Podcasts about Lennie Tristano

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

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’).

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.

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

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

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

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!

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.

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

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.

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.

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.

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.

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

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)

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)

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!

Have you Met Miss Jones-JAZZANIVERSARIO.-Lennie Tristano-The New Tristano.-JAZZACTUALIDAD.-Pepe Zaragoza PROG.Nº 551.- 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.- “Have you Met Miss Jones” JAZZ RECUERDO ANIVERSARIO.- Lennie Tristano-The New Tristano.- Título: The New Tristano Músico: Lennie Tristano Acompañantes: Lee Konitz Fecha de Grabación: 1956 Lugar de Grabación: New York Sello Discográfico: Atlantic Nº de temas: 15 Formato: CD Instrumento: Piano Estilo: Cool Nº de Serie: 8122-71595-2 Año de Edición: 1994 Duración: 01:16:35 Calificación: 5* Comentario: La reedición es Alemana de 1994.Imprescindible. El disco está incluido en el libro " Los cien mejores discos del Jazz"Estas grabaciones de Lennie Tristano constituyeron un hito para el Jazz. Sus arreglos dentro de la complejidad de los mismos, tienen una ligereza y una gracia que rayan la perfección. Este Cd tiene dos discos, ambos grabados para el sello Atlantic. El primer disco para Atlantic titulado: "Lennie Tristano" tiene tres temas: Line Up, Requiem y Turkish Mambo que son todas ellas absolutas tesis de teoria jazzistica. "The New Tristano" su segundo disco recogido en este CD, es su ultimo disco oficial y fue grabado en 1962. "C Minor Complex, es la pieza reina de la colección de gran interes general y de una calidad superior. Este disco fue ignorado lo que obligó a Tristano a no grabar nunca mas para no verse obligado a prostituirse musicalmente. Lennie Tristano ?– Lennie Tristano / The New Tristano Sello: Rhino Records (2) ?– R2 71595 Serie: Atlantic Jazz Gallery – Formato: CD, Compilation, Remastered País: US Fecha: 1994 Género: Jazz Estilo: Cool Jazz PistasOcultar Créditos 1 Line Up 3:33 2 Requiem 4:51 3 Turkish Mambo 3:37 4 East Thirty-Second 4:32 5 These Foolish Things Written-By – Harry Link, Holt Marvell, Jack Strachey 5:43 6 You Go To My Head Written-By – J. Fred Coots 5:19 7 If I Had You Written-By – Jimmy Campbell*, Reg Connelly*, Ted Shapiro 6:24 8 Ghost Of A Chance Written-By – Bing Crosby, Ned Washington, Victor Young 6:00 9 All The ThingsYou Are Written-By – Jerome Kern, Oscar Hammerstein* 6:04 10 Becoming 4:31 11 You Don't Know What Love Is Written-By – Don Raye, Gene DePaul 3:26 12 Deliberation 4:48 13 Scene And Variations (A) Carol (B) Tania (C) Bud 11:40 14 Love Lines 2:18 15 G Minor Complex 3:49 Créditos • Alto Saxophone – Lee Konitz (tracks: 5 to 9) • Bass – Gene Ramey (tracks: 5 to 9), Peter Ind (tracks: 1 to 4) • Drums – Art Taylor (tracks: 5 to 9), Jeff Morton (tracks: 1 to 4) • Piano – Lennie Tristano JAZZ ACTUALIDAD.- Esta semana tendremos a Pepe Zaragoza La Plaça dels Somnis Es el primer trabajo discográfico como líder de este joven trompetista afincado en Valencia. El proyecto cuenta con la colaboración de otros jóvenes emergentes en el Jazz de la península ibérica: Joan Saldaña (Saxo Alto y Soprano), Toni Saigi (Piano), Miguel Serna (Contrabajo) y Iago Fernández (Batería). Jóvenes de Valencia, Barcelona, Alicante y Pontevedra, respectivamente. Pepe Zaragoza, a pesar de su juventud, presenta este disco elaborado totalmente con composiciones y arreglos originales que podrían encuadrarse en el marco del hard bop contemporáneo, con pinceladas que nos recuerdan la influencia de músicos como Woody Shaw o Jim Rotondi. Líneas de bajo de gran belleza y dirección apoyadas con potentes acordes, le dan fuerza a las melodías de Pepe Zaragoza en temas como 'Ascensión en la caverna'. Y la ternura y profundidad de su sonido se hace patente en otras como 'la Plaça dels somnis'. En estos temas podemos sentir la energía fresca y activa de una persona que con todo su coraje y amor persigue sus sueños y comienza a abrirse camino por este mundo tan vasto que es la música. GALARDONES 2016 ganador del "VII Concurso de Jazz de la Univerdidad de Castellón (UJI)" 2015 1r premio en el "III Certamen Internacional de Jazz para jóvenes ciudad de Talavera" FORMACIÓN: Pepe Zaragoza - Trompeta y composiciones Joan Saldaña - Saxo alto y soprano Toni Saigi - Piano Miguel Serna - Contrabajo Iago Fernández - Batería Tracklist: 1-Ascensión en la caverna 2-La plaça dels somnis 3-Intro al somni 4-El somni de Martina 5-Eseran-te 6-Like Someone Empty 7-25 dies 8-ultra herois Todas las composiciones son originales, escritas y arregladas por Pepe Zaragoza. Grabado el 23 y 24 de Julio de 2016 en el auditorio de Riba-roja por Jorge Pére y Jorge Salvà. Mezclado y masterizado en Mornaga estudio por Jorge Pérez. Disseny de Pau Urios. Para finalizar lo vamos hacer con el concierto que tendrán lugar el próximo martes 20 a las 20:30, en la ciudad de Sevilla (España), en el TEATRO LOPE DE VEGA. Ciclo de Jazz. Los músicos Chucho Valdés y Gonzalo Rubalcaba en concierto Los músicos de jazz y pianistas cubanos, Chucho Valdés y Gonzalo Rubalcaba, ofrecen juntos un concierto sobre las tablas del Teatro Lope de Vega Chucho Valdés un pianista de jazz afrocubano, fundador del grupo Irakere. Ganador de ocho premios Grammy: seis Grammy Awards y tres Grammy latinos y acreedor de muchos doctorados, Dionisio Jesús "Chucho" Valdés Rodríguez es natural de Quivicán, provincia Habana, Cuba. Nacido en 1941, el pianista, compositor, profesor de música, arreglista musical y director de grupo comenzó su formación musical en la infancia, en su casa, bajo la influencia de su padre "el gran Bebo Valdés", y su madre, Pilar Rodríguez, profesora de piano y cantante. A la edad de 3 años ya tocaba al piano las melodías que escuchaba en la radio, de oído, con las dos manos, en cualquier tono. El ambiente musical de la familia le permitió adentrarse con soltura en el conocimiento de los más diversos estilos y géneros de la música. Gonzalo Rubalcaba es un pianista y compositor cubano de jazz. Encuadrado en la era posbop, Rubalcaba es un virtuoso instrumentista que está considerado como una de las principales figuras del jazz afrocubano. Miembro de una destacada familia de músicos. Inició sus estudios de música en el Conservatorio Manuel Saumell (en La Habana) y más tarde los continuó en el Amadeo Roldán, donde también estudió percusión. Posteriormente recibió lecciones de la gran pedagoga y pianista Ñola Sahig y en el Instituto Superior de Arte estudió composición con Roberto Valera y Carlos Fariñas.

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

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.

days of wine and roses-JAZZANIVERSARIO.-Fats Waller-1987 The Joint is Jumpin' -JAZZACTUALIDAD.-KURT ROSENWINKEL PROG.Nº 507.- 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.- “days of wine and roses”( DIAS DE VINO Y ROSAS). 1.-WES MONTGOMERY. 2.-ART FARMER-JIM HALL. 3.-LENNY BREAU. JAZZ RECUERDO ANIVERSARIO.- Fats Waller-1987 The Joint is Jumpin' ( La articulación de Jumpin) Título: The Joint i's jumpin' Músico: Fast Waller Acompañantes: Eddie Condon Fecha de Grabación: 1929-1939. Lugar de Grabación: New York Sello Discográfico: Bluebird-RCA Nº de temas: 23 Formato: CD Instrumento: Piano y órgano Estilo: Swing Nº de Serie: 86288 Año de Edición: 1987 Duración: 01:06:34 Calificación: 4* Comentario: Waller fue el discípulo aventajado del gran James P. Johnson, artífice principal del piano stride neoyorquino. Poseedor de un virtuosismo reconocido por el propio Art Tatum como el origen de su estilo, y una de las mejores manos izquierdas que haya dado el piano jazzistico, Fats Waller no terminó nunca de tomarse demasiado en serio hacia si mismo y ello ocultaba el genio que llevaba dentro detrás de su oronda figura, su bigotito y su inseparable sombrero hongo. Waller grabó cientos de discos a piano sólo, al órgano, un instrumento que él introdujo en el jazz, y al frente de diferentes grupos donde menudeaban algunos fieles y eficaces cómplices, como el trompetista, Herman Autrey, el saxofonista, Gene Sedric o el guitarrista, Al Casey. Estas grabaciones se encuentran entre lo mejor de su carrera. PistasOcultar Créditos 1 –Fats Waller Handful Of Keys Written-By – Waller* 2:43 2 –Fats Waller And His Buddies The Minor Drag Banjo – Eddie CondonClarinet, Alto Saxophone, Tenor Saxophone – Arville HarrisTrombone – Charlie IrvisTrumpet – Charles Gaines*Written-By – Waller* 2:37 3 –Fats Waller Numb Fumblin' Written-By – Waller* 2:48 4 –Fats Waller Ain't Misbehavin' Written-By – Razaf*, Waller*, Brooks* 2:56 5 –Fats Waller Smashing Thirds Written-By – Waller* 3:04 6 –Fats Waller African Ripples Written-By – Waller* 3:06 7 –Fats Waller Alligator Crawl Written-By – Waller* 2:40 8 –Fats Waller Viper's Drag Written-By – Waller* 2:54 9 –Fats Waller And His Rhythm* Lulu's Back In Town Bass – Charlie "Fat Man" Turner*Clarinet, Alto Saxophone – Rudy PowellDrums – Harry DialGuitar – Al CaseyTrumpet – Herman AutreyVocals – Fats WallerWritten-By – Al Dubin, Harry Warren (2) 2:36 10 –Fats Waller And His Rhythm* I'm Crazy 'Bout My Baby Bass – Charlie "Fat Man" Turner*Clarinet, Tenor Saxophone – Gene SedricDrums – Wilmore "Slick" Jones*Guitar – Al CaseyTrumpet – Herman AutreyVocals – Fats WallerWritten-By – Hill*, Waller* 2:50 11 –Fats Waller And His Rhythm* S'Posin' Bass – Charlie "Fat Man" Turner*Clarinet, Tenor Saxophone – Gene SedricDrums – Wilmore "Slick" Jones*Guitar – Al CaseyTrumpet – Herman AutreyVocals – Fats WallerWritten-By – Razaf*, Denniker* 2:49 12 –A Jam Session At Victor* Honeysuckle Rose Drums – George Wetling*Guitar – Dick McDonoughTrombone – Tommy DorseyTrumpet – Bunny BeriganWritten-By – Razaf*, Waller* 3:05 13 –A Jam Session At Victor* Blues Drums – George Wetling*Guitar – Dick McDonoughTrombone – Tommy DorseyTrumpet – Bunny Berigan 2:58 14 –Fats Waller Tea For Two Written-By – Caesar*, Youmans* 3:17 15 –Fats Waller I Ain't Got Nobody Written-By – Graham*, Williams* 3:03 16 –Fats Waller And His Rhythm* The Joint Is Jumpin' Bass – Charlie TurnerDrums – Wilmore "Slick" Jones*Guitar – Al CaseyTenor Saxophone – Gene SedricTrumpet – Herman AutreyVocals – Fats WallerWritten-By – Razaf*, Waller*, Johnson* 2:46 17 –Fats Waller And His Rhythm And His Orchestra* The Sheik Of Araby Alto Saxophone – Fred Skerritt, James Powell*, William Alsop*Bass – Cedric WallaceDrums – Wilmore "Slick" Jones*Guitar – Al CaseyTenor Saxophone – Gene Sedric, Lonnie Simmons (2)Trombone – George Robinson, John HaughtonTrumpet – Herman Autrey, John Hamilton (6), Nathaniel Williams (2)Vocals – Fats WallerWritten-By – Wheeler*, Smith*, Snyder* 3:04 18 –Fats Waller And His Rhythm* Yacht Club Swing Bass – Cedric WallaceClarinet, Tenor Saxophone – Gene SedricDrums – Wilmore "Slick" Jones*Guitar – Al CaseyTrumpet – Herman AutreyWritten-By – Waller*, Autrey*, Johnson* 2:59 19 –Fats Waller And His Rhythm* (When You) Squeeze Me Bass – Cedric WallaceClarinet, Tenor Saxophone – Gene SedricDrums – Slick JonesGuitar – John Smith (6)Trumpet – John Hamilton (6)Vocals – Fats WallerWritten-By – Razaf*, Williams*, Waller* 3:07 20 –Fats Waller And His Rhythm* Your Feets Too Big Bass – Cedric WallaceClarinet, Tenor Saxophone – Gene SedricDrums – Slick JonesGuitar – John Smith (6)Trumpet – John Hamilton (6)Vocals – Fats WallerWritten-By – Benson*, Fisher* 3:02 21 –Fats Waller Carolina Shout Written-By – James P. Johnson* 2:14 22 –Fats Waller Honeysuckle Rose Written-By – Razaf*, Waller* 3:21 23 –Fats Waller And His Rhythm* Ain't Misbehavin' Bass – "Slam" Stewart*Clarinet, Tenor Saxophone – Gene PorterDrums – "Zutty" Singleton*Guitar – Irving AshbyTrombone – Alton "Slim" Moore*Trumpet – Benny CarterVocals – Fats WallerWritten-By – Razaf*, Waller*, Brooks* JAZZ ACTUALIDAD.- Esta semana tendremos lo que va acontecer el próximo martes en el teatro LOPE DE VEGA de Sevilla a las 20:30 horas dentro del ciclo de jazz con el guitarrista KURT ROSENWINKEL. Kurt Rosenwinkel Jazz. El guitarrista de Filadelfia nos visita con su estilo heterogéneo y su impresionante técnica sobre el instrumento. Se inció en el mundo de la música a través del piano, que utiliza todavía ocasionalmente durante la composición, para luego a la edad de 12 años pasarse a la guitarra. Inicialmente su modo de improvisar fue influido por guitarristas como Pat Metheny y John Scofield, pero sucesivamente ha emergido su estilo personal con un fraseo suelto y lineal, parecido al de músicos de los años 40 y 50 como Lennie Tristano. Su lenguaje musical y sus acordes son muy complejos y avanzados, inspirados también por artistas como George Van Eps y Ben Monder. Asistió a la Berklee School of Music durante dos años y medio antes de abandonarla para hacer giras con Gary Burton, por aquel entonces uno de los "grandes" del jazz. Seguidamente, se trasladó a Brooklyn donde continuó madurando y se convierte en uno de los guitarristas de más relieve de su generación tocando con 'The Human Feel', 'Paul Motian's Electric Bebop Band', 'Joe Henderson Group', y el 'Brian Blade Fellowship'. En el 1995 recibió el premio 'Composer's Award'; del National Endowment for the Arts y firma con Verve Records. Desde entonces ha tocado y registrado ya sea como líder o como acompañante con artistas del calibre de Mark Turner, Brad Mehldau, Joshua Redman, Chris Potter, Jeff Ballard, Eric Harland, Aaron Parks, Seamus Blake, Jason Lindner, Danilo Pérez, Aaron Goldberg y muchos otros. Su álbum de 2005, 'Deep Song' (2005), tiene también la participación de Mehldau y Joshua Redman. Entre sus álbumes dignos de nota encontramos 'The Enemies of Energy', 'The Next Step' y el más experimental 'Heartcore'. En el 2012 se ha publicado el doble álbum 'Star Of Jupiter', con Aaron Parks al piano, Eric Revis al contrabajo y Justin Faulkner a la batería. En 2014 pone en marcha su último proyecto, el trío 'Bandit 65', formado por el propio Rosenwinkel, el también guitarrista Tim Motzer y el baterista Gintas Janusonis, que revisa algunos aspectos de la psicodelia de los años sesenta del siglo pasado. Un sorprendente paisaje sonoro creado con impactantes improvisaciones y algo de electrónica, jugando con la estética vibrante de la década prodigiosa.

Come Rain Or Come Shine-JAZZANIVERSARIO.-Tete Montoliu . Palau De La Musica Catalana (1997)-JAZZACTUALIDAD.-Nevermind Trio: ‘Onena Heltzear Dago'-“ PROG.Nº 500.- 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.- “Come Rain Or Come Shine”( 1.-TOMMY DORSEY. 2.-CLIFFORD BROW. 3.-SONNY CLARK. 4.-ART BLAKEY. JAZZ RECUERDO ANIVERSARIO.- Tete Montoliu . Palau De La Musica Catalana (1997) En estos tiempos donde la música de jazz parece que vuelve a interesar a las nuevas generaciones, es obligado traer a este a esta sección al mas grande músico de jazz que ha habido en España. Sobran razones para incluir a nuestro querido, admirado y añorado Tete Montoliu a este rincón de jazzenelaire, pero una de ellas, es sin duda apoyar en estos momentos la campaña que un grupo de músicos y artistas españoles llevan a cabo desde hace algunos meses para fomentar la participación de músicos españoles en los distintos festivales, concursos, actuaciones y espectáculos de jazz que se suceden a lo largo y ancho de España. Tete Montoliu, fue el mas prestigioso músico de jazz en España y este disco - el último de su carrera - fue una especie de testamento musical. Grabado el 21 de marzo de 1997 -apenas cinco meses antes de su muerte - en Barcelona en el inconmensurable escenario del Palau de la Música Catalana, fue editado de manera póstuma por su casa discográfica por expreso deseo del pianista. Tete Montoliu, cumplía por aquellas fechas sesenta y cuatro años, y a pesar de los rasgos evidentes de su enfermedad, realizó una actuación magistral en la que interpretó temas de Duke Ellington, John Coltrane, Dexter Gordon, y Thelonious Monk, sus admirados músicos y de quien siempre reconoció que habían ejercido en él toda su influencia musical. Este disco será sin duda una excelente oportunidad de acercarse a la música de un gran pianista de jazz español. TRACKS : 01 – Feelings.-sentimientos 02 - Comme d'Habitude (My Way).-mi camino 03 - Au Privave 04 - Muntaner 83 A 05.Jo Vull Que M'acariciis Yo Quiero Que me acaricien 06 - Acuarela 07 - T'estimo Tant... Te quiero Tanto ... 08 - Come Sunday.- Ven el domingo 09 - It Don't Mean A Thing.- No significa nada 10 - In A Sentimental Mood.- En un estado de ánimo sentimental 11 - Take The A Train.- Toma el tren 12 - Sophisticated Lady.- Señorita con clase 13 - Cotton Tail.- Cola de algodón 14 - Come Sunday (reprise) 15 - Cheese Cake.- Tarta de queso 16 - Society Red.- Sociedad Roja Estilo Montoliu desarrolló su forma de tocar partiendo de la influencia de Bud Powell y, en menor medida, de Lennie Tristano,2aunque logró un estilo personal, percusivo, repleto de swing y muy bluesy, que lo convirieron en la figura más internacional del jazz español, y en un acompañante reclamado por las figuras americanas de paso por Europa. Su papel en la escena española es similar al que jugaría Martial Solal en la francesa. JAZZ ACTUALIDAD.- Esta semana tendremos a Nevermind Trio: ‘Onena Heltzear Dago'-“ Lo bueno está por llegar”. Músicos: Julen Izarra (saxo tenor, saxo soprano), Jorge Abadias (guitarra eléctrica), Hasier Oleaga (batería). Músicos invitados: Juan Pablo Balcázar (bajo eléctrico), Escandalo Exposito (rimas) Discográfica: Errabal Distribuidora: Errabal Año: 2017 Estilo: Jazz moderno Cuarta entrega en siete años de trabajo del ya veterano, aunque joven, trío vasco ‘Nevermind'. ‘-“ Lo bueno está por llegar”.Onena Heltzear Dago', así llaman este nuevo trabajo, me gusta, inconformistas que son. Como en anteriores ocasiones el talento y virtuosismo de estos musicos sigue latente en una musica de difícil clasificación. Jorge Abadías sigue llevando la voz cantante del trio con su guitarra, mientras que Julen Izarra continua a los saxos y Hasier Oleaga se ocupa de la bateria con la habitual perfección ofreciendo un respaldo indispensable con sus instrumentos. La novedad puede estar en la presencia de un rimador en el tema ‘Manías Mías' que ya apareció en el anterior cd del trio, ‘Tree', el elegido es Escándalo Expósito que guarda un pequeño secreto. Reseñar que en algunos temas de este ‘Onena Heltzear Dago'-“ Lo bueno está por llegar”. recuperan el bajo con la presencia de Juan Pablo Balcázar. La anécdota del pequeño secreto que antes habíamos reseñado es que tras Escándalo Expósito se esconde el saxofonista madrileño Hugo Astudillo antiguo compañero de estudios en Musikene. Jorge vuelve a aportar la mayoría de temas del disco. Cinco abiertas composiciones incluyendo tres de sus denominados ‘Tejidos', que como siempre están llenos de múltiples influencias. Tres temas son de Hasier Oleaga y vuelve a demostrarnos su calidad compositiva mezclando sutiles aromas folkies con el jazz más actual y Julen Izarra sigue la misma dirección estilistica en su única aportación, el acertado ‘Haika'. Un pequeño problema me plantea la numeración de temas. Según la portada son 9 ya que el bello ‘Pangea /Gure Panpinak' esta dividido en 2 partes aunque ocuparía un solo corte y sin embargo el CD tiene 10 cortes con lo que es posible que haya un pequeño regalo encubierto en forma de ‘bonus track' sin título. Dudas. El disco ‘Lo bueno está por llegar' supone un paso mas hacia la madurez de un grupo que empezó haciendo versiones de Nirvana y poco a poco ha encontrado su camino personal. Mirando la portada vemos que aparece un cervatillo ¿o será un astuto zorro?; sentado en la bateria, un toro toca la guitarra y un gallo sopla el saxo soprano. En la hoja de promoción se comenta que si deseas puedes definir lo que escuchas como jazz contemporáneo o como gustes. Estás ante musica abierta y sincera, hecha desde el corazón, sin convencionalismos, ni prejuicios. Musica para disfrutar en estos tiempos de vientos cambiantes. Vuelvo a recomendar recuperar los anteriores discos de este grupo y disfrutar con unas propuestas que como el buen vino mejoran con el tiempo. I. Ortega

PROG.Nº 446.-Comenzamos con el estándar de la semana escuchando el tema “Confirmation”(confirmación),con el piano de TETE MONTOLIU , y esta semana Jazz en el Recuerdo Aniversario.- Vamos a celebrar aniversario con LENNIE TRISTANO-Live At Birdland 1949, y aniversario de la muerte de Gigi Gryce - Leila's Blues. JAZZ ACTUALIDAD.- Esta semana tendremos a FMA Trio: ‘# 1' Título: Live at Birdland 1949 Músico: Lennie Tristano Acompañantes: Lee Konitz Warne Marsh - tenor saxophone Billy Bauer - guitar Arnold Fishkin - bass Lennie Tristano - piano Jeff Morton - drums Fecha de Grabación:1949 Lugar de Grabación: New York Sello Discográfico: Fresh Sound Nº de temas: 15 Formato: CD Instrumento: Piano Estilo: Cool Nº de Serie: 141489 Año de Edición: 2002 Duración: 01:24:02 Calificación: 5* Comentario: Una excelente y coherente grabación en directo del magnifico pianista, Lennie Tristano. Las sesiones de Tristano en 1949 en el legendario Birdland de New Yoyk, son probablemente las mejores que grabó en directo en toda su carrera. Músico poco dado a salir fuera de los estudios de grabación, aquí ademas de tocar el piano con absoluta maestría, incluye una serie de composiciones a piano sólo que dejaron con la boca abierta a su entendido auditorio. Tristano demuestra una vez más, que su mayor virtud como músico era la composicion, un terreno donde creó una escuela imperecedera a través de varias generaciones de musicos. Una muy buena ocasión de acercarse por poco dinero a la musica de un gran creador. Gigi Gryce (nacido George Grice general, Jr. , noviembre 28, 1925 a marzo 14, 1983 ) fue un estadounidense de jazz saxofonista, flautista, clarinetista, compositor, arreglista y educador. Mientras que su carrera de ejecución era relativamente corto, gran parte de su trabajo como un jugador, compositor, arreglista y fue muy influyente y bien reconocido en su época. Sin embargo, Gryce terminó abruptamente su carrera de jazz en la década de 1960. Esto, además de su naturaleza como una persona muy privada, ha dado lugar a muy poco conocimiento de Gryce hoy. Varias de sus composiciones han sido ampliamente cubierto ( " la minoría ", "visita de cortesía", "de Nica Tempo") y se han convertido menores estándares de jazz . Doblada composicional de Gryce incluye opciones armónicas similares a las de los contemporáneos Benny Golson , Tadd Dameron [ 1 ] y Horace Silver . Gryce de juego, los arreglos y la composición son los más asociados con el clásico disco BOP época (aproximadamente 19531965). Fue un compositor bien educada y músico, y escribió algunas obras clásicas como estudiante en el Conservatorio de Boston. Como músico y compositor de jazz que estaba muy influenciado por el trabajo de Charlie Parker y Thelonious Monk . [ 2 ] JAZZ ACTUALIDAD.- Esta semana tendremos a FMA Trio: ‘# 1' Fredi Pelaez lleva mucho tiempo en esto del jazz, tanto en su faceta como músico como en la de productor y todos sabemos de su valía. Ahora con la ayuda de otros dos buenos musicos Mikel Romero y Ander Hurtado de Saratxo nos deja su impronta con este‘# 1' ocupándose del aspecto mas ortodoxo del trio con órgano jazzero. El FMA Trio saca su nombre de las iniciales de sus componentes y debuta este 2015 en Errabal con ‘# 1'. El trio esta formado desde sus inicios por Fredi Peláez al Hammond, Mikel Romero en la guitarra y Ander Hurtado de Saratxo a la batería y sigue el camino de otros grupos curtidos en este clásico formato del mundo del jazz. Trabajan el jazz, groove, funk, boogaloo y otros muchos estilos, mezclándolos con sentido y obteniendo un sonido propio a través de la improvisación y de la creación colectiva. Si algo caracteriza a los miembros de FMA Trio es su versatilidad, todos han formado parte de numerosas bandas y distintos proyectos, lo que les ha permitido empaparse de distintas sonoridades y moverse siempre entre distintos géneros y estilos, esto siempre es de agradecer. Fredi Peláez ha participado en proyectos como Organiks, Dynamik Trio, Carlos Bernal Trio o CIF. En el caso de Ander Hurtado de Saratxo, la experiencia con Kike Mora Trio o Jazz at 5 da buena cuenta de su trayectoria. Mikel Romero ha participado en conjuntos que han tocado desde folk a rock, pasando por el metal. Ha estado en grupos como Urgabe, Korrontzi y Vagos. Lo que escuchamos en este ‘# 1' son temas propios, la mayoría, cosa rara en esto de los tríos de órgano, firmados por el guitarrista Mikel Romero y tan solo una aportación de Fredi, el tema ‘Boogaloo'. El sonido, Larry Goldins, De Francesco o el padre de todo esto Jimmy Smith, están presentes en el adn de este proyecto que básicamente cubre los aspectos mas tranquilos de lo que se supone hace un trio de órgano alejándose de los ambientes más bailables. Clasicismo bien entendido llena los surcos de esta grabación que supone una bonita tarjeta de presentación para el grupo. I. Ortega Autor: FMA Trio Título: # 1 Músicos: Fredi Pelaez (órgano Hammond), Mikel Romero (guitarra eléctrica), Ander Hurtado De Saracho (batería) Discográfica: Errabal Distribuidora: Errabal Año: 2015 Estilo: Jazz moderno

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.

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

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

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

PROG.Nº 423-Comenzamos el estándar de la semana escuchando el tema” Blue Lou” -versionado por WALDER GRAY. Jazz en el Recuerdo Aniversario.-Esta semana vamos hacer una excepción , y vamos a homenajear al gran saxofonista y sucesor de CHARLIE PARKER, PHIL WOODS que se nos fue el pasado 29 de septiembre, y lo vamos hacer con su albúm “LOVER MAN”-(AMANTE) En su larga carrera musical de seis décadas, Woods desarrolló un estilo bastante personal, a pesar de seguir siempre con admiración el legado de Charlie Parker. Jamás abandonó la tradición del bebop. Tal como informamos en su oportunidad, Woods se retiró de los escenarios y estudios de grabación a comienzos de este mes debido a su condición médica, justo después de haber interpretado la música de "Charlie Parker con cuerdas" con su trío y la orquesta sinfónica de Pittsburgh, el 4 de septiembre. Phil Woods comenzó a tocar el saxo alto a los 12 años de edad y estudió con Lennie Tristano y en las escuelas de música de Manhattan y Juilliard, donde también estudió clarinete. Siendo estudiante secundario tocó con la orquesta de Charlie Barnet y posteriormente trabajó con Kenny Dorham, George Washington y Dizzy Gillespie quien tomó un especial interés en su estilo bebop. En los años 60 tocó con Buddy Rich y realizó giras por Europa con Quincy Jones y en la Unión Soviética con Benny Goodman. Después, además de enseñar, organizó su propio cuarteto y fue integrante de la big band de Clark Terry. Desilusionado con la vida política de los EEUU, Woods se trasladó a Francia en el año de las revoluciones estudiantiles a ambos lados del Atlántico, 1968, donde formó su "European Rhythm Machine" que no tuvo mucho éxito. Cuatro años después volvió a los EEUU, asentándose en Delaware, donde continuó su carrera musical hasta el momento de su muerte. Woods grabó bastante como líder (poco más de 50 álbumes), pero muchas de sus grabaciones notables las hizo en conjuntos de otros músicos, tales como Thelonious Monk, Herbie Mann, Bill Evans, Art Blakey, Lou Donaldson, Dizzy Gillespie, Art Farmer, Oliver Nelson, the Modern Jazz Quartet, Jimmy Smith, Ben Webster, Stephane Grappelli, Bill Evans, Gil Evans, Quincy Jones, Ron Carter, entre muchos otros. Dentro de su actividad como educador y mentor de gente joven, en los últimos años Woods promovió a la saxofonista alto Grace Kelly, con quien además grabó un álbum y tocó en numerosos conciertos. Fue admirador y amigo también de la saxofonista chilena radicada en Nueva York, Melissa Aldana. Su dedicación a la enseñanza abarcó varias décadas. NOTICIAS DE JAZZ JAZZ ACTUALIDAD.- Esta semana tendremos a VERNAU MIER QUINTET, con su trabajo “NEBULOSES D´AZIMUT. La valentía muchas veces tiene que ser premiada y más, creo yo, en estos momentos de azarosas condiciones. Estamos ante un estreno, un saxofonista alto que se atreve a dar el paso en formato de quinteto. Vernau Mier es el valiente, un joven saxofonista catalán de veinte años, que lo tiene claro. Se lanza con este proyecto llamado Nebuloses D'Azimut grabando temas propios, salvo la composición Galactic Pepper del contrabajista Manel Fortia y, para mi, consigue salir airoso del envite. Grabado en directo, como los buenos, durante una actuación en el Sunset Jazz Club de Girona, Vernau Mier y su gente se la juega y demuestra soltura y profesionalidad. Es un disco de debut que tiene sus momentos de dudas pero que sabe reunir las mejores experiencias musicales del grupo y presentarnos el posible camino a seguir en un futuro. Los compañeros de aventura son algunos de los nuevos talentos del jazz catalán. A saber: Lucas Martínez se ocupa del saxo tenor, el pianista es Toni Saigi, el contrabajista Manel Fortià y a la batería nos encontramos con Marc Bódalo; todos con una trayectoria brillante. Según el propio Mier, “El disco pretende ser un reflejo de las experiencias musicales que he vivido los últimos años, al tiempo que marca el camino que quiero seguir. De ahí el título del disco, ya que el azimut es el ángulo que se forma entre una posición de origen y una estrella, siendo el disco un retrato de quien soy ahora y donde quiero ir”. El jazz practicado es un hard bop comercial, sólido y bien llevado, sin grandes sorpresas pero de calidad. A mi me han gustado el inicial Martilla muy rítmico, la alegría sabrosona de A Les Cloquets, la fuerza de Sunshi o la serenidad que desprenden temas como Watkins oAzimut entre otros. Desde luego no va a ser mi disco del año pero creo que posee la suficiente entidad para que Vernau y su gente no pasen desapercibidos en este proceloso mundo discográfico que nos inunda y espero que puedan dar más pasos adelante con este aplomo que les caracteriza a pesar de la crisis. I. Ortega Autor: Vernau Mier Quintet Título: Nebuloses D'Azimut Músicos: Vernau Mier (saxo alto), Lucas Martinez (saxo tenor), Toni Saigi (piano), Manel Fortia (contrabajo), Marc Bodalo (bateria) Discográfica: Autoproduccion Año: 2015 Estilo: Hard bop

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

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

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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

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

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

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

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 ...

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

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

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

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.

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