Podcast appearances and mentions of Omar Hakim

Episode 78: Omar Hakim. Today on the pod we've got one of the most recorded drummers of all time. The legendary Omar Hakim! We went deep for over 2 hours, and unlocked SO MUCH GOLD, so we're releasing this conversation in two parts. In Part 1, Omar shares the stories behind some of his most iconic recordings, including his legendary session with David Bowie on Let's Dance, his deep musical relationship with Nile Rodgers, and his time in Weather Report. We also get into the wild story of how he tracked the entire Dire Straits album "Brothers in Arms" (including the questions I've always had about Money for Nothing). With this interview, I hope you'll now understand how Omar became the legend he is today. I think your mind will be blown when you hear about the caliber of musicians that were around him since he was a kid! Part 2 drops next week. For now, here's the first hour of my conversation with the amazing Omar Hakim. ‘Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights. (0:00:00) INTRO (0:04:57) STARTING PROFESSIONALLY AT AGE 10 (0:05:57) JAMAICA QUEENS, NEW YORK (0:07:13) TOURING WITH JAY MASON AT AGE 15 (0:08:08) OPENING FOR HALL & OATS, PLAYING ARENAS AS A TEENAGER (0:08:42) LABELLE, LADY MARMALADE (0:11:15) JOINING WEATHER REPORT (0:11:35) DAVID SANDBOURNE, “AS WE SPEAK” RECORD, MARCUS MILLER (0:12:10) CARLY SIMON (0:13:29) OTHER GIGS IN TEENAGE YEARS (0:14:18) OPENING FOR “RETURN TO FOREVER” (0:15:00) CHICK COREA, STANLEY CLARKE STORY (0:20:02) GETTING THE GIG WITH WEATHER REPORT (0:21:41) MILES DAVIS (0:22:53) GETTING THE GIG WITH WEATHER REPORT CONTINUED (0:24:57) HUGH MASEKELA, VICTOR BAILEY (0:26:56) HOW THE WEATHER REPORT GIG CHANGED OMAR'S LIFE (0:27:31) NILE RODGERS (0:28:32) DAVID BOWIE'S “LET'S DANCE” (0:33:08) BECOMING A MUSICAL CHAMELEON (0:34:08) “LET'S DANCE” DRUM PART, THOUGHT PROCESS (0:36:53) RECORDING “RICOCHET” WITH DAVID BOWIE (0:38:22) TIPS FOR SESSION MUSICIANS (0:40:05) GROWING UP WITH NILE RODGERS (0:41:59) NILE RODGERS, “GOOD TIMES” MASTERING SESSION (0:44:58) NILE RODGERS AS A PRODUCER (0:47:23) DAVID BOWIE SESSIONS, SAYING NO TO TOURING (0:50:26) DAVID BOWIE “TONIGHT” ALBUM RECORDING (0:51:42) TURNING DOWN BOWIE FOR WEATHER REPORT (0:55:22) DIRE STRAITS “MONEY FOR NOTHING” Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated!   Listen to the audio form of this podcast wherever you get your podcasts: https://elmolovano.komi.io/ Follow Omar: https://www.instagram.com/omarhakimmusic/ Follow Go With Elmo: https://www.instagram.com/gowithelmo/ https://www.tiktok.com/@gowithelmo https://x.com/gowithelmopod Follow Elmo Lovano: https://Instagram.com/elmolovano https://x.com/elmolovano

"The Dream Of The Blue Turtles" war 1985 das erste Soloalbum von Sting nach seiner Zeit bei The Police. Die Idee dazu – der Titel lässt es erahnen – basiert auf einem Traum von ihm. Vor 40 Jahren, am 17. Juni 1985, ist "The Dream Of The Blue Turtles" von Sting herausgekommen. Sting selbst kann es kaum glauben, dass es schon so lange her sein soll, hat er im SWR1 Interview erzählt: "Es fühlt sich überhaupt nicht an wie 40 Jahre, viel mehr so als ob es gestern gewesen wäre. Es überrascht mich immer, wie schnell die Zeit vergeht". Nachdem die Zeit für The Police 1984 geendet hatte, wollte Sting, der mit bürgerlichem Namen Gordon Sumner heißt, sich weiterentwickeln. Weg von der Musik mit einem Rockband-Powertrio und hin zu komplexerer Musik, auch mit Jazzelementen. Für dieses Vorhaben hat sich der britische Sänger fantastische Jazzmusiker ins Studio geholt. Unter anderem war auch Omar Hakim dabei, der gerade ein Jahr zuvor den Schlagzeuger bei den Dire Straits ersetzt hatte, während der Aufnahmen zum legendären Album "Brothers In Arms". Weg vom Pop und Rock, hin zum Jazz. Für einen etablierten Künstler, der mit seinen Songs schon Millionen Menschen erreicht hat, war das eine enorme Veränderung, die ein gleichermaßen großes Risiko mit sich bringt, welches Sting allerdings nicht scheut. Und auch wenn die Zuwendung zum Jazz auf dem Album für einige Fans von The Police ungewöhnlich erscheint, ist es für Sting eigentlich eher eine Rückbesinnung auf seine musikalischen Ursprünge gewesen. Vor seiner Zeit bei The Police hat der Musiker nämlich in unterschiedlichen Jazzbands gespielt. Musikalisch ist "The Dream Of The Blue Turtles" von Sting zwar sehr durchdacht und hat durch die vielen musikalischen Ausnahmetalente an den Instrumenten auch sehr komplexe Passagen, in denen sich die Jazzmusiker wirklich austoben können. Doch für den Hörer startet dieses Album gleich mit zwei sehr eingängigen Nummern, die auf den ersten Blick gar nicht so komplex wirken. Zum einen wäre das der Album-Opener "If You Love Someone Set Them Free" und das karibisch (mehr als nur angehauchte) "Love Is The Seventh Wave". Mit seinem Album "The Dream Of The Blue Turtles" und seiner neuen musikalischen Ausrichtung hat Sting 1985 mit Sicherheit einige Fans überrascht, vielleicht sogar schockiert, aber auch viele neue Fans dazugewonnen. Für Nina Waßmundt ist aber vor allem dieser neue Weg, den Sting mit der Platte gegangen ist, ein Grund dafür, dass dieses Album ein echter Meilenstein geworden ist: "Das Album ist ein absolutes Meisterwerk in der Verschmelzung von Pop, Rock und Jazz! Musik schreibt immer dann Geschichte, wenn sie etwas Traditionelles aufbricht und weiterentwickelt und der Künstler was Eigenes dazu gibt und was ganz Neues schafft. Und genau das macht Sting hier." __________ Über diese Songs vom Album "The Dream Of The Blue Turtles" wird im Podcast gesprochen: (14:08) – "If You Love Somebody Set Them Free"(21:21) – "Love Is The Seventh Wave"(28:05) – "Russians"(42:45) – "Children's Crusade"(50:44) – "Moon Over Bourbon Street" __________ Alle Shownotes und weiterführenden Links zur Folge: https://1.ard.de/sting-the-dream-of-the-blue-turtles __________ Ihr wollt mehr Podcasts wie diesen? Abonniert "Meilensteine – Alben, die Geschichte machten"! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

As long time listeners of the show know, The Wolf and Action Jackson were and remain huge fans of The Police. When they were 10, Synchronicity and Every Breath You Take ruled the albums and singles charts while being broadcast hourly on MTV. We'd thought we'd found the rock band we'd grow up with. However, lead singer and songwriter Sting had other plans. He'd grown tired to the infighting with Andy Summers and Stewart Copeland and wanted to take his songwriting and good looks solo. Dream of the Blue Turtles was Sting's first solo album making its debut June 17, 1985 and offered a more mature and jazzy approach to his songwriting. Enlisting the help of veterans like Darryl Jones (bass), Omar Hakim (drums), Kenny Kirkland (keys) and Branford Marsalis (horns), Sting created a more dynamic soundscape than he could have in The Police and took a big step towards being recognized as one of the premier songwriters of his generation. The first single, Feel Free To Set Them Free, set a groove and took advantage of new video technology for use on MTV. He revisited his ska/reggae roots on Love Is The Seventh Wave and offered a prayer of hope in the worry of the Cold War with Russians. However, Fortress Around Your Heart may be the best song he's ever written and it closes the album with style and substance. We may have wanted The Police to go on forever but Sting proved he could do so much more and this album went 3x platinum in the US with huge success around the world. Check out our new website: Ugly American Werewolf in London Website Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

As long time listeners of the show know, The Wolf and Action Jackson were and remain huge fans of The Police. When they were 10, Synchronicity and Every Breath You Take ruled the albums and singles charts while being broadcast hourly on MTV. We'd thought we'd found the rock band we'd grow up with. However, lead singer and songwriter Sting had other plans. He'd grown tired to the infighting with Andy Summers and Stewart Copeland and wanted to take his songwriting and good looks solo. Dream of the Blue Turtles was Sting's first solo album making its debut June 17, 1985 and offered a more mature and jazzy approach to his songwriting. Enlisting the help of veterans like Darryl Jones (bass), Omar Hakim (drums), Kenny Kirkland (keys) and Branford Marsalis (horns), Sting created a more dynamic soundscape than he could have in The Police and took a big step towards being recognized as one of the premier songwriters of his generation. The first single, Feel Free To Set Them Free, set a groove and took advantage of new video technology for use on MTV. He revisited his ska/reggae roots on Love Is The Seventh Wave and offered a prayer of hope in the worry of the Cold War with Russians. However, Fortress Around Your Heart may be the best song he's ever written and it closes the album with style and substance. We may have wanted The Police to go on forever but Sting proved he could do so much more and this album went 3x platinum in the US with huge success around the world. Check out our new website: Ugly American Werewolf in London Website Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Nicole Zuraitis is a 2X GRAMMY® winning and 4X GRAMMY-nominated jazz singer-songwriter, pianist and arranger, New York-based bandleader, and winner of the prestigious 2021 American Traditions Vocal Competition Gold Medal. With a “heart as big as her remarkable voice,” (Jazz Police), Nicole is a trailblazing artist who isredefining vocal jazz, earning her a place as one of the top artists and "prolificsongwriters" (Broadway World) to watch in jazz and beyond. As a recording artist, Nicole has released five albums as leader, and her sixth albumHow Love Begins, co-produced with eight-time GRAMMY-winner Christian McBride,features all original music and was awarded the 2024 GRAMMY for BEST JAZZVOCAL ALBUM. Nicole is the only artist ever to have won this award who wrote andarranged the entire album herself. In addition to leading her quartet, Nicole performedand recorded with the Birdland Big Band as premier vocalist before taking off as a large ensemble leader of her own, co-producing the Dan Pugach Big Band and guesting for major European big bands. She has headlined at Newport Jazz Festival, Melbourne International Jazz Festival, and Tanglewood, along with iconic NYC jazz clubs like Dizzy’s Club at Jazz at Lincoln Center, Birdland, the Blue Note, the Carlyle, 54 Below and the late, great 55 Bar. She also has appeared as a featured soloist with the Savannah Philharmonic, Asheville Symphony, and Macon Pops. Nicole is a featured artist and producer on her husband, renowned drummer,bandleader, and composer Dan Pugach’s 2025 GRAMMY-winning album, “BiancaReimagined: Music for Paws and Persistence” (Best Large Ensemble) for which theycomposed the GRAMMY-nominated song, “Little Fears” (Best Jazz Performance). Nicole is a vocalist on the GRAMMY-winning “Last Sunday in Plains: A CentennialCelebration” alongside Jon Batiste, Keb’ Mo’, and LeeAnn Rimes. In 2024, BroadwayWorld honored Nicole with the “Best Big Band Show” Award. Nicole's arrangement ofDolly Parton's Jolene, co-written with renowned drummer and bandleader Dan Pugach, was nominated for a 2019 GRAMMY®, springboarding her career and making her a household name in the modern-day jazz landscape. Nicole has collaborated with an extensive list of luminaries, including Christian McBride, David Cook, Gilad Hekselman, Veronica Swift, Benny Benack, Stephen Feifke, Cyrille Aimee, Antonio Sanchez, Dave Stryker, Omar Hakim, Rachel Z, Helen Sung, Melanie, Morgan James, Darren Criss, Livingston Taylor, and Bernard Purdie. She is a proud educator and currently vocal faculty at NYU and SUNY Purchase. FOLLOW HARMONYTALK PODCAST @harmonytalkpodcast Join Our Mailing List: https://mailchi.mp/fa5d124c4e19/harmonytalk-mailing-list Instagram: https://instagram.com/harmonytalkpodcast Facebook: https://www.facebook.com/harmonytalkpodcast YouTube: https://youtube.com/@HarmonyTALKPodcast LinkedIn: https://www.linkedin.com/company/harmonytalkpodcast https://harmonytalkpodcast.com/ Follow Host, Greg Frigoletto: https://www.instagram.com/gjfrig7/ Email harmonytalkpodcast@gmail.com for sponsorship and guest opportunities! See omnystudio.com/listener for privacy information.

While Dire Straits were a solid band that had radio hits since their first album was released in 1978, there was nothing to portend the outrageous fortune they would find in 1985 with Brothers in Arms. Their previous album, Love Over Gold, failed to go platinum in the US or produce any big radio hits. Twisting By The Pool from their 1983 EP was catchy but also kitschy and made some wonder if they were trying to parody the oldies instead of creating an homage. While the live album Alchemy was fantastic, it was not a huge seller. Lead singer, lead guitarist and songwriter Mark Knopfler had success in the studio with Steely Dan and Bob Dylan, produced some great movie soundtracks and wrote songs for others like Private Dancer for Tina Turner. But he hadn't made a Dire Straits album that captured the public's imagination. Until they made Brothers In Arms in 1985.... Mark brought in a young keyboard player named Guy Fletcher to give his songs more texture and eventually brought in legendary session drummer Omar Hakim to lay down all the drum parts. The result was an album that hit #1 around the world selling more than 4.5 million in the UK, 9 million in the US and 30 million around the world. The single Money For Nothing topped the charts around the world and featured Sting singing the famous line I Want My MTV. Of course at the time MTV played videos by artists who wrote music and played instruments and between Sting's catchphrase and the cutting edge (at the time) computer animation, it went into heavy rotation and would be heralded as one of the greatest videos for years. But the sound was so crisp on this album it was used to sell CD players in stores and was the first record to sell more on CD than on LP, thanks in large part to recording on digital tape and Knopfler's never ending search for quality sound. Songs like Your Latest Trick and Why Worry may be mellow but you can hear every note. Walk Of Life was fun, upbeat track that featured 2 different videos for the US and UK markets. And while the second side of the album might not have featured the big hits as the first side, Knopfler's lyrics take on more serious notions like war, life and death. the final and title track brought up visions of pain from the Falklands War that had affected so many in the UK and Argentina and is seen as a respectful tribute to those who fought (and often played at military funerals0. You can't tell the story of MTV, the 1980s or Dire Straits without this album and we dug in for an in-depth conversation about its impact at the time and how it sound today. Plus, we have a little audio from Guy Fletcher talking about Dolby Atmos mixes for the upcoming 40th anniversary edition which will include a concert from the Live in 85 tour. This was a big one and we treat it accordingly. Check out our new website: Ugly American Werewolf in London Website Visit our sponsor RareVinyl.com and use the code UGLY to save 10%! Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

While Dire Straits were a solid band that had radio hits since their first album was released in 1978, there was nothing to portend the outrageous fortune they would find in 1985 with Brothers in Arms. Their previous album, Love Over Gold, failed to go platinum in the US or produce any big radio hits. Twisting By The Pool from their 1983 EP was catchy but also kitschy and made some wonder if they were trying to parody the oldies instead of creating an homage. While the live album Alchemy was fantastic, it was not a huge seller. Lead singer, lead guitarist and songwriter Mark Knopfler had success in the studio with Steely Dan and Bob Dylan, produced some great movie soundtracks and wrote songs for others like Private Dancer for Tina Turner. But he hadn't made a Dire Straits album that captured the public's imagination. Until they made Brothers In Arms in 1985.... Mark brought in a young keyboard player named Guy Fletcher to give his songs more texture and eventually brought in legendary session drummer Omar Hakim to lay down all the drum parts. The result was an album that hit #1 around the world selling more than 4.5 million in the UK, 9 million in the US and 30 million around the world. The single Money For Nothing topped the charts around the world and featured Sting singing the famous line I Want My MTV. Of course at the time MTV played videos by artists who wrote music and played instruments and between Sting's catchphrase and the cutting edge (at the time) computer animation, it went into heavy rotation and would be heralded as one of the greatest videos for years. But the sound was so crisp on this album it was used to sell CD players in stores and was the first record to sell more on CD than on LP, thanks in large part to recording on digital tape and Knopfler's never ending search for quality sound. Songs like Your Latest Trick and Why Worry may be mellow but you can hear every note. Walk Of Life was fun, upbeat track that featured 2 different videos for the US and UK markets. And while the second side of the album might not have featured the big hits as the first side, Knopfler's lyrics take on more serious notions like war, life and death. the final and title track brought up visions of pain from the Falklands War that had affected so many in the UK and Argentina and is seen as a respectful tribute to those who fought (and often played at military funerals0. You can't tell the story of MTV, the 1980s or Dire Straits without this album and we dug in for an in-depth conversation about its impact at the time and how it sound today. Plus, we have a little audio from Guy Fletcher talking about Dolby Atmos mixes for the upcoming 40th anniversary edition which will include a concert from the Live in 85 tour. This was a big one and we treat it accordingly. Check out our new website: Ugly American Werewolf in London Website Twitter Threads Instagram YouTube LInkTree www.pantheonpodcasts.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Talk of Fame Podcast, we're thrilled to welcome Julian Pavone! Julian is a multi-genre drummer, arranger, producer, and band leader. He has shared the stage with legends such as Omar Hakim in Berklee's 40th Anniversary Signature Showcase, as well as recorded for Berklee's Snarky Puppy Ensemble. He broke the Guinness World Record for "Youngest Professional Drummer" at age 4, and believe it or not, still holds the record today. Julian endorses Vic Firth, Sabian Cymbals, Tycoon Percussion, and Cympad, as well as working with and recommending Fatfreq in-ear monitors. He currently studies Contemporary Writing and Production and Performance at Berklee College of Music and can be found performing in the greater Boston and New York area. Outside of drumming, Julian is also the President and Founder of The Miracle Club, a Berklee club that hosts Battle of the Band competitions for charity. In the club's first series of events, Julian helped raise over $13,000 for Boston Children's Hospital, as well as appearing on Boston 25. Through this opportunity, Berklee students are able to present their artistry and gain exposure while simultaneously supporting a good cause. This year, The Miracle Club will be in support of the Save The Music Foundation, a charity whose mission is “to help students, schools, and communities reach their full potential through the power of making music.  Don't miss this inspiring conversation filled with stories of Inspiration, creativity, and the power of music. Follow Me: Instagram: @Officialkyliemontigney @Talkoffamepod Facebook: @Officialkyliemontigney @Talkoffame Twitter: @Kyliemontigney4 About Me: Hi, I'm Kylie! I'm passionate about sports, spending time with family, traveling, and connecting with people who inspire me. I love listening to people's stories and sharing their journeys with the world!

Drummer Omar Hakim is one of those players you know it's him when you hear him. He's been the go-to guy for dozens of legends for over 40 years. Artists like Miles Davis, Sting, Bowie, Dire Straits, Kate Bush rely on him to make them the best they can be. These days, Omar is excited about a new project called Sonic Boom Squad which is almost a solo project. In a fit of creativity he wrote and recorded several funk rock songs along the lines of the Isley Brothers or Mother's Finest and is releasing them over the next few months. We get into all of this as well as playing with Tracy Chapman, Anita Baker, Bruce Hornsby, Bob Geldof, and even Don Johnson and your favorite Mariah Carey Christmas song! There's a lot here. Enjoy!  www.facebook.com/OmarHakimMusic www.patreon.com/thehustlepod

Narada speaks with American drummer, producer, arranger and composer Omar Hakim. His session work covers jazz, jazz fusion, and pop music. He has worked with Weather Report, David Bowie, Foo Fighters, Chic, Sting, Madonna, Dire Straits, Bryan Ferry, Journey, Kate Bush, George Benson, Miles Davis, Daft Punk, Mariah Carey, The Pussycat Dolls, David Lee Roth, and Celine Dion.! Visit Narada at his website and socials and leave a comment, like and subscribe if you enjoyed the podcast!Website: https://www.naradamichaelwalden.com/allinpodcastInstagram: https://www.instagram.com/officialnaradaApple Music https://podcasts.apple.com/us/podcast/all-in-with-narada-michael-walden/id1470173526Spotify: https://open.spotify.com/show/5agWJLSreLNze8Sjxit4Na?si=928a8dd6316d4986

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Este especial de nuestro podcast está dedicado a uno de los grandes intérpretes de armónica del momento: el suizo Grégoire Maret. Repasamos sus colaboraciones junto a Bebel Gilberto, George Benson, Nicole Henry, Kurt Elling, Pat Metheny, Paulette McWilliams, Omar Hakim, Raúl MIdón, Marcus Miller, Keiko Matsui y Frank McComb.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

This week we pay tribute to David Sanborn selecting projects from his extensive discography, which showcase both his versatility and his signature, sweetly blistering, sound. In this hour we will hop back and forth between some of his more forward looking projects and some of his best collaborations with pop, funk and rock stars. The playlist also features David Bowie; Django Bates; Tim Berne; John Zorn, Philippe Saisse, Marcus Miller, Omar Hakim; Michael Franks; Dr. John'; Miles Davis; Gil Evans Orchestra; James Brown. Detailed playlist at https://spinitron.com/RFB/pl/18973930/Mondo-Jazz [up to "Further On Up the Road"].

Ryan Gruss  “The Fantasty Football of Music Making”  Ryan's journey in the music business began after graduating from The Berklee College of Music in 2000 with a degree in Musical Performance for Drums, and then moving to New York City to begin his "career" in the real world. It was during his second week at Atlantic when Ryan was approached by the HR department, asking if he was interested in becoming Ahmet Erteguns' (the legendary Founder and CEO of Atlantic) assistant. His mind was blown and he instantly accepted the position.In 2010, Ryan launched The Loop Loft and began recording other musicians and treating it like a record label, providing the artists with royalties from the sales of each loop pack. Word began to spread amongst the studio musician community, and a roster of legendary musicians like Omar Hakim, Joey Waronker, Matt Chamberlain began to form and quickly grow. For the next 8 years, Ryan continued to organically build The Loop Loft, adding more artists and content on a weekly basis. Partnerships with companies like Ableton, Native Instruments, BandLab and PreSonus were formed. Guitar Center also began to sell products from The Loop Loft. The company was now the top-selling source for loop and samples, generating millions of dollars of revenue each year. It was a career and a company that Ryan had never dreamed of or anticipated, but he had finally found his musical North Star. Ryan left Native Instruments in 2020 and formed Yurt Rock, literally inside of his Yurt studio in the hills of LA. But with the COVID pandemic grinding studio work to a halt, Ryan decided to take the time and move his family to Nashville, a place that many consider the music capital of the world. It was time for a fresh start. With dozens of the world's top musicians, Yurt Rock has quickly become the ultimate source for producers, engineers and songwriters seeking not only loops and samples, but also custom BATTERY/MASCHINE kits, Ableton Live Packs, Logic Sessions, multitracks and much more.     Things That Came Up: -3:50 Yurt Rock is the “Fantasy Football” of music making  -5:10 The Loop Loft was acquired by Native Instruments in 2018.  -12:30 Berklee set the tone for relationships throughout life.  -14:30 Expanding into software, partnering with plug-in companies and diving into new media.  -16:00 Affordable price points are key -18:00 Redmond's Big Modern Drums Vol. 1 and 2, as well as Locked! (loop packages) -23:00 Revelations on the 405 Freeway -24:10 Moved to NYC -25:10 Assistant to Ahmet Ertegun, founder of Atlantic Records -28:00 Art and Photo department at Atlantic Records -29:50 Peter Asher signs Ryan's band “The Rinse” -31:15 Got married, moved to Boston and started working in digital assets management -37:50 John Mayer crashes with Ryan and they form the seeds to “Room For Squares”.  -42:00 Robin Williams becomes Ryan's roadie!  -46:40 Luke Bryan at Drakes -49:20 FB Ads are still powerful tool for marketing and sales -52:30 Pete Townsend and Butch Vig  -60:50 “The Fave 5”  Follow:  www.yurtrock.com X: @ryangruss  IG: @yurtrockmusic   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com      

Singer-songwriter, pianist, arranger, New York-based bandleader and winner of the prestigious 2021 American Traditions Vocal Competition Gold Medal, Nicole Zuraitis, had been there once before. But when the presenters at the 2024 Grammy®️ Awards announced her name as winner of the Best Jazz Vocal Album for her release, “How Love Begins,” her immediate reaction was “Holy Cow!”    To many of her friends and supporters, however, it was an affirmation of what they've known for more than a decade of working with, for and beside her. Nicole is an undeniable force- in music and in life.  Besides leading her quartet, Nicole is the premier vocalist for the Birdland Big Band and frequently headlines iconic NYC jazz clubs like Dizzy's Club at Lincoln Center, Birdland, the Blue Note, the Carlyle,  54 Below and the late, great 55 Bar. She's collaborated with an extensive list of luminaries, including Christian McBride - who co-produced her Grammy-winning album - and worked with David Cook, Gilad Hekselman, Veronica Swift, Benny Benack, Stephen Feifke, Cyrille Aimee, Antonio Sanchez, Dave Stryker, Omar Hakim,  Rachel Z, Helen Sung, and Bernard Purdie. And Nicole is also a proud educator, currently serving on the vocal faculty at NYU, SUNY Purchase and the Litchfield Jazz Camp.  In this last episode of Season 4, we focus specifically Nicole's Grammy-winning album because its story is a microcosm of who and what she is as an artist, composer, vocalist - and person. As Jazz Police aptly put it, Nicole has a “heart as big as her remarkable voice,” and Broadway World added, she's one of the top "prolific songwriters" to watch in the genre of jazz and beyond.   To learn more about Nicole,  visit her website https://www.nicolezmusic.com

Hello Hello! Billy Amendola in my “Bubble” with today's guest, who is not only one of the most respected musicians/producers on the planet, but he's also been a mentor, an inspiration, and a dear friend to me for decades. He appeared on the scene in NYC from Michigan as a drummer and teacher. A few of his students include Omar Hakim, the late Tony Thompson, and many others who launched successful careers. At 21, he joined the Mahavishnu Orchestra on the recommendation of their previous drummer (who was at the top of his game with the title “greatest drummer”), the one and only Billy Cobham. Now a band-member, he goes from the road into the studio to work on the next Mahavishnu album with John McLaughlin, Jan Hammer, and legendary Beatles producer George Martin.    A few years later, he took the world by storm on the dance floor by releasing his solo album; singing, writing, producing, and playing, and he became a star in his own right.   If that wasn't enough, a few years later, he became one of the world's Top Ten producers of all time, crafting number-one hits for Whitney Houston, Aretha Franklin, George Michael, Mariah Carey, Cindy Blackman, the list goes on and on.   With Multiple hit records, Grammy after Grammy, as a band leader, solo artist, producer, singer/songwriter, spiritual leader, and drummer, touring with Jeff Beck, Journey, and his band, there's nothing the man can't do.   We catch up to discuss his latest album “Euphoria” and more. Please welcome Narada Michael Walden back to Drum Channel. Enjoy! 

Nicole Zuraitis is a 2X GRAMMY-nominated jazz singer-songwriter, pianist, and arranger, New York-based bandleader and winner of the prestigious 2021 American Traditions Vocal Competition Gold Medal. With a “heart as big as her remarkable voice,” (Jazz Police), Nicole has positioned herself as one of the top artists and "prolific songwriters" (Broadway World) to watch in jazz and beyond.   As a recording artist, Nicole has released five albums as a leader, and her sixth album How Love Begins, co-produced with eight-time GRAMMY-winner Christian McBride, was released July 7th, 2023, featuring all original music. It was nominated for BEST JAZZ VOCAL ALBUM for the 2024 GRAMMY® awards…. holy cow. Besides leading her quartet, Nicole is the premier vocalist for the Birdland Big Band and frequently headlines iconic NYC jazz clubs like Dizzy's Club at Lincoln Center, Birdland, the Blue Note, the Carlyle, 54 Below, and the late, great 55 Bar. She has appeared as a featured soloist with the Savannah Philharmonic, Asheville Symphony, and Macon Pops. She has supported iconic singers like Melanie, Morgan James, Darren Criss, and Livingston Taylor on piano and vocals.  Nicole's arrangement of Dolly Parton's Jolene, co-written with renowned drummer and bandleader Dan Pugach, was nominated for a 2019 GRAMMY®, springboarding her career and making her a household name in the modern-day jazz landscape. In 2020, she was named in the top 40 under 40 for 2020 in Connecticut Magazine, and her weekly live stream during the COVID-19 crisis, "Virtual Piano Lounge," was featured in Forbes Magazine.  Nicole has collaborated with an extensive list of luminaries, including Christian McBride, David Cook, Gilad Hekselman, Veronica Swift, Benny Benack, Stephen Feifke, Cyrille Aimee, Antonio Sanchez, Dave Stryker, Omar Hakim,  Rachel Z, Helen Sung, and Bernard Purdie. She is a proud educator and currently vocal faculty at NYU, SUNY Purchase, and the Litchfield Jazz Camp.  If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Michel Petrucciani – Playground Blue Note | Enero 1, 1991 1 September Second 4:45 2 Home 5:29 3 P'tit Louis 4:35 4 Miles Davis' Licks 4:28 5 Rachid 3:26 6 Brazilian Suite #3 2:34 7 Play School 3:03 8 Contradictions 2:57 9 Laws Of Physics 4:44 10 Piango, Pay The Man 1:52 11 Like That 1:38 Anthony Jackson - Bass Aldo Romano (pistas: 5), Omar Hakim (pistas: 1 to 4, 6 to 9, 11) - Drums Steve Thornton - Percussion Michel Petrucciani - Piano [Steinway], Synthesizer Adam Holzman - Synthesizer Written-By – Adam Holzman (pistas: 9), Michel Petrucciani (pistas: 1 to 8, 10, 11) This record is dedicated to my father Tony Petrucciani who taught me everything I know. Basic tracks and overdubs recorded at Clinton Recording Studios, New York, NY. Mixed at Master Sound Studios, Astoria, NY. Mastered at Sterling Sound Studios. //////////////////////////////////// CORTINA FINAL Looking Up Music Blue Note | Enero 1, 1989 ////////////////////////////////////

EPISODIO 179.Temporada 5-8.EPISODIO PATROCINADO POR:CBM Clases de batería Madrid. https://clasesdebateriamadrid.com/ .Superdrummer Academy.www.simonefolcarelli.com .COMUNIDAD DEL CBM de Iñigo Iribarne:http://Clasesbateriaonline.com .Email diario de Iñigo Iribarne.https://inigobatera.activehosted.com/f/17 .EL MESTODO. ​​https://t.me/unmetodoalmes/ .Disco recomendado por Iñigo.Secret World de Peter Gabriel: https://open.spotify.com/intl-es/album/1lAXAgqbliTM1Cts74kdll?si=o7RN0ty3SM2HqqKw_who-g .LIBRO RECOMENDADO por Simone .Ritratti di Jazz - Murakami Wanda Ritratti in jazz (Super ET) : https://amzn.to/3QqGUDN .TOP TRI.Simone:Ricky Lewis: https://www.instagram.com/ricky_lewis/ .Nate Mueller:https://www.instagram.com/natemuellerdrums ..Eshan Lakhani: https://www.instagram.com/lakhanieshan .Iñigo:Omar Hakim: https://www.instagram.com/ohthegroovesmith/ .Manu Katché: https://www.instagram.com/manukatche/ .Jerry Marotta: https://www.instagram.com/jerrymarottadrums/ .Síguenos en: FB: https://www.facebook.com/Drumless-el-Podcast-101614758071997 .INSTAGRAM: https://www.instagram.com/drumlesspodcast/ .TELEGRAM: https://t.me/drumlesspodcast .ABEL:https://www.instagram.com/kustomdk/ .SIMONE:https://www.simonefolcarelli.com .http://clasesdebateriaonline.com .IÑIGO:http://inigoiribarne.com .https://Clasesdebateriamadrid.com .https://www.twitch.tv/inigobatera .https://www.ellibrodelascorcheas.com .http://Clasesbateriaonline.com .http://insidethegrooveof.com/ .BUY US A COFFEEPaypal: https://www.paypal.me/inigoiribarne .Bizum: 606424669 .

An excerpt from Live From My Drum Room With Omar Hakim, which aired live on March 10, 2023. During this segment Omar talks about getting the call from his friend and producer Nile Rodgers to play on David Bowie's "Let's Dance." We also discuss his feel on Bowie's "Modern Love" and his exquisite playing on Dire Straits' "So Far Away." Watch the entire Live From My Drum Room episode! https://youtu.be/TvJQJod6Rlk?si=FrdAYA7rKSXLaY19 https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Aaron C. Brown is a guitarist and composer, actually, a passionate multi-instrumentalist, he was born and raised in NYC in the borough of Brooklyn. Aaron started playing guitar at 12 years old and went on to attend a music program at Erasmus Hall high school and attended C.C.N.Y. in Harlem as a music major studying performance, composition, arranging, and music theory.Years of experience led to establishing BOP BROWN PRODUCTIONS, where he honed his skills in recording, editing, arranging, and producing music for clients. Today continuing to compose and have accumulated a large catalog of songs. Aaron C Brown began the process of recording some of his material to share with the world. And he says with great pleasure and excitement that he gives this new single: “Satin Sunset”Aaron has worked with through the years are; Roy Ayers, John Lewis, Onaje Allen Gumbs, Trevor Gale, Buddy Williams, Marcus Miller, Doc Powell, Carol Steel, Maricio Smith, Glen Jones, Freddie Jackson, Tanya Willobough, Melissa Morgan, Miles Jaye, Kevin Jenkins, Warren MCrae, Carmen Lundy, Omar Hakim, Larry Elgart, Charlie Palmieri, Connie James, Paul Lawrence, Lisette Wilson, Harlem Boys Choir, Ronnie Drayton, Gus Falcon, Gordon Jones, Raymond Jones, Sharon Bryant, Linda Watson-Brown and many more.

John's guest is legendary drummer, singer, composer and producer, Omar Hakim! John and Omar talk about Omar's long and prolific career, including becoming a professional touring drummer at 15 and how that prepared him for joining “Weather Report” in 1982 at 23 years old. His long history with legendary artist and producer, Nile Rodgers. Becoming an in-demand session player in the early 1980s including his work with David Bowie, Dire Straits, recording Sting's first solo record after leaving the Police, “The Dream of the Blue Turtles” and being part of Sting's band. John and Omar do a deep dive into some of Omar's early sessions and Omar talks about his friends, Taylor Hawkins and Dave Grohl and performing and recording with the Foo Fighters, and his upcoming solo Rock record, “Come Out To Play” which he plans to release in 2023, and much much more! And introducing “TrackTalk” a new series exclusively on Live From My Drum Room With John DeChristopher! “TrackTalk" features iconic tracks, with iconic drum parts, and the drummers who played them! TrackTalk is an insiders' view on your favorite songs, by the drummers who helped create them. Subscribe to Live From My Drum Room With John DeChristopher!  @livefrommydrumroom  https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Growing-up in Queens, Lionel Cordew was surrounded by music inside his home, in his neighborhood, and in church. His brothers were all involved in music, his mother sang in the gospel choir at the church where his father was the minister, and his neighborhood hosted block parties where cats like Lenny White, Marcus Miller, Omar Hakim, Najee and many others would often play. Lionel absorbed and adapted to many styles of music, which he's used to his benefit throughout the course of his career, as he's recorded and toured with a diverse list of musicians, including Mike Stern, Gino Vannelli, Jeff Lorber, Roberta Flack, Bill Evans, Chuck Loeb, Chieli Minucci, Wayne Krantz, and in 2015 he replaced Lee Pearson as the drummer in the legendary jazz group, Spyro Gyra. Here to discuss his musical journey in more depth is none other than Lionel Cordew.

Uk musician and composer Simon Wood Harris talks about his journey developing the Unidentified Flying Project, an album and collaboration that includes Dave Weckl, Dominic Miller, Jeremy Stacey, Robbie McIntosh, Pino Palladino, Omar Hakim and many more of the worlds finest musicians.  On this special two-part episode, Simon talks openly about the highs and lows of his journey putting this project together. 

Uk musician and composer Simon Wood Harris talks about his journey developing the Unidentified Flying Project, an album and collaboration that includes Dave Weckl, Dominic Miller, Jeremy Stacey, Robbie McIntosh, Pino Palladino, Omar Hakim and many more of the worlds finest musicians.  On this special two-part episode, Simon talks openly about the highs and lows of his journey putting this project together. 

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Journey es una banda de rock creada en 1973 en San Francisco, Estados Unidos, por el teclista Gregg Rolie y el guitarrista Neal Schon, integrantes originales de Santana. De estilo rock progresivo en sus inicios, fue cambiando a un estilo más melódico con la incorporación del vocalista Steve Perry en 1978, quien con su voz convirtió a la banda en una de las más destacadas de los años 1980, con ventas de más de 75 millones de discos en todo el mundo convirtiéndolos en uno de los artistas más exitosos de todos los tiempos​ Journey alcanzó la cima del éxito en 1981 con el álbum Escape, que contenía canciones como «Open Arms», «Who's Crying Now» y «Don't Stop Believin'». Durante ese período, la banda lanzó una serie de canciones de éxito, incluyendo «Don't Stop Believin'» de 1981, el más vendido en la historia de iTunes​​​ Las raíces de Journey se encuentran en San Francisco, donde en 1971 el representante de Carlos Santana, Walter Herbie Herbert, decidió organizar una banda de músicos, originalmente llamada The Golden Gate Rhythm Section. Insatisfecho con la dirección musical que buscaba Santana, el teclista/vocalista Gregg Rolie y el guitarrista Neal Schon dejaron la banda en 1972. Prairie Prince de The Tubes, el bajista Ross Valory de Frumious Bandersnatch, y el guitarrista rítmico George Tickner fueron añadidos al nuevo proyecto. Tras un infructuoso concurso radial que buscaba un nombre para el grupo, Jack Villanueva​ sugirió el nombre "Journey.".​ La primera aparición pública del grupo fue en Winterland en la víspera de año nuevo en 1973. Al día siguiente volaron a Hawái a tocar en el Crater Festival. A comienzos de 1973, Prairie Prince se reunió con su antiguo grupo, The Tubes, así que Herbert trajo a Aynsley Dunbar, un baterista que había tocado con John Lennon, Frank Zappa, John Mayall, Jeff Beck, Bonzo Dog Band, Mothers of Invention, Lou Reed, y David Bowie. El 5 de febrero de 1974, la nueva conformación del grupo debutó en el Great American Music Hall, asegurando un contrato con Columbia Records. Journey lanzó su álbum homónimo en 1975. Ese mismo año Journey invitó a Albert King a uno de sus conciertos. El disco mostraba el considerable talento de la banda para la música jazz-fusión y el rock progresivo. El guitarrista rítmico Tickner dejó la banda poco antes de la grabación del segundo álbum del grupo, Look into the Future (1976), el cual le bajó el tono al sonido progresivo del primer disco, pero retuvo su base de jazz-fusión. El siguiente disco, Next, intentó reducir la duración de sus canciones para apelar a una mayor audiencia, e incluyó a Neal Schon cantando varias de las canciones, pero aun así, el éxito comercial seguía eludiéndoles. Con las ventas mediocres de Next el grupo fue presionado por el estudio para cambiar de dirección y buscar un nuevo cantante. Como resultado, Journey trajo a Robert Fleischman. Nativo del sur de California, Fleischman había estado tocando con un grupo de Chicago cuando su representante, Barry Fey, lo trajo a Denver en 1977 para una entrevista con ejecutivos de un estudio. "Estaba nevando mucho y no sabíamos si los ejecutivos iban a lograr llegar a la reunión, pero luego aparecieron muchas personas de la Costa Oeste y de la Costa Este" recuerda Fleischman.​​ Él fue "descubierto" por un ejecutivo de la CBS en dicha reunión, y un par de semanas después, fue enviado a San Francisco para una audición con Journey. A Fleischman le fue notificado que la banda buscaba un estilo más popular, similar al de Foreigner o Boston, por lo que Fleischman supo que su vocalización inspirada por Robert Plant de Led Zeppelin sería un extra. Sin embargo, la potencia de la banda a la que él se intentaba unir, lo impresionó. En su primera sesión de estudio juntos, Fleishman señala, "Era como... tener fuegos artificiales en la bolsa de atrás. Ellos llevaban tanto tiempo tocando juntos, y lo hacían tan bien, que era grandioso tocar con gente así".​ Dichas sesiones produjeron el tema "For You," que luego aparecería en Time, y "Wheel in the Sky," que luego fue re-editada sin Fleischman para el disco Infinity. Fleischman salió de gira con la banda a inicios del año siguiente, pero su lugar en el grupo tenía las horas contadas. Mantuvo a su propio representante, Barry Fey, lo cual demostró ser una constante confrontación con el representante de Journey, Herbie Herbert. Adicionalmente, Herbert parecía no estar dispuesto a dejar que la nueva dirección de la banda saliera a relucir de inmediato, lo cual terminó en situaciones como que Fleischman tenía que agitar una pandereta mientras el resto del grupo seguía tocando sus canciones antiguas para su grupo de seguidores jazz-fusión. Fleischman también chocó con otros miembros del grupo debido a que, aparentemente, no era un escritor de canciones muy productivo.​ El representante Herbie Herbert había oído mencionar al cantante Steve Perry, quien había pasado recientemente por la ruptura de su grupo Alien Project. Tras oír una demo de Perry (que Jack Villanueva le había hecho llegar), Herbie supo que había que hacer un cambio. Tras un interesante entretiempo durante el que Perry fue presentado a la banda (se le dijo a Fleischman que Perry era el primo portugués de Villanueva), Fleischman fue despedido. Perry hizo su debut público con Journey en el Old Waldorf en San Francisco, el 28 de octubre de 1977. Perry conoció a Schon, y la pareja rápidamente escribió su primera canción, "Patiently", que aparecería en el disco Infinity de 1978. Perry aportó su voz de contratenor, limpia y poderosa, a canciones como "Lights," "Wheel in the Sky," y "Anytime." Además, el productor de Queen, Roy Thomas Baker (originalmente traído por Fleischman) ayudó a darle más capas al sonido de la banda. Los cambios funcionaron, y Journey saltó al estrellato. Infinity llegó al puesto Nº 21 en ventas de discos y le dio a Journey su primer disco de platino. Sin embargo, no todos los miembros del grupo estaban felices con la nueva dirección musical. En septiembre de 1978, el baterista Aynsley Dunbar fue despedido y reemplazado por Steve Smith,​​ quien había estudiado jazz en la prestigiosa escuela Berklee en Boston, Massachusetts. El siguiente álbum de la banda, Evolution produjo el primer sencillo Top 20 de Journey, "Lovin', Touchin', Squeezin.'" El álbum Departure (1980) extendió el ascenso del grupo, llegando al n.º 8 en ventas de discos. «Any Way You Want It» fue un éxito Top 25 con amplia difusión en la radio. Luego, Journey fue a Japón a grabar la banda sonora de la película Dream After Dream, a petición del director de dicho filme. En este punto, los conciertos en vivo eran llenados por fanáticos que favorecían la nueva dirección musical del grupo, con algunos celebrando a Perry como alguna vez se hizo con Elvis Presley (sin embargo, el grupo tocaba sus viejas canciones durante los descansos de Perry tras bambalinas). Journey estaba destinado al éxito en gran escala, y a inicios de 1981 lanzó un disco en vivo llamado Captured, grabado durante los conciertos de la gira Departure en 1980. Las primeras 5 canciones del disco fueron del concierto del 8 de agosto en el Fórum de Montreal (Quebec). Otras 2 fueron de conciertos en Tokio y el resto del Cobo Hall en Detroit. Exhausto de tanto salir de gira, Rolie dejó el grupo, siendo esta la segunda vez que abandonaba una banda exitosa en su carrera.​ Recomendó a Jonathan Cain de The Babys para que lo reemplazara.​ Como si pudiera predecir el ambiente musical de los 1980s, Cain favoreció el uso del sintetizador por encima del órgano Hammond de Rolie. El grupo sabía que se les estaba uniendo un gran teclista, pero ignoraban lo poderoso de las habilidades de Cain para escribir canciones. En 1981, el séptimo disco de estudio de Journey, Escape llegó al n.º 1 de las listas, y finalmente se convirtió en su disco más vendido y popular, siendo 9 veces disco de platino. Los sencillos «Who's Crying Now», «Don't Stop Believin'» y «Open Arms» llegaron al Top 10. El trabajado sonido de la banda, encabezada por el distintivo sonido (y pronto, ampliamente imitado) de Steve Perry, se convirtió en una presencia popular en la radio. El canal MTV grabó uno de sus dos conciertos a sala llena en Houston, Texas, el 6 de noviembre de 1981 en frente de más de 20.000 aficionados.​ En particular, «Don't Stop Believin'» mostraba lo bien logrado del rango de contratenor de Perry en conjunto con el piano de Cain y la dinámica guitarra de Schon. «Open Arms», que estuvo 6 semanas en el n.º 2 en las listas de popularidad, ayudaron a establecer a Journey como el estándar del rock de los años ochenta. Tal éxito le valió poco a Journey con los críticos de música. La Rolling Stone Record Guide de 1983 le dio a cada uno de sus discos solo una estrella, y el crítico Dave Marsh escribió que «Journey era un callejón sin salida para el rock de San Francisco... excesiva trivialidad... banalidad... una explotación de un acto cínico». Marsh luego añadió Escape como uno de los peores discos en llegar al n.º 1 en la historia. Con justicia o no, los críticos a menudo categorizaban a Journey con otros actos de rock corporativo como Foreigner, Asia y Survivor. Journey también fue uno de los primeros grupos en ser patrocinado por una empresa grande, Budweiser, al cual mencionaban en las portadas de sus discos. Esto contribuyó a su imagen negativa de rock corporativo, o más precisamente, rock patrocinado por empresas. El representante Herbie Herbert, sin embargo, comentó al respecto que «se debe sembrar mientras dure la primavera»[11] La banda claramente había cortado con sus raíces hippies de Haight-Ashbury. En 1982, la banda aportó la canción «Only Solutions» a la película Tron de Disney. Casualmente, ese mismo año Journey se volvió el primer grupo en inspirar un videojuego: el arcade Journey por Bally/Midway, y Journey Escape de Data Age, para el Atari 2600. El próximo disco de Journey, Frontiers (1983), continuó su éxito comercial. Llegó al n.º 2 de ventas, y produjo 4 sencillos exitosos, de los cuales «Faithfully» y «Separate Ways» llegaron a n.º 12 y 8, respectivamente. La presencia de Cain continuó siendo fuerte en este disco, tanto por ser cantautor (él solo escribió «Faithfully») como por su uso de sintetizadores. Había llegado la era de MTV, y la popularidad de Journey se incrementó por un vídeo musical de corte documental acerca de «Faithfully», que mostraba a varios miembros del grupo con sus familias de gira, y que ayudó a que la canción se ganara un lugar, junto con «Turn the Page» de Bob Seger y «The Load's Out» de Jackson Browne, como una canción favorita para conciertos. Las escenas del documental fueron rodadas en Estadio JFK en Filadelfia, Pensilvania, con más de 80.000 aficionados presentes.​ Poco tiempo después, la banda recibió una petición de un joven moribundo de 16 años llamado Kenny Sykaluk, quien luchaba contra la fibrosis quística. Kenny quería conocer a la banda. Journey honró el deseo de Kenny, y no sólo lo visitaron en su cama, sino que le obsequiaron un walkman con su último sencillo, «Only the Young». Kenny murió en menos de un día después. En el episodio de Behind the Music de Journey, Jonathan Cain lloró al recordar la visita a Kenny, mientras que Neal Schon dijo que dicha visita «cambió mi forma de ver la vida». El cantante Steve Perry recibió mucho del crédito por el éxito de Journey. En 1984, lanzó un disco como solista, Street Talk, el cual tuvo éxito y lanzó un sencillo popular, cuyo vídeo fue emitido en MTV, llamado «Oh Sherrie». Perry también grabó Don't Fight It (1982), con Kenny Loggins. El guitarrista Neal Schon produjo dos discos con Jan Hammer en 1981 y 1983, y en 1985 fue parte del proyecto Hagar Schon Aaronson Shrieve (junto a Sammy Hagar, Kenny Aaronson y Michael Shrieve). Tras el lanzamiento de su disco en solitario, Perry tomó el control de la dirección musical en estudio de la banda. Para decepción del representante Herbie Herbert, el bajista Ross Valory y el baterista Steve Smith fueron despedidos de la banda por diferencias musicales y profesionales, y en 1986 Journey lanzó su álbum Raised on Radio como un trío Perry, Schon, y Cain. Varios músicos de estudio llenaron las dos vacantes, entre ellos el ahora jurado de American Idol, Randy Jackson y el establecido músico de estudio Larrie Londin. La producción se detuvo constantemente, debido a la decadente salud de la madre de Perry, Mary Pereira. Al final, el álbum vendió dos millones de copias. Una truncada gira le siguió, presentando a Jackson en el bajo y a Mike Baird en la batería. Luego, Perry, exhausto de tantas giras, sufriendo por la reciente muerte de su madre (con quien tuvo una relación muy cercana) y el colapso de su relación de 6 años con Sherrie Swafford, dejó Journey en 1987, terminando el recorrido de la banda en la cima. A pesar de trabajar en un proyecto en solitario en 1989 titulado Against The Wall, el cual finalmente fue desechado, Steve Perry abandonó la industria musical por varios años antes de grabar «For the Love of Strange Medicine» en 1994 y lanzar un compilado de grandes éxitos en 1998. Neal Schon y Jonathan Cain hicieron equipo con los ex-Babys (la antigua banda de Cain), John Waite y Ricky Phillips, formando Bad English con el baterista Deen Castronovo en 1988. Además, cada uno grabó discos en solitario. Luego, Schon y Castronovo se unieron al grupo del cuñado de Schon, Hardline. Steve Smith se metió de lleno en su proyecto de jazz, Vital Information, el cual eventualmente llegó a desarrollar un grupo de fanáticos de tamaño respetable. En 1991, Ross Valory, Steve Smith, y Greg Rolie se unieron a The Storm con el cantante Kevin Chalfant y el guitarrista Josh Ramos. De 1987 a 1995, Journey observó cómo crecía la venta de sus discos. Lanzaron tres recopilatorios, los cuales lograron excelentes ventas. En 1993, Kevin Chalfant (de The Storm) tocó con los miembros de Journey en algunos conciertos, y Schon, Cain, Valory, Smith y Rolie consideraron brevemente una reunión bajo el nombre de Journey con Chalfant como cantante, pero al final tal proyecto no fructificó. Ese año, Steve Perry propuso volver a la banda bajo la condición de que se cambiara de representante. Herbie Herbert fue despedido y se eligió a Irving Azoff, y en 1995 Perry volvió una vez más a Journey. En 1995, la formación que tenía Journey en 1981 volvió a juntarse. Perry, Schon, Smith, Cain, y Valory volvieron al estudio y produjeron el famoso disco Trial by Fire en 1996, que incluye los éxitos «When You Love a Woman» y «Message of Love», nominado a un Grammy. Tras el éxito de Trial by Fire, los miembros de Journey se prepararon para una gira prometedora. La sensación causada en los medios y la emoción alrededor de volver a ver a la banda de gira fueron intensas, pero todo esto llegó a un abrupto final cuando Perry se lastimó la cadera en una caminata en Háwai. Perry probablemente iba a necesitar un reemplazo de cadera. A pesar de esto, le fue difícil tomar una decisión respecto a su estado de salud (pues le era imposible presentarse en el escenario sin someterse a dicha cirugía), pero en 1998 la banda lo presionó para que tomara una decisión. Cuando Perry rehusó a operarse, Cain y Schon decidieron continuar la banda sin él. El baterista Steve Smith decidió dejar la banda en esa misma época, para volver a Vital Information. En febrero de 2001, la banda participó en un episodio de Behind the Music en VH1, pero algunos comentarios hechos durante la grabación del programa contribuyeron a calentar los ánimos entre Perry y el resto de la banda. Ese mismo año, Herbie Herbert ofreció una entrevista en la que él daba su propia opinión acerca de la historia del grupo.[12] Luego, en 2003, Robert Fleischman comentó su propia participación en el grupo.[13] En 1998 Journey se vio buscando baterista y cantante. La plaza de baterista fue llenada por Deen Castronovo, compañero de Schon y Cain en Bad English, y que entonces tocaba con Hardline. El nuevo cantante fue Steve Augeri, anteriormente de Tyketto y Tall Stories. Augeri había abandonado el negocio de la música y trabajaba como gerente en una tienda de The Gap en Nueva York. Augeri recibió una llamada telefónica de Schon, quien había escuchado su demo. Schon lo invitó a audicionar para la banda y, a pesar de no haber cantado mucho en tiempos recientes, impresionó a los miembros de Journey lo suficiente como para obtener el trabajo. El parecido de Augeri con Perry, tanto visual, vocal, y hasta en su nombre, causó cierto revuelo entre los fanáticos más antiguos, ayudado por la popularidad de internet y sus foros. Algunos fanes rechazaron a un Journey sin Steve Perry. Otros se volvieron verdaderos fanes de Steve Augeri, culpando a Perry por la decaída popularidad de la banda. Pero la mayoría de los fanáticos dudaron del cambio y (tras oírlo en vivo o en disco) aceptaron a Steve Augeri. Además de su talento, esto tenía mucho que ver con la personalidad del nuevo cantante: era extremadamente amable y simpático con cada nuevo fanático que conocía. La nueva formación de Journey rápidamente volvió a trabajar, grabando una canción para la película Armageddon llamada «Remember Me». En 2001, lanzaron su siguiente disco de estudio, Arrival. El disco originalmente fue publicado en Japón a finales de 2000, pero debido a que algunas de las canciones del disco se filtraron y terminaron en internet con comentarios mayormente negativos de los fanes por su sonido de balada, Journey decidió demorar un poco el lanzamiento de dicho disco en Estados Unidos y añadir dos canciones más pesadas para la versión estadounidense. «All the Way», de dicho disco, se convirtió en un éxito menor. En 2003, la banda lanzó un CD con cuatro canciones titulado Red 13, cuyo diseño de portada fue escogido en un concurso de fanes. En 2005, la banda se embarcó en su gira de 30 aniversario, regalando copias promocionales de su último lanzamiento de estudio, Generations para ganadores seleccionados en cada concierto. Tales conciertos, que duraban tres horas, eran divididos en dos partes: la primera con material de la época de su mayor fama (algunas de esas canciones, tocadas en vivo por primera vez en décadas), mientras que la segunda parte comprendía Escape y otros. La reputación de Journey ante la crítica no mejoró al cabo del tiempo: la edición de 2004 del Rolling Stone Album Guide llama a Journey el «acto de karaoke perfecto», y no le da más de dos estrellas y media (de cinco posibles) a ninguno de sus discos. Varias bandas tributo de Journey se han formado por todo Estados Unidos, con distintos grados de éxito (usualmente en escala local), y el cantante Kevin Chalfant de The Storm ocasionalmente se juntaba con The Gregg Rolie Band para tocar algunos éxitos de Journey de la época 1978-1980. Aunque ha sido criticado como un grupo de orden corporativo, Journey ha retenido una masa de fanes fiel a lo largo de su carrera; su música aparece en programas de TV y películas. La radio a menudo toca sus éxitos, exponiendo su música a nuevas generaciones de oyentes. Journey ganó nuevas atenciones en la década del 2000, debido a que Randy Jackson, tras su participación con Journey, se convirtió en un ejecutivo musical muy exitoso, y luego en juez de American Idol. Vídeos de Jackson con la banda se han mostrado en el programa, y varios de los participantes han intentado cantar canciones de Journey. Los más recordados han sido Clay Aiken cantando «Open Arms» en una semifinal (y luego a dúo con Kelly Clarkson en una gira de conciertos), y Elliott Yamin, también con dicha canción, en la semifinal de 2006. Judy Torres lanzó una versión del sencillo «Faithfully» en 2005. La canción «Don't Stop Believin'» se convirtió en un himno de batalla de la Serie Mundial de 2004, donde los campeones Medias Rojas de Boston ganaron la serie tras ir abajo 3 juegos a 0 contra los Yankees en la serie de división de la Liga Americana y también en 2005, donde en el desfile de la victoria de los Chicago White Sox, Steve Perry fue invitado para que cantara con miembros del equipo. El 6 de febrero de 2005 «Don't Stop Believin'» salió en un anuncio de FedEx, en el que salía Burt Reynolds y que fue programado durante el Super Bowl XXXIX. En diciembre de 2005, «Don't Stop Believin'» llegó al n.º 13 en la lista Hot Digital Songs, y fue nominada para dos categorías en unos premios de VH1. En julio de 2007, la canción apareció en la escena final de la serie de HBO The Sopranos. Petra Haden lanzó un cover de la canción en septiembre de 2007. En 2003, Journey fue admitido al Salón de la Fama de la Música de San Francisco. A la ceremonia asistieron Gregg Rolie, Jonathan Cain, Steve Smith, Ross Valory, Neal Schon, Aynsley Dunbar, Deen Castronovo, y Steve Augeri. Dos años más tarde, el 21 de enero de 2005, Journey recibió una estrella en el Paseo de la Fama de Hollywood, y Steve Perry apareció de sorpresa en la ceremonia. Las relaciones con el resto del grupo mejoraron, pero Perry dijo que no había posibilidad de una reunión con su antigua banda en el futuro cercano. Diez miembros de Journey se juntaron ese día: Perry, Augeri, Cain, Castronovo, Dunbar, Fleischman, Schon, Smith, George Tickner, y Valory. En 2009, la serie Glee, del canal Fox, hace varias referencias a Journey en diferentes capítulos de la primera temporada, siendo Don't Stop Believin' la canción principal del primer capítulo de la serie. En la temporada final, se realiza un «Journey Medley». En julio de 2006, Steve Augeri comenzó a experimentar problemas con su voz y fue obligado a renunciar. Anunció que dejaría la banda por un tiempo debido a una infección en la garganta que requería que dejara descansar a sus cuerdas vocales.  La banda trajo a Jeff Scott Soto para sustituirlo. Además, Deen Castronovo, quien llevaba tiempo cantando los coros e incluso sustituyendo a Augeri como cantante, cantó en power ballads como «Faithfully» y «Open Arms». El 19 de diciembre de 2006 la banda emitió un comunicado en su página oficial, donde nombraban a Soto como vocalista permanente.​ Sin embargo, el 12 de junio de 2007, Journey anunció la salida de Soto.​ El breve periodo de Jeff Scott Soto como vocalista se parece al igualmente breve periodo de Robert Fleischman en la misma posición en 1977, de la cual salió la decisión de contratar a Steve Perry. Los fanes especulan​ que la banda persigue la misma cadena de sucesos que hace 30 años les dio resultado. En septiembre de 2007, empezaron a circular fotos del poco conocido cantante Arnel Pineda con Journey. En el sitio oficial de Journey se da el comunicado oficial que Arnel Pineda será el nuevo vocalista oficial. Pineda tocaba con el grupo The Zoo​ el cual se dedicaba a tocar versiones de varias bandas. Neal Schon lo encontró por YouTube. Se contactó con él y luego de una soberbia audición fue incorporado a la banda. Su primera presentación oficial con Journey se realizó el 21 de febrero del 2008 en el Festival Internacional de la Canción de Viña del Mar en Chile con una transmisión televisiva en conjunto para 80 países y en vivo por señales locales, de cable y el afamado canal A&E. Pineda derrochó energía y logró cautivar a todo el público con su voz muy parecida a la de Steve Perry y su gran presencia escénica, rejuveneciendo a la banda y dejando en segundo plano su carácter de absoluto novato. Los periódicos y sitios de Internet de foros audiovisuales tipo YouTube se plagaron a los pocos minutos de sendos elogios para el nuevo vocalista y a su vez la prensa especializada nacional como extranjera alabó la presentación del grupo.​ Journey dio luego un concierto en el Estadio San Carlos de Apoquindo de Santiago, Chile, el 23 de febrero del 2008 junto a Peter Frampton y Earth, Wind & Fire, constituyéndose Chile en la única parada que se realizaría en Sudamérica con un gran éxito. Su siguiente álbum, Revelation, debutó en el n.º 5 en las listas de Billboard, vendiendo más de 196.000 unidades en sus dos primeras semanas y manteniéndose en el top 20 durante 6 semanas.​Journey también encontró el éxito en las listas contemporáneas, donde el sencillo «After All These Years» pasó más de 23 semanas alcanzando el número 9.​ Los ingresos procedentes de la gira del 2008 la convirtieron en una de las más taquilleras del año, recaudando más de 35 millones de dólares.​ El 18 de diciembre de 2008, el álbum Revelation fue certificado disco de platino por la RIAA.​​ El segundo álbum de la banda con Pineda, Eclipse, fue lanzado el 24 de mayo de 2011, y debutó en el n.º 13 en el Billboard 200.​ En noviembre de 2011, Journey lanzó su segunda recopilación de grandes éxitos, titulada Journey: Greatest Hits: Volume 2, que incluye canciones escogidas por el exvocalista Steve Perry. Durante la gira del año 2015, el baterista Deen Castronovo fue reemplazado por el músico de sesión Omar Hakim.​ Luego la banda anunció que Steve Smith retornaría nuevamente a ocupar el puesto de baterista en Journey. 25 de Junio 2021 nuevo single de Journey «The Way We Used To Be» es la primera canción que se estrena con la formación actual de Journey, compuesta por el guitarrista Neal Schon, el cantante Arnel Pineda y el teclista Jonathan Cain junto con las últimas incorporaciones: el batería Narada Michael Walden, el bajista Randy Jackson y teclista y cantante Jason Derlatka. A lo largo de diferentes entrevistas, el guitarrista Neal Schon ha dado a entender que esta nueva entrega discográfica está bastante avanzada, y que con suerte verá la luz antes de que termine el presente ejercicio. “Ya tenemos como seis temas rockeros», comentaba Schon en una entrevista con Rock & Review de FOX17 a finales del pasado año, y añadía que publicaran unos tres singles antes de estrenar el álbum completo e iniciar su gira de presentación. 29 de Julio de 2021 Deen Castronovo vuelve a Journey El guitarrista de Journey, Neal Schon, ha confirmado en las redes sociales que el ex baterista Deen Castronovo se ha reincorporado a la banda. Schon confirmó el regreso de Castronovo en una serie de comentarios en Facebook debajo de una historia del San Francisco Chronicle sobre Journey, que compartió el miércoles. Un fan comentó en la publicación, «Entonces, ¿Deen Castronovo está de vuelta en la banda ahora a tiempo completo?» a lo que Schon respondió simplemente, «Sí». Respondiendo a otro fan que imploró a la banda que «traigan de vuelta a Deen de nuevo», escribió Schon, «Deen ha vuelto. Ahora somos dobles (2) bateristas con Narada [Michael Walden, que se unió a la banda en 2020]». Schon no reveló hasta qué punto Castronovo participará en los espectáculos de Journey inmediatos y futuros. El guitarrista insinuó del regreso de Castronovo el martes cuando tuiteó una foto que parecía ser de los ensayos del concierto del viernes por la noche de la banda en el Aragon Ballroom en Chicago, que precede a la actuación del domingo de Journey en Lollapalooza. «Ok … Doble problema Chicago @NaradaMWalden @DeenTheDrummer Narada Michael Walden y el regreso de Deen Castronovo a la batería @AragonBallroom @lollapalooza», subtituló Schon en su publicación.​ Don't stop believin Monster «Any Way You Want It» - Caddyshack (1980)

Gary Husband is one of a rare breed of musicians in that his expression is divided equally in his capacity as a drummer and a pianist and keyboardist of international repute. His classical roots, his quest and development in the improvisational, jazz and jazz/fusion areas – not to mention his tenure in the pop, rock, funk and blues circuits – are all evident inside Gary's distinct and far-reaching musical personality. His solo album and DVD output has also reinforced his status as a critically acclaimed writer and arranger in the contemporary music world. For close to four decades Gary has worked alongside a vast and eclectic range of celebrated musicians including John McLaughlin, Allan Holdsworth, Jeff Beck, Jack Bruce (Cream), Gary Moore (Thin Lizzy), British pop/funk band Level 42, Billy Cobham, Al Jarreau, Mike Stern (Miles Davis), John Wetton (King Crimson), Chris Squire (Yes), Andy Summers (The Police), Steve Hackett (Genesis), Robin Trower (Procol Harum), and with producers Sir George Martin (Beatles), Trevor Horn (Grace Jones & Art of Noise), Quincy Jones (Michael Jackson), Jerry Hey and James Guthrie (Pink Floyd). Further associations and performing/recording credits include his work with Randy Brecker, Jan Hammer, Jerry Goodman, fusion/jam band Gongzilla, Germany's NDR Bigband, Soft Machine, Maria Schneider, Christian McBride, Eddie Van Halen, Dean Brown, Bob Berg, Nguyên Lê, Joe Lovano, Charles Tolliver, Bireli Lagrène, Peter Erskine, Ron Sexsmith, drum n' bass protagonists Lemon ‘D' and Dillinja. As an internationally established drum clinician he has performed alongside Dennis Chambers, Vinnie Colaiuta, Terry Bozzio, Billy Cobham, Simon Phillips, Omar Hakim, Ricky Lawson, Todd Sucherman, Paul Wertico, Denny Seiwell and Bernard Purdie, and most recently has been developing a series of motivational videocasts in drumming. In this episode, Gary talks about:    An early influence: John Von Ohlen    Knowing how to relax and slow down to benefit the performance    Videocast lessons on Gary's website    The early days of working with Allan Holdsworth    His newest recording with The Trackers: Vaudeville 8:45

Omar Hakim is a drummer, producer, arranger, and composer with an exceptional career in the music industry spanning 50 years! Omar has worked with a who's who of artists and acts including Weather Report, David Bowie, Foo fighters, Sting, Madonna, Dire Straits, Bryan Ferry, Journey, Kate Bush, Miles Davis, Daft Punk, Mariah Carey, David Lee Roth, and Celine Dion for example. We are going to talk about his amazing career, what he is up to now, the recent Taylor Hawkins tribute shows that he helped put together, and we will get some invaluable advice for the next generation. Come along with me as I catch up with Omar Hakim.  Follow Omar on Instagram: Omar Hakim

Jeff Denson has released 16 albums as a leader or co-leader and toured extensively throughout the U.S., Canada, and Europe with both his own groups and others at some of the world's most prestigious venues and festivals such as the Village Vanguard, Birdland, The Kennedy Center, JVC Jazz Festival Paris, Montreal Jazz Festival, Berlin Jazz Festival, and SFJazz to name a few. Jeff has worked with some of jazz's finest artists such as Brian Blade, Joe Lovano, Chris Potter, Jane Ira Bloom, Dave Douglas, Walter Smith III, Rachel Z, Omar Hakim, Gerald Cleaver, Warren Wolf, Leo Genovese, Edward Simon, Paul McCandless, Cuong Vu, Ralph Alessi, Dan Weiss, Lionel Loueke, Romain Pilon, and Mimi Fox, among many others and had an ongoing relationship with the legendary Lee Konitz for over a decade until his passing in 2020. Jeff has been ranked in the DownBeat Rising Star Critic's Poll ten times in the Bass, Electric Bass, and Male Vocalist categories, and was voted #1 Rising Star Electric Bassist in 2021. Jeff is the Founder and Artistic Director of Ridgeway Arts, Inc., a 501c3 arts nonprofit organization, and the Dean of Instruction at the California Jazz Conservatory in Berkeley. Jeff shares his background, education, and musical journey in this episode of Improv Exchange. If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

American Producer, Composer, and Drummer Omar Hakim sits down with Bo Snerdley to talk about his time as a drummer with David Bowie, Anita Baker, and more! Plus, a heartfelt tribute to his late friend and Foo Fighters dummer Taylor Hawkins. Learn more about your ad choices. Visit megaphone.fm/adchoices

www.iconsandoutlaws.com   The band Journey came together in San Francisco in 1973 under the auspices of former Santana manager Herbie Herbert who also managed The Steve Miller band, Roxette, and Europe. They were initially called the Golden Gate Rhythm Section and were backup players for established Bay Area bands. Originally, it included Santana alumni Neal Schon on lead guitar and Gregg Rolie on keyboards and lead vocals. Completing the band were bassist Ross Valory and rhythm guitarist George Tickner, both from the band Frumious Bandersnatch. Prairie Prince of The Tubes served as drummer. After one particular performance in Hawaii, the crew quickly abandoned the "backup band" idea and began developing their own distinctive jazz fusion style. After an unsuccessful radio contest to name the group, roadie John Villanueva suggested the name "Journey."   The band's first public gig was at the Winterland Ballroom on New Year's Eve 1973 to an audience of 10,000, and the following day, they flew to Hawaii to perform at the Diamond Head Crater to an even bigger audience. Prairie Prince returned to The Tubes shortly after. On February 1, 1974, the band hired British drummer Aynsley Dunbar, who had recently worked with the one and only David Bowie and was also a member of the second version of Frank Zappa's Mothers of Invention. On February 5, 1974, the new lineup debuted at the Great American Music Hall, showcasing in front of Columbia Records executives. They signed a recording contract with the label following the performance and later performed at venues around the Bay Area.   Journey went into CBS Studios in November 1974 with grammy award-winning producer Roy Halee to record their debut album "Journey." It was released in April 1975, entering the Billboard charts at number 138. This record was a jazzy progressive rock album focused mainly on the band's instrumental talents. It featured songs like "Of A Lifetime" and the instrumental, "Kahoutek,"; both songs pushing the 7-minute mark. Rhythm guitarist Tickner left the band shortly after due to the heavy touring the band was promoting the album, allowing Schon to take on the complete guitar duties.    Journey entered the studio again in late 1975 to record "Look into the Future," released in January 1976 and hit the Billboard Top 200 charts at number 100. The band promoted the album with a two-hour performance at the Paramount Theatre in Seattle, which later aired on the radio as touring continued to promote their second album. For this second album, the members of Journey toned down the overt progressiveness of their first release in favor of a more straightforward sound. The album also features a cover version of The Beatles' "It's All Too Much" from the 1968 Yellow Submarine film and 1969 soundtrack. The title track, "Look Into The Future," was the longest recorded Journey song at 8:10 until 1980, when "Destiny" from Dream, After Dream would claim that honor.   From May to October 1976, the band went to "His Master's Wheels" Studios to record their third studio album, "Next," which, just like the previous album, was produced by the band. However, they brought a much more commercial sound while keeping their jazz fusion and progressive rock roots. The album was released in February and charted on the Billboard Top 200 at 85. It would be the last album to feature Gregg Rolie as the lead singer. "Spaceman" with the instrumental "Nickel and Dime" was the single, and, unfortunately, sales did not improve, which led Columbia Records to almost dropping the band.   About these times in the band's career, lead guitarist Neal Schon has said: "I still think some of the stuff we did then was great. Some of it was self-indulgent, just jamming for ourselves, but I also think a lot of other things hurt us in the early days. It took a while for the politics to sort of shape up."   Journey's album sales did not improve, so Columbia Records requested they change their musical style and add a lead singer who would share lead vocals with Rolie. In comes Steve Perry, right? Nope! The band hired Robert Fleischman from the Los Angeles-based band "Staggerwing" and began transitioning toward a more popular style, similar to that of Foreigner and Boston. Journey went on tour with Fleischman in 1977, opening for bands like Black Sabbath, Judas Priest, and Emerson, Lake & Palmer. Fleischman and the rest of the band began writing and rehearsing new songs, including the hit "Wheel in the Sky." However, this new lineup would be short-lived because the band was introduced to that guy I mentioned earlier, Steve Perry, during a performance before approximately 100,000 at Soldier Field in Chicago. This chance encounter was significant because differences between Fleischman and manager Herbie Herbert resulted in Fleischman's departure from the band within the year.   Steve made his live debut with the band at the Old Waldorf in October 1977, stepping into His Master's Studios and Cherokee Studios from October to December. Herbie hired Roy Thomas Baker as the new record's producer to add a layered sound approach similar to a band Baker had previously worked with, a little English band called "Queen." With a new lead singer and new producer in tow, the band's fourth studio album, Infinity, was released in January 1978, and peaked at number 21 on Billboard. "Lights", "Anytime," and "Wheel In The Sky" were the album's singles, and it has sold over 3 million copies. Journey then set out on tour supporting the album and headlined a full tour for the first time.   According to Herbie, tensions were high between Aynsley Dunbar and the rest of the band due to the change in music direction from the jazz-fusion sound. Guitarist Neal Schon said: "We would talk about it, and he'd say he'd be willing to simplify things. But we'd get out there, and after five shows he wasn't doing that at all." Finally, Dunbar's resistance came to a head when he started playing erratically and talking crap about the other members, which later resulted in Herbie axing Dunbar after their headline tour. He was replaced by Berklee-trained drummer and Montrose member Steve Smith.   Perry, Schon, Rolie, Smith, and Valory returned to the studio at Cherokee Studios in late 1978 to record their fifth album, Evolution, which was later released in March 1979, peaking at number 20 on Billboard and selling another 3 million copies. This album, which would be a milestone for the band, gave the band their first Billboard Hot 100 Top 20 single, "Lovin', Touchin', Squeezin'," peaking at number 16, and was all over the radio. Following the tour in support of Evolution, the band expanded its operation to include a lighting and trucking operation for future gigs. The tour had grossed more than $5 million, making the band as popular as it had been in five years. Journey later entered Automatt Studios to record their sixth studio album, Departure, released in March 1980, peaking at number 8 on Billboard. The first single, "Any Way You Want It," peaked at number 23 on the Billboard Hot 100 in 1980. The album featured an edgier sound, thanks partly to the "live in studio" way the songs were recorded. They initially went into the studio with 19 tracks, eventually trimming down to 12. This record would also go on to sell over 3 million copies!   Founding member and keyboardist Gregg Rolie left the band following the Departure tour to start a family and undertake various solo projects. It was the second time he had departed from a successful act in his career. Yep, he left Journey and Santana. Keyboardist Stevie "Keys" Roseman was then brought in to record the lone studio track, "The Party's Over (Hopelessly in Love)," on the band's live album "Captured." Rolie suggested pianist Jonathan Cain of The Babys as his permanent replacement so, with Cain's synthesizers replacing Rolie's organ, Cain had become the band's newest member. With Cain joining as the new keyboard player, the band entered Fantasy Studios in Berkeley, California, in late 1980, releasing their seventh studio album, "Escape," in July 1981. Escape became their most successful album, charting at number one in the United States. In addition, the album had a ton of hit singles, including: "Who's Crying Now," "Still They Ride," "Open Arms," and the iconic "Don't Stop Believin'." In July of 2021, it was certified diamond, selling over 10 million copies!!   Oh, and "Escape" had its own video game! Journey Escape was a video game developed and manufactured by Data Age for the Atari 2600 console and released in 1982.    Want to hear the plot of the game?   You're on the road with Journey, one of the world's hottest rock groups. A spectacular performance has just ended. Now it's up to you to guide each Journey Band Member past hordes of Love-Crazed Groupies, Sneaky Photographers, and Shifty-Eyed Promoters to the safety of the Journey Escape Vehicle in time to make the next concert. Your mighty manager and loyal roadies are there to help, but the escape is up to you!   These other bands may have been successful, but not Atari 2600 successful.   Journey began another lengthy yet successful tour on June 12, 1981, supported by opening acts Billy Squier, (My Kind of Lover) Greg Kihn Band, Point Blank, and Loverboy. They then opened for one and only The Rolling Stones on September 25 of the same year. MTV videotaped one of their two sold-out shows in Houston on November 6, 1981, in front of over 20,000 fans, later released on DVD, which for 1981 was HUGE.   Following the success of the 1981 tour, the band's entire establishment as a corporation, and the formation of a fan club called "Journey Force," the band released "Only Solutions" and "1990s Theme" for the 1982 Disney film Tron.    At this point, Journey was absolutely killing it, so they entered Fantasy Studios again in the middle of their 1982 tour to record their eighth studio album, Frontiers. Released in February 1983, "Frontiers" was the band's second-biggest selling album, selling over six million copies. Peaking at number 2 on the Billboard charts, it spawned the hit singles "Separate Ways (Worlds Apart)," "Send Her My Love," "After the Fall," and of course, "Faithfully," and you can hear our version of Faithfully wherever you listen to new music and at the end of this episode.   Journey began the tour supporting "Frontiers" in Japan and continued in North America alongside the Canadian Crooner, Bryan Adams, as the opening act. During the tour, NFL Films recorded a video documentary of their life on the road called "Frontiers and Beyond," shooting scenes at JFK Stadium in Philadelphia, Pennsylvania with more than 80,000 fans in attendance.   After the success of the Frontiers tour, the band decided to take some well-deserved time off. Steve and Neal both tried their hands at solo projects, and in 1984 Steve Perry, with the help of band manager Herbie, recorded and released his first solo album, Street Talk. Street Talk released Perry's biggest hit as a solo artist, "Oh Sherrie," written for his then-girlfriend Sherrie Swafford. The song hit #3 on the billboard hot 100 and #1 on Billboard's Rock chart, and the accompanying music video (also featuring Swafford) was a hit on MTV.   Neal Schon toured briefly in 1984 with his supergroup HSAS, supporting their sole album, "Through the Fire, released that year on Geffen.    Sidenote, what does "HSAS" stands for? Any guesses?   Hagar Schon Aaronson Shrieve featured lead vocalist Sammy Hagar (Van Halen), lead guitarist Neal Schon, bassist Kenny Aaronson (The Yard birds), and drummer Michael Shrieve. (Santana). The group reportedly rehearsed for less than a month before playing in concert.   Who are the Yardbirds? (For Your Love) Well, they were an English rock band formed in 1963 and launched the careers of a few notable guitarists like Eric Clapton, Jimmy Page, and Jeff Beck   Also, At age 20, drummer Michael Shrieve was the second youngest musician to perform at Woodstock while playing for Santana. His drum solo during "Soul Sacrifice" in the Woodstock film has been described as "electrifying."   When asked by the press if Journey was finished after selling their properties at the end of 1984, guitarist Neal commented, "No way Journey's ending. We're all too committed to this band to ever let that happen. In fact, one of the reasons we decided to go off in separate directions for a while was to keep the band as strong as ever."   After a productive phone call between Cain and Perry, the band returned to Fantasy Studios in late 1985 to record their ninth studio album "Raised on Radio," but with Steve Perry acting as the album's producer. Unfortunately, things were pretty tense within the band leading Herbie and Steve to fire both bass player Ross Valory and drummer Steve Smith for musical and professional differences. This booting took place only a few months into the recording sessions for the album, though Valory later admitted he left the band on his terms.    Bassist and future American Idol judge Randy Jackson, bassist Bob Glaub, and established drummer Larrie Londin were brought in to continue the album's recordings. If you're not familiar with Larrie Londin, check out his credentials. He's done session work with everyone from the Supremes and Marvin Gaye to Elvis and Dolly Parton. He is an absolute legend in the business—an "icon" for sure.   "Raised on Radio" was released in May 1986, peaking at number four on Billboard's album chart but underperforming compared to the band's previous two albums. It featured five singles: The top ten hit "Be Good to Yourself" along with "Suzanne," "Girl Can't Help It," "I'll Be Alright Without You," and "Why Can't This Night Go On Forever?".   The Raised on Radio support tour began at Angels Camp, California, in August 1986. The band performed sold-out shows throughout the United States before concluding with two shows in Anchorage, Alaska, in early 1987, with selected dates supported by Honeymoon Suite (New Girl Now), The Outfield (Your Love), and Glass Tiger (Don't Forget Me When I'm Gone.) The tour featured Randy Jackson on bass and Mike Baird on drums, and was videotaped by MTV for a documentary that included interviews with the band members called Raised on Radio, just like the album. MTV apparently loved themselves some Journey!   With tensions between Perry, the band, and manager Herbie at an all-time high following the tour's conclusion, Perry was unable or unwilling to remain actively involved and was tired of touring as it affected his health and his vocals.   Steve said: "I called Jon and Neal together. We met in San Rafael, we sat on the edge of the marina, and I just told them, 'I can't do this anymore. I've got to get out for a while.' And they said: 'Well, what do you mean?' And I said: 'That's exactly what I mean, is what I'm saying. I just don't want to be in the band anymore. I want to get out; I want to stop.' And I think Jon said: 'Well, just take some time off, and we'll think,' and I said: 'OK, fine.' And I just sort of fell back into my life. I looked around and realized that my whole life had become everything I'd worked so hard to be, and when I came back to have a regular life, I had to go find one."   He also stated: "The truth is, that I thought music had run its course in my heart," Perry explains in a statement on his website. "I'd had an amazing time in an amazing band, and then the chance to express myself as a solo artist too. But I had to be honest with myself, and in my heart, I knew I just wasn't feeling it anymore." "For a long time, I could barely even listen to music. My last show with Journey was February of 1987. Then one day, it hit me that I couldn't do this anymore. I felt as if I had to jump off this merry-go-round — this big beautiful mothership that we had all worked so hard together to build."   Following the "Raised on Radio" tour, the band went into a hiatus. However, Columbia Records released the Greatest Hits compilation in November 1988, which became one of the biggest selling greatest hits albums, selling over 15 million copies and continuing to sell half a million to a million copies per year. The compilation spent 750 weeks on the Billboard album charts until 2008. To date, their greatest hits album has sold almost 21 million copies worldwide.   Here's something else I wasn't aware of. While Steve Perry had retreated from the public eye, Schon and Cain spent the rest of 1987 collaborating with other profound artists. They worked with artists like Jimmy Barnes and Michael Bolton before teaming up with Cain's ex-Babys bandmates John Waite and Ricky Phillips. They, in turn, formed the supergroup Bad English (When I See You Smile, Price of Love) with drummer Deen Castronovo in 1988, releasing two albums in 1989 and 1991.    Steve Smith, however, devoted his time to his jazz bands, Vital Information and Steps Ahead, and teamed up with former bassist Ross Valory and original Journey keyboardist Gregg Rolie. They formed the band "The Storm" with singer Kevin Chalfant and guitarist Josh Ramos, and guess who their manager was? Herbie, of course!!   On November 3, 1991, Neal Schon, Jonathan Cain, and Steve Perry reunited to perform "Faithfully" and "Lights" at the Bill Graham tribute concert 'Laughter, Love & Music' at Golden Gate Park in San Francisco, California, following the concert promoter's death in an unfortunate helicopter accident.    In October 1993, Schon, Rolie, Valory, Dunbar, Smith, and Cain reunited and performed at a private dinner for manager extraordinaire Herbie Herbert at Bimbo's in San Francisco, with Kevin Chalfant (Allen Parsons Project live singer) on lead vocals.   After the breakup of Bad English in 1991, Neal Schon and Deen Castronovo formed the glam metal band Hardline (Takin Me Down) with brothers Johnny and Joey Gioeli, releasing only one studio album before his departure. Neal later joined Paul Rodgers (Bad Company vocalist) in 1993 for live performances, alongside Castronovo. In 1994, Steve Perry had released his second solo album, "For the Love of Strange Medicine," and toured North America in support of the album, though his voice had changed since the last time he had performed. Those high notes weren't as easy to hit anymore. Steve Perry ultimately decided to reunite with Journey under one condition. He demanded that there be a bowl of peanut M&Ms backstage at all times and that they HAD to be all brown with one, just one, green NON-peanut M&M on top.    Yeah, that's not true. Steve's one condition was that Herbie Herbert would no longer be the band's manager. Instead, the band hired Irving Azoff, longtime Eagles manager, as the new manager for the band in October 1995. Steve Smith and Ross Valory reunited with the band and started writing material for their next album, with rehearsals beginning that same month.   The band began recording their tenth studio album, "Trial by Fire" in early 1996 at The Site and Wildhorse Studio in Marin County and Ocean Way Recorders where they recorded under producer "The Caveman" Kevin Shirley (Mr. Big, Iron Maiden, Dream Theater.) This album was released in late October that year, peaking at number three on the Billboard album charts. The album's hit single "When You Love a Woman" reached number 12 on the Billboard charts and was nominated in 1997 for a Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The album also produced three top 40 mainstream rock tracks, "Message of Love," reaching number 18, "Can't Tame the Lion," hitting number 33, and "If He Should Break Your Heart," reaching number 38. It sold roughly 1.5 million units.   Plans for a support tour failed when Steve Perry, while hiking in Hawaii on a ten-day break in August 1996, discovered he had a degenerative bone condition and could not perform without hip replacement surgery. The accident resulted in the album's release date being delayed.   Upon its release, "Trial By Fire" was considered the band's worst-selling album and failed to match the originality and playability of the band's previous work. Neal Schon later admitted that the album had too many ballads and fans just wanted to hear that sweet, sweet rock and roll saying: "Even on our last record, the Trial By Fire record, a lot of the rock stuff just got shelved and ended up being like twenty ballads, I don't know how many ballads."  The band took another break following the album's dismal release to work on more solo projects, waiting for Perry to decide if he was able to or wanted to tour. Schon released his solo album Electric World in 1997, later creating Abraxas Pool with former Journey member Gregg Rolie, drummer Michael Shrieve and a few former Santana members. Jonathan Cain released his two solo albums, Body Language and For A Lifetime in 1997 and 1998 respectively. Following the reunion album's long-awaited release, Journey was becoming restless and tired of waiting for an answer from Steve Perry and touring. Following a phone call between Cain and Perry, Steve announced that he would again depart from Journey, releasing himself from the band's contracts and deciding to semi-retire from the music business. Steve Smith later quit the band, saying that Journey would not be the same without Perry and returning to his jazz career and his project "Vital Information."   The band hired the familiar drummer Deen Castronovo, Schon's and Cain's Bad English bandmate, to replace Steve Smith. After auditioning several high-profile candidates, including Geoff Tate (Queensryche), Kevin Chalfant, and John West (Royal Hunt), Journey replaced Perry with Steve Augeri, formerly of Tyketto and Tall Stories.  The band later recorded the song "Remember Me," featured on the soundtrack for the 1998 film Armageddon. Upon the song's release, the song showed fans that the band made the right decision in hiring Augeri. That soundtrack has sold over 5,392,500 copies.   Following a rehearsal with Augeri and Castronovo, the band went to Japan to perform four gigs, where they had still held an enormous fanbase. When asked how he felt about touring again in over a decade, Neal Schon commented: "It's a little like we are reborn again." Next, Journey embarked on a tour in the United States titled "Vacation's Over" which began in October and concluded at the end of December in Reno. They continued the tour with another leg in 1999, starting in Minnesota in June and finishing in Michigan in September.   From March to August 2000, the band entered Avatar Studios to record yet another studio album, "Arrival" with producer Kevin Shirley. The album was released in Japan later in the year, with a North American release in April 2001. The album had peaked at number 56 on the Billboard charts. However, the single "All the Way" failed to boost sales for the album. It was considered a disappointment with mixed opinions regarding the album, resulting in Sony dropping the band from the label. Upon the album's completion, the band set off on tour supporting the album in Latin America, the United States, and Europe.   In response to the attacks in New York City on September 11, 2001, Journey joined various bands at a major fundraising event on October 20 and 21 at the Smirnoff Music Centre in Dallas, Texas, to raise money for the victims and families of the tragedy. The event raised around one million dollars.   The Journey camp was quiet in 2002 as Neal Schon formed ANOTHER band, "Planet Us," with Castronovo, Sammy Hagar, and former Van Halen bassist Michael Anthony until 2004, when they disbanded. Schon also co-wrote songs alongside the band Bad Company, while keyboardist Jonathan Cain released another solo album.  Recording a few songs between 2001 and 2002, Journey released a four-track EP titled "Red 13" in November under their new label "Journey Music." The band chose the album cover design through a fan contest with the online cover designed by fan Kelly McDonald. However, the retail cover was only made available at the band's shows and was designed by Christopher Payne. Journey only performed one club gig in support of the EP but later began another tour of the United States from May to August 2003.  They continued touring the following year with another summer tour titled "Summer Detour" which began in June and concluded in September 2004. In November of that year, Journey joined REO Speedwagon and Styx for a tour around the Caribbean aboard the Triumph cruise ship. Sounds miserable. I'm not too fond of boats.   In 2005, the members of Journey were inducted into the Hollywood Walk of Fame alongside former members Steve Perry, Dunbar, George Tickner, Steve Smith, and Fleischmann. Rolie was the only member who did not appear at the ceremony. Surprised to see Perry joining them to accept the induction with the band, Valory commented that it was a pleasant surprise to see him.   Following their addition to the Hollywood Walk of Fame, the band began recording at the Record Plant in Sausalito, California, for their twelfth studio album, "Generations," which featured producer Kevin Elson who had collaborated with the band before. The album was released on August 29 in Europe, with a North American release following on October 4. The album peaked at number 170 on the Billboard charts. To promote the album and celebrate the band's 30th anniversary, the band embarked on a tour starting in Irvine, California, in June and concluding in Phoenix in October. Each concert on tour was three hours long with an intermission and featured many of their classic hits and included the new songs from the album. "Generations" sold less than 100,000 copies.   In 2006, the band toured Europe and joined Def Leppard on a North American tour. During the tours however, there was talk that Augeri was not singing but instead using backing tracks to cover up his deteriorating vocals. Those allegations resulted in him getting attacked by the fans. Augeri had suffered from vocal attrition problems before the band began the tour with Def Leppard. In addition, Journey had been accused of using pre-recorded lead vocals before, an accusation that former manager Herbie Herbert insists was true. SHOCKER. Valory denied the allegations, stating that it was a myth, a lie, an all-out fabrication, and that Augeri's vocals did not give out!    In a later press statement, the band announced that Augeri had to step down as Journey's lead singer and leave the tour to recover. Augeri performed his last show with Journey on July 4 in Raleigh.   With the tour still happening and successful, the band quickly hired Jeff Scott Soto from Talisman as their lead vocalist for the tour. He performed as Journey's vocalist on July 7 in Bristow for the first time. Because of its success and popularity, The band later extended the tour to November. Soto was officially announced as the band's new vocalist in December 2006. If you're keeping track, that's five lead singers.   Following tours of Europe and the United States in 2007, the band announced on June 12 that Scott Soto was no longer with them. In a statement, Neal Schon stated: "He did a tremendous job for us, and we wish him the best. We've just decided to go our separate ways, no pun intended. We're plotting our next move now." Cheeky. I love it.   Following Soto's exit from the group, the band was without a lead vocalist again. So Neal Schon began searching YouTube for a new lead vocalist, with Jeremey Hunsicker of the Journey tribute band "Frontiers" auditioning and spending a week with the band writing material. Hunsicker claims to have been formally offered the position, but it fell through shortly following tension with Schon. However, one of the tracks co-written with Hunsicker, "Never Walk Away," later appeared on the Revelation album. Neal Schon later found Filipino singer Arnel Pineda of the cover band The Zoo, covering the song "Faithfully." (Our version is arguably better, just saying.) Schon was so impressed that he contacted Pineda to set up two days of auditions with him. The auditions went well, and they later named him the official lead vocalist of Journey on December 5, 2007. In 2007, the hit song "Don't Stop Believin'" gained coverage and sharp growth in popularity when it was used in The Sopranos television series final episode, prompting digital downloads of the song to skyrocket. But, unfortunately, the Soprano's finale also pissed a lot of people off.   In November 2007, Journey entered the studio with Pineda to record the studio album "Revelation." The album was released on June 3, 2008. It debuted at number five on the Billboard charts, selling more than 196,000 units in its first two weeks and staying in the top 20 for six weeks. As a multi-disc set (2-CD), each unit within that set counts as one sale, which I didn't know. Journey also found success on Billboard's Adult Contemporary chart, where the single "After All These Years" spent over 23 weeks, peaking at number 9. "Revelation" has sold over 1 million copies.   On February 21, 2008, Pineda performed for the first time with Journey in front of 20,000 fans in Chile. The band began the "Revelation" tour in the United Kingdom in June, continuing the tour into North America, Asia, Europe, and South America, concluding in October. Receipts from the 2008 tour made Journey one of the top-grossing concert tours of the year, bringing in over $35,000,000. On December 18, 2008, Revelation was certified platinum by RIAA.   The band performed at the Super Bowl 43 pre-game show in Tampa, Florida, on February 1, 2009. The band continued their Revelation tour in May and concluded it in October 2009. They also performed in Manila in front of 30,000 fans, recorded for a live release, "Live in Manila."   In 2009, "Don't Stop Believin'" became the top-selling song on iTunes among those released before 2000, with over 500,000 downloads.   Journey then entered Fantasy Studios in Berkeley, California, in 2010 with Pineda to record their next studio album, "Eclipse." The album was released on May 24, 2011, and debuted at number 13 on the Billboard 200 charts with the singles "City of Hope" and "Human Feel." Unfortunately, "Eclipse" could not match the success of Revelation, barely selling 100,000 copies—an 1/8th of the previous album's sales. They later toured the United Kingdom in June 2011 with Foreigner and Styx. Journey was awarded the "Legend of Live Award" at the Billboard Touring Awards in October. The band later released Greatest Hits 2 in November of 2011.   In June 2015, drummer Deen Castronovo was arrested following a domestic altercation. Journey fired him in August and was replaced by Omar Hakim on the band's 2015 tour. He was sentenced to four years probation after pleading guilty to domestic violence charges.    In 2016, Steve Smith again returned as Journey's drummer, reuniting all of the Escape-Frontiers-Trial by Fire lineup members except lead singer Steve Perry. In 2018, during the North American tour with Def Leppard, Journey topped the Billboard Hot Tours List for grossing more than $30 million over 17 shows.   On March 3, 2020, Schon and Cain announced that they had fired Smith and Valory and were suing them for an alleged "attempted corporate coup d'état," seeking damages over $10 million. The lawsuit alleged Smith and Valory tried to "assume control of Nightmare Productions because they incorrectly believe that Nightmare Productions controls the Journey name and Mark" to "hold the Journey name hostage and set themselves up with a guaranteed income stream after they stop performing." Valory and Smith contested the firings with the support of former manager Herbie Herbert and former lead singer Steve Perry. Court filings revealed that Steve Perry had been paid as a band member for years despite not performing. In an open letter dated that same day, Schon and Cain stated Smith and Valory "are no longer members of Journey; and that Schon and Cain have lost confidence in both of them and are not willing to perform with them again." Valory counter-sued Schon and Cain for their partnership's claim of owning the Journey trademark and service mark.   In June 2020, Neal Schon announced via his social media page that a new album with Jackson and Walden was "starting to take shape." The following month, he confirmed the album's progress and that they would release new music in early 2021. In January 2021, he announced that the album's first single would be released later that year, with the possibility of a worldwide tour to follow. In April 2021, the band reached an "amicable settlement" with former members Valory and Smith, confirming they were no longer a part of Journey. The single "The Way We Used to Be" was released on June 24, 2021.   In July 2021, Neal Schon confirmed that Deen Castronovo, had rejoined as a second drummer.   On February 16, 2022, the band announced the title and track listing of their upcoming fifteenth studio album "Freedom," which is set to be released on July 8, 2022. On March 1, 2022, Cain confirmed that neither Walden nor Randy Jackson remained in the lineup, with Walden's dipping out following a minor heart attack following a live show in Pennsylvania. Nevertheless, they both still played on Freedom, as they had completed their parts on the album before departing. The second single, "You Got the Best of Me," was released on April 26, 2022. The third single, "Let It Rain," was released just recently, on May 17, 2022. So be on the lookout for Journey's new album!   According to the Recording Industry Association of America (RIAA) Journey has sold 48 million albums in the U.S., making them the 25th best-selling band. In addition, their worldwide sales have reached over 80 million records globally, making them one of the world's best-selling bands of all time.

The Contemporary jazz just keeps getting better and better. At least that's what we like to think. To prove it here's Incognito, Phylcia Rae, Norman Brown, Nicole Henry, Greg Manning featuring Jimmy Reid, Cindy Bradley, and Jade Novah. New music from Kimberly Brewer featuring Maysa, Paul Taylor, Rei Narita featuring Nelson Rangell and Omar Hakim, Gerald Albright, Brian Culbertson and Trombone Shorty featuring Laurin Daigle, and Funktastic Players. Finishing it up there's GIL, Najee, Brandon Coleman, Blair Byrant featuring Beth, Lettuce and Tom Browne featuring Jeanette Harris. It's so smooth it has to be the Creative Colorful People Show.Thanks to our friends for dropping by Tony Lewis, Val Jones, and TC Rogers. Thank you for sharing and we hope to see you next time around.Take care of yourself, look out for your brothers and sisters and God will look out for you all.Karl BlakeKarlblake2012@gmail.com919-824-4467

**QuietStorm's Intimate Nights** ~ a smooth mix of slow & romantic jazz suitable for candlelight dinner or anything you could imagine under the moon & stars. **In this 65th release**, some of the featured artists included here are **Chris "Big Dog" Davis & Dave Koz, Boy Katindig, Beyoncé, Fourplay, Brian Simpson, Omar Hakim, Catie Waters, Tom Scott ft. David Pack, Lou Pardini, T-Square**, plus many more.

For Video Edition, Please Click and Subscribe Here:   https://youtu.be/IilI3qdLCXg  Grammy® nominated Nicole Zuraitis is a New York-based vocalist, pianist, and songwriter who took home the Gold Medal and Ben Tucker Jazz Award in the 2021 American Traditions Competition. The musical chameleon brings her signature warmth and outstanding vocals to various genres and styles, as demonstrated on her newest multi-hyphenate album, All Wandering Hearts (DotTime Records).  In 2019, Nicole's career blossomed when she and her husband, renowned drummer and bandleader Dan Pugach, were dually nominated for a Grammy® for their arrangement of Dolly Parton's "Jolene."  Nicole graces the stages at both the iconic Birdland Jazz Club and Greenwich Village's 55 Bar monthly.  Nicole's critically acclaimed 2018 release, Hive Mind (Dot Time Records), earned the title of 'Best Jazz Album' in the 2018 International Music and Entertainment Awards. Zuraitis has assembled an all-star female ensemble to record her project Generations of Her - Women Songwriters and Lyricists of the Last 100 Years while working diligently on her sixth album as a leader.  Nicole has collaborated with such luminaries as Cyrille Aimee, Thana Alexa, Dave Stryker, Livingston Taylor, Tom Chapin, Omar Hakim, Melanie Safka, Helen Sung, and Bernard Purdie. She is a proud educator and teaches jazz and songwriting worldwide, with highlights including Berklee College of Music, NYU, SAM in India, The Australian Embassy, and the Lithuanian Consulate. Nicole is currently pursuing her Masters of Business Administration from LSUS and loves to rescue and rehabilitate pit bulls with her husband, Dan. For more information, visit www.nicolezmusic.com or tag @nicolezmusic.

Although they had been steadily growing in popularity since their debut in the mid-70's, Dire Straits would become a household name with their fifth studio album, Brothers In Arms.  Between the catchy hooks accessible on both rock and adult contemporary radio, and the video-driven appeal of the group on MTV, DIre Strats became an arena group in 1985.This album found Dire Straits composed of John Illsley on bass, Terry Williams on drums, Alan Clark on piano and organ, Guy Fletcher on synthesizer, and of course the primary driver, songwriter, and co-producer for the album was Mark Knopfler.  Additionally, Jazz drummer Omar Hakim was brought in to re-record much of the percussion work, though Williams remained the drummer for the band.Knopfler was quite the perfectionist when it came to sound, and this album would be the first to be recorded entirely digitally.  It is listed in the Guinness Book of World Records as the first compact disc to sell a million copies.The success Dire Straits had with this album may have led to the groups undoing.  Knopfler was uncomfortable with the fame, thinking that people were coming to the shows for the celebrity rather than the music.  The group would take a hiatus following the "Brothers In Arms" tour, and would produce one more studio album before disbanding.  Knopfler would go on to produce solo work as well as collaborate with other artists including Eric Clapton , Thomas Dolby, and Bob Dylan.  Dire Straits was inducted into the Rock and Roll Hall of Fame in 2018. So Far AwayThis is the opening track on the album and the lead single in the UK, released in April of 1985, ahead of the album.  It would be the third single in the US where it hit number 9 on the Billboard Hot 100.  It is about carrying on a long-distance relationship.Your Latest TrickA melancholy deep cut, this song features Randy Brecker on trumpet and Michael Brecker on saxophone.  It is clearly referencing prostitution, but it has a feel of loneliness and emptiness.  Some say it is about a relationship and some say it is about society in general.  The night is over, everyone is going home, and the guy is left alone wondering what happened.One WorldAnother deep cut, and more blues-oriented.  "Can't get no remedy on my TV, it's nothing but the same old news.  Well, they can't find a way to be one world in harmony.  Can't get no antidote for blues."  Tony Levin was brought in to play bass on this one. Walk of LifeThis hit almost didn't make the album.  Co-producer Neil Dorfsman voted against its being included, but the band outvoted him.  It made it to number 7 on the US charts, and was one of their biggest commercial hits in the UK, peaking at number 2 there.  It is about the street musicians in London playing standards in the subways. ENTERTAINMENT TRACK:This is Not America by Pat Metheny and David Bowie (from the motion picture The Falcon and the Snowman)This show about American kids turned Soviet spies was in the theaters in February 1985, and this song was on the charts in May. STAFF PICKS:Obsession by AnimotionWayne kicks off our staff picks with a synth pop hit that was a staple of every dance floor in 1985.  Animotion covered this song, originally performed by Holly Knight and Michael Des Barres in 1983.  The song was developed at first thinking about the obsession of drugs, but it transformed into an obsession with a person when it was done. Smuggler's Blues by Glenn FreyBrian's staff pick was well known at the time from Miami Vice.  "You be cool for 20 hours and I'll pay you 20 grand."  One of the things that made Miami Vice such a popular draw was its use not just of cool actors in Miami, but also using cameos from the music world.  Glenn Frey appeared as a smuggler in the episode where "Smuggler's Blues" was played.Sussudio by Phil CollinsRob's staff pick is the lead track from Collins' third solo album "No Jacket Required."  The drum machine and horns made this a polarizing song, with lots of people loving it and lots hating it.  It was a big hit in the summer of 1985, and Phil Collins has mentioned that this song is the one most often sung to him when strangers approach.Marlene on the Wall by Suzanne VegaBruce closes out the staff picks with a song inspired by Marlene Dietrich.  Singer songwriter Suzanne Vega heard Dietrich responding to a controversial statement, "You have lead many men to death with your body." with the perfect response, "Give me a kiss."  This was the lead track off Vega's debut album, dealing with loneliness and a strained relationship. INSTRUMENTAL TRACK:The Lady In My Life by Stanley JordanJazz guitarist Stanley Jordan covers a deep cut from Michael Jackson's Thriller album to close out this week's podcast.

It was an honor to talk with one of my favorite musicians and biggest musical influences, Gary Husband. In this conversation, Gary talks about his journey from early gigs as a teenager with the Syd Lawrence Orchestra, to 36 years of working with Allan Holdsworth, to working with John McLaughlin and the 4th Dimension, and more. Gary also shares his thoughts about “success” and the difference between waiting for opportunities versus creating opportunities. Be sure to check out Gary's website and his newly launched VideoCast education videos. They're amazing! http://www.garyhusband.com​ Gary Husband is one of a rare breed of musicians in that his expression is divided equally in his capacity as a drummer and a pianist and keyboardist of international repute. His classical roots, his quest and development in the improvisational, jazz and jazz/fusion areas – not to mention his tenure in the pop, rock, funk and blues circuits – are all evident inside Gary's distinct and far-reaching musical personality. His solo album and DVD output has also reinforced his status as a critically acclaimed writer and arranger in the contemporary music world. For close to four decades Gary has worked alongside a vast and eclectic range of celebrated musicians including John McLaughlin, Allan Holdsworth, Jeff Beck, Jack Bruce (Cream), Gary Moore (Thin Lizzy), British pop/funk band Level 42, Billy Cobham, Al Jarreau, Mike Stern (Miles Davis), John Wetton (King Crimson), Chris Squire (Yes), Andy Summers (The Police), Steve Hackett (Genesis), Robin Trower (Procol Harum), and with producers Sir George Martin (Beatles), Trevor Horn (Grace Jones & Art of Noise), Quincy Jones (Michael Jackson), Jerry Hey and James Guthrie (Pink Floyd). Further associations and performing/recording credits include his work with Randy Brecker, Jan Hammer, Jerry Goodman, fusion/jam band Gongzilla, Germany's NDR Bigband, Soft Machine, Maria Schneider, Christian McBride, Eddie Van Halen, Dean Brown, Bob Berg, Nguyên Lê, Joe Lovano, Charles Tolliver, Bireli Lagrène, Peter Erskine, Ron Sexsmith, drum n' bass protagonists Lemon ‘D' and Dillinja. As an internationally established drum clinician he has performed alongside Dennis Chambers, Vinnie Colaiuta, Terry Bozzio, Billy Cobham, Simon Phillips, Omar Hakim, Ricky Lawson, Todd Sucherman, Paul Wertico, Denny Seiwell and Bernard Purdie, and most recently has been developing a series of motivational videocasts in drumming. His alter-ego as a pianist/keyboard player brings an extra dimension to his musicality at the drums. Indeed, he has been the keyboardist & second drummer in John McLaughlin's 4th Dimension since 2007. Gary continues to devote a substantial proportion of his time recording and performing worldwide across many styles of music.

Hoy en VINILOS PARA GATOS os acercamos el primer trabajo de un excelente guitarrista, Clean Sweep (1981) de Bobby Broom. TRACKS 1- Clean Sweep (Reyes) 2- No Bad Vibes (Broom) 3- Remember When (Broom) 4- She's my Reason (Miller) 5- Saturday Night (Miller) 6- Niqui (Broom) 7- Share my Love (Hakim) 8- Con Alma (Gillespie) CREDITS Bobby Broom. Guitar Marcus Miller. Bass ( tracks 2, 4, 5 , 8) Buddy Williams. Drums ( tracks 2, 4, 5, 6 ) Omar Hakim. Drums ( tracks 1, 7, 8 ) Dave Grusin. Keyboards. ( tracks 3, 4, 6, 7 ) Errol 'Crusher' Bennett. Percussion ( tracks 1, 2, 4, 5, 7) Carol Steele. Percussion ( tracks 3, 5) Larry Rosen. Percussion ( tracks 2, 3, 5) Terry Burrus. Piano ( track 1, 2, 5, 7) Victor Bailey. Bass ( track 1) Sekou Bunch. Bass ( track 3 )

Heute haben wir (Eric und Felix) online getroffen um mal darüber zu reden, wer einen so alles beeinflußt hat beim Spielen. Also welche Drummer unsere Lieblinge sind. Aber natürlich bleibt es nicht dabei. So stellen sich ganz neue Fragen: Hat Anderson Paak eigentlich mehr Zähne als normale Menschen, wie Erics Bandkollegen darauf reagiert haben, als er die schnellen Fill-Ins von Billy Cobham entdeckt hat, ob Dan Mayo eine Hipster Pommes Sauce ist und warum man nicht frustrieren sollte, wenn man all die Super Satrs hört. Apropos Hören. hier ein paar Links zu den erwähnten Drummern im Talk: Vinnie Colaiuta mit Sting https://open.spotify.com/track/2Wmm4aEFUISjdmVuy7VGL0 (Seven Days) und https://open.spotify.com/track/5t8GFErw7KYsub0x4LhTy7 (Roxanne) Stewart Copeland: https://open.spotify.com/track/3EYOJ48Et32uATr9ZmLnAo (Roxanne) und https://open.spotify.com/track/62uLNJgVZaFiEiKV4LpoYJ (Wwalking on the Moon) Billy Cobham Stratus: https://open.spotify.com/track/1BYVhbLZ6PAsv36Gc8iPuK Anderson Paak Tiny Desk Concert: https://youtu.be/ferZnZ0_rSM Steve Gadd: https://open.spotify.com/track/6Qb7gtV6Q4MnUjSbkFcopl (50 Ways to leave your Lover) und https://open.spotify.com/track/78JPy0KV547MIfWTSJRebU (Al Jarreau live) Omar Hakim https://youtu.be/H5AO0aeuR6Q Chad Smith https://open.spotify.com/track/5ITOTuCOy6y4PB55CSZADE (RHCP - The Righteous and the Wicked) Will Calhoun https://open.spotify.com/track/3rg3va3tInrRyO0nrAFcTU (Memories can't wait) Brian Blade https://youtu.be/6qwv2f5m0xM Dan Fucking is he good Mayo https://youtu.be/uk-wn-Hl9t0 Das Interview mit Eric findest du übrings hier: https://youtu.be/6XGOtCrPkOA Weitere Interviews und vieles mehr zu Schlagzeug findest du beim YouTube Kanal von EInfach Schlagzeug: https://www.youtube.com/channel/UCv6BuCJCQQt-XmdOkqTmquw Mehr zu Eric generell hier zu finden: Eric: https://musiker-akademie.de/ https://www.facebook.com/Tonstudio-Eric-Harings-103377799763731/

En los primeros tiempos del jazz la batería se limitaba a marcar el pulso haciendo funciones de simple metrónomo. No habían solos y el baterista solía ser el músico menos preparado de cualquier banda. De esos primeros bateristas podemos mencionar a Zutty Singleton, natural de Bunkie, y Baby Dodds, nativo de Nueva Orleans, que tocó con King Oliver y con los Hot Seven de Louis Armstrong. Ambos bateristas eran de Luisiana y trabajaban con los músicos de Nueva Orleans. Dodds fue el primero en ejecutar breaks del estilo de redobles que marcaban el final de una sección del número musical y que serían el inicio del posterior desarrollo de los solos. Fue en Chicago donde la batería adquiriría una mayor relevancia, especialmente tras la fulgurante aparición de Gene Krupa. Krupa llegó a establecerse en la cumbre del período del swing con la memorable interpretación por la orquesta de Benny Goodman de la pieza Sing, Sing, Sing (With a Swing), en la que hacía un largo solo de batería. Poco más tarde Jo Jones innovó trasladando la atención desde el bombo al hi-hat, una herencia que acabarían recibiendo bateristas tan importantes como Buddy Rich y Louie Bellson. El creador del estilo moderno en la batería de jazz es, sin duda Kenny Clarke. El perfil de un bateria desde entonces será el de un músico con formación académica completa que suele poder tocar otros instrumentos, leer música y hasta hacer arreglos, y que ya no es el miembro menos preparado de la banda, sino, frecuentemente, el más conocedor. Poco más tarde Max Roach perfecciona el estilo de Clarke, aportando nuevas técnicas. Roach fue el primer baterista en tocar líneas melódicas perceptibles con su instrumento, a menudo en respuesta a los solos y ejecuciones de sus compañeros, liberando con ello a la batería de su papel de mero instrumento rítmico y ampliando su campo a los ámbitos de la armonía y la melodía; también fue Roach el primero en demostrar que el swing podía tener lugar en compases diferentes del 4/4. A partir de los 50s aparece Art Blakey, que había empezado como pianista. Blakey fue uno de los primeros bateristas en investigar las raíces africanas del jazz, y las incorporó a su estilo, de fuerte inspiración en el bop. Fue gran divulgador del mundo del jazz en los escenarios con sus famosos Jazz Messengers. Desde 1956 hasta 1967, Joe Morello cobró fama por el trabajo que hacía en el cuarteto de Dave Brubeck, en especial sus experimentos con métricas inusuales.8 . De Blakey y Roach proceden los principales bateristas de la era del hard bop, como Art Taylor, Louis Hayes, Dannie Richmond, Pete La Roca, Roy Haynes, Albert Heath y, aunque llegaría mucho más allá de los límites de ese género, Elvin Jones, tal vez el baterista más imitado de la historia junto a Max Roach. Entre los bateristas de la escena de Nueva York que desarrollaron un estilo moderno del swing destacan Buddy Rich, el ejemplo paradigmático de técnica virtuosa o Louie Bellson, que introdujo el doble bombo en la orquesta de Duke Ellington. En la Costa Oeste se desarrolla un estilo diferente: Shelly Manne es el prototipo de baterista melódico; por su parte, Chico Hamilton, miembro fundador del cuarteto de Gerry Mulligan, comenzó en el cool antes de pasarse al jazz fusión. Tony Williams alcanzó notoriedad aún siendo un adolescente, primero con Jackie McLean, y después con Miles Davis, con quien grabaría algunos álbumes que pasarían a la historia como parte del segundo quinteto clásico de Davis. Después fundó su propia banda: The Tony Williams Lifetime. Williams era capaz de competir con los mejores exponentes del instrumento, y su estilo, derivado de los de Kenny Clarke y Max Roach, era original y extremadamente potente. Entre los bateristas más importantes de la corriente principal contemporánea que surgieron desde finales de los 60 en adelante, hay que citar a Billy Hart (n. 1940), Narada Michael Walden, Victor Lewis, Eddie Gladden, Al Foster, Don Alias, Jeff Hamilton, Paul Motian, Joe LaBarbera, Elliot Zigmund, Michael Di Pasqua, el noruego Jon Christensen, el sudafricano Makaya Ntshoko o el polaco Janusz Stefanski. La llegada del jazz fusión a principios de los 70 devuelve en cierta forma la batería a sus comienzos: el énfasis en el bombo y la necesidad de marcar el primer tiempo del compás con claridad son aspectos que retoman una nueva generación de bateristas entre los que destacan el ya mencionado Tony Williams y, además, Alphonse Mouzon, Steve Gadd, Peter Erskine, Harvey Mason, Lenny White, Jack DeJohnette, Gerry Brown, Leon "Ndugu" Chancler, John Guerin, Billy Cobham o Danny Gottlieb. A partir de los 80, hay que señalar a Brian Blade, Terry Lyne Carrington, Jeff "Tain" Watts, Omar Hakim, Dave Weckl o Dennis Chambers. Hoy os vamos a hablar del único instrumento genuinamente norteamericano, la batería y hemos creído oportuno comenzar por el principio. Agarraos los cinturones que hoy vamos a escuchar a los amos del ritmo.

Grammy® nominated vocalist, pianist and songwriter Nicole Zuraitis draws from the traditions of jazz, pop and blues to create music that is rich in depth and heart.  As a bandleader, a recording artist and the premiere vocalist of the world famous Birdland Big Band among other notable ensembles, Nicole has established herself as a staple on the New York City Jazz scene and has made a significant mark on the global modern jazz landscape.  This musical chameleon brings musical ingenuity and her signature warmth to a wide array of genres and styles.  Nicole's stunning vocal prowess paired with her facility on the piano and her talent as a consummate entertainer prove that she is anything but your average jazz singer. In 2019, Nicole's illustrious career blossomed even further when her and her husband, renowned drummer and bandleader Dan Pugach, were dually nominated for a Grammy® for their arrangement of Dolly Parton's “Jolene”.  Nicole can be found gracing the stages at both the iconic Birdland Jazz Club and Greenwich Village's 55 Bar weekly, displaying her stellar vocal capacity; an intersection where virtuosity meets unbridled, genuine enthusiasm. She was named the top 40 under 40 for 2020 in Connecticut Magazine and her weekly live stream during the Covid 19 crisis "Virtual Piano Lounge Plus One" was featured in Forbes in October 2020. Nicole's critically acclaimed 2018 release, Hive Mind (Dot Time Records) earned the title of ‘Best Jazz Album' in the 2018 International Music and Entertainment Awards.  Nicole will be releasing her fourth studio album as a bandleader, All Wandering Hearts, in May 2020 on Dot Time Records.  In addition, Zuraitis has assembled an all-star female ensemble to record her project Generations of Her - Women Songwriters and Lyricists of the Last 100 Years. While not leading her own ensembles, Nicole performs and tours extensively with her husband's renowned ensemble, the Dan Pugach Nonet.  While pursuing a career that has spanned the genres of jazz, pop and classical, Nicole has collaborated with such luminaries as Cyrille Aimee, Thana Alexa, Dave Stryker, Livingston Taylor, Tom Chapin, Omar Hakim, Melanie Safka, Helen Sung and Bernard Purdie. www.nicolezmusic.com

Although Sting is widely known for his solo career and for fronting The Police, his love for jazz has been a common thread throughout his career. His jazz sensibility became more prominent when he started his solo career with a band of young heavy-weights from the New York jazz scene of the time, Branford Marsalis, Kenny Kirkland, Darryl Johns and Omar Hakim. We continue our exploration of Sting's jazz projects and renditions of his jazz compositions by the likes of Lester Bowie, Pat Metheny, Esbjörn Svensson, Michael Brecker, collaborations with producer Hal Willner and more. Happy listening! The playlist also features Bob Belden; Christian McBride; Michela Lombardi; Nils Landgren, Lars Danielsson, Wolfgang Haffner; Eric Reed; Nobuyoshi Ino; Joe Henderson; Bill Frisell, David Sanborn, Fareed Haque, Don Alias, Hank Roberts; and Branford Marsalis. Detailed playlist at https://spinitron.com/RFB/pl/11767727/Mondo-Jazz (from Bob Belden's "The Dream of the Blue Turtles" on).

Where can I begin to express the impact that Omar Hakim has had on both me and countless drummers across the globe? Omar’s career spans 50 years, multiple genres, millions of records sold and a slew of world tours and that’s only part of the story. As the child of a successful Jazz musician (Hasaan […] The post 584 – Omar Hakim: Forever the Student appeared first on Drummer's Resource: Conversations with the world's greatest drummers and music industry pros..

Who else wants to know what investors are really looking for in the perfect pitch? Welcome to Idea2Impact, the show where you will hear from inventors and entrepreneurs who have some amazing stories of how they have taken their research and ideas from pencil and paper all the way to market. On this episode, Dr. Beth Deuermeyer and Jack Manhire talk with Prof. Omar Hakim, who is a professor of practice in entrepreneurship and technology at Texas A&M University. If you want to talk business, companies, and entrepreneurship, from Crossfit all the way to oil and gas, Omar is the person to talk to. Want more information? Visit Texas A&M University Innovation Partners https://tamuip.edu/ You can also contact your host, Beth Deuermeyer, Ph.D. https://www.linkedin.com/in/edeuermeyer/ Prof. Hakim's webpage: https://liberalarts.tamu.edu/sociolog... Make sure to like, share, and subscribe to this podcast!

Who else wants to know what investors are really looking for in the perfect pitch? Welcome to Idea2Impact, the show where you will hear from inventors and entrepreneurs who have some amazing stories of how they have taken their research and ideas from pencil and paper all the way to market. On this episode, Drs. Beth Deuermeyer and Jack Manhire talk with Prof. Omar Hakim, who is a professor of practice in entrepreneurship and technology at Texas A&M University. If you want to talk business, companies, and entrepreneurship, from Crossfit all the way to oil and gas, Omar is the person to talk to.

Esta edición especial está dedicada a uno de los grandes intérpretes de armónica del momento: el suizo Grégoire Maret. Repasamos sus colaboraciones junto a Bebel Gilberto, George Benson, Nicole Henry, Kurt Elling, Pat Metheny, Paulette McWilliams, Omar Hakim, Raúl MIdón, Marcus Miller, Keiko Matsui y Frank McComb.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Esta edición especial está dedicada a uno de los grandes intérpretes de armónica del momento: el suizo Grégoire Maret. Repasamos sus colaboraciones junto a Bebel Gilberto, George Benson, Nicole Henry, Kurt Elling, Pat Metheny, Paulette McWilliams, Omar Hakim, Raúl MIdón, Marcus Miller, Keiko Matsui y Frank McComb.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Five time Grammy nominated bassist, composer and luthier, Scott Ambush has been performing since the age of twelve. A native Marylander, Scott began playing electric bass when he discovered that the drum slot in the band he wanted to join was filled. Scott has no regrets. As a member of contemporary jazz super group, Spyro Gyra, he is known for his versatility, sensitivity and lyrical playing. Scott is equally at home in a wide range of musical contexts, having played with such luminaries as Stanley Turrentine, Dizzy Gillespie, Omar Hakim and Special EFX. He has backed R&B jazz instrumentalists, Chuck Loeb, Kirk Whalum, and Pieces of a Dream, among others; R&B vocalists Maysa Leak and Angela Bofil, as well as award winning Blues artist Deanna Bogart. Whether doing live dates or recording projects with Bogart, Jason Miles, Teresa DeSio (Italy), Misato Watanabe (Japan) or renowned Bollywood composer and producer, Sandeep Chowta, Scott’s varied experiences have served him well. When not touring with Spyro Gyra, Scott fronts his own group, Funkalociraptor! and designs, builds and sells the custom bass guitars that carry his name.

Bela is a world-class musician and the world's leading ambassador of the banjo. Cory is a card-carrying superfan. Listen in as Bela discusses his approach to improvisation, his high school years with Omar Hakim and Marcus Miller (!), and his love for collaboration. Visit Bela Fleck: https://www.belafleck.com (https://www.belafleck.com) Hit us up: wongnotes@premierguitar.com Visit Cory: https://www.corywongmusic.com (https://www.corywongmusic.com) Visit Premier Guitar: http://premierguitar.com (http://premierguitar.com) Twitter: https://twitter.com/wongnotespod (https://twitter.com/wongnotespod) IG: https://www.instagram.com/wongnotespod (https://www.instagram.com/wongnotespod) Produced by Jason Shadrick and Cory Wong Presented by Fender

Gainesville, Florida, home to the Cade Museum, is a university town famous for being the home of nine members of the Rock and Roll Hall of Fame. Thanks to technology to harness their creativity, a fresh crop of Gainesville musicians are using their music to bring comfort and joy during troubled times. This is the story of 25 musicians with Gainesville connections, collectively known as Band Together, and their collaboration on a music video that has brought relief to thousands of music lovers and ordinary people during the COVID-19 pandemic. TRANSCRIPT: Intro: 0:01 Inventors and their inventions. Welcome to Radio Cade the podcast from the Cade Museum for Creativity and Invention in Gainesville, Florida, the museum is named after James Robert Cade, who invented Gatorade in 1965. My name is Richard Miles. We’ll introduce you to inventors and the things that motivate them, we’ll learn about their personal stories, how their inventions work and how their ideas get from the laboratory to the marketplace James Di Virgilio: 0:38 For Radio Cade, I’m James Di Virgilio. The mission of the Cade includes not only technology, but also arts. And within that, especially music. Past entrepreneurs and scientists who have been guest on this show where musicians, including Robert Cade himself. Today, we are joined by three musicians, Bob McPeak, Rob Rothschild , and Chris DeMakes. They’re here to tell us about the technology and the creativity behind the collaborative made at home music videos that certainly are proliferating in the age of COVID-19. They’re part of the amazing tradition of Gainesville, Florida music, a university city that is part of the story of Tom petty and the Heartbreakers, the Eagles Bo Diddley, Stephen Sills, the Motels, Less Than Jake, Sister Hazel, River, Phoenix, Against Me, Minnie Riperton, and many more. 25 musicians from Gainesville recently joined together, calling their band, Band Together, to make a music video of a song called “On the Other Side”, which has been generating quite a bit of attention. Welcome to the show Bob, Rob Rothschild, and Chris DeMakes Bob McPeak: 1:43 Hi. Great to be here. Thank you, James. James Di Virgilio: 1:45 Now, Bob, you started this project Band Together, and you’re also an example of someone who is both scientist and musician. Bob McPeak: 1:52 That’s right. Although a lot of people who know me as a musician don’t know that I am a social scientist. I received a PhD from Ohio state university in social psychology way back in 1976. James Di Virgilio: 2:06 And how did you wind up getting into music, social psychology to music, or do those two overlap? It seems sort of like a leap? Bob McPeak: 2:12 It is an unusual combination, I think, although certainly not unprecedented. Uh , I started playing guitar when I was 14 and I got hooked on it and played in bands all the way through college. But at the end of my third year of graduate school, I was picked by the psychology department to go to this place in Greensboro, North Carolina called the Center for Creative Leadership. And one of the things I did while I was there was to take a career workshop from the vice president of the Center for Creative Leadership, whose name is David Campbell. He was a really remarkable guy. You may have heard of the Strong Campbell Vocational Interest Blank, which is a psychometric instrument that’s supposed to help you determine a career choice. And he did a career workshop and we went through all these exercises and every exercise that we did told me that what I really wanted to do was make music. And I took that to heart, but I was so far along that I went ahead and finished my PhD, but didn’t pursue a job. Instead, I moved with a friend, actually my, a musician that I was playing music with, whose name is Rick Kesner. And at the end of 1976 in November, he and I moved to Gainesville. I’d never been to Gainesville, but it seemed like a really cool place from what I knew about it. And he had been there and spoke highly of it and removed here. And we had a business plan, which was to play music and to start a used record store. And that became Hide and Seek Records shortly after moving here and not too much longer after that, I cobbled together whatever recording equipment I could afford at the time in built a studio in the house that I was living in. And that was the beginning of Mirror Image Studios. James Di Virgilio: 3:52 So you go from having a PhD, to starting a recording studio. What did your family and friends think about that ? Bob McPeak: 4:01 Uh, at that point, my mother was no longer alive. I’m not sure what she would have thought. My dad was a pretty laid back, do what you want kind of guy. He’d never really pressured me. And he seemed okay with it. If he had objections to it, he didn’t voice them. My friends, at least the ones in the psychology department and wondered if I had lost my mind. And to be honest, there were times when I had my own moments of doubt, but then I would go back to the studio and I would get involved in some kind of a recording project or a song that would just move me to tears or touch my heart or make me feel happy. And though I really enjoyed psychology. I enjoyed the research component of it. I never really got that kind of an emotional reaction to anything from psychology quite to that extent or quite that consistently. James Di Virgilio: 4:53 There’s so much of your story that I feel like is echoed through all of the people I’ve interviewed on Radio Cade . And there’s a boldness that it takes to follow what you’re truly interested in. And in your case, I think you have two things you’re obviously very interested in it . It sounds like you’ve done both of those now having a recording studio, especially one that was really one of the only ones in Gainesville at the time, had to have lent itself with you working with some very interesting people. What are some of the projects and who are some of the artists you’ve worked with? Bob McPeak: 5:20 Yeah, it was a long, long climb from being a pretty ill-equipped studio to becoming one of the better equipped studios in the region. So early on the first person that I worked with who’s gone on to any kind of major success or recognition would probably be a guy named J.D. Foster, who was the studio bass player in the early eighties and left town, moved to Los Angeles and took up playing bass for Dwight Yoakam and had a lot of success with that and now is a successful producer working out of Chicago. And he was one of the people I recruited to play on, “On the Other Side”, on the song, he played bass on it. I missed the Tom petty era. He was gone a couple of years by the time I got here, but I did have an opportunity to work with Bernie Leaden, one of the Eagles later on when he produced the project that the studio , uh, I recorded River Phoenix’s band, I recorded Bo Diddley in the nineties, Less Than Jake, Chris DeMakes is here from that band to talk to us. And he was also part of the band together project, a Sister Hazel in the 1990s, there was a kind of a golden era there in the 1990s when there were several bands that were signed out of Gainesville. James Di Virgilio: 6:29 So let’s talk about this current project today. You’ve worked on a lot of projects. You’ve done a lot of things in your life. COVID-19 hits. The world gets up ended, and you have this idea for Band Together. How did the idea come to you and why did you choose to pursue it? Bob McPeak: 6:44 Well, last summer I decided it was time for me now to really concentrate on my own music. I had such an education in songwriting and production by then in such a wide experience of seeing great people worked on the process and seeing the mistakes that other people made. So I retired from Heartwood and refurbish the studio in my house and set about writing songs. And I was keeping my ears open as I do to just what people say or I’ll hear something on the radio that is a catch phrase . And that’s sort of the nugget that forms the idea for a song. And then eventually slowly, sometimes more quickly, other times the whole thing kind of coalesces and the song takes form in the melody and the chords and the words. This one came together pretty quickly. And I heard a lot of people saying, well, I’ll see you on the other side. And that just seemed like a hopeful phrase. And I was in the mood to have some hope as I think everyone was. So I set about recording and I recorded it and I said, well, you know, that was fun. And there it is, there’s me playing all the guitars and me doing all the vocals. And on the other hand, I know all these amazing musicians that I’ve worked with. Why not see if they’re interested in making a love letter from Gainesville to the community of Gainesville, to the people who are out there, the healthcare workers and the frontline workers who are delivering packages to us or other things that put them in the path of potential exposure in danger. So I put out the word and send it out to, I don’t know, 30, 40, 50 people that I thought might be interested in . I thought would be great contributors in to my delight and surprise. Many, many of them said, yes, this all star cast, which believe me is much better than I would have been able to do on my own. The parts they gave me were so thoughtful or aware that this was going to be one component in a bigger picture and the tracks I got, even though they weren’t necessarily hearing the other players because they’re only working with the little guitar and vocal track that I gave them and they would leave space for other people. So then I had to put all this stuff together and they would send me their digital files and I would drop them onto the track and listen to them and I would go, wow, that is so cool, I would have never thought of anything that brilliant or that would have that kind of texture. So I have Michael Ward Bergman . Who’s just a brilliant accordion player. Who’s collaborated with Yo-Yo Ma and lots of other really amazing musicians. And it’s just a virtuoso of the accordion. Um , my friend David Beatty, who , who helped with the conception and the production of the song plays, there’s a thing called a bowed psaltery , which is this triangular instrument that you play with a horse hair bow, as well as the standard instruments, like an electric guitar. So we end up with Nancy Luca , who I think a lot of people in Gainesville know is a great lead guitar player who is from Gainesville, but now lives in California playing this guitar solo at the emotional peak of the song. And she comes in blazing with this guitar and then throws it to the accordion player. So he ended up going electric guitar to accordion, which violates some kind of rock-n-roll rule somewhere. But that’s my favorite moment. I think on the whole video, it’s just really cool. James Di Virgilio: 9:56 So you put together this project where you have all of these creative artists working together, they send the files to you. You then put that together and you create both a video and an audio track. And then you have this completed project. The , “On the Other Side”, by a group that came together, thus Band Together, how proud were you when it was done? Bob McPeak: 10:17 I think much of the credit goes to the players and the singers. And that includes people that are frankly, above my pay grade. Ken Block from Sister Hazel, Chris DeMakes from Less Than Jake, Ritchie Stanno, who’s off making albums with people like Tony Levin and Omar Hakim. He’s just a really brilliant guitar player. Jacob Lawson, a really fabulous violin player, who by the way, as the violinist on the Cade theme , I’m doing disservice cause I’m not mentioning every one of the 25 musicians, but the people who participated in this are all just fantastic people in wonderful musicians. And so I’m proud that they would have enough respect for me and for the community of Gainesville that they would have chosen to participate in this. James Di Virgilio: 11:03 And one of artists is here with us on the podcast today. Chris DeMakes from Less Than Jake. Chris, tell us about meeting Bob and your early days of Less Than Jake. Chris DeMakes: 11:13 Well, I had heard the name Bob McPeak . My uncle went to UF from 83 to 87 and he had recorded a demo for his college band and Bob was running Mirror Image out of his house at that time. So I remember having the Mirror Image cassette and it said recorded by Bob McPeak and I get to Gainesville in 91 to go to college, attend UF and would have been about four years later, we went to record our first record Pez Cor in 1995 and lo and behold, we get to the studio and there’s the man, the myth, the legend himself, Bob McPeak . And he engineered in essentially produce that first record, cause we certainly didn’t know what the hell we were doing. James Di Virgilio: 11:49 Yeah, what’s it like to produce your first record? Take us back there for a second and put yourself back in that 1995 mindset you’re breaking into the scene. You’re going to record a record. What did you know about recording a record? What were your thoughts or ideas? Chris DeMakes: 12:02 I mean, it was kind of like when you see TV shows and they’re recording a band, it’s, everyone’s set up in one room, the singer doesn’t even have a mic stand he’s just singing into a microphone and there’s an engineer in the other room recording the band and that’s how everyone thinks you record, right? So we get in the studio and we’re thinking, Oh, this is going to be like a live show, put up some mics . And someone’s going to record us in the other room and magically, we’re going to have a recording and we were green. We didn’t know anything. So we get in there. And the only direction that we had were people like Bob them we’d recorded prior to Bob, the terms of a pro studio, Mirror Image was the first setting of that nature that we were ever in. So it was great. It was exciting. We were young, stupid and crazy. Bob can attest, I mean, we were for lack of a better word, we called ourselves punk rockers, the blue hair and the tattoos and the drinking and doing other things that you do in Gainesville and being young and silly. And Bob had to put up with our crap. James Di Virgilio: 12:54 And what did it feel like? Or what was it like when your first album comes out and all of the sudden Less Than Jake becomes a name people know. Chris DeMakes: 13:03 It was incredible. I mean, I remember being in Mirror Image in the main room and Bob throwing up a rough mix of the first track on our record, it was called “Liquor Store” and it was written about Gator Beverage in Gainesville. And I was blown away because I finally heard ourselves, albeit we were still very raw and still learning our instruments and learning how to sing. And this is before pro tools. We were cutting everything to tape, but I remember hearing it back and I felt I’m like, wow, there’s something here. It was put together better and sonically, it sounded better than our previous recordings. And it wasn’t very long after that Rock104 had a locals only radio show. It might’ve just been called locals only or something like that. And I was pulling out of park 16th, which is no longer there anymore. It was apartment complex where I live for years down on 16th and 13th, by Steak and Shake and I was got in my car and I was pulling out of the complex and turn Rock104 on and there , the song came on. It was the first time I ever heard us on the radio. Like total mind blown, like a month prior. I heard the rough mix, the Vader’s go up at Mirror Image that Bob did and a month or two later, I’m driving in my car and I hear it on the radio. And it was just like for a 20 year old kid, I, at that point I had made it. I could have quit at that point. For real. I felt like I made it like I’m on the radio. Are you kidding me? It was awesome. James Di Virgilio: 14:14 Yeah. That just seemed so incredible. Actually hearing you tell the story is great. I can feel the scene and how that must feel to get that notoriety and all of a sudden, like the fruits of all your labor, right? All your love, all your creativity gets played and then people can hear it. And I’m sure your friends thought that was probably the greatest thing ever, right? Chris DeMakes: 14:29 Yeah. Our friends that loved us and then there’s backlash. Cause it was like, you got played on Rock104 because we came from this punk rock thing where like, you couldn’t be on the radio. You were a sellout and all this other nonsense that I never bought into. But it was funny because you gotta remember back in 95, there was no satellite radio. There was no internet. If you got played on the radio, like it was a big deal. If you got on, that was a huge deal. Those were your two outlets to get known besides print, promotion, magazines and such. So, and it was “Liquor Store” was that same song. I was speaking of hearing that on the radio, as I was pulling out of the car , I just, I lost my mind. I was like, you gotta be kidding me. And it was from that moment that things really started to snowball with us. We had a record that sonically sounded good, more so than sonically sounded good. There was an energy captured and that’s Testament to Bob. Because again, we didn’t know what the heck we were doing. We just went in and we had this raw unbridled energy, kinetic, and crazy, frenetic. And we would go out and play these shows. And we were playing outside of Florida now and people were showing up and going crazy. And somehow Bob was able to harness that energy and we put Pezcore out the fans absolutely ate it up and loved it. James Di Virgilio: 15:34 That’s an amazing story of early, early success. I love origin stories, whether it’s a movie or real life and yours is certainly great, especially being from Gainesville. So let’s fast forward to now, how did you get involved in Band Together? And what was your side of the technology like? This is a project that requires, as you just mentioned, right? Modern use of technology versus the mid nineties where you had to be someplace physically to do anything. Chris DeMakes: 15:57 Oh yeah. This was 95. Bob would still be waiting for the first person to write them back. Snail mail in this project would have taken 10 years. It’s absolutely amazing what you’re able to do these days from your own remote location and studios . So Bob had contacted me pre-Coronavirus and all this stuff. He wanted to collaborate on some stuff. I think he’s trying to put together a solo record and Bob and I’ve always kept in touch over the years, but I said, sure, I’d love, love to write with you. And he sent me a couple of pieces of things. And then he hit me up and mentioned this project and asked if I would be a part of it. And I told him , absolutely I’m all in. And then he had sent the track over at some point and it kind of sat in my inbox for maybe a week or two. And then I saw a post online . Bob said, Hey, we’re going to wrap this up. If you haven’t gotten your parts into this, that , and that I had a kind of an Oh crap moment. And I was over in North Carolina visiting my mom and dad and I called Bob and I said, Bob, I don’t want you to think I’m not into this. I want to do it . I want to do. And he says, Oh, okay, well, here’s the lines I want you to sing. And I got home the next day and I tracked it in my home studio. I have a studio. I work in logic pro. So yeah, I sang my lines that Bob wanted me to sing and send it back to him. And then Bob said, I want you to do a video. I said, okay, I can do that. But I haven’t had a haircut in like three months. I looked terrible. So I’m gonna wear a hat in the video. I think I’m the only person with a hat. So , uh, did did the video. And I think the thing came out great. James Di Virgilio: 17:15 That’s really a fascinating tale of what can be accomplished really not a long time ago, right? 25 years ago, you come onto the scene and then today you’re able to record something by yourself, in a home studio, with the equipment, sync it up to others and get this fascinating results . Chris, thanks so much for taking some time to join your part of Band Together, as well as tell your story. It’s obviously great to have you as a contributor to a project such as this. And we look forward to seeing what happens in the future as it certainly seems like there’s a reason to believe that projects like these would continue even in a post-Covid world. Chris DeMakes: 17:48 Yeah, I think so. I think that this is kind of really, it’s done a number on a lot of people. I know I’ve gotten a lot of projects and different things done. It’s made me look within and figure out other things to do while I have downtime from being on the road cause our band is still touring act that’s out there six, seven, eight months out of the year so, I think these projects you’ll be seeing these for a long time to come. James Di Virgilio: 18:08 So let’s introduce Rob Rothschild now who played drums and percussion on the Band Together track recorded some of the vocalists and edited the video together. So you’ve done a lot on this project. Rob, tell us a little bit about your history. Are you from Gainesville? Are you full time musician? What’s the background? What brought you to where you are today? Rob Rothschild: 18:26 Well, it’s a long and sorted tale. My career in this world began as the guy in all the bands that I played with who could not only carry the gear, but who could figure out how to use it. And that soon led me into the recording business. And when I lived in New York city back in the seventies at the height of the punk rock movement, I worked at Do Art Film Labs in the sound department. And I got introduced to the whole motion picture sound world. And I did just about everything you could do in the post production world for audio, for films. And I also got involved in the shooting, some of the punk rock bands back then. So I got to shoot video and record Divo and , and Debbie Harry and deepen the scene. So it was really quite a baptism for me, but I got the Gainesville in the early eighties and I met Bob pretty early on. And since then, I’ve just , just been a joy for me to work with him on a variety of different projects, including back in the day when Mirror Images was in his house, as Chris was talking about. And just whenever I get a chance to work with Bob, it’s a joy and I’m just really privileged to do that. And so when he called me about this project “On the Other Side” and said, you know, he’s going to put together a variety of musicians to play the song I was all in. James Di Virgilio: 19:34 Now , Rob, in the eighties, you mentioned coming to Gainesville. So what was the technological scene music wise like in Gainesville, in the 1980s? Rob Rothschild: 19:43 Well, for live sound, people were carting around these giant speakers and these heavy mixing boards. And for recording, there was just a few studios in town and the main one was Mirror Image Studios, Bob’s studio. And I was a little bit less involved in the recording business back then, I was still doing some field recording for motion picture stuff, but you know, it was primitive back in the day there you had tape and razorblades and you had to worry about all kinds of things that were mechanical rather than digital wasn’t even invented them practically. And of course now, if nobody has a piece of tape anywhere. James Di Virgilio: 20:15 Do you view those days as the romantic days, there was a quality of them that you don’t have today or is today’s environment much better? Rob Rothschild: 20:23 Well, I’ve done a lot of recording back in the early days with just tape and a couple of tape recorders. And you know, that’s how the Beatles did it. They just had a four track machine for a lot of what they did. And so there’s something to be said for the spontaneity and fearlessness that’s required when you have very limited tools or painter with a limited pallet has to get creative and a band with a limited set of tools has to get creative. So I think that there was some really magic moments created based on that need. But now we have unlimited technical resources just about, I mean, if you can think of it, you can do it. Bob’s famous for fixing everyone’s performances. Now, we didn’t have that back in the day. You got to play until you got it right. And now I don’t think we’re losing any creativity, but we certainly can be much more methodical now. And we can fix things that we did that we couldn’t have fixed back in the day. So if you played your part now you could come back two months later and go, you know, I’m going to tweak one little thing and that would have been almost impossible back when there was tape and razorblades. James Di Virgilio: 21:23 That’s a really interesting thought in my mind actually goes to being a kid playing Nintendo, you couldn’t save your game, playing Nintendo. You had to beat the entire game in one take, or you were sort of dead and nowadays, right? You have like a million saved points in a way, that’s kind of what you’re saying is we have all these technological abilities to fix alter, edit change, get the perfect sound. It’s that’s interesting. It forces a different take. So with this Band Together project, what was the goal? The idea gets created. What is trying to be accomplished with a project such as this at a time, such as this? Rob Rothschild: 21:53 Well, initially we want it to be able to put something out that would give people a moment of respite and joy in a pretty tough time period. And our challenge was to do that in a way that was shareable everywhere. So we had to have video. And on my end, what I had to do is take all this contributed video and turn it into something that would tell the story of how hard it is and how hard it can be to be a frontline worker and how much joy we can as musicians, how much we can share. And that should be our mission. That’s what we do. We want to make people feel better. James Di Virgilio: 22:29 So you bring together 25 great musicians. You make a video, you want people to feel better. How do you get it out to them? What was the primary way to get people to see this or hear this or view this? Rob Rothschild: 22:40 Well, we connected with someone in town who has a channel, a video channel that’s called Music GMV and decided to post the video on their YouTube channel because they already have a bit of a following. And their mission was to share Gainesville based music, but the real way to do it in this day and age. And I remember Chris mentioned there was no internet back when his band had to do things. Uh, we just hoped that everyone would share it on Facebook in a big way, Instagram too. And that’s how one goes Pardon the pun viral these days is to have people like and share your work. So it’s very decentralized. James Di Virgilio: 23:16 And how has the response been? How successful was the social media share with a friend vitality ? Rob Rothschild: 23:21 Well, for a little effort that we put out here, I think we’re getting close to 12,000 views on YouTube. So that’s a metric that we like to look at, but really the real measure is what people have said to us and how they’ve expressed themselves after they’ve seen it. Some people said it brought them to tears and some people said that this changed their outlook for a moment in a dark time. And those are the real that we love to Read. We’re not trying to measure the smiles. We just would like to make some smiles. James Di Virgilio: 23:50 Yeah. I was thinking in my mind that views shouldn’t be the main metric in this situation, if you’re trying to bring about healing and restoration, the goal really is feedback and have people taking what you want from this and I’m sure that all of you feel really good about having people say, Hey, this really was a restorative thing for me. You know, it felt good. It brought joy to my life. Obviously I think we, as humans are realizing, there’s so many things in our lives that maybe we took for granted that mean a lot to us and certainly music has tremendous healing power and community power. And then those that can produce it are going to be able to bring that to us. Whether it’s been online concerts or viewings or a variety of other things that are there. And so certainly hats off to you and others who are creative, take your time and put these things together to give people these responses. Have there been any responses in general you can recall that have just really sort of taken you over the edge, just have really moved you? Rob Rothschild: 24:42 Sure. Several things have been written that really tugged at my heart strings. And they were usually about how we transformed a moment for someone who was really feeling bad or brought them to tears, or they said this was an amazing experience. And I’ll tell you that you can imagine that I have watched this video probably more than anyone in the world, because how many times did I have to look at it to edit it, but I still go back and play it. And it still gets me not because the video is so great, but because the feeling of all the musicians, the music, the song that Bob wrote is just so fantastic and so beautiful. And everyone’s contribution is so heartfelt that it just works. And that’s a rare piece of business to encounter when you’re not in a live performance, but you’re watching a video of us. And so I’m pretty proud of that. James Di Virgilio: 25:27 And it’s just a wonderful thing. I think Bob and Rob, I’m sure you’d both echo this. When you reach a point in your lives where you can do something like this to give back when you’re in a position to be a giver for those that need to receive something, as we’ve all been on both sides. And then this project “On the Other Side” by Band Together is something we’re finally going to play here on the podcast. We spent an entire podcast talking about it, but it’s also in video format. Where can we find this on video? Rob Rothschild: 25:54 Probably the easiest way to do it would be to get on YouTube and type in either “On the Other Side” or music GNV in the search box for YouTube music GNV, that’s the channel we’re on. And you’ll see that video pop up right away and let’s hop in and take a listen now. And then afterwards, hopefully watch the video as well. Music Intro: 26:14 [ Instruments ] “On the Other Side” by Band Together Lyrics: 26:54 “The mornings are much darker since the clocks were set ahead The dawn is lost to shadow and I should be home in bed. But I wander through this quiet world, adrift in isolation Looking for a ray of hope in a desperate situation But I’ll be waiting with both arms open wide We’ll be stronger, grateful we survived When our mettle has been tested and our tolerances tried I’ll see you on the other side You went to war without a shield, the generals left you there The first line of defenders, disarmed and unprepared And you rush through busy, crowded wards with poison in the hallways And risk your life while we pretend that life’s the same as always We’ll all be waiting with both arms open wide You’ll be stronger, grateful to survive Let’s put aside our anger, reach across the great divide I’ll see you on the other side, I’ll see you on the other side Will we recognize each other behind the mask, beneath the glove? If we can’t hold one another, can we still hold on to love? For all the lives we sacrificed at the altar to our pride I’ll see you on the other side.” James Di Virgilio: 31:37 And that’s “On the Other Side” by Band Together. And that’s the song written by Bob McPeak produced by Bob, Rob Rothschild , David Beatty, and featuring the talents of 25 of Gainesville’s finest musicians. Thank you so much for being on Radio Cade today. Bob McPeak: 31:52 Thank you, James. James Di Virgilio: 31:53 We certainly enjoyed getting a chance to hear your story and hear this collaboration. For Radio Cade, I’m James Di Virgilio. Outro: 32:00 Radio Cade is produced by the Cade Museum for Creativity and Invention located in Gainesville, Florida. This podcast episodes’ host was James Di Virgilio and Ellie Thom coordinates inventor interviews, podcasts are recorded at Heartwood Soundstage, and edited and mixed by Bob McPeak. The Radio Cade theme song was produced and performed a Tracy Collins and features violinist, Jacob Lawson.

EPISODIO 17.EPISODIO PATROCINADO POR:CBM CLASES DE BATERÍA MADRID https://clasesdebateriamadrid.com .En este episodio hablamos de:Avances que hacemos en el Zoom, ir como un loco, de quedarse como estamos tan bien confinados, del desastre de Coronavirus, de hacer analíticas por el virus, de ser un lagarto, de tomar café al donar sangre, de desmayarse y sustos en autobuses, de hipnosis, de utilizarlo para las clases, de audios binaurales… la charla de café…De las webs de grabación de la semana pasada, que molan tela, de sacar el podcast cuando nos de la gana, de las clases de LA TURRA por Zoom y lo que va a suponer. De escuchar Podcast, y de que ya no somos el único podcast de baterías. de fregar los platos… de la próxima entrevista…Simone ha contactado con una agencia de promoción online, a ver que nos cuenta, de cumple de Meri, la chica de Simone, del galimatía con los precios… de Juan Expósito y cómo damos las clases… del avance del mundo en 2 meses,Respuesta del Drum Quiz.Año de publicación del Stick Control: 1935.Nuevo Quiz e Iñigo se tira al barro, ojo con la Chía!POR FIN SIMONE SE ENTERA QUE NO SABEMOS QUÉ ES LA SIGLA!!!LIBRO RECOMENDADO por Iñigo.Daily Drumset Workout de Claus Hessler: https://amzn.to/2yGHKal .TOP TRI.Simone: Jonathan Moffet: https://www.youtube.com/watch?v=ctLu7-eid8g .Omar Hakim: https://www.youtube.com/watch?v=3rVpHt9G2GQ .Sean Wright: https://www.youtube.com/watch?v=FRV18ivjjN4 .Iñigo:Ari Hoenig: https://www.youtube.com/watch?v=9wTTsSHRLGM .Mariano Steimberg: https://www.instagram.com/mariano.steimberg/ .Heather Thomas: https://www.instagram.com/heatherondrums/ .y de muchas cosas más!Síguenos en: FB: https://www.facebook.com/Drumless-el-Podcast-101614758071997 .INSTAGRAM: https://www.instagram.com/drumlesspodcast/ .TELEGRAM: https://t.me/drumlesspodcast .SIMONE:https://www.simonefolcarelli.com .

It was an honor to talk with one of my favorite musicians and biggest musical influences, Gary Husband. In this conversation, Gary talks about his journey from early gigs as a teenager with the Syd Lawrence Orchestra, to 36 years of working with Allan Holdsworth, to working with John McLaughlin and the 4th Dimension, and more. Gary also shares his thoughts about “success” and the difference between waiting for opportunities versus creating opportunities. Be sure to check out Gary’s website and his newly launched VideoCast education videos. They’re amazing! http://www.garyhusband.com Gary Husband is one of a rare breed of musicians in that his expression is divided equally in his capacity as a drummer and a pianist and keyboardist of international repute. His classical roots, his quest and development in the improvisational, jazz and jazz/fusion areas – not to mention his tenure in the pop, rock, funk and blues circuits – are all evident inside Gary’s distinct and far-reaching musical personality. His solo album and DVD output has also reinforced his status as a critically acclaimed writer and arranger in the contemporary music world. For close to four decades Gary has worked alongside a vast and eclectic range of celebrated musicians including John McLaughlin, Allan Holdsworth, Jeff Beck, Jack Bruce (Cream), Gary Moore (Thin Lizzy), British pop/funk band Level 42, Billy Cobham, Al Jarreau, Mike Stern (Miles Davis), John Wetton (King Crimson), Chris Squire (Yes), Andy Summers (The Police), Steve Hackett (Genesis), Robin Trower (Procol Harum), and with producers Sir George Martin (Beatles), Trevor Horn (Grace Jones & Art of Noise), Quincy Jones (Michael Jackson), Jerry Hey and James Guthrie (Pink Floyd). Further associations and performing/recording credits include his work with Randy Brecker, Jan Hammer, Jerry Goodman, fusion/jam band Gongzilla, Germany’s NDR Bigband, Soft Machine, Maria Schneider, Christian McBride, Eddie Van Halen, Dean Brown, Bob Berg, Nguyên Lê, Joe Lovano, Charles Tolliver, Bireli Lagrène, Peter Erskine, Ron Sexsmith, drum n’ bass protagonists Lemon ‘D’ and Dillinja. As an internationally established drum clinician he has performed alongside Dennis Chambers, Vinnie Colaiuta, Terry Bozzio, Billy Cobham, Simon Phillips, Omar Hakim, Ricky Lawson, Todd Sucherman, Paul Wertico, Denny Seiwell and Bernard Purdie, and most recently has been developing a series of motivational videocasts in drumming. His alter-ego as a pianist/keyboard player brings an extra dimension to his musicality at the drums. Indeed, he has been the keyboardist & second drummer in John McLaughlin’s 4th Dimension since 2007. Gary continues to devote a substantial proportion of his time recording and performing worldwide across many styles of music.

In a conversation with All Songs Considered's Bob Boilen, Ed O'Brien reveals how he made Earth, an album that's both boldly colorful and intimate.Earth is an album that feels both boldly colorful and intimate — one that reflects the two landscapes that underlie this record: Brazil and Wales.Mark Ellis, who works under the name Flood, largely produced this album. He has not only a long history of working on big productions from U2 to PJ Harvey, but also has a child in the same school as Ed O'Brien's and so the two have become close friends. That friendship accounts for the warmth on this record. There are also some extraordinary players, including Radiohead bandmate Colin Greenwood, guitarist Adrian Utley from what Ed calls the other "head" band, Portishead, drums from Omar Hakim and Wilco's Glenn Kotche, bassist Nathan East, singer and guitarist Laura Marling and the list goes on. On March 23, Ed O'Brien posted on social media that he most likely had the coronavirus but was expecting a full recovery. Our conversation on April 2 begins with an update on his health.Stay in touch with our newsletter: www.npr.org/musicnewsletter

Pianist and composer Rachel Z grew up in Manhattan in a musical family. Her mother taught her classical voice and opera from a young age, but she found her own sound in the jazz and rock worlds. On the keys, she is lightning-quick and her percussive yet lyrical approach enhances her technique. In 2010, she formed a group called The Trio of Oz with her husband, Omar Hakim. On this 1999 Piano Jazz, Rachel Z performs her original "Gently Sleeps the Pear Tree." She and McPartland switch gears with "All the Things You Are."

The Rippingtons were formed in 1985 by the phenomenal guitarist Russ Freeman.  Throughout the years, the band has included a "who's-who" roster from the contemporary jazz genre including Kenny G, Kirk Whalum, David Benoit and Omar Hakim.  In this episode, award-winning program director Ray White talks with Russ about the bands' latest release - True Stories, reuniting with saxman Brandon Fields and the bands' dedicated fans.  Our "Hostess with the Mostest," Lisa Davis features former lead singer for the Gap Band, Charlie Wilson, in our spotlight segment.  His latest album is titled - In It To Win It.  For more information about our show visit http://www.cooolcat.com 

Join Christian as he sits down with Professor Hakim and they dig into all things percussion, including his love of Zildjian cymbals. Widely acclaimed for his versatility, technological prowess and groove, Omar Hakim is one of the most successful drummers and session men of the past forty years. 

Join Christian as he sits down with Professor Hakim and they dig into all things percussion, including his love of Zildjian cymbals. Widely acclaimed for his versatility, technological prowess and groove, Omar Hakim is one of the most successful drummers and session men of the past forty years. 

A veteran session musician and longtime touring road warrior, world-renowned drummer, composer, and producer Omar Hakim has performed on records and tours with the biggest names in music without ever allowing himself to be typecast by genre. In the realm of R&B and pop, he’s worked with Michael Jackson, Madonna, Mariah Carey, and Daft Punk. In jazz, his extensive credits include work with Miles Davis, Herbie Hancock, Joe Sample, and Weather Report. In the rock arena, he’s worked with David Bowie, Bruce Springsteen, Mick Jagger, and Sting. And the list goes on, from country great Jerry Douglas to hip-hop leader Queen Latifah, just to scratch the surface.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Programa especial dedicado al saxofonista y flautista Najee, en el que repasamos sus colaboraciones junto a artistas como Doc Powell, Phil Perry, Will Downing, Tom Grant, Victor Bailey, Omar Hakim, Ruben Studdard, U-Nam, Marcus Johnson, Paul Jackson Jr., Wendy Moten, Everette Harp y Maysa Leak.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Programa nº 64, media parte dedicada al festival Jazz de Valencia http://www.palaudevalencia.com/LISTAR.html?opcion=T&filtro=XXI En esta ocasion tendremos desde John Coltrane y Duke E. pasando por Ramsey lewis,Chuck Mangione, Quincy Jones. Los Urban Knights es una de las estrellas lisa, soul y R & B grupo de jazz que cuenta con uno de los grandes del jazz, el pianista Ramsey Lewis . Su primer álbum debut homónimo en 1995 incluyó músicos prominentes Grover Washington, Jr. , Omar Hakim , Victor Bailey y las emociones, por nombrar algunos. Otros grandes músicos han colaborado a lo largo de los años con los Urban Knights como Maurice White (Tierra, viento y fuego), saxofonistas Gerald Albright , Najee , Kenny Garrett y Dave Koz , guitarristas Jonathan Butler , Norman Brown , Earl Klugh , Bobby Broom y Fareed Haque. Randy Crawford, Rob wu. Brian Culberston. Funk ultimo cd lanzado de Brian Culbertson también trabajó y colaboró con otros músicos de jazz, a veces como compositor y otras haciendo arreglos. Brian ha trabajado con Maurice White de Earth, Wind & Fire, Larry Graham, Michael McDonald, Chris Botti, Musiq Soulchild, Ledisi, Barry Manilow, Herb Alpert, Natalie Cole, Chuck Brown, y Bootsy Collins. por si os interesa os dejo su link http://www.brianculbertson.com/ English Program nº 64, half part dedicated to the Jazz festival of Valencia Http://www.palaudevalencia.com/LISTAR.html?option=T&filtro=XXI In this occasion we will have from John Coltrane and Duke E. passing by Ramsey Lewis, Chuck Mangione, Quincy Jones. The Urban Knights is one of the smooth, soul and R & B jazz group that features one of the great jazz pianist Ramsey Lewis. Their first self-titled debut album in 1995 included prominent musicians Grover Washington, Jr., Omar Hakim, Victor Bailey and the thrills, to name a few. Other great musicians have collaborated over the years with Urban Knights such as Maurice White, saxophonists Gerald Albright, Najee, Kenny Garrett and Dave Koz, guitarists Jonathan Butler, Norman Brown, Earl Klugh, Bobby Broom And Fareed Haque. Randy Crawford, Rob wu. Brian Culberston. Funk last cd released by Brian Culbertson also worked and collaborated with other jazz musicians, sometimes as composer and others making arrangements. Brian has worked with Maurice White from Earth, Wind & Fire, Larry Graham, Michael McDonald, Chris Botti, Musiq Soulchild, Ledisi, Barry Manilow, Herb Alpert, Natalie Cole, Chuck Brown, and Bootsy Collins. In case you are interested I leave your link Http://www.brianculbertson.com

This episode features David Bowie's "Let's Dance" and Daft Punk's "Random Access Memories.""Let's Dance" features Stevie Ray Vaughn on guitar, Omar Hakim on Drums and features a song written by Giorgio Moroder, "Cat People," one of two soundtrack songs on this album.  The album was produced by Nile Rodgers who also contributes on guitar on a few songs. It was nominated for Album of the Year Grammy but lost out to "Thriller" by Michael Jackson."Random Access Memories" has a large group of contributors including Giorgio Moroder, Panda Bear, Julian Casablancas, Todd Edwards, DJ Falcon, Chilly Gonzales, Nile Rodgers, Paul Williams and Pharrell Williams. It won Grammy for Album of the Year in 2014 along with 4 other Grammys.

Attorneys Mona Shah, Rebecca Singh and Omar Hakim join me for a chat about what happened in 2016 and a bit about what we can predict for 2017 for Immigration as a whole and the EB-5 program specifically. If you have questions about investment immigration, please reach out to Mona Shah & Associates. Phone: 212-233-7473 Email: info@mshahlaw.com To discover the show notes on this episode as well as other topics, information, and resources; please head over to http://www.MShahLaw.com/Podcast

The EB-5 Investments Conference was held on June 16, 2016 at Baruch. Sponsored by the Steven L. Newman Real Estate Institute of the Zicklin School of Business, the conference begins with remarks provided by Yildiray Yildirim, Director of the Newman Institute and the full day conference consists of six panels of speakers with specialized expertise from industrial leaders, real estate analysists, investment developers, and scholars in the financial market business. This video covers Panel four of the conference program entitled: Raising EB-5 funds: issues to keep in mind. Panel four is moderated by Omar Hakim, Esq., Mona Shah & Associates.

The EB-5 Investments Conference was held on June 16, 2016 at Baruch. Sponsored by the Steven L. Newman Real Estate Institute of the Zicklin School of Business, the conference begins with remarks provided by Yildiray Yildirim, Director of the Newman Institute and the full day conference consists of six panels of speakers with specialized expertise from industrial leaders, real estate analysists, investment developers, and scholars in the financial market business. This video covers Panel four of the conference program entitled: Raising EB-5 funds: issues to keep in mind. Panel four is moderated by Omar Hakim, Esq., Mona Shah & Associates.

The EB-5 Investments Conference was held on June 16, 2016 at Baruch. Sponsored by the Steven L. Newman Real Estate Institute of the Zicklin School of Business, the conference begins with remarks provided by Yildiray Yildirim, Director of the Newman Institute and the full day conference consists of six panels of speakers with specialized expertise from industrial leaders, real estate analysists, investment developers, and scholars in the financial market business. This video covers Panel four of the conference program entitled: Raising EB-5 funds: issues to keep in mind. Panel four is moderated by Omar Hakim, Esq., Mona Shah & Associates.

The EB-5 Investments Conference was held on June 16, 2016 at Baruch. Sponsored by the Steven L. Newman Real Estate Institute of the Zicklin School of Business, the conference begins with remarks provided by Yildiray Yildirim, Director of the Newman Institute and the full day conference consists of six panels of speakers with specialized expertise from industrial leaders, real estate analysists, investment developers, and scholars in the financial market business. This video covers Panel four of the conference program entitled: Raising EB-5 funds: issues to keep in mind. Panel four is moderated by Omar Hakim, Esq., Mona Shah & Associates.

In this first episode we introduce you to some of the voices you will hear on the show. Your host is Mona Shah with co-host mark Deal. We also hear from Rebecca Singh and Omar Hakim. We touch upon the background of the EB-5 immigration program, what happened in 2015 and what may happen in 2016. If you have questions about investment immigration, please reach out to Mona Shah & Associates. Phone: 212-233-7473 Email: info@mshahlaw.com To discover the show notes on this episode as well as other topics, information, and resources; please head over to http://www.MShahLaw.com/Podcast

From John Bonham and Keith Moon to Sheila E. and Dave Grohl, the pulse of rock’n’roll—the drummer—finally gets its due in this unique, all-encompassing inside look at the history, artists, instruments, and culture of drumming. Playing a drum kit is hard, sweaty, demanding work. Yet instead of being showered with respect, drummers are often viewed with derision—stereotyped as crazy, borderline psychotic, or just plain dumb. But as every musician knows, to have a great band you need a great drummer: Ginger Baker. John Bonham. Chad Smith. Stewart Copeland. Mitch Mitchell, Bill Bruford. British journalist Tony Barrell shines a long overdue spotlight on these musicians, offering an exciting look into their world, their art, and their personalities. In Born to Drum, Barrell explores the extraordinary history of the world’s most primitive instrument and the musicians who have made it legend. He interviews some of the most famous and revered and well-known drummers of our time—including Chad Smith, Ginger Baker, Clem Burke, Sheila E, Phil Collins, Nick Mason, Butch Vig, and Omar Hakim—who share astonishing truths about their work and lives. He investigates the stories of late, great drummers such as Keith Moon and John Bonham, analyzes many of the greatest drum tracks ever recorded, and introduces us to the world’s fastest drummer, the world’s loudest drummer, and the first musician to pilot a “flying drum kit” on stage. The interview with Tony Barrell was originally recorded on August 11, 2015.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Discos destacados en el programa en el mes de Abril: Marcus Anderson, Richard Smith, Maria Rita, Les Sabler, Jazz in Pink, Ledisi, Omar Hakim, Wayne Brown & The Virtual Jazz Band, Papik, Ty G y Michael Lington.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Un proyecto que llega desde Italia y que se llama Papik protagoniza el estreno de esta edición de Cloud Jaz, en la que también repasamos otras novedades de la música Smooth Jazz, como son los nuevo trabajos de Ty G, Citrus Sun, Craig T. Cooper, Omar Hakim y Michael Lington. En los minutos centrales realizamos una pequeña retrospectiva sobre la discografía de la vocalista y compositora Brenda Russell.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! El estreno de esta edición es el el disco que acaba de publicar el guitarrista canadiense Les Sabler, dedicado a la música de Jobim. Otras novedades que repasamos son los nuevos trabajos de Nathan East, Wayne Brown, Will Downing, Omar Hakim y Ledisi. En el recuerdo, música del guitarrista Phil Sheeran y de la banda Paprika Soul.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! En esta edición te presentamos el nuevo disco de la vocalista Ledisi. Otros álbumes de actualidad son los de Omar Hakim, Nathan East, Marcus Anderson, Citrus Sun y Paul Taylor. En el bloque central, música de años atrás con el proyecto The Players, en el que participaba el teclista y productor Michael Omartian, y un exótico artista como es el pianista tailandés Neung Jakkawal.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! En esta edición te presentamos el nuevo disco de un prestigiosa baterista: Omar Hakim. Además, seguimos repasando los nuevos trabajos de Citrus Sun, Paul Taylor, Ruben Studdard, Nathan East y Marcus Anderson. Para el apartado del recuerdo rescatamos música de la vocalista polaca Anna Maria Jopek y de la banda Fattburger.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

We met Omar Hakim, who is one of the best Jazz Fusion drummers, for an interview at the Leverkusener Jazztage. We also captured some shots from his great concert in Cologne with the "Trio of OZ" featuring Rachel Z on Keyboards and Solomon Dorsey on Bass.

John's guest is legendary drummer, singer, composer and producer, Omar Hakim! John and Omar talk about Omar's long and prolific career, including becoming a professional touring drummer at 15 and how that prepared him for joining “Weather Report” in 1982 at 23 years old. His long history with legendary artist and producer, Nile Rodgers. Becoming an in-demand session player in the early 1980s including his work with David Bowie, Dire Straits, recording Sting's first solo record after leaving the Police, “The Dream of the Blue Turtles” and being part of Sting's band. John and Omar do a deep dive into some of Omar's early sessions and Omar talks about his friends, Taylor Hawkins and Dave Grohl and performing and recording with the Foo Fighters, and his upcoming solo Rock record, “Come Out To Play” which he plans to release in 2023, and much much more! Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy