Podcast appearances and mentions of Lester Young

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I had the pleasure of recording this episode inside the Nate Holden Performing Arts Center, in L.A., hometown of the talented Wren T. Brown. Wren is an actor, film producer, and theater director, who cofounded the Ebony Repertory Theatre (ERT). We talk in-depth about what that company has meant to him and how it has affected an entire community in a positive way. Influenced by the likes of his great uncle Lester Young, black excellence shaped his life and is the subject of his new book, The Family Business: Four Generations of One Black Family's Artistic Odyssey. (Friend and jazz giant Wynton Marsalis wrote the foreword.) https://thefamilybusinessbook.com

El poder de la balada en el jazz reside en su capacidad para crear atmósferas sofisticadas, románticas y evocadoras. Y con ese concepto en mente la discográfica británica Black Lion publicaba en el año 1971, el disco Atmosphere for Lovers and Thieves, una selección de dos sesiones grabadas por el saxofonista Ben Webster en 1965 que consiguieron capturar la esencia del arte baladístico en el que el viejo saxofonista, en sus años crepusculares, había alcanzado niveles de excelencia artística. Ben Webster, en aquellos años, refugiado en Europa desde 1964, había dejado atrás sus tiempos gloriosos en la orquesta de Duke Ellington, veinte años antes de estos registros. La vehemencia de su estilo, su sonido rudo y rocoso dejaba paso al susurrante sonido de su saxo, deslizándose seductor en la interpretación de las baladas que cada vez ocupaban mayor espacio en su repertorio. Webster nunca regresaría a su país, y fallecería en Copenhague en el año 1973, dejando como legado un amplísimo acervo discográfico así como un sonido y un estilo único y excepcional que le ha hecho merecedor un lugar privilegiado entre los más grandes de la historia del jazz y en especial del saxo tenor junto con otros dos gigantes del instrumento, Coleman Hawkins y Lester Young. Radio Jazznoend rinde homenaje en este nuevo programa a este viejo maestro del saxo tenor, a través de este singular registro en el que asistiremos a interpretaciones conmovedores de algunos de los clásicos de la balada de la historia del jazz.

I denne uge af JazzGrooves skal vi høre Lester Young sammen med bl.a. Count Basie, Billie Holiday, Nat King Cole . Young blev kun 50 år og døde i 1959. Hans Barfod præsenterer og Henrik Vindeby er tekniker.  

El 7 de abril de 1915 nacía una de las cantantes más extraordinarias de todos los tiempos. Con la lectura de algunos fragmentos de su autobiografía 'Lady sings the blues' (Tusquets) y de 'Con Billie Holiday. Una biografía coral' de Julia Balckburn (Libros del Kultrum) escuchamos a 'Lady Day' en grabaciones de finales de los años 30 principios de los 40 ('All of me', 'Until the real thing comes along', 'Me, myself an I', 'You go to my head', 'Night and day), de su disco de 1957 'Songs for distingué lovers' ('I didn´t know what time it was', 'Day in, day out') y del disco de 1959 'Lady in satin' ('For heaven´s sake', 'You don´t know what love is', 'You´ve changed', 'I´m a fool to want you'). Para la despedida, 'Fine and mellow', grabación de diciembre del 57, en el programa de televisión de la CBS 'The Sound of Jazz', acompañada por gigantes como los saxofonistas Lester Young, Ben Webster, Coleman Hawkins o Gerry Mulligan.Escuchar audio

The Transformative Power of Education: A Panel Discussion with Dr. Lester YoungEducation is more than just classrooms and curriculum—it's a powerful force for change, shaping the future of individuals, communities, and society as a whole. Educators play a pivotal role in fostering critical thinking, inspiring innovation, and creating opportunities for students of all backgrounds.Tune in for an insightful panel discussion featuring Dr. Lester Young, Chancellor of the NYS Board of Regents, as we explore the evolving landscape of education. From policy shifts to new learning approaches, this conversation will provide valuable insights into the current changes and what's on the horizon for the future of education.A heartfelt thank you to all who attended and contributed to this important discussion. Your engagement helps drive meaningful progress in education. Stay tuned for more events like this, as we continue to highlight the voices and efforts shaping the next generation.Special thanks to Dr. Young for his leadership and dedication to education!For more information about CITE and our programs, visit www.citeprograms.com

Diese Sendung hat Joachim Böskens zusammengestellt. Das LIVE – Anspiel diesmal ist: „Let's do it (Let's fall in Love)“ – eine Komposition von Cole Porter aus dem Jahr 1928 & sein erster großer Hit. Folgende Titel sind zu hören: 1. Canal Street Blues – Abi Hübner's Low Down Wizzards 3:27 2. Tiger Rag – Barry Ulanov's All Star Modern Jazz Musicians 3:49 3. Long ago and far away – Dusko Goykowich & Ensemble 4:41 4. What the World needs now is Love – Artemis 5:39 5. I want to be happy – Lester Young Trio 3:56 6. Let's do it (Let's fall in Love) – Ella Fitzgerald 4:43 7. Recado Bossa Nova – Klaus Doldinger Quartett + Afro Cuban 2:45 8. Body and Soul – Roots 5:45 Für Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

durée : 02:28:59 - France Musique est à vous du samedi 01 mars 2025 - par : Gabrielle Oliveira-Guyon - Au programme d'aujourd'hui, de belles œuvres religieuses : le motet Quam Dilecta de Rameau, le Miserere de Zelenka et la Messe en mi bémol majeur de Schubert ! Mais aussi Lester Young et la comédie musicale Chorus Line. - réalisé par : Emmanuel Benito

Sintonía: "Just In Time" - The Oscar Peterson Trio"Mean to Me" - "Pennies From Heaven" - "One O´ Clock Jump" - "She´s Funny That Way" - "I Found A New Baby". Músicas extraídas del álbum "Pres & Sweets" (Verve 1955), del saxofonista Lester Young y el trompetista Harry Edison "You Make Me Feel So Young" - "Come Dance With Me" - "The Tender Trap" - "It Happened In Monterey" - "I Get A Kick Out Of You" - "How About You". Músicas extraídas de "A Jazz Portrait Of Frank Sinatra" (Verve 1959), del pianista Oscar PetersonEscuchar audio

STANDARS SEMANAL-.las cosas ya no son lo que eran.-VINILOS MITICOS DEL JAZZ-J913 - Charles Mingus-1959 Mingus Ah Um.-AZZACTUALIDAD-.JUAN DE DIEGO-GREBALARIAK-AZKEN UDA Mingus Ah Um es un álbum de estudio del músico de jazz estadounidense Charles Mingus que fue lanzado en octubre de 1959 por Columbia Records . [ 1 ] [ 2 ] Fue su primer álbum grabado para Columbia. La portada presenta una pintura de S. Neil Fujita . [ 5 ] El título es una corrupción de una declinación latina imaginaria . Es común que los estudiantes de latín memoricen adjetivos latinos diciendo primero el nominativo masculino (generalmente terminado en " -us "), luego el nominativo femenino (" -a "), y finalmente elnominativo singular neutro (" -um ") [ 6 ] —lo que implica una transformación de su nombre, Mingus, Minga, Mingum . El álbum fue incluido en el Salón de la Fama de los Grammy en 2013. [ 7 ] Ocupó el puesto 380 en los 500 mejores álbumes de todos los tiempos de la Rolling Stone . La Penguin Guide to Jazz on CD llama a este álbum "un homenaje extendido a los antepasados" (y le otorga una de sus raras coronas), [ 8 ] y los antepasados ​​musicales de Mingus aparecen en gran medida en todo el álbum. "Better Git It In Your Soul" está inspirada en el canto gospel y la predicación del tipo que Mingus habría escuchado cuando era niño en Watts, Los Ángeles, California , mientras que " Goodbye Pork Pie Hat " es una referencia (a través de su sombrero favorito) al saxofonista Lester Young (que había muerto poco antes de que se grabara el álbum). El origen y la naturaleza de "Boogie Stop Shuffle" se explican por sí solos: un blues de doce compases con cuatro temas y un acompañamiento de bajo boogie que pasa del tiempo detenido al shuffle y viceversa. "Self-Portrait in Three Colors" fue escrita originalmente para la primera película de John Cassavetes como director, Shadows , pero nunca se usó (por razones presupuestarias). "Open Letter to Duke" es un homenaje a Duke Ellington y se basa en tres de las piezas anteriores de Mingus ("Nouroog", "Duke's Choice" y "Slippers"). "Jelly Roll" es una referencia al pionero del jazz y pianista Jelly Roll Morton y presenta una cita de "Sonnymoon for Two" de Sonny Rollins durante el solo de piano de Horace Parlan . "Bird Calls", en las propias palabras de Mingus, no era una referencia al saxofonista de bebop Charlie "Bird" Parker : "No se suponía que sonara como Charlie Parker. Se suponía que sonara como pájaros, la primera parte". " Fables of Faubus " debe su nombre a Orval E. Faubus (1910-1994), el gobernador de Arkansas, famoso por su postura de 1957 contra la integración de las escuelas de Little Rock, Arkansas , desafiando los fallos de la Corte Suprema de los Estados Unidos (obligando al presidente Eisenhower a enviar a la Guardia Nacional ). Columbia Records se negó a permitir que se incluyera la letra de la canción, [ 9 ] por lo que la canción se grabó como instrumental en el álbum. [ 10 ] [ 11 ] No fue hasta el 20 de octubre de 1960 que la canción se grabó con letra, para el álbum Charles Mingus Presents Charles Mingus , que se lanzó en el sello más independiente Candid . [ 10 ] Debido a problemas contractuales con Columbia, la canción no pudo publicarse como "Fables of Faubus", por lo que la versión de Candid se tituló "Original Faubus Fables". Azken Uda JUAN DE DIEGO-GREBALARIAK CD JAZZ / LATIN-JAZZ ERRABAL JAZZ (GH ER169 02) 8436010309314 Tras la edición de su primer trabajo homónimo en 2021, el trompetista/músico vasco-catalán retoma la senda de su antecesor con este sorprendente "Azken Uda" (El último verano). Un trabajo grabado en los estudios Sol de Sants de Barcelona por Alberto Pérez los días 11 y 12 de octubre, que cuenta además del propio Juan De Diego a la trompeta y flugel, con la colaboración de Toni Saigi al piano, Pere Loewe al contrabajo y Ramon Prats a la batería. Un disco que pone de manifiesto la indiscutible belleza de las composiciones escritas por Juan de Diego a la hora de transitar por la senda del jazz contemporáneo, música efervescente y colorida, con una cierta intencionalidad Be-Bop que desvela un carácter orgánico, flexible y vital a lo largo de sus surcos.

Vi har blivit av med många accessoarer och i gapet mellan det personliga och allmänna försvann hatten. Thomas Steinfeld funderar över förlusten. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.En hatt äger många fördelar. Den värmer skallen. En bit filt på huvudet är en lämplig åtgärd mot kylan. Men hatten skyddar även huvudet mot solen, i synnerhet när hjässan är kal. Hatten hjälper till att bevara frisyren, varför den i vissa fall ingår en till ytan näst intill organisk förbindelse med lockarna. Ibland ersätter hatten paraplyet, framför allt om båda händerna skall bära någonting, eller om man går i trånga gränder eller genom större folksamlingar. Den största fördelen tycks dock vara att hatten kastar en skugga över ansiktet, så att bäraren blir till en hemlighet för varje mötande människa, kanske rentav för sig själv: Som för Humphrey Bogarts och Ingrid Bergmans rollfigurer i slutscenen av ”Casablanca”, där hattarna skall dölja hur smärtsam avskedet är för de båda älskarna. Slutligen så lånar hatten också en silhuett till sin bärare. Tänk bara på Michael Jackson, så som han uppträder i musikvideon till ”Smooth Criminal” från 1988: Så vackra hans konturer blir med den ljusa hatten på, så symmetrisk hans gestalt blir, i mycket högre grad än om han enbart burit sitt nakna huvud över halsen, de mörka lockarna till trots. Det blir en kontrastverkan mellan hatten och de svarta skorna med de vita gamascherna, fulländningen av ett uppträdande som en välklädd, om än något excentrisk herre.”Min hatt den har tre kanter”, låter en folksång från sena 1800-talet, byggd på en canzonetta som förmodligen kommer från Neapel och är bra mycket äldre. Denna hatt var förstås trekornshatten som svenska armén bar ännu i början av 1900-talet. Och ser man på bilder ännu från femtiotalet, på fotografier av folk på gatan, även av protester och upplopp, så bär nästan alla män en hatt och många kvinnor också. Att människorna täckte sina huvuden, över århundraden, över årtusenden, är mycket mindre förvånansvärt än att de någon gång under sextiotalet slutade att göra det, först i de västeuropeiska länderna, sedan i Nordamerika, till sist också i Östeuropa, varje gång med en övergångstid på sisådär tio år. Som den viktigaste anledningen till att folk slutgiltigt tog av sig hatten utpekas för det mesta bilismen. Det är svårt att behålla hatten på när man kliver in i en personvagn, och det är ännu svårare att ha den kvar på huvudet, när taket är lågt, när man hela tiden måste vända blicken till höger och vänster medan man samtidigt måste behålla backspegeln i sikte. Dock kan den privata bilismen inte vara mer än en del av förklaringen: Ty kappan blev ju kvar och så blev halsduken och handskarna – de sistnämnda dock bara för att hålla fingrarna varma, medan de tidigare hade många andra funktioner, framför allt för att markera en distans mellan handskarnas bärare och resten av världen.Kastorhatten, en hög, för det mesta rörformig hatt tillverkad av bäverhår, uppfanns på 1600-talet. Den bars av män och kvinnor, i många skepnader. Cylinderhatten, en förenklad variation på kastorhatten och mest buren av män, blev populär under 1800-talet och ett tecken på den borgerliga klassens emancipation. Pork pie-hatten, en liten rund skapelse med en platt översida och ett smalt brätte, bars inte bara av komikern Buster Keaton, utan också av många kvinnor, som drog den långt ner i pannan, för att på så sätt komplettera hårets komplicerade arrangemang ovanför bakhuvudet. Fedoran, en mjukare hatt med ett brett brätte som hänger lite i fronten, förmår att skydda bäraren mot vind och väder. Den blev en symbol för den tidiga kvinnorörelsen innan Al Capone förklarade den till en nödvändig beståndsdel av hans gängmedlemmars utrustning. Varje typ av hatt har sin symbolik och sin kulturhistoria. Och när somliga hattar under de senaste åren återvann en liten del av sin forna popularitet, så skedde det i vetskapen om den gångna betydelsen: pork pie-hatten i minnet av Lester Young, Charles Mingus och fyrtiotalets jazz, fedoran, helst i Panama-versionen, som referens till lata sommardagar i utvalt sällskap på en skuggig terrass ovanför medelhavet. Även baseballkepsen, om än ingen hatt i egentlig mening, för att den lägger sig platt på skallen – även den bär på en sådan betydelse, som kan härledas till amerikansk fankultur.När Elena Esposito, en sociolog från universitetet i Bologna, förklarar modets hemligheter, talar hon om människans behov att visa upp sig som enastående varelse – och andra människors behov att iaktta hon som sådan – under växlande och för det mesta flyktiga omständigheter. Modets syfte, skriver hon, är att skapa en förbindlighet i det förbigående. Inte för mycket, för då blir människan ”fixerad”, då uppträder hon som formad efter en mall, men tillräckligt mycket för att dra uppmärksamheten till sig, som en gestaltad varelse. Där, i gapet mellan det personliga och det allmänna, tycks hatten försvunnit, i strävan efter en intimitet, även inom tillfälliga möten, som man tidigare bara undvikit. Ännu under 1700-talet kunde en rak blick in en annan människans ansikte betraktas som lika med en beröring, och ibland besvarades ett sådant brott mot konventionerna med uppfordran till ett duell. Först mycket senare, strängt sett först efter andra världskriget, blev det öppna, oskuggade ansiktet ett uttryck för människan själv, och mötet ansikte mot ansikte till måttet för det autentiska och ärliga. Och så försvann hatten, eller den ändrade sin funktion från att vara en del av beklädnaden till att bli rekvisita.Den moderna människan blev av med många accessoarer: Hon tappade käppen och fickuret, hon blev av med den lilla duken i tyg och håller på att gå miste om slipsen. Hon förlorade hatten och, inte minst, cigaretten. Det finns någonting som är gemensamt för alla dessa ting av förment tvivelaktigt praktiskt värde: De är bundna till sinnliga uttrycksformer eller gester: Käppen svängs, eller så viftar man men den, duken används för att vinka och för att torka tår, fickuret plockas fram, handen med cigaretten ritar komplicerade figurer i luften. Ett helt register av sociala förhållanden öppnas genom dessa rörelser. Och tänk återigen på hatten, tänk på en fedora, där bärarens handgrepp ingår i hattens utformning, med en buckla, så kallat grepp, på varje sida, där tummen och långfingret hittar sin position, medan pekfingret nuddar hatten i skåran uppe på kullen. Och så lyfter man hatten med en elegant och vidlyftig rörelse, som visar respekt och omtanke för människan man möter, utan att dock skapa en närhet som förpliktar. Och så säger man förstås inte ”hej” utan ”goddag”.Thomas Steinfeldförfattare och professor i kulturvetenskap

Apasionarse por la vida. De eso se trata: el mejor jazz como regalo el primer Músicas Posibles del año. Alone Together Chet Baker Chet (Mono)Rosita Hawkins, Webster Coleman Hawkins Encounters Ben Webster Lush Life Michel Petrucciani The Blue Note AlbumsMy Funny Valentine Miles Davis Quintet Cookin' With The Miles Davis Quintet RVG Remaster 2007These Foolish Things Lester Young Blue Lester: The Immortal Lester YoungAlone Together Kenny Dorham Quiet Kenny RVG Remaster 2006Isfahan Duke Ellington Far East SuiteA Taste of Honey Paul Desmond  The Complete RCA Victor RecordingsIn A Sentimental Mood Sonny Rollins S. Rollins With The Modern Jazz QuartetAfter The Rain Duke Pearson Sweet Honey BeeDidn't Know About You Johnny Hodges & His Orchestra Blues-A-PlentySaturday Afternoon Blues Johnny Hodges & His Orchestra Blues-A-PlentyIn A Sentimental Mood Ellington & Coltrane Impulse! Escuchar audio

In this episode of Nightmare Success, host Brent Cassity interviews Lester Young, a former inmate who turned his life around after serving 22 years of a life sentence. Lester is the founder of Path2Redemption a non-profit that helps the formerly incarcerated transition back into society. The organization also has a powerful at-risk youth program. Young is a TEDX Speaker, a Best-Selling Author, and a Keynote Speaker. The conversation explores themes of trauma, grief, and the journey to redemption. Young shares his experiences of losing his mother at a young age, facing incarceration, and ultimately finding purpose through education and helping others. The discussion emphasizes the importance of confronting fears, taking ownership of one's actions, and the transformative power of personal growth. Lester Young shares his transformative journey from incarceration to empowerment. He discusses the importance of education, purpose, and routine during his time in prison, and how these elements helped him prepare for life after incarceration. Young emphasizes the significance of helping others and finding one's purpose, which ultimately led to his successful reintegration into society. He also addresses the emotional challenges faced by those released from prison and the impact of receiving a full pardon. Throughout the discussion, Young, highlights the resilience of the human spirit and how one can find purpose by overcoming adversity. --- Support this podcast: https://podcasters.spotify.com/pod/show/brent-cassity/support

THE SOUND OF JAZZ CBS 30TH STREET STUDIOS New York, December 5, 1957Open All NightEmmett Berry, Doc Cheatham, Roy Eldridge, Joe Newman (tp) Vic Dickenson, Frank Rehak, Dicky Wells (tb) Earl Warren (as) Coleman Hawkins, Lester Young (ts) Harry Carney (bar) Count Basie (p) Freddie Green (g) Eddie Jones (b) Jo Jones (d) Pierce (arr)Wild man blues, RosettaHenry “Red” Allen (tp,vcl) Rex Stewart (cnt) Vic Dickenson (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Nat Pierce (p) Danny Barker (g) Milt Hinton (b) Jo Jones (d)I left my Baby, Dickie's Dream. Continue reading Puro Jazz 30 de diciembre, 2024 at PuroJazz.

THE SOUND OF JAZZ CBS 30TH STREET STUDIOS New York, December 5, 1957Open All NightEmmett Berry, Doc Cheatham, Roy Eldridge, Joe Newman (tp) Vic Dickenson, Frank Rehak, Dicky Wells (tb) Earl Warren (as) Coleman Hawkins, Lester Young (ts) Harry Carney (bar) Count Basie (p) Freddie Green (g) Eddie Jones (b) Jo Jones (d) Pierce (arr)Wild man blues, RosettaHenry “Red” Allen (tp,vcl) Rex Stewart (cnt) Vic Dickenson (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Nat Pierce (p) Danny Barker (g) Milt Hinton (b) Jo Jones (d)I left my Baby, Dickie's Dream. Continue reading Puro Jazz 30 de diciembre, 2024 at PuroJazz.

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Listen to a tribute to the legendary jazz drummer Roy Haynes. He passed away last November at the age of 99. Hear classic jazz music from Haynes, featuring his work with the jazz masters of Indiana Avenue.  Roy Haynes was among the greatest and most influential drummers in the history of jazz music. Though Haynes spent the majority of his life in New York, he performed with many legends of the Indiana Avenue jazz scene, including Freddie Hubbard, J.J. Johnson, Larry Ridley, Bill Jennings, James Spaulding and more. Haynes was born in Boston, Massachusetts in 1925. He began playing drums professionally, as a teenager during the early 1940s. His crisp and distinctive sound on the drums earned him the nickname “Snap Crackle”. By the end of the 1940s, Roy was playing with the greatest stars in jazz, including Lester Young, and Charlie Parker. In the following decades, Roy continued to be a dominating force in jazz, performing with Sarah Vaughan, John Coltrane, Thelonius Monk, Chick Correa, and dozens of other iconic jazz artists.

In this powerful episode of the Around Town podcast, Mayor Daniel Rickenmann sits down with Lester Young, founder of Path2Redemption. After spending over two decades in prison, Lester Young emerged with a mission to help others break the cycle of incarceration and find new opportunities. He shares his journey from prison to becoming a community leader, focusing on the work he does to support formerly incarcerated individuals in finding employment, housing, and personal growth. Lester's efforts to address the root causes of crime, such as trauma and lack of opportunity, are significantly impacting Columbia. Tune in to hear how Lester is transforming lives and offering second chances to those who need it most.

Avant de disparaitre à 33 ans dans un accident de voiture, Chu Berry était l'un des meilleurs saxophonistes de l'ère du swing. A en croire l'alto Buster Smith qui l'avait croisé à Kansas City dans les années 30, Chu était capable de défier Lester Young, Herschel Evans, Coleman Hawkins et Ben Webster lors de jams sessions épiques et de les corriger un par un. Le meilleur, c'était lui !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 01:09:10 - Club Jazzafip - Le batteur et chef d'orchestre s'est éteint le 12 novembre à l'âge de 99 ans. Nous rendons célébrons celui qui façonné une partie de l'histoire du jazz en jouant aux côtés de géants comme Quincy Jones, Lester Young, Charlie Parker, Sarah Vaughan, John Coltrane, Pat Metheny ou Chick Corea.

Small group sides led by the great tenor saxophonist Lester Young after his departure from the Basie band. All were done in the middle 1940's on the West Coast and feature Nat "King" Cole, Joe Albany, Irving Ashby, Frank Lacy, Red Callendar, Henry Tucker, Chico Hamilton, Howard McGhee, Vic Dickenson, Willie Smith and others. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Qu'ont en commun Lester Young, Stan Getz, Miles Davis, Chet Baker, Dexter Gordon, Serge Gainsbourg, les Double Six et… Claude François ? Tous ont eu affaire à René Urtreger, un type qui sait que pour jouer du piano il faut trois choses : la tête, le cœur et les tripes. Portrait en quatre épisodes dans Pour Qui Sonne le Jazz. Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Charlie Parker, nicknamed “Yardbird” or “Bird” for short was easily one of the most influential jazz musicians of the 20th century. Born in Kansas City, Kansas on August 29, 1920, he came up in the vital jazz scene of Kansas City, Missouri. Initially heavily influenced by the playing of saxophonist Lester Young, he developed a prodigious saxophone technique and his own unique harmonic and melodic language, heavily rooted in the blues tradition, and together with trumpeter Dizzy Gillespie is credited with creating the style of jazz later referred to as bebop. Bassist Charles Mingus famously commented that so many musicians copied Bird's innovations that they'd all be guilty of copyright violations in a just world!

Mokuhanga has the ability to take the artist or craftsperson anywhere they would like to be. From the subject matter in their studio to physical movement around the world, teaching, exploring, and discovering. Wonder and beauty is what makes mokuhanga so special.   In this episode of The Unfinished Print, I speak with printmaker Jacqueline Gribbin, who has spent years honing her craft in mokuhanga and other printmaking techniques across Japan, Southeast Asia, and Australia. We discuss her deep connection with Indigenous communities, collaborating with the late Ralph Kiggell, and exploring the nuances of water-based and oil-based mokuhanga. Jaqueline explains her experiences traveling to isolated communities, conducting workshops, and sharing her passion for printmaking. We'll explore her teaching methods, the importance of community in her work, and how she balances creating and selling her prints.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Jacqueline Gribbin - website  Shifting Tides (2022) Nagasawa Art Park (MI Lab) Awaji City - Nagasawa Art Park was an artist-in-residence program located in Awaji City, Hyōgo Prefecture, Japan. It was open for 12 years before evolving into MI Lab in 2012. More info, here.    Keiko Kadota (1942-2017) - was the director of Nagasawa Art Park at Awaji City from 1997-2011, and then of MI Lab at Lake Kawaguchi from 2011 until her passing.   Toru Ueba - was a print instructor at Nagasawa Art Park, and was one of Yoonmi's instructors in 2004.   Ralph Kiggell (1960-2022) -  was one of the most important mokuhanga practitioners. Originally from England, Ralph lived and worked in Thailand. Ralph pushed the boundaries of mokuhanga with extremely large pieces, jigsaw carving, and by using fantastic colour. He also worked with the International Mokuhanga Conference to promote mokuhanga around the world. He will be greatly missed. Ralph's work can be found, here. His obituary in The Guardian can be found, here. His interview with The Unfinished Print can be found, here.     Orange Flower On Blue    Hiroki Satake - is a mokuhanga printmaker, and instructor based in Japan. He has taught at MI Lab, as well as given demonstrations regarding tool sharpening, around the world. Instagram   赤絵（アンドレ・マルティ「狼よ！」より) (2022) 34.7cm×28.4cm   registration - there are several registration methods in mokuhanga. The traditional method is called the kentō registration, where you carve two notches, straight another an "L." There is also a "floating kentō," which is where the notches are cut in a piece of "L" shaped wood and not on the wood where you are cutting your image, hence "floating." Lastly, there are removable "pins," such as ones made by Ternes Burton.    bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable. Below is a fine example of bokashi by Paul Binnie:     The Torii Gate at Miyajima (2009) 37.5 x 26cm sizing paper - at times mokuhanga printmakers will size their paper. Size is made from water, animal glue (rabbit, horse), and alum. What the size does is keep the pigments the artist uses from “bleeding” into the outer edges of the paper. There are many recipes of size, here is one that artist Walter J. Phillips used.   intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.     serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper.    lithography: A printing process where images are transferred onto a surface using a flat plate or stone.   Yoshitaka Amano (b. 1952) - is a character designer for the Final Fantasy video game series. He uses ukiyo-e and Japanese woodblock prints as insirpation for some of his work.    Takashi Murakami (b. 1962) is a contemporary artist best known for his fine art works and contributions to the commercial market. His works are heavily influenced by manga and anime, characterized by their bright colors and distinctive style. Multicolour Superflat Flowers - archival pigment print, silkscreen, 45 cm x 17.7cm   Margaret Thatcher 1925-2013) -  was the Prime Minister of the United Kingdom from 1979 to 1990. She was the first woman to hold the office and remains one of the most influential figures in British political history. Leading the Conservative Party, Thatcher implemented a series of economic policies known as "Thatcherism," which emphasized deregulation, privatization of state-owned industries, and reducing the power and influence of trade unions. Her tenure was marked by significant economic transformation, as well as controversial measures that sparked widespread debate and protest.    Tamarind Institute - was originally founded in Los Angeles in 1960 by June Wayne, and is a world renowned center for fine art lithography. Established to revive and sustain the art of lithography, which was in decline in the United States, Tamarind quickly became a leader in the education and promotion of lithographic techniques. In 1970, the institute moved to the University of New Mexico in Albuquerque, where it continues to thrive as a key institution in the printmaking world. Dedicated to advancing the lithographic arts through rigorous education, collaborative projects, and the production of high-quality prints, the Tamarind Institute's influence extends globally, contributing significantly to the development and appreciation of lithography as a vibrant art form. More info, here.    STPI Creative Workshop & Gallery - which stands for Singapore Thailand Print Institute is an educational gallery and workshop, based in Singapore. More info, here.    International Mokuhanga Conference, 2011 - was the first international conference on mokuhanga which was separated in two parts, Kyoto and the Awaji Islands in Japan.    MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.    Hiroki Morinoue - is a mokuhanga printmaker and artist living in Holualoa, Big Island, Hawai'i. He is a co-founding member of the Holualoa Foundation For Arts & Culture, the establishment of the Donkey Mill Art Center and Studio 7 Fine Arts. Hiroki's interview with The Unfinished Print can be found, here.    Incoming Tide 30.5 x 30.5cm   Keiko Hara - is an artist and Professor of Art Emerita at Whitman College in Walla Walla, Washington. She is a painter, and printmaker in various relief mediums, such as mokuhanga. Keiko also leads the Mokuhanga Project Space based in Walla Walla, Washington. More info on Keiko's work can be found, here. More info regarding the Mokuhanga Project Space, here.   Verse Space M-1, lithography and stencil, 55.8 cm x 76.2 cm   Yamanashi Prefecture - (山梨県, Yamanashi-ken) is located in the Chūbu region of Honshu, Japan, and borders Saitama Prefecture to the northeast, Nagano Prefecture to the northwest, Shizuoka Prefecture to the southwest, Kanagawa Prefecture to the southeast, and Tokyo to the east. The capital and largest city is Kōfu. Yamanashi is one of only eight landlocked prefectures in Japan, with most of the population residing in the central Kōfu Basin, surrounded by the Akaishi Mountains. 27% of its land area is designated as Natural Parks, and it is home to many of Japan's highest mountains, including Mount Fuji, the country's tallest peak and a significant cultural icon, which is partially located on the border with Shizuoka Prefecture.   Tiwi Islands - which means "two islands," are part of the Northern Territory, Australia, located 80 km (50 mi) north of Darwin. They comprise Melville Island, Bathurst Island, and nine smaller uninhabited islands, with a combined area of 8,320 square kilometers (3,212 sq mi). The islands have been inhabited by the Tiwi, an Aboriginal Australian people, since before European settlement, with a population of 2,348 recorded in the 2021 census. The Tiwi Land Council, one of four land councils in the Northern Territory, serves as a representative body with statutory authority under the Aboriginal Land Rights (Northern Territory) Act 1976 and holds responsibilities under the Native Title Act 1993 and the Pastoral Land Act 1992.   Charles Darwin University - was established in 2003 in the Northern Territory of Australia, and resulted from the merger of Northern Territory University, Centralian College, and the Menzies School of Health Research. Named after naturalist Charles Darwin, CDU focuses on research and education tailored to the unique challenges of the region, with strong emphasis on Indigenous education and partnerships. The university offers a broad range of programs across disciplines like health, education, engineering, business, and environmental science, and is recognized for its research in desert knowledge, Indigenous systems, tropical health, and sustainable development. With campuses in Darwin, Alice Springs, Katherine, and Nhulunbuy, CDU plays a crucial role in the educational, economic, and social development of the Northern Territory. The More Than Human World: North Australian Ecologies was the exhibit which Jacqueline speaks on in her episode. The exhibit catalogue can be found, here.    Balgo - also known as Wirrimanu, is a remote Aboriginal community in the Kimberley region of Western Australia. Home to the Kukatja people and other desert groups like the Ngarti and Warlpiri, Balgo is renowned for its vibrant art scene, particularly through the Warlayirti Artists art center, which produces art reflecting the rich cultural heritage of the local people. The community, accessible mainly via local roads and air, provides essential services such as a health clinic, school and plays a vital role in preserving and promoting Indigenous culture and traditions. A description of Wirrimaru can be found, here via Deutscher and Hackett.    Printmaking Today - is a magazine published by Cello Press in England, and is published quarterly. The magazine focuses on printmaking themes and artists. More info, here.   Arnhem Land - is located in the northeastern Northern Territory of Australia, and is a vast and culturally rich region covering approximately 97,000 square kilometers. Bordered by the Arafura Sea, the Gulf of Carpentaria, and Kakadu National Park, it is one of the largest Aboriginal reserves in Australia, home to around 16,000 Indigenous people, primarily the Yolngu. Known for its stunning natural landscapes, including rugged coastlines, rainforests, and wetlands, Arnhem Land is also a cultural treasure, famous for Indigenous art, music, and traditions. Access is restricted to protect its heritage, and the region plays a crucial role in Indigenous land rights movements and the preservation of Aboriginal culture.   Foundry Vineyards - based in Walla Walla, Washington is a vineyard and art space. It has been hosting artists from all types of media such as painting and printmaking since 2010. It has exhibited The Mokuhanga Project Space, printmaker Mike Lyon,  and the International Mokuhanga Print Exhibit. More info about this space and the good it does for the art community at large can be found, here.    Ozu Washi - is a paper store located in the Nihonbashi district of Tokyo. website, Instagram   Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō.   uwa senka long - is a Thai kozo machine made paper which can be used for mokuhanga.    The Japanese Paper Place- is a Toronto based Japanese paper store servicing the Mokuhanga community for many years.  Interview with the Nancy Jacobi of the JPP can be found, here.   gouache: is a water-based paint known for its opaque and vibrant colours. Made from pigment, water, and gum arabic as a binder, it offers artists versatility in creating both translucent washes and opaque layers. Gouache can be reactivated with water and comes in a range of colors, making it a popular choice for various painting techniques.   The Adelaide River - is a significant waterway in the Northern Territory of Australia, extending approximately 180 km from its source in the Litchfield National Park to its mouth at the Timor Sea. The river flows through  lush wetlands, dense mangroves, and open floodplains, providing a rich habitat for diverse wildlife. It is particularly renowned for its large population of saltwater crocodiles.    © Popular Wheat Productions opening and closing credit - Stardust by Lester Young, Oscar Peterson Trio. (1956) © UMG Recordings logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                                

爵士乐作为融合性极强的音乐，拥有着众多不同的分支。即便是听爵士很久的老炮，偶尔也会陷入到分不清爵士门类的尴尬当中。那么这一期，我为大家从头开始，梳理了爵士乐的发展脉络。从 1900 年之前，一直讲到新千年，让你对爵士乐的种类和发展，一次性全方位一网打尽。这期节目非常适合点赞收藏，谁知道某一天你的另一半会不会听到一首曲子之后忽然问你：既然你喜欢爵士乐，那么这是什么类型的爵士乐？Timeline（课代表省流指南）：格式：[时间轴] 音乐分支 - 选曲 (艺术家）Before 1900:[03:00] Ragtime - Maple Leaf Rag (Scott Joplin)[03:27] Blues - Empty Bed Blues (Bessie Smith)1900:[04:08] Dixieland Jazz - Skeleton Jangle (ODJB)[05:05] New Orleans Jazz - Dipper Moon Blues (Joe King Oliver)1920:[06:28] Big Band & Swing Jazz - Don't Be That Way (Benny Goodman)1930:[08:20] Kansas City Jazz - Jumpin' at the Woodside (Count Basie & Lester Young)1940:[09:53] Bebop - Donna Lee (Charlie Parker)[11:17] Afro Cuban - Manteca Theme (Dizzy Gillespie)[12:42] Cool Jazz - Moon Dreams (Miles Davis)1950:[13:50] Westcoast Jazz - Line for Lyons (Gerry Mulligan & Chet Baker)[15:09] Modal Jazz - So What (Miles Davis)[17:29] Bossa Nova - The Girl From Ipanema (Joao Gilberto & Stan Getz)[18:27] Gospel - Amazing Grace (Judy Collins)[19:24] African American Gospel - This Train (Sister Rosetta Tharpe)[21:08] R&B - Early in the Morning (Louis Jordan)[23:07] Hard Bop - Moarnin' (Art Blakey)[24:04] Soul Jazz - I Got a Woman (Jimmy Smith)[25:25] The Third Stream - Sketch (Modern Jazz Quartet)[26:21] Free Jazz / Avant-garde Jazz - Free Jazz (Ornette Coleman)[27:58] Spiritual Jazz - Resolution (John Coltrane)1960:[29:22] Jazz Fusion / Jazz Rock - Don't Look Now (Larry Goryell)[33:05] Straight-ahead Jazz - Ebony Queen (McCoy Tyner)[34:18] Neo Bop / Post Bop - School Boy (Wynton Marsalis)1970:[34:56] Jazz-Funk - Chameleon (Herbie Hancock)[36:32] Smooth Jazz - Mister Magic (Grover Washington Jr.)1980:[38:55] Acid Jazz - Cantaloop (Us3)[40:43] Jazz Rap / Jazz Hip Hop - Aruarian Dance (Nujabes)1990:[42:48] Nu Jazz - Tourist (St. Germain)2020:Why for Jazz :-)________________Y4 致力于为都市生活提供陪伴与参考，欢迎大家光临我们位于上海市黄浦区成都南路128号的街头酒吧 - 饮料 Beverage。Why for Jazz 开通了微信听友群。我会对进群的朋友一次性收取199元的入群费，作为对本节目的支持。想要进群的朋友可以添加微信号Y4JZXZS，在确认群规及转账成功之后，我会将你拉进本节目的微信群。爵士乐的现场性导致了单纯的音频没办法表现它的全部魅力，因此 Why for Jazz 在小红书和B站开通了视频号 Why for Records，会持续推荐一些我喜欢的爵士乐专辑。第一集已在B站上线，欢迎大家点赞关注 Why for Records 视频号，作为播客伴侣，配合使用。

COUNT BASIE W/ LESTER YOUNG CLASSIC 1936-1947 STUDIO SESSIONS Chicago, November 9, 1936Shoe shine boy, Boogie woogie (I may be wrong), Lady be goodCarl Smith (tp) Lester Young (ts) Count Basie (p) Walter Page (b) Jo Jones (d) Jimmy Rushing (vcl) CLIFFORD BROWN THE COMPLETE BLUE NOTE AND PACIFIC JAZZ RECORDINGS: New York, August 28, 1953Easy living, Minor moodClifford Brown (tp) Gigi Gryce (as,fl-1) Charlie Rouse (ts) John Lewis (p) Percy Heath (b) Art Blakey (d) Los Angeles, August 12, 1954 Finders keepers, Joy springClifford Brown (tp) Stu Williamson (v-tb) Zoot Sims (ts) Bob Gordon (bar) Russ Freeman (p) Joe Mondragon (b) Shelly Manne (d) Jack Montrose (arr) Los Angeles, September 8, 1954Bones for JonesClifford Brown (tp) Stu Williamson (v-tb) Zoot Sims (ts) Bob Gordon (bar) Russ Freeman (p) Carson Smith (b) Shelly Manne (d) Jack Montrose (arr) DONALD BYRD / PEPPER ADAMS THE COMPLETE BLUE NOTE STUDIO SESSIONS Hackensack, N.J., December 21, 1958When your love has gone (as,bar out), Down tempo, Off to the races, Paul's palDonald Byrd (tp) Jackie McLean (as) Pepper Adams (bar) Wynton Kelly (p) Sam Jones (b) Art Taylor (d) Continue reading Puro Jazz 06 de junio, 2024 at PuroJazz.

durée : 01:58:42 - France Musique est à vous du samedi 01 juin 2024 - par : Gabrielle Oliveira-Guyon - Félicien David, Lester Young, Charles Aznavour, Jean-Sébastien Bach, Nicolas Bacri : voici le programme que nous vous avons concocté à partir de l'incroyable butin musical que vous nous proposez chaque semaine ! - réalisé par : Emmanuel Benito

On this episode: we've got some '30s jazz first, Count Basie with Jimmy Rushing, and Lester Young. Then samba and bossa nova, with Stan Getz our featured artist, working with Gary McFarland, and Antonio Carlos Jobim, and we'll hear Paul Desmond and Walter Wanderley. For the rest of the program, it's Bill Evans, Pat Metheny, The Rosenberg Trio, Dianne Reeves with Fabrizio Bosso, Allen Toussaint, and Jim Hall.

JAZZ AT THE PHILHARMONIC CARNEGIE HALL New York, September 16, 1950Norgran blues (improvisation), Lady be good, A ghost of a chance (fp out)Harry “Sweets” Edison (tp) Bill Harris (tb) Flip Phillips, Lester Young (ts) Hank Jones (p) Ray Brown (b) Buddy Rich (d) RUBY BRAFF BRAFF ! New York, June 26, 1956As long as I live, Blue turning grey over you, If I had you, It's been so longRuby Braff (tp) Dave McKenna (p) Steve Jordan (g) Buzzy Drootin (d) COZY COLE ALL STARS New York, February 22, 1944Father co-operates, Just one more chance, Thru' for the nightJoe Thomas (tp) Trummy Young (tb) Coleman Hawkins (ts) Earl Hines (p) Teddy Walters (g) Billy Taylor (b) Cozy Cole (d) Continue reading Puro Jazz 16 abril 2024 at PuroJazz.

Tenor saxophonist Dexter Gordon was one of the most quintessential performers on that instrument for over 40 years. Born in Los Angeles on February 27, 1923, he was initially heavily influenced by Lester Young, but soon developed his own bebop vocabulary and a room filling sound befitting his 6'6” frame, his playing heavily influenced Sonny Rollins and John Coltrane. He was one of a number of American jazz musicians to become an expatriate, spending 14 years in Copenhagen and Paris. His bravura performance in the film Round Midnight earned him a best actor nomination, in 1986. On Sunday, the Jazz Evensong Quintet will perform a selection of his compositions from his over 90 recordings as a leader.

Musicians who appeared in Art Kane's iconic 1958 photograph, celebrating the golden age of jazz.  Musicians include: Oscar Pettiford, Maxine Sullivan, Jimmy Rushing, Dizzy Gillespie, Thelonius Monk, Sonny Rolling, Count Basie and Lester Young. 

LESTER YOUNG – JONES, SMITH INC Chicago, November 9, 1936Lady Be Good, Shoe Shine Boy, Evenin' (JR-vcl), Boogie Woogie (JR-vcl)Carl “Tatti” Smith (tp), Lester Young (ts), Count Basie (p), Walter Page (b), Jo Jones (d), Jimmy Rushing (vcl). WOODY HERMAN – 1937-1938 (CHRONOLOGICAL) The Band That Plays The Blues – New York, October 25 & November 23, 1937I double dare you, My fine feathered friend, I wanna be in Winchell's column, Loch Lomond Clarence Willard, Kermit Simmons (tp) Neal Reid (tb) Joe Bishop (fhr,arr) Woody Herman (cl,as,vcl) Jack Ferrier, Ray Hopfner (as) Maynard “Saxie” Mansfield, Pete Johns (ts) Tommy Linehan (p) Oliver Mathewson (g) Walter Yoder (b) Frank Carlson (d) And His Orchestra – New York, June 8, 1938Laughing boy blues, Lullaby in rhythm Clarence Willard, Malcolm Crain (tp) Neal Reid (tb) Joe Bishop (fhr,arr) Woody Herman (cl,as,vcl) Jack Ferrier, Deane Kincaide (as) Maynard “Saxie” Mansfield, Bruce Wilkins (ts) Tommy Linehan (p) Oliver Mathewson (g) Walter Yoder (b) Frank Carlson (d) Woody Herman Sonny Skylar (vcl) And His Orchestra – New York, December 22, 1938Indian boogie woogieIrving Goodman, Clarence Willard, Jerry Neary (tp) Neal Reid (tb) Joe Bishop (fhr,arr) Woody Herman (cl,as,vcl) Joe Estren, Ray Hopfner (as) Maynard “Saxie” Mansfield, Pete Johns (ts) Tommy Linehan (p) Hy White (g) Walter Yoder (b) Frank Carlson (d) Mary Martin (vcl) ILLINOIS JACQUET – COLUMBIA SMALL GROUP SWING SESSIONS 1953-62 New York, February 5, 1962 & March 28, 1962Satin doll, Ydeen, Banned in Boston, Indiana, Reverie (ij vcl;re,cd out)Ernie Royal, Roy Eldridge (tp) Matthew Gee (tb) Illinois Jacquet (as,ts,vcl) Charles Davis o Leo Parker (bar) Sir Charles Thompson (p) Barry Galbraith o Kenny Burrell (g) Jimmy Rowser (b) Jimmy Crawford o Jo Jones (d) Jimmy Mundy, Ernie Wilkins (arr) Continue reading Puro Jazz 12 febrero 2024 at PuroJazz.

durée : 00:25:14 - Jean Pierre Drouet, compositeur et percussionniste (3/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

durée : 00:25:18 - Jean Pierre Drouet, compositeur et percussionniste (5/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

durée : 00:25:18 - Jean Pierre Drouet, compositeur et percussionniste (4/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

durée : 00:25:05 - Jean Pierre Drouet, compositeur et percussionniste (2/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

durée : 00:25:03 - Jean Pierre Drouet, compositeur et percussionniste (1/5) - par : Anne Montaron - Jean-Pierre Drouet a vécu milles vies : percussionniste, improvisateur, compositeur, expérimentateur, pianiste. Cet artiste inclassable à la curiosité insatiable a croisé les chemins de personnalités aussi variées que Lester Young, Luciano Berio, Bartabas, Michael Lonsdale ou Ravi Shankar. - réalisé par : Arnaud Chappatte

Dr. John Vervaeke and Greg Thomas engage in a nuanced conversation that spans the realms of philosophy, music, and culture. With an emphasis on the blues, jazz, and democracy, they examine how to be a "radical moderate" in today's polarized society. They explore the rich interplay between music and philosophy, delving into topics such as the sacredness of music, the musicality of being, and the role of music in democracy. Their collaborative spirit is a testament to the transformative power of cross-disciplinary dialogue. As they tackle topics like race, culture, and cosmic responsibility, they bring fresh insights into how we can harmonize disparate elements of human experience.   Resources   Greg Thomas: Website | X | YouTube John Vervaeke: Website | Patreon | Facebook | X | YouTube   The Vervaeke Foundation Jazz Leadership Project Jazz Leadership Project Blog Hemingway, Politics, and Wisdom Charlie Parker's Higher Octave Can Civic Jazz Resolve Our American Dilemma?   Greg Thomas — YouTube Greg Thomas: “The Ralph Ellison-Albert Murray Continuum”   Voices with Vervaeke — YouTube Aletheia Coaching - profound self-unfoldment rather than self-improvement w/ Steve March John Vervaeke & Greg Thomas Series: Jazz as Embodied Art and an Ecology of Practice | Deep Dive: Race, Culture, Jazz, and Democracy #1 Democracy as Antagonistic Cooperation for E Pluribus Unum Race Versus Cultural Intelligence: The Agent Arena Relationship Transcendent Naturalism Series: The Cognitive Science Show  Towards a Metapsychology that is true to Transformation w/ Gregg Henriques and Zachary Stein   Podcasts The Integral Stage - Bruce Alderman / Layman Pascal Straight Ahead - The Omni-American Podcast  Deep Transformation Podcast   Books A Spirit of Trust: A Reading of Hegel's Phenomenology - Robert B. Brandom Danielle Allen Books: Our Declaration: A Reading of the Declaration of Independence in Defense of Equality Justice by Means of Democracy  Talking to Strangers: Anxieties of Citizenship since Brown v. Board of Education  Why Plato Wrote Bearing Witness to Epiphany: Persons, Things, and the Nature of Erotic Life - John Russon  Amazon.com: Heidegger, Neoplatonism, and the History of Being: Relation as Ontological Ground - James Filler Recapture the Rapture: Rethinking God, Sex, and Death in a World That's Lost Its Mind - Jamie Wheal The Republic by Plato - The Internet Classics Archive  Civic Jazz: American Music and Kenneth Burke on the Art of Getting Along - Gregory Clark Stranger in a Strange Land - Robert A. Heinlein  The Soul's Code: In Search of Character and Calling - James Hillman A Pluralistic Universe - William James Habits of Whiteness: A Pragmatist Reconstruction - Terrance MacMullan  The Omni-Americans: Some Alternatives to the Folklore of White Supremacy - Albert Murray Healing Collective Trauma: A Process for Integrating Our Intergenerational and Cultural Wounds - Thomas Hübl  My Grandmother's Hands: Racialized Trauma and the Pathway to Mending Our Hearts and Bodies - Resmaa Menakem The Monster's Journey: From Trauma to Connection - Mark Forman PhD   Publications Dan Chiappe & John Vervaeke, The enactment of shared agency in teams exploring Mars through rovers - PhilPapers   Music Kind Of Blue | Miles Davis   Miscellaneous Blue Sky Leaders Certificate Program | CIIS Beyond Nihilism | Halkyon Academy Aletheia Coach “Body and Soul”--Coleman Hawkins (1939)  Theory of collective mind: Trends in Cognitive Sciences Rooted Cosmopolitans - Kwame Anthony Appiah   People Thomas Mann Andre Malraux Lester Young Quincy Jones Nadia Boulanger Charlie Parker   Timecodes 00: 00:00 — Dr. John Vervaeke kicks off the episode by introducing Greg Thomas and sharing the focus of their conversation: blues, jazz, democracy, and the concept of the radical moderate. 00: 01:08 — Greg Thomas reveals the overwhelmingly positive feedback they've both received from their past dialogues. 00:08:00 — Greg Thomas announces his newest ventures—a brand new podcast and memoir, both destined to challenge cultural norms. 00:11:40 — Dr. John Vervaeke responds to Greg's question by explaining the distinction between universe and cosmos and how we transform universe into cosmos. 00:13:00 — Vervaeke talks about reviving the sacred in our lives, creating a ripple in the very fabric of our collective mindset. 00:15:40 — Dr. John Vervaeke introduces a philosophical debate: the nature of humanity's relationship with the universe. He expresses why we shouldn't be the center of our cosmos. 00:18:00 — Reflecting on the sacredness of blues and jazz, and their role in American culture, Greg Thomas shares his experience with Michael James, Duke Ellington's nephew, who helped him deepen his knowledge of jazz and its history. 00:22:00 — Thomas explains the horizontal and vertical approaches to jazz improvisation through the examples of Coleman Hawkins and Lester Young, and how Charlie Parker synthesized these approaches. 00:27:40 — Vervaeke delves into the historical connections between music, mathematics, and geometry, referencing the Pythagorean and Platonic traditions. 00:32:00 — The discussion moves towards overcoming the subjective-objective and one-many dichotomies, leading to a non-duality in both the horizontal and vertical dimensions. 00:41:20 — Greg Thomas talks about the importance of cultivating the ability to be in relation in groups towards positive ends. He also introduces the idea of a positive way of looking at cults. 00:47:01 — Dr. Vervaeke explains the concept of vacillating between the poles of individuation and participation, and how our culture often forces us to emphasize one over the other. 00:54:38 — Using the example of global warming to illustrate the need for collective intelligence, Vervaeke explains that it requires a global effort and the use of various psychotechnologies to track and understand. 00:59:22 — Sharing an insightful quote from Ralph Ellison about choosing one's ancestors, Greg Thomas interprets it as choosing those who influence and inspire us, regardless of bloodline. 01:08:00 — Thomas prompts Dr. Vervaeke to discuss the concept of virtue, leading to an exploration of what constitutes a good human life. 01:15:00 — Dr. Vervaeke and Greg Thomas discuss the need to shift from a reification mindset to a relationality mindset in regard to race. 01:20:46 — Because of the pertinence and the sophistication of the way in which this series is trying to address some of our most burning issues right now, Vervaeke and Thomas encourage listeners to share it with others.

Great studio recordings all featuring Lester Young on tenor sax, Dickie Wells on trombone and Jo Jones on drums, with either Buck Clayton or Bill Coleman on trumpets, Count Basie, Joe Bushkin, Ellis Larkins, Rodney Richardson, Freddie Green, Walter Page, and John Simmons. Recordings for Vocalion, Commodore, Signature and Keynote. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

On this week's episode, hosts Tre'vell Anderson and jarrett hill discuss their mixed feelings about Usher performing at this year's superbowl. The timing might be perfect but is it pandering to Black audiences considering what the community has gone through over the last few years? But first, a pass the popcorn segment on Tyler Perry's relationship advice to Black women and other cishetero nonsense.Mentioned In The EpisodeLester YoungDIS/Honorable Mentions jh:HM: “Meet the Black Gay Partners Preserving Harriet Tubman's Ancestral Land”, Donna Dear and Paulette GreeneTA:HM: Fanti Fam-ers and WAD squaders who showed up in Boston, All She Wrote book store, and The Christian United Methodist ChurchPLUGS:A Word With Jason JohnsonHistorically Black Phrases We See Each Other: The Podcast and We See Each Other: A Black, Trans Journey Through TV and FilmGo ahead and @ usEmail: FANTI@maximumfun.orgIG@FANTIpodcast@Jarrett Hill@rayzon (Tre'vell)Twitter@FANTIpodcast@TreVellAnderson@JarrettHill@Swish (Senior Producer Laura Swisher)Laura Swisher is senior producer Music: Cor.eceGraphics: Ashley NguyenFANTI is produced and distributed by MaximumFun.org

Tonight's show: Lester Young live At Carnegie Hall, 1946, then Duke Ellington with Lee Gaines on vocals, Dave Brubeck, Artie Shaw, Chet Baker Quartet, Tommy Flanagan Trio, Ella Fitzgerald, Teddy Wilson with Eiji Kitamura, Mel Tormé with Gerry Mulligan & George Shearing, and Erroll Garner.

August 24, 1904 is the birthday of the late bandleader William Count Basie. To celebrate his birthday, I have pulled out a program I produced back in 2013. I decided to focus on the year of 1939 and play many of the songs recorded by the Basie band during that year. I am a big fan of the Basie band as my father had a couple of his records and as I grew older I began to explore the history and recordings of the man known as Count Basie. In addition to Basie, there were those great sidemen of his to spotlight. Musicians like Lester Young, Helen Humes, Buck Clayton, Dickie Wells, and Jo Jones make this a really great year for the Count. This is a good program and I hope you enjoy the music as well as a brief biography of the William Bill Basie known in the big band circle as Count. Please visit this podcast at http://bigbandbashfm.blogspot.com

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Jono McNeil returns from our last episode, joining Alexa to discuss licks, riffs, runs, and how to master that vocal style. Jono has served as Head of Vocals at the Academy of Contemporary Music (ACM), designing degree vocal curriculum content. He's also an external examiner for institutions like Leeds Conservatoire, combining his passion for popular music and artistry with innovative research. With academic qualifications including a Jazz degree and a Voice Pedagogy master's, he's dedicated to realising the potential of popular music. KEY TAKEAWAYS According to Jono, ornamentation serves as a delightful artistic tool, reminiscent of classical music's intricacies. He suggests that ornamentation, encompassing turns, formants, borders, trills, and more, adds a layer of decoration to the vocal performance. This not only enhances the musical experience but also enables singers to infuse their personal touch into each phrase. Jono's believes that exploring various onsets, from the breathy and balanced to the glottal, shapes the vocal narrative in profound ways. By employing these diverse onsets within a single phrase, singers can achieve a rich dynamic palette that captivates the audience's attention, offering a distinctive auditory journey. Dynamics aren't merely about loudness but encompass shading and texture. These nuanced shifts in volume and intensity create a vivid musical landscape, effectively evoking emotions and intensifying the listeners' engagement. From Jono's perspective, vocal embellishments like licks, runs, and riffs are essential tools for expressing agility and technical prowess. He believes these techniques add an exciting layer of creativity and individuality to a performance. Jono encourages singers to incorporate these elements organically, allowing their vocal expression to flourish while captivating their audience with the art of improvisation. Jono's approach emphasises the fusion of technique and musicality. He believes that true mastery of style involves knowing when to apply specific techniques, a skill that comes from musical wisdom. For Jono, style is not just about adding ornamentation or variations; it's about weaving a tapestry of musicality that resonates deeply with listeners, turning each performance into a unique artistic statement. Smooth Singing and Ornaments: When discussing terms like licks, riffs, and runs, we're talking about singing agilely across notes with smooth, connected execution. For instance, "lick" might refer to a melodic ornament, while "riff" could mean a repeating motif in pop. The goal is to master these elements to create engaging performances. Different Runs and Combinations: Vocal stylization involves various runs. Some are single-note embellishments, while others are combination runs with distinct sections. Learning and combining these parts enhances vocal skills. Breaking down complexity into manageable portions contributes to dynamic performances. Technique and Artistic Expression: Achieving vocal stylisation balances technique and creativity. Mastering techniques like maintaining jaw looseness, proper airflow, and posture enhances licks, runs, and riffs. These elements become easier with a strong technical base. Combining technique and creativity leads to captivating performances. Enhancing vocal agility begins with dissecting licks, riffs, and runs. Natalie Weiss's approach of breaking them down simplifies understanding, making it accessible for all skill levels. Slow, methodical practice is foundational; starting with a deliberate pace establishes precision and awareness of physical sensations. Gradually increasing tempo with a metronome builds discipline and muscle memory, leading to mastery. Achieving vocal agility requires steady, patient progress. Recognizing individual differences is crucial. The metaphor of the hare and tortoise holds true; steady, consistent practice leads to substantial growth in the industry. While some may advance quickly, embracing a patient mindset fosters sustainable improvement. Building a foundation and gradually progressing towards ambitious goals forms the essence of the journey towards vocal agility. BEST MOMENTS ‘Style gives you a discernible sound, making your performance stand out'‘Dynamics are about shading, texture, creating a sonic landscape'‘True style mastery is knowing what to include and exclude, weaving musicality into a unique performance'‘At the core of mastering vocal style lies a focus on foundational elements'‘Get those licks on clicks, use a metronome' EPISODE RESOURCES Website: www.jonomcneiled.com Social Media:  Instagram: @jonomcneil Relevant Links & Mentions:  Artists mentioned: Miles Davis; Lester Young; Dexter Gordon; John Coltrane; Karen Carpenter; Whitney Houston; David Bowie; Doja Cat; PinkPantheress; Bella; No Guidance; Scissor; Lalah Hathaway; Yebba Singing Teachers Talk Podcast - Ep. 123 Insights into TV Vocal Coaching with The Masked Singer's Jono McNeil  Youtube - Natalie Weiss' Breaking Down the Riffs: https://www.youtube.com/@NatalieWeissOfficial ABOUT THE GUEST Jono McNeil has provided vocal coaching, arranging and production for pop artists, groups and vocalists in a range of influential positions within the UK music and entertainment industries for over 15 years.  He works as a vocal coach across a variety of TV shows including The Voice UK, The Voice Kids, The Masked Singer, Little Mix, The Search, Wedding Day Winners and Change Your Tune.  He also does coaching and vocal arrangement for touring acts such as JLS, New Rules, Needanamebro and July Jones to name a few.  An artist and singer in his own right, Jono has performed with Michael Buble, Paloma Faith, Josh Groban, Nelly, Jamie Cullum, Philip Selway (Radiohead), Lemar, George Ezra and Jocelyn Brown, with also several original albums available on streaming platforms. ABOUT THE PODCAST BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events.Website: basttraining.comGet updates to your inbox: Click here for updates from BAST TrainingLink to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosThis show was brought to you by Progressive Media

Welcome to Who was she? Podcast. I am your host, Tara Jabbari. After a decade working in documentaries, marketing and all things digital media, I found that podcasting is a strong medium to share stories. After years of producing for others, I decided to start my own biographical podcast. Who was she? Will focus on the life of a woman throughout Baha'i history. The third season is about Hazel Scott.Transcript: Born in 1920 and originally from Trinidad, Hazel was raised in Harlem and when she was only 8 years old, she was accepted as a pianist protegee at the prestigious Julliard School. Her mother was also a musician and artists over the years became Hazel's extended family. For instance, Pianist, Art Tatum was a father figure, saxophonist, Lester Young an uncle and singer, Billie Holiday was a big sister to Hazel to name a few. When she was a teenager, she started singing and playing across Manhatten. She became a regular at a new club, Cafe Society. Unlike other clubs at the time where black musicians played primarily for white patrons, this club was based on equality and diversity which made it like no other club in New York City at the time. When she toured, she was adamant to only play in places that did not segregate the audience. This limited her venues but she kept her stance. She married Adam Clayton Powell Jr, an activist and politician which heightened both their fame. This season, you will hear how she was blacklisted from working in the United States because of the McCarthy trials, cursed from working in Hollywood, and how her search for faith helped her fight depression and find the strength to be strong in the face of racism. So please subscribe and learn about this amazing woman who used her unique musical abilities to entertain and educate the world about racial equality. You can also found more information on our social media: http://instagram.com/whowasshepodcasthttps://www.facebook.com/whowasshepodcasthttps://www.pinterest.com/whowasshepodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Paraphrasing a notable American's thoughts on education “An educated citizenry is a vital requisite for our survival as a free people” and on this episode, L. Joy explains that we always have to recommit ourselves to the fight to provide and maintain quality public education while revisiting her interview with Dr. Lester Young. Then she revisits the impactful interview she had with Professor William Spriggs on the Farm Bill in the wake of his passing.

In the first half we'll hear Teddy Wilson, Cab Calloway, Lester Young, Art Pepper with Chet Baker, Sonny Rollins, McCoy Tyner, and Ella Fitzgerald. Then comes a tribute to the late Ahmad Jamal with recordings from the 1950s and '60s, and then live with Yusef Lateef in 2012.

We got a special treat for you. I got to interview Lester Young on the OG Spotlight Livestream and his story moved me so I felt the need to share the conversation here. Lester's story is one of perseverance after spending 20 years in prison he is now walking in service to others. Taking the lessons he learned and paying it forward.Path 2 Redemption Website:https://path2redemption.org/about-lesterConnect with Lester on LinkedIn:https://www.linkedin.com/in/lester-young-b1b6a0106/OG Spotlight Playlist:https://www.youtube.com/playlist?list=PLnVikYCgUE4HBlU2XGH3id41VbANSJCD7Backstage Pass Playlist:https://www.youtube.com/playlist?list=PLnVikYCgUE4GG6fNGuvOOB6koRbGLOdh7Emotional Bungee Jumpers:https://www.depthbuilder.com/emotional-bungee-jumpers-Group1Lean & Love Audio Book:https://www.depthbuilder.com/lean-love-audio-book

Tonight's show: the music of George and Ira Gershwin. First George Gershwin himself, then Benny Goodman, Helen Merrill, Mel Tormé with Marty Paich, Julie London, Miles Davis, Eddie "Lockjaw" Davis, Ella Fitzgerald, the Vince Guaraldi Trio, Stan Getz, Art Pepper & Bill Perkins, Lester Young with the Oscar Peterson Trio, Joe Pass, Dianne Reeves, and Marian McPartland with Gene Harris.

Tonight's program features Lester Young and Billie Holiday from the 1940s in the first half. We'll year Young with the Kansas City Six, with Nat "King" Cole and Buddy Rich, and accompanying Holiday. West Coast cool in the second half: Bud Shank, Gerry Mulligan, Stan Getz with Kenny Barron, the Dave Brubeck Quartet, and Victor Biglione.