Podcast appearances and mentions of greg hutchinson

ABBEY LINCOLN “ABBEY IS BLUE” New York, 1959 Afro blue, Let up, Laugh, clown, laughAbbey Lincoln (vcl) acc by Tommy Turrentine (tp) Julian Priester (tb) Stanley Turrentine (ts) Cedar Walton (p) Bobby Boswell (b) Max Roach (d) Third's child, Lonely houseAbbey Lincoln (vcl) acc by Kenny Dorham (tp) Wynton Kelly (p) Les Spann (g) Sam Jones (b) Philly Joe Jones (d) LARRY GOLDINGS “I WILL” Live Sam First, Los Angeles, October 8, 2023 & April 11, 2024Somewhere, Mambo InnLarry Goldings (p) Karl McComas-Reichl (b) Christian Euman (d) DAYNA STEPHENS “HOPIUM” Brooklyn, NY Mayo, 2022 lanzamiento febrero 7, 2025Drive north to find the oranges out west, Jump start, HopiumDayna Stephens (as,ts) Aaron Parks (p) Charles Altura (g-1) Ben Street (b) Greg Hutchinson (d) Continue reading Puro Jazz 14 de abril, 2025 at PuroJazz.

ABBEY LINCOLN “ABBEY IS BLUE” New York, 1959 Afro blue, Let up, Laugh, clown, laughAbbey Lincoln (vcl) acc by Tommy Turrentine (tp) Julian Priester (tb) Stanley Turrentine (ts) Cedar Walton (p) Bobby Boswell (b) Max Roach (d) Third's child, Lonely houseAbbey Lincoln (vcl) acc by Kenny Dorham (tp) Wynton Kelly (p) Les Spann (g) Sam Jones (b) Philly Joe Jones (d) LARRY GOLDINGS “I WILL” Live Sam First, Los Angeles, October 8, 2023 & April 11, 2024Somewhere, Mambo InnLarry Goldings (p) Karl McComas-Reichl (b) Christian Euman (d) DAYNA STEPHENS “HOPIUM” Brooklyn, NY Mayo, 2022 lanzamiento febrero 7, 2025Drive north to find the oranges out west, Jump start, HopiumDayna Stephens (as,ts) Aaron Parks (p) Charles Altura (g-1) Ben Street (b) Greg Hutchinson (d) Continue reading Puro Jazz 14 de abril, 2025 at PuroJazz.

In this episode: Listen to conversation between your host Vivienne Aerts and Australian drummer Jodie Michael, as they talk about the Berklee Global Jazz Institue, Arabic music, gender equality and community About Jodie Michael Jodie Michael started her music career in high school, she attended the Wollongong Conservatorium Of Music (WCOM) until 2007, where she was able to gain valuable experience playing in different ensembles including a big band. Jodie Michael is an accomplished drummer and student of music. She has had the privilege of playing with the following world-class Australian musicians: James Muller, James Morrison, Dale Barlow, Bobby Gebert, Katie Noonan, Carl Dewhurst, Craig Scott, Sandy Evans, Matt McMahon, Mimi Jones (USA), Camille Thurman (USA), Ingrid Jensen, Will Vinson (USA) and more. Jodie has obtained a Bachelor of Music (Jazz Perf.) from the Sydney Conservatorium Of Music. In 2011, she traveled to New York, to study with world-class international drummers, including Michael Carvin. Jodie was the recipient of the 2013 Jann Rutherford Memorial Award. The Award is named in honour of the late jazz pianist Jann Rutherford.Jodie continues to further her career in Australia and overseas, predominantly in New York, where she has stayed for stints of varying lengths, in 2013, 2014 and 2017 to accumulate performance experience and continue her study and with Carvin, as well as, Greg Hutchinson, Billy Hart and Bernard Purdie. In Fall 2018, Jodie was accepted into Berklee College of Music's Global Jazz Masters program, class of 2019, mentored by Danilo Pérez and Marco Pignataro. In October 2018, with Perez and a group selected from the Global Jazz Institute, she was invited to partake in a tour of New Orleans, and later on, during stints at the 2019 Panama Jazz Festival and as part of the inaugural collaborative GAIA ensemble in Amsterdam, The Netherlands, March 2019. Jodie moved to New York City from Boston in September 2019, continuing to work as an active improvising musician, bandleader and educator before returning to Sydney, Australia in March 2020 (where she currently resides). ⁠⁠⁠Instagram⁠⁠⁠ / ⁠⁠⁠Facebook⁠⁠⁠ / ⁠⁠⁠YouTube⁠⁠⁠ About ViviTalks - Interviews with the Women Behind Typuhthâng. Introducing ViviTalks, a podcast hosted by Dutch New York-based musician Vivienne Aerts. Join us as we celebrate 100 talented female musicians from Vivienne's latest album "Typuhthâng," with a mission to empower female cacao farmers in the Virunga State Park of Congo and contribute to rainforest restoration. We delve into the musical journeys, creative processes, and unique perspectives of these talented women, seeking to bring greater balance to the music industry. It's a safe space for honest and authentic conversations with artists and trailblazers. Let's amplify the voices of remarkable women in music and stay tuned for inspiring stories and meaningful dialogues on ViviTalks. ⁠⁠⁠⁠⁠⁠ ⁠⁠ Stream⁠⁠⁠⁠⁠⁠⁠⁠ the Album or ⁠⁠⁠⁠⁠⁠⁠⁠Buy it on Bandcamp⁠⁠⁠⁠⁠⁠⁠⁠ and get the chocolate! ⁠⁠⁠⁠⁠⁠⁠⁠More about Vivienne here.

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You're an aspiring musician, and you want to learn from the best. But sometimes it becomes difficult, as the student in many aspects, has learned as much as the teacher in their hometown knows. But finding music instructors of the next level can be time consuming, and often quite expensive. Enter the online platform “Open Studio”. Created by entrepreneur and acclaimed jazz pianist Peter Martin, this web-based program affords you the opportunity and ability to learn from some of the best musicians in the world. At your pace, and within your level of expertise without fear of being overwhelmed.   In this episode, we discuss the Open Studio concept, how it's designed to work at one's own pace, and its benefits as a useful and versatile learning tool for creative musicians. We also chat with Peter's new jazz album project titled “Generation S”. Peter Martin is an acclaimed jazz pianist, composer, arranger, educator and entrepreneur. His touring career has taken him to six continents, and Brian has been invited to play the White House on several occasions. Peter Martin performed on and arranged Dianne Reeves' Grammy-winning release A Little Moonlight and appeared in George Clooney's 2005 film Good Night, and Good Luck, as well as being the featured pianist and an arranger on the Grammy-winning soundtrack. Peter has also performed, toured, and recorded with Wynton Marsalis, Chris Botti, Betty Carter, Christian McBride, and Joshua Redman, as well as the Berlin Philharmonic, Chicago Symphony Orchestra and the New York Philharmonic. Peter attended the Juilliard School of Music and has been on the faculties of Southern Illinois University-Edwardsville, Northwestern University, Tulane University, the University of New Orleans and New Orleans Center for Creative Arts. He has performed workshops and master classes at institutions worldwide, including Oberlin College, Duke University, the Carnegie Hall Professional Training Workshops, Steinway Piano Gallery, the Rotterdam Conservatory, and the Royal Scottish Academy of Music in Glasgow. In 2015, after launching an successful educational video podcast, 2-Minute Jazz, Martin founded a revolutionary jazz educational web platform, Open Studio, where students from over 120 countries are part of an active community and are continuing to learn from Martin, Dianne Reeves, Fred Hersch, Christian McBride, Greg Hutchinson, Romero Lubambo and other artists. www.openstudiojazz.com www.brianmartinmusic.com Creator and Executive Producer Emeritus: Tom Sabella Showrunner and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: bob@businesssideofmusic.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at bob@businesssideofmusic.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Copyright © 2024 Lotta Dogs Productions, LLC, All rights reserved.

"Da Bang" With Modern Jazz Great Greg Hutchinson, Odd-Time Fluency Part 3, and Much More www.drumfactorydirect.com

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Emyria Ltd (ASX:EMD) MD Michael Winlo introduces Proactive to the company's new independent non-executive chairman Greg Hutchinson. Hutchinson will help bolster EMD's innovative mental health research and development programs. As CEO of Sonic HealthPlus for the past 13 years and deputy CEO of S&P/ASX 100 company Sonic Clinical Services, he has significant expertise in scaling frontline health services and research programs. #ProactiveInvestors #EmyriaLtd #ASX #biotech #invest #investing #investment #investor #stockmarket #stocks #stock #stockmarketnews

Accompagné de Matt Penman à la contrebasse et de Greg Hutchinson à la batterie, Baptiste Trotignon revisite des classiques de la pop music britannique. ''Brexit Music'' est paru sur le label Naïve.

Sigríður Zoéga, hjúkrunarfræðingur og sérfræðingur í verkjameðferð á Landspítalanum segir að einn af hverjum fimm glími við langvinna verki en ekki þurfi allir á þjónustu verkjamiðstöðvarinnar á Landspítalanum að halda. Verkir eru varnarviðbrögð líkamans og ein besta lækningin við verkjum er hreyfing. Björn Malmquist fréttamaður er í Strassborg þar sem ný Evrópulöggjöf um losunarheimildir í flugi verður að öllum líkindum samþykkt í Evrópuþinginu síðar í dag. Evrópuþingið fundar í Strassborg eina viku í mánuði en annars eru höfuðstöðvar þess í Brussel Einar Rúnar Sigurðsson, fjallaleiðsögumaður og eigandi Öræfaferða, hefur farið 323 sinnum á tind Hvannadalshn(j)úks. Þegar hann fór í fyrsta skipti þá átti hann ekki von á því að fara oftar en raunin er önnur. Hann mælir með því að fólk undirbúi sig vel fyrir göngu á hæsta tind landsins og æfi sig meðal annars með því að bera þunga bakpoka á bakinu. Tónlist: Smástirni - Klassart, Ahmad's blues - Eric Reed, píanó ; Ben Wolfe, kontrabassi ; Greg Hutchinson á trommum, Comin' back to me - Jefferson Airplane, Rólegur kúreki - Bríet, The Angel - Bruce Springsteen. Umsjón: Björn Þór Sigbjörnsson og Guðrún Hálfdánardóttir.

Sigríður Zoéga, hjúkrunarfræðingur og sérfræðingur í verkjameðferð á Landspítalanum segir að einn af hverjum fimm glími við langvinna verki en ekki þurfi allir á þjónustu verkjamiðstöðvarinnar á Landspítalanum að halda. Verkir eru varnarviðbrögð líkamans og ein besta lækningin við verkjum er hreyfing. Björn Malmquist fréttamaður er í Strassborg þar sem ný Evrópulöggjöf um losunarheimildir í flugi verður að öllum líkindum samþykkt í Evrópuþinginu síðar í dag. Evrópuþingið fundar í Strassborg eina viku í mánuði en annars eru höfuðstöðvar þess í Brussel Einar Rúnar Sigurðsson, fjallaleiðsögumaður og eigandi Öræfaferða, hefur farið 323 sinnum á tind Hvannadalshn(j)úks. Þegar hann fór í fyrsta skipti þá átti hann ekki von á því að fara oftar en raunin er önnur. Hann mælir með því að fólk undirbúi sig vel fyrir göngu á hæsta tind landsins og æfi sig meðal annars með því að bera þunga bakpoka á bakinu. Tónlist: Smástirni - Klassart, Ahmad's blues - Eric Reed, píanó ; Ben Wolfe, kontrabassi ; Greg Hutchinson á trommum, Comin' back to me - Jefferson Airplane, Rólegur kúreki - Bríet, The Angel - Bruce Springsteen. Umsjón: Björn Þór Sigbjörnsson og Guðrún Hálfdánardóttir.

A native of eastern Pennsylvania, JD Walter's past, present, and future has always embodied music. From church Boy choirs at the age of six to the American Boy choir school in Princeton to the University of North Texas on a vocal jazz scholarship, Walter has become a pioneer of improvisation and electronic innovations in the world of jazz. His recording career spans 20 years and his purist progressive approach to jazz music has been recognized worldwide. After extended studies in Amsterdam with Jazz vocal Icon, Deborah Brown, Walter returned to the U.S. and embedded himself in the New York Jazz scene. It was in New York, surrounded by visionaries of jazz, where he began to organically develop his liberated, vibrant style that turned him from straight-ahead to progressive jazz singing. Walter's recordings include, "Dressed in a Song", “Sirens in the C-House,” “Clear Day,” “Dedicated to You,” “2Bass, a Face and a Little Skin,” “Live in Portugal,” “Live at the 55 Bar,” “One Step Away,” and Guest appearances on over 100 recordings. The latest album, released on February 7, 2020, testifies to his personal progression as an evolving artisan and provides an intimate, inventive collection of standards and originals. “Dressed in a Song,” produced by Walter and Grammy-winning producer and A&R executive Al Pryor, features piano and vocal duets and trios with veterans and up-and-comers alike, including Jim Ridl, Orrin Evans, Jean-Michel Pilc, Marc Cary, Taylor Eigsti, Julius Rodriguez, Ben Wolfe, Obed Calvaire, and Becca Stevens. Over the decades, Walter has performed as a featured artist at numerous American jazz clubs and festivals in the U.S., Europe, the Middle East, Central America as well as over 80 tours in Russia. He remains a regular in the New York music scene, and has headlined at Dizzy's Lincoln Center, The Jazz Standard, The Blue Note, and The Jazz Gallery, among other venues. He has shared the stage with legendary artists, ranging from Dave Liebman, Billy Hart, Tom Harrell, Eddie Gomez, Bob Dorough, Nicholas Payton, Ben Monder, Sean Jones, Jean-Michel Pilc, Bill Evans, Mark Murphy, Greg Hutchinson, Ari Hoenig, Randy Brecker, Tim Warfield, Jim Ridl, Orrin Evans, Seamus Blake, Igor Butman, Nasheet Waits, Craig Handy, Boris Kozlov, Robin Eubanks, Eric Revis, Billy Drummond, Christian McBride, Adam Nussbaum. Walter currently resides in New York and teaches privately and abroad at The Prince Claus Conservatory in Groningen, Holland, The Jazz and Music School in St. Petersburg, and the Music Wave School in Moscow. In this episode, JD Walter shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Adam and Peter remotely interview the great Greg Hutchinson.  Have a question for us? Leave us a SpeakPipe Checkout courses from Adam, Peter and more at Open Studio Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Twitter | Instagram

Adam and Peter discuss and breakdown a world class, or as they say "S-Tier", performance they attended at JazzSTL featuring Christian McBride, Benny Green, and Greg Hutchinson. In this episode, they revisit watching three masters create a truly memorable experience playing the music of Ray Brown and break down exactly what made the show such an exciting and powerful experience for the audience. Click the link below to find the live stream at JazzSTL and watch for yourself! Have a question for us? Leave us a SpeakPipe Checkout courses from Adam, Peter and more at Open Studio Watch the gig: McBride, Green, and Hutch Live at JazzSTL Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Twitter | Instagram

Bob and Reuben interview expert jazz drummer and educator Greg Hutchinson about what bassists and drummers should do to best serve the music.Want drum lessons from Hutch himself? Check out all of his courses available here from Open Studio. And for a limited time, you can get any of Greg's drum courses for just $50 with the Hutch Birthday Sale! Interested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. Want some jazz courses taught by Reuben and Bob? Our Bass Access Pass includes every bass course in one convenient place.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Facebook | Twitter | Instagram★ Support this podcast ★

Greg Hutchinson joins the podcast to talk about his path from farm kid to equipment technician. Greg is an electronics and hydraulics guru who has designed his own aftermarket baler accessories and worked on the twin pack double baler. Sponsored by Vermeer

  Mike Jeffers and special guest vocalist Jd Walter talking about his new recording "Dressed in a Song" where he performs with 6 of his favorite piano players and mixture of original compositions and well known songs. JD also discusses how he developed his sound and improvisational style at the UNT College of Music and studying with Deborah Brown. Thanks to the Epiphany Center for the Arts.   About JD Walter A native of eastern Pennsylvania, JD Walter’s past, present, and future has always embodied music. From church Boy choirs at the age of six to the American Boy choir school in Princeton to the University of North Texas on a vocal jazz scholarship, Walter has become a pioneer of improvisation and electronic innovations in the world of jazz. His recording career spans 20 years and his purist progressive approach to jazz music has been recognized worldwide. After extended studies in Amsterdam with Jazz vocal Icon, Deborah Brown, Walter returned to the U.S. and embedded himself in the New York Jazz scene. It was in New York, surrounded by visionaries of jazz, where he began to organically develop his liberated, vibrant style that turned him from straight-ahead to progressive jazz singing. Walter’s recordings include, "Dressed in a Song", “Sirens in the C-House,” “Clear Day,” “Dedicated to You,” “2Bass, a Face and a Little Skin,” “Live in Portugal,” “Live at the 55 Bar,” “One Step Away,” and Guest appearances on over 100 recordings. While recording his most recent album, “Dressed in a Song,” a life-threatening health scare and subsequent heart and vocal cord surgeries kept Walter out of the studio and off the road for several years. The latest album, released on February 7, 2020, testifies to his personal progression as an evolving artisan and provides an intimate, inventive collection of standards and originals. “Dressed in a Song,” produced by Walter and Grammy-winning producer and A&R executive Al Pryor, features piano and vocal duets and trios with veterans and up-and-comers alike, including Jim Ridl, Orrin Evans, Jean-Michel Pilc, Marc Cary, Taylor Eigsti, Julius Rodriguez, Ben Wolfe, Obed Calvaire, and Becca Stevens. Over the decades, Walter has performed as a featured artist at numerous American jazz clubs and festivals in the U.S., Europe, the Middle East, Central America as well as over 80 tours in Russia. He remains a regular in the New York music scene, and has headlined at Dizzy’s Lincoln Center, The Jazz Standard, The Blue Note, and The Jazz Gallery, among other venues. He has shared the stage with legendary artists, ranging from Dave Liebman, Billy Hart, Tom Harrell, Eddie Gomez, Bob Dorough, Nicholas Payton, Ben Monder, Sean Jones, Jean-Michel Pilc, Bill Evans, Mark Murphy, Greg Hutchinson, Ari Hoenig, Randy Brecker, Tim Warfield, Jim Ridl, Orrin Evans, Seamus Blake, Igor Butman, Nasheet Waits, Craig Handy, Boris Kozlov, Robin Eubanks, Eric Revis, Billy Drummond, Christian McBride, Adam Nussbaum. Walter currently resides in New York and teaches privately and abroad at The Prince Claus Conservatory in Groningen, Holland, The Jazz and Music School in St. Petersburg, and the Music Wave School in Moscow.

Peter Mazza discusses his harmonic jazz guitar lessons available on TrueFire, performs, and answers questions. To learn more and watch the video from this live session, please visit truefire.com/live.About Peter: Peter Mazza is an exciting jazz guitarist recognized for his creative and virtuoso interpretations of jazz standards as well as his passionate and thoughtful compositions. Blending clean and fluent lines with colorful chord voicings and driving pulse, he creates imaginative ensemble arrangements as well as lush solo guitar pieces.Born and raised in New York City, he attended La Guardia High School of Music and the Arts, then went on to obtain a Bachelor of Music from the Manhattan School of Music and a Masters from The Juilliard School (his Masters on a full scholarship). He studied under guitarists- Allen Hanlon, Fred Fried, Jack Wilkins, Rodney Jones, Dennis Koster.His performing career began while still in school when he earned the leader’s role at a four-night-a week jam session at Augie's Jazz Bar, now called Smoke. He played there with Brad Mehldau, Roy Hargrove, Joel Frahm, Chris Potter, Donny McCaslin, Uri Cane, Christian McBride, Larry Grenadier, Dwayne Burno, Greg Hutchinson, Jeff Ballard and many others.Peter went on to gain acceptance to the prestigious Thelonius Monk Jazz Competition, where he was ranked semifinalist.He has performed guitar duos in NYC with Jonathan Kreisberg, Mike Moreno, Freddie Bryant, Pete Bernstein, Paul Bollenback, Kurt Rosenwinkel, Jack Wilkins, Gene Bertoncini, Barry Greene and many more.His groups have been featured at jazz venues such as Dizzy’s Club, Birdland, The Knitting Factory and the Cornelia Street Café and as part of special events held at the United Nations, Rainbow Room, Rialto Room, The Allen Room, The River Club, The Yacht Club, Tribeca Grill, Le Bernadin, Brigewater's, Saks Fifth Avenue, Bloomingdale's.12 years ago, Peter began a Sunday night trio residency at The Bar Next Door at La Lanterna that is still vital today. His trio has featured Hendrik Meurkens, Will Vinson, John Ellis, Donny McCaslin, Jon Irabagon, Patrick Cornelius, Jacam Manricks, Etienne Charles, Itai Kriss, Matt Penman, Matt Clohesy, Hans Glawischnig, Marco Panascia, Ben Williams, Haggai Cohen-Milo, Brian Charette, Ari Hoenig, Bruce Cox and many more.Over the course of his steady-Sunday-night, Peter has favored the use of 2 different instrumentations that have complimented intimate size of the BND and the club’s exclusive trio format. Those trios boldly explore texture and rhythm without the presence of drums. They include a guitar with bass and horn group, then a guitar with keys and bass group. His current trio with Misha Tsiganov on piano and Thomson Kneeland on Bass just recorded a debut release called “Circles and Lines" on Peter’s own Urban Flower Records.After successfully launching his residency-gig, early on Peter helped implement a 7-night-a-week schedule of jazz music at the Bar Next Door at La Lanterna that has featured an outstanding and diverse array of guitar and saxophone-led trios, from some of New York’s most seasoned musicians, to some of its most exciting new talent. In an effort to continue to expand the club’s offerings as its Musical Director, 3 years ago he designed and implemented an Emerging Artist Series that has featured the best college-aged musicians playing early sets that occur on 4 nights of every week.Peter has been invited to perform and guest speak at New York University, The Manhattan School of Music and at the Peabody Institute. In his presentations he discusses how he initiated jazz nights at various restaurants and bars throughout the city and how that effort culminated in the conversion of the BND from a restaurant with jazz into a notable full-on listening venue. He advises students on creative and professional ways to assimilate into the New York Jazz Club scene, particularly into the Emerging Artist Series.Peter has taught jazz guitar for over 20 years. He held long affiliations with The American Institute of Guitar/International Studio of Music, The National Guitar Workshop and The New School while retaining his active private studio. He has been featured in the pages of Just Jazz Guitar and Jazz Inside magazines where he has discussed his approach to arranging, writing and practicing.His solo guitar video of “Somewhere Over the Rainbow" on You Tube posses over 120,000 views.His first CD was in 2007, called Through My Eyes on the Japanese label Late Set Records. The disc presented 8 original compositions and 2 original arrangements. While the pieces drew from jazz, classical, rock, funk and ambient music, the evocative and personal nature of the music fused them. The release was supported with 2 tours of Japan.Peter’s most current CD - “Circles and Lines" is scheduled for release in October of 2014. He has a solo guitar recording “Blues for the Ineffable" is scheduled for release in 2015.Though Peter is well seasoned with his own clear and distinctive style, he remains one of the jazz guitar world’s best-kept secrets.

See acast.com/privacy for privacy and opt-out information.

See acast.com/privacy for privacy and opt-out information.

Peter Mazza is an exciting jazz guitarist recognized for his creative and virtuoso interpretations of jazz standards as well as his passionate and thoughtful compositions. Blending clean and fluent lines with colorful chord voicings and driving pulse, he creates imaginative ensemble arrangements as well as lush solo guitar pieces.Born and raised in New York City, he attended La Guardia High School of Music and the Arts, then went on to obtain a Bachelor of Music from the Manhattan School of Music and a Masters from The Juilliard School (his Masters on a full scholarship). He studied under guitarists- Allen Hanlon, Fred Fried, Jack Wilkins, Rodney Jones, Dennis Koster.His performing career began while still in school when he earned the leader’s role at a four-night-a week jam session at Augie's Jazz Bar, now called Smoke. He played there with Brad Mehldau, Roy Hargrove, Joel Frahm, Chris Potter, Donny McCaslin, Uri Cane, Christian McBride, Larry Grenadier, Dwayne Burno, Greg Hutchinson, Jeff Ballard and many others.Peter went on to gain acceptance to the prestigious Thelonius Monk Jazz Competition, where he was ranked semifinalist.He has performed guitar duos in NYC with Jonathan Kreisberg, Mike Moreno, Freddie Bryant, Pete Bernstein, Paul Bollenback, Kurt Rosenwinkel, Jack Wilkins, Gene Bertoncini, Barry Greene and many more.His groups have been featured at jazz venues such as Dizzy’s Club, Birdland, The Knitting Factory and the Cornelia Street Café and as part of special events held at the United Nations, Rainbow Room, Rialto Room, The Allen Room, The River Club, The Yacht Club, Tribeca Grill, Le Bernadin, Brigewater's, Saks Fifth Avenue, Bloomingdale's.12 years ago, Peter began a Sunday night trio residency at The Bar Next Door at La Lanterna that is still vital today. His trio has featured Hendrik Meurkens, Will Vinson, John Ellis, Donny McCaslin, Jon Irabagon, Patrick Cornelius, Jacam Manricks, Etienne Charles, Itai Kriss, Matt Penman, Matt Clohesy, Hans Glawischnig, Marco Panascia, Ben Williams, Haggai Cohen-Milo, Brian Charette, Ari Hoenig, Bruce Cox and many more.Over the course of his steady-Sunday-night, Peter has favored the use of 2 different instrumentations that have complimented intimate size of the BND and the club’s exclusive trio format. Those trios boldly explore texture and rhythm without the presence of drums. They include a guitar with bass and horn group, then a guitar with keys and bass group. His current trio with Misha Tsiganov on piano and Thomson Kneeland on Bass just recorded a debut release called “Circles and Lines" on Peter’s own Urban Flower Records.After successfully launching his residency-gig, early on Peter helped implement a 7-night-a-week schedule of jazz music at the Bar Next Door at La Lanterna that has featured an outstanding and diverse array of guitar and saxophone-led trios, from some of New York’s most seasoned musicians, to some of its most exciting new talent. In an effort to continue to expand the club’s offerings as its Musical Director, 3 years ago he designed and implemented an Emerging Artist Series that has featured the best college-aged musicians playing early sets that occur on 4 nights of every week.Peter has been invited to perform and guest speak at New York University, The Manhattan School of Music and at the Peabody Institute. In his presentations he discusses how he initiated jazz nights at various restaurants and bars throughout the city and how that effort culminated in the conversion of the BND from a restaurant with jazz into a notable full-on listening venue. He advises students on creative and professional ways to assimilate into the New York Jazz Club scene, particularly into the Emerging Artist Series.Peter has taught jazz guitar for over 20 years. He held long affiliations with The American Institute of Guitar/International Studio of Music, The National Guitar Workshop and The New School while retaining his active private studio. He has been featured in the pages of Just Jazz Guitar and Jazz Inside magazines where he has discussed his approach to arranging, writing and practicing.His solo guitar video of “Somewhere Over the Rainbow" on You Tube posses over 120,000 views.His first CD was in 2007, called Through My Eyes on the Japanese label Late Set Records. The disc presented 8 original compositions and 2 original arrangements. While the pieces drew from jazz, classical, rock, funk and ambient music, the evocative and personal nature of the music fused them. The release was supported with 2 tours of Japan.Peter’s most current CD - “Circles and Lines" is scheduled for release in October of 2014. He has a solo guitar recording “Blues for the Ineffable" is scheduled for release in 2015.Though Peter is well seasoned with his own clear and distinctive style, he remains one of the jazz guitar world’s best-kept secrets

Peter's Back! Sort of. Peter's calling in remotely to talk with Adam about things you can do when you can't play.Check out this video from Greg Hutchinson on practicing rhythms without any instruments: https://www.youtube.com/watch?v=v_s1dcLS4Cg. And for more drum lessons with Greg, go here: https://www.openstudionetwork.com/project/fjd-overview/.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel and leave a comment for this episode.Interested in more jazz advice? Go here to browse our catalog of jazz lessons and courses available for purchase.Follow us on Facebook, Twitter & Instagram at:https://www.facebook.com/heyopenstudiohttps://twitter.com/heyopenstudiohttps://www.instagram.com/heyopenstudio See acast.com/privacy for privacy and opt-out information.

When I put out a call for interview requests for my New York City trip, Marco Panascia was one of the most-requested bassists.  In fact, Marco has been requested as a guest many times over the years, and he and I have also talked about doing an interview for the past few years.  Being able to chat in person with Marco was an added benefit! Marco and I cover all kinds of interesting ground, like his journey from Italy to the United States, how he established his career in the US, getting to gigs via train and on foot, crazy gig stories, versatility, and all kinds of other topics.  Marco’s a great guy and an awesome player, and it was so much fun to chat in person for the podcast!   More about Marco:Marco Panascia (pronounced: pana-SEE-ah) is an Italian-born bassist, composer and educator living in New York City since 2002, and a recently minted U.S. citizen. His proficiency in many different musical situations and settings, and his strong doubling skills on the acoustic and the electric basses have earned him wholehearted praise worldwide. Panascia has made a name for himself by being featured in the groups of several jazz luminaries, such as Kenny Barron, Andy Bey, Kevin Mahogany, Eric Reed, Dado Moroni, Alvin Queen, Bobby Watson, Peter Bernstein, Tamir Hendelman, Claudio Roditi, and David Kikoski, and by regularly appearing in some of the world's top music festivals and venues, such as the Montreux Jazz Festival, the Hollywood Bowl, and the Kennedy Center for the Performing Arts. Panascia is also known for his tenure with young jazz piano sensation Eldar, which delivered sold-out performances in three continents, and culminated in two celebrated CD releases on the Sony BMG Masterworks label: "Live at the Blue Note", and "re-imagination", which received a 2008 Grammy nomination for Best Contemporary Jazz Album. Mentored by Los Angeles studio legend Carol Kaye and by classical bass maestros Nello Nicotra and Betram Turetzky, Panascia was the first prize winner of the 1998 Edinburgh International Double Bass competition in Scotland. After moving to the United States, he went on to earn a Bachelor of Music degree from the Berklee College of Music in Boston, and a Master of Music degree from the Manhattan School of Music in New York City, as a full tuition scholarship recipient. Currently an adjunct faculty member at the New School University in Manhattan, he often gets invited to teach clinics and masterclasses in the United States and abroad. Recent teaching stints have included the Rochester Bass Retreat and the Tritone Jazz Fantasy Camp at Nazareth College in Rochester, New York; the SC Double Bass Conference at the University of South Carolina in Columbia, South Carolina; the USU Guitar and Bass Festival at Utah State University in Logan, Utah; and the Bass Fest at the State University of New York in Fredonia, New York. Panascia's performance credits on acoustic and electric bass include some of the most highly regarded artists on the contemporary jazz scene and beyond, such as Lee Konitz, Joe Lovano, Dave Liebman, Roy Hargrove, Chris Botti, Gary Burton, Seamus Blake, Peter Erskine, Adam Nussbaum, Greg Hutchinson, Lewis Nash, Matt Wilson, Victor Lewis, Nasheet Waits, Helen Sung, and Francesco Cafiso. In the pop and R&B fields, Panascia has performed with Natalie Cole, Patti LaBelle, Jennifer Holliday and Brian McKnight, among others. Whenever he has time off from his hectic worldwide touring schedule, Panascia can be heard performing in some of New York's most celebrated venues, as a leader of his own group, or as a sideman with several world-renowned musicians on the scene. As further indication of Panascia's freelancing abilities outside of the jazz world, he has recently started subbing regularly on Disney's "The Lion King", Broadway's third longest-running show in history and the highest grossing Broadway production of all time, and he has been one of the featured bassists on the groundbreaking Off-Broadway show "Sleep No More" between 2012 and 2017. Panascia is also a first call accompanist on the New York cabaret and singer-songwriter music scenes, and he maintains a strong presence on social media, with a dedicated channel of video bass performances on YouTube that has amassed over 1,200,000 views since its inception. Aside from being featured as a sideman on more than 50 recordings, Panascia's first album as a leader, "Bass Duo Live", was released in 2014, and it documents an unedited live concert with Dario Deidda, one of Italy's most celebrated jazz musicians, on a swinging and highly conversational acoustic/electric bass duo performance. The album is available on CD Baby, iTunes and Bandcamp, both in physical and digital form.   Marco Panascia uses and endorses Markbass amplifiers, Mike Lull Custom Electric Basses, Alter Ego Basso, Thomastik-Infeld Double Bass Strings and IQS Electric Bass Strings. For more information, please visit: www.marcopanascia.com   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Steve Swan String Bass Steve Swan String Bass features the West Coast’s largest selection of double basses between Los Angeles and Canada.  Located in Burlingame, just south of San Francisco, their large retail showroom holds about 70 basses on display. Their new basses all feature professional setups and come with a cover at no additional cost. Used and consignment instruments receive any needed repairs and upgrades before getting a display position on the sales floor. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut.   The Bass Violin Shop The Bass Violin Shop offers the Southeast’s largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome!   Kolstein Music The Samuel Kolstein Violin Shop was founded by Samuel Kolstein in 1943 as a Violin and Bow making establishment in Brooklyn, New York. Now on Long Island, over 60 years later, Kolstein’s has built a proud reputation for quality, craftsmanship and expertise in both the manufacture and repair of a whole range of stringed instruments, and has expanded to a staff of twelve experts in restoration, marketing and production. A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging Subscribe to the podcast to get these interviews delivered to you automatically!

In this lesson, Greg Hutchinson demonstrates some keys to nailing trills with perfection. ========================================================================================Quick tip! Trill: While you got the symbol at your foot. It's got to be good. Brush in between thumb and first finger. Motion like this:And you just work on spinning it out. Here we go:Just sit, dont worry about it. You do that every day. You can start slow. And just get your hand used to the motion. Close your eyes. And you too can get to the trill.========================================================================================Check out even more Greg Hutch lessons only at Open Studio... https://www.openstudionetwork.com/project/greg-hutchinson/ See acast.com/privacy for privacy and opt-out information.

Often asked: How do we change from brushes to sticks while we're playing? Different ways.Some guys like to put the brush between your legs while you're playing.You grab one out...Vice versa and we're playing brushes, right?Now, you got to be able to put the brush down.Grab the sticks.So it's not about...Like you don't want that, you want a continual sound to be happening. So,Or, you put the sticks here. It's called the reach for it.Either way, I guess the really important thing is that you're able to switch either from the stick to the brush or brush to stick without stopping the motion of the music. So practice that every day just going back and forth, back and forth.That's my quick tip for the day. Hutch.=====================================================Check out more of Greg Hutchinson's online lessons only at: https://www.openstudionetwork.com/greg/ See acast.com/privacy for privacy and opt-out information.

In this video, Hutch goes over a unique technique to learn how to keep rhythm in any situation.Full length lessons available at:OpenStudioNetwork.com See acast.com/privacy for privacy and opt-out information.

Four key players behind Australia’s first dedicated non-profit consulting business for the social sector tell the story of launching SVA Consulting. Listen to Michael Traill, then SVA CEO; Rob McLean, then SVA Chair; Greg Hutchinson, former Managing Partner, Bain; and Duncan Peppercorn, who first led SVA Consulting recall how it began. Find out more about SVA Consulting's story here: http://www.socialventures.com.au/sva-quarterly/founding-sva-consulting/

In this inaugural audio podcast, Open Studio Network founder Peter Martin sits down with drummer Greg Hutchinson. See acast.com/privacy for privacy and opt-out information.

In this inaugural audio podcast, Open Studio Network co-founder Peter Martin sits down with drummer Greg Hutchinson. See acast.com/privacy for privacy and opt-out information.

In this podcast I talk to Jazz powerhouse, Greg Hutchinson.  
Jazz Magazine describes him as “the drummer of his generation” and indeed, Gregory Hutchinson is one of the most highly respected musicians of our time. His mastery of timing and expression of rhythms is at the core of his personal style. He is a musician’s […] The post 086 – Greg Hutchinson: Making the music feel good appeared first on Drummer's Resource: Conversations with the world's greatest drummers and music industry pros..

QUIET AUTHORITYBest known as a contributing member of the bebop jazz movement and a member of the Oscar Peterson Trio, jazz bassist Ray Brown performed with jazz giants from Dizzy Gillespie and Charlie Parker to his wife Ella Fitzgerald. Despite Fitzgerald’s short-lived marriage to Brown (1947-1953), she remained a lifelong friend and musical associate. A disciple of the 1940s Oscar Pettiford school of jazz bass, Brown developed an individual style renown for its tastefully executed rhythmic lines within the context of ensemble accompaniment. His talent reflects such breadth and diversity that he was the most cited musician in the first edition of the Penguin Guide to Recorded Jazz (1992). Unlike many of the founders of bebop bass, Brown still performed and earned a successful living as a studio musician, record producer, and nightclub owner. Raymond Matthews Brown was born in Pittsburgh, Pennsylvania, on October 13, 1926. He took piano lessons at age eight and gained knowledge of the keyboard through memorizing the recordings of Fats Waller. A member of the high school orchestra, he soon found himself overwhelmed by the number of pianists among his classmates. "There must have been 14 piano players in it. And 12 of them were chicks who could read anything on sight," explained Brown in Jazz Masters of the Forties. In the book Oscar Peterson: The Will to Swing, Brown revealed the main reason for ending his study of piano: "I just couldn’t find my way on it. It just didn’t give me what I wanted." Soon afterward, Brown, unable to afford a trombone, switched to bass, an instrument provided by the school’s music department.Brown’s new musical role model emerged in Duke Ellington’s innovative bassist, Jimmy Blanton. As he told Jack Tracey in Down Beat, "I just began digging into Blanton because I saw he had it covered—there was nobody else. There he was, right in the middle of all those fabulous records the Ellington band was making at the time, and I didn’t see any need to listen to anybody else." As a teenager Brown played local engagements. Despite offers by bandleaders, he followed his mother’s advice and finished high school before performing on the road with regional territory bands. After graduating in 1944, he performed an eight-month stint in Jimmy Hinsley’s band. Around this time, Brown fell under the influence of bassists Leroy "Slam" Stewart and Oscar Pettiford, a prime mover of a modern jazz bass approach. He next joined the territory band of Snookum Russell. Eight months later, while on the road with Russell, Brown followed the suggestion of fellow band members and moved to New York City.In 1945 Brown arrived in New York City, and during his first night visited Fifty-Second Street—"Swing Street," a mob-controlled thoroughfare lined with various jazz clubs. That evening he encountered pianist Hank Jones, a musical associate, who introduced him to Dizzy Gillespie. That same evening, Gillespie, prompted by Jones’ recommendation, hired Brown without an audition. Attending the band’s rehearsal the next day, Brown—a 19-year-old musician still largely unfamiliar with many of bebop’s innovators—discovered that his fellow band members were Charlie Parker, Bud Powell, and Max Roach. "If I had known those guys any better I would have probably never gone to the rehearsal," admitted Brown in Jazz Journal International. "The only guy I knew something about was Dizzy because some of his records had filtered down through the south where I’d been playing with a territory band." The group’s leader, however, immediately recognized the talent of his young bassist. As Gillespie commented, in his memoir To Be or Not to Bop, "Ray Brown, on bass, played the strongest, most fluid and imaginative bass lines in modern jazz at the time, with the exception of Oscar Pettiford." Shortly afterward, Gillespie added Detroit-born vibraphonist Milt Jackson. In Jazz Masters of the Forties, Brown recounted his early years with Jackson: "We were inseparable. They called us twins."In 1945 Brown appeared with Gillepsie at Billy Berg’s night club in Hollywood, California, an engagement which, with the exception of a small coterie of bebop followers, failed to generate a favorable response from west coast listeners. In Gillespie’s memoir To Be or Not to Bop, Brown summarized the band’s Hollywood stint: "The music wasn’t received well at all. They didn’t know what we were playing; they didn’t understand it." During the winter of 1946, Gillespie returned to New York and opened at Clark Monroe’s Spotlite on 52nd Street with a band consisting of Brown, Milt Jackson, Stan Levey, Al Haig, and alto saxophonist Sonny Stitt. In To Be or Not to Bop, Brown modestly described his role in the sextet, "I was the least competent guy in the group. And they made something out of me." In May of 1946, the sextet recorded for the Musicraft label, cutting the sides such as "One Bass Hit"—featuring Brown’s bass talents—and "Oop Bop Sh’ Bam,’ and "That’s Earl Brother." On Feb 5, 1946, Brown took part in one of Charlie Parker’s sessions for the Dial label, recording such numbers as "Diggin’ Diz."In 1946 Gillespie formed his second big band, using the same six-member line-up. On February 22, 1946, Brown appeared with Gillespie’s big band for a RCA/Victor session organized by pianist and jazz critic Leonard Feather. As Feather wrote in his work Inside Jazz, "Victor wanted an all-star group featuring some of the Esquire winners, so we used J.C. Heard on drums and Don Byas on tenor, along with Dizzy’s own men—Milt Jackson, Ray Brown, and Al Haig—and the new guitarist from Cleveland, Bill de Arango." The date produced the numbers "52nd Street Theme," "Night in Tunisia," "OI’Man Rebop," and "Anthropology." Between May and July of 1946, Brown appeared on such Gillespie recordings as "Our Delight," "Things to Come," and "Rays Idea" (co-written with Gil Fuller). In November of the same year, he cut the classic Gillespie side "Emanon."In 1947 Gillespie assembled a smaller group inside his big band which included Brown, Milt Jackson, pianist John Lewis and drummer Kenny Clarke. As Jackson told Whitney Baillett, in American Musicians II, "We’d play and let the band have a rest. I guess it was Dizzy’s idea." Attending an August 1947 Gillespie big band session Brown’s bass is heard on such numbers as "Ow!," "Oop-Pop-A-Da," and John Lewis’ "Two Bass Hit" which Brown’s bass is heard driving the band and, at the composition’s close, soloing with force and a controlled sense of melody. On December 10, 1947, Brown married vocalist Ella Fitzgerald in Ohio and moved into a residence on Ditmars Boulevard in the East Elmhurst section of Queens, New York. Soon afterward, the couple adopted a son, Ray Jr.After leaving Gillespie’s band in 1947, Brown and performed with Fitzgerald on Norman Granz’s Jazz at the Philharmonic tours and various record dates. "When I left Dizzy," commented Brown in Ella Fitzgerald, "the band was getting ready to go to Europe, and I couldn’t. I’d just gotten married to Ella Fitzgerald. At that time I was in a bit of a curl between her and wanting to be with her as well. She wanted me to travel with her trio; she had Hank Jones playing piano. So I finally decided I was going to stay in New York." During a concert series in September 1949, Brown performed when Canadian-born pianist Oscar Peterson made his debut with the tour (according to Brown, he had already performed with Peterson at informal Canadian jam sessions). In 1950 Brown and Peterson performed as a duo, and for the next several years, were also billed on various tours.In 1950 Brown recorded with Charlie Parker and, between 1950 and 1952, appeared with the Milt Jackson Quartet. The quartet’s pianist John Lewis recounted in The Great Jazz Pianists, "We were all friends and would play together when Dizzy’s band wasn’t working." At another Parker session in August 1951, Brown found himself in the company of such sidemen as trumpeter Red Rodney, John Lewis, and drummer Kenny Clarke. Together they backed Parker on sides which included "Swedish Schnapps," "Si Si," "Back Home Blues," and "Lover Man." A few months later, Brown appeared with the Milt Jackson Quartet, and on March 25, 1952 Brown attended a Charlie Parker big band recording session in Hollywood, California.In 1952 Brown and guitarist Irving Ashby became the founding members of the Oscar Peterson Trio. Ashby’s replacement, Barney Kessel, performed with the trio a year before Peterson recruited guitarist Herb Ellis who, along with Brown on bass, formed one of the most famed jazz trios of the 1950s. "Herb and I rehearsed all the time," stated Brown in Oscar Peterson: The Will to Swing. "For a trio that didn’t have any drums, we had it all. Herb and I roomed together and we played everyday. Not just the gig. We played golf in the morning and guitar and bass in the afternoon, and then we would shower, take a nap, go to dinner, and go to the gig. We had it all." Under Peterson’s leadership, Brown and Ellis underwent a challenging musical regimen. In Jazz Journal International, Brown revealed his admiration for Peterson’s reputation as a difficult task master: "If you are not intimidated by absolute professionalism, then you have no problem. Sure he’ll throw you a curve from time to time by calling unscheduled numbers or unexpectedly doubling the tempos, but if you’re not good enough to handle that, you shouldn’t be with Oscar anyway."By 1953 Brown and Fitzgerald ended their marriage. As Stuart Nicholson noted his book Ella Fitzgerald, "Ray remained adamant that he would pursue his career with Oscar Peterson, and the couple had begun to see less and less of each other. Finally, they decided to bring their marriage to and end and filed for a ‘quickie’ divorce." The divorce was finalized on August 28, 1953 in Juarez, Mexico. Fitzgerald maintained custody of Ray Jr., yet she and Brown remained friends. In November 1953 they, along with Oscar Peterson, appeared at a concert in Japan.In 1958 Peterson replaced Ellis with drummer Gene Gammage, who stayed with the trio a few months until Peterson recruited drummer Edmund Thigpen. Fortunately, Brown was able to stay with the trio and earn a comfortable living. However, by the early 1960s, the group also proved demanding in its performance schedule. As Brown explained in Jazz Journal International, "Some of the tours were really punishing—we’d come to Europe and do 62 one-nighters in 65 days." After his 15-year membership in the Oscar Peterson Trio, Brown left the group in 1965, and settled in Hollywood, where he worked in the areas of publishing, management, and record production. In 1974 he co-founded the L.A. Four with saxophonist Bud Shank, Brazilian guitarist Luarindo Almeida, and drummer Shelly Manne (later replaced by Jeff Hamilton). One of Brown’s exemplary studio dates emerged in the 1974 album Dizzy Gillespie Big 4.By 1976 Brown appeared four days a week on the Merv Griffin Show. A year later, after two decades of appearing as a sideman on the Contemporary label, Brown recorded the solo effort Something for Lester, placing him in the company of pianist Cedar Walton and drummer Elvin Jones. In Down Beat Zan Stewart gave the album the magazine’s highest rating (five stars), and commented, "Walton and Jones are apropos partnersin sound for the superlative bassist… Ray’s imparts the line to ‘Georgia’—what glorious tone he possesses! It continually overwhelms the listener, as does his superb intonation, for Brown is always at the center of each note."In a 1980 Jazz Journal International interview, Brown told Mike Hennessey, "I’m very fortunate. I’m still able to travel and play various countries and still be liked by the public. I’m able to play what I like to play and as long as people want to listen, that’s fine with me." During the 1980s, Brown recorded solo albums for the Concord label as well as releases by the L.A. Four, and numerous guest sessions with pianist Gene Harris. Since his first appearance on Telarc Records in 1989, his albums for the company include the 1994 trio LP (with pianist Benny Green and drummer Jeff Hamilton) Bass Face, Live at Kuumbwa, the 1995 work Seven Steps to Heaven (with Green and drummer Greg Hutchinson), and the 1997 release Super Bass. Brown still performs both as a leader and accompanist at festivals and concert dates. "During the past decades Brown’s sound and skill have remained undimmed, "wrote Thomas Owens, in his 1995 book Bebop: The Music and Its Players. "He is an agile, inventive, and often humorous soloist. His arco [bow] technique is excellent, though he seldom reveals it. But he shines most brilliantly as an accompanist. Examples of his beautiful lines are legion." Interviewed in The Guitar Player Book, Herb Ellis also lauded the talents of his former music partner: "[Ray Brown] is in a class all by himself. There is no other bassist in the world for me, and a lot of players feel the same way. On most instruments, when you get to the top echelon it breaks down to personal taste, but I tell you, there are a lot of guys on his tail, but Ray has it all locked up."

Jason Crane interviews vocalist Kate McGarry about her new album, The Target (Palmetto, 2007). It's yet another stellar album in a career that has seen her working with everyone from Fred Hersch to Maria Schneider. On The Target, McGarry is joined by her husband Keith Ganz on guitar, Gary Versace on organ and piano, Reuben Rogers on bass and Greg Hutchinson on drums, along with guest appearances from saxophonist Donny McCaslin and Theo Bleckman on voice loops. On both American songbook classics and impressive new compositions, the band finds an organic chemistry that brings something new to the old tunes and makes the new tunes sound familiar.

What do Wynton Marsalis, Jon Faddis, Rodney Whitaker, Greg Hutchinson, Bobby Watson, have in common? They have all had our May guest in their piano chair. Your featured artist this month is the great pianist, Rick Roe. Featured music is taken from his recordings The Changeover (1997) where he is joined by bassist Rodney Whitaker […]