Podcasts about Jazz Workshop

Tonight's Jazz Feature should need no introduction to Jazz people as it is an essential classic and arguably one of bassist/composer Charles Mingus' finest albums. It was done for Columbia Records and it was Mingus' first album for a major label which guaranteed wide distribution and a quality product. It became a best seller for Mingus and Columbia. It was critically acclaimed and literally brought Mingus out of the Jazz underground to the Jazz fore forefront.. It featured Mingus' basic Jazz Workshop quintet augmented by a few Mingus alumni from previous Workshop editions. The regulars were: John Handy on alto and tenor saxophones, Booker Ervin on tenor saxophone, Horace Parlan on piano, Mingus on bass and Dannie Richmond on drums.. The added horns were Shafi Hadi on tenor and alto in an ensemble role, Jimmy Knepper or Willie Dennis on trombone. Mingus had full control of the date and supervised the post production editing and the sequencing of the tunes on the recording. With this album Mingus widened his audience and his musical influence everywhere. Enjoy Mingus Ah Um tonight as our Jazz Feature celebrating Mingus' 103rd Birthday Anniversary tomorrow April 22.

En este episodio de La Montaña Rusa hemos comentado y escuchado:Julian Lage. Speak to Me (2024)WEB WEB MAX. Web Max (2021)CLÁSICO DE LA SEMANA. Larry Coryell & The Eleventh House. Live at Jazz Workshop, Boston (1975)The Bad Plus. The Bad Plus (2022)JAZZ EN ESPAÑOL. Blau Salvatge. Hiraeth (2025)High Pulp. Days in the Desert (2023)Emile Parisien Quartet. Let Them Cook (2024)Charneux - Leleux - Puma. Cinquième Saison (2025)

Tonight's Jazz Feature is an early version of the Charles Mingus Jazz Workshop recorded on his independent record label: Debut Records. Mingus and drummer Max Roach owned the label during it's short existence (1952 to 1957). Mingus in 1955 had begun a new concept for his bands. No written music. Mingus taught the players from the piano as Mingus was a more than competent pianist. The players memorized the compositions, background riffs and everything without written music and it gave Mingus' bands more what he was aiming for. This band reflects his new concept and hence the name The Charles Mingus Jazz Workshop. This edition was recorded on Sunday evening from 5:50pm to 8:30 pm on December 18,1955 at a small New York club called The Cafe Bohemia.. The band includes George Barrow on tenor saxophone a fine underrated player with a big sound and a cliche-free concept. Eddie Bert, one of the finest trombonists is on the front line. Mal Waldron is on piano, Mingus leads and is on bass and Willie Jones is on drums. The tunes are all arranged by Mingus and with two exceptions the 8 selections are Mingus compositions. This is a fine solid set and is a new beginning for one of the most innovative and creative minds in Jazz music: Charles Mingus.

Katia Cardenas is a professional singer in the Twin Cities as well as being the program director for Walker West without Walls. Cardenas is also at the helm of the Women in Jazz Initiative for Walker West. This Saturday there is as a "Youth Women in Jazz Workshop" at South High School. Katia was nice enough to connect with MN Jazz Tracks host Sam Keenan to talk about this initiative in general and Saturday's workshop in particular.

Tonight's Jazz Feature is a belated tribute to the Birthday of bassist/pianist/composer/iconoclast/ Charles Mingus. Mingus was born on Earth Day, April 22, 1922 in Nogales, Arizona and died in Cuernavaca, Mexico on January 5, 1979 from ALS. This album on tonight's Jazz Feature is his first for Columbia Records and it literally brought Mingus out of the Jazz underground and into the forefront. It was also his best selling album and widened his audience by leaps and bounds. The album is one of the many classics that were recorded in 1959 like "Kind of Blue". "Time Out", "Giant Steps" this is of course "Mingus Ah Um". With his basic Jazz Workshop quintet of 1959 with John Handy on alto and tenor saxophones and clarinet, Booker Ervin on tenor saxophone, Horace Parlan on piano, Dannie Richmond on drums and Charles Mingus on bass that is augmented by three Mingus alumni from previous Jazz Workshops, Jimmy Knepper on some tracks and Willie Dennis on others on trombones and Shafi Hadi as a non-soloing addition on alto and tenor saxophones in the ensembles. The album was done in two sessions, the first on May 5, 1959 and the second on May 12, 1959.Nine compositions in all and presented in the sequence that Mingus wished. Tonight's Jazz Feature: ":Mingus Ah Um"......as Mingus would say "DIG IT".

Soul Pitt Media Health & Business Report Episode #72 | Interview with Dr. Jacqueline L. Young, Executive Director: The Jazz Workshop, Inc. Join Craig as he discusses with Dr. Young: 1) Dr. Young, how long has The Jazz Workshop, Inc. been in existence? 2) Last year you celebrated Jazz Workshop, Inc's 50th year. What was that like? 3) How did the pandemic effect Jazz Workshop Inc.? Additionally, make sure you listen to our Community Calendar (brought to you by Pittsburgh Regional Transit, PRT) with Debbie Norrell at the end of each of our interviews so you can keep up with what's going on in our Pittsburgh region. Soul Pitt Media's Health & Business Report is sponsored by UPMC, Pittsburgh Regional Transit (PRT), Duquesne Light Co., ThermoFisher Scientific, Pennsylvania's Children's Health Insurance Program (CHIP), and PA Unites Against COVID.

Katia Cardenas is at the helm for Walker-West's "Women in Jazz Initiative". This Saturday the team is hosting a jazz workshop and jazz jam sessions with players like Mary Louise Knutson, Tasha Baron, BEth Varela and Sophia Kaufmann and more. Cardenas spoke about the importance of creating places to play and learn jazz that are focused around women.

Katia Cardenas is at the helm for Walker-West's "Women in Jazz Initiative". This Saturday the team is hosting a jazz workshop and jazz jam sessions with players like Mary Louise Knutson, Tasha Baron, BEth Varela and Sophia Kaufmann and more. Cardenas spoke about the importance of creating places to play and learn jazz that are focused around women.

Tonight's Jazz Feature is a recording done at San Francisco's Jazz Workshop on October 27,1962 by the Max Roach Quartet with drum master Max Roach at the helm with Clifford Jordan on tenor saxophone, Mal Waldron on piano and Eddie Khan on bass. Two extended works are featured. The first is the title track "Speak Brother Speak" depicts speakers on a soapbox expounding on the state of the nation. The second piece is an extended work based on a theme by Villa-Lobos called Prelude by retitled by Max Roach as "A Variation". It again offers extended solo opportunities for everyone to say their say. The band is so fine that these extended performances stand up and never drag on. "Speak Brother Speak" celebrates the accomplishments of Dr.Martin Luther King and Martin Luther King Day today January 15,2024.

Die Trompete ist der Star in dieser Ausgabe von hr-info Kultur. Denn das hr-Sinfonieorchester widmet dem Instrument in dieser Saison einen eigenen Schwerpunkt mit dem schönen Titel „Trumpet in Residence“. Immer mit dabei ist der junge Solo-Trompeter des hr-Sinfonieorchesters Sebastian Berner. Christoph Scheffer spricht mit ihm über seine Liebe zur Trompete. Außerdem ein Besuch bei Till@school - ein Jazz-Workshop für Jugendliche mit dem Trompeter Till Brönner. (Foto: Milan Buchholz)

Did you know that Joe Henderson anonymously recorded film music in the late 60's to get around legal restrictions? Did you know that he quit a lucrative gig with Horace Silver onstage at the Jazz Workshop in San Francisco? How about his all-female band? In this episode we'll take a very deep dive into the life and times of the Phantom — Joe Henderson. As always, sources and more information available at my website, http://www.andrewdmeyer.com

Tonight`s Jazz Feature is a kind of meeting between east and west. The leader is the great tenor saxophonist Harold Land and he is paired with trumpeter Joe Gordon who had moved to Los Angeles from Boston and guitarist Wes Montgomery who was living for a time in San Francisco. Those three made up the western contingent. The eastern group consists of Barry Harris on piano, Sam Jones on bass and Louis Hayes on drums who all were Cannonball Adderley`s rhythm section and one of the best. This adds up to a solid straight-ahead Jazz record date. It was recorded at The Jazz Workshop, San Francisco`s leading Jazz club on a night when it was closed, The venue was chosen for it`s good acoustics. The album consists of 3 new Harold Land tunes, Wes Montgomery`s famous `West Coast Blues` (the title track) a ballad by Billie Holiday called `Don`t Explain` and a Charlie Parker tune. All in all a good record date with lots of inspired moments. All recorded in May of 1960 and tonight`s Jazz Feature.

In today's ChaiTime, we talk to renowned award-winning Indian classical vocalist Mahesh Kale (http://www.maheshkale.com). In this conversation, we talk to him about his musical journey and his upcoming Stanford Jazz workshop, Indian Jazz Journey, with jazz saxophone virtuoso George Brooks. Details of the workshop are here: https://stanfordjazz.org/more-info/indian-jazz-journey-mahesh-kale-george-brooks-22/ Mahesh Kale is a San Francisco Bay Area-based Indian Classical vocalist renowned for specializing in Indian Classical, Semi-Classical, Devotional, and Natya Sangeet. After winning India's National Film Award as the Best Playback Singer for a classical piece in the film Katyar Kaljat Ghusli in 2016, Mahesh Kale has established himself as the face of Indian classical music of the new generation. Trained in the Gurukul learning system from the legendary Pandit Jitendra Abhisheki, Mahesh is among the most sought-after performers globally. He has performed extensively in India, USA, Canada, Europe, UAE, Southeast Asia, and Australia. Mahesh and his wife, Purva Gujar Kale, have established Indian Classical Music and Arts Foundation, ICMA (http://www.maheshkale.com/new/#icma). ICMA is a not-for-profit organization working towards preserving, nurturing, and celebrating Indian classical music through activities and projects to expose global audiences to this art form and to aid its sustainment through charitable initiatives.

Zweimal im Jahr veranstaltet der Landesmusikrat Baden-Württemberg einen Jazz-Workshop speziell für Jugendliche zwischen 13 und 16 Jahren. Vier Tage lang wird dann in den Oster- und Herbstferien in der Musikakademie im Schloss Weikersheim, in herrlicher Kulisse, gemeinsam in kleinen Combos gejammt, improvisiert und geübt unter professioneller Leitung. Ziel des Workshops der Jazz Juniors ist es, einen fundierten Einstieg in die Welt des Jazz und der Improvisation zu erhalten.

Tonight is a special Jazz Feature as it it the music of Charles Mingus but not by his Jazz Workshop band but by Mingus alone at the piano. It is unique in his recorded legacy and features Charles playing his own compositions and standards that he loved on the piano alone. The piano had always been part of Mingus` musical journey and it was occasionally heard on some recordings especially one with his band called ``Oh Yeah!``. This album was recorded in New York on July 30, 1963 with the studio made warm and comfortable and the lights dimmed. Mingus explores some of his favorite standards and his original creations and brings us a more contemplative and introspective side of Charles with of course a few hints of turbulence too! Enjoy almost an hour of the music of Charles Mingus at the piano, tonight`s Jazz feature.

Born in 1967 to the late, great bassist Jamil Nasser, Muneer 's exposure to the jazz idiom was early and powerful. In 1976, "My dad took me to see Dizzy Gillespie at the Village Gate and Dizzy blew the place apart.  I had to get a trumpet and weeks later I did."  In 1979, he went to the International Art of Jazz Workshop for college students. Dave Burns, a trumpeter in Gillespie's Big Band, had reservations about his age. Muneer's talent, however, overshadowed this concern.  "Mr. Burns acceptance fortified my confidence and I began studying with him." Muneer also received private instruction from George Coleman, Jimmy Owens, Oliver Beener, and Webster Young. These workshops and lessons taught him the basics of jazz improvisation, which were tested at serious jam sessions conducted by Eddie Henderson, Ted Curson, Tommy Turrentine, Barry Harris, C Sharpe, and Gil Coggins. "If you couldn't play, they would bench you with quickness and give you a homework assignment." As a youngster, Muneer saw many masters in concert such as George Coleman, Randy Weston, Lou Donaldson, Woody Shaw, Roy Eldridge, and Phineas Newborn.Support the show

The concluding evening concert from this year's Jazz Port Townsend will air this week on Jazz Northwest. This concert brought together eight renown jazz musicians who were also on the faculty of the Jazz Workshop which preceded the festival the last week of July.

Charley Sabatino is a veteran bassist, composer and educator with more than 40 years of experience.  He plays both upright and electric bass, encompassing a wide range of styles and performs throughout the NY/Metro Area.    Charley co-led "The Velocity Duo", a free composed music group that has released a CD (“Dichotomies”) and toured through the US and Europe.  Charley's current project, Charley Sabatino and Looking Forward spotlights him as composer, arranger, band leader and performer.    Charley was the Music Director of the Jazz Workshop at the Cadenza Music School from 2010 to 2018.   It consisted of ensemble classes of players of many levels and ages learning the art and science of Jazz performance and improvisation.

Charley Sabatino is a veteran bassist, composer and educator with more than 40 years of experience.  He plays both upright and electric bass, encompassing a wide range of styles and performs throughout the NY/Metro Area.    Charley co-led "The Velocity Duo", a free composed music group that has released a CD (“Dichotomies”) and toured through the US and Europe.  Charley's current project, Charley Sabatino and Looking Forward spotlights him as composer, arranger, band leader and performer.    Charley was the Music Director of the Jazz Workshop at the Cadenza Music School from 2010 to 2018.   It consisted of ensemble classes of players of many levels and ages learning the art and science of Jazz performance and improvisation.

Charley Sabatino is a veteran bassist, composer and educator with more than 40 years of experience.  He plays both upright and electric bass, encompassing a wide range of styles and performs throughout the NY/Metro Area.    Charley co-led "The Velocity Duo", a free composed music group that has released a CD (“Dichotomies”) and toured through the US and Europe.  Charley's current project, Charley Sabatino and Looking Forward spotlights him as composer, arranger, band leader and performer.   Charley was the Music Director of the Jazz Workshop at the Cadenza Music School from 2010 to 2018.   It consisted of ensemble classes of players of many levels and ages learning the art and science of Jazz performance and improvisation.

Charley Sabatino is a veteran bassist, composer and educator with more than 40 years of experience.  He plays both upright and electric bass, encompassing a wide range of styles and performs throughout the NY/Metro Area.    Charley co-led "The Velocity Duo", a free composed music group that has released a CD (“Dichotomies”) and toured through the US and Europe.  Charley's current project, Charley Sabatino and Looking Forward spotlights him as composer, arranger, band leader and performer.   Charley was the Music Director of the Jazz Workshop at the Cadenza Music School from 2010 to 2018.   It consisted of ensemble classes of players of many levels and ages learning the art and science of Jazz performance and improvisation.

El 24 de junio de 2022 se cumple el centenario del nacimiento del saxofonista, compositor y arreglista Manny Albam. Repasamos su trayectoria y en JazzX5 escuchamos el tema "Headstrong" de The Jazz Workshop. JazzX5 es un podcast de Pachi Tapiz.

9e émission de la 52e session... Cette semaine, cool jazz, jazz modal et jazz moderne! En musique: Hal McKusick sur l'album The Jazz Workshop  (RCA Victor, 1957); Earl Anderza sur l'album Outa Sight  (Pacific Jazz, 1963); Prince Lasha sur l'album Inside Story  (Enja, 1981, enr. 1965); George Otsuka Quintet sur l'album Sea Breeze  (Union, 1971); Phil Ranelin sur l'album The Time is Now!  (Tribe, 1973); Michal Bak Quartetto sur l'album Fortress  (Alpaka, 2021); Avishai Cohen sur l'album Naked Truth  (ECM, 2022)...  

"...The key to everything is Gratitude..." "Feeling Good is a full time job..."  The spotlight is on Bill Easley. Bill Easley has had a diversified career as a professional musician. He joined the musicians union, Local 115 in 1959. 2022 marks the 63rd year of his professional career. Bill represents the fourth generation of a family dedicated to music. After military service Easley joined The George Benson Quartet in January of 1968 and traveled with the great guitarists for the remainder of the decade. This band worked in legendary jazz spots including Minton's Playhouse in New York, The Plugged Nickel in Chicago, The Jazz Workshop in Boston, and The Hurricane in Pittsburgh. Following a brief residence in Pittsburgh, PA, the internal voice (instinct) led him to Memphis, Tennessee. In Memphis he did a variety of things including: performing and recording with Isaac Hayes, other studio work, big bands, show bands, and jazz clubs. He also continued his formal education at Memphis State University. It was in the mid 1970's that Easley first toured with the Duke Ellington Orchestra under the direction of Mercer Ellington. In January of 1980, Bill moved back to New York City with the promise of a job on Broadway. Welcome to episode 80 of Roll With Peace, In Mind featuring another installment of 'Are You On The Right Train? Riding On The Urge' featuring folks who have chosen to follow their hearts, dreams and Intuition. They did not and do not listen to the nay-sayers or to the 'it can't be done-ners' but step out on Faith, Passion and Intention, not allowing fears to derail them. ----more---- Original Music by Sylvester "Sly" Scott, check him out on YouTube & Instagram *** And I've got upcoming events to tell you about-- 1) End of The Month ChillOut: StressBusters Guided Meditation January 30th at 1:00PM EST. This is my End of The Month virtual guided meditation group class geared to help you Cleanse, Refuel, Balance and Restore. Click title for more information. I hope you will join us, bring a friend and/or family member or a group of folk to the Wellness Party! 2) MEDITATION: It's Not What You Think Virtual Guided Meditation & Journaling Workshop If you have tried to meditate and can't, and/or am new to the idea of meditating, here's a workshop just for YOU. Four time slots to choose from Saturday February 5th and Sunday 6th 2022, I will be offering this 60 minute workshop. Click title for more information. A virtual workshop so you can join me from anywhere in the world!  Check out my website for testimonials! *** Please tell your friends and family about this podcast, word of mouth is da the bomb-diggedy! **Please consider becoming a Podcast Patron for my Roll With Peace, In Mind podcast. Your contribution would assist me in continuing to create this valuable free product of service that promotes empowerment, peace of mind, shares stress and anxiety relief tips, inspires mindfulness and positivity. Join my mailing list to keep up with new events, products and workshops  *** For more on my products and services, hit me up on my site Jacquie Bird, Spiritual Wellness  Your Wellness Guide, Thank you for listening!  

This episode is also available as a blog post: https://thecitylife.org/2021/10/25/weekly-music-classes-resume-in-person-at-new-york-jazz-workshop/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

This week John sits down with Ron Sikes, host the Muted Network's newest member podcast, Jazz Chat. We talk mostly about the rhythm section because of Ron's background as a percussionist. S8E3 Recorded 7/22/2021

Jazz Port Townsend was back on a limited scale the last week of July after a year's hiatus due to Covid-19 restrictions last year. The Jazz Workshop was virtual, and there were two outdoor concerts by the jazz faculty on Saturday afternoon. For these concerts, the large doors of the McCurdy Pavilion at Fort Worden were open with the musicians on stage and the audience of several hundred was seated on the grass outside on Littlefield Green to allow for social distancing. There were two sets with essentially the same instrumentation but different personnel. In the first set to be broadcast this Sunday, the musicians include René Marie, vocal, Dick Oatts, alto sax, Terell Stafford, trumpet, Wycliffe Gordon, trombone & vocal, Miles Okazaki, guitar, Dawn Clement, piano, Marion Hayden, bass, and Carl Allen, drums. Jazz Port Towsend Artistic Director John Clayton also plays bass on several songs. Thanks to all the musicians, John Clayton, Centrum's Jazz Program Manager Gregg Miller, and

In this workshop replay, you learn how to solo and comp over modal progressions and tunes. Everything you need to start your modal jazz journey is in this episode. 

In this workshop replay, you learn how to solo and comp over modal progressions and tunes. Everything you need to start your modal jazz journey is in this episode. 

Chris speaks with student-musicians of the Wenatchee Jazz Workshop.    For nearly 20 years, the Wenatchee Jazz Workshop has brought professional jazz artists to work with local student musicians. More information about this years event can be found HERE.

The iconic jazz clubs in our countries history stretch from coast to coast. There was The Both/And and Jazz Workshop in SF. The London House in Chicago, Lennie's on the Turnpike in Boston and Smalls Paradise in Harlem. These clubs captured the essence of swing music, the lighting, the intimacy- that visceral feeling of collective unison between bandmates and their devoted patrons. Slowly though in the age of rock palaces and the switch from acoustic to electric instruments these clubs faded away. One though did not. It was in Southern California but not LA. You needed to drive out to the sandstone of Hermosa Beach to frequent this club and so many of the musicians from Henry the Skipper Franklin to Gene Perla to Kenny Burrell played at this venue. Cats like Buster Williams recorded with The Crusaders at this club - so did Elvin Jones and Grant Green and Joe Henderson. Others like Ramon Banda would come as a veritable kid to watch Mongo Santamaria. This club was the link from be-bop to post-bop. From Chet Baker to Sonny Rollins to Chico Hamilton. Loyalists, smack addicts playing three sets a night that left the audiences ears ringing as they headed out into the salty air of the Pacific. My guest today was the artistic director of the Lighthouse All-Stars. It Started with Teddy Edwards and Hampton Hawes, passed on to Shelly Manne and Shorty Rogers and continued with Bud Shank and Max Roach. The fusing of these groups coincided with Lester Koenigs Contemporary Record Label which gave identities to those who played melodic invention before the digital age. When improvisational swing began to fade in the early 1970s my guest took over Concerts by the Sea in Redondo Beach which carried on the traditions of the Lighthouse featuring Cal Tjader and Jim Horn, Woody Herman and Dizzy Gillespie. My guest was born in 1917, is an accomplished pianist in his own right playing on albums with the aforementioned Baker, Stan Kenton and Miles Davis. He has seen, heard, felt and contributed to our countries cultural heritage by giving opportunities to those who wanted to further the connection between the known and the unknown. Howard Rumsey, welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

Nat King Cole put his life on the line playing music. He was an inspiration to many a young pianist who saw the way to communicate musically. To break down all the barriers that people put in there way. Nat King Cole and Oscar Peterson inspired cats like my guest who grew up in Chicago.....which was brimming with the baddest cats around Elliott Randall, Richard Evans, Morris Jennings, Cash McCall, Charles Stepney and an unlimited amount of Young/Holt. These cats contributed to my guests albums, movie soundtracks and live performances at the Lighthouse or the Jazz Workshop. These melting pot of brethren thrived on commerce based record labels like Chess Cadet which fostered African American roots music like Ahmad Jamal and my guest. It was a month at the London House growing up with those who were inspired by Monk and Blakey Playing with the late great Cedar Walton. My guest is an ambassador of music taking his bands from Bahrain to Tucson. He has lived in the Windy City scene developing the groove, the feel keeping the African swing element into the music.....developing relationships within the urban community which fostered the community integral to melodic invention. My guest has seven children and 14 grandchildren his legacy is cemented and now he will try to pour wisdom and faith into the younger brethren Just a link in the chain Ramsey Lewis welcome to the JFS. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Occasionally on the Journey I wonder why I pay homage to those players who I never met, or saw play. To know authenticity when you never experienced it. I have interviewed Ira Gitler, Herb Wong and Nat Hentoff on this journey. Guys who produced records, wrote linear notes and filled in the human with the being. I interviewed Fred Taylor who among other things ran the Jazz Workshop and Paul's Mall which was a duel musical outlet for psychedelia and jazz. And now we get to North Beach circa '72. A gentlemen by the name of Todd Barkan takes over a club next to the police station called it the Keystone Korner. 750 villeo street... He creates a club that provided accessibility to great leaders for anyone who appreciated authenticity and love. He was a musical match maker who cared about the musicians idiosyncrasies and how to fit personalities and make them work. He charged $3.00 during the week to see Cannonball Adderley $3.25 on the weekends. The entire club permeated with the warm home cooking of Ora Harris. For those who wanted to roast a joint there were ionizers on the ceiling that sucked the smoke right up so that it would not bother the people around them. Now, this establishment was already stepped in psychedelic blues like Bloomfield and Nick Gravenites Jerry Garcia and Merl Saunders. And now the wheels turn again. Merl's cousin was Eddie Moore who played in organ trios with Merl in the Fillmore District where Calvin Keys would sometimes play the breakfast set. Calvin Keys said "if you weren't playing the Keystone when you were in San Francisco then you weren't playin." And Eddie Marshall came out because of the 4th way and started wearing his dashiki's with James Leary and Herbie Lewis guys who made up a rhythm section with vibist Bobby Hutcherson. Carl Burnett would come in and smell Ora's banana bread when he played with George Cables and Freddie Hubbard. Rasaan Roland Kirk (a boyhood friend of Barkan's) and Grover Washington Jr. Played benefit concerts in Oakland to raise money so the Keystone could obtain a liquor license. Understanding true freedom of expression, a player in his own right and Someone who validates what this radio host so desires Todd Barkan welcome to the JFS. --- Support this podcast: https://anchor.fm/jake-feinberg/support

For quite some time half a century ago only two schools in this country had jazz programs. One was N. Texas State and the other was the Berkeley School of Music in Boston. My guest today is one of the earliest alumni's of a school that has produced the likes of Alan Broadbent, Ernie Watts, Gene Perla and Dick Berk and TOSHIKO Akiyoshi. When my guest went there it was a brotherhood of 300 men and woman who studied under the masters like Herb Pomeroy, Ray Santizzi, Alan Dawson and Jaki Byard and had opportunities to play live and get loose at venues like The Jazz Workshop, Lennie's on the Turnpike and Latin Salsa Dance Halls. In fact even if you didn't go to Berklee you could still sit in on lectures and jams. My guest today is a guitar player who is prolific in melodic sequencing and ferocious output. He plays the electric guitar, mandolin and piano strumming his way to sublimation with Jack Dejohnette, Billy Cobham, Colin Walcott and George Marsh, Joe Beck, Tom Knific, Dave Holland Jan Hammer and Johnny Hammond Smith. He plays music without regard to barriers. His generation makes music that feels good because they understand the balance between mathematics and soul. They also played live for weeks at a time at the same venue performing complex Gil Evans tunes developing their own sound and individuality that created their identities. Still blazing new trails with his axe, JAbercrombie --- Support this podcast: https://anchor.fm/jake-feinberg/support

In this episode I will talk about the time I went to the UNT Jazz Workshop and what I greatly Learned from this experience. I will mention who will benefit from this workshop and some insights I learned while attending this workshop. If you have any questions or interested in private online lessons email me at percussioncanbeflammable@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/essentialdrummerpodcasts/support

We were initially planning to post an episode of what appears to be John Prine covering Hank Williams songs in the 70's, but that was before we came across this blog post of Herbie Hancock bootlegs shared in celebration of the man's 80th birthday. What you'll hear here is "Hornets" and "You'll know when you get there" recorded in Boston, Mass. at the Jazz Workshop on March 22, 1973. Enjoy. Musicians: Herbie Hancock: Keyboards,Pianos Buster Williams: Bass Billy Hart: Drums Benny Maupin: Reeds Eddie Henderson: Trumpet/Flugelhorn Julian Priester: Trombone Dr. Pat Gleeson: Synths "Scorch": Congas --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/evan-fleischer/support

I sit down with Jim Mazzaferro (and his bass) to ask a few questions about developing your bass player, as well as a few questions about guitarists as the conversation progresses. Forgive the transitions, balancing Jim and his bass as he demonstrates proved to be a challenge. Jim's bio can be found here Recorded 1/30/2020

Drummer Max Roach's quartet was recorded at The legendary Jazz Workshop in San Francisco in October of 1962. Two long selections are heard on this album which was Roach's last before he was boycotted for three years by all the record companies for his militant stance and the politics of his music. He resumed recording in 1965 with Atlantic Records. Mr. Roach leads a power quartet here with the great Clifford Jordan on tenor saxophone, Mal Waldron on piano, Eddie Khan on bass. Each player gets on his soapbox and "speaks his piece" on "Speak Brother Speak!" . The other tune is called "A Variation" and it's an extended piece based on Heitor Villa-Lobos' "Prelude" once again extended solos are on the menu. Inspired, militant and powerful music abounds!

The Jazz Workshop has come to serve as a gathering place for musicians, students, and jazz fans, and is part of the “glue” for what used to be a fragmented jazz scene:Top professionals teach at the Workshop and play together in a superior performance venue.Artists have developed at the Jazz Workshop, recorded CD's, and have become favorites on the local jazz scene.Student groups have emerged from the Workshop and found performance venues, adding to the availability and diversity of jazz in the community.We work together with local and regional jazz organizations, radio stations, schools, festivals, and other arts groups. The NJW has become, in the words of one student, Nashville's “community center for jazz.”Who & what the NJW is about.  Music Education and Jazz Appreciation   New location on Buchanan St. opening later this spring.         Annual summer jazz camp at Vanderbilt coming up.        Learn more:  https://nashvillejazz.org/

John sits down with Barb Catlin the director at Pomona College and CIT, as well as the incoming president for the California Alliance for Jazz to discuss working in the rhythm section as a new director and a horn player. Barb's Bio can be found here: http://www.barbcatlin.com/bio

This album signals a new era for Mingus with the addition of two new and talented saxophonists to the ranks of his "Jazz Workshop". John Handy on alto saxophone and Booker Ervin on tenor blend beautifully and of course are fine musicians and original stylists. Their presence signals a new beginning for Mingus' music and a great productive period. This album is part of a concert performed at the Nonagon Art Gallery in New York on January 16,1959. 1959 was one of Mingus' great years. Horace Parlan was Mingus' regular pianist and he was called away on a family emergency but Handy recommended his friend Richard Wyands to sub. Wyands played Mingus' difficult music with no problem and fit right in. Only four tunes make up this album but they are all superb. Handy, Ervin, Wyands all driven by Mingus on bass and Dannie Richmond's creative drumming. From the The excitement of "No Private Income Blues" to the ballad mastery of John Handy and Mingus on Vernon Duke's "I Can't Get Started" to "Nostalgia in Times Square" to the haunting "Alice's Wonderland" this is a great concert. Strangely when first issued it was given only 2 out of 5 stars and dismissed as inconsequential. This is the last album of under reviewed albums that deserved much more. No one would dismiss this classic today so enjoy and check out the majesty of Mingus' music with this superb edition of his Jazz Workshop.

I sat down with the director of the New Mexico Jazz Workshop, Markus Gottschlich to discuss their upcoming fundraiser, 10 over 10. It features 10 bands playing over 10 hours this coming Sunday, November 17th.  You can get tickets Here and all other information Here Here are the links to their Website and to their Facebook Page

I talk this week with Dr. Redfield about the easy mistakes first year directors make with their bands, and peel back the curtain on what made Robert McQueen HS in Reno such a powerhouse. Dr. Redfield's Bio can be found here. Recorded 11/5/2019

Jazz pros Doug Little and Charlie Lincoln lead a group of middle and high school jazz musicians known as the Twin Cities Jazz Workshop. The group performs at the Icehouse in Minneapolis, Sunday November 10 at 3:30PM. We’re at a rehearsal of the group, and Doug Little is addressing the band.

Fortuna Records is a Tel Aviv label famous for its discovery and re-issue of rare and forgotten recordings of Middle Eastern folk and pop music of the 1970s – from Egyptian classics to Palestinian folk, from Greek-Israeli rock to Turkish funk. Fortuna Records DJs unveil hidden soundscapes on the radio and at wild thematic parties in clubs of Tel Aviv, Berlin, London, Amsterdam and Paris. Founders and DJs of Fortuna Records Ariel Tagar (Kalbata) and Maor Anava (DJ Hectic) talk on Radio Eshkolot about the philosophy of their label and its musical “heroes”.Video versionDownload the entire episodeDetailed descriptionFortuna Records – это тель-авивский лейбл, произведший фурор своими переизданиями редких и полузабытых записей ближневосточной фолк и поп-музыки 1970-х, от египетской классики до палестинского фолка, от греко-израильского рока до турецкого фанка. Диджеи Fortuna Records открывают неведомые звуковые ландшафты не только в радиоэфире, но и на безумных тематических вечеринках в клубах Тель-Авива, Берлина, Лондона, Амстердама и Парижа.В очередном выпуске подкаста Radio Eshkolot основатели и диджеи Fortuna Records Ариэль Тагар и Маор Анава рассказывают о философии лейбла и его музыкальных «героях».Видео версия Русский переводСкачать эпизодПодробное описаниеTracks:03:22 Tsvia Abarbanel. Wings of Love19:02 Aris San. Boumpam25:08 Grazia. Olmek Var35:25 The Jazz Workshop. Sha Shtil Harabbi Ba44:09 Ihsan Al Munzer. Jamileh50:27 Kalbata. Al Shark55:46 Reuma Abas. Wa'ana Fda Leumi

This week I sit down with Max Kiesner, director at our local city college to talk about how he's adjusting to his new gig, and what universal concepts he tries to teach whether he's in front of a bunch of green freshmen, a high powered performance ensemble or a bunch of adults who may or may not practice as much as we'd all like. It's a grab bag of sorts but it was a very insightful conversation.   Recorded 10/8/19

This week I sit down with Clyde Quick to talk form, organizing the year into units, and choosing charts to teach concepts.  

This week I sit down with Josh Murray at Rio Americano High School to talk swing, and some of the most fundamental steps one can take towards establishing a swinging rhythm section.   Recorded 9.5.19

So, Jazz Workshop is the new project we're sprinkling in between family episodes of AMusEd. This week we have on Bobby Rogers. He and John discuss at length what he does to get his kids improvising from day one.   Recorded August 6, 2019

This was the startling debut recording by Eric Dolphy. It was his first under his name. Today is the 59th anniversary of the date as it was recorded on April 1,1960. Eric was from L.A. and had settled in New York and was soon playing a variety of gigs and had joined Charles Mingus' Jazz Workshop. Prestige (New Jazz) was on the search for new talent at this time and Eric was introduced to the label and given carte blanche to pick a band and record, This album was the result. Eric was a virtuoso and a fearless improviser on all his horns, the alto saxophone, the bass clarinet and the flute. Eric picked his room mate of the time, a young Freddie Hubbard to share the front line with him. Jaki Byard was on piano and newly arrived from Boston and his concept adds greatly to this album's success. George Tucker on bass was recommended to Eric by Mingus and on drums was none other than a perennial favorite, "Mr. Snap-Crackle"....Roy Haynes. Four of the six tunes are by Eric and they show his compositional talent. Eric's version of "On Green Dolphin Street" features his bass clarinet and the ballad, the obscure "Glad To Be Unhappy" spotlights his flute. As an added treat a short blues with Eric on flute and the rhythm section is added. It was never issued on the original CD and the vinyl. All in all a major debut for an artist whose life and creativity was cut short by illness at age 36. There will never be another Eric Dolphy. Outward Bound tonight!

As the third of The Jazz Show's features of classics recorded in 1959,, we present Charles Mingus and his breakthrough album, "Mingus Ah Um" done for Columbia Records. This was the remarkable recording that rose Mingus up from the underground of Jazz to national prominence. Not only was this a productive period in Mingus' career, he also had one of his finest working bands as the 1959 edition of his "Jazz Workshop". John Handy on alto and tenor saxophone and clarinet, Booker Ervin on tenor saxophone, Horace Parlan on piano, Dannie Richmond on drums and of course Mingus on bass and occasionally piano. For these sessions Mingus was allowed to bring in some alumni from previous Workshops. Trombonists Jimmy Knepper and Willie Dennis are heard on various pieces as well as alto and tenor saxophonist Shafi Hadi who doesn't solo but fills out the ensembles with his sound. The album is beautifully produced and Mingus supervised everything, editing, order of the tunes, the notes. It marked the recorded debut of three of his most enduring compositions, "Better Get It In Your Soul". "Goodbye Pork Pie Hat" and "Fables of Faubus" among many other gems. "Mingus Ah Um" opened many door for people and Charles Mingus and we'll hear it tonight!

Jazz am Sunntig uf Radio RaBe - die Jazzsändig für Bärn! Mit Athina Dill, Manon Mullener, Christian Schütz und Simon Petermann George Russell Jazz Workshop.mp3

This album continues The Jazz Show's policy for this month.....rare recordings. This album gets it's rare status as it is often overlooked in the many recordings that bassist/composer Charles Mingus did. The main reason being is that it doesn't feature his Jazz Workshop ensemble but a piano trio with bass, piano and drums. Pianist Hampton Hawes who Mingus liked from his early days in Los Angeles was visiting New York and as Mingus had this record date booked with a hip Jazz loving producer, Mingus wished to do a trio album featuring Hampton Hawes. His wish was granted and the date took place on July 9,1957. Mingus is definitely the leader here but Hawes is the co-star. The tunes are varied between standards and Mingus originals as well as an exciting Hawes' tune. Dannie Richmond, Mingus' regular drummer gives sympathetic support throughout. Not only do we get superb performances from Hawes but also some great Mingus bass solos. "Mingus Three" is a unique and very special recording and deserves a more prominent place in the Mingus discography.

Nashville-based drummer and percussionist Aaron "A Train" Smith played drums with Motown greats, including on The Temptations hit, "Papa Was a Rolling Stone," but his humble musical roots began at home with his mother. From being drafted during the Vietnam War to playing punk rock for the 77s to his career in Christian rock to his volunteer work with the Jazz Workshop, the "A Train" shows no sign of slowing.

The title here explains it all. Julian "Cannonball" Adderley in 1959 left the Miles Davis Sextet after making music history with the band, especially the album "Kind of Blue" and others of course but Adderley and his cornet playing brother Nat were ready to re-form their quintet. The first one was not too successful financially and Nat joined Woody Herman's band and later trombonist J.J.Johnson and Cannonball went with Miles but by 1959 the time was ripe. The Adderley Brothers settled on a stable personnel in the persons of pianist /composer Bobby Timmons, late of Art Blakey's Jazz messengers, bassist Sam Jones, late of Thelonious Monk's group and young drummer, Louis Hayes, late of Horace Silver's quintet and during an engagement in San Francisco at the legendary Jazz Workshop in October of 1959 the group came together and made this recording. It became a best seller for Riverside Records and put Adderley on the map as a great bandleader. This was the beginning. The premise of this month's 4 Jazz Features are recordings that were dismissed as inconsequential by the "esteemed" Jazz critics. This album was given a poor rating and dismissed. It is now a classic and one of the best loved of Adderley's vast output.We will present one of these types of dates in all the Jazz features in November. So tonight enjoy the warm swinging and funky sounds of Cannonball Adderley and Company at The Jazz Workshop.......a classic!

Jon Faddis began playing the trumpet at the age of eight, inspired by an appearance of Louis Armstrong on the Ed Sullivan Show. Three years later, his trumpet teacher Bill Catalano (an alumnus of the Stan Kenton Band) turned Jon on to Dizzy Gillespie, with whom he subsequently appeared at the famed Jazz Workshop in San Francisco. Two days before his 18th birthday, Jon joined the Lionel Hampton Band as a featured soloist, and in the same year was invited to sit in with the Thad Jones/Mel Lewis Big Band on one of their regular Monday night sessions at the Village Vanguard. Mr. Faddis toured and recorded with this band for four years and also studied at the Manhattan School of Music during this period. Since then, Jon Faddis has become known throughout the world as one of the most innovative and inspiring jazz trumpeters of our time. He has an unfailing commitment to the education of young musicians and frequently conducts clinics and master classes to help the next generation of jazz musicians. In 1999, Jon was appointed Artist-in-Residence in the Conservatory of Music at Purchase College, State University of New York, where he teaches in both the Brass and Jazz Programs. The show notes for this episode can be found at www.bobreeves.com/54

Meet '60s Bay Area horn player Peter Welker who was part of the house band at the famed Jazz Workshop in North Beach. He talks about working with the likes of Van Morrison, Santana, Etta James, and Smokey Robinson. Also, later in the show, we talk with Edward Torchy Smith who's been doing Baby Boomers Talk Radio for the last several years and has interviewed most of the Sixties TV stars including Paul Petersen, Johnny Crawford, and many of the Mouseketeers. Episode #1. Hi everyone and welcome to another encounter with some groovy moments from the past. We're visiting the '60s with host Dick Scoppettone, whose pop group Harpers Bizarre had a hit record back then called “Feelin' Groovy.” He'll be talking with our guests about a decade that shaped a whole generation, not only with the most magnificent music ever made, but also the politics, protests, and pretty much everything that happened - in the Swingin' '60s.  

Tracks from Abdullah Ibrahim, The Jazz Workshop, Fitz Gore & The Talismen, Vesa-Matti Loiri & more. Recorded live at LeMellotron in Paris the 7th of January, 2017.

This week I talk to Ellen Huffman, a Lindy Hop dancer based in San Francisco. Every year she organizes a Lindy Hop and Jazz Workshop called Fog City Stomp where she invited experts, live bands, and DJs to come teach, perform, and judge competitions. She's danced for many troupes and currently runs the Someday Sweethearts. We'll get into the history of swing, some influential members of the community, and fashion!

This album was recorded at the legendary Jazz Workshop in the North Beach area of San Francisco in October of 1962. In 1959 Max Roach declared that his music would from that time on reflect not only his musical stance but his political stance as regards civil rights for his people of African-American heritage. After this recording, Mr. Roach was boycotted by many booking agents and the record companies of the day. He did not resume recording until he signed with Atlantic Records in 1965. This album brings his working band to the fore and unfortunately doesn't include his wife, vocalist Abbey Lincoln but it is all about his powerhouse quartet with included tenor saxophonist Clifford Jordan, pianist Mal Waldron and bassist Eddie Khan and of course Mr. Roach. Two long pieces are included on this recording and both are in the form of a suite designed to feature everyone in the band extensively.. "Speak Brother, Speak!" is the first long suite based in the blues and the second piece entitled "A Variation" based on a theme by Heitor Villa-Lobos is another foray into a minor key. Both are so effective and moving. "Speak Brother, Speak!" speaks to us all so listen up!

This set was recorded in October 1960 for the new Candid label. Writer and close Mingus friend Nat Hentoff was the producer and Mingus brought his core band in a reunited effort to capture the music that Mingus had played on a long gig at a Greenwich Village club called "The Showplace". There were no recordings from there and this date was set up to capture the excitement and creativity of that gig. It worked! Mingus did the announcements as if they were in the club and the band played for their lives. Just four musicians in this edition of The Jazz Workshop. Multi-instrumentalist and innovator Eric Dolphy is heard in bass clarinet and alto saxophone. Trumpeter Ted Curson has never sounded better than here and he and Dolphy are a perfect match. Mingus is of course a powerhouse on bass and drummer Dannie Richmond achieves maturity right here with some of his best playing. "Mingus Presents Mingus" stands as one of Charles Mingus' finest ststements and one of his best recordings and captures what this band really sounded like.

His trials began with a police bust at the Jazz Workshop in San Francisco in October 1961, and ended with an obscenity conviction in New York in November 1964. Stand-up comedy legend Lenny Bruce underwent 35 months—1,062 days—of nonstop persecution and prosecution for the content of his act. It was 50 years ago this month that an autopsy would report that Bruce died of an overdose of morphine on August 3, 1966. But anyone who knows his story knows it was more complicated than that. Billboard’s Phil Spector wrote in the magazine’s obituary for Bruce that "America's foremost, and certainly most truthful, philosopher died from an overdose of police." This episode of “So to Speak: The Free Speech Podcast” commemorates the 50th anniversary of Bruce’s death. We are joined by Ron Collins, a scholar at the University of Washington School of Law who co-authored with David Skover “The Trials of Lenny Bruce: The Fall and Rise of an American Icon,” which carefully documents Bruce’s career and free speech struggles. This episode explores the life, trials, and legacy of a man whom George Carlin said “opened the doors for all the guys like me,” and in so doing, became a martyr for free speech in comedy and art. www.sotospeakpodcast.com Follow us on Twitter: twitter.com/freespeechtalk Like us on Facebook: facebook.com/sotospeakpodcast Email us: sotospeak@thefire.org Call in a question: 215-315-0100

Tribute To George DukeThe keyboard-player, composer and producer George Duke enjoyed a multi-faceted career that lasted close to five decades and tapped into the collective consciousness from a variety of directions. His résumé read like a who's who of jazz, funk and soul and included collaborations with Cannonball Adderley, Frank Zappa and Miles Davis, as well as Al Jarreau, Anita Baker, Quincy Jones and Michael Jackson – particularly on the title track for the superstar's Off the Wall album in 1979.Duke produced hit records for Jeffrey Osborne – the ballad "On the Wings of Love" in 1982, the floorfiller "Stay with Me Tonight" in 1983 – and Deniece Williams's ebullient US No 1 "Let's Hear It for the Boy", from the Footloose soundtrack in 1984. He also scored films and was musical director for myriad events, including 11 Soul Train Music Awards and Nelson Mandela: An International Tribute for a Free South Africa at Wembley Stadium in 1990.Both as leader of his own jazz-fusion band and in partnership with the virtuoso bassist Stanley Clarke, he was a crossover colossus, making the most of his multi-instrumental skills as well as his affecting falsetto on the synth-led disco smash "Reach for It" (1978), the smooth ballad "Sweet Baby" (1981) and the irrepressible "Shine On" (1982), which all charted in the US and across Continental Europe. In the UK, his most popular album was A Brazilian Love Affair, reflecting his passion for the country and its music. It was recorded in Rio de Janeiro in 1979 with the vocalists Milton Nascimento and Flora Purim and the percussionist Airto Moreira.The versatile and prolific Duke was also a mainstay of the Montreux Jazz Festival, where he performed over a dozen times and debuted his ambitious Muir Woods Suite for orchestra and small jazz band – subsequently released in 1995. "Serious black orchestral writers don't often have the opportunity to have their works performed, so I realise I was blessed to have this chance. Besides, I've always liked breaking down barriers," he remarked. "I used to call my music Multi-Stylistic. I grew up listening to all kinds of music, and I didn't see why I should be kept in a box musically. I felt that there is intrinsic worth in all forms of music, even the simpler forms. I've always wanted to bring cultures and music together – you know, make a nice stew."George Duke was born in San Rafael, California, in 1946, he grew up in Marin City, located a few miles north of San Francisco. He demanded a piano after his mother took him to see Duke Ellington in concert when he was four, and he began taking lessons a couple of years later. He was already absorbing influences like the gospel he heard in his local Baptist church. "That's where I first began to play funky," he said. "I saw how music could trigger emotions in a cause-and-effect relationship."By the early Sixties, he was playing jazz with fellow pupils at Tamalpais High School, and developing a style influenced by the West Coast luminaries Les McCann and Cal Tjader, as well as Davis. He would eventually collaborate with the trumpeter as composer, arranger and multi-instrumentalist on a brace of tracks on the Eighties albums Tutu and Amandla.While studying trombone and composition at the San Francisco Conservatory of Music, he gigged with his own trio, and sometimes with Jarreau – then working as a rehabilitation counselor in the city, but soon to emerge as one of the preeminent jazz vocalists of the era. They reunited in the early Eighties when Duke played on Jarreau's Breakin' Away album and in 1988 when he produced the vocalist's Grammy-nominated Heart's Horizon album.After depping for McCann on a quiet Monday night at The Jazz Workshop in San Francisco in 1966, Duke was approached by SABA Records to cut an album he felt didn't reflect his potential. "For some reason, I thought all I had to do was play the head of a tune real nice and then proceed to rattle off myriads of notes at high velocity. This did not make for a pleasing result, but it was all I knew," he said of his first studio recording.Duke completed a Masters degree in composition at San Francisco State University and had a short spell teaching jazz and American culture at Merritt Junior College in nearby Oakland, before hooking up with the talented French violinist Jean-Luc Ponty after sending his US label World Pacific a note stating, "there is no other pianist for this guy but me." In September 1969, they recorded The Jean-Luc Ponty Experience with the George Duke Trio album live at Thee Experience club in Los Angeles, where Duke found himself playing a Fender Rhodes, since the requested acoustic piano was nowhere to be seen."The club was packed, so I knew I had to be on. Jean-Luc and I had developed a buzz on the West Coast because of our high intensity progressive jazz style. In attendance were Frank Zappa, Quincy Jones and Cannonball Adderley," he recalled of the groundbreaking jazz-fusion recording that preceded the emergence of the Mahavishnu Orchestra and Weather Report on the East Coast.Zappa hired Duke for two spells, interrupted by a couple of years during which he toured with Adderley. The keyboard-player contributed to several albums central to the Zappa oeuvre, including Chunga's Revenge (1970), the soundtrack of the 200 Motels movie (1971), and the bestselling sequence of Over-Nite Sensation, Apostrophe, Roxy & Elsewhere (all 1974), One Size Fits All and Bongo Fury (both 1975) – also featuring Captain Beefheart. The concert I saw Zappa and the Mothers of Invention, with Duke, give in Marseilles in 1974 was astonishing – and memorable for both its virtuosity and wit.Duke thrived with Zappa, building up confidence as a vocalist, even if he never considered himself a "proper singer", and taking up the synthesizer after the guitarist bought an ARP 2600 and presented it to him as a fait accompli. "He put it next to my Rhodes. It was as simple as that," recalled Duke. "At the time, there were no presets or ways of saving patches. Not only that, but you were limited to one note at a time. So overdubbing, a good memory and management system became very important."Indeed, Duke became such a distinctive and proficient synthesizer player and programmer that his Seventies and Eighties recordings have since been sampled by electronic acts like Daft Punk and Mylo and hip-hop stars Kanye West and Ice Cube. He also helped to popularise the keytar – a light, portable keyboard, which he strapped on to venture centre-stage during his shows.On the 40-plus, occasionally self-indulgent but mostly engaging and excellent albums he recorded under his own name, or in partnership with other jazz-fusion stalwarts, Duke collaborated with the drummers Billy Cobham and Alphonse Mouzon and the guitarist John Scofield. He produced albums for his cousin Dianne Reeves, the vocalist Dee Dee Bridgewater and the disco act A Taste of Honey – and also worked with Barry Manilow, Smokey Robinson, the Pointer Sisters, Natalie Cole, Gladys Knight, Dionne Warwick and Howard Hewett of Shalamar fame.Duke seemed unstoppable, but the death of his wife, Corine, last year, hit him hard. He dedicated his recently released album, Dreamweaver, to her. George Duke crossed over from chronic lymphocytic leukemia in Los Angeles on August 5, 2013"I really think it is possible to make good music and be commercial at the same time," he wrote on his website. "I believe it is the artist's responsibility to take the music to the people. Art for art's sake is nice; but if art doesn't communicate, then its worth is negated, it has not fulfilled its destiny."

Booker Telleferro Ervin was one of the most distinctive and easily identifiable voices of the tenor saxophone to emerge in the 1960's. After years of study (mostly self-study)and dues on the road with a variety of Jazz and R&B bands, Booker arrived in New York at the end of 1958. He was heard and immediately hired by Charles Mingus. He became Mingus' favourite tenor player and Mingus also relied on Ervin's photographic memory for explaining various ensemble roles to different players in Mingus' Jazz Workshop. Booker remained with Mingus from 1958 to 1963. He also worked with pianist Randy Weston and recorded on his own as a sideman and as a leader. He signed with Prestige Records in 1963 and began a whole series of albums for which he is best known...The Book series..."The Freedom Book", "The Blues Book" etc. This fine recording is his second to last and his second for Blue Note records. Ervin died of kidney failure in July of 1970 at age 39. After this date there was only one more recorded appearance and that was with alto saxophonist Eric Kloss on Prestige called "In The Land Of The Giants". This date is important as it is so strong and the band sounds like a working band. Booker is heard with Woody Shaw on trumpet, Kenny Barron on piano, Jan Arnet (from the Czech Republic) on bass and the great Billy Higgins on drums. Barron and Shaw contribute a tune each and Ervin wrote the rest. There are five tunes in all. This is a fine date that should be better known in the small legacy that was left by Booker Ervin. Tex Book Tenor cooks!

A startling debut recording by a musician whose short life was musically very well documented. Born in Los Angeles but upon moving to New York in mid-1959 and leaving his employer, drummer Chico Hamilton, Eric joined Charles Mingus' bubbling cauldron of musical creativity, The Jazz Workshop. Through his membership in the Mingus organization, Eric was signed by Prestige (New Jazz) Records and made his debut record on April 1, 1960. To celebrate it's 53 anniversary, we hear it tonight. Eric is heard on alto saxophone, bass clarinet and flute and composed 4 of the 7 tunes on the set. His cohorts are the up and coming young trumpet player and Eric's roommate Freddie Hubbard. Boston's Jaki Byard is on piano and George Tucker (who studied with Mingus) on bass and the redoubtable Roy Haynes ("Mr. Snap-Crackle) on drums. Eric's debut is a fine document and signaled the beginning of a great career. Dolphy only lived until age 36, he died of undetected diabetes in Berlin on June 29, 1964."Outward Bound" was his real beginning.

This album was recorded in October of 1962 at the legendary Jazz Workshop in San Francisco as part of a two week engagement. Mr. Roach usually traveled with his girlfriend (who became his wife), singer Abby Lincoln but not this time. This writer was there for two nights but not on the evening of the recording. The same two pieces were played every night, among many others. By this time Max Roach was playing music that had sociological and political overtones in keeping with his African-American heritage and the turbulent times in the USA. The title piece is called "Speak brother Speak" and it instrumentally depicts people standing on a soapbox in any ghetto in the USA and speaking their piece. It is in a series of movements that feature everyone in the band. The second long piece is Max Roach's arrangement of a Heitor Villa-Lobos theme called "Prelude" that displays the talents and soloing of all four band members. The tenor saxophone is played by the great Clifford Jordan and his high keening sound and melodic concept displays his deep emotional commitment to the music. On piano is Mal Waldron who reflects the influence of Bud Powell and Monk but with his penchant for hypnotic repetition. The strong bass of the lesser known Eddie Kahn is a great asset to this band as well as his soloing ability and Mr.Roach is a picture of intense fire and creativity. This recording captures one of the great moments in Jazz and furthers our tribute to Black History Month.

Each year I pick one episode to be my present to our listeners. This year it is Kurt Loeffler and The Jazz Workshop. I dedicated this show to the most influential man in my life, My Father Gordon Teach. MY thanks to all our listeners for your continued support of CAU. Happy Holidays and my wishes for health and happiness in the New Year.

The Nashville Jazz Workshop is "a non-profit organization supporting jazz musicians, jazz fans, and the jazz community." In this interview, co-founder and Director of Operations Roger Spencer talks about turning a decades-old unused industrial space into an oasis for jazz education and performance; why he's unhappy with a lot of college jazz programs and how the Workshop's approach is different; and the wide variety of amateurs and professionals who find a musical home at the Workshop. Learn more at nashvillejazz.org.

The Nashville Jazz Workshop is "a non-profit organization supporting jazz musicians, jazz fans, and the jazz community." In this interview, co-founder and Director of Operations Roger Spencer talks about turning a decades-old unused industrial space into an oasis for jazz education and performance; why he's unhappy with a lot of college jazz programs and how the Workshop's approach is different; and the wide variety of amateurs and professionals who find a musical home at the Workshop. Learn more at nashvillejazz.org.

The Nashville Jazz Workshop is "a non-profit organization supporting jazz musicians, jazz fans, and the jazz community." In this interview, co-founder and Director of Operations Roger Spencer talks about turning a decades-old unused industrial space into an oasis for jazz education and performance; why he's unhappy with a lot of college jazz programs and how the Workshop's approach is different; and the wide variety of amateurs and professionals who find a musical home at the Workshop. Learn more at nashvillejazz.org.

Charles Mingus' "Tijuana Moods" is one of his acknowledged classics. It was recorded in July and August 1957 by one of his best "Jazz Workshops". Mingus called all of his bands "The Jazz Workshop". Strangely it was not released until 1962 on RCA Victor and Mingus called it "the best record I ever made". The original LP was full of rather ham-fisted edits but the music was so strong that we lived with them and simply ignored them. When the digital revolution happened and a creative producer named Ed Michael went into the RCA archives and discovered that Tijuana Moods had many alternate and almost complete takes. Michael put together an "alternate" version of the five tunes that made up the original album basically maintaining the structure and syntax of the tunes. This happened in 1985, six years after Mingus' death. Mingus, I think would have been pleased with the alternate results and the edits are seamless due to the digital process. The music represents a trip that Mingus and drummer Dannie Richmond took to that border town after Mingus' wife told Charles she wanted a divorce. The band is one of Mingus' finest editions of The Jazz Workshop and the people involved are Clarence "Gene" Shaw on trumpet, Shafi Hadi (aka Curtis Porter) alto (mostly) and tenor saxophone, Jimmy Knepper on trombone, Bill Triglia on piano, Dannie Richmond on drums and of course Mingus on bass. Some effects are provided by Ysabel Morel on wordless vocal and Frankie Dunlop on castanets. There are five tunes, the first four are by Mingus and the album ends quietly with a beautiful rendition of the old standard "Flamingo", featuring Shaw's trumpet. All in all this album ranks with Mingus' best and thanks to the good work of Ed Michael, we can hear "The Alternate Tijuana Moods".

Bassist/composer Charles Mingus was one of Jazz music's icons and an amazing larger than life musician and character. His working bands were called "The Charles Mingus Jazz Workshop" and the personnel changed sometimes very quickly. The term "Jazz Workshop" gave Mingus carte blanche to experiment on the bandstand sometimes stopping in mid tune to berate a soloist or change a part. If a member of the audience complained Mingus would say, "read the sign outside man.......it says Jazz Workshop....dig it?" Mingus had some great bands and some that approached greatness and the band on tonight's Feature was the core of one of his greatest bands. This was part of a concert from January 1959 recorded at New York's Nonagon Art Gallery and featured the recording debuts of two newcomers to the New York scene. Alto saxophonist John Handy from the Bay Area and tenor saxophonist Booker Ervin, who was working as a dishwasher at the Automat and sitting-in around town. Handy and Ervin (both born in Texas) blended together so well and although Mingus' regular pianist was called away the day before the gig for a family emergency, San Franciscan, Richard Wyands, on the recommendation of Handy substituted very well. Dannie Richmond on drums and Mingus on bass think as one and swing and drive the piano and the horns. 45 minutes of this concert have been preserved for us to enjoy. This was the first milestone and the core band that brought Mingus out of the Jazz underground and into the forefront of recognition and acceptance as one of the most formidable musical forces in Jazz and creative music.

On this podcast: "Shikia" by Eden Bareket, "Hillsville" by Sam Anning, "Nostalgia" by Russell Moore, "Welp" by David Meier, "Mountain Peace" by Matthew Berril and "Texture" by Maren Selvag. Performed by: Eden Bareket Octet: Matthew Berrill, saxophone, Chad Lefkowitz-Brown, saxophone, Eden Bareket, saxophone, Russell Moore, trumpet, Petr Zelenka, guitar, Michal Vanoucek, piano, Sam Anning, bass, Adam Arruda, drums, and Sound Circus : Meredith Bates, violin, Alison Chesley, cello, Teddy Raven, saxophone, Matthew Berrill, saxophone, Maren Selvag, piano, Yannick Peeters, bass and David Meier, drums.

On this podcast: "Elephant" by Adam Miller, "New Point of View" by Maren Selvaag, "Equal Dreams" by Anu Junnonen, "Nuclear Possum" by Chad McCullough, and "New Bossa" by Michal Vanoucek. performed by Turtleboy: Adam Miller, drums, Ryan Butler, guitar and Jonathan Lindhorst, saxophone. Silent Tree: Maren Selvaag, piano, Anu Junnonen, voice, Craig Pedersen, trumpet and laptop, Chad McCullough, trumpet Michal Vanoucek, piano, Patrick Reid, bass and Tyson Stubelek, drums.

This is the first recording by bassist/composer/ Charles Mingus with his newly formed band "The Charles Mingus Jazz Workshop". Mingus' recordings before this date, done in January of 1956, were issued on small, hard to find labels that were poorly distributed, with the exception of his own label, Debut Records. This date was done for a major label, Atlantic Records and when it was issued it really marked the arrival of Mingus as an authoritative figure on the Jazz scene. It was a milestone in the career of this volatile, puzzling and amazingly creative musician. The Jazz Workshop consisted of a young up and coming alto saxophonist named Jackie McLean. J.R. (Frank Anthony) Monterose was on tenor saxophone and the great Mal Waldron on piano and the unheralded Willie Jones on drums. All the musicians except McLean had worked with Mingus off and on for about two years. This was the only recording by this group as they soon left Mingus and he continued his musical quest with another group of players. The album was named after the title track: "Pithecanthropus Erectus". One standard tune tranformed by Mingus was the Gershwin's "A Foggy Day". The beautiful bittersweet ballad was called by Mingus, "Portrait of Jackie" (a feminine 'Jackie' not McLean) and finally "Love Chant", a composition that introduced modality to Mingus' music long before Miles Davis discovered it for "Kind of Blue". One of Mingus' early triumphs.