Podcasts about Lennie Tristano

Today, we're putting The Tonearm's needle on Caroline Davis, a saxophonist and composer based in New York.Her new album, Fallows, just came out on Ropeadope Records. Caroline made it alone during a residency in Ucross, Wyoming - improvising and recording in a cabin, using prepared saxophone techniques and a unique little instrument called an Organelle to process and build sounds she'd never put to tape before. The result is twelve tracks that use the saxophone as raw material rather than a lead voice.We talk about how that music got made, what it means to deliberately avoid the sound of your own instrument, and Caroline's work teaching music inside Sing Sing prison.(The musical excerpts heard in the interview are from Caroline Davis's album Fallows )—Dig DeeperArtist and AlbumVisit Caroline Davis at carolinedavis.orgPurchase Caroline Davis's Fallows from Ropeadope Records, Bandcamp, or Qobuz, and listen on your streaming platform of choiceLabel and ResidencyRopeadope RecordsUcross Foundation — the Wyoming artist residency where Fallows was recordedCivitella Ranieri Foundation — the Italian residency Caroline attended in 2025Tulu Bayar — Turkish artist who made the paper artwork for Fallows (please verify link)Instruments and TechnologyThe Organelle — Critter & Guitari — the hardware synthesizer/processor central to FallowsORAC by Technobear — Patchstorage — the community-built patch framework Caroline used on the recordCollaborators, Influences, and ReferencesSteve Lacy — soprano saxophonist (1934–2004), honored in the track "Lacy Steve"Geri Allen — pianist and mentor; "Barbara Allen (for Geri)" closes the albumThích Nhất Hạnh — Vietnamese Buddhist monk; a sample of his voice appears on "She Know She Is Water"Connie Crothers — pianist from the Lennie Tristano lineage; a sample of her playing appears on "Cloudburst"Lee Konitz — Caroline's teacher; alto saxophonist (1927–2020)Sam Newsome — soprano saxophonist; prepared saxophone pioneer cited by Caroline as a major influenceChristine Abdelnour — French experimental alto saxophonist; a formative reference for prepared saxophone techniqueAnna Webber — saxophonist and composer, cited for her work with venting vocabularyJames Falzone — clarinetist whose solo tour performance is discussed in the episodeKris Davis — pianist and founder of Pyroclastic Records; cited as a touchstone for prepared pianoSylvie Courvoisier — pianist cited for her prepared piano work (please verify link)Qasim Naqvi — New York-based composer and modular synthesist; a frequent collaboratorLabels and Organizations — Current ListeningOut of Your Head Records — Adam Hopkins's artist-run label; praised in the episodePyroclastic Records — Kris Davis's artist-run label; praised in the episodeAdvocacy and JusticeMusicambia — the organization through which Caroline teaches music at Sing Sing Prison and other facilitiesFREER Records — nonprofit label for incarcerated and formerly incarcerated musicians; Caroline is on the boardKeith LaMar — keithlamar.org — death row prisoner in Ohio whose execution is scheduled for January 13, 2027; wrongfully convicted per advocatesJalil Muntaqim — political prisoner (Black Panther Party) with whom Caroline corresponded; released from prison in 2020The New School — Jazz & Gender course — co-taught by Caroline Davis and Sarah Elizabeth Charles—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Caroline Davis, a saxophonist and composer based in New York.Her new album, Fallows, just came out on Ropeadope Records. Caroline made it alone during a residency in Ucross, Wyoming - improvising and recording in a cabin, using prepared saxophone techniques and a unique little instrument called an Organelle to process and build sounds she'd never put to tape before. The result is twelve tracks that use the saxophone as raw material rather than a lead voice.We talk about how that music got made, what it means to deliberately avoid the sound of your own instrument, and Caroline's work teaching music inside Sing Sing prison.(The musical excerpts heard in the interview are from Caroline Davis's album Fallows )—Dig DeeperArtist and AlbumVisit Caroline Davis at carolinedavis.orgPurchase Caroline Davis's Fallows from Ropeadope Records, Bandcamp, or Qobuz, and listen on your streaming platform of choiceLabel and ResidencyRopeadope RecordsUcross Foundation — the Wyoming artist residency where Fallows was recordedCivitella Ranieri Foundation — the Italian residency Caroline attended in 2025Tulu Bayar — Turkish artist who made the paper artwork for Fallows (please verify link)Instruments and TechnologyThe Organelle — Critter & Guitari — the hardware synthesizer/processor central to FallowsORAC by Technobear — Patchstorage — the community-built patch framework Caroline used on the recordCollaborators, Influences, and ReferencesSteve Lacy — soprano saxophonist (1934–2004), honored in the track "Lacy Steve"Geri Allen — pianist and mentor; "Barbara Allen (for Geri)" closes the albumThích Nhất Hạnh — Vietnamese Buddhist monk; a sample of his voice appears on "She Know She Is Water"Connie Crothers — pianist from the Lennie Tristano lineage; a sample of her playing appears on "Cloudburst"Lee Konitz — Caroline's teacher; alto saxophonist (1927–2020)Sam Newsome — soprano saxophonist; prepared saxophone pioneer cited by Caroline as a major influenceChristine Abdelnour — French experimental alto saxophonist; a formative reference for prepared saxophone techniqueAnna Webber — saxophonist and composer, cited for her work with venting vocabularyJames Falzone — clarinetist whose solo tour performance is discussed in the episodeKris Davis — pianist and founder of Pyroclastic Records; cited as a touchstone for prepared pianoSylvie Courvoisier — pianist cited for her prepared piano work (please verify link)Qasim Naqvi — New York-based composer and modular synthesist; a frequent collaboratorLabels and Organizations — Current ListeningOut of Your Head Records — Adam Hopkins's artist-run label; praised in the episodePyroclastic Records — Kris Davis's artist-run label; praised in the episodeAdvocacy and JusticeMusicambia — the organization through which Caroline teaches music at Sing Sing Prison and other facilitiesFREER Records — nonprofit label for incarcerated and formerly incarcerated musicians; Caroline is on the boardKeith LaMar — keithlamar.org — death row prisoner in Ohio whose execution is scheduled for January 13, 2027; wrongfully convicted per advocatesJalil Muntaqim — political prisoner (Black Panther Party) with whom Caroline corresponded; released from prison in 2020The New School — Jazz & Gender course — co-taught by Caroline Davis and Sarah Elizabeth Charles—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

On this episode of The Bandwich Tapes, I sit down with guitarist and composer Stash Wyslouch for a conversation that moves easily between music, teaching, parenthood, and the deeper question of how artists actually learn. Stash has built a unique musical voice that draws from bluegrass, jazz, metal, and avant-garde traditions, and hearing how those influences intersect in his life and work makes for a fascinating conversation.We begin with a big life moment: Stash recently welcomed a newborn into the world. He reflects on how becoming a parent shifts perspective—not just personally, but creatively. Themes like humility, empathy, patience, and time suddenly carry new weight, and those ideas show up in how he approaches collaboration, teaching, and the creative process itself.From there, we trace his musical path—from early experiences in heavy metal to discovering bluegrass, jazz, and experimental music. Growing up in New England, studying at Berklee College of Music, and being part of a tight-knit musical community all helped shape his artistic voice. We also talk about the complicated role of labels like “avant-garde”—how they can be useful shorthand while also limiting how audiences hear the music.We spend real time on influences—Charles Ives, Arnold Schoenberg, Lennie Tristano, and Anthony Braxton—and how ideas from those composers intersect with improvisation, ear training, and creative freedom. And finally, Stash shares details about his upcoming duo record Matty and Debbie with drummer Sean Trischka, a project that pulls together bluegrass, jazz, metal, hymnody, and pure curiosity into one cohesive musical statement.Key TakeawaysParenthood reshapes perspective — becoming a parent can influence creativity, collaboration, and priorities.Musical identity can span genres — Stash's work draws from metal, bluegrass, jazz, and experimental music.Labels can both help and hinder — terms like “avant-garde” describe music but can also narrow how people hear it.Community shapes artists — New England roots and Berklee connections helped shape Stash's musical path.Learning the process matters more than chasing results — growth comes from patience and curiosity.Rhythm and feel take time — some musical skills simply can't be rushed.Creative projects thrive on curiosity — his upcoming duo record with Sean Trischka explores multiple traditions at once.Music from the EpisodeAcoustic Metal Party - Stash WyslouchStash's Turkey in the Straw - Stash WyslouchOver in the Gloryland - Stash WyslouchAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

On this episode of The Piano Maven, Jed Distler reconsiders the legacy of jazz pianist, bandleader and educator Lennie Tristano (1919-1978). Consider making a donation to The Piano Maven podcast by subscribing to our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomaven Links to recordings cited in this episode:“Wow” Lennie Tristano Sextet (1949) - https://www.youtube.com/watch?v=3GSjkYnpvYM“C Minor Complex” (1961) - https://www.youtube.com/watch?v=bX1s3OWXxZg“Descent into the Maelstrom” (1953) - https://www.youtube.com/watch?v=99UTNVHLgEkLinks to TV documentary - Part 1: https://www.youtube.com/watch?v=Pw0WO3YCDZA&t=1475s; Part 2: https://www.youtube.com/watch?v=aK7lncPiaW4&t=572sLennie Tristano live at the Half Note in 1964 with Lee Konitz and Warne Marsh on television - https://www.youtube.com/watch?v=bznqGjyYuRk&t=72s

EIGHT (+3) TRISTANO COMPOSITIONS 1989 FOR WARNE MARSH Hollywood, CA, December 10 & 11, 1989“Two Not One” Anthony Braxton (as-1,sopranino-2,fl-3) Jon Raskin (bar) Dred Scott (p) Cecil McBee (b) Andrew Cyrille (d) ALAN BROADBENT TRIO IN MOTION New Jersey, January & June & August 2020 Lennie's PenniesAlan Broadbent (p) Harvie S (b) Billy Mintz (d) CONNIE CROTHERS “PERCEPTION” Jamaica, NY, June 21, 1974 Lennie's sceneConnie Crothers (p) Joe Solomon (b) Roger Mancuso (d) PEGGY LEE “ECHO PAINTING” Vancouver, BC, April 16 & 17, 2017 Out on a LimbBrad Turner (tp,flhrn) Rod Murray (tb) Jon Bentley (sop,ts) John Paton (ts) Cole Schmidt (el-g,g) Bradshaw Pack (pedal-steel-g) Meredith Bates (vln) Peggy Lee (cello) James Meger (el-b,b) Dylan van der Schyff (d,perc) CLAUDIO RUBIO “TRISTANO!” Live “Thelonious”, Santiago, Chile, August 20, 2010 FeatherbedClaudio Rubio (ts) Federico Dannemann (g) Eduardo Pena (b) Daniel Rodriguez (d) ETHAN IVERSON “COSTUMES ARE MANDATORY” Brooklyn, NY, August, 2012 317 East 32ndLee Konitz (as-1,vcl) Ethan Iverson (p) Larry Grenadier (b) Jorge “Jordi” Rossy (d) MARK TURNER “MARK TURNER MEETS GARY FOSTER“ Claremont, CA, 2003 “Subconscious-LeeGary Foster (as) Mark Turner (ts) Putter Smith (b) Joe LaBarbera (d) En substack.com he publicado una nota más detallada; https://rbarahona.substack.com/p/lennie-tristano-influencia-y-legado Continue reading Puro Jazz 18 de julio, 2025 – LENNIE TRISTANO INFLUENCIA Y LEGADO (II) at PuroJazz.

EIGHT (+3) TRISTANO COMPOSITIONS 1989 FOR WARNE MARSH Hollywood, CA, December 10 & 11, 1989“Two Not One” Anthony Braxton (as-1,sopranino-2,fl-3) Jon Raskin (bar) Dred Scott (p) Cecil McBee (b) Andrew Cyrille (d) ALAN BROADBENT TRIO IN MOTION New Jersey, January & June & August 2020 Lennie's PenniesAlan Broadbent (p) Harvie S (b) Billy Mintz (d) CONNIE CROTHERS “PERCEPTION” Jamaica, NY, June 21, 1974 Lennie's sceneConnie Crothers (p) Joe Solomon (b) Roger Mancuso (d) PEGGY LEE “ECHO PAINTING” Vancouver, BC, April 16 & 17, 2017 Out on a LimbBrad Turner (tp,flhrn) Rod Murray (tb) Jon Bentley (sop,ts) John Paton (ts) Cole Schmidt (el-g,g) Bradshaw Pack (pedal-steel-g) Meredith Bates (vln) Peggy Lee (cello) James Meger (el-b,b) Dylan van der Schyff (d,perc) CLAUDIO RUBIO “TRISTANO!” Live “Thelonious”, Santiago, Chile, August 20, 2010 FeatherbedClaudio Rubio (ts) Federico Dannemann (g) Eduardo Pena (b) Daniel Rodriguez (d) ETHAN IVERSON “COSTUMES ARE MANDATORY” Brooklyn, NY, August, 2012 317 East 32ndLee Konitz (as-1,vcl) Ethan Iverson (p) Larry Grenadier (b) Jorge “Jordi” Rossy (d) MARK TURNER “MARK TURNER MEETS GARY FOSTER“ Claremont, CA, 2003 “Subconscious-LeeGary Foster (as) Mark Turner (ts) Putter Smith (b) Joe LaBarbera (d) En substack.com he publicado una nota más detallada; https://rbarahona.substack.com/p/lennie-tristano-influencia-y-legado Continue reading Puro Jazz 18 de julio, 2025 – LENNIE TRISTANO INFLUENCIA Y LEGADO (II) at PuroJazz.

LENNIE TRISTANO INFLUENCIA Y LEGADO “LENNIE TRISTANO TRIO” New York, October 8, 1946Out on a limb, I can't get started, I surrender dear, InterludeLennie Tristano (p) Billy Bauer (g) Clyde Lombardi (b) “LENNIE TRISTANO'S HOUSE” Flushing, NY, 1948Transformations, Dialogue, Digression Expanse, Pinochle Jump, Story, FormationLee Konitz, alto saxophone, Warne Marsh, tenor saxophone, Billy Bauer, guitar “QUINTET/QUARTET” New York, January 11, 1949Quintet: Progression, Tautology, Retrospection, Subconscious-Lee Lee Konitz (as) Sextet: Marionette, Intuition (db out) Digression (db out,) Lee Konitz (as) Warne Marsh (ts) Lennie Tristano (p) Billy Bauer (g) Arnold Fishkin (b) Denzil Best (d) “INTO THE MAELSTROM” New York, c. Continue reading Puro Jazz 17 de julio, 2025 at PuroJazz.

The jazz standard "All The Things You Are" has been performed countless times by master jazz vocalists, 30s big bands, bebop small groups, hard-bop combos, modern deconstructionists, and even soon-to-be Kings of Pop. On this episode, Kirk takes listeners through the history of the now-famous tune, from its humble Broadway origins all the way to his recording studio in Portland, where he and some friends recorded an all-new arrangement just for Strong Songs.Music/Lyrics: Jerome Kern & Oscar Hammerstein IIVersions Featured:Broadway Original Cast Recording of "Very Warm for May," - 1939Tommy Dorsey and His Orchestra, feat. Jack Leonard, 1939Artie Shaw w/ Hellen Forrest, 1939Dizzy Gillespie w/ Charlie Parker, 1945Johnny Griffin w/ Hank Mobley, John Coltrane, Lee Morgan, Wynton Kelly, Paul Chambers, Art Blakey on A Blowing Session, 1957Ella Fitzgerald from Sings the Jerome Kern Songbook, 1963Michael Jackson, 1973Sonny Rollins w/ Coleman Hawkins from Sonny Meets Hawk!, 1963Bill Evans w/ Chuck Israels, bass, and Larry Bunker, drums at Shelly's Mane-Hole, 1963Keith Jarrett Trio, from Standards, Vol.1, 1983Brad Mehldau Trio, from Art of the Trio 4, 1999Jim Hall & Pat Metheney, 1999Strong Songs Version Featuring:Kirk Hamilton, tenor saxAndrew Oliver, keyboardScott Pemberton, guitarSam Howard, bassTyson Stubelek, drumsThe "All The Things You Are" Playlist:Spotify | Apple | YouTube MusicALSO REFERENCED/DISCUSSED:The Jazz Standards: A Guide To The Repertoire by Ted Gioia, 2012The terrific 99% Invisible episode about The Real Book“Autumn Leaves” by Joseph Kosma as recorded by Cannonball Adderley and Miles Davis on Somethin' Else, 1958“Pennies From Heaven” by Johnston and Burke, recorded by Stan Getz with the Oscar Peterson Trio, 1957“Bye Bye Blackbird” by Henderson/Dixon, recorded by Miles Davis on ‘Round About Midnight, 1957“All Of Me” by Marks and Simons, played by Charlie Parker, Lennie Tristano and Kenny Clarke, 1951“I Got Rhythm” by George Gershwin, recorded by Sonny Stitt on The Hard Swing, 1961Rachmaninoff: Prelude in C-Sharp Minor,  performed by Jason Minnis, 2011“Goodbye Yellow Brick Road” by Elton John, 1973“Bird of Paradise,” recorded by Charlie Parker w/ Howard McGhee, Tpt. on The Complete Dial Recordings, Feb 1947“Prince Albert” recorded by Art Blakey's Jazz Messengers (Mobley, Dorham, Watkins, Silver) live at Cafe Bohemia, 1955“Poinciana” by Simon/Bernier recorded by Amhad Jamal Live At The Pershing, 1958----LINKS-----

This week on Jazz After Dinner, Joe is  featuring Pianist Lennie Tristano from his 1956/1962 Atlantic Records recordings, titled “Lennie Tristano/The New Lennie Tristano.”

Featuring music Paul Motian recorded in the 1950s with Jerry Wald (1955, where he met Bill Evans), Bill Evans, Don Elliot, Eddie Costa, George Russell, Lennie Tristano, Warne Marsh, & Lee Konitz. With readings from Motian's unpublished autobiography about these times.Set List: https://jazzcloset.blogspot.com/2025/02/more-music-from-1950s-011419.htmlPhoto: Paul Motian rehearsing with the Jerry Wald Orchestra 1955 Photographer unknown © Paul Motian Archive

durée : 00:59:37 - invité : Ariel Tessier, batteur du quintet Lennie's - par : Alex Dutilh - Lennie's c'est la rencontre de 5 musiciens, tous amoureux et passionnés d'un jazz emblématique mais aussi d'un son, celui des années 50-60. Particulièrement autour de l'univers de Lennie Tristano, où le jazz rime avec spontanéité, prise de risque et créativité.

durée : 00:59:37 - invité : Ariel Tessier, batteur du quintet Lennie's - par : Alex Dutilh - Lennie's c'est la rencontre de 5 musiciens, tous amoureux et passionnés d'un jazz emblématique mais aussi d'un son, celui des années 50-60. Particulièrement autour de l'univers de Lennie Tristano, où le jazz rime avec spontanéité, prise de risque et créativité.

In addition to being one of the denizens of the NYC 52nd St scene, pianist/composer Lennie Tristano was an influential and pioneering teacher of jazz improvisation. He had prodigious technical abilities as a player, and his pedagogical approach to teaching improvisation eschewed learning “licks” in favor of creating fresh original improvised music. His many compositions exhibit this somewhat stream of consciousness approach, uniquely original, often angular lines based on standard chord progressions. His linear approach to playing was championed by his best known students, saxophonists Lee Konitz and Warne Marsh, who utilized his concepts for their entire careers. 

Bienvenidos amantes de la música, Lennie Tristano, hijo de inmigrantes italianos, nace en Chicago y bajo el influjo de esa ciudad cosmopolita entra al mundo de la música. Comienza a tocar piano a los 3 años, aunque queda ciego a la temprana edad de 9 años, continua sus estudios en la escuela para ciegos de Jacksonville. Aprende a tocar saxofón, trompeta. guitarra, batería y se queda con el clarinete por un tiempo hasta que se cambia al piano. Con un poco más de 20 años empieza a dar clases, uno de sus estudiantes fue el saxofonista Lee Konitz, con quien lo escucharemos en un registro en vivo. Es considerado el genio melódico sobre el cual se desarrolló la Escuela del Cool Jazz, fue admirado por Charlie Parker con quien compartió escenario. Su legado en la educación formal de improvisación estructurada de Jazz lo coloca como precursor en esos años, actividad que mantuvo hasta sus últimos años. Les invitamos a escuchar a este músico poco recordado. Los temas son 1. Whispering 2. 317 East 32nd Street 3. April *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios anticipados y exclusivos)patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.

Bob Mover is a virtuosic saxophonist who performed with Chet Baker, Charles Mingus, Lee Konitz and countless others over a long career. Visit https://www.bobmoverjazz.com/ to sign up for Bob Mover's weekly online masterclass sessions every Saturday. List of names mentioned: Charlie Parker, Roland Kirk, Bill Evans, Roy Eldridge, Richie Kamuca, Ira Sullivan, Walter Piston, Gerry Mulligan, Chet Baker, Stan Getz, Zoot Sims, Wynton Kelly, Kenny Dorham, Sonny Rollins, Lee Konitz, Jaki Byard, Al Cohn, Phil Woods, Bud Powell, Thelonius Monk, Jimmy Lyons, Cecil Taylor, Saul Frompkin, Don Byas, Coleman Hawkins, Art Tatum, Bud Powell, Hank Jones, Al Haig, Dodo Marmarosa, Joe Albany, Albert Dailey, Kenny Barron, Warne Marsh, Lennie Tristano, Lester Young, Count Basie, Jerry Coker, Allen Rock, Duffy Jackson, Bill Pierce, Mark Colby, Melton Mustafa, Ramblerny Music camp, Roger Rosenberg, Mike Brecker, Randy Brecker, Eddie Cleanhead Vinson, Shelly Manne, Brooks Kerr, Tony Castellano, Mulgrew Miller, Walter Davis Junior, John Bennett, Bernie Senensky, Cory Weeds, Sam Noto, Isaac Raz, Antoine Drye, Steve Kenyon, Emily Mover, Danny Kaye

Attack of the Killer Soundtrack 65 Join us “live” from The Whirling Tiger as we talk with Tim Cappello. He's an accomplished multi-instrumentalist, a singer, a songwriter and a man who will forever be known as - the sexy sax man from “The Lost Boys”.  And while we consider pausing the interview to start looking for back issues of Interview Magazine, we also mention… Tina Turner, John Coltrane, Billy Crystal, Captain Beefheart, Charlie Parker, military bands, The New England Conservatory of Music, Michael Chapman, Lennie Tristano, The Raspberries, banned from CBGBs, The Marotta Brothers, Andy Warhol, throwing live bait into the audience, Elton John, clarinet, Saturday Night Live, Eric Carmen, tie-dye, Cameo, I know a guy that can do both, Peter Gabriel, we were doing McDonald's conventions, Joel Schumacher, being a meme, Steely Dan, Lester Young, Mad Max Beyond Thunderdome, Garland Jeffreys, Jon Hamm, head banging to sax, a wall of LPs, Aretha Franklin, you gotta have some wrong in what you are doing, Ornette Coleman, utility players, The Ken Dolls, Adolphe Sax and the ever-present cod-piece.  “That's just another night in Santa Cruz.”

Welcome to JazzPianoSkills, I'm Dr. Bob Lawrence. It's time to Discover, Learn, and Play jazz piano! Today, you are in for a real treat! I am joined by John Di MartinoJohn Di Martino is a composer, arranger, jazz pianist, producer, and educator, based in New York City. He is described as a "shape-shifter", for his creativity across musical genres. John composed the music for the documentary series: “A Glimpse Of Paradise"   (Prospera Medienproduktion) aired on Europe's Arte Channel, and music for the video games: "Batman: The Telltale Series"John Di Martino's latest CD's are: “Passion Flower” (the music of Billy Strayhorn ), featuring Raul Midon, Eric Alexander, Boris Kozlov, and Lewis Nash, and: “Mazel” (Yiddish Songs, re-imagined ), with Janis Siegel and Cantor Daniel Krammer (https://mazelthealbum.com/)John has recorded numerous CDs on the High Note and Venus Records (Japan) labels as a leader, and with Freddy Cole, Gloria Lynn, Houston Person, and Nicki Parrott.  John's discography includes Grammy-nominated CD'S: ”Love" (Issac Delgado), "Freddy Cole Sings Mr. B"  and "Live And In Clave" (Bobby Sanabria). John Di Martino was a long time member of Ray Barretto's "New World Spirit",  He is a featured arranger and pianist on many of Ray Barretto's recordings including the grammy-nominated, CD: "Contact" and "Portraits In Jazz And Clave"  (featuring James Moody, Kenny Burrell, Joe Lovano, Steve Turre, and Eddie Gomez). Born in Philadelphia, Pa in 1959, John studied with Jimmy Amadie, Lennie Tristano, and Don Sebesky.Discogs Artist Page"John's soul and being come straight through to his music, the jazz world needs him! " - Sheila Jordan (NEA Jazz Master)"John Di Martino is one of my absolute personal favorite pianists of today. His music is an honest outpouring of light! "- Benny Green (Jazz Pianist)"John di Martino's middle name should be 'taste', for he conveys that quality in both solo and supportive roles, in jazz as well as Latin music." - Ray Barretto (NEA Jazz Master)"John DiMartino is a first-call veteran of the New York City jazz scene. This multi-recorded artist has long been a favorite of singers for his gigantic ears and intuitive, uncluttered playing—rare gifts that also enhance any instrumentalist he accompanies or arranges. DiMartino is a fine musician who sounds less interested in technical pyrotechnics than in mining a melody for its original intent—whether he's arranging or playing, he lets the essence of a song speak for itself. "- Dr. Judith Schlesinger (All About Jazz)Support the show

A great big heapin' helping of a certain blind pianist's work provides the anchor for this time's outing, as we look at one disc from six of a new box set and then fan out to look at a little known second-hand disciple of the great man along with two other stylists further removed.  Pop matters further reveals Mike's ongoing obsession with all things Buckley.  Lennie Tristano  - PERSONAL RECORDINGS, Disc three; Billy Lester -  FROM SCRATCH ; Deanna Witkowski – FORCE OF NATURE; Roberto Occhipinti – THE NEXT STEP .

Quinta Brunson stars as a rookie second grade teacher in an under-resourced public elementary school in the mockumentary sitcom Abbott Elementary. Brunson says she conceived of the show with her mother — a teacher — in mind.Kevin Whitehead reviews a new stash of home and live recordings by jazz pianist Lennie Tristano.Though the main character in Julie Otsuka's new novel, The Swimmers, has lost much of her memory to dementia, she still remembers being sent to an incarceration camp for Japanese Americans during World War II. We talk with the novelist about her own family's history.

Quinta Brunson stars as a rookie second grade teacher in an under-resourced public elementary school in the mockumentary sitcom Abbott Elementary. Brunson says she conceived of the show with her mother — a teacher — in mind.Kevin Whitehead reviews a new stash of home and live recordings by jazz pianist Lennie Tristano.Though the main character in Julie Otsuka's new novel, The Swimmers, has lost much of her memory to dementia, she still remembers being sent to an incarceration camp for Japanese Americans during World War II. We talk with the novelist about her own family's history.

Though the main character in Julie Otsuka's new novel has lost much of her memory to dementia, she still remembers being sent to an incarceration camp for Japanese Americans during World War II. We talk with the novelist about her family's history and writing The Swimmers. Maureen Corrigan reviews Vladímír, a virtuoso debut novel by Julia May Jonas, and jazz critic Kevin Whitehead reviews a new stash of personal recordings from Lennie Tristano.

Though the main character in Julie Otsuka's new novel has lost much of her memory to dementia, she still remembers being sent to an incarceration camp for Japanese Americans during World War II. We talk with the novelist about her family's history and writing The Swimmers. Maureen Corrigan reviews Vladímír, a virtuoso debut novel by Julia May Jonas, and jazz critic Kevin Whitehead reviews a new stash of personal recordings from Lennie Tristano.

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Hello everyone, This is Mirko Guerrini, and I welcome you to the Jazz Transcription Clinic, a monthly interviews podcast where we talk with accomplished jazz doctors about their lives, careers and their personal transcription secrets. On this episode of the Jazz Transcription Clinic Podcast, Mirko Guerrini interviews the guest jazz doctor: Paul Grabowsky. Paul Grabowsky is a pianist, composer, arranger, conductor – and is one of Australia's most distinguished artists. Born in Papua New Guinea, Paul was raised in Melbourne. During the late 70's he became prominent in the music scene in Melbourne, working in various jazz, theatre and cabaret projects. He lived and worked in Europe and the US from 1980-85, during which time he performed with many jazz luminaries including Art Farmer and Johnny Griffin. He returned to Australia in 1986 and established a reputation as one of Australia's leading jazz musicians with such bands as his own trio and sextet, the Wizards of Oz and as musical director for singer Vince Jones. He was musical director of Tonight Live with Steve Vizard (a nationally televised variety show) from 1990-1992. He was Commissioning Editor (Arts and Entertainment) for ABC Television 1995-98. He has written the scores for over twenty feature films in Australia, the UK and US including ‘Innocence' (Paul Cox), ‘Last Orders', ‘The Eye of the Storm', ‘Words and Pictures'(Fred Schepisi) and ‘Shiner' (John Irvin). His television credits include the series ‘Phoenix' and ‘Janus' and the Emmy-winning ‘Empire Falls'. His works for the theatre include four operas and various multimedia works. His most recent opera, created for soprano Emma Matthews, ‘The Space Between', with libretto by Steve Vizard, premiered at Arts Centre Melbourne in September 2018. He is the Founding Artistic Director of the Australian Art Orchestra, which he led from 1994-2013. He has won seven ARIA awards (most recently in 2019 for his recording ‘Tryst' with singer Kate Ceberano)), two Helpmann awards, several APRA and Bell Awards and a Deadly award. He was the Sydney Myer Performing Artist of the Year in 2000, and received the Melbourne Prize for Music in 2007. He was the 2010 Australian National University H.C.Coombs Fellow. He was Artistic Director of the Queensland Music Festival from 2005-2007 and was Artistic Director of the Adelaide Festival of Arts for 2010 and 2012. He is currently a Professor at Monash University, and director of the Monash University Academy of Performing Arts and the Monash Art Ensemble. In 2014 he was made an Officer of the Order of Australia for services to music and arts administration. In this episode, Paul explains his personal transcribing approach and shows how to profit from every transcription you make. He is also providing many examples of solos that have been significant to his musical growth. Among all the great things that Paul says, my favourites are: 'You won't ever sound like somebody else, because you are not that person', 'MIles can play one note and all of the sudden all the energy conveys there!' 'George Coleman is the Mozart of Hard Bop'. Artists mentioned in this episode: Gary Costello, Lennie Tristano, Bud Powell, Charlie Parker, Lester Young, Billie Holiday, Bud Powell, Fats Navarro, George Coleman, Herbie Hancock, Brad Mehldau, Keith Jarrett, Wayne Shorter. a.o. You can check Paul Grabowsky here: https://paulgrabowsky.com.au You can check Mirko Guerrini's music here: https://mirkoguerrini.bandcamp.com Mirko Guerrini is a D'Addario artist, playing D'Addario mouthpieces and reeds. I acknowledge the Traditional Owners of the land on which this podcast is being recorded. I pay my respect to their Elders, past and present, and the Aboriginal Elders of other communities who may be here today.

MICKEY MARDONES – DA GRACIAS A LA VIDA – Santiago, Chile, October, 2005 Robbins’ nest (2), Whims of Chambers (2) Mickey Mardones (as-1,ts-2) Gabriel Feller (g) Daniel Navarette (b) Nicolas Rios (d) LENNIE TRISTANO – THE DUO SESSIONS – 1967-1976 Out Of A Dream (1), Melancholy Stomp (1), Ensemble (1), Concerto, Pt. 2 (3), Session […]

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

Support Burning Ambulance on Patreon • Get the Burning Ambulance email newsletterThis is an episode I have been hoping to present since this podcast began. I've been requesting interviews with Braxton for years, but never gotten the okay until this month. And you know what? In retrospect, I'm glad it took as long as it did. You know the saying “When the student is ready, the master appears”? Bill Dixon said that to me when I interviewed him for The Wire, and I feel like it's absolutely true in the case of the conversation you're about to listen to. I was not ready to interview Anthony Braxton when I first started asking. As it is, we probably could have talked for at least another hour, and maybe longer; we got along very, very well. Which was frankly not guaranteed going in. This interview didn't just take years to set up, it also fell through the first time we tried to do it, and I'm not 100 percent sure why but I have some suspicions. I do know that when I was working on re-scheduling it, I sent over my list of proposed questions in advance, which Braxton mentions right at the beginning, when he starts talking about the late Bob Koester from Delmark Records. I first started listening to Braxton's music about 20 years ago, and I feel like I've had a few major breakthroughs with it in that time, where it kind of made a little more sense to me afterward than it had before. Because it really is a learning process. You hear other things differently after you've grappled with his work for a while.The first big breakthrough for me was the album Quintet (Basel) 1977, which wasn't released until 2000; it's a live album that features George Lewis on trombone and Muhal Richard Abrams on piano. It was maybe the second or third thing I'd ever heard by him, so I mostly knew him by reputation still, as someone who made extremely advanced "weird" jazz that didn't really swing, but it wasn't free, either. Well, what I heard was not any of those things. It was a nonstop flow of energy, extremely creative but also swinging hard as hell, and the compositions were absolutely recognizable as such. It made perfect sense to me as jazz. The second breakthrough was when Mosaic Records put out a box set of his Arista albums, which I reviewed for Jazziz. Some of that music was difficult and alienating to my ear, but a lot of it was even more immediately accessible than I had expected it to be. If you've never listened to Braxton at all, you could do a whole lot worse than to start with New York, Fall 1974 or Five Pieces 1975, which were two of his first Arista releases and really do seem like his attempts to make music that would catch people's ear right away. The third and final breakthrough moment wasn't an album, it was a book – Forces In Motion, by Graham Lock. Lock went on tour with Braxton's quartet in England in the mid-80s, watching all the gigs, and interviewing all the group members repeatedly, and he gives you a 360 degree portrait of all of them as musicians and as human beings. It's one of the best books about music and musicians I've ever read, I recommend it unequivocally.When I was writing this intro, I looked on the hard drive where I keep most of my music, and I was surprised to find that I only actually own about 40 Anthony Braxton releases, including the individual albums that are contained in the Mosaic box and another box of his Black Saint albums from the 1980s. I honestly thought I had more. But among the others are a 3CD set of large ensemble pieces, a 12CD set of pieces for an a cappella ensemble, a 4CD set of improvisations for quartet, and a 4CD opera, all of which feature one long track per CD. I also have a 7CD set of the music of Lennie Tristano, Warne Marsh and other related musicians, an 11CD set of Charlie Parker tunes, a 13CD set of live recordings of standards, and an audio Blu-Ray containing 12 pieces ranging in length from 40 to 70 minutes. All told, I probably have around 80 hours' worth of Anthony Braxton's music in my house. If I wanted to, I could spend a long weekend listening to nothing but his work. And that's probably about ten percent of his total recorded output, maybe less. The man's catalog could fill a room.He's put out two mega releases just this month. The first is that audio Blu-Ray, which is called 12 Comp (ZIM) 2017 and features several different ensembles of between six and nine musicians including harp, cello, accordion, and horns, playing as I said long single pieces composed and then improvised upon using a highly specific and codified musical language of Braxton's own devising.The second is Quartet (Standards) 2020, the 13CD collection of live recordings from January 2020, when he played nine concerts in three cities: Warsaw, Poland, London, England, and Wels Austria, with a conventionally structured quartet: saxophone, piano, bass, drums. As its title suggests, they played standards. There are 67 songs on the box, with no repeats. There are tunes by Thelonious Monk, by Sonny Rollins, by Wayne Shorter, by Andrew Hill, but there are also several songs by Paul Simon, including the really excellent version of “Bridge Over Troubled Water” that you hear at the beginning of this episode, which if I'm being honest reminds me of Aretha Franklin's version.In this interview, we talk about both of those releases, as well as the larger issues they reflect. We talk about his compositional languages, the demands he places on the musicians he works with, his relationship to the jazz tradition, Wadada Leo Smith, Bill Dixon, Max Roach, Louis Armstrong, Duke Ellington, Cecil Taylor, and much, much more. It's one of my favorite interviews I've ever done, and I'm thrilled to share it with you.If you enjoy this podcast, please consider visiting patreon.com/burningambulance and becoming a subscriber. For just $5 a month, you can help keep this show and Burning Ambulance as a whole active and thriving. Thanks!Music featured in this episode:Anthony Braxton, “Bridge Over Troubled Water” (Quartet (Standards) 2020)Anthony Braxton, “Opus 23B” (New York, Fall 1974)

Discópolis se convierte hoy en Discópolis jazz para ver cómo influyó el blues en el jazz moderno. Rescatamos un vinilo del sello Atlantic de 1961, que ha recibido numerosas reediciones. Se publicó en mono, se reconvirtió al estéreo seis años después, nos llegó a España en 1967, pasó sin pena ni gloria, pero en 1969 se relanzó en Europa y aquí volvimos a editarlo manteniendo el anterior número del Depósito Legal (M.5334-1967). El disco es más que sobresaliente, por eso lo pongo. En todas las ediciones se mantuvieron las notas de carpeta escritas por Gunther Schuller y la portada de Picasso. Sin embargo, los créditos detallados nunca se dieron a conocer en España. Aquí los tenéis en inglés. V.A. – The Blues in Modern Jazz: El Blues en el Jazz Moderno. Atlantic – HAT 421-03, Hispavox. España 1967. Portada de Pablo Picasso. Lista de Títulos: A1 Dizzy Gillespie– Just Blues Bass – Joe Benjamin Drums – Bill Clark Piano – Art Simmons Tenor Saxophone – Don Byas Written-By, Trumpet – Dizzy Gillespie Bass – Joe Benjamin Drums – Bill Clark Piano – Art Simmons Tenor Saxophone – Don Byas Written-By, Trumpet – Dizzy Gillespie 2:56 A2 Art Blakey's Jazz Messengers With Thelonious Monk– Blue Monk Bass – Spanky DeBrest Drums – Art Blakey Tenor Saxophone – Johnny Griffin Trumpet – Bill Hardman Written-By, Piano – Thelonious Monk Bass – Spanky DeBrest Drums – Art Blakey Tenor Saxophone – Johnny Griffin Trumpet – Bill Hardman Written-By, Piano – Thelonious Monk 7:49 A3 Lennie Tristano– Requiem Written-By, Piano – Lennie Tristano Written-By, Piano – Lennie Tristano 4:51 A4 Charles Mingus– Haitian Fight Song Alto Saxophone, Tenor Saxophone – Curtis Porter Drums – Dannie Richmond Piano – Wade Legge Trombone – Jimmy Knepper Written-By, Bass – Charles Mingus Alto Saxophone, Tenor Saxophone – Curtis Porter Drums – Dannie Richmond Piano – Wade Legge Trombone – Jimmy Knepper Written-By, Bass – Charles Mingus 7:09 B1 Milt Jackson– Blues At Twilight Bass – Oscar Pettiford Drums – Connie Kay Piano – Horace Silver Tenor Saxophone – Lucky Thompson Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Written-By – Quincy Jones Bass – Oscar Pettiford Drums – Connie Kay Piano – Horace Silver Tenor Saxophone – Lucky Thompson Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Written-By – Quincy Jones 6:46 B2 Ray Charles– Sweet Sixteen Bars Bass – Roosevelt Sheffield Drums – William Peeples Written-By, Piano – Ray Charles Bass – Roosevelt Sheffield Drums – William Peeples Written-By, Piano – Ray Charles 4:04 B3 Jimmy Giuffre– Two Kinds Of Blues Bass – Ralph Pena Guitar – Jim Hall Written-By, Clarinet – Jimmy Giuffre Bass – Ralph Pena Guitar – Jim Hall Written-By, Clarinet – Jimmy Giuffre 5:10 B4 The Modern Jazz Quartet– Bluesology Bass – Percy Heath Drums – Connie Kay Piano – John Lewis Written-By, Vibraphone [Vibraharp] – Milt Jackson. 5:04 Bonus, no incluidos en aquel elepé: Mongo Santamaria: Watermelon Man Miguel Rios: Blues de la soledad. Escuchar audio

Discópolis se convierte hoy en Discópolis jazz para ver cómo influyó el blues en el jazz moderno. Rescatamos un vinilo del sello Atlantic de 1961, que ha recibido numerosas reediciones. Se publicó en mono, se reconvirtió al estéreo seis años después, nos llegó a España en 1967, pasó sin pena ni gloria, pero en 1969 se relanzó en Europa y aquí volvimos a editarlo manteniendo el anterior número del Depósito Legal (M.5334-1967). El disco es más que sobresaliente, por eso lo pongo. En todas las ediciones se mantuvieron las notas de carpeta escritas por Gunther Schuller y la portada de Picasso. Sin embargo, los créditos detallados nunca se dieron a conocer en España. Aquí los tenéis en inglés. V.A. – The Blues in Modern Jazz: El Blues en el Jazz Moderno. Atlantic – HAT 421-03, Hispavox. España 1967. Portada de Pablo Picasso. Lista de Títulos: A1 Dizzy Gillespie– Just Blues Bass – Joe Benjamin Drums – Bill Clark Piano – Art Simmons Tenor Saxophone – Don Byas Written-By, Trumpet – Dizzy Gillespie Bass – Joe Benjamin Drums – Bill Clark Piano – Art Simmons Tenor Saxophone – Don Byas Written-By, Trumpet – Dizzy Gillespie 2:56 A2 Art Blakey's Jazz Messengers With Thelonious Monk– Blue Monk Bass – Spanky DeBrest Drums – Art Blakey Tenor Saxophone – Johnny Griffin Trumpet – Bill Hardman Written-By, Piano – Thelonious Monk Bass – Spanky DeBrest Drums – Art Blakey Tenor Saxophone – Johnny Griffin Trumpet – Bill Hardman Written-By, Piano – Thelonious Monk 7:49 A3 Lennie Tristano– Requiem Written-By, Piano – Lennie Tristano Written-By, Piano – Lennie Tristano 4:51 A4 Charles Mingus– Haitian Fight Song Alto Saxophone, Tenor Saxophone – Curtis Porter Drums – Dannie Richmond Piano – Wade Legge Trombone – Jimmy Knepper Written-By, Bass – Charles Mingus Alto Saxophone, Tenor Saxophone – Curtis Porter Drums – Dannie Richmond Piano – Wade Legge Trombone – Jimmy Knepper Written-By, Bass – Charles Mingus 7:09 B1 Milt Jackson– Blues At Twilight Bass – Oscar Pettiford Drums – Connie Kay Piano – Horace Silver Tenor Saxophone – Lucky Thompson Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Written-By – Quincy Jones Bass – Oscar Pettiford Drums – Connie Kay Piano – Horace Silver Tenor Saxophone – Lucky Thompson Trumpet – Joe Newman Vibraphone [Vibraharp] – Milt Jackson Written-By – Quincy Jones 6:46 B2 Ray Charles– Sweet Sixteen Bars Bass – Roosevelt Sheffield Drums – William Peeples Written-By, Piano – Ray Charles Bass – Roosevelt Sheffield Drums – William Peeples Written-By, Piano – Ray Charles 4:04 B3 Jimmy Giuffre– Two Kinds Of Blues Bass – Ralph Pena Guitar – Jim Hall Written-By, Clarinet – Jimmy Giuffre Bass – Ralph Pena Guitar – Jim Hall Written-By, Clarinet – Jimmy Giuffre 5:10 B4 The Modern Jazz Quartet– Bluesology Bass – Percy Heath Drums – Connie Kay Piano – John Lewis Written-By, Vibraphone [Vibraharp] – Milt Jackson. 5:04 Bonus, no incluidos en aquel elepé: Mongo Santamaria: Watermelon Man Miguel Rios: Blues de la soledad. Escuchar audio

Twee nieuwe releases respectievelijk van Yuri Honing en van pianist Hal Galper. Verder terug in de tijd met de electric band Future Shock en pianist Lennie Tristano. Reacties: jazztrain@studio040.nl

Welcome to a new edition of the Neon Jazz interview series with New York Jazz Pianist Billy Lester .. He is a late-bloomer on that reticent branch of the jazz tree, the school of Lennie Tristano. He is an instinctively lyrical & unfettered improviser who creates original compositions from variations on classic American songs' chord changes .. His mentor Sal Mosca and his recorded music ventures and a new documentary are a matter of timing and luck .. Have a listen to his story .. Click here to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/

Hoy nos detenemos en 4 grandes figuras blancas del cool jazz (o West Coast Jazz). Dos pianistas, Tristano y Brubeck y dos saxos altos, Konitz y Desmond. Lennie Tristano (1919-1978), pianista ciego de Chicago, adelantado e innovador, idiosincrático y poco comprendido. Crea una escuela en la que estaba Lee Konitz (1927-2020). Konitz ya figura en el noneto de Davis y hace estupenda carrera, de los pocos que no se inspira y/o copia a Parker. Dave Brubeck (1920-2012), pianista de Concord, Northern California, de formación clásica y toque bombástico, tiene mucho éxito con su cuarteto donde hace uso de elementos clásicos y de tiempos impares. Brubeck tenia swing o no? En su cuarteto esta Paul Desmond, de San Francisco (1924-1977), un saxo alto lírico, etéreo, fluido e inspirado, autor del clásico Take 5. El Concerto Grosso alla Rustica de Les Luthiers se inspiró en el Blue Rondo a la Turk de Brubeck?

Join us as we chat with the great Tim Cappello all about his amazing journey through music and film. ————————————————— This episode is sponsored by Deadly Grounds Coffee "Its good to get a little Deadly" https://deadlygroundscoffee.com ————————————————— Buy awesome Merchandise! https://teespring.com/stores/still-toking-with ————————————— Holiday Crave Evil Gnome giveaway ENDS TONIGHT https://kingsumo.com/g/ut5gao/holiday-crave-evil-gnome-giveaway ————————— Tim Cappello Was born in Silver Lake, NY and studied at the New England Conservatory of Music under the jazz great Lennie Tristano. His first gig was with comedian Billy Crystal backing up his act on piano and saxophone. He then went on to tour and record with Eric Carmen, Garland Jeffries, Peter Gabriel ,& Carly Simon before landing with Tina Turner in 1984 becoming an intricate part on many of her records and videos. Timmy took some time off to pursue his acting career & performing songs such as -- I still believe (The Lost Boys) Hearts of fire (Bob Dylan) Tap (Gregory Hines& Sammy Davis Jr.) The Equalizer and Miami Vice. Tim also appeared on many TV documentaries for PBS, Turner Classic Movies , and A&E ( including the special 4 hour Rat Pack biography). Tim was also a two time member of Ringo Starr's all star band and in 2018 he performed playing the saxophone on the Netflix variety show -The Break with Michelle Wolf and was featured along with singer Indiana on the British Synthwave band GUNSHIP'S single DARK ALL DAY. The album debuted at #1 on the electronic charts in the US,UK & Canada. In 2018 Tim recorded his first solo album "Blood on the Reed" which he is currently on tour supporting. Follow Timmy https://www.imdb.com/name/nm0135511 https://timcappello.com/ https://www.facebook.com/Tim-Cappello-1637242919840074/ FB Live on these platforms plus Toking with the Dead The Dorkening Hellfire Radio Hell Entertainment http://www.youtube.com/c/THETOKINGDEAD February 19th-21st 2021 Evil Expo: The Return! Still Toking With https://www.facebook.com/TokingwiththeDead/ https://www.instagram.com/stilltokingwith/ http://www.youtube.com/c/THETOKINGDEAD https://www.twitch.tv/stilltokingwith https://www.facebook.com/HellfireRadio666/ Support Still Toking Enterprises https://www.paypal.me/thetokingdead https://www.facebook.com/groups/2658329444181663/?ref=br_rs https://www.facebook.com/groups/stilltokingcomics/ Produced by: The Dorkening Podcast Network https://TheDorkening.com Facebook.com/TheDorkening Youtube.com/TheDorkening Twitter.com/TheDorkening Instagram.com/TheDorkening Find out more at https://still-toking-with.pinecast.co This podcast is powered by Pinecast.

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Lennie Tristano war einer der ersten Jazz-Pädagogen. Der blinde Pianist experimentierte mit freier Improvisation und neuen Aufnahme-Techniken. Vor allem aber repräsentierte er die "Tristano-Schule": eine weiße, intellektuelle Variante des Cool Jazz. Von Karsten Mützelfeldt.

Joe Satriani was born on July 15, 1956 at Westbury (in the state of New York). He played a little on his sister's guitar. She had played some folk music in high school. He was inspired since he was young by Blues music, the Beatles and the Stones so when he turned 8 he started playing drums, then some piano a bit later. On September 18, 1970 all collapsed around him when he learned that Jimi Hendrix passed away. Joe was only 14 but he decided from this moment to stop everything and dedicate his life to learn the instrument of his idol.The following years were long periods of practising and learning a lot with the purpose of becoming a great guitar player. He learned musical theory from Bill Wescott and started to take an interest in jazz music. Later he took lessons with Billy Bauer and the pedagogue Lennie Tristano who played such a major role in his learning. Then it was his turn to give guitar lessons to a lot of guitar players that became famous such as David Bryson from Counting Crows, Kirk Hammett from Metallica, Larry Lalonde from Primus, Charlie Hunter, Jeff Tyson and, of course, the genius Steve Vai.In 1979 Joe formed The Squares in San Francisco with his friend Jeff Campitelli and Andy Milton. The second album of the Squares was the beginning of his relationship with the mastering engineer John Cuniberti. The band had success in San Francisco but remained unknown elsewhere, so in 1984 he recorded an EP of 5 tracks on his own Rubina label, (his wife's name).Steve Vai, who was in the Frank Zappa's band, introduced Joe to Relativity Records. At the time Joe was recording Not Of This Earth, and Relativity Records gave him a chance to make a record that didn't sound like the drum machines he'd used.Then Surfing With The Alien came out in 1987 and that was the explosion in terms of Joe's career. It become a platinum disc. This album contributed to introducing Satriani to the general public and he succeeded in imposing his new style even if many others like Jeff Beck had paved the way somewhat.A major event in Joe Satriani's career and rock history was when 90,000 people gathered together in North America in October 1996 and discovered the G3 format (with Joe Satriani, Steve Vai and Eric Johnson the first year), who didn't stop touring for 6 months. The G3 was a worldwide tour created by Joe Satriani and put on stage the 3 best guitar players from the time. There were a lot of G3 experiences later with a lot of guitar players like Billy Gibbons, Neal Schon, Steve Morse, Andy Timmons, Uli Jon Roth, Patrick Rondat, Robert Fripp, Yngwie Malmsteen, John Petrucci, or Paul Gilbert to mention just a few.His latest album, "Shapeshifting" came out in April of 2020. Learn more about Lyte. Hosted on Acast. See acast.com/privacy for more information.

Joe Satriani was born on July 15, 1956 at Westbury (in the state of New York). He played a little on his sister’s guitar. She had played some folk music in high school. He was inspired since he was young by Blues music, the Beatles and the Stones so when he turned 8 he started playing drums, then some piano a bit later. On September 18, 1970 all collapsed around him when he learned that Jimi Hendrix passed away. Joe was only 14 but he decided from this moment to stop everything and dedicate his life to learn the instrument of his idol.The following years were long periods of practising and learning a lot with the purpose of becoming a great guitar player. He learned musical theory from Bill Wescott and started to take an interest in jazz music. Later he took lessons with Billy Bauer and the pedagogue Lennie Tristano who played such a major role in his learning. Then it was his turn to give guitar lessons to a lot of guitar players that became famous such as David Bryson from Counting Crows, Kirk Hammett from Metallica, Larry Lalonde from Primus, Charlie Hunter, Jeff Tyson and, of course, the genius Steve Vai.In 1979 Joe formed The Squares in San Francisco with his friend Jeff Campitelli and Andy Milton. The second album of the Squares was the beginning of his relationship with the mastering engineer John Cuniberti. The band had success in San Francisco but remained unknown elsewhere, so in 1984 he recorded an EP of 5 tracks on his own Rubina label, (his wife’s name).Steve Vai, who was in the Frank Zappa’s band, introduced Joe to Relativity Records. At the time Joe was recording Not Of This Earth, and Relativity Records gave him a chance to make a record that didn’t sound like the drum machines he’d used.Then Surfing With The Alien came out in 1987 and that was the explosion in terms of Joe’s career. It become a platinum disc. This album contributed to introducing Satriani to the general public and he succeeded in imposing his new style even if many others like Jeff Beck had paved the way somewhat.A major event in Joe Satriani’s career and rock history was when 90,000 people gathered together in North America in October 1996 and discovered the G3 format (with Joe Satriani, Steve Vai and Eric Johnson the first year), who didn’t stop touring for 6 months. The G3 was a worldwide tour created by Joe Satriani and put on stage the 3 best guitar players from the time. There were a lot of G3 experiences later with a lot of guitar players like Billy Gibbons, Neal Schon, Steve Morse, Andy Timmons, Uli Jon Roth, Patrick Rondat, Robert Fripp, Yngwie Malmsteen, John Petrucci, or Paul Gilbert to mention just a few.His latest album, "Shapeshifting" came out in April of 2020. Learn more about Lyte.

Omaggio a Lee Konitz -..lee konitz with Miles Davis - yesterdays from ezz..Lennie Tristano quintet - Subconsiucius Lee..Lee Konitz - When you smiling..L.Konitz, C.Baker. G. Mulligan - These foolish things..O. Vanoni - Ma l'amore no..L.Konitz, B.Casini - Outra vez..Tristano-marsh-konitz - Kary's trance..Lee Konitz - Stella bt Starlight..Lee Konitz - Giovani d'oggi

Omaggio a Lee Konitz -..lee konitz with Miles Davis - yesterdays from ezz..Lennie Tristano quintet - Subconsiucius Lee..Lee Konitz - When you smiling..L.Konitz, C.Baker. G. Mulligan - These foolish things..O. Vanoni - Ma l'amore no..L.Konitz, B.Casini - Outra vez..Tristano-marsh-konitz - Kary's trance..Lee Konitz - Stella bt Starlight..Lee Konitz - Giovani d'oggi

In questa puntata Marcin Wasilewski con Joe Lovano, il nuovo Bill Frisell, Kurt Elling con Danilo Perez, Esperanto (Luca Falomi, Riccardo Barbera, Rodolfo Cerevtto), Stefano Bollani, Tony Bennett e Bill Evans, Lennie Tristano, Bobby Watson, Rudresh Mahanthappa e Stevie Wonder. Buon jazz a tutti.

Playlist: Lennie Tristano, Lenny Popkin - Out Of A Dream / Ballad / Chez Lennie / In Flight / Ensemble / Melancholy StompLenny Popkin - Body & Soul and other trio recordings

My guest today is Peter Pullman, he is the author of “Wail: The Life of Bud Powell”. Receiving a Grammy nomination in 1994 for Best Album Notes on the album “The Complete Bud Powell On Verve” led Pullman to begin work on the biographical project. A truly exhaustive work, Pullman conducted 300 formal interviews, 500 informal ones, research in private archives, police records, FBI files, petitioning New York state psychiatric hospitals, fact finding trips to Europe. The book was a culmination of 12 years of work, and is probably the definitive book on the musician's life. ----- 0:55 Bud Powell's first piano teacher 2:15 How long was Bud with his first teacher? 3:46 Was Bud acquainted with any famous musicians in Harlem? 5:14 Did Bud join any big bands? 6:41 When did Bebop begin and how did Bud get into Bebop? 9:05 When Bud meet Thelonious Monk? 11:09 Did the theoretical underpinnings of Bebop come from Monk? 13:34 Who was Jimmy Blanton? 13:58 How tall was Bud Powell? 15:10 When Bud told Billy Taylor that he was more interested in learning Charlie Parker's style instead of Art Tatum's 17:21 When did that conversation take place? 18:55 What was Bud's relationship with Charlie Parker in the early stages 21:52 Do we know how much Bud and Charlie Parker played together 23:50 What about Dizzy Gillespie and Bud? 25:56 How did the seminal 1947 recording date (with Donna Lee and Buzzy) happen if it was so difficult to corral everyone? 27:05 Recording with Sonny Stitt in 1949 28:34 Can you date the peak of interest in Bebop? 30:51 Sonny Stitt and Bud's mutual respect 34:22 The famous disastrous final gig with Charlie Parker and Bud Powell 37:45 Bud tearing into Charlie Parker in Lennie Tristano's presence 40:23 Did Errol Garner refuse to perform right after Bud Powell? 42:39 Was tension between Oscar Peterson and Bud Powell? 45:15 Was Francis Paudraus, Bud's close friend, an unreliable biographer? 47:28 Did Art Tatum and Bud Powell have a cutting contest? 49:34 Bud receiving a standing ovation immediately after his “Move" solo 52:57 What was Barry Harris' relationship with Bud Powell? 56:05 Did Bud Powell watch a John Coltrane concert and did they have a connection? 59:38 How has the reception to your book been? 1:02:35 Nikhil's interest in Bud Powell 1:06:29 Who was the most helpful interviewee in your research? 1:09:13 Wrapping Up

El saxofonista Lee Konitz, uno de los últimos grandes clásicos del jazz moderno, nos dejó el pasado mes de abril de este año de 2020. Más de setenta años de carrera musical, dieron para mucho, desde su periodo formativo en los grupos experimentales del pianista Lennie Tristano a finales de los años 40 del pasado siglo, pasando por su participación en las legendarias sesiones de The Birth of the Cool, al lado del trompetista Miles Davis y su noneto y una discografía de al menos 160 albumes como líder y otros muchos como sideman que constituye un inmenso legado musical de valor incalculable. Un hombre que lo había tocado todo, con todos, con un estilo y un lenguaje improvisativo únicos e inconfundibles. A sus 92 años, y con esa impresionante trayectoria, había ascendido, por derecho propio a la categoría de los mitos vivientes, un artista incombustible, al que solo la muerte ha sido capaz de apartarle de los escenarios.

El saxofonista Lee Konitz, uno de los últimos grandes clásicos del jazz moderno, nos dejó el pasado mes de abril de este año de 2020. Más de setenta años de carrera musical, dieron para mucho, desde su periodo formativo en los grupos experimentales del pianista Lennie Tristano a finales de los años 40 del pasado siglo, pasando por su participación en las legendarias sesiones de The Birth of the Cool, al lado del trompetista Miles Davis y su noneto y una discografía de al menos 160 albumes como líder y otros muchos como sideman que constituye un inmenso legado musical de valor incalculable. Un hombre que lo había tocado todo, con todos, con un estilo y un lenguaje improvisativo únicos e inconfundibles. A sus 92 años, y con esa impresionante trayectoria, había ascendido, por derecho propio a la categoría de los mitos vivientes, un artista incombustible, al que solo la muerte ha sido capaz de apartarle de los escenarios.

  WARNE MARSH – STAR HIGHS    Los saxofonistas  Lee Konitz y Warne Marsh fueron los alumnos más exitoso de Lennie Tristano. Marsh, a diferencia de Konitz, pasó la mayor parte de su carrera explorando la improvisación cordal a la manera de Tristano. Marsh, saxo...

Warne Marsh was an uncompromising artist and always stuck to playing only music he believed in. From 1948 on he studied with the great pianist/teacher/guru Lennie Tristano. He appeared on Tristano's ground breaking 1949/50 recordings and many thereafter. Marsh had a unique sound, acerbic and cerebral to be sure but still warm and full. His melodic ideas were all his own and his place since his death in 1987 has been re-evalued and he is now considered one of the great masters of his horn and joins the ranks of John Coltrane, Sonny Rollins, Stan Getz et.al. To celebrate Marsh's Birthday (Oct.26) this evening we present him in a favourite setting. His sole horn backed by a great rhythm section including pianist Lou Levy (one of his favourites), bassist Fred Atwood and drum great Jake Hanna. The tunes are written by Marsh, Levy and lee Konitz. Two great standards appear as well. The beautiful "Easy Livin'" and the latter day classic by Johnny Mandel. Happy Birthday Warne Marsh.....you are "All Music".

This date which took place in New York or Brooklyn to be specific at the Putnam Central Club was put together by bassist/composer Charles Mingus. It's not a Mingus styled date but more of an informal jam. Mingus who along with drummer Max Roach owned Debut Records decided to record this special evening and put it out. Mingus picked his four favourite Modern Jazz trombonists. Mingus loved the trombone and these men represented the elite of contemporary trombonists. J.J. Johnson was the first and most prominent. Bennie Green with his distinctive smooth approach was second. Kai Winding was another hip and oft recorded modernist with his outgoing, energetic style. Willie Dennis was the young favourite of Mingus and he strove for originality of concept with an approach influenced by his studies with guru Lennie Tristano. Mingus used John Lewis on piano and New York's busiest drummer Arthur Taylor. The tunes are by and large jams with extended solos by everyone. This was a special once in a lifetime meeting that produced some great music and extended Mingus' love of the trombone. Perhaps it will extend your love of this instrument which goes back to the earliest days of Jazz history.

Lee Konitz is one of the foremost voices of the alto saxophone. He was one of the first to emerge in the late 1940s and NOT play like Charlie Parker. He hooked up with pianist/teacher/guru Lennie Tristano and became one of his leading disciples. Konitz went on to play with Miles Davis and tour with Stan Kenton and then formed his own ensembles. Konitz has never been an "in your face" kind of player but always exhibited a warm woody sound coupled with a melodic concept that never relied on cliches and "hot licks". Konitz was an influence on Paul Desmond and Art Pepper. Lee is also Anthony Braxton's favourite saxophonist! This album called "Motion" was recorded in one day and night on August 29,1961 and puts Lee with just bass and drums. The great and unheralded Sonny Dallas is on bass and the amazing Elvin Jones is on drums. Jones was with John Coltrane at the time and retains his identity but plays very differently with Konitz. These three men had never played together before and Lee just picked a group of great standard tunes to improvise on with rather amazing results. The very self-critical Mr. Konitz actually liked this record! I'm certain you will too. Konitz is still alive and well at age 86 and this album is a Konitz landmark.

This album aptly titled by Blue Note Records' owner Alfred Lion was called "Swing, Swang, Swingin'". "That's what the guys did and this was one of the most relaxed sessions I ever supervised". This was alto saxophone master Jackie Mclean's first quartet date for Blue Note, a label that he signed with in 1959 after several unhappy years with Prestige. Jackie was with BLue Note from 1959 to 1968 in a very good relationship with a label that saw him go through many alterations and advances of his style which was in early years heavily influenced by Charlie Parker (what alto saxophonist wasn't?). This date shows Jackie at his first level of maturity with added depth to his unique sound and a smoothing out of his ideas which flow much more easily. Most of all he sounds like no one else.....Jackie McLean had arrived. He picked his sidemen well in two old friends that he grew up with in the Sugar Hill area of Harlem in the persons of drummer Arthur Taylor and pianist Walter Bishop Jr. New to New York but with experience playing with Bill Evans, Tony Scott and Lennie Tristano was bassist Jimmy Garrison. Garrison went onto fame as the bassist with Coltrane's "classic quartet". The set consists of 5 standards all fairly common except Irving Berlin's "Let's Face The Music and Dance". Benny Golson's Jazz classic "Stablemates" gets a good reading and the set winds up with a good blues by Jackie called "116th and Lenox", depicting an important intersection in Harlem. As Mr Lion said they came and they did swing and swang and were swingin'! Happy Birthday this May 17th to Jackie Mclean....he would have been 79. Mr. Mclean passed away on March 31,2006.