Podcasts about fusion jazz

Le musicien Réunionnais Stéphane Hoareau sort vendredi un album fusion entre jazz et le Maloya de son île dʹorigine. Il est accompagné dʹun Orchestre qui reprend le nom de son label, le Discobole Orchestra et dʹune des chanteuses emblématiques de la musique Réunionnaise Christine Salem. Par Michel Ndeze.

Dänu Wisler ist ein musikalischer Tausendsassa, der in keine Schublade passt, weil jede Schublade dieser Welt zu klein wäre.Dänu Wisler ist aber auch ein sehr vielseitiger Musiker, der sich in verschiedenen Genres bewegt, von Pop/Rock über Fusion/Jazz bis hin zu traditioneller Alphornmusik.  Neben dem Alphorn spielt Dänu Wisler auch Gitarre, Mandoline, Bass und Percussion. Und jetzt hat er die Halszither, ein Instrument aus dem 19. Jahrhundert, auch Hanottere genannt, zu neuem Leben erweckt. Zu hören auf seinem neusten Album, welches Swissmade in Anwesenheit von Dänu Wisler vorstellt.

The first generation of jazz rock musicians had been heavily influenced by some of the pioneering jazz musicians who forged jazz fusion, beginning with Miles Davis.  Miles was the first of the great jazz artists to venture into the new, amplified and electronic sounds of 1960's rock music, and in doing it he recruited a number of very young, incredibly talented, and mostly unknown musicians who became giants in their own right, As a number of jazz musicians embraced elements of rock music, rock's audience re-discovered jazz.  Music is a living, breathing part of our culture, it is changeable in the hands of both listeners and players.  We take it up and use it as it gives us pleasure.  Just as jazz musicians were blending rock music into their art, rock musicians were equally influenced by jazz players, and they also added jazz elements into their own music.  This is the first of a two-part deep dive into the world of jazz rock.  In this episode, you'll see how some of rock's greatest musicians have been influenced by jazz.  We'll also spend some time on a deeper dive into a few of the great jazz rock bands of the past, including Blood Sweat and Tears, and Chicago.  In part two, we'll come back and explore the music of Steely Dan, Traffic and Supertramp.  I think you'll enjoy it!Music In this episode:Weather Report: Boogie Woogie WaltzThe Grateful Dead: Help On the WayJohn Coltrane: A Love SupremeDuke Ellington: Take the A TrainThe Modern Jazz Quartet: BluesologyDavid Bowie: Life On MarsKeith Richards: Blues JamNat King Cole Trio: Straighten Up and Fly RightOrnette Coleman: Jimi Hendrix: South Saturn DeltaJohn McLaughlin: DevotionCharlie Watts: All or Nothing at AllTim Ries: Miss YouGinger Baker's Air Force: Da Da ManMiles Davis: GuinnevereDavid Crosby: AmeliaBob Dylan: Like a Rolling StoneBlood Sweat and Tears: I Love You More than You'll Ever KnowBlood Sweat and Tears: God Bless the ChildThe Buckinghams: Kind of a DragChicago: Questions 67 and 68Chicago: Make Me SmileChicago: If You Leave Me NowChicago: It Better End SoonChicago: Alive AgainInterviews in This EpisodeAl KooperDavid CrosbyJames PankowDanny SerafineThis episode is dedicated to the memories of: Charlie WattsWayne ShorterDavid CrosbyThank you for all the beautiful music!

Why would Arsenio Hall, Herbie Hancock, Keb' Mo',  Kenny G and countless celebrities at the pinnacle of their careers choose to share the limelight with one musician?  Vail Johnson is a talent unbounded by musical genres; an artist who succeeded as a top LA Studio Musician, Internationally Acclaimed Bass Player, Jazz Musician, Band Leader and Solo Performer. Vail's music appears in film, TV, on radio and in 6 CD's that exhibit the depth of his experience. Compositions range from improvisational jazz created with free-form musicians to projects drawing solely upon Vail's schizophrenic talents as writer, singer, virtuoso and producer. Transcendent in his music is an unequaled voice expressed with 4 strings. You hear melodic tones of Spanish guitar, bluesy finger-picking and monster slapping. You feel samba, funk, blues and rock. Vail's live performance on bass became something extraordinary, by playing constantly as a member of as many as 10 bands at any given time. From a family history exuberant with Metropolitan Opera singers, Symphony players, Broadway musical producers, grandma ‘Iny' playing the mighty Wurlitzer in silent film movie theaters and wildly colorful performers (Magicians, Traveling Minstrels, and Carnival Folk), Vail was destined to emerge as a multi-talented artist and multi-layered performer with a singular voice.   Like his kaleidoscopic roots, Vail's multi-faceted talents mirror a childhood immersed in the expression of Classical, Choral, Gospel, Bluegrass, Dixieland and Top 40 music by mentors with creative genius. He merged talents of Manhattan School of Music Scholar and noted Percussionist; Banjo-picking Night Club Owner; Vocal Master (Doctorate Choral Arrangement), Award-Winning Conductor and more as the youngest of 7 brothers.  Each one mastered 4-part harmonies in choir and live performance playing in a popular Seattle Dixieland band and touring internationally through Asia entertaining troops on Air Force Bases with Top 40 music. Vail added Jazz to this medley with jazz studies at UW.  Moving to LA, Vail formed his own jazz bands, played with renowned Latin and Fusion Jazz artists and toured internationally playing every major Jazz Festival around the world. Throw this mix into a blender and what do you get? Vail electrifies audiences with virtuosity, passion and humor in 40 Years Around the World, a continuously evolving production of music and stories from world-wide performances and recording studios as a solo artist and with luminaries such as Kenny G, Herbie Hancock, Stevie Nicks, Keb' Mo', George Benson, Michael Bolton, James Ingram, Gil Scott Heron, Paula Abdul, MC Hammer, Steve Perry, Arsenio Hall, Patti Austen, Peabo Bryson, Christopher Cross, T. Graham Brown and David Cassidy as well as lesser known but highly respected artists Eric Marienthal and Frank Gambale (both members of the Chick Corea Electrik Band), Leslie Hunt, Warren Hill, Young MC, Edgar Winter, Freddie Ravel, Carmine Appice, etc., etc., etc.   Visit www.vailjohnson.com The Business Side of Music ™ © 2022 Lotta Dogs Productions LLC Showrunner and Executive Producer Emeritus: Tom Sabella Producer and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man I sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: musicpodcast@mail.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at musicpodcast@mail.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service.

For næsten 40 år siden fik Cæcilie Norby sin debut som medlem af gruppen Street Beat, der en periode hærgede de danske livescener. Senere skiftede hun til Frontline og så var der jo rockbandet One Two. I dag kan hun se tilbage på en imponerende karriere, der har etableret hende som internationalt anerkendt og berømmet jazzsanger, i en periode med tilknytning til det prestigefyldte pladeselskab Blue Note Records. Cæcilie Norby optræder i mange kroge og hjørner af verden. I denne podcast møder hun Jan Eriksen, og den direkte anledning er det nye album ”Earthenya”, som hun udgiver på sit eget selskab Loud Lady Music. Med sine soul-, rock og singersongwriter inspirerede sange er pladen er en slags frikvarter fra jazzen. Et storyteller-album. Med udgangspunkt i flere af albummets sange, taler Cæcilie og Jan både om karrieren og nuet, og de fordele, der kan være i at have nået en alder, hvor man er blevet bedre til at sige nej til bullshit – ud fra princippet, at det gælder om at få det bedste ud af livet. "Der er også en befrielse i det at blive lidt ældre – man lærer at sige, "ja, ja, altså pyt"." ”Jeg eksperimenterer med nogle genrer – jeg har ikke tidligere gjort mig i R&B eller soul. Jeg kunne godt tænke mig at være i nogle grooves. Jeg har spillet meget ballader og jazz som har en fremadrettet energi. Og det elsker jeg. Men jeg kunne godt tænke mig at prøve det tilbagelænede moody groove,” siger hun om sin nye plade. Hun kalder selv sine nye sange små “film” i ord og toner. En 'film' er fra hendes tidlige barndom i halvfjerdserne om vennen med de forpinte øjne. I podcasten kan du blandt meget andet høre om: - hvordan Nordbys medvirken i ”Toppen af Poppen” inspirerede til ”Earthenya”. - dengang One Two blev lagt for had i Vejle og omegn. - hvad der skete, da hun havde så travlt med at shoppe jeans i New York, at hun glemte sin aftale med selve topchefen for Blue Note Records. - samarbejdet med jazz-ikoner som Diane Reeves, Curtis Steigers og Brecker-brødrene. - hvordan Nordby finder styrke i sine relationer til barndomsveninder og livsvidner – bl.a. Nina Forsberg, som hun delte liv og job med små ti år i One Two. - hvad der egentlig skete, da Cæcilie Norby mødte Spice Girls. - mødet med en gammel, umulig kæreste, der kortvarigt tændte en ild og blev til en sang. - at tænke tilbage på barndommens bedste ven, som man nu i dag ved gemte på historier om dysfunktion.

For næsten 40 år siden fik Cæcilie Norby sin debut som medlem af gruppen Street Beat, der en periode hærgede de danske livescener. Senere skiftede hun til Frontline og så var der jo rockbandet One Two. I dag kan hun se tilbage på en imponerende karriere, der har etableret hende som internationalt anerkendt og berømmet jazzsanger, i en periode med tilknytning til det prestigefyldte pladeselskab Blue Note Records. Cæcilie Norby optræder i mange kroge og hjørner af verden. I denne podcast møder hun Jan Eriksen, og den direkte anledning er det nye album ”Earthenya”, som hun udgiver på sit eget selskab Loud Lady Music. Med sine soul-, rock og singersongwriter inspirerede sange er pladen er en slags frikvarter fra jazzen. Et storyteller-album. Med udgangspunkt i flere af albummets sange, taler Cæcilie og Jan både om karrieren og nuet, og de fordele, der kan være i at have nået en alder, hvor man er blevet bedre til at sige nej til bullshit – ud fra princippet, at det gælder om at få det bedste ud af livet. "Der er også en befrielse i det at blive lidt ældre – man lærer at sige, "ja, ja, altså pyt"." ”Jeg eksperimenterer med nogle genrer – jeg har ikke tidligere gjort mig i R&B eller soul. Jeg kunne godt tænke mig at være i nogle grooves. Jeg har spillet meget ballader og jazz som har en fremadrettet energi. Og det elsker jeg. Men jeg kunne godt tænke mig at prøve det tilbagelænede moody groove,” siger hun om sin nye plade. Hun kalder selv sine nye sange små “film” i ord og toner. En 'film' er fra hendes tidlige barndom i halvfjerdserne om vennen med de forpinte øjne. I podcasten kan du blandt meget andet høre om: - hvordan Nordbys medvirken i ”Toppen af Poppen” inspirerede til ”Earthenya”. - dengang One Two blev lagt for had i Vejle og omegn. - hvad der skete, da hun havde så travlt med at shoppe jeans i New York, at hun glemte sin aftale med selve topchefen for Blue Note Records. - samarbejdet med jazz-ikoner som Diane Reeves, Curtis Steigers og Brecker-brødrene. - hvordan Nordby finder styrke i sine relationer til barndomsveninder og livsvidner – bl.a. Nina Forsberg, som hun delte liv og job med små ti år i One Two. - hvad der egentlig skete, da Cæcilie Norby mødte Spice Girls. - mødet med en gammel, umulig kæreste, der kortvarigt tændte en ild og blev til en sang. - at tænke tilbage på barndommens bedste ven, som man nu i dag ved gemte på historier om dysfunktion.

We have the interesting situation of having a large backlog of new music written during the Pandemic The original idea was to create the MEGA album "Catfished & Da Hard Boyz", but this 9-hour album was too large for the market. So we have spent the last 3 months figuring out how to pull the gems out of my vault. The 1st project coming out of this backlog of music is the August 26th release PEG4EVER This 1.5-hour album is still a "MEGA" effort. The best tracks from "Catfished" were culled for this 2022 album. This session is for our next Project 2023 "Trash Wave" Hybrid of Punk Aesthetic and New Wave What you are hearing is a live StreamYard.com stream from our Expansive Sound Studio of "stream of consciousness jam style music. Our sound or style of music is called "Expansive Sound", a combination of New Wave, Punk, Fusion Jazz, Progressive Rock, Spoken Word, and Experimental. We are also a DAWless producer. The Digital Audio Workstation is a great tool that has reduced or eliminated the Studio stranglehold on creativity for many musicians. However, we have always loved the stream of consciousness and jam style nature of "Hardware" recording. So from the beginning of PEG we have used Hardware recorders. Starting with the Zoom R16 moving to the R24...utilizing the L-8 Live Track for Podcasting (and finishing Akai Force compositions) and now primarily using the new Zoom R-20 Multi Track system to capture our Expansive Sound Experiences. In our mid twenties, we were enamored with Tascam 4 Track recorders and sequencers. We utilized them with a Roland D-5 to create our 1st solo compositions in the late 80s and early 90s, “PEG4EVER” NEW PHANTOMELECTRICGHOST ALBUM DROPS AUG 26th Pre-save the following songs on Spotify and Apple Music: Kiss Not Only Your Lips gate.fm/28JUxmY Boca Como Uma Buceta gate.fm/yLJRlOf Look In HER Eyes gate.fm/SG7v0LB From our Wisdom Audio podcast Donate to support PEG free artist interviews PayPalMe link Any contribution is appreciated: https://www.paypal.com/paypalme/PhantomElectric?locale.x=en_US Support PEG by checking out our Sponsors: Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code GH0ST2021 and receive a 1-month free premium subscription. Check out The Charity Focused Philanthropic Online Lottery Visit DoubeJack.online https://found.ee/DoubleJackOnlinePhantomElectricGhost #Podcast, #Phantom #Ghost #Phantom #PhantomElectricGhost #Podcaster #Podcast #Viral #Audio #Podcast #MusicProducer #Interview #NewHampshire #JAZZ Soul #Indie #Interview #PerformanceArt #SingerSongwriter #Electronic More songs from PEG4EVER https://soundcloud.com/phantom_electric_ghost/sets/peg-4ever?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing Catfish & Da Hard Boyz https://soundcloud.com/phantom_electric_ghost/sets/catfish-da-hard-boyz?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing --- Send in a voice message: https://anchor.fm/phantom-electric/message Support this podcast: https://anchor.fm/phantom-electric/support

Phantom Electric Ghost Talks Up The Road 2 New Music We have the interesting situation of having a large backlog of new music written during the Pandemic The original idea was to create the MEGA album "Catfished & Da Hard Boyz", but this 9-hour album was too large for the market. So we have spent the last 3 months figuring out how to pull the gems out of my vault. The 1st project coming out of this backlog of music is the August 26th release PEG4EVER This 1.5-hour album is still a "MEGA" effort. The best tracks from "Catfished" were culled for this 2022 album. Our sound or style of music is called "Expansive Sound", a combination of New Wave, Punk, Fusion Jazz, Progressive Rock, Spoken Word, and Experimental. We are also a DAWless producer. The Digital Audio Workstation is a great tool that has reduced or eliminated the Studio stranglehold on creativity for many musicians. However, we have always loved the stream of consciousness and jam style nature of "Hardware" recording. So from the beginning of PEG we have used Hardware recorders. Starting with the Zoom R16 moving to the R24...utilizing the L-8 Live Track for Podcasting (and finishing Akai Force compositions) and now primarily using the new Zoom R-20 Multi Track system to capture our Expansive Sound Experiences. In our mid twenties, we were enamored with Tascam 4 Track recorders and sequencers. We utilized them with a Roland D-5 to create our 1st solo compositions in the late 80s and early 90s, “PEG4EVER” NEW PHANTOMELECTRICGHOST ALBUM DROPS AUG 26th Pre-save the following songs on Spotify and Apple Music: Kiss Not Only Your Lips gate.fm/28JUxmY Boca Como Uma Buceta gate.fm/yLJRlOf Look In HER Eyes gate.fm/SG7v0LB From our Wisdom Audio podcast Donate to support PEG free artist interviews PayPalMe link Any contribution is appreciated: https://www.paypal.com/paypalme/PhantomElectric?locale.x=en_US Support PEG by checking out our Sponsors: Download and use Newsly for free now from www.newsly.me or from the link in the description, and use promo code GH0ST2021 and receive a 1-month free premium subscription. Check out The Charity Focused Philanthropic Online Lottery Visit DoubeJack.online https://found.ee/DoubleJackOnlinePhantomElectricGhost #Podcast, #Phantom #Ghost #Phantom #PhantomElectricGhost #Podcaster #Podcast #Viral #Audio #Podcast #MusicProducer #Interview #NewHampshire #JAZZ Soul #Indie #Interview #PerformanceArt #SingerSongwriter #Electronic More songs from PEG4EVER https://soundcloud.com/phantom_electric_ghost/sets/peg-4ever?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing Catfish & Da Hard Boyz https://soundcloud.com/phantom_electric_ghost/sets/catfish-da-hard-boyz?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing --- Send in a voice message: https://anchor.fm/phantom-electric/message Support this podcast: https://anchor.fm/phantom-electric/support

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Todo comenzó en Inglaterra a finales de los 80s con la escena underground denominada “Rare Groove”, la cual se trataba de DJs que, desde programas de radio y discotecas, mezclaban temas desconocidos de Jazz Funk, Fusion Jazz, Disco, Soul, etc. De esta escena fue gestándose el Acid Jazz, poco a poco decenas de grupos fueron apareciendo por Londres y luego por el resto del Reino Unido, y a principios de los 90s logra obtener éxito comercial y popularidad internacional, sobre todo gracias a grupos como Jamiroquai, The Brand New Heavies, Us3 o Incognito (Aunque estos últimos estaba más cercanos a la creciente escena del House) y su fama se extendió hasta mediados de década, luego llego la decadencia del genero y por consiguiente la desaparición de varios de aquellos artistas, otros continuaron alejándose de la escena del Acid Jazz hacia otros ritmos. Ahora bien, que es el Acid Jazz?. Se trata de una fusión de funk, soul setentero, Jazz, Hip Hop, ritmos latinos… Tremenda cantidad de sonidos diferentes genera que haya mucha variedad de estilos dentro de este género, tenemos artistas con sonido mas “setentero” como James Taylor Quartet o Corduroy, The Brand New Heavies con un sonido más Funky-Disco, otros incorporan ideas propias del Hip Hop con la incorporación de raperos, uso de samplers y cajas de ritmo. Jamiroquai fue sin dudas el artista mas famoso de este movimiento y rápidamente amplio el horizonte hacia nuevos sonidos: Disco, House, Pop y sigue en activo después de 30 años del nacimiento del Acid Jazz. En este podcast podréis escuchar un breve ejemplo de las principales canciones y artistas de aquel movimiento llamado Acid Jazz. TRACKLIST: 01 - Jhelisa - Friendly Pressure (Radio Edit) 02 - Guru ft. N'Dea Davenport - Trust Me 03 - US3 - I Got Goin' On 04 - A Forest Mighty Black - Fresh In My Mind (Original 12'' Mix) 05 - The Brand New Heavies ft. N'dea Davenport - Dream On Dreamer 06 - Jamiroquai - Blow Your Mind 07 - Snowboy & Noel McKoy - Lucky Fellow 08 - Diana Brown & Barrie K Sharpe - The Masterplan 09 - Sandals - Original Gas 10 - Raw Stylus - Pushin' Against The Flow 11 - James Taylor Quartet - Starsky & Hutch (Funky People Mix) 12 - Galliano - Long Time Gone (Album Version) 13 - US3 - Cantaloop (Radio Edit) 14 - Freak Power - Turn On, Tune In, Cop Out (Radio Mix) 15 - Jamiroquai - Cosmic Girl 16 - Corduroy - Chow Down

Todo comenzó en Inglaterra a finales de los 80s con la escena underground denominada “Rare Groove”, la cual se trataba de DJs que, desde programas de radio y discotecas, mezclaban temas desconocidos de Jazz Funk, Fusion Jazz, Disco, Soul, etc. De esta escena fue gestándose el Acid Jazz, poco a poco decenas de grupos fueron apareciendo por Londres y luego por el resto del Reino Unido, y a principios de los 90s logra obtener éxito comercial y popularidad internacional, sobre todo gracias a grupos como Jamiroquai, The Brand New Heavies, Us3 o Incognito (Aunque estos últimos estaba más cercanos a la creciente escena del House) y su fama se extendió hasta mediados de década, luego llego la decadencia del genero y por consiguiente la desaparición de varios de aquellos artistas, otros continuaron alejándose de la escena del Acid Jazz hacia otros ritmos. Ahora bien, que es el Acid Jazz?. Se trata de una fusión de funk, soul setentero, Jazz, Hip Hop, ritmos latinos… Tremenda cantidad de sonidos diferentes genera que haya mucha variedad de estilos dentro de este género, tenemos artistas con sonido mas “setentero” como James Taylor Quartet o Corduroy, The Brand New Heavies con un sonido más Funky-Disco, otros incorporan ideas propias del Hip Hop con la incorporación de raperos, uso de samplers y cajas de ritmo. Jamiroquai fue sin dudas el artista mas famoso de este movimiento y rápidamente amplio el horizonte hacia nuevos sonidos: Disco, House, Pop y sigue en activo después de 30 años del nacimiento del Acid Jazz. En este podcast podréis escuchar un breve ejemplo de las principales canciones y artistas de aquel movimiento llamado Acid Jazz. TRACKLIST: 01 - Jhelisa - Friendly Pressure (Radio Edit) 02 - Guru ft. N'Dea Davenport - Trust Me 03 - US3 - I Got Goin' On 04 - A Forest Mighty Black - Fresh In My Mind (Original 12'' Mix) 05 - The Brand New Heavies ft. N'dea Davenport - Dream On Dreamer 06 - Jamiroquai - Blow Your Mind 07 - Snowboy & Noel McKoy - Lucky Fellow 08 - Diana Brown & Barrie K Sharpe - The Masterplan 09 - Sandals - Original Gas 10 - Raw Stylus - Pushin' Against The Flow 11 - James Taylor Quartet - Starsky & Hutch (Funky People Mix) 12 - Galliano - Long Time Gone (Album Version) 13 - US3 - Cantaloop (Radio Edit) 14 - Freak Power - Turn On, Tune In, Cop Out (Radio Mix) 15 - Jamiroquai - Cosmic Girl 16 - Corduroy - Chow Down

Hoy nos hemos decidido a realizar un programa que dará cabida a un gran número de estilos aunque siempre enmarcados en lo que es nuestro universo sonoro. Jazz, Funk, samba, Bossanova, R&B. Latin Jazz, Blues, Soul, Fusion Jazz, Acid Jazz, ... que más da la etiqueta. Se trata de alcanzar uno de los principales objetivos que persigue la música desde el preciso instante en el que alguien tuvo el brillante atrevimiento de unir varios sonidos con una intención armónica: conseguir que tú corazón lata con más fuerza a causa de la emoción, del ritmo o de la belleza; cambiar tu estado de ánimo y transportarte a otro mundo, mucho más bonito y comfortable. Os acercaremos una colección de temas que también pueden servir para introducirse en el mundo del jazz. Nos parece obvio que nadie comienza a aficionarse a la lectura leyendo a Tolstoi o Kundera como tampoco se enamora del cine viendo la obra de Ingmar Bergman. Es arte amigos y para entender el arte en toda su extensión, si eso fuera posible, se ha de comenzar por material más asequible. Evidentemente eso no quiere decir que dicho material sea de mala calidad, simple o obvio, ni mucho menos, en nuestra opinión, todo lo contrario. A este tipo de programas les hemos querido llamar “Canciones encantadoras” y los que nos seguís sabréis que con esta llegaremos ya a nuestra 5 edición. Esperamos conseguir que cerreis los ojos y balanceáis ligeramente vuestras cabezas todo ello mientras esbozáis una de aquellas sonrisas de felicidad que solo un buen tema puede provocar. Los gatos ya sabéis a que me refiero.

Perry Louis is one of the UK's top old-school jazz dancers and founder of JazzCotech. Through a dance career spanning more than 25 years, Perry was also a resident DJ for many years at Messin' Around — both at The Jazz Cafe and The 100 Club, as well as DJing regularly around the world including at London's only monthly jazz dance session, Shiftless Shuffle. Perry brings his unique flavor to his exclusive mix for Liquid Fusion.

Seguimos celebrando una semana más la selección de Música para Gatos entre los mejores podcast de Ivoox en la categoría de jazz y blues, algo que no podíamos ni imaginar hace unos pocos meses. Para ello os hemos preparado una nueva edición de Canciones Encantadoras (para gatos jazzeros). Jazz, Fusion Jazz, Samba, Bossanova, Latin Jazz, Funk, Soul, Blues... en definitiva un menú delicioso que esperamos os guste.

Queremos compartir con todos vosotros algo que nos ha pasado esta misma semana y que nos ha hecho mucha ilusión. Y es que IVoox ha seleccionado a Música para Gatos entre los 8 mejores podcast de la plataforma en la categoría de jazz y blues, algo que ni siquiera podíamos imaginar hace poco más de un año, cuando iniciamos esta aventura. Para compartir nuestra alegria nos hemos decidido a realizar un programa libre que dará cabida a un gran número de estilos aunque siempre enmarcados en lo que es nuestro universo sonoro. Jazz, Funk, Samba, Bossanova, R&B. Latin Jazz, Blues, Soul, Fusion Jazz, Acid Jazz, ... que más da la etiqueta. Todo para conseguir uno de los principales objetivos que persigue la música desde el preciso instante en el que alguien tuvo el brillante atrevimiento de unir varios sonidos con una intención armónica: conseguir que tú corazón lata con más fuerza a causa de la emoción, del ritmo o de la belleza. Le hemos querido llamar “Canciones encantadoras” y esperamos conseguir que cerreis los ojos y balanceeis ligeramente vuestras cabezas mientras esbozais una de aquellas sonrisas de felicidad que solo un buen tema puede provocaros. Los gatos ya sabéis a que me refiero.

My guest today is a super cool and super talented artist that goes by the name Tashomi Balfour. He’s is a UK-based Saxophonist with a very interesting style, and by interesting I mean he draws influence from Afro, Contemporary, and Fusion Jazz as well as Reggae and Soul. In this episode, we talk about how he got into music, how he has been able to make music his full-time gig, some of his biggest challenges and proudest moments as a musician, and much more.

For the first time in this podcast's history, AJ and Johnny are face to face in the same room to discuss different versions of the Fusion Jazz standard "Birdland". Join Johnny and a slightly subdued AJ (maybe he was actually afraid Johnny was going to throw something at him) as they pick apart their, um, favorite versions!

JOO KRAUS aus Ulm ist ein Ausnahme-Musiker und trotzdem auf dem Teppich geblieben. Er ist ein gefragter und viel gebuchter Trompeter – einer der besten die wir in Deutschland haben – ist weltweit unterwegs von den USA, nach Italien und Japan bis hin zu den Faröer-Inseln, und ist ein „astreiner Ulmer“, denn er hat den „Heimatcheck“ mit Bravour bestanden! Musikalisch ist er schwer einzuordnen, denn er ist offen für jeden Musikstil der Welt von Swing über Bossa Nova, Fusion-Jazz, Kuba-Sound bis hin zum electronic Hip-Jazz-Rap. Dabei prägt er jede Musik vom ersten Ton an mit seinem sanften, gefühlvollen, melodisch-melancholischen und zurückhaltenden Trompetensound . Mit 15 Jahren war er schon Mitglied der BIGBAND ULM, mit 19 holte er sich den 1. Preis beim Bundeswettbewerb „Jugend musiziert“, dann kam noch der ECHO dazu und zwei GRAMMY Nominierungen. Von der BIGBAND ULM geht’s über KRAAN und TAB TWO in die weite Welt mit internationalen Acts wie MEZZOFORTE, DePHAZZ, oder OMAR SOSA (die Liste ist lang) und zusammen mit dem Ulmer Bassisten HELLMUT HATTLER hat er auch einen Song für TINA TURNER geschrieben Warum ihn die Geschirrspülmaschine „erdet“ wenn er vom angesagtesten Jazz-Club New Yorks zurückkommt, wie ihn ein ein 80-jähriges Tanzpaar berührt hat , als er einen Walzer spielte und warum er schon in einem Ulmer Puff proben musste, das verrät er Dominic und Jack im RADIO 7 BANDBUS. UNBEDINGT REINHÖREN!

Στο σημερινό επεισόδιο του Ask the Guitar Coach, o Ioannis Anastassakis απαντάει την ερώτηση: “Ποιες οι διαφορές Rock Fusion και Jazz Fusion, και πως τα ξεχωρίζουμε?”

Go listen to Airospace right now. Your life depends on it. https://open.spotify.com/artist/6gnWD8bGyUUn1H9j87F0B1 Also follow him everywhere via @airospvce. Get access to exclusive hangouts, premium benefits on Discord, early episode listening, and more for just $2 per month: https://www.patreon.com/t1podcast Wireless plans, warehouse pricing. Try Mint Mobile's 3-Month Plans from $15/month. Go to mint.t1podcast.com to find out more. This episode was recorded live on our Discord. Don't miss the next one: https://discord.gg/JNuyZXT Worried about your privacy on the internet? NordVPN has you covered. Check out nord.t1podcast.com and use the code "thefirstpodcast" at the checkout for 75% off your first plan!

Music. Genres we like. Genres we don't. That super-special feeling we're all starting to get when the stuff we used to listen to in high school is now considered "classic." Also - the truth about Optimus Prime's unabashed love of Michael McDonald *** Topic - Fusion Jazz. From - Aaron

Michael Rodach sah das Mahavishnu Orchestra im ZDF Sonntagskonzert - es ließ ihn nicht mehr los. Das Album "The Inner Mounting Flame" war stilprägend für den Fusion Jazz.

 This is Mike OLi, the host of Smooth Caribbean (Jazz) with a touch  more..., I wanna fulfill your need to relax, unwind and shake away this busy day.    I invite you to "visit for the experience"  Smooth Caribbean Jazz, soulful R&B and, music from The Mother Land - Africa . . . how about Lite Rock, as well as a touch of kool modern Jazz.  Looking forward too it.  Check out our music channel 'WatchMusicChannel.com' orwww.Kalalloo.com to catch-up with us anything you might have missed.  HAPPY HOLIDAY!!!

Vision Jazz is Burt Shur (Drums/Percussion) and Chuck Leichner (Keyboardist/Composer). The band was formed in 2007 by two of the best musicians in the Denver area to explore and create contemporary jazz fusion music. VISION JAZZ plays a blend of Funk Jazz, Fusion Jazz, and Latin Jazz. VISION JAZZ just released their first CD "Distant Visions". In addition to their original songs, the main genre is the best of contemporary jazz fusion. Capturing such great artist as Dave Grusin, David Sanborn, Yellow Jackets, and Jeff Lorber to name a few. The music is timeless and memorable.

Neue Ideen für zukünftige Entwicklungen kommen oft aus der Fusion sehr verschiedener Gebiete. Kann man das systematisch betreiben? Mehr Informationen unter www.dasabenteuerleben.de