Podcasts about Jaco Pastorius

Hans Barfod tegner et potræt af Jaco Pastorius, bassist, orkesterleder og komponist. Han levede fra 1951 til 1987 og nåede at revolutionere el-basspillet med sin båndløse bas og sin brug af flageoletter og sin store virtuositet. Han spillede med Weather Report fra 1976 til 1981 og dannede sin egen gruppe – WORD of MOUTH, som turnerede i USA, Japan og Europa. Podcasten indeholder ud over en masse spændende musik – solo, duo, trio og med...

Send us a textThe invisible art of music production takes center stage in this fascinating deep dive with Jay, Tiffany, and special guest Mark, who brings decades of musical knowledge to the conversation. What begins with nostalgic recollections of sneaking backstage at a David Lee Roth concert evolves into a masterclass on what makes truly great music tick.The trio explores the meticulous methods of legendary producers like Mutt Lange, whose perfectionism had one of Nashville's premier guitarists repeating just four measures for nearly a week until capturing the precise take he wanted. This standard of excellence explains why Lange's productions for artists like AC/DC, Def Leppard, and Shania Twain remain timeless sonic benchmarks decades later.A spirited debate emerges when the question "Who is the greatest bassist of all time?" hits the table. The hosts and audience members champion virtuosos from across genres—Jaco Pastorius's jazz fusion brilliance, Geddy Lee's progressive rock complexity, Les Claypool's avant-garde techniques, and the funk mastery of Flea. After passionate advocacy and thoughtful analysis of what makes a bassist truly exceptional, Victor Wooten emerges victorious, celebrated for his revolutionary approach to the instrument.When analyzing Tyler Braden's "God & Guns and Roses," the conversation transforms into a fascinating breakdown of music production's three pillars: songwriting quality, performance excellence, and production craftsmanship. This analytical framework offers rare insight into how industry professionals evaluate music beyond subjective preferences.The episode also touches on genre crossover controversies, with heated opinions about which artists are making authentic evolutions versus calculated commercial moves. Whether you're a musician, producer, or simply a passionate music fan, this episode delivers both entertainment and education in equal measure.LinksJay Franze: https://JayFranze.comVirtually You: https://www.virtuallyyouva.com/ Support the show

Episode 71: Harvey Mason Sr. You've heard Harvey Mason Sr., whether you realize it or not. From the iconic grooves of Herbie Hancock's Head Hunters to the GRAMMY-winning “Kiss From A Rose” by Seal, Harvey's drumming has shaped music history across genres, decades, and mediums — albums, film scores, and TV alike. He's not only a musical powerhouse, but a dear friend, and in this episode, we finally sat down to dig into his legendary run — especially his work with Herbie Hancock and the Head Hunters album. Harvey shares the story of how that band came together, the sessions behind Chameleon and Watermelon Man, and why he chose not to tour with them at the height of their success. We also dive into his solo career — how it started, how it evolved, and the surprising role Clive Davis played in making it all happen. Harvey opens up about his long-standing friendships and collaborations with Quincy Jones and Chick Corea, his approach to fatherhood (including raising his sons Harvey Mason Jr., CEO of the Recording Academy, and Max Mason, former VP of Quincy Jones Productions), and how he built a legacy both on and off the kit. Fun fact: Vic Firth was Harvey's teacher — and Harvey still receives royalties from the early days of Vic Firth drumsticks! We also get into his stunning new album Changing Partners: Trios 2, featuring the likes of Chick Corea, Gonzalo Rubalcaba, James Genus, Dave Grusin, Stanley Clarke. This conversation is a masterclass in musicianship, legacy, and love for the craft. Enjoy my sit-down with the incomparable Harvey Mason Sr. ‘Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights. (0:00:00) Intro (0:02:35) Harvey's New Album (0:05:26) Head Hunters (0:06:29) Getting the Call from Herbie Hancock (0:09:20) Making the Head Hunters Album (0:10:59) Studio vs. Touring Musician, Harvey's Background (0:14:06) Berklee, Studying with Alan Dawson (0:15:33) Vic Firth taught Harvey (0:17:55) Moving to L.A., Lucille Ball Show (0:19:41) Session Work in the 1970's (0:21:24) Working with Quincy Jones on the Bill Cosby Show (0:22:51) Instrument Collection, Harvey's Foundation (0:24:23) Session Work, Touring (0:28:00) “Chameleon” Session (0:30:56) Herbie's Hollywood Bowl Show (0:32:55) What Herbie was like in the 70's (0:33:47) “Watermelon Man” (0:35:15) The “4 A.M.” Session, Jaco Pastorius (0:36:41) Jaco Stories (0:38:22) The “4 A.M.” Session Continued (0:38:45) Focusing on Goals, Family Life (0:41:18) Harvey Mason Jr. (0:41:59) Max Mason (0:44:18) Learning from Clive Davis, Quincy, and others (0:48:22) Biggie, T.I., and Lupe Fiasco Sampled Harvey's Music (0:49:05) Funk in a Mason Jar (0:49:39) “Till You Take My Love,” David Foster, David Paich (0:51:40) Clive Davis (0:55:59) Touring with Carole King (0:57:30) Chick Corea (0:58:55) Losing Chick and Quincy (1:00:44) What Harvey is Doing Now (1:02:05) How to Keep Creativity Going (1:02:54) Playing Piano in Church (1:06:42) Playing with Duke Ellington (1:08:07) The Quincy Jones JammJam (1:09:12) Advice (1:10:47) “Changing Partners Trios II” (1:11:49) Vic Firth Stories (1:18:55) Residuals, Pension, Royalties, and Sessions (1:21:31) Sharing Stories 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 Harvey: https://www.instagram.com/harveymasonsr/ 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

Earl Klugh – Wishful Thinking – 3:57 Billy Cobham; George Duke – East Bay – Live 1976 – 10:26 Greg Howe; Victor Wooten; Dennis Chambers – Extraction – 6:13 Gonzalo Rubalcaba; Dennis Chambers; Brian Bromberg – Caravan – 10:58 Jaco Pastorius – Three Views Of A Secret – 7:28 The Kevin Hays Trio; Bill Stewart; […]

En este episodio hemos escuchado y comentado la música de Trio HLK; Skulli Sverrison and Bill Frisell; Herbie Hancock and Jaco Pastorius; Jeff Denson; Sunil López; Jazz Is Dead Vol. 16; Magnus Lindgren and John Beasley; Patrick Smith.

On this episode I have a super rad chat with Mike Stern. A guitarist who's co-conspirators include other greats such as Blood, Sweat & Tears, Miles Davis, Jaco Pastorius, Eric Johnson and more! We talk his current rig, his past vs current approach to the instrument, pedalboard order, our thoughts on "practice" and a whole lot more! Enjoy it folks! Check out more info on Mike on his website HERE https://www.mikestern.org/ Support The Show And Connect! The Text Chat is back! Hit me up at (503) 751-8577 You can also help out with your gear buying habits by purchasing stuff from Tonemob.com/reverb Tonemob.com/sweetwater or grabbing your guitar/bass strings from Tonemob.com/stringjoy Release your music via DistroKid and save 30% by going to Tonemob.com/distrokid Learn more about your ad choices. Visit megaphone.fm/adchoices

John Carey; David Margam; Jorge Pinelo – Smile – 3:59 Jaco Pastorius; Jimmy Haslip – Havona – 5:20 The Lao Tizer Band; Elliott Yamin; Eric Marienthal; Chieli Minucci – Why – 7:18 Tracy Carter – It Is Finished – 5:57 Michael Lington – On The Scene – 4:21 Gregg Karukas – Soul Kisses – 4:25 […]

Ragazzi, abbiamo fatto le nostre ricerche e possiamo dirvi con assoluta certezza che in questo episodio diremo il nome di Jaco Pastorius correttamente. Ma precisi eh, proprio con la pronuncia americana che tanto ci viene bene.

Michael Manring joins Groove for Episode #121 to share his journey as a bass pioneer. From learning with Jaco Pastorius to redefining the instrument's potential, this podcast dives into his innovations and stories.

MILES DAVIS “BITCHES BREW” New York, August 19, 1969Miles runs the voodoo downMiles Davis (tp) Wayne Shorter (sop) Bennie Maupin (b-cl) Chick Corea, Joe Zawinul (el-p) John McLaughlin (g) Dave Holland (b) Harvey Brooks (el-b) Jack DeJohnette, Lenny White (d) Don Alias (cga) Jim Riley (shaker) [ Jumma Santos (shaker) THE MAHAVISHNU ORCHESTRA WITH JOHN MCLAUGHLIN “THE INNER MOUNTING FLAME” New York, August 14, 1971Meeting of the spirits, AwakeningJan Hammer (p,el-p) John McLaughlin (g) Jerry Goodman (vln,el-vln) Rick Laird (el-b) Billy Cobham (d) HERBIE HANCOCK “HEADHUNTERS” San Francisco, CA, autumn 1973ChameleonBennie Maupin (sop,ts,saxello,b-cl,alto-fl) Herbie Hancock (el-p,clavinet,synt,pipes) Paul Jackson (el-b,marimbula) Harvey Mason (d) Bill Summers (cga,perc) WEATHER REPORT “HEAVY WEATHER” North Hollywood, CA, 1976Birdland, HarlequinWayne Shorter (ts,sop) Joe Zawinul (p,el-p,synt,melodica,g,tabla,vcl) Jaco Pastorius (el-b,mandocello,steel-d,d,vcl) Alex Acuna (d) Manolo Badrena (cga,perc,vcl) Continue reading Puro Jazz 2 de diciembre, 2024 at PuroJazz.

MILES DAVIS “BITCHES BREW” New York, August 19, 1969Miles runs the voodoo downMiles Davis (tp) Wayne Shorter (sop) Bennie Maupin (b-cl) Chick Corea, Joe Zawinul (el-p) John McLaughlin (g) Dave Holland (b) Harvey Brooks (el-b) Jack DeJohnette, Lenny White (d) Don Alias (cga) Jim Riley (shaker) [ Jumma Santos (shaker) THE MAHAVISHNU ORCHESTRA WITH JOHN MCLAUGHLIN “THE INNER MOUNTING FLAME” New York, August 14, 1971Meeting of the spirits, AwakeningJan Hammer (p,el-p) John McLaughlin (g) Jerry Goodman (vln,el-vln) Rick Laird (el-b) Billy Cobham (d) HERBIE HANCOCK “HEADHUNTERS” San Francisco, CA, autumn 1973ChameleonBennie Maupin (sop,ts,saxello,b-cl,alto-fl) Herbie Hancock (el-p,clavinet,synt,pipes) Paul Jackson (el-b,marimbula) Harvey Mason (d) Bill Summers (cga,perc) WEATHER REPORT “HEAVY WEATHER” North Hollywood, CA, 1976Birdland, HarlequinWayne Shorter (ts,sop) Joe Zawinul (p,el-p,synt,melodica,g,tabla,vcl) Jaco Pastorius (el-b,mandocello,steel-d,d,vcl) Alex Acuna (d) Manolo Badrena (cga,perc,vcl) Continue reading Puro Jazz 2 de diciembre, 2024 at PuroJazz.

Record Store Day Black Friday is November 29, and as we ramp up to the big day we offer the first of two specials. Pt. 1 features Jorma Kaukonen, founding member of the Jefferson Airplane and Hot Tuna, talking about the double album RENO ROAD, a collection of acoustic blues field recordings made with his longtime musical accomplice Jack Casady and released on Black Friday as an RSD Exclusive. In this conversation, Jorma recalls the heady times of the 1960s, and pays his respects to many of the fallen legends he's worked with over the years, including Paul Kantner, Janis Joplin, David Crosby, Phil Lesh, and even Jaco Pastorius. For more information about Record Store Day Black Friday (November 29) visit RecordStoreDay.com 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. For the most up-to-date news about all things RSD, visit RecordStoreDay.com)   Sponsored by Dogfish Head Craft Brewery (dogfish.com), Tito's Handmade Vodka (titosvodka.com), RSDMRKT.com, and Furnace Record Pressing, the official vinyl pressing plant of Record Store Day.   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.  

Pooch: Beyond the Music - Raped Ape and More: An exclusive interview with guitarist/singer Mike "Pooch" Pucciarelli, co-founder of Palm Beach heavy metal/thrash band, Raped ApeJoin Pooch as he shares his story, from growing up in Lake Worth, West Palm Beach, to his early influences in hard rock, heavy metal, punk and blues. He recounts his tenure with Florida's esteemed metal band Raped Ape (later Paingod), exploring South Florida's vibrant music scene, including numerous shows in Tampa, Jacksonville and beyond. Pooch recalls recording at Tampa's iconic Morrisound Studios with legendary death metal producer/engineer Scott Burns and meeting jazz bass legend Jaco Pastorius. Beyond music, Pooch is a talented painter and tattoo artist, owning Altered State Tattoo in Boynton Beach, FL. [Recorded 10/06/24]☞ Follow Florida Sound Archive on Instagram! @floridasoundarchive ☞ Please SUBSCRIBE to the channel and give the video a thumbs up if you enjoy the contentConnect with PoochInstagram @pooch_artWebsite: https://alteredstatetattoo.com/All things Raped ApeWebsite: https://slammie.com/rapedape/framespage.html...Related Episodes:The untold story of 1980s Florida band THE ROIDZ (Palm Beach) with Jeano Roid - https://youtu.be/BRm2bAhRqtk

Episode Notes To Order my new album “Around the Clock” Click HERE! (Digitial, Limited CD or Limited Edition Vinyl) My guest this week is Jonah Horton. An improviser at heart from the mountains of North Carolina, Jonah Horton blends his wide array of influences such as Joni Mitchell, Sam Bush, John McLaughlin, Jaco Pastorius, and Béla Fleck to create his signature sound that is easily recognizable whether he is playing mandolin or bass. As a sideman, he has worked with John Cowan (Newgrass Revival, The Doobie Brothers), The Krüger Brothers, Joseph Henson (US Army Blues), Charles Billingsly, and Scott Vestal (Sam Bush Band). His love for performance, when paired with his passion for creating a unique fusion of folk, jazz, bluegrass, and Americana, make him an exciting artist for any music lover to enjoy.  You can keep up with Jonah and order his new album via his website HERE. You can also follow him on his Instagram HERE.  Songs featured in this episode: “Smoke Signal Clouds” by Jonah Horton (Let in the Light) “Don't Think Twice” by Jonah and the Kruger Bros. (Youtube) “All in Vain” by Jonah Horton (Let in the Light) “Deja Vu” by The Trailblazers (Space and Time) “EMD” by Pinecastle Records (Bluegrass 2022)  “John Hardy” by Pinecastle Records (Bluegrass 2022) “Boomerang” by John Cowan (FICTION) “American Dreams” by Jonah Horton (Let in the Light) As Always a HUGE thank you to all of my sponsor's that make this podcast possible each week! Mandolin Cafe Acoustic Disc Peghead Nation promo code mandolinbeer Northfiled Mandolins Ellis Mandolins Pava Mandolins Tone Slabs Elderly Instruments String Joy Strings promo code mandolinbeer

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This week's episode comes to you in the afterglow of two sold out Joni Mitchell performances at the Hollywood Bowl in Los Angeles, where molecules were rearranged, hearts were broken wide open and 17,000 fans basked in her brilliance. Though she has a bit of FOMO over missing out on being part of the Joni Jam, this week's first guest, Shawn Colvin, has plenty of Joni stories. After initially discovering Clouds as a teenager at church camp, Shawn found herself many years later recording her 2nd album at Joni's house with Joni's then-husband Larry Klein, and Episode 7 guests Béla Fleck and Bruce Hornsby. Shawn says that she learned everything she could from Clouds, including a percussive approach to guitar, and it set her on a path to a solo approach to performing and writing songs which would not have happened without Joni Mitchell. She tells host/producer Carmel Holt about her “big brother” relationship with Bruce Hornsby and how he helped her overcome the heartbreak of a terrible New York Times live show review by sharing a folder of his own scathing media clips, one of which called him a “gherkin” (UK speak for pickle). MUNA guitarist, multi-instrumentalist and writer Naomi McPherson grew up in a family of jazz musicians. Like several of our guests, their gateway to Joni Mitchell was Blue and then the fretless bass of Jaco Pastorius on Hejira locked them in. From there, they went hardcore into 70s and onward Joni while listening to cassette tapes of Turbulent Indigo, Night Ride Home and Miles of Aisles in their 1998 Honda Accord. Naomi says that they are still learning from Joni's music and that because of her, they play exclusively in open tunings. They talk about how Joni's music spans genres and how much sonic exploration there is to mine in her catalog - from folk to the jazz era to 80s pop influences. Naomi thanks Joni for her fearlessness and considers her to be the greatest songwriter of all time.

En esta edición de nuestro podcast presentamos 'My Kind Of Blue', el nuevo trabajo discográfico del guitarrista Christophe Goze. Repasamos otros álbumes publicados en el entorno del Smooth Jazz por artistas como Boney James, BPM, Gabriel Mark Hasselbach, Tom Schuman y Eric Benét. En el bloque del recuerdo recuperamos un álbum titulado 'Who Loves You', publicado en Japón en 1998 y que era un homenaje al fallecido bajista Jaco Pastorius, grabado por algunos de los mejores instrumentistas del Jazz Contemporáneo.

Canciones de ahora mismo y de otro tiempo que nos salvarán mañana o pasado mañana…Canciones nuevas de Randal Bramblett, Les Hommes, Lake Street Dive, Alex Puddi, The BoomJeh, Johnny Burgos, Joel Sarakula o Yasmin Williams. Y sorpresas maravillosas como la versión desconocida de “Big Yellow Taxi” de Joni Mitchell con Jaco Pastorius y Pat Metheny o el disco incógnito de Dane Donahue producido por Terence Boylan.CLO PROMO REBECCADISCO 1 JONI MITCHELL Help Me (7) Live At The Forest Hills Tennis StadiumDISCO 2 RANDALL BRAMBLETT Come On (BELLEZA SONORA - 21)DISCO 3 LAKE STREET DIVE Seats At The Bar (8)CLO LUCAS PODCAST + CUÑA CLO MOMENTODISCO 4 THE BOOMJEH Keep Right On (1)DISCO 5 BRITTI Nothing Compares To You (5)DISCO 6 ALEX PUDDI Liquor Alla Menta (3)DISCO 7 JOEL SARAKULA King Od Spain (10)SEP MARTÍN X (TWITTER) + CUÑA BUSCAS SAMUSTINADISCO 8 LES HOMMES  Sonorissima Bay (1)DISCO 9 MARIO BIONDI What Have You Done To Me (4)DISCO 10 JOHNNY BURGOS This Vibe (8)SEP CLAPPINGDISCO 11 PMJ (JIM WELLMAN)& ROY AYERS Judy La Rose (10)DISCO 12 DANE DONAHUE Can’t Be Seen (7)DISCO 13 YASMIN WILLIAMS Hummingbird (ESCA)Escuchar audio

Bienvenidos amantes de la música, Ernesto Holman es Licenciado en composición docta de la Universidad de Chile, en los 80 fue bajista de la banda de Fusión Folk-Rock-Jazz "Congreso". Colaboró con Jaco Pastorius en New York. Hizo, ya hace unos años, su propuesta musical de ritmos étnicos con Jazz. Presentó su repertorio sustentado tanto en la Cueca chilena, como en el ritmo de Choike, donde se encuentran pulsos de 3 tiempos. Lo que Holman llama la "resistencia ternaria". Considera el ritmo ternario algo más cíclico, más orgánico, más natural y redondo. Se usa mucho en el Blues y el Jazz. Les invitamos a descubrir esta música tomada de una presentación en vivo en el Lincoln Center de New York, para un ciclo de conciertos con músicas del mundo llamados "Atrium 360" en Juio de 2019. Los temas son: 1. Fiesta en la Ruka. 2. Choike y Cueca. 3. Qué está en el Cielo. *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios anticipados y exclusivos)patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

Musicians Reveal welcomes New York City funk music legend Milo Z, who shares his insights on the vibrant music scene and his journey through the industry. Milo discusses his latest single, “Stand Up,” which addresses the current political climate and the importance of unity in a divided America. He reflects on his early experiences in music, including his mischievous beginnings and formative moments playing live at iconic venues. Throughout the conversation, Milo reveals the influence of great artists like Al Green and Marvin Gaye on his work, as well as the mentorship he received from notable musicians such as Mo Holmes. With upcoming gigs and collaborations on the horizon, Milo emphasizes the healing power of music and the joy of live performances, encouraging listeners to engage with the music community.Milo Z, a renowned figure in the New York City funk scene, shares his vibrant journey through music, reflecting on both his early experiences and ongoing projects. The conversation begins with humorous anecdotes from Milo's childhood, where mischief and music intertwined—like the time he and his friends stumbled upon a set of practice pads that ignited his passion for drumming. As Milo recounts his formative years in the East Village, he emphasizes the importance of persistence and dedication in pursuing music, revealing how a promise to take drum lessons led to his first real drum set. Joe Kelley and Milo delve into the rich tapestry of live music in New York during the late 70s and 80s, highlighting key venues where Milo honed his craft and the vibrant community of musicians that shaped his career. The discussion takes a poignant turn as Milo pays tribute to influential musicians, including the late Jaco Pastorius and the legendary Al Green, whose emotional performances have left an indelible mark on his artistry. Milo's recollections of collaborating with icons like Biz Markie and the Holmes Brothers provide insight into the interconnectedness of the music community, while he also reflects on the importance of mentorship in his life, particularly his relationship with the late Mo Holmes. As they explore the current musical landscape, Milo discusses his recent singles, including 'Stand Up,' a politically charged anthem that resonates with the current socio-political climate, emphasizing the need for unity and understanding amidst division.Milo's ongoing projects, including a reunion concert with his former band, Joey Miserable and the Worms, showcase his unwavering commitment to live performance and community engagement. The episode is a celebration of the healing power of music, as Milo articulates how the industry has transformed over the decades and the importance of supporting live music venues. This conversation not only highlights Milo Z's illustrious career but also serves as a reminder of the vital role music plays in shaping our collective experiences, encouraging listeners to come together through the universal language of rhythm and melody.Takeaways: Milo Z shares his journey into music, starting from mischievous childhood antics in New York. He reflects on the vibrant live music scene of New York City in the 1970s and 1980s. Milo discusses his collaborations with notable musicians like Biz Markie and Toots Thielemans. The conversation touches on the importance of music as a healing force in people's lives. Milo's new single, 'Stand Up', addresses the division in America today and urges unity. He emphasizes the significance of live performances, stating they bring joy and fulfillment. Links referenced in this episode:www.reverbnation.com/milozwww.youtube.com

Our guest is Doug Wimbish, one of the most renowned bass players of all time, known for his work with a wide range of artists, including Living Colour, Tackhead, Sugarhill Gang, Mick Jagger, Annie Lennox, and many more. He is also the founder of WimBash, a series of community-based charity events supporting music education. In this episode, John and Stewart talk with Doug about his extraordinary journey through the music industry. They discuss topics such as his start at All Platinum Records, the birth of Sugar Hill Records, recording "Rapper's Delight", his life-changing encounter with Jaco Pastorius, and his experiences touring with music icons. Doug also shares his thoughts on mentoring young musicians, the evolution of bass playing, and the importance of giving back to the music community. 

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durée : 01:03:35 - Club Jazzafip - Aujourd'hui ce sont les animaux qui inspirent notre partition. Familiers, fidèles ou à l'état sauvage, avec Henry Mancini, Jobim, Susheela Raman, Jaco Pastorius ou encore Red Hot Chili Peppers.

Peruvian drummer and percussionist talks about his collaborations with Don Alias, Louie Bellson and Jaco Pastorius.

SPECIAL SUMMER EPISODE: A Conversation w/ Ann Powers, author of Traveling: On the Path of Joni MitchellFor Part Two of our celebration of Joni Mitchell, the great ANN POWERS, esteemed rock writer and NPR music critic, joins Mark for a conversation about her brilliant new book Traveling: On the Path of Joni Mitchell. Topics include: the question of critical enthusiasm, Ann Beattie, Don DeLillo & Don Henley, Joni's plug into the pulse of the culture, Joan Didion and Play It As It Lays, Roberta Flack, Miles Davis, Art Nouveau and Don Juan's Reckless Daughter, Joni's evolving obsession with rhythm (and percussionists), Los Lobos, Chaka Khan, Prince's song for Joni, the Jazz Fusion scene of the mid-1970s, Jaco Pastorius, Brandi Carlisle and the Joni Jams, Taylor Swift and a celebration of the studio nerd, the underrated Larry Klein, Joni's relationship with the press, Joni's live performances, Michelle Mercer, and what moment in music Ann would travel in a time machine. Plus, a passionate reappraisal of Joni's four 1980s albums on Geffen Records and the value of meeting (and not!) your musical heroes. Special thank you to Dey Street Books and Mr. Brian Ulicky for his assistance with this conversation.Order Ann's book at your local independent bookstore here!

My guest in this episode is Nicki Cockburn. Nicki now lives in Cardiff but was born in 1978 in Zimbabwe. At 5 months old, after her Mum insisted on a second opinion, she was diagnosed as being blind. For sighted people like me that would feel like a massive burden and challenge but in talking about it Nicki says “I'm really happy with it, you have to adapt' and “it's been a problem for a lot of people, but never for me”. Nicki doesn't shy away from discussing some of the challenges and prejudice she has faced but her indomitable spirit shines through our whole conversation and I found it deeply inspirational, and I trust you will too. The other thing that shines through is Nicki's deep love of music which has been a positive force in her life for so long. She references over 50 artists in our chat and it's not everyone that can go from ‘The Chicken Song' through Jaco Pastorius to Rage Against the Machine! Nicki isn't just a listener she is also a musician. Her musical journey has gone through Piano, Flute and Guitar before she arrived in early 40's at the Bass Guitar, which describes as ‘her instrument' and one of her song choices specifically reflect that. Her song choices are : 70's      Your My Best Friend                                Don Williams80's      Rio                                                                      Duran Duran90's      The Car Song                                               Elastica00's      Bass Tribute                                                 Victor Wooten10's      Trust In You                                                  Lauren Dagle20's      Too Good For Giving Up                       Liam Gallagher Enjoy :-)If you would like to be on the show then please contact me at musictalkspod@outlook.com Please follow and like Music Talks on Facebook at https://www.facebook.com/musictalkspod . You can also find me on Twitter @musictalkspod .

durée : 01:03:35 - Club Jazzafip - Aujourd'hui ce sont les animaux qui inspirent notre partition. Familiers, fidèles ou à l'état sauvage, avec Henry Mancini, Jobim, Susheela Raman, Jaco Pastorius ou encore Red Hot Chili Peppers.

In today's video, we asked Michael League to dig into his earliest influences and name the bass lines that helped define his career with four-time Grammy Award Winners Snarky Puppy. There were a few things we agreed on:Bootsy Collins belongs on every top 10 list.Your drummer is your best friend.David Hood is a bass guitar genius.Everything else was up for debate. Well, almost everything…In this episode:Michael names his favorite bass line of all time.And the British rock band he idolized as a teen.We talk through his Jaco Pastorius phase.Bootsy Collins - just check out his swagger on Do That Stuff!And much, much more!

In today's video, we asked Michael League to dig into his earliest influences and name the bass lines that helped define his career with four-time Grammy Award Winners Snarky Puppy. There were a few things we agreed on:Bootsy Collins belongs on every top 10 list.Your drummer is your best friend.David Hood is a bass guitar genius.Everything else was up for debate. Well, almost everything…In this episode:Michael names his favorite bass line of all time.And the British rock band he idolized as a teen.We talk through his Jaco Pastorius phase.Bootsy Collins - just check out his swagger on Do That Stuff!And much, much more!

On this very special crossover episode Nate sticks around while Troy settles in and the group discusses parenting, EQ, Jaco Pastorius, the “Sickest Riff” Grammy nomination, touring Europe and the UK, digital amps and mixers, house parties, VHS and the Roland Space Echo. It's one crazy episode with two amazing artists!

Hein van de Geyn  is jazz double bassist, composer, teacher and band leader from the Netherlands.  His groundbreaking Comprehensive Bass Method has influenced a generation of bassists and is widely regarded as one of the leading pedagogical works for jazz double bass. We talk about Hein's remarkable career, his time in San Francisco, writing his bass method, what life in South Africa has been like these last several years, and much more.  Enjoy!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music theme music by Eric Hochberg Time Stamps 00:00 Introduction and Guest Background 01:28 Getting to Know Hein van de Gein 01:50 Reminiscing About San Francisco's Jazz Scene 03:17 Exploring the Jazz Scene in South Africa 04:35 The Importance of Practice and Mastery 10:17 The Role of a Music Teacher 14:10 The Art of Improvisation and Composition 18:12 The Value of Consistent Practice 22:33 The Journey of Learning and Teaching Music 26:58 Closing Thoughts and Reflections 28:50 Discovering Pablo Records and Dreaming of Playing 29:09 Memories of Performing with Joe Pass 30:07 The Art of Musical Language and Influence of Charlie Hayden 31:14 The Impact of Michael Brecker and the Role of Charlie Hayden 32:03 Reflections on Early Musical Influences and Evolution 32:56 The Shift in Bass Playing and Amplification Over the Years 33:33 The Unexpected Impact of Jaco Pastorius 34:57 The Evolution of Bass Amplification and Sound 36:56 Memories of Playing with Jazz Legends 39:00 The Importance of Technique and Style in Bass Playing 42:10 The Transition from Jazz Musician to South African Entrepreneur 47:32 The Enduring Passion for Music and Jazz 52:31 Lessons Learned from Playing with Jazz Greats 53:55 Closing Thoughts on the Global Jazz Community

Ra Kalam Bob Moses spent his youth growing up in New York City and living in the same building as Art Blakey, Max Roach, Abbey Lincoln, Elvin Jones, Rahsaan Roland Kirk. This early experience had a profound effect on this young musician. Ra Kalam would go on to work with jazz luminaries such as Gary Burton, Pat Metheny, Steve Swallow, Jack DeJohnette, Tisziji Muñoz and many others.  He was also a member of the group The Free Spirits in the 1960's, considered one of the first Jazz rock bands ever.  Many were introduced to Ra Kalam's drumming by way of Pat Metheny‘s very first solo record Bright Size Life in 1976 with Jaco Pastorius on bass.  Ra Kalam is also a composer and leader on many recorded projects, going back decades. In this episode, Ra Kalam talks about:    His thoughts on the documentary being made about him    Growing up in the same building as Art Blakey, Max Roach, Abbey Lincoln, Elvin Jones, Rahsaan Roland Kirk in New York    Getting beyond your tendencies and patterns    His relationship with teacher and musical collaborator, Tisziji Muñoz    The origin of his name “Ra Kalam”    Reconciling his own legacy    Upcoming recordings

The week of December 13, 2023 on The Metallica Report… Rob Trujillo brings us behind the scenes of “Are Bass Players Human Too?”, the new docuseries from Rush's Geddy Lee. As the focus of one of four episodes, Rob spent two full days with Geddy, showing him around his Southern California world through surfing, biking, and skating. He also gave Geddy a spin on Jaco Pastorius' famed “Bass of Doom” while the two shared stories of huge admiration and respect for the legendary bassist. Steffan and Renée catch up with Christian Carichner, Director of the Cyclone Marching Band at Iowa State University. Christian is brimming with enthusiasm as he details what it takes for a marching band to interpret Metallica's music and how excited he is to open up a whole new audience to the artistry and intricacies of the band's songs. Congratulations to Christian and the Cyclones, as they are one of the finalists in the “For Whom The Band Tolls” contest; winners will be announced the first week of the year. The Metallica Report - your official, weekly guide for all things Metallica, straight from the source. New episode every Wednesday. “Geddy Lee Asks: Are Bass Players Human Too?” on Paramount+:  https://www.youtube.com/watch?v=7pEjZYjdK6k Iowa State Cyclones marching band: https://www.youtube.com/watch?v=6BymkyX7A2o&t=3s Metallica marching band competition: https://www.metallicamarchingband.com Enter to win merch pack: https://pantheonpodcasts.com/metallica Wanna be featured on a future episode? Submit your questions or comments: https://metallica.com/podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

The week of December 13, 2023 on The Metallica Report… Rob Trujillo brings us behind the scenes of “Are Bass Players Human Too?”, the new docuseries from Rush's Geddy Lee. As the focus of one of four episodes, Rob spent two full days with Geddy, showing him around his Southern California world through surfing, biking, and skating. He also gave Geddy a spin on Jaco Pastorius' famed “Bass of Doom” while the two shared stories of huge admiration and respect for the legendary bassist. Steffan and Renée catch up with Christian Carichner, Director of the Cyclone Marching Band at Iowa State University. Christian is brimming with enthusiasm as he details what it takes for a marching band to interpret Metallica's music and how excited he is to open up a whole new audience to the artistry and intricacies of the band's songs. Congratulations to Christian and the Cyclones, as they are one of the finalists in the “For Whom The Band Tolls” contest; winners will be announced the first week of the year. The Metallica Report - your official, weekly guide for all things Metallica, straight from the source. New episode every Wednesday. “Geddy Lee Asks: Are Bass Players Human Too?” on Paramount+:  https://www.youtube.com/watch?v=7pEjZYjdK6k Iowa State Cyclones marching band: https://www.youtube.com/watch?v=6BymkyX7A2o&t=3s Metallica marching band competition: https://www.metallicamarchingband.com Enter to win merch pack: https://pantheonpodcasts.com/metallica Wanna be featured on a future episode? Submit your questions or comments: https://metallica.com/podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

En esta edición presentamos 'For All Time', nuevo álbum del compositor, multiinstrumentista y cantante Mayer Hawthorne. También repasamos recientes lanzamientos en la música Smooth Jazz protagonizados por Slim Gambill, Thom Rotella, Shakatak, Andy Snitzer y la banda Incognito. En el bloque del recuerdo recuperamos un álbum titulado 'Who Loves You', publicado en Japón en 1998 y que era un homenaje al fallecido bajista Jaco Pastorius, grabado por algunos de los mejores instrumentistas del Jazz Contemporáneo.

jD, Dan from London, Pete and Tim are joined by a very special guest on this episode that is dedicated to the new reissue of Phantom Power for its 25th anniversary.And make sure to listen to the VERY END!Transcript:[0:05] On August 31st, 2023, The Tragically Hip dropped the first track from the Phantom.[0:12] Power 25th Anniversary box set, a song called Bumblebee.I will always remember this day because my friends Dan from London, Pete and Tim were in Toronto for our big live finale and the four of us were off to Kingston to visit the Bad Houseand sightsee the tragically hip scenes in Kingston.The first thing we did inside the car was fire up Bumblebee.It was so odd to hear something so familiar but so new to my ears.I hadn't heard this melody or these bending guitar licks before and I wanted more.[0:53] Lucky for us there are several other tracks included on this box set.Songs we either hadn't heard, or maybe we've heard snips and pieces of in live performances, or maybe on a bootleg.And of course there are complete song ideas that wound up on Gord's first solo record, Coke Machine Glow.There is also a fantastic live show from Pittsburgh, demos, and alternate versions of songs that did make the final cut.In essence, this is an exciting time to be a hip fan.Although we are all collectively gutted that we'll never see our boys on stage again, as long as I've been a hip fan, I've clamored for these songs that somehow wound up on the cuttingroom floor.And I'm sure you have too.[1:41] Today we'll get a sense of what Dan, Pete, and Tim think of the Reissue and we'll speak with a very special guest about the making of this spectacular box set and so much more.So sit back, relax, and let's start getting hip to the hip.Track 4:[2:23] Hey, it's Shadeen here and welcome back to Getting Hip to the Hip.This is an out-of-sequence bonus, episode for everyone.We are going to be talking today about the box set of Phantom Power, and I am joined as always by my friends Pete and Tim, and today's special guest again, Dan from London. How's itgoing, everybody?Well, Dan got his ears lowered, looks like Dan got his ears lowered.Yeah, I lost some hair over the course of the last thing, yeah.He was shorn. Maybe it was his younger brother stepping in. Yeah.[3:07] So fellas, when we last left off and we talked about Phantom Power, I recall the conversation really revolving around fireworks.You guys both really loved that song.Something On was a little underwhelming for you.You got into Poets, you thought that was a good kickoff and here we are just like six months after, not even six months, like four months after releasing that episode and The TragicallyHip goes out and releases a 25th anniversary box set of Phantom Power.So we thought it would be cool to get the band back together and talk about that for a little bit.And we'll be joined by a very special guest who we won't reveal quite yet.Is there anything that in particular, Pete or Tim, you remember about your experience with the record, thinking back, and Dan, for you following one of them, what was your experiencewith the record in general?[4:24] Um, it's funny because I went back and I found my notes from the original and it's it's just crazy to look at.It's like it's a it's a time it's a time capsule because, yeah, there were certain songs that was like, this is good.And like and now I look at, like, some of the songs that I was.[4:44] You know, Gugu and Gaga over and I love fireworks, but I mean, by by and far, you know, Bob Cajun is probably one of the most just, I mean, it's on loop in my home.So many, so many days. She also listens to it as well, right?Oh, yeah, she absolutely loves that song. We're listening to the live version today, we went for a hike.[5:07] And Cherrigan Falls. Poets is like, I think didn't, didn't, goodness, 50 Mission, didn't they?They came out with Poets when they played the live event.That song just, I had like one line written for that song. And this is the line, this is how sad it is. Dig it.Verse phrasing is key to the song. Lines go to the next measure.Layers and guitars. Nice. Now I'm just like, I hear that song.And I just fucking stop what I'm doing. And I just like, I fucking love that song.It's crazy how this album grew on me like a fucking virus. It's amazing.Timmy? Great. Yeah. Great, great question, JD, for sure.I mean, there's still a few on it that I'm not a super fan of, just to start off being negative here.Like, the rules to me is still a yawner, you know, but like, I kind of dig Chagrin Falls more than I did last time.I don't think I was anti, but in Emperor Penguin, I've read so many times across platforms that people love Emperor Penguin, and that song's slowly growing on me too. It's one of myfaves.There's still some really good ones in there.[6:31] Thompson Girl I could still live without. That's another one that grew on me, Timmy. I feel you, but I grew on it.With the new songs, and this is a question for a few minutes ahead, but somebody asked with the new songs, are any of those potential replacements for what's on the original?Oof. So yeah, that got me thinking a little bit.Tim, why do you always have to embroil things in controversy?I mean, that just is a controversial question.I mean, probably because of aliens, I guess. Oh, stop it.[7:15] Dan, what did you think of Phantom Power? I mean, Phantom Power is an absolute solid album.It's just a kicker, isn't it? I mean, I always love something on, I think it was the first track I got into off the album and I still absolutely love it. I think that song kicks ass.Something about the bass drum and the bass just driving it and the timing is just fantastic.Obviously, yeah, Bob Cajun.That always used to come on at a certain point on my commute when I was arriving at a certain station and I now still have overwhelming feelings when I pull into that station.[8:02] I can't believe how big a song can be, how overwhelmingly amazing a song can be.But yeah, I mean, the other stuff, I mean, Escape is at hand, I think, is just my favorite track on the album.You know, again, it's a whole other different story and different sentiment that it carries.And I don't know, I think that is a Bob Cajun and Escape is at hand, I think that just works a genius.And I can't say much more than that.Yeah. You know, the loss related with Escape Is At Hand is so relatable for me. And probably everybody.But I tend to live with you, Dan.I think Escape At Hand is... There's something about that song that just hits home, I think, probably for most people.[8:58] Maybe not sociopaths. I don't know. Maybe not.I think, Dan, you hit on the point. It's crazy how songs, even if you listen to them and enjoy them, it's like they get to a point where you've listened to them so many times, and perhaps thesame situation, like you said, pulling into that particular tube station or whatever it is, that maybe you don't hear it for a while, but then you hear it again, And, and just like a flood ofmemories and images come back.Just weird how the human brain works, man. I mean, this summer, we were go, go ahead.I mean, I just, I was just gonna say also in terms of that as well, it's the same station that I come into, I used to come into every time Fiddler's Green came on as well.So there's a time in all the albums where some of this stuff happens.[9:49] That's cool. That's cool. So have any of you guys had a chance to listen to the bonus tracks or the outtakes or the live show or any of it?And if you haven't, that's cool.All of it. All of it? Yeah. Yeah.I'm just happy to have more live music from these guys.For the obvious reason. It's a nice sounding show. So I read some kind of critique, so it's not the best sounding live show they played. I mean, who cares?I'm just happy to have more live music. That's an easy go-to wherever I am, in the car, on a plane, whatever.So as far as the new songs go? Yeah, back to your question.Yeah, I dig most of them. What's the best of the bunch? Eh, I don't know, I'm not there yet, I wouldn't say I'm there yet, I kinda like them all for different reasons.[10:52] Vegas Strip may be the least, but I like all these songs. I haven't gotten to it yet.It's my least favorite, but I still really like it.Yeah, like Songwriters Cabal isn't my favorite, but I love that song.Mystery, just lastly. Mystery is kind of a phenomenal ending to this group of songs.It's just this somber kind of tearjerker.Yeah, that was that was a happy listen. Joy meant either you fellas dabble.[11:31] I dabbled today and a couple of days last week, not yesterday, but I think Thursday and Friday in the fly stuff, which I concur with Timmy, I just love the live shit and I don't give afuck If it was a, you know, if it was a tape recorder jammed behind a, you know, bathroom stall and you got it picked it up in the background.It's just cool to hear this band live, but I loved it. Um, of the new tunes.I agree. I'm not there yet, but I, I got, um, I did hear bumblebee a lot when that came out, cause that dropped first, if I'm not mistaken, right. It dropped the day we went to Kingston.Kingston.So we got to it on the way to Kingston. That was fun. That's right.But I would say of the new tracks, I think the strongest one is Insomniacs. Me too.I just think it's very brawling, fucking harking back, just cool, fucking, just has that cool, easy, fucking hip, early shit to it.Early feels to it. Yeah, you know, has the road apples feel to it or something.Yeah, yeah, yeah, yeah, I agree with that. I like that too. I could be swayed.[12:50] Okay. Dan? Yeah, and I mean for me, I've listened to the extra tracks.I mean, I still love Bumblebee.[13:04] There's something about that with the guitar bends, that like, I mean, I think we next sort of hear those kind of guitar bends on my music at work.Something very similar happens towards the end of that, doesn't it?But in terms of the live stuff, there's a few little things going on in there.I mean, obviously, when you get down to 100th Meridian, there's a kind of improvised extract of Bumblebee in there, which is fantastic.And also, in the Chagrin Falls live version, he breaks into Born Free, but in the alternate version of Chagrin Falls, he's singing Chagrin Falls with a Born Free kind of lilt to it.So there's these kind of little parallels between some of the stuff that's been chosen, I think.Yeah, so maybe that's the reasons for some of those selections.Yeah. To you for choosing this live this light those like cuts you mean I Think so. Yeah.Yeah. Yeah, there's definitely some some thread woven throughout.Yeah Too bad. We don't have anybody to ask We might get some insight from our special guest Yeah, we should kick to him right now.We'll go to a song and then we'll come in with our special guest Johnny fucking thing.Track 6:[17:35] Hello, hello, hello, hello, I hear you guys now. There we go. Oh good. Am I good?Am I good? Yeah Hello Hi johnny Good doing well Sorry about that Hi, that's my fault. Not yours.I'll take full credit for that We're just waiting for one more to join Okay, he's uh in the waiting room now.Oh, there he is amazing how everything just Clicked and then johnny came on because we were having some severe problems, Dan, can you hear us? Yeah, absolutely. Awesome. Can youhear me? Yeah. Grant.[18:18] How you doing technically there, Danny? Good. Can you hear me?I can hear you. I can see you.Perfect. So then are you done? Are you done taking the McDonald's in London?London? London. Yeah. Yeah. My dad, my dad's hometown. He's from Woolwich.Woolwich, really? Yes. Oh yeah. South of the river. And we got to Canada and some friends would say, are you from London, Ontario or London, England?And my dad would just shoot back, he'd go, there's only one, London.Ooh. Although they have a Thames where the Canadian one. Ooh. Anyway.[18:59] That's beautiful. Isn't there in London, Missouri or something, too? There's a London... Oh, they're all over the place.Yeah. What's the deal with that? What's the deal?I think there's one in India also. You can't throw a shoe without hitting a London, is basically what you're saying. Yeah.All right. Well, let's get things on the road here.Johnny, just a brief introduction. We've ran a podcast from May 2, 4 to Labor Day this summer, where I took my friends that have never heard of the hit before. One is in Spain, Malaga.One is in Portland, Oregon. That's Tim and that's Pete, who is from Spain.And then Dan is from London.And we took them through a record a week, starting with the Baby Blue record and working up to Man-Machine Poem and just.[19:54] Inculcated them into the world of Tragically Hip.We ended up with a big party at the end downtown at the Rec Room.We raised like almost four grand for Donnie Wenjack.Oh that's amazing. Incredible.Yeah, so that's our story. I'm sorry I had to get the The music stuffed down your throat like that.[20:19] Can you imagine doing it, Johnny, like of a band that you've never heard of, right?And I've heard of you guys, but like never heard of you guys. I mean, I never heard it.But it's crazy how we did get it literally shoved down our throats.And now we were going back today talking about Band and Power, about what our first reactions were for it.And even compared to now, how much everything's just grown on us.It's just like, and we're diehard fans now, but go back a year from today, we didn't know. That's incredible.Wow. It's crazy, man. Thanks for sticking with it. It's not always easy.My Spotify algorithm is still totally convoluted, but a lot of a lot of hit playing in there.So Johnny, let's start at the start and get to know a little bit about you as the drummer of The Tragically Hap.And youngest member of The Tragically Hap. That's right, that's right. It's a dig.[21:27] It's Gord Sinclair's birthday today, right? It is indeed.Yes. Yes. I had dinner with him and Paul the other night in Toronto, and we had a nice evening.And, you know, we're 40 years young next year.I was in high school when we started, and I guess here we are.Wow. Wow. Who, before you got into the band and as you guys were forming, um, you know, your sound and your, you know, cadence, who were your big influences?I've, I know Stuart Copeland came up at one point. Oh, without a doubt.Yeah. I've heard a story about an exam or something like that, that you missed.That's correct. Yeah, that's correct. Uh, and we later ended up working with Hugh Padgham, the great British producer. and Synchronously was coming out and it came out on the daybefore my.[22:29] My math exam for Mrs.Griffordy and Lynn got this record and I listened to it.I'd heard Every Breath You Take on the radio, but then when I heard Synchronicity II and just the blistering drumming of Stuart, I just had to drink it all in.I remember making the decision. I was like, I can listen to this record, I can study for the exam.If I don't study for the exam, I'm going to summer school, which I did.And then I took one day off to go see them at the Olympic Stadium in Montreal, but it was worth it because that was, that was really my education was living, eating and breathing.And if you were a drummer in the eighties, who, uh, the guy, he was instantly identifiable by a snare drum.Um, just the hit one snare drum, there was Stuart Copeland.So, And this was an era of drum machines, don't forget, this was Len drums and sequencers, and I loved all that stuff too, absolutely did, but to be on the radio, and Stuart was it, he was,and I'm still finding things out about him, that he held the drumstick between two fingers, he didn't hold it, he held it up here.[23:48] Instead of the two fingers, which is the traditional way to hold the drumsticks.But he invented a way to play and invented a kit, which was a sound, you know.And he really, I can't say enough things about Stuart Copeland.Yeah, he's amazing. But I'll also listen to Alan White of Yes, who was fantastic. and of course, you know, Neil Peart, Bob Rush.That's a pretty good pedigree.Well, you try and take a little bit from each guy, you know, you don't want to be a lab rat. You don't want to copy them.You want to just take all the little things you like the right hand from this guy, this snare drum from that guy, the bass drum.And of course, the great I saw him the other day, the Manu Katché, Peter Gabriel's drummer, who is the Picasso on the drums. He has hands down, Art Picasso on drums.High praise. Dan?Yeah, so yeah, those are your sort of past influences. But who do you enjoy listening to now? Who does it for you now?Well, it's really funny because what's on my turntable right now is Heavy Weather by.[25:12] Weather Report and I'm listening to Jaco Pastorius.I'm trying to get as much of him into me because he was the guy really, you know. You hear Geddy Lee talk about him, you hear.So I'm listening to a lot of bass players these days and loving it.So that's what's going on.[25:36] I gotta I gotta ask you, just because you mentioned synchronicity, this is just a this is just a note.And if you didn't know it, then I think we brought it up with Paul.But do you know that that record had 33 different covers?[25:53] I did, yes I did. I didn't know that I thought it had.I thought it had. Well, I guess it would because each guy was sort of on one of the strips and it changed.But I didn't know there were 33. 32 or 33. But yeah, it was when I found and some some versions are rarer than others. But that record is.And that song Mother is just nuts. And isn't Stewart Copeland singing that song?No, that song is Andy Summers, and I heard a story, they did part of it in the Moran Heights in Montreal and the engineer asked Hugh if he could bump himself off a cassette in the day.In those days there was no internet so it was cool. The engineers usually got to be able to do that.Here's a record I'm working on, just happens to be with the police.And he asked Hugh Padgham if he could leave that song off.A lot of people hated it. It's a hard song to listen to if you're not into the record. You know, what went into the trash bin was I Burned For You, that was slated to go on that record.And think about how that would have, you know, from Sting's soundtrack work, would have changed that record. Totally.[27:22] I'm a little curious of then and now also, when you first started playing drums, I raised a drummer.I have a 21 year old who plays drums.Awesome. Actually, yeah, the past year or so he's been out of the country and he's been more focused on DJing, techno of all things.But he's, you know, can hear kind of a drummer influence. But anyways, you know, we got him on hand drums early and drum lessons early.And I lived through, you know, a drum set in the basement.Just anywhere you went in my house, you had to go outside or take a call.It was just, you know, what was it like for you in your early years playing drums? Like what pushed you over to the drum set or being interested in it? And...Conversely, do you still play now? Do you still have access to a drum set or a drum set at home?[28:13] Great questions. Number one, my brothers had a friend who had a drum set and they said to me, they went and got the snare drum and they said, we'll get you the snare drum.And after a year, if you're still playing, we'll go get the rest of the drum kit.And I'm still playing. And so they Then I had an eye injury, which for three weeks I had both eyes sort of closed off with cotton batting.And it was a really weird, weird accident.I still, when I'm explaining it to people, my dad was on the phone.He was a pediatric cardiologist and he was talking to the hospital and we were at a friend's house.And it had this jar of erasers and pens and pencils and elastics and he was talking and I remember he had his hand on my head like that and I grabbed an elastic band and a pen, and I shotthe pen into my eye and yeah it was very bizarre I thought it was shooting at the other end so it went right in and I remember my dad saying to my mom don't touch it leave it leave it andshe was trying to pull it out and so I went in and my sense of hearing was heightened.[29:33] I could hear my dad walk down the hall after he had his morning rounds.I could hear the cadence of his footstep and so you know for that three weeks where I was unable to see, it just kicked that.At about seven years old into a different gear for me. I started hearing rhythm everywhere.As you do with your indicator of your car, to industrial sounds, trucks backing up. I can put a rhythm into it.Like your son, his, like you're saying about drumming, and now he's DJing, his internal clock is always going as a drummer because that's where it started. Absolutely.Yeah. So it's the same. Drummers are that way. You just pick those things up.And then second question. No, I'm not playing. I'm kind of doing what your son is doing with drum machines.But I have two drummers in the house, two nine-year-old boys.[30:29] And one is a lefty. And I would set a kit up for him and then my other son, Finn, and then I would forget about Willie.And then, so I just said, well, I'm going to set it up on the left for you because he has a great acoustic kit, a set of Gretsch 1960s.And now I play left because I'm not the drummer that I'm not, you know, I'm not that drummer anymore. So now I'm discovering all kinds of new things about playing on the left side, andleft-handed drummers I find are way more creative.It's funny you mentioned that because we often notice when I've gone to shows with my son, we'll just say immediately that guy's left-handed.You just see it like that. That's very cool.Ringo was left-handed, they say, and that's why no one could ever duplicate the way he got around the kit.Yeah. His left hand pushed his right hand, I think.Phil Collins, Ian Pace, they're not good drummers.They're incredible drummers. Those two guys for me, Ian Pace and Phil Collins.Phil Collins, the stuff that I listened to today, and I'm like, how is he doing that?How is he doing that? He was incredible.He really was. He is incredible.[31:48] Johnny, you've been hard at work on the Phantom Power reissue, the box set, the amazing box set.I got it last week, and it was so fun to open and just touch the vinyl, and the book that's inside is really wonderful.I'm just, I'm so curious what a project like that.[32:17] Entails like from a from a time perspective. And I know you guys are hard at work on another one for next year.Like, when does that begin? And what does that process even look like?Like, is it just climbing Everest or what?It's really fun. It's really great therapy for us.You know, we get to talk about the past and if one guy doesn't remember it, someone else will.We have weekly calls and it's fun.We didn't do any therapy after Gord passed away and we really should have.We have just all kind of dealt with things and I think really right now that this is our therapy.I'm in Toronto, so that's where the tapes are. I'm very happy to do it and we're digitizing things and Phantom Power was a different one because it was in different formats.It was on D88, little digital tapes.[33:11] DAT machines were around and kicking at that time.We also had our 2-inch machine and then Pro Tools, the dreaded Pro Tools was coming in.Well, you didn't have to make a decision and you could have a hundred tracks on something and and I was like the you know There was such economy when we were going to tape andAnd I really liked that.So, you know, if you look at the early records, we're still I, Think there's the most that we used was 18 tracks You know Don Smith would consolidate things and that was really a goldenperiod So, it's not as daunting as you think, it's been fun, it's been fun, it's been a discovery.[34:00] You know, to listen to some of those tracks and hear Gord Downie speaking in between takes is really these beautiful moments.So yeah, it's been a lot of fun.Robbie is in charge of the box set, putting it all together.So he's doing all of that stuff.And you know, Gord and Paul are very involved in it. But they have solo careers too.So, um, you know, uh, but we are, we're all together on this.Uh, it's not me, uh, just doing, um, the tape stuff there. They're involved in it too. Very cool.Yeah. I mean, I was going to ask in terms of the project from the offset, uh, you know, when you're going through the tapes and covering all of these tracks and these, these different takesof the tracks that you have, what, what shape, you know, with those tracks in, did they require a lot of work to get them up to spec, or was there anything that was kind of left off that was,you regard as pretty good, but it was still a bit too rough around the edges to include?[35:04] Well, if we did any editing back in the day, if it was tape, we would do chunk editing.We would take the ending of one, with the hip, we would play a tune, it'd be great, be great and we would get close to the end and then we'd anticipate the ending and I'd make the otherguy speed up so we get to it and then our producer would say well the ending of this one's good so let's take the last four bars so there we go there's the track.So they were in pretty good shape you know the tape that we got was really forgiving.The crazy thing is I heard about the Rolling Stones going back and doing stuff that they did in the early 60s.And the early 60s tape actually lasted better than the stuff they made in the 80s.They had to do very little to get them back into shape, which is cool.You got to bake them in what essentially is an easy bake oven for tapes at a low temperature and it just sucks all the humidity out.And so record companies are obviously very well prepared to do all that sort of stuff and then it's just digitizing them.But when you first have a go through the tape after it's been baked and it's coming off the head and going through a board at the studio, it never sounds better.You know and they shoot it over to Pro Tools and they say now we have it We've have it and I always say well it sounded better a few minutes ago when it was going through the machineand so, Yeah Tape is king.We lived in the Golden Age. We really did in the in the 80s and 90s When you when you still were spinning tape.[40:59] So I imagined with coming across tapes, you guys did so much work, you know, in the recording process that I imagined it was just so fun to go through. It has been.It was, you know, but, you know, talk about Bob Cajun being an example.We only really have two versions of that.[41:23] And Gord Sinclair and I had a conference and we were like, well, we can play that again and we can play it better. And we were like, yeah, let's do it.And so the version you hear is the demo version, really.It's just we said we would go back and address it later. I think we went on tour and then it was Steve Berlin listening to it, which was really cool because he he recognized you can't beatyour demo.And that's what bands try and do.And he was so smart with it. And he said, I'll let you play it again.But you're not going to beat this. It's just there's a vibe there.And Gordon and I were like, we're going to beat it. We're going to do it. And we never did.And so I always loved that, that he did that because as a producer, I wouldn't have done that.And I would have screwed it up if I was producing that record.And he had the brainpower and the knowledge and he'd made so many great records before that he just, he let us play it, but we never beat it.It's our biggest song, too. Well, we were talking before, I absolutely love that song.That song is the soundtrack of this past summer for my wife and I.You jammed it down her throat. Oh, yeah. She drank the Kool-Aid, man.Let me tell you. She sure did.I've tried. We're getting there.[42:46] That's the pocket of that song, in my opinion, and this is my opinion, and if Robbie was here, I'd maybe change it just to be sweet to him, but it's you and Gord.It's just that the pocket's so tight with that.But you said something earlier about tape, and I want to just touch on it real quick because you were talking about how they have Pro Tools and this and that, and how you would havemade a different decision with Bob Cajun.But we cut a record in this last March, our band, we did our second record.And the engineer was using Cubase, which is just another version of Pro Tools or whatever.You've got a million, you can do a million tracks. But like he was like, no, you're going to do this many. And I'm like, no, I don't like that.He's like, nope, that's it.Yeah, because you get to a point to where you could just you just go crazy.And you could do 25, 30 tracks, you know, on one take or 25, 30 takes.And it's just it's stupid at that point.You've got to appreciate the moment that it is, you know, whether it's, you know, you're never better than your demo, like you said. You know? Yeah.And and I don't know, I guess.[44:01] There was, and not to get off the topic of, of, of, of Phantom Power, but for me, and I know we all had this, this reaction.We felt like I felt like In Between Evolution was the Johnny Faye record.[44:17] Really? Yeah, and there's... I don't remember that record, really.Well, yeah, there's a specific thing. That's crazy because there there's at the end of certain songs, there's little, you know, hi-hat touch, there's a rimshot, there's just little sprinkles of youthat is the last sound you hear on multiple tracks and or, or the beginning of a track.And I'm like, I wonder if there's something to this, but they must have just been the take that you guys did and it's taking up, maybe so.That was confusing record.Well, it's interesting about the tape to dress the tape thing.Yeah. And you have limitations. You got to make decisions.Uh, and you know, and I didn't say that I read Keith Richard's book and he was like, give me eight tracks and I'll write you a hit.And, you know, when they went to 16, he was like, man, okay, but I can still do it. Nay. And it's true.Um, you know, that, that the a hundred guitar tracks or whatever, the layering and, and, uh, it's just, you know, it goes, just lets up on records, John Bonham.I worked with a guy named Terry Manning and he had, John Bonham got very upset with him because Terry Manning said to me, I was the guy who put the third microphone on thedrums, he didn't like that, he only wanted two.[45:36] Only wanted two. So yeah, Inbetween Evolution was, we worked with Adam Casper, he was fantastic, obviously he's a guy who worked with Pearl Jam and we were very chuffedabout working for him, with him.And we seemed to move around studios a lot.For me that was a little bit confusing, so I never knew what we really had in the can.And it was in Seattle, where I love. I absolutely love Seattle.And so that was cool to be there. But yeah, I don't sort of...It's just a record that's easy to associate with you.And I think at that time too, we were looking at videos. I remember talking about this video I saw of you.You were so in the friggin zone playing live.You broke a cymbal and somebody just came like middle of the song.You just kept going along, replace cymbal.That would be Mike Cormier. He was my drum check and he was amazing.He could tell when they were broken. He sort of mid-song and he'd say, should I wait for the end of the song? I was like, no, just get rid of it.[46:44] Yeah, you know, we're going through something now where we're going back even further and with Up To Here.And a question was asked earlier about is there some songs that were left off?And there was a song that was left off, Up To Here, and it's called Wait So Long. and it was a really, really special song.Our producer and his manager and some people at the record company really thought that that was the lead track.[47:15] It ended up being Blow It High Dough, I believe.Or New Orleans is sinking. But Wait So Long is a great track, and that will come out next year.Oh, that's exciting. We have a mix of it and everything from Don Smith, so that's fully intact.So when we looked through the tapes and thought, oh, what do we need to remix?There was that one, you know, the lettering. It was like, okay, we got that one.So that'll be great to get out.You know, hear what people think about that. So one of our go ahead, Judy.So I have an ammo system set up at home. So I've been listening to the mix and Dolby Atmos.And I'm just curious about how that works when you're when you're doing a mix of that because there are instrumentations and sounds that I've never heard in those songs before.And now all of a sudden, they're they're shooting over my head.And it's, it's really fucking tremendous. It's a great way to experience music.But I just wonder what it's like.Do you have a mixer that just takes care of that?Because I noticed there was there's three writing credits for mixers on the Yeah, on the album.So I'm just curious if one is just for Dolby Atmos, sir.Yeah, well, we had a guy in the first couple, I think he did Road Apples.[48:43] And his name is Rich Chicky, and you might know him because he's done all the Rush stuff.He's like the Rush in-house guy for Atmos.Since then, we've had our key engineer, Mark Braykin, has been doing the Atmos stuff because he built an Atmos room.[49:00] You're right on this one. Phantom Power has a lot of stuff. I was sitting in the back of the room when they were mixing that and it's like there's some backwards guitars and somestuff that just goes out and it makes sense.I'm not gonna lie, I'm not the hugest fan of, I get it, you know, let's send the hi-hat into outer space, changes the groove, changes the groove for a five-piece band, we're not gonna lie.[49:29] On an album like Road Apples, which Rich did, and he did a great job.I just don't get it. On Phantom Power, which would be the closest thing that we would ever have to Dark Side of the Moon, I get it.You sit in the back of the room and hear the backwards guitar or stuff swirling around. It's cool.But I know people want this in their headphones, but I guess I'm a little bit like Monomix guy.I don't mind that either. I love it. I love that. Yeah.Dan? I'm with you, Joni.[50:04] Coming back to the other aspect of the box set, which is the live recordings, I mean, what criteria do you sort of use for selecting the live recording?I mean, out of the three that have been, you know, re-released.[50:18] Obviously one was the Horseshoe, but the other two have been from, like, American venues.Would you perhaps, like, choose the American gigs because they might be lesser known to a predominant Canadian audience?Or, I don't know, how do you choose? We pick a gig that has fewer clams in it and less mistakes.We just kind of really, we really do.We did a live record called Live Between, it was way back in the day, and we argued about this.We had really sort of a good old fashioned fight about it.And Gord Downie wanted one from this place called the 40 Walk Club, which we'd listened to and it was a great, great version.It was a great night.And it's where REM, I think, got their start.And so we were sort of between that and another couple.[51:12] And then we ended up picking Detroit because it sounded good.Um, I think that's kind of what we go on when we're, we're picking these, um, these live, uh, albums and Gord Sinclair's son, um, is the one who really goes through them and says, there'ssomething here.He knows the hip really well. And so he really kind of directs us.So there's so many tapes out there. Um, and so he, he sort of says this one, um, from, uh, Chicago second night, a house of blues.This, this one's got something there. And so Colin Sinclair is really in charge of that.I don't think any other guy in the hip can take credit for it.[51:52] Can I just ask as well then, so what percentage of hip shows do you think were actually recorded, you know, documented?[52:00] It would depend on the period. One tour we went out with D88 machines, other eras we let people tape, like Fish Show or Grapevold Head, we would set up a little area where theycould get stuff off the board.That was cool. And there were some remote stuff, not a ton of 24-track, tape stuff. We would do stuff for Westwood One.Most of this stuff is going to be in-house, or a record company generated through a live truck, Usually in LA or New York, we have one coming up from a show we did in the States forRecord Day next year.Not a ton. There's not a ton. Two scoops in this session. That's great.That are coming out?[53:05] You mentioned Zeppelin too. I was going to ask you about Hedley Grange, but I forgot what I was going to say. You know where Bonham did that thing with the, for, for, um.[53:16] When the levee breaks, you know, yeah, they put the mics up on the stairs. God, that's so cool.But, but no, that was Jimmy. That was Jimmy Page. That was Jimmy Page doing that.He engineered page based on that. That's that's such a it's such a I mean, never in in history. Can anybody recreate that sound? I mean, it's just so cool.No, the sound of like a double bass almost, but people people don't understand that there's the economy of it.If you worked with one of These older guys, I always say that Don Smith was like Rudy Van Gelder, he got it.He knew, he kept on coming into the studio, back in the control room.He would make the live room, the studio sound, the control room sound like the live room. And he was constantly tweaking like that.[54:02] The guitar, if you listen to the Zeppelin, it's all the stuff that's implied in the chords I think.The drums are what everything is hanging off of. The guitars are really quite small, you know, you know, there's these these bands that came out in the 80s that were trying to be likeZeppelin, use 24 microphones on the drums.It sounded horrible, you know, and for John Bonham, it was just the way he played. He was really good.Incredible jazz sensibilities, an incredible groove. And he was able to move, you know, all four of those guys were spectacular.We went on the road with them. We went on the road with them, Paige and Plant, through the States, and it was incredible.[54:49] Yeah. Never a nicer, never a nicer guy than Robert Plant. He was so, so nice.Oh, yeah. That's that's, that's, that's amazing.Yeah, I'm a huge, I'm a huge Zep fan. But I just got to ask you real quick about the song Fireworks.Is there, there's got to be some Rush influence in that. I just hear so much like spirit of the radio in that tune.It's just such a, I think that when that song, when we heard that song on this record, Tim and I both, I was like, that was for our first favorite song on this record. Oh, that's sweet.[55:26] Don Smith's mix on the box set is really interesting.Because for Phantom Power, where we mixed it three different times.Yeah, I mean, Neil, I got to meet him a couple of times.He was obviously a huge influence and I would say, yeah, yeah.I went trick or treating as him one year. I crank called him.[55:50] Oh my gosh, amazing. Love Rush, man, love Rush.J.D. be mindful of the of the clock too on the thing. You're on mute.Yeah, we can't hear you, J.D.Oh, sorry about that, guys. I was just going to say we've got a minute 45 left of this session before it cancels out.So, Tim, if you've got a quick one and then we'll bid adieu.Well, I just had one of our pod listeners asked about Bumblebee and basically was like, why didn't this make the album?You know, this it could fit in there so well. So just a quick comment on that.And yeah, yeah, that was one that was that was on on the list.And I think it just, we just sort of Gord Sinclair was putting the sequences together for that.And it just for us, there was just something maybe missing. It's really great.[56:46] And I love the line when the moon's a water balloon.It just is so great. That's so Gord. You know, yeah.And I look at every time I look up at a supermoon and it looks like a water balloon. I think it's very cool.Well, it made the box set. So that's, yeah, that's important.Yeah. Well, Johnny, we really want to thank you so much for your time.It means a lot. And thank you gents for, for all your promotion to the hip. Our pleasure.Keep ramming, keep ramming it.Hopefully not your family. They love it too. It happens.Track 1:[57:29] Thanks for listening to Getting Hip to the Hip. Please subscribe, share, rate and review the show at gettinghiptothehip.com.Find us on Twitter and Instagram at gettinghippod.And join our Facebook group at facebook.com slash groups slash fully and completely.Questions or concerns? Email us at JD at getting hip to the hip.com.We'd love to hear from you.Track 6:[58:25] I can't wait for the music at work box set as well, just so you know, just so you know, we're dying for that one. Oh yes, please, please.I'll tell you, I'll tell you the one that I was listening to last night and the demos are really great and and I'm really pushing for this one is in violet light.Oh yes. Yeah. In violet light. The demos were just incredible.Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Artistically ambitious, a rare woman in a male dominated scene, taking the road less travelled, or even the road never travelled, and with her feet well on the ground business-wise side to ensure her artistic independence, Carla Bley played a key role in giving today's music scene the shape we know. This week we concentrate on some of her signature compositions, focusing on her Church side, her Big Band side, her catchy side, her electric side, and some of the musicians that embraced her work early on. The playlist features Conjure, Kip Hanrahan; Orrin Evans; Howard Tate; Masabumi Kikuchi, Gil Evans; Espoo Big Band; George Russell; Jimmy Giuffre, Paul Bley, Steve Swallow; Jaco Pastorius, Pat Metheny, Paul Bley, Bruce Ditmas; and John McLaughlin. Detailed playlist at https://spinitron.com/RFB/pl/18060273/Mondo-Jazz [from "The Wardrobe Master of Paradise" onwards]

Hosts, bassists, and Weather Report fanatics David C. Gross & Tom Semioli discuss the history of Weather Report in a four-part series with Curt Bianchi – author of Elegant People: The History of The Band Weather Report. Part Three covers the Jaco Pastorius era wherein Weather Report achieves its greatest commercial success with the addition of the virtuoso bassist. A Conversation with Curt Bianchi Playlist Part 3

Wired Telemetry is the second track from The Devine King Project, Vol. 1. It's a classic fusion instrumental, which makes it a great vehicle for anyone looking to experiment with improvising. In this episode, you'll hear Scott's own analysis of the song, including his tips and tricks for you to experiment with while playing along.Scott maps out the track Wired Telemetry.Including the Brecker Brothers-inspired melody.Where you can lean on a C minor pentatonic scale.You'll hear him pivot to a warmer bass tone.And borrow a lick from Jaco Pastorius!And much, much more!

Funk largely grew out of 60s rock and RnB, but its influence can be heard in many of the surrounding genres. On today's show we explore funk-infused records. Here's our album picks: Jaco Pastorius – Jaco Pastorius (Andy)Chic – Risqué (Don)Living Colour – Vivid (Dude) What do you think of these records? What's your favorite […]

Gary Chaffee's career spanning over 50 years has had him traveling and teaching students worldwide, as well as being the Chairman for the percussion department at the Berklee School of Music in Boston. During that time, some of his students were Vinnie Colaiuta, JR Robinson, Steve Smith, Kenwood Dennard, and many others who went on to utilize Gary's teachings in their own careers. He has also authored many books explaining and demonstrating his unique ideas, among the most popular being the Patterns series.  As a performer he has played with such luminaries as Pat Metheny, Jaco Pastorius, Bill Frisell, Kermit Driscoll, Mick Goodrick, and many others, as well as a duo that he formed with fellow percussionist Steve Houghton, known as the Whirly Birds. Now retired in New England, Gary can enjoy his life celebrating his vast career and contributions.    www.garychaffee.com

Steve Maxwell Sr. calls up Bobby Colomby to talk Blood, Sweat & Tears; making a documentary; Jaco Pastorius, Mark Knopfler, Jesús Molina; Rogers Wine Red Ripple, and more!

Maggie speaks with percussionist Joey DeLeon and bassist Eddie Resto about  “The Global Salsa Explosion and Its Origins” and play the incredible, iconic music that caused such a sensation when it stormed out of New York in the 1970s.Joey De Leon is a percussionist, educator and producer who's performed or recorded with artists of almost every genre from jazz to Latin, pop to contemporary classical and film scores. The long list of artists he's worked with include Queen Latifah, Al Jarreau, Jennifer Lopez, Bette Midler, Cyndi Lauper, Poncho Sanchez, Arturo Sandoval and Gordon Goodwin's Big Phat Band.Joey DeLeon was born in the Hell's Kitchen section of New York City, holds a bachelor's degree from the prestigious Manhattan school of music and is currently a faculty member at Cal Arts here in Sothern California.Eddie Resto is a bassist whose credits are just as astoundingly diverse as Joey DeLeon's. Eddie's resume includes his work with Tony Bennett, Rita Moreno, Sonny Stitt, Tito Puente, Dizzy Gillespie, Paul Simon, Kenny Burrell, Herbie Hancock, Chick Corea, Carlos Santana, Jaco Pastorius, Dexter Gordon, Max Roach, Eddie Palmieri and Joni Mitchell.Eddie holds a master's degree in Afro-Latin music from California State University of Los Angeles and serves his communities through his work with the Mancini Institute, The Urban League, The Boys and Girls Club of America and other youth organizations.Source: https://www.labella.com/artists/eddie-resto/#:~:text=Born%20and%20raised%20in%20Manhattan,major%20performers%20and%20music%20groups.Source: https://www.joeydeleonmusic.com/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

iconic bass player Jerry Jemmott is back after a few years to talk about his book Make It Happen!: The Life and Times of "The Groovemaster," live at 6pm PST.Jerry Jemmott is a two-time Grammy Award winning bassist and was a key architect of the Atlantic Records and Muscle Shoals sound of the 1960s & 1970s. Jerry's body of work provided the soundtrack to the Civil Rights Era. He played on Nina Simone Sings the Blues, Gil Scott Heron's “The Revolution Will Not Be Televised,” Aretha Franklin's “Think,” B.B. King's “The Thrill is Gone,” Wilson Pickett's “Hey Jude,” Jerry Jeff Walker's “Mr. Bojangles,” and albums by the Rascals, Freddie King, Freddie Hubbard, and many more. He was also the interviewer in Modern Electric Bass video with Jaco Pastorius and more recently had a starring role in the feature documentary Jaco , along with live televised performances with Gregg Allman and with Aretha Franklin on Late Night with David Letterman .

Part 5 of the rock legend series focuses on jazz bassist Jaco Pastorius. We talk about his childhood, his musical journey, his tragic death, and his influence on modern rock bassist's and beyond.    Contact us at:  https://instagram.com/musically_meditated?igshid=ZWQyN2ExYTkwZQ== (https://instagram.com/musically_meditated?igshid=ZWQyN2ExYTkwZQ==)        

Jess Gillam is joined by composer, pianist and technologist Zubin Kanga, with music from Gesualdo to Ravel via Laurie Spiegel and Jaco Pastorius.

Phil and David welcome their friend Bobby Colomby, the original drummer of Blood, Sweat & Tears and director, writer & producer John Scheinfeld to "Lunch" to discuss "What the Hell Happened to Blood, Sweat & Tears?" a fascinating new political thriller/ music documentary in which David appears alongside the band members and Clive Davis. And because sometimes two great drummers are more fun than just one, Phil & David also invited another friend of theirs to the table --  the legendary drummer Rick Marotta who also wrote the music for "Everybody Loves Raymond" for Phil. Expect a fun, freewheeling and rather jazzy conversation about the acclaimed documentary --  along with drummer jokes, dad jokes & great stories about everyone from The Jacksons to Jaco Pastorius. Take a look here for more info on the film! You can also find tickets and showtimes at https://www.bstdoc.com/watch. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.  

For our 400th episode, we mix things: You're invited to take a roadtrip with acclaimed luthier Isaac Jang and Fred Walecki of Westwood Music fame. Fred regales us with stories about working with Joni Mitchell, who he affectionately calls "Beethoven in drag." We hear about how he connected Joni with guitarmaker Ken Parker, how the Roland VG-8 allowed her to access her dozens of personalized tunings onstage, some Jaco Pastorius tales, and so much more. Read our profile on Fred from the Fretboard Journal's ninth edition (now long out-of-print): https://www.fretboardjournal.com/features/community-center-fred-waleckis-fabled-westwood-music-is-part-instrument-shop-part-social-club/ https://www.facebook.com/malibumusicshop/ https://www.isaacjangguitars.com/ Register for our 2023 Chicago Fretboard Summit (August 24-26, 2023) here: https://fretboardsummit.org/ The Fretboard Summit is a one-of-a-kind festival where you can connect with some of your favorite musicians, brands, and luthiers, including many you've read about in the pages of our magazine or heard on this podcast. Tickets are limited and going fast. Our podcast is sponsored by Retrofret Vintage Guitars; Deering Banjos; Peghead Nation (use the promo code FRETBOARD and get your first month free or $20 off any annual subscription); Izotope (use the coupon code FRET10 to save 10% off their plug-ins); and Stringjoy Strings.

To many musicians making an album has always been the epitome of their art, but with digital streaming taking a hold of the industry, do full length albums still matter? That depends on who you ask! Having recently released the first live album of his incredible career, John Patitucci has put together one of the standout recordings of 2022. In this episode, we quiz John about his need to still be making albums, the basses he's played over the years, his chance backstage meeting with Jaco Pastorius, and his Italian tour with Chris Potter and Brian Blade!