Podcast appearances and mentions of Julian Priester

ABBEY LINCOLN “ABBEY IS BLUE” New York, 1959 Afro blue, Let up, Laugh, clown, laughAbbey Lincoln (vcl) acc by Tommy Turrentine (tp) Julian Priester (tb) Stanley Turrentine (ts) Cedar Walton (p) Bobby Boswell (b) Max Roach (d) Third's child, Lonely houseAbbey Lincoln (vcl) acc by Kenny Dorham (tp) Wynton Kelly (p) Les Spann (g) Sam Jones (b) Philly Joe Jones (d) LARRY GOLDINGS “I WILL” Live Sam First, Los Angeles, October 8, 2023 & April 11, 2024Somewhere, Mambo InnLarry Goldings (p) Karl McComas-Reichl (b) Christian Euman (d) DAYNA STEPHENS “HOPIUM” Brooklyn, NY Mayo, 2022 lanzamiento febrero 7, 2025Drive north to find the oranges out west, Jump start, HopiumDayna Stephens (as,ts) Aaron Parks (p) Charles Altura (g-1) Ben Street (b) Greg Hutchinson (d) Continue reading Puro Jazz 14 de abril, 2025 at PuroJazz.

ABBEY LINCOLN “ABBEY IS BLUE” New York, 1959 Afro blue, Let up, Laugh, clown, laughAbbey Lincoln (vcl) acc by Tommy Turrentine (tp) Julian Priester (tb) Stanley Turrentine (ts) Cedar Walton (p) Bobby Boswell (b) Max Roach (d) Third's child, Lonely houseAbbey Lincoln (vcl) acc by Kenny Dorham (tp) Wynton Kelly (p) Les Spann (g) Sam Jones (b) Philly Joe Jones (d) LARRY GOLDINGS “I WILL” Live Sam First, Los Angeles, October 8, 2023 & April 11, 2024Somewhere, Mambo InnLarry Goldings (p) Karl McComas-Reichl (b) Christian Euman (d) DAYNA STEPHENS “HOPIUM” Brooklyn, NY Mayo, 2022 lanzamiento febrero 7, 2025Drive north to find the oranges out west, Jump start, HopiumDayna Stephens (as,ts) Aaron Parks (p) Charles Altura (g-1) Ben Street (b) Greg Hutchinson (d) Continue reading Puro Jazz 14 de abril, 2025 at PuroJazz.

ROLAND KIRK QUARTET “THE INFLATED TEAR” “Webster Hall”, New York, November 27, 1967The black and crazy blues, The creole love call, Fly by nightRahsaan Roland Kirk (ts,fl,stritch,manzello,cl,voice) Ron Burton (p) Steve Novosel (b) Jimmy Hopps (d) JOE LOCKE “MAKRAM” New Jersey ?, c. 2022Shifting moon, Song for Vic Juris, Lush life (solo vib)Joe Locke (vib) Jim Ridl (p) Lorin Cohen (b) Samvel Sarkisyan (d) BILLY HARPER “CAPRA BLACK” New York, 1973Sir Galahad (1), Soulfully, I love you, Black spiritual of loveJimmy Owens (tp) Dick Griffin (tb-2) Julian Priester (tb) Billy Harper (ts,voice) George Cables (p) Reggie Workman (b) Elvin Jones (d-1) Billy Cobham (d-2) Warren Smith (d) Barbara Grant, Laveda Johnson, Gene McDaniels, Pat Robinson (voces) Continue reading Puro Jazz 04 de marzo, 2025 at PuroJazz.

ROLAND KIRK QUARTET “THE INFLATED TEAR” “Webster Hall”, New York, November 27, 1967The black and crazy blues, The creole love call, Fly by nightRahsaan Roland Kirk (ts,fl,stritch,manzello,cl,voice) Ron Burton (p) Steve Novosel (b) Jimmy Hopps (d) JOE LOCKE “MAKRAM” New Jersey ?, c. 2022Shifting moon, Song for Vic Juris, Lush life (solo vib)Joe Locke (vib) Jim Ridl (p) Lorin Cohen (b) Samvel Sarkisyan (d) BILLY HARPER “CAPRA BLACK” New York, 1973Sir Galahad (1), Soulfully, I love you, Black spiritual of loveJimmy Owens (tp) Dick Griffin (tb-2) Julian Priester (tb) Billy Harper (ts,voice) George Cables (p) Reggie Workman (b) Elvin Jones (d-1) Billy Cobham (d-2) Warren Smith (d) Barbara Grant, Laveda Johnson, Gene McDaniels, Pat Robinson (voces) Continue reading Puro Jazz 04 de marzo, 2025 at PuroJazz.

Naomi Moon Siegel               Naomi Moon Siegel is an award-winning trombonist, improviser, composer, and educator committed to creating a positive, transformative music culture beyond conventional genre norms. Her original musical vocabulary draws on the richness of various global musical traditions. Siegel explores the trombone as a vehicle for sonic expression colored by breath, spit, and physicality. A longtime collaborator with Wayne Horvitz, Siegel has performed with such luminaries as Jessica Lurie, Matthew Golombisky, Carmen Staaf, March Fourth Marching Band, Allison Miller, Julian Priester, The California Honeydrops, Martha Scanlan, Stuart Dempster, Skerik, and Thione Diop. With saxophonist Kate Olson, Siegel formed the folk punk jazz duo Syrinx Effect, which has released four albums and performed around the United States. Siegel is a recipient of Chamber Music America's Performance Plus Grant, Jazz Journalists Association's Jazz Hero Award, Montana Art Council's Artist Innovation Award, and Earshot Jazz's Golden Ear Award for Emerging Artist of the Year. . Siegel is an adjunct professor of trombone at the University of Montana and a dedicated music educator. Siegel is also a staunch advocate for intersectional gender justice in jazz and music settings, leading workshops to build awareness and work towards positive systemic shifts in our music culture.

DAVID MURRAY QUARTET “FRANCESCA” Winterthur, Switzerland, c. 2023Francesca, Free MingusDavid Murray (ts,b-cl) Marta Sanchez (p) Luke Stewart (b) Russell Carter (d) ANDY MILNE AND UNISON “TIME WILL TELL” New York ?, c. 2023Purity of heart (1), Lost and found (2), Beyond the porcelain door (1,2)Ingrid Laubrock (ts-1) Andy Milne (p) Yoko Reikano Kimura (koto-2) John Hebert (b) Clarence Penn (d) PHILLY JOE JONES SEXTET “SHOWCASE” New York, November 17, 1959Battery blues, Joe's debut (bm out), Joe's delightBlue Mitchell (tp) Julian Priester (tb) Bill Barron (ts) Pepper Adams (bar) Dolo Coker (p) Jimmy Garrison (b) Philly Joe Jones (d) New York, November 18, 1959Gone, gone, goneBlue Mitchell (tp) Julian Priester (tb) Bill Barron (ts) Pepper Adams (bar) Dolo Coker (p) Jimmy Garrison (b) Philly Joe Jones (d,p-1) Continue reading Puro Jazz 25 de julio, 2024 at PuroJazz.

DAVID MURRAY QUARTET “FRANCESCA” Winterthur, Switzerland, c. 2023Francesca, Free MingusDavid Murray (ts,b-cl) Marta Sanchez (p) Luke Stewart (b) Russell Carter (d) ANDY MILNE AND UNISON “TIME WILL TELL” New York ?, c. 2023Purity of heart (1), Lost and found (2), Beyond the porcelain door (1,2)Ingrid Laubrock (ts-1) Andy Milne (p) Yoko Reikano Kimura (koto-2) John Hebert (b) Clarence Penn (d) PHILLY JOE JONES SEXTET “SHOWCASE” New York, November 17, 1959Battery blues, Joe's debut (bm out), Joe's delightBlue Mitchell (tp) Julian Priester (tb) Bill Barron (ts) Pepper Adams (bar) Dolo Coker (p) Jimmy Garrison (b) Philly Joe Jones (d) New York, November 18, 1959Gone, gone, goneBlue Mitchell (tp) Julian Priester (tb) Bill Barron (ts) Pepper Adams (bar) Dolo Coker (p) Jimmy Garrison (b) Philly Joe Jones (d,p-1) Continue reading Puro Jazz 25 de julio, 2024 at PuroJazz.

BOOKER LITTLE “VICTORY AND SORROW” New York, August/September, 1961Victory and sorrow, Looking ahead, Booker's BluesBooker Little (tp) Julian Priester (tb) George Coleman (ts) Don Friedman (p) Reggie Workman (b) Pete La Roca (d) JOE LOVANO'S TRIO TAPESTRY “OUR DAILY BREAD” Lugano, Switzerland, May, 2022All twelve, Grace notes, Le petit opportun, Our daily breadJoe Lovano (ts,tarogato,gongs) Marilyn Crispell (p) Carmen Castaldi (d) GARY SMULYAN / FRANK BASILE “BOSS BARITONES” New York ?, December, 2023Oh Gee, I'll never be the same, Star eyes, Black velvetGary Smulyan, Frank Basile (bar) Steve Ash (p) Mike Karn (b) Aaron Seeber (d) Continue reading Puro Jazz 23 de enero, 2024 at PuroJazz.

BOOKER LITTLE “VICTORY AND SORROW” New York, August/September, 1961Victory and sorrow, Looking ahead, Booker's BluesBooker Little (tp) Julian Priester (tb) George Coleman (ts) Don Friedman (p) Reggie Workman (b) Pete La Roca (d) JOE LOVANO'S TRIO TAPESTRY “OUR DAILY BREAD” Lugano, Switzerland, May, 2022All twelve, Grace notes, Le petit opportun, Our daily breadJoe Lovano (ts,tarogato,gongs) Marilyn Crispell (p) Carmen Castaldi (d) GARY SMULYAN / FRANK BASILE “BOSS BARITONES” New York ?, December, 2023Oh Gee, I'll never be the same, Star eyes, Black velvetGary Smulyan, Frank Basile (bar) Steve Ash (p) Mike Karn (b) Aaron Seeber (d) Continue reading Puro Jazz 23 de enero, 2024 at PuroJazz.

BLUE MITCHELL BOSS HORN Englewood Cliffs, N.J., November 17, 1966Straight up and down (2), I should care (1), Rigor Mortez (1)Blue Mitchell (tp) Julian Priester (tb) Jerry Dodgion (as,fl-1) Junior Cook (ts) Pepper Adams (bar) Cedar Walton (p-1) Chick Corea (p-2)Gene Taylor (b) Mickey Roker (d) VICTOR FELDMAN THE ARRIVAL OF VICTOR FELDMAN Los Angeles, January 21 & 22, 1958Be-bop, Serpent's tooth, Flamingo, Too blueVictor Feldman (vib,p) Scott LaFaro (b) Stan Levey (d) STACY DILLARD GOOD AND BAD MEMORIES Brooklyn, NY, June 1, 2010Pleasant, Over and over, StizzozoStacy Dillard (ts) Orrin Evans (p) Craig Magnano (g) Ryan Berg (b) Jeremy “Bean” Clemons (d) Continue reading Puro Jazz 14 marzo 2024 at PuroJazz.

BLUE MITCHELL BOSS HORN Englewood Cliffs, N.J., November 17, 1966Straight up and down (2), I should care (1), Rigor Mortez (1)Blue Mitchell (tp) Julian Priester (tb) Jerry Dodgion (as,fl-1) Junior Cook (ts) Pepper Adams (bar) Cedar Walton (p-1) Chick Corea (p-2)Gene Taylor (b) Mickey Roker (d) VICTOR FELDMAN THE ARRIVAL OF VICTOR FELDMAN Los Angeles, January 21 & 22, 1958Be-bop, Serpent's tooth, Flamingo, Too blueVictor Feldman (vib,p) Scott LaFaro (b) Stan Levey (d) STACY DILLARD GOOD AND BAD MEMORIES Brooklyn, NY, June 1, 2010Pleasant, Over and over, StizzozoStacy Dillard (ts) Orrin Evans (p) Craig Magnano (g) Ryan Berg (b) Jeremy “Bean” Clemons (d) Continue reading Puro Jazz 14 marzo 2024 at PuroJazz.

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BOOKER LITTLE - OUT FRONT  - New York, April 4, 1961 - New York, April 4, 1961 We Speak, Strength and sanity (1), Man of Words Booker Little (tp) Julian Priester (tb) Eric Dolphy (as-1,b-cl-2,fl-3) Don Friedman (p) Ron Carter (b) Max Roach (d,tymp,vib) SIMÓN WILLSON GAZMURI - GOOD COMPANY  - Astoria, NY, September 6, 2022 No more X, Snacks, Calma Jacob Shulman (ts) Isaac Wilson (p) Simon Willson (b,comp) Jonas Esser (d) RAHSAAN ROLAND KIRK - RIP, RIG AND PANIC  - Englewood Cliffs, N.J., January 13, 1965 No tonic Pres, Once in a while, From Bechet, Byas and Fats, Rip, rig and panic Rahsaan Roland Kirk (ts,manzello) Jaki Byard (p) Richard Davis (b) Elvin Jones (d)

Tonight's Jazz Feature is an unearthed recording, one of the many by pianist composer Andrew Hill. In an interview with Mr. Hill with Blue Note Records archivist, Michael Cuscuna, Andrew mentioned the many unreleased sessions he recorded for Blue Note naming all the personnel. Hill said some were good and some were just okay. All were eventually released except for one which he said he was very happy with. Cuscuna as soon as he left Hill went into the Blue Note archives looking for this session that Hill mentioned but alas the tape was out of phase and unuseable. Cuscuna persisted and in a few weeks he was rewarded with finding a faultless multi-track tape of the session that had been misfiled. He brought it to Hill and Andrew was elated. The session was released in 2003 and drew accolades from critics and fans alike and was hailed as 'the discovery of the year". The album features 7 Hill compositions played by two great trumpeters: Woody Shaw and Dizzy Reece, trombonist Julian Priester, Robert Northern on French horn, Howard Johnson on tuba and bass clarinet and multi-instrumentalist Joe Farrell on tenor and soprano saxophones, English horn, bass clarinet and alto flute. Mr. Hill is on piano with Ron Carter on bass and a young Lenny White on drums. The album was called "Passing Ships" and it's a latter day classic and tonight's Jazz Feature.

Tonight`s Jazz Feature honors the Birthday Anniversary of John Arnold ``Johnny`` Griffin 111 who was born on April 24,1928 in Chicago and died from a heart attack at his home on Mauprevoir, France on July 28,2008. He played his last gig on July 21, 2008 at age 80, so he was playing right up to the end. This album was considered one of his finest under his name at the time and was recorded in New York in August 1959. Rather than a quartet date or a jam type date this one was well planned. Norman Simmons, a wonderful pianist/composer arranger also from Chicago scored the date and brought in 3 of his tunes as well. It was a sextet date with Richard ``Blue`` Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam jones on bass and Albert ``Tootie`` Heath on drums.``The Little Gian`` stands the test of time and is tonight`s Jazz Feature. Happy Birthday Anniversary Johnny!

Philadelphia born and Pew Fellowship recipient, King James Britt (his real name) is a 30+ year, producer, composer and performer in the global advancement of electronic music. As a composer and producer, his practice has lead to collaborations with the likes of De La Soul, Madlib, Kathy Sledge, director Michael Mann (Miami Vice) and many others, as well as being called for remixes from an eclectic list of giants, including, Miles Davis, Solange all the way to Calvin Harris & Dua Lipa. Most recently collaborating with MacArthur Fellow recipient , Tyshawn Sorey for their recently released album project. Blacktronika : Afrofuturism In Electronic Music, is a new lecture course at UCSD, created by King, researching and honoring the people of color, who have pioneered groundbreaking genres within the electronic music landscape. Genres span from Chicago House, Detroit Techno and Drum & Bass music. Using his position in the industry, the class has been attended by many, including Questlove, Julian Priester and Flying Lotus. King remains one of the go to authorities on Afrofuturism in music. King Britt was also the original DJ for the Grammy Award winning Digable Planets.

Drum great Max Roach is tonight`s Jazz Feature Artist. Mr.Roach was always aware of civil rights and was politically aware of the changes in American society but around about 1960 he decided to combine his music with the politics of civil rights and made a statement that he would never play any music that didn`t have social significance. Tonight`s Jazz Feature is his fine album, his first of two for the newly formed Impulse Records. Roach wrote and arranged all six pieces all dedicated to aspects and people involved in the fight for rights and freedom. Along with Roach on drums, Art Davis is on bass, Mal Waldron is on piano and the horns include trumpeter Booker Little, trombonist Julian Priester, tenor saxophonist Clifford Jordan, the great Eric Dolphy on flute, bass clarinet and alto saxophone. Abbey Lincoln is the vocalist on two tracks and two percussionists are added on some tunes, Carlos `Patato` Valdes on conga drum and Carlos `Totico` Eugenio on timbales and percussion. Tonight`s Jazz Feature is dedicated to the legacy of Dr. Martin Luther King and celebrates not only the US holiday but his Birthday Anniversary which was January 15th. Politics coupled with great music by Max Roach and his Ensemble.

In this episode, Eric sits down with accomplished musician, composer, essayist and abstract artist Todd Cochran. They discuss how he was born in San Francisco and raised in a household of deep love for the arts; filled with music and conversations about art and culture. Growing up in the Lakeview district; a largely Black but racially mixed neighborhood and community.. and the influential role that his maternal grandmother, an ordained minister, evangelist and protofeminist played throughout Todd's childhood. They discuss his musical training and private study in piano and performing arts in classical music and theory; to eventually attending Trinity College of Music in London. He sheds light on his experience of living in San Francisco during the 60s and 70s, his exposure to jazz and how his musical development was impacted by the cultural, political and community atmosphere of the civil rights movement; which fueled his passion for creating art that mirrored the socio-cultural moment and set the path for his prolific and inspiring musical career. They discuss Todd's fascination with the visual arts; the interconnectivity between art forms.. the power that art has to make a difference and the responsibility that comes with being an artist.For more visit: www.ericsperspective.comGuest Bio: Todd Cochran is an American pianist, composer, keyboardist, essayist and conceptual artist. Early in his career he was also professionally known as Bayeté. Cochran started his career as a teenager with saxophonist John Handy. Two years later he joined vibraphonist Bobby Hutcherson's Quartet, and made his jazz recording debut composing and performing on a benchmark album for Hutcherson, "Head On" (on Blue Note Records) that featured a nineteen-piece ensemble. The recording was critically hailed as cross-pollinating the evolving contemporary modal jazz, avant-garde sound of the 1970s. Cochran's first solo project "Worlds Around the Sun" became a #1 jazz album and marked his entree into the jazz discussion. From the mid 1970s forward Todd has experimented with and incorporated synthesizers, electronic and mixed-media concepts in his creative projects while collaborating with a wide range of artists in the genres of jazz, art rock, pop, R&B, and twenty-first-century classical. Cochran's best-known jazz compositions include "At The Source" (Bobby Hutcherson), "Free Angela" (Bayeté Todd Cochran, Santana), "Eternal Worlds" Julian Priester, "My Pearl", "Geni-Geni" (Automatic Man), "Monte Carlo Nights" Grover Washington Jr., "Spanish Rose", "Back To Lovin' Again" (Freddie Hubbard), and "Secret Places" (Todd Cochran). He released two albums on Prestige Records in 1972 and 1973. He was keyboardist and lead singer of Automatic Man from 1976 - 1978. He was also a member of Fuse One, a coalition of jazz musicians who released two albums on CTI Records in 1980 and 1981.About Eric's Perspective: A podcast series on African American art with Eric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.com SUBSCRIBE: http://bit.ly/2vVJkDnLISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33  www.mhanksgallery.com

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

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После выхода двух студийных альбомов Black Lace Blue Tears®️2013 и Come Out Swingin'®️2015, которые получили престижные награды и широкое признание, молодая вокалистка и композитор Eugenie Jones выпустила свой третий релиз на собственном лейбле OpenMic Records. Двойной альбом Players - результат концертных туров, которые начались с её северо-западной базы в Сиэтле, затем на юге в Далласе, потом в Нью-Йорке и на равнинах Чикаго. 4-летий процесс с большим количеством великолепных музыкантов (32), среди которых: басисты Reggie Workman и Lonnie Plaxico, тромбонист Julian Priester, клавишник Shaun Martin, барабанщик Dan Weiss и перкуссионист Bobby Sanabria. Весть список игроков и подробности композиций читайте в брошюре. Музыкальных стилей здесь также много, как и игроков, а креативность текстов, изобретательность мелодий и мастерство вокала радует своим разнообразием. Как ученица, стремящаяся стать сегодня лучше, чем вчера, я всегда буду искать ответ на вопрос: Что будет дальшe? Eugenie Jones • Players ©️OpenMic Records 2022 #vocaljazz #smoothjazz --- Send in a voice message: https://anchor.fm/konstantins/message

Featuring John Bishop of Origin Records For more information about Plectrum Advisers: https://www.plectrumadvisers.com/ Let's Talk Podcast: https://plectrumadvisers.com/lets-talk-podcast Facebook: https://www.facebook.com/plectrumadvisers Linkedin: https://www.linkedin.com/company/plectrum-advisers-llc/about/ For more information about Origin Records and John Bishop please visit www.originarts.com As a drummer, educator, record label owner, graphic designer, publisher, and festival presenter, John Bishop has been one of the primary voices in Northwest Jazz for 40 years. He has performed in concerts and clubs with Bobby McFerrin, Lee Konitz, Slide Hampton, Benny Golson, Jessica Williams, Kenny Werner, Bobby Hutcherson, Dr. Lonnie Smith, Julian Priester, Ernestine Anderson, Joanne Brackeen, Sonny Fortune, and countless others. He's appeared on more than 100 albums, was inducted into the Seattle Jazz Hall of Fame in 2008, and was named a "Jazz Hero" by the Jazz Journalists Association in 2019. Bishop has been a member of New York pianist Hal Galper's Trio for the last 15 years. They have released 7 albums and regularly tour & conduct workshops around the U.S., Canada and Europe. Other ongoing projects include the 20-year old cooperative group SCENES with John Stowell & Jeff Johnson; and the Chad McCullough / Bram Weijters Quartet, a Belgian/American project with 4 recordings and multiple European tours since 2009. In 1997, Bishop started Origin Records (named Jazzweek's 2009 “Label Of The Year”) and OriginArts, a graphic design & CD production company, to help further the exposure of creative artists and their music. In partnership with his ex-drum student, Matt Jorgensen, they have released over 700 recordings by 360 artists from around the world. In 2002 they added another jazz label, OA2 Records, a classical imprint, Origin Classical in 2008, and in 2003 began Seattle's annual Ballard Jazz Festival. Bishop has designed 750 CD packages and multiple book covers, banners, posters, and other graphics for clients around the globe.

"Sing Sing Sing" Buddy Rich & Max Roach: Rich Versus Roach. A battle of bands and drums between Buddy Rich and Max Roach (1959) Buddy Rich Quintet: Buddy Rich, Willie Dennis, Phil Woods, John Bunch, Pil Leshin. Max Roach Quintet: Max Roach, Tommy Turrentine, Stanley Turrentine, Julian Priester, Bobby Boswell. La composición es obra de Louis Prima. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? En JazzX5 en la edición de fin de semana, continuamos escuchando versiones de "Sing Sing Sing", el tema de Louis Prima. La versión seleccionada es la que aparecía en una muy atractiva batalla de baterías entre dos bateristas con unos estilos muy diferentes, acompañados por sus respectivos quintetos: Buddy Rich y Max Roach. En el disco había un único tema, "Figure Eights" en el que los dos bateristas tocaban sin estar acompañados por sus respectivos quintetos. Buddy Rich y Gene Krupa llegaron a tocar en directo, contratados por Norman Granz, en el espectáculo Jazz At The Philharmonic. A partir de estos conciertos se publicó la grabación The Drum Battle. En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=61862 https://www.tomajazz.com/web/?p=61696 https://www.tomajazz.com/web/?p=61681 https://www.tomajazz.com/web/?p=61464 https://www.tomajazz.com/web/?p=61435 https://www.tomajazz.com/web/?p=46367 Más información sobre Buddy Rich y Max Roach http://buddyrich.com/ https://www.britannica.com/biography/Max-Roach https://www.tomajazz.com/web/?s=buddy+rich&submit=Search https://www.tomajazz.com/web/?s=max+roach&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

Tonight's Jazz Feature honours Black History Month and throughout February we'll spotlight music that has social significance. We'll open with a piece by drummer Max Roach's band from 1980 first. The piece is a composition by Mr. Roach, and it's called "The Dream/ It's Time". It features the Roach Quartet interspersed by sections of Dr. Martin Luther King's Famous "I have a dream" speech. The band includes Max Roach on drums with Cecil Bridgewater on trumpet, Odean Pope on tenor saxophone and Calvin Hill on bass. Then we go to Roach's famous album with his working band from 1962 plus a 16 voice chorus. The album was called "It's Time!" The band includes Clifford Jordan on tenor saxophone, Richard Williams on trumpet, Julian Priester on trombone, Mal Waldron on piano, Art Davis on bass and of course Max Roach on drums. The chorus is conducted by Coleridge Perkinson. It's a unique combination of chorus and band. Mr. Roach wrote all of the music. The music is primarily instrumental but reflects Roach's concern with civil rights in the USA. The compositions are "It's Time!", "Another Valley", "Sunday Afternoon", "Living Room", "The Profit" and the only vocal by Max Roach's then wife Abbey Lincoln and she sings "Lonesome Lover". This is a fiery and intense listening experience and unique in Max Roach's legacy. "It's Time!" is tonight's Jazz Feature.

This week's show includes music by Julian Priester, trombonist and educator who taught at Cornish College from 1979 until he retired in 2011. His professional career included touring and recording with many major jazz artists from Lionel Hampton and Duke Ellington, to John Coltrane and Sam Rivers, to Herbie Hancock, Dave Holland and many others.

"Greensleeves" John Coltrane: Africa/Brass (Impulse!, 1961) John Coltrane, Booker Little, Julius Watkins, Bob Northern, Donald Corrado, Robert Swisshelm, Bill Barber, Pat Patrick, McCoy Tyner, Reggie Workman, Elvin Jones, Freddie Hubbard, Julian Priester, Charles Greenlee, Jim Buffington, Garvin Bushell. La orquestación fue obra de McCoy Tyner y Eric Dolphy. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? Africa/Brass fue el octavo disco de estudio de John Coltrane y el sexto que se publicó en Impulse! Fue también el estreno en este sello del saxofonista. La instrumentación fue inusual, ya que entre los 21 músicos que llegaron a grabar en la sesión, había bombardinos y trompas, instrumentos poco usuales en el jazz. El disco no recibió una gran aceptación por parte de la crítica en el momento de su lanzamiento. La revista Down Beat le proporcionó dos estrellas. En 1995 el disco original se reeditó en formato de CD doble con el título The Complete Africa/Brass Sessions. "Greensleeves" es un tema inglés tradicional. Hay una leyenda que indica que fue compuesta por el rey Enrique VIII para Ana Bolena. La canción se registró por primera vez en 1580.  En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos… https://www.tomajazz.com/web/?p=59898 Más información acerca de John Coltrane en Tomajazz https://www.tomajazz.com/web/?s=jazzx5+john+coltrane&submit=Search Más información sobre John Coltrane https://www.johncoltrane.com/ https://www.gettyimages.es/fotos/john-coltrane Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

"Driva' Man" Max Roach: We Insist! Freedom Now Suite (Candid, 1965) Max Roach, Abbey Lincoln, Coleman Hawkins, Booker Little, Julian Priester, Walter Benton, James Schenk. La obra es composición de Max Roach y Oscar Brown. © Pachi Tapiz, 2021 En la grabación, una obra maestra del jazz, los participantes dejan buena muestra de su maestría, comenzando con la voz de Abbey Lincoln y siguiendo con el magnífico solo de Coleman Hawkins en este tema que abre este disco imprescindible. En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos... https://www.tomajazz.com/web/?p=48714 Más información sobre Max Roach y "Driva' Man" en Tomajazz https://www.tomajazz.com/web/?s=driva+man&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

SUN RA – JAZZ BY SUN RA – Chicago, July 12, 1956 Brainville, A call for all demons, Transition, Street named Hell Art Hoyle (tp,bells-3) Dave Young (tp,bells) Julian Priester (tb,chimes-4,arr) James Scales (as) John Gilmore (ts,woodblocks) Pat Patrick (bar,bells-3) Sun Ra (p,org-2) Richard Evans (b) Wilburn Green (el-b,tamb) Robert Barry (d,bells) Jim Herndon (tymp,timb,bells) […]

2e émission de la 51e session... Cette semaine, solide dose de jazz hard bop! En musique: Booker Little 4 & Max Roach sur l'album Booker Little 4 & Max Roach  (United Artists, 1959); Julian Priester sur l'album Keep Swingin'  (Riverside, 1960); Hampton Hawes sur l'album Jam Session  (Columbia, 1968); Lee Morgan sur le boîtier The Complete Live At The Lighthouse  (Blue Note, 2021, enr. 1970); Victor Assis Brasil sur l'album Esperanto  (Tapecar, 1976)...

2e émission de la 51e session... Cette semaine, solide dose de jazz hard bop! En musique: Booker Little 4 & Max Roach sur l'album Booker Little 4 & Max Roach  (United Artists, 1959); Julian Priester sur l'album Keep Swingin'  (Riverside, 1960); Hampton Hawes sur l'album Jam Session  (Columbia, 1968); Lee Morgan sur le boîtier The Complete Live At The Lighthouse  (Blue Note, 2021, enr. 1970); Victor Assis Brasil sur l'album Esperanto  (Tapecar, 1976)...

Jerry Granelli died July 20 in Halifax, Nova Scotia at the age of 80. Granelli was an important part of the Seattle jazz scene in the 80s when he was on the faculty at Cornish College of the Arts. The percussionist/composer was part of a boundary-testing group of musicians here at the time including Ralph Towner, Gary Peacock, Julian Priester, Jay Clayton and Denny Goodhew. Music by this group will be heard on today's episode of Jazz Northwest. Also featured on this week's show are selections by The Full Circle Jazz Ensemble, Daniel Hersog Jazz Orchestra and saxophonists Don Lanphere, Bud Shak and Denney Goodhew playing together! Jazz Northwest is recorded and produced by host Jim Wilke and airs Sundays at 2 p.m. Listeners may also subscribe to the podcast at KNKX, NPR, Apple, or Google.

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In 1999, Jack Straw brought together Ghanaian percussionist Obo Addy and jazz trombonist Julian Priester for a composer residency, commissioning them to create new work together. The project, titled Confluence, culminated in a concert at On the Boards on October 18, 1999 as part of the Earshot Jazz Festival. “For Your Information” is one of […]

In 1999, Jack Straw brought together Ghanaian percussionist Obo Addy and jazz trombonist Julian Priester for a composer residency, commissioning them to create new work together. The project, titled Confluence, culminated in a concert at On the Boards on October 18, 1999 as part of the Earshot Jazz Festival. "For Your Information" is one of the pieces Obo and Julian created together, along with their ensemble: Gary Harris, saxophone; Jim Cheek, trumpet; Janice Scroggins, keyboards; Israel Annoh, drums; Nii Ayi Armah, percussion; Tim Young, guitars; and Phil Sparks, acoustic bass.

Bop trombonist talks about his early days in Chicago playing with Sun Ra all the way through MWANDISHI and beyond..... --- Support this podcast: https://anchor.fm/jake-feinberg/support

Part II with a master musician.... --- Support this podcast: https://anchor.fm/jake-feinberg/support

The Doctor is in this week checking up on patients who have been sonically altered. His synthesizers became beams of light, always light bouncing of the Electronic Music in the late 60s. My guest is a heavyweight musician. He had gotten to leave this planet with Charles Eariand and burn hot melodic chordal mosaics of sound in a "Sextant" with Herbie Hancock or Love Love with Julian Priester or playing free music with Woody Shaw and Michael Howell. He came from The Bay. The San Francisco Bay Area with Different Fur that paved the way for classic soundtracks like "Apocalypse Now" and journeys to enlightenment and realization with Eddie Henderson. That fantastic journey from death to life as my guest outs an electronic score together for The Tibetan Book of The Dead. He has presence in his music, a mood as paranoid as Nam or galactic, tense neurotic blending with Woody Shaw and Michael Howell getting it together with the San Francisco Express. --- Support this podcast: https://anchor.fm/jake-feinberg/support

STANDARD SEMANAL“Old folks” (Mildred Bailey-Don Byas-Ben Webster)Ezequiel Campos nos trae su tema de jazz del Baúl de los Recuerdos (louis amstrong 1)-JAZZ RECUERDO ANIVERSARIO.- Julian Priester - Spiritsville .-JAZZ ACTUALIDAD .- RUBEN REINALDO y KELY GARCIA-ACUAREL PROG.Nº 670.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “Old folks” (Mildred Bailey-Don Byas-Ben Webster) Y como final de mes Ezequiel Campos nos trae su tema de jazz del Baúl de los Recuerdos (louis amstrong 1) JAZZ RECUERDO ANIVERSARIO.- Julian Priester - Spiritsville Spiritsville es el segundo álbum dirigido por el trombonista de jazz estadounidense Julian Priester, que se grabó en 1960 para elsello filial Jazzland de Riverside . [1] Listado de pistas [ editar ] Todas las composiciones de Julian Priester, excepto las indicadas. 1. "Chi-Chi" ( Charlie Parker ) - 4:43 2. "Zancada azul" - 6:15 3. " Podría ser la primavera " ( Richard Rodgers , Oscar Hammerstein II ) - 5:47 4. "Excursión" (Walter Benton) - 5:42 5. "Spiritsville" - 7:31 6. " Mi romance " (Rodgers, Lorenz Hart ) - 5:50 7. "El vals de Donna" - 5:32 Personal [ editar ] • Julian Priester - trombón • Walter Benton - saxo tenor (pistas 1, 2 y 4-7) • Charles Davis - saxofón barítono (pistas 1, 2 y 4-7) • McCoy Tyner - piano • Sam Jones - bajo • Art Taylor - batería JAZZ ACTUALIDAD .- RUBEN REINALDO y KELY GARCIA-ACUAREL Free Code Jazz Records, 2020 Músicos: Rubén Reinaldo y Kely García Grabación, mezcla y máster: Jose Luis Gómez (Sito) Remasterización final: Arturo Sabugueiro Fotografía: Óscar García (Sombra Graphics) Diseño Gráfico: Alberto Groba Montaje de textos: Rafael Alonso Grabado en estéreo con microfonía de alta sensibilidad directa a los amplificadores y mediante tomas enteras en vivo sin metrónomo. Grabación realizada en Estudios Musicales Galicia Música en Vigo, durante sesiones sueltas ecualizando y microfoneando individualmente cada pieza aprovechando nuestros pocos ratos libres como profesores de guitarra entre marzo y agosto de 2019.

a cura di Gigi Longo. Brani di Šostakóvič, Jarrett, Arvo Pärt, Winstone-Taylor-Coe, Paul Bley, Paul Motian, Julian Priester

a cura di Gigi Longo. Brani di Šostakóvič, Jarrett, Arvo Pärt, Winstone-Taylor-Coe, Paul Bley, Paul Motian, Julian Priester (seconda parte)

a cura di Gigi Longo. Brani di Šostakóvič, Jarrett, Arvo Pärt, Winstone-Taylor-Coe, Paul Bley, Paul Motian, Julian Priester (seconda parte)

Max Roach is acknowledged to be one of the great Modern Jazz drummers and a pioneer of this music. He really needs no introduction and he has led many important and ground breaking bands throughout his long career. He first began leading a band in 1953 and continued with various aggregations until his death. This band was unique in that it contained three excellent players from Pittsburg. The Turrentine Brothers: Stanley and Tommy. Stanley went on to become one of the most influential and easily identifiable tenor saxophonists in Jazz. Brother Tommy was an excellent trumpeter with an original style and a big burnished sound. His career wasn't as successful as Stanley's and Tommy faded from the scene in the late 60's. Bassist Bobby Boswell was a Pittsburger and a fine strong bassist who held this band together as Max Roach had dispensed with the piano. The third horn was Julian Priester in fine form on trombone. He had just left Sun Ra to join Roach. This band had a very identifiable sound. The tunes are by Tommy Turrentine, Leon Mitchell, Bill Lee, Kenny Dorham and Julian Priester and there is one standard tune in the 6 that make up this album. Quiet As It's Kept is one fine date and was done in New York in January of 1960.

As we honour Black History Month, we present another of drummer Max Roach's albums that reflect not only his concern with innovative music but his political stance on justice, equality and civil rights. Roach radically changed his approach to music in the volatile climate of the USA in the early 1960's. Has it really changed much? Mr. Roach and his Ensemble and 6 of his compositions grace this album, his first for Impulse Records. It was called "Percussion Bitter Sweet". Roach's Ensemble consists of trumpeter Booker Little, trombonist Julian Priester, the amazing Eric Dolphy on flute/bass clarinet and alto saxophone, Clifford Jordan on tenor saxophone, Mal Waldron on piano, Art Davis on bass, Carlos "Patato" Valdes on conga drums and Carlos "Totico" Eugenio on percussion and timbales. Vocalist Abbey Lincoln appears on the first two compositions...wordless on the first called "Garvey's Ghost" and with words by Mr. Roach on "Mendacity". Check out Max roach and his music tonight as our tribute to Black History Month.

This week's episode of WNPM is a little different than usual.  Rather than focusing on a single artist, I wanted to play some music by a few different trombonists.  The musicians featured are Jimmy Knepper, Curtis Fuller, Julian Priester, and Grachan Moncur III, and the songs played are from their own albums as a leader as well as albums they appear on by John Coltrane, Charles Mingus, and more.    Requests? Questions? Comments?  Leave a voice message at (424) 704-1666 or email wnpmpod@gmail.com!

Tonight'd Jazz Feature beams the spotlight on Johnny Griffin, one of the foremost masters of the tenor saxophone. Hard hitting, fast, and passionate, Griffin was not one you fooled with as he could outplay just about anybody. This album is one of his best as it features a well-rehearsed sextet with fresh compositions by a colleague of Johnny's, pianist/composer/arranger Norman Simmons. They both were from Chicago and went to school together. Simmons brings some very fresh sounds to the date here as he arranged all the tunes and wrote 3 fine tunes. Johnny picked Blue Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam Jones on bass and Albert "Tootie" Heath on drums. "The Little Giant" remains one of Johnny's most iconic albums. Hard hitting Jazz from the Windy City!

For the fourth episode of The Jazz Show's Jazz Features we are spotlighting some of the creative changes in Jazz music in the late 60s and early 70s. We turn to master musician Herbie Hancock who at age 78 is still a vital force in the music. This album marks a special period in Hancock's varied and eclectic explorations of almost every conceivable musical style. Hancock, after leaving Miles Davis in 1969 after being with him for 7 years formed his own band. It was a sextet and was exploring acoustic Jazz. After some personnel changes the sextet format was retained but the sound became more electric and more contemporary and Hancock began to explore some of the concepts that he learned from Miles Davis' post "Bitches Brew" period. Hancock played electric Fender Rhodes piano with various attachements and led Eddie Henderson on trumpet and flugelhorn, Julian Priester on trombone, Bennie Maupin on bass clarinet and flute and sometimes tenor saxophone, Buster Williams on acoustic and electric bass and Billy Hart on drums. The players all adopted alternate names from the Swahili tradition. Hancock became "Mwandishi" (the word means writer). Tonight we hear their first album called "Mwandishi". They did two more before Hancock changed courses once again with his his "Chameleon" and the album "Rocket". The Mwandishi Band is a special one and the chemistry is unique. Tonight we hear the full album. Enjoy!

Tonight's Jazz Feature is our small celebration to Halloween as tonight is October 31st! Joseph Rudolph Jones aka "Philly Joe" a nickname he adopted to distinguish himself from the older Basie drummer Jo Jones. Philly Joe came to national fame as part of Miles Davis' "first great quintet" and became one of the most in-demand sideman and appeared on so many classic recordings in the 50s and 60s and beyond. He recorded some albums under his own name that may not be classics but are damn good! One of them is this date with tenor saxophonist fireball Johnny Griffin, trombonist Julian Priester and cornetist Nat Adderley who shines on this date. Tommy Flanagan is on piano and a young Jimmy Garrison is solid on bass. Four great tunes are featured for the band to stretch out on and the final fifth tune is called "Blues For Dracula". It's a slow blues with Philly Joe's voice overdubbed. Philly Joe does his best Bela Lugosi imitation and the slow blues turns into Blues For Dracula. Serious fun and a small tribute to Halloween. All in all a fine representative recording and a tribute to one of the most influential drummers in Modern Jazz.......Mr. Philly Joe Jones!

 "Ndugu" was born in Shreveport, Louisiana and moved to Los Angeles when he was eight. He began playing drums at age 12 and studied music throughout junior high and high school. While in high school, Chancler played with Willie Bobo, Gerald Wilson and the Harold Johnson Sextet. Chancler graduated from California State University, Dominguez Hills with a degree in music education. Chancler began playing with Hugh Masekela, and also worked with Herbie Hancock, Eddie Harris, and Thelonious Monk. He had brief stints with Miles Davis and Freddie Hubbard, then joined up with the great George Duke.  He also performed with Julian Priester, Weather Report and toured with Santana in the mid-'70s, and then formed the band Chocolate Jam Co.Studio work includes Michael Jackson's "Billie Jean". Stanley Clarke, Jean-Luc Ponty, Donna Summer, Patrice Rushen, Hubert Laws, The Crusaders, Frank Sinatra, Lionel Richie, George Benson, The Temptations, Tina Turner, Kenny Rogers, Herbie Hancock and John Lee Hooker.Ndugu has also played on a number of Movie Soundtracks including , “An  Officer and a Gentleman”, “Indecent  Proposal” and “The  Color  Purple” As  a  songwriter  Ndugu  co- wrote  hits  for  Santana  including  “Dance  Sister Dance”, George Duke’s “Reach  For  It”,  and  “Let  It  Whip”  for  the  Dazz  Band. His  production  credits  include Flora  Purim,  Bill  Summers,  Toki, Ndugu  and  the  Chocolate  Jam  Co. Ndugu  has  co-produced for  Santana,  George  Duke,  The  Crusaders,  Joe  Sample,  Wilton  Felder, Tina Turner and a group he co-leads with Patrice Rushen and  Ernie Watts called “The  Meeting”.Ndugu Chancler is Faculty at The University Of Southern California  in the Jazz Studies and Popular Music Departments.

Drummer/composer and Modern Jazz pioneer Max Roach did two wonderful albums for the Impulse label and as second tribute to Black History Month we present the first of these two recordings called "Percussion: Bitter Sweet". As is common knowledge, Max Roach's music became more political in about 1959 when he stated that he would never play or record anything that didn't have political or social significance as regards the African-American and civil rights. Max Roach's Ensemble consists of his then wife Abbey Lincoln on vocal on the first two tunes. The instrumentalists are trumpeter Booker Little, tenor saxophonist Clifford Jordan, trombonist Julian Priester, and Eric Dolphy on alto saxophone, flute and bass clarinet, Mal Waldron on piano, Art Davis on bass and where heard percussionist Carlos "Patato" Valdes (conga drum) and Carlos "Totico" Eugenio (percussion and timbales). There are six compositions on the record and the music is militant, powerful and inspired. Percussion: Bitter Sweet is a classic.

When you hear this music, it's hard the believe that it's 53 years old. The date was done in February of 1962 by drummer Max Roach and his group plus a 16 voice choir,. The combination was innovative and very new to the world of Jazz and demonstrates the advanced thinking of Max Roach. Roach as most people are aware was a pioneer of Modern Jazz and it's major drummer. We have Charlie Parker, Dizzy Gillespie, Bud Powell and Max Roach as the real fathers of Modern Jazz. Mr. Roach was always aware of his place in society as a proud African-American and this music reflects his pride, his militancy, his anger, his joy and his triumph. His group consisted of himself on drums, Art Davis on bass, Mal Waldron on piano, Julian Priester on trombone, Richard Williams on trumpet and the powerful Clifford Jordan on tenor saxophone. The choir is 16 voices strong and under the direction of Coleridge T. Perkinson. The compositions and arrangements of the six movements are by Max Roach. "it's Time!" stands as on of Mr. Roach's most innovative and significant recordings in a very long and illustrious career. Yes indeed.......It's Time!

O.K. so maybe I could have dug even deeper, but hopefully you'll appreciate that with the birth of my twin boys, crate diggin' time is limited, so recourse to few old favourites in this selection. Nevertheless it's not exactly obvious unless you're one of those chin stroking jazz snobs. I'd been wanting to do a kind of "pure" jazz show for a while, the criteria could have been even more stringent, I could have outlawed all electric instruments, but I did want to keep some variety. I can't remember the last time I played something from the Riverside label on the show, so slipping a couple into the first half hour was kind of satisfying, great tunes from Jimmy Heath and Clifford Jordan. Then there's vocals, a scat masterclass from Jon Hendricks, Ann Young tearing up a standard and The Metronomes with silky smooth harmonies. I also decided to do a mini Prestige feature.... what's the difference between Blue Note and Prestige, a day's rehearsal.... yes it is the kind of ugly sister of classic jazz labels, more "blowing dates" less recording sessions. Yet of course there are some awesome titles in the Prestige catalogue, Frank Wess' "Southern Comfort" is certainly one of those, soul-jazz with a Latin twist and really punchy well balanced recording. As always the mellow meltdown in the middle is fun to do, it's what radio's for in my opinion. Listening to Duke Pearson's Sweet Honey Bee album again for the first time in ages, the beauty of "After The Rain" left me quite astounded, Pearson was the quintessential Blue Note artist, he acted as an A&R man for Alfred Lion, and composed the timeless "Cristo Redentor" for which he should be duly honoured as it is one of the most beautiful melodies of all time. "After The Rain" comes close to that peak of sublimity. Continuing the rainy theme the Masabumi Kikuchi composition "Drizzling Rain" from his album with Gil Evans is just as beguiling, with a Japanese lyricism, a kind of Jazz haiku. "En Passant" performed by West Coast stalwarts Shelly Manne ands His Men is an early composition by the great John Williams from U.S. tv series Checkmate, Williams' list of film credits is ridiculous , probably the most successful composer of the twentieth century? All that instrumental grace is followed by a trio of vocal cuts with a morning theme....lushness from Carmen McRae, the brilliant Lorez Alexandria, and Andy Bey ripping some conscious flavour through Gary Bartz NTU Troops leftfoot jazz-funk. Closing the show the last sequence gets lowdown and funky, and a bit abstract! Drums and basslines, a touch of James Brown in Roy Haynes' "Guadalupe", and some electronic undertow in Julian Priester's " Love Love" which I played just a portion of as it covers a whole side. Shame that I only squeezed a the first bit of Monette Sudler's "Brighter Days For You" as it takes me back to my early days of The Cosmic Jam all those years ago.... still love it, and the title says it all. Peace, love and music P.x 1. Jimmy Heath Orchestra - Big P 2. Jon Hendricks - Good Ol' Lady 3. Benny Bailey - Little B 4. Ann Young & Yuji Ohno Trio - Speak Low 5. Hector Costita - Tokio 6. Mary Lou Williams & Friends - Prologue 7. Clifford Jordan - Bearcat 8. The Metronomes - On Green Dolphin Street 9. Sun Ra - The Others In Their World 10. Tadd Dameron & John Coltrane - Mating Call 11. Frank Wess - Blues For Butterball 12. Charles Earland - Letha 13. Duke Pearson - After The Rain 14. Gil Evans & Masabumi Kikuchi - Drizzling Rain 15. Shelly Manne & His Men - En Passant 16. Carmen McRae - Just A Little Lovin' 17. Lorez Alexandria - Morning 18. Gary Bartz NTU Troop - Rise 19. Doug Hammond - Kone Pone 20. Roy Haynes - Guadalupe 21. Julian Priester - Love Love 22. Byron Pope Speed Of Light - No Boundaries 23. Monette Sudler Sextet - Brighter Days For You

This underrated master of the trombone is still with us at age 80 and for this we are grateful! This date done in 1960 was Julian Priester's first under his own name. Priester is from Chicago and like so many Chicago legends, he graduated from DuSable High School in the Jazz program conducted by Captain Walter Dyett. Julian first worked with Sun Ra then Lionel Hampton and ended up in New York at the right time. He was heard as a sideman and then offered this date for Riverside Records. Julian picked his sidemen wisely and had tenor saxophone giant Jimmy Heath on the front line. Tommy Flanagan was chosen for the piano spot. The great Sam Jones was on bass and the dynamic Elvin Jones was on drums. The tunes are a good mix of originals and quality standards and the album has a nice balance. "Keep Swingin'" is reflective of the high standards of New York Jazz in the early 60s. Julian went on to work with many people including Max Roach, Duke Ellington and Herbie Hancock but that's for another time, meanwhile we'll keep swingin'!

Sun Ra is one of the most charismatic and fascinating figures in Jazz music. He is a mystic, philosopher, writer,community leader,composer,arranger,bandleader and pianist among other things. He was a Jazz pioneer who was not in the mainstream of Jazz yet he was respected by all as being a major figure. Tonight's Jazz feature is an early Sun Ra date with his "Arkestra" done for his own label, Saturn in Chicago in 1956 called "Super Sonic Jazz". A few of his core members like tenor saxophonist John Gilmore and baritone saxophonist Charles Davis were in the band. Other people were trombonist Julian Priester and the great Chicago trumpeter Art Hoyle. All twelve tunes with one exception are by Sun Ra and "Soft Talk" was written by Julian Priester. Fine solos by all abound and some great piano work on both acoustic and early electric piano by Sun Ra. A pioneering early work by someone who was very much ahead of his time....Sun Ra!

Take a slide ride with Mike and Pat as they explore four albums led by those Rodney Dangerfields of the jazz world, trombone players. Ray Anderson – WISHBONE; Jimmy Knepper – I DREAM TOO MUCH; Josh Roseman – CHERRY; Julian Priester – LOVE, LOVE. Also, Mike has a man-crush on Gene Autry like you wouldn't believe.

By 1960 drummer Max Roach had been for years a keen student of politics and civil rights and as a black American he realized that his mission was to combine politics and his music. He would do this without compromising the quality of his music in any way. Roach was one of the music's greatest drummers and a pioneer of Modern Jazz.The Freedom Now Suite was his first fully political statement and it features his ensemble and his vocalist Abbey Lincoln. Roach wrote the music and Oscar Brown Jr. wrote the words. The band includes Mr.Roach on drums with Booker Little on trumpet, Julian Priester on trombone, Walter Benton on tenor saxophone and James Schenck on bass.The first three compositions deal with the USA and opens with "Driva' Man" and the guest soloist on this track is the great Coleman Hawkins. "Freedom Day" is by the band. Track three is Mr. Roach and Miss Lincoln only in a three part suite. Part 2 moves to Africa and Michael Olatunji is added on drums and vocal plus two other percussionists in "All Africa" and the final selection is in memory of the notorious Shapeville Massacre and called "Tears For Johannesburg". All of this was recorded in August and Seoptember 1960. It remains a pivotal recording in the long career of Mr. Max Roach and to this day is a powerful statement.

Conversación con Pablo Hernández, líder del grupo Sinouj. Esta formación, radicada en Madrid, cuenta con músicos de Italia (Sergio Salvi), Nigeria (Akin Onasanya) y Túnez (Larbi Sassi) y tiene en la cultura mediterránea y árabe algunas de sus señas de identidad. Charlamos con Pablo en esta edición de "Club de Jazz" del 23 de enero de 2013 en la que Ferran Esteve selecciona tres versiones de "Life on Mars" de David Bowie a cargo de David Xirgu, The Bad Plus y The Thing. Jesús Moreno en "desde mi cadiera" recupera un trabajo de 1975 del saxofonista sudafricano Dudu Pukwana, "Diamond express"; el "Jazz Porteño" de Alberto Varela recupera una nueva grabación del recién clausurado Festival de Jazz de Punta del Este (Uruguay) con el homenaje a Clifford Brown de Terrell Stafford y el trío de Mike LeDonne; comentamos el estado de salud del trombonista Julian Priester y le escuchamos en un disco de 1959 del quinteto de Max Roach, "Quiet as it´s kept"; Arqueología sonora en los "Ritmos Latinos" de Anxo con los Ghetto Brothers y su "Power" de 1971, El "Tren Azul" de Luis Díaz García pone la rúbrica al programa con una selección de swing de la Francia de posguerra recopilada en "Swing surprise-partie". Toda la información y derechos: http://www.elclubdejazz.com

Conversación con Pablo Hernández, líder del grupo Sinouj. Esta formación, radicada en Madrid, cuenta con músicos de Italia (Sergio Salvi), Nigeria (Akin Onasanya) y Túnez (Larbi Sassi) y tiene en la cultura mediterránea y árabe algunas de sus señas de identidad. Charlamos con Pablo en esta edición de "Club de Jazz" del 23 de enero de 2013 en la que Ferran Esteve selecciona tres versiones de "Life on Mars" de David Bowie a cargo de David Xirgu, The Bad Plus y The Thing. Jesús Moreno en "desde mi cadiera" recupera un trabajo de 1975 del saxofonista sudafricano Dudu Pukwana, "Diamond express"; el "Jazz Porteño" de Alberto Varela recupera una nueva grabación del recién clausurado Festival de Jazz de Punta del Este (Uruguay) con el homenaje a Clifford Brown de Terrell Stafford y el trío de Mike LeDonne; comentamos el estado de salud del trombonista Julian Priester y le escuchamos en un disco de 1959 del quinteto de Max Roach, "Quiet as it´s kept"; Arqueología sonora en los "Ritmos Latinos" de Anxo con los Ghetto Brothers y su "Power" de 1971, El "Tren Azul" de Luis Díaz García pone la rúbrica al programa con una selección de swing de la Francia de posguerra recopilada en "Swing surprise-partie". Toda la información y derechos: http://www.elclubdejazz.com

Rivers and Rhythms: A Sam Rivers Retrospective. Episode 2: The Blue Note Years, New York, and Studio Rivbea, featuring special guests Jason Moran, Steve Coleman, Joe Daley, Steven Bernstein, Julian Priester, Allan Chase, and Russ Gershon

This album recorded in August of 1959 marked a turning point in the recording career of one of the greatest Modern Jazz tenor saxophonists: Johnny Griffin. Up to this time Griffin's recordings had been casual quartet or "blowing dates" with loosely put together arrangements. This date is different and was also greeted warmly by the critics. What makes this date special is the arrangements and the three compositions by Norman Simmons, a Chicago homeboy of Griffin's. The three horn front line works wonderfully with Blue Mitchell on trumpet, Julian Priester on trombone (another one of Griffin's homeboys) and a strong rhythm section comprising Wynton Kelly on piano, Sam Jones on bass and Albert "Tootie" Heath on drums. Griffin is at his fiery best on this date and plays fewer notes than usual and all his solos "tell a story", as Lester Young would say. The Little Giant is an excellent date and was a real step-up for one of the major voices of the tenor saxophone....Johnny Griffin!

A double Feature tonight. We are celebrating what would be tenor saxophonist Stanley Turrentine's 76th birthday, He died in September of 2000 of a stroke. He was born in Pittsburg on April 5,1934. The first part of the Feature will be the title selection from Max Roach's album done in Paris in 1960 called "Parisian Sketches". It was in Roach's band that Stanley and his older brother Tommy, a fine trumpet player, were introduced to the Jazz world so it's fitting that we play this piece. Stanley and Tommy along with Roach, trombonist Julian Priester and bassist Bobby Boswell are the band. We follow with what was Stanley's debut album under his own name done in January of 1960 for the small independent label, Time Records. Max Roach set this date up for Stanley and he, of course plays drums on this along with the great bassist George Duvivier and two wonderful pianists; Tommy Flanagan on four tunes and the legendary Sonny Clark on three. Stanley displays his big sound and unique phrasing here. One can hear the great history of the tenor saxophone in his playing but it is decidedly modern. Stanley uses blues inflections in everything he plays which adds to his appeal. This is his debut album and right from the start you know that he was going to have a great career in Jazz and he did! Seven tunes are heard here and five are by Stanley. The ballad is the beautiful Cahn/Styne tune "Time After Time" and one appealing tune by 'Wild Bill' Strethan Davis called "Stolen Sweets". Enjoy Stanley's first and auspicious debut.

The Jazz Show's tribute to Black History Month is the famous Max Roach recording called "The Freedom Now Suite". This was one of the first politically charged albums that reflect the leader's growing awareness of the civil rights movement that was erupting in the U.S. in the late 1950's. Mr. Roach's basic ensemble includes trumpeter, Booker Little, tenor saxophonist Walter Benton, trombonist Julian Priester and bassist James Schenk. Abbey Lincoln is extraordinary on her vocals and Coleman Hawkins, the "father of the tenor saxophone" makes a cameo appearance on "Driva' Man", the opening tune. The final two pieces are by the full ensemble augmented by two percussionists and the great Micheal Olatunji on vocal and African drums. The centerpiece of the album if a duet in three parts called "Prayer, Protest and Peace" with Miss Lincoln and Max Roach. The album was recorded in 1960 and to this day stands as a monument to the creativity and political stance of one of the greatest drummers in Jazz, the late Max Roach. I should add that the lyrics of this were written by Oscar Brown Jr. and all the music was written by Mr. Roach. "We Insist! Freedom Now Suite".

This recording was drummer/composer Max Roach's second album for the Impulse label and was one of his most innovative. It is unique in that it combined Mr. Roach's working band with a 16 voice choir. The themes, all composed and arranged by Roach reflected his ever growing involvement in America's civil rights struggle. The themes are defiant, militant and intense. Max's band included Clifford Jordan on tenor saxophone, Richard Williams on trumpet, Julian Priester on trombone,Mal Waldron on piano, Art Davis on bass plus a choir under the direction of Coleridge Perkinson. Roach's wife of the time, the wonderful singer, Abbey Lincoln appears on one tune. It's hard to believe that soon after this recording was made, Max Roach was boycotted from recording because of his political attitudes and commitment to racial equality. This recording was done in February of 1962 and Roach did not make any domestic recording until 1965, when he was signed to Atlantic Records. "It's Time!" is a rewarding and moving experience.

From the early 60's on drummer/composer/Jazz pioneer, Max Roach made a vow to never play or record anything that did not have some form of political significance. Usually music and politics are a bad mix with music often taking a back seat but with Mr. Roach this was not the case. Max became a champion of civil rights and although others made strong statements about the plight of African-Americans, Max's voice was among the most articulate and musical. Roach was blacklisted from recording for many years in the 60's for his political stance. This album is a follow-up to his famous "Freedom Now Suite" and his first of two for the forward thinking Impulse label.His band includes the late trumpeter Booker Little, who was only two months away from his death at 23 from uremia. Julian Priester is on trombone, Clifford Jordan on tenor saxophone, and Eric Dolphy is heard on alto saxophone,flute and bass clarinet. Mal Waldron is on piano and Art Davis is on bass and on several tunes two percussionists are added in the persons of Carlos "Patato" Valdes on congas and Carlos "Totico" Eugenio on timbales and assorted percussion. Two vocals are by Abbey Lincoln. All the compositions and arrangements are by Max Roach and the recording was done over several days in August of 1961. This album is both a strong political and musical statement by one of the true giants of Jazz and creative music, Max Roach.

Drummer/composer Max Roach in conjunction with lyricist Oscar Brown Jr. created this suite in honour of the 100th anniversary of Lincoln's Emancipation Proclamation and it reflected Mr. Roach's growing involvement with the Civil Right Movement that was taking shape in America in the late 1950's. This powerful and still controversial recording features Roach's working band that includes Booker Little on trumpet, Julian Priester on trombone and the underrated Walter Benton on tenor saxophone, James Schenk on bass and the great Abbey Lincoln on vocals. Coleman Hawkins('the father of the tenor saxophone') makes an intense cameo on the first tune called 'Driva' Man'.Later the band is augmented by two percussionists and African drummer Michael Olatunji on the pieces depicting Africa. This recording is a powerful musical and political statement and is perfectly suited to honouring Black History Month.