Podcasts about John Coltrane

Show Notes:Host Steve Roby sits down with celebrated saxophonist Javon Jackson to explore two landmark projects: his new album Jackson Plays Dylan — a jazz reimagining of Bob Dylan's songbook — and his upcoming live tribute to Miles Davis's Kind of Blue at SF Jazz. Episode Highlights:Discovering Bob Dylan through jazz — How Art Blakey's attorney first introduced Javon to Dylan's catalog in his twenties, and why he heard the songs as jazz-friendly love poetry rather than folk or rock musicA dual tribute to two poets — The story behind Jackson Plays Dylan, originally conceived with the late poet Nikki Giovanni, who planned to write new poetry and even reach out to Dylan himself before her passing in 2024. The album is dedicated to her memory."Hurricane" — the single — Javon breaks down his soulful, boogaloo-inflected arrangement of Dylan's 1976 protest song about boxer Rubin "Hurricane" Carter, featuring Fender Rhodes and drummer Ryan Sands"Gotta Serve Somebody" — featuring Bay Area favorite Lisa FisherThe cross-fade concept — How each track on the album teases the next, creating a continuous listening experienceKind of Blue at SF Jazz — Javon discusses stepping into the role John Coltrane held on the original 1959 recording and what it means to honor that legacy without imitationArt Blakey's lesson — "Don't worry about Wayne Shorter — just be you." How that advice shapes Javon's approach to all tribute performancesMiles Davis and the power of silence — Blakey's 200-words vs. 10-words parable as a way of understanding Miles's minimalist geniusThe all-star ensemble — Dr. Eddie Henderson (a Miles associate), Lenny White (Bitches Brew), Buster Williams, Donald Harrison, and Patrice RushenLinks:Javon Jackson: jevonjackson.comKind of Blue Tribute at SF Jazz — Minor Auditorium, Saturday, March 21stAfternoon show: 4:00 PM | Evening show: 7:30 PMTickets: sfjazz.orgJackson Plays Dylan — available now (singles: "Hurricane," "Gotta Serve Somebody")Backstage Bay Area hosted by Steve Roby Visit: https://www.backstagebayarea.com

Ornette Coleman's The Shape of Jazz to Come (1959) may be the most controversial album in jazz history, and one of the most important.In 1959, a broke musician from Fort Worth, Texas arrived in New York City with a plastic saxophone and a band that didn't play by the rules. And EVERYONE had an opinion about it.Jazz legends hated it. Miles Davis said Ornette was "all screwed up inside." Max Roach punched him in the mouth. Dizzy Gillespie said Ornette's music wasn't even jazz. Meanwhile, Leonard Berstein and John Coltrane celebrated him.So what exactly is The Shape of Jazz to Come, and why was it so radical? Jazz pianists Peter Martin and Adam Maness break down every track, from "Lonely Woman" to "Chronology". They dig into harmolodics, free jazz, and how Ornette shaped everyone from Miles Davis (who eventually came around) to the '80s burnout crew, including Wynton Marsalis, who personally recommended this record to Peter.Dig into The Shape of Jazz to Come with us, and learn why this soft spoken saxophonist inspired both criticism and awe.-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/yhi-------------------------------Related You'll Hear It episodes:Mingus Ah Um: https://youtu.be/XYeRZ0Awui4Giant Steps: https://youtu.be/8umC2yZlPHcKind of Blue: https://youtu.be/ShzSnjP8bSgTime Out: https://youtu.be/-_qPhFSJeQUNina Simone at Town Hall: https://youtu.be/2PDjN5_2y5Q-------------------------------About You'll Hear It:In this popular music series Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love:https://youllhearit.com/newsletter-------------------------------0:00:00 - Ornette Coleman's The Shape of Jazz to Come0:01:42 - 1959: A Pivotal Year0:03:06 - Ornette Coleman: The Backstory0:04:44 - Ornette's Earlier Sound0:06:18 - Lore of the Five Spot0:07:00 - "Lonely Woman"0:12:27 - Harmolodics Explained (Charlie Haden + Don Cherry)0:13:27 - "Eventually"0:14:42 - The '80s Jazz Connection (Wynton, Branford, Kirkland)0:17:21 - "Peace"0:23:50 - Ad: Open Studio0:24:57 - Mingus Said THIS About Coleman0:27:47 - "Focus on Sanity"0:29:40 - When Peter Played with Charlie Haden0:32:43 - Don Cherry's Kids: Neneh Cherry + Eagle-Eye Cherry0:34:22 - "Congeniality"0:36:28 - "Chronology"0:37:23 - Technical Technique vs. Artistic Vision0:42:13 - Categories: Desert Island Tracks, Apex Moments0:48:55 - You'll Read It Newsletter + Ambies

2026 marks the 100th anniversary of the birth of John Coltrane, one of the most influential musicians in jazz history. Join guest host Rodney Stepp as we celebrate Coltrane's centennial by exploring his connections to Indiana Avenue. Indianapolis musicians were part of Coltrane's story from the very beginning. Coltrane credited the Naptown bandleader Joe Webb with providing one of his first professional gigs. Coltrane himself appeared on the Avenue at least twice during his career, including a week-long residency at the Chateau de Count & Eve. Join us for music exploring Coltrane's work with Naptown musicians including Joe Mitchell, Freddie Hubbard, J.J. Johnson, Ray Appleton, and Buddy Montgomery.

IM (11/12/1938 – 6/3/2020) – McCoy Tyner is Dood maar niet vergeten. De Amerikaanse jazzpianist en componist is bekend van zijn tijd in het kwartet van John Coltrane. Hij is ons vandaag in 2020 ontvallen…Continue Reading "In herinnering een invloedrijke jazzpianist"

On tonight's show: Red Norvo, Remember Count Basie and His Orchestra, Tickle Toe (78rpm Version) Bennie Moten, Moten Swing Ziggy Elman, I Have Everything to Live For Dinah Washington, John Coltrane, I Can't Remember Ella Fitzgerald, So Rare Helen O'Connell, Bye Bye Blues Jimmy Smith, One O'Clock Jump Duke Ellington, Moonbow Miles Davis, Miles Runs the Voodoo Down (45-RPM Single Edit) Hugh Masekela, Inner Crisis Count Basie, Mean to me Count Basie, Blues for Joe Turner Al Di Meola, Coral Fraser MacPherson Quartet, Come Sunday

Playlist: Stephen Riley, Ernest Turner - Doris / Among My Souvenirs / JStephen Riley - Nice Work If You Can Get It / EvidenceStephen Riley & Ernest Turner - Light Blue / Blessed AssuranceRon McClure - So Whats NewChase Sanborn - Line For Lyons

On this episode, Marc talks to Andy Beta, author of "Cosmic Music: The Life, Art, and Transcendence of Alice Coltrane," published in March of 2026. It's a thorough and insightful biography of the musician and her various lives as a prodigious young student, a seasoned jazz player, a wife and mother tightly bonded to her husband John Coltrane, and a swami who reached spiritual heights as a teacher and leader. Andy charts all of these versions of Coltrane while also providing close readings of her many amazing recordings.As he writes, "Even five years ago, it seemed unlikely that Journey in Satchidananda and the music of Alice Coltrane could ever be acknowledged or accepted by a wider audience...Yet I'm reluctant to classify Alice Coltrane as an example of a beloved artist going from obscurity to belated discovery. The stars are always above us, but the conditions on Earth must be right in order to fully glimpse their splendor. In that sense, Alice's "Cosmic Music" was always there, waiting for that moment when a new generation would be ready to hear its message."You can buy "Cosmic Music" here.We hope you enjoy Marc's conversation with Andy Beta!

https://www.johncoltrane.com/John Coltrane departed this mortal plane more than fifty years ago; today he remains among us, more alive than ever. His sound continues to grab the ears of an ever-widening circle of fans. His legend is stone solid: planted firmly in our culture as that of any 20th century musical giant. His saxophone sound—brooding, searching, dark—is still one of the most recognizable in modern jazz. His influence stretches over styles and genres, and transcends cultural boundaries. The modern ideal of music serving a deeply spiritual, connective purpose? A defining facet of John Coltrane.To Coltrane, a musician was a message-giver; making music was an endeavor tied to a larger, greater good. “I humbly asked to be given the means and privilege to make others happy through music,” Coltrane wrote in 1964 in a letter to his listeners, telling of a prayer to God. In 1966, less than a year before his death, he stated:“I know that there are bad forces, forces that bring suffering to others and misery to the world. I want to be the opposite force. I want to be the force which is truly for good.”Jazz journalist Nat Hentoff, who interviewed and championed Coltrane, praised him more soberly. “By the time A Love Supreme hit, Trane struck such a spiritual chord in so many listeners that people started to think of him as being beyond human. I think that's unfair. He was just a human being like you and me -- but he was willing to practice more, to do all the things that somebody has to do to excel. The real value in what John Coltrane did was that what he accomplished, he did as a human.”

El 2 de marzo de 1959 se grabó Kind of Blue, un álbum de estudio del músico estadounidense de jazz Miles Davis.La grabación contó con el legendario saxofonista John Coltrane y el contrabajista Paul Chambers, el equipo se completó con Julian "Cannonball" Adderley, en el saxofón alto, Jimmy Cobb a la batería y Bill Evans al piano.​

Vinyl jazz album covers are highly collectible, especially if they are from the iconic label of Prestige Records. These classic and cherished covers, especially from 1949 to 1960 are often even framed and displayed as stunning wall art. It was Prestige that ushered in a golden age of jazz through the music of Miles Davis, John Coltrane, Sonny Rollins, Billy Taylor and dozens of jazz legends. Their recordings were encased in extraordinary album jackets as part of a whole graphic universe of illustrations and photos.  Prestige was founded by Bob Weinstock who gave designers and photographers a carte blanche freedom to create art that reflected the unbridled spirit of the music. Those designers and photographers included Don Schlitten, David Young, Don Martin, Bob Parent, Reid Miles, Tom Hannan, Esmond Evan's and others. The amazing story behind the groundbreaking music and art of Prestige has now been chronicled in a new tabletop book published by RIT Press called “Wail: The Visual Language of Prestige Records.”  This remarkable book is authored by Mark Havens and Chris Entwistle. Havens is an artist, photographer and educator whose work has been exhibited internationally and is held in both public and private collections. Entwistle is an artist and illustrator who has used his passion for both jazz and postwar graphic design in his illustration work.  In my conversation with Mark and Chris, we explore the development of the book which took more than a decade of research to uncover hundreds of rare and meticulously photographed covers and never-before-seen sketches and outtakes from album shoots.

Escucha el episodio de esta semana con Fernando Navarro y Lucía Taboada.Todos los programas dedicados a los clásicos del género.

Blue and cool is the mood as we spin the dial back to the 1950s — a decade of chrome, tailfins, Cold War tension, Beat poetry, and late-night cigarette smoke curling toward the ceiling of a dimly lit club. Beneath the middle class culture of the day, there was a restless heartbeat of jazz. This was the era when bebop matured into cool, hard bop caught fire, and modal explorations began reshaping the language of improvisation. Artists like Miles Davis refined understatement into revolution, John Coltrane stretched harmony toward spiritual searching, Thelonious Monk bent notes and expectations alike, and Ella Fitzgerald turned the human voice into a virtuosic instrument. Jazz in the '50s wasn't background music — it was conversation, protest, poetry, and possibility. Dave's selected some important landmarks and deep tracks that take you into those dusty digital bins of jazz and improvisation this morning on Deeper Roots.

Playlist: Dayna Stephens - Bubbly / The Nomad / ESPReg Schwager, Ryan Oliver - Another Happening / Tender Love / Rushbrooke / 4JTRyan Oliver - Ballad Of Buffalo Bill / Blues For Josie RoseReg Schwager, Don Thompson - East Of Spadina

Ryan Estes sits down with Don Lucoff, founder of DL Media and Artistic Director of the Denver Jazz Fest. Don has spent nearly four decades in jazz as a publicist, producer, and festival programmer, working with legendary artists and labels like Impulse and Blue Note. Now he is helping build a national caliber jazz festival right here in Denver. The State of Jazz Don reflects on how dramatically jazz media coverage has changed. There was a time when major outlets regularly reviewed jazz records and featured artists on national television. Today, most of that coverage has vanished. Yet jazz itself has not disappeared. It continues to shape modern music. Artists like Kendrick Lamar have collaborated with jazz musicians such as Kamasi Washington and Robert Glasper. The influence is everywhere. As Don puts it, jazz can sell everything but itself. It is deeply embedded in popular culture, even if it is no longer center stage in mainstream media. Why Denver Is a Jazz City Denver has a stronger jazz pedigree than many people realize. The Front Range is home to major jazz education programs at the University of Northern Colorado, University of Denver, University of Colorado Boulder, Metropolitan State University of Denver, and Colorado State University. These institutions consistently produce world class players. Historically, Five Points was known as the Harlem of the West, a vital stop for touring jazz musicians crossing the country. Add the Beat Generation passing through town and you have a city that has long been part of America's cultural and musical story. Inside Denver Jazz Fest The Denver Jazz Fest spans 15 venues across Denver and includes performances in Boulder County. It blends national headliners with respected local artists, creating a citywide celebration. This year's lineup includes Pat Metheny, Branford Marsalis, Bob James, and John Beasley. The festival also honors the centenary of Miles Davis and John Coltrane with special tribute performances, including a presentation of A Love Supreme by Denver saxophonist Keith Oxman. The goal is inclusivity and accessibility. Whether you are a lifelong jazz fan or just jazz curious, there is a show for you. Where to Start Listening For new listeners, Don recommends classics from the Blue Note catalog such as Lee Morgan's Search for the New Land, Herbie Hancock's Maiden Voyage, Wayne Shorter's Speak No Evil, and Grant Green's Idle Moments. From Impulse, he points to John Coltrane's Crescent and A Love Supreme, Alice Coltrane's Journey in Satchidananda, and Pharoah Sanders' Thembi. These records are not homework. They are entry points into a vast and vibrant tradition. Final Takeaway Don's career proves one thing. You may not get rich in jazz, but you can build a life around passion, community, and great music. Denver Jazz Fest is more than a series of concerts. It is a statement that this city values artistry, education, and cultural history. Learn more and get tickets at denverjazz.org. See you there.

Playlist: Michel Portal - Ida LupinoMichel Portal - Le Chouartse IMichel Portal , Martial Solal - Fast Mood / Duo / Solitudes / Quand Les ChlamydesRichard Galliano - Milonga Del AngelMichel Portal - African Wind

Woody Shaw (born Dec 24, 1944) was one of the most influential and prolifically virtuostic trumpet players and jazz composers of the twentieth century. In his brief career (he died at the young age of 44) he was pivotal in applying many of the harmonic and technical innovations of saxophonist John Coltrane to the trumpet, and his compositions celebrated those innovations as well, pushing the  boundaries of jazz composition in an organic and logical way and extending the art of jazz trumpet playing.

En este episodio de Designaholic, Jorge Diego conversa con Pher, Jaki, Emiliano y Samantha, el equipo detrás de Magnolia, una plataforma joven que combina publicación física, contenido editorial y experiencias en vivo para activar comunidad creativa desde Monterrey. Hablan de cómo nació el proyecto desde una conversación entre amigos, del deseo de crear un objeto impreso que funcione como ancla cultural, y de cómo los eventos (fiestas, exhibiciones, showrooms y colaboraciones) se convirtieron en una herramienta real para conectar a la ciudad con el arte y la cultura. También comparten lo que han aprendido en el camino: crecer sin prisa pero con constancia, sostener una visión clara aunque el proyecto aún no dé dinero, entender los “errores” como aprendizaje y, sobre todo, crear desde un lugar humano —con curiosidad, disciplina y una energía que se contagia.Escucha este episodio si estás…• buscando inspiración para crear un proyecto cultural desde cero• intentando mezclar editorial + eventos + comunidad sin perder coherencia• en tus primeros años de carrera y quieres sostener un proyecto propio mientras trabajas• interesado en cómo se construye una audiencia sin pagar publicidad• buscando motivación realista sobre constancia, visión y paciencia creativaShownotesMagnolia* → https://magnoliamag.mx/Sigue a Magnolia* en Instagram → https://www.instagram.com/mag.nolia.mag/• ABL → https://www.abl-estudio.com/• Video Club Presenta → https://www.instagram.com/videoclubpresenta/?hl=es• Activación/bebida en Atlas → https://www.instagram.com/p/DNqkwlYR-jp/?img_index=1• Entrevista con Rosalía → https://youtu.be/LjmPHWXTRig?si=ZPaTYfPRJXi27VaJ• Evento durante Art Week en CDMX con Cantina Monterrey → https://www.instagram.com/p/DUMJQxaD6-e/• xpan → https://www.instagram.com/xpan.earth/• Patti Smith “Éramos unos niños” → https://www.amazon.com.mx/Éramos-unos-niños-PATTI-SMITH/dp/8499894453• Andy Warhol y “The Factory” → https://www.myartbroker.com/artist-andy-warhol/guides/5-things-to-know-about-warhols-factory• John Coltrane → https://www.johncoltrane.com/• David Lynch → https://www.imdb.com/es/name/nm0000186/• Pink Floyd → https://www.pinkfloyd.com/• The Last of Us → https://www.imdb.com/es-es/title/tt2140553/?reasonForLanguagePrompt=browser_header_mismatch Hosted on Acast. See acast.com/privacy for more information.

Saxophonist & composer Chris Potter returns to ‘Pablo Held Investigates’ for an in-depth conversation, recorded just before heading out on their European tour together. Zooming in on their repertoire, Chris shares insights into his compositional process. Other topics include Herbie Hancock's ‘Actual Proof’, what Chris pays attention to when listening to Charlie Parker and John Coltrane, playing on ‘Alegria’ by Wayne Shorter and much more.Catch the Pablo Held Trio & Chris Potter on their ongoing February 2026 European tour: Feb 18 – Munich (DE) // Unterfahrt Feb 19 – Hamburg (DE) // Laeiszhalle Feb 20 – Bonn (DE) // BeethovenhausFeb 21 – Dortmund (DE) // Domicil Feb 23 – Aachen (DE) // Theater Aachen Feb 24 – Engelsholm (DK) // Agerumsladen Feb 25 – Trondheim (NO) // Dokkhuset Feb 26 – Echternach (LUX) // Trifolion https://pabloheld.com

Hay canciones que no son solo música; son monumentos. Estructuras de mármol que el tiempo ha dejado intactas, partituras que todos hemos visitado hasta conocer cada rincón de su arquitectura. Pero hoy, en Música para Gatos, no nos interesa el mapa del arquitecto. Nos interesa el incendio. Nos interesa qué sucede cuando un artista decide que la obra original no es una jaula, sino un trampolín. Bienvenidos a un episodio dedicado a la valentía. Hoy no vamos a pasar lista a los clásicos; vamos a ser testigos de su reinvención. Porque interpretar un estándar es un oficio, pero habitarlo hasta hacerlo sangrar, hasta que se parezca más a quien lo toca que a quien lo escribió, eso es un milagro que ocurre pocas veces. Hoy no escucharemos 'versiones'. Esa palabra se queda corta. Lo que hoy vamos a presenciar son apropiaciones de identidad. ¿Qué lleva a Tania Maria a convertir la lluvia de Jobim en un volcán de teclados y percusión? ¿Cómo es capaz Al Jarreau de desafiar no solo al mismísimo Gillespie sino a la inspiración gracias a la cual Gillespie creo el tema original? ¿Qué secreto encontró Carmen McRae en los ángulos imposibles de Thelonious Monk? Hoy exploraremos ese instante mágico en el que el respeto deja de ser obediencia para convertirse en traición creativa en el más positivo sentido de la palabra. Desde la mística de John Coltrane reinterpretada por Benson hasta la luz mediterránea que Laura Simó proyecta sobre el clásico de Gino Paoli, Senza Fine. Este no es un programa para escuchar de fondo. Este es un programa para detener el reloj, bajar las luces y permitir que los propios músicos nos expliquen por qué el jazz es el último refugio de la libertad. Esto es Música para Gatos, y hoy el jazz se escribe con una caligrafía que no admite comparaciones.

Playlist: Ken Peplowski - Caroline, No / Main Stem / Without Her / For No OneKen Peplowski - Copi / Variations / The Soul In The WoodHank Jones - Lazy Afternoon / ArrivalKen Peplowski - Get Happy / King Porter Stomp

Welcome to Season 05 Episode 5.11- the "Triskaidekaphobia" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Alberto Rey/Frida: Viva La Vida; Nick Weiser/Fredonia Jazz events; Marc "Skippy"Price/Where Are They Wow Tour Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. Time Stamps (Approximate) Alberto Rey/Frida: Viva La Vida 02:59 Nick Weiser/Fredonia Jazz 22:15 Arts Calendar 41:00 Marc "Skippy" Price/Where Are They Wow 44:54 Artist Links Alberto Rey Nick Weiser Marc Price Media "Friday the 13th", written and performed by Froggy Fresh, from the Youtube channel "FroggyFreshRap", February 2015 Trailer from the documentary Frida: Viva La Vida, 2019 "Mr. P.C.", written by John Coltrane, from the album Giant Steps, May 1959, performed by the Fredonia Jazz Orchestra, October 2025 "Blue Train", written by John Coltrane, from the album Blue Train, September 1957, performed by the Fredonia Jazz Orchestra, October 2025 from S1E13 of Family Ties, "Sherry Baby", Jan. 12, 1983 theme from the motion picture Friday the 13th, composed by Henry Manfridi and Steve Jablonsky, Paramount Pictures, May 1980 Box Office at SUNY Fredonia Lake Shore Center for the Arts Main Street Studios Ticket Website SUNY Fredonia School of Music Events WCVF Fredonia WRFA Jamestown   BECOME AN OPERA HOUSE MEMBER!    

Scrimshire - Flames feat. Tamar Osborn & Faye HoustonLeo Middea - SulaméricaDina Ögon - JuvelEric Hilton - LalitāSababa 5 - BienvenueNate Smith - SupermoonDJ Harrison - Stay Ready (feat. Yaya Bey)Denny Zeitlin - Maiden VoyageSylvan Tirelle - Scrumbles4 Hero - Spirits in TransitBrian Jackson, Masters At Work - Lady Day & John Coltrane (ft. Rahsann Paterson) Thundercat - I Wish I Didn't Waste Your TimeJarrod Lawson - Do Whatchu GottaSAULT - Love Does Not Equal PainIncognito - Running AwayGeeW - Any LovePeter Matson, Stuart Bogie - Bogie's Acid Bet (Original Mix)t.45trio One On OneMISS C-LINE, Berlin Lama I'll Be AlrightVital Disorders - ZombieOcote Soul Sounds - PrimaveraThe Appetizers - A Message From The Meters Lance Ferguson - Cold BearGraham Central Station - Love and HappinessBrooklyn Funk Essentials - Bust The Bus StopMF Robots - Show Us The WayZo! & Tall Black Guy - Keep Him Satisfied (feat. Sy Smith) Agent Black - Give It To MeThe Underboss - I Hear MusicQuantic & Sly5thAve - TwangGlenn Echo & Daniel Meinecke - I Need Somebody To Love Tonight feat. Mark-Anthony ThomasKAYTRANADA - BLAXFatspoon - Tecer (feat. Tiago Nacarato)Sotomayor - Si te vas2000BLACK - Constant DissappointmentJazzanova - Mwela, Mwela (Here I Am) (Nautilus Rework)Soil & "Pimp" Sessions - Summer GoddessUnited Future Organization - Loud Minority (Club Mix)The Quantic Soul Orchestra - Painting & JourneysCaptain Planet & Santrofi - CocoaseP'taah - Staring at the Sun

Playlist: Richie Beirach - Nardis / EonRichie Beirach - Sunday Song / Inborn / ParadoxDave Liebman - The Code's Secret Code

Before Blue Note became a brand and before Impulse! turned jazz into a cosmic mission, there was Prestige Records — raw, loose, experimental, and absolutely electric. Today, I'm joined by Chris Entwisle, authors of Wail: The Art of Prestige Records 1949–1960, a stunning deep dive into the label that captured some of the most vital moments in jazz history — from Miles Davis and John Coltrane to Sonny Rollins, Thelonious Monk, and Eric Dolphy. We talk about Prestige's iconic album art, the culture of speed-session recording, the musicians who defined the label's sound, and why Prestige still feels like the most human, gritty, and dangerous chapter in jazz's golden era. If you love jazz history, vinyl culture, or the story behind legendary records, this one's for you.

The Jazz Session No.452 from RaidersBroadcast.com as aired in Jan-Feb 2026, featuring the sadly departed, and awesomely talented modern jazz guitarist Ralph Towner, and his work from 1972-91. TRACK LISTING: Lu Lu's Back In Town - The Cable Street Rag Band; Riverside Blues - Kenny Ball; 3/4 in the Afternoon - Kenny Wheeler; The Moors - Weather Report; Bop City Flamenco - Lionel Hampton & His Orchestra; Evidence - Joel Ross; Alpenbridge - Oregon; Amaryllis - Oregon; What's New? - John Coltrane; Solid - Sonny Rollins; Ecclusiastics - Charles Mingus; Ping Pong - Billy May; Icarus - Paul Winter Consort; Ode to a Fillmore Dressing Room - Paul Winter Consort; Nutty - Thelonius Monk; You're Driving Me Crazy - Lee Konitz; Balance Beam - Ralph Towner; Alar - Ralph Towner; Big City - Lenny White; Belielle - Yazz Ahmed.

Playlist: Jaco Pastorius - Donna Lee / Portrait Of TracyJaco Pastorius - 3 Views of A SecretSonny Rollins, Paul Bley - All The Things You Are / Lover ManJoni Mitchell - HejiraJaco Pastorius, Paul Bley - VashkarRichie Beirach - Nocturne No 2

There's a church in San Francisco where John Coltrane's music is more than jazz -- it's doctrine. The Coltrane Church, as it's often called, is the oldest Black jazz organization in San Francisco now. We talk to its founders about the "sound baptism" that jumpstarted the church and learn how it has adapted to a changing San Francisco. Additional Resources: Inside the San Francisco Church Where John Coltrane is a Saint Read the transcript for this episode Sign up for our newsletter Got a question you want answered? Ask! Your support makes KQED podcasts possible. You can show your love by going to https://kqed.org/donate/podcasts This story was reported by Asal Ehsanipour. Bay Curious is made by Olivia Allen-Price, Katrina Schwartz and Christopher Beale. Additional support from Jen Chien, Katie Sprenger, Maha Sanad, Ethan Toven-Lindsey and everyone on Team KQED. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:59:46 - All I Need - par : Nathalie Piolé -

Notes and Links to Timothy Welbeck's Work     Timothy Welbeck, Esq., is an affiliated faculty member in the Department of Africology and African American Studies, where he previously served as an Assistant Professor of Instruction. There he teaches an array of popular courses, including a course he developed entitled Kendrick Lamar and the Morale of the m.A.A.d city. More broadly, Timothy's scholarly work focuses on contemporary issues of racial identity in America, the intersection of racial classifications and the law in the American context, contemporary African American culture, and hip-hop as a microcosm of the Black experience. Timothy has also written several peer-reviewed journal articles including “We Have Come Into This House: The Black Church, Florida's Stop W.O.K.E., and the Fight to Teach Black History.” He also authored “Specter of Reform: The late Sen. Arlen Specter's Criminal Justice Reform, the Violent Crime Control and Law Enforcement Act of 1994, and its Role in Expanding the Modern Prison Industrial Complex,” explores the impact of the infamous 1994 Crime Bill in providing the infrastructure for mass incarceration within the United States. The research, funded by the Arlen Specter Center fellowship, examines how the federalization of criminal law, pursuant to the Commerce Clause, has led to expansive growth in federal law enforcement, imprisonment, and thus setting the foundation for the modern carceral state. Timothy's article “People's Instinctive Travels and the Paths to Rhythms: Hip-Hop's Continuation of the Enduring Tradition of African and African American Rhetorical Forms and Tropes,” examines hip-hop's continuation of centuries-old African cultural norms and aesthetic values. As an attorney, Timothy has long been an advocate for justice, using his legal expertise to defend society's most vulnerable individuals, including survivors of human trafficking, survivors of police brutality, and the indigent. He has also provided crisis management, guidance, and legal counsel to churches and nonprofit organizations across the globe. In that capacity, Timothy is the Chair of the Board of Directors for The Witness Foundation, and an Advisory Board member of For the Future Organization. Timothy has also served as the Civil Rights Attorney for the Philadelphia Chapter of Council on American-Islamic Relations (CAIR), where he defended the constitutionally protected civil rights and liberties of those who experience discrimination and harassment based on their faith, race, ethnicity, and/or national origin, particularly members of the Muslim community within Pennsylvania.  As a hip-hop artist, he has released four full length recordings, shared the stage with national and international acts (Janelle Monáe, Jidenna, EPMD, Dead Prez, and Immortal Technique), won songwriting contests (Session 1 Grand Prize in 2010 John Lennon Songwriting Contest), garnered high compliments from hip-hop legends, industry taste-makers (Sway) and record executives (VP of A&R at Def Jam, Lenny S).  His latest work, entitled ‘Trane of Thought, is a live recorded hip-hop album that melds songs from his first two albums the musical style of John Coltrane. Timothy presently serves as the Pastor of Formation and a Teaching Elder at Epiphany Church of Wilmington, bringing over twenty years of ministry experience. He fosters spiritual growth through expositional and topical preaching, community engagement, trainings, workshops and spiritual counseling. In his role, he equips Epiphany members to live out their faith practically in their communities and prepare others to do the same. Timothy's work as an attorney and scholar has allowed him to contribute to various media outlets, such as: Axios, BBC Radio 4, CBS, CNN, The Huffington Post, NBC, The New York Times, NPR, The Philadelphia Inquirer, REVOLT TV, The Washington Post, VOX, and 900 WURD AM. He has lectured nationally and internationally at esteemed institutions like: Magdalen College of Oxford University, Georgetown University, Swarthmore College, and provided invited keynote addresses at major corporations like 1Hotels, Campbell Soup, and Merrill Lynch. As a contributing writer, Timothy has bylines in The Huffington Post, The Philadelphia Inquirer, WHYY, and RESPECT Magazine.  He earned his J.D. from Villanova University Charles Widger School of Law and his B.A. from Morehouse College, where he graduated cum laude and was awarded the Corella and Bertrand Bonner Scholarship. Timothy finds his greatest joy and fulfillment at home with his wife and three children.     Timothy Welbeck's Website Video: “Kendrick Lamar and the Morale of m.A.A.d City Hiphop Course | Prof. Timothy Welbeck Explains”   Video Conversation with Georgette from XXL: “Inside the Kendrick Lamar College Course Created to Study His Lyrics and Life” At about 2:50, Timothy highlights some “surreal moments” in his hip hop career and advocacy At about 4:20, Timothy responds to Pete's question about declining or rising advocacy in contemporary hip-hop  At about 6:30, Timothy reflects on the balance between a democratization of hip hop and old models of record company control At about 9:05, Timothy talks about his reading background, including a Tim Follett read (!) and other formative works At about 12:10, Timothy talks about being a “late bloomer” in his hip hop exposure At about 13:25, Timothy cites Nas, Lauryn Hill, Blackstar, Outkast, The Roots as some of his favorite rappers and groups At about 14:45, Timothy talks about friends The Remnant and how they helped him to “understand the power of [his] own voice” At about 15:30, Timothy responds to Pete's question about how he listen to music now that he has written about and taught classes so extensively about hip hop  At about 17:00, Timothy breaks down his process for listening to music that he will be writing/teaching about  At about 17:50, Timothy explains the different ways of ordering Kendrick Lamar's albums/mixtapes, and expands on the class' contours  At about 20:30, Timothy talks about the class on Kendrick Lamar's seeds, calling it "serendipitous"  At about 23:10, Timothy talks about the class structure, including the foundation established at the beginning of the class At about 26:30, Timothy talks about how he goes about establishing Compton as an entity in itself, while at the same time showing its similarities to other casualties of government neglect and racism  At about 28:25, Timothy talks about the "compelling" way in which Kendrick Lamar is both popularly respected and critically-acclaimed  At about 31:55, Pete and Tim discuss an early Kendrick Lamar concert At about 32:25, Pete and Tim reflect on Kendrick Lamar's love of Black culture and for important music legends, particularly the way in which he featured titans on To Pimp a Butterfly At about 34:30, Tim describes the great insights  At about 36:05, Marcus J. Moore's The Butterfly Effect and Cole Cuchna and his Dissect Podcast are shouted out by Timothy as experts on Kendrick and his work, and DJ Head as well and Curtis King are highlighted as close colleagues of Kendrick's At about 38:00, Timothy shares some of his favorite bars from Kendrick Lamar At about 41:15, Pete and Timothy fanboy over Kendrick's verse on “Nosetalgia” and Timothy gives kudos to Cole Cuchna's breakdown of the numerology of the verse At about 42:10, Timothy talks about a few songs that might be best representative of Kendrick Lamar's music        You can now subscribe to the podcast on Apple Podcasts, and leave a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. His conversation with Jeff Pearlman, a recent guest, will be up at Chicago Review in the next week or so.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, DIY podcast and extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!    This month's Patreon bonus episode features an exploration of children's literature on standout writers from the show, including Robert Jones, Jr. and Javier Zamora, as well as Pete's cherished relationship with Levar Burton, Reading Rainbow, and libraries.    Pete has added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.     This is a passion project, a DIY operation, and Pete would love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 319 with Farah Ali, writer of the novel The River, The Town, and the short story collection People Want to Live. Her fiction has been anthologized in Best Small Fictions and the Pushcart Prize where it has also received special mention. She is the cofounder of Lakeer, a digital space for writing from Pakistan, and reviews editor at Wasafiri. Her novel Telegraphy is out on January 16, from CB editions, and the episode airs on Pub Day.    Please go to ceasefiretoday.org, and/or https://act.uscpr.org/a/letaidin to call your congresspeople and demand an end to the forced famine and destruction of Gaza and the Gazan people.  

Celebrating the 100th Birthdays of: Miles Davis, John Coltrane, Tony Bennett, Julie London, Big Mama Thorton, Buddy Greco, Stan Freberg, Chuck Berry, And Ray Brown. 

durée : 01:00:02 - Who can I Turn to ? - par : Nathalie Piolé -

Will Epstein is a composer, singer and multi-instrumentalist based in Woodstock NY. His newest release, Yeah, mostly (out January 9th via Fat Possum Records) takes a turn from his avant-guard and soundscape tendencies and very comfortably settles into a more traditional form of song writing and direct lyricism, but retains the sonic intrigue of his earlier work. Will shares his experience of growing up in an artistic atmosphere in NYC, how that shaped his expression over the years and how he found himself playing saxophone for a member of the Velvet Underground as a youngster. Will tells us why Yeah, mostly has helped him find his lyrical language, how the recording process freed him up creatively and why he thinks more direct and literal lyrics can bring the listener into reality in a psychedelic way. Joe and Will discuss the fruitfulness of the “song a day” exercise, their love for costume dramas and how Will heard John Coltrane in Animal Collective. Will tells us why laughter can be an indication of his best work and we hear some new tunes. Will Epstein Fat Possum Records SPECIAL REQUEST FROM JOE ..."if you like this podcast, please subscribe and tell all your friends. also, if you love, hate or kinda sometimes like Tour Stories/The Check In, please express yourself loudly in the comments . Lovingly, Joe Please visit and support ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Distrokid⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for continued exclusive listener discounts. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the leader in audio repair, mixing and mastering. Ruinous uses ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and you should too. Trust us. Check out Ozone 12 now! Ep supported by @distrokid. Distro now connects direct to TikTok!!!!! with exclusive access to your tiktok artist account.  @thetourstories listeners get 30% off at distrokid.com/vip/tourstories. GET YOUR MUSIC OUT THERE! ITS EASY WITH ⁠⁠⁠⁠⁠⁠⁠Distrokid⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

It's All Blues this week as we review and rank Kind Of Blue, the revolutionary instrumental modal jazz album by the legendary Miles Davis! Davis and his sextet (full of icons like John Coltrane and Julian "Cannonball" Adderley) abandoned the idea of chord progressions and studied scales, with minimal rehearsal. The result is a five-track improvised album that "changed the language of music." Its songs have become staples in the jazz canon, to the point that a certain chord is named the So What chord because it's so recognizable from this album. We'll talk about Miles' storied life and fluctuating career that led to his 1959 masterpiece... and then figure out why he later dismissed it as "warmed-over turkey."James and Jazzy Connor talk about bearing Davis' torch into the future! As our resident trumpeter, Connor is quite familiar with Miles Davis. We learn how puffed up he can get. The Mixtaper is freestyling Fact Or Spin with tales about a vow of silence, a mysterious good Samaritan, and a Presidential Mix-Up that ended up Kinda Red. Then, get ready for a five-course meal as we examine the album track by track. Whether you're a decadent soup or an arugula dressed in regret, there's something on this album for every appetite.How's this jazz album sit with you? Are there other foods you'd put in your five-course meal? Let us know if hard bop and modal jazz is music to your ears in the comments or on social media, and be sure to give us a follow! It's all no charge-- there are no Freddie Freeloaders here!Keep Spinning at www.SpinItPod.com!Thanks for listening!0:00 Intro4:01 About Miles Davis16:34 About Kind Of Blue28:18 Awards & Accolades29:19 Fact Or Spin30:52 He Took A Year-Long Vow Of Silence35:05 He Had A Presidential Mix-Up38:49 He Was Saved By A Famous Good Samaritan45:34 Albino Loco Punched Him In The Face50:25 Album Art51:23 So What57:01 Freddie Freeloader1:00:41 Blue In Green1:05:03 All Blues1:09:18 Flamenco Sketches1:12:37 Final Spin Hosted on Acast. See acast.com/privacy for more information.

It's the most wonderful time of the year! Denzember 2 kicks off with a conversation about Spike Lee and Denzel Washington's first collaboration, 1990's Mo' Better Blues, a film about jazz, art-making, and the pursuit of greatness at the expense of personal relationships. The terrific Minnie Zondi is our guest! We discuss the film's tepid reception upon release, and how a (predominantly white) critical audience failed to understand the political dimensions of a film about Black music and its commercial and social appropriation. Then, we reflect on Spike Lee's career and his brilliant cohort of collaborators, including composer Terence Blanchard (making his first appearance on a Spike Lee soundtrack), cinematographer Ernest R. Dickerson, and the electric stylings of costume designer Ruth E. Carter. Finally, we reflect on the movie's complicated ending, and what we're to make of its reflections on artistry, family, and whether exceptional talents can hold the two in balance. Follow Minnie Zondi on Twitter. Follow Minnie on Substack. Read Minnie's Twitter thread on Ruth E. Carter's costume work for Ryan Coogler's Sinners.Get access to the whole Denzember experience, all of our premium episodes and bonus content, and an invite to the Hit Factory Discord by becoming a Hit Factory Patron for just $5/month.....Our Denzember Theme Song is "Funk" by Oppo

A track from the excellent new De La Soul album. Broken Beat with WheelUP remixing Village Junction, and Streeton remixing Don Pascal feat René Alvarez. Jazz from Duke Ellington & John Coltrane (with two tracks influenced by this tune on the show too). EX GENERATION with a South Asian style cover of Sister Sledge. Soul from Masego, Azamiah, Dwele, and JGRREY. Norah Jane & MOR.LOV with a deep and dubby sung vocal track. Shy One with a heavy bass dance floor groove. Plus plenty more music treats.

If you want to change the game, first you need to master the game.  Coming up in Newark in the fifties was the exact right place and time for Larry Young to learn the idiom of the Hammond B-3 organ, and he learned his lessons well.  His early records embody the soul-jazz organ trio sound made popular by Jimmy Smith.   But as the sound of the sixties emerged, Larry Young (also known by his Muslim name, Khalid Yasin Abdul Aziz) was reaching for something more.  His journey, including hours of conversation and jam sessions with spiritual avatar John Coltrane, brought about an expanded consciousness that revealed itself in his music.  Larry Young pulled an unmistakably boisterous explosion of sound through the B-3.  He showed new horizons that fellow organists have been pursuing for more than half a century.    Brian Charette is one of them.  He is not only an endlessly inventive multi-instrumentalist and bandleader, but also one of our best students of the music's history.  He joins host Mitch Goldman on this week's Deep Focus.   Did the WKCR archives provide recordings of Larry Young and John Coltrane's private sessions?  Unfortunately, none are known to exist.  Do we have rare recordings of Larry Young and Jimi Hendrix pushing each other in new directions?     Find out Monday (10/27) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD, or wkcr.org.   Or join us when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  Just like WKCR, it's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Learn more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.   Photo credit: Photo by Francis Wolff. Shot in Paris. Michael Cuscuna unearthed this photo, amongst others, for Resonance's “Larry Young In Paris” in 2016. #WKCR #DeepFocus #LarryYoung #BrianCharette #JimiHendrix #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman 

In this episode I sat down with Grammy winning tenor saxophonist, composer and educator Darryl Yokley. Born to an African-American father and a first generation Mexican mother, Yokley draws deeply from his diverse cultural roots.  During our conversation we hear about him playing multiple instruments at an early age, his exposure to jazz and classical music and the influence of John Coltrane. The conversation moves into a deep dive of his new album, which is dedicated to the great novelist and father of magical realism, Gabriel Garcia Marquez - "Un Mundo En Soledad." We also dive into the daunting task of studying the author's memoirs and rereading his novels to do a proper tribute. He also touches on being part of Alicia Keys' Grammy winning Broadway show, "Hell's Kitchen."https://www.darrylyokley.com

The link between jazz and what we now call reggae goes back 70+ years to the time of Count Basie and Duke Ellington's big bands in the 1940s and '50s, which were very popular in Jamaica. These records arrived through sailors, migrants, and sound-system operators like Coxsone Dodd and Duke Reid, who travelled to the U.S. specifically to buy jazz and R&B 78s. The island absorbed these sounds and fused them with mento (Jamaica's folk music), African rhythmic traditions, New Orleans R&B (Fats Domino, Rosco Gordon), and bits of Country and Gospel. Out of this blend came the foundation of what would eventually become ska. Early ska bands felt like compact jazz big bands- horn sections front and centre, trading solos, swinging lines, and arrangements shaped by jazz harmony. The Skatalites were made up of jazz-trained musicians from the Alpha School of Music, including Don Drummond, Tommy McCook, Roland Alphonso, Lester Sterling, and Jackie Mittoo. Players like Ernest Ranglin and Monty Alexander brought traditional jazz phrasing into their playing. If you listen to early ska, you hear bebop-style solos, ii–V–I chord movements, blue notes, horn riffs modelled after Ellington and Basie, and rhythm sections that mix jazz walking lines with a distinct upbeat “skank.” The shift from jazz to ska was a natural evolution. Sound systems were growing in popularity, and access to new releases from the USA was limited to those who could travel there and purchase them, as mentioned with Dodd & Reid. Jazz and Jump Blues were beginning to disappear, and Sound System operators needed fresh music to keep people coming back, so they started looking to existing talent on the island. The early days of Ska were recorded by musicians who took those elements and reshaped them into something uniquely Jamaican, emphasising the offbeat, simplifying the walking bass into a pulsing groove, and blending African-derived rhythms with American jazz techniques. This mixture created the dance-driven sound of ska, which later slowed into rocksteady and evolved into what we now call reggae. For today's mix, I explore a collection of jazz tracks I've always gravitated toward—those with a groove, that swing, and that carry some of the same energy that fed early Jamaican music. I focused on artists like Miles, Blakey, and Dizzy for this 90-minute session, and I hope you enjoy it. PLAYLIST Lee Morgan – The Sidewinder (Remastered 1999 / Rudy Van Gelder Edition) Herbie Hancock – Cantaloupe Island (Remastered 1999 / Rudy Van Gelder Edition) The Dave Brubeck Quartet – Take Five John Coltrane – A Love Supreme, Pt. I – Acknowledgement Miles Davis– So What (feat. John Coltrane, Cannonball Adderley & Bill Evans) Miles Davis – Milestones (feat. John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers & Philly Joe Jones) Art Blakey & The Jazz Messengers – Moanin' Dizzy Gillespie – Salt Peanuts Charlie Parker – Ko Ko Stan Getz – Wee (Allen's Alley) Art Blakey; Thelonious Monk – Rhythm-A-Ning Max Roach – Tune-Up Clifford Brown; Max Roach Quintet – Cherokee

Welcome to Strictly Jazz Sounds. In this episode, we spotlight saxophonist Mark Turner, an LA native known for his technical brilliance and soulful undertones. Turner's music is influenced by R&B and jazz from his upbringing, as well as legendary saxophonists like Warne Marsh and John Coltrane. Mark's humility and self-deprecation are evident, but his artistry shines through, especially in his latest project, Reflections On: An Autobiography of an Ex-Colored Man, produced in collaboration with Jimmy Katz and Giant Step Arts. The episode explores how Turner's experiences as an African American have shaped his work in the thematic 10-part suite inspired by the novel penned by civil rights activist, author and poet, James Weldon Johnson, "An Autobiography of an Ex-Colored Man." Our conversation covers Turner's compositional process, the challenges of identity and race, and the historical context behind his music. He also shares plans for future projects, including those inspired by Sci-Fi author Octavia Butler, with hopes of returning to Giant Step Arts. You'll hear four movements from the quintet: Mark Turner-tenor sax and narration, Jason Palmer-trumpet, David Virelles-piano, Matt Brewer-bass, and Nasheet Waits-drums. The featured compositions are Movement 1: Anonymous-4:04 (4:24), Movement 4: New York-12:03 (45:18), Movement 9: Identity Politics-6:11(1:07:00), and Movement 10: Closure-2:22 (01:20:08). I am grateful to Jimmy Katz and Giant Step Arts for use of the recordings. Thank you for tuning in. If you haven't subscribed yet, please do so to stay updated on future episodes, jazz news, and our annual Top 20 Jazz playlist. All the music played on this podcast has been authorized. Support jazz musicians by buying their music and support live jazz wherever you are. Now, let's begin with Movement 1. Enjoy the conversation!

Ravi Coltrane with Marcus MillerMarcus Miller interviews Ravi Coltrane about his musical evolution and the dual legacy of his parents, Alice and John Coltrane. This insightful and candid talk, recorded live on the Journey of Jazz cruise, covers the challenges of growing up under the shadow of a jazz icon and finding one's own voice through the music.Key TakeawaysThe episode is a conversation between host Marcus Miller and guest Ravi Coltrane, focusing on Ravi's development as a jazz saxophonist.Ravi's father, John Coltrane, passed away in 1967 when Ravi was 2 years old, leaving Ravi to be raised by his mother, Alice Coltrane. Ravi notes that his father's instruments are currently in his stateroom.Ravi began his musical journey playing the clarinet throughout junior high and high school. He switched to the soprano saxophone at age 16 after his mother gave it to him for his birthday as a hint, later moving to the tenor saxophone.Ravi did not initially feel pressure from his famous last name because, during the 1970s in the San Fernando Valley where he grew up, John Coltrane was still considered "underground" or "counter culture".The death of Ravi's older brother, John Jr., in an automobile accident when Ravi was 17, caused a "void" that Ravi later filled by studying his father's music. Ravi began listening to his father's records to gain answers for questions asked at parties, and through this, the music "hit" him.Ravi worked with key members of the John Coltrane Quartet, including joining drummer Elvin Jones's band in 1991 (though he felt he was "prematurely" ready) and later working with pianist McCoy Tyner in the 2000s.Ravi and Marcus discuss the meaning of being "ready" to perform at a high level, noting that it means being "prepared to do the job properly" and recognizing that evolution and learning are continuous processes.Host and Guest InfoHost: Lee Mergner (introduction), Marcus Miller (interview).Guest: Ravi Coltrane.This talk was recorded during the Journey of Jazz cruise. Marcus Miller provided the theme music, which is a clip from his song "High Life" on his album Aphrodesia on Blue Note.The talk was captured by Brian Ratchkco and his production team.Send us a text

If you want to change the game, first you need to master the game.  Coming up in Newark in the fifties was the exact right place and time for Larry Young to learn the idiom of the Hammond B-3 organ, and he learned his lessons well.  His early records embody the soul-jazz organ trio sound made popular by Jimmy Smith.   But as the sound of the sixties emerged, Larry Young (also known by his Muslim name, Khalid Yasin Abdul Aziz) was reaching for something more.  His journey, including hours of conversation and jam sessions with spiritual avatar John Coltrane, brought about an expanded consciousness that revealed itself in his music.  Larry Young pulled an unmistakably boisterous explosion of sound through the B-3.  He showed new horizons that fellow organists have been pursuing for more than half a century.    Brian Charette is one of them.  He is not only an endlessly inventive multi-instrumentalist and bandleader, but also one of our best students of the music's history.  He joins host Mitch Goldman on this week's Deep Focus.   Did the WKCR archives provide recordings of Larry Young and John Coltrane's private sessions?  Unfortunately, none are known to exist.  Do we have rare recordings of Larry Young and Jimi Hendrix pushing each other in new directions?     Find out Monday (10/27) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD, or wkcr.org.   Or join us when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  Just like WKCR, it's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Learn more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.   Photo credit: Photo by Francis Wolff. Shot in Paris. Michael Cuscuna unearthed this photo, amongst others, for Resonance's “Larry Young In Paris” in 2016. #WKCR #DeepFocus #LarryYoung #BrianCharette #JimiHendrix #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman 

Here's SF's poet laureate Jenny Lim reading her piece “Time traveler, For Bob Kaufman and John Coltrane.”

If you want to change the game, first you need to master the game.  Coming up in Newark in the fifties was the exact right place and time for Larry Young to learn the idiom of the Hammond B-3 organ, and he learned his lessons well.  His early records embody the soul-jazz organ trio sound made popular by Jimmy Smith.   But as the sound of the sixties emerged, Larry Young (also known by his Muslim name, Khalid Yasin Abdul Aziz) was reaching for something more.  His journey, including hours of conversation and jam sessions with spiritual avatar John Coltrane, brought about an expanded consciousness that revealed itself in his music.  Larry Young pulled an unmistakably boisterous explosion of sound through the B-3.  He showed new horizons that fellow organists have been pursuing for more than half a century.    Brian Charette is one of them.  He is not only an endlessly inventive multi-instrumentalist and bandleader, but also one of our best students of the music's history.  He joins host Mitch Goldman on this week's Deep Focus.   Did the WKCR archives provide recordings of Larry Young and John Coltrane's private sessions?  Unfortunately, none are known to exist.  Do we have rare recordings of Larry Young and Jimi Hendrix pushing each other in new directions?     Find out Monday (10/27) from 6p to 9p NYC time on WKCR 89.9FM, WKCR-HD, or wkcr.org.   Or join us when it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.  Subscribe right now to get notifications when new episodes are posted.  Just like WKCR, it's ad-free, all free, totally non-commercial.  We won't even ask for your contact info.   Learn more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on Instagram @deep_focus_podcast.   Photo credit: Photo by Francis Wolff. Shot in Paris. Michael Cuscuna unearthed this photo, amongst others, for Resonance's “Larry Young In Paris” in 2016. #WKCR #DeepFocus #LarryYoung #BrianCharette #JimiHendrix #JazzRadio #JazzPodcast #JazzInterview #MitchGoldman 

This was a good Saturday workout: not the hardest Saturday ever, but engaging, with some truly effervescent cluing. We covered the best-of-the-best in today's episode, but we would also like to note 26A, John Coltrane album whose title suggests making major progress, GIANTSTEPS (check it out, an awesome work); 46D, Pussyfoot: SNEAK; and the star of one of our favorite Marvel series, 9D, Elizabeth of "Wanda Vision", OLSEN (no relation to the photographer Jimmy OLSEN, one reason being that the latter is entirely fictional).Show note imagery: MANSAMUSA, the Elon Musk of his day (1280-1337 AD), admiring his favorite element on the periodic table, gold.We love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

This week, a nostalgic Cancer Last Quarter Moon is a time to reflect on what we've accomplished in our recent New Moon goals. Venus, the goddess of love and beauty, glides into her elegant home sign of Libra, and promptly meets up with idealistic Neptune, unpredictable Uranus, and probing Pluto. Power issues rise to the surface as Pluto stations direct. The Sun and Jupiter bring a fresh start, but might bring up conflicts in all types of relationships. Words can get a little hurtful as Mercury and Mars come together in Scorpio. And a listener question about houses in the horoscope that are ruled by the same planet - how are they connected? Plus: Calming tea, an autumn leaf, and a trip to Disneyland. Read a full transcript of this episode. It's eclipse season! Order your copy of my “Followed by a Moonshadow” eclipse report! Have a question you'd like answered on the show? Email April or leave it here! Subscribe to April's mailing list and get a free lunar workbook at each New Moon! Timestamps: [01:44] Moon Report: Cancer Last Quarter Moon (Mon., Oct. 13, 11:13 am PDT, 20º39' Cancer-Libra). Reflect on what you've built since September's Virgo Solar Eclipse. Balance your personal spotlight (“A prima donna singing”) with collective harmony (“A crowd upon the beach”). [04:05] Lunar Phase Family Cycle (LPFC) Connects back to the July 17, 2023, New Moon in Cancer — a long-term story about power, control, and emotional authenticity, with peaks at the First Quarter Moon on April 15, 2024, and Full Moon on Jan. 13, 2025. [06:02] Void-of-Course Moons. Mon., Oct. 13, Moon in Cancer trines Saturn at 10:05 pm PDT. It's VOC for 5 hours 42 minutes, then enters Leo on Tues. Oct. 14 at 3:47 am. Perfect for bedtime reflection and initiating soothing routines. [07:18] Wed., Oct. 15, Moon in Leo sextiles Sun in Libra, 10:06 pm PDT. It's VOC for 12 hours 59 minutes, then enters Virgo on Thu. Oct. 16, 11:05 am. Express yourself creatively. [08:13] Sat., Oct. 18, Moon in Virgo opposes Saturn at 2:10 pm PDT. It's VOC for 6 hours 51 minutes, then enters Libra at 9:01 pm. A reality check — do what you can, then let go. [09:31] Venus enters Libra (Mon., Oct. 13, 2:19 pm PDT, until Nov. 6). Venus in Libra delights in beauty, grace, and harmony — but expects manners and mutual respect. It's a time for refinement, art, music, and creating peaceful surroundings. [10:56] Venus opposes Neptune (Mon., Oct. 13, 6:16 pm PDT, 0º12' Libra-Aries). Beautiful illusions or confusing emotions? This transit heightens creativity and longing. Lean into art and inspiration, but beware of wishful thinking in love or finances. [12:52] Pluto stations Direct (Mon., Oct. 13, 7:52 pm PDT) at 1° Aquarius on the Sabian symbol “An unexpected thunderstorm,” an awakening to change and empowerment. With Venus and Uranus in the mix, expect surprising revelations and renewal. Pluto has been retrograde since May 4. [14:33] Venus trines Uranus (Tue., Oct. 14, 7:09 am PDT, 0º52' Libra-Gemini). Fresh energy in relationships, art, and finances — and maybe a glimpse beneath the surface. Sabian symbols: 1 Libra, A butterfly made perfect by a dart through it, and 1 Gemini, A glass-bottomed boat in still water. [16:55] Venus trines Pluto (Tue., Oct. 14, 4:45 pm PDT, 1º22' Libra-Aquarius). Depth of feeling, and a reminder to love deeply, feel our losses, remain open to life's beauty. Sabian symbol: 2 Aquarius, An unexpected thunderstorm. [18:31] Sun Square Jupiter (Thu., Oct. 16, 10:43 pm PDT, 24º06' Libra-Cancer) Confidence meets challenge — a time to stretch beyond your comfort zone while keeping your balance. Excellent for self-promotion, creative pursuits, and reconnecting with loved ones. Sun's Sabian symbol: 25 Libra, All information in the symbol of one leaf. [21:12] Mercury conjunct Mars (Sun., Oct. 19, 11:51 pm PDT, 19º11' Scorpio). Sharp minds and sharper tongues. Productive for research and problem-solving, but watch out for heated words. Speak with care and precision. Sabian symbol: 20 Scorpio, A woman drawing two dark curtains aside. [23:02] Listener Question: Houses with the same ruler. Listener Michelle asks how life areas ruled by the same planet connect in the birth chart. April explains how a shared planetary ruler weaves together different houses — with an example from John Coltrane's chart (b. Sep. 23, 1926, 5 pm EST, Hamlet, NC, Placidus houses) that ties together creativity, study, and financial opportunity. [27:51] To have a question answered on a future episode, leave a message of one minute or less at speakpipe.com/bigskyastrologypodcast or email april (at) bigskyastrology (dot) com; put “Podcast Question” in the subject line. Free ways to support the podcast: subscribe, like, review and share with a friend! [28:30] A tribute to this week's donors! 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Tom Brokaw famously described America's World War II servicemen as the “Greatest Generation”. But according to the historian David Nasaw, the Americans who fought in the Second World War are better understood as The Wounded Generation. His eponymous new book describes the pain and hardships that 16 million veterans endured upon their return home - a tragic story of PTSD, racism and family breakup. Brokaw celebrated the nobility with which these ex-soldiers got on with civilian life without either complaining or even talking about the war. But for Nasaw, this silence wasn't just stoicism—it was often undiagnosed and sometimes even untreatable trauma.1. WWII Was America's Longest and Most Brutal War The average soldier served nearly three years in uniform (compared to less than one year in WWI), with 75% deployed overseas. Combat on the European front was relentless, especially in the final year, with severe manpower shortages keeping GIs on the front lines for weeks or months without relief.2. Millions Returned with Undiagnosed PTSD Veterans came home with what we now recognize as PTSD, but it was neither diagnosed nor treated. Unable to talk about their experiences, many self-medicated with alcohol. The silence wasn't stoicism—it was trauma. Writers like Salinger and Vonnegut could only process their experiences through fiction years later.3. The GI Bill Excluded Most Black Veterans While celebrated as transformative legislation, the GI Bill's benefits were distributed by local officials. In the South, this meant Black veterans were systematically denied college access (segregated schools were full) and unemployment benefits (they were told to return to sharecropping). Only Northern Black veterans like Harry Belafonte, John Coltrane, and Tito Puente could fully access their benefits.4. America Faced Its Worst Housing Crisis Ever No homes had been built during the Depression or the war years, creating unprecedented shortages when 16 million servicemen returned. This housing crisis, combined with fears of renewed economic depression, added to veterans' anxiety about rebuilding their lives. Politicians like JFK and Jacob Javits fought hard for veterans' housing subsidies.5. The War's Aftermath Lasted Decades 1946 saw record divorce rates and increased lynchings as racial tensions exploded. Veterans who liberated concentration camps or survived POW camps (especially in the Pacific) carried lifelong trauma. Nasaw's central message: wars don't end with peace treaties—the harm to soldiers and civilians lasts for generations.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

John Coltrane's A Love Supreme: Some call it the greatest album of the 20th century. Others say it isn't even Coltrane's best album ... of 1965. No matter where you think it sits in the jazz music canon, Coltrane's love letter to God is a masterpiece. We break it down track-by-track, chord-by-chord to uncover what makes this album such a rewarding listen from front to back.This week marks 99 years since Coltrane's birth. In his honor, we look back at this episode from 2024, where we listen deeply to what just may be Coltrane's magnum opus.Looking for more Coltrane? Here are 6 Songs To Turn Coltrane Curious Into Coltrane Converted: https://youtu.be/aSdNNTmL7YkStart your free Open Studio trial for ALLLLL your jazz lesson needs: https://osjazz.link/yhi 

Like many hip youngsters of my generation, at some point in my twenties I got Jazz-pilled by Beat literature, with writers like Jack Kerouac and Allen Ginsberg name-dropping bop-era musicians like Miles Davis, Thelonious Monk, John Coltrane, Charlie Parker, and many more, sending me to Limewire to download mp3s of 1950s and 1960s Jazz. In recent years, my casual appreciation has turned into a more intense investigation of music history and practice, particularly after discovering “The Grape,” a Jazz club in my neighborhood that's overflowing with colorful characters and musical adventure. My guest today is one of those characters: Monte Montgomery is a multi-instrumentalist, former touring funk guitarist, and all around hip music dude. In this conversation, he shares highlights from his decades in music, from playing funk with a group of Black GIs on a military base in Germany at the age of 17, to entertaining celebrities and insanely rich people on the Beverly Hills philanthropic event circuit, to his current gig holding court on piano, guitar, and drums every Tuesday night at The Grape. Check out my new ‘90s music podcast/video series with John Lombardo, 120 MONTHS: https://substack.com/@120months Listen to our special News Trap episode on the 20th anniversary of Hurricane Katrina with Justin Rogers-Cooper: https://www.patreon.com/posts/news-trap-8-30-w-137726055  Subscribe to the Nostalgia Trap Patreon for FREE to get updates on all our podcasts, videos, and writing:  patreon.com/nostalgiatrap    

There is no more important relationship in this era of music than that of Miles Davis and John Coltrane; two masters ever-present in the musical and cultural landscape. Someday My Prince Will Come marks the last time Coltrane and Davis played together, and it couldn't be more perfect.We dive into how their partnership played out on stage and in the recording studio over the years, and how their dynamic on Someday My Prince Will Come marks a handoff from '50s jazz to the rock and roll sound of the '60s, with Coltrane leading the way.And Miles Davis, even more so than a masterful trumpet player or composer, was a tastemaker. From the musicians he picked, to the chord changes, to his choice of album art, we explore how this record brings it all together in one phenomenal package.

What can the music of John Coltrane tell us about the relationship of  art to God, and of our own work in general to God? We can all learn quite a lot from Coltrane, actually. And what we can see in his approach to his music applies not just to musicians and artists, but to us all. In this open forum, 1) Tim Keller shares two things we can learn from Coltrane, 2) John Patitucci, a jazz bassist and composer, discusses Coltrane's music, and 3) Keller and Patitucci hold a question-and-answer time with their audience. This talk was given by Dr. Timothy Keller at Redeemer Presbyterian Church on April 9, 2007. Series: Redeemer Open Forums. Scripture: Ecclesiastes 2:17-26. Today's podcast is brought to you by Gospel in Life, the site for all sermons, books, study guides and resources from Timothy Keller and Redeemer Presbyterian Church. If you've enjoyed listening to this podcast and would like to support the ongoing efforts of this ministry, you can do so by visiting https://gospelinlife.com/give and making a one-time or recurring donation.