Podcast appearances and mentions of Herbie Hancock

Episode 114: Cindy Blackman Santana Cindy Blackman Santana has had a mind-blowing life journey. Today, she's the drummer and wife of Carlos Santana. Before that, she rode the rocketship of Lenny Kravitz for all the most iconic years. I remember when I first saw Cindy in the "Are You Gonna Go My Way" video and was captivated immediately by her groove, presence, and energy behind the kit. Cindy is deeply dedicated to the drums, and absolutely in love with jazz. What I love about Cindy's story is that she's lived two musical lives most drummers only dream about. She's a serious jazz bandleader with a catalog going back to the late 1980s, and she's a world-class rock drummer who's played the biggest stages on the planet. She never picked a lane. She brought jazz freedom and fire into rock stadiums and has always blown everyone away. We go deep on her hero Tony Williams and what his genius unlocked for her. We talk about her amazing relationship with Art Blakey, who she calls a father figure, and what it meant to learn from the masters in person on the streets and in the clubs of New York City. She tells the story of her friendship with Dennis Chambers, the connection that eventually led her to Carlos. We get into her drumming passion, her practice fire, her ferociousness on the kit, and the philosophies that makes her playing so alive. Cindy has shared the stage and the studio with absolute legends like Herbie Hancock, Wayne Shorter, Marcus Miller, and so many more, and she's led her own incredible projects along the way. From her Tony Williams tribute album Another Lifetime, to the supergroup Spectrum Road with Jack Bruce and Vernon Reid, to stepping out front as a singer and songwriter on Give the Drummer Some, she's always pushed forward. She studied at Berklee, learned from the lineage of Max Roach and Elvin Jones, and built a career on pure dedication to the instrument. And then there's the love story. They told her and Carlos that a married couple can't play together in the same band, that it wouldn't work. They proved that it absolutely can. Cindy is the rhythmic heartbeat of the Santana band and she holds Carlos's heart, and hearing her talk about their musical and spiritual partnership is something special. This is a conversation about drumming, about jazz and rock, about staying true to your art for decades, about being a trailblazer, and about spirituality and passion. Cindy is amazing. I left this conversation inspired, and I hope you feel the same. Please enjoy my conversation with the great Cindy Blackman Santana. Go With Elmo Lovano is the #1 music professional podcast, featuring deep, honest conversations with the legends, artists, musicians, producers, songwriters, and industry leaders shaping music today about how they got where they are and how they keep pushing forward. Huge thanks to our friends at DistroKid! DistroKid is the easiest and fastest way to get your music on over 150 platforms worldwide! Go to https://distrokid.com/vip/elmo to get 20% off your first year! Elmo Lovano drinks Intelligentsia coffee because he's an Iced Angeleno. https://www.intelligentsia.com Become a Patreon Member to stay in the loop as we post Patreon-only exclusive content, ad free episodes, and discussions about music and music careers. https://www.patreon.com/gowithelmo Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated! Listen to the audio form of this podcast wherever you get your podcasts: https://elmolovano.komi.io/ Follow Cindy: https://www.instagram.com/cindyblackmansantana/ Follow Go With Elmo: https://www.instagram.com/gowithelmo/ https://www.tiktok.com/@gowithelmo https://x.com/gowithelmopod Follow Elmo Lovano: https://Instagram.com/elmolovano https://x.com/elmolovano #cindyblackman #cindyblackmansantana #drums #santana Learn more about your ad choices. Visit megaphone.fm/adchoices

Stevie Wonder's cult classic may not be a jazz album, but its jazz connections run deep—from Herbie Hancock, Dorothy Ashby, George Benson, Glenn Ferris, and Bobby Humphrey involved in its recording to Alice Coltrane, Chick Corea, Quincy Jones, David Sanborn, and Lenny White among the influences acknowledged in the liner notes. No wonder its songs have inspired hundreds of jazz renditions—and here's the second part of our playlist featuring some of the best, following the sequence of the original record. The playlist features Ray Barretto; Blue Mitchell; Monica Shaka; Max Ionata, Dado Moroni; Marcus Miller; Najee. Detailed playlist at https://spinitron.com/RFB/pl/23029358/Mondo-Jazz [up to "Knocks Me Off My Feet"]. Happy listening!

M

This week on Jazz After Dinner, Joe features Pianist Herbie Hancock from his 1965 Blue Note Records recording, titled “Maiden Voyage.”

JoVia Armstrong is a an award-winning percussionist, composer and educator whose work blends rhythm, technology, and experimental composition. This year she was voted as one of the best percussionists in the world by DownBeat Magazine's 74th Annual Critics Poll. She leads the electroacoustic ensemble Eunoia Society which explores sound as a healing tool and you'll be hearing music from their first two albums, The Antidote Suite and Inception, which are linked in the show notes for you. In fact, I found out about JoVia when I interviewed Leslie De Shazor a couple of years ago for this podcast, and my episode with her is linked for you along with a few other suggested episodes. Today you'll learn about JoVia's collaborators and mentors including Nicole Mitchell and Francisco Mora Catlett as well as her development as a musician with the encouragement of her family. JoVia spoke with me about the importance of mentoring youth, self-reflection and self-care. She is currently Assistant Professor of music at the University of Virginia, where she teaches in the Composition and Computer Technology Program while researching the intersection of Black contemplative music, technology and urban space. You can also watch this video on my YouTube, and I've also linked the transcript. It'ss a joy to bring these inspiring episodes to you, and I do all the many jobs of research, production and publicity. Have a look at the show notes of this episode on my website, where you'll find all the links, including JoVia Armstrong, the albums featured in this episode, how you can support this podcast, podcast merch and other episodes you'll enjoy: All the links! (00:00) Intro(03:10) keyboards, Leslie DeShazor, her teaching at the University of Virginia, managers(14:09) Eunoia Society, elements of contemplative music with clip of Meditations on Oya from The Antidote Suite(18:38) Nicole Mitchell, Black Earth SWAY(24:00) The Antidote Suite, Bridget Cooks, with clip of Breathe(29:44) grad school in California, sisters, remembering Joyce (37:30) cajon, Francisco Mora Catlett, suggested episodes and ways to support this independent podcast(37:41) Elizabeth Catlett, Francisco Mora Catlett, cajon, Musique Noire(45:20) The Antidote Suite, about Shades and Shapes with clip of the music, Herbie Hancock influence (50:49) working with women, self-reflection, reverb and caves, self-care(01:05:08) Inception album, Eunoia Society, problem with audiences in classical music concerts, clips of track 1 and 2(01:13:16) supportive parents, mentoring youth

This week, we're honored to have Parliament-Funkadelic guitarist and Rock and Roll Hall of Fame member Michael "Kidd Funkadelic" Hampton joining us to discuss Herbie Hancock and his groundbreaking song 'Chameleon' off of the 1973 album Head Hunters. Let's get FUNKY! Songs discussed in this episode: Underwater Rimes - Digital Underground; Words Of Wisdom - 2Pac; The Adventures Of Greggery Peccary - Frank Zappa; Can't Do Nuttin' For Ya Man (Dub Mix) - Public Enemy; Cellphone's Dead - Beck; Me vs Me - Biz Markie; (Not Just) Knee Deep - Funkadelic; King Kong Theme, Savanna - Michael Hampton; Good To Your Earhole - Funkadelic; Super Bad - James Brown; Chameleon - Herbie Hancock; Savage Beat, Leaving The Island - Michael Hampton; Chameleon - Herbie Hancock; 101 Eastbound - Fourplay; Chameleon - Herbie Hancock; Dance The Night - Dua Lipa; Fight Or Flight - Michael Hampton

Listener suggestions are rated on the Yachtski Scale, with songs by Fan Fiction, Rick Astley, and Herbie Hancock.

Estructuras sencillas, ritmos frenéticos y armonías llenas de color. La receta para atrapar la difusa atención de la Gen Z… incluso hacia el jazz. Un género que el dúo de virtuosos DOMi & JD BECK revoluciona, actualiza y adapta al presente, mezclándolo con una producción heredera del hip hop y de las BSO de videojuegos. Acaban de publicar su segundo álbum, WHO ASKED?, en el que se enfrentan al cambio sin los lustrosos colaboradores (Mac DeMarco, Thundercat, Anderson .Paak, Herbie Hancock) que los acompañaron en su debut.Vuestro Rayito de Luz: Cocteau Twins - Iceblink LuckResidencias artísticas, con Rodrigo Sorogoyen: John Lennon - Oh Yoko!Playlist:Big Thief - HumansBon Iver - Everything Is Peaceful LoveFather John Misty - Real Love BabyJorge Drexler - Ante la duda, bailaBomba Estéreo - Algo Está CambiandoBuscabulla - Ta Que TiemblaJoe Crepúsculo; Mexican Institute of Sound - Mi fábrica de baile CumbiaNiña Polaca - Los días malosRepion - Barrio SomavillaLori Meyers - Luces de NeónMetronomy - Everything Goes My WayPhoenix - The Only OneTwo Door Cinema Club - What You Know!!!, Lea Lea - Dancing Is The Best RevengeHot Chip - Boy From SchoolPassion Pit, SOFI TUKKER - Sleepyhead 2025MGMT - Electric Feel DOMi & JD BECK - EXiTAaron Frazer - Paint The PictureJungle - Someday, SomewhereAlex G - AfterlifeFeist - I Feel It AllCocteau Twins - Iceblink LuckMelody’s Echo Chamber - I Follow YouTunde Adebimpe - MagneticBODEGA - Weather MeGeese - TaxesJohn Lennon - Oh Yoko!The War on Drugs - Red EyesAlcalá Norte - El Hombre PlanetaNation of Language - On Division St.Grace Ives - AvalancheKasabian - L.S.F.CA7RIEL & Paco Amoroso - DUMBAIRalphie Choo - MÁQUINA CULONAClaudio Montana, Ultralágrima - El paseoPhoebe Bridgers - I Can’t WaitFrou Frou - Let GoOasis - Champagne SupernovaVampire Weekend - A-PUNKVampire Weekend - M79shego - (casi no vivo para contarlo)Aiko el grupo - PacienciaPaco Te Quiero - solo contigoCarlos Ares, Barry B - Postdata Gurriers - Nothing Happens TwiceMaximo Park - GraffitiBb Trickz - ponte perritaaROSALÍA - SAOKOEscuchar audio

Sigurður Flosason, tónlistarmaður, lítur við í hljóðstofu og segir frá Miles Davis. Í tilefni af því að 100 ár eru liðin frá fæðingu þessa trompetbákns blæs stórsveit reykjavíkur til tónleika honum til heiðurs nú á sunnudag þar sem leikin verða lög af tveimur merkilegum stórsveitaplötum sem Miles sendi frá sér á 6. áratugnum. Tumi Árnason flytur stutta samantekt á Jazzhátíð Reykjavíkur og dregur saman það sem stóð upp úr, sem og bendir á það sem betur mætti fara. Við rifjum upp eina af ótal mörgum Miles-Davis-flökkusögum sem við gerðum skil í Víðsjá laust eftir að píanóleikarinn Herbie Hancock hlaut Pólar tónlistarverðalunin mikilsvirtu.

**Smiffy's A To Z Of Soul Music Replay On www.traxfm.org. This Week Smiffy Featured Soul/Boogie, Contemporary R&B, Funk, Dance Classics Trax From Instant Funk, James Brown, Sonya Spence, Sweet Clover, David Grant, Rocket, Summer Vee, Earth Wind & Fire, Peter Jacques Band, Herbie Hancock, Chuck Bynum & More. #originalpirates #boogie #soul #contemporary #rnb #danceclassics #80s #70s #funk Catch Smiffy's A To Z Of Soul Music Every Monday From 5PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud Live: https://www.mixcloud.com/live/trax/ Free Trax FM Android App: https://sbee.link/pwaby4jhng The Trax FM Facebook Page : https://sbee.link/k9pugbrx7e Trax FM Live On Hear This: https://sbee.link/jgn7d34tpm Tunerr: https://sbee.link/f9cwjdx48g Radio Garden: Trax FM Link: https://sbee.link/y9eb4vrujh OnLine Radio Box: https://sbee.link/ej6hnr7x94 Radio Deck: https://sbee.link/6ekfcmugxv https://sbee.link/3t86qau4kn: https://sbee.link/b67upjhwaq Stream Radio : https://sbee.link/q9rwvkyhcu Live Online Radio: https://sbee.link/djeax6u4tr **

This week we're putting The Tonearm's needle on producer and engineer Martin Bisi.Bisi has run BC Studio out of the Gowanus section of Brooklyn since 1981, recording Sonic Youth, Swans, Herbie Hancock's "Rockit," and countless others.We discussed his new album, Dancing On The Power Lines, his ongoing community activism, the changing landscape of New York's music scene, and so much more. It's a good one.(The musical excerpts heard in the interview are from Martin Bisi's Dancing On The Power Lines)—Dig DeeperArtist and Album:Visit Martin Bisi at martinbisi.com and follow on YouTube and FacebookPurchase Dancing On The Power Lines from Bandcamp or Qobuz and listen on your streaming platform of choiceBC Studio — established 1981, Gowanus, BrooklynPrevious release: Your Ultimate Urban Fantasy EP (2024)BC35: The 35 Year Anniversary of BC StudioLive:The Martin Bisi Ensemble plays Sure We Can recycling center in Brooklyn, Sunday, September 13, 3–7 pmCollaborators:Nora Almeida — writer, performance artist, and activist who wrote about half the lyrics on the album, including "CubeSmart Sunset"Almeida's Last Street End in Gowanus (2021), the public artwork behind the street-end conversationThe Last Street End of Gowanus by the Autonomous People of Gowanus — Martin Bisi Collective, on Sleeping Giant GlossolaliaJoan Hacker (voice, synth)Diego Ferri (bass, baritone guitar) and Oliver Rivera Drew (drums), the Berlin chapter of Bisi's bandGowanus:Voice of Gowanus — the all-volunteer group Bisi belongs to, advocating for a cleanup fully protective of human healthArts Gowanus — the arts advocacy organization he says conceded they hadn't thought about musicGowanus Dredgers Canoe Club — Lawrence Peryer's old paddling clubPowerhouse Arts — the converted power plant at 322 Third AvenueVenues:Lowlands — 543 Third Avenue, live music Mondays and TuesdaysMama Tried, BrooklynMax Fish, formerly of Ludlow StreetMusical References:Genre Is Death — the Brooklyn duo Bisi recorded at BC StudioGlenn Branca's Symphony No. 13 (Hallucination City) for 100 Guitars — reviewed after its June 12, 2026 performance at David Geffen Hall, conducted by Reg Bloor, the first New York performance since the 2001 premiere at World Trade Center PlazaKevin Sun on The Tonearm PodcastHerbie Hancock, "Rockit," and Grand Mixer D.STMartin Bisi: NYC Producer & Sonic Youth Engineer - Tape OpDocumentary:Sound and Chaos: The Story of BC Studio — directed by Sara Leavitt and Ryan C. Douglass—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

This week we're putting The Tonearm's needle on producer and engineer Martin Bisi.Bisi has run BC Studio out of the Gowanus section of Brooklyn since 1981, recording Sonic Youth, Swans, Herbie Hancock's "Rockit," and countless others.We discussed his new album, Dancing On The Power Lines, his ongoing community activism, the changing landscape of New York's music scene, and so much more. It's a good one.(The musical excerpts heard in the interview are from Martin Bisi's Dancing On The Power Lines)—Dig DeeperArtist and Album:Visit Martin Bisi at martinbisi.com and follow on YouTube and FacebookPurchase Dancing On The Power Lines from Bandcamp or Qobuz and listen on your streaming platform of choiceBC Studio — established 1981, Gowanus, BrooklynPrevious release: Your Ultimate Urban Fantasy EP (2024)BC35: The 35 Year Anniversary of BC StudioLive:The Martin Bisi Ensemble plays Sure We Can recycling center in Brooklyn, Sunday, September 13, 3–7 pmCollaborators:Nora Almeida — writer, performance artist, and activist who wrote about half the lyrics on the album, including "CubeSmart Sunset"Almeida's Last Street End in Gowanus (2021), the public artwork behind the street-end conversationThe Last Street End of Gowanus by the Autonomous People of Gowanus — Martin Bisi Collective, on Sleeping Giant GlossolaliaJoan Hacker (voice, synth)Diego Ferri (bass, baritone guitar) and Oliver Rivera Drew (drums), the Berlin chapter of Bisi's bandGowanus:Voice of Gowanus — the all-volunteer group Bisi belongs to, advocating for a cleanup fully protective of human healthArts Gowanus — the arts advocacy organization he says conceded they hadn't thought about musicGowanus Dredgers Canoe Club — Lawrence Peryer's old paddling clubPowerhouse Arts — the converted power plant at 322 Third AvenueVenues:Lowlands — 543 Third Avenue, live music Mondays and TuesdaysMama Tried, BrooklynMax Fish, formerly of Ludlow StreetMusical References:Genre Is Death — the Brooklyn duo Bisi recorded at BC StudioGlenn Branca's Symphony No. 13 (Hallucination City) for 100 Guitars — reviewed after its June 12, 2026 performance at David Geffen Hall, conducted by Reg Bloor, the first New York performance since the 2001 premiere at World Trade Center PlazaKevin Sun on The Tonearm PodcastHerbie Hancock, "Rockit," and Grand Mixer D.STMartin Bisi: NYC Producer & Sonic Youth Engineer - Tape OpDocumentary:Sound and Chaos: The Story of BC Studio — directed by Sara Leavitt and Ryan C. Douglass—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

El 10 de julio de 1991, dos meses antes de dejarnos, Miles Davis tocó en París, en la Grande Halle de La Villette, con su banda de entonces en un concierto en el que participaron como invitados Chick Corea, Herbie Hancock, Wayne Shorter, Joe Zawinul, John McLaughlin, John Scofield, Dave Holland o Al Foster para tocar piezas como 'Katia', 'Dig', 'Watermelon man', 'Penetration', 'Wrinkle', 'Footprints' o 'Jean-Pierre'.Escuchar audio

El 10 de julio de 1991, dos meses antes de dejarnos, Miles Davis tocó en París, en la Grande Halle de La Villette, con su banda de entonces en un concierto en el que participaron además Chick Corea, Herbie Hancock, Wayne Shorter, Joe Zawinul, John McLaughlin, John Scofield, Jackie McLean, Dave Holland, Steve Grossman, Darryl Jones y Al Foster para tocar piezas como 'Perfect way', 'New blues', 'Human nature', 'All blues' o 'In a silent way'/'It´s about that time' o 'Katia'.Escuchar audio

By the age of eight he had played for jazz great Herbie Hancock, and soon after moved to New York with his family to pursue a career in music. 

Grammy nominated jazz musician and composer Steve Allee joins the program for his first appearance since EP3 on June 10, 2020. Jimmy catches up with Steve through the JBK On Air Questionnaire revealing he'd be starstruck by Herbie Hancock & much more!New episode is available anywhere you get podcasts! Links to watch, listen, rate, review, & subscribe https://linktr.ee/jbkonair

Prekop Ákos több mint 30 éve él a zongorák világában. Koncertzongoratechnikusként olyan világsztárok hangszerein dolgozott, mint Lady Gaga, Guns N' Roses, Madonna, Bryan Adams, Herbie Hancock, Diana Krall, Lang Lang és Yuja Wang. De ez csak az egyik oldala. Ákos történetében ugyanis egy egészen különös világ találkozik: a Steinway koncertzongorák precizitása, a Ferencváros lelátóinak kemény világa, a teqball, hét Ironman, maratonok és egy családi történet, amely teljesen megváltoztatta az élethez való hozzáállását.

The jazz hamsters with all that's best in modern jazz from around the globe - Brian Lynch, Herbie Hancock, Jon Beasley, Jeremy Pelt and more!

Pianist and composer Rasmus Sørensen joins Pablo Held to discuss dynamics, odd meters, their shared piano duties on a Sasha Berliner tour, and lessons learned from studying with Phil Markowitz. Other topics include harmonic progressions in Herbie Hancock's “Textures”, comping ideas, transcription, what Rasmus loves about composing and his upcoming album project “You Live And You Learn”.

BMS EPISODE 62 (Chill 'n' Groove)  On this episode we ask you to lay back and just chill with the grooves. We feature Alicia Keys, Maysa, Sylk 130, Herbie Hancock, Nubiyan Twist, and many more! DJ Rhythm Dee hosts a recurring segment known as the Black Magic Sounds. The show will feature the smooth grooves of Jazz, Nu Soul, Neo Soul, as well as Funk, R&B, Disco, Soulful House, Slow Jams and anything that moves you. It's all about feeling the music and hearing some tracks that were forgotten or entirely new to you.  Remember when music was Music! PLAYLIST   SHE DON'T REALLY CARE/ALICIA KEYS (F/ROY AYERS) HOLIDAY/(DJ SPINNA MIX) ROY AYERS  FIGURE NUMATIC/ NUBIYAN TWIST  GETTING' INTO IT/SYLK 130  W/as MY GIRL/MAXWELL  NOTHING EVEN MATTERS/LAURYN HILL  UNFORGETTABLE/MAYSA  ALRIGHT/ANGIE STONE  FAVOURITE TRUTH/ERIC LAU & TAWIAH  STARS IN YOUR EYES/HERBIE HANCOCK  SWEET MELODY/OLU  DREAMS/VINTAGE LOUNGE ORCHESTRA  THIS IS WHAT YOU ARE/FRANCESCA GRAMEGNA  HOT OFF THE PRESS/PAUL HARDCASTLE  MEITMARK/KELLINI  MAESTRO'S THEME/DJ RODRIGUEZ  ONLY TIME WILL TELL/SUNBURST BAND

It's Tuesday, August 4. Here are today's top stories around Central Indiana. Want to go deeper on the stories you hear on WFYI News Now? Visit wfyi.org and follow us on social media to get local news every day. WFYI News Now is hosted by Barb Anguiano and produced by Zach Bundy. Subscribe wherever you get your podcasts.

#podcast #jazz #jazztubeIn the, the second and final Part of my discussion of two jazz books I go into more detail of the prose of both the authors and their reflections on the passage of time, changes of taste and the effects on America's art form.More on this stream ( part 2 of 2), here:For the second and final episode of my jazz book lunches I gave myself an impossible, maybe silly task: pick only one album for each of the three master musicians of Bill Evans John Coltrane and Miles Davis. One thing I will say notwithstanding it probably not having to be said is that all three albums here are great on their own merits but do not reflect the traditional or canonical view especially among the musicians themselves, never mind scholars or critics. For Miles Davis I did not pick Kind Of Blue, for example and for John Coltrane I did not pick A Love Supreme. Again those two albums may very well be greater than the ones I personally have chosen and prefer in some Platonic sense but my interest here is getting listeners interested in and excited about less famous but at least equally valuable releases.Bill Evans:Consecration: The Final Recordings (Note: not only is this album not one of the typical ones used to represent Evan's work; it didn't even come out until 1989 in Japan and then in the US in 2002)! For me it reflects Evan's triumph and is my favorite trio of his. This is Bill Evans at his most romantic, even wild, and I love the performances for that. (It is also from performances at the very end of his life).   • Bill Evans Trio - Re: Person I Knew (Offic...  John Coltrane: The 1961 Village Vanguard recordings   • John Coltrane - Live At The Village Vangua...  This selection is one with which so many musicians and critics alike would agree: an incredible document of Trane and his great quartet in performance at the greatest of jazz rooms. There is some additional Eric Dolphy on one selection too. You can also hear McCoy Tyner's harmonic and pianistic innovations in fullest display on this one.Miles Davis:Filles De Kilamanjaro (1969)   • Frelon brun  I so love this album of Miles: it is so many things. It has a lot of traditional jazz styles language in it from the great quartet of Herbie Hancock, Ron Carter and Tony Williams and yet it is also funky, soulful sometimes like rock n roll at the same time. And then there are sections that are like classical or modern chamber music. A must.

Kyle Long speaks with Herbie Hancock — one of the most celebrated artists in American music history. His groundbreaking career has earned him 14 Grammy Awards, an Academy Award, and recognition as an NEA Jazz Master. From his early work with Miles Davis to his genre-defying explorations of jazz, funk, and electronic music, Hancock has continually expanded the possibilities of musical expression. Hear him reflect on his work with Freddie Hubbard and Miles Davis.

On this episode of The Bandwich Tapes, I sit down with Terri Lyne Carrington to discuss her remarkable career, her artistic evolution, and her ambitious new album, Trip the Night Fantastic. Widely recognized as one of the most influential drummers, composers, producers, and educators working today, Terri shares how groove, storytelling, and social consciousness have become inseparable parts of her creative voice.We talk about the concept behind Trip the Night Fantastic, which Terri describes as a groove-centered project created for difficult times. Our conversation explores the relationship between dance, rhythm, and emotional connection, and how groove can often reach listeners before lyrics ever do. Terri reflects on jazz's historical relationship with dance music and why reconnecting with that tradition felt important for this project.We also dive into her journey as an artist and how life experience eventually led her to fully integrate her identity, values, and artistic work. Drawing on lessons learned from mentors such as Wayne Shorter and Herbie Hancock, Terri discusses leadership, collaboration, production, and the challenge of balancing a strong artistic vision with creating space for others to contribute.The conversation also explores the work of the Berklee Institute of Jazz and Gender Justice, the role of representation in music education, and the importance of creating environments where new voices can shape the future of the art form. Along the way, Terri reflects on her upbringing in Boston, her experiences working alongside some of the greatest musicians in jazz history, and what gives her hope when she looks at the next generation of artists.This is a thoughtful conversation about creativity, purpose, community, and the ongoing evolution of jazz from one of its most important modern voices.Key TakeawaysTrip the Night Fantastic was conceived as a groove-oriented album designed to reconnect jazz with its dance traditions.Terri believes groove often creates an emotional connection before listeners fully engage with lyrical content.Her artistic identity became stronger when she stopped separating her life experiences from her creative work.Lessons from mentors like Wayne Shorter and Herbie Hancock continue to influence her approach to music and leadership.Producing music requires balancing a clear artistic vision with openness to collaborators' ideas.The Berklee Institute of Jazz and Gender Justice was created to expand opportunities and perspectives within jazz education.Terri remains optimistic about the future of jazz because of the creativity, knowledge, and commitment she sees in younger musicians.Music from the EpisodeRiddim Song - Terri Lyne CarringtonIdentity Song - Terri Lyne CarringtonAutonomy Song - Terri Lyne CarringtonSolidarity Song - Terri Lyne CarringtonAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams that features in-depth conversations with musicians, composers, producers, educators, and other creative artists. Each episode explores the craft of making music, artistic growth, collaboration, creative philosophy, and the stories behind the people shaping today's musical landscape.Connect with the ShowEmail: contact@thebandwichtapes.com

Celebrate the extraordinary career of Herbie Hancock, one of the greatest living legends of American music. Over the course of his remarkable career, he has collaborated with some of Indiana Avenue's greatest jazz artists, including the Indianapolis-born icons Wes Montgomery, J.J. Johnson, and Freddie Hubbard. Join host Rodney Stepp as Herbie Hancock reflects on his work with these legendary musicians.

In this episode we speak with Christian Dinh Gulino, a UK-based keyboard player and musical director covering everything from pop tours to video game soundtracks. Aside from his arranging and production work for Square Enix Music, he has extensively toured with artists such as Bryan Ferry, Kylie Minogue and Sophie Ellis-Bextor, alongside a long-standing working relationship with Will Young. We chat on all that and more, including some great insights into weekend corporate gigs in other countries and an Andrea Bocelli train wreck anecdote for the ages…. 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):   Christian’s musical upbringing Playing at 12 and getting ‘roasted’ by the pros Moving from Italy to the UK  Early career as a player Joining Dennis Rollins’ Badbone & Co Auditioning for, and joining Sophie Ellis-Bextor Using a Nord keyboard, Reason and a Dell Laptop Christian in action with Sophie Ellis-Bextor, 2009 Working with Will Young Christian in action with Will Young, 2015 John Newman – Love Me Again Christian’s thoughts on the key components of a Musical Director role Negotiating disagreements on musical directionWorking with Kylie MinogueChristian in action live with Kyle Minogue at Glastonbury 2019 When you have six days to get your driver’s license to be able to join Kylie Minogue in Singapore Working with Bryan Ferry and Roxy Music on their 50th Anniversary tour Christian playing with Roxy music in 2022 The keyboard rig for Roxy Music Composing for games / film, including the Final Fantasy franchise Kai Kaurismaki Christian’s two notable train wrecks Working on Name That Tune Desert Island Discs: Speak Like A Child – Herbie Hancock, Hotter Than July – Stevie Wonder, Off The Wall – Michael Jackson, 1996 – Ryuichi Sakamoto,  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 Christian Dinh Gulino, Roxy Music / Kylie Minogue / Will Young appeared first on The Keyboard Chronicles.

Welcome to the latest episode of Harmonious World, where I interview musicians about how their music helps make the world more harmonious.It was great to be joined by sax player Alden Hellmuth just prior to the release of Tether. I reviewed her album just before our conversation and it captivated me straight away.Thanks to Alden for allowing me to play extracts from Tether alongside our conversation.Get in touch to let me know what you think!Thank you for listening to Harmonious World. Please rate, review and share: click on the link and subscribe to support the show.Don't forget the Quincy Jones quote that sums up why I do this: "Imagine what a harmonious world it would be if every single person, both young and old, shared a little of what he is good at doing."Support the showRead reviews of albums and gigs and find out more about me at hilaryseabrook.co.ukFollow me on instagram.com/hilseabrookFollow me on facebook.com/HilarySeabrookFreelanceWriterFollow me on twitter.com/hilaryrwriter

This week, we're putting The Tonearm's needle on saxophonist and composer Alden Hellmuth. Alden grew up in Hartford, studying in the Jackie McLean tradition, and now works out of New York City.Her new album is called Tether, and it features a band centered on two bass players, rounded out by drums, piano, and trumpet. Alden wrote music for the ensemble that keeps them all tied together, no matter how loud or free it gets.We talked about our shared background in Connecticut, what she took from studying with Herbie Hancock, and how she writes for the specific people in the room.(The musical excerpts heard in the interview are from Alden Hellmuth's Tether)—Dig DeeperArtist and Album:Visit Alden Hellmuth at aldenhellmuth.com and follow her on Instagram and YouTubePurchase Alden Hellmuth's album Tether from LEITER, Bandcamp, or Qobuz, and listen on your streaming platform of choice.Collaborators:Logan Kane, bassistMiller Wrenn, bassistJustin Brown, drummerPaul Cornish, pianist, featured guestYakiv Tsvietinskyi, trumpeter, featured guestLabel:LEITER, the Berlin label co-founded by Nils FrahmEducation and Mentorship:Herbie Hancock Institute of Jazz Performance at UCLAJackie McLean Institute of Jazz at the Hartt SchoolMusical References:Jackie McLean, saxophonist and longtime Hartt faculty memberJoe Morris, guitarist/improviser Hellmuth credits as an early gateway into improvised musicSteve Lehman, saxophonist and composer, cited mentorDeerhoof, Breakup Song (2012)Otoboke Beaver, Japanese punk bandVenues:Real Art Ways, HartfordNon Plus Ultra, Los Angeles—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

This week, we're putting The Tonearm's needle on saxophonist and composer Alden Hellmuth. Alden grew up in Hartford, studying in the Jackie McLean tradition, and now works out of New York City.Her new album is called Tether, and it features a band centered on two bass players, rounded out by drums, piano, and trumpet. Alden wrote music for the ensemble that keeps them all tied together, no matter how loud or free it gets.We talked about our shared background in Connecticut, what she took from studying with Herbie Hancock, and how she writes for the specific people in the room.(The musical excerpts heard in the interview are from Alden Hellmuth's Tether)—Dig DeeperArtist and Album:Visit Alden Hellmuth at aldenhellmuth.com and follow her on Instagram and YouTubePurchase Alden Hellmuth's album Tether from LEITER, Bandcamp, or Qobuz, and listen on your streaming platform of choice.Collaborators:Logan Kane, bassistMiller Wrenn, bassistJustin Brown, drummerPaul Cornish, pianist, featured guestYakiv Tsvietinskyi, trumpeter, featured guestLabel:LEITER, the Berlin label co-founded by Nils FrahmEducation and Mentorship:Herbie Hancock Institute of Jazz Performance at UCLAJackie McLean Institute of Jazz at the Hartt SchoolMusical References:Jackie McLean, saxophonist and longtime Hartt faculty memberJoe Morris, guitarist/improviser Hellmuth credits as an early gateway into improvised musicSteve Lehman, saxophonist and composer, cited mentorDeerhoof, Breakup Song (2012)Otoboke Beaver, Japanese punk bandVenues:Real Art Ways, HartfordNon Plus Ultra, Los Angeles—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Happy Independents Week! Legendary jazz trumpeter Charles Tolliver is here to talk about this year's reissue of his first album as a bandleader, the 1968 set Charles Tolliver All Stars: Right Now... And Then, (which was reissued for this year's Record Store Day, and which features a stellar backing lineup that includes Herbie Hancock, Ron Carter, Joe Chambers, and Gary Bartz), and the legacy of Strata-East Records, the artist-run, artist-friendly independant jazz label he founded with the late Stanley Cowell in 1971.   The Record Store Day Podcast is a weekly music chat show written, produced, engineered, and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends!

This week's episode is a musical time machine. In the late 1960s, the band Zapata sprang out of a street gang in northwest Washington, D.C., with a sound that combined a variety of contemporary styles: Afro-Caribbean rhythms, soul jazz and the golden era of American R&B. The mixture worked. For a few years, Zapata opened for an astonishing number of A-list acts passing through the city, like Miles Davis, Sly and the Family Stone, Herbie Hancock and The Isley Brothers. But the band would break up in 1974, and for years their recorded material was believed to be lost. Now, surviving member Pepe Gonzalez has restored a cassette tape of Zapata's music from 1971, and is releasing it for the first time. In this episode, Felix chats with Gonzalez about the origins of the band, and how they tried to unify the Black and Hispanic musical scenes in the city at the time.The podcast episode was produced by Noah Caldwell and edited by Otis Hart. Suraya Mohamed is the executive producer of NPR Music.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

This week's episode is a musical time machine. In the late 1960s, the band Zapata sprang out of a street gang in northwest Washington, D.C., with a sound that combined a variety of contemporary styles: Afro-Caribbean rhythms, soul jazz and the golden era of American R&B. The mixture worked. For a few years, Zapata opened for an astonishing number of A-list acts passing through the city, like Miles Davis, Sly and the Family Stone, Herbie Hancock and The Isley Brothers. But the band would break up in 1974, and for years their recorded material was believed to be lost. Now, surviving member Pepe Gonzalez has restored a cassette tape of Zapata's music from 1971, and is releasing it for the first time. In this episode, Felix chats with Gonzalez about the origins of the band, and how they tried to unify the Black and Hispanic musical scenes in the city at the time.The podcast episode was produced by Noah Caldwell and edited by Otis Hart. Suraya Mohamed is the executive producer of NPR Music.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Saxophonist Walter Smith III joins Pablo Held to discuss working on articulation, Walter’s compositional process behind songs like “Seesaw“, “ACE“ and “A Brief Madness“ and lessons learned from jazz legends Herbie Hancock, Wayne Shorter, Ron Carter and Roy Haynes. Other topics include learning standards like “I Should Care“, “Little Melonae“ or “Nothing Like You“, working with the Bill Stewart Trio and Terence Blanchard and what goes into planning an album like his newest record “TWIO Vol.2“.

Chosen by Patreon supporter Helen, Indecent Proposal is exactly the sort of glossy 90s adult drama that makes perfect VHS Strikes Back territory: stylish, morally messy, wildly debatable, and absolutely guaranteed to make everyone in the room ask what they would do for one million dollars. Directed by Adrian Lyne, the film arrived in 1993 at the peak of Hollywood's obsession with erotic thrillers and high-stakes relationship dramas, when a soft-focus lens, a luxurious wardrobe, and a deeply questionable premise could still become a major box office event. Based on Jack Engelhard's 1988 novel, it starred Robert Redford, Demi Moore, and Woody Harrelson, with a screenplay by Amy Holden Jones and a typically elegant score from John Barry.Filming began in Las Vegas in June 1992 before moving to Southern California, with locations including Echo Park and a Santa Barbara mansion used for John Gage's home. The film became a major commercial hit, earning around $266.6 million worldwide against a reported $38 million budget, despite mixed-to-negative reviews and a premise that caused plenty of debate. It also became a pop culture talking point almost instantly, inspiring arguments about marriage, money, consent, class, and whether Robert Redford could make absolutely anything sound sophisticated, even a financial transaction that should really have involved several lawyers and a long walk outside.TRAILER GUY PLOT SYNOPSISThey were young. They were in love. They had dreams, debts, and the sort of architectural ambitions that scream, “we are one recession away from disaster.”But in the neon heart of Las Vegas, one night changes everything. A billionaire stranger enters their lives with charm, confidence, and a cheque book big enough to turn romance into a boardroom negotiation.FUN FACTSIndecent Proposal was directed by Adrian Lyne, who had already become the king of stylish relationship chaos with films like Fatal Attraction and 9½ Weeks.The film was adapted from Jack Engelhard's novel, although the screen version softened and reshaped elements of the original story for mainstream Hollywood audiences.Robert Redford's casting gave the film an unusual edge, because billionaire John Gage had to feel charming enough to be believable, but morally questionable enough to make everyone deeply uncomfortable.Demi Moore was one of the biggest stars of the early 90s, and this film landed during the same era that cemented her as a major box office name.Woody Harrelson was still best known to many viewers for Cheers, making his role as a financially desperate husband a notable move into more dramatic film work.The film's central “one million dollars for one night” premise became one of the most talked-about movie hooks of the decade.Billy Bob Thornton has a small role in the film, appearing before he became widely known as a major Hollywood name.The movie features appearances from Sheena Easton and Herbie Hancock, adding a bit of real-world glamour to the already very shiny 90s atmosphere.SUPPORT THE SHOW If you enjoy the show and would like to support us, we have a Patreon ⁠⁠⁠here⁠⁠⁠. If you're listening on Apple Podcasts or Spotify, leaving us a 5-star review (and a short comment) really helps more people discover the show. It's quick, free, and makes a huge difference. Referral links also help out the show if you were going to sign up:⁠⁠⁠NordVPN⁠⁠⁠⁠⁠⁠NordPass⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠

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.

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.

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.

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.

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

Episode 105: Richard Bona is one of the most respected bass players, composers, vocalists, and bandleaders in modern music. Born in Cameroon and now celebrated around the world, Richard has worked with legends including Pat Metheny, Quincy Jones, Joe Zawinul, Harry Belafonte, Chick Corea, Herbie Hancock, Bobby McFerrin, Mike Stern, George Benson, and many more. From the Pat Metheny Group to the Zawinul Syndicate, Richard has helped shape the sound of jazz fusion, African music, world music, and modern bass playing for decades. Richard has also shared the stage and studio with some of the greatest drummers in the world including Antonio Sanchez, Vinnie Colaiuta, Dave Weckl, Steve Smith, Omar Hakim, Paco Séry, Dennis Chambers, Manu Katché, Simon Phillips, Terri Lyne Carrington, Mark Guiliana, Steve Gadd, and more. In this episode, Richard and Elmo talk about growing up in Cameroon, building his own instruments as a child, discovering Jaco Pastorius, moving to Germany, Paris, and New York, becoming Harry Belafonte's musical director, joining Joe Zawinul's Syndicate, winning a Grammy with Pat Metheny, rhythm, groove, African music, storytelling, singing while playing bass, improvisation, how to feel odd time signatures and polyrhythms, being managed by Quincy Jones, bass technique, composition, musical identity, and much more. Richard also shares stories from the road, lessons from the greatest musicians in the world, and his philosophy on music, culture, creativity, and humanity. We hope you enjoy our conversation with the great Richard Bona! Big thanks to our friends Ace Studio for supporting the show. Check them out! https://acestudio.ai/ Another huge thanks to our friends at DistroKid! DistroKid is the easiest and fastest way to get your music on over 150 platforms worldwide! Go to https://distrokid.com/vip/elmo to get 20% off your first year! Become a Patreon Member to stay in the loop as we post Patreon-only exclusive content, Zoom hangs, invite only events, and discussions about music and music careers. https://www.patreon.com/gowithelmo Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated! Listen to the audio form of this podcast wherever you get your podcasts: https://elmolovano.komi.io/ Follow Richard: https://www.instagram.com/richardbonaofficial/ Follow Go With Elmo: https://www.instagram.com/gowithelmo/ https://www.tiktok.com/@gowithelmo https://x.com/gowithelmopod Follow Elmo Lovano: https://Instagram.com/elmolovano https://x.com/elmolovano Follow Jammcard: https://www.youtube.com/@jammcard https://www.instagram.com/jammcard/ jammcard.com Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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

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.

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    

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.

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