Podcasts about George Shearing

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This conversation was recorded during The Jazz Cruise earlier this year, and it featured a conversation between two of our longtime favorite performers – vocalist Catherine Russell and guitarist and vocalist John Pizzarelli, with Catherine taking on the interviewer role.  For the last few years, John and Catherine have been performing together in a project they call 'Billie and Blue Eyes,' spotlighting the music of Billie Holiday and Frank Sinatra. John talked about coming up in the jazz and music world and hanging (and playing) with legends like Benny Goodman, Les Paul, Joe Venuti, Zoot Sims, Slam Stewart, Clark Terry, George Shearing, and of course, his father Bucky. Plus, John shared some stories about working with pop icons James Taylor and Paul McCartney.

WUCF's January artist for ‘In the Key of Latin Jazz' is Dred Scott - a multi-instrumentalist who has cut his teeth on both coasts. Referred to as the ‘maestro of mayhem', his restless and frenetic energy is intertwined with his passion. He's collaborated with Liza Minnelli, composed for the film “Home” - featuring Woody Allen, Rosie Perez, Liam Neeson and more – recorded eleven albums as a leader and performed on over fifty others. His latest work is a testament to the enduring power of Latin jazz and an exploration of his love for the genre. It is vibrant, playful and rich – it is everything we needed!

Every musician, it seems, does a holiday album sooner or later, and visions of residuals dance in their heads.  But given the flood of releases each year, it's hard to stand out, and the canon of Christmas favorites is already pretty crowded.  How to make your mark?  You could try to do one or two distinctive things well.  Or, you could try a little bit of everything.  Listen as Mike and Pat dissect three brand new holiday offerings and a historic issue by one of jazz's most popular performers.  Band of Other Brothers – THIS YEAR AT CHRISTMAS; Joy Lapps - THE CARRIBEAN CHRISTMAS MIX TAPE; Matt Wilson Christmas Tree-O – TREE JAZZ – THE SHAPE OF CHRISTMAS TO COME ; George Shearing – CHRISTMAS WITH THE GEORGE SHEARING QUINTET.

Mario Bauza считается изобретателем латиноамериканского джаза в 40-х годах в Нью-Йорке. Но вскоре мейнстримовые джазовые музыканты стали смешивать два стиля — в то время афро-кубинский, в частности, с джазом. Dizzy Gillespie и Chano Pozo с хитом «Manteca» ввели латиноамериканский джаз в стандартный репертуар. А в 50-х годах латиноамериканский джаз взорвался, Tito Puente стал одной из его величайших звезд. Чуть позже Stan Getz получит признание за то, что присоединил бразильскую музыку к латиноамериканскому джазу. Когда я приехал в Сан-Франциско, там была яркая латиноамериканская джазовая сцена — John Santos, Roy Obiedo, Omar Sosa, Wayne Wallace, Dr. Loco и еще дюжина групп играли по всему городу. Я научился играть на фортепиано монтуну (кубинская древняя музыка) у великого Josh Jones, а также научился играть румбу в ночных клубах. Пианист George Shearing сделал 5 записей латинского джаза между 1957 -61 годами, 4 из них для Capitol Records и одну для MGM, все с вибрафоном в качестве ведущего инструмента. Я всегда любил эти альбомы Ширинга и искал возможность создать ​​группу с вибрафоном. Спустя 20 лет после отъезда из Сан-Франциско и 3 года назад я стал штатным пианистом и музыкальным руководителем частного ресторана в роскошных высотных резиденциях Park 432. В своих попытках программировать разные виды музыки и при поддержке генерального директора Will Simons я создал эту группу, которая получила большой отклик. После множества концертов в 432 мы начали выступать по городу, получив еще больше откликов. И снова Denny Abrams понравилась идея, он включился в процесс и сделал запись. Я безмерно ему благодарен за это. Пьеса Шерига есть только на одном треке альбома. Но, проведя небольшое исследование, я выяснил, что отклик на участников его альбомов, есть на всх композициях, и я хотел бы перечислить их здесь: Armando Peraza, Toots Thielman, Emil Richards, Cal Tjader, Warren Chiasson, Al McKibbon, Percy Brice, Carl Pruitt, Roy Haynes, Bill Clark, Joe Roland, Denzil Best, Marcus Foster, Calino Rolon, Candido Camero и Dick Garcia. СЛУШАТЬ АЛЬБОМ - https://album.link/i/1757014397 JAZZ SAMBA - https://t.me/discor/6492 STAN GETZ - https://t.me/discor/2227 Лучший трек альбома в плей-листе JAZZ по-русски 8 на AppleMusic и Spotify Поставь лайк ❤️ и подпишись на канал JAZZ по-русски https://t.me/discor #latinjazz

Stan Getz y Charlie Byrd ('Desafinado'), Herbie Mann ('Samba de uma nota só'), Cal Tjader y Clare Fischer ('Se é tarde me perdoa'), Lalo Schifrin ('Silvia', 'Lalo´s bossa nova'), Herbie Mann y Baden Powell ('Consolação'), Ike Quebec ('Loie'), Luiz Bonfá ('Lamento no morro'), Sergio Mendes ('Tristeza de nós dois', 'Disa'), George Shearing ('Pensativa'), Paul Winter Sextet ('Insensatez'), Coleman Hawkins ('Um abraço no Bonfá'), Zoot Sims ('Recado bossa nova part 1'), Dizzy Gillespie ('Desafinado') y Stan Getz y Charlie Byrd ('Samba triste).Escuchar audio

Bossa nova con grabaciones de Stan Getz y Charlie Byrd ('Desafinado', 'O pato'), Antonio Carlos Jobim, Baden Powell y Herbie Mann ('Samba de uma nota só'), Paul Horn, Cal Tjader, Clare Fischer y Laurindo Almeida ('Se é tarde me perdoa'), Lalo Schifrin ('Silvia', 'Lalo´s bossa nova'), Herbie Mann y Baden Powell ('Consolação'), Ike Quebec ('Loie'), Sergio Mendes ('Tristeza de nós dois', 'Disa'), George Shearing ('Pensativa'), Paul Winter ('Insensatez'), Shorty Rogers, Bud Shank, Shelley Manne y Laurindo Almeida ('Chega de saudade'), Dave Brubeck ('Castilian blues'), Coleman Hawkins ('Um abraço no Bonfá), Luiz Bonfá ('Lamento no morro') y Herb Alpert & The Tijuana Brass ('Desafinado'). Escuchar audio

This Saturday's "Saturday Matinee" on Vintage Classic Radio begins with the beloved "Ozzie and Harriet" radio show in an episode titled "Ozzie is in a Rut," which first aired on November 7th, 1948. In this episode, the ever-relatable Ozzie Nelson finds himself feeling stuck in the monotony of his daily routine, prompting his wife Harriet and their sons David and Ricky to come up with various humorous schemes to help him break out of his dull patterns. The episode features the talents of Ozzie Nelson as Ozzie, Harriet Hilliard as Harriet, David Nelson as David, and Ricky Nelson as Ricky, with the usual charming family dynamics and witty exchanges. Following "Ozzie and Harriet," we transition to the "Theatre Guild On The Air" for a production of "No Time for Comedy," which was originally broadcast on March 9th, 1947. This engaging play captures the story of a comedic playwright who faces a crisis of conscience about his career, wondering whether he should continue writing comedies or switch to more serious, socially impactful plays. His dilemma is complicated by his relationships with his wife, his muse, and his producer, leading to a series of comedic yet thought-provoking interactions. The cast includes notable performers such as Fredric March, Florence Eldridge, and Burgess Meredith, who bring depth and humor to this reflective tale. The session concludes with the musical delight of the "Guard Sessions," a program sponsored by the U.S. National Guard. Featuring the incomparable Nat King Cole and the George Shearing Quartet, the episode is a mix of mesmerizing performances and light-hearted conversations. Host Martin Block guides listeners through the session, which not only showcases classic tunes but also includes discussions with the musicians about their current projects and upcoming albums. The combination of Nat King Cole's smooth vocals and George Shearing's innovative jazz compositions creates a memorable musical experience that encapsulates the era's vibrant culture. This episode of "Saturday Matinee" offers a delightful blend of comedy, drama, and music, capturing the essence of vintage entertainment through classic radio shows and timeless musical performances.

Die Musik klingt nach George Shearing. "Shearing" steht auf dem Cover. Aber es befindet sich kein Shearing auf der Platte "Shearing Bossa Nova". Keine Frage: Roy Bradley kannte seinen Shearing und dessen Arrangement-Tricks aus dem Effeff und wusste, wie man den großen britischen Pianisten und Sound-Kreateur angemessen imitieren konnte. Roy Bradley wiederum ist heute kein Name mehr, den man kennt, und ganz ehrlich, 1970, als er seine Platten veröffentlichte, kannte ihn auch schon kaum jemand. Von Götz Alsmann.

Harry Hayes had a long career before beginning to record under his own name in 1944. Tours with Fred Elizalde, Louis Armstrong, Nat Gonella and Geraldo gave him a wide musical perspective and these 1944-47 recordings by Harry Hayes and His Band show a player comfortable playing ballads, up tempos swing, lead parts and even some early bop on alto sax. Accompanied by the cream of the British jazz establishment - Kenny Baker, George Chisholm, George Shearing, Tommy Whittle, Aubrey Franks and others - Hayes carved out an enviable reputation for musical quality! --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

#elviscostello #lindaronstadt #bozscaggs #bonnieraitt #nicklowe Austin de Lone is an American keyboardist who records and tours with his own bands as well as with other artists, such as Bill Kirchen, Elvis Costello, Bonnie Raitt, Boz Scaggs, Nick Lowe, Commander Cody, and Loudon Wainwright. De Lone grew up in suburban Philadelphia, taking piano lessons at age 12. His early influences included Ray Charles and George Shearing. After stints as a student at the New England Conservatory of Music, Harvard University, and University of California, Berkeley, he moved to Greenwich Village.[3] While at Harvard, de Lone composed the song "One for One," which was the first single released by Linda Ronstadt and the Stone Poneys. Eggs over Easy In 1969, de Lone formed the band Eggs over Easy with Jack O'Hara and Brien Hopkins.[4] In 1970, Chas Chandler persuaded the band to record in London, but those recordings were not released. A four-night-a-week residency at a pub called the Tally-Ho in Kentish Town lasted more than a year. Eggs over Easy played a blend of blues, country, and rock that became known as pub rock. Regular attendees of their shows included members of Brinsley Schwarz and BBC disc jockey John Peel. In 1972, they returned to California and released their first album Good 'N' Cheap produced by Link Wray. The Moonlighters De Lone moved to Marin, California in 1972, where he met Bill Kirchen, who had been performing with Commander Cody and His Lost Planet Airmen. In the late 70s, de Lone joined Kirchen's side-project band, the Moonlighters. Their 1983 album Rush Hour was produced by Nick Lowe. Both de Lone and Kirchen later worked with Lowe and Elvis Costello. De Lone and Kirchen still record and perform together. In 2016, they released their duet album Transatlantica. The Christmas Jug Band De Lone is a member of the Christmas Jug Band, a collection of musicians who have been touring locally each holiday season since 1976, and releasing albums since 1987. The band has included musicians such as Dan Hicks, Tim Eschliman, Jim Rothermel, Lance Dickerson, Brien Hopkins, and Norton Buffalo. Richard de Lone Special Housing Project De Lone coordinates an annual fundraiser for eventual construction of the Richard de Lone Special Housing Project, a residential facility for people with Prader-Willi Syndrome, which de Lone's son Richard is afflicted with. As part of the 2007 event, Elvis Costello reunited with Clover, the band who backed him on his first album My Aim is True.

durée : 00:59:27 - Famous - par : Nathalie Piolé -

Our Vermont tech team was joined by Joshua Moses.  Josh works with individuals, organizations, and communities to cultivate vision and resourcefulness in the face of uncertainty and socio-ecological transitions.  He is currently on the faculty of Haverford College.  Josh is currently visiting faculty with us in Vermont at UVM. He joined our conversation dealing with why and how our tech sector requires the perspective of the fine and performing arts and other, broader disciplines defined as humanities. Is there a Vermont way when it comes to the tech sector?  What of Ryan Munn's contention that rural sectors have never in history worked well for its people and we're perhaps on the cusp of that changing through rural economics rooted in latest technology. (Extractive vs. non-extractive economics).  It seems as of late no matter the subset of ideas we're recording about these days the ever-present issue of our changing climate enters the lexicon. So too a discussion towards democracy and what it means to be a valuable citizen.   This recording was no different and our guest provided plenty for the group and you, our listeners to consider as we all consider how Vermont and our tech sector could lead with smart, balanced and informed solutions to work within our complex adaptive environment.  Big thanks to our friends at the Vermont Center for Emerging Technologies (VCET) for hosting our recording session. Find the VCET  Podcast, Start Here ...And in the Jazz Room  In part two of our interview Gary Burton tells us about his work with George Shearing and Stan Getz. He also talks about the "inner player" that is within us all. Follow Gary on Facebook  

В туманную ночь - On a Misty Night так называется альбом, который вышел в этом году и понравился мне сразу после первых аккордов. The Reid Hoyston Project - это проект барабанщика в состав которого на этом альбоме вошли замечательные музыканты. Главная фишка этого квартета - это сочетание пианино, вибрафона и губной гармошки, а так же пять оригинальных композиций. Три написал вибрафонист, и по одной басист и пианист. Обложка альбома, название и музыка полностью соответствуют, передают ясную картину и стиль, задуманный автором. Признаюсь честно, мне не легко было сразу назвать как этот стиль обозначить и тем более выбрать лучшее произведение. Помогла история трека A Tear for Toots - Слеза по Тутсу. Mузыканты, которых люди могут сразу узнать, услышав всего пару нот, немногочисленны. Только поистине великие наделены такой силой. Тутс Тилеманс был одним из них. По мнению знатоков, он был после Жака Бреля, величайшим бельгийским музыкантом прошлого века. Он умер 22 августа 2016 года в возрасте девяноста четырех лет. Между улыбкой и слезами, вот где ты можешь найти меня. Беглый взгляд на тех, с кем он играл, дает понять, кто есть кто,  в джазе и поп-музыке. Charlie Parker, Benny Goodman, Bill Evans, Dizzy Gillespie, Ella Fitzgerald, Pat Methany, George Shearing, Jaco Pastorius, Stevie Wonder, Oscar Peterson, Paul Simon, Julian Lennon, Billy Joel, и этот список можно продолжать и продолжать. Те, кто работал с ним, были глубоко привязаны к нему, как к музыканту и другу. Великий продюсер звукозаписи Куинси Джонс сказал: Я могу без колебаний сказать, что Тутс - один из величайших музыкантов нашего времени. Пьеса A Tear for Toots посвящена Toots Thielemans и ее концовку я выбрал для завершения моей рецензии этого замечательного альбома. СЛУШАТЬ АЛЬБОМ - https://album.link/i/1717149392 That Sunday That Summer - https://t.me/discor/6545 Лучший трек альбома в плей-листе JAZZ по-русски 7 на AppleMusic и Spotify Поставь лайк ❤️ и подпишись на канал JAZZ по-русски https://t.me/discor ©️ 2024 The Reid Hoyson Project Hendrik Meurkens - vibes & harmonica Reid Hoyson - drums & producer Rufus Reid - bass  Billy Test - piano Released January 8, 2024 #lounge #cooljazz --- Send in a voice message: https://podcasters.spotify.com/pod/show/konstantins/message

Felipe Dulzaides, uno de los pioneros del jazz cubano. Durante los primeros 15 minutos del programa los catálogos de las etiquetas RCA Víctor, Gema y Caribe nos permitirán rememorar algo de su paso por la escena musical de los años 50 y 60. Hacia 1951 el variado repertorio que proponía el cuarteto Llópiz-Dulzaides a una audiencia mayormente juvenil era grabado por el sello Panart. Apoyo comercial que abrió nuevos caminos a la novel formación, multiplicando su destaque en los shows radiales y televisivos de esos años. Sin embargo el exitoso rol de Felipe junto a su primo Javier y los hermanos Nolo y Francisco Llópiz, no impidió que su inclinación hacia el jazz y en especial su admiración por el pianista inglés George Shearing al frente de su quinteto, lo llevaran a fundar hacia 1955 una formación similar. Desde esa fecha hasta que el riquísimo entramado de clubes nocturnos desapareciera, clausurado por la llamada "ofensiva revolucionaria" de 1968, el sonido de "Los Armónicos" fue referente indisoluble de aquella banda sonora. Fernando Álvarez y Doris de la Torre, dos voces representativas del feeling cubano cantan con "Los Armónicos". El 22 de enero de 1991 falleció en La Habana Felipe Dulzaides. Recordar la vida y obra de estos músicos valiosos será siempre la mejor manera de preservar nuestra identidad. Una de las voces legendarias de la música popular cubana de todos los tiempos: Barbarito Diez. El catálogo de la etiqueta norteamericana Víctor nos permite recordarlo primero como una de aquellas voces que, durante los años 30 del siglo pasado, identificaron la modalidad creada en Matanzas por el flautista, compositor, arreglista y director de orquesta Aniceto Díaz: el danzonete. Barbarito Diez y Antonio María Romeu. Una fórmula criollísima que, durante buena parte de los años 50s, la etiqueta independiente Panart de Ramón Sabat se encargó de preservar para la posteridad en cientos de singles, agrupados luego en una valiosa serie de álbumes bajo un sugerente título: "Así bailaba Cuba". Para la segunda mitad de los años 50 los conjuntos "Estrellas de Chocolate" y "Rumbavana" fundían en sus repertorios los patrones estilísticos del Conjunto "Casino" y el Conjunto de Arsenio Rodríguez. Con el "Rumbavana", fundado en septiembre de 1956 por el percusionista Ricardo Ferro, cantó a comienzos de los 60s: Raúl Planas con el coro de Guido Soto y Fernando González. Sonero de los buenos es un gusto siempre disfrutar del arte de Raúl Planas. Su paso por el conjunto "Sonora Matancera" fue más bien discreto. En la agrupación dónde realmente alcanzó sus éxitos más sobresalientes fue en el Conjunto "Rumbavana". Raúl Planas, un sonero cubano que en estos tiempos de "salsa", inteligencia artificial y rebajas culturales, es importante recordar. La despedida correrá a cargo de Paulina Álvarez quien fuera una de las figuras femeninas influyentes de la música popular cubana. Como tal, desde los años 30 y hasta el final de su vida el 22 de julio de 1965, fue bien reconocida en los escenarios con el peculiar nombre artístico de "La emperatriz del danzonete". Año 1960 y bajo la batuta del pianista, compositor y arreglista Gilberto Valdés, la etiqueta "Puchito" produjo un notable álbum donde sobresale esta versión del clásico danzonete: "Rompiendo la rutina", original del matancero Aniceto Díaz, a cargo por supuesto de la gran Paulina Álvarez. Paulina y Barbarito. Dos grandes que coincidieron alguna vez en uno de aquellos shows en directo teniendo como lazo el clásico de Matamoros: "Lágrimas negras". Con arreglos y conducción orquestales del maestro Rafael Somavilla escogemos algunas de las grabaciones que, casi al final de su vida, efectuó Paulina Álvarez con el respaldo del sello estatal EGREM. La mejor manera de contar la historia de la música popular cubana será volviendo, una y otra vez, a estos sonidos.

Jay offers tracks of various types—appropriate to the season. From William Byrd on through spirituals and George Shearing. Merry Christmas. Bach, Christmas Oratorio Handel, “Messiah” Byrd, “This Day Christ Was Born” Niles, “I Wonder as I Wander” “Ding Dong! Merrily on High,” with George Shearing and his quintet Gounod, “Noël” Leontovych, “Carol of the Bells” Trad.?, “Long Ago in Bethlehem” Rutter, “Shepherd Pipe's Carol” Adam, “O Holy Night” A medley of spirituals, from Chanticleer

Con George Shearing, L.U.M.E. Big Band, Joshua Redman y Carlos Barretto entre otros. Novedades discográficas, tiempo para la agenda y la actualidad regional, estatal e internacional y como siempre, nuestros obligados de cada semana: el estándar y el favorito. "You must believe in spring" de J.M.Legrand en grabación de George Shearing es el "Standard de la semana" y "Terra de Ninguém" de los lusos "Lokomotive Trio" con Carlos Barretto al frente, nuestro "Favorito". Ahora Jazz, Ed. 2237. Con Javier del Barco.

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Welcome to Jazz Piano Skills; it's time to discover, learn, and play Jazz Piano!Every Jazz Piano Skills weekly podcast episode introduces aspiring jazz pianists to essential Jazz Piano Skills. Each Podcast episode explores a specific Jazz Piano Skill in depth. Today you will discover, learn, and play  George Shearing's "Lullaby of Birdland." In this Jazz Piano Lesson, you will:DiscoverThe Charlie Parker Bebop Tune "Lullaby of Birdland"LearnChords Changes, Harmonic Function, Melody, and Fingerings for "Lullaby of Birdland"PlayMultiple patterns extracted from "Lullaby of Birdland" for developing classic jazz language to use when improvisingUse the Jazz Piano Podcast Packets for this Jazz Piano Lesson for maximum musical growth. All three Podcast Packets are designed to help you gain insight and command of a specific Jazz Piano Skill. The Podcast Packets are invaluable educational tools to have at your fingertips while you discover, learn, and play George Shearing's Lullaby of Birdland.Open Podcast PacketsIllustrations(detailed graphics of the jazz piano skill)Lead Sheets(beautifully notated music lead sheets)Play Alongs(ensemble assistance and practice tips)Educational SupportCommunity ForumSpeakPipeEpisode OutlineIntroductionDiscover, Learn, PlayInvite to Join Jazz Piano SkillsLesson RationaleExploration of Jazz Piano SkillsConclusionClosing CommentsVisit Jazz Piano Skills for more educational resources that include a sequential curriculum with comprehensive Jazz Piano Courses, private and group online Jazz Piano Classes, a private jazz piano community hosting a variety of Jazz Piano Forums, an interactive Jazz Fake Book, plus unlimited professional educational jazz piano support.If you wish to donate to JazzPianoSkills, you can do so easily through the Jazz Piano Skills Paypal Account.Thank you for being a Jazz Piano Skills listener. I am pleased to help you discover, learn, and play jazz piano!Support the show

Found one! And it's a gem! The Swingin's Mutual from 1961. George Shearing and Nancy Wilson.

I met Kenny Aronoff through LinkedIn and thought he would be a fairly interesting podcast guest. Boy, was I wrong! Not fairly interesting, but incredibly interesting and fascinating.   As you will learn, Kenny was named by Rolling Stone Magazine as one of the top 100 drummers of all time. In his biography, you will see a partial list of the people and bands that have benefited from his talents.   You will get to hear how he eventually decided to start playing modern music. This story is one in a million and it, I must say, captivated me right from the outset. I hope it will do the same for you. I do hope you enjoy it. I'm not going to give it away. Listen and see for yourself.     About the Guest:   Kenny Aronoff is one of the world's most influential and in demand session and live drummers. Rolling Stone Magazine, in fact, cited him as one of the “100 Greatest Drummers of All Time” and Modern Drummer named him #1 Pop/Rock Drummer and #1 Studio Drummer for five consecutive years. The list of artists he's worked with on the road and/or in the studio reads like a who's who of the music industry, and includes:    John Mellencamp, The Rolling Stones, Bruce Springsteen, Paul McCartney, Ringo Starr, Tom Petty, Sting, The Smashing Pumpkins, Billy Gibbons, Lady Gaga, Bruno Mars, Bob Seger, Bob Dylan, John Fogerty, Jon Bon Jovi, Elton John, Rod Stewart, Eric Clapton, Willie Nelson, Waylon Jennings, Johnny Cash, Kris Kristofferson, Jerry Lee Lewis, Little Richard, Ray Charles, B.B. King, Joe Cocker, Steven Tyler, Dave Grohl, Chris Cornell, Garth Brooks, Don Henley, Melissa Etheridge, Keith Urban, Lynyrd Skynyrd, Stevie Wonder, Alicia Keys, John Legend, Beyonce, Mick Jagger, Slash, Bonnie Raitt, Ricky Martin, Santana, Crosby Stills and Nash, Celine Dion, Lenny Kravitz, Vince Gill, The Buddy Rich Big Band, Leonard Bernstein, Aaron Copeland, Hans Zimmer and many others.    With a style of playing that combines power and finesse, his unique and versatile sound has been instrumental on over 60 Grammy-nominated or awarded recordings representing over 300 million in sales, with more than 1300 that were RIAA certified Gold, Platinum or Diamond.    Kenny's winning approach to drumming and to life has given him the ability to sustain a successful career for over four decades.                                                                                                                                     In addition to performing and creating amazing music, Kenny is an inspirational speaker.He talks about Living Your Life by Your Purpose, Teamwork Skills, Innovation, Creativity, Hard Work, Self Discipline, Perseverance, and staying Relevant in your career and life.  Striving to always be better have been the tools that have kept Kenny at the top of his game for over four decades.     Author is the most recent addition to his long line of credits.  Sex, Drums, Rock ‘n' Roll! The Hardest Hitting Man in Show Business (Backbeat Books, November 15, 2016). This is not about sex; it is about the same passion that drives us all to be the best we can be doing what we love with those with whom we want to share our talents.    How to Connect with Kenny:   IG   https://www.instagram.com/kennyaronoff/   Facebook https://www.facebook.com/KennyAronoffOfficial   Twitter  https://twitter.com/AronoffOFFICIAL   Linkedin   https://www.linkedin.com/in/kennyaronoff/   TicTok  https://www.tiktok.com/search?q=kennyaronoffofficial&t=1660858209914   Website    https://kennyaronoff.com   Youtube https://www.youtube.com/kennyaronoffofficial   Uncommon Studios LA  https://uncommonstudiosla.com         About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.   Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.     Transcription Notes Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i  capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson  01:20 Welcome once again to unstoppable mindset. I get to do something today. I have not done on this podcast before. But I've been looking forward to it for quite a while. I get to talk to a real live still absolutely functioning incredible man who is also a musician Kenny Aronoff has been a drummer for four decades he has played with basically anyone that you can imagine, although I'm going to try to stump him with one in a second here. But he's played with all of the people in the who's who have music no matter who they are. And and I'm so really excited to have the chance to talk with with him today. So Kenny, welcome to unstoppable mindset.   Kenny Aronoff  02:08 Thank you for having me. It's great to be here.   Michael Hingson  02:11 All while stump you right at the outset. Have you ever played with George Shearing   Kenny Aronoff  02:14 is that the guitar player who   Michael Hingson  02:16 does know George Shearing was a blind jazz pianist? He died?   Kenny Aronoff  02:20 Okay, I know. I'm thinking is that your is another guy had a close name? No, I never did. Well, there   Michael Hingson  02:25 you go. Oh, well, I found one. Well, I don't know he had a trio that he worked with. But I don't know how much he worked with a number of people primarily he played on his own. So it's not too surprising. But that's okay. But Stevie Wonder John Mellencamp Mellencamp. And have you ever. Oh, I gotta ask Have you ever played with Michael Buble? A.   Kenny Aronoff  02:51 Singer, I think he came onstage for one of these big events. Well, I play with everybody. I think I did play with Michael Boulais. He was one of the guests shows we were honoring whoever was, you know, I'll play with 25 artists in one show. Yeah. Might have. He may have been paired up with somebody else singing. Yeah. So I think I did.   Michael Hingson  03:11 Well, you know, we finally got to see him in Las Vegas. He's been my wife's idol for a long time. And I don't I enjoy him too. He's He's a singer who is saying the Great American Songbook, a lot of the old songs and all that. And he was in Vegas earlier this year. And so we got to go see him. And we actually really were very fortunate because we, we were escorted in early because my wife was in a wheelchair. And so they brought us in. And then the Azure came about five minutes before the show started and said, I've got two tickets that haven't been used down in the orchestra pit and they said I could give them to someone. Would you guys like them if the seats accessible? So of course, we said, Sure. Well, it was and we ended up being 18 rows from the stage, actually two rows in front of his family. And we got to see it was it was great. It was a wonderful concert. So   Kenny Aronoff  04:04 yeah, he's very, very talented. He's created his own niche in his own style. And that's a hard thing to do.   Michael Hingson  04:09 It is. But but he has done it. Well with you. Let's start like I love to start. Tell me a little bit about growing up and where you came from, and all that kind of stuff. Well, I   Kenny Aronoff  04:19 grew up in a very unique little town in western Mass, a group and like an old country farmhouse in the hills of Western Massachusetts to be whatever town was Stockbridge, Massachusetts. Maybe 3000 people but what was unique about that town, it was basically a slice of New York City. I mean, New York City was three hours away. Boston was two hours away. And there was a lot of arts. A lot of you know you had theater people there you had the Boston Symphony Orchestra in the next town over Atlanta, Lenox mass, which is three miles away. You had, you know, Sigmund Freud's protege, Erik Erikson, the wintertime Norman Rockwell, the illustrator lived in our town and he I used to go over to his house and me my twin brother. We I think we were in second grade. We should still cigarettes from him. We had a, you know, let's see. Norman Mailer was the next house down for me when you couldn't see anybody's houses where I lived. It was all woods and fields. But Norman Mailer, the great writer was right down the street from me. Another eighth of a mile was a Patty Hearst used to live in the house which they she had rented from the Sedgwick family, which is where Edie Edie Sedgwick came from that family. Down the bottom of the hill was a summer stock theatre where a lot of actors would come up from New York to get out of the city. So I met like, you know, people like Franklin Joe of Faye Dunaway and Bancroft, Arthur Penn, the movie director lived in our town, and so he would direct some place there. Goldie Hawn, which Dreyfus, they went on and on it. And this, this seemed normal to me. I didn't realize Daniel Chester French, who, whose was the sculptor, who did you know, the Washington Monument and Lincoln Memorial, he he at one point did our area. And when I went to Tanglewood, which is the most elite student orchestra in the country, if not the world, took me four years to get in there. But it's won by the Boston Symphony Orchestra. They only take seven percussionist in the whole world, when you when you audition, I literally failed three years in a row. And in my fourth attempt, I got in, but on that property is Nathaniel Hawthornes house. And he wrote The Scarlet Letter. I mean, I can just go on and on this area was just an extraordinarily extraordinary place to grow up with it was so many arts and intellectual people. But the thing that was amazing about this town was that it didn't matter. If you had money or had lots of money, everybody, you know, houses one locked keys were left in cars. It was a community. It was a it was a community where people support each other. So it's a great place to grow up.   Michael Hingson  07:13 That's one of the things I've always liked about Massachusetts. I lived in Winthrop for three years back in the well, late 1970s, early 1980s. But I always enjoyed the camaraderie and it was really hard to break into the community. If you were from the outside and I was viewed as an as an outsider, though I worked as hard as I could to, you know, to try to be involved. But if you weren't from there, it was really tough. By the same token, people were very kind to me, so I can't complain a whole lot. Yeah. Yeah. It was pretty good. And I was you actually beat me to the question I was going to ask you if you had ever made it over to Tanglewood. I never got to go up in here the symphony in in the winter in the summer. But I did needless to say get over to hear the pops on several occasions and and that was fun. And there's nothing like the Boston Pops. There's other than a Boston Symphony for that matter, either.   Kenny Aronoff  08:13 Well, I got to perform timpani on that stage. And with Leonard Bernstein, conducting Sibelius Fifth Symphony Orchestra, which is a feature of the timpani in and it's, it was incredible. So you know, my parents saw Easter dragged me to the concerts I didn't really want to go. And I ended up then being in we actually did Fourth of July with Arthur Fiedler. And apart from mingled in with   Michael Hingson  08:40 the half shell. Yeah. So you went to school, went to high school and all that, how long did you live there?   Kenny Aronoff  08:48 Well, I lived in non stop until I was 18. After 18, I went to one year at University of Massachusetts at Amherst, which is about an hour down the road. And then I transferred Well, what I did was I got into the Aspen School of Music, one by Julliard after my freshman year. And that's where George gave me the professor of Indiana University School of Music, now called the Jacobs School of Music. He was a he went to the percussion department at the school and this is the number one school of music in the country, if not the world. Yeah. And I wanted then I liked this guy. He was so deep. He was more than just a percussionist. He's a philosopher and a well rounded man. Anyway, I wanted to follow him and go to Indiana University. You have to realize I mean, Indiana was the best school and so I wanted to be in that school. And I demanded an audition up there and he tried to talk me out of it. Try to come back in January and will audition then. Then I said, Absolutely not. I want to audition. Now. I don't want to come to Indiana University, from the Aspen School of Music. It was a summer program. I convinced him I did audition, you had to audition for four different departments to get in. And it just so happened that they had people from four different departments that are you teaching up there like brass, woodwinds, violin percussion. And I auditioned, got in and spent four years at Indiana University. Now, that's when I started to spend more time away from home. Because you know, I was gone. You know, I come home for Christmas and summer, but that was pretty much it. Yeah. And it was an incredible education.   Michael Hingson  10:35 What? So, you, as you said, were dragged kicking and screaming to concerts and so on What changed your mind?   Kenny Aronoff  10:46 When I started to actually study classical music and start to perform in orchestras, I, I appreciate every style of music, and especially if it's done, right. And I've really, really enjoyed classical music. I mean, it was even though when I was a kid, and once rock'n'roll came out, it was like, you know, how was the classical music, but it was still on the soundtrack. To my upbringing, my parents had classical music and jazz on the turntable. They were from New York City. And that was very popular in that that time for them. So I didn't most keep the kid I had too much energy to sit and watch a concert, but performing it, you know, it was a different story. And then I became really good, eventually got into the Jerusalem Symphony Orchestra after I graduated Indiana University. And I actually turned it down, which was a shock to everybody. Because I'd spent five years becoming great at classical music. And I turned it down. Because I mean, and thank God I did is because I was following my heart, my deepest desires, my bliss, or your, you know, whatever you want to call it, I wanted to still be in rock bottom open. Now, let me back up a little bit when I was 10 years old, playing outside of that country farmhouse. And there was nothing to watch on TV back then. There was no case not   Michael Hingson  12:12 much more now, either. But yeah, with the so what year was that?   Kenny Aronoff  12:17 That was 19. I want to say 1950 1963 or 64. And maybe mom yelled at me, my twin brother come in the house. And we were like, Oh my God, what do we do wrong? You know, like, we thought we'd done something wrong. And what it was that we come running across the lawn, and we'll get to the family room, she's pointed a black and white RCA TV set with the rabbit ears to get better reception. And on TV. Also never, you know, for guys playing rock and roll music, you know, electric cars and bass, that long hair, and I don't know who they are. But I heard rock and roll on radio, but I'd never seen it live. And I. I mean, I was at that very split second, I realized what my purpose in life was before I even knew what those words meant. And I just knew I wanted to be doing that. I wanted to be part of that. I want to be part of a team of guys that's playing music, like they are and I said to my mom, who are these guys said, Well, they're the Beatles, The Beatles, I want to be in the Beatles call him up, get me in the band. And give me a drum set. I don't want to play piano anymore. Anyway, she obviously didn't call the Beatles up and didn't get me a drum set. So that was where I was really blown away and realize this is what I want to do. So when I turned on the Jews from Symphony Orchestra, I turned out certainty for possibility or turns down certainty for you know, complete uncertainty. And that was that one we wanted to it's what Yeah, to do. Exactly. And thank God, I followed my heart because obviously it paid off. But it was a struggle, man, it was like took a long time for me to eventually run into a guy like John Mellencamp, who he took a chance with me, and then took a long time for me to, you know, plan a song, play a drums on a song that got on the record, you know, when I first got in the band that I had only and the reason why I got in the middle of combat is because I got the last record that they had, and they were looking for a drummer, and I just memorized everything that all these other drummers did on the record. And well, in that case, it was just wondering what but they I memorize him he played in so I won the audition. And five weeks later, we were making a record in Los Angeles. And I realized that you know, or the producer basically fired me after two days, because I had no experience with making records, you know, to get songs on the radio to be number one hits, and I was devastated. You know, I was like hey, but I played with Bernstein and Bernstein and didn't matter. I had No experience. I didn't understand the value of teamwork the level of it's not about me it's about we it's not about what I'm playing. It's about what can I play to make that song getting the right record that will eventually be played on radio and become a one hit single.   Michael Hingson  15:18 Usually got to add value.   Kenny Aronoff  15:21 Well value to the team   Michael Hingson  15:22 that was the most that's what I mean by adding Yeah,   Kenny Aronoff  15:25 yeah. Because you know, when you try to be great at anything, it's all about you. It's all about me. But to be Tom Brady are a great you know, a leader and be a great you know, do something great for the team. It is about the team. It's not about you serve the band, serve the song serve, whoever's in there. You know, serve, what can I do to get that song to be elevated to be a number one hit single? Because if you if you become an if you have a number one hits, surely you're gonna make millions dollars. It's the way it was when I was a kid.   Michael Hingson  16:00 So for you starting out more doing the I oriented kinds of things, but then moving to the we mentality, which is essentially what I hear you say, how did your style change? How did you change? How did it affect what you did?   Kenny Aronoff  16:17 Well, I wasn't thinking about just what I want to play. I was thinking about what can I do to get this song on the radio so in and I had to think about how I can be the greatest drummer I can be for John Cougar Mellencamp songs. So I started don't my plane down and made it simple and started to simplify what I was doing. And that really worked. I started this into Rolling Stones, Creedence Clearwater, Bad Company, groups, where the drummers were playing with authority. They had they pick the right beat, they kept time, they made it groove. But ultimately, it was to make those songs that song better, you know, and that's what I started changing. I simplified my playing. And I remember thinking, Man, I gotta learn to love this. Because if I don't love this, I'm gonna suck at this. If I suck it this, this, just get another drummer. And so I had to learn how to pivot into serving songs serving the artists.   Michael Hingson  17:15 Did you ever meet Buddy Rich? Absolutely. I've kind of figured, or that other great drummer Johnny Carson.   Kenny Aronoff  17:23 And never met Johnny Carson.   Michael Hingson  17:25 I remember I remember watching a Tonight Show where the two of them Oh, yeah. Did drums together?   Kenny Aronoff  17:32 Oh, it was incredible. But he was tribute record. And that was an such an honor. Playing you know, to to blazing. Well, one was the medium tempo song, big swing face, which was title of an album, and the other was straight, no chaser blazing fast. And it was it was a very meaningful experience for me.   Michael Hingson  17:54 You know, and clearly, you respect that and just listening to you. You, you respect that, that whole mentality and you're approaching it with a humility as opposed to just being conceited, which is, which is great, because that really is what makes for a good team person.   Kenny Aronoff  18:15 Yeah, I mean, yeah, I mean, once again, at that point, I understand a student serving, you know, serving the song serving the artist, serving you know, whoever, whatever it is, what can I do to be great?   Michael Hingson  18:28 That's cool. So you know, you, you've done that you say you started playing, so was your first maybe big break in the whole rock world with John Mellencamp, or Yeah, it happened after you turn down the Jerusalem symphony.   Kenny Aronoff  18:45 Well, after a turn on juicing shift and went home, I started practicing eight hours a day, seven days a week at my parents house, I humbly moved back home, and still didn't know how I was going to break into the Rock and Roll scene. And after a year, I after a year, I decided to move to Indiana and start a band with a bunch of guys and somebody and one of their dads invested a lot of money into getting as a band truck lights, PA, and the business model was to write songs, get a record deal, record those songs, and then go on tour. And after three years, we didn't get a record deal. And I was like, Man, I don't know what what I'm going to do. So I decided I was going to move to New York City, which is one of the top three centers of the music business. And I ended up a week before moving to New York City. I have lunch with the singer songwriter, woman Bootsy Allen, who asked me what I was doing. I said you have gone to New York. Are you going to crush it good luck. And they said you know there's a guy in town I don't know if you've heard of him is John Coogan guy. He's on MTV, this new network and he's made records, you know, who is this? Yeah, for whatever. I wasn't a big fan of his music. It was very basic. And at that point, I was born to technique and chops, which is something you know, usually when you're young, you're like, you want to do more as more. But she said, yeah, man, he's they just got off tour, they were opening up for kiss. And he fired his drummer last night. And I was like, what, and I was in my head of going thinking the meaning of a god, that's records touring, MTV, oh, my God, this this is like being in the Beatles. This is what I dreamed about. I went running out of the restaurant, went to a payphone and called up books, there was no cell phones, and I call up my buddy Mike, and in the band and said, Look, I hear you might be looking for a drummer that got audition. He said, Call me back in two weeks, and we're going to try to sort some things out. And eventually, I do get a call, oh, he called me back. And I did audition. And long and short of it is I, I won the audition, because I prepared intensely practicing six, eight hours a day, trying to learn all the drum parts that were on the last record, a winning audition. And five, we say well, now Nellie making the record which I got fired on, as I mentioned,   Michael Hingson  21:20 then what happened after you got fired?   Kenny Aronoff  21:23 Well, that was crucial. That was a life changing moment, when John said, with a producer, I thought it was John, but it was a producer wanted to get this record done. And I had no experience making records. So he wanted to get it done in eight weeks, which is not a very long time to go toward a new band and do overdubs, get vocals and mix and master. So he wanted to bring in his drummers. And when we had a band meeting, and I kind of knew I could tell something wasn't right, my my spidey sense that something's not right. We had a band meeting and John told me I'm not playing on the record. And the words came out of my mouth and life changing. And he said, You go home at the end of the week, I said, No friggin way. Am I going home. And I remember the band looking like Oh, my God. Can't believe K Dick. Because you know, John was pretty tough guy is pretty tough. And so they felt what's gonna happen next. See what happened was happening there. As I was overwhelmed. I felt like a loser. I felt like a piece of crap. I felt like just I was every negative thing sad, you know, depressed, and I was bummed. He was stealing my purpose, my whole deepest desires. My whole reason that I'm alive. He was taking that for me. I just said, There's no way and I told them, I'm not going home. And that'd be like me telling you, you're fired. And you go, No, I'm not. I'm like, Dude, you're fired. And like, No, I'm not. And What don't you understand about the words you're fired? So I just, I mean, I am. I said, Well, due to my studio drummer, what? And he goes, Well, yeah, but you're not playing on the record. And I started scrambling, I said, Well, I'll go in the studio and watch these other drummers play my drum parts on your record, and I'll learn from them and I'll get better. And that's good. Fuchs, I'm your drummer. He was silent, didn't say a word. Shit. We're okay. You don't have to pay me, I'll sleep on the couch. And then he said, perfect. And that's what happened. And that was a life changing moment. Because if I had gone home, who knows what would have happened, maybe you've gotten another drummer. So that was a jaunt. To me in my autobiography, sex, drugs, rock and roll, he was saying, Wow, he really respected me for that, at that moment, he didn't realize I had that, you know, that I cared that much. And I would, you know, stand up to him and demand to be there. And he respected me for that. So how, yeah,   Michael Hingson  24:02 how much of it was ego and how much of it was really following your heart at that moment?   Kenny Aronoff  24:07 It was more about fear. And about following my heart, okay. No, I was like, I see what you mean about ego. I didn't want to go back home and I would have been ashamed to go back home and, and but but the fear of losing this gig and the fear of the unknown and what comes next was making me want to fight for what I had.   Michael Hingson  24:31 Yeah, um, you know, when there are a lot of people who are excellent in their fields, and they think very highly of themselves, which is fine, except that really detracts from the the team orientation which I know you understand full well. And so, it it's great to hear that it was really more following your heart and really you wanting to do the right thing. and having the courage of your convictions?   Kenny Aronoff  25:03 Well, yeah, I mean, I didn't see any other way out. And I've been banging my head trying to make it for four years after turning down the Jerusalem symphony orchestra. And I was 27. And I thought, Man, I don't know any options. So I want to do this, if I'm going to make this happen. And, you know, if I look back at my life, when I'm passionate about something, I make it happen, you know, it's easy to get along with me, I'm a great team player. But there is definitely a point where I will like, draw a line in the sand. And I might be very nice about it. But um, you know, I this is, I will fight for what I want. And it's usually backed by passion, and desire, and when anything is backed by passion, desire, or purpose, or bliss, or whatever you want to call it, you know, you're gonna, you know, you're gonna get what you want, and it's gonna be hard for people to convince you otherwise. And so yeah, that's pretty much, you know, when John was taking away my, my job, I saw no other options, and I'm seeing torn MTV, regular TV, and making records. And being part of a band that I truly believe was gonna make it and I was like, that, there's no way I was going to just lay down, you know?   Michael Hingson  26:29 Are you a person who reacts to things knee jerk reaction, although they may very right, or would you say that somehow you've internalized and when you make a decision, is because you've really thought it through, which doesn't mean that you have to take a long time to do it. But do you? Do you think that you are the kind of person who when you say, I'm going to do this, it's the right thing to do, is because you've really thought it through?   Kenny Aronoff  26:55 Well, it's both I mean, there's a lot of things I do, because I have thought it through. But there's no question that at any given moment, if something comes across my table, and it strikes me from a place of my heart, not my brain, but my heart, and my passion, I will react. And that's when I'll use my brain to maybe observe and ask questions. But many times I've said Yes, before even, you know, get deep into asking questions when something blows me away, and I'm excited. Paul McCartney called me up and said, I want to make a record with you. I mean, it would just be a mad automatic. Yes. You know, it before it find out no, we're gonna make it in Siberia. And there's no heat in the building or something. And I mean, I'm just gonna say Yes, right away, because it's Paul McCartney. And now Yeah, yeah.   Michael Hingson  27:53 Yeah. I mean, that would make sense. But you've also, you've met him, you know, him, you've learned to trust too. So it's not like it is an unintelligent decision to just immediately say, yes.   Kenny Aronoff  28:07 Yeah, I guess with pa Yeah, of course. But I mean, you know, take somebody else, you know, I don't know. Somebody. That I don't really know that well. Sure. You know, and I would if it's the right person, I'm gonna go Yeah, right away.   Michael Hingson  28:23 Yeah, well, yeah, exactly. But still, and the if it's the right person, part of it is very relevant, it still means that you've done some thinking about it. One of the things I love in listening to you tell the stories is like with John Mellencamp, you really said look, I want to learn now, if I'm if I'm your drummer, and there's a problem with this record, and all that, then I want to learn what I need to do. So it will happen again. And the real great part about it is that you say I want to learn, I love people who are always interested in learning and becoming better and don't think so highly of themselves that they don't have anything else to learn.   Kenny Aronoff  29:03 Well, no, that's true. You know, I've I won't mention names, but I remember going up to a very, very famous singer. And I remember saying I could see he was frustrated, trying to explain what he wanted me to do. I got off the drumset when went up to him, I said, Listen to there's nothing I can do. You know, uh, you just have to be very specific about what you want me to do. And I will do it. Because I can do it. And I want to learn I want to be great. I want to and when you're working for an artist, you're in a place of service. So I want to get it I know I can get it. There was just a disconnect for for for the explanation. And that took took a while to work out but the bottom I saw his frustration, but I was trying to let him know dude, I can do anything you want. I'm capable. And I meant.   Michael Hingson  29:55 Again, the operative part is it sounds like you worked it out.   Kenny Aronoff  30:00 Well, I've worked out enough, you know, I've done so many big show. I mean   Michael Hingson  30:03 with with that person, you're able to work it out. Oh, that person? Absolutely. Yep. Yeah, that's my point. And so you do, you do explore. And that is, that's a wonderful trading characteristic that more of us should develop. And we should have confidence in ourselves to know what we're capable of and know what we're capable of learning, and then go forward, which is what I'm hearing from you.   Kenny Aronoff  30:32 Yeah, absolutely.   Michael Hingson  30:35 The first time I did a speech in public after September 11, I got a call from a pastor of a church and he said, I want you to come and tell your story he had then I'd been on Larry King Live two weeks before first time I'd ever been on CNN and Larry King Live, but it was again after September 11. And I was used to being in a in a public setting. So it didn't bother me a lot. But this guy calls up and he says, I want you to come and tell your story. We're going to be doing a service to honor all the people who were lost from New Jersey in the World Trade Center. And I said, Okay, I'm glad to do that. And then I said, just out of curiosity, any idea how large the service will be? How many people will be there? And he said, Well, it's going to be outside probably about 6000. You know, I've never done a speech before. And my immediate reaction was, it didn't bother me. Okay, great. Just wanted to know, and I've done some things in church before, and I've, I've talked in some public settings, but not to do a real speech like that. Yeah. But, you know, I knew that it didn't matter to me if it was 6000 or six, four, for me. There were techniques to learn. And over time, I learned that good speakers don't talk to audiences, they talk with audiences, and they work to engage people and, and when the in their speeches in various ways, and it's so much fun to do that. But 6000 It really just worked out really well. And there were other people there. Lisa beamer was there, her husband was Todd Beamer, the guy on flight 93, who said let's roll and, you know, it's a pretty incredible night and I'll never forget it. But you know, you know what you can do and when you really know your capability, but are willing to share it and grow and learn. What more can somebody ask for?   Kenny Aronoff  32:30 Yeah, I mean, I, my thing about being alive on this planet is to get the most value out of this life. I'm not I hope there's something after this, but whether there is or not, the point is to get the most value out of this life when it's very short. So I'm not wanting to sit, I'm just wired that way. I'm not sitting sitting on a couch, just you know, hanging out on a daily basis. You know, I I've played on 300 million records sold. I've toured with some of the greatest bands in the day, as diverse as you know, the highwomen, which is Johnny Cash, and Kris Kristofferson whether James will Richard to Jerry Lee Lewis to the Smashing Pumpkins and Tony Iommi, from Sabbath to Boston Symphony Orchestra and Ray Charles and BB King to sting to The Beatles and The stones. And I feel fortunate that I get to play with so many different people because you get pigeonholed in my business. You're a rock drummer, you're a country drummer, you're this, you're that drummer. So and that that definitely ties into the ability to be able to connect, communicate and collaborate with people because who they want in the room with them. It's not just the most talented musician, it's somebody they want to hang out with. Mellencamp is to say, look at, I need people I get along with, I'm lonely on stage for two and a half hours. While the rest of the time I got to hang out with you guys. So I want people like get along with you. Right? You know, and I get I totally got that. Because the thing is, is that to get what I like about getting the most value out of life is that I'm wired to grow and learn. And the beauty it's a building, you know, a skyscraper, you know, the top only exists because you built the foundation from the bottom, you work your way up and you get, you have to be strong and you build and I don't believe in mistakes or failures. They're just events that get you to the top. And if the words mistakes and failures, bring in negative energy to your body, so I don't even use those words anymore. Everything's an event. Something that doesn't work out the way you want is a learning experience. It's a gift. And I'm like, basically Tom Brady, you know, you're always trying to get into the endzone. If you get if you fumble, you get sacked or whatever. Whatever life is filled with sacks and dropping the ball. He said where are you trying to go? What you Northstar or my North Star is the end zone. So that happened, what did I learn from it? How are we getting in the end zone? And that's where I look at life.   Michael Hingson  35:08 Yeah. Well, and, you know, to to extend your, your thought, I agree about the whole concept of mistakes and failures for me. And people have said it. And I and I firmly agree with, like Zig Ziglar, and others who say that there's no such thing as a mistake. It's a learning experience. And the question is, do you learn from it? And that's the real issue, do you learn from it, and I, I, where, after September 11, I started speaking to people and traveling the country and still do, and enjoy it immensely. But one of the things that I realized over the last three years with the pandemic is that I've never taught people some of the techniques that I learned along the way and used just because they came along, to not be afraid. On September 11, I had developed a mindset that told me that I can observe, I can focus and I don't need to be afraid. So we're starting to actually we're, we just submitted the first draft of a book about learning to control your fear so that you don't be an individual who when something unexpected happens, you let fear as I put it, blind you, you learn how to use that fear to help heighten your senses and direct you. And one of the things that I talk about is the whole concept of how much do you at night take time just to be introspective and look at the day? And what happened today? What what do I learn from this? How could I have done this? I was successful with this, but how could I have been even better? Or this didn't go? Well? Why? And what can I do about it and really think about it, you know,   Kenny Aronoff  37:01 that's good stuff that's very valuable, that says, that's a good way to learn, because you can learn from yourself. And, and, and sometimes we have to repeat things, many, many, many times to finally get the lesson. But if you do what you just said, and you take inventory and what went on that day, you could possibly learn that lesson way quicker.   Michael Hingson  37:24 And I've changed my language a little bit, I used to say that you are you're always going to be your own worst critic. And I realized that's negative. I'd rather say I'm my best teacher, if I allow myself to do it. And that is so true, isn't it?   Kenny Aronoff  37:39 Absolutely. That anything negative, you should throw out the window and pivot it, flip it to the it's always positive. And there's definitely always another narrative. And the positive narrative is always going to serve you better than the negative   Michael Hingson  37:55 always will. There's no great value in being negative and putting yourself down. You can be frustrated by something that didn't go the way you thought, Well, why didn't it? It may very well be that there's a legitimate reason why it didn't work out. But if you figure that out, and you allow yourself to teach you about it, you want to make you won't make the same scenario happen again. You will be successful the next time.   Kenny Aronoff  38:22 Yeah, absolutely. Yep. I totally agree with you on that.   Michael Hingson  38:26 So have you done anything in the music world dealing with rap?   Kenny Aronoff  38:34 I've never been on a rap record. But when you know, I remember being in the Mellencamp band. And that was a long time ago, I left in 96. I remember I was listening to some Snoop Dogg and I was grabbing ideas from those records and bringing it to melachim. That's what we were always encouraged to do. Back then they were budgets long we could make spend nine months making a record. And you could do a whole record sort of way and start from scratch. But I was getting ideas with ideas, loop ideas. I remember making sleigh bells on a song. Super I played sleigh bells on a whole bunch bunch of songs on early records in the 90s. And I copy that and John loved it. It's a different thing. And so yeah, in that regard, I did learn a lot from the rap music.   Michael Hingson  39:22 I've I don't know my my view of rap has always been I think it's a great art form. I'm not sure that I view it in the same musical way that that some people do because it's not so melodic, as it is certainly a lot of poetry and they kind of put poetry and words to to music in the background. But I also believe it's an incredible art form listening to some of the people who do rap. They're clearly incredibly intelligent and they're, they're pouring their hearts out about what they've experienced and what they see sometimes in ways that you don't even hear on regular mute. Music?   Kenny Aronoff  40:01 Oh, yeah. I mean, there's no question that it's, it's a, it's a form of music. It's a reflection of, you know, we're societies that you know, I mean, the arts will always reflect where people are at, and is a huge audience of there's a lot of people that can relate to this whole style of, of music or what rap is. It's a lyrics are very powerful in that they it's mostly centered around a beat and lyrics. And yet a lot of attention is drawn to that, as opposed to just take a band where they have, you know, two guitar players playing melodic lines and the keyboard player melodic line. And there's none of that really going on not not to the extent of of that in rap music. And although some people have added Dr. Dre at a lot of stuff, to the people he's worked with, like Eminem, but still, it's more centered around the voice the person.   Michael Hingson  41:04 And message and the message.   Kenny Aronoff  41:06 Oh, absolutely. The message. But you know, the thing is, is it's you, I guess it's up to everybody decide. You can call it whatever you want. And then it doesn't matter. If somebody's digging it. They did. They don't they don't is that?   Michael Hingson  41:23 Well, it is absolutely an art form. And it's an art form that should be as respected as any. In certainly it is to pardon the pun struck a chord with a lot of people and that's fine. And it's in it's great that there's so much of it going on. So what kind of tours have you been on lately? What kind of music have you done or what's coming up?   Kenny Aronoff  41:46 But I just finished the Joe Satriani tour. He was one of the greatest guitar players on the planet. Because it was just an evening with Joe Satriani. It's a very tech the music is very technical. It was, it was great for me because I was, you know, my, my technique excelled tremendously to play those types of songs. I'm going to Europe with him. See, April, May and how to June for nine weeks doing a thing called G four, which is a camp that he does in Vegas, which will feature the guitar players Eric Carroll, Steve Luthor, Steve Morse, C, Peter Frampton, and a bunch of other people. Basically, when I finished the Joe Satriani tour, I had 85 songs waiting for me to learn. Some of which I recorded my studio, I have a studio called uncommon studios. I tried to push back all the records I was going to make while I was on tour to when I got off tour. I did that and then I just finished doing a show maybe three nights ago with Jim Mercer and the owner of the Indianapolis Colts, who's showing his museum is so American collect collectibles as he calls it, a collection snatches musical instruments but it could be like, you know, American cultural type stuff like Abraham Lincoln's handwritten letters, you know, eases Wharton's writings, Muhammad Ali's gloves and belt from the thriller from Manila fight. I mean, it just goes on and on. And so I did a concert with him, but that featured like Kenny, Wayne Shepherd and Wilson from heart, John Fogarty, Buddy Guy, and Stephen Stills, and that was 30 songs. I had to learn and perfect. I write everything out. I know every tempo, I know all the song structure. So my goal is not just a drummer, but it's also to kind of keep everybody in it straight. And in line. We only have 112 hour rehearsal night before and the next day. It's, it's the show, so it's massive preparation. And next week, I'm going to do Billy Gibbons. So this week, on Thursday, I'm gonna do Billy Gibbons, a birthday party at The Troubadour and Swidler no songs, I'm finishing I'm starting to edit my second book. It's a self help book. It's about you know, living your life loud and how important time is in the short life we live. That goes into my speaking world. I have an agent and I do inspirational speaking, I'm mostly corporations. And so that book is kind of like, as a lot of the stuff that's in that speech, but a lot more with a lot of action items and takeaways. I'm just, I just put out a drum book. During the pandemic, a transition to my studio where people send me files, I make records for them, or I play drums on the records. I turned it into a place where new virtual speaking and now I may be launching a very a podcast with I have a whole team that will be you know produced to a director and everything, and I can do that from my studio, I have a wine that just came out. Uncommon wines just won an award. It's a cab serraj. Limited Edition. But yeah, I got a lot going on.   Michael Hingson  45:15 Well, and that keeps you busy. And it's obviously something that sounds like a lot of fun for you.   Kenny Aronoff  45:21 Absolutely. That this point, it's like, if it's not fun, I ain't doing it.   Michael Hingson  45:25 Yeah. Yeah, if you can't have fun, then what good is the world anyway?   Kenny Aronoff  45:32 It's up to you, man. It's up to you. You know, this, you know? We everybody has? Well, most people have options. So, you know, some people, you know, maybe less than others. But, you know, I just said, it's all in your mind. It's a mindset, you know, you can make things better, or more difficult. It is up to you.   Michael Hingson  45:58 And I think you really hit the nail on the head, if you will. Everyone does have options. And a lot of times we have more options. And we think we do we undersell ourselves, we underestimate ourselves, which is why I love doing unstoppable mindset. Because my goal is to help people recognize that, in reality, they probably are a whole lot more unstoppable than they think they are.   Kenny Aronoff  46:20 Yeah, well, exactly. But only you can figure out your power. It's up to the individual. And this is not a mental thing. This is an emotional thing. You have to feel your power. And and I think that's like a thing I call RPS repetition is the preparation for success. And that could be anything, anything you do over and over again, you get better at because you're doing it over and over again. And sometimes it takes longer to get somewhere with one thing then other things, but it's you can't just set it and forget it. You can't just like be successful one day and think that's it for life. No. I used to practice on the Joe Satriani tour, a song called Satch Boogie twice a day. And people go, why may you play that greatest said, because I played every day. And preparing every day? Yeah, playing it at night. That's why it sounds so good at night. And when I don't, then I usually learn a lesson that I need to do that I'm talking about the more technical things, you know.   Michael Hingson  47:24 Sure. Well, and that brings up the question of like, you're preparing to do the event at The Troubadour and so on, how do you prepare? What is it you do to learn the songs? How does all that work?   Kenny Aronoff  47:36 I've read every single note out that I'm going to play. Check out the church right here. For the viewers, I can hold up one sheet of music, very detailed. I write every single note out I got the tempo, and know exactly what to do, then I just drill it. I run through it. I practice the songs. When we're done. I'm going to practice that whole show tonight. Tomorrow, I'll practice it twice. And then Thursday, I'll practice it and then do the show.   Michael Hingson  48:05 Do you record your practice sessions? So you can listen to them? Or do you   Kenny Aronoff  48:10 know that that would be a real? That's a good thing to do? No, I don't. And it's no. That's a good, that's a great way to learn. But it's also time consuming?   Michael Hingson  48:24 Well, it well, it is a but you then get to hear it in a sense from the perspective of listeners.   Kenny Aronoff  48:32 So I do but I will I'm playing I'm listening to Yeah,   Michael Hingson  48:36 I understand. Yeah. And that's why for you, it may or may not be the best thing to do. I know for me, when I do a podcast interview, I will go back and listen to it again. And I do that because I want to see how I can improve it and see easiest way for me to do it. I listened to myself when I'm talking. And I listened to the person who I'm talking with. And I do my best to interpret their reactions and so on. But still, for something like this, I get to learn a lot by going back and listening to it. And as I as I tell everyone I talked with about this, if I'm not learning and it's the same thing with speaking if I'm not learning at least as much as my audience or my guest. I'm not doing my job. Well. Yeah.   Kenny Aronoff  49:27 Well, you don't I mean, there's no question listening to what you do is great. Great way to learn. I'm using is moving so fast and doing so much that just Yeah, I don't have time. But that's no question. I think that's a great way to learn. You know, and when I see myself I feel myself speaking. Oh my god, that's so humbling, right? Yeah. Oh my god. And   Michael Hingson  49:51 it's such a when you're speaking and you're doing an auditory thing like that it probably is best to go back and listen to it. I remember when I was are at the UC Irvine radio station que UCI and was program director. I worked to get people to listen to themselves. And they they would record their shows. So we actually put a tape recorder in a locked cabinet, a cassette machine, and we wired it. So whenever the mic was live, the voice was recorded. And then we would give people cassettes and we would say that you got to listen to it before the next show. Yeah, it was really amazing how much better people were. At the end of the year, some people ended up going into radio because they were well enough. They were good enough that they could be hired and went on to other things. Yeah, and it was just all about, they really started listening to themselves and they realized what other people were hearing. Yeah, no, that's,   Kenny Aronoff  50:51 that's, that's a great, I think that's brilliant. You know,   Michael Hingson  50:56 it's a it's always a challenge. So, so for you. What was the scariest or the, the weirdest show that you ever did or performance you ever did?   Kenny Aronoff  51:10 Well, probably the most one of the more scary moments in my life was when I was 20. Barely 23 And maybe I was still 22 I for my senior recital at Indiana University. You know, I was a performance major. I got you the way we learned how to play melodies and have that type of education because we play violin music or cello music on marimbas. Well, for my seniors I pick the virtuoso Violin Concerto that Itzhak Perlman played as his encore, in his concert I saw when I was a freshman, and so beautiful, but highly technical. And I spent one year, two or three hours a day, learning that one piece one of four pieces on my senior recital. And it was I learned it so well, that my professor won me to audition for concerto competition, and I won, which meant that I performed that piece with the 60 piece orchestra in an opera Hall bigger than the New York met, which is an Indiana University. Now granted, this is the number one school music in the country for classical music. So this is there's no handholding. There's no coddling, there's no trophies. This is like being I want to almost say like being a Navy Seal, especially with my teacher. But that guy helped make me and I was the right student for him become who I am. And the discipline that I learned from was extraordinary. But anyway, I've never, you know, usually when you're a percussionist, you're in the back the orchestra. So this was the hear the rolling the marimba out in front of the this big concert hall. And I'm in the wings, you know, with a tuxedo and I walk out like the solo violinists. And I was crapping my pants in the whole thing was memorized. And oh, man, I was terrified, but I crushed it.   Michael Hingson  53:14 Well, you took control of your fear.   Kenny Aronoff  53:18 I do well, I tend to I tend to take fear and use it as as a not a weapon, but I use it. It'll alternative the power, it is power. But on the other hand, we do have the ability to sabotage ourselves. And that's something is a child would do. Because you have self doubt you're small. everybody around you is big. You've got parents, teachers, coaches, whoever telling you, Kenny, that's wrong, bad, bad, bad. And as a little guy, you know, you're trying to please everybody. Then maybe my teachers saying to me, sometimes when I make a mistake, he'd look at me go, Kenny, are you afraid of success? And I'm like, What is he talking about? But realize that when you're younger, you start to think you're gonna make I'm gonna mess this up. Oh, here it comes. And you do and you do. But now that I'm older, I realize from this, this I hate that so much that I want to be successful so much. I overpower any of those feelings. I'm like, it's more like I got this and I'm gonna get it. And I meet believe it. But I can't tell anybody listening. There's a quick remedy for that. You don't take a pill and all sudden you become that? That's a long talk because I used to think how long am I going to end up being like this why sabotaging myself where your fear takes over. Now, I use my fear as my strength. I don't even know if I want to call it fear. Somebody says you get nervous when you do Kennedy Center Honors or any of these shows. At this point. Hell no. I don't get fearful As I get serious, I'm like in the Superbowl, and I know I can win. But I also know that things will not necessarily go the way you want. Because you're not the only one on that stage. Right? People, it's my job at any moment to be able to adapt, or die. You adapt immediately. You fix it, or you die, and I'm not about dying.   Michael Hingson  55:25 Have you ever had any experiences when you were on stage? And in a sense, you blew it? But then you recovered or anything?   Kenny Aronoff  55:34 Oh, yeah. Okay. Well, what you want to call blow it blowing, to me would be just one note in the wrong places. To me. It's nothing I don't like but the huge. The place I'm in now is I know very, very, very. I know how important is to forget about that. And to stay focused and stay in the game. It's like Tom Brady getting sacked. And his two minute drill to win the game. He gets sacked. He's got to be you can be pissed off for a second but he's immediately focuses on endzone, touchdown, endzone touchdown. One thing I learned from that experience, we aren't run in place that direction, the more we're doing this, you take it and you flip it, it becomes your power. So when something goes wrong, there's a part of me Of course, it's like really pissed off. But I also understand deeply in my gut, that you've got to blow that off and focus on how you're going to be a bad mofo. And I don't talk about my mistakes. A No, I don't have mistakes, I don't talk about the things that don't work out. Because you don't want to talk about them, you're giving it too much power, you just move past it. If somebody brings it up to you, you then can have a discussion. But unless somebody brings it up to you, you just move on, you don't think about it, and you don't dwell on it, because that will weaken you   Michael Hingson  57:00 every time. Absolutely every time. And you know, it's as we said, it isn't No, it isn't a mistake, you you did something, you played a wrong note, but you really spend so much time practicing, you do get it to be and I don't use this as a way to negate it, it becomes very rote. By the time you're playing in the actual performance, you have really worked to make sure that you truly understand what the event is, what the music is that you're supposed to be playing. And you're used to it. I would also wager that no matter how much you practice, when you get up on stage, now you're in a dynamic where you have the whole orchestra or the band or whatever. I wouldn't be surprised if there are times that you adapt on the fly as well.   Kenny Aronoff  57:54 Absolutely you do. I mean thing is, like this concert I just did with all these great artists, they were, you know, people, I have everything written out. But people would drop in courses are dropping parts. And I adapt and I direct, I help people, you know, or if I if I, if there's something I space out or something, I'm very quick at self correcting. And, you know, making it work out.   Michael Hingson  58:22 That's what it should be.   Kenny Aronoff  58:24 That's what exactly that's what it should be. Yeah. And and you, you you will let yourself down, if you get sucked into this bloody ego in, in getting drawn into Oh, woe is me and failure and all that. You got to push that aside, you got to be centered, like, like a Navy Seal or a warrior king, you know, or warrior queen, where you people are looking to lead and looking to you for strength and wisdom. And I want to be that person, I am that person.   Michael Hingson  59:03 And at the same time you also know when you're leading, if you're a good leader, you know when to let somebody else take the lead because they have a skill that works in that particular moment.   Kenny Aronoff  59:15 Absolutely. I call it lead them to lead. Hmm. Help them lead assist them to lead without saying anything. You do this your job to help them feel like they can lead.   Michael Hingson  59:30 So how did you get involved now in starting to do public speaking kinds of things and travel around and do some of that?   Kenny Aronoff  59:38 Well, I wrote an autobiography called Sex, Drugs, rock and roll and people were asking me to speak a little bit. I had done about 30 years of drunk, drunk clinics masterclasses where I would speak it was a show so but to speak. Like we're talking about I had to really work develop a craft it wasn't you know, I I worked to some writers, I built websites and got rid of them got different ones, I went and spoke to an agent and he told me what it really means to be a speaker what you need to do, I did what he told me doing, came back to him two years later, and showed him what I had done. And he was blown away. He said, I want to work with you. So he started, we started working together, and he started telling mentoring me and I started to put together a show. So filmed, you know, and I kept developing it and honing it down. And, and now you know, I've got, you know, teamwork, leadership, innovation, creativity, connecting communication, collaboration, realize your purpose, staying relevant speech. And it's I do perform. During the speech, I have a set of drums there, that's the entertainment part. People want to see me perform, because I'm a drama. But the the message is very powerful. And it's it. It's not just, I mean, I've done this, my success in the music business is a proof of, you know, how to go from this little kid from a town of 3000 to 40 years. Well, not 40 years later, it's a lot years later. And after that, at this point, it's 60 years later, how I became what I had, how they became successful, successful, and they've stayed successful. And a lot of those skill sets. And what I learned in the music business applies to these other businesses I do, which also applies to other people's businesses. So I speak about that. And just to answer your question a little bit more specifically, I just, I put together a show I have an agent, and we've been building off of that. And I just am doing more and more of that.   Michael Hingson  1:01:48 Tell me about your book a little bit.   Kenny Aronoff  1:01:50 Well, sex One immediate the autobiography, the one one,   Michael Hingson  1:01:53 now the firt. Right now, the autobiography The first one.   Kenny Aronoff  1:01:57 Yeah, that's basically my life story. It's about how I came from that middle town of Western Mass Stockbridge and how I went to, you know, how I went from there to where I am now, basically, in a nutshell, and there's all kinds of stories, you know, Smashing Pumpkins, Bob Seger, John Mellencamp Bon Jovi, The Rolling Stones, meeting Bill Clinton, you know, there's a little bit of funny stuff, there's little bit of drama, is a little bit of rock and roll wildness. But the bottom line is the big message that the thread through the whole book is, I've worked my ass off and still working my ass off.   Michael Hingson  1:02:36 And I hear you stay in great shape. I must be from all those beating of the drums.   Kenny Aronoff  1:02:41 It is. But it's also I in my new book, I have the healthy life as a wealthy life, which is a basic eight step program on how to stay healthy, which affects you mentally, physically, emotionally, spiritually, you know, I won't go through all the details of it. But it's, it's definitely a setup. And you know, I'm aware of what I'm eating. And you know, I'm not perfect, but I'm aware of everything I put on me. So in other words, if I have a day one, eating not as well, as I, as I usually choose to, then I know how to make up for it the next day, and I do exercise every day. And of course, playing the drums. I mean, you're doing a three hour show. You're burning 1000s calories. Yeah. So there's that, you know,   Michael Hingson  1:03:24 which is, which is really pretty cool. And so you're, you're in a profession that keeps you active anyway, which is which is good. You cannot it's hard to tough to, to argue with that, isn't it?   Kenny Aronoff  1:03:38 Yeah. It's great. It's phenomenal. I love that unit.   Michael Hingson  1:03:42 Did you self published the first book? Or did you have a publisher,   Kenny Aronoff  1:03:45 I have a publisher for that was a hell, Leonard backbeats, which is now there now is Rowan and Littlefield did an audio version, this new book I have is is going to be self published. I am working in writing it for the second time. And it will be they have a marketing team. And but I own the book. And I may possibly look for a publisher after that. But this new book is more self help book. It's basically as I think I mentioned earlier, it's taking what I'm seeing in my speech, but with a lot more information, extending you know that information. So people can you know, if they want to hear more about what my my philosop

Continuamos con el repaso musical a la carrera de uno de los más representativos e innovadores instrumentistas y arreglistas del cool jazz o west coast jazz, Gerry Mulligan. Habíamos dejado la historia a mediados de los 50, momento en el que Gerry colaboró con muchos músicos, como con el que comenzaremos el programa, Ben Webster. Poco después Mulligan pudo montar su primera big band, de la que también escucharemos algunos ejemplos. Los 60 fueron una etapa de transición en la que tuvo que grabar obras menores e incluso fusiones con otras músicas muy de moda en aquel momento, como la bossa nova, de la cual también tendremos algún ejemplo. Su carrera se relanzó tras unas colaboraciones con el trio de Dave Brubeck, finalizando los 60, y ya en década de los 70 transformó un poco la sonoridad de sus bandas, incorporando percusiones latinas, guitarras y pianos eléctricos. Escucharemos algún ejemplo de todo esto extraído de su famoso disco 'The Age of Steam'. Poco después se produjo el esperado reencuentro con aquel joven trompetista con el que había comenzado en California, Chet Baker. De esa reunión escucharemos también temas interesantes, en donde aparecerán jóvenes valores del jazz, que poco después serían grandes nombres de la fusión, como Dave Samuels o John Scofield. Ya casi en la recta final, abordaremos su encuentro con el gran transformador del tango argentino, Astor Piazzolla, y escucharemos algún ejemplo de sus colaboraciones. Y acabaremos este repaso por su interesante vida musical con un directo en el que participaban, además de Mulligan, el pianista George Shearing y el cantante Mel Torme. Esperamos que estos dos programas monográficos os hayan acercado un poco más a la figura de uno de los más grandes arreglistas y saxofonistas de la historia del jazz moderno: Gerry Mulligan.

Courtney's playing refreshingly cool new jazzy vibes for you to work, rest and play to! Jam-packed full of new releases and plenty of fun, including many of the artists introducing their own tracks! This wk stirring big band, psychedelic jazz hip-hop, groovin jazz trio, feel good be-bop swing, jazz-folk ballad, cuban-jazz royalty, classic bop, mellow guitar, vocal funk... Jazz with distinction this week folks with just a hint of hiphop and a dash of funk to exhilarate your spirit!Please let all your jazz friends know that they can listen for free on Apple podcasts, Google Podcasts, Amazon Music and always at jazz-pod.comVisit our archive here Join the CPG community by following us on Facebook & Instagram Ask us ANYTHING(!) about jazz over on Twitter Watch our FAB & FUN artist features over on Tiktok[0'0] Neil Swainson - Silver Mine (Fire in the West Tr10 CELLAR LIVE) Renee Rosnes pno Lewis Nash dr Brad Turner tpt Kelly Jefferson tnr Swainson bs/compThe British Columbia-born bassist, composer and bandleader presents a stirring original set, his first since 1987. Fire in the West is a rare peek into the inner world of a musician who has spent much of his life as a dependently brilliant sideperson for such notable musicians as Woody Shaw, George Shearing and Roberta Gambarini.[4'12] Jared Schonig - White Out (Two Takes Vol 2: BigBand ANZIC Tr2) Matt Holman cond Jared Schonig dr/comp Jim McNeely arr 9'26"Schonig has worked extensively as a touring sideman, a session drummer, and a pit engine in Broadway productions like The Color Purple. His two new albums decisively put him forward as a bandleader, with 8 original tunes rendered in both combo and large group settings".[13'27] Butcher Brown - Unbelievable (BUTCHER BROWN PRESENTS TRIPLE TREY FEATURING TENNISHU AND R4ND4ZZO BIGB4ND CONCORD Tr11) Marcus Tenney tpt sx, Morgan Burrs gtr, Corey Fonville perc, Andrew Randazzo bs, and DJ Harrison keys Notorious BIG (comp) 3'48Butcher Brown has released forward-thinking and expansive hybrids of jazz and hip-hop since 2013. Today, they have an apt descriptor for their songs: solar music. Drawing inspiration from every sound under the sun, the Richmond, VA band adds elements of funk, soul, and rock to their foundational mix. [17'12] Leon Dorsey/Mike Clark - Lock It In Your Pocket (Blues On Top JAZZ AVENUE 1 Tr3) Leon Dorsey bs Mike Clark dr Mike LeDonne pno/compVeteran drummer Mike Clark and stalwart bassist Leon Lee Dorsey continue their fruitful collaboration with the release of Blues On Top: a swinging, top tier trio. [21'18] Ted Kooshian: Hubub (Hubub SUMMIT Tr1) Ted Kooshian keys/comp Jeff Lederer tnr John Bailey tpt Dick Sarpola bs Greg Joseph drThe mix of jazz, pop and humor on Hubub! reflects Kooshian's singular, offbeat sensibility and enthusiastic love for pop culture, represented by evocative dedications to actors Steve McQueen and William Shatner.[29'57] James Taylor: Coming Back To You (Here It Is: A Tribute to Leonard Cohen BLUENOTE Tr7 3'40) Bill Frisell gtr Immanuel Wilkins sx Kevin Hays pno Scott Colley bs Nate Smith dr Greg Leisz steel gtr Larry Goldings organ Cohen comp"like almost everyone in my generation, I venerate Leonard Cohen. As soon as I began seeking out my own musical preferences, Cohen's songs were among my few favorites and had a major influence on my own progression as a songwriter"[33'31] Chucho Valdez/Paquito D'Rivera Reunion Sextet - Mambo Influencida (I Missed You Too PAQUITO Tr1 4'10) Diego Urcola tpt tb Dafnis Prieto dr José A. Gola bs  Roberto Junior Vizcaino perć Chucho Valdez pno/comp Paquito D'Rivera sx cl 60 years after their initial meeting, the pair has finally reunited to create a monumental new recording. Their I Missed You Too! marks D'Rivera and Valdés's first recording since they were both members of Cuba's most influential jazz/fusion ensemble, Irakere. [37'38] Joe Harriott Quintet feat Phil Seamen dr Pat Smythe pno - Tuesday Morning Swing (Swings High CADILLAC Tr1 4'46) Coleridge Goode bs Joe Harriott sx/comp Stu Hamer tptNewly remastered from the vinyl in 1967 saw Joe returning to his hard bop roots on a set that burns with rare light.  A top band of British Jazz players including the UK's greatest drummer Phil Seamen, and the sensitive tpt playing of Stu Hamer, create a session that transcends the difficulties of its recording to create a timeless session and one of Joe's very best.[42'17] Julien Lage - Word for Word (View With A Room BLUENOTE Tr2 3'16) Julien Lage gtr/comp Jorge Roeder bs Dave King dr)A stunning collection of 10 compelling original compositions, View With A Room sees Lage fulfilling a long-standing goal to “have lush orchestration combined with an organic sense of improvisation and the agility of a small ensemble”.[45'25] Generation Gap Jazz Orchestra - Sassy (Cellar Live Tr 2 5:03) Steven Feifke pno Bjorn Watson tpt Feat. Kurt Elling, Christopher McBride ( (Bentyne, Bodine, Siegl, Elling comp)Celebrated pianist, composer, arranger/orchestrator and conductor Steven Feifke joins forces with trumpet titan Bijon Watson in the eponymous debut album of their star-studded new ensemble, the Generation Gap Jazz Orchestra. Next week on CPG Bitesize Funk from Brum, Feminista truths and Steve meets Stevie!!:  Hit subscribe here so you don't miss it!!

Patreon patreon.com/normnathanvos Here we are with a very special episode of NNVoS. It hails from December 10th, 1993 and is appropriately titled: It’s Shearing You’re Hearing We begin with Carol Stein-Krauss, the PR manager from Parker Bros talking about the company and its games. There’s lots of cool info about Trivial Pursuit and Monopoly plus Company history, challenges and more. Next is an absolutely, fantastic interview with George Shearing who was appearing at Sculler’s in the Guest Quarter Suite Hotel. The talk is so varied. Everything from classical influences and relations to Jazz, sissy accents, great stories and lots of silliness from George. And it all gets even better when Ellie Shearing, George’s wife joins the fun. They also take calls: Bob in Boston Janet from Arlington Scott in Provincetown Hank Pete in Lawrence And Bob in NH Other extras for your dining and dancing pleasure: Norm reading the weather Top and Bottom Hour News Sounders Darrell Gould intros Jack Harte for traffic And Norm is seriously thinking about the need to re-do shows We can’t leave out the commercials: Norm does a read for: The National Credit Group. It’s ok to tell Norm about your bad credit because he’s a Dr. And if you’d like to remove all your clothes… Frank and Shirley for the NEW Westborough Antique and Flea Market. Marezine with the former, highly disoriented Linda Kern. The Club (now available in designer colors!) ADT Home Security The red and chafed Jim Brown of Grand Prairie TX for Gold Bond Classic Ovaltine with Paul Rossi drinking it live from Valley Stream NY! And a brief sprinkle of Baby Gold Bond Oh…make sure you listen closely to the end of the interview as George gets the last laugh. Ep 116, It’s Shearing You’re Hearing, tickles its way to your auditory canals…now. patreon.com/normnathanvos

Got the jazz-rock-fusion flavors this time around, plus some trio jazz as well. Enjoy! Don't forget to subscribe. Tracklist: Trifle, Peter Herbolzheimer, David Axelrod, Michael Boothman, George Shearing, Lou Levy

Bienvenidos amantes de la musica, conocer a Gary Burton es acercarse a la historia de un prolífico y longevo vibrafonista, compositor y educador de la escuela de música de Berklee, Boston. USA. También es la vida de un muchacho que desde muy joven supo hacer carrera junto a grandes referentes, como sus comienzos junto al pianista George Shearing, quien le encargó la composición del disco "Out of the Woods", posteriormente ganando más experiencia en la banda del maestro del saxo Stan Getz por 3 años. Fue el ganador más joven del "Jazzman of the Year" de la revista DownBeat en 1968. Y ya como solista a la cabeza de su famoso Cuarteto, se atrevió a incursionar en la fusión del Jazz Rock antes de que este subgénero se tomara la escena en los 70. Y justamente a partir de 1971 ha estado inspirando como educador de las nuevas generaciones de músicos en "Berklee College of Music". Hoy lo escucharemos junto a Julian Lage en guitarra, quien fue uno de sus alumnos, y que integró su banda de jóvenes promesas. Y para cerrar un clásico, a esta altura, "La Rumba de Armando", una composición de su gran amigo Chick Corea, quien lo acompaña en el vibráfono a 4 manos en una actuación en vivo en el Festival Jazzwoche Burghausen 2011. Que lo disfruten! Los temas son: 1. Waltz For A Lovely Wife (tema de inicio) 2. Remembering Tano 3. The Tiny Desk Blues 4. Armando's Rhumba (Jazzwoche Burghausen 2011) *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios anticipados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

The life of a jazz musician is never boring. George Shearing, Marian McPartland, Terry Gibbs and Milt Hinton regale us with behind-the-scenes scenarios, both poignant and absurd.

Sintonía: “Taking a Chance on Love” - Al Haig “Fine and Dandy” y “I Didn’t Know What Time It Was” - George Wallington; “Bop-Kick” - Nat King Cole; “There Will Never Be Another You” - Wynton Kelly; “Bop’s Your Uncle” - George Shearing; “Bopmatism” - Dodo Marmarosa; “Nameless” - Oscar Peterson; “Opus Caprice” y “Liza” - Al Haig; “Safari” - Horace Silver; “Trinkle Tinkle”, “Sweet and y “Bye Ya” - Thelonious Monk; “Un poco loco”, “Tempus Fugue It” y “Parisian Thoroughfare” - Bud Powell Todas las músicas extraídas del número 32 de la serie gala de cds “Saga Jazz”, dedicado a pianistas de Bebop (“Bebop Piano”, Saga Jazz 2003) Escuchar audio

Auch dabei: Guido May, George Shearing, Papa Bue & die NDR Bigband

Harry Parry was born in north Wales in 1912. He trained to be a musical instrument maker but the performance side took over and he moved to London to play in big bands, including Percival Mackey's. He established his own six piece band and was asked by the BBC to lead the band for their Radio Rythmn Club show. He was popular throughout the 1940s and into the 50s. He died at the age of 44 in 1956.  His music was fun, with a real swing and he brought interesting vocalists and musicians to perform and record with the Sextet. Jazz legend George Shearing was his pianist for many years. Check out Bob Stanley's book, 'Let's do it.' It's a great read about the history of British and American pop. It has a complimentary section about Harry in it. BBC Radio one D.J John Peel was a fan of Parry.      Bounce me brother with a solid four, vocalist Doreen Villiers. Mr five by five- vocalist Dave Wilkins. Stars fell on Alabama- vocalist Harry Parry. Black eyes(1941). Crazy rhythm(1942). It don't count(1941). Lonesome road(1946). Blues around my bed, vocalist Ruby Marlow. Pontiac jump. Stardust. Parry opus. My blue heaven. We end with the wonderful Softly as in a morning sunrise.  

Viatgem en l'espai i el temps per rec

This week Joe is featuring Vocalist Nancy Wilson and Pianist George Shearing from their 1992 Capitol Records recording titled “The Swingin's Mutual”

Alyn Shipton is an award-winning author, musician and broadcaster, who wrote on jazz for over twenty years for The Times in London, and is a presenter/producer of jazz programmes for BBC Radio. He was Consultant Editor of the New Grove Dictionary of Jazz, and has a lifelong interest in oral history, including editing the memoirs of Danny Barker, Doc Cheatham, George Shearing and Chris Barber. His first biography, the life of Fats Waller, published in 1988, has scarcely been out of print since. Today we preview his new book, On Jazz.Support the show

Recorded live on a Sunday evening in front of a small Twitch audience, an hour of jazz joints make up the latest episode of Pullin from the Stacks! Stay tuned for future episodes to be streamed live as well starting in May. No episode next week as I'll be traveling but a new Knowledge Breaks before the month is out...thanks for tuning in! Tracklist: Donald Byrd, Hampton Hawes, Jazz Traficantes, George Shearing, Frank Cunimondo, Steve Grossman, Stanley Turrentine, Michel Sardaby, Clare Fischer, Atlantis Jazz Ensemble, Mutual Attraction, Build An Ark

"I Takes A Whole Lot Of Human Feeling" Carmen McRae: A Whole Lot Of Human Feeling (Groove Merchant Label, 1973) Carmen McRae, Joe Pass, Dick Shreve, Ray Brown, Larry Bunker, Frank Severino. El tema es obra de Micki Grant. ¿Sabías que? Carmen McRae nació en Harlem el 8 de abril de 1922 según algunas fuentes. En algunos otros sitios el año que se señala es 1920. Sea cual sea el año de nacimiento, sus padres eran inmigrantes jamaicanos. Su verdadero nombre fue Carmen Mercedes McRae. Comenzó a estudiar piano a los ocho años. En su casa escuchó a algunos gigantes del jazz como Louis Armstrong o Duke Ellington. Según algunas fuentes, ganó un concurso en el Apollo Theatre en 1939. Llamó la atención de Teddy Wilson por medio de su esposa Irene. Gracias a esta arreglista y compositora, en 1939 Billie Holiday grabó la composición de Carmen McRae "Dream of Life". McRae consideró durante toda su carrera a Billie Holiday como su influencia principal. En sus inicios como trabajadora fue pianista en el Minton's Playhouse, corista y trabajó como secretaria en una agencia gubernamental en Washington. En esa época conoció a figuras importantes como Dizzy Gillespie, Oscar Pettiford o Kenny Clarke, con quien se casó. En 1944 colabora con las big band de Benny Carter y Count Basie. Anteriormente hizo una audición para Benny Goodman, pero no colaboró con el clarinetista, porque le dijo que volviera cuando tuviera más experiencia. También trabajará como pianista de la Mercer Ellington Band. Será la primera ocasión en la que graba, aunque no con su apellido, sino con el de su marido, por lo que aparece acreditada como Carmen Clarke. En 1948 se traslada a Chicago, acompañando a George Kirby (un comediante), de quien se había enamorado. En la ciudad del viento y una vez finaliza esta relación, trabaja como pianista y cantante en el Archway Lounge. A principios de la década de los 50 regresa a Nueva York. Es en esos momentos cuando consigue un contrato discográfico y lanza definitivamente su carrera. Aunque habían vivido separados, todavía no se había divorciado de Kenny Clarke. Lo hará en 1956. Posteriormente se casará con el contrabajista Ike Isaacs a finales de los años 50. En su carrera musical colaboró con Dave Brubeck, Louis Armstrong, Benny Carter, George Shearing. En su obra discográfica hay homenajes a Billie Holiday (como no podía ser de otro modo), Thelonious Monk, Sarah Vaughan o Nat King Cole. Tuvo a lo largo de su carrera una larga trayectoria como cantante de clubs, a lo largo de más de cinco décadas. En la década de los años 60 su fama era internacional y se convirtió en una de las cantantes de jazz más veneradas en Japón. Actuó en múltiples ocasiones en el Monterey Jazz Festival y en los festivales de mayor renombre. Fue nominada en siete ocasiones a los Premios Grammy, aunque en ninguna de esas ocasiones logró el gramófono dorado. Abandonó su vida pública como cantante en 1991. Finalmente, falleció en 1994. Juan F. Trillo dedicó a la cantante la segunda entrega de su sección Tomajazz Remembers: https://www.tomajazz.com/web/?p=59263 Luis Escalante Ozalla le dedicó sendos programas de La Odisea de la Música Afroamericana: https://www.tomajazz.com/web/?p=50059 / https://www.tomajazz.com/web/?p=50139 © Pachi Tapiz, 2022 En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=62511 https://www.tomajazz.com/web/?p=62266 https://www.tomajazz.com/web/?p=62200 https://www.tomajazz.com/web/?p=61576 https://www.tomajazz.com/web/?p=47859 https://www.tomajazz.com/web/?p=59944 https://www.tomajazz.com/web/?p=60399 Más información sobre Carmen McRae https://www.carmenmcrae.com/ https://www.tomajazz.com/web/?s=mcrae&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. Las sugerencias, quejas, felicitaciones, opiniones y el contacto en general en jazzx5 @ tomajazz.com También por WhatsApp en el teléfono de contacto. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

Een warm onthaalde Europese tournee brengt Toots tot in Zweden. Het is in Nalen, een danszaal in Stockholm en broeihaard van de Zweedse jazzscene, dat hij het podium deelt met o.a. Charlie Parker. Terug in België maakt hij deel uit van de band rond Bobbejaan Schoepen, maar in tegenstelling tot de lichtjes van de Schelde, zijn het 'the lights over the Hudson' waar Toots van droomt. Die droom wordt werkelijkheid in 1951, wanneer Toots eindelijk een Green card bemachtigd en een vaste plaats krijgt in de band van George Shearing.

Mel Tormè im Duo mit George Shearing, Charlie Parker with Strings & Haffner feat. Mutzke

Cannonball Adderley ('Clouds', 'Groovy samba'), Stan Getz & Charlie Byrd ('Samba triste', Baía'), Vince Guaraldi Trio ('Manhã de carnaval'), Zoots Sims ('Recado bossa nova part 1'), Ike Quebec ('Loie'), George Shearing ('Pensativa'), Paul Winter ('Insensatez'), Miles Davis & Gil Evans ('Corcovado', 'Aos pés da cruz') y Dave Brubeck Quartet ('Bossa nova USA', 'This can´t be love'). Escuchar audio

“Scotch on the Rocks" The Amazing Jean "Toots" Thielemans: The Sound (Columbia, 1955) Toots Thielemans, Ray Bryant, Wendell Marshall, Bill Clarke. El compositor es Toot Thielemans. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? El disco se publicó en 1955 y es la primera grabación de Toots Thielemans como líder. Lo grabó con más de treinta años y se editó en Columbia, que lo presentaba en el título del disco como "El asombroso Jean 'Toots' Thielemans". En la época en la que grabó este disco era miembro del grupo del pianista George Shearing, en el que ejercía como guitarrista. Aunque es conocido fundamentalmente como intérprete de armónica, además fue guitarrista, y en sus grabaciones también se le puede escuchar como silbador. Cinco, cinco, cinco, cinco, cinco... todavía cinco... Escuchar Toots Thielemans The Sound: "Scotch on the Rocks" En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=57828 Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

COUNT BASIE at Birdland's fifth anniversary. NYC December 16, 1954. Excerpted from live television on NBC-TV's Tonight Show with host Steve Allen. George Shearing and vocalist Sarah Vaughan with others. CHARLIE BARNETT June 3, 1944. From KHJ, Los Angeles over Mutual Network. FRANKIE MASTERS January 26, 1947 broadcast from The Majestic Theater, San Antonio, Texas. BENNY GOODMAN "Swing School" November 16, 1937, NYC. Vocalist Martha Tilton. Announcer (Doctor) Dan Seymore. GENE KRUPA August 15, 1945 from The Astor Hotel, Times Square NYC from WOR over MUTUAL Network. Vocalist Anita O'Day. ANSON WEEKS from Mark Hopkins Hotel, San Francisco, California. JOAN BROOKS SHOW with ARCHIE BLYER's Orchestra on CBS Radio June 7, 1944. ARTIE SHAW ORCHESTRA Edited out takes from broadcasts 1936-1938.

I explore a tune by a genius pianist, George Shearing.

This week we have a birthday tribute to four Jazz greats who are no longer with us but have left a legacy of fine music-from George Shearing's first recording to an exclusive LIVE date that I produced, pianist Mulgrew Miller, guitarist Joe Puma and the venerable Alto Saxophonist Benny Carter. 

A Special Edition celebrating the centennial of pianist George Shearing 1919 - 2011 The Pianist George Shearing was born in Battersea, London in August 1919, blind from birth. He emigrated to the USA in 1947, soon establishing the so-called “Shearing Sound” with his quintet. The band scored popular hits in the late 40's and early 50's, unwittingly inventing a sound formula that would endear itself to commercial arrangers across the world. Of particular interest for Irish listeners is the fact that Shearing's preferred guitarist for much of the late 20th century was Louis Stewart. Shearing was knighted for his services to music. “Not bad for a blind boy from Battersea”.

Hátalarinn heimsækir Hafnarfjarðarkirkju og ræðir við Guðmund Sigurðsson organista og kórstjóra. Hann hefur nýverið spilað inn íslensk og erlend verk á plötuna Haf, en á henni hljóma tvö orgel kirkjunnar, sem eru hvort um sig fulltrúar mismunandi tíma tónlistarinnar. Meðal höfunda verkanna eru fyrsti organisti Hafnarfjarðarkirkju - Friðrik Bjarnason, Hugi Guðmundsson, Jóhann Johannsson og Smári Ólason. Ekki má heldur gleyma Jóhanni Pachelbel, Jóhanni Sebastían Bach og George Shearing, sem allir koma við sögu á umræddri plötu. Þá er líka skotið inn einu lagi með húskór Hafnarfjarðarkirkju - Barbörukórnum. Guðmundur ræðir líka starf organistans og hvernig það hefur breyst í tímans rás. Tónlist: Melodía í As dúr - Friðrik Bjarnason Toccata í d moll BWV 538 - J S Bach Prelúdía í e moll - Friðrik Bjarnason Haf - Hugi Guðmundsson Glíma - Jóhann Jóhannsson Ég byrja reisu mína-Hallgrímur Pétursson/Ísl þjóðlag- Barbörukórinn Was Gott tut, das ist wohlgetan-Johann Pachelbel Greinir Jesús um græna tréð - Smári Ólason

Jólasöngvarnir eru í fyrirrúmi í Sveifludönsum. Tríó Ray Brown og ýmsir söngvarar flytja lögin White Christmas, Away In A Manger, It Came Upon A Midnight Clear, The Christmas Song, Jingle Bells, Rudolph The Red Nosed Reindeer og O Tannenbaum. Kvintett George Shearing leikur lögin God Rest Ye Merry Gentlemen, Winter Wonderland, Ding Dong! Merrily, Let It Snow! Let It Snow! Let It Snow!, The Christmas Waltz og Donkey Carol. Jólakettir flytja lögin Jólasveinar ganga um gólf, Það á að gefa börnum brauð, Litli trommuleikarinn og Nóttin var sú ágæt ein. Hljómsveit Jack Jezzro flytur lögin I'll Be Home For Christmas, Here We Come A-Caoling, Happy Hollidya, You're A Mean One Mr. Grinch, Have Yourself A Merry Little Christmas og It's Beginning To Look A Lot Like Christmas.

Jay does not do a traditional “Q&A” this time – and not a “Q&A” at all – but a Christmas show. A show of Christmas music. He plays seven of his favorite tracks, from Bach to “I Saw Three Ships” to gospel. Performers include Leontyne Price, George Shearing, and Chanticleer. A medley for the season. And a shot in the arm, or wherever it is needed. Source