Podcast appearances and mentions of Herbie Hancock

Old friend of the podcast Lloyd Bradley wrote Bass Culture, the defining account of reggae, and he's now turned his attention to funk, from its deepest roots and via the jazz, arts, TV, radio and pop culture that flavoured it. The main 10-year focus of ‘Funk Has Its Own Reward' is from James Brown's ‘Say It Loud - I'm Black and I'm Proud' to Michael Jackson's ‘Off The Wall' but free your mind and all this will follow! … … the importance of radio being “colourblind” … Cab Calloway's Jive Dictionary and the impact of DJs Martha Jean ‘the Queen' Steinberg and Daddy-O Daylie … how James Brown floor-tested his records and saved a fortune making them … funk's deep roots in America's marching bands … why jazz is funk's closest relative and what it stole from white rock … how the Family Stone's Larry Graham made bass the place … how solo singers gave way to the ‘funk gangs' … how Richard Pryor gave mainstream America a window on a whole new world. … the influence of Soul Train and Sesame Street (19-year-old Nile Rodgers on guitar!) in bringing funk to the masses … George Clinton – “I can't dance, can't play, people tell me I can't sing … but without me none of this would have happened!” … plus the Chambers Brothers, Herbie Hancock, Funkadelic, Bootsy, Quincy Jones, Parliament and the greatest funk record ever made. Order copies of ‘Funk Is Its Own Reward' here: https://www.hachette.co.uk/titles/lloyd-bradley-2/funk-is-its-own-reward/9781472123411/Help us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourearHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

**Lynda Law's Soul Show Replay On traxfm.org. This Week Lynda Features Soul/Boogie/Dance Classics/Contemporary Soul With Trax From Donald Byrd, Norma Brown, Charles Johnson, Brian McKnight, Incognito, Herbie Hancock, Karen Bernod, Shalamar, The Trammps, Con Funk Shun & More #originalpirates #soulmusic #contemporarysoul #70smusic #80smusic #disco #danceclassics Catch Lynda's Soul Show Every Tuesday From 4:00PM UK Time On traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/profile.php?id=10...100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm **

Bienvenidos a una nueva edición de **Smooth Jazz Classics**, el espacio de **Santiago Fontenla** donde los grandes clásicos del smooth jazz, el jazz contemporáneo y las mejores fusiones con soul, R&B y música brasileña vuelven a sonar con toda su elegancia. Un recorrido musical que une diferentes décadas y estilos, demostrando cómo las buenas canciones nunca pierden su magia. En esta selección viajaremos desde la sofisticación de **Mario Biondi** y **Till Brönner** reinterpretando *Smooth Operator*, hasta la energía inconfundible de **The Crusaders** con *Keep That Same Old Feeling*. También disfrutaremos de la sensibilidad de **Herbie Hancock**, los sonidos brasileños de **Gabriela Anders**, **Marc Antoine** y **Till Brönner**, además de propuestas más recientes de artistas como **Mo Louis**, **Smooth Jazz Alley**, **Jazz Holdouts** y **Bob Baldwin** junto a **Euge Groove**. Prepárate para una hora de melodías envolventes, grandes interpretaciones y ese sonido atemporal que ha convertido al smooth jazz en una de las bandas sonoras favoritas para relajarse, conducir o simplemente disfrutar de la música con calma. Gracias por acompañarnos una vez más en este viaje por los clásicos que siguen marcando generaciones. ### Tracklist * 2018 | Mario Biondi – *Smooth Operator* Ft. Till Brönner * 1976 | The Crusaders – *Keep That Same Old Feeling* * 1980 | Herbie Hancock – *Making Love* * 2019 | Castella – *No Ordinary Love* * 1998 | Gabriela Anders – *Brasileira* * 2008 | Till Brönner – *O Que Será?* Ft. Vanessa da Mata * 2002 | Braxton Brothers – *So Divine* * 2017 | Najee – *Let's Take It Back* Ft. Incognito * 2022 | Mo Louis – *Turn It Up* * 2023 | Smooth Jazz Alley – *Deep Into You* Ft. Blake Aaron * 2000 | Marc Antoine – *Palm Strings* * 2016 | Jazz Holdouts – *Simple Things* * 2018 | Bob Baldwin – *Imagine* Ft. Euge Groove Una selección elegante y atemporal que combina clásicos imprescindibles con joyas contemporáneas para seguir celebrando el mejor sonido smooth jazz.

Craig Pady Show IntroHenry Mancini, Quincy Jones, John Williams, Herbie Hancock, Arturo Sandoval Peter GunnJoe Williams Just the Way You AreCraig Pady Talk TimeAtlantis Jazz Ensemble Spirits UnseenBill King, Mark Kelso, Collin Barrett, William Sperandei There It is!Craig Pady Talk TimeHéctor Lavoe AléjateQuincy Jones Tell Me A Bedtime StoryCraig Pady TalkTimeNu Genea A Voce 'E NapuleMiles Davis PortiaSteely Dan

Proseguimos viaje por el jazz en el cine. Miles Davis, Charlie Parker, Herbie Hancock, Louis Armstrong, Gerry Mulligan...Escuchar audio

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Een TORcast geheel gewijd aan de muziek van Miles Davis. Miles werd honderd jaar geleden (op 26 mei 1926) geboren en ontwikkelde zich tot één van de belangrijkste musici, niet alleen in de geschiedenis van de jazz maar in die van hele hedendaagse muziek.  In deze TORcast laat Willem Habers een selectie van zijn favoriete Davis-opnames horen. Geen uitputtende opsomming, geen verantwoord chronologisch overzicht, geen doorwrocht spectrum van ’s mans invloeden en werk maar een heel persoonlijke keuze uit het gigantische oeuvre van deze jazzgigant. Playlist: So What Miles Davis (trompet), Bill Evans (piano), Cannonball Adderly (altsax), John Coltrane (tenorsax), Paul Chambers (bas), Jimmy Cobb (drums) Move met Gerry Mulligan, Max Roach, Lee Konitz, Karl Winding en John Barber (tuba) If I Were A Bell Miles Davis (tp), Red Garland (piano), John Coltrane (tenorsax), Paul Chambers (bas), Philly Jo Jones (drums) Someday My Prince Will Come Miles Davis (tp), John Coltrane (sax), Hank Mobley (sax), Wynton Kelly (piano), Psul Chambers (bas), Jimmy Cobb (drums) My Funny Valentine Miles Davis (trompet), Herbie Hancock (piano), Wayne Shorter (tenorsax), Ron Carter (bas), Tony Williams (drums) Générique – Ascenseur pour l’echafaud Miles Davis (trompet), Barney Wilen (sax), René Urtreger (piano), Pierre Michelot (bas) en Kenny Clarke (drums) Concierto de Aranjuez: Adagio Miles Davis (trompet), orkest onder leiding van Gil Evans Een paar bespiegelingen… De muziek van Miles Davis is niet slechts een hoofdstuk in de geschiedenis van de jazz; zij is een voortdurend herlezing van wat muziek kan zijn. Wie naar Davis luistert, hoort niet alleen noten, maar ook een bepaalde houding ten opzichte van tijd, stilte en vernieuwing. Zijn oeuvre lijkt zich steeds te onttrekken aan elke definitie die men erop loslaat. Dat maakt zijn betekenis filosofisch relevant: Davis laat zien dat identiteit niet iets statisch is, maar een proces van voortdurende transformatie. Een van de opvallendste kenmerken van zijn muziek is het gebruik van ruimte. In albums als *Kind of Blue* wordt stilte niet als leegte ervaren, maar als een actief element. Deze benadering roept vragen op over de aard van expressie zelf. Moet muziek altijd gevuld zijn, of kan juist het weglaten een diepere vorm van communicatie zijn? Davis' antwoord lijkt te zijn dat betekenis ontstaat in de spanning tussen klank en stilte. Daarmee sluit hij aan bij een bredere existentiële intuïtie: dat wat niet gezegd wordt, vaak even belangrijk is als wat wel wordt uitgesproken. Daarnaast belichaamt Davis het idee van artistieke vrijheid als morele houding. Hij weigerde zich te conformeren aan de verwachtingen van zijn publiek of de industrie. Telkens wanneer hij succes bereikte—of het nu ging om bebop, modal jazz of fusion—koos hij ervoor om een nieuwe richting in te slaan. In die zin is zijn carrière een praktijk van wat de filosoof Nietzsche “zelfoverwinning” noemde: het voortdurend achterlaten van het oude zelf om ruimte te maken voor het nieuwe. Deze radicale trouw aan vernieuwing maakt hem tot een bron van inspiratie voor hedendaagse musici. De invloed van Miles Davis op huidige jazzmuzikanten ligt dan ook niet alleen in specifieke harmonieën of technieken, maar in een manier van denken. Moderne jazz kenmerkt zich door hybriditeit: invloeden van hiphop, elektronische muziek en wereldmuziek vloeien samen tot nieuwe vormen. Deze openheid is rechtstreeks schatplichtig aan Davis' grensverleggende experimenten, vooral in zijn latere werk zoals *Bitches Brew*. Hij legitimeerde het idee dat jazz geen afgesloten traditie is, maar een permeabel veld waarin alles kan worden opgenomen. Ten slotte blijft Davis relevant omdat hij de luisteraar actief betrekt. Zijn muziek vraagt om aandacht, om interpretatie, om een zekere existentiële inzet. Zij is nooit volledig transparant; er blijft altijd iets ongrijpbaars. In een tijd waarin muziek vaak als achtergrondconsumptie fungeert, herinnert Davis ons eraan dat luisteren een vorm van denken is. Zo bezien is Miles Davis niet alleen een muzikant, maar een filosoof in klank. Zijn erfenis leeft voort in elke muzikant die durft te experimenteren, te twijfelen en opnieuw te beginnen—en in elke luisteraar die bereid is om in die zoektocht mee te gaan.

Een TORcast geheel gewijd aan de muziek van Miles Davis. Miles werd honderd jaar geleden (op 26 mei 1926) geboren en ontwikkelde zich tot één van de belangrijkste musici, niet alleen in de geschiedenis van de jazz maar in die van hele hedendaagse muziek.  In deze TORcast laat Willem Habers een selectie van zijn favoriete Davis-opnames horen. Geen uitputtende opsomming, geen verantwoord chronologisch overzicht, geen doorwrocht spectrum van ’s mans invloeden en werk maar een heel persoonlijke keuze uit het gigantische oeuvre van deze jazzgigant. Playlist: Seven Steps to Heaven Miles Davis (trompet), Ron Carter (bas), Anthony Williams, Frank Butler (drums), Herbie Hancock, Victor Feldman (piano), George Coleman (tenorsax), Nefertiti Miles Davis (trompet), Wayne Shorter (tenorsax), Tony Williams (drums), Ron Carter (bas), Herbie Hancock (piano) Boplicity Miles Davi (trompet), Lee Konitz (altsax), Gerry Mulligan (baritonsax), John Lewis (piano), Kenny Clark (drums), Nelson Boyd (bas)J.J. Johnson (trombone), Bill Barber (tuba) Milestones Miles Davis (trompet), John Coltrane (tenorsax), Cannonball Adderly (altsax), Red Garland (piano), Paul Chambers (bas), Philly Jo Jones (drums) Tutu Miles Davis (trompet), Marcus Miller (producer, instruments), George Duke (keyboards), Paulhinho da Costa (percussie) Amandla Miles Davis (trompet), Kenny Garrett (altsax), Marcus Miller (bas), Omar Hakim (drums), Joe Sample (keyboards) Human Nature Miles Davis (trompet), Darryll Jones (bas), Vince Wilburn jr. (drums), John Scofield (gitaar), Robert Irving III (keyboards), Round Midnight Miles Davis (trompet), John Coltrane (tenorsax), Cannonball Adderly (altsax), Red Garland (piano), Paul Chambers (bas), Philly Jo Jones (drums) Jam Session Miles Davis (trompet), Michel Legrand (piano), Jimmy Cleveland (trombone), Kenny Garrett (sax), Mark Rivett (gitaar), Alphonse Mouzon, Harvey Mason (drums), Benny Reitveld (bas) Een paar bespiegelingen… De muziek van Miles Davis is niet slechts een hoofdstuk in de geschiedenis van de jazz; zij is een voortdurend herlezing van wat muziek kan zijn. Wie naar Davis luistert, hoort niet alleen noten, maar ook een bepaalde houding ten opzichte van tijd, stilte en vernieuwing. Zijn oeuvre lijkt zich steeds te onttrekken aan elke definitie die men erop loslaat. Dat maakt zijn betekenis filosofisch relevant: Davis laat zien dat identiteit niet iets statisch is, maar een proces van voortdurende transformatie. Een van de opvallendste kenmerken van zijn muziek is het gebruik van ruimte. In albums als *Kind of Blue* wordt stilte niet als leegte ervaren, maar als een actief element. Deze benadering roept vragen op over de aard van expressie zelf. Moet muziek altijd gevuld zijn, of kan juist het weglaten een diepere vorm van communicatie zijn? Davis' antwoord lijkt te zijn dat betekenis ontstaat in de spanning tussen klank en stilte. Daarmee sluit hij aan bij een bredere existentiële intuïtie: dat wat niet gezegd wordt, vaak even belangrijk is als wat wel wordt uitgesproken. Daarnaast belichaamt Davis het idee van artistieke vrijheid als morele houding. Hij weigerde zich te conformeren aan de verwachtingen van zijn publiek of de industrie. Telkens wanneer hij succes bereikte—of het nu ging om bebop, modal jazz of fusion—koos hij ervoor om een nieuwe richting in te slaan. In die zin is zijn carrière een praktijk van wat de filosoof Nietzsche “zelfoverwinning” noemde: het voortdurend achterlaten van het oude zelf om ruimte te maken voor het nieuwe. Deze radicale trouw aan vernieuwing maakt hem tot een bron van inspiratie voor hedendaagse musici. De invloed van Miles Davis op huidige jazzmuzikanten ligt dan ook niet alleen in specifieke harmonieën of technieken, maar in een manier van denken. Moderne jazz kenmerkt zich door hybriditeit: invloeden van hiphop, elektronische muziek en wereldmuziek vloeien samen tot nieuwe vormen. Deze openheid is rechtstreeks schatplichtig aan Davis' grensverleggende experimenten, vooral in zijn latere werk zoals *Bitches Brew*. Hij legitimeerde het idee dat jazz geen afgesloten traditie is, maar een permeabel veld waarin alles kan worden opgenomen. Ten slotte blijft Davis relevant omdat hij de luisteraar actief betrekt. Zijn muziek vraagt om aandacht, om interpretatie, om een zekere existentiële inzet. Zij is nooit volledig transparant; er blijft altijd iets ongrijpbaars. In een tijd waarin muziek vaak als achtergrondconsumptie fungeert, herinnert Davis ons eraan dat luisteren een vorm van denken is. Zo bezien is Miles Davis niet alleen een muzikant, maar een filosoof in klank. Zijn erfenis leeft voort in elke muzikant die durft te experimenteren, te twijfelen en opnieuw te beginnen—en in elke luisteraar die bereid is om in die zoektocht mee te gaan.

Jem, Nadia and Keir apply their weird-left lens to the power and potential of shock. Starting with an investigation into economic ‘shock therapy’ and the way that Trumpism models the concept of ‘shock doctrine’, they move onto modern art’s relationship with the ‘shock of the new’, from Dada and Eisenstein to gangsta rap and radio shock jocks. Can you acclimatise yourself to shock either through repetition or training? Can shock be commodified? What other shocks are coming down the pipeline? These ideas and more with musical input from Kylie, Herbie Hancock and Stravinsky. Find the books and music mentioned in the show: https://novara.media/acfm Sign up to the ACFM newsletter: https://novaramedia.com/newsletters Follow our ever-expanding playlist on Spotify by searching ‘ACFM’. Help us build people-powered media: https://novara.media/support

Jem, Nadia and Keir apply their weird-left lens to the power and potential of shock. Starting with an investigation into economic shock therapy and the way that Trumpism models the concept of shock doctrine, they move onto modern art’s relationship with the shock of the new, from Dada and Eisenstein to gangsta rap and radio shock jocks. Can you acclimatise yourself to shock either through repetition or training? Can shock be commodified? What other shocks are coming down the pipeline? These ideas and more with musical input from Kylie, Herbie Hancock and Stravinsky. Find the books and music mentioned in the show: https://novara.media/acfm Sign up to the ACFM newsletter: https://novaramedia.com/newsletters Follow our ever-expanding playlist on Spotify by searching ‘ACFM’. Help us build people-powered media: https://novara.media/support

Prisiminsime dar keletą praėjusio amžiaus 7–8 dešimtmetyje įrašytų garso takelių, kuriuos sukūrė profesionalūs kompozitoriai, roko grupės bei filmų muzikos autoriai. Ne viena šių plokštelių įsitvirtino istorijoje kaip savarankiški autoriniai albumai, o sėkmingiausiais atvejais sutapo ir su kino klasika tapusiais filmais. Grojaraštyje – Teisutis Makačinas, George Harrison, Herbie Hancock, The Yardbirds, Pink Floyd, Vangelis, Rose Royce, Norman Whitfield.Ved. Lukas Devita

Trombone player and leader of the Mosaic Jazz Ensemble Lee Orszaczky spoke about the stories and experiences that encouraged his taking up Jazz and a sense of being ‘thrown’ into the school Jazz Orchestra in Year 7.  The school Jazz Orchestra was led by Pianist David Allen (now touring with Tones and I) for which Lee can appreciate the enormous amount of practical experience this band gave him. Lee says that the biggest learning experience he has recieved is to trust in your elders and listen to every word they say.    Lee recalls enjoying a gig where he met Herbie Hancock, and the many moments of pure joy putting together this 2nd album from Mosaic – Rinse and Repeat Mosaic are touring to launch the album: May 28, 2026 – Album Launch Tour commencement – Lazybones Lounge – Marrickville NSW May 23, 2026 – Smiths Alternative – Canberra ACT May 25, 2026 – The Jazzlab – Brunswick VIC July 3, 2026 – Launch Tour Finale – Church Street Studios Camperdown NSW Lee Orszaczky was guest of Bent Notes on Sunday May 17, 2026 Bent Notes – 2 hours of Jazz and Improvised Music – 7 o'clock every Sunday night JOY 94.9 – Out.Loud.Proud – Your Voice – Your Radio Station Support this podcast, Donate to JOY; Become a member The post Mosaic goes for a Rinse And Repeat appeared first on Bent Notes.

Herbie Hancock's Thrust (1974) is one of the most influential jazz-funk records ever made. Peter Martin and Adam Maness break down the full album, track-by-track: Mike Clark's displaced backbeats, why Paul Jackson is such an unusual bass player and possibly the greatest Rhodes solo of all time. Plus - Adam shares a story about learning "Spank-A-Lee" at 16, and Peter tells us about meeting Paul Jackson for the first time. And ... is "Actual Proof" ACTUALLY the best track on the album?-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/yhi------------------------------Maiden Voyage: https://youtu.be/ZQ6ICxe2wjEHead Hunters: https://youtu.be/wM-_44deuSY------------------------------About You'll Hear It:In this popular music series, Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love:https://youllhearit.com/newsletter-------------------------------00:00 Thrust - Herbie Hancock00:30 Herbie Before Thrust: Miles & The Headhunters03:01 Drummer Mike Clark Joins the Band03:35

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Este nuevo monográfico de nuestro podcast está dedicado al bajista y compositor Freddie Washington. Repasamos sus colaboraciones junto a artistas tan destacados como Patrice Rushen, Al Jarreau, Anita Baker, Herbie Hancock, Norman Brown, Yutaka Yokokura, Dianne Reeves, Bobby Lyle, Carl Anderson, Deniece Williams y Alexander Zonjic.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

My guest... Award winner International seasoned performer/vocalist Berklee Conservatory School of Music,  own Alumni with honors, Grammy Voting member, flourishing multi talented pianist,and guitarist ,Whitney Marchelle Jackson has performed at prominent concert events for the World Cup , Dubai Hotel, United Nations, Apollo, New York Blue Note, Parkers Thompson Hotel, Berklee School of Music,  on Campus (standing ovation), Pier 84, Rutgers University, Numerous venues and festivals in Japan, Hawaii ,Canada, and USA. Music in Jazz, American, Songbook, blues,latin and some pop standards. Whitney Marchell Jackson had a credited acting and pianist role where they won the Best Feature Film at the QueerX Film Festival 2022 for Poets are the Last Destroyers. She worked with Dee Dee Bridgwater (duet)Art Deco Festival, Quincy Jones, Wayne Newton,Herbie Hancock, Opened For KISS, Bill Withers, Donny Hathoway, and has recorded three albums. Recently,on Channel 13 with an interview and performance . Receives international radio air play for her last three albums. Marchell Plays piano and guitar ASCAP songwriter. Teaches where students have been on movie Harriet, Tina Turner Boradway show, And received 100 plays on the radio. Whitney also is now taking the vocal performace undergraduate program at berklee. JazzTimes magazine quotes Whitney as a "Formidable singer with a scorched soulful Jazz sound."  She always has a great audience attendance,reviews and helps promote her gigs on radio and social media. A marvelously funny, wonderful episode. Produced, directed, edited and hosted by Stephen E Davis   Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Jazz Session No.466 from RaidersBroadcast.com as aired in May 2026, featuring a ‘progress' through 30+ years of the music of Herbie Hancock. TRACK LISTING: The Kicker - The Horace Silver Quintet; Jackie-Ing - Thelonius Monk; The Maze - Herbie Hancock; Oliloqui Valley - Herbie Hancock; Milenberg Joys - Kenny Ball; I Wish I Could Shimmy Like My Sister Kate - Chris Barber; The Eye of the Hurricane - Herbie Hancock; Tell Me a Bedtime Story - Herbie Hancock; Pretzel Logic - Steely Dan; Long As You Know Yo're Living Yours - Keith Jarrett ft. Garbarek, Danielsson, Christenson; Tidal Wave - Fletcher Henderson; This Year's Kisses - Teddy Wilson, Lester Young, w. Billie Holiday voc.; Ostinato (Suite for Angela) - Herbie Hancock; Watermelon Man - Herbie Hancock; Let There Be Love - Nat King Cole; Early Autumn - Cleo Laine; Jessica - Herbie Hancock; Norwegian Wood - Herbie Hancock; When, Where, How and Why - Courtney Pine; Perverted Pavane – Crossfire.

Brian, Blake, and Richard are back for Episode 616 of the Chasing Tone Podcast - Taste the Pain with special guest Michael Beinhorn - a look into the production of some absolutely massive albums The guys are joined by a true legend of the production world, Michael Beinhorn, who has produced some of the greatest records of all time. We are talking Soundgarden, Red Hot Chili Peppers, Hole, Marilyn Manson, Korn, and we are talking Herbie Hancock too! We start at the beginning and find out what the third most used sound in recorded music history is... and Michael came up with it.Brian and Richard can't resist fanboying a little and so the conversation moved on to Superunknown by Soundgarden, which was a defining album for all the guys' musical tastes. This is a fascinating look into the stories behind the scenes and Michael's own personal perspective which made him one of the most in-demand record producers of a generation. Michael's philosophy for making records translates into some fantastic advice for nearly everyone...Michael has written a book, Taste the Pain - The Making of The Red Hot Chili Peppers' Mother's Milk, which starts out with a tragedy and gives an incredibly candid view of how the band survived the challenges thrown their way. He gives us some fascinating insights into the band, the recording process, and music production in general. Finally, the guys look at the making of Hole's "Celebrity Skin" with no punches pulled.This is a fascinating and compelling episode, and we would like to say a huge thanks to Michael for his time and his candid storytelling!Electro phases, Seattle Grunge, Black Hole Sun, Chad Smith's Posterior, Kornhole...it's all in this week's Chasing Tone!Get Michael's Book Here: https://www.amazon.com/dp/B0GWR7ZPPWWe are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Courses and DIY mods:https://www.betterguitartone.comhttps://www.wamplerdiy.comhttps://www.bluesguitarmethod.comhttps://www.guitarpedalcourse.comCheck out Oliver Effects:https://oliverfx.co.ukYoutube:https://www.youtube.com/@chasingtonepodcastFind us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Support the show

Adam Olenius, frontman i Shout Out Louds, gästar SkivSnack och då handlar det om skivor som startar med en riktig banger - öppningsspår som fullständigt knockar en! Och det blir ett tidsmässigt omfattande urval där alla årtionden från 60-talet och framåt är representerade. Vilken av syrrans skivor var det som gjorde ett outplånligt intryck på Adam, vilket plattasöppningsspår upptäckte Stefan via att sonen spelade den flitigt i sitt rum...och hur är det egentligen med Stefan och Adams musikkunskaper då Stefan inte har koll på vem som samplat Herbie Hancock och Adam tror att Plainsong med The Cure är instrumental....Tack till taketdesign.se för grafisk form. Foto på Adam Olenius: Fredrik Bengtsson Hosted on Acast. See acast.com/privacy for more information.

Programa 340 con estreno de “El Patinete de Abanilla” y una selección musical que te trasportan al allá de los recuerdos. ADIVINA LA PELÍCULA. Baccara. YES SIR I CAN BOOGIE. SAN TORAL. La Tabernera del Puerto. ERES BLANCA Y CUENTO MAROLA. Herbie Hancock. CANTALOUPE ISLAND EFEMÉRIDES. The Rolling Stones. SATISFACTION. La Tabernera del Puerto.NO PUEDE […] The post Los Tres Tenores 06/05/2026 first appeared on Ripollet Ràdio.

Laurent Rousseau est une mine de conseils et une source dʹinspiration pour les guitaristes, que ce soit sur son site internet Oreille Moderne ou sur sa chaîne Youtube "La minute utile du musicien". Il nous partage sa vision dʹensemble de quelques siècles de musique, de Stravinsky à Joe Satriani, Bartok, Herbie Hancock et le jazz manouche.

Hey there be-boppers, it's NZ Music Month here on the Jazz Show, with your host Blind Mango Chutney. So settle back for some of the best from Aotearoa — with a special feature on Pacific Eardrum. But since it was also International Jazz Day this week, headlined in concert by Herbie Hancock, we start with Herbie … Brought to you by San Ray on Ponsonby Rd.

HPR All Things Considered Host Dave Lawrence welcomes trumpet monster Eddie Henderson for his first-ever appearance on the show. Eddie is hitting Hawaiʻi Island for the upcoming Big Island Jazz and Blues Festival, performing May 16th, at the Mauna Kea Beach Hotel. Eddie has a pretty wild background — as a medical doctor, as a guy who had Louis Armstrong and Miles Davis factor into his childhood experiences, and of course, ended up as part of the band with Herbie Hancock, among other chapters in his fascinating life. We explore it in this fun conversation ahead of his return to Hawaiʻi.

What is it about rhythm that dissolves separation and draws us into a shared pulse? At the heart of this episode lies a quiet but unshakable conviction: that every life, every struggle, every creative breakthrough, is a quest for freedom. Few voices today carry that conviction with more authority than Terri Lyne Carrington, four-time Grammy winner, NEA Jazz Master, and one of the most vital figures in music of our time. In this conversation, she traces the search for freedom from its deepest roots to its most urgent expressions in the present. It begins with a child at a drum kit, and a family sensing something uncanny, a story that reaches back across generations, and across oceans, to a lineage in which rhythm was never only sound, but memory, identity, and a spiritual code passed through the hands of those entrusted to keep it alive. From there, Terri takes us into what jazz truly is at its core: a kind of liberation theology. Born of displacement and oppression, it became a communal act of survival, intellectual, radically creative, radically free. And it is in that freedom, expressed through improvisation, that something remarkable happens: boundaries begin to stretch, time itself begins to bend, and the music reaches far beyond those who first gave it voice. But as you'll discover, Terri is not only conscious of history, she is making it. Through the Berklee Institute of Jazz and Gender Justice, she is carrying that same liberating impulse into new territory, challenging the hyper-masculine structures that have shaped jazz for decades and opening doors for voices that might otherwise have gone unheard. With this, she brings music into some of the most urgent conversations of our time: gender equality, and the building of a truly universal legacy. A vibrant episode, infused with Terri's ancestral rhythm and potent intellect, in which she returns us to the essential elements of rhythm itself: its flow, its healing power, and its quiet, seductive pull into that spiritual place which is eternal: the present. Why drummers are the mind's gatekeepers, and what they are guarding that is so much greater than music itself, is what this episode invites you to discover.

Are you wheeling around a pile of emotional baggage you've mistakenly labeled as your identity? In this recap episode, Lesley Logan and Brad Crowell dive into the transformative insights shared by Shari Teigman, a dynamic performance coach and creative business strategist who specializes in guiding high achievers through major life transitions. Shari reveals why coming undone is the prerequisite for authenticity, especially for those navigating midlife identity shifts. The hosts break down the red shoes metaphor, the necessity of active emotional release, and why joy requires going massively deep internally. If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast https://lesleylogan.co/podcast/. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co mailto:beit@lesleylogan.co. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe https://lesleylogan.co/podcast/#follow-subscribe-free.In this episode you will learn about:How to unpack other people's baggage to reclaim your own identity. The grieving process is an important part of unpacking to feel joy. Learn how Swedish death cleaning prevents leaving baggage for others.Why it's important to acknowledge your emotions as neither good nor bad. Clean up internal contradictions and choose intentional actions over excuses.Episode References/Links:eLevate Mentorship Program - lesleylogan.co/elevateOPC Spring Training - opc.me/eventsOPC Summer Tour - opc.me/tourContrology Spine Corrector - opc.me/spinecorrectorSubmit your wins or questions - https://beitpod.com/questionsShari Teigman Website - https://shariteigman.comShari Teigman Instagram - https://www.instagram.com/shariteigmanThe Maverick Way - https://beitpod.com/themaverickwayThe Gentle Art of Swedish Death Cleaning - https://a.co/d/06TuBmbwEp. 589 ft. Brad Bizjack - https://beitpod.com/ep589Ep. 183 with Dr. Bender episode - https://beitpod.com/ep183 If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. https://lovethepodcast.com/BITYSIDEALS! DEALS! DEALS! DEALS! https://onlinepilatesclasses.com/memberships/perks/#equipmentCheck out all our Preferred Vendors & Special Deals from Clair Sparrow, Sensate, Lyfefuel BeeKeeper's Naturals, Sauna Space, HigherDose, AG1 and ToeSox https://onlinepilatesclasses.com/memberships/perks/#equipmentBe in the know with all the workshops at OPC https://workshops.onlinepilatesclasses.com/lp-workshop-waitlistBe It Till You See It Podcast Survey https://pod.lesleylogan.co/be-it-podcasts-surveyBe a part of Lesley's Pilates Mentorship https://lesleylogan.co/elevate/FREE Ditching Busy Webinar https://ditchingbusy.com/Resources:Watch the Be It Till You See It podcast on YouTube! https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gLesley Logan website https://lesleylogan.co/Be It Till You See It Podcast https://lesleylogan.co/podcast/Online Pilates Classes by Lesley Logan https://onlinepilatesclasses.com/Online Pilates Classes by Lesley Logan on YouTube https://www.youtube.com/channel/UCjogqXLnfyhS5VlU4rdzlnQProfitable Pilates https://profitablepilates.com/about/Follow Us on Social Media:Instagram https://www.instagram.com/lesley.logan/The Be It Till You See It Podcast YouTube channel https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gFacebook https://www.facebook.com/llogan.pilatesLinkedIn https://www.linkedin.com/in/lesley-logan/The OPC YouTube Channel https://www.youtube.com/@OnlinePilatesClasses Episode Transcript:Lesley Logan 0:00  So you ultimately have to understand why you keep repacking the same thing in order to finally get a chance to make any real choices. So I love this because, like, I feel like some people think that they're self-sabotaging, or they're in the same spiral, and it's like, yeah, but you kept packing the same stuff, expecting a new result. Brad Crowell 0:18  Or you're carrying around the old shit. Lesley Logan 0:19  Yes but and you just keep repacking the old shit, and that's why you don't get anything new. Lesley Logan 0:25  Welcome to the be it till you see it, podcast where we talk about taking messy action knowing that perfect is boring. I'm Lesley Logan Pilate instructor and fitness business coach. I've trained 1000s of people around the world, and the number one thing I see stopping people from achieving anything is self doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guests will bring bold, executable, intrinsic and targeted steps that you can use to put yourself first and be it till you see it. It's a practice, not a perfect. Let's get started. Lesley Logan 1:07  Welcome back to the Be It Till You See It interview recap where my co-host in life, Brad, and I are going to dig into the unraveling convo I had with Shari Teigman in our last episode. If you haven't yet listened to that interview, you can pause this one and then listen to that one, or you can listen to this one here. We have to say we've got some fun stuff to talk about, and then go listen that one. But you cannot miss it.Brad Crowell 1:25  It's an epic episode. Lesley Logan 1:26  I want to be friends with her. Brad Crowell 1:27  Yeah, she's badass.Lesley Logan 1:29  I do. We should tell her, when we're in London, I don't like I really. Brad Crowell 1:32  We should tell her when we're in London. Lesley Logan 1:33  I don't know how we're gonna fit in another meal, but like, she can meet me for I don't know. She's great. Anyway.,Brad Crowell 1:39  She might be in New York. She lives between the two. Lesley Logan 1:42  She does live between the two. You know what? Then, if she doesn't at least we reached out. But, you know, at least we reached out. The sign that you have ADHD is that you want to hang out with someone, and then you hope that they're not available. Lesley Logan 1:53  Okay, today, while you guys are listening to this is April 30th 2026 and today we're bringing awareness to two things. Brad Crowell 2:00  Two things. Lesley Logan 2:01  So Walpurgis night. Brad Crowell 2:03  Walpurgis night.Lesley Logan 2:03  The Mass of St. Walpurgis Night or Walpurgis Night, is observed on April 30th in parts of northern and eastern Europe, from Sweden to the Czech Republic. It is known as Walpurgis in German speaking nations, Valborg in Sweden and Čarodejnice. Brad Crowell 2:20  Good job. I'm really impressed. Lesley Logan 2:22  There's a J and an N connected to each other. Brad Crowell 2:24  Čarodejnice. Lesley Logan 2:26  Čarodejnice because there's an E in there too. In the Czech Republic.Brad Crowell 2:29  We butchered the hell out of that. So if you don't know how to say it, send us a voicemail, send us a DM.Lesley Logan 2:35  You can, you can call us and leave us a message. And I would love to hear how to say that. (inaudible) Walpurgis Night is also known as the other Halloween. For example, on April 30th, a traditional Walpurgis night ritual involves the burning of an effigy of a witch on a campfire in Sweden. This is a bonfire night once thought to ward off evil spirits, but it's now a fun way to get rid of excess gardening trash. I'm here for the gardening trash. I'm not here for burning fucking witches. So, Brad, you sold me this wrong, because I didn't realize we're burning a witch. Brad Crowell 3:07  It said an effigy of a witch.Lesley Logan 3:09  An effigy of a witch. That's burning a witch. This is we are upset. We're rejecting.Brad Crowell 3:15  Oh, yeah, it's the sculpture or model of a person. Lesley Logan 3:18  Yeah. Brad Crowell 3:18  Well, we're getting rid of those witches. Lesley Logan 3:20  No, no, the witches are the healers, Brad, look it up. So the witches actually were the women healers who had all the information, and they kept it, and they passed it down to the other women about all these different ways to heal from different illnesses and aches and pains, and also how to do periods. And they had these wonderful, wonderful informations. And when they made those healers witches, those women became people that no one could talk to. They became untouchables. And so after three generations, you now no longer have history, and that is how they control you ladies, that's how they do it. So anyways, now that I've fixed that day, why don't you go on with the holiday that sounds way better?Brad Crowell 3:59  Oh yeah, we're not for burning witches. International Jazz Day, this is Brad's excitement here, join with people around the world as this day promotes jazz's roots and our intercultural influence every year, on April 30th. All that jazz. Many considered America's classical music, yeah, maybe, after all, jazz began in New Orleans over 100 years ago. Legendary jazz pianist and composer Herbie Hancock, along with, along with the UN helped create International Jazz Day in 2011. Read on for a musical look distinctly American art form, and don't miss out on a list of four cool jazz sub genres. Lesley Logan 4:36  Brad, what are those four sub genres? Brad Crowell 4:38  I have no idea, and didn't read the rest of that whole book. But what I can tell you is that this is something I love, I'm passionate about. I grew up listening on the way home from soccer practice with my dad, we would listen to 90.1 and it was Temple's Jazz, Temple Philadelphia Jazz station. So it really left an impact on me as a youngster, I got really into the music. And my dad wasn't really playing like performing jazz, but he does play the trombone. And was playing the trombone at the church, never playing jazz. He was always playing, you know, hymns and choirs, stuff, whatever. But, you know, I got really into that, and that was an inspiration as a kid to play the trombone myself. And then all through high school, I got really into jazz, and then I went to college for it, and I studied the trombone playing jazz there. And when I moved out to L.A. I sat all that down, and I started playing rock and roll with my bass guitar and singing and all that stuff. It was fun. But coming to Vegas, just down the street from where we live, is a lovely. Lesley Logan 5:34  Less than a mile. It's like half a mile, maybe three quarters, but. Brad Crowell 5:37  It is a hour that hosts a live jazz night every Monday night, and it's fantastic. Like the musicians are, you know, either grads or they're going through UNLV's Jazz programs. Some of them are doing their masters in music. And these guys get together and they jam every Friday. Lesley Logan 5:55  Monday. Brad Crowell 5:55  Every Monday, sorry, every Monday. And I have been very intentional about making sure I'm there. I just love listening. And I literally am, like, the super dork. People think I'm the manager or the owner of the bar. Lesley Logan 6:06  Because he has his computer out, you guys, and he works.Brad Crowell 6:08  Because I take my laptop and I work in the back corner. Lesley Logan 6:10  I'm like, 10 till 2. 10 pm till 2 am.Brad Crowell 6:13  Yeah, one. Usually I'm leaving around 1:15 but it's three hours of live jazz. They do three sets, and the third set is my favorite, because, talking about sub genres, they always start with, like, a little bit, like, you know, lower, more palatable, as it were, and by the end of the night they're playing, like, huge, like, intense fusion, crazy, like, like, like driving music. And I eat that up. I love that. I think it's, it is also my ADHD brain.Lesley Logan 6:41  Are we gonna tell them where to go for this jazz music? Brad Crowell 6:43  Yeah, it's called The Hard Hat, The Hard Hat Bar. Brad Crowell 6:46  You're trying to keep it to yourself but you're selling it. Brad Crowell 6:48  Yeah, yeah. No one else will love to go. I have my spot in the corner, so. Lesley Logan 6:50  Also, if you're in Vegas on a Monday night, there's not a lot to do. This is a thing you can do, and it's one of the oldest parts. It's not the oldest bar, but people think it is. It's one of the oldest bars.Brad Crowell 6:59  It was in the is started in the 60's, I think.Lesley Logan 7:01  Yeah. According to Las Vegas City (inaudible), it's the third oldest bar.Brad Crowell 7:05  Yeah, but we love it. I love it. Lesley has been there once I think. Lesley Logan 7:08  Zero times. Brad Crowell 7:08  Zero times? You've never been?Lesley Logan 7:09  You've never taken me. Nope. That's why.Brad Crowell 7:10  It's not I haven't taken you. You there's never a chance where you're awake. Zero chances that you're awake.Lesley Logan 7:16  There's zero chances, I mean, on a Monday night. But I here's the thing, guys, I gotta go, because Brad doesn't really under, like, he didn't really understand what like signals he was putting out one Monday night. These people were at his table where he has his computer so he can watch and be on his computer. So he just kept looking at the people at this table over and over and over again. Brad Crowell 7:35  Yeah, I kept glancing and like, how many drinks are these people gonna have, like I want my corner. I like my little spot.  Lesley Logan 7:41  And then he, like, had us finally sit down with his back to them. So then he kept turning around and looking at them, and so they bought him a drink, thinking he was hitting on them.Brad Crowell 7:52  It's true. They definitely, I apparently got caught looking and and I realized, oh yeah, okay, that happened.Lesley Logan 7:59  Yeah, I'm just fine when you're table, although I this would happen to anybody like us, because, like, I'm near my table, that's my spot. Anyways, I'll get to The Hard Hat one of these days, one of these Tuesdays, I won't have to get up at five in the morning, so I'll check it out. But go, go listen to some jazz. Go just play it on your Spotify today, because it's International Jazz Day.Brad Crowell 8:14  If you want, if you want some recommendations, I'm a big fan of a US based group. They're from DC area. They're named Snarky Puppy, and it's, it's a really cool group, because they are like a mix of different musicians that will come in and leave. So sometimes this the band might be four people, sometimes it might be 20 people, right? And they and they just, wherever they do concerts, they pull in all these locals, and they have, like the band director effectively, is a brilliant composer, and he composes with other people. But I've really enjoyed listening to Snarky Puppy. So if you're wondering, you know, what are we talking about here, check them out. Brad Crowell 8:53  I hope people have an idea of jazz. I would love so. The world is going to hell. And I think it is really, especially hell, if you have not heard some jazz.Brad Crowell 9:01  Yeah, but I'm not listening to like, Kenny G elevator jazz, like, that's not my jam. I want something that has definitely got more, you know, juice.Lesley Logan 9:10  Yeah, yeah. Okay. Well, thanks, babe, thanks for, I love your holiday.Brad Crowell 9:15  I have another one. I'm gonna share one more. Lesley Logan 9:16  Okay. Brad Crowell 9:17  So Stan Kenton's Cuban Fire Suite is a journey, and it's worth just sitting down with a, you know, a glass of wine and listening to it from start to finish. I love it. Have so much fun. Enjoy that. Brad Crowell 9:27  All right, here's what's coming up. So Lesley is super busy tomorrow, starting all day, because we have a whole bunch of people coming to the house. They're actually been coming through all day today, doing private sessions with Lesley, and tomorrow she's kicking off the Cadillac Weekend. Lesley Logan 9:42  It's the third weekend of five weekends. Brad Crowell 9:44  For eLevate, her mentorship program.Lesley Logan 9:47  Yeah, and if you're wanting to know more information about 2027's eLevate, there's a few spots left. We actually, on the day we're recording this, accepted two more people. So between, they may have already put their deposit in, which maybe we really like have three spots left, but don't be like, oh, I'm never gonna get it. Like, if you want it, fine, right? Like, we can talk about it. The application is really easy. It's mostly so I can make sure it's the right program for you. I don't, I don't want to sell you something that's not what you're looking for. So lesleylogan.co/elevate. A seventh through the 10th, we'll be in, well, Scottsdale, actually, Brad, we're in Scottsdale at P.O.T. so we hope to see you there. We'll have a booth. I'm not teaching at it, but we'll have a booth. So come, come by. Say hi. I think we're gonna have the dog. Lesley Logan 10:27  Yeah, we're gonna bring Bayon. We're driving in. We're taking the dog. It's a camp tent. Brad Crowell 10:33  We called ahead, and they were like, oh yeah, we're totally dog friendly toys, we're ike, heck, yeah, let's do it.Lesley Logan 10:37  So we're bringing our dog, because it would be so sad. We'll have him home for a month and we have to leave him again. Spring Training is right after we get back. It is May 12th to the 17th. It's about getting upside down, getting overhead. It's really like all the OPC teachers and I are using the workouts.Brad Crowell 10:51  That's OPC Spring Training.Lesley Logan 10:52  Yeah, we're using the workouts and on the mat reformer, tower, and Wunda chair to help you understand the connections, you need to actually do upside down overhead exercises with control and strength so you don't have to fear about hurting your neck or or also you think like I can't do these exercises. I have belly abundance or chest abundance, or whatever. Now there are people that they're not ideally for, but well, you'll learn the replacement exercises for yourself. So you can be in any of these classes, because I do not believe to be an advanced practitioner you do upside down stuff. To be an advanced Pilates practitioner, you have to have connections, so you could be doing non upside down stuff and be an advanced practitioner. So I'm excited for you for that. So opc.me/events and then Summer Tour is literally gonna be announced at any moment, and if it hasn't already so opc.me/tour.Brad Crowell 11:39  Tickets are coming at the end of May or beginning of June, because it'll basically be after spring training.Lesley Logan 11:46  Yeah, right after. So we are going to do, we are doing, and we're doing a route we've never done before.Brad Crowell 11:51  Yeah, I know I'm excited. We're going to be going straight across the middle of the country all the way out to Knoxville, and then we're going to loop back around and hit North Texas on the way back. And then I think we're going to do Tucson, because we haven't been there in a really long time. Lesley Logan 12:01  Yeah, fixing it up, giving another city in Arizona some love, so. Lesley Logan 12:06  But go to opc.me/tour.Lesley Logan 12:11  Oh my god, we've already seen the merch.Brad Crowell 12:13  It's really fun. Lesley Logan 12:14  You guys, even though every year, every tour, we're like, that's so great. How could it get better? It gets better, it gets better. It gets better. So anyways, we have to get into Shari, because she's so great. But before we do that, we have a question.Brad Crowell 12:25  We sure do. @laurat9266 from YouTube asks, hey, would you ever consider a springboard for home use over the Wunda chair or spine corrector? I am gonna jump in right now.Lesley Logan 12:38  Okay, tell me, what do you think?Brad Crowell 12:39  They do, completely different thing.Lesley Logan 12:41  Great job. Brad. Way to go.Brad Crowell 12:42  Thank you. Like, why not have both.Lesley Logan 12:45  Well, and also, like a springboard, it just hangs on the wall, takes up almost no space, so you could still have room for a spine corrector. Brad Crowell 12:47  Well, that's what I mean. You clearly need a reformer to do the springboard, so.Lesley Logan 12:47  No, you just need a wall. The springboard is like a. Brad Crowell 12:47  I was thinking the jump board. Lesley Logan 12:47  You were thinking a jump board. But also still a different thing. Brad Crowell 12:54  They still do different things. Lesley Logan 13:00  Yeah. So the springboard is, like, what you see on the walls with it's like, my wall unit, but like, half of a wall, because it doesn't even stick out from the wall. Brad Crowell 13:10  Right. This just got a couple hooks in it. Lesley Logan 13:12  Because I don't know why you're considering these three, right? Like, it sounds like space might be a diff, like, what we're talking about. Brad Crowell 13:19  Well, maybe also cost. Lesley Logan 13:20  Yeah or it could be cost. Springboards can be expensive, you guys, like, they are almost the same price as my tower, my tower, because I bought the high mat with it, it's like $2,200 full price. So like a springboard is like $1,700 I'm you have to look at these things, and also, who knows, because of all the shits going on. So use my discount. We'll put our, we'll put our Balanced Body, Contrology discount in here. But here's the thing, it depends on what you need. So if you're someone who has a bit more asymmetries, and you're more building your connections up than a springboard, or I prefer my Controlology wall tower, to be honest, because it has the push through bar and it's away from the wall, so it actually provides you the opportunity to do monkey, which you need space behind the tower to do. And also there's some things you can hang off the poles for, like there's just stuff you can do that you can't do with a springboard. So I prefer that if you're using that that can be a great way to take your mat practice to the next level, reformer practice to the next level, and develop the connections you need to advance your practice. When you look at equipment, when the space, the surface space, gets smaller, the more advanced it gets. So the Wunda chair, if you look at the surface space of a Wunda chair, compared to a mat or reformer or Cadillac, springboard, would be using a mat. It's going to be a more advanced piece of equipment. It's going to challenge the connections you have. There's definitely a lot of uses for it to teach exercises that are more advanced on the reformer and mat. It's just inherently a bit more of an advanced piece of equipment. It requires strong balance and connections. Has a lot of great work for asymmetry connections, but it's not easy. It's definitely got a challenge I love I love it, and I think it's wonderful for home use. Also you can do like five, six exercises on. And jump off. It's not it's great. The spine corrector is a whole different modality. So if you were to get one, only one thing, I would say, if you have access to doing mat work or going to a studio for other stuff, get a spine corrector because there's very few spine corrector classes, and every single person who listens to this podcast should be on a spine corrector, every single person. There is a plethora of exercises on there, but there's two series on there that everyone can do almost daily without overworking themselves, and that is the arm series and the leg series. So I really love a spine corrector. I love the Contrology one, mostly. But if you have an arc, you can check and look at my videos. I have tips on how to do that. So I would just say, like it really depends on what your goals are, Laura, and then it's go from there, you'll pick but you could honestly have all three of these in the same space, because, like the spine corrector can hang on a wall, the Springboard's on a wall, the Wunda chair can be pushed up against someone when it's not in use, you could pull it all out. So that's you know. Get them all.Brad Crowell 16:01  If you want to know which Contrology spine corrector she's talking about, just go to opc.me/spinecorrector opc.me/spinecorrector, and you'll be able to find that over there. Yeah. So great question. Thanks for asking. If you have a question, just text us at 310-905-5534, or— Lesley Logan 16:16  Go ahead.Brad Crowell 16:16  You can submit it through, beitpod.com/questions where you can leave both a win and a question or one or the other. Lesley Logan 16:25  And you can also, anytime you want to buy anything from Balanced Body or Controlology, like, reach out for our affiliate link, because if you if you can get a discount, you should, and if you can't, well, I mean, there's reasons why you can't, but you can always just talk to me and we'll figure out if it works. But like, why not try? Doesn't hurt. Brad Crowell 16:42  Why not try? Love it. Yeah, stick around. We'll be right back. Brad Crowell 16:46  Welcome back. Let's dig into this convo you have with Shari Teigman. Shari is a dynamic performance coach and creative business strategist who empowers driven individuals to break free from conventional expectations and unleash the Maverick within. She specializes in guiding ambitious professionals and high achievers who are exhausted by the status quo and currently navigating life's major transitions such as midlife identity shifts and perimenopause. Using her bold, unconventional approach, she helps clients authentically unpack their emotional baggage, resolve internal contradictions and intentionally design lives guided by their own rules.Lesley Logan 17:27  We could have had her for three episodes like she's just phenomenal, has so much to share.Brad Crowell 17:33  I enjoy her transparency. I think it's really funny to me to listen to someone who is willing to be transparent so that people don't judge them. Because I know I do that, like, I build the caveat into the statement with what the things that I say. And I was listening to her do it, and I was like, and then she acknowledged that she was doing it. I was like, oh, that's really interesting. I get that.Lesley Logan 17:55  I also think that we both do it, and I've never acknowledged it. Sometimes I do. I'm like, I'm about to acknowledge, like, this is gonna sound hypocritical, but like, I don't know, like, I understand. Like, I like to say those things not to be judged. But like, so people know that I don't sit here on my pedestal like I've got it all together. You know? I think we all have to be human. Anyways, that's not what I loved. I loved, she said, in our lives, we walk around carrying everyone else's red shoes, pile of crap, and you walk around wheeling it with you, because you call it identity, you call it belonging. And she said, the first piece to finding yourself is to unpack. And I just, I was like, oh, that is like, what a visual, what a visual. We wheel this pile of crap around because we mistakenly call it our identity, belonging, culture, religion, family, like, all these things. And I've got a guest coming up that I've interviewed about, like, good daughtering And, like, I think especially the women listening to this can understand, like, you're like, taking on this stuff. Like, I have family members who are like, oh, do you want grandmas this and great grandparents this? It's like, oh my god, this is so much. I don't why do I have to be responsible for carrying on the legacy of this pot, you know, like that and it's not even, that's not even the emotional stuff. It's like, just like, but a visual of what things things are. And she said, this bag is filled with things that aren't yours, and so you have no room for new stuff. And that is like, so powerful. Like, if you're struggling to try new things, do new things, find yourself it's like, you can't, because I can't buy new a new coat. With this closet so full, I gotta get rid of some stuff, which is, which is the reason we're laughing is because we're packing, like, as we're recording this, we're packing for Europe. And I was like, it's gonna be so cold, and I love coats, and I can only bring one coat, and, like, buy another coat. I'm like, I don't need another coat. I have great coats. I can only take one. So you ultimately have to understand why you keep repacking the same thing in order to finally get a chance to make any real choices. So I love this because, like, I feel like some people think that they're self-sabotaging, or they're in the same spiral. It's like, Yeah, but you kept packing the same stuff, expecting a new result, you know. Brad Crowell 20:05  Or you're carrying around old shit. Lesley Logan 20:06  Yes, but, and you just keep repacking the old shit, and that's why you don't get anything new. Like, we had Brad Bisjack on, and I'm pretty sure it was in his episode we talked about, like, to get to the next level, you have to have a new backpack of stuff, you know. So anyways, like, I think there's some physical and mental unpacking a lot of us have to do if we want to be it till we see it. Brad Crowell 20:27  That's episode 589, if you're wondering. Brad Bizjack, it was a fantastic episode. Lesley Logan 20:32  I've stopped guessing, it's beyond. Brad Crowell 20:34  Yeah, it's all right, we're at 674, not 47.Lesley Logan 20:37  I wish I could have kept going, guys, it would have been like this thing, if you've been a longtime listener that like, wow, she keeps doing it. But now new listeners, I used to be like, I used to just get them right. This one, that one.Brad Crowell 20:49  Well, I really loved when she was talking about the next step after the red shoes, where she was talking about making space for new things, like the unpacking part of it. She said, in order for you to okay, hold on, how much joy do you actually want? How much joy do you want in your life? Lesley Logan 21:08  Okay, you're asking me? Brad Crowell 21:09  I'm asking you, how much joy do you want?Lesley Logan 21:11  Like, all the joy.Brad Crowell 21:12  All the joy, all the joy. I want all the joy. Do you want all the joy? Of course, why would we not say I want joy. I want happiness in my life? She said, equal to the level of joy and fulfillment and peace that you want in your life, you have to be willing to go as deep internally.Lesley Logan 21:29  Oh, I see yes.Brad Crowell 21:31  So if you want massive amounts of joy, you have to be willing to go massively deep into yourself. Right? And so she was talking about unpacking and letting go. And she said, you know, when she discovered some of the things, she said letting go of those things, it wasn't like an overnight thing. And she said it was actually she had, she to go through a grieving process when she was letting go of some of the things because, you know, you've, you've embraced this worldview for your entire life. Or you were, like someone hurt, you know, you were hurt in some way by someone or something or whatever, and or something failed, and it really, you know, scarred you. You know, she said, during the process of unpacking, it actually created a lot of grief. And she said, but if you don't do it, that emotion will sneak up on you and it will come back and bite you in the ass when you don't want it to. Lesley Logan 22:25  Right. You have to do it anyways. You're gonna have to do it. You may as well do it in a time when you're in control of it. Brad Crowell 22:30  Yeah. I mean, it's, it's part of the process of making space for something new. And she said, if we feel trapped, how we get out of that is we release, we go deeper in and then, and then we can come out the other side. So, you know, you, if you're feeling stuck right now, it has to be looking internally, and that's gonna be how (inaudible). Lesley Logan 22:49  All the work. Like, I don't want to do a little bit of work, just have a little bit of joy. That seems like an annoying amount of effort. I'd rather do a lot of work to have a lot of joy. Like that feels like I'm in it to win on that. Brad Crowell 22:58  100% well stick around we'll be right back. Lesley Logan 23:00  I want to go off on a tangent. Brad Crowell 23:01  Just get it, go up on a tangent. Lesley Logan 23:02  Okay, so, today, the day we're recording this, Margaret Margarita Margareta Magnusson died. She got people excited about or aware of something called the Swedish death cleaning. And the Swedish death cleaning is that you, you, it's a Scandinavian decluttering method that is about removing unnecessary items before you die, so that you're not leaving your fucking red shoes for someone else to back around. And the idea is, like, it's it's not supposed to be like, morbid. It's actually supposed to be like, you invite people over. They take that, you tell them the story about the things and the things that nobody wants, and you can, like, let go of and someone can take, so that when you pass, one, all those things are gone. And two, like, in your living days, tell people how important that was, or what that thing meant, or where the history of that thing was, so they can have it. And then when you pass, they don't have to clean up your crap.Brad Crowell 23:56  Yeah, it's Döstädning. I love it. That's actually brilliant. And as long as you're not guilt-tripping people into taking your shit, don't do that.Lesley Logan 24:05  Right. You know what? We all know who those people are in our lives, and we don't have to go so. Brad Crowell 24:08  Yeah, it's called Döstädning, and it, you know, as it works, as long as you're not guilt tripping people into taking your shit. But there's a book about it. It's called The Gentle Art of Swedish Death Cleaning.Lesley Logan 24:18  Do you think if I send that to my mom, it would be considered passive aggressive or just aggressive?Brad Crowell 24:26  Well, I mean, wait, that she should be doing this? Lesley Logan 24:30  I think that I. Brad Crowell 24:31  Well, but that means that we have to go, like, everyone goes to the place and there's like a ceremony. Lesley Logan 24:36  Other people go, I've already, don't I already already took what I need, but she should do it for other people.Brad Crowell 24:41  Yeah, no. I mean, I think this is wise. I think this, this is more of a process of actually the telling of the story and the stuff gives things meaning. Right. And so my grandfather didn't quite do it this way, but he while he was alive, he let the kids my my parent, my dad. And his siblings go through everything and get rid of it. So by the time, you know, when he did pass away, eventually, you know, the cleanup of his estate was like, it was done immediately. Everything was already ready to go. So I saw that, and that was, like, really helpful. But not gonna lie, even with being diligent, it took my parents years, years, even being diligent, right? Lesley Logan 25:24  And I, he didn't do it. But I do feel like the things, some of the things we took, we got the history of it through the family members, but like, I just, this is just on the tangent of like, sharing, like, in the physical and emotional space, of like, what can we do for the people around us so that they don't feel this need to carry on? Because I do think some of the listeners, like, I have family members who, like, won't let go of stuff, because, like, that was my like, I feel I've even heard your friend go, that's great grandpa's stuff. And it's like, holy shit. We are going to need bigger homes, not just like, physically, but. Brad Crowell 25:54  Like, we're making our own museums.Lesley Logan 25:56  Mentally, because, like, you, you it's hard. It's just anyways, we all want to be better people want to have joy in sometimes we're don't. We don't have that because we got a bunch of other people's stuff in the way. That's all. Anyways, it's just another way of thinking about it.Brad Crowell 26:08  Wait one, one less way to be trapped. Yeah, because, because trapped now, now I'm see because trapped is two things. You can be trapped by keeping the stuff yourself. You can also be trapped if someone dies and leaves you a bunch of shit you got to deal with. So, right? You know, like, it's, it's definitely challenging so.Lesley Logan 26:25  And it's, and when they, and if they do those red shoes she's talking about, I'm just thinking about like, when people die suddenly, or they die and there's unanswered emotional like problems and stuff like, you then feel like you have to protect the red shoes. And so I just think that there's some things we could be doing as we be it until we see it, as we change our lives, become better than the people like we once were to get 1% better, whatever those things are. How can we be making it so that the people around us don't carry our fucking red shoes? I don't want anyone carrying I mean, you might like them, but I don't want anyone have it feel like they have to. Brad Crowell 26:54  All right. Well, stick around. We'll be right back. We're gonna dig into those Be It Action Items with Shari Teigman. Brad Crowell 27:01  Welcome back. All right, let's talk about the Be It Action Items that you have with your convo with Shari Teigman. What bold, executable, intrinsic or targeted action items can we take away? She said, when it comes to being trapped and going deeper and trying to figure that out, how do we do that? She said, however, you need to. Punch it out. Punch a pillow. Cry in a pillow, write it out, burn it out, whatever your ritual needs to be, dance it out. Bang it out. She explains that we have to tell the truth to ourselves. We cannot pretend that like only having the highlight reel and then that that's okay and it's gonna allow us to feel like a human, because otherwise it will still sneak up on you, right? If we don't allow emotion, the emotion will sneak up on you when you don't want it. And she said, emotion is just emotion. It's not good or bad. Lesley Logan 27:44  This goes back to Dr. Bender, like her second interview. She's like, we always are trying to figure out the reason why we feel an emotion. But she's like, just let it go by. Sometimes it's just emotion your body wants to feel. It has nothing to do with what you're thinking about right now. Brad Crowell 27:55  Yeah, she said she views this active emotional release as essential. Basically, she said, I'm going to grieve, because it's part of my process of making space for something new. So, yeah, I thought that was great. I mean, I think especially acknowledging that emotion is just emotion. It's not good or bad. Don't judge yourself, you know. I mean, don't maybe don't break a window. But, like, you know, if you have to be loud, be loud. It's okay. Lesley Logan 28:21  When I leave breath work for the Agency members, I'm like, you could laugh, you could cry, you could do you could want to, like, scream into a pillow. You could need to get up and dance. You can need to shake your hands like you don't need to figure out why you need to do that. Just do the thing because it doesn't like, it's just, we're we're trying to release what's inside you. We don't have to figure out why we need to release what's inside you. Just let it go. Okay. Brad Crowell 28:39  Yeah. What about you? Lesley Logan 28:40  So many good so many good things. But this is brilliant. She said, clean up the internal contradictions, which, by the way, as an ADHD person, this is like, I'm a walking internal contradiction. But if you don't understand, I like people, I want to be away from them. She's, she's like, you're, she said, if you're saying, you want to have a bigger life, but you keep making micro choices. You're lying to your nervous system, because you're answering the old version of yourself like you're not actually doing the work you're not doing the be it till you see it. This is basically what you're doing. So she said, the identity you want for the life you you want is going to require align actions to that. So what you want, you have to make align actions for that. It sounds common sensical, but look at the internal contradictions you're doing. What are you doing that's not necessarily aligned? So she advises to choose your actions intentionally instead of making excuses. And I think this is, you know, really important. I remember, like trying to figure out, like, an excuse for why I was late for things or not able to do stuff. And honestly, it's so much easier to go I just didn't do it. I screwed up, like, instead of I think it's a lot easier, and you can just move on and go from there. So I agree with that. And then she said, once you clean all this up, the questions you ask will become much more clear and much more honest, and then you'll get those like, answers that align with that. So she this is just such a good episode. You have to listen to the whole thing. So if you haven't, got to go listen to it, because we cannot do Shari Teigman the way Shari Teigman does Shari Teigman. You got to listen to her. And she does have a journal coming out, The Maverick Way: A Field Guide to Coming Undone on Purpose. And you can go follow her on Instagram. We have all that in there. Shari Teigman. So anyways, I love it. I'm Lesley Logan. Brad Crowell 30:18  And I'm Brad Crowell. Lesley Logan 30:19  Hey, go listen to the episode. Share it with a girlfriend who needs to hear it. Share it with a friend who's carrying around someone else's red shoes. And maybe that becomes the thing like, sounds like you got some red shoes of somebody's, I don't know, share it with a friend, because this is how the podcast continues to grow. Gets even better guests. Brad Crowell 30:35  Even better. Lesley Logan 30:35  I'm so excited for where we're growing, and the people that we've been able to get on. The lineup that you've got coming up is some really fun, amazing things. So go, Be It Till You See It. Brad Crowell 30:44  Bye for now. Lesley Logan 30:45  That's all I got for this episode of the Be It Till You See It Podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review and follow or subscribe for free wherever you listen to your podcast. Also, make sure to introduce yourself over at the Be It Pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others Be It Till You See It. Have an awesome day. Be It Till You See It is a production of The Bloom Podcast Network. If you want to leave us a message or a question that we might read on another episode, you can text us at +1-310-905-5534 or send a DM on Instagram @BeItPod.Brad Crowell 31:27  It's written, filmed, and recorded by your host, Lesley Logan, and me, Brad Crowell.Lesley Logan 31:32  It is transcribed, produced and edited by the epic team at Disenyo.co.Brad Crowell 31:37  Our theme music is by Ali at Apex Production Music and our branding by designer and artist, Gianfranco Cioffi.Lesley Logan 31:44  Special thanks to Melissa Solomon for creating our visuals.Brad Crowell 31:47  Also to Angelina Herico for adding all of our content to our website. And finally to Meridith Root for keeping us all on point and on time.Brad Crowell 32:00  Hi, okey doke. Episode 647. Lesley Logan 32:06  Wait. Say that again. Brad Crowell 32:09  Episode 647 Lesley Logan 32:10  Say it one more time. Brad Crowell 32:12  Episode 647Lesley Logan 32:13  674 Brad Crowell 32:16  Episode 674 Lesley Logan 32:18  Whoa, dyslexic. Hey, keepsake. How about keepsake on that one. Lesley Logan 32:24  Episode 674, Shari Teigman. Lesley Logan 32:27  Just so we are all clear, because I need evidence and receipts. My husband, two days in a row has just that dyslexic marking these dates down.Brad Crowell 32:36  Any fucking way. Let's move on. All right. 674, Shari Teigman. Bayon, thank you. Please don't bark. Brad Crowell 32:45  Stan Kenton wrote, wrote something called the wow. My my middle school no high school jazz band. My high school jazz band actually played from start to finish, pausing. Welcome back.Lesley Logan 33:06  I'm here. Brad Crowell 33:07  Welcome back. Lesley Logan 33:08  So Walpurgis, night. Brad Crowell 33:10  Walpurgis. Lesley Logan 33:11  Walpurgis. Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

From Sesame Street to Bel-Air, this week’s guest has had quite a Hollywood journey - and now she’s making her first appearance on Pod Meets World. It’s time for Tatyana Ali! Find out what sharing the screen with Big Bird and Oscar the Grouch was like, and how her voice became an instrument of the legendary Herbie Hancock. Tatyana also reveals how her life got flipped and turned upside down on “Fresh Prince of Bel-Air,” and we hear all about her next act as a children’s book author and guest on “Abbott Elementary”. Plus, we learn the power of knowing “it will all work out,” right here on Pod Meets World! Follow @podmeetsworldshow on Instagram and TikTok!See omnystudio.com/listener for privacy information.

On the latest episode of Milestones: Celebrating the Culture, acclaimed trumpeter Jeremy Pelt joins host Angélika Beener for a conversation that bridges generations of jazz artistry. Pelt convenes a multi-generational ensemble of jazz voices, honoring a defining tradition of the music: the artist as a witness to, and shaper of the times. With his latest album, With Our Community Will Not Be Erased, Pelt offers a deeply felt statement grounded in love, resilience, and collective spirit, reminding us that jazz remains as much about community as it is about individual expression.The conversation also marks the 60th anniversary of Speak No Evil, the 1966 masterpiece by Wayne Shorter that stands as one of the defining works of post-bop music. Featuring an extraordinary quintet of Herbie Hancock, Freddie Hubbard, Ron Carter, and Elvin Jones, the album blends haunting lyricism with daring harmonic exploration. Separated by six decades, these two recordings are explored in equal measure as we continue to celebrate the 25th anniversary of Jazz Appreciation Month. 

Straight out of Philly is Billy "Shoes" Johnson, one of my favorite drummers of all time on today's show. He was the MAN playing with Santana during the Supernatural tour and the sound on Da Le Yaleo! Billy riffs about his favorite musicians including Stanley Clark, Chick Corea, George Howard, Herbie Hancock, Tony Williams, and Jerry Brown. We are talking music history and Billy was in the jam.  Billy pays homage to his parents, siblings and Grandparents for listening to his drumming in his early years. "Put your ego in your back pocket and serve the music"....says Billy....inspired by Steve Gad. Hear the inside story of touring with Santana and going to school off of percussionists Karl Perrazo and Raul Rekow.   Their chemistry made Supernatural .....well supernatural! Learn the lesson of creating space with your drumming, especially with Santana. Remember, when you are playing drums, you are playing time. Find space in your time. Think of the big picture and the overall sound. Pay attention and listen. And remember, don't box in your lead guitarist...or anybody....especially if his name is Carlos Santana. A special thanks to our mutual friend, Mr. Dan Ashley, world class broadcaster at ABC, musician, and mentor for connecting us. Become a supporter of this podcast: https://www.spreaker.com/podcast/success-made-to-last-legends--4302039/support.

Miles Davis- Miles In The Sky (Columbia Records)(Released  January 16, 1968 and May 15–17, 1968)Miles in the Sky (1968) captures Miles Davis at a pivotal moment of transition. Recorded with his celebrated Second Great Quintet—Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams—the album marks the first clear step toward Davis's electric period. Released by Columbia Records, the record introduces electric piano and electric bass into Miles's studio sound while retaining the sophisticated interplay the quintet had developed through earlier post-bop recordings. The four extended tracks blend groove-based structures with the band's advanced rhythmic freedom and conversational improvisation. Pieces such as “Stuff” and “Paraphernalia” hint at the influence of late-1960s rock and funk, while still grounded in the group's exploratory jazz language. The album stands as the final full studio statement by the Second Great Quintet and foreshadows Davis's radical electric experiments that would soon emerge on his 1969 releases In a Silent Way and Bitches Brew. (S5-EP16)

Wulf Muller is a German born European jazz impresario. He was Polygram's International Director for Jazz and Classical Marketing. He was responsible for the global marketing campaigns for superstars like Luciano Pavarotti, Cecilia Bartoli, Herbie Hancock and Diana Krall. He also signed a number of major artists including Sonny Rollins, Roy Hargrove, John Scofield, Branford Marsalis, Bill Frisell and John Medeski. And he's written a memoir entitled ‘My Life In Music'. My featured song is “Python” from the album PGS 7 by my band Project Grand Slam. Spotify link. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes  Click here for Guest List  Click here for Guest Groupings  Click here for Guest Testimonials Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH WULF:https://wulfmuller.wordpress.com/ —---------------------------------------- ROBERT'S NEWEST RELEASE:“MI CACHIMBER ALL STARS” is the new, expanded version of Robert's single, “Mi Cachimber”, which he wrote for his father. Featuring Camila Cortina on Rhodes and Xito Lovell on trombone in addition to Benny Benack III and Dave Smith on flugelhorn, and Project Grand Slam's rhythm section. CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S RECENT RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's latest release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —---------------------------------------- Audio production: Jimmy RavenscroftKymera Films   Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com   Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com    

Gordon Bahary Gordon Bahary is a multi-platinum recording artist, songwriter, composer and producer. As one of the early synthesizer pioneers, Bahary got his start at the age of 15 working with Stevie Wonder as his synthesizer programmer in 1975. They collaborated on his album “The Secret Life of Plants.” Bahary's blockbuster hip-hop/R&B hit “Electric Kingdom” reached number 7 on Billboard. Other collaborations include synthesizer programming for Herbie Hancock, producing jazz legend Ramsey Lewis and actor/singer Raven Symone, as well as Grammy recipients: soprano, Hila Plitmann and composer, Richard Danielpour. He is currently focusing on scoring for TV and film, and his electronic music projects. He's a very talented and funny guy. Happy to call him a friend.

Herbie Hancock-Speak Like A Child (Blue Note Records) Released Summer of 1968 Speak Like a Child is one of the more lyrical and introspective recordings in the catalog of Herbie Hancock. Released on Blue Note Records in 1968, the album reflects Hancock's growing interest in subtle orchestration and melodic simplicity following the more harmonically dense work of his earlier recordings. Rather than a traditional trumpet-sax frontline, Hancock chose the unusual combination of flugelhorn, bass trombone, and alto flute, creating a warm, floating ensemble sound. The music emphasizes spacious melodies, gentle rhythms, and impressionistic harmonies. Pieces like the title track and “Riot” highlight Hancock's gift for understated composition and ensemble color. Featuring musicians such as Thad Jones, Micky Roker and Ron Carter, the album stands as one of Hancock's most delicate and emotionally resonant Blue Note recordings. (S5-EP15)

Over the past forty years, Gina Gershon has remained a beloved actress while constantly pushing herself as an artist, adding to her astonishing and diverse resumé. Since her small, breakout performance in Pretty in Pink, Gershon has been best known for her roles in movies (including Bound, Showgirls, Face/Off, The Insider) and television (including Brooklyn Nine-Nine, Riverdale, Curb Your Enthusiasm, The Assassin), but her career, and community, began as a musician and dancer. She performed at Carnegie Hall, recorded albums, and toured the United States, playing her jaw harp with Sting, Laurie Anderson, Joan Baez, Paul Simon, and Herbie Hancock. While she has not yet performed with her close friend Bob Dylan, they were sparring partners when Gershon took up boxing. On the stage, Gershon has worked with David Mamet, and performed in Sam Mendes's Cabaret and the Tony Award-winning Boeing-Boeing. In 2007, Gershon took on a new artistic practice, publishing the children's book Camp Creepy Time with her brother Dann. She later released her first work of nonfiction, In Search of Cleo: How I Found My Pussy and Lost My Mind, the true story of Gershon's search for her runaway cat. Gershon's newest book AlphaPussy: How I Survived the Valley and Learned to Love My Boobs, looks back at how she learned to survive and thrive in Hollywood, tracing her brilliant and unique career to find cautionary tales, turning points, and everything in between.On April 3, 2026, Gina Gershon came to the Sydney Goldstein Theater for an onstage conversation with Gina Pell, Content Chief of The What.

A track from the excellent Baalti & Lapgan album. Broken Beat from Marcia DaVinylMC and remixes from Matica and Oliver Night. Ventoux's tune in 15/8 time is worth a listen. A track from the new Onra album. Drum and Bass from Shy FX and KINGH and another play of Calibre's remix of Sun Ra Arkestra. We pay tribute to legendary drummer James Gadson with tracks from Herbie Hancock and Benny Golson. A classic from Soul II Soul. Jazz from Sefi Zisling remixed by Beno. Dancefloor music with a message from TC & The Groove Family. Plus plenty more music treats.

 In Part 2 of our chat with the brilliant David Hirschfelder, we dive deeper into his time with John Farnham, talk on his numerous other collaborations and his incredible career as a film and TV composer. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   Rehearsing for tours with John Farnham Recording the Age of Reason album The Fairlight Series 3 and the song Two Strong Hearts The decision to stop touring David in action with John Farnham in touring version of Jesus Christ Superstar David’s keyboard rig for Jesus Christ Superstar The brilliant Farnham documentary – Finding The Voice Handing over the baton to the brilliant Chong Lim David’s solo album: Welcome To The Nighclub Of My Mind David’performing one of his solo creations: Cool School Rules David Hirschfelder and David Hobson – Inside This Room Joesph Campbell – The Hero With A Thousand Faces The move to film and TV composition David’s work on Strictly Ballroom Working on the movie Shine David’s full roster of creations A potted history of the Yamaha Disklavier series of pianos David’s work on the film Elizabeth A chat on DAWs, plugins and David’s love for the Arturia Polybrute David’s work on The Dressmaker  David’s work on Legend of the Guardians: The Owls of Ga’Hoole David’s work on The Railway Man David’s work on The Water Diviner David’s work on Sleeping Dogs Sam Hirschfelder – musician and composer Desert Island Discs: The Rite of Spring – Stravinsky (Conducted by Stravinsky), V.S.O.P. (Live) – Herbie Hancock, Heavy Weather – Weather Report, The Planets – Holst, The Mission – Ennio Morricone Key links: Become a member of our YouTube channel and receive extra content Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our audience survey to help us improve! Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post David Hirschfelder, Composer / John Farnham / Little River Band (Part 2) appeared first on The Keyboard Chronicles.

Estrella Acosta en haar band Esquina 25 vieren de release van hun nieuwe album ‘Caminos' in het voorjaar van 2026 met een concerttournee, waarmee ze op vrijdag 3 april De Tor in Enschede aandoen. Ze hebben hun horizon verbreed en een breed scala aan Latijns-Amerikaanse muziek laten horen, niet alleen uit Cuba, maar uit heel Zuid-Amerika en het Caribisch gebied. Aanleiding voor TORcast-host Willem Habers om eens in de wereld van Latijns Amerikaanse muziek te duiken. Playlist: Buena Vista Social Club: Chan Chan; Estrela Acosta & Esquina 25: Baila e Son Con Mi Mulata; Estrella Acosta: Mi Tierra Es Asi; Dizzy Gillespie: Manteeca; Tito Puente: Oye Como Va; Dubbelaar: Mongo Santamaria: Afro Blue; John Coltrane quartet: Afro Blue; Antonio Carlos Jobim: Wave; Elis Regina, Antonio Carlos Jobim: Aguas de Março; Josee Koning, Has Vromans, Nelson Maria, Daniel Pezzotti: Desafinado; Izaline Calister: Mi Pais; Estrella Acosta: Que Viva Chango; Astor Piazzolla: Libertango. Beluister deze TORcast Latijns‑Amerikaanse muziek heeft een enorme invloed gehad op de ontwikkeling van de jazz, vooral via ritmes, percussie‑technieken, dansvormen en nieuwe harmonieën. Hieronder vind je een chronologisch en thematisch overzicht. Cuba: de bakermat van Afro‑Cubaanse ritmes Afro‑Cubaanse basis (19e–20e eeuw) Ontstaan uit de mix van Afrikaanse ritmiek (Yoruba, Congo, Arará) en Spaanse melodie/harmonie. Belangrijke vormen: Rumba, Son, Danzón, Mambo, Cha‑cha‑chá. Cruciaal instrument: clave (2–3 / 3–2 patroon), hét ritmische fundament. Cuban Jazz & Latin Jazz (jaren 40–50) Jongeren in Havana en New York vermengen Son, Mambo en jazzharmonie. Sleutelpersonen: Mario Bauzá, Machito, Dizzy Gillespie, Chano Pozo (o.a. Manteca). Ontstaan van Afro‑Cuban Jazz: krachtige blazers, complexe polyrhythms, montuno‑piano. Later (jaren 70–heden) Salsa ontwikkelt zich (Fania All‑Stars, Willie Colón, Celia Cruz). Moderne Cubaanse jazz: Chucho Valdés, Irakere, Gonzalo Rubalcaba, Roberto Fonseca. Brazilië: ritmische rijkdom & zwoele harmonieën Samba (begin 20e eeuw) Afro‑Braziliaanse wortels, ontwikkeld in Rio. Ritmische kenmerken: 2/4 feel, syncopen, grote percussiegroepen. Bossa Nova (jaren 50–60) Intiemere, harmonisch verfijnde stijl (invloed van jazz). Pioniers: João Gilberto, Tom Jobim, Vinicius de Moraes. Wereldwijde doorbraak met The Girl from Ipanema (Getz/Gilberto). Harmonieën beïnvloeden jazzpianisten & componisten wereldwijd. MPB en beyond MPB (Música Popular Brasileira): Caetano Veloso, Gilberto Gil, Elis Regina. Moderne Brazilian Jazz: Hermeto Pascoal, Egberto Gismonti, Hamilton de Holanda. Argentinië: Tango & Nieuw‑Tango Traditionele Tango (eind 19e–20e eeuw) Ontstaan in Buenos Aires en Montevideo. Melancholisch, dramatisch, bandoneón‑gedreven. Iconische figuur: Carlos Gardel. Nuevo Tango (jaren 50–90) Astor Piazzolla mengt tango met jazz en klassieke muziek. Complexe harmonie en ritmische vrijheid. Invloedrijk in de moderne jazzwereld; talloze jazzarrangementen van Piazzolla's werk. Andere regio's & stijlen Mexicaanse invloeden Bolero, Ranchera, Son Jarocho (bv. La Bamba). Minder directe jazzkruising, maar bolero's worden vaak in jazzsetting gespeeld. Caribisch gebied (Puerto Rico, Dominicaanse Republiek) Plena, Bomba, Merengue, Bachata. Sterk aanwezig in moderne salsa en Latin jazz (bijv. Tito Puente, Eddie Palmieri). De invloed op jazz: een korte lijn door de tijd Jaren 30–40 – Eerste invloeden Duke Ellington en Jelly Roll Morton integreren Latijnse ritmes. Jaren 40–50 – Afro‑Cuban Jazz boom Gillespie & Pozo fuseerden bebop met Cubaanse percussie. Jaren 60 – Bossa Nova in de jazz Stan Getz populariseert Bossa Nova. Pianisten als Bill Evans en Herbie Hancock nemen Braziliaanse harmonieën over. Jaren 70–90 – Salsa & Latin Fusion Latin jazz‑orchestra's (Puente, Palmieri). Jazz musicians integreren samba, baião, MPB en folkloristische ritmes. 2000–heden – Cross‑genre & global jazz Mix van Afro‑Cuban, Brazilian, elektronische muziek, hiphop en jazz. Voorbeelden: Arturo O’Farrill, Miguel Zenón, Hiromi met Latin‑influences, Snarky Puppy (sterke Braziliaanse invloed). Samenvatting in één oogopslag Stijl Land Kernkenmerken Jazzinvloed Son / Rumba / Mambo Cuba Clave ritme, percussie, montuno Basis Afro‑Cuban jazz Samba Brazilië Energieke percussie, 2/4 feel Jazzdrums & ritmiek Bossa Nova Brazilië Zachte groove, rijke harmonie Grote invloed op jazzstandards Tango Argentinië Dramatische melodieën Avant‑garde/fusion via Piazzolla Salsa Cariben Mambo + son + jazz Big band Latin jazz

durée : 00:59:53 - Main Squeeze - par : Nathalie Piolé -

Vince Wilburn Jr. was growing up on Chicago's South Side when his mother would get him all dressed up because his Uncle Miles Davis was coming to town. Sometimes they'd see the brilliant trumpeter perform, including at the tiny Plugged Nickel club in Old Town. By the 1980s, Wilburn was playing drums in Davis' band and helping produce his albums. Wilburn now performs in Miles Electric Band (MEB) and co-manages Davis' estate, which is overseeing the Miles Davis 100 campaign to mark his uncle's 100th birthday. One major release is The Complete Live at the Plugged Nickel 1965, a 10-LP/eight-CD box set covering a legendary live engagement by Davis and his “second great quintet” (drummer Tony Williams, pianist Herbie Hancock, tenor saxophonist Wayne Shorter and bassist Ron Carter). Wilburn reflects on the band's wildly experimental approach those nights, as well as what it was like to be Davis' nephew and how he's keeping his uncle's legacy alive.

Jacob Collier is a rare musician: an expert in so many musical languages (western harmony, negative harmony, microtonalism) and a phenomenal communicator about music. He's something like an Ambassador for Music, traveling the world and getting thousands of people, musicians and non-musicians alike, to sing in his audience choirs. Live at On Air Fest, this conversation, catches Jacob between projects. Last year he released The Light for Days, a comparatively minimalist collection of songs written on his special five-string guitar, a quiet turn after the massive Djesse quadrilogy, which featured over 50 collaborators from Herbie Hancock to Anoushka Shankar and wove hundreds of thousands of audience choir voices into the recordings. Given that Jacob is always improvising with the best collaborators, Charlie wanted one of his own own. Five minutes before the show, Charlie spotted Sam Sanders, co-host of Vibe Check and host of the Sam Sanders Show on KCRW, and asked him onstage. Sam's a musician and one of the great interviewers, and he showed how improvising in conversation is just as essential as it is in music. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode of Backstage Bay Area, host Steve Roby interviews Dr. Eddie Henderson — a trumpet master, bandleader, and one of the few remaining links to Miles Davis's world. Born in San Francisco, Henderson's musical career started at 17 when Miles Davis stayed at his parents' house (his stepfather was Miles' doctor), introduced him to the legendary quintet, and ignited a lifelong love for jazz.Henderson shares remarkable personal stories: witnessing the Kind of Blue repertoire live with Coltrane, Cannonball Adderley, and Philly Joe Jones; receiving direct advice from Miles to "get your own sound"; and the unforgettable moment he silenced Miles by dropping the name Freddie Webster. He also opens up about his time with Herbie Hancock's Mwandishi band, his years playing alongside Art Blakey, and his current role as a trumpet instructor at Oberlin Conservatory.The conversation looks ahead to Eddie's upcoming performance at SF Jazz's Miles Davis Centennial Tribute at Miner Auditorium in San Francisco on March 21, where he'll lead a group performing the complete ‘Kind of Blue' album alongside drummer Lenny White and saxophonist Javon Jackson — both of whom have their own deep connections to Miles.Topics covered:Meeting Miles Davis at age 17 and seeing the first live performance of the Kind of Blue repertoireWhy Miles' music has endured — from modal jazz to Bitches Brew to hip hopMiles' philosophy: playing music vs. playing the instrumentThe famous "Freddie Webster" exchange and what it taught Henderson about finding your own voiceMiles as housemate, mentor, and comedianPerforming alongside Lenny White (Bitches Brew) and Javon Jackson at the SF Jazz tributeTeaching jazz at Oberlin and passing down the wisdom of MilesLinks & Info:SF Jazz Miles Davis Tribute — Saturday, March 21st, Miner Auditorium, San FranciscoTickets: sfjazz.org (shows nearly sold out at time of recording)Backstage Bay Area is your inside look at the Bay Area jazz scene. Subscribe and leave us a review if you enjoyed this episode.

In Part 2 of our interview with Adam Holzman, we cover his longstanding work with Steven Wilson, his bands Brave New World and Trifecta, Jane Getter Premonition, Adam’s amazing solo works, his Creative Synthesizer Technique book and some amazing stories of playing with Herbie Hancock and Chick Corea (amongst many others). There’s also a great train wreck story and a funny Miles Davis anecdote to round things out. Part 1 of the interview can be found here. To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   Adam in action with Mona Lisa Overdrive in 1994 Adam and Brave New World at Progstock 2022 The brilliant William ‘Ju Ju’ House Adam Holzman & Brave New World – Spork Adam Holzman – Truth Decay Adam Holzman & Brave New World – The Last Gig Adam Holzman – Zombie Apocalypse The Moog DFAM Steven Wilson – Beautiful Scarecrow Forming Trifecta Trifecta – Clean Up on Aisle Five John Pritchard, Adam Holzman and Rich Damone – The Dawn (Of a New Age)  Joining Steven Wilson’s band (and being nervous about it) Steven Wilson – Raider II The Raven That Refused To Sing (And Other Stories) Discussion of Adam’s approach live and in the studio to his solo on Regret #9 Adam playing his iconic solo live on the song Regret #9 Adam’s co-write with Steven Wilson – Economies of Scale (from the album The Harmony Codex) Steven Wilson – Impossible Tightrope Adam’s keyboard rig with Steven Wilson Adam’s book – Creative Synthesizer Technique Avoiding ‘Preset Purgatory’ Getting to play with hero Jan Hammer Adam playing live with Herbie Hancock, 1988 The non-musical skills required for musical success The Fents – Back in the Saddle Brief chat on Cruise to the Edge and Jane Getter Premonition  Adam jumps into a Tony Levin-less Stick Men gig on Cruise To The Edge 2024 Desert Island Discs (Rock/Pop): Songs in the Key of Life – Stevie Wonder, Starless and Bible Black – King Crimson, Relayer – Yes, Us – Peter Gabriel, Rubber Soul – The Beatles Desert Island Discs (Jazz): Spectrum – Billy Cobham, Birds of Fire – Mahavishnu Orchestra, Tale Spinnin’ – Weather Report, Thrust – Herbie Hancock, Hymn of the Seventh Galaxy – Chick Corea / Return to Forever Key links: Become a member of our YouTube channel and receive extra content Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our audience survey to help us improve! Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post Adam Holzman, Steven Wilson / Miles Davis / Solo Artist (Part 2) appeared first on The Keyboard Chronicles.

Greg Watts• British - Born in Reigate, UK.• DWB Publishing https://www.dwbmusicgroup.com• Greig runs a mentorship program.• He partnered with a couple of song writers.• Keeping The Dream Alive is his book.• Coaches a female football team.• The book is about perseverence and overcoming rejection in the music business.• Howard Jones, Madness, Thomas Dolby. • Greg gravitated yo the keyboards in music.• He worked at a bank for 9 years.• He's had a lot of hits in the Japanese market (JPop).Questions 1. What is the “brutal truth” about the music business?2. You cite Herbie Hancock's “Axel F” as an inspiration. Is your sound rooted in the music of the 80's?3. It's great to use the plethora of tools available to songwriters today. But monetizing is an entirely different battle. How does an artist get compensated for his work today?4. Was there someone who mentored you in music?5. Can you name a song that not only impacted you, but actually changed the world?6. What can a young artist do to implement the structure and discipline required realize their dreams in music? 7. How do handle a situation when a student is just not a fit for mentorship?8. You have had 16 artists perform at Eurovision over the last ten years. What is Eurovision?9. What did you learn about yourself during the writing of this book that you did not know before?10. In your book you show a snapshot of a report card that read “Greg plods along in music without much enthusiasm or interest”. Was that a motivator or catalyst for you moving forward?11. Philopsical Question of the podcast: When we landed on the moon the astronauts listened to “Fly Me to the Moon” by Frank Sinatra. When we land a man on Mars, what will be the theme for the astronauts? (Madness “One Step Beyond”?)Pop music that MTV made famous1. Madness (Our House) vs Thomas Dolby (Blinded Me with Science)2. Lisa Stansfield (Never Going to Give You Up) vs. Kim Wild (Kids in America)3. Herbie Hancock ( Axel F) vs. Europe (The Final Countdown)4. Howard Jones (No One is to Blame) vs. The Psychedelic Furs ( Love My Way)Round 2Blinded Me With Science vs. Kids in AmericaAxel F vs. Noone is to BlameFinalKids in America vs Axel FChampAxel F

Episode 348: Kristina Train is a singer and songwriter who should be on more people's radar. Her remarkable resume was built in the jazz world (Blue Note Records and touring with Herbie Hancock), but the Savannah, GA native has always shown mastery for a seductive strain of country soul. That goes explicit on the powerful yet subtle 2025 album County Line. Craig speaks with Train about her critically acclaimed albums of the 2010s and her decade or so as a Nashvillian.  

Lee is joined this week by friends and fellow podcasters Matt and Vaughn to cover a film unfairly slotted into the Blaxploitation genre, and a film that was pressured out of the theatres by the FBI, and thought lost for years: Ivan Dixon's "The Spook Who Sat by the Door" (1973), based on the controversial 1969 novel of the same name by Sam Greenlee. The three white as snow hosts have a pretty good conversation about a very black film, that's politically far deeper and more angry than most other black films of the era. The hosts also talk about what they've watched as of late. Join the Cobras with us, and lets take down the white establishment! "The Spook Who Sat by the Door" IMDB  Check out Matt on the Movie Melt podcast.  Check out Vaughn on the Motion Picture Massacre podcast.  Lee on Bluesky, Instagram, and Letterboxd.    Featured Music: "Man with a Mission" by Keith Mansfield & "The Spook Who Say by the Door" by Herbie Hancock.

Ryan Estes sits down with Don Lucoff, founder of DL Media and Artistic Director of the Denver Jazz Fest. Don has spent nearly four decades in jazz as a publicist, producer, and festival programmer, working with legendary artists and labels like Impulse and Blue Note. Now he is helping build a national caliber jazz festival right here in Denver. The State of Jazz Don reflects on how dramatically jazz media coverage has changed. There was a time when major outlets regularly reviewed jazz records and featured artists on national television. Today, most of that coverage has vanished. Yet jazz itself has not disappeared. It continues to shape modern music. Artists like Kendrick Lamar have collaborated with jazz musicians such as Kamasi Washington and Robert Glasper. The influence is everywhere. As Don puts it, jazz can sell everything but itself. It is deeply embedded in popular culture, even if it is no longer center stage in mainstream media. Why Denver Is a Jazz City Denver has a stronger jazz pedigree than many people realize. The Front Range is home to major jazz education programs at the University of Northern Colorado, University of Denver, University of Colorado Boulder, Metropolitan State University of Denver, and Colorado State University. These institutions consistently produce world class players. Historically, Five Points was known as the Harlem of the West, a vital stop for touring jazz musicians crossing the country. Add the Beat Generation passing through town and you have a city that has long been part of America's cultural and musical story. Inside Denver Jazz Fest The Denver Jazz Fest spans 15 venues across Denver and includes performances in Boulder County. It blends national headliners with respected local artists, creating a citywide celebration. This year's lineup includes Pat Metheny, Branford Marsalis, Bob James, and John Beasley. The festival also honors the centenary of Miles Davis and John Coltrane with special tribute performances, including a presentation of A Love Supreme by Denver saxophonist Keith Oxman. The goal is inclusivity and accessibility. Whether you are a lifelong jazz fan or just jazz curious, there is a show for you. Where to Start Listening For new listeners, Don recommends classics from the Blue Note catalog such as Lee Morgan's Search for the New Land, Herbie Hancock's Maiden Voyage, Wayne Shorter's Speak No Evil, and Grant Green's Idle Moments. From Impulse, he points to John Coltrane's Crescent and A Love Supreme, Alice Coltrane's Journey in Satchidananda, and Pharoah Sanders' Thembi. These records are not homework. They are entry points into a vast and vibrant tradition. Final Takeaway Don's career proves one thing. You may not get rich in jazz, but you can build a life around passion, community, and great music. Denver Jazz Fest is more than a series of concerts. It is a statement that this city values artistry, education, and cultural history. Learn more and get tickets at denverjazz.org. See you there.

In addition to outstanding new sounds from Dominique Fils-Aimé, Standing Circle, Blue Lab Beats, Tcheep and The Messthetics with James Brandon Lewis, we paid tribute to the late Willie Colon, looked back a half-century to Herbie Hancock, Airto, Eddie Henderson and Tim Buckley, and also featured tracks from Kinga Glyk, Danakil Safari, SML, Ebi Soda and many more! Playlist: https://kxsf.fm/schedule/ Click on Tuesday's 10-noon slot> FreeFall w/David Bassin This program has been edited from the original broadcast.

Saxophonist & composer Chris Potter returns to ‘Pablo Held Investigates’ for an in-depth conversation, recorded just before heading out on their European tour together. Zooming in on their repertoire, Chris shares insights into his compositional process. Other topics include Herbie Hancock's ‘Actual Proof’, what Chris pays attention to when listening to Charlie Parker and John Coltrane, playing on ‘Alegria’ by Wayne Shorter and much more.Catch the Pablo Held Trio & Chris Potter on their ongoing February 2026 European tour: Feb 18 – Munich (DE) // Unterfahrt Feb 19 – Hamburg (DE) // Laeiszhalle Feb 20 – Bonn (DE) // BeethovenhausFeb 21 – Dortmund (DE) // Domicil Feb 23 – Aachen (DE) // Theater Aachen Feb 24 – Engelsholm (DK) // Agerumsladen Feb 25 – Trondheim (NO) // Dokkhuset Feb 26 – Echternach (LUX) // Trifolion https://pabloheld.com

EPISODE 141: The Blackbyrds were at the cutting edge of jazz fusion, R&B and funk in the 1970s, pushing the boundaries of Black popular music forward in one of the most musically fertile decades of the past century. Established by legendary jazz trumpeter Donald Byrd in 1973, the band's success includes several highly touted albums, film scores (1975's "Cornbread," "Earl and Me"), as well as supporting such iconic artists as B.B. King. Herbie Hancock, Gladys Knight & the Pips, Roberta Flack and more. The Blackbyrds' self-titled debut album put the group on the map with "Do It, Fluid," a funky laid-back party anthem.  The group followed that initial success with a string of albums over the next five years, including FLYING START (1974), which yielded their biggest hit, the Grammy-nominated "Walking in Rhythm," and CITY LIFE (1975), which contained the hit "Happy Music" and the iconic "Rock Creek Park," which remains one of the most sampled jazz-funk tracks to this day, as well as such hits as “Supernatural Feeling,” Grammy-nominated “Unfinished Business,” “Time is Movin',” “Dreaming About You” and “Flyin' High,” among many others. Under the leadership of original drummer and vocalist, Keith Killgo, the band continues to record, tour and perform globally.  The Blackbyrds current lineup includes original founding members Keith Killgo (drums and vocals) and Joe Hall (bass), Paul Spires (vocals), Dominique Toney (vocals), daughter of original band keyboardist Kevin Toney, Roberto Villeda (keyboards), Charles Wright (guitar), Thad Wilson (trumpet), Marshall Keys (saxophone) and Sean Anthony (percussion). blackbyrdsmusic.comContact us: makingsoundpodcast.comFollow on Instagram: @makingsoundpodcastFollow on Threads: @jannkloseJoin our Facebook GroupPlease support the show with a donation, thank you for listening!

Guests: Greg Loiacano – vocals, guitar Michael Urbano – drums Vicki Randle – percussionIn this episode of Only in the Green Room, we sit down with Greg Loiacono & Stingray, a Bay Area super-group built on deep respect, serious groove, and a whole lot of joy. What started as a solo recording session for Greg Loiacano quickly turned into something much bigger when drummer Michael Urbano stepped in—and the chemistry was instant. Add longtime collaborator and powerhouse percussionist Vicki Randle, and Stingray was born.The trio talks about the unspoken language that defines their music: listening more than talking, playing for the song, and letting structure and feel guide everything. Influenced by classic soul, R&B, funk, and rock—from Curtis Mayfield and Marvin Gaye to Sly Stone and beyond—Stingray's sound feels timeless but alive in the moment.We dig into:How the band formed organically (and accidentally)Why joy and laughter are non-negotiable onstageThe rare magic of musicians who truly listen to one anotherPlaying parts instead of overplayingBalancing Stingray with busy touring and recording schedulesRecording at the legendary 2200 Studios and feeling the weight of Bay Area music historyWhat's next: new singles, more shows, and getting back into the studioWith lineup support from Tom Ayer's, Kofi Brown, and Danny Eisenberg, Stingray is prioritizing what matters most—great songs, great vibes, and genuine connection.If you've ever wondered what it looks like when seasoned musicians stop chasing “projects” and start chasing feeling, this conversation says it all.New singles out now:Come Back HomeI Hope We Get to DanceRecorded backstage, moments after finishing their November 2025 set at Sweetwater Music Hall in Mill Valley, California —because the best conversations always happen only in the green room.Greg Loiacono. Founder of Stingray, is best known as a gritty rock and soul man of legendy San Francisco rock band, The Mother Hips and his collaborations with Chris RobinsonVicki Randle has recorded and/or toured with Aretha Franklin, Mavis Staples, George Benson, Lionel Richie, Kenny Loggins, Celine Dion, Herbie Hancock, Wayne Shorter, Branford Marsalis, Jeffrey Osborne, Laura Nyro and Lyle Mays. She appeared in the HBO documentary Mavis!. She became the first female permanent member of the Tonight Show Band with Branford Marsalis, starting in May 1992 and continuing through May 2009.Michael Urbano  toured extensively with John Hiatt (1995–1999), as one of Hiatt's "Nashville Queens" that included bassist Davey Faragher (Elvis Costello) and guitarist David Immergluck (Counting Crows). He also spent time as a drummer Smash Mouth. Before Smash Mouth, Urbano had played drums with The Spent Poets, The Kinetics, Deathray, Third Eye Blind, John Hiatt, Black Lab, Cracker, Paul Westerberg, Red House Painters, Willy DeVille, Camper Van Beethoven, and Sheryl Crow.[2]https://gregloiacono.com/

Matt welcomes producer/engineer/composer Fran Cathcart. Fran having just moved to the Bay Area from New York recounts his journey in studio ownership, working with Herbie Hancock, and facing down serious challenges that would make most throw in the towel, yet he still keeps going. In This Episode, We Discuss:Studio OwnershipHerbie HancockEarly Digital RecordingDivorceCovidGetting SuedStressMoving to the Bay AreaLinks and Show Notes:Fran's SiteMatt's Rant: Client CommunicationCredits:Guest: Fran CathcartHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith

In this episode of Working Class Audio, Matt welcomes back producer Michael Beinhorn who has worked with The Red Hot Chili Peppers, Soundgarden, Herbie Hancock, Korn, Marilyn Manson, Weezer, Ozzy Osbourne, Hole, Cuco, Aerosmith & Violent Femmes. Michael originally appeared on WCA #029 back in 2015. In This Episode, We Discuss:Music productionRemote productionPre-productionMusic critiqueMainstream musicAI in musicUnique voicesMusic industryCreativity in musicMusic technologyArtist developmentRisk-taking in musicMusic analysisRecording industryListening setupCollaborationLinks and Show Notes:Michael's SiteMichael on WCA #029Matt's Rant: Auto PilotCredits:Guest: Michael BeinhornHost/Engineer/Producer: Matt BoudreauWCA Theme Music: Cliff TruesdellThe Voice: Chuck Smith