Podcasts about Wes Montgomery

(00:00:00) Beyonce - Lemonade / 2016, (00:37:08) Siouxsie and the Banshees - Tinderbox / 1986, (01:04:18) Wes Montgomery - Movin' Wes / 1964

Coming up tonight: Dinah Washington, Lennie Tristano Sextet, Charlie Singleton, The Jimmy Giuffre 3, Jerome Richardson, Etta Jones, Wes Montgomery, Hank Mobley, Gerry Mulligan, Ella Fitzgerald, The L.A. Four, and Etta Jones with Houston Person.

Making a Scene Presents an Interview with Stacy Mitchhart Stacy Mitchhart's musical journey began in Cincinnati, Ohio, in a house where jazz guitar masters like Wes Montgomery and Johnny Smith were always spinning on the stereo. With that kind of soundtrack in the air, it was only natural that he gravitated toward the guitar. But it wasn't just the notes that grabbed him early—it was the performance. As a kid, he saw Little Richard on television and couldn't look away. Little Richard's style, confidence, and larger-than-life showmanship opened Stacy's eyes to a powerful idea: music isn't only something you play—it's something you deliver. That lesson became a lifelong part of Mitchhart's identity, and today he's known for a brand of showmanship that keeps audiences coming back night after night. http://www.makingascene.org

Jonathan Karrant with The Joe Alterman Trio is an absolutely FANTASTIC release. On this edition of KVC-Arts, David Fleming speaks with Jonathan about the album, and we'll get a touch of the music as well. Blending jazz standards with tunes from jazz greats - which may or may not be a so called "standard." Tunes which you may associate with Nancy Wilson, Les McCann, Wes Montgomery... even Jerry Lewis! Mix these in with a couple pop megahits with a WONDERFUL jazz treatment (Your Song, Everybody's Talking, Don't Let Me be Lonely Tonight), and you have "Jonathan Karrant with The Joe Alterman Trio Live in Concert." This - and a sneak peak at his NEXT release, due out in September.

This week on Echoes of Indiana Avenue, we'll continue our centennial celebration of Miles Davis — May 26 marks the 100th anniversary of his birth. He influenced musicians around the world, including two of Naptown's most iconic jazz stars: guitarist Wes Montgomery and trumpeter Freddie Hubbard. Join us for songs featuring Montgomery and Hubbard performing the music of Miles Davis.

Welcome to the latest Jazz Cast out of our Studio "V"! We're very proud of #350 and it's dedicated to the memory and  music of the great Wes Montgomery. Hope you like it! The titles: "LIKE THE FIRST", "A FIRE IN YOUR HEART", "THE DAWN'S LIGHT SHOW" and "WELL THAT WAS FRANTIC". (compliments of COSMIC CONSCIOUSNESS MUSIC ©2026 BMI) Enjoy!

Bobby Broom is the consummate jazz guitarist. His playing is informed by the greats like Wes Montgomery, Jim Hall, Grant Green, George Benson and others, but is also strikingly original. Over a career spanning decades, he played extensively with artists like Sonny Rollins, Kenny Burrell, Dizzy Gillespie, Charles Earland, Stanley Turrentine, and Dr. John among others. He has also released many albums as a leader, often in the company of his longtime trio of bassist Dennis Carol and drummer Kobie Watkins. On his upcoming release, Notes of Thanks which will be released on May 1st, 2026, Broom pays tribute to his longtime employer Sonny Rollins. Broom first played with Rollins in the early 1980s and recorded more than a half dozen albums with the elder statesman of jazz saxophone into the 2000s. I hope that you enjoy our conversation and that you get a chance to hear Bobby Broom live sometime soon. He is a great musician. 

You sent the questions. I'm answering them. Across social media, beautiful souls sent in the full range. Lighter, everyday curiosities about my life. The story of how I got here. And the big-frame spiritual questions about what I'm rooted in now. About thirty questions in all, gathered into six clusters. In Part 1, I move through the first three: the lighter stuff, my journey, and the spiritual foundations. Part 2, with the inner work, the relational practice, and the conversation around money and self-trust, is on its way. — In this episode: The journey from New York to an RV to rural Arkansas Why I love wide open spaces, and what my Gene Keys say about that Birds, pancakes, jazz guitar, and the freshness of every sunrise How my heart is, right now, and what I mean when I say I feel successful Eight kids, a Southern Baptist preacher father, and the long road back to my voice Religious trauma, idiot compassion, and Neale Donald Walsch's question about the natural and the normal Whether bravery is bravery, or just the pursuit of joy on the other side of fear Curiosity, beginner's mind, non-attachment, and the difference between masculine rigidity and a more feminine integrity Why I don't believe in randomness or fate as fixed truths, and what I lean on instead Christianity and Christ consciousness, in one sentence Nature as the effortless aligner, and the reminder that we are also nature — References mentioned in this episode: Conversations with God by Neale Donald Walsch Living Buddha, Living Christ by Thich Nhat Hanh India.Arie ("Nature is the effortless aligner") Gene Keys, Enneagram type 9, astrocartography Bruce Lee ("Be like water") Guitarists named: Wes Montgomery, Joe Pass, George Benson, Grant Green, Biréli Lagrène — ✨ Free gift: A 30-minute guided journaling session, Day 1 of the R.I.S.E. Journal Challenge. Find it at asoulcalledjoel.com under "Free Guided Journaling." If this work resonates, subscribing and leaving a quick review wherever you listen helps the show reach more beautiful souls. — Episode page: https://www.asoulcalledjoel.com/podcasts/emotional-evolution-with-joel-cross/episodes/2149202357 Watch on YouTube: https://youtu.be/UDrqDg0CEZA Read along on Substack: https://asoulcalledjoel.substack.com/ — Connect: @asoulcalledjoel on Instagram and TikTok Beautiful Souls Community: asoulcalledjoel.com

Coming up tonight, some early jazz plus jazz themes from movies. We'll hear from George Gershwin, Ray Eberle, Benny Goodman, Louis Armstrong, Julie London, Gil Evans, Winifred Atwell, Boots Randolph, Kai Winding, Henry Mancini, Wes Montgomery, Frank Sinatra, Bruce Reitherman & Phil Harris, Louis Armstrong, Shirley Bassey, Vince Guaraldi, and the Claude Bolling Big Band.

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Making a Scene Presents an Interview with Stacy Mitchhart Stacy Mitchhart's musical journey began in Cincinnati, Ohio, in a house where jazz guitar masters like Wes Montgomery and Johnny Smith were always spinning on the stereo. With that kind of soundtrack in the air, it was only natural that he gravitated toward the guitar. But it wasn't just the notes that grabbed him early—it was the performance. As a kid, he saw Little Richard on television and couldn't look away. Little Richard's style, confidence, and larger-than-life showmanship opened Stacy's eyes to a powerful idea: music isn't only something you play—it's something you deliver. That lesson became a lifelong part of Mitchhart's identity, and today he's known for a brand of showmanship that keeps audiences coming back night after night. http://www.makingascene.org

On this episode of The Bandwich Tapes, I sit down with guitarist and composer Bob Lanzetti, best known as one of the founding members of Snarky Puppy. I've admired Bob's playing for a long time, so getting the chance to talk with him felt especially meaningful. We begin with something many musicians quietly carry with them: the fear of hand issues and how that concern evolves over the course of a career. Bob reflects honestly on how he thinks about it now compared to earlier years.From there, we rewind to the beginning—growing up around his dad's guitar, discovering The Beatles, and the simple invitation that changed everything: “Learn this song and you can sit in with my band.” That moment set Bob firmly on the path toward becoming a guitarist. He traces his journey through early mentors, jazz studies, and eventually to the University of North Texas, where he found a musical community that would change his life—and where Snarky Puppy first came together.We spend time talking about the musical ecosystem around North Texas as well, especially the gospel and R&B scenes that shaped Bob's ear in ways the classroom couldn't. Bob shares how Snarky Puppy actually learns and rehearses music—often through oral tradition, demos, and Logic sessions—and how the band's three-guitar setup works without stepping on each other's sonic space. Along the way, he reflects on something younger musicians often overlook: the importance of restraint, listening, and self-balancing within a band.One of my favorite parts of the conversation centers on Bob's Nosferatu project, where he composed and performed an original score for the classic silent film during the COVID years. That project opened the door to exploring 20th-century classical textures, string writing, layered guitars, and production techniques. We wrap up by talking about the wide range of influences that shape Bob's music—from Charlie Christian and Jim Hall to Sonic Youth and Derek Bailey—and what's ahead in 2026, including GroundUP Festival, touring with Snarky Puppy alongside the Metropole Orchestra, his trio work, and the growing role of producing in his creative life.Key TakeawaysMusicians confront physical concerns over time — long careers require resilience and perspective.Early invitations can shape a life path — a simple opportunity to sit in with a band set Bob on the guitar journey.Community matters — the University of North Texas and the surrounding Dallas scene were foundational for Snarky Puppy.Listening and restraint define great band playing — especially in complex ensemble settings like a three-guitar lineup.Musical learning often happens by ear — oral tradition and demos play a huge role in how bands develop material.Creative side projects expand the palette — Bob's Nosferatu score opened the door to new textures and production ideas.Producing can become another creative outlet — shaping the sound of recordings scratches the same itch as performing.Music from the EpisodeB - Bob LanzettiAnonymous - Bob LanzettiThe Seven Deadly Sins (from Nosferatu) - Bob LanzettiJenny is a Donkey - Bob LanzettiAbout the PodcastThe Bandwich Tapes is a podcast hosted by Brad Williams, featuring conversations with musicians, composers, producers, and creative thinkers about their musical journeys. Each episode explores the influences, decisions, and experiences that shape a life in music—one conversation at a time.Connect with the ShowEmail: contact@thebandwichtapes.com

Inventive guitar wizard talks about influences like Les Paul, Wes Montgomery and his latest album revolving around Action Park in New Jersey.

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durée : 01:00:00 - Another Round - par : Nathalie Piolé -

the music relish crew have a listen to Thin Lizzy play "Jailbreak"and Wes Montgomery play live in 1965 plus music trivia also a look at Eric Clapton's "Brownie" guitar from the Fender Custom shop and random relish topics such as The Bellamy Bros. and more fun stuff

En nuestro nueva cita mensual con el mejor jazz de la red, Radio Jazznoend os propone descubrir el universo musical del guitarrista Kurt Rosenwinkel. Un prodigioso instrumentista y compositor que, a lo largo de las últimas décadas, se ha erigido como la voz más destacada en su instrumento desde Pat Metheny o John Scofield. Innovador e inconformista, en la variedad de sus proyectos, en su dominio de otros instrumentos, especialmente el piano, y su genio creativo en la composición, se descubre a un artista poliédrico, inclasificable, que navega con su música en un ámbito de texturas y abstracciones a menudo alejadas de planteamientos más convencionales y comerciales. En su guitarra hay una constante exploración de sonoridades que se alejan del sonido clásico de la guitarra de jazz, definido por esa figura seminal que es Wes Montgomery, al que Rosenwinkel no reconoce entre sus principales influencias, buscando sus referencias más allá del jazz, en el rock, la música pop, los compositores clásicos o en los entornos de la música electrónica o brasileña. Un artista inquieto, sin barreras ni prejuicios, a cuya obra nos aproximaremos a través de algunos de sus registros más destacados y que escucharemos en los más variados contextos al lado de otros grandes músicos de los más diversos estilos.

What drives a 20-time Grammy winner to continually innovate and evolve in the world of jazz music? Join host Buzz Knight on this captivating replay interview episode of takin' a walk as he dives deep into the mind of legendary jazz guitarist Pat Metheny. Known for his groundbreaking contributions to jazz guitar, Metheny shares his journey through the intricate landscape of music, revealing the dedication and passion that fuel his creative process. As Buzz Knight engages with Pat Metheny in this musician interview, listeners will uncover the secrets behind his daily life as a musician, including the continuous learning that defines his artistry. Metheny opens up about his early influences, paying homage to the iconic Miles Davis and Wes Montgomery, whose sounds shaped his musical identity. The conversation seamlessly flows into the importance of maintaining balance in life, as Metheny emphasizes his love for family and personal interests alongside his illustrious career. Throughout this episode of takin' a walk, Metheny reflects on his teaching experiences, shedding light on the significance of collaboration in the music industry. He discusses his creative process, detailing the development of unique guitars that have become synonymous with his sound. Listeners will also get an exclusive look into his latest album, "Moondial," and the stories behind the songs that make it a standout in his discography. Moreover, Pat Metheny shares heartfelt memories of collaborating with other legendary musicians, including the unforgettable David Bowie. His desire to work with both established icons and emerging indie artists showcases his commitment to fostering creativity within the music community. This episode encapsulates the essence of what it means to be a musician, making it a must-listen for jazz enthusiasts, aspiring musicians, and anyone passionate about the music journey. Join Buzz Knight on this inspiring episode of takin' a walk as he explores the stories behind albums and the creative journeys of one of jazz music's most influential figures. Whether you're a fan of classic rock history, indie music, or simply love diving into the rich tapestry of music history, this musician interview promises to deliver valuable insights and inspiration. Tune in now and walk alongside Buzz Knight and Pat Metheny as they unravel the magic of music! Support the show: https://takinawalk.com/See omnystudio.com/listener for privacy information.

What drives a 20-time Grammy winner to continually innovate and evolve in the world of jazz music? Join host Buzz Knight on this captivating replay interview episode of takin' a walk as he dives deep into the mind of legendary jazz guitarist Pat Metheny. Known for his groundbreaking contributions to jazz guitar, Metheny shares his journey through the intricate landscape of music, revealing the dedication and passion that fuel his creative process. As Buzz Knight engages with Pat Metheny in this musician interview, listeners will uncover the secrets behind his daily life as a musician, including the continuous learning that defines his artistry. Metheny opens up about his early influences, paying homage to the iconic Miles Davis and Wes Montgomery, whose sounds shaped his musical identity. The conversation seamlessly flows into the importance of maintaining balance in life, as Metheny emphasizes his love for family and personal interests alongside his illustrious career. Throughout this episode of takin' a walk, Metheny reflects on his teaching experiences, shedding light on the significance of collaboration in the music industry. He discusses his creative process, detailing the development of unique guitars that have become synonymous with his sound. Listeners will also get an exclusive look into his latest album, "Moondial," and the stories behind the songs that make it a standout in his discography. Moreover, Pat Metheny shares heartfelt memories of collaborating with other legendary musicians, including the unforgettable David Bowie. His desire to work with both established icons and emerging indie artists showcases his commitment to fostering creativity within the music community. This episode encapsulates the essence of what it means to be a musician, making it a must-listen for jazz enthusiasts, aspiring musicians, and anyone passionate about the music journey. Join Buzz Knight on this inspiring episode of takin' a walk as he explores the stories behind albums and the creative journeys of one of jazz music's most influential figures. Whether you're a fan of classic rock history, indie music, or simply love diving into the rich tapestry of music history, this musician interview promises to deliver valuable insights and inspiration. Tune in now and walk alongside Buzz Knight and Pat Metheny as they unravel the magic of music! Support the show: https://musicsavedme.net/See omnystudio.com/listener for privacy information.

Celebrate the December birthday of the late, great jazz organist Jimmy Smith by listening to his recordings with the Avenue jazz guitarist Wes Montgomery.

Celebrate the December birthday of the late, great jazz organist Jimmy Smith by listening to his recordings with the Avenue jazz guitarist Wes Montgomery. Jimmy Smith was born in Norristown, Pennsylvania, in 1928. He began his career on piano before switching to the organ in the early 1950s, developing a revolutionary sound that blended bebop and blues with deep gospel roots. In 1956, Smith signed with Blue Note Records, where he quickly became a sensation with groundbreaking albums like The Sermon, Back at the Chicken Shack, and Midnight Special. Today, Jimmy Smith is recognized as one of the most influential musicians in the history of jazz—and the most important figure in establishing the Hammond B-3 organ as a leading instrument in the genre. Jimmy Smith performed on Indiana Avenue in 1961 at the Pink Poodle nightclub. But his strongest connection to Naptown came in 1966, when he entered the studio with guitarist Wes Montgomery. Those sessions produced two albums: Jimmy & Wes: The Dynamic Duo and The Further Adventures of Jimmy and Wes. At the time, Jimmy Smith and Wes Montgomery were two of the most recognizable instrumental voices in jazz, each with a massive audience of devoted listeners. Expectations were high for their collaboration. Jazz fans were not disappointed. Jimmy and Wes shared a rare chemistry in the studio, and critics have since cited these sessions as some of the finest recordings of Jimmy Smith's career.

Hoy con la reinvención de músicas tradicionales africanas con Kronos o Kassé-Mady Diabaté, el universo sonoro de John Lurie, el lirismo de Benjamin Clementine o Prince o el jazz de Wes Montgomery.Escalay (“Waterwheel”), Kronos Quartet; Hamza El Din, Pieces of AfricaSmall Car + Floating Clarinet + Flutter + Hum Ba + I Hope She Is Okay, John Lurie/ Marvin Pontiac, Painting with John (Music from the Original TV Series)Tempus Fugit, Benjamin Clementine, Tempus FugitSometimes It Snows in April, Prince, Parade - BSO Under the Cherry MoonWest Coast Blues, Wes Montgomery, Riverside Profiles: Wes MontgomeryMilaoba, Les Imbattables Léopards, MilaobaKo Kuma Magni, Kassé-Mady Diabaté, KirikéSo Much to Defend, Chris Wood, So Much to DefendEscuchar audio

Radio Clásica presenta su más amplia de Jazz, piezas inéditas, grabaciones íntimas de Europa.

Radio Clásica presenta su más amplia de Jazz, piezas inéditas, grabaciones íntimas de Europa.

Listen to an hour of music celebrating the legacy of The Bebop Society of Indianapolis. Hear rare recordings from Avenue musicians, including Wes Montgomery, Carl Perkins, David Baker, Pookie Johnson and more. In the early 1940s, a new style of jazz music known as bebop began to emerge. Bebop marked a revolutionary shift in jazz, breaking away from the swing dance music of the 1930s. Bebop was born in after-hours jam sessions at venues like Minton's Playhouse in Harlem. Bebop developed as musicians sought greater artistic freedom and technical challenge. Artists like Charlie Parker, Dizzy Gillespie, and Thelonious Monk pushed the boundaries of harmony, rhythm and improvisation. They created a style that featured fast tempos with complex melodies and chord progressions. Bebop transformed jazz into a modernist art form that focused on creativity, over commercial appeal.  Here in Naptown, the Avenue was the place to hear bebop music. In 1946, Dizzy Gillespie performed at the Avenue's Sunset Terrace nightclub, and in January of 1948 Charlie Parker played there too. 1948 was also the year that a collective of Naptown musicians and music fans, formed The Bebop Society of Indianapolis.  At that time, bebop music had not yet gained, widespread acceptance among music fans. The Bebop Society held concerts and lectures to educate the public on the music's importance Their events were not held in nightclubs,  the society hosted gatherings in community centers, including, The Senate Avenue YMCA, The Phyllis Wheatley YWCA, The Flanner House, and the Crispus Attucks High School auditorium. Guest speakers at the Bebop Soierty's events, included Crispus Attucks' music teacher Norman Merrifield and Jack Tracey, an editor for Down Beat magazine.  The Bebop Society also fought against racial segregation at music events. In 1948, members of the Bebop Society desegregated a Stan Kenton concert, at Riverside Park. As headline, in the Indianapolis Recorder stated, “Youth Group Breaks Jim Crow and Attends Concert at Riverside”. The Society also provided scholarships for talented young musicians, including the future Avenue jazz star David Baker.  But The Bebop Society's main focus was music, and their concerts featured the greatest jazz musicians in Naptown, including Pookie Johnson, Wes Montgomery, Carl Perkins, Buddy Montgomery, Monk Montgomery, Joe Mitchell, Maceo Hampton, Les “Bear” Taylor, Benny Barth, and Willis Kirk,  who served as president of the Society in 1950.

Listen to an hour of music celebrating the legacy of The Bebop Society of Indianapolis. Hear rare recordings from Avenue musicians, including Wes Montgomery, Carl Perkins, David Baker, Pookie Johnson and more.

(00:00:00) Beyonce - Lemonade / 2016, (00:37:08) Siouxsie and the Banshees - Tinderbox / 1986, (01:04:18) Wes Montgomery - Movin' Wes / 1964

August of 2025 marks the 100th birthday of the late jazz pianist Oscar Peterson. Listen to music featuring Oscar Peterson's work with the jazz masters of Indiana Avenue, including Slide Hampton, Freddie Hubbard, J.J. Johnson and more. Oscar Peterson was born in Montreal, Quebec on August 15, 1925. He rose to international prominence in the 19450s, impressing jazz fans with his dazzling technique and blues sensibility. During his prolific career, Peterson recorded over 200 albums and won 8 Grammy Awards. By the time of his death in 2007, Petersonr was widely regarded as one of the greatest virtuosos in the history of jazz. During the 1950s, and ‘60s, Peterson gave over a dozen performances in Indianapolis. He appeared at venues, including The Embers, The Murat Theatre and Clowes Hall. It's unknown if Peterson visited the Avenue during his time in the city, but he did record with legendary Avenue jazz players and was influenced by Indianapolis musicians like Wes Montgomery.

Super special not-so-secret friend Jordan Pries, copropietor of Electric Kitcsh, joins Jay and Deon for a discussion about the music he creates along with Mitch Anderson of Black Circle Radio. 8 additional vinyl records from 8 other artists are covered and some of life's questions are answered along the way. JOIN US PLLLLLLLLEASE!Sonic contributors of this special twenty-seventh bonusepisode of Lightnin' Licks Radio include:Dave Mathews Band, Jurassic 5, DJ NuMark, Prince Paul. De La Soul, Zach Braff, Natilie Portman. Jula @soundwavesofwax, Kriss Kross, Arc of All, Errol Paul Reed, N.W.A. Electrik Funk, Lou Reed, A Tribe Called Quest, Red Man. Jay Dilla, Leaders of the New School, Morrissey, Autumn Defense, Bob Welch. Lindsey Buckingham, 10,000 Maniacs, Goldfrapp. Wes Montgomery, Bobby Hebb, Burt Bacharach, Love. The Smithereens, The Sand Rubies, Fiona Apple, Abraham Jefferson. M.M. Knapps. Mitch Anderson, Paul Simon, The Bee Gees. Albhy Galuten, Karl Richardson, Northwoods Improvisors. Mike Johnstone, Donovon Boxey, Roland Kirk. Height Keech, Cindy Lee, Ol' Burger Beats. Roy Ayers, CalTjader, Roberta Flacc, Donny Hathaway. Ralph MacDonald, William Salter. Tom Bell, Linda Reed, and Spongebob Squarepants. Deon urges you to continue appreciating the music of Q-Tip,Richard & Linda Thompson, George Benson, and Johnny Lytle.Jay suggested the sonic stylings of Josh Rouse, AlisonGoldfrapp, Sidewinders, and Wee.Super special not-so-secret friend Jordan is funking withhis own music, The Source of Light and Power. We're so happy to share this with you.We'll be returning next month, continuing with the alphabet.Up next…the letter ”M.”Bonus 27 mixtape tracklist[V.A.] (1) Richard & Linda Thompson - I Wanna See the Bright Lights Tonight (2) Alison Goldfrapp - The Love Invention (3) Q-Tip - Even If It Is So (4) Josh Rouse - Trouble (5) Wee - Try Me (6) Johnny Lytle - Where Is the Love? (7) Sidewinders - We Don't Do That Anymore (8) George Benson - Giblit Gravy.[SOLP] (1) Whisper Telepathy (2) Sonny was, Sonny is with Donovon Boxey (3) A Rap About Records with Deon and Height Keech (4) Numeric Tumor (5) The Immotal Rites of Bongo Whoosh.Please be kind to each other. Also don't be a bitch, stand up for what is right. Distinguishing what is right and what is not is not as difficult as you think.

Guitarist Dee Brown created a jazzy album of R&B instrumentals on which he adopted the persona of a fictious character called “Mister Smooth,” who is confident, focused, and anchored in equanimity. Writing eight new songs, most of them with his GRAMMY® nominated producer and longtime collaborator Valdez Brantley (Usher, Mary J. Blige, Keith Sweat, Lil Wayne), Brown's sixth album will be released by Innervision Records on March 28. The melody-rich title track will be issued as a single the same day. Stepping into the “Mister Smooth” character like a method actor while writing and recording the album wasn't much of a stretch for Brown, who is a devout man of faith. The confidence and maturity that he exudes on the recording and is on full display via his guitar work and the compositions he crafted for the set are bolden and empowering. It's a determined mindset purposed with overcoming challenges and adversity while remaining in control - even when the world feels chaotic.        “Mister Smooth embodies a person who is consistently on top of things and maintains control in any situation. Even when faced with uncertainty, he excels at ‘faking it until he makes it,' elevating the experience for everyone involved. I created an album that captures the essence of what it means to be a Mister Smooth. This concept isn't just a reflection of who I am or aspire to be; it represents a powerful attribute that enhances any situation. The name itself resonates with many, making it relatable and appealing. This is perfectly aligned with the type of music we produce and the kind of person with whom we all aspire to be,” said Brown who released multiple singles from the project while he was working on the collection over the last couple of years. After opening the album with “Mister Smooth,” the Detroit- born and based artist offers a taste of his hometown on “Wes 8Mile,” which he wrote with multi-time Billboard No. 1 chart-topper Blake Aaron who produced the song that was issued as a single. Mike Parlett's saxophone perfectly complements Brown's cool toned electric jazz guitar riffs that invoke jazz guitar legend Wes Montgomery. “Eight Mile is one of the main streets running through Detroit, and I grew up on the west side of Detroit. The name ‘Wes 8Mile' comes from my guitar hero Wes Montgomery's unique style of playing, which often involved using octaves. An octave is a note that is eight diatonic notes away from the first note, and he would play these two notes together. My goal was to create an up-tempo groove that incorporated both octaves and single note playing, along with a half-step modulation. I also wanted to incorporate an ensemble, which is why I invited saxophonist Mike Parlett to play on the track with Carnell Harrell (keyboards), Mel Brown (bass), and Tony Moore (drums),” explains Brown. Another collaboration with Aaron resulted in “The Thing Is…” which adds horn player and arranger David Mann, keyboardist Tateng Katindig, and Aaron's rhythm guitar to the ensemble. It was the second single from the album and hit all the major charts.  “Many times, when a conversation is going and someone wants to make a valid point, they will say, 'The thing is...' That is what this song is all about, making a musical valid point that will grab your attention and immediately be noticed," stated Brown. Brown and Brantley interpret Sister Sledge's rousing anthem “We Are Family,” which includes an imaginative jazz breakdown midway through the disco dancefloor filler.  “My wife suggested that we remake ‘We Are Family' and I imSupport the showMusic Artist interview

Pat Metheny y Lyle Mays, dos jóvenes nacidos en el medioeste americano que compartían similares inquietudes artísticas y una concepción creativa simbiótica, fértil y complementaria. El destino los unió en el festival de jazz de Wichita de 1975 y juntos crearon la banda de fusión más innovadora de su época, con la que, durante varias décadas, alcanzaron como ninguna otra, el difícil equilibrio entre la sonoridad orgánica de los instrumentos acústicos y la de los sintetizadores. en cuya interpretación Mays fue un verdadero maestro. El Pat Metheny Group, manteniendo una esencia profundamente jazzística, nos ofreció durante su existencia, una inspiradora fusión de jazz, rock, música folk e influencias brasileñas, envuelta en atmósferas y paisajes sonoros inéditos y cautivadores que triunfó entre la audiencia joven de su generación logrando el casi imposible reto de convertir una banda de jazz en un éxito comercial. Pat Metheny es el gran guitarrista de su generación. Su estilo moderno y vanguardista hunde sus raíces en la tradición de la guitarra del jazz moderno más clásico de Wes Montgomery o Jim Hall y a partir de ahí se alimenta y evoluciona con todo el acervo musical de las vanguardias y revoluciones habidas en el jazz en la década de los sesenta fusionadas con toda la música popular y el rock de su época, desde los Beatles al rock progresivo de los setenta. Lyle Mays, pianista de formación clásica, es también un hijo de su época y pronto se siente atraído por el universo de los sintetizadores que surge en los setenta. Casi un hombre del renacimiento interesado por las matemáticas, la arquitectura o el ajedrez, fue un prodigioso compositor e intérprete de inspiración evansiana, cuyos sonidos sintetizados marcaron hitos y son objeto de admiración e imitación. Y aunque su propia discografía es bastante modesta, sus trabajos en el Pat Metheny Group le hicieron acreedor de 11 Premios Grammy. En nuestro nuevo programa profundizaremos en la obra que estos dos grandes artistas crearon juntos para aquella banda, con la secreta intención de reivindicar la figura de ese genio de los teclados que fue Lyle Mays, fallecido en 2020, que brilló a la sombra del guitarrista Pat Metheny como un gran intérprete, como un genial compositor, brillante en el piano acústico y pionero en el universo de los sintetizadores. Un artista condenado por su carácter y personalidad a permanecer oculto a la sombra de esa rutilante estrella que es Pat Metheny, pero sin cuyas decisivas aportaciones como compositor, arreglista e intérprete, el grupo tal vez no hubiera existido o hubiera sido algo muy distinto. Acompáñanos en nuestro nuevo programa a disfrutar de la música ensoñadora del Pat Metheny Group; un viaje transformador, una experiencia musical irrepetible, en la que Mays volcó todo su potencial como portentoso intérprete y compositor y que para Metheny, a pesar de su sustancial contribución a la evolución del jazz en los más variados proyectos, constituye el proyecto artístico y vital más relevante de toda su carrera que le confirió en gran medida la fama y el prestigio que aún hoy le siguen acompañan. Lorenzo Orriols

Barry, Abigail, and special guest Pete Coe discuss Pete's “Phone-a-Friend” submission, 13 Songs by Fugazi, and sample Rust and Ruin, Avulsion, and Inhume from Ghost Town Brewing in Oakland, California.We talked a bit about Ian MacKaye, the frontman of Fugazi and owner/co-founder of Dischord Records, the famous Washington, D.C.-based independent punk rock label. Read more about Dischord Records.Pete Coe's band Shack once opened for Deftones! (Later, Shack changed its name to Zeta Reticuli.)See the famous photo of Guy Picciotto singing while hanging from a basketball hoop.Ghost Town's can art/aesthetic reminded Abigail of the can art/aesthetic of Burial Beer Co. in Asheville, North Carolina. You can listen to our review of Burial's beer on our season one episode: Consumers of the Barley (The Raconteurs and Burial Beer Co.).Pete also plugged Healthy Spirits, a San Francisco-based liquor store where he bought today's beer selection.Abigail heard the “Midnight Oil pipe bang” in Burning. Pete shared that it was Brendan Canty's bell, which you can see as part of the drum kit in this photo!Barry entered Suggestion into the Abigail Hummel School of Speaking Smartly About Music with a comparison to Secret Journey by The Police.Pete compared Ian MacKaye's style of octave guitar playing to that of Wes Montgomery, a famous jazz guitarist.Much like Burning has a sequel in Burning Too, originally from separate EPs, Provisional has a sequel in Reprovisional on Fugazi's subsequent album, Repeater + 3 Songs.Pete is currently narrating for the Bloomberg Weekend Edition, which can be heard on their app. He also voiced Mo the Sloth, who teaches children about mindfulness and meditation, for tonies®.Up next… HIT ME HARD AND SOFT by Billie EilishJingles are by our friend Pete Coe.Visit Anosmia Awareness for more information on Barry's condition.Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic!Leave us a rating or a review on Apple Podcasts or Spotify!Facebook | Instagram | Bluesky | YouTube | Substack | Website | Email us | Virtual Jukebox | Beer Media Group

Guitarist Dee Brown created a jazzy album of R&B instrumentals on which he adopted the persona of a fictious character called “Mister Smooth,” who is confident, focused, and anchored in equanimity. Writing eight new songs, most of them with his GRAMMY® nominated producer and longtime collaborator Valdez Brantley (Usher, Mary J. Blige, Keith Sweat, Lil Wayne), Brown's sixth album will be released by Innervision Records on March 28. The melody-rich title track will be issued as a single the same day.   Stepping into the “Mister Smooth” character like a method actor while writing and recording the album wasn't much of a stretch for Brown, who is a devout man of faith. The confidence and maturity that he exudes on the recording and is on full display via his guitar work and the compositions he crafted for the set are bolden and empowering. It's a determined mindset purposed with overcoming challenges and adversity while remaining in control - even when the world feels chaotic.          “Mister Smooth embodies a person who is consistently on top of things and maintains control in any situation. Even when faced with uncertainty, he excels at ‘faking it until he makes it,' elevating the experience for everyone involved. I created an album that captures the essence of what it means to be a Mister Smooth. This concept isn't just a reflection of who I am or aspire to be; it represents a powerful attribute that enhances any situation. The name itself resonates with many, making it relatable and appealing. This is perfectly aligned with the type of music we produce and the kind of person with whom we all aspire to be,” said Brown who released multiple singles from the project while he was working on the collection over the last couple of years.   After opening the album with “Mister Smooth,” the Detroit- born and based artist offers a taste of his hometown on “Wes 8Mile,” which he wrote with multi-time Billboard No. 1 chart-topper Blake Aaron who produced the song that was issued as a single. Mike Parlett's saxophone perfectly complements Brown's cool toned electric jazz guitar riffs that invoke jazz guitar legend Wes Montgomery.   “Eight Mile is one of the main streets running through Detroit, and I grew up on the west side of Detroit. The name ‘Wes 8Mile' comes from my guitar hero Wes Montgomery's unique style of playing, which often involved using octaves. An octave is a note that is eight diatonic notes away from the first note, and he would play these two notes together. My goal was to create an up-tempo groove that incorporated both octaves and single note playing, along with a half-step modulation. I also wanted to incorporate an ensemble, which is why I invited saxophonist Mike Parlett to play on the track with Carnell Harrell (keyboards), Mel Brown (bass), and Tony Moore (drums),” explains Brown.   Another collaboration with Aaron resulted in “The Thing Is…” which adds horn player and arranger David Mann, keyboardist Tateng Katindig, and Aaron's rhythm guitar to the ensemble. It was the second single from the album and hit all the major charts.    “Many times, when a conversation is going and someone wants to make a valid point, they will say, 'The thing is...' That is what this song is all about, making a musical valid point that will grab your attention and immediately be noticed," stated Brown.   Brown and Brantley interpret Sister Sledge's rousing anthem “We Are Family,” which includes an imaginative jazz breakdown midway through the disco dancefloor filler.    “My wife suggested that we remake ‘We Are Family' and I immediately thought of Nile Rodgers, the incredible guitarist from the legendary group Chic. I've always admired his rhythm guitar work,” Brown admitted.   Brown sees his Mister Smooth character as someone who would be charming, which inspired the song titled “Charming.”   “This track was developed after I decided we needed to record a slower song. I wanted to incorporate 808 electric drums, Moog synth/bass, and a variety of synthesized sounds reminiscent of the 1990s with a strong emphasis on guitar,” said Brown.   “Finesse” was the first track recorded for the album, yet the song had to go through a process of evolution. Brown explains, “I noticed a problem with the song's chorus. I decided to try an alternative melody, and it seems to work perfectly. So, when you hear the track, if you listen to the lead melody on the big body guitar, that's the new melody and if you listen in the background, there's another melody that is played with my Stratocaster-style guitar that is more like a picking style playing the original melody. They work together perfectly.”   The album's first single was “You Already Know,” which was released as a deep cut during the recording process to keep Brown on radio playlists. His gregarious guitar is slick and proficient as it deftly maneuvers to the fore of a midtempo electric groove.    The vibrant “Charismatic” gets a boost from Merlon Devine's soprano sax. Brown explains, “Initially, Valdez (Brantley) played the flute sound on the track on his keyboard, but I felt we needed a live flute player. Unfortunately, all the flautists we knew were unavailable. I suggested using a soprano saxophone instead and called my good friend, Merlon Devine. We decided to keep the keyboard flute sound after all, but it's Merlon's beautiful soprano sax that really stands out on this track.”   We experience a completely different side of Brown on “4th Dimension,” on which he indulges his rock god guitar alter ego.    “I was kind of a rock ‘n' roller influenced by great bands from the '80s and '90s. I've always loved legendary guitarists like Jeff Beck, Carlos Santana, Jimi Hendrix, and Jimmy Page, and I wanted to create a rocky, funky groove. We started exploring a direction that I don't usually take.   Become a supporter of this podcast: https://www.spreaker.com/podcast/ladydiva-live-radio--2579466/support.

durée : 00:59:37 - Feu intérieur - par : Nathalie Piolé -

Phil Ranelin reflects on his work with Wes Montgomery and performing on Indiana Avenue. He will also discuss how his work has been embraced by a new generation of musicians, including Madlib, Kamasi Washington, and Carlos Niño.

This is the second episode in our three-part series exploring the music of Phil Ranelin. Listen to classic music from Ranelin, along with a recent interview he recorded with WFYI's Kyle Long.  On this edition, Ranelin will reflect on his work with Wes Montgomery and performing on Indiana Avenue. Ranelin will also discuss how his work has been embraced by a new generation of musicians, including Madlib, Kamasi Washington, and Carlos Niño.

Guitarist Bobby Broom talks to JGT about a new recording by the Chicago Jazz Orchestra, More Amor: A Tribute to Wes Montgomery.Go to jazzguitartoday.com and bassmusicianmagazine.com more interviews and lessons.

On May 25th, the legendary Indianapolis jazz trombonist Phil Ranelin will turn 86 years old. For the next three weeks on Echoes of Indiana, we'll celebrate the anniversary of Ranelin's birthday by exploring his work in music. Listen to a recent interview Ranelin recorded with WFYI's Kyle Long, along with classic recordings from his discography.  Phil Ranelin was born in Indianapolis in 1939. He grew up on the city's east side in the Martindale Brightwood neighborhood and attended Arsenal Tech High School, where jazz icon Freddie Hubbard was also a student. Nearly two decades later they would record three albums together. During the 1960s, Ranelin was active on the local jazz scene, performing with Indianapolis jazz greats like Wes Montgomery, Pookie Johnson, David Young, and Freddie Hubbard.  Around 1968, Ranelin left Indianapolis for Detroit, becoming deeply involved in the city's dynamic music scene. While in Detroit he worked as a session musician and touring performer for Motown Records, appearing with artists including Stevie Wonder and The Temptations. But it was his work with Tribe jazz collective that elevated his legacy in music.  Ranelin co-founded Tribe in the early 1970s with saxophonist Wendell Harrison. Tribe started as a musical ensemble, but soon expanded into a record label, magazine and artist collective. Their work was explicitly political, advocating for Black empowerment and self-determination. Ranelin's tenure with Tribe Records produced a number of seminal albums including “The Time Is Now” and “Vibes from the Tribe.” These recordings blended traditional jazz with funk, and avant-garde techniques, helping to redefine the boundaries of the genre. Ranelin spent much of the last 40 years, living in Los Angeles, California.  But he recently returned to his hometown Indianapolis after suffering a severe stroke in 2021.  On this week's episode, hear music from Ranelin's most recent releases, including "The Found Tapes: Live in Los Angeles,” and “Tribe 2000.”

Grabaciones bossa nova en las guitarras de Luiz Bonfá ('Um abraço no Getz' -con el saxofonista Stan Getz-, 'Samba de Orfeu'), João Gilberto ('Um abraço no Bonfá'), Charlie Byrd ('Bim bom', 'Desafinado' -con Stan Getz-), Laurindo Almeida ('Outra vez' -con Stan Getz-), Baden Powell ('Tristeza', 'Canto de Ossanha'), Wes Montgomery ('Insensatez'), Joe Pass ('Meditação', 'The gentle rain' -con el percusionista Paulinho da Costa-), Jim Hall ('Simple samba'), Kenny Burrell ('Minha') y George Benson ('Jackie, all'). Escuchar audio

Listen to an interview with legendary jazz saxophonist and composer Gary Bartz. A two-time Grammy Award winner, Bartz was recently named an NEA Jazz Master by the National Endowment for the Arts.

Listen to an interview with legendary jazz saxophonist and composer Gary Bartz. Bartz has performed with Charles Mingus, Max Roach, Art Blakey, and McCoy Tyner. In 1970, Bartz joined Miles Davis' band, contributing to the seminal Live-Evil sessions. But its Bartz work as a bandleader during the 1970s that cemented his reputation as a jazz icon, from his recordings with the Mizell Brothers, to performances with his group Ntu Troop. A two-time Grammy Award winner, Bartz was recently named an NEA Jazz Master by the National Endowment for the Arts.

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 10th April 2025 Artist - Track - Album - Year La Banda Ramirez    Full Moon in Philly    Lizzie's Lounge    2023 Carlos Mena    Coraza    Con Personas    2024 Salsa de la Bahia    Love Walked In (feat. Jackie Ryan)    Vol. 3, Renegade Queens    2025 Ermelinda Cuellar    Echoes of the Past    Under a Lavendar Sky    2025 Ermelinda Cuellar    Morning    Under a Lavendar Sky    2025 Ben Patterson Jazz Orchestra    The Misinformation Age    Mad Scientist Music    2025 David Bailis    Tree of Life    Tree of Life    2024 Russ Spiegel    Deep Brooklyn    Nitty Gritty    2025 Aubrey Johnson/Helen Sung/Dave Douglas    Enchantress of Number    Lives of the Saints    2025 Salsa de la Bahia    La Mensajera    Vol. 3, Renegade Queens    2025 Chicago Jazz Orchestra    Fried Pies (feat. Bobby Broom)    More Amor: A Tribute to Wes Montgomery    2025 WDR Big Band    Green Lawn    Bluegrass    2025 Steve Allee Big Band    Wes at the Turf    Naptown Sound    2024 Medler Sextet    Night Apart    River Paths    2025 John Ellis    Slingshot    Heroes    2025 Artemis    Sights Unseen    Arboresque    2025 Ostara Project    Dreams and Olive Trees    Roots    2024 Jon Bentley    Don't Be Sad    Go Ahead!    2025 Nnenna Freelon    Last Dream Home    Beneath the Skin    2025 Los Angeles Improvisation Ensemble    Solar Voyage    Insubordinate Lunar Transgressions    2025 Christoph Irniger Pilgrim    Secret Level    Human Intelligence: Live    2025 Yosef Gutman/Peter Broderick    The Open Door    River of Eden    2024 Yelena Eckemoff    Legends of the Castle    Scenes from the Dark Ages    2025 The post The Creative Source (#CreativeSource) – 10th April 2025 appeared first on SoulandJazz.com | Stereo, not stereotypical.

Renowned archivist & record producer Zev Feldman, "The Jazz Detective", returns to discusses the Record Store Day 2025 releases of lost jazz recordings from Freddie Hubbard, Charlie Mingus, Bill Evans, Patsy Cline & more!  Topics Include: Introduction of Zev Feldman, nicknamed "the jazz detective" Status of finding lost jazz recordings - feeling optimistic Live recordings create a "renaissance" for jazz enthusiasts Concern about aging jazz colleagues with undiscovered tapes Feldman works with multiple record labels simultaneously Record companies are selective about which projects to release Concerns about tariffs affecting vinyl manufacturing costs Vinyl jazz releases often operate on slim profit margins Resonance Records uses Canadian pressing plant Le Vinylist Six Record Store Day releases coming from Feldman Patsy Cline "Imagine That" was most difficult release to assemble Patsy Cline release required coordinating multiple rights holders Country Music Hall of Fame involved in Patsy Cline project Feldman's personal connection to record stores and vinyl collecting Freddie Hubbard "On Fire" recorded at Blue Morocco (1967) Bernard Drayton engineered the Blue Morocco recordings Blue Morocco club owned by Sugar Hill Records founders Kenny Dorham recordings from same Blue Morocco venue Dorham's recordings especially rare and significant to Feldman Dorham was also a writer who contributed to DownBeat magazine Charles Mingus in Argentina - recordings from 1977 concerts Second Argentina concert added due to popular demand Mingus recordings made less than year before his ALS diagnosis Wes Montgomery with Wynton Kelly Trio reissue with new mastering Original Montgomery release now selling for $100+ in stores Time machine question - which historic jazz gig to attend Discussion of legendary venue Slugs and its important shows Feldman's collection of music memorabilia and venue posters Bill Evans live in Finland recordings (1964-1969) Feldman's 13th Bill Evans production with the Evans Estate Finland recordings feature three different Evans trio lineups Record Store Day helping introduce Evans to younger audiences Plans for Record Store Day Black Friday releases Value of releasing previously unheard music versus reissues EXTENDED, Commercial free, high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Photo by Jean-Louis Atlan Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

 Producing a historical recording requires enormous patience, investigative powers like an investigative journalist. The journey is long, emotional, and exciting when the recordings are discovered, and the final package completed. This is what Zev Feldman does. He is the producer for and co-president of Resonance Records, a record label that releases archival recordings that are previously unissued. The Resonance catalogue includes John Coltrane, Bill Evans, Wes Montgomery, Freddie Hubbard, among many other legendary musicians. In this episode, Zev Feldman and I discuss his insights into his multifaceted career, how he got started in the music industry and his subsequent journey through various roles in sales, marketing, and ultimately producing rare jazz recordings. Feldman works with numerous other labels including Blue Note, Verve Label Group, Elemental Music as well as own his own labels, Jazz Detective and Deep Digs. Feldman spins many stories about his adventures in discovering music long forgotten. It's music that is not just good; it must be GREAT! Curating legacy music requires a sense of understanding about the elements of a dynamic recording, one that exceeds others in the quality of the performance, the importance of a certain date, and the historical aspect of the show or studio recording. Then there is the emotional involvement with the families of these jazz legends, many of whom become close friends, such as it has with the families of jazz guitar legend Wes Montgomery (Zev produced the first archival recording of Wes Montgomery for Resonance) and piano virtuoso Bill Evans as Feldman is just releasing his 13th archival recordings of Bill Evans. Then there is the importance of Record Store Day on April 12. Feldman highlights the significance of this little-known observed day in bringing these projects to life. This episode is rich with music, thanks to Zev Feldman and Resonance Records. There is more than 36 minutes of full tracks of music along with clips of recordings discussed. The playlist includes: Freddie Hubbard-On Fire, “True Colors-Breaking Point Closer” (13:32); Freddie Hubbard-trumpet, Bennie Maupin-tenor saxophone, Kenny Barron-piano, Herbie Lewis-bass, Freddie Waits-drums. Charles Mingus-Mingus in Argentina-The Buenos Aires Concerts, “Duke Ellington's Sound of Love” (9:32), Charles Mingus-bass, Ricky Ford tenor saxophone, Jack Walrath-trumpet, Robert Neloms -piano, and Dannie Richmond-drums. Kenny Dorham-Blue Bossa in the Bronx: Live from the Blue Morocco, “Blue Bossa”, (13:31), Kenny Dorham-trumpet, Sonny Red-alto sax, Cedar Walton-piano, Paul Chambers-bass and Denis Charles-drums. Short music clips: Charles Mingus-"Pork Pie Hat", Freddie Hubbard-"Crisis", Kenny Dorham-Blue Friday, Bill Evans-"Ro(u)nd Midnight". Thank you for listening to this podcast. I know you have many others to listen to, but you chose Strictly Jazz Sounds. When you subscribe you become one of the first to hear new episodes, read articles, see new photos, and learn of my annual “Best of” list. Soon, I will introduce a Patreon opportunity, your way of saying thanks to me for spending the more than 25 hours per episode to bring it to you. Photo by Zak Shelby-Szyszko

Tonight's Jazz Feature is a round about tribute to St. Patrick's Day in that our Jazz Feature tonight is the initial album by master guitarist Grant Green entitled "Green Street". It was recorded by Blue Note Records on April 1,1961 but despite the date, Mr. Green was no fool! It put Grant Green who grew up in St. Louis, Missouri on the national Jazz map.as one of the two foremost guitarists to emerge in the 1960's along with Wes Montgomery. Green played the guitar like a saxophone and emphasized single lines and delivered these with his huge pure sound. He's featured here with just a trio, Green with Ben Tucker on bass and Dave Bailey on drums. The album consists of five selections with Monk's classic "Round About Midnight" being one and "Alone Together" being the other standard tune. The other three are Green's original tunes. This shows Green's talents in a pure light all the way and marked a great debut recording. "Green Street" is tonight's Jazz Feature...relax and enjoy.

Listen to the final episode in a three-part series exploring the complete works of Alonzo "Pookie" Johnson, a legendary Indianapolis jazz saxophonist. Johnson was a veteran of the Avenue music scene and performed with many legendary Naptown jazz musicians, including Wes Montgomery and Freddie Hubbard. On this edition, we'll share music from Johnson's 1996 album “Legacy” and his 2003 recording with The Hampton Sisters.

Enjoy the first in our three-part series on the complete recordings of the late Alonzo “Pookie” Johnson, a legendary Indiana Avenue jazz saxophonist. This episode explores his early recordings.  Many local jazz fans consider Johnson to be one of the greatest saxophonists in Indianapolis history. During his six-decade career, Johnson performed with the greatest jazz players in Naptown, including Wes Montgomery, Slide Hampton, Jimmy Coe, Carl Perkins, Virgil Jones, David Baker, Errol Grandy, Freddie Hubbard, and many more.  Johnson was born in Indianapolis in October 1927. He studied music at Crispus Attucks High School, and the Jordan Conservatory. Johnson was a veteran of the Avenue club scene, performing at legendary venues such as the Sky Club, George's Bar, The P&P Club, Henri's, the Golden West, Sunset Terrace, and the British Lounge.

Maggie speaks with Zev Feldman, an internationally recognized, independent record producer and the Co-President of Resonance Records. He is also a consulting producer of archival and historical recordings for Blue Note Records. Over the last 25 years he has worked for PolyGram, Universal Music Group, Rhino/Warner Music Group, Concord Music Group, among others. He won DownBeat Magazine's International Critics Poll for "Rising Star Producer" in 2016 for his work on a staggering 26 historical jazz recordings that year and was called "The Indiana Jones of Jazz" by Stereophile Magazine. In addition to his lauded work at Resonance, where he works closely with the estates of jazz icons such as Bill Evans, Wes Montgomery and so much more. Maggie and Zev discuss B.B. King In France: Live at the Nancy Jazz Pulsations Festival (1977) is a previously unissued live recording from the legendary bluesman B.B. King captured by the ORTF in France on October 7, 1977 and released on producer Zev Feldman's Deep Digs label in partnership with Elemental Music and INA France.The limited-edition 180g 2 x LP set was mastered and cut by Matthew Lutthans at The Mastering Lab, and include rare photos by Thierry Trombert, Val Wilmer, Jan Persson and more; plus liner notes by the acclaimed french author Jean Buzeline; and testimonials from fellow blues icons who knew or were inspired by B.B. King.Also joining Zev & Maggie is Cary Baker, a writer based in Southern California but, born on Chicago's South Side, he not only had the chance to grow up with the blues but began his writing career at age 16 for the Chicago Reader. Mr. Baker is the author of “Down On The Corner: Adventures in Busking and Street Music.” His return to writing follows a 42-year hiatus during which he directed publicity for six record labels and two of his own companies. Prior to his PR years,  Baker wrote for, among others, Creem, Trouser Press, Bomp!, Goldmine, Billboard, Mix, and Record magazine. He has also written liner notes for historical reissues from labels including Universal and Capitol-EMI. Cary Baker has also been a voting member of the Recording Academy since 1979.Source: https://www.elemental-music.com/inicio/4860-bb-king-in-france-live-at-the-1977-nancy-jazz-pulsations-festival-8435395504581.htmlSource: https://recordstoreday.com/PromotionalItem/18422Source: https://www.allaboutjazz.com/the-archival-producer-zev-feldmanHost Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Send us a textSupport the show@profileswithmaggielepique@maggielepique

Listen to a special pledge drive episode featuring show highlights selected by host Kyle Long. Hear interviews with Carlos Santana discussing the influence of Indianapolis guitarist Wes Montgomery, Meshell Ndegeocello on her work with Indianapolis composer Hanna Benn, Omar Apollo recalling his early years in Northwest Indiana, author Tyler Alpern discussing the Indiana LGBTQ+ music pioneer Bruz Fletcher, and much more. Also, hear lost Indiana recordings recovered by Long featuring music from Duke Ellington and The Vanguards.

Listen to a special pledge drive episode featuring show highlights selected by host Kyle Long. Hear interviews with Carlos Santana discussing the influence of Indianapolis guitarist Wes Montgomery, Meshell Ndegeocello on her work with Indianapolis composer Hanna Benn, Omar Apollo recalling his early years in Northwest Indiana, author Tyler Alpern discussing the Indiana LGBTQ+ music pioneer Bruz Fletcher, and much more. Also, hear lost Indiana recordings recovered by Long featuring music from Duke Ellington and The Vanguards.