Podcast appearances and mentions of Wayne Shorter

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For this episode ofThe Buzz, JJA President Emeritus Howard Mandel speaks with Zan Stewart, the JJA's 2026 Lifetime Achievement in Jazz Journalism honoree.Zan Stewart spent thirty-five years covering jazz as a beat reporter writing weekly features, overnight reviews, and club listings through long-term runs at the Los Angeles Times and the Newark Star-Ledger. His liner notes to Eric Dolphy: The Complete Prestige Recordings earned an ASCAP–Deems Taylor Award. He is also a working tenor saxophonist, and the two roles were always intertwined: Stewart came to jazz journalism as an advocate with a reporter's eye and a player's ear. In this conversation, he retraces his path from a hi-fi in Ojai to the clubs of San Francisco, with a lot of music in between.They cover his early formation in the music (his father was at the Palomar Ballroom in 1935 the night Benny Goodman kicked off the swing era), two decades at the LA Times under Leonard Feather, his move to the Star-Ledger in Newark, his 2014 debut recording The Street Is Making Music, and his current work writing liner notes after a medical battle with oral cancer and osteonecrosis that has sidelined his playing. He also describes the box of cassette tapes in his possession containing unarchived conversations with Wayne Shorter, Herbie Hancock, Sonny Rollins, and McCoy Tyner, that he hopes to get out into the world.(The musical excerpts heard in this episode are "Hampton's Pulpit" from the Hampton Hawes Quartet's 1991 reissue All Night Session and "The Street Is Making Music" from Zan Stewart's 2014 album of the same name.)Buzzworthy Notes Guest & HostZan StewartHoward MandelDiscussedLeonard Feather — jazz critic, Los Angeles Times; mentor to StewartEric Dolphy: The Complete Prestige Recordings — liner notes by Zan Stewart; recipient of the ASCAP–Deems Taylor AwardHampton Hawes — pianist; subject of Stewart's first published interviewHear Me Talkin' to Ya — edited by Nat Shapiro and Nat Hentoff (Rinehart, 1955); a formative text for StewartSonny Rollins — official websiteOliver Nelson, Straight Ahead — Prestige, 1961; features Eric Dolphy on bass clarinetAlbert Dailey — pianist; performed with Stewart's early band in Santa BarbaraThe 2026 JJA Lifetime Achievement in Jazz Journalism AwardOther nominees: Dan Ouellette, Nate Chinen, and Ben RatliffLearn more about JJA AwardsSupport for The JJA comes in part from the Jazz Foundation of America, providing emergency assistance, healthcare, and performance opportunities to performers, composers and others in need. Visit jazzfoundation.org.This podcast is made possible with the support of Jazz Road, a national initiative of South Arts, which is funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation.Don't miss new episodes of The Buzz. Make sure you follow us wherever you listen to podcasts. For more from the Jazz Journalists Association, go to JJANews.org.

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

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

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

Today, The Tonearm's needle lands on composer and avid birdwatcher Maria Schneider.Few composers working today have Maria Schneider's range. She holds seven Grammy Awards, was named an NEA Jazz Master, and this year took home the Rolf Schock Prize in Musical Arts, one of the most prestigious honors in the field.Maria Schneider joins the podcast to talk about American Crow, her recent EP that uses jazz to make a case for something we've mostly lost, the ability to actually listen to each other. The music moves from distressed Americana into something quiet and more human, a sound Schneider connects to her Midwestern childhood, when disagreement didn't have to mean war.Maria's here to talk about the record, what jazz improvisation has to teach a fractured society, and more.(The musical excerpts heard in the interview are from Maria Schneider's American Crow)—Dig DeeperArtist and EPVisit Maria Schneider at mariaschneider.com and follow her on Instagram, Facebook, and YouTubePurchase Maria Schneider's American Crow EP from ArtistShareWatch American Crow: A Narrative in Notes and Frames — the full longform music video, free on YouTubeSelected DiscographyData Lords (ArtistShare, 2020) — Pulitzer Prize Finalist; two Grammy Awards; the double album that precedes and informs American CrowSky Blue (ArtistShare, 2007) — includes "Sky Blue," discussed at length in this episodeEvanescence (Enja, 1994) — Schneider's debut; features "Wyrgly" and "Dance You Monster to My Soft Song," both favored by David BowieEnsemble Members and CollaboratorsDonny McCaslin — tenor saxophonist; featured throughout the conversation; also Bowie's Blackstar bandleaderDonny McCaslin on The TonearmBen Monder — guitarist; featured soloist on Data LordsMike Rodriguez — trumpeter; featured soloist on American CrowJeff Miles — guitarist; featured on "A World Lost" on the American Crow EPGary Versace — pianist; longtime Schneider Orchestra member; on faculty at Eastman School of MusicBob Brookmeyer (1929–2011) — valve trombonist and arranger; Schneider's mentor; his critique of "Green Piece" is discussed in this episodeFrank Kimbrough (1956–2021) — pianist; longtime Schneider Orchestra member; referenced in the discussion of "Thompson Fields"Books ReferencedThe Art Spirit by Robert Henri — the key artistic text Schneider returns to when discussing how music transmits lived experience to an audienceFootprints: The Life and Work of Wayne Shorter by Michelle Mercer — Mercer reviewed a live performance of "American Crow" in Call and Response, quoted in this episode and in the press releaseBirdingMerlin Bird ID app — the free sound- and photo-identification app from the Cornell Lab of Ornithology, enthusiastically endorsed by both Schneider and LawrenceCornell Lab of Ornithology — the institution behind Merlin and one of the world's leading centers for ornithological research and citizen scienceThe David Bowie ConnectionBlackstar (Columbia, 2016) — Bowie's final studio album, featuring McCaslin's band and Schneider's arrangement of "Sue (Or in a Season of Crime)," which won a GrammyDonny McCaslin on the Blackstar collaboration — background on McCaslin's role in Bowie's final project—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, The Tonearm's needle lands on composer and avid birdwatcher Maria Schneider.Few composers working today have Maria Schneider's range. She holds seven Grammy Awards, was named an NEA Jazz Master, and this year took home the Rolf Schock Prize in Musical Arts, one of the most prestigious honors in the field.Maria Schneider joins the podcast to talk about American Crow, her recent EP that uses jazz to make a case for something we've mostly lost, the ability to actually listen to each other. The music moves from distressed Americana into something quiet and more human, a sound Schneider connects to her Midwestern childhood, when disagreement didn't have to mean war.Maria's here to talk about the record, what jazz improvisation has to teach a fractured society, and more.(The musical excerpts heard in the interview are from Maria Schneider's American Crow)—Dig DeeperArtist and EPVisit Maria Schneider at mariaschneider.com and follow her on Instagram, Facebook, and YouTubePurchase Maria Schneider's American Crow EP from ArtistShareWatch American Crow: A Narrative in Notes and Frames — the full longform music video, free on YouTubeSelected DiscographyData Lords (ArtistShare, 2020) — Pulitzer Prize Finalist; two Grammy Awards; the double album that precedes and informs American CrowSky Blue (ArtistShare, 2007) — includes "Sky Blue," discussed at length in this episodeEvanescence (Enja, 1994) — Schneider's debut; features "Wyrgly" and "Dance You Monster to My Soft Song," both favored by David BowieEnsemble Members and CollaboratorsDonny McCaslin — tenor saxophonist; featured throughout the conversation; also Bowie's Blackstar bandleaderDonny McCaslin on The TonearmBen Monder — guitarist; featured soloist on Data LordsMike Rodriguez — trumpeter; featured soloist on American CrowJeff Miles — guitarist; featured on "A World Lost" on the American Crow EPGary Versace — pianist; longtime Schneider Orchestra member; on faculty at Eastman School of MusicBob Brookmeyer (1929–2011) — valve trombonist and arranger; Schneider's mentor; his critique of "Green Piece" is discussed in this episodeFrank Kimbrough (1956–2021) — pianist; longtime Schneider Orchestra member; referenced in the discussion of "Thompson Fields"Books ReferencedThe Art Spirit by Robert Henri — the key artistic text Schneider returns to when discussing how music transmits lived experience to an audienceFootprints: The Life and Work of Wayne Shorter by Michelle Mercer — Mercer reviewed a live performance of "American Crow" in Call and Response, quoted in this episode and in the press releaseBirdingMerlin Bird ID app — the free sound- and photo-identification app from the Cornell Lab of Ornithology, enthusiastically endorsed by both Schneider and LawrenceCornell Lab of Ornithology — the institution behind Merlin and one of the world's leading centers for ornithological research and citizen scienceThe David Bowie ConnectionBlackstar (Columbia, 2016) — Bowie's final studio album, featuring McCaslin's band and Schneider's arrangement of "Sue (Or in a Season of Crime)," which won a GrammyDonny McCaslin on the Blackstar collaboration — background on McCaslin's role in Bowie's final project—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

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

El guitarrista francés Biréli Lagrène acaba de publicar 'Elegant people', clara referencia a Weather Report, con instrumentales como el que da título al disco obra de Wayne Shorter, 'Anjo de mim' de Ivan Lins o ''Clair' de Gilbert O´Sullivan. Del nuevo disco del portugués António Zambujo 'Oração ao tempo' las canciones 'Pequenos prazeres', 'Palma da mão', 'Foi à noite' de Jobim y Newton Mendonça, 'Oração ao tempo' de (y con) Caetano Veloso y 'Três da madrugada'. Los hermanos Mario y Chico Adnet firman 'Falso antigo' con canciones como 'Fred Astaire do samba' y 'Fake falso' -con Pedro Miranda- o 'Falso baiano' -con Roberta Sá-. Para su disco 'Taracá', Jorge Drexler ha adaptado al español ('Que será que es') la canción del brasileño Gonzaguinha 'O que é, o que é' llevándola al candombe uruguayo. Cierran el pianista Roberto Fonseca y el chelista Vincent Segal con 'Te extraño' de su disco 'Nuit parisienne à La Havane'. Escuchar audio

Zahili Gonzalez Zamora is a Cuban pianist, composer and bandleader. She graduated from Cuba's National School of Music and then moved to Canada. She spent 6 years in Asia playing in Macau. She's also a graduate of Berklee Music School. She and her Afro-Cuban trio, MIXCLA, have performed at the Monterey and Montreal Jazz Festivals and other venues. She is a winner of the Duke Ellington Award and the Wayne Shorter Award. My featured song is “Take Me”, from the album PGS 7 by my band Project Grand Slam. Spotify link. —----------------------------------------------------------- The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for All Episodes  Click here for Guest List  Click here for Guest Groupings  Click here for Guest Testimonials Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH ZAHILI:www.zahilizamora.com —--------------------------------------- ROBERT'S NEWEST RELEASE:“MI CACHIMBER ALL STARS” is the new, expanded version of Robert's single, “Mi Cachimber”, which he wrote for his father. Featuring Camila Cortina on Rhodes and Xito Lovell on trombone in addition to Benny Benack III and Dave Smith on flugelhorn, and Project Grand Slam's rhythm section. CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- ROBERT'S RECENT RELEASE: “MA PETITE FLEUR STRING QUARTET” is Robert's recent release. It transforms his jazz ballad into a lush classical string quartet piece. Praised by a host of classical music stars. CLICK HERE FOR YOUTUBE LINK CLICK HERE FOR ALL LINKS —--------------------------------------- Audio production: Jimmy RavenscroftKymera Films   Connect with the Follow Your Dream Podcast: Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com   Follow Robert's band, Project Grand Slam, and his music: Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com    

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

Through a sprawling instrumental approach that blends post-rock, jazz, minimalism, electronic elements and more, British trio Mammal Hands still have a knack for ensuring rapturous melody is always part of the equation. On their new album Circadia -- topping the Billboard UK Jazz & Blues Albums Chart this week -- the band sounds at once both freeing and well-structured, finding arcs and chapters within tracks that blend the mysterious tones of Mogwai with the hushed escapism of Eno/Budd collaborations. On today's episode, saxophonist Jordan Smart, brother Nick Smart on piano, and new drummer Rob Turner give their backstory, and delve into how a wide range of influences (from Gétatchèw Mèkurya to John Frusciante to Wayne Shorter) have contributed to their artistic DNA. Circadia is available digitally, and on black or clear vinyl, from MammalHands.com. Follow @mammalhands on Instagram for news and updates.

The Jazz Session No.458 from RaidersBroadcast.com as aired in March 2026, featuring the Julia Hülsmann Quartet, and her 2019 atmospheric modern jazz album “Not Far From Here”. TRACK LISTING: Wiggle-Waggle - Herbie Hancock; Directions - Miles Davis, Wayne Shorter, Chick Corea, Dave H, Jack DeJ; Soul Station (Hank Mobley) - Roger Beaujolais Quintet; No Room for Squares - Hank Mobley; Le Mistral - Julia Hülsmann Quartet; Colibri 65 - Julia Hülsmann Quartet; Hamp's Blues - Oscar Peterson; Bobbi's Song - Kit Downes, Petter Eidh & James Maddren; Visions - Emma Rawicz & Gwilym Simcock; Jade Visions - Take 1 - Bill Evans; Mona's Mood - Jimmy Heath Orchestra; You Can't Take It With You - Keef Hartley; Snowflake - The Crusaders; The Black Five - Roy Ayers Ubiquity; No Game - Julia Hülsmann Quartet; Wrong Song - Julia Hülsmann Quartet; Why Are We Sleeping? - Soft Machine; A.R.C. - Chick Corea, David Holland, Barry Altschul; The Blues Walk - Clifford Brown; Cheryl - Charlie Parker.

Show Notes:Host Steve Roby sits down with celebrated saxophonist Javon Jackson to explore two landmark projects: his new album Jackson Plays Dylan — a jazz reimagining of Bob Dylan's songbook — and his upcoming live tribute to Miles Davis's Kind of Blue at SF Jazz. Episode Highlights:Discovering Bob Dylan through jazz — How Art Blakey's attorney first introduced Javon to Dylan's catalog in his twenties, and why he heard the songs as jazz-friendly love poetry rather than folk or rock musicA dual tribute to two poets — The story behind Jackson Plays Dylan, originally conceived with the late poet Nikki Giovanni, who planned to write new poetry and even reach out to Dylan himself before her passing in 2024. The album is dedicated to her memory."Hurricane" — the single — Javon breaks down his soulful, boogaloo-inflected arrangement of Dylan's 1976 protest song about boxer Rubin "Hurricane" Carter, featuring Fender Rhodes and drummer Ryan Sands"Gotta Serve Somebody" — featuring Bay Area favorite Lisa FisherThe cross-fade concept — How each track on the album teases the next, creating a continuous listening experienceKind of Blue at SF Jazz — Javon discusses stepping into the role John Coltrane held on the original 1959 recording and what it means to honor that legacy without imitationArt Blakey's lesson — "Don't worry about Wayne Shorter — just be you." How that advice shapes Javon's approach to all tribute performancesMiles Davis and the power of silence — Blakey's 200-words vs. 10-words parable as a way of understanding Miles's minimalist geniusThe all-star ensemble — Dr. Eddie Henderson (a Miles associate), Lenny White (Bitches Brew), Buster Williams, Donald Harrison, and Patrice RushenLinks:Javon Jackson: jevonjackson.comKind of Blue Tribute at SF Jazz — Minor Auditorium, Saturday, March 21stAfternoon show: 4:00 PM | Evening show: 7:30 PMTickets: sfjazz.orgJackson Plays Dylan — available now (singles: "Hurricane," "Gotta Serve Somebody")Backstage Bay Area hosted by Steve Roby Visit: https://www.backstagebayarea.com

On this episode of The Bandwich Tapes, I sit down with pianist, composer, improviser, label founder, and educator Kris Davis—one of the most forward-thinking voices in creative music today. Our conversation left me feeling genuinely energized. Kris approaches music with a rare combination of curiosity, discipline, and fearless experimentation, and it was a joy to dig into how all of that shows up in her work.We start with what's immediately ahead for her: a trip to Hamburg to premiere a newly expanded big band version of a trio piece with the NDR Big Band. Kris shares the very real “composer panic” that comes with catching an engraving mistake right before rehearsal—one of those behind-the-scenes realities of composing that every musician can relate to.From there, we talk about festivals—especially Big Ears, which feels like its own musical universe—and dive into two major pillars of her work: prepared piano and large-form composition. Kris reflects on studying with pianist Benoît Delbecq, whose approach to prepared piano emphasized rhythm, individuality, and finding a personal sonic vocabulary.One of the highlights of our conversation is a deep look at her remarkable Solastalgia Suite, written for the Lutosławski Quartet after a commission through Poland's Jazz to Pad Festival. Kris talks about learning how to write for strings in real time and how the concept of **solastalgia—the grief you feel for your home while you're still living in it—**became the emotional core of the piece.We also zoom out into the bigger picture of her work: her leadership role alongside Terri Lyne Carrington at Berklee's Institute of Jazz and Gender Justice, and her decade-long journey building Pyroclastic Records, a label dedicated to supporting adventurous music and the artists creating it. At its heart, this conversation is about craft, community, curiosity, and the importance of taking creative risks on purpose.Key TakeawaysThe behind-the-scenes realities of composing for large ensembles—including last-minute engraving panic before a premiere.Why festivals like Big Ears create a unique ecosystem for creative music.How studying with Benoît Delbecq shaped Kris Davis's approach to prepared piano.The creative challenge of writing for string quartet for the first time.The emotional meaning of solastalgia and how it shaped the Solastalgia Suite.Kris's work at Berklee's Institute of Jazz and Gender Justice alongside Terri Lyne Carrington.How Pyroclastic Records has grown into an important platform for adventurous and forward-thinking music.Music from the EpisodeDiatom Ribbons — Kris DavisInterlude (from the Solastalgia Suite) — Kris DavisLife on Venus (from the Solastalgia Suite) — Kris DavisRun the Gauntlet — Kris DavisAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

Rudy Van Gelder no tocó en ningún disco. Pero está en todos ellos. Ingeniero de grabación, técnico obsesivo, guardián celoso de su arte, Van Gelder construyó el sonido que el mundo entero reconoció como jazz moderno. Sin él, el jazz del siglo XX habría sido, simplemente, otro. Playlist: – The Sidewinder, Lee Morgan; – Walkin', Miles Davis Sextet; – The Sermon, Jimmy Smith; – Idle Moments, Grant Green; – Midnight Blue, Kenny Burrell; – Cheese Cake, Dexter Gordon; – Song for My Father, Horace Silver; – Recado Bossa Nova, Hank Mobley; – Warm-Up and Dialogue Between Lee and Rudy, Art Blakey & The Jazz Messengers; – RVG (with Donald Vega & Russell Malone), Ron Carter. Hit Parade RVG: 1. St. Thomas, Sonny Rollins, Saxophone Colossus (Prestige, 1956). 2. Blue Train, John Coltrane, Blue Train (Blue Note, 1957). 3. My Funny Valentine, Miles Davis, Cookin' with the Miles Davis Quintet (Prestige, 1957). 4. Ruby, My Dear, Thelonious Monk, Monk's Music (Riverside, 1957). 5. Moanin', Art Blakey & The Jazz Messengers, Moanin' (Blue Note, 1958). 6. Remember, Hank Mobley, Soul Station (Blue Note, 1960). 7. Speak No Evil, Wayne Shorter, Speak No Evil (Blue Note, 1964). 8. A Love Supreme, Pt. 1: Acknowledgement, John Coltrane, A Love Supreme (Impulse!, 1964). 9. Maiden Voyage, Herbie Hancock, Maiden Voyage (Blue Note, 1965). 10. Suite Sioux, Freddie Hubbard, Red Clay (CTI, 1970).

Back again with the good news from on high... The Country Preacher has spread the gospel, a gospel of liberation, and gospel of power, econmoic power, red, black and green... know what I mean! He preached a gospel born of exclusion demanding a seat at the table not for just him and his but for all regardless of gender, race or creed. Shouting let freedom ring!! The Rev. Jesse Louis Jackson transcended this earthly plane on February 17th 2026 and when he was a young freedom fighter in Chicago - planning, organizing and fighting for a better day, he inspired a young Jazz pianist named Josef Zawinul (who happened to be in a quintet led by the great Cannonball Adderley) to compose a song in his honor. He named the tune "Country Preacher". Josef Zawinul was an Austrian immigrant who came to NYC with his parents and fell in love with Jazz Culture. He got his start playing soulful jazz with Cannonball Adderley in the 1960's and later went on to become one of the greatest electronic keyboardist of the 20th century. He was instrumental in developing Jazz Fusion alongside saxophonist Wayne Shorter with the creation of the group Weather Report in the early 1970's. You can't get more Jazz than that.... Jazz is about different sounds and cultures, conversations if you will, learning how to work together to create something new and spontaneous and beautiful with chords and melody. On this episode I touch on the legacy of Jesse Jackson and of course bring all "You Young Jazz Lovers" a whole lot of good, good Jazz music. So... exercise your freedom to enjoy this most democratic of all art forms... Jazz Music Born in America, Enjoyed Worldwide. Enjoy, Brian "Katzpheno" Phoenix featuring: Eddie Harris - Listen Here (1968) Marcus Miller - Cee Tee Eye (2012) Next Collective - Thank You (2013) Benito Gonzalez - Father (2021) Bonnie Raitt - Everybody's Crying Mercy (2019) The Cannonball Adderley Quintet - Country Preacher (1969) Tony Williams - Ancient Eyes (1987) The Jaleel Shaw Quintet - Fourth Floor (1999) The Rongetz Foundation featuring Marvin Parks - The Braggart (2012) Harvey Mason - Montara (2014) Adonis Rose & The N.O. Invaders - Mellow Moods (2007)  

Adam Holzman is an innovative keyboardist, composer, and musical director best known for his extensive work with jazz legend Miles Davis and progressive rock icon Steven Wilson. Blending his deep understanding of jazz harmonies with heavy progressive rock and electronic textures, Adam has become a highly sought-after sonic architect, renowned for his cutting-edge synthesizer solos and dynamic soundscapes. Beyond his high-profile touring work—which includes a pivotal tenure as Miles Davis’s musical director —Adam has released numerous acclaimed solo albums, fronts his own jazz-rock group Brave New World, and is a founding member of the prog-fusion supergroup Trifecta. In Part 1, we sit down with Adam to discuss his incredible journey from growing up around the music industry to shaping the live and studio sounds of some of modern music’s most influential artists.  To listen / watch: Audio-only: click on the play button in the audio player above, or: Video: watch the embedded video below or check it and previous episodes out on our YouTube Channel Discussion topics covered during the show (links will open in new tab):   Adam’s past year touring with Steve Wilson as part of The Overview Tour Adam in action with Trifecta on Cruise to the Edge 2025 Adam playing live with Steven Wilson 2025 (also don’t forget our rig tour with Adam from that same tour) Impossible Tightrope: Live in Madrid Adam in action with Big Bang Theory 2024 Adam’s musical upbringing including seeing Elektra Records in action in real time Watching The Doors rehearse, record and hit major success as an 11-12 year old When Jim Morrison brings you a birthday present Observations on Ray Manzarek The Fents – The Other Side Playing on Ray Manzarek’s album Carmina Burana Meeting Randy Hall The Linn 9000 Randy’s introduction of Adam to Mile Davis The Rubberband recording session Touring with Miles Davis with a couple of days notice Making a second keyboard player role work in a jazz context The role of a  Musical Director with Miles Davis  Miles Davis – Intruder (Live) Keyboard rig for recording and peforming with Miles Davis Meeting and working with Michel Petrucciani Adam playing with Michel Petrucciani in 1991 Working with Chaka Khan Adam in action with Chaka Khan in 1994 Rachel Z Performing with Wayne Shorter in 1995 in Paris Adam recording with Grover Washington Jr on the Breath of Heaven album Adam performing with Wallace Roney Learning from band leaders and the decision to leave Miles Davis Key links: Become a member of our YouTube channel and receive extra content Buy some keyboard related merchandise Drop us a line via the website, Facebook, Instagram, Reddit, Threads, BlueSky, TikTok or LinkedIn Complete our audience survey to help us improve! Check out our podcast guest playlist on Spotify to get a taste of each guest’s creations.The post Adam Holzman, Steven Wilson / Miles Davis / Solo Artist (Part 1) appeared first on The Keyboard Chronicles.

Our third installment of calming songs includes Max Richter's tribute to the Universal Declaration of Human Rights, ambient sounds from Ryuichi Sakamoto, Brazilian jazz from Wayne Shorter and more.Note: This episode originally ran in April, 2025Artists and songs featured on this episode:(00:00) Intro(02:20) The Choir: “You Don't Have To Smile,” from ‘Translucent'(05:58) Orbital Patterns: “Can't Tell If I'm Awake,” from ‘Extended Impostor Syndrome'(10:11) Ryuichi Sakamoto & Alvo Noto: “Logic Moon,” From ‘Insen'(15:46) Lea Bertucci: “Vapours,” From ‘Of Shadow And Substance'(20:25) Hayden Pedigo: “Long Pond Lily,” From ‘I'll Be Waving As You Drive Away'(25:57) Max Richter: “All Human Beings,” from ‘Voices'(31:17) Wayne Shorter: “Tarde,” From ‘Native Dancer'(36:15) Mabe Fratti: “El Sol Sigue Ahí,” From ‘Pies Sobre La Tierra'(41:08) Ida: “Don't Get Sad,” from ‘Will You Find Me?'(46:10) David Zinman, Dawn Upshaw & London Sinfonietta:  “Lento,” from Henryk Górecki's ‘Symphony No. 3, Op. 36 - Symphony Of Sorrowful Songs'Support the show with a review on Apple, Spotify, or wherever you listen to podcasts. And tell a friend!Questions, comments, suggestions or feedback of any kind always welcome: allsongs@npr.orgTo manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Ryan Estes sits down with Don Lucoff, founder of DL Media and Artistic Director of the Denver Jazz Fest. Don has spent nearly four decades in jazz as a publicist, producer, and festival programmer, working with legendary artists and labels like Impulse and Blue Note. Now he is helping build a national caliber jazz festival right here in Denver. The State of Jazz Don reflects on how dramatically jazz media coverage has changed. There was a time when major outlets regularly reviewed jazz records and featured artists on national television. Today, most of that coverage has vanished. Yet jazz itself has not disappeared. It continues to shape modern music. Artists like Kendrick Lamar have collaborated with jazz musicians such as Kamasi Washington and Robert Glasper. The influence is everywhere. As Don puts it, jazz can sell everything but itself. It is deeply embedded in popular culture, even if it is no longer center stage in mainstream media. Why Denver Is a Jazz City Denver has a stronger jazz pedigree than many people realize. The Front Range is home to major jazz education programs at the University of Northern Colorado, University of Denver, University of Colorado Boulder, Metropolitan State University of Denver, and Colorado State University. These institutions consistently produce world class players. Historically, Five Points was known as the Harlem of the West, a vital stop for touring jazz musicians crossing the country. Add the Beat Generation passing through town and you have a city that has long been part of America's cultural and musical story. Inside Denver Jazz Fest The Denver Jazz Fest spans 15 venues across Denver and includes performances in Boulder County. It blends national headliners with respected local artists, creating a citywide celebration. This year's lineup includes Pat Metheny, Branford Marsalis, Bob James, and John Beasley. The festival also honors the centenary of Miles Davis and John Coltrane with special tribute performances, including a presentation of A Love Supreme by Denver saxophonist Keith Oxman. The goal is inclusivity and accessibility. Whether you are a lifelong jazz fan or just jazz curious, there is a show for you. Where to Start Listening For new listeners, Don recommends classics from the Blue Note catalog such as Lee Morgan's Search for the New Land, Herbie Hancock's Maiden Voyage, Wayne Shorter's Speak No Evil, and Grant Green's Idle Moments. From Impulse, he points to John Coltrane's Crescent and A Love Supreme, Alice Coltrane's Journey in Satchidananda, and Pharoah Sanders' Thembi. These records are not homework. They are entry points into a vast and vibrant tradition. Final Takeaway Don's career proves one thing. You may not get rich in jazz, but you can build a life around passion, community, and great music. Denver Jazz Fest is more than a series of concerts. It is a statement that this city values artistry, education, and cultural history. Learn more and get tickets at denverjazz.org. See you there.

Saxophonist & composer Chris Potter returns to ‘Pablo Held Investigates’ for an in-depth conversation, recorded just before heading out on their European tour together. Zooming in on their repertoire, Chris shares insights into his compositional process. Other topics include Herbie Hancock's ‘Actual Proof’, what Chris pays attention to when listening to Charlie Parker and John Coltrane, playing on ‘Alegria’ by Wayne Shorter and much more.Catch the Pablo Held Trio & Chris Potter on their ongoing February 2026 European tour: Feb 18 – Munich (DE) // Unterfahrt Feb 19 – Hamburg (DE) // Laeiszhalle Feb 20 – Bonn (DE) // BeethovenhausFeb 21 – Dortmund (DE) // Domicil Feb 23 – Aachen (DE) // Theater Aachen Feb 24 – Engelsholm (DK) // Agerumsladen Feb 25 – Trondheim (NO) // Dokkhuset Feb 26 – Echternach (LUX) // Trifolion https://pabloheld.com

Kris Davis is a Grammy award-winning pianist and composer described by The New York Times as a beacon for “deciding where to hear jazz [in New York] on a given night.” Davis has released 24 recordings as a leader or co-leader and collaborated with artists such as Terri Lyne Carrington, Dave Holland, John Zorn, Craig Taborn, Ingrid Laubrock, Tyshawn Sorey and Esperanza Spalding.  She was named a 2021 Doris Duke Artist alongside Wayne Shorter and Danilo Perez, Pianist of the Year by DownBeat magazine in 2022 and 2020, and Pianist and Composer of the Year by the Jazz Journalists Association in 2021.  In 2019, Kris Davis' “Diatom Ribbons” was named jazz album of the year by both the New York Times and the NPR Music Jazz Critics Poll. Today Kris joins the show to share her newest music, The Solastalgia Suite. Support the show

Guests: Greg Loiacano – vocals, guitar Michael Urbano – drums Vicki Randle – percussionIn this episode of Only in the Green Room, we sit down with Greg Loiacono & Stingray, a Bay Area super-group built on deep respect, serious groove, and a whole lot of joy. What started as a solo recording session for Greg Loiacano quickly turned into something much bigger when drummer Michael Urbano stepped in—and the chemistry was instant. Add longtime collaborator and powerhouse percussionist Vicki Randle, and Stingray was born.The trio talks about the unspoken language that defines their music: listening more than talking, playing for the song, and letting structure and feel guide everything. Influenced by classic soul, R&B, funk, and rock—from Curtis Mayfield and Marvin Gaye to Sly Stone and beyond—Stingray's sound feels timeless but alive in the moment.We dig into:How the band formed organically (and accidentally)Why joy and laughter are non-negotiable onstageThe rare magic of musicians who truly listen to one anotherPlaying parts instead of overplayingBalancing Stingray with busy touring and recording schedulesRecording at the legendary 2200 Studios and feeling the weight of Bay Area music historyWhat's next: new singles, more shows, and getting back into the studioWith lineup support from Tom Ayer's, Kofi Brown, and Danny Eisenberg, Stingray is prioritizing what matters most—great songs, great vibes, and genuine connection.If you've ever wondered what it looks like when seasoned musicians stop chasing “projects” and start chasing feeling, this conversation says it all.New singles out now:Come Back HomeI Hope We Get to DanceRecorded backstage, moments after finishing their November 2025 set at Sweetwater Music Hall in Mill Valley, California —because the best conversations always happen only in the green room.Greg Loiacono. Founder of Stingray, is best known as a gritty rock and soul man of legendy San Francisco rock band, The Mother Hips and his collaborations with Chris RobinsonVicki Randle has recorded and/or toured with Aretha Franklin, Mavis Staples, George Benson, Lionel Richie, Kenny Loggins, Celine Dion, Herbie Hancock, Wayne Shorter, Branford Marsalis, Jeffrey Osborne, Laura Nyro and Lyle Mays. She appeared in the HBO documentary Mavis!. She became the first female permanent member of the Tonight Show Band with Branford Marsalis, starting in May 1992 and continuing through May 2009.Michael Urbano  toured extensively with John Hiatt (1995–1999), as one of Hiatt's "Nashville Queens" that included bassist Davey Faragher (Elvis Costello) and guitarist David Immergluck (Counting Crows). He also spent time as a drummer Smash Mouth. Before Smash Mouth, Urbano had played drums with The Spent Poets, The Kinetics, Deathray, Third Eye Blind, John Hiatt, Black Lab, Cracker, Paul Westerberg, Red House Painters, Willy DeVille, Camper Van Beethoven, and Sheryl Crow.[2]https://gregloiacono.com/

Welcome to 2026! As what will certainly prove to be an interesting year kicks off, the boys dive deeply into little-discussed keyboard master Kirk Lightsey's discography, checking out a couple of leader dates, an unusual duet exploration of a single composer, and a sideman appearance in a saxophonist's band who at least one Allaboutjazz reader finds worthy of a box set. Kirk Lightsey – ISOTOPE, COLTRANE REVISITED AT BIRDSEYE; Kirk Lightsey and Harold Danko – SHORTER BY TWO; Ricky Ford – SHORTER IDEAS.

Kurt Elling returns for a wide-ranging conversation about vocation, gratitude, and what it means to be in service of the music. Elling first appeared on The Third Story nearly ten years ago, already one of the most celebrated singers of his generation and still deeply focused on what he calls "the work I haven't done yet." Since then, he has moved from New York back to his native Chicago, launched major projects like SuperBlue with Charlie Hunter and members of Butcher Brown, recorded intimate small-group albums in the Wildflowers series of recordings, started his Big Shoulders record label, and continued his "poetic practice" of adding new lyrics to instrumental works by artists such as Wayne Shorter and Jaco Pastorius. The immediate occasion for this reunion, however, is something entirely new: Elling is currently appearing on Broadway in Hadestown, playing the role of Hermes. Recorded in an apartment on the Upper West Side during his Broadway run, the conversation moves fluidly between jazz clubs and civic life. Elling speaks candidly about depression, aging, discipline, politics, and the moral responsibility of artists in unsettled times. Throughout, he returns to a central idea: the artist's job is not ego or display, but manifestation — to channel the song so something healing can happen in the room. www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

Show Notes:In this episode of Backstage Bay Area, host Steve Roby sits down with Grammy-nominated saxophonist and composer Melissa Aldana. As the first female instrumentalist and first South American to win the Thelonious Monk International Jazz Saxophone Competition, Melissa shares her remarkable journey from Santiago, Chile, to the global jazz stage.Highlights:•    Melissa discusses her early influences, including her family's musical legacy and the pivotal moment she switched to tenor sax after hearing Sonny Rollins.•    Insights into her creative process, the importance of transcribing jazz greats, and learning to embrace her own sound.•    The story behind her latest Blue Note album, Echoes of the Inner Prophet, and how it honors the late Wayne Shorter.•    A preview of her upcoming album Filin, produced by Don Was, featuring Central and South American ballads and collaborations with renowned artists.•    Reflections on music as a tool for personal growth and connection.•    Details about her upcoming performance at SFJAZZ's Miner Auditorium as part of the Upswing series, sharing the stage with pianist Taylor Eigsti.•     Featured Tracks:•    “Unconscious Whispers” from Echoes of the Inner Prophet•    “Echoes of the Inner Prophet” (title track) Links & Resources:•    Melissa Aldana Official Website•    Echoes of the Inner Prophet on Blue Note Records•    SFJAZZ Tickets & Info•    DownBeat Magazine•    Follow Melissa Aldana on Instagram Upcoming San Francisco Show:•    Date: Saturday, January 17th•    Venue: Miner Auditorium, SFJAZZ Center•    Double Bill: Melissa Aldana & Taylor Eigsti•    Get Tickets 

durée : 01:00:04 - C'est le moment - par : Nathalie Piolé -

PROGCAST PATRONS get bonus episodeshttps://www.patreon.com/theprogcastStudy Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

Episode Summary:Vibraphonist, composer, and educator Stefon Harris joins Backstage Bay Area before his November 29 double bill with trumpeter Theo Croker at SFJAZZ's Miner Auditorium. Harris discusses the spiritual roots of his sound, the ideas behind his new album Sonic Creed Volume Two: Life Signs, and why he believes harmony can be felt as vividly as rhythm. He also shares how his Harmony Cloud app is transforming the way musicians hear and respond to chords in real time.About Stefon Harris:Stefon Harris is a four-time Grammy-nominated jazz vibraphonist, bandleader, and educator. As a longtime leader of the band Blackout and a former member of the SFJAZZ Collective, he has recorded for Blue Note and Concord, collaborated with artists ranging from Herbie Hancock and Wayne Shorter to Dianne Reeves and Common, and teaches at Rutgers University–Newark. Harris is also the co-founder of the Melodic Progression Institute and the creator of the Harmony Cloud ear-training app.In This Episode:- Stefon's early experiences with music in the Black church and classical training- The concept and story behind Sonic Creed Volume Two: Life Signs- How the title track “Life Signs” grew out of creative limits and four-note cells- Writing “I Know, Love” as a musical memorial and exploring the emotional weight of chords- Why Harmony Cloud was designed as a “metronome for harmony” and how musicians are using it- Reflections on his years with the SFJAZZ Collective and the lessons learned there- What Bay Area jazz fans can expect from the UpSwing double bill with Theo CrokerMusic Featured in This Episode:- Stefon Harris & Blackout – “Life Signs”- Stefon Harris & Blackout – “I Know, Love”Show & Ticket Information:Stefon Harris & Blackout / Theo Croker – UpSwing at SFJAZZDate: Saturday, November 29, 2025Venue: Miner Auditorium, SFJAZZ Center (San Francisco)Showtime: 7:30 p.m.Tickets: https://www.sfjazz.org/tickets/productions/25-26/upswing-stefon-harris-theo-croker/Links & Resources:Stefon Harris official site: https://www.stefonharris.comDownload and explore Harmony Cloud (iOS app): https://www.stefonharris.com/harmony-cloudSFJAZZ: https://www.sfjazz.orgSupport & Follow Backstage Bay Area:Website, show archive, and concert reviews: https://www.backstagebayarea.comFollow and subscribe on your favorite podcast platform, and share this episode with a fellow jazz fan.

Yaron Gershovsky is an internationally acclaimed pianist, keyboardist, arranger, composer, and producer. We attempt to cover Yaron's amazing career, from his start in Israel and his initial gigs with jazz saxophonist Pharoah Sanders, through to his work with Wayne Shorter and his long-standing tenure as MD with The Manhattan Transfer. Add in some discussions about... The post Yaron Gershovsky, The Manhattan Transfer / Solo Artist appeared first on The Keyboard Chronicles.

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On October 26, 2025, the legendary jazz drummer Jack DeJohnette passed away at the age of 83. DeJohnette was one of the greatest drummers in modern jazz. He released more than 50 albums as a bandleader and appeared on hundreds of recordings as a sideman — including landmark sessions such as Miles Davis' “Bitches Brew”, Wayne Shorter's “Super Nova”, and Keith Jarrett's “Standards”, among many others. DeJohnette also recorded six classic albums with Naptown jazz icon Freddie Hubbard. This week on Echoes of Indiana Avenue, we'll share music highlighting Freddie Hubbard's collaborations with Jack DeJohnette.  Born in Chicago in 1942, DeJohnette began his musical journey studying classical piano before switching to drums — a duality that shaped his melodic sensibility behind the kit. He rose to prominence in the 1960s through his work with jazz luminaries including Charles Lloyd, Chick Corea, Bill Evans, and Miles Davis. During his six-decade career, DeJohnette led numerous ensembles and recorded prolifically, creating a distinctive sound that fused jazz traditions with abstract and avant-garde influences. A National Endowment for the Arts Jazz Master and Grammy Award winner, DeJohnette was a guiding force in the evolution of modern jazz.

Canciones de Milton Nascimento grabadas por Tiganá Santana, Sebastián Notini y Ldson Galter en el disco 'Milagres' ('Tema dos deuses', 'Milagres dos peixes', 'A chamada/Escravos de Jó'), por John Patitucci con Yotam Silberstein y Rogério Bocato en el disco 'Irmãos de fé' ('Irmão de fé', 'Catavento') y en el disco de Wayne Shorter con Milton 'Native dancer' ('Ponta de areia', 'Tarde', 'From the lonely afternoons'). Y Milton cantando 'O que será' con Chico Buarque y, con Mercedes Sosa, 'Volver a los 17' de Violeta Parra y 'Sueño con serpientes' de Silvio Rodríguez. Despide Mercedes Sosa con la chacarera 'Soy pan, soy paz, soy más'. Escuchar audio

Episode summaryMusic Director and saxophonist Chris Potter joins Backstage Bay Area to preview the SFJAZZ Collective's tribute to Wayne Shorter's Native Dancer. We talk about why this album matters, how the Collective reimagined its songs for today's band, Potter's personal encounter with Shorter, and what new music is on deck.What you'll hear• Why Native Dancer remains a living blueprint for jazz–Brazilian exchange• How the Collective divided up arrangements and found fresh angles on classics like “Ponta de Areia”• A rehearsal-room story that captures Shorter's mix of imagination and precision• What to expect across the three Miner Auditorium shows (setlist variety, originals, and ensemble chemistry)• Potter's upcoming projects and where the Collective heads nextGuestChris Potter — saxophonist, composer, and Music Director of the SFJAZZ Collective.Selected quotes• “The SFJAZZ Collective comes together every year to workshop new music, and this season we wanted to make a real statement with Native Dancer.”• “We each brought in arrangements. The original album is so perfectly realized that the challenge was to find our own way through it.”• “Wayne could ask you to imagine Superman flying over the mountain—and in the next breath correct a single B-flat. That balance guided us.”• “The feeling on stage is, ‘This is a band.' Mutual respect, shared history, and material we truly love.”About the music• Wayne Shorter's 1975 collaboration with Milton Nascimento braided Brazilian songcraft with jazz harmony and studio-era rhythm—music built for reinvention.• The Collective's program features the full Native Dancer songbook alongside new originals that extend its spirit.CreditsHost/Producer: Steve Roby — Backstage Bay AreaGuest: Chris PotterMusic: Excerpts as permitted by rights holdersRecording: SFJAZZ Collective sessions & interviewLinks & ticketsEvent: SFJAZZ Collective — Tribute to Wayne Shorter's Native DancerVenue: Miner Auditorium (SFJAZZ Center, San Francisco)Dates/Times:• Saturday, Nov. 1 – 7:30 p.m.• Sunday, Nov. 2 – 3:00 p.m.• Sunday, Nov. 2 – 7:00 p.m.Tickets: https://www.sfjazz.org/tickets/productions/25-26/sfjazz-collective/More info: SFJAZZ.org

PAUL BIELATOWICZ is a composer and master guitarist from England. For the last 20 or so years he has been the featured guitarist in all of drummer CARL PALMER'S projects, with Paul miraculously nailing all of KEITH EMERSON'S keyboard parts on midi-guitar. Paul and I are about to head out on tour performing his NOSFERATU LIVE soundtrack to the original 1921 silent film.We talk about that project, Paul's long history with Mr. Palmer, and so much more, on The ProgCast.PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

Patrice Rushen joins Pablo Held to talk about composing for orchestras, films, and small groups; important orchestration lessons; and recording the ‘Joy Ryder' album with Wayne Shorter. They also discuss witnessing a Weather Report recording session for 'Tale Spinnin', a memorable meeting with Miles Davis, sight reading, her technique and touch on the piano, the … Continue reading Patrice Rushen

PER NILSSON is an incredible guitarist and producer from Sweden, whom I've had the pleasure of hearing on several occasions with Meshuggah, when he covered during Fredrik Thordendal's hiatus from the band. Per a founding member of Scar Symmetry and the guitarist for prog rock band Kaipa, and power metal band Nocturnal Rites. PROGCAST PATRONS get bonus episodes / theprogcast Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department..

My longtime drum pal, JOHN "PUGWASH" WEATHERS is back on The ProgCast! It's always fun and revelatory to chat with JP and this time around we get into John's life before, during and after GENTLE GIANT. Lots of drummer talk as we delve into John's work with MAN, EYES OF BLUE, GRAHAM BOND, THE GREASE BAND and of course, GIANT. Only here, on The ProgCast!PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

Grabado en el Birdland de Nueva York, durante las noches que Cyrille Aimée cantó allí en abril del año pasado, '4.24' contiene algunas de las canciones de su disco en estudio 'A fleur de peau': 'Beautiful way', 'Here', 'Inside and out' o 'Historia de amor'. En el Olympia de París, enero de 2009, se grabó el concierto de dos veteranos pianistas antillanos, Alain Jean-Marie y Mario Canonge, publicado en mayo de este año con el título de 'Con alma': 'Peyi mwen jodi', 'Moren´s rêverie', 'Con alma', de Dizzy Gillespie, 'Ana Maria', de Wayne Shorter, 'Lese pale' y 'Divini'. Escuchar audio

TONY LEVIN is well-known to The ProgCast audience as bassist for KING CRIMSON, PETER GABRIEL, STICK MEN, LIQUID TENSION EXPERIMENT, and so many more. We talk about Tony's early days as a classical player and his transition to bass guitar/stick. Tony regales us with tales of his time with Buddy Rich, Peter Gabriel, forming the KC "Discipline" band, and even playing under Igor Stravinsky's baton, as a student bassist at Eastman School of music. A rather special episode celebrating the 5th Anniversary of The ProgCast!PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

Seven tracks. No filler. The cleanest, smoothest, most obsessively crafted album of the ‘70s.This week, the McGuigan Brothers drop the needle on Aja, the record that turned Steely Dan from a band into a studio machine. We're talking Michael McDonald harmonies, Wayne Shorter solos, the Purdy Shuffle, Steve Gadd's legendary drum break, and lyrics that read like noir poetry.From Chevy Chase on drums in college, to ditching the tour bus forever, to making an album that still gets name-checked in every audiophile forum on the internet. We go track by track, category by category.Plus: The Odyssey connection, Bernard Purdie's Beatles claim, and why Aja might be the ultimate “someone had to show it to you” record.

durée : 01:10:45 - Club Jazzafip - Avant la soirée "Legacy Of Wayne Shorter" à la Seine Musicale, nous vous invitons à un voyage dans l'œuvre et l'héritage du compositeur et saxophoniste américain. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Paul Hanson is considered the World's Best Jazz Bassoonist. He's played with a Who's Who including Bela Fleck, Jon Batiste, Wayne Shorter and a number of stars who have been guests on this podcast: Billy Cobham, Peter Erskine, Randy Brecker and Jeff Coffin. He also plays with Raze The Maze, a progressive rock duo, and he plays sax too. My featured song is “Lou's Blues”, my recent single. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH PAUL:www.paulhansonmusic.com_______________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

This is the second installment in our series of video rewind episodes, with an interview featuring jazz legend Kamasi Washington. Watch the full episode on our Substack: ⁠https://designbetterpodcast.com/p/video-rewind-kamasi-washington-a⁠ Jazz is a constantly evolving art form, offering some of the richest lessons in creative collaboration. A melody and chord progression provide the foundation, but as each musician brings their unique improvisational perspective, the music takes on unexpected, transformative shapes. Design Better is brought to you by ⁠Wix Studio⁠, the most powerful web design platform for entrepreneurs, agencies, and creative thinkers. ⁠Learn more →⁠ If you ask any fan of the genre who's pushing jazz into new territory, Kamasi Washington's name will come up—likely at the very top. His 2015 album The Epic won the American Music Prize and stands, in our opinion, as one of the greatest jazz records of the 21st century. Kamasi contributed to Kendrick Lamar's Grammy-winning To Pimp a Butterfly, scored Michelle Obama's Netflix documentary Becoming, and has collaborated with musical legends like Herbie Hancock, Wayne Shorter, Lauryn Hill, Nas, Snoop Dogg, Chaka Khan, and many more. In this episode, we spent an evening with Kamasi, exploring his creative process, what he's learned from his collaborators, his philosophy on collaboration, and his latest album, ⁠Fearless Movement⁠. ⁠Zero Gravity, Wayne Shorter documentary on Amazon Prime⁠ ⁠Kamasi's newest record, ⁠⁠Fearless Movement⁠ ⁠The Epic⁠ ⁠Kamasi Washington's website⁠ Kamasi Washington, born in Los Angeles in 1981, grew up surrounded by music, with a saxophonist father and a flutist mother who nurtured his musical talent from a young age. Kamasi's journey began with drums and piano in his early years, progressing to the clarinet at age seven and finally to the tenor saxophone at twelve, mirroring his father's path. His high school years at Hamilton High School Music Academy were pivotal; there, he joined the renowned Multi School Jazz Band and learned from jazz icons like Herbie Hancock and Wayne Shorter. Kamasi's talent was quickly recognized when he won the John Coltrane Saxophone Competition, and he co-founded "The Young Jazz Giants," which marked his early step into professional music. Kamasi's musical evolution continued at UCLA, where he studied ethnomusicology and expanded his understanding of global music traditions. This foundation supported his wide-ranging collaborations beyond jazz, where he worked with artists like Snoop Dogg, Raphael Saadiq, and Kendrick Lamar. Yet, despite his diverse influences, Kamasi remained firmly rooted in jazz, ultimately channeling these experiences into his innovative sound. His 2015 debut album, The Epic, was a monumental release—a three-disc exploration of jazz that introduced a unique blend of spiritual depth and musical complexity. The album garnered critical acclaim, broadening Kamasi's reach and establishing him as a leader in modern jazz. *** This ad-supported episode is available to everyone. If you'd like to hear it ad-free, ⁠upgrade to our premium subscription⁠, where you'll get an additional 2 ad-free episodes per month (4 total). Premium subscribers also get access to the documentary ⁠Design Disruptors⁠ and our ⁠growing library of books⁠, as well as ⁠our monthly AMAs with former guests⁠, ad-free episodes, ⁠discounts and early access to workshops⁠, and our monthly newsletter ⁠The Brief⁠ that compiles salient insights, quotes, readings, and creative processes uncovered in the show. ⁠Upgrade to paid⁠

Terri Lyne Carrington has spent her life behind the drums—and out in front. In this wide-ranging conversation, the Grammy-winning musician, educator, and activist reflects on her remarkable journey from child prodigy to visionary bandleader, and from mentee to mentor. She shares stories from her early gigs with jazz legends like Clark Terry and Buddy Rich, her formative years with Herbie Hancock and Wayne Shorter, and her ongoing work shaping the next generation through the Berklee Institute of Jazz and Gender Justice. We spoke on the occasion of We Insist 2025!, Carrington's powerful new reimagining of Max Roach's classic 1960 protest suite. But the conversation goes far beyond the music—it's about legacy, leadership, gender equity, and the responsibility of artists to help create a more just and expansive world. As Carrington puts it, “Only an open hand receives.” www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

Our third installment of calming songs includes Max Richter's tribute to the Universal Declaration of Human Rights, ambient sounds from Ryuichi Sakamoto, Brazilian jazz from Wayne Shorter and more.Featured artists and songs:01. The Choir: "You Don't Have To Smile," from 'Translucent'02. Orbitalpatterns: "Cant Tell If Im Awake," from 'Extended Impostor Syndrome'03. alva noto & Ryuichi Sakamoto: "Logic Moon," from 'Insen'04. Lea Bertucci: "Vapours," from 'Of Shadow And Substance'05. Hayden Pedigo: "Long Pond Lily," from 'I'll Be Waving As You Drive Away'06. Max Richter: "All Human Beings," from 'Voices'07. Wayne Shorter & Milton Nascimento: "Tarde," from 'Native Dancer'08. Mabe Fratti: "El Sol Sigue Ahí," from 'Pies sobre la tierra'09. Ida: "Don't Get Sad," from 'Will You Find Me?'10. David Zinman, Dawn Upshaw & London Sinfonietta: "Lento," from Henryk Górecki's 'Symphony No. 3'Weekly Reset: Walking through Okazaki neighborhood at nightEnjoy the show? Share it with a friend and leave us a review on Apple or wherever you listen to podcasts. Questions, comments, suggestions or feedback of any kind always welcome: allsongs@npr.org Hear songs featured on this episode and previous episodes of music to calm the nerves in Apple Music and Spotify.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

To kick off the New Year, we're sharing a podcast that we think Hit Parade listeners are going to love: Broken Record. Check out this episode with singer/songwriter Norah Jones, co-hosted by Blue Note Records President Don Was. Norah has been with Blue Note Records since releasing her juggernaut 2002 debut album, Come Away With Me. In this conversation, Norah details her musical upbringing and what it was like striking it big with her debut album. She also performs for us, and talks about the musical freedom she's found as part of the Blue Note family.Blue Note is one of the first and longest standing institutions of jazz music. Since its formation in 1939 the label has put out albums by Robert Glasper, Lee Morgan, John Coltrane, Wayne Shorter, Gergory Porter, Bobby McFerrin, and many more. Hosted on Acast. See acast.com/privacy for more information.

To kick off the New Year, we're sharing a podcast that we think Hit Parade listeners are going to love: Broken Record. Check out this episode with singer/songwriter Norah Jones, co-hosted by Blue Note Records President Don Was. Norah has been with Blue Note Records since releasing her juggernaut 2002 debut album, Come Away With Me. In this conversation, Norah details her musical upbringing and what it was like striking it big with her debut album. She also performs for us, and talks about the musical freedom she's found as part of the Blue Note family. Blue Note is one of the first and longest standing institutions of jazz music. Since its formation in 1939 the label has put out albums by Robert Glasper, Lee Morgan, John Coltrane, Wayne Shorter, Gergory Porter, Bobby McFerrin, and many more. Learn more about your ad choices. Visit megaphone.fm/adchoices