Podcast appearances and mentions of Miles Davis Quintet

Omnivore Recordings co-founder and four-time Gramny-winning producer Cheryl Pawelski has figured out how to do what she loves for a living. She went from obsessing about music in Milwaukee to having great adventures in the "floater pool" at Capitol Records in Los Angeles. With stints at Rhino and Concord as well, she oversaw ambitious reissues by, among others, the Band, Big Star, the Smithereens, the Beach Boys, Pat Benatar, Nina Simone and the Miles Davis Quintet. Her long association with Wilco has included deluxe boxes for Summerteeth, Yankee Hotel Foxtrot (which won a Grammy) and, earlier this year, A Ghost Is Born. She won another Grammy for the 2023 7-CD set Written In Their Soul: The Stax Songwriter Demos. She recounts it all with the passion of a fan, even as she deals with the challenges of running a record label and the recent loss of her Altadena home in the Southern California wildfires. (Photo by Greg Allen.)

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

Francia fue posiblemente el país preferido de Miles Davis para tocar. Desde luego donde más veces lo hizo desde la primera en 1949 con tan solo 22 años. Una caja de seis discos, 'Miles in France. Miles Davis Quintet 1963 & 1964. The bootleg series vol. 8', nos lo recuerda con grabaciones en el Festival de Jazz de Antibes de 1963 con George Coleman, Herbie Hancock, Ron Carter y Tony Williams y, como en este caso, en el Festival de Jazz de París de 1964, en la sala Pleyel, con Wayne Shorter ya en el quinteto en lugar de Coleman: 'Autumn leaves', 'So what', 'All of you'. 'My funny Valentine' y 'Joshua'Escuchar audio

En ningún país fuera de Estados Unidos tocó más veces desde que lo hizo por primera vez con solo 22 años. Francia siempre fue un país especial para Miles Davis. Y una caja de seis discos, 'Miles in France. Miles Davis Quintet 1963 & 1964. The bootleg series vol. 8', nos lo recuerda con grabaciones en el Festival de Jazz de Antibes de 1963 en compañía de George Coleman, Herbie Hancock, Ron Carter y Tony Williams: 'So what', 'All blues', 'Stella by starlight', 'Seven steps to heaven' y 'Walkin'. Escuchar audio

M

13e émission de la 60e session...Cette semaine du nouveau vieux live! En musique: Gerry Mulligan Quartet sur l'album Spring In Stockholm: Live at Konserthuset, 1959  (New Land, 2024, enr. 1959); Miles Davis Quintet sur le boitier Miles In France 1963 & 1964 (The Bootleg Series, Vol. 8)  (Columbia, 2024, enr. 1963-1964); McCoy Tyner & Joe Henderson sur l'album Force Of Nature: Live at Slugs'  (Blue Note, 2024, enr. 1966); Keith Jarrett, Paul Motian, Gary Peacock sur l'albm The Old Country (More From The Deer Head Inn)  (ECM, 2024, enr. 1992); Andrew Hill Sextet Plus 10 sur l'album A Beautiful Day, Revisited  (Palmetto, 2024, enr. 2002)...

Diese Sendung hat Andreas Pasternack zusammengestellt. Das LIVE- Anspiel ist diesmal: „Sweet Lorraine“ – eine Komposition von Cliff Burwell - 1928 komponiert. Folgende Titel sind zu hören: 1. All of me – Michael Bublè 3:08 2. I got plenty o' nutting' – Ella Fitzgerald & Louis Armstrong 3:55 3. Manana de Carnaval – Natalie Cole 3:08 4. Ah-leu-cha – Miles Davis Quintet 5:53 5. Sweet Lorraine – Marvin Gaye 2:49 6. Over the Rainbow – Chris Botti 3:23 7. Leaving on a Jet Plane – Frank Sinatra 2:29 8. Greens at the chicken shack – Roy Hargrove Quintet 5:46 Bei Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

Twin Spin jazz with a theme that links the two tracks together

一周心情小记 MIXTAPE Vol.1每月月初的周一或周五更新，散散步，听听歌。即使深陷泥泞，也要在音乐里找到片刻安宁。一周歌单：「 Mon. 」Oneohtrix Point Never - Nightmare Paint「 Tue. 」IDLES - Never Fight A Man With A Perm「 Wed. 」小老虎; 也是福; 周士爵 - 散个步「 Thur. 」Ella Fitzgerald - Day In Day Out「 Fri. 」Miles Davis Quintet; Richard Rodgers; Lorenz Hart - It Never Entered My Mind「 Sat. 」HAUSER; Robert Ziegler - Lascia Ch' io Pianga「 Sun. 」Reginald Omas Mamode IV - In Search of Balance

Don Was is one of music's most significant artists and executives, exceling in multiple roles and serving as one of the industry's beacons for integrity and forward-thinking. During this period of disruption and rapid evolution in the worldwide music business, Was remains committed to music as an art form and its importance to contemporary culture.  As the President of Blue Note Records since 2011, Was is both the company's leader and an ambassador for its music, charged with bringing the label's 21st Century jazz artists and its expanding pallet of contemporary musicians to larger audiences.  Was is also caretaker for Blue Note's singular and historic catalogue of music, and is burnishing the label's 80-year legacy by overseeing ongoing and extensive reissue campaigns that serve audiences in both the analogue and digital realms.Born in Detroit, Michigan, Don Was grew up listening to Detroit blues, jazz music, and the Rolling Stones. He went on to form the group Was (Not Was) with school friend David Weiss (David Was), noted for their success in the 1980s. Now widely recognized as a record producer, Don Was has worked with artists including Bob Dylan, The Rolling Stones, Bonnie Raitt, Iggy Pop, Ziggy Marley, the B-52s, Elton John, Garth Brooks, Lucinda Williams, Old Crow Medicine Show, John Mayer, Ringo Starr, Willie Nelson, Brian Wilson, Kris Kristofferson, and Aaron Neville. He has earned multiple Grammy Awards including Producer of the Year in 1995. Don Was has served as musical director or consultant on several motion pictures including Thelma and Louise, The Rainmaker, Hope Floats, Phenomenon, Tin Cup, Honeymoon in Vegas, 8 Seconds, Switch, The Freshman, Days of Thunder, Boys on the Side, and Toy Story. He earned a British Academy Award (BAFTA) for Best Original Score in recognition of his compositions for the film Backbeat.He regularly tours throughout the United States as bassist in the acclaimed trio, Bob Weir and Wolf Bros, and has served as musical director and bassist for a host of major tribute concerts, including those for:  Johnny Cash, Jerry Garcia, Emmylou Harris, Merle Haggard, Dr. John, Gregg Allman, Gregg Allman and Mavis Staples. Was recently curated and hosted a weekend-long series of shows at Boston's Wang Theatre and Schubert Theatre under the WasFest banner.  The shows, which featured Meshell Ndegeocello, Robert Glasper, Dark Star Orchestra, Lettuce with special guest Judith Hill and Steel Pulse, received rapturous reception from audiences and critics alike.Don Was is featured in the Dorsay Alavi's Zero Gravity, the recently released documentary film streaming on Amazon Prime on the life of Wayne Shorter—released on the 90th anniversary of his birth—takes an in-depth look at the life of one of our most outstanding players, composers and visionaries in the jazz canon. From his childhood in Newark to his work with Art Blakey's Jazz Messengers, as an integral part of The Miles Davis Quintet of the mid ‘60s, his contributions to the groundbreaking group Weather Report, his own groups, and writing for large ensembles, the message is clear: the openness he embraced throughout his life allowed for the genius to flourish. Source: https://www.udiscovermusic.com/stories/birthday-greetings-don/Source: https://www.kennedy-center.org/artists/w/wa-wn/don-was/Source: https://wayneshorterofficial.com/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

Wayne Shorter has long been considered one of the greatest modern composers and musicians of American music. His career reads like a Who's Who of the genre, starting with Art Blakey and The Jazz Messengers, then the Miles Davis Quintet, followed by solo fame and the founding of fusion super group Weather Report. His collaborations extend beyond jazz greats such as Herbie Hancock and Ron Carter to include Carlos Santana, Joni Mitchel, Milton Nascimento and Steely Dan, just to name a few.  In Wayne Shorter: Zero Gravity, acclaimed producer and director Dorsay Alavi moves beyond typical music doc territory to capture the essence of the man who touched so many lives, including her own. As Shorter's long-time friend and music-video collaborator, Dorsay paints an intimate portrait and cinematic ode to a truly American visionary, innovator and icon.  Wayne Shorter: Zero Gravity is a three-part docu-series streaming on Amazon Prime from August 25th 2023, which would have been Shorter's 90th birthday.  Watch the episode at https://factualamerica.com "There's so many layers to Wayne, but I would say mostly, he's a very, very principled person. And I believe that he has always been very authentic and true to what he has always done on an artistic level, [and] in life as well." - Dorsay Alavi

Legendary bassist & composer Buster Williams came on the podcast to talk about Sarah Vaughan, the role of the bass, patience in music, playing with the Miles Davis Quintet, his record ‘Something More' … and much more! Such an honor to talk to him! I'm glad we get to learn from him together.

Blues, Bebop ve Gospel stillerinden özellikler taşıyan Hard Bop stili Caz dünyasını 1950'lerde derinden etkileyen bir stil olarak yerini aldı. Müzik dünyasında iz bırakan değerli caz müzisyenlerini konu alan bu programda Ahenk Meşinci'nin sunumuyla, bu bölümde, bu stilin kökenlerine inip Art Blakey and the Jazz Messengers, Miles Davis Quintet, John Coltrane ve Kenny Dorham'ın kayıtlarıyla geçmişe kısa bir yolculuk yapıyoruz. Yaşar Üniversitesi Radyosu'nda canlı yayınlanan bu programı ve daha fazlasını takip etmek için⁠: https://radyu.yasar.edu.tr

M

As broadcast March 31, 2023 with plenty of bows of respect.  Over the many years of Wayne Shorter's career until his passing earlier this month, the man was simply on the cutting edge.  He wasn't there all the time, but you knew if he was off in the cut biding his time the return was going to be absolutely stellar.  Tonight in the first of our Deep Dive series, we pay tribute to a man who loved his jazz and loved his comic books, although which he loved more could be up for argument.  Rest in power Wayne Shorter.  One of the all time greats.Tracklist:Part I (00:00)Wayne Shorter – FootprintsMiles Davis – Nothing Like YouArt Blakey & The Jazz Messengers – MosaicWeather Report – River People (Live)Miles Davis – Spanish Key Part II (44:37)Wayne Shorter – Fee-fi-fo-fumWayne Shorter – MahjongWayne Shorter with James Spaulding, Herbie Hacock, Curtis Fuller & Ron Carter – MiyakoWayne Shorter – 502 BluesMiles Davis – Sanctuary  Part III : EMANON (69:50)Wayne Shorter Quintet – PegasusWayne Shorter Quintet – Prometheus UnboundWayne Shorter Quintet – LotusPart IV: EMANON continued (122:00)Wayne Shorter Quintet – The Three MariasWayne Shorter Quintet – Lost & Orbits MedleyWayne Shorter Quintet – She Moves Through The FairWayne Shorter Quintet – Adventures Aboard the Golden Mean 

This week on Echoes of Indiana Avenue we'll pay tribute to the legendary jazz saxophonist Wayne Shorter, he passed away in March at the age of 89. Wayne Shorter came to prominence in the late 1950s as a member of Art Blakey's Jazz Messengers. From 1964 to 1970, Shorter was a member of the Miles Davis Quintet. In 1970 he co-founded Weather Report, an all-star jazz fusion band that attained international popularity. During his historic career, Shorter also recorded with Indianapolis musicians including Freddie Hubbard, James Spaulding, and J.J. Johnson.

1 JK Group - Rising Part 1 (La Sape Records) Multi-dimensional future-jazz outfit JK Group return on La Sape Records. Led by award-winning saxophonist,Joshua Kelly (30/70 collective, PBS Young Elder of Jazz 2019), the band returns to the label with a follow up EP to the mind-bending 2021 release, 'What's Real?'2 David Versace - Summer Party (Okra La Sape Records) Brisbane-based multi-instrumentalist David Versace shares the his much anticipated debut LP 'Okra', his first solo album for La Sape Records. Wandering effortlessly between jazz, samba, ambient and the odd dance-floor heater, 'Okra' follows 3 years of consistent releases and is his most elegant an articulated work yet.3 Doug Wamble - Homesick (Blues in the Present Tense Halyconic Records) This is Wamble's first album since 2015's The Traveler: Live in New York City, co-produced with veteran guitarist Charlie Drayton and a musical cast of longtime associates: bassist Eric Revis, drummer Jeff "Tain" Watts, and saxophonist Prometheus Jenkins (aka Branford Marsalis). 4 Kay Young - Feel Like Makin Love (Bluenote Re:imagined) Blue Note Re:imagined returns with a new 16-track compilation featuring fresh takes on music from the illustrious Blue Note vaults recorded by a heavyweight line-up of the UK jazz, soul and R&B scene's most hotly-tipped rising stars. 5 Ron Carter - Receipt Please (Finding the Right Notes IN& OUT) In October 2022, PBS aired a two hour documentary on jazz legend Ron Carter. Six years in the making, Finding the Right Notes was produced and directed by the renowned producer/director Peter Schnall, a seven-time Emmy Award and Peabody Award winner. Schnall reveals poignant and joyful details of the jazz maestro's life, from his early days as a cello student in high school through his years in the Miles Davis Quintet of the ‘60's and into his vital solo career that continues to this day.6 Ubunye - Ubunye (Ubunye 33 Jazz) Ubunye is a vibrant seven-piece Afro-jazz band (which can expand to a 10 piece with horns) - it is a band like no other.  Featuring three powerful vocalists from South Africa's Kwa Zulu Natal region combined with a dynamic rhythm section from Leeds, UK  Ubunye's music is a unique blend of contemporary jazz, Afro-pop and traditional ‘Isigqui' Zulu music.7 Nicholas Payton - Feed The Fire (The Couch Sessions SMOKE) Visionary Multi-instrumentalist and Composer Nicholas Payton Provides a Vital Dose of Musical Therapy on The Couch Sessions Available Now on Smoke Sessions Records, the Trio Album Features the Dream Rhythm Section of Buster Williams and Lenny White, as Well as the Compositions and Sampled Voices of Masters Like Herbie Hancock, Wayne Shorter, Keith Jarrett and Geri Allen8 Tim Fitzgerald - Cariba (Full House CELLAR MUSIC GROUP) Chicago-based guitarist Tim Fitzgerald and his septet Full House have released their eponymous debut album.Out now via Cellar Music Group, Full House is an assemblage of Chicago's finest straight-ahead players who transform a thoughtfully-curated selection from Wes Montgomery's varied songbook.9 Theon Cross - Epistrophy (Bluenote Re:imagined) London tuba player and Sons of Kemet member Theon Cross with a version of the Thelonious Monk/Kenny Clarke composition Epistrophy10 Michael Wollny - Erlkonig (Ghosts ACT) On "Ghosts" pianist and composer Michael Wollny, together with bassist Tim Lefebvre and drummer Eric Schaefer, explores the ghosts that inhabit songs from jazz, classical and pop music. The musical spectrum of the album, which is influenced by the "Hauntology" movement as well as Northern and Southern Gothic, ranges from Franz Schubert's "Erlkönig" to jazz standards by George Gershwin or Duke Ellington and pop songs by Nick Cave or Timber Timbre. 11 Brian Auger, Julie Driscoll & The Trinity  - Red Beans and Rice (Far Horizons !K7)Next week on CPG: Boogaloo sax from Canada, Lauren Henderson channels betrayal + fabulous guitar jazz from NYC.  Hit subscribe right now & immerse next week.

Frank Sinatra cantó «I Fall in Love Too Easily» en Levando anclas que luego formó parte del repertorio de Miles Davis. Escuchamos al genio de la trompeta también con su quinteto; con John Coltrane y Bill Evans o con Gil Evans. Seguimos en el Warfield de San Francisco con Al di Meola, John McLaughlin y Paco de Lucía. Tras ellos, Tomatito a la guitarra, con George Benson o Michel Camilo y el gaditano Antonio Lizana con Airegría. I fall in love too easily, Miles Davis When I fall in love, Miles Davis Quintet Stella by Starlight, Miles Davis, John Coltrane & Bill Evans Flamenco Sketches, Miles Davis Soleá, Gil Evans y Miles Davis Mediterranean Sundance Río Ancho Al Di Meola, John McLaughling y Paco de Lucía La Vacilona, Tomatito y George Benson La Vacilona, Michel Camilo y Tomatito Airegría, Antonio Lizana Escuchar audio

En JazzX5 un pequeño homenaje a Wayne Shorter: escuchamos "Footprints", una obra maestra de este saxofonista inmortalizada por el Miles Davis Quintet. Descanse en Paz.

On this episode of Vinyl Verdict, Bell, Jamie and Plouffe listen to Jamie's next pick, Miles Davis' Workin' With the Miles Davis Quintet. Recorded in two sessions in 1956, Workin' is part of a series of albums - Workin', Steamin' Cookin' and Relaxin'. All four albums are considered staples of 50's jazz and are widely regarded as some of the best jazz albums of all time. Will the boys discover that jazz is around every corner? Come along and find out!

When I told my good buddy in Maine that I was preparing to do a Badass Records Podcast episode with Adam Wilke, he asked me to let him know when it dropped as he'd always considered today's guest as something of an "exotic mystery," and when I heard that, I thought he'd nailed it. Or at least I could see how someone who'd only met him once would say that.Now, though...things're different.Now, I've had Adam Wilke in the chair, and -- I gotta tell ya' -- I consider myself a lucky dude for having had this opportunity.I've always wondered if and when jazz would work its way into my life, and were it to, would it stay. I still swim around in that same lake of curiosity, but I feel closer to it now. Its depths seem less unknown, its waters once murkier. I feel compelled to depart from the single-Sonos-in-the-kitchen situation, to return to the exploration of a household sound system. The notion of filling multiple rooms with jazz rattles around in my brain, suggests the added perk of education.Anyway, Episode #33 -- or as I like to call it, The Zdeno Chara episode -- was really fun.Adam's had a fascinating go of things, and once you've had a listen, I think you'll agree: We gotta get this guy giggin' again!But before I get ahead of myself, it's important to own the fuck-ups, first. Long story short, a camera crapped out on me (again), and I skipped one of my guest's records (again). And I had to figure out a way to be okay with it so that the show could -- as they say -- go on. So, that's what I'm doing.I hope I've figured out a way to avoid SD cards frying out on me for now, and I need to be a little more careful with my preparation approach, but even if I iron out those wrinkles, I'm certain to make errors in other ways down the road. It's an imperfect thing, this process, when you're the one doing it all. And none of those goofs or gaffes make the thing any less fun or cool (to me), so...gotta roll with it.Adam and I examined the following records, though:Ellington at Newport (1956)Monk Plays Ellington (1956)Full House (1962) by Wes MontgomeryGrant Green's Idle Moments (1965)Sinatra at the Sands featuring The Count Basie Orchestra (1966)Miles by the Miles Davis Quintet (1956)Cookin' with the Miles Davis Quintet (1957)Relaxin' with the Miles Davis Quintet (1958)Workin' with the Miles Davis Quintet (1960)Miles Smiles, the Miles Davis Quintet (1967)B.B. King's Live at the Regal (1965) was part of the gig, too, but I accidentally overlooked it in transferring Adam's list from one place to another to another. I'm checkin' it out now, though, and you should, too. He also said he'd been into anything by Charlie Parker, Red Garland, McCoy Tyner, and Tito Puente, so I dug in to Jam Session (1952), Feelin' Red (1979), The Real McCoy (1967), and 1957's Night Beat, respectively, so that we could chew the fat on those cats for a second or two.This was such good fun, though. I hope you find it enjoyable, too. If you'd like to join for an episode or you know someone that'd be a good fit, please reach out via comment, e-mail, D.M., text, phone call. Whatever works. Whether you acknowledge it or not, the world deserves to hear your story. And theirs, too.Thank you.copyright disclaimer: I do not own the rights to the intro/outro audio. They are samples from a tune called, "The Browns at Home" by The Greyboy Allstars from their 1994 record called West Coast Boogaloo (c/o Knowledge Room Recordings).

Today's Unlimited Partner is Jake Beebe, CEO of AllRec Awards, a manufacturing provider of letterman jackets and Scholastic awards and apparel based in Waco, TX servicing the southern United States. Topics include: Morgan Housel The Psychology of Money Key quotes from Jake's grandfather "People don't decide their futures, they decide their habits, and their habits decide their futures" and "Just work hard. If you don't work harder than everyone that's on you because you can control that." Celebrating youth sports Jory Caulkins founder of Enduring Companies What it takes to build a company How to build and sustain culture How to balance intensity and patience as a leader Celebrating successes "If your why doesn't make you cry it's probably not your why" Jake's song is Miles Davis Quintet's Solar Thomas was confident one time that Kind of Blue (Miles Davis) was John Coltrane and his wife knew it was Miles Davis. But it's a great album so here is a link to that too! Sponsors: Tegus Research My Marketplace Builder Links: Jake's email is jb@allrecawards.com enduring.co Thomas McGannon LinkedIn Tegus Acquires Canalyst Link Follow us on social media: Like and subscribe and all that stuff...stay in touch as we will have exciting updates and content soon... @uppodpod Twitter @uppodpod Instagram UP YouTube Channel up-pod.com Email us: show@up-pod.com,

Tift Merritt "Broken"Drive-By Truckers "Guns Of Umpqua"Paul Weller "You Do Something to Me"John Coltrane Quartet "Lonnie's Lament"R.E.M. "Driver 8"Centro-Matic "Twenty-Four"William Bell "Share What You Got (But Keep What You Need)"Tom Petty And The Heartbreakers "Southern Accents"Anaïs Mitchell "Young Man in America"Bob Dylan "Lonesome Day Blues"Bruce Springsteen "Lonesome Day"Miles Davis Quintet "In Your Own Sweet Way"Grateful Dead "Althea (Live at Nassau Coliseum, Uniondale, NY 5/16/80) [2017 Remaster]"James McMurtry "If It Don't Bleed"Whiskeytown "Drank Like A River"Aretha Franklin "Going Down Slow (2018 Mono Remaster)"Counting Crows "Mr. Jones"Tom Waits "Blue Valentines"Wilco "Box Full of Letters"Son Volt "Loose String (2015 Remaster)"Greg Graffin "Lincoln's Funeral Train"Billy Bragg "Days Like These"Red Garland "St. James Infirmary"Otis Redding "Ole Man Trouble"Ryan Adams "The Rescue Blues"Midnight Oil "Home (Album Version)"Emmylou Harris "Where Will I Be"Willie Nelson "Energy Follows Thought"The Gaslight Anthem "The '59 Sound"Tom Petty & The Heartbreakers "Straight Into Darkness (Live)"Nina Simone "O-o-h Child (Remastered)"Bruce Springsteen "Ghosts"

Herbert Jeffrey Hancock , 12 avril 1940, Chicago, Illinois, États-Unis Herbie Hancock est un excellent pianiste de jazz, chef d'orchestre et compositeur. Herbie est né à Chicago, Illinois. Il a fréquenté le Wendell Phillips High School à East Pershing Rd à Chicago, commençant initialement par une éducation musicale classique. Montrant des promesses remarquables dans son enfance, Herbie a été influencé par le groupe vocal Hi-Lo's. En 1960, il devient l'élève de l'artiste Chris Anderson, puis commence à travailler avec Donald Byrd et Coleman Hawkins. Herbie a également fréquenté l'Université Roosevelt de Chicago. Au fur et à mesure que sa réputation vieillissait, Herbie a commencé à collaborer avec Oliver Nelson et Phil Woods. En 1962, il avait signé avec Blue Note Records pour sortir son premier album 'Takin' Off''. L'album a attiré l'attention de Miles Davis sur Herbie, qui cherchait alors un claviériste. Il rejoint ensuite le Miles Davis Quintet en 1963, avec lequel il restera cinq ans, tout en continuant à sortir son matériel solo pour Blue Note Records. Son matériel solo pour Blue Note a continué jusqu'en 1969, avec les albums 'My Point Of View' (en 1963), 'Inventions and Dimensions' (en 1964), 'Empyrean Isles' (en 1964), 'Maiden Voyage' (en 1965), 'Speak Like A Child' (en 1968) et 'The Prisoner' (en 1969). Herbie a également joué sur plusieurs sessions d'enregistrement sur la côte Est pour le producteur Creed Taylor, qui comprenait la bande originale de "Blow Up", qui est devenue le premier de nombreux projets de bande originale de film. Herbie a quitté le Miles Davis Quintet en 1968. Il a sorti l'album 'Fat Albert Rotunda' un an plus tard pour l'empreinte Warner Bros. En 1970, Herbie étudiait le bouddhisme, ce qui l'a vu changer brièvement de nom pour son matériel enregistré, comme pour l'album "Mwandishi" en 1971. Mwandishi étant un nom swahili qu'il utilisait parfois ("Mwandishi" est le swahili pour "écrivain"). 1972, voit la sortie de 'Crossings', suivi de 'Sextant' un an plus tard (la première sortie après un changement de label chez Columbia Records). En 1973, Herbie sort l'album "Head Hunters", qui montre une émergence musicale vers un style plus funk/fusion. L'album comportait le morceau extrêmement populaire 'Chameleon'. Herbie commençait à maîtriser le synthétiseur et à développer son son, mis en valeur par une série d'excellents albums, dont 'Thrust' (en 1974), 'Death Wish' (en 1974), 'Flood' (en 1975), 'Man-Child ' (en 1975), 'Secrets' (en 1976) et 'VSOP' (en 1977). À cette époque, Herbie était un musicien de session vedette du tour de force de Stevie Wonder en 1976 "Songs In The Key Of Life" et fut plus tard le producteur du projet "8 for The Eighties" de Webster Lewis. En 1978, Herbie a sorti l'un de ses albums de fusion les plus commerciaux (et les plus réussis) dans l'album "Sunlight". L'album comportait l'hymne du club "I Thought It Was You", où Herbie utilisait son synthétiseur pour corriger toute "anomalie" dans sa propre prestation vocale. "Feets Don't Fail Me Now" de 1979 a continué le format, embellissant le son avec un format disco, présenté dans le single "You Bet Your Love". La même année, Herbie a demandé l'aide de Webster Lewis, Alphonse Mouzon, Bennie Maupin, Bill Summers et Ray Obiedo, pour un album enregistré "direct sur vinyle" au Japon, intitulé "Directstep" (qui présentait une face complète de l'enregistrement de l'album de "Je pensais que c'était toi". L'album 'Monster' des années 1980 présentait certains des enregistrements les plus émouvants d'Herbie, notamment 'Making Love', 'Stars In Your Eyes' et 'Saturday Night'. Il a immédiatement suivi l'album avec un disque plus fusionnel intitulé "Mr Hands" (avec "Just Around The Corner"). 'Magic Windows' de 1981 était une sortie beaucoup plus émouvante, qui a été suivie par 'Lite Me Up', une collaboration avec Rod Temperton du groupe Heatwave. L'album comprenait les populaires « Getting To The Good Part », « Motor Mouth » et « The Bomb ». L'album de 1983 "Future Shock" présentait le single à succès "Rockit" (souvent considéré comme la première chanson jazz hip-hop), qui présentait un son plus électronique que ses sorties précédentes. En 1984, "Sound System" présentait le morceau de fusion "Karabali", qui avait été diffusé à la radio à l'époque. En 1986, il enregistre l'album de la bande originale du film de Dexter Gordon "Round Midnight", pour lequel il remporte un Oscar de la musique originale. Après avoir sorti "Perfect Machine" en 1988, Herbie a quitté l'empreinte de Columbia après 15 ans. Il a signé par intermittence sur plusieurs labels, dont Qwest, qui a vu la sortie de l'album "A Tribute To Miles" en 1994. Cette année-là, il signe chez PolyGram Records, ce qui lui permet de sortir des disques de jazz pour Verve/Mercury Records. L'album de 1994, "Dis Is da Drum", présentait l'interprète dans un format jazz plus acide. Cette année-là, Herbie est apparu sur l'album de compilation de sensibilisation au sida de l'organisation Red Hot 'Stolen Moments: Red Hot + Cool'. En 1998, Herbie a sorti l'album «Gershwin's World», qui présentait des interprétations des standards de George et Ira Gershwin par Herbie, ainsi que Stevie Wonder, Joni Mitchell et Wayne Shorter. Il a sorti "Future2Future" en 2001, avec lequel Herbie a collaboré avec Bill Laswell et Rob Swift de The X-Ecutioners. Le trio a tourné pour soutenir l'album, se poursuivant jusqu'en 2005. En 2005, Herbie sort un album en duo intitulé "Possibilités". Les artistes en vedette comprenaient Carlos Santana, Paul Simon, Annie Lennox, John Mayer, Christina Aguilera et Sting. En 2006, Sony BMG Music Entertainment a récupéré les droits du catalogue Columbia de Herbie en publiant "The Essential Herbie Hancock". En 2007, Herbie a sorti l'album «River: The Joni Letters», son propre hommage à Joni Mitchell, le chanteur et auteur-compositeur. L'album comportait des contributions de Norah Jones, Tina Turner et Corinne Bailey Rae. "River" a remporté le Grammy Award de l'album de l'année 2008. En 2010, Herbie a sorti "The Imagine Project" et en 2013 a reçu le Kennedy Center Honors Award pour ses réalisations dans les arts de la scène. Différente de la carrière «motivée» de Miles Davis, la musique de Herbie a emmené l'artiste dans un voyage plus long, oscillant entre presque tous les développements du jazz électronique / acoustique et du R&B au cours du dernier tiers du 20e siècle. Contains samples of "Off the record interview with Herbie Hancock, [1986-1988?]-04-17" by Smith, Joe (1928-) (Interviewer) and Hancock, Herbie (1940-) (Interviewee). Retrieved from Citizen DJ, Joe Smith Collection at the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division.

Patterson Hood "She's A Little Randy"The Bellrays "Love and Hard Times"JD McPherson "Just Around The Corner"Aretha Franklin "Do Right Woman Do Right Man"Marah "The Hustle"New Moon Jelly Roll Freedom Rockers "Come On Down To My House"Don Nix "Mary Louise"Don Nix "My Train's Done Come and Gone"Doris Duke "Feet Start Walking"Billy Bragg and Wilco "At My Window Sad and Lonely"Alabama Shakes "Hold On"Matt Woods "Lucero Song"Todd Farrell Jr. "Liner Notes"Esther Phillips "No Headstone on My Grave"Charlie Parr "817 Oakland Avenue"Col. Bruce Hampton & The Aquarium Rescue Unit "Yield Not To Temptation"Run The Jewels "JU$T"Miles Davis Quintet "Trane's Blues"Curtis Harding "I Won't Let You Down"Jolie Holland "Old Fashioned Morphine"Swamp Dogg "I Need a Job"Arrested Development "Never Had Your Back"Adia Victoria "Magnolia Blues"JD McPherson "Lust For Life / Sixteen"R.E.M. "Driver 8"Liz Phair "6'1""Big Star "O, My Soul"The Band "Smoke Signal"Nicole Atkins "Darkness Falls so Quiet"The Replacements "Achin' to Be"Two Cow Garage "Soundtrack to My Summer"Two Cow Garage "Lost On Youth"Old 97's "The One"Jason Isbell and the 400 Unit "Save It for Sunday"Marlena Shaw "California Soul"Art Blakey "Now's The Time"Sugar Pie DeSanto "Going Back Where I Belong"Precious Bryant "Broke And Ain't Got A Dime"John Moreland "East October"Jenny Lewis "Red Bull & Hennessy"

Hola Amigos! hoy les invitamos a escuchar a un músico muy inquieto y original. Ron Carter, es el bajista con el récord mundial Guinness del artista que más ha grabado, con 2221 álbumes hasta 2015. Junto con ello ha publicado 15 libros y ha recibido 5 doctorados honorarios. Una carrera musical de más de 60 años en que ha tocado con los más grandes exponentes del género entre ellos con el Miles Davis Quintet desde 1963-1968. Hoy lo escucharemos en su disco "Stardust" de 2001 con una banda de lujo. Los temas son: 1. "Tamalpais" (Tema de inicio) 2. "The Man I Love" 3 "Bohemia After Dark" 4. "Tail Feathers" 5. "Blues in the Closet" 6. "That's Deep" 7. "Stardust" Nuestras recomendaciones : Francisco: "One night with Blue Note" - Concierto. https://bit.ly/3qaZFwC Guillermo: "Efecto de la música en el cerebro". TED Talks https://bit.ly/3JitRhV *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a material exclusivo y primicias que publicaremos regularmente) * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico * Me gusta, Comparte y Comenta.

El cl

This is a very special edition of The Miles Davis Quintet. After the departure of pianist Bill Evans and Julian "Cannonball" Adderley, Miles Davis performed with John Coltrane, Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums)....a quintet. John Coltrane decided to leave the group as he was about to form his own band and Miles Davis needed another saxophone player. Davis' first choice was Jimmy Heath but circumstances prevented Jimmy from travelling outside of New York and Philadelphia so Miles chose his old pal who he knew since the 1940's....Sonny Stitt. Stitt was adept on both alto and tenor saxophones and knew thousands of songs! Unfortunately during Stitt's six month stay in the band, there were no domestic recordings. Fortunately while on a short Fall tour in 1960 this special quintet was recorded in England and in Sweden. It's the Swedish concert that is our Jazz Feature tonight. It was recorded by Swedish Radio and has great audio quality. The playing is superb with Miles in great form with some inspired Sonny Stitt. The best rhythm section in Jazz propels them both to great heights. Miles Davis, Sonny Stitt, Wynton Kelly, Paul Chambers, Jimmy Cobb....five giants of music.....enjoy!

On this episode of Artist & Allie, Allie takes you backstage with Lost Stars. Before giving you all access to Lost Stars, Allie breaks down today's trending music topics, today in music history, and exposes her five most recent likes on Spotify. Damian and Charley of Lost Stars were truly such sweet and fun guys to chat with. Their passion and heart really shows through their music. We discussed their personal music origin stories and lots about Toby Keith and The Miles Davis Quintet. We got talking about the differences between Kansas City and Nashville. They schooled with the down low of the Nashville music city and how there is truly music there for everyone, not just country fans. Then they really talked about how much their surprise rise on TikTok meant to them as it was during a rough patch and it brought a light to their lives and careers. --- Support this podcast: https://podcasters.spotify.com/pod/show/artistandallie/support

Irma Thomas "Wish Someone Would Care"R.E.M. "Wanderlust"The Shangri-Las "Sophisticated Boom Boom"John Prine "Spanish Pipedream"John Prine "When I Get to Heaven"Micah Schnabel "Gentle Always"Sister Rosetta Tharpe "Jericho"Bruce Springsteen "Atlantic City"Valerie June "Heart On a String"Tom Petty and the Heartbreakers "Angel Dream (No. 4)"Johnny Rivers "La Bamba/Twist And Shout"Eddie Hinton "Uncloudy Days"Valerie June "This World Is Not My Home"Prince "Nothing Compares 2 U"Junior Wells "Little By Little"The White Stripes "St. James Infirmary Blues"Bobbie Gentry "Fancy"Taj Mahal "She Caught The Katy (And Left Me A Mule To Ride)"Connie Smith "You're Getting Heavy On My Mind"Phoebe Bridgers "Kyoto"David Ramirez "People Call Who They Wanna Talk To"Neko Case "This Tornado Loves You"Drive-By Truckers "Sea Island Lonely"Etta James "Security"Jolie Holland "Old Fashioned Morphine"Precious Bryant "Don't Jump My Pony"Hayes Carll "Drunken Poet's Dream"Nancy Sinatra "Jackson"Lucero "Tonight Ain't Gonna Be Good"Matt Woods "Deadman's Blues"Lilly Hiatt "Records"Merry Clayton "Southern Man"Hank Mobley "The Breakdown"Ike & Tina Turner "Funkier Than a Mosquita's Tweeter"Mavis Staples "Down in Mississippi"Betty Davis "If I'm In Luck I Might Get Picked Up"Miles Davis Quintet "Trane's Blues"The Jayhawks "Two Angels"Gillian Welch "Good Baby"Cory Branan "The Corner"Dan Penn "The Dark End of the Street"Kris Kristofferson "Jesus Was a Capricorn"Dolly Parton "Don't Let It Trouble Your Mind"Memphis Minnie "The Saint"Alberta Hunter "Black Man"George Jones "Amazing Grace"Guy Clark "Let Him Roll"

Todd Coolman is a jazz bassist and a retired tenured Professor of Music at the Jazz Studies Program in the Conservatory of Music at Purchase College in Westchester County, New York. He is also the former Artistic Director of the Skidmore Jazz Institute.Since moving to New York in 1978, he has performed with Horace Silver, Gerry Mulligan, Art Farmer, Lionel Hampton, Benny Goodman, Slide Hampton, Stan Getz, Tommy Flanagan and countless others. He is probably best known for his 26-year association with the James Moody Quartet. Coolman has recorded with numerous jazz musicians in many contexts and has also released four recordings under his own leadership; "Tomorrows" (1990), “Lexicon” (1995), "Perfect Strangers" (2008) and "Collectables" (2016). In 1999, Coolman won the Grammy Award for Best Album Notes for Miles Davis Quintet 1965-1968 and in 2011 he performed on the IPO release entitled, "4B" with the James Moody Quartet that won the Grammy Award that year for, "Best Jazz Instrumental Album, Individual or Group."He has written two method books related to jazz bass playing; "The Bass Tradition" and "The Bottom Line."In 1997, Coolman received a Ph.D. in Music and the Performing Arts from New York University See acast.com/privacy for privacy and opt-out information.

Tony Williams began playing professionally at the young age of 13, but he gained international attention when he joined the Miles Davis Quintet at age 17. My guest, Dave Goodman, wrote his 100,000 word doctoral thesis on Tony and we have condensed all that great information into an hour long episode that covers Tony's early life, lessons with Alan Dawson, rise to fame, evolution of his equipment, and everything you would want to know about the great Tony Williams. Dave Goodman is located in Sydney Australia and is a professional drummer, educator and clinician. You can find Dave at his home on the web - www.davegoodman.com.au You can download Daves full doctoral thesis here: https://ses.library.usyd.edu.au/handle/2123/7797 Enjoy this episode!

Tony Williams began playing professionally at the young age of 13, but he gained international attention when he joined the Miles Davis Quintet at age 17. My guest, Dave Goodman, wrote his 100,000 word doctoral thesis on Tony and we have condensed all that great information into an hour long episode that covers Tony's early life, lessons with Alan Dawson, rise to fame, evolution of his equipment, and everything you would want to know about the great Tony Williams. Dave Goodman is located in Sydney Australia and is a professional drummer, educator and clinician. You can find Dave at his home on the web - www.davegoodman.com.au You can download Daves full doctoral thesis here: https://ses.library.usyd.edu.au/handle/2123/7797 Enjoy this episode!

Charlie Parker the sideman in the 1940's and 50's . . recordings with Red Norvo's Selected Sextet, The Sir Charles Thompson All Stars, Clyde Hart All Stars, Miles Davis Quintet and Sextet featuring Dizzy Gillespie, Flip Phillips, Teddy Wilson, Buck Clayton, Dexter Gordon, Trummy Young, Sonny Rollins and others. --- Support this podcast: https://anchor.fm/john-clark49/support

Malcolm Cecil helped shape the sound of 1970s soul, funk and R&B as co-producer and engineer of the some of the most iconic albums and singles of all time. Malcolm collaborated with such luminaries as Stevie Wonder, Billy Preston, The Isley Brothers, The Doobie Brothers, and Gil Scott-Heron. He designed and constructed one of the earliest and largest analog synthesizers in the world (nicknamed TONTO), and recorded one of the first albums comprised entirely of synthesized audio. In this interview, Cecil discusses his early musical experiences in England, leading to his role as principal bassist for the BBC orchestra, opening for The Miles Davis Quintet, and recording with saxophonist Sonny Stitt. He describes meeting and working closely with Wonder, including his demand to Motown founder Berry Gordy that he let Cecil preserve the integrity of the classic album “Innervisions” during its mastering. Cecil also talks about helping boxing legend Muhammad Ali with his own recording, and discovering and restoring an unreleased live recording of the original Miles Davis Quintet with John Coltrane.

On this Ron Carter Interview: What an incredible, first-class human being! There are many reasons Ron Carter has been so successful and we touched on several of them during this conversation: His pursuit of excellence and desire to be responsible for his results, and the result of those he works with, listening to jazz radio in Detroit while he was growing up… the backstory to some his coolest tracks and albums, why he titled one of his LPs in honor of his local post office workers, playing with Roberta Flack, Gil Scott-Heron, Rahsaan Roland Kirk, and an early mistake he made and the lesson learned. This was WONDERFUL, so enjoy listening to The Maestro! Ron Carter is the most recorded jazz bassist in history, with somewhere north of 2300 sessions under his belt. He’s played with every significant jazz player and artist since he began playing bass in 1955. And of course was part of the 2nd Miles Davis Quintet in the mid 1960s. He’s played on Billy Cobham’s Spectrum, Herbie Hancock’s Empyrean Isles and on 00’s of other incredible LPs on loads of sessions from artists inside and outside the jazz community. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, earned two Grammy awards & numerous other accolades, and is a prolific, best-selling author of instructional jazz books, as well as his own autobiography called Finding The Right Notes. He teaches masterclasses all over the world, has received 5 honorary doctorates, and is a Distinguished Professor Emeritus of the Music Department of City College of New York, having taught there for 20 years. He also taught at Juilliard School in New York City Support this Show: http://www.everyonelovesguitar.com/support  Subscribe https://www.everyonelovesguitar.com/subscribe/  Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ 

Ivan e, com o áudio extremamente ruim, Eduardo comentam algumas músicas tranquilas, para ouvir enquanto está ou para ficar de boas.Músicas do episódio:Beat 54 (It's all good now), por Jungle: 01:36.Your Song, por Elton John: 08:26.Stella by Starlight, por Miles Davis Quintet: 15:48.Good for You, por Selena Gomes: 24:42.Catch the Rainbow, por Rainbow: 31:00.Sinta-se à Vontade, por Canto dos Malditos na Terra do Nunca: 41:26.

This is a wonderful concert by The Miles Davis Quintet done in Paris on March 21, 1960. This was a special night as not only was the band on fire but John Coltrane was pulling out all the stops on his solo spots. The usually vociferous French audience didn't seem to know how to react to Coltrane. Their applause is a mixture of joy and derision. Coltrane at first refused to do this tour as he was at this time basically out of Miles' band and concentrating on practicing and forming his own band and it was only by Davis begging him to do the tour that he agreed. He used this time to play as long as he wished and what he wanted and on this night he pulled out all the stops. The French audience wasn't quite ready for his outpourings even though they knew him from his records. The repertoire is all standard Davis tunes from this period and the solid and study rhythm section never lets up. That's Wynton Kelly on piano, Paul Chambers on bass and the only living member of this incredible band, drummer Jimmy Cobb. Here tonight is the Paris concert in it's entirety. It's important and essential music from five of the finest musicians to grace the planet.

Le passage en 2019 m'a envoyé un message : "sors toi les doigts et monte ton podcast !". Du coup j'ai décidé de combattre la procrastination et de m'atteler à la production de cet épisode enregistré il y a des mois. Est-ce le prémisse d'une nouvelle série de podcasts rendus en temps et en heure ? La ponctualité est-elle vraiment la politesse des rois ? Comment cuisiner les côtelettes sauce gribiche ? Autant de questions auxquelles je vous propose de ne pas répondre dans cet épisode qui sent bon les premières heures. Vinyles : 1. Sergio Mendes & Brasil' 77 - Pais Tropical / Pais Tropical (1971) 2. Miles Davis - My Funny Valentine / Cookin' with the Miles Davis Quintet (1957) 3. Laurence Guy - Kojak / Kojak EP (2015) 4. Pepe Bradock - Deep Burnt / Burning (1998) Le Sillon Noir est sur iTunes alors balance la sauce à base de commentaire 5 étoiles si tu le veux bien : itunes.apple.com/fr/podcast/le-si…d1435537830?mt=2 Le podcast est également sur Spotify ma gueule : open.spotify.com/show/46EvJzuU0hCjufMiKy9k19 A la semaine prochaine ! (oui)

In a piece called “Jazz Democracy,” a Slate review of The Complete Columbia Studio Recordings of the Miles Davis Quintet, January 1965-June 1968, Adam Shatz writes: It’s a commonplace that jazz is the musical expression of American democracy. The unfortunate truth is that jazz more often resembles the daytime talk show: Everyone gets his or her …

One of the most original, prolific, and influential bassists in jazz history, Ron Carter has more than 2,200 albums to his credit, an accomplishment honored in the 2015 Guinness Book of World Records. He has recorded with music legends such as Miles Davis, Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, Bobby Timmons, Jaki Byard, Eric Dolphy, and Cannonball Adderley. From 1963 to 1968, Ron was a member of the classic and acclaimed Miles Davis Quintet. He was named "Outstanding Bassist of the Decade" by the Detroit News, "Jazz Bassist of the Year" by Downbeat magazine, and "MVP" by the National Academy of Recording Arts and Sciences. Ron has earned two Grammy awards, one in 1993 for Best Jazz Instrumental Group, and another in 1998 for “Call Sheet Blues” from the film “Round Midnight”. Lenny and Ron sat down in his Manhattan apartment to discuss all things music and life.

Tonight's Jazz Feature from March of 1960 was John Coltrane's last hurrah as a regular sideman with Miles Davis. Coltrane by this time had recorded several important albums under his own name and was at this time the most influential voice of the tenor saxophone. He was also part of Miles Davis' bands. Miles, with the departure of alto saxophonist Julian "Cannonball" Adderley had reverted to a quintet. A tour of Europe came up un early 1960 and although Miles' rhythm section was committed with Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums John Coltrane was not. When asked he said "no" and Davis begged him to do this tour and after much pleading, Coltrane said "okay". Tonight's recordings show Coltrane working on some new approaches and using the freedom he was given to experiment and play as long as he wished and he took full advantage of this opportunity with some amazing results. Miles is inspired as is the rest of the band and the audience in Sweden is very receptive of Coltrane's playing as it must have shocked more than a few. We are lucky to have these documents and the Swedish concert is special in that after the selections finish, we'll here a short interview with Coltrane done backstage at Konserthuset in Stockholm on March 22, 1960. Hear it tonight and you'll be glad you did!

This "best of" episode features composer, teacher, and bassist Ron Carter.  Enjoy, and check out the original episode from 2016 here. About Ron Carter Ron Carter is among the most original, prolific, and influential bassists in jazz. With more than 2,000 albums to his credit, he has recorded with many of music's greats: Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, and Bobby Timmons. In the early 1960s he performed throughout the United States in concert halls and nightclubs with Jaki Byard and Eric Dolphy. He later toured Europe with Cannonball Adderley. From 1963 to 1968, he was a member of the classic and acclaimed Miles Davis Quintet. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, and Most Valuable Player by the National Academy of Recording Arts and Sciences. In 1993 Ron Carter earned a Grammy award for Best Jazz Instrumental Group, the Miles Davis Tribute Band and another Grammy in 1998 for Call 'Sheet Blues', an instrumental composition from the film 'Round Midnight. In addition to scoring and arranging music for many films, including some projects for Public Broadcasting System, Carter has composed music for A Gathering of Old Men, starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind Faith starring Courtney B. Vance. Carter shares his expertise in the series of books he authored, among which are Building Jazz Bass Lines and The Music of Ron Carter; the latter contains 130 of his published and recorded compositions. Carter earned a bachelor of music degree from the Eastman School in Rochester and a master's degree in double bass from the Manhattan School of Music in New York City. He has also received four honorary doctorates, from the New England Conservatory of Music and the Manhattan School of Music, and was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester. Most recently he was honored by the French Minister of Culture with France's premier cultural award--the medallion and title of Commander of the Order of Arts and Letters, given to those who have distinguished themselves in the domain of artistic or literary creation and for their contribution to the spread of arts and letters in France and the world. Carter has lectured, conducted, and performed at clinics and master classes, instructing jazz ensembles and teaching the business of music at numerous universities. He was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in Boston and, after 18 years on the faculty of the Music Department of The City College of New York, he is now Distinguished Professor Emeritus although, as a performer, he remains as active as ever. Contrabass Conversations is sponsored by:   D’Addario Strings Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. The Upton Bass String Instrument Company Upton’s Bostonian was conceived at the 2009 International Society of Double Bassists convention at State College, Pennsylvania, while world-renowned jazz bassist and Professor of Jazz Studies at the University of North Texas, Lynn Seaton and Upton Bass String Instrument Co. President and Founder, Gary Upton Birkhamshaw were playing and discussing the various instruments Upton Bass had created for the convention. They started with a blank sheet of paper, and together began jotting down Lynn’s preferences and suggestion with each model. The result was a rough outline of what would become the UB Bostonian Concert Double Bass.

Peter Martin breaks down three useful voicings for minor chords.=======================================================================What's going on, everybody? Peter Martin here for Two Minute Jazz Piano. I want to show you three minor chord voicings that you may not be familiar with that I really like, use a lot, hopefullyyou'll enjoy them, too.So minor, basic and potentially boring, right? (pleasant piano music) So what can we do?Here's the first one. This is a minor 11, just going through chromatically and I really like this voicing. We've got the root, thefifth, the ninth, the third, the seventh and the 11th. It's a minor 11 chord and there's things that you can add, you can double the ninth. The 11th's on top, the root's on bottom. A lot of different ways to do it, but I love it. I just love that openness of that.I actually wrote a tune a few years ago in D minor kind of based upon that voicing and that melodic pattern called La Pregunta.But anyway, it's just great symmetry, the ninths with the fifthsin there stacked up. So that's a minor 11 and then the next one is minor but it's a half diminished and this is something I heardHerbie Hancock do a lot, especially in that, you know, early 60s period when he was playing with the Miles Davis Quintet.It's a half diminished so we've got the flatted fifth, the minor third groove, dominant seventh but we've got the ninth which is a little bit unusual, so it gives you that A flat minor major seven kind of stacked on top.Kind of great, great sound there. So half diminished nineis what I call that one and then the last one we got is another thing inspired by Herbie Hancock which is. And this a diminished,an F fully diminished because we've got the minor third, the minor fifth, we've got the major seventh and the ninth.That's the kind of Herbie-ism that kinda gives it a different feel. Lot of tension in there, right? And so we got the two minor thirds separated by the perfect fourth and it resolves nice into a major.And you got a lot of cool stuff happening in there, that E major triad. Alright, three chords for ya, comin' atcha.Peace, happy practicing!===============================================================For more entire, full length courses with Peter Martin, check us out at Open Studio: https://www.openstudionetwork.com/piano See acast.com/privacy for privacy and opt-out information.

In a piece called “Jazz Democracy,” a Slate review of The Complete Columbia Studio Recordings of the Miles Davis Quintet, January 1965-June 1968, Adam Shatz writes: It’s a commonplace that jazz is the musical expression of American democracy. The unfortunate truth is that jazz more often resembles the daytime talk show: Everyone gets his or …

Las cosas no son como parecen. Eso es el jazz. Eso es Jazz Up! un podcast dedicado al sonido y el virtuosismo de los que hacen y disfrutan del buen escuchar. Este episodio incluye: Bud Powell, Keyon Harrold, Gregory Porter, Jimmy Camberlin Complex y Miles Davis Quintet.

Las cosas no son como parecen. Eso es el jazz. Eso es Jazz Up! un podcast dedicado al sonido y el virtuosismo de los que hacen y disfrutan del buen escuchar. Este episodio incluye: Bud Powell, Keyon Harrold, Gregory Porter, Jimmy Camberlin Complex y Miles Davis Quintet.

This modern classic album is arguably considered to be a "perfect recording". We all know that "perfection" in art is not possible but I must say this album comes very close to that ideal. There is a total unity of purpose in this band and in Hancock's music. Herbie Hancock had by the time of this recording established himself as one of the major piano players of the 60s along with McCoy Tyner. Hancock assembled this band with three members that he had or was working with in the Miles Davis Quintet. Tenor saxophonist George Coleman had just left Davis but bassist Ron Carter and drum genius Tony Williams were with Davis. The other horn along with Coleman is trumpeter Freddie Hubbard, who was like Hancock one of the major voices of the trumpet by the time of this date, The underlying theme of all the tunes is the sea. The sea in it's majesty, power and mystery. Many have heard this album or parts of it frequently but I might ask, have you heard it recently? Here is your chance to hear this great classic date by one of the Jazz Masters, Herbie Hancock recorded in March of 1965.

www.lossonidosdelplanetaazul.com / El jazz protagoniza una edición cargada de novedades, y reediciones. En portada el compositor y saxofonista Ramón Cardo que ha editado un proyecto junto a The Nyora Boppers, el quinteto ha grabado piezas en la onda del hard-bop. Entre los discos que se están publicando estos días de otoño destaca “Once” de Abe Rábade Trío –se presenta en Madrid el 25 de noviembre, Círculo de Bellas Artes, ciclo Jazz Círculo– y “It´s hard” del trío estadounidense de jazz de vanguardia. Completamos el programa con “Freedom Jazz Dance”, un álbum triple que recoge las tomas completas, junto con los originales, y extras del clásico “Miles Smiles”, de Miles Davis Quintet. Jazz instrumental, clásico y de vanguardia, pero igualmente extraordinario. ¡Qué lo disfrutéis!

Jimmy Carter punched his ticket to Washington by running as an outsider. Could he make people laugh in the ultimate insider town? Our excellent expert is James Fallows, who worked as Carter's lead speechwriter for two years. (These days, he's an astounding journalist working at The Atlantic.) We talk about Carter's voice, his appeal in the post-Watergate era, and whether he adapted to the rapidly changing "rules" of the modern media era. Also, there's a story about an exploding gas station. What's not to love? James Fallows in The Atlantic "The Passionless Presidency" "Ask President Carter" on SNL MUSIC: Hail Columbia, "Georgia Cake Walk" by Art Hodes and his Orchestra, "Salt Peanuts" by the Miles Davis Quintet

We begin our month long Jazz Feature tribute to Miles Davis who was born in Alton, Illinois on May 26,1926 and this month would be the 90th anniversary of his birth. Tonight our Jazz Feature presents "the first great quintet". Miles Davis had a difficult time in the early 50s, unemployment, depression and discouragement was dominant and Davis slid into the pit of heroin addiction. After several years of this he put himself into isolation and quit. In 1954 things were brightening up with a series of significant recordings and a return to good health. In the summer of 1955 after his triumph at the Newport Jazz Festival, Miles formed this great band. Drummer Philly Joe Jones helped Miles pick the players, and young bassist Paul Chambers came into the band as did light fingered Red Garland on piano. Miles wanted Sonny Rollins on the front line but he wasn't ready as he was dealing with his own addiction problems and so Miles turned again to Philly Joe for advise and Joe said "John Coltrane". The rest is history and the "first great quintet" was born. Tonight is a selection from one of their finest and most intense recording sessions and their final one for Prestige Records. Oct 26,1956 was the date and the band ran through it's club repertoire and everything was done on one take. The selections were issued over a series of Prestige albums but the bulk of tonight's Feature comes from the album "Cookin' With The Miles Davis Quintet". This album is considered one of the finest examples of Modern Jazz. Enjoy our first tribute to Miles Dewey Davis.

I am thrilled to feature Ron Carter today on the podcast. If is one bassist in the world that truly needs no introduction, it’s Ron. Ron recently received the Guinness World Record title for most recorded jazz bassist in history, with well over 2200 recording credits to his name. From his work with the Miles Davis Quintet in the 1960s to his collaborations with musicians like Freddie Hubbard, Joe Henderson, Hank Jones, his numerous projects as a bandleader, and his work outside of the jazz realm with artists like Billy Joel and A Tribe Called Quest, Ron has truly shaped our conception of the sound of the double bass. Ron has four books available: Comprehensive Bass Method Finding the Right Notes Building Jazz Bass Lines Ron Carter Collection Be sure to check out these books, and you can find the video for Ron Carter Live here.  Ron's extensive discography is available through this link. I'd also like to welcome back our sponsor Discover Double Bass!  They have a 4 hour course on creating walking bass lines, with 55 HD video lessons in a step-by-step order to help you to master the style of walking bass. You can check out this course as well as many other offerings at discoverdoublebass.com/store. If you’re new to Contrabass Conversations and are a jazz fan, then check out our episodes featuring Carlos Henriquez, Rufus Reid, Larry Gray, and Eric Hochberg for more conversations with great jazz artists.

Interview With: Albert and Gage, guests for Strings on Grass November 13, 2015 RSVP here.Listen here or podcast here.Interview Conducted By: Will TaylorWill: Christine Albert & Chris Gage are appearing with Strings Attached at our Strings on Grass series, coming up on November 13th—after being rescheduled two times because of rain in Austin!—So, we’re here to talk a little bit about the two of them, and some questions that I have pulled together, as well as some reflections that they have on working with Strings Attached. I hope this interview will get people excited about the show.The special thing about Strings Attached and our concerts, is that we have this one-time experience when we get together with singer-songwriters, and reimagine their music… sometimes to an extreme level. For instance, when we do Beatles tribute shows, we might reimagine the music in a completely different way than the original versions. Along with our ever popular cover shows, we love to collaborate with singer-songwriters in the Austin area,—like Eliza Gilkyson, Slaid Cleaves—which was the original direction our band took in the beginning, years ago. We bring to the table, certain things like jazz improvisation, or different vocal sounds, adding some color to the arrangements. We try to create a unique experience for people to come out and be intrigued. That’s the first thing that I wanted to talk about. If I remember correctly, we had a show about 10-15 years ago. Chris: Has is been that long?Christine: Yeah, I think so, I think it has.Will: Yeah, and it was at Saint David’s church, which is a beautiful space. Yeah, it’s a distant memory for me. I’m curious to see if you remember anything specifically about working with us… or anything in general about what we do. So yeah, my first question is: Was there anything notable about that performance?Chris: I just remember being thrilled to hear our songs envisioned by someone else. Like you said, everyone has a different take on music. Some people come from a more classical background, and some people have a little more jazz. You know, I do this gig at Strange Brew every week where I’m playing with somebody different every each time… it’s a lot of time the same songs, but each person is going to bring something different to it. And what you do with Strings Attached, is real inventive. And plus, you have a core group of people that do this a lot. And so they know what you’re thinking when you write an arrangement, and they can help you bring it to life. It’s just real exciting for me.Christine: Yeah, I think every artist has sort of a fantasy of hearing their music with strings or with an orchestra… more arranged in that way. For me, it brings an elegance to the music that we try to bring that to our performances at Don’s Depot. It’s not always there. Chris: Well, I turn on the string machine sometimes. (Christine laughs.)Christine: So especially at Saint Davids, and in that beautiful environment, it was almost mystical. And I imagine the Strings on Grass is a different kind of environment, but also brings a sort of natural, organic beauty to it that really compliments the music. Will: Exactly! Yes, that’s the same approach that we were taking with the original Strings Attached series in the church; was that context where people walk into it. It’s not just about hearing the music directly, but it’s the environment that you’re in. It really affects the emotional receiving of the song, or the music. So same thing, you’re right! With Strings on Grass, we’re in this beautiful, gorgeous yard with large trees, and there’s lights shining in the trees, along with the stars above. There’s something about hearing music in a natural setting. It’s very different from Saint David’s, but I think it’s very natural. You know, for instance, Karen and I love Kerrville (The folk festival). So there’s a little bit of a being-around-the-campfire feeling, and we really enjoy it. So people are coming for the experience. The full on music in nature experience. So we look forward to hearing your songs. It makes me think, are there in nature songs in there? (Will chuckles.) Maybe we should pick out a song that’s fitting for that setting.Christine: Yeah, we’ll have to look at that.Chris: How many of these have you done, Will?Will: We’ve been doing them for about a year, just over a year. So we’re probably at 12 or 13. Chris: Oh cool!Will: We’ve done one every month, and we take off the winter months, obviously. And yeah, I’m really enjoying putting these shows on. People enjoy bringing kids, but still are able to really enjoy the music. Some outdoor events, you know, people start to talk, and then the music becomes the background to conversations. So we’re still trying to bring over that respect for listening, which is what we started with at Saint David’s. Chris: Well we’re really looking forward to it.Will: That sounds great. So, okay, onto the other questions. There’s an artist whom I really respect, and I have been studying his book called Effortless Mastery. You may have heard about it when I sent you the list of questions. Kenny Warner talks about the idea of just getting out of the way of yourself and your ability to grow and thrive as an artist. It has a relation to mindfulness work, meditation, you know, the idea of just letting things happen. Like the song “Let it Be” that the Beatles wrote. So I’ve been very attracted to this idea of getting out of the way of myself, as a performer, as a creative person. There’s this quote in here, I’ll read it quickly: “Ultimately, musicians of the world must come to realize their potential of their calling. Like Shamans, we may service  healers, metaphysicians, inciters, exciters, spiritual guides, and sources of inspiration. So if the musician is illuminated from within, he becomes a lamp that lights other lamps.” And it goes on. I was very attracted to that idea, and the fact that we could relate this to you, for instance how you have the swan songs organization. How do you resonate with this? Christine: Well, most of it does. In fact, all of that resonates with me especially because I do practice mindfulness meditation. Recently my mind has been very busy because I’m so active in other things. So I’m in a different mindset most of the day, and then I get to the performance, walk onstage, and start singing. When I find my mind racing, and I’m not really present, I actually close my eyes and practice meditation, in between the lines of the song. That’s by focusing on my breath, and being in the moment, it brings me back to why I’m there, and then it starts to become a gift to me when I can really get out of my own way.  It’s certainly hard for me, because there’s so much going on in my life and in my brain. But that’s the technique that I use. And I have my own personal prayer that I wrote years and years ago that I say. For instance, every morning, or especially before a performance. One of the phrases in there is: “My life is a vehicle for divine love, and my music is the instrument of expression.” So I believe that the quote you just read resonates with me because of what I say to myself.Will: Mhm. And so you still find that you have to remind yourself when you get up there on stage.Christine: Totally. It doesn’t come naturally, but the more you do it, the more years you sing, as a performer, and I think just as a person who’s connected to why I do this, it’s obvious to me when I’m not connected, I’m like whoops! oops! oops! It’s kind of like when you’re meditating, and your thoughts start to take off, and thinking, and you have to bring it back to the breath. When I’m doing that on stage, I realize “Oh, I am really not here. I just created an agenda in my mind while I’m trying to sing a song. “ And that of course is not going to work for the entire performance. And I think I can feel it when I shift back. And I think Chris can feel it too, he’s like “okay! you’re here with me now.” He knows exactly when I’m not. And even if I’m singing all of the right notes, and getting all of the lyrics, it’s obvious when I’m not present.”Chris: Well it’s amazing how much you can think about while you play. And I look at it this way: We spend our whole lives learning, and preparing, but when you step on stage, and that one person has come because they love your music, or they need something out of that evening, well then it’s time to just let it seep out, explode out. And I know that when I totally forget that I’m taking a piano solo, for example, if I just let it fly, those are the ones that get responded to the most. Not if I’m trying to play like Fats Waller, or if I’m trying to make sure that my left hand is in time, you know. If I just explode, those are the ones that people react to. Will: I was going to ask you a question, related to that comment, actually. What does a great solo feel like, or look like to you? And part of what you’re saying, is you’re so out of the way, you really don’t even notice it. So that’s what you’re saying?Chris: Well it’s come from years of doing it, you know. There are solos that musicians have a term for, that you’re very aware of. It’s called noodling. And it’s just you know what notes go on the scale, and so you play some. But to me, a solo is like a whole song itself. It’s a whole competition. It has a beginning, and it has a rise, and it has to resolve itself at just the right time. It has to be emotional, it has to be clever at times, you know, but it more than anything, it has to just fit the mood of the piece that you’re in. Will: So I’ve got a little follow up question with something related to that. I’ve always wondered: For me, I’ve studied the jazz traditional method, and if you look at Charlie Parker, or even Louis Armstrong, when they take a solo, they take certain approaches. With Louis, he takes the melodic approach, always relating his solo to the main melody. Whereas Charlie Parker and some of those main cats, you know, the bee-boppers, completely are going way off. So how much are you actually improvising? Do you consciously go off completely from the melody? Or do you generally always try to work off of the melody?Chris: You know, in the studio, when I’m trying to get something out of a soloist, I refer to it as “melody plus”. Which is an odd thing. Will: Okay.Gage: I don’t like to get too far away from the melody. And I’m totally happy with a baritone guitar solo that plays the melody, I think that’s beautiful. One of the coolest solos on record—and this also relates to you mentioning “What’s your favorite song?”—there’s a Glenn Campbell recording of Jimmy Webb’s “Wichita Lineman”. And when the solo comes in, its just the melody, and it is so satisfying to hear that. It’s better than any hot lick that could ever have been picked by Tommy Tedesco, or another guitar player. It’s just the melody. (Chris starts humming.) And it’s just gorgeous. So there’s a lot of songs that I will just play the melody, and others, “melody plus”, as I call it. You’ve got to sneak off and do something exciting, two-thirds of the way through. Bring it back to the home base at the end of a solo. Will: So it’s like those little shuttle inflections on the melody that make it your own. It really brings it into the moment. This particular melody you’re talking about, he pretty much states it the way it is?Chris & Christine: Yeah.Will: Nice. Okay, this is from a musician standpoint. I’m always interested to hear other musicians’ approach to that. Because the jazz players sometimes will be like: “Oh, well that’s boring. I don’t want to hear the melody over and over and over again.” But then if I listen to some folk or pop records, that’s all they do! And it’s like you said, it’s actually very pleasing to hear the melody. I don’t want to get too far off on that, but I’ve come from a jazz position, and then for the last 15-20 years have been around people like Eliza, and you guys, and been pulled back toward “this”, kind of stating simplicity, and roots music. And so it’s an interesting journey for me to get back to being grounded; what naturally comes up as opposed to—. You know as you were talking about earlier, I’ve got this classical background, but I’ve spent a lot of times in the last 25 years just coming back to the roots music. Which is an oral tradition, it’s not a written tradition. So I love it. I love staying with the melody.Christine: It’s interesting, as a singer, I’ve found, that because I’m playing with so many different players now at Mystery Monday, (Monday nights at El Mercado) lead players jump up there without hearing most of the songs we’re doing. And so I’m really struck by how a soloist impacts the way I sing, and what I get from that and the way we interact. Chris was saying there’s a beginning, a middle, a rise and end, and really the whole solo can be a mess, but if you end it in a way that really leads into what I’m about to say or sing, I’m always like “Yes that was awesome!” There’s something about setting up what the singer’s about to do next that is part of the role of the solo. If it’s a certain kind of solo, I bring that excitement and that energy, or that tenderness or that folk. Whatever it is, it so compliments what the singer is about to do. And feeds into it. So I really appreciate that.Chris: Well and I think that’s the role of the soloist… especially in a vocal group. The role is to not draw the attention away from the song, not to be all “Look at me look at what I can do!” That’s when they’re not considerate of the melody, or the vocalist, that’s about to come back and deliver the song. And it has to relate to the song itself. I’m a jazz fan, and I love the older stuff. I used to love the Miles Davis Quintet records, and I would just get lost in them because half the time I couldn’t follow what they were doing. On a heart-level, it doesn’t get me, but just washing through my brain, and giving me exciting musical experiences it does that. But on a heart-level, I would much rather just hear a great country song, actually. I’d rather hear Lefty Frizzell sing about forgetting to shave that day. Will: Yeah, I get that. And from working with singer-songwriters for the last 15-20 years, I enjoy the sideman aspect. I enjoy the simple art of laying out and finding where to fill, to compliment the song. Because from my standpoint, a great song exists with simply the melody and the lyrics. Even without a rhythm part, you can just sing it a cappella . So then therefore everything that I’m bringing to the table has got to be supportive. Essentially, I’m not really needed. So I’ve got to find this beautiful space where I can just slide my creativity in, and so I’ve really enjoyed that, because I originally came from playing instrumental jazz. In that, i was playing all of the material. What I’m trying to do is bring what I’m learning from this—playing with singer-songwriters—back to the instrumental music. Bring the heart back.Chris: And that’s exactly right. And when Christine and I do a show, and we have a new musician with us, including y’all, we always say, find your spots, but don’t forget, we do this all the time without you. You know, it’s all there. It just needs a little spice and seasoning. Will: Exactly, okay now to the next question. That was good, nice organic flow. So, do you have a preferred question? Chris: Well you asked what we do on date nights. We went to see the Martian in 3-D the other night. That was a good date. Christine: Yeah, at the Alamo. We actually don’t get many date nights, we’re just always so busy. We play so many weekly things. He plays every Sunday morning at Riverbend, and we both play Mondays at different venues. He plays every Wednesday, we’re almost always working on weekends, and we spend a lot of time doing studio sessions during the day. So date night, usually we opt for a movie or if we have a night off, we always want to be with our kids, and grandchildren, so we do family dinners a lot. That’s our indulgent time is to get the entire family over, and cook together. And they’re all great cooks, so I get to take advantage of that, because I’m not. (Laughs.) Our evenings are late. Chris doesn’t usually come out of the studio, and I’m not usually home until 9:30 or 10, so we have late evenings together. That’s our down time too, if we’re not working. Will: Yeah, with Karen and I, I always dreamed of having a musical family. We kind of do, like with Coralina, we have some music that we play with her. But it’s not like there’s music being played all the time in the house, because we try to take a break from that. Is that kind of what it looks like in your household?Chris: Yeah, we actually have one album that we play every time we cook, and it’s Paolo Conte’s greatest hits! It’s all in Italian, and we all sing along, even though we don’t know the words. (Christine chuckles.) But it’s just the perfect kitchen music.Will: That’s funny.Christine: Yeah you had asked also about practicing, and what that looks like. And we really don’t, we really don’t practice. When we have new songs, we sort of learn them as we go on stage. Although, I need practice more than Chris does, I’ll say. I’ll be like, “We really need to sit down and go over this, if it’s a new one that we’ve released.” I really need to get it in my brain, and go over what the arrangement is. But quite often it’s just as we go because we’re playing so much. And then there’s so much business to take care of during the day. And with all of my nonprofit work, I’m just like an office person everyday. It’s just regular office hours and then I play gigs. Will: Oh, I’ve got a great follow up question to this. It’ll help me to hear your answer to this, because I myself spend so much time taking care of my business as well. And in the Western world, we’re so focused on time, and doing. And after all, we’re actually not “human doings”, we’re “human beings”. Sometimes I just think: Okay, well if I didn’t have to do all of those business oriented tasks, what would you do if you had more time available. Let’s say if you had four more hours in the day, is there anything you’d want to do in regards to practicing and taking your music to the next level? Christine: If it was musically, I would relearn to play the piano, and to write with it. I enjoy  writing with piano, but I hardly ever do it. Piano was actually my first instrument as a child, but I haven’t really played in two years. So if I really was going to spend indulgent time on the music part, I would reconnect with piano, and I would get my flute fixed, because my flute has such old pads, that I can’t event play it. I would revive my flute because I also used to play that for many years. And I love to play it I just haven’t put the focus onto it. And just creatively in general, I really want to write more books and essays. I would spend more time writing, which means you have to spend a lot of time unplugged, in solitude. Nature helps me, gardening helps me, to get into that space. And I am so far from that right now. Chris: Yeah we don’t have time for that right now. I haven’t written a song in a long time because I’m so busy working on other people’s songs. All day every day. And then I take 30 minutes to try to think about what I’m going to do for example, I’ve got a show tonight at 6 o’clock with a guitar player I’ve never played with. And I’ve got to think about what might work between us when I don’t have even a clue of what his style is. So I’ll take some time and put a little thought into that. Christine: And he’s in the studio now working on someone else’s music all afternoon.Chris: Right, now if I had four hours a day, I’m sure I would be composing, and working on some tracks for t.v placement, and writing a new song for Albert and Gage. Will: Nice, well this was great. We took a little extra time, so thank you guys. I wish we could go on, I just love it. I’m trying to do these little interviews to create some interesting content where it’s from the point of view of us as musicians. I think it could create some interesting conversations. And this could be content that you could have up for years. This feels kind of like as if I was Terry Gross, except for Will Taylor with Fresh Air. So I appreciate y’all for being guinea pigs for my new idea, I really appreciate it. I enjoyed you guys.Christine: Thank you, it was a good conversation.RSVP to the show here.

Andreu Jaume acaba de publicar su primer libro de poesía en Barral Editores.Viñetas musicales: Miles Davis Quintet.

Get ready for the biggest single-artist episode we've ever done! We broke the limit for a guy who broke limits in music across the decades: Miles Davis. This is a listener request show, but Jonny is fortunate to have an experienced jazz fan in co-host Jon Rind. They explore this mysterious music together, learning to listen deeply to this true American legend. If you've never tried jazz before, we hope this will be a great entry point! Be sure to also check out the previous DMP episode on John Coltrane, who can be heard on a good portion of this Miles Davis playlist: 1. Boplicity (Birth of the Cool) 2. If I Were a Bell (Relaxin' with the Miles Davis Quintet) 3. Four (Workin' with the Miles Davis Quintet) 4. When I Fall in Love (Steamin') 5. So What (Kind of Blue) 6. In a Silent Way / It's About Time (In a Silent Way) 7. Spanish Key (Bitches Brew) 8. Right Off (Jack Johnson) Encore: Mahavishnu Orchestra - "Miles Beyond" (Birds of Fire)

SUBTLE VIRTUOSITYTo listen to program CLICK HEREIn 1951, Mr. Ahmad Jamal first recorded 'Ahmad's Blues' on Okeh Records. His arrangement of the folk tune 'Billy Boy', and 'Poinciana' (not his original composition), also stem from this period. In 1955, he recorded his first Argo (Chess) Records album that included 'New Rhumba', 'Excerpts From The Blues', 'Medley' (actually 'I Don't Want To Be Kissed'), and 'It Ain't Necessarily So' --all later utilized by Miles Davis and Gil Evans on the albums “Miles Ahead” and “Porgy and Bess.” In his autobiography, Mr. Davis praises Mr. Jamal's special artistic qualities and cites hisinfluence. In fact, the mid-to-late 1950's Miles Davis Quintet recordings notably feature material previously recorded by Mr. Jamal: 'Squeeze Me', 'It Could Happen To You', 'But Not For Me', 'Surrey With The Fringe On Top', 'Ahmad's Blues', 'On Green Dolphin Street' and 'Billy Boy'.In 1956, Mr. Jamal, who had already been joined by bassist Israel Crosby in 1955, replaced guitarist Ray Crawford with a drummer. Working as the “house trio” at Chicago's Pershing Hotel drummer Vernell Fournier joined this trio in 1958 and Mr. Jamal made a live album for Argo Records entitled “But Not For Me”. The resulting hit single and album, that also included 'Poinciana' -- his rendition could be considered his “signature”. This album remained on the Ten Best-selling charts for 108 weeks -- unprecedented then for a jazz album. This financial success enabled Mr. Jamal to realize a dream, and he opened a restaurant/club, The Alhambra, in Chicago. Here the Trio was able to perform while limiting their touring schedule and Mr. Jamal was able to do record production and community work.Mr. Jamal was born on July 2, 1930, in Pittsburgh, Pennsylvania. A child prodigy who began to play the piano at the age of 3, he began formal studies at age 7. While in high school, he completed the equivalent of college master classes under the noted African-American concert singer and teacher Mary Caldwell Dawson and pianist James Miller. He joined the musicians union at the age of 14, and he began touring upon graduation from Westinghouse High School at the age of 17, drawing critical acclaim for his solos. In 1950, he formed his first trio, The Three Strings. Performing at New York's The Embers club, Record Producer John Hammond “discovered” The Three Strings and signed them to Okeh Records (a division of Columbia, now Sony Records).Mr. Jamal has continued to record his outstanding original arrangements of such standards as 'I Love You', 'A Time For Love', 'On Green Dolphin Street' (well before Miles Davis!), 'End of a Love Affair', to cite a few. Mr. Jamal's own classic compositions begin with 'Ahmad's Blues' (first recorded on October 25, 1951!), 'New Rhumba', 'Manhattan Reflections', 'Tranquility', 'Extensions', 'The Awakening', 'Night Mist Blues' and most recently 'If I Find You Again', among many others..In 1994, Mr. Jamal received the American Jazz Masters award from the National Endowment for the Arts. The same year he was named a Duke Ellington Fellow at Yale University, where he performed commissioned works with the Assai String Quartet. A CD is available of these works.In 1970, Mr. Jamal performed the title tune by Johnny Mandel for the soundtrack of the film “Mash!”; and in 1995, two tracks from his hit album “But Not For Me” -- 'Music, Music, Music', and 'Poinciana' -- were featured in the Clint Eastwood film “The Bridges of Madison County”.Mr. Jamal's CD entitled “The Essence” features tenor saxophonist George Coleman -- Mr. Jamal's first recording made with a horn! Critical acclaim and outstanding sales resulted in two prestigious awards: D'jango D'or (critics) and Cloch (for sales) in France. Its success generated a concert at Salle Pleyel, and a CD has been released “Ahmad Jamal a Paris” (1992) and a second “live” concert by Mr. Jamal in l996 under the same title, unissued except in France and available on the Dreyfus Records on the Internet, Mr. Jamal rightly considers one of his best recordings. Ahmad Jamal's 70th Birthday “live” concert recording Olympia 2000, is known as “The Essence Part III”. “The Essence, Part II”, featured Donald Byrd on the title track, and on his CD entitled “Nature”, Stanley Turrentine is featured on 'The Devil's In My Den', and steel drummer Othello Molineaux augments the trio format. Continuing his recording career, Mr. Jamal released “In Search of” on CD, and his first DVD “Live In Baalbeck”.For students of the piano, Hal Leonard Publications has published “The Ahmad Jamal Collection”, a collection of piano transcriptions. Mr. Jamal continues to record exclusively for the French Birdology label, and his albums are released on Verve and Atlantic in the United States.Mr. Jamal is an exclusive Steinway piano artist.Mr. Jamal's 'About My Life' story in his own words:At three years of age, my wonderful Uncle Lawrence stopped me while I was walking past the piano in my parents' living room. He was playing the piano and challenged me to duplicate what he was doing. Although I had never touched this or any piano, I sat down and played note for note what I had heard. “The rest is history.”What a thrilling ride it has been and continues to be. I was born in one of the most remarkable places in the world for musicians and people in the arts - Pittsburgh, PA. At seven years, I was selling newspapers to Billy Strayhorn's family. Billy had already left home; I didn't get to meet him until years later. Following is a partial listing of “Pittsburghers:”George BensonRoy EldridgeArt BlakeyErrol GarnerKenny ClarkeEarl “Fatha” HinesBilly EcksteinPhyllis HymanMaxine SullivanGene KellyStanley TurrentineJoe Kennedy, Jr.Earl WildOscar LevantMary Loe WilliamsLorin MaazelGeorge Hudson (his orchestra was my first job away from home, I was 17 and just out of high school.) - Dodo MarmarosaDakota StatonBilly StrayhornAt seven years of age I began my studies with a wonderful woman, Mary Cardwell Dawson. In addition to her great influence on me, she was very influential in the careers of many musical personalities on a local, as well as worldwide basis. One of her students is my life long friend, violinist, Joe Kennedy, Jr. Later, while still in my teens, I began studying with James Miller, as a result of Mrs. Dawson's relocation to Washington, D.C.After touring with George Hudson's Orchestra, I traveled to Chicago with The Four Strings, a group headed by violinist, Joe Kennedy, Jr. Unfortunately, the group disbanded because of a lack of employment and in 1951, I formed The Three Strings.The year 1951 was the beginning of my recording career. “Ahmad's Blues,” which I wrote in 1948 during my stint with a song and dance team out of East St. Louis, was one of my first recordings; “Ahmad's Blues” has been heard in the stage play, “Who's Afraid of Virginia Woolf?,” and recorded by Marlena Shaw, Natalie Cole, Red Garland and others. The first session also included my arrangement of the folk tune, “Billy Boy,” which arrangement was copied by many of my peers. I wrote “New Rhumba” around 1951 and it has also been recorded and performed by many others, most notably Miles Davis. My most famous recording was done in Chicago in 1958 at the Pershing Hotel with two of the most talented musicians of the century, Israel Crosby and Vernell Fournier.Five decades covering my career are most interesting to me and contain some of the historical data that you can find by clicking the indicated categories of my web page menu. What you can't find won't be available until my proposed autobiography goes to print.To Visit Ahmad Jamal's website CLICK HERE

“…when people were hearing us, they were hearing the avant-garde on the one hand, and they were hearing the history of jazz that led up to it on the other hand – because Miles was that history.” -Herbie Hancock, 1968 Professor of music and musician/composer Keith Waters at the University of Colorado, Boulder has produced a masterful analysis of the Miles Davis second quintet studio recordings in the years 1965 through 1968.  Waters analyzes the remarkable period of “controlled freedom” and collaboration between trumpeter Miles Davis, keyboardist Herbie Hancock, saxophonist Wayne Shorter, bassist Ron Carter, and drummer Tony Williams. Waters writes that “the role of analysis is to provide further, alternative, or nuanced ways into hearing the music, to consider how the moment to moment flow of improvisation resonates with or creates frictions with aspects of jazz traditions in which the players were so firmly rooted, and to hear how the recordings themselves participated in shaping that jazz tradition.” Waters’ comprehensive and nuanced strategies for analyzing pitch, rhythm/meter and form are given context in chapter 2 followed by chapter discussions of specific quintet recordings (and selected solos within) in E.S.P. (Iris, Little One, ESP, Agitation), Miles Smiles (Dolores, Orbits, Circle, Ginger Bread Boy, Freedom Jazz Dance), Sorcerer (Vonetta, Masqualero, Prince of Darkness, Pee Wee, Limbo), Nefertiti (Hand Jive, Nefertiti, Madness, Pinocchio, Riot) in chapters 3- 6, respectively.  The albums Miles in the Sky and Filles de Kilimanjaro (Country Son, Paraphernalia, Black Comedy, Stuff, Petits Machins,  Tout De Suite, Filles de Kilimanjaro), according to Waters, signaled a significant departure from previous recordings/compositions with electric piano, electric bass and rock-based rhythms,  and an “imminent shift to jazz-rock fusion.”    Later groups continued forays into jazz fusion (including those from the second quintet – Herbie Hancock’s Headhunters band, Wayne Shorter’s Weather Report and The Tony Williams Lifetime). Many of the aforementioned compositions have found their way into the “jazz canon,” though Waters cautions that lead sheets may be more indicative of jazz “pedagogies” of the time that don’t reflect the highly complex modal explorations and rhythmic nuances found in the quintet recordings. Waters writes that Miles Davis embraced the concept of “sketches” which “provided his musicians with a germinal idea, allowing room for flexibility and substantial individual input.”  This also blurred the concept of “authorship,” however, since collaborations of this kind brought varied and complex alterations to the many facets of original compositions. Waters’ own biographical sketches of quintet members Davis, Shorter, Hancock, Carter and Williams (their interactions and what they individually said about the music and their musical colleagues) give the reader fascinating insights as to how the sum of the parts of these extraordinarily skilled jazz professionals provided a literal Big Bang of collaborative innovation in a period of three and a half years. The idea of “controlled freedom,” a concept articulated by keyboardist Herbie Hancock, is an important concept in defining the second quintet’s body of work.  Quintet leader Miles Davis, Waters emphasizes, with his “palette of timbres,” and “…melodic ideas in the middle register of the trumpet, “searing lyricism on ballad playing combines tenderness with detachment.”    He was always open to new ideas, experimentation and   artistic challenge. Waters cites critic Robert Walsar’s description of Miles Davis, Learn more about your ad choices. Visit megaphone.fm/adchoices

“…when people were hearing us, they were hearing the avant-garde on the one hand, and they were hearing the history of jazz that led up to it on the other hand – because Miles was that history.” -Herbie Hancock, 1968 Professor of music and musician/composer Keith Waters at the University of Colorado, Boulder has produced a masterful analysis of the Miles Davis second quintet studio recordings in the years 1965 through 1968.  Waters analyzes the remarkable period of “controlled freedom” and collaboration between trumpeter Miles Davis, keyboardist Herbie Hancock, saxophonist Wayne Shorter, bassist Ron Carter, and drummer Tony Williams. Waters writes that “the role of analysis is to provide further, alternative, or nuanced ways into hearing the music, to consider how the moment to moment flow of improvisation resonates with or creates frictions with aspects of jazz traditions in which the players were so firmly rooted, and to hear how the recordings themselves participated in shaping that jazz tradition.” Waters’ comprehensive and nuanced strategies for analyzing pitch, rhythm/meter and form are given context in chapter 2 followed by chapter discussions of specific quintet recordings (and selected solos within) in E.S.P. (Iris, Little One, ESP, Agitation), Miles Smiles (Dolores, Orbits, Circle, Ginger Bread Boy, Freedom Jazz Dance), Sorcerer (Vonetta, Masqualero, Prince of Darkness, Pee Wee, Limbo), Nefertiti (Hand Jive, Nefertiti, Madness, Pinocchio, Riot) in chapters 3- 6, respectively.  The albums Miles in the Sky and Filles de Kilimanjaro (Country Son, Paraphernalia, Black Comedy, Stuff, Petits Machins,  Tout De Suite, Filles de Kilimanjaro), according to Waters, signaled a significant departure from previous recordings/compositions with electric piano, electric bass and rock-based rhythms,  and an “imminent shift to jazz-rock fusion.”    Later groups continued forays into jazz fusion (including those from the second quintet – Herbie Hancock’s Headhunters band, Wayne Shorter’s Weather Report and The Tony Williams Lifetime). Many of the aforementioned compositions have found their way into the “jazz canon,” though Waters cautions that lead sheets may be more indicative of jazz “pedagogies” of the time that don’t reflect the highly complex modal explorations and rhythmic nuances found in the quintet recordings. Waters writes that Miles Davis embraced the concept of “sketches” which “provided his musicians with a germinal idea, allowing room for flexibility and substantial individual input.”  This also blurred the concept of “authorship,” however, since collaborations of this kind brought varied and complex alterations to the many facets of original compositions. Waters’ own biographical sketches of quintet members Davis, Shorter, Hancock, Carter and Williams (their interactions and what they individually said about the music and their musical colleagues) give the reader fascinating insights as to how the sum of the parts of these extraordinarily skilled jazz professionals provided a literal Big Bang of collaborative innovation in a period of three and a half years. The idea of “controlled freedom,” a concept articulated by keyboardist Herbie Hancock, is an important concept in defining the second quintet’s body of work.  Quintet leader Miles Davis, Waters emphasizes, with his “palette of timbres,” and “…melodic ideas in the middle register of the trumpet, “searing lyricism on ballad playing combines tenderness with detachment.”    He was always open to new ideas, experimentation and   artistic challenge. Waters cites critic Robert Walsar’s description of Miles Davis, Learn more about your ad choices. Visit megaphone.fm/adchoices

“…when people were hearing us, they were hearing the avant-garde on the one hand, and they were hearing the history of jazz that led up to it on the other hand – because Miles was that history.” -Herbie Hancock, 1968 Professor of music and musician/composer Keith Waters at the University of Colorado, Boulder has produced a masterful analysis of the Miles Davis second quintet studio recordings in the years 1965 through 1968.  Waters analyzes the remarkable period of “controlled freedom” and collaboration between trumpeter Miles Davis, keyboardist Herbie Hancock, saxophonist Wayne Shorter, bassist Ron Carter, and drummer Tony Williams. Waters writes that “the role of analysis is to provide further, alternative, or nuanced ways into hearing the music, to consider how the moment to moment flow of improvisation resonates with or creates frictions with aspects of jazz traditions in which the players were so firmly rooted, and to hear how the recordings themselves participated in shaping that jazz tradition.” Waters’ comprehensive and nuanced strategies for analyzing pitch, rhythm/meter and form are given context in chapter 2 followed by chapter discussions of specific quintet recordings (and selected solos within) in E.S.P. (Iris, Little One, ESP, Agitation), Miles Smiles (Dolores, Orbits, Circle, Ginger Bread Boy, Freedom Jazz Dance), Sorcerer (Vonetta, Masqualero, Prince of Darkness, Pee Wee, Limbo), Nefertiti (Hand Jive, Nefertiti, Madness, Pinocchio, Riot) in chapters 3- 6, respectively.  The albums Miles in the Sky and Filles de Kilimanjaro (Country Son, Paraphernalia, Black Comedy, Stuff, Petits Machins,  Tout De Suite, Filles de Kilimanjaro), according to Waters, signaled a significant departure from previous recordings/compositions with electric piano, electric bass and rock-based rhythms,  and an “imminent shift to jazz-rock fusion.”    Later groups continued forays into jazz fusion (including those from the second quintet – Herbie Hancock’s Headhunters band, Wayne Shorter’s Weather Report and The Tony Williams Lifetime). Many of the aforementioned compositions have found their way into the “jazz canon,” though Waters cautions that lead sheets may be more indicative of jazz “pedagogies” of the time that don’t reflect the highly complex modal explorations and rhythmic nuances found in the quintet recordings. Waters writes that Miles Davis embraced the concept of “sketches” which “provided his musicians with a germinal idea, allowing room for flexibility and substantial individual input.”  This also blurred the concept of “authorship,” however, since collaborations of this kind brought varied and complex alterations to the many facets of original compositions. Waters’ own biographical sketches of quintet members Davis, Shorter, Hancock, Carter and Williams (their interactions and what they individually said about the music and their musical colleagues) give the reader fascinating insights as to how the sum of the parts of these extraordinarily skilled jazz professionals provided a literal Big Bang of collaborative innovation in a period of three and a half years. The idea of “controlled freedom,” a concept articulated by keyboardist Herbie Hancock, is an important concept in defining the second quintet’s body of work.  Quintet leader Miles Davis, Waters emphasizes, with his “palette of timbres,” and “…melodic ideas in the middle register of the trumpet, “searing lyricism on ballad playing combines tenderness with detachment.”    He was always open to new ideas, experimentation and   artistic challenge. Waters cites critic Robert Walsar’s description of Miles Davis, Learn more about your ad choices. Visit megaphone.fm/adchoices

“…when people were hearing us, they were hearing the avant-garde on the one hand, and they were hearing the history of jazz that led up to it on the other hand – because Miles was that history.” -Herbie Hancock, 1968 Professor of music and musician/composer Keith Waters at the University of Colorado, Boulder has produced a masterful analysis of the Miles Davis second quintet studio recordings in the years 1965 through 1968.  Waters analyzes the remarkable period of “controlled freedom” and collaboration between trumpeter Miles Davis, keyboardist Herbie Hancock, saxophonist Wayne Shorter, bassist Ron Carter, and drummer Tony Williams. Waters writes that “the role of analysis is to provide further, alternative, or nuanced ways into hearing the music, to consider how the moment to moment flow of improvisation resonates with or creates frictions with aspects of jazz traditions in which the players were so firmly rooted, and to hear how the recordings themselves participated in shaping that jazz tradition.” Waters' comprehensive and nuanced strategies for analyzing pitch, rhythm/meter and form are given context in chapter 2 followed by chapter discussions of specific quintet recordings (and selected solos within) in E.S.P. (Iris, Little One, ESP, Agitation), Miles Smiles (Dolores, Orbits, Circle, Ginger Bread Boy, Freedom Jazz Dance), Sorcerer (Vonetta, Masqualero, Prince of Darkness, Pee Wee, Limbo), Nefertiti (Hand Jive, Nefertiti, Madness, Pinocchio, Riot) in chapters 3- 6, respectively.  The albums Miles in the Sky and Filles de Kilimanjaro (Country Son, Paraphernalia, Black Comedy, Stuff, Petits Machins,  Tout De Suite, Filles de Kilimanjaro), according to Waters, signaled a significant departure from previous recordings/compositions with electric piano, electric bass and rock-based rhythms,  and an “imminent shift to jazz-rock fusion.”    Later groups continued forays into jazz fusion (including those from the second quintet – Herbie Hancock's Headhunters band, Wayne Shorter's Weather Report and The Tony Williams Lifetime). Many of the aforementioned compositions have found their way into the “jazz canon,” though Waters cautions that lead sheets may be more indicative of jazz “pedagogies” of the time that don't reflect the highly complex modal explorations and rhythmic nuances found in the quintet recordings. Waters writes that Miles Davis embraced the concept of “sketches” which “provided his musicians with a germinal idea, allowing room for flexibility and substantial individual input.”  This also blurred the concept of “authorship,” however, since collaborations of this kind brought varied and complex alterations to the many facets of original compositions. Waters' own biographical sketches of quintet members Davis, Shorter, Hancock, Carter and Williams (their interactions and what they individually said about the music and their musical colleagues) give the reader fascinating insights as to how the sum of the parts of these extraordinarily skilled jazz professionals provided a literal Big Bang of collaborative innovation in a period of three and a half years. The idea of “controlled freedom,” a concept articulated by keyboardist Herbie Hancock, is an important concept in defining the second quintet's body of work.  Quintet leader Miles Davis, Waters emphasizes, with his “palette of timbres,” and “…melodic ideas in the middle register of the trumpet, “searing lyricism on ballad playing combines tenderness with detachment.”    He was always open to new ideas, experimentation and   artistic challenge. Waters cites critic Robert Walsar's description of Miles Davis, Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

“…when people were hearing us, they were hearing the avant-garde on the one hand, and they were hearing the history of jazz that led up to it on the other hand – because Miles was that history.” -Herbie Hancock, 1968 Professor of music and musician/composer Keith Waters at the University of Colorado, Boulder has produced a masterful analysis of the Miles Davis second quintet studio recordings in the years 1965 through 1968.  Waters analyzes the remarkable period of “controlled freedom” and collaboration between trumpeter Miles Davis, keyboardist Herbie Hancock, saxophonist Wayne Shorter, bassist Ron Carter, and drummer Tony Williams. Waters writes that “the role of analysis is to provide further, alternative, or nuanced ways into hearing the music, to consider how the moment to moment flow of improvisation resonates with or creates frictions with aspects of jazz traditions in which the players were so firmly rooted, and to hear how the recordings themselves participated in shaping that jazz tradition.” Waters' comprehensive and nuanced strategies for analyzing pitch, rhythm/meter and form are given context in chapter 2 followed by chapter discussions of specific quintet recordings (and selected solos within) in E.S.P. (Iris, Little One, ESP, Agitation), Miles Smiles (Dolores, Orbits, Circle, Ginger Bread Boy, Freedom Jazz Dance), Sorcerer (Vonetta, Masqualero, Prince of Darkness, Pee Wee, Limbo), Nefertiti (Hand Jive, Nefertiti, Madness, Pinocchio, Riot) in chapters 3- 6, respectively.  The albums Miles in the Sky and Filles de Kilimanjaro (Country Son, Paraphernalia, Black Comedy, Stuff, Petits Machins,  Tout De Suite, Filles de Kilimanjaro), according to Waters, signaled a significant departure from previous recordings/compositions with electric piano, electric bass and rock-based rhythms,  and an “imminent shift to jazz-rock fusion.”    Later groups continued forays into jazz fusion (including those from the second quintet – Herbie Hancock's Headhunters band, Wayne Shorter's Weather Report and The Tony Williams Lifetime). Many of the aforementioned compositions have found their way into the “jazz canon,” though Waters cautions that lead sheets may be more indicative of jazz “pedagogies” of the time that don't reflect the highly complex modal explorations and rhythmic nuances found in the quintet recordings. Waters writes that Miles Davis embraced the concept of “sketches” which “provided his musicians with a germinal idea, allowing room for flexibility and substantial individual input.”  This also blurred the concept of “authorship,” however, since collaborations of this kind brought varied and complex alterations to the many facets of original compositions. Waters' own biographical sketches of quintet members Davis, Shorter, Hancock, Carter and Williams (their interactions and what they individually said about the music and their musical colleagues) give the reader fascinating insights as to how the sum of the parts of these extraordinarily skilled jazz professionals provided a literal Big Bang of collaborative innovation in a period of three and a half years. The idea of “controlled freedom,” a concept articulated by keyboardist Herbie Hancock, is an important concept in defining the second quintet's body of work.  Quintet leader Miles Davis, Waters emphasizes, with his “palette of timbres,” and “…melodic ideas in the middle register of the trumpet, “searing lyricism on ballad playing combines tenderness with detachment.”    He was always open to new ideas, experimentation and   artistic challenge. Waters cites critic Robert Walsar's description of Miles Davis,

“…when people were hearing us, they were hearing the avant-garde on the one hand, and they were hearing the history of jazz that led up to it on the other hand – because Miles was that history.” -Herbie Hancock, 1968 Professor of music and musician/composer Keith Waters at the University of Colorado, Boulder has produced a masterful analysis of the Miles Davis second quintet studio recordings in the years 1965 through 1968.  Waters analyzes the remarkable period of “controlled freedom” and collaboration between trumpeter Miles Davis, keyboardist Herbie Hancock, saxophonist Wayne Shorter, bassist Ron Carter, and drummer Tony Williams. Waters writes that “the role of analysis is to provide further, alternative, or nuanced ways into hearing the music, to consider how the moment to moment flow of improvisation resonates with or creates frictions with aspects of jazz traditions in which the players were so firmly rooted, and to hear how the recordings themselves participated in shaping that jazz tradition.” Waters’ comprehensive and nuanced strategies for analyzing pitch, rhythm/meter and form are given context in chapter 2 followed by chapter discussions of specific quintet recordings (and selected solos within) in E.S.P. (Iris, Little One, ESP, Agitation), Miles Smiles (Dolores, Orbits, Circle, Ginger Bread Boy, Freedom Jazz Dance), Sorcerer (Vonetta, Masqualero, Prince of Darkness, Pee Wee, Limbo), Nefertiti (Hand Jive, Nefertiti, Madness, Pinocchio, Riot) in chapters 3- 6, respectively.  The albums Miles in the Sky and Filles de Kilimanjaro (Country Son, Paraphernalia, Black Comedy, Stuff, Petits Machins,  Tout De Suite, Filles de Kilimanjaro), according to Waters, signaled a significant departure from previous recordings/compositions with electric piano, electric bass and rock-based rhythms,  and an “imminent shift to jazz-rock fusion.”    Later groups continued forays into jazz fusion (including those from the second quintet – Herbie Hancock’s Headhunters band, Wayne Shorter’s Weather Report and The Tony Williams Lifetime). Many of the aforementioned compositions have found their way into the “jazz canon,” though Waters cautions that lead sheets may be more indicative of jazz “pedagogies” of the time that don’t reflect the highly complex modal explorations and rhythmic nuances found in the quintet recordings. Waters writes that Miles Davis embraced the concept of “sketches” which “provided his musicians with a germinal idea, allowing room for flexibility and substantial individual input.”  This also blurred the concept of “authorship,” however, since collaborations of this kind brought varied and complex alterations to the many facets of original compositions. Waters’ own biographical sketches of quintet members Davis, Shorter, Hancock, Carter and Williams (their interactions and what they individually said about the music and their musical colleagues) give the reader fascinating insights as to how the sum of the parts of these extraordinarily skilled jazz professionals provided a literal Big Bang of collaborative innovation in a period of three and a half years. The idea of “controlled freedom,” a concept articulated by keyboardist Herbie Hancock, is an important concept in defining the second quintet’s body of work.  Quintet leader Miles Davis, Waters emphasizes, with his “palette of timbres,” and “…melodic ideas in the middle register of the trumpet, “searing lyricism on ballad playing combines tenderness with detachment.”    He was always open to new ideas, experimentation and   artistic challenge. Waters cites critic Robert Walsar’s description of Miles Davis, Learn more about your ad choices. Visit megaphone.fm/adchoices

Sonny Rollins pioneered a bass drum rhythm section with no piano so his saxophone playing would stand out as well as be a rhythm instrument itself. Rollins joined the Miles Davis Quintet in 1955.

Sonny Rollins pioneered a bass drum rhythm section with no piano so his saxophone playing would stand out as well as be a rhythm instrument itself. Rollins joined the Miles Davis Quintet in 1955.

Sonny Rollins pioneered a bass drum rhythm section with no piano so his saxophone playing would stand out as well as be a rhythm instrument itself. Rollins joined the Miles Davis Quintet in 1955.

"The Studio Recordings of the Miles Davis Quintet, 1965-68" discussion by author Keith Waters

"The Studio Recordings of the Miles Davis Quintet, 1965-68" discussion by author Keith Waters

What Happens When Miles Davis and John Coltrane Step to the Stage at a Thelonious Monk Performance? That's the question I posed while listening to a set of Jazz CDs sent to me by the people behind http://www.yourfriendorfoe.com/. Originally conceived to be a stream/download on the Friend or Foe website, this 37 minute mix, designed to feel like an actual live Jazz club performance, is now available here for you to add to your collection. 10/10/10 is what I would give each one of these Jazz giants on that mythical scale. October 10th is also Thelonious Monk's birthday. My son's name is Thelonious and that's him in the photo practicing piano (on a synthesizer - look at the photo frame on his left to see the concentration in his eyes). His lessons are on a real piano. Need I say more? Just a little...I wrote a great story about this mix for their site but when the site changed, away it went and so did my words. I found a few on the music blog of a NYC man about town & here's a copy & paste: “I hope this jazz mix is regarded as an offering of something that could possibly be an introduction to a different approach to musical creativity where instrument virtuosity, versatility, imagination, dexterity, improvisation and communication are the essential components.” 01 Thelonious Monk – “Straight No Chaser” (from Thelonious Monk In Italy) 02 Miles Davis – “Blues By Five” – (from Cookin’ with The Miles Davis Quintet) 03 Thelonious Monk – “Just You Just Me” (from The Unique) 04 Thelonious Monk – “Honeysuckle Rose” (from The Unique) 05 John Coltrane – “Straight Street” (from Coltrane) 06 Miles Davis – “I’ll Remember April” (from Blue Haze) 07 Thelonious Monk – “Liza (All The Clouds’ll Roll Away)” (from The Unique) Thanks D http://www.treesforbreakfast.com/2008/05/qooldjmarv-your-friend-or-foe-jam-session-podcast-1/ https://www.facebook.com/QoolMarv

Pianist Steve Kuhn speaks passionately about the first great Miles Davis Quintet.

Here's a Miles Davis Quintet number that ought to get played more. Go buy "E.S.P." today.Is it poor blogging etiquette to change the post date and time so I can continue to pretend I'm putting up a new song each day?Eighty-One

Pianist and bandleader Chick Corea himself guides Alyn Shipton through some of his finest recordings. Few musicians in jazz have the extraordinary stylistic range of Chick Corea. His work ranges from acoustic bebop to rock fusion, from free jazz to the classic Miles Davis Quintet, as well as his own groundbreaking ensembles Return to Forever and the Elektric Band.