Podcast appearances and mentions of Ron Carter

For more than six decades, the sound of the upright bass in modern jazz has carried the unmistakable authority, elegance, and intelligence of Ron Carter.Recognized as the most recorded jazz bassist in history, Maestro Carter's tone has become part of the very architecture of the genre.From shaping the harmonic foundation behind countless landmark sessions to collaborating with many of the greatest jazz artists of our time, his artistry has both defined and expanded what the bass can be.But beyond the staggering discography lies something even more enduring: dedication.Maestro Carter has never stopped learning, never stopped refining, and never stopped listening. His commitment to excellence extends well beyond the stage and studio. As an educator and mentor, he has invested deeply in the next generation of bassists, setting a living example of discipline, curiosity, and musical integrity.Now, in yet another inspired chapter of his extraordinary career, Maestro Carter joins forces with renowned choirmaster Ricky Dillard for a powerful gospel–jazz collaboration, Sweet Sweet Spirit, released February 6, 2026.This project beautifully bridges sanctified soul and sophisticated swing, blending Carter's masterful touch with Dillard's uplifting choral brilliance.The result is music that feels both reverent and rhythmically alive, deeply rooted, yet refreshingly expansive.It is truly an honor to share this conversation with a living legend whose work continues to inspire musicians across genres and generations.Here is Maestro Ron Carter.This interview first appeared in Bass Musician Magazine in June 2026Go to jazzguitartoday.com and bassmusicianmagazine.com more interviews and lessons.

I brani della Fosforo settimanale: Fosforo; Mystery Plan - Electric Love; Yard Act - Cherophobe Rock; Quicksand - In Full Color; Rolling Stones - Mr Charm; Accordo dei Contrari - Secolo breve ÔÇó The short century; Cardiacs - Horsehead (Abbey Road 2025 Remaster); Scritti Politti - Perfect Way (12 Mix - Remaster); Ivano Fossati - Lindbergh; Ron Carter and Yotam Silberstein - Blues for Brother Malone; Bettye LaVette - Yesterday Is Here; Henrik Olsson Antumbra Ensemble - Homeshredder; Fantastic Negrito - Working Poor (Live); Puoi ascoltare le sequenze musicali di Rufus T. Firefly sulla frequenza di Radio Tandem, 98.400FM, o in streaming e anche in podcast.Per info: https://www.radiotandem.it/fosforo

You're playing all the right notes - the changes, the time, everything. So why does your bass line still feel like it's just not dancing? Bob and Reuben break down the 'one thing' that separates a bass line that swings from one that just sits there: note length. They react to an unreleased Ron Carter duo track, Reuben tells the story of the studio session that changed how he thinks about note length forever, and they connect it all back to the physical mechanics of your right and left hand - on both upright and electric. ABOUT OPEN STUDIO -------------------------------------------------------------------------- Bob and Reuben both have their own in-depth bass courses on OpenStudioJazz.com, alongside Masters like Christian McBride and Ron Carter - dig deeper into everything you hear on this show.As the premier online jazz education platform, with an ever-expanding course library and 20,000+ members, Open Studio (OS) has everything you need to excel and thrive on your jazz journey. Featuring everything from beginner to advanced lessons, engaging courses from A-list instructors, step-by-step curriculum, real-time classes and a thriving and incredibly supportive community, OS is the perfect platform to level up your jazz playing, whether you're a total beginner, or an advanced pro-level improvisor.  Try OS Membership today! → https://osjazz.link/about ★ Support this podcast ★

#podcast #jazz #jazztubeIn the, the second and final Part of my discussion of two jazz books I go into more detail of the prose of both the authors and their reflections on the passage of time, changes of taste and the effects on America's art form.More on this stream ( part 2 of 2), here:For the second and final episode of my jazz book lunches I gave myself an impossible, maybe silly task: pick only one album for each of the three master musicians of Bill Evans John Coltrane and Miles Davis. One thing I will say notwithstanding it probably not having to be said is that all three albums here are great on their own merits but do not reflect the traditional or canonical view especially among the musicians themselves, never mind scholars or critics. For Miles Davis I did not pick Kind Of Blue, for example and for John Coltrane I did not pick A Love Supreme. Again those two albums may very well be greater than the ones I personally have chosen and prefer in some Platonic sense but my interest here is getting listeners interested in and excited about less famous but at least equally valuable releases.Bill Evans:Consecration: The Final Recordings (Note: not only is this album not one of the typical ones used to represent Evan's work; it didn't even come out until 1989 in Japan and then in the US in 2002)! For me it reflects Evan's triumph and is my favorite trio of his. This is Bill Evans at his most romantic, even wild, and I love the performances for that. (It is also from performances at the very end of his life).   • Bill Evans Trio - Re: Person I Knew (Offic...  John Coltrane: The 1961 Village Vanguard recordings   • John Coltrane - Live At The Village Vangua...  This selection is one with which so many musicians and critics alike would agree: an incredible document of Trane and his great quartet in performance at the greatest of jazz rooms. There is some additional Eric Dolphy on one selection too. You can also hear McCoy Tyner's harmonic and pianistic innovations in fullest display on this one.Miles Davis:Filles De Kilamanjaro (1969)   • Frelon brun  I so love this album of Miles: it is so many things. It has a lot of traditional jazz styles language in it from the great quartet of Herbie Hancock, Ron Carter and Tony Williams and yet it is also funky, soulful sometimes like rock n roll at the same time. And then there are sections that are like classical or modern chamber music. A must.

For this episode of The Buzz, Lawrence Peryer talks with 2025 JJA Jazz Hero Ruth Griggs, longtime director of the Northampton Jazz Festival, about the trade-off facing a fifteen-year-old, mostly-free festival built for a loyal, older jazz audience: book an artist who can pull in a younger crowd, or keep playing to the room you already have.Griggs traces the festival's history from its accidental start in 2011, when five men more interested in reviving a defunct food fair backed into a jazz festival almost as an afterthought, through its 2017 relaunch as a genuinely jazz-focused event spread across Northampton's churches, galleries, and the eight-hundred-seat Academy of Music. No food trucks, no vendors: the festival sends people into the town's own restaurants and shops instead, which Griggs credits as much as the music for its financial health.This year's headliner, saxophonist Lakecia Benjamin, is the pressure test. Benjamin plays jazz, hip hop, R&B, and funk in the same set, and Griggs, a marketing strategist by trade, has been restructuring the festival's outreach around her: shifting weight from Facebook to Instagram, hiring an intern to research college radio stations and newspapers across Albany, New Haven, Hartford, and Worcester, and reaching out to other festivals with more diverse audiences to help promote the booking. Griggs is candid that she doesn't yet know what will work, only that the old methods won't.Griggs also talks about what keeps out-of-town artists coming back, and why the festival's pipeline into UMass Amherst, Smith College, Amherst College, and now Northampton's public schools gets equal billing in Griggs's account of what keeps the thing alive.(The musical excerpts heard in this episode are “So You Want to Be a Woman” by Somi featuring Lakecia Benjamin, and “RonJackRuba,” an unplanned improvisation from Ron Carter, Jack DeJohnette, and Gonzalo Rubalcaba's 2021 album Skyline. A companion playlist for this episode featuring those songs and other artists mentioned is available on Spotify.)Buzzworthy NotesGuest & HostRuth Griggs — director, Northampton Jazz FestivalLawrence Peryer — host; managing editor of The BuzzDiscussedNorthampton Jazz Festival — official siteLakecia Benjamin — this year's headliner; saxophonist, six-time Grammy nomineeAcademy of Music — Northampton's 800-seat theater, festival's largest venueBOMBYX Center for Arts & Equity — Florence, Massachusetts venue, where Bill Charlap performed after the festivalBill Charlap — pianist; praised the festival's hospitality after a BOMBYX performanceMiki Yamanaka — pianist; performed a solo set at last year's festivalBonnie Johnson — WICN's Colors of Jazz host, Worcester; interviewed Yamanaka after her festival setSpringfield Jazz & Roots Festival — the single-stage model Griggs says she's studyingMax Roach and Yusef Lateef — among the jazz musicians who taught at UMass Amherst, part of the festival's regional lineageRon Carter — cited alongside Lakecia Benjamin as an example of the festival's rangeSupport for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.Don't miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts.For more from the Jazz Journalists Association, go to JJANews.org.Support for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.Don't miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. For more from the Jazz Journalists Association, go to JJANews.org.

El pasado 8 de noviembre, en el Auditorio de Tenerife, 22ª edición del Festival Tensamba, se presentó el guitarrista Chico Pinheiro. En exclusiva para Radio 3 el concierto del músico brasileño, que ha tocado con guitarristas como Anthony Wilson y Julian Lage y ha trabajado con Herbie Hancock, Ron Carter o esperanza spalding: 'A rã', 'Tempestade', 'Inútil paisagem', 'Boca de siri', 'Luzes raras', 'Vila Madalena' y 'Fall'.Escuchar audio

THIS WEEK's BIRDS: Bebe Manga from Camaroun);   also from Camaroun: Eboa Lottin;  Satoko Fujii & Myra Melford (piano duo)           David Murray w. Octet;   Sonny Rollins x 2 (RIP);  from Albania: Fitnete Rejae, Dervish Shaqja;   recent late/post-bop Walter Smith III, also from  Kenny Barron;    vocalist Alicia Lázaro;   Japanese vocalist Meiko Kaji;    Moroccan band Khmissa;    from Mali: vocalist Naïny Diabaté;    vocalist Kaniba Oulé Kouyaté & hunting music from Senoufo Tagoua;    Joe Henderson (w. Chick Corea, Ron Carter, Billy Higgins;    from Tunisia: Cheikh El Afrite;    also from Tunisia: Hedi Kalal (vocalist, composer, bandleader) & Ali Riahi (vocalist aka. the Tunisian nightingale);    from Cuba: Caridad Hierrezuelo;     new music from Bobby Matos Heritage Ensemble;      Judeo-Arabo-Andalusian song from Alice Fitoussi;      Ammouri M'barek (Amazigh); & of course: so much, much, much more.. Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI & WINO 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/22536268/Conference-of-the-Birds and via the Conference of the Birds page at www.WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks Find WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR NEW MAILING ADDRESS:  Stephen Cope  @ Conference of the Birds, POBOX 428, Tivoli, NY, 12583, USA. 

Это пятая работа подряд пианиста и композитора Emmet Cohen, которую я обозреваю с того момента, как начал вести канал в Телеграм. Предыдущие по ссылкам ниже, и сегодня поговорим о новом альбоме Universal Truth - Вселенская Истина, который вышел в тот же день, что и предыдущий альбом однофамильца Avishai Cohen. https://t.me/discor/7129https://t.me/discor/6915https://t.me/discor/6576https://t.me/discor/5902Вначале посоветую посмотреть студийную видео-запись композиции My Funny Valentine с двумя ветеранами джазовой сцены - это саксофонист George Coleman (91) и басист Ron Carter (89). Увидев их фамилии в составе альбома, мне сразу захотелось их увидеть и очень хорошо, что есть такая запись. Все остальные участники младше меня, причем лидер самый молодой из всех. Самые знаменитые после ветеранов, это трубач Jeremy Pelt (49) и барабанщик Joe Farnsworth (58).В альбоме три оригинала (они обозначены римскими цифрами) включая титульную композицию, которую я добавлю в плейлист, как лучшая на этой записи. Но, джазовые стандарты здесь звучат совершенно по новому и в общей картине отлично совпадают с оригиналами. Много свинга в понимании джазменов - не танцевальных ритмов, а чувство джаза. Все музыканты очень техничные и основной стиль - это бибоп.Альбом быстро добрался до второго места американского радиоТопа JazzWeek, двадцатку которого я регулярно публикую. Помню предыдущие его работы добирались до первого места, надеюсь и эта там будет. Но, придется подождать недельку, так как в связи с ежегодным перерывом в публикациях, приуроченных к праздникам 4 июля, новый чарт на этой неделе публиковаться не будет. Вместо этого я опубликую девятку моих альбомов за предыдущий период.СЛУШАТЬ АЛЬБОМ - https://lnk.to/emmetcohenarЛучший трек альбома в плей-листе JAZZ по-русски 9 на AppleMusic и SpotifyПоставь лайк ❤️ и подпишись на канал JAZZ по-русски https://t.me/discor

Happy Independents Week! Legendary jazz trumpeter Charles Tolliver is here to talk about this year's reissue of his first album as a bandleader, the 1968 set Charles Tolliver All Stars: Right Now... And Then, (which was reissued for this year's Record Store Day, and which features a stellar backing lineup that includes Herbie Hancock, Ron Carter, Joe Chambers, and Gary Bartz), and the legacy of Strata-East Records, the artist-run, artist-friendly independant jazz label he founded with the late Stanley Cowell in 1971.   The Record Store Day Podcast is a weekly music chat show written, produced, engineered, and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends!

Back on Episode 247.5 Pat gave an overview of Creed Taylor's famous (infamous?) CTI label that bestrode the first half of the nineteen seventies like a jazz colossus. Now we've got both members of the 'cast weighing in on four of the label's better productions. So comb your sideburns (and your shag rugs) and settle in for a discussion of the best jazz-oriented baby-making label of the first half of the "me" decade. Milt Jackson – SUNFLOWER; Antonio Carlos Jobim – STONE FLOWER; Joe Farrell – OUTBACK; Airto – FREE.

Saxophonist Walter Smith III joins Pablo Held to discuss working on articulation, Walter’s compositional process behind songs like “Seesaw“, “ACE“ and “A Brief Madness“ and lessons learned from jazz legends Herbie Hancock, Wayne Shorter, Ron Carter and Roy Haynes. Other topics include learning standards like “I Should Care“, “Little Melonae“ or “Nothing Like You“, working with the Bill Stewart Trio and Terence Blanchard and what goes into planning an album like his newest record “TWIO Vol.2“.

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Here is the playlist for the 06/14 episode of Crosswinds. Enjoy!Stan Kenton Orchestra- Intermission RiffJohn Daversa Big Band- Good Day SunshineChristian McBride Big Band- BroadwayGordon Goodwin's Bug Phat Band- Howdiz Songo?WDR Big Band w/Yellowjackets- RevelationCaptain Black Big Band- Dislocation BluesWDR Big Band- Green LawnCount Basie Orchestra- Lil' Darlin'McCoy Tyner Big Band- Blues for BasieEarth, Wind and Fire- Let Me TalkEarth, Wind and Fire- And Love Goes OnJohn Coltrane- Mr. P.C.Bill Evans Trio- Freddie FreeloaderCannonball Adderley Quintet- Something ElseMiles Davis- So WhatLee Morgan- Hocus PocusWayne Shorter- VirgoGonzalo Rubalcaba, Ron Carter and Jack DeJohnette- Quiet PlaceHerbie Hancock- The Eye of the HurricaneBilly Childs- Flamenco SketchesJaminai- 13 TownKinga Glyk- The Friend You CallMcCoy Tyner, Stanley Clarke, and Al Foster- I Want to Tell You About ThatChuck Mangione- Fun and GamesGeorge Benson- Breezin'Earth, Wind and Fire- Sun Goddess

durée : 01:04:55 - Ce lundi, nous mettons en lumière le disque du guitariste israélien et du légendaire contrebassiste américain. C'est l'occasion pour François Lacharme de nous faire entendre des bribes d'interviews de Ron Carter, Maria Schneider, Joe Lovano, Marc Johnson, Steve Turre ou Mino Cinelu. - réalisation : Marjolaine Portier-Kaltenbach, François Lacharme, Denis Soula Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:59:25 - par : Nicolas Pommaret - Parution chez MCO de “The Open Chord de David Crosby" de Franck Tortiller & Misja Fitzgerald Michel et “Duets” chez Jojo Records de Ron Carter & Yotam Silberstein. - réalisation : Emmanuelle Lacaze, Stéphane Poitevin Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Miles 1968 : l'une des plus grandes révolutions de l'histoire du jazz. Après avoir dissout le Second Quintette (avec Wayne Shorter, Herbie Hancock, Ron Carter et Tony Williams), Miles se branche sur le courant électrique et fait entrer les guitares, les claviers, le rock et le funk dans sa musique. C'est l'une des métamorphoses les plus spectaculaires d'un Miles Davis relooké de la tête aux pieds, bien décidé à vivre avec son temps, jamais dans le passé. Jusqu'à son ultime album, Doo-Bop, Miles aura voulu être moderne, curieux, dans le coup. Du be-bop au hip-hop : une odyssée proprement vertigineuse ! Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

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While trying to spread the word about Ebola safety in Congo, our guest and his colleagues were attacked by a mob that later set fire to a hospital. He tells us what he thinks is behind the violence.After a deadly implosion at a paper plant in Washington state involving a corrosive substance, a former plant worker tells us just how dangerous a vat of what's known as "white liquor" really is.French authorities launch investigations at more than a hundred elementary schools and nursery schools in Paris -- in the wake of allegations ranging from physical violence to sexual assault against children in their care. Legendary bassist Ron Carter reflects on the towering influence of his friend and collaborator -- the late, great jazz saxophonist, Sonny Rollins.When the Montreal Canadiens hit the ice tomorrow night, they'll have some help from longtime organist Diane Bibaud -- who's been striking a chord at home games for nearly 40 years. Until now, astronauts have just thrown their dirty clothes into space to burn up on re-entry -- but a new plasma blaster might solve a long-term laundry quandary.As It Happens, the Tuesday Edition. Radio that welcomes astronauts back to the fold.

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

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

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On tonight's show: Roy Eldridge, Jimmie Lunceford, Charlie Parker Quintet, Gerry Mulligan, Ron Carter, Mongo Santamaria, Ella Fitzgerald & The Jimmy Jones Trio, Sarah Vaughan, Archie Shepp with Horace Parlan, George Shearing, Claude Bolling with Jean-Luc Dayan and Steve La Spina, Nara Leão, and Herb Ellis.

Een TORcast, een beetje in de stijl van het Vinyl-Café van 8 mei aanstaande: geen idee wie er komen gaat met welke muziek en wat voor verhalen daaromheen. Vrij naar matrimonale tradities: Something Old, Something New, Something Borrowed, Something Blue. Playlist: Nicholas Payton, Butcher Brown: All Blues; Bobby Broom: Doxy; Hermine Deurloo, Anton Goudsmit: Angel Nemali; Dubbelaar: Hermine Deurloo, Anton Goudsmit: Moon River; Eric Clapton, Jeff Beck: Moon River; Dubbelaar: Paul Simon: Train In The Distance (original acoutic demo); Paul Simon: Train In The distance (album version); Cecile McLorin Savant, Metropole Orchestra.: With Every Breath I Take; Ron Carter, Stephen Scott, Payton Crossley: Bye Bye Blackbird; Oscar Peterson: Hymn To Freedom; Stan Getz, Bill Evans: Grandfather’s Waltz.

Jazz trumpeter and composer David Weiss joins host Steve Roby for a wide-ranging conversation about a life built on music. From his early days in Queens, where he absorbed hard rock, fusion, and European avant-garde sounds, to leading some of contemporary jazz's most distinctive ensembles, Weiss reflects on the organic path that brought him to where he is today.We dig into his latest album, Auteur (Origin Records) — a title he half-jokingly suggests should end with a question mark — and explore what it means to maintain a recognizable musical identity across multiple projects. David shares the stories behind two tracks from the album: "Resilience," a tribute to pianist George Cables, and "The Other Side of the Mountain," inspired by Ron Carter's reflections on perseverance and a Martin Luther King speech on the long arc of progress.David also opens up about The Cookers — his hard-bop supergroup approaching its 20th year — the recent Kennedy Center cancellation amid the current political climate, and the challenge of keeping a band together when the musicians you love most are in their 80s and still outplaying everyone in the room.The conversation ends with a look ahead to the David Weiss Sextet's upcoming five-city West Coast tour, featuring two sets at SF Jazz's Joe Henderson Lab in San Francisco. Songs Featured in This Episode:“Resilience” — David Weiss Sextet (Auteur, Origin Records)“The Other Side of the Mountain” — David Weiss Sextet (Auteur, Origin Records)*Both songs are from the album Auteur and were provided by the artist and used with their permission. Show Details

On the latest episode of Milestones: Celebrating the Culture, acclaimed trumpeter Jeremy Pelt joins host Angélika Beener for a conversation that bridges generations of jazz artistry. Pelt convenes a multi-generational ensemble of jazz voices, honoring a defining tradition of the music: the artist as a witness to, and shaper of the times. With his latest album, With Our Community Will Not Be Erased, Pelt offers a deeply felt statement grounded in love, resilience, and collective spirit, reminding us that jazz remains as much about community as it is about individual expression.The conversation also marks the 60th anniversary of Speak No Evil, the 1966 masterpiece by Wayne Shorter that stands as one of the defining works of post-bop music. Featuring an extraordinary quintet of Herbie Hancock, Freddie Hubbard, Ron Carter, and Elvin Jones, the album blends haunting lyricism with daring harmonic exploration. Separated by six decades, these two recordings are explored in equal measure as we continue to celebrate the 25th anniversary of Jazz Appreciation Month. 

Miles Davis- Miles In The Sky (Columbia Records)(Released  January 16, 1968 and May 15–17, 1968)Miles in the Sky (1968) captures Miles Davis at a pivotal moment of transition. Recorded with his celebrated Second Great Quintet—Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams—the album marks the first clear step toward Davis's electric period. Released by Columbia Records, the record introduces electric piano and electric bass into Miles's studio sound while retaining the sophisticated interplay the quintet had developed through earlier post-bop recordings. The four extended tracks blend groove-based structures with the band's advanced rhythmic freedom and conversational improvisation. Pieces such as “Stuff” and “Paraphernalia” hint at the influence of late-1960s rock and funk, while still grounded in the group's exploratory jazz language. The album stands as the final full studio statement by the Second Great Quintet and foreshadows Davis's radical electric experiments that would soon emerge on his 1969 releases In a Silent Way and Bitches Brew. (S5-EP16)

Enjoy a playlist that ranges from the jazz infused power-folk of Annahstasia to the neo-cool of Walter Smith III passing through, chamber, cinematic and classical influences. The playlist features Annahstasia [pictured]; Ryan Blotnick; Lars Danielsson; Reverso; Vincent Courtois; Walter Smith III, Branford Marsalis, Ron Carter. Detailed playlist at https://spinitron.com/RFB/pl/22245088/Mondo-Jazz [up to "Casual–Lee"]. Happy listening!

Deze TORcast een vooruitblik op het concert van vrijdag 17 april in Jazzpodium de Tor in Enschede en veel aandacht voor ‘verse oogst’ aan jazzuitgaven. Playlist: Jazz at Lincoln Center: Passion or Fashion; Harry Allen: As Summer Fades Away; Kenny Barron: Meet You; Ron Carter, Yotam Silberstein: Nova Ilusão; Ruud Ouwehand, Peter Nieuwerf: Valse no. 1; Barend Middelhoff, Peter Bernstein, Clovis Nicolas, Jason Tiemann: Ask Monk; Barend Middelhoff, Pierre Christophe, Cedric Caillaud, Philippe Soient: Dream Dancing; Diana Reeves, Billy Childs: Hesitation; Madeleine Peyroux, William Galison: Back In Your Own Backyard.

Herbie Hancock-Speak Like A Child (Blue Note Records) Released Summer of 1968 Speak Like a Child is one of the more lyrical and introspective recordings in the catalog of Herbie Hancock. Released on Blue Note Records in 1968, the album reflects Hancock's growing interest in subtle orchestration and melodic simplicity following the more harmonically dense work of his earlier recordings. Rather than a traditional trumpet-sax frontline, Hancock chose the unusual combination of flugelhorn, bass trombone, and alto flute, creating a warm, floating ensemble sound. The music emphasizes spacious melodies, gentle rhythms, and impressionistic harmonies. Pieces like the title track and “Riot” highlight Hancock's gift for understated composition and ensemble color. Featuring musicians such as Thad Jones, Micky Roker and Ron Carter, the album stands as one of Hancock's most delicate and emotionally resonant Blue Note recordings. (S5-EP15)

Ann speaks to Heart of Texas Storytelling Guild president Vivian Rutherford (as well as with charter members Barbara Bridgewater & Ron Carter) about "Porch Tales", a free, family-friendly event at Good Neighbor House in Waco. Features musical performance by flutist Julie Becker. Learn more about your ad choices. Visit megaphone.fm/adchoices

As we continue to talk with trombonist Steve Davis, we ask about some of the people that he's performed with: Chick Corea, Jimmy Heath, Freddie Hubbard, Ron Carter, Christian McBride, and pianist Harold Mabern, Jr. It's quite a list, and Steve offers insight into each of these great musicians. He also offers a few tips for young musicians. What's at the top of the list? “Be a good human being.” We conclude the show with Steve playing one of his tunes live in concert.Music: “Daylight,” composition and solo by Steve Davis. From the album, Young Lions of Jazz, recorded live at the Firehouse Stage, Johnson City, NY, December 27, 2014. Used by permission of the composer.Theme music: "All Thumbs" from Faith in a New Key, Bill Carter and the Presbybop Quartet Music used by permission from Presbybop Music (BMI) Announcer: Chris Norton (c) Presbybop MusicSupport the show

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

Vince Wilburn Jr. was growing up on Chicago's South Side when his mother would get him all dressed up because his Uncle Miles Davis was coming to town. Sometimes they'd see the brilliant trumpeter perform, including at the tiny Plugged Nickel club in Old Town. By the 1980s, Wilburn was playing drums in Davis' band and helping produce his albums. Wilburn now performs in Miles Electric Band (MEB) and co-manages Davis' estate, which is overseeing the Miles Davis 100 campaign to mark his uncle's 100th birthday. One major release is The Complete Live at the Plugged Nickel 1965, a 10-LP/eight-CD box set covering a legendary live engagement by Davis and his “second great quintet” (drummer Tony Williams, pianist Herbie Hancock, tenor saxophonist Wayne Shorter and bassist Ron Carter). Wilburn reflects on the band's wildly experimental approach those nights, as well as what it was like to be Davis' nephew and how he's keeping his uncle's legacy alive.

We’ve been doing these shows where we don’t book any guests, where we fill the hour with your calls. And your calls have been interesting and surprising and amusing. This hour, the conversation winds around to Anthropic, cataract surgery, the burrito vs. bowl debate, Saturday Night Live, the general unhappiness in the U.S., plastics … Anything. (Seemingly) everything. These shows are fun for us, and they seem to be fun for you, too. So we did another one. Music featured (in order): Destination Heaven – Euphoria Again & Dogwood Tales Farther Along – Ron Carter, Ricky Dillard Coming Up Roses – Harry Styles (orch. Jules Buckley) Love, Love, Love – Stephen Sanchez Sirius – Katherine Priddy Blind – Yonder Mountain String Band With a Little Luck – Paul McCartney, Wings Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Niklas Lukassen is a German bassist, composer, and doctoral researcher splitting his time between London and Berlin. His bandleader debut album Still Waters releases February 20th on Kurt Rosenwinkel's Heartcore Records with liner notes by Ron Carter. The quartet features Ben Van Gelder on saxophone, Kit Downes on piano, and Francesco Ciniglio on drums, with guest appearances from Rosenwinkel, Wanja Slavin, and Geoffroy De Masure. Niklas is also exploring the bass cello—a unique hybrid instrument—in his trio with Gwilym Simcock and James Maddren, while pursuing doctoral research at the Royal Academy of Music on the reciprocal effects of bass doubling. In this conversation, we explore Niklas's musical journey from a tiny village in Germany's Black Forest to studying at Manhattan School of Music with Ron Carter, his forced exit from New York during the pandemic, and how he rebuilt his career between London and Berlin. We discuss the different scenes and aesthetics of these global jazz cities, his approach to playing upright bass, electric bass, bass guitar, and the bass cello, and how working with different instruments sparks new improvisational ideas. Niklas shares insights on collaboration, giving space in the music, and the challenges and gifts of constantly adapting to new instruments and environments. Enjoy, and connect with Niklas at his website and Instagram!   Connect with DBHQ Join Our Newsletter Double Bass Resources Double Bass Sheet Music Double Bass Merch Gear used to record this podcast Zoom H6 studio 8-Track 32-Bit Float Handy Recorder Rode Podmic Sony Alpha 7 IV Full-frame Mirrorless Interchangeable Lens Camera Sony FE 16-35mm F2.8 GM Lens Sony FE 24-70mm F2.8 GM Lens   When you buy a product using a link on this page, we may receive a commission at no additional cost to you. Thank you for supporting DBHQ.   Theme music by Eric Hochberg

We're revisiting our 2022 interview with jazz legend Ron Carter. These days, the man is 88 and is unstoppable. He recently joined forces with gospel icon Ricky Dillard on a new record titled Sweet, Sweet Spirt. When he was last on the show, he told us about the first instrument he ever learned to play, collaborating with A Tribe Called Quest, and much more!Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Episode Description:Guitarist, composer, and bandleader Oscar Peñas joins host Steve Roby to discuss his musical journey from classical guitar in Barcelona to the vibrant jazz scene of Brooklyn. Originally from Spain and based in New York since 2007, Peñas brings a unique voice to contemporary jazz—one that blends American jazz language with Spanish heritage and classical roots.In this intimate conversation, Oscar shares stories about discovering jazz through cassette tapes in the late '80s, the magic of recording with the legendary Ron Carter, and what it means to be truly locked in with his trio on stage. He also discusses the evolving landscape for independent jazz artists, his upcoming suite "Remote Hoods" (a tribute to New York's diverse neighborhoods), and what audiences can expect from his return to SFJAZZ's Joe Henderson Lab. Songs Featured:"Ballad of the Fishermen" (from Almadraba, 2022) – featuring Ron Carter"Traveling Through Waters" (from Almadraba, 2022) – featuring Ron CarterAll music supplied by and used with permission from Oscar Peñas. Show Details:Oscar Peñas TrioVenue: Joe Henderson Lab at SFJAZZDate: Saturday, February 21stShowtimes: 7:00 PM & 8:30 PMTickets: sfjazz.orgFor more about Oscar's music, recordings, and tour dates, visit oscarpeñas.comPhoto: Jimmy Katz

Featuring a hot new joint from a collab of genius'—Spencer Zahn and Will Graefe; a brand new release of the incredible Paul McCandlass Quintet live in the 90s; a plethora of jazz masters including Red Garland, Ron Carter, Philly Joe Jones, and James Booker; the sexy swagger of Magic Sam; the most underrated band of all time, Funkadelic; and the astonishing talent of Todd Rundgren.

Gospelmusik, Spiritualität und ein gewagter Vergleich…was haben Louis Armstrong und Udo Lindenberg gemeinsam? Bad Bunny ist nicht nur Till & Henning ein großer Trost, er ist auch ein Künstler mit Attitude. Mehr als Attitude brauchte Rosa Parks für ihre Aktion am 1.12.1955. Und die Frage: kann man die wichtigste Botschaft des Lebens in 3:14 packen?Musik ist Trumpf gibt die Antwort…! Die Songs der Sendung: 1) Sweet, sweet spirit / Ron Carter, Ricky Dillard2) Sister Rosa / The Neville Brothers3) We have all the time in the world / Louis Armstrong4) The vision of Rassan / Eric Burdon & War5) Flüchten / Pohlmann6) Bridge over troubled water / Queen Esther & The Harlem Gospel Sister7) Dtmf / Bad Bunny8) Wehrt euch / The Busters & Katharina Wackernagel Links zur Sendung:YouTube, Beat Club:https://www.youtube.com/watch?v=_WNPDLaIa8s&list=RD_WNPDLaIa8s&start_radio=1 Hosted on Acast. See acast.com/privacy for more information.

William "Bill" Easley, born in Olean, NY, is a saxophonist, flutist and clarinetist, has performed with some of the most iconic musicians, including George Benson, Isaac Hayes, Ruth Brown, Ron Carter, Grady Tate, Bobby Short, John Lewis, Winton Marsalis and Louis Bells, just to name a few! He has been part of the orchestra of 10 Broadway Shows, including Black and Blue, Sophisticated Ladies, The Wiz, Jelly Last Jam, Fosse.As side from being a sideman on many recording, he has 5 recording as a leader.He has performed in a host of club such as Minton's, Village Vanguard in New York, Plugged Nickel in Chicago, The Jazz Work Shop in Boston to Carnegie Hall and Lincoln Center. He began performing with his father, a bandleader with his own band and his mother, who was a master pianist. This episode is informative, historic yet oh so funny! It is not to be missed. You'll love meeting Bill Easley!!! Produced, directed, edited and hosted by Stephen E Davis Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We’ve been doing these shows where we don’t book any guests, where we fill the hour with your calls, calls about anything, everything. These shows are fun for us, and they seem to be fun for you, too. So we did another one. This hour, the conversation winds around to politics, Greenland, President Trump, hope, fear … Anything. (Seemingly) everything. MUSIC FEATURED (in order): United States of Whatever – Liam Lynch Eyeball – They Might Be Giants RIP Romeo – Mariachi el Bronx My Very Own Ride – Kurt Elling, WDR Big Band Pass Me Not – Ron Carter, Ricky Diller Michael – Alison Brown, Steve Martin (ft. Aofie O’Donovan, Sarah Jarosz) Lift Every Voice And Sing – Kirk Franklin Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Listen to an interview with Brandon Meeks, an Indianapolis–based jazz bassist, bandleader and hip-hop producer, widely recognized as a key figure in the city's contemporary jazz scene. He is best known for his work with acclaimed saxophonist Rob Dixon and as a member of the hip-hop jazz trio Native Sun, a group celebrated for blending modern jazz improvisation with hip-hop. Alongside his work as a bassist, Meeks is also a prolific producer of instrumental hip-hop, bridging jazz traditions with beat culture.  In 2015, Meeks received national attention for his role portraying legendary jazz bassist Ron Carter in Miles Ahead, the Miles Davis biopic starring Don Cheadle. More recently, Meeks made headlines after receiving a prestigious Creative Capital grant for Unsung Giants, a project he created to honor under-recognized Indiana jazz legends.

"There are always certain traits, habits, or even non-tangible elements that draw us to our favorite people and artists. Find out what those elements are to Bob and Reuben in this episode."If you like Bass - you're in the right place! Interested in more music and practice advice? Check out Open Studio...where you'll find courses and much more by world-class bassists like Reuben Rogers, Ron Carter, Christian McBride, Bob DeBoo and more. Reach out to the Upright Citizens anytime at uprightcitizenspodcast@gmail.com ★ Support this podcast ★

Pianist, composer & recording engineer Pete Rende joins Pablo Held to talk about strong melodies, finding your own voice and playing what you hear. Other topics include Pete's whispering exercise, composing, working with jazz legends Paul Motian and Ron Carter, and his return to playing after a long break.

"Music is all about connection, and nurturing your relationships is so important to keeping those connections happening! Hang with Bob & Reuben today as they discuss their thoughts on staying connected and keeping your relationships happening."If you like Bass - you're in the right place! Interested in more music and practice advice? Check out Open Studio...where you'll find courses and much more by world-class bassists like Reuben Rogers, Ron Carter, Christian McBride, Bob DeBoo and more. Reach out to the Upright Citizens anytime at uprightcitizenspodcast@gmail.com ★ Support this podcast ★

"Bassist extraordinaire Joe Sanders is getting his flowers from the Upright Citizens this time. Nobody plays like Joe, and his writing and collaborations are always incredible. Let's listen and share thoughts on this master!" The UC Joe Sanders playlist: https://open.spotify.com/playlist/0ASufk595TtFJygTLRQGt9?si=b1d483320c8043e7If you like Bass - you're in the right place! Interested in more music and practice advice? Check out Open Studio...where you'll find courses and much more by world-class bassists like Reuben Rogers, Ron Carter, Christian McBride, Bob DeBoo and more. Reach out to the Upright Citizens anytime at uprightcitizenspodcast@gmail.com ★ Support this podcast ★

We're talking jazz influences in hip hop today with Nate Sloan and Charlie Harding from Switched On Pop. We dig into tracks from Kendrick Lamar (there's that TPAB acronym!), Common, Cautious Clay and David Bowie to surface the musical qualities that explain why jazz musicians love these artists. Plus - we explore the striking similarities between jazz and hip hop, especially in the recording booth, and why we don't hear more jazz in the popular music canon.Check out our Robert Glasper episode: https://youtu.be/hsJpuqtNH9oGet our newsletter for bonus stories that didn't make the pod: https://youllhearit.com/newsletter Start your free Open Studio trial for ALLLLL your jazz lesson needs: https://osjazz.link/yhi

Today we're going on an aquatic journey with Herbie Hancock's Maiden Voyage. Herbie calls the title track the best tune he's ever written.  We dive deep into the music to explore what makes this tune, and this album, great. The roots of Maiden Voyage date back in 1963, when Herbie began hearing rumors that Miles Davis wanted to hear him play. He didn't believe it at first -- Miles was at the height of his celebrity by this point. But soon he got a call. He went over to Miles's house and played with him, George Coleman, Tony Williams and Ron Carter for three days. On the third day, Miles asks the group to come to studio to record Seven Steps to Heaven. Herbie says, "Does that mean I'm in the band?" Miles says, "You're making the record, mother f**cker!" After two years playing in what many call the one of the greatest jazz ensembles of all time, Herbie would release Maiden Voyage in 1965. Along with George, Tony and Ron, plus saxophonist Freddie Hubbard. Although it is one of his simplest tunes -- with a rhythm inspired by a cologne commercial -- Maiden Voyage would become a favorite and a standard among jazz musicians. In this episode, you'll hear:- Adam and Peter pick apart the greatest moments from the album, including some perfect solos- The story of the commercial roots of this jazz standard- Where the record got its aquatic theme- Why a great song starts with a great bassline (just ask Ron Carter)- How this record could have been even better ... if it weren't for that piano sound- Where we land on Van Gelder Sound controversy-----Keyboards? Albums we haven't covered. "Boomer" talk. We know you have opinions about this show. Help us make You'll Hear It better by sharing your feedback with us and answering a short survey. You could win one of three $100 Amazon gift cards! Visit youllhearitsurvey.com to learn more and fill out the survey.Want more Herbie Hancock content? Learn why Herbie's greatest era is not even jazz on last season's episode on Headhunters.