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3 episodes with Grant Green
4 episodes with Grant Green
3 episodes with Grant Green
Tonight's Jazz Feature is a round about tribute to St. Patrick's Day in that our Jazz Feature tonight is the initial album by master guitarist Grant Green entitled "Green Street". It was recorded by Blue Note Records on April 1,1961 but despite the date, Mr. Green was no fool! It put Grant Green who grew up in St. Louis, Missouri on the national Jazz map.as one of the two foremost guitarists to emerge in the 1960's along with Wes Montgomery. Green played the guitar like a saxophone and emphasized single lines and delivered these with his huge pure sound. He's featured here with just a trio, Green with Ben Tucker on bass and Dave Bailey on drums. The album consists of five selections with Monk's classic "Round About Midnight" being one and "Alone Together" being the other standard tune. The other three are Green's original tunes. This shows Green's talents in a pure light all the way and marked a great debut recording. "Green Street" is tonight's Jazz Feature...relax and enjoy.
En esta entrega de nuestro podcast estrenamos 'Midnight in Paris', nuevo trabajo del trompetista y cantante Johnny Britt. En el repaso a recientes lanzamientos discográficos reseñamos los álbumes de Ultrablue, Peter White, Vladimir Cetkar, Ryan La Valette y Papik & The Soultrend Orchestra. En el bloque central recordamos la música del guitarrista Grant Green, un músico fallecido a finales de los 70.
Slynk swings for the fences with new jack gold from Mint Condition, Wreckx-n-Effect and Michael Jackson and personal favorites from Kaoru Akimoto, Kossisko and more. Plus fresh donuts for another Dilla season and big tunes from soul-jazz royalty Jimmy Smith and Grant Green. View the full playlist for this show at https://www.wefunkradio.com/show/1237 Enjoying WEFUNK? Listen to all of our mixes at https://www.wefunkradio.com/shows/
Sintonía: "Dirty Red" - The Fabulous Counts"The Watts Breakaway" - The Johnny Otis Show; "Electric Frog Part 1" - Kool And The Gang; "In The Middle" - Grant Green; "A Joyful Process" - Funkadelic; "The Fuzz and Da Boog" - Fuzzy Haskins; "Corey Died On The Battlefield - The Wild Magnolias; "When She Made Me Promise" - The Beginning Of The End; "Smokin Cheeba Cheeba" - Harlem Underground Band; "Strung Out" - Gordon Staples & The Motown Strings; "Dance" - George BensonTodas las músicas extraídas de la recopilación (1xCD/2xLP) "Pulp Fusion - The Harder They Come. Original 1970s Ghetto Jazz & Funk Classics"Escuchar audio
Grabaciones de bossa nova publicadas en las últimas décadas por el sello Blue Note: el saxofonista Ike Quebec ('Blue samba', 'Favela'), el saxofonista Cannonball Adderley con The Bossa Rio Sextet ('O amor em paz', 'Batida diferente'), el guitarrista Grant Green ('Corcovado'), el saxofonista Joe Henderson ('Blue bossa'), los cantantes Bobby McFerrin, ('Blue bossa'), Peggy Lee ('A little boat'), Blossom Dearie ('Quiet nights of quiet stars') y Jackie Allen ('Dindi') y el flautista y saxofonista Charlie Rouse ('Samba de Orfeu').Escuchar audio
| The Cookers Quintet | Don't Look Now | Julie London | Every Time We Say Goodbye | Tom Keenlyside | All of you | Don Drummond | Garden of Love | Ray Baretto | Acid | Wayne Gorbea | Estamos en Salsa | Tommy Olivencia | Trucutu | Brother Jack Mcduff | Teardrops | Grant Green | Miss Anns Tempo | Quincy Jones | Ironside | Soul Media | Breeze | Steely Dan | Fm
Dan Wilson is a bandleader, teacher, and a Grammy-nominated guitarist who's played alongside organ-jazz master Joey DeFrancesco and bassist Christian McBride. He's on the short list of players who are experts of Grant Green's singular swinging sound. We called Dan to talk about our favorite entries in the Green's long discography. From trio dates to cowboy jazz to his funk period, we cover it all.Sponsored by Gibson: gibson.comGet at us: 100guitarists@premierguitar.comCall/Text: 319-423-9734Podcast powered by Sweetwater. Get your podcast set up here! - https://sweetwater.sjv.io/75rE0dSubscribe to the podcast:Spotify: https://open.spotify.com/show/0aXdYIDOmS8KtZaZGNazVb?si=c63d98737a6146afApple: https://podcasts.apple.com/us/podcast/100-guitarists/id1746527331
For the next three weeks on Echoes of Indiana Avenue, we'll celebrate the July birthday of the saxophonist and flutist James Spaulding, one of the greatest living legends of the Avenue jazz scene. Spaulding has performed with the greatest legends in jazz music, from Herbie Hancock to Louis Armstrong. On this week's edition, we'll focus on Spaulding's work for the famous Blue Note label. Spaulding was featured on over 20 classic Blue Note albums, working with star bandleaders like Freddie Hubbard, Wayne Shorter, Stanley Turrentine, Lee Morgan, Horace Silver, Grant Green, and many others.
Soaring in on a southerly breeze after his week by the sea, the London Hippy returns with an all-out 60's show. The first half of the show embodies the London-look; Psych-rock from England, Germany, the US and Turkey plus some pretty bits of blues and Summer-folk plus. The second half of the show explores the Hippy through the divine sounds of Folk Funk, Stoned Soul and, yes you heard it, Gospel. And to round off, a homage to a golden era for Jazz which saw the best work from the likes of John Coltrane, Grant Green, Oscar Peterson and Bill Evans. For more info and tracklisting, visit: https://thefaceradio.com/the-london-hippyTune into new broadcasts of The London Hippy, Thursdays from 2 – 4 PM EST / 7 - 9 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
En esta edición de nuestro podcast estrenamos 'Between Chairs', el álbum de presentación del teclista alemán Michael Friedinger. Repasamos discos de actualidad en el entorno de la música Smooth Jazz recientemente publicados por Chris Standring, Christian De Mesones, Norman Brown, Sy Smith y Chris 'Big Dog' Davis. En el bloque central recordamos la figura del guitarrista Grant Green, fallecido a finales de los 70.
Age Kat – Just Beautiful – 7:11 Urban Soul; Michael Landau – Twin Cities – 6:02 Jas Miller; Michael Paulo – Where R U (feat. Michael Paulo) – 3:29 Grant Green – Never Can Say Goodbye – 5:04 Soren Reiff; Walle Larsson; Matt King; Martin Verdonk; Lars-Erik Dahle; Mikkel Villingshøj Quartet – We Were so […]
| Johnny Hartman | Slow Hot Wind | Grant Green | Sometimes I feel like a motherless child | Sarah Vaughan w Oscar Peterson | How long has this been going on | Paquito D Rivera | Calzada Del Cerro | Fania All Stars | Coro Miyare | Fela Kuti | Zombie | Ripple | I dont know wha it is | Steely Dan | Night By Night
Pour ce numéro 50 de l’émission : Miles et Monk, Roland Kirk, Charlie Mingus, Mark Murphy, Grant Green, Wayne Shorter… Track list Charlie Mingus, Remembering Rockefeller at Attica Changes, Atlantic, 1974 Rashaan Roland Kirk, Goodbye Porkpie Hat 1976 Mark... Continue Reading →
All-time great Straw--Sugaree opener...Garcia's Theory of Relativity...Grant Green...blazing first set...strange synthesized noises...dancing, singing, and celebration in the streets of Springfield.
This week's guest is the British guitarist Edison Herbert, who plays melodic and soulful groove-based music that will lift your mood. We are featuring his compositions from a couple of his albums and you'll learn about his personal journey in music that has led to his career as a full-time performer. He talked to me about some of his mentors and influences including George Benson, and his perspectives as a Black artist navigating the music scene in the UK. I found him to be warmly engaging and candid and we circled around to topics that impact all of us, such as dealing with self-knowledge, creativity, and the need to be persistent and keep true to what's important to us . Edison Herbert Website: https://edisonherbert.com/ Can you buy me a coffee through Paypal to support this channel and this series? https://ko-fi.com/leahroseman Thanks! Like all my episodes, you can watch this on my YouTube channel or listen to the podcast, and I've also linked the transcript to my website (link here takes you to Video, Podcast and Transcript): https://www.leahroseman.com/episodes/edison-herbert Video of I Wanna Wake Up with You on Edison Herbert's YouTube: https://youtu.be/_vJk8MNuFSA?si=1VyD8fjZd7AiemEi Did you know that this podcast is in Season 4, and that I send out a weekly email newsletter where you can get access to Sneak Peeks of upcoming guests and be inspired by highlights from the archive? Newsletter sign-up: https://mailchi.mp/ebed4a237788/podcast-newsletter Timestamps: (00:00) Intro (02:26) Edison's start in music (05:12) Edison's albums (07:21) I Wanna Wake Up with You (13:39) Unforgettable Nat King Cole, US tour, grant funding (19:11) touring life in the UK, different aspects of music business (23:18) intro to Is She Is She Not (24:29) excerpt from Is She Is She Not (26:12) George Benson (31:35) musical influences Wes Montgomery, Grant Green (33:23) Loves in Need of Love Today (38:09) please support this independent podcast! thanks (38:47) Black musicians in the UK, African diaspora Black music traditions, racism (45:13) Edison's family (46:17) musical influences in Edison's style (48:55) Edison's guitars (50:10) Guildhall school, Randy Brecker, London jazz scene, Guildhall (54:36) school teacher experience and deciding to pursue music (56:51) staying healthy as a musician (01:01:57) advice for learning a musical instrument and creating a music career --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message
As we hit Winter and Spring right in the middle, Mike presents yet more Funk, Soul, Jazz and pedigree music to brighten the month of February! Only the finest sounds and grooves from the past 50 years to the present day make it into these shows and this month's is no exception. From Les McCann to the White Blinds, to Grant Green and all the way back to Yussef Days; This is Bottom Dollar Breaks, Beats and Grooves. Yeah baby! This show was first broadcast on the 3rd of February, 2024For more info and tracklisting, visit: https://thefaceradio.com/bottom-dollar-breaks-beats-band-grooves/Tune into new broadcasts of Breakfast with Bottom Dollar Breaks, Beats & Grooves, First Saturday from 10 AM - 12 PM EST / 3 - 5 PM GMT.Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Grabaciones de los años sesenta hechas en el estudio de Rudy Van Gelder para el sello Blue Note por el saxofonista Hank Mobley ('Recado bossa nova'), el guitarrista Grant Green ('Corcovado'), el pianista Duke Pearson ('Sandalia dela' -con la voz de Flora Purim-), el trompetista Lee Morgan ('Río'), los saxofonistas Ike Quebec ('Blue samba') y Joe Henderson ('Blue bossa') y el trompetista Donald Byrd ('Book´s bossa'). Además, tres clásicos de Jobim, con las cantantes Nancy Wilson ('How insensitive'), Jackie Allen ('Dindi') y Dianne Reeves ('Triste'). Escuchar audio
Few players have made the splash in the archival jazz game as Zev Feldman, who has discovered many lost jazz gems (and a little Fool's Gold) and shown how these issues can be events when packaged properly with good artwork and notes. This fortnight's show looks at two of his recent productions and two historical albums in the Latin Idiom. Did the jazz detective uncover more classics, or did his deductions go awry? Tune in to find out. Cal Tjader – CATCH THE GROVE; Wes Montgomery – MAXIMUM SWING; Ramsey Lewis – GOING LATIN; Grant Green -THE LATIN BIT.
Episode 170 of A History of Rock Music in Five Hundred Songs looks at "Astral Weeks", the early solo career of Van Morrison, and the death of Bert Berns. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-minute bonus episode available, on "Stoned Soul Picnic" by Laura Nyro. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata At one point I, ridiculously, misspeak the name of Charles Mingus' classic album. Black Saint and the Sinner Lady is not about dinner ladies. Also, I say Warren Smith Jr is on "Slim Slow Slider" when I meant to say Richard Davis (Smith is credited in some sources, but I only hear acoustic guitar, bass, and soprano sax on the finished track). Resources As usual, I've created Mixcloud playlists, with full versions of all the songs excerpted in this episode. As there are so many Van Morrison songs in this episode, the Mixcloud is split into three parts, one, two, and three. The information about Bert Berns comes from Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues by Joel Selvin. I've used several biographies of Van Morrison. Van Morrison: Into the Music by Ritchie Yorke is so sycophantic towards Morrison that the word “hagiography” would be, if anything, an understatement. Van Morrison: No Surrender by Johnny Rogan, on the other hand, is the kind of book that talks in the introduction about how the author has had to avoid discussing certain topics because of legal threats from the subject. Howard deWitt's Van Morrison: Astral Weeks to Stardom is over-thorough in the way some self-published books are, while Clinton Heylin's Can You Feel the Silence? is probably the best single volume on the artist. Information on Woodstock comes from Small Town Talk by Barney Hoskyns. Ryan Walsh's Astral Weeks: A Secret History of 1968 is about more than Astral Weeks, but does cover Morrison's period in and around Boston in more detail than anything else. The album Astral Weeks is worth hearing in its entirety. Not all of the music on The Authorized Bang Collection is as listenable, but it's the most complete collection available of everything Morrison recorded for Bang. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before we start, a quick warning -- this episode contains discussion of organised crime activity, and of sudden death. It also contains excerpts of songs which hint at attraction to underage girls and discuss terminal illness. If those subjects might upset you, you might want to read the transcript rather than listen to the episode. Anyway, on with the show. Van Morrison could have been the co-writer of "Piece of My Heart". Bert Berns was one of the great collaborators in the music business, and almost every hit he ever had was co-written, and he was always on the lookout for new collaborators, and in 1967 he was once again working with Van Morrison, who he'd worked with a couple of years earlier when Morrison was still the lead singer of Them. Towards the beginning of 1967 he had come up with a chorus, but no verse. He had the hook, "Take another little piece of my heart" -- Berns was writing a lot of songs with "heart" in the title at the time -- and wanted Morrison to come up with a verse to go with it. Van Morrison declined. He wasn't interested in writing pop songs, or in collaborating with other writers, and so Berns turned to one of his regular collaborators, Jerry Ragavoy, and it was Ragavoy who added the verses to one of the biggest successes of Berns' career: [Excerpt: Erma Franklin, "Piece of My Heart"] The story of how Van Morrison came to make the album that's often considered his masterpiece is intimately tied up with the story we've been telling in the background for several episodes now, the story of Atlantic Records' sale to Warners, and the story of Bert Berns' departure from Atlantic. For that reason, some parts of the story I'm about to tell will be familiar to those of you who've been paying close attention to the earlier episodes, but as always I'm going to take you from there to somewhere we've never been before. In 1962, Bert Berns was a moderately successful songwriter, who had written or co-written songs for many artists, especially for artists on Atlantic Records. He'd written songs for Atlantic artists like LaVern Baker, and when Atlantic's top pop producers Leiber and Stoller started to distance themselves from the label in the early sixties, he had moved into production as well, writing and producing Solomon Burke's big hit "Cry to Me": [Excerpt: Solomon Burke, "Cry to Me"] He was the producer and writer or co-writer of most of Burke's hits from that point forward, but at first he was still a freelance producer, and also produced records for Scepter Records, like the Isley Brothers' version of "Twist and Shout", another song he'd co-written, that one with Phil Medley. And as a jobbing songwriter, of course his songs were picked up by other producers, so Leiber and Stoller produced a version of his song "Tell Him" for the Exciters on United Artists: [Excerpt: The Exciters, "Tell Him"] Berns did freelance work for Leiber and Stoller as well as the other people he was working for. For example, when their former protege Phil Spector released his hit version of "Zip-a-Dee-Do-Dah", they got Berns to come up with a knockoff arrangement of "How Much is that Doggie in the Window?", released as by Baby Jane and the Rockabyes, with a production credit "Produced by Leiber and Stoller, directed by Bert Berns": [Excerpt: Baby Jane and the Rockabyes, "How Much is that Doggie in the Window?"] And when Leiber and Stoller stopped producing work for United Artists, Berns took over some of the artists they'd been producing for the label, like Marv Johnson, as well as producing his own new artists, like Garnet Mimms and the Enchanters, who had been discovered by Berns' friend Jerry Ragovoy, with whom he co-wrote their "Cry Baby": [Excerpt: Garnet Mimms and the Enchanters, "Cry Baby"] Berns was an inveterate collaborator. He was one of the few people to get co-writing credits with Leiber and Stoller, and he would collaborate seemingly with everyone who spoke to him for five minutes. He would also routinely reuse material, cutting the same songs time and again with different artists, knowing that a song must be a hit for *someone*. One of his closest collaborators was Jerry Wexler, who also became one of his best friends, even though one of their earliest interactions had been when Wexler had supervised Phil Spector's production of Berns' "Twist and Shout" for the Top Notes, a record that Berns had thought had butchered the song. Berns was, in his deepest bones, a record man. Listening to the records that Berns made, there's a strong continuity in everything he does. There's a love there of simplicity -- almost none of his records have more than three chords. He loved Latin sounds and rhythms -- a love he shared with other people working in Brill Building R&B at the time, like Leiber and Stoller and Spector -- and great voices in emotional distress. There's a reason that the records he produced for Solomon Burke were the first R&B records to be labelled "soul". Berns was one of those people for whom feel and commercial success are inextricable. He was an artist -- the records he made were powerfully expressive -- but he was an artist for whom the biggest validation was *getting a hit*. Only a small proportion of the records he made became hits, but enough did that in the early sixties he was a name that could be spoken of in the same breath as Leiber and Stoller, Spector, and Bacharach and David. And Atlantic needed a record man. The only people producing hits for the label at this point were Leiber and Stoller, and they were in the process of stopping doing freelance work and setting up their own label, Red Bird, as we talked about in the episode on the Shangri-Las. And anyway, they wanted more money than they were getting, and Jerry Wexler was never very keen on producers wanting money that could have gone to the record label. Wexler decided to sign Bert Berns up as a staff producer for Atlantic towards the end of 1963, and by May 1964 it was paying off. Atlantic hadn't been having hits, and now Berns had four tracks he wrote and produced for Atlantic on the Hot One Hundred, of which the highest charting was "My Girl Sloopy" by the Vibrations: [Excerpt: The Vibrations, "My Girl Sloopy"] Even higher on the charts though was the Beatles' version of "Twist and Shout". That record, indeed, had been successful enough in the UK that Berns had already made exploratory trips to the UK and produced records for Dick Rowe at Decca, a partnership we heard about in the episode on "Here Comes the Night". Berns had made partnerships there which would have vast repercussions for the music industry in both countries, and one of them was with the arranger Mike Leander, who was the uncredited arranger for the Drifters session for "Under the Boardwalk", a song written by Artie Resnick and Kenny Young and produced by Berns, recorded the day after the group's lead singer Rudy Lewis died of an overdose: [Excerpt: The Drifters, "Under the Boardwalk"] Berns was making hits on a regular basis by mid-1964, and the income from the label's new success allowed Jerry Wexler and the Ertegun brothers to buy out their other partners -- Ahmet Ertegun's old dentist, who had put up some of the initial money, and Miriam Bienstock, the ex-wife of their initial partner Herb Abramson, who'd got Abramson's share in the company after the divorce, and who was now married to Freddie Bienstock of Hill and Range publishing. Wexler and the Erteguns now owned the whole label. Berns also made regular trips to the UK to keep up his work with British musicians, and in one of those trips, as we heard in the episode on "Here Comes the Night", he produced several tracks for the group Them, including that track, written by Berns: [Excerpt: Them, "Here Comes the Night"] And a song written by the group's lead singer Van Morrison, "Gloria": [Excerpt: Them, "Gloria"] But Berns hadn't done much other work with them, because he had a new project. Part of the reason that Wexler and the Erteguns had gained total control of Atlantic was because, in a move pushed primarily by Wexler, they were looking at selling it. They'd already tried to merge with Leiber and Stoller's Red Bird Records, but lost the opportunity after a disastrous meeting, but they were in negotiations with several other labels, negotiations which would take another couple of years to bear fruit. But they weren't planning on getting out of the record business altogether. Whatever deal they made, they'd remain with Atlantic, but they were also planning on starting another label. Bert Berns had seen how successful Leiber and Stoller were with Red Bird, and wanted something similar. Wexler and the Erteguns didn't want to lose their one hit-maker, so they came up with an offer that would benefit all of them. Berns' publishing contract had just ended, so they would set up a new publishing company, WEB IV, named after the initials Wexler, Ertegun, and Berns, and the fact that there were four of them. Berns would own fifty percent of that, and the other three would own the other half. And they were going to start up a new label, with seventeen thousand dollars of the Atlantic partners' money. That label would be called Bang -- for Bert, Ahmet, Neshui, and Gerald -- and would be a separate company from Atlantic, so not affected by any sale. Berns would continue as a staff producer for Atlantic for now, but he'd have "his own" label, which he'd have a proper share in, and whether he was making hits for Atlantic or Bang, his partners would have a share of the profits. The first two records on Bang were "Shake and Jerk" by Billy Lamont, a track that they licensed from elsewhere and which didn't do much, and a more interesting track co-written by Berns. Bob Feldman, Richard Gottehrer, and Jerry Goldstein were Brill Building songwriters who had become known for writing "My Boyfriend's Back", a hit for the Angels, a couple of years earlier: [Excerpt: The Angels, "My Boyfriend's Back"] With the British invasion, the three of them had decided to create their own foreign beat group. As they couldn't do British accents, they pretended to be Australian, and as the Strangeloves -- named after the Stanley Kubrick film Dr Strangelove -- they released one flop single. They cut another single, a version of "Bo Diddley", but the label they released their initial record through didn't want it. They then took the record to Atlantic, where Jerry Wexler said that they weren't interested in releasing some white men singing "Bo Diddley". But Ahmet Ertegun suggested they bring the track to Bert Berns to see what he thought. Berns pointed out that if they changed the lyrics and melody, but kept the same backing track, they could claim the copyright in the resulting song themselves. He worked with them on a new lyric, inspired by the novel Candy, a satirical pornographic novel co-written by Terry Southern, who had also co-written the screenplay to Dr Strangelove. Berns supervised some guitar overdubs, and the result went to number eleven: [Excerpt: The Strangeloves, "I Want Candy"] Berns had two other songs on the hot one hundred when that charted, too -- Them's version of "Here Comes the Night", and the version of Van McCoy's song "Baby I'm Yours" he'd produced for Barbara Lewis. Three records on the charts on three different labels. But despite the sheer number of charting records he'd had, he'd never had a number one, until the Strangeloves went on tour. Before the tour they'd cut a version of "My Girl Sloopy" for their album -- Berns always liked to reuse material -- and they started performing the song on the tour. The Dave Clark Five, who they were supporting, told them it sounded like a hit and they were going to do their own version when they got home. Feldman, Gottehrer, and Goldstein decided *they* might as well have the hit with it as anyone else. Rather than put it out as a Strangeloves record -- their own record was still rising up the charts, and there's no reason to be your own competition -- they decided to get a group of teenage musicians who supported them on the last date of the tour to sing new vocals to the backing track from the Strangeloves album. The group had been called Rick and the Raiders, but they argued so much that the Strangeloves nicknamed them the Hatfields and the McCoys, and when their version of "My Girl Sloopy", retitled "Hang on Sloopy", came out, it was under the band name The McCoys: [Excerpt: The McCoys, "Hang on Sloopy"] Berns was becoming a major success, and with major success in the New York music industry in the 1960s came Mafia involvement. We've talked a fair bit about Morris Levy's connection with the mob in many previous episodes, but mob influence was utterly pervasive throughout the New York part of the industry, and so for example Richard Gottehrer of the Strangeloves used to call Sonny Franzese of the Colombo crime family "Uncle John", they were so close. Franzese was big in the record business too, even after his conviction for bank robbery. Berns, unlike many of the other people in the industry, had no scruples at all about hanging out with Mafiosi. indeed his best friend in the mid sixties was Tommy Eboli, a member of the Genovese crime family who had been in the mob since the twenties, starting out working for "Lucky" Luciano. Berns was not himself a violent man, as far as anyone can tell, but he liked the glamour of hanging out with organised crime figures, and they liked hanging out with someone who was making so many hit records. And so while Leiber and Stoller, for example, ended up selling Red Bird Records to George Goldner for a single dollar in order to get away from the Mafiosi who were slowly muscling in on the label, Berns had no problems at all in keeping his own label going. Indeed, he would soon be doing so without the involvement of Atlantic Records. Berns' final work for Atlantic was in June 1966, when he cut a song he had co-written with Jeff Barry for the Drifters, inspired by the woman who would soon become Atlantic's biggest star: [Excerpt: The Drifters, "Aretha"] The way Berns told the story in public, there was no real bad blood between him, Wexler, and the Erteguns -- he'd just decided to go his own way, and he said “I will always be grateful to them for the help they've given me in getting Bang started,” The way Berns' wife would later tell the story, Jerry Wexler had suggested that rather than Berns owning fifty percent of Web IV, they should start to split everything four ways, and she had been horrified by this suggestion, kicked up a stink about it, and Wexler had then said that either Berns needed to buy the other three out, or quit and give them everything, and demanded Berns pay them three hundred thousand dollars. According to other people, Berns decided he wanted one hundred percent control of Web IV, and raised a breach of contract lawsuit against Atlantic, over the usual royalty non-payments that were endemic in the industry at that point. When Atlantic decided to fight the lawsuit rather than settle, Berns' mob friends got involved and threatened to break the legs of Wexler's fourteen-year-old daughter, and the mob ended up with full control of Bang records, while Berns had full control of his publishing company. Given later events, and in particular given the way Wexler talked about Berns until the day he died, with a vitriol that he never used about any of the other people he had business disputes with, it seems likely to me that the latter story is closer to the truth than the former. But most people involved weren't talking about the details of what went on, and so Berns still retained his relationships with many of the people in the business, not least of them Jeff Barry, so when Barry and Ellie Greenwich had a new potential star, it was Berns they thought to bring him to, even though the artist was white and Berns had recently given an interview saying that he wanted to work with more Black artists, because white artists simply didn't have soul. Barry and Greenwich's marriage was breaking up at the time, but they were still working together professionally, as we discussed in the episode on "River Deep, Mountain High", and they had been the main production team at Red Bird. But with Red Bird in terminal decline, they turned elsewhere when they found a potential major star after Greenwich was asked to sing backing vocals on one of his songwriting demos. They'd signed the new songwriter, Neil Diamond, to Leiber and Stoller's company Trio Music at first, but they soon started up their own company, Tallyrand Music, and signed Diamond to that, giving Diamond fifty percent of the company and keeping twenty-five percent each for themselves, and placed one of his songs with Jay and the Americans in 1965: [Excerpt: Jay and the Americans, "Sunday and Me"] That record made the top twenty, and had established Diamond as a songwriter, but he was still not a major performer -- he'd released one flop single on Columbia Records before meeting Barry and Greenwich. But they thought he had something, and Bert Berns agreed. Diamond was signed to Bang records, and Berns had a series of pre-production meetings with Barry and Greenwich before they took Diamond into the studio -- Barry and Greenwich were going to produce Diamond for Bang, as they had previously produced tracks for Red Bird, but they were going to shape the records according to Berns' aesthetic. The first single released from Diamond's first session, "Solitary Man", only made number fifty-five, but it was the first thing Diamond had recorded to make the Hot One Hundred at all: [Excerpt: Neil Diamond, "Solitary Man"] The second single, though, was much more Bert Berns' sort of thing -- a three-chord song that sounded like it could have been written by Berns himself, especially after Barry and Greenwich had added the Latin-style horns that Berns loved so much. Indeed according to some sources, Berns did make a songwriting suggestion -- Diamond's song had apparently been called "Money Money", and Berns had thought that was a ridiculous title, and suggested calling it "Cherry Cherry" instead: [Excerpt: Neil Diamond, "Cherry Cherry"] That became Diamond's first top ten hit. While Greenwich had been the one who had discovered Diamond, and Barry and Greenwich were the credited producers on all Diamond's records as a result, Diamond soon found himself collaborating far more with Barry than with Greenwich, so for example the first number one he wrote, for the Monkees rather than himself, ended up having its production just credited to Barry. That record used a backing track recorded in New York by the same set of musicians used on most Bang records, like Al Gorgoni on lead guitar and Russ Savakus on bass: [Excerpt: The Monkees, "I'm a Believer"] Neil Diamond was becoming a solid hit-maker, but he started rubbing up badly against Berns. Berns wanted hits and only hits, and Diamond thought of himself as a serious artist. The crisis came when two songs were under contention for Diamond's next single in late 1967, after he'd had a whole run of hits for the label. The song Diamond wanted to release, "Shilo", was deeply personal to him: [Excerpt: Neil Diamond, "Shilo"] But Bert Berns had other ideas. "Shilo" didn't sound like a hit, and he knew a hit when he heard one. No, the clear next single, the only choice, was "Kentucky Woman": [Excerpt: Neil Diamond, "Kentucky Woman"] But Berns tried to compromise as best he could. Diamond's contract was up for renewal, and you don't want to lose someone who has had, as Diamond had at that point, five top twenty hits in a row, and who was also writing songs like "I'm a Believer" and "Red Red Wine". He told Diamond that he'd let "Shilo" come out as a single if Diamond signed an extension to his contract. Diamond said that not only was he not going to do that, he'd taken legal advice and discovered that there were problems with his contract which let him record for other labels -- the word "exclusive" had been missed out of the text, among other things. He wasn't going to be recording for Bang at all any more. The lawsuits over this would stretch out for a decade, and Diamond would eventually win, but the first few months were very, very difficult for Diamond. When he played the Bitter End, a club in New York, stink bombs were thrown into the audience. The Bitter End's manager was assaulted and severely beaten. Diamond moved his wife and child out of Manhattan, borrowed a gun, and after his last business meeting with Berns was heard talking about how he needed to contact the District Attorney and hire a bodyguard. Of the many threats that were issued against Diamond, though, the least disturbing was probably the threat Berns made to Diamond's career. Berns pointed out to Diamond in no uncertain terms that he didn't need Diamond anyway -- he already had someone he could replace Diamond with, another white male solo singer with a guitar who could churn out guaranteed hits. He had Van Morrison: [Excerpt: Van Morrison, "Brown-Eyed Girl"] When we left Van Morrison, Them had just split up due to the problems they had been having with their management team. Indeed, the problems Morrison was having with his managers seem curiously similar to the issues that Diamond was having with Bert Berns -- something that could possibly have been a warning sign to everyone involved, if any of them had known the full details of everyone else's situation. Sadly for all of them, none of them did. Them had had some early singles success, notably with the tracks Berns had produced for them, but Morrison's opinion of their second album, Them Again, was less than complimentary, and in general that album is mostly only remembered for the version of Bob Dylan's "It's All Over Now, Baby Blue", which is one of those cover versions that inspires subsequent covers more than the original ever did: [Excerpt: Them, "It's All Over Now, Baby Blue"] Them had toured the US around the time of the release of that album, but that tour had been a disaster. The group had gained a reputation for incredible live shows, including performances at the Whisky A-Go-Go with the Doors and Captain Beefheart as their support acts, but during the tour Van Morrison had decided that Phil Solomon, the group's manager, was getting too much money -- Morrison had agreed to do the tour on a salary, rather than a percentage, but the tour had been more successful than he'd expected, and Solomon was making a great deal of money off the tour, money that Morrison believed rightfully belonged to him. The group started collecting the money directly from promoters, and got into legal trouble with Solomon as a result. The tour ended with the group having ten thousand dollars that Solomon believed -- quite possibly correctly -- that he was owed. Various gangsters whose acquaintance the group had made offered to have the problem taken care of, but they decided instead to come to a legal agreement -- they would keep the money, and in return Solomon, whose production company the group were signed to, would get to keep all future royalties from the Them tracks. This probably seemed a good idea at the time, when the idea of records earning royalties for sixty or more years into the future seemed ridiculous, but Morrison in particular came to regret the decision bitterly. The group played one final gig when they got back to Belfast, but then split up, though a version of the group led by the bass player Alan Henderson continued performing for a few years to no success. Morrison put together a band that played a handful of gigs under the name Them Again, with little success, but he already had his eyes set on a return to the US. In Morrison's eyes, Bert Berns had been the only person in the music industry who had really understood him, and the two worked well together. He had also fallen in love with an American woman, Janet Planet, and wanted to find some way to be with her. As Morrison said later “I had a couple of other offers but I thought this was the best one, seeing as I wanted to come to America anyway. I can't remember the exact details of the deal. It wasn't really that spectacular, money-wise, I don't think. But it was pretty hard to refuse from the point of view that I really respected Bert as a producer. I'd rather have worked with Bert than some other guy with a bigger record company. From that angle, it was spectacular because Bert was somebody that I wanted to work with.” There's little evidence that Morrison did have other offers -- he was already getting a reputation as someone who it was difficult to work with -- but he and Berns had a mutual respect, and on January the ninth, 1967, he signed a contract with Bang records. That contract has come in for a lot of criticism over the years, but it was actually, *by the standards in operation in the music business in 1967*, a reasonably fair one. The contract provided that, for a $2,500 a year advance, Bang would record twelve sides in the first year, with an option for up to fifty more that year, and options for up to four more years on the same terms. Bang had the full ownership of the masters and the right to do what they wanted with them. According to at least one biographer, Morrison added clauses requiring Bang to actually record the twelve sides a year, and to put out at least three singles and one album per year while the contract was in operation. He also added one other clause which seems telling -- "Company agrees that Company will not make any reference to the name THEM on phonograph records, or in advertising copy in connection with the recording of Artist." Morrison was, at first, extremely happy with Berns. The problems started with their first session: [Excerpt: Van Morrison, "Brown-Eyed Girl (takes 1-6)"] When Morrison had played the songs he was working on for Berns, Berns had remarked that they sounded great with just Morrison and his guitar, so Morrison was surprised when he got into the studio to find the whole standard New York session crew there -- the same group of session players who were playing for everyone from the Monkees to Laura Nyro, from Neil Diamond to the Shangri-Las -- along with the Sweet Inspirations to provide backing vocals. As he described it later "This fellow Bert, he made it the way he wanted to, and I accepted that he was producing it... I'd write a song and bring it into the group and we'd sit there and bash it around and that's all it was -- they weren't playing the songs, they were just playing whatever it was. They'd say 'OK, we got drums so let's put drums on it,' and they weren't thinking about the song, all they were thinking about was putting drums on it... But it was my song, and I had to watch it go down." The first song they cut was "Brown-Eyed Girl", a song which Morrison has said was originally a calypso, and was originally titled "Brown-skinned Girl", though he's differed in interviews as to whether Berns changed the lyric or if he just decided to sing it differently without thinking about it in the session. Berns turned "Brown-Eyed Girl" into a hit single, because that was what he tended to do with songs, and the result sounds a lot like the kind of record that Bang were releasing for Neil Diamond: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has, in later years, expressed his distaste for what was done to the song, and in particular he's said that the backing vocal part by the Sweet Inspirations was added by Berns and he disliked it: [Excerpt: Van Morrison, "Brown-Eyed Girl"] Morrison has been very dismissive of "Brown-Eyed Girl" over the years, but he seems not to have disliked it at the time, and the song itself is one that has stood the test of time, and is often pointed to by other songwriters as a great example of the writer's craft. I remember reading one interview with Randy Newman -- sadly, while I thought it was in Paul Zollo's "Songwriters on Songwriting" I just checked that and it's not, so I can't quote it precisely -- in which he says that he often points to the line "behind the stadium with you" as a perfect piece of writing, because it's such a strangely specific detail that it convinces you that it actually happened, and that means you implicitly believe the rest of the song. Though it should be made very clear here that Morrison has always said, over and over again, that nothing in his songs is based directly on his own experiences, and that they're all products of his imagination and composites of people he's known. This is very important to note before we go any further, because "Brown-Eyed Girl" is one of many songs from this period in Morrison's career which imply that their narrator has an attraction to underage girls -- in this case he remembers "making love in the green grass" in the distant past, while he also says "saw you just the other day, my how you have grown", and that particular combination is not perhaps one that should be dwelt on too closely. But there is of course a very big difference between a songwriter treating a subject as something that is worth thinking about in the course of a song and writing about their own lives, and that can be seen on one of the other songs that Morrison recorded in these sessions, "T.B. Sheets": [Excerpt: Van Morrison, "T.B. Sheets"] It seems very unlikely indeed that Van Morrison actually had a lover die of tuberculosis, as the lover in the song does, and while a lot of people seem convinced that it's autobiographical, simply because of the intensity of the performance (Morrison apparently broke down in tears after recording it), nobody has ever found anyone in Morrison's life who fits the story in the song, and he's always ridiculed such suggestions. What is true though is that "T.B. Sheets" is evidence against another claim that Morrison has made in the past - that on these initial sessions the eight songs recorded were meant to be the A and B sides of four singles and there was no plan of making an album. It is simply not plausible at all to suggest that "T.B. Sheets" -- a slow blues about terminal illness, that lasts nearly ten minutes -- was ever intended as a single. It wouldn't have even come close to fitting on one side of a forty-five. It was also presumably at this time that Berns brought up the topic of "Piece of My Heart". When Berns signed Erma Franklin, it was as a way of getting at Jerry Wexler, who had gone from being his closest friend to someone he wasn't on speaking terms with, by signing the sister of his new signing Aretha. Morrison, of course, didn't co-write it -- he'd already decided that he didn't play well with others -- but it's tempting to think about how the song might have been different had Morrison written it. The song in some ways seems a message to Wexler -- haven't you had enough from me already? -- but it's also notable how many songs Berns was writing with the word "heart" in the chorus, given that Berns knew he was on borrowed time from his own heart condition. As an example, around the same time he and Jerry Ragavoy co-wrote "Piece of My Heart", they also co-wrote another song, "Heart Be Still", a flagrant lift from "Peace Be Still" by Aretha Franklin's old mentor Rev. James Cleveland, which they cut with Lorraine Ellison: [Excerpt: Lorraine Ellison, "Heart Be Still"] Berns' heart condition had got much worse as a result of the stress from splitting with Atlantic, and he had started talking about maybe getting open-heart surgery, though that was still very new and experimental. One wonders how he must have felt listening to Morrison singing about watching someone slowly dying. Morrison has since had nothing but negative things to say about the sessions in March 1967, but at the time he seemed happy. He returned to Belfast almost straight away after the sessions, on the understanding that he'd be back in the US if "Brown-Eyed Girl" was a success. He wrote to Janet Planet in San Francisco telling her to listen to the radio -- she'd know if she heard "Brown-Eyed Girl" that he would be back on his way to see her. She soon did hear the song, and he was soon back in the US: [Excerpt: Van Morrison, "Brown-Eyed Girl"] By August, "Brown-Eyed Girl" had become a substantial hit, making the top ten, and Morrison was back in the States. He was starting to get less happy with Berns though. Bang had put out the eight tracks he'd recorded in March as an album, titled Blowin' Your Mind, and Morrison thought that the crass pseudo-psychedelia of the title, liner notes, and cover was very inappropriate -- Morrison has never been a heavy user of any drugs other than alcohol, and didn't particularly want to be associated with them. He also seems to have not realised that every track he recorded in those initial sessions would be on the album, which many people have called one of the great one-sided albums of all time -- side A, with "Brown-Eyed Girl", "He Ain't Give You None" and the extended "T.B. Sheets" tends to get far more love than side B, with five much lesser songs on it. Berns held a party for Morrison on a cruise around Manhattan, but it didn't go well -- when the performer Tiny Tim tried to get on board, Carmine "Wassel" DeNoia, a mobster friend of Berns' who was Berns' partner in a studio they'd managed to get from Atlantic as part of the settlement when Berns left, was so offended by Tim's long hair and effeminate voice and mannerisms that he threw him overboard into the harbour. DeNoia was meant to be Morrison's manager in the US, working with Berns, but he and Morrison didn't get on at all -- at one point DeNoia smashed Morrison's acoustic guitar over his head, and only later regretted the damage he'd done to a nice guitar. And Morrison and Berns weren't getting on either. Morrison went back into the studio to record four more songs for a follow-up to "Brown-Eyed Girl", but there was again a misunderstanding. Morrison thought he'd been promised that this time he could do his songs the way he wanted, but Berns was just frustrated that he wasn't coming up with another "Brown-Eyed Girl", but was instead coming up with slow songs about trans women. Berns overdubbed party noises and soul backing vocals onto "Madame George", possibly in an attempt to copy the Beach Boys' Party! album with its similar feel, but it was never going to be a "Barbara Ann": [Excerpt: Van Morrison, "Madame George (Bang version)"] In the end, Berns released one of the filler tracks from Blowin' Your Mind, "Ro Ro Rosey", as the next single, and it flopped. On December the twenty-ninth, Berns had a meeting with Neil Diamond, the meeting after which Diamond decided he needed to get a bodyguard. After that, he had a screaming row over the phone with Van Morrison, which made Berns ill with stress. The next day, he died of a heart attack. Berns' widow Ilene, who had only just given birth to a baby a couple of weeks earlier, would always blame Morrison for pushing her husband over the edge. Neither Van Morrison nor Jerry Wexler went to the funeral, but Neil Diamond did -- he went to try to persuade Ilene to let him out of his contract now Berns was dead. According to Janet Planet later, "We were at the hotel when we learned that Bert had died. We were just mortified, because things had been going really badly, and Van felt really bad, because I guess they'd parted having had some big fight or something... Even though he did love Bert, it was a strange relationship that lived and died in the studio... I remember we didn't go to the funeral, which probably was a mistake... I think [Van] had a really bad feeling about what was going to happen." But Morrison has later mostly talked about the more practical concerns that came up, which were largely the same as the ones Neil Diamond had, saying in 1997 "I'd signed a contract with Bert Berns for management, production, agency and record company, publishing, the whole lot -- which was professional suicide as any lawyer will tell you now... Then the whole thing blew up. Bert Berns died and I was left broke." This was the same mistake, essentially, that he'd made with Phil Solomon, and in order to get out of it, it turned out he was going to have to do much the same for a third time. But it was the experience with Berns specifically that traumatised Morrison enough that twenty-five years later he would still be writing songs about it, like "Big Time Operators": [Excerpt: Van Morrison, "Big Time Operators"] The option to renew Morrison's contracts with Berns' companies came on the ninth of January 1968, less than two weeks after Berns' death. After his death, Berns' share of ownership in his companies had passed to his widow, who was in a quandary. She had two young children, one of whom was only a few weeks old, and she needed an income after their father had died. She was also not well disposed at all towards Morrison, who she blamed for causing her husband's death. By all accounts the amazing thing is that Berns lived as long as he did given his heart condition and the state of medical science at the time, but it's easy to understand her thinking. She wanted nothing to do with Morrison, and wanted to punish him. On the other hand, her late husband's silent partners didn't want to let their cash cow go. And so Morrison came under a huge amount of pressure in very different directions. From one side, Carmine DiNoia was determined to make more money off Morrison, and Morrison has since talked about signing further contracts at this point with a gun literally to his head, and his hotel room being shot up. But on the other side, Ilene Berns wanted to destroy Morrison's career altogether. She found out that Bert Berns hadn't got Morrison the proper work permits and reported him to the immigration authorities. Morrison came very close to being deported, but in the end he managed to escape deportation by marrying Janet Planet. The newly-married couple moved to Cambridge, Massachusetts, to get away from New York and the mobsters, and to try to figure out the next steps in Morrison's career. Morrison started putting together a band, which he called The Van Morrison Controversy, and working on new songs. One of his earliest connections in Massachusetts was the lead singer of a band called the Hallucinations, who he met in a bar where he was trying to get a gig: [Excerpt: The Hallucinations, "Messin' With the Kid"] The Hallucinations' lead singer was called Peter Wolf, and would much later go on to become well-known as the singer with the J. Geils Band. He and Morrison became acquaintances, and later became closer friends when they realised they had another connection -- Wolf had a late-night radio show under the name Woofa Goofa, and he'd been receiving anonymous requests for obscure blues records from a fan of the show. Morrison had been the one sending in the requests, not realising his acquaintance was the DJ. Before he got his own band together, Morrison actually guested with the Hallucinations at one show they did in May 1968, supporting John Lee Hooker. The Hallucinations had been performing "Gloria" since Them's single had come out, and they invited Morrison to join them to perform it on stage. According to Wolf, Morrison was very drunk and ranted in cod-Japanese for thirty-five minutes, and tried to sing a different song while the band played "Gloria". The audience were apparently unimpressed, even though Wolf shouted at them “Don't you know who this man is? He wrote the song!” But in truth, Morrison was sick of "Gloria" and his earlier work, and was trying to push his music in a new direction. He would later talk about having had an epiphany after hearing one particular track on the radio: [Excerpt: The Band, "I Shall Be Released"] Like almost every musician in 1968, Morrison was hit like a lightning bolt by Music From Big Pink, and he decided that he needed to turn his music in the same direction. He started writing the song "Brand New Day", which would later appear on his album Moondance, inspired by the music on the album. The Van Morrison Controversy started out as a fairly straightforward rock band, with guitarist John Sheldon, bass player Tom Kielbania, and drummer Joey Bebo. Sheldon was a novice, though his first guitar teacher was the singer James Taylor, but the other two were students at Berklee, and very serious musicians. Morrison seems to have had various managers involved in rapid succession in 1968, including one who was himself a mobster, and another who was only known as Frank, but one of these managers advanced enough money that the musicians got paid every gig. These musicians were all interested in kinds of music other than just straight rock music, and as well as rehearsing up Morrison's hits and his new songs, they would also jam with him on songs from all sorts of other genres, particularly jazz and blues. The band worked up the song that would become "Domino" based on Sheldon jamming on a Bo Diddley riff, and another time the group were rehearsing a Grant Green jazz piece, "Lazy Afternoon": [Excerpt: Grant Green, "Lazy Afternoon"] Morrison started messing with the melody, and that became his classic song "Moondance": [Excerpt: Van Morrison, "Moondance"] No recordings of this electric lineup of the group are known to exist, though the backing musicians remember going to a recording studio called Ace recordings at one point and cutting some demos, which don't seem to circulate. Ace was a small studio which, according to all the published sources I've read, was best known for creating song poems, though it was a minor studio even in the song-poem world. For those who don't know, song poems were essentially a con aimed at wannabe songwriters who knew nothing about the business -- companies would advertise you too could become a successful, rich, songwriter if you sent in your "song poems", because anyone who knew the term "lyric" could be presumed to know too much about the music business to be useful. When people sent in their lyrics, they'd then be charged a fee to have them put out on their very own record -- with tracks made more or less on a conveyor belt with quick head arrangements, sung by session singers who were just handed a lyric sheet and told to get on with it. And thus were created such classics prized by collectors as "I Like Yellow Things", "Jimmy Carter Says 'Yes'", and "Listen Mister Hat". Obviously, for the most part these song poems did not lead to the customers becoming the next Ira Gershwin, but oddly even though Ace recordings is not one of the better-known song poem studios, it seems to have produced an actual hit song poem -- one that I don't think has ever before been identified as such until I made a connection, hence me going on this little tangent. Because in researching this episode I noticed something about its co-owner, Milton Yakus', main claim to fame. He co-wrote the song "Old Cape Cod", and to quote that song's Wikipedia page "The nucleus of the song was a poem written by Boston-area housewife Claire Rothrock, for whom Cape Cod was a favorite vacation spot. "Old Cape Cod" and its derivatives would be Rothrock's sole evident songwriting credit. She brought her poem to Ace Studios, a Boston recording studio owned by Milton Yakus, who adapted the poem into the song's lyrics." And while Yakus had written other songs, including songs for Patti Page who had the hit with "Old Cape Cod", apparently Page recorded that song after Rothrock brought her the demo after a gig, rather than getting it through any formal channels. It sounds to me like the massive hit and classic of the American songbook "Old Cape Cod" started life as a song-poem -- and if you're familiar with the form, it fits the genre perfectly: [Excerpt: Patti Page, "Old Cape Cod"] The studio was not the classiest of places, even if you discount the song-poems. Its main source of income was from cutting private records with mobsters' wives and mistresses singing (and dealing with the problems that came along when those records weren't successful) and it also had a sideline in bugging people's cars to see if their spouses were cheating, though Milton Yakus' son Shelly, who got his start at his dad's studio, later became one of the most respected recording engineers in the industry -- and indeed had already worked as assistant engineer on Music From Big Pink. And there was actually another distant connection to Morrison's new favourite band on these sessions. For some reason -- reports differ -- Bebo wasn't considered suitable for the session, and in his place was the one-handed drummer Victor "Moulty" Moulton, who had played with the Barbarians, who'd had a minor hit with "Are You a Boy or Are You a Girl?" a couple of years earlier: [Excerpt: The Barbarians, "Are You a Boy or Are You a Girl?"] A later Barbarians single, in early 1966, had featured Moulty telling his life story, punctuated by the kind of three-chord chorus that would have been at home on a Bert Berns single: [Excerpt: The Barbarians, "Moulty"] But while that record was credited to the Barbarians, Moulton was the only Barbarian on the track, with the instruments and backing vocals instead being provided by Levon and the Hawks. Shortly after the Ace sessions, the Van Morrison Controversy fell apart, though nobody seems to know why. Depending on which musician's story you listen to, either Morrison had a dream that he should get rid of all electric instruments and only use acoustic players, or there was talk of a record deal but the musicians weren't good enough, or the money from the mysterious manager (who may or may not have been the one who was a mobster) ran out. Bebo went back to university, and Sheldon left soon after, though Sheldon would remain in the music business in one form or another. His most prominent credit has been writing a couple of songs for his old friend James Taylor, including the song "Bittersweet" on Taylor's platinum-selling best-of, on which Sheldon also played guitar: [Excerpt: James Taylor, "Bittersweet"] Morrison and Kielbania continued for a while as a duo, with Morrison on acoustic guitar and Kielbania on double bass, but they were making very different music. Morrison's biggest influence at this point, other than The Band, was King Pleasure, a jazz singer who sang in the vocalese style we've talked about before -- the style where singers would sing lyrics to melodies that had previously been improvised by jazz musicians: [Excerpt: King Pleasure, "Moody's Mood for Love"] Morrison and Kielbania soon decided that to make the more improvisatory music they were interested in playing, they wanted another musician who could play solos. They ended up with John Payne, a jazz flute and saxophone player whose biggest inspiration was Charles Lloyd. This new lineup of the Van Morrison Controversy -- acoustic guitar, double bass, and jazz flute -- kept gigging around Boston, though the sound they were creating was hardly what the audiences coming to see the man who'd had that "Brown-Eyed Girl" hit the year before would have expected -- even when they did "Brown-Eyed Girl", as the one live recording of that line-up, made by Peter Wolf, shows: [Excerpt: The Van Morrison Controversy, "Brown-Eyed Girl (live in Boston 1968)"] That new style, with melodic bass underpinning freely extemporising jazz flute and soulful vocals, would become the basis of the album that to this day is usually considered Morrison's best. But before that could happen, there was the matter of the contracts to be sorted out. Warner-Reprise Records were definitely interested. Warners had spent the last few years buying up smaller companies like Atlantic, Autumn Records, and Reprise, and the label was building a reputation as the major label that would give artists the space and funding they needed to make the music they wanted to make. Idiosyncratic artists with difficult reputations (deserved or otherwise), like Neil Young, Randy Newman, Van Dyke Parks, the Grateful Dead, and Joni Mitchell, had all found homes on the label, which was soon also to start distributing Frank Zappa, the Beach Boys, and Captain Beefheart. A surly artist who wants to make mystical acoustic songs with jazz flute accompaniment was nothing unusual for them, and once Joe Smith, the man who had signed the Grateful Dead, was pointed in Morrison's direction by Andy Wickham, an A&R man working for the label, everyone knew that Morrison would be a perfect fit. But Morrison was still under contract to Bang records and Web IV, and those contracts said, among other things, that any other label that negotiated with Morrison would be held liable for breach of contract. Warners didn't want to show their interest in Morrison, because a major label wanting to sign him would cause Bang to raise the price of buying him out of his contract. Instead they got an independent production company to sign him, with a nod-and-wink understanding that they would then license the records to Warners. The company they chose was Inherit Productions, the production arm of Schwaid-Merenstein, a management company set up by Bob Schwaid, who had previously worked in Warners' publishing department, and record producer Lewis Merenstein. Merenstein came to another demo session at Ace Recordings, where he fell in love with the new music that Morrison was playing, and determined he would do everything in his power to make the record into the masterpiece it deserved to be. He and Morrison were, at least at this point, on exactly the same page, and bonded over their mutual love of King Pleasure. Morrison signed to Schwaid-Merenstein, just as he had with Bert Berns and before him Phil Solomon, for management, record production, and publishing. Schwaid-Merenstein were funded by Warners, and would license any recordings they made to Warners, once the contractual situation had been sorted out. The first thing to do was to negotiate the release from Web IV, the publishing company owned by Ilene Berns. Schwaid negotiated that, and Morrison got released on four conditions -- he had to make a substantial payment to Web IV, if he released a single within a year he had to give Web IV the publishing, any album he released in the next year had to contain at least two songs published by Web IV, and he had to give Web IV at least thirty-six new songs to publish within the next year. The first two conditions were no problem at all -- Warners had the money to buy the contract out, and Merenstein's plans for the first album didn't involve a single anyway. It wouldn't be too much of a hardship to include a couple of Web IV-published tracks on the album -- Morrison had written two songs, "Beside You" and "Madame George", that had already been published and that he was regularly including in his live sets. As for the thirty-six new songs... well, that all depended on what you called a song, didn't it? [Excerpt: Van Morrison, "Ring Worm"] Morrison went into a recording studio and recorded thirty-one ostensible songs, most of them lasting one minute to within a few seconds either way, in which he strummed one or two chords and spoke-sang whatever words came into his head -- for example one song, "Here Comes Dumb George", just consists of the words "Here Comes Dumb George" repeated over and over. Some of the 'songs', like "Twist and Shake" and "Hang on Groovy", are parodying Bert Berns' songwriting style; others, like "Waiting for My Royalty Check", "Blowin' Your Nose", and "Nose in Your Blow", are attacks on Bang's business practices. Several of the songs, like "Hold on George", "Here Comes Dumb George", "Dum Dum George", and "Goodbye George" are about a man called George who seems to have come to Boston to try and fail to make a record with Morrison. And “Want a Danish” is about wanting a Danish pastry. But in truth, this description is still making these "songs" sound more coherent than they are. The whole recording is of no musical merit whatsoever, and has absolutely nothing in it which could be considered to have any commercial potential at all. Which is of course the point -- just to show utter contempt to Ilene Berns and her company. The other problem that needed to be solved was Bang Records itself, which was now largely under the control of the mob. That was solved by Joe Smith. As Smith told the story "A friend of mine who knew some people said I could buy the contract for $20,000. I had to meet somebody in a warehouse on the third floor on Ninth Avenue in New York. I walked up there with twenty thousand-dollar bills -- and I was terrified. I was terrified I was going to give them the money, get a belt on the head and still not wind up with the contract. And there were two guys in the room. They looked out of central casting -- a big wide guy and a tall, thin guy. They were wearing suits and hats and stuff. I said 'I'm here with the money. You got the contract?' I remember I took that contract and ran out the door and jumped from the third floor to the second floor, and almost broke my leg to get on the street, where I could get a cab and put the contract in a safe place back at Warner Brothers." But the problem was solved, and Lewis Merenstein could get to work translating the music he'd heard Morrison playing into a record. He decided that Kielbania and Payne were not suitable for the kind of recording he wanted -- though they were welcome to attend the sessions in case the musicians had any questions about the songs, and thus they would get session pay. Kielbania was, at first, upset by this, but he soon changed his mind when he realised who Merenstein was bringing in to replace him on bass for the session. Richard Davis, the bass player -- who sadly died two months ago as I write this -- would later go on to play on many classic rock records by people like Bruce Springsteen and Laura Nyro, largely as a result of his work for Morrison, but at the time he was known as one of the great jazz bass players, most notably having played on Eric Dolphy's Out to Lunch: [Excerpt: Eric Dolphy, "Hat and Beard"] Kielbania could see the wisdom of getting in one of the truly great players for the album, and he was happy to show Davis the parts he'd been playing on the songs live, which Davis could then embellish -- Davis later always denied this, but it's obvious when listening to the live recordings that Kielbania played on before these sessions that Davis is playing very similar lines. Warren Smith Jr, the vibraphone player, had played with great jazz musicians like Charles Mingus and Herbie Mann, as well as backing Lloyd Price, Aretha Franklin, and Janis Joplin. Connie Kay, the drummer, was the drummer for the Modern Jazz Quartet and had also played sessions with everyone from Ruth Brown to Miles Davis. And Jay Berliner, the guitarist, had played on records like Charles Mingus' classic The Black Saint and the Sinner Lady: [Excerpt: Charles Mingus: "Mode D - Trio and Group Dancers, Mode F - Single Solos & Group Dance"] There was also a flute player whose name nobody now remembers. Although all of these musicians were jobbing session musicians -- Berliner came to the first session for the album that became Astral Weeks straight from a session recording a jingle for Pringles potato chips -- they were all very capable of taking a simple song and using it as an opportunity for jazz improvisation. And that was what Merenstein asked them to do. The songs that Morrison was writing were lyrically oblique, but structurally they were very simple -- surprisingly so when one is used to listening to the finished album. Most of the songs were, harmonically, variants of the standard blues and R&B changes that Morrison was used to playing. "Cyprus Avenue" and "The Way Young Lovers Do", for example, are both basically twelve-bar blueses -- neither is *exactly* a standard twelve-bar blues, but both are close enough that they can be considered to fit the form. Other than what Kielbania and Payne showed the musicians, they received no guidance from Morrison, who came in, ran through the songs once for them, and then headed to the vocal booth. None of the musicians had much memory of Morrison at all -- Jay Berliner said “This little guy walks in, past everybody, disappears into the vocal booth, and almost never comes out, even on the playbacks, he stayed in there." While Richard Davis later said “Well, I was with three of my favorite fellas to play with, so that's what made it beautiful. We were not concerned with Van at all, he never spoke to us.” The sound of the basic tracks on Astral Weeks is not the sound of a single auteur, as one might expect given its reputation, it's the sound of extremely good jazz musicians improvising based on the instructions given by Lewis Merenstein, who was trying to capture the feeling he'd got from listening to Morrison's live performances and demos. And because these were extremely good musicians, the album was recorded extremely quickly. In the first session, they cut four songs. Two of those were songs that Morrison was contractually obliged to record because of his agreement with Web IV -- "Beside You" and "Madame George", two songs that Bert Berns had produced, now in radically different versions: [Excerpt: Van Morrison, "Madame George"] The third song, "Cyprus Avenue", is the song that has caused most controversy over the years, as it's another of the songs that Morrison wrote around this time that relate to a sexual or romantic interest in underage girls. In this case, the reasoning might have been as simple as that the song is a blues, and Morrison may have been thinking about a tradition of lyrics like this in blues songs like "Good Morning, Little Schoolgirl". Whatever the cause though, the lyrics have, to put it mildly, not aged well at all: [Excerpt: Van Morrison, "Cyprus Avenue"] That song would be his standard set-closer for live performances for much of the seventies. For the fourth and final song, though, they chose to record what would become the title track for the album, "Astral Weeks", a song that was a lot more elliptical, and which seems in part to be about Morrison's longing for Janet Planet from afar, but also about memories of childhood, and also one of the first songs to bring in Morrison's fascination with the occult and spirituality, something that would be a recurring theme throughout his work, as the song was partly inspired by paintings by a friend of Morrison's which suggested to him the concept of astral travel: [Excerpt: Van Morrison, "Astral Weeks"] Morrison had a fascination with the idea of astral travel, as he had apparently had several out-of-body experiences as a child, and wanted to find some kind of explanation for them. Most of the songs on the album came, by Morrison's own account, as a kind of automatic writing, coming through him rather than being consciously written, and there's a fascination throughout with, to use the phrase from "Madame George", "childhood visions". The song is also one of the first songs in Morrison's repertoire to deliberately namecheck one of his idols, something else he would do often in future, when he talks about "talking to Huddie Leadbelly". "Astral Weeks" was a song that Morrison had been performing live for some time, and Payne had always enjoyed doing it. Unlike Kielbania he had no compunction about insisting that he was good enough to play on the record, and he eventually persuaded the session flute player to let him borrow his instrument, and Payne was allowed to play on the track: [Excerpt: Van Morrison, "Astral Weeks"] Or at least that's how the story is usually told -- Payne is usually credited for playing on "Madame George" too, even though everyone agrees that "Astral Weeks" was the last song of the night, but people's memories can fade over time. Either way, Payne's interplay with Jay Berliner on the guitar became such a strong point of the track that there was no question of bringing the unknown session player back -- Payne was going to be the woodwind player for the rest of the album: [Excerpt: Van Morrison, "Astral Weeks"] There was then a six-day break between sessions, during which time Payne and Kielbania went to get initiated into Scientology -- a religion with which Morrison himself would experiment a little over a decade later -- though they soon decided that it wasn't worth the cost of the courses they'd have to take, and gave up on the idea the same week. The next session didn't go so well. Jay Berliner was unavailable, and so Barry Kornfeld, a folkie who played with people like Dave Van Ronk, was brought in to replace him. Kornfeld was perfectly decent in the role, but they'd also brought in a string section, with the idea of recording some of the songs which needed string parts live. But the string players they brought in were incapable of improvising, coming from a classical rather than jazz tradition, and the only track that got used on the finished album was "The Way Young Lovers Do", by far the most conventional song on the album, a three-minute soul ballad structured as a waltz twelve-bar blues, where the strings are essentially playing the same parts that a horn section would play on a record by someone like Solomon Burke: [Excerpt: Van Morrison, "The Way Young Lovers Do"] It was decided that any string or horn parts on the rest of the album would just be done as overdubs. It was two weeks before the next and final session for the album, and that featured the return of Jay Berliner on guitar. The session started with "Sweet Thing" and "Ballerina", two songs that Morrison had been playing live for some time, and which were cut in relatively quick order. They then made attempts at two more songs that didn't get very far, "Royalty", and "Going Around With Jesse James", before Morrison, stuck for something to record, pulled out a new lyric he'd never performed live, "Slim Slow Slider". The whole band ran through the song once, but then Merenstein decided to pare the arrangement down to just Morrison, Payne (on soprano sax rather than on flute), and Warren Smith Jr: [Excerpt: Van Morrison, "Slim Slow Slider"] That track was the only one where, after the recording, Merenstein didn't compliment the performance, remaining silent instead – Payne said “Maybe everyone was just tired, or maybe they were moved by it.” It seems likely it was the latter. The track eventually got chosen as the final track of the album, because Merenstein felt that it didn't fit conceptually with anything else -- and it's definitely a more negative track than the oth
durée : 01:01:05 - Club Jazzafip - De Miles Davis à Erik Truffaz, en passant par Joey Alexander, Grant Green, Léon Phal ou Duke Ellington... De quoi réchauffer votre dimanche soir.
De un doble Cd recopilatorio publicado en 2020, 'Trip to Brazil: The Best of Brazilian Jazz on Resonance Records', grabaciones de Harris Simon Group ('Wind chant), Claudio Roditi ('Bons amigos'), Eddie Daniels ('Baião malandro'), Richard Galliano' ('The island'), Wynton Kelly & Wes Montgomery'('Once I loved'), Grant Green ('How insensitive'), Shirley Horn ('The boy from Ipanema'), Sarah Vaughan ('If you went away') y Andreas Oberg ('Aqui oh'). Escuchar audio
Cory's cast is off and he's here to tell you to “go get hip” to Bruno Major! The soulful, jazzy British singer-songwriter shares why he prefers to record in his bedroom than a studio to create his “relatively lo-fi” music. “It's far more important to be transmitting a privacy than an audio quality,” Major says. But he's quick to point out that you can get good audio quality recording at home and discloses his gear of choice—shoutout to the Shure SM7B. Together, they discuss the state of record labels and streaming in 2023—“if you're making good music,” Major says, “it'll find a home”—working with other artists—“I think what I bring to the table is probably harmonic knowledge and an ability with words…. I can't really do it on cue”—and mental health.On his journey from his early days as a shred-head—“I just wanted to play really fast all the time”—into classical and jazz playing, and eventually to becoming a singer and songwriter, Major elaborates:“If you look at something like Grant Green. Grant Green is basically playing glorified blues licks over a jazz aesthetic. He's doing very simple stuff but it's still incredible jazz guitar because he has his own thing. He has his own voice. And crucially, he has incredible time. I kind of found my voice as a guitar player through the medium of songwriting in a strange way. Because my guitar playing on my songs is what makes my guitar playing.”Listen to the full episode here: https://bit.ly/WongNotesGet 30% off your first year of DistroKid by going here: http://distrokid.com/vip/corywongVisit Bruno Major: https://www.brunomajor.com/Hit us up: wongnotes@premierguitar.comVisit Cory: https://www.corywongmusic.comVisit Premier Guitar: http://premierguitar.comTwitter: https://twitter.com/wongnotespodIG:
September is Hispanic Heritage Month and throughout the month, Echoes of Indiana Avenue will spotlight the contributions Avenue musicians have made to Latin Music. On this week's show we'll share music from vibraphonist Billy Wooten and trumpeter Virgil Jones. Billy Wooten is best known for his work with the famed jazz guitarist Grant Green. From the 1960s, to his death in 2016, Wooten was a popular attraction in the Indianapolis music scene. Latin music was a big part of Wooten's sound – he even recorded an entire album of Latin music at the Madame Walker Theatre. Virgil Jones grew up on Indiana Avenue in the Lockefield Gardens apartments. Jones became one of the most prolific jazz trumpets of the 1960s, recording with a long list of jazz stars - including Lionel Hampton, Charles Earland, McCoy Tyner, and others. Jones played on significant Latin jazz recordings with Roland Kirk, Pharaoh Sanders, and Eddie Palmieri.
Tonight's show: Benny Carter, Ella Fitzgerald, Zoot Sims & Bob Brookmeyer, Stanley Turrentine with Grant Green and Tommy Flanagan, Roy Eldridge, Dave Brubeck, Ramsey Lewis, Jerry Fielding, Stan Getz with Kenny Barron, Etta James, and The Rosenberg Trio.
In episode 144 of RizzoCast, we are joined by former MLB infielder Grant Green. We discuss his illustrious college career at USC, the pressure of being a first round pick, playing with Mike Trout and Albert Pujols, entering into the financial world after baseball, his desire to help advise athletes, owning David Price, playing in his hometown and more. Watch and listen to RizzoCast's full episodes: https://linktr.ee/RizzoCast Follow RizzoCast on Twitter: https://twitter.com/RizzoCast Follow RizzoCast on Instagram: https://www.instagram.com/rizzocast/ Follow Steven Rissotto on Twitter: https://twitter.com/StevenRissotto --- Support this podcast: https://podcasters.spotify.com/pod/show/steven-rissotto/support
Our favorite vinyl records from bands or artists filed under "G". And...GO! In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2022, idiot basement-dwelling, award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-first episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good handle on the alphabet. They had previously utilized the letters A thru F, so naturally, they went with G. Nuthin' But a “G” Thang mixtape: [SIDE G1] (1) Game Theory - Erica's World (2) Grant Green - We Have Only Just Begun (3) Grazia - Soyle Beni (4) Goodie Mob - Cell Therapy (5) Glitterhouse - I Lost Me a Friend [SIDE G2] (1) Guru featuring Roy Ayers - Take a Look at Yourself (2) Grandaddy - Hewlett's Daughter (3) Marvin Gaye - Trouble Man (4) Guadalcanal Diary - 3AM (5) The Goon Sax - Sweaty Hands [END] Sonic contributors to episode thirty-one of Lightnin' Licks Radio include: Lee Moses, Brothers Johnson, Holland-Dozier-Holland, Cal Tjader, Craig Mack & Co., DJ Evil Dee, The Nonce, Kendrick Lamar, Dr. Dre & Snoop, Lee Hazelwood, J. Geils Band, some classic Sesame Street ABC bits, White Wedding String Quartet, Milkbone, Geto Boys, The Goon Sax, The Go-Betweens, Guadalcanal Diary, Don Dixon, Marti Jones, L.L. Cool J., Rick Rubin, DJ Premier, Gang Starr, Roy Ayers, Branford Marsalis, Donald Byrd, Guru, Nena Cherry, The Velvet Underground, Game Theory, The Loud Family, Scott Miller, Let's Active, Goodie Mob, Rob Harvilla, Outkast, Gnarles Barkley, Cee Lo Green, Witch Doctor, The Dungeon Family, Grandaddy, The Alan Parsons Project, Chicago, Grant Green, Rudy Van Gelder, The Jackson Five, The Carpenters, Roger Nichols, Paul Williams, Mozart, Glitterhouse, Slowdive, Marvin Gaye, Tammi Terell, The Funk Brothers, Booker T. & the M.G.s, Grazia, Marko Buchar, Murray Head, Andrew Doggett, Andrew Llyod Webber, Tim Rice, The Deviants, The Clockers. *2023 REVIEW magazine fans' choice award for best live-streaming production. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message
Episode 31 is back after being banned from all streaming platforms. New (the same) and improved (still mid) with certain sonic elements removed (as to not get sued). It's time to find out which LPs and/or 12” singles filed under the letter “G” from Jay & Deon's collections they love most, then rap about the bands behind the vinyl. GO! -- In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past half century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2024, idiotic, introverted one-time award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-first episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good solid grasp of the alphabet and how it works. They had previously utilized the letters A thru F, so naturally, they went with G. The “G” mixtape: (A1) Game Theory – Erica's World (A2) Grant Green – We've Only Just Begun (A3) Grazia – Soyle Beni (A4) Goodie Mob – Cell Therapy (A5) Glitterhouse – I Lost me a Friend (B1) Gure featuring Roy Ayers – Take a Look (at Yourself) (B2) Grandaddy – Hewlitt's Daughter (B3) Marvin Gaye – Trouble Man (B4) Guadalcanal Diary – 3 AM (B5) The Goon Sax – Sweaty Hands Sonic contributors to the thirty-first episode of Lightnin' Licks Radio, the letter “G” redux, include: Prince Paul, Brothers Johnson, James Todd Smith, Arc of All and The Source of Light and Power, J. Geils Band, Geto Boys, The Goon Sax, The Go-Betweens, Guadalcanal Diaries, Let's Active, Guru, Roy Ayers, Gangstarr, Donald Byrd, DJ Premier, MC Solar, Game Theory, Loud Family, Goodie Mob, Cee-lo Green, Dungeon Family, Gnarls Barkley, Grandaddy, Jason Lytle, Mercury Rev, All Smiles, Grant Green, Rudy VanGelder, The Carpenters, Glitterhouse, Marvin Gaye, Curtis Mayfield, Young-Holt Unlimited, Grazia, Marco Bachir, also Bachir Attar with Elliot Sharp, Cervo, Radio Trip, Jimmy Buffet, and The Clockers. *2023 Review magazine readers' choice; best live streaming production --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message
Good News: A Ukrainian startup is creating a polystyrene alternative from fungus! Link HERE. The Good Word: A wonderful quote from John Muir! Good To Know: Some amazing facts about some obscure National Parks… Good News: Some great facts for World Oceans Day! Wonderful World: Take a moment to appreciate the Ohanapecosh River on Mount […]
Canciones de 'Vão' el último disco de Zé Miguel Wisnik: 'O jequitibá' -con la voz de Ná Ozzetti-, 'Chorou e riu' -con Mônica Salmaso-, 'Eu disse sim' -con Celso Sim- y 'Terra estrangeira'. Del nuevo disco del trompetista Erik Truffaz, el cinematográfico 'Rollin', 'La strada', de la película de Fellini, 'Le casse', de la de Henri Verneuil, y 'Quel temps fait-il à Paris?' de 'Las vacaciones de Monsieur Hulot' de Jacques Tati. Mésissa Stylianou canta 'For Chet' -dedicada a Chet Baker-, 'My one and only love' y 'Corcovado'. Abre Pat Metheny con 'From the mountains', de su próximo disco, y cierra otro guitarrista, Grant Green, con su grabación de 'Corcovado' en 1965. Escuchar audio
Exploramos un disco triple, 'Blue bossa. Cool cuts from the tropics', publicado hace seis años, que contiene grabaciones de músicos de jazz marcadas por lo latino: James Moody and his Modernists ('Tin tin deo'), Hank Mobley ('Avila and Tequila'), Jackie McLean ('Bluesanova'), Grant Green ('Corcovado'), Stanley Turrentine ('Wave'), Horace Parlan ('Congalegre'), Big John Patton ('Latona'), Ike Quebec ('Loie', 'Lloro tu despedida') y Joe Henderson ('Blue bossa').Escuchar audio
El clarinete de Gabriele Mirabassi y el acordeón de Simone Zanchini en 'Um tom para Jobim' de su disco 'Il gatto e la volpe'. Canciones de Dori Caymmi y Paulo César Pinheiro como 'Canto brasileiro', 'Piano', 'Ela' o 'Soneto' en el disco de Dori 'Sonetos sentimentais para violão e orquestra'. Grabaciones de Carmen Souza de 'My baby just cares for me' y de 'Pata pata' en su disco 'Interconnectedness'. Del disco de voz y piano de Melody Gardot con Philippe Powell 'Entre eux deux' las canciones 'This foolish heart could love you', 'What of your eyes', 'Plus fort que nous' y 'Samba em prelúdio'. Y dos canciones, 'O paraíso' y 'No interior de tudo', del nuevo disco de Lucas Santtana. Despide el guitarrista Grant Green con 'How insensitive' de Jobim. Escuchar audio
Join us for this very first show of 2023! And, yes, as the title suggests, this show is also cohosted by none other than Laguna's own Connor Reid, on loan from Austin, Texas. Connor has joined this show to share a ton of awesome songs he hand picked for the CHSS audience and he has developed another great show! His setlist includes artists like Joe Sample, Robert Palmer, Ty Segall, Timber Timbre, Nazz, Charles Bradley, Grant Green, Marty Robbins, Volker Kriegel, The Avener, Buddy Miles, Peter Green and SO MANY MORE! Join us and enjoy! {and HAPPY NEW YEAR!!!!}
Joel is a grammy-nominated songwriter, certified meditation teacher, life coach, and creator of the R.I.S.E. Journal. R.I.S.E. stands for Release, Inquire, Self-Awareness, Empower. This practice reconnects practitioners to their truth by infusing meditation, asking “heart questions,” and deep listening into a modality that Joel calls meditative journaling.Joel has committed his life to be a conduit for grounding, healing, and transformation. He uses music, poetry, and meditation, to create a safe space to feel, heal, and grow in self-awareness. Joel Cross grew up in Cleburne, Texas singing gospel songs with his seven siblings. At the age of twelve, he fell in love with the guitar. He was self-taught, finding inspiration in gospel, soul, classical, and r&b. In 2003, he began to study jazz at the University of Houston. There, he learned the traditions of improvisation and bebop. His influences were Grant Green, George Benson, Wes Montgomery, and Joe Pass. In 2006, he transferred to the University of North Texas in Denton where he finished his performance degree in Jazz Studies. Though his formal education was focused on guitar, Joel was always inspired by creating new music and telling stories that brought the listener in. His heartfelt approach showcased his ability to make each piece his own. One afternoon, while playing a show in Dallas, Joel decided to appease the crowd's unconventional request for a song by Taylor Swift. A fan happened to catch his very soulful rendition of “Shake it Off” on video and uploaded it to YouTube. By the next morning, it had over half a million views and Joel's face was on every major news source in Dallas. The viral video quickly catapulted his career as he captured the attention of fans across the globe, including Ellen DeGeneres, America's Got Talent, Capitol Records, Time, and MTV. Four-time Grammy award-winning artist, India Arie, was also intrigued by Joel when she heard one of his original songs, “Candlelight,” and invited him to collaborate with her. In 2017 that album, Songversation: Medicine was nominated for a Grammy, Best New Age Album. Joel collaborated with India in 2019 for her album Worthy, co-writing and playing guitar on several songs. Website: www.modernintimacy.com Dr. Kate Balestrieri Modern IntimacyJoel Cross Socials:InstagramTikTokYouTube Insight Timer Web: asoulcalledjoel.com
Every story has a beginning! Listen in as Sean chats with his Sponsor, Grant Green, who also happens to oversee the entire Men's Program at Hope is Alive.
Welcome to a new edition of the Neon Jazz interview series with Drummer & Founder of the KC Jazz Band KC Green Brad Buckner .. He is the founder and leader of this Kansas City based band that pays tribute to soul jazz guitar great Grant Green among.. We get into Brad's history, the beginning of this band, their future, upcoming recordings and so much more .. Enjoy their tale .. 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 ..
GUEST OVERVIEW: Christopher Hawley makes people feel good through music! The Venice, CA-based artist combines inspiring lyrics, transcendent guitar, and danceable grooves. In addition getting inspiration from the likes of Bob Marley, Johnny Cash, and Duane Allman, he identifies with and is influenced by some of the lesser known and perhaps under promoted heroes of music from the last century like Brian Jones, Grant Green, Syd Barrett, Lowell George, and J.J. Cale. Christopher has played shows everywhere from LA's Greek Theatre to the dive in your hometown.
Horace Parlan was born in Pittsburg, Pennsylvania and came to prominence with the 1958/59 edition of the Charles Mingus Jazz Workshop. after leaving Mingus he recorded prolifically as a sideman and signed a contract with Blue Note Records. His albums did well and he was a busy pianist. He developed a unique style of playing because of a handicap brought on by childhood polio which paralysed two fingers on his right hand. His albums for Blue Note sold well and yet this fine session was never issued until 1986 even though it was recorded in 1963. It was given a catalogue number and advertised but never issued at the time and this is the reason it is being spotlighted as part of our unissued Jazz Features this month. The music is superb and features a great band with Parlan leading on piano, Johnny Coles on trumpet, Booker Ervin on tenor saxophone, Grant Green on guitar, Edward "Butch" Warren on bass and Billy Higgins on drums. 6 original tunes are played by Parlan who wrote 2, Ervin who did 1 as did Johnny Coles and 1 by pianist Randy Weston. The intriguing opener called "Home is Africa" was penned by Sun Ra bassist Ronnie Boykins. The album is called "Happy Frame of Mind" and it's tonight's Jazz Feature.
• Intro to the topic - part 3 of in the series on "Greatest Label of All-Time"• Blue Note - the label that brought the "cool" and "vibe" of jazz to the world (Thelonious Monk, Bud Powell, Art Blakey, John Coltrane, Horace Silver, Grant Green, Herbie Hancock, Miles Davis, Kenny Clarke, Freddie Roach and more) and its revival including Norah Jones and Amos Lee.• Island Records - with legends like Jimmy Cliff, Toots, Bob Marley & The Wailers, Richard Thompson, John Martyn, Cat Stevens, Nick Drake and U2.
• Intro to the topic - part 3 of in the series on "Greatest Label of All-Time"• Blue Note - the label that brought the "cool" and "vibe" of jazz to the world (Thelonious Monk, Bud Powell, Art Blakey, John Coltrane, Horace Silver, Grant Green, Herbie Hancock, Miles Davis, Kenny Clarke, Freddie Roach and more) and its revival including Norah Jones and Amos Lee.• Island Records - with legends like Jimmy Cliff, Toots, Bob Marley & The Wailers, Richard Thompson, John Martyn, Cat Stevens, Nick Drake and U2.
Grant Green Jr. sits down with Seth and Rob and walks them through aspects of his new release "Thank You Mr. Bacharach." Grant talks about admiring Bert Bacharach since his childhood days, and Grant offers thoughts about specific tracks on this brand new tribute to the legendary songwriter/pianist/producer/performer. Grant also reveals why (and on which song) he was first motivated to sing, that he doesn't use Spotify and one specific example of how Johnny Cash inspired him. He also admits that his father first didn't want him to play guitar, then was very critical of his guitar playing at first, but ultimately things changed. Grant also reflects on living next door to Stevie Wonder, his years in Atlanta, and brings forth insight about Charlie "Bird" Parker, Max Roach, Col. Bruce Hampton, Eddie Roberts and others. He even tells a story about how he and Stevie Wonder ended up wrestling by a champagne fountain at a fancy after-show party. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
Join Rob Turner & Jimmy Knowledge for side A of the DBK discussion on the newest installment of The Umphreys "WOW" Show. In this episode, Rob & Jimmy dissect one of Umphrey's most iconic songs, put a magnifying glass to its lyrics, and reveal some of its history with insight from Joel, Bayliss & Stasik. Listen closely for a trivia question from Joel about a track on the new album, "Asking for a Friend" to score a vinyl copy and an AFAF t-shirt of the winner's choosing! Dates of DBK versions heard in this episode. Listed in order played. * 02/03/12: Setlist: https://allthings.umphreys.com/setlists/umphreys-mcgee-february-3-2012-first-avenue-minneapolis-mn-usa.html Nugs.net: https://2nu.gs/30tp3R5 UMLive: https://umlive.net/live-music/0,7214/Umphreys-McGee-mp3-flac-download-2-3-2012-First-Avenue-Minneapolis-MN.html Archive: https://archive.org/details/UM2012-02-03 Relisten: https://relisten.net/umphreys/2012/02/03 * 10/29/99: Setlist: https://allthings.umphreys.com/setlists/umphreys-mcgee-october-29-1999-madison-oyster-bar-warehouse-south-bend-in-usa.html Archive: https://archive.org/details/um1999-10-29.shnf Relisten: https://relisten.net/umphreys/1999/10/29 * 04/03/08: Setlist: https://allthings.umphreys.com/setlists/umphreys-mcgee-april-3-2008-the-orange-peel-asheville-nc-usa.html Nugs.net: https://2nu.gs/2nC3EAV UMLive: https://umlive.net/live-music/0,2418/Umphreys-McGee-mp3-flac-download-4-3-2008-The-Orange-Peel-Asheville-NC.html Archive: https://archive.org/details/UM2008-04-03 Relisten: https://relisten.net/umphreys/2008/04/03 * 02/11/06: Setlist: https://allthings.umphreys.com/setlists/umphreys-mcgee-february-11-2006-the-orpheum-theatre-madison-wi-usa.html Nugs.net: https://2nu.gs/2hR0eZy UMLive: https://umlive.net/live-music/0,897/Umphreys-McGee-mp3-flac-download-2-11-2006-Orpheum-Theatre-Madison-WI.html * 08/14/21: Setlist: https://allthings.umphreys.com/setlists/umphreys-mcgee-august-14-2021-first-avenue-minneapolis-mn-usa.html Nugs.net: https://2nu.gs/2VXdvaD UMLive: http://www.umlive.net/live-music/0,27057/Umphreys-McGee-mp3-flac-download-8-14-2021-First-Avenue-Minneapolis-MN.html Archive: https://archive.org/details/um2021-08-14.nak701 Relisten: https://relisten.net/umphreys/2021/08/14 * 11/02/11: Setlist: https://allthings.umphreys.com/setlists/umphreys-mcgee-november-2-2011-northern-lights-clifton-park-ny-usa.html Nugs.net: https://2nu.gs/2heNZXj UMLive: https://umlive.net/live-music/0,6906/Umphreys-McGee-mp3-flac-download-11-2-2011-Northern-Lights-Clifton-Park-NY.html Also heard in this episode: * “Cat in a Hat” - Allan Sherman - https://open.spotify.com/track/2RGb0C1jIOHx4ECNXCoRL4?si=0a9486c061d84f41 * “I've Seen All Good People” - Yes - https://open.spotify.com/track/65OkkbojeDsPcwS9J7EiCc?si=0eff424916d449ae * "Mozart Symphony 40 in G Minor" - https://open.spotify.com/track/6OC0v9yU90ME5DW2o1skKr?si=40729170f86546d8 * "Mozart Symphony #40" - Grant Green - https://open.spotify.com/track/7zs0BUgI8GB3UcpjfElYnF?si=1182c211ae0d4be7 Contact the Umphreys "WOW" show: umwowshow@gmail.comWall of "WOW": https://datcmediacompany.com/wall-of-%22wow%22-wednesdayWhere you can find the hosts on Twitter:The Umphrey's "WOW" show: https://twitter.com/umWOWshowJimmy Knowledge: https://twitter.com/UMfactsRob Turner: https://twitter.com/RsTnerDropped Among This Crowd Podcast Episode 189: https://droppedamongthiscrowdpod.simplecast.com/episodes/a-conversation-with-rob-turner-jimmy-knowledge-announcing-the-umphreys-wow-showSupport DATC Media on Patreon: https://tinyurl.com/3ueekmjeDATC Media Company: https://datcmediacompany.comDropped Among This Crowd Podcast: https://droppedamongthiscrowdpod.simplecast.comEmail: droppedamongthiscrowdpod@gmail.comDATC Media Instagram: DATC Media Company (@datcmediacompany) • Instagram photos and videosDATC Media Facebook: (5) Dropped Among This Crowd Media | FacebookDATC Media: (1) DATCMediaCompany (@DatcMedia) / Twitter
Soul jazz organist Ronnie Foster works as a solo artist but also played on Stevie Wonder's Songs in the Key of Life (“Summer Soft”), George Benson's Breezin' and albums by the Jacksons, Robert Flack, Grant Green and others. His first album, the scorching Two Headed Freap, came out in 1972 on Blue Note Records and was just remastered by Kevin Gray. Fifty years later he's got a new Blue Note album, Reboot, his first release in 36 years. He's also got great stories that cover a half century's worth of playing, writing, producing, falling in love with the Hammond B3 and becoming best friends with fellow Taurus Stevie Wonder. You'll also learn what a “Freap” is.
Episode 34 is vibrant: Our Side A features, Kendrick Lamar, one of the most talented and poetic hip hop MC's of the past decade taking inspiration from one of Filler's favorite jazz guitarists Grant Greene. Our Side B has our volume set to 11 as we discuss Metallica and their latest album, Blacklist, which features a ridiculous number of covers. This episode also brings back our “Call in Listener” segment as Johnny Night Train, from the band Jet Ransom, gives us a call to wax poetic about Cliff Burton, the original bassist from Metallica. Support the show
Guys, this one's huge. Gotta break out the bullet point machine for this one. Jim Knipfel returns! It's the first-ever Brian De Palma movie discussed on CDC! The sound is terrible! So it's a terrific episode, despite some less than perfect audio. Jim's the best. I probably talk too much. Remind me to rewrite this description. Join Jim's patreon here (https://www.patreon.com/jimknipfel/posts). Watch Paul Williams on the Brady Bunch Variety Hour here (https://www.youtube.com/watch?v=DKZ2p5tB6y4). The trailer from Suspiria is here (https://www.youtube.com/watch?v=hPs2ExUL_bc). And here (https://www.youtube.com/watch?v=ncnBz6A14i0)'s Paul Williams giving Daft Punk's Grammy acceptance speech. This is "Touch, (https://www.youtube.com/watch?v=0Gkhol2Q1og)" the song Paul Williams sings for Daft Punk. Maybe not for everybody but I love it. Paul Williams wrote we've only just begun. Here's the Carpenters doing it (https://www.youtube.com/watch?v=__VQX2Xn7tI) and here's Grant Green (https://www.youtube.com/watch?v=wEXdNZjkE_s) doing a nice mellow jazz guitar instrumental.
Albums discussed are Paul Williams' 'Surf Music' (6:35) and Grant Green's ‘Feelin' The Spirit' (37:50). We also discuss the release of the new Daniel Johns album ‘FutureNever.' (7:05) Get tickets to see Mutlu and Spike for CLRC Live (with a full Mutlu show as well) on 5/20 at World Cafe Life here: https://bit.ly/TheCarlLive This week's listener album suggestion came from emailer Christian. To suggest an album for CLRC, leave a review on Apple Podcasts with the artist and title (five stars always helps). For playlists and podcasts, visit us on the web at carllandryrecordclub.com and on Twitter @CLRCPod. The theme song for Carl Landry Record Club is "I Should Let You Know" by Marian Hill. This is CLRC episode #70.
Recorded April 10, 2022 The Mermaid makes a brief cameo form Spring Break in this extended episode as we welcome back Grant Green and Cheryl Anne Forster both of the Capitals Society Facebook page. It's a long one mostly due to the fact that there were four games to cover but also because we spend time (yes AGAIN) talking about the now rekindled "goalie controversy". Thank you so much, Coach! At least it was a winning week... Be sure to catch Anna for Caps talk on the Sports on the Hill Podcast airing 9 pm Mondays on Facebook live and the TRU Radio network. Click the link for other methods of catching the show! If you're one of the awesome ones downloading this episode and others, please do tell other Caps fans you know about us, ask them to download and subscribe TODAY!!! #ALLCAPS #SportsOTHP #Powerplaypointpodcast
As broadcast March 25, 2022 with groove for days if you're on the podcast foray. Tonight we are proud to present a world premiere on the first Friday show of the new season. The Sure Fire Soul Ensemble is a brilliant veteran funk and soul band out of San Diego who we've been meaning to have on the show for a long time, and there is no better time to have them on the show tonight. Sure Fire maestro Tim Felten joined us tonight to talk about their fourth studio album due out in exactly one week's time, and we got an exclusive spin of an unreleased single from the album on the show for a great look into what's on offer come next Friday. Be sure to presave the "Step Down" LP and check out our exclusive playlist from and interview with Tim Felten, who rocked a series of inspirations to the band's unique sound and gave us a look into how The Sure Fire Soul Ensemble continues its morphology as they move into the future.#feelthegravityTracklisting:Part I (00:00)Aretha Franklin – Rock SteadyDelvon Lamarr Organ Trio – Don't Worry Bout What I DoStro Elliot feat James Brown – Turn It Up Give It ShroomsLonnie Liston Smith – A Chance For PeaceThe Sure Fire Soul Ensemble – The Other SideThe Sure Fire Soul Ensemble – Step Down Part II (32:34)Lack of Afro – For YouIkebe Shakedown – DramDe La Soul – Long Island DegreesDavid McCallum – The EdgeThe Charmels – As Long As I've Got YouGrant Green – Down Here On The Ground (Live) Part III (61:27)The Sure Fire Soul Ensemble – Boardwalk BumpDavid Axelrod – The FlyRamsey Lewis Trio – Slipping Into DarknessThe Poets of Rhythm – Eulogize the SourceThe Mohawks – Beat Me Till I'm BlueArzachel – Queen St. Gang Part IV (100:50)The Sure Fire Soul Ensemble – Love AgeIsaac Hayes – Walk On ByThe Cannonball Adderly Quintet – Walk Tall (Baby, That's What I Need)Herbie Hancock – Tell Me a Bedtime StoryBeastie Boys – Something's Got To GivePlacebo – You Got Me Hummin'
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