Podcast appearances and mentions of orrin keepnews

Jorge Molder, Lisboa, 1947. Licenciado em Filosofia pela Faculdade de Letras da Universidade de Lisboa. A partir do final dos anos 70 dedica-se à fotografia, alicerçando todo o seu trabalho na pesquisa sobre a auto-representação, frequentemente evocando personagens do mundo literário e artístico como Joseph Conrad, Samuel Beckett, Lucian Freud e Francis Bacon, através da construção de narrativas seriadas ficcionadas. As diferentes séries articulam-se numa sequência performativa na qual o artista constrói um universo a partir das suas referências filosóficas, cinematográficas e literárias. Neste jogo de ambivalências encontramos também a própria fotografia e a sua história, no confronto entre o registo documental da realidade e a sua dimensão espectral. Entre 1990 e 2009 foi o diretor do Centro de Arte Moderna da Fundação Calouste Gulbenkian. O artista representou Portugal nas Bienais de São Paulo (1994) e de Veneza (1999). Em 2007, recebeu o prémio da AICA/Associação Internacional de Críticos de Arte, em 2010 o Grande Prémio EDP/Arte, e em 2014 o Prémio da Sociedade Portuguesa de Autores.A sua obra tem sido exibida em exposições nacionais e internacionais em instituições de renome, entre outros, MAAT, Lisboa, Centre Georges Pompidou, Paris, Centro Cultural de Belém, Lisboa; Serralves, Porto, Hamburger Kunsthalle, Hamburgo, Palazzo Fortuny Veneza, Palais des Beaux-arts de Bruxelas, e Fundação Calouste Gulbenkian, Lisboa; e está representada em diversas coleções públicas e privadas, nacionais e internacionais. Links: https://www.miguelnabinho.com/jorgemolder/ https://www.publico.pt/1999/05/28/jornal/o-fotografo-e-o-seu-duplo-em-veneza-134104 https://rr.sapo.pt/noticia/vida/2023/04/10/jorge-molder-revela-22-obras-ineditas-na-exposicao-grandes-planos/327107/ https://www.publico.pt/2013/01/26/culturaipsilon/noticia/fotografia-de-jorge-molder-e-primeira-obra-de-arte-portuguesa-a-entrar-na-colecao-da-unesco-1582181 https://aica.pt/awards/aica-mc-millennium-bcp https://www.fundacaoedp.pt/pt/edicao-premio/grande-premio-fundacao-edp-arte-2010 https://gulbenkian.pt/cam/artist/jorge-molder/ https://contemporanea.pt/edicoes/04-05-06-2023/conversa-com-jorge-molder https://www.serralves.pt/ciclo-serralves/2104-jorge-molder-obras-da-colecao-de-serralves/ Episódio gravado a 26.09.2024 Créditos introdução: David Maranha - Flauta e percussão Música final: Nardis, Interpretado por Bill Evans Trio, Escrita por Miles Davis, Produzida por Orrin Keepnews http://www.appleton.pt Mecenas Appleton:HCI / Colecção Maria e Armando Cabral / A2P / MyStory Hotels Apoio:Câmara Municipal de Lisboa Financiamento:República Portuguesa – Cultura / DGArtes – Direcção Geral das Artes

Jazz musicians were not exempt from service in the U.S. military. Jay McShann, John Bunch, Louis Bellson, Terry Gibbs, Clark Terry, Orrin Keepnews, George Wein, Joe Bushkin and Bobby Johnson speak about their experiences during WWII.

Di Wes Montgomery Jazz Anthology si è occupata solo una volta, nella puntata del 11 dicembre 2017 (disponibile in podcast), dedicata alle incisioni in quartetto dei Mongomery Brothers. Ma Montgomery, nato nel 1923 e morto molto prematuramento per un attacco cardiaco nel 1968, è stato uno dei personaggi più popolari del jazz della sua epoca, e un gigante della chitarra jazz. L'etichetta Craft Recordings ha voluto celebrare il centenario della nascita di Montgomery, e assieme anche il settantesimo anniversario della nascita della Riverside, l'etichetta creata nel '53 che pubblicò l'album di Montgomery Full House, allestendo The Complete Full House Recordings, recorded 'live' at Tsubo - Berkeley, California, disponibile in triplo Lp o in doppio Cd. La carriera di Montgomery decollò nel '59, quando su suggerimento di Cannonball Adderley il produttore Orrin Keepnews lo mise sotto contratto per la Riverside. Nel '62 Keepnews lo mandò in California a realizzare un album dal vivo, appunto Full House, registrato in un club di Berekeley. Full House è un album importante, per il livello dei partner (il "piccolo - per statura fisica - gigante" Johnny Griffin al sax tenore, e Wynton Kelly al piano, Paul Chambers al contrabbasso e Jimmy Cobb alla batteria, che negli anni precedenti erano stati la ritmica di Miles Davis), e perché ci presenta Montgomery dentro una dimensione jazzistica non ancora canalizzata nella formula - brani di successo interpretati in chiave jazz - degli album per la Verve e la A&M degli anni successivi, che avranno un grosso riscontro anche commerciale. Oltre all'album originario, The Complete Full House Recordings offre tutte le tracce alternative disponibili, e anche la traccia del brano Full House con l'assolo di Montgomery che nel Full House inserito nel disco fu invece sostituito dalla produzione con un altro assolo del chitarrista.

Kompozitorius, turėjęs susikurti savo paties kosmosą. Kompozitorius be vienos tautybės, priklausęs tik „visos Europos inteligentijai ir kultūrai“. Kompozitorius, kuriam šiomis dienomis sueina 100 metų: György Ligetis. Antroje laidos dalyje – rubrikos „Ryškiausi džiazo ir klasikos prodiuseriai“ tęsinys. Šįkart apie „Riverside Records“ sielą Orriną Keepnewsą, kuriam kūrinius dedikavo pats Billas Evansas.Ved. Domantas Razauskas

Helen Dance, George Avakian, Orrin Keepnews and Joel Dorn do their best to describe the role of a jazz producer, the person “behind the glass.”

Tonight the Jazz feature spotlight is on a sadly neglected and forgotten great voice of the tenor saxophone: Walter Benton. Walter after touring with Latin bandleader Perez Prado Walter returned to his home town of L.A. and freelanced there until he decided to move to New York in 1960. Here he joined Max Roach and his band and achieved a higher profile. He was asked to do an album for Jazzland Records, a division of Riverside Records run by the indominable Orrin Keepnews. This album is our Jazz Feature but sadly Walter Benton's only album under his name. Walter was given carte blanche and he picked a young Freddie Hubbard on trumpet for the front line and Miles Davis' rhythm section for the rest with Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums for the first session and Albert "Tootie" Heath replacing Cobb for the second session a few days later. This fine album has 5 good original compositions by Walter and two fine standards beginning with the title track "Out of This World" and Walter's ballad feature "Lover Man". The highlight is Walter's smoky sounding saxophone and his authoritative concept. Walter was a distinctive and original player who deserved much more recognition and opportunities than he received but I'm very happy to share this fine album with you as our Jazz Feature tonight.

Prior to full interconnection and the complete digitization of music mastering we had in this country pockets of eccentric engineers who more often then not wore more than one hat. Rudy Van Gelder held down the fort in Englewood Cliffs while performing optometry in the daytime. Michael Cuscuna found his way to Woodstock engineering Bonnie Raitt all the while hosting free form radio programs and writing linear notes. Same for Marty Feldman and Eddie Harris Major cities in this country had venerable studios that cooked with music from across all musical spectrums. Chess Records in Chicago, Stax Records in Memphis, Muscle Shoals in Alabama, Sigma Sound in Philly, MoTown in Detroit and The Record Plant in LA. Another major record creator was Fantasy records. My guest today was a major engineer during the gravy years of the studio after Max and Saul Weiss sold the shop to Saul Zaentz. But as with other engineers my guest wads jack of all trades. He was the rhythm and blues drummer for the label when they were still in Oakland playing with Ray Shanklin and Tower of Power singer Lenny Williams. When he became the lead engineer at Fantasy he sought out and trained younger cats on how to create a warm room sound, when Fatansy expanded he was responsible for outfitting the studios and then hunkering down with a Heavy Axe and David Axelrod, Butterfly Dreaming with Flora Purim, Tambu with Cal Tjader and Charlie Byrd and the NTU Troop with Gary Bartz. He was immersed with all types of musicians. Cats like Sonny Rollins who might come out to cut an album before heading to Japan to Country Joe and other Bay Area mainstays who helped liven up sessions just by being within the complex. Put in a live audience for Joe Williams or Cannonball or work with Ed Bogas on arrangements for the Vibes of Truth. This was coupled with a very open radio dial which played a lot of local area favorites like the aforementioned Tjader, Jerry Garcia and Merl Saunders and Bola Sete. It should be noted that without Born on the Biyou none of this might have ever happened. You listen to the warmth that these records give off. The homey close knit quality and the musicians understanding of how special a place it was and you begin to see how regional music developed. Orrin Keepnews relocation to Berkeley and the acquisition of the Prestige catalog only furthered the eclecticism of the musicians. All of a sudden McCoy Tyner found a home there so did Larry and Fonce Mizell as well as Wayne Henderson and Woody Herman. It was a family of Zen Tricksters who cared about the music and the musicians. Things were cut using analog tape so there was no way to put lipstick on a pig if Pleasure or The Vibes of Truth flubbed some lyrics. You couldn't fix crappy instrumental takes. The artists had to know their shit and so did the producers and the arrangers and the engineers. Everybody's craft was respected and because of the amount of effort put forth by the team often a good product came from that. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Michael Howell's album, "In the Silence" was instrumental in the Jake Feinberg Show going from a fantasy to a reality. When I chose to go in the direction of jazz this was one of the albums that propelled me to track down the unsung heroes of the early 1970's. Bassist Henry Franklin gave instant credibility (by playing!) to the show that I promoted in South Central. Since than I have interviewed Ndugu and today I got my crack at Michael. It was well worth the wait. Ebony King, JF Ebony King, Jack's on Sutter, Flip Nunez, Glen Howell, Henry Franklin, Ndugu, Orrin Keepnews, The Call, In the Silence, Bahaina, Dizzy The Jake Feinberg Show --- Support this podcast: https://anchor.fm/jake-feinberg/support

Nuevo podcast de Terrasonora, el primer trío de Bill Evans nacía en 1960. Tras dos discos, Evans, Scott LaFaro al contrabajo y Paul Motian a la batería, se citarían en el Village Vanguard para realizar dos semanas de actuaciones. El jefe de Riverside, Orrin Keepnews decidiría grabar la última jornada de actuaciones y el resultado es historia de la música. Un repertorio capitalizado por el espíritu de lo aprendido junto a Miles Davis, con ese concepto de belleza lírica, modal y deudora del conocimiento de los compositores europeos, hizo que este trío, efímero por la fatalidad, marcara el devenir de este tipo de formaciones. De aquí en adelante cada trío de piano tendría que ser comparado con lo que el de Providence dejó aquí grabado. Gracias por la escucha. Playlist: Waltz for Debby Aeolian drinkin’ song On green dolphin street The Jittburg Waltz Someday my prince will come Gloria’s steps My man’s gone now / Porgy Solar Alice in wonderland Jade Visions All of you Milestones Detour Ahead Some other time

Nuevo podcast de Terrasonora, el primer trío de Bill Evans nacía en 1960. Tras dos discos, Evans, Scott LaFaro al contrabajo y Paul Motian a la batería, se citarían en el Village Vanguard para realizar dos semanas de actuaciones. El jefe de Riverside, Orrin Keepnews decidiría grabar la última jornada de actuaciones y el resultado es historia de la música. Un repertorio capitalizado por el espíritu de lo aprendido junto a Miles Davis, con ese concepto de belleza lírica, modal y deudora del conocimiento de los compositores europeos, hizo que este trío, efímero por la fatalidad, marcara el devenir de este tipo de formaciones. De aquí en adelante cada trío de piano tendría que ser comparado con lo que el de Providence dejó aquí grabado. Gracias por la escucha. Playlist: Waltz for Debby Aeolian drinkin’ song On green dolphin street The Jittburg Waltz Someday my prince will come Gloria’s steps My man’s gone now / Porgy Solar Alice in wonderland Jade Visions All of you Milestones Detour Ahead Some other time

In today's VINYL VIBRATIONS podcast, I tour some early vinyl records that showcase JAZZ GUITARIST GREAT WES MONTGOMERY. The recording presented in this podcast are a compilation from my LP collection from the golden age of vinyl. From my father’s LP record collection, I heard these LPs during my childhood. These LPs were a frequent play on the house Hi-Fi -- it had a stackable record player. Wes Montgomery was a regular in that record stack..Jazz renditions by Wes Montgomery have had a big influence on my musical development and my music interest since that time - - some 55 years ago ! Wes Montgomery Part 1 (1959-1961) PART 1 ‘Round Midnight (music by Thelonious Monk 1944) Recorded Oct 5-6, 1959, Wes Montgomery guitar, Melvin Rhyne organ, Paul Parker drums. 4:49 Remaster 1968 Riverside Records. …bebop. Original LP: “THE WES MONTGOMERY TRIO, A Dynamic New Sound for Guitar/Organ/Drums" Yesterdays (music by Jerome Kern 1933-from Roberta) Recorded Oct 5-6, 1959 Wes Montgomery guitar, Melvin Rhyne organ, Paul Parker drums. 3:13 Remaster 1968 Riverside Records …‘brightswing 200’ much faster pace than the Roberts play song. Original LP: “THE WES MONTGOMERY TRIO, A Dynamic New Sound for Guitar/Organ/Drums" Love Walked In (music by George Gershwin 1930) recorded October 9, 1961 Wes Montgomery guitar, George Shearing Piano, Buddy Montgomery Vibes, Monk Montgomery Bass, Walter Perkins Drums. Riverside Records remaster, 1968. What a dynamite jazz rendition of this George Gershwin music classic, by Wes Montgomery and George Shearing. What do we know about the musical family “Montgomery”. 2:10 Airegin (Sonny Rollins) Wes Montgomery guitar, Tommy Flanagn piano, Percy Heath bass, Albert Heath druma. Recorded January 1960. Riverside Records 4:26 Note the tight synch between drummer and wes , wes is weaved into the rhythm section. Four on Six (Wes Montgomery) Wes Montgomery guitar, Tommy Flanagn piano, Percy Heath bass, Albert Heath druma. Recorded January 1960. Riverside Records 6:10 long one there is plenty of time to develop the theme and have a more ideas play out Tune Up-Take 9 (Miles Davis) Recorded Oct 12, 1960 Wes Montgomery guitar, James Clay, Flute, Victor Feldman, Piano, Sam Jones Bass, Bobby Thomas drums, Produced by Orrin Keepnews, released in 1963, consists of alternate unissued takes (1960-1963) from previously issued albums on the Riverside label   4:39 Bock to Bock-take 1 (Buddy Montgomery) Recorded Jan 3, 1961 for “The Montgomery Brothers-Groove Yard” in 1961 , Wes Montgomery guitar, Buddy Montgomery piano, Monk Montgomery bass, Bobby Thomas drums. Orinially produced by Orrin Keepnews, released in 1963, consists of alternate unissued takes (1960-1963) from previously issued albums on the Riverside label 5:35 Today in Part 1, I will pick some of Wes Montgomery best recordings, made between 1959 and 1961, - - - he was between the young ages of 36 and 38. Wes Montgomery had just signed with Riverside Records. There would be several LP and LP Sets released with Riverside over the next seven years…a prolific period for Wes! What do we know about Wes Montgomery ? John Leslie Montgomery was born March 6, 1923 in Indianapolis. He was called Wes, the baby pronunciation of his name, Leslie.  Amazing Technique fact 1 Wes Montgomery is a SELF TAUGHT musician, learning by ear, starting at age12 on a tenor guitar, then at age 20, he began playing a 6-string guitar. He had listened and learned from the recordings of his guitar idol, CHARLIE CHRISTIAN. Wes Montgomery learned these melodies and riffs … by ear. That is an amazing fact. Wes grew up with two musician brothers - - Monk Montgomery plays bass, and Buddy Montgomery plays piano and vibes. Montgomery did most of his early performance work in the 1950’s in Indanapolis, with his brothers, and together with with Indianapolis organist Melvin Rhyne - - they recorded from 1957-1959 for the PACIFIC JAZZ label.

The title says it all. It was Monk's first album for Riverside Records. It was done over two nights in July of 1955. Monk's new producer, Orrin Keepnews wanted to move Thelonious into a bigger spotlight and have him record a trio album of more familiar material than his own tunes. Monk was good with the trio idea but lukewarm as to recording an album of Gershwin, Porter or Arlen tunes but Orrin Keepnews persisted and the light bulb went on and Keepnews said "Duke Ellington tunes". Monk smiled and said "yes indeed!". Hence this beautiful date. Monk picked the great Oscar Pettiford on bass and pioneering drummer Kenny Clarke and selected a bunch of great Ellington tunes. The album opened the door for Monk as it sold well and was heard on Jazz radio too. Monk was emerging from marginalized obscurity and into the limelight. This album began a long association with Riverside Records and some of his best work. Tonight "Monk Plays Ellington".

Roberta Donnay looks like she just walked out of the Great Gatsby. She doesn't just look the part, she lives it.  Roberta is a Jazz Age preservationist, guardian of Depression-era sounds, and extender of traditions. On her album Bathtub Gin, this singer-composer contributes originals in the spirit of the '20s and '30.  On this album, which she co-produced and co-arranged with Sam Bevan, Roberta imbues classic songs with a contemporary verve while also managing to capture the spirit of her musical predecessors and an emerging America. Honoring the tradition of such seminal singers as Bessie Smith, Ma Rainey, Sippie Wallace, Louis Armstrong, Ethel Waters, Billie Holiday and Josephine Baker.  Especially well-known in the Bay Area, where she lives, Roberta was originally produced by the late Orrin Keepnews.  She has toured the country with her guitar, and has performed live and in recordings with the late Dan Hicks.  Roberta has also appeared with Ernestine Anderson, Booker T, Junior Brown, Tommy Castro, Peter Coyote, David Grisman, Bob Dorough, Woody Harrelson, Johnny Lange, Huey Lewis, Eddie Money, Maria Muldaur, Joe Sample, Lenny Williams, Mitch Woods,and Neil Young. Roberta has won awards including being listed in DownBeat Magazine's Top 50 Albums of 2015.  Learn more about Roberta at www.robertadonnay.com.  Follow her on Twitter at www.twitter.com/robertadonnay Her album, Bathtub Gin, is available here:  http://www.amazon.com/Bathtub-Roberta-Donnay-Prohibition-Band/dp/B00QKMCT2O

That title really sums up tonight's Jazz Feature. This was Wes Montgomery's second album for Riverside's head honcho Orrin Keepnews and the one that really put Wes on the national Jazz map. The first was excellent with Wes' working organ-based group from his home town of Indianapolis but this was different. Orrin Keepnews and Wes put their heads together and came up with an all-star New York based band made up of established Jazz stars. They are: pianist Tommy Flanagan, bass great Percy Heath and Percy's younger brother Albert "Tootie" Heath on drums. The album sold exceedingly well and got airplay all over the US and Canada. The critics lauded the album and everyone asked....where did this guy come from? Wes had been working in his home town of Indianapolis and San Francisco for years honing his skills so by the time this album was made in January of 1960, he was more than ready. So this is it....the date that brought Mr. Montgomery to the fore as one of the most loved and influential Jazz guitarists of all time. "The Incredible Jazz Guitar of Wes Montgomery is no exaggeration!

This podcast explores four albums from three different labels run by producer Orrin Keepnews. Mike hates 70's bass; Ernie Henry gives Pat the willies; other revelations follow. Randy Weston GET HAPPY; Thelonious Monk – BRILLIANT CORNERS; Joe Henderson – THE ELEMENTS; Bobby Hutcherson – GOOD BAIT

This is a fun jam session-type recording done in the optimum conditions of a large recording studio with an invited audience. Chairs and refreshment were set up and tenor saxophonist Johnny Griffin put together a fine band to play for the assembled hipsters. The session was the brainchild of the owner of Riverside Records, the late Orrin Keepnews.....he later did the same thing with Cannonball Adderley. Griffin, one of the leading voices of the tenor saxophone used the underrated and under-recorded Dave Burns on trumpet. A wise choice. He picked two of his Chicago "home-boys" on piano, Norman Simmons and bassist Victor Sproles and an up and coming young drummer, Ben Riley. The tunes are basically informal jams and are fun and relaxed. The wheel is not being invented here just good "meat and potatoes" Jazz. The host and MC is the redoubtable Babs Gonsales who announces the tunes and peps up the audience. A fun record by some serious "heavies". Join the party!

Guitar master Grant Green and Wes Montgomery were two of the most influential voices of their instrument in the 1960's. They seemed to come out of nowhere to Jazz fame and in a way they did. Both honed their skills in their respective home towns...Montgomery in Indianapolis and Green in St. Louis. Cannonball Adderley discovered Wes and brought him to the attention of Riverside Records honcho Orrin Keepnews and Green was discovered by Lou Donaldson who brought him to the attention of Alfred Lion of Blue Note Records. Green's albums for Blue Note from the early 60's are many and all are worth hearing. Tonight's Feature is a most relaxed date where Green and company perform just four standards that have not been played to death."Street of Dreams" by Victor Young is the title track, Charles Trenet's "I Wish You Love" is heard along with "Lazy Afternoon" and the old theme from the famous TV series "Naked City" called "Somewhere in the Night". The players all sound like a working band even though they were assembled just for this record date......they were all on the same page stylistically. Along with Grant Green, we have a then new star on the scene, Bobby Hutcherson on vibes, Larry Young on organd and Elvin Jones on drums. The album is relaxed and quite mellow but is so creative and interesting that you'll be surprised as to how quickly it's over. That's a sign of a good record! Enjoy Mr. Green and company. The fire burns low but with an intensity and swing that is captivating.

"Mulligan Meets Monk" is tonight's Feature. It's premise is simple, a meeting of two great original minds. Monk, of course and Mulligan, one of the most identifiable voices of the baritone saxophone. In 1957 they were neighbors and friends and spent time at each others homes. Gerry, who was no slouch at the piano would play duets with Monk for their own enjoyment. Savvy producer Orrin Keepnews knew of their relationship and since he couldn't record the existing Monk quartet with John Coltrane as Coltrane was under exclusive contract with another label, Keepnews opted to ask Monk if he would like to do an album with Gerry Mulligan. Monk said "sure,man"....and the album was born. Monk's rhythm section with Wilbur Ware on bass and the great "Shadow" Wilson on drums was used and they as well as Monk prodded Gerry into some wonderful playing. The date went down smoothly in two afternoon sessions. Four Monk tunes were used including, at Gerry's request, "Round Midnight". One Mulligan original and one standard that Monk liked completed the date. The recording was released in late 1957 and reviewed favorably in Down Beat Magazine with 4 and a half stars out of five. While some critics and musicians cried "mismatch" and "failure",the record stands the test of time and is a warm swinging, conversational date that was, as Gerry put it, "fun to play and I hope, fun to listen to". I think you'll agree.

This is one of Monk's most important recordings and set the stage for his return to the forefront of Jazz. In the early 50's Monk, although his recordings for Blue Note and Prestige are now classics, was brushed aside by the forces in Jazz and didn't work very much. He was generally dismissed as a mildly interesting eccentric...nothing more. He did, however have a small following among musicians and fans. It wasn't until Orrin Keepnews, one of the owners of Riverside Records, bought out Monk's contract from Prestige and established a trusting relationship with Thelonious. Keepnews recorded two fine trio albums, the first being all Duke Ellington tunes and the second an album of Monk selected standards. They sold reasonably well and people began to take notice of this neglected genius. The third album is tonight's Feature....and it's the 'real deal'. Monk's music played by a band of his favourite players including Sonny Rollins,Max Roach, Oscar Pettiford and the great unheralded alto saxophonist Ernie Henry. One tune features Clark Terry, Monk's good friend and one of his favourite trumpet players. One tune is a piano solo on a standard (I Surrender Dear) done in one take. This album called "Brilliant Corners" brought Monk back from obscurity and was the beginning of his ascent to greatness....his work permit was granted to play in New York clubs and his quartet with John Coltrane was right around the corner.....the rest as they say is history.