Podcast appearances and mentions of Miles Davis

Christmas begins early in Venezuela… Cruise ship passenger jumps due to debt… Hershey park coaster stops due to –“off ride guest issue”... Share The Arrows event / www.sharethearrows.com... Miles Davis catalog sold to Reservoir Media… New Iphone 17... Roseanne Barr moves to Texas…Moving? / www.realestateagentsitrust.com Cracker Barrel bends the knee all the way… Taco Bell Y2K menu this month… Shake Shack new burger… Email: ChewingTheFat@theblaze.comwww.blazetv.com/jeffy $20 off annual plan right now ( limited time ) Nepal Uprising… France appoints new Prime Minister… Ollie North remarries his former secretary… Joke of The Day… Learn more about your ad choices. Visit megaphone.fm/adchoices

Chucho Valdés & The Afro-Cuban Messengers ('Caridad Amaro', 'Bebo'), Miles Davis ('Blue in green', 'All blues'), Frank Sinatra ('They can´t take that away from me', 'I get a kick out of you', 'I´ve got you under my skin', 'The best is yet to come') y Francis Albert Sinatra y Antonio Carlos Jobim ('The girl from Ipanema', 'How insensitive', 'Dindi'). Escuchar audio

durée : 00:59:33 - Les colères - par : Nathalie Piolé -

#SessionLive avec deux poètes de la chanson française : Mathieu Boogaerts pour Grand piano et Albin de la Simone pour Toi là-bas. (Rediffusion) Notre premier invité est Mathieu Boogaerts pour la sortie de Grand Piano. Note d'intention par Mathieu Boogaerts : Mathieu Boogaerts, « Grand piano » ?  C'est le titre de mon neuvième album, et c'est un oxymore : « Figure de style qui vise à rapprocher deux termes que leurs sens devraient éloigner ». « Grand » car je l'ai voulu ainsi : franc, épais, puissant, plus de matière, de volume que ses prédécesseurs... Plus âgé ? Une batterie, une basse électrique, une basse synthétique, une guitare électrique, une guitare acoustique, un synthétiseur, un saxophone, une flûte, un accordéon, un chœur, des percussions, un piano électrique et un piano droit : la gamme de couleurs qu'il m'a fallu pour dépeindre en détails les sentiments que je déploie dans mes douze nouvelles chansons. Mais « Piano », car toujours sur le ton de la confidence, léger, fragile, doux, nuancé. Comment ? J'ai écrit et composé ce répertoire entre septembre 2020 et mars 2023 dans de nombreux lieux dont Londres, Paris, Istanbul, Amsterdam, Budapest, Plaisians, Risoul et les Landes. Le disque a été enregistré « de manière classique » entre 2023 et 2024 à La Frette Studios en région parisienne. Comme pour chacun de mes disques, Renaud Letang a ensuite élaboré le mixage, puis le duo de graphistes M/M (Paris) a conçu la pochette : ici une nature morte illustrant la facture, le geste, l'intention poétique de l'album. Avant ? Né en 1970 à Fontenay-sous-Bois. J'ai sorti mon premier « Ondulé » de clip-vidéo en 1995, suivi de l'album Super. Depuis : huit albums studio, trois albums live, plus de mille concerts à travers le monde, des chansons pour Camélia Jordana, Luce, Zaz, Vanessa Paradis... D'innombrables collaborations. En 2023, en pleine fabrication du disque, j'ai donné vingt concerts à Paris lors desquels je tirai au sort les chansons de ma discographie. Après ? Joie : l'écriture et la réalisation des clips-vidéo des morceaux. Les interpréter sur scène accompagné par mon tout nouveau groupe... Le Grand piano ! Mon meilleur disque ? Oui ! Titres interprétés dans le grand studio - Ma Jeunesse Live RFI  - Faut toujours écouter son corps, extrait de l'album - Dans une case Live RFI.  Line Up : Mathieu Boogaerts, guitare voix. Son : Camille Roch, Jérémie Besset. ► Album Grand Piano (Tôt ou Tard 2025). Site internet - YouTube - Facebook À lire aussiMathieu Boogaerts: «Grand piano», entre intimité et ambition musicale   Puis, nous recevons Albin de la Simone pour la sortie de Toi là-bas (disque) et Mes Battements (livre avec dessins chez Actes Sud). ► Teaser MdM. Le Livre Mes battements. Rome, 30 septembre 2024. Il est 11h du matin, partie à 4h30 chez moi, j'arrive à la Villa Médicis qui me fait le beau cadeau de m'inviter en courte résidence pour finir le livre que vous tenez entre les mains. Donc, à l'heure où j'écris ces lignes, ce n'est encore qu'un tas de dessins et de textes plus ou moins ordonnés. J'ai du pain sur la planche. Car un premier livre de ce type, comme un premier disque, est un peu constitué d'une vie entière, et quand on a 50 ans passés, il y a du tri à faire. À partir du deuxième, si on a bien fait son boulot dans le premier, on part d'une page blanche ou, au pire, d'une page beige. Nous verrons. L'album Toi là-bas. Paris, le 1er décembre 2024. Après quelques saisons très denses, j'ai ressenti à l'automne dernier le besoin imparable de me retrouver seul. Du moins face à moi-même. Je suis parti m'enfermer à la Villa Médicis où j'ai terminé d'écrire et de dessiner mon premier livre (Mes battements, paru en mars 2025 chez Actes Sud), un voyage intérieur qui, depuis des mois, me baladait loin dans le passé, mon village, mon enfance, mon adolescence. Je me suis amusé à reprendre quelques chansons de mes débuts comme Je te manque, Avril 4000 ou Non merci (2005), et j'ai remarqué que je leur donnais quelque chose que je ne voyais pas à l'époque. Je les habitais d'une nouvelle façon. J'ai tiré le fil, et d'autres chansons comme J'aime lire (2008) et enfin Pourquoi on pleure (2017) sont sorties naturellement de la pelote. Alors j'ai eu envie de les enregistrer à nouveau, comme de les photographier dans leur nouveau costume. Je me suis laissé aller sans faire de plans, sans pression, juste pour le jeu de la réinterprétation, pour le plaisir. Beaucoup de plaisir, musical autant que vocal. Les chansons en sont sorties plus sereines et plus sensuelles aussi, je crois. Boîtes à rythmes et basses profondes, synthétiseurs en halos suaves autour de mes instruments acoustiques chéris, comme mon piano Una Corda, et aussi cette incroyable Fender VI chère à The Cure ou Richard Hawley, une guitare électrique des années 60 accordée une octave plus grave, dont le son me retourne (écoutez le solo dans La valse des lilas). J'ai invité Alice on the Roof – avec qui je travaille pour son prochain album et que j'adore – à partager Pourquoi on pleure. Alice a accepté. La chanson en duo a pris un sens nouveau. Je pensais faire un petit EP à sortir à l'occasion de la parution du livre, mais comme je fouillais dans le rétroviseur depuis des mois, j'ai croisé quelques autres chansons importantes dans ma vie. La très souchonesque C'est bien moi que j'ai chantée l'an passé en hommage à Françoise Hardy avec Sage. La sublime Valse des lilas de Michel Legrand dont j'ai tant aimé la version américaine Once Upon a Summertime par Blossom Dearie ou Miles Davis. Et le temps s'arrêtait, d'Adamo, que nous avions arrangée avec Julien Chirol et Renaud Létang en 2003 pour le grand Salvatore lui-même. Et surtout, Ma gueule, lourdeur de Johnny qui me renvoyait au pire de la préadolescence brutale et masculiniste, jusqu'à ce que je découvre en la chantant qu'elle pouvait m'aller comme un gant et m'émouvoir même. Puisque mon livre et mon disque sortent en même temps, puisque leurs visuels et leurs thématiques sont cousins, j'ai quand même eu envie d'écrire une chanson nouvelle pour faire le pont entre les deux. En laissant errer mon regard dans les arbres de la Villa Médicis, j'ai revu Laurence, Natalia, Maud, Sidonie, Ouria… premières amoureuses qui ne m'ont pas connu. Que j'ai aimées, follement, mais de loin. Que j'ai regardées, sans relâche, dont j'ai étudié les gestes, les habitudes, les vêtements, ne détournant le regard que si je sentais le leur se tourner vers moi. J'avais trop peur. Peur de quoi. J'ai aussi entendu dans les arbres les échos de Charlotte Sometimes des Cure, sur laquelle je pleurais ces amours à distance. Trois jours plus tard, j'ai terminé la première maquette de Toi là-bas. Ça n'est donc pas un EP, mais bien un album. Mon huitième. Post-scriptum : Je ne résiste pas à repartir sur la route pour promener mes chansons et mon livre. Cette fois, je serai seul sur scène. Je chanterai et jouerai, je parlerai un peu, mais aussi je dessinerai. À moins d'un miracle anatomique, il est peu probable que je parvienne à faire tout cela en même temps. Titres interprétés dans le grand studio - Pourquoi on pleure Live RFI  - Toi là-bas, extrait de l'album - Quoi ma gueule Live RFI.  Line Up : Albin de la Simone, piano, voix. Son : Benoît Letirant, Mathias Taylor, Camille Roch. ► Album Toi là-bas (Tôt ou Tard). Site internet - YouTube - Facebook   Réalisation : Hadrien Touraud.

#SessionLive avec deux poètes de la chanson française : Mathieu Boogaerts pour Grand piano et Albin de la Simone pour Toi là-bas. (Rediffusion) Notre premier invité est Mathieu Boogaerts pour la sortie de Grand Piano. Note d'intention par Mathieu Boogaerts : Mathieu Boogaerts, « Grand piano » ?  C'est le titre de mon neuvième album, et c'est un oxymore : « Figure de style qui vise à rapprocher deux termes que leurs sens devraient éloigner ». « Grand » car je l'ai voulu ainsi : franc, épais, puissant, plus de matière, de volume que ses prédécesseurs... Plus âgé ? Une batterie, une basse électrique, une basse synthétique, une guitare électrique, une guitare acoustique, un synthétiseur, un saxophone, une flûte, un accordéon, un chœur, des percussions, un piano électrique et un piano droit : la gamme de couleurs qu'il m'a fallu pour dépeindre en détails les sentiments que je déploie dans mes douze nouvelles chansons. Mais « Piano », car toujours sur le ton de la confidence, léger, fragile, doux, nuancé. Comment ? J'ai écrit et composé ce répertoire entre septembre 2020 et mars 2023 dans de nombreux lieux dont Londres, Paris, Istanbul, Amsterdam, Budapest, Plaisians, Risoul et les Landes. Le disque a été enregistré « de manière classique » entre 2023 et 2024 à La Frette Studios en région parisienne. Comme pour chacun de mes disques, Renaud Letang a ensuite élaboré le mixage, puis le duo de graphistes M/M (Paris) a conçu la pochette : ici une nature morte illustrant la facture, le geste, l'intention poétique de l'album. Avant ? Né en 1970 à Fontenay-sous-Bois. J'ai sorti mon premier « Ondulé » de clip-vidéo en 1995, suivi de l'album Super. Depuis : huit albums studio, trois albums live, plus de mille concerts à travers le monde, des chansons pour Camélia Jordana, Luce, Zaz, Vanessa Paradis... D'innombrables collaborations. En 2023, en pleine fabrication du disque, j'ai donné vingt concerts à Paris lors desquels je tirai au sort les chansons de ma discographie. Après ? Joie : l'écriture et la réalisation des clips-vidéo des morceaux. Les interpréter sur scène accompagné par mon tout nouveau groupe... Le Grand piano ! Mon meilleur disque ? Oui ! Titres interprétés dans le grand studio - Ma Jeunesse Live RFI  - Faut toujours écouter son corps, extrait de l'album - Dans une case Live RFI.  Line Up : Mathieu Boogaerts, guitare voix. Son : Camille Roch, Jérémie Besset. ► Album Grand Piano (Tôt ou Tard 2025). Site internet - YouTube - Facebook À lire aussiMathieu Boogaerts: «Grand piano», entre intimité et ambition musicale   Puis, nous recevons Albin de la Simone pour la sortie de Toi là-bas (disque) et Mes Battements (livre avec dessins chez Actes Sud). ► Teaser MdM. Le Livre Mes battements. Rome, 30 septembre 2024. Il est 11h du matin, partie à 4h30 chez moi, j'arrive à la Villa Médicis qui me fait le beau cadeau de m'inviter en courte résidence pour finir le livre que vous tenez entre les mains. Donc, à l'heure où j'écris ces lignes, ce n'est encore qu'un tas de dessins et de textes plus ou moins ordonnés. J'ai du pain sur la planche. Car un premier livre de ce type, comme un premier disque, est un peu constitué d'une vie entière, et quand on a 50 ans passés, il y a du tri à faire. À partir du deuxième, si on a bien fait son boulot dans le premier, on part d'une page blanche ou, au pire, d'une page beige. Nous verrons. L'album Toi là-bas. Paris, le 1er décembre 2024. Après quelques saisons très denses, j'ai ressenti à l'automne dernier le besoin imparable de me retrouver seul. Du moins face à moi-même. Je suis parti m'enfermer à la Villa Médicis où j'ai terminé d'écrire et de dessiner mon premier livre (Mes battements, paru en mars 2025 chez Actes Sud), un voyage intérieur qui, depuis des mois, me baladait loin dans le passé, mon village, mon enfance, mon adolescence. Je me suis amusé à reprendre quelques chansons de mes débuts comme Je te manque, Avril 4000 ou Non merci (2005), et j'ai remarqué que je leur donnais quelque chose que je ne voyais pas à l'époque. Je les habitais d'une nouvelle façon. J'ai tiré le fil, et d'autres chansons comme J'aime lire (2008) et enfin Pourquoi on pleure (2017) sont sorties naturellement de la pelote. Alors j'ai eu envie de les enregistrer à nouveau, comme de les photographier dans leur nouveau costume. Je me suis laissé aller sans faire de plans, sans pression, juste pour le jeu de la réinterprétation, pour le plaisir. Beaucoup de plaisir, musical autant que vocal. Les chansons en sont sorties plus sereines et plus sensuelles aussi, je crois. Boîtes à rythmes et basses profondes, synthétiseurs en halos suaves autour de mes instruments acoustiques chéris, comme mon piano Una Corda, et aussi cette incroyable Fender VI chère à The Cure ou Richard Hawley, une guitare électrique des années 60 accordée une octave plus grave, dont le son me retourne (écoutez le solo dans La valse des lilas). J'ai invité Alice on the Roof – avec qui je travaille pour son prochain album et que j'adore – à partager Pourquoi on pleure. Alice a accepté. La chanson en duo a pris un sens nouveau. Je pensais faire un petit EP à sortir à l'occasion de la parution du livre, mais comme je fouillais dans le rétroviseur depuis des mois, j'ai croisé quelques autres chansons importantes dans ma vie. La très souchonesque C'est bien moi que j'ai chantée l'an passé en hommage à Françoise Hardy avec Sage. La sublime Valse des lilas de Michel Legrand dont j'ai tant aimé la version américaine Once Upon a Summertime par Blossom Dearie ou Miles Davis. Et le temps s'arrêtait, d'Adamo, que nous avions arrangée avec Julien Chirol et Renaud Létang en 2003 pour le grand Salvatore lui-même. Et surtout, Ma gueule, lourdeur de Johnny qui me renvoyait au pire de la préadolescence brutale et masculiniste, jusqu'à ce que je découvre en la chantant qu'elle pouvait m'aller comme un gant et m'émouvoir même. Puisque mon livre et mon disque sortent en même temps, puisque leurs visuels et leurs thématiques sont cousins, j'ai quand même eu envie d'écrire une chanson nouvelle pour faire le pont entre les deux. En laissant errer mon regard dans les arbres de la Villa Médicis, j'ai revu Laurence, Natalia, Maud, Sidonie, Ouria… premières amoureuses qui ne m'ont pas connu. Que j'ai aimées, follement, mais de loin. Que j'ai regardées, sans relâche, dont j'ai étudié les gestes, les habitudes, les vêtements, ne détournant le regard que si je sentais le leur se tourner vers moi. J'avais trop peur. Peur de quoi. J'ai aussi entendu dans les arbres les échos de Charlotte Sometimes des Cure, sur laquelle je pleurais ces amours à distance. Trois jours plus tard, j'ai terminé la première maquette de Toi là-bas. Ça n'est donc pas un EP, mais bien un album. Mon huitième. Post-scriptum : Je ne résiste pas à repartir sur la route pour promener mes chansons et mon livre. Cette fois, je serai seul sur scène. Je chanterai et jouerai, je parlerai un peu, mais aussi je dessinerai. À moins d'un miracle anatomique, il est peu probable que je parvienne à faire tout cela en même temps. Titres interprétés dans le grand studio - Pourquoi on pleure Live RFI  - Toi là-bas, extrait de l'album - Quoi ma gueule Live RFI.  Line Up : Albin de la Simone, piano, voix. Son : Benoît Letirant, Mathias Taylor, Camille Roch. ► Album Toi là-bas (Tôt ou Tard). Site internet - YouTube - Facebook   Réalisation : Hadrien Touraud.

En agosto de 1958 se publicó el indispensable 'Kind of Blue', de Miles Davis, el disco más vendido de la historia del jazz. Grabado por el trompetista con John Coltrane (saxo tenor), Julian 'Cannonball' Adderley (saxo alto), Bill Evans y Wynton Kelly (piano), Paul Chambers (contrabajo) y Jimmy Cobb (batería) lo escuchamos al completo: 'So what'; 'Freddie Freeloader', 'Blue in green', 'All blues' y 'Flamenco sketches'.Escuchar audio

Participants: John Steppling, Jennifer Matsui, Hiroyuki Hamada, and Dennis Riches. Topics covered: Bari Weiss gets a $100-million deal to work for CBS, Western media freaked out by Chinese summit and military parade to mark 80 years since WWII victory, Israel assassinates the political leadership of Yemen, US Navy becomes pirates of the Caribbean by sinking an alleged drug-smuggling vessel. Why can't the BRICS nations do anything to stop the genocide in Palestine? Uprising in Indonesia forces president to cancel his trip to China. Music track: “Blue in Green” by Miles Davis (public domain).

Graduate running back Miles Davis had a career high two touchdown catches and graduate wide receiver Brady Boyd had a career game with six receptions for 87 yards as Utah State fell on the road to No. 19 Texas A&M, 44-22, on Saturday at Kyle Field. Utah State football (1-1, 0-0 MW) begins Mountain West play next weekend, hosting Air Force on Merlin Olsen Field on Saturday, Sept. 13, at 7:45 p.m. Hear postgame analysis, along with comments from the coach, players and fans. 

Welcome to Jay Dilla La vita, la musica, i beat, il calore di J Dilla, producer di Detroit considerato il Miles Davis della produzione in quattro quarti. Innovatore nei modo di comporre i beat e di tagliare i campioni, a lui si deve la nascita del genere nu-soul a fine anni 90 e una forte influenza sulle ritmiche squantizzate in quattro quarti che hanno influenzato la musica black tutta, dall`hiphop al jazz. James Yancey è purtroppo scomparso nel 2006 a causa di una rara malattia renale. Rest in Peace JD, nel mese a te dedicato, febbraio, tanti auguri per i tuoi 50 anni. Per diffondere questa puntata: https://www.radiotandem.it/brown-sugar-Episodio-8- Tutti i podcast di Brown Sugar: https://www.radiotandem.it/brown-sugar

Eric Frandsen and Jason Walker begin their preview of Utah State's road matchup with Texas A&M. They go over the offensive and defensive challenges Texas A&M will present for USU, with comments from both coaches and players regarding the upcoming matchup. Hear from Utah State cornerback Courage Ugo and Mountain West Special Teams Player of the Week, USU placekicker Tanner Rinker, from their interviews with 106.9 The FAN after practice yesterday. Texas A&M head coach Mike Elko gave his thoughts on a few USU players, including Bryson Barnes. Hear what Elko had to say regarding USU's top players.

Like many hip youngsters of my generation, at some point in my twenties I got Jazz-pilled by Beat literature, with writers like Jack Kerouac and Allen Ginsberg name-dropping bop-era musicians like Miles Davis, Thelonious Monk, John Coltrane, Charlie Parker, and many more, sending me to Limewire to download mp3s of 1950s and 1960s Jazz. In recent years, my casual appreciation has turned into a more intense investigation of music history and practice, particularly after discovering “The Grape,” a Jazz club in my neighborhood that's overflowing with colorful characters and musical adventure. My guest today is one of those characters: Monte Montgomery is a multi-instrumentalist, former touring funk guitarist, and all around hip music dude. In this conversation, he shares highlights from his decades in music, from playing funk with a group of Black GIs on a military base in Germany at the age of 17, to entertaining celebrities and insanely rich people on the Beverly Hills philanthropic event circuit, to his current gig holding court on piano, guitar, and drums every Tuesday night at The Grape. Check out my new ‘90s music podcast/video series with John Lombardo, 120 MONTHS: https://substack.com/@120months Listen to our special News Trap episode on the 20th anniversary of Hurricane Katrina with Justin Rogers-Cooper: https://www.patreon.com/posts/news-trap-8-30-w-137726055  Subscribe to the Nostalgia Trap Patreon for FREE to get updates on all our podcasts, videos, and writing:  patreon.com/nostalgiatrap    

Frizz and Bob trade in the grunge for grooves this week with a soul-cleansing deep dive into the radiant world of Earth, Wind & Fire. Frizz pours a Speyburn 10 Year Old Single Malt, while Bob sips on the peaty Kilchoman's Sanaig as they celebrate a band that blended funk, jazz, soul, gospel, and a little mysticism into pure musical joy. They dig into Maurice White's visionary genius, their rise through college campuses and cult films, and their evolution into one of the most dazzling, uplifting live acts of all time. From Love Is Life to September, Shining Star to Let's Groove, this episode is packed with towering horn lines, falsetto magic, cosmic stagecraft, and enough musical insight to make even Miles Davis tip his hat. Cue up the kalimba, light up the disco lasers, and get ready to sing a song because this one's all about hope, movement, and a legacy written in the stars.      

The Crusaders – A Message From The Inner City – 8:51 Ricky Peterson; The Peterson Brothers – Under The Radar – 5:04 Rick Habana; Michael Lington – La Costa – 4:01 Julian “Cannonball” Adderley; Jimmy Cobb; Wynton Kelly; Bill Evans; Miles Davis; John Coltrane; Paul Chambers – Blue In Green – 5:23 Medeski, Martin & […]

Jason Walker continues the conversation from the first hour talking Utah State and Mountain West football. He also recaps the high school football games from Region 11 over the weekend, discusses the Utah State football run game and the contributions of Miles Davis and Anthony Garcia so far. Plus a look at former Aggies and current Jazz players in EuroBasket.

Johan filtrerar Isaks skilsmässa från Newcastle genom Simon & Garfunkel. Anders drunknar i Tony Gustavssons positivism. Dessutom: Matchform, ettårsfall, Miles Davis, motivationsproblem, falsk fanfar, ringrostiga spelare, stjärnor i långt koppel, sillyjournalisternas märkliga liv, Arsjavins uppvisning, målvaktshämnden mot IFK Norrköping och Ranelids attack mot en Head of Performance-kille som gillade Rancid på 90-talet.Bli motiverad, bli Offsidemedlem med vår superdeal.

There is no more important relationship in this era of music than that of Miles Davis and John Coltrane; two masters ever-present in the musical and cultural landscape. Someday My Prince Will Come marks the last time Coltrane and Davis played together, and it couldn't be more perfect.We dive into how their partnership played out on stage and in the recording studio over the years, and how their dynamic on Someday My Prince Will Come marks a handoff from '50s jazz to the rock and roll sound of the '60s, with Coltrane leading the way.And Miles Davis, even more so than a masterful trumpet player or composer, was a tastemaker. From the musicians he picked, to the chord changes, to his choice of album art, we explore how this record brings it all together in one phenomenal package.

Simone ('Começar de novo'), Miles Davis ('Tutu', 'Human nature' -en concierto en Niza-), Caetano Veloso ('Nega maluca/Billie Jean/'Eleanor Rigby'), Milton Nascimento ('Nascente', 'Olho d´água'), Pat Metheny Group ('If I could'), Melody Gardot ('Who will comfort me?'), Rosa Passos ('Zanga zangada'), Zelia Duncan ('Ave rara'), Cesaria Evora ('Mar azul') y Brad Mehldau ('Aquelas coisas todas').Escuchar audio

Hour one of DJ & PK for September 1, 2025: Bronco Mendenhall and Miles Davis, Utah State Football Kyle Whittingham, Devon Dampier and Smith Snowden, Utah Football Kalani Sitake and Bear Bachmeier, BYU Football

The entirety of DJ & PK for September 1, 2025: HOUR ONE Bronco Mendenhall and Miles Davis, Utah State Football Kyle Whittingham, Devon Dampier and Smith Snowden, Utah Football Kalani Sitake and Bear Bachmeier, BYU Football HOUR TWO What is Trending: CFB, BYU, Utah, NFL, MLB Hot Takes or Toast: BYU, Utah and USU win Kyle Whittingham likes this Utah team HOUR THREE Shehan Jeyarajah, CBS Sports PK's thoughts on the Rose Bowl and Utah-UCLA Is the "Grizzly Bear" the right name for Bear Bachmeier? HOUR FOUR Bronco Mendenhall, Utah State Football Slacker Radio Headlines Feedback of the Day

Running back Miles Davis speaks with Scotty and Kevin after the Aggies 28-16 home win against UTEP on August 30, 2025

Az idősotthon, ahol a kötögetés után gyilkossági nyomozással ütik el az időt Denzel Washington bevallotta: már szinte egyáltalán nem néz filmeket Mától az HBO Maxon: A mozikban már láthattad, ma felkerült a platformra a 2023-as animációs vígjáték Augusztus 31-én történt Valkusz Milán beszólása teljesen lesokkolta Majkát Most brit párossal dúl a Rózsák háborúja Ez van Selena Gomez és Steve Martin között Emléket állítanak Miles Davis születésének 100. évfordulójára Dr. Czeizel Endre: Megcsalta szerelme, a genetika 5 alulértékelt sci-fi a 90-es évekből, amelyet minden rajongónak látnia kell A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Az idősotthon, ahol a kötögetés után gyilkossági nyomozással ütik el az időt Denzel Washington bevallotta: már szinte egyáltalán nem néz filmeket Mától az HBO Maxon: A mozikban már láthattad, ma felkerült a platformra a 2023-as animációs vígjáték Augusztus 31-én történt Valkusz Milán beszólása teljesen lesokkolta Majkát Most brit párossal dúl a Rózsák háborúja Ez van Selena Gomez és Steve Martin között Emléket állítanak Miles Davis születésének 100. évfordulójára Dr. Czeizel Endre: Megcsalta szerelme, a genetika 5 alulértékelt sci-fi a 90-es évekből, amelyet minden rajongónak látnia kell A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

(00:00:00) Organized Konfusion - Stress: The Extinction Agenda / 1994, (00:31:57), LCD Soundsystem - Sound of Silver / 2007, (00:59:23) Miles Davis - In a Silent Way / 1969

对于看到波伏娃名字点进来的听众，抱歉这集有些标题党，因为本期节目并不是对她的学术成果在进行探讨，而是从她在2025年夏天突然成为众矢之而说起，看看这背后的文理、男女之争问题究竟出在哪里。主持人：鬼王橙、姚天宜、竹溪00:00:20 —— 武大图书馆里的波伏娃00:12:47 —— 文科生的使命00:25:13 —— “客观”的科学00:36:02 —— 教育与就业的男女差异00:47:03 —— 中国文理环境的变迁00:57:50 —— 结尾闲聊01:09:43 —— “打倒”之外的叙事结尾音乐：Florence sur les Champs Élysées，音乐人：Miles Davis若对我们的节目感兴趣，可以添加微信号 playtimeguy 以及新浪微博“@巴别塔词典”联系我们！我们的爱发电也开通啦！欢迎感兴趣的听众在我们的爱发电站点提供支持！在此特别感谢鸣谢我们的“词典恩人”：荔枝、小马、无限衍义、溪主席的好战士、lfkdsk、爱发电用户_N97b、面包棍棍、爱发电用户_W9X8、Antarcticite、sheldor、争和zhenghe、张大喵MIN、Lorraine_zz、荔枝哦、fa2r。

Send us a textIn this episode of Third Eye Roll, Justine and Scarlett dive into the messy, mystical, and often misunderstood world of lineage. From the Sanskrit idea of paramparā—the living flow of wisdom from one to another—they challenge Western obsessions with certificates, credentials, and “lineage flexing.”Instead, they frame lineage as a relationship: teacher and student co-creating, transmitting, and transforming wisdom across time. Expect mythic riffs on Vyāsa and Gaṇeśa, Jyotiṣ insights from Magha Nakṣatra, and personal stories of their own root teachers—from yoga in Southern California basements to long afternoons in Ayurvedic pharmacies of Kerala.The duo also explore the shadow sides of lineage (authority games, spiritual branding, exploitation) while celebrating its heart as an alive, relational, embodied current. And yes, they still find time for their pop-culture picks: thrifted vintage as “wearable lineage,” DJ Drez and Miles Davis as remix-gurus, and Star Wars' Jedi council as the ultimate metaphor for transmission gone cosmic.Lineage, it turns out, isn't a receipt you can wave around—it's a flame you keep alive by tending it together.Support the show

Drummer Kush Abadey joins Pablo Held to talk about mental practice, time feel, drum tuning, lessons learned from playing with Wallace Roney, Tomasz Stanko & Buster Williams, recording Melissa Aldana's new album with Gonzalo Rubalcaba, the art of playing brushes, clarity, Miles Davis' ‘Complete Concert 1964' album and much more.

From post-punk hovel to synth-pop heaven. 'Cupid & Psyche 85' by Scritti Politti defined a genre, pushed technology, inspired Miles Davis, and catapulted Green Gartside into stardom. Steeped in post-structuralist philosophy and a love of pop's inane sheen, he emerged from his parents' place in Wales after recovering from a breakdown to launch a subversive pop offensive… Only to find the grass isn't always… Josh Coxon (Simi Lacroix, These Guy) kindly joins to illuminate. Hope you enjoy! RobbieSUBSCRIBE TO THE WELCOME TO MEET YOU PATREON FOR FULL ACCESS TO EXCLUSIVE EPISODES ALL OUR LINKS CAN BE FOUND HERE

Jason Fraley interviews Grammy winner Marcus Miller, who performs this Saturday at the D.C. Jazz Festival, which runs Wednesday through Sunday at The Wharf in Washington D.C. They discuss his prolific career working with Miles Davis, Luther Vandross, Roberta Flack, Aretha Franklin, Whitney Houston, Mariah Carey and Beyonce, as well as TV shows like “Saturday Night Live” and movies like Spike Lee's “School Daze” where he co-wrote “Da Butt.” (Theme Music: Scott Buckley's "Clarion")

Journey back to the summer of 1970 as we explore the legendary Isle of Wight Festival, where music lovers converged on a small island off England's southern coast for five days of extraordinary performances. What makes this festival particularly special is how well it was documented – allowing us to experience these historic performances through recordings and film footage decades later.From Chicago's early hits to The Who's powerful performance of "Tommy," the festival showcased artists at pivotal moments in their careers. Jim Morrison's haunting performance with The Doors stands as one of his final shows. Meanwhile, Miles Davis demonstrated how jazz could captivate rock audiences, and Jimi Hendrix delivered unforgettable performances just weeks before his death.We'll also transport you to the 1995 HORDE Festival in Atlanta, a touring concert series that helped bands like The Black Crowes and Blues Traveler reach larger audiences by combining their fan bases. Along the way, we explore summer hits that defined their eras – from KC and the Sunshine Band's disco anthem "Get Down Tonight" to The Kings' double-hit "This Beat Goes On/Switching to Glide." We'll also examine how The Cure's 1985 album "Head on the Door" marked their transition to mainstream success with its distinctive sound.These weren't just concerts – they were cultural touchstones that helped define musical movements and create the shared experiences that bind music fans together. Join us as we celebrate the festivals, songs, and albums that shaped rock history and continue to influence how we experience music today.“Music In My Shoes" where music and memories intertwine.Learn Something New orRemember Something OldVisit our Facebook and Instagram pages and spread the word if you enjoy the podcast. Contact us at musicinmyshoes@gmail.com with your own musical memories.Send us a one-way message. We can't answer you back directly, but it could be part of a future Music In My Shoes Mailbag!!!

In this episode, Tales From The Green Room presents their conversations with Joe Marcinek and Jeremy Hoenig recorded before their respective performances during Jazz Fest 2025 in New Orleans – featuring two  musicians swimming in the same music circles in the San Francisco Bay Area and nationally - and both connected with Melvin Seals!   Marcinek joins the show before his stellar appearance leading Dead Funk Summit during the Crawfish Festival at The Broadside, and is joined by soulful percussionist, drummer, vocalist, Rick King – a member of the Summit on this day.  King talks about getting drawn into the Grateful Dead vibe, including with his own band, Rick King's Royal Hustle, elaborating on how magic happens on stage with Marcinek. Hoenig sits down with the hosts before holding down the beat on drums at his gig with Melvin Seals & JGB at Café Istanbul -  made possible by venue host Mitch Stein, responsible for curating a stellar lineup of musicians at the venue during Jazz Fest.The Marcinek segment – recorded the very day his new album, The Groove Sessions, was released -  delves into Joe's late entry into music, his love for New Orleans sounds, the evolution of his Dead Funk Summit project now taking on a life of its own, and the special energy created by different musicians joining the venture around the country - including the likes of George Porter, Jr. and the aforementioned, Melvin Seals. The Crawfish King, Shaggy Davis, even makes a cameo during the interview! Hoenig talks about his own musical journey  from being inspired by his father's record collection to his current gig with the iconic Seals, playing with Camille Boudin of The Radiators, and reflects on “falling into the groove” playing beats the first time he entered the New Orleans music scene. Jeremy identifies a cadre of his favorite New Orleans drummers and how playing with Melvin Seals & JGB is the perfect fit for him. Joe Marcinek, Rick King, and Jeremy Hoenig go in depth sharing their experiences in the music scene, their love for improvisation, and the collaborative spirit they embody, providing for a heartwarming and informative episode.HIGHLIGHTSWhen you have a band that plays all the time, it's easy to kind of go through the motions…where if you've never played together or it's something new, everyone's really locked in. Are we hitting the changes? Are we going to the move? Any little change that a musician does, that's when the magic happens.-Joe Marcinek on brining in different musicians to his "Dead Funk Summit"I read something about Miles Davis saying, “ I don't talk to my musicians about music, because if I would have to talk to 'em about it, I hired the wrong people in the first place. And I always think about that.-Rick King on the possibility of creating situations where magic can happen on stage among musicians, if you talk too much about it. You can imagine how proud I am  to be playing this music, which for me has all the styles that I love, and  the music I gravitate towards. It's blues, it's funk, it's reggae, it's jazz, it's country. It's all these rhythms. And Jerry knew, when he had his own band, he wanted to explore all those different things. So that's why I feel it's a very good fit for me… and personally, I just, I enjoy it. It lets me have everything that I love in one band.-Jeremy Hoenig on being a member of "Melvin Seals & JGB"PHOTOSBackstage Photos at NOLA Crawfish Fest – 4.29.25 – by Appelbaum ImagesSPONSOR SHOUT OUTSSpecial Thanks to Son Vo  (Jerry's Middle Finger) for his expert audio engineering skills editing the interview with Joe Marcinek and Rick King- recorded in a very noisy, outdoor backstage area at the Broadside in New Orleans during the Crawfish Festival - making this episode possible! Son Vo is also a talented writer! Check out his compelling story, now available as an audiobook: Tales of the Mekong Delta Bluesman - Autobiography of Son Vo@sonvosongsSpecial thanks also to Mitch Stein - producer of JazzFest after shows at Café Istanbul - for welcoming us to the venue and accommodating our interview with Jeremy Hoenig! Checkout and download Mitch's DEADSHOWZ App – The most powerful mobile Grateful Dead search engine on the planet! LINKSJOE MARCINEKhttps://www.joemarcinekband.com/The Groove Session – Album – Joe Marcinek Bandhttps://www.jesusmolina.org/https://www.groovesessionmusic.com/Upcoming ShowsJoe Marcinek's Dead Funk Summit w/ Melvin Seals, Tony Hall, Cliff Porter, and Rick King 22 Aug  -Good People Good Times Music Festival 2025 – Nashville, IN23 Aug - Rockopelli Music Fest 2025 -  Crown Point, IN24 Aug – Park Theater - Holland, MIJoe Marcinek Band31 Aug – Sunday Is Dead – Harlan Records, Outside Show,  San Francisco, CA 4pm – 7:15pm    w/ Angeline Saris, Dylan Teifer, Jerry Saracini, Jeff Hobbs, Jen Freebairn)Event Organized by Mr. Hat Presents27 Sep  - Michigan City's Last Splash Fest 2025 - Michigan City, INRICK KINGRick King's Royal Hustlehttps://www.honeyislandswampband.com/Upcoming Shows

Every law firm wants more leads — but what if chasing them is the very thing holding you back? In this episode of The Game Changing Attorney Podcast, Michael and Jessical Mogill tackle one of the most common (and costly) mistakes law firm owners make: pouring money into marketing before fixing the foundation of their business. A $100,000 ad campaign might sound like the fast track to growth, but if your systems, team, and client experience can't handle the volume, you'll end up scaling chaos instead of results. Here's what you'll learn: Why investing in marketing before your systems are ready creates more problems than profit How to recognize whether your firm needs capacity, optimization, or true demand generation The mindset shift that separates law firm owners who burn cash from those who build scalable, thriving practices Before you write your next big marketing check, listen to this episode. It might just save you $100K — and set your firm on the right path for sustainable growth. ---- 00:00 – Intro and setup: The difference between growing revenue and scaling your business 02:30 – Why mistakes don't define you — it's how you respond that matters 03:24 – Miles Davis on wrong notes and life lessons 06:42 – The $100K marketing question: Should you invest in leads or systems? 09:42 – Why scaling demand without capacity only creates bigger problems 10:36 – Run your own race: Why comparing your growth to competitors is a trap 13:40 – Should you hire before perfecting processes, or wait until everything is “just right”? 16:39 – How to expand capacity without sacrificing client experience ---- Links & Resources: Miles Davis Quote ---- Do you love this podcast and want to see more game changing content? Subscribe to our YouTube channel. ---- Past guests on The Game Changing Attorney Podcast include David Goggins, John Morgan, Alex Hormozi, Randi McGinn, Kim Scott, Chris Voss, Kevin O'Leary, Laura Wasser, John Maxwell, Mark Lanier, Robert Greene, and many more. ---- If you enjoyed this episode, you may also like: 389. AMMA — Stop Fixing $5 Problems and Start Solving $1M Ones 379. AMMA — If You're Still Chasing Leads, You've Already Lost 358. Your Competitors Don't Want You to Know These Game Changing Marketing Strategies

Saxophonist / composer Wayne Shorter (born August 25, 1933) has cast an oversized shadow on jazz since he joined Art Blakey's Jazz Messengers in 1959. Soon becoming the primary composer for that group, and upon joining Miles Davis' second great quintet in 1964, he soon filled that role with Miles as well. In 1970, he co-founded the jazz fusion group Weather Report with Joe Zawinul and in the course of his long career he recorded twenty recordings under his own leadership, becoming one of the most original and prolific jazz composers of all time.

A los 91 años ha muerto Quincy Jones, nombre clave y factótum de la industria musical que estaba a punto de recibir el Oscar honorífico. Será el tercer premio póstumo tras los de Douglas Fairbanks en 1940 y Edward G. Robinson en 1973. Trabajó (por sólo decir algunos de los nombres más destacados) con Michael Jackson (al que convirtió en el rey del pop) y Frank Sinatra (al que recuperó tras sus incursiones en el cine) así como con Miles Davis, Aretha Franklin, Ella Fitzgerald o Ray Charles. Se convirtió en pieza valiosa indisociable a la música del siglo XX y ganó hasta 28 Grammys (6 de ellos llegaron en 1990 por "Back on the block") coronando un legado lleno versatilidad y trascendencia. Este reportaje pertenece al programa "El Cine de LoQueYoTeDiga" nº 448 (16x05) y fue emitido el 9 de noviembre de 2024.

Today we're going on an aquatic journey with Herbie Hancock's Maiden Voyage. Herbie calls the title track the best tune he's ever written.  We dive deep into the music to explore what makes this tune, and this album, great. The roots of Maiden Voyage date back in 1963, when Herbie began hearing rumors that Miles Davis wanted to hear him play. He didn't believe it at first -- Miles was at the height of his celebrity by this point. But soon he got a call. He went over to Miles's house and played with him, George Coleman, Tony Williams and Ron Carter for three days. On the third day, Miles asks the group to come to studio to record Seven Steps to Heaven. Herbie says, "Does that mean I'm in the band?" Miles says, "You're making the record, mother f**cker!" After two years playing in what many call the one of the greatest jazz ensembles of all time, Herbie would release Maiden Voyage in 1965. Along with George, Tony and Ron, plus saxophonist Freddie Hubbard. Although it is one of his simplest tunes -- with a rhythm inspired by a cologne commercial -- Maiden Voyage would become a favorite and a standard among jazz musicians. In this episode, you'll hear:- Adam and Peter pick apart the greatest moments from the album, including some perfect solos- The story of the commercial roots of this jazz standard- Where the record got its aquatic theme- Why a great song starts with a great bassline (just ask Ron Carter)- How this record could have been even better ... if it weren't for that piano sound- Where we land on Van Gelder Sound controversy-----Keyboards? Albums we haven't covered. "Boomer" talk. We know you have opinions about this show. Help us make You'll Hear It better by sharing your feedback with us and answering a short survey. You could win one of three $100 Amazon gift cards! Visit youllhearitsurvey.com to learn more and fill out the survey.Want more Herbie Hancock content? Learn why Herbie's greatest era is not even jazz on last season's episode on Headhunters.

En su disco 'Kind of Miles', el trompetista sardo Paolo Fresu rinde homenaje al Miles Davis acústico ('It never entered my mind', 'Autumn leaves', 'I thought about you', 'Round midnight') y al eléctrico ('Time after time', 'Call it nothing'). Otros dos músicos italianos, el pianista Giovanni Ceccarelli y el bajista Ferruccio Spinetti, firman 'Le grand Michel' un homenaje al compositor Michel Legrand ('The summer knows', 'You must believe in spring' -con la voz de Chiara Civello-, 'What are you doing the rest of your life' -con la voz de Camille Bertault-, 'The windmills of your mind' -con la voz de Cristina Renzzetti-). Escuchar audio

Eric Frandsen and Jason Walker preview Region 11 and 3A North football as the season begins on Friday. Top 25 Aggies for 2025: Miles Davis Pick 6 Results

Claudia Acuna is an exquisite Chilean jazz singer. She is a Latin Grammy Nominee and an npr Tiny Desk Concert artist. She blends South American folk music with Jazz and World Music. She's collaborated with stars like Branford Marsalis, George Benson, Kenny Barron and Herbie Hancock. She's released five albums, and was the first Latin American vocalist to be signed by a major record label.My featured song is my version of Miles Davis's “All Blues” sung by the late, great Jon Lucien, from my 1994 debut album Miles Behind by the Robert Miller Group. Spotify link.------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH CLAUDIA:www.claudiaacuna.net____________________ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

A special edition of the programme recorded in front of an audience at the Edinburgh Festivals earlier this week. Emmy and Olivier Award-winning actor Brian Cox discusses his role as the ghost of economist Adam Smith in James Graham's satirical play Make It Happen. The National Theatre of Scotland production at the Edinburgh International Festival chronicles the rise and downfall (in 2008) of the world's biggest bank, The Royal Bank of Scotland, and also features an actor playing the role of the bank's former chief executive, Fred Goodwin, and an onstage chorus. We're joined by Zainab Johnson - a black female Muslim comedian from Harlem whose show Toxically Optimistic is her debut at the Edinburgh Festival Fringe and by comedian, Taskmaster star and the voice of Netflix's Too Hot to Handle Desiree Burch, whose show The Golden Wrath tackles themes including death, menopause, spirituality and nationality. Plus music from leading trumpeter Jay Phelps, whose show Miles at the Fringe reflects on the legacy of the bestselling jazz album of all time, Kind of Blue by Miles Davis, and from The Bengsons, an Obie-winning husband and wife indie folk duo whose production Ohio is a celebratory true story about losing faith and finding hope in the darkest of places and is produced by the team behind Fleabag and Baby Reindeer. Presenter: Kirsty Wark Producer: Mark Crossan

Why is it so important to be cool? This week, Jess, Aaron, and Joey talk about Black culture, 21 Jump Street, social approval, bandwaggoning, alternative hierarchies, and Lauryn Hill. They don't talk about Digable Planets. references Dru Hill's "5 Steps" Old Man, look at my life. Journal of Experimental Psychology: "Cool is cool wherever you are" Miles Davis' The Birth of the Cool Uncola: Seven-Up, Counterculture and the Making of an American Brand Wired Video: Linguists Explain the History of "Cool" BET Video: The Origin Of "Cool": How Black Culture Embodies "Cool" & Influences Trends For Mainstream 21 Jump Street (2012) first day of school scene Corrections Department: To clarify, the study does not specifically question the Black origins of our collective use of the word "cool," rather it questions whether the emotional restraint in Black culture that came to define the early idea of "cool" is still the current concept of "cool." Bow Chicka Wow Wow 

MILES DAVIS / MILT JACKSON “MILES DAVIS AND THE MODERN JAZZ GIANTS” Hackensack, NJ, December 24, 1954 Bags' groove, The man I love Miles Davis (tp) Milt Jackson (vib) Thelonious Monk (p) Percy Heath (b) Kenny Clarke (d) AHMAD JAMAL “BUT NOT FOR ME – LIVE “PERSHING LOUNGE” Chicago, IL, January 16, 1958PoincianaAhmad Jamal (p) Israel Crosby (b) Vernel Fournier (d) HORACE SILVER “THE TOKYO BLUES” Englewood Cliffs, NJ, July 13, 1962Too much sake, Sayonara blues, The Tokyo blues Blue Mitchell (tp) Junior Cook (ts) Horace Silver (p) Gene Taylor (b) John Harris (d) Continue reading Puro Jazz 04 de agosto, 2025 at PuroJazz.

Receiving B.S. and M.S. degrees from The Julliard School of Music, David Taylor started his playing career as a member of Leopold Stowkowski's American Symphony Orchestra, and with appearances with the New York Philharmonic under Pierre Boulez. Simultaneously, he was a member of the Thad Jones Mel Lewis jazz band, and recorded with groups ranging from Duke Ellington to The Rolling Stones. He has also recorded numerous solo CDs on the following labels: Koch, New World, ENJA, DMP, Tzadik, CIMP, PAU, and TLB. Mr. Taylor performs recitals and concerti around the world: from Lincoln Center in NY to the Musikverein in Vienna and Suntory Hall in Japan. In addition to his own compositions, he has been involved in well over a hundred commissioning projects for solo bass trombone collaborating with composers including Alan Hovhaness, Charles Wuorinen, George Perle, Frederic Rzewski, Lucia Dlugoszchewski, Eric Ewazen, Dave Liebman, and Daniel Schnyder. He has appeared and recorded chamber music with Yo Yo Ma, Itzhak Perlman, and Wynton Marsalis and performs with the Lincoln Center Chamber Music Society, the Mostly Mozart Festival Orchestra, Orpheus, and the St. Luke's Chamber Orchestra. Throughout his career, Taylor has appeared and recorded with major jazz and popular artists including Barbara Streisand, Miles Davis, Quincy Jones, Frank Sinatra, and Aretha Franklin. Mr. Taylor has won the National Academy of Recording Arts and Sciences Most Valuable Player Award for five consecutive years, and has been awarded the NARAS Most Valuable Player Virtuoso Award, an honor accorded no other bass trombonist. He has also won The International Trombone Association's Award “in recognition of his distinguished career and in acknowledgement of his impact on the world of trombone performance. He has been a member of the bands of Gil Evans, Thad Jones-Mel Lewis, Jaco Pastorius, Charles Mingus, JJ Johnson, Joe Henderson, George Russell, Michele Camilo, Bob Mintzer, Dave Matthews, Dave Grusin, Randy Brecker, and the Words Within Music Trio (Daniel Schnyder, David Taylor, Kenny Drew Jr., The Art of the Duo (with D Schnyder) and B3+. He has performed on numerous GRAMMY Award winning recordings. David Taylor is also on the faculties of the Manhattan School of Music, Mannes College, and NYU. He plays Edwards bass trombones and Griego/Taylor mouthpieces exclusively. https://www.davetaylor.net/

I call Tracy Silverman “The Jimi Hendrix of the violin”. He's no ordinary violinist. He plays a 6 string electric violin with loops and pedals and effects. He plays everything from violin concertos to rock, jazz and hip hop, and that included Hendrix and Miles Davis. He's performed with the jazz group Turtle Island String Quartet, the Los Angeles Philharmonic and the Chicago Symphony, and he's played at Carnegie Hall and the Royal Albert Hall. He's been featured on npr and on A Prairie Home Companion, and he was profiled on CBS News Sunday Morning.My featured song is “Moon Shot” from the album What's Up! by my band Project Grand Slam. Spotify link.------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH TRACY:www.tracysilverman.com____________________ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Dr. Don and Professor Ben talk about the risks from eating cooked chicken from a bag where one piece of chicken was caught in the bag seam. Dr. Don - not risky

La cantante de jazz Samara Joy ha grabado una versión de 'Flor de lis', la canción de Djavan, como agradecimiento a la música brasileña. Otra cantante estadounidense, Jane Monheit, canta 'My Brazil' y 'Too close for comfort'. Y dos contrabajistas, Christian Mc Bride y Edgar Meyer, firman el disco 'But who´s gonna play the melody?' con piezas como 'Days of wine and roses', de Henry Mancini, 'Solar', de Miles Davis' 'Interlude #1' o 'Bewitched, bothered and bewildered' de Rodgers y Hart. Abre el guitarrista Pasquale Grasso con su último disco 'Solo beb-bop' ('Chasin´the bird', 'Salt peanuts') y cierra João Bosco con 'Incompatibilidade de gênios', 'De frente pro crime' y 'Corsário' de su disco 'Corsário - Live at Rio Montreux Jazz Festival'. Escuchar audio

El pianista estadounidense Denny Zeitlin toca clásicos de Richard Rodgers como 'With a song in my heart', 'Wait till you see her', 'I have dreamed' o 'I didn´t know what time it was' en un homenaje al compositor Richard Rodgers; la octogenaria brasileña Alaíde Costa canta 'Tatuado', 'Errei sim', 'Ave Maria no morro', 'Fim de comédia' y 'El día que me quieras' en su homenaje a la cantante Dalva de Oliveira; el trompetista italiano Paolo Fresu abre con 'Time after time' en su homenaje a Miles Davis y, en su recuerdo a Ryuichi Sakamoto, el japonés Goro Ito y los brasileños Paula y Jaques Morelenbaum incluyen 'Happy end', 'M.A.Y. in the backyard' y 'Sayonara'.Escuchar audio

✦ Atlanta is a city rife with creativity. One of the artistic endeavors that Atlanta, and Georgia for that matter, has seen hockey stick growth within is film making. Not to be forgotten, however, amongst the known stars, million-dollar budgets, and expensive studios are the indie-film makers. City Lights Collective co-host Jon Goode sat down with poet, indie-film maker, and Atlanta native Malik Salaam, director of the new film Cut, to discuss the movie, his journey, and Atlanta's indie-film scene. ✦ A speakeasy meets a night of jazz-opera fusion, R&B, and chill vibes this Saturday. WABE arts reporter Summer Evans shares more about "The Den on Queen" event. ✦ City Lights Collective member, podcaster, and self-proclaimed history nerd Victoria Lemos lives to research the stories behind Atlanta's treasures, and this week, she dives into the wild origin story of one of the city's most beloved institutions: Zoo Atlanta. It all started in Grant Park in the late 1800s, where an abandoned circus, a lumber magnate with a vision, and some very confused animals collided to create Atlanta's first permanent menagerie. In today's story from Lemos, you'll meet the city's first zookeeper, an "educated pig," and learn how a train car full of lions, monkeys, and even a dromedary led to what we now call Zoo Atlanta. We'll uncover how public parades, dime campaigns, and even elephants named Coca and Cola shaped the park's future—and why the city's love for the zoo never quite matched the funding behind it. ✦ You know as well as we do that there is always a plethora of things to do in Atlanta, and we have earned the title of "The Cultural Capital of the South." Mike Jordan, senior editor at the AJC, and Sammie Purcell, associate editor at Rough Draft Atlanta, know this well too. They join us weekly to share a few of their picks for your weekend entertainment. Today, their mix includes two separate food events – one for veggies and one for jollof, and a film festival in the suburbs. ✦ Award-winning photographer Jim Alexander has spent his life refining what he calls the art of documentary photography. A photojournalist, teacher, activist, media consultant, and entrepreneur, Alexander has amassed an impressive collection of images showcasing Black culture and human rights. He's also a dear friend of photographer Sue Ross, who has spent five decades telling the story of Black Atlanta through images of politicians, artists, literary greats, community leaders, and as she puts it, "just plain people." These two giants of photography have much in common, but it's their shared love for Music that is spotlighted in the exhibition, "We Are Music," currently on view at The Sun ATL. Both Alexander and Ross have seemingly endless collections of live concert photography. They've both been stage-side to capture images of some of Black Music's biggest names, including Dizzy Gillespie, Gladys Knight, Miles Davis, Run-DMC, Herbie Hancock, and India Arie - many of whom were photographed at Atlanta's annual Jazz Festival. City Lights Collective co-host Kim Drobes recently visited The Sun ATL to view the exhibition and was given a tour by the legendary photographers.See omnystudio.com/listener for privacy information.

** PLEASE SUBSCRIBE ** Featured in a special edition of TRUTH IN RHYTHM, Episode 347 (Part 2 of 2): Iconic jazz keyboardist, producer and composer Lonnie Liston Smith! Beginning his recording career in the 1960s as a pianist for some of jazz's most prolific figures, he went on to lead his own group and release more than a dozen albums during the 1970s and 1980s that explored and redefined not only contemporary jazz but also jazz-funk and jazz-soul music, which later provided popular grooves for rappers.  Big names he collaborated with through the years include Roland Kirk, Pharoah Sanders, Gato Barbieri, Miles Davis, Norman Connors, Mtume, Marcus Miller and Phyllis Hyman. In 2023, he ended a 25-year studio hiatus with Vol. 17 of the Jazz Is Dead series. RECORDED JUNE 2025 Brought to you by FUNKNSTUFF.NET and hosted by Scott "DR GX" Goldfine — musicologist and author of “Everything Is on THE ONE: The First Guide of Funk” ― TRUTH IN RHYTHM is the interview show that gets DEEP into the pocket with contemporary music's foremost masters of the groove. LEGAL NOTICE: All video and audio content protected by copyright. Any use of this material is strictly prohibited without expressed consent from original content producer and owner Scott Goldfine, dba FUNKNSTUFF. For inquiries, email info@funknstuff.net. TRUTH IN RHYTHM is a registered U.S. Trademark (Serial #88540281). Get your copy of "Everything Is on the One: The First Guide of Funk" today! https://www.amazon.com/gp/product/1541256603/ref=as_li_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=1541256603&linkCode=as2&tag=funknstuff-20&linkId=b6c7558ddc7f8fc9fe440c5d9f3c400

Sommerzeit! Wir springen daher in dieser Folge an den Beginn des 20. Jahrhunderts, als jenes Objekt erfunden wird, das uns in dieser Jahreszeit ständig begleitet: die Sonnenbrille. Wir sehen uns an, wann die wissenschaftliche Grundlage dafür geschaffen wurde und welche kulturelle Bedeutung die Sonnenbrille seither eingenommen hat. // Erwähnte Folgen - GAG494: Der Serumlauf nach Nome – https://gadg.fm/494 - GAG460: Lorenzo Da Ponte oder Wie ein Librettist entsteht– https://gadg.fm/460 - GAG475: Eine kleine Geschichte des Anzugs– https://gadg.fm/475 - GAG391: Celia Cooney, die Banditin mit der Kurzhaarfrisur– https://gadg.fm/391 - GAG458: Wie wir die Nacht zum Tag machten– https://gadg.fm/458 - GAG501: Wie die Jeans entstand– https://gadg.fm/501 - GAG389: Spieglein, Spieglein an der Wand– https://gadg.fm/389 // Literatur - Brock, William H. „The Royal Society's Glass Workers' Cataract Committee; Sir William Crookes and the Development of Sunglasses“. Notes and Records of the Royal Society of London 61, Nr. 3 (2007): 301–12. - Hartewig, Karin. Der verhüllte Blick: Kleine Kulturgeschichte der Sonnenbrille. Marburg: Jonas Verlag, 2009. - Vanessa Brown. Cool Shades: The History and Meaning of Sunglasses. Bloomsbury Publishing, 2014. Das Folgenbild zeigt Miles Davis im Jahr 1984, mit Sonnenbrille //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte // Wir sind jetzt auch bei CampfireFM! Wer direkt in Folgen kommentieren will, Zusatzmaterial und Blicke hinter die Kulissen sehen will: einfach die App installieren und unserer Community beitreten: https://www.joincampfire.fm/podcasts/22 //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

The ultimate musical showdown: jazz vs classical. We bring in conductor Josh Weilerstein from the Sticky Notes podcast to compare, contrast and find the common ground among these two very different schools of music. From Duke Ellington's swinin' take on Peer Gynt to George Gershwin's Rhapsody in Blue, we explore the tunes and the musicians blurring the line between jazz and classical. Josh, Adam and Peter each bring their own picks to the conversation, and have the best time breaking it all down.Nerdy? Extremely. Snobby? A little. Fun? Heck yeah!In this episode you'll hear:- Ravel's Piano Concerto in G Major: Herbie Hancock vs the Cleveland Orchestra- How Duke Ellington made classical standards swingin'- Why Bartók matters to modern music - Two very different interpretations of Rhapsody In Blue- Brubeck's Blue Rondo à la Turk: no improv, still loose- Miles Davis and Gil Evans doing Adagio

HUGE Summer Sale! Get 50% off all annual plans at Open Studio and take your playing to the next level: https://link.youllhearit.com/summer John Coltrane's Giant Steps isn't just a jazz classic — it's a rite of passage. Peter Martin and Adam Maness dig into what makes the album so technically punishing and emotionally electrifying. From the iconic solo on the title track to the symmetrical harmonies, the lightning-fast chord changes, the fiery swing of Cousin Mary, and the full-throttle chaos of Countdown, they unpack the brilliance, the feel, and the mythology. Whether you've studied this album or are hearing it with fresh ears, you'll come away understanding Coltrane — and Giant Steps — like never before.You'll hear:- Adam's deep dive into Coltrane's use of symmetrical harmony and lightning fast chord changes — and why it still stumps players today- A glimpse into Coltrane's early years with Miles Davis and Dizzy Gillespie- The truth about Tommy Flanagan's controversial solo — was he lost or just playing it cool?- How Giant Steps became the tune every jazz musician has to face- Apex moments, desert island tracks, and a spirited debate: is Giant Steps better than Kind of Blue?