Podcasts about Vibraphone

The great Kello Gonzalez returns to the podcast on short notice to discuss Nothin' Ventured, which we interpret as our version of a Les Claypool motivational speech, particularly because the spirit of the song (bass solos) and lyrics (taking risks to achieve something) mirrors what LEs did with his career path. IT's also chock-full of cultural idioms amd a sneaky masturbation joke; everyone's favorite Claypoolism. Kello demonstrates the "five minute" interpretation of the bass line, and we dig into taking risks, the rewards, and why it matters. Find Kello on Youtube and Instagram. Get involvedInstagramFacebookEmailBurn your money 

Episode 174 Chapter 33, Digital Synthesizers and Samplers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 33, Digital Synthesizers and Samplers from my book Electronic and Experimental music.   Playlist: DIGITAL SYNTHESIZERS AND SAMPLERS   Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1.     Jon Appleton, “Syntrophia”(1978) from Music For Synclavier And Other Digital Systems. Composed and performed on the Synclavier, Dartmouth Digital Synthesizer, Jon Appleton. 08:55 01:40 2.     Claude Larsen, “Nitrogen” (1980) from Synthesis. Sounds a bit like “Oxygen” by Jarre from 1976. Programmed, performed, Fairlight CMI Music, Roland System 700, Oberheim TVS-1 Four Voice, Polymoog, Roland MC 8 Micro-Composer, Syntovox vocoder, Claude Larson. 02:31 10:36 3.     Eberhard Schoener, “Fairlight 80” (1980) from Events. Featured the Fairlight CMI played by Schoener and vocals by Clare Torry. 04:20 13:04 4.     Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” (1980) from Events. Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMIsynthesizers, Eberhard Schoener;  Fairlight CMI, Morris Pert; Gong, Percussion (Gede, Kempli, Rejong), Furst Agong Raka; Gong, Percussion (Gender, Lanang, Rejong), Ketut Tama; Gong, Percussion (Wadong, Rejong), Rai Raka; Percussion, Morris Pert; Fender electric piano, Roger Munnis; tenor saxophone, Olaf Kübler; Drums,  Evert Fraterman, Pete York; Electric Bass, Steve Richardson; Electric Guitar, Ian Bairnson. 11:07 17:26 5.     Klaus Schulze, “Death Of An Analogue” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 12:20 28:31 6.     Klaus Schulze, “The Looper Isn't A Hooker” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 07:05 40:52 7.     Joel Chadabe and Jan Williams, “Song Without Words” (1981) from Rhythms For Computer And Percussion. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music.” This was an early Synclavier without a keyboard controller. Synclavier digital synthesizer, Joel Chadabe; Percussion, Vibraphone, Marimba, Slit Drum, Log, Wood Block, Temple Block, Cowbell, Singing Bowls, Jan Williams. 07:24 47:54 8.     Don Muro, “Deanna Of The Fields” (1981) from Anthology. Vocals, Piano, Electric Piano, Acoustic Guitar, Electric Guitar, Synthesizer, Korg M1 Music Workstation, Bass, Drums, Percussion, Don Muro. 02:52 55:18 9.     Nervous Germans, “Hometown” (1981) from Nervösen Deutschen. Bass, Producer, Micki Mäuser; Drums, Udo Dahmen; Guitar, Manni Holländer; Vocals, Casio VL Tone micro keyboard, Grant Stevens. 05:15 58:10 10.   Tuxedomoon, “Blind” from Time To Lose, Blind. Effects, Guitar, Peter Principle; Casio M-10, Blaine L. Reininger; Vocals, Moog, Soprano Saxophone, Steven Brown; Vocals, Winston Tong. 07:44 01:03:26 11.   Herbie Hancock, “Rough” (1983) from Future Shock. Fairlight CMI, AlphaSyntauri, Emulator, Herbie Hancock; Background Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Prophet-5, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 06:54 01:11:00 12.   Wendy Carlos, “Genesis,” “Eden,” and “I.C. (Intergalactic Communications)” (1984) from Wendy Carlos' Digital Moonscapes. Programmed All Sounds programmed and performed on the Crumar GDS/Synergy digital synthesizer, Wendy Carlos. 15:20 01:17:50 13.   Ron Kuivila, “Household Object” (1984) from Fidelity. Casio VL toneand homemade electronics, Ron Kuivila. 09:34 01:33:20 14.   Lejaren Hiller, “Expo '85” (1985) from Computer Music Retrospective. Four short pieces highlight the versatility of the Kurzweil K250: “Circus Piece - A Cadential Process” (4:04), “Transitions - A Hierarchical Process” (2:12), “Toy Harmonium - A Statistical Process” (1:41), “Mix Or Match - A Tune Generating Process (5 Examples)” (3:44). 11:55 01:42:52 15.   Third World, “Can't Get You (Out Of My Mind)” (1985) from Sense Of Purpose. Yamaha DX7, Prophet 5, PFR Yamaha, Grand Piano Yamaha Acoustic, Organ Hammond B3, Clavinet Mohner D6, Percussion, Vocals, Michael "Ibo" Cooper; Backing Vocals, Glenn Ricks, Meekaaeel; Bass, Rhythm Guitar, Backing Vocals, Percussion, Richie "Bassie" Daley; Drums Yamaha Acoustic Drums, Electronic Drums Simmons, Drum Machine D.M.X., Drum Machine Linn Drum Machine, Percussion, Backing Vocals, Willie Stewart; Keyboards, Lead Guitar, Rhythm Guitar, Harmonica, Acoustic Guitar The Washburn Electro Acoustic, Vocals, Percussion, Stephen "Cat" Coore; Lead Vocals, Backing Vocals, Bill "Bunny Rugs" Clarke; Percussion, Neil Clarke; Percussion, Binghi Drums, Junior Wedderburn, Tschaka Tonge. 03:37 01:54:46 16.   George Todd, “Sound Sculptures” (1985) from Music For Kurzweil And Synclavier. Synclavier Digital Music System, George Todd. 09:02 01:58:22 17.   Russ Freeman, “Easter Island” (1986) from Nocturnal Playground. Electric Guitar, Acoustic Guitar, Guitar Synthesizer, Keyboard Bass, Emulator II, Linn 9000 Drum programming, Russ Freeman; Drums, Percussion, David Renick; Percussion, Emulator II programming, Steve Reid; Alto Saxophone, Brandon Fields. 05:30 02:07:22 18.   Donald Steven of G.E.M.S., “Images - Refractions Of Time And Space (1986)” from Group Of The Electronic Music Studio - McGill University. Yamaha DX7, Laurie Radford; Bass, John Oliver; Electric Flute, Jill Rothberg; Percussion, Elliot Polsky, François Gauthier. 11:42 02:12:52 19.   Jane Brockman, “Kurzweil Etudes” (1-3) (1986) from Music For Kurzweil And Synclavier. Kurzweil K250, Jane Brockman. 10:19 02:24:32 20.   Richard Burmer, “Across The View” (1987) from Western Spaces. Emulator II plus an analog synth, Richard Burmer. 04:38 02:34:48 21.   Sonny Sharrock Band, “Kate (Variations On A Theme By Kate Bush)” (1990) from Highlife.  Electronics, Korg M1, Korg Wave Station, Dave Snider; Bass, Charles Baldwin; Drums, Abe Speller, Lance Carter; Guitar, Sonny Sharrock. 05:52 02:39:32 22.   Second Decay, “Taste” (1994) from Taste. Produced with the Roland Compu Music CMU-800R workstation and without MIDI; Simmons Electronic Drums,Thomas V.. Other synths used: ARP Odyssey, ARP 2600, PPG Wave 2.0, Emulator I and II, Roland SH-101, SH-7, CR-78, TR-808, MC-4, TR-606, EMS Synthi A, Solina String, Mellotron, Crumar Performer, Teisco 110F, Wasp, Linn LM-1, SCI Pro-One, Minimoog, Korg Mono-Poly, SQ-10, Elektro Harmonix Minisynth, Vocoder and effect devices, Compact Phasing A, Roland Echos RE 201, SRE 555.  04:20 02:45:18   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

The Jazz Session No.415 from RaidersBroadcast.com as aired in May 2025, featuring the 1997 album “An American Diary: The Dreamings” from vibraphonist Mike Mainieri. TRACK LISTING: I Mean You - Thelonius Monk; Ecclusiastics - Charles Mingus; Organ Grinder Blues - George Melly with Mick Mulligan's Jazz Band; Tom Traubert's Blues (Four Sheets to the Wind in Copenhagen) - Tom Waits; "R" is for Riddle - Mike Mainieri; The Dreamings - Mike Mainieri; This Time the Dream's On Me - Gerry Mulligan; Tea for Two - Frank Sinatra & Dinah Shore; Both Sides of the Coin - Steps Ahead; Blue Bells - Stan Getz; Footprints - Ezra Collective; Nomadic - Steve Coleman & The Council of Balance; Get On the Right Track Baby - Ray Charles; Breakin' the Ice - Fats Waller; One Night in Paradise - Mike Mainieri; Los Dos Lorettas - Mike Mainieri; I Can't Give You Anything But Love - Cleo Laine & Dudley Moore; Homely - Kit Downes Trio; Robot Portrait  - Quincy Jones & His Orchestra; Perdido - Dizzy Gillespie & His Orchestra.

We tackle the title track this week with the help of old friend Lalo Fierro, who, even as a seasoned gigging bassist, maintains an uneven relationship with Claypool's bass playing, mostly due to its unpredictable nature, which is emblematic of today's track. We also consider the eternal question: Do you humor the crusty old guy's stories, or do you not engage? Plus, commentary on the recently completed drum search series (more to come?!) and killer live cuts. Buy me a theremin.Get involvedInstagramFacebookEmailBurn your money 

The Jazz Session No.411 from RaidersBroadcast.com as aired in April 2025, featuring modern jazz from 2005, the album “Half Moon”, from vibraphonist Lalo TRACK LISTING: Late Date - Ben Webster Quintet; Groovin' High - Charlie Parker; Mean Green - Snarky Puppy; Sirabhorn - Pat Metheny; Waves - Lalo; Curiosity - Lalo; Isle of Capri - Ken Colyer ; Someday Sweetheart - The Charleston Chasers; Moanin' - Art Blakey & The Jazz Messengers, w. Lee Morgan; Prayer for Passive Resistance - Charles Mingus; Things Ain't What They Used to Be - Dizzy Gillespie; You're My Everything - Freddie Hubbard; Disco Ears - Joshua Redman, Brad Mehldau, Christian McBride, Brian Blade; Café Negro - Henry Franklin, Adrian Younge & Ali Shaheed Muhammed; Dreamwalker - Lalo; Tango for T.Lynn - Lalo; Maid in Mexico - Chet Baker; Trane Whistle - Eddie Lockjaw Davis Big Band; Windows - Chick Corea; Bemsha Swing - Thelonius Monk.

The Jazz Session No.406 from RaidersBroadcast.com as aired in Mar 2025, featuring the late, great vibraphonist Roy Ayers, as leader and with Ubiquity, along with a heavenly host of superb compatriots. TRACK LISTING: People Make the World Go Round - Milt Jackson; Toledo Blade - Lionel Hampton & His Orchestra; Of Thee I Sing - Stan Getz; Follow Your Heart - Joe Farrell  ; Can't You See Me [12" mix] - Roy Ayers; He's A Superstar  - Roy Ayers Ubiquity; Ce Monsieur Qui Parle - Humphrey Lyttelton; Harlem Bound - Chris Barber Jazz & Blues Band; Raise Heaven (for Roy) - Joe Locke; Straphangin' - Mike Manieri; Manteca - Cal Tjader; Wheatland - Gary Burton; When God Created the Coffeebreak - Esbjorn Svenson Trio; Law Hill - Fergus McCreadie; The Third Eye - Roy Ayers; Everybody Loves the Sunshine - Roy Ayers Ubiquity; Caravan - Dizzy Gillespie & His Orchestra; Well, Get It - Tommy Dorsey; Home - Joel Ross; Wilderness - Cognitive Dissonance, w. Bryan Glutting [vib.].

Tonight's Jazz Feature is a tribute to the late vibraphonist Roy Ayers. Roy passed away recently on March 4,2025 at age 84. Although he was more famous for a style called Neo Jazz/Funk Fusion and had many hit recordings we're going to return to his more than promising debut album called "West Coast Vibes". It was done before Roy moved to that other area which he gained the most fame. Roy proved on this debut album that he was a new fresh voice of the vibraphone. It was recorded in July of 1963 in Los Angeles, Roy's home town with the fine tenor and soprano saxophonist Curtis Amy, the fine pianist Jack Wilson, Bill Plummer or Victor Gaskin on bass and Tony Bazley or Kenny Dennis on drums. The album wa produced by the great Jazz writer, Leonard Feather and gives us 10 tunes mixing standards with original compositions. "West Coast Vibes" is a fine debut for someone who went a long way in music and never lost the respect of his peers. Enjoy!

On this week's Out and About, Dr. Mae Gilliland of ArtsPartners of Central Illinois is joined by Nikki Malley to discuss the upcoming Central Illinois Jazz Society concert featuring the Nikki Malley Quartet. Known for their innovative blend of traditional and contemporary jazz, the quartet explores everything from hard bop to unexpected genre influences, creating a fresh and dynamic sound.

Dave Casner is a jazz lover with an outstanding collection of recordings. He shares his archive Jazz Sanctuary audiences, Wednesday evenings from 7-10pm on WOOC 105.3fm troy. Dave is also a vibraphone player and has some upcoming performances. Benno Greene interviewed Dave about all things jazz.

Taiwanese vibraphonist and percussionist Chien Chien Lu, along with Pittsburg, Pennsylvania native bassist Richie Goods, have crafted a sound that is both captivating and rhythmic. Their music draws from a rich tapestry of cultural influences including Taiwanese, American, and African-American traditions, especially within the jazz sub-culture. Chien Chien Lu and Richie Goods are dedicated to expanding their musical repertoire, creating a unique connection that resonates deeply with listeners. In the fall of 2024, Chien Chien Lu and Richie Goods visited Columbus, Ohio, where they met with students at Otterbein University and performed to a captivated full house audience. During their visit, they visited my studio, sharing compelling stories about their individual paths into jazz and the inception of their musical collaboration. Chien Chien Lu recounted her transition from playing classical music in Taiwan to exploring the creative latitude of jazz upon her relocation to the United States. She arrived in the US holding a master's degree in classical percussion but sought the unique expressions of jazz. While pursuing graduate studies in Philadelphia, Chien was introduced to Jeremy Pelt, one of today's leading trumpeters. Impressed by her talent, Pelt included Chien in his subsequent European tour and later featured her in his next album. At that time, Richie Goods was a member of Pelt's band. In 2017, Chien graduated with a Master of Music in Jazz Studies from the University of the Arts. It all then fell together. Richie Goods describes his journey into jazz through performing arts school in Pittsburgh Creative and Performing Arts High School. After graduating from the prestigious jazz program at Berklee College of Music, Richie moved to New York City, where he studied under jazz legends Ron Carter and Ray Brown. Richie worked extensively with jazz piano legend Mulgrew Miller for nine years, which provided opportunities to perform with other major jazz luminaries including Russell Malone, Lenny White, Louis Hayes, and Vincent Herring. His extensive discography includes Grammy award-winning and platinum albums by Alicia Keys and Common. Connected is a band jointly led by Richie Goods and Chien Chien Lu, and their latest recording is Connected vol. 1. This pandemic era-project was derived from frequent conversations Richie Goods and Chien Chien had about the Black Lives Matter movement and the unwarranted hate crimes against Asians. They decided to do a project that would unify people and invoke imagery of love and peace, says Richie. The result is a dynamic jazz group influenced by global sounds, which reflects the musical identities of Richie and Chien. Connected vol. 1, won "Best Instrumental Album" at the 34th Golden Melody Awards in Taiwan. The playlist for this episode includes five recordings. They tap into their latest recording, Connected vol. 1 and Chien Chien Lu's first recording, The Path. Richie Goods produced The Path and Connected vol. 1. The playlist for this episode: 1.Treasure Mountain, Connected vol. 1, (Richie Goods/Chien Chien Lu), RichMan Music, 2023-(8:16); Chien Chien Lu-Marimba & Vibraphone; Richie Goods-Electric bass & acoustic bass; Brett Williams-Keyboards & Rhodes; Quintin Zoto-Guitar; David Frazier, Jr.-Drums; Danny Sadownick-Percussion 2.Blind Faith, The Path (Chien Chien Lu), RichMan Music, 2020-(5:26); Chien Chien Lu-Marimba & Vibraphone; Richie Goods-Bass & Electric Bass; Shedrick Mitchell-Piano & Organ; Quintin Zoto-Guitar; Allan Medford-Drums; Percussion-Ismel Wignall 3.We Live in Brooklyn Baby, The Path (Chien Chien Lu), Richman Music, 2020-(5:38) Chien Chien Lu-Marimba & Vibraphone; Richie Goods-Bass & Electric Bass; Jeremy Pelt-Trumpet; Shedrick Mitchell-Piano & Organ; Quintin Zoto-Guitar; Allan Mednard-Drums; Percussion-Ismel Wignall; Yoojin Park-Violin; Phoebe Tsai-Cello 4.Someday We'll All Be Free, Connected vol. 1, (Donnie Hathaway), Richman Music, 2023-(7:26); Chien Chien Lu-Marimba & Vibraphone; Richie Goods-Electric bass & acoustic bass; Jamison Ross-vocal; Piano/Organ-Shedrick Mitchell; Lil John Roberts-Drums; Danny Sadownick-Percussion Thanks to A Tribe for Jazz for helping to make this interview happen and their support. Please note that there may be some technical issues in the audio. However, the conversation rich in content. Thank you for listening. Subscribe and you'll be one of the first to listen to upcoming episodes, articles, and announcements. Photo by Stephen Pyo

Warren Wolf's History of the Vibraphone pays tribute to 11 legendary vibe players, including Lionel Hampton, Gary Burton, and Dave Samuels, presenting a deep dive into the vibraphone's jazz legacy. Starting in classical music under his vibraphonist father's guidance, Wolf trained on vibraphone, marimba, xylophone, drums, and piano from a young age in Baltimore. Influenced by his dad's extensive jazz record collection and the local organ trio jazz scene, he eventually studied under Dave Samuels at Berklee, where he later taught. Wolf's rich blend of early classical rigor and exposure to jazz and R&B shaped his style, which now spans swing to fusion.  In History of the Vibraphone, Wolf performs each track as an homage to original artists, joined by saxophonist Tim Green, pianist Alex Brown, bassist Vicente Archer, and drummer Carroll “CV” Dashiell III. Standout selections like Gary Burton's “Captain Señor Mouse” and Samuels's “Spring High” reflect Wolf's influences and his mission to celebrate lesser-known vibes players. Currently a professor at Peabody Conservatory, Wolf remains dedicated to jazz education. Baltimore's thriving scene is central to his work, with venues like Keystone Korner and An Die Musik hosting vibrant jam sessions. Wolf's upcoming tour hints at a possible sequel to this record, potentially honoring Red Norvo, Tito Puente, and Mike Mainieri. ⁠https://njjs.org/⁠ https://www.warrenwolf.com/ History of the Vibraphone https://open.spotify.com/album/0raNJZzMHYyOr9R398NJ3E?si=CkIRJL2-Rm2iFwruCESL-Q

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 31st October 2024 Artist - Track - Album - Year Mauricio Morales    Monday: Wishful Thinking    Seven Days    2024 Randy Hoexter    Tomorrowsville    Tomorrowsville    2024 Avishai Cohen    Courage    Bright Light    2024 Andy Wheelock Whee3Trio    Kewo    In the Wheelhouse    2024 Bryn Roberts    Stevedore Cosplay    Aloft    2024 Joe Baione    Superhero    Vibe Check    2024 Brandon Sanders    Central and El Segundo    The Tables Will Turn    2024 Larry Vuckovich with Bobby Hutcherson    Loving Linda    Blue Balkan: Then & Now (1981, 2002)    2024 Warren Wolf    Spring High    A History of the Vibraphone    2024 Western Jazz Collective    National Nightmare    Dark Journey: The Music of Andrew Rathbun    2024 Nicola Caminiti    City Lights (and Deep Darkness)    Vivid Tales of a Blurry Self-Portrait    2024 McGrath/Fujisaki/Lyles/Corniñas    The Almost Mourning    Entre Amigos    2024 Wayne Escoffery    Rapture    Alone    2024 Sarah Hanahan    Resonance    Among Giants    2024 Zach Adelman    We Make    We Make: Stories for a New Day    2024 Holman Alvarez    Drunken Moon    Hidden Objects    2024 Dave Douglas    Gifts    Gifts    2024 Yosef Gutman/Itay Sher    Tsami Lecha Kafshi I    Unity    2024 Yosef Gutman/Itay Sher    Tsami Lecha Kafshi Movement II    Unity    2024 Miles Okazaki    Pulsation Station    Miniature America    2024 Miles Okazaki    In the Fullness of Time    Miniature America    2024 Miles Okazaki    A Clean Slate    Miniature America    2024 The post The Creative Source (#CreativeSource) – 31st October 2024 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

This mix is a continuation of a trend I noticed several years ago - the use of sax or other wind instruments in ambient music. I think I've done 3 other mixes that feature wind instruments.  This one came together fairly quickly as there is a lot to choose from. Most of the tracks are 2023 or 2024 with 4 of the 14 a bit older. I really like the flow of this set, one song bleeds right into the next with the beginnings and endings slightly obscured. This also seems to work well as and autumn themed mix. I picture a cold, dreary autumn day like the one in the cover art. Speaking of the cover art, does anyone get the connection between the title and the cover? Links to al the music used in this mix: https://naimasax.bandcamp.com/album/she-was-like-art https://annechrisbakker.bandcamp.com/album/a-sketch-in-leaving https://circaalto.bandcamp.com/album/faint-structures https://www.lottepen.nl/muziek/ https://www.amazon.com/music/player/albums/B01MSUAGFN?_encoding=UTF8&qid=&sr= https://bathysphererecords.bandcamp.com/album/dive-1-refraction https://latenighttales.bandcamp.com/album/late-night-tales-lafur-arnalds https://naimasax.bandcamp.com/album/this-must-be-the-place https://johnalsobennett.bandcamp.com/album/klima https://taylordeupree.bandcamp.com/album/sti-ll-2 https://tapanirinne.bandcamp.com/album/decaying-light https://machinefabriek.bandcamp.com/album/recytle https://icrdistribution.bandcamp.com/album/slowed-life https://wereleasewhateverthefuckwewantrecords.bandcamp.com/album/music-for-a-cosmic-garden   Cheers!   T R A C K L I S T : 00:00    Naima - nO0NOu (She Was Like Art 2024) 03:30    Anne Chris Bakker - Qanik (A Sketch in Leaving 2022) 05:10    Circo Alto - For Reeds (Faint Structures 2024) 11:02    Lotte Pen - Wanderer (Pelgrim 2022) 14:23    Jon Gibson - Extensions II (In Good Company 2010) 19:52    Sumner James, Robert Chamberlain, Volcano Lazerbeam, Saroon -          Bathypalegic (Dive 1: Refraction 2024) 24:24    Sarah Neufeld & Colin Stetson - And Still They Move (LateNightTales 2016) 27:14    Naima - Ectenic Force (This Must Be The Place 2023) 34:47    CV & JAB - Dwelling (Κλίμα(Klima) 2023) 38:27    Taylor Deupree - Snowsand(For Clarinets, VIbraphone, Cello & Percussion)   (Sti.ll 2024) 41:30    Juha Mäki-Patola & Tapani Rinne - Decaying Light (Decaying Light 2024) 45:12    Machinefabriek - IV(after Horovitz) (Recytle 2023) 48:22    Jonathan Coleclough, Theo Travis, Jeph Jerman - Slowed Life (Slowed Life  2024) 52:39    Takashi Kokubo & Andrea Esperti - Travelling Through The Stars To Gaia  (Music  For A Cosmic Garden 2023) 62:25    end

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 26th September 2024 Artist - Track - Album - Year The Haas Company, Volume 2    Drawn and Quartered    Celestial Latitude    2024 Misha Tsiganov    Chain of Events    Painter of Dreams    2024 Tom Graf    Struttin'    Struttin'    2024 Monika Herzig's Sheroes    Make it Count    All in Good Time    2024 Mike Stern    Echoes    Echoes and Other Songs    2024 Danilo Pérez and Bohuslän Big Band    Lumen    Lumen    2024 Tim Olsen Big Band    Leonine    Obsidian    2024 Bill Warfield and the Hell's Kitchen Funk Orchestra    Wilpan's Walk    Chesapeake    2024 Delfaeyo Marsalis & Uptown Jazz Orchestra    Basin Street Blues    Crescent City Jewels    2024 Christopher Parnis    Unsettling Blue (Unblinking)    Everything You Could Be    2024 Thom Rotella    Mr. Mootanda    Side Hustle    2024 Benjamin Boone    Stern Warning    Confluence: The Ireland Sessions    2024 Jeremy Ledbetter Trio    Flight    Gravity    2024 Zaccai Curtis    Cuban Fantasy    Cubop Lives!    2024 Paul Yonemura    Bengal    Survivors/Thrivers    2024 Leslie Pintchik    Later Than We Thought    Prayer for What Remains    2024 Tomohiro Mori    Let Me Stay    Prana    2024 Ken Serio Quartet    Changes    Brooklyn Oasis    2024 Warren Wolf    Midnight Sun    History of the Vibraphone    2024 Matt Mitchell    Rapacious    Zealous Angles    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: Zen Flesh, Zen Bone    Call to Action, Call to Prayer    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: Il Nostro Sogno    Call to Action, Call to Prayer    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: Rapid Synthesis of Novel Patters    Call to Action, Call to Prayer    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: These Boxes are Mostly Empty    Call to Action, Call to Prayer    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: Cascading Wave of Change    Call to Action, Call to Prayer    2024 The post The Creative Source (#CreativeSource) – 26th September 2024 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 26th September 2024 Artist - Track - Album - Year The Haas Company, Volume 2    Drawn and Quartered    Celestial Latitude    2024 Misha Tsiganov    Chain of Events    Painter of Dreams    2024 Tom Graf    Struttin'    Struttin'    2024 Monika Herzig's Sheroes    Make it Count    All in Good Time    2024 Mike Stern    Echoes    Echoes and Other Songs    2024 Danilo Pérez and Bohuslän Big Band    Lumen    Lumen    2024 Tim Olsen Big Band    Leonine    Obsidian    2024 Bill Warfield and the Hell's Kitchen Funk Orchestra    Wilpan's Walk    Chesapeake    2024 Delfaeyo Marsalis & Uptown Jazz Orchestra    Basin Street Blues    Crescent City Jewels    2024 Christopher Parnis    Unsettling Blue (Unblinking)    Everything You Could Be    2024 Thom Rotella    Mr. Mootanda    Side Hustle    2024 Benjamin Boone    Stern Warning    Confluence: The Ireland Sessions    2024 Jeremy Ledbetter Trio    Flight    Gravity    2024 Zaccai Curtis    Cuban Fantasy    Cubop Lives!    2024 Paul Yonemura    Bengal    Survivors/Thrivers    2024 Leslie Pintchik    Later Than We Thought    Prayer for What Remains    2024 Tomohiro Mori    Let Me Stay    Prana    2024 Ken Serio Quartet    Changes    Brooklyn Oasis    2024 Warren Wolf    Midnight Sun    History of the Vibraphone    2024 Matt Mitchell    Rapacious    Zealous Angles    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: Zen Flesh, Zen Bone    Call to Action, Call to Prayer    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: Il Nostro Sogno    Call to Action, Call to Prayer    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: Rapid Synthesis of Novel Patters    Call to Action, Call to Prayer    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: These Boxes are Mostly Empty    Call to Action, Call to Prayer    2024 Charlie Apicella & Iron City meet the Griots Speak    Call to Prayer: Cascading Wave of Change    Call to Action, Call to Prayer    2024 The post The Creative Source (#CreativeSource) – 26th September 2024 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

Award winning vibraphonist Yuhan Su is another Gary Burton/Chick Corea-inspired musician, lured away from classical to the art form where improvisation reigns, jazz. This Taiwanese-born, New York based artist, left her homeland pursuing a jazz education at Berklee College of music, a frequently told story. Yuhan Su draws on her strengths to survive the intense transitions as a single woman migrating to the US to learn a completely different style of music, knowing no one, new to the language and cultures. And she plays the vibraphone, not an easy instrument to lug around given she's carless.  Yuhan is an avid composer whose quality was recently recognized in Taiwan with the Golden Melody Award, the Taiwan-equivalent of the Grammy. Yes, a big deal! She won it for the composition “Hi-Tech Pros and Cons” from her recent album, Liberated Gesture. In this episode, we talk about these topics among others that delve into her compositions, her passion for composing, themes reflecting personal experiences and social issues. And, of course, there's music, this time from Liberated Gestures (Sunnyside Records). The Yuhan Su Quintet includes: Yuhan Su-vibraphone, Matt Mitchell-piano, Caroline Davis-alto saxophone & poetry reading (“She Goes to a Silent War), Marty Kenney-acoustic bass/electric bass, and Dan Weiss-drums. The episode opens with “Hi-Tech Pros and Cons” (6:27), you'll hear “She Goes to a Silent War” (poetry read by Caroline Davis) about two-thirds into the conversation, then close with “Siren Days (7:31). Thank you for listening to Strictly Jazz Sounds. Enjoy and listen to live jazz. Steve Braunginn Photo by TeFan Wang

The Jazz Session No.379 from RaidersBroadcast.com as aired in September 2024, featuring the tremendous 2022 album “Makram”, from vibraphone maestro Joe Locke. TRACK LISTING: Spectrum - The Tony Williams Lifetime; Chronology - Ornette Coleman; In the Still of the Night - Oscar Peterson; Empty Pockets - Herbie Hancock; Tushkin - Joe Locke; Song for Vic Juris - Joe Locke; Deep Purple - Artie Shaw, w. Helen Forrest voc.; I Ain't Got Nobody (and there's Nobody Cares for Me) - Lester Young w/Basie's Bad Boys; Part of the Dance (part one) - Matching Mole; All White - Soft Machine; La Saboteuse - Yazz Ahmed; Fiveways - arun ghosh; Stratusphunk - Gil Evans; Better Git In Your Soul - Charles Mingus; Interwoven Hues - Joe Locke; Makram - Joe Locke; Keepin' Out of Mischief Now - Dave Brubeck; Bop-Be - Keith Jarrett; Bourbon Street Parade - Wilbur de Paris; Jungle Blues - Jelly Roll Morton.

History of the Vibraphone - История вибрафона - это вспоминание легендарных мастеров игры на этом инструменте, представленное одним из самых искусных практиков на сегодняшней джазовой сцене. Вибрафонист Warren Wolf тщательно выбрал произведения его учителей, имена которых перечисляю в порядке альбома: 1. Terry Gibbs 99 2. Lionel Hampton 1908-2002 3. John Lewis 1920-2001 4. Bobby Hutcherson 1941-2016 5. Cal Tjader 1925-1982 6. Chick Corea 1941-2021 7. Roy Ayers 83 8. Dave Samuels 1948-2019 9. Joe Locke 65 Десятый трек он написал сам, а также есть бонус - это второй вариант записи Midnight Sun Лайонела Хэмптона (без саксофона). Уоррен Вольф (44) чтит наследие своих предшественников и пронизывает их современным духом, что делает этот альбом значительным дополнением к джазовому канону. Здесь присутствуют разные стили и самые сложные треки разумеется прославляют бибоп. И если честно, мне очень нравится, как достаточно молодой музыкант делает трюки на своем инструменте нисколечко не уступая ветеранам. Имею ввиду, что некоторые композиции он играет круче, чем это делали его учителя. А так же заставляет других музыкантов подтягиваться на этот уровень. То, что я решил показать этим альбомом, — это воспроизвести материал некоторых лучших исполнителей, которые когда-либо держали в руках пару молоточков, — объясняет Вольф. Мне очень хочется продолжения этой темы, ведь не всех вибрафонистов упомянул автор, например услышать новое прочтение стандартов Milt Jackson, Gary Burton, Mike Mainieri и других. Warren Wolf - vibraphone Tim Green - alto sax 2,4,5,9 soprano sax 6,8 Alex Brown - piano 1-4,6,8-9,11 Fender Rhodes 5,7,10 Vicente Archer - bass Carroll CV Dashiell III - drums Executive Producer: Cory Weeds & Raymon Torchinksy Produced by Jeremy Pelt Recorded at GB's Juke Joint, Long Island City, New York on December 1st, 2023 Engineered, mixed & mastered by Colin Mohnacs СЛУШАТЬ АЛЬБОМ - https://album.link/i/1746405741 REINCARNATION - https://t.me/discor/5408 CHRISTMAS VIBES - https://t.me/discor/5850 Лучший трек альбома в плей-листе JAZZ по-русски 8 на AppleMusic и Spotify Поставь лайк ❤️ и подпишись на канал JAZZ по-русски https://t.me/discor #bop #contemporaryjazz

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 22nd August 2024 Artist - Track - Album - Year Warren Wolf    Bopstacle Course    History of the Vibraphone    2024 Live Edge Trio with Steve Nelson    Fantasy for Cede    Closing Time    2024 Zachary Bartholomew    Sunny Days Driven By    Balancing Act    2024 Emmet Cohen    Lion Song    Vibe Provider    2024 Michael Wolff    Zawinul    Memoir    2024 Tom Johnson Jazz Orchestra    En La Casa de Los Perritos    Time Takes Odd Turns    2024 The Chris McDonald Jazz Orchestra    Bondade Mora Aqui    It's About Time    2024 Hyeseon Hong Jazz Orchestra    Run Away    Things Will Pass    2024 The Paul Carlon Quintet    Unmute    Blues for Vita    2024 City of Four    Overcast    Vistas    2024 Julieta Eugenio    Breath I    Stay    2024 Milton Nascimento & Esperanza Spalding    When You Dream    Milton + Esperanza    2024 Julieta Eugenio    Breath II    Stay    2024 Michael Dease    Minor Funk    Grove's Groove    2024 Miguel Zenón    9066    Golden City    2024 Jan Harbeck Quartet    Silver String Valley    Balanced    2022 Matt Booth    Ice Bear    Sun Prints    2024 Thom Rotella    Don't Mess With Mr. T    Side Hustle    2024 Mike Monford    Jah Jah    The Cloth I'm Cut From: Live at Cliff Balls    2024 Patricia Brennan Septet    Mudanza (States of Change)    Breaking Stretch    2024 The post The Creative Source (#CreativeSource) – 29th August 2024 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

This content is for Members only. Come and join us by subscribing here In the meantime, here's some more details about the show: It's a warm welcome then to the man himself: Dr. Brad Stone - the JazzWeek Programmer of the Year 2017, who's here every Thursday to present The Creative Source - a two hour show, highlighting jazz-fusion and progressive jazz flavours from back then, the here and now, plus occasional forays into the future. Please feel free to get in touch with Brad with any comments or suggestions you might have; he'll be more than happy to hear from you: brad@soulandjazz.com or follow him via Facebook or Twitter. Enjoy! The Creative Source 22nd August 2024 Artist - Track - Album - Year Warren Wolf    Bopstacle Course    History of the Vibraphone    2024 Live Edge Trio with Steve Nelson    Fantasy for Cede    Closing Time    2024 Zachary Bartholomew    Sunny Days Driven By    Balancing Act    2024 Emmet Cohen    Lion Song    Vibe Provider    2024 Michael Wolff    Zawinul    Memoir    2024 Tom Johnson Jazz Orchestra    En La Casa de Los Perritos    Time Takes Odd Turns    2024 The Chris McDonald Jazz Orchestra    Bondade Mora Aqui    It's About Time    2024 Hyeseon Hong Jazz Orchestra    Run Away    Things Will Pass    2024 The Paul Carlon Quintet    Unmute    Blues for Vita    2024 City of Four    Overcast    Vistas    2024 Julieta Eugenio    Breath I    Stay    2024 Milton Nascimento & Esperanza Spalding    When You Dream    Milton + Esperanza    2024 Julieta Eugenio    Breath II    Stay    2024 Michael Dease    Minor Funk    Grove's Groove    2024 Miguel Zenón    9066    Golden City    2024 Jan Harbeck Quartet    Silver String Valley    Balanced    2022 Matt Booth    Ice Bear    Sun Prints    2024 Thom Rotella    Don't Mess With Mr. T    Side Hustle    2024 Mike Monford    Jah Jah    The Cloth I'm Cut From: Live at Cliff Balls    2024 Patricia Brennan Septet    Mudanza (States of Change)    Breaking Stretch    2024 The post The Creative Source (#CreativeSource) – 29th August 2024 appeared first on SoulandJazz.com | Stereo, not stereotypical ®.

Run it Red 111! - Some serious new jams on this month's show. Look out for 2 cuts from Deetron's alter ego ‘Soulmate', and a bunch of killers from the Fuse 30th anniversary comp (including Planetary Assault Systems, Kerrie, Rodhad and Kr!z), plus heat from the Alexander Johansson and Mattias Fridell album on Symbolism that drops this week AND plenty of exclusives forthcoming on Hardgroove too. The full tracklist is below, so go and check the artists/labels. Hit the charity links if you can and support the labels and artists wherever you can. Charity Link: https://fanlink.tv/Charities Spotify Playlist: bit.ly/RUNITREDSPOTIFY Upcoming tour dates: https://bit.ly/BenSimsBIT 1. Fouk - Abalone. Heist 2. D'Julz - Triperie. Bass Culture 3. BasiC RealitieS - B - 9 (The Kevin Kaosss Detroit mix). Vibraphone 4. Deetron presents Soulmate - Filter (Body mix). Ilian Tape 5. Gary Martin - Pattern 6. Bandcamp 6. Troy - Slow Burn. Non Series 7. Gary Martin - Pattern 2. Bandcamp 8. Deniro - Esuf. Fuse Imprint 9. Alexander Johansson & Mattias Fridell - Glassbilen. Symbolism 10. Planetary Assault Systems - Electric Culp. Mote Evolver 11. William Arist - Los Aras Alertan. Perseverancia 12. Aiken - Strength. Timeline 13. Altinbas - Unit 2. Fuse Imprint 14. Deetron presents Soulmate - Drone. Ilian Tape 15. Alexander Johansson & Mattias Fridell - Betongkeps. Symbolism 16. Holden Federico - The Beginning and The End. SK Eleven 17. Conforce - Octave Echoes. Syncrophone 18. William Arist - La Maquinaria (Tool). Perseverancia 19. DJ Bruce Lee - Drums. Hardgroove 20. Holden Federico - Steep. SK Eleven 21. Truncate x Sims x Yeti Mind Tricks - Pushmann Mash Up. Unreleased 22. Morgan Reno - Sims JFF Edit (MB Tweak). Unreleased 23. Gene Richads Jr - Thugs Prayer. Hardgroove 24. Lisa Oakes - Hypnotics. Symbolism 25. Kr!z - There Is No Sun. Blueprint 26. Marco Bailey - Smooth Drive (Border One rework). Materia 27. Benales - Kinetic. Mitsubasa 28. Benales - Kinetic (Jancen Remix). Mitsubasa 29. Kerrie - Cyclone101. Fuse Imprint 30. Alexander Johansson & Mattias Fridell - Huset Bakom Kullen. Symbolism 31. Kr!z - Horo. Blueprint 32. William Arist - La Mano Del Hombre. Perseverancia 33. Robert Hood - Pathetic. M-Plant 34. Marco Bailey - Smooth Drive (Deniro rework). Materia 35. DJ Bruce Lee - Aura. Hardgroove 36. Border One - Resonant Shape. Fuse Imprint 37. Holden Federico - Myth. SK Eleven 38. Karras Martinez - Breath. N&N 39. Kr!z - Step Into Tomorrow. Fuse Imprint 40. Gene Richards Jr - Dance Your Last Dance. Hardgroove 41. Rødhåd - Fever FM. Fuse Imprint 42. Gene Richads Jr - Syndrome Control. Hardgroove 43. Kr!z - Other Worlds. Blueprint 44. Truncate - The Way I Am. Unreleased 45. Mark Broom - Satellite (2024 Remix). Beard Man 46. Truncate - Dust 1. Unreleased 47. Arnaud Le Texier - Daimon. Children of Tomorrow 48. Alexander Johansson & Mattias Fridell - Bogsera. Symbolism 49. Dynamic Forces - X-Ray. Symbolism 50. ØLMØ - Apnea. Children of Tomorrow 51. Escalated Edits - EE3. Hardgroove 52. Ben Sims - Light The Fuse (Firecracker Mix). Fuse Imprint 53. ZAHN & Z.I.P.P.O - Civil Serpent. Enemy 54. Aiken - Forced Transition. Timeline 55. Oscar Mulero - RB208. Fuse Imprint 56. Alexander Johansson & Mattias Fridell - Distansminut. Blueprint 57. Dynamic Forces - Blue Door. Symbolism 58. Planetary Assault Systems - Catch 23. Fuse Imprint 59. Fhase 87 - Street Talk. Dolma 60. James Ruskin - Alfa Lift. Fuse Imprint 61. Myles Sergé - The Replacement. (MS) 62. Nihad Tule - Self Supply. Fuse Imprint 63. Planetary Assault Systems - Clap Trap. Mote Evolver 64. Mal Hombre - Optical. Mind Games 65. Oblivian, Uranya - Movimento. Symbolism 66. Oblivian, Uranya - Resto. Symbolism 67. Nørbak - Sopro. Token 68. Alexander Johansson & Mattias Fridell - Dask & Smisk. Symbolism 69. Matrixxman - Fuse. Fuse Imprint 70. JakoJako - Diazed. Fuse Imprint 71. Jay York - Encrypt. Conundrum 72. Arthur Robert - Lightspeed. Fuse Imprint 73. Philippe Petit - Light Switch (Echologist Remix)

Tomorrow is vibraphonist Walt Dickerson's Birthday Anniversary on April 16. Dickerson was born in Philadelphia on April 16. 1928 and passed away ay age 80 on May 15, 2008. He made his first album in March of 1961 and it is one of the finest debut recordings ever. He did 4 albums for Prestige/New Jazz that are all classics. He was recommended to the label by his friend Eric Dolphy. His debut album was called "This is Walt Dickerson" and was a Jazz Feature years ago on this show. Tonight's album in honor of his Birthday Anniversary is called "A Sense of Direction" and it's his second for Prestige/New Jazz. It is on the same level as his first with slightly different personnel. Dickerson is on vibes with Austin Crowe on piano, Eustis Guillemet Jr. on bass and Edgar Bateman on drums. Dickerson was really the first modern Jazz vibist NOT influenced by Milt Jackson . Walt's style is very original with busy metallic lines governed by his amazing technique yet Dickerson has a warm bell-like sound on his instrument. This album has 8 tunes and 5 by Dickerson and 3 well chosen standards."Sense of Direction"...tonight's Jazz Feature.

Finally a vibraphone episode! Nathan Dufresne is a solo percussionist and a member of the Columbia Orchestra.  Today he talks about arranging a jazz standard ("Ain't Misbehavin'") for solo vibraphone, and how he overcomes the challenge of condensing multiple parts to be played wth just 4 mallets.     find Nathan on TikTok at @dufresne_percussion find Nathan on Youtube: Nathan Dufresne Percussion   Other Audio: "Ain't Misbehavin'" by Fats Waller   visit our website asamusicpodcast.com

Days of Wine and Roses runs on Broadway at Studio 54 through March 31st. Find out more at www.daysofwineandrosesbroadway.com. Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews and in The New Yorker's Briefly Noted column.The Present Stage supports the national nonprofit Hear Your Song. If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org

The Vibraphone is an instrument in the metallophone family with a colorful history of American invention and competition. Metallophones evolved from the wooden marimba. The predecessor of the vibraphone called the steel marimba, was invented by the J.C. DEAGAN company in Chicago around 1916. The first "vibraphone" was introduced in 1924 by LEEDY Manufacturing in Indianapolis. It was based on the Deagan steel marimba, and featured a vibrato effect created by a motor-driven fan inside the resonator tubes below each note. Not to be outdone, three years later the Deagan Company introduced an improved vibraphone, with better sounding tuned aluminum bars, and a damper mechanism operated by a foot pedal. It was an immediate success and became the model for all subsequent vibraphones. By the 1930's the instrument was well-established in the burgeoning jazz scene at the hands of virtuoso players like Lionel Hampton. In addition to jazz, the vibraphone became part of the standard classical orchestra percussion section, and the standard college-level percussion performance curriculum. In the 1970's this led to use of vibraphones and marimbas in contemporary Minimalist music by Philip Glass and Steve Reich, and later in New Classical and Ambient. That's where we're going on this transmission of Hearts of Space, called VIBRAPHONICS. Music is by GARY BURTON & CHICK COREA, PETER GARLAND, JASPON TREUTING, HANG MASSIVE, MICHAEL JON FINK, OLIVIÉR ALARY, OCEAN MOON, and GARY BURTON & PAUL BLEY. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

Les Claypool's Fearless Flying Frog Brigade returned in majestic form as they toured the USA in 2023 - 57 shows that thrilled, delighted, and awed audiences who came for the Claypoolian tunes and stayed for the cover of the entire Animals album by Pink Floyd. We delve into the tour by the numbers, provide our own personal highlights from the shows we attended and recordings abailable, and read lots of listener commentary on the tour: lots of positivity and praise for this lineup and its prodigous musical cohesion, and rightfully so. Viva las ranas!Tech note: We did have some weirdness with Frankie's mic for the first few minutes, but the sound improves in short order. Get involved:InstagramFacebookEmailBurn your money

Award-winning jazz vibraphonist Chien Chien Lu has experienced remarkable success in both the US and Taiwan, but her path to this point was anything but straightforward. She started her career in classical music, and made a radical change to turn herself toward a new, inspired direction. Guest host Aspen Beilharz talks with Lu about her journey in music and what drives her now as an artist.

University of Oklahoma Chair of the Percussion Area Andrew Richardson stops by to talk about his job, the OU-Texas football rivalry, and the OU Percussion Press (03:40), growing up in Northern Virginia and playing in jazz band and marching band (24:15), getting his undergrad degree from James Madison University (VA) and playing in a pop/punk band in high school (34:20), returning to JMU for his masters (49:05), heading to OU for his doctorate and his dissertation research on the marimba music of Raymond Helble (59:35), and stays for the Random Ass Questions, including segments on the OKC Thunder, Oklahoma tornados, What-A-Burger, and local concerts (01:14:25).Finishing with a Rave about attending a recent Samara Joy concert (01:28:30).Andrew Richardson Links:Andrew Richardson's OU pageOU Percussion PressPrevious Podcast Guests mentioned:Lance Drege in 2017Nathan Daughtrey in 2021Cort McClaren in 2022Other Links:Benjamin HolmesRichard GipsonNCPP“Red River Showdown” 2023“Crown of Thorns” - David Maslanka“Palace of Nine Perfections” - Eric Ewazen“Debris Field” - Jessica Flanigan“Stained Glass” - David Gillingham“Hey Jude” - The Beatles“The Final Countdown” - Europe“Kokomo” - The Beach Boys“Tequila” - The ChampsYamaha Sounds of SummerMarlon FosterThe Go-Go's documentary trailerEnd of the Century: The Story of the Ramones documentary trailer“London Calling” - The Clash“Chain Saw” - The RamonesTeaching Percussion - Gary Cook“Diabolic Variations” - Raymond Helble“Limerick Daydreams” - Nathan Daughtrey“The Crystals” - David Long“Sharpened Stick” - Brett Dietz“Sculpture in Wood” - Rudiger Pawassar“Stubernic” - Mark FordModern School for Xylophone, Vibraphone, and Marimba - Morris Goldenberg“Preludes 1-5” - Michael Burritt“Der Provokateur” - Leander Kaiser“The Worried Drummer” - Adolf Schreiner“Nagoya Marimbas” - Steve Reich“Beads of Glass” - Gordon Stout“Canticle” - Stanley LeonardRaves:Samara Joy's website

Jam Notes: Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Jam Notes: Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Tritones at Dana Thalheimer's House. Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Tritones at Dana Thalheimer's House. Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Tritones at Dana Thalheimer's House. Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Tritones at Dana Thalheimer's House. Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Tritones at Dana Thalheimer's House. Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Jam Notes: Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Tritones at Dana Thalheimer's House. Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Tritones at Dana Thalheimer's House. Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Jam Notes: Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Jam Notes: Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Jam Notes: Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

Jam Notes: Ben forgot to bring his MIDI cord today so we had to use the onboard samples on the keyboard at Dana's house. That keyboard sounds fine for piano, but there isn't a good Rhodes sample, so Ben had to use Vibraphone samples for Come Together, which did not sound very good. That said, we got a couple of new tunes read into the book, and they sound very good.

This week on Bottom of the Bill please welcome world-class vibraphonist, musician, educator, and social entrepreneur - Drew Tucker. Drew is at the forefront of reinventing the Vibraphone for the modern audience. His “It's Not a Xylophone” movement along with his passionate playing style is opening up new audiences to this unique instrument. His playing style melds soul, funk, jazz, and hip-hop influences, and has shared the stage with Shaun Martin, Mani Hoffman, Jeff Coffin, Chris Nix, Tom Hurst, Nebjsa Zikovic, and Mark Ford to name a few. Whether coaching eager high school students through national music competitions or leading and directing the growth of local arts institutions, Drew's passion for improving people's lives through artistic endeavor is unwavering. Be sure to check out the links below to learn more about him. As always don't forget to subscribe, hit that notification bell, and leave your thoughts in the comments section below. #bottomofthebill #bottomofthebillpodcast #drewtucker #vibraphoneplayer #itsnotaxylophone #musicpodcast // Drew Tucker Official Links Website: https://itsnotaxylophone.com Booking: https://ragman.org/drew-tucker YT:    / @itsnotaxylophone   IG: https://instagram.com/itsnotaxylophone FB: https://facebook.com/drewtucker7 ______________________________________________ // Podcast Sponsors Best Buds CBD Store https://bestbudscbdstore.com ______________________________________________ Please consider supporting this channel with some Bottom of the Bill Official Merch!! https://bottom-of-the-bill.creator-sp... Bottom of the Bill is a podcast for DIY musicians navigating the current landscape on the periphery of the major industry cities. Hosted by Anton Laplume, the podcast features appearances from local and regional artists, club promoters, artist managers, booking agents, and venue owners to give some real insight into the industry. // Bottom of the Bill Official Podcast Links: Website: https://bottomofthebill.com Spotify: https://open.spotify.com/show/5ySpQAR... Apple: https://podcasts.apple.com/us/podcast... IG: https://instagram.com/bottom_of_the_bill TikTok: https://tiktok.com/@bottomofthebill FB: https://facebook.com/bottomofthebillp... // Anton Links: IG: https://instagram.com/antonlaplume TikTok: https://tiktok.com/@antonlaplume FB: https://facebook.com/antonlaplume // Official Side Hustle Links Website: https://sidehustletheband.com Spotify: https://open.spotify.com/artist/4XvbR... YT:    / sidehustletheband   IG: https://instagram.com/sidehustletheband TikTok: https://tiktok.com/@sidehustletheband FB: https://facebook.com/Sidehustletheband

In this episode of The Truth in This Art podcast, host Rob Lee sits down with Warren Wolf Jr., a highly regarded multi-instrumentalist who has made a name for himself in the world of jazz. Warren shares his musical journey with listeners, starting from his upbringing in Baltimore, Maryland, where his father played a major role in shaping his musical career. He talks about his exposure to different genres of music, including classical, ragtime, and jazz, and how he has been able to incorporate these influences into his music.Warren also discusses his education at Peabody Preparatory, the Baltimore School for the Arts, and Berklee College of Music, where he honed his skills and became an active performer. He emphasizes the importance of having a diverse range of musical interests and how it has helped him become a successful musician. Warren also shares details about his recordings as a leader and his collaborations with various musicians, including his tours with Tia Fuller, Bobby Watson's "Live and Learn" Sextet, and Christian McBride & "Inside Straight." Listeners can also look forward to hearing about his upcoming record release with Mack Ave recording label.Throughout the episode, Warren highlights the value of continuous learning and growth as a musician, and how his practice regimen has helped him achieve success in his career. This conversation is a must-listen for anyone interested in jazz or music in general, and provides valuable insights into the life and experiences of one of the most talented musicians of our time. Don't miss out on this fantastic conversation with Warren Wolf Jr. on The Truth in This Art podcast.Creators & Guests Rob Lee - Host Warren Wolf - Guest The Truth In This Art, hosted by Rob Lee, explores contemporary art and cultural preservation through candid conversations with artists, curators, and cultural leaders about their work, creative processes and the thinking that goes into their creativity. Rob also occasionally interviews creatives in other industries such as acting, music, and journalism. The Truth In This Art is a podcast for artists, art lovers and listeners interested in the creative process.To support the The Truth In This Art: Buy Me Ko-fiUse the hashtag #thetruthinthisartFollow The Truth in This Art on InstagramLeave a review on Apple Podcasts, Spotify or wherever you get your podcasts.THE TRUTH IN THIS ART IS SUPPORTED IN PART BYThe Gutierrez Memorial FundThe Robert W. Deutsch Foundation ★ Support this podcast ★

Mike Dillon, aka Jazz Dad, returns to Primus Tracks. The busiest man in music gives us the skinny on his new Punkadelick record, Inflorescence, and primes us for his Jazzfest lineup on May 4 in New Orleans, and the upcoming Frog Brigade tour. Mike's bands are not to be missed!Mike Dillon on InstagramMike on BandcampGet involved:InstagramTwitterEmailBurn your money

Vibraphone, for the ladies. Franco, but not the one you think! Christ Krispies. Vanmagadon. That sticky Golden Grahams feeling. Mike Oldfield's Series of Tubes. Silly Rabbit, Dunaway's for kids. Lucky Charms & Potatoes. The Venn diagram of Barbie video game and chattering teeth. Poots and Doody. Taking the week off like normal people. Covers don't count, I'm in trouble deep. My mom always told me if I constricted the sciatica I would get hairy palms. I'm still standing. Yeah yeah yeah. Comedians on Bernie Mac getting coffee. Reccamentaling what comes after 4, or was it 3, and more on this episode of The Morning Stream.

Vibraphone, for the ladies. Franco, but not the one you think! Christ Krispies. Vanmagadon. That sticky Golden Grahams feeling. Mike Oldfield's Series of Tubes. Silly Rabbit, Dunaway's for kids. Lucky Charms & Potatoes. The Venn diagram of Barbie video game and chattering teeth. Poots and Doody. Taking the week off like normal people. Covers don't count, I'm in trouble deep. My mom always told me if I constricted the sciatica I would get hairy palms. I'm still standing. Yeah yeah yeah. Comedians on Bernie Mac getting coffee. Reccamentaling what comes after 4, or was it 3, and more on this episode of The Morning Stream.

Todd gets to know Chien Chien's fascinating story of her journey in music.