Podcasts about Gerald Wilson

Milt Larkin y Jimmie Lunceford “lucharon” en batallas de banda al menos dos veces, en Houston en 1936 y en Chicago, cuatro años después. "Por muy buenos que fueran”, dijo Gerald Wilson sobre la banda de Milt Larkin, “no habrían podido vencer a la banda de Jimmie Lunceford en ese momento. ¡De ninguna manera! ¡De ninguna manera! Es una cuestión de opinión, pero simplemente no es posible. Éramos una banda inteligente y también teníamos grandes arreglos. Así que no había manera de que pudieran superar a la banda de Jimmie Lunceford”. Con José Manuel Corrales.

Cuando Jimmie Lunceford le envió un telegrama a Gerald Wilson, entonces de veinte años de edad, pidiéndole que sustituyera a Sy Oliver, el joven trompetista tuvo que pensárselo dos veces. Le gustaba su trabajo en la banda de Chick Carter, pero cuando se enteró de que esta banda estaba a punto de disolverse, volvió a llamar y aceptó el trabajo. Con José Manuel Corrales.

Lunceford no necesitaba presentación. Cuando él entraba en una sala o aparecía en un escenario, uno sabía que era El Jefe. El trompetista Joe Wilder se unió a la orquesta y recordaba a Lunceford como “un tipo que era el epítome de lo que decimos: es un líder. Definitivamente lo era”. Con José Manuel Corrales.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Ira Nepus, jazz and commercial trombonist from Los Angeles. About Ira: Ira Nepus was born in Los Angeles, California and was raised on the jazz heritage of his father, one of the key founders of the Hot Club of France in Paris during the late Thirties and was featured in his first jazz concert at the age of 15. Ira gives equal importance to all styles of jazz, from traditional on up through contemporary. Ira currently performs with the Clayton-Hamilton Jazz Orchestra, which he has been an original member of for over thirty-eight years, privately teaches, and performs in all major recording studios throughout the Los Angeles area. He also plays and tours periodically with his own quartet and continues to record in that format. He currently is artistic director for the Gardens of the World's Summer Jazz Series in Thousand Oaks, sponsored by the Hogan Family Foundation celebrating over 10 years of concerts in the Park. He has performed/recorded with Paul McCartney, Elton John, Leon Russell, Big Bad Voodoo Daddy, Elvis Costello, BB King, (Grammy Winner) and/or also recorded with some of the following greats: Benny Carter, Woody Herman, Del Courtney, Quincy Jones, Gerald Wilson, Nelson Riddle, Lionel Hampton, Ray Charles, Sammy Davis Jr, Ella Fitzgerald, Peggy Lee, Aretha Franklin, Diana Krall, and Cab Calloway to name a few.

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Sy Oliver le dijo un día a Lunceford que se estaba hartando de cómo iban las cosas. "Le pregunté por qué me había contratado. Me respondió: “Te diré por qué te contraté, Sy. La razón por la que me pongo del lado de los chicos es porque entiendo a qué se enfrentan. No entienden lo que estás haciendo todo el tiempo. Si todos pensaran como Sy Oliver, todos serían Sy Oliver y no habría tenido que contratarte. Tú eres la única persona sobre la que he preguntado y de la que nadie ha tenido nunca una buena palabra". Con José Manuel Corrales.

This episode of The Other Side of the Bell, featuring trumpeter, Scott Belck, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Scott: Dr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet. He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra.   His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet. He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera. He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions. He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur. He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters. Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.

For pure swing, the bands lead by William “Count” Basie will never be equaled. Harry “Sweets” Edison, Ed Shaughnessey, Snooky Young, Gerald Wilson and Joe Williams offer personal anecdotes and insights that help us understand the man who personified big band swing.

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With no real way of knowing how the American civil war would end, President Lincoln issued his Emancipation Proclamation on January 1, 1863; the most important part of his proclamation stated the following: That on the first day of January, in the year of our Lord, one thousand eight hundred and sixty-three, all persons held as slaves within any State or designated part of a State, the people whereof shall then be in rebellion against the United States, shall be then, thenceforward, and forever free. The war began with shots fired at 4:30 a.m. in South Carolina at Fort Sumter, on April 12, 1881. The war ended 4 years, 1 month, and 2 weeks later on April 9, 1865, at the great cost of at least 620,000 American lives. Five days later, on April 14th, President Abraham Lincoln was shot in the back of the head by John Wilkes Booth while watching a play at Fords Theater; Lincoln was pronounced dead the morning of April 15th. In his eulogy of Lincoln, Senator Charles Sumner said, Mourn not the dead, but rejoice in his life and example. Rejoice that through him Emancipation was proclaimed. Walt Whitman admired Lincoln, and although he never had the opportunity to meet Lincoln, he said of the president: Lincoln gets almost nearer me than anybody else. Whitman shared the same views on slavery that Abraham Lincoln had; after the president was assassinated, Whitman penned what would later be considered a masterpiece of a poem titled: O Captain! My Captain!, which served as a metaphor about the death of the president he dearly admired and loved.Whitmans poem was first published on November 4, 1865; consider Whitmans first verse: O Captain! my Captain! our fearful trip is done, The ship has weatherd every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart! O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead. As great as Abraham Lincoln was, he was only mortal, and a flawed one at that. But dear Christian, we have a Captain who is no mere mortal. A captain of a boat or ship is the person with the highest rank; as the Head of the Church, there is no authority greater than Jesus! Think about it, all things have been placed in subjection under the feet of Jesus; He is head over all things to the to the church (Eph. 1:22-23). Our Captain, Jesus, is the fully divine Christ who descended in humility by also becoming fully human. Our Captain is the Lord of Life, who is the only begotten Son of God the Father Almighty. He was conceived by the Holy Spirit, born of the Virgin Mary; suffered under Pontius Pilate; was crucified, dead, and buried; descended into the grave; the third day he rose again from the dead; he ascended into heaven, and sits at the right hand of God the Father Almighty; from there he shall come to judge the living and the dead.[1] When I read Ephesians 4:7-10 and sat at my desk in front of my Bible staring at verses 8-10, I could not help but rejoice over what these verses mean. After reading Walt Whitmans poem, I wrote two verses of my own poem in response: Our Captain and Great Redeemer, His divine arms spread great and wide! Upon the Cross, He bleed for sinners, For our freedom, the Lamb of God died. From earthen wood to the stone carved tomb, Redemptions Prince laid cold and dead! Three Days Later, Christ had risen, Death and sin: swallowed up by the Living! So, I have spent much of our time this morning setting up Ephesians 4:7-10, but I believe it was time well spent for reasons I hope will become clear. The Church is Equipped by Christ for Her Mission (v. 7) If I can get you to see how encouraging verse 7 is, I believe you will gain a healthier and deeper understanding of how you can, walk in a manner worthy of the calling with which you have been called (4:1). I also believe you will discover the secret sauce for how you can urgently, keep the unity of the Spirit in the bond of peace (v. 3). To do this however, you have got to see the relationship between Ephesians 4:4-6 with verse 7; for this reason look carefully at these verses: There is one body and one Spirit, just as you also were called in one hope of your calling; one Lord, one faith, one baptism, one God and Father of all who is over all and through all and in all (Eph. 4:46). Now we come to verse 7, But to each of us grace was given according to the measure of Christs gift. Wait a second Paul, what happened to all this talk about us being one? We, who make up the body of Christ under His Lordship because we have been sealed by His Holy Spirit have each received, grace according to the measure of Christs gift. The grace and the gift mentioned in this verse is not referring to the gift of salvation in the same way Ephesians 2:8-9 is referring to the gift of salvation. The grace and the gift that is given by Jesus to those He has redeemed is given so that those who have been saved are able to function as one body for the purpose of serving one another in the Church and to engage Christs mission in the world as the Church. The word used for grace is charis from which we get the word charismatic from, and the way it is used here in verse 7 is not saving grace but equipping grace. The gift that belongs to Christ is His to give and He does so freely to whomever He chooses who make up His Church for good of the one body. Listen, Christs gift are spiritual gifts that He distributes among His people diversly through the power of the Holy Spirit to build up those who make up His Church. The gift is what Jesus promised His disciples hours before His crucifixion: But I tell you the truth: it is to your advantage that I am leaving; for if I do not leave, the Helper will not come to you; but if I go, I will send Him to you (John 16:7). The gift is given not by some force, but by the One Jesus promised in Acts 1:8, You will receive power when the Holy Spirit has come upon you; and you shall be My witnesses both in Jerusalem and in all Judea, and Samaria, and as far as the remotest part of the earth (Acts 1:8). If you are still confused what verse 7 is describing, there are two scripture passages that I believe will help you make sense of this verse. In 1 Corinthians 12:4-7, we learn a little more about what each true Christian has been given according to the measure of Christs gift: Now there are varieties of gifts, but the same Spirit. And there are varieties of ministries, and the same Lord. There are varieties of effects, but the same God who works all things in all persons. But to each one is given the manifestation of the Spirit for the common good. What this means for you Christian, is that Jesus has uniquely and supernaturally gifted you through the Holy Spirit (the Helper) to live out Ephesians 2:10 for the good of His people and mission He has called us to, and in case you forgot what Ephesians 2:10 says, here it is: For we are His workmanship, created in Christ Jesus for good works, which God prepared beforehand so that we would walk in them. I will come back to how our gifting through the Holy Spirit works diversly for the purpose of unity in my next sermon, but what I want you to know for now is that Jesus gave His Church a greater mission than what drove the North and the South into war on April 12, 1861, for we live in a world where all people are born under the tyranny of sin and are bound to a nature to sin, indulging the desires of the flesh and of the mind and stand condemned before a Holy God as, children of wrath (Eph. 2:1-3). We who have been set free from the tyranny of sin and redeemed by the blood of the Lamb have been given our marching orders: Go, therefore, and make disciples of all the nations, baptizing them in the name of the Father and the Son and the Holy Spirit, teaching them to follow all that I commanded you; and behold, I am with you always, to the end of the age (Matt. 28:1920). The good news about our orders is that our Captain has not only uniquely gifted each of His people to accomplish His mission, but He promises to go with us! The Mission of the Church Guaranteed by Christs Victory (vv. 8-10) What confidence do we have that the Church (the community of called-out-ones) will be able to finish the mission Jesus has given Her? It is right here in verses 8-10! Paul begins with the word Therefore to indicate how it is we can have any confidence to remain unified as one body, under one Lord, sealed and empowered by one Spirit, and he does so by quoting from Psalm 68! What is so remarkable about Psalm 68 is that it is in the category of Psalms known as the enthronement psalms that celebrate the kingly reign of God Almighty! Psalm 68 celebrates Gods triumph in leading His people from Mount Sinai in the desert to Mount Zion in Jerusalem as God and King over His people! Permit me to highlight some of the verses in Psalm 68 before we look specifically at the verse Paul quotes from so that you can appreciate the significance of what Paul does in Ephesians from this Psalm: May God arise, may His enemies be scattered, and may those who hate Him flee from His presence. As smoke is driven away, so drive them away; as wax melts before a fire, so the wicked will perish before God. But the righteous will be joyful; they will rejoice before God; yes, they will rejoice with gladness. (Psalm 68:13) Blessed be the Lord, who daily bears our burden, the God who is our salvation. God is to us a God of salvation; and to God the Lord belong ways of escape from death. (Psalm 68:1920) Tucked into the middle of Psalm 68 is verse 18, and it is this verse that Paul quotes from, and does so with a twist. But before I show you why He did this, you need to see Psalm 68:15-18 together: The mountain of Bashan is a mountain of God; the mountain of Bashan is a mountain of many peaks. 16Why do you look with envy, you mountains of many peaks, at the mountain God has desired as His dwelling? Indeed, the Lord will dwell there forever. 17The chariots of God are myriads, thousands upon thousands; The Lord is among them as at Sinai, in holiness. 18You have ascended on high, You have led captive Your captives; You have received gifts among people, Even among the rebellious as well, that the Lord God may dwell there. Here is what you need to know to appreciate why Paul quotes Psalm 68:18 with a twist: The mountain of Bashan represented the gateway to the evil underworld in Israelite and Canaanite thought.[2] What is being celebrated in Psalm 68:15-18 is that God defeated the evil that threatened His people at Mount Bashan and not only defeated them handedly, but led captive the captives by putting His triumph over the enemies of His people on full display for all to see. When the Psalmist wrote of God: You have led captive Your captives he was describing the victory procession of a returning king that was common in the ancient Near East; in his commentary on the Psalms, Gerald Wilson said of the victory procession, Captives were paraded as a visible representation of the kings far-flung conquests. As the victorious army returned home through various subject nations, the parade of captives drove home to any who might entertain notions of rebellion the power of the king and how he had defeated those who had resisted his authority.[3] Those conquered were quick to offer gifts to prove their loyalty to the conquering victorious king. Okay, now we are ready to appreciate what Paul, under the inspiration of the Holy Spirit, wrote in Ephesians 4:8-10, and it will not take long to do so! So here is what Paul wrote: Therefore it says, When He ascended on high, he led captive THE captives, And He gave gifts to people. 9(Now this expression, He ascended, what does it mean except that He also had descended into the lower parts of the earth? 10He who descended is Himself also He who ascended far above all the heavens, so that He might fill all things.) What the apostle does with Psalm 68:18 is that he summarizes all of Psalm 68 by drawing our attention to verse 18 to show us how every enemy has been defeated through the way Jesus descended into the lower parts of the earth which He did by humbling Himself, by taking the form of a bond-servant and being born in the likeness of men. And being found in the appearance as a man, He humbled Himself by becoming obedient to the point of death: death on a cross (Phil. 2:5-8). Jesus was buried and three days later rose from the grave! After He rose from the grave, He ascended to heaven, but before doing so, promised his followers: You will receive power when the Holy Spirit has come upon you; and you shall be My witnesses both in Jerusalem and in all Judea, and Samaria, and as far as the remotest part of the earth (Acts 1:8). What does it mean that Jesus, ascended far above all the heavens? After Jesus descended, we read in Philippians 2:9-11, For this reason also God highly exalted Him, and bestowed on Him the name which is above every name, so that at the name of Jesus every knee will bow, of those who are in heaven and on earth and under the earth, and that every tongue will confess that Jesus Christ is Lord, to the glory of God the Father. Do you see what Paul is saying here? Oh, dear Christian, Jesus died to liberate us from the bondage and curse of sin, and He was then buried in the tomb. However, because death had no power over Him, he defeated sin and death by rising from the grave, and we rightly hail Him as the Risen Lord of Life! But wait that is not all! Jesus ascended to the right hand of the Father, which means that He is enthroned as the ascended King of kings and Lord of lords! Now, against the backdrop of Psalm 68 and Ephesians 4:7-10, consider Colossians 2:13-15, And when you were dead in your wrongdoings and the uncircumcision of your flesh, He made you alive together with Him, having forgiven us all our wrongdoings, having canceled the certificate of debt consisting of decrees against us, which was hostile to us; and He has taken it out of the way, having nailed it to the cross. When He had disarmed the rulers and authorities, He made a public display of them, having triumphed over them through Him. As the victorious and ascended King, Jesus triumphed over sin, death, the demonic powers, the devil, and hell itself!Jesus is the fulfillment of Psalm 68, and the gifts He gives is through the pouring out of the Holy Spirit that both He and the Father have sent to seal His redeemed and ransomed Bride (the Church) for the purpose of dispensing gifts upon those who make up His one body! Martyn Lloyd-Jones said of these verses that they serve as, a picture of the Lord Jesus Christ leading in His triumphal train the devil and hell and sin and deaththe great enemies that were against man and which had held mankind in captivity for so long a time. The princes which had controlled that captivity are now being led captive themselves. He concludes by driving home the apostles point that we dare not forget: He is the great heavenly Captain and we are His people. Having routed His enemies, He dispenses and showers His gifts upon us. But all the gifts, ever, always, come from Him.[4] You, who have been ransomed, redeemed, and forgiven through the triumphant victory of Jesus Christ upon the cross and over the gravenow that you who have received the promised Holy Spirit and are empowered by Himhow are you walking in, a manner worthy of the calling with which you have been called? [1] Adapted from the Apostles Creed. [2] John D. Barry et al., Faithlife Study Bible (Bellingham, WA: Lexham Press, 2012, 2016), Eph 4:8. [3] Gerald H. Wilson, Psalms, vol. 1, The NIV Application Commentary (Grand Rapids, MI: Zondervan, 2002), 939940. [4] David Martyn Lloyd-Jones, Christian Unity: An Exposition of Ephesians 4:116 (Grand Rapids: Baker Book House, 1972), 153154.

With no real way of knowing how the American civil war would end, President Lincoln issued his Emancipation Proclamation on January 1, 1863; the most important part of his proclamation stated the following: That on the first day of January, in the year of our Lord, one thousand eight hundred and sixty-three, all persons held as slaves within any State or designated part of a State, the people whereof shall then be in rebellion against the United States, shall be then, thenceforward, and forever free. The war began with shots fired at 4:30 a.m. in South Carolina at Fort Sumter, on April 12, 1881. The war ended 4 years, 1 month, and 2 weeks later on April 9, 1865, at the great cost of at least 620,000 American lives. Five days later, on April 14th, President Abraham Lincoln was shot in the back of the head by John Wilkes Booth while watching a play at Fords Theater; Lincoln was pronounced dead the morning of April 15th. In his eulogy of Lincoln, Senator Charles Sumner said, Mourn not the dead, but rejoice in his life and example. Rejoice that through him Emancipation was proclaimed. Walt Whitman admired Lincoln, and although he never had the opportunity to meet Lincoln, he said of the president: Lincoln gets almost nearer me than anybody else. Whitman shared the same views on slavery that Abraham Lincoln had; after the president was assassinated, Whitman penned what would later be considered a masterpiece of a poem titled: O Captain! My Captain!, which served as a metaphor about the death of the president he dearly admired and loved.Whitmans poem was first published on November 4, 1865; consider Whitmans first verse: O Captain! my Captain! our fearful trip is done, The ship has weatherd every rack, the prize we sought is won, The port is near, the bells I hear, the people all exulting, While follow eyes the steady keel, the vessel grim and daring; But O heart! heart! heart! O the bleeding drops of red, Where on the deck my Captain lies, Fallen cold and dead. As great as Abraham Lincoln was, he was only mortal, and a flawed one at that. But dear Christian, we have a Captain who is no mere mortal. A captain of a boat or ship is the person with the highest rank; as the Head of the Church, there is no authority greater than Jesus! Think about it, all things have been placed in subjection under the feet of Jesus; He is head over all things to the to the church (Eph. 1:22-23). Our Captain, Jesus, is the fully divine Christ who descended in humility by also becoming fully human. Our Captain is the Lord of Life, who is the only begotten Son of God the Father Almighty. He was conceived by the Holy Spirit, born of the Virgin Mary; suffered under Pontius Pilate; was crucified, dead, and buried; descended into the grave; the third day he rose again from the dead; he ascended into heaven, and sits at the right hand of God the Father Almighty; from there he shall come to judge the living and the dead.[1] When I read Ephesians 4:7-10 and sat at my desk in front of my Bible staring at verses 8-10, I could not help but rejoice over what these verses mean. After reading Walt Whitmans poem, I wrote two verses of my own poem in response: Our Captain and Great Redeemer, His divine arms spread great and wide! Upon the Cross, He bleed for sinners, For our freedom, the Lamb of God died. From earthen wood to the stone carved tomb, Redemptions Prince laid cold and dead! Three Days Later, Christ had risen, Death and sin: swallowed up by the Living! So, I have spent much of our time this morning setting up Ephesians 4:7-10, but I believe it was time well spent for reasons I hope will become clear. The Church is Equipped by Christ for Her Mission (v. 7) If I can get you to see how encouraging verse 7 is, I believe you will gain a healthier and deeper understanding of how you can, walk in a manner worthy of the calling with which you have been called (4:1). I also believe you will discover the secret sauce for how you can urgently, keep the unity of the Spirit in the bond of peace (v. 3). To do this however, you have got to see the relationship between Ephesians 4:4-6 with verse 7; for this reason look carefully at these verses: There is one body and one Spirit, just as you also were called in one hope of your calling; one Lord, one faith, one baptism, one God and Father of all who is over all and through all and in all (Eph. 4:46). Now we come to verse 7, But to each of us grace was given according to the measure of Christs gift. Wait a second Paul, what happened to all this talk about us being one? We, who make up the body of Christ under His Lordship because we have been sealed by His Holy Spirit have each received, grace according to the measure of Christs gift. The grace and the gift mentioned in this verse is not referring to the gift of salvation in the same way Ephesians 2:8-9 is referring to the gift of salvation. The grace and the gift that is given by Jesus to those He has redeemed is given so that those who have been saved are able to function as one body for the purpose of serving one another in the Church and to engage Christs mission in the world as the Church. The word used for grace is charis from which we get the word charismatic from, and the way it is used here in verse 7 is not saving grace but equipping grace. The gift that belongs to Christ is His to give and He does so freely to whomever He chooses who make up His Church for good of the one body. Listen, Christs gift are spiritual gifts that He distributes among His people diversly through the power of the Holy Spirit to build up those who make up His Church. The gift is what Jesus promised His disciples hours before His crucifixion: But I tell you the truth: it is to your advantage that I am leaving; for if I do not leave, the Helper will not come to you; but if I go, I will send Him to you (John 16:7). The gift is given not by some force, but by the One Jesus promised in Acts 1:8, You will receive power when the Holy Spirit has come upon you; and you shall be My witnesses both in Jerusalem and in all Judea, and Samaria, and as far as the remotest part of the earth (Acts 1:8). If you are still confused what verse 7 is describing, there are two scripture passages that I believe will help you make sense of this verse. In 1 Corinthians 12:4-7, we learn a little more about what each true Christian has been given according to the measure of Christs gift: Now there are varieties of gifts, but the same Spirit. And there are varieties of ministries, and the same Lord. There are varieties of effects, but the same God who works all things in all persons. But to each one is given the manifestation of the Spirit for the common good. What this means for you Christian, is that Jesus has uniquely and supernaturally gifted you through the Holy Spirit (the Helper) to live out Ephesians 2:10 for the good of His people and mission He has called us to, and in case you forgot what Ephesians 2:10 says, here it is: For we are His workmanship, created in Christ Jesus for good works, which God prepared beforehand so that we would walk in them. I will come back to how our gifting through the Holy Spirit works diversly for the purpose of unity in my next sermon, but what I want you to know for now is that Jesus gave His Church a greater mission than what drove the North and the South into war on April 12, 1861, for we live in a world where all people are born under the tyranny of sin and are bound to a nature to sin, indulging the desires of the flesh and of the mind and stand condemned before a Holy God as, children of wrath (Eph. 2:1-3). We who have been set free from the tyranny of sin and redeemed by the blood of the Lamb have been given our marching orders: Go, therefore, and make disciples of all the nations, baptizing them in the name of the Father and the Son and the Holy Spirit, teaching them to follow all that I commanded you; and behold, I am with you always, to the end of the age (Matt. 28:1920). The good news about our orders is that our Captain has not only uniquely gifted each of His people to accomplish His mission, but He promises to go with us! The Mission of the Church Guaranteed by Christs Victory (vv. 8-10) What confidence do we have that the Church (the community of called-out-ones) will be able to finish the mission Jesus has given Her? It is right here in verses 8-10! Paul begins with the word Therefore to indicate how it is we can have any confidence to remain unified as one body, under one Lord, sealed and empowered by one Spirit, and he does so by quoting from Psalm 68! What is so remarkable about Psalm 68 is that it is in the category of Psalms known as the enthronement psalms that celebrate the kingly reign of God Almighty! Psalm 68 celebrates Gods triumph in leading His people from Mount Sinai in the desert to Mount Zion in Jerusalem as God and King over His people! Permit me to highlight some of the verses in Psalm 68 before we look specifically at the verse Paul quotes from so that you can appreciate the significance of what Paul does in Ephesians from this Psalm: May God arise, may His enemies be scattered, and may those who hate Him flee from His presence. As smoke is driven away, so drive them away; as wax melts before a fire, so the wicked will perish before God. But the righteous will be joyful; they will rejoice before God; yes, they will rejoice with gladness. (Psalm 68:13) Blessed be the Lord, who daily bears our burden, the God who is our salvation. God is to us a God of salvation; and to God the Lord belong ways of escape from death. (Psalm 68:1920) Tucked into the middle of Psalm 68 is verse 18, and it is this verse that Paul quotes from, and does so with a twist. But before I show you why He did this, you need to see Psalm 68:15-18 together: The mountain of Bashan is a mountain of God; the mountain of Bashan is a mountain of many peaks. 16Why do you look with envy, you mountains of many peaks, at the mountain God has desired as His dwelling? Indeed, the Lord will dwell there forever. 17The chariots of God are myriads, thousands upon thousands; The Lord is among them as at Sinai, in holiness. 18You have ascended on high, You have led captive Your captives; You have received gifts among people, Even among the rebellious as well, that the Lord God may dwell there. Here is what you need to know to appreciate why Paul quotes Psalm 68:18 with a twist: The mountain of Bashan represented the gateway to the evil underworld in Israelite and Canaanite thought.[2] What is being celebrated in Psalm 68:15-18 is that God defeated the evil that threatened His people at Mount Bashan and not only defeated them handedly, but led captive the captives by putting His triumph over the enemies of His people on full display for all to see. When the Psalmist wrote of God: You have led captive Your captives he was describing the victory procession of a returning king that was common in the ancient Near East; in his commentary on the Psalms, Gerald Wilson said of the victory procession, Captives were paraded as a visible representation of the kings far-flung conquests. As the victorious army returned home through various subject nations, the parade of captives drove home to any who might entertain notions of rebellion the power of the king and how he had defeated those who had resisted his authority.[3] Those conquered were quick to offer gifts to prove their loyalty to the conquering victorious king. Okay, now we are ready to appreciate what Paul, under the inspiration of the Holy Spirit, wrote in Ephesians 4:8-10, and it will not take long to do so! So here is what Paul wrote: Therefore it says, When He ascended on high, he led captive THE captives, And He gave gifts to people. 9(Now this expression, He ascended, what does it mean except that He also had descended into the lower parts of the earth? 10He who descended is Himself also He who ascended far above all the heavens, so that He might fill all things.) What the apostle does with Psalm 68:18 is that he summarizes all of Psalm 68 by drawing our attention to verse 18 to show us how every enemy has been defeated through the way Jesus descended into the lower parts of the earth which He did by humbling Himself, by taking the form of a bond-servant and being born in the likeness of men. And being found in the appearance as a man, He humbled Himself by becoming obedient to the point of death: death on a cross (Phil. 2:5-8). Jesus was buried and three days later rose from the grave! After He rose from the grave, He ascended to heaven, but before doing so, promised his followers: You will receive power when the Holy Spirit has come upon you; and you shall be My witnesses both in Jerusalem and in all Judea, and Samaria, and as far as the remotest part of the earth (Acts 1:8). What does it mean that Jesus, ascended far above all the heavens? After Jesus descended, we read in Philippians 2:9-11, For this reason also God highly exalted Him, and bestowed on Him the name which is above every name, so that at the name of Jesus every knee will bow, of those who are in heaven and on earth and under the earth, and that every tongue will confess that Jesus Christ is Lord, to the glory of God the Father. Do you see what Paul is saying here? Oh, dear Christian, Jesus died to liberate us from the bondage and curse of sin, and He was then buried in the tomb. However, because death had no power over Him, he defeated sin and death by rising from the grave, and we rightly hail Him as the Risen Lord of Life! But wait that is not all! Jesus ascended to the right hand of the Father, which means that He is enthroned as the ascended King of kings and Lord of lords! Now, against the backdrop of Psalm 68 and Ephesians 4:7-10, consider Colossians 2:13-15, And when you were dead in your wrongdoings and the uncircumcision of your flesh, He made you alive together with Him, having forgiven us all our wrongdoings, having canceled the certificate of debt consisting of decrees against us, which was hostile to us; and He has taken it out of the way, having nailed it to the cross. When He had disarmed the rulers and authorities, He made a public display of them, having triumphed over them through Him. As the victorious and ascended King, Jesus triumphed over sin, death, the demonic powers, the devil, and hell itself!Jesus is the fulfillment of Psalm 68, and the gifts He gives is through the pouring out of the Holy Spirit that both He and the Father have sent to seal His redeemed and ransomed Bride (the Church) for the purpose of dispensing gifts upon those who make up His one body! Martyn Lloyd-Jones said of these verses that they serve as, a picture of the Lord Jesus Christ leading in His triumphal train the devil and hell and sin and deaththe great enemies that were against man and which had held mankind in captivity for so long a time. The princes which had controlled that captivity are now being led captive themselves. He concludes by driving home the apostles point that we dare not forget: He is the great heavenly Captain and we are His people. Having routed His enemies, He dispenses and showers His gifts upon us. But all the gifts, ever, always, come from Him.[4] You, who have been ransomed, redeemed, and forgiven through the triumphant victory of Jesus Christ upon the cross and over the gravenow that you who have received the promised Holy Spirit and are empowered by Himhow are you walking in, a manner worthy of the calling with which you have been called? [1] Adapted from the Apostles Creed. [2] John D. Barry et al., Faithlife Study Bible (Bellingham, WA: Lexham Press, 2012, 2016), Eph 4:8. [3] Gerald H. Wilson, Psalms, vol. 1, The NIV Application Commentary (Grand Rapids, MI: Zondervan, 2002), 939940. [4] David Martyn Lloyd-Jones, Christian Unity: An Exposition of Ephesians 4:116 (Grand Rapids: Baker Book House, 1972), 153154.

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Mike Price is a professional trumpet player, formerly living in Tokyo, Japan. He composes and performs with the Mike Price Jazz Quintet or Orchestra. Originally from Chicago Illinois, he was a student of Vincent Cichowicz (Chicago Symphony Orchestra) while getting a degree from Northwestern University. Following 3 more years studying jazz composition at Berklee School of Music , he toured with the Stan Kenton Orchestra followed by touring with Buddy Rich. Mike played 1st trumpet for both bands. (1967- 1970) Back in Los Angeles in 1972 Mike was an original member of the Toshiko Akiyoshi/Lew Tabackin Big Band, touring Japan many times before moving to Tokyo in 1989 for an NEA/U.S.- Japan Friendship Commission Artist exchange program grant. After conclusion of the grant period, he joined the Sharps & Flats Orchestra led by Nobuo Hara, staying with this band until the leader's retirement. During this time, Mike formed a jazz quintet in 1993 and a big band in 1999, both becoming active participants in the Tokyo jazz scene. The big band had its first concert to commemorate the 100th anniversary of Duke Ellington's birth with a rare performance of the “Such Sweet Thunder Suite,” alternatively known as the “Shakespearian Suite.” The orchestra's activities continued with new projects such as the Miles Davis/Gil Evans “Miles Ahead,” “Porgy & Bess Suite,” “Tribute to Frank Sinatra,” “Tribute to Buddy Rich,” Ellington's “Far East Suite,” “ A Tribute to Gerald Wilson,” with whom Mike worked in Los Angeles before going to Japan. During the early 2000's, Mike was introduced to Detroit jazz singer, Harvey Thompson, with whom a collaboration began. Many performances followed with Harvey being featured with both Mike's quintet and big band. In 2011 Mike recorded a CD with his Tokyo Quintet with all original compositions. “Presenting the Mike Price Jazz Quintet In Tokyo.” Twenty five years after arriving in Japan, after Hara san's retirement, Mike has returned to home ground in Los Angeles forming the American version of his quintet and orchestra with some of LA's top jazz musicians. Throughout his performing career, Mike has a parallel commitment to teaching. Before going to Japan, he graduated with a Master's Degree from University of Southern California with the help of a teaching assistantship in Jazz Studies. Shortly afterwards he received a California Community College Instructor Credential. There have been many private students in addition to band clinics and performances for high schools, universities, and community bands oth before and while living in Japan. Notable in this was an 18 year contract with Hamamatsu Public Schools to teach elementary, middle school, and high school students brass instrument instruction and fundamentals of jazz ensemble performance. Also, there was a 9 year contract to teach beginning trumpet classes at the elementary level and private lessons through high school to students at St. Maur International School in Yokohama, Japan.   Links:   Sign Up for a Valve Alignment or Mouthpiece Consultation with John in Boston at Virtuosity Musical Instruments New Gard Bags in stock at trumpetmouthpiece.com

Moondance is the album that established Van Morrison as a solo artist.  However, he was an accomplished musician before this, first as a multi-instrumentalist in Irish show bands of the late 50's, then as the lead singer of the band Them.  Moondance is either Morrison's second or third solo album…depending upon how you count it.  The first album entitled “Blowin' Your Mind!” was put out without Morrison's permission — or even knowledge, and he does not consider it to be a proper album.  However, he had signed a contract with Bang! Records without paying much attention to the details, and gave up much of his rights.  Nevertheless, this first album did contain Morrison's first solo pop single, “Brown-Eyed Girl,” which is one of this most popular today.After considerable wrangling and the death of producer Bert Berns, Morrison was able to put out an album on his own terms for Warner Brothers entitled “Astral Weeks.”  While this album would be praised in the future, it was considered a failure at the time, producing no singles and not receiving much promotion.Moondance is where it all comes together for Morrison.  It was more deliberately designed to have more accessible songs than the previous album, and it benefitted from the rising popularity of FM radio.  Morrison's growing confidence in his own abilities and his sense of independence from the producers also were beneficial on this album.  The result is an iconic album with a number of standards of 70's music.Bruce brings us this inspired album for this week's podcast. And It Stoned MeThis track leads off the album.  The song reminisces about days being a kid, going fishing, drinking stream water from a jar, and just being high on life.  The lyric about Jelly Roll may refer to jazz musician Jelly Roll Morton, an artist whom Morrison listened to with his father as a child.  Van Morrison's dad had one of the biggest record collections in the area.Into the MysticThis track is about a spiritual quest.  According to Wikipedia, Morrison says the song “is just about being part of the universe.”  While it was not released as a single when the album was released it has become one of Morrison's most popular song, the second most streamed song on Spotify behind “Brown Eyed Girl.”Glad TidingsA deeper cut, this track is the final song on the album and the final song recorded for the album.  The inspiration for the title was a letter Morrison received from a friend in London who had written on the envelope, “Glad Tidings from London.”  When Morrison wrote back he also included “Glad Tidings from New York” on the envelope.  The lyrics appear to address some of the issues Morrison had with Bert Berns and Bang! Records.MoondanceAs iconic as this song has become, it was not released as a single until September of 1977, seven-and-a-half years after the album.  Morrison developed it while living in Cambridge, Massachusetts.  He considers it a sophisticated song, one that Frank Sinatra could be seen singing.  ENTERTAINMENT TRACK:The Love Theme (from the motion picture "Airport" )This film was one of the first disaster movies that would form its own genre in the 1970's. STAFF PICKS:Friends by FeatherWayne gets the staff picks started with a pop group from Los Angeles.  Feather had a commercially oriented prog rock sound, with close harmonies and a bit of a country flavor.  “Friends” was on the Billboard Hot 100 for five weeks, with its highest position at number 79.  However, they did get a chance to showcase their song on Dick Clark's American Bandstand.Reflections of My Life by MarmaladeRob brings us a Scottish band that started in 1961 as the Gaylords.  This is their biggest hit making it to number 10 in the U.S.  The epic feel employs acoustic guitars and horns, and a guitar solo which employs studio effects that play the solo guitar riff backwards.Kentucky Rain by Elvis Presley Lynch's staff pick was recorded during Presley's landmark two-week sessions at American Sound Studio in Memphis.  These sessions produced two hit albums in 1969, but this song didn't make the cut for either album.  The single was on the charts during this month, rising as high as number 16 on the Billboard Hot 100, and features Ronnie Milsap on piano.Mississippi Queen by MountainBruce brings us a rocker to wrap up the staff picks.  This hard rock group was active primarily from 1969 through 1972, and this single went to number 21 on the Billboard Hot 100.  The opening cowbell originated when drummer Corky Laing got tired of the numerous retakes and just started using the cowbell to count off the song.  Bassist Felix Pappalardi liked the sound and kept it in the completed track.  INSTRUMENTAL TRACK:Viva Tirado (part 1) by El ChicanoThis Latin-jazz instrumental number was based on an original song about a bullfighter by Gerald Wilson.

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Swing is inseparable from jazz, yet remains an elusive quality. Episode 11 takes a deep dive in what makes music swing and calls on Ed Shaughnessey, Steve Allen, Bernard Purdie and Gerald Wilson for expert input.

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Welcome to a new edition of the Neon Jazz interview series with Veteran LA-based Guitarist and Composer Grant Geissman .. He opened up about his latest 2022 CD Blooz .. It's a collection of 12 original blues and jazz songs, performed by a stellar supporting cast of musicians. He was born in Berkeley, California and grew up in San Jose and at 11-years-old he began his first guitar lesson .. After his move to LA in 1973, he began playing in both Gerald Wilson's Big Band and with Louie Bellson's Big Band.. Since then he's had quite a career in music for personal projects, along with TV and Film projects .. He co-wrote music for all six seasons of Mike and Molly and all 12 seasons of Two and a Half Men .. Dig this story .. Click to listen.Thanks for listening and tuning into yet another Neon Jazz interview .. where we give you a bit of insight into the finest players and minds around the world giving fans all that jazz ..  If you want to hear more interviews, go to Famous Interviews with Joe Dimino on the iTunes store, visit the YouTube Neon Jazz  Channel at https://www.youtube.com/c/neonjazzkc, go The Home of Neon Jazz at  http://theneonjazz.blogspot.com/ and for everything Joe Dimino related go to www.joedimino.com When you are there, you can donate to the Neon Jazz cause via PayPal https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4 or through Patreon at https://www.patreon.com/neonjazzkc - Until next time .. enjoy the music my friends ..

Hoy tenemos una selección imbatible con Pat Metheny y su visita a la Argentina y su contrabajista Linda Oh, entre otras cosas. Además, le prestamos una oída a un concierto en el Festival de Jazz de Montreux de 1969 y recordamos al saxofonista, Michael Brecker. Dale play!

Ocean - вторая из трех конфигураций Trio of Trios была записана в 150-летнем театре Лоберо в Санта-Барбаре, Калифорния, в родном городе Ллойда, где он играл чаще других музыкантов и больше, чем где бы то ни было. Концерт транслировали в прямом эфире 9 сентября 2020 года, в первый год пандемии, поэтому зрителей нет. С ним выступали Gerald Clayton на фортепиано и Anthony Wilson на гитаре, оба сыновья известных джазменов. Клейтон - сын легендарного басиста John Clayton, а Уилсон - сын знаменитого трубача, композитора и аранжировщика Gerald Wilson, в чьем биг-бэнде будучи ещё подростком играл Ллойд. Как и в первом альбоме здесь на одной композиции звучит флейта и на одной альт. Ниже будут два видео - короткое знакомство First Look и второй трек альбома посвященный друзьям автора. Альбом содержит четыре длинные мелодии, принадлежащие лидеру. Эта запись поражает спонтанностью и очень высоким уровнем понимания темы и друг-друга, а также креативностью сочетаний стилей, переходов и инструментов. ©️ Blue Note 2022 Charles Lloyd 84 - alto, tenor sax & flute Anthony Wilson 54 - guitar Gerald Clayton 38 - piano #bebop #lounge --- Send in a voice message: https://anchor.fm/konstantins/message

September offers an opportunity to refocus on our inner energies and start a new cycle with renewed awareness and intentions – basically back to school and beyond… This segment of the show features more songs inspired by this month, with a special focus on five masterpieces that were recorded during a magical couple of weeks in September 1962. The playlist features Johnnie Taylor; Dakota Staton; Pat Metheny, Lyle Mays; Mats Eilertsen; Coleman Hawkins; Quincy Jones; Duke Ellington; Chico Hamilton; John Coltrane; Gerald Wilson. Detailed playlist at https://spinitron.com/RFB/pl/16393563/Mondo-Jazz (from "It's September" onward). Happy listening! Photo credit: Chuck Stewart

# Introduction "Yahweh is my pastor, I have everything I need." That's an alternative way to start Psalm 23, a song whose words are so well-known, it sounds wrong to say it a different way. Perhaps there's some rhetorical benefit to our mediation by hearing the same truth stated differently. John Wycliffe (1395) had it as, "The Lord governeth me, and no thing to me shall lack." William Tyndale didn't get to the Psalms, but the Myles Coverdale translation (the first complete English Bible) in 1525 had "the LORDE is my shepherde, I can wante nothinge." Of course we still echo the King James, published in 1611, "The Lord is my shepheard, I shall not want." The Psalm is around three-thousand years old, the English words through which we are comforted are over four-hundred years old. The truth of it will never get old. Though not quoted in the New Testament, is there a Psalm with which we are more familiar than Psalm 23? Psalm 1 is prominent, as is 51, and 119, even key verses in Psalm 22 as we saw in the previous sermon. I'd argue that the sense of peace and provision in this Psalm is stolen by [Martin Nystrom (1984)](https://gccsatx.com/hymns/as-the-deer-panteth-for-the-water/) who put Psalm 42 to the tune we know; the deer in Psalm 42 wishes he was the sheep in Psalm 23. Psalm 23 is a song of comfort, and it belongs to kings just as much if not more than to kids. The psalm is attributed to David, and why not, since he had been a shepherd himself (1 Samuel 16:11). Did he write it *when* he was a shepherd? Maybe, but the shepherd metaphor ends with verse 4, and verse 5 especially sounds more fitting to the battlefield than the grazing field. Kids should memorize it and sing it, again, not because it is for kids but because it *forms* kids with a glad dependence on the Great Pastor. In English we have it so good, we can use the words pastor and shepherd to refer to the same person. Pastor comes from the Latin word *pastor*, which means shepherd. I'm using *Pastor* because we need to spend a little time outside our meditative ruts. And for us moderns, pastor may make it a little more personal; our pastors are men, rather than a distant figure of speech about a shepherd. The *Great* part comes from Hebrews 13:20. Like I said, Psalm 23 isn't quoted in the New Testament, but the imagery of shepherd certainly carries over. He's called "the great shepherd of the sheep" in Hebrews, and Jesus referred to Himself as the "Good Shepherd" who lays down His life for the sheep in John 10. Throw in Peter's description of Christ as the "Chief Shepherd" and it's another Jesus is Lord, He is the Lord, He is Yahweh embodied. The song uses the metaphor of Shepherd and sheep in verses 1-4 and has an illustration of Host and guest in verses 5-6. Altogether the picture is of the Pastor's personal care for His sheep. The sheep follow Him, and His care follows them all the days of our lives. It's a great song with great application. > “A poet should address the specific and if there be anything about him he will articulate the universal.” —Goethe # The Shepherd (verses 1-4) **The LORD is my shepherd, I shall not want.** The shepherd metaphor isn't new; Jacob blessed Joseph's sons and said God “has been by shepherd all my life long to this day” (Genesis 48:15), and he called God Shepherd again in his direct blessing to Joseph (Genesis 49:24). It's personal, because the **LORD** is Yahweh, the covenant-keeping name which He revealed Himself, and David could call Him **my** shepherd (and then “me” and “me” and “my” and “me” and “I” and “I” and “me” and “me” in verses 2-4). The lack of **want** communicates both contentment and security. Verse 2 poetically pushes the analogy, as a shepherd goes first and leads his flock for food and water, to **green pastures** and **still waters**. The pastures are for more than eating, they are also for resting; the sheep are made to **lie down** without worry about predators. The **still** or placid part of waters is likewise a safety issue; rushing water would be fresh but also might be too fast and drag a sheep downstream. Already in verse 3 we know that this sheep is more than a sheep. The LORD **restores my soul**, a reference to healing or fixing. The whole *man* is refreshed. The shepherd continues to lead in the second part of the verse, this time in **paths of righteousness**, in the way he should go. The LORD as pastor does it for the LORD's name; it is **for His name's sake**. Verse 4 is the first explicit mention of threat. > Even though I walk through the valley > of the shadow of death, > I will fear no evil, > for you are with me; > your rod and your staff, > they comfort me. These are well-worn words, though still a translation that could have gone different ways. The phrase is a superlative, “the shadowiest of all shadows” (Gerald Wilson) or “deepest/darkest shadow,” the “valley of death-shade.” The **valley of the shadow of death** isn't a particular place on the map, it's a deep ravine that doesn't get much sunlight. There are apparently places like this in Israel where a shepherd might lead his flock on the way to more pasture. It's a place of possible danger. But even in a place with limited escape routes and limited visibility, the shepherd is there. **You are with me**. The presence of the shepherd is the difference-maker. It was a feeling of being forsaken that dominated the majority of the previous Psalm. The guidance to pastures and along the paths requires the presence of the pastor. Even his **rod and staff** are a comfort. Both of these tools would be an encouragement. It's like watching a theologian walk into a debate with his Bible in his hand. Some commentators have speculated that rod and staff have a spiritualized reference, but the point is, the shepherd has everything he needs to beat back enemies, to rescue a stuck sheep, and to keep going. # The Host (verses 5-6) Though no new appellation is used for the LORD, it's not obvious that the shepherd illustration continues. It could be that the picture is of a host, and fine, because a feast is definitely on the table. The connection between the shepherd and host includes 1) provision, 2) protection, 3) presence. Where is this **table**? We know that enemies are near, but is David thinking of himself in his palace with enemies outside the Jerusalem walls, or is he thinking of his military camp, with enemies over on the adjacent hill? Either way, they are present, but they are *unable to separate us from the good*. There is a table prepared, a banquet, a feast. To go along with that, there is **oil** to anoint his head. It's not royal oil or anointing, it is a special kindness in a hot and dry place; refreshing to dry hair and flaky skin, a better smell than a room full of the un-showered. A **cup** overflows; the wine is plenteous and the host over-generous. And those who follow the LORD are followed by Him. **Surely goodness and mercy shall follow me all the days of my life**. The **goodness** is *tov*, the **mercy** is *hesed*, the steadfast love (“lovingkindness” NASB, “faithfulness” NET, “love” NIV) of the Lord regularly referred to the Old Testament. The Lord is committed to His sheep. The verb **follow** is used in other places to refer to chasing or hunting. This is the only place in Scripture where the chased are *unable to escape the good*. We cannot outrun the goodness and mercy in our lifetimes. It's as if the Host sent Goodness and Mercy to follow us around the feast making sure we have all we could need. The **house of the LORD** was the tabernacle for David, it is not limited to one footprint for us. # Conclusion He is our shepherd, our host. He guides us, He gives us what we need. He sets us a feast, He follows us with His goodness and mercy. This is a psalm for warm, confident dependence. It shows that it's not what you know but who you're with. We will not get over looking to the Shepherd. > And I will set up over them one shepherd, my servant David, and he shall feed them: he shall feed them and be their shepherd. And I, the LORD, will be their God, and my servant David shall be prince among them. I am the LORD; I have spoken. (Ezekiel 34:23–24 ESV) > For the Lamb in the midst of the throne > will be their shepherd, > and he will guide them to springs > of living water, > and God will wipe away every tear > from their eyes.” (Revelation 7:17 ESV) Are you following the Shepherd? Can you say you are being followed by His goodness and mercy? There is no other Great Pastor. Let us be the people whose God is the Lord, our Shepherd. ---------- ## Charge The Lord is your great Shepherd. No one can snatch you away from His goodness and mercy. You may not yet know exactly where He's leading you, but you can know surely that there is no day of your life where He takes a vacation from being your Shepherd. Follow Him. ## Benediction: > Now may the God of peace who brought again from the dead our Lord Jesus, the great shepherd of the sheep, by the blood of the eternal covenant, equip you with everything good that you may do his will, working in us that which is pleasing in his sight, through Jesus Christ, to whom be glory forever and ever. Amen. (Hebrews 13:20–21, ESV)

Self-healing materials are artificial or synthetically-created substances that have the built-in ability to automatically repair damages to themselves without any external diagnosis of the problem or human intervention.   Check out our MSE Company Database and free professional development guide for materials scientists and engineers!   In Episode 56, we welcome Dr. Gerald Wilson, the President and CEO of Autonomic Materials, an industry leader in self-healing technologies for coatings, sealants, adhesives, and composites. He discusses the development of the coating industry's first set of additives designed to impart self-healing functionality into industrial water-borne, solvent-borne, and powder coatings. From his research at UIUC to his work at Autonomic Materials, he also shares his extensive knowledge in self-healing polymers.   In this conversation, we discuss:  

Fostina Dixon is from Wilmington, Delaware where she studied with Robert Boysie Lowery. Fostina is a composer, vocalist, and jazz soloist who plays soprano, alto, and baritone saxes; flute; and clarinet. As a young woodwind instrumentalist, she played for Delaware All-State Band and American Young Symphonic Orchestra in Europe. She studied with Frank Foster, Buddy Collett, Vic Morosco, Joe Viola, Andy McGhee, and William Bowie. She performed at jazz clubs, colleges, libraries, churches, community art centers, Jazzmobile, theaters, and abroad. She was a soloist with Abbey Lincoln, Barry Harris, Earl May, and the Big Apple Jazzwomen. She played with Gil Evans, Roy Ayers, Tom Browne, Charlie Persip, Melba Liston, Cab Calloway, Slide Hampton, Frank Foster, Joe Williams, Nancy Wilson, Bobby Vinton, Sammy Davis, Jr., Prince, and Marvin Gaye for four years. She was in the big bands of Gerald Wilson, Jimmy Cleveland, and Leslie Drayton. http://fostinadixon.com http://wijsf.org async defer crossorigin="anonymous" src="https://connect.facebook.net/en_US/sdk.js#xfbml=1&version=v13.0&appId=280894702143&autoLogAppEvents=1" nonce="fBA4lFY3">

Willem Breuker Kollektief! Creative Opportunity Orchestra! Hostile club owners!Saxophonist and composer, Alex Coke cannot be bound to one location. In this episode, we talk about unique collaborations with hip cinemas, bright moments in the midst of tragedy that remind us that people are good, and a tell-tale sign that the gig might go sideways: when the critiques start before downbeat. FEATURED RELEASE:Alex Coke“Iraqnophobia” (2005) Getting to Know: Alex!Musician/composer Alex Coke is a native of Dallas, Texas, who's interest in music and art led to studying flute and listening to jazz artists throughout his school years. He received his B.A. from The University of Colorado at Boulder in 1976 with an emphasis on flute performance. He went on to play, teach, tour, and record worldwide excelling on flute and saxophones as well as a variety of other woodwind instruments. An improviser at heart, Coke's eclectic perspective has led him to explore music from Be-Bop to Huddie Ledbetter, Ornette Coleman, Derek Bailey, and beyond. His flute studies have ranged from Eric Dolphy to Indian ragas on the bamboo flute as well as the extended techniques such as those researched by Robert Dick, Ann LaBerge and Wil Offermans.As a "tough Texas tenor" and featured flute and saxophone soloist on numerous projects in the USA, Europe, and Africa, Coke has had the honor of working with some of the world's most creative and diverse musicians including Tina Marsh, Steven Feld, The Creative Opportunity Orchestra, Reeds and Deeds, Accra Trane Station, KlezEdge, Gerald Wilson, Charles Tolliver, The Paradise Regained Orchestra, The John Jordan Trio, Arson, and The Mysterious Quartet from Helsinki (featuring Chris Duarte), Greezy Wheels, The Alejandro Escovedo Orchestra, White Denim, and many others. Watch the interview on our YouTube channel here!

The first set is from some of my favorite SoCal artist, Gerald Wilson, Peter Sprague and Holly Hofmann. Following is new music from coast to coast. Also, new highly celebrated albums from Brandee Younger, Johnathan Blake and more.  Playlist Artist ~ Name ~ Album Gerald Wilson and His Orchestra ~ So What ~ Gerald Wilson: Deep Dive! Peter Sprague ~ Blue in Green ~ Blue Kind of Miles Holly Hofmann Quartet ~ Bohemia After Dark ~ Live At Birdland Brandee Younger ~ Love & Struggle ~ Somewhere Different Johnathan Blake ~ LLL ~ Homeward Bound Jimmy Greene ~ No Words ~ While Looking Up Andrew Renfroe ~ Chemirocha ~ Dark Grey - EP Harold Land Sextet ~ Compulsion ~ West Coast Blues! Hank Mobley ~ If I Should Lose You ~ Soul Station

HANK MOBLEY – DIPPIN’ – Englewood Cliffs, NJ, June 18, 1965 The dip The breakthrough,I see your face before me, The vamp Lee Morgan (tp) Hank Mobley (ts) Harold Mabern (p) Larry Ridley (b) Billy Higgins (d) GERALD WILSON – YOU BETTER BELIEVE IT – Los Angeles, September 9, 1961 Blues for Yna Yna, The […]

Our sponsor: Houghton Hornswww.houghtonhorns.comThe GOLD Method App - Use code "GOLD21" when subscribing for your first month free!www.ryanbeachtrumpet.com/gold-method-appScott Belck's websitewww.scottbelck.comDr. Scott Belck currently serves as the Director of Jazz Studies and Professor of Music at the University of Cincinnati's College-Conservatory of Music (CCM) where he directs the CCM Jazz Orchestra and teaches applied Jazz Trumpet.He is a founding member of critically acclaimed Tromba Mundi contemporary trumpet ensemble and has toured as a member of Grammy Award winning funk legend Bootsy Collins' Funk Unity Band as lead trumpet. He has served as trumpet and cornet soloist with the Air Force Band of Flight in Dayton, Ohio where he also held the post of musical director for the Air Force Night Flight Jazz Ensemble. He is the Founding the Artistic Director Emeritus of the Cincinnati Contemporary Jazz Orchestra.His playing credits include recordings lead trumpet/guest soloist with the Cincinnati Pops featuring the Manhattan Transfer and John Pizzarelli, the Glenn Miller Orchestra, the Van Dells, and jazz soloist with the University of North Texas One O'clock Lab Band with whom he recorded four CDs as jazz soloist and section trumpet.He has performed as principal/lead trumpet with the St. Louis Symphony, Indianapolis Symphony, Cincinnati Symphony, the National Symphony Orchestra of the Dominican Republic, the Columbus Symphony Orchestra, the Dayton Philharmonic Orchestra, the Lexington Philharmonic, the Richmond Symphony Orchestra, and as section trumpet with the Duluth-Superior Symphony Orchestra and the Duluth Festival Opera.He has performed as lead trumpet for shows/concerts of Christian McBride, Jimmy Heath, Aretha Franklin, Gerald Wilson, the Detroit Jazz Festival Orchestra, Linda Ronstadt, John Lithgow, Donna Summer, Maureen McGovern, Michael Feinstein, Lalo Rodriguez, Sandy Patti, Tito Puente Jr., Tommy Tune, Manhattan Transfer, Lou Rawls, Patti Austen, The Coasters, Yes, Ben Vereen, Doc Severinsen, the Temptations, Olivia Newton-John, Neil Sedaka, the Blue Wisp Big Band, the Columbus Jazz Orchestra, the Dayton Jazz Orchestra, the Ink Spots, the Four Freshmen, The Frankie Avalon, Fabian, Bobby Riddell, Little Anthony and the Imperials, Frankie Valli, The Maritime Jazz Orchestra of Canada as well as touring Broadway shows and regional and national recording sessions.He has performed as a leader, musical director, or sideman with many top jazz players on the scene today including: Fred Hersch, Rich Perry, Adam Nussbaum, Lew Soloff, Randy Brecker, Slide Hampton, Jim McNeely, Claudio Roditi, John Riley, Rick Margitza, Bob Belden, Jimmy Heath, Bobby Watson, Tom Harrell, Tim Hagans, Regina Carter, Wes Anderson, John Hollenbeck, Steve Turre, Conrad Herwig, Gordon Brisker, Hank Marr, Marvin Stamm, Gerry Mulligan, Kenny Garrett, John Fedchock, Phil Woods, Ed Soph, John LaBarbera and Diane Schuur.He has also served as the Artistic Director of the Dayton Jazz Orchestra, the Jazz Central Big Band, and the Miami Valley Jazz Camp in Ohio. He is the author of the text “Modern Flexibilities for Brass”, published by Meredith Music and distributed by Hal Leonard. In his spare time, he is the CEO and founder of Lip Slur World Headquarters.Belck's new book “Progressive Lip Flexibilities for Brass” is quickly becoming one of the most popular sarcastic lip slur books in the lower South-Central Ohio River valley region. Scott Belck is a Powell Signature Trumpet Artist.Support the show (https://thatsnotspit.com/support/)

Dr. Gerald Wilson is President and CEO of Autonomic Materials, a homegrown U of I startup, and an Entrepreneur-in-Residence at the Research Park. He joins the show to share lessons learned on his fascinating startup journey as well as provide insight into how he helps budding entrepreneurs as an EIR. Head over to project-20.co/researchparkpodcast to leave show feedback. Visit researchpark.illinois.edu for job postings, social platforms, and more.

Our sponsor: Houghton Hornswww.houghtonhorns.comMarques Young - Q Soundwww.qsoundmusic.com/introSince wrapping up his 7-year career with the Malaysian Philharmonic Orchestra in late 2015, the former Principal Trombone is now ready to take the music world by storm. With his rich experience in composing and performing music from his favourite genres jazz, R&B, hip hop and electro to soul, funk and classical music, audiences can expect nothing less than raw talent, skill and a continuous evolution from Q Sound. Since moving to Kuala Lumpur, Malaysia in 2009 from New York, Q Sound or better known as Marques Young has made profound contributions to the development of the growing jazz culture in Southeast Asia. Through his bands 'Q Sound Band' and the 'Bassment Syndicate', he has led numerous performances at jazz venues throughout the region, including sold-out performances at the Dewan Filharmonik Petronas as part of DFP’s Happy Hour Series. He’s also initiated several educational projects where he has had the opportunity to mentor outstanding young jazz musicians. Among these projects, the Jazz Camp at DFP, mentored by Marques and a number of young jazz stars from New York City, resulted in his appointment as artistic director of the Encounter Jazz Program.Marques began his musical studies at age twelve with the euphonium under the direction of Gordon Manley. At sixteen, he was also playing trombone, and in 2001 was accepted into Arkansas Tech University School of Music, studying under Dr. Will Kimball. During his undergraduate studies, he received numerous awards and honors, including an invitation to the Leonard Falcone International Euphonium Solo Competition, where he was awarded first runner-up.In 2003, Marques began his studies at The Juilliard School under Joseph Alessi, Principal Trombone of the New York Philharmonic. During his orchestral training at Juilliard, Marques found continued success in solo competitions. In 2005, he won the Frank Smith International Trombone Solo competition, and in 2006 won both The Eastern Trombone Solo Competition and The International Trombone Association’s Van Haney Orchestral Solo Competition. He was also a member of the award winning Trombone Ensemble “Dease Bones” and The Lionshead Brass Quintet. During his time in New York, Marques was invited to perform with the American Brass Quintet, Buffalo Philharmonic and New York Philharmonic.In 2008, Marques was accepted into the Jazz Studies Program and received private instruction under jazz greats Wycliffe Gordon, Steve Turre, Ron Blake, and Carl Allen. He has also had the honor and privilege of performing and sharing the stage with a wide range of jazz legends, including Benny Golson, Paquito D'Rivera, Wynton Marsalis, Randy Brecker, Terri Lyne Carrington, Adam Rogers, Gil Goldstein, Helen Sung, Paulette McWilliams, Eddie Henderson, James Morrison, Marvin Stamm, Wycliffe Gordon, Benny Green, Buster Williams, Chris Botti, Victor Lewis, Clifford Adams, Christian Jacob, Gerald Wilson, Sheila Majid, Victor Goines, Maria Schneider, Valery Ponomarev and Lew Soloff. He has also performed with Lalah Hathaway, The Clark Sisters, Cheryl “Pepsi” Riley, Kim Davis, and Milo Z. Marques was a member of the West Village All-Star band “The Union,” led by Elan Lanier.Currently based in both Malaysia and New York, Q Sound when not performing classic symphonic repertoire with the Malaysian Philharmonic Orchestra can be found on stages with the Patrick Terbrack Quintet, Eleven Fela Orchestra, Najwa Mahiaddin, The Juny Brothers as well as Bassment Syndicate or in festivals in the region and beyond as a Thein performing artist.Support the show (https://thatsnotspit.com/support/)

In an interview with composer, Gerald Wilson-then 94-years-old, he confided to Dave that musicians in New York had not even heard the term ‘swing’ in relation to music until Bennie Moten came out... Visit deepintojazz.com for more interviews, talk on Jazz and access to The Record Room!

Tromboniste autodidacte et surdouée, compositrice géniale et unique, arrangeuse à la précision d'orfèvre... Les superlatifs ne manquent pas dans la bouche des artistes qui ont connu Melba Liston. Dizzy Gillespie, Quincy Jones, Dexter Gordon, Billie Holiday, Gerald Wilson, Mary Lou Williams, Randy Weston... et même... Bob Marley ! La liste des artistes qui ont un jour compté Melba Liston dans leurs rangs est bien trop longue pour être récitée ici. Pourtant, du haut de ses cinquante années de carrière,  cette musicienne américaine qui aura apporté l'une des plus belles pierres à l'édifice du Jazz, demeure encore aujourd'hui un nom injustement oublié.  Notre bureau d'enquête part donc à la découverte de l'itinéraire de cette femme d'influence restée dans l'ombre qui a su faire voler en éclat toutes les barrières de genre, de couleur, de culture, d'âge et même de handicap. Une franc-tireuse doublée d'une exploratrice musicale qui a tracé la voie pour de nombreuses musiciennes et musiciens qui depuis lors, et sans toujours le savoir, marchent dans les pas de cette géante.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Big Bands, onder andere Buddy Rich, Gerald Wilson, Bik Bent Braam en Gil Evans. Reacties: jazztrain@studio040.nl

Today's interview will be with one of the most in demand lead trumpet players in the United States. Frank Greene is currently the lead trumpet player with the Count Basie Band and formerly was a member of Paul Schaffer and The World's Most Dangerous Band on Late Night With David Letterman. Frank also toured with the Maynard Ferguson Big Band and has played on Grammy nominated albums with Christian McBride and Gerald Wilson.

Jerome Jennings is a multi-talented drummer, activist, bandleader, composer, sideman and educator.    His debut recording ‘The Beast' is a reflection of the everyday joys and traumas of black life in the U.S.  Jerome's, ‘Solidarity', released November 2019 was recognized by NPR as best music that spoke truth to power of 2019. To date Jerome has performed, toured and recorded with legendary musicians like Sonny Rollins, Hank Jones, Gerald Wilson, Christian McBride, Ron Carter, Dee Dee Bridgewater, Wynton Marsalis (J@LC), The Count Basie Orchestra, Philip Bailey, Henry Butler, and countless others. He has also made recordings and shared the stage with contemporary musicians Sean Jones, Camille Thurman, Jazzmeia Horn, Christian Sands, Charenee Wade, and Bokani Dyer to name a few. The summer of 2007 Jerome earned a MM from the prestigious Juilliard School in Manhattan NY. Jerome has been the Resident Director of The Juilliard Jazz Orchestra since fall 2017. 

The show where we uncover the stories, processes, and worldviews behind NYC’s most artful and creative musicians. Today's Guest: Andy Clausen is a New York-based trombonist, composer, producer, and educator. A graduate of The Juilliard School, Andy has served as principal conductor and Artistic Director for Jazz at New York Youth Symphony since 2016. As a composer, Andy has worked in a variety of formats, from orchestral and large ensemble commissions, to classical and jazz chamber music projects, as well as numerous film, television, and media productions. An in-demand collaborator across genres, he has performed or recorded a diverse range of artists including: Common, Fleet Foxes, Big Thief, Feist, A$AP Ferg, Paul Banks, Vieux Farka Touré, Wynton Marsalis, Ron Carter, Benny Golson, Frank Wess, Gerald Wilson, Bill Frisell, Kurt Elling, Joe Lovano, Theo Bleckmann, Kate Davis, Celisse Henderson, Haley Heynderickx, Nico Muhly, Maria Schneider, Dave Douglas, Wayne Horvitz, John Zorn, and The American Brass Quintet. Find him at https://www.andyclausen.com/ and @aclausent Your hosts: Austin Zhang - https://www.austinzhang.org/Michael Shapira http://michaelxshapira.com/ and @michaelxshapira Learn more: https://bravesound.org/ Instagram: @bravesoundnyc

Today we're going to be looking at this verse in the context of Psalm 34:9-11: "Oh, fear the LORD, you his saints, for those who fear him have no lack! The young lions suffer want and hunger; but those who seek the LORD lack no good thing. Come, O children, listen to me; I will teach you the fear of the Lord." There are two sections to these verses in which we're going to be diving into today - and these are that of having a reverent fear of the Lord and then Godly pursuit. Reverent FearTwo verses before this section, in verse 7, a beautiful promise is given to those who fear God, and it is that the angel of the Lord would encamp around those who fear Him and that He would deliver them.  So this raises the question: what does it mean to fear God? To quote Gerald Wilson (an Old Testament scholar), "To 'fear God/Yahweh' is to pare life down to its essential core: acceptance that one is completely dependent on God's gracious, underserved mercy. To experience that mercy in the midst of trouble is to know the 'blessing' our psalmist describes." To fear is to trust and revere. First, in verse 9 God tells us that those who trust and are depending on Him will have no lack - and this is an incredible promise. It's not partial in any way, but complete. God's provision for His own isn't told to us in regards of temporal or seasonal regulations - but it is instead ever-flowing and never-ending. If you feel like you're forgotten, afraid, or unsure - come back to promises like these. Godly PursuitWhether you admit it or not, every single one of us is pursuing something in life. You may not even realize you're pursuing something, but we all are. So this means that the question isn't if, but what we are seeking. Immediately after stating that those who fear the Lord will have no lack, David provides a mental picture of young lions who aren't able to provide for themselves. This image isn't an accident either, but instead as theological value. The young lions, who have insanely powerful potential to provide for themselves, are dependent. Even though they have potential they aren't fast enough or strong enough to do so. And this is what David likens to our state apart from God's provision. When we fear God, our fate is not that of the young lions, but instead rests with that of God, in which we will lack no good thing. And by "no good thing" - this does not mean that we get anything and everything that we want, when we want it. It's easy to twist this to mean something other than what is rooted in Scripture. David is crying out for help in this Psalm because his difficulty was real - and the point of this Psalm is dependence. This dependence is echoed in Romans 8:31-32 about God's own. It says, "What then shall we say to these things? If God is for us, who can be against us? He who did not spare his own Son but gave him up for us all, how will he not also with him graciously give us all things?" The point to take away from this is if God sent His own Son to take our place, will He not provide for us? He already did the hardest work in saving our souls, will He not also provide for the needs of those who seek and fear Him? Yes. He will. So fear Him - seek Him.

Tania Maria – “Super Happy” Idris Muhammed – “Crab Apple” Ramsey Lewis – “Sun Goddess” Gerald Wilson – “California Soul” Bobby Hutcherson – “Family Affair” Steve Khan – “Darlin’ Darlin’ Baby” Bob James – “Westchester Lady” Grover Washington Jr – “Mister Magic” Grover Washington Jr – “Trouble Man” Mario Biondi – “This Is What You […] The post The Penthouse Funk Sessions 27th Sep 2020 appeared first on SSRadio.

This chapter is a B-Day celebration with Erykah Badu, Allen Stone, Dionne Farris, Gloria Estefan, The Mighty Mighty Bosstones, Lin-Manuel Miranda(Hamilton), Bruno Mars, Jill Scott, Gerald Wilson, Los Hanky Pankys, Berth Hart, Camila Cabello, and Alabama 3

Charles Tolliver is a trumpeter, composer, arranger and bandleader who has recorded with jazz heavies including Andrew Hill, Oliver Nelson, Gerald Wilson and Max Roach. His new album, Connect, is his first release in more than a decade. Buy it here: https://amzn.to/3hSmGhD --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/brian-zimmerman/support

On Detroit: "My mother sent me to school there to go to Cass. Tech. There were no segregated schools in Detroit, MI. There were no segregated colleges in Detroit, Mi. We were second to Juilliard and we were a high school! Juilliard recently celebrated its 100 birthday but they have only had jazz for seven years now. Cass Tech had a symphony orchestra and three jazz bands in the school. They taught harmony, orchestration, percussion. They did a lot to improve the situation in jazz and of course some of the finest jazz musicians came from Detroit."I played with every black band in Detroit, MI. I ended up playing with Mckiney's Cotton Pickers and the Chocolate Dandies who were led by Benny Carter. Both of these bands were managed by Gene Goldcat. Gene owned the Greystone ballroom in Detroit. The Greystone ballroom was a club that black people could not go into but every Monday night was "black night" for black people. And it would feature one of the great black bands either Duke Ellington or Cab Calloway, Earl Hines or Jimmy Lunceford. By doing this Monday night music he helped improve the situation and give attention to jazz." --- Support this podcast: https://anchor.fm/jake-feinberg/support

This 1st hr. celebration features Pete Rodriquez, Malo, Texas Tornados, La Santa Cecilia, Boogaloo Assassins, Eydis Gorme with Trio Los Panchos, Gloria Etefan, Gerald Wilson and Orchestra, Azteca, Santana, Los Lobos, and Los Hanky Pankys, so Baile Baile Baile(dance)

Kamasi Washington (born February 18, 1981) is an American jazz saxophonist, composer, producer, and bandleader. Washington is known mainly for playing tenor saxophone. Kamasi Washington was born in Los Angeles, California, on February 18, 1981 to musical parents and educators, and was raised in Inglewood, California. He is a graduate of the Academy of Music of Alexander Hamilton High School in Beverlywood, Los Angeles. Washington next enrolled in UCLA's Department of Ethnomusicology, where he began playing with faculty members such as Kenny Burrell, Billy Higgins and band leader/trumpeter Gerald Wilson. Washington features in the album Young Jazz Giants in 2004. He has played along with a diverse group of musicians including Wayne Shorter, Herbie Hancock, Horace Tapscott, Gerald Wilson, Lauryn Hill, Nas, Snoop Dogg, George Duke, Chaka Khan, Flying Lotus, Thundercat, Mike Muir, Francisco Aguabella, the Pan Afrikaan People's Orchestra and Raphael Saadiq.

Kamasi Washington (born February 18, 1981) is an American jazz saxophonist, composer, producer, and bandleader. Washington is known mainly for playing tenor saxophone. Kamasi Washington was born in Los Angeles, California, on February 18, 1981 to musical parents and educators, and was raised in Inglewood, California. He is a graduate of the Academy of Music of Alexander Hamilton High School in Beverlywood, Los Angeles. Washington next enrolled in UCLA's Department of Ethnomusicology, where he began playing with faculty members such as Kenny Burrell, Billy Higgins and band leader/trumpeter Gerald Wilson. Washington features in the album Young Jazz Giants in 2004. He has played along with a diverse group of musicians including Wayne Shorter, Herbie Hancock, Horace Tapscott, Gerald Wilson, Lauryn Hill, Nas, Snoop Dogg, George Duke, Chaka Khan, Flying Lotus, Thundercat, Mike Muir, Francisco Aguabella, the Pan Afrikaan People's Orchestra and Raphael Saadiq.

Kamasi Washington (born February 18, 1981) is an American jazz saxophonist, composer, producer, and bandleader. Washington is known mainly for playing tenor saxophone. Kamasi Washington was born in Los Angeles, California, on February 18, 1981 to musical parents and educators, and was raised in Inglewood, California. He is a graduate of the Academy of Music of Alexander Hamilton High School in Beverlywood, Los Angeles. Washington next enrolled in UCLA's Department of Ethnomusicology, where he began playing with faculty members such as Kenny Burrell, Billy Higgins and band leader/trumpeter Gerald Wilson. Washington features in the album Young Jazz Giants in 2004. He has played along with a diverse group of musicians including Wayne Shorter, Herbie Hancock, Horace Tapscott, Gerald Wilson, Lauryn Hill, Nas, Snoop Dogg, George Duke, Chaka Khan, Flying Lotus, Thundercat, Mike Muir, Francisco Aguabella, the Pan Afrikaan People's Orchestra and Raphael Saadiq.

Misterioso.-JAZZANIVERSARIO.-Melba Liston ?– Melba Liston And Her 'Bones.-JAZZACTUALIDAD.-XIMO TEBAR,- “A-FREE-KAN JAZZ DANCE BIG BAND”. PROG.Nº 646.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Misterioso” JAZZ RECUERDO ANIVERSARIO.- Melba Liston ?– Melba Liston And Her 'Bones Sello: Fresh Sound Records ?– FSR-CD 408 Formato: CD, Album, Reissue País: Spain Publicado: 2006 Género: Jazz Estilo: Melba Liston y Her 'Bones es el único álbum dirigido por el trombonista, arreglista y compositor Melba Liston , grabado para elsello MetroJazz en 1958. [ La crítica de All About Jazz de Hrayr Attarian afirma: "Melba Liston es mejor conocida como arreglista y compositora, gracias a sus asociaciones con Dizzy Gillespie y, posteriormente, Randy Weston . Pero también fue una virtuosa trombonista ... La interacción del líder con los otros músicos de trombón se suma a la riqueza musical de la grabación. Incluso en compañía de músicos expertos de alta calidad como estos, sus habilidades musicales se destacan. Sus improvisaciones líricas son melódicas, claras y alegres cuando toca sin silenciar, y misterioso y cálido cuando está silenciado. Esta grabación es uno de los pocos lugares para escuchar Melba Liston en solitario ". [5] • Baritone Saxophone – Marty Flax • Bass – George Joyner , Nelson Boyd • Drums – Charlie Persip , Frank Dunlop* • Guitar – Kenny Burrell • Piano – Ray Bryant , Walter Davis Jr. • Trombone – Al Grey , Bennie Green , Benny Powell , Frank Rehak, Jimmy Cleveland , Melba Liston • Trombone, Tuba – Slide Hampton Notas Recorded # New York City, December 22, 1958 #New York City, December 24, 1958 : New York City, June, 1956 Melba Doretta Liston (13 de enero de 1926 - 23 de abril de 1999) fue una trombonista, arreglista y compositora estadounidense de jazz. Fue la primera mujer trombonista en tocar en grandes bandas durante las décadas de 1940 y 1960, pero a medida que avanzó su carrera se hizo más conocida como arreglista, particularmente en asociación con el pianista Randy Weston . Vida y carrera Liston nació en Kansas City, Missouri. A los siete años, la madre de Melba le compró un trombón. Su familia alentó sus actividades musicales, ya que todos eran amantes de la música. Liston fue principalmente autodidacta, pero fue "alentada por su abuelo que tocaba la guitarra", a quien pasó mucho tiempo aprendiendo a tocar canciones espirituales y populares. A la edad de ocho años, era lo suficientemente buena como para actuar en solitario en una estación de radio local. A la edad de diez años, se mudó a Los Ángeles, California. Ella era compañera de clase con Dexter Gordon y amiga de Eric Dolphy . Después de tocar en bandas juveniles y estudiar con Alma Hightower , se unió a la gran banda dirigida por Gerald Wilson en 1944. Grabó con el saxofonista Dexter Gordon en 1947 y se unió a la gran banda de Dizzy Gillespie , que incluía a los saxofonistas John Coltrane , Paul Gonsalves y el pianista John Lewis ) en Nueva York por un tiempo cuando Wilson disolvió su orquesta en 1948. Liston actuó en un papel secundario y estaba nerviosa cuando se le pidió que tomara solos, pero con ánimo se sintió más cómoda como voz destacada en las bandas. Estuvo de gira con el Conde Basie , luego con Billie Holiday (1949), pero la indiferencia del público y los rigores del camino la afectaron tan profundamente que dejó de tocar y se volvió a la educación. Liston enseñó durante unos tres años. Ella tomó un trabajo de oficina durante algunos años y complementó sus ingresos al tomar un trabajo como extra en Hollywood, apareciendo en The Prodigal (1955) y The Ten Commandments (1956). Regresó a Gillespie para giras patrocinadas por el Departamento de Estado de los EE. UU. En 1956 y 1957, grabó con Jazz Messenger de Art Blakey (1957), y formó un quinteto para mujeres en 1958. En 1959, visitó Europa con el espectáculo Free and Easy , para lo cual Quincy Jones fue director musical. Acompañó a Billy Eckstine con la Quincy Jones Orchestra en At Basin Street East , lanzada el 1 de octubre de 1961 por Verve. En la década de 1960 comenzó a colaborar con el pianista Randy Weston , arreglando composiciones (principalmente las suyas) para conjuntos de tamaño mediano a grande. Esta asociación, especialmente fuerte en la década de 1960, se reavivó a fines de la década de 1980 y 1990 hasta su muerte. Además, trabajó con Milt Jackson , Clark Terry y Johnny Griffin , además de trabajar como arreglista para Motown, apareciendo en álbumes de Ray Charles . En 1964, ayudó a establecer la Orquesta de Jazz de Pittsburgh. En 1971 fue elegida como arreglista musical para un artista de grabación de Stax , Calvin Scott, cuyo álbum fue producido por el primer productor de Stevie Wonder , Clarence Paul . En este álbum trabajó con Joe Sample y Wilton Felder de los Jazz Crusaders, el guitarrista de blues Arthur Adams y el baterista de jazz Paul Humphrey . En 1973, se mudó a Jamaica para enseñar en la Jamaica School of Music durante seis años antes de regresar a los Estados Unidos para dirigir sus propias bandas. Durante su tiempo en Jamaica, compuso y arregló la música para la película de comedia de 1975 Smile Orange , protagonizada por Carl Bradshaw , quien tres años antes protagonizó la primera película jamaicana, The Harder They Come . Se vio obligada a dejar de tocar en 1985 después de que un derrame cerebral la dejara parcialmente paralizada, pero continuó arreglando música con Randy Weston. En 1987, fue galardonada con la Jazz Masters Fellowship de National Endowment for the Arts . Después de sufrir accidentes cerebrovasculares repetidos, murió en Los Ángeles, California, en 1999, unos días después de un homenaje a ella y a la música de Randy Weston en la Universidad de Harvard. Su funeral en St. Peter's en Manhattan contó con actuaciones de Weston con Jann Parker, así como del conjunto afrocubano de Chico O'Farrill y de Lorenzo Shihab (voz). Sus primeros trabajos con las bandas de alto perfil de Count Basie y Dizzy Gillespie muestran un fuerte dominio de los modismos de big band y bop. Sin embargo, quizás su trabajo más importante fue escrito para Randy Weston, con quien trabajó durante cuatro décadas desde principios de la década de 1960. Liston trabajó como "escritora fantasma" durante su carrera. Según un escritor, "Liston logró muchos de los arreglos encontrados en los repertorios de Gillespie, Jones y Weston". Liston era una mujer en una profesión mayoritariamente masculina. Aunque algunos la consideran una heroína no reconocida, es muy apreciada en la comunidad del jazz. Liston fue pionero como trombonista y mujer. Ella articuló las dificultades de ser una mujer en el camino. "Están esos problemas naturales en el camino, los problemas femeninos, los problemas de alojamiento, la lavandería y todas esas cosas para tratar de mantenerse juntos, problemas que de alguna forma u otra los chicos no parecen tener que pasar". Ella continúa contando las luchas que experimentó como mujer afroamericana, que afectaron su carrera musical. Sin embargo, ella generalmente habló positivamente sobre la camaradería y el apoyo de músicos varones. Liston también se ocupó de cuestiones más grandes de inequidad en la industria de la música. Un escritor dijo: "Estaba claro que tenía que probar continuamente sus credenciales para obtener un empleo adecuado como músico, compositor y arreglista. No se le pagaba una escala equitativa y a menudo se le negaba el acceso a las oportunidades más grandes como compositora". y arreglista ". El estilo musical de Liston refleja las sensibilidades bebop y post-bop aprendidas de Dexter Gordon, Dizzy Gillespie y Art Blakey. Su primer trabajo grabado, como la "Dama traviesa" de Gordon, un homenaje a ella, sus solos muestran una mezcla de improvisación motívica y lineal, aunque parecen hacer menos uso de las armonías y alteraciones extendidas. Sus arreglos, especialmente aquellos con Weston, muestran una flexibilidad que trasciende su educación musical en la década de 1940 del bebop, ya sea trabajando en los estilos de swing, post-bop, músicas africanas o Motown. Su dominio de gestos rítmicos, surcos y polirritmos es particularmente notable (como se ilustra en Uhuru Afrika y Highlife ). Sus partes instrumentales demuestran un uso activo de posibilidades armónicas; Aunque sus arreglos sugieren un interés relativamente moderado en las exploraciones de conjuntos de jazz libre, utilizan un vocabulario tonal extenso, rico en voces armónicas alteradas, capas gruesas y disonancia. Su trabajo a lo largo de su carrera ha sido bien recibido tanto por la crítica como por el público. JAZZ ACTUALIDAD .-Esta semana vamos a tener al guitarrista valenciano XIMO TEBAR, con su álbum “A-FREE-KAN JAZZ DANCE BIG BAND”.

Jazz in un giorno d'estate del lun 19/08/19

Jazz in un giorno d'estate del lun 19/08

We all know there are rock "concept" albums - otherwise, Roger Dean would be out of work. But is there such a thing as a jazz concept album? Mike's skeptical, but Pat argues all you need is a unified mood and, maybe in the case of Herbie Mann, a tab of acid or two. The Session – COLLUSION; Herbie Mann – STONE FLUTE; Gerald Wilson – ETERNAL EQUINOX; Wynton Marsalis – CITI MOVEMENT; Henry Threadgill – RAG, BUSH AND ALL.

a cura di Gigi Longo. Brani di Eddie Henderson, Herbie Hancock, Joe Williams, Reuben Wilson, Gerald Wilson, Nancy Wilson, Grant Green.

a cura di Gigi Longo. Brani di Eddie Henderson, Herbie Hancock, Joe Williams, Reuben Wilson, Gerald Wilson, Nancy Wilson, Grant Green. (seconda parte)

a cura di Gigi Longo. Brani di Eddie Henderson, Herbie Hancock, Joe Williams, Reuben Wilson, Gerald Wilson, Nancy Wilson, Grant Green. (seconda parte)

This is the last trumpeter in our Jazz Features spotlighting unheralded trumpeters for November. Carmell Jones was from Kansas City, Kansas but became a a major trumpet voice on his horn when he moved to Los Angeles in 1960. He recorded his first albums there and worked with Harold Land, Curtis Amy and the big band of Gerald Wilson and others before moving to New York in 1964 to join Horace Silver's revamped Quintet. Carmell was on pianist Silver's famous date called "Song For My Father" In 1966 he moved to Europe and was there until 1980 then he returned home to Kansas and taught and played locally before his death at age 60. in 1996. Tonight's Jazz Feature is his fine only date for Prestige in 1965. Carmell picked a great band with Jimmy Heath on tenor saxophone and Barry Harris on piano adding much energy to the proceedings. George Tucker on bass and Roger Humphries on drums drive the music along in swinging fashion. Carmell's main influence was Clifford Brown and with his warm full sound and abundant technique Carmell reflects that wonderful influence by being Carmell! Check out "Jay Hawk Talk" tonight!

a cura di Gigi Longo. Musiche tratte dalla compilation Jukebox Mambo (prima parte)

a cura di Gigi Longo. Musiche tratte dalla compilation Jukebox Mambo (prima parte)

2-time GRAMMY Award winner and 4-time GRAMMY Nominee, saxophonist and composer Ernie Watts joins the show for the first time! He has been playing the saxophone for more than fifty years and from age 16 on he has been playing professionally, initially while still attending school. He won a Downbeat Scholarship to the Berklee College of Music in Boston. While studying at Berklee, Watts was recommended by trombonist Phil Wilson (a Berklee professor) to replace Gene Quill in Buddy Rich's Big Band, and left Berklee. Watts stayed with Rich from 1966-1968 and toured the world, also recording two albums with the band-Big Swing Face and The New One. Next, Watts moved to Los Angeles and began working in the big bands of Gerald Wilson and Oliver Nelson. With the Nelson band, Watts visited Africa on a U.S. State Department tour in 1969. In addition, Watts had the occasion to record with the legendary Thelonious Monk on the album “Monk's Blues” (Columbia). During the 1970s and '80s, Watts was immersed in the busy production scene of Los Angeles. His signature sound was heard on countless TV shows and movie scores, almost all the early West Coast Motown sessions, and with pop stars such as Aretha Franklin and Steely Dan. Watts has been featured on over 500 recordings by artists ranging from Cannonball Adderley to Frank Zappa. In 1982 Watts won the Grammy for best Best Pop Instrumental Performance for the “Chariots of Fire Theme (Dance Version)” In 1983, Watts performed with Charlie Haden's Liberation Music Orchestra and also toured with Pat Metheny's Special Quartet. In 1985, Watts won the Grammy Best R&B Instrumental Performance (Orchestra, Group Or Soloist) for Musician. Watts' charter membership in Haden's critically-acclaimed Quartet West, continued for almost 30 years until Haden's death. He has recorded 15 albums as a leader, for a variety of labels large and small, and in 2004, Watts started Flying Dolphin Records, releasing a series of critically acclaimed albums such as Alive, Spirit Song, Analog Man, To the Point, Four plus Four, Oasis and 2016's Wheel of Time. We talk about how he got his start playing music and how he developed, working with Buddy Rich, Thelonious Monk, his extensive studio work in the 70s and 80s, his GRAMMY Award winning recordings, his improvisational style as a solo artist, his solo discography and much, much more!

Eric Reed is a piano player well know in jazz circles. He has played with some of the great musicians of our time. In today's episode Eric shares the keys to success on how to navigate the business of music for the next generation. We also dive deep into creating your signature sound as a musician. Being a musician is balancing the art with the industry of music. Eric's passion for music is rooted deeply in family and faith. He shares how these two elements build his success in music and how it impact his humanity.In today's episode we also dive deep into the plans of God, faith as an action, creating music with message, getting to the other side of pain, wrestling with depression, where to find your validation, lessons from our dads, learning from those living, the politics of music, being patient in your career, diversification, hustling, goal setting, working smarter not harder , and much more.“I don’t view art as contemporary, modern, traditional, old or new,” says pianist-composer Eric Reed. “Nor do I endorse cliques or camps. I promulgate integrity in all things.”Through more than a quarter-century as a first-caller on the jazz scene, Reed has articulated this inclusive conception as a leader of numerous ensembles, solo performer, composer, producer, educator, and sideman with numerous artists, including extended stints with Buster Williams, Joe Henderson, Freddie Hubbard and Wynton Marsalis. Whatever the context, whatever the style, he consistently animates the flow with fresh ideas, virtuosic chops, intellectual clarity and an unwavering will to groove.On a remarkable series of recent recordings, Reed illuminates his aesthetic scope, navigating diverse terrain with intense focus and sagely concision. Consider, for example, one of Reed’s most recent releases, The Adventurous Monk, a 2014 date on which he offers idiomatic yet personalized, loose yet cohesive interpretations of ten works by the genius pianist-composer Thelonious Monk. It’s Reed’s third Monk project since 2009, when he made The Dancing Monk, followed in 2011 by The Baddest Monk, on which he addresses the iconic songs with just the right admixture of maverick recklessness and natural command. “I imbibed heavily on Monk’s music as I became more immersed in composition and my journey as an artist,” Reed remarks. “The rhythmic, harmonic and melodic variety in his pieces inspire, allow and compel me to embrace the challenge of trying to convey messages in a non-verbal manner.”A similar spirit of grounded exploration infuses Reed’s most recent release and first live recording, Groovewise, on which he navigates mainly original music on the bandstand. The spontaneity of live performance comes through on Stand!, a jubilant-to-introspective 2009 studio date on which Reed presents 11 pieces inspired by biblical themes. On two other in-studio trios—Something Beautiful from 2011 and Here, a 2006 session —Reed coalesces his own pieces with repertoire from popular songs, less-traveled jazz classics and gospel, deploying a wide range of moods and dynamics in the manner of a live set. Different in ambiance but equally impromptu is Reed’s Reflections Of A Grateful Heart, a contemplative, subdued solo recital of hymns, spirituals and gospel songs from his pen and, among others, Edwin and Walter Hawkins, Richard Smallwood and Billy Taylor.“The older I get, the more I start to see my musical, spiritual and personal influences as all one stream of consciousness,” Reed says. “When I was younger, I was exposed to music in my house, my neighborhood or in school; I didn’t care about what it was labeled. When I became a professional musician in my teens, the lines between the different styles were drawn in big red marker. Now, I’m not concerned about highlighting and the imposed differences. The musical experiences are all tied together.”Reed developed the core principles of his musical sensibility almost from the time he began to speak. “Before I could even reach the pedals,” he recalls, he was playing for and enhancing worship services for the congregants in the small Baptist storefront church in West Philadelphia where his father, a quartet singer, sang and preached. “My earliest experiences in the Holiness church were colored with charisma; people were moved largely by emotion,” he says of that functional setting. “Music played a major role in manipulating these emotions, even inciting people to dance. I developed my ear in an extraordinary way; if someone started to sing, I could quickly find their key and begin to accompany them.”Noting their son’s exceptional talent, Reed’s parents signed him up for private piano lessons at age 5, which continued at South Philly’s prestigious Settlement Music School. In the meantime, his aunt and uncle scoured flea markets for records. “They found these records by Horace Silver, Art Blakey and Dave Brubeck. Additionally, in our home, all kinds of music could be heard on the stereo and the radio because my parents and older siblings were into gospel and popular forms of music.” Reed recalls. “I listened to everything.”When Reed was 11, his family migrated to Huntington Park, California, a suburb near Los Angeles with a well-stocked neighborhood library where he continued to self-educate, reading various biographies, theory books and absorbing records. Soon, he enrolled in The Community School of Performing Arts (now The Colburn School), where his mentor Jeff Lavner, introduced him to even more recordings. In 1986, Wynton Marsalis conducted a master class there and took immediate notice of Reed. Marsalis connected the school to tenor saxophonist-educator-arranger Harold Battiste Jr., who was asked to develop an improvisational workshop. Eric reminisces, “Mr. Battiste was a soulful and lovely human being. He was patient and loving with me, taking me to clubs all around L.A. to check out music.”Wynton recalls, “Eric had great ears and already had formed his musical personality. He had a phenomenal level of talent for his age; I’ve only met four or five musicians with that extreme ability. He’s intelligent and curious; you don’t have to spend a lot of time explaining stuff to him. And there’s his pedigree: he grew up in the church, so he had direct exposure to the vernacular.” By his late teens, Reed, who had won several local music competitions judged by the likes of Horace Silver, Billy Higgins and Ernie Andrews, began to work professionally with tenor saxophone legends Teddy Edwards and Buddy Collette, Gerald Wilson, The Clayton Brothers and Clora Bryant. After matriculating at California State University, Northridge, Reed officially assumed the piano chair with Marsalis in June 1990 — and moved to New York City.Except for an 18-month return to Los Angeles in 1994-95, when he apprenticed with Benny Carter, Freddie Hubbard and Joe Henderson, New York remained Reed’s base of operations for the next decade-plus. From the jump, Reed became deeply entrenched in New York’s hardcore jazz scene, entering the rotation at Bradley’s, the legendary New York piano saloon, where masters bonded with students, providing a platform for Reed and his peers to cut their teeth. He documented seminal and now classic works on a series of trio and combo albums, It’s All Right To Swing, The Swing and I, Musicale, Pure Imagination and Manhattan Melodies.“In the heyday of the ‘90s, we were all devoutly and intensely devoted to the idea of what we thought Jazz was supposed to be,” Reed remarks. “Integrity has always been part of my essence, presenting a wide variety of music in a relevant fashion. Wherever the music goes, I want to go there and be present in that moment, not just a stylist.”After initial forays at applying this dictum on recordings, Reed curated concerts and produced studio dates for other artists, notably in a series called Jazz Composer Portraits for Manhattan’s Miller Theater from 2001-03, eliciting creative, unified performances of music by pianists Elmo Hope and Donald Brown, drummer James Black, alto saxophonist Eric Dolphy, bassist Ben Wolfe and the legendary Billy Strayhorn.“I like taking on the challenge of trying to make something my own, while attempting to honor the composer’s intentions,” Reed says. “I’ve embraced the songbooks of many composers and being able to draw from these different sources has helped me to find my own compositional voice. Some people find their voice early; some find it later. Earlier on, composing was more something that I did by default because I had a studio date coming up. On It’s All Right To Swing and Musicale, it was about the arrangement and presentation of the piece. Now, I incorporate more of my improvisational ideas into the way I write. I trust the musicians to interpret it and whatever happens, happens.”Throughout the ‘00s, Reed provided artistic direction for singers Paula West and Mary Stallings, for whom he produced 2013’s But Beautiful. “The art of accompanying singers has been ingrained in me since I was a child playing in church,” he remarks. Reed also began to teach privately under the auspices of Juilliard School of Music, the New School and Manhattan School of Music, helping to direct young luminaries like Aaron Diehl and Kris Bowers towards paths that “might help enhance what they were already doing and get them to become more developed musicians. This is why I don’t call myself a teacher, but a mentor.”“The bandstand is where the real education is,” Reed says. “The only way musicians truly learn what’s valuable is by being in the trenches. I thank God that so many of the old guard embraced me. I was truly and wonderfully blessed.”In 2008, Eric moved back to his beloved Los Angeles, jumping feet first into the local scene as musical director for Regina Taylor’s critically acclaimed musical Crowns, which ran for the entire summer at the Nate Holden Performing Arts Center and the Pasadena Playhouse. From 2010-2012, Reed was back in familiar territory – the church. Fondly, he state

MAKE MOVES 12 - Part 2 feat. Anthony Wilson, guitarist, composer, arranger, and creative wanderer who follows his ears.  Anthony describes his early childhood fascination with music and sketches out the balancing act of being a free spirit and a disciplined practitioner of music.  Anthony reveals some candid thoughts with John about his father-son relationship with Gerald Wilson, the great jazz luminary.  There is some nuanced and slightly heady conversation about the movement of individual voices throughout harmonic structures.  Anthony describes the various stages of his musical education, including the things he learned about the guitar from  legendary guitar teacher Ted Greene.  The interview closes with some soul searching statements about taking creative risk and being artistically vulnerable.  With Anthony's permission, episode 12 part 2 features a portion of the songs Arcadia and Shabby Bird, which are off his most recent album Frogtown. 

 "Ndugu" was born in Shreveport, Louisiana and moved to Los Angeles when he was eight. He began playing drums at age 12 and studied music throughout junior high and high school. While in high school, Chancler played with Willie Bobo, Gerald Wilson and the Harold Johnson Sextet. Chancler graduated from California State University, Dominguez Hills with a degree in music education. Chancler began playing with Hugh Masekela, and also worked with Herbie Hancock, Eddie Harris, and Thelonious Monk. He had brief stints with Miles Davis and Freddie Hubbard, then joined up with the great George Duke.  He also performed with Julian Priester, Weather Report and toured with Santana in the mid-'70s, and then formed the band Chocolate Jam Co.Studio work includes Michael Jackson's "Billie Jean". Stanley Clarke, Jean-Luc Ponty, Donna Summer, Patrice Rushen, Hubert Laws, The Crusaders, Frank Sinatra, Lionel Richie, George Benson, The Temptations, Tina Turner, Kenny Rogers, Herbie Hancock and John Lee Hooker.Ndugu has also played on a number of Movie Soundtracks including , “An  Officer and a Gentleman”, “Indecent  Proposal” and “The  Color  Purple” As  a  songwriter  Ndugu  co- wrote  hits  for  Santana  including  “Dance  Sister Dance”, George Duke’s “Reach  For  It”,  and  “Let  It  Whip”  for  the  Dazz  Band. His  production  credits  include Flora  Purim,  Bill  Summers,  Toki, Ndugu  and  the  Chocolate  Jam  Co. Ndugu  has  co-produced for  Santana,  George  Duke,  The  Crusaders,  Joe  Sample,  Wilton  Felder, Tina Turner and a group he co-leads with Patrice Rushen and  Ernie Watts called “The  Meeting”.Ndugu Chancler is Faculty at The University Of Southern California  in the Jazz Studies and Popular Music Departments.

Spéciale Gerald Wilson

The Jazz Session turns eight today! To celebrate, I've put together a look back at eight years of the show, featuring interviews and music by many past guests, including: John Abercrombie, Carl Allen, Jen Baker & Kyoko Kitamura, Gene Bertoncini, Terence Blanchard, Don Byron, Ron Carter, Jimmy Heath, Janel & Anthony, Darius Jones & Matthew Shipp, Steve Kuhn, Jo Lawry, Gene Ludwig, Marian McPartland, Nadje Noordhuis, Laurie Pepper, Sonny Rollins, Gerald Wilson, and more.

The Jazz Session turns eight today! To celebrate, I've put together a look back at eight years of the show, featuring interviews and music by many past guests, including: John Abercrombie, Carl Allen, Jen Baker & Kyoko Kitamura, Gene Bertoncini, Terence Blanchard, Don Byron, Ron Carter, Jimmy Heath, Janel & Anthony, Darius Jones & Matthew Shipp, Steve Kuhn, Jo Lawry, Gene Ludwig, Marian McPartland, Nadje Noordhuis, Laurie Pepper, Sonny Rollins, Gerald Wilson, and more.

Gerald Wilson, a bandleader, trumpeter, composer, arranger and educator whose multifaceted career reached from the swing era of the 1930s to the diverse jazz sounds of the 21st century, has died. He was 96. Wilson, who had been in declining health, died Monday at his home in Los Angeles, two weeks after contracting pneumonia, said his son, jazz guitarist Anthony Wilson. In a lifetime that spanned a substantial portion of the history of jazz, Wilson's combination of articulate composition skills with a far-reaching creative vision carried him successfully through each of the music's successive new evolutions.

Big band leader, trumpeter and composer Gerald Wilson was a jazz treasure for more than 6 decades. JazzCorner.com's Lois Gilbert spent several hours with Gerald on his 89th birthday during the Detroit Jazz Festival. Gerald Wilson died on September 8, 2014; 4 days after his 96th birthday. This very special JazzCorner.com InnerView is brought to you by Mack Avenue Records. https://www.mackavenue.com

Two legends look at their careers in jazz.

Two legends look at their careers in jazz.

Two legends look at their careers in jazz.

Two legends look at their careers in jazz.

A New York City architect becomes a one-man vigilante squad after his wife is murdered by street punks. In self-defense, the vengeful man kills muggers on the mean streets after dark. DirectorMichael Winner WritersBrian Garfield(novel) Wendell Mayes(screenplay) Gerald Wilson(uncredited) StarsCharles Bronson Hope Lange Vincent Gardenia --- Send in a voice message: https://anchor.fm/gruesome-hertzogg/message Support this podcast: https://anchor.fm/gruesome-hertzogg/support

  Street Corner Renaissance debut New CD "Life Could Be A Dream"Los Angeles-based Street Corner Renaissance offers a unique sound that has delighted audiences at venues throughout the country, including theaters, performing arts centers, elegant cruise lines, colleges and clubs. “We were honored to have been invited to participate in UCLA's week-long Festival of African-American Music Symposium, right out of the gate,” said Kitchen, referring to a gig in the group's early days. The festival was a comprehensive event hosted and produced by world-renowned guitarist Kenny Burrell. Street Corner Renaissance shared the stage with accomplished performers such as Nancy Wilson, George Duke, Patty Austin, Freda Payne, Linda Hopkins, Lalah Hathaway, Dianne Reeves, Gerald Wilson and Patrice Rushen, just to name a few

Composer and bandleader Gerald Wilson's new CD is Legacy (Mack Avenue Records, 2011). This is part two of a two-part conversation. (Listen to Part 1.) In this part, Wilson talks about his time in the Navy during World War II; his subsequent work as an arranger for record labels and Hollywood studios; the development of his own band; and his new CD.

Composer and bandleader Gerald Wilson’s new CD is Legacy (Mack Avenue Records, 2011). This is...

Composer and bandleader Gerald Wilson's new CD is Legacy (Mack Avenue Records, 2011). This is part one of a two-part conversation. In this episode, Gerald Wilson talks about growing up in the South and listening to music with his brother; his move to Detroit to attend an arts high school; his early days as a professional musician; his time with Jimmie Lunceford and his first arrangements; and the beginning of his time in the Navy. Learn more at mackavenue.com/artists/detail/gerald_wilson/.

Composer and bandleader Gerald Wilson’s new CD is Legacy (Mack Avenue Records, 2011). This is...

More Music You've Never Heard © 2008 by Spider Robinson Music by Schaun Tozer, Egberto Gismonti, Alexandre Gistmonti, Darrell Scott, Gale Mead with Amos Garrett, Phoebe Snow, Gerald Wilson, Thelonious Monk, Prasanna, and Matt Maxwell.

2007 Detroit International Jazz Festival Jazz Talk Tent SUNDAY, SEPTEMBER 2, 2007 – 2:45 PM Moderator – Michael G. Nastos Panel – Gerald Wilson, Bob Porter, Rodney Whitaker, Charles Tolliver, Sean Jones For more information, go to http://jazzstageproductions.com/djs The Jazz Talk Tent was sponsored in part by Detroit JazzStage