Podcasts about Prestige Records

At Mike's suggestion, today's podcast explores the truncated career of hard bop trumpeter Carmell Jones.  We listen to four albums featuring the little-known musician and talk about the arc of his career, his work with running buddy Harold Land, and why he could'a been a hard-bop contender given the right circumstances.  Carmell Jones – BUSINESS MEETIN'; JAY HAWK TALK; Charles McPherson – BEBOP REVISITED!; Harold Land – JAZZ IMPRESSIONS OF FOLK MUSIC.

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.

Show #1086 More Good Music 01. Dennis Spencer - Cheap Entertainment (4:00) (Bluesman From Jupiter, self-release, 2024) 02. Piney Woods - You Got Me Where You Want Me (2:34) (The Piney Woods Record, self-release, 2024) 03. Heavydrunk & Watermelon Slim - Little Bighorn (3:26) (Bluesland Theme Park, Heavydrunk Records, 2025) 04. Jennifer Porter - Stop Your Talkin' (4:12) (Sun Come And Shine Redux, Overton Music, 2025) 05. Steve Howell & the Mighty Men - One Mint Julep (2:38) (Yeah Man, Out Of The Past Music, 2025) 06. Sunny Bleau & the Moons - S-H-E-E-E W-O-M-A-N (5:21) (Passion & Regrets, Endless Blues Records, 2025) 07. Mark Muleman Massey - She's Married To The Streets (3:28) (Been A Long Long Time, MuleTone Records, 2025) 08. Giles Robson & John Primer - Let Me Explain (2:43) (Ten Chicago Blues Classics, self-release, 2024) 09. Ed Alstrom - Fruitcake (4:00) (Flee Though None Pursue, Haywire Records, 2025) 10. Ollee Owens - Solid Ground (2:47) (Nowhere To Hide, Ollee Owens Music, 2024) 11. Hitman Blues Band - Back To The Blues (3:22) (Calling Long Distance, Nerus Records, 2024) 12. Robbert Duijf - First Train Out (3:30) (Silver Spoon, Naked Productions, 2025) 13. Reckoners - Woman's Woman (3:34) (Reckoners, Vintage League Music/Uptown Sound, 2024) 14. Greg Nagy - Never Mine (2:48) (The Real You, self-release, 2024) 15. Carly Harvey - Worth Waiting For (2:55) (Kamama, self-release, 2024) 16. The Band - Chest Fever (5:15) (Music From Big Pink, Capitol Records, 1968) 17. Dinah Washington (with Eddie Chamblee Orchestra) - Trouble In Mind (2:26) (45 RPM Single, Mercury Records, 1952) 18. Thelma La Vizzo - Trouble In Mind (3:01) (78 RPM Shellac, Paramount Records, 1924) 19. Bertha "Chippie" Hill - Trouble In Mind (2:51) (78 RPM Shellac, Okeh Records, 1926) 20. Georgia White - Trouble In Mind (2:35) (78 RPM Shellac, Decca Records, 1936) 21. Richard M. Jones - Trouble In Mind (2:40) (78 RPM Shellac, Bluebird Records, 1936) 22. Nina Simone - Trouble in Mind (2:45) (Pastel Blues, Philips Records, 1965) 23. Big Bill Broonzy - Trouble In Mind [1957] (2:36) (Black Brown And White, Mercury Records, 1991) 24. Two Men From Earth - Trouble In Mind (3:30) (Walkin' To New Orleans, self-release, 2009) 25. Misses Satchmo - Trouble In Mind (2:35) (The Sun Will Shine, Disques Bros Records, 2011) 26. Mose Allison - Trouble In Mind (3:15) (Local Color, Prestige Records, 1958) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.

Tonight's Jazz Feature celebrates one of the great still living masters of music and the tenor saxophone: Walter Theodore "Sonny" Rollins.. Harlem born and of West Indian heritage on September 7, 1930, Sonny celebrates his 94th Birthday.! Although he doesn't perform anymore, he still enjoys quality of life. Tonight's Jazz Feature album is a classic known as "Worktime and it was recorded for Prestige Records on December 2,1955. Sonny had just returned to New York as a member of the Max Roach/ Clifford Brown Quintet replacing Harold land. Sonny had also returned to the scene after a hard year of rehab from a nasty drug habit and was healthy and clean. His new found health is reflected on the energy and musical mastery on this album. Sonny is accompanied by a young Ray Bryant on piano, George Morrow on bass and the great Max roach on drums, The album was the beginning of a great series of albums done for Prestige until the end of 1956 after which he recorded for various labels. "Worktime" marks the beginning of his climb to greatness and musical influence. It's tonight's Jazz Feature. Happy Birthday Sonny!

7 Mart 2024, Laflijazz bu hafta Prestige Records'u mercek altına alıyor. Müzik dünyasındaki önemini, dünü ve bugününü konuştuğumuz programa tabii ki güzel Prestige kayıtları da eşlik ediyor.

Tonight's Jazz Feature is a very fine recording from the mid-fifties that typifies New York modern Jazz of the time. The people involved are the leader, legendary pianist/composer Elmo Hope who in many ways is as important to the development of piano as Thelonious Monk and Bud Powell although he didn't get the same notoriety. For the fist 3 tunes the group is a quintet with tenor saxophone great Frank Foster and a fine lesser known trumpeter named Freeman Lee. On bass is John Ore and on drums is New York's Arthur Taylor. The set was done for Prestige Records in on Oct.4, 1955. The quintet plays one composition by Hope and 2 by Foster. That is the formal part of the date. The final 3 tunes are by Foster, Hope, Ore and Taylor and are all likely first takes created on the spot. Both sets are solid Jazz without compromise and bring in all the qualities of great Jazz....good solos, cohesion, swing and assertive playing by all. This was an album I grew up with and is still meaningful to me and I hope it is to you. Enjoy "Hope Meets Foster".

If Eric Dolphy's music were a school of painting it would be analytical cubism: planar and angular, multi-directional and austere,  But it's not abstract.  It's showing us something we know; we are simply experiencing it in a completely new way.  His work, in its frame, becomes an entire reality unto itself.  It's endless.    So what happens when you place this masterly museum piece in a sweaty nightclub?  Does it shine?  Does it wilt?  Does Dolphy change his approach?  Few have examined Dolphy more closely than saxophonist/bandleader/poet/professor Roy Nathanson but we don't know if even Roy has heard the recordings from the WKCR archives that we'll play on Mitch Goldman's Deep Focus this Monday (8/21) from 6pm to 9pm NYC time.  It's on WKCR 89.9FM, WKCR-HD or wkcr.org.     Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   Did you know that you can find out more about Deep Focus and research past episodes here? https://mitchgoldman.com/about-deep-focus/   Photo credit: Eric Dolphy courtesy of Prestige Records.   #WKCR #DeepFocus #JazzAlternatives #RoyNathanson #EricDolphy #MitchGoldman #JazzRadio #JazzPodcast 

Que bien se siente cuando la selección de canciones salió como querés. Hoy les traje el debut de Sonny Rollins y Art Farmer en Prestige Records. Luego escuchamos a Miles Davis con Monk en Newport 1955 y, si esto fuera poco: lo nuevo de Hiromi y Harold López-Nussa. Y más. Dale play!

Tonight`s Jazz Feature can be deemed a classic. It was the second album under Sonny Rollins` name since his return to the Jazz scene in late 1955 as a new member of the legendary band, the Max Roach/Clifford Brown Quintet. It was decided by Rollins and Prestige Records owner that Sonny could record with the Max Roach/Clifford Brown group with musical choices by Rollins and with Rollins` name on the album title. Hence ``Sonny Rollins Plus 4``. Sonny picked 3 standard tunes that were not part of the Roach/Brown repertoire and wrote two original compositions that entered into that band`s repertoire. ``Valse Hot`` and ``Pent-Up House`` were the two intriguing Rollins` originals and the other 3 standards were quite obscure as Rollins always liked odd and lesser known tunes. Sad to say this turned out to be the very last studio recording by the Roach/Brown band. It was recorded on March 22, 1956 and Brown and pianist Richard Powell were killed in an auto crash in June of 1956. The trauma reverberated in the Jazz community as much as Charlie Parker`s death the year before. The people involved here are Sonny Rollins on tenor saxophone, Clifford Brown on trumpet, Richie Powell on piano, George Morrow on bass and Max Roach on drums. A classic Jazz Feature tonight!

Saludos de Carlos Díez y bienvenidos como siempre a un nuevo programa de Rock Syndicate donde vamos a escuchar un discazo y ya os advierto de que no va a ser el último de este bluesmen, ya que es uno de mis favoritos, me refiero al gran Lightnin Hopkins, toda una gramola el tío, con mucha información y sobre todo muchas grabaciones, el disco que he elegido es el titulado Lightnin Hopkins and co. Supongo que es algo así como Lightnin Hopkins y compañía, mas adelante vamos a ver de quien esta arropado en este disco para BLuesville que data de 1963, hace ya 60 años. También hay una edición en la discográfica Prestige de 1964 y dentro de una caja de siete discos por el sello Ace está incluido esta grabación. Bluesville Records fue un sello subsidiario de la compañía estadounidense Prestige Records puesta en marcha en 1959 y desaparecida en 1966 derivandola a otro sello subsidiario de Prestige, llamado Milestone Records.

Tonight's Jazz Feature is by a fine pianist/composer who literally played with everyone of importance from Charles Mingus, Max Roach, John Coltrane to Billie Holiday and many more. Mal was the "house pianist" for Prestige Records in the mid and late 50's and recorded prolifically as a sideman and leader. Tonight's album is arguably his finest as a leader up to the time yet it is unfairly overlooked. It was done on March 20, 1958 at RVG Studios. His trio has Addison Farmer on bass and Albert "Tootie" Heath on drums and it's a very cohesive date. The album was called "Impressions" but that's just a title and nothing to do with the famous Coltrane tune. Mal's Overseas Suite in 3 movements kicks of the album then some solid standards like "You Stepped Out of a Dream" and a ballad "All The Way" Mal's wife of the time wrote a fine waltz called All About Us" and the wrap up tune is Rogers and Hart's "With a Song in My Heart". As an extra I've added a solo piano composition by Mal called "Nervous" to end the Feature. It's like a mini portrait of New York and a fun listen. Tonight Mal Waldron!

Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho. Automatic Man Legend Todd Cochran Releases “From The Vault: Notes For The Future” Todd Cochran is an American pianist, composer, keyboardist, electronic musician, and conceptual artist. Early in his career he was also professionally known as Bayeté. Cochran started his career as a teenager with saxophonist John Handy. Two years later he joined vibraphonist Bobby Hutcherson's Quartet and made his jazz recording debut composing and performing on a benchmark album for Hutcherson, “Head On” (Blue Note Records). Cochran's first solo project “Worlds Around the Sun” became a #1 jazz album. From the mid-1970s forward Todd has experimented with and incorporated synthesizers, electronic and mixed-media concepts in his creative projects while collaborating with a wide range of artists in the genres of jazz, art rock, pop, R&B, and twenty-first-century classical. Todd released two albums on Prestige Records in 1972 and 1973. He was keyboardist, principal composer, and lead singer of Automatic Man from 1976–1978 which also featured drummer Michael Shrieve (shreeve) and guitarist Pat Thrall. He was also a member of Fuse One, a coalition of jazz musicians who released two albums on CTI Records in 1980 and 1981. The shortlist of his collaborations includes Peter Gabriel, Joan Armatrading, Maya Angelou and Stewart Copeland. PLEASE WELCOME PROFICIENT PIANIST/MULTI-INSTRIMENTALIST/BANDLEADER/COMPOSER/PRODUCER WHO WAS ALSO KEYBOARDIST AND LEAD VOCALIST FOR SAN FRANSICO PROGRESSIVE ROCK GROUP AUTOMATIC MAN AND THE JAZZ GROUP FUSE ONE …TODD COCHRAN TO INTERVIEWING THE LEGENDS   PURCHASE THE NEW ALBUM BY TODD COCHRAN entitled From The Vault: Notes For The Future Blue Buddha Productions | Release Date: June 23, 2023 To pre-order: Bandcamp: https://bluebuddha.bandcamp.com/ Notes for the future are the “imagined sometime in the past” tropes of a storyteller. Freed from every day “isms” of convention and released from the symbolic containment of the vault, the music is an allegorical exploration in futurism. The stream running throughout the musical narrative is a speculative commentary about our human search for meaning, and we're reminded that as a version of our ancestors' vision, this quest never ends. “From The Vault” is structured around a sequence of recurring themes and develops as an unfolding tour of references, hints, and clues. Moving from one perspective to another, we connect with how our planet is perpetually in a state of seeking solutions. Within the soundscape, without words, an underlying language is speaking. Nature evolves for the sum of us, not the few. We are in a continual state of becoming. We are connected. Love is passed along, as is happiness. Nevertheless, expressly for the listener, an implied sense of reasoning encourages us to feel free and let go of all things familiar. And then, “over there” in the distance, we get a passing glimpse of the sacred structure. FOR MORE INFORMATION ABOUT TODD COCHRAN VISIT www.toddcochran.com Official website www.facebook.com/toddcochranmusic Facebook www.instagram.com/toddcochran_musart Instagram https://twitter.com/CochranMusart Twitter www.youtube.com/channel/UC0pJUL4z18tA02LdgQkQa_w YouTube   TODD COCHRAN DISCOGARAPHY with AUTOMATIC MAN Albums 1976: Automatic Man 1977: Visitors   with FUSE ONE Albums 1980: Fuse One         1981: Silk 1984: Ice Compilation albums 1989: Fuse One: The Complete Recordings        As solo artist 1972: Worlds Around the Sun (Prestige) 2014 Reissue 1973: Seeking Other Beauty 1991: TODD 1997: Secret Places 1998: Melrose Place Soundtrack, She Is Gentle Rain 1999: A Voice In The Forest, Colour Naturelle 2023: From The Vault: Notes For The Future   As collaborator 1971: Intensity - John Klemmer 1972: Head On - Bobby Hutcherson 1972: Iapetus - Hadley Caliman 1974: Love, Love - Julian Priester 1975: Rebirth Cycle - James Mtume 1976: Automatic Man - Automatic Man 1976: You to Me Are Everything - The Real Thing 1977: Visitors - Automatic Man 1977: Spellbound - Alphonso Johnson 1978: Peter Gabriel - Peter Gabriel 1979: Slug Line - John Hiatt 1979: I Wanna Play for You - Stanley Clarke 1979: Betcha - Stanley Turrentine 1979: Touching You, Touching Me - Airto Moreira 1980: 1:PM - PM 1980: Aretha - Aretha Franklin 1980: Fuse One - Fuse One 1981: America's Greatest Hero - Joey Scarbury 1982: H.A.T.E. Don't Live Here Anymore - Staple Singers 1982: Hollywood - Maynard Ferguson 1983: Home Again - Stanley Turrentine 1984: Sunrise - Paulinho Da Costa 1985: Put Sunshine In It – Arthur Blythe 1986: Headed For The Future - Neil Diamond 1987: Strawberry Moon - Grover Washington Jr. 1988: Out of Control - Dynasty 1989: Through The Moving Window - Juan Martin 1989: Times Are Changing - Freddie Hubbard 1991: Animal Logic II - Animal Logic 1993: Now and Then - Ernestine Anderson 1995: What´s Inside - Joan Armatrading 2000: The Friends - Fishbone 2004: Trios: East River Drive/Schooldays/Live at the Greek - Stanley Clarke 2005: Blue Note Plays Sting - Freddie Hubbard 2005: Robbery - Teena Marie 2005: Very Best of George Howard - George Howard 2007: Moodo Records Presents Guitarra de Pasion, Vol. 3 - Juan Carlos Quintero 2008: Believe It or Not: The Billy Griffin Collection - Billy Griffin   Support us!

Sonny Rollins needs no introduction here but this incredible album that is tonight's Jazz Feature is often overlooked in favor of some others yet it represents an early milestone in Sonny's life and career. He had recovered from his drug addiction and a healthy Sonny joined the famous Max Roach/Clifford Brown Quintet which was one of the finest Jazz groups at that time in the mid 50's. This was his first album after his rehab and it presents a new and stronger Sonny and is considered his first "great' record. It was Sonny's first 12' LP and issued on Prestige Records as "Work Time". Sonny's hand picked quartet consists of the great Max Roach on drums and strong bassist George Morrow and on Miles Davis' recommendation a fine then young pianist from Philadelphia named Ray Bryant. There is only one Rollins original on this date called "Paradox". The set opens with Irving Berlin's "There's No Business Like Show Business" then Paradox then Billy Strayhorn's "Raincheck" followed by the great ballad "There Are Such Things" and the set ends with Cole Porter's "It's All Right With Me". Worktime is historic and a real beginning for Sonny Rollins and it's tonight's Jazz Feature.

Tonight`s Jazz Feature is the recording debut of a young prodigy named Eric Kloss. Eric is celebrating his 73rd Birthday today and playing his music is a good idea to honor his recorded legacy. Eric was born blind and learned music and the saxophone at the Western Pennsylvania School for Blind Children and made his professional debut at age 12!! He continued to perform in and around Philadelphia at concerts and festivals and made his recording debut at age 16! This album was called ``Introducing Eric Kloss`` and was the first of ten for Prestige Records. He is heard here on alto and tenor saxophones with the great Don Patterson on Hammond organ, Pat Martino on guitar and Billy James on drums. Eric went on to record for Muse Records in the 70`s and mixed straight-ahead Jazz with fusion. He also taught at various colleges but health problems curtailed his playing and recording activity and he has kept a low profile since. Today he celebrates his 73rd Birthday and I hope we might hear him once again. Enjoy his debut tonight right here!

William "Red" Garland leads this classic quintet tonight on The Jazz Show's Jazz Feature. In the Fall of 1957 Red had some time off as Miles Davis' regular pianist because Miles was on a tour of Europe and involved in making the soundtrack from the French noir film "Elevator to the Scaffold". Red secured some gigs in and around New York with this band which included tenor giant John Coltrane, trumpeter Donald Byrd, drum ace Arthur Taylor and a newcomer on bass from Memphis named George Joyner who soon later became Jamil Nasser. The band gelled instantly with minimal arrangements and fuss and sounded like a long standing working band. Red was contacted by Prestige Records and the band did two marathon recording sessions. One in November and the other in December of 1957. The results from these sessions were issued on a variety of Lps and later Cds as was Prestige's policy. The three extended tunes come from an album called "All Mornin' Long". It came from the first session on Nov.15,1957. The playing is on an extremely high level and demonstrates you can make high quality music with the minimum of complex arrangements and such from these five master players. "All Mornin' Long" is tonight's Jazz feature....sit back and enjoy!

Bandana Blues Special Spinner's Jazz Adventure #6 01. Nat Adderly & Wes Montgomery - Violets For Your Furs (3:49) (Work Song, Riverside Records, 1960) 02. Roland Kirk & Jack McDuff - Skaters Waltz (4:22) (Kirk's Work, Prestige Records, 1961) 03. Milt Jackson & Wes Montgomery - Blue Roz (4:46) (Bags Meets Wes!, Riverside Records, 1961) 04. Cliff Jordan & John Gilmore - Blue Lights (6:36) (Blowing In From Chicago, Blue Note Records, 1957) 05. DJ Marcon & the Palo Santos - A Journey South (5:39) (Single, Timewarp Music, 2022) 06. The Houdini's - Dutch Touch (4:32) (Stripped To The Bone, Challenge Records, 1999) 07. Stephane Grappelli & Joe Venuti - Tea For Two (4:20) (Venupelli Blues, Byg Records, 1969) 08. Ike Quebec - Minor Impulse (6:33) (Blue & Sentimental, Blue Note Records, 1963) 09. Kenny Drew - Groovin' The Blues (6:22) (Undercurrent, Blue Note Records, 1960) 10. Soul Message Band - Uncertainty (6:22) (Soulful Days, Delmark Records, 2018) 11. Hoppin' Mad - Blue Interlude (4:32) (Hoppin' Mad, self-release, 2012) 12. Big John Patton - Jakey (5:37) (Let 'Em Roll, Blue Note Records, 1965) 13. Gerry Mulligan & Ben Webster - The Cat Walk (5:47) (Gerry Mulligan Meets Ben Webster, Verve Records, 1959) 14. BakerzMillion - The State Of The Estate (5:50) (Live in Racine, Delmark Records, 2022)

In this episode, Eric sits down with accomplished musician, composer, essayist and abstract artist Todd Cochran. They discuss how he was born in San Francisco and raised in a household of deep love for the arts; filled with music and conversations about art and culture. Growing up in the Lakeview district; a largely Black but racially mixed neighborhood and community.. and the influential role that his maternal grandmother, an ordained minister, evangelist and protofeminist played throughout Todd's childhood. They discuss his musical training and private study in piano and performing arts in classical music and theory; to eventually attending Trinity College of Music in London. He sheds light on his experience of living in San Francisco during the 60s and 70s, his exposure to jazz and how his musical development was impacted by the cultural, political and community atmosphere of the civil rights movement; which fueled his passion for creating art that mirrored the socio-cultural moment and set the path for his prolific and inspiring musical career. They discuss Todd's fascination with the visual arts; the interconnectivity between art forms.. the power that art has to make a difference and the responsibility that comes with being an artist.For more visit: www.ericsperspective.comGuest Bio: Todd Cochran is an American pianist, composer, keyboardist, essayist and conceptual artist. Early in his career he was also professionally known as Bayeté. Cochran started his career as a teenager with saxophonist John Handy. Two years later he joined vibraphonist Bobby Hutcherson's Quartet, and made his jazz recording debut composing and performing on a benchmark album for Hutcherson, "Head On" (on Blue Note Records) that featured a nineteen-piece ensemble. The recording was critically hailed as cross-pollinating the evolving contemporary modal jazz, avant-garde sound of the 1970s. Cochran's first solo project "Worlds Around the Sun" became a #1 jazz album and marked his entree into the jazz discussion. From the mid 1970s forward Todd has experimented with and incorporated synthesizers, electronic and mixed-media concepts in his creative projects while collaborating with a wide range of artists in the genres of jazz, art rock, pop, R&B, and twenty-first-century classical. Cochran's best-known jazz compositions include "At The Source" (Bobby Hutcherson), "Free Angela" (Bayeté Todd Cochran, Santana), "Eternal Worlds" Julian Priester, "My Pearl", "Geni-Geni" (Automatic Man), "Monte Carlo Nights" Grover Washington Jr., "Spanish Rose", "Back To Lovin' Again" (Freddie Hubbard), and "Secret Places" (Todd Cochran). He released two albums on Prestige Records in 1972 and 1973. He was keyboardist and lead singer of Automatic Man from 1976 - 1978. He was also a member of Fuse One, a coalition of jazz musicians who released two albums on CTI Records in 1980 and 1981.About Eric's Perspective: A podcast series on African American art with Eric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.com SUBSCRIBE: http://bit.ly/2vVJkDnLISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33  www.mhanksgallery.com

This week we're joined by the award-winning singer, pianist, music educator, and composer Patrice Rushen. Known for her fusion of jazz, pop, funk, soul and R&B, Patrice discusses the influence of her high school music teachers, getting to play with Jazz legends at Prestige Records, the importance of community over competition in the music industry, her close bond with Prince and the advice she got from legendary producer Quincy Jones. Plus, find out what iconic group played her high school prom.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Saxophonist Houston Person is a living legend and progenitor of the soulful sound of swinging music. After an intense and rewarding tenure with organist Johnny Hammond Smith in the early 1960's, Person made a call to Prestige Records which began his 50-plus year career as a solo recording artist. His albums over the years, which have included noted players such as Grant Green, Cedar Walton, Idris Muhammad, Curtis Fuller and Pepper Adams, have kept him in the ears of worldwide music fans. From his beginnings as leader, Person booked his own tours, hired bands, and managed his career independently, a practice that he continues to the present day. Our conversation with Person sheds light on his style on and off the bandstand; he blends decades of wisdom with charm and a direct approach to storytelling. He is the personification of soul. Our Vinyl Word segment is also dedicated to some classic moments in Person's recorded discography. Produced by Billy Robinson

El número 44 de esta temporada lo dedicamos a la trayectoria y música del gran Pat Martino. Número especial que nos quedaba pendiente, de uno de nuestros héroes de la guitarra Jazz contemporánea y que nos dejó semanas atrás. Pat Martino cuenta con una extensa y estupenda carrera como líder y compositor que inició en 1967 con la publicación El Hombre, para Prestige Records y que se vió abruptamente interrumpida por un derrame cerebral en 1980, del que salió casi intacto pero con una profunda amnesia. Debido a esta amnesia, Martino tuvo que re-aprender todo sobre su vida anterior a 1980, incluido empezar de cero a tocar la guitarra. Después de casi una década de re-aprendizaje, en los 90 volvió a escribir y a publicar álbumes, hasta nuestros días. Lección de vida tremenda de un enorme músico y persona del que destacaríamos principalmente su brillante trabajo inicial de finales de los 60 y toda su producción en los 70, mezclando de manera casi perfecta y única, elementos del Jazz clásico con el Jazz Rock eléctrico de los 70 y además, añadiendo pinceladas de otras corrientes musicales como el Rock Psicodélico. A lo largo de más de 3 horas, repasaremos la carrera del guitarrista y compositor, desde su debut en el año 1967 con la publicación de el Hombre para Prestige Records, hasta el año 2017 donde publicó Formidable para Muse Records. Muchas gracias, maestro, por tanto y tan bueno. Nos veremos en el camino.

El número 44 de esta temporada lo dedicamos a la trayectoria y música del gran Pat Martino. Número especial que nos quedaba pendiente, de uno de nuestros héroes de la guitarra Jazz contemporánea y que nos dejó semanas atrás. Pat Martino cuenta con una extensa y estupenda carrera como líder y compositor que inició en 1967 con la publicación El Hombre, para Prestige Records y que se vió abruptamente interrumpida por un derrame cerebral en 1980, del que salió casi intacto pero con una profunda amnesia. Debido a esta amnesia, Martino tuvo que re-aprender todo sobre su vida anterior a 1980, incluido empezar de cero a tocar la guitarra. Después de casi una década de re-aprendizaje, en los 90 volvió a escribir y a publicar álbumes, hasta nuestros días. Lección de vida tremenda de un enorme músico y persona del que destacaríamos principalmente su brillante trabajo inicial de finales de los 60 y toda su producción en los 70, mezclando de manera casi perfecta y única, elementos del Jazz clásico con el Jazz Rock eléctrico de los 70 y además, añadiendo pinceladas de otras corrientes musicales como el Rock Psicodélico. A lo largo de más de 3 horas, repasaremos la carrera del guitarrista y compositor, desde su debut en el año 1967 con la publicación de el Hombre para Prestige Records, hasta el año 2017 donde publicó Formidable para Muse Records. Muchas gracias, maestro, por tanto y tan bueno. Nos veremos en el camino.

Ira Gitler is one of those transcendental figures in the history of music. He grew up with Dizzy and Charlie Parker and was writing linear notes for Bob Weinstock's fledgling record label - Prestige Records. He also co-authored The Encyclopedia of Jazz with Leonard Feather. His devotion to the music and the soul's of the musicians always outweighed his own art and this selfless promotion of information ingratiated himself to the jazz community and has made him a massive contributor to a true American art form.

Bandana Blues Special Spinner's Jazz Adventure #5 Another Bandana Blues Special with a selection from Spinner's jazz collection. 01. Duke Jordan - Split Quick (5:11) (Flight To Jordan, Blue Note Records, 1961) 02. Jimmy McGriff - Lock It Up (5:13) (The Worm, Solid State Records, 1968) 03. Joe Henderson - Blue Bossa (8:02) (Page One, Blue Note Records, 1963) 04. Coleman Hawkins - Pedalin' (6:35) (Night Hawk, Swingville Records, 1961) 05. Sonny Rollins - I've Grown Accustomed To Your Face (4:52) (Rollins Plays For Bird, Prestige Records, 1957) 06. Houston Person - Song For A Rainbow (8:07) (The Opening Round, Savant Records, 1997) 07. The Jazz Factor - Minor Booze (4:26) (Flying, Munich Records, 2003) 08. Herb Ellis - Soft Winds (6:03) (Nothing But The Blues, Verve Records, 1957) 09. Svend Asmussen - Nadja (4:53) (June Night, Doctor Jazz Records, 1983) 10. Freddie Redd - Blues-Blues-Blues (6:01) (Shades Of Redd, Blue Note Records, 1961) Put some more jazz in your life with... Spinner's Jazz Adventure #4 @ https://beardo1.libsyn.com/website/spinners-jazz-adventure-4 Spinner's Jazz Adventure #3 @ https://beardo1.libsyn.com/website/spinners-jazz-adventure-3 Spinner's Jazz Adventure #2 @ https://beardo1.libsyn.com/website/spinners-jazz-adventure-2 Spinner's Jazz Adventure #1 @ https://beardo1.libsyn.com/website/spinners-jazz-adventure

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.Born in Alton, Illinois, and raised in East St. Louis, Davis left to study at the Juilliard School in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Miles Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album 'Round About Midnight. It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). The latter recording remains one of the most popular jazz albums of all time,having sold over five million copies in the U.S.

Along the way on my journey to cover the greatest generation of musicians I have discovered that in many ways the drummer can set the tone for an entire session. If the drummer has a preferred style and gets locked into that style then they cannot fit into different settings. They get locked in a mold and their growth is stunted. If however the drummer has the chops and channels his ego to fit into different musical arrangements then you have the makings of a real swinger. My guest today has the deepest most condensed resume of any musician I have talked with. Because he was in high demand he accepted unconventional opportunities that fostered his own creative input and growth. His power and rhythmic timing elevated many of the great electric blues sessions of Cornell Dupree, Joe Cocker and Chuck Rainey and BB King. His ability to swing the band gave Prestige Records a huge lift as he contributed to his own career as a leader as well as those of Charles Kynard, Boogaloo Joe Jones and Sonny Phillips. He has been a drummer for gospel and rock outfits. Along with the Queen of Soul Aretha Franklin. Let it flow James Brown, Gil Scott Heron, Galt McDermott, Leon Thomas and Steely Dan. Bernard "Pretty" Purdie welcome to the JFS.... --- Support this podcast: https://anchor.fm/jake-feinberg/support

In un'insolita conduzione del lunedì sera, facciamo un salto nel passato e dedichiano la trasmissione a Tommy Flanagan, nato il 16 marzo di 90 anni fa...1. Relaxin at Camarillo(C. Parker), Tommy Flanagan Trio, Overseas, Prestige Records, 1957..2. Eclypso, Tommy Flanagan Trio, Overseas, Prestig Records, 1957..3. Minor Mishap, Tommy Flanagan, John Coltrane, Kenny Burrell, Idrees Sulieman, The Cats, Prestige Records, 1959..4. Giant Steps, John Coltrane, Giant Steps, Atlantic Records, 1960..5. Spirals, John Coltrane, Giant Steps, Atlantic Records, 1960..6. Polkadots and Moonbeans(J. Van Heusen,J. Burke), Wes Montgomery, The Incredible Jazz Guitar of Wes Montgomery, ..Riverside/OJC, 1960..7. Body and Soul, Ella Fitzgerald, Ella in Hamburg, Verve, 1965..8. Aspects of Duke, Ella Fitzgerald, Ella à Nice, Pablo, 1971/1982..9. Vierd Blues, Miles Davis, Collectors' Items, Prestige Records, 1956..10. Sunset and the Mockingbird (D.Ellington), Tommy Flanagan trio, Sunset and the Mockingbird, Blue Note, 1997

In un'insolita conduzione del lunedì sera, facciamo un salto nel passato e dedichiano la trasmissione a Tommy Flanagan, nato il 16 marzo di 90 anni fa...1. Relaxin at Camarillo(C. Parker), Tommy Flanagan Trio, Overseas, Prestige Records, 1957..2. Eclypso, Tommy Flanagan Trio, Overseas, Prestig Records, 1957..3. Minor Mishap, Tommy Flanagan, John Coltrane, Kenny Burrell, Idrees Sulieman, The Cats, Prestige Records, 1959..4. Giant Steps, John Coltrane, Giant Steps, Atlantic Records, 1960..5. Spirals, John Coltrane, Giant Steps, Atlantic Records, 1960..6. Polkadots and Moonbeans(J. Van Heusen,J. Burke), Wes Montgomery, The Incredible Jazz Guitar of Wes Montgomery, ..Riverside/OJC, 1960..7. Body and Soul, Ella Fitzgerald, Ella in Hamburg, Verve, 1965..8. Aspects of Duke, Ella Fitzgerald, Ella à Nice, Pablo, 1971/1982..9. Vierd Blues, Miles Davis, Collectors' Items, Prestige Records, 1956..10. Sunset and the Mockingbird (D.Ellington), Tommy Flanagan trio, Sunset and the Mockingbird, Blue Note, 1997

In un'insolita conduzione del lunedì sera, facciamo un salto nel passato e dedichiano la trasmissione a Tommy Flanagan, nato il 16 marzo di 90 anni fa...1. Relaxin at Camarillo(C. Parker), Tommy Flanagan Trio, Overseas, Prestige Records, 1957..2. Eclypso, Tommy Flanagan Trio, Overseas, Prestig Records, 1957..3. Minor Mishap, Tommy Flanagan, John Coltrane, Kenny Burrell, Idrees Sulieman, The Cats, Prestige Records, 1959..4. Giant Steps, John Coltrane, Giant Steps, Atlantic Records, 1960..5. Spirals, John Coltrane, Giant Steps, Atlantic Records, 1960..6. Polkadots and Moonbeans(J. Van Heusen,J. Burke), Wes Montgomery, The Incredible Jazz Guitar of Wes Montgomery, ..Riverside/OJC, 1960..7. Body and Soul, Ella Fitzgerald, Ella in Hamburg, Verve, 1965..8. Aspects of Duke, Ella Fitzgerald, Ella à Nice, Pablo, 1971/1982..9. Vierd Blues, Miles Davis, Collectors' Items, Prestige Records, 1956..10. Sunset and the Mockingbird (D.Ellington), Tommy Flanagan trio, Sunset and the Mockingbird, Blue Note, 1997

Don Patterson was one of the most distinctive of the many Hammond organists that came onto the Jazz scene in the late 50s and 60s in the wake of the pioneering efforts of Jimmy Smith, who took the Hammond into the modern Jazz area. Patterson had his own style and was closer to the hard bop tradition. He played lines on the organ like Bud Powell. Patterson signed with Prestige Records in 1963 and recorded a lot with the label as a leader and sideman. This is his Prestige debut date and it also features as a giant plus, tenor saxophone great Booker Ervin. Patterson plays a variety of tunes here with Ervin and swinging drummer Billy James. Altoist Leonard Houston guests on the slow blues called "Hip Cake Walk". This is a cool debut by one of the great masters of the Hammond, Mr. Don Patterson!

Scott Goldman interviews GRAMMY® Award–winning American jazz pianist/electric keyboardist and composer, Chick Corea. As a member of Miles Davis's band in the late 1960s, he participated in the birth of jazz fusion and continues to redefine the “social music” of jazz. Listen as Chick describes his relationship with music from his childhood days to his latest GRAMMY® nominations.

Scott Goldman, longtime moderator of the GRAMMY® Museum Public Programs Series, interviews two accomplished musicians and producers uniquely qualified to discuss the career of Miles Davis: Erin Davis, Miles’ son, and Vincent Wilburn, Jr., Miles’ nephew. Erin and Vincent, who currently help manage the Miles Davis estate, both toured and recorded with Miles in the ’80s. Here they reflect on the icon’s fearless approach to music, his insistence on minimal takes and going through the “University of Miles Davis,” where you learn that some of the greatest music comes from being uncomfortable.

Scott Goldman, longtime moderator of the GRAMMY® Museum Public Programs Series, interviews songwriter, producer and multi-instrumentalist, Nate Mercereau. Sharing his unique experiences from recording and releasing his own debut album Joy Techniques, to contributing to releases from various artists spanning from Jay-Z, to Lizzo, to Shawn Mendes, listen as Nate discusses capturing the beauty of the first take and the joy of creation.

Scott Goldman, longtime moderator of the GRAMMY® Museum Public Programs Series, interviews critically acclaimed saxophonist, Azar Lawrence. One of the only remaining Prestige artists to still be actively touring and recording, Azar shares stories of his early days performing as a sideman to many of jazz’s greats, including Miles Davis, Woody Shaw and McCoy Tyner; and speaks to the recent reissue of his groundbreaking title Summer Solstice on Craft’s Jazz Dispensary.

Scott Goldman, longtime moderator of the GRAMMY® Museum Public Programs Series, interviews upright bassist, vocalist, producer, composer, arranger, and founding member of the West Coast Get-Down, Miles Mosley. Listen as Miles speaks to the powerhouse of Prestige, the shared language of jazz, and how accidents make great art. Prepare to be encapsulated in a forcefield of love! (Miles Mosley appears courtesy of Verve Records.)

Scott Goldman, longtime moderator of the GRAMMY® Museum Public Programs Series, interviews GRAMMY® Award–winning Latin jazz bandleader, salsa singer and conga player, Poncho Sanchez. Listen as Poncho describes his musical journey, starting from his earliest experiences as a musician in LA, to why he chose to record a John Coltrane cover album as his latest release on Concord Records.

The Prestige 70 podcast features intimate conversations between acclaimed musicians, composers, producers, and Scott Goldman—who, as the longtime moderator of the GRAMMY® Museum Public Programs Series, has interviewed hundreds of iconic figures in music. Through the lens of contemporary artists including Poncho Sanchez, Miles Mosley, Azar Lawrence and Chick Corea, Prestige 70 not only looks back at the musicians and recordings that made the label so important but also looks to the future, as a new generation continues the tradition of redefining and pushing the boundaries of jazz.

William "Red" Garland emerged as a member of the "first great quintet" of trumpeter, Miles Davis. Red's piano style is so distinctive with a light touch and beautifully executed two-handed block chords. His influences are Bud Powell and Erroll Garner that he combines into his unique style. He did two tenures with Davis and made a slew of trio albums, all solid stuff for Prestige Records. He took a break in the mid-60s and returned in the 70s and continued gigging and recording until his passing in 1984. Tonight's Jazz Feature involves a short lived quintet that Red Garland led in late 1957. John Coltrane was on tenor saxophone, Donald Byrd on trumpet, George Joyner (aka Jamil Nasser) on bass, Arthur Taylor on drums and Mr. Garland. One solid group and this album called "Soul Junction" was one of the best of the several albums this band recorded. From the slow blues title track to the final tune, "Hallellujah" the band sails through comfortable and familiar Jazz materiel in a hard swinging creative set. "Soul Junction" is a perfect album to check out after the excitement of the recent Jazz Festival 2019.

This week's episode is about the music of Mal Waldron, who, among other things, did a stint as the house pianist for Prestige Records in the late 50's.  It features music from all throughout his five decade-spanning career.   The opening tune comes from the soundtrack that Waldron composed for this film. Playlist here.  Questions? Comments? Requests? Leave a message at the WNPM voicemail box at (424) 704-1666 or email wnpmpod@gmail.com  

Aquest any se celebra el 70 aniversari de la creaci

L’etichetta jazz fondata a New York nel 1949 da Bob Weinstok pubblicò centinaia di album, anche attraverso le sue affiliate, dei mostri sacri del jazz da Miles Davis a John Coltrane, da Thelonious Monk a Sonny Rollins...Il sound intimo e raffinato della Prestige è anche frutto del lavoro meticoloso del mitico tecnico del suono Rudy van Gelder, che prima nel salone dei suoi nonni e solo dal 1959 nel suo studio di registrazione, curava le incisioni dei capostipiti del jazz. ..Tracklist:..1 Etta Jones I love Paris..2 Sonny Rollins St Thomas..3 John Coltrane Bahia..4 Miles Davis Airegin..5 Thelonious Monk Blue Monk..6 Rudy Garland Billie’s Bounce..7 Clifford Brown ‘Scuse these Bloos..8 John Coltrane Good Bait..9 Miles Davis Four

L’etichetta jazz fondata a New York nel 1949 da Bob Weinstok pubblicò centinaia di album, anche attraverso le sue affiliate, dei mostri sacri del jazz da Miles Davis a John Coltrane, da Thelonious Monk a Sonny Rollins...Il sound intimo e raffinato della Prestige è anche frutto del lavoro meticoloso del mitico tecnico del suono Rudy van Gelder, che prima nel salone dei suoi nonni e solo dal 1959 nel suo studio di registrazione, curava le incisioni dei capostipiti del jazz. ..Tracklist:..1 Etta Jones I love Paris..2 Sonny Rollins St Thomas..3 John Coltrane Bahia..4 Miles Davis Airegin..5 Thelonious Monk Blue Monk..6 Rudy Garland Billie’s Bounce..7 Clifford Brown ‘Scuse these Bloos..8 John Coltrane Good Bait..9 Miles Davis Four

As a child living in New York City,  Al Schmitt would catch the subway on weekends to spend the day at his uncle’s recording studio, observing different engineering techniques. At 19, Schmitt began working with Tom Dowd at Apex Studios in New York City. He worked as an independant engineer at Atlantic Records and Prestige Records, and after moving to California, he started working at Radio Recorders. RCA Records hired Schmitt as a staff producer for their label and a staff engineer at their Hollywood studio. This let Schmitt develop his wide-ranging engineering skills by working with the various pop, jazz, classical, and country … With an unparalleled 24 (twenty-four) Grammy Awards for engineering, Schmitt epitomizes great recording through decades of technological change. The legendary and world-renowned recording engineer received a Grammy in 2002 for Diana Krall’s “The Look of Love.” Schmitt, who has worked with Krall on her past five albums. Up one aisle you’ll find Frank Sinatra, Henry Mancini, Sam Cooke, Ray Charles, and Miles Davis; up another you’ll bump into Jefferson Airplane, Jackson Browne, Neil Young, Johnny Cash, Willie Nelson, Kenny Rogers and Steely Dan. Round a corner and you’ll encounter Barbra Streisand, Natalie Cole, Madonna, and Quincy Jones mingling with Michael Jackson, Diana Krall, Celine Dion, Paul McCartney, and Michael Buble. Schmitt captured his first Grammy for Best Engineered recording in 1962 for Henry Mancini’s “Hatari”. Nine subsequent Grammy’s in the same category stretched through the decades: 1976: George Benson’s “Breezin'”, 1977: Steely Dan’s “Aja”, 1978: Steely Dan’s “FM”, 1982: Toto’s “Toto IV”, 1991: Natalie Cole’s “Unforgettable,” 1996: Quincy Jones’ “Q’s Jook Joint,” Diana Krall’s “When I Look In Your Eyes,” and two Latin Grammys with Luis Miguel.Al Schmitt’s celebrated engineering and mixing skills are showcased on over 150 gold and platinum albums. In ’97 Al became an inductee into the TEC Awards Hall of Fame. In 2015 Schmitt became the first recording engineer to be presented with a star on the Hollywood walk of fame in front of Capitol records. 

Art Taylor was one of the most ubiquitous musicians on the Jazz scene in the 50's and 60's and recorded with everyone from Charlie Parker to Thelonious Monk, Bud Powell...everyone! Art appeared on hundreds of recording sessions because not only because he was great but because he was easy to record and his clear distinctive cymbal ride was one of his great assets. His drum style combined his two mentors, Max Roach and Art Blakey. He made only a few albums under his own name despite being on so many sessions as a sideman. This is only his third. The first two were for Prestige Records and this one was done for the Blue Note label. This month we are featuring one-shot albums for Blue Note. This date benefits not only by inspiring and well-programmed music but Blue Note's excellent production standards. Arthur picked all the men for the date and we begin with the underrated trumpeter Dave Burns. Burns is on the front line with the great then new voice of the tenor saxophone, Stanley Turrentine. Wynton Kelly on piano graces the session with his relaxed eloquence. Paul Chambers who recorded as often as Art Taylor is on bass and on three tunes the band is augmented by the great Cuban conguero, Carlos "Patato" Valdes. Great tunes and inspired playing are definitely A.T.'s Delight!

Pianist/composer Thelonious Monk was and still is one of the most important figures in Modern Jazz. In the 1950s he was neglected by the critics and many musicians. He did have his supporters in both fraternities but work was scarce and his records didn't sell and his music was never heard on Jazz radio. Tonight the Jazz Show presents two pivotal recording sessions that are now classics although they were pretty well ignored in their time. The first is Monk's final session for Blue Note from May of 1952. This well organized date was for a sextet with trumpeter Kenny Dorham and saxophonists Lou Donaldson and Lucky Thompson on alto and tenor respectively. Nelson Boyd on bass and the great Max Roach on drums and Mr. Monk. Five then new tunes were recorded and a trio track. The second session was one of his most relaxed and successful for Prestige Records done in 1954. A fine quintet with trumpeter Ray Copeland, a Monk favourite and a then new voice on the New York scene, tenor saxophonist Frank Foster. They blend well. Curly Russell is on bass and Monk's best buddy, Art Blakey is on drums. Three new Monk tunes are presented here and one great old standard, "Smoke Gets In Your Eyes" is given a wonderful Monkish treatment. This was not a working band but it sounded like one. Early Monk from 1952 and 1954 in super form tonight. The beginning of a month long series of Jazz features with Thelonious Monk.

We depart from our usual format to offer an interview with saxophone player and composer Charles McPherson. Charles discusses an early encounter with Charlie Parker, lessons from Barry Harris, a wild first night employed by Charles Mingus, what bebop means to him, and several other topics. We don't focus on particular albums, but Charles recommends, among others, TODAY'S MAN, SIKU YA BIBI, and THE JOURNEY as places to begin to get to know his playing, if you don't already.

Alto saxophonist William "Sonny" Criss was undeservedly overlooked for most of his rather frustrating career. He truly is one of the very greats on his instrument and a powerful emotionally direct player with a beautiful full singing tone. Sonny's most prolific recording period was the 1960s when in 1965 he was signed with Prestige Records. The seven or so albums he did for that label are all real gems. Most of Sonny's albums are in a quartet or quintet setting with Sonny out front as the single horn. That was his preference. This album on tonight's Jazz Feature is different as it is Sonny with a nine piece band.. The band was formed as a co-operative effort between Sonny and pianist/composer Horace Tapscott. Tapscott wrote and arranged all six pieces to feature Sonny. Tapscott conducted the band. The other soloists are pianist Tommy Flanagan, tenor saxophonist Teddy Edwards and trumpeter Conte Candoli. The other non-soloists are David Sherr on alto saxophone, Pete Christlieb on baritone, Dick Nash on trombone, Ray Draper on tuba, Al McKibbon on bass and Everett Brown Jr. on drums..Kudos to producer Don Schlitten for recording this very short-lived band as it remains a unique recording in the short discography of the great Sonny Criss.

As a child living in New York City,  Al Schmitt would catch the subway on weekends to spend the day at his uncle's recording studio, observing different engineering techniques. At 19, Schmitt began working with Tom Dowd at Apex Studios in New York City. He worked as an independant engineer at Atlantic Records and Prestige Records, and after moving to California, he started working at Radio Recorders. RCA Records hired Schmitt as a staff producer for their label and a staff engineer at their Hollywood studio. This let Schmitt develop his wide-ranging engineering skills by working with the various pop, jazz, classical, and country ... With an unparalleled 24 (twenty-four) Grammy Awards for engineering, Schmitt epitomizes great recording through decades of technological change. The legendary and world-renowned recording engineer received a Grammy in 2002 for Diana Krall's “The Look of Love.” Schmitt, who has worked with Krall on her past five albums. Up one aisle you’ll find Frank Sinatra, Henry Mancini, Sam Cooke, Ray Charles, and Miles Davis; up another you’ll bump into Jefferson Airplane, Jackson Browne, Neil Young, Johnny Cash, Willie Nelson, Kenny Rogers and Steely Dan. Round a corner and you’ll encounter Barbra Streisand, Natalie Cole, Madonna, and Quincy Jones mingling with Michael Jackson, Diana Krall, Celine Dion, Paul McCartney, and Michael Buble. Schmitt captured his first Grammy for Best Engineered recording in 1962 for Henry Mancini's "Hatari". Nine subsequent Grammy's in the same category stretched through the decades: 1976: George Benson's "Breezin'", 1977: Steely Dan's "Aja", 1978: Steely Dan's "FM", 1982: Toto's "Toto IV", 1991: Natalie Cole's "Unforgettable," 1996: Quincy Jones' "Q's Jook Joint," Diana Krall's "When I Look In Your Eyes," and two Latin Grammys with Luis Miguel.Al Schmitt's celebrated engineering and mixing skills are showcased on over 150 gold and platinum albums. In '97 Al became an inductee into the TEC Awards Hall of Fame. In 2015 Schmitt became the first recording engineer to be presented with a star on the Hollywood walk of fame in front of Capitol records. 

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

This fine album marked the beginning of John Coltrane's recording career as a headliner. This was his first date under his name and it was originally recorded on May 31,1957 and issued on Prestige Records and called "Coltrane!" This marked a real beginning for 30 year old Coltrane and he picked a great band to perform here with the obscure but fine trumpeter named Johnnie Splawn and the heavy baritone saxophone sound of Sahib Shihab to work hand and glove with the Coltrane tenor saxophone. Two pianists share the chores, Mal Waldron on the first three tunes and Red Garland on the latter three. Two new Coltrane compositions grace the date plus one from Philadelphian, Calvin Massey Three well chosen but more obscure standards make up the rest of the tunes in an album that is clear on its concept and well rehearsed. A fitting debut and the beginning of an outstanding recording career. "Coltrane" indeed!

William "Red" Garland was one of the finest and most distinctive pianists of his generation. He rose to fame with Miles Davis from 1955 through 1958 with a few short layoffs. Garland through being employed by Davis got a recording contract with Prestige Records and made a whole series of good selling trio albums that established his sound away from Davis. Garland was also a frequent sideman on many dates with John Coltrane, Jackie McLean, Phil Woods and others. Red went on his own after his tenure with Davis and worked mostly trio gigs and recorded for Prestige and later Riverside records. Tonight's Jazz Feature is an album called "Red Garland At The Prelude" which was recorded at a small high-end club in Harlem where people actually listened! Garland chose two Philadelphia musicians to accompany him: fine bassist Jimmy Rowser and an unsung great on drums, Charles "Specs" Wright. The set consists of some great standards and blues performed by one of the all time great pianists, Red Garland!

Groove 70/80's Golden Hits Mix by Stefan d'Autun part 29 - Disco Hangover Too High - 2014 NIGHT BALLS : 01 Motown Magic Disco Machine - Midnight Rhapsody 12'' Lp Vol.2 Motown Records 1976 02 Barry White & Love Unlimited Orchestra - Let The Music Play, instrumental version Lp 12'' mix 20th Century Records 1976 03 Jackson 5 - I Want You Back Original 12'' mix Tamla Records 1976 04 Isaac Hayes - Moonlight Loving, Ménage A Trois 12'' version Tom Moulton Soul Jazz records 1978 05 Orlando Riva Sound - Body 2 Body, More Lotion edit from Body To Body Boogie 12'' Disco Boogie Classics Vol.III 2013/1978 06 Stevie Wonder - Too High, Girl Of My Dream 12'' Happy Days Vol.8 Original Disco Joints Remastered 1973 07 Rainbow Brown - It Ain't No Big Thing original 12'' mix P&P Records 1978 08 People's Choice - Movin' In All Directions 12'' Lp We Got The Rhythm TSOP Records 1976 09 Change - Your Move from B-side 12'' WEA Records 1981 10 Claudja Barry - Dancin' Fever original 12'' Lp Discomixes Lollipop Records Tom Moulton 1980 11 Demis Roussos - I Just Live original disco version 12'' Mercury Records 1978 12 Dennis Parker - Walk Like An Eagle, I'm So Crazy 12'' Happy Days Vol.10 Original Disco Joints Remastered 1979 13 Bee Gees - Stayin' Alive 12'' Jimmy Michaels promo Special Disco Version RSO Records 1977 14 Diana Ross - The Hangover 12'' re-edit A1 Version Fall Like Rain 1976-2010 15 Bill Summers and Summers Heat - Straight To The Bank special 12'' disco mix Prestige Records 1978 STF' Retouch 16 Eli's Second Coming - Love Chant Orgasm Edit 12'' Philadelphia Jams 02E RED Rec. 1977 + Marlin Disco Party 12'' T.K. Records 1978 17 Barry White & Love Unlimited Orchestra - Bring It On Up Lp 12'' mix 20th Century Records 1976 18 Dexter Wansel - I'll Never Forget My Favourite Disco 12'' mix The P.I.Records 1978 19 Silver Platinum & Gold - Dance with me Lp 12'' mix Hollywood Neptune Records 1981 STF' Retouch 20 Gladys Knight & The Pips - Bourgie, Bourgie 12'' mix Columbia 1980 TIMING = 120 min. ---> Hang up your mirror ball and push the furnitures, you can dance ! AND THE DISCO MUST GO ON... Next "Rendez-Vous" soon ! Merci... Thank you 4 your listening, your support & SHARING, enjoy you... PEACE IN SOUL & LOVE ON EARTH... FOLLOW ME --> http://twitter.com/stefandautun LOAD RMX --> http://soundcloud.com/stefandautun VIDEOS --> http://www.dailymotion.com/Stfan_dAutun#video=x16d94o YOUTUBE --> http://www.youtube.com/watch?v=lV1_X16eC_A REPLAY'S STOCK --> http://www.mixcloud.com/stefandautun/

This feature has a large orchestra playing music composed and arranged by Oliver Nelson who not only conducts the orchestra but is heard with others on alto and tenor saxophones. The 7 part suite is a depiction of the history of African/American people from their origin in Africa to their arrival in the USA as slaves, their emancipation and all the triumphs and tribulations ending in the optimistic part 7 called "Freedom Dance". Nelson put together the cream of the crop of New York Jazz players for this project in September and November 1961.It is a credit to producer Esmond Edwards and Prestige Records that this huge project was realised. The music tells a great story but is also great Jazz and it is a tribute to Oliver Nelson who was able to tell this musical story. Afro/American Sketches is a quite masterpiece.

This was Mal Waldron's second trio date for Prestige/New Jazz Records. it was done in March of 1959 after a tour of Europe with Billie Holiday. Mal was Billie's arranger and pianist from 1957 to 1959. He was also in the 50's, house pianist/arranger/composer for Prestige Records and recorded with John Coltrane, Gene Ammons, Jackie McLean and many others. Mal had gained a great experience working with Charles Mingus and others as well. His piano style combines his major influences, Ellington, Monk and Powell all rolled into Mal Waldron. This album is a fine portrait of Mal as a composer and an interpreter of great standards. He's accompanied by Addison Farmer on bass and a young Albert "Tootie" Heath on drums.The first track is inspired by Mal's first trip to Europe with Miss Holiday and it's the 20 minute "Overseas Suite". Three standards follow and a final Waldron opus dedicated to his family called "All Of Us". This is a wonderfully refreshing date despite being done in 1959. "Impressions" will impress!

This feature is to honour the 87th Birthday of one of the most exciting, creative and influential musicians of the 20th Century namely John William Coltrane. Coltrane was under an exclusive recording contract with Prestige Records from 1957 to the end of 1958 however he was allowed to record this one date for Blue Note Records and the label's owner Alfred Lion made the most out of it by giving Coltrane a chance to not only record his own composition but write them for a three horn front line and of course pick the men to do this. Lion also paid for two days of rehearsal to get the music together. This was unheard of at the other label.The date was one of Coltrane's personal favourites and is considered a classic.The people involved are Coltrane on tenor saxophone, Curtis Fuller on trombone, the teenage trumpet sensation, Lee Morgan, Kenny Drew on piano, Paul Chambers on bass and Philly Joe Jones on drums. The tunes are all by Coltrane (Blue Train, Moment's Notice, Locomotion, Lazy Bird) and the ballad of the set written by Kern and Mercer: "I'm Old Fashioned". Blue Train stands out in the history of Coltrane's legacy and is clearly his best from his early period. Happy Birthday Mr. Coltrane.

Booker Telleferro Ervin was one of the most distinctive and easily identifiable voices of the tenor saxophone to emerge in the 1960's. After years of study (mostly self-study)and dues on the road with a variety of Jazz and R&B bands, Booker arrived in New York at the end of 1958. He was heard and immediately hired by Charles Mingus. He became Mingus' favourite tenor player and Mingus also relied on Ervin's photographic memory for explaining various ensemble roles to different players in Mingus' Jazz Workshop. Booker remained with Mingus from 1958 to 1963. He also worked with pianist Randy Weston and recorded on his own as a sideman and as a leader. He signed with Prestige Records in 1963 and began a whole series of albums for which he is best known...The Book series..."The Freedom Book", "The Blues Book" etc. This fine recording is his second to last and his second for Blue Note records. Ervin died of kidney failure in July of 1970 at age 39. After this date there was only one more recorded appearance and that was with alto saxophonist Eric Kloss on Prestige called "In The Land Of The Giants". This date is important as it is so strong and the band sounds like a working band. Booker is heard with Woody Shaw on trumpet, Kenny Barron on piano, Jan Arnet (from the Czech Republic) on bass and the great Billy Higgins on drums. Barron and Shaw contribute a tune each and Ervin wrote the rest. There are five tunes in all. This is a fine date that should be better known in the small legacy that was left by Booker Ervin. Tex Book Tenor cooks!

Booker Ervin was one of the most identifiable voices of the tenor saxophone. He possessed a high, hard, keening sound and a rich blues based concept. He was also Charles Mingus' favourite saxophonist and worked with Mingus and recorded with Mr. Mingus on some of his most important albums such as "Mingus Ah Um", "Blues and Roots", etc. Ervin was born in Denison,Texas on Oct 31,1930 and died of kidney failure at 39 in July of 1970. He recorded a number of fine albums under his own name, especially for Prestige Records. Tonight's Feature was his first done in April of 1960. Booker picked the men and did so wisely. On second tenor saxophone was the great Zoot Sims and Booker and Zoot make an interesting contrast. On trumpet was the older Turrentine brother, Tommy, in fine form. The "poet of the piano" is in fine fettle on this date and will surprise you with his funky, bluesy playing on many of the tunes. George Tucker, a great bassist who studied with Mingus plays exceedingly well with one of Mingus' main men, drummer Dannie Richmond. 5 of the six tunes are by Booker Ervin and they naturally reflect a Mingus attitude. The final tune is a lovely old standard called "Poor Butterfly". This was Booker Ervin's debut recording under his name and it's a good one, worth searching for. However you needn't go too far because you can hear it right here!

Rusty Bryant was an authoritative voice of the tenor and alto saxophones. Because of his love for Columbus, Ohio he never ventured very far from that city, where he was a local musical hero. He usually went to New York or L.A. only to record. He had some recorded successes in the mid-50's where he displayed a smooth style and a light Getz-like tone but stayed around Columbus and was rediscovered by Prestige Records and offered a contract. By this time he had changed his style to a more bluesy full-bodied sound and concept and worked in a more funky context usually with a Hammond organ. In his series of discs for Prestige we present his best and his best-selling album called "Soul Liberation"Rusty surrounds himself with some great players like Virgil Jones on trumpet, Melvin Sparks on guitar, Charles (The Mighty Burner) Earland on organ and the great Idris Muhammad on drums. Rusty sticks to the tenor on 4 of the 5 tunes one of which is written by Eddie Harris called "Cold Duck Time" two tunes by organist Earland and one straight blues by Rusty and finally Rusty's tribute, played on the alto saxophone to a cousin who was killed in Viet Nam called "The Ballad of Oren Bliss". "Soul Liberation" is earthy, funky and great for listening and if the spirit moves you....dancing.

This truly classic date was recorded on Christmas Eve 1954 and somehow, although not intended has a distinctive "Christmasy" feel to it. The date was really put together by the owner of Prestige Records, Robert (Bob) Weinstock. He had two best sellers under contract, Miles Davis and The Modern Jazz Quartet. He approached Miles Davis about the date and Miles was excited and pleased and expected to record with Milt Jackson, Percy Heath and Kenny Clarke and perhaps his close friend, John Lewis on piano, all members of the MJQ. If not Lewis, perhaps Horace Silver, another favorite of Miles. Weinstock threw a curve at Miles and said, Jackson, Heath and Clarke are on but the pianist will be Thelonious Monk. Weinstock asserted that he needed Monk to perform and record with some of the "best sellers". Miles was not pleased but Weinstock said either Monk or no date. After a long uncomfortable silence between Weinstock and Davis....Miles agreed to the date, He needed the money and liked all the other players. He liked and respected Monk as well but didn't enjoy playing with him but figured he could get around this in a musical way. The date came off beautifully despite the tension between the two men and Monk compromised by not accompanying Davis during his solos except for one tune which was Monk's. The tunes are "Bags' Groove", a blues by Jackson, "Bemsha Swing" by Monk,"Swing Spring" by Davis and the Gershwin's "The Man I Love". plus two alternates of Bags' Groove and The Man I Love. This session was how these gentlemen felt at the time and they had no idea that this date would become one of the bellwethers of Modern Jazz but it has and will remain a classic forever.

This rare item is untypical of the type of session that Prestige Records put out in the 50's. The head honcho of Prestige was Robert Weinstock and he preferred the "one take" jam session approach as he felt that too many "takes" would spoil the feel. Vibist/composer/bandleader Teddy Charles produced a number of Prestige recordings in the 50's and his sessions were much more organized and rehearsed yet still sounded spontaneous. Perhaps Teddy encouraged his musicians to rehearse or perhaps he paid them to do this but it worked and a Charles produced session was always well organized and he always contributed some of his own compositions to the date. This one features, as the title suggests four alto saxophonists. All of these men were in one way or another influenced by Charlie Parker but they had their own identities and sounds. Phil Woods is still with us and is the most identifiable voice and is arguably the most developed stylist. The wonderful and passionate Gene Quill plays with great swing. Sahib Shihab is on tap and although he reflects Parker, his sound is influenced by some earlier players like Tab Smith. Hal Stein, who worked with Teddy Charles and Charles Mingus is a thoughtful and cliche-free player. These four men blend into a great sound and are backed by Mal Waldron on piano who also contributes two compositions to the date. Tommy Potter is solid on bass and a very young, 19 year old Louis Hayes mans the drums.Teddy Charles contributes two tunes and arranges Hal Stein's "Kinda Kanonic" and the ballad of the date Jimmy McHugh's "Don't Blame Me". Waldron arranges his own two tunes. All in all a fun and well organized date that swings and and is interesting at the same time. "Four Altos" indeed!

Larry Young was one of the most individual voices of the Hammond organ. Larry was born in Newark, New Jersey on Oct. 7,1940 and sadly died at age 37 in March of 1978 of untreated pneumonia. Young was only 20 when he signed with Prestige Records. He made a series of albums in the style of his idols, Jimmy Smith, Jack McDuff and John Patton but when he signed with Blue Note Records in 1964, he left that blues drenched style for something much more modern, although he still addressed the blues. His sound, technique and footwork on the Hammond is masterful. This is his first album for Blue Note and Young chose his sidemen well. Grant Green is on guitar playing in a more modern style than we're used to hearing him. The great Elvin Jones works hand in glove with Young and the edgy tenor saxophone is played by the individual and creative Sam Rivers. Into Somethin' indeed!

This immortal all-star session took place on Christmas Eve 1954. The date was nominally led by a newly revitalized Miles Davis who by early 1954 had shaken off the shackles of heroin addiction and began his rise to Jazz greatness. Bob Weinstock, the wily and feisty owner of Prestige Records offered Miles, who was under contract with the label, a date on Christmas Eve 1954 and asked Miles to pick the musicians. Weinstock suggested to Miles that it might be nice to record with members of the Modern Jazz Quartet, also under contract with Prestige. Miles was agreeable....Percy Heath, Kenny Clarke and Milt Jackson and John Lewis, who was Miles' close friend. Weinstock threw Miles a curveball and said 'no, not John or Horace Silver....Thelonious Monk". Davis said no, not Monk. Miles respected Monk and played his tunes but didn't like Monk's comping (backing). Weinstock said "no Monk, no date." Monk and Miles reached a compromise.....Monk would not back up Miles during his solos. The only exception to that was on Bemsha Swing, which is a Monk tune that Miles wanted to record. Monk laid down the law and said in effect that if Miles used his tune then Monk would back Miles and so it was. This is a classic date that has influenced Jazz listeners and musicians to this day. The first tune is Jackson's blues, "Bags' Groove" followed by Davis' "Swing Spring" then Monk's "Bemsha Swing" and finally the Gershwin standard, "The Man I Love'. Bags' Groove and The Man I Love both have two magnificent alternate takes. Tonight we hear the first takes of both and it's worth noting that Monk's solo on Bags' Groove is one of his most innovative and has been discussed by many musicians and musicologists for years. The spirit of Christmas runs through this session especially in the sound of Miles' trumpet and Jackson's bell-like vibes. Enjoy this annual Christmas treat,