Podcast appearances and mentions of joel dorn

Jazz 88's Peter Solomon speaks with vocalist Jane Monheit in advance of her appearance Tuesday, July 30th at the Dakota. Monheit talks about her musical influences, the way she's learned to manage expectations as a female performer, lessons learned from working with legendary producer Joel Dorn, and her forthcoming eponymous release on Clubb 44 records.

Jazz 88's Peter Solomon speaks with vocalist Jane Monheit in advance of her appearance Tuesday, July 30th at the Dakota. Monheit talks about her musical influences, the way she's learned to manage expectations as a female performer, lessons learned from working with legendary producer Joel Dorn, and her forthcoming eponymous release on Clubb 44 records.

Jazz 88's Peter Solomon speaks with vocalist Jane Monheit in advance of her appearance Tuesday, July 30th at the Dakota. Monheit talks about her musical influences, the way she's learned to manage expectations as a female performer, lessons learned from working with legendary producer Joel Dorn, and her forthcoming eponymous release on Clubb 44 records.

Jazz 88's Peter Solomon speaks with vocalist Jane Monheit in advance of her appearance Tuesday, July 30th at the Dakota. Monheit talks about her musical influences, the way she's learned to manage expectations as a female performer, lessons learned from working with legendary producer Joel Dorn, and her forthcoming eponymous release on Clubb 44 records.

Adam Dorn (Mocean Worker) got a front row seat to many of Roberta Flack's career-defining moments. As the son of Joel Dorn, producer of Roberta's first 5 albums, he had a unique vantage point into the behind-the-scenes of both her early career with his dad, and her mid-80's resurgence with his friend, producer Marcus Miller. He joined many of those later recording sessions as a "fly on the wall" production assistant. Adam is the first (but certainly not the last) special guest on the podcast! We're looking forward to introducing many more guests in the future. Be sure to join the Patreon at httphttp://www.patreon.com/darastarrtucker. Support the show

Helen Dance, George Avakian, Orrin Keepnews and Joel Dorn do their best to describe the role of a jazz producer, the person “behind the glass.”

Photo by Waring Abbot/Getty Images. Matt Waldman kicks off RSP Storytime, a short podcast devoted to true stories. This week, Adam Dorn shares how he won a bet with Gene Simmons of KISS. Friday is my one day off from football. It's a day I devote to music lessons, reading, movies, and other mediums of value. In addition to sharing my Reads, Listens, and Views (a feature I'm bringing back to the site this year), I'm also collecting true stories from friends and colleagues. If you're interested in being a part of this, feel free to email me at mattwaldmanrsp@gmail.com and we'll consider recording it. RSP Storytime kicks off with one of my favorite stories that I heard last year. It comes from composer, Adam Dorn. You've probably heard Adam's work as the composer for documentaries such as Richard Pryor: Omit the Logic,  Robin Williams: Come Inside My Mind, and Enemies: The President, Justice & The FBI. He's also written and performed music for Six Feet Under, The Bourne Supremacy, The Devil Wears Prada, and Mr. & Mrs. Smith. The son of renowned jazz and R&B producer Joel Dorn, Adam is a lifelong Eagles fan who reached out to me last year after hearing about my penchant for drawing parallels to football and improvisational music and deciding we were going to become great friends. Adam and I share a love for Funk, R&B, and Jazz. Adam's longtime friendship with Marcus Miller began as a student-mentor relationship. If you don't know Marcus Miller, he's a renowned performer and producer who is also one of the kings of the electric bass. https://www.youtube.com/watch?v=rpSlxS5Xkso I share these things about Adam because I want to set the stage for the story. Imagine Adam as a 17-year-old bassist with a full-blown Philly wise-ass mentality in the late 1980s learning his craft from Miller when he runs into KISS bassist, Gene Simmons while working as a grunt in a recording studio. Now imagine Simmons dismissing Adam's musical hero and their conversation degenerating into a bet that takes them into the streets of New York and leads to the ultimate comeuppance. Enjoy.

Hello once again everyone I'm your host Ray Shasho and welcome to another edition of Interviewing the Legends. Brought to you by The Publicity Works Agency specializing in authors & musicians Remember We shine only when We make you shine! Call us today at 941-567-6193 for a free PR evaluation!  Elliott Randall's illustrious career has encompassed a wide and varied cross-section of World Musical forms. These include record production, composition, electronic research and development, lectures and teaching, and of course, a legendary contribution to popular guitar performance and recording. His guitar solos on Steely Dan's “Reelin' in The Years” and “Fame” (the motion picture) have entered Rock history annals. Elliott has recorded and performed with artists as diverse as The Doobie Brothers, Carly Simon, Seatrain, The Blues Brothers, Carl Wilson, Peter Wolf, Peter Frampton, James Galway, Richie Havens, The Rochester Philharmonic and The American Symphony Orchestra, among many others. In addition, he is a favorite of esteemed songwriters Jimmy Webb, George David Weiss, Don Covay and Laura Nyro. Other credits include music consultant for NBC Saturday Night Live and Oliver Stone, and projects with producers Jerry Wexler, Joel Dorn, Steve Lillywhite, Eddie Kramer among many others. In addition to artistic projects, Elliott has also played, produced, and composed advertisements (jingles) for television, radio and cinema. Please welcome legendary session guitarist and musician ELLIOTT RANDALL to Interviewing the Legends FOR MORE INFORMATION ABOUT ELLIOTT RANDALL VISIT www.elliott-randall.com Official website https://twitter.com/elliottrandall Twitter www.facebook.com/elliottrandallmusic Facebook www.linkedin.com/in/elliottrandall?original_referer= Linkedin www.youtube.com/ejrandall YouTube https://elliottrandall1.bandcamp.com/ Elliott Randall Bandcamp     Discography Eric Mercury "Electric Black Man" 1969 Avco Randall's Island (1970) Polydor, catalogue number 2489 004 Rock 'n' Roll City (1973) Polydor Randall's New York (1977) Kirshner Still Reelin' (2007) Private Collection Records HeartStrings (2011) Private Collection Records Virtual Memory (2012) Private Collection Records   Soundtracks The Warriors (1979) The Blues Brothers: Music from the Soundtrack (1980) Fame (1980) Heart of Dixie (1989) Looking for an Echo (2000)   Also appears on (partial list) Can't Buy a Thrill (1972) – Steely Dan Frankie Dante & Orquesta Flamboyan Con Larry Harlow (1972) Satan – Sonny Stitt (Cadet, 1974) Ladies Love Outlaws (1974) - Tom Rush Katy Lied (1975) – Steely Dan Closeup (1975) - Frankie Valli Royal Scam (1976) – Steely Dan T Shirt (1976) - Loudon Wainwright III The Music Man (1977) - Paul Anka Gene Simmons (1978) – Gene Simmons Peter Criss (1978) – Peter Criss Live and Sleazy (1979) – Village People Connections (1980) – Richie Havens Rise Up (1980) - Peter Frampton It's Alright (I See Rainbows) (1982) – Yoko Ono Down On The Road by The Beach (1982) – Steve Hiett Hello Big Man (1983) – Carly Simon Youngblood (1983) - Carl Wilson Milk and Honey (1984) – John Lennon, Yoko Ono The Animals' Christmas (1986) – Art Garfunkel & Amy Grant Electric Landlady (1991) – Kirsty MacColl Walking on Thin Ice (1992) – Yoko Ono Walk the Dog and Light the Light (1993) – Laura Nyro Arena (1996) – Asia Spirit of Christmas (2009) – Northern Light Orchestra Left, (2016) - Monkey House       Support us!

Tal día como hoy hace medio siglo se publicó el disco de Roberta Flack y Donny Hathaway producido por Joel Dorn y Arif Mardin para Atlantic Records, el sello de Detroit. Aprovechamos esta efeméride para escuchar grandes momentos de ambos juntos, por separado y derivados. DISCO 1 DONNY HATHAWAY Valdez In The Country (THESE SONGS FOR YOU LIVE - 2) DISCO 2 ROBERTA FLACK & DONNY HATHAWAY Where Is The Love (7) DISCO 3 ROBERTA FLACK Uh-Uh Ooh-OohLook Out (Here It Comes) (OASIS - Cara 1 Corte 3) DISCO 4 DONNY HATHAWAY Voices Inside (Everything Is Everything) (1) DISCO 5 ROBERT GLASPER & LALAH HATHAWAY & COMMON Everybody Wants To Rule The World (7) DISCO 6 ROBERTA FLACK & DONNY HATHAWAY Back Together Again (THE BEST OF…Cara 2 Corte 2) DISCO 7 DONNY HATHAWAY Flying Easy (EXTENSION OF A MAN - 3) DISCO 8 ROBERTA FLACK & DONNY HATHAWAY The Closer I Get To You (THE BEST OF…Cara 1 Corte 2) DISCO 9 ROBERTA FLACK Klling Me Softly With His Song (THE BEST OF…Cara 1 Corte 1) DISCO 10 DONNY HATHAWAY The Guetto (EVERYTHING IS EVERYTHING - 8) DISCO 11 ROBERTA FLACK & DONNY HATHAWAY You Are My Heaven (THE BEST OF…. Cara 2 Corte 3) DISCO 12 DONNY HATHAWAY & QUINCY JONES Little Ghuetto Boy (14) DISCO 13 ROBERTA FLACK & DONNY HATHAWAY You’ve Got A Friend (THE BEST OF… Cara 1 Corte 3) Escuchar audio

Today, my guest is Adam Dorn. Adam is a composer, songwriter, producer, bass player and DJ. You can hear some of his scoring work on the Showtime docuseries “Enemies”, Season 3 of the podcast “serial”, the HBO documentary about Robin Williams called “Robin Williams: Come Inside my Mind”, and he also scored the Richard Pryor documentary “Omit The Logic”. Beyond his career as a composer, Adam’s a successful jazz oriented dance music producer and DJ. He calls himself Mocean Worker and a lot of that stuff can be heard on his solo records, and film and TV shows including “The Devil Wears Prada”, “The Bourne Supremacy” , “CSI” and more.If that wasn’t enough, Adams also a kick-ass bass player. He’ll probably deny that. But it’s true. And I’d know about shit like this.He’s also the son of the renowned jazz and R&B producer Joel Dorn.Adam grew up around a lot of legendary musicians and studied with Marcus Miller and also got the occasional bit of musical wisdom from people like Miles Davis, David Sanborn, and Luther Vandross. We talked about all kinds of stuff pertaining to living through this pandemic, remembering the great Hal Wilner, LA stuff, and much more.

*Roberta Cleopatra Flack (born February 10, 1937)[2][3] is an American singer. She is known for her No. 1 singles "The First Time Ever I Saw Your Face", "Killing Me Softly with His Song", "Feel Like Makin' Love"; and "Where Is the Love" and "The Closer I Get to You", two of her many duets with Donny Hathaway. Flack is the only solo artist to win the Grammy Award for Record of the Year on two consecutive years: "The First Time Ever I Saw Your Face" won at the 1973 Grammys as did "Killing Me Softly with His Song" at the 1974 Grammys. 1970s Roberta Flack 1971 Les McCann discovered Flack singing and playing jazz in a Washington nightclub.[6] He later said on the liner notes of what would be her first album First Take noted below, "Her voice touched, tapped, trapped, and kicked every emotion I've ever known. I laughed, cried, and screamed for more...she alone had the voice." Very quickly, he arranged an audition for her with Atlantic Records, during which she played 42 songs in 3 hours for producer Joel Dorn. In November 1968, she recorded 39 song demos in less than 10 hours. Three months later, Atlantic reportedly recorded Roberta's debut album, First Take, in a mere 10 hours.[11] Flack later spoke of those studio sessions as a "very naive and beautiful approach... I was comfortable with the music because I had worked on all these songs for all the years I had worked at Mr. Henry's."*

*Roberta Cleopatra Flack (born February 10, 1937)[2][3] is an American singer. She is known for her No. 1 singles "The First Time Ever I Saw Your Face", "Killing Me Softly with His Song", "Feel Like Makin' Love"; and "Where Is the Love" and "The Closer I Get to You", two of her many duets with Donny Hathaway. Flack is the only solo artist to win the Grammy Award for Record of the Year on two consecutive years: "The First Time Ever I Saw Your Face" won at the 1973 Grammys as did "Killing Me Softly with His Song" at the 1974 Grammys. 1970s Roberta Flack 1971 Les McCann discovered Flack singing and playing jazz in a Washington nightclub.[6] He later said on the liner notes of what would be her first album First Take noted below, "Her voice touched, tapped, trapped, and kicked every emotion I've ever known. I laughed, cried, and screamed for more...she alone had the voice." Very quickly, he arranged an audition for her with Atlantic Records, during which she played 42 songs in 3 hours for producer Joel Dorn. In November 1968, she recorded 39 song demos in less than 10 hours. Three months later, Atlantic reportedly recorded Roberta's debut album, First Take, in a mere 10 hours.[11] Flack later spoke of those studio sessions as a "very naive and beautiful approach... I was comfortable with the music because I had worked on all these songs for all the years I had worked at Mr. Henry's."*

*Roberta Cleopatra Flack (born February 10, 1937)[2][3] is an American singer. She is known for her No. 1 singles "The First Time Ever I Saw Your Face", "Killing Me Softly with His Song", "Feel Like Makin' Love"; and "Where Is the Love" and "The Closer I Get to You", two of her many duets with Donny Hathaway. Flack is the only solo artist to win the Grammy Award for Record of the Year on two consecutive years: "The First Time Ever I Saw Your Face" won at the 1973 Grammys as did "Killing Me Softly with His Song" at the 1974 Grammys. 1970s Roberta Flack 1971 Les McCann discovered Flack singing and playing jazz in a Washington nightclub.[6] He later said on the liner notes of what would be her first album First Take noted below, "Her voice touched, tapped, trapped, and kicked every emotion I've ever known. I laughed, cried, and screamed for more...she alone had the voice." Very quickly, he arranged an audition for her with Atlantic Records, during which she played 42 songs in 3 hours for producer Joel Dorn. In November 1968, she recorded 39 song demos in less than 10 hours. Three months later, Atlantic reportedly recorded Roberta's debut album, First Take, in a mere 10 hours.[11] Flack later spoke of those studio sessions as a "very naive and beautiful approach... I was comfortable with the music because I had worked on all these songs for all the years I had worked at Mr. Henry's."*

A HUSTLER WITH EXQUISITE TASTE Joel Dorn was one of the last record producers standing from the old music biz. When the new industry pushed him out in the 1980s, he bounced back with the creation of CD box sets. “Don’t give me that ‘Hey, baby’ shit,” he said. “I invented it.” Episode Playlist Joel Dorn discography (https://www.allmusic.com/artist/joel-dorn-mn0000808435/credits) Don Mclean: Homeless Brother (https://itunes.apple.com/us/album/homeless-brother/716395227) Joel Dorn standing behind one of our mentors, Doc Pomus One of Joel’s repackages on his own Label M

The Traneumentary: Joel Dorn

Mocean Worker combines his knowledge of real instruments with cutting edge technology to produce music that is catchy, groovy and points the way to the masters and legends that came before. He’s a bassist, he’s a producer, and as the son of producer Joel Dorn, he had first hand encounters with music legends such as Marcus […]

Adam Dorn, musician, producer and composer, got his start early. Encouraged by his father, legendary record producer Joel Dorn, Adam left his home in Philadelphia when he was still in high school to pursue a life in music. Over the years, he has worked as a session musician on countless records, and as a producer for other artists. His solo project, “Mocean Worker” came about almost by accident, the results of a series of half-serious recording sessions. Since the release of his first album, Home Movies from the Brain Forest, the style has varied from a drum 'n' bass sound to a jazz-oriented dance sound that some call Electro-Swing, incorporating elements of funk, big-band and swing.Earlier this year, along with his partner Charlie Hunter, Dorn launched his own podcast called “Compared to What”, which features long form casual conversations with musicians and creative friends. Sound familiar?I suspected we would have a lot in common, and I was eager to sit down with Adam to talk. We agreed to use the conversation as an episode for both podcasts, so in fact the Third Story is a guest on Compared to What, and vice versa. These are exciting times!This was a truly free flowing conversation - at times it behaved like an interview, and at other times more like a chat over coffee…Strong coffee. We covered a lot of ground, including our personal experiences growing up in the shadow of music business fathers, learning how to play and produce, electronic music, music education, and generally “going after” what you love.  It’s an honor and a pleasure to share this episode. http://comparedtowhatpodcast.comStream it here or download it from the iTunes music store. 

 EVENING IN PARADISEThe life of Jimmy Scott is not one of meteoric stardom but a journey that has taken nearly seventy years to find its much deserved success.James Victor Scott, one of ten children, was born in Cleveland, Ohio on July 17, 1925. He's known for his high haunting soprano voice & poignant balladeering. His up & down recording career, started in the early 1950's, saw a resurgence in the 1990's when he was signed to Sire Records and received a Grammy nomination after a long period of commercial inactivity. Soon after coming out of retirement, he was seen on stages around the world, performing magical & heart breaking interpretations of old torch songs, Broadway standards and even a smattering of choice modern rock tunes done with generally sparse jazz arrangements.Almost strangled by the umbilical cord at birth, then orphaned as a boy in depression era Cleveland, the odds against Jimmy Scott ever suceeding were further stacked by an abnormal genetic pituitary hormonal defect known as "Kallman's Syndrome" which accounts for his somewhat effeminate looks & unnaturally high singing voice.Finding solace onstage, he sang in combos of the post war R&B era, notably as a featured singer with band leader Lionel Hampton, with whom he made his recorded debut in 1950(although his name did not appear on the label). He was finally signed to a steady record deal when he was almost 30, when Herman Lubinsky of Newark's Savoy Records offered Cleveland's finest balladeer a shot circa 1954. Lubinsky, whose label was a great repository of jazz & blues recordings, was also a notorious shyster. In David Ritz's 2002 bio of Jimmy Scott "Faith In Time", Seymour Stein of Sire Records recalls past colleagues at the time calling Savoy Record's Newark HQ the "Slave Barracks". Savoy recorded some well received Little Jimmy Scott sides, but due to Lubinsky's malfeasance, Scott went mostly uncompensated. As time wore on, he grew discontent, started retreating into booze and left the label's fold by the beginning of the 1960's.Over the years the Lubinsky/Savoy contract would stifle Scott in numerous ways, particularly when he tried to break free and record for Ray Charles' Tangerine label in the early 1960's and another time with Atlantic in the late 1960's. Lubinsky would battle to have the records withdrawn, keeping Scott's music from ever hitting the streets en masse.1969's attempt at a comeback LP "The Source" was produced by Joel Dorn for Atlantic, featuring backing from a hot group of players including David Fathead Newman on tenor sax, Eric Gale on guitar and Ron Carter on bass...The record was withdrawn due to lawsuit after the first pressing, for a longtme making it a rare and often bootleged masterpiece.Jimmy's numerous shots at stardom were so hampered by the fiscal mismanagement & bad business dealings, it lead him to frustration, failed relationships, drinking and drugging, and a career ending downward spiral that took him away from the limelight.His talent was never in doubt, but his successes were measured at best.A favorite of performers ranging from Billie Holiday & Dinah Washington, to Frankie Valli, Stevie Wonder, and John Lennon, all whom knew of and expressed respect of his work. Said Quincy Jones once,'Jimmy would tear my heart out every night with his soul-penetrating style"...Even Madonna has said "Jimmy Scott is the only singer who makes me cry,"Strangely enough, it appears death that actually the catalyst that brought Scott's career back to life...By the late 70's and early 80's some of his only gigs were occasional charity appearances at senior citizen homes. Scott's day jobs at Bob's Big Boy and in a Cleveland Sheraton hotel gave him a mindset that was set far from keeping abreast of the changing tastes of a fickle record buying public at the tail end of the 20th century.In 1985, at age 60, he returned to the eastern seaboard, and for the first time in over a decade started working small clubs in New York and Harlem, perhaps getting occasional nostalgic write ups in the NY Times or Village Voice. Scott's subsequent shift back into the public eye ironically began to truly gather momentum at The Riverside Funeral Home on St.Patrick's Day 1991. The sad/happy occasion was legendary rock n roll songwriter and old friend Doc Pomus' funeral.Jimmy had met Pomus back in the 40's, and they had stayed in touch. In fact, in 1987 Doc even wrote a letter to trade publication Billboard extolling Scott's virtues, decrying the hard times he was going through, and warning the record industry not to sleep on a chance to catch the long overdue second coming of Little Jimmy Scott.Now a few years later, Scott sat Shiva and was asked by Doc's family to perform "Someone To Watch Over Me" at the funeral, along with backing from fellow old timers Dr. John on piano and Fathead Newman on sax. Scott arrived early and sat unasumedly with hands folded in the back with his 4th wife Earlene. After the colorful eulogies, Jimmy's haunting voice over the tinkling keys stunned the room, with many so far back they could barely see his tiny head over the crowd. The room was filled with dozens of music biz luminaries, like Ahmet Ertegun, Jerry Wexler, and the aforementioned Seymour Stein of Sire who felt it was almost his spiritual duty to Doc to simply offer Scott a dignified deal.Jimmy later told a reporter in 2000 of the bittersweet good fortune coming from his friend's death, " The next day, this cat from Warners comes over with a contract. It was like Doc's hand reaching out from the grave."He went on to many new career highights ranging from appearing in David Lynch's Twin Peaks & having sold out shows across the US & Europe to performing onstage at Bill Clinton's inaugural ball gala in DC.Still Scott copes with the fact that his type of fame is fleeting, and has duly noted this phenomena when he sang onstage in the 1990's with the Grateful Dead to a crowd of thousands in his hometown of Cleveland, where the local daily paper referred to him as an "unknown female singer".Since the quirky career kickstart given to Scott from Pomus' funeral, he has continued touring, recorded some 8 or so albums on half dozn labels, and added a 5th wife to his bio as well. Now with his aged infirmities creeping in, Scott is restricted to moving around onstage via wheelchair...Music continues to be his life into his eighties, once telling ajournalist “I love performing. You live with reality every day. You can’t miss it. We can try to avoid a lot of trials in life, but it’s better to overcome than avoid. That’s what music has been for me. It’s been my opportunity to overcome.”"All I can do is give what I really feel." "It'll work out in the end. You gotta believe" Jimmy ScottTo Visit JIMMY SCOTT'S website CLICK HERE