Podcast appearances and mentions of Tommy LiPuma

Ten years ago, on a bit of a whim, I invited bassist Will Lee to come over to my home studio in Brooklyn to do an interview with me for a new project I was starting: a podcast. A year or two earlier, my friend Michael Fusco-Straub had turned me on to Marc Maron's WTF podcast, and I was totally hooked on the concept of casual long form interviews among peers. At the time Maron spoke almost exclusively to comics, and I thought there might be a space for something similar but focused on music. Although I didn't have any real experience as a journalist or a broadcaster, I knew I could do it. In fact, maybe more than anything else I've ever done professionally, it was the most natural decision I can ever remember making.  But the format was a bit of a mystery. Who was I supposed to be? An expert on music? A friend of my guests? I thought maybe we would perform together. Or maybe they would demonstrate something. Or maybe it would be a document of the local scene in New York - in the early episodes I asked my guests “where are you coming from today” and “where are you going after this”. Actually, those are pretty good questions. Maybe I should go back to asking them again.  I spent a month futzing with my Will Lee interview, carefully editing each pause and “um”, working and reworking the introduction. I designed a crude logo based on a Google Earth image of my house in Park Slope, and built a website on Squarespace.  I posted the episode and sent an email to my friends to explain the new project. I wrote:  Since moving to New York nine years ago, I have tossed around the idea of conducting informal interviews with musicians in my studio when they come in to record. Over the years so many great players and singers have shared tremendous insights and history with me, and it seemed like such a missed opportunity not to record it. Of course, everything changes when the “red light” is on, so the question for me became how to maintain that same level of spontaneity and candor in a somewhat more formal setting. Then I sat nervously with a pit in my stomach, not knowing what I had just done. Would anyone like it? Would anyone care? Was I any good at it?  Ten years and 268 episodes later, I continue to refine, to tweak and futz, to agonize and scramble to the finish line every time. As I write these words it is 12:30am, and I sit in my darkened studio - essentially an extension of my bedroom - with my wife, Amanda asleep just a few feet away, and our daughter asleep in the next room. That is to say that The Third Story has become an extension not only of my life, but of my entire household. Fortunately the initial nausea has passed but it has been replaced by a constant sense of urgency to get the next episode finished.  I have also developed a style, an unstructured but intentional approach to talking to people, in search of a narrative thread in each journey, an attempt to get somewhere together. Sometimes it's more technical, sometimes it's more esoteric, sometimes it's personal. There is no real theme to the show, and there is no real dogma. If it's interesting to me, the hope is that it will be interesting to others too.  The good news about an ongoing show like this one is that there's always another episode to make, so you can never get too precious about any of them because there will be more. The bad news is the same as the good news: no matter how much time you spend on one episode, or how good it was, you still have to make another one, and you're probably already behind schedule. The project has become a way of moving through both space and time for me. It provides a kind of structure when I travel - nearly everywhere I have gone over the last decade, I have returned home with at least one interview.  Whether talking to Gabriela Quintero in Mexico, Jorge Drexler in Spain, Madeleine Peyroux in Paris, Butch Vig in Los Angeles, Howard Levy in Chicago, David Garibaldi in Oakland, David Maraniss in Madison, or Jack Stratton in Cleveland, the interviews have provided purpose to my movement through the world.  I have traveled specifically to cover jazz festivals like Copenhagen, Newport, Montreal and Umbria, and chronicled my own tours too. I have used the platform to mark the passage of time and significant events along the way. From The 2016 and 2020 Elections to the Covid outbreak, from my 45th birthday to my father's 80th, from the 2015 terrorist attacks in Paris to memorializing lost friends like Tommy LiPuma, Clyde Stubblefield, Tim Luntzel or Richie Cole.  I have captured both first and final conversations with some remarkable people. I did the first long form interview with Jacob Collier in his house in London in 2014, and the last long form interview with Creed Taylor in his New York apartment 2015. Interviews with Peter Straub, Howard Becker, Clifford Irving, George Wein and Al Schmitt now live on as part of their legacies.  While The Third Story has never become what you might call “popular” it has become kind of a cult show. I continue to be astounded when I meet someone who knows the show. It happens more often than I expect, and I have made more than a few real meaningful friendships that way too.  When several years ago I was invited to publish my episodes on All About Jazz, I knew I was making credible content. When in 2022 I was asked to partner with WBGO Studios, it was an acknowledgement that I was on the right path, and when we won a Signal Award in 2023 I was further encouraged.  By the way, my logo was eventually redesigned by a real graphic designer, Michael Fusco-Straub (the same guy who turned me on to Marc Maron to begin with). Last month, on another whim, I called Will Lee again to see if he would like to meet up for a reunion and to help me celebrate my tenth anniversary. When I first talked to Will for episode one, he was still performing nightly on The Late Show with David Letterman and we talked about his career as one of the most recorded bassists in history, his early education, playing on Letterman, his solo projects… the kind of general overview conversation that has come to loosely define what I do here. This time was more casual and more conversational. We sat on the couch in his Manhattan apartment and traded quips, and I managed to gently extract some new information from him.  Then I asked my wife, Amanda, to join me to help process this anniversary in more domestic terms: how does it look and feel to live with someone who is constantly in the process of mining another life story for content and making podcast episodes? What are the similarities between her career as a yoga teacher and mine as a… whatever I am? What do raising a child and producing a podcast have in common? It was extremely entertaining, as is usually the case when Amanda joins me on the show.  At the risk of getting too sentimental, I will simply say that making The Third Story is one of the great privileges and joys of my life, I am grateful to all of the extraordinary people who have shared their stories with me, and I am even more grateful to you for listening to it. www.third-story.com www.patreon.com/thirdstorypodcast www.wbgo.org/studios www.leosidran.substack.com  

Hoy os acercaremos el cuarto trabajo de un músico muy apreciado en el tejado, el vocalista y compositor de Los Ángeles, Michael Franks. El disco se llamó Burchfield Nines y fue editado en el año 1978 a través de Warner. Producido por Tommy Lipuma tras los maravillosos The Art of Tea y Sleeping Gips, Burchfield Nines es un disco muy característico de la música de Franks. Excelentes temas, suaves aunque complejas melodías, letras profundamente irónicas, músicos espectaculares y arreglos de primer nivel, en este caso realizados por el músico brasileño Eumir Deodato. Esperamos que lo disfrutéis. TRACKS (todos los temas compuestos por Michael Franks) 1 - When The Cookie Jar Is Empty 2 - A Robinsong 3 - Wrestle A Live Nude Girl 4 - Burchfield Nines 5 - Meet Me In The Deerpark 6 - Dear Little Nightingale 7 - In Search Of The Perfect Shampoo 8 - Vivaldi's Song CREDITS Written-By, Lead Vocals – Michael Franks Arranged By [Orchestra], Conductor [Orchestra] – Eumir Deodato Bass – Will Lee Concertmaster – Israel Baker Drums – Steve Gadd Guitar – John Tropea Percussion – Ralph MacDonald Piano – Leon Pendarvis Trumpet – Oscar Brashear Woodwind – Bud Shank, Ernie Watts Producer – Tommy LiPuma

Jeff and Matt are flying solo for today's musical expedition, diving deep into the world of smooth jazz to take a listen to the first official collaboration between Bob James and David Sanborn. Double Vision features liner notes stacked with players you know and a cameo appearance by Al Jarreau. We're not going to spoil it, you're just going to have to listen.Along the way, we talk about Moonlighting, The Avengers (but not in the way you might think) and a bevy of additional topics. Matt demands some justice for Kenny G. Some additional reading you should dig into after hearing this episode: Please go get yourself a copy of The Ballad of Tommy LiPuma by Ben Sidran. If you like a good music industry read, you'll dig Ben's book.The Record Player is on Twitter, waiting for your follow and/or complaints and shameless praise.We also have a Patreon and would love for you to join our Record Club. Get cool stuff in addition to and related to these episodes! Thanks for listening!

Composer Michael Abels talks about scoring Get Out, Us and Nope, plus the unexpected way director Jordan Peele discovered him. Jazz pianist and singer Diana Krall discusses her latest album, This Dream of You, which honours her late producer Tommy LiPuma. Actor Gillian Anderson talks about stepping into the role of Margaret Thatcher, Britain's first female prime minister, in Season 4 of The Crown.

Al Jarreau était un chanteur remarquablement polyvalent. Le fait qu'il soit le seul chanteur de l'histoire à avoir remporté des Grammy Awards dans trois catégories différentes (Jazz, Pop et R & B, respectivement), en témoigne. Al Jarreau est né à Milwaukee, Wisconsin, le 12 avril 1940, fils d'un pasteur et chanteur de l'Église adventiste du septième jour. Il a acquis sa première expérience d'interprétation en chantant dans la chorale de l'église locale. Sa mère faisait partie de l'Association des parents d'élèves de l'école. Al était le président du conseil étudiant du lycée. Il a remporté une bourse au Ripon College, où il a également chanté avec un groupe appelé les Indigos, et a obtenu en 1962 un baccalauréat ès sciences en psychologie. Al a également obtenu une maîtrise en réadaptation professionnelle de l'Université de l'Iowa. Il a poursuivi une carrière de travailleur social, mais a finalement décidé de déménager à Los Angeles et de s'essayer au show business, jouant dans de petits clubs de la côte ouest, avec un trio de jazz dirigé par George Duke . Au milieu des années 1960, il enregistre un LP, intitulé « 1965 » pour l'empreinte Bainbridge. En 1967, il collabore avec un guitariste acoustique appelé Julio Martinez. Ils ont joué dans une boîte de nuit de Sausalito appelée Gatsby's. Le duo s'est bien comporté sur place et Al a décidé de faire du chant professionnel son métier. En 1969, le duo se produit à Los Angeles dans les discothèques Dino's, Troubadour et Bitter End. Au cours de cette période, il s'est impliqué dans l'Église unie des sciences religieuses et l'Église de Scientologie. Al a ensuite signé sur le label Reprise et a sorti "We Got By", près d'une décennie après la sortie de son premier album. L'album a remporté un Grammy Award allemand, tout comme celui de 1976, produit par Tommy LiPuma, sortie Reprise, "Glow". L'album comprenait ses propres chansons "Milwaukee" et "Glow", ainsi que des reprises des chansons "Your Song", "Rainbow In Your Eyes", "Fire and Rain" et "Somebody's Watching You". En 1977, il sort "Look to the Rainbow", un set live de deux disques qui atteint le Top 50 des charts américains. Enregistré en mai et juin de cette année-là, 1978 a vu l'album 'All Fly Home' sortir dans les rues, qui mettait en vedette le danseur 'Thinkin About It Too' et le stepper 'Bright and Sunny Babe'. En 1979, Al a collaboré avec le regretté Freddie Hubbard sur sa version jazz funk classique de la chanson "Little Sunflower" (extraite de l'album "Love Connection" de Freddie). Freddie avait déjà contribué à la sortie de l'album d'Al en 1978. En 1980, Al avait développé un son plus Soulful pour sa musique, qui s'est concrétisé sous la forme de l'album "This Time". L'ensemble contenait le très populaire « Distracted », ainsi que d'autres favoris, « Never Givin' Up » et « Gimme What You Got ». Avec 'Breakin' Away' en 1981, Al atteint le Top Ten, avec une paire de chansons 'We're in This Love Together' et 'Breakin' Away'. La fraternité Soul s'est tournée vers 'Roof Garden' et 'Easy' pour l'aspect Soul de l'homme. Al a sorti l'album éponyme "Jarreau" en 1983, qui a connu le succès avec la chanson radiophonique "Morning". 1984 a vu la sortie de l'album 'High Crime' (avec 'Falling' et 'Sticky Wicket'), qui a été suivi par 'L Is for Lover' de 1986, avec le producteur Nile Rodgers (avec 'Tell Me What I Gotta Do'). Al a atteint les charts avec le thème de la populaire émission de télévision "Moonlighting" (n/b "Golden Girl"), tirée de l'album. La même année, il a contribué à l'album "Double Vision" de Bob James / David Sanborn, apportant sa version du standard "Since I Fell For You". Al a ensuite sorti une série d'albums, qui ont parfaitement traversé les plateformes Soul et Jazz. Produit par George Duke , "Hearts Horizon" est sorti en 1988 (avec "All Or Nothing At All" et "Pleasure Over Pain"). L'album de 1992 "Heaven and Earth" et "Tenderness" de 1994 ont rencontré un plus grand succès auprès du public adulte contemporain. Il a sorti « Tomorrow, Today » en 2000, qui a été bien accueilli, en particulier pour la chanson « Flame ». Le 6 mars 2001, il reçoit une étoile sur le Hollywood Walk of Fame. En 2003, Al et le chef d'orchestre Larry Baird ont collaboré pour présenter des spectacles symphoniques à travers les États-Unis. Al a continué à collaborer avec des musiciens du nouveau millénaire, travaillant avec George Benson sur l'album 'Givin' It Up' en 2006, et deux ans plus tard, il a sorti son propre set 'Love Songs'. En 2008, il enregistre un album de chansons festives, sobrement intitulé 'Christmas'. En 2010, Al était tombé gravement malade dans un hôpital en France et avait été soigné pour des problèmes respiratoires et des arythmies cardiaques. Il a ensuite été transféré dans un service de cardiologie de l'hôpital La Timone à Marseille. En 2012, Al a ensuite reçu un diagnostic de pneumonie, dont il s'est remis, et a recommencé à tourner. En 2017, il avait été hospitalisé à Los Angeles, des suites d'un épuisement, et est décédé en février 2017. Extrait de Citizen DJ, Joe Smith Collection à la Bibliothèque du Congrès, Division du cinéma, de la radiodiffusion et du son enregistré. 

Musician and producer Don Was discusses his work with artists like Bonnie Raitt, Bob Dylan and the Rolling Stones — plus, where he thinks genius comes from and what makes great new music. Jazz pianist and singer Diana Krall talks about her latest album, This Dream of You, which honours her late producer Tommy LiPuma.

Hoy os acercamos un trabajo de uno de aquellos músicos a los cuales hemos escuchado en multitud de ocasiones pero que a pesar de eso es probable que su nombre no os suene mucho. Estamos hablando del guitarrista y bajista, Phil Upchurch. Y decimos que le habréis escuchado en multitud de ocasiones porqué Upchurch ha tenido una larga y brillante carrera durante la cual ha participado en grabaciones de nombres tan importantes como Donny Hathaway, George Benson, Mose Allison, Gary Burton, Chaka Khan, Natalie Cole, Carmen McRae, Cat Stevens, David Sanborn, o el mismísimo Michael Jackson quién aconsejado por Tommy Lipuma lo incluyó en una de sus mejores grabaciones, Off the Wall del año 1979. Hoy en el tejado Free & Easy de Phil Upchurch. CREDITS 1-Free and Easy Chinn, Speights 2-Groovin' Slow Bryant, Edwards 3-People Make the World Go Round Bell, Creed 4-Midnite Blue Upchurch 5-Reunion Ferrante 6-Moment Notice Coltrane 7-She's Out of My Life Bahler CREDITS Phil Upchurch guitar, bass Eddie Harris Tenor Sax Russell Ferrante Keys Harvey Mason Drums Ephrain Toro Percussion Sylvia Cox Vocals on Groovin' Slow

As Branch Rickey said,"Luck Is The Residue of Design." If that's the case then this host walked ass backwards into Lucky Thompsonville exploring the players who created regional music in this country prior to full interconnection. Cosmic Cowboys who played with Hugh Masekela, Blue Mitchell, Dave Brubeck, Cleveland Eaton, Donald Duck Dunn, James Brown, Randy Weston, Allah Raka and Bill Monroe. These cats were street scholars coming out of heterogeneous neighborhoods with Jewish families bordering on Italian Neighborhoods which bordered on the Black Neighborhoods where the messages of Sam Cooke, Curtis Mayfield, Wilson Pickett OC Smith and Johnny Nash permeated elaborate high school bands, opportunities in burgeoning studio scenes, game shows, commercials, strip clubs, 2nd cities intermeshing live stand up by Alan Arkin, followed by improvisation from the ghost opera in a brave new world where I lead a life, you lead a life and constant creation is paramount to further evolution as a human being. My guest figured this out early in his career deftly navigating relationships with Blue Eyed Soul Singers and Tripped out Drummers who swung the band to wash away the dust of everyday life. That was the purpose of the live music event. When there was light, a middle class and cats who wanted to be links in the chain for younger generations of musicians who were looking to be the straw that stirred the drink - maybe it was a sissy drink concocted by the late great Herb Wong or a beer with two shots of Bourbon in it made famous by Butterfield and Bishop playing all night gigs on the South side of Chicago. Or even better late night care packages from Bob Krasnow and Tommy LiPuma who knew they were dealing with crazed hipsters like my guest who has continued to be resourceful- using what he has around him, not in excess but rather letting the music come through him. Like a wise man once told me "you don't chose music it chooses you." Ben Sidran welcome back to the JFS

A finales de los años 60 el vocalista, guitarrista y compositor Michael Franks empezó a componer sus primeros temas. Participó en un musical antibélico y hizo sus primeras bandas sonoras para cine, hasta que en 1973 grabó su primer trabajo más tarde rebautizado como "Previously Unavailable". Era un disco con carácter marcadamente folk que nada tendría que ver con sus siguientes trabajos. Fue en el año 1976 cuando grabó su segundo trabajo, el disco que os presentamos hoy. Producido para Warner Bros por el gran Tommy Lipuma, "The Art of Tea" incluía grandes temas como "Eggplant", "Sant Elmo's Fire" o el muy irónico "Sometimes I Just Forget to Smile", además de clásicos del cantautor, como "Popsicle Toes" o "Monkey See, Monkey Do" e incluía en su nómina a músicos de la talla de Michael Brecker, Dave Sanborn o Wilton Felder (de Crusaders). La música de Michael Franks oscila entre el jazz, el pop y (aunque no es el caso de "The Art of Tea") la bossanova. Su voz es muy característica y se reconoce prácticamente desde la primera sílaba que pronuncia. No es un gran cantante ni tiene una extensa formación musical, pero a pesar de todo ello y de las feroces críticas que ha recibido a lo largo de su carrera (el peaje que tuvo que asumir por su enorme popularidad) ha conseguido regalarnos algunas magníficas grabaciones. Sin duda "The Art of Tea" es una de las mejores. Esperamos que os guste. TRACKS (Letra y música de M. Franks en todos los temas menos los indicados.) 1- Nightmoves (Michael Small/Michael Franks) 2- Eggplant 3- Monkey See- Monkey Do 4- St. Elmos Fire 5- I Don't Know Why I'm So Happy I'm Sad 6- Jive 7- Popsicle Toes 8- Sometimes I Just Forget to Smile 9- Mr. Blue CREDITS Michael Franks Vocals Joe Sample Teclados Larry Carlton Guitarras John Guerin Bateria, Percusión Wilton Felder Bajo Michael Brecker Saxo tenor en "Jive" Dave Sanborn Saxo Alto en "Monkey See- Monkey Do" y "Mr. Blue" Larry Bunker Vibráfono Jerry Steinholtz Congas

Canadian icon William Shatner opens up about aging, loneliness and what keeps him going at 90. Mohawk actor Kaniehtiio Horn tells us how the hit Canadian comedy series Letterkenny gets Indigenous representation right. Actor Manny Jacinto explains how his role on The Good Place subverts expectations of Asian characters on screen. Jazz pianist and singer Diana Krall talks about her latest album, This Dream of You, which honours her late producer Tommy LiPuma.

Producido Grabado por Al Schmitt, la mayor parte de su carrera inigualable junto al gran Tommy LiPuma. Es el ingeniero de sonido por excelencia. Ha grabado a las mayores figuras de nuestro tiempo, desde Frank Sinatra, Miles Davis, Rosemary Clooney o Bob Dylan a Steely Dan, Bill Evans, George Benson, Al Jarreau, Quincy Jones, Michael Franks, y un inagotable etcétera. Y como productor destacan sus trabajos para los primeros discos de Jefferson Airplane, Neil Young o Jackson Browne. Con esta selección - que incluye a Toto, Nora Jones, Ray Charles, Sam Cooke, Brian Wilson, Luis Miguel, Sinatra o Elvis Presley -completamos el programa que emitimos los días 17 y 19 de septiembre de 2018, éste último con la presencia del propio maestro. Al Schmitt falleció anteayer martes 27 de abril. Tenía 91 años. DISCO 1 HENRY MANCINI Baby Elephant Walk (2) DISCO 2 TOTO Africa (10) DISCO 3 NORAH JONES & RAY CHARLES Here We Go Again (12) DISCO 4 RAY CHARLES & VAN MORRISON Crazy Love (12) DISCO 5 BRIAN WILSON They Can’t That Away From Me (8) DISCO 6 SAM COOKE Bring It on Home To Me (15) DISCO 7 ELVIS PRESLEY Blue Suede Shoes (Cara 2 Corte 5) DISCO 8 MARK ALMOND On Broadway (Cara 1 Corte 3) DISCO 9 LUIS MIGUEL Te propongo esta noche (9) DISCO 10 LARSEN & FEITEN BAND Who’ll Be The Fool Tonight (1) DISCO 11 FRANK SINATRA & BONO I’ve Got You Under My Skin  (12) DISCO 12 THE CLAUS OGERMAN ORCHESTRA Caprice (4) Escuchar audio

Urodzeni: Neil Sedaka, Scatman John, Adam Clayton (U2), Krzysztof  Grabowski (Strachy Na Lachy), Zmarli: Judge Dread (foto), Tommy LiPuma.Nagranie z roku 2021. 

"I'm gonna sit right down and myself a letter"..... These were the first words we heard back in February 2012 when Paul dropped a standards album out of the blue on us! On the latest episode of 2Legs, (almost 9 years to the day of it's original February 2012 release), Tom & Andy dive back into Kisses On The Bottom and accompanying film Live Kisses. We discuss everything from song choices (most of the tracks coming from Macca's Liverpool heritage with Jim Mac playing these on Forthlin Road), the superb musicians featuring Diana Krall (Mrs. Elvis Costello) among others, and wonderful production under the direction of Tommy LiPuma. Was Paul too late to the album standards game? Like it? Hate it? Tell us   YouTube Version www.2legspodcast.com https://www.facebook.com/2LegsPodcasts​ https://twitter.com/2legspodcast​ https://www.instagram.com/2legspodcast

El 30 de septiembre de 1977 la sala Roxy de la ciudad de Los Ángeles se disponía a acoger una serie de tres conciertos que se ofrecerían durante 3 noches consecutivas y que correrían a cargo de la banda de una nueva estrella del jazz, George Benson, un guitarrista que el año anterior había sorprendido con un larga duración realizado con esa misma banda, un disco llamado Breezin’ y que en muy poco tiempo se había convertido en uno de los discos más vendidos de la historía del jazz. Breezin’ catapultó a Benson y consiguió además que le fueran reconocidas sus habilidades como vocalista gracias a un tema de Leon Russell que se llamó This Masquerade y que contenía también un delicioso y original solo de piano del argentino Jorge Dalto. En febrero de 1977 aparecía otro trabajo de Benson y un nuevo éxito, In Flight. Ambos LPs estaban producidos por Tommy Lipuma, mezclados por Al Schmitt y arreglados por el alemán, Claus Ogerman. La sala Roxy había abierto sus puertas unos pocos años antes, en el año 1973, y había acogido a numerosos artistas prometedores. Neil Young grabó su Roxy: Tonight’s is the Night en 1973. The Crusaders grabaron Scratch on the Roxy en 1974. Ese mismo año Frank Zappa and The Mothers of Invention realizaban su Roxy and Elsewhere. Bob Marley and the Wailers hicieron lo propio con Live at the Roxy grabado en ese local en febrero de 1977, el mismo año que el disco que os presentamos hoy. En esos momentos en EEUU estaban sucediendo cosas importantes. La Guerra de Vietnam había acabado poco más de un año antes. Jimmy Carter acababa de llegar a la presidencia del país. La Nasa acababa de lanzar el Voyager 2 y conseguía también que el transbordador espacial Enterprise despegara desde un Boing 747 y planeara con éxito. Acababa de morir Elvis de un ataque al corazón y se había estrenado La Guerra de las Galaxias con un éxito sin precedentes. Ese 30 de septiembre de 1977 George Benson iba por Sunset Boulevard en una limosina que le conducía al Roxy Theatre. El tráfico era, como casi siempre, infernal. En en Roxy le esperaba su banda al completo, compuesta por Jorge Dalto en el piano y teclados, Ronnie Foster en teclados, Harvey Mason en la batería, Stanley Banks en el bajo, Ralph McDonald en la percusión, Phil Upchurch en la guitarra rítmica y George Benson en guitarra y vocales. Una conjunción de músicos de muy elevado nivel y una de las más grandes bandas del jazz de todos los tiempos. También estaba ahí el productor, Tommy Lipuma, algo inquieto por saber cómo se iba a llamar el trabajo. Lo normal en esos años era que su título fuera George Benson Live at Roxy pero creyeron que Weekend in LA daba la sensación de que un acontecimiento único estaba a punto de suceder. En la audiencia, compuesta mayormente por gente del mundo del espectáculo se encontraban algunos pesos pesados de la industria musical como Aretha Franklin, Minnie Ripperton, Natalie Cole, Tom Scott, Leon Russell y también actores cono Keith Carradine o David Soul, que en esos momentos era Hutch en la mítica serie Starsky y Hutch. El resultado fue una noche mágica que consiguió emocionar a todos los presentes y que estuvo impregnada de una sensación de esperanza y cambio. Llegaban los 80s. Hoy vamos a hablar de uno de los directos más brillantes de la historia del jazz por mucho que ese comentario moleste a los puristas, nada más y nada menos que el Weekend in L.A. de George Benson. Weekend in L.A. contiene clásicos de la talla de On Broadway, versionado poco después por la banda del gran Tito Puente también con Dalto en su formación; Down Here On The Ground, una revisión del tema de Lalo Schiffrin que supera con mucho el original; Lady Blue, dedicado a Billie Holiday y compuesta por Leon Russell o We All Remember Wes, escrita por Stevie Wonder para recordar a Benson que él no era el único que echaba a faltar a Wes Montgomery. O la inspirada Ode to Kudu que demuestra la enorme técnica y dominio de la guitarra de Benson y que como Weekend in L.A., fueron compuestas por Benson para la ocasión o It's All in the Game, una preciosa canción de Charles Dawes y Cal Sigman que incluye un delicado sólo de piano de nuestro admirado Jorge Dalto. En definitiva, una auténtica Masterpiece que nos ha apetecido mucho traer a Música para Gatos.

En este episodio, analizamos el álbum 'Kisses on the Bottom'. El disco, que contó con la producción musical de Tommy LiPuma, es un álbum de versiones de canciones jazz, con solo dos composiciones originales de Paul McCartney. Dale play! Más información: www.radioborder.com.ar

Ben Sidran is a jazz pianist and vocalist, lyricist, award-winning national broadcaster, record and video producer, scholar, journalist, father and an author. He was our first guest on All That's Jazz and his original episode is our most downloaded. This week, we catch up with Ben Sidran, on his critically acclaimed book The Ballad of Tommy LiPuma. We also talk about a new final chapter of a book, There Was A Fire, Ben wrote in 2011 that is being reissued in March 2021. Finally, we have fun with his latest album, done with his multi-talented son, Leo, called Who's The Old Guy Now. 

La pianista y cantante canadiense Diana Krall con su disco para el sello Verve de este 2020, This dream of you, 12 temas grabados anteriormente con el fallecido productor Tommy LiPuma y que no habían sido incluídos en grabaciones anteriores, nos visita en el 2 de uno de hoy.

PODCAST INTEGRANTE DE ESFERA JAZZ: https://www.esferajazz.com MASTERPIECES: Al Jarreau - Look to the Rainbow: Live in Europe (1977) Hoy os acercamos al tejado una nueva edición de Masterpieces que va a estar dedicada a "Look to the Rainbow: Live in Europe" un excelente disco del genio Al Jarreau que contiene algunas inolvidables interpretaciones del compositor y vocalista, como decía Cifú, un auténtico malabarista de la voz. Producido por Tommy LiPuma y Al Schmitt, el larga duración incluye a algunos de los músicos que Jarreau había utilizado en sus dos primeras grabaciones como Tom Canning o Joe Correro e incorpora además al extraordinario bajista Abe Laboriel y a Lynn Blessing al vibráfono. El resultado son 12 temas , 8 del propio Jarreau y 4 clásicos entre los cuales destacan "Rainbow in your eyes" de Leon Rusell y una increíble versión de la pieza maestra de Paul Desmond, "Take five”. Look to the Rainbow es una grabación muy singular a la que vamos a dedicar íntegramente nuestro episodio de hoy. TRACKS 1. Letter Perfect (Jarreau) 2. Rainbow in Your Eyes (Leon Russell) 3. One Good Turn (Jarreau) 4. Could You Believe (Jarreau) 5. Burst in With the Dawn (Jarreau) 6. Better Than Anything (David Wheat/William Lougborough) 7. So Long Girl (Jarreau) 8. Look to the Rainbow (Lane/Harburg) 9. You Don't See Me (Jarreau) 10. Take Five (Paul Desmond) 11. Loving You (Jarreau) 12. We Got By (Jarreau) CREDITS Al Jarreau (Vocals, vocal percussion, miscellaneous effects) Tom Canning (Keyboards) Joe Correro (Drums) Abraham Laboriel (Bass) Lynn Blessing (Vibes)

"The sustainability of art is constant movement between modes and scales, lyrics, melodies, symmetry, odd meters and a fundamental believe in the huminality of music. My guest today has been performing in Big Brass Bands the last 6 decades. He has been creating trends and staying on the productive side of the hill even as the fallibility and short comings of man are self-evident. He was co founder of the A&M record label and was instrumental in fashioning music that appealed to a society that was going through a cultural revolution. Their ears were open to many different styles of music including West Coast jazzers like Pete Jolly, Chet Baker, Leroy Vinnegar and Shelly Manne. He developed good working relationships with Quincy Jones Who was working on "You Got It Bad Girl" as The Girl from Impanima had come and gone and a newer slicker form of blues and jazz known as funk came into the American Lexicon. My guest employed street cats like Tommy LiPuma and Nick DeCaro. My guest plays a varied mix of Western swing, Afro/Cuban/Mariachi Country/Pop. Before labels he was a musician who straddled all genres evident from his collaboration with South African Freedom Fighter, Hugh Masekela. Since 1974 he has been collaborating with his wife Lani Hall forming a duo playing concert halls, hockey rinks, Film & TV shows, and in their own living room swinging their way through the day or into Tucson on the 26th for a gig @ The Fox Theatre. Herb Alpert welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

Episode 9 Al SchmittPart 2   Song Chronicles is proud to present the second of a two-part interview with Al Schmitt. This episode, done via Zoom on August 7, took place three days after the first interview after Al emailed to say that he had some additional stories and memories he wanted to share. It’s a testament to his generosity and work ethic that Al would take the time to follow-up because he wanted to make this interview even more special even after a great first interview – which is a fascinating conversation on its own.   Al Schmitt has spent his 70-some year career making things better. The universally revered engineer and producer has received awards with the most notable all-time Grammy winners – and the top among engineers - as well as receiving the honored prestigious Grammy Trustee Award.   Al Schmitt with Tommy LiPuma and Paul McCartney   Al’s unrivaled resume crosses generations and genre lines. The 90-year-old master of the soundboard has worked with a seemingly endless list of musical superstars: from Miles Davis to Madonna, Quincy Jones to Nina Simone, Dolly Parton to Brian Wilson, Elvis Presley to Bob Dylan, Liza Minnelli to Luis Miguel, Kenny Rogers to Kenny G., Linda Ronstadt to Rod Stewart.   Al with Ray Charles In this episode, Al shares some of his favorite moments from his illustrious career – like the time in the early ‘60s when he hung out in a hotel suite with Sam Cooke and Cassius Clay (just weeks before took the name Muhammad Ali). Cooke was helping out Clay, who just had gotten a record deal, and Al recalls how funny and irreverent to two men were - “I never laughed so hard in my life.”   Al had a long-running working partnership with Henry Mancini, which started with the Peter Gunn record and resulted in Al’s first Grammy for the Hatari! soundtrack. The acclaimed composer, Al reveals, had a great sense of humor as well as a great way to endear himself with session musicians – here’s a hint: it involves how doing one song past 11 pm made the musicians very happy.   Al at work at Capitol Studios   When Al was a kid, he used to play hooky from school to go see Frank Sinatra sing at the Paramount Theatre. And Sinatra was one artist that he had long to work with but never had – until producer Phil Ramone called him to engineer Sinatra’s Duets album. It was a job, Al says, he would have done for nothing. He talks about how the studio was set up for Sinatra and how the singer wanted to do this “this way” in the studio as well as what a thrill it was just to be part of Sinatra’s dinner party for three nights.   His Sinatra stories also involves the fabled U47 microphone, a subject close to Al’s heart because he is a self-described “microphone freak.” During this episode, Al discusses how much he enjoys mic-ing a room and trying them out in different placements, moving the band around the room. He fondly remembers his time at RCA where he would experiment in the studio every day and discover the ambience and best recording spots in the room. Al also describes his process of working with an artist to make for the most rewarding and productive recording session. Diana Krall with Al Schmitt   During my conversation with Al, he speaks too about how he developed such a strong work ethic as well as his various interests outside of the studio. Additionally, he shares how he has continued working during the COVID pandemic, having recently wrapped up engineering jobs on upcoming releases by Diana Krall and Melody Gardot.        

Mind Expanding. A great history lesson. Tommy is a great example of someone in the “music biz” that has woderful taste in music. We seem to have lost that in music today. Mike --- Support this podcast: https://anchor.fm/jake-feinberg/support

For the second year in a row, I talk to my dad, musician/producer/journalist/philosopher Ben Sidran in honor of his birthday. This time he’s turning 77, and we consider his recent projects, including the books The Ballad of Tommy LiPuma and There Was A Fire: Jews, Music and the American Dream, and his latest single “Who’s The Old Guy Now”.  Of course these are atypical times, and so this is an atypical episode, in which we discuss being alive on the planet in Covidtimes, watching livestream jazz, getting older, the difference between Troubadours, Shamans and Griots, going “underground”, why jazz is sometimes called “the sound of surprise”, whether or not the idea of “popular music” will endure into the 21st century, how a bill becomes a law, Miles Davis’ posture, and just what exactly “hay foot, straw foot” means. www.third-story.com www.patreon.com/thirdstorypodcast www.bensidran.com

Watercolorist extraordinaire William (Willy) Matthews stops by the Medicine Man Gallery studio for a special two part interview with host Dr. Mark Sublette. In part TWO, the esteemed Mr. Matthews discusses his time in Europe forging relationships by knocking on doors and playing music, eventually leading to a job at The Museum of Modern Art, Oxford (now Modern Art Oxford). After William returns to the US, he leads a graphic design studio in 1980's Denver for a short period of time, eventually opening his own studio shortly after. Willy's career develops into that of a full-time fine artist, culminating in the owning of his own gallery/studio William Matthews Studio in Denver, CO and leading to the painting of "Los Caballos." The process behind the 63 ft-long mural crowning the newly built Dickies Arena in Ft. Worth, TX and much more in part TWO of this two part interview on the Art Dealer Diaries.

Watercolorist extraordinaire William (Willy) Matthews stops by the Medicine Man Gallery studio for a special two-part interview with host Dr. Mark Sublette. In part ONE, Mr. Matthews looks back on the early days of his 50+ year career as a professional artist. We get a glimpse into William's early life in San Francisco and what is like to grow up in such a talented family of creatives. Hanging around Haight-Ashbury in the late 1960's, carrying a 40 lb portfolio around L.A. in the 1970's, and working with the likes of Graham Nash (Crosby, Stills, and Nash). William's trajectory as an album cover artist and much more are present in part ONE of a two-part interview on the Art Dealer Diaries.

GRP....if you don't know, you're about to find out. Dave Grusin and Larry Rosen came together to create a powerhouse, an unbelievable collection of super-talented jazz musicians back in the late 70's and early 80's. Ron Holloway, of Smooth Groove Radio...The Vibe, and I were chatting about music history like we always do and once we hit the GRP subject, we dwelled there for a while. That makes sense since their catalogue was so extensive, thus the inspiration for this show. Although this is a smidgeon of the catalog and represent only a handful of artists I think you'll like and probably remember the songs heard on this show. I didn't even get to Chick Corea, Al Jarreau and all the later additions to the label's lineup courtesy of Tommy Lipuma in the late 90's. That's what I love about music so much. So much wealth in history, stored in my music vault. Ya'll ready to ride?? Ok thennnn,let's GO!

As a boy in Detroit, Michigan, Rick Margitza’s mother asked him “do you want to hear a recording of your grandfather playing cello”? Then she put on the Charlie Parker with Strings album. After hearing Charlie Parker play, Rick knew that he wanted to be a jazz saxophone player. Margitza’s paternal grandfather, a Hungarian Gypsy violinist, taught him to play the violin at the age of four. His father also played violin with the Detroit Symphony Orchestra (and recorded on classic Motown sessions). So it was almost inevitable that Rick would be a musician, and he was drawn to jazz. He loved the sound of what he calls “the white Jewish tenor player” school of playing: Michael Brecker, Steve Grossman, Dave Liebman, Bob Berg and (apparent honorary Jew) Jerry Bergonzi. Rick bounced around from music school to music school in his 20s, and ended up in New Orleans playing on the local scene and finishing school. He was thinking about moving to New York and wondering if it was already too late for that. His childhood friend and future record producer Matt Pierson (see Episode 5) encouraged Rick to make a demo tape before making the move, Rick obliged. That demo tape ended up moving a lot of history. Pierson played the tape for the president of Blue Note records, Bruce Lundvall, who signed Rick to a contract based on what he heard on the tape. Pierson also played the tape for Tommy LiPuma (see Episodes 33 and 69) who in turn played it for Miles Davis over the phone, and Miles hired Margitza on the spot based on what he heard on the tape. What was on that tape? Here Rick tells the story of what happened next, what it was like to be thrust into the jazz limelight overnight, working with Miles, moving to France, dividing the octave and choosing the right note. Thanks for listening. If you enjoyed it, please leave a review on iTunes and consider supporting the podcast on Patreon! And now you can also listen to the podcast on Spotify!

Topics: Black History Month, Chaka Khan, Car Wash (film), What's Happening! (TV). (Bonus Artist: hidingtobefound)   1976   1.    Snap Shots   2.    General News   3.    Gerald Ford is President   4.    Apr - Apple Computer Company is formed by Steve Jobs and Steve Wozniak.   5.    Jul - In New York City, the "Son of Sam" pulls a gun from a paper bag, killing 1 and seriously wounding another, in the first of a series of attacks that terrorize the city for the next year.   6.    Jul - U.S. track and field athlete Bruce Jenner (@ age 27) won the gold medal for decathlon, setting a world record of 8,634 points.   7.    Nov - U.S. presidential election, 1976: Jimmy Carter defeats incumbent Gerald Ford, becoming the first candidate from the Deep South to win since the Civil War.   8.    Misc.: VHS released, and eventually won the war with Betamax tapes, although most agree it was an inferior product.    9.    Open Comments   10.    Money Snapshots   11.    Min. wage = $2.30hr (+.20) / $92wk / $4,600k yrly - 2018 = $20,408yrly   12.    Avg. Income per year - $16,095   13.    Avg. Cost of new house - $43,340   14.    Avg. Rent - $220   15.    Avg. Cost new car - $4,557   16.    Unemployment 7.8% vs Black unemployment 12%   17.    Open Comments   18.    Black Snapshots   19.    Jul - Sugar Ray Leonard (@ age 20), Leon Spinks (@ age 23), Michael Spinks (@ age 20) won gold medals in boxing.   20.    Jul - Twenty-year-old Morehouse College student Edwin Moses sets a new world record in the 400m hurdles,   21.    Aug - Roots: The Saga of an American Family by Alex Haley (@ age 55) is published. in 1976. (Forty-six weeks on The New York Times Best Seller List, w/ twenty-two weeks at number one.) (TV mini-series already in production)   22.    Open Comments   23.    Music Snapshots   24.    Record of the Year: "This Masquerade" - George Benson (artist) & Tommy LiPuma (producer)   25.    Album of the Year: Songs in the Key of Life - Stevie Wonder (artist) & Stevie Wonder (producer)   26.    Song of the Year: "I Write the Songs" - Bruce Johnston (songwriter) (for performed by Barry Manilow)   27.    Best New Artist: Starland Vocal Band   28.    Billboard Year-End Hot 100 singles of 1976   1.    "Silly Love Songs", Wings   2.    "Don't Go Breaking My Heart", Elton John & Kiki Dee   3.    "Disco Lady", Johnnie Taylor   29.    Open Comments   30.    Movie Snapshots   31.    Highest-grossing films   1.    Rocky   2.    To Fly! - *(Weird documentary film about the history of flight)   3.    A Star Is Born   4.    All the President's Men   32.    Open Comments   33.    TV Snapshots   34.    To Shows   1.    - Happy Days   2.    - Laverne & Shirley   3.    - M*A*S*H   35.    Debuts:    36.    Aug - What's Happening!!   37.    Open Comments   38.    Social Scene   39.    What: Black History Month   40.    Why: First year of national recognition   41.    Key Person(s): Carter G. Woodson, the "father of black history" (d. 1950), historian, author, and journalist.   42.    Short Story:   43.    Started as Negro History Week (1926)   44.    Woodson (@ age 51) announced the second week of February to be "Negro History Week" because it covered the birthdays of both Abraham Lincoln and Frederick Douglass. Woodson said teaching black history was essential to ensure physical and    45.    intellectual survival. - "If a race has no history, it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and it stands in danger of being exterminated. The American Indian left no continuous record. He did not appreciate the value of    46.    tradition; and where is he today? The Hebrew keenly appreciated the value of tradition, as is attested by the Bible itself. Despite worldwide persecution, therefore, he is a great factor in our civilization."   47.    The push for Black History Month (1970 -76)   48.    BHM was first proposed at Kent State University in February 1969.  The first celebration happened in 1970. Six years later, President Gerald Ford recognized BHM during the Bicentennial celebration. - "[Americans should] seize the opportunity to honor the    49.    too-often neglected accomplishments of black Americans in every area of endeavor throughout our history".   50.    Open Comments   51.    Question 1: Is BH "M" too small/short of an emphasis or just, about right?   52.    Question 2:  Did you do anything for BHM growing up &/or while raising your kids?    53.    Music Scene   54.    Billboard Year-End Top 40 Black singles of 1976   55.    3 - "Disco Lady", Johnnie Taylor   56.    6 - "Kiss and Say Goodbye", The Manhattans   57.    7 - "Love Machine", The Miracles   58.    11 - "Sara Smile", Hall & Oates   59.    14 - "Fly, Robin, Fly", Silver Convention   60.    15 - "Love Hangover", Diana Ross   61.    19 - "Misty Blue", Dorothy Moore   62.    20 - "Boogie Fever", The Sylvers   63.    22 - "You Sexy Thing", Hot Chocolate   64.    24 - "Get Up and Boogie", Silver Convention   65.    27 - "Sweet Love", Commodores   66.    28 - "Right Back Where We Started From", Maxine Nightingale   67.    29 - "Theme from S.W.A.T.", Rhythm Heritage   68.    30 - "Love Rollercoaster", Ohio Players   69.    32 - "You'll Never Find Another Love Like Mine", Lou Rawls   70.    Vote:   71.    Jan - Gratitude, Earth, Wind & Fire   72.    Jan - Wake Up Everybody, Harold Melvin And The Blue Notes   73.    Feb - Rufus Featuring Chaka Khan, Rufus And Chaka Khan   74.    Apr - Eargasm, Johnnie Taylor   75.    Apr - Brass Construction, Brass Construction   76.    May - I Want You, Marvin Gaye   77.    May - Breezin', George Benson   78.    May - Look Out For #1, The Brothers Johnson   79.    June - Harvest For The World, The Isley Brothers   80.    Jul - Contradiction, Ohio Players   81.    Jul - Sparkle (Soundtrack), Aretha Franklin   82.    Aug - All Things In Time, Lou Rawls   83.    Aug - Hot On The Tracks, Commodores   84.    Sep - Wild Cherry, Wild Cherry   85.    Sep - Hot On The Tracks, Commodores   86.    Oct - Songs In The Key Of Life, Stevie Wonder   87.    Vote:   88.    Key Artists   89.    Who: Yvette Marie Steven, a.k.a., Chaka Khan (@ age 23) - Queen of Funk, singer, songwriter, actor, activist.   90.    Why is she being featured: "Sweet Thing", she is breaking out, and I don't want to cover disco yet.   91.    Short story:   92.    Born and raised in Chicago housing projects, the oldest of five. Started singing early, formed a girl group at age eleven. Changed her name to Chaka Adunne Aduffe Hodarhi Karifi at thirteen and started running around with the Fred Hampton and the Panthers.  In 1969, at age16, she dropped out of high school, left the Panthers, and focused on singing with local bands. In 1973, she joined the band Rufus. The first album in 1973 was a dud, but Stevie Wonder was so impressed by Chaka Khan's vocals, he wanted to write a song specifically for her. "Tell Me Something Good", written by Stevie, on their 1974 album won a Grammy. (He also played harmonica on 'I Feel For You'.). But, because of her increasing popularity the record label started calling the group Rufus "Featuring" Chaka Khan, (which was the title of their fourth album that had the hit single "Sweet Thing") and this caused tension in the band. She was back and forth with the group for a few years. Went solo in 1978 and became a legend. (10 Grammys, 8 of them solo) 93.    [Audio Clip]   94.    Open Comments:   95.    Movie Scene   96.    Notable releases   97.    Mother, Jugs & Speed, starring Bill Cosby, Raquel Welch, Harvey Keitel   98.    The Bingo Long Traveling All-Stars & Motor Kings, starring Billy Dee Williams, James Earl Jones, & Richard Pryor   99.    Silver Streak, starring Gene Wilder, Richard Pryor, Jill Clayburgh, Ned Beatty, Ray Walston, Patrick McGoohan   100.    Open Comments   101.    Key Release   102.    What: Car Wash   103.    Who:  Starring Franklyn Ajaye, Bill Duke, George Carlin, Irwin Corey, Ivan Dixon, Antonio Fargas, Jack Kehoe, Clarence Muse, Lorraine Gary, The Pointer Sisters, and Richard Pryor.   104.    Director: Michael Schultz - Honeybaby, Honeybaby (1974), Cooley High (1975), Greased Lightning (1977), Which Way Is Up? (1977), Bustin' Loose (1981), Carbon Copy (1981), Krush Groove (1985), Berry Gordy's The Last Dragon (1985), Disorderlies (1987), Livin' Large! (1991), Woman Thou Art Loosed (2004)   105.    Why is it featured: The Soundtrack is DOPE!!   106.    Short Story: An episodic comedy about a day in the lives of the employees and the owner of a Los Angeles car wash.   107.    Critic Review: "Car Wash initially left critics unimpressed (except for Roger Ebert who correctly called it a "wash-and-wax M*A*S*H") but over the decades both the film and the soundtrack have left their mark on pop culture. With its Afros, bell-bottoms, cars as big as boats, and disco soundtrack, Car Wash is a perfect time-capsule of America's bicentennial year." - http://www.threemoviebuffs.com/review/car-wash.html   108.    [Audio Clips]   109.    Open Comments   110.    TV Scene   111.    What: What's Happening!!   112.    Who: Starring Ernest Lee Thomas, Haywood Nelson, Fred Berry, Danielle Spencer, Mabel King, Shirley Hemphill   113.    Why is it featured: The last show dedicated to black families until(?) The Cosby Show in 1984. The next few years introduced the interracial family dynamic. (Different Strokes like stuff.)   114.    Short Story: Loosely based on Cooley High. What's Happening!! follows the lives of three working-class African-American teens living in Watts.   115.    Critic Review: Unlike its contemporary Good Times, What's Happening!! isn't committed to presenting enlightening social commentary or providing empowering African-American role models. Most of the problems the gang faces here are typical of what kids from any community have to deal with. While the show has its funny moments (especially when Dee offers her strong, often sarcastic opinions), much of the show's humor stems from a slapstick-like comedy style that's reminiscent of the minstrel show stereotypes of the 1930s - https://www.commonsensemedia.org/tv-reviews/whats-happening   116.    [Audio Clips]   117.    Open Comments:   118.    Final Question: Biggest legacy from 1976?

Marc Antoine (May 28, 1963) is a French composer, guitarist and music producer. He is currently one of the most recognized figures of smooth jazz. In 1988 he moved to London to join the Reggae Philharmonic Orchestra. In this stage he also works with Soul To Soul, Pato Banton and General Public and delves into the effervescent acid jazz scene of the English capital. At the beginning of the 90s he left for the United States and settled in Los Angeles. In his American stage he collaborates with established artists such as Sting, Rod Stewart, Céline Dion and intervenes in more innovative trends such as Solsonics, Guru or Queen Latifah, as well as Basia or Chris Botti. He reaches an agreement with Tommy LiPuma, the prestigious producer of Miles Davis, George Benson or Diana Krall, through which he signs with GRP. With this seal he will record his next works. After living and recording in Madrid, the hometown of his wife Rebecca, for 12 years, the talented Parisian acoustic guitarist moved back to Southern California in 2015. One of the most notable aspects of Antoine's return to recording four years after the release of his previous album Guitar Destiny is his incredible recovery from two major health problems In 2012, he underwent major cardiac surgery to fix a debilitating atrial fibrillation problem, and then. In 2014 after several misdiagnoses, she underwent surgery to relieve hand cramps caused by a condition called "Unchained Finger." One of his fingers on his left hand got stuck in a strange position, causing unbearable pain when he played the guitar. Fans will be happy to know that Antoine, having survived these physical challenges, has never felt more energized, musically or otherwise, in his life. Thanks Marc!

Marc Antoine: Es un compositor , guitarrista y productor musical francés. En la actualidad es una de las figuras más reconocidas del smooth jazz. En 1988 se traslada a Londres para formar parte de la Reggae Philharmonic Orchestra. En esta etapa trabaja también con Soul To Soul, Pato Banton y General Public y se adentra en la efervescente escena del acid jazz de la capital inglesa. A principios de los 90 se marcha a Estados Unidos y se instala en Los Ángeles. En su etapa americana colabora con artistas consagrados como Sting, Rod Stewart, Céline Dion e interviene en corrientes más innovadoras como Solsonics, Gurú o Queen Latifah, además de Basia o Chris Botti. Llega a un acuerdo con Tommy LiPuma, el prestigioso productor de Miles Davis, George Benson o Diana Krall, mediante el cual firma con GRP. Con este sello grabará sus siguientes trabajos. Después de vivir y grabar en Madrid, la ciudad natal de su esposa Rebecca, durante 12 años, el talentoso guitarrista acústico parisino se mudó de nuevo al sur de California en 2015. Uno de los aspectos más notables del regreso de Antoine a la grabación cuatro años después del lanzamiento de su álbum anterior Guitar Destiny es su increíble recuperación de dos grandes problemas de salud En 2012, se sometió a una cirugía cardíaca importante para solucionar un problema de fibrilación auricular debilitante, y luego. En 2014 después de varios diagnósticos erróneos, se sometió a una cirugía para aliviar los calambres en la mano causados ??por una afección llamada "Dedo desencadenado". Uno de sus dedos en su la mano izquierda se quedó atascada en una posición extraña, causando un dolor insoportable cuando tocaba la guitarra. Los fanáticos estarán encantados de saber que Antoine, después de haber sobrevivido a estos desafíos físicos, nunca se ha sentido con más energía, musicalmente o de otra manera, en su vida. Gracias Marc !!

Marc Antoine (May 28, 1963) is a French composer, guitarist and music producer. He is currently one of the most recognized figures of smooth jazz. In 1988 he moved to London to join the Reggae Philharmonic Orchestra. In this stage he also works with Soul To Soul, Pato Banton and General Public and delves into the effervescent acid jazz scene of the English capital. At the beginning of the 90s he left for the United States and settled in Los Angeles. In his American stage he collaborates with established artists such as Sting, Rod Stewart, Céline Dion and intervenes in more innovative trends such as Solsonics, Guru or Queen Latifah, as well as Basia or Chris Botti. He reaches an agreement with Tommy LiPuma, the prestigious producer of Miles Davis, George Benson or Diana Krall, through which he signs with GRP. With this seal he will record his next works. After living and recording in Madrid, the hometown of his wife Rebecca, for 12 years, the talented Parisian acoustic guitarist moved back to Southern California in 2015. One of the most notable aspects of Antoine's return to recording four years after the release of his previous album Guitar Destiny is his incredible recovery from two major health problems In 2012, he underwent major cardiac surgery to fix a debilitating atrial fibrillation problem, and then. In 2014 after several misdiagnoses, she underwent surgery to relieve hand cramps caused by a condition called "Unchained Finger." One of his fingers on his left hand got stuck in a strange position, causing unbearable pain when he played the guitar. Fans will be happy to know that Antoine, having survived these physical challenges, has never felt more energized, musically or otherwise, in his life. Thanks Marc!

Marc Antoine (May 28, 1963) is a French composer, guitarist and music producer. He is currently one of the most recognized figures of smooth jazz. In 1988 he moved to London to join the Reggae Philharmonic Orchestra. In this stage he also works with Soul To Soul, Pato Banton and General Public and delves into the effervescent acid jazz scene of the English capital. At the beginning of the 90s he left for the United States and settled in Los Angeles. In his American stage he collaborates with established artists such as Sting, Rod Stewart, Céline Dion and intervenes in more innovative trends such as Solsonics, Guru or Queen Latifah, as well as Basia or Chris Botti. He reaches an agreement with Tommy LiPuma, the prestigious producer of Miles Davis, George Benson or Diana Krall, through which he signs with GRP. With this seal he will record his next works. After living and recording in Madrid, the hometown of his wife Rebecca, for 12 years, the talented Parisian acoustic guitarist moved back to Southern California in 2015. One of the most notable aspects of Antoine's return to recording four years after the release of his previous album Guitar Destiny is his incredible recovery from two major health problems In 2012, he underwent major cardiac surgery to fix a debilitating atrial fibrillation problem, and then. In 2014 after several misdiagnoses, she underwent surgery to relieve hand cramps caused by a condition called "Unchained Finger." One of his fingers on his left hand got stuck in a strange position, causing unbearable pain when he played the guitar. Fans will be happy to know that Antoine, having survived these physical challenges, has never felt more energized, musically or otherwise, in his life. Thanks Marc!

This episode of The Paul Leslie Hour features an interview with Steve Genewick that was originally broadcast on FM radio. There is also a tribute to Dave Puciw and a report of a journey to see the Bob Dylan concert in Augusta, Georgia. Steve Genewick has a big Dylan connection, he is a staff recording engineer at the famed Capitol Studios in Los Angeles. He recorded the 3 latest album of Bob Dylan. He's also recorded albums by Paul McCartney, Diana Krall, Michael Buble, Chris Botti, Gladys Knight, Neil Young, George Benson, Quincy Jones, Burt Bacharach, Al Green, etc. In this episode he shares his insight into recording with Bob Dylan, his memories of the late Tommy LiPuma and more. Support The Paul Leslie Hour by donating to their Tip Jar: https://tips.pinecast.com/jar/the-paul-leslie-hour

Un día más en el paraíso de Follow me 87.6 FM en el programa especial nº 100, Dedicado al MAESTRO BOB JAMES!! Hoy en nuestro escenario virtual tenemos al gran músico, compositor, arreglista, productor Mr Bob James. La carrera de Bob James es larga, variada y continúa evolucionando a cada paso. Desde sus primeros días en Marshall, Missouri, la música de Bob James cautivó a las audiencias de todo el mundo. Descubierto por Quincy Jones en el Festival de Jazz de Notre Dame en 1963, James grabó su primer álbum en solitario, Bold Conceptions , ese año para Mercury Records. 58 álbumes e innumerables premios seguirían durante cinco décadas. Él afinó sus habilidades trabajando con Creed Taylor, trabajando en álbumes para artistas como Hank Crawford, Grover Washington, Jr, entre otros. Mientras que con CTI, James encontró un gran éxito popular al supervisar éxitos importantes para Paul Simon, Neil Diamond, Maynard Ferguson y Kenny Loggins. En 1974, James finalmente grabó su propio álbum, One , que lanzó una carrera de grabación y actuación en vivo de por vida. Después de tres álbumes más, James comenzó su propio sello. Centrándose en sus propios trabajos creativos. el segundo album fue Touchdown , que incluía su composición, "Angela", el tema instrumental de la comedia Taxi , y posiblemente el mejor trabajo de James. Bob compuso toda la música original utilizada en esa serie de televisión durante toda su carrera. Uno a uno, la primera de tres colaboraciones con Earl Klugh, recibió un Grammy en 1980 por Mejor interpretación instrumental pop y ha vendido más de un millón de copias. Durante este tiempo, James estableció el estándar para el sonido smooth jazz a fines de la década de 1970. comenzó con Double Vision, una colaboración con David Sanborn, y producido por Tommy LiPuma. Double Vision fue otro ganador del Grammy, vendiendo más de un millón de álbumes.

Six-time Grammy® nominated German-born composer/arranger/conductor CHRIS WALDEN has scored more than 40 feature and TV films, and has written more than 1500 orchestral and big band arrangements for artists including Diana Krall, Josh Groban, Michael Bublé, Aretha Franklin, Paul McCartney, Paul Anka, Stevie Wonder, Rihanna, Barbra Streisand, and orchestras like the Chicago Symphony Orchestra, Los Angeles Philharmonic, Boston Pops, and many more. He has worked closely with producers David Foster, Tommy LiPuma, and Phil Ramone. He most recently wrote arrangements for the Academy Awards (Oscars®), he arranged for and conducted the Kennedy Center Honors and he arranged the National Anthem for Jennifer Hudson's performance at the SUPER BOWL XLIII. His recent film credits  as a composer include the feature film "King Of Herrings", TV movies "Alien Siege", "Crimson Force", and Gene Wilder's "The Lady in Question". Since 2007 Walden has also been a principal arranger for "AMERICAN IDOL" and was an arranger for "THE TONIGHT SHOW with Jay Leno". He has been musical director on many TV shows and series, and has worked on more than 100 CDs. As an arranger and bandleader he has worked with jazz artists including Michael Brecker, Peter Erskine, Tierney Sutton, Arturo Sandoval, and the Count Basie Orchestra

In this episode, Slim Man chats with his good friend, guitarist Marc Antoine, at his studio in Laguna, California. They talk about Marc's new CD with pianist David Benoit, his relationship with producer Tommy LiPuma, and Marc's musical journey from Paris to Madrid to the USA.

This week, Allan, Steve, Al and Ken pay tribute to two music people with Beatles connections. One is Chuck Berry, whose influence on the Beatles (and many others) shaped rock 'n' roll. The other is Tommy LiPuma, the man who produced Paul McCartney's "Kisses On the Bottom," which won a Grammy Award. Be sure to tell us your thoughts on this show (or any others). You can send them to our email address thingswesaidtodayradioshow@gmail.com, join our "Things We Said Today Beatles Fans" Facebook page, tweet us at @thingswesadfab or catch us each on Facebook and give us your thoughts. And we thank you for listening. Don't forget, you can also always stream the show from our very own YouTube page. And we invite you to please write a review of our show on our iTunes page. Be sure to check our Podbean page and on iTunes regularly for our latest shows, which usually appear each week. Or better yet, subscribe to our iTunes, Podbean or YouTube pages and get notified when a new show is waiting for you.  

Ben and Leo Sidran remember record producer Tommy LiPuma and play some previously unheard interviews with him. These particular stories talk about a time in his life that hasn’t been talked about too much - his childhood in Cleveland, how the radio was his best friend, and how music saved his life, and how being a barber got him to LA. www.third-story.com

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Programa que dedicamos a grandes producciones realizadas por Tommy LiPuma, fallecido en 2017, para artistas como Bob James, David Sanborn, Diana Krall, George Benson, Seawind, Yellowjackets, Al Jarreau, Anita Baker, Joe Sample, Mark Almond, Randy Crawford, Brenda Russell, Neil Larsen y Michael Franks.Escucha este episodio completo y accede a todo el contenido exclusivo de Cloud Jazz Smooth Jazz. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/27170

From his earliest days as a music promoter in the ‘60s to his tenure at Warner Bros in the ‘70s, hit first jazz smash hit (George Benson’s Breezin’), Natalie Cole’s multiplatinum Unforgettable, legendary concerts in Montreux, his role in the rise to fame of Al Jarreau, Yellowjackets and so many others to his days at Verve, Diana Krall, Natalie Cole and Paul McCartney, commentary on topics from President Obama to his only movie soundtrack (a work he’s most proud of) to a train ride home with the precocious Joey Alexander to his commentary on how jazz took a dive when everyone started to sound like everyone else … enjoy a conversation with legendary producer Tommy LiPuma. Intro: Kickin' it - Jeff Lorber

Larry Goldings has been one of the most respected, versatile and working jazz pianists and organists around since he moved to New York in 1986 to attend the (then) brand new New School jazz program. His career has been varied, working with his own trio with drummer Bill Stewart and guitarist Peter Bernstein (a project that started nearly 30 years ago), stints as a sideman with Jon Hendricks, Jim Hall, John Scofield, Maceo Parker, and more recently James Taylor, and session work in LA. Since moving to California in the early aughts, he has worked as a session player with producers including Larry Klein, Tommy LiPuma and Steve Jordan, and artists including Madeleine Peyroux, John Mayer, and of course James Taylor. Along the way he's recorded on over 100 albums as a sideman, released nearly 20 as a leader, and contributed to various film and TV projects.  Here he talks about the scene in New York in the 90s, developing his approach to the organ, the difference between New York and LA, and the importance of humor in his life. www.third-story.com

The conversation is a fascinating glimpse into both the golden age of recording and modern music production approaches, which also highlights how important relationships and trust are to building a career in music (or any industry).  

  Part 2 of the Tommy LiPuma and Matt Pierson Conversation. The fellas get started RIGHT where they left off. More stories from an incredible life in music. Tommy Lipuma!  

  Episode 27 had Matt Pierson joining the CTWP family when he sat down with Charlie and told some incredible stories. Now we get the absolute joy of having a former guest sit down with a new member of the CTWP crew. Matt sat down with music business legend Tommy Lipuma. Tommy has produced so […]

Hablamos del ingeniero y productor Tommy LiPuma.