Podcasts about The Jazz Messengers

Sean Imboden is an American saxophonist and composer. Sean has released three albums as a leader, the most recent being Communal Heart by the Sean Imboden Large Ensemble. His music pioneers forward-thinking, original compositions, and presents cutting-edge live performances. Sean has performed and recorded with GRAMMY-winning artists and jazz luminaries, including Slide Hampton, Taylor Eigsti, Mike Rodriguez, Sean Jones, Emmet Cohen, Steve Allee, Kenny Phelps, John Raymond, and Valery Ponomarev (of Art Blakey's Jazz Messengers). A long-time member of Indianapolis-based quartet Tucker Brothers, Sean plays on the band's four critically-acclaimed albums. An active sideman, Sean has appeared on The Tonight Show Starring Jimmy Fallon and with the Radio City Music Hall Orchestra, the Indianapolis Symphony Orchestra, the Buselli-Wallarab Jazz Orchestra, Aretha Franklin, The Temptations, Barry Manilow, Johnny Mathis, and Idina Menzel. Sean toured internationally for many years with various Broadway productions, and as a featured soloist with Blast II. Sean has taught at the Jacobs School of Music at Indiana University, and is currently on faculty at Butler University and Ball State University. Sean is a Conn-Selmer artist, and works with students around the world through his online Virtual Studio.

ESTÁNDARES SEMANALES.-The Way You Look Tonight.-VINILOS MÍTICOS DEL JAZZ.-Horace Silver - Horace Silver And The Jazz Messengers.-JAZZACTUALIDAD.-INTOKABLE BIG BAND.-A FERRO Horace Silver and the Jazz Messengers es un álbum de Horace Silver and the Jazz Messengers que recopila dos LP de 10" de 1955: Horace Silver Quintet, Vol. 3 (BLP 5058) y Horace Silver Quintet, Vol. 4 (BLP 5062), grabados el 13 de noviembre de 1954 y el 6 de febrero de 1955 respectivamente y lanzados en Blue Note en octubre de 1956, el primer 12" de Silver. El quinteto cuenta con una sección de instrumentos de viento formada por Hank Mobley y Kenny Dorham y una sección rítmica por Doug Watkins y Art Blakey . Una de las canciones más exitosas del álbum, « The Preacher », casi fue rechazada para su grabación por el productor Alfred Lion , quien la consideró «demasiado anticuada», pero fue reincorporada por la insistencia de Blakey y Silver, quienes amenazaron con cancelar la sesión hasta que escribiera otra canción para grabar en su lugar si no la incluían. Según Silver, la canción demostró que la banda podía «remontarse al pasado y conseguir esa sensación de bar de antaño con un toque de ritmo». Estas grabaciones ayudaron a establecer el estilo hard bop . Éstas fueron las primeras sesiones en las que utilizó el formato de quinteto, que utilizaría en gran medida durante el resto de su carrera. Título: A Ferro! Grupo: Intokables Big Band Componentes: Director: Carlos Ferri «Patilla». Saxo Altos: Ivan Albuixech, Marcos, Ferri Nicolás, & Marc Puertes. Saxos tenores: Marc Puertes, Kike Suay, Gerard Vercher y Francisco Blanco Latino. Saxo Barítono: Enrique Tortosa & Francisco Blanco Latino. Trombones: Miki García, Mario Sanchís, Joan Mont, Joan García & Joan Negro. Trompetas: Alex López, Mauro Gozálbez, Pau Sanchis Torno, Vicent Bernabéu, Salvador Garcia y Santiago Torro. Piano: Carlos Botella, Mario Coloma y Kevin Díaz. Congas: Xexu Obrer. Clarinete: Carlos Ferri «Patilla». Teclados: Mario Colona. Guitarra: Antonio Martí & Oscar Albuixech. Batería: Gustau Garcia & Saul Aranzueque. Percusión: Xexu Obrerías, Gustau garcia & Saul Aranzueque. Bajo Eléctrico: Rubén Martí Voz: Miriam Albero y Eva Romero. Fecha de Grabación: 2024. 1, 2 y 3 de Marzo. Lugar de Grabación: Onteniente. Sello Discográfico: Sedajazz Records. Nº de temas: 10. Formato: CD. Instrumento: Big Band. Estilo: Fusión. Nº de Serie: SJ 151. Año de Edición: 2024. Duración: 50:01 Calificación: 3* Comentario: Catorce años después de su primer disco, que tuvo una buena acogida por la critica especializada, Carlos Ferri «Patilla» se vuelve a poner al mando de esta estupenda Big Band, para presentarnos su segundo trabajo. Como bien explica en el libreto interior del disco su director, «A Ferro!», es el resultado de muchos años de esfuerzo colectivo y de sacrifico personal de un grupo de músicos que han crecido, personal y profesionalmente juntos. «Intokables Big Band», se fundó en 2007 para experimentar con un repertorio donde se mezclaba el jazz, por supuesto, el funky, y, como no, el swing para, partiéndooslo de composiciones propias en su gran mayoría, y con los arreglos de destacados músicos, poner en valor el auge del jazz en el entorno que se mueven estos jóvenes músicos —en su gran mayoría—, y que se vienen nucleando alrededor de esa impagable institución valenciana, que es Sedajazz Records. Años después, y demostrando que el proyecto no era flor de un día, se creó en 2021, la «Jove Intokable Big Band», una iniciativa que buscaba preservar el futuro de la «Intocable Big Band» con el correspondiente relevo generacional. Y este segundo disco, responde a ese concepto. «A Ferro!», contiene swing a raudales, los arreglos son muy creativos, y el nivel instrumental de los solistas, estupendos. Música alegre, optimista, viva y fresca, y que bajo la batuta de su director, el maestro «Carlos Ferri «Patilla», nos ofrecen un fresco y renovado repertorio don del swing, es el gran protagonista. Enhorabuena por este gran trabajo que merece ser escuchado una y otra vez.

STANDARS SEMANAL.-771.Gee,Baby,Ain´t I Good to You.-VINILOS MITICOS DEL JAZZ.-JOHN COLTRANE - Blue Train.-JAZZACTUALIDAD.-.ANA PEREIRA-BAILA LA LLUVIA Blue Train es un álbum de estudio delsaxofonista y compositor de jazz John Coltrane . Fue lanzado a través de Blue Note Records en enero de 1958. [ 1 ] Es la única sesión de Coltrane como líder para Blue Note. [ 8 ] La grabación tuvo lugar en el estudio de Rudy Van Gelder el 15 de septiembre de 1957. Coltrane compuso cuatro de los cinco temas del disco. Su interpretación exhibe elementos tempranos del estilo característico por el que posteriormente se hizo conocido. Blue Train obtuvo la certificación de oro en ventas de la Asociación de la Industria Discográfica de Estados Unidos (RIAA) en 2001.El álbum se grabó durante la residencia de Coltrane en el Five Spot como miembro del cuarteto Thelonious Monk . El equipo incluye a los compañeros de banda de Coltrane en Miles Davis , Paul Chambers al bajo y Philly Joe Jones a la batería, quienes ya habían trabajado con el pianista Kenny Drew . Tanto el trompetista Lee Morgan como el trombonista Curtis Fuller eran músicos de jazz prometedores, y ambos fueron miembros de Jazz Messengers de Art Blakey en su momento. A diferencia de su anterior sello, Blue Note pagó a los músicos para que ensayaran la música durante un par de días antes de la sesión de grabación. La forma de tocar de Coltrane muestra la evolución hacia lo que se convertiría en su estilo característico. Sus solos son más armónicos o verticales y sus líneas son arpegiadas. Su ritmo a menudo se desmarcaba del tiempo o lo superaba, en lugar de tocar sobre él o por detrás. [ 9 ] Durante una entrevista en 1960, Coltrane describió Blue Train como su álbum favorito hasta ese momento. [ 13 ] El siguiente gran álbum de John Coltrane, Giant Steps , grabado en 1959, abriría nuevos caminos melódicos y armónicos en el jazz, mientras que Blue Train se apega al estilo hard bop de la época. El musicólogo Lewis Porter también ha demostrado una relación armónica entre «Lazy Bird» de Coltrane y « Lady Bird » de Tadd Dameron . [ 14 ] [ 15 ] Mientras estaba en el podcast "Traneumentary" de Joe Vella, Michael Cuscuna , el productor de reediciones de Blue Note , comentó: Estamos escuchando "Blue Train", que para mí es una de las piezas más hermosas de uno de los discos más hermosos que Coltrane grabó en los cincuenta. Es su primera declaración de madurez real, y escribió todos los temas de este álbum menos uno, algo muy poco común en los cincuenta, y cada uno es una joya, en particular el tema principal, "Blue Train". Y aunque es bastante fácil tocar blues, este tiene una cualidad suspendida y evocadora. Ana Pereira presenta su primer trabajo discográfico "Baila la lluvia" (Sedajazz Records), una reinterpretación del bolero desde una perspectiva personal y contemporánea. Acompañada por Isaac Martín (bajo y dirección musical), Daniel Orts (piano) y Tico Porcar (batería), fusiona este género con el jazz y otras músicas, aportando una visión fresca y actual de un género que se convierte así en atemporal. Su voz delicada, elegante y expresiva, y los arreglos sofisticados interpretados por el genial trío que la acompaña, consiguen que el directo sea toda una experiencia íntima y envolvente que transporta al público a través del tiempo en una conexión pasado-presente con la música como compañera de viaje.

Send us a textJak to jest mieć kultowe studio nagraniowe w pokoju gościnnym swoich rodziców? Czym wyróżniały się kultowe okładki płyt Blue Note Records? Jak to możliwe, że pozwolono umrzeć legendarnej wytwórni jazzowej sprzedając ją firmie ubezpieczeniowej… by potem ją wskrzesić na nowo?Miesiąc temu zabraliśmy was w przeszłość. Do Stanów Zjednoczonych połowy XX wieku, kiedy to w New Jorku narodziła się wytwórnia Blue Note Records - jedna z najważniejszych w historii muzyki. Dziś kontynuujemy naszą podróż w czasie, opowiadając m.in. o kultowych okładkach płyt autorstwa Reida Milesa czy nowatorskich i niecodziennych technikach nagraniowych niesamowitego Rudy Van Geldera. Będzie też o  upadku i wskrzeszeniu na nowo wytwórni oraz dziedzictwie kulturowym i muzycznym, które Blue Note Records, z wyjątkowym Prezesem - Don Wasem za sterami, po sobie zostawiła.muzyka: Łukasz Wojciechowski (intro)Możecie odsłuchać ten odcinek tutaj: https://tiny.pl/1xn9xg07Link do Spotify:Youtube:Zachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/oraz Instagramie - https://tiny.pl/cxk21Będziemy wdzięczni za wsparcie nas na Patronite (specjalne bonusy dla naszych patronów!): https://tiny.pl/r8yq62q5LINKOWNIA:Podstawowe info o BNR:Wikipedia - https://tiny.pl/0c3qyx0vStrona oficjalna wytwórni - https://tiny.pl/8z5-v5w2Styl Blue Note Records - https://tiny.pl/jbzsfg95Rudy Van Gelder:Wywiad (tapeop.com) - https://tiny.pl/hfc4nn8mO Rudym Van Gelderze -  https://tiny.pl/5bc1cs38PŁYTY:Lee Morgan - The Sidewinder - https://tiny.pl/bqkk59tpHorace Silver - Song For My Father - https://tiny.pl/k2w4zphmKenny Burrell - Kenny Burrell - https://tiny.pl/tbz38c_zDonald Byrd - Blackbyrd - https://tiny.pl/njgvt_g9Norah Jones - Come Away With Me - https://tiny.pl/vn1vr77xVarious Artists - Shades Of Blue - https://tiny.pl/z6qr3bk2Tony Allen - Tribute to Art Blakey and The Jazz Messengers - https://tiny.pl/m160dztsUTWORY:Us3 - Cantaloop (Flip Fantasia) - https://tiny.pl/4brhybfhNorah Jones - Come Away with me - https://tiny.pl/r-nt08mkOKŁADKI:Wikipedia - https://tiny.pl/szw8jyxcJaz.fandom.com - https://tiny.pl/wbb3zj-mVIRTUAL (ART. PHOTO) LEGACY -  https://tiny.pl/xm6qq450Okładki Andy Warhola - https://tiny.pl/x-d82kq6DON WAS:Blue Note's Renaissance Music Man - https://tiny.pl/fz2x2ydw    Talkin' Blue Note at 85 - https://tiny.pl/j9f6h5cx everythingjazz.com - https://tiny.pl/3rzhtbxm80` lecie Blue Note Records - https://tiny.pl/9gmfczjtPrzyszłość Blue Note? - https://tiny.pl/rgwwcd0jSophie Huber: “Blue Note Records - Beyond the notes”.

The Jazz Session No.411 from RaidersBroadcast.com as aired in April 2025, featuring modern jazz from 2005, the album “Half Moon”, from vibraphonist Lalo TRACK LISTING: Late Date - Ben Webster Quintet; Groovin' High - Charlie Parker; Mean Green - Snarky Puppy; Sirabhorn - Pat Metheny; Waves - Lalo; Curiosity - Lalo; Isle of Capri - Ken Colyer ; Someday Sweetheart - The Charleston Chasers; Moanin' - Art Blakey & The Jazz Messengers, w. Lee Morgan; Prayer for Passive Resistance - Charles Mingus; Things Ain't What They Used to Be - Dizzy Gillespie; You're My Everything - Freddie Hubbard; Disco Ears - Joshua Redman, Brad Mehldau, Christian McBride, Brian Blade; Café Negro - Henry Franklin, Adrian Younge & Ali Shaheed Muhammed; Dreamwalker - Lalo; Tango for T.Lynn - Lalo; Maid in Mexico - Chet Baker; Trane Whistle - Eddie Lockjaw Davis Big Band; Windows - Chick Corea; Bemsha Swing - Thelonius Monk.

Legendary trumpeter Terence Blanchard is the first Black composer to have had an opera performed at the Metropolitan Opera. But, as he says, he isn't the first Black composer qualified to do so. This hour, we talk to musicians who are changing the face of opera by bringing new stories to the fore. GUESTS: Terence Blanchard: Executive Artistic Director at SF Jazz and Multiple Grammy Award-winning trumpeter and composer. He has performed as part of Art Blakey & The Jazz Messengers and composed the scores for dozens of films, including Spike Lee films like BlacKkKlansman and Malcolm X. In 2021 he became the first Black composer to have had their opera performed at the Metropolitan Opera with Fire Shut Up in My Bones. He will be performing selections from Fire Shut Up in My Bones in Hartford on April 24th. Julia Bullock: Grammy Award-winning classical singer. She has curated a program that she performs called “History’s Persistent Voice.” It’s a multimedia project that includes poetry, visual art and music inspired by the songs of enslaved people. See omnystudio.com/listener for privacy information.

In part one of this two-part interview, trumpeter, composer, and 2024 NEA Jazz Master Terence Blanchard speaks about his deep musical roots in New Orleans and how the city's rich traditions shaped his artistry. He reflects on growing up in a household filled with music, his early piano lessons, and the pivotal moment when he switched to trumpet after hearing Alvin Alcorn. Blanchard discusses the educators who had a lasting impact on him, including Roger Dickerson and Ellis Marsalis, and his formative experiences at the New Orleans Center for Creative Arts and Rutgers University. He also shares stories of touring with Lionel Hampton as a teenager, learning the ropes of the jazz world, and his time with Art Blakey's Jazz Messengers, where he honed his skills as a composer and bandleader. Blanchard also talks about forming a quintet with Donald Harrison and their commitment to innovation, as well as launching his solo career in the early '90s. He describes his unexpected entry into film composition, starting with Mo' Better Blues, and how that led to a decades-long collaboration with Spike Lee. Blanchard reflects on the challenges and rewards of storytelling through music. Stay tuned for part two of my conversation with Terence Blanchard, where he discusses his work in opera, his ongoing exploration of sound with his current band, taking on the role of  artistic director of SFJAZZ, and his role as an educator mentoring the next generation of musicians. 

In part one of this two-part interview, trumpeter, composer, and 2024 NEA Jazz Master Terence Blanchard speaks about his deep musical roots in New Orleans and how the city's rich traditions shaped his artistry. He reflects on growing up in a household filled with music, his early piano lessons, and the pivotal moment when he switched to trumpet after hearing Alvin Alcorn. Blanchard discusses the educators who had a lasting impact on him, including Roger Dickerson and Ellis Marsalis, and his formative experiences at the New Orleans Center for Creative Arts and Rutgers University. He also shares stories of touring with Lionel Hampton as a teenager, learning the ropes of the jazz world, and his time with Art Blakey's Jazz Messengers, where he honed his skills as a composer and bandleader. Blanchard also talks about forming a quintet with Donald Harrison and their commitment to innovation, as well as launching his solo career in the early '90s. He describes his unexpected entry into film composition, starting with Mo' Better Blues, and how that led to a decades-long collaboration with Spike Lee. Blanchard reflects on the challenges and rewards of storytelling through music. Stay tuned for part two of my conversation with Terence Blanchard, where he discusses his work in opera, his ongoing exploration of sound with his current band, taking on the role of  artistic director of SFJAZZ, and his role as an educator mentoring the next generation of musicians. 

Art Farmer es una “rara avis” en el panorama musical del hard bop de los 50 y 60 del pasado siglo cuando a los trompetistas se les imponía unas capacidades atléticas exorbitantes con sonoridades brillantes y fraseos vertiginosos. En ese panorama desafiante y hostil se abre paso Farmer que, sustituyendo la trompeta por el fliscornio, encuentra su lugar con una sonoridad suave y aterciopelada y con un discurso improvisativo sereno y expresivo, alejado de los excesos y los alardes del be bop. La banda The Jazztet que Farmer co-lidera a finales de la década de los cincuenta, es considerada uno de los conjuntos seminales del hard bop, a pesar de que su música se alejaba de los exigentes estándares impuestos por otros conjuntos como los Jazz Messengers de Art Blakey o el quinteto de Max Roach y Clifford Brown. A pesar de todo, a finales de la década de los sesenta, Farmer se unió a esa legión de jazzmen expatriados que buscaron refugio en Europa, encontrando su hogar en Viena, donde su ya extenso y destacado curriculum, le sirvió de carta de presentación en los escenarios y estudios de grabación del continente y del mundo entero. A partir de la década de los ochenta, con el redescubrimiento del jazz acústico en los Estados Unidos, Farmer disfrutó de un exitoso homecoming, siendo reconocido como una de las grandes leyendas de la historia del jazz moderno, compartiendo, a partir de entonces, su vida y su actividad laboral entre Austria y Estados Unidos. Radio Jazznoend rinde homenaje en nuestro nuevo programa a este maestro de la trompeta, recorriendo sus registros de madurez, efectuados a partir de los años ‘70 para discográficas norteamericanas, europeas y japonesas. Te invitamos a compartir con nosotros una velada mágica iluminada por los destellos del estilo lírico y emocional de Art Farmer y por la conmovedora belleza de su sonido que hicieron de él uno de los más destacados contadores de historias del jazz moderno.

Diese Sendung hat Joachim Böskens zusammengestellt. Das LIVE- Anspiel ist diesmal: „Too close for Comfort” aus dem Musical „Mr. Wonderful” – ein Standard, geschrieben 1956. Folgende Titel sind zu hören: 1. Blues March – Art Blakey & The Jazz Messengers 6:14 2. Whisper not – Art Farmer-Benny Gloson Jazztet 5:25 3. A lost Story – Rolf Kühn 4:11 4. Samba de Orfeo – Luiz Bonfà & Cafè 3:39 5. J.T. – Besson / Sternal / Burgwinkel Trio 4:59 6. Too close for comfort – Thomas Quasthoff & NDR Bigband 4:13 7. Father Cooperates – Gustl Mayer's Jazz Stampede 4:15 8. What the world needs now is Love – Wes Montgomery 5:01 Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

Tonight's Jazz Feature is a previously unissued concert with an early version of Miles Davis' "Second Great Quintet" . This concert was part of the Paris Jazz Festival and recorded on Oct.1,1964 at the Salle Pleyal. It features Miles Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and the teenage genius on drums, Tony Williams. The repertoire is the same as Miles had been playing for several years but was being stretched in new ways. Eventually Miles would drop many of these tunes in favor of original compositions by himself and the band but that was in the future. Everyone here is in top form and Wayne Shorter is playing here with the same intensity as he did in his many years with Art Blakey's Jazz Messengers. Sit back and enjoy this never before heard music by one of the great bands in Jazz History.

Join Jason and Chris as they explore the world of jazz through the beats of the 10 greatest jazz drummers! In this podcast, we spotlight the legendary Art Blakey, whose drumming revolutionized the sound of jazz. From his iconic work with the Jazz Messengers to his unforgettable rhythms that powered countless jazz classics, Art Blakey's impact on the genre is undeniable. We'll dig into our own jazz vinyl collections, sharing some of Blakey's finest albums and discussing the techniques and energy that made him one of the most influential drummers in jazz history. From Moanin' to A Night in Tunisia and beyond, Blakey's contribution to jazz is a masterclass in rhythm and soul.

This episode of Teaser Talk with host Hollie Nicole features a dynamic and laughter-filled conversation with the multi-talented Alan Goldsher. Alan, a bassist, producer, and writer, shares his fascinating career story, from playing bass with jazz greats and touring the world with Digable Planets, to writing books about Modest Mouse, Art Blakey, and the quirky "Paul is Undead." He dives into his deep love for '90s music and emo culture, serving up nostalgic vibes and insights into why he still jams to Green Day playlists. The two discuss the impact of AI on writing, with Alan sharing his nuanced take on how he uses it for sports stats and SEO optimization without compromising creativity. Listeners also get an exciting teaser of Alan's upcoming album, "Groovy," filled with stripped-down, chill tracks perfect for vibing out. To top it all off, Hollie and Alan channel their inner music nerds in a fun game of "Decade Duel," testing Alan's knowledge of '90s and emo lyrics. With stories of Grandmaster Flash collaborations, mock death threats from Isaac Brock, and a whole lot of shoulder-shaking to great tunes, this episode is a must-listen for music lovers and creatives everywhere! Alan Goldsher has written 16 books, including Paul Is Undead: The British Zombie Invasion and Hard Bop Academy: The Sidemen of Art Blakey and the Jazz Messengers, and Digging Dave Brubeck and Time Out!.   As a ghostwriter, Alan has collaborated on book projects with actors, comedians, musicians, chefs, and numerous other public figures. ​ Goldsher's music journalism has appeared in Bass Player and Guitar Player, and his sportswriting has been seen in ESPN The Magazine, ESPN.com, NBA.com, and ChicagoBulls.com.   A bassist, producer, and record label CEO, Alan's Gold Note Records catalog is available to stream or download from all major digital music platforms. Goldsher recorded with Janet Jackson, Cypress Hill, and Naughty by Nature; toured the world with Digable Planets; and performed at the 1994 Grammy Awards. ​ Alan lives, writes, and makes music in Chicago. Follow Alan on Instagram and Spotify!

This special episode pays tribute to the remarkable life and music of the late Benny Golson — a saxophonist, composer, and arranger whose profound influence on jazz endures through both his compositions and recordings. Golson's legacy is woven into jazz history, known for iconic pieces that have become standards in the jazz repertoire. In today's episode, we'll hear selections from Golson's esteemed career, including his own performances and interpretations of his work by legends like Art Blakey's Jazz Messengers and Quincy Jones. We'll journey through classics like “Along Came Betty,” “Whisper Not,” and “I Remember Clifford,” showcasing the depth of Golson's contributions to jazz. So, sit back and join us as we celebrate the music and memory of Benny Golson. The Hot Box #131 Track Listing Along Came Betty: Quincy Jones “Birth of the Blues” Essential Jazz EJC55448 Moanin': Art Blakey's Jazz Messengers: Not Now NOT2CD344 Whisper Not: Benny Golson “New Tunes, New'tet” Concord 0888072311213 Domingo: Benny Golson “Domingo” Dreyfus Jazz FDM36557-2 Dear Kathy: Benny Golson “Turning Point” Gambit 69250 Killer Joe: Benny Golson “Terminal 1” Concord CCD 2259-2 I Remember Clifford: Quincy Jones “Birth of a Band” Essential Jazz EJC55448 Blues March: Art Blakey's Jazz Messengers Not Now NOT2CD344 Uptown Afternoon: Benny Golson “New Tunes, New'tet” Concord 0888072311213   Tune In: Live Broadcast: Every two weeks on Jazz Radio Eire. Listen Live Listen Back: Catch past episodes on The Hot Box Jazz and Jazz Ireland. Subscribe to The Hot Box: Via Android: Subscribe on Android By Email: Subscribe by Email Spread the Word: Help us grow our jazz community by sharing The Hot Box with your friends and on social media. Your support keeps us going!

Tonight's Jazz feature pays tribute to the Birthday Anniversaries of both drum master Art Blakey, born on Oct.11,1919 and piano genius Thelonious Monk, born on Oct 10,1917. This recording was a one off done for Atlantic Records on May 14 &15, 1957. Blakey and Monk were close friends and it was decided to do this recording together. Monk had two demands: one was that the tunes be mainly his and two was that the bassist be Wilbur Ware who was Monk's favorite bassist. Unfortunately Wilbur was indisposed and Blakey's regular bassist, James "Spanky" DeBrest was called in to do the date. Monk approved and the recording proceeded without a hitch. 5 of the 6 tunes are by Monk and the band gives them a good workout. The 6th tune was by Johnny Griffin and called "Purple Shades". This was an important recording featuring the two Jazz masters in a unique setting. Enjoy Art Blakey's Jazz Messengers with Thelonious Monk.

Tonight's Jazz Feature is an atypical recording by multi-instrumentalist/composer Jimmy Giuffre. He had been mostly associated with "West Coast Jazz" or "Cool Jazz", a style prominent in the 1950's that combined tight arrangements with Jazz solos. Giuffre in 1958 had gigged with his "folk Jazz" trio in New York and while there he was impressed with the harder, more emotionally outgoing Jazz of Thelonious Monk, Sonny Rollins and Art Blakey's Jazz Messengers and returned to L.A. where he was based a bit of a changed man as he wanted to be more outgoing and emotional in his playing. He had great technique on his horns, clarinet and tenor saxophone and changed his approach. Hence tonight's recording which is a quartet date with minimal arrangements and featuring Giuffre on his two horns backed by a solid rhythm section with the great Jimmy Rowles on piano, Red Mitchell on bass and Lawrence aka Larence Marable on drums. The album is a mix of standards and original simple compositions by Giuffre. It all adds up to a fine date representing a different approach to the music by a very talented man who left an amazing legacy of music of many styles. The Jimmy Giuffre Four: "Ad Lib" should be a treat for your ears.

More than 25 years ago, I met tenor saxophonist Javon Jackson who was raised in Denver Colorado and that meeting made a wonderful memory and a deep impact that still resonates with me today.  It impressed me that he took the time out of his very busy and impressive career to offer his time in a very giving manner to help a small-town, non-profit radio station.  But that is just the kind of person he is, one who gives back and makes a difference.  He is still doing that today as the Chair of the Jackie McLean Institute of Jazz at the University of Hartford since 2013.   Besides being a dedicated educator, Javon has also been a member of Art Blakey's Jazz Messengers; he has recorded over two dozen albums as a leader and has also recorded with such jazz legends including Ron Carter, Elvin Jones, Freddie Hubbard, Louis Hayes and of course, Art Blakey and others.  It was serendipity that led to Javon forming a friendship and collaboration with the influential poet and activist Nikki Giovanni.  Giovanni was invited by Javon to lecture at the University. Discovering they had a shared love of jazz music which resulted in this duo recording an album together called ‘The Gospel According to Nikki Giovanni.' The relationship between the two has only deepened through the years, and from that, other shared passions have emerged. One of them, American cinema, is referenced in the title of their recent and much-anticipated follow-up album called ‘Javon and Nikki Go to the Movies.”  This is the subject of my conversation with Javon Jackson which begins with a reference to another one of Jackson's musical influences...Sonny Rollins.

On this week's episode we explore the hard-bop cornerstone of Moanin' by Art Blakey & The Jazz Messengers. This album was foundational in the development of the hard-bop style as well as the development of the musicians on the album. Our overall combined rating for the album is 9.5/10, make sure to take a listen to our thoughts and how we came up with that score! Feel free to reach out to us with any listener questions or album recommendations at thejazzjampodcast@gmail.com  Website: Click here! Instagram: @thejazzjampodcast Spotify Playlist: Top 3 Playlist This episode may contain copyrighted material, the use of which may not have been authorized by the copyright owner. The material contained in this podcast is distributed without profit for research and educational purposes. This should constitute a 'fair use' of any copyrighted material (referenced and provided for in section 107 of the US Copyright Law).

Tonight's Jazz Feature is a tribute to tenor saxophonist/composer/bandleader Benny Golson. Benny was one of the real shining lights on the Jazz of the 50's, 60's,70's and right up to the present. He passed away peacefully at age 95 at his home in New York. He was born in Philadelphia on January 25, 1929 and dies on September 21, 2024. Benny grew up in the Jazz rich atmosphere of Philadelphia and associated with the Heath brothers, John Coltrane, Lee Morgan, Philly Joe Jones, Ray Bryant and so many others. He composed some eternal Jazz standards like "I'll Remember Clifford", "Stablemates", "Whisper Not", "Along Came Betty" and so many others. He developed his skills in R&B bands and Tadd Dameron's band, Dizzy Gillespie's big band of the 50's and then Art Blakey's Jazz Messengers, He then formed The Jazztet with trumpeter Art Farmer and later moved to L.A. and wrote for TV and movies and returned to active Jazz playing in the 80's and right up until his passing. Tonight's Jazz feature is one fine date called "Benny Golson and The Philadelphians" with an all Philadelphia cast including the young phenomenon Lee Morgan on trumpet, Ray Bryant on piano, Percy heath on bass and the great Philly Joe Jones on drums. It was done in December 1958 and released originally on United Artist Records. It's a fine presentation of Benny's organizing talents, his playing and writing and arranging. In tribute to Benny Golson tonight!

Adam and Peter finally delve into the great Caravan by Art Blakey and his Jazz Messengers. So many iconic jazz musicians came through that institution and the YHI team has been pining to breakdown all the things that make this album great.Unlock your FREE Open Studio trial to become a better player today.Looking to drop a question? Want to listen to the audio pod? Look no furtherhttps://youllhearit.com/Have a question for us? Leave us a SpeakPipeCheckout courses from Adam, Peter and more at Open Studio

For this in depth conversation with Milestones: Celebrating the Culture, celebrated trumpeter Jeremy Pelt returns to discuss the monumental legacy of Lee Morgan and his groundbreaking 1964 album The Sidewinder. Pelt shares his personal journey with Morgan's music, insights on the unique sounds of some of our favorite legends, and the elements that made The Sidewinder a crossover hit. The discussion also explores Morgan's role in Art Blakey's Jazz Messengers, the challenges and triumphs of creating iconic jazz records, and the significance of developing a working band. We discuss Morgan's broader discography, influential sideman work, and how The Sidewinder shaped jazz and popular music culture. The conversation touches on the enduring recognition of Morgan's music, including the recent inclusion of The Sidewinder in the National Recording Registry.

Pianist Horace Silver, born September 2, 1928, in Connecticut, played tenor saxophone and piano in school, and received his first national recognition when his trio was hired to play with saxophonist Stan Getz in 1950. His career received a major boost when he became part of the original Jazz Messengers with Art Blakey, and recorded his first hit composition, The Preacher. He toured with Blakey until 1956, when he left to start his own quintet, which featured his prolific compositional talents, and launched the careers of numerous younger players over the ensuing decades. He is one of the musicians credited with launching the hard bop style.

Pianist Mulgrew Miller, born August 13, 1955, toured with the Duke Ellington Orchestra for three years right out of college, later accompanying singer Betty Carter, then three year stints with trumpeter Woody Shaw followed by Art Blakey's Jazz Messengers. He was already recording with his own groups when he joined drummer Tony Williams in quintet and trio settings, he also served as director of jazz studies at William Paterson college up unto his tragic death of a stroke at age 57. His playing never lost its roots as a church pianist, but he also incorporated the pyrotechnic technical influences of Oscar Peterson and the harmonic language of McCoy Tyner.

Listen to any song by Art Blakey and the Jazz Messengers.  There will be no question in your mind about who is driving the bus or who is riding on the bus or where this bus is going.  Who's driving the bus? Art Blakey is driving!  Who's riding the bus? Everybody!  Where's this bus going? Straight ahead!   Seventeen years of Deep Focus and no one has ever called for Art Blakey's music?  I don't know how that is possible but it ends Monday night (6/24).  Saxophonist/Jazz scholar Eric Person joins host Mitch Goldman to focus on the music this one-of-a-kind drummer/bandleader.  They will play recordings from the WKCR archives that even hardcore Blakey fans have never heard.     It's on WKCR 89.9FM, WKCR-HD or wkcr.org Monday from 6pm to 9pm NYC time.  Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Either way, it's ad-free, all free, totally non-commercial.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram at deep_focus_podcast.   Photo credit: © Herman Leonard Photography LLC, National Portrait Gallery, Smithsonian Institution.   #WKCR #JazzAlternatives #DeepFocus #EricPerson #ArtBlakey #JazzMessengers  #MitchGoldman #JazzInterview #JazzPodcast #JazzRadio

Listen to any song by Art Blakey and the Jazz Messengers.  There will be no question in your mind about who is driving the bus or who is riding on the bus or where this bus is going.  Who's driving the bus? Art Blakey is driving!  Who's riding the bus? Everybody!  Where's this bus going? Straight ahead!   Seventeen years of Deep Focus and no one has ever called for Art Blakey's music?  I don't know how that is possible but it ends Monday night (6/24).  Saxophonist/Jazz scholar Eric Person joins host Mitch Goldman to focus on the music this one-of-a-kind drummer/bandleader.  They will play recordings from the WKCR archives that even hardcore Blakey fans have never heard.     It's on WKCR 89.9FM, WKCR-HD or wkcr.org Monday from 6pm to 9pm NYC time.  Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Either way, it's ad-free, all free, totally non-commercial.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram at deep_focus_podcast.   Photo credit: © Herman Leonard Photography LLC, National Portrait Gallery, Smithsonian Institution.   #WKCR #JazzAlternatives #DeepFocus #EricPerson #ArtBlakey #JazzMessengers  #MitchGoldman #JazzInterview #JazzPodcast #JazzRadio

Listen to any song by Art Blakey and the Jazz Messengers.  There will be no question in your mind about who is driving the bus or who is riding on the bus or where this bus is going.  Who's driving the bus? Art Blakey is driving!  Who's riding the bus? Everybody!  Where's this bus going? Straight ahead!   Seventeen years of Deep Focus and no one has ever called for Art Blakey's music?  I don't know how that is possible but it ends Monday night (6/24).  Saxophonist/Jazz scholar Eric Person joins host Mitch Goldman to focus on the music this one-of-a-kind drummer/bandleader.  They will play recordings from the WKCR archives that even hardcore Blakey fans have never heard.     It's on WKCR 89.9FM, WKCR-HD or wkcr.org Monday from 6pm to 9pm NYC time.  Or join us next week when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Either way, it's ad-free, all free, totally non-commercial.   Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram at deep_focus_podcast.   Photo credit: © Herman Leonard Photography LLC, National Portrait Gallery, Smithsonian Institution.   #WKCR #JazzAlternatives #DeepFocus #EricPerson #ArtBlakey #JazzMessengers  #MitchGoldman #JazzInterview #JazzPodcast #JazzRadio

Six longer sets tonight: Red Garland, Soul Junction Jimmy Smith, Midnight Special Art Pepper, You Go to My Head WDR Big Band Köln & Joe Williams, Milt Jackson, Since I Fell For You Art Blakey & the Jazz Messengers, One By One Wynton Marsalis, Doin' Your Thing

Few musicians tower like Terence Blanchard. The eight-time Grammy winner has been recording for more than four decades, and though his early work recalls the legacy of midcentury greats, for years now, Blanchard has been remaking and reshaping the genre, turning it into a force to give voice to social change. A trumpeter, pianist, composer, Blanchard has pushed the genre and his own artistry beyond jazz to opera and film scores.rnrnBlanchard began playing in his teenage years with the Lionel Hampton Orchestra. By the 1980s, he was playing with Art Blakley's Jazz Messengers. In the 90s, he began performing solo and working with filmmaker Spike Lee, a collaboration that would include films from Do the Right Thing to BlacKKKlansman. During the same period of time, he began to work in opera, turning Charles Blow's 2014 memoir Fire Shut Up in My Bones into an opera for the Metropolitan Opera's 2021-2022 season, marking the first time a project from an African-American composer was presented from the Met's world-renowned stage.rnrnBlanchard is in Cleveland for an appearance with The Cleveland Orchestra's Mandel Opera and Humanities Festival, where he will perform the music of Wayne Shorter. Before he does, he'll join moderator Jeff Johnson on our stage for a conversation about power and his own artistry and what it means to use music to address social challenges.

Thelonious Monk made very few recordings as a sideman during the 1950's - here are a few samples! The Clark Terry Quartet (with Sam Jones and Philly Jo Jones), Art Blakey's Jazz Messengers (with Bill Hardman, Johnny Griffin and Spanky DeBrest), Sonny Rollins' Quartet and Gigi Gryce's Quartet (with Blakey). --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Kenny Garrett has been playing for more than 40 years. Originally from Detroit, he joined the Duke Ellington Orchestra in the late 70s, when it was being run by Ellington's son Mercer. He also played with Art Blakey and the Jazz Messengers, and with Donald Byrd, Woody Shaw, and Freddie Hubbard. He was a member of a young lions group put together by Blue Note Records in the 80s called Out Of The Blue that also included the late drummer Ralph Peterson, and he was already recording as a leader when he was invited to join Miles Davis's band in 1987. He played on the album Amandla, and was part of the Davis band all the way until the end of Miles's life in 1991. Miles Davis even made a very rare guest appearance on one of Garrett's albums, Prisoner Of Love, from 1989.Kenny Garrett's discography as a leader has taken him in a lot of really interesting directions. His 1995 album Triology, with Brian Blade on drums and either Charnett Moffett or Kiyoshi Kitagawa on bass, is a really intense, high-energy record that kind of marries bebop language to post-Ornette Coleman freedom, but the real key to the whole thing is the way he executes these really complex melodies on tunes like John Coltrane's "Giant Steps," Wynton Marsalis's "Delfeayo's Dilemma," and Mulgrew Miller's "Pressing The Issue." It's a tremendous showcase for his technical command of the saxophone. But the album that first got me interested in his work was Beyond The Wall, a 2006 release that was a collaboration with Pharoah Sanders that also featured Mulgrew Miller on piano, Bobby Hutcherson on vibes, Robert Hurst on bass, Brian Blade on drums, and on some tracks there were strings and harp and Chinese instruments and a six-member vocal ensemble. It's not spiritual jazz in the way that term is used now, and it's not world music, it's entirely its own thing, and it's particularly fascinating because you might not think of Kenny Garrett and Pharoah Sanders having that much in common, artistically speaking, but they really did. They also recorded a live album together that came out in 2008. Garrett talks about Pharoah a lot in the interview you're about to hear.And Kenny Garrett's latest album is going to surprise a lot of people. It's called Who Killed AI, and it's a collaboration with Svoy, an electronic music producer. Garrett plays alto and soprano sax on it, and all the rest of the music is made with synths and programmed drums. Even the horns are multi-tracked and fed through effects at times. It's structured as kind of a suite — the first track is called “Ascendence,” and there are also pieces called “Transcendence,” “Divergence” and “Convergence.” But there's also a really beautiful version of “My Funny Valentine,” which lays the ballad melody over these kind of shimmering keyboard sounds and a hard drum 'n' bass beat. It's not at all what I was expecting when I was told that there was a new Kenny Garrett album on the way.I'm really glad I had the chance to talk to Kenny Garrett. We discussed his history with Miles Davis and with Woody Shaw, his early musical upbringing, his work with Pharoah Sanders, his approach to synthesizing genres and musics from around the world, and much more. I think you're going to enjoy this conversation.

La irrupción del jazz fusión a principios de la década de los '70 del pasado siglo, marcó el inicio de un periodo de vacas flacas para el jazz acústico, una travesía del desierto que puso a centenares de músicos en el dilema de mantenerse fieles a sus raíces musicales o dejarse llevar por los derroteros de los nuevos estilos emergentes. En este desértico y desolador escenario, hasta los Jazz Messengers de Art Blakey, garantes de las esencias de un hard bop académico y acústico hasta la médula, se enfrentó a este inquietante dilema. Radio Jazznoend, explora en este nuevo programa, un breve periodo en la larga vida de aquella legendaria banda, en el que Blakey, bajo contrato con la discográfica Prestige, protagonizó una tímida incursión en las sonoridades del jazz fusión que nacía en aquellos años. Unos mensajeros verdaderamente excepcionales, no sólo por la introducción de instrumentación electrónica o por la peculiar naturaleza de su repertorio, sino también porque suponen la única oportunidad de escuchar, en las filas de Blakey, a esa leyenda de la trompeta que fue Woody Shaw. Estas recónditas sesiones desarrolladas en estudios de New Jersey y California dieron lugar a tres discos: Child's Dance, Anthenagin y Buhaina. Os invitamos pues, a disfrutar de estos registros efectuados entre los años 1972 y 1973, un instante casi olvidado en la ingente producción discográfica de los Jazz Messengers, que por su rareza y singularidad y merece ser recordado.

SynopsisToday's date in 1962 marks the birthday in New Orleans of Terence Blanchard, American jazz trumpeter, composer and educator. “I come from a family of musicians,” Blanchard says. “My father was an opera singer, my mother played piano and taught voice, my grandfather played the guitar. What I wanted was to be a jazz musician, have a band, travel and create music.”Well, he got his wish! Blanchard started piano at 5 and trumpet at 8, playing music with childhood friends Wynton and Branford Marsalis at summer music camps and studied composition with their father, Ellis Marsalis. In 1980, while still in his teens, Blanchard began performing with the Lionel Hampton Orchestra and later Art Blakey and the Jazz Messengers.In the 1990s, Blanchard started writing film and TV scores and has composed more than 40 of them to date. In 2019, he was nominated for an Academy Award for his music for Spike Lee's BlacKkKlansman.He holds major teaching positions and tours with his quintet, the E-Collective. In 2021, his opera Fire Shut Up in My Bones was premiered at the Metropolitan Opera.Music Played in Today's ProgramTerence Blanchard (b. 1962): ‘Ron's Theme,' from BlacKkKlansman Suite; the E-Collective, with a 96-piece orchestra Back Lot Music CD 779

Tonight's Jazz Feature is one of the most intense and incendiary recordings by Art Blakey's Jazz Messengers. It was done in February 1964. The fire and intensity was perhaps driven by the fact that several of the members of this long standing edition of the Messengers were hinting at leaving to move on to other bands or forming their own groups. The personnel of this band had been together since the end of 1961 and consisted of Freddie Hubbard on trumpet, Curtis Fuller on trombone, Wayne Shorter on tenor saxophone and was also the band's musical director, Cedar Walton on piano, Reginald Workman on bass (the only living member) and of course the master fire stoker Art Blakey on drums. "Free For All" is the apt album title and the album was issued on Blue Note Records and is tonight's Jazz Feature. Listen here!!!

Today we continue our celebration of Black History Month by featuring the eight-time Grammy Award winner and two-time Oscar nominee Terence Blanchard whose interview with David originally aired in April of 2023. Original show note: Six-time Grammy Award winner and Oscar nominee Terence Blanchard is a famed trumpeter, band leader, and composer. Recently, he also became the first Black composer commissioned by the Metropolitan Opera since it opened in 1883. Terence discusses his debut at the Met and the enormity of the experience, along with his start at age 19 with The Jazz Messengers, and the greatest lesson he learned from jazz legend Art Blakey. Terence reflects on his expansive work for film, including 17 collaborations with Spike Lee, and answers David's specific questions about a pivotal scene in Mo' Better Blues.Check out Terence Blanchard on Instagram, Facebook, Twitter, Apple Music, Spotify, YouTube, or the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Terence Blanchard by Cedric Angeles.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview originally aired on April 11, 2023. It has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

If you thought these songs were from Jane's Addiction, it is an understandable mistake.  Porno for Pyros was formed in 1992 after the first break-up of Jane's Addiction by members by lead vocalist Perry Farrell and percussionist Stephen Perkins.  They added Peter DiStefano on guitar and Martyn LeNoble on bass for their eponymously named debut album.  The inspiration for the band's name came from a fireworks advertisement that Perry Farrell saw in a pornographic magazine.  Inspiration was also connected to the 1992 LA riots which occurred in the band's hometown.The album Porno for Pyros benefitted from the success of Jane's Addiction and the buzz surrounding the new group.  Porno for Pyros began a nationwide tour to support the band prior to the release of the first album.  By the time the album was released in 1993 there was a pent-up demand for it, causing it to surge to number 3 on the Billboard 200 album chart.  With a blend of punk, psychedelic rock and alternative, the album gained both commercial and critical success.The band was impactful on the alternative rock scene, but was short-lived.  They would release a follow-up album in 1996 before disbanding in 1998.  They would have reunions in 2009 and 2020, and the original line-up has recorded new material as of 2023 to be released as an EP in 2024.Wayne takes us through this alternative rock album. Cursed FemaleThis track was released as the first single as a medley with the song “Cursed Male.”  The lyrics reflect the abuse women face in life.  It reached number 3 on the Modern Rock charts.  “Cursed to be born beautiful, poor, and female, there's none that suffer more.”Cursed MaleForming a medley with “Cursed Female” for the first single, this song turns to the difficulties males face in life.  “All the guys that really have the money are too old to have a good time with it...Too old to turn the women on, too old to have a fast car and drive it.”PetsThis is the hit from the album.  It deals with dissatisfaction with the human race on the brink of destruction.  The song describes how aliens might take over the world and treat human beings as great pets.  It reached number 1 on the Billboard Modern Rock Tracks chart.Packin' .25This track has the LA riots as its inspiration.  It reflects the idea of people carrying a handgun in order to achieve respect.  Interestingly, a 25-caliber pistol is not a very powerful weapon.  “I dreamt all yesterday how I might make a man feel with a gun up to his face!  Show respect to me.  I don't care what you're thinking, I'll wipe that thought away! ENTERTAINMENT TRACK:I'm Gonna Be (500 Miles) by The Proclaimers (from the motion picture “Benny and Joon”)Johnny Depp and Mary Stuart Masterson star in this film about two eccentric people falling in love. STAFF PICKS:Daughter by Pearl JamLynch gets the staff picks rolling with the second single from Pearl Jam's "Vs." album.  It talks about a girl with severe dyslexia whose mother doesn't understand the condition.  The lack of understanding prompts the mother to abuse the daughter, thinking she is being deliberately lazy and disruptive. Woman by Brother CaneRob features a deeper cut from Alabama band Brother Cane off their debut album.  This grunge-tinted song has a slow, haunting, mournful feel that builds into a faster paced, minor epic by the middle of the song before returning to the slow theme at the end.  The singer discusses an unstable relationship.  “I used to know better, now I don't know what's worse - having it all maybe, or having nothing for sure.”Rebirth of Slick (Cool Like Dat) by Digable Planets Bruce brings us the first single from the debut album Reachin' (A New Refutation of Time and Space).” The lyrics are a celebration of hip-hop, the Brooklyn underground scene, jazz, style, and the confidence of the group.  Digable Planets sampled “Stretching” by Art Blakley & the Jazz Messengers for the chorus.Lollipop Serenade by Insane JaneWayne's staff pick is from a local Atlanta band with a female lead.  Insane Jane put out two albums, the first called “Each Finger” and the second called “Green Little Pill.” The lead singer was known as “Yellow.”  This may be a song that those outside of Atlanta may not have heard before. INSTRUMENTAL TRACK:Beer :30 by The Reverend Horton HeatWell, it is largely instrumental, if you don't count the occasional “beer” and “get naked” statements thrown in. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

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 Intro: One More Night – Can 1. Come Down (Baby) – The Beginning of the End (3:05)                                                                                     2.  Fugata – Astor Piazzolla, y su Quinteto (2:49)                                                        3.  Sonata in A Major K 429 – Domenico Scarlatti, Tilney (3:30)                                                                            4.  An Tonn Reatha – Seán Ó Riada, & Ceoltóirí Cualann (3:45)                                                                                                                                                                          5.  Howlin' for my Darlin' – Howlin' Wolf (2:30)                                                    6.  Cler Achel – Tinariwen (4:23)                                                                                                                                       7.  Η Γυναίκα Μου Ζηλεύει (I Gynaíka Mou Zilévei - My Wife Is Jealous) – Markos Vamvakaris (3:17)                           8.  Sidi Sma Ya Boulandi – Maalem Mahmoud Gania (8:06)                                                                                             9.  Stray – Calexico (2:54)                                                                                                                                               10.  Ahlane Ouassahlane – Ahl Nana (9:22)                               11.  Reuben's Train – Doc Watson & Family (2:43)                                                                                                                                                                     12.  Golden Brown – Laurence Mason (2:16)                                                                             13.  Prelude No.12 in F Minor BWV 881 from Book 2 of ‘Das Wohltemperierte Klavier' – J.S. Bach, Gould (1:45)         14.  Ugetsu – Art Blakey's Jazz Messengers (11:12)                                     15.  Wine (The Infidel) – Dorothy Ashby (4:01)                                                                                                                 16. Hoppavalssi – JPP (2:40)                                                                                                                       17.  At Last I Am Free – Fire! Orchestra (6:39)                                                                                                       18.  Orden Du Aldrig Säger – Enhet För Fri Musik (3:35)                                                                 19.  Iceland – The Fall (6:42)                                               20.  Seydis – Astrid Øster Mortensen (1:48)                                                      21.  Verner Ravn – Spælimenninir (2:52) 22. Allah Ho, Allah Ho (Live at WOMAD 1985) – Nusrat Fateh Ali Khan & Party                                                                                                                                                                                            Outro: Pogles Walk – Vernon Elliott Ensemble

Don Was is one of music's most significant artists and executives, exceling in multiple roles and serving as one of the industry's beacons for integrity and forward-thinking. During this period of disruption and rapid evolution in the worldwide music business, Was remains committed to music as an art form and its importance to contemporary culture.  As the President of Blue Note Records since 2011, Was is both the company's leader and an ambassador for its music, charged with bringing the label's 21st Century jazz artists and its expanding pallet of contemporary musicians to larger audiences.  Was is also caretaker for Blue Note's singular and historic catalogue of music, and is burnishing the label's 80-year legacy by overseeing ongoing and extensive reissue campaigns that serve audiences in both the analogue and digital realms.Born in Detroit, Michigan, Don Was grew up listening to Detroit blues, jazz music, and the Rolling Stones. He went on to form the group Was (Not Was) with school friend David Weiss (David Was), noted for their success in the 1980s. Now widely recognized as a record producer, Don Was has worked with artists including Bob Dylan, The Rolling Stones, Bonnie Raitt, Iggy Pop, Ziggy Marley, the B-52s, Elton John, Garth Brooks, Lucinda Williams, Old Crow Medicine Show, John Mayer, Ringo Starr, Willie Nelson, Brian Wilson, Kris Kristofferson, and Aaron Neville. He has earned multiple Grammy Awards including Producer of the Year in 1995. Don Was has served as musical director or consultant on several motion pictures including Thelma and Louise, The Rainmaker, Hope Floats, Phenomenon, Tin Cup, Honeymoon in Vegas, 8 Seconds, Switch, The Freshman, Days of Thunder, Boys on the Side, and Toy Story. He earned a British Academy Award (BAFTA) for Best Original Score in recognition of his compositions for the film Backbeat.He regularly tours throughout the United States as bassist in the acclaimed trio, Bob Weir and Wolf Bros, and has served as musical director and bassist for a host of major tribute concerts, including those for:  Johnny Cash, Jerry Garcia, Emmylou Harris, Merle Haggard, Dr. John, Gregg Allman, Gregg Allman and Mavis Staples. Was recently curated and hosted a weekend-long series of shows at Boston's Wang Theatre and Schubert Theatre under the WasFest banner.  The shows, which featured Meshell Ndegeocello, Robert Glasper, Dark Star Orchestra, Lettuce with special guest Judith Hill and Steel Pulse, received rapturous reception from audiences and critics alike.Don Was is featured in the Dorsay Alavi's Zero Gravity, the recently released documentary film streaming on Amazon Prime on the life of Wayne Shorter—released on the 90th anniversary of his birth—takes an in-depth look at the life of one of our most outstanding players, composers and visionaries in the jazz canon. From his childhood in Newark to his work with Art Blakey's Jazz Messengers, as an integral part of The Miles Davis Quintet of the mid ‘60s, his contributions to the groundbreaking group Weather Report, his own groups, and writing for large ensembles, the message is clear: the openness he embraced throughout his life allowed for the genius to flourish. Source: https://www.udiscovermusic.com/stories/birthday-greetings-don/Source: https://www.kennedy-center.org/artists/w/wa-wn/don-was/Source: https://wayneshorterofficial.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

Our Jazz Feature takes you back to tan important center of Jazz action in New York in the mid-50`s. The Cafe Bohemia located in Greenwich Village. The band is the first group that master trumpeter Kenny Dorham put together. he called it ``The Jazz Prophets``. Kenny Dorham is one of the finest and original of the early Modern Jazz trumpeters. He came to maturity in the early 1950`s and was a charter member of Art Blakey`s Jazz Messengers. In 1956 he formed The Jazz Prophets. Sadly it was short-lived but made several fine recordings including this one. Kenny Dorham put together J.R. Monterose on tenor saxophone and a very young 19 year old Bobby Timmons on piano, Sam Jones is on bass and the tasty and swinging Arthur Edgehill is on drums. They play a variety of original and standard materiel in this set and are joined on the last tune, Dizzy Gillespie`s ``A Night in Tunisia`` by guitarist Kenny Burrell. All live at The Cafe Bohemia on May 31,1956. Kenny Dorham, tonight`s Jazz Feature artist.

Wayne Shorter has long been considered one of the greatest modern composers and musicians of American music. His career reads like a Who's Who of the genre, starting with Art Blakey and The Jazz Messengers, then the Miles Davis Quintet, followed by solo fame and the founding of fusion super group Weather Report. His collaborations extend beyond jazz greats such as Herbie Hancock and Ron Carter to include Carlos Santana, Joni Mitchel, Milton Nascimento and Steely Dan, just to name a few.  In Wayne Shorter: Zero Gravity, acclaimed producer and director Dorsay Alavi moves beyond typical music doc territory to capture the essence of the man who touched so many lives, including her own. As Shorter's long-time friend and music-video collaborator, Dorsay paints an intimate portrait and cinematic ode to a truly American visionary, innovator and icon.  Wayne Shorter: Zero Gravity is a three-part docu-series streaming on Amazon Prime from August 25th 2023, which would have been Shorter's 90th birthday.  Watch the episode at https://factualamerica.com "There's so many layers to Wayne, but I would say mostly, he's a very, very principled person. And I believe that he has always been very authentic and true to what he has always done on an artistic level, [and] in life as well." - Dorsay Alavi

Born on June 16, 1965, in Carthage, Missouri, Javon Jackson was raised in Denver, Colorado and chose saxophone at the age of 10. At age 16 he switched from alto to tenor and later enrolled at the University of Denver before spending part of 1985–86 at the Berklee College of Music in Boston. He left Berklee in 1986 to join Art Blakey's Jazz Messengers, where he later played alongside pianist Benny Green, trumpeter Philip Harper, trombonist Robin Eubanks and bassist Peter Washington. Jackson remained a fixture in the Jazz Messengers until Blakey's passing in 1990. In 1991, Jackson made his recording debut with Me and Mr. Jones, featuring James Williams, Christian McBride, and master drummer Elvin Jones. He joined Jones' group in 1992, appearing on the great drummer's albums Youngblood and Going Home. Jackson's 1994 Blue Note debut, When the Time Is Right, was a straight-ahead affair produced by iconic jazz vocalist and bandleader Betty Carter. His subsequent four recordings for the Blue Note label through the ‘90s were produced by Craig Street and featured wildly eclectic programs ranging from Caetano Veloso, Frank Zappa and Santana to Muddy Waters, Al Green and Serge Gainsbourg. His subsequent four recordings for the Palmetto label had him exploring a blend of funk, jazz and soul with such stellar sidemen as organist Dr. Lonnie Smith, guitarists Mark Whitfield and David Gilmore, trombonist Fred Wesley and drummer Lenny White. In 2009, Javon was commissioned by the Syracuse International Film Festival to compose a full-length score for the Alfred Hitchcock film, “The Lodger,” a silent movie based on the hunt for Jack the Ripper. The original score had its debut at the festival, performed live by Jackson's band (featuring pianist Manasia) at the film's screening in October 2010. In 2012, the saxophonist released a potent tribute to a towering influence, Celebrating John Coltrane, his inaugural release on his Solid Jackson Records which featured the venerable drummer and former Coltrane collaborator Jimmy Cobb. He followed later in 2012 with Lucky 13, which featured the great soul-jazz keyboardist Les McCann and included a mellow instrumental rendition of Stevie Wonder's “Don't You Worry ‘Bout a Thing” along with a version of McCann's 1969 hit, “Compared to What.” That same remarkably productive year, Jackson was the recipient of the prestigious Benny Golson Award from Howard University in Washington, D.C. for recognition of excellence in jazz. Jackson's debut on the Smoke Sessions label, 2014's Expression, was a live quartet recording from the Smoke Jazz & Supper Club in Upper Manhattan. On February 18, 2022, Javon will release, The Gospel According to Nikki Giovanni, his fifth album for his Solid Jackson Records label. Jackson finished and received his undergraduate degree from the Berklee College of Music and obtained a master's degree from the State University of New York at Purchase, where he also taught. In 2013, he accepted the position of Professor of Jazz Saxophone; Director of the Jackie McLean Institute of Jazz Studies at the University of Hartford's Hartt School of Music, Theatre and Dance. In this episode, Javon shares his background, education, and musical journey. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

One of the most important things that you can do is listen to jazz music, and that seems so simple, but literally you are practicing when you listen to jazz music. You will become a better jazz musician, simply by putting on your headphones or putting them on the speakers and just listening to how this music actually sounds. So today I'm gonna talk about 25 jazz albums that every jazz musician absolutely needs to know, absolutely needs to listen to. In this episode:1. Listening to jazz is essential for becoming a great jazz musician.2. Being aware of different styles and artists in jazz is important for personal growth and inspiration.3. Jazz albums can have a transformative effect on a musician's playing. #1: Louis Armstrong's "Complete Hot Five and Hot Seven Sessions" #2: Duke Ellington's "Live at Newport" #3: Count Basie's "The Complete Deca Recordings"#4: Benny Goodman's "The Famous 1938 Carnegie Hall Jazz Concert"#5: Charlie Parker and Dizzy Gillespie's "Quintet Jazz at Massey Hall"#6: "Charlie Parker with Strings" - Charlie Parker#7: Sonny Rollins' "Saxophone Colossus" #8: John Coltrane's "Blue Train" #9: Art Blakey and the Jazz Messengers' "Moanin'"#10: "Sonny Side Up" by Dizzy Gillespie #11: "Boss Tenors" by Gene Ammons and Sonny Stitt #12: "Soul Station" by Hank Mobley #13: Wes Montgomery's "Boss Guitar" #14. "Kind of Blue" by Miles Davis#15: "Time Out" by Dave Brubeck#16:  "Mingus Ah Um" by Charles Mingus #17: "The Shape of Jazz to Come" by Ornette Coleman#18: "Giant Steps" by John Coltrane #19:  "A Love Supreme" by John Coltrane #20: "The Blues in the Abstract Truth" by Oliver Nelson #21:  "Bitches Brew" by Miles Davis #22:  "Head Hunters" by Herbie Hancock #23:  "Heavy Weather" by Weather Report#24:  "Bright Size Life" by Pat Metheny#25:  "Deep Song" by Kurt RosenwinkelImportant Links:Free Guide to learning standards by ear: Learn Jazz Standards the Smart WayLJS Inner Circle MembershipListen to the Learn Jazz Standards PodcastGet 50% off your first month when joining the Inner Circle: https://members.learnjazzstandards.com/sp/inner-circle-sales-page-podcast-direct/

023 NEA Jazz Master Kenny Garrett is a saxophonist, composer, and bandleader. He sees himself as a “preacher” on his saxophone—searching for that “one note that would touch people.” In this music-filled podcast, Garrett talks about his musical beginnings in Detroit, move to NYC, and time with the Duke Ellington Band, Art Blakey and the Jazz Messengers, and Miles Davis, and the different lessons he learned from all of them. He discusses finding his musical voice,  his role as a band leader, the spiritual aspects of his music, the lasting influence of John Coltrane, and his collaborations with Pharoah Sanders and Chick Corea.  Kenny also talks about his process for composing, teaching his music to band members, the energy created by live performance, playing as part of the Grammy-Award winning Five Peace Band, his ability to incorporate many different genres in his music, his commitment to both contemporary music and music from the ancestors, and his deep belief in music's healing power.  He also plays John Coltrane's soprano saxophone live during an emotional moment in the podcast.  Let us know what you think about Art Works—email us at artworkspod@arts.gov. And follow us on Apple Podcasts!   Keywords: Kenny Garrett, NEA Jazz Master, Jazz, Miles Davis, Art Blakey, Five Peace Band, Sounds from the Ancestors

Fiona Apple "Shadowboxer"The Dirty Dozen Brass Band "My Feet Can't Fail Me Now"Sam & Dave "you Got Me Hummin'"Eddie Hinton "Everybody Needs Love"JD McPherson "Dimes For Nickles"Little Richard "Keep a Knockin'"Little Richard "By the Light of the Silvery Moon"Hayes Carll "Faulkner Street"Lucero "On My Way Downtown"Langhorne Slim "The Electric Love Letter"Langhorne Slim "I Ain't Proud"Hank Mobley "Roll Call"Nina Simone "Do I Move You?"Charlie Louvin "Wreck of the Old 97"Nicole Atkins "Goodnight Rhonda Lee"Willie Nelson "Devil In a Sleepin' Bag"Wilco "How To Fight Lonliness"Chris Knight "Nothing On Me"Ted Hawkins "Strange Conversation"Kelly Hogan "We Can't Have Nice Things"Grandpaboy "Let's Not Belong Together"The Hold Steady "Entitlement Crew"Nikki Lane "Man Up"Drag the River "Songs for Robin Reichardt"Levon Helm "Poor Old Dirt Farmer"Thelonious Monk "Straight, No Chaser"Magnolia Electric Co. "Northstar Blues"Jimmy Buffett "Death Of An Unpopular Poet"Kris Kristofferson "Closer to the Bone"Bonnie Prince Billy "New Partner"Neil Young "Come On Baby, Let's Go Downtown"Gillian Welch "Tear My Stillhouse Down"Waylon Jennings "Are You Sure Hank Done It This Way"Eilen Jewell "Could You Would You"John Moreland & The Dust Bowl Souls "This Town Tonight"R.E.M. "Feeling Gravitys Pull"Big Mama Thornton "I'm Feeling Alright"Art Blakey & The Jazz Messengers "Are You Real"Sam Cooke "Having a Party"Johnny Cash "The Kneeling Drunkard's Plea"Drive-By Truckers "Marry Me"Jenny Lewis "Just One of the Guys"

Blue Mountain "Soul Sister"Ike & Tina Turner "River Deep Mountain High"John Hammond "I Want You to Love Me"Albert King "Answer to the Laundromat Blues"Margo Price "Ragged Old Truck"Dr. John "Zu Zu Man"Mamie Perry And The Gus Jenkins Orchestra "Lament"Bob Dylan "Most of the Time"Ry Cooder "It's All Over Now"Betty LaVette "Let Me down Easy"Charles Mingus "Better Get Hit In Yo' Soul"Grateful Dead "In the Midnight Hour"Townes Van Zandt "Mr. Mudd and Mr. Gold"Willie Nelson & Wynton Marsalis "Ain't Nobody's Business"Porter Wagoner "Satan's River"Eilen Jewell "Queen Of The Minor Key"Old 97's "Good With God"The Louvin Brothers "Knoxville Girl"OutKast "Elevators (Me & You)"Amaro Freitas "Trupé"Staple Singers "What's Your Thing"Tina Turner "Hard Times"Charlie Parr "Funeral Road Blues"Steve Earle "When I Fall"Bonnie Raitt "Sweet Forgiveness"Lightnin' Hopkins "Katie Mae Blues"Billy Joe Shaver "I Been to Georgia On a Fast Train"Aimee Mann "Goose Snow Cone"Joan Shelley "Sweet Dark-Haired Man"Doc & Merle Watson "Dig a Little Deeper in the Well"Peter Buck "Southerner"The B-52's "Private Idaho"Tom Waits "Long Way Home"Asie Payton "Skinny Legs & All"The Ronettes "I'm On the Wagon"Art Blakey & The Jazz Messengers "Evidence"Bob Dylan "She Belongs to Me"Aretha Franklin "Dr. Feelgood (Love Is Serious Business)"JD McPherson "Crying's Just A Thing That You Do"Bonnie "Prince" Billy "Sailor's Grave a Sea Of Sheep"

Six-time Grammy Award winner and Oscar nominee Terence Blanchard is a famed trumpeter, band leader, and composer. Recently, he also became the first Black composer commissioned by the Metropolitan Opera since it opened in 1883. Terrence discusses his debut at the Met and the enormity of the experience, along with his start at age 19 with The Jazz Messengers, and the greatest lesson he learned from jazz legend Art Blakey. Terence reflects on his expansive work for film, including 17 collaborations with Spike Lee, and answers David's specific questions about a pivotal scene in Mo' Better Blues.Check out Terence Blanchard on Instagram, Facebook, Twitter, Apple Music, Spotify, YouTube, or the web.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

In this Episode, we present Part 1 in a 5 part series dedicated to the legacy of Jazz Legend, Wayne Shorter. Here we take a special look at his contributions to Art Blakey's Jazz Messengers.

A tribute show to Wayne Shorter who passed away last week. His contribution to the legacy of jazz cannot be overstated. He constantly moved the music to new directions, both as a leader and member of The Jazz Messengers, Miles Quintet and Weather report. Playlist Artist ~ Name ~ Album Art Blakey & The Jazz Messengers ~ One By One ~ Ugetsu Wayne Shorter ~ Black Nile ~ Night Dreamer Miles Davis ~ Iris ~ E.S.P. Miles Davis ~ Footprints ~ Miles Smiles Wayne Shorter ~ Ana Maria ~ Native Dancer Weather Report ~ Mysterious Traveller ~ Mysterious Traveller Weather Report ~ Elegant People ~ Black Market Wayne Shorter ~ She Moves Through The Fair ~ Alegría

After more than two years, a Strong Songs jazz mystery is finally solved.Thanks to listener (and outro soloist) Jeff Bean, who finally cracked the case of the mysterious lick played by Clifford Brown, Lee Morgan, and may others. I can finally sleep at night.FEATURED ON THIS EPISODE:"Moanin" by Bobby Timmons recorded by Art Blakey and the Jazz Messengers for Moanin', 1958"Jordu" by Duke Jordon recorded by the Clifford Brown quintet, 1954"Seranade to a Cukoo" by the Rahsaan Roland Kirk quartet from I Talk With Spirits, 1964"All This and Heaven Too" by Jimmy Van Heusen with lyrics by Eddie Delange, performed by the Tommy Dorsey ORchestra feat. Frank Sinatra in 1940“Fly Me To The Moon” by Bart Howard, recorded by Frank Sinatra with the Count Basie Orchestra on It Might As Well Be Swing, 1964-----LINKS-----SUPPORT STRONG SONGSPaypalme/kirkhamiltonmusic | Patreon.com/strongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIA@StrongSongs | @Kirkhamilton | IG: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmTHE STRONG SONGS PLAYLISTSpotify | Apple Music | YouTube Music