Podcast appearances and mentions of jay mcshann

Jazz musicians were not exempt from service in the U.S. military. Jay McShann, John Bunch, Louis Bellson, Terry Gibbs, Clark Terry, Orrin Keepnews, George Wein, Joe Bushkin and Bobby Johnson speak about their experiences during WWII.

JAY MCSHANN “GOING TO KANSAS CITY Dallas, Texas, April 30, 1941Swingmatism, Hootie blues (wb vcl,cp arr,1), Dexter bluesHarold Bruce, Buddy Anderson, Orville Minor (tp) Taswell Baird (tb) John Jackson (as) Charlie Parker (as,arr) Harold Ferguson, Bob Mabane (ts) Jay McShann (p) Gene Ramey (b) Gus Johnson (d) Walter Brown (vcl) William J. Scott (arr) New York, December 1, 1943You say forward, I'll march, Wrong neighborhood (bm vcl,), Home town blues (wb vcl,)Bob Merrill (tp,vcl) Dave Mitchell, Jesse Jones, Willie Cook (tp) Alonzo Pettiford, Alfonso Fook, Rudy Morrison (tb) John Jackson, Fats Dennis (as) Paul Quinichette, Bill Goodson (ts) Rae Brodely (bar) Jay McShann (p) Gene Ramey (b) Dan Graves (d) Walter Brown (vcl) ART HODES / MILT HINTON “JUST THE TWO OF US New York, August 26, 1981Willow, weep for me, Winin' boy blues, I would do anything for you, Randolph Street blueArt Hodes (p) Milt Hinton (b) PAUL GONSALVES “GETTIN' TOGETHER!” New York, December 20, 1960Hard groove, I surrender dear, Low gravyNat Adderley (cnt) Paul Gonsalves (ts) Wynton Kelly (p) Sam Jones (b) Jimmy Cobb (d) Continue reading Puro Jazz 03 de septiembre, 2024 at PuroJazz.

JAY MCSHANN “GOING TO KANSAS CITY Dallas, Texas, April 30, 1941Swingmatism, Hootie blues (wb vcl,cp arr,1), Dexter bluesHarold Bruce, Buddy Anderson, Orville Minor (tp) Taswell Baird (tb) John Jackson (as) Charlie Parker (as,arr) Harold Ferguson, Bob Mabane (ts) Jay McShann (p) Gene Ramey (b) Gus Johnson (d) Walter Brown (vcl) William J. Scott (arr) New York, December 1, 1943You say forward, I'll march, Wrong neighborhood (bm vcl,), Home town blues (wb vcl,)Bob Merrill (tp,vcl) Dave Mitchell, Jesse Jones, Willie Cook (tp) Alonzo Pettiford, Alfonso Fook, Rudy Morrison (tb) John Jackson, Fats Dennis (as) Paul Quinichette, Bill Goodson (ts) Rae Brodely (bar) Jay McShann (p) Gene Ramey (b) Dan Graves (d) Walter Brown (vcl) ART HODES / MILT HINTON “JUST THE TWO OF US New York, August 26, 1981Willow, weep for me, Winin' boy blues, I would do anything for you, Randolph Street blueArt Hodes (p) Milt Hinton (b) PAUL GONSALVES “GETTIN' TOGETHER!” New York, December 20, 1960Hard groove, I surrender dear, Low gravyNat Adderley (cnt) Paul Gonsalves (ts) Wynton Kelly (p) Sam Jones (b) Jimmy Cobb (d) Continue reading Puro Jazz 03 de septiembre, 2024 at PuroJazz.

The Name Droppers (Sweet Little Angel); Lynn August (Creole People); Joe Sample (Creole Joe); Little Bobby (Been A Real Long Day); Jay McShann and His Orchestra (Jump The Blues); Jimmy Rushing (Exactly Like You); Sam Joyner (Feels Like I Can't Go On); Liza Ohlback (Feels Like I'm Drowning); James Booker (Let's Make A Better World); Big Walter Horton (West Winds Are Blowin'); Ronnie Owens (Need My Baby); Roman Barten-Sherman (Cairo Blues); Keeshea Pratt Band (Easily Replaced); Michael Burks (Nothin' Else To Do); Eliza Neals (Banned In Jackson). 

Air Week: November 20-26, 2023 Van “Piano Man” Walls Harry Vann began playing piano in Beulah's Church in Charleston, WV around the age of 10, but thanks to hearing Jay McShann records on the radio, he was bitten by the blues bug while in his teens. After settling in Columbus, Ohio in the late-1940s, Vann […]

The last great Kansas City big band from 1940-43 featuring Charlie Parker as its main soloist, although pianist McShann was one of the best of his generation. Live broadcasts and studio sessions for Decca show this important transitional group which also has Orville Minor, Paul Quinichette, John Sparrow and John Jackson soloing as well as singer Walter Brown. --- Support this podcast: https://anchor.fm/john-clark49/support

Originally from Kansas City, MO, Dr. Amy Lewis recently moved to Wisconsin to join UW-Madison as research associate as an Anna Julia Cooper Fellow in the Mead Witter School of Music. Granddaughter of Grammy nominated jazz pianist Jay McShann, Dr. Lewis grew up surrounded by music - but she didn't think she'd go into music education. In this episode of Black Oxygen, Dr. Lewis discusses her family's history in music, her research on systemic oppression and racism within music education, and the role of experiencing joy as a part of liberation. She says, “if we can't create spaces that bring us joy it will be hard to get to liberation.” Links: https://music.wisc.edu/2022/09/29/school-of-music-welcomes-new-faculty/ https://www.penguinrandomhouse.com/books/206173/freedom-dreams-by-robin-dg-kelley/ https://www.penguinrandomhouse.com/books/622408/we-want-to-do-more-than-survive-by-bettina-love/

Air Week: June 13-19, 2022 Jimmy Coe The “Juke In The Back” is proud to feature Jimmy Coe, a great 1950s saxophonist, bandleader and session man that is often ignored today. Coe came up in the 1940s playing in renown bands including the Jay McShann (at the same time as Charlie Parker) and the Tiny […]

Woods featured with a range of big bands from the 50's to the 80's - Quincy Jones, Benny Goodman, Jay McShann, Dizzy Gillespie and Gene Krupa --- Support this podcast: https://anchor.fm/john-clark49/support

Jay McShann gave birth to the “Kansas City Sound”, but this song has gone down in history as a beginning of another sort.

This week on Jazz Northwest, we'll hear Ernestine Anderson swingin' at The Penthouse in 1962, and Jay Thomas and Slim Gaillard with Jay McShann and Buddy Tate getting together in a London studio in 1982. There's also recent music from Tom Keenlyside in Vancouver and Dan Balmer in Portland as well as Jacob Zimmerman from Seattle, who's starting a new Friday night series at The Canal.

JAY MCSHANN – PARIS ALL-STAR BLUES – Live “La Villette”, Paris, France, June 13, 1989 The jumpin’ blues, Moten swing , Lonely boy blues (ea vcl). Tony Russo (tp) Clark Terry (tp,flhrn,vcl) Terence Blanchard, Carmell Jones (tp) Al Grey, Jimmy Wilkins (tb) Marc Steckar (b-tb) Benny Carter, Phil Woods (as) Hal Singer, Jimmy Heath (ts) […]

The show where we uncover the stories, processes, and worldviews behind NYC’s most artful and creative musicians. Purchase Charles McPherson's Jazz Dance Suites: https://charlesmcpherson1.bandcamp.com/album/charles-mcphersons-jazz-dance-suites Apple Podcasts: https://podcasts.apple.com/us/podcast/brave-sound-podcast/id1537645722 Spotify: https://open.spotify.com/show/5ByvBpLEwvf1FkyZr40d11 Today's Guest: Charles McPherson was born in Joplin, Missouri and moved to Detroit at age nine. After growing up in Detroit, he studied with the renowned pianist Barry Harris and started playing jazz professionally at age 19. He moved from Detroit to New York in 1959 and performed with Charles Mingus from 1960 to 1972. Mr. McPherson has performed at concerts and festivals with his own variety of groups, consisting of quartets, quintets to full orchestras. Charles was featured at Lincoln Center showcasing his original compositions 15 years ago, and once again joined Wynton Marsalis and J@LC Orchestra in April, 2019 honoring his 80th Birthday where they arranged and performed 7 of Charles’ iconic original compositions. Charles has toured the U.S., Europe, Japan, Africa and South America with his own group, as well as with jazz greats Barry Harris, Billy Eckstine, Lionel Hampton, Nat Adderly, Jay McShann, Phil Woods, Wynton Marsalis, Tom Harrell, Randy Brecker, James Moody, Dizzy Gillespie, and others. McPherson has recorded as guest artist with Charlie Mingus, Barry Harris, Art Farmer, Kenny Drew, Toshiko Akiyoshi, the Carnegie Hall Jazz Orchestra, and the Lincoln Center Jazz Orchestra with Wynton Marsalis. He has recorded as a leader on Prestige, Fantasy, Mainstream, Discovery, Xanadu, Arabesque, Capri and several smaller labels in Europe and Japan. Charles was the featured alto saxophonist in the Clint Eastwood film “Bird,” a biopic about Charlie Parker. Charles has received numerous awards, including the prestigious Don Redman Lifetime Achievement Award and an Honorary Doctor of Fine Arts from California State University San Marcos. Charles performed this past April at the NEA Jazz Master’s 2019 performance during Stanley Crouch’s tribute. Widely recognized as a prolific composer, Charles is now Resident Composer for the San Diego Ballet, where he has written three original suites for chamber music and jazz combos. In the summer of 2019, Dr. Donnie Norton will compile the entire book of Charles’ compositions for publication. McPherson remains a strong, viable force on the jazz scene today. Throughout his six decades of being an integral performer of the music, Charles has not merely remained true to his Be Bop origins but has expanded on them. Stanley Crouch says in his New York Times article on Charles, “he is a singular voice who has never sacrificed the fluidity of his melody making and is held in high esteem by musicians both long seasoned and young.” Charles is a frequent guest at universities all over the world and also teaches privately. Many of his former students have gone on to have careers of their own in jazz, and have earned National Jazz Student Awards. Charles had the honor of being the subject of the Ph.D. candidate Dr. Donnie Norton’s Doctoral Dissertation: “The Jazz Saxophone Style of Charles McPherson: An Analysis through Biographical Examination and Solo Transcription.” Find him at https://charlesmcpherson.com/ Your hosts: Michael Shapira: michaelxshapira.com @michaelxshapira Austin Zhang: austinzhang.org @austindiscovers Learn more: https://bravesound.org/ Instagram: @bravesoundnyc

Duke Robillard is literally one of the best blues guitarists in the world! (I'm not just saying that... he's got the awards to prove it) In our interview he takes us back to the first time he heard music, how he taught himself to play guitar, plus the start of his many bands such as Roomful Of Blues and The Pleasure Kings, and all the way up to the records he's working on right now which is about 6 decades later. Along the way, Duke has left his mark on what's coming close to 100 albums, been nominated for a couple of Grammys, and played with iconic musicians across many different genres including Big Joe Turner, Herb Ellis, Muddy Waters, Jay McShann, Bob Dylan and Tom Waits to name some for you... which we get into as well! It was an honor to get to speak with Duke about his legendary career and I hope you enjoy the episode. Please make sure to pick up his latest album, "Blues Bash", which is available now as well as his extensive back catalog. Interlude song order: "That's My Life" by Roomful Of Blues (from The First Album) "Cadillac Slim" by Duke Robillard (from Swing) "Everybody Ain't Your Friend" by Duke Robillard & Friends (from Blues Bash) "Say Forward, I'll March" by Jay McShann (from Still Jumpin' The Blues) "Do You Mean It" by Duke Robillard & Friends (from Blues Bash) // Interview recorded January 23rd, 2021 via phone call over Zoom// Intro music by Cedros// Hosted by James Toomey // /// If you enjoy the episode please leave a rating or review wherever you're listening right now! ///

"Swing dance" is a group of dances that developed with the swing style of jazz music in the 1920s-1950s, the origin of the dances predating popular "swing era" music. The most well-known of these dances is Lindy Hop, a fusion of jazz, tap, breakaway, and Charleston, which originated in Harlem in the early 1920s, but includes a number of other styles such as Balboa, Shag, West Coast Swing, and Boogie Woogie. “Sunday Swing” highlights the music of the swing era and the dances that thrived in the ballrooms and dance halls. Danny Lane guides you through a one hour swing session. Do the Lindy Hop or choose your favorite dance. Just keep swingin'. ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 ***** or by email at: dannymemorylane@gmail.com ***** You’ll hear: 1) Ding Dong Daddy Of The D-Car Line by Cherry Poppin' Daddies 2) Swingin' The Blues by Count Basie & His Orchestra 3) Tuxedo Junction by Debbie Curtis Radio Big Band 4) C Jam Blues by Duke Ellington 5) Saturday Night (Is The Loneliest Night In The Week) by Frank Sinatra 6) One O'Clock Jump by Red Bank Jazz Orchestra & Joe Muccioli 7) Frenesi by Eydie Gormé 8) Gene's Boogie by Gene Krupa 9) Let's Dance by Benny Goodman & His Orchestra 10) Ain't Misbehavin' by Louis Armstrong 11) Forty-Second Street by Somethin' Smith & The Redheads 12) For Dancers Only by Ray Anthony & His Orchestra 13) Trickle, Trickle by The Manhattan Transfer 14) Sepian Bounce by Jay McShann & His Orchestra (Charlie Parker, alto saxophone) 15) Tune Up by Junior Walker & The All Stars 16) One Of Them Good Ones by Buddy Johnson & His Band 17) A Gal in Calico by Tex Beneke and His Orchestra Playing the Music Made Famous by Glenn Miller (with Tex Beneke & The Crew Chiefs, vocals) 18) My Blue Heaven by Glenn Miller & His Orchestra 19) Juke Box Baby by Perry Como 20) Black Bottom by Bunny Berigan 21) Manhattan Spiritual by The Reg Owen Orchestra

New-York, 1945… Bird s'apprête à prendre son envol. Cela fait bientôt deux ans qu'il ronge son frein dans les grandes formations de jazz, celles de Jay McShann, Earl Hines ou Billy Eckstine. Avec eux, il a tout vu, et tout appris. Sa trajectoire fulgurante l'a amené des cuisines d'un restaurant de Harlem, où il faisait la plonge, jusqu'aux fastes du Savoy et de l'Apollo Theater, où son talent a fini par exploser. Mais pour Bird, il est écrit que le chemin sera long et tortueux. A 25 ans, il a déjà reçu son lot de claques dans la figure : le racisme ordinaire des tournées dans le Sud, les conditions de vie exécrables, sans compter l'alcool et la drogue, dernier rempart face à cette société du rejet, de l'oppression, de la vitesse et de l'injustice. Car, au moment où l'on parle, le bebop, cette nouvelle musique qu'il a créée avec ses partenaires, dont le trompettiste Dizzy Gillespie, est encore underground. Elle le mènera au seuil de la folie. Étagère 9… Boîte n°3… Dossier CP1920… Charlie Parker, l'Oiseau de Feu, troisième partie : Now's The Time...Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

El bebop es el jazz moderno y se nutre de individualismo, virtuosismo, rebelión, sin concesiones y pasa a ser underground. Contrastamos los años de formación de Dizzy Gillespie con los de Charlie Parker hasta la eclosión del bop en la calle 52. Dizzy, serio en su música pero no solemne, vive 76 años siempre lleno de vida y alejado de drogas. Parker, Bird, solo 35 y a su muerte el forense declara que tendría unos 55, por el alcohol y las drogas. Bird viene de Kansas, se inicia con Jay McShann tocando blues. Dizzy de South Carolina, empieza con Teddy Hill, luego Cab Calloway. Ambos tocan con Billy Eckstine y Earl Hines. Dizzy emula y luego supera a su ídolo: Roy Eldridge. Escuchamos todas estas orquestas. Grabaciones históricas de 1941 en el Minton's con Charlie Christian.  

Clearwater Jazz Holiday's History of Jazz Outreach Program engages professional musicians to share the story of Jazz through live, interactive musical experiences. By Spring 2020, the Program had reached nearly 30,000 students in approximately 60 Tampa Bay area schools and has evolved to also bring meaningful experiences to schools and organizations serving at risk students, people of all ages with special needs, neurodiversities, and autism, as well as older adults in senior living communities and memory care centers. Frank T. Williams III, a 40-year + educator, band director, clinician, author, adjudicator, and composer, is a long-time CJH education partner, important to the development of many CJH Outreach programs. In 2020, CJH launched its STOP-TIME SERIES with Frank Williams to complement the History of Jazz Outreach Program by creating a comprehensive visual and audio History of Jazz archive delivered in Frank's one-of-a-kind style. WATCH & LISTEN! Visit the CJH website Education & Outreach section to watch all STOP-TIME videos for FREE or enjoy listening here as part of the CJH Young Lions Jazz Master "Virtual" Sessions Podcast. To learn more about the annual CJH festival tradition and year-round Education & Outreach: www.clearwaterjazz.com

A summary of past rock, roots and blues events that occurred in the month of September. ARTIST - TRACK. 1 Big Joe Turner - Shake, Rattle and Roll. 2 Bob Dylan - Slow Train. 3 Jay McShann and Priscilla Bowman - Hands Off. 4 Grateful Dead - Franklins Tower. 5 Steely Dan - Reelin In The Years. 6 Warren Zevon - Werewolves Of London. 7 Roy Brown - Boogie at Midnight. 8 Robert Palmer - Milkcows Calf Blues. 9 Blind Lemon Jefferson - Match Box Blues. 10 The Who - I Cant Explain. 11 Buckwheat Zydeco - Hot Tamale Baby. 12 Fats Domino - Walking To New Orleans. 13 Get Smart. 14 B.B. King - The Thrill Is Gone. 16 Gram Parsons - In My Hour Of Darkness. 17 Blind Willie McTell - Love Makin Mama. 18 Barbecue Bob - She Shook Her Gin. 19 Josh White - Sissy Man. 20 Jerry Lee Lewis - Great Balls Of Fire. 21 James Brown - Please Please Please. 22 Sylvester Weaver - Guitar Rag. 23 Freddie King - Freeway 75. 24 The Three Stooges. Size: 203 MB (213,779,958 bytes) Duration: 1:29:02

Welcome to a new edition of the Neon Jazz interview series with Legendary Kansas City Jazz Pianist Tim Whitmer  .. He is the prodigal son of Kansas City Jazz and was fortunate to learn from the likes of Jay McShann, Mary Lou Williams and Count Basie. We caught up with him in early May 2020 during the Coronvirus Quarantine to discuss the silence of jazz and the future .. He is very busy at top jazz venues in Kansas City and hosts a monthly concert series, Spirituality and All That Jazz at Unity Temple on the Plaza .. He is always pleasing the KC crowds and has great stories .. Dig ..Click here to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/

Quinto episodio de Terrasonora, en esta ocasión dedicado a algunos de los grandes blues shouters que estuvieron al frente de las memorables orquestas de Jay McShann, Duke Ellington o Count Basie. Eran cantantes torrenciales, auténticos showmen ante el micrófono, en sus interpretaciones mezclaban el blues y el jazz hasta descubrir las líneas maestras del rock and roll. Espero que lo disfrutéis. Playlist: WALTER BROWN - CONFESSIN’ THE BLUES JAY MCSHANN ORCHESTRA - HOOTIE BLUES JAY MCSHANN ORCHESTRA - THE JUMPIN’ BLUES KANSAS CITY ORCHESTRA - I WANNA BE AROUND MY BABY ALL THE TIME COUNT BASIE - EXACTLY LIKE YOU JAMES RUSHING - DOCTOR BLUES DUKE ELLINGTON - HELLO LITTLE GIRL  EDDIE VINSON - JUICE HEAD BABY EDDIE VINSON - KIDNEY STEW BIG JOE TURNER - IT’S ALL RIGHT BABY PETE JOHNSON & BIG JOE TURNER - ROLL’EM PETE BIG JOE TURNER - CHAINS OF LOVE BIG JOE TURNER - SHAKE, RATTLE AND ROLL BILLY WRIGHT - DRINKIN’ AND THINKIN’ BIG JOE WILLIAMS - HIGHWAY 49 BIG JOE WILLIAMS - BABY PLEASE DON’T GO BIG JOE WILLIAMS - BLUEBIRD BLUES JIMMY WITHERSPOON - AIN’T NOBODY BUSINESS 1 & 2 JIMMY WITHERSPOON - NO ROLLIN’ BLUES JIMMY WITHERSPOON - GRAB ME A FREIGHT JIMMY WITHERSPOON - PAST FORTY BLUES JIMMY WITHERSPOON - MIDNIGHT BLUES

Quinto episodio de Terrasonora, en esta ocasión dedicado a algunos de los grandes blues shouters que estuvieron al frente de las memorables orquestas de Jay McShann, Duke Ellington o Count Basie. Eran cantantes torrenciales, auténticos showmen ante el micrófono, en sus interpretaciones mezclaban el blues y el jazz hasta descubrir las líneas maestras del rock and roll. Espero que lo disfrutéis. Playlist: WALTER BROWN - CONFESSIN’ THE BLUES JAY MCSHANN ORCHESTRA - HOOTIE BLUES JAY MCSHANN ORCHESTRA - THE JUMPIN’ BLUES KANSAS CITY ORCHESTRA - I WANNA BE AROUND MY BABY ALL THE TIME COUNT BASIE - EXACTLY LIKE YOU JAMES RUSHING - DOCTOR BLUES DUKE ELLINGTON - HELLO LITTLE GIRL  EDDIE VINSON - JUICE HEAD BABY EDDIE VINSON - KIDNEY STEW BIG JOE TURNER - IT’S ALL RIGHT BABY PETE JOHNSON & BIG JOE TURNER - ROLL’EM PETE BIG JOE TURNER - CHAINS OF LOVE BIG JOE TURNER - SHAKE, RATTLE AND ROLL BILLY WRIGHT - DRINKIN’ AND THINKIN’ BIG JOE WILLIAMS - HIGHWAY 49 BIG JOE WILLIAMS - BABY PLEASE DON’T GO BIG JOE WILLIAMS - BLUEBIRD BLUES JIMMY WITHERSPOON - AIN’T NOBODY BUSINESS 1 & 2 JIMMY WITHERSPOON - NO ROLLIN’ BLUES JIMMY WITHERSPOON - GRAB ME A FREIGHT JIMMY WITHERSPOON - PAST FORTY BLUES JIMMY WITHERSPOON - MIDNIGHT BLUES

Jay McShann gave birth to the “Kansas City Sound”, but this song has gone down in history as a beginning of another sort.

En aquest programa de Blues Barrelhouse, el protagonisme te nom propi, Mr. Jay Mcshann. Repasarem la trajectòria d’un dels grans pianistes i directors d’orquestra del segle passat, mencionant, tot el moviment jazzístic que es donava lloc a la ciutat on va desenvolupar la seva carrera, Kansas City. Músic qué es sentía còmode dins del mon […]

Den amerikanske pianist og orkesterleder James Columbus "Jay" McShann (1916-2006) og den amerikanske guitarist Charlie Henry Christian (1916-1942)ville begge være fyldt 100 år i 2016. De præsenteres af Radio Jazz studievært John L. Larsen. Sendt i Radio Jazz i 2016 Der er mere jazz på www.radiojazz.dk

American Splendor scene #12 (20:21 to 23:45) — Inspired, Harvey stays up all night writing. At a diner with Crumb, Harv makes a pitch for a new kind of comics. He shows Bob the scripts he’s been working on — and Bob offers to illustrate them for him! Plus: an interview with actor James Urbaniak, who plays the role of Robert Crumb in the film! A discussion about the pros & cons of creative collaborations. Do Harvey Pekar’s artists get enough credit? The great lunchroom fight of 1984! Shout-outs to Stan Lee, John Byrne, Terry Austin, Raymond Carver, and Jay McShann (again). --- This episode is sponsored by · The Colin and Samir Podcast: The Colin and Samir Podcast hosted by LA - based friends and filmmakers Colin and Samir takes a look into what it’s like to make creativity your career. https://open.spotify.com/show/5QaSbbv2eD4SFrlFR6IyY7?si=Dj3roVoJTZmOime94xhjng --- Send in a voice message: https://anchor.fm/scenebyscene/message Support this podcast: https://anchor.fm/scenebyscene/support

American Splendor scene #9 (14:32 to 16:23) — The flashback is over, and a famous but disillusioned Crumb is back in Cleveland for a visit. He and our man hang out at a random bus stop while Crumb sketches. His marriage over, Harvey is lonely and frustrated — he wants to leave a mark on the world. Harvey doesn’t buy all this “growth crap” — he’d be glad to trade some growth for happiness! An appreciation of Urbaniak’s Crumb. The revelation that Pekar had actually written a few “underground” comics stories — some illustrated by Crumb — going back to 1972. What were the comics that made you want to become a cartoonist? The “healthy energizing competition” of Dean & Josh’s high school comics club. Josh’s transition from mainstream/superhero comics to alternative comics. Dino as multi-dimensional storyteller: “a testament to life.” Shout-outs to musicians Blind Lemon Jefferson, Big Mama Thornton, Jay McShann (again); comics creators George Pérez, John Byrne, Howard Chaykin, Frank Miller, Walt Simonson, Michael Golden, Roger Stern, and Neal Adams; and writer/filmmakers Woody Allen, Todd Solodnz, and Jonathan Ames! --- This episode is sponsored by · The Colin and Samir Podcast: The Colin and Samir Podcast hosted by LA - based friends and filmmakers Colin and Samir takes a look into what it’s like to make creativity your career. https://open.spotify.com/show/5QaSbbv2eD4SFrlFR6IyY7?si=Dj3roVoJTZmOime94xhjng --- Send in a voice message: https://anchor.fm/scenebyscene/message Support this podcast: https://anchor.fm/scenebyscene/support

We’re chatting with double bass performer, composer, and Hutchins Consort founder Joe McNalley.  I had the chance to spend time with Joe at Andrés Martín’s Contrabajos de Baja California Double Bass Festival About Joe McNalley: Joe McNalley began bass violin studies at the age of eleven, and started writing orchestral music in his early teens. Formal training with Edwin Barker, Ran Blake, Miroslav Vitous and Hankus Netsky at the New England Conservatory of Music was followed by advanced studies with Bertram Turezky at U.C. San Diego. Mr. McNalley has played with a number of notable musicians in the classical, jazz, and world music realms and has been honored several times for his solo and ensemble playing. He has performed with George Russell, Vinnie Golia, Jimmy and Jeanie Cheatham’s Sweet Baby Blues Band, Jay McShann, Eddie “Mr. Cleanhead” Vinson, Thad Jones, and other notables of Jazz and Blues.  As the founder of the Hutchins Consort, he has written over 220 arrangements and original compositions for the Hutchins Violins. About the Hutchins Consort: The Hutchins Consort plays on the eight scaled violins designed and built by luthier Dr. Carleen Hutchins, whose research into the acoustic properties of string instruments resulted in an innovative process called free-plate tuning; a precise method of refining the top and back plates of a violin before it is assembled to bring it to peak acoustic performance.The fruits of her labor are the eight Hutchins violins, ranging in size from the 18.5-inch treble to the 7.2-foot contrabass. Like all violins, these instruments capture the emotional element of the music. But they have the additional advantage of being crafted as a complete set with the same harmonic DNA — giving them the ability to produce a unique array of sounds that add a new dimension to the works they perform. Known for its eclectic programming, the group includes two visionary composers who have written and arranged a vast anthology of works that embraces virtually every known musical genre. All the music is either transcribed from standard repertoire or composed specifically for the Hutchins Octet to accommodate the unique sonic structure of these instruments. This collection gives the ensemble diversity in performance that few traditional groups can match and is key to their success in bridging the gap between classical music and pop culture. Based in Southern California, the Hutchins Consort brings together a group of extraordinary players to tackle the challenge of adapting the techniques of traditional strings, as well as inventing new techniques, to master the instruments Dr. Hutchins created. This ensemble of gifted musicians redefines the customarily accepted perception of the chamber music concert with programs that combine great works of virtually every musical genre — from the Renaissance to Rock. Their performances are virtuosic, uninhibited, sometimes improvisational and always entertaining. “…A refreshing departure from the typical chamber music performance.” Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Robertson & Sons Violins For more than four decades, Robertson & Sons has specialized in providing the highest quality stringed instruments and bows to collectors, professional musicians, music educators, and students of all ages. Their modern facility is equipped with three instrument showrooms as well as a beautiful Recital Hall available to our clients to in their search for the perfect instrument and/or bow. D'Addario Strings This episode is brought to you by D'Addario Strings! Check out their Kaplan strings, which have versatility and control throughout the dynamic spectrum, rich tonal color palette, superb bow response, and beautiful balance. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Subscribe to the podcast to get these interviews delivered to you automatically!

Saludos de Carlos Díez y bienvenidos a la segunda parte de este especial sobre la figura y música de Jay McShann, dos especiales dedicados a nuestro amigo Fran. Saludos a nuestros oyentes a este y al oeste del Oceano Atlantico, a todos nuestros amigos americanos, del norte y del sur.

Saludos de Carlos Díez y bienvenidos a la segunda parte de este especial sobre la figura y música de Jay McShann, dos especiales dedicados a nuestro amigo Fran. Saludos a nuestros oyentes a este y al oeste del Oceano Atlantico, a todos nuestros amigos americanos, del norte y del sur.

Especial sobre el pianista y vocalista de blues y jazz Jay McShann

Especial sobre el pianista y vocalista de blues y jazz Jay McShann

Nella sua edizione 74 il festival sfoggia sei eminenti pianisti: mettendoli in ordine di data di nascita sono Earl Fatha Hines (1903), Jay McShann (1916), Randy Weston (1926), Cecil Taylor (1929), Muhal Richard Abrams (1930), Roland Hanna (1932). Dalle esibizioni di tutti loro tranne Abrams vengono ricavati degli album che escono nello stesso 74 o qualche tempo dopo (ma Abrams figura come guest nell'album dal vivo che viene realizzato dell'esibizione dell'Art Ensemble of Chicago). Complessivamente gli album live che vengono tratti da Montreux 74 sono più di dieci. Oltre al brano che ha dato il titolo all'album Carnival di Weston, un'idea dell'incredibile carrellata di pianisti di Montreux 74 ce la offre qualche momento delle esibizioni di McShann, Taylor, Hines. A cura di Marcello Lorrai

Nella sua edizione 74 il festival sfoggia sei eminenti pianisti: mettendoli in ordine di data di nascita sono Earl Fatha Hines (1903), Jay McShann (1916), Randy Weston (1926), Cecil Taylor (1929), Muhal Richard Abrams (1930), Roland Hanna (1932). Dalle esibizioni di tutti loro tranne Abrams vengono ricavati degli album che escono nello stesso 74 o qualche tempo dopo (ma Abrams figura come guest nell'album dal vivo che viene realizzato dell'esibizione dell'Art Ensemble of Chicago). Complessivamente gli album live che vengono tratti da Montreux 74 sono più di dieci. Oltre al brano che ha dato il titolo all'album Carnival di Weston, un'idea dell'incredibile carrellata di pianisti di Montreux 74 ce la offre qualche momento delle esibizioni di McShann, Taylor, Hines. A cura di Marcello Lorrai

Broadcasting legend and iconic label-head, Holger Petersen is my guest this week. For anyone living in Canada over the last 40+ years, Holger has been the voice coming at you on Saturday nights on CBC Radio, bringing you great blues music on Saturday Night Blues, or even longer in Alberta on CKUA Radio. His label, Stony Plain Records, is also one of the oldest and most established roots music labels in North America. Holger has a long history with music, playing drums in bands growing up in Edmonton, promoting shows for the likes of Reverend Gary Davis and Mississippi John Hurt, and releasing a steady stream of music to the world by artists such as Jeff Healey, Long John Baldry, Duke Robillard, Ian Tyson, Corb Lund, and so many more. Holger and I had a chance to talk about that history, hanging with Jimmy Witherspoon and Jay McShann, being a fly on the wall for a Herbie Hancock record, traveling with Long John Baldry, and the path his life has taken to be one of Canada's great purveyors of amazing music. Thanks for listening!

In this podcast I talk to Steve Miller Band’s drummer, Gordy Knudtson.  Gordy, who has been playing with Steve Miler since 1987, has also worked with a long list of a-list artists, including Jack MacDuff, Jay McShann, Dave Brubeck, Ernie Watts, Eddie Harris, Bobby Watson, Eric Gravatt, Bobby Shew, Richie Cole, Phil Woods, Georgie Fame, Howard […] The post 114 – Steve Miller Band’s Gordy Knudtson: Music, business and creativity and how to make it work together. appeared first on Drummer's Resource: Conversations with the world's greatest drummers and music industry pros..

MAGNETIZEDTerence Blanchard (trumpet) is one of the most important musician/composer/band leaders of his generation. His emotionally moving and technically refined playing is considered by many jazz aficionados to recall earlier jazz trumpet styles. Born March 13, 1962, in New Orleans, the only child to parents Wilhelmina and Joseph Oliver Blanchard, a part-time opera singer and insurance company manager, the young Blanchard was encouraged by his father, Joseph Oliver, to learn to play the piano. In the third grade he discovered jazz trumpet when a big band, featuring Alvin Alcorn on trumpet, played at a school assembly. In his teens Blanchard attended the New Orleans Center of Creative Arts, where he studied and played with saxophonist Donald Harrison. While performing with Lionel Hampton's big band, he studied for two years at Rutgers University under the tutelage of Paul Jeffrey and Bill Fielder.In 1982 Blanchard replaced Wynton Marsalis under his recommendation in Art Blakey's Jazz Messengers, working in that band up to 1986 as lead soloist and musical director. He then co-led a prominent quintet with saxophonist Donald Harrison, recording seven albums for the Concord, Columbia, and Evidence record labels in five years, including a stirring in-concert tribute to the Eric Dolphy/Booker Little ensemble. In the '90s, Blanchard became a leader in his own right, recording for the Columbia label, performing on the soundtracks to Spike Lee's Do the Right Thing and Mo' Better Blues, and composing the music for Lee's film Jungle Fever. In fact, Blanchard has written the score for every Spike Lee film since 1991, including Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man, and the Hurricane Katrina documentary When the Levees Broke for HBO. With over 40 scores to his credit, Blanchard and Mark Isham are the most sought-after jazz musicians to ever compose for film. In the fall of 2000, Blanchard was named artistic director of the Thelonious Monk Institute of Jazz at the University of Southern California in Los Angeles. Keeping up with his love of live performance and touring, Blanchard also maintains a regular studio presence, recording his own original music for the Columbia, Sony Classical, and Blue Note labels. Albums include The Billie Holiday Songbook (1994), Romantic Defiance (1995), The Heart Speaks (1996), the acclaimed Wandering Moon (2000), Let's Get Lost (2001), Bounce (2003), and especially Flow (2005), which was produced by pianist Herbie Hancock and received two Grammy nominations. Blanchard has been nominated for 11 Grammys and has won four in total, including awards for New York Scene with Blakey (1984) and the soundtrack A Tale of God's Will in 2007. In 2005, Blanchard was part of McCoy Tyner's ensemble that won the Grammy in the Best Jazz Instrumental Album category for Illuminations. A quintessential sideman as well as leader, he has worked with prominent jazz players including Cedar Walton, Abbey Lincoln, Joanne Brackeen, Jay McShann, Ralph Peterson, Ed Thigpen, J.J. Johnson, Toots Thielemans, the Olympia Brass Band, Stevie Wonder, Bill Lee, Ray Brown, Poncho Sanchez, Dr. Billy Taylor, Dr. John, Lionel Loueke, Jeff Watts, and many others. Scarecrow Press published his autobiography, Contemporary Cat. By April of 2007, the Monk Institute announced its Commitment to New Orleans initiative, which included the relocation of the program to the campus of Loyola University in New Orleans, spearheaded by Blanchard. During 2007, the Monterey Jazz Festival named Blanchard Artist-in-Residence, and the festival formed a 50th Anniversary All-Stars ensemble featuring trumpeter James Moody, Benny Green, Derrick Hodge, Kendrick Scott, and Nnenna Freelon. In 2008, Blanchard helped scored the hit film Cadillac Records. Signing with Concord Jazz in 2009, he released Choices -- recorded at the Ogden Museum of Art in Blanchard's hometown of New Orleans -- at the end of that summer. In 2011, he paid tribute to the innovative Afro-Cuban recordings of Dizzy Gillespie and Chano Pozo by teaming up with Latin jazz percussionist Poncho Sanchez for the studio album Chano y Dizzy! In 2012, Blanchard returned to his film work by scoring the soundtrack to director George Lucas' WWII action/drama Red Tails.“I’ve always believed that in life, what you keep in your mind is what you draw to yourself.” That’s how trumpeter/composer Terence Blanchardexplains the title of his 20th album, Magnetic, which finds a stunning variety of sounds and styles pulled together by the irresistible force of Blanchard’s vision.That credo stems directly from Blanchard’s personal faith; raised in the Christian church, he has turned in recent years to Buddhism after meditating with Herbie Hancock while on the road with the legendary pianist. The idea of a spiritual magnetism “is a basic concept in any type of religion,” he says. “Both Christianity and Buddhism have forms of meditation - one’s called prayer and one’s called chanting. But it’s all about drawing on those things to help you attain enlightenment in your life at the same time that you’re trying to give back to the community.”Magnetic gives expression to that belief through the combined voices of Blanchard’s always-scintillating quintet. Its latest incarnation brings together longtime members Brice Winston (saxophone) and Kendrick Scott (drums) with pianist Fabian Almazan, who made his debut with the group on its 2009 album Choices, and its newest member, 21-year-old bass prodigy Joshua Crumbly. In addition, they’re joined by a trio of remarkable special guests: master bassist Ron Carter, saxophonist Ravi Coltrane, and guitarist/vocalist Lionel Loueke.The vast array of approaches undertaken by that ensemble is striking, from the blistering bop of “Don’t Run” to the fragile ballad “Jacob’s Ladder;” the psychedelic electronic haze of “Hallucinations” to the urgent edginess of “Another Step.” As Blanchard says, “It’s a wide range of musical ideas that come together through the efforts of the guys in the band.”Magnetic marks Blanchard’s return to Blue Note Records, which last released A Tale of God’s Will, his triumphant 2007 requiem for his home city, New Orleans, in the wake of the devastation wrought by Hurricane Katrina. That harrowingly emotional song cycle is just one of many large-scale projects Blanchard has undertaken in recent years. Since first writing music for Spike Lee’s 1990 jazz-set movie Mo’ Better Blues, Blanchard has become a renowned film composer with over 50 scores to his credit, most recently the WWII drama Red Tails for producer George Lucas. This summer, Opera Theatre of Saint Louis and Jazz St. Louis will combine forces to premiere Blanchard’s first opera, Champion, an “Opera in Jazz” based on the story of the gay boxing champion Emile Griffith. This follows his recent score for Emily Mann’s Broadway production of Tennessee Williams’ A Streetcar Named Desire.After the broad scope of such lofty undertakings, returning to a small group setting can be a challenge. “You get accustomed to having so many different colors at your disposal,” he says. “So I try to figure out a way to have as much diversity in everything that we play, the same expansive color palette as when you have an orchestra and voices.”One way that Blanchard expands his palette on Magnetic is through the use of electronics, creating an overdriven, electric guitar-like sound for his horn during “Pet Step Sitter’s Theme Song” or brewing the mind-altering atmospherics of “Hallucinations.” The latter tune, though titled by Blanchard’s 14-year-old daughter, also touches on the lifelong spiritual search evoked by the album-opening title track and “Central Focus,” which was originally recorded twenty years ago on Blanchard’s album Simply Stated. “When chanting for meditation,” he says, “you can have those moments of reflection that will bring new ideas to you. Some people may not call them hallucinations, but I think they’re all related in some fashion.”Not every tune comes from such profound motives. The hard-bopping “Don’t Run” was written solely with the intention of allowing the band to joust with Ravi Coltrane’s soprano and Ron Carter’s mighty bass runs. The title was inspired by a taunt from Carter to Blanchard, asking only half-jokingly when the trumpeter would call on the legendary bassist’s services. “Stop running from me, man,” Blanchard recalls him saying, and when Carter speaks, you listen.Coltrane’s contributions, which also include a taut, powerhouse turn on tenor for “Pet Step Sitter’s Theme Song,” came about simply because Blanchard was blown away by the saxophonist’s latest album, Spirit Fiction. “Ravi has developed a style and a sound that’s very unique,” Blanchard explains. “It’s an incredible feat given who his father was and what instrument his father played. But his being on my record has nothing to do with any of that; his being on my record is simply due to the fact that I love the way he plays.”The same goes for Benin-born Lionel Loueke, who first came to prominence through Blanchard’s quintet before becoming widely renowned as one of the most innovative guitarists and vocalists in modern jazz. “He’s a very unique talent,” Blanchard says. “Lionel always brings a certain spirit and energy to any project that he’s a part of.”Blanchard also readily sings the praises of his core group, which has been evolving over two years together to reach the deeply attuned point at which Magnetic finds them. “I’ve always appreciated the artistry of Brice and Kendrick,” he says of the band’s two veterans. “They’ve very seriously committed to developing their own unique styles of playing.”Of newcomer Crumbly, he says, “Josh is a young guy who’s very talented and brings a lot to the group.” And of Almazan, he continues, “Fabian has been growing by leaps and bounds. His harmonic knowledge has taken the band in interesting directions and he colors things in ways that I think are very fresh and forward-thinking.”So enamored is the bandleader of Almazan’s talents that he affords the pianist a solo spotlight, the captivating “Comet.” Almazan, Blanchard says, “plays with such grace and beauty. We did five or six takes and all of them were so beautiful that it was a hard to choose just one.”Each member of the group provides their own contributions to the album: Crumbly, the lovely and delicate “Jacob’s Ladder;” Scott, the forceful, rhythmically intense “No Borders Just Horizons;” Winston the lithe and intricate “Time To Spare;” and Almazan an “emotional roller coaster” dedicated to his mother, “Pet Step Sitters Theme Song,” which is later reprised as “Another Step.” “We had so much fun playing that tune that we just couldn’t leave it,” Blanchard explains. I thought it showed the diverse nature of the group, when you see the directions that it goes into, totally different from the first take.”In his role as mentor to his younger bandmates, Blanchard takes the mantle from his own onetime mentor, Art Blakey. Stressing the importance for young musicians to compose as well as improvise, Blanchard recalls the legendary drummer’s advice: “Art Blakey told us that composition was the path to finding your own voice. If you improvise, you don’t sit down and reflect coldly on what it is you’re playing because you’re moving so quickly onto the next thing. Whereas when you compose, you have to sit down and really contemplate what each note means and how you get from one to the next. That in itself will create a style.”Terence Blanchard’s own style continues to evolve and expand in exciting and compelling fashion. Magnetic is sure to capture listeners with an attractive power nearly impossible to resist.To Visit Terence Blanchard's website CLICK HERE

The 192nd Roadhouse features blues that transcends a region or a specific time. Consistently popular and continuously updated, swing blues was the early basis for The Roadhouse. This edition features some of the best, including Big Joe Turner, Jackie Payne, Johnny "Big Moose" Walker, The Paladins, and Jay McShann. Just like me, you'll be grinning like a fool and chair-dancing throughout as the 192nd Roadhouse Podcast swings another hour of the finest blues you've never heard.

The 192nd Roadhouse features blues that transcends a region or a specific time. Consistently popular and continuously updated, swing blues was the early basis for The Roadhouse. This edition features some of the best, including Big Joe Turner, Jackie Payne, Johnny "Big Moose" Walker, The Paladins, and Jay McShann. Just like me, you'll be grinning like a fool and chair-dancing throughout as the 192nd Roadhouse Podcast swings another hour of the finest blues you've never heard.

As summertime in the US winds down and the presidential election season gears up, we build a little shelter from the world in the 185th Roadhouse. Jay McShann, Elvin Bishop, Lil Ed, JJ Grey, and Carlos Del Junco are the mortar between those bricks in that shelter, helping to hold together a solid hour of the finest blues you've never heard. Come on in - the blues will protect you in the 185th Roadhouse Podcast.

As summertime in the US winds down and the presidential election season gears up, we build a little shelter from the world in the 185th Roadhouse. Jay McShann, Elvin Bishop, Lil Ed, JJ Grey, and Carlos Del Junco are the mortar between those bricks in that shelter, helping to hold together a solid hour of the finest blues you've never heard. Come on in - the blues will protect you in the 185th Roadhouse Podcast.

The 159th Roadhouse Podcast is an upbeat affair. You might call it jump, you might call it swing, you might call it boogie. There's even a liberal sprinkling of West Coast blues. But if you follow the walking bass, you'll know that's it clearly a jumpin' edition of The Roadhouse. Mark Hummel, Jay McShann, Ana Popovic, William Clarke, and Rick Holmstrom will make you move and groove for another hour of the finest blues you've never heard - the 159th Roadhouse Podcast.

The 159th Roadhouse Podcast is an upbeat affair. You might call it jump, you might call it swing, you might call it boogie. There's even a liberal sprinkling of West Coast blues. But if you follow the walking bass, you'll know that's it clearly a jumpin' edition of The Roadhouse. Mark Hummel, Jay McShann, Ana Popovic, William Clarke, and Rick Holmstrom will make you move and groove for another hour of the finest blues you've never heard - the 159th Roadhouse Podcast.

This week’s episode features an interview with and music from jazz bassist Lynn Seaton. Lynn teaches at theUniversity of North Texas, and he maintains an active performing career. He was a member of the Woody Herman Band and Count Basie Orchestra, and he played extended tours with Tony Bennett and George Shearing, as well a wide array of many other jazz luminaries. We also feature music from the Lynn Seaton Trio with Bill Mays on piano and Tim Froncek on drums. Learn more about Lynn at his website lynnseaton.com, and learn more about the UNT jazz program at jazz.unt.edu.  You can also find Lynn's Facebook fan page here.   About Lynn Seaton: Lynn Seaton has had a stellar career as a jazz bassist. Born in Oklahoma in 1957, he started playing the bass at age 9. By the late 70’s he was performing around the state. From 1980 until 1984 he was the house bassist at the Blue Wisp Jazz Club in Cincinnati, accompanying big name guest soloists every week. In 1984, he joined Woody Herman and in 1985 he played with the Count Basie Orchestra. After a two-year engagement with the Basie Band, he did extended tours with Tony Bennett and George Shearing. Most of 1991 and 1992 was spent touring with Monty Alexander. Lynn spent a lot of time on the road as a member of the Jeff Hamilton Trio from 1995-1999. Since 1993, Lynn has also had a busy career free-lancing with many of the great jazz musicians from many generations, including: Toshiko Akiyoshi, Monty Alexander, Ernestine Anderson, Buck Clayton, Al Cohn, Kenny Drew Jr., Blossom Dearie, Bob Dorough, Harry “Sweets” Edison, Herb Ellis, John Fedchock, Frank Foster, Freddy Green, Tim Hagans, Jeff Hamilton, Scott Hamilton, Wynard Harper, Thad Jones, Mel Lewis, Marian McPartland, Jay McShann, Mark Murphy, Ken Peplowski, Bucky Pizzarelli, Jimmy Raney, Emily Remler, Diane Schuur, Maria Schneider, Bud Shank, Carol Sloane, Marvin “Smitty” Smith, Maxine Sullivan, Mel Torme, Frank Wess, Joe Williams, Nancy Wilson, Steve Wilson, Mark Vinci, and Teddy Wilson. He lived in NY from 1986 until 1998. That year, he accepted an offer to teach at the world famous University of North Texas, home to one of the largest jazz programs in the world. He has performed at festivals world wide including Bern, Concord, JVC, Kool, Kyoto, Newport, North Sea, Perugia and Pori. Lynn has performed in 49 of the 50 United States and 35 foreign countries. He has performed on over 100 recordings, including the Grammy winning “Diane Schuur and the Count Basie Orchestra”, and two Grammy nominees, John Fedchock “No Nonsense” and Woody Herman “50th Anniversary”. He has three recordings as a leader, “Bassman’s Basement”, “Solo Flights”, and “Puttin’ on the Ritz”. Musical Selections: Strike Up the Band The Patrician Commission