Podcasts about Ray Barretto

Remenem els arxius del segell Fania, un far de la m

Bassist and educator talks about early learning experiences with Ray Barretto's band and what should be focused on respective to the bass within the academy.

Hace 20 años que el percusionista estadounidense de origen puertorriqueño Ray Barretto publicó, al frente de su sexteto de jazz latino, el disco 'Time was time is' con piezas como 'Drume negrita', 'Mags', 'One for Ray' o 'Syracuse', una canción de Bernard Dimey y Henri Salvador que escuchamos en la voz del propio Henri junto a 'Count Basie' -adaptación al francés de 'Lil Darlin'- y 'Une chanson douce'. Michael Franks con 'I love Lucy' -con la guitarra de Toninho Horta- y 'Antonio's song', canción de 1977 inspirada por Antonio Carlos Jobim, que retomó 40 años después el guitarrista y cantante John Pizzarelli en 'Sinatra & Jobim @ 50' un disco grabado con el nieto de Jobim, Daniel, piano y voz, para recordar el disco que habían firmado 50 años antes Francis Albert Sinatra y Antonio Carlos Jobim.Escuchar audio

New York City has long been a major incubator for Latin music with its large populations of Puerto Rican, Dominican, Panamanian, Cuban, and Colombian musicians and music fans. We celebrate some of the giants of New York's Latin music scene—Ray Barretto, Larry Harlow, Jerry Gonzalez—as well as less well known artists. Topics include the cross-pollination between Latin music and jazz, the Panama connection featuring Rubén Blades among others, the Latin-Jewish connection and much more. Produced and co-hosted by author and Afropop producer veteran Ned Sublette with special guest Dr. Ben Lapidus, musician and author of New York and the International Sound of Latin Music, 1940 to 1990. Produced by Ned Sublette APWW #845

This week, we've got some fantastic, soulful, and jazzy summer sounds!New Music from Jazztronik & Excursions, Marcos Valle, Michael Kiwanuka, Lady Blackbird, Thee Sacred Souls, Dora Morelenbaum, Raz and Afla, Barry Can't Swim, Kelly Finnigan, and Tamil RogeonPlus, some proper vibes from Ray Barretto, Martin Denny, Donny Hathaway, Dan The Drum & Emma Noble, and more!For more info and tracklisting, visit: thefaceradio.com/the-rendezvous/.Tune into new broadcasts of The Rendezvous, LIVE, Sunday from 2 - 4 PM EST / 7 - 9 PM GMT on The Face Radio and Totally Wired Radio.Dig this show? Please consider supporting The Face Radio: support.thefaceradio.com.Connect: https://linktr.ee/kurtispowers Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Raymond Barretto Pagan was born to Puerto Rican parents in New York on April 29, 1929. When he was barely four years old, his father decided to leave home and return to Puerto Rico. His mother settled in the South Bronx and raised her three children by herself. From an early age, Barretto was influenced by two styles of music: Latin and Jazz. During the day, his mother listened to the music of Daniel Santos, Bobby Capó, and the Los Panchos Trio. However, as Ray grew up, he fell in love with Machito Grillo, Marcelino Guerra, Arsenio Rodríguez, and the Jazz orchestra greats he heard on the radio; stars like Benny Goodman and Duke Ellington.When he turned 17, Barretto enlisted in the United States Army and was sent off to World War II. While stationed in Germany, he heard the song that changed his life: “Manteca” by Chano Pozo and the Dizzy Gillespie band. When he left the army, Barretto returned to New York and, influenced by the percussion instruments that his idol Chano Pozo dominated, he bought a bongo. But he wasn't satisfied with the sound, so he went out and spent 50 dollars on some tumbadors he saw for sale in a local neighborhood bakery. And that's how he took his first steps onto the nightclub music scene. His first recording was in 1953, with Eddie Bonnemere's Latin Jazz group at the Red Garter lounge in New York. In contrast to famous conga players of the time like Cándido Camero, Mongo Santamaría, and Patato Valdés –who started out with Afro-Caribbean rhythms and worked their their way up to Jazz– Barretto started out in the world of Jazz; it would be years before he would make a foray into other Latin rhythms.

Following up on last summer's salsa mix, here's some more of my favorite selections and digs to play loud in your car, living room, porch, or wherever! Tracklist: Ricardo Marrero, Bobby Valentin, Brooklyn Sounds, Latin Tempo, Ray Barretto, Joe Torres, Tata Vasquez, Pucho and His Latin Soul Brothers

HUTCHERSON/LAND QUINTET TOTAL ECLIPSE New York, July 12, 1968Matrix, Total eclipseHarold Land (ts,fl-1) Bobby Hutcherson (vib,bells-1,marimba-1) Chick Corea (p) Reggie Johnson (b) Joe Chambers (d) KENNY BURRELL / COLEMAN HAWKINS “BLUESY BURRELL” Englewood Cliffs, N.J., September 14, 1962I thought about you (1), It's getting dark (1,2), GuiltyColeman Hawkins (ts-1) Tommy Flanagan (p) Kenny Burrell (g) Major Holley (b) Eddie Locke (d) Ray Barretto (cga-2) JAE SINNETT ZERO TO 60 c. Continue reading Puro Jazz 19 de Julio 2024 at PuroJazz.

HUTCHERSON/LAND QUINTET TOTAL ECLIPSE New York, July 12, 1968Matrix, Total eclipseHarold Land (ts,fl-1) Bobby Hutcherson (vib,bells-1,marimba-1) Chick Corea (p) Reggie Johnson (b) Joe Chambers (d) KENNY BURRELL / COLEMAN HAWKINS “BLUESY BURRELL” Englewood Cliffs, N.J., September 14, 1962I thought about you (1), It's getting dark (1,2), GuiltyColeman Hawkins (ts-1) Tommy Flanagan (p) Kenny Burrell (g) Major Holley (b) Eddie Locke (d) Ray Barretto (cga-2) JAE SINNETT ZERO TO 60 c. Continue reading Puro Jazz 19 de Julio 2024 at PuroJazz.

Con Bon Entendeur ft Rigoberta Bandini, Luis Alcaraz, la Sonora Matancera, Ximena Sariñana ft Rubén Blades, Ray Barretto, Sly and the family Stone, Santana, Wagon, Gene Krupa Big Band, Roberto Goyeneche, Julio Sosa, Orquesta Típica Florida, Carlos Gardel, Enrique Santos Discépolo y Malevaje.

Pete brings another great show of old and new music to his listeners as he covers Acid Jazz, some beautiful soulful sounds, jazzy vibes with a tinge of Latin, giving us the feel of a nice change in the weather as we draw closer to the summer months. There is the usual batch of new and recent releases as well as birthday celebrations for Mica Pairs, Ray Barretto and for the beautiful Tammi Terrell. For more info and tracklisting, visit: https://thefaceradio.com/superfly-funk-and-soul-show/Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Jimmy Bosch is a world-class salsa and jazz artist Trombonist, Director, and Vocalist,  Performing in over 100 countries, and has been revolutionary in the New York style Afro Caribbean music known as “Salsa Dura” or Hard Salsa. Salsa Masters is performed by Bosch and his incredible band, Adan Perez, with Piano, and Background Vocals. Alex Apolo Ayala, Bass. Brian Pozo, Bongos, Bells, Background Vocals. Ricky Rosa, Timbales,Background Vocals. Jesus Muñoz, Congas. Daniel Arboleda, Tenor Sax. Jorge Castro, Baritone Sax. Guiro Gonzalez, Trumpet. Dan Lehner, Trombone.  Bosch has worked with Eddie Palmieri, Ruben Blades, Ray Barretto, Mambo Legends, and Pete El Conde Rodrigez.Jimmy Bosch joins us for an extraordinary salsa podcast and will be Performing at SING AND SWING on Sunday, February 25th at 4 PM!   The concert is a celebration of the Great American Songbook featuring the spectacular trumpet and vocal talents, Bria Skonberg and Benny Benack III, with the opening act, the legendary salsa and jazz trombonist, Jimmy Bosch with his band Salsa Masters! Event: Lehman Center for the Performing Arts proudly presents Jazz at Lincoln Center SING AND SWING on Sunday, February 25th at 4 PM.Tickets: at LehmanCenter.orgSponsored by: Lehman Center!Support the show

Katie sits down with the man behind Hip Hop's Baby pictures Joe Conzo JR. In an article published on October 4, 2005 by The New York Times, reporter David González heralded Joe Conzo Jr as “The Man Who Took Hip-Hop's Baby Pictures.” The long and perilous journey of his photographic images had finally captured the gaze of mainstream America. Born and raised in the Bronx, Joe Conzo Jr. acquired a passion for photography as a young boy attending the Agnes Russell School on the campus of Columbia University. He continued his formal artistic education at the School of Visual Arts (NYC). During his early development, “Joey” bore witness to the volatile state of South Bronx community activism, and to the vanguard world of New York's Puerto Rican cultural music scene. On any given day, he could find himself at the heels of his grandmother, the late Dr. Evelina López Antonetty (a dynamic leader and passionate activist ), engaged in a defiant act of civil disobedience for the educational rights of minorities in the South Bronx. On another day, he'd find himself clinging to the shirt-tail of his father, Joe Conzo Sr. (longtime confidant and biographer for the legendary orchestra leader and musician the late Tito Puente), behind-the-scenes with the giants of Latin music like Machito, Charlie Palmieri, Johnny Pacheco and Ray Barretto. These two vivid realities would have a profound effect on how Joey viewed his environment through the lens of a camera. Like most modern photographers, Joey has undergone the transition from film to digital. His work from behind the lens continues to reflect the main tenets of Hip Hop culture. As he once said, “Just because of a camera…,” he has traveled the USA coast-to-coast and has crossed oceans to parts of the world he thought he would never see, and everywhere he went the unfathomable spread of Hip Hop music, culture and dance was irrefutable. Joe Conzo Jr. continues to lecture, meet with young people, exhibit his work, and attend international events. Did you know that his father was the historian for Hector Lavoe? Check us out Monday's at 10am on our website https://www.rawrrzonenyc.com/ Youtube / Twitch @rawrrzonenyc Listen to us on El-Gin Sound Radio Tuesday at 8pm https://live365.com/station/El-gin-Sound-Radio-a19625 Listen to us Wednesday's at 8am on Puso 82.3FM https://live365.com/station/PUSO-82-3-FM-a88820 Support our Giveback for Shawn by making a donation below https://www.gofundme.com/f/give-back-for-shawn Follow us Katie / Ivy Twitter / Instagram / Tiktok : @iamivy.xo_ Katie Kay Photography www.katiekayphotography.com www.facebook.com/photosbykatiekay https://www.instagram.com/katiekay_photographyxo Ivy Productions Twitter @ivyproductions1 https://facebook.com/ivyproductions Follow Rawrrzone Everywhere https://linktr.ee/Rawrrzonenyc Tiktok @rawrrzonenyc Check out our Rawrrzone Picks https://open.spotify.com/playlist/22uou4E2jqStyU3vVJzLgU?si=5GYOHhVoT9a5P1qsUd5JaQ&app_destination=copy-link&pt_success=1&nd=1 #Photographers #nyc #joeconzo #nikon #music #NYC #phototalk #respecttheshooter #hiphop #hiphop50 --- Support this podcast: https://podcasters.spotify.com/pod/show/rawrr-zonenyc/support

Katie sits down with the man behind Hip Hop's Baby pictures Joe Conzo JR. In an article published on October 4, 2005 by The New York Times, reporter David González heralded Joe Conzo Jr as “The Man Who Took Hip-Hop's Baby Pictures.” The long and perilous journey of his photographic images had finally captured the gaze of mainstream America. Born and raised in the Bronx, Joe Conzo Jr. acquired a passion for photography as a young boy attending the Agnes Russell School on the campus of Columbia University. He continued his formal artistic education at the School of Visual Arts (NYC). During his early development, “Joey” bore witness to the volatile state of South Bronx community activism, and to the vanguard world of New York's Puerto Rican cultural music scene. On any given day, he could find himself at the heels of his grandmother, the late Dr. Evelina López Antonetty (a dynamic leader and passionate activist ), engaged in a defiant act of civil disobedience for the educational rights of minorities in the South Bronx. On another day, he'd find himself clinging to the shirt-tail of his father, Joe Conzo Sr. (longtime confidant and biographer for the legendary orchestra leader and musician the late Tito Puente), behind-the-scenes with the giants of Latin music like Machito, Charlie Palmieri, Johnny Pacheco and Ray Barretto. These two vivid realities would have a profound effect on how Joey viewed his environment through the lens of a camera. Like most modern photographers, Joey has undergone the transition from film to digital. His work from behind the lens continues to reflect the main tenets of Hip Hop culture. As he once said, “Just because of a camera…,” he has traveled the USA coast-to-coast and has crossed oceans to parts of the world he thought he would never see, and everywhere he went the unfathomable spread of Hip Hop music, culture and dance was irrefutable. Joe Conzo Jr. continues to lecture, meet with young people, exhibit his work, and attend international events. Did you know that his father was the historian for Hector Lavoe? Check us out Monday's at 10am on our website https://www.rawrrzonenyc.com/ Youtube / Twitch @rawrrzonenyc Listen to us on El-Gin Sound Radio Tuesday at 8pm https://live365.com/station/El-gin-Sound-Radio-a19625 Listen to us Wednesday's at 8am on Puso 82.3FM https://live365.com/station/PUSO-82-3-FM-a88820 Support our Giveback for Shawn by making a donation below https://www.gofundme.com/f/give-back-for-shawn Follow us Katie / Ivy Twitter / Instagram / Tiktok : @iamivy.xo_ Katie Kay Photography www.katiekayphotography.com www.facebook.com/photosbykatiekay https://www.instagram.com/katiekay_photographyxo Ivy Productions Twitter @ivyproductions1 https://facebook.com/ivyproductions Follow Rawrrzone Everywhere https://linktr.ee/Rawrrzonenyc Tiktok @rawrrzonenyc Check out our Rawrrzone Picks https://open.spotify.com/playlist/22uou4E2jqStyU3vVJzLgU?si=5GYOHhVoT9a5P1qsUd5JaQ&app_destination=copy-link&pt_success=1&nd=1 #Photographers #nyc #joeconzo #nikon #music #NYC #phototalk #respecttheshooter #hiphop #hiphop50 --- Support this podcast: https://podcasters.spotify.com/pod/show/rawrr-zonenyc/support

Er begleitete Charlie Parker und Dizzy Gillespie, wurde als Haus-Perkussionist führender Jazz-Label zum meistaufgenommenen Conga-Spieler des Jazz und ein Star der Salsa. Ray Barrettos fester Handschlag bescherte ihm den Spitznamen "Mr. Hard Hands". Von Karsten Muetzelfeldt.

Cidtronyck goes on a sonic adventure with chill grooves by Chico DeBarge and Ekkah, dextrous sample breakdowns, Malian vibes from Oumou Sangaré and Latin heat by Ray Barretto and Setenta. Plus a Paradise Garage sureshot from Fonda Rae, Mofak's infectious "Body Move", and a royal salute to Mark the 45 King. View the full playlist for this show at https://www.wefunkradio.com/show/1182 Enjoying WEFUNK? Listen to all of our mixes at https://www.wefunkradio.com/shows/

We take the time machine back sixty years to 1963, a remarkable year for Latin Jazz, Tropical, and early Rock and Roll! Featured artists include Ray Barretto, Celia Cruz, Cal Tjader, Machito, Mongo Santamaria, Eddie Palmieri, El Gran Combo, Palito Ortega, Sylvia Telles, Roberto Carlos and many more.

September is Hispanic Heritage Month, and throughout the month, we'll be spotlighting the contributions Avenue musicians made to Latin Music. On this week's show, we'll share Latin-inspired music from the iconic Naptown trombonist J.J. Johnson. Throughout his career, Johnson recorded with prominent Latin percussionists, including Sabu Martinez, Mongo Santamaria, Patato Valdes, and Ray Barretto. Johnson also appeared on landmark Latin jazz recordings, including Dizzy Gillespie's “Afro”, and Kenny Dorham's “Afro-Cuban”.

This week on Echoes of Indiana Avenue, we'll celebrate Hispanic Heritage Month by exploring the Latin sound of Wes Montgomery. Throughout his career, Wes incorporated Latin music into his sound — performing music by Latin American composers and recording with legendary Latin percussionists, including Willie Bobo, Ray Barretto, and Candido.

This week we celebrate FANIA RECORDS, the legendary label that brought us legends of Salsa and Boogaloo including the Fania All-Stars, Eddie Palmieri, Ray Barretto, Cheo Feliciano, Ismael Rivera and countless others. 

Satoshi Takeishi is another old friend, who I'm happy to have here! Satoshi is a great drummer, percussionist, and composer. He has played, toured and recorded with lots of great musicians, including Ray Barretto, Carlos ‘Patato' Valdes, Eliane Elias, Marc Johnson, Eddie Gomez, Randy Brecker, Dave Liebman, Anthony Braxton, Mark Murphy, Herbie Mann, Paul Winter Consort, Rabih Abu Khalil, Toshiko Akiyoshi Big Band. Currently, he is working on several interesting projects, which we talk about in the interview, including working with his wife, Shoko, who is a fine pianist and composer. Satoshi and I met at Berklee in 1982. It's interesting that we're still having the same conversation all these years later. Come and join the conversation. Satoshi TakeishiI am available for online or in person study. Reach out to me at: keith@keithdavismusic.com Keith Davis Music

It's hot out here! Hope everyone is staying cool in this climate change madness. Here's some salsa-related tunes to rock with the windows down or the AC blowing. Featuring (not necessarily in order): Bobby Matos, Fania All Stars, Latin Tempo, Ray Barretto, La Monumental, Joe Cuba Sextet, Orquestra La Corporation Latina, Eddie Palmieri, Rafael Solano, Mongo Santamaria

New York is a Latin music mecca, and we highlight artists from the Big Apple who put the city on the musical map! Featured artists include Ray Barretto, King Changó, Rubén Blades, Alexia Bomtempo, Tito Puente, Native Sun, Joe Bataan, Pacha Massive, Hip Hop Hoodíos, Salt Cathedral and many more.

La séquence des nouveautés débute avec l'ivoirien Ariel Sheney, dont le nouvel album Mutation est sorti le 9 février 2023. Et la séquence gold sera consacrée à Ray Baretto, Orchestra de la Luz et Africando. Dans la séquence Génération Consciente, les auditeurs prennent la parole à travers des notes vocales envoyées via Whatsapp au 00336.37.42.62.24. (Rediffusion) Retrouvez notre playlist sur Deezer : Ariel Sheney - Sweet life Mia Guisse - La vie est belle Meryl - Jack Sparrow Ma'Body - Miziki JamC feat Jay Dino - Namenala Andreia - Muda Jahlys - DBG Burna Boy - Common person Zola feat Tiakola - Toute la journée Imen ES feat Soprano - Si baba Lydol feat Cysoul - Ndolo bobé Ray Barretto - Guarare Orchestra de la Luz - Salsa caliente Del Japon Africando - Yay boy

April 29th is Ray Barretto's birthday, so to celebrate him today we will be taking a closer look at his 1979 album Rican Struction. The album came after a difficult period in Barretto's artistic career and personal life. In 1972 Barretto released his first Latin Jazz album titled The Other Road, however it received very poor reception. The next year, 1973, 5 of the musicians from Barretto's band left to form Tipica 73 and two years later ray would suffer a terrible accident that left him unable to play for several years. In many ways Rican Struction was a comeback. The album had a strong percussive root while being experimental and very cutting edge. Barretto would record tunes such as 'Al Ver Sus Campos' in honor of don Pedro Albizu Campos, the classic bolero 'Piensa En Mi' and 'Adelante Siempre Voy' which signified Barretto's will to move forward in the face of adversity. Listen and learn about all this and more. Album: Rican Struction - Ray Barretto 1979 --- Send in a voice message: https://podcasters.spotify.com/pod/show/anani-kaike/message

This week sees Pete celebrate the birthdays of Mica Paris, Cuba Gooding Snr, Tammi Terrell and Ray Barretto, with new music coming from Sababa 5, Angels Of Libra, Apollo Suns, plus 2 each from both The Allergies and also from The Ironsides as both artists push on with new albums. Tune into new broadcasts of the Superfly Funk & Soul Show, LIVE, Friday from 10 AM - 12 PM EST / 3 - 5 PM GMT.For more info visit: https://thefaceradio.com/superfly-funk-and-soul-show///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

This week: Reggae and Soul with Salsa on the side. Roots vibes with a tribute to Cedric Brooks in the first hour, Fania goodness with lots of Ray Barretto and Willie Colon music in the second hour. Tune into new broadcasts of Coconut Grove, LIVE Tuesday from 8 - 10 PM EST / 1 - 3 AM GMT (Wednesday)For more info visit: https://thefaceradio.com/coconut-grove///Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

Hola mi gente! Welcome to Siempre Pa'lante! Always Forward. I'm your host, Giraldo Luis Alvaré. Gracias for listening. In this episode, our guest is a Badass Bori from the Boogie Down Bronx. A self-taught DJ who moves the crowd from el corazón. Her relentless pursuit of perfecting her craft is the reason why she's one of the best to do it. A champion of the people. Always moving forward. Pa'lante como un elefante. From park jams to arenas, she brings that sofrito to every mix leaving the people wanting more. please welcome, two-time DMC US Champion, the Queen of the 1's & 2's, DJ Perly. Gracias for listening. Don't forget to rate, review, follow, subscribe, like and share. Check out my Linktree for more info. Pa'lante! https://linktr.ee/sp.alwaysforward DJ Perly Artist DJ Perly site | Linktree | YouTube | Instagram | Twitter | Facebook | Soundcloud DJ Perly site - https://www.djperlymusic.com/ Linktree - https://linktr.ee/djperly YouTube - https://www.youtube.com/djperly IG - https://www.instagram.com/djperly/ Twitter - https://twitter.com/djperly FB - https://www.facebook.com/DJPerly/ Soundcloud - https://soundcloud.com/djperly Frosted Perlz Snow Vid - https://www.youtube.com/watch?v=2kwnH-b_vtg 2017 DMC USA Finals - https://youtu.be/mD6ws_c9nXo 2022 DMC USA Finals - https://youtu.be/-T5r7kfJo-o NOTABLE MENTIONS DJ Perly, Badass Bori, Puerto Rico, Technics, DMC USA National Championship, Spanish Harlem, Fania All-Stars, Johnny Pacheco, Ray Barretto, La Lupe, Héctor Lavoe, Willie Colón, Marc Anthony, Studio 54, Elvis, Motown, Diana Ross, The Beatles MTV, TRL, Hot 97, Hip-Hop, Salsa, Park Jams, Native New Yorker, Odyssey, Frankie Avalon, Can't Take My Eye's Off You, Deee-lite, Groove is in the Heart, Q-Tip, Bootsy Collins, De La Soul, Trugoy the Dove, 3 Feet High and Rising, Delorean, Wu-Tang, A Tribe Called Quest, J Dilla, Lady Gaga, Madison Square Garden, MSG, EDM, Mark Ronson, A-Trak, Aaron LaCrate, Milkcrate Athletics, Kobe Bryant --- Support this podcast: https://anchor.fm/spalwaysforward/support

Bobby Sanabria is an eight time Grammy-nominee as a leader. Known as a drummer, percussionist, composer, arranger, conductor, documentary film producer, educator, activist, and bandleader, his versatility as both a drummer and percussionist, from small group to big band, has become legendary. A native son of the South Bronx born to Puerto Rican parents, he has performed and recorded with every major figure in the world of Latin jazz and salsa, from the founder of the Afro-Cuban/Latin jazz movement Mario Bauzá, to Tito Puente, Mongo Santamaría, Dizzy Gillespie, Chico O'Farrill, Ray Barretto, Candido, to Larry Harlow, Ruben Blades, Celia Cruz, and jazz luminaries as diverse as Henry Threadgill, Charles McPherson, Randy Brecker, Joe Chambers, Jean Lucien, The Mills Brothers, and others. DRUM! Magazine named him Percussionist of the Year (2005); he was named Percussionist of the Year by the Jazz Journalists Association in 2011 and 2013. In 2006, he was inducted into the Bronx Walk of Fame. He was a recipient of the 2018 Jazz Education Network (JEN) LeJENS of Jazz Lifetime Achievement Award for his work as a musician and educator. In 2008 Congressman Dennis Kucinich honored his work as a musician and educator by reading his name into the Congressional Record and in 2018 the U.S. Congressional Black Caucus honored him as a musician, educator. Every single one of his big band recordings, seven in total, have been nominated for Grammys. His 2018 recording, ‘West Side Story Reimagined,' reached #1 on the national Jazz Week radio charts, was nominated for a 2018 Grammy, and won the prestigious 2019 Record of The Year Award from the Jazz Journalists Association. Partial proceeds from sales of this double CD went to the Jazz Foundation of America's Puerto Rico Relief Fund for musicians. He is the Co-Artistic Director of the Bronx Music Heritage Center and the forthcoming Bronx Music Hall. His lifetime dedication to spreading the history, culture, of jazz and Latin jazz to the general public as a performer, as well as educating a new generation of players, composers, arrangers, has no parallel. A member of Max Roach's legendary M'BOOM percussion ensemble, he is on the faculty of the New School (his 26th year) and was on the faculty of NYU, his alma mater Berklee, and was on the faculty of the Manhattan School fo Music for 20 years where he conducted/taught the Afro-Cuban Jazz Orchestra receiving two Grammy nominations for recordings he did with directing his students. Sanabria is also the on air host of the Latin Jazz Cruise on WBGO FM and wbgo.org, the number one jazz station in the nation. Lehman College in NYC has recently awarded Maestro Sanabria an Honorary Doctorate. His new double CD, which will be released on May 12 2023, is a double CD with his Multiverse Big Band entitled VOX HUMANA. Recorded live at Dizzy's Club-Cola in NYC, it features three of jazz's finest contemporary vocalists - Janis Siegel from the Manhattan Transfer, blues and jazz Queen Antoinette Montague, and multi-lingual powerhouse Jennifer Jade Ledesna. In this episode, Bobby talks about:    His MULTIVERSE Big Band    Seeing Tito Puente perform at 12 years old    The new record - VOX HUMANA    Inspiring the next generation    The history of music as related to the history of America    Afro-cuban rhythms and their origins

Chaque vendredi, l'émission est consacrée à deux étapes de la musique.  La séquence des nouveautés débute avec l'ivoirien Ariel Sheney, dont le nouvel album Mutation est sorti le 9 février.Et la séquence gold sera consacrée à Ray Baretto, Orchestra de la Luz et Africando. Dans la séquence Génération Consciente, les auditeurs prennent la parole à travers des notes vocales envoyées via Whatsapp au 00336.37.42.62.24. Retrouvez notre playlist sur Deezer : Ariel Sheney - Sweet life Mia Guisse - La vie est belle Meryl - Jack Sparrow Ma'Body - Miziki JamC feat Jay Dino - Namenala Andreia - Muda Jahlys - DBG Burna Boy - Common person Zola feat Tiakola - Toute la journée Imen ES feat Soprano - Si baba Lydol feat Cysoul - Ndolo bobé Ray Barretto - Guarare Orchestra de la Luz - Salsa caliente Del Japon Africando - Yay boy

Tonight on Jazz After Dark: vocals by Louis Armstrong, then cool jazz, soul jazz, and lots of rhythm.  Instrumentals by Gerry Mulligan & Paul Desmond, Chico Hamilton, Erroll Garner, Herbie Mann, Ray Barretto, Ramsey Lewis, Billy Butler, and the Jonny Lewis Quartet.

Tonight on Jazz After Dark: vocals by Louis Armstrong, then cool jazz, soul jazz, and lots of rhythm. Instrumentals by Gerry Mulligan & Paul Desmond, Chico Hamilton, Erroll Garner, Herbie Mann, Ray Barretto, Ramsey Lewis, Billy Butler, and the Jonny Lewis Quartet.

We take the time machine four decades back to 1982, a year that brought us some true gems of Latin funk, rock, salsa and Brazilian music. Featured artists include Ray Barretto, Gal Costa, Mandrill, Johnny Ventura, Sonora Ponceña, Milton Nascimento and Luis Alberto Spinetta.

Known as one of the most eclectic trumpet players in New York City, Bailey is an in-demand musician and teaching artist on call for everything from traditional jazz to R&B and Pop, to classical. He became a member of The Buddy Rich Band while still in college, and his career has included long-running gigs with Ray Charles, master conguero and bandleader Ray Barretto, The Woody Herman Orchestra, and Frank Sinatra, Jr. His work with Latin Jazz innovator Arturo O'Farrill won two Grammy awards for the albums The Offense of the Drum and Cuba - The Conversation Continues. He has played on more than 70 albums and, as a jazz educator, has taught at the University of Miami and Florida International University. A trumpet prodigy, Bailey's spectacular gifts began to be noticed as a high school musician in 1984 when DownBeat Magazine cited him in its annual Student Music Awards for outstanding performances in both the classical and jazz trumpet categories, noting “Shades of Wynton!” The same year, he was a finalist in the National Foundation for Advancements in the Arts (NFAA) Arts Recognition and Talent Search, along with Donny McCaslin and Bill Charlap; and won the National Association of Jazz Educators' Youth Talent Contest. Later, as a senior at the Eastman School of Music, he won DownBeat's Best Instrumental Soloist award. Looking back, he says, “It all started for me when I discovered Clifford Brown. Clifford was the centerpiece of the golden era of jazz trumpet, and a great place to begin my lifelong study of the instrument. He was influenced by everyone before him, and became an influence on everyone after.” Bailey, who continues to teach privately, believes that educating the next generation of musicians is essential for any artist. “In American culture, where the arts are often ignored or deemphasized in both schools and the mainstream media, it is up to us, the artists, to inspire an appreciation for great art,” he says. “By keeping performance standards as high as possible and sharing our devotion with others, especially children, we enrich countless lives.” In this episode, John shares his background, education, and musical journey.  If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Uno de los grandes éxitos de la Orquesta de Ray Barretto fue vocalizado por el puertorriqueño Tito Gómez con coros de Rubén Blades, canción incluida en el álbum “Barretto” de 1975, la cual lleva por título “Guararé”. Así la escuché yo… “Guararé” de Ray Barretto con Tito Gómez y Rubén Blades es en realidad una nueva versión de la canción que hiciera éxito en Cuba, Los Van Van de Juan Formell, quienes la grabaron en 1974 bajo el título “El guararey de Pastora”. “El guararey de Pastora” es una composición del cubano Roberto Bauté Sagarra. Y han sido varios los artistas que han realizado versiones de esta canción. ¿Y tú, conocías el origen cubano de esta canción? Autor: Roberto Bauté Sagarra (cubano) - Atribuido a Pedro Speek (cubano) - Atribuido erróneamente a Ray Barretto Guararé - Ray Barretto (1975) "Barretto" álbum (1975) Cantan: Rubén Blades (panameño) & Tito Gómez (nombre real Humberto Luis Gómez Rivera, puertorriqueño) Ray Barretto (nombre real Raymond Barretto Pagán, estadounidense) El guararey de Pastora - Juan Formell y Los Van Van (1974) "Juan Formell y Los Van Van" álbum (1974) Ritmo: Changūí Canta: Armandito Cuervo (cubano) El guararey de Pastora - Changūí de Guantánamo (1998) “Changūí - Grupo Changüí & Estrellas Campesinas” álbum (1998) ___________________ “Así la escuché yo…” Temporada: 6 Episodio: 18 Sergio Productions Cali – Colombia Sergio Luis López Mora

As we finally come to the end of our series on Afro-Psychedlia, Tim and Jeremy bring us back to New York, David Mancuso and the dancefloor of The Loft via Puerto Rico, Salsa and the Latin influence on the city in the early '70s. We hear about the mighty Fania Records - a classic example of the sort of small labels who found a commercial audience while still releasing amazing music - and the band they fostered, the Fania All-Stars. We also spend time exploring the catalog of Ray Barretto, who's track Acid featured at the very beginning of the LITM project. Jeremy and Tim also interrogate the idea of New York as a 'melting pot', consider the construction of the Nu Yorican identity, and contrast it to the other cultural and musical formations of the late '60s we've heard about in this series. We're also introduced to Boogaloo, 'the Watusi', and close with Eddie Palmieri's fantastic, epic track 'Un Día Bonito' - a worthy place to end for now. We'll be taking a bit of a summer break and back with a new series in the Autumn - but keep an eye on the feed, we'll be throwing out some extra bits for patrons to tide you over. Produced and edited by Matt Huxley. Tune in, Turn on, Get Down! Become a supporter of the show for as little as £3pcm by visiting www.Patreon.com/LoveMessagePod Tracklist: Estrellas de Chocolate - Fania Pacheco - Cañonazo Fania All Stars - Guatacando (Live at the Red Garter) Joe Cuba - Bang Bang Ray Barretto Y Su Charanga Moderna – El Watusi Ray Barretto - Despójate Ray Barretto - Acid Ray Barretto - Tin Tin Deo Bobbi Humphreys - Harlem River Drive Ocho - Oriza Eddie Palmieri - Un Día Bonito

Los raperos estadounidenses Coolio y L.V. se anotaron un éxito mundial 1995 con su canción “Gangsta's Paradise”. El tema musical de Coolio y L.V. utiliza como base melódica una canción coescrita por gran cantautor invidente estadounidense Stevie Wonder, quien la presentó en 1976 en su álbum “Songs in the key of life” con el título “Pastime Paradise”. Así la escuché yo… El cantante y comediante Weird Al Yankovic realizó una parodia de esta canción en 1996, la cual tituló “Amish Paradise”. El salsero Ray Barreto ya había realizado una versión de esta canción 15 años antes junto a Tito Puente y Charlie Palmieri para el álbum “La cuna” de 1981, vocalizada por Willy Torres bajo el título “Pastime Paradise”. Como dato curioso, hay que decir que la versión de Coolio y L.V. se usó como banda sonora de la película “Dangerous minds “(Mentes peligrosas) de 1996, protagonizada por la actriz Michelle Pfeiffer como la profesora LouAnne. Además hay que destacar que “Gangsta's Paradise” alcanzó el número 1 en las listas de Estados Unidos, y en el Reino Unido siendo el primer sencillo de rap en vender un millón de copias. ¿Y tú conocías el origen de esta canción? Autor: Stevie Wonder (estadounidense) - Adaptación: Artis Ivey Jr. & Doug Rasheed & Larry Sanders (para “Gangsta's Paradise de Coolio y L.V. (estadounidenses) - Adaptación: Al Yankovic de la parodia “Amish Paradise” (estadounidense) Gangsta's Paradise - Coolio & L.V. (1995) “Gangsta's Paradise” álbum (1995) "Mentes peligrosas - Movie Soundtrack” álbum (1995) Coolio (nombre real Artis Leon Ivey Jr., estadounidense) L.V. (nombre real Larry Sanders, estadounidense) Pastime Paradise - Stevie Wonder (1976) “Songs in the key of life” álbum (1976) Stevie Wonder (nombre real Stevland Hardaway Morris, estadounidense) Amish Paradise - Weird Al Yankovic (1996) parodia “Bad hair day” álbum (1996) Weird Al Yankovic (nombre real Alfred Matthew Yankovic, estadounidense) Pastime Paradise - Ray Barretto (1981) “La cuna” álbum (1981) Canta: Willy Torres (nombre real William Torres, estadounidense) Ray Barretto (nombre real Raymond Barreto Pagán, estadounidense) ___________________ “Así la escuché yo…” Temporada: 5 Episodio: 71 Sergio Productions Cali – Colombia

Puerto Rico Jazz con Wilbert Sostre @ Brave New Radio WPSC 88.7 FM, William Paterson University, New Jersey.@TuneIn Radio! http://tun.in/seoPJComenzamos el mes de mayo revisitando algunos de los mejores momentos de los Boricuas en el Puerto Rico Jazz Fest en la década de 1990. Música de Eddie Palmieri, Giovanni Hidalgo, Tito Puente, Ray Barretto, Ralph Irizarry, Batacumbele y Tropikalia.Puerto Rico Jazz con Wilbert Sostre.Todos los Domingos 8am (Puerto Rico) @ Brave New Radio WPSC 88.7 William Paterson University, New Jersey@TuneIn Radio! http://tun.in/seoPJ Domingos 6pm @ Radio Prócer 1380AM, 98.5FM, Barranquitas, Puerto Rico. www.radioprocer1380.como en TuneIn http://tun.in/seoKu*Diseño de logo de Puerto Rico Jazz por @Shaney Lara

Welcome to JazzPianoSkills, I'm Dr. Bob Lawrence. It's time to Discover, Learn, and Play jazz piano! Today, you are in for a real treat! I am joined by John Di MartinoJohn Di Martino is a composer, arranger, jazz pianist, producer, and educator, based in New York City. He is described as a "shape-shifter", for his creativity across musical genres. John composed the music for the documentary series: “A Glimpse Of Paradise"   (Prospera Medienproduktion) aired on Europe's Arte Channel, and music for the video games: "Batman: The Telltale Series"John Di Martino's latest CD's are: “Passion Flower” (the music of Billy Strayhorn ), featuring Raul Midon, Eric Alexander, Boris Kozlov, and Lewis Nash, and: “Mazel” (Yiddish Songs, re-imagined ), with Janis Siegel and Cantor Daniel Krammer (https://mazelthealbum.com/)John has recorded numerous CDs on the High Note and Venus Records (Japan) labels as a leader, and with Freddy Cole, Gloria Lynn, Houston Person, and Nicki Parrott.  John's discography includes Grammy-nominated CD'S: ”Love" (Issac Delgado), "Freddy Cole Sings Mr. B"  and "Live And In Clave" (Bobby Sanabria). John Di Martino was a long time member of Ray Barretto's "New World Spirit",  He is a featured arranger and pianist on many of Ray Barretto's recordings including the grammy-nominated, CD: "Contact" and "Portraits In Jazz And Clave"  (featuring James Moody, Kenny Burrell, Joe Lovano, Steve Turre, and Eddie Gomez). Born in Philadelphia, Pa in 1959, John studied with Jimmy Amadie, Lennie Tristano, and Don Sebesky.Discogs Artist Page"John's soul and being come straight through to his music, the jazz world needs him! " - Sheila Jordan (NEA Jazz Master)"John Di Martino is one of my absolute personal favorite pianists of today. His music is an honest outpouring of light! "- Benny Green (Jazz Pianist)"John di Martino's middle name should be 'taste', for he conveys that quality in both solo and supportive roles, in jazz as well as Latin music." - Ray Barretto (NEA Jazz Master)"John DiMartino is a first-call veteran of the New York City jazz scene. This multi-recorded artist has long been a favorite of singers for his gigantic ears and intuitive, uncluttered playing—rare gifts that also enhance any instrumentalist he accompanies or arranges. DiMartino is a fine musician who sounds less interested in technical pyrotechnics than in mining a melody for its original intent—whether he's arranging or playing, he lets the essence of a song speak for itself. "- Dr. Judith Schlesinger (All About Jazz)Support the show

Ray Barretto was born on April 29 1929 in El Barrio, New York. His childhood wasn't an easy one, as his father left the family when Barretto was just 4 years old and returned to Puerto Rico. Barretto's mother moved the family to the Bronx and struggled as a single mother to raise Ray and his 2 siblings, yet she was still able to instill a love of music in Ray. From a young age Ray showed an interest in percussion, banging on pots and pans. In 1946, at the age of 17, he joined the Army and while stationed in Germany heard the seminal song, 'Manteca'. Ray knew he wanted to be a musician. Upon his return he joined jam session and perfected his sound. He soon found work with José Curbelo. Soon after, Ray joined the Tito Puente Orchestra at the recommendation of Santos Colon (former singer for Jose Curbelo). After four years with the Puente Orchestra, he became a house musician for Prestige, Blue Note and Riverside labels. Barretto started his band, Charanga La Moderna in 1962 and had his first big hit, 'El Watusi'. In 1967, Ray joins the Fania roster and becomes part of the Fania All Stars upon their founding. After success with his Salsa albums, Ray decided to record a Latin Jazz album in 1972, however, unfortunately it was not well received. The following years were filled with turbulence in Barretto's life as 5 members of his orchestra left the band form Tipica 73. Just two years later, Ray was in a car accident and could not play for several years. Despite these hardships, Ray came back better than ever with an album titled, 'Rican-Struction'. In the early 90's Ray again decides to pursue "the other road" again and forms 'Ray Barretto & New World Spirit'. This time he enjoyed great success his Latin Jazz ventures. Ray joined the ancestors on February 17, 2006, at the age of 76. He has left an immense legacy and impact. Hear about all this and more in this week's celebration of Ray Barretto on what would have been his 93rd birthday. Follow me @voiceofthewaterlily Leave a comment and let me know what you think! Aurora Flores' interview with Ray Barretto Songs Ancestral Messages Hot Hands 1993 The Other Road The Other Road 1972 The Lucretia the Cat The Other Road 1972 Bomba-Riquen Hot Hands 1993 Autumn Leaves my summertime 1995 New World Spirit Hot Hands 1993 The Summer Knows Contact! 1998 Time Was-Time Is Time Was-Time Is 2005 Triangle Handprints 1991 Cancion Pa'l Yunque Hot Hands 1993 Beautiful Love Hot Hands 1993 On a Sunday Afternoon Hot Hands 1993 --- Send in a voice message: https://anchor.fm/anani-kaike/message

Jimmy Delgado is best known for his timbale playing, however he is well versed in all elements of Latin percussion. With a career spanning over 5 decades, he has played with Ray Barretto's Big Band, Eddie Palmieri, Tito Puente, Harry Belafonte, and many others. He has a discography to long to mention, but just released the new single “Algun Lugar Bajo El Sol” this past February, and has a new album "A Mis Mentores...To My Mentors" just out this March.

Episode 73 of the Burning Ambulance podcast features an interview with pianist Cameron Graves.I have a single subject we're going to be exploring through all ten episodes that I'm going to be presenting this season, and that subject is fusion. Fusion means much more, I think, than just the music that most people probably think of when they hear the word. Of course, it immediately brings to mind bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex-members of Miles Davis's band, playing extremely complex compositions that blurred the lines between progressive rock and jazz, while still leaving room for extended improvisation. But if you think of fusion as a process rather than a style, the discussion gets a lot more interesting. Because then you can pull in the music being made by Yes, King Crimson, Emerson, Lake & Palmer, Santana, etc., all of which gets filed under just plain rock. And you can talk about the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All Stars were making at the same time. Or the really adventurous funk and R&B that was being made by Sly and the Family Stone, Parliament, Funkadelic, the Isley Brothers, Earth, Wind & Fire, the Ohio Players, Slave, which then leads you to jazz-funk names like George Duke, Billy Cobham, the Crusaders, Donald Byrd, Freddie Hubbard, Eddie Henderson, and of course Mwandishi and the Headhunters. This is how I prefer to think about fusion. It's not just a specific, narrow slice of music, it's the sound of walls being knocked down across the landscape.So that's the kind of philosophical starting point for all the interviews I'm doing this season, and that's what makes Cameron Graves such a perfect person to talk to. Because he's a guy who crosses all sorts of musical boundaries. He's had a lot of classical music training, as I learned during this conversation, he spent several years studying Indian music, and obviously he's got a deep jazz background starting out as a member of the Young Jazz Giants with Kamasi Washington and the Bruner brothers, Stephen aka Thundercat on bass and his brother Ronald on drums, which evolved into the West Coast Get Down and all the albums that they've made over the last half dozen years or so. But Cameron's also a lifelong metalhead — in fact, he played keyboards and guitar in Wicked Wisdom, the nu-metal band fronted by Jada Pinkett Smith in the early 2000s. So he's not only toured the world with Kamasi Washington and with Stanley Clarke, because he's a member of Clarke's band, too — he also played Ozzfest.And here's an interesting connection: the drummer for Wicked Wisdom was Philip “Fish” Fisher, the drummer for Fishbone. And when you talk about fusion as the kind of big-tent/umbrella sort of conceptual thing that I'm talking about, you have to include them in there. They mixed funk and hard rock and punk and metal and ska and reggae and jazz into one big swirl, particularly on their most ambitious album, 1991's The Reality of My Surroundings. There's all kinds of music on there, from Bad Brains-style hardcore to Last Poets-style abstract jazz poetry. And of course they were the best live band on the planet from the mid '80s to the early '90s.Fishbone were never as big as they deserved to be, but they were absolute heroes in L.A., and they were a huge inspiration to all kinds of open-minded musicians who came up in their wake. Last year, I interviewed Terrace Martin, who's an alto saxophonist affiliated with the West Coast Get Down but is also a hip-hop producer who's worked with Snoop Dogg for years — in fact, he put together a live band for Snoop in about 2010 that included Kamasi Washington, Thundercat, Ryan Porter, who's been on this podcast before, and other people from their circle as well. Anyway, when I talked to Martin, he expressed a lot of love for Fishbone. And he's now a member of Herbie Hancock's band, in addition to being part of R+R=NOW, a group that also includes Robert Glasper and Christian Scott. And Thundercat and his brother, Ronald Bruner Jr., were both members of Suicidal Tendencies, playing straight-up punk and thrash, for years. There are so many connections between jazz and funk and metal, when you look for them, and bands that combine them in various really fascinating ways. It's all fusion, in the broad sense.Another thing that's really interesting, to me anyway, is that there are so many direct connections between the West Coast Get Down guys and the Seventies fusion artists. Like I said, Cameron Graves is in Stanley Clarke's band. Terrace Martin is in Herbie Hancock's band. Ronald Bruner Jr. played with George Duke before Duke died. Thundercat covered a George Duke song on one of his albums, and had Steve Arrington from Slave on his most recent record. It really is like they're the next generation of fusion. And we talk about all this and a lot more in the interview you're about to hear. This was a really fun conversation that went in some very interesting directions, and I hope you enjoy listening to it.Music in this episode:Cameron Graves, “Planetary Prince” (from Planetary Prince)Cameron Graves, “The Life Carriers” (from Seven)Cameron Graves, “Red” (from Live From the Seven Spheres)

Opening - usual suspects - Paul Revere & the Raiders - Steppin' out [Columbia 1965] 45 rpm* Bed - Stones - 2120 S. Michigan AveSet 1        A Hard Way To Go- Goree Carter & his Hep Cats - Rock awhile [Freedon 1949] 78 rpm- Savoy Brown - A hard way to go* Ray Barretto - 007 theme- Sir Lattimore [Brown] - Shake & Vib-er-ate! [Sound Stage 7 1967] 45 rpm* City Bar-B-Q- Johnny Guitar Watson - Looking back [Escort 1961] 45 rpm- Kaleidoscopr - I found out [Epic 1968] LP - Beacon From Mars* BedSet 2       Be Bop Doggy Bag- Lamplighters - Be bop wino [Federal 1953] 78 rpm- Bobby Parker -  Watch your step [V-Tone 1961] 45 rpm- Slim Allan 3- Doggy Bag [Pop Angel 2001] 45 rpm- Birds - No good without you [Decca 1965] 45 rpm * BedSet 3       Sombrero's & Jazz Thangs- The Nazz - Open my eyes [SGC 1968] 45 rpm- The Nice - Sombrero Sam [Castle / Sancuary 2002] CD - Swedish Radio Sessions 1967- Music Machine - The eagle never hunts the fly [Original Sound 1967] 45 rpm- Ultimate Spinach - Jazz thing* BedSet 4      Go Go Girls & War- Freddie Robinson - Go Go Girl [Checker 1966] 45 rpm- Mendoza Line - Let's not talk about it [Cooking Vinyl 2004] LP - Fortune- The Move - Please don't make my baby blue [A&M 1969] LP - Shazam!- Charles Lloyd & the Marvels - Masters of War [Blue Note 2021] LP - Tone Poem

This season on the Burning Ambulance Podcast, we're going to have a single subject we're going to be exploring through all ten episodes, and that subject is fusion.Fusion, of course, is a term that means different things to different people. When most people hear it, they probably think of bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex members of Miles Davis's band that played extremely complex compositions that were sometimes closer to progressive rock than to jazz, but which still left room for extended improvisation. What's interesting about that positioning is that it's very easy to draw lines between that stuff and the music being made by Yes, King Crimson, Emerson, Lake & Palmer, and Santana, all of which gets filed under just plain rock. And if you extend the boundaries out just a little bit further, you get to the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All-Stars were making at the same time. Or think about some of the really adventurous funk and R&B that was being made by Earth, Wind & Fire, Parliament and Funkadelic, the Ohio Players, Slave, the Isley Brothers... This is what's so interesting to me about fusion, is that at its best it's about all kinds of musical boundaries being knocked down.I recently spent some time listening to a whole bunch of albums by keyboardist George Duke, released on the MPS label between about 1971 and 1976. Duke was a really fascinating figure, because he traveled between worlds to really unprecedented degree. He had his own trio in the late 60s, and somehow or other hooked up with electric violinist Jean-Luc Ponty. They made an album together, and the gigs they played in L.A. brought them to the attention of Frank Zappa and Cannonball Adderley, two people who couldn't have been doing more different things. But Zappa hired Ponty to play on Hot Rats, and then wrote and produced an entire album, King Kong, on which Ponty played Zappa's compositions, and George Duke was the keyboardist on that record. And after that, both Zappa and Cannonball Adderley – who, don't forget, had Joe Zawinul in his band before that, who composed “In A Silent Way” and played with Miles Davis, and formed Weather Report with Wayne Shorter – both Adderley and Zappa wanted George Duke in their bands. He wound up taking both gigs, doing two years with Zappa, then two years with Adderley, then going back to Zappa's band for three or four more years. He had left the group by 1975, though, so he was not part of the concerts recorded for the album Zappa In New York. But Randy Brecker was.Brecker and his brother, saxophonist Michael Brecker, who died in 2007, worked together in dozens if not hundreds of contexts from the late Sixties to the Nineties. They were both part of that Zappa concert, which was related to their being part of the Saturday Night Live band at the time; they played on a million recording sessions for everyone from Aerosmith to Bette Midler to Aretha Franklin to Lou Reed to Dire Straits to Donald Fagen. They were part of drummer Billy Cobham's band in the early to mid '70s, playing on Crosswinds and Total Eclipse and Shabazz and A Funky Thide Of Sings. And right around that same time, they formed the Brecker Brothers band and made a string of albums for Arista that were extremely successful. Now, what matters for the purposes of this introduction is that the side of fusion the Brecker Brothers represented was very different from the Mahavishnu Orchestra, Return to Forever, Weather Report side. That was, for lack of a better term, white fusion. It was marketed to white rock audiences. Those bands toured with rock bands. They played arena concerts. Lenny White talked about it in the previous episode of this podcast — the members of Return to Forever hung out with members of Yes. On the other side of the coin, there was black and Latin fusion. Like I said above, there was some incredibly challenging music being made under the headings of salsa and Latin jazz in the 70s – you should check out the episode of this podcast where I interviewed Eddie Palmieri to hear more about that, as well as the episode with Billy Cobham, where he talks about performing with the Fania All-Stars. There are funk records that are every bit as complex as prog rock. Jazz artists like Donald Byrd and Freddie Hubbard, George Duke and even Joe Henderson were all making records that can really only be described as fusion in the early 70s, and that's without even getting into what Miles Davis was doing, particularly with his live band from 1973 to 1975. But except for George Duke, who actually had Frank Zappa cut a couple of guitar solos on his 1974 album Feel, they were drawing more from funk than from rock, and they were marketed more to black audiences than white. And as Randy Brecker explains in this interview, that was where the Brecker Brothers fell. They had more success on black radio and on the R&B chart than in the rock world. Now, eventually, that more funk-oriented, R&B-oriented side of fusion slid in an explicitly commercial, radio-friendly direction, and a lot of it ended up as smooth jazz. Which is to some degree why the term is vilified in some quarters today. But that doesn't take anything away from the good stuff, and Randy Brecker has been involved with some very good records over the years.This was a really fun conversation that went in some very interesting directions. I hope you enjoy listening to it.Music in this episode: The Brecker Brothers, “Some Skunk Funk” (Heavy Metal Be-Bop)Billy Cobham, “Taurian Matador” (Shabazz)The Brecker Brothers, “Sneakin' Up Behind You” (The Brecker Brothers)

This season on the Burning Ambulance Podcast, we're going to have a single subject we're going to be exploring through all ten episodes, and that subject is fusion.Fusion, of course, is a term that means different things to different people. When most people hear it, they probably think of bands from the 1970s like the Mahavishnu Orchestra, Return to Forever, and Weather Report: groups that were formed by ex members of Miles Davis's band that played extremely complex compositions that were sometimes closer to progressive rock than to jazz, but which still left room for extended improvisation. What's interesting about that positioning is that it's very easy to draw lines between that stuff and the music being made by Yes, King Crimson, Emerson, Lake & Palmer, and Santana, all of which gets filed under just plain rock. And if you extend the boundaries out just a little bit further, you get to the music Latin artists like Eddie Palmieri, Ray Barretto, and the Fania All-Stars were making at the same time. Or think about some of the really adventurous funk and R&B that was being made by Earth, Wind & Fire, Parliament and Funkadelic, the Ohio Players, Slave, the Isley Brothers... This is what's so interesting to me about fusion, is that at its best it's about all kinds of musical boundaries being knocked down.I recently spent some time listening to a whole bunch of albums by keyboardist George Duke, released on the MPS label between about 1971 and 1976. Duke was a really fascinating figure, because he traveled between worlds to really unprecedented degree. He had his own trio in the late 60s, and somehow or other hooked up with electric violinist Jean-Luc Ponty. They made an album together, and the gigs they played in L.A. brought them to the attention of Frank Zappa and Cannonball Adderley, two people who couldn't have been doing more different things. But Zappa hired Ponty to play on Hot Rats, and then wrote and produced an entire album, King Kong, on which Ponty played Zappa's compositions, and George Duke was the keyboardist on that record. And after that, both Zappa and Cannonball Adderley – who, don't forget, had Joe Zawinul in his band before that, who composed “In A Silent Way” and played with Miles Davis, and formed Weather Report with Wayne Shorter – both Adderley and Zappa wanted George Duke in their bands. He wound up taking both gigs, doing two years with Zappa, then two years with Adderley, then going back to Zappa's band for three or four more years. He had left the group by 1975, though, so he was not part of the concerts recorded for the album Zappa In New York. But Randy Brecker was.Brecker and his brother, saxophonist Michael Brecker, who died in 2007, worked together in dozens if not hundreds of contexts from the late Sixties to the Nineties. They were both part of that Zappa concert, which was related to their being part of the Saturday Night Live band at the time; they played on a million recording sessions for everyone from Aerosmith to Bette Midler to Aretha Franklin to Lou Reed to Dire Straits to Donald Fagen. They were part of drummer Billy Cobham's band in the early to mid '70s, playing on Crosswinds and Total Eclipse and Shabazz and A Funky Thide Of Sings. And right around that same time, they formed the Brecker Brothers band and made a string of albums for Arista that were extremely successful. Now, what matters for the purposes of this introduction is that the side of fusion the Brecker Brothers represented was very different from the Mahavishnu Orchestra, Return to Forever, Weather Report side. That was, for lack of a better term, white fusion. It was marketed to white rock audiences. Those bands toured with rock bands. They played arena concerts. Lenny White talked about it in the previous episode of this podcast — the members of Return to Forever hung out with members of Yes. On the other side of the coin, there was black and Latin fusion. Like I said above, there was some incredibly challenging music being made under the headings of salsa and Latin jazz in the 70s – you should check out the episode of this podcast where I interviewed Eddie Palmieri to hear more about that, as well as the episode with Billy Cobham, where he talks about performing with the Fania All-Stars. There are funk records that are every bit as complex as prog rock. Jazz artists like Donald Byrd and Freddie Hubbard, George Duke and even Joe Henderson were all making records that can really only be described as fusion in the early 70s, and that's without even getting into what Miles Davis was doing, particularly with his live band from 1973 to 1975. But except for George Duke, who actually had Frank Zappa cut a couple of guitar solos on his 1974 album Feel, they were drawing more from funk than from rock, and they were marketed more to black audiences than white. And as Randy Brecker explains in this interview, that was where the Brecker Brothers fell. They had more success on black radio and on the R&B chart than in the rock world. Now, eventually, that more funk-oriented, R&B-oriented side of fusion slid in an explicitly commercial, radio-friendly direction, and a lot of it ended up as smooth jazz. Which is to some degree why the term is vilified in some quarters today. But that doesn't take anything away from the good stuff, and Randy Brecker has been involved with some very good records over the years.This was a really fun conversation that went in some very interesting directions. I hope you enjoy listening to it.Music in this episode: The Brecker Brothers, “Some Skunk Funk” (Heavy Metal Be-Bop)Billy Cobham, “Taurian Matador” (Shabazz)The Brecker Brothers, “Sneakin' Up Behind You” (The Brecker Brothers)

Oliver Edward Nelson was not only a formidable saxophonist (alto/tenor/soprano) but a prolific composer/arranger and band leader. In his short life, he accomplished much in his 43 years on the planet. He died it is said from overwork from a premature heart attack. Tonight's Jazz Feature is The Jazz Show's continuing tribute to Black History Month. "Afro-American Sketches" is a large orchestra work instrumentally tracing the history of African-Americans through slavery, emancipation, etc. All the phases of Black History in the USA. It was all completed and recorded in September and November of 1961. Nelson assembled a star studded band of New York's finest. Nelson himself is featured on alto and tenor saxophones and powerhouse trumpeter, Seattle born pianist Patti Bown, bassist Art Davis, flutist Jerry Dodgion and the great percussion section of Ed Shaughnessy on drums and Ray Barretto on congas, bongos and percussion are all heard in solo spots. Afro-American Sketches is an overlooked masterwork and a worthy tribute to Black History Month. Don't miss it!

The great Orestes Vilato, a true Cuban legend, is considered to be one of the most influential timbaleros and bongoceros in the world of percussion today.  He's paved the way for so many greats percussionists who quote Orestes as one of their main influences.  Orestes was at the center of the Salsa music explosion in the '70s, having played with greats like Chico O'Farrill, Lionel Hampton, Ray Barretto, Celia Cruz, Ruben Blades and many more.  He's also worked with popular music icons like Whitney Houston, Aretha Franklin, Santana, Willie Nelson and even Oscar-winning actor, Andy Garcia!  Orestes is a Signature artist for Gon Bops, helping us to create his unique, light-weight aluminum-shell Timbales.  We're so happy to have him on the show - this our 10th episode to round out 2021!   

Con el álbum “El Ray criollo”, el salsero Ray Barreto se anotó en 1966 un éxito bailable en la voz de Willie García con la canción “Margie”. La canción se estrenó dos décadas atrás, cuando “El Jefe” Daniel Santos, la grabó en 1944 junto al Cuarteto de don Pedro Flores, quien es su compositor, la cual escribió bajo el título “Margie”. Así la escuché yo… Autor: Pedro Flores (puertorriqueño) Margie - Ray Barretto (1966) “El Ray criollo” álbum (1966) Canta: Willie García (nombre real William García, cubano) Ray Barretto (nombre real Raymond Barreto Pagán, estadounidense) Margie - Cuarteto Flores, canta Daniel Santos (1944) single "Margie" (1944) Canta: Daniel Santos (nombre real Daniel Doroteo de los Santos Betancourt, puertorriqueño) Pedro Flores Córdova (puertorriqueño) ___________________ “Así la escuché yo…” Temporada: 4 Episodio: 9 Sergio Productions Cali – Colombia

In this episode, you will hear from a Latina pioneer who defied the odds documenting the Latino experience through the power of the pen and music. Her Puerto Rican influences mixed with growing up in New York City provided a perspective that schools did not teach. From Salsa 101 to Chinese Cubans. I introduce to you, CEO of Aurora Communications, Aurora Flores. GUEST Aurora Flores CEO, Aurora Communications Website | Instagram | Twitter | Facebook | YouTube | LinkedIn https://www.aurora-communications.com/who_we_are https://aurorazdb.medium.com/ https://www.instagram.com/aurorazdb/ https://twitter.com/Aurorazdb https://www.facebook.com/aurora.zondelbarrio https://www.youtube.com/user/aurorazdb https://www.linkedin.com/in/aurorazdb?trk=org-employees NOTABLE MENTIONS Salsa, Trio Music, Clave, Son Montuno, Guaracha, Mambo, Plenas, Danceable Bombas, Doo-wop, Rock, Rancheras, Fania, Johnny Pacheco, Nicky Marrero, Tito Puente, Celia Cruz, La Sonora Matancera, Cortijo y Su Combo, Bill Haley and His Comets, The Beatles, Symphony Sid, Libertad Lamarque, Toña la Negra, Olga Guillot, Germán Genaro Cipriano Gómez Valdés de Castillo, Tin-Tan, Cantinflas, Miguel Aceves Mejía, Pedro Infante, Jorge Negrete, Joe Bataan, Mongo Santamaria, Izzy Sanabria, Frankie Dante, Ray Barretto, Eddie Palmieri, Arsenio Rodríguez, Larry Harlow, Ernie Agosto y La Conspiración, Tony Pabon y La Protesta, Manny's Music Shop NYC, Eugenio María de Hosto, José Martí, Arturo Alfonso Schomburg, Pedro Albizu Campos, Joseph Campbell, Lehman College, Columbia Univesity, Latin NY, Billboard Magazine, Rolling Stones, WEVD, WBNX, Radio Hit, WADO Gracias for listening. Don't forget to rate, review, follow, subscribe, like and share. Check out my linktree for more info. Pa'lante! https://linktr.ee/sp.alwaysforward --- Support this podcast: https://anchor.fm/spalwaysforward/support

https://www.billmoring.com/   Link to the Jamulus episode with Berklee Global's Jason Camelio: https://youtu.be/lV8F_ph3yfo   A veteran of the New York City jazz scene for over 30 years, bassist Bill Moring has established a reputation as one of the city's most in-demand players. Bill played with such notables as Dizzy Gillespie, Slide Hampton, and Cal Collins. Other big band experiences include the Village Vanguard Orchestra and the Toshiko Akiyoshi/Lew Tabakin Jazz Orchestra. Bill has played with renowned singers such as Joe Williams, Mel Torme, Diane Schurr, Dakota Staton, Maxine Sullivan, and Susannah McCorkle. He has played with jazz legends Frank Foster, Al Cohn, Clark Terry, Mickey Roker, Tommy Flanagan, Junior Cook, Roland Hanna, Vernel Fournier, Mel Lewis, and Ray Barretto. He has also performed and/or recorded with many contemporary artists including John Abercrombie, Gary Bartz, Manolo Badrena, Larry Coryell, Vic Juris, Dave Kikoski, Billy Hart, John Hart, Eddie Henderson, Joe Locke, Mulgrew Miller, Chris Potter, Dom Salvador, Dave Stryker, and James Williams.   #billmoring #bass #jazz   0:00 Intro  1:45 Warm-up questions  6:55 Bill's Apple Music list  08:49 Self-recording  12:30 Collaboration  26:50 Collaboration balance  34:53 Swing vs. Swung  42:09 Pop music trends  51:00 Sarah Partridge and Bill Moring  55:36 Asynchronous jazz  1:02:08 Lifestyle: Sleep  1:02:55 Lifestyle: Mindfulness & meditation  1:04:10 Lifestyle: Exercise  1:06:40 Lifestyle: How do people in your life support you?  1:11:13 Lifestyle: How do you define yourself?  1:15:03 Practice: Time of day  1:18:05 Practice: Maximum effective duration  1:24:40 Injury  1:30:35 Creativity: Steps to stay creative  1:31:30 Creativity: Time of day  1:32:00 Creativity: Burnout  1:32:54 Performance anxiety #musicians #songwriter #songwriters #composers #musicmajor #musicmajors #musiceducator #musiceducators #musiceducation #podcast #thebestmusicpodcast #clips #musicpodcast #singer #guitarist #guitarplayer #trombonist #trumpet #violin #viola #cello #bass #brass #trombone #mandolin #banjo #drums #percussion #timpani #marimba #oboe #sax #saxophone #clarinet #basoon #alto #soprano #tenor #piano #keyboard #musicians #songwriter #songwriters #composers #musicmajor #musiceducator #musicpodcast #singersongwriter #musiceducation #singer #trumpet #violin #viola #cello #bass #trombone #musiclife #musicmaker #musicteacher #drums #percussion #saxophone #clarinet #guitar #piano #podcast #thebestmusicpodcast #musicislife #musicindustry #PandoraPodcasts  Logo, Intro Video, and Branding: Arron Leishman  Audio and Video: Zach Ramey zacherylramey@gmail.com  Dan's Thumbnail Photo: John Mollura Photography