring Fender Rhodes and drummer Ryan Sands"Gotta Serve Somebody" — featuring Bay Area favorite Lisa FisherThe cross-fade concept — How each track on the album teases the next, creating a continuous listening experienceKind of Blue at SF Jazz — Javon discusses stepping into the role John Coltrane held on the original 1959 recording and what it means to honor that legacy without imitationArt Blakey's lesson — "Don't worry about Wayne Shorter — just be you." How that advice shapes Javon's approach to all tribute performancesMiles Davis and the power of silence — Blakey's 200-words vs. 10-words parable as a way of understanding Miles's minimalist geniusThe all-star ensemble — Dr. Eddie Henderson (a Miles associate), Lenny White (Bitches Brew), Buster Williams, Donald Harrison, and Patrice RushenLinks:Javon Jackson: jevonjackson.comKind of Blue Tribute at SF Jazz — Minor Auditorium, Saturday, March 21stAfternoon show: 4:00 PM | Evening show: 7:30 PMTickets: sfjazz.orgJackson Plays Dylan — available now (singles: "Hurricane," "Gotta Serve Somebody")Backstage Bay Area hosted by Steve Roby Visit: https://www.backstagebayarea.com

Episode: 3360 The incomparable sound of the legendary Fender Rhodes.  Today we consider "The legendary Fender Rhodes".

Greetings! Sports-truncated show.  Pianos! Listen & Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Bluesky / Twitter: @envpusher1     1-10-26 PTE Playlist   All The Things You Are - Bill Evans - The Solo Sessions: Volume 2 - Milestone (1963/1992) https://billevansofficial.com/    Dispatch From The Interzone - Joseph Benzola - Amanita Music single (2026) https://josephbenzola.bandcamp.com/track/dispatch-from-the-interzone    Poivrottes (x3 pianos) - Euan Dalgarno - Poivrottes (x3 pianos) - self-released single (2025) https://euandalgarno.bandcamp.com/track/poivrottes-x3-pianos    MODUL 13 - Nik Bärtsch - Hishiryo (Piano Solo) - Ronin Rhythm Records (2002) https://nikbaertsch.bandcamp.com/album/hishiryo-piano-solo    Piano Study #5 (for just Fender Rhodes) - piano: Andrew C. Smith / composer: Larry Polansky - Indexical (2017) https://indexical.bandcamp.com/album/larry-polansky-piano-study-5   Symbi Oasis - Thollem McDonas - Infinite-Sum Game - ESP-Disk (2024) https://thollem-esp.bandcamp.com/album/infinite-sum-game    Metamorphosis Nos. 3 & 5 - piano: Bruce Brubaker / composer: Philip Glass - Glass Cage - Arabesque Records https://arabesquerecords.com/z6744-glass-cage/ 

STANDARSEMANAL.-giant steps.-VINILOS MITICOS DEL JAZZ.- BOBBY HUTCHERSON-Cirrus 1974.-JAZZACTUALIDAD.-XAVIER CARLES - GERMANS HUMANS. Título: Cirrus. Músico: Bobby Hutcherson. Acompañantes: Ray Drummond (b); Larry Hancock (dm); Kenneth Nash (perc); Bill Henderson (Piano, Electric Piano, Fender Rhodes); Harold Land y Emanuel Boyd (sa y flt); Woody Shaw (tp). Fecha de Grabación: 1974. 17 y 18 abril. Lugar de Grabación: New York. Sello Discográfico: Blue Note. Nº de temas: 5. Formato: LP. Instrumento: Vibráfono Estilo: Hardbop Nº de Serie: BST 84 460 I Año de Edición: 1974. Duración: 40:30. Calificación: 4* Comentario: Este LP, grabado y publicado por el sello «Blue Note» en 1974, recoge el segundo encuentro entre el excelente vibrafonista, Bobby Hutcherson, y el maestro del saxo alto, Harold Land. Los resultados son bastante buenos y a ello contribuye el grupo que acompaña a estos dos maestros, formada por el pianista Bill Henderson, el trompetista Woody Shaw, el bajista Ray Drummond, el baterista Larry Hancock, el saxofonista y flautista, Emmanuel Boyd y el percusionista Kenneth Nash. La música es algo más relajada que sus colaboraciones anteriores, pero hay suficientes momentos de gran calidad en la música que ambos nos proponen. Xavier Carles publica "Hermanos humanos" adapta quince nuevos temas de Léo Ferré, el gran poeta de la canción. El poeta, rapsoda y cantante Xavier Carles publica "Hermanos humanos", su séptimo trabajo discográfico con arreglos y producción musical de Xavier Batllés. Quince grandes canciones que profundizan en el universo ferreriano, en su doble vertiente de canción poética erótica y de toma de conciencia frente a los abusos de todo tipo de poder. Una recopilación de canciones intensas y textos profundos que hacen de contrapunto a esta sociedad centrada en el entretenimiento y el espectáculo y que busca sólo el placer cotidiano mediante un consumo inmediato e irreflexivo: "lo que hace pensar", sin embargo, ensancha los márgenes emocionales y amplía el conocimiento, y este trabajo apunta directamente a sacudir la reflexión profunda y las emociones. Las cincuenta y cuatro páginas del librito que acompaña al CD incluyen letras de las canciones, créditos e imágenes. Las adaptaciones de los textos al catalán respetan la métrica y la rima de los textos originales, sin pérdida del mensaje original de cada canción. Sensibilidad y elegancia son los mejores calificativos que definen esta nueva recopilación de canciones adaptadas del gran cantante monegasco. Xavier Carles: La voz poética de la canción musicada en catalán. Poeta, rapsoda, letrista y adaptador de textos, Xavier Carles es una de las voces más singulares y sensibles de la poesía musicada en nuestro país. A lo largo de su trayectoria ha publicado siete trabajos discográficos, todos producidos por el músico y arreglista Xavier Batllés, en los que fusiona con maestría palabra y música. Sus proyectos han contado con la colaboración de más de sesenta músicos y cantantes de primera línea de la escena catalana e internacional, entre los que destacan Toti Soler, Paco Ibáñez, Jaime Sisa, Carlos Benavent, Javier Mas, Quico Pi de la Sierra, Manuel Joseph, Miquel Pujadó, Rusó Sala, Imma Ortiz. Apasionado conocedor de la chanson francesa, Xavier Carles ha adaptado al catalán obras de otros grandes referentes como Georges Brassens, Jacques Brel y Boris Vian. Algunas de estas versiones se pueden escuchar en el disco 'Petita Festa' de Toti Soler y Gemma Humet, donde también aporta su voz recitada. En 2017 recibió el segundo premio en la Muestra Literaria del Maresme por el poema Desconocida, que más adelante daría título a uno de sus discos. La canción que da nombre al primer volumen de adaptaciones de Léo Ferré, "Yo te doy" (2022), ha sido elegida por la casa discográfica francesa EPM para formar parte de una selección de canciones de homenaje al cantante, con motivo del 30 aniversario de su muerte.

Salve! This is a bonus episode for paid subscribers!Every episode is a different song. This is the song today:"Atalaia" by Guilherme CoutinhoGuilherme Coutinho was an obscure keyboardist from Belém, in Brazil's Amazon region. “Atalaia” first appeared in 1978 on Guilherme Coutinho e o Grupo Stalo, released by his hometown radio station's label. It's a laid-back song with an atmospheric groove driven by Coutinho's Fender Rhodes, and subtle analog synth lines drift in and out, adding a cosmic, slightly psychedelic feel that bridges Brazilian rhythm with 1970s fusion and ambient soul. Atalaia is a coastal town located in the north, where the river meets the ocean, and is known for its mangroves, dunes, and extreme tides, which are all referenced in the lyrics. Guilherme Coutinho passed away in 1983 at the age of 41, making this a true cult album that has been recently reissued by Mr. Bongo.Check the song's translation with TranslationSmith.

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Michael RusseckBB King “The Thrill is Gone” from the 1969 album "Completely Well" released on Bluesway/ABC. Written by Rick Darnell and Roy Hawkins and produced by Bill Szymcyk.Personel:B.B. King: vocals, lead guitarHugh McCracken: rhythm guitarPaul Harris: organ, acoustic and Fender Rhodes electric pianoJerry Jemmott: bassHerbie Lovelle: drumsBert "Super Charts" DeCoteaux: string and horn arrangementsCover:Performed by Neal Marsh and Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists:Bobby Bland "Turn On Your Lovelight"

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Host: Michael RusseckBB King “The Thrill is Gone” from the 1969 album "Completely Well" released on Bluesway/ABC. Written by Rick Darnell and Roy Hawkins and produced by Bill Szymcyk.Personel:B.B. King: vocals, lead guitarHugh McCracken: rhythm guitar Paul Harris: organ, acoustic and Fender Rhodes electric piano Jerry Jemmott: bassHerbie Lovelle: drums Bert "Super Charts" DeCoteaux: string and horn arrangementsCover:Performed by Neal Marsh and Josh BondIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Stevie NicksThe Eagles “Easy, Peaceful Feeling”Rod Stewart “If You Think I'm Sexy”Rod Stewart “Young Turks”Muddy WatersBobby Womack “Across 110th Street”SocratesCopurnicusHowlin WolfBuddy GuyWilson Pickett “Mustang Sally”The Grateful Dead “Dancin' in the Streets”John ScofieldSkip JamesRobert JohnsonCharlie PattonMuddy Waters “Electric Mud”Albert King “I'll Play the Blues for You”Freddie KingWar “Slipping Into Darkness”The Grateful Dead “Viola Lee Blues”Bob WeirKeith RichardsJ Geils BandThe James GangJoe WalshThe Eagles “Hotel California”BB King “Live in Cook County Jail”BB King “Live at the Regal”Ray CharlesFrank SinatraEric Carmen “All By Myself”Steely Dan “Hey Nineteen”Van Morrison “Brown Eyed Girl”The Doors “The Soft Parade”Stephen StillsManassasKing CurtisBob Dylan “Freewheelin' Bob Dylan”Otis Redding “Sittin On the Dock of the Bay”Bill Withers “Ain't No Sunshine”Freddie King “Born Under a Bad Sign”JJ CaleSonny Boy WilliamsonMuddy WatersPeter GreenEric ClaptonBonnie RaittKurt VileT Bone WalkerDjango ReinhardtLonnie JohnsonBlind Lemon JeffersonJerry Garcia Band “Shady Grove”KhrungbinAretha FranklinTracey ChapmanJoe BonnamassaPeter FramptonBobby Bland

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Auch in diesem Jahr wollen wir euch beschenken: In unserem Weihnachtsspecial sprechen wir gleich über vier Alben! Mit dabei sind in diesem Jahr Ron Wood, D'Angelo, Tri Yann und Manfred Mann's Earth Band. Den Anfang macht Manfred Mann's Earth Band mit dem Album "Criminal Tango", dem persönlichen Meilenstein von SWR1 Musikredakteur Dave Jörg. Er erinnert sich sogar noch genau an den Moment, als er die erste Single des Albums zum ersten Mal gehört hat. Es war vor dem Fernseher 1986, in der Fernsehsendung "Na sowas!" mit Moderator Thomas Gottschalk. Für Sänger Chris Thompson war es das letzte Album mit "Manfred Mann's Earth Band". Und auch bei "Criminal Tango" steht er selber schon als Gast mit auf dem Cover – gesondert und nicht als Teil der Band. "Die Mischung aus rockigem Unterboden und verspielten Melodien hat mich total angesprochen!" – Dave Jörg Das Besondere an "Criminal Tango” ist für Dave Jörg auch die Mischung aus elektronischen Klängen und einer ordentlichen Portion Rock. Und für den größten ABBA-Fan der Redaktion sind auch die tollen Harmoniegesänge etwas, das ihn beeindruckt hat. "Harmoniegesänge machen was mit mir!" – Dave Jörg SWR1 Musikredakteur Stephan Fahrig hat uns für unser Weihnachtsspecial das im Jahr 2000 erschienene Album "Voodoo" von D'Angelo mitgebracht, einem der Wegbereiter des Neo-Soul, wie Frank König anfügt. Neo-Soul kam Mitte der 90er auf und verbindet Soul mit R 'n' B-Elementen, Jazz und Hip-Hop. Dabei erkennt man den Sound gut daran, dass er sehr reduziert ist und das Tempo sehr langsam ist. Drums, Bass und Keyboards (oft ein Fender Rhodes) sind da zu hören, erklärt Musikredakteur Stephan Fahrig. Neben großen Pop- und Rockstars wie Ozzy Osbourne, Brian Wilson, Ace Frehley und anderen ist auch D'Angelo auf der Liste der in diesem Jahr leider verstorbenen Künstler. Die Weichen für eine musikalische Karriere sind bei D'Angelo schon früh gelegt worden – und etwas klischeehaft, betont Stephan Fahrig. D'Angelo ist als Sohn eines Pfarrers geboren, hat früh Klavierspielen gelernt und auch in der Kirche gesungen. Danach hat er angefangen, selbstständige musikalische Entscheidungen zu treffen, und hat im Alter von 16 Jahren gemeinsam mit seinem Bruder eine Band gegründet. Anfang der 90er-Jahre geht D'Angelo nach New York, wo er von dem Label EMI einen Plattenvertrag bekommt. Im Jahr 2000 erscheint sein zweites Album "Voodoo", das, wie oben beschrieben, sehr reduziert klingt. Und auch ein Livealbum gibt's in unserem Weihnachtsspecial 2025. Moderator Frank König hat uns Musik von einem seiner liebsten Reiseziele mitgebracht, der Bretagne. Die Band heißt Tri Yann und ist die dienstälteste Band Frankreichs, wie König betont. Zu ihrem Jubiläum hat die Band ein Livealbum herausgebracht: "50 Ans De Scène". Die Idee hinter der Band, erklärt der Meilensteine-Moderator, ist, dass sie die Kultur und die Sprache der Bretagne in ihrer Musik wieder aufleben lassen wollen. Und das beginnt schon beim Namen der Band, der eben nicht französisch, sondern bretonisch ist und "die drei Jans" bedeutet – eben nach der Urbesetzung der Gruppe. Kennengelernt hat Frank König die Musik von Tri Yann Mitte der 70er-Jahre. Seitdem hat er die Band kontinuierlich weiterverfolgt und auch ihre Entwicklung mitbekommen. "Mit der Zeit sind die immer rockiger geworden. Also bretonisch-keltische Einflüsse, gemischt mit Rock. […] Mit der Zeit haben die sich ihre Fans erarbeitet, weil sie eben diese Musik in die Jetzt-Zeit geholt haben. Das war eine tolle Sache, weil die nicht nur die alten Traditionsweisen gespielt haben, sondern der Musik diesen neuen Touch beigefügt haben." – Frank König Meilensteine-Fans wissen, dass Katharina Heinius und Frank König zwei der größten Beatles-Fans der Welt (zumindest in der SWR1 Redaktion) sind. Und ausgerechnet Katharina bringt zum Weihnachtsspecial ein Album der "Konkurrenz" mit; das Soloalbum von Rolling Stones-Gitarrist Ron Wood "I've Got My Own Album To Do". Die Erklärung dafür gibt Heinius umgehend: "Es ist auch ein kleiner Teil der Beatles mit drauf", erklärt sie im Podcast. Und abgesehen davon hören wir auch noch andere Teile der Rolling Stones, der ehemaligen Band von Rod Stewart und Ron Wood, den Faces und auch David Bowie. "Es ist ein Album, das mir wahnsinnig ans Herz geht und das ich seit vielen, vielen Jahren schon hören kann. Das ist ein Album, wenn ich nicht weiß, was ich hören will, dann mache ich das an, weil das geht einfach immer!" – Katharina Heinius 1974 ist das Album "I've Got My Own Album To Do" entstanden, also in der Zeit, bevor Ron Wood Teil der Rolling Stones geworden ist. Wie kommt es, dass so viele Gaststars auf seinem Soloalbum vertreten sind? Das hat unterschiedliche Gründe. Zum einen war Ron Wood durch seine Umtriebigkeit in der Londoner Musikszene unglaublich gut vernetzt, und zum anderen hatte er zu der Zeit schon sein eigenes Haus mit Tonstudio. "The Wick" lag im etwas abgelegenen Londoner Westen, in Richmond. Dort hat sich die Londoner Musikszene gerne getroffen, miteinander Zeit verbracht und auch Musik gemacht. Kein Wunder, dass in diesem kreativen Umfeld ein Album entstehen konnte, das nicht auf Hits ausgelegt war, sondern auf dem wir einfach die Freude an der Musik und Freundschaft hören können. __________ Über diese Alben sprechen wir im Weihnachtsspecial 2025: (01:15) – "Criminal Tango" von Manfred Mann's Earth Band(10:02) – "Voodoo" von D'Angelo(22:00) – "50 Ans De Scène" von Tri Yann(35:35) – "I've Got My Own Album To Do" von Ron Wood __________ Alle Shownotes und weiterführenden Links zum Weihnachtsspecial 2025 findet ihr hier: https://1.ard.de/meilensteine-weihnachtsspecial-2025 __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

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This performance used with permission from Theron Brown. If you're a frequent lister to this program we mention often that Theron Brown is the hardest working performer in show business. From his work as Artistic Director with the I Promise School to his role overseeing the annual Rubber City Jazz and Blues Festival, Theron is intimately involved with making Northeast Ohio a magnet for musical talent. For this performance, Theron brings the Fender Rhodes Mk II to life with his trio. While the Hammond B3 gets the accolades for being the center of Soul Jazz, The Fender Rhodes might not get the credit it deserves for the warmth, authenticity and versatility it delivered to audiences. At least, the ones built before 1983.  If you like what you hear today and are looking for more jazz records focused around the Fender Rhodes, All About Jazz has an excellent article on this topic, written by Chris May. For now, though, featuring Zaire Darden on Drums, Jordan McBride on Bass and Theron Brown on Piano and Fender Rhodes and from a sold out April 26th, 2024 performance, it's the Theron Brown Trio – Live at the Bop Stop. There is No Greater Love - Jones Who Shot John? - Wilson Feel Like Making Love - McDaniels Swingin' at the Haven - Marsalis For more information on the program, click on the Live at the Bop Stop Radio Show link at thebopstop.org.

Episode 169 Chapter 28, Moog Analog Synthesizers, Part 2. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 28, Moog Analog Synthesizers, Part 2 from my book Electronic and Experimental music.   Playlist: CLASSIC SYNTHESIZER ROCK— FROM TAPE COMPOSITION TO SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:34 00:00 1.     The Beatles, “Tomorrow Never Knows” (1966). Tape loops and Lennon's voice fed through the rotating Leslie speaker of a Hammond organ. 02:57 01:42 2.     Spooky Tooth and Pierre Henry, “Have Mercy” (1969). Featured tape composition by the French composer of musique concrète as part of a collaborative rock opera. 07:55 04:40 3.     Emerson, Lake, & Palmer, “Lucky Man” (1971). Featured the Moog Modular played by Keith Emerson; one of the first rock hits in which a Moog was the featured solo instrument. 04:39 12:34 4.     Yes, “Roundabout” (1971). Featured the Minimoog, Mellotron, Hammond Organ and other electronic keyboards played by Rick Wakeman. 08:33 17:10 5.     Elton John, “Funeral for a Friend/Love Lies Bleeding” (1973). Featured the ARP 2600 played by Dave Henschel. 11:10 25:42 6.     David Bowie, “Speed of Light” (1977). Produced by Brian Eno. Used an EMS AKS synthesizer and Eventide H910 harmonizer for the electronic effects and sounds. 02:47 36:46 7.     Gary Wright, “Touch and Gone” (1977).  Used Polymoog, Clavinet, Oberheim, and Fender-Rhodes electronic keyboards. 03:58 39:32 8.     Gary Numan, “Cars” (1979).  Early synth-rock success using electronic keyboards without guitar. Multiple Polymoog synthesizers. 03:52 43:28 9.     The Art of Noise, “(Who's Afraid Of?) The Art of Noise” (1984). Art rock devised by Anne Dudley and Trevor Horn exploring the sampling capabilities of the Fairlight CMI. 04:23 47:20 10.   Grace Jones, “Slave to the Rhythm” (1985). Featured the Synclavier programmed and played by Trevor Horn. 09:39 51:43   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

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Surprise Chef来自墨尔本郊区Coburg，他们自称是“电影感灵魂乐（cinematic soul）”的信使——擅长用旋律和音色讲故事，而非歌词。听他们的音乐仿佛在听一部画面感十足的电影原声：充满氛围感的Fender Rhodes音色和温暖的analog质感，将你一下子拉回70年代的电影场景中。前奏响起，老式胶片电影的质感仿佛在眼前晃动——轻探的bass和重复的吉他riff制造出神秘而诱人的氛围，鼓点如脚步声紧凑而临近，复古的键盘音符像霓虹灯下的光晕一样徐徐展开。

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Kicking things off with a first spin of the latest single from Half Hexagon, slections From The Crate by Cam from Southbound Records. This week's picks were extraaa smashing . . . with Cam sharing exclusive Valentine's themed records. How bosom! . . . (in the adjective way, not the women's breasts way). Litia gave us the scoop on what to watch on the box on Viewmaster and Kirsten chats Fender Rhodes on Travelling Tunes. 

Kirsten phones in to talk to Jonny about the history of the Rhodes piano (a.k.a. The Fender Rhodes) and their prominence through the seventies and beyond. Whakarongo mai nei!

Kirsten phones in to talk to Jonny about the history of the Rhodes piano (a.k.a. The Fender Rhodes) and their prominence through the seventies and beyond. Whakarongo mai nei!

Salve! This is a bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song. This is the song today: "Mentira" by Marcos Valle (M. Valle / Paulo Sergio Valle) Influenced by Stevie Wonder, and blending Brazilian popular music and American black music, Valle released "Mentira" in his groundbreaking 1973 album "Previsão do Tempo".  It is a song with many grooves, Fender Rhodes, wah wah guitars, hypnotic drums, and bass leading the way, and it is also considered one of the first to feature a beatbox in Brazil. Not a big commercial hit in the 1970s, "Mentira" got a new life rediscovered by DJs and prominently sampled in Planet Hemp's "Contexto".

This is the WORLD PREMIERE of “THE RICH ONES ALL STARS”, the new extended version of my recent single, “The Rich Ones”. The new version features me and my band, Project Grand Slam, along with 8 World Class musicians who previously have been guests on this podcast. Here's the back story.A few months ago I released a single, “The Rich Ones”, featuring Randy Brecker of Blood Sweat & Tears fame on flugelhorn. The single was very popular, and I decided to do something a bit daring and different. I've had many World Class musicians as guests on the podcast. So I asked several of them if they would record a new solo for the track and I would release a new, extended version of the tune. I'm pleased to say that everyone who I asked agreed.The new version, “The Rich Ones All Stars”, features the following musicians in this order.BILLY COBHAM of Mahavishnu Orchestra fame, recorded a new drum track for the tune. Billy is one of the most revered drummers of all time.I kept RANDY BRECKER'S flugelhorn solo from the original version of the tune because it's just so darn good.JOHN HELLIWELL was the saxophonist in Supertramp, one of the greatest bands of the rock era. John contributed a fantastic sax solo to the piece.PAT COIL is an acclaimed jazz pianist who has performed with Michael McDonald, Carmen McRae and many others. He added a sublime piano solo.PETER TIEHUIS is the heralded Dutch guitarist who performs with the Metropole Orkest. He contributed a wonderful guitar solo.ANTONIO FARAO is the extraordinary Italian jazz keyboard player who has performed with Joe Lovano and Jack DeJohnette among others. Antonio contributed a smokin' Fender Rhodes keyboard solo.ELLIOTT RANDALL is the incredible guitarist who gave the world the unforgettable solo on Steely Dan's “Reelin' In The Years”. Elliott gave me a classic guitar solo for the new track.And last, but certainly not least, is DAVID AMRAM, who is, simply put, a National Treasure at 96 years young. He was Leonard Bernstein's first composer in residence for the New York Philharmonic and also the composer for Shakespeare In The Park among many other accomplishments. David contributed a stunning Pennywhistle solo for the track.So there it is. 8 World Class musicians who have contributed their talent to this project.TO WATCH THE OFFICIAL VIDEO CLICK HERETO LISTEN AND STREAM THE TRACK AND FOR ALL LINKS CLICK HERE---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here .To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------ROBERT'S SINGLES:“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's sublime, atmospheric Jazz Fusion tune. Featuring guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. 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

Join @thebuzzknight for this episode with Robert Walter, founding member of the Greyboy Allstars. He is a prolific keyboardist known for his mastery of the Hammond B3 organ and Fender Rhodes. Walter's career spans three decades and has helped shape the sound of West Coast boogaloo. If you have comments or suggestions, write buzz@buzzknightmedia.com Like this show, share with your friends and leave a review here. Review Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

El universo musical de Bill Evans, su pianística de extraordinario y profundo lirismo, ha sido un tema recurrente en Radio Jazznoend al que nos hemos aproximado, a través de los años, desde muy diversas perspectivas. En nuestro nuevo programa os proponemos un recorrido a través de aquellos registros en los que el pianista introdujo en su música el sonido del piano eléctrico Fender Rhodes. El invento de Harold Rhodes estaba destinado a marcar el sonido de una era y Evans, más allá de su imagen de pianista académico, efectuó durante la década de los 70 del pasado siglo, una excitante inmersión en el sonido innovador y sofisticado de este legendario instrumento. Mucho más que una anécdota o un mero experimento, Evans supo hermanar en su música los sonidos acústicos, con los del piano eléctrico sin desvirtuar la esencia de su música, dotando a sus interpretaciones de colores y texturas que hoy forman parte inseparable de su inmenso legado musical.

Chris and Jim review the new Dwight Yoakam Album, Brighter Days, released November 15, 2024. Dwight Yoakam' s New Album, Brighter Days is on Via Records/Thirty Tigers.Brighter Days producer, Dwight Yoakam, mixed by Chris Lord-Alge and Marc DeSisto, engineered by Desisto and mastered by Stephen Marcussen. Musicians on the album include Yoakam (lead and harmony vocals, electric guitar, acoustic guitar), Mitch Marine (drums), Jonathan Clark (bass guitar, upright bass, background vocals, Eugene Edwards (electric guitar, baritone guitar), Brian Whelan (electric guitar, acoustic piano, Hammond organ, Fender Rhodes electric piano, acoustic piano, beat box guitar, keyboard motifs, acoustic guitar, baritone guitar, background vocals), Drew Taubenfeld (pedal steel guitar, Hammon organ, mandolin), Eric Baines (bass guitar), Dalton Yoakam (additional vocals), Post Malone (lead vocals), Jamison Hollister (pedal steel guitar, fiddle), Skip Edwards (acoustic piano, Hammond organ) and Ken Stacey (background vocals).

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Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song.This is the song today:"A Rã" by Gal Costa (written by João Donato/Caetano Veloso)João Donato composed this music as "The Frog", which was recorded by his friend João Gilberto as "O Sapo" and finally has its definitive title after Caetano Veloso wrote the lyrics. Gal Costa recorded for her Caetano's produced album "Cantar", from 1974, featuring Donato on the Fender Rhodes, what we consider the ultimate version of "A Rã". Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Episode 135 An Electronic Music Mixed-Bag Playlist Time Track Time Start Introduction –Thom Holmes 06:28 00:00 John Bischoff, “The League Of Automatic Music Composers: Recording, December 17, 1978” from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Computer, David Behrman, Jim Horton, John Bischoff, Rich Gold; Mixing, "Blue" Gene Tyranny. “The League Of Automatic Music Composers makes music collaboratively by forming microcomputer networks. … For this performance, “each composer independently created a music program for his own microcomputer; we then mutually designed ways to internconnect our computers, and modified our programs to enable them to send data back and forth.” 08:40 06:58 Frankie Mann, “I Was a Hero” from “The Mayan Debutante Revue” (1979) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Organ, bass guitar, voice, composed by Frankie Mann. “The Mayan Debutante Revue” is a reinterpretation of religious history. The work is a performance piece  involving tape, slides, and one female performer.” 09:22 15:38 Frankie Mann, “How to be Very Very Popular” (1978) (excerpt) from Lovely Little Records (1980 Lovely Music Ltd.). Tracks from this six-EP collection of new music from a variety of Lovely Music artists. Tape editing, organ, synthesizer, voice, composed by Frankie Mann; voices, Julie Lifton, Ellen Welser, and unknown others. “How to be Very Very Popular” began as a letter-tape to my best friend. … Later I began composing electronic music, initially using homemade circuits and later using expensive synthesizers in college electronic music studios. My friend and I continued to send each other letters cross-country in tape form.” 08:49 24:58 Maggi Payne, “Lunar Dusk” from Lovely Little Records (1980 Lovely Music Ltd.). Recorded at the Center for Contemporary Music, Mills College, February 4, 1979. Composed, electronic music by Maggi Payne. This piece was “composed using the Moog and Aries synthesizers and the twelve-track recording studio at” Mills College. “Major concerns … are spatial location of sounds and complex timbral changes.” 07:59 33:46 The Commodores, “Machine Gun” from Machine Gun/There's a Song in My Heart (1974 Motown). Single release featuring the early Commodores on this instrumental with Lionel Richie wailing along on the ARP Odyssey. 02:42 41:42 Billy Preston, “Space Race” from Space Race/We're Gonna Make It (1973 A&M). Single release. Preston was best known for his piano, Hammond, and Fender Rhodes work on Beatles' records and his early solo work. By this time, he had picked-up on the unique sounds that synthesizers could conjure. He was inspired to create this song while experimenting with the ARP Pro-Soloist synthesizer. 03:26 44:24 George Duke, “Part 1 - The Alien Challenges The Stick / Part 2 - The Alien Succumbs To The Macho Intergalactic Funkativity Of The Funkblasters” from Master Of The Game (1979 Epic). Written by Byron Miller, David Myles, Ricky Lawson; Producer, Acoustic Guitar, Arranged By, Bells, Clavinet, Composed By, Fender Rhodes, Keyboards, Organ, ARP Odyssey, ARP String Ensemble, Minimoog, Oberheim, Prophet-5 and Crumar synthesizers, written by and vocals, George Duke; Bass, Byron Miller; Drums, Ricky Lawson; Guitar, David Myles. 09:21 47:46 Steve Roach, Side 2, “T.B.C.” (5:06); Canyon Sound (2:58); Time For Time (3:33); Reflector (6:50) from Traveler (1983 Domino). All music composed and performed on synthesizers by Steve Roach. American Roach has such a great legacy of electronic music that is clearly distinguishable from the German wave of the 1970s. This is from his first, official album released in 1983. 17:56 57:02 Reynold Weidenaar, “Twilight Flight” (6:56) (1977), “Close Harmony” (4:44) (1977), and “Imprint: Footfalls to Return” (5:04) (1981) from Reynold Weidenaar / Richard Brooks Music Visions (1986 Capstone Records). Weidenaar was formerly the editor of Bob Moog's Electronic Music Review journal (1968-70) and an early user of the Moog Modular synthesizer. He was director of the electronic music studio at the Cleveland Institute of Music and at the time of this recording was on the faculty of the NYU films and television department. Twilight Flight” for electronic sounds was composed in 1977. “Close Harmony” for electronic sounds was composed in 1977. “Imprint: Footfalls to Return” for soprano voice and electronically modified sounds of the bare feet of Bharata-natyam Indian dancer was composed in 1981. 16:50 01:14:58 Eric Siday, three short works, “Night Tide” (2:56), “Communications No. 2” (0:24); and “Threat Attack” (2:05) from Musique Electronique (1960 Impress). Hard to find original disc by Siday, before he ventured into commercial recording using the Moog Modular synthesizer. His intereste in electronic music was deep, and he was one of the first customers of Robert Moog when his synth became available. 05:28 01:31:58 Hans Wurman, “Etude In C Minor, Op. 10, No. 12” (1:54) and “Waltz In D-Flat OP, 64, No. 1 (1:24) from Hans Wurman – Etude In C Minor, Op. 10, No. 12 (1970 RCA). Arranged and performed on the Moog Modular synthesizer by Hans Wurman. Brilliant interpretations of two classical pieces. 03:22 01:37:14   Opening background music: Einstürzende Neubauten [ein-sturt-zen-deh noy-bau-ten], “Der Tod Ist Ein Dandy” from Halber Mensch (1985 Some Bizarre). Noise metal from this dependable source of industrial music. (06:39) Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

WALTER SMITH, III “THREE OF US ARE FROM HOUSTON AND REUBEN IS NOT” New York, c. 2024seesaw, Misanthrope's Hymn (4), Point Of Many ReturnsWalter Smith III (st) Jason Moran (p, tcl [45]) Fender Rhodes (4); Reuben Rogers (b) Eric Harlan (dr) PETER BERNSTEIN “BETTER ANGELS” New York, April 1, 2024Perpetual pendulum, Ditty for Dewey, You go to my headPeter Bernstein (g) Brad Mehldau (p) Vicente Archer (b) Al Foster (dr) PATRICIA BRENNAN “BREAKING STRETCH” New York, September 16 & 17, 2023Breaking stretch, Blue coral dreams, States of changeAdam O'Farrill (tp,electronics-1) Jon Irabagon (as,sopranino-sax) Mark Shim (ts) Patricia Brennan (vib,mar,electronics) Kim Cass (b) Marcus Gilmore (d) Mauricio Herrera (perc) Continue reading Puro Jazz 09 de octubre, 2024 at PuroJazz.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song. This is the song today:"Bananeira " by Emílio Santiago (written by João Donato/Gilberto Gil)João Donato composed this music as "Villa Grazia" while touring in Italy supporting Joao Gilberto on piano. Like almost every instrumental song he wrote, the title names were changed upon having lyrics, written by Gilberto Gil. In 1975 Emílio Santiago gave an entirely new life to the song by recording it to his debut album (featuring Donato on the Fender Rhodes), becoming the ultimate version of "Bananeira" over time. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

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Episode 115. Join host Troy Saunders as he chats with writer, producer, multi instrumentalist, pianist, Jesse Thompson!Born and raised in Dayton, Ohio, known in music circles as the land of funk, Jesse Thompson couldn't help but be influenced by the city's great R&B pioneers – including Slave, Ohio Players, Lakeside and Zapp featuring Roger Troutman. For the past 20 years, the multi-talented composer, pianist and keyboardist manifested these inspirations – and helped bring the legacies of these legendary bands forward – as a former member of the popular and prolific, constantly gigging Columbus-based R&B/jazz ensemble NexLevel.Unlike many longtime band members and sidemen who work towards someday expressing themselves as solo artists, Thompson was content with his existing whirlwind of activity playing with others. But when the pandemic hit, he instinctively used his down time to, as he says, “sow a seed of happiness” to create “Weekend Groove” – an irrepressible Next-Gen disco vibin' house beat driven track featuring flutist Althea Rene and a horn section by Kelly O'Donohue that ultimately became the lead single to his uniquely titled debut album The Inauguration of Jtjazz (Jesse Thompson the Man Behind the Keys). Though its dance floor ready lead single “Weekend Groove” will immediately spark excitement and lift the spirits just as Jesse Thompson intended, there are a multitude of other pleasures to experience on The Inauguration of Jtjazz (Jesse Thompson the Man Behind the Keys) – an album which truly rolls like an autobiographical blend of his many influences, from those Dayton funk legends to George Duke, Herbie Hancock, Joe Sample and Brian Culbertson. The album's latest single “It Doesn't Matter” is a sensual, easy grooving romantic joint featuring Thompson interacting with #1 Billboard charting trumpeter Lin Rountree – who he connected with via mutual connections at the individual HBCU schools they attended. As a showcase for Thompson's great talents on Fender Rhodes (creating a moody effect and his sparkling acoustic piano, the song taps into Thompson's love of Joe Sample's vibe both with the Crusaders and as a solo artist. The elegant funk ballad “The Right One Baby” offers a similar seductive duality. Troy highlighted three song from this incredible project "Weekend Grove", Obsidian, and "It Doesn't Matter".Being the son of a father who was a professional jazz drummer and a mother who was a church organist/pianist, Jesse Thompson – aka “JTJazz” came by his musical gifts naturally and started playing the drums as his first instrument at the age of five. By the time JT was twelve years old, he played a total of thirteen instruments, the piano being one of them. In addition to his parents, he was influenced by his oldest brother Marvyn Wheatley, who recorded and played with Parliament and Slave. Thompson spent time with his brothers in the studio hanging out with Slave, Roger Troutman & Zapp, Steve Arrington and othersThese experiences truly fueled his musical passions and ambitions. While he studied manufacturing engineering and IT at Central State University (in Wilberforce, OH), he played in the school's marching band and jazz ensemble and joined the national honorary band of the Kappa Kappa Psi fraternity. His other influences include Alex Bugnon, Jimmy Smith, Billy Preston, Jeff Lorber, James Lloyd and Bob James.Troy and Jesse discusses Jesse's musical bucket list, future endeavors giving back and more.‍Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

First Word Records is proud to bring you ‘The Making of Silk', the brand new album from Allysha Joy. Allysha Joy is a deeply-expressive singer, songwriter, producer & keys player hailing from Naarm (Melbourne), known for both her solo work and as front woman for 30/70. A uniquely-talented artist, her husky soulful voice, formidable Fender Rhodes prowess and raw poeticism has garnered legions of attentive fans the world over. As an integral performer in the modern day jazz-soul scene, previous support has included selectors Gilles Peterson & Jamz Supernova (BBC 6 Music), Jamie Cullum (BBC Radio 2), China Moses (Jazz FM) & Laurent Garnier (PBB France), along with stations such as NTS, Lot Radio, KEXP & KCRW, and publications including OkayPlayer, Dazed and The Vinyl Factory. See less  

Mike Dillon is a percussionist, vibraphonist, bandleader, singer-songwriter, and vocalist born in San Antonio Texas. He is a member of Critters Buggins, Les Claypool's Fancy Band, and Garage A Trois. He has performed with many musicians including Ani DiFranco, Galactic, Brave Combo, Karl Denson's Tiny Universe, Marco Benevento, Clutch, Claude Coleman Jr., and New Orleans musicians Kevin O'Day, Johnny Vidacovich, James  Singleton, and Ricky Lee Jones. Mike Dillon & Punkadelick makes its recorded debut with Inflorescence, an album of heady, instrumental rock highlighting a band deep in the throes of creative freedom, road tested and wild. Consisting of 10 tracks in 42-minutes, it's an expansive, focused and fearless collection, representing a world where Duke Ellington and Augustus Pablo rub shoulders with crate-digger exotica, the freak-funk of Parliament and the ‘anything fits' outsider ethos of acid-fried punks like The Meat Puppets. A trio featuring Mike Dillon (Ricki Lee Jones, Ani DiFranco, Les Claypool) on vibraphone, marimba, Prophet 6, congas, and bongos, Brian Haas (Jacob Fred Jazz Odyssey) on Fender Rhodes, piano, bass Moog and melodica and Nikki Glaspie (Beyonce) on drums, cymbals and vocals, Punkadelick is the unified vision of six hands creating a world that often sounds like the work of an ensemble three times the size. During 2020 and 2021, while many music venues were still shuttered, the group began touring, sweating their way through cuts Dillon and Haas had composed during quarantine writing sessions. Locking in on stage, it quickly became clear the band was functioning at a level that made the hair on their arms stand at attention—even for three live music veterans accustomed to life on the road.   July 27th Mike and Punkadelick are playing the Grog shop in Cleveland OH tickets here! https://grogshop.gs/event-details/13536034/mike-dillon-punkadelic-hello-3d-c-level/   Mike's Info https://www.mikedillonvibes.com/  

Du Baiser Salé au lac Léman, en regardant le Brésil, l'Amérique du Sud ou le Cameroun, jazz à tous les étages ! Live ! (Rediffusion) Notre 1er invité est le groupe Mr Mâlâ qui présente son 1er album Mr Mâlâ.« My name is Monsieur MÂLÂ I'm not a human, I'm a machine. » Les paroles de Storyteller, qui introduisent le premier album de Monsieur MÂLÂ, font office de présentation : le quintet est une machine dont la conception serait empirique et la production organique, capable de nous raconter des histoires au moyen de musiques instrumentales. Ses rouages ont pour noms Nicholas Vella (piano, Fender Rhodes, claviers), Swaéli Mbappé (basse, guitares), Yoann Danier (batterie), Robin Antunes (violon, mandoline) et Balthazar Naturel (saxophone, cor anglais, clarinettes, flûtes). Ces fortes personnalités, dont les complicités sont anciennes, sont tous des leaders ou des sidemen reconnus dans la sphère du jazz et de ses satellites. Leurs bagages techniques, leurs influences cosmopolites et leurs âmes voyageuses touillent une décoction de funk et de rock, de musiques africaines et caribéennes, tout en ingérant les nouvelles tendances urbaines et électroniques. Ni fusion ni métissage : Monsieur MÂLÂ n'est que l'expression naturelle et assumée de cinq multi-instrumentistes composites. L'histoire s'est écrite entre deux pôles, l'académisme des formations en conservatoire et la liberté des jams en club. Nicholas Vella, Sicilien installé en France depuis une douzaine d'années, entré en 2012 au conservatoire à rayonnement régional de Paris, a accompagné Mayra Andrade, Paco Séry et Ibeyi. Mais sa première scène parisienne fut celle du Baiser Salé, rue des Lombards, déjà avec Swaéli Mbappé, un habitué des lieux puisqu'il y débuta à 15 ans. Enfant de la balle, passé par le saxophone et la batterie avant d'adopter l'instrument de son père, l'illustre bassiste Étienne Mbappé, Swaéli est devenu professionnel avec Blick Bassy avant d'accompagner Mamani Keita, Cheick Tidiane Seck et des artistes de variétés (Tal, Shy'm, Zaz).Titres interprétés au grand studio- Ai De Mim avec EU.CLIDES Live RFI- Al Fayhaa, extrait de l'album Mr Mâlâ- Fly Fly Live RFI.Line Up : Robin Antunes : violon, mandoline ; Balthazar Naturel : saxophone, cor anglais, clarinette, flûte ; Nicholas Vella : piano, Fender Rhodes, claviers ; Swaéli Mbappé : basse, guitare ; Yoann Danier : batterie et EU.CLIDES : chant sur Ai De Mim.Son : Mathias Taylor & Jérémy Besset.► Album Mr Mâlâ (Art District Music 2024)Chaîne Youtube. Puis nous recevons le guitariste suisse Louis Matute pour la sortie de son 4ème album Small Variations From The Previous Day.Euphorisante et douce-amère, la musique de Louis Matute ne ressemble qu'à lui. Partagé entre l'Europe qui l'a vu naître et l'Amérique latine qu'il a rêvé, cet enfant de la génération Z, trop entier pour la fiction du réel et trop sincère pour la fiction de soi, rouvre en grand les portes de son univers. Un son, un talent fou de raconteur, un folklore qui se dessine : dans ce superbe quatrième album, sa musique n'a jamais paru si proche et foisonnante. « Je n'ai jamais écrit de mélodie sans la chanter en même temps » confie-t-il. Teintées de pop et de saudade, celles-ci vous iront droit au cœur, laissant flotter dans l'air un brin de magie.Tourné vers le Brésil et l'Amérique Centrale, nourri de jazz et d'une pop élégante, Small Variations from the Previous Day est un disque-monde, animé par un « Large Ensemble » toujours plus étoffé, catalyseur d'émotions.Titres interprétés au grand studio- Narcissus Live RFI- Alma No Mar Feat Gabi Hartmann, extrait de l'album Small Variations From The Previous Day- 2000 Years Live RFI.Line Up : Léon Phal, saxophone ténor ;Zacharie Ksyk, trompette ; Andrew Audiger, piano, Rhodes ; Nathan Vandenbulcke, batterie ; Virgile Rosselet, contrebasse et Louis Matute, guitare électrique.Son : Mathias Taylor, Benoît Letirant & Réalisation : Donatien Cahu.► Album Small Variations From The Previous Day (Neuklang Big Wax Distribution 2024).

Du Baiser Salé au lac Léman, en regardant le Brésil, l'Amérique du Sud ou le Cameroun, jazz à tous les étages ! Live ! (Rediffusion) Notre 1er invité est le groupe Mr Mâlâ qui présente son 1er album Mr Mâlâ.« My name is Monsieur MÂLÂ I'm not a human, I'm a machine. » Les paroles de Storyteller, qui introduisent le premier album de Monsieur MÂLÂ, font office de présentation : le quintet est une machine dont la conception serait empirique et la production organique, capable de nous raconter des histoires au moyen de musiques instrumentales. Ses rouages ont pour noms Nicholas Vella (piano, Fender Rhodes, claviers), Swaéli Mbappé (basse, guitares), Yoann Danier (batterie), Robin Antunes (violon, mandoline) et Balthazar Naturel (saxophone, cor anglais, clarinettes, flûtes). Ces fortes personnalités, dont les complicités sont anciennes, sont tous des leaders ou des sidemen reconnus dans la sphère du jazz et de ses satellites. Leurs bagages techniques, leurs influences cosmopolites et leurs âmes voyageuses touillent une décoction de funk et de rock, de musiques africaines et caribéennes, tout en ingérant les nouvelles tendances urbaines et électroniques. Ni fusion ni métissage : Monsieur MÂLÂ n'est que l'expression naturelle et assumée de cinq multi-instrumentistes composites. L'histoire s'est écrite entre deux pôles, l'académisme des formations en conservatoire et la liberté des jams en club. Nicholas Vella, Sicilien installé en France depuis une douzaine d'années, entré en 2012 au conservatoire à rayonnement régional de Paris, a accompagné Mayra Andrade, Paco Séry et Ibeyi. Mais sa première scène parisienne fut celle du Baiser Salé, rue des Lombards, déjà avec Swaéli Mbappé, un habitué des lieux puisqu'il y débuta à 15 ans. Enfant de la balle, passé par le saxophone et la batterie avant d'adopter l'instrument de son père, l'illustre bassiste Étienne Mbappé, Swaéli est devenu professionnel avec Blick Bassy avant d'accompagner Mamani Keita, Cheick Tidiane Seck et des artistes de variétés (Tal, Shy'm, Zaz).Titres interprétés au grand studio- Ai De Mim avec EU.CLIDES Live RFI- Al Fayhaa, extrait de l'album Mr Mâlâ- Fly Fly Live RFI.Line Up : Robin Antunes : violon, mandoline ; Balthazar Naturel : saxophone, cor anglais, clarinette, flûte ; Nicholas Vella : piano, Fender Rhodes, claviers ; Swaéli Mbappé : basse, guitare ; Yoann Danier : batterie et EU.CLIDES : chant sur Ai De Mim.Son : Mathias Taylor & Jérémy Besset.► Album Mr Mâlâ (Art District Music 2024)Chaîne Youtube. Puis nous recevons le guitariste suisse Louis Matute pour la sortie de son 4ème album Small Variations From The Previous Day.Euphorisante et douce-amère, la musique de Louis Matute ne ressemble qu'à lui. Partagé entre l'Europe qui l'a vu naître et l'Amérique latine qu'il a rêvé, cet enfant de la génération Z, trop entier pour la fiction du réel et trop sincère pour la fiction de soi, rouvre en grand les portes de son univers. Un son, un talent fou de raconteur, un folklore qui se dessine : dans ce superbe quatrième album, sa musique n'a jamais paru si proche et foisonnante. « Je n'ai jamais écrit de mélodie sans la chanter en même temps » confie-t-il. Teintées de pop et de saudade, celles-ci vous iront droit au cœur, laissant flotter dans l'air un brin de magie.Tourné vers le Brésil et l'Amérique Centrale, nourri de jazz et d'une pop élégante, Small Variations from the Previous Day est un disque-monde, animé par un « Large Ensemble » toujours plus étoffé, catalyseur d'émotions.Titres interprétés au grand studio- Narcissus Live RFI- Alma No Mar Feat Gabi Hartmann, extrait de l'album Small Variations From The Previous Day- 2000 Years Live RFI.Line Up : Léon Phal, saxophone ténor ;Zacharie Ksyk, trompette ; Andrew Audiger, piano, Rhodes ; Nathan Vandenbulcke, batterie ; Virgile Rosselet, contrebasse et Louis Matute, guitare électrique.Son : Mathias Taylor, Benoît Letirant & Réalisation : Donatien Cahu.► Album Small Variations From The Previous Day (Neuklang Big Wax Distribution 2024).

Legendary pianist, composer, arranger, and contemporary jazz giant Bob James joins Milestones as we delve into his experimental CTI debut, One, for its 50th anniversary. A groundbreaking amalgamation of jazz, funk, classical and orchestral elements produced hits like “Night On Bald Mountain,” “Feel Like Making Love,” and the classic that would later shape hip hop –  but almost never happened – “Nautilus.” We discuss his beginnings, working with legends like Quincy Jones and Sarah Vaughan, the impact of Creed Taylor, and his pioneering use of the Fender Rhodes piano. James shares stories behind his famous tracks, his classic contribution to the TV show 'Taxi,' and his thoughts on the evolving nature of jazz. We also highlight his cross-genre collaborations and his influence in hip-hop through the extensive sampling of his music.

Herbie Hancock had hits, a solo career, and the best possible jazz pedigree as a sideman but he still wanted more. His evolution led to the formation of the HeadHunters band and a deeper connection to the funk genre. The boys talk about drummers who keep it interesting, bass players who miss the chance to play iconic bass lines, and cracking open the Fender Rhodes to make it better. Email us your complaints (or questions / comments) at 1001AlbumComplaints@gmail.comListen to our episode companion playlist (compilation of the songs we referenced on this episode) here:https://open.spotify.com/playlist/3XtR8RvOWAU1GOrDs4FDpP?si=81aaa46f0e484785Listen to Headhunters here:https://open.spotify.com/album/5fmIolILp5NAtNYiRPjhzA?si=GKX5T7FhTvynnKYhHcTC9gIntro music: When the Walls Fell by The Beverly CrushersOutro music: After the Afterlife by MEGAFollow our Spotify Playlist of music produced directly by us. Listen and complain at homeFollow us on instagram @thechopunlimited AND @1001AlbumComplaintsSupport us on Patreon, now including our new show Song Battle!https://www.patreon.com/1001AlbumComplaintsWe have 1001 Merch! Support us by buying some.US Merch StoreUK Merch StoreNext week's album: Duran Duran - Rio

With music a proven border-crossing phenomenon, musicians are the world's ambassadors, setting the stage for sonic and social mutual respect, collaborations, and partnerships. One such story is that of the song "Way Maker" and the artist who created it, Nigerian vocalist and songwriter Sinach. The song, originally made popular in the United States by Leeland, has crisscrossed the globe repeatedly, becoming a Christian worship music standard for many cultures. Our guests discuss how a song reaches such ubiquity and what it takes to steward a song that loves to wander into hearts and voices anywhere and everywhere. The conversation (recorded at Nashville's Sound Emporium Studios) begins with a song by Nigerian musician King Sunny Ade, one of Charlie's West African musical influences. In turn, Sinach reveals some of her American music influences. Throughout the episode, Charlie weaves the story of border-crossing and neighbor-love as a way of being, revealing the musical and spiritual interplay between people, the places they call home, and Jesus—the Way Maker of the Christian faith. Integrity Music executives, Vice President Mark Nicholas and Director of A&R Gilbert Nanlohy figure in prominently, including a discussion of Gilbert's Indonesian musical heritage, and Mark's perspective on the community-partnership focus of Integrity Music's global mission. The episode wraps with Charlie checking off an item on his bucket list—sitting down to his Fender Rhodes electric piano for an impromptu jam on one of Sinach's new songs, "Victory Is My Name." Nashville meets Nigeria, indeed! In closing, a reminder that our show theme, "Sound of the Room," performed by Charlie and bassist John Patitucci, is now available in its full-length version, everywhere music is streamed. Here are two options for you: Apple+ Spotify. Presave Sinach's new music Follow Sinach on Instagram to learn more about her new music "Music and Meaning" is a production of Christianity Today Executive Produced by Erik Petrik and Matt Stevens Produced and Written by Charlie Peacock and Mike Cosper Associate Produced by McKenzie Hill Edited by Leslie Thompson Original Music by Charlie Peacock Mixed by Mark Owens Show theme, "Sound of the Room," composed by Charlie Peacock, featuring bassist John Patitucci Sinach's music used by permission, courtesy of Integrity Music Learn more about your ad choices. Visit podcastchoices.com/adchoices

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Jeff Gross and John ShafranskiBilly Joel “She's Always A Woman" from the 1978 album "The Stranger" released on Columbia. Written by Billy Joel and produced by Phil Ramone.Personel:Billy Joel – vocals, acoustic piano, Fender Rhodes, keyboards, synthesizersRichie Cannata – organ, tenor saxophone, soprano saxophone, clarinet, flute, tubaHiram Bullock – electric guitarSteve Khan – 6 and 12-string electric guitars, acoustic rhythm guitar, high-string guitarHugh McCracken – acoustic guitarSteve Burgh – acoustic guitarDoug Stegmeyer – bassLiberty DeVitto – drumsPatrick Williams – orchestrationCover:Performed by Josh Bond and Robbie GrossIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Paul McCartney

Twitter: @podgaverockInsta: @podgaverockSpecial Guest Hosts: Jeff Gross and John ShafranskiBilly Joel “She's Always A Woman" from the 1978 album "The Stranger" released on Columbia. Written by Billy Joel and produced by Phil Ramone.Personel:Billy Joel – vocals, acoustic piano, Fender Rhodes, keyboards, synthesizersRichie Cannata – organ, tenor saxophone, soprano saxophone, clarinet, flute, tubaHiram Bullock – electric guitarSteve Khan – 6 and 12-string electric guitars, acoustic rhythm guitar, high-string guitarHugh McCracken – acoustic guitarSteve Burgh – acoustic guitar Doug Stegmeyer – bassLiberty DeVitto – drumsPatrick Williams – orchestrationCover:Performed by Josh Bond and Robbie GrossIntro Music:"Shithouse" 2010 release from "A Collection of Songs for the Kings". Written by Josh Bond. Produced by Frank Charlton.Other Artists Mentioned:Neil Diamond “Girl, You'll Be A Wo man Soon”Ray Charles “I've Got A Woman”The Beatles “She's A Woman”The Beatles “Please, Please Me”Bob Dylan “Just Like A Woman”Roy Orbison “Oh, Pretty Woman”The Grateful Dead “Brown Eyed Women”Percy Sledge “When A Man Loves A Woman”Michael BoltonJohn Lennon “Woman”John Lennon “Watching the Wheels”The Eagles “Witchy Woman”SeinfieldBruce SpringsteenThe Doors “LA Woman”Bob Marley “No Woman, No Cry”Fleetwood Mac “Black Magic Woman”Peter GreenSantanaBilly Joel “Vienna”Elton JohnPhil CollinsBilly Joel “We Didn't Start the Fire”Billy Joel “Uptown Girl”Billy Joel “Just the Way You Are”PhishMick JaggerKeith RichardsThe Grateful DeadGenesisBilly Joel “She's Got A Way”Billy Joel “Piano Man”Paul SimonVan MorrisonThemThe KinksSimon and GarfunkelGordon LightfootFrank SinatraMartin ScorceseMean StreetsHank Williams “Lovesick Blues”Paul McCartneyDave MatthewsWidespread PanicBilly Joel “Miami 2017”Billy Joel “For the Longest Time”Bob DylanJohn ColtranePeter, Paul, and MaryPaul Simon “Still Crazy After All These Years”Ritchie Valens “La Bamba”Simon and Garfunkel “America”David Grey “Babylon”Lady GagaBen FoldsJames Blount “Goodbye, My Lover”Arctic Monkeys “Tranquility Base Hotel and Casino”James Blount “You're Beautiful”Harry ChapinLeonard CohenLeonard BernsteinLynda CarterFyfe DangerfieldMuzakJosh GrobanMichale BubleFrank SinatraAndrea Bocelli “Ave Maria”Jimi Hendirx “All Along the Watchtower”Bob DylanDave Matthews

KAIT DUNTON is an LA-based keyboardist & composer. Her emotive musical expression and joyful energy have garnered her hundreds of thousands of followers on social media and over 40,000 monthly listeners on Spotify.   Starting with her first album, Real & Imagined - now a fan favorite with over three million streams - Kait has continued to cultivate her signature sound over many subsequent albums and releases, including her latest single featuring her evocative improvisational style - and nearly 3M views on Instagram: “this one's for you”.   Kait's new album, Keyboards, is a love letter to the sounds and instruments of '70s jazz-funk. A celebration of vintage grooves and classic keyboards: the Fender Rhodes, Wurlitzer, Hammond organ, Clavinet and - always - the acoustic piano.   Keyboards documents the music Kait was writing and recording last year when her following on Instagram really exploded - now with close to 140,000 followers - and takes inspiration from the music of Stuff (Richard Tee), Herbie Hancock, the Brecker Brothers, Weather Report, Chick Corea, Keith Jarrett and Ahmad Jamal, to name a few.   Together with Andrew Synowiec on guitar, Sean Hurley on bass and Jake Reed on drums, Kait and band radiate joyful sonic energy and groove.   In addition to composition and performance, Kait is also an active recording artist and educator. Her playing appears extensively on the Mister Rogers movie, A Beautiful Day in the Neighborhood, as well as in The Lego Movie 2, Downsizing, Empire, and ABC's The Little Mermaid Live!   Kait was an early member of Snarky Puppy during their formative years in Texas, appearing on their sophomore record, The World is Getting Smaller. She records often for film, television and other artists, and has taught at the University of North Texas, USC's Thornton School of Music, Musician's Institute, Chaffey College, and most recently at Los Angeles College of Music (LACM) in Pasadena, where she developed their new Piano Performance program and served as the inaugural chair.

Lonnie Liston Smith is a jazz legend. He's a pianist and keyboard player. He's worked with Pharoah Sanders, Miles Davis and Marvin Gaye. Smith is a master of the Fender Rhodes – the electric piano that helped define a movement in music that eventually became known as Cosmic Jazz. Smith joins us to talk about his first record in 25 years, and his humble beginnings. Plus, Smith's records have been sampled a lot in hip-hop and electronic music. He'll talk about the records that caught him most by surprise.