Podcasts about Paul Chambers

Playlist: Duke of Iron: Sonny Rollins – tenorsaxofoon, Clifton Anderson – trombone, Mark Soskin – piano, Jerome Harris – basgitaar, Marvin Smith – drums St. Thomas: Sonny Rollins – tenorsaxofoon, Tommy Flanagan – piano, Doug Watkins – bas, Max Roach – drums You Don’t Know What Love Is: Sonny Rollins – tenorsaxofoon, Tommy Flanagan – piano, Doug Watkins – bas, Max Roach – drums Tenor Madness: Sonny Rollins – tenorsaxofoon, John Coltrane – tenorsaxofoon, Red Garland – piano, Paul Chambers – bas, Philly Joe Jones – drums Valse Hot: Sonny Rollins – tenorsaxofoon, Clifford Brown – trompet, Richie Powell – piano, George Morrow – bas, Max Roach – drums God Bless The Child: Sonny Rollins – tenorsaxofoon, Jim Hall – gitaar, Bob Cranshaw – bas, Ben Riley – drums Blue Room (opgenomen in VARA Studio 5 in Hilversum): Sonny Rollins – tenorsaxofoon, Han Bennink – drums, Ruud Jacobs – bas Sonny Rollins: een leven gewijd aan groei, vrijheid en klank Sonny Rollins, geboren als Theodore Walter Rollins op 7 september 1930 in New York, behoort tot de grootste saxofonisten uit de jazzgeschiedenis. Zijn leven en werk getuigen van een uitzonderlijke artistieke nieuwsgierigheid, discipline en een onuitputtelijke drang tot vernieuwing. Met zijn krachtige tenor-sound en improvisatietalent heeft hij generaties muzikanten geïnspireerd. Rollins groeide op in Harlem, een broedplaats van jazz en cultuur. Al op jonge leeftijd raakte hij gefascineerd door muziek, onder invloed van grootheden als Coleman Hawkins en Lester Young. In de jaren vijftig brak hij door met opnames als Saxophone Colossus (1956), waarop zijn virtuositeit en speelse improvisaties duidelijk hoorbaar zijn. Zijn composities, zoals “St. Thomas”, combineren Caribische invloeden met swing en laten zien hoe veelzijdig hij was. Wat Rollins bijzonder maakt, is niet alleen zijn technische beheersing, maar ook zijn filosofische benadering van muziek. Hij beschouwde jazz als een vorm van persoonlijke expressie en spirituele ontwikkeling. Dit blijkt onder meer uit zijn beroemde “bridge sabbatical” eind jaren vijftig, waarin hij zich tijdelijk terugtrok van het podium om intensief te oefenen op de Williamsburg Bridge in New York. Deze periode van zelfreflectie versterkte zijn geluid en zijn vertrouwen als artiest. In de jaren zestig en zeventig experimenteerde Rollins met nieuwe stijlen en invloeden, waaronder free jazz en wereldmuziek. Zijn open houding tegenover verandering hield zijn muziek fris en relevant. Albums als The Bridge (1962) markeren zijn terugkeer na stilte en tonen een rijpere, diepgaandere muzikale stem. Naast zijn muzikale prestaties staat Rollins bekend om zijn integriteit en toewijding. Hij sprak zich uit voor burgerrechten en bleef trouw aan zijn eigen artistieke visie, ongeacht commerciële druk. Deze onafhankelijkheid maakt hem tot een voorbeeld van creatieve vrijheid. Zijn carrière, die meer dan zes decennia omspant, leverde hem talloze onderscheidingen op, waaronder een Grammy Lifetime Achievement Award. Toch bleef hij bescheiden en gericht op groei. Zelfs op latere leeftijd benadrukte hij dat hij zichzelf nog steeds als leerling zag. Sonny Rollins' nalatenschap is er een van moed, discipline en liefde voor muziek. Zijn levensverhaal laat zien dat ware grootheid ligt in voortdurende ontwikkeling en het durven volgen van je eigen pad. Met zijn warme, expressieve klank en positieve energie blijft hij een bron van inspiratie voor muziekliefhebbers wereldwijd.

1949-1955 : Miles Davis traverse un sérieux trou d'air. De retour d'un séjour à Paris où il est tombé amoureux de Juliette Gréco, le trompettiste rentre à New-York le cœur brisé et se perd dans les nuits agitées de Harlem. Face au racisme, à la violence et au manque de perspectives, la drogue devient sa seule confidente. Miles dévisse, connait la déroute, le sevrage et la prison, jusqu'en 1955 où il renaît après une apparition miraculeuse au festival de Newport. C'est à cette époque qu'il monte son premier grand groupe avec John Coltrane, Red Garland, Paul Chambers et Philly "Joe" Jones : un son qui va faire de Miles une star ! Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

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Een TORcast geheel gewijd aan de muziek van Miles Davis. Miles werd honderd jaar geleden (op 26 mei 1926) geboren en ontwikkelde zich tot één van de belangrijkste musici, niet alleen in de geschiedenis van de jazz maar in die van hele hedendaagse muziek.  In deze TORcast laat Willem Habers een selectie van zijn favoriete Davis-opnames horen. Geen uitputtende opsomming, geen verantwoord chronologisch overzicht, geen doorwrocht spectrum van ’s mans invloeden en werk maar een heel persoonlijke keuze uit het gigantische oeuvre van deze jazzgigant. Playlist: So What Miles Davis (trompet), Bill Evans (piano), Cannonball Adderly (altsax), John Coltrane (tenorsax), Paul Chambers (bas), Jimmy Cobb (drums) Move met Gerry Mulligan, Max Roach, Lee Konitz, Karl Winding en John Barber (tuba) If I Were A Bell Miles Davis (tp), Red Garland (piano), John Coltrane (tenorsax), Paul Chambers (bas), Philly Jo Jones (drums) Someday My Prince Will Come Miles Davis (tp), John Coltrane (sax), Hank Mobley (sax), Wynton Kelly (piano), Psul Chambers (bas), Jimmy Cobb (drums) My Funny Valentine Miles Davis (trompet), Herbie Hancock (piano), Wayne Shorter (tenorsax), Ron Carter (bas), Tony Williams (drums) Générique – Ascenseur pour l’echafaud Miles Davis (trompet), Barney Wilen (sax), René Urtreger (piano), Pierre Michelot (bas) en Kenny Clarke (drums) Concierto de Aranjuez: Adagio Miles Davis (trompet), orkest onder leiding van Gil Evans Een paar bespiegelingen… De muziek van Miles Davis is niet slechts een hoofdstuk in de geschiedenis van de jazz; zij is een voortdurend herlezing van wat muziek kan zijn. Wie naar Davis luistert, hoort niet alleen noten, maar ook een bepaalde houding ten opzichte van tijd, stilte en vernieuwing. Zijn oeuvre lijkt zich steeds te onttrekken aan elke definitie die men erop loslaat. Dat maakt zijn betekenis filosofisch relevant: Davis laat zien dat identiteit niet iets statisch is, maar een proces van voortdurende transformatie. Een van de opvallendste kenmerken van zijn muziek is het gebruik van ruimte. In albums als *Kind of Blue* wordt stilte niet als leegte ervaren, maar als een actief element. Deze benadering roept vragen op over de aard van expressie zelf. Moet muziek altijd gevuld zijn, of kan juist het weglaten een diepere vorm van communicatie zijn? Davis' antwoord lijkt te zijn dat betekenis ontstaat in de spanning tussen klank en stilte. Daarmee sluit hij aan bij een bredere existentiële intuïtie: dat wat niet gezegd wordt, vaak even belangrijk is als wat wel wordt uitgesproken. Daarnaast belichaamt Davis het idee van artistieke vrijheid als morele houding. Hij weigerde zich te conformeren aan de verwachtingen van zijn publiek of de industrie. Telkens wanneer hij succes bereikte—of het nu ging om bebop, modal jazz of fusion—koos hij ervoor om een nieuwe richting in te slaan. In die zin is zijn carrière een praktijk van wat de filosoof Nietzsche “zelfoverwinning” noemde: het voortdurend achterlaten van het oude zelf om ruimte te maken voor het nieuwe. Deze radicale trouw aan vernieuwing maakt hem tot een bron van inspiratie voor hedendaagse musici. De invloed van Miles Davis op huidige jazzmuzikanten ligt dan ook niet alleen in specifieke harmonieën of technieken, maar in een manier van denken. Moderne jazz kenmerkt zich door hybriditeit: invloeden van hiphop, elektronische muziek en wereldmuziek vloeien samen tot nieuwe vormen. Deze openheid is rechtstreeks schatplichtig aan Davis' grensverleggende experimenten, vooral in zijn latere werk zoals *Bitches Brew*. Hij legitimeerde het idee dat jazz geen afgesloten traditie is, maar een permeabel veld waarin alles kan worden opgenomen. Ten slotte blijft Davis relevant omdat hij de luisteraar actief betrekt. Zijn muziek vraagt om aandacht, om interpretatie, om een zekere existentiële inzet. Zij is nooit volledig transparant; er blijft altijd iets ongrijpbaars. In een tijd waarin muziek vaak als achtergrondconsumptie fungeert, herinnert Davis ons eraan dat luisteren een vorm van denken is. Zo bezien is Miles Davis niet alleen een muzikant, maar een filosoof in klank. Zijn erfenis leeft voort in elke muzikant die durft te experimenteren, te twijfelen en opnieuw te beginnen—en in elke luisteraar die bereid is om in die zoektocht mee te gaan.

Een TORcast geheel gewijd aan de muziek van Miles Davis. Miles werd honderd jaar geleden (op 26 mei 1926) geboren en ontwikkelde zich tot één van de belangrijkste musici, niet alleen in de geschiedenis van de jazz maar in die van hele hedendaagse muziek.  In deze TORcast laat Willem Habers een selectie van zijn favoriete Davis-opnames horen. Geen uitputtende opsomming, geen verantwoord chronologisch overzicht, geen doorwrocht spectrum van ’s mans invloeden en werk maar een heel persoonlijke keuze uit het gigantische oeuvre van deze jazzgigant. Playlist: Seven Steps to Heaven Miles Davis (trompet), Ron Carter (bas), Anthony Williams, Frank Butler (drums), Herbie Hancock, Victor Feldman (piano), George Coleman (tenorsax), Nefertiti Miles Davis (trompet), Wayne Shorter (tenorsax), Tony Williams (drums), Ron Carter (bas), Herbie Hancock (piano) Boplicity Miles Davi (trompet), Lee Konitz (altsax), Gerry Mulligan (baritonsax), John Lewis (piano), Kenny Clark (drums), Nelson Boyd (bas)J.J. Johnson (trombone), Bill Barber (tuba) Milestones Miles Davis (trompet), John Coltrane (tenorsax), Cannonball Adderly (altsax), Red Garland (piano), Paul Chambers (bas), Philly Jo Jones (drums) Tutu Miles Davis (trompet), Marcus Miller (producer, instruments), George Duke (keyboards), Paulhinho da Costa (percussie) Amandla Miles Davis (trompet), Kenny Garrett (altsax), Marcus Miller (bas), Omar Hakim (drums), Joe Sample (keyboards) Human Nature Miles Davis (trompet), Darryll Jones (bas), Vince Wilburn jr. (drums), John Scofield (gitaar), Robert Irving III (keyboards), Round Midnight Miles Davis (trompet), John Coltrane (tenorsax), Cannonball Adderly (altsax), Red Garland (piano), Paul Chambers (bas), Philly Jo Jones (drums) Jam Session Miles Davis (trompet), Michel Legrand (piano), Jimmy Cleveland (trombone), Kenny Garrett (sax), Mark Rivett (gitaar), Alphonse Mouzon, Harvey Mason (drums), Benny Reitveld (bas) Een paar bespiegelingen… De muziek van Miles Davis is niet slechts een hoofdstuk in de geschiedenis van de jazz; zij is een voortdurend herlezing van wat muziek kan zijn. Wie naar Davis luistert, hoort niet alleen noten, maar ook een bepaalde houding ten opzichte van tijd, stilte en vernieuwing. Zijn oeuvre lijkt zich steeds te onttrekken aan elke definitie die men erop loslaat. Dat maakt zijn betekenis filosofisch relevant: Davis laat zien dat identiteit niet iets statisch is, maar een proces van voortdurende transformatie. Een van de opvallendste kenmerken van zijn muziek is het gebruik van ruimte. In albums als *Kind of Blue* wordt stilte niet als leegte ervaren, maar als een actief element. Deze benadering roept vragen op over de aard van expressie zelf. Moet muziek altijd gevuld zijn, of kan juist het weglaten een diepere vorm van communicatie zijn? Davis' antwoord lijkt te zijn dat betekenis ontstaat in de spanning tussen klank en stilte. Daarmee sluit hij aan bij een bredere existentiële intuïtie: dat wat niet gezegd wordt, vaak even belangrijk is als wat wel wordt uitgesproken. Daarnaast belichaamt Davis het idee van artistieke vrijheid als morele houding. Hij weigerde zich te conformeren aan de verwachtingen van zijn publiek of de industrie. Telkens wanneer hij succes bereikte—of het nu ging om bebop, modal jazz of fusion—koos hij ervoor om een nieuwe richting in te slaan. In die zin is zijn carrière een praktijk van wat de filosoof Nietzsche “zelfoverwinning” noemde: het voortdurend achterlaten van het oude zelf om ruimte te maken voor het nieuwe. Deze radicale trouw aan vernieuwing maakt hem tot een bron van inspiratie voor hedendaagse musici. De invloed van Miles Davis op huidige jazzmuzikanten ligt dan ook niet alleen in specifieke harmonieën of technieken, maar in een manier van denken. Moderne jazz kenmerkt zich door hybriditeit: invloeden van hiphop, elektronische muziek en wereldmuziek vloeien samen tot nieuwe vormen. Deze openheid is rechtstreeks schatplichtig aan Davis' grensverleggende experimenten, vooral in zijn latere werk zoals *Bitches Brew*. Hij legitimeerde het idee dat jazz geen afgesloten traditie is, maar een permeabel veld waarin alles kan worden opgenomen. Ten slotte blijft Davis relevant omdat hij de luisteraar actief betrekt. Zijn muziek vraagt om aandacht, om interpretatie, om een zekere existentiële inzet. Zij is nooit volledig transparant; er blijft altijd iets ongrijpbaars. In een tijd waarin muziek vaak als achtergrondconsumptie fungeert, herinnert Davis ons eraan dat luisteren een vorm van denken is. Zo bezien is Miles Davis niet alleen een muzikant, maar een filosoof in klank. Zijn erfenis leeft voort in elke muzikant die durft te experimenteren, te twijfelen en opnieuw te beginnen—en in elke luisteraar die bereid is om in die zoektocht mee te gaan.

Miles Dewey Davis III nació en Alton, Illinois, el 26 de mayo de 1926. Primero de los programas que le vamos a dedicar en este 2026 al genial músico estadounidense para celebrar el centenario de su nacimiento. Con 'Kind of Blue', el disco más vendido de la historia del jazz, grabado por el trompetista con John Coltrane (saxo tenor), Julian 'Cannonball' Adderley (saxo alto), Bill Evans y Wynton Kelly (piano), Paul Chambers (contrabajo) y Jimmy Cobb (batería) y que escuchamos al completo: 'So what'; 'Freddie Freeloader', 'Blue in green', 'All blues' y 'Flamenco sketches' en la del disco original y en una toma alternativa.  Escuchar audio

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Cookin', Relaxin', Workin', and Steamin' capture Miles Davis on one of music history's most remarkable upswings. He had recently become clean after a years-long heroin addiction that led to his exclusion from major record labels and clubs. And now, in 1956, he had a deal with Columbia - the Cadillac of record labels - and a band he loved: Red Garland on piano, Philly Joe Jones on drums, Paul Chambers on bass and John Coltrane playing the sax. In this episode of You'll Hear It, jazz pianists Peter Martin and Adam Maness go through each album. They discuss the outsized influence of Ahmad Jamal, Red Garland's Red spread technique, the power of Miles's chatter on Relaxin' and whether this is the greatest rhythm section in the history of recorded music. Whether this is your first introduction to Miles Davis, or you've been listening to these albums for years, you'll walk away from this episode with a new understanding of, and appreciation for, Miles and his first great quintet. ------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://openstudiojazz.com/yhi------------------------------Some Day My Prince Will Come: https://youtu.be/a_Ygq74SjvQBirth of the Cool: https://youtu.be/eEl9-z6G2tU My Funny Valentine: https://youtu.be/-9mMbZMtyGs -------------------------------About You'll Hear It:In this popular music series, Adam and Peter break down the greatest albums of all time. Stevie Wonder, Michael Jackson, Joni Mitchell, D'Angelo: Jazz is the foundation of the most GENIUS music in recent history. These seasoned jazz pianists bring their deep musical knowledge to every joyful episode to help you hear the hidden qualities that make music AMAZING. You'll never hear music the same way again.-------------------------------Sign up for the You'll Read It newsletter for little known stories about the artists you love: https://youllhearit.com/newsletter -------------------------------0:00 Miles Davis - Cookin', Relaxin', Workin' & Steamin'0:47 The Comeback Story5:17 Miles & Monk at Newport '558:54 "My Funny Valentine"11:09 Miles to Red: 'Play Like Ahmad Jamal'13:51 "Blues by Five"17:39 BTS: Trane Comes Into His Own21:06 Relaxin' with the Miles Davis Quintet22:40 "If I Were a Bell"29:59 "You're My Everything"32:54 The POWER of Miles's Intro Chatter36:40 "Oleo"38:15 "It Never Entered My Mind"41:58 "Four"46:44 Steamin' with the Miles Davis Quintet48:25 "Surrey with the Fringe on Top"53:22 "Salt Peanuts"55:08 "Well You Needn't"55:30 "When I Fall in Love"56:27 "If I Were a Bell" Over the Years58:03 Desert Island Tracks58:36 Apex Moments

Diese Sendung hat Andreas Pasternack zusammengestellt.Das LIVE Anspiel diesmal ist: “Softly as in a morning Sunrise“ – 1928 von Sigmund Romberg komponiert.Folgende Titel sind zu hören :1. Cash Box – Count Basie and His Orchestra 3:242. I only have eyes for you – Michael Bublé 3:233. Bernie's Tune – Art Pepper + Eleven 2:464. Softly as in a morning Sunrise 3:115. Black Nile – Gregory Porter 4:576. Wild Cat Blues – Chris Barber 2:587. I feel fine – Curtis Stigers 5:388. When the saints go marching in – Golden Gate Quartet 2:519. Georgia on my mind – Maceo Parker & WDR Big Band 6:17Für Titelwünsche und Anregungen schreiben Sie gern an:jazztime.mv@ndr.de Keep Swingin' !!!

En este 2006 se cumple el centenario del nacimiento de John Coltrane. Y lo vamos a ir celebrando hasta fin de año en 'Jazz es finde' con algunos especiales. Hoy recordamos al saxofonista en grabaciones que hizo con el guitarrista Kenny Burrell en marzo del 58 con Tommy Flanagan al piano, Paul Chambers al contrabajo y Jimmy Cobb en la batería: 'Freight Trane', 'I never knew', 'Lyresto', 'Why was I born?' y 'Big Paul'. Trane y Burrell también tocaron juntos en septiembre de 1956 en el disco 'Whims of Chambers' del sexteto de Paul Chambers ('Omicron', 'Nita') o en abril de 1957 en el disco 'The Cats' con el pianista Tommy Flanagan, el trompetista Idress Sulieman, el contrabajista Doug Williams y el baterista Louis Hayes ('Solacium').Escuchar audio

On this episode of The Bandwich Tapes, I sit down with Larry Goldings—keyboardist, organist, composer, and one of the most respected musical collaborators working today. Larry has built a career that stretches across jazz, pop, film, television, and session work, but what really stands out in our conversation is his deep commitment to serving the music first.We start by talking about some of the projects currently on his plate. From a new recording with his organ trio featuring Peter Bernstein and Bill Stewart, to an unexpected and joyful children's album with tap-dance legend Melinda Sullivan, Larry's creative world is constantly expanding. Whether it's instrumental jazz, singer collaborations, or more experimental projects, his curiosity keeps pushing him into new musical spaces.A major part of the conversation centers on his long-running role in James Taylor's band. Larry shares how he first connected with James in the early 2000s and what it takes to serve those songs night after night at the highest level. Playing alongside musicians like Steve Gadd, he reflects on what he's learned about feel, restraint, and the kind of deep musical trust that makes a rhythm section truly work.From there we head down the rabbit hole into Scary Goldings and Scary Pockets, the groove-driven projects that have introduced Larry to a whole new generation of listeners online. He talks about how those sessions began, why the format encourages spontaneity, and how collaboration and curiosity remain the driving forces behind the music.For the gearheads and music nerds—myself included—we also revisit a memorable moment from the Michael Brecker “Time Is of the Essence” sessions. Larry recalls the experience of playing alongside Elvin Jones, navigating the nerves of the session, and the unforgettable moment when the music suddenly locked into place.Along the way, we also get into the craft of organ playing itself—especially Larry's approach to left-hand bass, and why bass players have influenced his musical language just as much as other organists. At the end of the day, everything comes back to the same principle: serve the feel, serve the song.Key TakeawaysLarry Goldings's current creative projects, including a new organ trio record with Peter Bernstein and Bill Stewart.The unexpected collaboration with tap-dance legend Melinda Sullivan on a children's album.How Larry joined James Taylor's band and what he's learned from years on that stage.The musical philosophy of rhythm sections built on feel, restraint, and trust, especially alongside Steve Gadd.The origins of Scary Goldings and Scary Pockets and how those sessions reached a global audience online.A behind-the-scenes story from the Michael Brecker “Time Is of the Essence” recording sessions with Elvin Jones.Why Larry's organ language is shaped as much by bass players as by other keyboardists.Music from the EpisodeThe Shakes — Scary PocketsTimeline — Michael BreckerSolid Jack — The Larry Goldings TrioDisco Pills — Scary PocketsArc of the Pendulum — Michael BreckerAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

durée : 00:59:54 - Intuitions - par : Nathalie Piolé -

El 2 de marzo de 1959 se grabó Kind of Blue, un álbum de estudio del músico estadounidense de jazz Miles Davis.La grabación contó con el legendario saxofonista John Coltrane y el contrabajista Paul Chambers, el equipo se completó con Julian "Cannonball" Adderley, en el saxofón alto, Jimmy Cobb a la batería y Bill Evans al piano.​

Today, Hunter wraps up 2025 with one last episode! Guest: Resources: Top 10 Episodes of 2025 334 | Was a Former Colorado Public Defender Fired for Raising Concerns over his Workload? w/Travis Weiner 335 | How Sec Def Austin Interfered with the 9/11 and U.S.S. Cole Case Plea Deals w/Allison Miller and Katie Carmon 336 | How the San Mateo Private Defender Program is Trying to Earn Back the Community's Trust w/Lisa Maguire and Harpreet Samra 328 | How the Laken Riley Act Could Get Innocent People Sent to Guantanamo Bay w/Ann Block and Nithya Nathan-Pineau 331 | How the Far West Texas Public Defenders Uncovered a Pattern of Discovery Violations in El Paso w/James McDermott and Paul Chambers 333 | How The American Eugenics Movement Helped Create Habitual Offender Laws w/Daniel Loehr 355 | How Missouri Public Defenders are Leading the Nation In Statewide Holistic Defender Services w/Missouri Public Defenders 322 | The Impact of and the Resistance to Mass Deportation Policies w/Hans Meyer and Holly Lucas 400 | Why the Lawyers Handling 80% of Massachusetts's Public Defender Cases Stopped Taking New Cases w/Shira Diner 316 | The Everyday Cruelty in Westminster Municipal Court w/Alison Gordon Contact Hunter Parnell:                                 Publicdefenseless@gmail.com  Instagram @PublicDefenselessPodcast Twitter                                                                 @PDefenselessPod www.publicdefenseless.com  Subscribe to the Patreon www.patreon.com/PublicDefenselessPodcast  Donate on PayPal https://www.paypal.com/donate/?hosted_button_id=5KW7WMJWEXTAJ Donate on Stripe https://donate.stripe.com/7sI01tb2v3dwaM8cMN Trying to find a specific part of an episode? Use this link to search transcripts of every episode of the show! https://app.reduct.video/o/eca54fbf9f/p/d543070e6a/share/c34e85194394723d4131/home

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Vilken är den mest spelade svenska kompositören utomlands? Och så blir det räkneövning med Beyoncé och Räven raskar över isen som exempel! Lyssna på alla avsnitt i Sveriges Radios app. Musiken i programmet:Dag Wirén: Serenade For Strings op. 11, framförd av English Chamber Orchestra under ledning av Johannes Somary.Frank Loesser: If I Were A Bell, framförd av Red Garland, Paul Chambers och Art TaylorBeyoncé: Single Ladies (Put A Ring On It)AC/DC: Highway To Hell

Annika Chambers and Paul DesLauriers were musicians in their own right, each with their own bands until fate took over in 2018. They met in Memphis, Tennessee, and it was the proverbial “Love at first sight” for the couple. Their chemistry on and off stage is powerful, making their music even more so. As season five winds to a close, join us for a great discussion with this power couple, about their fateful meeting, the quietly planned proposal under the St. Louis arch, and their subsequent elopement. We also talk about Annika's PTSD, Paul's fall and subsequent traumatic brain injury, and how the two have managed to work within the entertainment industry despite these challenges. They are truly a one of a kind couple, and you are going to enjoy their story. Website: https://annikaandpaul.com/ Facebook: https://www.facebook.com/profile.php?id=61555188162792 Spotify: https://open.spotify.com/artist/1arcq3eCE5lXEA9XwOhj72?si=ncDFKCg4QLOR3kUBUFcCxg YouTube: https://www.youtube.com/channel/UCBU3JwqVzDRX8zjHQ0Gdm3A _________________________Facebook: Time SignaturesYouTube: Time SignaturesFacebook: Capital Area Blues SocietyWebsite: Capital Area Blues SocietyFriends of Time Signatures _______Website: University of Mississippi Libraries Blues ArchiveWebsite: Killer Blues Headstone ProjectWebsite: Blues Society Radio NetworkWebsite: Keeping the Blues Alive Foundation

The link between jazz and what we now call reggae goes back 70+ years to the time of Count Basie and Duke Ellington's big bands in the 1940s and '50s, which were very popular in Jamaica. These records arrived through sailors, migrants, and sound-system operators like Coxsone Dodd and Duke Reid, who travelled to the U.S. specifically to buy jazz and R&B 78s. The island absorbed these sounds and fused them with mento (Jamaica's folk music), African rhythmic traditions, New Orleans R&B (Fats Domino, Rosco Gordon), and bits of Country and Gospel. Out of this blend came the foundation of what would eventually become ska. Early ska bands felt like compact jazz big bands- horn sections front and centre, trading solos, swinging lines, and arrangements shaped by jazz harmony. The Skatalites were made up of jazz-trained musicians from the Alpha School of Music, including Don Drummond, Tommy McCook, Roland Alphonso, Lester Sterling, and Jackie Mittoo. Players like Ernest Ranglin and Monty Alexander brought traditional jazz phrasing into their playing. If you listen to early ska, you hear bebop-style solos, ii–V–I chord movements, blue notes, horn riffs modelled after Ellington and Basie, and rhythm sections that mix jazz walking lines with a distinct upbeat “skank.” The shift from jazz to ska was a natural evolution. Sound systems were growing in popularity, and access to new releases from the USA was limited to those who could travel there and purchase them, as mentioned with Dodd & Reid. Jazz and Jump Blues were beginning to disappear, and Sound System operators needed fresh music to keep people coming back, so they started looking to existing talent on the island. The early days of Ska were recorded by musicians who took those elements and reshaped them into something uniquely Jamaican, emphasising the offbeat, simplifying the walking bass into a pulsing groove, and blending African-derived rhythms with American jazz techniques. This mixture created the dance-driven sound of ska, which later slowed into rocksteady and evolved into what we now call reggae. For today's mix, I explore a collection of jazz tracks I've always gravitated toward—those with a groove, that swing, and that carry some of the same energy that fed early Jamaican music. I focused on artists like Miles, Blakey, and Dizzy for this 90-minute session, and I hope you enjoy it. PLAYLIST Lee Morgan – The Sidewinder (Remastered 1999 / Rudy Van Gelder Edition) Herbie Hancock – Cantaloupe Island (Remastered 1999 / Rudy Van Gelder Edition) The Dave Brubeck Quartet – Take Five John Coltrane – A Love Supreme, Pt. I – Acknowledgement Miles Davis– So What (feat. John Coltrane, Cannonball Adderley & Bill Evans) Miles Davis – Milestones (feat. John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers & Philly Joe Jones) Art Blakey & The Jazz Messengers – Moanin' Dizzy Gillespie – Salt Peanuts Charlie Parker – Ko Ko Stan Getz – Wee (Allen's Alley) Art Blakey; Thelonious Monk – Rhythm-A-Ning Max Roach – Tune-Up Clifford Brown; Max Roach Quintet – Cherokee

The Sun unleashed an absolutely massive G4 geomagnetic solar storm that hit the planet yesterday. It was the most powerful solar flare that we have seen in 2025. Additionally, an “energetic” and fast-moving coronal mass ejection, or CME, was hurled out by the Sun on Tuesday from the same area as the solar flare. The Space Weather Prediction Center has issued power grid warnings for 11 northern states, stating that the electromagnetic effects of the G4 would cause issues with electrical grids for states poleward of the 45th parallel. How prepared are we if the power is off and the lights go out? Listen to Ground Zero with Clyde Lewis M-F from 7-10 pm, pacific time on groundzeroplus.com. Call in to the LIVE show at 503-225-0860. #groundzeroplus #clydelewis #solar #CME #electromagnetic

This week, we dive into Sonny Clark's hard bop classic Cool Struttin'. Backed by a powerhouse lineup featuring Jackie McLean on alto saxophone, Art Farmer on trumpet, Paul Chambers on bass, and Philly Joe Jones on drums, Clark delivers one of the most iconic Blue Note sessions of the late 1950s. Tune in as we break down the album, explore its lasting impact on the hard bop tradition, and reveal how we arrived at our overall rating of 9.5/10!   Feel free to reach out to us with any listener questions or album recommendations at thejazzjampodcast@gmail.com  Website: Click here! Instagram: @thejazzjampodcast Spotify Playlist: Top 3 Playlist

PAUL MOTIAN “MISTERIOSO” Milan, Italy, July 14-16, 1986Misterioso, Gang of five, Byablue, Johnny Broken WingJim Pepper (sop,ts) Joe Lovano (ts) Bill Frisell (g) Ed Schuller (b) Paul Motian (d) SONNY CLARK TRIO “BLUES IN THE NIGHT” Hackensack, NJ, December 7, 1958Blues in the night, Can't we be friends ?, I cover the waterfrontSonny Clark (p) Paul Chambers (b) Wesley Landers (d) “PLANET JAZZ LIVE “SMALLS JAZZ CLUB” TENSE” New York, August 23 & 24, 2009Bilbao, Righty-o! Continue reading Puro Jazz 02 de octubre, 2025 at PuroJazz.

ANTHONY WILSON “HACKENSACK WEST” Los Angeles, June 20 & 21, 2023Daido, The lands, Hackensack WestGerald Clayton (p) Anthony Wilson (g) John Clayton (b) Jeff Hamilton (d) ABBEY LINCOLN “THAT'S HIM !” New York, October 28, 1957Strong man, Don't explain (pc out,1)Abbey Lincoln (vcl) acc by Kenny Dorham (tp) Sonny Rollins (ts) Wynton Kelly (p,b1) Paul Chambers (b) Max Roach (d) SPHERE QUARTET “SPHERE” Brooklyn, N.Y., October 4, 1997We see, Isfahan, Uncle BubbaGary Bartz (as,sop1) Kenny Barron (p) buster Williams (b) Ben Riley (d) Continue reading Puro Jazz 22 de septiembre, 2025 at PuroJazz.

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

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

TED NASH “SIDEWALK MEETING” New York, October 23 & 24, 2000Premiere rhapsody (2), Jump line (1)Wycliffe Gordon (sousa,tb) Ted Nash (ts,cl,b-cl) William Schimmel (accor) RED GARLAND “A GARLAND OF RED” Hackensack, NJ, August 17, 1956A foggy day, My romance, What is this thing called love ?, Makin' whoopeeRed Garland (p) Paul Chambers (b) Art Taylor (d) THE BAD PLUS “THE BAD PLUS” Waterford, CT, September, 2021Sun wall, You won't see me before I come back, In the bright futureChris Speed (ts,cl) Ben Monder (g) Reid Anderson (b) Dave King (d) Continue reading Puro Jazz 28 de julio, 2025 at PuroJazz.

Jazz with French style tonight: Le Quintette Du Hot Club De France, Echoes of France (La Marseillaise) Django Reinhardt, How High The Moon Charlie Parker, April In Paris Sidney Bechet, Petite Fleur Jazzmen Detroit (Tommy Flanagan, Paul Chambers, Pepper Adams, Kenny Burrell & Kenny Clarke), Afternoon in Paris Ella Fitzgerald, I Love Paris Joséphine Baker, Don't Touch My Tomatoes Nina Simone, Ne Me Quitte Pas Toots Thielemans, Ne Me Quitte Pas Jimmy Rowles & Michael Moore , Waltz 70 Madeleine Peyroux, Careless Love The Hot Club of San Francisco, Jitterbug Waltz Stéphane Grappelli & McCoy Tyner, Summertime Claude Bolling & Stephane Grappelli, Blue Skies

A new report shines a light on the state's mental health department.An OKC news station's radar gets vandalized by an anti-government militia.We have the story of an Oklahoma academic arrested in Thailand.You can find the KOSU Daily wherever you get your podcasts, you can also subscribe, rate us and leave a comment.You can keep up to date on all the latest news throughout the day at KOSU.org and make sure to follow us on Facebook, Tik Tok and Instagram at KOSU Radio.This is The KOSU Daily, Oklahoma news, every weekday.

THE MODERN JAZZ QUARTET “THE LAST CONCERT – AVERY FISHER HALL” New York, November 25, 1974The golden striker, The cylinder, What's new ?Milt Jackson (vib) John Lewis (p) Percy Heath (b) Connie Kay (d) DIANA KRALL “TURN UP THE QUIET” Hollywood, CA, c. 2017 No Moon At AllDiana Krall (vcl,p) acc by Stefon Harris (vib-1) John Clayton, Jr. (b) Jeff Hamilton (d) Alan Broadbent (arr,cond) + strings, Shari Sutcliffe (cond) I'm confessin' (that I love you), Moonglow, I'll see you in my dreams Diana Krall (vcl,p) acc by Marc Ribot (g) Stuart Duncan (fiddle) Tony Garnier (b) Karriem Riggins (d) Shari Sutcliffe (cond) HANK MOBLEY “SOUL STATION” Englewood Cliffs, NJ, February 7, 1960Remember, This I dig of you, Soul stationHank Mobley (ts) Wynton Kelly (p) Paul Chambers (b) Art Blakey (d) Continue reading Puro Jazz 08 de julio, 2025 at PuroJazz.

JACKIE MCLEAN “SWING, SWANG, SWINGIN'” Englewood Cliffs, NJ, October 20, 1959Stablemates, I'll take romance, 116th and LenoxJackie McLean (as) Walter Bishop, Jr. (p) Jimmy Garrison (b) Art Taylor (d) GIL EVANS “CENTENNIAL (NEWLY DISCOVERED WORKS OF GIL EVANS)” New York, August 24, 25 & 26, 2011Punjab, The maids of CadizRyan Truesdell (cond) Gil Evans (comp) y diferentes músicos de estudio CHET BAKER “CHET – THE LYRICAL TRUMPET OF CHET BAKER” New York, December 30, 1958Punjab, The maids of Cadiz, Early morning moodChet Baker (tp) Herbie Mann (fl) Pepper Adams (bar) Bill Evans (p) Kenny Burrell (g-1) Paul Chambers (b) Connie Kay (d) Continue reading Puro Jazz 07 de julio, 2025 at PuroJazz.

HERBIE HANCOCK “INVENTIONS AND DIMENSIONS” Englewood Cliffs, NJ, August 30, 1963Succotash (4), A jump aheadHerbie Hancock (p) Paul Chambers (b) Willie Bobo (d,timb1) Osvaldo “Chihuahua” Martinez (cga2,bgo3,finger cymb3,guiro4) OLD AND NEW DREAMS “A TRIBUTE TO BLACKWELL” Atlanta, GA, November 7, 1987Law years, Dewey's tuneDon Cherry (tp) Dewey Redman (ts) Charlie Haden (b) Ed Blackwell (d) PETER EVANS “EXTRA” Lisbon, Portugal, August 57, 2023Freaks, In see, Boom, Nova, Fully bornPeter Evans (pictp,flhrn,p,comp) Petter Eldh (b,synt) Jim Black (d,electronics) Continue reading Puro Jazz 03 de junio, 2025 at PuroJazz.

The jazz standard "All The Things You Are" has been performed countless times by master jazz vocalists, 30s big bands, bebop small groups, hard-bop combos, modern deconstructionists, and even soon-to-be Kings of Pop. On this episode, Kirk takes listeners through the history of the now-famous tune, from its humble Broadway origins all the way to his recording studio in Portland, where he and some friends recorded an all-new arrangement just for Strong Songs.Music/Lyrics: Jerome Kern & Oscar Hammerstein IIVersions Featured:Broadway Original Cast Recording of "Very Warm for May," - 1939Tommy Dorsey and His Orchestra, feat. Jack Leonard, 1939Artie Shaw w/ Hellen Forrest, 1939Dizzy Gillespie w/ Charlie Parker, 1945Johnny Griffin w/ Hank Mobley, John Coltrane, Lee Morgan, Wynton Kelly, Paul Chambers, Art Blakey on A Blowing Session, 1957Ella Fitzgerald from Sings the Jerome Kern Songbook, 1963Michael Jackson, 1973Sonny Rollins w/ Coleman Hawkins from Sonny Meets Hawk!, 1963Bill Evans w/ Chuck Israels, bass, and Larry Bunker, drums at Shelly's Mane-Hole, 1963Keith Jarrett Trio, from Standards, Vol.1, 1983Brad Mehldau Trio, from Art of the Trio 4, 1999Jim Hall & Pat Metheney, 1999Strong Songs Version Featuring:Kirk Hamilton, tenor saxAndrew Oliver, keyboardScott Pemberton, guitarSam Howard, bassTyson Stubelek, drumsThe "All The Things You Are" Playlist:Spotify | Apple | YouTube MusicALSO REFERENCED/DISCUSSED:The Jazz Standards: A Guide To The Repertoire by Ted Gioia, 2012The terrific 99% Invisible episode about The Real Book“Autumn Leaves” by Joseph Kosma as recorded by Cannonball Adderley and Miles Davis on Somethin' Else, 1958“Pennies From Heaven” by Johnston and Burke, recorded by Stan Getz with the Oscar Peterson Trio, 1957“Bye Bye Blackbird” by Henderson/Dixon, recorded by Miles Davis on ‘Round About Midnight, 1957“All Of Me” by Marks and Simons, played by Charlie Parker, Lennie Tristano and Kenny Clarke, 1951“I Got Rhythm” by George Gershwin, recorded by Sonny Stitt on The Hard Swing, 1961Rachmaninoff: Prelude in C-Sharp Minor,  performed by Jason Minnis, 2011“Goodbye Yellow Brick Road” by Elton John, 1973“Bird of Paradise,” recorded by Charlie Parker w/ Howard McGhee, Tpt. on The Complete Dial Recordings, Feb 1947“Prince Albert” recorded by Art Blakey's Jazz Messengers (Mobley, Dorham, Watkins, Silver) live at Cafe Bohemia, 1955“Poinciana” by Simon/Bernier recorded by Amhad Jamal Live At The Pershing, 1958----LINKS-----

Was haben die weltberühmten Jazz-Alben «Kind of Blue», «The Blues and the Abstract Truth» und «Porgy & Bess» gemeinsam? Der Bassist ist immer derselbe: Paul Chambers. Er war der herausragende Bassist seiner Generation, spielte im ersten grossen Quintett von Miles Davis und legte auch als Bandleader die Basslatte hoch. Warum er heute noch aktuell ist, warum seine Begleitlinien alle auch als Melodien funktionieren und warum die dienende Funktion wahre Grösse beweist: Das diskutiert die junge Kölner Bassistin Tabea Kind in der Jazz Collection mit Jodok Hess. Die gespielten Titel: Interpret:in: Titel (Album / Label) Paul Chambers: Dear Ann (Whims of Chambers / Blue Note) Miles Davis: 'Round Midnight ('Round Midnight / Columbia) Miles Davis + 19: The Duke (Miles Ahead / CBS Paul Chambers: Yesterdays (Bass on Top / Blue Note) Miles Davis: So What (Kind of Blue / CBS) John Coltrane: Mr. P.C. (Giant Steps / Atlantic) Paul Chambers: Melody (1st Bassman / Suite Beat)

Paul Chambers is the Co-Founder of SubSummit, the world's largest conference dedicated to subscription, membership, and recurring revenue models in the direct-to-consumer space. With over 20 years of experience in subscription commerce, including launching Gentleman's Box in the early 2000s, Paul brings a rare blend of operator insight and community-building expertise to the challenges of scaling retention-first brands.Driven by the belief that subscriptions are more than a billing model, Paul helped transform SubSummit from a small founder meetup into a global ecosystem, connecting thousands of brands each year. The event fuses tactical content with curated networking and is designed to help ecommerce teams grow beyond one-off purchases and into long-lasting customer relationships.Each year, Paul and his lean team develop a thematic roadmap for the event, guiding DTC operators through the shifting landscape of loyalty, retention, and membership. From Walmart+ to Amazon Prime to True Classic's hybrid models, Paul studies the movements of top brands and distills them into actionable lessons for growing recurring revenue.In This Conversation We Discuss: [00:42] Intro[00:54] Navigating business partner dynamics[02:31] Connecting DTC brands through events[03:08] Starting with a founder-first vision[04:30] Learning big lessons from small niches[06:05] Rebranding to reflect the vision[06:59] Investing upfront in long-term value[10:15] Improving how people connect[12:42] Balancing virtual and in-person events[14:17] Designing curated table conversations[15:48] Making events affordable for foundersResources:Subscribe to Honest Ecommerce on YoutubeLeading subscription commerce conference subsummit.com/Follow Paul Chambers linkedin.com/in/paulcchambersIf you're enjoying the show, we'd love it if you left Honest Ecommerce a review on Apple Podcasts. It makes a huge impact on the success of the podcast, and we love reading every one of your reviews!

ELVIN JONES “DEAR JOHN C” Englewood Cliffs, NJ, February 23, 1965Dear John C, Ballade, Anthropology, That five-four bagCharlie Mariano (as) Hank Jones (p) Richard Davis (b) Elvin Jones (d) TOSHIKO AKIYOSHI TRIO “GEORGE WEIN PRESENTS TOSHIKO” Boston, MA, 1954It could happen to you, Kyo-shu [Nostalgia], Homework, Manhattan addressToshiko Akiyoshi (p) Paul Chambers (b) Ed Thigpen (d) JACKIE MCLEAN “ACTION” Englewood Cliffs, NJ, September 16, 1964Action, PlightCharles Tolliver (tp) Jackie McLean (as) Bobby Hutcherson (vib) Cecil McBee (b) Billy Higgins (d) Continue reading Puro Jazz 09 de abril, 2025 at PuroJazz.

Tonight's Jazz Feature is a true classic and an essential recording for anyone interested in Jazz music. Tenor and alto saxophonist/composer/arranger Oliver Nelson is the leader and his hand picked sideman include the innovative Eric Dolphy on alto saxophone and flute and a young Freddie Hubbard on trumpet, baritone saxophonist George Barrow anchors the horn section in a non-soloing role. The great Bill Evans is on piano with Paul Chambers on bass and "Mr. Snap Crackle", Roy Haynes on drums. The six compositions are by Oliver Nelson and arranged by him. "The Blues and The Abstract Truth" is a true classic and always worth rehearing anytime!

THELONIOS MONK TRIO “THE COMPLETE BLUE NOTE RECORDINGS OF THELONIOUS MONK”: New York, October 24, 1947Ruby my dear, Well you needn't, April in Paris, Off minorThelonious Monk (p) Gene Ramey (b) Art Blakey (d) New York, November 21, 1947In walked Bud, ‘Round midnight George Tait (tp) Sahib Shihab (as) [aka Edmund Gregory (as) ] Thelonious Monk (p) Bob Paige (b) Art Blakey (d) DUKE ELLINGTON AND HIS ORCHESTRA “MASTERPIECES BY ELLINGTON” New York, December 18, 1950Mood indigo (yl vcl)Nelson Williams, Andrew “Fats” Ford Harold Baker, Ray Nance William Anderson (tp) Mercer Ellington (flugelhorn) Lawrence Brown, Quentin Jackson (tb) Tyree Glenn (tb,vib) Jimmy Hamilton (cl,ts) Johnny Hodges (as) Russell Procope (as,cl) Paul Gonsalves (ts) Duke Ellington Billy Strayhorn (p) Wendell Marshall (b) Sonny Greer (d) Yvonne Lanauze (vcl) MILES DAVIS QUINTET “THE COMPLETE COLUMBIA RECORDINGS: MILES DAVIS & JOHN COLTRANE”: ‘Round About Midnight, New York, October 26, 1955 Ah-leu-chaMiles Davis (tp) John Coltrane (ts) Cannonball Adderley (sa) Red Garland (p) Paul Chambers (b) Philly Joe Jones (d) Milestones, New York, February 4, 1958 MilestonesMiles Davis (tp) Cannonball Adderley (as) John Coltrane (ts) Red Garland (p) Paul Chambers (b) Philly Joe Jones (d) Kind of Blue – New York, March 2, 1959 Blue in greenMiles Davis (tp) John Coltrane (ts) Bill Evans (p) Paul Chambers (b) Jimmy Cobb (d) Continue reading Puro Jazz 03 de junio, 2024 (Repetición) at PuroJazz.

In this episode of The eCommerce Podcast, Matt Edmundson sits down with Paul Chambers, co-founder of SubSummit, to explore the counterintuitive strategies driving successful subscription businesses. Discover why making cancellation easier actually increases customer lifetime value and learn about the membership models creating lasting loyalty beyond basic discounts.About Our Guest:Paul Chambers is the co-founder of SubSummit, the world's largest conference exclusively dedicated to direct-to-consumer subscription businesses. With decades of experience in subscription commerce, Paul has helped countless brands transform their membership models to improve retention and customer loyalty.Key Insights:"The number of times I've heard from brands where it's like, as soon as we change the cancellation process, as soon as we reduce the friction... we saw immediate uptick in our customer lifetime value and long-term retention." - Paul ChambersWhen customers feel trapped, they develop negative associations with your brand. Conversely, making cancellation frictionless creates trust and paradoxically increases loyalty.Paul shared how Bottomless revolutionized replenishment with smart scales: "I have a scale that sits under our dog food container and I will tell you it works flawlessly. As soon as it's starting to get down, the next I see a shipment notification in my email and just a couple days later I have the next bag of dog food that's on my doorstep."5 Membership Models That Actually Work:Frictionless Replenishment: Using technology to deliver products exactly when customers need themTiered Membership Access: Creating aspirational levels that encourage increased spendingCommunity-Based Membership: Building emotional connections through shared experiencesValue-Added Services: Bundling complementary benefits that increase perceived valueGamified Loyalty Programs: Using achievement systems to maintain engagementResources Mentioned:SubSummit ConferenceBottomless Smart ScalesThe eCommerce Podcast Cohort CommunityPaul LinkedInConnect With Us:Website:eCommercePodcast.netLinkedIn:Matt EdmundsonEmail:matt@ecommercepodcast.netJoin Us at SubSummit!Both Matt and Paul will be at SubSummit this year. Check out subsummit.com to learn about their hosted program which offers free tickets and travel reimbursement!Like this episode? Subscribe to The eCommerce Podcast for more insights on growing your online business.

BILL CROW “FROM BIRDLAND TO BROADWAY” Englewood Cliffs, N.J., November 19 & 20, 1995From Birdland to Broadway, Share a key, Okay, bugCarmen Leggio (ts) Joe Cohn (g) Bill Crow (b) David Jones (d) SONNY CLARK “MY CONCEPTION”” “My Conception” – Hackensack, NJ, March 29, 1959Junka, Blues blue, Minor meetingDonald Byrd (tp) Hank Mobley (ts) Sonny Clark (p) Paul Chambers (b) Art Blakey (d) CHARLES LLOYD “THE SKY WILL STILL BE THERE TOMORROW” New York ?, March, 2023Defiant, tender warrior, Monk's dance, The water is risingCharles Lloyd (ts,fl) Jason Moran (p) Larry Grenadier (b) Brian Blade (d) Continue reading Puro Jazz 25 de marzo, 2025 at PuroJazz.

 Producing a historical recording requires enormous patience, investigative powers like an investigative journalist. The journey is long, emotional, and exciting when the recordings are discovered, and the final package completed. This is what Zev Feldman does. He is the producer for and co-president of Resonance Records, a record label that releases archival recordings that are previously unissued. The Resonance catalogue includes John Coltrane, Bill Evans, Wes Montgomery, Freddie Hubbard, among many other legendary musicians. In this episode, Zev Feldman and I discuss his insights into his multifaceted career, how he got started in the music industry and his subsequent journey through various roles in sales, marketing, and ultimately producing rare jazz recordings. Feldman works with numerous other labels including Blue Note, Verve Label Group, Elemental Music as well as own his own labels, Jazz Detective and Deep Digs. Feldman spins many stories about his adventures in discovering music long forgotten. It's music that is not just good; it must be GREAT! Curating legacy music requires a sense of understanding about the elements of a dynamic recording, one that exceeds others in the quality of the performance, the importance of a certain date, and the historical aspect of the show or studio recording. Then there is the emotional involvement with the families of these jazz legends, many of whom become close friends, such as it has with the families of jazz guitar legend Wes Montgomery (Zev produced the first archival recording of Wes Montgomery for Resonance) and piano virtuoso Bill Evans as Feldman is just releasing his 13th archival recordings of Bill Evans. Then there is the importance of Record Store Day on April 12. Feldman highlights the significance of this little-known observed day in bringing these projects to life. This episode is rich with music, thanks to Zev Feldman and Resonance Records. There is more than 36 minutes of full tracks of music along with clips of recordings discussed. The playlist includes: Freddie Hubbard-On Fire, “True Colors-Breaking Point Closer” (13:32); Freddie Hubbard-trumpet, Bennie Maupin-tenor saxophone, Kenny Barron-piano, Herbie Lewis-bass, Freddie Waits-drums. Charles Mingus-Mingus in Argentina-The Buenos Aires Concerts, “Duke Ellington's Sound of Love” (9:32), Charles Mingus-bass, Ricky Ford tenor saxophone, Jack Walrath-trumpet, Robert Neloms -piano, and Dannie Richmond-drums. Kenny Dorham-Blue Bossa in the Bronx: Live from the Blue Morocco, “Blue Bossa”, (13:31), Kenny Dorham-trumpet, Sonny Red-alto sax, Cedar Walton-piano, Paul Chambers-bass and Denis Charles-drums. Short music clips: Charles Mingus-"Pork Pie Hat", Freddie Hubbard-"Crisis", Kenny Dorham-Blue Friday, Bill Evans-"Ro(u)nd Midnight". Thank you for listening to this podcast. I know you have many others to listen to, but you chose Strictly Jazz Sounds. When you subscribe you become one of the first to hear new episodes, read articles, see new photos, and learn of my annual “Best of” list. Soon, I will introduce a Patreon opportunity, your way of saying thanks to me for spending the more than 25 hours per episode to bring it to you. Photo by Zak Shelby-Szyszko

CHARLES MINGUS “THE CLOWN” New York, February 13, March 12, 1957Haitian fight song (1), Reincarnation of a lovebird (1)Jimmy Knepper (tb) Shafi Hadi (as-1,ts-2) [aka Curtis Porter (as,ts) ] Wade Legge (p) Charles Mingus (b) Dannie Richmond (d,tamb) JOHN PATITUCCI “SONGS, STORIES AND SPIRITUALS” New York, April 9 & 10, 2002It never entered my mind (ls vcl), Love eternal (es,sp duo), Wise one (jp,bb duo)Edward Simon (p) Sachi Patitucci (cello) John Patitucci (b,el-b) Brian Blade (d,perc) Luciana Souza (vcl) MILES DAVIS ORCHESTRA, GIL EVANS (DIR.) “MILES AHEAD (MILES + 19)” New York, May 6, 10, 1957Springsville, The maids of Cadiz, The Duke, Miles ahead, The Meaning of the BluesBernie Glow, Ernie Royal, Louis Mucci, Taft Jordan, John Carisi (tp) Miles Davis (flhrn) Frank Rehak, Jimmy Cleveland, Joe Bennett (tb) Tom Mitchell (b-tb) Willie Ruff, Tony Miranda (fhr) Bill Barber (tu) Romeo Penque (cl,cl,oboe) Sid Cooper (cl,fl) Danny Bank (b-cl) Lee Konitz (as) Paul Chambers (b) Art Taylor (d) Gil Evans (arr,cond) Continue reading Puro Jazz 12 de marzo, 2025 at PuroJazz.

Tonight's Jazz Feature is one of the most individual and passionate voices of the alto saxophone William "Sonny" Criss. The album is his second for Prestige Records called "Portrait of Sonny Criss". He recorded for Prestige from 1966 to 1969 and these albums remain his best known. Sonny here is accompanied by the great under rated Walter Davis Jr. on piano, Paul Chambers on bass and Alan Dawson on drums and was done on March 23, 1967 at Rudy Van Gelder's Studio. The album mixes standard tunes and a couple of Jazz favorites but each track demonstrates Sonny's passionate sound and intensity. A musical portrait indeed of an unsung great: Sonny Criss.

Dr. Kanjana Thepboriruk sits down with Dr. Paul Chambers and Dr. Napisa Waitoolkiat to discuss Paul Chambers's new book “Praetorian Kingdom: A History of Military Ascendancy in Thailand.” Together they discuss the history of the military in the Thai government and its continued dominance in Thai politics. Chambers examine the rotating roster of pollical players in regimes past and present, and their relationship with loci of power. Dr. Paul Chambers is a lecturer and researcher. He serves as a lecturer and special advisor at the Centre ASEAN Community Studies at Naresuan University. Dr. Napisa Waitoolkiat serves as the Dean of the Facuilty of social sciences at Naresuan University.

Today, Hunter spoke with Paul Chambers and James McDermott of the Far West Texas Public Defenders Office. This time, they joined to discuss how Paul discovered and James litigated a pattern and practice of discovery violations by the El Paso District Attorney's Office.     Guest James McDermott, Chief Public Defender, Far West Texas Regional Public Defender Paul Chambers, Deputy Chief Public Defender, Far West Texas Regional Public Defender Resources: Far West Texas Public Defender in the News https://elpasomatters.org/2024/12/15/el-paso-district-attorney-prosecutorial-misconduct-ruling/ Read the Transcripts Here https://drive.google.com/drive/folders/12B3vAOl2yedDdFPUEkAzrrovbHnUdayB?usp=sharing                            Contact Hunter Parnell:                                 Publicdefenseless@gmail.com  Instagram @PublicDefenselessPodcast Twitter                                                                 @PDefenselessPod www.publicdefenseless.com  Subscribe to the Patron www.patreon.com/PublicDefenselessPodcast  Donate on PayPal https://www.paypal.com/donate/?hosted_button_id=5KW7WMJWEXTAJ Donate on Stripe https://donate.stripe.com/7sI01tb2v3dwaM8cMN Trying to find a specific part of an episode? Use this link to search transcripts of every episode of the show! https://app.reduct.video/o/eca54fbf9f/p/d543070e6a/share/c34e85194394723d4131/home  

LOUIS HAYES EXACTLY RIGHT ! New York ?, late 2022Hand in glove, Nefertiti, UgetsuAbraham Burton (ts) Steve Nelson (vib) David Hazeltine (p) Dezron Douglas (b) Louis Hayes (d) JEREMY PELT THE ART OF INTIMACY, VOL. 2 Englewood Ciffs, NJ, September 1 & 2, 2022I can't escape from you (2), There'll be other times, Blues in sophisticationJeremy Pelt (tp,vcl) Victor Gould (p) Chico Pinheiro (g-1) Buster Williams (b) Billy Hart (d) + string ensemble-2, Andrew Griffin, Josh Henderson (vln-2) Nicole Neely (viola-2) Susan Mandel (cello-2,3) David O'Rourke (strings arr,cond-2,3) PEPPER ADAMS PLAYS THE COMPOSITIONS OF CHARLIE MINGUS New York, September 9, 1963 Fables of Faubus (1), Song with orange (4), Carolyn (3)Thad Jones (tp,arr1) Pepper Adams (bar,arr2) Hank Jones (p) Paul Chambers (b) Dannie Richmond (d) Charles Mingus (arr3) Teddy Charles (arr4) New York, September 12, 1963Better get it in your soul, PortraitThad Jones (tp) Benny Powell (tb) Charles McPherson (as) Zoot Sims (ts) Pepper Adams (bar) Hank Jones (p) Bob Cranshaw (b) Dannie Richmond (d) Continue reading Puro Jazz 12 de febrero, 2025 at PuroJazz.

CAL TJADER GÓZAME ! PERO YA… San Francisco, CA, June, 1980Shoshana, Bye bye blues, Roger's sambaRoger Glenn (fl,perc) Cal Tjader (vib) Mark Levine (p,el-p) Mundell Lowe (g) Robb Fisher (b) Vince Lateano (d,timb) Poncho Sanchez (timb,bgo,cga,perc) SONNY CRISS THIS IS CRISS ! Englewood Cliffs, NJ, October 21, 1966Steve's blues, Skylark, Love for saleSonny Criss (as) Walter Davis, Jr. (p) Paul Chambers (b) Alan Dawson (d) CLIFFORD BROWN / MAX ROACH QUINTET STUDY IN BROWN New York, February 23, 24, 1955Cherokee, Swingin', George's Dilemma, Take The A TrainClifford Brown (tp) Harold Land (ts) Richie Powell (p,arr) George Morrow (b) Max Roach (d) Continue reading Puro Jazz 10 de febrero, 2025 at PuroJazz.

The Conference of the Parties, or the COP29 Summit, is happening amid much controversy now that Donald Trump has won the presidential election. It's ostensibly a group of self-congratulatory world leaders meeting in Baku, Azerbaijan, for photo ops, catered meals, and, a discussion of climate goals they don't intend to meet. Today, climate science provides an end-times prophecy that works in much the same way as the religious apocalypticism of old. Many neoliberals believe the weather is a moral force, punishing Americans for the sins of capitalism. The vast majority of first-world nation populations are completely oblivious to the unfolding weaponized environmental cataclysms that are closing in from every side. Tonight on Ground Zero (7-10 pm, pacific time), Clyde Lewis talks with Paul Chambers about COP 29 – REVOLUTION OR DEATH Listen Live: https://groundzero.radio Archived Shows: https://aftermath.media

We have been experiencing numerous earth anomalies over the past year with eclipses, earthquake swarms, solar flares, and magnetic pole disruptions. Some people believe it's just the normal Earth cycle changes while some say it's due to the planet being technologically manipulated. Others feel it's of a divine origin – the Wrath of God. Whatever is going on appears to be in alignment with ancient prophecies. Our planet is becoming increasingly unstable and we are seeing alarming things happen that we have never seen before. Furthermore, the Earth's magnetic field is rapidly weakening, making us more vulnerable with each passing day. Tonight on Ground Zero (7-10 pm, pacific time) Clyde Lewis talks with physicist, Paul Chambers about MEGATHRUSTERS. Listen Live: https://groundzero.radio Archived Shows: https://aftermath.media

A 7.4 magnitude earthquake struck the east coast of Taiwan, causing landslides and collapsed structures along with numerous aftershocks. Soon after the seismic activity, Japan issued an evacuation advisory for the coastal areas of the southern prefecture of Okinawa. Furthermore, leaders are concerned that a possible "Level 7 event could occur forcing the population to evacuate." Level 7 is the highest level given to a nuclear accident. Could there be connections to the Earth's disturbances and geomagnetic actions of the sun before the eclipse? Is there a possibility that some of these catastrophes are man-made to create an apocalyptic scenario? Tonight on Ground Zero (7-10pm, pacific time) Clyde Lewis talks with physicist, Paul Chambers about LEVEL 7 - DOOMSDAY OF ETERNAL REST. Listen Live: https://groundzero.radio Archived Shows: https://aftermath.media