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STANDARS SEMANAL.-771.Gee,Baby,Ain´t I Good to You.-VINILOS MITICOS DEL JAZZ.-JOHN COLTRANE - Blue Train.-JAZZACTUALIDAD.-.ANA PEREIRA-BAILA LA LLUVIA Blue Train es un álbum de estudio delsaxofonista y compositor de jazz John Coltrane . Fue lanzado a través de Blue Note Records en enero de 1958. [ 1 ] Es la única sesión de Coltrane como líder para Blue Note. [ 8 ] La grabación tuvo lugar en el estudio de Rudy Van Gelder el 15 de septiembre de 1957. Coltrane compuso cuatro de los cinco temas del disco. Su interpretación exhibe elementos tempranos del estilo característico por el que posteriormente se hizo conocido. Blue Train obtuvo la certificación de oro en ventas de la Asociación de la Industria Discográfica de Estados Unidos (RIAA) en 2001.El álbum se grabó durante la residencia de Coltrane en el Five Spot como miembro del cuarteto Thelonious Monk . El equipo incluye a los compañeros de banda de Coltrane en Miles Davis , Paul Chambers al bajo y Philly Joe Jones a la batería, quienes ya habían trabajado con el pianista Kenny Drew . Tanto el trompetista Lee Morgan como el trombonista Curtis Fuller eran músicos de jazz prometedores, y ambos fueron miembros de Jazz Messengers de Art Blakey en su momento. A diferencia de su anterior sello, Blue Note pagó a los músicos para que ensayaran la música durante un par de días antes de la sesión de grabación. La forma de tocar de Coltrane muestra la evolución hacia lo que se convertiría en su estilo característico. Sus solos son más armónicos o verticales y sus líneas son arpegiadas. Su ritmo a menudo se desmarcaba del tiempo o lo superaba, en lugar de tocar sobre él o por detrás. [ 9 ] Durante una entrevista en 1960, Coltrane describió Blue Train como su álbum favorito hasta ese momento. [ 13 ] El siguiente gran álbum de John Coltrane, Giant Steps , grabado en 1959, abriría nuevos caminos melódicos y armónicos en el jazz, mientras que Blue Train se apega al estilo hard bop de la época. El musicólogo Lewis Porter también ha demostrado una relación armónica entre «Lazy Bird» de Coltrane y « Lady Bird » de Tadd Dameron . [ 14 ] [ 15 ] Mientras estaba en el podcast "Traneumentary" de Joe Vella, Michael Cuscuna , el productor de reediciones de Blue Note , comentó: Estamos escuchando "Blue Train", que para mí es una de las piezas más hermosas de uno de los discos más hermosos que Coltrane grabó en los cincuenta. Es su primera declaración de madurez real, y escribió todos los temas de este álbum menos uno, algo muy poco común en los cincuenta, y cada uno es una joya, en particular el tema principal, "Blue Train". Y aunque es bastante fácil tocar blues, este tiene una cualidad suspendida y evocadora. Ana Pereira presenta su primer trabajo discográfico "Baila la lluvia" (Sedajazz Records), una reinterpretación del bolero desde una perspectiva personal y contemporánea. Acompañada por Isaac Martín (bajo y dirección musical), Daniel Orts (piano) y Tico Porcar (batería), fusiona este género con el jazz y otras músicas, aportando una visión fresca y actual de un género que se convierte así en atemporal. Su voz delicada, elegante y expresiva, y los arreglos sofisticados interpretados por el genial trío que la acompaña, consiguen que el directo sea toda una experiencia íntima y envolvente que transporta al público a través del tiempo en una conexión pasado-presente con la música como compañera de viaje.
Send us a textJak to jest mieć kultowe studio nagraniowe w pokoju gościnnym swoich rodziców? Czym wyróżniały się kultowe okładki płyt Blue Note Records? Jak to możliwe, że pozwolono umrzeć legendarnej wytwórni jazzowej sprzedając ją firmie ubezpieczeniowej… by potem ją wskrzesić na nowo?Miesiąc temu zabraliśmy was w przeszłość. Do Stanów Zjednoczonych połowy XX wieku, kiedy to w New Jorku narodziła się wytwórnia Blue Note Records - jedna z najważniejszych w historii muzyki. Dziś kontynuujemy naszą podróż w czasie, opowiadając m.in. o kultowych okładkach płyt autorstwa Reida Milesa czy nowatorskich i niecodziennych technikach nagraniowych niesamowitego Rudy Van Geldera. Będzie też o upadku i wskrzeszeniu na nowo wytwórni oraz dziedzictwie kulturowym i muzycznym, które Blue Note Records, z wyjątkowym Prezesem - Don Wasem za sterami, po sobie zostawiła.muzyka: Łukasz Wojciechowski (intro)Możecie odsłuchać ten odcinek tutaj: https://tiny.pl/1xn9xg07Link do Spotify:Youtube:Zachęcamy też do śledzenia naszego profilu na Facebooku - https://www.facebook.com/PickPlease/oraz Instagramie - https://tiny.pl/cxk21Będziemy wdzięczni za wsparcie nas na Patronite (specjalne bonusy dla naszych patronów!): https://tiny.pl/r8yq62q5LINKOWNIA:Podstawowe info o BNR:Wikipedia - https://tiny.pl/0c3qyx0vStrona oficjalna wytwórni - https://tiny.pl/8z5-v5w2Styl Blue Note Records - https://tiny.pl/jbzsfg95Rudy Van Gelder:Wywiad (tapeop.com) - https://tiny.pl/hfc4nn8mO Rudym Van Gelderze - https://tiny.pl/5bc1cs38PŁYTY:Lee Morgan - The Sidewinder - https://tiny.pl/bqkk59tpHorace Silver - Song For My Father - https://tiny.pl/k2w4zphmKenny Burrell - Kenny Burrell - https://tiny.pl/tbz38c_zDonald Byrd - Blackbyrd - https://tiny.pl/njgvt_g9Norah Jones - Come Away With Me - https://tiny.pl/vn1vr77xVarious Artists - Shades Of Blue - https://tiny.pl/z6qr3bk2Tony Allen - Tribute to Art Blakey and The Jazz Messengers - https://tiny.pl/m160dztsUTWORY:Us3 - Cantaloop (Flip Fantasia) - https://tiny.pl/4brhybfhNorah Jones - Come Away with me - https://tiny.pl/r-nt08mkOKŁADKI:Wikipedia - https://tiny.pl/szw8jyxcJaz.fandom.com - https://tiny.pl/wbb3zj-mVIRTUAL (ART. PHOTO) LEGACY - https://tiny.pl/xm6qq450Okładki Andy Warhola - https://tiny.pl/x-d82kq6DON WAS:Blue Note's Renaissance Music Man - https://tiny.pl/fz2x2ydw Talkin' Blue Note at 85 - https://tiny.pl/j9f6h5cx everythingjazz.com - https://tiny.pl/3rzhtbxm80` lecie Blue Note Records - https://tiny.pl/9gmfczjtPrzyszłość Blue Note? - https://tiny.pl/rgwwcd0jSophie Huber: “Blue Note Records - Beyond the notes”.
Tonight's Jazz Feature is one of the most individual and passionate voices of the alto saxophone William "Sonny" Criss. The album is his second for Prestige Records called "Portrait of Sonny Criss". He recorded for Prestige from 1966 to 1969 and these albums remain his best known. Sonny here is accompanied by the great under rated Walter Davis Jr. on piano, Paul Chambers on bass and Alan Dawson on drums and was done on March 23, 1967 at Rudy Van Gelder's Studio. The album mixes standard tunes and a couple of Jazz favorites but each track demonstrates Sonny's passionate sound and intensity. A musical portrait indeed of an unsung great: Sonny Criss.
Have Giant Steps and Meditations scared you away from John Coltrane? Join us on the other side of the Trane tracks with what might be the best trio of albums ever dropped in the same year. We're talking 1963 Coltrane—at his most accessible (dare we say smooth?) yet still cutting straight to the truth. From the GRAMMY hall-of-famer Ballads to his legendary Impulse! sessions with Duke Ellington and Johnny Hartman, enter the perfect gateway into Coltrane's world. We break down his honest melodies, the masterful support from McCoy Tyner, Elvin Jones, Jimmy Garrison (and more), and quibble with certain Rudy Van Gelder… choices… Whether you're Coltrane-curious or already converted, this episode has something special for your ears.Link to Spotify playlistTry OS Membership today! → https://osjazz.link/aboutLooking to drop a question? Want to listen to the audio pod? Look no further!https://youllhearit.com/
Former Black Flag singer/guitarist Dez Cadena traces his path from being the son of a jazz record producer to becoming a pivotal figure in the LA punk scene, discussing the records, rare recordings and eyewitness accounts in the formation of LA punk rock culture. Topics Include: Interview start, brief discussion of The Saints and Chris Bailey's passing Dez discovered Australian punk through Music Plus record store Early exposure to Ramones, The Damned, and The Saints Describes discovering Radio Birdman alongside The Saints Compares Radio Birdman's sound to Blue Öyster Cult Discusses early AC/DC fandom, specifically Bon Scott era Father Ozzie Cadena was record producer for jazz labels Family moved from New Jersey to California Father had connection to Lighthouse Cafe jazz venue Dez's childhood exposure to music through father's record store Father's recording techniques using minimal microphone setups Connection to Rudy Van Gelder's recording studio Father recorded blues artists like Lightnin' Hopkins Received first drum kit as child from father Influenced by TV show Hee Haw's multi-instrumental performers Father encouraged guitar learning over other instruments Father's reaction to Dez joining Black Flag Met Ron Reyes at garage sale playing punk records First encounter with Black Flag (then called Panic) Discusses early Black Flag recording sessions and demos Explains Louie Louie single release on Posh Boy Records Details Thirsty and Miserable Licorice Pizza promotional record Discusses relationship with Black Flag after leaving band Explains circumstances of Ron Reyes leaving Black Flag Describes chaotic Louie Louie performance after Reyes quit Discusses transition from singing to playing guitar Mentions potential singers considered before Henry Rollins Keith Morris briefly returning for one show Current Flag project and Punk Rock Bowling festival Discusses Punk Rock Museum and giving tours Mentions Johnny Thunders' guitar and other museum exhibits Recommends The Schizophonics band Promotes his current band Dondo Mentions producing 3rd Rate band's recent record See Dez at the Punk Rock Museum - Tickets here Commercial free, high resolution verion of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8
En esta Wurlitzer recuperamos la música de uno de los guitarristas secundarios de la escena del jazz y el blues. Bill Jennings fue uno de los grandes estilistas de los 50 y los 60 acompañado del organista Jack McDuff. Juntos firmaron algunos discos sensacionales para una de las subsidiarias del sello Prestige, teniendo tras la consola al gran Rudy Van Gelder. En este primer bloque sonarán: Bill Jennings - Dark Eyes Bill Jennings & Leo Parker - Solitude Bill Jennings - Soft Winds Bill Jennings - Volare Jack McDuff - Noon Train Jack McDuff - Light Blues Jennings & McDuff - Glide On Jennings & McDuff - Azure-Te Jennings & McDuff - Cole Slaw Willis Jackson - Come Back to Sorrento Willis Jackson - 633 Knocks Recordaremos en breves semblanzas a dos leyendas del jazz que se nos acaban de marchar, Roy Haynes y Lou Donaldson: Roy Haynes - Barbados Roy Haynes - Con Alma Lou Donaldson - Aw Shucks! Y cerraremos con un bloque de novedades: Enric Peidro - Moon Over Cuba Al Jarreau - In A Mellow Tone Sierra Green & The Giants - One Thing Little Feat - Wang Dand Doodle Reckoners - Looking For A Reason Rory Gallagher - I Wonder Who Os animo a comentar vuestra experiencia con la escucha. Gracias por escuchar con cariño y dejar tu corazón en el audio, aunque no lo parezca, esta chorradita es importante. Apoya este proyecto desde 1,49€ al mes. Tan solo tienes que pulsar el botón azul que tienes en la cabecera de este canal Y gracias infinitas, ya que tu aportación nos permite mejorar cada programa. Este programa, como siempre, está dedicado especialmente a nuestros patrocinadores: Joao Sampaio, RLP, Iñaki Del Olmo, Mechimariani, L Ibiricu Traba, Nachoigs, David, Alfonso Ladrón, Yago Llopis, Nacho Ruíz, Javier Carmona, Ana López, El Carabasser, Raúl Espinosa, La Última Frontera Radio, Gustavo, Ruth, Carmen Neke, Manuel García, Rebeca Tatiana, Michel y nuestros queridos anónimos.
It's the 140th episode of the Truth About Vintage Amps podcast, where amp tech Skip Simmons eventually fields your questions on all-things-tube amps! As always, use all advice at your own risk. Want to be a part of our show? Just email us a question or voice memo to podcast@fretboardjournal.com. Some of the topics discussed this week: 2:35 What's on Skip's Bench: A modified ES-150 Charlie Christian amp with a non-field coil speaker 4:22 Smilin' Skip's: Stuff for Sale 5:15 Loma Rica's Aztec Recording Studio; the Ralph Shine Blues Band; Skip's new guitar; Sylvia Massy (Sylvia's shop); Weed, California; the Fretboard Summit 2025 (register here) 18:01 Our sponsors (and baby goats): Grez Guitars; Emerald City Guitars and Amplified Parts (Jensen speakers are currently on sale!) 23:42: Alamo and other budget amplifiers; the COVID gear boost has deflated 25:35 Amp bargains (look for two transformers); a black panel Super Reverb; Silvertone Twin-Twelve and optocouplers 28:53 The Alembic Pre-Amp in a pedal (or two): Frog Pedals (link); Sushi Box FX (link); Mexican Pizza with Boboli pizza crust; starved plate loads 35:41 PSA: You can buy WD-40 by the gallon 38:22 Should I put the original transformer back in my 1966 Fender Princeton? 44:07 Preferred replacement 12AT7 reverb driver tubes 47:26 Two-prong shock in the studio 50:35 A converted Stromberg-Carlson; speaker-driven effects channel? Rudy Van Gelder; the usable range of a bright cap 57:55 A Plush 3000G tubes and tremolo with a mystery rectifier tube 1:03:08 What's with the lettering on my 1950s Rauland Lyric transformer 1:06:47 Putting a JBL in an Ampeg Rocket 2; a Traynor Studio Mate Hosted by amp tech Skip Simmons and co-hosted/produced by Jason Verlinde of the Fretboard Journal. Don't forget, we have a Patreon page. Join us to get show updates and get to the front of the question line.
We celebrate the 100th Anniversary of the birth of the great recording engineer Rudy Van Gelder. Every track on today's show was either recorded or cut by Rudy. He was the master of his trade and the go to guy for hundreds of musicians recording jazz and fusion over many decades. This show is dedicated to him. For more info and tracklisting, visit: https://thefaceradio.com/cool-struttin/Tune into new broadcasts of Cool Struttin', 4th Saturday from 10 - Midday 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.
曾经有一个白酒的广告我印象特别深刻,它说,你能听到的历史,136年。作为爵士乐迷,特别幸运的一件事,是爵士乐的发展,刚好被录音技术的发展完全覆盖,让我们有机会聆听爵士乐所有的声音。当我们去看一张爵士乐唱片的生产过程,不难发现,有时候一个比乐手更加重要的人,是录音工程师。在历史上,有这样一位录音工程师,靠着自己父母家的客厅,录制了许多非常优秀的爵士乐专辑。这些专辑,有的堪称音乐纪录片。我们这期节目,会选择一张特别的唱片,我带着大家一点一点,寻找唱片当中,那些并没有出现的声音。Why for Jazz 开通了微信听友群。我会对进群的朋友一次性收取199元的入群费,作为对本节目的支持。想要进群的朋友可以添加微信号Y4JZXZS,在确认群规及转账成功之后,我会将你拉进本节目的微信群。爵士乐的现场性导致了单纯的音频没办法表现它的全部魅力,因此 Why for Jazz 在小红书和B站开通了视频号。我会在上面分享一些非常哇塞的爵士乐现场,也会发一些自己的视频,欢迎大家点赞关注 Why for Jazz 视频号,作为播客伴侣,配合使用。Timeline of the Show:[00:00] 先是一个小广告(但非常的真诚所以请你不要跳过)[04:44] 你能听到的历史,136年[09:03] 在北京 687211 的体验[11:40] 一个极其重要的角色:录音工程师[12:06] 介绍一个叫做 Rudy Van Gelder 的人[28:44] 一起听一张奇妙的专辑《Miles Davis and the Modern Jazz Giants>[38:26] Bag's Groove Take 1[45:44] Bensha Swing[53:56] The Man I Love Take 1[58:06] The Man I Love Take 2
This classic album is tonight's Jazz Feature recorded 64 years ago on April 1, 1960 at Rudy Van Gelder's Studio for Prestige/New Jazz Records. It was Eric's first album under his name and leadership. Dolphy, who was from Los Angeles had moved to New York and after working in L.A. for many years came to New York as a member of drummer Chico Hamilton's Quintet. After leaving Hamilton and settling in the big city, Eric began working with Charles Mingus in early 1960 and recorded this album with his room mate, trumpeter Freddie Hubbard. Eric wisely selected veteran drummer Roy Haynes and a strong bassist named George Tucker plus piano giant Jaki Byard who he met in the Mingus band. They formed a very cohesive band for this date and it sounds like a working band. The date is a classic and marked the real beginning of Eric's short but eventful career. His unique compositions are heard here as well as his alto saxophone, bass clarinet and flute. Eric sadly died at age 36 in Germany from undiagnosed diabetes. "Outward Bound" stands as a great early milestone to Eric's life and music. It's tonight's Jazz Feature.
Grabaciones de los años sesenta hechas en el estudio de Rudy Van Gelder para el sello Blue Note por el saxofonista Hank Mobley ('Recado bossa nova'), el guitarrista Grant Green ('Corcovado'), el pianista Duke Pearson ('Sandalia dela' -con la voz de Flora Purim-), el trompetista Lee Morgan ('Río'), los saxofonistas Ike Quebec ('Blue samba') y Joe Henderson ('Blue bossa') y el trompetista Donald Byrd ('Book´s bossa'). Además, tres clásicos de Jobim, con las cantantes Nancy Wilson ('How insensitive'), Jackie Allen ('Dindi') y Dianne Reeves ('Triste'). Escuchar audio
durée : 00:59:29 - Centenaires 2024 (5/5) : Bud Powell, Paul Desmond, Rudy Van Gelder - par : Alex Dutilh - Quand on observe la liste des jazzwomen des jazzmen et des bluesmen dont on pourra célébrer le centenaire de la naissance en 2024, ça ressemble à une jam session au sommet de l'Olympe. - réalisé par : Fabien Fleurat
durée : 00:59:29 - Centenaires 2024 (5/5) : Bud Powell, Paul Desmond, Rudy Van Gelder - par : Alex Dutilh - Quand on observe la liste des jazzwomen des jazzmen et des bluesmen dont on pourra célébrer le centenaire de la naissance en 2024, ça ressemble à une jam session au sommet de l'Olympe. - réalisé par : Fabien Fleurat
jD, Dan from London, Pete and Tim are joined by a very special guest on this episode that is dedicated to the new reissue of Phantom Power for its 25th anniversary.And make sure to listen to the VERY END!Transcript:[0:05] On August 31st, 2023, The Tragically Hip dropped the first track from the Phantom.[0:12] Power 25th Anniversary box set, a song called Bumblebee.I will always remember this day because my friends Dan from London, Pete and Tim were in Toronto for our big live finale and the four of us were off to Kingston to visit the Bad Houseand sightsee the tragically hip scenes in Kingston.The first thing we did inside the car was fire up Bumblebee.It was so odd to hear something so familiar but so new to my ears.I hadn't heard this melody or these bending guitar licks before and I wanted more.[0:53] Lucky for us there are several other tracks included on this box set.Songs we either hadn't heard, or maybe we've heard snips and pieces of in live performances, or maybe on a bootleg.And of course there are complete song ideas that wound up on Gord's first solo record, Coke Machine Glow.There is also a fantastic live show from Pittsburgh, demos, and alternate versions of songs that did make the final cut.In essence, this is an exciting time to be a hip fan.Although we are all collectively gutted that we'll never see our boys on stage again, as long as I've been a hip fan, I've clamored for these songs that somehow wound up on the cuttingroom floor.And I'm sure you have too.[1:41] Today we'll get a sense of what Dan, Pete, and Tim think of the Reissue and we'll speak with a very special guest about the making of this spectacular box set and so much more.So sit back, relax, and let's start getting hip to the hip.Track 4:[2:23] Hey, it's Shadeen here and welcome back to Getting Hip to the Hip.This is an out-of-sequence bonus, episode for everyone.We are going to be talking today about the box set of Phantom Power, and I am joined as always by my friends Pete and Tim, and today's special guest again, Dan from London. How's itgoing, everybody?Well, Dan got his ears lowered, looks like Dan got his ears lowered.Yeah, I lost some hair over the course of the last thing, yeah.He was shorn. Maybe it was his younger brother stepping in. Yeah.[3:07] So fellas, when we last left off and we talked about Phantom Power, I recall the conversation really revolving around fireworks.You guys both really loved that song.Something On was a little underwhelming for you.You got into Poets, you thought that was a good kickoff and here we are just like six months after, not even six months, like four months after releasing that episode and The TragicallyHip goes out and releases a 25th anniversary box set of Phantom Power.So we thought it would be cool to get the band back together and talk about that for a little bit.And we'll be joined by a very special guest who we won't reveal quite yet.Is there anything that in particular, Pete or Tim, you remember about your experience with the record, thinking back, and Dan, for you following one of them, what was your experiencewith the record in general?[4:24] Um, it's funny because I went back and I found my notes from the original and it's it's just crazy to look at.It's like it's a it's a time it's a time capsule because, yeah, there were certain songs that was like, this is good.And like and now I look at, like, some of the songs that I was.[4:44] You know, Gugu and Gaga over and I love fireworks, but I mean, by by and far, you know, Bob Cajun is probably one of the most just, I mean, it's on loop in my home.So many, so many days. She also listens to it as well, right?Oh, yeah, she absolutely loves that song. We're listening to the live version today, we went for a hike.[5:07] And Cherrigan Falls. Poets is like, I think didn't, didn't, goodness, 50 Mission, didn't they?They came out with Poets when they played the live event.That song just, I had like one line written for that song. And this is the line, this is how sad it is. Dig it.Verse phrasing is key to the song. Lines go to the next measure.Layers and guitars. Nice. Now I'm just like, I hear that song.And I just fucking stop what I'm doing. And I just like, I fucking love that song.It's crazy how this album grew on me like a fucking virus. It's amazing.Timmy? Great. Yeah. Great, great question, JD, for sure.I mean, there's still a few on it that I'm not a super fan of, just to start off being negative here.Like, the rules to me is still a yawner, you know, but like, I kind of dig Chagrin Falls more than I did last time.I don't think I was anti, but in Emperor Penguin, I've read so many times across platforms that people love Emperor Penguin, and that song's slowly growing on me too. It's one of myfaves.There's still some really good ones in there.[6:31] Thompson Girl I could still live without. That's another one that grew on me, Timmy. I feel you, but I grew on it.With the new songs, and this is a question for a few minutes ahead, but somebody asked with the new songs, are any of those potential replacements for what's on the original?Oof. So yeah, that got me thinking a little bit.Tim, why do you always have to embroil things in controversy?I mean, that just is a controversial question.I mean, probably because of aliens, I guess. Oh, stop it.[7:15] Dan, what did you think of Phantom Power? I mean, Phantom Power is an absolute solid album.It's just a kicker, isn't it? I mean, I always love something on, I think it was the first track I got into off the album and I still absolutely love it. I think that song kicks ass.Something about the bass drum and the bass just driving it and the timing is just fantastic.Obviously, yeah, Bob Cajun.That always used to come on at a certain point on my commute when I was arriving at a certain station and I now still have overwhelming feelings when I pull into that station.[8:02] I can't believe how big a song can be, how overwhelmingly amazing a song can be.But yeah, I mean, the other stuff, I mean, Escape is at hand, I think, is just my favorite track on the album.You know, again, it's a whole other different story and different sentiment that it carries.And I don't know, I think that is a Bob Cajun and Escape is at hand, I think that just works a genius.And I can't say much more than that.Yeah. You know, the loss related with Escape Is At Hand is so relatable for me. And probably everybody.But I tend to live with you, Dan.I think Escape At Hand is... There's something about that song that just hits home, I think, probably for most people.[8:58] Maybe not sociopaths. I don't know. Maybe not.I think, Dan, you hit on the point. It's crazy how songs, even if you listen to them and enjoy them, it's like they get to a point where you've listened to them so many times, and perhaps thesame situation, like you said, pulling into that particular tube station or whatever it is, that maybe you don't hear it for a while, but then you hear it again, And, and just like a flood ofmemories and images come back.Just weird how the human brain works, man. I mean, this summer, we were go, go ahead.I mean, I just, I was just gonna say also in terms of that as well, it's the same station that I come into, I used to come into every time Fiddler's Green came on as well.So there's a time in all the albums where some of this stuff happens.[9:49] That's cool. That's cool. So have any of you guys had a chance to listen to the bonus tracks or the outtakes or the live show or any of it?And if you haven't, that's cool.All of it. All of it? Yeah. Yeah.I'm just happy to have more live music from these guys.For the obvious reason. It's a nice sounding show. So I read some kind of critique, so it's not the best sounding live show they played. I mean, who cares?I'm just happy to have more live music. That's an easy go-to wherever I am, in the car, on a plane, whatever.So as far as the new songs go? Yeah, back to your question.Yeah, I dig most of them. What's the best of the bunch? Eh, I don't know, I'm not there yet, I wouldn't say I'm there yet, I kinda like them all for different reasons.[10:52] Vegas Strip may be the least, but I like all these songs. I haven't gotten to it yet.It's my least favorite, but I still really like it.Yeah, like Songwriters Cabal isn't my favorite, but I love that song.Mystery, just lastly. Mystery is kind of a phenomenal ending to this group of songs.It's just this somber kind of tearjerker.Yeah, that was that was a happy listen. Joy meant either you fellas dabble.[11:31] I dabbled today and a couple of days last week, not yesterday, but I think Thursday and Friday in the fly stuff, which I concur with Timmy, I just love the live shit and I don't give afuck If it was a, you know, if it was a tape recorder jammed behind a, you know, bathroom stall and you got it picked it up in the background.It's just cool to hear this band live, but I loved it. Um, of the new tunes.I agree. I'm not there yet, but I, I got, um, I did hear bumblebee a lot when that came out, cause that dropped first, if I'm not mistaken, right. It dropped the day we went to Kingston.Kingston.So we got to it on the way to Kingston. That was fun. That's right.But I would say of the new tracks, I think the strongest one is Insomniacs. Me too.I just think it's very brawling, fucking harking back, just cool, fucking, just has that cool, easy, fucking hip, early shit to it.Early feels to it. Yeah, you know, has the road apples feel to it or something.Yeah, yeah, yeah, yeah, I agree with that. I like that too. I could be swayed.[12:50] Okay. Dan? Yeah, and I mean for me, I've listened to the extra tracks.I mean, I still love Bumblebee.[13:04] There's something about that with the guitar bends, that like, I mean, I think we next sort of hear those kind of guitar bends on my music at work.Something very similar happens towards the end of that, doesn't it?But in terms of the live stuff, there's a few little things going on in there.I mean, obviously, when you get down to 100th Meridian, there's a kind of improvised extract of Bumblebee in there, which is fantastic.And also, in the Chagrin Falls live version, he breaks into Born Free, but in the alternate version of Chagrin Falls, he's singing Chagrin Falls with a Born Free kind of lilt to it.So there's these kind of little parallels between some of the stuff that's been chosen, I think.Yeah, so maybe that's the reasons for some of those selections.Yeah. To you for choosing this live this light those like cuts you mean I Think so. Yeah.Yeah. Yeah, there's definitely some some thread woven throughout.Yeah Too bad. We don't have anybody to ask We might get some insight from our special guest Yeah, we should kick to him right now.We'll go to a song and then we'll come in with our special guest Johnny fucking thing.Track 6:[17:35] Hello, hello, hello, hello, I hear you guys now. There we go. Oh good. Am I good?Am I good? Yeah Hello Hi johnny Good doing well Sorry about that Hi, that's my fault. Not yours.I'll take full credit for that We're just waiting for one more to join Okay, he's uh in the waiting room now.Oh, there he is amazing how everything just Clicked and then johnny came on because we were having some severe problems, Dan, can you hear us? Yeah, absolutely. Awesome. Can youhear me? Yeah. Grant.[18:18] How you doing technically there, Danny? Good. Can you hear me?I can hear you. I can see you.Perfect. So then are you done? Are you done taking the McDonald's in London?London? London. Yeah. Yeah. My dad, my dad's hometown. He's from Woolwich.Woolwich, really? Yes. Oh yeah. South of the river. And we got to Canada and some friends would say, are you from London, Ontario or London, England?And my dad would just shoot back, he'd go, there's only one, London.Ooh. Although they have a Thames where the Canadian one. Ooh. Anyway.[18:59] That's beautiful. Isn't there in London, Missouri or something, too? There's a London... Oh, they're all over the place.Yeah. What's the deal with that? What's the deal?I think there's one in India also. You can't throw a shoe without hitting a London, is basically what you're saying. Yeah.All right. Well, let's get things on the road here.Johnny, just a brief introduction. We've ran a podcast from May 2, 4 to Labor Day this summer, where I took my friends that have never heard of the hit before. One is in Spain, Malaga.One is in Portland, Oregon. That's Tim and that's Pete, who is from Spain.And then Dan is from London.And we took them through a record a week, starting with the Baby Blue record and working up to Man-Machine Poem and just.[19:54] Inculcated them into the world of Tragically Hip.We ended up with a big party at the end downtown at the Rec Room.We raised like almost four grand for Donnie Wenjack.Oh that's amazing. Incredible.Yeah, so that's our story. I'm sorry I had to get the The music stuffed down your throat like that.[20:19] Can you imagine doing it, Johnny, like of a band that you've never heard of, right?And I've heard of you guys, but like never heard of you guys. I mean, I never heard it.But it's crazy how we did get it literally shoved down our throats.And now we were going back today talking about Band and Power, about what our first reactions were for it.And even compared to now, how much everything's just grown on us.It's just like, and we're diehard fans now, but go back a year from today, we didn't know. That's incredible.Wow. It's crazy, man. Thanks for sticking with it. It's not always easy.My Spotify algorithm is still totally convoluted, but a lot of a lot of hit playing in there.So Johnny, let's start at the start and get to know a little bit about you as the drummer of The Tragically Hap.And youngest member of The Tragically Hap. That's right, that's right. It's a dig.[21:27] It's Gord Sinclair's birthday today, right? It is indeed.Yes. Yes. I had dinner with him and Paul the other night in Toronto, and we had a nice evening.And, you know, we're 40 years young next year.I was in high school when we started, and I guess here we are.Wow. Wow. Who, before you got into the band and as you guys were forming, um, you know, your sound and your, you know, cadence, who were your big influences?I've, I know Stuart Copeland came up at one point. Oh, without a doubt.Yeah. I've heard a story about an exam or something like that, that you missed.That's correct. Yeah, that's correct. Uh, and we later ended up working with Hugh Padgham, the great British producer. and Synchronously was coming out and it came out on the daybefore my.[22:29] My math exam for Mrs.Griffordy and Lynn got this record and I listened to it.I'd heard Every Breath You Take on the radio, but then when I heard Synchronicity II and just the blistering drumming of Stuart, I just had to drink it all in.I remember making the decision. I was like, I can listen to this record, I can study for the exam.If I don't study for the exam, I'm going to summer school, which I did.And then I took one day off to go see them at the Olympic Stadium in Montreal, but it was worth it because that was, that was really my education was living, eating and breathing.And if you were a drummer in the eighties, who, uh, the guy, he was instantly identifiable by a snare drum.Um, just the hit one snare drum, there was Stuart Copeland.So, And this was an era of drum machines, don't forget, this was Len drums and sequencers, and I loved all that stuff too, absolutely did, but to be on the radio, and Stuart was it, he was,and I'm still finding things out about him, that he held the drumstick between two fingers, he didn't hold it, he held it up here.[23:48] Instead of the two fingers, which is the traditional way to hold the drumsticks.But he invented a way to play and invented a kit, which was a sound, you know.And he really, I can't say enough things about Stuart Copeland.Yeah, he's amazing. But I'll also listen to Alan White of Yes, who was fantastic. and of course, you know, Neil Peart, Bob Rush.That's a pretty good pedigree.Well, you try and take a little bit from each guy, you know, you don't want to be a lab rat. You don't want to copy them.You want to just take all the little things you like the right hand from this guy, this snare drum from that guy, the bass drum.And of course, the great I saw him the other day, the Manu Katché, Peter Gabriel's drummer, who is the Picasso on the drums. He has hands down, Art Picasso on drums.High praise. Dan?Yeah, so yeah, those are your sort of past influences. But who do you enjoy listening to now? Who does it for you now?Well, it's really funny because what's on my turntable right now is Heavy Weather by.[25:12] Weather Report and I'm listening to Jaco Pastorius.I'm trying to get as much of him into me because he was the guy really, you know. You hear Geddy Lee talk about him, you hear.So I'm listening to a lot of bass players these days and loving it.So that's what's going on.[25:36] I gotta I gotta ask you, just because you mentioned synchronicity, this is just a this is just a note.And if you didn't know it, then I think we brought it up with Paul.But do you know that that record had 33 different covers?[25:53] I did, yes I did. I didn't know that I thought it had.I thought it had. Well, I guess it would because each guy was sort of on one of the strips and it changed.But I didn't know there were 33. 32 or 33. But yeah, it was when I found and some some versions are rarer than others. But that record is.And that song Mother is just nuts. And isn't Stewart Copeland singing that song?No, that song is Andy Summers, and I heard a story, they did part of it in the Moran Heights in Montreal and the engineer asked Hugh if he could bump himself off a cassette in the day.In those days there was no internet so it was cool. The engineers usually got to be able to do that.Here's a record I'm working on, just happens to be with the police.And he asked Hugh Padgham if he could leave that song off.A lot of people hated it. It's a hard song to listen to if you're not into the record. You know, what went into the trash bin was I Burned For You, that was slated to go on that record.And think about how that would have, you know, from Sting's soundtrack work, would have changed that record. Totally.[27:22] I'm a little curious of then and now also, when you first started playing drums, I raised a drummer.I have a 21 year old who plays drums.Awesome. Actually, yeah, the past year or so he's been out of the country and he's been more focused on DJing, techno of all things.But he's, you know, can hear kind of a drummer influence. But anyways, you know, we got him on hand drums early and drum lessons early.And I lived through, you know, a drum set in the basement.Just anywhere you went in my house, you had to go outside or take a call.It was just, you know, what was it like for you in your early years playing drums? Like what pushed you over to the drum set or being interested in it? And...Conversely, do you still play now? Do you still have access to a drum set or a drum set at home?[28:13] Great questions. Number one, my brothers had a friend who had a drum set and they said to me, they went and got the snare drum and they said, we'll get you the snare drum.And after a year, if you're still playing, we'll go get the rest of the drum kit.And I'm still playing. And so they Then I had an eye injury, which for three weeks I had both eyes sort of closed off with cotton batting.And it was a really weird, weird accident.I still, when I'm explaining it to people, my dad was on the phone.He was a pediatric cardiologist and he was talking to the hospital and we were at a friend's house.And it had this jar of erasers and pens and pencils and elastics and he was talking and I remember he had his hand on my head like that and I grabbed an elastic band and a pen, and I shotthe pen into my eye and yeah it was very bizarre I thought it was shooting at the other end so it went right in and I remember my dad saying to my mom don't touch it leave it leave it andshe was trying to pull it out and so I went in and my sense of hearing was heightened.[29:33] I could hear my dad walk down the hall after he had his morning rounds.I could hear the cadence of his footstep and so you know for that three weeks where I was unable to see, it just kicked that.At about seven years old into a different gear for me. I started hearing rhythm everywhere.As you do with your indicator of your car, to industrial sounds, trucks backing up. I can put a rhythm into it.Like your son, his, like you're saying about drumming, and now he's DJing, his internal clock is always going as a drummer because that's where it started. Absolutely.Yeah. So it's the same. Drummers are that way. You just pick those things up.And then second question. No, I'm not playing. I'm kind of doing what your son is doing with drum machines.But I have two drummers in the house, two nine-year-old boys.[30:29] And one is a lefty. And I would set a kit up for him and then my other son, Finn, and then I would forget about Willie.And then, so I just said, well, I'm going to set it up on the left for you because he has a great acoustic kit, a set of Gretsch 1960s.And now I play left because I'm not the drummer that I'm not, you know, I'm not that drummer anymore. So now I'm discovering all kinds of new things about playing on the left side, andleft-handed drummers I find are way more creative.It's funny you mentioned that because we often notice when I've gone to shows with my son, we'll just say immediately that guy's left-handed.You just see it like that. That's very cool.Ringo was left-handed, they say, and that's why no one could ever duplicate the way he got around the kit.Yeah. His left hand pushed his right hand, I think.Phil Collins, Ian Pace, they're not good drummers.They're incredible drummers. Those two guys for me, Ian Pace and Phil Collins.Phil Collins, the stuff that I listened to today, and I'm like, how is he doing that?How is he doing that? He was incredible.He really was. He is incredible.[31:48] Johnny, you've been hard at work on the Phantom Power reissue, the box set, the amazing box set.I got it last week, and it was so fun to open and just touch the vinyl, and the book that's inside is really wonderful.I'm just, I'm so curious what a project like that.[32:17] Entails like from a from a time perspective. And I know you guys are hard at work on another one for next year.Like, when does that begin? And what does that process even look like?Like, is it just climbing Everest or what?It's really fun. It's really great therapy for us.You know, we get to talk about the past and if one guy doesn't remember it, someone else will.We have weekly calls and it's fun.We didn't do any therapy after Gord passed away and we really should have.We have just all kind of dealt with things and I think really right now that this is our therapy.I'm in Toronto, so that's where the tapes are. I'm very happy to do it and we're digitizing things and Phantom Power was a different one because it was in different formats.It was on D88, little digital tapes.[33:11] DAT machines were around and kicking at that time.We also had our 2-inch machine and then Pro Tools, the dreaded Pro Tools was coming in.Well, you didn't have to make a decision and you could have a hundred tracks on something and and I was like the you know There was such economy when we were going to tape andAnd I really liked that.So, you know, if you look at the early records, we're still I, Think there's the most that we used was 18 tracks You know Don Smith would consolidate things and that was really a goldenperiod So, it's not as daunting as you think, it's been fun, it's been fun, it's been a discovery.[34:00] You know, to listen to some of those tracks and hear Gord Downie speaking in between takes is really these beautiful moments.So yeah, it's been a lot of fun.Robbie is in charge of the box set, putting it all together.So he's doing all of that stuff.And you know, Gord and Paul are very involved in it. But they have solo careers too.So, um, you know, uh, but we are, we're all together on this.Uh, it's not me, uh, just doing, um, the tape stuff there. They're involved in it too. Very cool.Yeah. I mean, I was going to ask in terms of the project from the offset, uh, you know, when you're going through the tapes and covering all of these tracks and these, these different takesof the tracks that you have, what, what shape, you know, with those tracks in, did they require a lot of work to get them up to spec, or was there anything that was kind of left off that was,you regard as pretty good, but it was still a bit too rough around the edges to include?[35:04] Well, if we did any editing back in the day, if it was tape, we would do chunk editing.We would take the ending of one, with the hip, we would play a tune, it'd be great, be great and we would get close to the end and then we'd anticipate the ending and I'd make the otherguy speed up so we get to it and then our producer would say well the ending of this one's good so let's take the last four bars so there we go there's the track.So they were in pretty good shape you know the tape that we got was really forgiving.The crazy thing is I heard about the Rolling Stones going back and doing stuff that they did in the early 60s.And the early 60s tape actually lasted better than the stuff they made in the 80s.They had to do very little to get them back into shape, which is cool.You got to bake them in what essentially is an easy bake oven for tapes at a low temperature and it just sucks all the humidity out.And so record companies are obviously very well prepared to do all that sort of stuff and then it's just digitizing them.But when you first have a go through the tape after it's been baked and it's coming off the head and going through a board at the studio, it never sounds better.You know and they shoot it over to Pro Tools and they say now we have it We've have it and I always say well it sounded better a few minutes ago when it was going through the machineand so, Yeah Tape is king.We lived in the Golden Age. We really did in the in the 80s and 90s When you when you still were spinning tape.[40:59] So I imagined with coming across tapes, you guys did so much work, you know, in the recording process that I imagined it was just so fun to go through. It has been.It was, you know, but, you know, talk about Bob Cajun being an example.We only really have two versions of that.[41:23] And Gord Sinclair and I had a conference and we were like, well, we can play that again and we can play it better. And we were like, yeah, let's do it.And so the version you hear is the demo version, really.It's just we said we would go back and address it later. I think we went on tour and then it was Steve Berlin listening to it, which was really cool because he he recognized you can't beatyour demo.And that's what bands try and do.And he was so smart with it. And he said, I'll let you play it again.But you're not going to beat this. It's just there's a vibe there.And Gordon and I were like, we're going to beat it. We're going to do it. And we never did.And so I always loved that, that he did that because as a producer, I wouldn't have done that.And I would have screwed it up if I was producing that record.And he had the brainpower and the knowledge and he'd made so many great records before that he just, he let us play it, but we never beat it.It's our biggest song, too. Well, we were talking before, I absolutely love that song.That song is the soundtrack of this past summer for my wife and I.You jammed it down her throat. Oh, yeah. She drank the Kool-Aid, man.Let me tell you. She sure did.I've tried. We're getting there.[42:46] That's the pocket of that song, in my opinion, and this is my opinion, and if Robbie was here, I'd maybe change it just to be sweet to him, but it's you and Gord.It's just that the pocket's so tight with that.But you said something earlier about tape, and I want to just touch on it real quick because you were talking about how they have Pro Tools and this and that, and how you would havemade a different decision with Bob Cajun.But we cut a record in this last March, our band, we did our second record.And the engineer was using Cubase, which is just another version of Pro Tools or whatever.You've got a million, you can do a million tracks. But like he was like, no, you're going to do this many. And I'm like, no, I don't like that.He's like, nope, that's it.Yeah, because you get to a point to where you could just you just go crazy.And you could do 25, 30 tracks, you know, on one take or 25, 30 takes.And it's just it's stupid at that point.You've got to appreciate the moment that it is, you know, whether it's, you know, you're never better than your demo, like you said. You know? Yeah.And and I don't know, I guess.[44:01] There was, and not to get off the topic of, of, of, of Phantom Power, but for me, and I know we all had this, this reaction.We felt like I felt like In Between Evolution was the Johnny Faye record.[44:17] Really? Yeah, and there's... I don't remember that record, really.Well, yeah, there's a specific thing. That's crazy because there there's at the end of certain songs, there's little, you know, hi-hat touch, there's a rimshot, there's just little sprinkles of youthat is the last sound you hear on multiple tracks and or, or the beginning of a track.And I'm like, I wonder if there's something to this, but they must have just been the take that you guys did and it's taking up, maybe so.That was confusing record.Well, it's interesting about the tape to dress the tape thing.Yeah. And you have limitations. You got to make decisions.Uh, and you know, and I didn't say that I read Keith Richard's book and he was like, give me eight tracks and I'll write you a hit.And, you know, when they went to 16, he was like, man, okay, but I can still do it. Nay. And it's true.Um, you know, that, that the a hundred guitar tracks or whatever, the layering and, and, uh, it's just, you know, it goes, just lets up on records, John Bonham.I worked with a guy named Terry Manning and he had, John Bonham got very upset with him because Terry Manning said to me, I was the guy who put the third microphone on thedrums, he didn't like that, he only wanted two.[45:36] Only wanted two. So yeah, Inbetween Evolution was, we worked with Adam Casper, he was fantastic, obviously he's a guy who worked with Pearl Jam and we were very chuffedabout working for him, with him.And we seemed to move around studios a lot.For me that was a little bit confusing, so I never knew what we really had in the can.And it was in Seattle, where I love. I absolutely love Seattle.And so that was cool to be there. But yeah, I don't sort of...It's just a record that's easy to associate with you.And I think at that time too, we were looking at videos. I remember talking about this video I saw of you.You were so in the friggin zone playing live.You broke a cymbal and somebody just came like middle of the song.You just kept going along, replace cymbal.That would be Mike Cormier. He was my drum check and he was amazing.He could tell when they were broken. He sort of mid-song and he'd say, should I wait for the end of the song? I was like, no, just get rid of it.[46:44] Yeah, you know, we're going through something now where we're going back even further and with Up To Here.And a question was asked earlier about is there some songs that were left off?And there was a song that was left off, Up To Here, and it's called Wait So Long. and it was a really, really special song.Our producer and his manager and some people at the record company really thought that that was the lead track.[47:15] It ended up being Blow It High Dough, I believe.Or New Orleans is sinking. But Wait So Long is a great track, and that will come out next year.Oh, that's exciting. We have a mix of it and everything from Don Smith, so that's fully intact.So when we looked through the tapes and thought, oh, what do we need to remix?There was that one, you know, the lettering. It was like, okay, we got that one.So that'll be great to get out.You know, hear what people think about that. So one of our go ahead, Judy.So I have an ammo system set up at home. So I've been listening to the mix and Dolby Atmos.And I'm just curious about how that works when you're when you're doing a mix of that because there are instrumentations and sounds that I've never heard in those songs before.And now all of a sudden, they're they're shooting over my head.And it's, it's really fucking tremendous. It's a great way to experience music.But I just wonder what it's like.Do you have a mixer that just takes care of that?Because I noticed there was there's three writing credits for mixers on the Yeah, on the album.So I'm just curious if one is just for Dolby Atmos, sir.Yeah, well, we had a guy in the first couple, I think he did Road Apples.[48:43] And his name is Rich Chicky, and you might know him because he's done all the Rush stuff.He's like the Rush in-house guy for Atmos.Since then, we've had our key engineer, Mark Braykin, has been doing the Atmos stuff because he built an Atmos room.[49:00] You're right on this one. Phantom Power has a lot of stuff. I was sitting in the back of the room when they were mixing that and it's like there's some backwards guitars and somestuff that just goes out and it makes sense.I'm not gonna lie, I'm not the hugest fan of, I get it, you know, let's send the hi-hat into outer space, changes the groove, changes the groove for a five-piece band, we're not gonna lie.[49:29] On an album like Road Apples, which Rich did, and he did a great job.I just don't get it. On Phantom Power, which would be the closest thing that we would ever have to Dark Side of the Moon, I get it.You sit in the back of the room and hear the backwards guitar or stuff swirling around. It's cool.But I know people want this in their headphones, but I guess I'm a little bit like Monomix guy.I don't mind that either. I love it. I love that. Yeah.Dan? I'm with you, Joni.[50:04] Coming back to the other aspect of the box set, which is the live recordings, I mean, what criteria do you sort of use for selecting the live recording?I mean, out of the three that have been, you know, re-released.[50:18] Obviously one was the Horseshoe, but the other two have been from, like, American venues.Would you perhaps, like, choose the American gigs because they might be lesser known to a predominant Canadian audience?Or, I don't know, how do you choose? We pick a gig that has fewer clams in it and less mistakes.We just kind of really, we really do.We did a live record called Live Between, it was way back in the day, and we argued about this.We had really sort of a good old fashioned fight about it.And Gord Downie wanted one from this place called the 40 Walk Club, which we'd listened to and it was a great, great version.It was a great night.And it's where REM, I think, got their start.And so we were sort of between that and another couple.[51:12] And then we ended up picking Detroit because it sounded good.Um, I think that's kind of what we go on when we're, we're picking these, um, these live, uh, albums and Gord Sinclair's son, um, is the one who really goes through them and says, there'ssomething here.He knows the hip really well. And so he really kind of directs us.So there's so many tapes out there. Um, and so he, he sort of says this one, um, from, uh, Chicago second night, a house of blues.This, this one's got something there. And so Colin Sinclair is really in charge of that.I don't think any other guy in the hip can take credit for it.[51:52] Can I just ask as well then, so what percentage of hip shows do you think were actually recorded, you know, documented?[52:00] It would depend on the period. One tour we went out with D88 machines, other eras we let people tape, like Fish Show or Grapevold Head, we would set up a little area where theycould get stuff off the board.That was cool. And there were some remote stuff, not a ton of 24-track, tape stuff. We would do stuff for Westwood One.Most of this stuff is going to be in-house, or a record company generated through a live truck, Usually in LA or New York, we have one coming up from a show we did in the States forRecord Day next year.Not a ton. There's not a ton. Two scoops in this session. That's great.That are coming out?[53:05] You mentioned Zeppelin too. I was going to ask you about Hedley Grange, but I forgot what I was going to say. You know where Bonham did that thing with the, for, for, um.[53:16] When the levee breaks, you know, yeah, they put the mics up on the stairs. God, that's so cool.But, but no, that was Jimmy. That was Jimmy Page. That was Jimmy Page doing that.He engineered page based on that. That's that's such a it's such a I mean, never in in history. Can anybody recreate that sound? I mean, it's just so cool.No, the sound of like a double bass almost, but people people don't understand that there's the economy of it.If you worked with one of These older guys, I always say that Don Smith was like Rudy Van Gelder, he got it.He knew, he kept on coming into the studio, back in the control room.He would make the live room, the studio sound, the control room sound like the live room. And he was constantly tweaking like that.[54:02] The guitar, if you listen to the Zeppelin, it's all the stuff that's implied in the chords I think.The drums are what everything is hanging off of. The guitars are really quite small, you know, you know, there's these these bands that came out in the 80s that were trying to be likeZeppelin, use 24 microphones on the drums.It sounded horrible, you know, and for John Bonham, it was just the way he played. He was really good.Incredible jazz sensibilities, an incredible groove. And he was able to move, you know, all four of those guys were spectacular.We went on the road with them. We went on the road with them, Paige and Plant, through the States, and it was incredible.[54:49] Yeah. Never a nicer, never a nicer guy than Robert Plant. He was so, so nice.Oh, yeah. That's that's, that's, that's amazing.Yeah, I'm a huge, I'm a huge Zep fan. But I just got to ask you real quick about the song Fireworks.Is there, there's got to be some Rush influence in that. I just hear so much like spirit of the radio in that tune.It's just such a, I think that when that song, when we heard that song on this record, Tim and I both, I was like, that was for our first favorite song on this record. Oh, that's sweet.[55:26] Don Smith's mix on the box set is really interesting.Because for Phantom Power, where we mixed it three different times.Yeah, I mean, Neil, I got to meet him a couple of times.He was obviously a huge influence and I would say, yeah, yeah.I went trick or treating as him one year. I crank called him.[55:50] Oh my gosh, amazing. Love Rush, man, love Rush.J.D. be mindful of the of the clock too on the thing. You're on mute.Yeah, we can't hear you, J.D.Oh, sorry about that, guys. I was just going to say we've got a minute 45 left of this session before it cancels out.So, Tim, if you've got a quick one and then we'll bid adieu.Well, I just had one of our pod listeners asked about Bumblebee and basically was like, why didn't this make the album?You know, this it could fit in there so well. So just a quick comment on that.And yeah, yeah, that was one that was that was on on the list.And I think it just, we just sort of Gord Sinclair was putting the sequences together for that.And it just for us, there was just something maybe missing. It's really great.[56:46] And I love the line when the moon's a water balloon.It just is so great. That's so Gord. You know, yeah.And I look at every time I look up at a supermoon and it looks like a water balloon. I think it's very cool.Well, it made the box set. So that's, yeah, that's important.Yeah. Well, Johnny, we really want to thank you so much for your time.It means a lot. And thank you gents for, for all your promotion to the hip. Our pleasure.Keep ramming, keep ramming it.Hopefully not your family. They love it too. It happens.Track 1:[57:29] Thanks for listening to Getting Hip to the Hip. Please subscribe, share, rate and review the show at gettinghiptothehip.com.Find us on Twitter and Instagram at gettinghippod.And join our Facebook group at facebook.com slash groups slash fully and completely.Questions or concerns? Email us at JD at getting hip to the hip.com.We'd love to hear from you.Track 6:[58:25] I can't wait for the music at work box set as well, just so you know, just so you know, we're dying for that one. Oh yes, please, please.I'll tell you, I'll tell you the one that I was listening to last night and the demos are really great and and I'm really pushing for this one is in violet light.Oh yes. Yeah. In violet light. The demos were just incredible.Support this podcast at — https://redcircle.com/gettinghiptothehip/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Молодой пианист Emmet Cohen продолжает записывать альбомы с ветеранами джаза, тем самым наследуя их мастерство. Только что вышла новая запись MASTERS LEGACY SERIES VOL. 5, где свой опыт показывает саксофонист Houston Person. Они стали хорошими друзьями и неоднократно выступали на таких престижных площадках, как Birdland в Нью-Йорке и Keystone Korner в Балтиморе. Эта сессия была записана в столь же, если не более престижной студии Rudy Van Gelder. Да, это винтажная запись во многих отношениях. Олдскульный звук, стественный свинг и блюз хорошо слышены в неповторимой манере игры 88-летнего маэстро. А звуки 33-х летнего пианиста настолько точно подражают первооткрывателям джаза, что кажется мы находимся в той самой эпохе, когда на сцене зажигал Oscar Peterson. С самого начала завораживают аранжировки предложенных стандартов и манера их исполнения дает яркую картину тех времен. Восемь композиций очаруют даже начинающего любителя джаза, а те, кто давно в теме, гарантированно добавят альбом в свою коллекцию. От первого трека до заключительного, я не мог оторваться слушая его впервые. А затем не мог выбрать композицию для моего плей-листа, куда попадает лучший, из обозреваемых мною альбомов. Все вещи замечательные и о них уже пишут критики, разбирая каждую подробно. Мне остается только сожалеть, что я не слушал предыдущие работы из этой серии, но это дело поправимое. Надеюсь посмотрев на список имен, вам тоже захочется это сделать. Идея сыграть композицию Билли Джоэла Just The Way You Are 1977 года, исходила от самого Персона, вспоминает Коэн. Он описывает его, как мелодиста, в игре которого звучат тексты песен и голос вокалистов. У Хьюстона есть своя история и личные отношения со всеми этими мелодиями, - говорит Коэн. Быть частью этой истории - нечто особенное для меня, это придает моей музыке и артистизму смысл и глубину. Лучший трек альбома в плей-листе JAZZ по-русски 7 на AppleMusic и Spotify Поставь лайк ❤️ и подпишись на канал JAZZ по-русски https://t.me/discor ©️ 2023 BANDSTAND Houston Person - tenor saxophone Emmet Cohen - piano Yasuhi Nakamura - double bass Kyle Poole - drums СЛУШАТЬ АЛЬБОМ - https://album.link/i/1698746091 HOUSTON PERSON: https://t.me/discor/6653 https://t.me/discor/4561 https://t.me/discor/6210 EMMET COHEN: https://t.me/discor/6576 https://t.me/discor/5902 #jazz --- Send in a voice message: https://podcasters.spotify.com/pod/show/konstantins/message
Our favorite vinyl records from bands or artists filed under "G". And...GO! In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For nearly one half of a century, countless artists and professionals across the globe have benefited from utilizing the oblique strategies technique when attempting to overcome a lull in creative output. In 2022, idiot basement-dwelling, award-winning* hobby podcasters and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential themes of their upcoming thirty-first episode. Together, they decided... to default back to the alphabet. Because they have a reasonably good handle on the alphabet. They had previously utilized the letters A thru F, so naturally, they went with G. Nuthin' But a “G” Thang mixtape: [SIDE G1] (1) Game Theory - Erica's World (2) Grant Green - We Have Only Just Begun (3) Grazia - Soyle Beni (4) Goodie Mob - Cell Therapy (5) Glitterhouse - I Lost Me a Friend [SIDE G2] (1) Guru featuring Roy Ayers - Take a Look at Yourself (2) Grandaddy - Hewlett's Daughter (3) Marvin Gaye - Trouble Man (4) Guadalcanal Diary - 3AM (5) The Goon Sax - Sweaty Hands [END] Sonic contributors to episode thirty-one of Lightnin' Licks Radio include: Lee Moses, Brothers Johnson, Holland-Dozier-Holland, Cal Tjader, Craig Mack & Co., DJ Evil Dee, The Nonce, Kendrick Lamar, Dr. Dre & Snoop, Lee Hazelwood, J. Geils Band, some classic Sesame Street ABC bits, White Wedding String Quartet, Milkbone, Geto Boys, The Goon Sax, The Go-Betweens, Guadalcanal Diary, Don Dixon, Marti Jones, L.L. Cool J., Rick Rubin, DJ Premier, Gang Starr, Roy Ayers, Branford Marsalis, Donald Byrd, Guru, Nena Cherry, The Velvet Underground, Game Theory, The Loud Family, Scott Miller, Let's Active, Goodie Mob, Rob Harvilla, Outkast, Gnarles Barkley, Cee Lo Green, Witch Doctor, The Dungeon Family, Grandaddy, The Alan Parsons Project, Chicago, Grant Green, Rudy Van Gelder, The Jackson Five, The Carpenters, Roger Nichols, Paul Williams, Mozart, Glitterhouse, Slowdive, Marvin Gaye, Tammi Terell, The Funk Brothers, Booker T. & the M.G.s, Grazia, Marko Buchar, Murray Head, Andrew Doggett, Andrew Llyod Webber, Tim Rice, The Deviants, The Clockers. *2023 REVIEW magazine fans' choice award for best live-streaming production. --- Send in a voice message: https://podcasters.spotify.com/pod/show/llradio/message
Rudy Van Gelder, Quincy Jones i Norman Granz han estat alguns dels productors m
Greg had a spark of inspiration last week while listening to an early Ornette Coleman album. Now regarded as a pioneer of was jazz for founding free jazz, Coleman was a very polarizing saxophonist in his time. He was kicked out of his high school band for improvising during a song… “wait a second,” thought Greg, “Lisa in The Simpsons intro…YES.” A meme was born, and then posted. “This is my masterpiece…this might be the greatest accomplishment of my life.” said Greg aloud. (Check it out on our episode page.)Song: Ornette Coleman - “Eventually”Episode 185 PageRudy Van Gelder recorded nearly every Blue Note record from 1957 to 1967, and Jay loves him.Songs:Sonny Clarke - “Cool Struttin”Art Farmer -“A Night at Tony's”Hank Mobley - “Remember”Sonny Clark - “BeBop”Finally, did you know Rihanna is pregnant? It's “News with Nick!”Song: Mark Giuliana - “Mischief”
En el período comprendido entre Mayo de 1.967 y el mismo mes de 1.970, Tom Jobim graba para la discográfica de Creed Taylor CTI tres discos de extraordinaria calidad. Se trata de las grabaciones más jazzísticas de la carrera de Jobim; discos esencialmente instrumentales, todos ellos con la clara impronta de las grabaciones CTI: una sonoridad cálida, deliciosa, con sutiles arreglos orquestales y la participación de algunos de los mejores solistas de jazz y músicos de estudio del momento. Los arreglistas, Claus Ogerman y Eumir Deodato, fueron los seleccionados para los discos de Jobim. Por otra parte, la perfecta acústica de la grabación lograda por el mítico ingeniero de sonido Rudy Van Gelder, fue también una de las características esenciales de estos registros. Radio Jazznoend os invita a recorrer estos tres álbumes Wave, Tide y Stone Flower, a escuchar su música y conocer su historia. Unas grabaciones que marcaron, en la carrera de Jobim, una frontera entre una música basada esencialmente en el movimiento bossa nova del que el maestro carioca puede ser considerado como padre musical, y la exploración de otros parajes musicales más complejos y ambiciosos, encuentro de las aguas del clasicismo y el folclore y que vinieron a completar el vasto universo musical jobiniano.
Mastering engineer Kevin Gray returns to Caropop to break down mono vs. stereo and other issues of sound. Gray has been remastering Blue Note's acclaimed Tone Poet and Classic Vinyl series, including separate mono and stereo releases of John Coltrane's Blue Train. Which does Gray prefer and why? Are there time periods when mono is likely to be superior to stereo and vice versa? How are the rules different for jazz and rock? What accounts for a recording's soundstage—how spread out the instruments sound?Gray also discusses whether the Beatles revamps are revisionist history, whether electronically reprocessed stereo is ever any good, the differences between the Tone Poet and Classic Vinyl releases and his work at Cohearent Audio on funky '70s recordings for Craft Records' Jazz Dispensary label and Intervention's stunning reissue of Joe Jackson's Night and Day. Then there's his own label's upcoming first release: a jazz album recorded at his home studio modeled after legendary engineer Rudy Van Gelder's Hackensack set-up.
Milestones: Deep Dive Analyses of Landmark Albums with Angélika Beener
Critically-acclaimed trumpeter and newly published author, Jeremy Pelt, joins Angélika Beener to discuss Freddie Hubbard's 1971 release, Straight Life, from the CTI label. Together they discuss the state of the music at the top of the 1970s, and how Hubbard's under-explored yet highly influential release would shape things to come for other trumpeters and for the music called jazz. Straight Life (1971): Freddie Hubbard (tp), Joe Henderson (ts), Herbie Hancock, (keyboards), Ron Carter (b), Jack DeJohnette (d), Weldon Irvine and Richie Landrum (percussion), Creed Taylor (producer), Chuck Stewart (photography), Rudy Van Gelder (engineer).
Dr. Lewis Porter - Grammy-nominated pianist, composer, researcher, educator, and celebrated author of “Playback with Lewis Porter,” a jazz newsletter on Substack, as well as two acclaimed books on John Coltrane and numerous other publications. He's a longtime jazz professor with a PhD in musicology. On September 15, 1957, jazz saxophonist and composer John Coltrane went into Rudy Van Gelder's living room studio in Hackensack, New Jersey and recorded his first great masterpiece: Blue Train. To mark the 65th anniversary of the album's recording, Blue Train will be released in two special vinyl editions on Friday, September 16. He joins Tavis for a conversation about the incomparable John Coltrane.
Dr. Lewis Porter - Grammy-nominated pianist, composer, researcher, educator, and celebrated author of “Playback with Lewis Porter,” a jazz newsletter on Substack, as well as two acclaimed books on John Coltrane and numerous other publications. He's a longtime jazz professor with a PhD in musicology. On September 15, 1957, jazz saxophonist and composer John Coltrane went into Rudy Van Gelder's living room studio in Hackensack, New Jersey and recorded his first great masterpiece: Blue Train. To mark the 65th anniversary of the album's recording, Blue Train will be released in two special vinyl editions on Friday, September 16. He joins Tavis for a conversation about the incomparable John Coltrane.
Bienvenidos amantes de la música, hoy viajamos a 1961 para visitar a Ray Charles, un artista que no necesita presentación. Estamos a inicios del año que sería el de su gran éxito radial "Hit Road Jack". Pero también es el año que lanzaba el álbum que revisamos en este episodio, Genius+Soul=Jazz" que lo lleva a la música de sus raíces el Blues y Jazz. Este disco cuenta con varios hitos, uno de ellos es que un gran amigo de Ray. Quincy Jones está en los arreglos musicales, Los músicos de la Big Band son miembros de la "Count Basie Band" y fue grabado en el estudio de un experto, Rudy Van Gelder. En 2011 el disco fue incluido en el salón de l fama de los Grammy. Todo esto hace que pongamos nuestros oídos en esta dirección para conocer el resultado de esta obra. Esperamos que lo disfruten. Los temas son: 1. I've Got News For You (Tema de inicio) 2. One Mint Julep 3. I'm Gonna Move To The Outskirts of Town 4. Moanin' 5. Let's Go 6. Birth of the Blues *Suscríbete a nuestro canal. Si ya lo has hecho, considera apoyarnos en Patreon como mecenas para hacer sustentable nuestro programa y mantener nuestro viaje en vuelo. (Podrás acceder a episodios adelantados y exclusivos) patreon.com/ViajeJazz?fan_landing=true *Ayúdanos con un Me gusta, Comparte y Comenta. * En viajealmundodeljazz.com encuentra un reproductor de Jazz Moderno y Jazz Clásico.
SAN ONOFRE nos afanamos en demoler, demoler demoler, demoler El chabolo que erigió TRANE Acudan prestas el domingo a la actuación del bello Nicolás, el Capitán Entresijos. Y no me vaigan a decir de que Bob Thiele no es la viva imagen de nuestro querido editor y, sin en cambio, amigo Frunobulax, Mr. Cultura Pop, el hombre de Libritos Jenkins. SAN ONOFRE nos recordamos de que ¡Impulse! es el único vocablo de la bárbara lengua de los atejanados que lleva signo de exclamación inicial. Sí, ya sabemos que esto para el resto de mortales es una fruslería irrelevante, pero a nosotros nos cambia la vida. Además, de pequenitos, veíamos El Inmortal, de extranjis, en ca la vecina, irreligiosamente, todos los viernes Round Midnight. SAN ONOFRE lamentamos no poder contar con el concurso de Ashley Kahn. Lástima, goddammit, con un nombre tan bonito... Trataremos, pves de demoler la casa que erigió TRANE y de la que glosó glorias, fracasos, heartbreaks y bancarrotas este otro señor, que no sabemos si lee nuestros mensajes. ¡Bah, a mí, allá penas! SAN ONOFRE is on ¡Impulse! Gerardo, chico, ¿manténte en forma, contamos contigo al aparato, Ben Vaughn, para la semana que viene, pves? Dale al play, Rudy Van Gelder, buen hombre! https://libritosjenkins.bigcartel.com/product/angloentrevistas-traducidas-de-san-onofre Onofrita biblia ya disponible en este enlace y en nuestra dirección de correo electromagnético Capitán Entresijos. Guadalajara. Domingo 22 mayo 2022; 14 h.
Un mega programa dedicado al gran músico de Afro-Cubano, Arturo Sandoval. Repaso algunos momentos de su vida junto con una anécdota que nos tiene de protagonistas. Por supuesto no queda todo acá, traigo algo de Stevie Wonder junto con otros artistas del género y escuchamos la primera grabación en los estudios de Rudy Van Gelder. Dale play!
"La Nevada" The Gil Evans Orchestra Out Of The Cool (Impulse!, 1961) Gil Evans, Johnny Coles, Phil Sunkel, Keg Johnson, Jimmy Knepper, Tony Studd, Bill Barber, Ray Beckenstein, Eddie Caine, Budd Johnson, Bob Tricarico, Ray Crawford, Ron Carter, Elvin Jones, Charlie Persip. El tema es una composición de Gil Evans. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? Out Of The Cool fue uno de los cuatro primeros discos publicados por Impulse! El disco se grabó en 1960, pero se publicó en 1961. El productor fue Creed Taylor (más adelante abandonaría Impulse!, pasaría a Verve y posteriormente fundaría CTI). y el disco se grabó en el mítico estudio de Rudy Van Gelder en Engelwood Cliffs. Esta no fue la primera vez que Gil Evans grabó el tema "La Nevada". Lo grabó dos años antes en su disco Great Jazz Standards. The Penguin Guide To Jazz Recordings, además de otorgarle la máxima calificación, lo incluyó en la imprescindible Core Collection. En Tomajazz fue elegido por Ignacio Fuentes como uno de los diez discos complementarios en el periodo 1960-1979 en el Especial 25 discos de jazz: una guía esencial: https://www.tomajazz.com/web/?p=23981 José Luis Luna Rocafort eligió la portada de Gil Evans Out of the Cool para su sección A New Perspective dentro del especial 365 Razones para el Jazz. En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos/Tomajazz Remembers… https://www.tomajazz.com/web/?p=30215 Más información sobre Gil Evans http://gilevans.free.fr/ https://www.tomajazz.com/web/?tag=gil-evans Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847
“St. Thomas" Sonny Rollins: Saxophone Colossus (Prestige, 1957) Sonny Rollins, Tommy Flanagan, Doug Watkins, Max Roach. La composición es obra de Sonny Rollins. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? "St. Thomas" es el tema que abría el disco Saxophone Colossus, posiblemente la grabación más conocida de Sonny Rollins. El tema es un calipso y toma su nombre de St. Thomas, que es la isla principal de las Islas Vírgenes Estadounidenses. El pintor impresionista Camille Pissarro nació en esta isla. Este tema tradicional ya lo había grabado en 1955 Randy Weston con el título "Fire Down There", en el disco Get Happy. En esa grabación el tema aparece como tradicional, pero en las grabaciones de Rollins aparece como una creación del saxofonista. En el libreto de la caja The Complete Prestige Recordings Rollins aclaraba que fue la compañía discográfica la que insistió en que se acreditara como el autor de esta melodía. Saxophone Colossus se grabó en una única sesión el 22 de junio de 1956 en los estudios de Rudy Van Gelder en Hackensack, New Jersey. Tres temas fueron acreditados a nombre de Rollins; también incluyó sendas versiones del estándar "You Don't Know What Love Is" y "Moritat" de Kurt Weill y Bertold Bretch. Aunque alejado de los escenarios, Sonny Rollins es un nonagenario que esperemos que el próximo 7 de septiembre de 2022 cumpla 92 años. En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos… https://www.tomajazz.com/web/?p=50196 Más información sobre Sonny Rollins https://sonnyrollins.com/ https://www.tomajazz.com/web/?s=sonny+rollins&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847
Rudy Van Gelder aveva allestito il suo primo studio di registrazione nel soggiorno della casa dei genitori, ad Hackensack, in New Jersey: a guardare le date di registrazione di alcune storiche incisioni del jazz moderno, bisogna dire che nei giorni prima di Natale del '54 in quello studio casalingo - e così importante nella storia del jazz - c'era decisamente un bel traffico. Il 24 dicembre, come abbiamo visto due puntate fa, Miles Davis incide alla testa di un gruppo con Thelonious Monk al piano, Milt Jackson al vibrafono, Percy Heath al contrabbasso e Kenny Clarke alla batteria; ma Jackson, Heath e Clarke erano stati al Van Gelder Studio anche il giorno prima, assieme al pianista John Lewis, come membri del Modern Jazz Quartet, che il 23 dicembre del '54 realizzò alcune tra le sue più classiche incisioni, fra cui Django, magnifica composizione di Lewis. Anni dopo, nel '71, il fortunato quartetto tenne il suo annuale concerto alla Town Hall di New York la vigilia di Natale, e in quella occasione regalò ai suoi fan un incontro con Paul Desmond, uno dei maggiori e più amati sassofonisti del jazz moderno: John Lewis si preoccupò di documentarlo con una registrazione, e dopo la morte di Desmond pensò di rendere omaggio al sassofonista ricavando dalla registrazione un album.
durée : 00:55:03 - invité : Florian Pellissier - par : Alex Dutilh - Pour célébrer 20 ans de grooves partagés avec les membres de son quintet, Florian Pellissier les emmène enregistrer dans le studio le plus mythique de la planète jazz, celui de Rudy Van Gelder. Et allez savoir pourquoi, là, sur les rives de l’Hudson, il pense à Rio. Sortie chez Hot Casa / Big Wax. - réalisé par : Fabien Fleurat
durée : 00:55:03 - invité : Florian Pellissier - par : Alex Dutilh - Pour célébrer 20 ans de grooves partagés avec les membres de son quintet, Florian Pellissier les emmène enregistrer dans le studio le plus mythique de la planète jazz, celui de Rudy Van Gelder. Et allez savoir pourquoi, là, sur les rives de l’Hudson, il pense à Rio. Sortie chez Hot Casa / Big Wax. - réalisé par : Fabien Fleurat
专辑当时的录音师是有名的 Rudy Van Gelder。正职是眼科医生的他有其独特的录音技巧,让专辑听起来有现场演奏的韵味。
durée : 01:05:33 - Club Jazzafip - Le studio mythique créé par Rudy Van Gelder ouvre ses portes pour un "Live from Van Gelder Studio'' avec Joey DeFrancesco, Houston Person, Billy Hart et Peter Bernstein, l’occasion de revenir sur l’histoire de ce temple de la galette jazz.
Milestones: Deep Dive Analyses of Landmark Albums with Angélika Beener
Critically-acclaimed trumpeter and newly published author, Jeremy Pelt, joins Angélika Beener to discuss Freddie Hubbard's 1971 release, Straight Life, from the CTI label. Together they discuss the state of the music at the top of the 1970s, and how Hubbard's under-explored yet highly influential release would shape things to come for other trumpeters and for the music called jazz. Straight Life (1971): Freddie Hubbard (tp), Joe Henderson (ts), Herbie Hancock, (keyboards), Ron Carter (b), Jack DeJohnette (d), Weldon Irvine and Richie Landrum (percussion), Creed Taylor (producer), Chuck Stewart (photography), Rudy Van Gelder (engineer). Credits: Intro music by Aliyah Niambi & Outro music by RKG Beats Episode Produced by Angélika Beener
Always Digging Dynamic duo Scully Funk and DJ Gazza explore the pop and soul sides of the music coin, both past and present, while keeping their ears to the ground for the sound of tomorrow. Sundays 12:00 pm – 2:00 pm EST on iLive Radio.
The hot banjo pickin that came before my guest. Country style picking by the likes of Bill Emerson and his Virginia Mountaineers whose fingers were on fire playing rainbow blues. This music was cut in the moment, no multiple takes just burn and prey -it was and always will be that leap into the world of improvisation that led to my guest today who is another link in that chain. A chain that consists Merle Watson who along with Doc toured this country with reckless abandon playing beer taverns and church picnics and the Telluride Bluegrass festival singing about the days of wine and roses with a Return to Forever and ever and Ever. My guest has pierced through the modern labeling of music by continually putti g himself in unique musical settings- knowing that he might flub a few notes but create the highest creative art form which is "continual spontaneity" be with Dave Mathews or Zakir Hussain or Tony Trischka. Night in and Night out playing multiple chorus' like the fiddler Scottie Stoneman who ignored the 12 bars because he had something to say. It's like Big Ben Banjo mastered by Rudy Van Gelder or Paul Whiteman or Eddie Peabody. How are you going to tell your story? How does your storytelling separate you from the 5 million of banjo Pickers out there. My guest has many chapters and many stories in his career. Up till now he has played with everyone from Stanley Clarke to Jerry Garcia from Hobo Jim to his Flecktones. He has sought out new musical opportunities because music is the universal language- a cosmic exercise measuring the tenacity and spirit of both man and his maker. BelaFleck welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support
Prior to full interconnection and the complete digitization of music mastering we had in this country pockets of eccentric engineers who more often then not wore more than one hat. Rudy Van Gelder held down the fort in Englewood Cliffs while performing optometry in the daytime. Michael Cuscuna found his way to Woodstock engineering Bonnie Raitt all the while hosting free form radio programs and writing linear notes. Same for Marty Feldman and Eddie Harris Major cities in this country had venerable studios that cooked with music from across all musical spectrums. Chess Records in Chicago, Stax Records in Memphis, Muscle Shoals in Alabama, Sigma Sound in Philly, MoTown in Detroit and The Record Plant in LA. Another major record creator was Fantasy records. My guest today was a major engineer during the gravy years of the studio after Max and Saul Weiss sold the shop to Saul Zaentz. But as with other engineers my guest wads jack of all trades. He was the rhythm and blues drummer for the label when they were still in Oakland playing with Ray Shanklin and Tower of Power singer Lenny Williams. When he became the lead engineer at Fantasy he sought out and trained younger cats on how to create a warm room sound, when Fatansy expanded he was responsible for outfitting the studios and then hunkering down with a Heavy Axe and David Axelrod, Butterfly Dreaming with Flora Purim, Tambu with Cal Tjader and Charlie Byrd and the NTU Troop with Gary Bartz. He was immersed with all types of musicians. Cats like Sonny Rollins who might come out to cut an album before heading to Japan to Country Joe and other Bay Area mainstays who helped liven up sessions just by being within the complex. Put in a live audience for Joe Williams or Cannonball or work with Ed Bogas on arrangements for the Vibes of Truth. This was coupled with a very open radio dial which played a lot of local area favorites like the aforementioned Tjader, Jerry Garcia and Merl Saunders and Bola Sete. It should be noted that without Born on the Biyou none of this might have ever happened. You listen to the warmth that these records give off. The homey close knit quality and the musicians understanding of how special a place it was and you begin to see how regional music developed. Orrin Keepnews relocation to Berkeley and the acquisition of the Prestige catalog only furthered the eclecticism of the musicians. All of a sudden McCoy Tyner found a home there so did Larry and Fonce Mizell as well as Wayne Henderson and Woody Herman. It was a family of Zen Tricksters who cared about the music and the musicians. Things were cut using analog tape so there was no way to put lipstick on a pig if Pleasure or The Vibes of Truth flubbed some lyrics. You couldn't fix crappy instrumental takes. The artists had to know their shit and so did the producers and the arrangers and the engineers. Everybody's craft was respected and because of the amount of effort put forth by the team often a good product came from that. --- Support this podcast: https://anchor.fm/jake-feinberg/support
TOUT L'ETE A MIDI, ON REDIFFUSE L'UN DES GRANDS MOMENTS DE LA SAISON PASSEE CE MIDI, ON REVIT UN EPISODE DU 59 RUE DES ARCHIVES DU 8 DECEMBRE 2019 25 ans après sa disparition, le 8 décembre 1994 à New York, l'étoile d'Antonio Carlos Jobim n'a jamais pâli. Créateur de la bossa nova aux côtés de Vinicius de Moraes et Joao Gilberto, prophète de cette nouvelle manière bien au-delà des frontières du Brésil et notamment aux Etats-Unis, compositeur majeur de la musique populaire du XXème siècle pour avoir apporté au répertoire des thèmes particulièrement appréciés des musiciens de jazz et prolongeant les échos tant du romantisme que de l'impressionnisme, Tom Jobim a innové sur tous les plans et nombreux sont ceux à se réclamer de cet héritage si vivant encore aujourd'hui. Sa discographie est riche de sommets. Parmi eux, Stone Flower, publié en 1970 par le label CTI, incarne peut-être le mieux tout ce que Jobim doit au jazz, depuis que, jeune musicien de bar animant les clubs de Rio, il imaginait un swing carioca, séduisante réplique de la pulsation cool venue de la côte ouest des Etats-Unis. Produit par Creed Taylor qui s'était lancé dans l'aventure CGI après avoir fondé le label Impulse! et enregistré dans les studios de Rudy Van Gelder, Stone Flower propose le meilleur des deux mondes. Une fusion troublante du jazz, des traditions musicales brésiliennes et d'une modernité transfigurée. Soit la parfaite synthèse de l'art d'Antonio Carlos Jobim, le gars d'Ipanema. Etagère n°4... Boîte n°10... Dossier ACJ1970... Stone Flower, l'album culte d'Antonio Carlos JobimHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
Lou Donaldson was one of the earliest and most enduring artists on Blue Note Records. Today "Sweet Lou" shares stories of the early days, playing with the likes of Thelonious Monk, Charlie Parker, Art Blakey, recording with Rudy Van Gelder and looking back on a lifetime of music and laughter. If you like records, just starting a collection or are an uber-nerd with a house-full of vinyl, this is the podcast for you. Nate Goyer is The Vinyl Guide and discusses all things music and record-related.
Renown Jazz legend Ron Carter shares his history, playing in the New York jazz clubs, working with the legendary Jazz record labels, recording sessions with Rudy Van Gelder, being unexpectedly sampled, looking back and looking forward. If you like records, just starting a collection or are an uber-nerd with a house-full of vinyl, this is the podcast for you. Nate Goyer is The Vinyl Guide and discusses all things music and record-related.
"Hey Buddy, what's your name?" I'm Jake," I stammer. "Hey I'm Scou, nice to meet you. You know everybody gets a nickname at camp mines Scou or Scouie you'll get one too." Wracked with anxiety I made my way into that tour bus on Douglaston parkway eating Burger King with Perry Chudnoff. But the first cat I met at camp was my guest. We probably didn't say a word to each other the rest of the summer. But what he said to me spoke volumes. I don't know you, your much younger than me, I have nothing in common with you but I want you to feel comfortable because your about to go away to a sanctuary for eight weeks whether you know it or not. Treat everybody with respect hard to do and easier said but that is the resounding message of all my guests. Acceptance of someone you couldn't stand all summer, inclusion of all beings, good hangs with Greg Danford, philosophy with Doc Hamberg and some good old fashioned weight room shenanigans with The Deutsch Brothers. Weight room aside that's exactly what the JFS is all about. My guest was already dwelling in a spiritual place before he found Scatico. A native of Englewood Cliffs, NJ the home of Donald Byrd and Babatunde Lea, The Isley Brothers and the optometrist Rudy Van Gelder playing blue notes over a New York Sky line. But New Jersey has become a central theme of Scatico JFS what with the names Herzog, Holman, Maz Madorsky bus }•# 165 into Oradell, or the countless trips to Philly over the BF bridge. My guest did it all at camp especially when he put on his sailing shoes with Jeff Bernfeld and Lowell George, getting off on Chum Brothers Like Jimmy Ostrov or transitioning to the watering hole named Howie's. He's is a journalist who appreciates my vision because in order to get to where you need to go you need to have a vision. And like my guest I have had to chop my way out of thick dense wilderness for that vision to become clearer? Why, because I'm making this whole thing up and my guest is the same way. Make it up yourself, what do you have to say for yourself, know your strengths. --- Support this podcast: https://anchor.fm/jake-feinberg/support
STANDARD SEMANAL.- “My Favorite Things”.-BAUL DEL JAZZ.- CAREY BELL (blues).-JAZZ RECUERDO ANIVERSARIO.- Dexter Gordon-1963 Our Man in Paris.-JAZZ ACTUALIDAD .- “ACUARELA DE PASO”, Jaby Sánchez, guitarra y composición + Marta Mansilla, flauta. PROG.Nº 652.- Dos horas para el análisis y repaso a la historia y actualidad que generan esta música americana . Todo en el tono que acostumbra este programa, en dos secciones JAZZ ANIVERSARIO y JAZZ ACTUALIDAD importantes novedades y diferentes canales de comunicación que se ofrecerán al oyente. STANDARD SEMANAL.- “My Favorite Things” BAUL DEL JAZZ.- CAREY BELL (blues) A partir de esta semana comenzamos “El Baúl del Jazz” sesión en la que va a colaborar nuestro maestro y amigo Ezequiel Campos, del programa “EL BAUL DE MIS RECUERDOS”,en Eude Radio Madrid, emisión de gran altura en el panorama nacional radiofónico, donde tienen cabida figuras de renombre en el mundo de la cultura. Bienvenido a esta tu casa “Jazz en el aire”, Ezequiel, y espero que tus temas engrandezca aún más esta sesión, de eso no me cabe la menor duda. Un abrazo JAZZ RECUERDO ANIVERSARIO.- Dexter Gordon-1963 Our Man in Paris. Our Man in Paris es un álbum de jazz de 1963 del saxofonista Dexter Gordon . El título del álbum se refiere al lugar donde se realizó la grabación, Gordon (que se había mudado a Copenhague un año antes) formando equipo con sus compañeros expatriados Bud Powell y Kenny Clarke , ambos residentes parisinos, y el parisino nativo Pierre Michelot . Powell, Clarke y Michelot, bajo el nombre The Three Bosses, habían jugado juntos a menudo en París desde que Powell se mudó allí en 1959. El álbum fue remasterizado por Rudy Van Gelder en 2003 y lanzado como parte de la serie RVG Edition de Blue Note . La intención original era que el pianista de la grabación fuera Kenny Drew y que la música fuera nuevas composiciones de Gordon. Sin embargo, el pianista real utilizado fue Bud Powell, quien no tocaría música nueva, por lo que se eligieron los estándares de jazz durante el ensayo. Las dos pistas agregadas al lanzamiento del CD fueron originalmente emitidas por Blue Note en Alternate Takes de Bud Powell en 1985. La Penguin Guide to Jazz le otorgó una calificación máxima de cuatro estrellas y la agregó a la colección principal, comentando que laactuación deGordon en " A Night in Tunisia " "es una de sus mejores actuaciones en el registro" y concluyendo que el álbum es "un clásico". La revisión de la versión remasterizada de 2003 en The Guardian fue igualmente positiva, afirmando que es "uno de los clásicos de todos los tiempos". • Dexter Gordon - saxofón tenor • Bud Powell - piano • Pierre Michelot - bajo • Kenny Clarke - batería JAZZ ACTUALIDAD .- “ACUARELA DE PASO”, Jaby Sánchez, guitarra y composición + Marta Mansilla, flauta. Esta semana vamos a tener Jaby Sánchez, guitarra y composición + Marta Mansilla, flauta “ACUARELA DE PASO” es el nuevo trabajo discográfico de Jaby Sánchez, acompañado esta vez por la flautista Marta Mansilla. La música recogida en el álbum comienza a tomar forma a mediados de 2018. En noviembre del mismo año presentan las dos primeras piezas en el auditorio Fernán Gómez, durante la ceremonia inaugural del Festival de Jazz de Madrid. En la obra, el compositor se sumerge en su propio subconsciente por el camino de la improvisación y la composición en tiempo real, lo que desemboca en una música bella y de infinitos matices, producto de la revisión y arreglo de improvisaciones originales adaptadas para el dúo. Javier Sánchez Grande se adentra en el estudio del jazz apoyado por la Fundación Música Creativa, de quien recibe una beca que será crucial en su formación. Asimismo, gracias a la Fundación SGAE, consigue completar sus estudios superiores fuera de España, al recibir la ayuda para la ampliación de estudios internacionales. En el verano de 2015 aprovecha su visita a Madrid para grabar su primer álbum personal, que recibe el nombre de Inner Blossom. En 2016 es seleccionado por el Festival de Jazz de Montreux para ser uno de los 9 guitarristas que participarían en la competición SOCAR Montreux Jazz Guitar Competition, coincidiendo con el 50 aniversario del festival. Marta Mansilla se inicia en la música a muy temprana edad, ingresando en el conservatorio Rodolfo Halfter apenas cumplidos 6 años. Se adentra en el flamenco y el jazz de la mano de nombres como Jorge Pardo, Patxi Pascual, Juan Parrilla o Bob Sands, entre otros. Es un miembro activo de la escena madrileña; destaca su labor en el flamenco de la mano de Pedro Ojesto o María Peláez, así como su trayectoria en el circuito de cantautores y su colaboración con “Las Texidoras” o el trío del pianista David Sancho.
Saxophonist Dayna Stephens has three new records coming out in the first half of 2020, the first of which is a trio session with Ben Street and Eric Harland called Liberty (Contagious Music, 2020). In this interview, Stephens talks about why he likes playing in a trio setting; recording at Rudy Van Gelder's studio and the Village Vanguard; his newfound health and how it's affected his playing; and more. / / / I've been recording conversations with jazz musicians since 2007. I think it's important work that deserves public support. I'd also like to be able to do it for my living. If you agree that The Jazz Session is worth supporting, become a member today at thejazzsession.com/join. For $5 a month you'll get a monthly bonus episode, early access to every show, and a yearly gift. For $10 a month you get all that plus an extra bonus show exploring a classic jazz album. Theme music by The Respect Sextet Logo by Dave Vrabel Intro voice: Chuck Ingersoll Follow The Jazz Session on Twitter, Instagram and Facebook. Subscribe to my twice-monthly newsletter.
Saxophonist Dayna Stephens has three new records coming out in the first half of 2020, the first of which is a trio session with Ben Street and Eric Harland called Liberty (Contagious Music, 2020). In this interview, Stephens talks about why he likes playing in a trio setting; recording at Rudy Van Gelder's studio and the Village Vanguard; his newfound health and how it's affected his playing; and more. / / / I've been recording conversations with jazz musicians since 2007. I think it's important work that deserves public support. I'd also like to be able to do it for my living. If you agree that The Jazz Session is worth supporting, become a member today at thejazzsession.com/join. For $5 a month you'll get a monthly bonus episode, early access to every show, and a yearly gift. For $10 a month you get all that plus an extra bonus show exploring a classic jazz album. Theme music by The Respect Sextet Logo by Dave Vrabel Intro voice: Chuck Ingersoll Follow The Jazz Session on Twitter, Instagram and Facebook. Subscribe to my twice-monthly newsletter.
Saxophonist Dayna Stephens has three new records coming out in the first half of 2020, the first of which is a trio session with Ben Street and Eric Harland called Liberty (Contagious Music, 2020). In this interview, Stephens talks about why he likes playing in a trio setting; recording at Rudy Van Gelder’s studio and … Continue reading "The Jazz Session #507: Dayna Stephens"
25 ans après sa disparition, le 8 décembre 1994 à New York, l'étoile d'Antonio Carlos Jobim n'a jamais pâli. Créateur de la bossa nova aux côtés de Vinicius de Moraes et Joao Gilberto, prophète de cette nouvelle manière bien au-delà des frontières du Brésil et notamment aux Etats-Unis, compositeur majeur de la musique populaire du XXème siècle pour avoir apporté au répertoire des thèmes particulièrement appréciés des musiciens de jazz et prolongeant les échos tant du romantisme que de l'impressionnisme, Tom Jobim a innové sur tous les plans et nombreux sont ceux à se réclamer de cet héritage si vivant encore aujourd'hui. Sa discographie est riche de sommets. Parmi eux, Stone Flower, publié en 1970 par le label CTI, incarne peut-être le mieux tout ce que Jobim doit au jazz, depuis que, jeune musicien de bar animant les clubs de Rio, il imaginait un swing carioca, séduisante réplique de la pulsation cool venue de la côte ouest des Etats-Unis. Produit par Creed Taylor qui s'était lancé dans l'aventure CGI après avoir fondé le label Impulse! et enregistré dans les studios de Rudy Van Gelder, Stone Flower propose le meilleur des deux mondes. Une fusion troublante du jazz, des traditions musicales brésiliennes et d'une modernité transfigurée. Soit la parfaite synthèse de l'art d'Antonio Carlos Jobim, le gars d'Ipanema. Etagère n°4... Boîte n°10... Dossier ACJ1970... Stone Flower, l'album culte d'Antonio Carlos JobimHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
En el podcast JazzX5 escuchamos un adelanto de la grabación inédita de John Coltrane, Blue World, que se publicará el próximo 27 de septiembre de 2019. Por Pachi Tapiz. "Blue World". John Coltrane: Blue World (Impulse!) John Coltrane, McCoy Tyner, Jimmy Garrison, Elvin Jones Single adelanto de Blue World, grabación inédita de John Coltrane realizada en 1964 en el estudio de Rudy Van Gelder en Englewood Cliff, que se publicará por Impulse! el 27 de septiembre de 2019. © Pachi Tapiz, 2019 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120
This week I chat to producer, bassist, songwriter, documentarian and president of iconic jazz label Blue Note Records, Don Was about Wayne Shorter's classic album 'Speak No Evil' (1966). We talk about how the album gave Don a sense of purpose, that a piece of music doesn't need lyrics to speak to someone, how great artists seem to appear from a creative ether and Don explains how engineer Rudy Van Gelder achieved the classic jazz sound that unifies all Blue Note albums and how Don aims to continue that legacy by pursuing the artists' vision. Plus Don tells me some fantastic anecdotes about his time working with Willie Nelson, Bob Dylan, Garth Brooks, Benmont Tench and more.
In this homage episode to Rudy Van Gelder in part I play some choice seminal jazz cuts.
In this homage episode to Rudy Van Gelder in part I play some choice seminal jazz cuts.
Larry Ridley has played with some of the biggest names in music; John Coltrane, Sonny Rollins, Thelonious Monk, Lee Morgan, Dizzy Gillespie, the list goes on and on. Larry sits down with us today to talk about his history, what is was like recording w Rudy Van Gelder & the Blue Note team, playing in NYC clubs in the 50s & 60s and his friend Lee Morgan, the subject of a new film "I Called Him Morgan", out this week. If you like records, just starting a collection or are an uber-nerd with a house-full of vinyl, this is the podcast for you. Nate Goyer is The Vinyl Guide and discusses all things music and record-related. Web | Facebook | Instagram | YouTube
All Infos blogrebellen.de/?p=106616 Tracklist Radio Raheem – Love Hate Leon Haywood – I Want’a Do Something Freaky To You (The Apple Scruffs Edit) The Blackbyrds – Mysterious Vibes (Jay.Soul Edit) Billy Paul – Let The Dollar Circulate (Karim Extended Edit) Clarence Reid – Masterpiece (Kenny Dope Edit) Phife Dawg – Pease Porridge Mark B. & Blade – The Unknown Bobby Hutcherson – Ummh Otis Clay – Trying To Live My Life Without You Sharon Jones & The Dap Kings – Genuine Little Royal – Soul Train Blowfly – Sesame Street Earth Wind & Fire – Brazillian Rhyme (J B Wary Edit) The Whispers – And The Beat Goes On (PGS Sanfrandisco Old School Chop Up) George Benson – Give Me The Night (Jorun Bombay Edit) Kashif – Lover Turn Me On (I Just Got To Have You) Double Exposure – Everyman (Joe Claussell Re-Edit) David Bowie – Let’s Dance Prince – Kiss Parliament – Flashlights (Frico Re-Edit) Force MD’s – Itchin’ For A Scratch Prince Buster – Al Capone Desmond Dekker – You Can Get It If You Really Want Manfred Krug – Komm und spiel mit mir Natalie Cole – When I Fall In Love (Virtual Duet With Nat King Cole) Rest in Power: Blowfly aka Clarence Reid , Phife Dawg, David Mancuso, Mark B., Desmond Dekker, Natalie Cole, Manfred Krug, Nicholas Caldwell of The Whispers, Otis Clay, David Bowie, Glenn Fry of The Eagles, Ravi Shankar, Big Kap, Maurice White of Earth, Wind & Fire, Prince, Vanity, Leon Haywood, Billy Paul, MC Kooley C., Bernie Worrell of Parliament, Allan Barnes of the Blackbyrds, Bobby Hutcherson, Prince Buster, Karate Charlie of The Ghetto Brothers, Trisco of the Force MD’s, Mr Animation, Bill Nunn aka Radio Raheem, Kasheef, Little Royal, Rod Temperton, Leonard Cohen, Leon Russell, Victor Bailey of Weather Report, Pete Burns of Dead or Alive, Jeremy Steig, DTTX of Lighter Shade of Brown, Jerry Heller, John Berry, Candye Kane, Roger Cicero, Jimmy Williams of Double Exposure, John Berry, Colonel Abrams, Michael White, Jean-Jacques Perrey, P-Original, Sharon Jones, Barrelhouse Chuck, Red Army Choir, Greg Lake of Emerson, Lake & Palmer, Bob Walsh, Rudy Van Gelder, George Michael, Alphonse Mouzon, Knut Kiesewetter, Natalie Cole, Afeni Shakur, Muhammad Ali & Isao Tomita
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Rudy Van Gelder Podcast
Doug and Kirk discuss some news and some music and audio technology history, then examine the best ways to manage and store a digital media collection. Show notes: News: Rudy Van Gelder, Renowned ‘A Love Supreme’ Engineer, Dead at 91 – Rolling Stone Music Technology of the 1970s: A Timeline – Pitchfork Managing and Storing Digital Media Files: TuneSpan Drobo WD My Cloud 4 TB Synology Our next tracks: Kirk: Harold Budd: Children on the Hill Doug: Bis: Social Dancing If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast.
NEWS It’s not often that an artist puts one over on a major label, but Frank Ocean did it to Universal Music One of the greatest engineers ever, Rudy Van Gelder, passed away GUEST Pro Tools Expert founder Russ Hughes talks Avid and workstations The post Episode #124 – UMG Gets Stung, Rudy Van Gelder Passes And Pro Tools Expert Founder Russ Hughes appeared first on Bobby Owsinski's Inner Circle Podcast.
NEWS It's not often that an artist puts one over on a major label, but Frank Ocean did it to Universal Music One of the greatest engineers ever, Rudy Van Gelder, passed away GUEST Pro Tools Expert founder Russ Hughes talks Avid and workstations
Special guest and friend of the show, Richard Frank, is back on this week's episode of the Music First Podcast! Tune in to hear some of his original songs and to hear him perform live! DJ Dave also features music by The Cure, John Denver, Lonnie Mack, The Mighty Imperials, Pitbull with Enrique Iglesias, 311, and Boogaloo Joe Jones w/ Rudy Van Gelder! SUBSCRIBE: iTunes TWITTER: @MusicFirstPcast FACEBOOK: Music First Podcast *NEW* INSTAGRAM: MusicFirstPodcast EMAIL (Send us a note!): MusicFirstPodcast@gmail.com
Recording engineer Rudy Van Gelder helped shape the sound of jazz for Blue Note Records. It became known as the Van Gelder sound, but like it or not, it left an enduring impression on jazz for years.
Recording engineer Rudy Van Gelder helped shape the sound of jazz for Blue Note Records. It became known as the Van Gelder sound, but like it or not, it left an enduring impression on jazz for years.
Recording engineer Rudy Van Gelder helped shape the sound of jazz for Blue Note Records. It became known as the Van Gelder sound, but like it or not, it left an enduring impression on jazz for years.