Podcasts about harold land

STANDARSEMANAL.-giant steps.-VINILOS MITICOS DEL JAZZ.- BOBBY HUTCHERSON-Cirrus 1974.-JAZZACTUALIDAD.-XAVIER CARLES - GERMANS HUMANS. Título: Cirrus. Músico: Bobby Hutcherson. Acompañantes: Ray Drummond (b); Larry Hancock (dm); Kenneth Nash (perc); Bill Henderson (Piano, Electric Piano, Fender Rhodes); Harold Land y Emanuel Boyd (sa y flt); Woody Shaw (tp). Fecha de Grabación: 1974. 17 y 18 abril. Lugar de Grabación: New York. Sello Discográfico: Blue Note. Nº de temas: 5. Formato: LP. Instrumento: Vibráfono Estilo: Hardbop Nº de Serie: BST 84 460 I Año de Edición: 1974. Duración: 40:30. Calificación: 4* Comentario: Este LP, grabado y publicado por el sello «Blue Note» en 1974, recoge el segundo encuentro entre el excelente vibrafonista, Bobby Hutcherson, y el maestro del saxo alto, Harold Land. Los resultados son bastante buenos y a ello contribuye el grupo que acompaña a estos dos maestros, formada por el pianista Bill Henderson, el trompetista Woody Shaw, el bajista Ray Drummond, el baterista Larry Hancock, el saxofonista y flautista, Emmanuel Boyd y el percusionista Kenneth Nash. La música es algo más relajada que sus colaboraciones anteriores, pero hay suficientes momentos de gran calidad en la música que ambos nos proponen. Xavier Carles publica "Hermanos humanos" adapta quince nuevos temas de Léo Ferré, el gran poeta de la canción. El poeta, rapsoda y cantante Xavier Carles publica "Hermanos humanos", su séptimo trabajo discográfico con arreglos y producción musical de Xavier Batllés. Quince grandes canciones que profundizan en el universo ferreriano, en su doble vertiente de canción poética erótica y de toma de conciencia frente a los abusos de todo tipo de poder. Una recopilación de canciones intensas y textos profundos que hacen de contrapunto a esta sociedad centrada en el entretenimiento y el espectáculo y que busca sólo el placer cotidiano mediante un consumo inmediato e irreflexivo: "lo que hace pensar", sin embargo, ensancha los márgenes emocionales y amplía el conocimiento, y este trabajo apunta directamente a sacudir la reflexión profunda y las emociones. Las cincuenta y cuatro páginas del librito que acompaña al CD incluyen letras de las canciones, créditos e imágenes. Las adaptaciones de los textos al catalán respetan la métrica y la rima de los textos originales, sin pérdida del mensaje original de cada canción. Sensibilidad y elegancia son los mejores calificativos que definen esta nueva recopilación de canciones adaptadas del gran cantante monegasco. Xavier Carles: La voz poética de la canción musicada en catalán. Poeta, rapsoda, letrista y adaptador de textos, Xavier Carles es una de las voces más singulares y sensibles de la poesía musicada en nuestro país. A lo largo de su trayectoria ha publicado siete trabajos discográficos, todos producidos por el músico y arreglista Xavier Batllés, en los que fusiona con maestría palabra y música. Sus proyectos han contado con la colaboración de más de sesenta músicos y cantantes de primera línea de la escena catalana e internacional, entre los que destacan Toti Soler, Paco Ibáñez, Jaime Sisa, Carlos Benavent, Javier Mas, Quico Pi de la Sierra, Manuel Joseph, Miquel Pujadó, Rusó Sala, Imma Ortiz. Apasionado conocedor de la chanson francesa, Xavier Carles ha adaptado al catalán obras de otros grandes referentes como Georges Brassens, Jacques Brel y Boris Vian. Algunas de estas versiones se pueden escuchar en el disco 'Petita Festa' de Toti Soler y Gemma Humet, donde también aporta su voz recitada. En 2017 recibió el segundo premio en la Muestra Literaria del Maresme por el poema Desconocida, que más adelante daría título a uno de sus discos. La canción que da nombre al primer volumen de adaptaciones de Léo Ferré, "Yo te doy" (2022), ha sido elegida por la casa discográfica francesa EPM para formar parte de una selección de canciones de homenaje al cantante, con motivo del 30 aniversario de su muerte.

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Before his life was tragically ended by an automobile accident at the age of 25, trumpeter Clifford Brown (born October 30, 1930) set the jazz world ablaze with his seemingly effortless mastery of his instrument and incendiary playing. His trailblazing quintet with drummer Max Roach and saxophonists Sonny Rollins, and later, Harold Land, set the standard for the post bop era, and many of the compositions he penned for this band remain jazz standards.

At Mike's suggestion, today's podcast explores the truncated career of hard bop trumpeter Carmell Jones.  We listen to four albums featuring the little-known musician and talk about the arc of his career, his work with running buddy Harold Land, and why he could'a been a hard-bop contender given the right circumstances.  Carmell Jones – BUSINESS MEETIN'; JAY HAWK TALK; Charles McPherson – BEBOP REVISITED!; Harold Land – JAZZ IMPRESSIONS OF FOLK MUSIC.

THE JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS “THE MUSIC OF MAX ROACH” Jazz at Lincoln Center, New York, January 19 & 20, 2024The drum also waltzes, Lonesome lover, Driva' man FLORIAN ARBENZ “THE ALPINE SESSION : ARBENZ VS ARBENZ MEETS RON CARTER” Switzerland, March, 2024It don't mean a thing, Evolution, Old shamanMichael Arbenz (p) Ron Carter (b) Florian Arbenz (d) HAROLD LAND QUINTET “THE FOX” Los Angeles, August, 1959The fox, One downDupree Bolton (tp) Harold Land (ts) Elmo Hope (p) Herbie Lewis (b) Frank Butler (d) Continue reading Puro Jazz 31 de marzo, 2025 at PuroJazz.

THE JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS “THE MUSIC OF MAX ROACH” Jazz at Lincoln Center, New York, January 19 & 20, 2024The drum also waltzes, Lonesome lover, Driva' man FLORIAN ARBENZ “THE ALPINE SESSION : ARBENZ VS ARBENZ MEETS RON CARTER” Switzerland, March, 2024It don't mean a thing, Evolution, Old shamanMichael Arbenz (p) Ron Carter (b) Florian Arbenz (d) HAROLD LAND QUINTET “THE FOX” Los Angeles, August, 1959The fox, One downDupree Bolton (tp) Harold Land (ts) Elmo Hope (p) Herbie Lewis (b) Frank Butler (d) Continue reading Puro Jazz 31 de marzo, 2025 at PuroJazz.

CAL TJADER GÓZAME ! PERO YA… San Francisco, CA, June, 1980Shoshana, Bye bye blues, Roger's sambaRoger Glenn (fl,perc) Cal Tjader (vib) Mark Levine (p,el-p) Mundell Lowe (g) Robb Fisher (b) Vince Lateano (d,timb) Poncho Sanchez (timb,bgo,cga,perc) SONNY CRISS THIS IS CRISS ! Englewood Cliffs, NJ, October 21, 1966Steve's blues, Skylark, Love for saleSonny Criss (as) Walter Davis, Jr. (p) Paul Chambers (b) Alan Dawson (d) CLIFFORD BROWN / MAX ROACH QUINTET STUDY IN BROWN New York, February 23, 24, 1955Cherokee, Swingin', George's Dilemma, Take The A TrainClifford Brown (tp) Harold Land (ts) Richie Powell (p,arr) George Morrow (b) Max Roach (d) Continue reading Puro Jazz 10 de febrero, 2025 at PuroJazz.

CAL TJADER GÓZAME ! PERO YA… San Francisco, CA, June, 1980Shoshana, Bye bye blues, Roger's sambaRoger Glenn (fl,perc) Cal Tjader (vib) Mark Levine (p,el-p) Mundell Lowe (g) Robb Fisher (b) Vince Lateano (d,timb) Poncho Sanchez (timb,bgo,cga,perc) SONNY CRISS THIS IS CRISS ! Englewood Cliffs, NJ, October 21, 1966Steve's blues, Skylark, Love for saleSonny Criss (as) Walter Davis, Jr. (p) Paul Chambers (b) Alan Dawson (d) CLIFFORD BROWN / MAX ROACH QUINTET STUDY IN BROWN New York, February 23, 24, 1955Cherokee, Swingin', George's Dilemma, Take The A TrainClifford Brown (tp) Harold Land (ts) Richie Powell (p,arr) George Morrow (b) Max Roach (d) Continue reading Puro Jazz 10 de febrero, 2025 at PuroJazz.

HAROLD LAND QUINTET “THE FOX” Los Angeles, August, 1959The fox, Mirror-mind rose, Sims a-plentyDupree Bolton (tp) Harold Land (ts) Elmo Hope (p) Herbie Lewis (b) Frank Butler (d) BOBBY HUTCHERSON “STICK-UP” Englewood Cliffs, N.J, July 14, 19668/4 beat, Black circle, Una Muy BonitaJoe Henderson (ts) Bobby Hutcherson (vib) McCoy Tyner (p) Herbie Lewis (b) Billy Higgins (d) STEVE WILSON “SIT BACK, RELAX & UNWIND” c. Continue reading Puro Jazz 31 de enero, 2025 at PuroJazz.

HAROLD LAND QUINTET “THE FOX” Los Angeles, August, 1959The fox, Mirror-mind rose, Sims a-plentyDupree Bolton (tp) Harold Land (ts) Elmo Hope (p) Herbie Lewis (b) Frank Butler (d) BOBBY HUTCHERSON “STICK-UP” Englewood Cliffs, N.J, July 14, 19668/4 beat, Black circle, Una Muy BonitaJoe Henderson (ts) Bobby Hutcherson (vib) McCoy Tyner (p) Herbie Lewis (b) Billy Higgins (d) STEVE WILSON “SIT BACK, RELAX & UNWIND” c. Continue reading Puro Jazz 31 de enero, 2025 at PuroJazz.

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In onda Gigi Longo. Musiche: Tony Coe con Ali Farka Touré, Harold Land, George Duke, Ziad Rahbani, Bennie Maupin, Lonnie Liston Smith & The Cosmic Echoes, Hiroshi Suzuki, Julian Priester & Pepo Mtoto.

Tonight's Jazz Feature is a pivotal album by Sonny Rollins called "Worktime". Sonny had just emerged from a year of renewal and rehab and was clean an healthy and just hired as the tenor saxophonist in the famous Max Roach/Clifford Brown Quintet replacing Harold Land, the original saxophonist who had left. This was Sonny's first recording under his own name since his rehab and he is at maximum strength. This album represents his first step to greatness and as it is the 69th anniversary of the date this evening I thought it appropriate to present it again as our Jazz Feature. Sonny is on tenor saxophone with Ray Bryant on piano. Miles Davis recommended Ray to Sonny to do this date. George Morrow is on bass and he was with The Max/Clifford band and Sonny's new boss, drum master Max Roach. The album has five tracks, three are well chosen standards not normally heard in a Jazz context plus Billy Strayhorn's "Raincheck" and Sonny's "Paradox". One fine anniversary...enjoy "Worktime".

En este episodio de La Montaña Rusa, hemos escuchado a Alex Hitchcock; Nikolaj Hess; Harold Land; Sasha Berliner; Marta Sánchez; The Bad Plus; Fabiano do Nascimento, Sam Gendel. Seguir leyendo La Montaña Rusa. Episodio 40.2024. en La Montaña Rusa Radio Jazz.

HAROLD LAND THE FOX Los Angeles, August, 1959The fox, Mirror-mind rose, One second, pleaseDupree Bolton (tp) Harold Land (ts) Elmo Hope (p) Herbie Lewis (b) Frank Butler (d) VÁZQUEZ / MENARES / RECABARREN FAMILIA 2Brooklyn NY, 7 de junio, 2023Terra, Aninovo, Después de todoYago Vázquez (p) Pablo Menares (b) Rodrigo Recabarren (d) AARON DIEHL SPACE TIME CONTINUUM New York, August 26 & 27, 2014Uranus, The steadfast titan (1), Kat's dance (3)Aaron Diehl (p) David Wong (b) Quincy Davis (d) Joe Temperly (bar-1) Benny Golson (ts-2) Stephen Riley (ts-3) Charenee Wade (vcl) Continue reading Puro Jazz 18 de Julio 2024 at PuroJazz.

HAROLD LAND THE FOX Los Angeles, August, 1959The fox, Mirror-mind rose, One second, pleaseDupree Bolton (tp) Harold Land (ts) Elmo Hope (p) Herbie Lewis (b) Frank Butler (d) VÁZQUEZ / MENARES / RECABARREN FAMILIA 2Brooklyn NY, 7 de junio, 2023Terra, Aninovo, Después de todoYago Vázquez (p) Pablo Menares (b) Rodrigo Recabarren (d) AARON DIEHL SPACE TIME CONTINUUM New York, August 26 & 27, 2014Uranus, The steadfast titan (1), Kat's dance (3)Aaron Diehl (p) David Wong (b) Quincy Davis (d) Joe Temperly (bar-1) Benny Golson (ts-2) Stephen Riley (ts-3) Charenee Wade (vcl) Continue reading Puro Jazz 18 de Julio 2024 at PuroJazz.

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. This evening's broadcast features PHILIP SULIDAE, boycalledcrow, FRANCE JOBIN, HAROLD LAND, JAH CUZZI, and P/O MASSACRE.

New releases and re-releases to remember Harold Land open this episode which then continues with a tribute to Paul Auster, a writer admired by many musicians who wrote music with him, for him, to accompany some of his writings, or inspired by him. The playlist also features Lily White; Harold Land; Nathalie Loriers; John Lurie National Orchestra; Medeski, Martin & Wood; Lisa Mezzacappa; Tobias Meinhart; Jeff Gardner; Sébastien Ammann, Soraya Berent; Michael Mantler Paul Auster, Robert Wyatt, Susi Hildegaard Detailed playlist at https://spinitron.com/RFB/pl/18973930/Mondo-Jazz [up to "Further On Up the Road"]. Photo credit: Ulf Andersen

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STANDAR SEMANAL.-Scrapple from the Apple.-JAZZANIVERSARIO.-Harold Land.-Hear Ye!.-JAZZACTUALIDAD.-SWING TON NI SONG-NO HAY DOS SWING TRES

THE VINCE GUARALDI “JAZZ IMPRESSIONS OF BLACK ORPHEUS” San Francisco, CA, November 1961 & February 1962Samba de Orfeu, Manha de carnaval, Since I fell for youVince Guaraldi (p) Monty Budwig (b) Colin Bailey (d) BARNEY KESSEL “LET'S COOK !” Los Angeles, November 11, 1957Time remembered, Just in timeVictor Feldman (vib) Hampton Hawes (p) Barney Kessel (g) Leroy Vinnegar (b) Shelly Manne (d) Los Angeles, August 6, 1957 Tiger ragFrank Rosolino (tb) Ben Webster (ts) Jimmy Rowles (p) Barney Kessel (g) Leroy Vinnegar (b) Shelly Manne (d) CURTIS COUNCE “LANDSLIDE” Los Angeles, October 8, 1956Landslide, Time after time, MiaJack Sheldon (tp) Harold Land (ts) Carl Perkins (p) Curtis Counce (b) Frank Butler (d) Continue reading Puro Jazz 06 febrero 2024 at PuroJazz.

THE VINCE GUARALDI “JAZZ IMPRESSIONS OF BLACK ORPHEUS” San Francisco, CA, November 1961 & February 1962Samba de Orfeu, Manha de carnaval, Since I fell for youVince Guaraldi (p) Monty Budwig (b) Colin Bailey (d) BARNEY KESSEL “LET'S COOK !” Los Angeles, November 11, 1957Time remembered, Just in timeVictor Feldman (vib) Hampton Hawes (p) Barney Kessel (g) Leroy Vinnegar (b) Shelly Manne (d) Los Angeles, August 6, 1957 Tiger ragFrank Rosolino (tb) Ben Webster (ts) Jimmy Rowles (p) Barney Kessel (g) Leroy Vinnegar (b) Shelly Manne (d) CURTIS COUNCE “LANDSLIDE” Los Angeles, October 8, 1956Landslide, Time after time, MiaJack Sheldon (tp) Harold Land (ts) Carl Perkins (p) Curtis Counce (b) Frank Butler (d) Continue reading Puro Jazz 06 febrero 2024 at PuroJazz.

En esta Wurli os ponemos tras el calendario de publicaciones de la nueva colección de reediciones que Craft Recordings ha preparado para este año. Algunas de las legendarias sesiones de Contemporary Records van a ir llegando mes a mes y el listado de álbumes quita el hipo. Disfrutad del sabor más intenso del west coast jazz con músicos como Art Pepper, Harold Land, Ben Webster o Shelly Manne, entre otros. Este programa, como siempre, está dedicado especialmente a: Mechimariani, L Ibiricu Traba, Nachoigs, David, Alfonso Ladrón, Yago Llopis, Nacho Ruíz, Javier Carmona, Ana López, El Carabasser, Raúl Espinosa, La Última Frontera Radio, Gustavo, Ruth, Toñi, Cristina Pariente, Carmen Neke, Manuel García, Rebeca Tatiana, Michel y nuestro queridos anónimos. Gracias por apoyar el proyecto y seguir dándonos las herramientas para que CDS crezca a diario. Apoya este proyecto desde 1,49€ al mes. Tan solo tienes que pulsar el botón azul que tienes en la cabecera de este canal Gracias infinitas ya que tu aportación nos permite mejorar cada programa.

Tonight's Jazz Feature is an obscure by excellent album by a group of fine players based in Los Angeles. The leader is the great Harold Land on tenor saxophone along with a fine lesser known trumpeter named Martin Banks. Amos trice is on piano, Clarence Jones on bass and Leon Pettis on drums. Save for Land, none of these players are well known but their music is world class. The album was recorded in 1960 and not ever issued until 1980, undeservedly delayed. The tunes are by Land(2) Amos Trice(1), Martin Banks(1) and one by original producer, writer Leonard Feather plus a well chosen ballad standard. The album is entitled "Take Aim" and it aims to please those who love real Jazz. It's tonight's Jazz Feature.

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Abrimos entrega 47.2023 con nuestra portada, el nuevo trabajo del guitarrista Dominic Miller, Vagabond, publicado este 2023 para ECM. Tuvimos también nuestra ración cuasi semanal zorniana con más Bagatelles, esta vez las del 2021 y para cerrar esa edición, el volumen 8 con el John Medeski Trio. Nuestro Clásico de la Semana fue el saxofonista Harold Land, tenor y compositor no tan conocido como otros de sus coetáneos pero que merece mucho más atención. Seguir leyendo La Montaña Rusa 47.2023. Dominic Miller. John Zorn with John Medeski Trio. Harold Land. Kjetil Mulelid Trio. Mauricio Rodríguez. Arooj Aftab, Vijay Iyer, Shahzad Ismaily. en La Montaña Rusa Radio Jazz.

En este número, Dominic Miller. John Zorn with John Medeski Trio. Harold Land. Kjetil Mulelid Trio. Mauricio Rodríguez. Arooj Aftab, Vijay Iyer, Shahzad Ismaily

THE CURTIS COUNCE GROUP – YOU GET MORE BOUNCE WITH CURTIS COUNCE  – Los Angeles 1956 – 57 Too close for comfort,  Mean to me, Big foot Jack Sheldon (tp) Harold Land (ts) Carl Perkins (p) Curtis Counce (b) Frank Butler (d) STEVE DAVIS – STEVE DAVIS MEETS HANK JONES, VOLUME 1  – 2008 New York? Isn't It Romantic, But Beautiful, We'll Be Together Again Steve Davis (tb) Hank Jones (p) Peter Washington (b) TEODROSS AVERY – HARLEM STORIES : THE MUSIC OF THELONIOUS MONK  – Brooklyn, NY, January 14, 2020 Monk's dream (1), Ruby, my dear (1), Pannonica (2) Teodross Avery (ts) Anthony Wonsey (p-1) D.D. Continue reading Puro Jazz 23 noviembre 2023 at PuroJazz.

This episode features the West Coast jazz scene of the 1950's. In particular, the music of Hampton Hawes and Harold Land. It also has a track from Sonny Rollins with a west coast rhythm section. We round out the program with Petrucciani, Miles and JMac. Playlist Artist ~ Name ~ Album Hampton Hawes Trio ~ The Champ ~ On Contemporary: Hampton Hawes Hampton Hawes ~ I Love You  ~ On Contemporary: Hampton Hawes Harold Land ~ Delirium ~ Harold In The Land Of Jazz Harold Land ~ Grooveyard ~ Harold In The Land Of Jazz Sonny Rollins ~ You  ~ Sonny Rollins and the Contemporary Leaders Michel Petrucciani ~ Limbo ~ Power of Three Miles Davis ~ Eighty-One ~ E.S.P. Jackie McLean ~ Confirmation ~ 4, 5 and 6 

Tonight`s Jazz Feature is a kind of meeting between east and west. The leader is the great tenor saxophonist Harold Land and he is paired with trumpeter Joe Gordon who had moved to Los Angeles from Boston and guitarist Wes Montgomery who was living for a time in San Francisco. Those three made up the western contingent. The eastern group consists of Barry Harris on piano, Sam Jones on bass and Louis Hayes on drums who all were Cannonball Adderley`s rhythm section and one of the best. This adds up to a solid straight-ahead Jazz record date. It was recorded at The Jazz Workshop, San Francisco`s leading Jazz club on a night when it was closed, The venue was chosen for it`s good acoustics. The album consists of 3 new Harold Land tunes, Wes Montgomery`s famous `West Coast Blues` (the title track) a ballad by Billie Holiday called `Don`t Explain` and a Charlie Parker tune. All in all a good record date with lots of inspired moments. All recorded in May of 1960 and tonight`s Jazz Feature.

A cura di Gigi Longo. Musiche: Norman Harris, Harold Land, Prophecy, Gerald Cleaver, Chocolate Syrup, The Grand Jury, Makaya McCraven, Andy Bey, Sun Ra Arkestra, Slickaphonics, Jimetta Rose and the Voices of Creation.

This week on The Sound Kitchen you'll hear the answer to the question about the CFDT trade union and Macron's pension reform. You'll meet Paul Myers – who is our new “Listeners Corner” host - and get happy with Ollia Horton's “Happy Moment”. All that, and the new quiz question, too, so click on the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your musical requests, so get them in! Send your musical requests to thesoundkitchen@rfi.fr  Tell us why you like the piece of music, too – it makes it more interesting for us all!Be sure you check out our wonderful podcasts!In addition to the breaking news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts which will leave you hungry for more.There's Paris Perspective, Spotlight on France, and of course, The Sound Kitchen. We have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. And there is the excellent International Report, too.As you see, sound is still quite present in the RFI English service. Keep checking our website for updates on the latest from our staff of journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers, take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr Martin Luther King, Jr, too. They are also a good way to help you improve your English - that's how I worked on my French, reading books which were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in all your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!And don't forget, there is a Facebook page just for you, the independent RFI English Clubs. Only members of RFI English Clubs can belong to this group page, so when you apply to join, be sure you include the name of your RFI Club and your membership number. Everyone can look at it, but only members of the group can post on it. If you haven't yet asked to join the group, and you are a member of an independent, officially recognized RFI English club, go to the Facebook link above, and fill out the questionnaire !!!!! (if you do not answer the questions, I click “decline”).There's a Facebook page for members of the general RFI Listeners Club too. Just click on the link and fill out the questionnaire, and you can connect with your fellow Club members around the world. Be sure you include your RFI Listeners Club membership number (most of them begin with an A, followed by a number) in the questionnaire, or I will have to click “Decline”, which I don't like to do!This week's quiz: On 15 April, I asked you a question about an article by RFI English journalist Amanda Morrow: “French unions rally protesters after pension reform talks end in failure”.  You were to tell us what Cyril Chabanier, the leader of the moderate CFTC union, had to say about the reform.The answer is, as Amanda wrote: “They” (meaning all of France's trade unions) “had been pushing for the complete withdrawal of the reform bill, which Cyril Chabanier, leader of the CFTC union said was "unfair and brutal". In addition to the quiz question, there was the bonus question, suggested by Father Steven Wara from Bamenda, Cameroon: “Do you have a religious faith? What inspires you to adhere to and stay with it?”The winners are: Shahanaj Parvin, who's the president of the Nilshagor RFI Fan Club in Nilphamari, Bangladesh. Shahanaj is also the winner of this week's bonus question. Congratulations, Shahanaj!Also on the list of lucky winners this week are Asifa Shaheen, who's a member of the RFI Listeners Club in Sheikhupura City, Pakistan, and RFI Listeners Club members Karuna Kanta Pal from West Bengal, India; Ekena Begum from Odisha, India, and Mogire Machuki from Kissi, Kenya. Congratulations winners!Here's the music you heard on this week's programme: The “Spanish Dance No. 1” from Manuel de Falla's opera La Vida Breve, performed by Itzhak Perlman and Samuel Sanders; “Cha-cha-cha No. 2” by Xavier Cugat, performed by Cugat and his orchestra; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer; “Happy” by Pharrell Williams, and “Let's Call This” by Thelonius Monk, performed by Monk, Joe Gordon, and Harold Land.Do you have a musical request? Send it to thesoundkitchen@rfi.fr This week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “France to ban all far-right extremist demonstrations” to help you with the answer.You have until 12 June to enter this week's quiz; the winners will be announced on the 17 June podcast. When you enter, be sure you send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceorBy text … You can also send your quiz answers to The Sound Kitchen mobile phone. Dial your country's international access code, or “ + ”, then  33 6 31 12 96 82. Don't forget to include your mailing address in your text – and if you have one, your RFI Listeners Club membership number.To find out how you can win a special Sound Kitchen prize, click here.To find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club, click here.  

“THE TUESDAY TAPES”MARTEDÌ 24 GENNAIO 2023https://thetuesdaytapes.tumblr.com1) LADYTRON > City of Angels2) BILEO > You Can Win3) THE BEAT > Too Nice to Talk to4) MARINE > Marenas Bop5) EN ATTENDANT ANA > Same Old Story6) BELLE AND SEBASTIAN > So in the Moment7) GLYDERS > High Time8) JOHN CALE > Noise of You9) JOHN CALE feat. WEYES BLOOD > Story of Blood10) KILYNN LUNSFORD > North Sea Shrimps11) BOBBY HUTCHERSON & HAROLD LAND > Goin' Down South12) BUDDHA STICK > Traction13) PSYCHEMAGIK > Valley of Paradise (Time & Space Machine mix)

Tonight's show is the 600th episode of Jazz After Dark! We'll hear selections from 1934 – 1969: Benny Carter, Sidney Bechet with Noble Sissle, Lena Horne, Stan Kenton and His Orchestra, Helen Carr, Gerry Mulligan, and Harold Land. Also: Ella Fitzgerald live from Copenhagen in 1959, in a newly released recording, and then Russ Freeman, Earl "Fatha" Hines, Count Basie & His Orchestra, Paul Desmond, and Ben Webster.

This week on The Sound Kitchen, you'll hear a replay of a show aired on 15 August 2020, featuring musical favourites from RFI English journalists Angela Diffley and Paul Meyers. Just click on the “Audio” button above and enjoy! Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Send me your music requests! I'll make programs of your favorite music when I can't be in the kitchen to cook up something new for you … write to me at thesoundkitchen@rfi.fr This week's quiz: The Sound Kitchen is taking a short break. The quiz will be back on 27 August. Here's the music you heard on this week's program: “Let's Call This” by Thelonious Monk, performed by the Thelonious Monk Quartet with Joe Gordon and Harold Land, performed Live at the Blackhawk in 1960; “Both Sides Now” written and performed by Joni Mitchell, and “Both Sides Now” in an arrangement by Vince Mendoza of Claude Debussy's “Clouds”, sung by Joni Mitchell. 

Back by popular demand! This week on The Sound Kitchen, you'll hear a replay of a special treat: RFI English journalist Paul Myers and former RFI English journalist Angela Diffley share their musical favourites with you. Just click on the “Audio” arrow above and enjoy! Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winner's names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week. Send me your music requests! I'll make programs of your favorite music when I can't be in the kitchen to cook up something new for you … write to me at thesoundkitchen@rfi.fr This week's quiz: The Sound Kitchen is taking a short break. The quiz will be back on 30 April. Here's the music you heard on this week's program: “Let's Call This” by Thelonious Monk, performed by the Thelonious Monk Quartet with Joe Gordon and Harold Land – performed Live at the Blackhawk in 1960; “Both Sides Now” written and performed by Joni Mitchell, and “Both Sides Now” in an arrangement by Vince Mendoza of Claude Debussy's “Clouds”, sung by Joni Mitchell.  Don't forget - it's ePOP time! Planète Radio is an RFI department that reaches out to remote populations around the world. For the fourth consecutive year, Planète Radio is holding a video competition on environmental issues. The theme of this year's competition is “Show how they feel”: You are to create a 3-minute video about climate change, the environment, pollution - told by the people it affects. Here's what Planète Radio says about the competition: “Environmental deterioration, climate change, pollution, everybody's talking about it. But amid articles, figures, and expert reports, what do we really know about the feelings of the people already impacted? The video clips produced by the ePOP community in more than 50 countries allow us to hear from those who never ask for anything yet have seen it all - those who are already living with these changes that deteriorate their quality of life.” Your project can be intergenerational: Get together with your grandfather, your aunt, someone older in your community and ask them how they feel about what is happening to their surroundings or to the place where they grew up. Your project can also be about how you, or people your age, feel about climate change, given that your future will be affected by this phenomenon. Gather the words of those around you who are confronting the environmental crisis in their daily lives, investing, researching, and questioning the urgency of deploying solutions to face it.  Prizes for this year's competition include equipment grants from 1,000 to 4,500 euros, as well as ePOP promotion kits and other goodies. For competition guidelines and more information about the four different categories you can enter, click here. You can also write to us at english.service@rfi.fr if you need more help. We're very proud that the winner in the ePOP 2020 RFI Club category went to an English language club – Adita Prithika's RFI Agnichiragu Phoenix Club in Tamil Nadu, India. Here's Adita's award-winning video. Please note that you do not have to be a member of an RFI English Club to enter. Everyone is welcome! The deadline for entries is 1 May, so get to work!

This remarkable album is The Jazz Show's further tribute to Black History Month. It is reflective of the changing social mores of African-Americans during a volatile period of American History. It was recorded in 1969 and the climate in the USA was shaken by the assassinations of President John Kennedy and later his brother Bobby, Malcolm X and Dr. Martin Luther King coupled with the Vietnam War. The basic band here included Bobby Hutcherson on vibes and his co-leader, tenor saxophonist Harold Land.. Two fine pianists split the chores here, Kenny Barron and Stanley Cowell,. The bassist is Herbie Lewis and the drummer , Joe Chambers. Augmenting the group is Wally Richardson on guitar, and Candido Camero on congas. A four voice female choir is added and importantly the magnificent voice of one of the great soul and r&b singers, Gene McDaniels. McDaniels also co-wrote several songs on the set. The album reflects the times and is a powerful document the title is "Now!". It's tonight's Jazz Feature.

STANDAR SEMANAL.-Scrapple from the Apple.-JAZZANIVERSARIO.-Harold Land.-Hear Ye!.-JAZZACTUALIDAD.-TUMBAMDO A MONK-NADIE CONOCES ESTE MISTERIO

STANDAR SEMANAL.-Scrapple from the Apple.-JAZZANIVERSARIO.-Harold Land.-Hear Ye!.-JAZZACTUALIDAD.-TUMBAMDO A MONK-NADIE CONOCES ESTE MISTERIO.- STANDAR SEMANAL.-Scrapple from the Apple.-JAZZANIVERSARIO.-Harold Land.-Hear Ye!.-JAZZACTUALIDAD.-TUMBAMDO A MONK-NADIE CONOCES ESTE MISTERIO

Another episode featuring the West Coast jazz scene. Classics from Harold Land, Wes and Nat "King" Cole start the set. Then we time travel to today's scene featuring Chris Hollyday, Andrew Renfroe. We finish with a Boston icon who recently moved out west, Jason Palmer. Playlist Artist ~ Name ~ Album Harold Land Sextet ~ Terrain ~ West Coast Blues! Harold Land Sextet ~ West Coast Blues ~ West Coast Blues! Wes Montgomery ~ Bumpin' On Sunset ~ Tequila Nat "King" Cole ~ Straighten Up and Fly Right ~ The Classic Singles Christopher Hollyday ~ Kiss Me Right ~ Dialogue Andrew Renfroe ~ 1998 ~ Run in the Storm Jason Palmer ~ A Lady and Gentleman in Black ~ The Concert: 12 Musings for Isabella Jason Palmer ~ At Ease ~ At Wally's, Vol. 1

Let's first say our farewell to B3 master Dr. Lonnie Smith. We segway to a couple Hendrix covers. We have new music from Metheny and Sung. You'll find San Diego pianist Kornhauser and West Coast classic jazz from Shorty Rogers and Harold Land. Playlist Artist ~ Name ~ Album Dr. Lonnie Smith ~ Freedom Jazz Dance ~ Jungle Soul Lonnie Smith Trio ~ Voodoo Chile ~ Purple Haze - Tribute to Jimi Hendrix Rob Garcia 4 ~ Little Wing ~ The Passion of Color Pat Metheny ~ Bright Size Life ~ Side-Eye NYC (V1.IV) Ed Kornhauser ~ The Shuffler ~ The Short Years Helen Sung ~ Kaleidoscope ~ Quartet + (with Harlem Quartet) Shorty Rogers and His Giants ~ Not Really the Blues ~ Atlantic Jazz: West Coast Harold Land Quintet & Red Mitchell ~ Triplin' Awhile ~ Atlantic Jazz: West Coast

Todos los caminos llevan a Bach y la número 25 de sus Variaciones Goldberg llega al nuevo trabajo del trío del polaco Marcin Wasilewski. Con más de un cuarto de siglo de historia, el pianista continúa haciendo camino junto a Slawomir Kurkiewicz (contrabajo) y Michal Miskiewicz (batería). El trío, que fue base rítmica de los proyectos del trompetista Tomasz Stanko, grabó "En attendant" en el mismo mes en que lo hizo con el saxofonista Joe Lovano. Inéditos hasta la fecha, el tiempo de "London Calling", con Fernando Ortiz de Urbina, nos propone dos discos recién editados: "Westward bound!" incluye grabaciones en Seattle entre 1962 y 1965 del saxofonista Harold Land. Por su parte, "Metaphysics" se convierte en el segundo trabajo publicado en toda la historia del pianista Hasaan Ibn Ali. La sesión se registró en 1965. De interés sobre este y otros pianistas, este artículo de Matthew Shipp: https://nmbx.newmusicusa.org/black-mystery-school-pianists/ "desde mi cadiera", Jesús Moreno nos lleva a Sevilla para indagar en las libérrimas propuestas de un colectivo del que surgen grupos como el Sputnik Trio o el Cuarteto Fuerte. Marco Serrato y Borja Díaz, miembros del primero, publicaron "Arconte" a dúo. Serrato firma además "Tiento madera" con el guitarrista Raúl Cantizano. Toda la información y derechos: http://www.elclubdejazz.com

This fortnight's spectacular focuses on two very different sets of music - two albums by modern jazz violinists and the two best-known recordings featuring elusive trumpeter Dupree Bolton (they are just about the ONLY recordings featuring him - stay tuned for the details).   Pop matters range from St. Vincent to Sparks to Sade - and that's some ranging.  Ali Bello – INHERITANCE; Tomoko Omura – BRANCHES VOL 2;   Harold Land – THE FOX; Curtis Amy – KATANGA! 

Harold Land was one of the leading tenor saxophonists in Jazz but he is often overlooked as he wasn't based in New York City. His sound is very distinctive with a dry unsentimental quality yet there is warmth and intensity too. This album is a series of broadcasts with three different ensembles led by Harold Land done at what was Seattle's leading Jazz club: The Penthouse. The first group is Harold Land on tenor saxophone with Carmell Jones on trumpet, Buddy Montgomery on piano, Monk Montgomery on bass and Jimmy Lovelace on drums. The second band is Harold leading Hampton Hawes on piano, Monk Montgomery on bass and Mel Lee on drums. The third is the Harold Land/Monk Montgomery Quartet with John Houston on piano and the incredible Philly Joe Jones on drums. This album of previously unissued performances will add much to the legacy of Harold Land and will become a prized possession by Jazz fans everywhere. Thanks to Cory Weeds and Zev Feldman for making "Westward Bound" available.

The cover story on guitarist Julian Lage in the July issue of DownBeat reminded us of a duo with Julian Lage and saxophonist Ben Roseth playing at Egan's in Ballard in 2008. Both were in their early 20s at the time, but were already making waves. We recorded the duo and share some music from that night on this week's episode. Also on this week's show, trumpeter Jay Thomas, saxophonist Harold Land's Quartet with Russ Freeman on piano at The Penthouse in Seattle in 1964, Vancouver singer Dee Daniels, a bi-coastal project with trumpeters Ray Vega and Thomas Marriott, Portland singer Rebecca Kilgore and others. Jazz Northwest is recorded and produced by host Jim Wilke and airs Sundays at 2 p.m. Listeners may also subscribe to the podcast at KNKX, NPR, Apple, or Google.

On Episode 4 of FUTURISTICA RADIO, "Jazz Cosmos - Phase One," Host and DJ Simon S delivers some deep spaced-out jazz featuring vintage selections from Harold Land, Art Blakey, Charles McPhearson, Nathan Davis Quartet and more, live and direct from Futuristica HQ. Subscribe and listen to FUTURISTICA RADIO with host and selector SIMON S on Apple podcasts, check out all episodes on Mixcloud, your favorite podcast platform, or live & direct on jasoncharles.net Podcast Network Music Channel.  Each month, host and DJ Simon S journeys through his extensive vinyl selection to create a blend of jazz, soul, hiphop & electronica from across the generations…from Madlib to Coltrane, and Gangstarr to Alfa Mist and everything in between.  For more information about Futuristica Music and Simon S, and all the latest Futuristica releases, go to www.futuristicamusic.bandcamp.com See omnystudio.com/listener for privacy information.

This week's Jazz Northwest includes a range of artists in both historical and recent recordings. Included is more music from the legendary "Jazz From The Penthouse" series featuring Harold Land leading a quartet with Hampton Hawes on piano. Ernestine Anderson, Jay Thomas, Walt Wagner, and contemporary groups Duende Libre and Xavier Lecouturier are also included. Jazz Northwest is recorded and produced by host Jim Wilke and airs Sundays at 2 p.m. Listeners may also subscribe to the podcast at KNKX, NPR, Apple, or Google.

Jazz Northwest features jazz artists from around the Pacific Northwest, this week including Seattle, Portland, Vancouver and Spokane. We'll also feature another track from the historic live broadcasts "Jazz From The Penthouse" from a new album featuring Harold Land on three different occasions at the Seattle club in the 60s. Also on this week's show are Anton Schwartz, Dave Peterson, Diane Schuur, Randy Porter & Nancy King, Randy Halberstadt, Steve Kaldestadt and the Whitworth Jazz Ensemble from Spokane. Jazz Northwest airs every Sunday at 2 PM Pacific on 88.5, KNKX, and streams online at knkx.org. After broadcast each show is archived and may be streamed on demand at jazznw.org, or listeners may subscribe to the podcast. Host and producer for the show is Jim Wilke, who produced the original live broadcasts from The Penthouse.

This week on Jazz Northwest, you can hear a sample of saxophonist Harold Land appearances at The Penthouse, part of the legendary series of live broadcasts from the Seattle jazz club. Sourced from airchecks in 1962, 1964 and 1965 and not heard since, the album will be released on a vinyl, two LP set on Record Store Day, June 12, and on CD on June 18. Both packages will include extensive notes about the musicians, the club and the live broadcasts produced and mixed by Jim Wilke. These exciting, hard-hitting performances refute the image of West Coast cool. This premiere will be heard exclusively on today’s episode of Jazz Northwest.

  JIMMY WOODS – CONFLICT – Los Angeles, March 25 & 26, 1963 Conflict, Coming home, Aim Carmell Jones (tp) Jimmy Woods (as) Harold Land (ts) Andrew Hill (p) George Tucker (b) Elvin Jones (d) PRINCE LASHA FIREBIRDS VOL 2 – Live At Berkeley Jazz Festival Berkeley, CA, May, 1974 Trackin’ train [Search for tomorrow] […]

El otro ingrediente del núcleo duro del hardbop es el quinteto de Clifford Brown (tp) y Max Roach (bateria). Recordamos en primera instancia al malogrado Fats Navarro, crisol de razas nacido en Florida, muerto a los 25 años, quien poseía un sonido cálido espectacular. Clifford Brown (1930-1956) logra maravillas de tono, articulación, improvisación y composición. Lo llama Max Roach (1924-2017) para formar un quinteto de muy corta vida, pero clave en el jazz. Con Ritchie Powell (pn) George Morrow (bajo), Harold Land y luego Sonny Rollins (tsax). Max Roach junto on Kenny Clarke y Philly Joe Jones revolucionaron el rol de la bateria en el bop. Escuchemos composiciones de Clifford y de otros, grandes standards del jazz moderno: Sandu, Joy Spring, Dahoud, Delilah, Jordu. Y las baladas!! Clifford con cuerdas. Un accidente de tránsito nos priva de Ritchie Powell (hermano de Bud) y de Clifford antes de sus 26 años.  

GERALD WILSON YOU BETTER BELIEVE IT – Los Angeles, September 9, 1961 Blues for Yna Yna Ray Triscari, Jimmy Zito, John Audino, Carmell Jones (tp) Bob Edmondson, Lester Robertson, John “Streamline” Ewing (tb) Ken Shroyer (b-tb) Buddy Collette (cl,as,fl) Harry Klee (as) Harold Land, Teddy Edwards (ts) Jack Nimitz (bar) Richard “Groove” Holmes (org) Jimmy […]

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Ed Greene is an American drummer and session musician.   ****Listen to this episode and subscribe! www.richredmond.com/listen   The Rich Redmond Show is sponsored by The School of Rock Nashville and Franklin!   https://locations.schoolofrock.com/nashville   https://locations.schoolofrock.com/franklin   MAn early recording in 1971 has him as a member of the Donald Byrd Group, together with Thurman Green, Harold Land, Bobby Hutcherson, Joe Sample, and Wilton Felder. Greene has also recorded with Barry White, The Carpenters, The Osmonds, Jeff Beck, Dizzy Gillespie, Steely Dan, Sparks, Hall & Oates and Leo Sayer, among others. At the beginning of his career, Greene was Barry White's drummer, and he played on many of White's biggest hits, although White continuously refused to put his players' names on his albums.   A few things that came up:   -Voicing drum parts -Roller skating music -Alfonze Keltner -Rock the boat same beat  -Similar to Run to the Hills -Race relations better now or then?     _____________________________   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:  @jimmccarthy www.jimmccarthyvoiceovers.com s

  CLIFFORD BROWN /MAX ROACH  – STUDY IN BROWN – New York, February 23 & 24, 1955 Cherokee, Land’s end, Sandu Clifford Brown (tp) Harold Land (ts) Richie Powell (p,arr) George Morrow (b) Max Roach (d)     JOE HENDERSON – THE STATE OF THE...

My guest today is a torch bearer of melodic improvisation. A master of melodies, chromatic modal patterns of improvisation that open space for drummers like Eddie Marshall and Joe Chambers who say "Hello to the Wind." My guest came of age under the iron man sweetheart Eric Dolphy when he went by the more formal Robert. But his endearing nature, positive path of constant creation created love amongst his bandmates so soon he was known as Bobby. His impact on the east coast jazz scene was heavy. He showed up and Rudy Van Gelders studio with Bob Cranshaw and Al Harewood playing solos on Grant Green records that my generation perseveration over. The crisp Angular feeling of the music from hard bop to post bop with a mix of avant garde more rhythm based solos. More rooted in the blues. The music was evolving organically and my guest was a Sage and spirit to many young jazz fanatics like Jack Fulks and session drummer Jim Keltner who would sit in the front row of some swampy bar to watch my guest and Charles Lloyd give literal interpretations of themselves with a little Milt Jackson and Jimmy Lunceford mixed in. My show is about lineage. Tracing the roots of music on this continent to its origins. The birthplace of modern jazz is The Americas and it spread out to the west coast to clubs like The Keystone Korner where my other guest found a home for himself nestled in between a police station and the Inflated Tear of "Change" sung so poignantly by Eugene McDaniels in the opening clip. My guests humbleness and groundedness is what makes him a transcendent figure much like my other guest who played keyboards for awhile and than became an impresario running the most elastic, flexible, swinging jazz club in the Bay Area. It was the greatest because he diversified the music, it felt like a home with the cornbread and the continual appearances from my guest and Harold Land, Sonship Woody Theus Woody Shaw and thousands of other Eulipian characters. Both my guests have a deep affection for one another and it runs decades deep as they have taken the roller coaster of life which they are still on. Keeping the world safe for bebop, re-bop and all other contiguous orbital love Bobby Hutcherson and Todd Barkan, welcome to the JFS. --- Support this podcast: https://anchor.fm/jake-feinberg/support

We are given native gifts whether we chose to access them or not. If we access these gifts then it comes down to doing the right thing, timing and some old fashioned good luck. My guest was one of the artists that put me on this path of interviewing musicians in the business of melodic invention. He started in upstate NY where he had the perfect balance of mathematics and love attending ESM and backing up Billy Holiday and Roy Eldridge. Stints in New Orleans was followed by a move to the left coast as he honed his chops with a west coast Titan in Harold Land and Leon Pettis and Donald Bailey and became a fixture in the percolating west coast scene where the clubs were flourishing and improvisational music was listened too. He came from a brotherhood of musicians that craved an original sound, original rhythms and original music. My guest came from the school of Bird, Dizzy, Duke....swing the band and adapt...to electric instrumentation which my guest did with ease as he played the slick sly funky fender Rhodes with Gene Cherrico and Dick Birk, Sam Most and Don Alias. Somehow he also found time to play with Elvis for 3 years. Right place and the right time with the right stuff Frank Strazzeri welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

Today, in part 2 of 5 of the series, Who Should I Study With, in Music School, I'm chatting with Rob Kassinger.Rob is a bassist in the Chicago Symphony Orchestra and Professor of Double Bass at DePaul University School of Music. In the jazz world, Rob has also performed with Wynton Marsalis, Branford Marsalis, Kenny Burrell, the Woody Herman band, Conte Candoli, Charlie Rouse, Teddy Edwards, Harold Land, and Bobby Lewis.Rob is also a world-class bass guitarist. In today's discussion, we speak about:•Rob's background•what to for in a teacher•common audition mistakes, and much more.Enjoy this conversation with Rob Kassinger. Links:listen to Rob perform.Rob at DePaul UniversityRob at the Chicago Symphony Orchestra Connect with The Scholarship Roadmap:WebsiteApple PodcastsInstagramFacebookYouTubeBook a Call Theme Music:‘Elegua' from Axiom Asunder by The Majestic Jazz OrchestraComposed by Buzz Jones.

My guest today has been a band leader for over 60 years. He made his name playing the vibes which is this hosts favorite instrument. It's a percussion instrument with a warm sound and can be played in a trio setting the way Red Norvo did with Tal Farlow and Mingus or in a Quintet setting like Cal Tjader did with Armando Peraza, Al mcKibbon and Dick Birk. It fits into all types of musical settings and it was popularized by my guest by his virtuosic approach and an ability to create an output within the big band ensemble. My guest today is a lover of people. He has an insatiable desire to play music you can tap your foot to. That's what Jack Kleinsinger told me about my guest. He's played on the east coast and west during the heyday of bebop and swing. His peers include Bill Holman and Chet Baker, Jimmy Rowles and Ray Brown, Milt Jackson and Harold Land. These cats had to sing for their supper because if they didn't sing there would be nothing left to eat. My guest was a relentless entertainer and musician. He created a following through his gesticulations and banter along with a Jitterbug Waltz when music was made for dancing. His collaborations with Steve Allen and Star Time increased his name recognition in the often obscure world of improvisational swing or melodic invention. He continues to be a link in the chain For younger musicians who are searching for something to say. There are no more live clubs on every corner of urban America, there are no longer 1 month residencies at the London House or Howard Rumsey's Lighthouse or Lord Chumleys and the barriers and stratification that have been put up in music hurt the ability for experimentation and chance taking because mega money has superseded quality art, pacification rules the day as opposed to the visceral culture that was visible on Market Street in Chicago or Harlem. Ultimately the ego has superseded the music in that individuals now project their own monster chops at the expense of the accompanists, the listening and the love. This is why lessons in life from the old guard are key. It's why my guests son plays with venerable grey beards Ron Carter, Kenny Barron and Ron McClure......time for some good vibes. Terry Gibbs welcome to the JFS. --- Support this podcast: https://anchor.fm/jake-feinberg/support

When the spirits call they do so with the understanding that I understand that I am merely part of the wave of history and that if I am to do a decent job covering ethnomusicology in the states then it my job to push that boulder up the hill a little bit at a time until the next cat comes around to push it a little bit more. I get to realizing that the real authenticity of my show is interviewing the guys who play for a tree of genies high above the clouds dropping radiant acoustic bombs at a black union house on a Sunday afternoon in Buffalo, NY with Wade Legey playing round midnight or the great drummer Frankie Dunlop scouting talent for the Aquarians. Interviewing cats who fed off of a lifetime of Tony Williams and Art Blakey press roles and interwove their apparatus into an amalgamation of African rhythm and European swing.....melodic invention. My guest is in the same master bass discussion as The Skipper Henry Franklin, Cecil McBee, Stafford James, Gene Perla Jamie Myritt, Earl May, Herbie Lewis and John Heard. He has sought out different kinds of players because diversity in music and flow is that much more interesting. Be it Ohio, Pennsylvania, or the lower east side with Beaver Harris and Eddie Harris and Joe Chambers these brothers came of age at a time when there was no jazz curriculums in the schools.....if there were they were being made up by the students who were incorporating their sights and sounds from the bandstand, going five to a car and crisis crossing the country with the likes of McCoy Tyner Gary Bartz, Neal Creque ,Shelly Manne, Harold Land keeping time and the pocket but also advocating for odd time and songs of his fathers. My guest knows his people and their music traditions. He remains steadfast in his approach to creationism believing that you create your own legacy....and that's the trick no matter how many different ways your name is has was will be spelled... Juini Booth welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

Sonship "Woody Theus" His spirit superseded his own being. An individual steeped in scripture and creative energy. The two worked hand and hand. He would allow the light of his god to shine through him when he played. He was a audacious performer, what with the knee high boots, multi-colored drum kit and masked marvel eye wear. He was not shy about his outward appearance and felt it was a necessary part of his transcendent spirit. Sonship didn't party or chase woman like his cadre. He was apt to meditate and gain strength through self-reflection. This is the great spirit forging music with religion. The ability to ask his god objectively about the volume of his drums and whether he should turn them down because another great warrior told him to do that. "I'll have to prey on it and let you know," he would say. He was not one to feign ignorance or display passive aggressive tendencies. He played from his guts with a swing more roll than rock. He did not adjust the volume on his drums. Sonship came of age when the likes of Harold Land, Charles Lloyd, Woody Shaw and others who had made names for themselves and were trying to open up opportunities for a younger generation of musicians who would further push music forward. The problem occurred when the industry yielded to loud FM caliber music that forced jazz to get louder and play in less intimate settings. The new generation of Faddis, Theus and Nash did not have the leadership to bridge the gap. The record companies shrank as did people's attention spans. Mental music became obsolete and the quintet and quartet became more of a liability when you could hire one guy to spin records. Sonships true greatness for this journalist lies in the fact that his spirit is inside me. His unique personality and perspective has galvanized my own consciousness shift. Be yourself, be passionate about what you do, believe in your own god and live in the moment. Everyday I look at Finger Rock and thank Sonship for the journey that I am on. Not a journey he put me on but one that he continues to strike with the delicate balance of nature and nurture. He is now a cosmic dweller but his presence is inside myself. I hope that through this article it will help others galvanize their own passions and be unafraid to express them without any hang ups. Be yourself, be accountable and prey on it. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Those Southern Knights..... Stix Hooper, Wilton Felder, Wayne Henderson, Texas Southern University, Chicago Blues, Hugh Masekela, Harold Land, Bobby Hutcherson, Practicing The Jake Feinberg Show --- Support this podcast: https://anchor.fm/jake-feinberg/support

I sit here today in BBS totally humbled. Humbled by the fact that my searching for authenticity has led me to an iconic figure. I really am awed by the fact that my guest was submerged in one of the greatest regional music scenes in our countries history. The Bay Area - the intermeshing of the ethnic fabric that is/should be this country. This is something I have covered relentlessly on this program but to hear someone speak of it so eloquently is a treat. Sonic Wizardry was abound with the likes of Herbie Hancock, George Duke and my guest. A cat who went from a Rhodes to a Moog back to the isotopic fender with Bobby Hutchersons vibes providing the Sun for the World. He has become a change agent, knowing that by activating your true nature will lead to unforeseen highs of enlightenment. He knows that if the water sits things don't grow, you have to turn the water because its easy going downstream but harder heading up. My guest is a transcending spirit who like Sonship will be forever creating. Be it with Michael Shrieve or Harold Land or Hadley Caliman. The re-release of Worlds Around The Sun again affirms my beliefs in art advocacy, having the creative ability in conjunction with others of like mind to push the boundaries of mortality. Beginning to fuse the line with immortal but being humbled time and again when they flub a note in the late set at the Keystone Korner or can't keep their ego in check and realizing they have been on this path and they have put their dreams into action and they reinforce that dreams do come true. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Legendary producer talks about his musical relationships with Harold Land, Cannonball and Gerald Wiggins, how omnivorous reading led to his genius concept albums and his father’s fight for workers rights --- Support this podcast: https://anchor.fm/jake-feinberg/support

We're stoked to welcome back Jaimie Branch to The Major Scale. Rising talents like her are the lifeblood of new music, the road ahead, and even for shows like ours. She continues carving out her sound of dark hued melodic free jazz with Bird Dogs of Paradise, the follow up to Fly Or Die. Now she takes the mic with a blues shout that has a message and musical urgency that hasn't been heard since the likes of Abbey Lincoln, and Andy Bey. Raise a fist, nod your head. Ever notice how the year 1959 had such an abundance of classics? Not just big hits, but landmark works of art that took American music to the next level. Much has been said about the big five from ‘59: Kind of Blue by Miles Davis, Giant Steps by John Coltrane, Mingus Ah Hum by Charles Mingus, The Shape of Jazz to Come by Ornette Coleman, and Take Five by Dave Brubeck. We're going to survey some of the other amazing releases from this magical year, including Yusef Lateef, Dinah Washington, Chico Hamilton, Bill Evans, Harold Land, Oliver Nelson, Cannonball Adderley, and more. ABOUT THE MAJOR SCALE: Your attention please to a new program that celebrates and takes a fresh and bold look at the great American art form- JAZZ!!! The Major Scale is the title, the motto and the mission are, Jazz- past, present, future, and everything in between. A lot of focus will be on new and fresh sounds, deep cuts, closer looks at underrated artists, taking a different look at some of the titans of the genre, and getting the two cents worth from a number of surprise guests and sources. The Major Scale can boast amongst it's guests- legends like Herbie Hancock, Tom Scott, and Ahmad Jamal. The up and coming and the underrated-Kamasi Washington, Mia Doi Todd, Michael Blake. Fresh perspectives and commentary from the likes of Rock legend Al Kooper, who weighed in on the gospel. From The New Yorker, Amanda Petrusich expounds on her article about the movement to rename the Williamsburg Bridge in honor of Sonny Rollins. We explore the Soul-Jazz experiments of the Rascals. Grace Kelly from The Late Show with Stephen Colbert talks about her pop-up/flash mob concerts. Plus Thundercat, Henry Mancini, Ghostface Killah, Jaimie Branch, Nels Cline, Badbadnotgood, Cecil Taylor, and more get pick up on the Major Scale radar. Produced in Central Florida, this program seeks to become one of the defining voices of this Native American art form, and everything else that finds itself under it's umbrella. Think about programming and content found on the likes of World Cafe, Philadelphia, PA. Tiny Desk from Washington D.C., and KEXP Live from Seattle, WA. and that's what the Major Scale strives to do. For the curious, and lovers of music who like the details in between. ABOUT KYLE EAGLE (Host): Kyle Eagle has been a contributing writer and producer for the NPR-WBGO, WUCF, WPRK, Wax Poetics, The Orlando Weekly, Artbourne, and The Fiscal Times, as well as several music and film releases- Light in the Attic's documentary "This Is Gary McFarland", and an upcoming film on composer Jack Nietzsche. Recordings- Call Me-Jack Wilson, Live at the Penthouse, Grachan Moncur III, Chico Hamilton, and Andy Bey. ABOUT CHRIS BARANYI (Producer): Chris Baranyi is a sound engineer and music producer. He splits his time between designing AV systems for theme parks and recording music. Chris has worked with many Orlando area musicians with backgrounds in jazz, fusion, hip-hop, funk, new age, and classical. Some of which have been featured on NPR's Echoes. His passion includes jazz, vintage microphones, and hot sauce.

Playlist: Hampton Hawes, featuring Harold Land, Scott Lafaro & Frank Butler - For RealAimee-Jo Benoit - One More ColourArt Hirahara - G-YokosoRachel Therrien - PigalleTony Allen + Hugh Masekela - Slow BonesNina Simone - Alone Again NaturallyErnesto Cervini, featuring Nir Felder - Softly, As in a Morning Sunrisedumama + kechou - umziIngrid Jensen & Steve Treseler - Old Time (Live)Allison Miller's Boom Tic Boom - Congratulations and CondolencesBeat Bronco Organ Trio - Beat BroncoShabaka & The Ancestors - The Coming of the Strange OnesHannah Williams & The Affirmations - 50 Foot Woman

One of the world's finest trombonists was the late Frank Rosolino. He was a mainstay in Stan Kenton's best bands of the 1950's and later became in integral part of the Los Angeles Jazz scene. Our Jazz Feature album was Rosolino's favorite but although recorded in Dec. 1958, for a variety of unknown reasons never came out until 1986. Many years after Rosolino's death in 1978.Frank picked the great Harold Land as his front line partner on tenor saxophone. Victor Feldman plays piano and Leroy Vinnegar plays bass and the swinging Stan Levey is on drums. The tunes are a mix of known standards arranged by Rosolino and two Rosolino originals. One by Feldman and one by Levey make up the rest. The date is a solid classic and really reflects and changes the idea that so called "West Coast Jazz" is dry and bloodless.....this album burns and swings like any date made in New York. "Free For All" is tonight's Jazz Feature.

15e et dernière émission de la 45e session... Cette semaine, jazz spirituel, jazz modal, jazz moderne et électro-jazz! En musique: Roy Haynes ; Idris Muhammad sur la compilation Spiritual Jazz 10: Prestige  (Jazzman, 2019, enr. 1961-73); Harold Land sur l'album A New Shade of Blue  (Mainstream, 1971); Azar Lawrence sur l'album Summer Solstice  (Prestige, 1975); Sefi Zisling sur l'album Expanse  (Tru Toughts, 2019); Junius Paul sur l'album Ism  (International Anthem, 2019); Jamael Dean sur l'album Black Space Tapes  (Stone Throw, 2019)...

15e et dernière émission de la 45e session... Cette semaine, jazz spirituel, jazz modal, jazz moderne et électro-jazz! En musique: Roy Hayes ; Idris Muhammad sur la compilation Spiritual Jazz 10: Prestige  (Jazzman, 2019, enr. 1961-73); Harold Land sur l'album A New Shade of Blue  (Mainstream, 1971); Azar Lawrence sur l'album Summer Solstice  (Prestige, 1975); Sefi Zisling sur l'album Expanse  (Tru Toughts, 2019); Junius Paul sur l'album Ism  (International Anthem, 2019); Jamael Dean sur l'album Black Space Tapes  (Stone Throw, 2019)...

Milestones.-JAZZANIVERSARIO.-Harold Land - Take Aim (1960).-JAZZACTUALIDAD.-LUIS CASADO-TIEMPO PRESENTE PROG.Nº 642.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Milestones” JAZZ RECUERDO ANIVERSARIO.- Harold Land - Take Aim (1960) Take Aim es un álbum de estudio del saxofonista tenor estadounidense de hard bop Harold Land . El álbum fue grabado en Los Ángeles en 1960, pero lanzado solo en 1980 a través de la etiqueta Blue Note. Este raro disco fue relanzado en CD en 2005 y 2012. George Harris, de All About Jazz, declaró: " Take Aim tiene todas las características del hard bop clásico: trabajo de conjunto ajustado, solos creativos y duros, y trabajo de ritmo nítido. Hace que te preguntes dónde ha estado Leon Pettis todos estos años. En a veces, el baterista suena como un trueno desde lo alto mientras empuja a esta banda. Martin Banks es articulado y tiene esa calidad Brownie en sus solos de trompeta. Por supuesto, Land, con un sonido áspero pero ligero inmediatamente identificable, es el epítome del hard bop "Su música suena tan fresca hoy como el momento en que fue grabada hace más de cuarenta años". Scott Yanow de Allmusic escribió "Esta sesión poco conocida de Blue Note del saxofonista tenor Harold Land no se lanzó hasta este LP de 1980. Land y un oscuro reparto secundario (el trompetista Martin Banks, el pianista Amos Trice, el bajista Clarence Jones y el baterista Leon Pettis) actúan cinco originales de hard bop y una lírica "You're My Thrill". Las actuaciones, que ahora son difíciles de encontrar, deberían interesar a los coleccionistas de Land y los fanáticos del jazz moderno de la era, aunque en general los resultados no son tan memorables ". Harold Land ?– Take Aim Sello: Blue Note ?– GXK 8174 Serie: Unissued Masters Series, Part 2 – Formato: Vinyl, LP, Album, Reissue País: Japan Fecha: 1981 Género: Jazz Estilo: Bop, Contemporary Jazz, Cool Jazz Pistas A1 As You Like It A2 Take Aim A3 Land Of Peace B1 Reflections B2 Blue Nellie B3 You're My Thrill Compañías, etc. • Record Company – United Artists Music And Records Group, Inc. • Manufactured By – King Record Co. Ltd • Recorded At – Radio Recorders Créditos • Bass – Clarence Jones (2) • Drums – Leon Pettis • Engineer [Recording] – Rudy Van Gelder • Engineer [Remix] – Tony Sestanovich • Photography By – Katsuji Abe • Piano – Amos Trice • Producer – Leonard Feather • Producer [Original Session], Liner Notes – Leonard Feather • Producer [Produced For Release] – Michael Cuscuna • Tenor Saxophone – Harold Land • Trumpet – Martin Banks Harold Land (Houston, 1928) es uno de los grandes saxofonistas tenores de los años sesenta. Su saxofonista favorito era John Coltrane, pero su forma de tocar y su sonido no se parecía en nada a él. Nacido en Texas, pasó sus primeros años en San Diego (California) antes de trasladarse a Los Ángeles, donde en 1949, hace su debut discográfico para el sello Savoy. En 1954 ingresó en el legendario quinteto del trompetista, Clifford Brown y el baterista, Max Roach. Con ese legendario combo, estuvo hasta mediados de 1955 cuando por razones familiares tuvo que regresar a Los Ángeles. Dueño de un sonido elástico e ideas originales, Harold Land, fue el saxofonista mas representatitivo del bebop en la Costa Oeste de los Estados Unidos. Entre 1956 y 1958, trabajó para la formación del bajista, Curtis Counce, con quien grabaría para el sello Contemporary, dos álbumes memorables, y en 1959, grabó para el mismo sello, su obra maestra, el álbum: "The Fox" un disco extraordinario con la colaboración del trompetista, Dupree Bolton y el compositor y pianista, Elmo Hope. Ya en la década de los sesenta ingresó en la formación del vibrafonista, Bobby Hutcherson, (1967-1971) y entre 1975 y 1978 en el grupo del trompetista, Blue Mitchell. Harold Land, continua en activo en la Costa Oeste de los Estados Unidos y está dedicado, además de tocar en festivales y conciertos varios, a la formación musical de su hijo, un pianista con mucho futuro. Land nació en Houston y creció en San Diego. Empieza a tocar a la edad de 16 años. Hace su primer registro como líder del Harold Land All Stars, para Savoy Records en 1949. En 1954 se une al quinteto de Clifford Brown/Max Roach. Debido a problemas familiares se traslada a Los Ángeles en 1955. Allí toca con Curtis Counce, dirige sus grupos propios y co-dirige grupos con Bobby Hutcherson, Blue Mitchell y Red Mitchell. A partir de los años 70 su estilo muestra la influencia de John Coltrane. En los años 80 trabaja regularmente con el Timeless All Stars, un grupo patrocinado por el sello discográfico de jazz Timeless. El grupo lo formaban con él, Cedar Walton en el piano, Buster Williams en el bajo, Billy Higgins en la batería, Curtis Fuller en el trombón y Bobby Hutcherson en el vibráfono. También actuaba con su propia banda durante esa época, a menudo incluyendo a su hijo en el piano y presentando también a Bobby Hutcherson y Billy Higgins. Durante estos años toca regularmente en Hop Singhs en Marina Del Rey, en el área de Los Ángeles y en el Keystone Korner en San Francisco. Land era profesor en la Universidad de California en Los Ángeles. Se une al Programa de Estudios de Jazz como conferenciante en 1996 para enseñar jazz instrumental combo. "Harold Land fue uno de los músicos que más aportaron en la historia del saxo de jazz," ha dicho el guitarrista Kenny Burrell, fundador y director del Programa de Estudios de Jazz de la UCLA. Land murió en julio de 2001 de un infarto, a la edad de 72 años.1 La banda de rock progresivo Yes incluía una canción titulada "Harold Land" en su álbum de debut en 1969.3 JAZZ ACTUALIDAD.-Esta semana entrevistaremos a LUIS CASADO TRIO con su álbum “TIEMPO PRESENTE”. Tras varios años en la profesión, tocando con distintas formaciones, a mediados de 2016 decidIo que era el momento de liderar un proyecto con sus propias composiciones. De ahí nació Luis Casado Trío, formación con la que, tras años de trabajo y numerosos cambios, grabo su primer disco los días 3 y 4 de enero de 2019. Este disco, que se titula “Tiempo Presente”, alberga ocho temas originales compuestos durante los últimos tres años. Le acompañan Joan Masana (contrabajo) y Manu Pinzón (batería), grandes músicos y personas que han puesto toda su alma en la grabación y que han dotado a los temas de una personalidad única. La realización de un disco, además de un esfuerzo enorme, requiere un gran número de gastos. Nos pide nuestra colaboración para darle el impulso necesario a algo tan importante como editar un primer disco.

Lament.-JAZZANIVERSARIO.-.joe gordon - introducing.-JAZZACTUALIDAD.-JOSEP LLUIS GALIANA-TENOR SAXOPHONE SOLOS.-JAZZCONCIERTO.-THE BAD PLUS PROG.Nº 611.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Lament” JAZZ RECUERDO ANIVERSARIO. joe gordon – introducing Joe Gordon ?– Introducing Joe Gordon Sello: EmArcy ?– MG 36025 Formato: Vinyl, LP, Album, Mono País: Netherlands Fecha: 1955 Género: Jazz Estilo: Hard Bop PistasOcultar Créditos A1 Toll Bridge Written-By – E. Lawrence 6:23 A2 Lady Bob Written-By – Quincy Jones 6:52 A3 Grasshopper Written-By – Quincy Jones 6:51 B1 Flash Gordon Written-By – Joe Gordon 7:30 B2 Bouse Bier Written-By – Joe Gordon 6:42 B3 Xochimilco Written By – Roland 7:50 Compañías, etc. • Manufactured By – C.N. Rood • Licensed To – Mercury Record Corporation Créditos • Bass – Jimmy Schenck* • Drums – Art Blakey • Piano – Junior Mance • Tenor Saxophone – Charlie Rouse • Trumpet – Joe Gordon Notas Record made in Holland, sleeve printed in Italy Recording Date: September 3 & 8, 1954 Joseph Henry Gordon (15 de mayo de 1928, en Boston , Massachusetts - 4 de noviembre de 1963, en Santa Mónica, California) fue un trompetista de jazz estadounidense. Sus primeros conciertos profesionales fueron en Boston en 1947; jugó con Georgie Auld , Charlie Mariano , Lionel Hampton ,Charlie Parker (1953–55 de manera intermitente), Art Blakey (1954) y Don Redman . En 1956 realizó una gira por el Medio Oriente con la gran banda de Dizzy Gillespie ; Fue solista en " Una noche en Túnez ".Después de esto estuvo con Horace Silver . Después de mudarse a Los Ángeles , grabó con Barney Kessel , Benny Carter , Harold Land , Shelly Manne (1958–60) y Dexter Gordon . Grabó como líder de banda durante dos sesiones, y apareció en una grabación con Thelonious Monk . Murió en un incendio en una casa el 4 de noviembre de 1963. [1] JAZZ ACTUALIDAD.- Esta semana tendremos a Josep Lluís Galiana Gallach ( Valencia ) es un saxofonista referente de la improvisación libre, el Avant Garde jazz y la investigación etnomusicológica. [1] Entre los años 1991 y 2013, es redactor del diario Levante-EMV y director de su foro de opinión, Club Diario Levante, de 1998 a 2013, [2]donde organiza actividades como los Premios Tirant a la Industria Audiovisual Valenciana. Ha sido profesor del Conservatorio Superior de Música de Castellón y de los profesionales de Valencia y Cullera el curso 2002-2003. [3] Desde el 2014, preside el Laboratorio para la Investigación de Procesos Contemporáneos AD LAB. En 2016, funda el sello discográfico Liquen Records [4] y la editorial EdictOràlia Libros y Publicaciones. Tiene más de 30 trabajos discográficos. [1] Entre estos hay Tenor Saxophone Solos de 2018 a Liquen Records, [5] Who Are These People And What Do They Believe In? de 2017 a Liquen Records, [6] Too Shortde 2016 a Liquen Records [7] [8] y Transitions de 2013 a Luscinia Discos. [9] [10] Y el para finalizar el programa de hoy lo vamos hacer con lo que va a acontecer el próximo martes en el ciclo de jazz en el teatro Lope de Vega a las 20:30 horas. Jazz. The Bad Plus en concierto A lo largo de su carrera han desestructurado canciones provenientes del pop, el rock así como del country y de otros géneros musicales Durante los últimos diez años, The Bad Plus – Reid Anderson, Ethan Iverson y David King- han tirado abajo los muros de las convenciones del jazz y han creado un cuerpo de trabajo que rompe barreras. Pocos grupos en la historia reciente del jazz han tenido tan buena acogida, y pocos han inspirado tanta controversia. Su fe en el espíritu de banda y su marca personal, a la que podríamos llamar “vanguardia popular”, los ha colocado a la cabeza del nuevo movimiento de música instrumental. Aunque el grueso de su producción han sido melodías originales, a lo largo de su carrera han desestructurado canciones provenientes del pop, el rock así como del country y de otros géneros musicales. Never Stop, el recientemente publicado disco de la banda, es el primer álbum de The Bad Plus hecho únicamente con material original. Grabado en Minnesota, con un sonido en vivo, casi al desnudo, Never Stop muestra la amplia gama acústica del trío así como las tres personalidades distintas de sus integrantes. De lo suave y melódico a lo intenso y abstracto, desde el swing al techno de los 80's, Never Stop está unido por el sonido de grupo que abraza la diversidad como fuerza.

The Jitterbug Waltz.-JAZZANIVERSARIO.-Dave Pike - Dave Pike Pike's Peak.-JAZZACTUALIDAD.-MARCO MARTINEZ-TRIO PROG.Nº 603.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “The Jitterbug Waltz” JAZZ RECUERDO ANIVERSARIO. Dave Pike - Dave Pike Pike's Peak Comentario: Este es el segundo disco como líder del vibrafonista, Dave Pike al frente de su cuarteto. En ese cuarteto, escondido casi hasta pasar inadvertido en la publicidad del disco y en su carátula, está el maestro del piano, Bill Evans. Pero a las primeras notas el aficionado encuentra a Evans, demostrando que su aportación en el disco no es ni mucho menos testimonial. Interesantisimo álbum. Dave Pike Quartet ?– Pike's Peak Sello: Epic ?– BA 17025 Formato: Vinyl, LP, Album, Stereo País: UK Fecha: 1962 Género: Jazz Estilo: Cool Jazz Pistas A1 Why Not A2 In A Sentimental Mood A3 Vierd Blues B1 Besame Mucho B2 Wild Is The Wind Créditos • Bass – Herbie Lewis • Drums – Walter Perkins • Piano – Bill Evans • Producer – Mike Berniker • Vibraphone – Dave Pike El vibrafonista, Dave Pike inició sus estudios a los ocho años, tocando primero la batería y después el vibráfono, instrumento con el que desarrollaría su carrera profesional. Debutó a mediados de los años cincuenta, formando parte de los grupos del pianista, Elmo Hope, y del contrabajista, Curtis Counce. Con una bien ganada reputación entre sus colegas, en 1957 emprendió una larga y fructífera colaboración con el el pianista Paúl Bley, con el que obtuvo el reconocimiento del publico y de la critica especializada. Cuando finalizó su colaboración con Bley, Dave Pike la inició con Dexter Gordon y Harold Land, antes de que formara, en 1961, su propio grupo, cosa que hizo junto al flautista, Herbie Mann y que permaneció unido hasta 1964. Participó en 1968 en el Festival de jazz de Berlín, vivió cinco años en Europa donde formó su propio cuarteto con músicos alemanes. Antes de volver a los Estados Unidos formó parte del proyecto de bigband europeo mas importante de aquélla época, cuando se unió a la de Kenny Clarke y Francis Boland. De vuelta a los Estados Unidos, reorganizó su grupo con el que actuó con mucha frecuencia en el sur de California. Pionero del vibráfono amplificado, Dave Pike pertenece a una generación de solistas que trató con éxito en los sesenta, de renovar el lenguaje del vibráfono en el jazz, dominado desde hacia mas de una década por el extraordinario maestro, Milt Jackson. Su discografía como líder, no es demasiada extensa y comienza en 1961 cuando graba para el sello "Portrait" el disco "Pike's Peak", aunque su disco mas celebrado, es el grabado en 1986 para "Criss Cross" titulado "Pike's Groove" JAZZ ACTUALIDAD.- Esta semana tendremos a Marco Martínez: ‘Trio' Marco Martínez y la guitarra es un amor a primera vista, un amor a largo plazo. Toda una vida lleva Marco con la guitarra y así lo demuestra su formación clásica, sus estudios en Musikene, además de haber recibido influencias y lesiones de grandes como Pat Metheny, Gilad Hekselman o Peter Bernstein. Su trabajo demuestra su valor multitareas, compone y arregla, trabaja para el cine y colabora en múltiples proyectos y formaciones. Desde sus inicios con el Quatro Jazz Quartet a su dúo con Mapi Quintana pasando por su labor junto a Groove Elevation. En cada uno de estos proyectos nos ha demostrado sus diferentes facetas y cualidades, más íntimo y emocional en Quatro, mas acústico y audaz con la voz de Mapi o más eléctrico y brillante con Groove. Ahora con este ‘Trio' nos muestra su personalidad mas oculta, nos lleva a su terreno jugando con influencias conocidas como Wes Montgomery, Jim Hall, Joe Pass o John Scofield, otros tres grandes del instrumento, pero sin olvidar sus esencias. Para este proyecto ha contado con la ayuda de dos músicos sudamericanos, Antony da Cruz al contrabajo y Jaime Moraga en la batería y salvo una acertada versión del indispensable ‘Alone Together' de Artur Schwartz se nutre de 10 temas propios de buena factura. Marco combina en este disco su guitarra acústica de sonido limpio y cristalino en temas como ‘Intropsus', ‘Por Su Sonrisa' o el breve pero precioso final de ‘Silvia' con las saturaciones y efectos propios de la guitarra eléctrica cumpliendo siempre sus objetivos. Temas como los tranquilos ‘Pasearemos Bajo La Lluvia', ‘Los Lunes Al Sol' o ‘Caminó' se mezclan con composiciones más rítmicas como ‘Fulero Hot', temas con cierto sabor brasileño como ‘Presente Simple, Presente Continuo' o con un ‘Blues For Jesse' para demostrarnos sus capacidades. Mejor que yo otro gran guitarrista de la escena nacional como Joaquín Chacón puede indicarnos que es Marco Martínez : “Marco ha sabido crear un discurso homogéneo en el que todo el repertorio suena coherente y redondo en términos conceptuales, y eso también se debe al trabajo de grupo, el trío suena sólido y bien ensamblado, fruto seguramente de numerosas puestas en escena, directos que han permitido que los tres componentes se entiendan e interactúen con libertad y precisión, en una formación compleja, pero con muchas y variadas posibilidades. La variedad tímbrica, aporta color, y cambios de atmósferas muy de agradecer en este tipo de formación”. Poco puedo añadir a esta definición entre guitarristas de categoría. Marco hace muy bien su labor y sabe expresarse con personalidad y calidad en un disco ‘Trio' que me parece un muy digno trabajo. I. Ortega Músicos: Marco Martínez (guitarra), Antony Da Cruz (contrabajo), Jaime Moraga (bateria) Año: 2018 Estilo: Jazz moderno Para finalizar lo vamos a hacer con lo que va acontecer en el Teatro Lope de Vega de Sevilla, el próximo lunes 18 JAZZ dentro del ciclo de Jazz a las 20:30 horas, concierto de Branford Marsalis . El saxofonista estadounidense de jazz y de música clásica llega dentro de este ciclo hasta el Lope de Vega. Branford Marsalis es un saxofonista estadounidense de jazz y de música clásica. Ha sido citado como "posiblemente el instrumentista de jazz estadounidense más respetado". Si bien es conocido principalmente por su trabajo en el jazz como el líder del Branford Marsalis Quartet, también actúa con frecuencia como solista con conjuntos clásicos y ha dirigido el grupo Buckshot LeFonque

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

This is the third Jazz Feature on underrated and under recorded trumpeters. Boston born Joe Gordon started young and worked with Georgie Auld, locals Charlie Mariano, Jaki Byard and toured with Lionel Hampton. He was also first call when Charlie Parker played in Boston. Gordon moved to New York in 1954 and worked and recorded with Art Blakey and joined Dizzy Gillespie's big band and toured the Middle East and recorded with Dizzy. He also played with pianist Horace Silver then seemed to disappear. He emerged in L.A. in 1959 and became first call Jazz trumpeter and worked with Harold Land, Wes Montgomery and recorded with Thelonious Monk. Joe's real fame came when he joined drummer Shelly Mann'e Quintet and toured Europe and recorded many albums. Shelly's Quintet was one of the great groups in Jazz history. Tonight's album was done in 1961 and was only Joe's second under his name however it not only featured his crackling and fiery trumpet but 8 of his compositions He appears here with alto saxophonist Jimmy Woods making his recording debut. Dick Whittington is on piano, Jimmy Bond on bass and the swingin' Milt Turner on drums. "Lookin' Good!" was Joe's last recording as he died in a house fire in November of 1963 at age 35. Check out Joe Gordon tonight, you'll be glad you did!

9e émission de la 36e session... Cette semaine, pas mal juste du vieux groove en hard-bop, funk, jazz modal, spirituel et free ! En musique: Harold Land sur l'album West Coast Blues!  (Jazzland, 1960); Gene Russell sur l'album New Direction  (Black Jazz, 1971); Maceo Parker sur l'album Life on Planet Groove  (Minor Music, 1992); Dadisi Komolafe sur l'album Hassan's Walk  (Nimbus West, 1983); David S. Ware Trio sur l'album Live in New York, 2010  (AUM Fidelity, 2017)...

9e émission de la 36e session... Cette semaine, pas mal juste du vieux groove en hard-bop, funk, jazz modal, spirituel et free ! En musique: Harold Land sur l'album West Coast Blues!  (Jazzland, 1960); Gene Russell sur l'album New Direction  (Black Jazz, 1971); Maceo Parker sur l'album Life on Planet Groove  (Minor Music, 1992); Dadisi Komolafe sur l'album Hassan's Walk  (Nimbus West, 1983); David S. Ware Trio sur l'album Live in New York, 2010  (AUM Fidelity, 2017)...

Mike and Pat catch up on a couple of quartets missed on the fourth anniversary show and a couple more poll winners from 2015. Their pledge - this year we make up our own stinkin' list of 2016 releases to cover (by stealing from other lists, naturally). Tom Harrell – FIRST IMPRESSIONS; Henry Threadgill – IN FOR A PENNY, IN FOR A POUND; Harold Land – PROMISED LAND; Plotz – EXTRAORDINARY RENDITIONS.

This band was a mix of two generations of players. Tenor saxophonist Harold Land was one of the leading tenor saxophonists on the scene and had rose to fame in the early 50s. Vibist Bobby Hutcherson was about a dozen years younger than Land and came up in the turbulent 60s and established himself as the leading post-Milt Jackson vibist who was capable of playing in "straight-ahead" contexts and "avant-guard" settings. They formed a band and were able to use various rhythm sections over the four or so years they performed together. They recorded for various labels but their most significant dates were for Blue Note and this date in particular is really one of their high points. The date is called "Total Eclipse" and features an ace rhythm section with Chick Corea on piano, Reggie Johnson on bass and Joe Chambers on drums. Of the five tunes, four are by Bobby Hutcherson and one is by Chick Corea. This music is timeless and in reality a modern day classic.

PROG.Nº 433.-Comenzamos, el periodo navideño, con el estándar de la semana escuchando el tema “Jingle Bells “, hoy con ELLA FITZGERALD y esta semana en Jazz en el Recuerdo Aniversario.- Vamos a celebrar aniversario de dos saxofonistas tenores el primero BUDD JOHNSON y su álbum THE DEFINITIVE BLACK & BLUE SESION, y el segundo HAROLD LAND, y su obra maestra, The Fox. JAZZ ACTUALIDAD.- Esta semana tendremos la novedad de Luis Gonzalez Trio: ‘Smile' Luis González es un pianista jerezano que se ha buscado la vida en los ambientes musicales catalanes desarrollando una larga carrera a pesar de su juventud. Empezó dentro del mundo de la clásica donde ha estudiado con grandes del piano contemporáneo y cuando decidió empezar en esto del jazz tampoco escatimo medios aprendiendo con gente de la talla de Bruce Barth, Kevin Hays o George Coligan. Desde el 2008 lleva dando forma al trio con el que ahora nos presenta su quinto disco ‘Smile'. El trío parece haber surgido de la necesidad que tenían estos tres musicos de crearuna formación experimental donde aplicar y probar todos los conocimientos e inquietudes que van surgiendo a lo largo de la vida y para poner a punto la fuerte musicalidad de los tres componentes. Luis y su gente considera la formación de trío como ideal ya que permite una gran flexibilidad y compenetración entre los músicos y esta claro que esto sigue ocurriendo en ‘Smile'. El trio ya tiene cinco discos en su haber. Desde el inicial ‘Cançons' dedicado a la canción popular catalana las propuestas siempre han sido originales. ‘New York Suite' del 2011 incluye instrumentos de corte clásico como violín, chelo o clarinete. ‘Entre Vivir y Soñar' consiste en una especial colaboración con la cantante y compositora Roció Romero. ‘Live at Sunset' fue el disco en directo necesario para testar todas las posibilidades del trio tras haber sido grupo residente durante una temporada del club Subset de Gerona y ‘Un Món de Nádales' parecía la guinda, una colección de villancicos en clave de jazz junto al cantante Cris Joanico y las aportaciones puntuales del Orfeó Catalá, el Cor Vivaldi y Núria Feliu. Después de todo esto Luís se ha sentado a pensar que podía ofrecernos de nuevo y ha surgido ‘Smile'. ‘Smile' tiene dos partes bien diferenciadas. La primera consiste en una revisión muy personal de varios temas ajenos, desde el ‘Smile Please' de Stevie Wonder que abre la grabación hasta el ‘Vignette' de Gary Peacock, por medio el famoso bolero ‘Contigo Aprendí' de Armando Manzanero, el minueto en G mayor de Bach o ‘While My Guitar Gentil Weeps' de George Harrison mezclada con temas propios como ‘Ido Blues' o ‘Balada Min' que completa este primer tramo del disco. La segunda parte es una pieza mas experimental llamada al ‘Al Sur Suite' (Improvisación) donde Luis González parece querer reivindicarse personalmente intercalando temas que recuerdan su estudios clásicos como ‘Hindemith Valse' con rememoraciones de su tierra andaluza ‘Tortilla de Camarón' o toques personales como ‘Tacones Cercanos' o ‘Tito Carral Blues' además de recordar lugares queridos en ‘Claustro'. Estamos ante un disco libre y ecléctico lleno de pequeñas sorpresas que nos demuestra que este trio no ha perdido ni calidad ni flexibilidad mental. Es un grupo que parece llamado a seguir deleitándonos con nuevas proezas musicales si le damos la oportunidad necesaria. Yo estoy dispuesto. I. Ortega Autor: Luis Gonzalez Trio Título: Smile Músicos: Luis González (piano), Joan Sola-Morales ( contrabajo), Cesar Martinez (batería) Discográfica: Autoedición – Altafonte Music Año: 2015 Estilo: Jazz moderno

PROG.Nº 408.-Comenzamos con el estándar de la semana escuchando el tema” She's Funny That Way”-Ella es divertida así- por ZOOT SIMS . Jazz en el Recuerdo .-Esta semana recordamos el aniversarios de un pianista llamado ELMO HOPE -con su albúm “Elmo Hope - Homecoming (1961) “; continuamos con un PETE CANDOLI-THE BROTHERS CANDOLI, que cumple año esta semana también Cuando Orrin Keepnews el propietário del sello Riverside contrató a Elmo Hope en 1961, éste se encontraba en Los Angeles, la ciudad a la que se trasladó en 1957 con la esperanza "hope" de poder desarrollarse como músico y compositor ya que en NY le habia retirado la tarjeta que permite trabajar en los clubs como consecuencia de su afición a las drogas, pero las cosas no fueron como esperaba, pues Elmo consideraba a los músicos de la Costa Oeste como bastante malos y es así que sus mejores sesiones grabadas en L.A. fueron las realizadas al lado de músicos negros, -The Fox, junto al tenorman Harold Land,- Elmo Hope Trio, con Curtis Counce y Frank Butler -uno de los mejores discos de piano de toda la historia-, y algunas colaboraciones como sideman junto al potente Curtis Counce, en estas sesiones Hope se prodigaba como excelente compositor -un peculiar y retorcido compositor-, pero las oportunidades de grabación en L.A, no eran buenas así pues, la llamada de Keepnews le debió sonar como agua de mayo; de regreso a NY, reunió a los tenores Frank Foster y Jimmy Heath, al trompetista Blue Mitchell, y su antiguos amigos "Philly" Joe Jones en la bateria y Percy Heath en el contrabajo, el resultado es impresionante, las tres composiciones firmadas por Elmo son de gran calibre, y los músicos se desenvuelven perfectamente por el personal mundo melódico armónico de Hope, la segunda sesión en riguroso trio con la misma sección rítmica nos ofrece un blues, "One Mo Blues" -no os perdais a Elmo y su original estilo de entenderlo-, un tempo medio, "La Berthe" de sabor exótico, un tempo fast sobre las armonias de "After you´ve Gone" y una balada, "Imagination",- la calidad de sonido le da cuatro vueltas a las del sello Venus con todo su jodido "Hiper Magnun Sound", es después de la audición cuando uno se pregunta porque Orrin Keepnews no dió más oportunidades a este pianista/compositor, -posteriormente grabó una sesión a piano solo y a duo con su mujer Bertha Hope pero nada más para Riverside... Poco tiempo le quedaba a Elmo, problemas de salud -y de drogas-, el Jazz se ha perdido a uno de los grandes que en sus inicios era considerado poco más que un imitador de Bud Powell pero que supo confeccionar un personal y elegante estilo dentro de la tradición bop y más allá. Tracklist 1.Moe, Jr. - 5:56 – (sextet) *N.Y. 22-06-61 2.Moe, Jr. [alternate take] - 4:41 –*( sextet) 3.La Berthe - 3:14-(trio)** N.Y 29-06-61 4.Eyes So Beautiful as Yours - 6:33- *(sextet) 5.Homecoming - 5:15** 6.One Mo' Blues - 6:48** 7.A Kiss for My Love - 5:33- *(sextet) 8.A Kiss for My Love [alternate take] - 5:39 –* (sextet) 9.Imagination - 6:43** personnel : Elmo Hope – piano(*)(**) Blue Mitchell - trumpet (tracks 1, 2, 4, 7 & 8)(*) Frank Foster, Jimmy Heath - tenor saxophone (tracks 1, 2, 4, 7 & 8)(*) Percy Heath – bass(*)(**) Philly Joe Jones – drums(*)(**) JAZZ ACTUALIDAD.- Esta semana tendremos otro álbum que teníamos en el tintero del guitarrista PAOLO TOMASELLI y su “FLOATING BRIDGES . Paolo Tomaselli: ‘Floating Bridges' Paolo Tomaselli es un guitarrista y compositor italiano poco conocido por estas tierras que ha estudiado jazz en los Estados Unidos de la mano de buenos maestros y que se ha encontrado por el camino con compañeros de talento que se han convertido en amigos y colaboradores en esto de la musica. Paolo y su grupo llevan dos años habitando en Nueva York y eso marca. En NYC las oportunidades están a la vuelta de la esquina pero hay que saber buscarlas. En este maravilloso caldo de cultivo surge ‘Floating Bridges' un compendio de todas las influencias que asaltan a este joven guitarrista. Jazz contemporáneo, música clásica, bandas sonoras y melodías mediterráneas se funden en esta grabación. En su música encuentras honestidad, humildad y sentimientos a flor de piel. Paolo no busca avasallar con su musica, cree que debe ser comprensible y accesible para el público aunque no renuncie en algunos momentos a buscar cierta complejidad rítmica. A través de ocho temas propios el guitarrista milanes nos lleva a un calido viaje rodeado por una serie de musicos muy adecuados para el objetivo deseado. Clay Lyons se ocupa del saxo alto, Christian Li del piano, Jared Henderson le pega a las cuatro cuerdas del contrabajo mientras que de la bateria se ocupa Roberto Giaquinto en casi todo el disco. Ignacio Rivas es la aportación hispana al tocar las baquetas en el final ‘Night Shadows' Paolo aprovecha su habilidad con la guitarra y la capacidad que posee para obtener un sonido propio para dejarnos con buen gusto en este estreno. En la portada del disco queda claro el homenaje a Nueva York con una serie de apuntes sobre distintos puentes de la ciudad. Desde luego no va a ser mi disco del año pero creo que este disco tiene la suficiente entidad como para interesar a muchos amantes de la guitarra y el jazz mas tranquilo. I. Ortega Autor: Paolo Tomaselli Título: Floating Bridges Músicos: Paolo Tomaselli (guitarra), Clay Lyons (saxo alto), Christian Li (piano), Jared Henderson (contrabajo), Roberto Giaquinto (bateria), Ignacio Rivas Bixio (bateria) Discográfica: Quadrant Records Distribuidora: Quadrant Records Año: 2015 Estilo: Jazz Moderno

Programa monográfico dedicado al saxo tenor americano Harold Land (1928-2001) con grabaciones del año 1958.Escuchar audio

STANDAR DE LA SEMANA.- Exactly Like You con Dianne Reeves y John Coltrane · Paul Quinichette JAZZENELRECUERDO .- I Love You So... Rolf Ericson Rolf Ericson (29 agosto 1922 hasta 16 junio 1997) fue un sueco trompetista de jazz. También jugó el fliscorno.Se mudó a Nueva York en 1947 y en 1949 se unió a Charlie Barnet banda 's grande y con Woody Herman en 1950. Más tarde, trabajar con Paul Gonsalves , Charlie Parker , Gullin Lars , y Charles Mingus . De regreso a Suecia en 1950, grabó como líder y con Arne Domnérus , así como por Leonard Feather suecos 's balanceo. Regresó a los EE.UU. durante 1953-1956, y jugó con las grandes bandas de Charlie Spivak , Harry James , el Hermanos Dorsey y Les Brown y fue con el Lighthouse All-Stars . En 1956, realiza una gira por Suecia y jugó con Ernestine Anderson y Gullin Lars . A partir de 1956-1965 él estaba de vuelta en los EE.UU., en colaboración con Dexter Gordon , Harold Land , Stan Kenton , Woody Herman , Maynard Ferguson , Buddy Rich , Benny Goodman , Gerry Mulligan , Terry Dan , Max Roach y Charles Mingus , entre otros. Él estaba con la Duke Ellington Orchestra 1,963 hasta 1,971. A principios de 1960 hizo tres grabaciones como miembro de la Barra de Levitt orquesta (octeto). Ericson juega con el Al Porcino Big Band en Berlín a finales de 1970 y principios de los 80. JAZZ EN LA ACTUALIDAD.- JUAN ORTIZ TRIO-LIFE IS TOO SHORT Lo breve de la vida en trío de jazz En este disco queda capturada la energía del pianista bilbaino Juan Ortiz -durante años componente de The Cherry Boppers- que lleva años curtiéndose entre el jazz, el funk, el soul y todo lo que se ha puesto bajo sus dedos. Life is Too Short Juan Ortiz es un joven de 28 años que lleva mucha negritud en sus venas, algo difícil de encontrar en nuestro país. Tan heredero de Herbie Hancock y Esbojrn Svensson como de Larry Young, Sly Stone o Stevie Wonder, inspirado por lo clásico y lo moderno, por Sonny Clark y por Uri Caine. Lo podemos comprobar en este disco grabado en directo en el club Hacería de Bilbao. Musica Interesante En Barcelona este disco queda capturada la energía de un pianista –durante años componente de los Cherry Boppers- que lleva años curtiéndose entre el jazz, el funk, el soul y todo lo que se ha puesto bajo sus dedos. Tal vez por eso su trío funciona tan bien, porque sus acompañantes, David Ruiz y Borja Barrueta, pertenecen también a esa nueva generación que entienden que la música es algo universal. Su nivel de entendimiento es alto, y se basa en el equilibrio entre tocar música muy seria y divertirse hasta la médula haciéndolo. Música del siglo XXI

STANDAR DE LA SEMANA.- Esta semana tendremos las versiones de Everything Happens to Me con Frank Sinatra y Chet Baker JAZZENELRECUERDO.- Harold Land - Harold in the Land of Jazz-. Harold Land (Houston, 1928) es uno de los grandes saxofonistas tenores de los años sesenta. Su saxofonista favorito era John Coltrane, pero su forma de tocar y su sonido no se parecía en nada a él. Nacido en Texas, pasó sus primeros años en San Diego (California) antes de trasladarse a Los Ángeles, donde en 1949, hace su debut discográfico para el sello Savoy. En 1954 ingresó en el legendario quinteto del trompetista, Clifford Brown y el baterista, Max Roach. Con ese legendario combo, estuvo hasta mediados de 1955 cuando por razones familiares tuvo que regresar a Los Ángeles. Dueño de un sonido elástico e ideas originales, Harold Land, fue el saxofonista mas representatitivo del bebop en la Costa Oeste de los Estados Unidos. Entre 1956 y 1958, trabajó para la formación del bajista, Curtis Counce, con quien grabaría para el sello Contemporary, dos álbumes memorables, y en 1959, grabó para el mismo sello, su obra maestra, el álbum: "The Fox" un disco extraordinario con la colaboración del trompetista, Dupree Bolton y el compositor y pianista, Elmo Hope. Ya en la década de los sesenta ingresó en la formación del vibrafonista, Bobby Hutcherson, (1967-1971) y entre 1975 y 1978 en el grupo del trompetista, Blue Mitchell. Harold Land, continua en activo en la Costa Oeste de los Estados Unidos y está dedicado, además de tocar en festivales y conciertos varios, a la formación musical de su hijo, un pianista con mucho futuro. JAZZ EN LA ACTUALIDAD Harris Eisenstadt Canada Day III (Songlines) (2012) PERSONNEL Harris Eisenstadt (drums, compositions), Garth Stevenson (bass), Chris Dingman (vibraphone), Nate Wooley (trumpet), Matt Bauder (tenor sax) III Día de Canadá se registró un día después de un concierto de siete gira norteamericana primavera de 2012. La grabación fue la culminación de un año de conocer estas piezas. En primer lugar, jugó la mayor parte de ellos durante la gira de lanzamiento del CD para el día de Canadá II primavera de 2011, en realidad. "Slow and Steady" es una canción engañosamente difícil. La mitad de las frases de la banda en cuatro, mientras que las frases de la otra mitad en seis años, luego cambiar, y cambiar de nuevo. Yo juego a lo largo de ambos lados. En realidad, surgió a partir de un material suelo de la sala de mi primera obra orquestal, Palimpsesto (estrenada en el verano de 2011). Esto fue lo más difícil canción en el expediente que se reúnen por el ir y venir entre sensaciones rítmicas. Reproducción de todas las noches en el camino realmente ayudó a solidificar la misma. "Establecido" fue el primer trío hace mucho más cortos pieza anterior. Fue originalmente en siete años, pero terminó haciendo más sentido en cuatro, orquestada para quinteto. Abrí secciones vamp introducción y conclusión para dejar que la música respire. Los cambios pasan lentos, entonces el doble de tiempo, y luego marcha atrás hasta el tempo original en la forma de salir. Yo escribí un esbozo de "una cantidad totalmente nuevo de interactividad" para una sesión de hace un rato y jugar una sola vez. Años más tarde me sacó y volvió al trabajo. Las primeras secciones provienen de la primera versión, pero la mayor parte de lo que vino después. Finalmente, después de un breve solo de batería, la banda se disuelve en una improvisación poco antes de coalescencia en torno a una cifra final hocketing. "El mago de Lublin" fue también originalmente para trío. Me ampliado mediante la difusión de la melodía principal y las partes de acompañamiento en todo el grupo y establecer el material en diferentes tempos. El dúo tenor-tambor hacia el final pasó sin predeterminación de gira. Nos gustó tanto que lo mantuvo durante la sesión. El título viene de una historia de Isaac Bashevis Singer corto. Él es uno de mis autores favoritos. "Song for Sara" está dedicado a mi esposa, Sara Schoenbeck, a quien amo profundamente y han estado durante doce años. Escribí el primer borrador en una noche y cuando terminé me di cuenta de que era para ella. Cuando revisé la música que estaba de nuevo en busca de un camino para que respire. Abrí las secciones de introducción y conclusión, y revisó la sección B de modo que modula y realmente se siente como un puente. "Nosey Parker" es el nombre de una línea concisa de diálogo de la guerra de la maravillosa serie de televisión BBC de Foyle. Si no lo sabes, échale un vistazo. Michael Kitchen es fantástico. Una parte del material proviene de los recortes de piezas orquestales que he mencionado antes. Era difícil conseguir juntos desde el principio ya que en muchas de las secciones que estamos jugando cinco partes diferentes. Los adornos orquestales no tenía drumset, así que al principio no sabía qué hacer. Resultó que juega en la 1 y la 3 todo conectado a tierra. "Shuttle de This Mortal Coil" es el nombre de la controversia sobre el significado de la famosa cita de Shakespeare en Hamlet. Había leído en alguna parte que en realidad debería ser "shuttle" en lugar de "shuffle." Por alguna razón, que estaba en mi cabeza cuando he titulado la canción. El vals se sienten en la primera mitad de los saltos sintonice un tempo más rápido tiempo de corte y una línea vibráfono resbaladizo. Después de que el DS y el vals re-cap, nos lanzamos en un retorcido marcha que pronto se disuelve en una cadencia improvisada y acabado rubato. "El rey de la Kutiriba" está dedicado a uno de mis profesores de percusión de Gambia, Mamady Danfa, fallecido recientemente. Pasamos muchas horas al día juntos durante dos meses cuando estuve allí hace años. Él era una persona dulce que murió demasiado joven - un tímido, flaco y sin pretensiones que jugó increíblemente. La obra no comenzó como una dedicatoria. Me enteré de que pasó todo el tiempo que lo terminé, y aunque el contenido musical no tiene relación directa con la música que aprendí de Mamady, su espíritu suave me recuerda a él. Andalusian Days El compositor y baterista Harris Eisenstadt, que lidera y participa en algunos de los sellos y grupos referenciales del jazz actual, llega a Cádiz y Sevilla. Su proyecto más aclamado e imaginativo, Canada Day, se convierte en Andalusia Day. Andalusia Day- descripción larga De Canadá hasta Andalucía pasando por Nueva York y la avanzadilla del jazz, el compositor y batería Harris Eisenstadt (Toronto, 1975) estará de gira por Cádiz y Sevilla. Canada Day, así bautizado por reunirse el día de dicho país, es una de las propuestas musicales más estimulantes y novedosas del momento (Nate Wooley (tp), Matt Bauder (st), Chris Dingman (vb), Garth Stevenson (b), Harris Einsenstadt (bat). Melodías positivas inspiradas en la música africana, en la que se especializó en sus viajes a Gambia y Senegal, perfectamente encajadas en un medio envolvente y dinámico con temáticas sorpresivas y cambiantes, siempre sugestivas y de una complejidad no aparente. Con los dos grupos Canada day (quinteto y octeto), el excelente September trio (con Ellery Eskelin y Angelica Sanchez), el noneto de cámara Woodblock Prints o los dedicados a sus viajes a África (Guewell y Jalolu) ha publicado en algunos de los sellos más importantes del jazz moderno, como Clean Feed, 482 Music o Songlines. Al llegar aquí, en su primera visita a España, este grupo cambia su nombre, sin variar su formato, por Andalusia Day, quinteto fundamental del panorama andaluz formado por Pedro Cortejosa al saxo tenor, Voro García trompeta, Arturo Serra vibráfono y Javier Delgado bajo. El músico canadiense ofrecerá varias citas en formatos más reducidos, además de impartir una master class. Baldo Martínez, contrabajista y compositor de prestigio internacional que lidera varios grupos como Proyecto Miño y forma parte del incomparable triEZ (con Agustí Fernández y Ramón López), y Pedro Cortejosa (uno de los arti?fices del desarrollo creativo de esta música en Andalucía), Arturo Serra (vibrafonista, compositor y pedagogo indispensable en la escena andaluza) y Jaime Serradilla (pilar de sujeción del jazz sevillano) aportan composiciones propias para sendos Andalusia Day trío con este invitado de excepción. Harris Eisenstadt, además de baterista y percusionista, profesor de percusión y world music, ha tenido un sólido bagaje en estudios de composición al lado de Wadada Leo Smith, todo un referente en este campo del jazz contemporáneo. Su sólida escritura trasmite una musicalidad positiva en un planteamiento fluido y climático, hecho de líneas y figuración pero también desdibujado en texturas. Andalusia Day Quinteto: Pedro Cortejosa, Voro García, Arturo Serra y Javier Delgado. Andalusia day trios: Arturo Serra-Jaime Serradilla y Pedro Cortejosa-Baldo Martínez.

Dwight Trible joins us to talk about his latest project: Cosmic and his concert Sunday, Nov. 4, 2012, 7 PM at Yoshi's in SF. Dwight Trible is a singer who combines the best of vocal virtuosity with musicianship and improvisational skills to the delight of audiences and musicians alike. In addition to performing with his own group, the Dwight Trible Ensemble, Dwight is the vocalist with the Pharaoh Sanders Quartet and is also the vocal director for the Horace Tapscott Pan Afrikan Peoples' Arkestra. Not a newcomer to the music scene, Dwight has worked with such notables as Oscar Brown Jr., Charles Lloyd, Billy Childs, Kenny Burrell, Kenny Garrett, Steve Turre, Harold Land, Harry Belafonte, Della Reese and Norman Conners, John Beasley, Patrice Rushen, Babatunde Lea, Ernie Watts, Kahlil El Zabar, as well as contemporary soul artist like LA Reid and DJ Rogers. Dwight's collaborations with Horace Tapscott, Billy Higgins, Kamau Daaood and others have produced some of the finest musical moments in Los Angeles in recent years - and his best is yet to come! Like his mentors, Dwight is not content to use his music just to entertain people, although he is quite a dynamic performer. He uses his music to bring people together, to bridge the gap between the races, and to heal the human heart. He has received numerous awards for his humanitarian efforts: http://www.dwighttrible.com/ We rebroadcast an interview with Michele Rosewoman, pianist, composer, bandleader, who is in town to celebrate the life and legacy of Ed Kelly, who is honored tonight at the Oakland Public Conservatory, 1616 Franklin Street, Oakland, CA, 7-9 PM: http://www.reverbnation.com/michelerosewoman

Elmo Hope - Trio and Quintet (1953-1957)-Jerónimo Martín Sexteto-Quinoa componen el "playlist" de este semana. De las colecciones de grabaciones de los años 50 de Elmo Hope, trío y quinteto es el obtener. Trío y quinteto CDs de música incluye sus principales sesiones de Blue Note y cuenta con un elenco estelar de músicos de hard bop incluyendo Harold Land, Frank Foster, Philly Joe Jones y Art Blakey. La mayoría de las canciones es originales de esperanza que, en su introspección angular, llevan la influencia de Bud Powell y Thelonious Monk. Las cosas comienzan con diez swingers principalmente hard bop de fecha trío en 1953. Prominente es Powell de Hope como única línea de ataque. Solos permanecen enérgico y directo sobre los números de uptempo como "Salsa caliente", pero enciende un poco pecuriar lentas piezas como "Happy Hour". Standout pistas incluyen esperanza de apertura "Mo On" con su "off a las razas" Declaración y "Carvin' the Rock," cae en algún lugar entre Powell "Avenida parisina" y "Así lo siento favor." Percy Heath y Philly Joe Jones proporcionan apoyo comprensivo en todo. Las pistas del quinteto comienzan con una sesión de Costa con Foster y Blakey. El número de apertura es la intrincada, duro swinging original "loco"; causa algunos problemas para trompetista Lee Freeman, pero Foster se encuentra en el comando con una vigorosa declaración individual. El resto de la sesión se impresiona con una serie de composiciones de esperanza rítmicamente ricos que, como la mayoría de las melodías del monje, estancia memorable a pesar de su complejidad. Tres melodías de esperanza más de una fecha de costa oeste completan las pistas de quinteto y cerrar el CD. Tierra contribuye fuerte tenor de trabajo mientras que el bajista Leroy Vinnegar y el baterista Frank Butler hacen un buen trabajo de mantener las cosas ancladas. Esta versión de Blue Note son grande no sólo para su sección de composiciones de esperanza, pero también para las muchas ideas fértiles han inspirado en ello solistas. ~ Stephen Cook Esto es parte de la serie Choice coleccionista de Blue Note. Estas son impresiones de edición limitada de unos mil ejemplares. Personal: Elmo Hope (piano); Elmo Hope; Leroy Vinnegar, Percy Heath (contrabajo); Frank Foster, Harold Land (saxo tenor); Lee Freeman, Stu Williamson (trompeta); Frank Butler, Philly Joe Jones, Art Blakey (batería). Elmo Sylvester Hope fue un pianista y compositor norteamericano de jazz, nacido en Nueva York el 27 de junio de 1923, y fallecido en la misma ciudad, el 19 de mayo de 1967 Estrenos, reediciones y nuevas publicaciones discográficas del jazz de fuera y dentro de nuestro país ocupan los segundo 60 minutos de nuestro espacio en Jazz en el Actualidad, esta semana tendremos el último trabajo de Jerónimo Martín Sexteto-Quinoa

Harold Land. The Fox - 1959 Un disco llamado The Fox, el tema del que toma nombre es un discurso de como tocar jazz a un ritmo endiablado (no creo haber escuchados muchos temas a esta velocidad, Dupree Bolton y el mismísismo Land están increíbles) y, además, sirve de extraordinario ejemplo de lo que nos encontraremos a continuación. Agarraos fuerte. Gran disco de un discípulo indisimulado del genial John Coltrane. Harold Land fue uno de los mejores que recogió el testigo del genial saxofonista a su muerte. Este "The Fox" es su mejor obra. Magnífico trabajo. En la segunda parte en Jazz en el Actualidad, tendremos INTOKABLES BIG BAND-ENJOY LATIN JAZZ!

Carmell Jones - Carmell Jones in Europe Jones nació en Kansas City , Kansas . He moved to California in 1960 and worked as a studio musician for several years. Se trasladó a California en 1960 y trabajó como músico de estudio desde hace varios años. He released two albums as a leader for Pacific Jazz at this time, while recording as a sideman with Bud Shank , Curtis Amy , Harold Land , and Gerald Wilson . [ 1 ] He appeared on Horace Silver's 1965 Blue Note classic Song for My Father . Él lanzó dos álbumes como líder para Pacific Jazz en este momento, durante la grabación como acompañante de Bud Shank , Curtis Amy , Harold Land y Gerald Wilson . [1] Él apareció en Horace Silver, 1965 Blue Note clásica canción de Mi Padre . In 1965 he moved to Germany where he lived for 15 years, working with Paul Kuhn and the SFB Big Band (Sender Freies Berlin) from 1968 to 1980. En 1965 se trasladó a Alemania donde vivió durante 15 años, trabajando con Paul Kuhn y el SFB Big Band (Sender Freies Berlin) desde 1968 a 1980. There he worked with musicians such as Milo Pavlovic, Herb Geller , Leo Wright and Eugen Cicero. Allí trabajó con músicos como Milo Pavlovic, Geller hierba , Leo Wright y Cicerón Eugen. Jones returned to the US in 1980, working as a teacher and appearing at local clubs in Kansas City. Jones regresó a los EE.UU. en 1980, trabajando como profesor y que aparece en los clubes locales en Kansas City. He released one additional album as a leader in 1982. Él lanzó un disco adicional como líder en 1982. Jones died on November 7, 1996 in Kansas City at the age of 60. [ 2 ] Jones murió el 7 de noviembre de 1996 en Kansas City a la edad de 60 años. [2] Chano Dominguez - Flamenco Sketches (2012) Chano Domínguez ha fusionado brillantemente el flamenco con el jazz en su nuevo álbum Flamenco Sketches que se publica el 13 de marzo de 2012 en Blue Note Records, ofreciendo una nueva y deslumbrante interpretación de la música seminal de Miles Davis en este mismo sello. Flamenco Sketches fue encargado por el Barcelona Jazz Festival con motivo del 50º aniversario de Kind of Blue y, tras tocarse en Barcelona, se grabó en directo en el Jazz Standard de Nueva York en diciembre de 2009. Flamenco Sketches es una recreación única vista desde el flamenco del repertorio de Miles Davis, para la que Chano Domínguez se ha acompañado de músicos muy especiales: Mario Rossy (bajo), Israel “Piraña” Suárez (cajón), Blas “Kejío” Córdoba (cante, palmas) y Tomás “Tomasito” Moreno (baile, palmas). Chano Domínguez publica Flamenco Sketches, grabado en directo en Nueva York y con la música de Miles Davis como inspiración. Flamenco y jazz unidos como nunca lo han estado.

At age nineteen Ndugu had performed and recorded with such greats as Miles Davis, Freedie Hubbard, Joe Henderson, Eddie Harris, Harold Land and Bobby Hutcherson. Ndugu has worked on several Grammy nominated albums and has numerous production and co- production credits. Ndugu Chancler is known not only as a world-class drummer and percussionist, but also a producer, composer, clinician and teacher. A three-time Grammy nominee, he has to his credit an extensive list of performances, recordings, original compositions and productions. As a studio musician, he has performed and recorded with Miles Davis, Herbie Hancock, George Duke, Patrice Rushen, Hubert Laws, The Crusaders, Frank Sinatra, Weather Report, Lionel Richie, Kenny Rogers, Thelonious Monk and John Lee Hooker. He was the drummer on the biggest selling pop album by Michael Jackson, Thriller, providing the beat on “Billie Jean.” As a producer and songwriter, he has written hits for The Dazz Band and George Duke, and produced for Flora Purim, Bill Summers, Toki and his own solo recordings. He has co-produced recordings for Santana, The Crusaders, George Duke, Tina Turner, Joe Sample, Wilton Felder and The Meeting, the group he co-leads with Patrice Rushen and Ernie Watts.

Tonight's Jazz feature is a wonderful recording that was meant for private use. It was recorded by Dave Quarin, a great Vancouver saxophonist who also ran one of Vancouver's finest Jazz clubs: The Cellar. The original Cellar was in existence from 1955 to 1963 and run as a co-operative venture by musicians and artists. The staff was volunteer and only the musicians were paid. Local players were featured and at times the club brought in name players. Such was the case with our Jazz Feature. The great tenor saxophonist, Harold Land took over a wonderful band that had just backed up Sonny Rollins for two weeks in San Francisco and brought them to Vancouver in November 1958. The music was some of the best Jazz that I ever heard as I was there in Nov. 1958....I had just moved to Vancouver and was still in High School but I witnessed the music for three of the four nights they were here. The music was a powerful and distant memory until the tapes of several tunes made the rounds of musicians and eventually ended up at Lonehill Records where all the tunes were collated on a single 80 minute CD with some of the profits of the sales going to the Harold Land Estate. The music is powerful and strong and all of these men are at their creative peak: Harold Land, the leader on tenor saxophone, the legendary Elmo Hope on piano, Scott LaFaro on bass, who eventually made history with Bill Evans and the fine dynamic drumming of Lennie McBrowne complete this incredible quartet. Only two long tunes will make up a complete set: the standard, 'Just Friends' and the Charlie Parker blues called 'Big Foot' plus a short version of the band's theme, Dameron's 'The Scene is Clean'. Powerful music from a legendary band at a now legendary club.

This morning we will have a tribute to William B. Lawsha "Prince Lasha," September 10, 1929 to December 12, 2008. Prince Lasha was born in 1929 in Fort Worth, Texas and went to school with Ornette Coleman. In1947, the two of them started playing saxophone in a school band (which also produced great musicians like Charles Moffett and King Curtis). They worked with Harold Land and Red Connors before going their separate ways. He lived in New York, Oakland, Germany, Italy, and France where he had the honor, he says, of playing with many great musicians such as Sonny Simmons who worked with Prince for six years; Eric Dolphy, John Coltrane, and Sonny Rollins recorded together—in fact he wrote “Music Matador that Eric Dolphy made famous. Wanda's Picks concludes with an excerpt of Matador (from …A True Story). When he made his transition last month, Prince was working on releasing a new CD on his label Birdseye Records, called “Baritone Madness.” I hope we'll see this CD in the near future. It features Woody Shaw, Ron Carter, Odean Pope and Eddie Gale. Prince Lasha Jr. said there's another release coming out in a few weeks and he'll tell us about it this morning. Perhaps I can get the producer, Prince Jr., to come on the air to talk about the project. We will be joined this special 1 1/2 hour tribute by Prince's friends and family, including Odean Pope, Eddie Gale, Sonny Simmons, Chuck Fishman, Oluyemi Thomas, Destiny Muhammad, Leon Williams, Anthony Foster, and sons: Anthony, William and Prince. Wanda's Picks concludes with an interview with Kelly Whalen, co-director of Tulia, TX, a film about a small town's search for justice in the midst of blatant police misconduct in an attempt to rid the town of drug trafficking. The ITVS film is premiering at the San Francisco Main Library, 100 Larkin Street, near Civic Center BART. Lanier Pruitt, our beloved friend and colleague died suddenly. His funeral is today, Friday, Jan. 23, 12 Noon, at Cooper Mortuary, 1580 Fruitvale

Bassist Curtis Counce was one of the first African-American musicians to be part of what was called in the 1950's "West Coast Jazz".....as part of the scene in Los Angeles, Counce worked with Shorty Rogers, Jimmy Giuffre and was for a couple of years a member of Stan Kenton's band. Counce died in 1963 at the young age of 37 of a heart attack but will be remembered for forming and recording with this band called "The Curtis Counce Group" The great Harold Land was featured on tenor saxophone, Jack Sheldon on trumpet with some of his best work, the legendary Carl Perkins, who also died young in 1958, on piano and the incredible Frank Butler on drums. They recorded during their time from late 1956 to April 1958, a whole series of albums for the Contemporary label. Their sound was not the cool "West Coast Jazz" style but "New York tough". One great band that made Jazz history.

Monk's quartet with Charlie Rouse on tenor saxophone and John Ore on bass and new drummer Billy Higgins plus two great West Coast based horn players:Harold Land on tenor saxophone and Joe Gordon on trumpet add to the ensemble. Monk himself is in relaxed and inspired form on this live date recorded at the legendary "Blackhawk" in San Francisco.

This week’s Contrabass Conversations episode features an interview with and music from Chicago Symphony bassist Rob Kassinger. Rob’s musical interests span many genres and include both the electric bass and the double bass. You will learn about Rob’s early years on the bass and how working in jazz and rock settings led to an interest in orchestral double bass playing in this fascinating interview. This episode also features Rob playing the first movement of the Breval Sonata in a live performance, and it includes a track from NYCO, a rock band that Rob was a member of for several years. You will be hearing People We Knew from their recent album “Two". You can purchase “Two" by following this link. Enjoy! About Rob: Robert Kassinger was appointed to the Chicago Symphony Orchestra in 1993. Prior to Chicago, Rob performed as assistant principal bass with the Colorado Symphony and also played with the New Orleans Symphony. In addition to his busy schedule with the Orchestra, Rob is an active chamber musician. He performs with the Revolution Ensemble, the Orion Ensemble, Fulcrum Point, Ars Viva, Music of the Baroque, the Callisto Ensemble, MusicNOW, and broadcasts on WFMT and WTTW. Most recently he has been a featured guest with Yo-Yo Ma’s Silk Road Ensemble, and has performed Schubert’s Trout Quintet with Daniel Barenboim. In July 2006, Rob served as double bass professor at the Canton International Summer Music Academy, led by Charles Dutoit. Rob grew up in a family of musicians in Boulder, Colorado. He began his bass studies with Frank Carroll at the University of Colorado. In 1985 he moved to New York to study with Homer Mensch at the Manhattan School of Music, where he received his bachelor of music degree. Rob then pursued his master’s degree at the Juilliard School, continuing his studies with Mr. Mensch. He later went on to study with Bruce Bransby at Indiana University. Some of his most influential experiences as a student were his two years as principal bass of the New York String Orchestra Seminar, conducted by Alexander Schneider, and the two summers he spent as a fellowship student at the Aspen Music Festival, studying with Stuart Sankey and Bruce Bransby. In 1989 Rob was the winner of the Aspen Double Bass Competition. Rob’s experience as a jazz performer dates back to his early teens, working in the house rhythm section at the infamous Denver jazz club El Chapultapec, and over the years he has performed with Wynton Marsalis, Branford Marsalis, Kenny Burrell, the Woody Herman band, Conte Candoli, Charlie Rouse, Teddy Edwards, Harold Land, Red Holloway, Charles Brown, Art Lande, Richard Stoltzman, Gary Burton, Alex Acuna, Laurence Hobgood, and Bobby Lewis. In 1998 and 2000, Rob toured India with the Chicago Jazz Express, and he can be heard on their recordings Voyage to India and The Rhythm Section. He also appears on Bobby Lewis’ latest CD, Just Havin’ Some Fun. In addition, Rob is featured on Daniel Barenboim’s Brazilian Rhapsody on the Teldec label, and Kabbalah Blues/Quantum Funk by the Revolution Ensemble. Rob’s latest project has given him a chance to spend more time with the bass guitar. His alternative rock group NYCO has released its debut album Two, available through nycomusic.com and at Itunes.com. Rob is professor of double bass at DePaul University. He is also in demand as a coach and master clinician, serving in this capacity for the Chicago Youth Symphony Orchestras, the Juilliard School, and the Mannes School of Music. In the summers of 1999 through 2002, it was Rob’s honor to teach at the West-Eastern Divan, a ground-breaking workshop that brings young musicians from Israel and various Arab countries together to study orchestral music with Daniel Barenboim, Yo-Yo Ma, and members of the CSO, Berlin Philharmonic, and Staatskapelle Berlin.

Troisième de la sixième session. Cette semaine, ça groove avec l'album entier Radiale (paru en 2004) de Zu & Spaceways Incorporated. Ensuite, pièces de The Harold Land & Blue Mitchell Quintet et  du Dave Holland Quintet... Lecture de la semaine: Un peu de Nietzsche avec des aphorismes de Humain, trop Humain.

Troisième de la sixième session. Cette semaine, ça groove avec l'album entier Radiale (paru en 2004) de Zu & Spaceways Incorporated. Ensuite, pièces de The Harold Land & Blue Mitchell Quintet et  du Dave Holland Quintet... Lecture de la semaine: Un peu de Nietzsche avec des aphorismes de Humain, trop Humain.

A rare albums for Blue Note only issued in Japan is a minor classic by Bobby Hutcherson with some tracks augmented by a horn section that includes the great Harold Land on tenor saxophone and flute and other tracks with a quartet with Bobby on vibes and marimba with piano,bass and drums.