Podcast appearances and mentions of Wynton Marsalis

If you’ve got a high school kid in public school in New Orleans and your kid is interested in pursuing anything in the arts – like music, dance, theater, film, even creative writing – you find out pretty quickly, the school doesn’t have a budget for that. To put on a play, publish a newspaper, learn dance, or most other musical and artistic pursuits, the funds required generally come from fundraisers, or parents’ pockets. Now, when you get to a public high school like NOCCA – the New Orleans Center for the Creative Arts – where education and excellence in the arts is the very reason for its existence – it would be impossible to expect bake sales or parents to foot the bill for those expenses. So where does that money come from? It comes from an organization dedicated to raising the funds that help power NOCCA, called the NOCCA Foundation. Adonis Rose is a NOCCA graduate who has gone on to a successful career as a jazz musician. Adonis has won a Grammy, he’s played on every stage that matters - including Carnegie Hall and the Lincoln Center - he’s accompanied legends like Dianne Reeves and Wynton Marsalis, and since 2024 he’s been Executive Director of the NOCCA Foundation. One of the arts your high school kid might like to study is film. If they do, maybe they’ll graduate and go to film school. And then, if they want to be in the film business they’ll have to move to someplace else where they make movies. Because everybody here seems to agree that apart from a few brief and wonderful years when we were known as “Hollywood South,” there’s no way to have a career in the film business in New Orleans. Don’t tell that to Kenny Morrison. Kenny has been making a nationwide career for himself as a New Orleans-based film-maker since 2001. He principally makes high-end and big-budget commercials – many of which you have certainly seen - for the likes of banks, shoes, hospitals and insurance companies. Kenny is what’s known in the film business as a triple threat – director, cinematographer, and an entrepreneurial film technologist, pioneering cutting-edge visual effects through his virtual-production company, Lucy XR. It used to be generally accepted that there were real jobs – like lawyers, doctors and plumbers – and then there were b.s. jobs like actors, musicians, and film makers. We don’t think so much like that anymore. Maybe it changed because an actor, Ronald Reagan, became one of the most popular Republican presidents of the 20th Century. Jay Z had a successful career as a musician before creating a music business empire. Artists have made millions of dollars selling works of art in the crypto space as NFT’s. Online content creators clean up collaborating with fashion houses and sneaker manufacturers. The demarcation line between art and business has gotten blurred. Locally, Adonis Rose and Kenny Morrison continue to demonstrate that creativity and commerce can happily co-exist. And that’s a lesson we need to take to heart here in New Orleans, perhaps more than any city in the country. Out to Lunch was recorded live over lunch at Columns in Uptown New Orleans. Andrew Ward sits in hosting for Peter Ricchiuti. You can find photos from this show at itsneworleans.com.See omnystudio.com/listener for privacy information.

Send us a textLegendary author, journalist Dan Ouellette joins hosts David C. Gross and Tom Semioli to discuss his latest book THE LANDFILL CHRONICLES – UNEARTHING THE LEGENDS OF MUSIC available now on Cymbal Press!Dan “digs up” long lost interviews with artists including Lou Reed, Carla Bley, David Byrne, Elvis Costello, and Wynton Marsalis, among others; many of which are not available in digital format, and also includes previously unpublished content.   Dan Ouelette Playlist

Eclectic mix of musicians to perform at Howland Of the 14 saxophones, from tenor to contrabass, Brad Hubbard gravitated to the baritone. "It's my voice and just a different animal for me," he says. The instrument facilitates honking - the twisted mouthpiece resembles a gooseneck. Hubbard plays several woodwind instruments, but when the New York City Ballet orchestra selected a piece from West Side Story with a baritone sax part, or if Woodstock-based Americana mainstay Professor Louie & the Crowmatix wants that low-end presence, he's a go-to. Though he graduated from a classical music conservancy that eschewed jazz, Hubbard enjoys bending genres and playing unlikely styles. "When I first came to New York, I got hired by a country guitarist because I knew all the old songs, though I can't sing a lick," says the North Carolina native, whose voice still resonates with a faint twang. "I'm grateful for my education, but it's taken my entire professional career to recover from it in some ways." On Sunday (June 8), Hubbard will perform at the Howland Cultural Center in Beacon at Composers Concordance, an annual confluence of eclectic musicians. Nine composers, five of the players and conductor Gene Pritsker created works specifically for the concert. (They call themselves the CompCord Ensemble.) "This is about as 'winging it' as classical music gets," says Hubbard. The instrumentation (including members of the B3+ brass trio) consists of horn, trumpet, piano, clarinet, bass trombone and, of course, baritone sax. Roger Aplon, one of the three poet narrators, and pianist Debra Kaye live in Beacon. The concert is an offshoot of the New York City-based collaborative Composers Concordance, which presents a packed schedule of performances. Hubbard has participated in all six of its concerts at the Howland Center. Though classical music and the jazz-oriented sax make strange bedfellows, he points to famous crossover musicians who fused classical training with other forms, including cellist Yo-Yo Ma and bass player Edgar Meyer, who jumped from Beethoven to country. Bluegrass banjo player Bela Fleck and jazzman Wynton Marsalis, who recorded three trumpet concertos by Haydn, Hummel and Mozart in 1983, arrived at classical from other genres. Hubbard also recalls the Kronos Quartet's stirring string arrangement of "Purple Haze," by Jimi Hendrix, in 1986. Like jazz, "there's plenty of space for improvisation in Baroque music," a precursor to the classical period, along with "many compositions called 'theme' and 'variation,'" he says. "The continuo [underpinning bass or cello lines] are also open to alteration and interpretation." Hubbard got his start in the 1990s with the New Century Saxophone Quartet before branching out. In addition to teaching at the Beacon Music Factory, he honks with the Funk Junkies and Hot Wrk Ensemble, which plays original music along with Beatles and Dolly Parton covers. On Saturday (June 7), the Hot Wrk crew will perform at the Kingston Public Library with Beacon violinist Gwen Laster. Blame Google (or human nature) for the creative spelling. According to Hubbard, "people are weird - so weird that all kinds of crazy stuff comes up [when searching for 'hot work'], none of which has to do with music." The Howland Cultural Center is located at 477 Main St. in Beacon. Tickets for the show, which begins at 5 p.m., are $20 at dub.sh/CompCord2025 or $30 at the door. Tickets for seniors and students are $10.

El programa vuelve a recuperar y escuchar directos famosos. En esta ocasión 3 conciertos grabados por grandes de la música, unidos por una misma circunstancia. Los tres tuvieron lugar en el Lincoln Center de Nueva York. Primero EL MODERN JAZZ QUARTET, histórico grupo que se despidió allí, en 1975, cuando todavía no existían el gran escenario dedicado al jazz y por el que, desde los 90 han pasado todos los grandes acompañados por la orquesta dirigida por WYNTON MARSALIS. Y de allí recuperemos los dados por ERIC CLAPTON o RUBÉN BLADES.

El programa vuelve a recuperar y escuchar directos famosos. En esta ocasión 3 conciertos grabados por grandes de la música, unidos por una misma circunstancia. Los tres tuvieron lugar en el Lincoln Center de Nueva York. Primero EL MODERN JAZZ QUARTET, histórico grupo que se despidió allí, en 1975, cuando todavía no existían el gran escenario dedicado al jazz y por el que, desde los 90 han pasado todos los grandes acompañados por la orquesta dirigida por WYNTON MARSALIS. Y de allí recuperemos los dados por ERIC CLAPTON o RUBÉN BLADES.

When the jazz singer Cécile McLorin Salvant was profiled in The New Yorker, Wynton Marsalis described her as the kind of talent who comes along only “once in a generation or two.” Salvant's work is rooted in jazz—in the tradition of Ella Fitzgerald and Sarah Vaughan and Abbey Lincoln—and she has won three Grammy Awards for Best Jazz Vocal Album. But her interests and her repertoire reach across eras and continents. She studied Baroque music and jazz at conservatory, and performs songs in French, Occitan, and Haitian Kreyòl. “I think I have the spirit of a kind of a radio d.j. slash curator,” she tells David Remnick. “It's almost like making a mixtape for someone and only putting deep cuts.” And even when singing the standards, she aims “to find the gems that haven't been sung and sung and sung over and over again.” During a summer tour, she visited the studio at WNYC to perform “Don't Rain on My Parade,” made famous by Barbra Streisand; “Can She Excuse My Wrongs,” by John Dowland, the English composer of the Elizabethan era; and “Moon Song,” an original from Salvant's album “Ghost Song.”This segment originally aired on May 31, 2024.

Hoy quiero presentarles al contrabajista y productor musical Ignacio Varschausky. Lo conocí en enero de 1999, cuando estaba escribiendo un libro sobre el tango y había viajado a Buenos Aires para documentarme. Ignacio tenía entonces 23 años y estaba al principio de su carrera. En 1996, fundó el quinteto de tango El Arranque con el bandoneonista Camilo Ferrero. Como tantos jóvenes músicos de su generación, Ignacio se había aficionado primero al rock antes de empezar a interesarse por el tango. En los años 90, había muy pocas orquestas de tango en activo. Por eso, Ignacio y Camilo escuchaban muchos discos y transcribían los arreglos existentes, hasta que el guitarrista Alejandro Schwartz empezó a escribir sus propios arreglos de los clásicos más importantes del tango. Pero los viejos maestros que habían vivido y contribuido a dar forma a la edad de oro del tango seguían vivos. Por eso, Ignacio Varschausky y el gran violinista, compositor y arreglador Emilio Balcarce tuvieron la idea de fundar en 2003 la orquesta escuela de tango. Los alumnos pasan dos años aprendiendo los diferentes estilos de música de tango que son la esencia del tango argentino. Los más importantes músicos de tango de la epoca de oro como Leopoldo Federico, Julian Plaza, Raul Garello, Roberto Alvarez, Nestor Marconi, Victor Lavallen y todos los demás enseñaron a estos jóvenes músicos las características y esencias de cada estilo. Esta Orquesta Escuela tiene ahora mas de 20 años y sigue formando a la próxima generación de músicos de tango. Ignacio también ha fundado la organización Tango Vía con otros colegas de su generación, que se esfuerza por dar a conocer el tango en todo el mundo con material didáctico  y talleres de tango. Como productor de compacts y documentales, Ignacio Varschausky también ha hecho mucho por promocionar el tango en todo el mundo y ha recorrido el mundo con El Arranque. Actuaciones importantes fueron entre otros con el Lincoln Center Jazz orchestra bajo la dirección de Wynton Marsalis, y en el Festival de Tango del Teatro Chaillot de París en 2001, endonde lo entrevisté a Ignacio por segunda vez. Escuchen ustedes mismos todo lo que este innovador productor musical, contrabajista y organizador me contó al principio de su carrera sobre por qué está tan comprometido con el tango, la música de su tierra natal.

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On the latest episode of ‘New Classical Tracks,' trumpeter and composer Wynton Marsalis talks about his ‘Blues Symphony,' which was featured on latest recording by the Detroit Symphony Orchestra. Listen now with host Julie Amacher!

durée : 00:59:16 - Candy - par : Nathalie Piolé -

Podcast Jazztime 677 – 13.05.25 Diese Sendung hat Andreas Pasternack zusammengestellt. Das LIVE – Anspiel diesmal ist : „On the sunny Side of the Street” – geschrieben 1930 und einer der beliebtesten Jazz Standards. Folgende Titel sind zu hören: 1. Bad, bad Leroy Brown – Frank Sinatra 2:51 2. Midnight samba – Stan Getz 2:10 3. Nice'n'easy – Barbra Streisand 4:28 4. King Porter Stomp – Wynton Marsalis 3:15 5. When I fall in Love – Julie London 3:23 6. On the sunny Side of the Street – D.Gillespie, S. Stitt & S. Rolllins 5:43 7. Something – Sarah Vaughan 4:20 8. Basin Street Blues – Louis Armstrong & His All Stars 3:50 9. But beautiful – Diana Ross 2:51 10. High Heel Sneakers – Ramsey Lewis Trio 2:27 Für Titelwünsche und Anregungen schreiben Sie gern an: jazztime.mv@ndr.de Keep Swingin' !!!

In 2018, Austrian trumpeter Selina Ott made history by becoming the first woman to win first prize in the 70-year history of the prestigious ARD International Music Competition in Munich. That landmark achievement launched a remarkable career that has taken her to concert halls around the world, performing both as a soloist and with major orchestras. Her debut album, Trumpet Concertos, was honored with the Opus Klassik Award in 2021, and she has since released two more acclaimed solo recordings. Though still early in her musical journey, Selina has already established herself as one of the leading voices of her generation.In this conversation, I had the great pleasure of speaking with Selina about some of the defining moments in her life and career so far. In part one, we begin with her recent experience performing Wynton Marsalis's Trumpet Concerto with the ORF Vienna Radio Symphony Orchestra under the baton of Marin Alsop. She shares what it was like to collaborate with Marsalis himself and how that experience left a lasting impact. We then reflect on her preparation for, and participation in, the ARD Munich competition—what it took to succeed, and how her life changed overnight following her win. From there, we rewind even further to talk about her early beginnings on the trumpet as a young girl, and the important influence of legendary trumpeter Håkan Hardenberger.[Subscriber Content] In part two, we shift our focus to the balance between orchestral and solo playing, and what it really means to be a well-rounded soloist in today's musical world. We also touch on Selina's relationship with social media and why she chooses to keep a relatively low profile online. One of the more unique aspects of her life outside of music is her passion for horses—she owns several—and we explore how that love for animals complements her musical life. Selina also gives us insight into how she chooses her concert repertoire, both for solo recitals and orchestral performances. And finally, I ask her what advice she would give to a 10-year-old girl dreaming of becoming a musician one day.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Der italienische Bildhauer Medardo Rosso revolutionierte um 1900 die Skulptur und ist heute dennoch relativ unbekannt – eine Ausstellung im Kunstmuseum Basel würdigt sein Werk. Wynton Marsalis ist einer der berühmtesten Jazz-Trompeter und ein unermüdlicher Kämpfer gegen gesellschaftliche Missstände. Selbst Kunstinteressierten dürfte dieser Name nicht viel sagen: Medardo Rosso. Rosso war ein italienischer Bildhauer, der die Skulptur um 1900 revolutionierte, ein Zeitgenosse des heute sehr viel berühmteren Auguste Rodin. Inwiefern Rossos Kunst wegweisend war und wieso er heute trotzdem relativ unbekannt ist – das zeigt jetzt eine beeindruckende Ausstellung im Kunstmuseum Basel, die in Kooperation mit dem Mumok Wien entstanden ist. Dort war die Schau bereits im vergangenen Jahr zu sehen – und wurde vom Kunstmagazin «Art» zur besten Ausstellung 2024 im deutschsprachigen Raum gekürt. Wynton Marsalis war auf seinem Peak einer der grössten Trompeter, die je gelebt haben. Noch wichtiger aber ist sein unermüdlicher Kampf gegen gesellschaftliche Missstände in den USA – heute mehr denn je. Als Kind erlebte er den täglichen Kampf seines Vaters gegen Rassismus, als junger Musiker definierte er «Jazz» eng als afro-amerikanische Musik und kämpfte dafür, dass die Tradition als solche respektiert würde. Musikalisch bald in unerreichbaren Höhen unterwegs, blieb sein Leben doch immer ein Kampf – und das «Jazz at the Lincoln Center Orchestra» wurde zu seinem Instrument gegen gesellschaftliche Windmühlen. Warum er diesen Kampf noch immer führt und was ihn beglückt an der Musik, das erzählt er in Künste im Gespräch.

En octubre de 1990 se desarrolló en el Estadio Nacional el concierto “Desde Chile, un abrazo a la esperanza”. La convocatoria de Amnistía Internacional reunió a músicos locales como Inti Illimani y Congreso con estrellas como Sting, Peter Gabriel y Sinead O´Connor. Uno de los momentos más extraños y llamativos ocurrió durante el show del trompetista Wynton Marsalis, cuando el público del nacional comenzó a cantar espontáneamente. 

This episode of The Other Side of the Bell, featuring women's trumpet trailblazer, founder of the International Women's Brass Conference, and 40-year First Trumpet of the St. Louis Symphony Orchestra, Susan Slaughter, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Susan Slaughter trumpet interview"   About Susan Slaughter:   Born in McCordsville, IN, Susan Slaughter started playing trumpet at the age of 10. Graduating from Indiana University with a coveted performer's certificate, Susan auditioned for and won the Principal Trumpet position in 1967 with the Toledo, Ohio Symphony.   Susan then joined the Saint Louis Symphony Orchestra in l969 and four years later became the first woman ever to be named Principal Trumpet of a major symphony orchestra.   In 1992, Susan founded the International Women's Brass Conference, an organization dedicated to provide opportunities and recognition for women brass musicians. As a fund-raising effort to support the International Women's Brass Conference, Ms. Slaughter organized and produced the very popular Holiday Brass Concerts, which are now in their second decade, and are performed each December in the Cathedral Basilica of Saint Louis. Other cities in the United States are holding their own Holiday Brass Concerts to help support the ever-growing International Women's Brass Conference.   In 1996, Ms. Slaughter founded Monarch Brass, an all women's brass ensemble, which has toured in the United States and Europe to critical acclaim.   Susan appears regularly in area recitals and religious programs, and has been a frequent soloist with the Saint Louis Symphony Orchestra, as well as with several other ensembles throughout the country. Her work is represented on a number of Saint Louis Symphony releases, including the highly acclaimed recordings of Mahler's Symphony No. 2, Prokofiev's Symphony No. 5, Gershwin's Piano Concerto in F, Mussorgsky's Pictures at an Exhibition, Barber's Capricorn Concerto, and most recently, John Adams' Doctor Atomic. Many of these and other recordings have been nominated for or won Grammy Awards. Susan has performed with Wynton Marsalis, Kathleen Battle, Christine Brewer, Doc Severinsen, Al Hirt in duets, amongst others.   She has served on the faculty of the Grand Teton Orchestra Seminar and the National Orchestra Institute, and has been lecture/recitalist at the International Trumpet Guild, while also serving on its board of directors.   Since the 1980's, Susan has performed the National Anthem and “God Bless America” on an annual basis for the St. Louis Cardinals Baseball Club and, at the invitation of the Baseball Commissioner Fay Vincent, performed the National Anthem at Game 3 of the 1991 World Series, played in Atlanta between the Braves and Twins (link).   Some of the awards and recognition Susan has received over the years include nomination by Ladies Home Journal for its annual Woman of the Year award, a special Leadership Award in the Arts from the Young Women's Christian Association, the American Federation of Musicians, Local 2-197 Owen Miller Award for loyalty, dedication and fairness in actions and deeds, and the 2007 Arts and Education Council Award for Excellence in the Arts.   Susan has studied over the years with Herbert Mueller, Bernard Adelstein, Arnold Jacobs, Robert Nagel, Claude Gordon and Laurie Frink, and retired as Principal Trumpet from the Saint Louis Symphony on September 1, 2010.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: Holiday Brass Los Angeles Brass Alliance website https://www.instagram.com/losangelesbrassalliance/  International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam Greg Wing, Reflections on a Grateful Journey, available on Apple Music   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - Susan Slaughter Audio Engineer - Ted Cragg

Greetings Glocal Citizens! This week on the podcast, after the inspiring conversation in our last episode with Wesley Watkins about The Jazz & Democracy Project and more, I couldn't resist giong back into the GC archives for an encore presentation of my conversation with Maestro Wynton Marsalis. We recorded this conversation when the podcast was just a toddler, back in the days when we were just “doing something” and not yet “manifesting a new world.” It was also on the eve of the 2020 election, however, like so many of our conversations the topics and insights remain evergreen. How far we've come and continue to carry on! Check out the original show notes for more on his bio and topics of interest (https://glocalcitizens.fireside.fm/47). Where to find Wynton? www.wyntonmarsalis.org The Jazz @ Lincoln Center Orchestra (https://www.jazz.org/JLCO/) On YouTube (http://youtube.com/wyntonmarsalis) On Facebook (https://www.facebook.com/wyntonmarsalis) On Instagram (http://instagram.com/wyntonmarsalis) On Spotify (https://open.spotify.com/artist/375zxMmh2cSgUzFFnva0O7) What's Wynton reading? American Founders: How People of African Descent Established Freedom in the New World (http://americanfoundersbook.com) by Christina Proenza-Coles Barracoon: The Story of the Last "Black Cargo" (https://rep.club/products/barracoon-zora-neale-hurston?srsltid=AfmBOoq6wJeLLvsYg8gQerKMU29bzPgtQIduPOvjE6_4TugqUEgT5ARn) by Zora Neale Hurston Special Guest: Wynton Marsalis.

I had the pleasure of recording this episode inside the Nate Holden Performing Arts Center, in L.A., hometown of the talented Wren T. Brown. Wren is an actor, film producer, and theater director, who cofounded the Ebony Repertory Theatre (ERT). We talk in-depth about what that company has meant to him and how it has affected an entire community in a positive way. Influenced by the likes of his great uncle Lester Young, black excellence shaped his life and is the subject of his new book, The Family Business: Four Generations of One Black Family's Artistic Odyssey. (Friend and jazz giant Wynton Marsalis wrote the foreword.) https://thefamilybusinessbook.com

Greetings Glocal Citizens! This week's conversation comes in two parts. Like it's geographical spread, northern hemisphere to southern hemisphere, think of this two part discussion as a way of engaging both hemispheres of your brain--the creative and the analytic. My guest is fellow Stanford alum and founder of The Jazz & Democracy Project® (J&D) (https://www.jazzdemocracy.com), Wesley “Dr. Wes” J. Watkins. After several years working in the education sector, Dr. Wes launched the program in November 2009 at Rosa Parks Elementary School, located in San Francisco's historic Fillmore District. J&D is a music integrated curriculum that utilizes jazz as a metaphor to bring democracy to life, enrich the study and teaching of history, government, civics and culture, and inspire youth to become active, positive contributors to their communities. He first proposed the curriculum as part of his undergraduate honors program at Stanford's School of Education and later conducted research for his undergraduate honors thesis at Oxford University where he engaged and learned from music educators at both local elementary schools and world renowned secondary institutions. Now based in Sydney, Australia, J&D has traveled to countries all over the world and, in these times of global social transition, Dr. Wes anticipates continued opportunities to feature and further innovate using tools that will leave lasting impact on the ways that youth and educators approach building and living in their communities and beyond. Where to find Wesley? On LinkedIn (https://www.linkedin.com/in/wesleywatkins/) On Facebook (https://www.facebook.com/JazzDemocracy) On Instagram (https://www.instagram.com/jazzdemocracy/) On YouTube (https://www.youtube.com/@JazzDemocracy) Who's Wesley listening to? Joseph Solomon (https://www.youtube.com/@whatisjoedoing) Other topics of interest: Activist Oakland, CA (https://www.oaklandca.gov/topics/oaklands-history-of-resistance-to-racism) Northern Beaches, Sydney Lifestyle (https://content.knightfrank.com/research/2789/documents/en/northern-beaches-lifestyle-guide-2024-10795.pdf) United States Studies Center (https://www.ussc.edu.au/about/mission-and-history) Crikey! or Kriky! (https://www.collinsdictionary.com/dictionary/english/crikey#google_vignette) Flat White vs Latte (https://en.wikipedia.org/wiki/Flat_white) Geechi Taylor (https://www.geechitaylor.com/#!/HOME) Find Rachelle Farrell, Meshell N'Degeocello, on J&D (https://www.jazzdemocracy.com/interviews.html) Ledisi (https://www.ledisi.com) Christian McBride (https://www.christianmcbride.com) Betty Carter + Ray Charles (https://youtu.be/1IM3weosOTY?si=PXNlcx1a5UetHPAN) Episode 47 featuring Wynton Marsalis (https://glocalcitizens.fireside.fm/guests/wynton-marsalis) Jazz for Young People @ Lincoln Center (https://jazz.org/education/school-programs/jazz-for-young-people/) Check out the Chris Botti SF Show (https://youtu.be/j9cNsLPXWnA?si=rmoX7ljb9EO4a1y5) About Robert (https://en.wikipedia.org/wiki/Robert_McFerrin), Bobby (https://en.wikipedia.org/wiki/Bobby_McFerrin) and Madison (https://www.madisonmcferrin.com) McFerrin Special Guest: Wesley J. Watkins.

durée : 01:28:01 - En pistes ! du vendredi 11 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Que ce soit dans Tosca de Puccini, Lady MacBeth de Chostakovitch ou encore dans le lied L'amour et la vie d'une femme de Schumann, place aux voix féminines dans cette émission. A retrouver aussi : une symphonie signée Wynton Marsalis, le Versailles du 17ème mis en musique au clavecin...

durée : 01:28:01 - En pistes ! du vendredi 11 avril 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Que ce soit dans Tosca de Puccini, Lady MacBeth de Chostakovitch ou encore dans le lied L'amour et la vie d'une femme de Schumann, place aux voix féminines dans cette émission. A retrouver aussi : une symphonie signée Wynton Marsalis, le Versailles du 17ème mis en musique au clavecin...

Greetings Glocal Citizens! This week's conversation comes in two parts. Like it's geographical spread, northern hemisphere to southern hemisphere, think of this two part discussion as a way of engaging both hemispheres of your brain--the creative and the analytic. My guest is fellow Stanford alum and founder of The Jazz & Democracy Project® (J&D) (https://www.jazzdemocracy.com), Wesley “Dr. Wes” J. Watkins. After several years working in the education sector, Dr. Wes launched the program in November 2009 at Rosa Parks Elementary School, located in San Francisco's historic Fillmore District. J&D is a music integrated curriculum that utilizes jazz as a metaphor to bring democracy to life, enrich the study and teaching of history, government, civics and culture, and inspire youth to become active, positive contributors to their communities. He first proposed the curriculum as part of his undergraduate honors program at Stanford's School of Education and later conducted research for his undergraduate honors thesis at Oxford University where he engaged and learned from music educators at both local elementary schools and world renowned secondary institutions. Now based in Sydney, Australia, J&D has traveled to countries all over the world and, in these times of global social transition, Dr. Wes anticipates continued opportunities to feature and further innovate using tools that will leave lasting impact on the ways that youth and educators approach building and living in their communities and beyond. Where to find Wesley? On LinkedIn (https://www.linkedin.com/in/wesleywatkins/) On Facebook (https://www.facebook.com/JazzDemocracy) On Instagram (https://www.instagram.com/jazzdemocracy/) On YouTube (https://www.youtube.com/@JazzDemocracy) Who's Wesley listening to? Joseph Solomon (https://www.youtube.com/@whatisjoedoing) Other topics of interest: Activist Oakland, CA (https://www.oaklandca.gov/topics/oaklands-history-of-resistance-to-racism) Northern Beaches, Sydney Lifestyle (https://content.knightfrank.com/research/2789/documents/en/northern-beaches-lifestyle-guide-2024-10795.pdf) United States Studies Center (https://www.ussc.edu.au/about/mission-and-history) Crikey! or Kriky! (https://www.collinsdictionary.com/dictionary/english/crikey#google_vignette) Flat White vs Latte (https://en.wikipedia.org/wiki/Flat_white) Geechi Taylor (https://www.geechitaylor.com/#!/HOME) Find Rachelle Farrell, Meshell N'Degeocello, on J&D (https://www.jazzdemocracy.com/interviews.html) Ledisi (https://www.ledisi.com) Christian McBride (https://www.christianmcbride.com) Betty Carter + Ray Charles (https://youtu.be/1IM3weosOTY?si=PXNlcx1a5UetHPAN) Episode 47 featuring Wynton Marsalis (https://glocalcitizens.fireside.fm/guests/wynton-marsalis) Jazz for Young People @ Lincoln Center (https://jazz.org/education/school-programs/jazz-for-young-people/) Check out the Chris Botti SF Show (https://youtu.be/j9cNsLPXWnA?si=rmoX7ljb9EO4a1y5) About Robert (https://en.wikipedia.org/wiki/Robert_McFerrin), Bobby (https://en.wikipedia.org/wiki/Bobby_McFerrin) and Madison (https://www.madisonmcferrin.com) McFerrin Special Guest: Wesley J. Watkins.

This episode of The Other Side of the Bell, featuring trumpeter, band leader and iconic plunger mute designer Kenny Rampton, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Kenny Rampton trumpet interview"   About Kenny Rampton:   Trumpeter Kenny Rampton grew up in Las Vegas, and studied music at both the University of Nevada at Las Vegas and the Berklee College of Music. In 1989, he moved to New York, where he quickly established his reputation as a versatile musician, touring and performing with a veritable who's who in jazz.   Kenny's first road gig was a world tour with The Ray Charles Orchestra. He subsequently went on the road with legendary jazz drummer Panama Francis and The Savoy Sultans, and soon thereafter, with The Jimmy McGriff Quartet.   As a sideman, Kenny has also performed with jazz greats Jon Hendricks, Chico OFarrill's Afro-Cuban Jazz Big Band, Lionel Hampton, Charlie Persip and Supersound, Illinois Jacquet, Dr. John, Edy Martinez, Dr. Lonnie Smith, Reuben Wilson, Charles Earland, Tony Monaco, Clark Terry, Slide Hampton, Marcus Roberts, Christian McBride, Geoff Keezer, Richard Bona and a host of others.    Kenny Rampton joined the Jazz at Lincoln Center Orchestra with Wynton Marsalis as a full time member in 2010. He also leads his own groups in addition to performing with the Mingus Big Band, The Mingus Orchestra, The Mingus Dynasty, George Gruntz' Concert Jazz Band, and The Manhattan Jazz Orchestra.   Kenny is also well known as being the trumpet voice on the legendary Sesame Street. Some of his Broadway credits include "Anything Goes" (lead/solo trumpet), "Finian's Rainbow," "The Wiz," "Chicago: The Musical," "In The Heights," "Hair," "Young Frankenstein," and "The Producers," "The Drowsy Chaperone," "Spamalot," "Martin Short: Fame Becomes Me," "The Wedding Singer," "Hot Feet" and several other shows on Broadway.   Finally, in 2020 Kenny started collaborating with Hirschman Mutes to design the innovative KR Indigo plunger mute, which has been a hit ever since its release.   In our conversation today, Kenny shares how he got his start growing up in Las Vegas in a family of entertainers. Studying trumpet at the time largely meant classical trumpet, but Kenny soon developed a deep love for jazz. This took him across the country to Berklee, and the rest is history.   Kenny tells us what it was like getting a sudden call from Ray Charles to join his orchestra, being on-screen on Sesame Street, and working closely with Wynton Marsalis at the Lincoln Center.   And, we learn the story of how he developed the famous KR Indigo plunger mute, in the midst of the pandemic, as not just a useful tool for musicians but a way to stay engaged with the community during that tough time.   Kenny Rampton is brimming with inspiration and heart, and it was a pleasure to have him on the podcast today.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our guard bags! Visit trumpetmouthpiece.com for more info.   Episode Links: kennyrampton.com National Trumpet Competition YouTube channel International Women's Brass Conference, May 19-24, Hartford, Connecticut. Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. Sign up sheet for valve alignments: bobreeves.com/williamadam hirschmanmutes.com   Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Podcast Host – John Snell Audio Engineer – Ted Cragg

Born in the Pinar del Río province of Cuba, Steinway Artist, Grammy Nominated, and 2014 Jalc Millennium Swing Award! recipient pianist and composer Elio Villafranca was classically trained in percussion and composition at the Instituto Superior de Arte in Havana, Cuba. Since he arrived in the U.S. in mid-1995, Elio Villafranca has been at the forefront of the latest generation of remarkable pianists, composers, and bandleaders. NYC Jazz Record selected his concert Letters to Mother Africa as Best Concerts in 2016. In 2015, Mr. Villafranca was among the 5 pianists hand-picked by Chick Corea to perform at the first Chick Corea Jazz Festival, curated by Chick himself at JALC. Elio Villafranca's new album Caribbean Tinge (Motema), received a 2014 Preis der Deutschen Schallplattenkritik Nomination by the German Records Critics Award, as well has been selected by JazzTimes and DownBeat magazines for a feature on their very competitive section Editor's Pick. He also received a 2010 Grammy Nomination in the Best Latin Jazz Album of the Year category. In 2008 The Jazz Corner nominated Elio Villafranca as pianist of the year. That year, Mr. Villafranca was also honored by BMI with the BMI Jazz Guaranty Award. He received the first NFA/Heineken Green Ribbon Master Artist Music Grant for the creation of his Concerto for Mariachi, for Afro-Cuban Percussion and Symphony Orchestra. Finally, his first album, Incantations/ Encantaciones, featuring Pat Martino, Terell Stafford, and Dafnis Prieto was ranked amongst the 50 best jazz albums of the year by JazzTimes magazine in 2003. Over the years Elio Villafranca has recorded and performed nationally and internationally as a leader, featuring jazz master artists such as Pat Martino, Terell Stafford, Billy Hart, Paquito D'Rivera, Eric Alexander, Lewis Nash, David Murray, and Wynton Marsalis among others. As a sideman, Elio Villafranca has collaborated with leading jazz and Latin jazz artists including: Chick Corea, Jon Faddis, Billy Harper, Sonny Fortune, Giovanni Hidalgo, Miguel Zenón, and Johnny Pacheco among others. This year, in 2017 Elio Villafranca received The Sunshine Award, founded in 1989 to recognize excellence in the performing arts, education, science and sports of the various Caribbean countries, South America, Central America, and Africa. He is based in New York City and he is a faculty member of Temple University, Philadelphia, The Juilliard School of Music, New York University, and Manhattan School of Music in NYC.

Le grand trompettiste américain Wynton Marsalis dit d'elle «qu'on ne trouve une telle chanteuse qu'une fois par génération !»En cette journée internationale de la Francophonie, micro ouvert pour la chanteuse de jazz Cécile McLorin Salvant qui chante en anglais, en français et en occitan.  Née à Miami, en Floride (États-Unis) le 28 août 1989, d'un père haïtien et d'une mère française, Cécile McLorin Salvant parlait français dans sa famille. C'est vers l'âge de trois ans qu'elle a appris l'anglais à l'école, et se frotte à d'autres langues, car Miami est une ville polyglotte. De formation vocale classique et baroque, elle commence le piano très jeune. C'est au conservatoire d'Aix-en-Provence où elle est formée qu'elle découvre le jazz.  La francophonie, pour moi c'est un pont entre les gens, la langue est un pont. Quand je suis en France, j'ai envie de chanter en français.  Quand je suis aux États-Unis, je chante plutôt en anglais.  Elle chante habituellement en anglais, mais son dernier album en date est entièrement en français, prouvant ainsi que l'anglais n'est pas la seule langue du jazz. Dans cet album, Mélusine sorti en 2023, elle s'inspire de la légende folklorique de la fée Mélusine qui se transforme en serpent et reprend des textes du XIVè siècle de Jean d'Arras. Dans cet album aussi, elle reprend quelques standards des années trente et au-delà, tels que «ll m'a vue nue» de Mistinguett ou «Est-ce ainsi que les hommes vivent» de Louis Aragon et Léo Ferré. De cette musique jazz, elle aime le côté théâtral. Depuis le début de sa carrière, elle a obtenu trois Grammy Awards pour le meilleur album de jazz vocal. Elle a également écrit un conte musical, Ogresse qu'elle va adapter en film d'animation.Et en confidences, hors-micro, elle nous a annoncé la sortie d'un nouvel album pour août 2025 avec une chanson en... japonais. Cécile McLorin Salvant en concert à Stains ce jeudi 20 mars 2025 au Festival Banlieues bleues puis en tournée aux États-Unis. 

Le grand trompettiste américain Wynton Marsalis dit d'elle «qu'on ne trouve une telle chanteuse qu'une fois par génération !»En cette journée internationale de la Francophonie, micro ouvert pour la chanteuse de jazz Cécile McLorin Salvant qui chante en anglais, en français et en occitan.  Née à Miami, en Floride (États-Unis) le 28 août 1989, d'un père haïtien et d'une mère française, Cécile McLorin Salvant parlait français dans sa famille. C'est vers l'âge de trois ans qu'elle a appris l'anglais à l'école, et se frotte à d'autres langues, car Miami est une ville polyglotte. De formation vocale classique et baroque, elle commence le piano très jeune. C'est au conservatoire d'Aix-en-Provence où elle est formée qu'elle découvre le jazz.  La francophonie, pour moi c'est un pont entre les gens, la langue est un pont. Quand je suis en France, j'ai envie de chanter en français.  Quand je suis aux États-Unis, je chante plutôt en anglais.  Elle chante habituellement en anglais, mais son dernier album en date est entièrement en français, prouvant ainsi que l'anglais n'est pas la seule langue du jazz. Dans cet album, Mélusine sorti en 2023, elle s'inspire de la légende folklorique de la fée Mélusine qui se transforme en serpent et reprend des textes du XIVè siècle de Jean d'Arras. Dans cet album aussi, elle reprend quelques standards des années trente et au-delà, tels que «ll m'a vue nue» de Mistinguett ou «Est-ce ainsi que les hommes vivent» de Louis Aragon et Léo Ferré. De cette musique jazz, elle aime le côté théâtral. Depuis le début de sa carrière, elle a obtenu trois Grammy Awards pour le meilleur album de jazz vocal. Elle a également écrit un conte musical, Ogresse qu'elle va adapter en film d'animation.Et en confidences, hors-micro, elle nous a annoncé la sortie d'un nouvel album pour août 2025 avec une chanson en... japonais. Cécile McLorin Salvant en concert à Stains ce jeudi 20 mars 2025 au Festival Banlieues bleues puis en tournée aux États-Unis. 

Listen to a 2022 conversation with David Andrichick, owner of the Chatterbox, an important jazz club located in Downtown Indianapolis. The Chatterbox made national news this week when a video depicting a dispute between the club's bartender and a Trump supporter went viral online. But many news reports and social media posts about the incident left out crucial context about the club's history. Here in Indiana, the Chatterbox is known for celebrating the rich jazz history of Indianapolis and embracing a diverse community of patrons. The club's reputation as a destination for live music has attracted notable patrons, including the Rolling Stones, Terence Blanchard, and Wynton Marsalis. In addition to music, the club has also hosted poets, including the world-renowned Etheridge Knight, who led his Free People's Poetry Workshop at the Chatterbox.  When WFYI's Kyle Long spoke with Andrichick in 2022, he was celebrating his 40th anniversary as owner of the Chatterbox, and they discussed the club's history in-depth.

Andere Väter hätten sich nur schon mit dem einen der Söhne, mit Wynton Marsalis, aufgeplustert. Dazu noch Branford, Delfayo und Jason? Aber Ellis Marsalis bleibt bescheiden. «There must have been some kind of spiritual intervention in that», meint er in einem Interview, angesprochen auf seine vier Musikersöhne. Selber als Pianist eine wichtige Stimme in der Jazz-Szene, reicht sein Einfluss als Vermittler weit über seine Heimat New Orleans hinaus. Wie hat er das gemacht? Wie hat er dabei die Bodenhaftung nicht verloren? Was zeichnet ihn als Musiker aus? Darüber diskutiert der Zürcher Pianist Javier Leutenegger in der Jazz Collection mit Jodok Hess. Die gespielten Titel Interpret:in: Titel (Album / Label) American Jazz Quartet: Monkey Do (Gulf Coast Jazz Vol. 1 / V.S.O.P Records) Ellis Marsalis: Zee Blues (Homecoming / ELM) Ellis Marsalis: I Can't Give You Anything But Love (Heart of Gold / Columbia) Ellis Marsalis: Twelve's It (Twelve's It. Introducing Jason Marsalis / Columbia) Ellis Marsalis: Prelude to a Kiss (Duke in Blue / Columbia) Ellis Marsalis: Yesterdays (On the Second Occasion / ELM) Ellis Marsalis: Two Piano Louisiana (Homecoming / ELM)

In this episode, Paul Merkelo, principal trumpet of the Montreal Symphony Orchestra, discusses his involvement in premiering Wynton Marsalis' new trumpet concerto. Paul talks about the inception of the project, his preparation process, and the various challenges he faced in mastering the piece. He highlights the unique aspects of the concerto, including its nods to jazz and classical traditions. He also shares insights into his practice routines, juggling professional and personal responsibilities, and the advice he received from Wynton Marsalis. The conversation dives deep into the artistic and technical demands of the concerto, the significance of musical storytelling, and the broader implications of cross-genre collaborations in music.Episode Highlights:01:55 The Wynton Marsalis Trumpet Concerto04:55 Preparing for the Premiere07:52 The Performance Experience14:57 Musical Borders and Future Projects24:26 The Importance of Likability in Music25:21 Preparing for a Major Performance27:43 Breaking Down the Movements34:05 Balancing Family, Work, and Practice37:47 Global Premieres and Educational Outreach40:20 Final Thoughts and Advice for Musicians44:03 Humorous Anecdotes and Closing RemarksResources Mentioned:Paul Merkel's website (https://paulmerkelo.com)Wynton Marsalis (https://wyntonmarsalis.org)You've been listening to Trumpet Dynamics, telling the story of the trumpet, in the words of those who play it. To learn more about the show, and to join the Trumpet Dynamics tribe, visit us on the web at trumpetdynamics.com.And be sure to tap the subscribe button on your phone so you're always up to date with new episodes as they release.Thank you for listening!

Send us your thoughts! Jon Irabagon is a Filipino-American saxophonist, composer, and founder of Irabbagast Records.[1]Winner of the 2008 Thelonious Monk Jazz Competition[1] and one of Time Out's "25 essential New York City jazz icons",[2] Irabagon is known for the breadth of his work on a jazz continuum ranging "from postbop to free improvisation, avant country to doom metal".[3] His "extraordinary eclecticism"[4] has led to performances with such diverse artists as Wynton Marsalis,[5] Lou Reed, Evan Parker, Billy Joel, the Maria Schneider Orchestra, Bertha Hope, Herbie Hancock, Conor Oberst,[6] Christian McBride,[7] Mike Pride,[8] Kenny Barron, Darcy James Argue's Secret Society, Bill Laswell, Peter Evans,[9] Tyshawn Sorey, Ingrid Laubrock,[10] Ava Mendoza,[11] Mick Barr, and Tom Rainey.Irabagon's many projects as bandleader include a quartet with Luis Perdomo, Yasushi Nakamura, and Rudy Royston,[12] as well as a trio with Mark Helias and Barry Altschul.[13] He is also a member of the Mary Halvorson Quintet, Septet,[14] and Octet;[15] the Dave Douglas Quintet;Support the show

Grammy winning and Pulitzer Prize winning Jazz artist Wynton Marsalis joined Ivan on the show this morning. Wynton chatted about his long career and also the work as Artistic Director of Jazz at the Lincoln Centre.

90.9 WRCJ's Peter Whorf talks with Jader Bignamini and Wynton Marsalis about the new Detroit Symphony Orchestra release of "Blues Symphony".

A school-age child in Texas has died from measles, marking the first U.S. death from the disease since 2015. It is the first death in a measles outbreak that has infected more than 120 people since late last month. Actress Michelle Trachtenberg, known for her roles in "Harriet the Spy," "Buffy the Vampire Slayer" and "Gossip Girl," has died at the age of 39. New York City police say Trachtenberg was found unresponsive in an apartment on Wednesday. Legendary trumpeter Wynton Marsalis, who made history with Grammy wins in both jazz and classical music, celebrates two decades of music, education, and performance at the venue known as "the house that Wynton built." "CBS Mornings" co-host Gayle King reacted to being named one of the six passengers on Blue Origin's next women-led space flight on Thursday's show. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

El músico panameño Rubén Blades en su faceta de 'crooner' o cantante de 'swing': con Roberto Delgado y orquesta en el disco 'Salswing!' ('Pennies form heaven', 'The way you look tonight', 'Watch what happens'', 'Do I hear from you?', 'Mambo Gil', 'Ya no me duele') y con Jazz at Lincoln Center Orchestra with Wynton Marsalis en el disco 'Una noche con Rubén Blades' ('Ban ban quere', 'Too close for comfort', 'I can´t give you anything but love', 'Apóyate en mi alma', 'Fever', 'They can´t take that away from me').Escuchar audio

Send us a textThis week, let's chat about the beautiful legacy of philanthropy within the jazz community. Let's talk about community building work by artists like Jon Batiste, Wynton Marsalis, Ella Fitzgerald and others. Links from today's episode:Jazz and Philanthropy | Bridge Philanthropic Consultinghttps://bridgephilanthropicconsulting.com/wp-content/uploads/2023/09/Iconic-Impact-__-Jazz-and-Philanthropy_v10-Final-1.pdf Wynton Marsalis: how music makes a differencehttps://www.ft.com/content/1d5dbcb2-2724-4638-a2b3-3307ecda2aac 2019 Interview with Jon Batistehttps://www.forbes.com/sites/margiegoldsmith/2019/09/09/john-batiste-so-much-more-than-steven-colberts-music-director/?sh=141fbd553b77 Democracy! Suite Album from Wynton Marsalishttps://wyntonmarsalis.org/discography/title/the-democracy-suiteLou Rawls song complicationhttps://www.youtube.com/watch?v=5zSWIdQKTYQICYMI another episode you might enjoy:Episode#128 Do you identify as a philanthropist? Apparently it depends on your identities…Love the book recos on this show? Check out the Progressive Pockets Bookshelf:https://bookshop.org/shop/progressivepockets As an affiliate of Bookshop.org, Progressive Pockets will earn a commission if you make a purchase.Connect With Genet “GG” Gimja:Website https://www.progressivepockets.comTwitter https://twitter.com/prgrssvpckts Work With Me:Email progressivepockets@gmail.com for brand partnerships, business inquiries, and speaking engagements.Easy Ways to Support the Show1. Send this episode to someone you know! Word of mouth is how podcasts grow!2. Buy me a coffee (or a soundproof panel!) https://buymeacoffee.com/progressivepockets 3. Leave a 5 star rating and review for the show!//NO AI TRAINING: Any use of this podcast episode transcript or associated show notes or blog posts to “train” generative artificial intelligence (AI) technologies to generate text is expressly prohibited. This includes, without limitation, technologies that are capable of generating works in the same style or genre as this content. The author reserves all rights to license uses of this work for generative AI training and development of machine learning language models//Support the show

Born in Kingston, Jamaica, Russell Hall migrated to the United States in 2007 where his double bass studies progressed quickly through the rigorous programs of The Dillard Center for the Arts and The Juilliard School. Russell deeply understands the jazz tradition, having studied with many of the double bass world's most renowned artists including Ron Carter and Ben Wolfe. Still, he is also an artist looking forward with his own distinct approach to the double bass.   As a first-call bassist in New York City, Russell has performed with some of the biggest names in music including Joey Alexander, Wayne Shorter, Wynton Marsalis, Branford Marsalis, Jon Batiste, Roy Hargrove, Kathleen Battle, Christian McBride, Emmet Cohen, Russell Malone, George Coleman and many more.  Well known for his work with the Emmet Cohen Trio alongside drummer Kyle Poole, Russell also leads his own bands, including Bessie and the Rainbowkids to much critical acclaim.  Russell Hall joined the Discover Double Bass faculty as a jazz bass specialist in 2022 where he presented his course, Bessie's Bass Busters.  Russell Hall is well known as a member of the Emmet Cohen Trio and bassist for the wildly popular ‘Live From Emmet's Place' series. In this video, he was joined by non-other than the great Christian McBride for a tasteful double bass duo.

In the second hour of "Connections with Evan Dawson" on 2/5/25, we discuss the Chautauqua Institution and preview the new PBS documentary "Chautauqua at 150: Wynton Marsalis' All Rise."

Episode 307: It was 50 years ago this month that a 23-year-old Mickey Raphael felt his way through his first recording session with his relatively new band boss Willie Nelson. And it was no small thing, producing the iconic Red Headed Stranger. It was one event in a charmed life that set this Dallas musician on a path to the ultimate steady gig for more than 50 years, plus stature as the world's top on-call harmonica player. Raphael has played and recorded with Merle Haggard, Leon Russell, Don Williams, Emmylou Harris, Ray Charles, Bob Dylan, Paul Simon, Norah Jones, Wynton Marsalis, and even U2 and Motley Crue. In a session taped at WMOT's East Nashville satellite studio, we talk about it all.

Wynton Marsalis joins WBUR's Morning Edition ahead of a performance at Symphony Hall.

Listen to a conversation with Wynton Marsalis, a world-renowned trumpet player, composer, and educator whose artistry and influence span the worlds of jazz and classical music.  Marsalis was Born in New Orleans, Louisiana, in 1961. He grew up immersed in the jazz legacy of his hometown. His father, Ellis Marsalis Jr., was a legendary pianist and educator, and his brothers Branford, Delfeayo, and Jason are also acclaimed musicians.  A virtuoso in both jazz and classical music, Marsalis was the first musician to win Grammy Awards in both fields in the same year, a feat he achieved in 1984. Marsalis was also the first jazz musician to receive the Pulitzer Prize for Music, for his oratorio Blood on the Fields.  Marsalis has become a global ambassador for jazz, and since 1991, he's served as the artistic director of Jazz at Lincoln Center.    Also, hear an interview with the acclaimed Indianapolis jazz saxophonist Rob Dixon. He'll discuss his upcoming tribute to jazz legend John Coltrane “A Love Supreme: 60th Anniversary Tribute”.  For Indianapolis music fans, Rob Dixon needs no introduction. He's been called the “musical mayor of Indianapolis”, a reference to his prominent role in the city's music scene. Dixon has worked with many jazz luminaries, including Illinois Jacquet, Mike Clark, and Charlie Hunter. Dixon is also the artistic director of the Indianapolis Jazz Foundation.

There's a not so polite saying about teaching music and music teachers that goes like this: If you can, play. If you can't, teach. That is what jazz legend Ellis Marsalis once said to a Detroit drummer who was considering becoming a music teacher. I'm talking about drummer, educator, producer and band leader Clarence Penn. Fortunately, Clarence did not take it to heart, eventually acquiring a master's in music education from Rutgers University. It was also to the benefit of future musicians who became Clarence's students.  In this episode, Clarence Penn and I engage in deep reflection on jazz and jazz music instruction. He started playing music with the drum set influenced by his drummer neighbor Ricky Hudson around eight years old. In 1986, while still in high school, he attended the Interlochen Arts Academy where Clarence focused on classical percussion aiming to be a timpanist, but later eventually committed to jazz in high school after meeting NEA Jazz Master, trumpeter, and Jazz at Lincoln Center Orchestra Music Director, Wynton Marsalis. He started studying at the University of Miami in Florida in 1986 but transferred to Virginia Commonwealth University which is when he began working with the great Ellis Marsalis. The conversation navigates his brief stint with trumpet, his preference for jazz over classical due to its broader voice and creativity and reflects on the evolving definition of jazz. The discussion also delves into his teaching philosophy, emphasizing individualized attention, deliberate practice, and the importance of being a well-rounded person. What Ellis Marsalis said about teaching, he later retracted when Clarence told him he was pursuing a master's at Rutgers in music education. He said, according to Clarence, “…that those who can play, teach,” thus giving Clarence his blessing. Clarence Penn also talks about various influences and collaborations, his views on the business of being a musician, and his expressive performance style. He mentions his project with the 2025 Grammy nominated American Patchwork Quartet, its diverse cultural influences, and explains his latest album 'Behind the Voice', which pays homage to drummers who have significantly impacted music. His resume more so lays out his career as a jazz musician than a teacher of percussion instruments, performing with Ellis and Wynton Marsalis, Maria Schneider, Stanley Clark, Betty Carter, Christian Sands, Lakecia Benjamin, Dee Dee Bridgewater, and Kurt Elling, among many other highly accomplished musicians. He concludes by discussing the importance of teaching as therapy and the rewarding relationships with students. In this episode, we'll listen to three tracks of music, thanks to Origin Records. Two will come from Clarence Penn's latest project, Behind the Voice, released in 2024, more so a R&B/soul sound that has enormously brilliant drumming and keyboards by Clarence. The third track comes from his 2014 recording, Monk: The Lost Files, a highly acclaimed release that revisits some of the most memorable compositions by jazz legend Thelonious Monk.   You will hear the first song just prior to the conversation opening. 1. “Send One Your Love” (Steve Wonder)-Behind the Voice-3:15; Clarence Penn-drums, percussion, keyboards, vocoder; Aaron Marcellus-vocals; The second track will play at about 31 minutes into the program. 2. “Hackensack”: Monk: The Lost Files; Chad Lefkowitz-Brown - Saxes; Donald Vega-Piano; Yasushi Nakamura - Acoustic & Electric Bass; Clarence Penn - Drums, producer-arranger. The third song will close the conversation. 3. “You Are” (Clarence Penn, Tyrone Corbett), Behind the Voice -3:52; Clarence Penn—drums, percussion, keyboards, vocoder; Chelsea Jackson-vocals; Yasushi Nakamura-bass Thank you for listening. I know there are many podcasts for you to enjoy so it means a great deal to me that you are spending time with this conversation.

In this episode, Dave and Andrew go deep into the tangled history surrounding the first jazz piece to ever win the Pulitzer Prize in Music, Wynton Marsalis's Blood on the Fields. But what will they think of the changes to the Pulitzer that allowed a largely-improvised piece to win an award previously reserved for notated music?   If you'd like more information about Wynton Marsalis, we recommend: Wynton Marsalis's official website Moving to Higher Ground: How Jazz Can Change Your Life by Wynton Marsalis and Geoffrey Ward David Stowe's article "The Diasporic Imagination of Wynton Marsalis," in The Black Urban Community, edited by Gayle T. Tate and Lewis A. Randolph (Palgrave, 2006) Matthew Alan Thomas's dissertation "Dynamic canons: How the Pulitzer Prize, documentary film, and the U.S. Department of State are changing the way we think about jazz," University of Southern California, 2011

Hace casi veinte años que Georges Moustaki grabó en Río de Janeiro, con dirección musical y producción de Francis Hime, 'Vagabond' disco con canciones como 'Cet amour d´été', 'J´aimerai la vie', 'Tom', 'Vagabond', 'J´ai grand faiblesse pour les femmes' o 'Les eaux de mars'. Para comenzar, la Jazz at the Lincoln Centre Orchestra de Wynton Marsalis con Wayne Shorter, en un homenaje al saxofonista, tocando obras de Shorter como 'Yes or no', 'Diana' y 'Contemplation'. Cierra Anat Cohen con su Quartetinho y 'Coco rococo'.Escuchar audio

Bassist, composer, educator and actor John Brown teaches at Duke University and currently serves as Vice Provost for the Arts, Director of the Jazz Program and Professor of the Practice of Music. He has performed internationally with artists like Wynton Marsalis, Ellis Marsalis, Delfeayo Marsalis, Elvin Jones, Nnenna Freelon, Cyrus Chestnut, Diahann Carroll, Rosemary Clooney, Nell Carter, Lou Donaldson, Slide Hampton, Nicholas Payton, Frank Foster, Larry Coryell, Cedar Walton, Fred Wesley, Bernard Purdie and Mark Whitfield, as well as giving regular performances as a substitute with the North Carolina Symphony since 1992. He has performed for President Barack Obama, and at major national and international venues and festivals in Asia, Europe and across North and South America. John has a Grammy nomination for his performance and co-writing on Nnenna Freelon's 1996 Concord release, Shaking Free, and he has an Emmy nomination for producing the first Duke Student Arts Showcase. He has also produced and performed on recordings for Nnenna Freelon and Linda Lavin. The film One Night in Kernersville (documenting the first recording session of John's Big Band) won “Best Short Film” at the Full Frame Film Festival, “Best Cinematography” at the Charlotte Film Festival and was featured on the Documentary Channel. John has also served multiple times as a juror and as Chair for the Pulitzer Prize in Music and for various engagements with the National Endowment for the Arts. 

DeWitt Fleming Jr. is a multi-talented and brilliant performer, renowned for his tap dancing, choreography and acting, and is also a singer and drummer. As he said to me in this interview “when I'm tap dancing I'm drumming”. You'll hear about his experience growing up in the Projects, the importance of attending an Arts high school, the usefulness of theatre training for musicians, and insights into memorization, mindset and performing. He shared his experiences working with Wynton Marsalis, meeting his wife the actor and singer Jennie Harney-Fleming, with whom he's presently performing A Wonderful World: The Louis Armstrong Musical,  his experiences with Cirque du Soleil and touring internationally with Riverdance, and most recently playing both drums and performing tap with the Hot Sardines in Tokyo.  Like all my episodes, you can also watch this on my YouTube channel or listen to the podcast on all the podcast platforms, and I've also linked the transcript to my website, everything linked here : https://www.leahroseman.com/episodes/dewitt-fleming-jr DeWitt Fleming Jr. Website: https://www.dewittflemingjr.com/bio Sign up for my Podcast Newsletter!⁠ ⁠Very Cool Merch⁠ Buy me a coffee? ⁠https://ko-fi.com/leahroseman⁠ Thanks! You may be also interested in my episodes with ⁠J. Walter Hawkes,⁠ ⁠Vahn Black⁠,⁠ Mike Essoudry⁠, ⁠Destiny Muhammad⁠, ⁠EmmoLei Sankofa⁠, ⁠Kellylee Evans⁠ and so many ⁠others. ⁠  “Doxy” highlighting DeWitt's tap dancing with saxophonist Erica von Kleist; Sax & Taps' this video which was recorded live at The Red Room in 2017: https://www.youtube.com/watch?v=M6-xm8DZY6c Sax & Taps' album Intersplosion! https://saxandtaps.bandcamp.com/album/intersplosion-live-at-dizzys-club clips of DeWitt dancing with  Wynton Marsalis and the Jazz at Lincoln Center Orchestra video: https://www.youtube.com/watch?v=DGl6svIDzNc  Timestamps:  (00:00) Intro (02:48) history of tap, African roots  (09:26) DeWitt's youth Projects of Washington DC, Hoofin' out of the Hood show (17:54) meeting his wife Jennie Harney-Fleming, parenting (22:16) A Wonderful World: The Louis Armstrong Musical (23:30) choreography, Broadway  (26:56) benefits of drama training (29:31) clip from Doxy, Sax & Taps with Erica von Kleist (32:28) other episodes you may like, and different ways to support this series! (33:15) drummer, Blue Note Tokyo with The Hot Sardines (36:47) Cirque du Soleil experience, Broadway Underground (43:06) meeting and working with Wynton Marsalis (50:24) tap dancing, mentoring and teaching youth, the importance of theater (56:10) connections with music, acting, dancing (59:38) touring internationally with Riverdance (01:02:35) Alicia Keys (01:04:57) balance between playing drums and dancing, being in the moment, tap is music

In this episode, Botti delves into the intricacies of making jazz records authentically and contrasts it with live performances. He discusses his decision to avoid becoming “just another jazz musician” by learning from artists like Leroy Hargrove and the incomparable talent of Wynton Marsalis. Insights are shared on the significance of studio engineering, exemplified by the quality of Miles Davis's 'Kind of Blue' versus live recordings. We also touch on the technical aspects of live and studio setups, including the use of compression, EQ, and iconic microphones.Episode highlights:01:34 The Art of Record Making03:27 Live Performance vs Studio Recording04:36 The Role of Engineers and Sound Quality05:38 Technology and Equipment in Music Production08:19 Microphones and Iconic Recordings**Mastery Is Within Reach. Will You Go For It?Follow Brass Mastery and stay updated via email every time a new episode is released at https://brassmastery.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit brassmastery.substack.com/subscribe

Chris Botti offers his thoughts on the transformation of the music industry, focusing on the impact of streaming and the transition from traditional record labels to independent success. The conversation delves into the rise of podcasts as a new media frontier, highlighting increased democratization and shifting audience consumption habits. With examples from prominent figures like Joe Rogan and Wynton Marsalis, the dialogue underscores the importance of adaptability and niche specialization in today's media landscape.Episode highlights:00:11 The Changing Music Industry Landscape02:21 The Rise of Podcasts04:05 The Democratization of Media06:08 Reflections on Jazz and Inspirations06:18 Tribute to Jazz Legends08:34 Wynton Marsalis' Glass Ceiling11:28 A Backdoor to a Career in Jazz**Mastery Is Within Reach. Will You Go For It?Follow Brass Mastery and stay updated via email every time a new episode is released at https://brassmastery.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit brassmastery.substack.com/subscribe

Lila Downs is one of the most influential artists in Latin America. She has one of the most unique voices in the world and is known for her charismatic performances. His own compositions combine genres and rhythms as diverse as Mexican rancheras and corridos, boleros, jazz standards, hip-hop, cumbia and popular American music. Frequently her lyrics focus on justice, immigration and women's problems.She grew up in both Minnesota and Oaxaca, Mexico, her mother is from the Mixtec indigenous group and her father was Scottish-American. Lila sings in Spanish, English and several native American languages ​​such as Zapotec, Mixtec, Nahuatl, Mayan and Purepecha.She has recorded duets with artists as diverse as Mercedes Sosa, Caetano Veloso, Juanes, Nora Jones, Juan Gabriel, Carla Morison, Natalia LaFourcade, Santana , The boss, Nina Pastori, Soledad, Diego La Cigala, Aida Cuevas, Toto La Momposina, and Bunbury. Chavela Vargas “named” Lila as her “successor.”She has been invited to sing with symphonies such as the Chicago Symphony Orchestra, the San Francisco Symphony and the UNAM Symphony in Mexico, as well as with Wynton Marsalis and the Lincoln Center Jazz Orchestra. He has given concerts at Carnegie Hall, the Lincoln Center, the Teatro Colón in Buenos Aires, the Hollywood Bowl and the National Auditorium in Mexico City. She was invited by Barack Obama to sing in the White House, and acted in the Oscars for her participation in the film Frida. Lila has recorded nine studio albums.She has been nominated for nine Grammy awards and has won six.Maggie & Lila discuss her first appearance at the infamous Monterey Jazz Festival and her amazing performance + members of her current band. Source: https://www.liladowns.com/language/en/Host 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

Riley Mulherkar grew up in Seattle, the Pacific Northwest enclave that has been home to so many musical innovators over the years. He went to Garfield High School, a school that has fostered countless talents going all the way back to Quincy Jones who was himself a young trumpet player at the school in the 1940s. Riley was just eight years-old when he began seeing the legendary Garfield High School big-band play free gigs in his Seattle neighborhood; it's one of the reasons he picked up the trumpet. He was clearly meant to play the instrument.  By the time he got to Juilliard in New York, Riley had shown up on the radar of Wynton Marsalis, who became a mentor. If this story is sounding familiar, it's because it resembles the experience of so many musicians of his generation who have similar origin stories.  On a deeper level, it's a story that echoes through the history of jazz - young musicians who are compelled to move to New York after only a small handful of interactions with their heroes.  Riley Mulherkar is very much a man of his moment, and also mindful of those echoes from the past. His new album - his first under his own name and called, simply, Riley is awash in the echoes of history but also boldly embraces contemporary sounds and textures, it reframes classic material that was influential to him and positions his original compositions in that continuum.  The album was a long time in the making. It's the result of years of experimentation and reflection, and that patience is palpable in the music. Above all, the feeling of the record is totally compelling. And feeling was at the heart of the project all along. He says he was not interested in making something that sounded like an old record, but rather that felt the way he feels when he listens to his heroes, something he describes as “hyperrealism”. We spoke earlier this year about how the Riley album came together - he worked closely with pianist Chris Pattishall and guitarist/producer Rafiq Bhatia - his diverse career as a collaborator, music presenter, composer, and now solo artist, and how thinking of jazz as a family tree helped him to find his place in the music.  www.third-story.com https://leosidran.substack.com/ https://www.wbgo.org/podcast/the-third-story  

In her new book, The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the historian and Harvard professor Sarah Lewis unpacks a major part of United States history that until now wasn't just brushed over, but was intentionally buried: how the ​​Caucasian War and the end of the Civil War were conflated by P.T. Barnum, former President Woodrow Wilson, and others to shape how we see race in America. Long overdue, The Unseen Truth is a watershed book about photography and visuality that calls to mind works by history-shaping authors such as James Baldwin, Toni Morrison, and bell hooks. Lewis is also the founder of the Vision & Justice initiative, which strives to educate the public about the importance of art and culture for equity and justice in the U.S., and is launching a new publishing venture with Aperture this fall.On the episode, she discusses the tension between pedagogy and propaganda; the deep influence of Frederick Douglass's 1861 “Pictures and Progress” lecture on her work; how a near-death car crash altered the course of her life and The Unseen Truth; and the special ability of certain photographs to stop time.Special thanks to our Season 10 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Sarah Lewis[04:01] The Unseen Truth[05:24] Woodrow Wilson[05:24] Frederick Douglass[05:24] P.T. Barnum[06:51] Toni Morrison[06:51] Angela Davis[06:51] Mathew Brady[51:14] Vision & Justice[11:35] Caucasus[14:02] Imam Shamil[17:38] Caucasian War[19:31] MFA Boston[19:31] The Metropolitan Museum[22:30] “Pictures and Progress”[28:41] “A Circassian”[28:41] “Slave Ship”[28:41] “The Gulf Stream”[35:13] Frances Benjamin Johnston[39:20] Jarvis Givens[39:20] Fugitive Pedagogy[44:05] The Rise: Creativity, the Gift of Failure, and the Search of Mastery[49:08] Montserrat[49:08] Under the Volcano[51:36] Aperture[52:26] Maurice Berger[52:26] Coreen Simpson[52:26] Doug Harris[52:26] Deborah Willis[52:26] Leigh Raiford[52:57] Hal Foster[56:01] Hank Willis Thomas[56:01] Theaster Gates[56:01] Mark Bradford[56:01] Amy Sherald[57:58] Wynton Marsalis[57:58] Charles Black, Jr.[57:58] Louis Armstrong[57:58] Brown v. Board of Education