Podcasts about jazztet

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.

11e émission de la 60e session...Cette semaine, une pensée pour trois grands du bop dernièrement disparus... En musique: Roy Haynes sur l'album Roy Haynes Modern Group  (Swing, 1955); Lou Donaldson sur l'album Swing and Soul  (Blue Note, 1957); Lou Donaldson with The Three Sounds sur l'album LD+3  (Blue Note, 1959); Benny Golson & The Philadelphians sur l'album Benny Golson & The Philadelphians  (United Artists, 1959); Benny Golson Quartet sur l'album Free  (Argo, 1963); Lou Donaldson sur l'album Alligator Boogaloo  (Blue Note, 1967); Roy Haynes sur l'album Senyah  (Mainstream, 1972); The Jazztet sur l'album Moment to Moment  (Soul Note, 1983); Gary Burton, Chick Corea, Pat Metheny, Roy Haynes, Dave Holland sur l'album Like Minds  (Concord, 1998)...

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!

Número especial de La Montaña Rusa dedicado a la música y obra de uno de los grandes escritores de Jazz, el saxofonista Benny Golson que nos ha dejado recientemente. A lo largo de dos horas y media de música, repasaremos lo más granado de su trayectoria, centrada fundamentalmente en The Jazztet, banda popular e influyente que formó junto al trompetista Art Farmer. Seguir leyendo La Montaña Rusa 39.2024. Especial Benny Golson. en La Montaña Rusa Radio Jazz.

Diumenge 4 d'agost a les 19h hi haurà una nova proposta musical als Jardins del Prado, el sextet Meet de Jazztet oferirà un repertori tribut a la música de Benny Golson, compositor i saxofonista de jazz que ha marcat tota una època i estil. Marc Marcet a la trompeta, Lluís Marcet al saxo, Dani Noguero al Trombó, Antoni Casellas al Piano, Juan Pablo Egusquiza al Contrabaix i Pau Masó a la bateria formen aquest sextet nascut a l'ESMUC (Escola Superior de Música de Catalunya) arran d'un treball de carrera i ara giren amb el seu jazz per fer-lo arribar a tots els públics. N'hem parlat amb Lluís Marcet. L'entrada Meet the Jazztet als Capvespres del Prado per mostrar que el jazz mola ha aparegut primer a Radio Maricel.

Blues March, Betty, Whisper Not, I Remember Clifford… En cette fin d'années 50, Benny Golson est bien l'un des plus grands compositeurs de jazz. Suivons son parcours, de l'orchestre de Dizzy Gillespie au Jazztet, en passant par les extraordinaires Messengers du batteur Art Blakey, que Golson va transformer en machine à tubes !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Blues March, Betty, Whisper Not, I Remember Clifford… En cette fin d'années 50, Benny Golson est bien l'un des plus grands compositeurs de jazz. Suivons son parcours, de l'orchestre de Dizzy Gillespie au Jazztet, en passant par les extraordinaires Messengers du batteur Art Blakey, que Golson va transformer en machine à tubes !

Bienvenidos amantes de la música, McCoy Tyner fue miembro quizá del cuarteto más célebre del Jazz. The John Coltrane Quartet. Cuando uno piensa en "My Favourite Things " o "A Love Supreme", recuerda el sonido de McCoy Tyner tanto como el saxofón de Coltrane. Pero fue mucho más que eso, incluso antes de la muerte de Coltrane ya había editado sus primeros discos solistas. Su madre le dió sus primeras lecciones de piano, y definitivamente Bud Powell, su vecino en Filadelfia, fue una de sus grandes influencias. Su debut discográfico fue en el álbum "Meet the Jazztet" en 1960 junto al saxofonista tenor Benny Golson y el trompetista Art Farmer. “Lo que no tocas a veces es tan importante como lo que tocas” dijo en una entrevista con Marian McPartland's Piano Jazz de NPR. Junto con Bill Evans , Herbie Hancock o Chick Corea, Tyner fue uno de los principales referentes del piano de jazz moderno. El disco que revisamos hoy es su 3er álbum, "Nights of Ballads & Blues" (1963) Les invitamos a disfrutar de su música. 1. We'll Be Together Again 2. Satin Doll 3. Blue Monk 4. Days Of Wine And Roses *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios anticipados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

Trombonist Conner Eisenmenger mentors the Decatur High School Jazztet in a KNKX School of Jazz performance

This week we'll listen again to Benny Golson from his days co-leading the group..THE JAZZTET. We'll listen to two trumpeters, Freddie Hubbard and the excellent but unheralded Dizzy Reece , virtually anonymous but excellent vocalist …Your guess, the late guitarist Pat Martino and the swinging big band led by drummer Ulysses Owens, Jr. on Jazz Unlimited with Paul Anthony.

Buen día amig@s. El día de hoy escucharemos al sexteto "The Jazztet" que era liderado por Art Farmer y dirigido por Benny Golson. El disco de vinilo que escucharemos hoy contiene 3 standars de Jazz lo que es todo un récord. -Audio extraído del disco de Vinilo. Los temas son: Lado A: A1. Serenata (tema de inicio) A2, It ain't necessarily so A3. Avalon A4 . I remember Clifford A5. Blues March Lado B: B1. It´s all right with me B2. Park Avenue Petite B3. Mox Nix B4. Easy living B5. Killer Joe Recomendaciones Guillermo Arriagada: "Travesuras" Angel Parra Orrego (2019) https://youtu.be/eevlNc1yJDU Francisco Salazar: "The Terminal" Steven Spielberg (2004) https://youtu.be/YHE8mDiZwo8?t=58 Visita nuestra página viajealmundodeljazz.com Escríbenos a viajealmundodeljazz@gmail.com

Da lunedì 20 a venerdì 24 settembre 2021“Birdland” rende omaggio a Curtis Fuller, uno dei grandi trombonisti del jazz moderno, scomparso di recente.Nato nel 1934 a Detroit, Fuller entrò nel giro che conta dopo il servizio militare (dove tra l'altro aveva incrociato i fratelli Adderley, collaborando con altri musicisti della città che stavano contribuendo al lancio dell'hard bop; Jusef Lateef, Donald Byrd, Tommy Flanagan e altri.Poi la sua strada incrociò quella di Miles Davis, di John Coltrane e dell'eccellente pianista Sonny Clark, con cui collaborò assiduamente.Momenti importanti della sua carriera, dopo l'esordio come leader nel 1957, furono la partecipazione al Jazztet di Art Farmer e Benny Golson, e poco dopo (1961) l'entrata nei Jazz Messengers di Art Blakey.Trombonista richiestissimo, legò il suo nome anche (ma non solo) alla Blue Note, sia come leader sia come sideman di spicco: è presente nel famoso Blue Train di Coltrane e in dischi di Jimmy Smith, Lee Morgan, Hank Mobley, Joe Henderson per non citarne che alcuni.

Da lunedì 20 a venerdì 24 settembre 2021“Birdland” rende omaggio a Curtis Fuller, uno dei grandi trombonisti del jazz moderno, scomparso di recente.Nato nel 1934 a Detroit, Fuller entrò nel giro che conta dopo il servizio militare (dove tra l'altro aveva incrociato i fratelli Adderley, collaborando con altri musicisti della città che stavano contribuendo al lancio dell'hard bop; Jusef Lateef, Donald Byrd, Tommy Flanagan e altri.Poi la sua strada incrociò quella di Miles Davis, di John Coltrane e dell'eccellente pianista Sonny Clark, con cui collaborò assiduamente.Momenti importanti della sua carriera, dopo l'esordio come leader nel 1957, furono la partecipazione al Jazztet di Art Farmer e Benny Golson, e poco dopo (1961) l'entrata nei Jazz Messengers di Art Blakey.Trombonista richiestissimo, legò il suo nome anche (ma non solo) alla Blue Note, sia come leader sia come sideman di spicco: è presente nel famoso Blue Train di Coltrane e in dischi di Jimmy Smith, Lee Morgan, Hank Mobley, Joe Henderson per non citarne che alcuni.

Da lunedì 20 a venerdì 24 settembre 2021“Birdland” rende omaggio a Curtis Fuller, uno dei grandi trombonisti del jazz moderno, scomparso di recente.Nato nel 1934 a Detroit, Fuller entrò nel giro che conta dopo il servizio militare (dove tra l'altro aveva incrociato i fratelli Adderley, collaborando con altri musicisti della città che stavano contribuendo al lancio dell'hard bop; Jusef Lateef, Donald Byrd, Tommy Flanagan e altri.Poi la sua strada incrociò quella di Miles Davis, di John Coltrane e dell'eccellente pianista Sonny Clark, con cui collaborò assiduamente.Momenti importanti della sua carriera, dopo l'esordio come leader nel 1957, furono la partecipazione al Jazztet di Art Farmer e Benny Golson, e poco dopo (1961) l'entrata nei Jazz Messengers di Art Blakey.Trombonista richiestissimo, legò il suo nome anche (ma non solo) alla Blue Note, sia come leader sia come sideman di spicco: è presente nel famoso Blue Train di Coltrane e in dischi di Jimmy Smith, Lee Morgan, Hank Mobley, Joe Henderson per non citarne che alcuni.

Da lunedì 20 a venerdì 24 settembre 2021“Birdland” rende omaggio a Curtis Fuller, uno dei grandi trombonisti del jazz moderno, scomparso di recente.Nato nel 1934 a Detroit, Fuller entrò nel giro che conta dopo il servizio militare (dove tra l'altro aveva incrociato i fratelli Adderley, collaborando con altri musicisti della città che stavano contribuendo al lancio dell'hard bop; Jusef Lateef, Donald Byrd, Tommy Flanagan e altri.Poi la sua strada incrociò quella di Miles Davis, di John Coltrane e dell'eccellente pianista Sonny Clark, con cui collaborò assiduamente.Momenti importanti della sua carriera, dopo l'esordio come leader nel 1957, furono la partecipazione al Jazztet di Art Farmer e Benny Golson, e poco dopo (1961) l'entrata nei Jazz Messengers di Art Blakey.Trombonista richiestissimo, legò il suo nome anche (ma non solo) alla Blue Note, sia come leader sia come sideman di spicco: è presente nel famoso Blue Train di Coltrane e in dischi di Jimmy Smith, Lee Morgan, Hank Mobley, Joe Henderson per non citarne che alcuni.

Da lunedì 20 a venerdì 24 settembre 2021“Birdland” rende omaggio a Curtis Fuller, uno dei grandi trombonisti del jazz moderno, scomparso di recente.Nato nel 1934 a Detroit, Fuller entrò nel giro che conta dopo il servizio militare (dove tra l'altro aveva incrociato i fratelli Adderley, collaborando con altri musicisti della città che stavano contribuendo al lancio dell'hard bop; Jusef Lateef, Donald Byrd, Tommy Flanagan e altri.Poi la sua strada incrociò quella di Miles Davis, di John Coltrane e dell'eccellente pianista Sonny Clark, con cui collaborò assiduamente.Momenti importanti della sua carriera, dopo l'esordio come leader nel 1957, furono la partecipazione al Jazztet di Art Farmer e Benny Golson, e poco dopo (1961) l'entrata nei Jazz Messengers di Art Blakey.Trombonista richiestissimo, legò il suo nome anche (ma non solo) alla Blue Note, sia come leader sia come sideman di spicco: è presente nel famoso Blue Train di Coltrane e in dischi di Jimmy Smith, Lee Morgan, Hank Mobley, Joe Henderson per non citarne che alcuni.

I had just come to New York and I was working with Kenny Dorham in the fall of 1959. I heard John (Coltrane) wanted to form his own quartet and leave Miles. Out of the blue I got his number and called him. I said, "I know you don't know who I am. I'm currently working with Kenny Durham but I would love it if we could get together and maybe play a little and talk about the music." He didn't say yay or nay, a couple of weeks later he called me and he had rented a little rehearsal studio about a block and a half from my hotel and we met there in a tiny room and an upright piano. We played some of his music and talked. That was it for then and didn't hear anything until he called me a week later and said, "I'd like you to come out to my house in Hollis Queens for dinner." I took the subway out there and he picked me up at the train. We had a lovely dinner that Naima made. We talked and played a little more and he drove me back to my hotel in New York. He said nothing and then about a week later he called and said, "would $125 a week be okay to start." He had a job at "The Jazz Gallery" in downtown Manhattan on the lower east side. He was hired for four weeks initially and then they kept extending it two weeks, two weeks. He was there a total of 26 weeks in a row which is unheard of. A half a year playing in the same place, six nights a week. I was privileged to work with him for two of those months. Then McCoy Tyner joined the band. I later found out that McCoy was his first choice but he was contractually bound to "The Jazztet" at the time and he couldn't get free until that particular time. To be experiencing the absolute joy of the audience. It would be like a church meeting, after his solos they would literally stand up and give him standing ovations in the middle of the song. Pete LaRoca was the drummer and Steve David was the bassist. I was still trying to find my own voice when I was working with Coltrane. I was not really happy with my own playing, I'd say to him, "is there something I'm doing that you don't like or is there something you'd like me to do that I'm not doing. His words were, "I respect you too much as a musician to tell you how to play." --- Support this podcast: https://anchor.fm/jake-feinberg/support

Djasspíanóleikarinn McCoy Tyner lést á dögunum 81s árs að aldri. Ferill hans er samofinn sögu djasstónlistarinnar síðastliðin 60 ár og í þættinum eru leikin nokkur dæmi um list þessa merka tónlistarmanns. Park Avenue Petite - Benny Golson - Meet the Jazztet - febrúar 1960 Village blues - Coltrane Jazz október 1960 Reaching fourth - Tyner - november 62 You are to beautiful - Rodgers&Hart - Johnny Hartman í mars 1963 Song of Praise - Coltrane 1965 Consequences - Coltrane 1965 Blues on the Corner - The Real McCoy 1967 Land of the Lonely - Trident, Milestone - 1975 Ballad for Aisha - McCoy Tyner - Together - Milestone 1978 Blues Stride - Infinity 1995 Goodbye - Gordon Hill Jenkins - McCoy - Reaching Fourth 1962

Djasspíanóleikarinn McCoy Tyner lést á dögunum 81s árs að aldri. Ferill hans er samofinn sögu djasstónlistarinnar síðastliðin 60 ár og í þættinum eru leikin nokkur dæmi um list þessa merka tónlistarmanns. Park Avenue Petite - Benny Golson - Meet the Jazztet - febrúar 1960 Village blues - Coltrane Jazz október 1960 Reaching fourth - Tyner - november 62 You are to beautiful - Rodgers&Hart - Johnny Hartman í mars 1963 Song of Praise - Coltrane 1965 Consequences - Coltrane 1965 Blues on the Corner - The Real McCoy 1967 Land of the Lonely - Trident, Milestone - 1975 Ballad for Aisha - McCoy Tyner - Together - Milestone 1978 Blues Stride - Infinity 1995 Goodbye - Gordon Hill Jenkins - McCoy - Reaching Fourth 1962

As a prefix, "post" tends to signify both the offspring of something major and a place where you can lay multiple creative ideas on the table–like "post-punk" or "post-rock." The last term is synonymous with both the trio Twin Talk and their hometown city of Chicago. Twin Talk's music is jazz, but it's produced like an indie-rock record, not too unlike the music of some of their illustrious fans such as Bon Iver or Jason Moran. With a brooding, elegant, cinematic, and dreamlike sound, Twin Talk takes on the intensity of Sonny Rollins with the soundscapes of Tortoise.    The second half of the program welcomes Grachan Moncur III, whose own music could also be described as brooding and cinematic, if not idiosyncratic. One of the most original composers in the canon of American music, his career has taken him from Julliard, to the Chitlin Circuit, to hard bop, to the avant-garde. He's also gained the artistic respect of Ray Charles, The Jazztet, Jackie McLean, Archie Shepp, Lee Morgan, and Frank Zappa to name a few. His Blue Note recordings are often celebrated, but throughout the years his more underground work has earned him a fervent cult following. The Major Scale explores three of these recordings with the man himself: the rare and sought after Echoes of Prayer, Shadows, and Blues For Donald Duck.

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

This album was the debut date for this creative young trombonist/composer: Grachan Moncur 111. Grachan had apprenticed with bandleaders Nat Phipps and Ray Charles and Art Farmer and Benny Golson's Jazztet before plunging headlong into the more adventurous side of the New York Jazz scene with alto saxophonist Jackie McLean who in the early 60s was looking at some new ways to express himself. Pioneers like Ornette Coleman, Bill Dixon, Cecil Taylor had opened new doors in Jazz and other musicians like Grachan Moncur were embracing that influence. Moncur along with the late Roswell Rudd were the new voices of the trombone in the early 60s. Moncur had another ace up his sleeve as he was a fine composer with an open imagination. This album called "Evolution" is his first and was released on Blue Note as that label had opened the door to the new sounds of the 60s as well. Grachan picked alto saxophonist Jackie McLean and trumpeter Lee Morgan as the horns and Morgan sounds amazing here in this context. Bobby Hutcherson's vibes add to the free sounds and Bob Cranshaw's bass keeps everything grounded. The teenage drum sensation Anthony "Tony" Williams is as usual creative and adds a great deal to the success of this date. Only four tunes are contained on this session and they are all Moncur creations. The exciting "Air Raid" leads of followed by the mournful, moody "Evolution" to "The Coaster" which has a fetching melody and hard swing. Finally a tribute to Thelonious Monk called "Monk in Wonderland" wraps things up. Grachan Moncur and his music is in the spotlight as tonight's Jazz Feature...check it out!

Jazz saxophonist Benny Golson learned his instrument and the vocabulary of jazz alongside John Coltrane while Golson was still in high school in Philadelphia. Quickly establishing himself as an iconic fixture on the jazz landscape, Golson performed with dozens of jazz greats, from Sonny Rollins, Coleman Hawkins, and Jimmy Heath to Dizzy Gillespie, Freddie Hubbard, and many others. An acclaimed composer, Golson also wrote music for Hollywood films and television and composed such memorable jazz standards as "Stablemates," "Killer Joe," and "Whisper Not." An eloquent account of Golson's exceptional life—presented episodically rather than chronologically—Whisper Not includes a dazzling collection of anecdotes, memories, experiences, and photographs that recount the successes, the inevitable failures, and the rewards of a life eternally dedicated to jazz. Benny Golson is an NEA Jazz Master, composer, arranger, and saxophonist. After helping Art Blakey revamp his regime with the Jazz Messengers, he co-founded Jazztet with trumpeter Art Farmer. He has composed not only jazz standards, including "Killer Joe" and "Along Came Betty," but also music for films and television, including It Takes a Thief and M*A*S*H.

This is a Birthday celebration to one of our great living Jazz Masters. Today (January 25) marks the 87th Birthday of tenor saxophonist/composer/arranger and Jazz Master Benny Golson. Golson has been a part of Jazz history since breaking into the bands of Tadd Dameron, Dizzy Gillespie and Art Blakey's Jazz Messengers and then forming his own groups along with his important band The Jazztet with trumpeter Art Farmer. Tonight's Jazz Feature is an album that features his mellifluous tenor saxophone playing unfettered by complex arrangements hence the album's title..."Free". Golson is heard here with the "poet of the piano", Tommy Flanagan, bassist Ron Carter and the ubiquitous Arthur Taylor on drums. Two Golson originals are on this set and an intriguing original by obscure pianist Will Davis called "Sock Cha". The rest of the six tunes are made up of good quality standards. "Free" is a testament to the wonderful playing of Benny Golson who somehow combines the sound of his early mentors, Don Byas and Lucky Thompson with his very modern concept. No one sounds like Benny and a very HAPPY BIRTHDAY Mr. Golson!

Grachan Moncur 111 is one of the lesser known but important figures on the New York Jazz scene in the mid-60's when new ideas and concepts were emerging and musicians were finding new ways to create and improvise. Moncur was an educated young man and experienced playing for four years with Ray Charles and a year with The Jazztet led by Art Farmer and Benny Golson and touring also with Sonny Rollins. Moncur's skills as a trombonist with his own concept emerged on this recording and he definitely was NOT a J.J.Johnson clone. His writing skills are evident on the four selections that make up this date. The personnel here include four people who recorded and worked gigs together under the leadership of alto saxophone master Jackie McLean. Along with McLean and Moncur are two emerging stars in the persons of vibist Bobby Hutcherson and drum genius Tony Williams who was 18 years old at the time. Bob Cranshaw is on bass and he is great in any context.However the real star here is trumpeter Lee Morgan who is not ever thought of in a context such as this but proves himself to be open-minded and totally responsive to the music and shows his great range of expression. The four compositions heard here are all Moncur's and they reflect different moods and show his range of expression. Everybody here is on top of things and inspired by Moncur's music and exhibiting fresh musical ideas. "Evolution" was Moncur's recording debut and it was issued on Blue Note and is a modern classic in every sense of the word.

ILLUMINATION McCoy Alfred Tyner is best remembered from the John Coltrane Quartet. In the past decades since he has become one of the major pianists and composers, expanding the vocabulary of color and harmony. His lusty piano is richly percussive and hammering, while full of cascading and romantic sounds. His unique and forceful style has inspired and influenced a whole new generation of musicians. Tyner was born in Philadelphia on December 11, 1938, the oldest of three children. He was encouraged to study piano by his mother. He finally began studying the piano at age 13 and within two years, music had become the focal point in his life. In the beginning McCoy practiced on a neighbour's piano. When his family bought one, he began hosting jam sessions. Among his friends and neighbours were a number of young musicians who would go on to make their marks in jazz, such as trumpeter Lee Morgan, saxophonist Archie Shepp, pianist Bobby Timmons, and bassist Regie Workman. "Bud and Richie Powell moved into my neighbourhood. Bud was a major influence on me during my early teens. He was very dynamic." In addition, Thelonious Monk and Art Tatum were young McCoy's major influences. McCoy studied at the West Philadelphia Music School and later at Granoff School of Music. At age 17, while playing at a local club called the Red Rooster, he first met JOHN COLTRANE. Coltrane was in Philadelphia between gigs with Miles Davis. The saxophonist, whose style was still in its formative stages and whose reputation was on the rise, had no working group of his own, but secured a few engagements in and around Philadelphia, with McCoy often in his rhythm section. The rapport between the two was so apparent, that Coltrane made it clear that he hoped to eventually have a regular band with McCoy Tyner in it.His first main exposure came with BENNY GOLSON being the first pianist in Golson's and Art Farmer's legendary Jazztet (1959). By 1960, when John Coltrane finally left Miles Davis to form his own group, McCoy left Art Farmer. Tyner continued with Coltrane through 1965, participating in all the major recording sessions.The pianist participated in numerous historical recording sessions with Coltrane, including for instance Africa Brass, A Love Supreme, and My Favorite Things. While with Coltrane, Tyner also recorded many of his own albums for Impulse!, including such classics as "Inception", "Night of Ballads and Blues", and "Live at Newport", and later for Blue Note, which enabled him to feature his densely rich piano sound to great effect.Upon Leaving Coltrane (1965), there was a lull in Tyner's popularity. The future looked bright and the trio he formed seemed to have a big future. In fact he spent the next five years playing superbly but getting more and more disillusioned due to lack of acceptance. But he rebounded in the 1970's. Due to groups featuring Sonny Fortune and Azar Lawrence and recordings for Milestone like "Sahara", which received two Grammy nominations and was named 'Album of the year' in the Down Beat Critics Poll, Tyner gained recognition. He toured and recorded with SONNY ROLLINS, Ron Carter and Al Foster as the Milestone Jazzstars in 1978, and in the mid-1980s led a quintet that included Gary Bartz and violinist John Blake. Since 1980, he has also arranged his lavishly textured harmonies for a big band that performs and records when possible. In the late 1980s, he mainly focussed on his regular piano trio featuring Avery Sharpe on bass and Aarron Scott on drums. As of today, this trio is still in great demand. He returned to Impulse in 1995, with a superb album featuring MICHAEL BRECKER. In 1996 he recorded a special album with the music of BURT BACHARACH. In 1998 he changed labels again and recorded a interesting latin album and an album featuring STANLEY CLARKE for TelArc. While he avoids modern conventions and the trappings of the moment, Tyner's sound remains contemporary to this day. Tyner's full use of the piano's keyboard, with a striking exploitation of dynamics, sets him aside from more introverted players like Bill Evans and Keith Jarret. Their "musique de chambre" links them more with the European-oriented piano tradition, whereas Tyner follows the track back to the roots of the Afro-American quintessence of jazz music.Tyner's music has been a major influence over the adoption in jazz of quartal and quintal harmonies, modes and pentatonic scales. He achieved a revived appreciation as a major player in the international jazz scene, a status he continues to maintain

A one-time member of Art Blakey's Jazz Messengers, Cedar Walton is one of the most sought-after and versatile pianists in jazz. He joins Alyn Shipton to discuss records made under his own name, as well as work with Blakey, the Jazztet, Ron Carter and Lee Morgan.

Trombonist/composer Grachan Moncur 111 was born in New York on June 3,1937 and raised in Newark. He is still alive, playing,writing and teaching. Grachan played in Nat Phipps' band when he turned pro then played with Ray Charles' fine little band for 2 and a half years where he really developed his skills as a player. He then joined the Jazztet, a fine band led by Art Farmer and Benny Golson and was the last trombonist in that group before it's final breakup in 1962. After a brief return to the Charles' band, Grachan joined the ranks of New York's progressive scene in the mid-60's. Grachan, alto saxophonist Jackie McLean and young vibist Bobby Hutcherson formed a band with different people in the rhythm section and gigged around New York. Grachan wrote most of the band's material and they recorded McLean's famous album, "One Step Beyond". Alfred Lion of Blue Note Records was impressed with Grachan's writing and playing and gave him a two record contract. Grachan's first album was this one called "Evolution" and he, of course, used Mclean and Hutcherson along with bassist Bob Cranshaw and the teenaged drum sensation Anthony (Tony) Williams. The most surprising addition was trumpeter Lee Morgan, who almost steals the show on this album. Morgan had verbally criticized some of the new sounds emerging in the 1960's and yet was very open to the music of this album and Moncur's compositions. There are only four tunes here but they are all strong statements expressing all different moods and evoke different feelings from the players and will do the same to you, the listener. "Evolution" was a very impressive recording debut for Grachan Moncur 111 and stands today as a classic in creative musical thinking.

Septième émission de la onzième session... Cette semaine, retour vers le bon vieux jazz hard-bop avec une sélection musicale qui bouge ! On débute avec de l'excellente formation The Jazztet menée par Benny Golson et Art Farmer au début des années 60 avec des pièces des albums Meet the Jazztet (Mercury, 1960) et The Jazztet and John Lewis (Mercury, 1961). Ensuite, présentation du saxophoniste Ted Nash qui sera de passage à Montréal dans le cadre de la série Jazz en rafale, avec des pièces de l'album Still Evolved (Palmetto, 2003). Par la suite, je reviens sur le spectacle du SFJazz Collective présenté le 27 février 2009. L'émission se termine avec le son à saveur M-Base de la formation torontoise Rinse the algorithm et des pièces de l'album Locutions (2008).    

Septième émission de la onzième session... Cette semaine, retour vers le bon vieux jazz hard-bop avec une sélection musicale qui bouge ! On débute avec de l'excellente formation The Jazztet menée par Benny Golson et Art Farmer au début des années 60 avec des pièces des albums Meet the Jazztet (Mercury, 1960) et The Jazztet and John Lewis (Mercury, 1961). Ensuite, présentation du saxophoniste Ted Nash qui sera de passage à Montréal dans le cadre de la série Jazz en rafale, avec des pièces de l'album Still Evolved (Palmetto, 2003). Par la suite, je reviens sur le spectacle du SFJazz Collective présenté le 27 février 2009. L'émission se termine avec le son à saveur M-Base de la formation torontoise Rinse the algorithm et des pièces de l'album Locutions (2008).    

Alyn Shipton interviews veteran saxophonist Benny Golson, who turns 80 in 2009, and who is to be honoured at the Kennedy Centre in Washington DC for his lifetime achievements in jazz. The programme features Golson looking back at his career with musicians including Art Blakey, Lee Morgan and Dizzy Gillespie as well as his own Jazztet, plus a preview of his new 80th birthday album New Times, New 'Tet.