Podcast appearances and mentions of Woody Shaw

John Lenwood “Jackie” McClean (born May 17, 1931) grew up in the same neighborhood in Harlem that was home to Sonny Rollins, Bud Powell and Thelonius Monk, and soon fell under the sway of the Bebop Revolution, particularly as espoused by Charlie Parker. Throughout his career, Jackie kept his ears open to new developments in the music, while still remaining grounded in the bebop vocabulary of his youth, he recorded with many more adventuresome players, Ornette Coleman and Woody Shaw to name two. He became a well respected professor at Hart School of Music in Hartford, Connecticut and produced many talented students who have gone on to distinguished careers in jazz.

STANDAR SE,MANAL.-time after time.-VINILOS MITICOS DEL JAZZ.-.Larry Young - Unity.-JAZZACTUALIDAD.-.AURORA CLARA.-Dreams Unity es un álbum del organista de jazz Larry Young , lanzado por el sello Blue Note en agosto de 1966. El álbum cuenta con la participación del trompetista Woody Shaw , el saxofonista tenor Joe Henderson y el baterista Elvin Jones . Si bien no es free jazz , el álbum presenta una experimentación que fue innovadora para la época. Young eligió el título porque, "aunque todos en la cita eran muy individualistas, todos estaban en el mismo estado de ánimo. Fue evidente desde el principio que todo encajaba". El álbum fue el segundo de Young para Blue Note y es ampliamente considerado un clásico del "post-bop". La banda internacional afincada en Madrid, Aurora Clara, publica su tercer álbum DREAMS después de dos discos de un jazz-rock enérgico, muy bien recibidos por la crítica y la afición internacional. En DREAMS están presentes los unísonos impresionantes de flauta y guitarra eléctrica, uno de sus sellos personales y está cargado de improvisaciones llenas de virtuosismo por parte de la flauta, los teclados y la guitarra eléctrica además de un magnífico solo de batería en 5/4, pero la atmósfera general esta vez es más orgánica con muchas percusiones y guitarras acústicas. "Un proyecto seductor y potente que debería resultar muy atractivo para los aficionados a la guitarra, fusionistas y entusiastas de la música mundial por igual" (Bill Milkowski)

Chris Botti is renowned trumpeter with lots of crossover appeal and a penchant for recording ballads. In this conversation with Jazz88's Peter Solomon, Botti discusses his musical inspirations, discusses studying with legendary post-bop trumpeter Woody Shaw, recalls his days touring with the temperamental drum legend and bandleader Buddy Rich, and speaks on the varying approaches he takes to live shows verses albums, he also talks about getting to know Michael Brecker. Botti is playing a residency at the Dakota from October 28 - October 30.

Chris Botti is renowned trumpeter with lots of crossover appeal and a penchant for recording ballads. In this conversation with Jazz88's Peter Solomon, Botti discusses his musical inspirations, discusses studying with legendary post-bop trumpeter Woody Shaw, recalls his days touring with the temperamental drum legend and bandleader Buddy Rich, and speaks on the varying approaches he takes to live shows verses albums, he also talks about getting to know Michael Brecker. Botti is playing a residency at the Dakota from October 28 - October 30.

Pianist Mulgrew Miller, born August 13, 1955, toured with the Duke Ellington Orchestra for three years right out of college, later accompanying singer Betty Carter, then three year stints with trumpeter Woody Shaw followed by Art Blakey's Jazz Messengers. He was already recording with his own groups when he joined drummer Tony Williams in quintet and trio settings, he also served as director of jazz studies at William Paterson college up unto his tragic death of a stroke at age 57. His playing never lost its roots as a church pianist, but he also incorporated the pyrotechnic technical influences of Oscar Peterson and the harmonic language of McCoy Tyner.

YUSEF LATEEF CRY !… TENDER Englewood Cliffs, N.J., October 16, 1959Cry ! Tender, Butter's blues (1), Sea breeze (lh out), The snow is green (1)Lonnie Hillyer (tp) Yusef Lateef (ts,fl,oboe) Hugh Lawson (p) Herman Wright (b) Frank Gant (d) WOODY SHAW BLACKSTONE LEGACY New York, December 8 & 9, 1970Boo Ann's grand (1,2)Woody Shaw (tp) Gary Bartz (as,sop) Bennie Maupin (ts,b-cl,fl) George Cables (p,el-p) Ron Carter (b-1) Clint Houston (b-2) Lenny White (d) KAHIL EL'ZABAR ETHNIC HERITAGE ENSEMBLE SPIRIT GATHERER – TRIBUTE TO DON CHERRY Chicago, IL, February, 2022Don Cherry, Lonely woman, Sketches of a love supremeCorey Wilkes (tp,spirit bowls,perc) Alex Harding (bar) David Ornette Cherry (p,melodica,douss'n gouni) Kahil El'Zabar (perc,balafon,kalimba,voice,comp) Dwight Trible (voice) Continue reading Puro Jazz 15 de Julio 2024 at PuroJazz.

YUSEF LATEEF CRY !… TENDER Englewood Cliffs, N.J., October 16, 1959Cry ! Tender, Butter's blues (1), Sea breeze (lh out), The snow is green (1)Lonnie Hillyer (tp) Yusef Lateef (ts,fl,oboe) Hugh Lawson (p) Herman Wright (b) Frank Gant (d) WOODY SHAW BLACKSTONE LEGACY New York, December 8 & 9, 1970Boo Ann's grand (1,2)Woody Shaw (tp) Gary Bartz (as,sop) Bennie Maupin (ts,b-cl,fl) George Cables (p,el-p) Ron Carter (b-1) Clint Houston (b-2) Lenny White (d) KAHIL EL'ZABAR ETHNIC HERITAGE ENSEMBLE SPIRIT GATHERER – TRIBUTE TO DON CHERRY Chicago, IL, February, 2022Don Cherry, Lonely woman, Sketches of a love supremeCorey Wilkes (tp,spirit bowls,perc) Alex Harding (bar) David Ornette Cherry (p,melodica,douss'n gouni) Kahil El'Zabar (perc,balafon,kalimba,voice,comp) Dwight Trible (voice) Continue reading Puro Jazz 15 de Julio 2024 at PuroJazz.

What confers greatness?  There are many pathways, the most obvious being distinctive playing.  Are there others?  What about brilliant composing? Or inspiring bandleading?  Or creating your own sound?  How about honoring the tradition while still being blazingly original?  Or just going your own way, whether anyone else is on that path or not?  Achievement in any one of these categories will bring listeners' admiration but few reach the heights in all of them.  Those are the heroes.   This Monday (3/18) cornetist/composer Graham Haynes joins host Mitch Goldman for a Deep Focus on trumpeter Woody Shaw.  Jewels of the WKCR archives shall sparkle.   On WKCR 89.9FM, WKCR-HD or wkcr.org. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.    Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on  Instagram.     Photo credit: Woody Shaw 1977 by Tom Marcello, courtesy of Creative Commons.   #WKCR #JazzAlternatives #DeepFocus #GrahamHaynes #WoodyShaw #MitchGoldman #JazzInterview #JazzPodcast

What confers greatness?  There are many pathways, the most obvious being distinctive playing.  Are there others?  What about brilliant composing? Or inspiring bandleading?  Or creating your own sound?  How about honoring the tradition while still being blazingly original?  Or just going your own way, whether anyone else is on that path or not?    Achievement in any one of these categories will bring listeners' admiration but few reach the heights in all of them.  Those are the heroes.   This Monday (3/18) cornetist/composer Graham Haynes joins host Mitch Goldman for a Deep Focus on trumpeter Woody Shaw.  Jewels of the WKCR archives shall sparkle.   On WKCR 89.9FM, WKCR-HD or wkcr.org. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.    Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on  Instagram.     Photo credit: Woody Shaw 1977 by Tom Marcello, courtesy of Creative Commons.   #WKCR #JazzAlternatives #DeepFocus #GrahamHaynes #WoodyShaw #MitchGoldman #JazzInterview #JazzPodcast

Kenny Garrett has been playing for more than 40 years. Originally from Detroit, he joined the Duke Ellington Orchestra in the late 70s, when it was being run by Ellington's son Mercer. He also played with Art Blakey and the Jazz Messengers, and with Donald Byrd, Woody Shaw, and Freddie Hubbard. He was a member of a young lions group put together by Blue Note Records in the 80s called Out Of The Blue that also included the late drummer Ralph Peterson, and he was already recording as a leader when he was invited to join Miles Davis's band in 1987. He played on the album Amandla, and was part of the Davis band all the way until the end of Miles's life in 1991. Miles Davis even made a very rare guest appearance on one of Garrett's albums, Prisoner Of Love, from 1989.Kenny Garrett's discography as a leader has taken him in a lot of really interesting directions. His 1995 album Triology, with Brian Blade on drums and either Charnett Moffett or Kiyoshi Kitagawa on bass, is a really intense, high-energy record that kind of marries bebop language to post-Ornette Coleman freedom, but the real key to the whole thing is the way he executes these really complex melodies on tunes like John Coltrane's "Giant Steps," Wynton Marsalis's "Delfeayo's Dilemma," and Mulgrew Miller's "Pressing The Issue." It's a tremendous showcase for his technical command of the saxophone. But the album that first got me interested in his work was Beyond The Wall, a 2006 release that was a collaboration with Pharoah Sanders that also featured Mulgrew Miller on piano, Bobby Hutcherson on vibes, Robert Hurst on bass, Brian Blade on drums, and on some tracks there were strings and harp and Chinese instruments and a six-member vocal ensemble. It's not spiritual jazz in the way that term is used now, and it's not world music, it's entirely its own thing, and it's particularly fascinating because you might not think of Kenny Garrett and Pharoah Sanders having that much in common, artistically speaking, but they really did. They also recorded a live album together that came out in 2008. Garrett talks about Pharoah a lot in the interview you're about to hear.And Kenny Garrett's latest album is going to surprise a lot of people. It's called Who Killed AI, and it's a collaboration with Svoy, an electronic music producer. Garrett plays alto and soprano sax on it, and all the rest of the music is made with synths and programmed drums. Even the horns are multi-tracked and fed through effects at times. It's structured as kind of a suite — the first track is called “Ascendence,” and there are also pieces called “Transcendence,” “Divergence” and “Convergence.” But there's also a really beautiful version of “My Funny Valentine,” which lays the ballad melody over these kind of shimmering keyboard sounds and a hard drum 'n' bass beat. It's not at all what I was expecting when I was told that there was a new Kenny Garrett album on the way.I'm really glad I had the chance to talk to Kenny Garrett. We discussed his history with Miles Davis and with Woody Shaw, his early musical upbringing, his work with Pharoah Sanders, his approach to synthesizing genres and musics from around the world, and much more. I think you're going to enjoy this conversation.

What confers greatness?  There are many pathways, the most obvious being distinctive playing.  Are there others?  What about brilliant composing? Or inspiring bandleading?  Or creating your own sound?  How about honoring the tradition while still being blazingly original?  Or just going your own way, whether anyone else is on that path or not?  Achievement in any one of these categories will bring listeners' admiration but few reach the heights in all of them.  Those are the heroes.   This Monday (3/18) cornetist/composer Graham Haynes joins host Mitch Goldman for a Deep Focus on trumpeter Woody Shaw.  Jewels of the WKCR archives shall sparkle.   On WKCR 89.9FM, WKCR-HD or wkcr.org. Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/.    Find out more about Deep Focus at https://mitchgoldman.com/about-deep-focus/ or join us on  Instagram.     Photo credit: Woody Shaw 1977 by Tom Marcello, courtesy of Creative Commons.   #WKCR #JazzAlternatives #DeepFocus #GrahamHaynes #WoodyShaw #MitchGoldman #JazzInterview #JazzPodcast  

La irrupción del jazz fusión a principios de la década de los '70 del pasado siglo, marcó el inicio de un periodo de vacas flacas para el jazz acústico, una travesía del desierto que puso a centenares de músicos en el dilema de mantenerse fieles a sus raíces musicales o dejarse llevar por los derroteros de los nuevos estilos emergentes. En este desértico y desolador escenario, hasta los Jazz Messengers de Art Blakey, garantes de las esencias de un hard bop académico y acústico hasta la médula, se enfrentó a este inquietante dilema. Radio Jazznoend, explora en este nuevo programa, un breve periodo en la larga vida de aquella legendaria banda, en el que Blakey, bajo contrato con la discográfica Prestige, protagonizó una tímida incursión en las sonoridades del jazz fusión que nacía en aquellos años. Unos mensajeros verdaderamente excepcionales, no sólo por la introducción de instrumentación electrónica o por la peculiar naturaleza de su repertorio, sino también porque suponen la única oportunidad de escuchar, en las filas de Blakey, a esa leyenda de la trompeta que fue Woody Shaw. Estas recónditas sesiones desarrolladas en estudios de New Jersey y California dieron lugar a tres discos: Child's Dance, Anthenagin y Buhaina. Os invitamos pues, a disfrutar de estos registros efectuados entre los años 1972 y 1973, un instante casi olvidado en la ingente producción discográfica de los Jazz Messengers, que por su rareza y singularidad y merece ser recordado.

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

This week, Joe is featuring Trumpet player Woody Shaw from his 1997 32 Jazz recording “Dark Journey.”

WOODY SHAW – BLACKSTONE LEGACY New York, December 8 & 9, 1970 Blackstone legacy (2) Woody Shaw (tp) Gary Bartz (as,sop) Bennie Maupin (ts,b-cl,fl) George Cables (p,el-p) Ron Carter (b-1) Clint Houston (b-2) Lenny White (d) SIR ROLAND HANNA – PLAYS GERSHWIN -New York, February 4, 1993Lady be good (1), Isn't it a pity ? (3), Bess, you is my woman now (3) Bill Easley (ts-1,sop-2,fl-3) Sir Roland Hanna (p) Jon Burr (b) Ronnie Burrage (d) NICOLÁS NAVARRETE – AÉREO 9 de agosto de 2023, en estudios Palo Quemado, Santiago de Chile. Continue reading Puro Jazz 12 diciembre 2023 at PuroJazz.

JIM PIELA – IT COMES WITH THE TERRITORY  – December 11th, 2022 Waterford, Conn. Crow Hill, Glass Cannon, It Comes With the Territory Jim Piela (sa,ss) Mark McIntyre (g) Nick Jost (b) Peter Kronrief (dr) RUFUS REID / SULLIVAN FORTNER – ALWAYS IN THE MOMENT  – New York, July 15 & 16, 2019 Always in the moment, The meddler, Duke Ellington's sound of love, The peacocks Sullivan Fortner (p) Rufus Reid (b) ERIC DOLPHY MUSICAL PROPHET: THE EXPANDED  SESSIONS:  – Iron Man – New York, July 3, 1963 Jitterbug waltz (2,4) Woody Shaw (tp) Eric Dolphy (as-1,fl-2) Bobby Hutcherson (vib) Richard Davis (b-3) Eddie Khan (b-4) J.C. Continue reading Puro Jazz 29 noviembre 2023 at PuroJazz.

This episode features an interview with Grammy-nominated musician Art Lande and jazz sax player Sam Williams. We discussed tracks from their current album Portals, and the duo's upcoming show at Dazzle on November 26. Sam Williams is a saxophonist and music educator, currently residing in Boulder, CO. Experienced in various music styles, Sam performs regularly in jazz venues and concert halls throughout northern Colorado and beyond. Grammy-nominated Art Lande is an internationally known pianist, composer, improviser, drummer, and educator who has performed with a long list of the Who's Who in jazz, including Joe Henderson, Woody Shaw, Bobby Hutcherson, Steve Swallow, Charlie Haden, Kenny Wheeler, Sheila Jordan, Mark Isham, Paul McCandless, Jan Garbarek, and many others. --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message

RUFUS REID CELEBRATION  - New York, September 15 & 16, 2019 Celebration, Cedar's blues, Tranescape Steve Allee (p) Rufus Reid (b) Duduka Da Fonseca (d) + Sirius String Quartet: Fung Chern Hwei, Gregor Huebner (vln) Ron Lawrence (viola) Jeremy Harmon (cello) NEIL SWAINSON 49TH PARALLEL  - Toronto, ON, Canada, May 2 & 3, 1987 49th parallel, Port of Spain, Homestretch (1) Woody Shaw (tp) Joe Henderson (ts-1) Gary Williamson (p) Neil Swainson (b) Jerry Fuller (d) PJ Noviembre 2023 GRACHAN MONCUR, III NEW AFRICA  - Paris, France, August 11, 1969 Queen Taman, New Africa, Black call, Ethiopian market Grachan Moncur, III (tb) Roscoe Mitchell (as,pic) Archie Shepp (ts-1) Dave Burrell (p) Alan Silva (b) Andrew Cyrille (d)

No se puede concebir el nacimiento ni la evolución del jazz, sin la trompeta. Ningún otro instrumento representa más la esencia del jazz. Su sonido metálico, brillante e implacable reclama inmediata atención y ofrece al extasiado oyente intensidad, espectáculo y emoción. En la eterna noche de la gran era jazzística brillan con fuerza los grandes astros que dominaron este instrumento. Sus épicas gestas en clubes y escenarios todavía se narran y recuerdan en los anales de la historia y la leyenda del jazz Freddie Hubbard y Woody Shaw forman parte esencial de esa leyenda. Los inapelables reyes del jazz más moderno y vanguardista que se desarrolla a lo largo de la década de los sesenta. Un periodo en el que ambos, siguiendo sus propios caminos, escribieron las leyes de la trompeta para las siguiente décadas. Por ello, sus encuentros discográficos producidos durante la década de los años ochenta del pasado siglo, son hitos de la tradición trompetística que nace con el mismísimo Louis Armstrong a las orillas del rio Mississippi en los albores del siglo XX. Radio Jazznoend explora en este programa, los momentos más destacados de estos registros históricos en los que ambos artistas desde la humildad y el respeto mutuo, muestran al mundo el bagaje de su maestría, de su técnica y de su portentosa inspiración. Un legado artístico de tal magnitud que aún hoy no ha podido ser superado por ninguno de los también grandes trompetistas que les siguieron en las décadas siguiente.

There are many storied jazz venues, but for a great recorded legacy, none quite matches the Village Vanguard.  So many epochal improvised moments put to tape!  So many clinking wine glasses captured for eternity!  Such a matchless, smoky atmosphere of creation in the heat of the moment!  (Insert record scratch here.)  The boys don't look at the best known monuments from the place, but rather start with a lesser known session from the end of the seventies and then examine three brand new "Live from the Vanguard" recordings and ask - is the magic still there?   Kris Davis – LIVE AT THE VILLAGE VANGUARD; Mark Turner – LIVE AT THE VILLAGE VANGUARD; Kurt Rosenwinkle – UNDER COVER, LIVE AT THE VILLAGE VANGUARD; Woody Shaw – STEPPING STONES: LIVE AT THE VILLAGE VANGUARD.

Tonight's Jazz Feature is an unearthed recording, one of the many by pianist composer Andrew Hill. In an interview with Mr. Hill with Blue Note Records archivist, Michael Cuscuna, Andrew mentioned the many unreleased sessions he recorded for Blue Note naming all the personnel. Hill said some were good and some were just okay. All were eventually released except for one which he said he was very happy with. Cuscuna as soon as he left Hill went into the Blue Note archives looking for this session that Hill mentioned but alas the tape was out of phase and unuseable. Cuscuna persisted and in a few weeks he was rewarded with finding a faultless multi-track tape of the session that had been misfiled. He brought it to Hill and Andrew was elated. The session was released in 2003 and drew accolades from critics and fans alike and was hailed as 'the discovery of the year". The album features 7 Hill compositions played by two great trumpeters: Woody Shaw and Dizzy Reece, trombonist Julian Priester, Robert Northern on French horn, Howard Johnson on tuba and bass clarinet and multi-instrumentalist Joe Farrell on tenor and soprano saxophones, English horn, bass clarinet and alto flute. Mr. Hill is on piano with Ron Carter on bass and a young Lenny White on drums. The album was called "Passing Ships" and it's a latter day classic and tonight's Jazz Feature.

Born in 1967 to the late, great bassist Jamil Nasser, Muneer 's exposure to the jazz idiom was early and powerful. In 1976, "My dad took me to see Dizzy Gillespie at the Village Gate and Dizzy blew the place apart.  I had to get a trumpet and weeks later I did."  In 1979, he went to the International Art of Jazz Workshop for college students. Dave Burns, a trumpeter in Gillespie's Big Band, had reservations about his age. Muneer's talent, however, overshadowed this concern.  "Mr. Burns acceptance fortified my confidence and I began studying with him." Muneer also received private instruction from George Coleman, Jimmy Owens, Oliver Beener, and Webster Young. These workshops and lessons taught him the basics of jazz improvisation, which were tested at serious jam sessions conducted by Eddie Henderson, Ted Curson, Tommy Turrentine, Barry Harris, C Sharpe, and Gil Coggins. "If you couldn't play, they would bench you with quickness and give you a homework assignment." As a youngster, Muneer saw many masters in concert such as George Coleman, Randy Weston, Lou Donaldson, Woody Shaw, Roy Eldridge, and Phineas Newborn.Support the show

My guest for this episode is Gerard Presencer. Gerard speaks from experience. Gerard has been on the music scene since the ripe old age of 11 years old when he became the youngest trumpeter of England's National Youth Jazz Orchestra. He rapidly became a sought-after session player, head of the jazz department of the prestigious Royal Academy of Music and head of the brass department at the Jazz Institute of Berlin. But Gerard has recently felt the need to shift from stage and studio to a simpler and purer pursuit of his love for music. Check out what Gerard has to say about his early experiences, his early influences, a rhythmic exercise inspired by Woody Shaw, developing a balanced approach to teaching and playing, finding new ways to express yourself, using four bar blocks to construct a solo, soft quiet and low, the magic of Freddie Hubbard, his passion for teaching, changing his career focus, surprising yourself, practicing being creative, opening yourself up, the challenges of teaching extremely talented students, finding your path, the importance of connection, being a good hang, following your passion, and so much more! So pour yourself a big glass, pull up a chair, and let the hang begin! -------------------------------------------------------------- Follow Gerard at: https://www.facebook.com/GerardPresencerMusic When you need a break from Higher, Faster, and Louder check out: https://www.facebook.com/groups/247188660589795 It's time to Go Practice with Bryan Davis @AirflowMusicNYC : https://airflowmusic.com/ Sound like a million bucks without breaking the bank with Barkley Microphones: http://barkleymic.com/ Let Vennture Mouthpieces help you on your search for the perfect mouthpiece. Use the code "TRUMPETGURUS21" to get 10% off your purchase: https://www.vennture.mp/ If you play hard, you need to make sure you show your chops some love with Robinson's Remedies products: bit.ly/ChopLove Let Jose help you master your mental game: bit.ly/MindfulnessSecrets --------------------------------------------------------------------- 00:00:00 Intro 00:03:33 His early experiences 00:05:58 His early influences 00:09:12 A rhythmic exercise inspired by Woody Shaw 00:13:31 A balanced approach to teaching and playing 00:19:29 Finding new ways to express yourself 00:23:31 Using four bar blocks to construct a solo 00:27:23 Soft quiet and low 00:30:03 The magic of Freddie Hubbard 00:32:29 His passion for teaching 00:36:29 Changing his career focus 00:40:45 Surprising yourself 00:42:40 Practicing being creative 00:45:22 Opening yourself up 00:48:13 The challenges of teaching extremely talented students 00:57:10 Finding your path 01:04:36 The importance of connection 01:09:14 Being a good hang 01:11:17 Following your passion 01:14:50 Go Practice 01:23:24 Sound Off 01:27:41 Geared Up 01:33:11 Rapid Fire Round --- Support this podcast: https://anchor.fm/thetrumpetgurus/support

M

New episode featuring some laid-back sounds of recent aquisitions as well as favorites. Enjoy! Tracklist: Starship, Cal Tjader, Woody Shaw, Hermann Gehlen Big Band, Gabor Szabo, Greg Foat

Courtney's playing refreshingly cool new jazzy vibes for you to work, rest and play to! Jam-packed full of new releases and plenty of fun, including many of the artists introducing their own tracks! This wk stirring big band, psychedelic jazz hip-hop, groovin jazz trio, feel good be-bop swing, jazz-folk ballad, cuban-jazz royalty, classic bop, mellow guitar, vocal funk... Jazz with distinction this week folks with just a hint of hiphop and a dash of funk to exhilarate your spirit!Please let all your jazz friends know that they can listen for free on Apple podcasts, Google Podcasts, Amazon Music and always at jazz-pod.comVisit our archive here Join the CPG community by following us on Facebook & Instagram Ask us ANYTHING(!) about jazz over on Twitter Watch our FAB & FUN artist features over on Tiktok[0'0] Neil Swainson - Silver Mine (Fire in the West Tr10 CELLAR LIVE) Renee Rosnes pno Lewis Nash dr Brad Turner tpt Kelly Jefferson tnr Swainson bs/compThe British Columbia-born bassist, composer and bandleader presents a stirring original set, his first since 1987. Fire in the West is a rare peek into the inner world of a musician who has spent much of his life as a dependently brilliant sideperson for such notable musicians as Woody Shaw, George Shearing and Roberta Gambarini.[4'12] Jared Schonig - White Out (Two Takes Vol 2: BigBand ANZIC Tr2) Matt Holman cond Jared Schonig dr/comp Jim McNeely arr 9'26"Schonig has worked extensively as a touring sideman, a session drummer, and a pit engine in Broadway productions like The Color Purple. His two new albums decisively put him forward as a bandleader, with 8 original tunes rendered in both combo and large group settings".[13'27] Butcher Brown - Unbelievable (BUTCHER BROWN PRESENTS TRIPLE TREY FEATURING TENNISHU AND R4ND4ZZO BIGB4ND CONCORD Tr11) Marcus Tenney tpt sx, Morgan Burrs gtr, Corey Fonville perc, Andrew Randazzo bs, and DJ Harrison keys Notorious BIG (comp) 3'48Butcher Brown has released forward-thinking and expansive hybrids of jazz and hip-hop since 2013. Today, they have an apt descriptor for their songs: solar music. Drawing inspiration from every sound under the sun, the Richmond, VA band adds elements of funk, soul, and rock to their foundational mix. [17'12] Leon Dorsey/Mike Clark - Lock It In Your Pocket (Blues On Top JAZZ AVENUE 1 Tr3) Leon Dorsey bs Mike Clark dr Mike LeDonne pno/compVeteran drummer Mike Clark and stalwart bassist Leon Lee Dorsey continue their fruitful collaboration with the release of Blues On Top: a swinging, top tier trio. [21'18] Ted Kooshian: Hubub (Hubub SUMMIT Tr1) Ted Kooshian keys/comp Jeff Lederer tnr John Bailey tpt Dick Sarpola bs Greg Joseph drThe mix of jazz, pop and humor on Hubub! reflects Kooshian's singular, offbeat sensibility and enthusiastic love for pop culture, represented by evocative dedications to actors Steve McQueen and William Shatner.[29'57] James Taylor: Coming Back To You (Here It Is: A Tribute to Leonard Cohen BLUENOTE Tr7 3'40) Bill Frisell gtr Immanuel Wilkins sx Kevin Hays pno Scott Colley bs Nate Smith dr Greg Leisz steel gtr Larry Goldings organ Cohen comp"like almost everyone in my generation, I venerate Leonard Cohen. As soon as I began seeking out my own musical preferences, Cohen's songs were among my few favorites and had a major influence on my own progression as a songwriter"[33'31] Chucho Valdez/Paquito D'Rivera Reunion Sextet - Mambo Influencida (I Missed You Too PAQUITO Tr1 4'10) Diego Urcola tpt tb Dafnis Prieto dr José A. Gola bs  Roberto Junior Vizcaino perć Chucho Valdez pno/comp Paquito D'Rivera sx cl 60 years after their initial meeting, the pair has finally reunited to create a monumental new recording. Their I Missed You Too! marks D'Rivera and Valdés's first recording since they were both members of Cuba's most influential jazz/fusion ensemble, Irakere. [37'38] Joe Harriott Quintet feat Phil Seamen dr Pat Smythe pno - Tuesday Morning Swing (Swings High CADILLAC Tr1 4'46) Coleridge Goode bs Joe Harriott sx/comp Stu Hamer tptNewly remastered from the vinyl in 1967 saw Joe returning to his hard bop roots on a set that burns with rare light.  A top band of British Jazz players including the UK's greatest drummer Phil Seamen, and the sensitive tpt playing of Stu Hamer, create a session that transcends the difficulties of its recording to create a timeless session and one of Joe's very best.[42'17] Julien Lage - Word for Word (View With A Room BLUENOTE Tr2 3'16) Julien Lage gtr/comp Jorge Roeder bs Dave King dr)A stunning collection of 10 compelling original compositions, View With A Room sees Lage fulfilling a long-standing goal to “have lush orchestration combined with an organic sense of improvisation and the agility of a small ensemble”.[45'25] Generation Gap Jazz Orchestra - Sassy (Cellar Live Tr 2 5:03) Steven Feifke pno Bjorn Watson tpt Feat. Kurt Elling, Christopher McBride ( (Bentyne, Bodine, Siegl, Elling comp)Celebrated pianist, composer, arranger/orchestrator and conductor Steven Feifke joins forces with trumpet titan Bijon Watson in the eponymous debut album of their star-studded new ensemble, the Generation Gap Jazz Orchestra. Next week on CPG Bitesize Funk from Brum, Feminista truths and Steve meets Stevie!!:  Hit subscribe here so you don't miss it!!

10e émission de la 54e session...Cette semaine, hard bop, jazz modal et jazz moderne! En musique: Dave Burns sur l'album Warming Up!  (Vanguard, 1964); Woody Shaw sur l'album In The Beginning  (Muse, 1983, enr. 1965); Gunter Hampel Quintet sur l'album Heartplants  (SABA, 1965); Redman, Mehldau, McBride, Blade sur l'album LongGone  (Nonesuch, 2022); Ilmiliekki Quartet sur l'album Ilmiliekki Quartet  (We Jazz, 2022); Stanisław Aleksandrowicz Quintet sur l'album Teoria Względności  (Indépendant, 2022); John Escreet sur l'album Seismic Shift  (Whirlwind, 2022)...

obituary courtesy of the International Society of Bassists: The ISB is sad to learn of the passing yesterday of bassist, composer, educator and recording artist Kelly Sill. He was 70 years old. Kelly was a beloved mainstay of the Chicago jazz scene for more than 35 years. Born in Fargo, North Dakota, he grew up in the Chicago area. After receiving his bachelor's degree from the University of Illinois at Urbana-Champaign, he returned to Chicago to perform and record with jazz artists such as Art Blakey, Joe Henderson, Art Farmer, Clark Terry, Cedar Walton, Herb Ellis, Woody Shaw, Hank Jones, Freddie Hubbard, Kenny Burrell, Barney Kessel, Chris Potter, Ernie Watts, Bob Mintzer, Mel Torme, Anita O'Day, Jackie McLean, Joey DeFrancesco, Donald Byrd, Eddie Harris, Scott Hamilton, Victor Lewis, Clifford Jordan and Bucky Pizzarelli. He performed at the Chicago Jazz Festival, the Elkhart Jazz Festival, the Red Sea Jazz Festival, Thessaloniki Concert Hall in Greece and Symphony Center in Chicago. Kelly's discography includes more than fifty recordings as a sideman and leader.   Kelly served on the faculties of Northeastern Illinois University, Lake Forest College, DePaul University and Northern Illinois University. He also taught at the Interlochen Arts Camp, Jamey Aebersold Summer Jazz Workshop, Janice Borla Vocal Jazz Camp, University of Wisconsin/Stevens Point Jazz Camp, Clark Terry Great Plains Jazz Camp and the University of Illinois (Urbana-Champaign) Summer Music Program.   Saxophonist Gregory Dudzienski recalls his friend: "Kelly was one of the warmest, most welcoming, supportive, and funniest people I've ever had the fortune to spend time with. He had that way of interacting with you, that way of giving you his full attention and self that made it feel like you were the most important person in the world to him. That way of interacting carried into his playing as well."   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Carnegie Mellon University Double Bass Studio - CMU is dedicated to helping each student achieve their goals as a musician. Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   Dorico - Unlock Dorico for iPad – For Life! Want to enjoy all of Dorico for iPad's subscription-only features – including support for unlimited players, freehand annotations in Read mode with Apple Pencil, support for third-party Audio Unit plug-ins, and much more – but don't want to pay a monthly or annual fee? Dorico for iPad now provides a lifetime unlock option, so you can access all current and future subscription-only features for a single, one-off in-app purchase. Visit the App Store today and unlock Dorico for iPad for life!   theme music by Eric Hochberg

  NEIL SWAINSON “49TH PARALLEL” – Toronto, ON, Canada, May 2 & 3, 1987 49th parallel, Don’t hurt yourself (ws out) Woody Shaw (tp) Joe Henderson (ts-1) Gary Williamson (p) Neil Swainson (b) Jerry Fuller (d)           ALLISON MILLER / CARMEN STAAF “NEARNESS” – New York, May, 2021 Dan dan, Blue […]

In previous episodes, we've talked about what people commonly understand as fusion, which drummer Lenny White, who appeared in episode two of this series, prefers to call jazz-rock. That's the version that starts with Miles Davis's Bitches Brew and Tony Williams' Lifetime and quickly branches out with Mahavishnu Orchestra and Return To Forever and Weather Report and on and on. But as we've continued the discussion, we've expanded the scope of inquiry to include adventurous funk and R&B fusion, which includes everything from P-Funk and Earth, Wind & Fire and the Ohio Players — and wow, do the Ohio Players deserve a place in the fusion conversation that they are very rarely granted — to Donald Byrd and Freddie Hubbard and especially George Duke.Adam Rudolph is a fusion artist in about as broad a sense as you can imagine. He's been a percussionist for close to 50 years, and should be much better known than he is. He's been around since the early '70s and has worked with everyone: Yusef Lateef, Fred Anderson, Don Cherry, Roscoe Mitchell, Pharoah Sanders, Sam Rivers, Wadada Leo Smith, Herbie Hancock, Maulawi, Foday Musa Suso, Hassan Hakmoun, Jon Hassell… he's part of the Bill Laswell company of players, too, so he's on a zillion records through that connection. Plus he leads two main groups of his own, Moving Pictures and the Go! Organic Orchestra, which have made many, many albums and even crossed over with each other a time or two.Adam and I had a really fascinating conversation over the course of two phone calls. The impetus was Symphonic Tone Poem For Brother Yusef, a collaboration between him and reeds player Bennie Maupin that's just been released. Bennie Maupin of course is a legend on his own — he played on Miles Davis's Bitches Brew and On The Corner, he was a member of Marion Brown's group in the 1960s, he was in Mwandishi and the Headhunters with Herbie Hancock, he played with Woody Shaw, and his own album from 1974, The Jewel In The Lotus, is an absolutely brilliant record that blends spiritual jazz with almost New Age ambient music. There's really no other album like it; if you've never heard it, it's a must-hear. So obviously Rudolph and I talk about Maupin, whom he's worked with off and on for decades, but we also talk about Laswell and about Lateef and about the whole idea of world music and fusion-as-creative-mindset that I've been discussing with every artist I've interviewed for the podcast this year. We talk a lot about the philosophy that goes into bringing together musicians from all sorts of traditions, from all over the globe, and finding ways to make their ideas flow together. That's what he does with Go! Organic Orchestra, the membership of which is completely open and the music of which is created through spontaneous conduction. So he was really the ideal person to talk about all this stuff with. I think you'll come away from this episode with a lot to think about. I know I did. And I hope you enjoy listening to it. All the music you'll hear, by the way, comes from Symphonic Tone Poem For Brother Yusef. 

A few beautiful jazz pieces this week, including some great covers of classics. Hope you all enjoy. Tracklist: Clifford Jordan, Dom Um Romao, Woody Shaw, Eldee Young, John Young Trio, Wynton Kelly Trio

Article: Woody Shaw, The Last Great InnovatorFollow Michael Alexander BurtonInstagram Join the Trumpet Vibes Patreon Page https://www.patreon.com/ewillzmusic

En esta penúltima entrega dedicada a la trompeta, arde el hardbop, neobop y otras cositas como los leones! De la mano de Woody Shaw, Freddie Hubbard, J. Fadis, Lew Soloff, Terumasa Hino, Brecker, Marsalis, Blanchard y otros.

Dr. Eddie Henderson is arguably one of the greatest trumpet players in jazz history.  He has a storied career that lasts over 60 years, playing with Herbie Hancock's Mwandishi band, Pharoah Sanders, and Art Blakey among many others. Listen as he shares about personal relationships with Louis Armstrong, Miles Davis, Freddie Hubbard, Lee Morgan, and Woody Shaw, the difference between playing the trumpet and playing music, and what's helped him sustain a long career in the music business. Visit Eddie Henderson on Facebook: https://bit.ly/3ulPlnkVisit John Raymond: www.john-raymond.comMusic: “North” (IU Jazz Studies Faculty) + "Joy Ride" (John Raymond & Real Feels)Interview Edited by Tom PieciakProduced & Edited by John Raymond

**It's The Jazz2Go Show Replay On traxfm.org. Jazz2Go Presented Some Classic & Contemporary Jazz Crackers From The Peter Edwards Trio, Trio Da Paz & Joe Locke, Anita Moore & The Jazz Ensemble, Siguarjazz, The Christine Spero Group, Soul Bossa Trio, Kieran Overs Quartet, Woody Shaw, Charlie Sepúlveda & The Turnaround, Moe Koffman & More #Jazz #JazzClassics #ContemporaryJazz #JazzGroove #JazzSoul Catch Jazz2Go Every Monday From 7PM UK Time Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/original103.3 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Tune In Radio : tunein.com/radio/Trax-FM-s225176 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm**

For all you Jaco fans…two tracks from his Weather Report days. I play a track from another electric bassist you’ve probably never heard of…Bill Takas. Another lesser known bassist is Victoria B.C. born Neil Swainson….and here I play a track from the only album under his name, featuring Joe Henderson and Woody Shaw. As well,…Continue reading Episode 181, Jazz Bass Part 2

This is the sixth year of the Burning Ambulance Podcast. This is episode 71, and I decided at the beginning of this year that it was time to change things up a little. So for all ten episodes that I'm going to be presenting this season, we're going to have a single subject, and that subject is fusion. Lenny White played on one of the most important albums in the history of fusion, Miles Davis's Bitches Brew. In the clip that you're gonna hear when I finish talking, right before the interview begins, he's on the left hand side, with Jack DeJohnette on the right. And you want to hear something insane? That was his first ever recording session! He was recommended to Miles Davis by alto saxophonist Jackie McLean. White was in McLean's band at the time. Within a year, he had also played on Freddie Hubbard's Red Clay, Woody Shaw's Blackstone Legacy, and Joe Henderson's At The Lighthouse. In just the first half of the Seventies, he was on Eddie Henderson's Realization, on two albums by a Latin jazz-rock band called Azteca, and For Those Who Chant by trumpeter Luis Gasca, a record that also had Henderson, and Carlos Santana, and a bunch of other people from across the jazz and rock spectrum. In about 1972, he joined Chick Corea's band Return To Forever and made four albums with them – Hymn Of The Seventh Galaxy, Where Have I Known You Before, No Mystery and Romantic Warrior. He also played on solo albums by Stanley Clarke and Al Di Meola, and made records under his own name that were like a perfect storm of jazz and rock players working together. His 1977 album Big City has Herbie Hancock, Neal Schon of Journey, and Verdine White of Earth, Wind and Fire on it. But despite being at the heart of the fusion movement at the time that it happened, he doesn't actually like the term. He prefers to call what he does jazz-rock, and when you listen to what he was actually playing, that distinction is very clear and makes perfect sense.A lot of people think the use of electric instruments, particularly synths and other keyboards, is a key dividing line between fusion and the jazz that came before. But for me, it's about the beat, it's about the drummers. Lenny White is one of maybe five drummers who really shaped an entire genre in their image — the others are Billy Cobham, who's been on this podcast before, and Tony Williams, Jack DeJohnette, and Alphonse Mouzon. These guys played with Miles, they played with Weather Report, they played with Herbie Hancock, they led their own groups, they were the guys who established the sound of fusion by finding a way to combine the aggressiveness and drive of rock with the subtlety and suppleness of swing, and in Lenny White's case in particular, he brings a tremendous Latin feel to the music as well. The Latin element is really important, because Latin musicians were stretching out just as much as their jazz and rock peers in the crucial years between 1969 and 1975. Listen to the Fania All-Stars' Latin-Soul-Rock album, which featured guest appearances from Billy Cobham and Jan Hammer, less than a month before they would leave the Mahavishnu Orchestra. Listen to what Eddie Palmieri — who's also been on this podcast — was doing on albums like Superimposition, Vamonos Pa'l Monte, and Live At Sing Sing. Listen to Santana's run of albums from Caravanserai through Borboletta. A lot of this stuff is hardcore jazz fusion set to a Latin beat, and in terms of complexity and intensity you can put it right next to King Crimson, Yes, and all the other prog-rock acts of the time. And funk was going through a radical evolution, too — listen to how complex the songwriting and arranging is on albums by Parliament, Earth, Wind and Fire, Slave, and the Isley Brothers — and these guys all knew it. They all knew each other, they all knew what they were doing, individually and collectively. There were no borders. There were no limits. Lenny White has a hilarious story in this interview about hanging out with some of the guys from Yes. I really enjoyed getting the chance to talk to Lenny White. He's had an incredible career, and he was there at the beginning of a musical revolution. I hope you enjoy listening to our conversation.Music in this episode:Miles Davis, “Bitches Brew” (Bitches Brew)Luis Gasca, “Street Dude” (For Those Who Chant)Lenny White, “Rapid Transit” (Big City)Return To Forever, “Sofistifunk” (No Mystery)

This is the sixth year of the Burning Ambulance Podcast. This is episode 71, and I decided at the beginning of this year that it was time to change things up a little. So for all ten episodes that I'm going to be presenting this season, we're going to have a single subject, and that subject is fusion. Lenny White played on one of the most important albums in the history of fusion, Miles Davis's Bitches Brew. In the clip that you're gonna hear when I finish talking, right before the interview begins, he's on the left hand side, with Jack DeJohnette on the right. And you want to hear something insane? That was his first ever recording session! He was recommended to Miles Davis by alto saxophonist Jackie McLean. White was in McLean's band at the time. Within a year, he had also played on Freddie Hubbard's Red Clay, Woody Shaw's Blackstone Legacy, and Joe Henderson's At The Lighthouse. In just the first half of the Seventies, he was on Eddie Henderson's Realization, on two albums by a Latin jazz-rock band called Azteca, and For Those Who Chant by trumpeter Luis Gasca, a record that also had Henderson, and Carlos Santana, and a bunch of other people from across the jazz and rock spectrum. In about 1972, he joined Chick Corea's band Return To Forever and made four albums with them – Hymn Of The Seventh Galaxy, Where Have I Known You Before, No Mystery and Romantic Warrior. He also played on solo albums by Stanley Clarke and Al Di Meola, and made records under his own name that were like a perfect storm of jazz and rock players working together. His 1977 album Big City has Herbie Hancock, Neal Schon of Journey, and Verdine White of Earth, Wind and Fire on it. But despite being at the heart of the fusion movement at the time that it happened, he doesn't actually like the term. He prefers to call what he does jazz-rock, and when you listen to what he was actually playing, that distinction is very clear and makes perfect sense.A lot of people think the use of electric instruments, particularly synths and other keyboards, is a key dividing line between fusion and the jazz that came before. But for me, it's about the beat, it's about the drummers. Lenny White is one of maybe five drummers who really shaped an entire genre in their image — the others are Billy Cobham, who's been on this podcast before, and Tony Williams, Jack DeJohnette, and Alphonse Mouzon. These guys played with Miles, they played with Weather Report, they played with Herbie Hancock, they led their own groups, they were the guys who established the sound of fusion by finding a way to combine the aggressiveness and drive of rock with the subtlety and suppleness of swing, and in Lenny White's case in particular, he brings a tremendous Latin feel to the music as well. The Latin element is really important, because Latin musicians were stretching out just as much as their jazz and rock peers in the crucial years between 1969 and 1975. Listen to the Fania All-Stars' Latin-Soul-Rock album, which featured guest appearances from Billy Cobham and Jan Hammer, less than a month before they would leave the Mahavishnu Orchestra. Listen to what Eddie Palmieri — who's also been on this podcast — was doing on albums like Superimposition, Vamonos Pa'l Monte, and Live At Sing Sing. Listen to Santana's run of albums from Caravanserai through Borboletta. A lot of this stuff is hardcore jazz fusion set to a Latin beat, and in terms of complexity and intensity you can put it right next to King Crimson, Yes, and all the other prog-rock acts of the time. And funk was going through a radical evolution, too — listen to how complex the songwriting and arranging is on albums by Parliament, Earth, Wind and Fire, Slave, and the Isley Brothers — and these guys all knew it. They all knew each other, they all knew what they were doing, individually and collectively. There were no borders. There were no limits. Lenny White has a hilarious story in this interview about hanging out with some of the guys from Yes. I really enjoyed getting the chance to talk to Lenny White. He's had an incredible career, and he was there at the beginning of a musical revolution. I hope you enjoy listening to our conversation.Music in this episode:Miles Davis, “Bitches Brew” (Bitches Brew)Luis Gasca, “Street Dude” (For Those Who Chant)Lenny White, “Rapid Transit” (Big City)Return To Forever, “Sofistifunk” (No Mystery)

It's another show tune gone Jazz on this edition of Same Difference, with the Guys And Dolls classic "If I Were A Bell"! Join AJ and Johnny as they listen to and dissect versions by Dinah Washington, Miles Davis, Ella Fitzgerald, Oscar Peterson, Count Basie with Sarah Vaughn and Joe Williams, and new-to-us (believe it or not) artist Woody Shaw.

For more than forty years, drummer Louis Hayes has been a catalyst for energetic, unrelenting swing in his self-led bands, as well as in those whose respective leaders reads like an encyclopedia of straight-ahead post-bop modern jazz. Hayes himself an authentic architect of post-bop swing, began his professional activities at the tender age of 18. He started with tenor saxophonist, flutist and oboist Yusef Lateef who like Hayes is a Detroit native (other jazz luminaries hailing from the "motor city" include the Jones brothers, Elvin, Hank and Thad, guitarist Kenny Burrell, pianist Tommy Flanagan, and many others). After the stint with Lateef, Hayes went on to rhythmically propel groups led by pianist Horace Silver, legendary saxophonist Cannonball Adderley, and pianist Oscar Peterson. These positions were augmented by countless recordings on the Blue Note, Prestige, Riverside and other labels with the likes of John Coltrane, Sonny Rollins, J.J. Johnson, Jackie McLean, Wes Montgomery, Cedar Walton, Dexter Gordon, Woody Shaw, George Benson, Freddie Hubbard, Joe Henderson, McCoy Tyner, and the list goes on. In this episode, Louis shares his background, education, and musical journey.  If you enjoyed this episode please make sure to subscribe, follow, rate, and/or review this podcast on Spotify, Apple Podcast, Google Podcast, ect. Connect with us on all social media platforms and at www.improvexchange.com

Four live records turn up on the boys' plates - of which do they happily partake?  The sessions range in recording dates from the late sixties to the 2010's, but three of the four came out in the last few months.  We talk about a listener-suggested album of "modern" stride piano, a scorching modal date that left the tape in tatters, a recently discovered live appearance from the dean of off-kilter piano and a series of charming duets by two musicians of more recent vintage who left us far too soon.  Which to pick up?  Just stay tuned.  Roy Hargrove & Mulgrew Miller – IN HARMONY; Roy Brooks – UNDERSTANDING; Stephanie Trick – LIVE; Monk – PALO ALTO.

Pioneers were prevalent in the 50s and 60s. Guys that built up their chops to be able to play at the spur of the moment in any setting with any players. This pioneer mentality was helped by venues, multiple venues in every major city so accessibility was not a problem. The pioneers of music were unafraid of pursuing odd rhythms and combining instruments that wouldn't necessarily be commonplace in a square setting. My guest was one such pioneer, with Charles Lloyd they became the first American Jazz outfit to perform in the Soviet Union, he was a favorite of Joe Henderson in a group that featured the likes of Woody Shaw, George Cables and Lenny White. He was also one of the founding members of the eclectic group the fourth way with Mike Nock, Michael White and legendary Bay Area drummer Eddie Marshall. He has been an educator at the Berkelee School of music and LIU and is a continual force in the field of music. Ron McClure it's a pleasure to welcome you to the Jake Feinberg Show.

Kvartett trompetleikarans Woody Shaw leikur lögin Stormy Weather, If I Were A Bell, Dat Dere, You And The Night And The Music og Imagination. Sextett saxófónleikarans Stefan Koschizki leikur lögin You Make Me Feel So Young, Joy Spring, I Let A Song Go Out Of My Head, Star Eyes og Four Brothers. Tríó píanóleikarans Hank Jones flytur lögin Round Midnight, Bloomdido, Confirmation, Mouse The Mooche og Yard Bird Suit.

André Previn og félagar leika lög úr Showboat: Can' Help Loving Dat Man, Ol' Man River, Nobody Else But Me, Why Do Fools Fall In Love, Life On The Wicked Stage, Make-Believe, I Might Fall Back On You og Bill. Tríó Les McCann leikur lögin: Love For Sale, I Am In Love, I Can Dig It, Doin' That Thing og Blues 5. Kvintett Woody Shaw leikur fjögur lög: Stormy Weather, IfI Were A Bell, Dat Dere og Steve's Blues.

When you hear the alto saxophone of Art Pepper, there is no doubt as to who it is. Art's sound and emotional directness hits hard and as someone put it, "Art plays for his life". Art's life was a convoluted mess and interrupted by long prison sentences for drug use but Pepper always played his best, no matter the circumstances. This album called "The Trip" was made in 1976 after his release from rehab and his life for a while became productive and stable. Art's wish was fulfilled by the people on this date, three men who he loved and wished to work with. George Cables was his favorite pianist, Art called George "Mr.Beautiful". Bassist David Williams and especially drummer Elvin Jones lived up to Art's high standards. Art worked hard to make this date great and brought in 3 original works including the haunting title track..."The Trip". One tune each by trumpeters Joe Gordon and Woody Shaw. The beautiful ballad high point is Michel Legrand's lovely "The Summer Knows". Art Pepper among his other attributes was a superb ballad player. This album is a keeper and one of Art Pepper's finest..........check out "The Trip"

Drummer Roy Brooks had a long career in Jazz music as he began playing drums as a small child in Detroit, where he was born on March 9, 1938. However he never really became well known until 1959 when he came to New York to join pianist Horace Silver's Quintet. Roy replaced another Detroiter, Louis Hayes who left Silver to join Cannonball Adderley's band. Brooks went on after Silver to play with so many people it would take too long to mention. He was with saxophonist James Moody in the early 70s and toured with Charles Mingus in 1972-73. He also joined drummer Max Roach's percussion ensemble called M'Boom. Brooks later returned to Detroit and performed with many until mental illness crippled him and he died in a home for the mentally ill at age 67. Tonight's Jazz Feature is a special band led by Mr. Brooks at Baltimore's Left Bank Jazz Society on April 26,1970. The band includes the great Woody Shaw on trumpet and the amazing and still alive George Coleman on tenor saxophone. The underrated Hugh Lawson on piano and the still living master of the bass, Cecil McBee. There are only four long tunes on the date first released on Muse Records. The album was entitled "The free Slave" and that is the first tune composed by Mr. Brooks. The recording reflects in an oblique way the political climate of the times in the USA and is The Jazz Show's opening Feature dedicated to Black History Month. After the tune, "The Free Slave", two compositions by Woody Shaw follow, the first is called "Understanding" and the second is entitled "Will Pan's Walk" which leads to the final tune again by Roy Brooks called "Five For Max" dedicated to Mr. Brooks' biggest influence, Max Roach. The band performs before a vociferous audience that demonstrates it's deep appreciation for the music. Check out "The Free Slave"....real Jazz played by masters of their music.

This album is one of the most iconic Blue Note releases in that it represents four young men who are advancing the Jazz Tradition by not abandoning that tradition. Most prominent is the leader, Hammond organist Larry Young who is taking the instrument beyond blues and greasy funk and into other musical realms.The two horns are representative of modern thinking and both are innovators and important stylists, trumpeter Woody Shaw and on tenor saxophone, Joe Henderson.These two blend so well and seem to breathe together. On drums is the always powerful yet tasteful Elvin Jones who works so well with Larry Young's bass lines. Three great Woody Shaw tunes are featured plus a swinging blues by Henderson and a great standard, "Softly As In A Morning Sunrise". One bonus is the duo track with Young and Jones doing Thelonious Monk's "Monk's Dream". A classic and innovative date unlike any other session that featured the Hammond organ."Unity" is an important milestone.