Podcasts about Lennie Tristano

Play Episode Listen Later Feb 26, 2022 48:45

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.

creator world war ii elementary novelists swimmers japanese americans brunson abbott elementary quinta brunson julie otsuka lennie tristano kevin whitehead

Best Of: 'Abbott Elementary' Creator Quinta Brunson / Novelist Julie Otsuka

Play Episode Listen Later Feb 26, 2022 48:45

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.

creator world war ii elementary novelists swimmers japanese americans brunson abbott elementary quinta brunson julie otsuka lennie tristano kevin whitehead

Novelist Julie Otsuka On 'The Swimmers'

Play Episode Listen Later Feb 22, 2022 46:23

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.

world war ii vlad novelists swimmers japanese americans julie otsuka lennie tristano maureen corrigan julia may jonas kevin whitehead

Novelist Julie Otsuka On 'The Swimmers'

Jazz Transcription Clinic

Play Episode Listen Later Feb 22, 2022 46:23

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.

world war ii vlad novelists swimmers japanese americans julie otsuka lennie tristano maureen corrigan julia may jonas kevin whitehead

El cl

Cafè Jazz

Play Episode Listen Later Feb 14, 2022 30:12

M

deep blues pacific el cl art blakey oscar peterson buddy rich ray brown lionel hampton setmana bob carter lennie tristano ssic sonny clark bobby white buddy defranco frank devito clarinetista billy bauer

El trio cl

Cafè Jazz

Play Episode Listen Later Dec 21, 2021 28:22

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east momentum trios pianista birdland lennie tristano ssic jeff morton billy bauer

Episode 6 - Paul Grabowsky

Play Episode Listen Later Dec 1, 2021 57:48

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.

Puro Jazz 27 Octubre

PuroJazz

Play Episode Listen Later Oct 28, 2021 58:28

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 […]

jazz chile ensemble chambers robbins puro concerto whims lennie tristano

Anthony Braxton

Burning Ambulance Podcast

Play Episode Listen Later Jun 24, 2021 72:19

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)

Anthony Braxton

Burning Ambulance Podcast

Play Episode Listen Later Jun 24, 2021 72:19

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 11.330 - El Blues en el Jazz Moderno 1961 - 28/05/21

Discópolis

Play Episode Listen Later May 28, 2021 58:54

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 11.330 - El Blues en el Jazz Moderno 1961 - 28/05/21

Discópolis

Play Episode Listen Later May 28, 2021 58:54

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

M136 Nieuwe releases 03

Studio040 - THE JAZZTRAIN MODERN

Play Episode Listen Later Mar 31, 2021 59:22

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

releases nieuwe verder twee future shock reacties lennie tristano

New York Jazz Pianist Billy Lester

Famous Interviews with Joe Dimino

Play Episode Listen Later Feb 8, 2021

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/

america american interview blog missouri kansas city lester pianists engineered tunein radio jazz pianist all about jazz john christopher dimino lennie tristano new york jazz mutual musicians foundation

Jazz Lo Sé Episodio 51

JAZZ LO SE

Play Episode Listen Later Jan 24, 2021 31:56

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?

chicago san francisco jazz northern california concord crea turk dave brubeck take5 les luthiers lee konitz brubeck paul desmond rustica lennie tristano tristano west coast jazz

S1E33 - Still Toking With Timmy Capello (Actor & Musician)

Still Toking With

Play Episode Listen Later Dec 13, 2020 66:08

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.

El cl

Cafè Jazz

Play Episode Listen Later Oct 26, 2020 32:10

M

jazz quiet el cl marionette lee konitz paul chambers lennie tristano gary foster ted brown philly joe jones jeff morton oscar pettiford warne marsh billy bauer

Der Cool Jazz Pianist - Lennie Tristano

WDR 3 Giant Steps in Jazz

Play Episode Listen Later Oct 22, 2020 15:46

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.

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Spot Lyte On...Joe Satriani

Spotlight On

Play Episode Listen Later Sep 22, 2020 65:03

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.

Spot Lyte On...Joe Satriani

Spot Lyte On...

Play Episode Listen Later Sep 22, 2020 64:55

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.

Camera a sud - 30/08/20

Camera Sud

Play Episode Listen Later Aug 29, 2020 40:20

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

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Camera a sud - 30/08/20

Camera Sud

Play Episode Listen Later Aug 29, 2020 40:20

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

camera miles davis starlight omaggio lee konitz lennie tristano tristano

JazzTracks9

Jazz Tracks

Play Episode Listen Later Jul 4, 2020 76:22

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.

Lift The Bandstand - Episode May 20, 2020

Lift The Bandstand

Play Episode Listen Later Jun 8, 2020

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

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91: Peter Pullman

The Nikhil Hogan Show

Play Episode Listen Later May 25, 2020 70:43

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

Adiós a Lee Konitz: El Rey del Cool Jazz

Podcast de JAZZNOEND RADIO

Play Episode Listen Later May 15, 2020 104:37

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.

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Adiós a Lee Konitz: El Rey del Cool Jazz

Podcast de JAZZNOEND RADIO

Play Episode Listen Later May 15, 2020 104:37

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.

birth miles davis el rey lee konitz cool jazz lennie tristano

P Jazz 14 mayo

PuroJazz

Play Episode Listen Later May 14, 2020 59:44

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...

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Jazzenelaire prog.nº661STANDARD SEMANAL.- “Nature Boy”( Nat King Cole-Frank Sinatra- diana reeves)-JAZZ RECUERDO ANIVER

JAZZ EN EL AIRE

Play Episode Listen Later Apr 26, 2020 119:57

PROG.Nº 661.- 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.- “Nature Boy”( Nat King Cole-Frank Sinatra- diana reeves) Hoy tendremos también como todos los fines de mes, el tema que nos ofrece Ezequiel del BAUL DEL JAZZ, con Diana Reeves). JAZZ RECUERDO ANIVERSARIO.- Denzil best-Erroll Garner -Concert By The Sea Denzil DaCosta Best (27 de abril de 1917 - 24 de mayo de 1965) fue un percusionista y compositor estadounidense de jazz nacido en la ciudad de Nueva York. Fue un destacado baterista de bebop en la década de 1950 y principios de 1960. Best nació en la ciudad de Nueva York, en una familia musical de las Indias Occidentales originaria de Barbados . [1] Entrenado en piano, trompeta y bajo, se concentró en la batería a partir de 1943. Entre 1943 y 1944 trabajó con Ben Webster , y posteriormente con Coleman Hawkins (1944–45), Illinois Jacquet (1946) y Chubby Jackson. . El baterista era conocido por sentarse en el Playhouse de Minton . [2] Participó en una grabación con George Shearing en 1948 y fue miembro fundador de su Cuarteto, permaneciendo allí hasta 1952. En 1949 tocó en una grabación con Lennie Tristano y también grabó más tarde con Lee Konitz . En un accidente automovilístico de 1953, se fracturó ambas piernas y se vio obligado a retirarse temporalmente [3] hasta 1954, cuando jugó con Artie Shaw , y luego en un trío con Erroll Garner (1955–57). Best posteriormente jugó con Phineas Newborn , Nina Simone , Billie Holiday y Tyree Glenn , y en 1962 apareció en el primer lanzamiento de Sheila Jordan . Sufrió parálisis después de esto y ya no podía jugar; murió a los 48 años en 1965, después de caerse por una escalera en una estación de metro de la ciudad de Nueva York. Composiciones Best compuso varias canciones conocidas de bebop, incluyendo "Move" (que apareció en un arreglo de John Lewis en las grabaciones seminales de 1949 y 1950 lanzadas en 1957 en el álbum Miles Davis Capitol Records , Birth of the Cool ), "Wee" , "Nothing but D. Best", y "Dee Dee's Dance", y con Thelonious Monk , " Bemsha Swing ". [4] La composición de Best "45 Degree Angle" fue grabada por Herbie Nichols y Mary Lou Williams . Influencia A diferencia de muchos percusionistas bebop, que cargaron el espacio musical con acentos contra el metro prevaleciente y, por lo tanto, crearon intensidad rítmica, Best reanudó el desarrollo legato de Jo Jones . Jugó al ritmo y rara vez usaba acentos fuertes. Tocando de esta manera, no solo fue un modelo para el jazz cool, sino que también influyó en innumerables combos de bar. Best fue conocido por su trabajo con los pinceles : el baterista Jake Hanna dijo que "podría ser el mejor pincel de todos los bateristas", [5] : 117 y Elvin Jones incluyó a Best entre sus tres primeros. [5] : 123 Fue el baterista en la muy popular grabación de Erroll Garner Concert by the Sea , junto con el bajista Eddie Calhoun . STANDARD SEMANAL.- “Nature Boy”( Nat King Cole-Frank Sinatra- diana reeves)-JAZZ RECUERDO ANIVERSARIO.- Denzil best-Erroll Garner -Concert By The Sea.-JAZZ ACTUALIDAD .- Esta semana tendremos a Amadeu Adell Trio Personal Matters.-CARMEN CUESTA-“PEACE OF MIND” JAZZ ACTUALIDAD .- Esta semana tendremos a Amadeu Adell Trio Personal Matters.-CARMEN CUESTA-“PEACE OF MIND” Personal matters trio opus 2 Es el segundo trabajo discográfico del trio valenciano formado por el bateria Pere munuera, Lucas Ibañez en las guitarras y amadeu adell en el contrabajo,bajo eléctrico , y autor de los temas del disco, el cual siguiendo la línea de su anterior trabajo y en forma de suite temática traslada al oyente por diferentes tipos de sonoridades y texturas sonoras que van relatando y describiendo la forma de las 5 piezas musicales basadas en "manías"que son descritas y desarrolladas musicalmente . Para este trabajo además de el trio "personal MATTERS"han colaborado la chelista eridani González,Andrés belmonte en las flautas,Kike Simon en el piano y la voz de payoh soulrebel ,que perfilan los arreglos y dan un toque acústico al carácter más eléctrico del trio. Un disco de jazz contemporáneo abierto al mestizaje sonoro en el que se mezclan sin tapujos las influencias del rock-jazz progresivo,el folk- urbano,la clásica o la world- music con los textos de la escritora Erica Fortuny que nos sitúan y enriquecen el paisaje sonoro

JazzBeat 48 - Lee Konitz

Jazz Beat

Play Episode Listen Later Apr 17, 2020 38:56

Jazz a la Mode host Tom Reney interviewed Lee Konitz in 2004 before concerts he was playing in Northampton and Cambridge. Konitz died from Covid-19 related pneumonia on April 15 at age 92. He was still touring and recording until social distancing began in March. A major figure in his own right, the Chicago-born saxophonist was associated over the course of his 75-year-long career with the jazz greats Miles Davis, Lennie Tristano, Stan Kenton, Bill Evans, and Brad Mehldau.

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Jazz Bastard Podcast 190 - Opposite Ends of the Bench

Jazz Bastard Podcast

Play Episode Listen Later Apr 14, 2020 87:19

The boys focus on two pianists this time - the recently departed McCoy Tyner (stalwart of John Coltrane's "great quartet" and indefatigable leader of countless record sessions) and the long-departed Lennie Tristano (reclusive doyen of cool jazz education). The subjects couldn't be less alike but both made fascinating music. Normally, we'd insert some kind of joke right about here, but we're too busy hoarding toilet paper. In pop matters, Mike's a real bastard while Pat muses about the Beatles' "best" album and its mixed attitudes towards women. Lennie Tristano – NEW TRISTANO/THE REAL TRISTANO; THE DUO SESSIONS; McCoy Tyner – THE REAL MCCOY; EXTENSIONS; TRIDENT.

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Jazzenelaire prog.nº657 STANDARD SEMANAL.- “My Romance”(DAVE BRUBECK-BILL EVANS-JESSICA WILLIAMS).-BAUL DEL JAZZ, con C

JAZZ EN EL AIRE

Play Episode Listen Later Mar 29, 2020 120:00

STANDARD SEMANAL.- “My Romance”(DAVE BRUBECK-BILL EVANS-JESSICA WILLIAMS).-BAUL DEL JAZZ, con Cliffort Brown..-JAZZ RECUERDO ANIVERSARIO.- John La Porta - Conceptions(1956).-JAZZ ACTUALIDAD .- IVAN SANJUAN CUARTETO-FRIENDSHIP PROG.Nº 657.- 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.- “My Romance”(DAVE BRUBECK-BILL EVANS-JESSICA WILLIAMS) Hoy tendremos también como todos los fines de mes, el tema que nos ofrece Ezequiel del BAUL DEL JAZZ, con Cliffort Brown. JAZZ RECUERDO ANIVERSARIO.- John La Porta - Conceptions(1956) John La Porta* ?– Conceptions Sello: Fantasy ?– 3-228 Formato: Vinyl, LP, Mono, Red Vinyl País: US Publicado: 1956 Género: Jazz Estilo: Lista de Títulos A1 Concertina For Clarinet 3:44 A2 Nightly Vigil 1:20 A3 Perdido 7:35 A4 Triplets, You Say? 0:55 A5 Small Blue Opus 5:14 A6 Little Fantasy 0:48 B1 Absentee 4:57 B2 Washday 0:44 B3 En Rapport 5:17 B4 Lou's Tune 1:25 B5 Ferme La Porta 4:54 Créditos • Baritone Saxophone – Sol Schlinger • Bass – Wendell Marshall • Clarinet, Alto Saxophone – John La Porta* • Drums – Clem De Rosa • Piano – Wally Cirillo • Trombone – Sonny Russo • Trumpet – Lou Mucci* Notas Original red vinyl mono press. Artist on covers: John La Porta Septet, Quartet And Duo Nacido en Filadelfia, LaPorta comenzó a tocar el clarinete a la edad de nueve años y estudió en la escuela Mastbaum en Filadelfia, donde uno de sus compañeros de clase era Buddy DeFranco . Cuando era adolescente, tocó en bandas de Filadelfia con Charlie Ventura y Bill Harris . Estudió de manera clásica con Joseph Gigliotti de la Orquesta de Filadelfia y Leon Russianoff en la Manhattan School of Music . De 1942 a 1944 fue miembro de la gran banda de Bob Chester , [1] luego pasó los siguientes dos años con la Orquesta Woody Herman . [2] A partir de 1947 estudió con Lennie Tristano . Con Teo Macero y Charles Mingus fue miembro del Taller de Compositores de Jazz , tratando de combinar el jazz con la música clásica. [1] En el mundo clásico, trabajó con Boston Pops , Leonard Bernstein , Leopold Stokowski e Igor Stravinsky . En jazz trabajó con Kenny Clarke ,Miles Davis , Dizzy Gillespie , Charlie Parker , Buddy Rich y Lester Young . [2] El 12 de agosto de 1956, La Porta fue invitada al primer concierto de jazz en Venezuela en el Teatro Nacional de Caracas, respaldado por la Orquesta de Casablanca, Charlie Nagy , Werner Boehm , Walter Albrecht , entre otros. Durante su estancia en Caracas, una selección del repertorio interpretado en el concierto fue lanzado bajo el título South American Brothers por Fantasy Records , [1] la primera grabación de jazz en Venezuela. Enseñó en la Parkway Music School, luego en las escuelas públicas de Long Island , seguido por la Manhattan School of Music y el Berklee College of Music . Con el guitarrista Jack Petersen , fue pionero en el uso de modos griegos para enseñar escalas de acordes. En la década de 1990, él y su esposa se retiraron a Sarasaota, Florida, donde actuó en el Sarasota Jazz Club y como invitado con el trío Fred Williams. Él escribió su autobiografía, Playing It by Ear . LaPorta murió por complicaciones de un derrame cerebral el 12 de mayo de 2004 en Sarasota. JAZZ ACTUALIDAD .- Esta semana tendremos a IVAN SANJUAN CUARTETO-FRIENDSHIP, con la entrevista cedida por el BAUL DE MIS RECUERDOS (DEL AMIGO EZEQUIEL). Desde 2017 Iván Sanjuán lidera su propio proyecto junto a los músicos extremeños Joaquín de la Montaña (saxo), Enrique Tejado (contrabajo) y Pedro Calero (piano). Con esta formación presentó su trabajo de final de máster en batería jazz en la Universidad de Évora (Portugal) y a partir de ese momento se conformó como grupo estable con el que ha realizado conciertos en lugares como el Festival de Jazz de Badajoz, el Hot Clube de Lisboa, la programación Jazz and Clubs de la asociación sevillana de jazz "Asejazz", el festival itinerante de jazz "DiJazz" o el Festival de Jazz de Navalmoral de la Mata "Navaljazz" entre otros lugares. PROG.Nº 657.- 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.- “My Romance”(DAVE BRUBECK-BILL EVANS-JESSICA WILLIAMS) Hoy tendremos también como todos los fines de mes, el tema que nos ofrece Ezequiel del BAUL DEL JAZZ, con Cliffort Brown. JAZZ RECUERDO ANIVERSARIO.- John La Porta - Conceptions(1956) John La Porta* ?– Conceptions Sello: Fantasy ?– 3-228 Formato: Vinyl, LP, Mono, Red Vinyl País: US Publicado: 1956 Género: Jazz Estilo: Lista de Títulos A1 Concertina For Clarinet 3:44 A2 Nightly Vigil 1:20 A3 Perdido 7:35 A4 Triplets, You Say? 0:55 A5 Small Blue Opus 5:14 A6 Little Fantasy 0:48 B1 Absentee 4:57 B2 Washday 0:44 B3 En Rapport 5:17 B4 Lou's Tune 1:25 B5 Ferme La Porta 4:54 Créditos • Baritone Saxophone – Sol Schlinger • Bass – Wendell Marshall • Clarinet, Alto Saxophone – John La Porta* • Drums – Clem De Rosa • Piano – Wally Cirillo • Trombone – Sonny Russo • Trumpet – Lou Mucci* Notas Original red vinyl mono press. Artist on covers: John La Porta Septet, Quartet And Duo Nacido en Filadelfia, LaPorta comenzó a tocar el clarinete a la edad de nueve años y estudió en la escuela Mastbaum en Filadelfia, donde uno de sus compañeros de clase era Buddy DeFranco . Cuando era adolescente, tocó en bandas de Filadelfia con Charlie Ventura y Bill Harris . Estudió de manera clásica con Joseph Gigliotti de la Orquesta de Filadelfia y Leon Russianoff en la Manhattan School of Music . De 1942 a 1944 fue miembro de la gran banda de Bob Chester , [1] luego pasó los siguientes dos años con la Orquesta Woody Herman . [2] A partir de 1947 estudió con Lennie Tristano . Con Teo Macero y Charles Mingus fue miembro del Taller de Compositores de Jazz , tratando de combinar el jazz con la música clásica. [1] En el mundo clásico, trabajó con Boston Pops , Leonard Bernstein , Leopold Stokowski e Igor Stravinsky . En jazz trabajó con Kenny Clarke ,Miles Davis , Dizzy Gillespie , Charlie Parker , Buddy Rich y Lester Young . [2] El 12 de agosto de 1956, La Porta fue invitada al primer concierto de jazz en Venezuela en el Teatro Nacional de Caracas, respaldado por la Orquesta de Casablanca, Charlie Nagy , Werner Boehm , Walter Albrecht , entre otros. Durante su estancia en Caracas, una selección del repertorio interpretado en el concierto fue lanzado bajo el título South American Brothers por Fantasy Records , [1] la primera grabación de jazz en Venezuela. Enseñó en la Parkway Music School, luego en las escuelas públicas de Long Island , seguido por la Manhattan School of Music y el Berklee College of Music . Con el guitarrista Jack Petersen , fue pionero en el uso de modos griegos para enseñar escalas de acordes. En la década de 1990, él y su esposa se retiraron a Sarasaota, Florida, donde actuó en el Sarasota Jazz Club y como invitado con el trío Fred Williams. Él escribió su autobiografía, Playing It by Ear . LaPorta murió por complicaciones de un derrame cerebral el 12 de mayo de 2004 en Sarasota. JAZZ ACTUALIDAD .- Esta semana tendremos a IVAN SANJUAN CUARTETO-FRIENDSHIP, con la entrevista cedida por el BAUL DE MIS RECUERDOS (DEL AMIGO EZEQUIEL). Desde 2017 Iván Sanjuán lidera su propio proyecto junto a los músicos extremeños Joaquín de la Montaña (saxo), Enrique Tejado (contrabajo) y Pedro Calero (piano). Con esta formación presentó su trabajo de final de máster en batería jazz en la Universidad de Évora (Portugal) y a partir de ese momento se conformó como grupo estable con el que ha realizado conciertos en lugares como el Festival de Jazz de Badajoz, el Hot Clube de Lisboa, la programación Jazz and Clubs de la asociación sevillana de jazz "Asejazz", el festival itinerante de jazz "DiJazz" o el Festival de Jazz de Navalmoral de la Mata "Navaljazz" entre otros lugares.

FLASHBACK: Fr. Stan Fortuna, C.S.R., hip-hop & jazz musician priest is interviewed

Catholic Forum

Play Episode Listen Later Mar 4, 2020 15:08

Catholic Forum FLASHBACK features interesting interviews from past Catholic Forum programs. This interview that aired in January 2002, features Father Stan Fortuna. Father is a Roman Catholic priest ordained on December 8, 1990, and one of the eight founding members of the Community of the Franciscan Friars of the Renewal (an order established in the Archdiocese of New York under the jurisdiction of John Cardinal O'Connor). Prior to his conversion, Fr. Stan was a professional jazz musician who studied with the legendary Lennie Tristano (the ‘father of improvisational jazz’).

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Aflevering 18: Piep knor jazz voor de liefhebbers

Jazziness

Play Episode Listen Later Feb 15, 2020 23:03

De allereerste “free jazz” opname waarin werd geïmproviseerd zonder vooraf bepaalde structuur, werd reeds gerealiseerd in 1949 door Lennie Tristano en zijn school van muzikanten. Deze jazzstroming waarin complete vrijheid geldt en afstand wordt genomen van allerlei muzikale conventies, dankt zijn naam aan een album uit 1960 van Ornette Coleman. Voor sommige muzikanten, zoals Sun Ra, sluit de improvisatie wars van ritme, tonaliteit en harmonie aan bij een spirituele zoektocht. Waar anderen dan weer een politiek statement willen maken met hun klank-explosies en live performances. De muziek is weinig toegankelijk en bijgevolg niet erg populair. Ook muzikanten als Miles Davis zijn kritisch.

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Prospettive Musicali di domenica 09/02/2020

miles davis john coltrane domenica max roach prospettive coleman hawkins brani lennie tristano

Play Episode Listen Later Feb 9, 2020 57:11

A cura di Gigi Longo. Brani di Lennie Tristano, John Coltrane, Max Roach, Coleman Hawkins e Miles Davis.

Prospettive Musicali di dom 09/02 (seconda parte)

miles davis seconda john coltrane max roach prospettive coleman hawkins radio popolare brani lennie tristano

Play Episode Listen Later Feb 8, 2020 57:11

A cura di Gigi Longo. Brani di Lennie Tristano, John Coltrane, Max Roach, Coleman Hawkins e Miles Davis. (seconda parte)

Prospettive Musicali di dom 09/02 (seconda parte)

miles davis seconda john coltrane max roach prospettive coleman hawkins radio popolare brani lennie tristano

Play Episode Listen Later Feb 8, 2020 57:11

A cura di Gigi Longo. Brani di Lennie Tristano, John Coltrane, Max Roach, Coleman Hawkins e Miles Davis. (seconda parte)

647: Don Messina on Lennie Tristano

Contrabass Conversations double bass life

Play Episode Listen Later Dec 2, 2019 75:57

So many people will resonate with the musical journey that Don Messina has had. He has been a proponent of the music and style of Lennie Tristano ever since meeting him in 1973, and he also spent 14 years studying jazz with tenor saxophonist Fred Amend. In addition to being part of the Kazzrie Jaxen Duo/Trio/Quartet, Don has session and performed with Sal, Mosca, Jimmy Halperin, Larry Bluth, Jon Easton, Peter Prisco, Ted Brown, Rick Moore, Chris Aiello, Will Jhun, Charley Krachy, Skip Scott, Rich Peare, and others. Don has also performed with Phil Woods, Stanley Turrentine, Joris Roelsof, Vassar Clemens, Mike Scap, Josh Breakstone, and the Lew London Trio. Don and I dig into his decisions to play gut strings and without an amp, the unique musical scene surrounding Lennie Tristano, Sal Mosca, and Don’s other major influences, how the jazz scene has evolved over the years, and much more. We also feature a couple of excerpts from Don’s solo album “Dedicated to…” Enjoy! Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. Steve Swan String Bass Steve Swan String Bass features the West Coast’s largest selection of double basses between Los Angeles and Canada. Located in Burlingame, just south of San Francisco, their large retail showroom holds about 70 basses on display. Their new basses all feature professional setups and come with a cover at no additional cost. Used and consignment instruments receive any needed repairs and upgrades before getting a display position on the sales floor. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. The Bass Violin Shop The Bass Violin Shop offers the Southeast’s largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Modacity Modacity is a practicing app that helps musicians be more effective at practice. They help you get the results you want, while keeping you encouraged and motivated to stick with it and reach those goals – however big, or small, they may be. Kolstein Music The Samuel Kolstein Violin Shop was founded by Samuel Kolstein in 1943 as a Violin and Bow making establishment in Brooklyn, New York. Now on Long Island, over 60 years later, Kolstein’s has built a proud reputation for quality, craftsmanship and expertise in both the manufacture and repair of a whole range of stringed instruments, and has expanded to a staff of twelve experts in restoration, marketing and production. A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. nkoda nkoda is a sheet music app for iOS, Android, and many platforms. It includes music from over 100 of the major music publishers like Boosey & Hawkes and Barenreiter. Practice, play and perform your sheet music, and mark up your parts as needed. This subscription service has received praise from Sir Simon Rattle and Joyce DiDonato. Start your free trial at nkoda.com. Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging Subscribe to the podcast to get these interviews delivered to you automatically!

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Solo Jazz Piano

Music From 100 Years Ago

Play Episode Listen Later Apr 8, 2019 46:05

In time for Jazz Appreciation Month, a program of solo jazz piano. Artists include: Teddy Wilson, Jelly Roll Morton, Lennie Tristano, Art Tatum, Mary Lou Williams and Billy Strayhorn. Music includes: Blue Skies, Body and Soul, Shreveport Stomps, Bass Goin Crazy, Spontaneous Combustion and It Had to Be You.

01_14_19 Uncle Paul's Jazz Closet

Uncle Paul's Jazz Closet

Play Episode Listen Later Jan 14, 2019 113:34

More Music From the 1950s Paul Motian on recordings with Jerry Wald, Bill Evans, Lennie Tristano, Lee Konitz, Eddie Costa and more. Readings about playing with Bill Evans and Lennie Tristano from Motian's unpublished autobiography Set List: https://jazzcloset.blogspot.com/2019/01/set-list-011419.html photo: Jerry Wald Band 1955 ©Paul Motian Archive

jazz uncle closet readings setlist bill evans lee konitz paul motian lennie tristano motian

Talk Mode #14: Dave Liebman (Part 1 of 2)

Talk Mode

Play Episode Listen Later Nov 27, 2018 25:47

Sax-player, flautist and composer Dave Liebman has worked with Miles Davis, Chick Corea and Elvin Jones; been tutored by Lennie Tristano and Charles Lloyd; and mentored by Bob Moses. And he knows how to verbally communicate… Part 2 follows on Friday.

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Boston improv master Harvey Diamond plays local gigs this week

Jazz88

Play Episode Listen Later Sep 27, 2018 7:38

Harvey Diamond, a onetime student of Lennie Tristano and standard bearer for his style of heartfelt improvisation and harmonic flexibility, talks with Travis Ryder about his legacy, philosophy and two shows in the Twin Cities scheduled for September 27 and 29.

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Boston improv master Harvey Diamond plays local gigs this week

The Morning Show

Play Episode Listen Later Sep 27, 2018 7:38

Harvey Diamond, a onetime student of Lennie Tristano and standard bearer for his style of heartfelt improvisation and harmonic flexibility, talks with Travis Ryder about his legacy, philosophy and two shows in the Twin Cities scheduled for September 27 and 29.

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The Solar System

Music From 100 Years Ago

Play Episode Listen Later Sep 16, 2018 43:27

Songs include: You Are My Sunshine, Venus di Milo, The Moon Got In My Eyes, Mercury, Jumpin Jupiter, On a Planet, Men From Mars and Meteor. Musicians include: Bing Crosby, Mildred Bailey, Adrian Boult, Wayne King, Miles, Davis, Woody Herman, Lennie Tristano and Tal Farlow.

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Prospettive Musicali di domenica 02/09/2018

duke ellington domenica chick corea thelonious monk andrew hill prospettive horace silver ahmad jamal brani lennie tristano

Play Episode Listen Later Sep 2, 2018 58:58

A cura di Gigi Longo. Brani di Thelonious Monk, Duke Ellington, Ahmad Jamal, Andrew Hill, Horace Silver, Junior Mance, Herbie Nichols Trio, Bill Evans & Jim Hall, Lennie Tristano, Chick Corea

Prospettive Musicali di dom 02/09 (seconda parte)

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Play Episode Listen Later Sep 1, 2018 58:58

A cura di Gigi Longo. Brani di Thelonious Monk, Duke Ellington, Ahmad Jamal, Andrew Hill, Horace Silver, Junior Mance, Herbie Nichols Trio, Bill Evans & Jim Hall, Lennie Tristano, Chick Corea (seconda parte)

Prospettive Musicali di dom 02/09 (seconda parte)

seconda duke ellington chick corea thelonious monk andrew hill prospettive horace silver ahmad jamal brani lennie tristano

Play Episode Listen Later Sep 1, 2018 58:58

A cura di Gigi Longo. Brani di Thelonious Monk, Duke Ellington, Ahmad Jamal, Andrew Hill, Horace Silver, Junior Mance, Herbie Nichols Trio, Bill Evans & Jim Hall, Lennie Tristano, Chick Corea (seconda parte)

110: Howard S. Becker

The Third Story Podcast with Leo Sidran

Play Episode Listen Later Aug 6, 2018 61:46

Sociologist and musician Howard S. Becker is 90 years old. While he is best known for his contributions to the sociology of deviance, sociology of art and sociology of music (his book Oustiders from 1963 was one of the first and most influential books on deviance), he also spent many of his early years playing piano in taverns, saloons and even strip clubs. As a young man in Chicago, while attending the University of Chicago in the 1940s he also studied piano with the legendary jazz pianist and teacher Lennie Tristano, and performed with local players of the day including Lee Konitz and Bill Russo. In 2009 Becker published “Do You Know…?” The Jazz Repertoire in Action, a book he co-wrote with his friend, colleague and fellow academic-musician Robert R. Faulkner. In it, the two discuss and describe how songs are passed on from person to person and how working musicians’ repertoire survives and evolves. I spoke with Howard in his apartment in Paris (he spends part of every year in Europe, where he has become something of an academic celebrity in recent years) last November. We talked about how in his day live music was a function of geography, strong union leadership, and cheap beer, and why jazz is like philosophy (the only money is teaching). This conversation is a companion to the Mobtown series of episodes from 2017, and it features an introductory conversation between my and my father, Ben. Thanks for listening. If you enjoyed it, please leave a review on iTunes and consider supporting the podcast on Patreon! And now you can also listen to the podcast on Spotify!

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På hovedet i Chicago - 16. dec 2017

På hovedet i

Play Episode Listen Later Dec 16, 2017 57:00

Chicago er byen hvor nogle af de første jazzindspilninger fandt sted. Hvor en lys og delikat version af soulsmusikken så dagens lys og en rå og urban blues blev dannet. Fødested for nogle af jazzens vigtigste musikere, tænk bare på Herbie Hancock og Lennie Tristano. Med sin placering i USA's midt vest har byen altid været naturligt samlingspunkt for handlende, eventyrlystne og musikere. Spring med Naya Buric på hovedet i en af USA's vigtigste musikbyer: Chicago. Vært: Naya Buric. www.dr.dk/p8jazz

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HDO 299. Anthony Braxton Standards I

HDO. Hablando de oídas de jazz e improvisación

Play Episode Listen Later Aug 21, 2017 56:34

La tradición es un elemento esencial en la carrera de Anthony Braxton, y por ese motivo la discografía del saxofonista se encuentra jalonada de proyectos centrados en algunas de las figuras esenciales de la historia del jazz, o en la recreación de standards. En HDO 299 escuchamos algunas de esas grabaciones centradas en figuras del jazz como el Anthony Braxton’s Charlie Parker Project 1993 (HatOlogy), Nine Compositions (Hill) 2000 (CIMP), Six Monk’s Compositions (1987) (Black Saint), o Eight (+3) Tristano Compositions 1989. For Warne Marsh (HatOlogy), que recreaban las figuras de Charlie Parker, Andrew Hill, Thelonious Monk o Lennie Tristano. Tomajazz: © Pachi Tapiz, 2017 HDO es un podcast editado, presentado y producido por Pachi Tapiz.

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Giant Steps #034: Lee Konitz

Giant Steps

Play Episode Listen Later Nov 25, 2015

Lee Konitz, alto-sassofonista, nato a Chicago nel 1927, è uno dei jazzisti più anziani ancora in attività. Il suo nome si lega soprattutto al cool jazz di Lennie Tristano, a cavallo degli anni ’40 e ’50, ma sarebbe riduttivo ridurre a questo una carriera così lunga e prolifica, sempre all’insegna della sperimentazione.

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Abe Rábade: su voz y su música. Entrevista por Pachi Tapiz. HDO (0029)

HDO. Hablando de oídas de jazz e improvisación

Play Episode Listen Later Nov 3, 2015 70:36

Abe Rábade actuará al frente con su trío (Pablo Martín Caminero -contrabajo- y Bruno Pedroso -batería) el próximo sábado 7 de noviembre de 2015 en el Festival Internacional de Jazz de Madrid, en la que será su único concierto otoñal en un festival de jazz en España. La actuación llega tras una gira por Mexico con seis conciertos y una master-class, y a la puerta de la publicación de dos nuevas grabaciones: en breve saldrá a la luz una grabación de su trío con Orquesta Sinfónica, y en unos meses una nueva grabación con su trío. Pachi Tapiz charló con él una semana antes de su actuación madrileña sobre su gira mexicana, su próximo concierto madrileños, sus proyectos y también sobre la situación actual del jazz en España. Como complemento a la entrevista, en HDO suena su música: temas propios y versiones, tanto en trío como a piano solo, formato en el que escuchamos su homenaje a Lennie Tristano, uno de los pianistas más influyentes en la historia del jazz. HDO (Hablando de oídas) es un audioblog presentado, editado y producido por Pachi Tapiz. Fotografía por Sergio Cabanillas. Toda la información en http://www.tomajazz.com/web/?cat=13298

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Tenor Saxophone Master Warne Marsh: "All Music"

Play Episode Listen Later Oct 27, 2015 206:01

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".

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Charles Mingus and Company: "Four Trombones"

interview club jazz improvisation lee konitz lennie tristano

Play Episode Listen Later Oct 6, 2015 228:01

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.

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Interview with Lee Konitz (December 2014) || www.elclubdejazz.com

Jazz Interviews

Play Episode Listen Later Jun 25, 2015 42:32

A special edition of the Spanish Jazz radio show "Club de Jazz" where we conducted an interview with Lee Konitz. Lee Konitz (Chicago, 1927) is a one of the most personal alto saxophone players in the history of jazz. Under the artistic influence of his mentor and pianist Lennie Tristano, he started to develope a very personal style and unique sound. The interview was originally broadcasted on December, 17th 2014. All rights reserved: http://www.elclubdejazz.com

Interview with Lee Konitz (December 2014) || www.elclubdejazz.com

Jazz Interviews

Play Episode Listen Later Jun 25, 2015 42:32

A special edition of the Spanish Jazz radio show "Club de Jazz" where we conducted an interview with Lee Konitz. Lee Konitz (Chicago, 1927) is a one of the most personal alto saxophone players in the history of jazz. Under the artistic influence of his mentor and pianist Lennie Tristano, he started to develope a very personal style and unique sound. The interview was originally broadcasted on December, 17th 2014. All rights reserved: http://www.elclubdejazz.com

interview club jazz improvisation lee konitz lennie tristano

RADIO1 MUSIC CLUB del 11/03/2015 - Il Jazz oscuro di Lennie Tristano

Radio1 Music Club

Play Episode Listen Later Mar 11, 2015 24:04

Scarica il programma

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Gabriel Solis, “Thelonious Monk Quartet with John Coltrane at Carnegie Hall” (Oxford UP, 2013)

New Books in Music

Play Episode Listen Later Sep 7, 2014 53:38

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists’ performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country’s living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public’s and critical responses to the CD’s release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it’s far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk’s and Coltrane’s musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices

america music american university new york city voice illinois congress african americans academy cd associate professor library monk anthropology library of congress miles davis carnegie hall ray charles quartets john coltrane solis blue note dizzy gillespie coltrane thelonious monk chet baker art blakey sonny rollins max roach blue note records horace silver oxford up benny golson gerry mulligan billie holliday hank jones milt jackson sonny stitt zoot sims lennie tristano mjq shadow wilson gabriel solis morningside recreation center abdul ahmed malik five spot club

Gabriel Solis, “Thelonious Monk Quartet with John Coltrane at Carnegie Hall” (Oxford UP, 2013)

New Books in American Studies

Play Episode Listen Later Sep 7, 2014 53:38

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists’ performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country’s living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public’s and critical responses to the CD’s release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it’s far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk’s and Coltrane’s musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices

america music american university new york city voice illinois congress african americans academy cd associate professor library monk anthropology library of congress miles davis carnegie hall ray charles quartets john coltrane solis blue note dizzy gillespie coltrane thelonious monk chet baker art blakey sonny rollins max roach blue note records horace silver oxford up benny golson gerry mulligan billie holliday hank jones milt jackson sonny stitt zoot sims lennie tristano mjq shadow wilson gabriel solis morningside recreation center abdul ahmed malik five spot club

Gabriel Solis, “Thelonious Monk Quartet with John Coltrane at Carnegie Hall” (Oxford UP, 2013)

New Books in History

Play Episode Listen Later Sep 7, 2014 53:38

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists’ performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country’s living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public’s and critical responses to the CD’s release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it’s far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk’s and Coltrane’s musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices

america music american university new york city voice illinois congress african americans academy cd associate professor library monk anthropology library of congress miles davis carnegie hall ray charles quartets john coltrane solis blue note dizzy gillespie coltrane thelonious monk chet baker art blakey sonny rollins max roach blue note records horace silver oxford up benny golson gerry mulligan billie holliday hank jones milt jackson sonny stitt zoot sims lennie tristano mjq shadow wilson gabriel solis morningside recreation center abdul ahmed malik five spot club

Gabriel Solis, “Thelonious Monk Quartet with John Coltrane at Carnegie Hall” (Oxford UP, 2013)

In Conversation: An OUP Podcast

Play Episode Listen Later Sep 7, 2014 53:38

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists' performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country's living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public's and critical responses to the CD's release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it's far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk's and Coltrane's musical development ...

america music american university new york city voice illinois african americans academy cd associate professor monk anthropology library of congress miles davis carnegie hall ray charles quartets john coltrane solis blue note dizzy gillespie coltrane thelonious monk chet baker art blakey sonny rollins max roach blue note records horace silver oxford up benny golson gerry mulligan billie holliday hank jones milt jackson sonny stitt zoot sims lennie tristano mjq shadow wilson gabriel solis abdul ahmed malik five spot club morningside recreation center

Gabriel Solis, “Thelonious Monk Quartet with John Coltrane at Carnegie Hall” (Oxford UP, 2013)

New Books in African American Studies

Play Episode Listen Later Sep 7, 2014 53:38

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists' performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country's living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public's and critical responses to the CD's release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it's far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk's and Coltrane's musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

america music american university new york city voice illinois african americans academy cd associate professor monk anthropology library of congress miles davis carnegie hall ray charles quartets john coltrane solis blue note dizzy gillespie coltrane thelonious monk chet baker art blakey sonny rollins max roach blue note records horace silver oxford up benny golson gerry mulligan billie holliday hank jones milt jackson sonny stitt zoot sims lennie tristano mjq shadow wilson gabriel solis abdul ahmed malik five spot club morningside recreation center

Gabriel Solis, “Thelonious Monk Quartet with John Coltrane at Carnegie Hall” (Oxford UP, 2013)

New Books Network

Play Episode Listen Later Sep 7, 2014 53:38

On November 29, 1957, Dizzy Gillespie, Billie Holliday, Zoot Sims, Chet Baker, Sonny Rollins, and a multi-talented young R&B player who played jazz that night, Ray Charles, and others played a benefit concert for the Morningside Recreation Center at Carnegie Hall. Almost a half a century later, these recordings, intended to be played on radio Voice of America, were found in the Library of Congress. The aforementioned artists’ performances were never made available and yet, one set from that night was released, featuring a quartet with pianist Thelonious Monk, saxophonist John Coltrane with Shadow Wilson on drums and Abdul-Ahmed Malik on bass. That recording, on Blue Note records, released in 2005, was a critical and commercial sensation. Monk and Coltrane had played more than 100 shows together the previous five months at the Five Spot Club in New York City and, as Gabriel Solis writes in his thought-provoking multi-disciplinary analysis of their program, that Carnegie Hall concert was “a compendium of what was possible in the jazz conventions of the day and a glimpse of how these jazz conventions could be pushed forward.” The Monk/Coltrane concert set featured two great icons in the history of jazz at different points in their career. Monk had already established himself as a unique, eccentric and groundbreaking composer and performer and bandleader, too (as Solis points out in our interview). John Coltrane was still evolving into one of the most multi-perspectived yet focused and revered players in American jazz. It was, as Solis documents, in many ways a golden age of jazz: besides new recording technologies that afforded the possibility of longer recordings with greater listening fidelity, it was an age of “legendary intensity” when players such as Miles Davis, Sonny Rollins, Sonny Stitt, Art Blakey, Horace Silver, Max Roach, Benny Golson, Dizzy Gillispie, MJQ, Hank Mobly, Hank Jones, Milt Jackson, Lennie Tristano, and Gerry Mulligan “wrote and played and recorded songs and albums that would challenge their contemporaries and become standards in time.” And, jazz had not “separated” from pop music. People went to clubs to hear live jazz; they went in great numbers to jazz concerts/benefits – and, at the same jazz recordings were being brought into the country’s living rooms to larger and larger audiences. Gabriel Solis, an Associate Professor in Music, African-American studies and Anthropology at the University of Illinois, has written a fascinating volume about the cultural significance of the concert, contextual insights about the serendipitous yet important collaborative bond between Monk and Coltrane, “close reading” musical analyses as to how each piece on their set “played out” with respect to the members of the quartet, and a retrospective look at the significance of the public’s and critical responses to the CD’s release by Blue Note Records in 2005. In Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford UP, 2013) Solis discusses whether the popularity of the CD after its release in 2005 is evidence of nostalgic reverence for an era gone by, or a validation that jazz is alive-and-well and more appreciated than ever. Of course, Solis knows it’s far more complicated than that, but he improvises riffs and ruminations that stimulate the reader into pleasing new ponderings about the meaning of “nostalgia,” the “is jazz dead?” question (which Solis notes going back as least as far as 1964), the decline of the jazz clubs, the ascendency of jazz studies in the Academy, and interesting perspectives on Monk’s and Coltrane’s musical development ... Learn more about your ad choices. Visit megaphone.fm/adchoices

america music american university new york city voice illinois congress african americans academy cd associate professor library monk anthropology library of congress miles davis carnegie hall ray charles quartets john coltrane solis blue note dizzy gillespie coltrane thelonious monk chet baker art blakey sonny rollins max roach blue note records horace silver oxford up benny golson gerry mulligan billie holliday hank jones milt jackson sonny stitt zoot sims lennie tristano mjq shadow wilson gabriel solis morningside recreation center abdul ahmed malik five spot club

Club de Jazz 29/01/2014 || De la célula al infinito (y más aJazz)

Play Episode Listen Later Jan 29, 2014 108:08

La pianista Myra Melford debuta discográficamente en formato de solo con "Life carries me this way", un diálogo con la obra pictórica de Don Reich. En esta edición de "Club de Jazz" del 29 de enero de 2014 escuchamos con atención su trabajo y el homenaje de la cantante René Marie a Eartha Kitt en "I wana be evil". Además, Jesús Moreno rinde tributo "desde mi cadiera" al saxofonista Arthur Doyle, fallecido el día 25 a los 69 años. En el "Tren Azul" de Luis Díaz García, grabaciones de 1949 del quinteto del pianista Lennie Tristano. Los "Ritmos Latinos" presentan el último trabajo de la cantante cubana Osdalgia, "Sones y pasiones". Toda la información y derechos: http://www.elclubdejazz.com

club jazz adem cultura toda garc moreno entrevistas infinito conciertos eartha kitt luis d sones lennie tristano myra melford ren marie ajazz

Club de Jazz 29/01/2014 || De la célula al infinito (y más aJazz)

Play Episode Listen Later Jan 29, 2014 108:08

La pianista Myra Melford debuta discográficamente en formato de solo con "Life carries me this way", un diálogo con la obra pictórica de Don Reich. En esta edición de "Club de Jazz" del 29 de enero de 2014 escuchamos con atención su trabajo y el homenaje de la cantante René Marie a Eartha Kitt en "I wana be evil". Además, Jesús Moreno rinde tributo "desde mi cadiera" al saxofonista Arthur Doyle, fallecido el día 25 a los 69 años. En el "Tren Azul" de Luis Díaz García, grabaciones de 1949 del quinteto del pianista Lennie Tristano. Los "Ritmos Latinos" presentan el último trabajo de la cantante cubana Osdalgia, "Sones y pasiones". Toda la información y derechos: http://www.elclubdejazz.com

club jazz adem cultura toda garc moreno entrevistas infinito conciertos eartha kitt luis d sones lennie tristano myra melford ren marie ajazz

Broadcast on 27-Jan-2014

motion broadcast miles davis john coltrane charlie parker elvin jones lee konitz stan kenton paul desmond anthony braxton art pepper lennie tristano

Play Episode Listen Later Jan 28, 2014 214:33

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.

Club de Jazz 30/10/2013 || Lennie Tristano (in and out)

Play Episode Listen Later Oct 30, 2013 186:09

El pianista Ethan Iverson reflexiona sobre el universo de Lennie Tristano en "Costumes are mandatory". Reflexiones que comparte con uno de sus alumnos más destacados, el saxofonista Lee Konitz, y junto a Larry Grenadier (contrabajo) y Jorge Rossy (batería). Ocasión para recuperar en esta edición de "Club de Jazz" del 30 de octubre de 2013 alguna grabación del que fuera un músico muy avanzado en su época. Jesús Moreno recuperó hace unos días en su blog "desde mi cadiera" las fotografías de la actuación en Huesca del contrabajista Peter Kowald en 1996 y ahora complementa con un momento de una actuación del bajista en el Total Music Meeting de Berlín en 1999. El club Jamboree de Barcelona acogió el pasado mes de abril una actuación del Filthy Habits Ensemble, formación dirigida por El Pricto que interpretó "La historia del Soldado" de Igor Stravinsky... a su manera. Alberto Varela nos adelanta en el "Jazz Porteño" algunos de los contenidos de la próxima edición del Festival de Jazz de Punta del Este (Uruguay) y nos ilustra con música del trompetista Diego Urcola. El saxofonista Víctor de Diego se presenta en trío junto al baterista Gonzalo del Val y al bajista Jordi Gaspar en "Tribute". "Aire" es el nuevo trabajo del saxofonista Kiko Berenguer en el que colaboran, entre otros, el intérprete de oud Amos Hoffman y el acordeonista Joao Frade. Los "Ritmos Latinos" de Anxo nos presentan la colaboración del grupo estadounidense de salsa Spanish Harlem Orchestra en el último trabajo del grupo senegalés Africando, "Viva Africando". El tiempo de "Tren Azul" de Luis Díaz García nos ofrece el adelanto de la programación del 7º Festival de Jazz de Tolivia (Asturias) y nos deleita con el trío vocal Lambert, Hendricks and Bavan en un directo de los años 60 con un auténtico all-star instrumental con músicos como Clark Terry o Coleman Hawkins. La recopilación "Music of the Sphere" recoge diferentes interpretaciones de la música de Thelonious Monk. Nosotros escucharemos las de Joel Harrison, Eric Reed y el dúo Arthur Blythe & John Hicks. Toda la información y derechos: http://www.elclubdejazz.com

music club festival jazz barcelona tribute cultura toda garc nosotros moreno lambert costumes sphere aire reflexiones entrevistas berl gonzalo hendricks soldado punta conciertos jamboree huesca thelonious monk ocasi igor stravinsky luis d coleman hawkins clark terry eric reed lee konitz anxo joel harrison john hicks ethan iverson lennie tristano larry grenadier spanish harlem orchestra africando jorge rossy arthur blythe este uruguay jordi gaspar

Club de Jazz 30/10/2013 || Lennie Tristano (in and out)

Play Episode Listen Later Oct 30, 2013 186:09

El pianista Ethan Iverson reflexiona sobre el universo de Lennie Tristano en "Costumes are mandatory". Reflexiones que comparte con uno de sus alumnos más destacados, el saxofonista Lee Konitz, y junto a Larry Grenadier (contrabajo) y Jorge Rossy (batería). Ocasión para recuperar en esta edición de "Club de Jazz" del 30 de octubre de 2013 alguna grabación del que fuera un músico muy avanzado en su época. Jesús Moreno recuperó hace unos días en su blog "desde mi cadiera" las fotografías de la actuación en Huesca del contrabajista Peter Kowald en 1996 y ahora complementa con un momento de una actuación del bajista en el Total Music Meeting de Berlín en 1999. El club Jamboree de Barcelona acogió el pasado mes de abril una actuación del Filthy Habits Ensemble, formación dirigida por El Pricto que interpretó "La historia del Soldado" de Igor Stravinsky... a su manera. Alberto Varela nos adelanta en el "Jazz Porteño" algunos de los contenidos de la próxima edición del Festival de Jazz de Punta del Este (Uruguay) y nos ilustra con música del trompetista Diego Urcola. El saxofonista Víctor de Diego se presenta en trío junto al baterista Gonzalo del Val y al bajista Jordi Gaspar en "Tribute". "Aire" es el nuevo trabajo del saxofonista Kiko Berenguer en el que colaboran, entre otros, el intérprete de oud Amos Hoffman y el acordeonista Joao Frade. Los "Ritmos Latinos" de Anxo nos presentan la colaboración del grupo estadounidense de salsa Spanish Harlem Orchestra en el último trabajo del grupo senegalés Africando, "Viva Africando". El tiempo de "Tren Azul" de Luis Díaz García nos ofrece el adelanto de la programación del 7º Festival de Jazz de Tolivia (Asturias) y nos deleita con el trío vocal Lambert, Hendricks and Bavan en un directo de los años 60 con un auténtico all-star instrumental con músicos como Clark Terry o Coleman Hawkins. La recopilación "Music of the Sphere" recoge diferentes interpretaciones de la música de Thelonious Monk. Nosotros escucharemos las de Joel Harrison, Eric Reed y el dúo Arthur Blythe & John Hicks. Toda la información y derechos: http://www.elclubdejazz.com

music club festival jazz barcelona tribute cultura toda garc nosotros moreno lambert costumes sphere aire reflexiones entrevistas berl gonzalo hendricks soldado punta conciertos jamboree huesca thelonious monk ocasi igor stravinsky luis d coleman hawkins clark terry eric reed lee konitz anxo joel harrison john hicks ethan iverson lennie tristano larry grenadier spanish harlem orchestra africando jorge rossy arthur blythe este uruguay jordi gaspar

Club de Jazz 13/03/2013 || www.elclubdejazz.com

Play Episode Listen Later Mar 12, 2013 120:33

El baterista John Hollenbeck da vida a las "Songs I like a lot" junto a la Frankfurt Radio Big Band. Temas dispares que van de la música vaquera a Freddie Mercury pasando por Ornette Coleman y en el que cuenta con la colaboración de las voces de Kate McGarry y Theo Blackman y con el pianista Gary Versace. En esta edición de "Club de Jazz" del 13 de marzo de 2013 recordamos las recientes giras de Made to Break y Digital Primitives y escuchamos el proyecto Side A de Ken Vandermark, Havard Wiik y Chad Taylor a través de su "A new margin". "desde mi cadiera" Jesús Moreno presenta la "Darrera nit de maig a l´Heliogàbal del cuarteto del baterista Ivo Sans con los saxofonistas César Joaniquet y Marcel·lí Bayer y el contrabajista Masa Kamaguchi. El tango y el jazz gitano se dan la mano en Cordal Swing y su "Grappelliana" que presenta Alberto Varela en el "Jazz Porteño". Anxo dedica un nuevo capítulo de los "Ritmos Latinos" al recopilatorio "Fetén (Rare jazz recordings from Spain 1961-1974)" con grabaciones de Lou Bennett y Juan Carlos Calderón. En el "Tren Azul" de Luis Díaz García los pianos de Maria Joao Pires, Bud Powell y Lennie Tristano. Toda la información y derechos: http://www.elclubdejazz.com

club spain jazz rare cultura toda garc moreno temas bayer entrevistas freddie mercury conciertos fet ornette coleman luis d bud powell anxo chad taylor lennie tristano juan carlos calder john hollenbeck heliog maria joao pires ken vandermark kate mcgarry gary versace masa kamaguchi digital primitives ivo sans

Club de Jazz 13/03/2013 || www.elclubdejazz.com

Amoeba Music - What's In My Bag?

Play Episode Listen Later Mar 12, 2013 120:33

El baterista John Hollenbeck da vida a las "Songs I like a lot" junto a la Frankfurt Radio Big Band. Temas dispares que van de la música vaquera a Freddie Mercury pasando por Ornette Coleman y en el que cuenta con la colaboración de las voces de Kate McGarry y Theo Blackman y con el pianista Gary Versace. En esta edición de "Club de Jazz" del 13 de marzo de 2013 recordamos las recientes giras de Made to Break y Digital Primitives y escuchamos el proyecto Side A de Ken Vandermark, Havard Wiik y Chad Taylor a través de su "A new margin". "desde mi cadiera" Jesús Moreno presenta la "Darrera nit de maig a l´Heliogàbal del cuarteto del baterista Ivo Sans con los saxofonistas César Joaniquet y Marcel·lí Bayer y el contrabajista Masa Kamaguchi. El tango y el jazz gitano se dan la mano en Cordal Swing y su "Grappelliana" que presenta Alberto Varela en el "Jazz Porteño". Anxo dedica un nuevo capítulo de los "Ritmos Latinos" al recopilatorio "Fetén (Rare jazz recordings from Spain 1961-1974)" con grabaciones de Lou Bennett y Juan Carlos Calderón. En el "Tren Azul" de Luis Díaz García los pianos de Maria Joao Pires, Bud Powell y Lennie Tristano. Toda la información y derechos: http://www.elclubdejazz.com

club spain jazz rare cultura toda garc moreno temas bayer entrevistas freddie mercury conciertos fet ornette coleman luis d bud powell anxo chad taylor lennie tristano juan carlos calder john hollenbeck heliog maria joao pires ken vandermark kate mcgarry gary versace masa kamaguchi digital primitives ivo sans

JazzTK Podcast 2x05: Esther Cidoncha y Mad Men

JazzTK Podcast

Play Episode Listen Later Nov 19, 2012 54:59

Ficha del episodio Equipo Dirección: Álex García Locución: Inma Blaya y Álex García Técnicos de sonido: Emilio Martínez y Borja Antón Contenidos Como te decía, contamos con Esther Cidoncha, pero antes de ello podrás escuchar la sección Jazz y Cine, donde Inma nos habla un poco sobre la buena serie Mad Men, y escuchamos algunas canciones de su banda sonora, con artistas como Astrud Gilberto, Miles Davis con un tema de su grandioso Kind of Blue y Ella Fitzgerald cantando a Manhattan, el escenario de la serie. Y después entra Esther y charlamos cordialmente con ella. Como sabes, Esther Cidoncha es una de las mejores fotógrafas de jazz; a los de JazzTK Revista digital de jazz nos encanta, ya le hicimos una de las primeras entrevistas de la sección Conversajazz (entrevista a Esther Cidoncha) y en algunos de nuestros artículos usamos sus fotografías que ella muy amablemente nos permite usar (entrevista a Ramón López, concierto de Jerry González). Si por un casual no la conoces, es obligatorio que visites su página web http://ecidonchafotosdejazz.blogspot.com.es/. Y si la conoces visítala también y suscríbete, así no te perderás las novedades. En la conversación hablamos sobre fotografía, sobre jazz, sus inicios, sus años en Valencia, la escena hispana de jazz,… Una charla de lo más entretenida. Y acompañada por un tema de Lennie Tristano y otro de Nat Adderley. Un programa en el que, una vez más, nos lo pasamos genial y disfrutamos como nanos. Esperamos que tú también lo disfrutes tanto como nosotros. Canciones Las canciones escuchadas en el programa son: * Agua de Beber (Astrud Gilberto, This is Astrud Gilberto) * Blue in Green (Miles Davis, John Coltrane, Bill Evans, Paul Chambers, James Cobb, Kind of blue) * Manhattan (Ella Fitzgerald, Buddy Bregman, Vincent DeRosa, Ted Nash, Willie Schwartz, Bud Shank, Paul Smith, Barney Kessel, Joe Mondragon, Alvin Stoller, The Rodgers and Hart Song Book) * Turkish Mambo (Lennie Tristano, Peter Ind, Jeff Morton, Lennie Tristano) * Sack of Woe (Nat Adderley, Wes Montgomery, Bobby Timmons, Sam Jones, Percy Heath, Louis Hayes, Work Song)

JazzTK Podcast 2x05: Esther Cidoncha y Mad Men

JazzTK Podcast

Play Episode Listen Later Nov 19, 2012 54:59

Ficha del episodio Equipo Dirección: Álex García Locución: Inma Blaya y Álex García Técnicos de sonido: Emilio Martínez y Borja Antón Contenidos Como te decía, contamos con Esther Cidoncha, pero antes de ello podrás escuchar la sección Jazz y Cine, donde Inma nos habla un poco sobre la buena serie Mad Men, y escuchamos algunas canciones de su banda sonora, con artistas como Astrud Gilberto, Miles Davis con un tema de su grandioso Kind of Blue y Ella Fitzgerald cantando a Manhattan, el escenario de la serie. Y después entra Esther y charlamos cordialmente con ella. Como sabes, Esther Cidoncha es una de las mejores fotógrafas de jazz; a los de JazzTK Revista digital de jazz nos encanta, ya le hicimos una de las primeras entrevistas de la sección Conversajazz (entrevista a Esther Cidoncha) y en algunos de nuestros artículos usamos sus fotografías que ella muy amablemente nos permite usar (entrevista a Ramón López, concierto de Jerry González). Si por un casual no la conoces, es obligatorio que visites su página web http://ecidonchafotosdejazz.blogspot.com.es/. Y si la conoces visítala también y suscríbete, así no te perderás las novedades. En la conversación hablamos sobre fotografía, sobre jazz, sus inicios, sus años en Valencia, la escena hispana de jazz,… Una charla de lo más entretenida. Y acompañada por un tema de Lennie Tristano y otro de Nat Adderley. Un programa en el que, una vez más, nos lo pasamos genial y disfrutamos como nanos. Esperamos que tú también lo disfrutes tanto como nosotros. Canciones Las canciones escuchadas en el programa son: * Agua de Beber (Astrud Gilberto, This is Astrud Gilberto) * Blue in Green (Miles Davis, John Coltrane, Bill Evans, Paul Chambers, James Cobb, Kind of blue) * Manhattan (Ella Fitzgerald, Buddy Bregman, Vincent DeRosa, Ted Nash, Willie Schwartz, Bud Shank, Paul Smith, Barney Kessel, Joe Mondragon, Alvin Stoller, The Rodgers and Hart Song Book) * Turkish Mambo (Lennie Tristano, Peter Ind, Jeff Morton, Lennie Tristano) * Sack of Woe (Nat Adderley, Wes Montgomery, Bobby Timmons, Sam Jones, Percy Heath, Louis Hayes, Work Song)

186 - Suburban Transpondency

Transpondency

Play Episode Listen Later Feb 29, 2012 76:11

Adam describes the Beat Generation to John What if Jack Kerouac walked into a modern underground Jazz scene? Youpidou: "Crisis generation game feat J. Kerouac" Hakim Bey: "Poetic Terrorism" Parrhesia Sound System: "Stealing Electricity (Lawrence Ferlinghetti)" Mega Toothpaste Mammals: "Kerouac" Hakim Bey: "The Power of Art" Parrhesia Sound System: "Sweets For Junky Seventeen (William S Burroughs)" Is a new Beat Generation possible? "All human beings are also dream beings. Dreaming ties all mankind together." ~ Jack Kerouac “The Beat Generation, that was a vision that we had, John Clellon Holmes and I, and Allen Ginsberg in an even wilder way, in the late forties, of a generation of crazy, illuminated hipsters suddenly rising and roaming America, serious, bumming and hitchhiking everywhere, ragged, beatific, beautiful in an ugly graceful new way--a vision gleaned from the way we had heard the word 'beat' spoken on streetcorners on Times Square and in the Village, in other cities in the downtown city night of postwar America--beat, meaning down and out but full of intense conviction--We'd even heard old 1910 Daddy Hipsters of the streets speak the word that way, with a melancholy sneer--It never meant juvenile delinquents, it meant characters of a special spirituality who didn't gang up but were solitary Bartlebies staring out the dead wall window of our civilization--the subterraneans heroes who'd finally turned from the 'freedom' machine of the West and were taking drugs, digging bop, having flashes of insight, experiencing the 'derangement of the senses,' talking strange, being poor and glad, prophesying a new style for American culture, a new style (we thought), a new incantation--The same thing was almost going on in the postwar France of Sartre and Genet and what's more we knew about it--But as to the actual existence of a Beat Generation, chances are it was really just an idea in our minds--We'd stay up 24 hours drinking cup after cup of black coffee, playing record after record of Wardell Gray, Lester Young, Dexter Gordon, Willie Jackson, Lennie Tristano and all the rest, talking madly about that holy new feeling out there in the streets- -We'd write stories about some strange beatific Negro hepcat saint with goatee hitchhiking across Iowa with taped up horn bringing the secret message of blowing to other coasts, other cities, like a veritable Walter the Penniless leading an invisible First Crusade- -We had our mystic heroes and wrote, nay sung novels about them, erected long poems celebrating the new 'angels' of the American underground--In actuality there was only a handful of real hip swinging cats and what there was vanished mightily swiftly during the Korean War when (and after) a sinister new kind of efficiency appeared in America, maybe it was the result of the universalization of Television and nothing else (the Polite Total Police Control of Dragnet's 'peace' officers) but the beat characters after 1950 vanished into jails and madhouses, or were shamed into silent conformity, the generation itself was shortlived and small in number.” ― Jack Kerouac Subscribe to YouTube: transpondency Extra videos at transpondency.blip.tv Follow me on Twitter: @transpondency Email: suburban@transpondency.com

Trevor Dunn - What's In My Bag?

Play Episode Listen Later Jan 28, 2011 5:16

grizzly bears bungle john zorn fantomas trevor dunn lennie tristano

Broadcast on 17-May-2010

Play Episode Listen Later May 18, 2010 182:36

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.

Lee Konitz

Jazz Library

Play Episode Listen Later Nov 15, 2008 28:29

Alyn Shipton talks to the prolific American composer and alto saxophonist about the landmarks in his career, beginning with his early days with Claude Thornhill and Stan Kenton and progressing to his work on Miles Davis's Birth of the Cool and with Lennie Tristano and his circle.

american lee konitz stan kenton lennie tristano alyn shipton claude thornhill

Broadcast on 02-Jun-2008

Play Episode Listen Later Jun 3, 2008 182:37

Bassist/leader Chalie Haden is an acknowledged great on his instrument.....not a virtuoso player but a bassist who concentrates on 'feel', judicious choice of notes and a huge sound that provides the necessary 'bottom' for his group called Quartet West. Haden has always had a great love for Los Angeles of the 1940's and 50's and Hollywood film music and 'film noir' and the works of Raymond Chandler. All of this is expressed on tonight's featured album called "Haunted Heart". With Haden is the distinctive tenor saxophone voice of Ernie Watts. Alan Broadbent is heard on piano combining the influences of Bill Evans and Lennie Tristano with his own concept. One of the finest drummers is here as well in the person of Larance Marable.Some seques are here as well with some film music and exerpts from some old recordings that Haden loves like Jo Stafford's singing on "Haunted Heart" and Billie Holiday's 'Deep Song" combined with band's interpretation of those tunes. All in all, one of Haden's finest outings with Quartet West. The band will also be one of the stars of The Vancouver International Jazz Festival 2008.

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Broadcast on 21-Apr-2008

Play Episode Listen Later Apr 22, 2008 181:37

Warne Marsh(born in L.A,Oct. 26,1927 and died Dec.18,1987) was one of the great individualists of the tenor saxophone. He was pianist/teacher/Jazz pioneer, Lennie Tristano's prize pupil and worked and played on Tristano's few recordings with altoist Lee Konitz. Marsh was true to Jazz throughout his career and never veered into any kind of commercial music devoting his life to playing music that he could feel proud about. This is one of Marsh's finest and most personal recordings. With Warne on this date is Lou Levy on piano, Fred Atwood on bass and the great Jake Hanna on drums. The album sums up Marsh's philosophy......it's called "All Music".

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Broadcast on 14-Jan-2008